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Huge splash

NRM84

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1,544,672 Aufrufe • vor 1 Jahr •via X (Twitter)

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the korean title of ‘huening kai’s countless friends’ is ‘huening kai’s friends too, splash splash” and is a reference to when nct wish performed ‘eusha eusha’ by shinhwa at gayo daejeon summer last year and there was a lyric that went “friends by the stream too, splash splash!” but it sounded like they were saying “huening kai’s friends too, splash splash!” and it kinda became a huge meme in korea

the korean title of ‘huening kai’s countless friends’ is ‘huening kai’s friends too, splash splash” and is a reference to when nct wish performed ‘eusha eusha’ by shinhwa at gayo daejeon summer last year and there was a lyric that went “friends by the stream too, splash splash!” but it sounded like they were saying “huening kai’s friends too, splash splash!” and it kinda became a huge meme in korea

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Contact (1997) didn’t win over critics or make a huge splash at the box office at first. Over time, it has quietly gained fans, admired for Jodie Foster’s performance and its thoughtful take on faith, science, and the unknown.

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Found a hardcore LoRA workflow! Generate a PLY point cloud --> Adjust angle in editor -->Refine with Qwen-Image-Edit-2511 Gaussian Splash LoRA. It accurately restores complex perspective shifts. As shown in the demo, it handles 3D rotation and can even restore high-def details from blurry close-ups. Within a 45° range, the consistency is unmatched. Huge thanks to 大雄 for this contribution! 🫡

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NEW: Battlefield Addiction(BattlefieldAddiction) and We Heart Seattle(We Heart Seattle) made a huge splash this weekend, raising thousands of dollars for sober living beds in the Seattle area. For drug addicts, that means a place to go for treatment and recovery instead of being given more taxpayer funded meth pipes and fentanyl foil. This is the start of a powerful partnership to take on the homeless industrial complex and confront lies being peddled by the "harm reduction" lobby in America.

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BILL MAHER: "There's all these videos online of these people from all over the world who have come for the World Cup, and they're just BLOWN AWAY by America." "I'm not talking about people from shithole countries; I'm talking about people from REGULAR countries, big-boy countries and they come here, they're just blown away." “And I felt like one of them last night because I don't go to the market very much. And I was just like, ‘Oh, my God... there's a whole aisle of cheese here!’" "Everything was just, like, amazing to me. I was like the mermaid from Splash." “There's, like, a million choices for everything. I just want salad dressing, and it's like, 'Do you want it with vodka in it? We got that too!'” Bill Maher has a net worth of an estimated $140,000,000. And even he gets what the 1,200,000 international visitors to the United States saw this summer: America is a land of abundance and convenience, and only a spoiled brat could look around and not see it - AC everywhere - Huge supermarkets - Free refills - 24-hour stores - Drive-throughs for everything - Houses twice as large as Europe on average - 2+ cars per household - People who actually tip!

BILL MAHER: "There's all these videos online of these people from all over the world who have come for the World Cup, and they're just BLOWN AWAY by America." "I'm not talking about people from shithole countries; I'm talking about people from REGULAR countries, big-boy countries and they come here, they're just blown away." “And I felt like one of them last night because I don't go to the market very much. And I was just like, ‘Oh, my God... there's a whole aisle of cheese here!’" "Everything was just, like, amazing to me. I was like the mermaid from Splash." “There's, like, a million choices for everything. I just want salad dressing, and it's like, 'Do you want it with vodka in it? We got that too!'” Bill Maher has a net worth of an estimated $140,000,000. And even he gets what the 1,200,000 international visitors to the United States saw this summer: America is a land of abundance and convenience, and only a spoiled brat could look around and not see it - AC everywhere - Huge supermarkets - Free refills - 24-hour stores - Drive-throughs for everything - Houses twice as large as Europe on average - 2+ cars per household - People who actually tip!

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Catch Me If You Can, A journey that never stops. Created with Seedance 2.5. Prompt: Create a 30-second, 9:16 photoreal cinematic travel-fashion film, 24fps, following the exact same woman from the supplied character reference. Preserve her face, freckles, dark hair, skin tone, body proportions and natural beauty perfectly throughout. She must look like a real person filmed on location—real skin pores, individual hair strands, natural expressions and realistic anatomy. She always wears white wired earphones. No dialogue. STORY — “CATCH ME IF YOU CAN” 0–4s — CITY HOOK Rain-wet city street, cool cinematic daylight. 24mm intimate close-up. She stands inches from camera, gives a playful knowing smile, then suddenly turns and runs. Camera immediately chases her handheld. A red city bus crosses extremely close and completely covers frame → perfect practical wipe transition. 4–8s — OLD MARKET Same running stride continues seamlessly into a beautiful atmospheric old-town market. Cream jacket, olive loose trousers. Real pedestrians, bicycles, textured stone, warm shops. She looks back laughing while running, then jumps across a puddle. Camera dives toward the splash → water fills frame. 8–12s — MOUNTAIN REVEAL Splash match-cuts into the reflective floor of a glass elevator. She enters; doors close, then immediately reopen onto a breathtaking enormous mountain valley above clouds. She smiles back at camera and runs outside. Cool mist, huge atmospheric depth, realistic wind. 12–16s — COAST Match her exact running stride onto a spectacular golden-hour coastal road. Deep-red track jacket, denim, ocean and cliffside architecture behind. Camera tracks beside her. She spins naturally, laughs, removes her red jacket while moving and throws it directly into lens → red fabric completely covers frame. 16–20s — NEON NIGHT Fabric clears into a rain-soaked neon city at night. Black leather jacket. Deep cinematic blacks, cyan reflections, controlled red practical lights, steam and natural crowds. She confidently walks toward camera. A passing tram completely blocks frame → occlusion transition. 20–23s — ABOVE THE CLOUDS Tram windows match-cut into a mountain cable-car window. Navy jacket. She stands against the glass overlooking gigantic mist-covered peaks. Music briefly becomes quiet. Her reflection overlays the landscape. She notices camera in the reflection, smiles mischievously, then suddenly exits frame. Camera whip-pans after her. 23–26s — WE LOSE HER Whip resolves into a huge lively blue-hour plaza. Camera urgently searches through real moving crowds. She appears for a moment, disappears behind pedestrians, then vanishes completely. Music drops almost to silence. Suddenly someone taps the camera from behind. Fast whip around—she is standing behind us with her female friend, both laughing. Beat drops hard and they run away together. 26–30s — HERO ENDING Camera chases both girls across the spectacular plaza. They hold hands, run, spin and laugh naturally. A flock of pigeons lifts ahead of them. Camera catches up as they turn back and throw their arms up. At 27.8s introduce huge premium warm-ivory condensed typography: CATCH ME then: IF YOU CAN. Characters naturally overlap parts of the letters for realistic depth. No glow, gradients or cheap animation—clean theatrical movie-title design. Lead runs directly toward camera, laughing, then covers the lens with her hand. Hard cut to black exactly on the final beat. CINEMATIC LOOK Feature-film-level cinematography: 24mm chase shots, 35mm movement, 50mm portraits, natural handheld micro-movement, 180° shutter and realistic motion blur. Fine 35mm film grain, subtle highlight halation, soft cinematic bloom and expensive highlight roll-off. Color progression: cool rainy city → warm earthy market → cyan misty mountains → golden coast → deep cyan/red neon → cool mountain atmosphere → rich cinematic blue-hour finale. Keep natural warm skin throughout. TRANSITION RULE Every transition must be physically motivated: bus wipe → water splash → elevator doors → jacket wipe → tram wipe → reflection/whip → crowd reveal → hand-to-lens ending. Never visibly morph locations. No portals, liquid AI transformations, speed ramps, floating cameras or impossible movements. Cuts should be so clean viewers replay them to understand how they happened. REALISM LOCK Same exact lead identity throughout. Real skin texture, correct hands, natural running, realistic footsteps, weighted hair and clothing, earphone cable bouncing with movement, physically correct reflections and splashes. Background people move independently and never freeze or duplicate. No warped architecture, plastic skin, beauty-filter face or AI look. MUSIC / SOUND Original 120 BPM premium cinematic-electronic travel track synchronized tightly to every transition. Start with minimal bass and crisp percussion, build through the chase, open into an uplifting melodic hook at the coast, become deeper at neon night, strip down during the cable-car/crowd search, then massive satisfying beat drop at the friend reveal and strongest musical section for the final run. Layer realistic footsteps, traffic, splash, elevator ding, wind, tram rumble, cable-car hum, crowd ambience, fabric movement, pigeon wings and genuine laughter. No dialogue. No voiceover. No lyrics.

Catch Me If You Can, A journey that never stops. Created with Seedance 2.5. Prompt: Create a 30-second, 9:16 photoreal cinematic travel-fashion film, 24fps, following the exact same woman from the supplied character reference. Preserve her face, freckles, dark hair, skin tone, body proportions and natural beauty perfectly throughout. She must look like a real person filmed on location—real skin pores, individual hair strands, natural expressions and realistic anatomy. She always wears white wired earphones. No dialogue. STORY — “CATCH ME IF YOU CAN” 0–4s — CITY HOOK Rain-wet city street, cool cinematic daylight. 24mm intimate close-up. She stands inches from camera, gives a playful knowing smile, then suddenly turns and runs. Camera immediately chases her handheld. A red city bus crosses extremely close and completely covers frame → perfect practical wipe transition. 4–8s — OLD MARKET Same running stride continues seamlessly into a beautiful atmospheric old-town market. Cream jacket, olive loose trousers. Real pedestrians, bicycles, textured stone, warm shops. She looks back laughing while running, then jumps across a puddle. Camera dives toward the splash → water fills frame. 8–12s — MOUNTAIN REVEAL Splash match-cuts into the reflective floor of a glass elevator. She enters; doors close, then immediately reopen onto a breathtaking enormous mountain valley above clouds. She smiles back at camera and runs outside. Cool mist, huge atmospheric depth, realistic wind. 12–16s — COAST Match her exact running stride onto a spectacular golden-hour coastal road. Deep-red track jacket, denim, ocean and cliffside architecture behind. Camera tracks beside her. She spins naturally, laughs, removes her red jacket while moving and throws it directly into lens → red fabric completely covers frame. 16–20s — NEON NIGHT Fabric clears into a rain-soaked neon city at night. Black leather jacket. Deep cinematic blacks, cyan reflections, controlled red practical lights, steam and natural crowds. She confidently walks toward camera. A passing tram completely blocks frame → occlusion transition. 20–23s — ABOVE THE CLOUDS Tram windows match-cut into a mountain cable-car window. Navy jacket. She stands against the glass overlooking gigantic mist-covered peaks. Music briefly becomes quiet. Her reflection overlays the landscape. She notices camera in the reflection, smiles mischievously, then suddenly exits frame. Camera whip-pans after her. 23–26s — WE LOSE HER Whip resolves into a huge lively blue-hour plaza. Camera urgently searches through real moving crowds. She appears for a moment, disappears behind pedestrians, then vanishes completely. Music drops almost to silence. Suddenly someone taps the camera from behind. Fast whip around—she is standing behind us with her female friend, both laughing. Beat drops hard and they run away together. 26–30s — HERO ENDING Camera chases both girls across the spectacular plaza. They hold hands, run, spin and laugh naturally. A flock of pigeons lifts ahead of them. Camera catches up as they turn back and throw their arms up. At 27.8s introduce huge premium warm-ivory condensed typography: CATCH ME then: IF YOU CAN. Characters naturally overlap parts of the letters for realistic depth. No glow, gradients or cheap animation—clean theatrical movie-title design. Lead runs directly toward camera, laughing, then covers the lens with her hand. Hard cut to black exactly on the final beat. CINEMATIC LOOK Feature-film-level cinematography: 24mm chase shots, 35mm movement, 50mm portraits, natural handheld micro-movement, 180° shutter and realistic motion blur. Fine 35mm film grain, subtle highlight halation, soft cinematic bloom and expensive highlight roll-off. Color progression: cool rainy city → warm earthy market → cyan misty mountains → golden coast → deep cyan/red neon → cool mountain atmosphere → rich cinematic blue-hour finale. Keep natural warm skin throughout. TRANSITION RULE Every transition must be physically motivated: bus wipe → water splash → elevator doors → jacket wipe → tram wipe → reflection/whip → crowd reveal → hand-to-lens ending. Never visibly morph locations. No portals, liquid AI transformations, speed ramps, floating cameras or impossible movements. Cuts should be so clean viewers replay them to understand how they happened. REALISM LOCK Same exact lead identity throughout. Real skin texture, correct hands, natural running, realistic footsteps, weighted hair and clothing, earphone cable bouncing with movement, physically correct reflections and splashes. Background people move independently and never freeze or duplicate. No warped architecture, plastic skin, beauty-filter face or AI look. MUSIC / SOUND Original 120 BPM premium cinematic-electronic travel track synchronized tightly to every transition. Start with minimal bass and crisp percussion, build through the chase, open into an uplifting melodic hook at the coast, become deeper at neon night, strip down during the cable-car/crowd search, then massive satisfying beat drop at the friend reveal and strongest musical section for the final run. Layer realistic footsteps, traffic, splash, elevator ding, wind, tram rumble, cable-car hum, crowd ambience, fabric movement, pigeon wings and genuine laughter. No dialogue. No voiceover. No lyrics.

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24,180 Aufrufe • vor 14 Tagen