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Lighting destruction

mala

13,493 subscribers

3,173,223 views • 3 months ago •via X (Twitter)

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We're currently working on the endgame fight cinematic and need your help! We're looking for volunteers experienced in any of the following: lighting, rendering, set dressing, VFX arts, and/or destruction simulation Apply as a #3DArtist at:

We're currently working on the endgame fight cinematic and need your help! We're looking for volunteers experienced in any of the following: lighting, rendering, set dressing, VFX arts, and/or destruction simulation Apply as a #3DArtist at:

Skyblivion

14,544 views • 10 months ago

There's never a 'valid' reason to post these endless clips of violence/death/destruction. Some people think it's a non-lethal way of alerting the community to stop, hi-lighting cultural degradation and repugnant behavior. I'm told I do it because I'm Rays sis.

There's never a 'valid' reason to post these endless clips of violence/death/destruction. Some people think it's a non-lethal way of alerting the community to stop, hi-lighting cultural degradation and repugnant behavior. I'm told I do it because I'm Rays sis.

Dane

141,610 views • 1 year ago

Mike Benz predicts destruction of J6 pipe bomber evidence by DOJ officials after Trump selects Matt Gaetz for AG: "If you see smoke tonight lighting up your sunset. If you live in the DMV area— those are the files on January 6th, of the pipe bomber investigation."

Mike Benz predicts destruction of J6 pipe bomber evidence by DOJ officials after Trump selects Matt Gaetz for AG: "If you see smoke tonight lighting up your sunset. If you live in the DMV area— those are the files on January 6th, of the pipe bomber investigation."

Benny Johnson

615,513 views • 1 year ago

$Just did a Flux 3 vs Seedance 2.0 comparison TechieSA they’re both good! 🤩 My prompt settings were: 20s & 15s, pretty similar flow tbh Build the monster, city, scale, and destruction entirely from text." style: "Photorealistic kaiju disaster film, stormy coastal metropolis, grounded structural destruction." visual_feel: "Rapid creature movement, controlled camera, heavy impacts, rain, spray, dust, readable tentacle action." duration: "15 seconds" character_modeling: octopus_monster: base: "A colossal deep-sea octopus taller than nearby skyscrapers." features: "Dark crimson-purple wet skin, pale eyes, rough suction cups, scarred mantle, eight massive muscular tentacles." movement_in_this_scene: "It never stops or poses. Four tentacles pull its body rapidly forward while the others destroy obstacles." cinematic_storyboard: 00_02_street_attack: camera: "Low street tracking backward, steady." action: "The monster crashes in immediately. One tentacle crushes buses and streetlights while another grips a glass tower." lighting: "Cold storm daylight, red siren reflections." vfx: "Water spray, glass, asphalt debris." 02_05_tower_pull: camera: "Wide rooftop side tracking." action: "Still advancing, it yanks the tower sideways. Lower floors shear apart and the structure collapses behind it." lighting: "Lightning through dark clouds." vfx: "Concrete dust, sparks, falling glass." 05_08_city_run: camera: "High aerial follow, controlled." action: "It races through several intersections. Each tentacle strike cracks roads and throws vehicles aside." lighting: "Steel-blue rain light." vfx: "Puddle bursts, fractured pavement, smoke." 08_12_block_vault: camera: "Wide frontal pull-back." action: "The monster plants two tentacles on opposite buildings, compresses, then vaults across a full city block, tearing signs and balconies free." lighting: "Storm backlight and orange fire glow." vfx: "Debris wake, rain trails, displaced smoke." 12_15_final_charge: camera: "Extreme wide slow pull-out." action: "It lands near the waterfront, sweeps through cranes and warehouses, then surges toward downtown as towers collapse behind it." lighting: "Lightning silhouette over burning streets." vfx: "Water plume, collapsing cranes, dust waves, embers." production_notes: audio_design: "Deep creature roars, rain, sirens, metal tearing, heavy impact bass." critical_constraint: "Destruction begins on frame one. Keep all eight tentacles connected, distinct, and readable. Fast creature action with controlled camera." avoid: "Slow opening, idle posing, extra limbs, tangled tentacles, anatomy drift, temporal flicker, weightless debris, chaotic camera."$

Just did a Flux 3 vs Seedance 2.0 comparison TechieSA they’re both good! 🤩 My prompt settings were: 20s & 15s, pretty similar flow tbh Build the monster, city, scale, and destruction entirely from text." style: "Photorealistic kaiju disaster film, stormy coastal metropolis, grounded structural destruction." visual_feel: "Rapid creature movement, controlled camera, heavy impacts, rain, spray, dust, readable tentacle action." duration: "15 seconds" character_modeling: octopus_monster: base: "A colossal deep-sea octopus taller than nearby skyscrapers." features: "Dark crimson-purple wet skin, pale eyes, rough suction cups, scarred mantle, eight massive muscular tentacles." movement_in_this_scene: "It never stops or poses. Four tentacles pull its body rapidly forward while the others destroy obstacles." cinematic_storyboard: 00_02_street_attack: camera: "Low street tracking backward, steady." action: "The monster crashes in immediately. One tentacle crushes buses and streetlights while another grips a glass tower." lighting: "Cold storm daylight, red siren reflections." vfx: "Water spray, glass, asphalt debris." 02_05_tower_pull: camera: "Wide rooftop side tracking." action: "Still advancing, it yanks the tower sideways. Lower floors shear apart and the structure collapses behind it." lighting: "Lightning through dark clouds." vfx: "Concrete dust, sparks, falling glass." 05_08_city_run: camera: "High aerial follow, controlled." action: "It races through several intersections. Each tentacle strike cracks roads and throws vehicles aside." lighting: "Steel-blue rain light." vfx: "Puddle bursts, fractured pavement, smoke." 08_12_block_vault: camera: "Wide frontal pull-back." action: "The monster plants two tentacles on opposite buildings, compresses, then vaults across a full city block, tearing signs and balconies free." lighting: "Storm backlight and orange fire glow." vfx: "Debris wake, rain trails, displaced smoke." 12_15_final_charge: camera: "Extreme wide slow pull-out." action: "It lands near the waterfront, sweeps through cranes and warehouses, then surges toward downtown as towers collapse behind it." lighting: "Lightning silhouette over burning streets." vfx: "Water plume, collapsing cranes, dust waves, embers." production_notes: audio_design: "Deep creature roars, rain, sirens, metal tearing, heavy impact bass." critical_constraint: "Destruction begins on frame one. Keep all eight tentacles connected, distinct, and readable. Fast creature action with controlled camera." avoid: "Slow opening, idle posing, extra limbs, tangled tentacles, anatomy drift, temporal flicker, weightless debris, chaotic camera."

Jin.B

57,075 views • 1 month ago

This one is dedicated to all the mothers and sisters who’s sons and brothers won’t be lighting candles this Chanukah. We try to find the light of Chanukah this year in the darkness of tragedy and heart break. Our hearts once again united in pain, how do we move forward? We move forward with the infinite knowledge that we are the light. No matter how much darkness, the Jewish people will rise and shine through it just like the Menorah that shines through the destruction of the Temple. In the spirit of our ancestors, we draw down the light of ancient Maccabee warriors as we move forward into the light of Mosiach. #ancientchild #happychanuka #nowomannocry

This one is dedicated to all the mothers and sisters who’s sons and brothers won’t be lighting candles this Chanukah. We try to find the light of Chanukah this year in the darkness of tragedy and heart break. Our hearts once again united in pain, how do we move forward? We move forward with the infinite knowledge that we are the light. No matter how much darkness, the Jewish people will rise and shine through it just like the Menorah that shines through the destruction of the Temple. In the spirit of our ancestors, we draw down the light of ancient Maccabee warriors as we move forward into the light of Mosiach. #ancientchild #happychanuka #nowomannocry

Matisyahu

17,134 views • 8 months ago

Yo, when we talk about the greatest fast bowlers ever, legendary Michael Holding has to be in the conversation every single time. That run-up was like poetry. It was smooth, silent, and then pure lighting. There’s a reason they called him the 'Whispering Death.' You didn't hear him coming until the ball was whistling past your ears at serious pace. That '76 over at the Oval is still one of the most terrifying things ever caught on camera. No answer. No escape. It was just effortless destruction. 249 Test wickets at 23.68, and he did it with the most beautiful action the game has ever seen. Massive respect to a pioneer of the game. 🇯🇲🫡 #CricketHeritage #WeymarOnCricket

Yo, when we talk about the greatest fast bowlers ever, legendary Michael Holding has to be in the conversation every single time. That run-up was like poetry. It was smooth, silent, and then pure lighting. There’s a reason they called him the 'Whispering Death.' You didn't hear him coming until the ball was whistling past your ears at serious pace. That '76 over at the Oval is still one of the most terrifying things ever caught on camera. No answer. No escape. It was just effortless destruction. 249 Test wickets at 23.68, and he did it with the most beautiful action the game has ever seen. Massive respect to a pioneer of the game. 🇯🇲🫡 #CricketHeritage #WeymarOnCricket

WeymarOnCricket

31,722 views • 4 months ago

After two months, three males have been taken into custody after a street takeover left a Montgomery County police cruiser destroyed in Chevy Chase, Maryland🚨 (with one suspect being released to their parents) The street takeover occurred on February 22nd at around 12:30am in the intersection of Connecticut Ave and East-West Highway. During the takeover, two MCPD police cruisers were damaged while officers were inside. A 17 year-old boy from Laurel, MD was charged with several offenses and was later released to his parents. 18 year-old Ayden Joseph Cline of Cumberland, Pennsylvania was seen lighting a flare while sitting on top of a police car and is now charged with reckless endangerment, disorderly conduct, malicious destruction of property, failure to obey lawful orders, and obstruction and hindering. 20 year-old Novorriya Gregory Smith Jr. of Lusby, Maryland is accused of smashing out the police sergeant’s rear windshield with a fire extinguisher and then pulling down his pants to expose himself to the officer. Cline and Smith are being held without bond at the Montgomery County Central Processing Unit, while the juvenile was released to a parent/guardian…

After two months, three males have been taken into custody after a street takeover left a Montgomery County police cruiser destroyed in Chevy Chase, Maryland🚨 (with one suspect being released to their parents) The street takeover occurred on February 22nd at around 12:30am in the intersection of Connecticut Ave and East-West Highway. During the takeover, two MCPD police cruisers were damaged while officers were inside. A 17 year-old boy from Laurel, MD was charged with several offenses and was later released to his parents. 18 year-old Ayden Joseph Cline of Cumberland, Pennsylvania was seen lighting a flare while sitting on top of a police car and is now charged with reckless endangerment, disorderly conduct, malicious destruction of property, failure to obey lawful orders, and obstruction and hindering. 20 year-old Novorriya Gregory Smith Jr. of Lusby, Maryland is accused of smashing out the police sergeant’s rear windshield with a fire extinguisher and then pulling down his pants to expose himself to the officer. Cline and Smith are being held without bond at the Montgomery County Central Processing Unit, while the juvenile was released to a parent/guardian…

The DC MD VA Live

29,351 views • 4 months ago

Made this cinematic sequence using Seedance 2.5 The realism, camera movements, water physics, explosions, and intense atmosphere are on another level. AI video generation is getting seriously cinematic. Prompt ⤵️ Create a 30-second ultra-realistic cinematic disaster sequence with a dark, intense, Hollywood-blockbuster atmosphere. Main character: A young woman with short, messy dark hair, wearing a soaked white T-shirt and light-colored shorts. Keep her appearance consistent throughout the entire video. Her face should remain realistic and expressive, showing fear, shock, exhaustion, and determination. Scene 1 — 0–5 seconds: Open with an extreme close-up of the woman running toward the camera through a dark industrial shipping yard at night. Heavy rain is falling, her hair and clothes are completely wet, and she is breathing heavily. Behind her, bright industrial lights glow through thick smoke and mist. The camera moves backward smoothly while maintaining focus on her face. Add realistic rain droplets on the camera lens, dramatic backlighting, atmospheric fog, and handheld cinematic movement. Scene 2 — 5–10 seconds: Cut to a wider shot as she runs through the flooded container yard. Large shipping containers surround her, emergency lights flash in the distance, and explosions/fire erupt behind her. She looks over her shoulder in panic while continuing to run. Water splashes dramatically around her legs with every step. Use realistic fire, smoke, debris, rain, and volumetric lighting. Scene 3 — 10–15 seconds: She suddenly loses her balance and falls into the flooded ground. Show the impact in slow motion for a moment, with water splashing around her. She quickly pushes herself back up while terrified people run in the background. A massive wave of smoke, debris, and water moves through the shipping yard behind them. Use a low-angle camera close to the ground for a powerful disaster-movie perspective. Scene 4 — 15–21 seconds: She gets back on her feet and starts sprinting toward safety. The camera tracks alongside her at high speed. Containers shake, debris flies through the air, vehicles and objects are pushed around by the powerful force behind her. Keep her face and body consistent. Alternate between close-ups of her frightened expression and wide shots showing the enormous scale of destruction. Scene 5 — 21–25 seconds: She reaches a large modern building filled with terrified people. The camera follows her inside as everyone rushes toward safety. People are falling, crawling, and helping each other while water and debris can be seen outside through the entrance. The lighting changes from cold blue-gray exterior lighting to dramatic warm interior lighting. Scene 6 — 25–30 seconds: Suddenly transition to a massive luxury yacht in the middle of a violent ocean. Huge dark waves surround the vessel under a stormy sky. The camera starts behind the yacht and slowly reveals an enormous shark-like sea creature emerging from the ocean directly behind it, creating a terrifying final reveal. The creature rises through the waves with water cascading from its body. End with a gigantic wave crashing toward the yacht. Visual style: photorealistic Hollywood disaster film, cinematic color grading, realistic skin texture, physically accurate water and rain, volumetric fog, dramatic practical lighting, realistic fire and smoke, detailed environments, natural motion blur, shallow depth of field, dynamic camera movement, high contrast, atmospheric storm clouds, extremely detailed CGI, 4K cinematic quality. Camera: mixture of handheld close-ups, smooth tracking shots, wide establishing shots, low-angle disaster shots, slow-motion impact moments, and dramatic aerial/wide shots. Sound design: heavy rainfall, thunder, distant explosions, sirens, screaming crowds, footsteps splashing through water, crashing metal, deep cinematic bass, roaring waves, and an intense rising orchestral score that builds toward the final creature reveal.

Made this cinematic sequence using Seedance 2.5 The realism, camera movements, water physics, explosions, and intense atmosphere are on another level. AI video generation is getting seriously cinematic. Prompt ⤵️ Create a 30-second ultra-realistic cinematic disaster sequence with a dark, intense, Hollywood-blockbuster atmosphere. Main character: A young woman with short, messy dark hair, wearing a soaked white T-shirt and light-colored shorts. Keep her appearance consistent throughout the entire video. Her face should remain realistic and expressive, showing fear, shock, exhaustion, and determination. Scene 1 — 0–5 seconds: Open with an extreme close-up of the woman running toward the camera through a dark industrial shipping yard at night. Heavy rain is falling, her hair and clothes are completely wet, and she is breathing heavily. Behind her, bright industrial lights glow through thick smoke and mist. The camera moves backward smoothly while maintaining focus on her face. Add realistic rain droplets on the camera lens, dramatic backlighting, atmospheric fog, and handheld cinematic movement. Scene 2 — 5–10 seconds: Cut to a wider shot as she runs through the flooded container yard. Large shipping containers surround her, emergency lights flash in the distance, and explosions/fire erupt behind her. She looks over her shoulder in panic while continuing to run. Water splashes dramatically around her legs with every step. Use realistic fire, smoke, debris, rain, and volumetric lighting. Scene 3 — 10–15 seconds: She suddenly loses her balance and falls into the flooded ground. Show the impact in slow motion for a moment, with water splashing around her. She quickly pushes herself back up while terrified people run in the background. A massive wave of smoke, debris, and water moves through the shipping yard behind them. Use a low-angle camera close to the ground for a powerful disaster-movie perspective. Scene 4 — 15–21 seconds: She gets back on her feet and starts sprinting toward safety. The camera tracks alongside her at high speed. Containers shake, debris flies through the air, vehicles and objects are pushed around by the powerful force behind her. Keep her face and body consistent. Alternate between close-ups of her frightened expression and wide shots showing the enormous scale of destruction. Scene 5 — 21–25 seconds: She reaches a large modern building filled with terrified people. The camera follows her inside as everyone rushes toward safety. People are falling, crawling, and helping each other while water and debris can be seen outside through the entrance. The lighting changes from cold blue-gray exterior lighting to dramatic warm interior lighting. Scene 6 — 25–30 seconds: Suddenly transition to a massive luxury yacht in the middle of a violent ocean. Huge dark waves surround the vessel under a stormy sky. The camera starts behind the yacht and slowly reveals an enormous shark-like sea creature emerging from the ocean directly behind it, creating a terrifying final reveal. The creature rises through the waves with water cascading from its body. End with a gigantic wave crashing toward the yacht. Visual style: photorealistic Hollywood disaster film, cinematic color grading, realistic skin texture, physically accurate water and rain, volumetric fog, dramatic practical lighting, realistic fire and smoke, detailed environments, natural motion blur, shallow depth of field, dynamic camera movement, high contrast, atmospheric storm clouds, extremely detailed CGI, 4K cinematic quality. Camera: mixture of handheld close-ups, smooth tracking shots, wide establishing shots, low-angle disaster shots, slow-motion impact moments, and dramatic aerial/wide shots. Sound design: heavy rainfall, thunder, distant explosions, sirens, screaming crowds, footsteps splashing through water, crashing metal, deep cinematic bass, roaring waves, and an intense rising orchestral score that builds toward the final creature reveal.

Noor 🌸

22,868 views • 26 days ago

"Against the Void" - Space Battle Short Film with Grok Imagine 0.9 + prompts The ambush came without warning: fire and debris, then the dreadnought rising like death itself from behind the moon. Commander Reeves had one shot. He took it. 7-Prompt Sequence for Grok Imagine 0.9: PROMPT 1: POV cockpit, massive explosion ahead, debris flying at camera, enemy fighters streaking past canopy, orange instrument glow, motion blur, cinematic space battle PROMPT 2: Pilot hands pulling controls hard right, cockpit tilting, spinning starfield through window, enemy tracer fire, g-force blur, emergency alarms, banking maneuver PROMPT 3: Cockpit leveling, colossal enemy dreadnought emerging from behind moon, kilometers long, glowing engines, fighters launching, pilot hands on controls, epic scale reveal PROMPT 4: Enemy ship firing massive blue-white energy beams at camera, pilot yanking controls desperately, red alarms, beam passing close to canopy with lens flare, intense danger PROMPT 5: Targeting reticle locking on enemy bridge, pilot hand on trigger, missiles launching from wings, spiral trails toward target, defensive lasers firing, tense moment PROMPT 6: Massive explosion chain reaction across enemy hull, ship breaking apart, huge debris flying, reactor detonations, orange-white light flooding cockpit, catastrophic destruction PROMPT 7: Looking back at dying ship breaking in three sections, friendly fleet regrouping, planet below, pilot pushing throttle, sunrise lighting scene, victorious atmosphere

"Against the Void" - Space Battle Short Film with Grok Imagine 0.9 + prompts The ambush came without warning: fire and debris, then the dreadnought rising like death itself from behind the moon. Commander Reeves had one shot. He took it. 7-Prompt Sequence for Grok Imagine 0.9: PROMPT 1: POV cockpit, massive explosion ahead, debris flying at camera, enemy fighters streaking past canopy, orange instrument glow, motion blur, cinematic space battle PROMPT 2: Pilot hands pulling controls hard right, cockpit tilting, spinning starfield through window, enemy tracer fire, g-force blur, emergency alarms, banking maneuver PROMPT 3: Cockpit leveling, colossal enemy dreadnought emerging from behind moon, kilometers long, glowing engines, fighters launching, pilot hands on controls, epic scale reveal PROMPT 4: Enemy ship firing massive blue-white energy beams at camera, pilot yanking controls desperately, red alarms, beam passing close to canopy with lens flare, intense danger PROMPT 5: Targeting reticle locking on enemy bridge, pilot hand on trigger, missiles launching from wings, spiral trails toward target, defensive lasers firing, tense moment PROMPT 6: Massive explosion chain reaction across enemy hull, ship breaking apart, huge debris flying, reactor detonations, orange-white light flooding cockpit, catastrophic destruction PROMPT 7: Looking back at dying ship breaking in three sections, friendly fleet regrouping, planet below, pilot pushing throttle, sunrise lighting scene, victorious atmosphere

Alexandra Aisling

12,207 views • 10 months ago

Mugshot released of Chamel Abdulkarim, the man accused of starting the Ontario, California, fire that burned down the 1.2 million-square-foot Kimberly-Clark distribution center on Tuesday, causing an estimated $500 million in damages. The 29-year-old Abdulkarim invoked Luigi Mangione during his confession, say feds. He also allegedly filmed himself on Tuesday lighting the fires while complaining about not being paid enough for his work. He was arrested two miles from the scene, soon after the six-alarm fire brought 175 firefighters to battle the inferno. Abdulkarim faces federal arson charges in addition to state counts of aggravated arson. He could face anywhere from 10 years to LIFE IN PRISON due in part to the huge cost of damages to the property (which was a total loss) and the combination of federal and state charges. He’s a Highland resident and employee of NFI Industries, the logistics provider for the warehouse. A federal filing came late Thursday for him, after an ATF and FBI investigation, and a state arraignment is expected Monday. The federal affidavit alleges Abdulkarim filmed and posted video of himself setting fire to multiple pallets of paper goods inside the warehouse. The DOJ also alleges Abdulkarim sent communications boasting about the destruction. One message read, “I just cost these [expletive] billions.” Abdulkarim is being held without bail and will appear Monday for his state arraignment.

Mugshot released of Chamel Abdulkarim, the man accused of starting the Ontario, California, fire that burned down the 1.2 million-square-foot Kimberly-Clark distribution center on Tuesday, causing an estimated $500 million in damages. The 29-year-old Abdulkarim invoked Luigi Mangione during his confession, say feds. He also allegedly filmed himself on Tuesday lighting the fires while complaining about not being paid enough for his work. He was arrested two miles from the scene, soon after the six-alarm fire brought 175 firefighters to battle the inferno. Abdulkarim faces federal arson charges in addition to state counts of aggravated arson. He could face anywhere from 10 years to LIFE IN PRISON due in part to the huge cost of damages to the property (which was a total loss) and the combination of federal and state charges. He’s a Highland resident and employee of NFI Industries, the logistics provider for the warehouse. A federal filing came late Thursday for him, after an ATF and FBI investigation, and a state arraignment is expected Monday. The federal affidavit alleges Abdulkarim filmed and posted video of himself setting fire to multiple pallets of paper goods inside the warehouse. The DOJ also alleges Abdulkarim sent communications boasting about the destruction. One message read, “I just cost these [expletive] billions.” Abdulkarim is being held without bail and will appear Monday for his state arraignment.

Paul A. Szypula 🇺🇸

453,268 views • 5 months ago

$Nano Banana Pro can generate 360-degree visuals, so I wanted to test it. I built a small mini-project using Antigravity to test full 360° visuals. Prompt ⤵️, check the video fofr thanks for the prompt super inspired. { "image_meta": { "type": "360-degree Equirectangular Panorama Screenshot", "source_aesthetic": "Google Street View Interface", "platform": "Desktop Browser", "projection": "Full spherical equirectangular", "aspect_ratio": "2:1", "resolution": "Ultra-high resolution panoramic capture" }, "interface_overlay": { "top_left_panel": { "type": "Black info card", "text_content": "Troy (Ilion), Anatolia", "sub_text": "Google Street View - Approx. 12th century BC", "icons": "Back arrow, Location pin, Kebab menu" }, "search_bar": { "position": "Top left floating", "content": "Search Google Maps", "icons": "Hamburger menu, Magnifying glass, Directions arrow" }, "bottom_left": { "element": "Map inset widget", "style": "Ancient parchment-style minimap", "labels": "Troy Citadel, Scaean Gate", "icons": "Landmark pins, yellow humanoid pegman" }, "bottom_right": { "controls": "Zoom (+/-) buttons, Compass widget, Street View navigation arrows" }, "top_right": "Share button and Close (X) button pills" }, "scene_composition": { "location": "City of Troy, moments after the Trojan Horse is pulled inside the city walls", "camera_position": "Fixed at the exact center of the street", "camera_height": "Google Street View vehicle-mounted height (anachronistic)", "field_of_view": "360° horizontal, 180° vertical", "projection_behavior": "Correct equirectangular distortion near poles", "weather": "Clear daylight, calm atmosphere", "depth_of_field": "Infinite focus (deep focus across entire panorama)" }, "visual_elements": { "foreground": { "surface": "Stone-paved Bronze Age street with dirt, wear, and uneven stones", "markings": "No modern road markings", "shadows": "Hard daylight shadows wrapping naturally around the full 360 panorama" }, "midground_subjects": { "central_object": "Massive wooden Trojan Horse, visible from multiple angles across the panorama, detailed wood grain and rope bindings", "pedestrians": [ { "description": "Trojan civilians and soldiers positioned all around the camera", "attire": "Bronze Age tunics, leather sandals, simple armor", "action": "Standing, celebrating, observing the horse", "privacy_effect": "Faces blurred with modern Google Street View-style gaussian blur" } ], "architecture": { "walls": "High stone fortification walls of Troy surrounding the viewer", "buildings": "Ancient stone and mudbrick houses with flat roofs visible in all directions" } }, "environment": { "details": "Discarded shields, spears, ropes, and celebration debris scattered around the street", "sky": "Clear blue sky occupying the upper hemisphere of the panorama", "ground": "Stone street and dirt occupying the lower hemisphere", "atmosphere": "Calm, historically unaware of impending destruction" } }, "rendering_style": { "lighting": "Harsh natural midday sunlight", "color_grading": "Muted earth tones, realistic daylight balance", "texture_quality": { "description": "Digital Street View photography aesthetic", "artifacts": "Slight JPEG compression, mild over-sharpening", "stitching": "Seamless 360-degree panorama stitching, no visible seams" } }, "constraints": { "must_keep": [ "Google Maps UI overlay", "Street View spherical perspective", "Privacy blur on faces", "Trojan Horse clearly visible across multiple angles" ], "avoid": [ "Cinematic lighting", "Fantasy aesthetics", "Modern objects", "Clean UI-less photography", "Single-frame composition" ] }, "negative_prompt": [ "cinematic lighting", "fantasy art", "illustration", "painting", "modern city", "cars", "asphalt", "hdr", "depth blur", "clean photograph", "no ui", "frame", "border", "cropped view", "broken panorama seams" ] }$

Nano Banana Pro can generate 360-degree visuals, so I wanted to test it. I built a small mini-project using Antigravity to test full 360° visuals. Prompt ⤵️, check the video fofr thanks for the prompt super inspired. { "image_meta": { "type": "360-degree Equirectangular Panorama Screenshot", "source_aesthetic": "Google Street View Interface", "platform": "Desktop Browser", "projection": "Full spherical equirectangular", "aspect_ratio": "2:1", "resolution": "Ultra-high resolution panoramic capture" }, "interface_overlay": { "top_left_panel": { "type": "Black info card", "text_content": "Troy (Ilion), Anatolia", "sub_text": "Google Street View - Approx. 12th century BC", "icons": "Back arrow, Location pin, Kebab menu" }, "search_bar": { "position": "Top left floating", "content": "Search Google Maps", "icons": "Hamburger menu, Magnifying glass, Directions arrow" }, "bottom_left": { "element": "Map inset widget", "style": "Ancient parchment-style minimap", "labels": "Troy Citadel, Scaean Gate", "icons": "Landmark pins, yellow humanoid pegman" }, "bottom_right": { "controls": "Zoom (+/-) buttons, Compass widget, Street View navigation arrows" }, "top_right": "Share button and Close (X) button pills" }, "scene_composition": { "location": "City of Troy, moments after the Trojan Horse is pulled inside the city walls", "camera_position": "Fixed at the exact center of the street", "camera_height": "Google Street View vehicle-mounted height (anachronistic)", "field_of_view": "360° horizontal, 180° vertical", "projection_behavior": "Correct equirectangular distortion near poles", "weather": "Clear daylight, calm atmosphere", "depth_of_field": "Infinite focus (deep focus across entire panorama)" }, "visual_elements": { "foreground": { "surface": "Stone-paved Bronze Age street with dirt, wear, and uneven stones", "markings": "No modern road markings", "shadows": "Hard daylight shadows wrapping naturally around the full 360 panorama" }, "midground_subjects": { "central_object": "Massive wooden Trojan Horse, visible from multiple angles across the panorama, detailed wood grain and rope bindings", "pedestrians": [ { "description": "Trojan civilians and soldiers positioned all around the camera", "attire": "Bronze Age tunics, leather sandals, simple armor", "action": "Standing, celebrating, observing the horse", "privacy_effect": "Faces blurred with modern Google Street View-style gaussian blur" } ], "architecture": { "walls": "High stone fortification walls of Troy surrounding the viewer", "buildings": "Ancient stone and mudbrick houses with flat roofs visible in all directions" } }, "environment": { "details": "Discarded shields, spears, ropes, and celebration debris scattered around the street", "sky": "Clear blue sky occupying the upper hemisphere of the panorama", "ground": "Stone street and dirt occupying the lower hemisphere", "atmosphere": "Calm, historically unaware of impending destruction" } }, "rendering_style": { "lighting": "Harsh natural midday sunlight", "color_grading": "Muted earth tones, realistic daylight balance", "texture_quality": { "description": "Digital Street View photography aesthetic", "artifacts": "Slight JPEG compression, mild over-sharpening", "stitching": "Seamless 360-degree panorama stitching, no visible seams" } }, "constraints": { "must_keep": [ "Google Maps UI overlay", "Street View spherical perspective", "Privacy blur on faces", "Trojan Horse clearly visible across multiple angles" ], "avoid": [ "Cinematic lighting", "Fantasy aesthetics", "Modern objects", "Clean UI-less photography", "Single-frame composition" ] }, "negative_prompt": [ "cinematic lighting", "fantasy art", "illustration", "painting", "modern city", "cars", "asphalt", "hdr", "depth blur", "clean photograph", "no ui", "frame", "border", "cropped view", "broken panorama seams" ] }

Kaan

134,448 views • 7 months ago

Israel has granted a perpetrator of war crimes in Gaza the honor of lighting a ceremonial torch on Independence Day. By choosing Rabbi Avraham Zarbiv to represent “the spirit of the nation,” Israel is making genocide part of its official national ethos. “There’s nothing for them to go back to in Rafah and Jabalya… Tens of thousands of families have no documents, childhood photos, ID cards, homes. Nothing.” This boast was made by Rabbi Avraham Zarbiv, an Israeli Rabbi who perpetrated war crimes who has been chosen to light a torch at Israel’s Independence Day ceremony, today, April 21. This is one of the highest accolades in the country, granted to “exemplary citizens” who represent “the spirit of the nation.” Rabbi Zarbiv served about 500 days as a military reservist in Gaza over the last two and a half years. As a bulldozer operator during the genocide, he carried out war crimes of which he has openly boasted in videos he filmed, media interviews and public talks. Bestowing one of the highest civilian honors in Israel on a citizen who committed war crimes illustrates how deeply the dehumanization of Palestinians has taken root in the Israeli mainstream. It is yet another terrifying signal that genocide has officially become part of the national ethos. Rabbi Avraham Zarbiv is a regional rabbinical court judge for the settlement of Ariel, and head the pre-military academy in the settlement of Beit El that educates hundreds of Israeli youth. Choosing him as an “exemplary citizen” represents a state-level endorsement of the complete de-humanization of Palestinians, systematic destruction of Palestinian life and the governing logic of annihilation and ethnic cleansing in the Gaza Strip and the West Bank. Zarbiv is not ashamed of his actions, neither, clearly is the State of Israel. We’vecompiled some documentation here to mark the occasion.

Israel has granted a perpetrator of war crimes in Gaza the honor of lighting a ceremonial torch on Independence Day. By choosing Rabbi Avraham Zarbiv to represent “the spirit of the nation,” Israel is making genocide part of its official national ethos. “There’s nothing for them to go back to in Rafah and Jabalya… Tens of thousands of families have no documents, childhood photos, ID cards, homes. Nothing.” This boast was made by Rabbi Avraham Zarbiv, an Israeli Rabbi who perpetrated war crimes who has been chosen to light a torch at Israel’s Independence Day ceremony, today, April 21. This is one of the highest accolades in the country, granted to “exemplary citizens” who represent “the spirit of the nation.” Rabbi Zarbiv served about 500 days as a military reservist in Gaza over the last two and a half years. As a bulldozer operator during the genocide, he carried out war crimes of which he has openly boasted in videos he filmed, media interviews and public talks. Bestowing one of the highest civilian honors in Israel on a citizen who committed war crimes illustrates how deeply the dehumanization of Palestinians has taken root in the Israeli mainstream. It is yet another terrifying signal that genocide has officially become part of the national ethos. Rabbi Avraham Zarbiv is a regional rabbinical court judge for the settlement of Ariel, and head the pre-military academy in the settlement of Beit El that educates hundreds of Israeli youth. Choosing him as an “exemplary citizen” represents a state-level endorsement of the complete de-humanization of Palestinians, systematic destruction of Palestinian life and the governing logic of annihilation and ethnic cleansing in the Gaza Strip and the West Bank. Zarbiv is not ashamed of his actions, neither, clearly is the State of Israel. We’vecompiled some documentation here to mark the occasion.

B'Tselem בצלם بتسيلم

121,971 views • 4 months ago

BREAKING:🚨 THIS IS THE MOMENT THE WORLD HOLDS ITS BREATH IRAN WALKED AWAY — AND NOW HISTORY IS MOVING This wasn’t a failed negotiation. This was a deliberate rejection of restraint. Iran didn’t say no to paperwork. They said no to limits. No to oversight. No to accountability. No to a future without fear. They demanded secrecy. They demanded silence. They demanded a deal stripped down to nukes only — while missiles, terror proxies, and regional chaos were declared “off-limits.” The United States answered with three words: All. Or. Nothing. Iran chose nothing. And with that choice, the illusion collapsed. This regime does not negotiate to make peace — it negotiates to buy time. Time to rebuild. Time to relocate. Time to rearm. And now the warning has been issued — publicly, unmistakably — by Donald Trump: The Supreme Leader should be very worried. Why? Because this has already happened once. Iran was weeks away from a nuclear weapon. Weeks — not years. And their program wasn’t “paused” or “inspected” or “monitored.” It was obliterated. Total destruction. Now the regime has done the unthinkable — it walked away from the table while quietly exploring new sites, new locations, new lies. That is not diplomacy breaking down. That is defiance. There is no such thing as a “nukes-only” threat. No separating warheads from missiles. No isolating enrichment from terror networks. You cannot negotiate with the bomb while ignoring the hand lighting the fuse. Iran believed the West would blink. They believed the warnings were theatre. They believed history would repeat itself. But history doesn’t always repeat. Sometimes it ends regimes. This is not about talks collapsing. This is about a regime exposing itself — once again — as incompatible with peace, stability, or truth. The clock is no longer ticking quietly. It’s ringing.

BREAKING:🚨 THIS IS THE MOMENT THE WORLD HOLDS ITS BREATH IRAN WALKED AWAY — AND NOW HISTORY IS MOVING This wasn’t a failed negotiation. This was a deliberate rejection of restraint. Iran didn’t say no to paperwork. They said no to limits. No to oversight. No to accountability. No to a future without fear. They demanded secrecy. They demanded silence. They demanded a deal stripped down to nukes only — while missiles, terror proxies, and regional chaos were declared “off-limits.” The United States answered with three words: All. Or. Nothing. Iran chose nothing. And with that choice, the illusion collapsed. This regime does not negotiate to make peace — it negotiates to buy time. Time to rebuild. Time to relocate. Time to rearm. And now the warning has been issued — publicly, unmistakably — by Donald Trump: The Supreme Leader should be very worried. Why? Because this has already happened once. Iran was weeks away from a nuclear weapon. Weeks — not years. And their program wasn’t “paused” or “inspected” or “monitored.” It was obliterated. Total destruction. Now the regime has done the unthinkable — it walked away from the table while quietly exploring new sites, new locations, new lies. That is not diplomacy breaking down. That is defiance. There is no such thing as a “nukes-only” threat. No separating warheads from missiles. No isolating enrichment from terror networks. You cannot negotiate with the bomb while ignoring the hand lighting the fuse. Iran believed the West would blink. They believed the warnings were theatre. They believed history would repeat itself. But history doesn’t always repeat. Sometimes it ends regimes. This is not about talks collapsing. This is about a regime exposing itself — once again — as incompatible with peace, stability, or truth. The clock is no longer ticking quietly. It’s ringing.

Jim Ferguson

1,163,306 views • 7 months ago

Gpt image 2 + Seedance 2.5 on Pollo AI Prompt: Concept: The Door Beneath the Mountain A completely different story: the warriors aren't fighting for victory. They discover an ancient door buried beneath a ruined fortress, and the Magma Greatsword becomes the key. SUBJECT ANCHOR 1: >> — Ash Knight SUBJECT ANCHOR 2: >> — Obsidian Rival PROP ANCHOR: >> — Magma Greatsword DURATION: 30 seconds ASPECT RATIO: 16:9 FORMAT: Epic cinematic dark-fantasy short CAMERA: Large-format cinema, 24mm / 35mm / 50mm / 85mm FRAME RATE: 24fps with selective 60fps slow motion STORY An ancient fortress has been buried beneath a volcanic mountain for centuries. Ash Knight arrives searching for something hidden inside. Obsidian Rival has already found the entrance. Instead of a traditional duel, the two discover that the Magma Greatsword is the key to opening a gigantic sealed doorway beneath the mountain. What lies behind it becomes the final reveal. --- 00:00–00:05 — THE RUIN Open with a massive aerial shot of a ruined fortress built into the side of a volcanic mountain. Heavy clouds move slowly across the peak. Ash drifts through the air. The camera descends toward a gigantic stone courtyard. Obsidian Rival stands alone beside a wall covered in ancient symbols. At the opposite end of the courtyard, Ash Knight enters through the mist. Establish both characters clearly. --- 00:05–00:09 — THE DISCOVERY 50mm tracking shot. Obsidian Rival places his polearm against the ground and touches an enormous stone symbol. Nothing happens. Ash Knight approaches. The camera moves around them, revealing that the entire courtyard is built around a gigantic circular stone door. The door is covered in ancient carvings. A narrow slot is visible at its center. It perfectly matches the shape of the Magma Greatsword. --- 00:09–00:13 — THE KEY 85mm macro shot. Ash Knight slowly draws the Magma Greatsword. The exact blade from >>. Its red lava veins pulse beneath the forged metal. The camera travels along the blade. The ancient symbols on the door begin glowing faintly in response. Ash Knight looks toward the door. --- 00:13–00:17 — THE CHOICE 35mm two-shot. Ash Knight approaches the doorway. Obsidian Rival remains beside him. Neither attacks. Ash Knight places the Greatsword into the stone mechanism. The sword locks perfectly into place. A deep vibration travels through the ground. Tiny stones begin falling from the surrounding walls. --- 00:17–00:21 — THE DOOR The gigantic circular door begins rotating. Slowly. Very slowly. The camera pulls backward to reveal its enormous scale. Red light travels through the ancient carvings. The mountain above them begins glowing from within. The two warriors remain completely still. --- 00:21–00:25 — THE REVEAL The door opens just enough to reveal darkness beyond it. The camera slowly moves toward the opening. Inside is an enormous underground chamber. Thousands of ancient stone structures hang suspended in the darkness. At the center is a gigantic floating crystalline structure. It emits a soft white light. --- 00:25–00:28 — THE AWAKENING The crystalline structure activates. A wave of light travels through the underground chamber. Ancient mechanisms begin illuminating one by one. The camera rises vertically, revealing the enormous hidden civilization beneath the mountain. Ash Knight and Obsidian Rival appear tiny at the entrance. --- 00:28–00:30 — FINAL IMAGE Extreme wide aerial shot. The volcanic mountain suddenly glows with a network of ancient illuminated pathways. The entire hidden structure beneath it becomes visible through cracks in the mountain. The two warriors remain at the doorway. The Magma Greatsword continues glowing in the mechanism. The camera slowly pulls farther away. CUT TO BLACK. No dialogue. No text. No title card. No logo. CHARACTER LOCK Preserve the exact reference appearance throughout. Ash Knight: identical armor, rune placement, cape, proportions, silhouette and identity. Obsidian Rival: identical dragon-scale armor, horned helmet, orange visor, proportions, silhouette and identity. Magma Greatsword: identical geometry, jagged edges, handle, surface texture and red lava-vein pattern. No redesign. No transformation. No identity drift. No duplicate characters. No weapon changes. No armor changes. CINEMATOGRAPHY 24mm for environmental scale. 35mm for character interaction. 50mm for dramatic compositions. 85mm for weapon and symbol details. Slow aerial descent. Controlled dolly. Smooth orbital movement. Slow crane reveal. Selective 60fps for the sword insertion and door mechanism. Natural motion blur. Realistic depth of field. Large-format cinema aesthetic. VISUAL DESIGN Volcanic mountain. Ancient black stone. Weathered architecture. Deep charcoal atmosphere. Red internal illumination. Cold white crystalline light. Subtle orange reflection from the Obsidian Rival's visor. Heavy mist. Floating ash. Realistic stone texture. Physically accurate lighting and reflections. NEGATIVE PROMPT text, subtitles, watermark, logo, modern objects, modern clothing, cartoon, anime, low-poly, plastic armor, character redesign, identity drift, face morphing, weapon redesign, duplicate characters, extra limbs, malformed hands, inconsistent proportions, flickering, environment changes, lighting resets, random camera movement, excessive destruction, graphic gore, blood, dismemberment, blurry subjects, flat lighting. DIRECTOR'S NOTE: Do not make the opening immediately explain the mystery. Let the audience discover the doorway with the characters. The Greatsword should become narratively important, not just a weapon. The final reveal should completely change the scale of the story: what looked like a ruined mountain is actually the entrance to an ancient world.

Emma

17,917 views • 20 days ago

Seedance 2.5 Forged in Fire text to video prompt is below 👇 Reality TV bladesmith competition testing segment, multi-camera documentary production, bright industrial workshop lighting, sharp HD broadcast look, practical forge practicals, natural handheld shake on action cams, clean documentary texture, no cinematic film look. 0-4s: [Medium Two-Shot] Martial arts master of clear Asian ancestry in black tactical shirt stands facing the young female bladesmith in her early 20s (work apron, focused). He holds her forged machete, turns the blade once under the lights. Looks her in the eye: “Are you ready?” She answers firmly “Yes.” Quick cut to her determined face, then to three classic ceramic garden gnomes lined up on sturdy stands behind them. 4-7s: [Low-Angle Tracking + Rapid Cuts] Master steps in, raises the machete. Hard cut to side angle as he delivers a powerful overhead chop into the first gnome. Impact explodes in slow motion: ceramic shatters into sharp fragments, paint chips and dust fly outward. Time locks at peak penetration. Camera orbits the frozen blade buried in the broken gnome for one second. Quick insert ECU of the edge biting through the ceramic body. 7-11s: [Dynamic Side Tracking] Action resumes. Master yanks the machete free, immediately follows with a heavy diagonal slash across the second gnome. Slow-motion again: the figure tears apart sideways, large colored pieces and shards scatter. Freeze at maximum destruction. Two rapid cuts: one over-shoulder from behind the master, one low angle under the flying fragments. Orbit holds for half a second on the locked impact. 11-15s: [Handheld Close Action] Third strike — short, vicious downward chop into the third gnome. Slow-mo impact, the ceramic erupts into dozens of pieces, hat and beard flying. Full freeze. Camera pushes in and circles the frozen chaos for one beat. Quick insert of the master’s focused face mid-swing, then back to the locked blade. 15-19s: [Series of Fast Cuts] Time resumes. Master pulls the machete out, turns it under the light. Tight ECU tracks along the edge: a few small nicks and rolled spots visible. Cut to his fingers testing the edge. Cut to the ruined garden gnomes still shedding fragments. Cut to the young woman’s tense expression as she watches. 19-24s: [Medium Close-Up] Master lowers the blade, looks straight at her. Calm, professional delivery: “There are a couple of nicks on the edge… but your weapon, ma’am… it kills.” Hard cut to her face — a small, controlled smile of pride breaks through. 24-28s: [Final ECU Montage] Extreme close-up of the nicked but still lethal edge catching the light. Cut to the shattered remains of the garden gnomes. Final frame holds on the young bladesmith’s quiet satisfaction as the master nods once. Realistic TV broadcast quality, detailed ceramic shatter physics, sharp edge detail, natural motion blur only on moving elements, stable characters, coherent impact timing, no artifacts, high rewatch value. I promise I didn't use any image reference for this one, use it wisely 🫡

Seedance 2.5 Forged in Fire text to video prompt is below 👇 Reality TV bladesmith competition testing segment, multi-camera documentary production, bright industrial workshop lighting, sharp HD broadcast look, practical forge practicals, natural handheld shake on action cams, clean documentary texture, no cinematic film look. 0-4s: [Medium Two-Shot] Martial arts master of clear Asian ancestry in black tactical shirt stands facing the young female bladesmith in her early 20s (work apron, focused). He holds her forged machete, turns the blade once under the lights. Looks her in the eye: “Are you ready?” She answers firmly “Yes.” Quick cut to her determined face, then to three classic ceramic garden gnomes lined up on sturdy stands behind them. 4-7s: [Low-Angle Tracking + Rapid Cuts] Master steps in, raises the machete. Hard cut to side angle as he delivers a powerful overhead chop into the first gnome. Impact explodes in slow motion: ceramic shatters into sharp fragments, paint chips and dust fly outward. Time locks at peak penetration. Camera orbits the frozen blade buried in the broken gnome for one second. Quick insert ECU of the edge biting through the ceramic body. 7-11s: [Dynamic Side Tracking] Action resumes. Master yanks the machete free, immediately follows with a heavy diagonal slash across the second gnome. Slow-motion again: the figure tears apart sideways, large colored pieces and shards scatter. Freeze at maximum destruction. Two rapid cuts: one over-shoulder from behind the master, one low angle under the flying fragments. Orbit holds for half a second on the locked impact. 11-15s: [Handheld Close Action] Third strike — short, vicious downward chop into the third gnome. Slow-mo impact, the ceramic erupts into dozens of pieces, hat and beard flying. Full freeze. Camera pushes in and circles the frozen chaos for one beat. Quick insert of the master’s focused face mid-swing, then back to the locked blade. 15-19s: [Series of Fast Cuts] Time resumes. Master pulls the machete out, turns it under the light. Tight ECU tracks along the edge: a few small nicks and rolled spots visible. Cut to his fingers testing the edge. Cut to the ruined garden gnomes still shedding fragments. Cut to the young woman’s tense expression as she watches. 19-24s: [Medium Close-Up] Master lowers the blade, looks straight at her. Calm, professional delivery: “There are a couple of nicks on the edge… but your weapon, ma’am… it kills.” Hard cut to her face — a small, controlled smile of pride breaks through. 24-28s: [Final ECU Montage] Extreme close-up of the nicked but still lethal edge catching the light. Cut to the shattered remains of the garden gnomes. Final frame holds on the young bladesmith’s quiet satisfaction as the master nods once. Realistic TV broadcast quality, detailed ceramic shatter physics, sharp edge detail, natural motion blur only on moving elements, stable characters, coherent impact timing, no artifacts, high rewatch value. I promise I didn't use any image reference for this one, use it wisely 🫡

TechHalla

137,718 views • 1 month ago