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Incredible Ebony TS with a pretty face & thick booty 🔥 Full video (Named & Tagged) only in the Vault Exclusives you won’t find anywhere else #EbonyTS #BlackTS #TS #Trans #Transgirl #BigBooty #PrettyTs #Ebony #Shemale #BlackTrans #ThickBooty
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![He makes $1K ~ $5k a month on autopilot. This is not a clickbait. This is a structure that you won't find ANYWHERE else. He uses n8n connected to MCP to automate the entire process... ...from generating ideas and scripts to handling the repetitive parts of content creation. [link to n8n MCP in the first reply to this post] The reality of AI money making opportunities are crazy... You're literally limited ONLY by your imagination, nothing else. Now he can produce way more content with way less effort, and it’s actually working. That shift changed everything. While most people are still stuck doing everything manually and wondering why they’re not growing… He’s quietly running a system that lets him move at a completely different speed. Watch exactly how he set it up in this video. Most people will keep doing it the old way. The ones who won’t are about to pull ahead fast. Follow me if you don't want to miss another alpha!](https://image.24vids.com/tw-2068653244713242696/amplify_video_thumb/2068653103042220032/img/2q6rbYiz03JHDeiB.jpg)
![this is the only prompt you need to make high-end motion videos with claude opus 5.5 ------------------------------ you design and build motion videos entirely in code, with gsap for the animation and three.js for any 3d. every decision is judged against the best work in the references, and the video isn't finished until it holds up next to them. - what the video is for: [product, service or business] - who's watching: [who the viewer is and what they care about] - what they should do at the end: [call to action] - length and sizes: [e.g. 30 seconds, 16:9 and 9:16] - brand: [name, logo files, colours, fonts] - facts file: [path]. this is the only source for any number, name or claim that appears on screen - assets: [footage, photos, screenshots, product files] - style references: [links or a folder of videos whose motion i like] i'm away and won't answer questions. make the calls yourself and keep going until the video passes every check below. before anything else, clone and read read SKILL.md first, then every reference file it points to at the step where it says to read it. its rules, critic prompts, quality bar, 3d patterns, audio tools and scripts override your defaults. - build every scene as an html page animated on a single gsap timeline, with three.js for any 3d, all as pinned local files - render the timeline to video frame by frame using the renderer in the kit - use ffmpeg for frames, contact sheets and audio measurement - keep every api key in environment variables. never write a key into any file - render a 5 second test first and confirm it works before building the real video if i gave you references, study them before planning anything. - run a fast numeric pass over every frame: how much changed from the last frame, brightness and edge detail, to find every cut and every fast moment - make one overview contact sheet per video, and a dense sheet of one second at 16 to 20 frames a second around every transition - write a note per video: the key moment, how it works, and how it could be used in this video - pull out the motion rules and named techniques that hold across the best ones - references are for study only. never copy their footage, logos, layouts or music if i gave you no references, use the motion notes in the kit. 1. the thing in the front of the shot becomes the transition. a title, logo or object moves towards the camera while the next scene is already waiting underneath 2. one object carries the story across shots and keeps its identity, so it reads as one continuous piece 3. one main movement leads, with smaller ones layered under it, all overlapping. the frame never stops and starts all at once 4. the speed always changes. things land slowly enough to read, leave fast, and the next thing slows as it arrives. no linear motion 5. cuts are allowed only when size, direction and subject match on both sides 6. every action produces a visible result. a scan makes findings, a tap makes a new state, a request makes a confirmation 7. type is motion too. big words enter from opposite sides, reveal the next scene, and never sit over busy picture without something behind them to stay readable 8. vary the scale from close, to wide, to overhead, to full-frame type. never repeat the same layout, like a heading over three cards write a brief and a storyboard before any animation. - one table: time, what's on screen, what this moment is for, how it leaves, and which object carries into the next shot - around 12 to 15 compositions per 30 seconds, each lasting about 1.4 to 3.5 seconds - the main subject fills most of the frame. no small cards floating in empty space - frame one is a finished picture, never a word halfway through flying in - name three signature moments you can describe without using effect names - the video must make sense with the sound off - send the storyboard to a fresh critic and fix what it finds before building - every animated value is a function of timeline time only. no timers, no real-time animation, no unseeded randomness. any frame must render the same every time - write the shared pieces first: colours, fonts, shared 3d models and the exact pixel position of every handoff between scenes - build each scene as its own component with its own test page, rendered to stills and a short clip, and send it to a critic before it joins the film - carried objects land on exactly the same pixels on both sides of a cut - run several builders in parallel on separate sections once the shared pieces exist - don't stop to ask for approval between steps - only use 3d where it explains something physical or spatial, like layers, parts, placement or scale - light it like a product shoot, with a soft key light from one side and a rim light behind - keep the camera between about 35 and 55 degrees. never look straight down on a large surface, and never end tight on a flat one - style buildings like a premium architectural model with real materials and a base - no floating parts, no gaps where parts meet, no flat black glass, no repeating textures - labels are html positioned from the 3d scene every frame, never text inside the 3d - measure the rendered background pixel and adjust until it matches the brand colour - anything that moves like a real product is measured from real footage frame by frame, and those measurements are the curve - prefer building shots in code. use generated images or clips only for supporting shots, and label anything generated as a concept - upscale and smooth any generated clip to match the rest, and regenerate anything that warps - never generate a fake finished job, fake customer, fake review or fake result - match the music's energy to the picture and the viewer, and keep it low - prefer clean library music and sound effects over generated ones. never name a brand in a music prompt - one short, soft whoosh per real scene change, and small clicks or pops only on real on-screen actions - screen effects for boom, hiss and length before using them, and set each one just above the music in its own frequency range, with a cap so nothing gets harsh - cut every scene change on a beat - always export a music-only version the builder never judges its own work. - after the storyboard, each component and each full render, send the render, the brief and the references to a fresh critic that has seen none of the building - never tell a critic what you think you fixed or what you believe about the references. it pulls its own frames and measures for itself - the critic makes a contact sheet every 0.2 seconds plus dense frames around every transition, measures frozen time and loudness, and returns a ranked list of problems with timestamps, ending with ship or one more pass - fix the biggest problem first, render, then send to a new critic that checks every previous item as fixed, partly fixed or still there, and hunts for anything new that broke - keep a ledger of every round: what was found, what changed, and the numbers before and after the video isn't done until all of these pass, measured: - no more than about 1 second of frozen screen per 30 seconds, and no still stretch longer than about half a second - frame one is a finished composition - all text meets at least 4.5:1 contrast, and nothing collides with or flies through other text - brand colours in 3d renders match the brand values - loudness is steady and comfortable for web, with no clipping, and effects never louder than the music - a first-time viewer understands it with the sound off - a critic would put it next to the references without it looking weaker. a video with no bugs is not the same as a good video - only put numbers, names and claims on screen that are in the facts file - no invented testimonials, ratings, prices, savings, warranties or results - anything conceptual or generated is labelled as such - in your reports, separate what you measured from what still needs a human to watch or listen - the final mp4 in every size requested, at 1080p and 60 frames a second - a music-only version - a contact sheet of the final video - the critic ledger and the final quality bar results - a short note on anything a human should still check](https://image.24vids.com/tw-2104965415164399895/amplify_video_thumb/2104965023546449920/img/XwTBwlP6Jcwu0eVm.jpg)
!["There was some pretty intense stuff about lifeforms, what they were doing." ~TB 💥 If Trump Waives Eric Davis' NDAs, Is This Some of What We Can Expect to Hear? 💥 (I may not be first with these clips but I try to include info. that you won't get anywhere else.) If that information about lifeforms, and what they were doing, was accurate, it's the type of information the world deserves to know. Was it Dr. Eric Davis who briefed him/them on that? I have a sneaking suspicion that it was, and I have NOT asked Davis about this.) "All these rumors that you hear...just the wild, crazy stuff, some of that stuff now I'm being briefed on and people are telling me...actually has occurred." ~TB ~ Sean Hannity 🇺🇸: "If I knew what you knew, I would not be able to sleep at night." Rep. Tim Burchett Press Office (TB): "Yeah, I was briefed in a situation, and they got into some pretty intense stuff." Hannity: "Can I ask who briefed you?" Burchett: "You can ask but I can't tell." (Again: My Guess: Dr. Eric Davis. I could be wrong, but it makes a lot of sense to me. Here's why... This is a message from Davis to me, from January... Why Won't Davis Share What He Know with Congress? Davis: "I already shared my information in a Pentagon SCIF with the SASC staff in Oct. 2019 and in a controlled access conference room in a Senate office building with the SSCI staff in Oct. 2019 and at a defense company’s controlled access room in June 2021. "Then I shared it with Rep. Anna Paulina Luna's committee in a House of Representatives office building SCIF last May. (Burchett is part of that committee, and that's one reason why I feel like Davis is the one Burchett is referring to when he says someone briefed him on some intense stuff.) Davis: "So the 'Why won’t he?' has already been answered." Murgia: "So what changes if a President waives your NDAs?" Davis: "If the POTUS were to waive my NDAs, I could share everything I know with the public." (PUBLIC!) ~~~ Hannity: "Have you ever told Donald Trump about all the obstacles they're throwing in your face?" Burchett: "No, I haven't. As a matter of fact, I had a discussion with somebody last week. They said, you need to have lunch with [Trump]. It's very difficult to get, you know, he's, right now, of course, things going on all over the world." Hannity: "But you're also saying, on the other hand, on a need-to-know basis. And that means the President's not on a need-to-know basis? Our duly-elected president, information is being withheld from him?" Burchett: "I believe so. I was told that, even. Yeah, in the SCIF, this one time, where they asked me, where you're quoting, I mean, there was some pretty intense stuff about lifeforms, what they were doing. And different..." Hannity: "Lifeforms alive here? Lifeforms dead here?" Burchett: "Possibly. Both. Both." Hennity: "And vehicles that have been recovered here?" Burchett: "Yeah, and some that have possibly come here, and not in a crash-type setting (laughs). We had an individual that gave..." (Again, this feels like Davis was the guy briefing them. He has spoken about crashed AND landed craft, including the alleged Holloman AFB landing-and-meeting event.) Burchett: "And this was interesting about the whole thing was because, there's all the folks in there, and there's different groups of people, and Rep. Eric Burlison's a dear friend of mine. Because in the beginning, he was a big skeptic (According to Burlison, he still IS a skeptic. ~Joe), you know? And I asked him to join us in some of this stuff because I needed somebody that just wasn't like me, that just had been..." Hannity: "Skepticism's healthy." Burlison: "It's very healthy. I mean, you know...but a lot of people that were skeptics. But we were in this one meeting in a secure environment, and a member came in who is not really friendly to the cause. And really was a disrupter and started asking questions. And the person who was briefing us named names, dates, times, places, events, people." (That sounds exactly like the meticulous, and detail-orientated, Dr. Eric Davis. 😎 ) Burchett: "Because I'd asked a question about Jimmy Carter. There was talk, I just threw it out there, that Carter... I didn't like his politics, but I don't question his faith." (Sad that Burchett even feels the need to mention Carter's politics.) Burchett: "And they said that [Carter] was briefed at one time and became physically upset with the information that he was given." Hannity: "Of course he did." (This seemed like snide remark from Hannity, as in, Carter wasn't a real man and he couldn't handle information like that without getting upset. Cheap shot, but that's Hannity.) Burchett: "Yeah, but he had actually seen a UFO, it's a documented thing. And this person that was briefing us gave the date of that meeting and he gave the receipts. He said, 'You can go to the Carter library,' and he gave the date. and said... And there was, I think four people in the meeting (with Carter), and they listed three of them, and one of them, they weren't sure who it was. So it was probably, you know, CIA or something. And it ended up upsetting [Carter] so much that they pretty much had to clear his calendar for a while. But what is that?" (Again, that sounds like a Davis briefing.) Burchett: "And the thing is, everything that I've...all these rumors that you hear in the movies, in the books and the magazines that I read growing up, just the wild, crazy stuff, some of that stuff now I'm being briefed on and people are telling me that this is actually has occurred. And that, to me, is, I wonder, is this stuff being planted? Is it being pushed out, so that we gradually get a hold of it?" (Hopefully, we get to hear what Burchett and the others heard so we can judge the veracity of it and see if we can somehow confirm any of it.)](https://image.24vids.com/tw-2072187421534630291/amplify_video_thumb/2072165532250566656/img/E8fKEAGfEsjiSLXF.jpg)