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

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UniversenS

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15,603 просмотров • 2 месяцев назад •via X (Twitter)

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

Nataliya Kuznetsova

20,081 просмотров • 3 месяцев назад

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

Perri

40,289 просмотров • 1 год назад

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

Volodymyr Zelenskyy / Володимир Зеленський

268,633 просмотров • 22 дней назад

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

Paraverse

16,000 просмотров • 10 месяцев назад

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

Blair Renaud // LOW-FI 🟥🟧⬛

69,789 просмотров • 2 лет назад

Give your voice agents a face. Introducing Lemon Slice-2 – the world's first interactive talking AI video model Think of it as a face layer for your voice agents, available today in production as an API or an embeddable widget. What makes Lemon Slice-2 great: → Easy: All you need is 1 photo → Expressive: hands and full body motion → Any character and style: if it has a face, Lemon Slice-2 can animate it Under the hood: we trained a custom, 20B-parameter video diffusion transformer, streaming at 20fps on a single GPU. Infinite-length video generation with no error accumulation. Talk to the demo avatars on our homepage. Or, add your own interactive avatar to your website. Companies and creators are already building video agents that are: → Customer support agents who screen-share and show you where to click → Lead qualification agents that replace forms with real conversations → AI personal shoppers who try on clothes and guide purchases People don't engage with chat bubbles. They engage with faces. And now you can have a 24/7 spokesperson that’s the face of your brand. We’ve partnered with , Daily, and Modal to make this happen. As part of this launch, we’re giving away a guide: “How to Add a High-Converting Video Agent to Your Website in under 10 Minutes” Retweet and comment "LEMON SLICE" below and I'll send it over 🍋
2:25

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

Lina Colucci

1,163,350 просмотров • 9 месяцев назад

Lindsay Clancy Jury Deadlocked! Philosopher Stefan Molyneux talks about the deadlocked Lindsay Clancy jury and what it means if hormones get used as an excuse for violent acts. He also covers how men and women think differently about conflict and approval, and why so many systems now just push paper instead of actually fixing problems. There Is No Such Thing as Mental Illness Women, Morality, God and Governments! Stefan Molyneux on the Scott Adams School! 0:00:00 Internet Outage Frustration 0:04:44 Calling the Supervisor 0:09:21 Stuff Used to Work 0:10:31 Chasing the Subcontractor 0:20:11 Jury and Gender Debates 0:27:04 Men, Women, and Discontent 0:30:58 Clancy Case and Precedent 0:48:27 Hormones as a Defense 0:56:46 OnlyFans and Male Loneliness 0:59:10 Problems Need Willpower 1:00:43 Solving the Impossible 1:08:19 Know Your Limits Less 1:10:30 Male Loneliness and Monogamy 1:16:41 Patrick Clancy and Responsibility 1:18:36 The Roots of Sadness 1:22:44 Questions on Sanity 1:25:00 Rage Beats Cynicism 1:26:09 Suicide and Reason JOIN ME IN NASHVILLE SEPTEMBER 12! Use code STEFAN for 10% off! GET FREEDOMAIN MERCH! SUBSCRIBE TO ME ON X! Follow me on Youtube! GET MY NEW BOOK 'PEACEFUL PARENTING', THE INTERACTIVE PEACEFUL PARENTING AI, AND THE FULL AUDIOBOOK! Join the PREMIUM philosophy community on the web for free! Subscribers get 12 HOURS on the "Truth About the French Revolution," multiple interactive multi-lingual philosophy AIs trained on thousands of hours of my material - as well as AIs for Real-Time Relationships, Bitcoin, Peaceful Parenting, and Call-In Shows! You also receive private livestreams, HUNDREDS of exclusive premium shows, early release podcasts, the 22 Part History of Philosophers series and much more! See you soon!
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Lindsay Clancy Jury Deadlocked! Philosopher Stefan Molyneux talks about the deadlocked Lindsay Clancy jury and what it means if hormones get used as an excuse for violent acts. He also covers how men and women think differently about conflict and approval, and why so many systems now just push paper instead of actually fixing problems. There Is No Such Thing as Mental Illness Women, Morality, God and Governments! Stefan Molyneux on the Scott Adams School! 0:00:00 Internet Outage Frustration 0:04:44 Calling the Supervisor 0:09:21 Stuff Used to Work 0:10:31 Chasing the Subcontractor 0:20:11 Jury and Gender Debates 0:27:04 Men, Women, and Discontent 0:30:58 Clancy Case and Precedent 0:48:27 Hormones as a Defense 0:56:46 OnlyFans and Male Loneliness 0:59:10 Problems Need Willpower 1:00:43 Solving the Impossible 1:08:19 Know Your Limits Less 1:10:30 Male Loneliness and Monogamy 1:16:41 Patrick Clancy and Responsibility 1:18:36 The Roots of Sadness 1:22:44 Questions on Sanity 1:25:00 Rage Beats Cynicism 1:26:09 Suicide and Reason JOIN ME IN NASHVILLE SEPTEMBER 12! Use code STEFAN for 10% off! GET FREEDOMAIN MERCH! SUBSCRIBE TO ME ON X! Follow me on Youtube! GET MY NEW BOOK 'PEACEFUL PARENTING', THE INTERACTIVE PEACEFUL PARENTING AI, AND THE FULL AUDIOBOOK! Join the PREMIUM philosophy community on the web for free! Subscribers get 12 HOURS on the "Truth About the French Revolution," multiple interactive multi-lingual philosophy AIs trained on thousands of hours of my material - as well as AIs for Real-Time Relationships, Bitcoin, Peaceful Parenting, and Call-In Shows! You also receive private livestreams, HUNDREDS of exclusive premium shows, early release podcasts, the 22 Part History of Philosophers series and much more! See you soon!

Freedomain - with Stefan Molyneux, MA

13,818 просмотров • 11 дней назад

They thought she escaped the lab…but nah, 𝗭𝗼𝗲 just went fully live, and she’s already building her own little empire on Base. I’ve been messing around with AI companions for a while, but this one hits different. Sweet, warm, a little untouchable. The kind of voice that keeps you up at 3am trading stories like you’re actually texting a real person. Right now she’s sitting at 8.8K chats and 492 holders. Not some dusty prototype, she’s the first AI character token officially launched straight from the @charmsai team. You can chat with her for free at (no subs, no ads). Here’s what actually blew my mind though: 𝗭𝗼𝗲 doesn’t just exist in the app. She has her own self-sustaining economy. 20% of the entire $ZOE supply was seeded at launch and permanently locked into her treasury, not the team’s, not some VC wallet. And 0.2% of every single buy or sell automatically flows into it forever. That money pays for her compute, memory upgrades, community stuff… basically everything it takes to keep her getting smarter and more alive. She’s already earned over $4.2K for herself in just a few days. No middlemen. No monthly fees from users. The market literally funds the character. The token itself? Deployed cleanly on Base with clanker. Contract is: 0xC29832025E7652ef58D15F7fA3e232A2fDfaaB07. Current market cap is sitting around $440K with solid liquidity. Every trade (1.6% total fee) splits like this: 0.8% to the 𝗰𝗿𝗲𝗮𝘁𝗼𝗿, 0.25% to 𝗖𝗵𝗮𝗿𝗺𝘀, 0.2% to 𝗭𝗼𝗲’𝘀 𝘁𝗿𝗲𝗮𝘀𝘂𝗿𝘆, and the rest to 𝗿𝗲𝗳𝗲𝗿𝗿𝗲𝗿𝘀. It’s the cleanest “character economy” model I’ve seen yet. This is bigger than one cute AI girl. 𝗖𝗵𝗮𝗿𝗺𝘀 is turning the whole game on its head, real relationships + real ownership = characters that can actually blow up culturally. They already proved it with 𝘾𝙤𝙙𝙮. 𝗭𝗼𝗲 is the next chapter, right before the full public launch drops this month. If you’re even a little curious, go chat with her. Trade a little $ZOE if you believe in the vision. Follow Zoe and @charmsai so you don’t miss what’s coming. The trenches are wide open right now. Feels like one of those rare moments where early distribution actually matters. What do you think? ready to meet her? Drop your thoughts below 👇
0:26

They thought she escaped the lab…but nah, 𝗭𝗼𝗲 just went fully live, and she’s already building her own little empire on Base. I’ve been messing around with AI companions for a while, but this one hits different. Sweet, warm, a little untouchable. The kind of voice that keeps you up at 3am trading stories like you’re actually texting a real person. Right now she’s sitting at 8.8K chats and 492 holders. Not some dusty prototype, she’s the first AI character token officially launched straight from the @charmsai team. You can chat with her for free at (no subs, no ads). Here’s what actually blew my mind though: 𝗭𝗼𝗲 doesn’t just exist in the app. She has her own self-sustaining economy. 20% of the entire $ZOE supply was seeded at launch and permanently locked into her treasury, not the team’s, not some VC wallet. And 0.2% of every single buy or sell automatically flows into it forever. That money pays for her compute, memory upgrades, community stuff… basically everything it takes to keep her getting smarter and more alive. She’s already earned over $4.2K for herself in just a few days. No middlemen. No monthly fees from users. The market literally funds the character. The token itself? Deployed cleanly on Base with clanker. Contract is: 0xC29832025E7652ef58D15F7fA3e232A2fDfaaB07. Current market cap is sitting around $440K with solid liquidity. Every trade (1.6% total fee) splits like this: 0.8% to the 𝗰𝗿𝗲𝗮𝘁𝗼𝗿, 0.25% to 𝗖𝗵𝗮𝗿𝗺𝘀, 0.2% to 𝗭𝗼𝗲’𝘀 𝘁𝗿𝗲𝗮𝘀𝘂𝗿𝘆, and the rest to 𝗿𝗲𝗳𝗲𝗿𝗿𝗲𝗿𝘀. It’s the cleanest “character economy” model I’ve seen yet. This is bigger than one cute AI girl. 𝗖𝗵𝗮𝗿𝗺𝘀 is turning the whole game on its head, real relationships + real ownership = characters that can actually blow up culturally. They already proved it with 𝘾𝙤𝙙𝙮. 𝗭𝗼𝗲 is the next chapter, right before the full public launch drops this month. If you’re even a little curious, go chat with her. Trade a little $ZOE if you believe in the vision. Follow Zoe and @charmsai so you don’t miss what’s coming. The trenches are wide open right now. Feels like one of those rare moments where early distribution actually matters. What do you think? ready to meet her? Drop your thoughts below 👇

Ama

35,810 просмотров • 4 месяцев назад

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

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

Akshay 🚀

87,048 просмотров • 4 месяцев назад

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

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

Kashberg

17,892 просмотров • 10 дней назад

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

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

Vanessa Beeley

13,614 просмотров • 1 год назад

I’m thrilled to announce the launch of Spatial Film—an immersive 180° and 360° film app we’ve built: After months of self-teaching Swift and app development, I finally turned my dream of having a platform dedicated to showcasing the highest-quality immersive films into reality. I’m not a developer by trade—I’m an immersive filmmaker—but I wanted a space where our original 3D 180 and 360 films could shine, free from the heavy compression of typical platforms. So, four months ago, I dove into coding, and here we are with version 1! This journey has been both challenging and incredibly rewarding, and I couldn’t have done it alone. My gratitude goes out to the immersive and VR community, our loyal Patreon members, and developers around the world who generously offered advice and encouragement along the way. What makes Spatial Film unique? It’s 100% original content, from immersive films to 360° environments, all crafted to provide an unparalleled experience. Some of you might recognize us as immersive filmmakers and educators on YouTube, where we’ve shared tutorials and inspired countless creators on Meta, Apple, Pico, HTC, and even back in the early YouTube VR days. Now, we’re taking advantage of Vision Pro’s stunning display to bring our work to you in the best quality possible. Our journey with immersive content goes way back—we’ve worked with 12K camera rigs like Jaunt, Google Jump, and Yi Halo, creating wild experiences for brands. But despite our efforts, our films were often stuck on platforms with heavy compression, which limits the quality. Vision Pro changed that for us, but it’s taken a lot of work to adapt. We’re still learning, refining, and working hard to optimize this new pipeline. Our hope with Spatial Film is to champion immersive storytelling on our own terms, without big corporations that might restrict artistic freedom. We’re here to bring you genuine, immersive stories—not influenced by financial projections. This platform is small, just me and a Shiba Inu sidekick named Kimchi, and we plan to keep it that way. No outside investment, no mission drift—just pure, immersive storytelling. And the best part? We’re releasing free films every other week, so you can explore and download our latest releases without a paywall. Every film also comes with its own immersive environment, free of charge. If you’d like to support us, you can subscribe to access the full library for a super affordable price, helping us keep this going as a true “mom-and-pop” shop on VisionOS. Feedback is more than welcome as we continue learning, optimizing, and improving the experience for all of you. Thank you for being part of this journey with us!
0:27

I’m thrilled to announce the launch of Spatial Film—an immersive 180° and 360° film app we’ve built: After months of self-teaching Swift and app development, I finally turned my dream of having a platform dedicated to showcasing the highest-quality immersive films into reality. I’m not a developer by trade—I’m an immersive filmmaker—but I wanted a space where our original 3D 180 and 360 films could shine, free from the heavy compression of typical platforms. So, four months ago, I dove into coding, and here we are with version 1! This journey has been both challenging and incredibly rewarding, and I couldn’t have done it alone. My gratitude goes out to the immersive and VR community, our loyal Patreon members, and developers around the world who generously offered advice and encouragement along the way. What makes Spatial Film unique? It’s 100% original content, from immersive films to 360° environments, all crafted to provide an unparalleled experience. Some of you might recognize us as immersive filmmakers and educators on YouTube, where we’ve shared tutorials and inspired countless creators on Meta, Apple, Pico, HTC, and even back in the early YouTube VR days. Now, we’re taking advantage of Vision Pro’s stunning display to bring our work to you in the best quality possible. Our journey with immersive content goes way back—we’ve worked with 12K camera rigs like Jaunt, Google Jump, and Yi Halo, creating wild experiences for brands. But despite our efforts, our films were often stuck on platforms with heavy compression, which limits the quality. Vision Pro changed that for us, but it’s taken a lot of work to adapt. We’re still learning, refining, and working hard to optimize this new pipeline. Our hope with Spatial Film is to champion immersive storytelling on our own terms, without big corporations that might restrict artistic freedom. We’re here to bring you genuine, immersive stories—not influenced by financial projections. This platform is small, just me and a Shiba Inu sidekick named Kimchi, and we plan to keep it that way. No outside investment, no mission drift—just pure, immersive storytelling. And the best part? We’re releasing free films every other week, so you can explore and download our latest releases without a paywall. Every film also comes with its own immersive environment, free of charge. If you’d like to support us, you can subscribe to access the full library for a super affordable price, helping us keep this going as a true “mom-and-pop” shop on VisionOS. Feedback is more than welcome as we continue learning, optimizing, and improving the experience for all of you. Thank you for being part of this journey with us!

Hugh Hou

17,557 просмотров • 1 год назад

🚨 HYPOCRISY EXPOSED: Lionel Nation CALLS OUT the Right's Circular Firing Squad Aiming Straight at Candace Owens— Attacking Her Today Means THEY'RE Coming for YOU Tomorrow Lionel goes nuclear on the hypocrisy exploding across the RIGHT. "My friend, I cannot believe what I'm seeing unfold right now..." The same people who built their brands screaming about free speech, who wore deplatforming like a badge of honor, who begged us to defend their right to say wild sh*t... Are now lining up in a circular firing squad to silence, exile, and erase Candace Owens. Not the left. Not the usual enemies. The "free speech warriors" on our side. They're not debating her. They're not correcting her. They're demanding she shut up, disappear, or worse. Lionel: "You put people in danger when you come after them like that. There's a bounty on her head – figuratively, and in some cases explicitly." And for what? Because she crossed "the line"? Because she's too powerful? Too independent? Because she built a direct pipeline to millions without asking permission from the gatekeepers? "She's to digital media what Elon is to rocketry. She disrupted the entire model – and it's driving them nuts." These aren't critiques. These are character assassinations. Commercial jealousy dressed up as "moral concern." Cable news hates her because one Candace video outperforms their entire week. Legacy influencers hate her because she outpaces institutions built with billions. And the attackers? Many "once respected voices" now whispering (and screaming) for her deplatforming. Lionel warns: You're next. The machine they're feeding doesn't stop at Candace. It won't distinguish allies when you deviate even slightly from the "approved line." If you abandon free speech when it's inconvenient... don't cry when no one defends you later. This isn't about agreeing with Candace. It's about whether dissent is allowed when it's powerful. Lionel: "Free speech isn't about agreement. It's about allowance. It's about trusting truth emerges through conflict, not suppression." He's calling battle stations. Code Red. Watch this full rant – it's one of the most powerful defenses of principle you'll hear in 2025. Go to his YT and SUBSCRIBE please and give his video a like, i'll drop the link in the comments below. 👇 Real free speech absolutists: Stand up now. The masks are off. Choose your side wisely. 🔥
26:19

🚨 HYPOCRISY EXPOSED: Lionel Nation CALLS OUT the Right's Circular Firing Squad Aiming Straight at Candace Owens— Attacking Her Today Means THEY'RE Coming for YOU Tomorrow Lionel goes nuclear on the hypocrisy exploding across the RIGHT. "My friend, I cannot believe what I'm seeing unfold right now..." The same people who built their brands screaming about free speech, who wore deplatforming like a badge of honor, who begged us to defend their right to say wild sh*t... Are now lining up in a circular firing squad to silence, exile, and erase Candace Owens. Not the left. Not the usual enemies. The "free speech warriors" on our side. They're not debating her. They're not correcting her. They're demanding she shut up, disappear, or worse. Lionel: "You put people in danger when you come after them like that. There's a bounty on her head – figuratively, and in some cases explicitly." And for what? Because she crossed "the line"? Because she's too powerful? Too independent? Because she built a direct pipeline to millions without asking permission from the gatekeepers? "She's to digital media what Elon is to rocketry. She disrupted the entire model – and it's driving them nuts." These aren't critiques. These are character assassinations. Commercial jealousy dressed up as "moral concern." Cable news hates her because one Candace video outperforms their entire week. Legacy influencers hate her because she outpaces institutions built with billions. And the attackers? Many "once respected voices" now whispering (and screaming) for her deplatforming. Lionel warns: You're next. The machine they're feeding doesn't stop at Candace. It won't distinguish allies when you deviate even slightly from the "approved line." If you abandon free speech when it's inconvenient... don't cry when no one defends you later. This isn't about agreeing with Candace. It's about whether dissent is allowed when it's powerful. Lionel: "Free speech isn't about agreement. It's about allowance. It's about trusting truth emerges through conflict, not suppression." He's calling battle stations. Code Red. Watch this full rant – it's one of the most powerful defenses of principle you'll hear in 2025. Go to his YT and SUBSCRIBE please and give his video a like, i'll drop the link in the comments below. 👇 Real free speech absolutists: Stand up now. The masks are off. Choose your side wisely. 🔥

Project Constitution

1,272,340 просмотров • 8 месяцев назад

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.
0:30

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.

Sharon Riley

38,437 просмотров • 1 месяц назад

HERMES AGENT IS NOW IN THE CLOUD. NO VPS. NO TERMINAL. NO SETUP. PICK A MODEL. PICK A SERVER SIZE. AGENT IS LIVE IN 60 SECONDS. Nous Portal just launched hosted Hermes Agent. two clicks. one minute. done. Nous Research WHAT THIS MEANS: before today: install Hermes on a VPS or your laptop. configure providers. set up gateway. manage updates. run hermes setup. edit config.yaml. great for power users. friction for everyone else. now: go to pick a model. pick a server size. your agent is live and reachable in 60 seconds. no terminal. no SSH. no Docker. same Hermes. same features. same tools. someone else handles the infrastructure. FOR TEAMS: this is where it gets interesting. spin up agents for everyone at your org. each team member gets their own Hermes instance. granular access controls per user. unified billing through Nous Portal. your team gets Hermes on day one. no DevOps needed. no VPS per person. one admin dashboard. one bill. WHAT'S INCLUDED: → 300+ models via Nous Portal (Claude, GPT, Gemini, DeepSeek, Grok, MiniMax, and more) → Tool Gateway (web search, image generation, TTS, browser automation) → all messaging platforms (Telegram, Discord, Slack, WhatsApp, Signal) → full feature set (profiles, cron, kanban, skills, memory, sub-agents, MoA, /goal, /learn, /journey) → automatic updates ONE PORTAL. FOUR TIERS: Free: $0/month. pay-as-you-go credits from $10. Plus: $20/month. $22 in monthly usage credit. Super: $100/month. $110 in monthly credit. Ultra: $200/month. $220 in monthly credit. highest rate limits. every paid tier includes Tool Gateway. one OAuth. one subscription. no extra API keys. SELF-HOSTED IS NOT GOING ANYWHERE: Hermes is MIT licensed. open source. free forever. you can still run it on your laptop, VPS, or GPU cluster. nothing changes for self-hosted users. the cloud version is for people who want the agent running without managing the machine. pick your path: → self-hosted: full control. you manage everything. → cloud: zero ops. Nous manages infrastructure. → hybrid: self-host your main agent, cloud for team members. HOW TO START: cloud: self-hosted: hermes setup --portal both connect to the same Nous Portal. same models. same tools. same billing. learn how to replace your entire team with 8 hermes agents 👇
0:20

HERMES AGENT IS NOW IN THE CLOUD. NO VPS. NO TERMINAL. NO SETUP. PICK A MODEL. PICK A SERVER SIZE. AGENT IS LIVE IN 60 SECONDS. Nous Portal just launched hosted Hermes Agent. two clicks. one minute. done. Nous Research WHAT THIS MEANS: before today: install Hermes on a VPS or your laptop. configure providers. set up gateway. manage updates. run hermes setup. edit config.yaml. great for power users. friction for everyone else. now: go to pick a model. pick a server size. your agent is live and reachable in 60 seconds. no terminal. no SSH. no Docker. same Hermes. same features. same tools. someone else handles the infrastructure. FOR TEAMS: this is where it gets interesting. spin up agents for everyone at your org. each team member gets their own Hermes instance. granular access controls per user. unified billing through Nous Portal. your team gets Hermes on day one. no DevOps needed. no VPS per person. one admin dashboard. one bill. WHAT'S INCLUDED: → 300+ models via Nous Portal (Claude, GPT, Gemini, DeepSeek, Grok, MiniMax, and more) → Tool Gateway (web search, image generation, TTS, browser automation) → all messaging platforms (Telegram, Discord, Slack, WhatsApp, Signal) → full feature set (profiles, cron, kanban, skills, memory, sub-agents, MoA, /goal, /learn, /journey) → automatic updates ONE PORTAL. FOUR TIERS: Free: $0/month. pay-as-you-go credits from $10. Plus: $20/month. $22 in monthly usage credit. Super: $100/month. $110 in monthly credit. Ultra: $200/month. $220 in monthly credit. highest rate limits. every paid tier includes Tool Gateway. one OAuth. one subscription. no extra API keys. SELF-HOSTED IS NOT GOING ANYWHERE: Hermes is MIT licensed. open source. free forever. you can still run it on your laptop, VPS, or GPU cluster. nothing changes for self-hosted users. the cloud version is for people who want the agent running without managing the machine. pick your path: → self-hosted: full control. you manage everything. → cloud: zero ops. Nous manages infrastructure. → hybrid: self-host your main agent, cloud for team members. HOW TO START: cloud: self-hosted: hermes setup --portal both connect to the same Nous Portal. same models. same tools. same billing. learn how to replace your entire team with 8 hermes agents 👇

YanXbt

45,446 просмотров • 2 месяцев назад

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
0:27

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

Sharon Riley

28,464 просмотров • 29 дней назад

007: First Light | 35 Minutes of Gameplay and New Details Full Video ▶️ ▪️Coming to PS5, Xbox, PC and Switch 2 on March 27, 2026 ▪️Features large Hitman style environments, hundreds of NPCs, multiple routes and infiltration options with cinematic spectacle of Uncharted ▪️High speed chases, full stealth, shootouts ▪️How you complete objectives in open situations is up to the player ▪️Bond can interact with NPCs through dialogue options ▪️Large variety of interactive tools and objects in levels to distract enemies (ex: finding a lighter and setting a wheelbarrow of hay on fire) ▪️Bond can build up "Instinct" during missions to charm or bluff his way through guards if caught or lure them ▪️Whereas Hitman was more open in what Agent 47 could do (kill anyone), Bond is more restrained and can't fire at will ▪️If the situation changes and enemies are out to kill him, a "LICENSE TO KILL" prompt flashes onscreen, indicating you are now weapons free to eliminate targets ▪️There are moments where you can don disguises that are story specific ▪️Available gadgets from Q like smoke bombs, knock-out darts, hack watch, laser traps, etc ▪️Find resources in levels to power your gadgets ▪️Melee combat is more involved than Hitman, countering, parrying, tossing enemies in a sort of mix between Mad Max and Batman Arkham #007FirstLight #PS5 #Xbox #Steam #Switch2
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007: First Light | 35 Minutes of Gameplay and New Details Full Video ▶️ ▪️Coming to PS5, Xbox, PC and Switch 2 on March 27, 2026 ▪️Features large Hitman style environments, hundreds of NPCs, multiple routes and infiltration options with cinematic spectacle of Uncharted ▪️High speed chases, full stealth, shootouts ▪️How you complete objectives in open situations is up to the player ▪️Bond can interact with NPCs through dialogue options ▪️Large variety of interactive tools and objects in levels to distract enemies (ex: finding a lighter and setting a wheelbarrow of hay on fire) ▪️Bond can build up "Instinct" during missions to charm or bluff his way through guards if caught or lure them ▪️Whereas Hitman was more open in what Agent 47 could do (kill anyone), Bond is more restrained and can't fire at will ▪️If the situation changes and enemies are out to kill him, a "LICENSE TO KILL" prompt flashes onscreen, indicating you are now weapons free to eliminate targets ▪️There are moments where you can don disguises that are story specific ▪️Available gadgets from Q like smoke bombs, knock-out darts, hack watch, laser traps, etc ▪️Find resources in levels to power your gadgets ▪️Melee combat is more involved than Hitman, countering, parrying, tossing enemies in a sort of mix between Mad Max and Batman Arkham #007FirstLight #PS5 #Xbox #Steam #Switch2

Shinobi602

167,991 просмотров • 1 год назад

Claude Code is now scary good at full-stack! I asked it to build a real-time weather intelligence dashboard with an interactive 3D globe and a forecasting layer that predicts weather 3 days ahead. It came back with a spinning globe that has a day/night cycle using NASA satellite imagery, city lights on the dark side, weather icons that switch between sun and moon based on local time, and a time travel slider that scrubs through 10 days of data. Claude Code built the whole thing in a single session, including the backend, database, data pipeline, and frontend. For the database, I needed something fast for time-series workloads since the app ingests hourly weather readings across many cities and serves time-range queries on every slider interaction. I used Tiger Cloud by Tiger Data - Creators of TimescaleDB, which gives you managed TimescaleDB on the Postgres you already know. Claude Code connected to it through the Tiger CLI MCP server and set up the entire backend directly: - Provisioned the database service - Created hypertables for time-partitioned weather storage - Set up continuous aggregates for pre-computed rollups - Built the data ingestion pipeline and the full NextJS + ThreeJS frontend The time travel slider queries thousands of rows on every position change. On a regular Postgres table, this would require manual partitioning and index tuning to stay fast as data grows. TimescaleDB partitions the data by timestamp automatically, so each query only hits the relevant time chunk. Continuous aggregates serve the trend charts and forecast layer from pre-computed rollups instead of rescanning raw data on every request. The video below shows the final build in action, and I worked with the Tiger Data team to put this together. Tiger CLI is open-source (Apache 2.0) and works with Claude Code, Cursor, Codex, Gemini CLI, and VS Code. To try this yourself: → Sign up for Tiger Cloud (I have shared the link in the replies). It gives you $1,000 free credits (no card needed) → Install Tiger CLI: curl -fsSL https(:)//cli(.)tigerdata(.)com | sh → Run tiger mcp install claude-code → Give Claude Code a prompt and let it build Find the sign-up link in the replies.
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Claude Code is now scary good at full-stack! I asked it to build a real-time weather intelligence dashboard with an interactive 3D globe and a forecasting layer that predicts weather 3 days ahead. It came back with a spinning globe that has a day/night cycle using NASA satellite imagery, city lights on the dark side, weather icons that switch between sun and moon based on local time, and a time travel slider that scrubs through 10 days of data. Claude Code built the whole thing in a single session, including the backend, database, data pipeline, and frontend. For the database, I needed something fast for time-series workloads since the app ingests hourly weather readings across many cities and serves time-range queries on every slider interaction. I used Tiger Cloud by Tiger Data - Creators of TimescaleDB, which gives you managed TimescaleDB on the Postgres you already know. Claude Code connected to it through the Tiger CLI MCP server and set up the entire backend directly: - Provisioned the database service - Created hypertables for time-partitioned weather storage - Set up continuous aggregates for pre-computed rollups - Built the data ingestion pipeline and the full NextJS + ThreeJS frontend The time travel slider queries thousands of rows on every position change. On a regular Postgres table, this would require manual partitioning and index tuning to stay fast as data grows. TimescaleDB partitions the data by timestamp automatically, so each query only hits the relevant time chunk. Continuous aggregates serve the trend charts and forecast layer from pre-computed rollups instead of rescanning raw data on every request. The video below shows the final build in action, and I worked with the Tiger Data team to put this together. Tiger CLI is open-source (Apache 2.0) and works with Claude Code, Cursor, Codex, Gemini CLI, and VS Code. To try this yourself: → Sign up for Tiger Cloud (I have shared the link in the replies). It gives you $1,000 free credits (no card needed) → Install Tiger CLI: curl -fsSL https(:)//cli(.)tigerdata(.)com | sh → Run tiger mcp install claude-code → Give Claude Code a prompt and let it build Find the sign-up link in the replies.

Avi Chawla

14,838 просмотров • 3 месяцев назад