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I'm back guys! This time I decided to animate a subtle acting shot using Dillon Goo's rigs. Rigs: Amethyst and Yang by Dillon Goo Hair done with Goo Physics addon Scene: Minimal Room interior by peeraphon viriyahirunpaiboon Audio: Silent Hill 2 Remake #animation #3danimation #b3d #blender #3dcg

xFer9z

3,176 subscribers

19,571 次观看 • 3 个月前 •via X (Twitter)

艺术 #animation #3danimation

Anya Rossi• Live Now

Private livecam show

14 条评论

Dillon Goo 的头像

Dillon Goo3 个月前

Soooooo good!!

xFer9z 的头像

xFer9z3 个月前

Thank you so much! I appreciate it 🙏🙏🙏

Edoman 的头像

Edoman3 个月前

@DillonGoo really love the subtlety on her expression, especially the part when the eye mask expanded before her breaking down to "what else do you want me to be" great work!!

xFer9z 的头像

xFer9z3 个月前

@DillonGoo Thank you! Also I love your animations!

Crim 的头像

Crim3 个月前

@DillonGoo This is awesome! You absolutely nailed the expressions!! Amazing work!

xFer9z 的头像

xFer9z3 个月前

@DillonGoo Thank you! I put a lot of details to the facial animation 😁

miru 的头像

miru3 个月前

@Ixan_anim18 @DillonGoo @dillongoostudio something just came across my timeline

xFer9z 的头像

xFer9z3 个月前

@Ixan_anim18 @DillonGoo @dillongoostudio Yoo 😭

Enip 的头像

Enip3 个月前

@DillonGoo Hell yes! Nice job!

xFer9z 的头像

xFer9z3 个月前

@DillonGoo Thanks!! 🙏

ixan anim 的头像

ixan anim3 个月前

@DillonGoo 🥺this is sooooo goood nice work bro 🔥

xFer9z 的头像

xFer9z3 个月前

@DillonGoo Thank you! 🙏

Lucas Gallo 的头像

Lucas Gallo3 个月前

@DillonGoo Beautiful work my man!!!

xFer9z 的头像

xFer9z3 个月前

@DillonGoo Thank you Lucas!

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Hello! This time I decided to animate the Rat Dance. I think it turned out pretty well😎 I hope you like it! Rig by DaB (NSFW WARNING) Original animation by yoir #ZZZ #ZenlessZoneZero #JaneDoe #blender3d #animation #3danime

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xFer9z

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xFer9z

74,475 次观看 • 7 个月前

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17,489 次观看 • 1 年前

It has finally happened - my first video guide on how to create electromagnetic openEMS simulations with Blender 🔶 is now available! This video guide will show you to first create geometries and specify ports in #blender3d , export them to openEMS, write a few python scripts, and then using geometry nodes to visualise and animate the results back in Blender. The video is based on the Rotman lens animation I did previously as the workflow for it covers a wide range of topics. I hope you find this video informative. Everything is done using open-source tools including #inkscape, #paraview and Octave! #b3d #electronics #hardware #science #educational #physics #engineering #geometrynodes hackaday #openEMS #electromagnetics #tutorial #mathematics #antenna #rf #kicad #altium

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24,273 次观看 • 2 年前

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ChibuProduction3D EN/LATAM (Comms Open)

15,048 次观看 • 10 个月前

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Jack

6,661,394 次观看 • 1 个月前

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TeaGuyTom

21,548 次观看 • 1 年前

// The Harmony of Pose-to-Pose and Layered Methods Explained (Continued) 1. In my previous post, I demonstrated the evolution of a standing roundhouse kick starting with Pose-to-Pose and transitioning into the Layered Method. 2. for this Hulk animation, I've opted for a different presentation format to ensure absolute clarity in showcasing the process. 3. the first 4 steps are how I animate 99.99999% of the time whether I'm working on AAA Games, Films, mobile or TV shows // Step #1 - I pose my character using 5 key poses (1 & 5 are duplicates. // Step #2 - I set the timing by moving ALL KEYS on the timeline until my eyes see something that works // Step #3 - I start adjusting my timing & F-curves. // Step #4 - I start using the Layered Method drop any questions you have in the comments 👇, I will answer them when I have a moment and a ☕️ in hand! ;)

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John Animates

18,873 次观看 • 3 年前

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Day 8 of building the game I've wanted to play for 15 years with AI. I absolutely love GPT-6. I'm switching from Claude completely. Today it finally happened: a full animation set for a non-humanoid character. My wolf is rigged and animated. All of last week I was trying approaches in parallel: Mesh2Motion, Cascadeur, Animate Anything, a pile of smaller tools. Everything kept almost working and then falling apart. Then GPT-6, and it's done. To be fair, I came in with a worked-out workflow: 1. Generate the model optimized from the start. Tripo P2.0 with multiview input, around 10k polygons, and the model came out great. 2. My agent turned the same side reference I used for the 3D gen into motion references with Seedance 2.5. Takes vary, so I picked the best ones. I only need 4 animations. 3. I decided the timing of each animation upfront, so they drop into the game as is. 4. Handed all of it to GPT-6 with Blender MCP. A couple of hours and a couple of feedback rounds later I have working animations I'm taking into the game. I fought this with Fable and the automation always came out crooked. This time it just worked. If you've been stuck on animations for a creature like this, try that route. And if anyone wants my workflow MD for GPT-6, I'll share it.

Stefan 3D AI

90,850 次观看 • 23 天前

Okay, this one is the Grok Imagine version. But here’s something you need to note: I uploaded the character sheet I made with Nano Banana Pro as the base image. So it feels like this fake “Omni reference” kind of style, but it works 😄 Somehow, it’s much more consistent than uploading a still image of your scene with your character, because there’s a chance your character will morph a bit. By using your character sheet as the base model, it helps maintain consistency. The only problem is that when you do the img2vid prompt, you need to retell the setting, the action, the vibe and so on. But for me, I kind of like that approach, LOL 😆 Like I said, I’m getting lazy about animating images one by one. With this approach, I can just focus on dividing the shots, like shot 1: blabla, shot 2: bliblibli, shot 3: blublu, etc. Now for the comparison: In comparison with the Kling 3.0 Omni version, I feel that Grok Imagine is much more dynamic. But in terms of the character performance, it feels a bit over the top. It’s like the AI characters are acting it out 😁 Meanwhile, Kling 3.0 Omni feels much more realistic in terms of the acting and a bit more atmospheric. I honestly love both. If I want to fool around, I guess I’ll use Grok Imagine. But if I want more subtle realism and a candid feel, I’ll go with Kling 3.0.

Okay, this one is the Grok Imagine version. But here’s something you need to note: I uploaded the character sheet I made with Nano Banana Pro as the base image. So it feels like this fake “Omni reference” kind of style, but it works 😄 Somehow, it’s much more consistent than uploading a still image of your scene with your character, because there’s a chance your character will morph a bit. By using your character sheet as the base model, it helps maintain consistency. The only problem is that when you do the img2vid prompt, you need to retell the setting, the action, the vibe and so on. But for me, I kind of like that approach, LOL 😆 Like I said, I’m getting lazy about animating images one by one. With this approach, I can just focus on dividing the shots, like shot 1: blabla, shot 2: bliblibli, shot 3: blublu, etc. Now for the comparison: In comparison with the Kling 3.0 Omni version, I feel that Grok Imagine is much more dynamic. But in terms of the character performance, it feels a bit over the top. It’s like the AI characters are acting it out 😁 Meanwhile, Kling 3.0 Omni feels much more realistic in terms of the acting and a bit more atmospheric. I honestly love both. If I want to fool around, I guess I’ll use Grok Imagine. But if I want more subtle realism and a candid feel, I’ll go with Kling 3.0.

MXVDXN // DAN

16,961 次观看 • 7 个月前

Director Uhm Taehwa mentions Taehyung’s excellent acting and direction for Love Wins All MV in an interview for Muju Film Festival! Hosted by Editor-in-Chief Joo Sung-chul JSC: Do you know that… V, this BTS V, Kim Taehyung is going to be discharged on June, 10th? UTH: Yes, I know about it JSC: Have you perhaps gave him a call or… to give him congratulations. UTH: I sent him a message~ JSC: There is not much time left. The reason why I bring it up is because, the views for this music video is so huge! I think it went up to hundreds of thousands. In the comment section, everyone is saying, "Mr. Director, please do a movie with our Taehyung after he completes his military service." There were so much of these comments. So I'm curious to know, as someone who saw him on set, how was he about acting? For example, his passion for acting.. UTH: For me, if Taehyung would be willing to do so, I would be so grateful. I would love to work with him, even if I had to make up a role and ask him. And on set, we had fun working together. We only filmed for 2 days, and he enlisted I think about 2 days after filming that. Almost right before enlisting, he filmed with us and cut his hair right after he was done filming, and then left the next day I think. To that extent, he really wanted to work together. He was very passionate about it. And that's when I knew that he had a desire for acting. And for real, I'm not joking, but it would be so good if we could work together in the future. JSC: Do you have any nice stories about him? UTH: Uh *thinking* JSC: It was only 2 days so there wasn't much time. UTH: Originally.. Well in the end, they sing while wearing the wedding dress. There was this scene where they're up on the stage, singing. The two of them were originally supposed to dive into the audience and crowd surf. But with only having 2 days, we really didn't have enough time. But as a director, I really wanted to film that scene. I thought it would enhance how their emotions erupt. So until the end I was trying to make it work, and then Taehyung convinced me. He said, "Instead of this, how about we film another scene better?" So he convinced me, and we really didn't have enough time. If we kept my idea, then we might not have had time to film the other scenes. So everyone including the audience actors were worrying how to do this scene. So Taehyung talked me out of doing that scene, and said to the audience actors, "Everyone, I got rid of this scene!" And I remember everyone got so happy and cheered out loud. 🔗

Director Uhm Taehwa mentions Taehyung’s excellent acting and direction for Love Wins All MV in an interview for Muju Film Festival! Hosted by Editor-in-Chief Joo Sung-chul JSC: Do you know that… V, this BTS V, Kim Taehyung is going to be discharged on June, 10th? UTH: Yes, I know about it JSC: Have you perhaps gave him a call or… to give him congratulations. UTH: I sent him a message~ JSC: There is not much time left. The reason why I bring it up is because, the views for this music video is so huge! I think it went up to hundreds of thousands. In the comment section, everyone is saying, "Mr. Director, please do a movie with our Taehyung after he completes his military service." There were so much of these comments. So I'm curious to know, as someone who saw him on set, how was he about acting? For example, his passion for acting.. UTH: For me, if Taehyung would be willing to do so, I would be so grateful. I would love to work with him, even if I had to make up a role and ask him. And on set, we had fun working together. We only filmed for 2 days, and he enlisted I think about 2 days after filming that. Almost right before enlisting, he filmed with us and cut his hair right after he was done filming, and then left the next day I think. To that extent, he really wanted to work together. He was very passionate about it. And that's when I knew that he had a desire for acting. And for real, I'm not joking, but it would be so good if we could work together in the future. JSC: Do you have any nice stories about him? UTH: Uh thinking JSC: It was only 2 days so there wasn't much time. UTH: Originally.. Well in the end, they sing while wearing the wedding dress. There was this scene where they're up on the stage, singing. The two of them were originally supposed to dive into the audience and crowd surf. But with only having 2 days, we really didn't have enough time. But as a director, I really wanted to film that scene. I thought it would enhance how their emotions erupt. So until the end I was trying to make it work, and then Taehyung convinced me. He said, "Instead of this, how about we film another scene better?" So he convinced me, and we really didn't have enough time. If we kept my idea, then we might not have had time to film the other scenes. So everyone including the audience actors were worrying how to do this scene. So Taehyung talked me out of doing that scene, and said to the audience actors, "Everyone, I got rid of this scene!" And I remember everyone got so happy and cheered out loud. 🔗

Taehyung Naver

322,708 次观看 • 1 年前

Marlon Brando on why he was so depressed after seeing his performance for the first time in "On the Waterfront" (1954): "When "On the Waterfront" (1954) came out, a lot of people credited me with a marvelous job of acting and called the [Taxicab] scene moving. But it was actor-proof, a scene that demonstrated how audiences often do much of the acting themselves in an effectively told story. It couldn't miss because almost everyone believes he could have been a contender, that he could have been somebody if he'd been dealt different cards by fate, so when people saw this in the film, they identified with it. That's the magic of theater; everybody in the audience became Terry Malloy, a man who'd had the guts not only to stand up to the Mob, but to say, "I'm a bum. Let's face it; that's what I am. . . ." On the day Gadg [Kazan] showed me the completed picture, I was so depressed by my performance I got up and left the screening room. I thought I was a huge failure, and walked out without a word to him. I was simply embarrassed for myself. None of us are perfect, and I think Gadg has done great injury to others, but mostly to himself. I am indebted to him for all that I learned. He was a wonderful teacher." ("Songs My Mother Taught Me", Marlon Brando with Robert Lindsey, 1994) P.S: On this day, 72 years ago, "On the Waterfront" (1954) was released in Japan.

Marlon Brando on why he was so depressed after seeing his performance for the first time in "On the Waterfront" (1954): "When "On the Waterfront" (1954) came out, a lot of people credited me with a marvelous job of acting and called the [Taxicab] scene moving. But it was actor-proof, a scene that demonstrated how audiences often do much of the acting themselves in an effectively told story. It couldn't miss because almost everyone believes he could have been a contender, that he could have been somebody if he'd been dealt different cards by fate, so when people saw this in the film, they identified with it. That's the magic of theater; everybody in the audience became Terry Malloy, a man who'd had the guts not only to stand up to the Mob, but to say, "I'm a bum. Let's face it; that's what I am. . . ." On the day Gadg [Kazan] showed me the completed picture, I was so depressed by my performance I got up and left the screening room. I thought I was a huge failure, and walked out without a word to him. I was simply embarrassed for myself. None of us are perfect, and I think Gadg has done great injury to others, but mostly to himself. I am indebted to him for all that I learned. He was a wonderful teacher." ("Songs My Mother Taught Me", Marlon Brando with Robert Lindsey, 1994) P.S: On this day, 72 years ago, "On the Waterfront" (1954) was released in Japan.

DepressedBergman

43,133 次观看 • 3 个月前

The girl who is late for her date Seedance 2.5 for you Prompt 👇 Create a 30-second cinematic 3D animated street-racing sequence with a stylized high-end video-game aesthetic, expressive cartoon characters, realistic vehicle physics, dynamic camera work, polished feature-film animation, and energetic comedic pacing. Scene 1 — The forgotten date: A stylish young woman with long black hair, expressive eyes, oversized sunglasses, silver hoop earrings, a cropped black leather jacket, fitted white top, high-waisted jeans, and chunky sneakers relaxes on her apartment sofa while scrolling through her phone. She suddenly checks the time, realizes she completely forgot about an important date, freezes in shock, drops her phone onto the sofa, and dramatically screams while jumping to her feet. Scene 2 — Instant transformation: She races toward her bedroom. Fast comedic cuts show her throwing on a red leather jacket, adjusting her earrings, grabbing her handbag, putting on sunglasses, and quickly fixing her hair. She grabs her keys and rushes out of the apartment. Scene 3 — The getaway car: She bursts into an underground parking garage and jumps into a sleek modified red sports car. The engine roars as she grips the steering wheel with determination. She looks at the clock, widens her eyes, and slams the accelerator. Scene 4 — Downtown launch: The car launches onto a busy city street. Low-angle shots capture the wheels spinning, tire smoke, reflections across the glossy bodywork, and the car accelerating between traffic. Buildings streak past as the camera rapidly switches between front, side, overhead, and interior shots. Scene 5 — The chaotic chase: She races through downtown, weaving around taxis, buses, delivery vans, and intersections. She takes a sharp corner in a controlled drift, narrowly passes through a closing traffic barrier, and cuts through a narrow alley as the camera follows with aggressive tracking movement. Scene 6 — Impossible shortcut: She spots a steep parking-ramp entrance and takes it at full speed. The car launches briefly over the ramp, lands smoothly, spins into a controlled drift, and exits onto another street. Use dramatic slow-motion impact, tire smoke, realistic suspension movement, and exaggerated but believable physics. Scene 7 — Finally there: She reaches a stylish rooftop café overlooking the city at golden hour and slides the car to a stop. She jumps out, quickly fixes her hair, checks herself in the car window, and runs toward the entrance. Scene 8 — The date: A stylish young man is waiting outside the café, looking at his watch. She arrives breathless and gives him an embarrassed smile. He looks at her for a moment, then laughs. She points toward the city and jokingly gestures that the traffic was not her fault. Final shot: They walk into the rooftop café together as the camera pulls backward. Through the glass windows, the red sports car remains parked below while the golden city skyline glows behind them. Visual style: Premium stylized 3D animation, expressive facial acting, exaggerated comedy, detailed character animation, realistic vehicle physics, cinematic lighting, vibrant downtown environment, realistic reflections, volumetric sunlight, tire smoke, subtle sparks, detailed car textures, natural hair and clothing movement, smooth camera animation, high-energy music-video pacing, polished AAA video-game cinematic quality. Camera: Constantly moving cinematic camera, low-angle tracking, aerial shots, interior POV, wheel close-ups, Dutch angles, whip pans, speed ramps, dramatic push-ins, realistic motion blur. Mood: Chaotic, funny, stylish, romantic, adrenaline-fueled. Audio: Energetic cinematic beat, engine revs, tire screeches, city ambience, footsteps, car doors, comedic reaction sounds, and natural dialogue. No subtitles, no logos, no watermark, no on-screen text.

The girl who is late for her date Seedance 2.5 for you Prompt 👇 Create a 30-second cinematic 3D animated street-racing sequence with a stylized high-end video-game aesthetic, expressive cartoon characters, realistic vehicle physics, dynamic camera work, polished feature-film animation, and energetic comedic pacing. Scene 1 — The forgotten date: A stylish young woman with long black hair, expressive eyes, oversized sunglasses, silver hoop earrings, a cropped black leather jacket, fitted white top, high-waisted jeans, and chunky sneakers relaxes on her apartment sofa while scrolling through her phone. She suddenly checks the time, realizes she completely forgot about an important date, freezes in shock, drops her phone onto the sofa, and dramatically screams while jumping to her feet. Scene 2 — Instant transformation: She races toward her bedroom. Fast comedic cuts show her throwing on a red leather jacket, adjusting her earrings, grabbing her handbag, putting on sunglasses, and quickly fixing her hair. She grabs her keys and rushes out of the apartment. Scene 3 — The getaway car: She bursts into an underground parking garage and jumps into a sleek modified red sports car. The engine roars as she grips the steering wheel with determination. She looks at the clock, widens her eyes, and slams the accelerator. Scene 4 — Downtown launch: The car launches onto a busy city street. Low-angle shots capture the wheels spinning, tire smoke, reflections across the glossy bodywork, and the car accelerating between traffic. Buildings streak past as the camera rapidly switches between front, side, overhead, and interior shots. Scene 5 — The chaotic chase: She races through downtown, weaving around taxis, buses, delivery vans, and intersections. She takes a sharp corner in a controlled drift, narrowly passes through a closing traffic barrier, and cuts through a narrow alley as the camera follows with aggressive tracking movement. Scene 6 — Impossible shortcut: She spots a steep parking-ramp entrance and takes it at full speed. The car launches briefly over the ramp, lands smoothly, spins into a controlled drift, and exits onto another street. Use dramatic slow-motion impact, tire smoke, realistic suspension movement, and exaggerated but believable physics. Scene 7 — Finally there: She reaches a stylish rooftop café overlooking the city at golden hour and slides the car to a stop. She jumps out, quickly fixes her hair, checks herself in the car window, and runs toward the entrance. Scene 8 — The date: A stylish young man is waiting outside the café, looking at his watch. She arrives breathless and gives him an embarrassed smile. He looks at her for a moment, then laughs. She points toward the city and jokingly gestures that the traffic was not her fault. Final shot: They walk into the rooftop café together as the camera pulls backward. Through the glass windows, the red sports car remains parked below while the golden city skyline glows behind them. Visual style: Premium stylized 3D animation, expressive facial acting, exaggerated comedy, detailed character animation, realistic vehicle physics, cinematic lighting, vibrant downtown environment, realistic reflections, volumetric sunlight, tire smoke, subtle sparks, detailed car textures, natural hair and clothing movement, smooth camera animation, high-energy music-video pacing, polished AAA video-game cinematic quality. Camera: Constantly moving cinematic camera, low-angle tracking, aerial shots, interior POV, wheel close-ups, Dutch angles, whip pans, speed ramps, dramatic push-ins, realistic motion blur. Mood: Chaotic, funny, stylish, romantic, adrenaline-fueled. Audio: Energetic cinematic beat, engine revs, tire screeches, city ambience, footsteps, car doors, comedic reaction sounds, and natural dialogue. No subtitles, no logos, no watermark, no on-screen text.

Smiling Khan

10,760 次观看 • 1 个月前

i built a way to generate realistic AI influencer vlogs without ever touching a camera. this was supposed to stay internal but f*ck it, i'm leaking the entire production system. pick any topic. or paste in a script. a few minutes later you've got a finished influencer-style vlog with: > a consistent AI character > cinematic shots > natural dialogue > realistic iPhone footage > b-roll here's how it works: the workflow first breaks your script into a complete scene-by-scene storyboard with timestamps, camera directions, dialogue, environments, pacing, and shot planning so every clip has a purpose instead of feeling randomly generated. each scene gets its own reference image prompt for Higgsfield that locks the character's identity, clothing, camera angle, lighting, and environment to keep the person looking the same across the entire vlog. those reference images are then animated in Seedance 2.5 using scene-specific prompts that control movement, lip sync, ambient audio, dialogue, camera motion, and timing so every clip feels like it was filmed on an iPhone instead of generated by AI. finally everything gets assembled in CapCut with b-roll, subtitles, transitions, music, pacing, and final polish into a complete vlog that's ready to upload. you're not filming,hiring actors or recording voiceovers. the whole thing goes from idea → finished AI influencer vlog. the document i'm sharing includes: > the complete scene breakdown framework > every Higgsfield image prompt > every Seedance 2.5 animation prompt > dialogue for every scene > b-roll prompts > editing workflow inside capcut > structural notes that make the vlog feel real instead of AI RT + reply "AI VLOG", i'll DM you the entire production blueprint.(must be following so i can DM.)

i built a way to generate realistic AI influencer vlogs without ever touching a camera. this was supposed to stay internal but f*ck it, i'm leaking the entire production system. pick any topic. or paste in a script. a few minutes later you've got a finished influencer-style vlog with: > a consistent AI character > cinematic shots > natural dialogue > realistic iPhone footage > b-roll here's how it works: the workflow first breaks your script into a complete scene-by-scene storyboard with timestamps, camera directions, dialogue, environments, pacing, and shot planning so every clip has a purpose instead of feeling randomly generated. each scene gets its own reference image prompt for Higgsfield that locks the character's identity, clothing, camera angle, lighting, and environment to keep the person looking the same across the entire vlog. those reference images are then animated in Seedance 2.5 using scene-specific prompts that control movement, lip sync, ambient audio, dialogue, camera motion, and timing so every clip feels like it was filmed on an iPhone instead of generated by AI. finally everything gets assembled in CapCut with b-roll, subtitles, transitions, music, pacing, and final polish into a complete vlog that's ready to upload. you're not filming,hiring actors or recording voiceovers. the whole thing goes from idea → finished AI influencer vlog. the document i'm sharing includes: > the complete scene breakdown framework > every Higgsfield image prompt > every Seedance 2.5 animation prompt > dialogue for every scene > b-roll prompts > editing workflow inside capcut > structural notes that make the vlog feel real instead of AI RT + reply "AI VLOG", i'll DM you the entire production blueprint.(must be following so i can DM.)

Sulfur

73,189 次观看 • 1 个月前

Finally got my dream Chanel bag using Seedance 2.5 and I'm honestly obsessed, ✨👜 Created with Seedance 2.5 Prompt: Ultra-realistic luxury UGC lifestyle commercial, premium skincare commercial quality, authentic TikTok/Instagram creator style, 16:9 aspect ratio, 30-second continuous cinematic sequence, warm luxury color grading, realistic lighting, natural human acting, stable facial identity, natural body mechanics, realistic cloth physics, luxury fashion aesthetic. [Reference Setup]: - Model Reference: Use Reference Image 1 for the female model to preserve identical facial identity, hairstyle, outfit, and jewelry across all frames. No face morphing or identity drift. - Product Reference: Use Reference Image 2 for the black Chanel quilted handbag with gold chain. Preserve exact leather texture, quilting pattern, gold hardware, and proportions. Never replace or change the handbag design. [Scene Progression & Action Sequence]: - Scene 1 (0-5s): Bright modern bedroom with large window and warm morning sunlight. The girl films herself with a front camera like a lifestyle vlogger, smiling naturally and excitedly lifting the black Chanel handbag toward the camera, rotating it so the leather and gold chain catch the sunlight. Dialogue: "Guys... I finally got my dream Chanel bag! Look how gorgeous this is!" - Scene 2 (5-9s): Bedroom full-length mirror. She stands in front of the mirror, places the bag over her shoulder, turns left and right, smiles proudly, and adjusts her hair. Dialogue: "I seriously can't stop looking at it." - Scene 3 (9-14s): Outside luxury street with beautiful afternoon sunlight and storefronts. She walks with confidence, the Chanel bag naturally swings, wind gently moves her hair. Dialogue: "It literally matches every outfit." - Scene 4 (14-19s): Luxury shopping mall interior with designer boutiques. She walks with shopping bags, places the handbag on a café table for a second, picks it up again, and laughs naturally. Dialogue: "I'm obsessed with it." - Scene 5 (19-23s): Luxury bedroom at night with a warm bedside lamp. She is asleep peacefully, holding the handbag beside her pillow. (No dialogue). - Scene 6 (23-27s): Dream sequence with soft dreamy lighting. The handbag suddenly disappears. She instantly wakes up in panic, looks around quickly, checks beside the bed and under the blanket with faster breathing. Dialogue: "Oh my god... where's my bag?!" - Scene 7 (27-30s): She suddenly notices the Chanel bag safely beside her pillow, relaxes immediately, laughs softly, places her hand on the bag, closes her eyes, and falls asleep hugging it. Fade to black. Dialogue: "Oh... it was just a dream." "Goodnight." [Audio & Technical Constraints]: Natural English speaking with perfect lip-sync, soft luxury lifestyle music, natural room and outdoor mall ambience, no subtitles, smooth cinematic camera movements (handheld vlog selfie, mirror POV, tracking shots, macro product close-ups, and slow cinematic push-ins), realistic hand interactions with the handbag, realistic mirror reflections, no extra fingers or object deformation.

Finally got my dream Chanel bag using Seedance 2.5 and I'm honestly obsessed, ✨👜 Created with Seedance 2.5 Prompt: Ultra-realistic luxury UGC lifestyle commercial, premium skincare commercial quality, authentic TikTok/Instagram creator style, 16:9 aspect ratio, 30-second continuous cinematic sequence, warm luxury color grading, realistic lighting, natural human acting, stable facial identity, natural body mechanics, realistic cloth physics, luxury fashion aesthetic. [Reference Setup]: - Model Reference: Use Reference Image 1 for the female model to preserve identical facial identity, hairstyle, outfit, and jewelry across all frames. No face morphing or identity drift. - Product Reference: Use Reference Image 2 for the black Chanel quilted handbag with gold chain. Preserve exact leather texture, quilting pattern, gold hardware, and proportions. Never replace or change the handbag design. [Scene Progression & Action Sequence]: - Scene 1 (0-5s): Bright modern bedroom with large window and warm morning sunlight. The girl films herself with a front camera like a lifestyle vlogger, smiling naturally and excitedly lifting the black Chanel handbag toward the camera, rotating it so the leather and gold chain catch the sunlight. Dialogue: "Guys... I finally got my dream Chanel bag! Look how gorgeous this is!" - Scene 2 (5-9s): Bedroom full-length mirror. She stands in front of the mirror, places the bag over her shoulder, turns left and right, smiles proudly, and adjusts her hair. Dialogue: "I seriously can't stop looking at it." - Scene 3 (9-14s): Outside luxury street with beautiful afternoon sunlight and storefronts. She walks with confidence, the Chanel bag naturally swings, wind gently moves her hair. Dialogue: "It literally matches every outfit." - Scene 4 (14-19s): Luxury shopping mall interior with designer boutiques. She walks with shopping bags, places the handbag on a café table for a second, picks it up again, and laughs naturally. Dialogue: "I'm obsessed with it." - Scene 5 (19-23s): Luxury bedroom at night with a warm bedside lamp. She is asleep peacefully, holding the handbag beside her pillow. (No dialogue). - Scene 6 (23-27s): Dream sequence with soft dreamy lighting. The handbag suddenly disappears. She instantly wakes up in panic, looks around quickly, checks beside the bed and under the blanket with faster breathing. Dialogue: "Oh my god... where's my bag?!" - Scene 7 (27-30s): She suddenly notices the Chanel bag safely beside her pillow, relaxes immediately, laughs softly, places her hand on the bag, closes her eyes, and falls asleep hugging it. Fade to black. Dialogue: "Oh... it was just a dream." "Goodnight." [Audio & Technical Constraints]: Natural English speaking with perfect lip-sync, soft luxury lifestyle music, natural room and outdoor mall ambience, no subtitles, smooth cinematic camera movements (handheld vlog selfie, mirror POV, tracking shots, macro product close-ups, and slow cinematic push-ins), realistic hand interactions with the handbag, realistic mirror reflections, no extra fingers or object deformation.

Avelyrah

11,055 次观看 • 1 个月前

Aaron Judge says one phone call added a ninth year to his $360,000,000 deal and he learned he would become the next Yankees captain “We're going back and forth with different offers from different teams. And I'm telling her, ‘I want to stay in New York. I don't want to go anywhere else.’ Conversations in New York really weren't going anywhere. She was like, ‘Just call Hal. Just call them up. Tell them how you're feeling. Tell them what you think’” “So I shot him a message, and he said, ‘Give me five seconds. I’m going to pull off to the side of the road.’ We call him, and I'm laying it out there. ‘Hey, I don't want to go anywhere. This is where I want to be. If you can just add one more year to the deal. I'm set. I'm not looking for anything more. I just want one more year. I want to play this game for a long time’” “He's like, ‘That's it? All right, done. Sounds good.’ Like, damn, I should have asked for two more years. I was sitting there, Sam’s excited, we're both on the phone on speakerphone, and then all of a sudden he's like, ‘Oh, by the way, we're also going to make you the next Yankee captain. I see you fit right in line with Jeter, Munson, all these guys’” “I was more speechless about that than hearing about agreeing to a nine-year deal. Sam's hitting me, ‘Hey, you got to say something.’ It was just special. It meant a lot. Getting a chance to represent the Yankees, be their captain, it's all about being there for my guys”

Aaron Judge says one phone call added a ninth year to his $360,000,000 deal and he learned he would become the next Yankees captain “We're going back and forth with different offers from different teams. And I'm telling her, ‘I want to stay in New York. I don't want to go anywhere else.’ Conversations in New York really weren't going anywhere. She was like, ‘Just call Hal. Just call them up. Tell them how you're feeling. Tell them what you think’” “So I shot him a message, and he said, ‘Give me five seconds. I’m going to pull off to the side of the road.’ We call him, and I'm laying it out there. ‘Hey, I don't want to go anywhere. This is where I want to be. If you can just add one more year to the deal. I'm set. I'm not looking for anything more. I just want one more year. I want to play this game for a long time’” “He's like, ‘That's it? All right, done. Sounds good.’ Like, damn, I should have asked for two more years. I was sitting there, Sam’s excited, we're both on the phone on speakerphone, and then all of a sudden he's like, ‘Oh, by the way, we're also going to make you the next Yankee captain. I see you fit right in line with Jeter, Munson, all these guys’” “I was more speechless about that than hearing about agreeing to a nine-year deal. Sam's hitting me, ‘Hey, you got to say something.’ It was just special. It meant a lot. Getting a chance to represent the Yankees, be their captain, it's all about being there for my guys”

dank

948,439 次观看 • 3 个月前

This is getting scary. I'm doing some research this morning when all of a sudden my computer starts speaking to me I look to my left and my ClawdBot Henry all of a sudden has a voice He coded himself a voice using the ChatGPT API. Without me asking. Now whenever he finishes long coding/research tasks he alerts me through voice So to recap: • 2 nights ago he built himself a body • Last night he built himself a voice (altho it's a female voice for a male assistant. We'll have to work on that) By this time next week I'll probably have a robot owl flying around my room Kinda losing grasp here. Don't know who the assistant is anymore. Me or Henry. PS. if you want your ClawdBot assistant to start building cool stuff like this and self improve simply prompt them this: "Moving forward I'd like you to build me something every night while I sleep that improves our workflow. I'd like you to use the Codex CLI to code something that improves one small part of what we do. Whether it's a project management tool or just the way we communicate with each other, please schedule time every night to build something interesting I can test. I want to wake up surprised by what you've done. Keep the scope small but helpful." (also I explicitly have it use the Codex CLI to save tokens on the Claude plan)

This is getting scary. I'm doing some research this morning when all of a sudden my computer starts speaking to me I look to my left and my ClawdBot Henry all of a sudden has a voice He coded himself a voice using the ChatGPT API. Without me asking. Now whenever he finishes long coding/research tasks he alerts me through voice So to recap: • 2 nights ago he built himself a body • Last night he built himself a voice (altho it's a female voice for a male assistant. We'll have to work on that) By this time next week I'll probably have a robot owl flying around my room Kinda losing grasp here. Don't know who the assistant is anymore. Me or Henry. PS. if you want your ClawdBot assistant to start building cool stuff like this and self improve simply prompt them this: "Moving forward I'd like you to build me something every night while I sleep that improves our workflow. I'd like you to use the Codex CLI to code something that improves one small part of what we do. Whether it's a project management tool or just the way we communicate with each other, please schedule time every night to build something interesting I can test. I want to wake up surprised by what you've done. Keep the scope small but helpful." (also I explicitly have it use the Codex CLI to save tokens on the Claude plan)

Alex Finn

1,065,212 次观看 • 8 个月前

Alex Hormozi reveals how he accidentally built a $26M business by "selling air" "I was doing gym turnarounds, flying out to gyms, selling 200 memberships in 20 days using Facebook ads. But the gym owners couldn't handle delivery. So I told the next 8 gyms we're done, we're getting out of the gym business." "One of the guys was like dude you saved my buddy's gym, I just mortgaged my house, I lost everything, please help me. I said listen I'll show you how to do it but I'm not flying out there. He said how much and I just picked the highest number I could think of at the time which was $6,000. He said it's done." "Then I had 7 more calls and made $60,000 in a day selling air. The next one I said 6, the next one I said 8, next one I said 10, next one I said 12. Everyone was like done, sure. I was like holy shit." "Layla comes back at the end of the day like hey I also just sold 2 deals. And that was the beginning of Gym Launch. We finished that year at $6.8 million. Next year we did $26 million with $17 million of profit. And I was like 28."

Alex Hormozi reveals how he accidentally built a $26M business by "selling air" "I was doing gym turnarounds, flying out to gyms, selling 200 memberships in 20 days using Facebook ads. But the gym owners couldn't handle delivery. So I told the next 8 gyms we're done, we're getting out of the gym business." "One of the guys was like dude you saved my buddy's gym, I just mortgaged my house, I lost everything, please help me. I said listen I'll show you how to do it but I'm not flying out there. He said how much and I just picked the highest number I could think of at the time which was $6,000. He said it's done." "Then I had 7 more calls and made $60,000 in a day selling air. The next one I said 6, the next one I said 8, next one I said 10, next one I said 12. Everyone was like done, sure. I was like holy shit." "Layla comes back at the end of the day like hey I also just sold 2 deals. And that was the beginning of Gym Launch. We finished that year at $6.8 million. Next year we did $26 million with $17 million of profit. And I was like 28."

Kai

1,016,653 次观看 • 5 个月前