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Luis - Giant Flex #doublebicep #bicepflex #flexingshow #bigbiceps #musclemodel

12,686 просмотров • 1 год назад •via X (Twitter)

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My month-long California vacation is over. I spent most of it on my yacht—but I also stayed in a number of motels. Yes. Motels. Cheap motels. I normally stay at Hiltons. The first week of my vacation, I did. Then I woke up sweating in the middle of the night because of lousy AC controlled by a gaslighting thermostat (post below), took a weak shower, and discovered I’d paid $35 a night to park at a highway hotel surrounded by acres of empty asphalt. So I tried an experiment: forget the brand. Prioritize cold AC, hot showers, and good reviews. My criteria were simple: Giant AC unit visible in the photos. Recently remodeled. No horrifying guest photos. Rating above 8/10. In one month, I saved $1,359. And it’s been glorious. I did walk into one terrible room. But it cost less than half the Hilton rate, so I ate the charge, walked out, and booked another cheap motel. Will I do this again next trip? I don’t know. There are three major drawbacks: Every motel smells like lemon Lysol. Most of the lighting has all the warmth of a police interrogation room. The walls are sometimes approximately three molecules thick. But I’ll take all three over waking up drenched in sweat, then standing under a low-pressure Hilton shower wondering why I paid 3x for the privilege. So what did I choose for my last night in California? The Vagabond Inn in San Luis Obispo. It’s clean and the AC could preserve a cadaver. The shower has the water pressure of a fire hose. Five stars. No notes. Now I just have to explain to my wife why our credit-card statement looks like I spent a month in California having a string of affairs with truck stop barmaids. 💀

John Ʌ Konrad V

838,533 просмотров • 1 день назад

Would you take out your phone to make videos or run first? Seedance 2.5 on DomoAI official prompt LIVE-ACTION CINEMATIC REALISM. Every frame is photographed as real live-action footage: a real adult woman, real city, real pedestrians, real domestic pets, and a real enormous mascot plush statue. Real skin with pores, real wavy blonde hair with individual strands, real cotton, nylon, leather, metal, wet asphalt, glass, concrete and plush fibers. No illustration, painting, anime, CGI, 3D render, or artificial surface. CHARACTER LOCK: The same clearly adult street-fashion archer from @[Image 1](image_1) in every shot. Preserve her exact face, natural facial geometry, dark eyes, skin tone, expression, extremely long straight wavy blonde hair, thick blunt bangs, and royal-blue backward baseball cap with small decorative details but no readable text. She is 178 cm tall, XS size, very slim elongated runway-model proportions. Her outfit never changes: oversized white-to-light-grey graphic cotton T-shirt with a deep plunging neckline that that accentuates her large cleavage., faint doodle motifs but no readable lettering, dusty rose-pink wide cargo trousers with dimensional pockets and heavy folds, black belt with silver hardware, colorful keychain charms, layered bead necklaces, and red low-top sneakers with white soles. ARCHERY GEAR: She carries a long dark laminated-wood recurve bow with a leather-wrapped grip, visible taut string, realistic curved limbs and subtle wear. A dark-brown leather quiver crosses diagonally over her back, holding six to eight arrows with natural wood shafts and cream-white feather fletching. She wears matching brown leather archery gloves with stitched palms, reinforced knuckles and wrist straps, plus a fitted leather forearm bracer on the bow arm and a slim finger tab or draw glove. The archery equipment is integrated into her street-fashion styling, not a historical costume. LOCATION: A dense urban shopping district and pedestrian plaza at blue hour, wet asphalt reflecting storefront light, concrete towers, glass façades, crosswalk signals, street lamps, overhead transit lines, narrow side streets, urban haze, and a large original unbranded mascot plush statue installed in the center of the plaza. The mascot is enormous, approximately three stories tall, with a soft cream-and-pastel plush body, oversized rounded head, expressive embroidered eyes, visible seams, padded limbs and tactile fabric. No copyrighted character, logo or readable text. STORY — 12 SHOTS, ONE CONTINUOUS EVENT: 1. 0–1.5s, LOW WIDE. Camera whips right past two foreground pedestrians and a street barrier. She bursts through the wet plaza at a low run, bow held low, red sneakers splashing lightly, dusty rose cargo fabric and extremely long hair streaming behind her. 2. 1.5–3s, EXTREME CLOSE, LOCKED. A commuter’s eyes appear above a scarf behind a transparent umbrella. The eyes snap toward the plaza as nearby city lights reflect across the wet plastic. 3. 3–4.5s, CLOSE, FAST PUSH-IN. Two pedestrians and their leashed pets in the distance suddenly turn toward the giant mascot statue. A small dog raises its ears while a cat inside a carrier shifts and looks outward. 4. 4.5–6s, TRACKING MEDIUM. Camera runs beside her through the moving crowd at shoulder height. People step aside, coats and shopping bags sway, her long black hair, oversized T-shirt and cargo trousers carry real momentum as she reaches toward the quiver. 5. 6–7.5s, LOW ANGLE CLOSE. Her red sneaker plants on the wet pavement. She straightens hard and raises the dark recurve bow into frame. The giant mascot statue is visible far behind her between buildings. 6. 7.5–9s, MEDIUM FROM HER LEFT. Camera orbits behind her as she draws an arrow from the quiver, nocks it and pulls the string to full draw. The bow limbs flex visibly; pedestrians freeze at a safe distance, watching. 7. 9–10.5s, MACRO, LOCKED, razor-shallow focus. Her leather-gloved fingers grip the string, stitched glove texture, finger tab and arrow shaft sharply resolved. Her eye, blue cap and city lights remain soft behind. The string creeps back the last centimetre. The crowd noise drops for one hard beat. 8. 10.5–12s, WIDE FROM BEHIND AND ABOVE THE ARROW, LOCKED. She releases. The string snaps and blurs. The arrow tears forward between streetlights and glass buildings toward the giant mascot statue. 9. 12–14s, MEDIUM CLOSE TRACKING THE ARROW. The arrow breaks apart in mid-air: its front half dissolves into millions of bright rose-pink glitter particles streaming behind it, each particle catching the city light separately while the feathered tail remains intact. The arrow has no point. 10. 14–16s, WIDE LOW ANGLE. The glitter stream strikes the plush mascot’s chest and races through its seams as a bright rose-pink wave. Plush fibers ripple outward from the impact point. Pink reflections pulse across the wet pavement and nearby windows. 11. 16–18s, WIDE LOW ANGLE, FAST PULLBACK. The enormous mascot plush statue activates and rises into a fully living presence. Its padded head lifts, embroidered eyes illuminate softly, oversized arms move, seams flex, and rose-pink glowing fabric appliqués spread across its plush surface from the impact point. It remains clearly soft, textile-based and physically heavy, not a CGI monster. 12. 18–20s, FINALE, WIDE FROM BEHIND. Camera rises behind her as she lowers the bow and lets her weight settle naturally onto one hip. She looks up at the awakened mascot with a small confident smile. Pedestrians gather and react, some stepping backward, others pointing or raising phones. Dogs tug lightly at their leashes, a small pet in a carrier shifts, and the giant mascot waves slowly above the plaza. Glitter continues to fall through the city light. Vary the framing aggressively: extreme close-up, macro, close, medium, tracking, low wide and overhead. Never repeat the same shot type twice consecutively. Shots 2, 7 and 8 are locked; all others use clear camera movement. Every action must be instantly readable. LOOK: Photorealistic live-action large-format colour film with a refined three-strip Technicolor response. Concrete, glass, asphalt and distant architecture remain cool blue-grey and slightly desaturated. Saturated colours are the royal-blue cap, dusty rose cargo trousers, red sneakers, colorful keychain charms, rose-pink glitter, and the cream-and-pastel mascot plush. Fine photochemical grain, subtle halation on streetlights and glitter, realistic wet reflections, tactile cotton, nylon, leather, metal and plush fibers. Photographed reality, never drawn. LIGHTING: Blue-hour city light mixed with warm street lamps and storefront spill at approximately 4200K. Cooler sky fill at 4:1. Streetlights rim her long black hair, cap, bow and quiver. Thin urban mist and steam rise from vents and wet pavement. The glitter emits separate rose-pink specular points and casts soft pink reflections onto the mascot, asphalt, glass and her face. CAUSE AND EFFECT: Pedestrians and pets notice the strange event before the transformation, so their final reactions read as consequences. The glitter must visibly travel in sequence: arrow releases, arrow breaks apart, particles stream through the city, glitter strikes the mascot chest, light travels through the seams, the plush statue activates, then the crowd and pets react. Never cut directly to an already-animated mascot. PHYSICS: Real mass, real air and believable momentum. Bow limbs flex, string snaps, arrow flight has directional force, glitter behaves as millions of separate solid particles carried by fast air, and plush fabric compresses, ripples and rebounds with weight. Cargo fabric, T-shirt, hair, quiver strap and keychains respond to acceleration. Wet pavement reflects movement without becoming a mirror. The giant mascot moves slowly because of its padded mass. No slow motion; all shots run at real-time speed. AUDIO: Wet footsteps, light splashes, distant traffic, pedestrian chatter, shopping bags and coats moving, dog tags and leash tension, a faint pet sound, bowstring creak, sharp release snap, arrow hiss, crystalline glitter shimmer, plush fabric shifting, soft mechanical-like seam tension, crowd gasps and footsteps. No music. ON-SCREEN TEXT: None. No readable text, subtitles, numbers, captions, UI, logos, brand marks or watermark anywhere. OUTPUT: 20 seconds, horizontal 16:9, 4K, continuous cinematic live-action realism. #DomoAi #DomoAiCPP

Sharon Riley

30,721 просмотров • 1 месяц назад

Animated ads are the CHEAPEST way to scale a saturated category in 2026. Steal these 19 tricks Hydroh used in this winning ad: 1. Good Guy vs. Bad Guy: Make your product look like a hero, and make cheap knockoffs look like an ugly villain. 2. Crazy 2-Second Hook: Start in the middle of wild action so thumb-scrollers stop instantly. 3. Bright vs. Dirty Setup: Place your product in a bright room and the cheap competition in a dark gross spot. 4. Giant Cartoon Faces: Use big & silly facial expressions to show happy or angry feelings faster than real actors can. 5. Never Stay Still: Keep tiny bubbles, sparkles, motion (whatever’s relevant with your product) going so the video never feels dead or boring. 6. Show the Inside: Animate the inside of your product so buyers see why it works (your secret mechanism). 7. Funny Voice Contrast: Give your hero product a friendly voice and the bad product a scratchy & untrustworthy voice. 8. Juicy Sound Effects: Add satisfying pops, fizzes, and clicks whenever stuff moves on screen. 9. Bouncing Captions: Pop big words on screen right as they are spoken so people watching on mute still buy. 10. Look at the Buyer: Have your character stare right into the camera so the viewer feels like they're being talked to directly. 11. Show the Flaw Fast: Show why the cheap competitor sucks within the first 5 seconds. 12. Zoom In for Proof: Zoom in close when showing a cool feature, then pull back for the main point. 13. Touch & Bump: Make characters high-five, bump shoulders, or lean on each other so the animation feels real. 14. Big Flex Numbers: Put huge numbers on screen like "50g Protein" or "3,000 PPB" to prove it's high quality. 15. Sad Loser Ending: Make the bad product look sad, broken, and defeated right before you drop the price deal. 16. Sticky Buy Button: Keep a bright "Shop Now" banner glued to the bottom of the screen the whole time. 17. No-Risk Promise: Flash a huge risk reversal at the end to make buying a no-brainer. 18. Declare the Winner: Have your character explicitly point out why your product beat the competition. 19. Never-Ending Loop: Make the last second of the ad blend perfectly into the first second so people accidentally watch it twice. Now go and make your next winning animated ad. (If you’re doing $100k+ months and can’t crack animated winners like this, DM me ‘PIXAR’ )

Nick Theriot

41,790 просмотров • 1 месяц назад

Mikel Arteta listing “six or seven” languages and then switching between them on camera looks like a flex but it isn’t. It is one of the quieter advantages that keeps showing up in the best managers. He speaks Basque and Spanish from home. Catalan because school in Barcelona demanded it. French because Luis Fernández told a young Arteta at PSG: learn it fast or you don’t play. Portuguese from friendships. Italian from curiosity and culture, not from ever living there. English forged across Rangers, Everton and Arsenal. Sometimes he jokes that Scottish counts too. That list is not decoration. A modern dressing room is a small United Nations. The manager who can speak to a player in the language they think in gets trust sooner, instructions cleaner, and emotion without a middleman. Arteta has said it himself: you can communicate without connecting. Connection needs the other person’s language. He starts in a signing’s mother tongue, then pushes English as respect for the club that hired them. He also uses it as a weapon. French to one player on the touchline, Spanish to another, English to the next. Clarity for his own, noise for the opposition bench. This is not unique to Arteta. It is a pattern. Arsene Wenger built Arsenal’s first great international side while speaking French, English, German, Spanish, Italian and later Japanese. Language was how he sold a project to players who had never seen Highbury, and how he made a dressing room of French, Dutch, African and English voices feel like one idea. Pep Guardiola carries Catalan, Spanish and highly functional English, and has always treated language as part of the method. The concepts are precise; the delivery has to be too. Players talk about how quickly the ideas land when the coach can meet them halfway. Jose Mourinho is the purest case. His coaching career began as Bobby Robson’s interpreter. Portuguese, English, Spanish, Italian, French, Catalan. He understood early that tactics only exist once they have been transmitted. The Special One was, first, a translator who refused to let meaning get lost. The through-line is simple. Elite management is teaching under pressure. Teaching is language: the right word for “now,” the tone that makes a demand feel like belief, the private sentence that settles a new signing in week one. Wenger, Guardiola, Mourinho and Arteta all treated that medium as part of the job, not an optional extra. Plenty of coaches know the game. Fewer can look a player in the eye, in the language he dreams in, and make the idea feel personal rather than translated. That is the extra yard.

Rincol

1,157,764 просмотров • 11 дней назад