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Meticulously crafted scene Reflection frame Whip pan camera moment rack focus shreyaas krishna nailed it 👌 #withlove

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90,878 görüntüleme • 5 ay önce •via X (Twitter)

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I generated the audio first. Not the video. Ship announcement, ambient hum, rising score, the exact moment before a warp jump. One prompt, in Seed Audio 1.0. Then I fed that audio into Seedance and let it build the entire bridge scene around it. Camera, motion, the jump itself, all timed to sound that already existed. This is not TTS. This is directing a scene with sound before a single frame exists. 🔊 sound on and enjoy the trip
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I generated the audio first. Not the video. Ship announcement, ambient hum, rising score, the exact moment before a warp jump. One prompt, in Seed Audio 1.0. Then I fed that audio into Seedance and let it build the entire bridge scene around it. Camera, motion, the jump itself, all timed to sound that already existed. This is not TTS. This is directing a scene with sound before a single frame exists. 🔊 sound on and enjoy the trip

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Gene Kelly’s iconic “Alter Ego” dance in director Charles Vidor's 1944 musical romantic comedy Cover Girl was achieved through double exposure. Kelly performed the choreography twice, perfectly matching his movements and timing, while the camera crew precisely repeated camera moves, creating the illusion of him dancing with his own reflection. The film strip was run through the camera twice to layer two different performances on top of each other. Kelly had to hit the exact same spot in the frame during the second take as he did in the first, while the camera operator had to duplicate panning and tracking movements perfectly, ensuring the background stayed aligned in both takes. The scene was assembled using an optical printer to blend the two shots, a process that took tons of time to ensure the “ghost” reflection matched the live action. The scene was so technically challenging that director Charles Vidor initially believed it was impossible and walked off set, leaving Kelly and Stanley Donen to complete the production of the scene themselves.
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Gene Kelly’s iconic “Alter Ego” dance in director Charles Vidor's 1944 musical romantic comedy Cover Girl was achieved through double exposure. Kelly performed the choreography twice, perfectly matching his movements and timing, while the camera crew precisely repeated camera moves, creating the illusion of him dancing with his own reflection. The film strip was run through the camera twice to layer two different performances on top of each other. Kelly had to hit the exact same spot in the frame during the second take as he did in the first, while the camera operator had to duplicate panning and tracking movements perfectly, ensuring the background stayed aligned in both takes. The scene was assembled using an optical printer to blend the two shots, a process that took tons of time to ensure the “ghost” reflection matched the live action. The scene was so technically challenging that director Charles Vidor initially believed it was impossible and walked off set, leaving Kelly and Stanley Donen to complete the production of the scene themselves.

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Hollywood isn't dead. It's evolving. And we're leading that evolution. We just shipped Koyal v2.5: The best Agentic AI filmmaking platform. It goes from your script or music to full video with consistent characters, settings & storylines. Large Production houses, music labels & ad agencies use koyal.ai (YC F25) for storyboarding & pre-viz. Smaller studios use it for making content they never had the time, budget or resources to create. Write a scene. Direct the camera. Build a world. koyal.ai (YC F25) brings it to life. Here's what's new: - Go from script to video: Write a scene with dialogue, pacing, emotion. Koyal fully realizes it. Using the best voice models on the planet. - Direct the camera: Push in. Pull back. Drift through a scene. Real 3D camera blocking. Shape the shot the way you see it in your head. - Build a world that stays:Lock in a location and return to it. Your scenes stay consistent from the first frame to the last. Plus: dialogue, SFX, annotations for editing, and more control over every shot. Under the hood, we benchmark 40+ models weekly with real humans so Koyal always uses the best available (more on that next week!) Our agents pick the best models for each scene in run-time so you focus on the story, we handle the complexity. You don't need to prompt a film, you can direct it. With Koyal, we're looking to replace the camera, not the filmmaker behind it. Try it now at beta [dot] koyal [dot] ai DM me for credits!
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Hollywood isn't dead. It's evolving. And we're leading that evolution. We just shipped Koyal v2.5: The best Agentic AI filmmaking platform. It goes from your script or music to full video with consistent characters, settings & storylines. Large Production houses, music labels & ad agencies use koyal.ai (YC F25) for storyboarding & pre-viz. Smaller studios use it for making content they never had the time, budget or resources to create. Write a scene. Direct the camera. Build a world. koyal.ai (YC F25) brings it to life. Here's what's new: - Go from script to video: Write a scene with dialogue, pacing, emotion. Koyal fully realizes it. Using the best voice models on the planet. - Direct the camera: Push in. Pull back. Drift through a scene. Real 3D camera blocking. Shape the shot the way you see it in your head. - Build a world that stays:Lock in a location and return to it. Your scenes stay consistent from the first frame to the last. Plus: dialogue, SFX, annotations for editing, and more control over every shot. Under the hood, we benchmark 40+ models weekly with real humans so Koyal always uses the best available (more on that next week!) Our agents pick the best models for each scene in run-time so you focus on the story, we handle the complexity. You don't need to prompt a film, you can direct it. With Koyal, we're looking to replace the camera, not the filmmaker behind it. Try it now at beta [dot] koyal [dot] ai DM me for credits!

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The conditions were literally picture perfect. Our plan was to meet the sunrise and hopefully a few of the world’s largest pelicans bathed in the glorious early morning light. As our precious and precise plan played out right before my eyes, I readied my camera. The soft pink cotton candy like plumage of a beautiful Great White Pelican immediately grabbed my attention. As it approached, I noticed its delicate reflection on the glassy surface. Time slowed. I realized I was holding my breath and that’s the exact moment a Dalmatian Pelican poked its massive head into the frame and stole the golden hour spotlight for a few seconds before casually sliding out of the shot. This pelican pulled off the perfect photobomb. And yet I still managed to capture the other pelican’s picture perfect landing as it lowered its feet and skied in. Magic.
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The conditions were literally picture perfect. Our plan was to meet the sunrise and hopefully a few of the world’s largest pelicans bathed in the glorious early morning light. As our precious and precise plan played out right before my eyes, I readied my camera. The soft pink cotton candy like plumage of a beautiful Great White Pelican immediately grabbed my attention. As it approached, I noticed its delicate reflection on the glassy surface. Time slowed. I realized I was holding my breath and that’s the exact moment a Dalmatian Pelican poked its massive head into the frame and stole the golden hour spotlight for a few seconds before casually sliding out of the shot. This pelican pulled off the perfect photobomb. And yet I still managed to capture the other pelican’s picture perfect landing as it lowered its feet and skied in. Magic.

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Most people buy jersey, Smart ones buy jersey + LAYS Created this global World Cup 2026 fan experience with GPT Image 2 and brought it to life with Seedance 2.0 on Pollo AI #PolloAI #PolloScore prompt Scene 1 (0-3s): Quick cut — excited young man (athletic build) browsing football jerseys in a vibrant merchandise store. Scene 2 (3-6s): Close-up: He picks up a red and white Arsenal jersey, holds it up smiling. Dialogue: "This one feels perfect." Scene 3 (6-9s): Fast cut — he tries on the Arsenal jersey in front of the mirror, adjusting it confidently. Scene 4 (9-13s): He pays at the counter, then eats lays. Instant confident glow. Quick zoom on glowing bottle. Dialogue: "Now ready for the big match." Scene 5 (13-20s): Rapid montage cuts: him rushing out of the store, arriving at the stadium, entering luxurious VIP box at night. Scene 6 (20-27s): Dynamic cuts: tracking shot to the box edge overlooking the pitch, whip pan to epic slow-motion goal celebration, fireworks and confetti exploding. Crowd cheers intensify. Scene 7 (27-35s): Climax — he smiles with champion energy, raising arms in celebration. Camera circles for satisfying close-up of lays under stadium lights with wild crowd behind. Ultra realistic cinematic style, film grain, anamorphic flares, sharp 4K, vertical 9:16. Triumphant, luxurious, empowering mood. Bold red velvet color grading, vibrant greens & golds. packaging 100% accurate from reference image. Natural lip sync, snappy energetic cuts. No text overlays.
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Most people buy jersey, Smart ones buy jersey + LAYS Created this global World Cup 2026 fan experience with GPT Image 2 and brought it to life with Seedance 2.0 on Pollo AI #PolloAI #PolloScore prompt Scene 1 (0-3s): Quick cut — excited young man (athletic build) browsing football jerseys in a vibrant merchandise store. Scene 2 (3-6s): Close-up: He picks up a red and white Arsenal jersey, holds it up smiling. Dialogue: "This one feels perfect." Scene 3 (6-9s): Fast cut — he tries on the Arsenal jersey in front of the mirror, adjusting it confidently. Scene 4 (9-13s): He pays at the counter, then eats lays. Instant confident glow. Quick zoom on glowing bottle. Dialogue: "Now ready for the big match." Scene 5 (13-20s): Rapid montage cuts: him rushing out of the store, arriving at the stadium, entering luxurious VIP box at night. Scene 6 (20-27s): Dynamic cuts: tracking shot to the box edge overlooking the pitch, whip pan to epic slow-motion goal celebration, fireworks and confetti exploding. Crowd cheers intensify. Scene 7 (27-35s): Climax — he smiles with champion energy, raising arms in celebration. Camera circles for satisfying close-up of lays under stadium lights with wild crowd behind. Ultra realistic cinematic style, film grain, anamorphic flares, sharp 4K, vertical 9:16. Triumphant, luxurious, empowering mood. Bold red velvet color grading, vibrant greens & golds. packaging 100% accurate from reference image. Natural lip sync, snappy energetic cuts. No text overlays.

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okay so people seemed to like this when i’ve done it for other scenes so i wanna talk about the details i’ve noticed in the bar scene in tampa. starting off simple, there’s shane’s double entendre when he says “ive always wondered what it would be like to play on the same team.” i love this little moment because im sure shane means it genuinely but you can 100% see ilya fighting the urge to make a joke here. not really anything in particular to say about this, i just think it’s a really cute moment next there’s the camera work. if you pay attention to the start of shane and ilya’s conversation, the camera is constantly switching perspectives. we aren’t being presented this scene from either characters point of view, we’re being given it from both. i think this is quite crucial because both of them are really nervous and vulnerable in this moment. it’s the first time they’ve interacted since shane ran away in “tuna melts” and since shane dated rose. there’s a level of tentativeness from BOTH characters here and you can see that from both perspectives and in the way they approach the conversation. sticking with camera work, this scene does something that i’ve noticed is a theme across multiple scenes (i pointed it out particularly in ilya’s russian phone call). after the initial establishing shot of shane walking into the bar - the camera during their conversation is fairly tight on them both, switching between POV’s but never going wide enough to show much of the scenery. it’s only after carter jumps in and interrupts their moment that we fully zoom out to a wide shot which shows the bar and the room they’re in. i think this is really effective at showing visually how the world around them seems to “disappear” when they’re talking to each other. we physically can only see them in frame so it makes it much more jarring when carter appears and acts as a reminder that there is an outside world to witness them. after carter walks away, as ilya and shane talk and get more comfortable in each others company again (revealing that shane isn’t dating rose etc) the camera very slowly zooms back in to tight shots of the two of them. again, they’re soaking up each others presence and the word around them quite literally “disappears” from the frame. finally this is just a small thing i noticed, but in a way the scene is mirrored. both men are wearing outfits meant for “show”, with ilya wearing the flashy comedic hawaiian shirt and shane quite literally having been styled by someone else. also both are drinking the same drink and even the fruit bowls on each end of the bar are almost identical. i think visually that’s sort of indicative of them finally beginning to be on the same page. this scene is a turning point for their relationship and the start of them admitting that they do actually have more in common than just sexual chemistry. this “mirrored” effect sort of acts as a visual metaphor for that.
4:45

okay so people seemed to like this when i’ve done it for other scenes so i wanna talk about the details i’ve noticed in the bar scene in tampa. starting off simple, there’s shane’s double entendre when he says “ive always wondered what it would be like to play on the same team.” i love this little moment because im sure shane means it genuinely but you can 100% see ilya fighting the urge to make a joke here. not really anything in particular to say about this, i just think it’s a really cute moment next there’s the camera work. if you pay attention to the start of shane and ilya’s conversation, the camera is constantly switching perspectives. we aren’t being presented this scene from either characters point of view, we’re being given it from both. i think this is quite crucial because both of them are really nervous and vulnerable in this moment. it’s the first time they’ve interacted since shane ran away in “tuna melts” and since shane dated rose. there’s a level of tentativeness from BOTH characters here and you can see that from both perspectives and in the way they approach the conversation. sticking with camera work, this scene does something that i’ve noticed is a theme across multiple scenes (i pointed it out particularly in ilya’s russian phone call). after the initial establishing shot of shane walking into the bar - the camera during their conversation is fairly tight on them both, switching between POV’s but never going wide enough to show much of the scenery. it’s only after carter jumps in and interrupts their moment that we fully zoom out to a wide shot which shows the bar and the room they’re in. i think this is really effective at showing visually how the world around them seems to “disappear” when they’re talking to each other. we physically can only see them in frame so it makes it much more jarring when carter appears and acts as a reminder that there is an outside world to witness them. after carter walks away, as ilya and shane talk and get more comfortable in each others company again (revealing that shane isn’t dating rose etc) the camera very slowly zooms back in to tight shots of the two of them. again, they’re soaking up each others presence and the word around them quite literally “disappears” from the frame. finally this is just a small thing i noticed, but in a way the scene is mirrored. both men are wearing outfits meant for “show”, with ilya wearing the flashy comedic hawaiian shirt and shane quite literally having been styled by someone else. also both are drinking the same drink and even the fruit bowls on each end of the bar are almost identical. i think visually that’s sort of indicative of them finally beginning to be on the same page. this scene is a turning point for their relationship and the start of them admitting that they do actually have more in common than just sexual chemistry. this “mirrored” effect sort of acts as a visual metaphor for that.

frances 🏒

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#GoProMISSION1 PRO Deep Dive—Part 5 of 6 🎥 You focus on shooting, the camera does the thinking. MISSION 1 PRO meets you where you are, letting you choose from 13 adaptive modes that read your environment + set everything for the shot. The specialized modes run on neural libraries built right into the camera, handling noise reduction alongside face + body detection on the fly with no phone or post required. Powered by the 1-inch sensor's Quad Bayer architecture, Low Light Mode pulls in more light + holds detail across highlights + shadows, so dim scenes look natural, not noisy or riddled with AI artifacts. Dive Mode auto-corrects color + tunes stabilization the moment you drop below the surface, so underwater footage stays true-to-life instead of washed-out blue. Subject Tracking keeps you locked in to the center of the frame as you move—just hit record and let it follow. And when you want to take the reins, the same camera opens up full pro control: 10-bit color, GP-Log2 with LUTs, HLG HDR, real-time readouts for ISO, shutter + white balance, + Timecode Sync to line up every angle in the edit. Point + shoot when you want to move fast, take full manual control when the shot calls for it. Shop MISSION 1 PRO at or at your local retailer 🛒 #GoPro #Cinematic #Videography
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#GoProMISSION1 PRO Deep Dive—Part 5 of 6 🎥 You focus on shooting, the camera does the thinking. MISSION 1 PRO meets you where you are, letting you choose from 13 adaptive modes that read your environment + set everything for the shot. The specialized modes run on neural libraries built right into the camera, handling noise reduction alongside face + body detection on the fly with no phone or post required. Powered by the 1-inch sensor's Quad Bayer architecture, Low Light Mode pulls in more light + holds detail across highlights + shadows, so dim scenes look natural, not noisy or riddled with AI artifacts. Dive Mode auto-corrects color + tunes stabilization the moment you drop below the surface, so underwater footage stays true-to-life instead of washed-out blue. Subject Tracking keeps you locked in to the center of the frame as you move—just hit record and let it follow. And when you want to take the reins, the same camera opens up full pro control: 10-bit color, GP-Log2 with LUTs, HLG HDR, real-time readouts for ISO, shutter + white balance, + Timecode Sync to line up every angle in the edit. Point + shoot when you want to move fast, take full manual control when the shot calls for it. Shop MISSION 1 PRO at or at your local retailer 🛒 #GoPro #Cinematic #Videography

GoPro

14,154 görüntüleme • 6 gün önce

🚨SHOCKING: Frame-by-Frame Proof EXPOSES Mikey McCoy's "Hero" Act – Phone Up in 0.99s, Gone in 2.03s – SMELLS FISHY! 🏃🦨 (CN- VIDEO IS CENSORED) @GTGTrinity just dropped the most DAMNING frame-by-frame breakdown yet on Charlie Kirk's assassination, and it's absolutely INSANE! He timed "Amazing" Mikey McCoy's "cat-like reflexes" with a stopwatch: ⏱️ From the moment Charlie is hit → Mikey has the phone up to his ear: 0.99 seconds flat. Less than ONE second! ⏱️ From impact → Mikey ducks behind the tent (completely out of sight of Charlie and the camera): 2.03 seconds. TWO SECONDS and he's already gone—abandoning the stage while Charlie bleeds out. Hey though Blake Neff, keep calling Mikey a "General" who heroically took charge that day... yeah, maybe like Confederate General Gideon J. Pillow, who straight-up fled the battlefield at Fort Donelson and left his men to surrender. Who was on that phone call that was SO urgent it couldn't wait even 3 seconds? Why vanish from the scene faster than Usain Bolt? This isn't heroism—this is cowardice! Watch the timed clip below. The official story is collapsing in real time. Demand Justice for Charlie. Demand Mikey McCoy and Turning Point USA Release Mikey's Call Log from that day. We see you, Mikey. 🔥🇺🇸 RT and Candace Owens. Is there anyone who still believes the "lone shooter" fairy tale? 🤣
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🚨SHOCKING: Frame-by-Frame Proof EXPOSES Mikey McCoy's "Hero" Act – Phone Up in 0.99s, Gone in 2.03s – SMELLS FISHY! 🏃🦨 (CN- VIDEO IS CENSORED) @GTGTrinity just dropped the most DAMNING frame-by-frame breakdown yet on Charlie Kirk's assassination, and it's absolutely INSANE! He timed "Amazing" Mikey McCoy's "cat-like reflexes" with a stopwatch: ⏱️ From the moment Charlie is hit → Mikey has the phone up to his ear: 0.99 seconds flat. Less than ONE second! ⏱️ From impact → Mikey ducks behind the tent (completely out of sight of Charlie and the camera): 2.03 seconds. TWO SECONDS and he's already gone—abandoning the stage while Charlie bleeds out. Hey though Blake Neff, keep calling Mikey a "General" who heroically took charge that day... yeah, maybe like Confederate General Gideon J. Pillow, who straight-up fled the battlefield at Fort Donelson and left his men to surrender. Who was on that phone call that was SO urgent it couldn't wait even 3 seconds? Why vanish from the scene faster than Usain Bolt? This isn't heroism—this is cowardice! Watch the timed clip below. The official story is collapsing in real time. Demand Justice for Charlie. Demand Mikey McCoy and Turning Point USA Release Mikey's Call Log from that day. We see you, Mikey. 🔥🇺🇸 RT and Candace Owens. Is there anyone who still believes the "lone shooter" fairy tale? 🤣

Project Constitution

220,584 görüntüleme • 7 ay önce

Let this chocolate brown Countach heal your algorithm! This commercial started as nothing more than an idea. I wanted to create something that felt timeless a chocolate brown Lamborghini Countach, an old-money atmosphere, a powerful woman, a luxury mansion party, natural daylight, authentic human interactions, and a commercial so realistic it wouldn't feel AI-generated at all. So I sat down with ChatGPT and explained the vision in detail. First, we built the story. I described the world, the mood, the characters, the setting, and the feeling I wanted viewers to experience. From there, ChatGPT helped transform that vision into a complete narrative, turning scattered ideas into a cinematic concept. Next came the planning stage. The story was broken down into a professional commercial timeline, scene by scene, shot by shot, exactly how a luxury automotive campaign would be storyboarded by a creative director and videographer. Then we went even deeper. Every scene was translated into detailed prompts, camera directions, movement instructions, lighting setups, slow-motion sequences, environmental details, character positioning, and luxury automotive close-ups. Once the sequence felt perfect, those ideas were converted into structured JSON prompts to maintain consistency throughout the project. After that, I generated individual storyboard images for every scene. Each image became a visual reference frame representing a specific moment of the commercial the mansion, the audience, the old-money styling, the Countach hero shots, the interior reveals, the scissor doors, and the final cinematic departure. Those reference images were then brought into Yapper where I used Seedance 2.0 to generate the actual video sequences. Multiple generations. Multiple revisions. Multiple refinements. Frame by frame, the vision started becoming reality. Finally, I edited both video sequences together, refined the pacing, synchronized the transitions, selected the music, and shaped everything into one seamless luxury automotive commercial. What you're watching isn't just an AI video. It's the result of storytelling, creative direction, prompt engineering, shot planning, storyboard creation, image generation, video generation, editing, and countless creative decisions. A chocolate brown Lamborghini Countach. An old-money lifestyle. A cinematic luxury fantasy brought to life from a single idea. Built through imagination. Designed through collaboration. Created frame by frame.
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Let this chocolate brown Countach heal your algorithm! This commercial started as nothing more than an idea. I wanted to create something that felt timeless a chocolate brown Lamborghini Countach, an old-money atmosphere, a powerful woman, a luxury mansion party, natural daylight, authentic human interactions, and a commercial so realistic it wouldn't feel AI-generated at all. So I sat down with ChatGPT and explained the vision in detail. First, we built the story. I described the world, the mood, the characters, the setting, and the feeling I wanted viewers to experience. From there, ChatGPT helped transform that vision into a complete narrative, turning scattered ideas into a cinematic concept. Next came the planning stage. The story was broken down into a professional commercial timeline, scene by scene, shot by shot, exactly how a luxury automotive campaign would be storyboarded by a creative director and videographer. Then we went even deeper. Every scene was translated into detailed prompts, camera directions, movement instructions, lighting setups, slow-motion sequences, environmental details, character positioning, and luxury automotive close-ups. Once the sequence felt perfect, those ideas were converted into structured JSON prompts to maintain consistency throughout the project. After that, I generated individual storyboard images for every scene. Each image became a visual reference frame representing a specific moment of the commercial the mansion, the audience, the old-money styling, the Countach hero shots, the interior reveals, the scissor doors, and the final cinematic departure. Those reference images were then brought into Yapper where I used Seedance 2.0 to generate the actual video sequences. Multiple generations. Multiple revisions. Multiple refinements. Frame by frame, the vision started becoming reality. Finally, I edited both video sequences together, refined the pacing, synchronized the transitions, selected the music, and shaped everything into one seamless luxury automotive commercial. What you're watching isn't just an AI video. It's the result of storytelling, creative direction, prompt engineering, shot planning, storyboard creation, image generation, video generation, editing, and countless creative decisions. A chocolate brown Lamborghini Countach. An old-money lifestyle. A cinematic luxury fantasy brought to life from a single idea. Built through imagination. Designed through collaboration. Created frame by frame.

Julia Clark

26,529 görüntüleme • 1 ay önce

🎬 Nano Banana Pro + Kling O1 Yapay Zeka Modelleri ile Fanatiği Olduğunuz Takımınızın Oyuncularıyla Sahaya Işınlanın! Nasıl Yapılır? 📷(Promptlar ve Uygulama)📷👇 1️⃣ Her Sahneyi Oluşturun: Her sahneyi kendi tutarlılığınızı ve futbolcu tutarlılığını koruyarak oluşturmanız gerekiyor. Bunun için kendi fotoğrafınızı yükleyin ve aşağıdaki uyarlanabilir promptu kullanın. NOT: Kendi Fotoğrafınızı ve Futbolcu fotoğrafını yükleyin ve promptun içinde isterseniz isim de belirtebilirsiniz bir de Location Kısmına Takımınızın Stadyumu'nun adını yazın! Boyut için ise "Aspect ratio" parametresini değiştirin. PROMPT: STRICT IDENTITY LOCK – SINGLE SELFIE SCENE The person holding the phone and taking the selfie MUST be the exact same person as in the uploaded reference image. Do NOT generate a new person. Face, facial structure, skin tone, hairstyle, beard, age, body proportions and overall appearance must remain IDENTICAL. IMPORTANT: The phone is held by the reference person. This is a front-facing smartphone selfie. The reference person’s FULL FACE must be clearly visible in the frame. No part of the face is cropped or hidden. Clothing rule: The reference person is wearing the SAME t-shirt as in the uploaded reference photo. Clothes must NOT change. Scene: Location is Fenerbahçe Ülker Stadium. Football pitch background, realistic stadium lighting. The reference person is holding the phone with one hand, arm slightly extended, taking a natural selfie. [FOOTBALLER NAME] is standing right next to the reference person. The footballer MUST look exactly like the uploaded footballer reference image. Same face, same hairstyle, same expression, same body type. The footballer is wearing the SAME jersey and outfit as in the uploaded footballer image. No outfit changes. Pose & mood: Both people are standing naturally. Relaxed, realistic, casual selfie moment. No exaggerated poses. Camera: Realistic front-facing smartphone selfie Slight wide-angle distortion typical of phone cameras Lighting: Natural stadium lighting, realistic, no cinematic exaggeration Aspect ratio: 1:1 vertical Style: Ultra-realistic, photorealistic Real-life selfie look Priority: identity accuracy > selfie realism > clothing accuracy > stadium accuracy 🚫 NEGATIVE PROMPT (BUNU HER ZAMAN EKLE) pgsql Kodu kopyala third-person view, floating camera, camera following subject, drone view, cinematic camera, face change, identity change, face swap, outfit change, different t-shirt, cropped face, hidden face, extra people, cgi, ai look, cartoon, fantasy art, distorted face 2️⃣ Start Frame ve End Frame ile Video Oluşturun: Start frame kısmına başlangıç sahnenizi, end frame kısmına ise bitiş sahnesini yerleştirin. Örnek: Başlangıç: Asensio ile fotoğrafınızın olduğu sahne Bitiş: Skriniar ile fotoğrafınızın olduğu sahne Kurallar: Her end frame bir sonraki sahnenin start frame’i olmalı. Geçişler arası tutarlılığı korumak için video üretme modeli kullanın (ör. Kling O1, veo 3.1, hailou). 3️⃣ Geçişleri Sağlamak için Uyarlanabilir Prompt: A continuous handheld selfie vlog. The subject is holding the phone and moving. The camera performs a quick horizontal sweep/pan to the left. As the camera moves, the first football player exits the frame to the left, and the second football player enters the frame from the right side. The man in the center stays consistent. The stadium background flows naturally. Professional motion blur during the transition. 4️⃣ Videoları Birleştirin: Tüm sahneleri ve geçişleri oluşturduktan sonra CapCut veya benzeri bir video editöründe birleştirin. İsterseniz müzik ve ses efektleri ekleyin. Bu yöntemle, kendi fotoğrafınızı kullanarak tüm favori Futbolcularla selfie videoları oluşturabilir ve sahneler arası mükemmel geçişler sağlayabilirsiniz! #yapayzeka #gemini #nanobananapro #klingai
1:19

🎬 Nano Banana Pro + Kling O1 Yapay Zeka Modelleri ile Fanatiği Olduğunuz Takımınızın Oyuncularıyla Sahaya Işınlanın! Nasıl Yapılır? 📷(Promptlar ve Uygulama)📷👇 1️⃣ Her Sahneyi Oluşturun: Her sahneyi kendi tutarlılığınızı ve futbolcu tutarlılığını koruyarak oluşturmanız gerekiyor. Bunun için kendi fotoğrafınızı yükleyin ve aşağıdaki uyarlanabilir promptu kullanın. NOT: Kendi Fotoğrafınızı ve Futbolcu fotoğrafını yükleyin ve promptun içinde isterseniz isim de belirtebilirsiniz bir de Location Kısmına Takımınızın Stadyumu'nun adını yazın! Boyut için ise "Aspect ratio" parametresini değiştirin. PROMPT: STRICT IDENTITY LOCK – SINGLE SELFIE SCENE The person holding the phone and taking the selfie MUST be the exact same person as in the uploaded reference image. Do NOT generate a new person. Face, facial structure, skin tone, hairstyle, beard, age, body proportions and overall appearance must remain IDENTICAL. IMPORTANT: The phone is held by the reference person. This is a front-facing smartphone selfie. The reference person’s FULL FACE must be clearly visible in the frame. No part of the face is cropped or hidden. Clothing rule: The reference person is wearing the SAME t-shirt as in the uploaded reference photo. Clothes must NOT change. Scene: Location is Fenerbahçe Ülker Stadium. Football pitch background, realistic stadium lighting. The reference person is holding the phone with one hand, arm slightly extended, taking a natural selfie. [FOOTBALLER NAME] is standing right next to the reference person. The footballer MUST look exactly like the uploaded footballer reference image. Same face, same hairstyle, same expression, same body type. The footballer is wearing the SAME jersey and outfit as in the uploaded footballer image. No outfit changes. Pose & mood: Both people are standing naturally. Relaxed, realistic, casual selfie moment. No exaggerated poses. Camera: Realistic front-facing smartphone selfie Slight wide-angle distortion typical of phone cameras Lighting: Natural stadium lighting, realistic, no cinematic exaggeration Aspect ratio: 1:1 vertical Style: Ultra-realistic, photorealistic Real-life selfie look Priority: identity accuracy > selfie realism > clothing accuracy > stadium accuracy 🚫 NEGATIVE PROMPT (BUNU HER ZAMAN EKLE) pgsql Kodu kopyala third-person view, floating camera, camera following subject, drone view, cinematic camera, face change, identity change, face swap, outfit change, different t-shirt, cropped face, hidden face, extra people, cgi, ai look, cartoon, fantasy art, distorted face 2️⃣ Start Frame ve End Frame ile Video Oluşturun: Start frame kısmına başlangıç sahnenizi, end frame kısmına ise bitiş sahnesini yerleştirin. Örnek: Başlangıç: Asensio ile fotoğrafınızın olduğu sahne Bitiş: Skriniar ile fotoğrafınızın olduğu sahne Kurallar: Her end frame bir sonraki sahnenin start frame’i olmalı. Geçişler arası tutarlılığı korumak için video üretme modeli kullanın (ör. Kling O1, veo 3.1, hailou). 3️⃣ Geçişleri Sağlamak için Uyarlanabilir Prompt: A continuous handheld selfie vlog. The subject is holding the phone and moving. The camera performs a quick horizontal sweep/pan to the left. As the camera moves, the first football player exits the frame to the left, and the second football player enters the frame from the right side. The man in the center stays consistent. The stadium background flows naturally. Professional motion blur during the transition. 4️⃣ Videoları Birleştirin: Tüm sahneleri ve geçişleri oluşturduktan sonra CapCut veya benzeri bir video editöründe birleştirin. İsterseniz müzik ve ses efektleri ekleyin. Bu yöntemle, kendi fotoğrafınızı kullanarak tüm favori Futbolcularla selfie videoları oluşturabilir ve sahneler arası mükemmel geçişler sağlayabilirsiniz! #yapayzeka #gemini #nanobananapro #klingai

Tech With Eray

63,332 görüntüleme • 7 ay önce

I deleted half of my AI-video prompt — and the result got better. 😶 Here's the before/after that changed how I prompt, and the skill I open-sourced from it. 🧵 We've been prompting video models like a film shot list: 24mm, f/1.4, "volumetric fluid simulation," frame-by-frame timing. But a lot of the time you don't need to — the smarter the model gets, the simpler the prompt can be: tell the story, the texture of the air, the emotion, and let it pick the shots, light, and rhythm. ByteDance shipped this idea with Seedance 2.0 and called it "Vibe Creating" — I open-sourced the skill and the philosophy behind it. Same scene, two prompts 👇 🔧 Regular: "85mm f1.4 macro, 120fps, dolly 0.6x, freeze the sweat at 1/250…" ✨ Vibe: "Late-night street stall. The cook flicks the wok; a ball of orange flame lights up his sweating face. Noodles fly. He plates them and wipes his brow." Same model. One of them feels alive. The skill is built for story-driven video — concept shorts, micro-narratives, emotional or atmosphere pieces, anything where you'd rather describe the moment than dictate the camera. Feed it your idea (or your over-stuffed prompt) and it hands back the version the model actually shoots better. The one place it won't go: UI demos, step-by-step tutorials, or exact dialogue sync — there it'll tell you it's the wrong tool rather than flatten a prompt that needed to stay precise. Try it on your next prompt — repo 👇
0:45

I deleted half of my AI-video prompt — and the result got better. 😶 Here's the before/after that changed how I prompt, and the skill I open-sourced from it. 🧵 We've been prompting video models like a film shot list: 24mm, f/1.4, "volumetric fluid simulation," frame-by-frame timing. But a lot of the time you don't need to — the smarter the model gets, the simpler the prompt can be: tell the story, the texture of the air, the emotion, and let it pick the shots, light, and rhythm. ByteDance shipped this idea with Seedance 2.0 and called it "Vibe Creating" — I open-sourced the skill and the philosophy behind it. Same scene, two prompts 👇 🔧 Regular: "85mm f1.4 macro, 120fps, dolly 0.6x, freeze the sweat at 1/250…" ✨ Vibe: "Late-night street stall. The cook flicks the wok; a ball of orange flame lights up his sweating face. Noodles fly. He plates them and wipes his brow." Same model. One of them feels alive. The skill is built for story-driven video — concept shorts, micro-narratives, emotional or atmosphere pieces, anything where you'd rather describe the moment than dictate the camera. Feed it your idea (or your over-stuffed prompt) and it hands back the version the model actually shoots better. The one place it won't go: UI demos, step-by-step tutorials, or exact dialogue sync — there it'll tell you it's the wrong tool rather than flatten a prompt that needed to stay precise. Try it on your next prompt — repo 👇

Alisa Qian

11,501 görüntüleme • 1 ay önce

The moment her eyes opened, the match changed forever. GPT Image 2 + Seedance 2.0 TITLE: SHARON RILEY — Awakening the Competitor Create a premium 15-second sports commercial filmed on a professional red clay tennis court at golden hour. The athlete is a female professional tennis player wearing an elegant baby pink performance tennis dress with coordinated baby pink athletic accessories throughout the entire film. Visual style combines luxury sports advertising, cinematic realism, emotional storytelling, and elite athletic performance. Warm clay reds, terracotta tones, golden sunlight, and soft baby pink wardrobe dominate the color palette. STRICTLY FOLLOW THE SHOTS IN THIS EXACT ORDER. SCENE 1 (0:00–0:02) Wide overhead aerial shot. Female tennis player lies motionless on a red clay court, eyes closed, body relaxed. Clay dust surrounds her silhouette. Warm morning sunlight washes over the scene. Camera performs a slow descending crane move from directly above. Mood: stillness, meditation, anticipation. No athletic movement yet. SCENE 2 (0:02–0:05) Cut to close-up. A tennis ball rolls through the foreground toward camera. Behind it, the athlete's eyes suddenly open and lock directly into the lens. Determination emerges instantly. Baby pink outfit visible around shoulders and chest. Camera slowly pushes inward. Emotion: awakening, focus, inner drive igniting. SCENE 3 (0:05–0:07) Immediate cut to explosive serve. Low-angle hero shot from court level. Athlete launches upward with maximum extension during a powerful serve. Baby pink tennis dress flows dynamically through the motion. Clay particles scatter beneath her feet. Sunlight catches airborne dust. Energy transitions from calm to explosive. SCENE 4 (0:07–0:09) Dynamic sprint sequence. Athlete accelerates across the baseline at full speed. Camera tracks smoothly alongside her movement. Powerful footwork sends clay dust trailing behind. Baby pink performance attire contrasts against the deep red clay. Mood: speed, determination, athletic elegance. SCENE 5 (0:09–0:11) Broadcast-style sports coverage framing. Telephoto lens perspective. Athlete strikes a forehand during an intense rally. Subtle television broadcast graphics and live-coverage overlays appear briefly on screen. Professional tournament atmosphere. Audio impression: "Coming to you live from..." Maintain realistic sports broadcast aesthetic. SCENE 6 (0:11–0:13) Ground-level tracking shot. Athlete performs an aggressive clay-court slide while returning a difficult shot. Large spray of red clay erupts dramatically around her. Baby pink outfit remains clearly visible against the clay. Show maximum athletic commitment and effort. High-energy sports photography style. SCENE 7 (0:13–0:14) Quiet recovery moment. Athlete sits on a terracotta bench niche beside the court. Heavy breathing after intense exertion. Baby pink tennis dress lightly dusted with red clay. Close-up of a water bottle being raised to her lips. Moment of vulnerability and recovery. Golden sunlight remains warm and cinematic. SCENE 8 (0:14–0:15) Medium portrait shot. Slow push-in toward athlete's face. Sweat glistens naturally on skin. She looks directly ahead with unwavering determination despite visible fatigue. Baby pink athletic attire remains visible in frame. Emotion: resilience, sacrifice, excellence. End on a powerful confident stare. VISUAL STYLE Ultra-realistic cinematic sports commercial. Luxury athletic brand campaign aesthetic. Natural clay-court textures. Premium sports photography. Shallow depth of field. Authentic athlete movement. Golden-hour sunlight. Warm terracotta and clay color grading. Subtle film grain. High-end commercial production quality. EMOTIONAL ARC Rest → Awakening → Explosion → Pursuit → Competition → Sacrifice → Recovery → Determination.
0:21

The moment her eyes opened, the match changed forever. GPT Image 2 + Seedance 2.0 TITLE: SHARON RILEY — Awakening the Competitor Create a premium 15-second sports commercial filmed on a professional red clay tennis court at golden hour. The athlete is a female professional tennis player wearing an elegant baby pink performance tennis dress with coordinated baby pink athletic accessories throughout the entire film. Visual style combines luxury sports advertising, cinematic realism, emotional storytelling, and elite athletic performance. Warm clay reds, terracotta tones, golden sunlight, and soft baby pink wardrobe dominate the color palette. STRICTLY FOLLOW THE SHOTS IN THIS EXACT ORDER. SCENE 1 (0:00–0:02) Wide overhead aerial shot. Female tennis player lies motionless on a red clay court, eyes closed, body relaxed. Clay dust surrounds her silhouette. Warm morning sunlight washes over the scene. Camera performs a slow descending crane move from directly above. Mood: stillness, meditation, anticipation. No athletic movement yet. SCENE 2 (0:02–0:05) Cut to close-up. A tennis ball rolls through the foreground toward camera. Behind it, the athlete's eyes suddenly open and lock directly into the lens. Determination emerges instantly. Baby pink outfit visible around shoulders and chest. Camera slowly pushes inward. Emotion: awakening, focus, inner drive igniting. SCENE 3 (0:05–0:07) Immediate cut to explosive serve. Low-angle hero shot from court level. Athlete launches upward with maximum extension during a powerful serve. Baby pink tennis dress flows dynamically through the motion. Clay particles scatter beneath her feet. Sunlight catches airborne dust. Energy transitions from calm to explosive. SCENE 4 (0:07–0:09) Dynamic sprint sequence. Athlete accelerates across the baseline at full speed. Camera tracks smoothly alongside her movement. Powerful footwork sends clay dust trailing behind. Baby pink performance attire contrasts against the deep red clay. Mood: speed, determination, athletic elegance. SCENE 5 (0:09–0:11) Broadcast-style sports coverage framing. Telephoto lens perspective. Athlete strikes a forehand during an intense rally. Subtle television broadcast graphics and live-coverage overlays appear briefly on screen. Professional tournament atmosphere. Audio impression: "Coming to you live from..." Maintain realistic sports broadcast aesthetic. SCENE 6 (0:11–0:13) Ground-level tracking shot. Athlete performs an aggressive clay-court slide while returning a difficult shot. Large spray of red clay erupts dramatically around her. Baby pink outfit remains clearly visible against the clay. Show maximum athletic commitment and effort. High-energy sports photography style. SCENE 7 (0:13–0:14) Quiet recovery moment. Athlete sits on a terracotta bench niche beside the court. Heavy breathing after intense exertion. Baby pink tennis dress lightly dusted with red clay. Close-up of a water bottle being raised to her lips. Moment of vulnerability and recovery. Golden sunlight remains warm and cinematic. SCENE 8 (0:14–0:15) Medium portrait shot. Slow push-in toward athlete's face. Sweat glistens naturally on skin. She looks directly ahead with unwavering determination despite visible fatigue. Baby pink athletic attire remains visible in frame. Emotion: resilience, sacrifice, excellence. End on a powerful confident stare. VISUAL STYLE Ultra-realistic cinematic sports commercial. Luxury athletic brand campaign aesthetic. Natural clay-court textures. Premium sports photography. Shallow depth of field. Authentic athlete movement. Golden-hour sunlight. Warm terracotta and clay color grading. Subtle film grain. High-end commercial production quality. EMOTIONAL ARC Rest → Awakening → Explosion → Pursuit → Competition → Sacrifice → Recovery → Determination.

Sharon Riley

29,534 görüntüleme • 1 ay önce

ARMCHAIR WITH JANJINGJING #ARMCHAIRคุยเล่นเอาจริง #JanJingjing (the most memorable scene) 🐯: i’d choose the pajama scene where we cried together 🎤: (the footage is coming up. is it the same scene [that jan chose]?) 🐯: it’s a different scene, but it’s in the same episode, ep8. because this scene was one of the first scenes we got to do a drama scene together. and i’m someone who puts a lot of pressure on myself. for acting, my acting teacher once said, “if you try hard to make it good with too much determination, it won’t come out well.” 🎤: trying too hard 🐯: trying too hard 🎤: it goes beyond the right amount 🐯: yes, trying too hard. it blocks everything in my body and doesn’t allow what’s inside to flow out. i’m someone who tends to pressure myself, so i kept telling myself, “i want to do it well” but the more i thought like this, it created more and more pressure. i blocked myself more, and the less i was able to do it 🎤: (it sounds very tough; it’s like meditating. you want to be calm but the mind isn’t) 🐯: the more i thought like that, the voices in my head were fighting each other more. the more they fought each other, my focus on the character slipped away 🎤: (“the harder you try, the worse it gets”) 🐯: yes, and the more i overthought, “i have to do this and this. it has to come out well.” but i forgot to actually be wine. at that time, when i was filming with p’jan, they filmed p’jan’s angle first. and when it came to me, i couldn’t act 🎤: like filming your face? 🐯: yes, p’jan’s side was shot first. when it was my turn to film me, i couldn’t act. the director came over and told me, “i don’t think it’s there yet.” that made me feel even more pressure. i went and sat by myself on set, sitting there crying. p’jan came to comfort me. she came over and… p’jan is such a talented person, because we acted many takes, but p’jan cried like that for me in every take to feed me the emotion when the camera was on me 🎤: do you remember how many takes it took? 🐯: that scene was very long 🦊: we probably filmed for around 4-5 hours for this scene 🎤: (the scene was a few minutes long, but 4-5 hours. it’s not only about saying the lines, but the emotions had to be there too. how did you get through it, jingjing?) 🐯: i was trying, and p’jan tried encouraging me and came and hugged me. so i was like, “nope! the slower it goes, the more pressure i would feel. everyone on set is waiting for me.” that just made me more pressured. i put a lot of pressure on myself. eventually, i thought, “forget it! however it turns out, so be it! i tried to stop paying attention to everything around me and focus only on “i’m k’wine, and how much i love k’lal” the acting coach and assistant director tried getting me into the scene, telling me to remember that i had to be k’wine. i thought about how much k’wine loves k’lal. once i started getting rid of my own stress and tried getting back into k’wine again, i finally was able to do the scene 🎤: (magic moment about getting unstuck from stumbling) 🐯: yes. this was the scene where p’jan told me, “no matter how many takes, p’ can do it for you.” honestly, this scene made us build a better understanding of each other regarding work 🎤: you’re very lucky to have someone next to you who understands you 🦊: i knew that she was stressed, and that this is how she gets [when stressed]. so i said, “don’t stress! i’ll do it for you! we’ll keep going until we get it. don’t be afraid.”
3:39

ARMCHAIR WITH JANJINGJING #ARMCHAIRคุยเล่นเอาจริง #JanJingjing (the most memorable scene) 🐯: i’d choose the pajama scene where we cried together 🎤: (the footage is coming up. is it the same scene [that jan chose]?) 🐯: it’s a different scene, but it’s in the same episode, ep8. because this scene was one of the first scenes we got to do a drama scene together. and i’m someone who puts a lot of pressure on myself. for acting, my acting teacher once said, “if you try hard to make it good with too much determination, it won’t come out well.” 🎤: trying too hard 🐯: trying too hard 🎤: it goes beyond the right amount 🐯: yes, trying too hard. it blocks everything in my body and doesn’t allow what’s inside to flow out. i’m someone who tends to pressure myself, so i kept telling myself, “i want to do it well” but the more i thought like this, it created more and more pressure. i blocked myself more, and the less i was able to do it 🎤: (it sounds very tough; it’s like meditating. you want to be calm but the mind isn’t) 🐯: the more i thought like that, the voices in my head were fighting each other more. the more they fought each other, my focus on the character slipped away 🎤: (“the harder you try, the worse it gets”) 🐯: yes, and the more i overthought, “i have to do this and this. it has to come out well.” but i forgot to actually be wine. at that time, when i was filming with p’jan, they filmed p’jan’s angle first. and when it came to me, i couldn’t act 🎤: like filming your face? 🐯: yes, p’jan’s side was shot first. when it was my turn to film me, i couldn’t act. the director came over and told me, “i don’t think it’s there yet.” that made me feel even more pressure. i went and sat by myself on set, sitting there crying. p’jan came to comfort me. she came over and… p’jan is such a talented person, because we acted many takes, but p’jan cried like that for me in every take to feed me the emotion when the camera was on me 🎤: do you remember how many takes it took? 🐯: that scene was very long 🦊: we probably filmed for around 4-5 hours for this scene 🎤: (the scene was a few minutes long, but 4-5 hours. it’s not only about saying the lines, but the emotions had to be there too. how did you get through it, jingjing?) 🐯: i was trying, and p’jan tried encouraging me and came and hugged me. so i was like, “nope! the slower it goes, the more pressure i would feel. everyone on set is waiting for me.” that just made me more pressured. i put a lot of pressure on myself. eventually, i thought, “forget it! however it turns out, so be it! i tried to stop paying attention to everything around me and focus only on “i’m k’wine, and how much i love k’lal” the acting coach and assistant director tried getting me into the scene, telling me to remember that i had to be k’wine. i thought about how much k’wine loves k’lal. once i started getting rid of my own stress and tried getting back into k’wine again, i finally was able to do the scene 🎤: (magic moment about getting unstuck from stumbling) 🐯: yes. this was the scene where p’jan told me, “no matter how many takes, p’ can do it for you.” honestly, this scene made us build a better understanding of each other regarding work 🎤: you’re very lucky to have someone next to you who understands you 🦊: i knew that she was stressed, and that this is how she gets [when stressed]. so i said, “don’t stress! i’ll do it for you! we’ll keep going until we get it. don’t be afraid.”

²²

26,707 görüntüleme • 1 ay önce

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles. That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness. Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution. He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible. First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky. Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity. He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.” They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image. The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.
2:25

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles. That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness. Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution. He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible. First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky. Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity. He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.” They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image. The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.

Gangster Cinema Central

120,390 görüntüleme • 1 ay önce

Turn the volume up and let the colors take over. A little chaos, a lot of energy, and a soundtrack made for endless summer days. 💖⚡ Made on FlovaAI using Sonu and Seedance 2.0 #Flovaai #Flovacpp PROMPT: Generate a continuous 1-minute high-budget K-pop-inspired music video synchronized to the lyrics below. The video should feel like a real summer comeback with constant momentum, vibrant colors, cinematic visuals, and powerful synchronized choreography. Every beat should introduce dynamic dance movements, new camera angles, formation changes, or visual effects. The pacing should be fast, energetic, stylish, and addictive with no slow walking sequences or static shots. Every frame should feel alive. Character (Must Remain Identical Throughout) Caden, 22-year-old male, 6'0" (183 cm), lean athletic build, fair skin, expressive brown eyes, clean-shaven, short brown hair styled in a voluminous side-swept quiff, youthful, confident, playful, charismatic smile. Outfit (Never Changes) Burgundy varsity jacket with white sleeves and striped ribbed cuffs and waistband Oversized untucked white button-up shirt Slim black necktie Washed charcoal oversized wide-leg jeans Burgundy Converse-style high-top sneakers with white toe cap and white laces Matte black over-ear headphones resting around his neck Thin silver chain necklace Silver rings 0:00–0:15 | Intro Lyrics Sunlight dripping on a cherry sky, Bubble dreams and we're feeling fly. One more spark, let the colors drop, Heartbeat fizz, never wanna stop. Scene The music video opens with an explosive introduction inside a vibrant pastel "Soda City." Caden immediately takes center stage with eight synchronized backup dancers dressed in coordinated colorful streetwear. They perform sharp, energetic choreography with fast footwork, synchronized arm movements, expressive facial performance, and constantly changing dance formations. The camera rapidly alternates between dramatic close-ups, sweeping crane shots, whip pans, rotating 360-degree movements, crash zooms, low-angle hero shots, aerial drone reveals, and smooth gimbal tracking. Giant floating bubbles, oversized cherries, colorful fountains, confetti cannons, pastel cafés, glowing signs, and sparkling sunlight fill the environment. Every lyric is matched with dynamic choreography, playful expressions, colorful particle effects, and high-energy movement. 0:15–0:30 | Pre-Chorus Lyrics Blue, pink, green, paint the air, Every little moment tastes unfair. Spin it up, let the whole world glow, Catch the rush and just let it flow. Scene The choreography becomes even more intricate as Caden and the dancers move through a colorful city plaza filled with neon cafés, giant soda bottles, bubble fountains, amusement rides, roller skaters, dancing crowds, colorful murals, and glowing street decorations. Every few beats the dancers transition into new formations. Colored powder bursts, sparkling particles, bubbles, ribbons, and confetti explode in perfect synchronization with the music. Camera movement remains constant with overhead drone shots, dynamic steadicam tracking, dolly movements, whip transitions, rotating camera moves, and stylish close-ups that emphasize dance performance and fashion. 0:30–0:45 | Chorus Lyrics Pop-pop, light it up, Sugar stars in a paper cup. Fizz-fizz, feel the beat, Dancing down every neon street. Pop-pop, don't let go, We're the colors everybody knows. Scene The chorus explodes into a massive K-pop performance sequence. Giant LED displays, colorful lasers, fireworks, sparkling stars, floating balloons, glowing bubbles, confetti storms, and synchronized lighting effects transform the city into a festival. Caden leads powerful choreography with continuous formation changes while dancers interact with colorful props and playful stage elements. Camera work becomes even faster with handheld performance shots, sweeping orbits, overhead reveals, dramatic push-ins, stylish slow-motion accents on key dance moves, and wide cinematic shots showcasing the full choreography. Every beat feels designed for dance performance with no pauses in energy. 0:45–1:00 | Outro Lyrics One more smile, one more flash, Living like a summer splash. When the music never stops, We're forever in the pop. Scene The final section becomes the biggest celebration yet. Caden and the dancers perform the signature chorus choreography in the middle of a glowing festival square surrounded by cheering crowds, giant fountains, colorful lights, fireworks, bubbles, confetti, oversized balloons, amusement rides, and vibrant summer decorations. The choreography reaches its peak with synchronized jumps, spins, partner interactions, and dynamic ending formations. The camera alternates between intimate close-ups, dramatic low-angle shots, aerial drone views, and wide cinematic reveals before ending on a powerful hero pose as confetti rains from the sky and the entire city glows beneath colorful lights. Overall Visual Direction High-budget K-pop summer comeback music video, luxury fashion campaign aesthetics, synchronized choreography, professional backup dancers, energetic dance performance, expressive facial acting, polished styling, colorful festival atmosphere, bold pastel palette, cherry red, bubblegum pink, lemon yellow, mint green, electric blue, glossy commercial lighting, cinematic anamorphic lenses, fast-paced editing, dynamic camera movement, whip pans, crash zooms, crane shots, aerial drone shots, smooth gimbal tracking, rotating camera movements, seamless transitions, sparkling particle effects, colorful bubbles, confetti, fireworks, vibrant cityscapes, amusement park atmosphere, stylish street fashion, premium commercial quality, addictive choreography, playful youthful energy, polished K-pop comeback aesthetic, constant movement, no static shots, no walking sequences, every second filled with choreography, camera motion, colorful spectacle, and infectious pop energy. 🔥 Final Line (Very Important) Prioritize synchronized choreography, expressive dance performance, dynamic camera movement, fast-paced editing, and continuous visual excitement over cinematic slow moments. Every beat should feel performance-driven, colorful, energetic, and designed like a high-budget K-pop music video with nonstop momentum from beginning to end.
0:55

Turn the volume up and let the colors take over. A little chaos, a lot of energy, and a soundtrack made for endless summer days. 💖⚡ Made on FlovaAI using Sonu and Seedance 2.0 #Flovaai #Flovacpp PROMPT: Generate a continuous 1-minute high-budget K-pop-inspired music video synchronized to the lyrics below. The video should feel like a real summer comeback with constant momentum, vibrant colors, cinematic visuals, and powerful synchronized choreography. Every beat should introduce dynamic dance movements, new camera angles, formation changes, or visual effects. The pacing should be fast, energetic, stylish, and addictive with no slow walking sequences or static shots. Every frame should feel alive. Character (Must Remain Identical Throughout) Caden, 22-year-old male, 6'0" (183 cm), lean athletic build, fair skin, expressive brown eyes, clean-shaven, short brown hair styled in a voluminous side-swept quiff, youthful, confident, playful, charismatic smile. Outfit (Never Changes) Burgundy varsity jacket with white sleeves and striped ribbed cuffs and waistband Oversized untucked white button-up shirt Slim black necktie Washed charcoal oversized wide-leg jeans Burgundy Converse-style high-top sneakers with white toe cap and white laces Matte black over-ear headphones resting around his neck Thin silver chain necklace Silver rings 0:00–0:15 | Intro Lyrics Sunlight dripping on a cherry sky, Bubble dreams and we're feeling fly. One more spark, let the colors drop, Heartbeat fizz, never wanna stop. Scene The music video opens with an explosive introduction inside a vibrant pastel "Soda City." Caden immediately takes center stage with eight synchronized backup dancers dressed in coordinated colorful streetwear. They perform sharp, energetic choreography with fast footwork, synchronized arm movements, expressive facial performance, and constantly changing dance formations. The camera rapidly alternates between dramatic close-ups, sweeping crane shots, whip pans, rotating 360-degree movements, crash zooms, low-angle hero shots, aerial drone reveals, and smooth gimbal tracking. Giant floating bubbles, oversized cherries, colorful fountains, confetti cannons, pastel cafés, glowing signs, and sparkling sunlight fill the environment. Every lyric is matched with dynamic choreography, playful expressions, colorful particle effects, and high-energy movement. 0:15–0:30 | Pre-Chorus Lyrics Blue, pink, green, paint the air, Every little moment tastes unfair. Spin it up, let the whole world glow, Catch the rush and just let it flow. Scene The choreography becomes even more intricate as Caden and the dancers move through a colorful city plaza filled with neon cafés, giant soda bottles, bubble fountains, amusement rides, roller skaters, dancing crowds, colorful murals, and glowing street decorations. Every few beats the dancers transition into new formations. Colored powder bursts, sparkling particles, bubbles, ribbons, and confetti explode in perfect synchronization with the music. Camera movement remains constant with overhead drone shots, dynamic steadicam tracking, dolly movements, whip transitions, rotating camera moves, and stylish close-ups that emphasize dance performance and fashion. 0:30–0:45 | Chorus Lyrics Pop-pop, light it up, Sugar stars in a paper cup. Fizz-fizz, feel the beat, Dancing down every neon street. Pop-pop, don't let go, We're the colors everybody knows. Scene The chorus explodes into a massive K-pop performance sequence. Giant LED displays, colorful lasers, fireworks, sparkling stars, floating balloons, glowing bubbles, confetti storms, and synchronized lighting effects transform the city into a festival. Caden leads powerful choreography with continuous formation changes while dancers interact with colorful props and playful stage elements. Camera work becomes even faster with handheld performance shots, sweeping orbits, overhead reveals, dramatic push-ins, stylish slow-motion accents on key dance moves, and wide cinematic shots showcasing the full choreography. Every beat feels designed for dance performance with no pauses in energy. 0:45–1:00 | Outro Lyrics One more smile, one more flash, Living like a summer splash. When the music never stops, We're forever in the pop. Scene The final section becomes the biggest celebration yet. Caden and the dancers perform the signature chorus choreography in the middle of a glowing festival square surrounded by cheering crowds, giant fountains, colorful lights, fireworks, bubbles, confetti, oversized balloons, amusement rides, and vibrant summer decorations. The choreography reaches its peak with synchronized jumps, spins, partner interactions, and dynamic ending formations. The camera alternates between intimate close-ups, dramatic low-angle shots, aerial drone views, and wide cinematic reveals before ending on a powerful hero pose as confetti rains from the sky and the entire city glows beneath colorful lights. Overall Visual Direction High-budget K-pop summer comeback music video, luxury fashion campaign aesthetics, synchronized choreography, professional backup dancers, energetic dance performance, expressive facial acting, polished styling, colorful festival atmosphere, bold pastel palette, cherry red, bubblegum pink, lemon yellow, mint green, electric blue, glossy commercial lighting, cinematic anamorphic lenses, fast-paced editing, dynamic camera movement, whip pans, crash zooms, crane shots, aerial drone shots, smooth gimbal tracking, rotating camera movements, seamless transitions, sparkling particle effects, colorful bubbles, confetti, fireworks, vibrant cityscapes, amusement park atmosphere, stylish street fashion, premium commercial quality, addictive choreography, playful youthful energy, polished K-pop comeback aesthetic, constant movement, no static shots, no walking sequences, every second filled with choreography, camera motion, colorful spectacle, and infectious pop energy. 🔥 Final Line (Very Important) Prioritize synchronized choreography, expressive dance performance, dynamic camera movement, fast-paced editing, and continuous visual excitement over cinematic slow moments. Every beat should feel performance-driven, colorful, energetic, and designed like a high-budget K-pop music video with nonstop momentum from beginning to end.

Caden Flux

108,506 görüntüleme • 3 gün önce

The Beast's Last Breath I shared the opening scene prompt earlier and added it to my first reply. For the rest, I built it out using the extend method. This is the prompt I used for the second part. The third part follows the same structure, with only the added segment description changing. I used reference images for the knight, dragon and dragon rider, but they're optional. I used Seedance 2.0 Omni on Martini Art AI Prompt for extending: Extend @[Video1] by 15s. Use @[image1] for the knight referece. CONTINUITY: Match the hostile blizzard, Cold Isolation Look, one continuous stalking camera language, armored knight silhouette, and suffocating storm sound design. Preserve battlefield wreckage under the drifts, intermittent lens strikes from hard ice, cold rim light through the whiteout, and a slow dread build with no release. ADDED SEGMENT: The knight drags upright with visible effort, legs unsteady, shoulders sagging under ice-caked armor, breath stuttering in the visor before the body settles into a low guarded stance with the sword ready. Opposite him, the ogre-like giant remains at a threatening distance in the whiteout, broad as a siege gate, wearing crude metal scraps and frozen hides, still advancing one deliberate step at a time without closing in too fast. The danger comes from its certainty, not speed. At the same time, the camera slowly cranes upward and pulls away, widening the frame as both figures stay locked on each other, turning the moment into a suspended battlefield standoff with the storm pressing in from every side. SFX: strained breath, steel creak, cloth snap, deep weighted footfalls, snow grind under mass, wind shear, low storm bass.
0:44

The Beast's Last Breath I shared the opening scene prompt earlier and added it to my first reply. For the rest, I built it out using the extend method. This is the prompt I used for the second part. The third part follows the same structure, with only the added segment description changing. I used reference images for the knight, dragon and dragon rider, but they're optional. I used Seedance 2.0 Omni on Martini Art AI Prompt for extending: Extend @[Video1] by 15s. Use @[image1] for the knight referece. CONTINUITY: Match the hostile blizzard, Cold Isolation Look, one continuous stalking camera language, armored knight silhouette, and suffocating storm sound design. Preserve battlefield wreckage under the drifts, intermittent lens strikes from hard ice, cold rim light through the whiteout, and a slow dread build with no release. ADDED SEGMENT: The knight drags upright with visible effort, legs unsteady, shoulders sagging under ice-caked armor, breath stuttering in the visor before the body settles into a low guarded stance with the sword ready. Opposite him, the ogre-like giant remains at a threatening distance in the whiteout, broad as a siege gate, wearing crude metal scraps and frozen hides, still advancing one deliberate step at a time without closing in too fast. The danger comes from its certainty, not speed. At the same time, the camera slowly cranes upward and pulls away, widening the frame as both figures stay locked on each other, turning the moment into a suspended battlefield standoff with the storm pressing in from every side. SFX: strained breath, steel creak, cloth snap, deep weighted footfalls, snow grind under mass, wind shear, low storm bass.

Kōda

15,714 görüntüleme • 3 ay önce

A peaceful evening in Paris turns into chaos. One ordinary man answers an extraordinary call. The guardian awakens. created on GPT image and seedance 2.0 on TapNow Prompt: Style: Ultra-realistic cinematic superhero film, Hollywood blockbuster quality, fast-paced editing, dynamic camera movement, realistic physics, dramatic lighting, 4K HDR, vibrant Paris atmosphere, high energy, seamless transitions. 0:00–0:03 Camera: FPV drone dives through the Paris skyline before rapidly descending toward a lively plaza near the Eiffel Tower. Fast whip-pan between musicians, cafés, tourists taking photos, street performers, and children chasing pigeons. Action: The city feels vibrant and alive. Warm golden-hour sunlight reflects off the buildings. Fireworks begin in the distance as a city festival fills the streets. Audio: Lively crowd chatter, street music, laughter. 0:03–0:06 camera: Sudden handheld shake followed by a dramatic low-angle shot of a museum entrance. Action: A powerful blue energy blast erupts, shattering the glass doors. Smoke pours out as a masked thief bursts into the street holding a glowing blue crystal. Police rush forward but are knocked back by a pulse of energy. The thief leaps effortlessly onto nearby rooftops. Audio: Explosion, glass shattering, screams, alarms. Thief (laughing): "Catch me if you can!" 0:06–0:09 Camera: Match cut to Caden exiting a nearby café with an iced coffee. Medium tracking shot follows him as confused crowds rush past in the opposite direction. Action: He notices the chaos. His silver ring suddenly glows with brilliant blue energy. Extreme close-up: Intricate symbols appear on the ring, rotating as pulses of light spread across his hand. AI Voice (from the ring): "Guardian Protocol activated." Caden (smirking): "Seriously? Right now?" 0:09–0:12 Camera: Dynamic 360° orbit around Caden. Action: He twists the ring. Blue energy erupts around him in swirling ribbons. A sleek black superhero suit with glowing blue accents materializes piece by piece—boots, gloves, armored jacket, utility belt, and a streamlined black eye mask. The transformation ends with a burst of energy as his long coat flutters dramatically. Audio: Rising orchestral music mixed with electronic pulses. Caden: "Let's do this." Style: Same cinematic style, high-speed action, smooth speed ramps, realistic VFX. 0:12-0:15 Camera: Low-angle tracking shot sprinting alongside Caden as he races through crowded Paris streets. Speed ramps emphasize his agility. Action: He vaults over café tables, slides across a car hood, and jumps onto a moving delivery truck without losing speed. Audio: Heavy footsteps, traffic, intense cinematic score. Caden (grinning): "You're not getting away that easily!" 0:15–0:18 Camera: FPV-style rooftop chase. The camera flies just behind Caden as he leaps between rooftops. Action: The thief glances back with a confident smile while clutching the glowing crystal. Chimneys, rooftops, and Paris landmarks blur past at high speed. Thief: "You'll have to be faster than that!" 0:18–0:25 Camera: Wide shot of the Eiffel Tower followed by a dramatic side-tracking shot. Action: The thief launches from one steel beam toward another. Caden follows without hesitation. Mid-air, they collide briefly. The crystal slips from the thief's hand and spins toward the ground. Audio: Wind rushing, metal clashing, music building to a climax. Camera: Extreme slow-motion close-up. Action: Caden dives through the air and catches the glowing crystal inches before it hits the ground. The thief disappears into a cloud of dark smoke. Suddenly, cracks spread across the crystal as bright blue energy leaks out. Camera: Slow push-in on Caden's face as the light reflects in his eyes. Caden (whispering): "This... wasn't just a theft." Final Frame: The crystal emits a blinding flash. CUT TO BLACK. Text on screen: "To Be Continued..." 🎬
0:30

A peaceful evening in Paris turns into chaos. One ordinary man answers an extraordinary call. The guardian awakens. created on GPT image and seedance 2.0 on TapNow Prompt: Style: Ultra-realistic cinematic superhero film, Hollywood blockbuster quality, fast-paced editing, dynamic camera movement, realistic physics, dramatic lighting, 4K HDR, vibrant Paris atmosphere, high energy, seamless transitions. 0:00–0:03 Camera: FPV drone dives through the Paris skyline before rapidly descending toward a lively plaza near the Eiffel Tower. Fast whip-pan between musicians, cafés, tourists taking photos, street performers, and children chasing pigeons. Action: The city feels vibrant and alive. Warm golden-hour sunlight reflects off the buildings. Fireworks begin in the distance as a city festival fills the streets. Audio: Lively crowd chatter, street music, laughter. 0:03–0:06 camera: Sudden handheld shake followed by a dramatic low-angle shot of a museum entrance. Action: A powerful blue energy blast erupts, shattering the glass doors. Smoke pours out as a masked thief bursts into the street holding a glowing blue crystal. Police rush forward but are knocked back by a pulse of energy. The thief leaps effortlessly onto nearby rooftops. Audio: Explosion, glass shattering, screams, alarms. Thief (laughing): "Catch me if you can!" 0:06–0:09 Camera: Match cut to Caden exiting a nearby café with an iced coffee. Medium tracking shot follows him as confused crowds rush past in the opposite direction. Action: He notices the chaos. His silver ring suddenly glows with brilliant blue energy. Extreme close-up: Intricate symbols appear on the ring, rotating as pulses of light spread across his hand. AI Voice (from the ring): "Guardian Protocol activated." Caden (smirking): "Seriously? Right now?" 0:09–0:12 Camera: Dynamic 360° orbit around Caden. Action: He twists the ring. Blue energy erupts around him in swirling ribbons. A sleek black superhero suit with glowing blue accents materializes piece by piece—boots, gloves, armored jacket, utility belt, and a streamlined black eye mask. The transformation ends with a burst of energy as his long coat flutters dramatically. Audio: Rising orchestral music mixed with electronic pulses. Caden: "Let's do this." Style: Same cinematic style, high-speed action, smooth speed ramps, realistic VFX. 0:12-0:15 Camera: Low-angle tracking shot sprinting alongside Caden as he races through crowded Paris streets. Speed ramps emphasize his agility. Action: He vaults over café tables, slides across a car hood, and jumps onto a moving delivery truck without losing speed. Audio: Heavy footsteps, traffic, intense cinematic score. Caden (grinning): "You're not getting away that easily!" 0:15–0:18 Camera: FPV-style rooftop chase. The camera flies just behind Caden as he leaps between rooftops. Action: The thief glances back with a confident smile while clutching the glowing crystal. Chimneys, rooftops, and Paris landmarks blur past at high speed. Thief: "You'll have to be faster than that!" 0:18–0:25 Camera: Wide shot of the Eiffel Tower followed by a dramatic side-tracking shot. Action: The thief launches from one steel beam toward another. Caden follows without hesitation. Mid-air, they collide briefly. The crystal slips from the thief's hand and spins toward the ground. Audio: Wind rushing, metal clashing, music building to a climax. Camera: Extreme slow-motion close-up. Action: Caden dives through the air and catches the glowing crystal inches before it hits the ground. The thief disappears into a cloud of dark smoke. Suddenly, cracks spread across the crystal as bright blue energy leaks out. Camera: Slow push-in on Caden's face as the light reflects in his eyes. Caden (whispering): "This... wasn't just a theft." Final Frame: The crystal emits a blinding flash. CUT TO BLACK. Text on screen: "To Be Continued..." 🎬

Caden Flux

22,055 görüntüleme • 15 gün önce

🚨 BREAKING: CHARLIE KIRK ASSASSINATION SOLVED! Infrared Laser Traced to Shooter in Suspicious Grey Van—Suspect Identified😱 (SHORT VERSION) In a breakthrough collaboration, Steven Bennun INL, WeAreNotGoingToMars, and myself have pieced together irrefutable evidence pinpointing the origin of the infrared laser beam captured on Frank Turek's phone during the harrowing incident at Utah Valley University (UVU), where Charlie Kirk was targeted in a shooting. By meticulously combining multiple strands of circumstantial evidence, we've zeroed in on the shooter's location. Here's how it all came together: The Bullet in Flight: A single frame from event footage captured the bullet mere milliseconds before impact—providing a critical vector for trajectory analysis. The Shell Casing: Discovered lodged beneath the tent's top edge, it appears to have ejected through a small gap where the rear vinyl panel (with logos) meets the canopy. The Infrared Laser: The smoking gun—literally—reflected on Frank Turek's phone screen at the exact moment of the shot. Individually, these clues are intriguing but inconclusive. But unified? They form a clear pattern. Physics is our ally here: Infrared lasers travel in straight lines without bending. By reverse-engineering the beam's angle and cross-referencing it with landmarks in surrounding footage, we locked onto a precise direction. After hours of frame-by-frame dissection across multiple videos—supercharged by the stunning 4K clarity from Crowdsource The Truth and Cub Keller (huge thanks, folks—follow them if you haven't!)—we enhanced the reflection on Frank's phone. What emerged was unmistakable: the laser originated from inside a suspicious grey van parked just behind and to the right of Charlie's position (from his vantage point, facing the crowd frontward), tucked under the tunnel and obscured by the tent. Zooming deeper, we spotted the van's side panels and windshield framing the beam's source. At the precise instant the laser winked out—milliseconds after activation—a figure in the rear cargo area became visible for a fleeting few frames: a person in a light-colored shirt, with noticeably protruding ears and a bald or closely cropped head. This isn't speculation. The timing aligns perfectly with the shot. We can state with 100% certainty: The infrared laser—aimed directly at Charlie at the moment the bullet flew—emanated from that individual in the grey van. Now, apply a dash of logic: What earthly reason would someone have for lasering Charlie Kirk at that exact second, if not to guide a firearm's aim? Coincidence? Sure, it's possible—but the odds are slimmer than hitting the Mega Millions jackpot twice in a row. Adding fuel to the fire: Eyewitnesses and footage had already flagged this van as odd. Its rear hatch snaps open four seconds before the shot... then slams shut immediately after the crack echoes. No normal behavior there. Shoutout to@HustleBitch_ for their killer breakdown video showcasing this sequence in crystal detail—check it out. We've nailed the where, when, and how. The only piece left? Who. From the phone reflection and corroborating clips, our suspect profile is sharp: Light shirt, bald (or very short hair), prominent ears. Cross-referencing event footage, we found a match—a man filmed loitering suspiciously right beside that grey van, in the tunnel shadows behind the tent. Gloves on his hands? That's no small detail. Important disclaimer: This is not an accusation. We're not vigilantes—DO NOT contact, harass, or dox anyone featured in our videos or posts. This individual is simply a person of interest based on the evidence. He was in the epicenter at the critical time, and we need answers: Who is he, and what was he doing there? If you have intel on his identity, additional footage of his movements that day, or any related details, DM me on X or email projectconstitutionvideos@gmail.com. Let's clear his name if he's innocent—or ensure justice if not. Urgent Call to Action: Forward this to the FBI immediately. Tell them we've cracked the case, traced the shooter, and it's time to drop charges against Tyler Robinson. The real threat is exposed. Tag Candace Owens —she needs to see this NOW. The truth is out. Let's make it count.🔥
5:21

🚨 BREAKING: CHARLIE KIRK ASSASSINATION SOLVED! Infrared Laser Traced to Shooter in Suspicious Grey Van—Suspect Identified😱 (SHORT VERSION) In a breakthrough collaboration, Steven Bennun INL, WeAreNotGoingToMars, and myself have pieced together irrefutable evidence pinpointing the origin of the infrared laser beam captured on Frank Turek's phone during the harrowing incident at Utah Valley University (UVU), where Charlie Kirk was targeted in a shooting. By meticulously combining multiple strands of circumstantial evidence, we've zeroed in on the shooter's location. Here's how it all came together: The Bullet in Flight: A single frame from event footage captured the bullet mere milliseconds before impact—providing a critical vector for trajectory analysis. The Shell Casing: Discovered lodged beneath the tent's top edge, it appears to have ejected through a small gap where the rear vinyl panel (with logos) meets the canopy. The Infrared Laser: The smoking gun—literally—reflected on Frank Turek's phone screen at the exact moment of the shot. Individually, these clues are intriguing but inconclusive. But unified? They form a clear pattern. Physics is our ally here: Infrared lasers travel in straight lines without bending. By reverse-engineering the beam's angle and cross-referencing it with landmarks in surrounding footage, we locked onto a precise direction. After hours of frame-by-frame dissection across multiple videos—supercharged by the stunning 4K clarity from Crowdsource The Truth and Cub Keller (huge thanks, folks—follow them if you haven't!)—we enhanced the reflection on Frank's phone. What emerged was unmistakable: the laser originated from inside a suspicious grey van parked just behind and to the right of Charlie's position (from his vantage point, facing the crowd frontward), tucked under the tunnel and obscured by the tent. Zooming deeper, we spotted the van's side panels and windshield framing the beam's source. At the precise instant the laser winked out—milliseconds after activation—a figure in the rear cargo area became visible for a fleeting few frames: a person in a light-colored shirt, with noticeably protruding ears and a bald or closely cropped head. This isn't speculation. The timing aligns perfectly with the shot. We can state with 100% certainty: The infrared laser—aimed directly at Charlie at the moment the bullet flew—emanated from that individual in the grey van. Now, apply a dash of logic: What earthly reason would someone have for lasering Charlie Kirk at that exact second, if not to guide a firearm's aim? Coincidence? Sure, it's possible—but the odds are slimmer than hitting the Mega Millions jackpot twice in a row. Adding fuel to the fire: Eyewitnesses and footage had already flagged this van as odd. Its rear hatch snaps open four seconds before the shot... then slams shut immediately after the crack echoes. No normal behavior there. Shoutout to@HustleBitch_ for their killer breakdown video showcasing this sequence in crystal detail—check it out. We've nailed the where, when, and how. The only piece left? Who. From the phone reflection and corroborating clips, our suspect profile is sharp: Light shirt, bald (or very short hair), prominent ears. Cross-referencing event footage, we found a match—a man filmed loitering suspiciously right beside that grey van, in the tunnel shadows behind the tent. Gloves on his hands? That's no small detail. Important disclaimer: This is not an accusation. We're not vigilantes—DO NOT contact, harass, or dox anyone featured in our videos or posts. This individual is simply a person of interest based on the evidence. He was in the epicenter at the critical time, and we need answers: Who is he, and what was he doing there? If you have intel on his identity, additional footage of his movements that day, or any related details, DM me on X or email [email protected]. Let's clear his name if he's innocent—or ensure justice if not. Urgent Call to Action: Forward this to the FBI immediately. Tell them we've cracked the case, traced the shooter, and it's time to drop charges against Tyler Robinson. The real threat is exposed. Tag Candace Owens —she needs to see this NOW. The truth is out. Let's make it count.🔥

Project Constitution

643,134 görüntüleme • 9 ay önce

Some stories don't end with the rescue; they begin with the chase. The pendant is broken. The call has been made. Now Reyes has only one clue and everything to lose. Made with Seedream 5.0 and Seedance 2.0 on RoboNeo Prompt: PART 1 — 0–15s VIDEO PROMPT Continue directly from Episode Zero final frame. Create a realistic live-action football thriller scene with a cinematic Netflix-style sports drama atmosphere. Mateo Reyes: 28-year-old fictional elite football captain, athletic build, short dark wavy hair, brown eyes, light stubble. Wearing a navy-and-gold national-style football kit with captain armband. Jersey details: Back name: REYES Number: 10 Clean realistic sports lettering. No real team logo or brand visible. Emotional state: confused, protective, determined. Elena: 27-year-old woman, long dark wavy hair, cream blouse, tan trousers, silver pendant around her neck. Fearful expression. Looking directly toward Mateo. Stranger: Tall mysterious figure wearing a dark overcoat. Face completely hidden in shadow or outside the frame. Black leather glove gripping Elena’s shoulder. Never reveal identity. [0.0–1.5 SEC] RECALL — CLIFFHANGER CONTINUATION Camera: Static cinematic freeze-frame matching Episode Zero ending. Medium-wide over-the-shoulder shot from behind Mateo. Composition: Mateo stands in the right foreground. His arm is slightly extended toward Elena. The back of his jersey is partially visible with “REYES 10” readable. Elena stands on the left side near a railing. Stranger stands behind Elena with a gloved hand on her shoulder. Mateo is looking directly at Elena. He is not looking at the crowd. Visual: Natural stadium lighting. Realistic sweat and skin texture. Soft background blur. Crowd only as an indistinct background element. Audio: Low cinematic impact sound fading from previous episode. Text Overlay: Minimal elegant serif text: “PREVIOUSLY...” Bottom-left. [1.5–5 SEC] THE QUESTION Camera: Slow handheld push-in from Mateo’s side angle. Natural documentary-style movement. Action: The frozen moment resumes. Elena turns toward Mateo, fear visible in her eyes. The Stranger pulls her slightly backward while keeping his face hidden. Mateo takes one step forward. His eyes remain fixed only on Elena. Shot A — Mateo Close-Up 35mm cinematic lens. Mateo breathing heavily. Confusion and urgency on his face. He speaks directly to Elena: Mateo: “Elena — who is that?!” Shot B — Elena Reaction Medium close-up. Elena looks frightened. She appears unable to explain. Her pendant catches a small reflection of light. Shot C — Stranger Detail Close-up of the black glove tightening on Elena’s shoulder. Face remains hidden. No dialogue. [5–10 SEC] SECURITY INTERVENTION Camera: Handheld tracking shot behind Mateo. Maintain clear geography. Mateo remains focused on Elena. Elena and Stranger move toward the side exit. Do not show Mateo shouting toward random people. Action: Two fictional stadium security officers enter from the side corridor. One officer blocks Mateo. Security Officer: “Sir, stay back — we’ll handle this.” Mateo tries to move forward but is stopped. Cut to Elena. The Stranger pulls her toward the exit. Before disappearing, Elena looks back. Her eyes meet Mateo’s. Mateo freezes. The silver pendant reflects the stadium light. No exaggerated crying. Only shock and fear. [10–15 SEC] THE CHASE BEGINS — MOVING TO THE LOCATION Transition: Move naturally from the stadium exterior into the pursuit. No return to the stadium. Camera: Fast handheld tracking shot following Mateo as he leaves through a restricted side exit. Night environment. Realistic street lighting. Thriller atmosphere. Action: Mateo removes his match layer and throws a dark training jacket over his shoulders. As he walks away: The camera briefly captures the back of his shirt: REYES 10 Clearly visible. No logos. No real team branding. Mateo follows the last known direction where Elena was taken. Cut to: Exterior — Abandoned Industrial Location Dark warehouse entrance. Quiet street. Moody cinematic lighting. Mateo arrives alone. Camera follows from behind. His jacket moves naturally in the wind. He searches the area. Final Shot: Slow cinematic push-in. Mateo notices Elena’s silver pendant lying near the entrance. He picks it up. His expression changes from confusion to determination. Low suspense music rises. CUT TO BLACK. PART 2 — 15–30s VIDEO PROMPT 15.0–19.0 sec | PANEL 1 — THE WEIGHT OF THE PENDANT Camera Slow cinematic push-in. Natural handheld movement. Action Mateo slowly closes his fingers around the pendant. His breathing becomes uneven. He stares at it as memories of Elena flash across his mind (no flashback visuals, only conveyed through his expression). His shoulders slump. For a brief moment, he struggles to stay composed. He presses the pendant tightly against his forehead, closes his eyes, and exhales deeply as if blaming himself for not reaching her in time. A tear begins to form but never fully falls. He whispers almost silently: "I'm sorry..." Cold wind moves through the abandoned industrial yard. Everything else remains silent. 19.0–24.0 sec | PANEL 2 — THE PHONE CALL Camera Medium close-up from the front. Shallow depth of field. Slow handheld push toward Mateo. Action His phone suddenly vibrates. He opens his eyes immediately. His breathing stops for a split second. Without letting go of the pendant, he answers. Dialogue Unknown Voice (distorted, calm): "You should have stayed on the pitch, Reyes." Mateo's face changes instantly. The sadness disappears. Anger replaces it. His grip tightens around the pendant until his knuckles turn white. Mateo (furious): "Where is she?!" Silence. The call disconnects. Flat electronic tone. Mateo continues listening to the dead line for another second, refusing to lower the phone. 24.0–27.0 sec | PANEL 3 — DESPERATION Camera Handheld side tracking shot. Medium-wide framing. Natural movement. Action Mateo lowers the phone slowly. His breathing becomes heavier. Frustration overwhelms him. He punches a nearby concrete pillar with his free hand. The impact echoes through the empty warehouse. He immediately winces in pain. His knuckles become slightly bloodied. He doesn't care. Still clutching Elena's pendant tightly in the other hand, he leans against the pillar for a brief second, trying to regain control. He wipes the tears from his eyes with the back of his sleeve. Then straightens up. His expression changes completely. Fear is gone. Only determination remains. 27.0–30.0 sec | PANEL 4 — THE PROMISE Camera Wide cinematic shot. Very slow dolly forward. Long abandoned industrial road disappearing into darkness. Action Mateo steps forward into the empty roadway. His fist remains tightly closed around Elena's pendant. Far ahead— A single red taillight flickers once before disappearing behind an abandoned warehouse. Mateo never looks away. He quietly says: "I'm coming for you." No music for a beat. Only distant wind. Freeze exactly as the taillight disappears. Hold the frame for two full beats. Hard cut to black. END CARD Black background. Elegant gold serif typography. Slow two-second fade in. EPISODE 2 COMING SOON Hold for at least two seconds before fading out.
0:31

Some stories don't end with the rescue; they begin with the chase. The pendant is broken. The call has been made. Now Reyes has only one clue and everything to lose. Made with Seedream 5.0 and Seedance 2.0 on RoboNeo Prompt: PART 1 — 0–15s VIDEO PROMPT Continue directly from Episode Zero final frame. Create a realistic live-action football thriller scene with a cinematic Netflix-style sports drama atmosphere. Mateo Reyes: 28-year-old fictional elite football captain, athletic build, short dark wavy hair, brown eyes, light stubble. Wearing a navy-and-gold national-style football kit with captain armband. Jersey details: Back name: REYES Number: 10 Clean realistic sports lettering. No real team logo or brand visible. Emotional state: confused, protective, determined. Elena: 27-year-old woman, long dark wavy hair, cream blouse, tan trousers, silver pendant around her neck. Fearful expression. Looking directly toward Mateo. Stranger: Tall mysterious figure wearing a dark overcoat. Face completely hidden in shadow or outside the frame. Black leather glove gripping Elena’s shoulder. Never reveal identity. [0.0–1.5 SEC] RECALL — CLIFFHANGER CONTINUATION Camera: Static cinematic freeze-frame matching Episode Zero ending. Medium-wide over-the-shoulder shot from behind Mateo. Composition: Mateo stands in the right foreground. His arm is slightly extended toward Elena. The back of his jersey is partially visible with “REYES 10” readable. Elena stands on the left side near a railing. Stranger stands behind Elena with a gloved hand on her shoulder. Mateo is looking directly at Elena. He is not looking at the crowd. Visual: Natural stadium lighting. Realistic sweat and skin texture. Soft background blur. Crowd only as an indistinct background element. Audio: Low cinematic impact sound fading from previous episode. Text Overlay: Minimal elegant serif text: “PREVIOUSLY...” Bottom-left. [1.5–5 SEC] THE QUESTION Camera: Slow handheld push-in from Mateo’s side angle. Natural documentary-style movement. Action: The frozen moment resumes. Elena turns toward Mateo, fear visible in her eyes. The Stranger pulls her slightly backward while keeping his face hidden. Mateo takes one step forward. His eyes remain fixed only on Elena. Shot A — Mateo Close-Up 35mm cinematic lens. Mateo breathing heavily. Confusion and urgency on his face. He speaks directly to Elena: Mateo: “Elena — who is that?!” Shot B — Elena Reaction Medium close-up. Elena looks frightened. She appears unable to explain. Her pendant catches a small reflection of light. Shot C — Stranger Detail Close-up of the black glove tightening on Elena’s shoulder. Face remains hidden. No dialogue. [5–10 SEC] SECURITY INTERVENTION Camera: Handheld tracking shot behind Mateo. Maintain clear geography. Mateo remains focused on Elena. Elena and Stranger move toward the side exit. Do not show Mateo shouting toward random people. Action: Two fictional stadium security officers enter from the side corridor. One officer blocks Mateo. Security Officer: “Sir, stay back — we’ll handle this.” Mateo tries to move forward but is stopped. Cut to Elena. The Stranger pulls her toward the exit. Before disappearing, Elena looks back. Her eyes meet Mateo’s. Mateo freezes. The silver pendant reflects the stadium light. No exaggerated crying. Only shock and fear. [10–15 SEC] THE CHASE BEGINS — MOVING TO THE LOCATION Transition: Move naturally from the stadium exterior into the pursuit. No return to the stadium. Camera: Fast handheld tracking shot following Mateo as he leaves through a restricted side exit. Night environment. Realistic street lighting. Thriller atmosphere. Action: Mateo removes his match layer and throws a dark training jacket over his shoulders. As he walks away: The camera briefly captures the back of his shirt: REYES 10 Clearly visible. No logos. No real team branding. Mateo follows the last known direction where Elena was taken. Cut to: Exterior — Abandoned Industrial Location Dark warehouse entrance. Quiet street. Moody cinematic lighting. Mateo arrives alone. Camera follows from behind. His jacket moves naturally in the wind. He searches the area. Final Shot: Slow cinematic push-in. Mateo notices Elena’s silver pendant lying near the entrance. He picks it up. His expression changes from confusion to determination. Low suspense music rises. CUT TO BLACK. PART 2 — 15–30s VIDEO PROMPT 15.0–19.0 sec | PANEL 1 — THE WEIGHT OF THE PENDANT Camera Slow cinematic push-in. Natural handheld movement. Action Mateo slowly closes his fingers around the pendant. His breathing becomes uneven. He stares at it as memories of Elena flash across his mind (no flashback visuals, only conveyed through his expression). His shoulders slump. For a brief moment, he struggles to stay composed. He presses the pendant tightly against his forehead, closes his eyes, and exhales deeply as if blaming himself for not reaching her in time. A tear begins to form but never fully falls. He whispers almost silently: "I'm sorry..." Cold wind moves through the abandoned industrial yard. Everything else remains silent. 19.0–24.0 sec | PANEL 2 — THE PHONE CALL Camera Medium close-up from the front. Shallow depth of field. Slow handheld push toward Mateo. Action His phone suddenly vibrates. He opens his eyes immediately. His breathing stops for a split second. Without letting go of the pendant, he answers. Dialogue Unknown Voice (distorted, calm): "You should have stayed on the pitch, Reyes." Mateo's face changes instantly. The sadness disappears. Anger replaces it. His grip tightens around the pendant until his knuckles turn white. Mateo (furious): "Where is she?!" Silence. The call disconnects. Flat electronic tone. Mateo continues listening to the dead line for another second, refusing to lower the phone. 24.0–27.0 sec | PANEL 3 — DESPERATION Camera Handheld side tracking shot. Medium-wide framing. Natural movement. Action Mateo lowers the phone slowly. His breathing becomes heavier. Frustration overwhelms him. He punches a nearby concrete pillar with his free hand. The impact echoes through the empty warehouse. He immediately winces in pain. His knuckles become slightly bloodied. He doesn't care. Still clutching Elena's pendant tightly in the other hand, he leans against the pillar for a brief second, trying to regain control. He wipes the tears from his eyes with the back of his sleeve. Then straightens up. His expression changes completely. Fear is gone. Only determination remains. 27.0–30.0 sec | PANEL 4 — THE PROMISE Camera Wide cinematic shot. Very slow dolly forward. Long abandoned industrial road disappearing into darkness. Action Mateo steps forward into the empty roadway. His fist remains tightly closed around Elena's pendant. Far ahead— A single red taillight flickers once before disappearing behind an abandoned warehouse. Mateo never looks away. He quietly says: "I'm coming for you." No music for a beat. Only distant wind. Freeze exactly as the taillight disappears. Hold the frame for two full beats. Hard cut to black. END CARD Black background. Elegant gold serif typography. Slow two-second fade in. EPISODE 2 COMING SOON Hold for at least two seconds before fading out.

Shami

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