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Hardcore Gains Vol.7 Interactive VR Gameplay Interactive. POV. VR. No limits. You’re the main character now. Watch the full uncensored version below. #VAM #VirtAMate #VRPorn #VRgame #anime #hentai #pov #Adultgame #Universens

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UniversenS

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30,520 просмотров • 4 месяцев назад •via X (Twitter)

NSFW#VAM#VirtAMate#VRPorn#VRgame#anime#hentai#pov#Adultgame#Universens
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👉 Subscribe now and unlock the full uncensored version + much more exclusive content: 🔥 Just me stretching my limits... and showing off how flexible this powerful body really is 😈 High kick, full control, and that teasing look that says I know exactly what you’re thinking. Want to see what happens when I take these clothes off and push even further? The real heat, the close-ups, the muscle worship, and all the dirty fantasies you crave... only on my Fansly. No filters. No limits. Just pure strength and seduction.
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👉 Subscribe now and unlock the full uncensored version + much more exclusive content: 🔥 Just me stretching my limits... and showing off how flexible this powerful body really is 😈 High kick, full control, and that teasing look that says I know exactly what you’re thinking. Want to see what happens when I take these clothes off and push even further? The real heat, the close-ups, the muscle worship, and all the dirty fantasies you crave... only on my Fansly. No filters. No limits. Just pure strength and seduction.

Nataliya Kuznetsova

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HUGE UPDATE My twitch 3d livestream is now in VR and AR! We've basically made a hologram that can be shrunk down to sit on your desk!!! The 3d livestream is a real-time interactive point cloud (built using LiDAR cameras) of me, synced up with my regular twitch broadcasts. It's full 360, uses no avatars or assets, and has integrated twitch features such as chat, a movie screen with the normal 2D stream displayed, and customizable sprite characters that viewers can control and move freely about the space with AND they show up on the regular stream as if in the room with me. We've recently gotten collision working so I can swat viewers away and send them flying, added a racing minigame with hoops that also show up in the normal stream, and ultimately made VR / AR HOLOGRAMS I'm so excited and it's only gonna get better. We're adding more interactive features, working on better aesthetics, and creating REAL NON-VR holograms that can ACTUALLY sit on your desk!! I can't wait Follow the project here and on and swing by if you have any questions or if you want to join future playtests (please do ahaha) :)
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HUGE UPDATE My twitch 3d livestream is now in VR and AR! We've basically made a hologram that can be shrunk down to sit on your desk!!! The 3d livestream is a real-time interactive point cloud (built using LiDAR cameras) of me, synced up with my regular twitch broadcasts. It's full 360, uses no avatars or assets, and has integrated twitch features such as chat, a movie screen with the normal 2D stream displayed, and customizable sprite characters that viewers can control and move freely about the space with AND they show up on the regular stream as if in the room with me. We've recently gotten collision working so I can swat viewers away and send them flying, added a racing minigame with hoops that also show up in the normal stream, and ultimately made VR / AR HOLOGRAMS I'm so excited and it's only gonna get better. We're adding more interactive features, working on better aesthetics, and creating REAL NON-VR holograms that can ACTUALLY sit on your desk!! I can't wait Follow the project here and on and swing by if you have any questions or if you want to join future playtests (please do ahaha) :)

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Visited the interactive exhibition “That Day,” dedicated to the 35th anniversary of the restoration of Ukraine’s independence. “That Day” is about Ukrainians. About our history, the present and future of our state. About the great day – August 24, 1991, about the path we have already traveled, about our fight, strength and memory, about the inseparable traits of the Ukrainian character, and about how we envision our own tomorrow and another, no less important “that day” – when Ukraine achieves the dignified peace it deserves. Visitors to the exhibition can explore interactive zones dedicated to the events surrounding the restoration of Ukraine’s independence, works by prominent Ukrainian artists and creators, and VR technologies that allow them to step into the Office of the President of Ukraine, enter the chamber of the Verkhovna Rada of Ukraine, and see the starry sky as it appeared on August 24, 1991. For the first time, symbols of the Head of the Ukrainian state – the mace, seal, breast badge and presidential standard – as well as international awards received during the full-scale war will be presented to the general public. Glory to Ukraine!
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Visited the interactive exhibition “That Day,” dedicated to the 35th anniversary of the restoration of Ukraine’s independence. “That Day” is about Ukrainians. About our history, the present and future of our state. About the great day – August 24, 1991, about the path we have already traveled, about our fight, strength and memory, about the inseparable traits of the Ukrainian character, and about how we envision our own tomorrow and another, no less important “that day” – when Ukraine achieves the dignified peace it deserves. Visitors to the exhibition can explore interactive zones dedicated to the events surrounding the restoration of Ukraine’s independence, works by prominent Ukrainian artists and creators, and VR technologies that allow them to step into the Office of the President of Ukraine, enter the chamber of the Verkhovna Rada of Ukraine, and see the starry sky as it appeared on August 24, 1991. For the first time, symbols of the Head of the Ukrainian state – the mace, seal, breast badge and presidential standard – as well as international awards received during the full-scale war will be presented to the general public. Glory to Ukraine!

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268,633 просмотров • 22 дней назад

🚀 The Future of 3D Creation is Here! World Labs World Labs dropped a bombshell with #Marble, and the spatial computing world is buzzing. 🤯 👉 For Beginners: Create stunning 3D worlds, no code needed. 👉 For Pros: Power-up your workflow with advanced tools. 👉 For Industry: Marks a milestone in Spatial AI innovation! But let's talk about the elephant in the room: Hardware. 🖥️ While #Marble leverages cloud power to generate worlds in seconds, accessing and sharing them still depends heavily on local device performance. 𝗧𝗵𝗲 𝗖𝗵𝗮𝗹𝗹𝗲𝗻𝗴𝗲𝘀 𝗔𝗿𝗲 𝗥𝗲𝗮𝗹: ➤ 𝗔𝗰𝗰𝗲𝘀𝘀𝗶𝗯𝗶𝗹𝗶𝘁𝘆: Basic laptops struggle to run initial generations smoothly — not to mention high-fidelity scenes. Sharable links are a step forward, but must every viewer own high-end hardware? ➤ 𝗠𝗼𝗯𝗶𝗹𝗲 𝗚𝗮𝗽: Full creation tools aren’t mobile-ready yet. Desktop is still a must for the complete experience. ➤ 𝗩𝗥 "𝗩𝗶𝗲𝘄𝗶𝗻𝗴": "Open in VR" is a great start—but true collaborative VR requires serious rendering power and device support. How do we include everyone, without top-tier headsets or perfect networks? We tested #Marble on a typical Windows laptop. See the performance gap? We bring fluid Marble experience via #LarkXR! 👀 ▶︎ 𝗙𝗹𝗶𝗽 𝘁𝗵𝗲 𝗦𝘄𝗶𝘁𝗰𝗵 #LarkXR is here. Our Cloud XR Streaming Technology delivers high-fidelity VR and 3D experiences to any device — breaking through hardware limits and compatibility gaps. Now every user can join, view, and collaborate seamlessly. #Marble Unlocks Spatial World Creation. #LarkXR Unlocks Interactive Immersive Accessibility. 𝘓𝘦𝘵'𝘴 𝘸𝘰𝘳𝘬 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘵𝘰 𝘦𝘯𝘴𝘶𝘳𝘦 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦, 𝘦𝘷𝘦𝘳𝘺𝘸𝘩𝘦𝘳𝘦, 𝘰𝘯 𝘢𝘯𝘺 𝘥𝘦𝘷𝘪𝘤𝘦, 𝘤𝘢𝘯 𝘵𝘳𝘶𝘭𝘺 𝘴𝘵𝘦𝘱 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥𝘴 𝘺𝘰𝘶 𝘤𝘳𝘦𝘢𝘵𝘦. 𝗚𝗲𝘁 𝗦𝘁𝗮𝗿𝘁𝗲𝗱 𝗪𝗶𝘁𝗵 𝗟𝗮𝗿𝗸𝗫𝗥 𝗧𝗼𝗱𝗮𝘆 🚀 🚀 🚀 #WorldLabs
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🚀 The Future of 3D Creation is Here! World Labs World Labs dropped a bombshell with #Marble, and the spatial computing world is buzzing. 🤯 👉 For Beginners: Create stunning 3D worlds, no code needed. 👉 For Pros: Power-up your workflow with advanced tools. 👉 For Industry: Marks a milestone in Spatial AI innovation! But let's talk about the elephant in the room: Hardware. 🖥️ While #Marble leverages cloud power to generate worlds in seconds, accessing and sharing them still depends heavily on local device performance. 𝗧𝗵𝗲 𝗖𝗵𝗮𝗹𝗹𝗲𝗻𝗴𝗲𝘀 𝗔𝗿𝗲 𝗥𝗲𝗮𝗹: ➤ 𝗔𝗰𝗰𝗲𝘀𝘀𝗶𝗯𝗶𝗹𝗶𝘁𝘆: Basic laptops struggle to run initial generations smoothly — not to mention high-fidelity scenes. Sharable links are a step forward, but must every viewer own high-end hardware? ➤ 𝗠𝗼𝗯𝗶𝗹𝗲 𝗚𝗮𝗽: Full creation tools aren’t mobile-ready yet. Desktop is still a must for the complete experience. ➤ 𝗩𝗥 "𝗩𝗶𝗲𝘄𝗶𝗻𝗴": "Open in VR" is a great start—but true collaborative VR requires serious rendering power and device support. How do we include everyone, without top-tier headsets or perfect networks? We tested #Marble on a typical Windows laptop. See the performance gap? We bring fluid Marble experience via #LarkXR! 👀 ▶︎ 𝗙𝗹𝗶𝗽 𝘁𝗵𝗲 𝗦𝘄𝗶𝘁𝗰𝗵 #LarkXR is here. Our Cloud XR Streaming Technology delivers high-fidelity VR and 3D experiences to any device — breaking through hardware limits and compatibility gaps. Now every user can join, view, and collaborate seamlessly. #Marble Unlocks Spatial World Creation. #LarkXR Unlocks Interactive Immersive Accessibility. 𝘓𝘦𝘵'𝘴 𝘸𝘰𝘳𝘬 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘵𝘰 𝘦𝘯𝘴𝘶𝘳𝘦 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦, 𝘦𝘷𝘦𝘳𝘺𝘸𝘩𝘦𝘳𝘦, 𝘰𝘯 𝘢𝘯𝘺 𝘥𝘦𝘷𝘪𝘤𝘦, 𝘤𝘢𝘯 𝘵𝘳𝘶𝘭𝘺 𝘴𝘵𝘦𝘱 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥𝘴 𝘺𝘰𝘶 𝘤𝘳𝘦𝘢𝘵𝘦. 𝗚𝗲𝘁 𝗦𝘁𝗮𝗿𝘁𝗲𝗱 𝗪𝗶𝘁𝗵 𝗟𝗮𝗿𝗸𝗫𝗥 𝗧𝗼𝗱𝗮𝘆 🚀 🚀 🚀 #WorldLabs

Paraverse

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Give your voice agents a face. Introducing Lemon Slice-2 – the world's first interactive talking AI video model Think of it as a face layer for your voice agents, available today in production as an API or an embeddable widget. What makes Lemon Slice-2 great: → Easy: All you need is 1 photo → Expressive: hands and full body motion → Any character and style: if it has a face, Lemon Slice-2 can animate it Under the hood: we trained a custom, 20B-parameter video diffusion transformer, streaming at 20fps on a single GPU. Infinite-length video generation with no error accumulation. Talk to the demo avatars on our homepage. Or, add your own interactive avatar to your website. Companies and creators are already building video agents that are: → Customer support agents who screen-share and show you where to click → Lead qualification agents that replace forms with real conversations → AI personal shoppers who try on clothes and guide purchases People don't engage with chat bubbles. They engage with faces. And now you can have a 24/7 spokesperson that’s the face of your brand. We’ve partnered with , Daily, and Modal to make this happen. As part of this launch, we’re giving away a guide: “How to Add a High-Converting Video Agent to Your Website in under 10 Minutes” Retweet and comment "LEMON SLICE" below and I'll send it over 🍋
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Give your voice agents a face. Introducing Lemon Slice-2 – the world's first interactive talking AI video model Think of it as a face layer for your voice agents, available today in production as an API or an embeddable widget. What makes Lemon Slice-2 great: → Easy: All you need is 1 photo → Expressive: hands and full body motion → Any character and style: if it has a face, Lemon Slice-2 can animate it Under the hood: we trained a custom, 20B-parameter video diffusion transformer, streaming at 20fps on a single GPU. Infinite-length video generation with no error accumulation. Talk to the demo avatars on our homepage. Or, add your own interactive avatar to your website. Companies and creators are already building video agents that are: → Customer support agents who screen-share and show you where to click → Lead qualification agents that replace forms with real conversations → AI personal shoppers who try on clothes and guide purchases People don't engage with chat bubbles. They engage with faces. And now you can have a 24/7 spokesperson that’s the face of your brand. We’ve partnered with , Daily, and Modal to make this happen. As part of this launch, we’re giving away a guide: “How to Add a High-Converting Video Agent to Your Website in under 10 Minutes” Retweet and comment "LEMON SLICE" below and I'll send it over 🍋

Lina Colucci

1,163,350 просмотров • 9 месяцев назад

The state of LOW-FI and platform support (Death of PCVR): When the Kickstarter ran back in , the main focus was "Next-Gen VR", meaning at the time PCVR, with high hopes for PSVR2 (which hadn't been officially announced). During the next year or so, we (myself, Noah Rayburn and Mark Schramm #VR #AR #MR) focused purely on supporting PC VR hardware. Rift/S, Vive, Index (including controllers), all WMR devices, etc... Mark even added HOTAS and Leap Motion support. BUT, as I'm sure you know, PCVR has been in decline since around the launch of Half-Life: Alyx, which Anton Hand so eloquently called the punctuation mark on the gravestone of PCVR. The Rift store is a ghost town.. like officially.. even according to Meta, Viveport (lets not even go there), what else we got? WMR Store? Was that even a thing? Anyway... Lucky for us, PSVR2 was just over the horizon and we had the dev kits! How well is PSV2 doing though? Guess is (based on speaking with other top VR devs), not that great... Somewhere in there, the great and powerful Noah Rayburn was able to implement a pretty slick "non-VR mode" upon my request to be able to test the game without having to keep taking the HMD off and on while balancing controllers on my knees and working with janky Quest link stuff. Good news! Non-VR mode is great! No just for testing, but for playing. We decided to go full in on it's development and offer it to the consumers. Bonus, it also runs on Steam Deck! (See video below). Now as we gear up to finish the game and run out of money (hopefully in that order), I'm thinking a lot about the market for the game and our placement in it. We have a decent amount of wishlists (66k on Steam and 24k on PS5) so far. Hope is that launching as a PSVR2 title will capture a good chunk of those users, pushing it up on the general PSN store ranking (notoriously hard for indies to do otherwise), and we'll make some sales to traditional flat PS5 gamers as well. Snowballing a bit if we're lucky. Steam launch could do decently well if timed properly, with hopes of the same "VR first" snowballing effect. Why am I telling you all of this? I just thought it would be good to get it in writing and have a place to point. We are starting to run low on money (PCVR presales have basically dried up), so it's also to let you know that the fire is lit under my ass to ship this thing. That said, it won't ship until its good and done. A delayed game is eventually good, but a rushed game is forever bad. Oh, and before you say "Why not port it to Quest", put down the pipe. I understand that you're not a developer, but take my word for it, that's not happening. Not with this budget(or lack thereof), this sized team , or this generation of devices. Ok. that's it. My longest twitter post. PC/PCVR Preorder and early access: Steam Wishlist PSN Wishlist ❤️🧡💙🖤
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The state of LOW-FI and platform support (Death of PCVR): When the Kickstarter ran back in , the main focus was "Next-Gen VR", meaning at the time PCVR, with high hopes for PSVR2 (which hadn't been officially announced). During the next year or so, we (myself, Noah Rayburn and Mark Schramm #VR #AR #MR) focused purely on supporting PC VR hardware. Rift/S, Vive, Index (including controllers), all WMR devices, etc... Mark even added HOTAS and Leap Motion support. BUT, as I'm sure you know, PCVR has been in decline since around the launch of Half-Life: Alyx, which Anton Hand so eloquently called the punctuation mark on the gravestone of PCVR. The Rift store is a ghost town.. like officially.. even according to Meta, Viveport (lets not even go there), what else we got? WMR Store? Was that even a thing? Anyway... Lucky for us, PSVR2 was just over the horizon and we had the dev kits! How well is PSV2 doing though? Guess is (based on speaking with other top VR devs), not that great... Somewhere in there, the great and powerful Noah Rayburn was able to implement a pretty slick "non-VR mode" upon my request to be able to test the game without having to keep taking the HMD off and on while balancing controllers on my knees and working with janky Quest link stuff. Good news! Non-VR mode is great! No just for testing, but for playing. We decided to go full in on it's development and offer it to the consumers. Bonus, it also runs on Steam Deck! (See video below). Now as we gear up to finish the game and run out of money (hopefully in that order), I'm thinking a lot about the market for the game and our placement in it. We have a decent amount of wishlists (66k on Steam and 24k on PS5) so far. Hope is that launching as a PSVR2 title will capture a good chunk of those users, pushing it up on the general PSN store ranking (notoriously hard for indies to do otherwise), and we'll make some sales to traditional flat PS5 gamers as well. Snowballing a bit if we're lucky. Steam launch could do decently well if timed properly, with hopes of the same "VR first" snowballing effect. Why am I telling you all of this? I just thought it would be good to get it in writing and have a place to point. We are starting to run low on money (PCVR presales have basically dried up), so it's also to let you know that the fire is lit under my ass to ship this thing. That said, it won't ship until its good and done. A delayed game is eventually good, but a rushed game is forever bad. Oh, and before you say "Why not port it to Quest", put down the pipe. I understand that you're not a developer, but take my word for it, that's not happening. Not with this budget(or lack thereof), this sized team , or this generation of devices. Ok. that's it. My longest twitter post. PC/PCVR Preorder and early access: Steam Wishlist PSN Wishlist ❤️🧡💙🖤

Blair Renaud // LOW-FI 🟥🟧⬛

69,789 просмотров • 2 лет назад

To accompany our full DDD translation release tomorrow, we built an interactive meta-timeline compiling every interview, blog entry, and article referencing the series we could track down! I suggest checking it after every arc to get a taste of what it might have felt like reading it back in the day! • Side-by-side Japanese & English text for easy cross-referencing • Built-in Spanish translation toggle, TL courtesy of 𝙰⃪𝚜⃪𝚝⃪𝚛⃪𝚊⃪𝚖⃪ • Fully scrollable chronological archive Featuring: 1. Bamboo Broom Posts (2005: Nov 26, Dec 22 / 2007: Jan 9, Jun 4, Jul 17, Jul 31, Aug 10, Sep 1, Oct 10 / 2008: Jul 4, Sep 15 / 2010: Jun 9) 2. Koyama Blog Posts (2005: Nov 28, Dec 22 / 2007: Jan 9, Mar 26, Sep 2) 3. Fate/stay night 2nd Character Popularity Poll 4. Character Material 5. Kodansha Webpage 6. Da Vinci Features (March issue, June issue) 7. Barrage Rei Hiroe Artworks 8. Type-Moon Special Guidance Books (Winter '07, Summer '08) 9. Kara no Kyoukai Movie 4 Pamphlet 10. Type-Moon Ace Vol. 2 11. Beyond the Cosmos Interview 12. Fate/Complete Material V 13. 4Gamer Mahoutsukai no Yoru 14. Dreams of the Shimmering Stars Interview 15. Rurihime WANI Magazine Comics 16. Type-Moon April Fools 2013 17. Kara no Kyoukai: Final Record 18. Chiba Prefecture Children's Cafeteria Network Conference 19. Honkai Star Rail: Shaoji Interview Going live tomorrow alongside the full release!
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To accompany our full DDD translation release tomorrow, we built an interactive meta-timeline compiling every interview, blog entry, and article referencing the series we could track down! I suggest checking it after every arc to get a taste of what it might have felt like reading it back in the day! • Side-by-side Japanese & English text for easy cross-referencing • Built-in Spanish translation toggle, TL courtesy of 𝙰⃪𝚜⃪𝚝⃪𝚛⃪𝚊⃪𝚖⃪ • Fully scrollable chronological archive Featuring: 1. Bamboo Broom Posts (2005: Nov 26, Dec 22 / 2007: Jan 9, Jun 4, Jul 17, Jul 31, Aug 10, Sep 1, Oct 10 / 2008: Jul 4, Sep 15 / 2010: Jun 9) 2. Koyama Blog Posts (2005: Nov 28, Dec 22 / 2007: Jan 9, Mar 26, Sep 2) 3. Fate/stay night 2nd Character Popularity Poll 4. Character Material 5. Kodansha Webpage 6. Da Vinci Features (March issue, June issue) 7. Barrage Rei Hiroe Artworks 8. Type-Moon Special Guidance Books (Winter '07, Summer '08) 9. Kara no Kyoukai Movie 4 Pamphlet 10. Type-Moon Ace Vol. 2 11. Beyond the Cosmos Interview 12. Fate/Complete Material V 13. 4Gamer Mahoutsukai no Yoru 14. Dreams of the Shimmering Stars Interview 15. Rurihime WANI Magazine Comics 16. Type-Moon April Fools 2013 17. Kara no Kyoukai: Final Record 18. Chiba Prefecture Children's Cafeteria Network Conference 19. Honkai Star Rail: Shaoji Interview Going live tomorrow alongside the full release!

Yusuke

15,202 просмотров • 1 месяц назад

🚨BREAKING: AIPAC just got absolutely NUKED — the most savage political ad in American history just dropped and they’re already shaking A new PAC just dropped the most devastating anti-AIPAC ad you’ll ever see. They’re not asking for permission. They’re not begging Congress. They’re coming for the seats. Meet AZAPAC – the Anti-Zionist America PAC Their mission: End the Israel lobby’s stranglehold on Congress. No more $33,000,000,000+ since Oct 7 while Americans rot. No more puppets. No more extortionist. This 90-second ad is pure fire. Watch till the end. 🔥 “We’re not pleading for our country back. We’re taking it.” They’re already backing warriors: 🇺🇸 Jose Vega vs Richie Torres (NY) 🇺🇸 Aaron Baker + Griff vs Florida’s biggest Zionists More coming. AZAPAC is non-partisan, just like AIPAC pretends to be. If you’re sick of being called “antisemitic” for wanting America First… This is your army. Go There RIGHT NOW → Follow AZAPAC and go check out their website, also FOLLOW Sabby Sabs and check her FULL Video. Both will be linked down in the comments below Donate. Volunteer. Amplify. The mask is off. The fight is on. Who’s in? 👇
5:34

🚨BREAKING: AIPAC just got absolutely NUKED — the most savage political ad in American history just dropped and they’re already shaking A new PAC just dropped the most devastating anti-AIPAC ad you’ll ever see. They’re not asking for permission. They’re not begging Congress. They’re coming for the seats. Meet AZAPAC – the Anti-Zionist America PAC Their mission: End the Israel lobby’s stranglehold on Congress. No more $33,000,000,000+ since Oct 7 while Americans rot. No more puppets. No more extortionist. This 90-second ad is pure fire. Watch till the end. 🔥 “We’re not pleading for our country back. We’re taking it.” They’re already backing warriors: 🇺🇸 Jose Vega vs Richie Torres (NY) 🇺🇸 Aaron Baker + Griff vs Florida’s biggest Zionists More coming. AZAPAC is non-partisan, just like AIPAC pretends to be. If you’re sick of being called “antisemitic” for wanting America First… This is your army. Go There RIGHT NOW → Follow AZAPAC and go check out their website, also FOLLOW Sabby Sabs and check her FULL Video. Both will be linked down in the comments below Donate. Volunteer. Amplify. The mask is off. The fight is on. Who’s in? 👇

Project Constitution

162,788 просмотров • 10 месяцев назад

Anthropic's most viral feature is now open-source! Until now, Anthropic's Generative UI capabilities only existed inside its own products. CopilotKit🪁 just shipped Open Generative UI, an open-source implementation of Claude Artifacts that works in any app. The agent generates HTML/SVG at runtime, and CopilotKit streams it token-by-token into a sandboxed iframe inside the app's chat. So the user can watch the UI assemble itself in real time, not after the full response is ready. The sandbox is fully isolated with no access to the parent app, the DOM, or user data. So if the agent hallucinates broken markup or unexpected JavaScript, nothing leaks outside the iframe. Under the hood, the agent does not select from pre-built components. Instead, it generates arbitrary visuals from scratch every time. The output is unconstrained by default, but you can shape it by defining prompt-based skills that teach the agent specific visual formats or guidelines. For instance, a skill prompt can guide the agent toward producing a Chart.js dashboard with proper axis labels and responsive sizing, or an interactive 3D model with rotation controls. The video below shows this in action, and the output quality you see actually comes from the skills layer. Open Generative UI runs on AG-UI, so it works out of the box with LangGraph, CrewAI, Mastra, Google ADK, AWS Strands, and more. It also ships with a standalone MCP server that plugs into Claude Code, Cursor, or any MCP-compatible client. And the entire stack is built on top of CopilotKit, the open-source frontend framework for agents and generative UI. 30k+ GitHub stars, with SDKs for React, Next.js, Angular, and Vue. I have shared the GitHub repo and a live playground in the replies!
0:53

Anthropic's most viral feature is now open-source! Until now, Anthropic's Generative UI capabilities only existed inside its own products. CopilotKit🪁 just shipped Open Generative UI, an open-source implementation of Claude Artifacts that works in any app. The agent generates HTML/SVG at runtime, and CopilotKit streams it token-by-token into a sandboxed iframe inside the app's chat. So the user can watch the UI assemble itself in real time, not after the full response is ready. The sandbox is fully isolated with no access to the parent app, the DOM, or user data. So if the agent hallucinates broken markup or unexpected JavaScript, nothing leaks outside the iframe. Under the hood, the agent does not select from pre-built components. Instead, it generates arbitrary visuals from scratch every time. The output is unconstrained by default, but you can shape it by defining prompt-based skills that teach the agent specific visual formats or guidelines. For instance, a skill prompt can guide the agent toward producing a Chart.js dashboard with proper axis labels and responsive sizing, or an interactive 3D model with rotation controls. The video below shows this in action, and the output quality you see actually comes from the skills layer. Open Generative UI runs on AG-UI, so it works out of the box with LangGraph, CrewAI, Mastra, Google ADK, AWS Strands, and more. It also ships with a standalone MCP server that plugs into Claude Code, Cursor, or any MCP-compatible client. And the entire stack is built on top of CopilotKit, the open-source frontend framework for agents and generative UI. 30k+ GitHub stars, with SDKs for React, Next.js, Angular, and Vue. I have shared the GitHub repo and a live playground in the replies!

Akshay 🚀

87,048 просмотров • 4 месяцев назад

You finally get to see the scene that was never supposed to exist. 👀 Made with Pollo AI 365 days of unlimited MiniMax H3. No extra credits, no limits just create. Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. IMPORTANT CHARACTER AND POV LOCK: The vlogger is ALWAYS >>. The vlogger is a man, and he remains the same person throughout the entire video. He is the person physically holding and operating the single camera. He is NEVER replaced by any other reference character. Reference images used in individual scenes describe ONLY the people or animals appearing in that specific scene, unless explicitly stated otherwise. The vlogger’s phone IS the camera — it never appears on screen, and he never holds a second phone or any other device. When the front camera is active, the viewer sees the vlogger himself in selfie view. When the rear camera is active, the viewer sees ONLY the environment and subjects in front of him from his physical walking POV. The phone itself is NEVER visible. This is a continuous real-world camera transition, not a cut. 0:00–0:05 — FRONT CAMERA / SELFIE POV: The vlogger >> films himself at arm’s length while walking down the sidewalk. His face is a touch overexposed by daylight. He starts excitedly: “Guys! I just—” Behind his shoulder, a couple walking the opposite way passes right beside him. A beat later, the guy >> stops and turns back, head over his shoulder, staring straight at the vlogger — matching the reference pose. His girlfriend >>, still gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau. His stare reads odd and unreadable, NOT flirty. The vlogger sees them in his own selfie frame, cuts himself off mid-word and reacts instantly without breaking stride: “…What was that?” He keeps walking. 0:05–0:09 — FLIP TO REAR CAMERA / VLOGGER’S PHYSICAL POV: WITHOUT CUTTING, the vlogger physically flips the phone from front camera to rear camera. The camera itself is never visible. The image transitions naturally from selfie view into the rear-camera view of exactly what is in front of him. He immediately WHIPS the rear camera to the RIGHT toward a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, with a small speaker beside him looping a soft instrumental backing. He leans toward the microphone, takes a breath to sing the first line — and suddenly bursts out laughing instead, turning away and covering his mouth. He waves it off, then resets toward the microphone. The vlogger laughs quietly behind the camera. 0:09–0:13 — REAR CAMERA / CONTINUOUS POV: WITHOUT CUTTING, the vlogger continues physically panning RIGHT along the same café terrace. At one table, a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in and holds her back. The camera then makes a QUICK PUNCH-IN DIGITAL ZOOM toward the opposite table. The cat >> sits upright behind a plate of salad, perfectly calm and completely unimpressed by the chaos. Autofocus hunts for a split second during the zoom. The vlogger continues walking. 0:13–0:17 — REAR CAMERA / FIRST SHOW THE MAN, THEN FOLLOW HIS GAZE UP: WITHOUT CUTTING, the camera moves slightly farther along the sidewalk and FIRST frames the man >> standing on the street near the building. IMPORTANT: The man >> is NOT the vlogger. He is a separate person standing in the environment. He is NOT holding the camera, NOT filming himself, and NEVER becomes the POV character. The camera clearly shows his full upper body as he stands below the building, looking UP toward the second floor. His head is tilted upward and his eyes are visibly directed toward something above him. The vlogger notices what the man is looking at and physically follows his gaze. The camera then TILTS UP from the man’s position toward the brick facade directly above the café awning, naturally following the man’s line of sight. The movement must clearly communicate: MAN LOOKS UP → CAMERA FOLLOWS HIS GAZE → WINDOW ABOVE. A second-floor open window comes into view, with a fire escape beside it. The dog >> is sitting in that window with its eyes closed, chin lifted, peacefully soaking up the warm golden sunlight hitting the facade. IMPORTANT: >> is ONLY the DOG. The dog is inside the upper window. It is NOT the vlogger and NOT a human character. The camera performs a QUICK DIGITAL ZOOM toward the dog. The image becomes slightly softer and shakier from the digital zoom. Hold only long enough to clearly reveal the dog enjoying the sunlight. The vlogger reacts behind the camera: “Awww, look at him…” 0:17–0:21 — REAR CAMERA / RETURN TO STREET LEVEL: WITHOUT CUTTING, the camera tilts back DOWN from the dog and window to street level, returning to the same sidewalk. The camera then swings FORWARD toward a few steps ahead on the same sidewalk, where the man from >> is standing. IMPORTANT: >> is a SEPARATE STREET CHARACTER. He is NOT the vlogger. He does NOT hold the camera. He does NOT interact physically with the vlogger. The vlogger is only observing him from behind the camera while walking past. The man wears the black leather jacket and black pants shown in the reference. He is standing on the sidewalk making an exaggerated “thinking / knowledge” gesture with his index finger touching or pointing toward his temple, matching the reference pose. He is NOT standing together with the vlogger. Maintain visible physical distance between the vlogger and this man. The vlogger walks past him while keeping the rear camera briefly trained on him and half-laughs: “What is going on?” 0:21–0:24 — REAR CAMERA / WHIP LEFT ACROSS THE ROAD: WITHOUT CUTTING, the vlogger whips the rear camera to the LEFT, across the two-lane road, toward a sedan parked at the opposite curb. Shaky digital zoom toward the driver’s window. A man >> sits behind the wheel, one hand draped over the top of the steering wheel. He stares directly into the rear-camera lens with a heavy, unblinking, suspicious expression. His eyes slowly track the vlogger as the vlogger walks past. The vlogger says flatly from behind the camera: “…What is his problem?” 0:24–0:30 — REAR CAMERA → FRONT CAMERA → REAR CAMERA: WITHOUT CUTTING, the camera swings back FORWARD toward the corner of the block. Ahead, a child >> is sitting sideways near the roadside, holding a coffee cup and looking toward the camera. The child is a completely separate background character and is NOT the vlogger. The vlogger continues WALKING TOWARD the child. As he gets closer, he performs a QUICK DIGITAL ZOOM. The child looks toward the camera, casually raises the coffee cup and takes a small SIP while looking at the camera. Keep the child as the only visual focus. Natural spontaneous behavior. Immediately after the child's sip, the vlogger physically FLIPS the phone from rear camera to FRONT CAMERA. This is a real camera flip, not a cinematic cut. The phone itself remains invisible. Says: “I can’t believe this”. The take ends naturally mid-walk, still handheld, still continuous, with NO CUT and NO EDIT.
0:30

You finally get to see the scene that was never supposed to exist. 👀 Made with Pollo AI 365 days of unlimited MiniMax H3. No extra credits, no limits just create. Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. IMPORTANT CHARACTER AND POV LOCK: The vlogger is ALWAYS >>. The vlogger is a man, and he remains the same person throughout the entire video. He is the person physically holding and operating the single camera. He is NEVER replaced by any other reference character. Reference images used in individual scenes describe ONLY the people or animals appearing in that specific scene, unless explicitly stated otherwise. The vlogger’s phone IS the camera — it never appears on screen, and he never holds a second phone or any other device. When the front camera is active, the viewer sees the vlogger himself in selfie view. When the rear camera is active, the viewer sees ONLY the environment and subjects in front of him from his physical walking POV. The phone itself is NEVER visible. This is a continuous real-world camera transition, not a cut. 0:00–0:05 — FRONT CAMERA / SELFIE POV: The vlogger >> films himself at arm’s length while walking down the sidewalk. His face is a touch overexposed by daylight. He starts excitedly: “Guys! I just—” Behind his shoulder, a couple walking the opposite way passes right beside him. A beat later, the guy >> stops and turns back, head over his shoulder, staring straight at the vlogger — matching the reference pose. His girlfriend >>, still gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau. His stare reads odd and unreadable, NOT flirty. The vlogger sees them in his own selfie frame, cuts himself off mid-word and reacts instantly without breaking stride: “…What was that?” He keeps walking. 0:05–0:09 — FLIP TO REAR CAMERA / VLOGGER’S PHYSICAL POV: WITHOUT CUTTING, the vlogger physically flips the phone from front camera to rear camera. The camera itself is never visible. The image transitions naturally from selfie view into the rear-camera view of exactly what is in front of him. He immediately WHIPS the rear camera to the RIGHT toward a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, with a small speaker beside him looping a soft instrumental backing. He leans toward the microphone, takes a breath to sing the first line — and suddenly bursts out laughing instead, turning away and covering his mouth. He waves it off, then resets toward the microphone. The vlogger laughs quietly behind the camera. 0:09–0:13 — REAR CAMERA / CONTINUOUS POV: WITHOUT CUTTING, the vlogger continues physically panning RIGHT along the same café terrace. At one table, a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in and holds her back. The camera then makes a QUICK PUNCH-IN DIGITAL ZOOM toward the opposite table. The cat >> sits upright behind a plate of salad, perfectly calm and completely unimpressed by the chaos. Autofocus hunts for a split second during the zoom. The vlogger continues walking. 0:13–0:17 — REAR CAMERA / FIRST SHOW THE MAN, THEN FOLLOW HIS GAZE UP: WITHOUT CUTTING, the camera moves slightly farther along the sidewalk and FIRST frames the man >> standing on the street near the building. IMPORTANT: The man >> is NOT the vlogger. He is a separate person standing in the environment. He is NOT holding the camera, NOT filming himself, and NEVER becomes the POV character. The camera clearly shows his full upper body as he stands below the building, looking UP toward the second floor. His head is tilted upward and his eyes are visibly directed toward something above him. The vlogger notices what the man is looking at and physically follows his gaze. The camera then TILTS UP from the man’s position toward the brick facade directly above the café awning, naturally following the man’s line of sight. The movement must clearly communicate: MAN LOOKS UP → CAMERA FOLLOWS HIS GAZE → WINDOW ABOVE. A second-floor open window comes into view, with a fire escape beside it. The dog >> is sitting in that window with its eyes closed, chin lifted, peacefully soaking up the warm golden sunlight hitting the facade. IMPORTANT: >> is ONLY the DOG. The dog is inside the upper window. It is NOT the vlogger and NOT a human character. The camera performs a QUICK DIGITAL ZOOM toward the dog. The image becomes slightly softer and shakier from the digital zoom. Hold only long enough to clearly reveal the dog enjoying the sunlight. The vlogger reacts behind the camera: “Awww, look at him…” 0:17–0:21 — REAR CAMERA / RETURN TO STREET LEVEL: WITHOUT CUTTING, the camera tilts back DOWN from the dog and window to street level, returning to the same sidewalk. The camera then swings FORWARD toward a few steps ahead on the same sidewalk, where the man from >> is standing. IMPORTANT: >> is a SEPARATE STREET CHARACTER. He is NOT the vlogger. He does NOT hold the camera. He does NOT interact physically with the vlogger. The vlogger is only observing him from behind the camera while walking past. The man wears the black leather jacket and black pants shown in the reference. He is standing on the sidewalk making an exaggerated “thinking / knowledge” gesture with his index finger touching or pointing toward his temple, matching the reference pose. He is NOT standing together with the vlogger. Maintain visible physical distance between the vlogger and this man. The vlogger walks past him while keeping the rear camera briefly trained on him and half-laughs: “What is going on?” 0:21–0:24 — REAR CAMERA / WHIP LEFT ACROSS THE ROAD: WITHOUT CUTTING, the vlogger whips the rear camera to the LEFT, across the two-lane road, toward a sedan parked at the opposite curb. Shaky digital zoom toward the driver’s window. A man >> sits behind the wheel, one hand draped over the top of the steering wheel. He stares directly into the rear-camera lens with a heavy, unblinking, suspicious expression. His eyes slowly track the vlogger as the vlogger walks past. The vlogger says flatly from behind the camera: “…What is his problem?” 0:24–0:30 — REAR CAMERA → FRONT CAMERA → REAR CAMERA: WITHOUT CUTTING, the camera swings back FORWARD toward the corner of the block. Ahead, a child >> is sitting sideways near the roadside, holding a coffee cup and looking toward the camera. The child is a completely separate background character and is NOT the vlogger. The vlogger continues WALKING TOWARD the child. As he gets closer, he performs a QUICK DIGITAL ZOOM. The child looks toward the camera, casually raises the coffee cup and takes a small SIP while looking at the camera. Keep the child as the only visual focus. Natural spontaneous behavior. Immediately after the child's sip, the vlogger physically FLIPS the phone from rear camera to FRONT CAMERA. This is a real camera flip, not a cinematic cut. The phone itself remains invisible. Says: “I can’t believe this”. The take ends naturally mid-walk, still handheld, still continuous, with NO CUT and NO EDIT.

Kashberg

17,892 просмотров • 10 дней назад

Predictix: DNA, AI, and the #Zionist Infiltration of UK Mental Health. My report yesterday for UK Column covers the Israeli influence over mental health in the UK - DNA-mining and fast-track drug prescription. Yesterday’s main report covers the progression from the UK-Israel partnership on health sectors in northern England to the involvement of Israeli “innovation” in mental health care and fast-track to drug prescription based on your DNA and demographic data. It is a terrifying glimpse into a future influenced and governed those who wish to see us converted into hackable humans with no connection to our collective Humanity. You can watch the full news program here. The following is taken from a recent article by Julian Rose, further excerpts below: Yuval Noah Harari, the Israeli professor of history and top advisor to the Word Economic Forum cabal, has made a point of stating how human beings are now “hackable”, and how this will enable the reengineering of the human into a gene edited version in which ‘all the faults have been removed’. With the result that this entity will then become ‘superior to God’. “We will do better than God” in Harari’s words. This has a strong throw-back to Hitler’s preoccupation with the pre World War Two eugenics program, designed to result in the breeding of ‘the perfect Aryan’. In the Nazi’s case, an athletic, blond haired, blue eyed ‘ubermensch’. Read more on my Substack: David Miller Crispin Flintoff
18:20

Predictix: DNA, AI, and the #Zionist Infiltration of UK Mental Health. My report yesterday for UK Column covers the Israeli influence over mental health in the UK - DNA-mining and fast-track drug prescription. Yesterday’s main report covers the progression from the UK-Israel partnership on health sectors in northern England to the involvement of Israeli “innovation” in mental health care and fast-track to drug prescription based on your DNA and demographic data. It is a terrifying glimpse into a future influenced and governed those who wish to see us converted into hackable humans with no connection to our collective Humanity. You can watch the full news program here. The following is taken from a recent article by Julian Rose, further excerpts below: Yuval Noah Harari, the Israeli professor of history and top advisor to the Word Economic Forum cabal, has made a point of stating how human beings are now “hackable”, and how this will enable the reengineering of the human into a gene edited version in which ‘all the faults have been removed’. With the result that this entity will then become ‘superior to God’. “We will do better than God” in Harari’s words. This has a strong throw-back to Hitler’s preoccupation with the pre World War Two eugenics program, designed to result in the breeding of ‘the perfect Aryan’. In the Nazi’s case, an athletic, blond haired, blue eyed ‘ubermensch’. Read more on my Substack: David Miller Crispin Flintoff

Vanessa Beeley

13,614 просмотров • 1 год назад

‼️ VICTOR MARX CAUGHT RED-HANDED Weaving Another Fantastical Tale — Can’t Name the Man He Claims He Killed at Age 7, Doesn’t Know the Town, the House, or Where the Body Is 😱 This is the guy running for Governor of Colorado… and his “harrowing childhood” story is falling apart in real time. Candace Owens presses him on the story he’s told for years: At age 7, his stepfather forced him to shoot and kill a man, then bury the body in the backyard. Victor’s answers? Name of the victim? “I didn’t know who he was.” Town where it happened? (Stumbles, dodges, then finally says one of two sister towns — Mendenhall or Magee in Simpson County) Where was the house? Where’s the body buried? “We don’t know where the house is… we don’t know where he was buried.” What did the sheriff say when he called years later? It’s now a “cold case”… somehow. His own family in Mississippi says none of this ever happened. No missing person reports. No news stories. Nothing in a tiny rural community where a murder would’ve been noticed. Yet Victor Marx keeps telling this story on documentaries, in interviews, and at events. This is the SAME man who: ✅ Announced Charlie Kirk’s assassination 90 minutes before the President ✅ Was inside Erika Kirk’s home “comforting” her with a bulletproof car ✅ Announced his run for governor at Charlie’s memorial — a “calling from God” And now he can’t keep his own origin story straight? Deflection. Inconsistencies. Fantastical tales with zero verifiable details. This isn’t trauma. This is a pattern. FOLLOW Candace Owens RT this immediately Watch the FULL interview below and decide for yourself. They think you won’t notice. They think you’re not paying attention. ⚠️ My channel is under coordinated attack to bankrupt and silence this investigation into the Charlie Kirk assassination. If you want the truth to keep coming, your support right now is everything. Link in bio. 💪 🔗
8:46

‼️ VICTOR MARX CAUGHT RED-HANDED Weaving Another Fantastical Tale — Can’t Name the Man He Claims He Killed at Age 7, Doesn’t Know the Town, the House, or Where the Body Is 😱 This is the guy running for Governor of Colorado… and his “harrowing childhood” story is falling apart in real time. Candace Owens presses him on the story he’s told for years: At age 7, his stepfather forced him to shoot and kill a man, then bury the body in the backyard. Victor’s answers? Name of the victim? “I didn’t know who he was.” Town where it happened? (Stumbles, dodges, then finally says one of two sister towns — Mendenhall or Magee in Simpson County) Where was the house? Where’s the body buried? “We don’t know where the house is… we don’t know where he was buried.” What did the sheriff say when he called years later? It’s now a “cold case”… somehow. His own family in Mississippi says none of this ever happened. No missing person reports. No news stories. Nothing in a tiny rural community where a murder would’ve been noticed. Yet Victor Marx keeps telling this story on documentaries, in interviews, and at events. This is the SAME man who: ✅ Announced Charlie Kirk’s assassination 90 minutes before the President ✅ Was inside Erika Kirk’s home “comforting” her with a bulletproof car ✅ Announced his run for governor at Charlie’s memorial — a “calling from God” And now he can’t keep his own origin story straight? Deflection. Inconsistencies. Fantastical tales with zero verifiable details. This isn’t trauma. This is a pattern. FOLLOW Candace Owens RT this immediately Watch the FULL interview below and decide for yourself. They think you won’t notice. They think you’re not paying attention. ⚠️ My channel is under coordinated attack to bankrupt and silence this investigation into the Charlie Kirk assassination. If you want the truth to keep coming, your support right now is everything. Link in bio. 💪 🔗

Project Constitution

27,248 просмотров • 3 месяцев назад

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
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What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 просмотров • 29 дней назад

Most of my video work is heavily rely on character sheets. Originally my character sheets were pretty simple, just 3 views made in Nano Banana. But I wanted something neater that actually feels like a proper production character sheet. So here's how I do it now in LovartAI Step 1: Create the base image of your character in Nano Banana. It can be anything. I just describe mine conversationally, something like "create a Thai high school student." That's enough to get started. Step 2: Once you have the base image, feed it into the template below. I run this in GPT o2 Image because the detail output is really good. And that's genuinely it. The template below is fully adjustable. Make it yours. And please note that everything happens conversationally with LovartAI which the best part 😉 + + + Prompt Example: [STYLE]: cinematic realism, Wong Kar-Wai atmosphere, high contrast, film grain, warm humid haze, 35mm anamorphic feel [LAYOUT]: single unified MASTER CHARACTER REFERENCE SHEET, two-page-spread feel, neutral off-white background, sections clearly separated with bold headers [CHARACTER]: - Name: Mira - Alias / role: The Woman - Age descriptor: young adult - Build: slender, natural proportions - Face: warm brown skin, natural beauty, no makeup, subtle imperfections, sweat sheen, half-lidded eyes, slightly parted lips - Hair: messy ponytail, tortoiseshell claw clip - Wardrobe: faded sage-green T-shirt, clinging, damp at collarbone, casual shorts - Props: none - Distinguishing features: sweat on temples and neck, natural skin texture - Personality (drives micro-expressions): intensely seductive, confident, teasing, deliberate [LEFT PAGE]: [SECTION 1 — TITLE + INFO BLOCK, top-left]: large character name header + 6 short stat lines (Name / Alias / Height / Build / Role / Archetype). Sans-serif, each line under 20 words. [SECTION 2 — MAIN IDENTITY + SCALE, dominant left column]: full-body front view, neutral pose, even lighting. THIS PANEL DOMINATES. [SECTION 3 — VIEWS, top-right]: 3/4 angle and full side view, two figures side by side, identical outfit/lighting [SECTION 4 — WARDROBE & ACCESSORIES, mid-left]: each item on flat surface with short label [SECTION 5 — COLOR PALETTE, bottom-left]: 6 horizontal swatches — skin / hair / shirt / shorts / clip / accent — each with short label [RIGHT PAGE]: [SECTION 6 — EXPRESSION PROGRESSION, top row]: 8 head shots — neutral / warm smile / laugh / sad / angry / surprised / determined / vulnerable. Single-word emotion tags. [SECTION 7 — MICRO EXPRESSIONS, second row]: 5 head shots showing subtle muscle changes — slight eye tension / jaw clench / subtle brow tightening / lower eyelid tension / lip compression [SECTION 8 — HEAD DETAIL, third row left]: one large close-up, chest up. Most detailed shot. [SECTION 9 — POSTURE VARIATIONS, third row right]: 4 small full-body in characteristic postures — standing relaxed, seated alert, mid-action, walking with intent [SECTION 10 — NOTES PANEL, fourth row left]: short text block (max 3 lines, each under 20 words) describing behavior [SECTION 11 — HAND GESTURES, fourth row center]: 3 close-ups of hands in characteristic poses [SECTION 12 — SILHOUETTE GUIDE, fourth row right]: 2 black silhouettes side by side — NEUTRAL and ACTION, pure black on white [CONSTRAINTS]: same character, face, outfit pieces, proportions across all sections. MAIN IDENTITY + SCALE must dominate. Final image should look like a premium production visual bible matching the selected style. [CONSTRAINTS]: no watermark, no extra unspecified text, natural realistic body proportions, identical body shape across all panels.
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Most of my video work is heavily rely on character sheets. Originally my character sheets were pretty simple, just 3 views made in Nano Banana. But I wanted something neater that actually feels like a proper production character sheet. So here's how I do it now in LovartAI Step 1: Create the base image of your character in Nano Banana. It can be anything. I just describe mine conversationally, something like "create a Thai high school student." That's enough to get started. Step 2: Once you have the base image, feed it into the template below. I run this in GPT o2 Image because the detail output is really good. And that's genuinely it. The template below is fully adjustable. Make it yours. And please note that everything happens conversationally with LovartAI which the best part 😉 + + + Prompt Example: [STYLE]: cinematic realism, Wong Kar-Wai atmosphere, high contrast, film grain, warm humid haze, 35mm anamorphic feel [LAYOUT]: single unified MASTER CHARACTER REFERENCE SHEET, two-page-spread feel, neutral off-white background, sections clearly separated with bold headers [CHARACTER]: - Name: Mira - Alias / role: The Woman - Age descriptor: young adult - Build: slender, natural proportions - Face: warm brown skin, natural beauty, no makeup, subtle imperfections, sweat sheen, half-lidded eyes, slightly parted lips - Hair: messy ponytail, tortoiseshell claw clip - Wardrobe: faded sage-green T-shirt, clinging, damp at collarbone, casual shorts - Props: none - Distinguishing features: sweat on temples and neck, natural skin texture - Personality (drives micro-expressions): intensely seductive, confident, teasing, deliberate [LEFT PAGE]: [SECTION 1 — TITLE + INFO BLOCK, top-left]: large character name header + 6 short stat lines (Name / Alias / Height / Build / Role / Archetype). Sans-serif, each line under 20 words. [SECTION 2 — MAIN IDENTITY + SCALE, dominant left column]: full-body front view, neutral pose, even lighting. THIS PANEL DOMINATES. [SECTION 3 — VIEWS, top-right]: 3/4 angle and full side view, two figures side by side, identical outfit/lighting [SECTION 4 — WARDROBE & ACCESSORIES, mid-left]: each item on flat surface with short label [SECTION 5 — COLOR PALETTE, bottom-left]: 6 horizontal swatches — skin / hair / shirt / shorts / clip / accent — each with short label [RIGHT PAGE]: [SECTION 6 — EXPRESSION PROGRESSION, top row]: 8 head shots — neutral / warm smile / laugh / sad / angry / surprised / determined / vulnerable. Single-word emotion tags. [SECTION 7 — MICRO EXPRESSIONS, second row]: 5 head shots showing subtle muscle changes — slight eye tension / jaw clench / subtle brow tightening / lower eyelid tension / lip compression [SECTION 8 — HEAD DETAIL, third row left]: one large close-up, chest up. Most detailed shot. [SECTION 9 — POSTURE VARIATIONS, third row right]: 4 small full-body in characteristic postures — standing relaxed, seated alert, mid-action, walking with intent [SECTION 10 — NOTES PANEL, fourth row left]: short text block (max 3 lines, each under 20 words) describing behavior [SECTION 11 — HAND GESTURES, fourth row center]: 3 close-ups of hands in characteristic poses [SECTION 12 — SILHOUETTE GUIDE, fourth row right]: 2 black silhouettes side by side — NEUTRAL and ACTION, pure black on white [CONSTRAINTS]: same character, face, outfit pieces, proportions across all sections. MAIN IDENTITY + SCALE must dominate. Final image should look like a premium production visual bible matching the selected style. [CONSTRAINTS]: no watermark, no extra unspecified text, natural realistic body proportions, identical body shape across all panels.

MXVDXN // DAN

31,144 просмотров • 3 месяцев назад

🎬Whimsical Reverie | Preview: Guide of No Return >> Main Attribute: Sexy 🌌Outfit Preview [Guide of No Return] can be evolved into the following outfits: [Guide of No Return: Commitment] (Stage 1), [Guide of No Return: Valediction] (Stage 2), and [Guide of No Return: Fate] (Stage 3). Fully glow it up to obtain the [Guide of No Return: Tranquility] outfit. 🌌Outfit Ability [Guiding Star: Archery]: After equipping the [Soul Guidance] bow, rapidly activate the Attack button to fire arrows at Esselings. Use the [Call of Souls] ability to enter [Soul Vigil] mode and gain aerial mobility with a unique attack style. The Soul Vigil mode can only be activated once by Call of Souls before landing. While in Soul Vigil, activate the Jump button to adjust the height. At specific moments, hold the Attack button to unleash [Echo of Return], rapidly firing a barrage of arrows at your target and charging the [Return Sigil] upon impact. Consume all Return Sigil energy to awaken the dormant power of all souls and guide them home, dealing a finishing strike. After use, Bow Energy is fully restored, and the Soul Vigil state is activated. While in a floating or Winged Hover state, the Return Sigil will not recover over time. 🌌Resonance Rewards Based on your number of Resonance attempts in [Evertide of No Return], you can earn rewards such as [Wandering Soul Tide: Makeup], [Momo's Cloak: Soul Song], and [Decoration: Cycle of Souls], which can be placed in open spaces for photography and display. When equipped with the [Momo's Cloak: Soul Song], Momo uses a bow for ranged basic attacks. After every three shots, the fourth becomes a powerful, piercing arrow that hits multiple targets. Hitting Esselings builds Soul Song Energy. When the cloak skill is ready, Momo consumes all stored energy to restore Nikki's Health and Bow Energy. 🌌Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Prologue of Fate]. Reaching Evolution Stage 2 unlocks [Surging Vows] for Momo's Camera: Framed Moment and the decoration [Cycle of Souls: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Windward Stream: Makeup], a new idle animation, the poses [Divine Descending], [Divine in Heart], and [Light Bestowed], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.5 Where All Souls Return launches globally on April 23 (UTC-7) ! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #Boneyard #WhereAllSoulsReturn
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🎬Whimsical Reverie | Preview: Guide of No Return >> Main Attribute: Sexy 🌌Outfit Preview [Guide of No Return] can be evolved into the following outfits: [Guide of No Return: Commitment] (Stage 1), [Guide of No Return: Valediction] (Stage 2), and [Guide of No Return: Fate] (Stage 3). Fully glow it up to obtain the [Guide of No Return: Tranquility] outfit. 🌌Outfit Ability [Guiding Star: Archery]: After equipping the [Soul Guidance] bow, rapidly activate the Attack button to fire arrows at Esselings. Use the [Call of Souls] ability to enter [Soul Vigil] mode and gain aerial mobility with a unique attack style. The Soul Vigil mode can only be activated once by Call of Souls before landing. While in Soul Vigil, activate the Jump button to adjust the height. At specific moments, hold the Attack button to unleash [Echo of Return], rapidly firing a barrage of arrows at your target and charging the [Return Sigil] upon impact. Consume all Return Sigil energy to awaken the dormant power of all souls and guide them home, dealing a finishing strike. After use, Bow Energy is fully restored, and the Soul Vigil state is activated. While in a floating or Winged Hover state, the Return Sigil will not recover over time. 🌌Resonance Rewards Based on your number of Resonance attempts in [Evertide of No Return], you can earn rewards such as [Wandering Soul Tide: Makeup], [Momo's Cloak: Soul Song], and [Decoration: Cycle of Souls], which can be placed in open spaces for photography and display. When equipped with the [Momo's Cloak: Soul Song], Momo uses a bow for ranged basic attacks. After every three shots, the fourth becomes a powerful, piercing arrow that hits multiple targets. Hitting Esselings builds Soul Song Energy. When the cloak skill is ready, Momo consumes all stored energy to restore Nikki's Health and Bow Energy. 🌌Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Prologue of Fate]. Reaching Evolution Stage 2 unlocks [Surging Vows] for Momo's Camera: Framed Moment and the decoration [Cycle of Souls: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Windward Stream: Makeup], a new idle animation, the poses [Divine Descending], [Divine in Heart], and [Light Bestowed], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.5 Where All Souls Return launches globally on April 23 (UTC-7) ! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #Boneyard #WhereAllSoulsReturn

Infinity Nikki

35,800 просмотров • 4 месяцев назад

Announcing DreamDojo: our open-source, interactive world model that takes robot motor controls and generates the future in pixels. No engine, no meshes, no hand-authored dynamics. It's Simulation 2.0. Time for robotics to take the bitter lesson pill. Real-world robot learning is bottlenecked by time, wear, safety, and resets. If we want Physical AI to move at pretraining speed, we need a simulator that adapts to pretraining scale with as little human engineering as possible. Our key insights: (1) human egocentric videos are a scalable source of first-person physics; (2) latent actions make them "robot-readable" across different hardware; (3) real-time inference unlocks live teleop, policy eval, and test-time planning *inside* a dream. We pre-train on 44K hours of human videos: cheap, abundant, and collected with zero robot-in-the-loop. Humans have already explored the combinatorics: we grasp, pour, fold, assemble, fail, retry—across cluttered scenes, shifting viewpoints, changing light, and hour-long task chains—at a scale no robot fleet could match. The missing piece: these videos have no action labels. So we introduce latent actions: a unified representation inferred directly from videos that captures "what changed between world states" without knowing the underlying hardware. This lets us train on any first-person video as if it came with motor commands attached. As a result, DreamDojo generalizes zero-shot to objects and environments never seen in any robot training set, because humans saw them first. Next, we post-train onto each robot to fit its specific hardware. Think of it as separating "how the world looks and behaves" from "how this particular robot actuates." The base model follows the general physical rules, then "snaps onto" the robot's unique mechanics. It's kind of like loading a new character and scene assets into Unreal Engine, but done through gradient descent and generalizes far beyond the post-training dataset. A world simulator is only useful if it runs fast enough to close the loop. We train a real-time version of DreamDojo that runs at 10 FPS, stable for over a minute of continuous rollout. This unlocks exciting possibilities: - Live teleoperation *inside* a dream. Connect a VR controller, stream actions into DreamDojo, and teleop a virtual robot in real time. We demo this on Unitree G1 with a PICO headset and one RTX 5090. - Policy evaluation. You can benchmark a policy checkpoint in DreamDojo instead of the real world. The simulated success rates strongly correlate with real-world results - accurate enough to rank checkpoints without burning a single motor. - Model-based planning. Sample multiple action proposals → simulate them all in parallel → pick the best future. Gains +17% real-world success out of the box on a fruit packing task. We open-source everything!! Weights, code, post-training dataset, eval set, and whitepaper with tons of details to reproduce. DreamDojo is based on NVIDIA Cosmos, which is open-weight too. 2026 is the year of World Models for physical AI. We want you to build with us. Happy scaling! Links in thread:
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Announcing DreamDojo: our open-source, interactive world model that takes robot motor controls and generates the future in pixels. No engine, no meshes, no hand-authored dynamics. It's Simulation 2.0. Time for robotics to take the bitter lesson pill. Real-world robot learning is bottlenecked by time, wear, safety, and resets. If we want Physical AI to move at pretraining speed, we need a simulator that adapts to pretraining scale with as little human engineering as possible. Our key insights: (1) human egocentric videos are a scalable source of first-person physics; (2) latent actions make them "robot-readable" across different hardware; (3) real-time inference unlocks live teleop, policy eval, and test-time planning *inside* a dream. We pre-train on 44K hours of human videos: cheap, abundant, and collected with zero robot-in-the-loop. Humans have already explored the combinatorics: we grasp, pour, fold, assemble, fail, retry—across cluttered scenes, shifting viewpoints, changing light, and hour-long task chains—at a scale no robot fleet could match. The missing piece: these videos have no action labels. So we introduce latent actions: a unified representation inferred directly from videos that captures "what changed between world states" without knowing the underlying hardware. This lets us train on any first-person video as if it came with motor commands attached. As a result, DreamDojo generalizes zero-shot to objects and environments never seen in any robot training set, because humans saw them first. Next, we post-train onto each robot to fit its specific hardware. Think of it as separating "how the world looks and behaves" from "how this particular robot actuates." The base model follows the general physical rules, then "snaps onto" the robot's unique mechanics. It's kind of like loading a new character and scene assets into Unreal Engine, but done through gradient descent and generalizes far beyond the post-training dataset. A world simulator is only useful if it runs fast enough to close the loop. We train a real-time version of DreamDojo that runs at 10 FPS, stable for over a minute of continuous rollout. This unlocks exciting possibilities: - Live teleoperation *inside* a dream. Connect a VR controller, stream actions into DreamDojo, and teleop a virtual robot in real time. We demo this on Unitree G1 with a PICO headset and one RTX 5090. - Policy evaluation. You can benchmark a policy checkpoint in DreamDojo instead of the real world. The simulated success rates strongly correlate with real-world results - accurate enough to rank checkpoints without burning a single motor. - Model-based planning. Sample multiple action proposals → simulate them all in parallel → pick the best future. Gains +17% real-world success out of the box on a fruit packing task. We open-source everything!! Weights, code, post-training dataset, eval set, and whitepaper with tons of details to reproduce. DreamDojo is based on NVIDIA Cosmos, which is open-weight too. 2026 is the year of World Models for physical AI. We want you to build with us. Happy scaling! Links in thread:

Jim Fan

228,702 просмотров • 6 месяцев назад

‼️ VICTOR MARX DROPS THE MOST CHILLING LINE YET — Texted Erika Kirk “Don’t Worry, They Aren’t Coming For You… They Only Wanted Charlie” Minutes After The Assassination 😱 🚩How did he know that???🚩 On Candace Owens’ show, Victor casually admits he contacted Erika Kirk immediately after Charlie was shot and told her: “Nobody’s gonna kill you… you’re safe… you and the kids… no one’s coming after you. They just wanted Charlie.” He repeated that line twice. How the hell did Victor Marx know — within minutes — that the assassins “only wanted Charlie” and that Erika and her children were completely safe? He wasn’t there. He wasn’t law enforcement. He wasn’t on the security detail. Yet he was 100% confident the hit was surgical and the family was off-limits. This wasn’t comfort. This sounds like a message from someone with insider information — the same energy as Andrew Kolvet telling Candace “it was supposed to be you.” This is the SAME Victor Marx who: ✅ Announced Charlie Kirk’s assassination 90 minutes before the President ✅ Was inside Erika Kirk’s home “comforting” her the day the body came home on Air Force Two ✅ Delivered her a bulletproof car for “safety” ✅ Announced his run for Governor at the memorial — a “calling from God” Candace missed the massive red flag. We didn’t. This clip is nuclear. FOLLOW Candace Owens, RT this immediately and Watch the FULL interview below and tell me this doesn’t raise every hair on your neck. ⚠️ My channel is under coordinated attack to bankrupt me and silence this investigation into the Charlie Kirk assassination. If you believe in independent journalism and want the truth to keep coming, your support right now is everything. 💪 🔗
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‼️ VICTOR MARX DROPS THE MOST CHILLING LINE YET — Texted Erika Kirk “Don’t Worry, They Aren’t Coming For You… They Only Wanted Charlie” Minutes After The Assassination 😱 🚩How did he know that???🚩 On Candace Owens’ show, Victor casually admits he contacted Erika Kirk immediately after Charlie was shot and told her: “Nobody’s gonna kill you… you’re safe… you and the kids… no one’s coming after you. They just wanted Charlie.” He repeated that line twice. How the hell did Victor Marx know — within minutes — that the assassins “only wanted Charlie” and that Erika and her children were completely safe? He wasn’t there. He wasn’t law enforcement. He wasn’t on the security detail. Yet he was 100% confident the hit was surgical and the family was off-limits. This wasn’t comfort. This sounds like a message from someone with insider information — the same energy as Andrew Kolvet telling Candace “it was supposed to be you.” This is the SAME Victor Marx who: ✅ Announced Charlie Kirk’s assassination 90 minutes before the President ✅ Was inside Erika Kirk’s home “comforting” her the day the body came home on Air Force Two ✅ Delivered her a bulletproof car for “safety” ✅ Announced his run for Governor at the memorial — a “calling from God” Candace missed the massive red flag. We didn’t. This clip is nuclear. FOLLOW Candace Owens, RT this immediately and Watch the FULL interview below and tell me this doesn’t raise every hair on your neck. ⚠️ My channel is under coordinated attack to bankrupt me and silence this investigation into the Charlie Kirk assassination. If you believe in independent journalism and want the truth to keep coming, your support right now is everything. 💪 🔗

Project Constitution

175,092 просмотров • 3 месяцев назад

Animated ads are the CHEAPEST way to scale a saturated category in 2026. Steal these 19 tricks Hydroh used in this winning ad: 1. Good Guy vs. Bad Guy: Make your product look like a hero, and make cheap knockoffs look like an ugly villain. 2. Crazy 2-Second Hook: Start in the middle of wild action so thumb-scrollers stop instantly. 3. Bright vs. Dirty Setup: Place your product in a bright room and the cheap competition in a dark gross spot. 4. Giant Cartoon Faces: Use big & silly facial expressions to show happy or angry feelings faster than real actors can. 5. Never Stay Still: Keep tiny bubbles, sparkles, motion (whatever’s relevant with your product) going so the video never feels dead or boring. 6. Show the Inside: Animate the inside of your product so buyers see why it works (your secret mechanism). 7. Funny Voice Contrast: Give your hero product a friendly voice and the bad product a scratchy & untrustworthy voice. 8. Juicy Sound Effects: Add satisfying pops, fizzes, and clicks whenever stuff moves on screen. 9. Bouncing Captions: Pop big words on screen right as they are spoken so people watching on mute still buy. 10. Look at the Buyer: Have your character stare right into the camera so the viewer feels like they're being talked to directly. 11. Show the Flaw Fast: Show why the cheap competitor sucks within the first 5 seconds. 12. Zoom In for Proof: Zoom in close when showing a cool feature, then pull back for the main point. 13. Touch & Bump: Make characters high-five, bump shoulders, or lean on each other so the animation feels real. 14. Big Flex Numbers: Put huge numbers on screen like "50g Protein" or "3,000 PPB" to prove it's high quality. 15. Sad Loser Ending: Make the bad product look sad, broken, and defeated right before you drop the price deal. 16. Sticky Buy Button: Keep a bright "Shop Now" banner glued to the bottom of the screen the whole time. 17. No-Risk Promise: Flash a huge risk reversal at the end to make buying a no-brainer. 18. Declare the Winner: Have your character explicitly point out why your product beat the competition. 19. Never-Ending Loop: Make the last second of the ad blend perfectly into the first second so people accidentally watch it twice. Now go and make your next winning animated ad. (If you’re doing $100k+ months and can’t crack animated winners like this, DM me ‘PIXAR’ )
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Animated ads are the CHEAPEST way to scale a saturated category in 2026. Steal these 19 tricks Hydroh used in this winning ad: 1. Good Guy vs. Bad Guy: Make your product look like a hero, and make cheap knockoffs look like an ugly villain. 2. Crazy 2-Second Hook: Start in the middle of wild action so thumb-scrollers stop instantly. 3. Bright vs. Dirty Setup: Place your product in a bright room and the cheap competition in a dark gross spot. 4. Giant Cartoon Faces: Use big & silly facial expressions to show happy or angry feelings faster than real actors can. 5. Never Stay Still: Keep tiny bubbles, sparkles, motion (whatever’s relevant with your product) going so the video never feels dead or boring. 6. Show the Inside: Animate the inside of your product so buyers see why it works (your secret mechanism). 7. Funny Voice Contrast: Give your hero product a friendly voice and the bad product a scratchy & untrustworthy voice. 8. Juicy Sound Effects: Add satisfying pops, fizzes, and clicks whenever stuff moves on screen. 9. Bouncing Captions: Pop big words on screen right as they are spoken so people watching on mute still buy. 10. Look at the Buyer: Have your character stare right into the camera so the viewer feels like they're being talked to directly. 11. Show the Flaw Fast: Show why the cheap competitor sucks within the first 5 seconds. 12. Zoom In for Proof: Zoom in close when showing a cool feature, then pull back for the main point. 13. Touch & Bump: Make characters high-five, bump shoulders, or lean on each other so the animation feels real. 14. Big Flex Numbers: Put huge numbers on screen like "50g Protein" or "3,000 PPB" to prove it's high quality. 15. Sad Loser Ending: Make the bad product look sad, broken, and defeated right before you drop the price deal. 16. Sticky Buy Button: Keep a bright "Shop Now" banner glued to the bottom of the screen the whole time. 17. No-Risk Promise: Flash a huge risk reversal at the end to make buying a no-brainer. 18. Declare the Winner: Have your character explicitly point out why your product beat the competition. 19. Never-Ending Loop: Make the last second of the ad blend perfectly into the first second so people accidentally watch it twice. Now go and make your next winning animated ad. (If you’re doing $100k+ months and can’t crack animated winners like this, DM me ‘PIXAR’ )

Nick Theriot

41,790 просмотров • 1 месяц назад

🎬 Whimsical Reverie | Preview: She Is Wildfire >> Main Attribute: Cool 🐺Outfit Preview [She Is Wildfire] can be evolved into the following outfits: [She Is Wildfire: Forest] (Stage 1), [She Is Wildfire: Waning Moon] (Stage 2), and [She Is Wildfire: Journey] (Stage 3). Fully glow it up to obtain the [She Is Wildfire: Frontispiece] outfit. ♦ By default, when Nikki wears the outerwear "Emberwood Wanderings" from this outfit, the hood is up. Stylists can toggle between the hood-up and hood-down look by accessing [Form Shift] in the [Feature Collection] section of the main interface sidebar. The outerwear's appearance is saved independently for the base, evolved, and glowed-up versions. Please note: when using certain features (such as switching details at Evolution Stage 3), the outerwear will revert to its default hood-up state. If you prefer the hood-down look, go back and select [Form Shift] again. 🐺Outfit Ability [Hunting Elegy: Battle Companion]: In Itzaland, using Hunting Elegy: Battle Companion summons the Phantom Companion Moon-Hunting Wolf to fight alongside Nikki. While not in Co-hunt State, Nikki can use her gun to mark an enemy. The wolf follows with a pursuit attack, dealing increased damage to the marked target. The Moon-Hunting Wolf can launch Nikki into the air, then follow her aim and slam down onto the targeted enemy. When the Moon-Hunting Wolf deals a certain amount of damage on its own, Nikki gains Gunblossom Marks. Using the Companion Skill consumes all Gunblossom Marks to restore an equal amount of Health. Approach the Moon-Hunting Wolf and use the button to unleash its full power, transforming it into a giant form and entering Co-hunt State, allowing Nikki to control it directly. While in Co-hunt State, the Moon-Hunting Wolf continuously consumes Battle Companion Energy. When depleted, the Co-hunt State ends, and the wolf returns to its small form. When not in Co-hunt State, Battle Companion Energy gradually recovers. ♦ This Battle Companion ability is region-restricted and can only be used in Itzaland. Phantom Companions cannot be summoned in certain stages, Curio Domains, or Mothershroom Woods, and any summoned Phantom Companions cannot follow Nikki into these areas. ♦ When Nikki wears the outerwear "Emberwood Wanderings" from this outfit, the Oathbound Co-hunt animation will automatically lower the hood upon finishing. If you'd like to keep the hood-up look instead, there is a toggle in the Ability Setup that lets you turn off the automatic hood removal. 🐺Resonance Rewards Based on your number of Resonance attempts in [Call of the Forest], you can earn rewards such as [She Is Wildfire: Makeup], [Momo's Cloak: Rose Flame], and [Decoration: Unawakened Forest], which can be placed in open spaces for photography and display. 🐺Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Time to Leave]. Reaching Evolution Stage 2 unlocks [Forest Hunter's Shadow] for Momo's Camera: Framed Moment and the decoration [Unawakened Forest: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Her Song of Freedom: Makeup], a new idle animation, the poses [Suspicious Figure], [Roaring Debut], and [Warming Up], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.4 The Forest Need Not Listen launches globally on March 26 (UTC-7)! ➤ Download Now: ➤ Join us on Reddit: #InfinityNikki #TheForestNeedNotListen
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🎬 Whimsical Reverie | Preview: She Is Wildfire >> Main Attribute: Cool 🐺Outfit Preview [She Is Wildfire] can be evolved into the following outfits: [She Is Wildfire: Forest] (Stage 1), [She Is Wildfire: Waning Moon] (Stage 2), and [She Is Wildfire: Journey] (Stage 3). Fully glow it up to obtain the [She Is Wildfire: Frontispiece] outfit. ♦ By default, when Nikki wears the outerwear "Emberwood Wanderings" from this outfit, the hood is up. Stylists can toggle between the hood-up and hood-down look by accessing [Form Shift] in the [Feature Collection] section of the main interface sidebar. The outerwear's appearance is saved independently for the base, evolved, and glowed-up versions. Please note: when using certain features (such as switching details at Evolution Stage 3), the outerwear will revert to its default hood-up state. If you prefer the hood-down look, go back and select [Form Shift] again. 🐺Outfit Ability [Hunting Elegy: Battle Companion]: In Itzaland, using Hunting Elegy: Battle Companion summons the Phantom Companion Moon-Hunting Wolf to fight alongside Nikki. While not in Co-hunt State, Nikki can use her gun to mark an enemy. The wolf follows with a pursuit attack, dealing increased damage to the marked target. The Moon-Hunting Wolf can launch Nikki into the air, then follow her aim and slam down onto the targeted enemy. When the Moon-Hunting Wolf deals a certain amount of damage on its own, Nikki gains Gunblossom Marks. Using the Companion Skill consumes all Gunblossom Marks to restore an equal amount of Health. Approach the Moon-Hunting Wolf and use the button to unleash its full power, transforming it into a giant form and entering Co-hunt State, allowing Nikki to control it directly. While in Co-hunt State, the Moon-Hunting Wolf continuously consumes Battle Companion Energy. When depleted, the Co-hunt State ends, and the wolf returns to its small form. When not in Co-hunt State, Battle Companion Energy gradually recovers. ♦ This Battle Companion ability is region-restricted and can only be used in Itzaland. Phantom Companions cannot be summoned in certain stages, Curio Domains, or Mothershroom Woods, and any summoned Phantom Companions cannot follow Nikki into these areas. ♦ When Nikki wears the outerwear "Emberwood Wanderings" from this outfit, the Oathbound Co-hunt animation will automatically lower the hood upon finishing. If you'd like to keep the hood-up look instead, there is a toggle in the Ability Setup that lets you turn off the automatic hood removal. 🐺Resonance Rewards Based on your number of Resonance attempts in [Call of the Forest], you can earn rewards such as [She Is Wildfire: Makeup], [Momo's Cloak: Rose Flame], and [Decoration: Unawakened Forest], which can be placed in open spaces for photography and display. 🐺Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Time to Leave]. Reaching Evolution Stage 2 unlocks [Forest Hunter's Shadow] for Momo's Camera: Framed Moment and the decoration [Unawakened Forest: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Her Song of Freedom: Makeup], a new idle animation, the poses [Suspicious Figure], [Roaring Debut], and [Warming Up], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.4 The Forest Need Not Listen launches globally on March 26 (UTC-7)! ➤ Download Now: ➤ Join us on Reddit: #InfinityNikki #TheForestNeedNotListen

Infinity Nikki

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