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Made with seedance 2.5 Prompt ⬇️ 0:00–0:05: Lightning-Fast Entry & Airflow Evasion Visual Details: The camera follows the female protagonist sprinting at full speed from behind. The massive greatsword of the Red-Faced Heavenly King sweeps horizontally from the right, its enormous blade covering half the sky. Stylish Action: Instead...

36,247 просмотров • 1 месяц назад •via X (Twitter)

Комментарии: 38

Фото профиля Mairoba AI
Mairoba AI1 месяц назад

Absolute cinema Baseball bat vs the Heavenly Kings hits different.

Фото профиля Tanvir 🫎
Tanvir 🫎1 месяц назад

Airflow evasion is a great detail for a prompt like this, gotta stay aerodynamic.

Фото профиля Hikari AI
Hikari AI1 месяц назад

actually nailed this

Фото профиля Calira
Calira1 месяц назад

Beautiful scene composition

Фото профиля Glowecho
Glowecho1 месяц назад

Awesome and stunning ai generate

Фото профиля Isabel White
Isabel White1 месяц назад

Good Creation 👌🏽

Фото профиля Aiza
Aiza1 месяц назад

Good creation

Фото профиля Osoluche Galicia
Osoluche Galicia1 месяц назад

same prompt, ltx-2.5 fails

Фото профиля 🌸 Bubskyy 🌸
🌸 Bubskyy 🌸1 месяц назад

Full chaos but cinematic.. ohh she become tje hero?

Фото профиля Shara
Shara1 месяц назад

That greatsword entry sequence has real high stakes energy.

Фото профиля lumiAI
lumiAI1 месяц назад

Just wow

Фото профиля Meem
Meem1 месяц назад

Amazing creation

Фото профиля dreamy digital arts
dreamy digital arts1 месяц назад

Amazing

Фото профиля Arzoo Ai
Arzoo Ai1 месяц назад

AI creativity never stops surprising me.

Фото профиля Hannah Ai
Hannah Ai1 месяц назад

Taking down those giant statues with just a baseball bat looks insanely stylish.

Фото профиля Pearl AI
Pearl AI1 месяц назад

the choreography is wild, seedance handled the motion really well

Фото профиля Seerat Fatima
Seerat Fatima1 месяц назад

Baseball bat vs 4 heavenly kings? Absolute cinema

Фото профиля LevelUpFaster
LevelUpFaster1 месяц назад

Absolutely awesome work. Very cinematic

Фото профиля Noah
Noah1 месяц назад

Wow~ The detail in this video is insane. It's really flashy, and the action scenes are so cool!

Фото профиля John Smith
John Smith1 месяц назад

Fantastic video, the action is well paced and easy to follow.

Фото профиля Cherry
Cherry1 месяц назад

Absolutely genius

Фото профиля Luca Ai
Luca Ai1 месяц назад

Her fluid parkour moves and the final leg destruction make this sequence feel like a full action set piece.

Фото профиля Riley Quinn
Riley Quinn1 месяц назад

Great work.

Фото профиля Zyrella
Zyrella1 месяц назад

Absolutely Love This

Фото профиля H A J R A
H A J R A1 месяц назад

This is pure cinematic chaos 🔥

Фото профиля Romana
Romana1 месяц назад

Really incredible creation 🔥

Фото профиля Jack
Jack1 месяц назад

That’s really nicely created

Фото профиля ÀBDŪLLÂH
ÀBDŪLLÂH1 месяц назад

Baseball bat vs 4 heavenly kings and it actually won — that’s peak cinematic boss-fight energy 🔥

Фото профиля Dr. Samia
Dr. Samia1 месяц назад

Absolutely spectacular cinematic action sequence.

Фото профиля nonameoasis
nonameoasis1 месяц назад

pretty cool, i try with this character take a look ⤵️

Фото профиля Zayan
Zayan1 месяц назад

Nice one bro

Фото профиля nonameoasis
nonameoasis1 месяц назад

In my case, some security filters were triggered; which platform did you use to create yours?

Фото профиля Zayan
Zayan1 месяц назад

Vorla Ai

Фото профиля Mira Sterling
Mira Sterling1 месяц назад

You made the action choreography feel incredibly dynamic and sharp

Фото профиля GETitDONE🦅
GETitDONE🦅1 месяц назад

A wonderful prompt

Фото профиля Sairah
Sairah1 месяц назад

You made it very well

Фото профиля Sheikh Sharik 2.0
Sheikh Sharik 2.01 месяц назад

This is absolutely amazing

Фото профиля Anara
Anara1 месяц назад

very cool work!

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THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 просмотров • 1 месяц назад

She thought she was in control until the darkness awakened. Made with seedance 2.5 Prompt: Create a 30-second ultra-cinematic supernatural fantasy sequence, photorealistic, high-end Hollywood VFX quality.A young woman with long straight black hair and bangs sits in a warm, dimly lit bedroom at night, wearing elegant white pajamas. Start with an intimate close-up of her looking down, then slowly push the camera toward her face. She suddenly senses something strange and looks directly toward the camera.She raises both hands as if controlling an invisible supernatural force. The atmosphere becomes intense, subtle particles and dark energy begin swirling around her. Suddenly, a mysterious white-haired female character appears in the room at incredible speed. She has pale skin, short silver-white hair, sharp expressive eyes, and wears a white outfit. She moves with supernatural agility, rushing toward the camera while reaching forward.The room begins shaking violently. Furniture and objects vibrate, dust and debris float through the air. The ceiling suddenly cracks open with a powerful burst of brilliant white-blue supernatural light. Walls fracture dramatically, creating a huge opening that reveals the dark night sky the dust settles, the white-haired character stands in the destroyed room, illuminated by the strange light. Cut to an extreme close-up of her face as she looks shocked and breathes heavily.Then slowly reveal a gigantic mysterious black cat standing in the darkness behind her. The cat is unnaturally large, extremely fluffy, with glowing yellow eyes and an intimidating supernatural presence.End on a dramatic close-up of the giant black cat staring directly into the camera. Smooth cinematic camera movement, realistic facial expressions, detailed hair physics, realistic cloth movement, volumetric lighting, floating dust particles, dynamic debris, dramatic shadows, shallow depth of field, realistic VFX, film-quality color grading, seamless transitions, highly detailed environment, photorealistic, 4K, cinematic masterpiece.

Zyrella

55,198 просмотров • 27 дней назад

A 28-year-old woman was gang-raped in a moving van in #Faridabad for over two hours and then thrown on the road early on Tuesday. The incident occurred on the intervening night of Monday and Tuesday, when the married woman was waiting for a vehicle to go home at night. A van stopped and two young men lured her into the vehicle, promising to drop her home. The vehicle instead moved towards #Gurgaon Road. The woman was allegedly in the van for around two-and-a-half hours, where the accused continued to rape her. Despite protests, the accused did not stop and instead threatened her. Around 3 am, the woman was thrown out of the moving van near #RajaChowk in #SGMNagar. The woman suffered severe facial injuries and was bleeding profusely. The woman repeatedly called her sister, who was informed of the incident when she called back. Her family members then rushed to the spot and admitted the woman to the hospital in a critical condition. Doctors applied 10 to 12 stitches to her face. Though her condition is stable, the woman is in a state of shock. Her statement is yet to be recorded. The victim's sister said in her complaint that the woman had called her a day before the incident around 8.30 pm, informing that she had an argument with her mother and was going to her friend's house. She further informed her sister that she would return home in three hours. The woman is married, has three children, and lives separately from her husband due to a domestic dispute. Both the accused have been arrested and the van used by them has been recovered.

Hate Detector 🔍

64,174 просмотров • 9 месяцев назад

She was arrested nineteen times. She cracked a kneecap, broke her tailbone, and fractured three ribs. And she never once regretted any of it. Morganna Roberts grew up in Kentucky, USA, abandoned by her mother as a baby, raised by her grandmother, sent to a boarding school, and ran away at thirteen with nowhere to go. She survived on the streets of Baltimore before finding work in nightclubs. By her late teens she was performing across the country. Then in August 1969, at a baseball game in Cincinnati, a friend dared her for five dollars to run onto the field and kiss a player. She kissed Pete Rose, one of baseball's biggest stars, on the cheek. He called her a name she couldn't repeat. The next night he found her at her show and apologised with flowers. A sportswriter in Cincinnati the following morning wrote the headline: "Bandit steals kiss from Pete Rose." That was the day Morganna the Kissing Bandit was born. She spent the next thirty years doing it again and again. Baseball fields. Basketball courts. Hockey rinks. She kissed Nolan Ryan, a pitcher so dominant he held the world record for strikeouts. She kissed Kareem Abdul-Jabbar, the all-time leading scorer in NBA basketball history. She kissed George Brett, a baseball legend, twice. He showed up at her show three weeks later and kissed her back. When she was once charged in court, her lawyer argued she hadn't intended to run onto the field at all. He told the judge that with her particular figure, she had simply leaned over the rail to watch the game, and gravity had done the rest. The judge laughed and dismissed the case. Her fame earned her millions. Her own baseball card. A display at the sport's Hall of Fame. A share in a minor league team. Her own brand of peanuts. She retired in 2000 and has lived quietly in Ohio ever since.

Lemma the Optimist

1,625,979 просмотров • 6 месяцев назад

Another example of a "moment of not thinking" turned a civil parking dispute into a criminal arrest record. ​The dispute appears to have started over a parking lot disagreement. According to the officers on the scene: ​The woman (referred to in the video overlay as "Karen") allegedly opened the other driver's car door and reached inside. ​The other driver—who is seen speaking with the police—wishes to pursue charges for what she describes as an assault and a violation of her personal space. ​The woman in the grey sweatshirt denies the severity of the incident, claiming: ​She has anxiety and was having a "moment of not thinking." ​She argues that she didn't "assault" anyone and was merely frustrated because she felt the other driver was blocking her or nearly "rear-ended" her. ​She repeatedly attempts to apologize to the other driver to avoid legal trouble, but the officer prevents her from doing so, stating that the other party does not wish to speak with her and is intent on pressing charges. ​The officers emphasize that regardless of the initial "beef" over parking, reaching into someone else's vehicle is a serious legal matter, which is why they are treating it as a criminal complaint rather than a simple argument. The progression of the incident led to several definitive legal steps: ​Criminal Complaint: The victim (the driver of the other car) explicitly stated her intent to press charges. In the video, the officer confirms to the woman in the grey, "She wants to pursue the complaint." ​The Charge: The primary issue was not just the argument over the parking spot, but the fact that the woman opened the other driver's car door. In most jurisdictions, this can be classified as Burglary of a Conveyance (entering a vehicle with intent to commit an offense) or Battery/Assault, depending on the level of physical contact. ​Failed De-escalation: The woman repeatedly tried to apologize ("Can I just say sorry?"), but the officer denied the request because once a victim decides to press charges and a crime (reaching into the car) has been committed, an apology doesn't "cancel" the legal process. ​The Handcuffs: In the final segments of the footage, the officer directs her to turn around and places her in handcuffs, informing her she is being detained/arrested based on the victim's sworn statement and the physical evidence of her opening the door.

✨️Serenitee♡Sam✨️

25,467 просмотров • 4 месяцев назад