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✂️ Introducing: Image Cutter 🤖 generate an icon sets with gpt 📥 drop png in Image Cutter 📏 choose cutting layout 💾 automatically cut + trim + save as individual files 🔗 in reply

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kitze 🛠️ tinkerer.club

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121,427 Aufrufe • vor 1 Jahr •via X (Twitter)

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Create a short film like this in just 1 minute with GPT Image 2.0 + Seedance 2.0. GPT Image 2.0 can naturally combine multiple photos into one single image, while Seedance 2.0 can use that image as a reference to automatically separate the scenes, generate a coherent video sequence, and add suitable background music. This workflow greatly improves the overall creative efficiency. When using this method, simply provide the merged image as a reference for Seedance 2.0 and briefly describe each scene with a simple prompt. This can significantly increase the success rate of the final video. All of the above was created on GPT Image Prompt: Seedance Prompt:
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Midjourney Sref and prompt Library

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Idea → stunning game in minutes with GPT Image 2.0. Full pipeline for a human companion vs transformer scene: 1. GPT Image 2.0 -- character + scene concepts 2. Grok Imagine -- turn stills into video mockups or cutscenes 3. fal + MeshyAI -- generate the 3D assets 4. Rosebud -- port in as cutscenes or playable characters and vibe code the game Character design and game scene ideation is fundamentally different now. Reply for Rosebud credits to try implement this yourself. Full prompts for character sheets below 👇🎮
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Idea → stunning game in minutes with GPT Image 2.0. Full pipeline for a human companion vs transformer scene: 1. GPT Image 2.0 -- character + scene concepts 2. Grok Imagine -- turn stills into video mockups or cutscenes 3. fal + MeshyAI -- generate the 3D assets 4. Rosebud -- port in as cutscenes or playable characters and vibe code the game Character design and game scene ideation is fundamentally different now. Reply for Rosebud credits to try implement this yourself. Full prompts for character sheets below 👇🎮

Rosebud AI

42,886 Aufrufe • vor 5 Monaten

Code Interpreter in ChatGPT is incredible! Took me 5 mins to make this game. You can make your own game assets with any AI generator and then ask GPT-4 with Code Interpreter to write code. If you have any problems you can ask it to fix the errors. 1. Write this prompt: "write p5.js code for Asteroids where you control a spaceship with the mouse and shoot asteroids with the left click of the mouse. If your spaceship collides with an asteroid, you lose. If you shoot down all asteroids, you win! I want to use my own textures for the spaceship and for asteroids." 2. Go to Openprocessing website create and save sketch (you'll need to save it before uploading any texture files). Copy paste code from GPT-4 3. Generate texture files and remove backgrounds, for example in Clip Drop 4. Replace names of files with your filenames 5. Run the program 6. If something doesn't work ask GPT-4 to fix it (you can copy an error and paste in GPT-4) like you would ask a human programmer 7. To learn a bit of programming write these prompts to GPT-4: "Act as my programming teacher. Tell me an algorithm of Asteroids game in detail and make names of functions and explain what each of these functions will do. Don't write the code just yet." and then " Can you describe the algorithm overall for a 10-year-old child"
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Code Interpreter in ChatGPT is incredible! Took me 5 mins to make this game. You can make your own game assets with any AI generator and then ask GPT-4 with Code Interpreter to write code. If you have any problems you can ask it to fix the errors. 1. Write this prompt: "write p5.js code for Asteroids where you control a spaceship with the mouse and shoot asteroids with the left click of the mouse. If your spaceship collides with an asteroid, you lose. If you shoot down all asteroids, you win! I want to use my own textures for the spaceship and for asteroids." 2. Go to Openprocessing website create and save sketch (you'll need to save it before uploading any texture files). Copy paste code from GPT-4 3. Generate texture files and remove backgrounds, for example in Clip Drop 4. Replace names of files with your filenames 5. Run the program 6. If something doesn't work ask GPT-4 to fix it (you can copy an error and paste in GPT-4) like you would ask a human programmer 7. To learn a bit of programming write these prompts to GPT-4: "Act as my programming teacher. Tell me an algorithm of Asteroids game in detail and make names of functions and explain what each of these functions will do. Don't write the code just yet." and then " Can you describe the algorithm overall for a 10-year-old child"

Kris Kashtanova

1,675,286 Aufrufe • vor 3 Jahren

🚨 JUST IN: THIS FREE TOOL JUST REPLACED FOUR AI IMAGE AND VIDEO SUBSCRIPTIONS AT ONCE. Midjourney. Krea. Higgsfield. Openart. One repo. 200+ models. Zero dollars a month. Here is what it actually does. It is a full image and video studio that runs in your browser or as a desktop app. Text to image, image to image, text to video, image to video, lip sync, cinema mode with real camera controls. All of it. 4,500 people already starred this. What you get for free: → 50+ image models including Flux, Midjourney v7, Ideogram, GPT-4o, Seedream → 60+ video models including Kling, Sora, Veo, Runway, Wan, Hailuo → lip sync studio with 9 dedicated models. upload a portrait and audio and it talks → cinema studio with real camera controls. lens, focal length, aperture, film stock → feed up to 14 reference images into one generation → self-hosted. your data never leaves your machine The crazy part is there is also a hosted version that needs zero setup. Just open the link and start generating. Now the math. Midjourney Standard: $30/month Krea AI Pro: $30/month Higgsfield Plus: $49/month Openart AI: $15/month That is $124 a month. $1,488 a year. This repo does everything all four do. With more models than any of them. For free. Forever. No subscription. No vendor lock-in. MIT licensed. Download it in one click on Mac or Windows. Someone should have told me about this sooner. I feel like an idiot. ( save this )
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🚨 JUST IN: THIS FREE TOOL JUST REPLACED FOUR AI IMAGE AND VIDEO SUBSCRIPTIONS AT ONCE. Midjourney. Krea. Higgsfield. Openart. One repo. 200+ models. Zero dollars a month. Here is what it actually does. It is a full image and video studio that runs in your browser or as a desktop app. Text to image, image to image, text to video, image to video, lip sync, cinema mode with real camera controls. All of it. 4,500 people already starred this. What you get for free: → 50+ image models including Flux, Midjourney v7, Ideogram, GPT-4o, Seedream → 60+ video models including Kling, Sora, Veo, Runway, Wan, Hailuo → lip sync studio with 9 dedicated models. upload a portrait and audio and it talks → cinema studio with real camera controls. lens, focal length, aperture, film stock → feed up to 14 reference images into one generation → self-hosted. your data never leaves your machine The crazy part is there is also a hosted version that needs zero setup. Just open the link and start generating. Now the math. Midjourney Standard: $30/month Krea AI Pro: $30/month Higgsfield Plus: $49/month Openart AI: $15/month That is $124 a month. $1,488 a year. This repo does everything all four do. With more models than any of them. For free. Forever. No subscription. No vendor lock-in. MIT licensed. Download it in one click on Mac or Windows. Someone should have told me about this sooner. I feel like an idiot. ( save this )

Kanika

14,769 Aufrufe • vor 5 Monaten

CLAUDE CODE SKILL THAT DESIGNS LOGOS AS PURE CODE The constraint that forced the whole approach: Claude Code has no access to image generation So instead of faking it, one developer built a skill that writes the logo as SVG - actual XML - and renders that to a PNG The process runs in four phases: interview [ reads your repo first, asks about brand and audience only for what it can’t already see ] explore [ dispatches parallel agents that generate 3-5 distinct SVG concepts at once, shown side by side in an HTML preview with a light/dark toggle ] refine, export at 7 standard sizes from favicon to 2048px Because it’s real SVG and not a rasterized image, nothing about it degrades - same file works as a 16px favicon and a 2048px app icon, and every version is hand editable code afterward if you want to nudge one curve The creator’s own account of using it: roughly 15 rounds of generate, curate, cull, repeat - some concepts literally spelled out the product name, others went fully abstract, treating the whole thing like an evolutionary design process instead of a single lucky prompt The part worth remembering before you reach for a paid AI logo tool: this whole approach exists specifically because Claude Code can’t generate images - the constraint produced a better artifact than the workaround usually does full below
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CLAUDE CODE SKILL THAT DESIGNS LOGOS AS PURE CODE The constraint that forced the whole approach: Claude Code has no access to image generation So instead of faking it, one developer built a skill that writes the logo as SVG - actual XML - and renders that to a PNG The process runs in four phases: interview [ reads your repo first, asks about brand and audience only for what it can’t already see ] explore [ dispatches parallel agents that generate 3-5 distinct SVG concepts at once, shown side by side in an HTML preview with a light/dark toggle ] refine, export at 7 standard sizes from favicon to 2048px Because it’s real SVG and not a rasterized image, nothing about it degrades - same file works as a 16px favicon and a 2048px app icon, and every version is hand editable code afterward if you want to nudge one curve The creator’s own account of using it: roughly 15 rounds of generate, curate, cull, repeat - some concepts literally spelled out the product name, others went fully abstract, treating the whole thing like an evolutionary design process instead of a single lucky prompt The part worth remembering before you reach for a paid AI logo tool: this whole approach exists specifically because Claude Code can’t generate images - the constraint produced a better artifact than the workaround usually does full below

YARD

10,875 Aufrufe • vor 14 Tagen

Rerender A Video: Zero-Shot Text-Guided Video-to-Video Translation paper page: Large text-to-image diffusion models have exhibited impressive proficiency in generating high-quality images. However, when applying these models to video domain, ensuring temporal consistency across video frames remains a formidable challenge. This paper proposes a novel zero-shot text-guided video-to-video translation framework to adapt image models to videos. The framework includes two parts: key frame translation and full video translation. The first part uses an adapted diffusion model to generate key frames, with hierarchical cross-frame constraints applied to enforce coherence in shapes, textures and colors. The second part propagates the key frames to other frames with temporal-aware patch matching and frame blending. Our framework achieves global style and local texture temporal consistency at a low cost (without re-training or optimization). The adaptation is compatible with existing image diffusion techniques, allowing our framework to take advantage of them, such as customizing a specific subject with LoRA, and introducing extra spatial guidance with ControlNet. Extensive experimental results demonstrate the effectiveness of our proposed framework over existing methods in rendering high-quality and temporally-coherent videos.
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Rerender A Video: Zero-Shot Text-Guided Video-to-Video Translation paper page: Large text-to-image diffusion models have exhibited impressive proficiency in generating high-quality images. However, when applying these models to video domain, ensuring temporal consistency across video frames remains a formidable challenge. This paper proposes a novel zero-shot text-guided video-to-video translation framework to adapt image models to videos. The framework includes two parts: key frame translation and full video translation. The first part uses an adapted diffusion model to generate key frames, with hierarchical cross-frame constraints applied to enforce coherence in shapes, textures and colors. The second part propagates the key frames to other frames with temporal-aware patch matching and frame blending. Our framework achieves global style and local texture temporal consistency at a low cost (without re-training or optimization). The adaptation is compatible with existing image diffusion techniques, allowing our framework to take advantage of them, such as customizing a specific subject with LoRA, and introducing extra spatial guidance with ControlNet. Extensive experimental results demonstrate the effectiveness of our proposed framework over existing methods in rendering high-quality and temporally-coherent videos.

AK

375,160 Aufrufe • vor 3 Jahren

GPT Image 2 + Seedance 2.0 I used a movement sheet as a reference image to animate the dance. Prompt: Monochromatic grayscale illustration, 3D-rendered character, clean instructional reference sheet. White background, comic-style cell grid layout, technical diagram aesthetic. [LAYOUT] 4×4 grid layout (16 panels total). Each panel separated by thin black border lines. Panels are evenly sized and consistently aligned. Each cell is clearly numbered from 1 to 16. [CHARACTER] (Insert character description) Example: Young female dancer with an athletic build, ponytail hairstyle, wearing a crop top, baggy pants, and sneakers. The same character must appear consistently in all panels. [PANEL STRUCTURE – per cell] Top-left: bold number badge + Korean title text Center: full-body character pose illustration Bottom-left: Korean description text (3–4 lines) Overlay: directional arrows indicating movement flow [ARROWS / MOTION INDICATORS] Curved arrows, straight arrows, and circular rotation indicators. Arrows should be placed around the character to clearly show movement direction and flow. [RENDERING STYLE] Highly detailed 3D sculpted style. Soft studio lighting with subtle shadows. No color — grayscale only. Clean linework, polished finish, game concept art quality. [NEGATIVE PROMPT] No background scenery. No color tones. No additional characters. No cluttered or complex backgrounds.
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GPT Image 2 + Seedance 2.0 I used a movement sheet as a reference image to animate the dance. Prompt: Monochromatic grayscale illustration, 3D-rendered character, clean instructional reference sheet. White background, comic-style cell grid layout, technical diagram aesthetic. [LAYOUT] 4×4 grid layout (16 panels total). Each panel separated by thin black border lines. Panels are evenly sized and consistently aligned. Each cell is clearly numbered from 1 to 16. [CHARACTER] (Insert character description) Example: Young female dancer with an athletic build, ponytail hairstyle, wearing a crop top, baggy pants, and sneakers. The same character must appear consistently in all panels. [PANEL STRUCTURE – per cell] Top-left: bold number badge + Korean title text Center: full-body character pose illustration Bottom-left: Korean description text (3–4 lines) Overlay: directional arrows indicating movement flow [ARROWS / MOTION INDICATORS] Curved arrows, straight arrows, and circular rotation indicators. Arrows should be placed around the character to clearly show movement direction and flow. [RENDERING STYLE] Highly detailed 3D sculpted style. Soft studio lighting with subtle shadows. No color — grayscale only. Clean linework, polished finish, game concept art quality. [NEGATIVE PROMPT] No background scenery. No color tones. No additional characters. No cluttered or complex backgrounds.

K

14,034 Aufrufe • vor 5 Monaten

Claude Code + Gemini Omni + GPT Image 2 is f*cking cracked i just built an AUTOMATED AI UGC content system that generates full ad creatives end to end drop in your product photos and a one line pitch, and the system analyzes your brand, generates a realistic AI avatar, writes the script, renders the video, adds captions, and stitches everything together. in literally one click. if you're still wasting hours generating videos or hiring expensive editors with long turnaround times, this is for you.. here's how it works: > drop in your product photos and brand info > the system finds a reference image that matches your target audience it generates a detailed JSON prompt and creates a hyper realistic starting frame > feeds everything into Gemini Omni and renders the full video with voice outputs and captions, all ready to post and all through Kie AI MCP or Higgsfield MCP (you have full control) the whole process runs inside Claude Code. so you're not jumping between 6 different tabs trying to piece things together. one system handles everything its only a 3 minute setup and 4-12 min per ad. each 30 second ad costs under $3 in API credits which is way cheaper than any editor and 10x faster.. RT + reply "UGC" and i'll send it over (must follow so i can dm)
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Claude Code + Gemini Omni + GPT Image 2 is f*cking cracked i just built an AUTOMATED AI UGC content system that generates full ad creatives end to end drop in your product photos and a one line pitch, and the system analyzes your brand, generates a realistic AI avatar, writes the script, renders the video, adds captions, and stitches everything together. in literally one click. if you're still wasting hours generating videos or hiring expensive editors with long turnaround times, this is for you.. here's how it works: > drop in your product photos and brand info > the system finds a reference image that matches your target audience it generates a detailed JSON prompt and creates a hyper realistic starting frame > feeds everything into Gemini Omni and renders the full video with voice outputs and captions, all ready to post and all through Kie AI MCP or Higgsfield MCP (you have full control) the whole process runs inside Claude Code. so you're not jumping between 6 different tabs trying to piece things together. one system handles everything its only a 3 minute setup and 4-12 min per ad. each 30 second ad costs under $3 in API credits which is way cheaper than any editor and 10x faster.. RT + reply "UGC" and i'll send it over (must follow so i can dm)

Miko

61,540 Aufrufe • vor 2 Monaten

gemini omniflash is actually f*cking cracked. you can animate/edit any video with a text prompt. character swaps, object transforms, full environment changes without regenerating/rotoscoping. everyone using AI to to animate and edit videos right now hits the same wall. the clip comes out 90% right and you regenerate from scratch hoping the 10% fixes itself. it never does. the fix is using your video as the input. omniflash edits what's already there instead of rolling the dice again. here's what's in the system: > the two-layer premiere trick: generate the same shot twice (one with background removed), stack them, cut at one frame, instant scene change > character swap with a single reference image (plus the one line you need or the model keeps the original's features) > object transforms that leave the rest of the frame untouched: stone into glowing sphere, candles into flowers > style transfer from an image reference instead of text, way more accurate > why stacking edits in one prompt breaks everything and the exact step order that doesn't > the audio limitation nobody mentions and how to work around it i packaged every prompt, the edit sequence, and the premiere layering setup. RT + reply "OMNI" and i'll send it over.
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gemini omniflash is actually f*cking cracked. you can animate/edit any video with a text prompt. character swaps, object transforms, full environment changes without regenerating/rotoscoping. everyone using AI to to animate and edit videos right now hits the same wall. the clip comes out 90% right and you regenerate from scratch hoping the 10% fixes itself. it never does. the fix is using your video as the input. omniflash edits what's already there instead of rolling the dice again. here's what's in the system: > the two-layer premiere trick: generate the same shot twice (one with background removed), stack them, cut at one frame, instant scene change > character swap with a single reference image (plus the one line you need or the model keeps the original's features) > object transforms that leave the rest of the frame untouched: stone into glowing sphere, candles into flowers > style transfer from an image reference instead of text, way more accurate > why stacking edits in one prompt breaks everything and the exact step order that doesn't > the audio limitation nobody mentions and how to work around it i packaged every prompt, the edit sequence, and the premiere layering setup. RT + reply "OMNI" and i'll send it over.

Sulfur

36,783 Aufrufe • vor 3 Monaten

RHP Cole Leaman (Lehigh Baseball) is an arm I'm really looking forward to following this spring. Fresh off a strong Sophomore season in which he worked a 2.31 ERA with 49 Ks to 23 BB across 46.2 IP. Showed some positive flashes on the Cape. While slightly undersized, Leaman has a strong and athletic build at 6' and 190-lbs. Has put on a lot of good weight over the last couple of years. Leaman has almost a "check point" delivery in which he takes a noticeable side step towards the 1B side, gathers himself and breaks into the rest of his motion. Lengthy arm stroke and attacks from a high-3/4 slot from a low release height. Leaman is a high-level athlete and a dynamic mover on the mound. Sits really well on his back glute and his lead leg block enables him to generate power and drive his back side through. Drop and drive delivery. Little bit of effort, but plenty of arm speed. Leaman's FB sits in the 91-94 range, but it was up to 96 this summer and 98 this fall. Jumps out of his hand from a ~5'3" release height and flashes riding life through the zone. Averaged 15" of carry this summer and 2,361 RPMs. Gets over the barrels of opposing hitters when located in the top-1/2 of the zone, which is where the pitch is at its best. Command can be erratic at times. Would give it a 55. Leaman's most-used off speed pitch is a high-70s-to-low-80s CB. Shape is inconsistent and it can get a little slurvy at times, but he snapped off a handful of really good ones between the spring and summer. When it's at its best, it will flash a bigger shape with sharp, downward tilt. Leaman will also mix in a low-to-mid-80s SL that's distinct in shape. Another pitch he's still gaining a feel for, but like his CB it's also shown big time flashes. Shape of it will vary, but it will sometimes flash plus with sharp, two-plane break (more sweep than depth) and essentially take a late, hard left turn. Rounds out his arsenal with a high-80s cutter and a mid-to-high-80s CH. The former is more intriguing than the latter. Curious to see how much he uses the cutter this spring, threw a couple this summer that had late glove-side life. Leaman has a very intriguing blend of athleticism and stuff, though he'll need to iron out his command and control in order to maximize his upside. As mentioned, it's a bit scattered right now and has hindered him in some starts. 5th-8th round type this July. (📽️: Falmouth Commodores)
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RHP Cole Leaman (Lehigh Baseball) is an arm I'm really looking forward to following this spring. Fresh off a strong Sophomore season in which he worked a 2.31 ERA with 49 Ks to 23 BB across 46.2 IP. Showed some positive flashes on the Cape. While slightly undersized, Leaman has a strong and athletic build at 6' and 190-lbs. Has put on a lot of good weight over the last couple of years. Leaman has almost a "check point" delivery in which he takes a noticeable side step towards the 1B side, gathers himself and breaks into the rest of his motion. Lengthy arm stroke and attacks from a high-3/4 slot from a low release height. Leaman is a high-level athlete and a dynamic mover on the mound. Sits really well on his back glute and his lead leg block enables him to generate power and drive his back side through. Drop and drive delivery. Little bit of effort, but plenty of arm speed. Leaman's FB sits in the 91-94 range, but it was up to 96 this summer and 98 this fall. Jumps out of his hand from a ~5'3" release height and flashes riding life through the zone. Averaged 15" of carry this summer and 2,361 RPMs. Gets over the barrels of opposing hitters when located in the top-1/2 of the zone, which is where the pitch is at its best. Command can be erratic at times. Would give it a 55. Leaman's most-used off speed pitch is a high-70s-to-low-80s CB. Shape is inconsistent and it can get a little slurvy at times, but he snapped off a handful of really good ones between the spring and summer. When it's at its best, it will flash a bigger shape with sharp, downward tilt. Leaman will also mix in a low-to-mid-80s SL that's distinct in shape. Another pitch he's still gaining a feel for, but like his CB it's also shown big time flashes. Shape of it will vary, but it will sometimes flash plus with sharp, two-plane break (more sweep than depth) and essentially take a late, hard left turn. Rounds out his arsenal with a high-80s cutter and a mid-to-high-80s CH. The former is more intriguing than the latter. Curious to see how much he uses the cutter this spring, threw a couple this summer that had late glove-side life. Leaman has a very intriguing blend of athleticism and stuff, though he'll need to iron out his command and control in order to maximize his upside. As mentioned, it's a bit scattered right now and has hindered him in some starts. 5th-8th round type this July. (📽️: Falmouth Commodores)

Peter Flaherty III

26,791 Aufrufe • vor 1 Jahr

1. Open Gemini / Grok / GPT Image 2.0 2. Upload your photo 3. Copy the prompt 4. Generate 5. Prompt ⤵️ POV: One night, three looks… but only ONE can steal the spotlight. 👗✨ Which one would you choose? 👀💃 Created with MiniMax H3 🎬 Prompt Format: 15s | 16:9 | 4K HDR | 24fps | Photorealistic cinematic fashion vlog Character: Use the uploaded reference girl as the exact character. Preserve her facial identity, skin tone, eyes, hairstyle, body proportions, and appearance consistently. No face changes or identity drift. Story: 0–3s: In a cozy warm-lit bedroom, she enters with a stylish garment bag, places it on the bed, and looks playfully at the camera: “Okay… I have no idea what to wear tonight!” 3–6s: She steps behind a room divider. A quick whip-pan reveals Look 1 — chic fitted top, tailored trousers, and elegant heels. She checks the mirror and smiles: “Wait… I actually love this!” 6–9s: She throws a jacket toward the camera. As it covers the lens, seamlessly transform into Look 2 — a trendy mini dress with statement shoes and accessories. She looks surprised and laughs. 9–12s: She spins gracefully toward the mirror, smoothly transforming into Look 3 — a glamorous evening outfit with elegant heels and refined accessories. 12–15s: She walks confidently toward the camera, gestures toward all three looks and says with a playful smile: “Your turn… which one wins?” End with a cinematic push-in as she laughs. Visual Style: Ultra-realistic fashion vlog, natural expressions, handheld camera, cinematic depth of field, warm bedroom lighting, realistic skin, hair and fabric movement, smooth seamless transformations, premium fashion-film aesthetic. Audio: Natural bedroom ambience, footsteps, fabric sounds, upbeat fashion-vlog music, natural dialogue and subtle whoosh effects. Negative: No jump cuts, face changes, identity drift, duplicated character, distorted hands, warped clothing, inconsistent background, subtitles, logos, or watermark.
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1. Open Gemini / Grok / GPT Image 2.0 2. Upload your photo 3. Copy the prompt 4. Generate 5. Prompt ⤵️ POV: One night, three looks… but only ONE can steal the spotlight. 👗✨ Which one would you choose? 👀💃 Created with MiniMax H3 🎬 Prompt Format: 15s | 16:9 | 4K HDR | 24fps | Photorealistic cinematic fashion vlog Character: Use the uploaded reference girl as the exact character. Preserve her facial identity, skin tone, eyes, hairstyle, body proportions, and appearance consistently. No face changes or identity drift. Story: 0–3s: In a cozy warm-lit bedroom, she enters with a stylish garment bag, places it on the bed, and looks playfully at the camera: “Okay… I have no idea what to wear tonight!” 3–6s: She steps behind a room divider. A quick whip-pan reveals Look 1 — chic fitted top, tailored trousers, and elegant heels. She checks the mirror and smiles: “Wait… I actually love this!” 6–9s: She throws a jacket toward the camera. As it covers the lens, seamlessly transform into Look 2 — a trendy mini dress with statement shoes and accessories. She looks surprised and laughs. 9–12s: She spins gracefully toward the mirror, smoothly transforming into Look 3 — a glamorous evening outfit with elegant heels and refined accessories. 12–15s: She walks confidently toward the camera, gestures toward all three looks and says with a playful smile: “Your turn… which one wins?” End with a cinematic push-in as she laughs. Visual Style: Ultra-realistic fashion vlog, natural expressions, handheld camera, cinematic depth of field, warm bedroom lighting, realistic skin, hair and fabric movement, smooth seamless transformations, premium fashion-film aesthetic. Audio: Natural bedroom ambience, footsteps, fabric sounds, upbeat fashion-vlog music, natural dialogue and subtle whoosh effects. Negative: No jump cuts, face changes, identity drift, duplicated character, distorted hands, warped clothing, inconsistent background, subtitles, logos, or watermark.

Arina Ai

18,680 Aufrufe • vor 1 Monat

And then he says: “I may be Jewish.” That line matters less as identity and more as branding theater. In that same post, he wrapped himself in anti-woke moralizing, Christian rhetoric, nationalism, and a broad “we are all Americans” pitch. It fits the pattern: Fishback is always selling himself to whichever room he is standing in. So taken together, the pattern is brutal: He sold anti-antisemitism respectability with Bari Weiss. He pushed antisemitism panic on Fox. He appeared on air with a Israel/U.S. pin. He later pivoted into anti-Israel populism. He carries Greenlight legal baggage, including admitted misconduct with confidential information. And his personal timeline with the 17-year-old allegation looks exactly like the kind of story a man hopes people will discuss sloppily so he can retreat into technical denials. That is not integrity. Is it? What about Vass, inc (cntl#28394) on Open Secrets. Money to candidates like Fishback, James HEIM, John MISIASZEK, Lori HEIM.. you see it don’t you? As far back as 2016. Lastly, Fishback is the whole scam in one body: occult signals, Israel residue, Christian grift, legal jewry, and a grooming-shaped timeline defended by calendar math. No thanks. He doesn’t represent truth. He represents market-tested deception. Another polished little chameleon for the Beast system, flashing signs, changing scripts, and selling whichever gospel pays best. a full-spectrum asset in a necktie. Get real and wake the hell up people. All of them means ALL OF THEM. No heroes. No halos. End Hopium. H/t 🎩 TEMPLER He gave me the initial “in” I needed. 🔗 Substack, consider upgrading ☕ Fuel the fire If not, no worries. But the least you can do is like, comment and share! The truth doesn’t need everyone, just enough of us. Be cool, fookers! Receipts full links on Substack including FOX interview: • Fishback’s Free Press author page shows he wrote for Bari Weiss’s outlet in 2023–2024, including pieces on debate and “banned books.” (The Free Press) • Your Dec. 27, 2023 screenshot shows Fishback praising Bari Weiss’s How to Fight Anti-Semitism and writing: “To tolerate anti-Semitism is to tolerate lies.” • In the Fox “banned books” interview, Fishback said the education problem included “the increase in anti-Semitic education.” That language appears in the transcript. Link: In the image you shared from that Fox hit, he appears to be wearing a U.S.–Israel flag pin. • Bloomberg reported Fishback admitted sending Greenlight’s confidential positions/strategy summaries and a full portfolio document to his personal email, while also having an undisclosed personal trading account in overlapping instruments; he agreed to pay Greenlight’s legal fees and costs. (Bloomberg) • Separate reporting says Greenlight also got a judgment against him in a promissory-note dispute. ( • Broward schools cut ties with Fishback in 2022 after allegations involving an inappropriate relationship with a minor tied to his debate operation, according to NBC-based reporting cited by multiple outlets. (Yahoo) • Fishback denied wrongdoing and denied inappropriate conduct before she turned 18. (Yahoo) • The same reporting says she later moved in with him in 2023 and they were briefly engaged. (Yahoo) • By early 2026, Fishback was being described as an anti-Israel Florida candidate using rhetoric that drew antisemitism accusations from multiple outlets. (Jewish Telegraphic Agency) • On the Vass, NC / 28394 money angle: interesting lead, not a receipt yet. A surname plus ZIP is not enough to tie those donations to this James Fishback without stronger matching identifiers. The FEC itself says contributor research should be narrowed by fields like committee, date, amount, employer, occupation, city, and state. (
0:14

And then he says: “I may be Jewish.” That line matters less as identity and more as branding theater. In that same post, he wrapped himself in anti-woke moralizing, Christian rhetoric, nationalism, and a broad “we are all Americans” pitch. It fits the pattern: Fishback is always selling himself to whichever room he is standing in. So taken together, the pattern is brutal: He sold anti-antisemitism respectability with Bari Weiss. He pushed antisemitism panic on Fox. He appeared on air with a Israel/U.S. pin. He later pivoted into anti-Israel populism. He carries Greenlight legal baggage, including admitted misconduct with confidential information. And his personal timeline with the 17-year-old allegation looks exactly like the kind of story a man hopes people will discuss sloppily so he can retreat into technical denials. That is not integrity. Is it? What about Vass, inc (cntl#28394) on Open Secrets. Money to candidates like Fishback, James HEIM, John MISIASZEK, Lori HEIM.. you see it don’t you? As far back as 2016. Lastly, Fishback is the whole scam in one body: occult signals, Israel residue, Christian grift, legal jewry, and a grooming-shaped timeline defended by calendar math. No thanks. He doesn’t represent truth. He represents market-tested deception. Another polished little chameleon for the Beast system, flashing signs, changing scripts, and selling whichever gospel pays best. a full-spectrum asset in a necktie. Get real and wake the hell up people. All of them means ALL OF THEM. No heroes. No halos. End Hopium. H/t 🎩 TEMPLER He gave me the initial “in” I needed. 🔗 Substack, consider upgrading ☕ Fuel the fire If not, no worries. But the least you can do is like, comment and share! The truth doesn’t need everyone, just enough of us. Be cool, fookers! Receipts full links on Substack including FOX interview: • Fishback’s Free Press author page shows he wrote for Bari Weiss’s outlet in 2023–2024, including pieces on debate and “banned books.” (The Free Press) • Your Dec. 27, 2023 screenshot shows Fishback praising Bari Weiss’s How to Fight Anti-Semitism and writing: “To tolerate anti-Semitism is to tolerate lies.” • In the Fox “banned books” interview, Fishback said the education problem included “the increase in anti-Semitic education.” That language appears in the transcript. Link: In the image you shared from that Fox hit, he appears to be wearing a U.S.–Israel flag pin. • Bloomberg reported Fishback admitted sending Greenlight’s confidential positions/strategy summaries and a full portfolio document to his personal email, while also having an undisclosed personal trading account in overlapping instruments; he agreed to pay Greenlight’s legal fees and costs. (Bloomberg) • Separate reporting says Greenlight also got a judgment against him in a promissory-note dispute. ( • Broward schools cut ties with Fishback in 2022 after allegations involving an inappropriate relationship with a minor tied to his debate operation, according to NBC-based reporting cited by multiple outlets. (Yahoo) • Fishback denied wrongdoing and denied inappropriate conduct before she turned 18. (Yahoo) • The same reporting says she later moved in with him in 2023 and they were briefly engaged. (Yahoo) • By early 2026, Fishback was being described as an anti-Israel Florida candidate using rhetoric that drew antisemitism accusations from multiple outlets. (Jewish Telegraphic Agency) • On the Vass, NC / 28394 money angle: interesting lead, not a receipt yet. A surname plus ZIP is not enough to tie those donations to this James Fishback without stronger matching identifiers. The FEC itself says contributor research should be narrowed by fields like committee, date, amount, employer, occupation, city, and state. (

🔥Sir Escanor (𝘏𝘰𝘱𝘪𝘶𝘮 𝘚𝘭𝘢𝘺𝘦𝘳)🔥

35,817 Aufrufe • vor 6 Monaten

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇
0:11

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇

gus

100,376 Aufrufe • vor 2 Monaten

How cinematic can pure motorcycle speed actually become on-screen? GPT Image 2 + Seedance 2.0 on Fish Creative prompt Create an explosive, high-speed motorcycle action sequence in 16:9, 24fps, exactly 16 distinct cuts, total runtime ≈ 16–17 seconds. A lone rider in a light green helmet and dark riding gear pilots a babypink sportbike along a narrow, winding paved mountain road that cuts through rolling green hills under a brilliant sunny sky with scattered white clouds and distant blue mountain ranges and water visible on the horizon. Preserve the exact bike color, rider silhouette, road markings, green landscape, fencing and lighting throughout — never redesign them. This film is 90 % pure kinetic camera motion and 10 % environmental beauty: aggressive low-to-high tracking shots, continuous forward motion with heavy speed blur, whip pans, snap zooms, sun flares and impact shakes. No text, no graphics, no logos — pure cinematic speed. ### CUT LIST CUT 01 | 0.00–1.00s Dynamic low-side tracking shot: red motorcycle accelerates away from a small parking area onto the winding asphalt road; lush green grass and fence posts streak past with heavy motion blur; bright sun flares at the top of the frame. **CUT 02 | 1.00–2.00s** Camera rises and locks behind the rider as the bike climbs the first gentle incline; green hills roll on both sides, a lone tree appears ahead, distant mountains and water visible on the right. **CUT 03 | 2.00–3.00s** Tight rear tracking; rider leans into a smooth left curve; the road surface and white dashed lines blur heavily; sun remains high and intense. **CUT 04 | 3.00–4.00s** Bike powers up a steeper section of road; camera stays low and centered, grass and fence posts racing past on both sides; distant valley opens on the right. **CUT 05 | 4.00–5.00s** High-speed straight section; camera drops even lower, almost road-level, capturing the red bike centered against the climbing green hillside and bright blue sky. **CUT 06 | 5.00–6.00s** Rider continues the climb; camera rises slightly and banks with the road; lush green slopes fill the left and right frame edges with strong motion blur. **CUT 07 | 6.00–7.00s** Bike approaches a crest; camera pulls back a fraction to reveal more of the endless green hills and the road stretching ahead under the bright sun. **CUT 08 | 7.00–8.00s** Rider leans into the next curve; camera swings wide then snaps back, capturing the red bike against the steep green embankment and metal guardrail. **CUT 09 | 8.00–9.00s** Tight following shot as the motorcycle accelerates past the guardrail; heavy speed blur on the grass and road surface; sun flare intensifies. **CUT 10 | 9.00–10.00s** Camera tilts upward dramatically, almost looking straight up the road; the red bike becomes smaller against the vast blue sky and white clouds while still racing forward. **CUT 11 | 10.00–11.00s** Sweeping aerial-style arc as the bike enters a wide left-hand hairpin; camera orbits slightly, revealing the full curve of the road, green slopes and distant mountains. **CUT 12 | 11.00–12.00s** High-angle tracking shot looking down on the red motorcycle as it carves the long sweeping curve; the road and guardrail form a perfect arc against the green hillside. **CUT 13 | 12.00–13.00s** Camera pulls higher still, showing the bike as a small red shape on the winding road that snakes across the vast green landscape toward distant valleys and peaks. **CUT 14 | 13.00–14.00s** Rider continues through the open hillside section; camera descends slightly and tracks from a higher three-quarter rear angle, capturing the bike, road and rolling green terrain. **CUT 15 | 14.00–15.00s** Wide high-angle shot of the motorcycle navigating the next gentle S-curve; a second distant vehicle appears briefly on the road ahead; lush green fields and scattered trees fill the frame. **CUT 16 | 15.00–16.65s Final high-speed tracking shot as the red bike continues along the open mountain road; camera gradually rises and the frame fills with bright green hills, blue sky and soft sun flare; the sequence ends on a sense of endless forward motion. ### Editing & Sound Extremely aggressive rhythm — continuous forward tracking with occasional whip pans, snap zooms and speed ramps, heavy motion blur on every surface, strong sun flares and subtle impact shakes on every crest or curve. No text, no graphics, no slow-motion. BGM / Audio: electronic / indie-pop beat with driving drums, bright synths and rising energy that matches the speed of the bike. Engine roar, wind whooshes and tire sound on asphalt are locked to the picture as rhythmic elements. Peak energy in the middle curves and end with a bright, open sonic release. Premium AAA quality, photorealistic cinematic rendering, pure speed and freedom aesthetic, consistent red sportbike and rider design, exactly 16 cuts.
0:17

How cinematic can pure motorcycle speed actually become on-screen? GPT Image 2 + Seedance 2.0 on Fish Creative prompt Create an explosive, high-speed motorcycle action sequence in 16:9, 24fps, exactly 16 distinct cuts, total runtime ≈ 16–17 seconds. A lone rider in a light green helmet and dark riding gear pilots a babypink sportbike along a narrow, winding paved mountain road that cuts through rolling green hills under a brilliant sunny sky with scattered white clouds and distant blue mountain ranges and water visible on the horizon. Preserve the exact bike color, rider silhouette, road markings, green landscape, fencing and lighting throughout — never redesign them. This film is 90 % pure kinetic camera motion and 10 % environmental beauty: aggressive low-to-high tracking shots, continuous forward motion with heavy speed blur, whip pans, snap zooms, sun flares and impact shakes. No text, no graphics, no logos — pure cinematic speed. ### CUT LIST CUT 01 | 0.00–1.00s Dynamic low-side tracking shot: red motorcycle accelerates away from a small parking area onto the winding asphalt road; lush green grass and fence posts streak past with heavy motion blur; bright sun flares at the top of the frame. **CUT 02 | 1.00–2.00s** Camera rises and locks behind the rider as the bike climbs the first gentle incline; green hills roll on both sides, a lone tree appears ahead, distant mountains and water visible on the right. **CUT 03 | 2.00–3.00s** Tight rear tracking; rider leans into a smooth left curve; the road surface and white dashed lines blur heavily; sun remains high and intense. **CUT 04 | 3.00–4.00s** Bike powers up a steeper section of road; camera stays low and centered, grass and fence posts racing past on both sides; distant valley opens on the right. **CUT 05 | 4.00–5.00s** High-speed straight section; camera drops even lower, almost road-level, capturing the red bike centered against the climbing green hillside and bright blue sky. **CUT 06 | 5.00–6.00s** Rider continues the climb; camera rises slightly and banks with the road; lush green slopes fill the left and right frame edges with strong motion blur. **CUT 07 | 6.00–7.00s** Bike approaches a crest; camera pulls back a fraction to reveal more of the endless green hills and the road stretching ahead under the bright sun. **CUT 08 | 7.00–8.00s** Rider leans into the next curve; camera swings wide then snaps back, capturing the red bike against the steep green embankment and metal guardrail. **CUT 09 | 8.00–9.00s** Tight following shot as the motorcycle accelerates past the guardrail; heavy speed blur on the grass and road surface; sun flare intensifies. **CUT 10 | 9.00–10.00s** Camera tilts upward dramatically, almost looking straight up the road; the red bike becomes smaller against the vast blue sky and white clouds while still racing forward. **CUT 11 | 10.00–11.00s** Sweeping aerial-style arc as the bike enters a wide left-hand hairpin; camera orbits slightly, revealing the full curve of the road, green slopes and distant mountains. **CUT 12 | 11.00–12.00s** High-angle tracking shot looking down on the red motorcycle as it carves the long sweeping curve; the road and guardrail form a perfect arc against the green hillside. **CUT 13 | 12.00–13.00s** Camera pulls higher still, showing the bike as a small red shape on the winding road that snakes across the vast green landscape toward distant valleys and peaks. **CUT 14 | 13.00–14.00s** Rider continues through the open hillside section; camera descends slightly and tracks from a higher three-quarter rear angle, capturing the bike, road and rolling green terrain. **CUT 15 | 14.00–15.00s** Wide high-angle shot of the motorcycle navigating the next gentle S-curve; a second distant vehicle appears briefly on the road ahead; lush green fields and scattered trees fill the frame. **CUT 16 | 15.00–16.65s Final high-speed tracking shot as the red bike continues along the open mountain road; camera gradually rises and the frame fills with bright green hills, blue sky and soft sun flare; the sequence ends on a sense of endless forward motion. ### Editing & Sound Extremely aggressive rhythm — continuous forward tracking with occasional whip pans, snap zooms and speed ramps, heavy motion blur on every surface, strong sun flares and subtle impact shakes on every crest or curve. No text, no graphics, no slow-motion. BGM / Audio: electronic / indie-pop beat with driving drums, bright synths and rising energy that matches the speed of the bike. Engine roar, wind whooshes and tire sound on asphalt are locked to the picture as rhythmic elements. Peak energy in the middle curves and end with a bright, open sonic release. Premium AAA quality, photorealistic cinematic rendering, pure speed and freedom aesthetic, consistent red sportbike and rider design, exactly 16 cuts.

Sharon Riley

38,429 Aufrufe • vor 1 Monat

i analysed 1,000 TIKTOK slideshows for consumer apps... here's what i found something that change how you run your app/saas campaign since. most people assume the slideshow with the most views brings in the most installs. i tracked every metric i could pull across 1000+ posts. views, saves, comment sentiment, slide count, where the app got mentioned in the sequence, caption length, niche. the data told a different story. the highest converting slideshows rarely broke 100k views. some sat under 20k. meanwhile some of the viral ones with 2m+ views converted under 0.05%. viral and profitable are two different games. here's the pattern that separated the winners. the format was almost always: content, content, content, content, ad warmup, app push. 4 to 6 slides that feel like normal lifestyle or niche content, no mention of the app at all. then one slide near the end where the product shows up, framed as part of the story instead of an ad. apps that opened with the product on slide 1 underperformed almost every time. the accounts winning were disguising the app inside content people were already scrolling for anyway. travel aesthetics, interior inspiration, "things nobody tells you about x" hooks, niche opinions. the second pattern was volume, not virality. accounts running 8-10 tiktoks, posting 2x a day, same slide formats with fresh variations each time. 90% of posts stayed under 5k views, most even under 300. a handful hit 50k-500k. a rare one crossed 1m. the accounts winning weren't making one perfect post, they were running the format enough times that the algorithm found the winners for them. the workflow behind it, if you want to copy it: research first. search your niche on tiktok, screenshot every top slideshow, save the captions somewhere. this is the raw material for everything after. pull matching visuals from pinterest for each slide type in that screenshot pile. figure out what slide 1 looks like, slide 2, slide 3. download a handful per slide type. not everything from pinterest can be reposted as is. run it through an image api like openai or gemini to generate variations that keep the same vibe. 5 slide types x 100 variations gets you 500 usable images fast. feed the competitor captions into claude code and have it write new caption variations in that same tone, keep the early slides content only, drop the app in near the end. claude code can overlay the captions onto the images directly using ffmpeg, then hand scheduling off to a tool that allows accounts to post automatically without you touching them daily. set this up once and you get months of content queued across every account, running the same proven format with fresh visuals each time. the accounts losing were treating every post as a one off. the accounts winning built a system and let volume do the work.
0:18

i analysed 1,000 TIKTOK slideshows for consumer apps... here's what i found something that change how you run your app/saas campaign since. most people assume the slideshow with the most views brings in the most installs. i tracked every metric i could pull across 1000+ posts. views, saves, comment sentiment, slide count, where the app got mentioned in the sequence, caption length, niche. the data told a different story. the highest converting slideshows rarely broke 100k views. some sat under 20k. meanwhile some of the viral ones with 2m+ views converted under 0.05%. viral and profitable are two different games. here's the pattern that separated the winners. the format was almost always: content, content, content, content, ad warmup, app push. 4 to 6 slides that feel like normal lifestyle or niche content, no mention of the app at all. then one slide near the end where the product shows up, framed as part of the story instead of an ad. apps that opened with the product on slide 1 underperformed almost every time. the accounts winning were disguising the app inside content people were already scrolling for anyway. travel aesthetics, interior inspiration, "things nobody tells you about x" hooks, niche opinions. the second pattern was volume, not virality. accounts running 8-10 tiktoks, posting 2x a day, same slide formats with fresh variations each time. 90% of posts stayed under 5k views, most even under 300. a handful hit 50k-500k. a rare one crossed 1m. the accounts winning weren't making one perfect post, they were running the format enough times that the algorithm found the winners for them. the workflow behind it, if you want to copy it: research first. search your niche on tiktok, screenshot every top slideshow, save the captions somewhere. this is the raw material for everything after. pull matching visuals from pinterest for each slide type in that screenshot pile. figure out what slide 1 looks like, slide 2, slide 3. download a handful per slide type. not everything from pinterest can be reposted as is. run it through an image api like openai or gemini to generate variations that keep the same vibe. 5 slide types x 100 variations gets you 500 usable images fast. feed the competitor captions into claude code and have it write new caption variations in that same tone, keep the early slides content only, drop the app in near the end. claude code can overlay the captions onto the images directly using ffmpeg, then hand scheduling off to a tool that allows accounts to post automatically without you touching them daily. set this up once and you get months of content queued across every account, running the same proven format with fresh visuals each time. the accounts losing were treating every post as a one off. the accounts winning built a system and let volume do the work.

Mufasa

43,574 Aufrufe • vor 2 Monaten

over the weekend, i built an app that i sincerely hope you will never have a need for, but if you do happen to need a friendly, free, private mri viewer designed to make it easy for you to track tumor progression, you can try it here: here's the story: as some of you may know, last last september, my six year old daughter mira was diagnosed with an extremely rare brain tumor called an adamatinomatous craniopharyngioma, and since then our family has been doing everything we can possibly do to find a cure for her. we tortured chatgpt deep research, put together our own private research team, raised $1.4M and donated it all to Hankinson-Mitra Lab research thanks to $MIRA, explored every remotely applicable drug whether on the market or not, and even began working with md anderson to develop a personalized vaccine that we hope can lead to a more permanent cure unfortunately, we received the devastating news last march that the tumor has continued to grow since her initial surgery, and we had to start to consider more drastic options which would have seriously impacted mira’s quality of life. thankfully, with the help of dr. sabine mueller UCSF Benioff SF and the Hankinson-Mitra Lab at the university of colorado, in april, we started her on an alternative but extremely experimental treatment for this disease. to our unimaginable relief, her tumor has responded extraordinarily well to this treatment which combines tocilizumab (an arthritis drug that blocks IL6 receptors) with avastin (a colon cancer drug that inhibhits VEGF proteins). we know this, because mira gets an MRI scan of her brain every few months. and every time we get a new scan, the first thing we do is compare it against her last scan. so we have to find the matching weight of the scan, and then find the same plane, and then carefully find the slices of the scan where the tumor is visible, and then find the closest match to last month’s scan, then adjust the zoom, rotation, and brightness / contrast so they all look the same. we got pretty good at this. but it shouldn't be this hard. so i built last weekend using gemini 3 with some gpt 5.2 xhigh. you just import your DICOM MRI files (either zip, files or a folder), and you can align all of your scans across multiple dates instantly, just click and drag a rectangle around the tumor on any image, and it will use some very clever algorithms to automatically align up and find the closest matching slice from all your other scans, match the brightness / contrast, rotation, pan, zoom, and even shear to make sure the registration is as close as possible, and make it as easy to possible to compare tumor progression. it has a grid view so you can see all your scans for the same location all at once, and an overlay view so you can quickly compare two scans visually (by holding down the space bar to toggle quickly between two scans), along with tools to animate your scans both within the same sequence as well as over multiple scans to show progression. there is no server, it runs entirely locally on your browser - nothing ever gets uploaded and it's all open source: if you've found this useful, please consider a donation to the UCSF Benioff SF hospital foundation, who has given us extraordinary care over the past year or so:
0:14

over the weekend, i built an app that i sincerely hope you will never have a need for, but if you do happen to need a friendly, free, private mri viewer designed to make it easy for you to track tumor progression, you can try it here: here's the story: as some of you may know, last last september, my six year old daughter mira was diagnosed with an extremely rare brain tumor called an adamatinomatous craniopharyngioma, and since then our family has been doing everything we can possibly do to find a cure for her. we tortured chatgpt deep research, put together our own private research team, raised $1.4M and donated it all to Hankinson-Mitra Lab research thanks to $MIRA, explored every remotely applicable drug whether on the market or not, and even began working with md anderson to develop a personalized vaccine that we hope can lead to a more permanent cure unfortunately, we received the devastating news last march that the tumor has continued to grow since her initial surgery, and we had to start to consider more drastic options which would have seriously impacted mira’s quality of life. thankfully, with the help of dr. sabine mueller UCSF Benioff SF and the Hankinson-Mitra Lab at the university of colorado, in april, we started her on an alternative but extremely experimental treatment for this disease. to our unimaginable relief, her tumor has responded extraordinarily well to this treatment which combines tocilizumab (an arthritis drug that blocks IL6 receptors) with avastin (a colon cancer drug that inhibhits VEGF proteins). we know this, because mira gets an MRI scan of her brain every few months. and every time we get a new scan, the first thing we do is compare it against her last scan. so we have to find the matching weight of the scan, and then find the same plane, and then carefully find the slices of the scan where the tumor is visible, and then find the closest match to last month’s scan, then adjust the zoom, rotation, and brightness / contrast so they all look the same. we got pretty good at this. but it shouldn't be this hard. so i built last weekend using gemini 3 with some gpt 5.2 xhigh. you just import your DICOM MRI files (either zip, files or a folder), and you can align all of your scans across multiple dates instantly, just click and drag a rectangle around the tumor on any image, and it will use some very clever algorithms to automatically align up and find the closest matching slice from all your other scans, match the brightness / contrast, rotation, pan, zoom, and even shear to make sure the registration is as close as possible, and make it as easy to possible to compare tumor progression. it has a grid view so you can see all your scans for the same location all at once, and an overlay view so you can quickly compare two scans visually (by holding down the space bar to toggle quickly between two scans), along with tools to animate your scans both within the same sequence as well as over multiple scans to show progression. there is no server, it runs entirely locally on your browser - nothing ever gets uploaded and it's all open source: if you've found this useful, please consider a donation to the UCSF Benioff SF hospital foundation, who has given us extraordinary care over the past year or so:

Siqi Chen

209,414 Aufrufe • vor 8 Monaten

I would like to explain the latest batch of viral videos I'm working on to the bemused brainrot-curious reader who is not familiar with "the culture". Why are these characters, mixed with this song, going viral? It's all about connecting infinite referential mirrors. What makes this video interesting are not its individual parts but the signifier links it draws. Let's look at the individual parts: ONE: The song is a Brazilian funk or "pancadão" song called MC Lan e MC WM - Sua Amiga Vou Pegar, these days part of what's broadly referred as Brazilian phonk or just phonk (not to be confused with the original phonk, a Memphis-derived genre from the early 2010s built around chopped Three 6 Mafia samples, cowbells and lo-fi tape hiss and etc. The Brazilian version comes an entirely different lineage and got its name adapted from “funk” to “phonk” exclusively because the names sounded similar. It has a similarly menacing posture but swaps the rap cadence for funk's 4/4 with kicks on 1 and 3 rhythm and a much heavier, distorted 808 synth sound). Phonk is often used for its exaggerated reverb feeling bass lines to signify power, style or simply "aura", which you can take as a shorthand for poise, coolness, being de-bon-air and a general detached positive feeling of high status. Aura. Because most users cannot understand the Portuguese lyrics (which are often quite vulgar and sexual), the singing takes the characteristic of a chant, something to be appreciated entirely for its sound, texture and gravitas. The vocals are just another instrument where you can appreciate the menace and swagger of the delivery directly without the cognitive friction of meaning. Non-Portuguese-speaking audiences are not missing anything they were supposed to get, they get “the vibe” that matters, which is not lyrical. These songs are often paired with (male) characters that are taken to display these traits like American Psycho's Patrick Bateman (yes, yes I know that’s the opposite of what you should feel about the character), Peaky Blinder's Thomas Shelby and a menagerie of anime characters like Satoru Gojo (Jujutsu Kaisen), Yujiro Hanma (Baki) and Goku and, really, any male character that is just a little bit cool. TWO: The man in the suit is a minor Family Guy character called Tom Tucker. The reference comes from a scene where Meg sees him walking through her school and says "It's Tom Tucker from the news!” We then cut to her POV, where he is walking in slow motion with soft romantic music swelling and birds chirping, the whole love-at-first-sight trope. Then a camera crew member off-screen yells "hurry up Mr. Tucker," and we get to see he is not walking in slow motion because Meg is infatuated, he is just walking that slowly in real life. Only the music and the birds were in her head. The gag is built on the viewer recognizing the romantic-slow-motion trope, briefly accepting it as the scene's reality, and then being shown that we (and Meg) projected the trope onto what is actually just a man walking very slowly. HA! The original gag is already about projection: a neutral image (slow walk) being assigned an external meaning (romance) by a viewer's pattern-recognition. This is what makes the edit-culture appropriation work so well. The clip got stripped of its context, paired with phonk and text overlays (AURA or “Me and the boys going to detention”), and retroactively assigned a new meaning, only this time it’s the cinematic nonchalant walk, the slow deliberate gait that signifies a man who knows he's the most important thing in the frame (ta la any 1980s Schwazerneggerian action movie hero walking away from an explosion without looking back, every yakuza boss entering a room, every western gunslinger approaching the duel). The edit is ostensibly projecting a trope onto a neutral image. The first projection was romance; the second projection is aura. Family Guy clips and gifs are easy to access and repost, which makes it a readily available and easy to use building block. The show has, through sheer volume of output and over two decades of YouTube and cable TV saturation, become a kind of public-domain visual library, a default vocabulary that any editor can pull from knowing the audience will recognize the source without having to be told, and we can just keep loading meaning onto it. THREE: The character in the background is Tom, from Tom and Jerry, doing a pose made famous by an iShowSpeed fan who encountered him during a livestream. By quickly and correctly identifying Speed by his full legal name ("Darren Jason Watkins Jr"), she showcased herself to be a true fan, which he responded to with his characteristic exaggerated reactions. The pose the girl hit, with the knowing look to the camera, produced a perfect “aura moment” complete commitment, zero irony, the unshakeable conviction that what she was doing was the coolest possible thing to do. As a result, the clip then got endlessly edited with "aura 🥶🥶🥶" captions to canonize it. Aura, in this lexicon, is not granted by the universe; it is summoned by the person's own belief that they have it and by displaying the correct attitude. Tom is also dressed as the previously mentioned Thomas Shelby from Peaky Blinders, which is itself a double signifier. The name match (“Thomas”, get it?) and the suit-and-flat-cap costume turn the cartoon cat into a stand-in for the perhaps most used "high-aura" male character of the past decade, the brooding gangster patriarch whose every cigarette drag has been set to phonk, cinematic scores and electronic music a thousand times over. On top of that, he is made entirely out of chrome, a popular trope of asking ChatGPT (one of the few AI tools people have easy and broad access to) to render things out of very high quality materials to indicate "rarity" or "status" like diamonds, platinum and etc. A sign that itself descends from a longer lineage of in-game cosmetic rarity tiers (League of Legends, MMOs, various skin economy freemium game, the Fortnite battle pass, the Pokémon shiny, dacha games and etc) where material finish is the visual shorthand of value. So "chrome" or "platinum" Tom on top of all previous signifiers signals a “maximized” or “maxxd” version. The image is suppose to invoke the superlative highest possible tier, rarest-drop, legendary-rarity version of aura, the way a kid in a playground would describe their dad as not just strong but the strongest in the world. FOUR: Finally, the background black hole calls back to the original Tom image, where he is surrounded by the universe itself, having ascended. The character has transcended the diegetic frame of his own cartoon and now exists at a cosmological scale, with the black hole standing in for the kind of unmotivated, vibes-based "cosmic" imagery that has become the default background for any video trying to signify that something Big is happening (the same visual motif that has powered comic book characters, anime transformations, video game power ups and anything wants to feel grandiose or “epic” without specifying what about). The black hole means significance in the abstract. At this point I think you understand the mechanism at play here. None of these references resolve to a stable meaning on their own. Tom Tucker is “cool” only in the very short context in which his image served as a substrate; he was convenient footage to pair with a song, and the absurdity of doing an "aura edit" on such a minor, strange character scene makes it all funnier and easier to share. Tom-the-cat is doing the aura pose > the aura pose comes from the iShowSpeed girl > the iShowSpeed girl was cool because she correctly played her part in an established bit of a large streamer with the correct timing and theatrical flair > the bit was cool because it was a shared convention unified by a popular central streamer figure > the convention existed because phonk edits had already trained this exact scenario to be read as confidence-plus-detachment as aura > the chrome finish points to AI image generation quirks > the AI image generation style can be mapped to gaming visual rarity shorthands; the gaming rarity tiers point to a much older logic of precious-metal-as-status. Each step on the referential chain is propped by the one behind it, and the one behind it is propped up by the one behind that, so on and so forth. There is no natural endpoint, the entire structure functions more akin to a network than a linked list. If you stop at any single point and ask "but why is particular signifier cool or funny or interesting”, the answer is always "because of the thing behind it.” It’s hyper-citation, Here, what matters is the structure of the whole rather than the content. This is structure is what I mean by infinite referential mirrors. The rate at which a concept is referencing, remixing and calling back to another is what’s interesting. In other words, It’s the velocity that matters. The chain of recognitions, each "I get that reference," and the cumulative effect of getting six references stacked on top of each other a short span of time gives you the feeling that you are participating in something dense and alive, because it allows you to recognize the shared meme ecosystem of the platform that you are participating in, even if only a glimpse of it. You are inside the culture rather than outside it. The brainrot-curious reader who watches this video and feels nothing, has “failed” to understand the joke because they are outside the hall of mirrors I am describing. You can only get the magic if you step in and start counting the reflections: the song, the suit, the cat, the chrome, the black hole, the transitions the video uses. You are looking at connected parts of this network of symbols and at the speed at which one image hands you off to the next. The entire thirteen-second clip is functioning as a single compressed referential payload that decompresses in the viewer's head into a small private essay exactly like this one. The video allows you to recognize yourself as someone capable of decoding it, and that recognition is the reward. That’s why media like this goes viral.
0:13

I would like to explain the latest batch of viral videos I'm working on to the bemused brainrot-curious reader who is not familiar with "the culture". Why are these characters, mixed with this song, going viral? It's all about connecting infinite referential mirrors. What makes this video interesting are not its individual parts but the signifier links it draws. Let's look at the individual parts: ONE: The song is a Brazilian funk or "pancadão" song called MC Lan e MC WM - Sua Amiga Vou Pegar, these days part of what's broadly referred as Brazilian phonk or just phonk (not to be confused with the original phonk, a Memphis-derived genre from the early 2010s built around chopped Three 6 Mafia samples, cowbells and lo-fi tape hiss and etc. The Brazilian version comes an entirely different lineage and got its name adapted from “funk” to “phonk” exclusively because the names sounded similar. It has a similarly menacing posture but swaps the rap cadence for funk's 4/4 with kicks on 1 and 3 rhythm and a much heavier, distorted 808 synth sound). Phonk is often used for its exaggerated reverb feeling bass lines to signify power, style or simply "aura", which you can take as a shorthand for poise, coolness, being de-bon-air and a general detached positive feeling of high status. Aura. Because most users cannot understand the Portuguese lyrics (which are often quite vulgar and sexual), the singing takes the characteristic of a chant, something to be appreciated entirely for its sound, texture and gravitas. The vocals are just another instrument where you can appreciate the menace and swagger of the delivery directly without the cognitive friction of meaning. Non-Portuguese-speaking audiences are not missing anything they were supposed to get, they get “the vibe” that matters, which is not lyrical. These songs are often paired with (male) characters that are taken to display these traits like American Psycho's Patrick Bateman (yes, yes I know that’s the opposite of what you should feel about the character), Peaky Blinder's Thomas Shelby and a menagerie of anime characters like Satoru Gojo (Jujutsu Kaisen), Yujiro Hanma (Baki) and Goku and, really, any male character that is just a little bit cool. TWO: The man in the suit is a minor Family Guy character called Tom Tucker. The reference comes from a scene where Meg sees him walking through her school and says "It's Tom Tucker from the news!” We then cut to her POV, where he is walking in slow motion with soft romantic music swelling and birds chirping, the whole love-at-first-sight trope. Then a camera crew member off-screen yells "hurry up Mr. Tucker," and we get to see he is not walking in slow motion because Meg is infatuated, he is just walking that slowly in real life. Only the music and the birds were in her head. The gag is built on the viewer recognizing the romantic-slow-motion trope, briefly accepting it as the scene's reality, and then being shown that we (and Meg) projected the trope onto what is actually just a man walking very slowly. HA! The original gag is already about projection: a neutral image (slow walk) being assigned an external meaning (romance) by a viewer's pattern-recognition. This is what makes the edit-culture appropriation work so well. The clip got stripped of its context, paired with phonk and text overlays (AURA or “Me and the boys going to detention”), and retroactively assigned a new meaning, only this time it’s the cinematic nonchalant walk, the slow deliberate gait that signifies a man who knows he's the most important thing in the frame (ta la any 1980s Schwazerneggerian action movie hero walking away from an explosion without looking back, every yakuza boss entering a room, every western gunslinger approaching the duel). The edit is ostensibly projecting a trope onto a neutral image. The first projection was romance; the second projection is aura. Family Guy clips and gifs are easy to access and repost, which makes it a readily available and easy to use building block. The show has, through sheer volume of output and over two decades of YouTube and cable TV saturation, become a kind of public-domain visual library, a default vocabulary that any editor can pull from knowing the audience will recognize the source without having to be told, and we can just keep loading meaning onto it. THREE: The character in the background is Tom, from Tom and Jerry, doing a pose made famous by an iShowSpeed fan who encountered him during a livestream. By quickly and correctly identifying Speed by his full legal name ("Darren Jason Watkins Jr"), she showcased herself to be a true fan, which he responded to with his characteristic exaggerated reactions. The pose the girl hit, with the knowing look to the camera, produced a perfect “aura moment” complete commitment, zero irony, the unshakeable conviction that what she was doing was the coolest possible thing to do. As a result, the clip then got endlessly edited with "aura 🥶🥶🥶" captions to canonize it. Aura, in this lexicon, is not granted by the universe; it is summoned by the person's own belief that they have it and by displaying the correct attitude. Tom is also dressed as the previously mentioned Thomas Shelby from Peaky Blinders, which is itself a double signifier. The name match (“Thomas”, get it?) and the suit-and-flat-cap costume turn the cartoon cat into a stand-in for the perhaps most used "high-aura" male character of the past decade, the brooding gangster patriarch whose every cigarette drag has been set to phonk, cinematic scores and electronic music a thousand times over. On top of that, he is made entirely out of chrome, a popular trope of asking ChatGPT (one of the few AI tools people have easy and broad access to) to render things out of very high quality materials to indicate "rarity" or "status" like diamonds, platinum and etc. A sign that itself descends from a longer lineage of in-game cosmetic rarity tiers (League of Legends, MMOs, various skin economy freemium game, the Fortnite battle pass, the Pokémon shiny, dacha games and etc) where material finish is the visual shorthand of value. So "chrome" or "platinum" Tom on top of all previous signifiers signals a “maximized” or “maxxd” version. The image is suppose to invoke the superlative highest possible tier, rarest-drop, legendary-rarity version of aura, the way a kid in a playground would describe their dad as not just strong but the strongest in the world. FOUR: Finally, the background black hole calls back to the original Tom image, where he is surrounded by the universe itself, having ascended. The character has transcended the diegetic frame of his own cartoon and now exists at a cosmological scale, with the black hole standing in for the kind of unmotivated, vibes-based "cosmic" imagery that has become the default background for any video trying to signify that something Big is happening (the same visual motif that has powered comic book characters, anime transformations, video game power ups and anything wants to feel grandiose or “epic” without specifying what about). The black hole means significance in the abstract. At this point I think you understand the mechanism at play here. None of these references resolve to a stable meaning on their own. Tom Tucker is “cool” only in the very short context in which his image served as a substrate; he was convenient footage to pair with a song, and the absurdity of doing an "aura edit" on such a minor, strange character scene makes it all funnier and easier to share. Tom-the-cat is doing the aura pose > the aura pose comes from the iShowSpeed girl > the iShowSpeed girl was cool because she correctly played her part in an established bit of a large streamer with the correct timing and theatrical flair > the bit was cool because it was a shared convention unified by a popular central streamer figure > the convention existed because phonk edits had already trained this exact scenario to be read as confidence-plus-detachment as aura > the chrome finish points to AI image generation quirks > the AI image generation style can be mapped to gaming visual rarity shorthands; the gaming rarity tiers point to a much older logic of precious-metal-as-status. Each step on the referential chain is propped by the one behind it, and the one behind it is propped up by the one behind that, so on and so forth. There is no natural endpoint, the entire structure functions more akin to a network than a linked list. If you stop at any single point and ask "but why is particular signifier cool or funny or interesting”, the answer is always "because of the thing behind it.” It’s hyper-citation, Here, what matters is the structure of the whole rather than the content. This is structure is what I mean by infinite referential mirrors. The rate at which a concept is referencing, remixing and calling back to another is what’s interesting. In other words, It’s the velocity that matters. The chain of recognitions, each "I get that reference," and the cumulative effect of getting six references stacked on top of each other a short span of time gives you the feeling that you are participating in something dense and alive, because it allows you to recognize the shared meme ecosystem of the platform that you are participating in, even if only a glimpse of it. You are inside the culture rather than outside it. The brainrot-curious reader who watches this video and feels nothing, has “failed” to understand the joke because they are outside the hall of mirrors I am describing. You can only get the magic if you step in and start counting the reflections: the song, the suit, the cat, the chrome, the black hole, the transitions the video uses. You are looking at connected parts of this network of symbols and at the speed at which one image hands you off to the next. The entire thirteen-second clip is functioning as a single compressed referential payload that decompresses in the viewer's head into a small private essay exactly like this one. The video allows you to recognize yourself as someone capable of decoding it, and that recognition is the reward. That’s why media like this goes viral.

Pleometric

70,884 Aufrufe • vor 4 Monaten

THAT $70 "RUN YOUR OWN LLMS" PI KIT CAN'T RUN A SINGLE LLM. IT'S A VISION CHIP WITH NO RAM. that clip sells a raspberry pi 5 in a slick case with an ai accelerator and the caption "your own llms." clean build, fun kit. the claim is where it breaks. the fine print: the popular $70 pi ai kit uses a hailo-8l, 13 tops. it's built for vision, object detection and image processing, and it has no memory of its own. so it cannot run large language models. full stop the board that actually can is a different one: the newer ai hat+ 2, hailo-10h, 40 tops, with 8gb of dedicated ram. that's $130, not $70 and even that runs only tiny models. llama 3.2 at 1b, qwen 2.5 at 1.5b, deepseek r1 at 1.5b. edge llms live in the 1-7b range, against cloud models at 500b to 2 trillion so the honest pitch: for $130 you can run a very small language model on a pi, slowly, as a fun learning project. that's real and it's cool. "your own llms" on a $70 vision kit is not. why this keeps happening: "ai kit" and a big "tops" number sell. tops sounds like intelligence. but tops measures vision-style math, not whether the chip has the memory to hold a language model. the spec that matters for llms is ram, and the cheap kit has none. the honest caveats, both ways: the $70 kit is genuinely great, just at vision. cameras, object detection, that's its job the $130 hat really does run small llms locally, which a pi couldn't do at all two years ago. that's progress "small" is the load-bearing word. don't expect gpt at home on a pi the takeaway: before you buy a kit because the caption says llm, check two numbers. not the tops. the ram, and the size of the model it can actually load. no 70-dollar miracle, no gpt in a pi case, no tops number that means what you think. save this before you buy the wrong kit for the word on the box.
0:17

THAT $70 "RUN YOUR OWN LLMS" PI KIT CAN'T RUN A SINGLE LLM. IT'S A VISION CHIP WITH NO RAM. that clip sells a raspberry pi 5 in a slick case with an ai accelerator and the caption "your own llms." clean build, fun kit. the claim is where it breaks. the fine print: the popular $70 pi ai kit uses a hailo-8l, 13 tops. it's built for vision, object detection and image processing, and it has no memory of its own. so it cannot run large language models. full stop the board that actually can is a different one: the newer ai hat+ 2, hailo-10h, 40 tops, with 8gb of dedicated ram. that's $130, not $70 and even that runs only tiny models. llama 3.2 at 1b, qwen 2.5 at 1.5b, deepseek r1 at 1.5b. edge llms live in the 1-7b range, against cloud models at 500b to 2 trillion so the honest pitch: for $130 you can run a very small language model on a pi, slowly, as a fun learning project. that's real and it's cool. "your own llms" on a $70 vision kit is not. why this keeps happening: "ai kit" and a big "tops" number sell. tops sounds like intelligence. but tops measures vision-style math, not whether the chip has the memory to hold a language model. the spec that matters for llms is ram, and the cheap kit has none. the honest caveats, both ways: the $70 kit is genuinely great, just at vision. cameras, object detection, that's its job the $130 hat really does run small llms locally, which a pi couldn't do at all two years ago. that's progress "small" is the load-bearing word. don't expect gpt at home on a pi the takeaway: before you buy a kit because the caption says llm, check two numbers. not the tops. the ram, and the size of the model it can actually load. no 70-dollar miracle, no gpt in a pi case, no tops number that means what you think. save this before you buy the wrong kit for the word on the box.

RetroChainer

11,100 Aufrufe • vor 2 Monaten

🚨 The 10M Linkers Celebration Is Here! Don’t Miss Your Place in InterLink History! 🎉🌍 10 million Linkers is not just a number. It is a milestone built by the community, and if you are among the first 10 million, your place in InterLink’s story is already secured. 🔗💜 Now, the celebration is bringing several exciting opportunities for Linkers worldwide. Here is what is planned 👇 🔄 ITL Reverse Auction Buyback InterLink Labs plans to use its own funds to conduct an ITL buyback through a reverse auction mechanism. 💰📊 This will give ITL holders an opportunity to submit selling offers while supporting the broader 10M Linkers Celebration Programme. 📌 Participants should carefully review the official rules, eligibility requirements, timelines, and risks before taking part. 🎁 Recognition for the First 10 Million Linkers Every user among the first 10 million Linkers will receive a special gift as a token of appreciation. 🎉🎁 Your participation, trust, and support have helped shape InterLink’s journey. Being part of this group means holding a unique place in the project’s history—one that future communities will look back on. 🌟 If you are one of the first 10 million, this is your moment to celebrate. ⏳ 🌍 Global Meetup Series The celebration will not remain online. InterLink plans to organise offline meetups in cities around the world. 🏙️🤝🌐 These gatherings will give Linkers the chance to: Meet fellow community members face to face 🤝 Celebrate this historic milestone together 🎊 Exchange ideas and experiences 💬 Learn more about InterLink’s vision and roadmap 🧭 Build stronger local and global connections 🌍 More cities, more conversations, and more opportunities to connect are expected as the community continues to grow. 🚀 👕 Exclusive InterLink VIP Merchandise Outstanding contributors may receive exclusive InterLink VIP merchandise. 🏆👕🎁 This recognition is intended for Linkers who have consistently supported the ecosystem through meaningful contributions, community leadership, education, content creation, technical assistance, and other forms of participation. The people who help strengthen a community deserve to be recognised—and this is an opportunity for those contributions to stand out. 💜 🖼 Create Your 10M Linkers Avatar Want to make your participation visible? Create your own 10M Linkers Avatar and share it with the community! 📸✨ How to participate: Visit 👉 → Upload a PNG, JPG, or WebP image 🖼️ → Adjust the zoom, position, rotation, or flip settings 🎨 → Download your completed avatar ⬇️ → Share it on a social platform using #WeAreTheFirst10MLinkers 📣 🎁 10 lucky participants will each have a chance to receive $50. The campaign is a simple way to show that you were here, celebrate the milestone, and join Linkers around the world. 🌎🔗 ⏳ Why You Should Join Now Milestones like this do not happen every day. The first 10 million Linkers will always represent an important chapter in InterLink’s history. 📖✨ By joining the celebration now, you can: ✅ Mark your place among the first 10 million Linkers ✅ Take part in the avatar campaign ✅ Share the milestone with your network ✅ Stay connected with upcoming community activities ✅ Watch for meetup, reward, and buyback updates Do not wait until the celebration has passed to look back and wish you had participated. This is the time to get involved. 🚀 🎉 Your Place in the Story Starts Here The 10M Linkers Celebration brings together community recognition, a planned ITL reverse auction buyback, global meetups, VIP merchandise, and a social avatar campaign. 💜🌍 Whether you are an early Linker, an active contributor, or a supporter of InterLink’s future, this is your opportunity to celebrate alongside the wider community. 🖼️ Create your avatar today: 👉 Then share it with: #WeAreTheFirst10MLinkers 🎉 10 million Linkers. One historic milestone. Your place in the story. 🔗💜 InterLink Labs 👤 + 🌐 KV Reina | InterLink Labs #InterLink #ITL #ITLG #WeAreTheFirst10MLinkers 🚀
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🚨 The 10M Linkers Celebration Is Here! Don’t Miss Your Place in InterLink History! 🎉🌍 10 million Linkers is not just a number. It is a milestone built by the community, and if you are among the first 10 million, your place in InterLink’s story is already secured. 🔗💜 Now, the celebration is bringing several exciting opportunities for Linkers worldwide. Here is what is planned 👇 🔄 ITL Reverse Auction Buyback InterLink Labs plans to use its own funds to conduct an ITL buyback through a reverse auction mechanism. 💰📊 This will give ITL holders an opportunity to submit selling offers while supporting the broader 10M Linkers Celebration Programme. 📌 Participants should carefully review the official rules, eligibility requirements, timelines, and risks before taking part. 🎁 Recognition for the First 10 Million Linkers Every user among the first 10 million Linkers will receive a special gift as a token of appreciation. 🎉🎁 Your participation, trust, and support have helped shape InterLink’s journey. Being part of this group means holding a unique place in the project’s history—one that future communities will look back on. 🌟 If you are one of the first 10 million, this is your moment to celebrate. ⏳ 🌍 Global Meetup Series The celebration will not remain online. InterLink plans to organise offline meetups in cities around the world. 🏙️🤝🌐 These gatherings will give Linkers the chance to: Meet fellow community members face to face 🤝 Celebrate this historic milestone together 🎊 Exchange ideas and experiences 💬 Learn more about InterLink’s vision and roadmap 🧭 Build stronger local and global connections 🌍 More cities, more conversations, and more opportunities to connect are expected as the community continues to grow. 🚀 👕 Exclusive InterLink VIP Merchandise Outstanding contributors may receive exclusive InterLink VIP merchandise. 🏆👕🎁 This recognition is intended for Linkers who have consistently supported the ecosystem through meaningful contributions, community leadership, education, content creation, technical assistance, and other forms of participation. The people who help strengthen a community deserve to be recognised—and this is an opportunity for those contributions to stand out. 💜 🖼 Create Your 10M Linkers Avatar Want to make your participation visible? Create your own 10M Linkers Avatar and share it with the community! 📸✨ How to participate: Visit 👉 → Upload a PNG, JPG, or WebP image 🖼️ → Adjust the zoom, position, rotation, or flip settings 🎨 → Download your completed avatar ⬇️ → Share it on a social platform using #WeAreTheFirst10MLinkers 📣 🎁 10 lucky participants will each have a chance to receive $50. The campaign is a simple way to show that you were here, celebrate the milestone, and join Linkers around the world. 🌎🔗 ⏳ Why You Should Join Now Milestones like this do not happen every day. The first 10 million Linkers will always represent an important chapter in InterLink’s history. 📖✨ By joining the celebration now, you can: ✅ Mark your place among the first 10 million Linkers ✅ Take part in the avatar campaign ✅ Share the milestone with your network ✅ Stay connected with upcoming community activities ✅ Watch for meetup, reward, and buyback updates Do not wait until the celebration has passed to look back and wish you had participated. This is the time to get involved. 🚀 🎉 Your Place in the Story Starts Here The 10M Linkers Celebration brings together community recognition, a planned ITL reverse auction buyback, global meetups, VIP merchandise, and a social avatar campaign. 💜🌍 Whether you are an early Linker, an active contributor, or a supporter of InterLink’s future, this is your opportunity to celebrate alongside the wider community. 🖼️ Create your avatar today: 👉 Then share it with: #WeAreTheFirst10MLinkers 🎉 10 million Linkers. One historic milestone. Your place in the story. 🔗💜 InterLink Labs 👤 + 🌐 KV Reina | InterLink Labs #InterLink #ITL #ITLG #WeAreTheFirst10MLinkers 🚀

Tekkaus® | InterLink Global Leader • MOD • OG

21,593 Aufrufe • vor 1 Monat

Made with seedance 2.5 Prompt: Create ONE continuous 12-second, 9:16, ultra-photorealistic LIVE-ACTION luxury fashion film. IMPORTANT REFERENCE MAPPING: REFERENCE Image = PRIMARY CHARACTER. Use the FIRST uploaded reference image of the woman. REFERENCE image2 = ENVIRONMENT. Use the SECOND uploaded reference image of the square. REFERENCE David Carbon = HERO OBJECT. Use the THIRD uploaded reference image of the sunglasses. Do NOT refer to these images as Image, image2 or David Carbon. Use the reference images according to their upload order. CHARACTER — REFERENCE IMAGE 1 Preserve the exact woman from REFERENCE IMAGE 1 throughout the entire video: same facial identity, facial structure, natural eyes, hairstyle, body proportions, skin appearance, clothing, footwear, jewelry, accessories and overall appearance. Do not copy the original background from REFERENCE IMAGE 1. The protagonist is the ONLY main character. ENVIRONMENT — REFERENCE IMAGE 2 Use REFERENCE IMAGE 2 only for visual language: architecture, atmosphere, warm sunset lighting, materials, monumental scale and cobblestone character. Create a NEW believable cinematic pedestrian space inspired by it. Do NOT reproduce its exact composition, exact camera angle or exact street layout. Provide enough open pedestrian space for natural walking and the collision. Respect real-world spatial logic: pedestrians remain in pedestrian areas, architecture has realistic scale and perspective, no impossible geometry. HERO OBJECT — REFERENCE IMAGE 3 The sunglasses shown in REFERENCE IMAGE 3 are the ONE and ONLY HERO OBJECT. Preserve their recognizable: shape, proportions, oversized shield silhouette, dark continuous lens, thin metallic/gold frame, temples, hinge construction, surface details, colour and material. The SAME physical sunglasses must remain recognizable: when worn by the protagonist, when released, during bullet-time macro inspection, and after landing. Do not redesign, replace, duplicate or regenerate the sunglasses. EXACT OBJECT COUNT Exactly: ONE protagonist. ONE secondary passing person. ONE Labrador. ONE leash. ONE pair of sunglasses from REFERENCE IMAGE 3. ONE takeaway paper coffee cup. ONE plastic drinking lid. ONE silver-grey OPEN clamshell flip phone. No duplicate objects or people. PERSISTENT PHONE There is exactly ONE phone in the entire video. It is a compact early-2000s silver-grey OPEN clamshell flip phone. Upper half: small illuminated display and speaker. Lower half: physical numeric keypad, navigation buttons and microphone. Visible central mechanical hinge. LOCK its appearance throughout: same silver-grey colour, same dimensions, same thickness, same hinge, same display, same keypad, same buttons, same open angle. The same phone is seen in wide, medium and macro shots. It never transforms into another phone. PERSISTENT COFFEE Exactly ONE medium disposable PAPER coffee cup with ONE lightweight plastic drinking lid and dark coffee inside. Same cup, same lid, same coffee and same proportions throughout. Before collision the lid is properly attached. Coffee remains inside until a real physical opening appears. HAND OWNERSHIP Before collision: RIGHT HAND = ONE OPEN flip phone held to the RIGHT ear. LEFT HAND = ONE coffee cup. Sunglasses = naturally worn by the protagonist. After collision: RIGHT HAND = COMPLETELY EMPTY. LEFT HAND = COMPLETELY EMPTY. Nothing replaces the phone or cup. Nothing remains attached to either palm. 0.0–2.0s — CINEMATIC CHARACTER REVEAL Begin with an extreme low close-up of the protagonist’s black leather heeled boots walking naturally across the pedestrian space. Camera performs ONE elegant continuous movement: smooth crane upward + gentle backward tracking. Reveal progressively: boots → legs → ripped light-blue baggy jeans → black corset → white tank top → jewelry/accessories → sunglasses → face → nearly full body. The protagonist wears the SAME sunglasses from REFERENCE IMAGE 3. She holds the SAME OPEN silver-grey flip phone to her RIGHT ear and the SAME coffee cup in her LEFT hand. She is actively having a phone conversation. Show subtle realistic speech: natural lip movement, jaw movement and mouth articulation. Maintain exact identity from REFERENCE IMAGE 1. Premium live-action fashion cinematography. 2.0–3.7s — WALKING / SECONDARY PERSON Maintain smooth frontal tracking. The protagonist continues walking naturally through the pedestrian area. Exactly ONE secondary person approaches from the opposite direction. That person holds exactly ONE leash attached to exactly ONE Labrador. The Labrador walks slightly ahead and gently pulls the person forward. They remain background/supporting elements. Maintain: stable protagonist identity, stable hairstyle, stable clothing, stable sunglasses, same phone, same coffee. 3.7–4.4s — ACCIDENTAL COLLISION As they pass each other, the secondary person’s ELBOW accidentally clips the protagonist’s arm/upper torso. Small, accidental, believable contact. The protagonist naturally recoils backward. This SAME collision causes THREE physical release events. SUNGLASSES The sunglasses from REFERENCE IMAGE 3 receive ONE short realistic outward impulse. They separate naturally from the protagonist’s face. They travel only a short physically believable distance. They do NOT fly toward the camera. COFFEE The SAME coffee cup leaves the LEFT hand. It receives one short outward/downward rotational impulse. The cup tilts and rotates. Because of the rotation and liquid inertia, ONE EDGE of the lightweight plastic lid partially pops loose from the cup rim. The lid does not disappear and does not explode away. A real physical gap forms between lid and rim. ONLY THEN does dark coffee begin escaping through this opening. Initial liquid movement is restrained. PHONE The SAME OPEN clamshell phone leaves the RIGHT hand. It receives one short outward/upward impulse. It keeps the SAME open angle and physical design. The instant it separates from the fingers: RIGHT HAND = EMPTY. The instant the cup separates: LEFT HAND = EMPTY. FACE / HAIR CONTINUITY Preserve the exact face from REFERENCE IMAGE 1 during the entire collision. The natural human eyes already exist behind the sunglasses. When the sunglasses separate, reveal the SAME normal eyes: stable pupils, eyelids, gaze direction, brows, nose, cheekbones and facial symmetry. Do not regenerate or alter the face. Hair remains stable with only subtle realistic inertia. No sudden hairstyle change. 4.4–5.2s — BULLET-TIME ESTABLISHMENT Time decelerates dramatically to approximately 2–3% normal speed. DO NOT immediately go into macro. FIRST show a clear medium-wide frozen view of the entire accident. The protagonist is beginning to fall backward. BOTH HANDS ARE EMPTY. Establish fixed WORLD-SPACE anchors: • sunglasses suspended near their release position; • coffee cup suspended lower and toward the LEFT-hand release side; • partially detached lid still connected to or immediately beside the cup; • restrained coffee beginning to escape through the opening; • OPEN flip phone suspended toward the RIGHT-hand release side. Objects move only microscopically. They do NOT move toward the camera. The CAMERA is the main moving element. 5.2–6.8s — SUNGLASSES HERO INSPECTION The sunglasses remain almost completely stationary at their existing world-space position. CAMERA physically dollies toward them. The sunglasses become larger ONLY because the camera gets closer. Once close, slow the camera dramatically. HOLD. Perform a restrained 20–30 degree camera orbit/parallax around the almost-stationary sunglasses. Reveal: dark shield lens, thin metallic/gold frame, temples, hinges, edges, material thickness, surface reflections, tiny manufacturing details. Use shallow photographic macro depth of field. The protagonist and sunset environment remain softly recognizable in the background. The sunglasses must look like a real luxury fashion accessory photographed with a macro cinema lens, NOT CGI product animation. Complete the inspection before moving away. 6.8–8.3s — COFFEE / LIQUID INSPECTION Only after completing the sunglasses inspection, the CAMERA leaves them at their existing world-space position. Travel diagonally through the frozen scene toward the SAME coffee cup. THE CUP DOES NOT MOVE TOWARD THE CAMERA. Hold a photographic macro close-up. Show: same paper cup, same lightweight plastic lid, ONE partially detached lid edge, clear physical gap, dark coffee escaping ONLY through that gap. Real restrained liquid physics: thin irregular stream, imperfect liquid sheet, several differently sized droplets, realistic surface tension, natural reflections. No explosive splash. No decorative CGI liquid. No perfect artificial shapes. Coffee advances only microscopically during bullet time. Perform a small restrained lateral/parallax camera movement around the cup, lid and droplets. HOLD long enough to see paper texture, plastic texture, liquid thickness and individual droplets. 8.3–9.8s — FLIP PHONE INSPECTION Only after coffee inspection, the CAMERA travels away from the cup. The cup, lid and droplets remain at their existing world-space positions. CAMERA moves through the same frozen scene toward the SINGLE OPEN silver-grey clamshell phone. THE PHONE DOES NOT MOVE TOWARD THE CAMERA. First establish the complete phone silhouette: same silver-grey housing, same upper display, same lower keypad, same central hinge, same open angle. Then CAMERA physically approaches the existing upper display. Extreme photographic macro close-up. The illuminated display reads: BOSS with one small realistic phone number underneath. HOLD. Show: real housing material, hinge, keypad texture, small scratches, surface wear, screen reflections. The phone does NOT transform to reveal its screen. It is the SAME phone seen from the beginning. The protagonist’s RIGHT HAND remains completely EMPTY in the background. 9.8–10.4s — COMPLETE FROZEN TABLEAU After phone inspection, CAMERA performs a fast but perfectly smooth dolly backward. All objects remain at their existing world-space positions. Reveal: same protagonist falling backward, both hands empty, same sunglasses, same coffee cup, same partially detached lid, same suspended coffee droplets, same OPEN flip phone, exactly one secondary person, exactly one Labrador. All positions must remain spatially consistent with the original collision and release trajectories. No object follows the camera. No object teleports. No object regenerates. Brief HOLD on the complete frozen tableau. 10.4–12.0s — TIME RETURNS / PHYSICAL PAYOFF Time suddenly snaps back to normal speed. Gravity and existing momentum resume simultaneously. Every object continues FROM ITS EXISTING WORLD-SPACE POSITION. The protagonist completes her backward fall naturally. The sunglasses continue from their suspended position and land according to their existing momentum and gravity. The coffee cup continues from its own separate position, impacts the cobblestone ground, the partially detached lid reacts naturally, and remaining coffee spills irregularly through the real opening and impact point. The OPEN flip phone continues from its own separate position, hits the ground and makes ONE small physically believable bounce. Objects land at DIFFERENT plausible locations. They do NOT suddenly converge beside the protagonist. CAMERA rapidly tilts/drops toward ground level to follow the final impacts. Finish with a cinematic low-angle composition showing the fallen protagonist and the scattered objects within the same believable sunset environment. Hard cut. BULLET-TIME CAMERA RULE — NON-NEGOTIABLE BULLET TIME = ALMOST-FROZEN PHYSICAL WORLD + FREELY MOVING CAMERA. Objects stay in WORLD SPACE. Camera moves through WORLD SPACE. Close-up is created ONLY by reducing camera-to-object distance. Never: move objects toward the lens, artificially enlarge objects, teleport objects, regenerate macro versions. STRICT CAMERA ROUTE: FULL FROZEN TABLEAU → CAMERA DOLLIES TO SUNGLASSES → HOLD → 20–30° CAMERA ORBIT → CAMERA TRAVELS TO COFFEE → HOLD → SMALL CAMERA PARALLAX → CAMERA TRAVELS TO PHONE → ESTABLISH COMPLETE PHONE → MOVE TO DISPLAY → HOLD → CAMERA DOLLIES BACK TO COMPLETE TABLEAU → TIME RETURNS CONTINUITY / CAUSALITY Wide shot → medium shot → macro shot = SAME physical object viewed from different camera distances. Sunglasses: same object, same design, same trajectory, same world-space identity. Coffee: same cup, same lid, same coffee, same rotation, same world-space identity. Phone: same open clamshell phone, same housing, hinge, keypad, display, open angle and world-space identity. Every visible change must have a physical cause. Collision causes recoil. Collision momentum separates sunglasses. Finger release changes phone position. Hand release + collision momentum rotates cup. Cup rotation/liquid inertia partially opens lid. Coffee escapes only through the physical gap. Camera movement creates apparent object scale. Gravity resumes final fall. Treat the entire sequence as ONE continuous practical-effects event photographed with a motion-control cinema camera. IDENTITY / PROP LOCK ONE protagonist. ONE secondary person. ONE Labrador. ONE leash. ONE pair of sunglasses. ONE coffee cup. ONE lid. ONE OPEN flip phone. Before collision: RIGHT HAND = phone. LEFT HAND = coffee. Sunglasses = worn. After collision: RIGHT HAND = EMPTY. LEFT HAND = EMPTY. Sunglasses = separated. No second phone. No second cup. No second sunglasses. No additional dog. No additional person. No unexplained props. No duplication. No teleportation. No unexplained scale changes. VISUAL PRIORITY 1. exact protagonist identity from REFERENCE IMAGE 1 2. natural eyes and facial anatomy 3. stable hairstyle and body proportions 4. exact clothing and accessories 5. exact sunglasses from REFERENCE IMAGE 3 6. stable phone geometry 7. empty hands after release 8. continuous physical trajectories 9. realistic environment inspired by REFERENCE IMAGE 2 PHOTOGRAPHIC REALISM Ultra-photorealistic LIVE-ACTION. High-budget international luxury fashion campaign. Real human anatomy. Natural skin pores. Natural facial micro-expressions. Detailed realistic hair. Real manufactured sunglasses. Real paper cup. Real plastic lid. Real liquid coffee. Real early-2000s flip phone. Real object mass, inertia, gravity, momentum and surface tension. ARRI Alexa 35 cinematic character. Premium cinema optics. Motivated sunset lighting inspired by REFERENCE IMAGE 2. Controlled highlights. Natural skin tones. Realistic optical depth of field. Shallow macro depth of field during object inspections. Subtle 35mm film texture. Restrained luxury editorial colour grade. Natural colours. Sharp optical clarity. Cinematic photographic texture. Bullet-time must feel like REAL high-speed practical photography with a motion-control cinema camera, NOT CGI product animation. 4K / Ultra HD. Maximum facial detail. Maximum hair detail. Maximum material fidelity. Stable identity. Stable geometry. Stable prop continuity.
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Made with seedance 2.5 Prompt: Create ONE continuous 12-second, 9:16, ultra-photorealistic LIVE-ACTION luxury fashion film. IMPORTANT REFERENCE MAPPING: REFERENCE Image = PRIMARY CHARACTER. Use the FIRST uploaded reference image of the woman. REFERENCE image2 = ENVIRONMENT. Use the SECOND uploaded reference image of the square. REFERENCE David Carbon = HERO OBJECT. Use the THIRD uploaded reference image of the sunglasses. Do NOT refer to these images as Image, image2 or David Carbon. Use the reference images according to their upload order. CHARACTER — REFERENCE IMAGE 1 Preserve the exact woman from REFERENCE IMAGE 1 throughout the entire video: same facial identity, facial structure, natural eyes, hairstyle, body proportions, skin appearance, clothing, footwear, jewelry, accessories and overall appearance. Do not copy the original background from REFERENCE IMAGE 1. The protagonist is the ONLY main character. ENVIRONMENT — REFERENCE IMAGE 2 Use REFERENCE IMAGE 2 only for visual language: architecture, atmosphere, warm sunset lighting, materials, monumental scale and cobblestone character. Create a NEW believable cinematic pedestrian space inspired by it. Do NOT reproduce its exact composition, exact camera angle or exact street layout. Provide enough open pedestrian space for natural walking and the collision. Respect real-world spatial logic: pedestrians remain in pedestrian areas, architecture has realistic scale and perspective, no impossible geometry. HERO OBJECT — REFERENCE IMAGE 3 The sunglasses shown in REFERENCE IMAGE 3 are the ONE and ONLY HERO OBJECT. Preserve their recognizable: shape, proportions, oversized shield silhouette, dark continuous lens, thin metallic/gold frame, temples, hinge construction, surface details, colour and material. The SAME physical sunglasses must remain recognizable: when worn by the protagonist, when released, during bullet-time macro inspection, and after landing. Do not redesign, replace, duplicate or regenerate the sunglasses. EXACT OBJECT COUNT Exactly: ONE protagonist. ONE secondary passing person. ONE Labrador. ONE leash. ONE pair of sunglasses from REFERENCE IMAGE 3. ONE takeaway paper coffee cup. ONE plastic drinking lid. ONE silver-grey OPEN clamshell flip phone. No duplicate objects or people. PERSISTENT PHONE There is exactly ONE phone in the entire video. It is a compact early-2000s silver-grey OPEN clamshell flip phone. Upper half: small illuminated display and speaker. Lower half: physical numeric keypad, navigation buttons and microphone. Visible central mechanical hinge. LOCK its appearance throughout: same silver-grey colour, same dimensions, same thickness, same hinge, same display, same keypad, same buttons, same open angle. The same phone is seen in wide, medium and macro shots. It never transforms into another phone. PERSISTENT COFFEE Exactly ONE medium disposable PAPER coffee cup with ONE lightweight plastic drinking lid and dark coffee inside. Same cup, same lid, same coffee and same proportions throughout. Before collision the lid is properly attached. Coffee remains inside until a real physical opening appears. HAND OWNERSHIP Before collision: RIGHT HAND = ONE OPEN flip phone held to the RIGHT ear. LEFT HAND = ONE coffee cup. Sunglasses = naturally worn by the protagonist. After collision: RIGHT HAND = COMPLETELY EMPTY. LEFT HAND = COMPLETELY EMPTY. Nothing replaces the phone or cup. Nothing remains attached to either palm. 0.0–2.0s — CINEMATIC CHARACTER REVEAL Begin with an extreme low close-up of the protagonist’s black leather heeled boots walking naturally across the pedestrian space. Camera performs ONE elegant continuous movement: smooth crane upward + gentle backward tracking. Reveal progressively: boots → legs → ripped light-blue baggy jeans → black corset → white tank top → jewelry/accessories → sunglasses → face → nearly full body. The protagonist wears the SAME sunglasses from REFERENCE IMAGE 3. She holds the SAME OPEN silver-grey flip phone to her RIGHT ear and the SAME coffee cup in her LEFT hand. She is actively having a phone conversation. Show subtle realistic speech: natural lip movement, jaw movement and mouth articulation. Maintain exact identity from REFERENCE IMAGE 1. Premium live-action fashion cinematography. 2.0–3.7s — WALKING / SECONDARY PERSON Maintain smooth frontal tracking. The protagonist continues walking naturally through the pedestrian area. Exactly ONE secondary person approaches from the opposite direction. That person holds exactly ONE leash attached to exactly ONE Labrador. The Labrador walks slightly ahead and gently pulls the person forward. They remain background/supporting elements. Maintain: stable protagonist identity, stable hairstyle, stable clothing, stable sunglasses, same phone, same coffee. 3.7–4.4s — ACCIDENTAL COLLISION As they pass each other, the secondary person’s ELBOW accidentally clips the protagonist’s arm/upper torso. Small, accidental, believable contact. The protagonist naturally recoils backward. This SAME collision causes THREE physical release events. SUNGLASSES The sunglasses from REFERENCE IMAGE 3 receive ONE short realistic outward impulse. They separate naturally from the protagonist’s face. They travel only a short physically believable distance. They do NOT fly toward the camera. COFFEE The SAME coffee cup leaves the LEFT hand. It receives one short outward/downward rotational impulse. The cup tilts and rotates. Because of the rotation and liquid inertia, ONE EDGE of the lightweight plastic lid partially pops loose from the cup rim. The lid does not disappear and does not explode away. A real physical gap forms between lid and rim. ONLY THEN does dark coffee begin escaping through this opening. Initial liquid movement is restrained. PHONE The SAME OPEN clamshell phone leaves the RIGHT hand. It receives one short outward/upward impulse. It keeps the SAME open angle and physical design. The instant it separates from the fingers: RIGHT HAND = EMPTY. The instant the cup separates: LEFT HAND = EMPTY. FACE / HAIR CONTINUITY Preserve the exact face from REFERENCE IMAGE 1 during the entire collision. The natural human eyes already exist behind the sunglasses. When the sunglasses separate, reveal the SAME normal eyes: stable pupils, eyelids, gaze direction, brows, nose, cheekbones and facial symmetry. Do not regenerate or alter the face. Hair remains stable with only subtle realistic inertia. No sudden hairstyle change. 4.4–5.2s — BULLET-TIME ESTABLISHMENT Time decelerates dramatically to approximately 2–3% normal speed. DO NOT immediately go into macro. FIRST show a clear medium-wide frozen view of the entire accident. The protagonist is beginning to fall backward. BOTH HANDS ARE EMPTY. Establish fixed WORLD-SPACE anchors: • sunglasses suspended near their release position; • coffee cup suspended lower and toward the LEFT-hand release side; • partially detached lid still connected to or immediately beside the cup; • restrained coffee beginning to escape through the opening; • OPEN flip phone suspended toward the RIGHT-hand release side. Objects move only microscopically. They do NOT move toward the camera. The CAMERA is the main moving element. 5.2–6.8s — SUNGLASSES HERO INSPECTION The sunglasses remain almost completely stationary at their existing world-space position. CAMERA physically dollies toward them. The sunglasses become larger ONLY because the camera gets closer. Once close, slow the camera dramatically. HOLD. Perform a restrained 20–30 degree camera orbit/parallax around the almost-stationary sunglasses. Reveal: dark shield lens, thin metallic/gold frame, temples, hinges, edges, material thickness, surface reflections, tiny manufacturing details. Use shallow photographic macro depth of field. The protagonist and sunset environment remain softly recognizable in the background. The sunglasses must look like a real luxury fashion accessory photographed with a macro cinema lens, NOT CGI product animation. Complete the inspection before moving away. 6.8–8.3s — COFFEE / LIQUID INSPECTION Only after completing the sunglasses inspection, the CAMERA leaves them at their existing world-space position. Travel diagonally through the frozen scene toward the SAME coffee cup. THE CUP DOES NOT MOVE TOWARD THE CAMERA. Hold a photographic macro close-up. Show: same paper cup, same lightweight plastic lid, ONE partially detached lid edge, clear physical gap, dark coffee escaping ONLY through that gap. Real restrained liquid physics: thin irregular stream, imperfect liquid sheet, several differently sized droplets, realistic surface tension, natural reflections. No explosive splash. No decorative CGI liquid. No perfect artificial shapes. Coffee advances only microscopically during bullet time. Perform a small restrained lateral/parallax camera movement around the cup, lid and droplets. HOLD long enough to see paper texture, plastic texture, liquid thickness and individual droplets. 8.3–9.8s — FLIP PHONE INSPECTION Only after coffee inspection, the CAMERA travels away from the cup. The cup, lid and droplets remain at their existing world-space positions. CAMERA moves through the same frozen scene toward the SINGLE OPEN silver-grey clamshell phone. THE PHONE DOES NOT MOVE TOWARD THE CAMERA. First establish the complete phone silhouette: same silver-grey housing, same upper display, same lower keypad, same central hinge, same open angle. Then CAMERA physically approaches the existing upper display. Extreme photographic macro close-up. The illuminated display reads: BOSS with one small realistic phone number underneath. HOLD. Show: real housing material, hinge, keypad texture, small scratches, surface wear, screen reflections. The phone does NOT transform to reveal its screen. It is the SAME phone seen from the beginning. The protagonist’s RIGHT HAND remains completely EMPTY in the background. 9.8–10.4s — COMPLETE FROZEN TABLEAU After phone inspection, CAMERA performs a fast but perfectly smooth dolly backward. All objects remain at their existing world-space positions. Reveal: same protagonist falling backward, both hands empty, same sunglasses, same coffee cup, same partially detached lid, same suspended coffee droplets, same OPEN flip phone, exactly one secondary person, exactly one Labrador. All positions must remain spatially consistent with the original collision and release trajectories. No object follows the camera. No object teleports. No object regenerates. Brief HOLD on the complete frozen tableau. 10.4–12.0s — TIME RETURNS / PHYSICAL PAYOFF Time suddenly snaps back to normal speed. Gravity and existing momentum resume simultaneously. Every object continues FROM ITS EXISTING WORLD-SPACE POSITION. The protagonist completes her backward fall naturally. The sunglasses continue from their suspended position and land according to their existing momentum and gravity. The coffee cup continues from its own separate position, impacts the cobblestone ground, the partially detached lid reacts naturally, and remaining coffee spills irregularly through the real opening and impact point. The OPEN flip phone continues from its own separate position, hits the ground and makes ONE small physically believable bounce. Objects land at DIFFERENT plausible locations. They do NOT suddenly converge beside the protagonist. CAMERA rapidly tilts/drops toward ground level to follow the final impacts. Finish with a cinematic low-angle composition showing the fallen protagonist and the scattered objects within the same believable sunset environment. Hard cut. BULLET-TIME CAMERA RULE — NON-NEGOTIABLE BULLET TIME = ALMOST-FROZEN PHYSICAL WORLD + FREELY MOVING CAMERA. Objects stay in WORLD SPACE. Camera moves through WORLD SPACE. Close-up is created ONLY by reducing camera-to-object distance. Never: move objects toward the lens, artificially enlarge objects, teleport objects, regenerate macro versions. STRICT CAMERA ROUTE: FULL FROZEN TABLEAU → CAMERA DOLLIES TO SUNGLASSES → HOLD → 20–30° CAMERA ORBIT → CAMERA TRAVELS TO COFFEE → HOLD → SMALL CAMERA PARALLAX → CAMERA TRAVELS TO PHONE → ESTABLISH COMPLETE PHONE → MOVE TO DISPLAY → HOLD → CAMERA DOLLIES BACK TO COMPLETE TABLEAU → TIME RETURNS CONTINUITY / CAUSALITY Wide shot → medium shot → macro shot = SAME physical object viewed from different camera distances. Sunglasses: same object, same design, same trajectory, same world-space identity. Coffee: same cup, same lid, same coffee, same rotation, same world-space identity. Phone: same open clamshell phone, same housing, hinge, keypad, display, open angle and world-space identity. Every visible change must have a physical cause. Collision causes recoil. Collision momentum separates sunglasses. Finger release changes phone position. Hand release + collision momentum rotates cup. Cup rotation/liquid inertia partially opens lid. Coffee escapes only through the physical gap. Camera movement creates apparent object scale. Gravity resumes final fall. Treat the entire sequence as ONE continuous practical-effects event photographed with a motion-control cinema camera. IDENTITY / PROP LOCK ONE protagonist. ONE secondary person. ONE Labrador. ONE leash. ONE pair of sunglasses. ONE coffee cup. ONE lid. ONE OPEN flip phone. Before collision: RIGHT HAND = phone. LEFT HAND = coffee. Sunglasses = worn. After collision: RIGHT HAND = EMPTY. LEFT HAND = EMPTY. Sunglasses = separated. No second phone. No second cup. No second sunglasses. No additional dog. No additional person. No unexplained props. No duplication. No teleportation. No unexplained scale changes. VISUAL PRIORITY 1. exact protagonist identity from REFERENCE IMAGE 1 2. natural eyes and facial anatomy 3. stable hairstyle and body proportions 4. exact clothing and accessories 5. exact sunglasses from REFERENCE IMAGE 3 6. stable phone geometry 7. empty hands after release 8. continuous physical trajectories 9. realistic environment inspired by REFERENCE IMAGE 2 PHOTOGRAPHIC REALISM Ultra-photorealistic LIVE-ACTION. High-budget international luxury fashion campaign. Real human anatomy. Natural skin pores. Natural facial micro-expressions. Detailed realistic hair. Real manufactured sunglasses. Real paper cup. Real plastic lid. Real liquid coffee. Real early-2000s flip phone. Real object mass, inertia, gravity, momentum and surface tension. ARRI Alexa 35 cinematic character. Premium cinema optics. Motivated sunset lighting inspired by REFERENCE IMAGE 2. Controlled highlights. Natural skin tones. Realistic optical depth of field. Shallow macro depth of field during object inspections. Subtle 35mm film texture. Restrained luxury editorial colour grade. Natural colours. Sharp optical clarity. Cinematic photographic texture. Bullet-time must feel like REAL high-speed practical photography with a motion-control cinema camera, NOT CGI product animation. 4K / Ultra HD. Maximum facial detail. Maximum hair detail. Maximum material fidelity. Stable identity. Stable geometry. Stable prop continuity.

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