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how to prompt undetectable ai shots while designing a running scene, first think about these 3 basic questions: how does the camera move? what is it looking at? where does it stop? a good motion prompt is really just a timeline it needs to follow real-world physics, and it...

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el.cine

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This library turns “I know how the shot should feel, but I can’t describe it” into a visual reference and a ready-to-use camera movement prompt in seconds Pick the movement Copy the prompt Stop wasting generations trying to explain the camera It looks like a small tool But small tools like this often become the pages people save, share and quietly return to whenever the same problem appears again That is how useful content starts becoming an asset instead of another post lost in the feed I explored the wider system behind that idea in the article below Save this for your next shot
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This library turns “I know how the shot should feel, but I can’t describe it” into a visual reference and a ready-to-use camera movement prompt in seconds Pick the movement Copy the prompt Stop wasting generations trying to explain the camera It looks like a small tool But small tools like this often become the pages people save, share and quietly return to whenever the same problem appears again That is how useful content starts becoming an asset instead of another post lost in the feed I explored the wider system behind that idea in the article below Save this for your next shot

Cip⚡️

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We are getting absurdly close to the point where “learning Blender” means learning how to direct an AI. A shot like this looks soft and playful on the surface, but under it is the usual 3D pain: modeling, layout, materials, lighting, atmosphere, animation, and endless tiny fixes until the frame stops looking dead. That is why Kimi K3 matters. With Blender MCP, you can describe a scene like a robotic goat walking through a dreamy field and let the model help build the environment, place the camera, shape the materials, script the motion, and iterate inside the real Blender project. The real shift is not text-to-image. It is text-to-workflow. Kimi K3 does not just give you a pretty output and disappear. It can help move the actual scene from rough setup to something that looks art-directed. Soon the hardest part of 3D will not be the software. It will be whether your imagination is good enough to deserve tools like this.
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We are getting absurdly close to the point where “learning Blender” means learning how to direct an AI. A shot like this looks soft and playful on the surface, but under it is the usual 3D pain: modeling, layout, materials, lighting, atmosphere, animation, and endless tiny fixes until the frame stops looking dead. That is why Kimi K3 matters. With Blender MCP, you can describe a scene like a robotic goat walking through a dreamy field and let the model help build the environment, place the camera, shape the materials, script the motion, and iterate inside the real Blender project. The real shift is not text-to-image. It is text-to-workflow. Kimi K3 does not just give you a pretty output and disappear. It can help move the actual scene from rough setup to something that looks art-directed. Soon the hardest part of 3D will not be the software. It will be whether your imagination is good enough to deserve tools like this.

Rina

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Synchronizing music with movement in Seedance 2 Omni: Prompt + tip: Only Omni offers you that option. You just need to add a 13-second music clip to avoid errors, and specify in the prompt that it should follow the music's cadence; here is the prompt I used: It shows the Beautiful mystical woman (image_1) moving to the rhythm of this music: (audio_1) in a fluid and powerful way. with fiery ethereal serpent of fire. Dynamic shot circling the character. no music. asmr sound tip: The generator tends to alter the music slightly. The best option is to set it not to include the music and then add it during editing. Omni is also useful for adding dialogue.
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Synchronizing music with movement in Seedance 2 Omni: Prompt + tip: Only Omni offers you that option. You just need to add a 13-second music clip to avoid errors, and specify in the prompt that it should follow the music's cadence; here is the prompt I used: It shows the Beautiful mystical woman (image_1) moving to the rhythm of this music: (audio_1) in a fluid and powerful way. with fiery ethereal serpent of fire. Dynamic shot circling the character. no music. asmr sound tip: The generator tends to alter the music slightly. The best option is to set it not to include the music and then add it during editing. Omni is also useful for adding dialogue.

hedoήist

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Only one Adobe Firefly video prompt from our research hit production-ready on the first generation. Prompt in comments 👀 It looks you have to direct the camera as much as the model to get the most out of Firefly. Every other video session in our research needed a revision. Revising the first frame is where Firefly broke: >motion failures (temporal flicker, motion continuity, physics in motion) carried 60% of video's issue mix once designers re-prompted. TLDR: in Adobe Firefly, the camera does a lot of the work. Bake it into the first prompt and the video lands. Its by far the best time to be a creative.
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Only one Adobe Firefly video prompt from our research hit production-ready on the first generation. Prompt in comments 👀 It looks you have to direct the camera as much as the model to get the most out of Firefly. Every other video session in our research needed a revision. Revising the first frame is where Firefly broke: >motion failures (temporal flicker, motion continuity, physics in motion) carried 60% of video's issue mix once designers re-prompted. TLDR: in Adobe Firefly, the camera does a lot of the work. Bake it into the first prompt and the video lands. Its by far the best time to be a creative.

ben @ CVPR

12,847 Aufrufe • vor 2 Monaten

I've seen a lot of animatics lately that are super detailed, essentially viewport previews of the final shot. But an animatic at it's core doesn't need to be anything fancy. Its main purpose is to plan and test the timing, camera angles, movement, and overall composition. With animatics you have to keep in mind the following: Pre-visualization: It allows to see a basic version of the animation or scene before committing to detailed work. Timing and pacing: An animatic helps identify how long each scene or shot should last, ensuring that the timing feels right. Planning: It helps with layout, camera angles, and transitions. By visualizing the shots, the team can ensure that the framing and overall design of the scenes work well in 3D space. Efficiency: It allows the team to test and fix any potential issues early on, like awkward movements or awkward pacing, before spending time on high-quality rendering or complex animation. In short, an animatic helps in conceptualizing the final animation by giving a low-res, rough version of the scenes, which guides the entire production process in terms of visual design, timing, and storytelling.
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I've seen a lot of animatics lately that are super detailed, essentially viewport previews of the final shot. But an animatic at it's core doesn't need to be anything fancy. Its main purpose is to plan and test the timing, camera angles, movement, and overall composition. With animatics you have to keep in mind the following: Pre-visualization: It allows to see a basic version of the animation or scene before committing to detailed work. Timing and pacing: An animatic helps identify how long each scene or shot should last, ensuring that the timing feels right. Planning: It helps with layout, camera angles, and transitions. By visualizing the shots, the team can ensure that the framing and overall design of the scenes work well in 3D space. Efficiency: It allows the team to test and fix any potential issues early on, like awkward movements or awkward pacing, before spending time on high-quality rendering or complex animation. In short, an animatic helps in conceptualizing the final animation by giving a low-res, rough version of the scenes, which guides the entire production process in terms of visual design, timing, and storytelling.

Voxyde

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Seedance 2.0 has a fix for character drift almost nobody uses. Every new text description is a fresh interpretation of appearance. That's where the drift comes from: a slightly different face, a slightly different outfit, proportions that shift from scene to scene. The @ Image tag solves this directly — attach a photo once, and it becomes the fixed source of truth for face, outfit, and proportions across the entire multi-shot sequence. The @ Video tag works the same way for motion and camera — tag a reference instead of describing it, and the model copies that exact style instead of an approximation. You're not making the model remember. You're just stopping yourself from reminding it differently every single time.
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Seedance 2.0 has a fix for character drift almost nobody uses. Every new text description is a fresh interpretation of appearance. That's where the drift comes from: a slightly different face, a slightly different outfit, proportions that shift from scene to scene. The @ Image tag solves this directly — attach a photo once, and it becomes the fixed source of truth for face, outfit, and proportions across the entire multi-shot sequence. The @ Video tag works the same way for motion and camera — tag a reference instead of describing it, and the model copies that exact style instead of an approximation. You're not making the model remember. You're just stopping yourself from reminding it differently every single time.

Zentrix⌚️

88,931 Aufrufe • vor 1 Monat

When a spacecraft leaves Earth, it doesn’t just fire its engines and head straight to its destination. In many missions, especially those going beyond low Earth orbit, there’s a more subtle and elegant strategy at play, one that uses gravity itself as part of the navigation system. This is often called a gravity assist, or a slingshot maneuver. But in the case of missions like #Artemis II, what’s being used is a closely related idea known as a free-return trajectory. At first glance, it might sound simple: the spacecraft goes to the Moon, loops around it, and comes back. But the physics behind it is anything but simple. Instead of relying on continuous propulsion, the spacecraft follows a carefully calculated path through the gravitational field of the Earth–Moon system. It is launched with just the right speed and direction so that, as it approaches the Moon, the Moon’s gravity bends its trajectory. The spacecraft is effectively flung around the Moon, redirected onto a path that naturally brings it back toward Earth. No major engine burn is needed for the return. Small trajectory corrections may still be required, but gravity does the heavy lifting. That’s the key. This kind of trajectory is not just efficient, it’s also safe. If something goes wrong with the spacecraft’s engines or onboard systems, gravity itself ensures the return. It’s an inherent backup plan, built into the trajectory from the very beginning. The same fundamental idea appears in gravity assists used across the Solar System. When a spacecraft flies past a planet, it can gain or lose speed by exchanging momentum with that planet. From the spacecraft’s point of view, it’s as if it has been accelerated without using fuel. In reality, it has borrowed a tiny amount of orbital energy from the planet itself. That’s how missions like Voyager reached the outer planets, and how probes continue to explore regions far beyond what their onboard fuel alone would allow. But there’s an important distinction. An interplanetary gravity assist is typically used to change speed and direction, often increasing the spacecraft’s energy. A free-return trajectory, like the one used in Artemis II, is designed for something more specific: a path that naturally loops back to Earth without requiring additional propulsion. It’s less about gaining energy, and more about shaping a trajectory that guarantees a return. To understand why this works, it helps to stop thinking in straight lines. In space, motion follows curves defined by gravity. The spacecraft is constantly falling, first toward Earth, then toward the Moon, and then back toward Earth again. What looks like a loop is really a continuous free fall through a changing gravitational landscape. This way of navigating space reveals something deeper. We tend to think of engines as the drivers of motion, but once a spacecraft is on its way, gravity does most of the work. The art of spaceflight is not just about thrust. It’s about knowing when not to use it. #GoodLuck #Artemis NASA Artemis
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When a spacecraft leaves Earth, it doesn’t just fire its engines and head straight to its destination. In many missions, especially those going beyond low Earth orbit, there’s a more subtle and elegant strategy at play, one that uses gravity itself as part of the navigation system. This is often called a gravity assist, or a slingshot maneuver. But in the case of missions like #Artemis II, what’s being used is a closely related idea known as a free-return trajectory. At first glance, it might sound simple: the spacecraft goes to the Moon, loops around it, and comes back. But the physics behind it is anything but simple. Instead of relying on continuous propulsion, the spacecraft follows a carefully calculated path through the gravitational field of the Earth–Moon system. It is launched with just the right speed and direction so that, as it approaches the Moon, the Moon’s gravity bends its trajectory. The spacecraft is effectively flung around the Moon, redirected onto a path that naturally brings it back toward Earth. No major engine burn is needed for the return. Small trajectory corrections may still be required, but gravity does the heavy lifting. That’s the key. This kind of trajectory is not just efficient, it’s also safe. If something goes wrong with the spacecraft’s engines or onboard systems, gravity itself ensures the return. It’s an inherent backup plan, built into the trajectory from the very beginning. The same fundamental idea appears in gravity assists used across the Solar System. When a spacecraft flies past a planet, it can gain or lose speed by exchanging momentum with that planet. From the spacecraft’s point of view, it’s as if it has been accelerated without using fuel. In reality, it has borrowed a tiny amount of orbital energy from the planet itself. That’s how missions like Voyager reached the outer planets, and how probes continue to explore regions far beyond what their onboard fuel alone would allow. But there’s an important distinction. An interplanetary gravity assist is typically used to change speed and direction, often increasing the spacecraft’s energy. A free-return trajectory, like the one used in Artemis II, is designed for something more specific: a path that naturally loops back to Earth without requiring additional propulsion. It’s less about gaining energy, and more about shaping a trajectory that guarantees a return. To understand why this works, it helps to stop thinking in straight lines. In space, motion follows curves defined by gravity. The spacecraft is constantly falling, first toward Earth, then toward the Moon, and then back toward Earth again. What looks like a loop is really a continuous free fall through a changing gravitational landscape. This way of navigating space reveals something deeper. We tend to think of engines as the drivers of motion, but once a spacecraft is on its way, gravity does most of the work. The art of spaceflight is not just about thrust. It’s about knowing when not to use it. #GoodLuck #Artemis NASA Artemis

Erika 

235,010 Aufrufe • vor 4 Monaten

AI video is remarkably good at imagining historical events. This is a one-shot video from Seedance 2 of Pompeii when Mt. Vesuvius erupted. Prompt is below, you can ask an LLM to rewrite it for any other event 👇 This is handheld documentary footage recorded on an early-2000s consumer DV camcorder from the streets of Pompeii at the moment Mount Vesuvius begins erupting. The footage feels like real, imperfect home video of ordinary people witnessing the beginning of a historic disaster. The recording shows a busy street in Pompeii during the daytime, with merchants, families, children, laborers, and townspeople moving through the city. In the distance, Mount Vesuvius is visible above the rooftops. At first, people are going about normal daily life, but then a strange plume of smoke and ash begins rising from the volcano. The crowd gradually notices it. Some people stop and stare, some point toward the mountain, and others begin shouting to one another in confusion. The camera moves through the street like someone in the crowd trying to capture what is happening. It shows frightened townspeople looking up at the sky, parents pulling children closer, merchants abandoning their stalls, and groups of people beginning to run as ash starts falling. The footage captures the shift from curiosity to fear as the eruption becomes impossible to ignore. There are natural cuts between wider views of the street, the mountain in the distance, and closer views of people reacting in panic. The handheld camera shows natural shake, drifting framing, sudden reactive movement, autofocus mistakes as the person filming swings between the crowd and the volcano, slight exposure problems from bright daylight and ash in the air, and the imperfect look of old DV footage. The movement should feel urgent and unplanned, like someone trying to document the disaster while also staying safe. Natural sound only: the noise of the street, footsteps on stone, people murmuring and then shouting, children crying, distant rumbling from the volcano, debris falling, and the panic of the crowd. No cinematic music added. The result must feel like authentic, raw footage of ordinary people in Pompeii experiencing the beginning of the eruption of Mount Vesuvius, captured on an old DV camcorder.”
0:10

AI video is remarkably good at imagining historical events. This is a one-shot video from Seedance 2 of Pompeii when Mt. Vesuvius erupted. Prompt is below, you can ask an LLM to rewrite it for any other event 👇 This is handheld documentary footage recorded on an early-2000s consumer DV camcorder from the streets of Pompeii at the moment Mount Vesuvius begins erupting. The footage feels like real, imperfect home video of ordinary people witnessing the beginning of a historic disaster. The recording shows a busy street in Pompeii during the daytime, with merchants, families, children, laborers, and townspeople moving through the city. In the distance, Mount Vesuvius is visible above the rooftops. At first, people are going about normal daily life, but then a strange plume of smoke and ash begins rising from the volcano. The crowd gradually notices it. Some people stop and stare, some point toward the mountain, and others begin shouting to one another in confusion. The camera moves through the street like someone in the crowd trying to capture what is happening. It shows frightened townspeople looking up at the sky, parents pulling children closer, merchants abandoning their stalls, and groups of people beginning to run as ash starts falling. The footage captures the shift from curiosity to fear as the eruption becomes impossible to ignore. There are natural cuts between wider views of the street, the mountain in the distance, and closer views of people reacting in panic. The handheld camera shows natural shake, drifting framing, sudden reactive movement, autofocus mistakes as the person filming swings between the crowd and the volcano, slight exposure problems from bright daylight and ash in the air, and the imperfect look of old DV footage. The movement should feel urgent and unplanned, like someone trying to document the disaster while also staying safe. Natural sound only: the noise of the street, footsteps on stone, people murmuring and then shouting, children crying, distant rumbling from the volcano, debris falling, and the panic of the crowd. No cinematic music added. The result must feel like authentic, raw footage of ordinary people in Pompeii experiencing the beginning of the eruption of Mount Vesuvius, captured on an old DV camcorder.”

Justine Moore

20,656 Aufrufe • vor 1 Monat

next, here is how to animate the video once you generated the base image of your ai model, attach the image of your model and the product image in your ai tool and prompt, "she is holding this product" now to animate this scene, use such a simple prompt; "the girl is speaking in her beautiful voice; "this is the most powerful drink in the world... drink it once, and your whole hair is gone" no background music, no sound effects." adding "no background music" is necessory part when you're prompting to VEO 3 or Kling 2.6 and for the drinking scene, i also gave it a very simple prompt; "the girl is drinking, handheld camera shaking. No background music," then i asked nb pro to remove her hair, and then turn it into the using that simple prompt method. note; simple prompts works better than complicated one when it comes to animating your video that's it, if you need any help setting up your ai influencer to promote your product/app or service just DM me here on 𝕏 or comment "want" i'll dm you myself if you know how to make viral content + setup such a beautiful ai model 2026 will be yours, cheers
0:16

next, here is how to animate the video once you generated the base image of your ai model, attach the image of your model and the product image in your ai tool and prompt, "she is holding this product" now to animate this scene, use such a simple prompt; "the girl is speaking in her beautiful voice; "this is the most powerful drink in the world... drink it once, and your whole hair is gone" no background music, no sound effects." adding "no background music" is necessory part when you're prompting to VEO 3 or Kling 2.6 and for the drinking scene, i also gave it a very simple prompt; "the girl is drinking, handheld camera shaking. No background music," then i asked nb pro to remove her hair, and then turn it into the using that simple prompt method. note; simple prompts works better than complicated one when it comes to animating your video that's it, if you need any help setting up your ai influencer to promote your product/app or service just DM me here on 𝕏 or comment "want" i'll dm you myself if you know how to make viral content + setup such a beautiful ai model 2026 will be yours, cheers

ViralOps

21,545 Aufrufe • vor 8 Monaten

The Sabotaging Practice of Over Supply and Sameness in the NFT Space. The current zeitgeist of the NFT space is that the same artists are doing the same kind of work five times a year, with project after project leaving a trail of disappointment and discontent among collectors and all of us watching in disbelief as huge resources are extracted from the space over work that feels like it could be left as an "artist study." I understand that you can do what you want with your money as collectors, but we are killing the whole space with this incestuous practice. No artist is that prolific to be able to do 5 collections of 100+ pieces each every year and actually deliver innovation and some kind of creative evolution. Of course, they can pretend play that the work has something new, but there is no precedent nor proof that that has ever happened in the speed that it happens in the NFT space. Again, people are free to through away their resources on whatever they want but with this way of doing things, we more and more are going to start seeing the consequences. Oh! There are consequences? Yes. Maybe unintended, but there are. Let's see. Let's start with the loss of belief in the NFT space as somewhere where emerging artists can come and find support for their experiments. Why even bother to bring experiments, innovation, and new ways to think of art on the blockchain if the same people have all the collectors hypnotized with their magical flutes? Why even try to come to a space where taking risks and challenging the status quo (the mission of art!!!) is overlooked? This makes the NFT space a social club and not a space for art. I guess it is fine, but IMO it is a recipe for disaster. New collectors stay away because the art will slowly but surely become stale and un-challenging. Why even bother to come and see what is happening here if you can't, as a collector, see new weird and up-and-coming artists? The amount of noise emitted by the same artists doing the same art over and over, drowns out any new voices. Again. A recipe for disaster. The NFT space is becoming a space of disappointment and doubt. We think that collections going to zero one after the other, over and over, is not damaging? I feel we are kidding ourselves. Disappointment piles up, and again, the people who will hurt are the emerging artists, the new blood, the ones who are willing to risk the most and, in return, put fire in this cold space of sameness. I love this space—don't get me wrong—it has changed my life, and I believe it has a ton of potential, but things need to change for it to become a beacon of light in art. But we need to support new voices. We need to support new ideas. The challenge is huge. I hope to contribute all I can to this change. I hope more and more see how exciting it is to go out and try to discover what else is out there and move this space forward. But again, I understand the leaps of faith needed, but if there is a space that is based on that, it's the NFT space...so there is hope. We will see. 📺by Boldtron
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The Sabotaging Practice of Over Supply and Sameness in the NFT Space. The current zeitgeist of the NFT space is that the same artists are doing the same kind of work five times a year, with project after project leaving a trail of disappointment and discontent among collectors and all of us watching in disbelief as huge resources are extracted from the space over work that feels like it could be left as an "artist study." I understand that you can do what you want with your money as collectors, but we are killing the whole space with this incestuous practice. No artist is that prolific to be able to do 5 collections of 100+ pieces each every year and actually deliver innovation and some kind of creative evolution. Of course, they can pretend play that the work has something new, but there is no precedent nor proof that that has ever happened in the speed that it happens in the NFT space. Again, people are free to through away their resources on whatever they want but with this way of doing things, we more and more are going to start seeing the consequences. Oh! There are consequences? Yes. Maybe unintended, but there are. Let's see. Let's start with the loss of belief in the NFT space as somewhere where emerging artists can come and find support for their experiments. Why even bother to bring experiments, innovation, and new ways to think of art on the blockchain if the same people have all the collectors hypnotized with their magical flutes? Why even try to come to a space where taking risks and challenging the status quo (the mission of art!!!) is overlooked? This makes the NFT space a social club and not a space for art. I guess it is fine, but IMO it is a recipe for disaster. New collectors stay away because the art will slowly but surely become stale and un-challenging. Why even bother to come and see what is happening here if you can't, as a collector, see new weird and up-and-coming artists? The amount of noise emitted by the same artists doing the same art over and over, drowns out any new voices. Again. A recipe for disaster. The NFT space is becoming a space of disappointment and doubt. We think that collections going to zero one after the other, over and over, is not damaging? I feel we are kidding ourselves. Disappointment piles up, and again, the people who will hurt are the emerging artists, the new blood, the ones who are willing to risk the most and, in return, put fire in this cold space of sameness. I love this space—don't get me wrong—it has changed my life, and I believe it has a ton of potential, but things need to change for it to become a beacon of light in art. But we need to support new voices. We need to support new ideas. The challenge is huge. I hope to contribute all I can to this change. I hope more and more see how exciting it is to go out and try to discover what else is out there and move this space forward. But again, I understand the leaps of faith needed, but if there is a space that is based on that, it's the NFT space...so there is hope. We will see. 📺by Boldtron

alejandro cartagena

98,261 Aufrufe • vor 2 Jahren

Seedance 2.0 Test text to video Prompt: [Shot 1: Frontal Menacing Shot] A medium shot of a SWAT officer in full tactical gear, gas mask, and helmet. He is pointing his assault rifle directly at the camera lens (breaking the fourth wall). He is shouting with visible intensity: "LET THE HOSTAGE GO! DROP THE WEAPON NOW!" [Shot 2: The Threat] Cut to a medium shot of the killer in a dirty tank top, holding a woman in a chokehold. He has a pistol pressed to her head. He is sweating and manic, screaming at the off-screen officer: "STAY BACK! I'LL KILL HER! I SWEAR I'LL DO IT!" [Shot 3: Over-the-Shoulder Resolution] The camera is positioned directly behind the SWAT officer's right shoulder. We see the back of his helmet and his rifle in the foreground. In the distance (mid-ground), the killer is still visible holding the girl. The killer screams one last time: "I'M GONNA DO IT!" after The officer's rifle kicks back with a single sho and hit head enemy. The killer falls instantly. The girl is left standing, shocked but safe. Technical Style: High-shutter speed action, realistic muzzle flashes, handheld camera shake, 24fps, English dialogue.
0:10

Seedance 2.0 Test text to video Prompt: [Shot 1: Frontal Menacing Shot] A medium shot of a SWAT officer in full tactical gear, gas mask, and helmet. He is pointing his assault rifle directly at the camera lens (breaking the fourth wall). He is shouting with visible intensity: "LET THE HOSTAGE GO! DROP THE WEAPON NOW!" [Shot 2: The Threat] Cut to a medium shot of the killer in a dirty tank top, holding a woman in a chokehold. He has a pistol pressed to her head. He is sweating and manic, screaming at the off-screen officer: "STAY BACK! I'LL KILL HER! I SWEAR I'LL DO IT!" [Shot 3: Over-the-Shoulder Resolution] The camera is positioned directly behind the SWAT officer's right shoulder. We see the back of his helmet and his rifle in the foreground. In the distance (mid-ground), the killer is still visible holding the girl. The killer screams one last time: "I'M GONNA DO IT!" after The officer's rifle kicks back with a single sho and hit head enemy. The killer falls instantly. The girl is left standing, shocked but safe. Technical Style: High-shutter speed action, realistic muzzle flashes, handheld camera shake, 24fps, English dialogue.

Marco "Shikoba"

234,753 Aufrufe • vor 6 Monaten

This is a NeRF (Neural Radiance Field) and it's one of the coolest pieces of AI tech out there. To generate this scene, I shot a video on my iPhone, then uploaded to Luma Luma turned it into a NeRF, and then I directed the camera in their editor to create this shot. Don't sleep on NeRFs.
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This is a NeRF (Neural Radiance Field) and it's one of the coolest pieces of AI tech out there. To generate this scene, I shot a video on my iPhone, then uploaded to Luma Luma turned it into a NeRF, and then I directed the camera in their editor to create this shot. Don't sleep on NeRFs.

Nick St. Pierre

1,026,518 Aufrufe • vor 3 Jahren

As of this morning, every brand-new Car sold in Europe is mandated by law to watch its “driver”, and the reason to worry is the opposite of what everyone is screaming about. The camera is not filming your face. The law explicitly bans that. It rather tracks your eyes. The danger is not what it does today. It is what it is now physically positioned to do tomorrow. This became binding across all 27 countries today, the 7th of July 2026, and no member state can opt out, because road safety is an EU competence and EU law overrides national law. Every new car and van, roughly 18 million of them a year, must now carry an infrared camera, usually on the steering column, that follows the driver's gaze. Look away too long, six seconds under 50 kilometers an hour, three and a half above it, and the car warns you with a sound, a light, or a buzz in the seat. The stated reason is real. Distraction causes up to 30 percent of crashes, and the Commission projects the wider safety package will save 25,000 lives by 2038. The outrage dissolves on contact with the actual text. The law actually fully forbids facial recognition and any biometric identification of anyone in the car, and the footage is legally barred from leaving the vehicle. No recording, no transmission, no police feed. As written today, this is a safety beeper, not a spy. But look at what already sits beside it. Think about it.. come on!! Europe's cars already run always-on systems that do transmit, the automatic crash caller that dials emergency services, the black-box event recorder, and over-the-air software that rewrites the car remotely overnight. The sensor was just made universal. The wall keeping it private is a single legal paragraph, and the same law already schedules its own review for 2027 to read cognitive state and body movement, while suppliers openly sell using the identical mandated camera to watch the passengers too. So this is the quiet architecture of every threshold. The permanent thing is physical, a camera now bolted into 18 million dashboards a year. The thing protecting you is a mere sentence, and sentences are the easiest part of any system to revise. Europe hardwired the eye. It left what the eye may see as the one part that can still be changed later. Hmm 🤨
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As of this morning, every brand-new Car sold in Europe is mandated by law to watch its “driver”, and the reason to worry is the opposite of what everyone is screaming about. The camera is not filming your face. The law explicitly bans that. It rather tracks your eyes. The danger is not what it does today. It is what it is now physically positioned to do tomorrow. This became binding across all 27 countries today, the 7th of July 2026, and no member state can opt out, because road safety is an EU competence and EU law overrides national law. Every new car and van, roughly 18 million of them a year, must now carry an infrared camera, usually on the steering column, that follows the driver's gaze. Look away too long, six seconds under 50 kilometers an hour, three and a half above it, and the car warns you with a sound, a light, or a buzz in the seat. The stated reason is real. Distraction causes up to 30 percent of crashes, and the Commission projects the wider safety package will save 25,000 lives by 2038. The outrage dissolves on contact with the actual text. The law actually fully forbids facial recognition and any biometric identification of anyone in the car, and the footage is legally barred from leaving the vehicle. No recording, no transmission, no police feed. As written today, this is a safety beeper, not a spy. But look at what already sits beside it. Think about it.. come on!! Europe's cars already run always-on systems that do transmit, the automatic crash caller that dials emergency services, the black-box event recorder, and over-the-air software that rewrites the car remotely overnight. The sensor was just made universal. The wall keeping it private is a single legal paragraph, and the same law already schedules its own review for 2027 to read cognitive state and body movement, while suppliers openly sell using the identical mandated camera to watch the passengers too. So this is the quiet architecture of every threshold. The permanent thing is physical, a camera now bolted into 18 million dashboards a year. The thing protecting you is a mere sentence, and sentences are the easiest part of any system to revise. Europe hardwired the eye. It left what the eye may see as the one part that can still be changed later. Hmm 🤨

Shanaka Anslem Perera ⚡

649,783 Aufrufe • vor 1 Monat

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.
0:13

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

69,389 Aufrufe • vor 2 Monaten

Blender just became a prompt box. With Kimi K3 connected through Blender MCP, you can describe a scene like this in plain English and let the model handle the ugly part: terrain, buildings, lighting, materials, camera movement, animation, and the Python scripts holding everything together. The interesting part is not the first render. Kimi can inspect the result, notice that the camera clips through a tree or the city looks suspiciously like plastic, then edit the actual Blender scene and render it again instead of restarting from zero. You still need taste, because “make it cinematic” remains one of humanity’s least useful instructions. But the distance between an empty Blender file and a fully editable 3D world just got embarrassingly small. A few years ago, creating this meant weeks of modeling, scripting, lighting, and animation. Now you can describe the world, watch Kimi build it, and spend your time fixing the final 10% instead of manually constructing the first 90%. Kimi K3 + Blender MCP is basically text-to-3D without trapping the result inside a useless generated video. Every object, material, light, camera, and keyframe stays editable.
0:12

Blender just became a prompt box. With Kimi K3 connected through Blender MCP, you can describe a scene like this in plain English and let the model handle the ugly part: terrain, buildings, lighting, materials, camera movement, animation, and the Python scripts holding everything together. The interesting part is not the first render. Kimi can inspect the result, notice that the camera clips through a tree or the city looks suspiciously like plastic, then edit the actual Blender scene and render it again instead of restarting from zero. You still need taste, because “make it cinematic” remains one of humanity’s least useful instructions. But the distance between an empty Blender file and a fully editable 3D world just got embarrassingly small. A few years ago, creating this meant weeks of modeling, scripting, lighting, and animation. Now you can describe the world, watch Kimi build it, and spend your time fixing the final 10% instead of manually constructing the first 90%. Kimi K3 + Blender MCP is basically text-to-3D without trapping the result inside a useless generated video. Every object, material, light, camera, and keyframe stays editable.

Rina

264,903 Aufrufe • vor 26 Tagen

Kedarnath is a tremendous space. The utterance of the sound “Shiva” attains a completely new dimension and significance in Kedar. It is a space which has been specially prepared for this particular sound. When we utter the word “Shiva,” it is the freedom of the uncreated, the liberation of one who is not created. It is almost like on this planet, the sound “Shiva” emanates from this place. For thousands of years, people have experienced that space as a reverberation of that sound. This is also a place that has witnessed thousands of Yogis and mystics of every kind. When I say every kind, you cannot imagine those kinds. These are people who made no attempt to teach anything to anyone. Their way of making an offering to the world was by leaving their energies, their path, their work – everything – in a certain way in these spaces.
0:13

Kedarnath is a tremendous space. The utterance of the sound “Shiva” attains a completely new dimension and significance in Kedar. It is a space which has been specially prepared for this particular sound. When we utter the word “Shiva,” it is the freedom of the uncreated, the liberation of one who is not created. It is almost like on this planet, the sound “Shiva” emanates from this place. For thousands of years, people have experienced that space as a reverberation of that sound. This is also a place that has witnessed thousands of Yogis and mystics of every kind. When I say every kind, you cannot imagine those kinds. These are people who made no attempt to teach anything to anyone. Their way of making an offering to the world was by leaving their energies, their path, their work – everything – in a certain way in these spaces.

Sadhguru

57,771 Aufrufe • vor 3 Monaten

I’m probably one of the only Teslanaires out there, if not one of the very few, still cutting my own hair. I cut my own hair again today, and it reminded me that becoming a multi-millionaire usually isn’t a random coincidence. People see the $ and think it just happened. What they usually don’t see are the small habits behind it. Of course, I could go spend $25–$50 on a haircut that probably looks better than the one I give myself. But that’s not really what matters to me. I don’t care that much about looking perfect. I care about controlling my time. I care about staying grounded. I care about keeping the kind of habits that helped me build wealth in the first place. And honestly, I enjoy doing it. I’ve been cutting my own hair for so many years that I don’t even think about going to the barber anymore. It’s just normal to me now. It saves time, keeps me frugal, and reminds me that wealth is usually built in the small choices nobody claps for. That’s the part people miss. A lot of people see wealth and assume it was luck. But a lot of the time, it’s really the result of small disciplined habits repeated for years. Not wasting $ just bc you can. Not wasting time just bc other people do. And the funny part is, one day my fleet of Tesla Bots will probably be doing it for me anyway. But until then, I’m good doing it myself. Bc to me, being wealthy was never about trying to look rich. It was about building a mindset. A mindset that values time, discipline, and freedom more than appearances. And once you really live that way, it shows up in a lot of things, even something as simple as cutting your own hair.
0:11

I’m probably one of the only Teslanaires out there, if not one of the very few, still cutting my own hair. I cut my own hair again today, and it reminded me that becoming a multi-millionaire usually isn’t a random coincidence. People see the $ and think it just happened. What they usually don’t see are the small habits behind it. Of course, I could go spend $25–$50 on a haircut that probably looks better than the one I give myself. But that’s not really what matters to me. I don’t care that much about looking perfect. I care about controlling my time. I care about staying grounded. I care about keeping the kind of habits that helped me build wealth in the first place. And honestly, I enjoy doing it. I’ve been cutting my own hair for so many years that I don’t even think about going to the barber anymore. It’s just normal to me now. It saves time, keeps me frugal, and reminds me that wealth is usually built in the small choices nobody claps for. That’s the part people miss. A lot of people see wealth and assume it was luck. But a lot of the time, it’s really the result of small disciplined habits repeated for years. Not wasting $ just bc you can. Not wasting time just bc other people do. And the funny part is, one day my fleet of Tesla Bots will probably be doing it for me anyway. But until then, I’m good doing it myself. Bc to me, being wealthy was never about trying to look rich. It was about building a mindset. A mindset that values time, discipline, and freedom more than appearances. And once you really live that way, it shows up in a lot of things, even something as simple as cutting your own hair.

Teslaconomics

16,514 Aufrufe • vor 5 Monaten

Apparently, I saw this video online and I decided to share. What this worker is applying is called bitumen, or what many of us know as bituminous coating. Most people think a wall is a solid, impenetrable block, but in reality, it is more like a sponge. Concrete and blocks have microscopic pores that pull water from the earth through a process we call capillary action. This thick black substance is the shield that stops that water from climbing up into the house. It is not about making the wall look good because this part will be buried under the dirt forever. It is about creating a skin that water cannot breathe through. When do you need to do this? The need for this arises because the soil is a very aggressive environment. Water is not your only enemy.. The ground also contains salts and sulfates that want to eat away at the cement. If this moisture finds its way to the steel bars inside the columns, those bars will start to rust. And when steel rusts, it expands, and that expansion is what cracks the concrete from the inside out. This coating is the only thing standing between your foundation and that kind of slow destruction. Thats is why if you see wet patches at the bottom of your walls inside your house, it usually means someone skipped this step or did it poorly during construction. You can apply this anytime you are building parts of a structure that will stay in contact with the ground. It is common in areas where the water table is high or where the soil stays damp for most of the year. This is a one-shot opportunity. Once you backfill the soil, you can never go back to fix it without a lot of expense and a lot of digging. It is about having the foresight to protect the heart of the building while it is still exposed. Please don’t ignore this if you need to. If you ignore it now to save a bit of money, you will be funding the future decay of your own home. I hope this helps.
0:11

Apparently, I saw this video online and I decided to share. What this worker is applying is called bitumen, or what many of us know as bituminous coating. Most people think a wall is a solid, impenetrable block, but in reality, it is more like a sponge. Concrete and blocks have microscopic pores that pull water from the earth through a process we call capillary action. This thick black substance is the shield that stops that water from climbing up into the house. It is not about making the wall look good because this part will be buried under the dirt forever. It is about creating a skin that water cannot breathe through. When do you need to do this? The need for this arises because the soil is a very aggressive environment. Water is not your only enemy.. The ground also contains salts and sulfates that want to eat away at the cement. If this moisture finds its way to the steel bars inside the columns, those bars will start to rust. And when steel rusts, it expands, and that expansion is what cracks the concrete from the inside out. This coating is the only thing standing between your foundation and that kind of slow destruction. Thats is why if you see wet patches at the bottom of your walls inside your house, it usually means someone skipped this step or did it poorly during construction. You can apply this anytime you are building parts of a structure that will stay in contact with the ground. It is common in areas where the water table is high or where the soil stays damp for most of the year. This is a one-shot opportunity. Once you backfill the soil, you can never go back to fix it without a lot of expense and a lot of digging. It is about having the foresight to protect the heart of the building while it is still exposed. Please don’t ignore this if you need to. If you ignore it now to save a bit of money, you will be funding the future decay of your own home. I hope this helps.

A.Y.O

75,399 Aufrufe • vor 4 Monaten

i built an open world minigame that's controlled with hand movements only here's a step-by-step tutorial: > started with my mediapipe + threejs template (see QT) > added a 3D model made by quaternius > sent a few prompts to gemini 3... --- prompt #1: repurpose the attached script, but now I want to import a gltf model (assets/model.gltf) and use that in the scene instead of the cube when the user moves their hand, a waypoint indicator should move around the scene, and the 3D model should smoothly move there when the user makes a fist, the model should jump the 3D model contains bundled animations in it. use the "idle", "run", and "jump" animations --- prompt #2: make this a procedural open world adventure. generate very simple procedural voxel terrain when the model gets near the edges of the screen, the camera should move, allowing the model to keep going in that direction --- prompt #3: add some floating glowing gems around the map that the user can collect --- i made some manual tweaks for styling and game feel, but that's the gist of it thanks for reading if you got all the way here full code is available at my link in bio
0:15

i built an open world minigame that's controlled with hand movements only here's a step-by-step tutorial: > started with my mediapipe + threejs template (see QT) > added a 3D model made by quaternius > sent a few prompts to gemini 3... --- prompt #1: repurpose the attached script, but now I want to import a gltf model (assets/model.gltf) and use that in the scene instead of the cube when the user moves their hand, a waypoint indicator should move around the scene, and the 3D model should smoothly move there when the user makes a fist, the model should jump the 3D model contains bundled animations in it. use the "idle", "run", and "jump" animations --- prompt #2: make this a procedural open world adventure. generate very simple procedural voxel terrain when the model gets near the edges of the screen, the camera should move, allowing the model to keep going in that direction --- prompt #3: add some floating glowing gems around the map that the user can collect --- i made some manual tweaks for styling and game feel, but that's the gist of it thanks for reading if you got all the way here full code is available at my link in bio

AA

131,799 Aufrufe • vor 8 Monaten