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Michigan State Special Teams Coordinator Levar Woods - LSSS Drill - Long Stride - Short Stride - Shimmy - Shoot Objective - Teach speed & transition in kick/punt coverage - Teach open field angle tackling Coaching Points - Sprint (Long Stride) - Drop weight & transition to short stride... show more

James Light

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23,126 次观看 • 7 个月前 •via X (Twitter)

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Arizona State LB Coach AJ Cooper - Long Stride Short Stride Tackling Drill - Start at opposite cones, have LB at depth - Want to put the LB in space with 1v1 situations - Long stride, run and close the space - Short stride, throttle feet with near foot up under control to make contact and get the ball carrier down

Arizona State LB Coach AJ Cooper - Long Stride Short Stride Tackling Drill - Start at opposite cones, have LB at depth - Want to put the LB in space with 1v1 situations - Long stride, run and close the space - Short stride, throttle feet with near foot up under control to make contact and get the ball carrier down

James Light

18,678 次观看 • 6 个月前

LB Long Stride-Short Side Drill - The drill builds upon a box angle tackle progression but incorporates a long stride and short stride aspect to it. - Coaches should deepen the depth between the linebacker and the ball carrier for this specific drill. - Players usually utilize crossover footwork to run and close the distance to the ball carrier. - Players must use a long stride to close space, and then transition to a short stride to throttle their feet, widen their base, and get under control. - A critical coaching point is to keep the inside foot up rather than back, which prevents the ball carrier from cutting back and breaking the cup. - Coaches can incorporate a drop progression element into the drill, acting as the quarterback to get the linebacker set up before they come out of their break. AJ Cooper, LB Coach, Arizona State AJ Cooper #glazierclinics

LB Long Stride-Short Side Drill - The drill builds upon a box angle tackle progression but incorporates a long stride and short stride aspect to it. - Coaches should deepen the depth between the linebacker and the ball carrier for this specific drill. - Players usually utilize crossover footwork to run and close the distance to the ball carrier. - Players must use a long stride to close space, and then transition to a short stride to throttle their feet, widen their base, and get under control. - A critical coaching point is to keep the inside foot up rather than back, which prevents the ball carrier from cutting back and breaking the cup. - Coaches can incorporate a drop progression element into the drill, acting as the quarterback to get the linebacker set up before they come out of their break. AJ Cooper, LB Coach, Arizona State AJ Cooper #glazierclinics

Glazier Clinics

17,930 次观看 • 2 个月前

Fernando Tatis Jr is hitting .242 with a 3.5° average launch angle and a career-low 20% pull rate. Everyone has ideas and analysis on how to fix Fernando Tatis Jr’s swing. It’s pretty awful and I can’t take anymore of this, I have to say something because I haven’t seen a single person give the right answer. I’ve seen multiple people talk about timing mechanisms like toe tap, stride, and leg lift in his swing mechanics that have absolutely nothing to do with his problem. That reverting to past timing mechanisms would somehow help him. THEY ARE ALL WRONG Because they’re all looking in the wrong place. This isn’t a stride problem or timing problem. It’s a tilt problem. Stride, leg lift, and toe tap are timing mechanisms. They control WHEN the hips fire not HOW the bat moves through the zone. A hitter with a Sosa leg kick and a no-stride Ichiro stance can produce identical launch angles.Timing has no lever that touches the bat at contact. What actually sets launch angle is attack angle or the vertical direction the bat is traveling at the moment it meets the ball. Swing up through the zone = ball lifts Swing flat = grounders Swing down = choppers Attack angle is the only mechanical input that matters for elevation and attack angle isn’t random. It’s a direct output of shoulder tilt. When the trail shoulder drops below the lead shoulder at contact, the entire swing axis tilts. The bat is now forced to travel upward through the zone. More tilt > steeper attack angle > higher launch angle. Period. Tatis’s attack angle tells the entire story: 2023: +12° attack angle, +1° pull-side direction/25 HRs 2024 : +10° attack angle. -2° oppo direction 21HRs in 104 games 2025: +8° attack angle, 0° direction/25 HRs, healthy 2026: +5° attack angle, −5° oppo direction His swing has flattened AND drifted away from his pull side. Both are tilt collapse. That −5° oppo attack direction is the giveaway. When you lose tilt, your bat doesn’t just flatten it also gets steered toward the opposite field, because a level swing naturally pushes the barrel away from your pull side. He’s not late. He’s not under-striding. His axis collapsed Over the last few years and it’s worse than ever this year. This explains the 20% pull air rate too. Pulling the ball in the air requires positive attack angle AND a contact point out front. (Ramon Laureanos 2025 attack Angle was +14) If you tinker with timing on a flat swing, an earlier contact point just produces a pull-side grounder. The direction changes. The launch angle does not. Let me break it down for you: Stride > Weight Shift > Hip Rotation >TILT > ATTACK ANGLE > BAT PATH > Contact > Launch Angle Stride is four steps upstream. Tilt is the gate. Attack angle is the output that actually moves the ball. So now we know what’s wrong, how do we fix him? Souza and the Padres staff need to focus on the following; 1.Restore 8–12° rear-high shoulder tilt 2.Get attack angle back to +10° to +12° with neutral or +1° pull direction 3.THEN evaluate timing tweaks 4. If someone is telling him to flatten out his swing or to let the ball travel more PLEASE STOP DOING THAT. That doesn’t work for him You cannot time your way to elevation. Fix the tilt. Attack angle returns. Pull air follows. Please watch the video to see how his swing has gotten worse and flatter. We only have bat path data starting in 2023

Fernando Tatis Jr is hitting .242 with a 3.5° average launch angle and a career-low 20% pull rate. Everyone has ideas and analysis on how to fix Fernando Tatis Jr’s swing. It’s pretty awful and I can’t take anymore of this, I have to say something because I haven’t seen a single person give the right answer. I’ve seen multiple people talk about timing mechanisms like toe tap, stride, and leg lift in his swing mechanics that have absolutely nothing to do with his problem. That reverting to past timing mechanisms would somehow help him. THEY ARE ALL WRONG Because they’re all looking in the wrong place. This isn’t a stride problem or timing problem. It’s a tilt problem. Stride, leg lift, and toe tap are timing mechanisms. They control WHEN the hips fire not HOW the bat moves through the zone. A hitter with a Sosa leg kick and a no-stride Ichiro stance can produce identical launch angles.Timing has no lever that touches the bat at contact. What actually sets launch angle is attack angle or the vertical direction the bat is traveling at the moment it meets the ball. Swing up through the zone = ball lifts Swing flat = grounders Swing down = choppers Attack angle is the only mechanical input that matters for elevation and attack angle isn’t random. It’s a direct output of shoulder tilt. When the trail shoulder drops below the lead shoulder at contact, the entire swing axis tilts. The bat is now forced to travel upward through the zone. More tilt > steeper attack angle > higher launch angle. Period. Tatis’s attack angle tells the entire story: 2023: +12° attack angle, +1° pull-side direction/25 HRs 2024 : +10° attack angle. -2° oppo direction 21HRs in 104 games 2025: +8° attack angle, 0° direction/25 HRs, healthy 2026: +5° attack angle, −5° oppo direction His swing has flattened AND drifted away from his pull side. Both are tilt collapse. That −5° oppo attack direction is the giveaway. When you lose tilt, your bat doesn’t just flatten it also gets steered toward the opposite field, because a level swing naturally pushes the barrel away from your pull side. He’s not late. He’s not under-striding. His axis collapsed Over the last few years and it’s worse than ever this year. This explains the 20% pull air rate too. Pulling the ball in the air requires positive attack angle AND a contact point out front. (Ramon Laureanos 2025 attack Angle was +14) If you tinker with timing on a flat swing, an earlier contact point just produces a pull-side grounder. The direction changes. The launch angle does not. Let me break it down for you: Stride > Weight Shift > Hip Rotation >TILT > ATTACK ANGLE > BAT PATH > Contact > Launch Angle Stride is four steps upstream. Tilt is the gate. Attack angle is the output that actually moves the ball. So now we know what’s wrong, how do we fix him? Souza and the Padres staff need to focus on the following; 1.Restore 8–12° rear-high shoulder tilt 2.Get attack angle back to +10° to +12° with neutral or +1° pull direction 3.THEN evaluate timing tweaks 4. If someone is telling him to flatten out his swing or to let the ball travel more PLEASE STOP DOING THAT. That doesn’t work for him You cannot time your way to elevation. Fix the tilt. Attack angle returns. Pull air follows. Please watch the video to see how his swing has gotten worse and flatter. We only have bat path data starting in 2023

Mission Valley Mafia

160,950 次观看 • 5 个月前

The hurdle drill cleaned up more of our pull issues than anything else. Why we use it: • Forces depth on the pull First 2–4 steps matter. Kids who cheat depth get exposed immediately. • Separates kick vs wrap paths Kick comes downhill. Wrap gains depth, gets square, eyes inside. • Teaches speed through contact If they slow down at the hurdle, they’ll slow down on Friday night. • Fixes aiming points Kick = same shoulder as pull direction. Wrap = inside shoulder, run through daylight. • Eliminates chasing Wrap guard learns to stay on track and let the RB make him right. • Progresses cleanly Hurdles → bags → coaches → live reads. Same drill, more reality. We run kick and wrap at the same time so timing and spacing stay game-real. Simple setup. Clear feedback. Big carryover to Buck, Counter, Power. That drill (plus how we coach it and common mistakes) is laid out step-by-step here:

The hurdle drill cleaned up more of our pull issues than anything else. Why we use it: • Forces depth on the pull First 2–4 steps matter. Kids who cheat depth get exposed immediately. • Separates kick vs wrap paths Kick comes downhill. Wrap gains depth, gets square, eyes inside. • Teaches speed through contact If they slow down at the hurdle, they’ll slow down on Friday night. • Fixes aiming points Kick = same shoulder as pull direction. Wrap = inside shoulder, run through daylight. • Eliminates chasing Wrap guard learns to stay on track and let the RB make him right. • Progresses cleanly Hurdles → bags → coaches → live reads. Same drill, more reality. We run kick and wrap at the same time so timing and spacing stay game-real. Simple setup. Clear feedback. Big carryover to Buck, Counter, Power. That drill (plus how we coach it and common mistakes) is laid out step-by-step here:

Coach Kenny Simpson

24,341 次观看 • 9 个月前

There is no sound in the world like that 4:30 AM shout. The moment your body is screaming for sleep, but your soul tells you to stand up. Watching these young lions wake up in the dark to begin their Beret March (Massa Kumta) brings tears to my eyes. This isn't just a long walk with heavy weight on their shoulders; it’s the moment they officially transition from boys and girls into the golden shield of the Jewish people. They march through the dust and the heat, carrying each other on stretchers, proving that the Jewish warrior is back and stronger than ever. They don’t do it for medals or fame - they do it because they carry 3,000 years of history on their backs. To all our soldiers: When you finally trade that simple cap for the beret of your brigade, know that an entire nation is breathing because of you. We sleep in peace because you chose to wake up in the mud. Please say a prayer for our soldiers.🙏 🇮🇱

There is no sound in the world like that 4:30 AM shout. The moment your body is screaming for sleep, but your soul tells you to stand up. Watching these young lions wake up in the dark to begin their Beret March (Massa Kumta) brings tears to my eyes. This isn't just a long walk with heavy weight on their shoulders; it’s the moment they officially transition from boys and girls into the golden shield of the Jewish people. They march through the dust and the heat, carrying each other on stretchers, proving that the Jewish warrior is back and stronger than ever. They don’t do it for medals or fame - they do it because they carry 3,000 years of history on their backs. To all our soldiers: When you finally trade that simple cap for the beret of your brigade, know that an entire nation is breathing because of you. We sleep in peace because you chose to wake up in the mud. Please say a prayer for our soldiers.🙏 🇮🇱

AMIRAN 🇮🇱

21,254 次观看 • 6 个月前

Perfect 1v1 Drill For Finding Your LOCKDOWN Defenders! Coach LoGalbo takes you through a drill that is perfect for finding your lockdown defenders that you can rely on when the lights turn on. As Nick LoGalbo says, it's a great way to find your "Rambo" which is a defender that you can rely on to defend your opponent’s best ball handler in the full court. And, an added offensive benefit to this drill, is that it allows for offensive players to work on their ball handling in the face of defensive pressure! This 1 on 1 Contain Drill is from Nick LoGalbo's Outer Third Defense (No Middle Defense). That's why the goal of this basketball drill is to force the opponent's primary ball handlers to the outer thirds of the basketball court (and out of the middle!) as soon as they catch the ball. By doing this, it allows the defense to dictate the entry pass to one side of the floor. By keeping the ball on the outer third of the basketball court, you can overload the backside of the defense which helps control the opponents passing lanes, deters easy passes and helps eliminate the dribble drive. You can incorporate this drill every other day in practice to re-emphasize to your defenders the importance of keeping the ball handlers out of the middle of the basketball court. Instructions and Keys to the 1 on 1 Contain Drill: - Give the ball handler a cushion. This makes it easier to contain them in the outer thirds. - Chest and contest a crossover to the middle. You do not turn your body. You must beat the offensive player to the spot and turn them back to the outer thirds. - If you get beat, you sprint ahead of the ball. You do not continue shuffling. - Keep the ball in the outer thirds the entire length of the court. It does not stop after the offensive player gets past half court. - The goal of the drill is to simply keep the ball handler in the outer thirds. - The defense should focus on beating the ball to the spot and chest to contest defense. - As soon as the first group gets to halfcourt, the second group begins. - After a group makes it all the way to the opposite baseline, they switch positions and get in line to repeat the drill going the opposite direction. Coaching Tips - Once a player gets chest to contest, they must spring back to get in front of the ball. Your goal is not to be running side by side. You must get in front of the offensive player. This prevents the offensive player from getting an angle to the basket. - After running through the drill for a specified amount of time, switch directions so the offensive players must focus on using both hands as their primary dribbling hand. - It is important to mix up players rather than like positions always competing against each other, so that players get used to guarding a wide variety of positions. It forces the players to adjust defensively regarding speed and skill. - Another positive of this drill is it gives you the ability to assess who your Rambo is: players who can work the point guard up the floor.

Perfect 1v1 Drill For Finding Your LOCKDOWN Defenders! Coach LoGalbo takes you through a drill that is perfect for finding your lockdown defenders that you can rely on when the lights turn on. As Nick LoGalbo says, it's a great way to find your "Rambo" which is a defender that you can rely on to defend your opponent’s best ball handler in the full court. And, an added offensive benefit to this drill, is that it allows for offensive players to work on their ball handling in the face of defensive pressure! This 1 on 1 Contain Drill is from Nick LoGalbo's Outer Third Defense (No Middle Defense). That's why the goal of this basketball drill is to force the opponent's primary ball handlers to the outer thirds of the basketball court (and out of the middle!) as soon as they catch the ball. By doing this, it allows the defense to dictate the entry pass to one side of the floor. By keeping the ball on the outer third of the basketball court, you can overload the backside of the defense which helps control the opponents passing lanes, deters easy passes and helps eliminate the dribble drive. You can incorporate this drill every other day in practice to re-emphasize to your defenders the importance of keeping the ball handlers out of the middle of the basketball court. Instructions and Keys to the 1 on 1 Contain Drill: - Give the ball handler a cushion. This makes it easier to contain them in the outer thirds. - Chest and contest a crossover to the middle. You do not turn your body. You must beat the offensive player to the spot and turn them back to the outer thirds. - If you get beat, you sprint ahead of the ball. You do not continue shuffling. - Keep the ball in the outer thirds the entire length of the court. It does not stop after the offensive player gets past half court. - The goal of the drill is to simply keep the ball handler in the outer thirds. - The defense should focus on beating the ball to the spot and chest to contest defense. - As soon as the first group gets to halfcourt, the second group begins. - After a group makes it all the way to the opposite baseline, they switch positions and get in line to repeat the drill going the opposite direction. Coaching Tips - Once a player gets chest to contest, they must spring back to get in front of the ball. Your goal is not to be running side by side. You must get in front of the offensive player. This prevents the offensive player from getting an angle to the basket. - After running through the drill for a specified amount of time, switch directions so the offensive players must focus on using both hands as their primary dribbling hand. - It is important to mix up players rather than like positions always competing against each other, so that players get used to guarding a wide variety of positions. It forces the players to adjust defensively regarding speed and skill. - Another positive of this drill is it gives you the ability to assess who your Rambo is: players who can work the point guard up the floor.

Joe Haefner | Breakthrough Basketball

38,092 次观看 • 1 年前

A quiet summer day where everything feels a little slower and more peaceful. Made with seedance 2.5 Prompt: Cinematic 30-second video, photorealistic, 4K, shallow depth of field. A beautiful young East Asian woman with long flowing black hair, wearing a cream off-shoulder knitted sweater, denim shorts, and white sneakers. She rides a silver city bicycle with a wicker basket full of yellow, purple and white wildflowers along a dirt path through a vast field of white daisies and rolling green hills under a bright blue sky with fluffy clouds. Hair blowing in the wind, gentle smile. Cut to her lying on her back in the grass under a tree with dappled sunlight, holding an open book, peaceful expression, eyes half-closed. Then close-up of her hands gently dipping into a clear pebble-bottomed stream. She walks away from camera pushing the bicycle along the path beside the stream. Golden hour: she sits on the grass by the river with the bicycle parked behind her, looking toward the sunset reflecting on the water. Drone shot pulls back revealing her small figure sitting beside a winding river through lush green fields and rice paddies, village houses in the distance, warm sunset light. Final shot: silhouette of the woman sitting by a calm lake watching a vivid orange sunset, sky glowing with warm colors. Mood: peaceful, nostalgic, slow-living Japanese countryside summer, dreamy and serene. Soft natural lighting, gentle camera movements, filmic color grading.

A quiet summer day where everything feels a little slower and more peaceful. Made with seedance 2.5 Prompt: Cinematic 30-second video, photorealistic, 4K, shallow depth of field. A beautiful young East Asian woman with long flowing black hair, wearing a cream off-shoulder knitted sweater, denim shorts, and white sneakers. She rides a silver city bicycle with a wicker basket full of yellow, purple and white wildflowers along a dirt path through a vast field of white daisies and rolling green hills under a bright blue sky with fluffy clouds. Hair blowing in the wind, gentle smile. Cut to her lying on her back in the grass under a tree with dappled sunlight, holding an open book, peaceful expression, eyes half-closed. Then close-up of her hands gently dipping into a clear pebble-bottomed stream. She walks away from camera pushing the bicycle along the path beside the stream. Golden hour: she sits on the grass by the river with the bicycle parked behind her, looking toward the sunset reflecting on the water. Drone shot pulls back revealing her small figure sitting beside a winding river through lush green fields and rice paddies, village houses in the distance, warm sunset light. Final shot: silhouette of the woman sitting by a calm lake watching a vivid orange sunset, sky glowing with warm colors. Mood: peaceful, nostalgic, slow-living Japanese countryside summer, dreamy and serene. Soft natural lighting, gentle camera movements, filmic color grading.

Zyrella

14,622 次观看 • 10 天前

She was just the "damsel in distress" Night training turned into a full-blown awakening — one wrong move and this girl turned campus grounds into a battlefield. Fists, flames, and a final blow you won't see coming. Made with Seedance 2.5 on Fish Creative Prompt: Core Theme University field, one take fight scene. Two fighters, hand to hand combat with real stunts and kicks. Fight ends with the girl's fire power awakening. She finishes him with a decisive final blow. Continuous shot, no cuts, no edits. 16:9 aspect ratio. Character Appearance Lock FIGHTER A (Boy) Asian male, around 20 years old. Short black hair, slightly covering forehead. Almond-shaped brown eyes, defined jawline. Fitted white athletic tank top. Yellow lemon-colored shorts, black sneakers. Confident, relaxed posture, athletic build. FIGHTER B (Girl) Japanese female, early 20s, striking model-like features. Lean, tall, athletic figure. Silver-lavender hair, chin length bob with straight fringe. Sharp, focused amber eyes. Pink acrylic short skirt, high-shine finish. Cropped white top. Pink knee-high socks, white sneakers. Fast, agile, aggressive fighting style — real kicks, spins, and strikes. Environment Lock University open ground, trimmed grass field with dirt patches. White painted field lines. Overhead campus lamp posts casting pools of light. Everything outside the light pools is deep shadow. University buildings faintly visible in the background darkness. Dust and grass kick up on every impact, roll, and landing. Timeline 0.0–2.5s: Fighter A stands behind Fighter B. Right palm covers her mouth from behind. She grabs at his wrist, eyes sharp and furious. She drives her elbow into his ribs, breaks free, spins out. She lands in a fighting stance, dust rising. 2.5–5.0s: She rolls her shoulders, cracks her neck. Walks forward with slow, aggressive confidence. Speaks clearly in English to camera: "You really thought you could catch me off guard?" 5.0–7.0s: He sprints forward, throws a right hook. She ducks low, sweeps his front leg. He stumbles, catches balance, resets stance. 7.0–9.0s: He throws a straight right jab. She parries with her left forearm, steps in. Delivers a sharp right knee strike to his side. He staggers back two steps. 9.0–12.5s: He lands a glancing punch on her shoulder. She barely reacts, grabs his wrist, twists. Executes a real hip-throw, slams him to the ground. He rolls once, pushes up onto one knee, breathing hard. 12.5–16.0s: Camera pushes in on her face. Sweat, dirt, sharp determined eyes. First orange-red flame threads flicker along her fingertips. Threads crawl up her arms to her shoulders. Her eyes begin to glow amber-orange from within. The lamp posts start flickering irregularly. 16.0–18.0s: She exhales sharply, rolls her wrists. Small flames bloom across both palms. Fabric of her top singes faintly at the edges. Heat distortion ripples the air around her. 18.0–21.0s: Camera circles her fast. He rises, throws a desperate punch. She sidesteps, grabs his arm, flame licking her grip. Grass scorches in a ring beneath her feet. Flame trails follow every movement of her limbs. 21.0–23.0s: She unleashes a flurry — spinning back kick, followed by a jumping roundhouse. Each strike leaves a brief trail of fire in the air. He blocks two, takes the third across the jaw. He drops to one knee, dazed, smoke rising off his shoulder. 23.0–27.5s: She plants her feet, pulls both fists back, flames coiling tight around her forearms. Steps in with full aggression, drives a flaming knee strike upward into his chest. Impact releases a burst of fire and sparks outward. 27.5–30.0s: He's launched back, lands hard, skidding through dirt. She stands over him, flames dying down her arms to embers. Breathing hard, one fist still smoking. Lamp posts dim to near darkness. Only the fading orange glow lights her face. Then everything goes dark. Lighting Extremely dark night, deep shadows. Lamp posts as rim light on shoulders and hair. Warm orange-red glow after her power appears, casting light on both fighters. Sound Design Location sound only. Grass and dirt scraping, fabric rustling. Sharp impact sounds, heavy breathing, grunts. Flame ignition crackle building to a low roar. Lamp buzz as they flicker. Her line delivered clearly at 2.5–5.0s. Sharp exhale and crackle at the final blow. Total silence at the very end. No background music throughout.

She was just the "damsel in distress" Night training turned into a full-blown awakening — one wrong move and this girl turned campus grounds into a battlefield. Fists, flames, and a final blow you won't see coming. Made with Seedance 2.5 on Fish Creative Prompt: Core Theme University field, one take fight scene. Two fighters, hand to hand combat with real stunts and kicks. Fight ends with the girl's fire power awakening. She finishes him with a decisive final blow. Continuous shot, no cuts, no edits. 16:9 aspect ratio. Character Appearance Lock FIGHTER A (Boy) Asian male, around 20 years old. Short black hair, slightly covering forehead. Almond-shaped brown eyes, defined jawline. Fitted white athletic tank top. Yellow lemon-colored shorts, black sneakers. Confident, relaxed posture, athletic build. FIGHTER B (Girl) Japanese female, early 20s, striking model-like features. Lean, tall, athletic figure. Silver-lavender hair, chin length bob with straight fringe. Sharp, focused amber eyes. Pink acrylic short skirt, high-shine finish. Cropped white top. Pink knee-high socks, white sneakers. Fast, agile, aggressive fighting style — real kicks, spins, and strikes. Environment Lock University open ground, trimmed grass field with dirt patches. White painted field lines. Overhead campus lamp posts casting pools of light. Everything outside the light pools is deep shadow. University buildings faintly visible in the background darkness. Dust and grass kick up on every impact, roll, and landing. Timeline 0.0–2.5s: Fighter A stands behind Fighter B. Right palm covers her mouth from behind. She grabs at his wrist, eyes sharp and furious. She drives her elbow into his ribs, breaks free, spins out. She lands in a fighting stance, dust rising. 2.5–5.0s: She rolls her shoulders, cracks her neck. Walks forward with slow, aggressive confidence. Speaks clearly in English to camera: "You really thought you could catch me off guard?" 5.0–7.0s: He sprints forward, throws a right hook. She ducks low, sweeps his front leg. He stumbles, catches balance, resets stance. 7.0–9.0s: He throws a straight right jab. She parries with her left forearm, steps in. Delivers a sharp right knee strike to his side. He staggers back two steps. 9.0–12.5s: He lands a glancing punch on her shoulder. She barely reacts, grabs his wrist, twists. Executes a real hip-throw, slams him to the ground. He rolls once, pushes up onto one knee, breathing hard. 12.5–16.0s: Camera pushes in on her face. Sweat, dirt, sharp determined eyes. First orange-red flame threads flicker along her fingertips. Threads crawl up her arms to her shoulders. Her eyes begin to glow amber-orange from within. The lamp posts start flickering irregularly. 16.0–18.0s: She exhales sharply, rolls her wrists. Small flames bloom across both palms. Fabric of her top singes faintly at the edges. Heat distortion ripples the air around her. 18.0–21.0s: Camera circles her fast. He rises, throws a desperate punch. She sidesteps, grabs his arm, flame licking her grip. Grass scorches in a ring beneath her feet. Flame trails follow every movement of her limbs. 21.0–23.0s: She unleashes a flurry — spinning back kick, followed by a jumping roundhouse. Each strike leaves a brief trail of fire in the air. He blocks two, takes the third across the jaw. He drops to one knee, dazed, smoke rising off his shoulder. 23.0–27.5s: She plants her feet, pulls both fists back, flames coiling tight around her forearms. Steps in with full aggression, drives a flaming knee strike upward into his chest. Impact releases a burst of fire and sparks outward. 27.5–30.0s: He's launched back, lands hard, skidding through dirt. She stands over him, flames dying down her arms to embers. Breathing hard, one fist still smoking. Lamp posts dim to near darkness. Only the fading orange glow lights her face. Then everything goes dark. Lighting Extremely dark night, deep shadows. Lamp posts as rim light on shoulders and hair. Warm orange-red glow after her power appears, casting light on both fighters. Sound Design Location sound only. Grass and dirt scraping, fabric rustling. Sharp impact sounds, heavy breathing, grunts. Flame ignition crackle building to a low roar. Lamp buzz as they flicker. Her line delivered clearly at 2.5–5.0s. Sharp exhale and crackle at the final blow. Total silence at the very end. No background music throughout.

Shami

30,636 次观看 • 1 个月前

This 1984 Japanese meditation will make you uncomfortably aware of how much time you've wasted on problems that had a 10-minute solution. During his "Understanding Consciousness" lectures, Michio Kushi made a bold claim: "Every problem you're struggling with was manufactured by your consciousness." Most meditation traditions treat thoughts as things to observe. Kushi went further. He said observation still keeps you tangled inside the system that produced the problem. The real exit was total nothingness. Relax into the present. Let thoughts settle on their own. Rest in simple awareness as the sense of “the thinker” gently fades. The hand position matters more than people realize. Left palm up, right palm down. In classical Eastern energetics, the left side receives and the right side releases. The posture is a circuit. It routes incoming force through an intake–exhaust loop: Letting new energy in without the mind grabbing it, and letting old mental structures drain away. Five to ten minutes of that, and when you open your eyes, a fresh image rises on its own. Without you having tried to solve anything. Like a way through. Why it actually works has less to do with mysticism than cognition. Every unsolved problem in your life persists because your brain keeps reloading the same neural patterns that created it. You cannot out-think a loop from inside the loop. The nothingness state briefly interrupts the reloader. When the mind reboots, it returns with a blank field. And whatever fills that field first has completely different DNA than what came before. The second half is where Kushi becomes something more than a teacher. Hands come together into prayer position. Heaven's force meets earth's force through the spine. Now, in this cleared state, you deliberately generate the image of what you want to create from spaciousness. Every serious tradition points to the same principle: "You create what lasts when your consciousness has released what no longer serves you." Why does almost nobody in the wellness industry teaches this? Please, share your thoughts on this.

This 1984 Japanese meditation will make you uncomfortably aware of how much time you've wasted on problems that had a 10-minute solution. During his "Understanding Consciousness" lectures, Michio Kushi made a bold claim: "Every problem you're struggling with was manufactured by your consciousness." Most meditation traditions treat thoughts as things to observe. Kushi went further. He said observation still keeps you tangled inside the system that produced the problem. The real exit was total nothingness. Relax into the present. Let thoughts settle on their own. Rest in simple awareness as the sense of “the thinker” gently fades. The hand position matters more than people realize. Left palm up, right palm down. In classical Eastern energetics, the left side receives and the right side releases. The posture is a circuit. It routes incoming force through an intake–exhaust loop: Letting new energy in without the mind grabbing it, and letting old mental structures drain away. Five to ten minutes of that, and when you open your eyes, a fresh image rises on its own. Without you having tried to solve anything. Like a way through. Why it actually works has less to do with mysticism than cognition. Every unsolved problem in your life persists because your brain keeps reloading the same neural patterns that created it. You cannot out-think a loop from inside the loop. The nothingness state briefly interrupts the reloader. When the mind reboots, it returns with a blank field. And whatever fills that field first has completely different DNA than what came before. The second half is where Kushi becomes something more than a teacher. Hands come together into prayer position. Heaven's force meets earth's force through the spine. Now, in this cleared state, you deliberately generate the image of what you want to create from spaciousness. Every serious tradition points to the same principle: "You create what lasts when your consciousness has released what no longer serves you." Why does almost nobody in the wellness industry teaches this? Please, share your thoughts on this.

Darshak Rana ⚡️

268,052 次观看 • 1 个月前

Trapped in stone Hunted by darkness Only one path left run for your life. Made with seedance 2.0 Prompt: Cinematic action sequence of two young Asian women fleeing through a dark ancient stone fortress corridor. One woman has short blue hair with a white flower clip, wearing a light blue open shirt over a beige crop top, blue denim mini skirt and white sneakers. The other has long silver-gray hair, wearing a tight beige long-sleeve crop top, blue jeans and white sneakers. They run desperately down narrow high stone walls, jump over large fallen rocks and rubble, leap across gaps, climb rough stone ledges helping each other up while a massive dark armored monster with glowing purple eyes and claws chases them closely. Dust and debris fly as the creature smashes walls. They reach heavy wooden double doors, burst through, push a giant cracked stone pillar/cylinder to block the path, sprint across a stone bridge over dark water, then crawl under a low stone overhang. Finally they crash through huge wooden fortress gates into daylight and collapse exhausted on the dusty ground outside the massive stone entrance. Moody foggy atmosphere, dramatic low-angle tracking shots, high motion blur, intense pursuit energy, photorealistic, cinematic lighting.

Trapped in stone Hunted by darkness Only one path left run for your life. Made with seedance 2.0 Prompt: Cinematic action sequence of two young Asian women fleeing through a dark ancient stone fortress corridor. One woman has short blue hair with a white flower clip, wearing a light blue open shirt over a beige crop top, blue denim mini skirt and white sneakers. The other has long silver-gray hair, wearing a tight beige long-sleeve crop top, blue jeans and white sneakers. They run desperately down narrow high stone walls, jump over large fallen rocks and rubble, leap across gaps, climb rough stone ledges helping each other up while a massive dark armored monster with glowing purple eyes and claws chases them closely. Dust and debris fly as the creature smashes walls. They reach heavy wooden double doors, burst through, push a giant cracked stone pillar/cylinder to block the path, sprint across a stone bridge over dark water, then crawl under a low stone overhang. Finally they crash through huge wooden fortress gates into daylight and collapse exhausted on the dusty ground outside the massive stone entrance. Moody foggy atmosphere, dramatic low-angle tracking shots, high motion blur, intense pursuit energy, photorealistic, cinematic lighting.

Noor

15,425 次观看 • 1 个月前

SS Marek Houston (Wake Forest Baseball) is one of the premier college infielders in this year's Draft. After earning the starting SS job as a true Freshman, Houston had a standout summer with the Amsterdam Mohawks in which he hit .429/.557/.548 with 4 XBH and 13 RBIs in 17 games. He proceeded to break out last season to the tune of a .326/.434/.516 slash line with 16 2B, 8 HR, and 39 RBIs. Had an impressive summer that was split between the Cape and Team USA. Did what very few college players do anymore and started on the Cape, went to Team USA, and finished out the summer back on the Cape. Was a CCBL All-Star and hit .306/.465/.329 with more BB (26) than Ks (21). Lean, athletic build at 6'3" and 190-lbs. Pro body. Somewhat wide base in the box with a medium-high handset. Puts the majority of his weight on his back side. Minimal load in which he wraps his bat a bit. Small stride with average bat speed. Will eliminate his stride and widen his base in 2-strike counts. Takes a direct path to contact. Compact, contact-oriented operation. Does a nice job of consistently working inside the baseball. The most appealing part of Houston's offensive profile is how polished his hit tool is. Bat-to-ball skills are comfortably plus and last season he ran an overall IZ contact rate of 92%. Pitch recognition skills and swing decisions are both advanced, and this summer on the Cape he worked a remarkably low overall chase rate of 16% - including just 8% against SL. Will use the entire field. It's a bit of a cliche, but he hits the pitch where it's thrown. Hit tool is without a doubt a 55, but closer to a 60 than it is a 55. Biggest question mark right now is his impact and how much is in there. Flashed some pull side thump during the spring, but it's below-average power with wood. Again though, you're buying the hit tool. Adding impact both this year and beyond is key, though. Houston's calling card is undoubtedly his defense. Pro shortstop through and through. Silky smooth actions, range both up the middle and to his arm side. Comfortable attacking the baseball and throwing on the run/from different arm angles. Soft hands with an above-average arm. Instincts are high level. He does a great job of staying behind the baseball then working THROUGH it on a line. The epitome of "suave!" Top-40 overall type this July. (🎥: Wake Forest Baseball)

Peter Flaherty III

34,299 次观看 • 1 年前

REAL HITTERS. REAL MOVEMENT. REAL TEACHING. 1/ Will Clark — Bottom Hand + Shoulder Angle = The Down Comes First Clark explains the bottom arm works with the shoulders on the down. That’s posture. That’s angle. That’s barrel organization. • High tire / high tee • The down organizes the up • Movement creates path Not cues movement. 2/ Mookie Betts — Shoulders Stay Above the Ball Mookie explains keeping the shoulders above the ball is what lets the rear elbow match plane. • Shoulders set the plane • Rear elbow gets on plane through posture • High-tire work reinforces it Not “turn the barrel early.” Movement creates plane → plane creates path. 3/ Will Clark (Again) — Dusty Baker: “Take Your Rear Hip to the Ball” That’s femur action: down → in → under. Same pattern as the throw. No spinning. No artificial torque. Just human movement sequencing. 4/ Jeff Kent — Oppo Walk-Throughs Reveal Direction Kent wasn’t doing a gimmick. He was showing pure direction under momentum: • posture stable • direction honest • top-hand release real • body organized Elite hitters move with direction, not against it. 5/ Nolan Arenado — Nose Down, Eye Down, Torso Completing Arenado is positional integrity: • nose down through contact • backside eye down the line • shoulders matching pitch plane • torso completing around center mass • rear hip + rear elbow staying connected He’s not repeating a swing he’s repeating movement sequencing. 6/ Mike Trout — Top-Hand Release Into Dab Finish Low pitch = top-hand dab by the ear because his body created the natural up. Not tilt. Not manipulation. The sequence finishes itself. 7/ Shohei Ohtani — The Clearest Example of Force Coupling on Earth Ohtani is biomechanics in HD: • pelvis gaining ground • torso stacking over front side • rear glute throwing the body forward • rear knee turning down → in → under • rear lat anchoring the hands • backside crashing into a braced front side That collision IS force coupling. It transfers all the stored energy into the ball. No leaks. No wasted power. Power comes from movement, not cues. The body creates the swing the swing never creates the body. 8/ Adrian Beltre — Knee Down, Femur Action, True Natural Up Beltre on a low pitch is a biomechanics lecture: • knee works down • femur turns down → up • torso turns deeper behind the ball • rear hip + torso stay connected • lift comes from turning UNDER and BEHIND the pitch No fake tilt. No dragging. No hand manipulation. Natural lift is a movement outcome, not a cue. 9/ Alex Bregman — The Miss Tells the Truth On a miss he still shows elite control: • heel-to-toe • back shoulder to cheek • rear foot stable • torso stacked • posture balanced If a hitter can control chaos, the movement is real. 10/ Frank Thomas — Top-Hand Release + Back-Foot Release Direction and posture decide release. Not cues. Not drills. Just pure human movement. THE TRUTH THE INDUSTRY IGNORES Everything hitters need is right in front of them if you study movement not just the swing. The swing is the final 30%. The other 70% is: • shoulder angles • femur action • ground-force anticipation • center-mass control • torso completion • force coupling • front-side bracing • rear-lat anchoring That’s the REAL engine of elite hitting. Most instructors: ✓ study the swing ✗ ignore the movement So they miss: • how the down organizes the up • how posture sets plane • how the femur organizes direction • how the pelvis gains ground • how the torso completes • how force coupling transfers energy • how adjustability is created If you don’t study movement, you will never understand hitting.

REAL HITTERS. REAL MOVEMENT. REAL TEACHING. 1/ Will Clark — Bottom Hand + Shoulder Angle = The Down Comes First Clark explains the bottom arm works with the shoulders on the down. That’s posture. That’s angle. That’s barrel organization. • High tire / high tee • The down organizes the up • Movement creates path Not cues movement. 2/ Mookie Betts — Shoulders Stay Above the Ball Mookie explains keeping the shoulders above the ball is what lets the rear elbow match plane. • Shoulders set the plane • Rear elbow gets on plane through posture • High-tire work reinforces it Not “turn the barrel early.” Movement creates plane → plane creates path. 3/ Will Clark (Again) — Dusty Baker: “Take Your Rear Hip to the Ball” That’s femur action: down → in → under. Same pattern as the throw. No spinning. No artificial torque. Just human movement sequencing. 4/ Jeff Kent — Oppo Walk-Throughs Reveal Direction Kent wasn’t doing a gimmick. He was showing pure direction under momentum: • posture stable • direction honest • top-hand release real • body organized Elite hitters move with direction, not against it. 5/ Nolan Arenado — Nose Down, Eye Down, Torso Completing Arenado is positional integrity: • nose down through contact • backside eye down the line • shoulders matching pitch plane • torso completing around center mass • rear hip + rear elbow staying connected He’s not repeating a swing he’s repeating movement sequencing. 6/ Mike Trout — Top-Hand Release Into Dab Finish Low pitch = top-hand dab by the ear because his body created the natural up. Not tilt. Not manipulation. The sequence finishes itself. 7/ Shohei Ohtani — The Clearest Example of Force Coupling on Earth Ohtani is biomechanics in HD: • pelvis gaining ground • torso stacking over front side • rear glute throwing the body forward • rear knee turning down → in → under • rear lat anchoring the hands • backside crashing into a braced front side That collision IS force coupling. It transfers all the stored energy into the ball. No leaks. No wasted power. Power comes from movement, not cues. The body creates the swing the swing never creates the body. 8/ Adrian Beltre — Knee Down, Femur Action, True Natural Up Beltre on a low pitch is a biomechanics lecture: • knee works down • femur turns down → up • torso turns deeper behind the ball • rear hip + torso stay connected • lift comes from turning UNDER and BEHIND the pitch No fake tilt. No dragging. No hand manipulation. Natural lift is a movement outcome, not a cue. 9/ Alex Bregman — The Miss Tells the Truth On a miss he still shows elite control: • heel-to-toe • back shoulder to cheek • rear foot stable • torso stacked • posture balanced If a hitter can control chaos, the movement is real. 10/ Frank Thomas — Top-Hand Release + Back-Foot Release Direction and posture decide release. Not cues. Not drills. Just pure human movement. THE TRUTH THE INDUSTRY IGNORES Everything hitters need is right in front of them if you study movement not just the swing. The swing is the final 30%. The other 70% is: • shoulder angles • femur action • ground-force anticipation • center-mass control • torso completion • force coupling • front-side bracing • rear-lat anchoring That’s the REAL engine of elite hitting. Most instructors: ✓ study the swing ✗ ignore the movement So they miss: • how the down organizes the up • how posture sets plane • how the femur organizes direction • how the pelvis gains ground • how the torso completes • how force coupling transfers energy • how adjustability is created If you don’t study movement, you will never understand hitting.

John Sangillo

15,623 次观看 • 10 个月前

What if your favorite childhood toy had its own story before finding you? 🧸 Created with Seedance 2.0 on FlovaAI #Flovaai #Flovacpp FlovaAI_Japan PROMPT: Style: Premium Pixar-quality 3D animation, anime-inspired facial expressions, ultra-detailed fur simulation, cinematic lighting, magical realism, vibrant toy store, expressive eyes, soft bloom, ray-traced reflections, dynamic camera movement, Hollywood animated film quality. Prompt: Open with an ultra-wide cinematic establishing shot of a massive premium toy store during golden hour as families browse colorful aisles. Fast dolly shot through shelves overflowing with plush toys, action figures, trains, dolls, and racing cars. Cut to a low-angle close-up of Oliver, the caramel teddy bear with his blue scarf, sitting proudly on the shelf. His amber eyes sparkle with hope. Match cut to six-year-old Emma running excitedly into frame, stopping directly in front of Oliver. Extreme close-up of her smiling face as she hugs him tightly against her chest. Over-the-shoulder shot from Oliver's perspective as Emma happily says, "Can we get this one?" Her mother reaches toward the shelf—but accidentally grabs another identical teddy from behind him. Quick push-in on Oliver's face as his smile fades. Slow-motion shot of Emma walking away while looking back at him. Rack focus from Oliver's tearful eyes to the closing automatic doors. The store lights dim one by one. A loud CLICK echoes as the final light switches off. 🎬 PART 2 — "When Toys Wake Up" Duration: 0:15–0:30 Prompt: Complete darkness. Oliver's button eyes slowly blink open. Extreme close-up of his eyes reflecting moonlight. Whip pan across the store as hundreds of toys suddenly come alive. RC cars drift through polished floors leaving glowing tire streaks. Toy trains rush along display tracks. Dolls laugh while twirling between shelves. Giant Rex the dinosaur lets out a playful roar that shakes nearby boxes. Titan-X activates with glowing cyan eyes. Fast handheld-style tracking shot follows Oliver sprinting across shelves. He leaps between toy boxes in slow motion. Dynamic overhead shot as Bolt the RC car races underneath him, giving him a boost. Oliver lands perfectly onto Chug the toy train as it speeds around a corner. Dramatic orbit shot around Oliver as he quietly whispers, "I have to find her." The music builds rapidly. 🎬 PART 3 — "The Adventure" Duration: 0:30–0:45 Prompt: High-speed action montage. Oliver jumps off the moving train onto hanging gift ribbons, swinging across the aisle. Fast rotating camera follows him weaving through floating balloons. Rex accidentally crashes through stacked toy boxes, causing colorful blocks to rain everywhere. Oliver slides beneath a closing display shelf in slow motion. Bolt races beside him before launching him off a miniature toy ramp. FPV-style camera flies alongside Oliver as he narrowly avoids spinning helicopters and bouncing rubber balls. Titan-X extends a mechanical arm, catching Oliver just before he falls from a high shelf. Cinematic top-down shot reveals the giant locked entrance doors. Oliver runs with everything he has, but the automatic doors refuse to open. Extreme close-up of his tiny paw pressing against the cold glass. Outside, the first rays of sunrise begin to appear. 🎬 PART 4 — "Meant to Be" Duration: 0:45–1:00 Prompt: Soft emotional piano begins. Low-angle shot of Oliver sitting sadly near the entrance as the toys quietly watch from behind. Suddenly, a restocking employee pushes Mr. Wheels, the shopping cart, through the entrance. Dynamic tracking shot as Mochi nudges Oliver forward. Titan-X gently lifts him while Bolt gives one final speed boost. Oliver jumps through the air in beautiful slow motion, perfectly landing inside the shopping cart filled with new toys. Match cut to the toy display being restocked moments later. The store opens. Bright morning sunlight floods the entrance. Emma runs back inside with her mother. Handheld child-height camera follows her weaving through customers. She suddenly freezes, her eyes widening. Push-in on Oliver sitting exactly at the front of the display. "Mom! It's him!" She hugs Oliver tightly against her chest. Extreme close-up of Oliver's stitched smile as one tiny happy tear forms in his eye. The camera slowly cranes upward as Emma walks toward the glowing exit carrying Oliver. Warm golden sunlight fills the frame. Fade to white. Final Screen Text: "Some friendships are simply meant to be." 🧸✨

What if your favorite childhood toy had its own story before finding you? 🧸 Created with Seedance 2.0 on FlovaAI #Flovaai #Flovacpp FlovaAI_Japan PROMPT: Style: Premium Pixar-quality 3D animation, anime-inspired facial expressions, ultra-detailed fur simulation, cinematic lighting, magical realism, vibrant toy store, expressive eyes, soft bloom, ray-traced reflections, dynamic camera movement, Hollywood animated film quality. Prompt: Open with an ultra-wide cinematic establishing shot of a massive premium toy store during golden hour as families browse colorful aisles. Fast dolly shot through shelves overflowing with plush toys, action figures, trains, dolls, and racing cars. Cut to a low-angle close-up of Oliver, the caramel teddy bear with his blue scarf, sitting proudly on the shelf. His amber eyes sparkle with hope. Match cut to six-year-old Emma running excitedly into frame, stopping directly in front of Oliver. Extreme close-up of her smiling face as she hugs him tightly against her chest. Over-the-shoulder shot from Oliver's perspective as Emma happily says, "Can we get this one?" Her mother reaches toward the shelf—but accidentally grabs another identical teddy from behind him. Quick push-in on Oliver's face as his smile fades. Slow-motion shot of Emma walking away while looking back at him. Rack focus from Oliver's tearful eyes to the closing automatic doors. The store lights dim one by one. A loud CLICK echoes as the final light switches off. 🎬 PART 2 — "When Toys Wake Up" Duration: 0:15–0:30 Prompt: Complete darkness. Oliver's button eyes slowly blink open. Extreme close-up of his eyes reflecting moonlight. Whip pan across the store as hundreds of toys suddenly come alive. RC cars drift through polished floors leaving glowing tire streaks. Toy trains rush along display tracks. Dolls laugh while twirling between shelves. Giant Rex the dinosaur lets out a playful roar that shakes nearby boxes. Titan-X activates with glowing cyan eyes. Fast handheld-style tracking shot follows Oliver sprinting across shelves. He leaps between toy boxes in slow motion. Dynamic overhead shot as Bolt the RC car races underneath him, giving him a boost. Oliver lands perfectly onto Chug the toy train as it speeds around a corner. Dramatic orbit shot around Oliver as he quietly whispers, "I have to find her." The music builds rapidly. 🎬 PART 3 — "The Adventure" Duration: 0:30–0:45 Prompt: High-speed action montage. Oliver jumps off the moving train onto hanging gift ribbons, swinging across the aisle. Fast rotating camera follows him weaving through floating balloons. Rex accidentally crashes through stacked toy boxes, causing colorful blocks to rain everywhere. Oliver slides beneath a closing display shelf in slow motion. Bolt races beside him before launching him off a miniature toy ramp. FPV-style camera flies alongside Oliver as he narrowly avoids spinning helicopters and bouncing rubber balls. Titan-X extends a mechanical arm, catching Oliver just before he falls from a high shelf. Cinematic top-down shot reveals the giant locked entrance doors. Oliver runs with everything he has, but the automatic doors refuse to open. Extreme close-up of his tiny paw pressing against the cold glass. Outside, the first rays of sunrise begin to appear. 🎬 PART 4 — "Meant to Be" Duration: 0:45–1:00 Prompt: Soft emotional piano begins. Low-angle shot of Oliver sitting sadly near the entrance as the toys quietly watch from behind. Suddenly, a restocking employee pushes Mr. Wheels, the shopping cart, through the entrance. Dynamic tracking shot as Mochi nudges Oliver forward. Titan-X gently lifts him while Bolt gives one final speed boost. Oliver jumps through the air in beautiful slow motion, perfectly landing inside the shopping cart filled with new toys. Match cut to the toy display being restocked moments later. The store opens. Bright morning sunlight floods the entrance. Emma runs back inside with her mother. Handheld child-height camera follows her weaving through customers. She suddenly freezes, her eyes widening. Push-in on Oliver sitting exactly at the front of the display. "Mom! It's him!" She hugs Oliver tightly against her chest. Extreme close-up of Oliver's stitched smile as one tiny happy tear forms in his eye. The camera slowly cranes upward as Emma walks toward the glowing exit carrying Oliver. Warm golden sunlight fills the frame. Fade to white. Final Screen Text: "Some friendships are simply meant to be." 🧸✨

Sophia

126,206 次观看 • 2 个月前

OF Ethan Conrad (Wake Forest Baseball) has seen his Draft stock rise considerably over the last calendar year. Following a productive Freshman season and summer, Conrad had an outstanding Sophomore year to the tune of a .389/.467/.704 slash line with 18 2B, a nation-leading 13 3B, 9 HR, 52 RBIs and 17 SB. His hot hitting didn't stop there, though, as on the Cape this summer he was both an All-Star (ASG MVP) and All-League selection after hitting .385/.433/.486 with 5 2B, 2 HR, 19 RBIs, and 19 SB. Conrad has an athletic, big league frame at 6'3" and 200-lbs. Simple setup in the box in which he stands fairly upright—albeit slightly hunched over—with a medium-high handset and holds the bat flat over his back shoulder. Minimal load, leg lift leads into a small stride. Conrad takes a direct path to contact and his barrel accelerates through the zone. Hand speed is above-average. It's a very compact, repeatable and under control operation. He has plus bat-to-ball skills and is consistently on the barrel. Last spring he ran an overall IZ contact rate of 91%, including 90% against FB and 94% against both SL and CH. This summer was a similar story, as his overall IZ contact rate was also 91% (93% against FB/CH, 91% against SL). Conrad can get trigger happy with FB in the top and/or outer-1/3 and has the tendency to chase secondaries down, though it hasn't hindered his production to this point. Tightening up his swing decisions a bit will help. Would give his hit tool a 55. Conrad has shown the ability to spray line drives to all parts of the field and is capable of driving the baseball into either gap. While he uses the whole field, his highest quality of contact comes to the pull side—which is also where all of his HR power to this point has come. There's present impact, however, and this spring he posted a Max EV of 109.4 and this summer his Max EV was 105.4. If he's able to get the ball up in the air more, increased HR numbers should follow suit. Power is a 50 right now. Corner OF profile defensively where his speed and athleticism translate well. Good instincts, can go and get balls in the gap or down the line. Arm is average. Alluded to it, but Conrad is also a plus runner who has a knack for taking an extra base on a ball in the gap or down the line. Most importantly, he knows how to run which helps his speed play up on the bases where he's an effective base stealer and chaos-causer. There's a lot to like tools-wise with Conrad and he figures to be the centerpiece of Wake Forest's lineup in 2025. Definite day 1 type this July, top-40 overall upside. (📽️: Marist Baseball)

Peter Flaherty III

22,107 次观看 • 1 年前

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

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

Zyrella

55,198 次观看 • 28 天前

She doesn’t play tennis. She hunts points. Every cut hits like a winner. Made with Seedance 2.5 on Fish Creative Try it for free 👇 Prompt: STEP 05 - SEEDANCE 2.5 GENERATION SEEDANCE 2.5 STORYBOARD AS REFERENCE FAST CUT 24FPS HANDHELD THROUGHOUT AESTHETIC: Cinematic sports reel, 20 seconds, 16:9. Natural light, highlight halation. Handheld micro-tremor, never gimbal. Fast cuts every 0.8-1.5s. Motion blur 24fps, 35mm grain. Fixed midday light all 20 seconds: overhead sun, hard short shadows. CHARACTER: Young athletic woman from REFERENCE IMAGE. Dark brown hair in high ponytail with loose strands, white Nike visor, navy Nike racerback tank with white swoosh, navy pleated tennis skirt with white swoosh, white wristband, fine gold chain with small cross, holding tennis racket. USE REFERENCE IMAGE FOR FACE AND EXACT WARDROBE. Same outfit every single shot. Do not change colors, logos, hair, or jewelry. LOCATION: Outdoor tennis court. Blue cobalt inside, green outside, white lines. Black fence, empty bleachers. Midday sun. [0:00-0:01] Extreme close-up top-down. White sneakers and navy skirt hem frame the racket. She spins the racket two rotations from the handle on the blue court. [0:01-0:02] Close-up face from reference image — eyes bright, half smile, one hand on visor, tosses yellow ball in air, slight dolly-out. [0:02-0:03] Match cut on ball to overhead top-down. She completes the serve on the baseline. Hard short shadow at her feet. [0:03-0:05] Medium handheld counter-direction. Violent forehand drive, torso rotating, navy tank twisting, racket cutting air. [0:05-0:06] Low angle dutch tilt. Running parallel to the net in navy skirt, forehand with motion blur. [0:06-0:07] Full shot. Jumping to smash overhead against the sky, ponytail and visor catching sun. [0:07-0:08] Extreme close-up footwork. White sneakers moving fast on blue cobalt court. [0:08-0:09] Medium through net mesh, slow dolly-in, slow motion. Tucks a loose strand behind ear, lowers racket, same face and navy kit from reference. [0:09-0:10] Extreme low angle, backlit sun. Serves in slow motion from behind, silhouette of visor, tank, and skirt against sky. [0:10-0:11] Wide from blurred bleachers. Small figure hitting crosscourt backhand. [0:11-0:12] Reverse medium handheld other side of the net. Two-handed backhand, weight back, navy outfit identical to reference. [0:12-0:13] Wide from bleachers. Small figure forehand drive. [0:13-0:15] Medium handheld counter-direction. Violent forehand drive closing the point. [0:15-0:17] Hero close-up. Same face as reference image, slight smile, hand near visor, midday sun, navy Nike kit. [0:17-0:20] Extreme low angle through racket strings. Face from reference behind the strings. Bounces yellow ball twice, brings ball toward lens until it fills the frame. AUDIO: No dialogue. Diegetic sound only — ball impact, sneaker squeak, breathing, ball bounce, palm wind, fence vibration. No music in engine.

She doesn’t play tennis. She hunts points. Every cut hits like a winner. Made with Seedance 2.5 on Fish Creative Try it for free 👇 Prompt: STEP 05 - SEEDANCE 2.5 GENERATION SEEDANCE 2.5 STORYBOARD AS REFERENCE FAST CUT 24FPS HANDHELD THROUGHOUT AESTHETIC: Cinematic sports reel, 20 seconds, 16:9. Natural light, highlight halation. Handheld micro-tremor, never gimbal. Fast cuts every 0.8-1.5s. Motion blur 24fps, 35mm grain. Fixed midday light all 20 seconds: overhead sun, hard short shadows. CHARACTER: Young athletic woman from REFERENCE IMAGE. Dark brown hair in high ponytail with loose strands, white Nike visor, navy Nike racerback tank with white swoosh, navy pleated tennis skirt with white swoosh, white wristband, fine gold chain with small cross, holding tennis racket. USE REFERENCE IMAGE FOR FACE AND EXACT WARDROBE. Same outfit every single shot. Do not change colors, logos, hair, or jewelry. LOCATION: Outdoor tennis court. Blue cobalt inside, green outside, white lines. Black fence, empty bleachers. Midday sun. [0:00-0:01] Extreme close-up top-down. White sneakers and navy skirt hem frame the racket. She spins the racket two rotations from the handle on the blue court. [0:01-0:02] Close-up face from reference image — eyes bright, half smile, one hand on visor, tosses yellow ball in air, slight dolly-out. [0:02-0:03] Match cut on ball to overhead top-down. She completes the serve on the baseline. Hard short shadow at her feet. [0:03-0:05] Medium handheld counter-direction. Violent forehand drive, torso rotating, navy tank twisting, racket cutting air. [0:05-0:06] Low angle dutch tilt. Running parallel to the net in navy skirt, forehand with motion blur. [0:06-0:07] Full shot. Jumping to smash overhead against the sky, ponytail and visor catching sun. [0:07-0:08] Extreme close-up footwork. White sneakers moving fast on blue cobalt court. [0:08-0:09] Medium through net mesh, slow dolly-in, slow motion. Tucks a loose strand behind ear, lowers racket, same face and navy kit from reference. [0:09-0:10] Extreme low angle, backlit sun. Serves in slow motion from behind, silhouette of visor, tank, and skirt against sky. [0:10-0:11] Wide from blurred bleachers. Small figure hitting crosscourt backhand. [0:11-0:12] Reverse medium handheld other side of the net. Two-handed backhand, weight back, navy outfit identical to reference. [0:12-0:13] Wide from bleachers. Small figure forehand drive. [0:13-0:15] Medium handheld counter-direction. Violent forehand drive closing the point. [0:15-0:17] Hero close-up. Same face as reference image, slight smile, hand near visor, midday sun, navy Nike kit. [0:17-0:20] Extreme low angle through racket strings. Face from reference behind the strings. Bounces yellow ball twice, brings ball toward lens until it fills the frame. AUDIO: No dialogue. Diegetic sound only — ball impact, sneaker squeak, breathing, ball bounce, palm wind, fence vibration. No music in engine.

Shami

30,367 次观看 • 1 个月前