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Interesting idea by Blue Eyes White Dragon 🇻🇳: Fade + Tejo Kill Combo Fade Seize doesn't only Tether opponent, it also decays them Tejo Guided Salvo does minimum 50 damage 75 + 50 = 125, killing light shield, full shield killed by next tick of Salvo could be good...

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101,061 просмотров • 6 месяцев назад •via X (Twitter)

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The 20% American Hormuz toll lasted one day. What replaced it is a countdown to the destruction of a power grid that was already 18 gigawatts short. Monday, POTUS Trump announced America would be reimbursed "at the rate of 20% on all cargo shipped." Tuesday morning, Iran's foreign minister Abbas fully endorsed the idea. "POTUS is absolutely right," Araghchi wrote. Only the rate was wrong. Tuesday afternoon, the fee was dead. Kings and emirs called, Trump said, offering "billions and billions of dollars" of investment instead, and the man who invented the toll buried it: "I don't think anybody should be able to charge a fee for the Strait." By his own account, the toll was not collected. It was bought out. No agreement has been published. No amount has been named. The bill did not just disappear. It merely changed address. What replaced the invoice is a calendar if you watch closely. "Next week it gets really bad for them," Trump told Fox, "because next week comes the power plants. Next week comes the bridges." All of them, "unless they get to the table and negotiate." During last summer's emergency, Iran generated about 62 gigawatts against demand near 80. That is the 18-gigawatt hole, before the first plant is hit. A grid already below demand does not fail politely. It sheds whole regions to save itself. A power station is not light. It is also water pumps, hospitals, cold storage, and the machinery that repairs the next thing destroyed. The CENTCOM blockade seals the coast. The grid strikes the interior. The bridges disconnect the parts. Naming the targets a week early is the strategy. Strategic bombing as forward guidance: the damage begins before the bombs arrive, in hoarded diesel, moved cash, a government pricing tomorrow's infrastructure against today's concession. POTUS has made this exact threat before. It bought a ceasefire that failed. An ultimatum that once bought only time must now work twice. The bombs are scheduled for next week. The first thing on the clock is not Iran's electricity. It is America's word.
0:11

The 20% American Hormuz toll lasted one day. What replaced it is a countdown to the destruction of a power grid that was already 18 gigawatts short. Monday, POTUS Trump announced America would be reimbursed "at the rate of 20% on all cargo shipped." Tuesday morning, Iran's foreign minister Abbas fully endorsed the idea. "POTUS is absolutely right," Araghchi wrote. Only the rate was wrong. Tuesday afternoon, the fee was dead. Kings and emirs called, Trump said, offering "billions and billions of dollars" of investment instead, and the man who invented the toll buried it: "I don't think anybody should be able to charge a fee for the Strait." By his own account, the toll was not collected. It was bought out. No agreement has been published. No amount has been named. The bill did not just disappear. It merely changed address. What replaced the invoice is a calendar if you watch closely. "Next week it gets really bad for them," Trump told Fox, "because next week comes the power plants. Next week comes the bridges." All of them, "unless they get to the table and negotiate." During last summer's emergency, Iran generated about 62 gigawatts against demand near 80. That is the 18-gigawatt hole, before the first plant is hit. A grid already below demand does not fail politely. It sheds whole regions to save itself. A power station is not light. It is also water pumps, hospitals, cold storage, and the machinery that repairs the next thing destroyed. The CENTCOM blockade seals the coast. The grid strikes the interior. The bridges disconnect the parts. Naming the targets a week early is the strategy. Strategic bombing as forward guidance: the damage begins before the bombs arrive, in hoarded diesel, moved cash, a government pricing tomorrow's infrastructure against today's concession. POTUS has made this exact threat before. It bought a ceasefire that failed. An ultimatum that once bought only time must now work twice. The bombs are scheduled for next week. The first thing on the clock is not Iran's electricity. It is America's word.

Shanaka Anslem Perera ⚡

180,060 просмотров • 1 месяц назад

I have always loved tales of courage in the face of long odds. Maybe that's why To Kill a Mockingbird has always been one of my favorite stories. In a world dominated by groupthink and mob rule, only one man had the courage to swim against the current. It was a world of suspicion, where rumors quietly whispered gave rise to groundless fears. I see parallels between that world and my own. Lucy sits in jail today as the mob kindles their torches and brandishes their pitchforks expecting a lynching, fueled by rumors fed by gossip and lies. She's a bit like Tom Robinson, the gentle black man falsely accused of having raped a white woman. It did not matter that he could not have done it physically. It fit the biases of a fearful society. Sometimes, even I have misunderstood Lucy. Years ago, we got three ducks. They seemed to bond with Lucy. They would sleep next to her and lay down pressed against her. Sometimes even on top of her. She endured it patiently. One day, we found one dead with what seemed to be bite marks on its back. Lucy was holding it in her mouth. Dolly Spice- Jones 🌱🎵 and I were shocked. We began to see her as a loose cannon; guardian and predator in equal measure. We kept her in the house the next few days. Soon another duck died, leaving only a pile of feathers. We observed the final moments of the third duck. Death came from the skies in the shape of an owl striking at dusk. We saw then that it had never been Lucy. Those were not bite marks. They were the marks of talons. Lucy must have come just too late. She was gently holding it because it had been her friend. She was sad. Sheepdogs are easily confused with wolves by the sheep. In reality, they are the only thing keeping the wolves from the sheep. Shortly after we moved here, a bear visited. We could see its footprints. It stayed out of our fields. Our sheepdogs guarded them diligently. The bear also didn't visit our neighbors' houses, where dogs, cats, and children may have been outside, oblivious to the danger that lurked nearby. Our barking dogs protected the neighborhood. One of the following days, it may have even been the next day, my wife got a text from a neighbor complaining about how the barking had made her hot tub less relaxing the previous night. Sheep don't understand sheepdogs. In To Kill a Mockingbird, Boo Radley was misunderstood. Horrific stories and childhood superstitions portrayed him as a monster. A boogeyman. He was neither. He was a sheepdog. He protected children and saved them from murder. Like Lucy protects her ducks. #SaveLucy, the dog who survived war. A few seconds of Lucy with geese and sheep.
0:13

I have always loved tales of courage in the face of long odds. Maybe that's why To Kill a Mockingbird has always been one of my favorite stories. In a world dominated by groupthink and mob rule, only one man had the courage to swim against the current. It was a world of suspicion, where rumors quietly whispered gave rise to groundless fears. I see parallels between that world and my own. Lucy sits in jail today as the mob kindles their torches and brandishes their pitchforks expecting a lynching, fueled by rumors fed by gossip and lies. She's a bit like Tom Robinson, the gentle black man falsely accused of having raped a white woman. It did not matter that he could not have done it physically. It fit the biases of a fearful society. Sometimes, even I have misunderstood Lucy. Years ago, we got three ducks. They seemed to bond with Lucy. They would sleep next to her and lay down pressed against her. Sometimes even on top of her. She endured it patiently. One day, we found one dead with what seemed to be bite marks on its back. Lucy was holding it in her mouth. Dolly Spice- Jones 🌱🎵 and I were shocked. We began to see her as a loose cannon; guardian and predator in equal measure. We kept her in the house the next few days. Soon another duck died, leaving only a pile of feathers. We observed the final moments of the third duck. Death came from the skies in the shape of an owl striking at dusk. We saw then that it had never been Lucy. Those were not bite marks. They were the marks of talons. Lucy must have come just too late. She was gently holding it because it had been her friend. She was sad. Sheepdogs are easily confused with wolves by the sheep. In reality, they are the only thing keeping the wolves from the sheep. Shortly after we moved here, a bear visited. We could see its footprints. It stayed out of our fields. Our sheepdogs guarded them diligently. The bear also didn't visit our neighbors' houses, where dogs, cats, and children may have been outside, oblivious to the danger that lurked nearby. Our barking dogs protected the neighborhood. One of the following days, it may have even been the next day, my wife got a text from a neighbor complaining about how the barking had made her hot tub less relaxing the previous night. Sheep don't understand sheepdogs. In To Kill a Mockingbird, Boo Radley was misunderstood. Horrific stories and childhood superstitions portrayed him as a monster. A boogeyman. He was neither. He was a sheepdog. He protected children and saved them from murder. Like Lucy protects her ducks. #SaveLucy, the dog who survived war. A few seconds of Lucy with geese and sheep.

Brendan M. Jones 🇺🇸

10,947 просмотров • 3 месяцев назад

Legacy Media Once Again Flails With 'Fake News' on Trump Planning to Name WH Ballroom After Himself | Becca Lower, RedState When I first read this legacy media story about the ballroom being built at the White House on Friday evening, my first reaction was: "so, what?" I'll get to that in a minute. Incredible that this is still a story, but this is what the legacy media has devolved into. Little more than a weekly rag-level of reporting. The fact that Democrats have previously done extensive construction on the WH has barely fazed them. Notice how little interest they have shown for actual news about the renovation. I first wrote on the ballroom story in Aug., when President Trump took a stroll on the roof with the architect: On Friday, we learned in a piece by my colleague Brandon Morse that the WH shared a list of the donors who are paying for the massive ballroom addition. Here's the latest example of the old media forces of Fourth Estate continuing to underwhelm with their lack of professionalism. They just keep flailing. ABC News blasted out a headline on social media based on unnamed quislings in the White House on Friday: "Trump likely to name White House ballroom after himself, officials say." Luckily, the internet is forever: But once Trump got wind of the alleged report during a media gaggle, he swiftly shot it down as "fake news." I know you're shocked that this is contrary to what you can read from ABC News below: Earlier, senior administration officials told ABC News that some in the administration were already referring to it as "The President Donald J. Trump Ballroom" and that that name was likely to stick. The White House claims they have released the full list of donors to the project. On a list of those donors, provided to ABC News by the White House, the ballroom is referred to as “the President Donald J. Trump Ballroom.” "Well, we raised a lot. We've raised over $350 million, [the ballroom is] a beautiful room, a big room," the president said, then paused a beat as if considering his next words carefully, in answer to the reporter's question on reports he plans to name the ballroom after himself. "I don't have any plan to call it after myself, that was fake news," Trump said. "Probably going to call it the Presidential Ballroom...we haven't really thought about a name yet." Someone asked Trump as a follow-up what might be done with the extra $50 million, and he explained "it could possibly be used to help build a large triumphal arch -- modeled on the Arc de Triomphe in Paris -- that Trump has proposed constructing just outside Washington." Sure, that's as good of a use as any. But, this is minutiae. Here's the correct answer, Republicans: tell them it's none of their business! They're well aware this isn't being financed by public money. It has to be asked again why this is day four or five of this nothing burger story. Palace whispers picked up in echoing hallways of the People's House by liberal hacks, and viewing one internal document - with a nickname "DJT Ballroom" - does not make something true. At a moment when some Americans are worrying about when/if they'll get their next paycheck to pay their mortgage or buy groceries - c'mon, just this once, guys - do your jobs.
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Legacy Media Once Again Flails With 'Fake News' on Trump Planning to Name WH Ballroom After Himself | Becca Lower, RedState When I first read this legacy media story about the ballroom being built at the White House on Friday evening, my first reaction was: "so, what?" I'll get to that in a minute. Incredible that this is still a story, but this is what the legacy media has devolved into. Little more than a weekly rag-level of reporting. The fact that Democrats have previously done extensive construction on the WH has barely fazed them. Notice how little interest they have shown for actual news about the renovation. I first wrote on the ballroom story in Aug., when President Trump took a stroll on the roof with the architect: On Friday, we learned in a piece by my colleague Brandon Morse that the WH shared a list of the donors who are paying for the massive ballroom addition. Here's the latest example of the old media forces of Fourth Estate continuing to underwhelm with their lack of professionalism. They just keep flailing. ABC News blasted out a headline on social media based on unnamed quislings in the White House on Friday: "Trump likely to name White House ballroom after himself, officials say." Luckily, the internet is forever: But once Trump got wind of the alleged report during a media gaggle, he swiftly shot it down as "fake news." I know you're shocked that this is contrary to what you can read from ABC News below: Earlier, senior administration officials told ABC News that some in the administration were already referring to it as "The President Donald J. Trump Ballroom" and that that name was likely to stick. The White House claims they have released the full list of donors to the project. On a list of those donors, provided to ABC News by the White House, the ballroom is referred to as “the President Donald J. Trump Ballroom.” "Well, we raised a lot. We've raised over $350 million, [the ballroom is] a beautiful room, a big room," the president said, then paused a beat as if considering his next words carefully, in answer to the reporter's question on reports he plans to name the ballroom after himself. "I don't have any plan to call it after myself, that was fake news," Trump said. "Probably going to call it the Presidential Ballroom...we haven't really thought about a name yet." Someone asked Trump as a follow-up what might be done with the extra $50 million, and he explained "it could possibly be used to help build a large triumphal arch -- modeled on the Arc de Triomphe in Paris -- that Trump has proposed constructing just outside Washington." Sure, that's as good of a use as any. But, this is minutiae. Here's the correct answer, Republicans: tell them it's none of their business! They're well aware this isn't being financed by public money. It has to be asked again why this is day four or five of this nothing burger story. Palace whispers picked up in echoing hallways of the People's House by liberal hacks, and viewing one internal document - with a nickname "DJT Ballroom" - does not make something true. At a moment when some Americans are worrying about when/if they'll get their next paycheck to pay their mortgage or buy groceries - c'mon, just this once, guys - do your jobs.

Owen Gregorian

33,896 просмотров • 10 месяцев назад

🥚 Raw Eggs — They are nature's fast food, and a complete food, with every nutrient you could need. A raw egg digests in only 27 to 37 minutes, which is phenomenal compared to other foods containing protein and fat, like meat and milk. This is because egg is a fully liquid food. The body doesn't need to use any digestive fluids, hydrochloric acid, to break it down, it will absorb within the first 5 inches of the intestine only, from bacterial digestion alone. Of course, if you cook the egg, this doesn't apply anymore. Cooking not only destroys nutrients, especially enzymes and vitamins, which impairs digestion, and generates toxins, like heterocyclic amines from proteins, and cauterizes the minerals, but it coagulates the egg. This not only makes a raw egg the perfect food to get instant energy in a healthful way, but a vital food that can save someone's life. If your digestive system is so compromised you cannot digest other animal protein, like meat, raw eggs will work. Or if you have leaky gut, they digest before they even have to go through the G.I. tract. In general, if you want to give your digestive system a rest, eat raw eggs, you will get back appetite for other foods very soon. In the next post of this thread is a quote of Aajonus' most incredible testimonial on the healing power of raw eggs. They are also the best food to repair. The only thing that Aajonus found that eggs cannot do is help the body reproduce cells quicker. That takes raw meat. So long-term, you cannot replace raw meat with raw eggs, they work complementarily. Don't discard the egg white. Aajonus proved the avidin in raw egg white is not an anti-nutrient. Aajonus ate up to 60 raw eggs a day (one or two dozens on most days) since 1976. He confirmed there was no biotin deficiency whatsoever. The narrow-minded lab experiments do not explain what actually happen and then draw the wrong conclusion. What actually happens is that biotin mixes with avidin to make a compound that cleans the body of biocarbons, which are leftover byproducts from macronutrient digestion that need to be eliminated by the body. This is actually a good thing. Plus, there is an excess of available biotin in raw egg compared to the amount of avidin. It is also recommended by Aajonus to not eat raw egg yolks alone either, as it creates imbalances when on a raw diet (this doesn't apply on a cooked diet). He did the experiments on animals, feeding them raw egg white and raw egg yolk separately, and it made them extremely hungry, they required twice as much food, had huge imbalances emotionally, caused obesity, water retention, all kinds of problems. So, if you go to a restaurant, you can request the egg white to be included in your steak tartare, just like Aajonus did. What about salmonella? Salmonella is already on our skin, in our eyes, our nose, our mouth, recycling dead cells. They are beneficial bacteria, not pathogenic. Of course, this isn't medical advice. Look into Aajonus and more broadly into terrain theory vs germ theory. Don't refrigerate eggs. Only in the USA do people do this. If you wash the egg, you remove the protective membrane around it, then health departments require them to be refrigerated. Just don't wash the eggs. Eggs are a bit of a fragile food, many of its natural bacteria die when in cold temperatures, so it's better to keep them at room temperatures, or they will lose digestibility. You can blend raw eggs, however it will oxidize them, destroying certain nutrients. There are three enzymes in the egg white which prevent certain hormones that help certain diseases progress like cancer. If you as little as whip the raw egg with a work, these enzymes in the egg white oxidize within seconds. Raw eggs are a detoxification food. They are rich in cholesterol. If you drink alcohol, eat plenty of raw eggs (before, during, after), and you will avoid a hangover. The cholesterol in raw eggs is very good at collecting the alcohol and other toxins. They also enable the body to make solvents to break down toxicity like cellulite. Raw eggs can be fermented, and aged in various ways. Century eggs, the real ones (which are around 25 years old), can cost a thousand dollars. They transform in all sorts of shapes, they can look like green boiled eggs, jewelry, eggs that could belong to a dragon, or turn into white, black powder. They can give incredible energy and libido. How to eat: If you eat the raw egg white first, then the yolk right after, the raw egg will digest in 27 minutes, otherwise in 37 minutes. It is easier to do so from the shell by poking a hole on each side and sucking from it. This is "Aajonus-style". From a glass is "Rocky-style". Nowadays also called slonking. Make the egg go through your teeth while you drink it, this makes it easier to mix it with saliva, which allows better digestion. That only works if you eat only one raw egg at a time. If you eat several raw eggs at once, they will digest slower. Not an issue, it is still extremely healthy. Therefore eating raw eggs frequently throughout the day, one at a time, can bring a steady flow of nutrients to your body. Eggs are perfect to eat upon waking up, providing quick energy from fats and providing protein for the body to make glycogen from and feed the nervous system. They are perfect to eat in-between meals. Only take a couple seconds and get you going for hours, and whenever you get tired. Eggs help gain and lose weight. It all depends how you combine them. A raw egg eaten alone can lead to weight loss, except if you eat more than around 22 a day to maintain. Aajonus' weight loss protocol relies on eating a raw egg diet for 1-3 weeks and is very effective. Raw eggs can help remove cellulite, strip down toxic fat (which is fat that was used to store toxins). Eggs eaten with other foods, or several at once, don't have this weight loss effect. They are very good to eat with other foods, such as raw meat (steak tartare). You can easily eat 3 raw eggs with your raw steak. There are many recipes, from raw pastries, to sauces like mayo, milkshakes, ... where you can keep the egg raw and whole.
0:19

🥚 Raw Eggs — They are nature's fast food, and a complete food, with every nutrient you could need. A raw egg digests in only 27 to 37 minutes, which is phenomenal compared to other foods containing protein and fat, like meat and milk. This is because egg is a fully liquid food. The body doesn't need to use any digestive fluids, hydrochloric acid, to break it down, it will absorb within the first 5 inches of the intestine only, from bacterial digestion alone. Of course, if you cook the egg, this doesn't apply anymore. Cooking not only destroys nutrients, especially enzymes and vitamins, which impairs digestion, and generates toxins, like heterocyclic amines from proteins, and cauterizes the minerals, but it coagulates the egg. This not only makes a raw egg the perfect food to get instant energy in a healthful way, but a vital food that can save someone's life. If your digestive system is so compromised you cannot digest other animal protein, like meat, raw eggs will work. Or if you have leaky gut, they digest before they even have to go through the G.I. tract. In general, if you want to give your digestive system a rest, eat raw eggs, you will get back appetite for other foods very soon. In the next post of this thread is a quote of Aajonus' most incredible testimonial on the healing power of raw eggs. They are also the best food to repair. The only thing that Aajonus found that eggs cannot do is help the body reproduce cells quicker. That takes raw meat. So long-term, you cannot replace raw meat with raw eggs, they work complementarily. Don't discard the egg white. Aajonus proved the avidin in raw egg white is not an anti-nutrient. Aajonus ate up to 60 raw eggs a day (one or two dozens on most days) since 1976. He confirmed there was no biotin deficiency whatsoever. The narrow-minded lab experiments do not explain what actually happen and then draw the wrong conclusion. What actually happens is that biotin mixes with avidin to make a compound that cleans the body of biocarbons, which are leftover byproducts from macronutrient digestion that need to be eliminated by the body. This is actually a good thing. Plus, there is an excess of available biotin in raw egg compared to the amount of avidin. It is also recommended by Aajonus to not eat raw egg yolks alone either, as it creates imbalances when on a raw diet (this doesn't apply on a cooked diet). He did the experiments on animals, feeding them raw egg white and raw egg yolk separately, and it made them extremely hungry, they required twice as much food, had huge imbalances emotionally, caused obesity, water retention, all kinds of problems. So, if you go to a restaurant, you can request the egg white to be included in your steak tartare, just like Aajonus did. What about salmonella? Salmonella is already on our skin, in our eyes, our nose, our mouth, recycling dead cells. They are beneficial bacteria, not pathogenic. Of course, this isn't medical advice. Look into Aajonus and more broadly into terrain theory vs germ theory. Don't refrigerate eggs. Only in the USA do people do this. If you wash the egg, you remove the protective membrane around it, then health departments require them to be refrigerated. Just don't wash the eggs. Eggs are a bit of a fragile food, many of its natural bacteria die when in cold temperatures, so it's better to keep them at room temperatures, or they will lose digestibility. You can blend raw eggs, however it will oxidize them, destroying certain nutrients. There are three enzymes in the egg white which prevent certain hormones that help certain diseases progress like cancer. If you as little as whip the raw egg with a work, these enzymes in the egg white oxidize within seconds. Raw eggs are a detoxification food. They are rich in cholesterol. If you drink alcohol, eat plenty of raw eggs (before, during, after), and you will avoid a hangover. The cholesterol in raw eggs is very good at collecting the alcohol and other toxins. They also enable the body to make solvents to break down toxicity like cellulite. Raw eggs can be fermented, and aged in various ways. Century eggs, the real ones (which are around 25 years old), can cost a thousand dollars. They transform in all sorts of shapes, they can look like green boiled eggs, jewelry, eggs that could belong to a dragon, or turn into white, black powder. They can give incredible energy and libido. How to eat: If you eat the raw egg white first, then the yolk right after, the raw egg will digest in 27 minutes, otherwise in 37 minutes. It is easier to do so from the shell by poking a hole on each side and sucking from it. This is "Aajonus-style". From a glass is "Rocky-style". Nowadays also called slonking. Make the egg go through your teeth while you drink it, this makes it easier to mix it with saliva, which allows better digestion. That only works if you eat only one raw egg at a time. If you eat several raw eggs at once, they will digest slower. Not an issue, it is still extremely healthy. Therefore eating raw eggs frequently throughout the day, one at a time, can bring a steady flow of nutrients to your body. Eggs are perfect to eat upon waking up, providing quick energy from fats and providing protein for the body to make glycogen from and feed the nervous system. They are perfect to eat in-between meals. Only take a couple seconds and get you going for hours, and whenever you get tired. Eggs help gain and lose weight. It all depends how you combine them. A raw egg eaten alone can lead to weight loss, except if you eat more than around 22 a day to maintain. Aajonus' weight loss protocol relies on eating a raw egg diet for 1-3 weeks and is very effective. Raw eggs can help remove cellulite, strip down toxic fat (which is fat that was used to store toxins). Eggs eaten with other foods, or several at once, don't have this weight loss effect. They are very good to eat with other foods, such as raw meat (steak tartare). You can easily eat 3 raw eggs with your raw steak. There are many recipes, from raw pastries, to sauces like mayo, milkshakes, ... where you can keep the egg raw and whole.

The Primal Diet by Aajonus Vonderplanitz

23,266 просмотров • 1 год назад

The devil worshipping tribe that killed 66 million Orthodox Christians and Muslims after the jewish* Bolshevik revolution and lied** about gassings in KZ Camps*** so that the Allied forces and the Red Army together with people from the Eastern European nations killed 12 million Germans from 1945 - 1948 want it all. Even after millions of white Christian people have died fighting to get them a land in the Middle East. That is not enough. They want it all. They spit on Christians in Jerusalem. Here they spit on Christians in Berlin. By transferring wealth out of the US via their ownership of the Federal Reserve and control of US Congress with dual citizens members to Israel and wealthy members of the Khazarian mafiya they spit on all US citizens. They are truly a next level evil tribe. NO WONDER they have been thrown out of 109 countries 1030 times. Time to SEPARATE SYNAGOGUE and STATE and SEPARATE SYNAGOGUE and the FEDERAL RESERVE *95% of all bolshevik leaders were jews. 92% of all gulag commanders were jews, 50% of all NKVD generals were jews. **In the Talmud: They may lie to non-jews. Unlike our bible, where we may not lie, not even to a racist tribe that wants to kill us. As it also says in the Talmud: KILL ALL GENTILES, EVEN THE BEST of THEM. They even have a religious ceremony Kol Nidre where they promise to break all agreements, deals and promises to non-jews in the year ahead. And while we Christians ask for forgiveness for the sins we have committed, the jews get forgiveness in advance on their Yom Kippur for all crimes they will commit the following year ahead. ***In 1948 US Military Police Headquarters in Vienna published a document in German and English: "NO POISON GAS WAS FOUND IN ANY OF THE CAMPS" and "THE NEXT FORMER CAMP-INMATE - PARTICULARLY OF JEWISH DESCENT - WHO CLAIMS POISON GAS WAS USED WILL BE TAKEN TO COURT CHARGED WITH PERJURY". Then the killing, raping, thieving and torturing of the German people stopped for the most part, but it was so embarrassing to the Americans, the English, the French, the Czechs, the Poles and the Russians who all had assisted the jews in their insane satanic bloodlust. It was so embarrassing they had believed the thousands of jews who had lied about gassings, that they decided to do nothing about it. Just try to forget about it. And for 30 years it worked until 1978 when loxist Hollywood made a 4 part "docu"-serie about an imaginary German and imaginary jewish family and voila the holocaust story started. The word holocaust was hardly used ever prior to that fictional Hollywood production. And to this day we all suffer from the consequences of not jailing any of the perpetrators committing crimes against humanity on the German people from 1945 - 1948 as well as the indiscriminate deliberate targetting of German civilians during the war. Something that had never been done before and was the idea of the jew Frederick Lindemann. Donald J. Trump Robert F. Kennedy Jr Dmitry Medvedev Elon Musk Tucker Carlson Candace Owens
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Sensitive content

The devil worshipping tribe that killed 66 million Orthodox Christians and Muslims after the jewish* Bolshevik revolution and lied** about gassings in KZ Camps*** so that the Allied forces and the Red Army together with people from the Eastern European nations killed 12 million Germans from 1945 - 1948 want it all. Even after millions of white Christian people have died fighting to get them a land in the Middle East. That is not enough. They want it all. They spit on Christians in Jerusalem. Here they spit on Christians in Berlin. By transferring wealth out of the US via their ownership of the Federal Reserve and control of US Congress with dual citizens members to Israel and wealthy members of the Khazarian mafiya they spit on all US citizens. They are truly a next level evil tribe. NO WONDER they have been thrown out of 109 countries 1030 times. Time to SEPARATE SYNAGOGUE and STATE and SEPARATE SYNAGOGUE and the FEDERAL RESERVE *95% of all bolshevik leaders were jews. 92% of all gulag commanders were jews, 50% of all NKVD generals were jews. **In the Talmud: They may lie to non-jews. Unlike our bible, where we may not lie, not even to a racist tribe that wants to kill us. As it also says in the Talmud: KILL ALL GENTILES, EVEN THE BEST of THEM. They even have a religious ceremony Kol Nidre where they promise to break all agreements, deals and promises to non-jews in the year ahead. And while we Christians ask for forgiveness for the sins we have committed, the jews get forgiveness in advance on their Yom Kippur for all crimes they will commit the following year ahead. ***In 1948 US Military Police Headquarters in Vienna published a document in German and English: "NO POISON GAS WAS FOUND IN ANY OF THE CAMPS" and "THE NEXT FORMER CAMP-INMATE - PARTICULARLY OF JEWISH DESCENT - WHO CLAIMS POISON GAS WAS USED WILL BE TAKEN TO COURT CHARGED WITH PERJURY". Then the killing, raping, thieving and torturing of the German people stopped for the most part, but it was so embarrassing to the Americans, the English, the French, the Czechs, the Poles and the Russians who all had assisted the jews in their insane satanic bloodlust. It was so embarrassing they had believed the thousands of jews who had lied about gassings, that they decided to do nothing about it. Just try to forget about it. And for 30 years it worked until 1978 when loxist Hollywood made a 4 part "docu"-serie about an imaginary German and imaginary jewish family and voila the holocaust story started. The word holocaust was hardly used ever prior to that fictional Hollywood production. And to this day we all suffer from the consequences of not jailing any of the perpetrators committing crimes against humanity on the German people from 1945 - 1948 as well as the indiscriminate deliberate targetting of German civilians during the war. Something that had never been done before and was the idea of the jew Frederick Lindemann. Donald J. Trump Robert F. Kennedy Jr Dmitry Medvedev Elon Musk Tucker Carlson Candace Owens

Mads Palsvig

52,815 просмотров • 1 год назад

Some things I cannot get over from today’s Basel VIP day, I’m just gonna type once and rip bc I’m eager to get these memories out: Best mic drop moment for digital artists I’ve ever seen. The exhibition looked so damn good, our energy was so high it made the other half of the fair feel vapid. Perennial Basel VIP goers walked a fair booth after booth of what is honestly repetitive “trad” art and then BOOM, they’re instantly stimulated by the masterfully organized Zero to 10 exhibition. They’re hit with the largest crowd they never expected, many of which was anchored by 50-100 crypto friends rekindling, and ready to lend their knowledge to explain the works in front of them like they’re the artists. Speaking to Scott Winkelmann (beeple bro) about how incredible it was to see all the smiling faces videotaping Regular Animals. He mentioned 50+ inquiries for buying one (they sold out before i walked in). It will be the most viral piece in all of Art Miami. Coin Laundry by XCOPY 🏴 with incredible representation and support by Mimi Nguyen and , so busy at times, it was all hands on deck from bonafidehan.eth ⚫ pravijn ⚫️ and anyone who knew what was going on to onboard attendees with their soap. Sergey Brin was there and seen admiring Dmitri Cherniak’s Floor Ringer, the booth looked stunning huge congrats VincentVanDough Aniko Berman and all who repped. Erick / Snowfro / 🦩 / LAO / #️⃣ / 🔴 and Jeff Davis smiling ear to ear, happy to be recounting the story of Art Blocks with a passion no other gallerist has had before. Snowfro, the apex collector turned innovator in the space coming full circle to showcasing and selling AB minted Quines by Larva Labs . Ana María Caballero reciting her beautiful and poem in front of 100s of fully engaged listeners, a wonderfully intimate break during the day. The amount of questions and genuine interest I felt from bankers and their groups of clients awing at the method and output Tyler Hobbs Studio works, and seeing 𝐿𝑒𝓎𝓁𝒶 team handle the interest with the perfect tact. sofia isabel garcia micol Fellowship working a central pillar of the fair, selling all the Ix Shells ( • •) works on display, one of my favorite place to watch reactions from throughout the day. @jackbutcher crushing it as the labeled “manager” and helped his guests Self Checkout and unknowingly mint their first NFTs. The most engaging of conceptual art many ppl can microbuy ($1, can do online too) Michael Kozlowski giving the most intricate and interesting of details on the masterful work he produced with Heft Eli Scheinman and El Barba Roja blue check with such hospitable charm working the entire exhibition floor. Making intros and giving full context tours. Truly amazing work my bros, I’m so happy to see the 10/10 execution. I’ll look to end by saying i don’t care what the culturally deficient say about us, digital art is the artistic movement of our time. I just witnessed the “cool”, elite crowd of society come into our corner of the Art Basel fair and smile with intrigue as they realized why our generation is not going to be buying $60m Rothkos. Our internet native generation deserves this movement. It’s uniquely ours and it’s real as fuck, in the deepest of bears. It wasn’t passed onto us as inheritance, it grew from twitter telegram and discord. It is extreme ownership of what is truly ours, and these Basel VIPs don’t even know (yet) how based it feels to enjoy the true sovereignty of this movement. I didn’t plan to go every day, but now i feel a sense of pride i want to enjoy more days of the week so i will happily be there daily. I need to get my time with Yatreda ያጥሬዳ maya man Joe Pease !! This was a perfect exhibition in my book. 🫡🫡
1:00

Some things I cannot get over from today’s Basel VIP day, I’m just gonna type once and rip bc I’m eager to get these memories out: Best mic drop moment for digital artists I’ve ever seen. The exhibition looked so damn good, our energy was so high it made the other half of the fair feel vapid. Perennial Basel VIP goers walked a fair booth after booth of what is honestly repetitive “trad” art and then BOOM, they’re instantly stimulated by the masterfully organized Zero to 10 exhibition. They’re hit with the largest crowd they never expected, many of which was anchored by 50-100 crypto friends rekindling, and ready to lend their knowledge to explain the works in front of them like they’re the artists. Speaking to Scott Winkelmann (beeple bro) about how incredible it was to see all the smiling faces videotaping Regular Animals. He mentioned 50+ inquiries for buying one (they sold out before i walked in). It will be the most viral piece in all of Art Miami. Coin Laundry by XCOPY 🏴 with incredible representation and support by Mimi Nguyen and , so busy at times, it was all hands on deck from bonafidehan.eth ⚫ pravijn ⚫️ and anyone who knew what was going on to onboard attendees with their soap. Sergey Brin was there and seen admiring Dmitri Cherniak’s Floor Ringer, the booth looked stunning huge congrats VincentVanDough Aniko Berman and all who repped. Erick / Snowfro / 🦩 / LAO / #️⃣ / 🔴 and Jeff Davis smiling ear to ear, happy to be recounting the story of Art Blocks with a passion no other gallerist has had before. Snowfro, the apex collector turned innovator in the space coming full circle to showcasing and selling AB minted Quines by Larva Labs . Ana María Caballero reciting her beautiful and poem in front of 100s of fully engaged listeners, a wonderfully intimate break during the day. The amount of questions and genuine interest I felt from bankers and their groups of clients awing at the method and output Tyler Hobbs Studio works, and seeing 𝐿𝑒𝓎𝓁𝒶 team handle the interest with the perfect tact. sofia isabel garcia micol Fellowship working a central pillar of the fair, selling all the Ix Shells ( • •) works on display, one of my favorite place to watch reactions from throughout the day. @jackbutcher crushing it as the labeled “manager” and helped his guests Self Checkout and unknowingly mint their first NFTs. The most engaging of conceptual art many ppl can microbuy ($1, can do online too) Michael Kozlowski giving the most intricate and interesting of details on the masterful work he produced with Heft Eli Scheinman and El Barba Roja blue check with such hospitable charm working the entire exhibition floor. Making intros and giving full context tours. Truly amazing work my bros, I’m so happy to see the 10/10 execution. I’ll look to end by saying i don’t care what the culturally deficient say about us, digital art is the artistic movement of our time. I just witnessed the “cool”, elite crowd of society come into our corner of the Art Basel fair and smile with intrigue as they realized why our generation is not going to be buying $60m Rothkos. Our internet native generation deserves this movement. It’s uniquely ours and it’s real as fuck, in the deepest of bears. It wasn’t passed onto us as inheritance, it grew from twitter telegram and discord. It is extreme ownership of what is truly ours, and these Basel VIPs don’t even know (yet) how based it feels to enjoy the true sovereignty of this movement. I didn’t plan to go every day, but now i feel a sense of pride i want to enjoy more days of the week so i will happily be there daily. I need to get my time with Yatreda ያጥሬዳ maya man Joe Pease !! This was a perfect exhibition in my book. 🫡🫡

AC

99,721 просмотров • 8 месяцев назад

ISRAEL'S ARROW MISSILE ENGINE FACTORY JUST EXPLODED. WHAT HAPPENS NOW THAT THE "CONTROLLED TEST" STORY DOESN'T ADD UP? Here's what comes next, step by step: 🔴 Step 1 — The official story collapses under three facts Tomer Company called it a pre-planned test "carried out according to plan." But controlled detonations require advance public notification. There was none. Emergency services scrambled immediately. You don't do that for something planned. And the blast scale matches one thing: solid rocket propellant igniting unexpectedly. 🔴 Step 2 — Understand what Tomer actually is This is not a warehouse. This is not a factory making spare parts. Tomer is the state-owned firm that builds the rocket engines for Arrow 2 and Arrow 3 — Israel's primary shield against Iranian ballistic missiles. No Tomer engines. No Arrow interceptors. No missile defense. 🔴 Step 3 — Understand what Arrow 2 and Arrow 3 actually do Arrow 3 intercepts ballistic missiles above the atmosphere. Arrow 2 handles mid-altitude threats inside the atmosphere. Together they form the top two layers of Israel's defense against exactly the kind of missiles Iran has been firing. Tomer builds the propulsion that makes both of them fly. 🔴 Step 4 — Consider the timing Iran just escalated on its own terms for the first time — not in response to U.S. action, but initiating. A more emboldened Iran than the one that entered the ceasefire. And at this exact moment, a massive explosion hits the facility that manufactures Israel's defense against Iranian missiles. 🔴 Step 5 — If this was an accident A production or testing mishap during propellant handling is the most probable explanation. A similar blast at the same Tomer site happened in 2021 — also called a controlled test afterward. Industrial accidents at rocket propellant facilities are rare but catastrophic when they occur. The damage to production timelines could be significant at a moment when Israel needs interceptors most. 🔴 Step 6 — If this was NOT an accident Sabotage at exactly this target, at exactly this moment, cannot be fully ruled out. Iran has demonstrated the capability and the motive to reach inside Israel's defense infrastructure. Disrupting Arrow engine production doesn't require a missile strike — it requires one person in the right place. Israel's missile defense capacity would degrade quietly, invisibly, before the next war begins. 🔴 Step 7 — Either answer is a serious problem Accident: Israel's most critical missile defense supply chain just took a hit during active conflict. Sabotage: Iran may have just struck Israel's shield without firing a single missile. Both outcomes serve the same strategic objective — leaving Israel less capable of defending against the next ballistic missile barrage. The question is not whether this matters. The question is which answer is worse. Are you positioned for what comes next? I'll keep you updated. Turn on notifications. 🚨
0:17

ISRAEL'S ARROW MISSILE ENGINE FACTORY JUST EXPLODED. WHAT HAPPENS NOW THAT THE "CONTROLLED TEST" STORY DOESN'T ADD UP? Here's what comes next, step by step: 🔴 Step 1 — The official story collapses under three facts Tomer Company called it a pre-planned test "carried out according to plan." But controlled detonations require advance public notification. There was none. Emergency services scrambled immediately. You don't do that for something planned. And the blast scale matches one thing: solid rocket propellant igniting unexpectedly. 🔴 Step 2 — Understand what Tomer actually is This is not a warehouse. This is not a factory making spare parts. Tomer is the state-owned firm that builds the rocket engines for Arrow 2 and Arrow 3 — Israel's primary shield against Iranian ballistic missiles. No Tomer engines. No Arrow interceptors. No missile defense. 🔴 Step 3 — Understand what Arrow 2 and Arrow 3 actually do Arrow 3 intercepts ballistic missiles above the atmosphere. Arrow 2 handles mid-altitude threats inside the atmosphere. Together they form the top two layers of Israel's defense against exactly the kind of missiles Iran has been firing. Tomer builds the propulsion that makes both of them fly. 🔴 Step 4 — Consider the timing Iran just escalated on its own terms for the first time — not in response to U.S. action, but initiating. A more emboldened Iran than the one that entered the ceasefire. And at this exact moment, a massive explosion hits the facility that manufactures Israel's defense against Iranian missiles. 🔴 Step 5 — If this was an accident A production or testing mishap during propellant handling is the most probable explanation. A similar blast at the same Tomer site happened in 2021 — also called a controlled test afterward. Industrial accidents at rocket propellant facilities are rare but catastrophic when they occur. The damage to production timelines could be significant at a moment when Israel needs interceptors most. 🔴 Step 6 — If this was NOT an accident Sabotage at exactly this target, at exactly this moment, cannot be fully ruled out. Iran has demonstrated the capability and the motive to reach inside Israel's defense infrastructure. Disrupting Arrow engine production doesn't require a missile strike — it requires one person in the right place. Israel's missile defense capacity would degrade quietly, invisibly, before the next war begins. 🔴 Step 7 — Either answer is a serious problem Accident: Israel's most critical missile defense supply chain just took a hit during active conflict. Sabotage: Iran may have just struck Israel's shield without firing a single missile. Both outcomes serve the same strategic objective — leaving Israel less capable of defending against the next ballistic missile barrage. The question is not whether this matters. The question is which answer is worse. Are you positioned for what comes next? I'll keep you updated. Turn on notifications. 🚨

🇨🇳 Guo Shen 郭深

371,632 просмотров • 3 месяцев назад

🚨I DIDNT WANT to do it BUT I have too. You didn’t see this yet. The narrative that “he was just filming and the officers got angry” is false. The narrative that he was only trying to protect two women is also false. He, along with others, was actively interfering with a legitimate law-enforcement operation. That is why officers moved them off the street. That does not mean he deserved to die. When officers attempted to detain him, he resisted arrest. That does not mean he deserved to die. He was armed and chose to insert himself into an active enforcement operation while resisting arrest. That does not mean he deserved to die. An agent called out the presence of a firearm. During the attempt to secure it, the weapon discharged before the agent could declare the scene clear. Other officers, hearing a gun call and a gunshot while a suspect was resisting arrest, reacted according to their training. From their perspective, they were confronting an armed individual resisting arrest. That is why, immediately after the shooting, one officer urgently asked where the firearm was. He believed he had just engaged an armed suspect, because that is precisely the situation as it appeared in real time. He did not deserve to die. However, his actions, his decisions, and his criminal interference were contributing factors, alongside serious failures by the officers involved. I believe the shooting was unnecessary. I believe there were many alternative ways the situation could have been handled. I do not believe the officers were truly under lethal threat. Recklessness on all sides resulted in a man losing his life. Approximately 23 percent of ICE activity occurs in Texas, yet we do not see these outcomes there. Minnesota accounts for roughly 2 percent of ICE operations, yet has seen multiple shootings involving American citizens. The difference is organized resistance. Blue states have coordinated efforts designed to insert civilians into active ICE operations to interfere intentionally and directly. Interfering with law-enforcement operations is illegal, and it is dangerous. This is how people get killed. Resisting arrest is illegal, and it is dangerous. This is how people get killed. Within the Second Amendment community, there is a common saying: “I would rather be judged by twelve than carried by six.” It refers to choosing survival over moral victory. That same principle applies to interactions with law enforcement. Would you rather be right, or would you rather be alive? Make smart decisions when dealing with law enforcement. Survive the encounter. Then take the fight to court. Use every lawful platform available to expose misconduct. Name departments, supervisors, and officers. Demand accountability through evidence and process. But interfering with an active operation, resisting arrest, and doing so while armed creates a predictable and deadly outcome. Was it legal for him to be armed? Yes. Should citizens carry lawfully? Yes. Is it profoundly reckless to interfere with law enforcement and resist arrest while armed? Absolutely. When we carry firearms, we accept greater responsibility. That responsibility was neglected here. It is possible to support immigration enforcement while condemning reckless policing. It is possible to criticize law enforcement while also acknowledging the dangerous behavior of civilians. It is possible to recognize complexity, rapid escalation, human error, and shared responsibility in a fast-moving situation. He did not have to die. Liberty only survives when it operates within order. Nothing about this situation was orderly. When order collapses, lives are lost. He did not have to die.
0:10

🚨I DIDNT WANT to do it BUT I have too. You didn’t see this yet. The narrative that “he was just filming and the officers got angry” is false. The narrative that he was only trying to protect two women is also false. He, along with others, was actively interfering with a legitimate law-enforcement operation. That is why officers moved them off the street. That does not mean he deserved to die. When officers attempted to detain him, he resisted arrest. That does not mean he deserved to die. He was armed and chose to insert himself into an active enforcement operation while resisting arrest. That does not mean he deserved to die. An agent called out the presence of a firearm. During the attempt to secure it, the weapon discharged before the agent could declare the scene clear. Other officers, hearing a gun call and a gunshot while a suspect was resisting arrest, reacted according to their training. From their perspective, they were confronting an armed individual resisting arrest. That is why, immediately after the shooting, one officer urgently asked where the firearm was. He believed he had just engaged an armed suspect, because that is precisely the situation as it appeared in real time. He did not deserve to die. However, his actions, his decisions, and his criminal interference were contributing factors, alongside serious failures by the officers involved. I believe the shooting was unnecessary. I believe there were many alternative ways the situation could have been handled. I do not believe the officers were truly under lethal threat. Recklessness on all sides resulted in a man losing his life. Approximately 23 percent of ICE activity occurs in Texas, yet we do not see these outcomes there. Minnesota accounts for roughly 2 percent of ICE operations, yet has seen multiple shootings involving American citizens. The difference is organized resistance. Blue states have coordinated efforts designed to insert civilians into active ICE operations to interfere intentionally and directly. Interfering with law-enforcement operations is illegal, and it is dangerous. This is how people get killed. Resisting arrest is illegal, and it is dangerous. This is how people get killed. Within the Second Amendment community, there is a common saying: “I would rather be judged by twelve than carried by six.” It refers to choosing survival over moral victory. That same principle applies to interactions with law enforcement. Would you rather be right, or would you rather be alive? Make smart decisions when dealing with law enforcement. Survive the encounter. Then take the fight to court. Use every lawful platform available to expose misconduct. Name departments, supervisors, and officers. Demand accountability through evidence and process. But interfering with an active operation, resisting arrest, and doing so while armed creates a predictable and deadly outcome. Was it legal for him to be armed? Yes. Should citizens carry lawfully? Yes. Is it profoundly reckless to interfere with law enforcement and resist arrest while armed? Absolutely. When we carry firearms, we accept greater responsibility. That responsibility was neglected here. It is possible to support immigration enforcement while condemning reckless policing. It is possible to criticize law enforcement while also acknowledging the dangerous behavior of civilians. It is possible to recognize complexity, rapid escalation, human error, and shared responsibility in a fast-moving situation. He did not have to die. Liberty only survives when it operates within order. Nothing about this situation was orderly. When order collapses, lives are lost. He did not have to die.

A Gene Robinson

716,743 просмотров • 7 месяцев назад

Category Labs is proud to introduce Cadence, our multiple-concurrent-proposers (MCP) consensus protocol that matches the optimal good-case latency of single-leader consensus while supporting arbitrarily short block intervals. When combined with BTX, our design for encrypted mempools, this represents a significant step towards solving the problem of MEV at the protocol level. In nearly every blockchain today, a single party ends up in control of each block: it decides which transactions get in, and can reorder them at will. MCP is the natural fix, but most recent designs pay for it with a separate aggregation phase, adding two extra communication rounds per block. Cadence makes the proposers part of consensus itself. Its fast path finalizes in an optimal three communication rounds, even when proposers are offline. Cadence also offers speculative finality, similar to MonadBFT, after just two rounds, revertible only if a proposer provably equivocated. In a simulation using estimated network delays between Monad mainnet's 200 globally distributed validators, finalization takes 219 ms on average, speculative finality 167 ms. Cadence pushes pipelining to the extreme: each block is proposed and finalized in its own independent consensus instance, without waiting on preceding blocks. The block interval then becomes a protocol parameter that can be arbitrarily small. At our initial target of 100 ms, a transaction waits on average just 50 ms to enter a proposal, and oracle prices, liquidations, and auctions can update every 100 ms. Cadence dynamically throttles the opening of new instances to bound the number of outstanding slots even during periods of network instability. When the network is healthy (under synchrony), a transaction included by an honest proposer can be neither dropped nor deferred (short-term censorship resistance), and no proposer can see the others' proposals in time to react (hiding). We prove both, together with safety and liveness under partial synchrony at the optimal 3f+1 fault bound. The Cadence protocol is modular: each module is simple on its own, and any of them can be swapped out without touching the rest. Cadence also builds on components already being deployed: proposals are disseminated as erasure-coded chunks over Deterministic RaptorCast, now rolling out on Monad, and validators vote on proposal digests, so voting does not wait for the full data to arrive. Start with the interactive tutorial: Full paper: Joint work by Kushal Babel, Fatima Elsheimy, Lioba Heimbach, Mohammad Mussadiq Jalalzai, Tobias Klenze, Jovan Komatovic, Jason Milionis, Mike Setrin, and Victor Shoup.
0:13

Category Labs is proud to introduce Cadence, our multiple-concurrent-proposers (MCP) consensus protocol that matches the optimal good-case latency of single-leader consensus while supporting arbitrarily short block intervals. When combined with BTX, our design for encrypted mempools, this represents a significant step towards solving the problem of MEV at the protocol level. In nearly every blockchain today, a single party ends up in control of each block: it decides which transactions get in, and can reorder them at will. MCP is the natural fix, but most recent designs pay for it with a separate aggregation phase, adding two extra communication rounds per block. Cadence makes the proposers part of consensus itself. Its fast path finalizes in an optimal three communication rounds, even when proposers are offline. Cadence also offers speculative finality, similar to MonadBFT, after just two rounds, revertible only if a proposer provably equivocated. In a simulation using estimated network delays between Monad mainnet's 200 globally distributed validators, finalization takes 219 ms on average, speculative finality 167 ms. Cadence pushes pipelining to the extreme: each block is proposed and finalized in its own independent consensus instance, without waiting on preceding blocks. The block interval then becomes a protocol parameter that can be arbitrarily small. At our initial target of 100 ms, a transaction waits on average just 50 ms to enter a proposal, and oracle prices, liquidations, and auctions can update every 100 ms. Cadence dynamically throttles the opening of new instances to bound the number of outstanding slots even during periods of network instability. When the network is healthy (under synchrony), a transaction included by an honest proposer can be neither dropped nor deferred (short-term censorship resistance), and no proposer can see the others' proposals in time to react (hiding). We prove both, together with safety and liveness under partial synchrony at the optimal 3f+1 fault bound. The Cadence protocol is modular: each module is simple on its own, and any of them can be swapped out without touching the rest. Cadence also builds on components already being deployed: proposals are disseminated as erasure-coded chunks over Deterministic RaptorCast, now rolling out on Monad, and validators vote on proposal digests, so voting does not wait for the full data to arrive. Start with the interactive tutorial: Full paper: Joint work by Kushal Babel, Fatima Elsheimy, Lioba Heimbach, Mohammad Mussadiq Jalalzai, Tobias Klenze, Jovan Komatovic, Jason Milionis, Mike Setrin, and Victor Shoup.

Category Labs

251,169 просмотров • 1 месяц назад

AI creations are becoming more impressive, but the most interesting part is often what happens behind the scenes. Higgsfield has open-sourced its Originals, giving creators access to the prompts, references, and workflows behind these AI films. Now you can see how these creations come together, explore the process, and learn from the techniques behind them. Prompt for this video: Style: 8K IMAX, traditional hand-drawn 2D animation, animated on twos at 12 frames per second — each drawing held for two frames then replaced, choppy stepped motion cadence, visible pose-to-pose timing, distinct keyframe drawings with no smooth in-between interpolation, hand-painted oil-brush texture on every drawing, brushstrokes shifting and redrawn from frame to frame, line jitter and boil between frames. No 3D render, no game engine, no CGI smoothness. The 12 principles of animation throughout: anticipation, squash and stretch, follow-through and overlapping action, slow in/slow out, arcs, secondary action, exaggeration, solid drawing — applied to every element including wolf bodies, clothing, breath, and snow particles. Cinematography: Lubezki / Deakins. Aggressively handheld inside the scene — constant restless shake and jitter every frame, jerky bounce, frame buffeted sideways by gusts, sharp reframing jolts, breathing sway. Horizon never perfectly level. Never gimbal-smooth, never tripod, never dolly, never crane, never aerial. Wide anamorphic approximately 24mm. Shallow depth of field. Camera eye level or below. CHARACTER REFERENCE IS ABSOLUTE — faces and designs from reference images exactly 1-to-1. Reference always overrides text description. CHARACTER TAGS: - THE MOTHER = woman from >>. Bundle clamped to her chest in one arm, the bundle a dark non-glowing shape, faint pale grey breath vapor torn off by the wind, no glow. - THE TODDLER = small girl from >>. Name Umai. - THE WOLVES = animals from >>. Each wolf stands roughly half a human's height at the shoulder. Body length from head to tail equals approximately one full human height. Large, heavy, and low to the ground. - THE FOREST = location from >>. Lighting: no light source, no moon, no stars, no rim light, no contre-jour, no key light. Flat dim diffuse ambient grey-white glow only — no direction, no gradient shading. Flat painted shapes. All forms read as dark silhouettes or mid-grey against white atmosphere. Atmosphere: violent blizzard continuous every frame. Snow driven horizontally. Visibility approximately 3 meters. Rolling white-out waves sweeping the lens. Wind never drops. Hair and robe ends stream sideways with full follow-through and overlapping action. Audio: dominant roaring blizzard wind. THE MOTHER's trembling breath close. Distant low wolf howl buried under wind, barely audible in Shot 2D. No dialogue. No music. No subtitles. SHOT 2C — EXTREME CLOSE-UP handheld on THE MOTHER's eyes. Duration: 3 seconds. COMPOSITION: asymmetric — forbidden: any centered or symmetric framing. One eye occupies the left two-thirds of frame. The other eye cut by the right frame edge — only the inner corner visible. Slight Dutch angle tilt. Lashes ice-crusted and heavy. Whites faintly red-veined from cold and wind. Main eye narrowed, gazing off-screen into far distance below frame. ACTION on twos: eyeball in micro left-right tracking movement — pause — pupils contract sharply — the instant of recognition — eyelids flutter slightly in two held frames — jaw corner tightens off-frame, visible only as a tension in the cheek — breath vapor drifts across the lower corner of frame, torn sideways by wind. Constant handheld micro-shake throughout. A rolling wave of buran briefly obscures the frame. Animated on twos. HARD CUT TO SHOT 2D — WIDE SHOT handheld — wolf pack as shadow mass — distance mode. Duration: approx. 8 seconds. COMPOSITION: asymmetric — forbidden: centered framing. Camera positioned within the tree line, offset to the left. Dense tree trunks occupy and crowd the right third of frame. Open space to the left. Depth axis shifted right, not centered. Wolf pack drives into frame from the lower right — mass heaviest on the right side, left edge showing only sparse fringe and trailing edge. THE PACK — approximately two hundred wolves. They do not exist as individual animals. NOT smoke, NOT mist, NOT vapor — the pack has mass, weight, and momentum. The entire pack moves as a single body of dark water surging downhill — liquid with density and pressure behind it, not diffuse or drifting. It is also shadow: it swallows light rather than reflects it, leaving a presence darker than everything around it in the flat grey-white atmosphere. Water and shadow — these two qualities together, never smoke. Movement pace: swift and relentless — faster than expected for something so massive, the speed of a flash flood or a river breaking its banks, not slow and rolling. The mass covers ground urgently, with weight and velocity combined. Mass density clearly differentiated: the core is near-opaque dense black like deep water — solid, heavy, light-swallowing — toward the edges it thins like water spreading at its margins, individual silhouettes briefly legible at the fringe then reabsorbed into the core. The edge is not soft or diffuse like smoke — it is the ragged turbulent edge of moving water. Large waves and small waves alternating with speed: heavy large waves surge and crest — small fast wave-crests explode between them. White teeth are the only thing in frame that does not belong to the shadow — solid, material, flashing simultaneously at multiple points as wave-crests break, then swallowed back. Skull outlines breach the surface and are pulled under like objects in fast current. Charcoal black with deep navy-blue sheen. Amber-yellow eye-points ignite in clusters in the darkness then extinguish in batches like bioluminescence in black water. Black water flood pours between the tree trunks — trunks submerged by black then re-emerging as the mass passes. Contrast: white blizzard / black wolf mass — white fear, black death. Camera near-still, breathing micro-shake only — as if the observer has instinctively stopped breathing. Animated on twos. Constraints: wolf pack is NEVER smoke, mist, or vapor — it has mass, weight, density, and speed — it is water and shadow. Wolf pack is NEVER a collection of individually animated animals — always a single fluid mass. DISTANCE MODE: mass coherence is absolute, individual wolves do not detach or become readable as separate figures. White teeth are the ONLY non-shadow element within the pack mass. Amber-yellow eye-points appear and extinguish in clusters, never individually. No warm light source anywhere in any frame. No rim light, no backlight, no moonlight — flat grey-white diffuse ambient only. No amber glow from forest reference applied. Camera handheld throughout — never stabilized, never smooth. Animated on twos throughout, no interpolation. 11 seconds total. 12fps. 8K. No music. SFX only. No subtitles. No 3D.
0:15

AI creations are becoming more impressive, but the most interesting part is often what happens behind the scenes. Higgsfield has open-sourced its Originals, giving creators access to the prompts, references, and workflows behind these AI films. Now you can see how these creations come together, explore the process, and learn from the techniques behind them. Prompt for this video: Style: 8K IMAX, traditional hand-drawn 2D animation, animated on twos at 12 frames per second — each drawing held for two frames then replaced, choppy stepped motion cadence, visible pose-to-pose timing, distinct keyframe drawings with no smooth in-between interpolation, hand-painted oil-brush texture on every drawing, brushstrokes shifting and redrawn from frame to frame, line jitter and boil between frames. No 3D render, no game engine, no CGI smoothness. The 12 principles of animation throughout: anticipation, squash and stretch, follow-through and overlapping action, slow in/slow out, arcs, secondary action, exaggeration, solid drawing — applied to every element including wolf bodies, clothing, breath, and snow particles. Cinematography: Lubezki / Deakins. Aggressively handheld inside the scene — constant restless shake and jitter every frame, jerky bounce, frame buffeted sideways by gusts, sharp reframing jolts, breathing sway. Horizon never perfectly level. Never gimbal-smooth, never tripod, never dolly, never crane, never aerial. Wide anamorphic approximately 24mm. Shallow depth of field. Camera eye level or below. CHARACTER REFERENCE IS ABSOLUTE — faces and designs from reference images exactly 1-to-1. Reference always overrides text description. CHARACTER TAGS: - THE MOTHER = woman from >>. Bundle clamped to her chest in one arm, the bundle a dark non-glowing shape, faint pale grey breath vapor torn off by the wind, no glow. - THE TODDLER = small girl from >>. Name Umai. - THE WOLVES = animals from >>. Each wolf stands roughly half a human's height at the shoulder. Body length from head to tail equals approximately one full human height. Large, heavy, and low to the ground. - THE FOREST = location from >>. Lighting: no light source, no moon, no stars, no rim light, no contre-jour, no key light. Flat dim diffuse ambient grey-white glow only — no direction, no gradient shading. Flat painted shapes. All forms read as dark silhouettes or mid-grey against white atmosphere. Atmosphere: violent blizzard continuous every frame. Snow driven horizontally. Visibility approximately 3 meters. Rolling white-out waves sweeping the lens. Wind never drops. Hair and robe ends stream sideways with full follow-through and overlapping action. Audio: dominant roaring blizzard wind. THE MOTHER's trembling breath close. Distant low wolf howl buried under wind, barely audible in Shot 2D. No dialogue. No music. No subtitles. SHOT 2C — EXTREME CLOSE-UP handheld on THE MOTHER's eyes. Duration: 3 seconds. COMPOSITION: asymmetric — forbidden: any centered or symmetric framing. One eye occupies the left two-thirds of frame. The other eye cut by the right frame edge — only the inner corner visible. Slight Dutch angle tilt. Lashes ice-crusted and heavy. Whites faintly red-veined from cold and wind. Main eye narrowed, gazing off-screen into far distance below frame. ACTION on twos: eyeball in micro left-right tracking movement — pause — pupils contract sharply — the instant of recognition — eyelids flutter slightly in two held frames — jaw corner tightens off-frame, visible only as a tension in the cheek — breath vapor drifts across the lower corner of frame, torn sideways by wind. Constant handheld micro-shake throughout. A rolling wave of buran briefly obscures the frame. Animated on twos. HARD CUT TO SHOT 2D — WIDE SHOT handheld — wolf pack as shadow mass — distance mode. Duration: approx. 8 seconds. COMPOSITION: asymmetric — forbidden: centered framing. Camera positioned within the tree line, offset to the left. Dense tree trunks occupy and crowd the right third of frame. Open space to the left. Depth axis shifted right, not centered. Wolf pack drives into frame from the lower right — mass heaviest on the right side, left edge showing only sparse fringe and trailing edge. THE PACK — approximately two hundred wolves. They do not exist as individual animals. NOT smoke, NOT mist, NOT vapor — the pack has mass, weight, and momentum. The entire pack moves as a single body of dark water surging downhill — liquid with density and pressure behind it, not diffuse or drifting. It is also shadow: it swallows light rather than reflects it, leaving a presence darker than everything around it in the flat grey-white atmosphere. Water and shadow — these two qualities together, never smoke. Movement pace: swift and relentless — faster than expected for something so massive, the speed of a flash flood or a river breaking its banks, not slow and rolling. The mass covers ground urgently, with weight and velocity combined. Mass density clearly differentiated: the core is near-opaque dense black like deep water — solid, heavy, light-swallowing — toward the edges it thins like water spreading at its margins, individual silhouettes briefly legible at the fringe then reabsorbed into the core. The edge is not soft or diffuse like smoke — it is the ragged turbulent edge of moving water. Large waves and small waves alternating with speed: heavy large waves surge and crest — small fast wave-crests explode between them. White teeth are the only thing in frame that does not belong to the shadow — solid, material, flashing simultaneously at multiple points as wave-crests break, then swallowed back. Skull outlines breach the surface and are pulled under like objects in fast current. Charcoal black with deep navy-blue sheen. Amber-yellow eye-points ignite in clusters in the darkness then extinguish in batches like bioluminescence in black water. Black water flood pours between the tree trunks — trunks submerged by black then re-emerging as the mass passes. Contrast: white blizzard / black wolf mass — white fear, black death. Camera near-still, breathing micro-shake only — as if the observer has instinctively stopped breathing. Animated on twos. Constraints: wolf pack is NEVER smoke, mist, or vapor — it has mass, weight, density, and speed — it is water and shadow. Wolf pack is NEVER a collection of individually animated animals — always a single fluid mass. DISTANCE MODE: mass coherence is absolute, individual wolves do not detach or become readable as separate figures. White teeth are the ONLY non-shadow element within the pack mass. Amber-yellow eye-points appear and extinguish in clusters, never individually. No warm light source anywhere in any frame. No rim light, no backlight, no moonlight — flat grey-white diffuse ambient only. No amber glow from forest reference applied. Camera handheld throughout — never stabilized, never smooth. Animated on twos throughout, no interpolation. 11 seconds total. 12fps. 8K. No music. SFX only. No subtitles. No 3D.

Latte

13,565 просмотров • 1 месяц назад

Can a handcuff made of paper really lock your heart in place? 回帖里还有另一版，哪个更好？ Seedance prompt: 👉👉👊👊Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated. The footage features noticeable handheld shake and operator breathing sounds. Autofocus operates quickly in dim environments, frequently searching for targets among colored lights, with delays. Automatic white balance changes dramatically with the shift between purple-blue lighting on the stage and skin highlights. The image is generally dark and noisy, but retains real lens flares, overexposure in high-light areas, motion blur, and severe background blurring. Only in-built environmental sounds are used: low-frequency electronic music from the nightclub (severely distorted through the phone microphone), noise from crowds, and drumbeats with a sense of vibration. The microphone also has significant distortion at low frequencies. The footage is captured from the perspective of real people/audience members. The composition is occasionally imperfect, with slight tilts or cropping at the edges. A young Asian woman is used as a reference for the appearance of the character. She has long black wavy hair, and she is wearing… She wore a golden sequined dress, standing on the stage of the nightclub. At 0-3 seconds, the camera pans slightly within the crowd at the nightclub, with the image being slightly dark, focusing on the stage. In front of her, a black-clothed person wearing a mask handed her several folded white strips of paper. She took the papers, then slowly wrapped them around her wrists, simulating the effect of being tied with ropes. Her movements were deliberate and slow. The white paper left obvious marks on her wrists. From time to time, she would look up at the camera, with a playful smile on her lips. The stage was illuminated by purple-blue lights, with the camera adjusting its exposure between the lights and the person in front of it, resulting in slight overexposure and noise in the image. In the background, we could see the stage lights reflecting off the crowd and equipment, with noisy environmental sounds in the background. At 3-7 seconds, the camera moves forward, switching to a closer handheld perspective.She wore white strips around her wrists (simulating ropes), and began to perform in a seductive dance pose before the first-person camera. Her body moved slowly, with her hands “bound” by the strips, either overlapping or raised forward. Her waist and hips swayed gently to the rhythm of the music, her eyes fixed straight at the camera, with a hint of teasing and inviting gaze. Occasionally, she would look down at her wrists, then raise her head again, her eyes casting an even more suggestive light toward the camera. She leaned forward, her movements full of seduction yet elegant. The golden sequin dress shimmered under the colored lights, and the camera quickly locked onto her image. The male singer and stage lighting in the background were heavily blurred, creating a strong mobile phone-style background blur and light spots. The low-frequency music was severely distorted through the microphone, and the camera shook slightly due to the operator’s proximity, along with the sound of breathing.The entire scene depicts a dark, noisy, and unstable environment, reminiscent of a real nightclub setting. At the end of the scene, the camera focuses on her hands, wrapped in white paper, as she maintains a seductive dancing posture. Her eyes are fixed straight ahead, and the camera moves slightly back and forth.
0:15

Can a handcuff made of paper really lock your heart in place? 回帖里还有另一版，哪个更好？ Seedance prompt: 👉👉👊👊Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated. The footage features noticeable handheld shake and operator breathing sounds. Autofocus operates quickly in dim environments, frequently searching for targets among colored lights, with delays. Automatic white balance changes dramatically with the shift between purple-blue lighting on the stage and skin highlights. The image is generally dark and noisy, but retains real lens flares, overexposure in high-light areas, motion blur, and severe background blurring. Only in-built environmental sounds are used: low-frequency electronic music from the nightclub (severely distorted through the phone microphone), noise from crowds, and drumbeats with a sense of vibration. The microphone also has significant distortion at low frequencies. The footage is captured from the perspective of real people/audience members. The composition is occasionally imperfect, with slight tilts or cropping at the edges. A young Asian woman is used as a reference for the appearance of the character. She has long black wavy hair, and she is wearing… She wore a golden sequined dress, standing on the stage of the nightclub. At 0-3 seconds, the camera pans slightly within the crowd at the nightclub, with the image being slightly dark, focusing on the stage. In front of her, a black-clothed person wearing a mask handed her several folded white strips of paper. She took the papers, then slowly wrapped them around her wrists, simulating the effect of being tied with ropes. Her movements were deliberate and slow. The white paper left obvious marks on her wrists. From time to time, she would look up at the camera, with a playful smile on her lips. The stage was illuminated by purple-blue lights, with the camera adjusting its exposure between the lights and the person in front of it, resulting in slight overexposure and noise in the image. In the background, we could see the stage lights reflecting off the crowd and equipment, with noisy environmental sounds in the background. At 3-7 seconds, the camera moves forward, switching to a closer handheld perspective.She wore white strips around her wrists (simulating ropes), and began to perform in a seductive dance pose before the first-person camera. Her body moved slowly, with her hands “bound” by the strips, either overlapping or raised forward. Her waist and hips swayed gently to the rhythm of the music, her eyes fixed straight at the camera, with a hint of teasing and inviting gaze. Occasionally, she would look down at her wrists, then raise her head again, her eyes casting an even more suggestive light toward the camera. She leaned forward, her movements full of seduction yet elegant. The golden sequin dress shimmered under the colored lights, and the camera quickly locked onto her image. The male singer and stage lighting in the background were heavily blurred, creating a strong mobile phone-style background blur and light spots. The low-frequency music was severely distorted through the microphone, and the camera shook slightly due to the operator’s proximity, along with the sound of breathing.The entire scene depicts a dark, noisy, and unstable environment, reminiscent of a real nightclub setting. At the end of the scene, the camera focuses on her hands, wrapped in white paper, as she maintains a seductive dancing posture. Her eyes are fixed straight ahead, and the camera moves slightly back and forth.

John

16,065 просмотров • 2 месяцев назад

Hello Hugh Thomas , let’s do it one by one, sample by sample, stone by stone. Whenever an artificial stone recipe of mine reaches a certain stage that’s the results are comparable to the natural version I’ll send a cast sample to you (with its mold) to analyze. The first one could be this perfectly chiseled fake limestone cube. As you can see you can’t fit a razor blade between the stone and the cheap silicone mold from Temu. This proves my micro chiseling skills. The recipe is public, you don’t even need my cube, you could create your own - but you won’t. So I’ll send this cute cube to you. The “secret” recipe is: I started from wood ash lye, also called potash, or K2CO3, by slowly dripping water through hard wood ash. Hard wood ash from your fireplace, yeah. Then I added slaked lime, and the chemical reaction produced fine, molecular level CaCO3 particles, fine limestone floating in the liquid. FYI: the secret chemical reaction is, and was in the ancient times as well: K2CO3 + Ca(OH)2 = CaCO3 + 2KOH Yummy! Next step: I let the limestone particles settle, and poured the KOH, potassium hydroxide solution above (that also formed in the liquid, see above) into the kitchen sink as it is a very good drain cleaner indeed. I added water and poured it into the sink several times, trying to clean the slurry from the KOH. So yes, the cube is from almost pure limestone, CaCO3 - with some residual KOH contamination. The KOH contamination can be reduced infinitely, I just stopped after 4 rounds. (Pro tip: put the slurry into a filter bag and put the bag into a mountain creek for an hour.) The next step is filtering and pressing the remaining liquid from the slurry. Because it’s a wet mess at this point. Pressure is a key factor to success! At least one thing is accurate from the universal canon: no pressure-no stone. How do I know? By trying and failing a few (dozen) times. So I poured the white limestone slurry into a sock 🧦 and pressed and squeezed it by hand - and that was JUST enough pressure for the magic to happen 😮 It looks like nature/god is on our side, everything is working as it was designed this way. Then I put the almost dry limestone paste into this Temu mold. Fun fact: it still contains a lot of water which will eventually be pressed out as the crystallization progresses, so we’ll need to get rid of that water through a hole, a nub. But there is no hole 🕳️ on this Temu mold so I poured the excess liquid from the top a few times. Hardening time=drying time=crystallization time : 1 week. The important lesson I learned from this experience is as follows: I tried to understand why this sludge turned into hard stone, because, as we were told, IT IS IMPOSSIBLE, and my understanding is this: wood ash lye does two different magics in parallel for this to happen: 1. It magically contains the right kind of contamination to facilitate calcite crystal formation and 2. The incredibly high pH (remember, 2 molecules of KOH are produced from 1 molecule of K2CO3!) in the liquid boost the calcite formation even more. ———- My only request from you and your colleagues concerning this analysis is full, 100000% transparency. And be honest. I know something you clearly don’t: you have lost this battle already. We need the data fast, not in 4 years or something. Transparency means sharing whatever you find here on X, without scientific drama and pullbacks. We don’t need a 947 pages scientific paper. We need the results, the data only. BTW: I already know what you will find: a “special type of natural limestone” with some minimal potassium contamination🤣🤣🤣 Now feel free to DM me, let this scientific analysis happen! And thank you for your offer!
0:14

Hello Hugh Thomas , let’s do it one by one, sample by sample, stone by stone. Whenever an artificial stone recipe of mine reaches a certain stage that’s the results are comparable to the natural version I’ll send a cast sample to you (with its mold) to analyze. The first one could be this perfectly chiseled fake limestone cube. As you can see you can’t fit a razor blade between the stone and the cheap silicone mold from Temu. This proves my micro chiseling skills. The recipe is public, you don’t even need my cube, you could create your own - but you won’t. So I’ll send this cute cube to you. The “secret” recipe is: I started from wood ash lye, also called potash, or K2CO3, by slowly dripping water through hard wood ash. Hard wood ash from your fireplace, yeah. Then I added slaked lime, and the chemical reaction produced fine, molecular level CaCO3 particles, fine limestone floating in the liquid. FYI: the secret chemical reaction is, and was in the ancient times as well: K2CO3 + Ca(OH)2 = CaCO3 + 2KOH Yummy! Next step: I let the limestone particles settle, and poured the KOH, potassium hydroxide solution above (that also formed in the liquid, see above) into the kitchen sink as it is a very good drain cleaner indeed. I added water and poured it into the sink several times, trying to clean the slurry from the KOH. So yes, the cube is from almost pure limestone, CaCO3 - with some residual KOH contamination. The KOH contamination can be reduced infinitely, I just stopped after 4 rounds. (Pro tip: put the slurry into a filter bag and put the bag into a mountain creek for an hour.) The next step is filtering and pressing the remaining liquid from the slurry. Because it’s a wet mess at this point. Pressure is a key factor to success! At least one thing is accurate from the universal canon: no pressure-no stone. How do I know? By trying and failing a few (dozen) times. So I poured the white limestone slurry into a sock 🧦 and pressed and squeezed it by hand - and that was JUST enough pressure for the magic to happen 😮 It looks like nature/god is on our side, everything is working as it was designed this way. Then I put the almost dry limestone paste into this Temu mold. Fun fact: it still contains a lot of water which will eventually be pressed out as the crystallization progresses, so we’ll need to get rid of that water through a hole, a nub. But there is no hole 🕳️ on this Temu mold so I poured the excess liquid from the top a few times. Hardening time=drying time=crystallization time : 1 week. The important lesson I learned from this experience is as follows: I tried to understand why this sludge turned into hard stone, because, as we were told, IT IS IMPOSSIBLE, and my understanding is this: wood ash lye does two different magics in parallel for this to happen: 1. It magically contains the right kind of contamination to facilitate calcite crystal formation and 2. The incredibly high pH (remember, 2 molecules of KOH are produced from 1 molecule of K2CO3!) in the liquid boost the calcite formation even more. ———- My only request from you and your colleagues concerning this analysis is full, 100000% transparency. And be honest. I know something you clearly don’t: you have lost this battle already. We need the data fast, not in 4 years or something. Transparency means sharing whatever you find here on X, without scientific drama and pullbacks. We don’t need a 947 pages scientific paper. We need the results, the data only. BTW: I already know what you will find: a “special type of natural limestone” with some minimal potassium contamination🤣🤣🤣 Now feel free to DM me, let this scientific analysis happen! And thank you for your offer!

Marcell Fóti 🪨

38,468 просмотров • 1 месяц назад

This was Denchik. The 29 year-old’s real name was Denis Opara. I was once told that being born in Ukraine is karmic punishment for past sins, and Opara’s past life must have been particularly wicked — he was born in Ukraine black and mentally challenged. Bullied cruelly in school, he was given three years in jail for stealing a pair of sneakers. Denchik lost his teeth in prison from the constant beatings. When he got out, he vowed to stay on the straight on narrow. So he became ‘Denchik’, a street performer amidst the gypsies and cartwheeling monkeys on Khreschatyk street in central Kiev. More than a million people subscribed to his tiktok. He was overjoyed to bring a smile or a laugh to people’s faces. Despite his popularity, Denchik’s life remained a brutal one. He continued to endure regular beatings and humiliations. In 2021, he was beaten by nationalists for singing popular Russian pop songs. В Києві на Майдані Незалежності невідомі побили вуличного музиканта - КИЇВ24 He turned to alcohol and drugs. He made tiktoks about cappuccino ballerino. Those calling him a trash blogger probably weren’t wrong. He spent part of 2025 in a psychiatric facility. At the start of 2026, Denchik was mobilized into the armed forces of Ukraine while on the way to a night club. He put out a few videos in uniform, declaring that he’d sworn to defend the people of Ukraine. He also gave a ‘big, big thank you to Volodymyr Zelensky!’ He also called for the president to vote for him in the next elections. Curiously, these lines were said with a voice that seemed on the brink of tears. On June 21, Denchik died. He hadn’t reached the front lines. The official cause of death was pneumonia. Pneumonia claims many lives in the Ukrainian army. Especially lately. But Denchik, like many others perishing in this manner, was a physically healthy young man. He also died in the sweltering month of June, seemingly not the typical conditions for pneumonia. And he put out a video 6 days before his death, where he seemed quite fine. Unsurprisingly, many in the comments doubt Denchik died merely of pneumonia. In fact, based on the endless news stories about deaths just like Denchik’s, it is possible to hypothethesize about what really happened. Let’s assume Denchik really did die of pneumonia. This can and does happen for several reasons. First, because the newly mobilized are kept together in dank, badly ventilated dungeons. This is done to prevent them from escaping and impress upon them the total power of their new military overlords. Though Denchik was mobilized several months ago, he could have been infected by new recruits. It’s also quite likely that Denchik wasn’t entirely appreciated by his new commanders. As we’ll see later in today’s article, drug addicts are regularly beaten to death or prevented from accessing their state-prescribed methadone treatments. Denchik’s commanders probably weren’t overjoyed to have been gifted a mentally challenged tiktoker, and it is not inconceivable that he didn’t meet their demands, in terms of discipline and physical capacities. Maybe they found drugs on him, which some commanders believes warrants the death sentence. Maybe Denchik simply didn’t want to kill. He doesn’t seem like much of a killer. Unfortunately for him, it’s kill or be killed in the Ukrainian army. Evropa won’t defend itself, after all. So maybe Denchik was punished. Beaten, not for the first time in his life. Maybe he was thrown into a pit to wait out drug withdrawals. Lying in a muddy hole for a few days is a good way to catch pneumonia, especially if you’re already nursing some broken bones. Alternatively, it’s also quite possible that Denchik was simply beaten to death. My full article about the many Denchiks of the Ukrainian army in reply
0:16

This was Denchik. The 29 year-old’s real name was Denis Opara. I was once told that being born in Ukraine is karmic punishment for past sins, and Opara’s past life must have been particularly wicked — he was born in Ukraine black and mentally challenged. Bullied cruelly in school, he was given three years in jail for stealing a pair of sneakers. Denchik lost his teeth in prison from the constant beatings. When he got out, he vowed to stay on the straight on narrow. So he became ‘Denchik’, a street performer amidst the gypsies and cartwheeling monkeys on Khreschatyk street in central Kiev. More than a million people subscribed to his tiktok. He was overjoyed to bring a smile or a laugh to people’s faces. Despite his popularity, Denchik’s life remained a brutal one. He continued to endure regular beatings and humiliations. In 2021, he was beaten by nationalists for singing popular Russian pop songs. В Києві на Майдані Незалежності невідомі побили вуличного музиканта - КИЇВ24 He turned to alcohol and drugs. He made tiktoks about cappuccino ballerino. Those calling him a trash blogger probably weren’t wrong. He spent part of 2025 in a psychiatric facility. At the start of 2026, Denchik was mobilized into the armed forces of Ukraine while on the way to a night club. He put out a few videos in uniform, declaring that he’d sworn to defend the people of Ukraine. He also gave a ‘big, big thank you to Volodymyr Zelensky!’ He also called for the president to vote for him in the next elections. Curiously, these lines were said with a voice that seemed on the brink of tears. On June 21, Denchik died. He hadn’t reached the front lines. The official cause of death was pneumonia. Pneumonia claims many lives in the Ukrainian army. Especially lately. But Denchik, like many others perishing in this manner, was a physically healthy young man. He also died in the sweltering month of June, seemingly not the typical conditions for pneumonia. And he put out a video 6 days before his death, where he seemed quite fine. Unsurprisingly, many in the comments doubt Denchik died merely of pneumonia. In fact, based on the endless news stories about deaths just like Denchik’s, it is possible to hypothethesize about what really happened. Let’s assume Denchik really did die of pneumonia. This can and does happen for several reasons. First, because the newly mobilized are kept together in dank, badly ventilated dungeons. This is done to prevent them from escaping and impress upon them the total power of their new military overlords. Though Denchik was mobilized several months ago, he could have been infected by new recruits. It’s also quite likely that Denchik wasn’t entirely appreciated by his new commanders. As we’ll see later in today’s article, drug addicts are regularly beaten to death or prevented from accessing their state-prescribed methadone treatments. Denchik’s commanders probably weren’t overjoyed to have been gifted a mentally challenged tiktoker, and it is not inconceivable that he didn’t meet their demands, in terms of discipline and physical capacities. Maybe they found drugs on him, which some commanders believes warrants the death sentence. Maybe Denchik simply didn’t want to kill. He doesn’t seem like much of a killer. Unfortunately for him, it’s kill or be killed in the Ukrainian army. Evropa won’t defend itself, after all. So maybe Denchik was punished. Beaten, not for the first time in his life. Maybe he was thrown into a pit to wait out drug withdrawals. Lying in a muddy hole for a few days is a good way to catch pneumonia, especially if you’re already nursing some broken bones. Alternatively, it’s also quite possible that Denchik was simply beaten to death. My full article about the many Denchiks of the Ukrainian army in reply

EventsInUkraine

19,549 просмотров • 2 месяцев назад

I recently read an interesting article by a journalist and one of the founders of the Babel online outlet, Hlib Husiev, who spent three days with the group that created the "Horynych" drone. Main points: ◾️ The Horynych drone is a modified French Skyranger ultralight aircraft. Ukrainian engineers and light aircraft enthusiasts have turned it into a formidable weapon. They removed the pilot's seat from the Skyranger, added an auxiliary fuel tank, batteries, navigation and communications systems, and hardpoints for munitions. Horynych gained the ability to carry OFAB-100-120 fragmentation-high-explosive aerial bombs (about 40 kg of explosives) or the more powerful OFAB-250 (100 kg of explosives), as well as 120-mm mortar bombs. The drone's hit precision reaches one meter, and its flight range is up to one thousand kilometers. The uniqueness of Horynych lies in its ability to navigate through GPS-spoofed zones and evade Russian air defense systems such as the Pantsir-S1, Buk, and S-300. It can return and land autonomously. ◾️ For two years now, the group led by the commander with the callsign "Horynych" has been striking strategic targets in Russia. He does not disclose his real name for security reasons. Before the full-scale invasion, "Horynych" worked in a business far removed from war; during the pandemic, he became interested in light aircraft and obtained a pilot's license. In spring 2022, he volunteered for the front, served in the territorial defense, then in the Special Operations Forces, and later moved to the 14th UAS Regiment. His unit is now focused on strategic drone strikes with ranges of up to several hundred kilometers. The drone was named after his callsign. ◾️ The "Horynych" group was able to create an unmanned aircraft for deep strikes and carry out successful missions thanks to many factors: from administrative backing and freedom of action granted by the commander to intelligence and special equipment from partner countries. The entire group is made up of light aircraft enthusiasts. The drone's missions are not disclosed. What can be seen, however, is their result: burning Russian strategic infrastructure. For "Horynych's" operations in 2023-2024, members of the regiment have already been awarded two Orders of Bohdan Khmelnytskyi. The "Horynych" operations themselves are complex, multi-stage missions. First, reconnaissance drones are launched to identify air defense positions and signals intelligence stations. Then come decoy drones that distract the attention of the air defense systems. Strike drones, such as the AN-196 Liutyi, attack EW systems, creating a 'corridor' for the Horynych. Only after that does the bomber drone set off for its target, covering hundreds of kilometers. Thus, on the night of October 6, Horynych flew about a thousand kilometers, dropped two 120-mm mortar bombs and an OFAB-100-120 on the Yakov Sverdlov factory in Russian Dzerzhinsk (near Nizhny Novgorod), and then dove kamikaze-style onto the target. At that enterprise, the Russians produce explosives and fill FAB bombs for aircraft with them. A few hours later, a second drone repeated the attack, and the next day, another seven Horynych drones completed the mission. Such strikes inflict serious damage on Russia's military-industrial complex - on factories, arsenals, and facilities of the oil and gas complex. "Horynych" himself estimates the total losses inflicted on the occupiers at between $3 and $5 billion. Full article is available here:
0:13

I recently read an interesting article by a journalist and one of the founders of the Babel online outlet, Hlib Husiev, who spent three days with the group that created the "Horynych" drone. Main points: ◾️ The Horynych drone is a modified French Skyranger ultralight aircraft. Ukrainian engineers and light aircraft enthusiasts have turned it into a formidable weapon. They removed the pilot's seat from the Skyranger, added an auxiliary fuel tank, batteries, navigation and communications systems, and hardpoints for munitions. Horynych gained the ability to carry OFAB-100-120 fragmentation-high-explosive aerial bombs (about 40 kg of explosives) or the more powerful OFAB-250 (100 kg of explosives), as well as 120-mm mortar bombs. The drone's hit precision reaches one meter, and its flight range is up to one thousand kilometers. The uniqueness of Horynych lies in its ability to navigate through GPS-spoofed zones and evade Russian air defense systems such as the Pantsir-S1, Buk, and S-300. It can return and land autonomously. ◾️ For two years now, the group led by the commander with the callsign "Horynych" has been striking strategic targets in Russia. He does not disclose his real name for security reasons. Before the full-scale invasion, "Horynych" worked in a business far removed from war; during the pandemic, he became interested in light aircraft and obtained a pilot's license. In spring 2022, he volunteered for the front, served in the territorial defense, then in the Special Operations Forces, and later moved to the 14th UAS Regiment. His unit is now focused on strategic drone strikes with ranges of up to several hundred kilometers. The drone was named after his callsign. ◾️ The "Horynych" group was able to create an unmanned aircraft for deep strikes and carry out successful missions thanks to many factors: from administrative backing and freedom of action granted by the commander to intelligence and special equipment from partner countries. The entire group is made up of light aircraft enthusiasts. The drone's missions are not disclosed. What can be seen, however, is their result: burning Russian strategic infrastructure. For "Horynych's" operations in 2023-2024, members of the regiment have already been awarded two Orders of Bohdan Khmelnytskyi. The "Horynych" operations themselves are complex, multi-stage missions. First, reconnaissance drones are launched to identify air defense positions and signals intelligence stations. Then come decoy drones that distract the attention of the air defense systems. Strike drones, such as the AN-196 Liutyi, attack EW systems, creating a 'corridor' for the Horynych. Only after that does the bomber drone set off for its target, covering hundreds of kilometers. Thus, on the night of October 6, Horynych flew about a thousand kilometers, dropped two 120-mm mortar bombs and an OFAB-100-120 on the Yakov Sverdlov factory in Russian Dzerzhinsk (near Nizhny Novgorod), and then dove kamikaze-style onto the target. At that enterprise, the Russians produce explosives and fill FAB bombs for aircraft with them. A few hours later, a second drone repeated the attack, and the next day, another seven Horynych drones completed the mission. Such strikes inflict serious damage on Russia's military-industrial complex - on factories, arsenals, and facilities of the oil and gas complex. "Horynych" himself estimates the total losses inflicted on the occupiers at between $3 and $5 billion. Full article is available here:

Anton Gerashchenko

28,641 просмотров • 10 месяцев назад

🦕💬 • 260611 [01:03 AM KST] 41 voice notes transcripted/translated in order: hi how did you like made by riize? you’re asking if i ate dinner? i didn’t eat. i ate lunch kind of late, but i ate a hearty lunch. i also wanted to do a live as i finished work, but while wondering if i should do a live or not, something new to do popped up. and while i was doing it, it got too late. so i'll do a live later. go knicks! lately, the NBA's a hot topic lately. knicks. crazy. i don't know, you know... basketball that well, but i remember growing up they were sort of *the team* that people, yk cheered on. but i don't remember anyone saying that they were doing great, or anything. but apparently they're in the finals rn and they're doing rly well, so also can't forget the world cup. world cup season rn, so... just sports season.. sports season, crazy, yeah? [singing dyd] how is it? riize's challenge. easy, right? do it lots, please~ these days, a lot of short-form [videos] are coming up, as you've probably seen. I thought it might be fun if everyone did that together... what do you think? live... there's a way to turn it on, but even if i turned it on, i'm not sure if i could do it well. i don't have confidence rn so i'm talking like this wa, but there's only 4 days left for our comeback.. only 4 days left... how is it? are you guys looking forward to it? are u guys excited? we're going to ulsan the 15th, and wonbin hyung, said he's buying us lunch... not really. but it's our first time going to ulsan all together. we'll have our comeback there. i think it'll be fun. also, the 15th we're doing a comeback live.. we've been doing it every comeback... and at the live stream we'll be high school students.. but it could honestly be university students too.. or really just do it without a concept, but i think it'll be fun... just... it'll be fun... so, while doing that we'll talk about the comeback whatever happens i want us all to just create fun memories together, and since it’s summer, how about you all enjoy summer together with riize... how does that feel? how's this pfp? i like it ㅎㅎ engddongi, eng, engddon ah, right. also with taro hyung, we'll appear at salon drip... i also think that will be fun when it comes out. the recording was also fun, with doyeon nuna.. please watch it ah... you guys can hear the dryer? i won't tell you who's clothes it's drying, it's a secret~ since you could look at this as something im trying out instead of doing a live stream i won't be able to do it super often or every single day, but I think it wouldn't be bad to use this feature again sometime what do you think? ah, but languages are difficult it's not easy to unify into just one language now, but on the other hand, it's really fun. somehow, this chat room..? is that right? realizing that this place is totally global and international is in a way pretty cool. haha anyway, after a long time i rode a bike again.. there was a lot of sunlight... sunlight.. did lots of photosynthesis but what was a real mistake was first of all the bicycle didnt have a basket, and I didnt wear a comfortable backpack. i came out carrying a somewhat awkward/uncomfortable bag, so i really messed up on top of that the bicycle was incredibly heavy, but then the battery completely died... so I almost cried. without even realizing it I had gone so far away so I suffered a bit. that’s the story i also have the feeling i bruised my butt a bit... ㅎㅎ but that will also become a funny memory, right? how's riizing summer vacation? i think there were really a lot of funny moments... sungchan hyung was so funny... sungchan hyung said somewhere he hasn't eaten ramyeon in a year ㅎㅎ and sungchan hyung honestly isn't the type to eat ramen alone, he's on the not eating it side... but he's always like 'one bite, one bite'... so if we put all that together, wouldn't it be a plate of ramen?ㅎㅎ for me, at the beginning of our debut, it was a bit... you know how while filming content, i ended up grilling meat and all? but now, grilling meat... well, i don't think it's that bad also, back when we went to japan to shoot our album jacket photos and the trailer, we visited a lot of vinyl (LP) shops... and that was actually the first time in my life buying an LP with my own money when i was young i went to la to play, and then there was this famous 'amoeba music' store. i looked around and everything, but honestly back then i really wasn't that much interested in LPs. so i bought things like a lot of stickers and used them to decorate my laptop. somehow, after that time, [it was like] I truly spent time in a vinyl shop? but visiting now that I'm a bit older, it was so much fun there are so many songs I don’t know, and tons of songs that aren't even famous so back then in japan, duran duran is a really famous band, but I bought duran duran's Notorious LP and then I also bought Barry Finnertys,, barrynims NY City LP. what was so surprising was that as soon as I listened to the LP, the sound and quality were so good that I was like, 'wow, what is this?' but when I looked it up on the internet, it only had like 3,000 views on YouTube? I think it was 3,000, so because it was so good, I bought it. and after that yesterday too while wandering around here and there, i happened to walk into a cafe and they had LPs there too so yesterday, I bought one or two ㅎㅎ lp's no mater how you look it they have a vibe... its true that nowadays you can just look up and listen to everything on your phone, but another good thing about it (lps) is that I think it’s really great for finding songs you don't know so when going to the lp shop you get to learn a lot of new songs that you didn't know before. even if you don't go with the sole purpose of buying an LP, it's just... really great for discovering things... should I say? a riize lp would also be good... back then, during boom boom bass, we even went there and did all that stuff with our LP too... how was the video editing? back then when i went to school when doing things like presentations, together with other students we would edit videos.. i did lowkey find that kind of stuff pretty fun though because it was pretty much my first time [doing that] since back during those days... but really i think it was fun like... yeah.. i want to try to do it again when i was young i did draw. i drew for fun but it had been such a long time since i last properly sat down and tried to draw something properly with a pencil.. i think it's been such a long time i'm probably the worst at drawing in my family? ㅎㅎ my dad's good, my mom's also good.. my grandpa also draws reaññu well. but it was fun drawing again, so i also want to try that again... why is there so many things i want to do? really why is it? and above all, i want to work really hard on music so that someday i can show you even more. now, like from the trailer to the full version that was uploaded to our site... those kinds of things are a bit different from just being a song, though.. now everyone, let's try meditating together with me sorry.. anyways.. i have to leave in a couple hours actually, so.. time to hit the hay, yeehaw i can't fall asleep right away ㅎㅎ this.. seems like it might be a bit difficult to interpret/translate.. (yes anton, it is,,,) next time it might be better to just turn on a live stream instead ㅎㅎ sorry wow... sleep is really not coming... [1 video] [1 picture] ok jinja gn
0:01

🦕💬 • 260611 [01:03 AM KST] 41 voice notes transcripted/translated in order: hi how did you like made by riize? you’re asking if i ate dinner? i didn’t eat. i ate lunch kind of late, but i ate a hearty lunch. i also wanted to do a live as i finished work, but while wondering if i should do a live or not, something new to do popped up. and while i was doing it, it got too late. so i'll do a live later. go knicks! lately, the NBA's a hot topic lately. knicks. crazy. i don't know, you know... basketball that well, but i remember growing up they were sort of *the team* that people, yk cheered on. but i don't remember anyone saying that they were doing great, or anything. but apparently they're in the finals rn and they're doing rly well, so also can't forget the world cup. world cup season rn, so... just sports season.. sports season, crazy, yeah? [singing dyd] how is it? riize's challenge. easy, right? do it lots, please~ these days, a lot of short-form [videos] are coming up, as you've probably seen. I thought it might be fun if everyone did that together... what do you think? live... there's a way to turn it on, but even if i turned it on, i'm not sure if i could do it well. i don't have confidence rn so i'm talking like this wa, but there's only 4 days left for our comeback.. only 4 days left... how is it? are you guys looking forward to it? are u guys excited? we're going to ulsan the 15th, and wonbin hyung, said he's buying us lunch... not really. but it's our first time going to ulsan all together. we'll have our comeback there. i think it'll be fun. also, the 15th we're doing a comeback live.. we've been doing it every comeback... and at the live stream we'll be high school students.. but it could honestly be university students too.. or really just do it without a concept, but i think it'll be fun... just... it'll be fun... so, while doing that we'll talk about the comeback whatever happens i want us all to just create fun memories together, and since it’s summer, how about you all enjoy summer together with riize... how does that feel? how's this pfp? i like it ㅎㅎ engddongi, eng, engddon ah, right. also with taro hyung, we'll appear at salon drip... i also think that will be fun when it comes out. the recording was also fun, with doyeon nuna.. please watch it ah... you guys can hear the dryer? i won't tell you who's clothes it's drying, it's a secret~ since you could look at this as something im trying out instead of doing a live stream i won't be able to do it super often or every single day, but I think it wouldn't be bad to use this feature again sometime what do you think? ah, but languages are difficult it's not easy to unify into just one language now, but on the other hand, it's really fun. somehow, this chat room..? is that right? realizing that this place is totally global and international is in a way pretty cool. haha anyway, after a long time i rode a bike again.. there was a lot of sunlight... sunlight.. did lots of photosynthesis but what was a real mistake was first of all the bicycle didnt have a basket, and I didnt wear a comfortable backpack. i came out carrying a somewhat awkward/uncomfortable bag, so i really messed up on top of that the bicycle was incredibly heavy, but then the battery completely died... so I almost cried. without even realizing it I had gone so far away so I suffered a bit. that’s the story i also have the feeling i bruised my butt a bit... ㅎㅎ but that will also become a funny memory, right? how's riizing summer vacation? i think there were really a lot of funny moments... sungchan hyung was so funny... sungchan hyung said somewhere he hasn't eaten ramyeon in a year ㅎㅎ and sungchan hyung honestly isn't the type to eat ramen alone, he's on the not eating it side... but he's always like 'one bite, one bite'... so if we put all that together, wouldn't it be a plate of ramen?ㅎㅎ for me, at the beginning of our debut, it was a bit... you know how while filming content, i ended up grilling meat and all? but now, grilling meat... well, i don't think it's that bad also, back when we went to japan to shoot our album jacket photos and the trailer, we visited a lot of vinyl (LP) shops... and that was actually the first time in my life buying an LP with my own money when i was young i went to la to play, and then there was this famous 'amoeba music' store. i looked around and everything, but honestly back then i really wasn't that much interested in LPs. so i bought things like a lot of stickers and used them to decorate my laptop. somehow, after that time, [it was like] I truly spent time in a vinyl shop? but visiting now that I'm a bit older, it was so much fun there are so many songs I don’t know, and tons of songs that aren't even famous so back then in japan, duran duran is a really famous band, but I bought duran duran's Notorious LP and then I also bought Barry Finnertys,, barrynims NY City LP. what was so surprising was that as soon as I listened to the LP, the sound and quality were so good that I was like, 'wow, what is this?' but when I looked it up on the internet, it only had like 3,000 views on YouTube? I think it was 3,000, so because it was so good, I bought it. and after that yesterday too while wandering around here and there, i happened to walk into a cafe and they had LPs there too so yesterday, I bought one or two ㅎㅎ lp's no mater how you look it they have a vibe... its true that nowadays you can just look up and listen to everything on your phone, but another good thing about it (lps) is that I think it’s really great for finding songs you don't know so when going to the lp shop you get to learn a lot of new songs that you didn't know before. even if you don't go with the sole purpose of buying an LP, it's just... really great for discovering things... should I say? a riize lp would also be good... back then, during boom boom bass, we even went there and did all that stuff with our LP too... how was the video editing? back then when i went to school when doing things like presentations, together with other students we would edit videos.. i did lowkey find that kind of stuff pretty fun though because it was pretty much my first time [doing that] since back during those days... but really i think it was fun like... yeah.. i want to try to do it again when i was young i did draw. i drew for fun but it had been such a long time since i last properly sat down and tried to draw something properly with a pencil.. i think it's been such a long time i'm probably the worst at drawing in my family? ㅎㅎ my dad's good, my mom's also good.. my grandpa also draws reaññu well. but it was fun drawing again, so i also want to try that again... why is there so many things i want to do? really why is it? and above all, i want to work really hard on music so that someday i can show you even more. now, like from the trailer to the full version that was uploaded to our site... those kinds of things are a bit different from just being a song, though.. now everyone, let's try meditating together with me sorry.. anyways.. i have to leave in a couple hours actually, so.. time to hit the hay, yeehaw i can't fall asleep right away ㅎㅎ this.. seems like it might be a bit difficult to interpret/translate.. (yes anton, it is,,,) next time it might be better to just turn on a live stream instead ㅎㅎ sorry wow... sleep is really not coming... [1 video] [1 picture] ok jinja gn

🧼

37,315 просмотров • 2 месяцев назад

Hailuo MiniMax H3 vs. Seedance 2.0 Experimented more for comparisons, i am loving MiniMax H3. 2K resolution videos for 4 times cheaper than seedance 2.0 is too hot to resist. Thank you Hailuo AI (MiniMax) for making it easier to creators. Its not just cheap, in some cases it is also performing way better than seedance 2.0 in terms of visuals and framing. One example is given below. Used same Text to Video Prompt Prompt: Create a 15-second photorealistic cinematic dark-fantasy sequence in 16:9 widescreen. The video must contain exactly three clearly separated cinematic shots connected by clean hard cuts. No dissolves, morphing transitions or continuous camera orbit. MASTER DRAGON LOCK: Show one enormous ancient dragon with a broad powerful body, charcoal-black overlapping scales, subtle dark crimson colouring across its head and neck, two swept-back horns, smaller facial spikes, glowing amber-orange eyes, one long tail and one pair of enormous bat-like wings with dark leathery membranes. The dragon has four legs: two forelegs and two hind legs. Its design, size, horns, colour, anatomy and facial structure remain identical in all three shots. The dragon must feel extremely heavy, ancient and physically realistic. MASTER RIDER LOCK: One adult armoured rider is already seated securely in a dark leather saddle on the dragon from the very first frame. The rider wears detailed weathered silver plate armour, dark under-clothing, a fitted medieval helmet with a narrow shadowed visor and a long dark cloak. The rider’s face is never clearly visible. The rider holds leather reins connected to the saddle and remains seated throughout the entire sequence. The rider does not suddenly appear, mount, dismount or change clothing. During the first shot, the rider is naturally hidden behind the dragon’s large head, neck and folded wings. ENVIRONMENT AND LIGHTING: The sequence takes place inside a gigantic ancient mountain cave. The cave contains rough black rock walls, enormous stone formations, drifting mist, scattered bones and faint glowing embers between cracks in the ground. The far interior is almost black, but the dragon must remain readable through soft amber reflections and cold blue rim light entering from the cave mouth. The cave entrance opens from a high mountain cliff into a vast dramatic landscape of jagged mountains, deep valleys, distant waterfalls, rolling clouds and pale stormy daylight. Maintain a cinematic cold-blue and muted-amber colour palette with deep shadows, volumetric light rays and realistic atmospheric haze. Dark and mysterious, but never so underexposed that the dragon or rider becomes blurry or invisible. SHOT 1 — DRAGON EMERGES, 0–5 SECONDS: Begin with a symmetrical low frontal wide shot positioned near the cave entrance, facing deep into the darkness. The camera slowly tracks backward toward the entrance as the enormous dragon walks forward out of the black cave interior. The dragon’s wings remain completely folded against both sides of its body. Its glowing amber eyes appear first, followed by its horned head, shoulders and powerful forelegs becoming visible through the mist. Each heavy footstep shakes the cave floor and dislodges small stones and dust from the ceiling. The dragon exhales dense vapour from its nostrils and releases a deep restrained growl. Its head moves naturally with the weight of each step. The dragon looks directly past the camera toward the cave opening. The rider is already seated but remains hidden behind the dragon’s head and neck. Do not reveal the rider clearly during this shot. SHOT 2 — RIDER REVEAL, 5–9 SECONDS: Clean hard cut to a low three-quarter side tracking shot beside the moving dragon. Begin close to the dragon’s horned head and sharply detailed scales. Track smoothly backward along the dragon’s neck and folded wing while the dragon continues walking toward the cave entrance. As the camera reaches the dragon’s shoulder, reveal the single armoured rider seated in the saddle between the folded wings. Hold the composition long enough to clearly show the rider’s silver armour, helmet, dark cloak and both hands gripping the reins. The rider looks toward the bright cave exit and leans slightly forward in preparation for takeoff. The dragon and rider remain in continuous forward motion. Do not show a separate rider anywhere else in the cave. SHOT 3 — REAR TAKEOFF AND FLIGHT, 9–15 SECONDS: Clean hard cut to an epic wide rear view positioned behind and slightly above the dragon and rider. The bright cave mouth and vast mountain landscape fill the background ahead of them. The dragon accelerates into a powerful run toward the cave opening while its wings remain folded enough to pass safely through the cave. The dragon reaches the cliff edge and makes one forceful leap completely out of the cave. Only after clearing the rock opening, it spreads both enormous wings to their full symmetrical width. The sudden wing expansion pushes mist, dust and loose stones outward from the cave entrance. The rider leans forward, grips the reins and remains firmly attached to the saddle. The dragon performs one enormous downward wingbeat, catches the air and transitions naturally into stable forward flight. Loose stones fall from the cliff beneath it. The camera rapidly follows from behind as the dragon and rider soar away over the deep valley between jagged mountain peaks. The long tail streams naturally behind the dragon and the rider’s cloak whips in the wind. End on a majestic wide rear silhouette of the dragon flying into the open mountain landscape as sunlight breaks through the storm clouds. CAMERA AND MOTION: Premium cinematic camera movement with realistic scale and parallax. Shot one is a controlled backward dolly. Shot two is a smooth low side-tracking reveal. Shot three is a dynamic rear pursuit shot that follows the takeoff out of the cave. Use natural motion blur only during the leap and wingbeat. Keep the dragon’s movement heavy on the ground and powerful but graceful in the air. No shaky chaotic framing and no extreme close-ups that obscure the action. CINEMATIC QUALITY: Big-budget photorealistic dark-fantasy visual effects, highly detailed scales and armour, realistic creature muscles beneath the skin, physically accurate wing membranes, believable foot contact, convincing dust and falling-rock physics, volumetric cave mist, dramatic rim lighting, strong depth, atmospheric perspective and stable character consistency. AUDIO: No dialogue and no music. Deep dragon breathing, restrained growl, heavy echoing footsteps, claws scraping stone, armour movement, leather saddle creaking, falling pebbles, rushing cave wind, powerful wingbeat and a deep dragon roar as it enters open air. STRICT CONSISTENCY: Exactly one dragon and one rider. The rider is seated on the dragon from the beginning and never disappears. No additional people, dragons or creatures. No dragon transformation or colour change. No extra heads, horns, tails, wings, legs or riders. The wings remain folded inside the cave and open only after the dragon has completely cleared the cave mouth. The wings must not clip through the cave walls. The rider must not float above the saddle or merge into the dragon. No fire breathing, combat, dialogue, text, logos, blood or visible injuries.
0:15

Hailuo MiniMax H3 vs. Seedance 2.0 Experimented more for comparisons, i am loving MiniMax H3. 2K resolution videos for 4 times cheaper than seedance 2.0 is too hot to resist. Thank you Hailuo AI (MiniMax) for making it easier to creators. Its not just cheap, in some cases it is also performing way better than seedance 2.0 in terms of visuals and framing. One example is given below. Used same Text to Video Prompt Prompt: Create a 15-second photorealistic cinematic dark-fantasy sequence in 16:9 widescreen. The video must contain exactly three clearly separated cinematic shots connected by clean hard cuts. No dissolves, morphing transitions or continuous camera orbit. MASTER DRAGON LOCK: Show one enormous ancient dragon with a broad powerful body, charcoal-black overlapping scales, subtle dark crimson colouring across its head and neck, two swept-back horns, smaller facial spikes, glowing amber-orange eyes, one long tail and one pair of enormous bat-like wings with dark leathery membranes. The dragon has four legs: two forelegs and two hind legs. Its design, size, horns, colour, anatomy and facial structure remain identical in all three shots. The dragon must feel extremely heavy, ancient and physically realistic. MASTER RIDER LOCK: One adult armoured rider is already seated securely in a dark leather saddle on the dragon from the very first frame. The rider wears detailed weathered silver plate armour, dark under-clothing, a fitted medieval helmet with a narrow shadowed visor and a long dark cloak. The rider’s face is never clearly visible. The rider holds leather reins connected to the saddle and remains seated throughout the entire sequence. The rider does not suddenly appear, mount, dismount or change clothing. During the first shot, the rider is naturally hidden behind the dragon’s large head, neck and folded wings. ENVIRONMENT AND LIGHTING: The sequence takes place inside a gigantic ancient mountain cave. The cave contains rough black rock walls, enormous stone formations, drifting mist, scattered bones and faint glowing embers between cracks in the ground. The far interior is almost black, but the dragon must remain readable through soft amber reflections and cold blue rim light entering from the cave mouth. The cave entrance opens from a high mountain cliff into a vast dramatic landscape of jagged mountains, deep valleys, distant waterfalls, rolling clouds and pale stormy daylight. Maintain a cinematic cold-blue and muted-amber colour palette with deep shadows, volumetric light rays and realistic atmospheric haze. Dark and mysterious, but never so underexposed that the dragon or rider becomes blurry or invisible. SHOT 1 — DRAGON EMERGES, 0–5 SECONDS: Begin with a symmetrical low frontal wide shot positioned near the cave entrance, facing deep into the darkness. The camera slowly tracks backward toward the entrance as the enormous dragon walks forward out of the black cave interior. The dragon’s wings remain completely folded against both sides of its body. Its glowing amber eyes appear first, followed by its horned head, shoulders and powerful forelegs becoming visible through the mist. Each heavy footstep shakes the cave floor and dislodges small stones and dust from the ceiling. The dragon exhales dense vapour from its nostrils and releases a deep restrained growl. Its head moves naturally with the weight of each step. The dragon looks directly past the camera toward the cave opening. The rider is already seated but remains hidden behind the dragon’s head and neck. Do not reveal the rider clearly during this shot. SHOT 2 — RIDER REVEAL, 5–9 SECONDS: Clean hard cut to a low three-quarter side tracking shot beside the moving dragon. Begin close to the dragon’s horned head and sharply detailed scales. Track smoothly backward along the dragon’s neck and folded wing while the dragon continues walking toward the cave entrance. As the camera reaches the dragon’s shoulder, reveal the single armoured rider seated in the saddle between the folded wings. Hold the composition long enough to clearly show the rider’s silver armour, helmet, dark cloak and both hands gripping the reins. The rider looks toward the bright cave exit and leans slightly forward in preparation for takeoff. The dragon and rider remain in continuous forward motion. Do not show a separate rider anywhere else in the cave. SHOT 3 — REAR TAKEOFF AND FLIGHT, 9–15 SECONDS: Clean hard cut to an epic wide rear view positioned behind and slightly above the dragon and rider. The bright cave mouth and vast mountain landscape fill the background ahead of them. The dragon accelerates into a powerful run toward the cave opening while its wings remain folded enough to pass safely through the cave. The dragon reaches the cliff edge and makes one forceful leap completely out of the cave. Only after clearing the rock opening, it spreads both enormous wings to their full symmetrical width. The sudden wing expansion pushes mist, dust and loose stones outward from the cave entrance. The rider leans forward, grips the reins and remains firmly attached to the saddle. The dragon performs one enormous downward wingbeat, catches the air and transitions naturally into stable forward flight. Loose stones fall from the cliff beneath it. The camera rapidly follows from behind as the dragon and rider soar away over the deep valley between jagged mountain peaks. The long tail streams naturally behind the dragon and the rider’s cloak whips in the wind. End on a majestic wide rear silhouette of the dragon flying into the open mountain landscape as sunlight breaks through the storm clouds. CAMERA AND MOTION: Premium cinematic camera movement with realistic scale and parallax. Shot one is a controlled backward dolly. Shot two is a smooth low side-tracking reveal. Shot three is a dynamic rear pursuit shot that follows the takeoff out of the cave. Use natural motion blur only during the leap and wingbeat. Keep the dragon’s movement heavy on the ground and powerful but graceful in the air. No shaky chaotic framing and no extreme close-ups that obscure the action. CINEMATIC QUALITY: Big-budget photorealistic dark-fantasy visual effects, highly detailed scales and armour, realistic creature muscles beneath the skin, physically accurate wing membranes, believable foot contact, convincing dust and falling-rock physics, volumetric cave mist, dramatic rim lighting, strong depth, atmospheric perspective and stable character consistency. AUDIO: No dialogue and no music. Deep dragon breathing, restrained growl, heavy echoing footsteps, claws scraping stone, armour movement, leather saddle creaking, falling pebbles, rushing cave wind, powerful wingbeat and a deep dragon roar as it enters open air. STRICT CONSISTENCY: Exactly one dragon and one rider. The rider is seated on the dragon from the beginning and never disappears. No additional people, dragons or creatures. No dragon transformation or colour change. No extra heads, horns, tails, wings, legs or riders. The wings remain folded inside the cave and open only after the dragon has completely cleared the cave mouth. The wings must not clip through the cave walls. The rider must not float above the saddle or merge into the dragon. No fire breathing, combat, dialogue, text, logos, blood or visible injuries.

MadMax

13,880 просмотров • 27 дней назад

Huge upgrade to loading speeds coming soon, especially with DLL-heavy codebases like UE! The primary reason PDB -> RDI conversion (or PDB parsing in debuggers more generally) is a big bottleneck in startup time is because they must be converted/parsed/loaded _serially_. This may seem surprising, since intuitively it'd seem like they can be converted/parsed/loaded/etc. in parallel. This is not true in the general case due to breakpoints, and how they relate to an API like `LoadLibrary`, and how it translates into debug events. When a debuggee runs `LoadLibrary`, the debugger will receive a debug event informing the debugger that the associated module was loaded. Any time a debug event is sent to the debugger, the debuggee stops running entirely. This is so that the debugger can make decisions about how the debuggee should proceed. For example, if I have a breakpoint on `foo.c:123`, that file name and line number can only be correctly interpreted (meaning resolved into code addresses) using debug information. The debugger only knows about that debug information from the PDB - without it, that file/line combo is meaningless. But importantly, the debugger cannot *resume* the debuggee until it has resolved that breakpoint - otherwise the debuggee may execute code which *would've* hit the breakpoint, *if* it were resolved in time. So, the debugger needs to ensure that all breakpoints are fully resolved before resuming. This is a correctness detail that everyone has to pay for, basically because `LoadLibrary`s are received one-at-a-time. Obviously, if it were instead an API like `LoadLibraries`, then the debugger could prepare all of the debug info in one batch before resuming - but it doesn't know what that batch would be, given just an initial `LoadLibrary`. This is unfortunate, because *generally* you are not debugging the code loading a bunch of DLLs, but the debugger can't really know that. (It is probably a good idea to provide a `raddbg_load_libraries` API at some point, so that we can resolve this issue on the debuggee side). In any case, RADDBG now resolves breakpoints much more quickly by avoiding 99% of debug info conversion work to do a common case of breakpoint resolution - you might call this "breakpoint disqualification". Basically, if a breakpoint is set, and we can quickly determine that that breakpoint's information (file location, expression, condition, etc.) *cannot apply* to some module's debug info - more quickly than doing a *full* PDB -> RDI conversion (which entails a full parse & a bunch of work) - then we can simplify the very common case in DLL-heavy cases: you put a breakpoint on `foo.c:123`, when 99% of the DLLs do not have any line info for that file, so the debugger can resume *knowing* that breakpoint will not resolve within that file. In this demo video, you can see I place a breakpoint that only resolves within the executable's debug info - it does not resolve within any of the 100 DLLs that are loaded serially. Within the `Modules` tab, you can see that as I run the target, most of the debug info is not loaded initially, even though the debuggee is running. That debug info is loading in parallel, as the debugger knows it does not need to wait for that debug info to be prepared for this breakpoint.
0:18

Huge upgrade to loading speeds coming soon, especially with DLL-heavy codebases like UE! The primary reason PDB -> RDI conversion (or PDB parsing in debuggers more generally) is a big bottleneck in startup time is because they must be converted/parsed/loaded _serially_. This may seem surprising, since intuitively it'd seem like they can be converted/parsed/loaded/etc. in parallel. This is not true in the general case due to breakpoints, and how they relate to an API like `LoadLibrary`, and how it translates into debug events. When a debuggee runs `LoadLibrary`, the debugger will receive a debug event informing the debugger that the associated module was loaded. Any time a debug event is sent to the debugger, the debuggee stops running entirely. This is so that the debugger can make decisions about how the debuggee should proceed. For example, if I have a breakpoint on `foo.c:123`, that file name and line number can only be correctly interpreted (meaning resolved into code addresses) using debug information. The debugger only knows about that debug information from the PDB - without it, that file/line combo is meaningless. But importantly, the debugger cannot *resume* the debuggee until it has resolved that breakpoint - otherwise the debuggee may execute code which *would've* hit the breakpoint, *if* it were resolved in time. So, the debugger needs to ensure that all breakpoints are fully resolved before resuming. This is a correctness detail that everyone has to pay for, basically because `LoadLibrary`s are received one-at-a-time. Obviously, if it were instead an API like `LoadLibraries`, then the debugger could prepare all of the debug info in one batch before resuming - but it doesn't know what that batch would be, given just an initial `LoadLibrary`. This is unfortunate, because *generally* you are not debugging the code loading a bunch of DLLs, but the debugger can't really know that. (It is probably a good idea to provide a `raddbg_load_libraries` API at some point, so that we can resolve this issue on the debuggee side). In any case, RADDBG now resolves breakpoints much more quickly by avoiding 99% of debug info conversion work to do a common case of breakpoint resolution - you might call this "breakpoint disqualification". Basically, if a breakpoint is set, and we can quickly determine that that breakpoint's information (file location, expression, condition, etc.) *cannot apply* to some module's debug info - more quickly than doing a *full* PDB -> RDI conversion (which entails a full parse & a bunch of work) - then we can simplify the very common case in DLL-heavy cases: you put a breakpoint on `foo.c:123`, when 99% of the DLLs do not have any line info for that file, so the debugger can resume *knowing* that breakpoint will not resolve within that file. In this demo video, you can see I place a breakpoint that only resolves within the executable's debug info - it does not resolve within any of the 100 DLLs that are loaded serially. Within the `Modules` tab, you can see that as I run the target, most of the debug info is not loaded initially, even though the debuggee is running. That debug info is loading in parallel, as the debugger knows it does not need to wait for that debug info to be prepared for this breakpoint.

Ryan Fleury

17,527 просмотров • 1 год назад

Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below: SCENE CONTEXT A young woman sleeps on her side in her pink bedroom at night; in a single locked frame the room snaps instantly from night to morning like a finger-snap time jump. She sleepily half-wakes, turns over to find a white cat curled against her back, then pushes up to half-sitting and sees her room quietly tidied — her school uniform hung on the chair and her backpack packed on the vanity. ACTIVE REFERENCES >>: young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, sleeping then waking. 100% matches the reference. >>: fluffy white long-haired cat, adult, curled and pressed against her back. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. >>: school uniform — navy cardigan, white shirt, green-striped tie, plaid skirt, knee socks — draped and hung on the pink chair. 100% matches the reference. >>: solid pink backpack with front zip pocket and pink pompom keychain, packed and zipped, standing on the vanity table. 100% matches the reference. LOCATION MAP Pink bedroom, remembered corner by corner and held identical in every shot: - Screen-left: a wooden door with a brass knob, dark wood trim and wood wainscoting along the lower wall, blush-pink upper walls. - Beside the door: a large ornate pink-and-white Victorian dollhouse with a small pink chair at its base. - A white vanity desk with a trifold arched mirror, cluttered with cosmetics, brushes and small bottles, a pink desk chair tucked at it. - A wide window with sheer white curtains behind the vanity; a leafy potted plant beside it. - A tall brass floor lamp standing near the bed. - A wooden nightstand at the head of the bed with a small lamp, a framed photo, a tissue box and a cup. - The bed against the wall: carved wooden headboard, pink ruffled bedding, pink pillows, a soft pink blanket — the central anchor of the room. - A woven area rug over dark hardwood floor, a small wall shelf with items above the bed side. FIRST FRAME AND SPATIAL BLOCKING The first visible frame is a close-up of her sleeping face. She lies on her left side facing the bedside lamp / nightstand side, cheek on the pink pillow, hair loose, pink hair-roller clip visible, breathing slow. The bed's pink blanket is clean and clear. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 4.0s, 8.0s and 11.5s. The night-to-morning transition inside shot 1 is an instantaneous in-frame light change, not a cut. Real-time motion. No subtitles, no music. OPTICS Shot 1: 50° diagonal field of view, standard normal lens character, camera 0.6 to 0.8 meters from her face, shallow depth of field — closed eyelids, lashes, loose strands and the hair-roller clip razor-sharp, the room soft behind. Shot 2: 56° diagonal field of view, near-normal lens character, camera 1 meter, holding her face and the white cat against her back, rack focus available between them. Shot 3: 63° diagonal field of view, slightly-wide lens character, camera 1.5 to 2 meters, rising with her as she sits up, more of the room entering frame. Shot 4: 84° diagonal field of view, classic wide lens character, camera 2 meters, wide enough to reveal the tidied room — vanity, chair and bed together — then easing toward her. CAMERA Shot 1: locked close-up with a very slow creeping push-in; the framing does not change through the night-to-morning snap. Shot 2: small reframe and rack focus as she turns, pulling focus onto the cat curled at her back, then back to her reacting face. Shot 3: a smooth crane-up rising with her from lying to half-sitting, revealing the room behind the bed. Shot 4: a slow pan across the tidied room — uniform on the chair, packed backpack on the vanity — settling with a gentle push-in on her half-sitting figure and dawning expression. ACTION TIMING 0.0s to 2.0s: close on her sleeping face at night, perfectly still, breathing slow, cool dim room around her. 2.0s: an instantaneous in-frame light snap — the room flips from night to morning in a single frame, no cut, no dissolve; she does not move at all, only the light changes, like a finger-snap time jump. 2.0s to 4.0s: hold on her face now in soft warm morning light, still asleep for a beat. 4.0s HARD CUT. 4.0s to 8.0s: she sleepily half-opens her eyes, stirs, and turns over toward screen-right, discovering a fluffy white cat curled warmly against her back; her half-lidded eyes drift to it. 8.0s HARD CUT. 8.0s to 11.5s: she pushes herself up on one arm to half-sitting, hair mussed from sleep, blinking and groggy, beginning to glance around the room. 11.5s HARD CUT. 11.5s to 15.0s: reveal of the quietly tidied room — her navy cardigan and plaid skirt uniform hung neatly on the pink chair at the vanity, the packed pink backpack standing zipped on the vanity table, its pompom keychain still — her expression softening into slow, disbelieving realization as she takes it in. PHYSICS During the night-to-morning snap her body is absolutely motionless — only light changes, no drift, no shift. As she wakes, eyelids lift heavily, she rolls with natural weight and the mattress and blanket shift under her; the cat's long fur rises and falls with slow breathing and compresses softly where it presses to her back. Sitting up, her hair falls loose in individual strands, the blanket sliding down naturally, her supporting arm taking real weight. LIGHTING Cinematic and restrained throughout, never bright or flat. Night (pre-snap): low-key cool moonlight through the sheer curtains with a faint warm practical accent, deep but detailed shadow, moody film texture and soft grain. At the snap, the light flips instantly to soft warm directional morning sun through the sheer curtains — golden but controlled and filmic, gentle rolloff, faces readable, shadows soft, not overexposed or blown out. The warm-cool contrast and naturalistic grain carry the cinematic feel into every shot. AUDIO Shot 1: quiet steady sleeping breath, faint cool room tone; at the snap a soft airy shimmer-whoosh transient marks the time jump, then gentle morning birdsong and warm ambience fade in. Shot 2: a soft sleepy inhale, faint fur rustle as she finds the cat, a quiet purr. Shot 3: soft blanket rustle as she sits up. Shot 4: quiet held breath, faint ambient morning tone under her realization. No dialogue, no music, no subtitles. POSITIVE LOCKS Woman matches >> exactly, cat matches >> exactly, bedroom matches >> exactly and every listed corner — wooden door, dollhouse, vanity with trifold mirror, pink chair, brass floor lamp, wooden nightstand, carved bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. The bed's pink blanket is clean and clear — no laptop, bag, papers or objects resting on top of it. The night-to-morning transition is one instantaneous in-frame light change on a single locked framing; she does not move during it — no dissolve, no fade, no camera cut. The white cat lies pressed against her back. In the final shot the uniform hangs on the pink chair matching >> and the packed backpack sits on the vanity matching >>. Lighting stays cinematic and controlled, never bright or washed out.
0:15

Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below: SCENE CONTEXT A young woman sleeps on her side in her pink bedroom at night; in a single locked frame the room snaps instantly from night to morning like a finger-snap time jump. She sleepily half-wakes, turns over to find a white cat curled against her back, then pushes up to half-sitting and sees her room quietly tidied — her school uniform hung on the chair and her backpack packed on the vanity. ACTIVE REFERENCES >>: young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, sleeping then waking. 100% matches the reference. >>: fluffy white long-haired cat, adult, curled and pressed against her back. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. >>: school uniform — navy cardigan, white shirt, green-striped tie, plaid skirt, knee socks — draped and hung on the pink chair. 100% matches the reference. >>: solid pink backpack with front zip pocket and pink pompom keychain, packed and zipped, standing on the vanity table. 100% matches the reference. LOCATION MAP Pink bedroom, remembered corner by corner and held identical in every shot: - Screen-left: a wooden door with a brass knob, dark wood trim and wood wainscoting along the lower wall, blush-pink upper walls. - Beside the door: a large ornate pink-and-white Victorian dollhouse with a small pink chair at its base. - A white vanity desk with a trifold arched mirror, cluttered with cosmetics, brushes and small bottles, a pink desk chair tucked at it. - A wide window with sheer white curtains behind the vanity; a leafy potted plant beside it. - A tall brass floor lamp standing near the bed. - A wooden nightstand at the head of the bed with a small lamp, a framed photo, a tissue box and a cup. - The bed against the wall: carved wooden headboard, pink ruffled bedding, pink pillows, a soft pink blanket — the central anchor of the room. - A woven area rug over dark hardwood floor, a small wall shelf with items above the bed side. FIRST FRAME AND SPATIAL BLOCKING The first visible frame is a close-up of her sleeping face. She lies on her left side facing the bedside lamp / nightstand side, cheek on the pink pillow, hair loose, pink hair-roller clip visible, breathing slow. The bed's pink blanket is clean and clear. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 4.0s, 8.0s and 11.5s. The night-to-morning transition inside shot 1 is an instantaneous in-frame light change, not a cut. Real-time motion. No subtitles, no music. OPTICS Shot 1: 50° diagonal field of view, standard normal lens character, camera 0.6 to 0.8 meters from her face, shallow depth of field — closed eyelids, lashes, loose strands and the hair-roller clip razor-sharp, the room soft behind. Shot 2: 56° diagonal field of view, near-normal lens character, camera 1 meter, holding her face and the white cat against her back, rack focus available between them. Shot 3: 63° diagonal field of view, slightly-wide lens character, camera 1.5 to 2 meters, rising with her as she sits up, more of the room entering frame. Shot 4: 84° diagonal field of view, classic wide lens character, camera 2 meters, wide enough to reveal the tidied room — vanity, chair and bed together — then easing toward her. CAMERA Shot 1: locked close-up with a very slow creeping push-in; the framing does not change through the night-to-morning snap. Shot 2: small reframe and rack focus as she turns, pulling focus onto the cat curled at her back, then back to her reacting face. Shot 3: a smooth crane-up rising with her from lying to half-sitting, revealing the room behind the bed. Shot 4: a slow pan across the tidied room — uniform on the chair, packed backpack on the vanity — settling with a gentle push-in on her half-sitting figure and dawning expression. ACTION TIMING 0.0s to 2.0s: close on her sleeping face at night, perfectly still, breathing slow, cool dim room around her. 2.0s: an instantaneous in-frame light snap — the room flips from night to morning in a single frame, no cut, no dissolve; she does not move at all, only the light changes, like a finger-snap time jump. 2.0s to 4.0s: hold on her face now in soft warm morning light, still asleep for a beat. 4.0s HARD CUT. 4.0s to 8.0s: she sleepily half-opens her eyes, stirs, and turns over toward screen-right, discovering a fluffy white cat curled warmly against her back; her half-lidded eyes drift to it. 8.0s HARD CUT. 8.0s to 11.5s: she pushes herself up on one arm to half-sitting, hair mussed from sleep, blinking and groggy, beginning to glance around the room. 11.5s HARD CUT. 11.5s to 15.0s: reveal of the quietly tidied room — her navy cardigan and plaid skirt uniform hung neatly on the pink chair at the vanity, the packed pink backpack standing zipped on the vanity table, its pompom keychain still — her expression softening into slow, disbelieving realization as she takes it in. PHYSICS During the night-to-morning snap her body is absolutely motionless — only light changes, no drift, no shift. As she wakes, eyelids lift heavily, she rolls with natural weight and the mattress and blanket shift under her; the cat's long fur rises and falls with slow breathing and compresses softly where it presses to her back. Sitting up, her hair falls loose in individual strands, the blanket sliding down naturally, her supporting arm taking real weight. LIGHTING Cinematic and restrained throughout, never bright or flat. Night (pre-snap): low-key cool moonlight through the sheer curtains with a faint warm practical accent, deep but detailed shadow, moody film texture and soft grain. At the snap, the light flips instantly to soft warm directional morning sun through the sheer curtains — golden but controlled and filmic, gentle rolloff, faces readable, shadows soft, not overexposed or blown out. The warm-cool contrast and naturalistic grain carry the cinematic feel into every shot. AUDIO Shot 1: quiet steady sleeping breath, faint cool room tone; at the snap a soft airy shimmer-whoosh transient marks the time jump, then gentle morning birdsong and warm ambience fade in. Shot 2: a soft sleepy inhale, faint fur rustle as she finds the cat, a quiet purr. Shot 3: soft blanket rustle as she sits up. Shot 4: quiet held breath, faint ambient morning tone under her realization. No dialogue, no music, no subtitles. POSITIVE LOCKS Woman matches >> exactly, cat matches >> exactly, bedroom matches >> exactly and every listed corner — wooden door, dollhouse, vanity with trifold mirror, pink chair, brass floor lamp, wooden nightstand, carved bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. The bed's pink blanket is clean and clear — no laptop, bag, papers or objects resting on top of it. The night-to-morning transition is one instantaneous in-frame light change on a single locked framing; she does not move during it — no dissolve, no fade, no camera cut. The white cat lies pressed against her back. In the final shot the uniform hangs on the pink chair matching >> and the packed backpack sits on the vanity matching >>. Lighting stays cinematic and controlled, never bright or washed out.

Noor

14,061 просмотров • 1 месяц назад

Made in Grok Imagine Good evening. My dear friends😊 Let us #connect. "哥哥，来嘛，#交个朋友 又不用钱。” "Hey handsome, come on—making friends doesn't cost a thing." #GrokImagine prompt: 1. Concept / Theme A single continuous 10-second shot of elegant, bewitching seduction. Photoreal luxury erotica: a tall mixed-race woman lazily invites the viewer with an overly sweet, breathy, almost cloying voice, then seals it with a one-eye wink. The body must read instantly as an extreme hourglass. 2. Subject One woman, 20–25, Japanese-European mixed, 178 cm tall. Extremely narrow waist, full heavy G-cup breasts, fair tender realistic skin. No other people. 3. Appearance Natural blue eyes, wet and sharp. Delicate bone structure, fashion-level makeup that still looks like real skin: visible pores, peach fuzz, faint chest flush. Glossy, slightly wet lips. Fashionable hair (sleek cool-toned, one strand loose). Breasts look full, soft, and weighty; waist looks cinched and narrow enough that both hands could almost span it. 4. Expression & Emotion Elegant and fox-like, not cute. Half-lidded, knowing, unhurried. While speaking she is syrupy and shamelessly flirtatious. After the line she waits, watching you. Final expression: one-eye wink, the other eye stays open and locked on camera, tiny wicked lift of the mouth. 5. Clothing & Styling Much sexier than editorial minimalism. Dark wet-look silk or tight satin dress / tiny tailored vest-dress, deep neckline, fabric stretched over the G-cup so cleavage and side-breast curve are obvious, waist belt or cut that crushes the midsection into an extreme cinch, high slit showing the long line of the hip. One strap may slip a few millimeters. No modest coverage, no bulky coat hiding the figure, no cheap plastic lingerie. High-fashion slutty elegance. 6. Pose & Body Movement One continuous physical action: slight approach or lean-in, weight on one hip, one hand on a glossy table or railing, chest pushed forward by posture so volume is undeniable, waist shown in profile-three-quarter. Minimal motion after she starts speaking. No dancing, no hair whip. 7. Environment / Setting Dark expensive interior, penthouse or hotel suite, one reflective surface, empty and private. 8. Time / Weather / Lighting Night interior. Soft but directional side-rim light that carves the breast volume, the shadow of the cleavage, and the hollow of the waist. Realistic skin highlights, not beauty-filter glow. 9. Action & Motion 0–2s: living close-up of blue eyes and real breath. 2–5s: slow reveal of full bust and extreme waist as she leans in. 5–7.4s: she says, extremely breathy, clingy, seductive, almost cheesy: “哥哥，来嘛，交个朋友又不用钱.” 7.4–8.6s: freeze and watch the lens. 8.6–10s: wink with only one eye; other eye open; tiny smirk. End. 10. Camera Movement One shot only. No cuts. Start on the eyes, very slow tilt down across cleavage and waist, then a gentle push-in back to the face. Low camera so her height and bust dominate. Tiny natural handheld drift only. 11. Composition & Framing Vertical. Eyes sharp in the open. Mid-frame must display the contrast: huge bust against a violently small waist. Finish tight on the winking eye. 12. Lens / Focus / Depth of Field 85–105mm look, shallow DOF, eyes always sharp, no wide-angle distortion of the face or chest. 13. Visual Style / Quality Photoreal, 4K, real skin texture, real fabric stretch, cinematic grain. Elegant, vampy, humid. Not plastic CGI, not influencer selfie, not hardcore porn set. 14. Negative Prompt / Constraints No cuts. No both-eyes wink. No cute idol face, no peace sign, no cartoon body. No flat chest, no thick waist, no hiding the bust under loose clothes. No cold detached tone; the voice must be cloying and breathy. No extra people, no text, no watermark, no underage look, no explicit sex acts required. Do not change the Chinese line.
0:10

Sensitive content

Made in Grok Imagine Good evening. My dear friends😊 Let us #connect. "哥哥，来嘛，#交个朋友 又不用钱。” "Hey handsome, come on—making friends doesn't cost a thing." #GrokImagine prompt: 1. Concept / Theme A single continuous 10-second shot of elegant, bewitching seduction. Photoreal luxury erotica: a tall mixed-race woman lazily invites the viewer with an overly sweet, breathy, almost cloying voice, then seals it with a one-eye wink. The body must read instantly as an extreme hourglass. 2. Subject One woman, 20–25, Japanese-European mixed, 178 cm tall. Extremely narrow waist, full heavy G-cup breasts, fair tender realistic skin. No other people. 3. Appearance Natural blue eyes, wet and sharp. Delicate bone structure, fashion-level makeup that still looks like real skin: visible pores, peach fuzz, faint chest flush. Glossy, slightly wet lips. Fashionable hair (sleek cool-toned, one strand loose). Breasts look full, soft, and weighty; waist looks cinched and narrow enough that both hands could almost span it. 4. Expression & Emotion Elegant and fox-like, not cute. Half-lidded, knowing, unhurried. While speaking she is syrupy and shamelessly flirtatious. After the line she waits, watching you. Final expression: one-eye wink, the other eye stays open and locked on camera, tiny wicked lift of the mouth. 5. Clothing & Styling Much sexier than editorial minimalism. Dark wet-look silk or tight satin dress / tiny tailored vest-dress, deep neckline, fabric stretched over the G-cup so cleavage and side-breast curve are obvious, waist belt or cut that crushes the midsection into an extreme cinch, high slit showing the long line of the hip. One strap may slip a few millimeters. No modest coverage, no bulky coat hiding the figure, no cheap plastic lingerie. High-fashion slutty elegance. 6. Pose & Body Movement One continuous physical action: slight approach or lean-in, weight on one hip, one hand on a glossy table or railing, chest pushed forward by posture so volume is undeniable, waist shown in profile-three-quarter. Minimal motion after she starts speaking. No dancing, no hair whip. 7. Environment / Setting Dark expensive interior, penthouse or hotel suite, one reflective surface, empty and private. 8. Time / Weather / Lighting Night interior. Soft but directional side-rim light that carves the breast volume, the shadow of the cleavage, and the hollow of the waist. Realistic skin highlights, not beauty-filter glow. 9. Action & Motion 0–2s: living close-up of blue eyes and real breath. 2–5s: slow reveal of full bust and extreme waist as she leans in. 5–7.4s: she says, extremely breathy, clingy, seductive, almost cheesy: “哥哥，来嘛，交个朋友又不用钱.” 7.4–8.6s: freeze and watch the lens. 8.6–10s: wink with only one eye; other eye open; tiny smirk. End. 10. Camera Movement One shot only. No cuts. Start on the eyes, very slow tilt down across cleavage and waist, then a gentle push-in back to the face. Low camera so her height and bust dominate. Tiny natural handheld drift only. 11. Composition & Framing Vertical. Eyes sharp in the open. Mid-frame must display the contrast: huge bust against a violently small waist. Finish tight on the winking eye. 12. Lens / Focus / Depth of Field 85–105mm look, shallow DOF, eyes always sharp, no wide-angle distortion of the face or chest. 13. Visual Style / Quality Photoreal, 4K, real skin texture, real fabric stretch, cinematic grain. Elegant, vampy, humid. Not plastic CGI, not influencer selfie, not hardcore porn set. 14. Negative Prompt / Constraints No cuts. No both-eyes wink. No cute idol face, no peace sign, no cartoon body. No flat chest, no thick waist, no hiding the bust under loose clothes. No cold detached tone; the voice must be cloying and breathy. No extra people, no text, no watermark, no underage look, no explicit sex acts required. Do not change the Chinese line.

Miss.AI

34,916 просмотров • 1 день назад