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Future CSS Tip! 🤞 You could create an image zoom/crop using the CSS object-view-box property 🔍 img { object-fit: cover; object-view-box: inset( var(--top) var(--right) var(--bottom) var(--left) ); } CodePen.IO link below! 👇

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Household chores created using a movement sheet as reference to animate the entire scene using ChatGPT Image 2.0 and Seedance 2.0 on Yapper GPT Image 2 Prompt; [VISUAL STYLE] Monochrome grayscale composition featuring a highly detailed 3D-rendered female character. Designed like a professional instructional guide with a technical, diagram-inspired layout. Clean white background, soft studio lighting, and strong contrast to highlight posture, actions, and object interaction. [GRID LAYOUT] Structured 4×4 panel grid (16 frames total), evenly spaced with thin black divider lines. Each panel is identical in size and clearly numbered from 1 to 16, showing a continuous sequence of household activities. [CHARACTER] Use the provided reference image for the face and overall likeness. Same facial features, skin tone, and proportions Natural makeup, soft expression Consistent identity across all 16 panels Realistic proportions and clean hairstyle (loose or tied back) [WARDROBE] Modern, modest casual outfit: Fitted crop top (not revealing, clean neckline, practical for movement) High-waisted straight or slightly wide-leg jeans (full length, neat fit) Optional minimal sneakers or barefoot indoor styling Fabric should react naturally to movement (subtle folds and tension) [SCENE APPROACH] Minimal, clean environment per panel — only essential props related to the chore. No clutter, no complex backgrounds — focus stays on the subject and action. [PANEL STRUCTURE – EACH FRAME] Top-left: Step number + task title (e.g., “Step 4 – Vacuum Floor”) Center: Full-body pose performing the chore Bottom-left: 3–4 concise instruction lines Overlay: Motion arrows and directional guides showing action flow [CHORE SEQUENCE EXAMPLES] Make the Bed Tidy Up Room Dust Surfaces Vacuum Floor Sweep Floor Mop Floor Do Laundry Hang Clothes Fold Clothes Clean Kitchen Counter Wash Dishes Take Out Trash Water Plants Clean Bathroom Organize Shelves Final Room Reset [MOTION INDICATORS] Curved arrows → fluid actions (wiping, folding) Straight arrows → directional movement Circular arrows → repetitive motions (scrubbing, mopping) [RENDER QUALITY] High-detail sculpted 3D style with smooth grayscale shading, soft shadows, and clean linework. Polished, concept-art level finish with clarity in every pose and object interaction. [RESTRICTIONS] No color, no unnecessary background detail, no extra characters, no revealing clothing, no clutter — only the subject, props, and instructional elements.

Johnn

73,556 Aufrufe • vor 5 Monaten

Made with seedance 2.5 Prompt: Create ONE continuous 12-second, 9:16, ultra-photorealistic LIVE-ACTION luxury fashion film. IMPORTANT REFERENCE MAPPING: REFERENCE Image = PRIMARY CHARACTER. Use the FIRST uploaded reference image of the woman. REFERENCE image2 = ENVIRONMENT. Use the SECOND uploaded reference image of the square. REFERENCE David Carbon = HERO OBJECT. Use the THIRD uploaded reference image of the sunglasses. Do NOT refer to these images as Image, image2 or David Carbon. Use the reference images according to their upload order. CHARACTER — REFERENCE IMAGE 1 Preserve the exact woman from REFERENCE IMAGE 1 throughout the entire video: same facial identity, facial structure, natural eyes, hairstyle, body proportions, skin appearance, clothing, footwear, jewelry, accessories and overall appearance. Do not copy the original background from REFERENCE IMAGE 1. The protagonist is the ONLY main character. ENVIRONMENT — REFERENCE IMAGE 2 Use REFERENCE IMAGE 2 only for visual language: architecture, atmosphere, warm sunset lighting, materials, monumental scale and cobblestone character. Create a NEW believable cinematic pedestrian space inspired by it. Do NOT reproduce its exact composition, exact camera angle or exact street layout. Provide enough open pedestrian space for natural walking and the collision. Respect real-world spatial logic: pedestrians remain in pedestrian areas, architecture has realistic scale and perspective, no impossible geometry. HERO OBJECT — REFERENCE IMAGE 3 The sunglasses shown in REFERENCE IMAGE 3 are the ONE and ONLY HERO OBJECT. Preserve their recognizable: shape, proportions, oversized shield silhouette, dark continuous lens, thin metallic/gold frame, temples, hinge construction, surface details, colour and material. The SAME physical sunglasses must remain recognizable: when worn by the protagonist, when released, during bullet-time macro inspection, and after landing. Do not redesign, replace, duplicate or regenerate the sunglasses. EXACT OBJECT COUNT Exactly: ONE protagonist. ONE secondary passing person. ONE Labrador. ONE leash. ONE pair of sunglasses from REFERENCE IMAGE 3. ONE takeaway paper coffee cup. ONE plastic drinking lid. ONE silver-grey OPEN clamshell flip phone. No duplicate objects or people. PERSISTENT PHONE There is exactly ONE phone in the entire video. It is a compact early-2000s silver-grey OPEN clamshell flip phone. Upper half: small illuminated display and speaker. Lower half: physical numeric keypad, navigation buttons and microphone. Visible central mechanical hinge. LOCK its appearance throughout: same silver-grey colour, same dimensions, same thickness, same hinge, same display, same keypad, same buttons, same open angle. The same phone is seen in wide, medium and macro shots. It never transforms into another phone. PERSISTENT COFFEE Exactly ONE medium disposable PAPER coffee cup with ONE lightweight plastic drinking lid and dark coffee inside. Same cup, same lid, same coffee and same proportions throughout. Before collision the lid is properly attached. Coffee remains inside until a real physical opening appears. HAND OWNERSHIP Before collision: RIGHT HAND = ONE OPEN flip phone held to the RIGHT ear. LEFT HAND = ONE coffee cup. Sunglasses = naturally worn by the protagonist. After collision: RIGHT HAND = COMPLETELY EMPTY. LEFT HAND = COMPLETELY EMPTY. Nothing replaces the phone or cup. Nothing remains attached to either palm. 0.0–2.0s — CINEMATIC CHARACTER REVEAL Begin with an extreme low close-up of the protagonist’s black leather heeled boots walking naturally across the pedestrian space. Camera performs ONE elegant continuous movement: smooth crane upward + gentle backward tracking. Reveal progressively: boots → legs → ripped light-blue baggy jeans → black corset → white tank top → jewelry/accessories → sunglasses → face → nearly full body. The protagonist wears the SAME sunglasses from REFERENCE IMAGE 3. She holds the SAME OPEN silver-grey flip phone to her RIGHT ear and the SAME coffee cup in her LEFT hand. She is actively having a phone conversation. Show subtle realistic speech: natural lip movement, jaw movement and mouth articulation. Maintain exact identity from REFERENCE IMAGE 1. Premium live-action fashion cinematography. 2.0–3.7s — WALKING / SECONDARY PERSON Maintain smooth frontal tracking. The protagonist continues walking naturally through the pedestrian area. Exactly ONE secondary person approaches from the opposite direction. That person holds exactly ONE leash attached to exactly ONE Labrador. The Labrador walks slightly ahead and gently pulls the person forward. They remain background/supporting elements. Maintain: stable protagonist identity, stable hairstyle, stable clothing, stable sunglasses, same phone, same coffee. 3.7–4.4s — ACCIDENTAL COLLISION As they pass each other, the secondary person’s ELBOW accidentally clips the protagonist’s arm/upper torso. Small, accidental, believable contact. The protagonist naturally recoils backward. This SAME collision causes THREE physical release events. SUNGLASSES The sunglasses from REFERENCE IMAGE 3 receive ONE short realistic outward impulse. They separate naturally from the protagonist’s face. They travel only a short physically believable distance. They do NOT fly toward the camera. COFFEE The SAME coffee cup leaves the LEFT hand. It receives one short outward/downward rotational impulse. The cup tilts and rotates. Because of the rotation and liquid inertia, ONE EDGE of the lightweight plastic lid partially pops loose from the cup rim. The lid does not disappear and does not explode away. A real physical gap forms between lid and rim. ONLY THEN does dark coffee begin escaping through this opening. Initial liquid movement is restrained. PHONE The SAME OPEN clamshell phone leaves the RIGHT hand. It receives one short outward/upward impulse. It keeps the SAME open angle and physical design. The instant it separates from the fingers: RIGHT HAND = EMPTY. The instant the cup separates: LEFT HAND = EMPTY. FACE / HAIR CONTINUITY Preserve the exact face from REFERENCE IMAGE 1 during the entire collision. The natural human eyes already exist behind the sunglasses. When the sunglasses separate, reveal the SAME normal eyes: stable pupils, eyelids, gaze direction, brows, nose, cheekbones and facial symmetry. Do not regenerate or alter the face. Hair remains stable with only subtle realistic inertia. No sudden hairstyle change. 4.4–5.2s — BULLET-TIME ESTABLISHMENT Time decelerates dramatically to approximately 2–3% normal speed. DO NOT immediately go into macro. FIRST show a clear medium-wide frozen view of the entire accident. The protagonist is beginning to fall backward. BOTH HANDS ARE EMPTY. Establish fixed WORLD-SPACE anchors: • sunglasses suspended near their release position; • coffee cup suspended lower and toward the LEFT-hand release side; • partially detached lid still connected to or immediately beside the cup; • restrained coffee beginning to escape through the opening; • OPEN flip phone suspended toward the RIGHT-hand release side. Objects move only microscopically. They do NOT move toward the camera. The CAMERA is the main moving element. 5.2–6.8s — SUNGLASSES HERO INSPECTION The sunglasses remain almost completely stationary at their existing world-space position. CAMERA physically dollies toward them. The sunglasses become larger ONLY because the camera gets closer. Once close, slow the camera dramatically. HOLD. Perform a restrained 20–30 degree camera orbit/parallax around the almost-stationary sunglasses. Reveal: dark shield lens, thin metallic/gold frame, temples, hinges, edges, material thickness, surface reflections, tiny manufacturing details. Use shallow photographic macro depth of field. The protagonist and sunset environment remain softly recognizable in the background. The sunglasses must look like a real luxury fashion accessory photographed with a macro cinema lens, NOT CGI product animation. Complete the inspection before moving away. 6.8–8.3s — COFFEE / LIQUID INSPECTION Only after completing the sunglasses inspection, the CAMERA leaves them at their existing world-space position. Travel diagonally through the frozen scene toward the SAME coffee cup. THE CUP DOES NOT MOVE TOWARD THE CAMERA. Hold a photographic macro close-up. Show: same paper cup, same lightweight plastic lid, ONE partially detached lid edge, clear physical gap, dark coffee escaping ONLY through that gap. Real restrained liquid physics: thin irregular stream, imperfect liquid sheet, several differently sized droplets, realistic surface tension, natural reflections. No explosive splash. No decorative CGI liquid. No perfect artificial shapes. Coffee advances only microscopically during bullet time. Perform a small restrained lateral/parallax camera movement around the cup, lid and droplets. HOLD long enough to see paper texture, plastic texture, liquid thickness and individual droplets. 8.3–9.8s — FLIP PHONE INSPECTION Only after coffee inspection, the CAMERA travels away from the cup. The cup, lid and droplets remain at their existing world-space positions. CAMERA moves through the same frozen scene toward the SINGLE OPEN silver-grey clamshell phone. THE PHONE DOES NOT MOVE TOWARD THE CAMERA. First establish the complete phone silhouette: same silver-grey housing, same upper display, same lower keypad, same central hinge, same open angle. Then CAMERA physically approaches the existing upper display. Extreme photographic macro close-up. The illuminated display reads: BOSS with one small realistic phone number underneath. HOLD. Show: real housing material, hinge, keypad texture, small scratches, surface wear, screen reflections. The phone does NOT transform to reveal its screen. It is the SAME phone seen from the beginning. The protagonist’s RIGHT HAND remains completely EMPTY in the background. 9.8–10.4s — COMPLETE FROZEN TABLEAU After phone inspection, CAMERA performs a fast but perfectly smooth dolly backward. All objects remain at their existing world-space positions. Reveal: same protagonist falling backward, both hands empty, same sunglasses, same coffee cup, same partially detached lid, same suspended coffee droplets, same OPEN flip phone, exactly one secondary person, exactly one Labrador. All positions must remain spatially consistent with the original collision and release trajectories. No object follows the camera. No object teleports. No object regenerates. Brief HOLD on the complete frozen tableau. 10.4–12.0s — TIME RETURNS / PHYSICAL PAYOFF Time suddenly snaps back to normal speed. Gravity and existing momentum resume simultaneously. Every object continues FROM ITS EXISTING WORLD-SPACE POSITION. The protagonist completes her backward fall naturally. The sunglasses continue from their suspended position and land according to their existing momentum and gravity. The coffee cup continues from its own separate position, impacts the cobblestone ground, the partially detached lid reacts naturally, and remaining coffee spills irregularly through the real opening and impact point. The OPEN flip phone continues from its own separate position, hits the ground and makes ONE small physically believable bounce. Objects land at DIFFERENT plausible locations. They do NOT suddenly converge beside the protagonist. CAMERA rapidly tilts/drops toward ground level to follow the final impacts. Finish with a cinematic low-angle composition showing the fallen protagonist and the scattered objects within the same believable sunset environment. Hard cut. BULLET-TIME CAMERA RULE — NON-NEGOTIABLE BULLET TIME = ALMOST-FROZEN PHYSICAL WORLD + FREELY MOVING CAMERA. Objects stay in WORLD SPACE. Camera moves through WORLD SPACE. Close-up is created ONLY by reducing camera-to-object distance. Never: move objects toward the lens, artificially enlarge objects, teleport objects, regenerate macro versions. STRICT CAMERA ROUTE: FULL FROZEN TABLEAU → CAMERA DOLLIES TO SUNGLASSES → HOLD → 20–30° CAMERA ORBIT → CAMERA TRAVELS TO COFFEE → HOLD → SMALL CAMERA PARALLAX → CAMERA TRAVELS TO PHONE → ESTABLISH COMPLETE PHONE → MOVE TO DISPLAY → HOLD → CAMERA DOLLIES BACK TO COMPLETE TABLEAU → TIME RETURNS CONTINUITY / CAUSALITY Wide shot → medium shot → macro shot = SAME physical object viewed from different camera distances. Sunglasses: same object, same design, same trajectory, same world-space identity. Coffee: same cup, same lid, same coffee, same rotation, same world-space identity. Phone: same open clamshell phone, same housing, hinge, keypad, display, open angle and world-space identity. Every visible change must have a physical cause. Collision causes recoil. Collision momentum separates sunglasses. Finger release changes phone position. Hand release + collision momentum rotates cup. Cup rotation/liquid inertia partially opens lid. Coffee escapes only through the physical gap. Camera movement creates apparent object scale. Gravity resumes final fall. Treat the entire sequence as ONE continuous practical-effects event photographed with a motion-control cinema camera. IDENTITY / PROP LOCK ONE protagonist. ONE secondary person. ONE Labrador. ONE leash. ONE pair of sunglasses. ONE coffee cup. ONE lid. ONE OPEN flip phone. Before collision: RIGHT HAND = phone. LEFT HAND = coffee. Sunglasses = worn. After collision: RIGHT HAND = EMPTY. LEFT HAND = EMPTY. Sunglasses = separated. No second phone. No second cup. No second sunglasses. No additional dog. No additional person. No unexplained props. No duplication. No teleportation. No unexplained scale changes. VISUAL PRIORITY 1. exact protagonist identity from REFERENCE IMAGE 1 2. natural eyes and facial anatomy 3. stable hairstyle and body proportions 4. exact clothing and accessories 5. exact sunglasses from REFERENCE IMAGE 3 6. stable phone geometry 7. empty hands after release 8. continuous physical trajectories 9. realistic environment inspired by REFERENCE IMAGE 2 PHOTOGRAPHIC REALISM Ultra-photorealistic LIVE-ACTION. High-budget international luxury fashion campaign. Real human anatomy. Natural skin pores. Natural facial micro-expressions. Detailed realistic hair. Real manufactured sunglasses. Real paper cup. Real plastic lid. Real liquid coffee. Real early-2000s flip phone. Real object mass, inertia, gravity, momentum and surface tension. ARRI Alexa 35 cinematic character. Premium cinema optics. Motivated sunset lighting inspired by REFERENCE IMAGE 2. Controlled highlights. Natural skin tones. Realistic optical depth of field. Shallow macro depth of field during object inspections. Subtle 35mm film texture. Restrained luxury editorial colour grade. Natural colours. Sharp optical clarity. Cinematic photographic texture. Bullet-time must feel like REAL high-speed practical photography with a motion-control cinema camera, NOT CGI product animation. 4K / Ultra HD. Maximum facial detail. Maximum hair detail. Maximum material fidelity. Stable identity. Stable geometry. Stable prop continuity.

Oogie

18,923 Aufrufe • vor 1 Monat

✨ I open sourced my first Chrome extension 🚀 SuperLevels I vibe coded it to replace all my Chrome extensions that are increasingly being bought up by spyware and malware companies who sell your data or worse hack your accounts and steal your stuff/money/data, which I'd call one of the top security risks right now For example: Chrome extensions can read your cookies or localStorage data, including session tokens, then login to your web or email accounts and hack you, they can inject code into any site to pull data form any site you browse, then break into your crypto accounts, drain your wallets, and selling your browsing history to ad companies, but that'd actually be the most favorable thing to happen of all these! Chrome extensions are just very very very unsafe So I coded my own, that I can trust because I made it, and I can read the source code: my extension is called 🚀SuperLevels and has all the features that the Chrome extensions I used to use have but all built into one safe one The cool thing is it's 100% open source and free, and you can audit the code first with AI yourself before installing it, and then if you do install it, customize it to your liking again with AI It has these features that improve my daily workflow while browsing the web: 🚮 Tab Cleaner Automatically closes inactive tabs after a configurable timeout (default: 5 minutes). Set excluded hosts to keep important tabs alive. View and re-open recently closed tabs. 🍪 Cookie Editor Full cookie manager for the current site. View, edit, add, and delete cookies. Export cookies as JSON. Expand any cookie to see and modify all fields including domain, path, SameSite, secure, and httpOnly flags. 🔀 Redirect Tracer See every redirect hop your browser took to reach the current page. Shows status codes (301, 302, 307, etc.) with a visual chain. Copy the full redirect chain to clipboard. 🌙 Dark Mode Instant dark mode for any website using CSS filter inversion. Adjustable brightness. Toggle per-site or globally. Images and videos are automatically re-inverted so they look normal. 𝕏 X Dim Mode Custom dim theme for X/Twitter with 7 color palettes: Dim, Slate, Jade, Plum, Dusk, Ember, or a custom hue. Live preview in the popup. ⚡ JS Toggle Disable JavaScript per-site with one click. Useful for debugging, reading articles without popups, or testing progressive enhancement. Page reloads automatically. 🚫 GDPR Cookie Consent Dismisser Auto-hides and auto-clicks cookie consent banners. Supports OneTrust, CookieBot, Didomi, Quantcast, GDPR plugins, and dozens more frameworks. Toggle off if a site breaks. 🎨 Live CSS Editor Write custom CSS for any website, applied in real-time as you type. Saved per-domain. Supports tab key for indentation. 📺 YouTube Unhook Removes YouTube distractions: no homepage feed, no sidebar suggestions, no end screen overlays, no Shorts. Search still works — just no algorithmic recommendations. 🎵 Music Recognizer Shazam-like music identification for any tab. Captures 10 seconds of audio and identifies the song via ACRCloud (free signup, bring your own API key). Results link to YouTube. History of recognized songs. 🖼 Picture-in-Picture Pop the largest video on the current tab into a floating PiP window with one click. 🗺 Google Maps Links Re-adds clickable Maps links and map preview cards to Google Search results. 🖼 View Image Adds a "View Image" button back to Google Images, linking directly to the full-size original image. {} JSON Formatter Auto-detects pure JSON response pages and formats them with syntax highlighting, collapsible sections, and a dark theme. Copy or view raw with one click. Never triggers on regular HTML pages.

@levelsio

260,979 Aufrufe • vor 6 Monaten

grok imagine image prompt: Create an extreme close-up portrait of a cyberpunk anime girl, captured from a low-angle shot below her chin and slightly to her right, using a subtle wide-angle fisheye lens for a curved, immersive perspective that fills 80% of the frame with her face, while her left shoulder and upper body appear asymmetrically in the lower-left corner for an intimate, selfie-like proximity. Her head is gently tilted toward her right shoulder, with a three-quarter facial view angled slightly downward-right, and her eyes gazing diagonally upward and to her left toward a wondrous point in the distant city skyline, pupils directed to the upper-left corner, conveying a dreamy, unfocused gaze of wistful contemplation, quiet curiosity, and gentle awe, lips parted about 4 millimeters to reveal a glimpse of upper teeth, corners in a neutral-to-soft smile, and a relaxed brow. Her large, expressive anime-style eyes, 25% larger than realistic, feature grey-blue-teal irises with a subtle gradient from darker outer rings to lighter centers, embedded with faint concentric targeting reticles, geometric shapes, and crosshairs suggesting cybernetic implants, along with detailed reflective catchlights, extremely long black eyelashes, thick eyelash lines, and subtle lavender-grey eyeshadow. Her smooth, flawless anime skin has a warm peachy undertone, illuminated by soft amber-orange light on the left side for a glowing warmth with subsurface scattering on edges like nostrils, contrasted by deep shadows on the right for dramatic chiaroscuro, plus highlights on the nose bridge, lip center, and cheeks with a gentle blush. Full, glossy peachy-coral-orange lips are slightly parted, showing four to six shadowed upper teeth, with wet shine reflections. Her small, delicate nose has a soft rounded tip and subtle shadows beneath. Short, messy black bob haircut falls to jaw level with choppy layers, wispy side-swept bangs tucked under oversized wraparound goggles that cover from mid-forehead to nose, featuring fully transparent clear lenses, a thick matte olive-khaki frame with weathered texture, bright neon yellow-gold LED strips along the edges casting a saturated glow on her skin, small status indicator dots on top, and subtle mechanical details including a holographic HUD display faintly visible in the lenses, all with cyan-teal rim lighting on the right side of her hair for a glowing outline effect, suggesting a slight breeze and evoking a trance-like mood of peaceful wonder in a cyberpunk world.

tetsuo

20,382 Aufrufe • vor 8 Monaten

MiniMax H3 - Prompt Share This prompt turns any reference image into a video showing how the subject could be made by hand from scratch. I tried it with my profile picture. It should work with any subject. Prompt: A cinematic creation film follows one maker reconstructing the main subject shown in the referenced image completely from scratch. The referenced image defines the finished subject’s complete visible appearance, proportions, structure, materials, colors, clothing or surface details, and distinctive features; ignore its background, framing, lighting, and unrelated elements. Begin directly on an empty, clean virtual workbench. Use a stable front three-quarter overhead view that keeps the developing subject readable. There is one maker throughout, represented by the same consistent left and right hands and forearms. Show no more than two hands at once. From 0 to 14 seconds, the entire creation unfolds as a clearly accelerated timelapse with rapid, purposeful hand movement and restrained motion blur. Short jump cuts compress repetitive manual work only after each action has visibly completed. Every cut inherits the exact form and progress left by the previous action. 0-2 seconds: One hand enters already holding the first foundation material, armature, or base element appropriate to the referenced subject and places it at the center. The second hand steadies it as the maker establishes the initial supporting form. 2-8 seconds: The maker rapidly develops the subject’s major structure and volumes using one coherent creation method appropriate to what the referenced image depicts. A living subject is sculpted as one continuous, non-gory digital form from armature to anatomy; a vehicle or machine is built from chassis to functional structure; an object is formed or assembled from its supporting body outward. Each additional material or component enters from outside the frame while firmly held by one of the maker’s hands, is carried to its destination, and remains under hand control until attached or shaped. 8-12 seconds: The same hands develop the recognizable outer form and reference-specific features. The maker sculpts, fits, wraps, stitches, fastens, carves, or polishes only where appropriate to the subject. Facial features, hair, clothing, body panels, wheels, glass, surfaces, accessories, or equivalent defining elements emerge through visible hand and tool contact, never through spontaneous transformation. 12-14 seconds: The maker refines proportions, edges, joints, surface transitions, textures, colors, and distinctive details until the developing subject closely matches the referenced image. One hand stabilizes the form while the other performs each final adjustment with a hand-held tool. 14-15 seconds: The maker removes the last tool by hand and withdraws both hands. The timelapse returns to normal speed as the camera makes a restrained push toward the completed subject and holds on a clean final view. Materials and components do not need to be visible before use, but anything newly introduced must enter the frame already held by one of the maker’s hands. Nothing moves, assembles, appears, disappears, or changes material independently. Maintain one maker, one continuous subject, one creation position, and one category-appropriate construction method. No assistants, extra hands, detached anatomy, duplicated elements, magical morphing, drawing phase, software interface, cursor, menus, annotations, or text overlays.

Kōda

130,699 Aufrufe • vor 1 Monat

Successfully generated this with Seedance 2.5—without any face-related moderation restrictions. The result is amazing! prompt: For the target video, at 0.00 seconds into the target video, (from [Shot 1]) is fully referenced. integrated_multimodal_description: [Shot 1] A continuous live-action first-person smartphone recording based entirely on . is the only visual reference for the adult female dancer's appearance, face, hairstyle, hair color, costume, body proportions, environment, room layout, wall, floor, lighting, color and initial spatial composition. Preserve the original visual identity and environment of . The camera closely reproduces the distinctive perspective of : a strong high-angle first-person smartphone POV looking substantially downward at the woman. The camera is clearly above her eye level. The top of her head, shoulders and upper body are visibly seen from above. Keep substantial ceiling visible in the upper part of the frame. Do not use an eye-level view, third-person view, orbiting camera or cuts. A single adult arm belonging to the camera operator enters naturally from the lower-right foreground. Show a connected forearm, wrist, palm and fingers. The hand is a moderate-size foreground element, not a giant object. Keep the hand primarily within the lower-right quadrant, occupying approximately 10–18% of the image area. The hand must never extend across the center, cover the woman's face or cover her torso. The woman remains the primary visual subject and the hand is only the foreground controller. Keep the woman physically close to the smartphone, approximately 1.0–1.2 meters away. Her full body occupies approximately 70–80% of the vertical frame. Do not pull the camera backward, do not place her deep in the room and do not progressively make her smaller. The foreground index finger directly controls the woman's dance movement. The woman does not independently freestyle. The hand is the visible movement cue and the woman's body immediately follows it. Maintain these exact control relationships throughout the entire video: UP → WOMAN RISES. DOWN → WOMAN LOWERS. LEFT → WOMAN MOVES LEFT. RIGHT → WOMAN MOVES RIGHT. For UP, the index finger moves clearly upward and the woman's body immediately rises. Her torso extends upward, her posture becomes taller, her arms naturally rise and her center of gravity moves upward. For DOWN, the index finger moves clearly downward and the woman's body immediately lowers. Her knees bend slightly, hips lower, center of gravity drops and torso lowers into a controlled dance position. For LEFT, the index finger moves toward screen-left and the woman's body immediately shifts and sways toward screen-left. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. For RIGHT, the index finger moves toward screen-right and the woman's body immediately shifts and sways toward screen-right. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. LEFT and RIGHT must not become tiny hip twitches. The woman's body must visibly move from side to side. Keep the horizontal movement simple so the connection between finger direction and body direction remains unmistakable. The hand gesture and corresponding body movement are tightly synchronized. The woman's movement begins as the corresponding finger gesture begins and develops within the same musical beat. No noticeable reaction delay, no one-beat delay, no anticipation and no independent movement. The dance is a confident, sexy viral short-form influencer dance: energetic rhythmic hip movement, controlled waist isolation, subtle torso waves, attractive shoulder movement, pronounced but tasteful hip accents, confident posture, playful facial expression, direct eye contact and natural hair movement. The dance should feel like a polished viral social-media dance challenge. Make the movement sexy, stylish, rhythmic and visually captivating while keeping it non-explicit. During LEFT and RIGHT movements, maintain the direct horizontal hand control while adding sensual hip accents. During UP and DOWN movements, maintain the direct vertical hand control while adding smooth waist and body movement. Never sacrifice hand-to-body control for complicated choreography. Use a fast modern viral dance rhythm with strong clear beats. Command sequence: UP → DOWN → LEFT → RIGHT → LEFT → RIGHT → UP → DOWN → LEFT → RIGHT. Each command produces one clearly visible corresponding body movement. Do not add unrelated freestyle movements, spins, walking or complicated footwork. The index finger moves with strong, deliberate gestures. The wrist and forearm naturally follow the finger. Use short, clear upward, downward, leftward and rightward gestures. Do not use weak floating gestures. Keep the hand in the lower-right foreground and never allow it to dominate the center of the frame. Maintain one continuous handheld smartphone recording with subtle natural camera instability. Preserve the strong high-angle perspective and close composition throughout the entire shot. Do not zoom out, pull backward, lower the camera or lose either the hand or the woman's full body. At the end, use LEFT → RIGHT → UP. The woman performs a left body movement with a sensual hip accent, a right body movement with a sensual hip accent, then rises into a confident final dance pose. The hand remains in the lower-right foreground and does not move into the center. Hold the final pose briefly. overall_soundscape: Natural indoor room ambience, subtle foot movement, fabric movement and quiet smartphone handling sounds, preserving the acoustic character of . non_diegetic_music: A modern viral short-form dance track with strong punchy beats, crisp percussion and clear rhythmic accents. Each major beat provides a timing point for the hand gesture and its corresponding dance movement.
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Successfully generated this with Seedance 2.5—without any face-related moderation restrictions. The result is amazing! prompt: For the target video, at 0.00 seconds into the target video, (from [Shot 1]) is fully referenced. integrated_multimodal_description: [Shot 1] A continuous live-action first-person smartphone recording based entirely on . is the only visual reference for the adult female dancer's appearance, face, hairstyle, hair color, costume, body proportions, environment, room layout, wall, floor, lighting, color and initial spatial composition. Preserve the original visual identity and environment of . The camera closely reproduces the distinctive perspective of : a strong high-angle first-person smartphone POV looking substantially downward at the woman. The camera is clearly above her eye level. The top of her head, shoulders and upper body are visibly seen from above. Keep substantial ceiling visible in the upper part of the frame. Do not use an eye-level view, third-person view, orbiting camera or cuts. A single adult arm belonging to the camera operator enters naturally from the lower-right foreground. Show a connected forearm, wrist, palm and fingers. The hand is a moderate-size foreground element, not a giant object. Keep the hand primarily within the lower-right quadrant, occupying approximately 10–18% of the image area. The hand must never extend across the center, cover the woman's face or cover her torso. The woman remains the primary visual subject and the hand is only the foreground controller. Keep the woman physically close to the smartphone, approximately 1.0–1.2 meters away. Her full body occupies approximately 70–80% of the vertical frame. Do not pull the camera backward, do not place her deep in the room and do not progressively make her smaller. The foreground index finger directly controls the woman's dance movement. The woman does not independently freestyle. The hand is the visible movement cue and the woman's body immediately follows it. Maintain these exact control relationships throughout the entire video: UP → WOMAN RISES. DOWN → WOMAN LOWERS. LEFT → WOMAN MOVES LEFT. RIGHT → WOMAN MOVES RIGHT. For UP, the index finger moves clearly upward and the woman's body immediately rises. Her torso extends upward, her posture becomes taller, her arms naturally rise and her center of gravity moves upward. For DOWN, the index finger moves clearly downward and the woman's body immediately lowers. Her knees bend slightly, hips lower, center of gravity drops and torso lowers into a controlled dance position. For LEFT, the index finger moves toward screen-left and the woman's body immediately shifts and sways toward screen-left. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. For RIGHT, the index finger moves toward screen-right and the woman's body immediately shifts and sways toward screen-right. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. LEFT and RIGHT must not become tiny hip twitches. The woman's body must visibly move from side to side. Keep the horizontal movement simple so the connection between finger direction and body direction remains unmistakable. The hand gesture and corresponding body movement are tightly synchronized. The woman's movement begins as the corresponding finger gesture begins and develops within the same musical beat. No noticeable reaction delay, no one-beat delay, no anticipation and no independent movement. The dance is a confident, sexy viral short-form influencer dance: energetic rhythmic hip movement, controlled waist isolation, subtle torso waves, attractive shoulder movement, pronounced but tasteful hip accents, confident posture, playful facial expression, direct eye contact and natural hair movement. The dance should feel like a polished viral social-media dance challenge. Make the movement sexy, stylish, rhythmic and visually captivating while keeping it non-explicit. During LEFT and RIGHT movements, maintain the direct horizontal hand control while adding sensual hip accents. During UP and DOWN movements, maintain the direct vertical hand control while adding smooth waist and body movement. Never sacrifice hand-to-body control for complicated choreography. Use a fast modern viral dance rhythm with strong clear beats. Command sequence: UP → DOWN → LEFT → RIGHT → LEFT → RIGHT → UP → DOWN → LEFT → RIGHT. Each command produces one clearly visible corresponding body movement. Do not add unrelated freestyle movements, spins, walking or complicated footwork. The index finger moves with strong, deliberate gestures. The wrist and forearm naturally follow the finger. Use short, clear upward, downward, leftward and rightward gestures. Do not use weak floating gestures. Keep the hand in the lower-right foreground and never allow it to dominate the center of the frame. Maintain one continuous handheld smartphone recording with subtle natural camera instability. Preserve the strong high-angle perspective and close composition throughout the entire shot. Do not zoom out, pull backward, lower the camera or lose either the hand or the woman's full body. At the end, use LEFT → RIGHT → UP. The woman performs a left body movement with a sensual hip accent, a right body movement with a sensual hip accent, then rises into a confident final dance pose. The hand remains in the lower-right foreground and does not move into the center. Hold the final pose briefly. overall_soundscape: Natural indoor room ambience, subtle foot movement, fabric movement and quiet smartphone handling sounds, preserving the acoustic character of . non_diegetic_music: A modern viral short-form dance track with strong punchy beats, crisp percussion and clear rhythmic accents. Each major beat provides a timing point for the hand gesture and its corresponding dance movement.

underwood

245,132 Aufrufe • vor 2 Monaten

STOP asking Opus 5.5 to invent motion from scratch. good motion still starts with taste + creative direction. when you give AI nothing, it falls back to the same generic shit everyone else is posting. left is dnyxstudios’s original. right is opus's version rebuilt with my own brand. same motion, same cuts, same timing. ~15 minutes, $0. give it great work to study, then let it handle the execution. full prompt below ↓ Ask me for: my product name, a logo (or let you draw a simple mark), my brand colours (or pull them from my logo), the one-line thing a user types into the prompt box, the page that answers it (title + 2–3 sentences with one key phrase), two feature names for the stacked cards, and a music track. If I skip any, use the defaults: product "Frame by Frame" living inside its Whop hub, a viewfinder mark (four corner brackets around a bold "FF"), prompt "Make a launch video for my app", a lesson page titled "2.1 Choose a reference", cards "Launch" and "Sound", and Mixkit's free house track "Rising Forest" slowed to 124 BPM. A 12 second square product sting, 1080x1080, frame numbers at 29.97 fps (f0–f359), master rendered at 59.94 fps. Apple-keynote feel: soft, white, bright blue, glassy. The camera never cuts on a still frame: every shot enters already moving (exponential ease-out, 12–19% of the remaining distance per frame) and leaves on an accelerating move or a blur ramp. Blur follows speed and direction on every move. Palette: my brand colours mapped onto these roles; if I give none, use page #FDFDFB, haze #B7CFEB, ice #E6F0FA, deep blue #294376 → #769CC2 sky gradient, navy #1E2F52, accent blues #2F6BFF / #3CC8F0 / mint #4ED6A0, white. Type: Inter (400/500/600/700). No purple, violet, magenta or orange anywhere. Story: the product header rises out of a blue haze inside a light app window → a cursor glides in, turns to face where it's going, grows on hover and clicks the logo → hard cut on the music drop to the app icon with four squares orbiting into a cross → the icon collapses into a Mac menu bar → the cursor clicks the menu-bar icon, a frosted glass prompt box springs out and the prompt types → whip-tilt up through a light-blue flash into the answer page scrolling into place → a card rises over it → blur-dissolve to two stacked cards with giant frosted-glass titles → blur-dissolve to the lone logo disc → hard cut to a black end card with a glowing wordmark. Banned: crossfades, frozen frames (except one hold in S7), stock UI kits, glows on UI text, Math.random, anything that looks like a template. Coordinates are px on the 1080 stage. Music beat k = 0.048 + 0.4838·k s (124 BPM, one beat = 14.5 frames). The three hard cuts f72, f101, f159 land 2 frames before a beat: keep these exact frames. S1 f0–71, header + window + click: haze #B7CFEB fading to #FDFDFB by f28, keep a blue floor glow #DBEEFD at the bottom. Header on one line: logo disc ⌀132 (#FBFCFE, 1px rim #E8E8EA, dark mark), the product name (Inter 500), a dark capsule pill "on Whop" (#2F2E2F, white text); the whole lockup spans x474–1063, centre line rises y932 (f0) → 776 (f2) → 683 (f5) → 608 (f10) → 546 (f24) → 536 (f37), drifting 1 px/frame after. Name appears f2 blurred, pill f4–5 heavily blurred and sliding 15 px left as it sharpens. A light hub window (radius 93, fill #FCFDFF, top band #F1F6FF, blue inner floor glow) fades in around it: opacity 0 to f14, 0.53 f15, 0.7 f19, 1.0 f24; top-left corner (408,405), runs off the right and bottom. Inside: a search pill in the top band, a left icon column (Courses icon at (537,739), faded Chat icon at (537,900)), and a course card from (764,700) off-frame with its cover image, title and "Course · 8 lessons". Cursor (black macOS arrow, white outline, 32x39) appears f27 at (891,393), glides left decelerating to (770,383) f44, rotates to point down-left f47–51 as it dives, lands on the disc's lower right (629,564) f56 → (587,546) f59 → (555,531) f71; grows ×1.55 on hover from f56; a soft ice ring (#D5F3FF → #F7FEFF, outer ⌀174) lights around the disc from f53. Camera zooms about (540,540): 1.0 f46 → 1.2 f60 ease-in-out, holds f61, then eases out accelerating to 1.04 at f71 while the cursor presses (shrinks 15% f69–71). S2 f72–100, icon + orbit: navy squircle app icon (#294376 → #1E2F52, white mark), 276 px at f72 shrinking ease-out to 178 px by f86, radius 28% of width, on a grey halo disc #E9E9E7 growing ⌀240 (f75) → 326 (f86). Four 92 px squares (radius 26) spin in counter-clockwise, decelerating, and lock into a cross at orbit radius ≈216 by f86: white (1px #E3E8EF edge + faint shadow) left, #2F6BFF top, #3CC8F0 right, #4ED6A0 bottom. f88–100: the icon shrinks accelerating to ≈40 px, the squares slide into a row on its right (white slips behind the icon), blur ramps 0.3 → 6 px. S3 f101–158, menu bar + prompt: white page above a black laptop bezel band (y425–475, top highlight #686866), a dark navy menu bar (y477–538), wallpaper below = the blue sky gradient with thin white line art (one big circle, two horizontal lines, one vertical, a four-point sparkle at a crossing, soft teal glow top-right). Menu bar right cluster in white: Wi-Fi, battery, toggles, the product mark at x531–584, three ⌀36 dots #2F6BFF / #3CC8F0 / #4ED6A0 at x612, 661, 709, "Mon Jun 22 9:41 AM" 34 px. Enters blurred 3 px and settling by f110. Cursor rises from below (f102), sits on the mark, presses f113–117. Camera pans content right +125 px f115–130 (fastest f118–120). A frosted glass box (white-blue glass over the sky, bright top rim, radius 60) springs out from under the mark f116: width peaks 744 at f126 and settles 726x228 by f138 around x196–922, y568–797. The prompt types from f121 (first legible "Make ") to f150 (complete) at about 1 char/frame with a 1-frame hold every 2–3 chars; caret always on; three white outline icons along the bottom; send button #2F6BFF ⌀51 with a white up arrow. From f136 the whole scene drifts up, accelerating into a whip-tilt (f158 moving ≈25 px/frame, vertical blur ≈6–8 px) while the page tints #E6F4FE over f154–158. S4 f159–186, answer page: a light course lesson page (breadcrumb, title, body): text column x120, body 47 px Inter 400 grey #BCBCBA, line pitch 58, one key phrase ("frame for frame") in black 600. It arrives smeared and 420 px low, scrolls up with offsets 420, 315, 210, 170, 140, 116, 96, 81 (f166) … 14 (f175) … 0 (f180), then creeps −6 px by f186. Blur 24 px (f159) → 1.5 (f165) → 0. Flash #E2F4FE fading to #FDFDFB by f165. A cursor pointing straight up rides the scroll and stops under the key phrase (≈(450,591) f180), then drifts right. S5 f187–214, card: a white card (x203–878, runs off the bottom) rises over the page: cover image 627x536 inset 24 px, radius 64, a light grabber bar at its top centre, caption semibold 38 px black, sub-caption grey 23 px. Cover top y642 (f187) → 456 (f191) → 395 (f196) → 369 (f200) → 348 (f205), then keeps drifting up ~4 px/frame. Card blur peaks 3.8 px at f189, sharp by f201; the page behind blurs to ≈2.5 px. Exit f207–214: card shrinks ~5% and rises while the whole frame blurs 1 → 7 px; cut at the blur peak. S6 f215–244, two cards: white page, two stacked cards 538x348 (radius 57, gap 36) centred on x540, top card settling at y168 by f230, bottom at y552. Each: cover art (no text baked into it), a frosted pill top-left ("Module 3" / "Module 5"), a frosted round "•••" top-right, and a huge bold title along the bottom edge made of frosted glass (a blurred, lightened copy of the image clipped to the letters, cut off by the card's bottom edge): "Launch" and "Sound". Both enter blurred 12 px and sharp by f224; the top card enters 8% large and rises from y264; the bottom card rises from y927, staggered behind it. They drift up 3 px/frame f230–238, then accelerate up and blur out into the cut. S7 f245–300, logo disc: page #FDFDFB, disc ⌀168 #F6F6F6 with the dark mark, rises into the centre (top y569 f245 → 491 f250 → 468 f255 → 456 f269) with a vertical smear on the cut frame, holds still f269–287 (the only frozen stretch), then shrinks accelerating to ⌀123 at f300. S8 f301–359, end card: black radial background (#020204 corners, ≈#272729 around the word), the wordmark in Inter 600, white #F3F3F5 with a tight glow plus a wide soft halo, centred (540,540). Word width: ≈1650 px f301 (horizontally smeared, zoom streaks) → 1350 f302 → 1110 f303 → 1049 f304 → 734 f309 → 678 f311 → 563 f320 → 516 f342 (≈1 px/frame shrink) → 492 f350, then collapses ease-in: 450 f355 → 267 f359 with blur rising to 3.5 px. The film ends mid-collapse. 1. One HTML page, 1080x1080, drawn by seek(t) as a pure function of the frame number. No CSS transitions, no timers, no Math.random (seeded hashes only). Shots register as {f0, f1, render(localFrame)}. 2. Every value is continuous in the frame number (the 59.94 master renders half frames): animate with keyframe tables kf(frame, [[f, value], ...], ease) and per-frame lookup tables with linear interpolation. No Math.floor on motion. 3. Blur: CSS filter blur for round blur, SVG feGaussianBlur with separate x/y stdDeviation for directional smears. Zoom smear on the end card = 20–30 scaled, faded copies of the word. Frosted glass = a blurred, lightened copy of what's behind, clipped to the shape. 4. Cursor: one SVG macOS arrow (black fill, white outline, soft shadow) with rotation and scale, reused in S1, S3, S4. 5. Sound (no voice), exactly 12.075 s: music at 124 BPM, soft intro, the drop at 2.47 s (beat 5, the f72 cut leads it by 2 frames). Synthesized SFX: soft impact 0.10 s; whooshes peaking at the cuts 2.402, 3.370, 5.305, 10.043 s; transition hits exactly on 6.240 s and 8.175 s; clicks at 2.33 and 3.83 s; very quiet key ticks every ~32 ms over 4.04–5.00 s; a soft shimmer at 10.05 s. Master to −14 LUFS, true peak −1 dBTP, no fade except the last 60 ms. 6. Render with Playwright (one screenshot per frame, fonts loaded first), encode H.264 yuv420p at 60000/1001, mux the audio. Measure text only after the fonts load. A long product name won't fit where a 5-letter name did: scale the whole lockup (disc gap, name, pill) to fit the span x474–1063, don't let the pill fall off-frame. A white orbit square vanishes on the white page without a 1px edge and a faint shadow. Don't put images with their own text inside the S6 cards, or the glass title doubles up. Keep the cut frames exact even where they don't sit on a beat. Nothing freezes except S7 f269–287. Heavy blur tables can wipe a shape out completely: if a frame looks empty, lower the blur until the shape still reads. Ask me for the inputs. Then show me 4 stills (f40 header in the window, f86 icon cross, f150 finished prompt, f230 the two cards) before you render the full film.

dawood46

63,709 Aufrufe • vor 25 Tagen

Created with Google Gemini Character Sheet Prompt : UNIVERSAL MASTER PROMPT — CINEMATIC PODCAST HOST REFERENCE PERSON → SEATED STUDIO HOST REFERENCE / IDENTITY LOCK: Use the uploaded reference image as the ONLY identity reference for the person. Preserve the person's identity with maximum accuracy: - exact facial identity - face shape and proportions - eyes, eyebrows, nose, lips and jawline - natural skin tone - hairstyle and hairline - age and gender presentation - distinctive facial features - natural body proportions DO NOT beautify, redesign, masculinize, feminize, age, de-age, or alter the person's identity. The person in the final image MUST clearly remain the same individual from the reference image. SUBJECT TRANSFORMATION: Place the reference person as a professional podcast/video host seated directly in front of the camera. The person is sitting behind a dark premium studio desk, facing the camera straight-on in a natural centered position. Upper body and arms are clearly visible. The person is seated comfortably with both forearms resting naturally on the desk and hands positioned together in front of the body. Expression is calm, confident, intelligent, approachable and professional. Natural relaxed posture. Direct eye contact with the camera. OUTFIT: Keep the person's natural appearance and adapt the clothing into a simple premium dark/black casual-professional outfit, such as a plain black crew-neck T-shirt. No logos, no text, no distracting patterns. ENVIRONMENT: Create a premium cinematic podcast studio. Dark black/charcoal exposed brick wall in the background. A large professional black podcast microphone is positioned in the foreground on the LEFT side of the frame, mounted on a black articulated boom arm extending into the shot. The microphone should be close to the host but must NOT cover the face. Behind the host on the RIGHT side: - dark wooden studio shelving/desk - a professional camera - stacked dark books - a warm glowing vintage Edison-style lamp - subtle cyan/teal LED accent lighting underneath the shelf Three dark framed minimalist photographs/artworks are mounted on the background wall. The studio should feel expensive, modern, cinematic and professionally produced. COMPOSITION: 16:9 widescreen composition. Camera positioned directly in front of the seated person at approximately eye level. Medium-wide / medium shot showing: - entire head - shoulders - torso - both arms - hands - substantial portion of the desk Person positioned approximately center-right of the frame, leaving intentional negative space on the LEFT side around the microphone. The microphone boom arm enters from the far LEFT edge and angles naturally toward the host. IMPORTANT SPATIAL LOCK: The host MUST remain directly in front of the camera. The host MUST NOT be positioned sideways. The host MUST NOT be looking away from the camera. The microphone MUST remain on the LEFT side of the image. The camera, boom arm and microphone must NOT switch sides. Do not place any additional microphone, person, chair, doorway, window, gate, or unrelated object in the scene. CAMERA / LENS: Professional full-frame cinema camera. Approximately 50mm lens. Eye-level camera height. Natural perspective. Moderate depth of field. Host's face extremely sharp. Background softly separated but still recognizable. LIGHTING: Premium cinematic studio lighting. Soft warm key light illuminating the person's face from the front-left. Subtle controlled fill light. Warm practical light from the Edison lamp in the background. Very subtle cyan/teal practical accent light underneath the shelf. Deep shadows and controlled contrast. Natural skin highlights. Realistic skin texture. No plastic skin. VISUAL STYLE: Ultra-realistic professional podcast photography. High-end cinematic commercial production. Netflix-style premium color grading. Photorealistic materials and lighting. Natural human anatomy. Realistic hands and fingers. Realistic facial details. Physically accurate shadows and reflections. Subtle natural depth of field. REFERENCE IMAGE PRIORITY: Identity accuracy is the highest priority. The person's face must remain faithful to the uploaded reference. Do not copy the reference background. Only use the person's identity, facial features, hairstyle and natural physical characteristics from the reference. NEGATIVE CONSTRAINTS: No identity drift. No face swapping artifacts. No different person. No altered facial structure. No exaggerated beauty enhancement. No distorted hands. No extra fingers. No missing fingers. No duplicate limbs. No asymmetrical eyes. No deformed face. No cartoon appearance. No CGI appearance. No artificial skin. No excessive sharpening. No text. No logos. No watermark. No additional people. No second microphone. No microphone on the RIGHT. No camera covering the host's face. No sideways pose. No profile view. No looking away. No unnecessary objects. No doorway. No window. No exterior scene. FINAL OUTPUT: Create a single highly realistic cinematic photograph of the exact reference person seated as a professional podcast host in the described studio, looking directly into the camera, with the black microphone and boom arm clearly positioned on the LEFT side of the frame. RESOLUTION LOCK: Generate the final image in 16K resolution — 15360 × 8640 pixels, 16:9 aspect ratio.

M. Asif

15,761 Aufrufe • vor 1 Monat

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord

COD: Zombies News

82,267 Aufrufe • vor 5 Monaten

Qwen 3.8 Flash decisively crushes the M5 Ultra with this new recipe by vr8vr8 . I think I found the fastest dual DGX Spark recipe for Qwen3.8-Flash-Next. 138 tok/s structured, 133 code, 383 structured aggregate at four streams, and now it talks to Hermes. It feels like a cloud API, running on your desk. This should torch any current M5 run right now. This is part two. Same pair of Sparks, vr8vr8's recipe, his new v4.1, plus a patch of mine that's now an open PR against his repo. WHAT INITIALLY BROKE Through Hermes, the recipe answered in garbled mixed Chinese, then looped on "function86 to90 turn91" until it hit the token cap. Most people would blame the quant. The quant is fine. Three things in the serving stack were stacking up: Hermes doesn't send a temperature for this model. When a request omits it, vLLM 0.30 applies the checkpoint's own generation config: temperature 1.0, top_p 0.95, top_k 20, sampling on. The documented opt-out flag still leaves the server default at 1.0. Every Hermes turn was sampling hot. Hermes sends reasoning as a top-level reasoning object. vLLM 0.30 only maps a field called reasoning_effort onto thinking. So "thinking off" never arrived. Thinking is on by default in the chat template, and with no effort set it defaults to xhigh. A request for no thinking became the longest think the model can do, at temperature 1.0. This is why benchmarks alone do not tell you if a recipe is ready. A real harness that leaves temperature out and names the reasoning field differently gets a different model. Mia's older image never applied the generation config and drafts with argmax, so omitted temperature never sampled hot there. This recipe samples the draft. THE PATCH Two changes to vLLM's chat protocol, applied on both ranks by The Hermes reasoning object now sets thinking. none turns it off. low, medium and xhigh pass through to the template. An explicit enable_thinking still wins. If a request omits temperature, the chat path uses 0. An explicit temperature still passes through. Receipts: three table requests with no temperature and thinking off came back in English. A medium request closed its think and answered in English. The PR is open, not merged. Until it lands, a stock Hermes custom provider still samples at 1.0. HIS V4.1 vr8vr8 shipped recipe v4.1 in the meantime, same v6 image: FlashInfer GDN prefill. His card claims about +5% prefill with decode unchanged. On my depth ladder, prefill came in +6 to +7% from 128k to 900k. Claim holds. THE SECOND GRID Same pair, same protocols, thinking off, temperature 0. My runners already send temperature 0, so this is v4.1 against part one, not a test of the patch. Prose 600: 81.6 tok/s (part one 78.4) Structured count 200: 138.3 (131.8) Code clamp: 133.2 (126.4) JSON catalog: 118.6 (111.8) That's up 4 to 6% across the board, which is run-to-run band. I'm not crediting FlashInfer for it. At four streams: structured 383.1 aggregate, code 330.5, JSON 290.4, prose 200.5. Single-stream structured costs 0.52 J per token of GPU power across both boxes. Tool-call smoke test clean, finish_reason tool_calls, no XML in content. DEPTH Needle retrieval 18/18, from 8k out to the 900k rung (880k server-measured). Decode after fill holds between 65 and 77 tok/s the whole way, 70.6 at the top. Prefill runs 3,245 tok/s at 128k and still 2,577 at 880k. AGENT TURNS The OMP agent lane now runs a full 2,048-token write_file turn at 35k context, replacing part one's 35-token window: 107.4 tok/s decode. The Hermes research turn, two web_search calls at 35k context: 81.0 tok/s, up from 74.7. STILL NOT LIKE-FOR-LIKE Against Mia's d2f54b7 recipe on this same pair: prose 1.6x, structured 2.0x, code 2.0x, JSON 1.9x, Hermes turn 2.2x. Different quant, K=5 vs K=3 drafting, bf16 KV vs fp8. My own version is also my own customized recipe, but it felt better to just serve a PR to the creator, since I didn't invent anything new. The biggest single lever is his output head: 1.18 GiB down to 0.33 GiB, read about 5.4 times every decode step, worth +30% engine steps on its own. SUMMARY Every clean lane faster than the mainstream recipe on this rig: checked. Retrieval 18/18 to 900k: checked. Decode holds to 900k: checked. Agent lane measured over a full 2,048-token window: checked. Hermes out of the box: PR open, work in progress. The speed was always the hard part, and vr8vr8 had it in part one. Sources , Benchmarks and Recipe in Reply 👇

Yume_X

21,745 Aufrufe • vor 24 Tagen

PROMPT: Generate a continuous 15-second premium live-action broadcast TV commercial for a high-performance family kitchen blender, designed as an energetic, polished consumer-appliance advertisement emphasizing FAST BLENDING POWER. The commercial must tell a complete miniature visual story within exactly 15 seconds: a busy family needs breakfast quickly, fresh ingredients enter the blender, one touch unleashes powerful high-speed blending, a thick mixture transforms almost instantly into a perfectly smooth fruit smoothie, the family enjoys the result, and the commercial ends on a clean hero product shot with the promise: “Smooth in Seconds.” Maintain a consistent high-end contemporary commercial visual style throughout the entire sequence: photorealistic food photography, tactile ingredient detail, premium appliance surfaces, energetic but controlled camera movement, crisp natural highlights, appetizing freshness, believable family warmth, and polished broadcast-advertising finish. Shoot as if captured on an ARRI Alexa 35 cinema camera using a coordinated set of 24mm, 35mm, 50mm, 85mm, and 100mm macro cinema lenses. Preserve realistic perspective, physically plausible motion, natural depth of field, smooth highlight roll-off, subtle cinematic contrast, clean skin tones, rich food texture, controlled motion blur, and sharp product detail. The entire commercial takes place during one continuous bright weekday morning in the SAME modern family kitchen. The kitchen has warm off-white cabinetry, pale natural-oak counters, a large sunlit window frame-left, brushed stainless-steel fixtures, a small breakfast table in the background, subtle family-life details, and a clean uncluttered countertop. Warm morning sunlight enters consistently from frame-left at approximately 5200K, supplemented by soft interior fill, producing gentle directional shadows and bright natural reflections. Maintain the same architecture, counter layout, window position, furniture, appliances, background objects, lighting direction, and color palette throughout every shot. New camera angles reveal different perspectives of the same physical kitchen and must never create a different-looking location. LOCKED PRODUCT: one premium family countertop blender with a compact matte-silver motor base, black control panel, one illuminated circular speed control, large clear 1.8-liter blending pitcher, black fitted lid, stainless-steel blade assembly, sturdy black handle, and subtle unbranded front badge area. The blender’s shape, proportions, materials, controls, pitcher geometry, lid, handle, blade assembly, reflections, scale, and countertop position remain identical throughout every shot. It begins centered on the main kitchen counter and never changes location. LOCKED INGREDIENTS: fresh strawberries, banana pieces, blueberries, mango chunks, Greek yogurt, milk, and several ice cubes. Ingredients must retain recognizable colors and textures before entering the pitcher. Once added, object permanence must be respected: ingredients cannot reappear outside the blender. During blending, the mixture must transform physically and continuously from visibly chunky fruit and ice into a uniform thick pink-red smoothie. LOCKED FAMILY: a mother in her mid-30s with shoulder-length dark brown hair wearing a soft beige knit top and blue jeans; a father in his late-30s with short dark hair wearing a pale blue casual shirt; an approximately eight-year-old daughter with dark brown hair in a ponytail wearing a muted yellow T-shirt; and an approximately six-year-old son with short brown hair wearing a light green T-shirt. Preserve their exact ages, facial identity, hairstyle, wardrobe, body proportions, and appearance whenever visible. Their expressions progress naturally from hurried anticipation to impressed surprise to relaxed enjoyment. Avoid surreal food behavior, floating ingredients, impossible liquid physics, teleporting objects, changing blender geometry, inconsistent pitcher fill levels, duplicated fruit, warped hands, extra fingers, changing wardrobe, altered kitchen architecture, random background changes, excessive lens distortion, unreadable product geometry, fake plastic food textures, excessive camera shake, oversaturated grading, artificial CGI appearance, flickering light, exposure shifts, continuity resets, jumpy object positions, text artifacts, random labels, logos, watermarks, or unrelated products. 00:00–00:02.0 — OPENING PROBLEM / FAMILY MORNING RUSH. Begin with a dynamic 24mm wide establishing shot from approximately countertop height, looking diagonally across the kitchen while preserving a left-to-right spatial axis. The mother moves briskly toward the counter from frame-left as the two children wait near the breakfast area in the background, visibly eager and short on time. The father passes behind them preparing to leave. Morning sunlight streaks naturally through the frame-left window. The locked blender is already visible on the counter as the visual anchor, positioned prominently but naturally in the foreground-right. Use a smooth fast dolly-in toward the blender rather than a hard zoom. Small breakfast details suggest a busy school morning without cluttering the frame. Sound begins with subtle morning kitchen ambience, quick footsteps, a chair movement, and upbeat rhythmic music immediately establishing urgency. No spoken dialogue. 00:02.0–00:04.0 — INGREDIENT SPEED MONTAGE. Match-cut into a rapid sequence of three extremely concise food-preparation inserts totaling exactly two seconds. First, a 100mm macro close-up catches vivid strawberries and blueberries dropping into the clear pitcher, with realistic gravity, bounce, moisture, and fruit texture. Cut to banana pieces and mango chunks entering from above, maintaining the exact pitcher position and increasing fill level logically. Cut to a tight side insert as Greek yogurt, milk, and ice cubes enter last. Use crisp impact sounds synchronized with each ingredient: thump, splash, clink. Each insert changes visual information and advances the preparation; never repeat the same composition. Camera movement is minimal and precise so the speed comes primarily from editorial cutting. The blender remains OFF throughout these inserts. 00:04.0–00:05.2 — ONE-TOUCH ACTIVATION. Cut to an 85mm close-up from a low three-quarter front angle of the blender control panel. The mother’s right index finger enters naturally from frame-left and presses the illuminated circular control exactly once. Show believable fingertip compression against the control. The instant contact occurs, the control illumination brightens and the motor begins. Add a precise tactile click followed immediately by a confident rising electric motor sound. Use a subtle fast push-in timed to activation. The hand exits naturally; do not show multiple presses. 00:05.2–00:08.2 — POWER DEMONSTRATION / HERO BLENDING MOMENT. Cut to a dramatic but physically realistic 50mm close three-quarter view of the entire pitcher. The motor accelerates rapidly. Ice cubes and fruit initially tumble downward toward the stainless-steel blades, then form a powerful controlled vortex. Show the transformation continuously: recognizable strawberries, blueberries, banana, mango, yogurt, milk, and ice become progressively smaller and more integrated until the mixture turns into a completely smooth, thick pink-red smoothie. The action must communicate exceptional blending speed without supernatural physics. Condensation begins subtly on the outside of the pitcher. Tiny droplets and believable internal turbulence catch the frame-left morning light. During this three-second power demonstration, execute a controlled semicircular camera move of approximately 35 degrees around the front of the blender without crossing the established spatial axis. Begin slightly frame-left of the product and finish near frontal three-quarter. Maintain the blender base completely stable on the countertop with no unrealistic vibration or sliding. Use one brief 100mm macro insert lasting approximately 0.5 seconds to reveal the high-speed vortex and disappearing final fruit fragment, then return immediately to the matching three-quarter product angle. Sound design intensifies with a strong smooth motor whirr synchronized to the vortex, layered with the upbeat music. At approximately 00:07.6, the last visible fruit fragment disappears into the vortex. By 00:08.2 the mixture is visibly uniform, silky, and completely smooth. This transformation is the commercial’s core proof point: FAST BLENDING POWER. 00:08.2–00:09.5 — INSTANT RESULT. The motor stops cleanly. Cut to a 100mm macro beauty shot looking through the clear pitcher wall at the perfectly smooth smoothie surface settling from a gentle spiral into a glossy, uniform texture. A small central swirl collapses naturally. No chunks remain. Condensation beads on the exterior catch bright highlights. Use shallow depth of field while retaining enough pitcher edge detail to identify the product. Sound drops from the motor into a satisfying soft stop, followed by a subtle musical accent. A confident female voice-over begins: “Powerful blending…” 00:09.5–00:11.5 — POUR AND PROOF. Match the circular smoothie motion into a 50mm close-up of the mother tilting the same pitcher and pouring the thick smoothie into two clear family drinking glasses on the same countertop. The liquid forms a smooth continuous ribbon with realistic viscosity and no splashing errors. The pitcher’s remaining fill level decreases correctly. Camera tracks gently with the pour from left to right. The daughter and son appear softly out of focus beyond the glasses, watching with excited expressions. As the glasses fill, rack focus briefly from the flowing smoothie to the children’s delighted reaction. Voice-over completes: “…smooth results in seconds.” 00:11.5–00:13.0 — FAMILY PAYOFF. Cut to a warm 35mm medium shot at the breakfast counter. The two children each take one synchronized first sip from their filled glasses, then immediately exchange impressed smiles. The mother stands behind them with a relaxed satisfied expression while the father takes a filled travel cup and moves toward frame-right, suggesting the blender has saved valuable morning time. Keep performances natural rather than exaggerated. The blender remains visible in the background on its original counter position, recognizable and unchanged. Morning sunlight and the same warm neutral palette continue without variation. The music opens into a bright satisfying resolution. The daughter gives a quick authentic smile and says: “That was fast!” 00:13.0–00:15.0 — PRODUCT HERO / BRAND END FRAME. Use a clean visual match cut from the child’s smoothie glass to the locked blender standing alone in a polished hero composition on the SAME kitchen counter. Shoot on an 85mm lens at slightly below pitcher midpoint for a confident premium product perspective. The blender occupies the center-right of frame while a freshly poured smoothie glass, two strawberries, several blueberries, and one mango slice form a restrained ingredient arrangement in the lower foreground-left. These garnish ingredients are separate presentation ingredients introduced only for the hero composition and must not imply that previously blended ingredients have magically reappeared. Create a slow controlled 5% push-in during the final two seconds. Frame-left morning sunlight creates a clean edge highlight along the clear pitcher and matte-silver motor base. Maintain realistic reflections, exact product geometry, and crisp separation from the softly defocused kitchen background. At 00:13.3, introduce a clean broadcast-safe text overlay in the negative space on frame-left: “FAST BLENDING POWER” At 00:14.0, transition cleanly to the primary campaign line: “SMOOTH IN SECONDS.” Below it, smaller: “POWER FOR EVERY FAMILY MORNING.” Typography is modern, bold, minimal sans-serif, perfectly legible, horizontally aligned, broadcast-safe, with no distorted letters and no unnecessary graphical effects. Keep all typography outside the physical blender silhouette. Voice-over, confident and warm: “Fast power. Smooth mornings.” End exactly at 00:15.0 on a perfectly stable hero frame with the blender sharply resolved, smoothie glass visible, campaign line readable, music landing on a clean sonic logo accent. CAMERA AND EDITING RULES: Use motivated cuts whenever subject, visual information, camera position, action, or emotional emphasis changes. Maintain energetic medium-fast commercial pacing: wider contextual opening, rapid ingredient inserts, tactile activation close-up, high-energy blending demonstration, sensory result macro, fluid pouring shot, human reaction payoff, then a slower premium hero landing. Preserve the established 180-degree axis throughout. No camera crosses the axis unless visibly motivated, and no silent changes in object placement occur between cuts. Maintain consistent camera height for matching shot types. Screen direction remains left-to-right for preparation and family movement. Every shot must introduce new action, information, perspective, reaction, or product proof. AUDIO DESIGN: Begin with subtle morning kitchen ambience under upbeat modern percussive music. Synchronize fruit impacts, ice clinks, control click, motor acceleration, vortex intensity, motor stop, smoothie pour, drinking sounds, and final sonic logo precisely to picture. The blender motor must sound powerful but refined rather than harsh. Duck music naturally beneath the voice-over and daughter’s dialogue. No audio clipping or abrupt ambience resets between cuts. VISUAL COLOR SYSTEM: warm off-white, pale natural oak, matte silver, fresh strawberry red, blueberry blue, mango golden-yellow, and creamy smoothie pink-red. Preserve natural skin tones and realistic food saturation. Use a premium contemporary commercial grade with moderate contrast, soft highlight roll-off, clean whites, controlled blacks, and no teal-orange exaggeration. MOVEMENT AND PHYSICS: All hands interact correctly with objects. Ingredients obey gravity. Liquid volume remains continuous. The pitcher fill level increases when ingredients are added, decreases when smoothie is poured, and never resets between shots. The blender stays physically planted on the counter during operation. The motor vortex follows plausible fluid dynamics. Hair, clothing, reflections, condensation, shadows, and liquid motion react naturally. Maintain strict character consistency, product consistency, object permanence, environment continuity, lighting continuity, and forward-only time progression across the full sequence. Render the final commercial at 24 fps, 16:9 broadcast aspect ratio, UHD 3840×2160 resolution, high-bitrate cinematic master quality, natural 180-degree shutter motion blur, realistic cinema-lens behavior, subtle fine sensor texture, clean compression, no visible digital artifacts, no temporal flicker, no frame interpolation artifacts, and photorealistic high-end commercial rendering. Preserve sharp product edges and legible end-frame typography while allowing natural depth-of-field falloff. The entire finished sequence must be EXACTLY 15 seconds long. Do not extend or shorten any beat. The central visual message must be immediately understandable without dialogue: a busy family morning becomes easier because this family blender turns whole ingredients and ice into a perfectly smooth drink with exceptional speed. The emotional progression is urgency → activation → power → instant proof → family satisfaction → premium product promise. Final audience takeaway: FAST BLENDING POWER. SMOOTH IN SECONDS.

Gumvue Studio

21,837 Aufrufe • vor 3 Monaten

MY TWO CENTS #AVLARS Min 66. Gabriel takes a punt at an interception and misses. Villa are away on a dangerous-looking counter. And Declan Rice somehow teleports across and cuts out the through ball. Someone please check The Shard for his spaceship. The man is clearly an alien. Tzolis is every bit as industrious as Martinelli tracking back. Not his best game, but then Villa away isn’t Coventry at ours. There is no goalkeeper in world football better at collecting crosses than David Raya. Strong, assured and the ball just seems to stick into his gloves If Spain played cricket, he’d keep wickets. Bruno G cameo was terrific. Proper line breaker. Some quality passes. Thought he should’ve had a pen too. See video But VAR clearly isn’t going to overrule this season unless it’s REALLY clear and obvious. Seems the protocol fixed is to let the ref, ref Right call, you think? The Arsenal midfield options are now patently ridiculous. 2 World Cup winners casually stroll off the bench, presumably because we’d run out of other obscenely good footballers. Good times The Arsenal OOP press looks even better this season And in possession, there are loads of intricate little movements to break low blocks. Feels like there’s another gear or two available if required. No short corners this game No set-piece goals in THREE games, including the Comm Shield (It’s a trophy, Pep said so ;-) I’m shattered. Jover out 🤣 Villa always come out for a scrap, especially at Villa Park. With Unai, you suspect it’s been a little personal ever since Arsenal showed him the door Andy Townsend remains a commentating mess when it comes to the Arsenal Some things don’t change. I frankly don’t care anymore 🤷🏼‍♂️ Refer the Saka incident, where apparently a blatant shove was according to Andy merely more like 2 gentlemen accidentally bumping into each other on the tube Villa are also assembling a rather impressive collection of traditional Top Four discards Barkley. Abraham. Garnacho. Jackson… Solid transfer strategy or footballing eBay? Time will tell… Eze still lingers on the ball a fraction too long for me. When he releases it early, lovely things happen. Like that slide-rule pass to SIUM. Sexy Italian Underwear Model aka Calafiori, for the uninitiated. Who Carragher now thinks is the best LB in the league. Watch his breakdown of the goal below Timber, meanwhile, is pretty much accepted as the best RB. Can’t wait for him to be fit. Kai was running on fumes for the last 20, which begs the obvious question: Why didn’t Gyök the Viking make an appearance? Curious one, that. I’m hoping it’s just rotation and not the beginning of an exit strategy. 👀 Oh, and Emery shook hands after the game. Growth. Cussed little p%#*@ Bring on the Chels at the carpet COYG

atul kasbekar

34,797 Aufrufe • vor 1 Monat

And now, the recipe for the room-temperature glass layer… although unfortunately, you probably won’t get very far with it. The reason I haven’t shared the recipe until now is because I wanted to keep the Nobel Prize all to myself. NO. It’s because I spent the last two weeks trying to eliminate one component from the equation — a component that is almost certainly not something the average modern household has lying around. But now I’m going on vacation 🏝️, and obviously I’m not taking my labs with me. I’m not going to continue the experiments, I won’t be posting either, so it’s going to look as if I’ve simply disappeared. “Look, the guy tricked us and then disappeared without a trace!” Well, no. The result is real, the recipe is simple — you just probably won’t have the starting material you need. And despite struggling with this for two weeks, I couldn’t find a substitute for it. But maybe you will! 👍🏻 So I’m sharing the recipe as I currently know it, exactly as it is, in case someone can take it further while I’m sitting on a beach getting a tan. All I ask is that if someone manages to completely solve this mystery while I’m away, please consider a shared Nobel Prize! 🤪 So, the “secret ingredient” is none other than old, completely whitened, end-of-life waterglass. Yep. The stone shown in the video is proof that the glass layer is actually a precipitation. The layer is present on one side of the stone, but completely absent on the other side, even though the stone was standing vertically in the solution. Don’t let the visibly rough condition of the glass layer fool you — this was the first one, and I subjected it to all kinds of tests - too early. The important thing is that there is glass on one side, and ABSOLUTELY NONE on the other, even though the stone was standing vertically in the solution! So this isn’t the bottom and the top of the stone. It’s the right and left sides. Yeah. The glass is indeed a preipitated layer. So let me explain in detail what I did the first time I got this result. This stone was cast in that sour cream container (so it is an artificial one), and then I cut it in half with an angle grinder because I wanted to see what was inside. The inside was quite crumbly, so I decided to strengthen it. I soaked it in this, then that, then something else, impregnated it with one thing and then another, thinking that eventually it would become stronger. And while doing all this, I dipped the stone into all kinds of things. Ash lye, wine, waterglass, God knows what else. At this point, it doesn’t really matter. The funny thing is that now, having reconstructed what actually happened, I wasn’t trying to create a glass layer at all. I was simply trying to strengthen a crumbly stone. But there wasn’t enough waterglass in the lab to completely cover the stone standing in the container. Fill up with water? Nooo! I didn’t want to dilute it with water, so I started looking around in the cupboard and found a bottle of waterglass that was more than a year old and had already turned completely white. I poured this waterglass into the container on ONE SIDE of the stone. And I really mean one side. I did NOT mix it. I thought the waterglass will be "smart enough" to mix its old self with its new self. But the old one didn’t flow around to the other side. It simply accumulated against this curved surface of the stone and deposited there. The best evidence that this is exactly what happened is that even toward the edge of the curved section, the layer wasn’t nearly as thick as it was where I actually poured the old waterglass. And on the cut side of the stone, where I DID NOT pour any old waterglass, absolutely nothing was deposited. And this old waterglass is the thing you probably don’t have at home. Because modern people simply throw this stuff away. “It’s gone bad. Into the trash.” I spent the last couple of weeks trying to find an alternative solution that doesn’t require this old waterglass. Exactly so that I could start public beta testing. I didn’t want to release a recipe that would require you to wait an entire year to have one of the ingredients before you could even start experimenting with it. So I tried artificially aging the waterglass using all sorts of methods — baking soda, acids, slaked lime, carbon dioxide — but none of them produced suspended particles in the waterglass. So far, only waiting did. I did, however, lose a SodaStream machine in the process. RIP. 🪦 So, for now, the answer seems to be: either wait a year, or find some old waterglass in your cupboard. I haven’t found another way. Over the past few weeks, a few people volunteered to beta-test the process. But I only chose people who have been working with me for a long time, so there was at least a chance that they might have some old waterglass, or artificial stone, or both, at home. Mondo Mondo in Australia actually did the experiment, and it worked. I don’t know the Canadian guy, Odhinn , so I have absolutely no idea how he did it. Mondo’s waterglass wasn’t completely white, but it was thicker than normal — 46% from the shop — and it was at least six months old. Bingo. The experiment worked for him. What’s interesting is that once I finally identified the old waterglass as the responsible component, I tried using it directly — just soaking stones in the old waterglass by itself. And that didn’t work 😵 The important thing is (?) the mixture and ratio of fresh and old waterglass. Something like two-thirds fresh waterglass and one-third completely whitened, old waterglass. The explanation may be the following — and this isn’t me saying it, it's Mr. Grok: "The old waterglass provides the amorphous silica nuclei that are essential for the precipitation, while the fresh waterglass provides the chemical activity and high pH that keep the whole process going." Okay! There’s one more thing I need to add. I was only able to create really thick precipitated layers on artificial stones. All the other thick layers, such as the ones on granite or eggshell, were not precipitation. Those were simply the thickened sludge that had formed, which I then smeared onto the surface. Because when an artificial stone is dipped into the magical mixture, it somehow thickens the entire mixture. Even in the last experiment, when I thought the egg was responsible for thickening the magical mixture, there was actually a small piece of artificial stone sitting in the corner of the container. From there, suspicious brownish streams were spreading in every direction. In other words, the artificial stone was releasing something that caused the entire mixture to turn into a gel. So, that’s where we are right now. Feel free to experiment. As far as I know, apart from the half-dead waterglass, I haven’t found another method that works. And now, my flight is about to leave. ✈️

Marcell Fóti 🪨

21,406 Aufrufe • vor 1 Monat

NEW QUESTIONS REGARDING THE CHARLIE KIRK ASSASSINATION (MORE ARE POPPING UP EVERY HOUR): An event 1/4 of this size with a nobody speaker would have ambulances immediately on scene for emergency situations like this. So why was Charlie Kirk instead stuffed into a predetermined SUV, that would have to follow traffic laws on the way to the hospital, with no medical supplies, no oxygen, and no medical personnel? He's carried there by 6 dudes (including the SAME 2 GUYS that were making the umpire hand signals seconds before the shot (white hat/white shirt guy and black shirt/black sunglasses guy) The black sunglasses guy also appears to be THE SAME PERSON that was on Trump's secret service team the day he was also shot...? (see attached pic) Nobody carrying Charlie is applying pressure to the neck wound as they run him to the car. Instead, they are just letting his head violently flop all over the place, the last thing you would do following a traumatic neck injury And despite the above carelessness with a gaping neck wound...there isn't a single drop of blood anywhere on the ground, his shoes, or any of the people carrying him 🤔 How come there are new camera angles of the shot emerging showing the blood coming out not from his neck...but from under his shirt, more in the upper-chest area? Many have forgotten that the eyewitness reports on the day of the event were saying they saw him get shot in the CHEST. The story didn't change to NECK until after those 2-3 videos we've all seen spread across the internet like wildfire, which as my original post demonstrated, had some pretty weird, potentially AI-looking inconsistencies (ring changing fingers, black dot on the top-right of his shirt moving diagonally up and seemingly BECOMING the bullet hole wound, the wound itself shifting slightly to the side when watching frame-by-frame, etc.) Could this have something to do with why some video-analyzing sleuths are spotting a black object inside the collar of Charlie's shirt, right in the area this blood is coming out in the above-mentioned angles? (See the attached video where I included clips of all of these new discoveries) Additionally, is it a complete coincidence that the freemasonic #33 has been spammed ALL OVER the event, AND the following investigation? Stacks of hats on the stage adding up to 33, supposed murderer driving 3 hours to get there, 3K people in attendance, "300 cases of politically-motivated violence since January 6th" being reported across Yahoo and other MSM outlets, manhunt lasting exactly 33 hours (Kash Patel even corrected himself after saying 36 hours, to make sure everyone heard 33 on the livestream), and many more such examples And ANOTHER coincidence, that the man they've pinned all of this on looks exactly like Lee Harvey Oswald, one of the most classic patsies in the history of US Government cinema? What about the Jew decoy they trotted out (George Zinn), who also just happens to be a key witness that reported seeing planes flying into the twin towers on 9/11/01, AND has connections to the Boston Marathon bombing? How did the supposed shooter—according to the official story we're being given—take apart the gun and stuff it in his backpack & pants in seconds (not possible according to experts), then escape the scene without being seen lugging around these giant gun parts, then REASSEMBLE THE GUN BACK TOGETHER AGAIN to leave it nicely in a box in the forest. What??? Passports found underneath the world trade center, anyone? Why was Kash Patel wining & dining at a "swanky Italian restaurant in NYC" just hours after Charlie—his self-proclaimed "best friend"—was brutally murdered live on the world stage? He has a private jet - why didn't he use it to go there and investigate? What are the odds that at the exact same time Charlie was shot, there was a big senate hearing going on regarding the Epstein files, in which they concluded they were not going to release them? (A convenient time for a distraction) What are the odds that Trump and Bibi Netanyahu—in completely different timezones and with completely different schedules—posted a "Pray for Charlie" tweet at the exact same time, to the minute? How was a book titled "The Shooting Of Charlie Kirk" published on Amazon on September 9th...then quickly taken down from the website? And what about that "Charlie Kirk Dead at 31" song posted on Soundcloud a month ago? Many have commented that, after watching the Erika Kirk TPUSA press conference video, they intuitively got weird vibes from it, sensing that it appears she is acting. I won't inject any personal opinion on this one - go watch it for yourself, and draw your own conclusions. ALL OF THIS SAID: It could not be any more blatantly obvious that whether or not all of the above bizarre occurrences are just incompetence, insane coincidences, or some mixture of the two, there is something very big going on behind the scenes here, and we've been fed a gigantic plate of lies over the last few days of unfolding events, with most of the internet is eating it up faster than Kash Patel at a swanky Italian restaurant in NYC. The only question is: how deep do the lies surrounding this situation go? (Watch the final attached video for many different levels of speculation, for you to come to your own conclusions on where you draw the line) Question everything. Always.

₿en Wehrman

428,187 Aufrufe • vor 1 Jahr