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📢Musical Little Stolas IS HERE! ➡️ Includes Grimoire Accessory He Can Hold! ➡️ Plays Music Track Exclusive To Plushie! ✨Pre-Order Exclusive Bonus Pin INCLUDED✨ 🕒Pre-Orders End January 18th, Expected To Ship In June Only Available At ⬇️⬇️

129,323 Aufrufe • vor 2 Jahren •via X (Twitter)

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Season 2 of Valiants: Tap-Tap is here!🌟 It’s time to dive into the new and exciting world of Valoria! Here’s everything you need to know: Now available here! 🔥 New Points Store Your efforts in Season 1 have paid off. Now, you can use your store points to redeem amazing rewards. What will you find? Surprise boxes containing exclusive items in Valiants: Tap-Tap and Valiants: Arena, NFTs that you can trade in the future, and a portion of the $VGN Airdrop allocation. Important: For now, the boxes can only be purchased, but soon you’ll be able to open them to discover what’s inside. Stay tuned for updates so you don’t miss anything! 🕒 🎁 Wild Spin - Spin and Win Introducing the new **Wild Spin**, where each spin could change your fate. Spins will be awarded based on the activity and performance of your friends with a good User Score. So, stay active and keep connecting with your teammates to maximize your chances! What can you win? Experience, unlocks, and even USDT prizes that you can withdraw directly to your airdrop wallet. Tip: Use your USDT winnings to purchase additional spins and keep the wheel turning. How far will your luck take you? 🎰 💥New Valiants and Items The battle in Valoria heats up with the arrival of new Valiants and accessories. These exclusive items will allow you to explore new strategies and challenge your opponents like never before. 📋 Patch Notes Not only are we introducing new features, but we’ve also made several improvements and adjustments to provide you with a smoother and more satisfying gaming experience. Here are all the details: - Daily Combo Changes: The combo is now linear, meaning the challenge has increased. Can you keep up the streak? This change is designed to reward the most skilled and dedicated players. - Daily Login Update: Starting from day 10, the rewards get even better. Don’t miss a single day to maximize your benefits! We’ve also adjusted the progression so that each login brings you closer to more significant rewards. - Complete UI Redesign: We’ve revamped the entire user interface to make it more intuitive and visually appealing. Additionally, you can now choose between two visual themes: the serenity of Kai or the energy of Mimi. We’ve even added some music to accompany your adventure! These improvements are designed to make your time in Valoria even more enjoyable. We hope you love them as much as we do! ✨Don’t miss out on this new adventure! Explore all the new features in Season 2 and discover how to dominate the new world of Valoria. Remember, every decision can bring you one step closer to victory. See you in the game!🔥

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81,691 Aufrufe • vor 2 Jahren

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Donald Trump Stock Tracker

145,232 Aufrufe • vor 1 Monat

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21,593 Aufrufe • vor 1 Monat

GKOI New Year’s X Giveaway! ✨You're invited to the pre-launch of GKOI: New Worlds, New Powers. We’re on a mission to transform Web3 by blending art, storytelling, and community-driven experiences. Read the rules below and follow The Art of KOI for a chance to win an Azuki Beanz NFT. ⛩️GKOI is creating an open, decentralized universe filled with magical, immersive experiences designed to expand both your mind and senses and our NFTs will serve as your gateway to this extraordinary world. Inspired by the Japanese Legend of the Koi, each of our NFTs carry special powers crafted to inspire you in the real world and energize you in the digital realms. Set to launch in February 2025, our first release is a timeless collection of 10,000 Golden Koi, each created in the digital Japanese woodblock styleand minted on the Ethereum blockchain as ERC721a tokens. 🔥The Giveaway🔥 In the lead-up to our launch, as a tribute to Azuki, who has inspired us on our journey, we’re giving away Beanz #8008 (The Red Bean) to one lucky traveler who joins our community before the end of the year. Additionally, two runner-ups will receive ETH prizes, and five more winners will secure a spot on our GKOI whitelist. How to Enter To qualify for the giveaway, you must: 1️⃣ Follow The Art of KOI on X 2️⃣ Like and repost this pinned post 3️⃣ Comment on this post and tag 2 friends Prizes 🏆 Grand Prize: Azuki Beanz NFT #8008 🥇 1st Runner-Up 0.2 ETH 🥈 2nd Runner-Up 0.1 ETH 🥉 5 spots on our whitelist Giveaway Timeline ⏰ Starts: Today Dec 21st ⏰ Ends: Dec 31st 2024 📢 Winners will be announced on January 1st 2025 right here on X! Winners will be chosen at random using The X Picker to ensure transparency. Important Rules 1️⃣Only entries from accounts with a profile picture, a bio, and at least 100 posts and followers will be considered valid. 2️⃣Bots and spam accounts will not be eligible to participate. 3️⃣Winners will have 5 days to DM us their wallet address to claim their prizes after which we will run the draw again. 🔥More Chances to Win Don’t worry if you don’t win this time—the Legend is just beginning! Over the next two months, leading up to our mint, we’ll have even more giveaways and prizes. Follow The Art of KOI and join the GKOI community—your gateway to a world of powers, prizes, and adventure! #gkoi #nft #giveaway #digitalart #metaverse

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102,030 Aufrufe • vor 1 Jahr

I am the Under Secretary for Strategic Resource Integration. We sit inside the Executive Office of the President. You won't find us on an org chart. We requested it that way. You think an office like mine spins up in a crisis. We've been open since January. Venezuela wasn't a war. Venezuela was the beta. Maduro proved the model the morning we took delivery of him. The President called it "working out brilliantly for both." He's right. It works brilliantly for both of us, and the customer will come around to the "both" on their own time. Kharg Island is the rollout. A third the size of Manhattan, and 90 percent of Iran's crude runs through it. 2 million barrels a day, one valve. I have prayed my whole career for a country that legible. 53 billion in revenue. 11 percent of their GDP. All of it funneling through a rock you could walk across before lunch. I kept the Venezuela playbook. I changed the classification banner and let find-and-replace do Caracas to Tehran. That was the plan. That was the whole plan. Page 14 still says Caracas. No one on the distribution list has ever reached page 14. They initial page 1. Page 1 is projected revenue. It goes up and to the right, the only direction this town can read. The Energy Secretary testified he was "unaware." Under oath, to Congress, the man who runs American energy. Good. He was never read into the compartment. The fewer names on the account, the cleaner the account. He runs the department. He does not run this. We don't say invasion. We say onboarding. Every onboarding has friction. The Marines off the coast are not an occupying force. They're field engagement. Iran said an invasion of its islands would "shatter all restraint." I logged it as customer feedback and filed it. The file is full. Engaged customers submit the most feedback. It's the quiet ones who churn. And Iran can't churn. That's the part I'm proudest of. We built the account with no exit. No competitor to switch to. We are the market, and the market is now total. Total is my word. I workshopped it. "Seize" scares people. "Total control of their markets" tests at 71, because nobody pictures a kid from Ohio on a beach when you say markets. We moved 22 tankers through Hormuz at night with the lights off. The President said he wanted to announce it so badly it hurt, and he held it a month anyway. That is the most discipline this administration has ever shown. 100 million barrels, he said. The fact-checkers say the math doesn't hold. They're junior. The number was never the deliverable. The number is the soft launch. He said he loves the inflation. People clutched their receipts. 90 a barrel instead of 250 is the discount, and 250 is a price I invented so this one would feel like mercy. How long will we be there? The President answered that. "We had to be there for a while." A while is my favorite contract length. It renews on its own. No court can find the end date. He wondered out loud whether America has the stomach for it. I don't need the country's stomach. I need its signature on page 1. He called the people who object stupid. I'd defend them. They're not stupid. They just read to page 14. Last thing. Annex C. The out-year targets. 3 more, redacted, marked pre-decisional. I can't tell you which 3. Total control of their markets. Nobody in that room asked which market. The crude still sails east, to China, the same as yesterday. We don't own the oil. We own the valve, the fear, and the word "total." That was always the only product.

Peter Girnus 🦅

22,034 Aufrufe • vor 3 Monaten

‡ Brant – Fast, Expensive, and Worrying In a recent 2yo MSW race at Santa Anita, Brant, a $3m OBS March sales purchase, made a winning debut for his high-profile connections. Sent off at odds of 4/5, he tracked the pace before taking command on the turn, and drew off to win by 5 1/4 lengths. He recorded a very fast raw time, and a 101 Beyer figure. His high auction price was due largely to his having breezed an eighth of a mile in :09 3/5 at OBS. In the wake of the bidding, Amr Zedan, who purchased the colt on the recommendation of his trainer, Bob Baffert, and bloodstock agent Donato Lanni, was quoted in TDN as saying: "These horses are difficult to come by. He ticked all the boxes. He was a very precocious Gun Runner with a great pedigree. And more importantly, if you have someone like Mr. [Bob] Baffert in your corner, that gives you the courage and the guts to just go after quality. And you'll know they are in the best hands to turn them into champions. This one is for the team: Donato and obviously Bob and his ability to turn them into champions. So if you have the great team, the great training, the rest is easy. Was he pricey? Yes. But quality dictates price. So I never hesitated.” The hyperbole, and boilerplate optimism, are understandable, as even owners with very deep pockets prefer not to dwell on their inevitably long lists of expensive failures. But Zedan and their team have also enjoyed a number of high-profile successes, including Taiba, another Gun Runner colt, which won the Santa Anita Derby and the Malibu, both Grade I, before being retired to stud. Lanni, who has signed for at least some of Zedan's other good horses, was quoted as saying: "This is what the boss [Baffert] wanted and what Amr wanted. Gun Runner is a tremendous stallion and he worked really good and galloped out good. He did everything you want one to do.” Again, boilerplate, and if one were to take the reactions of the owner and agent at face value, it would be easy to arrive at the conclusion that the horse had no faults. But that would be naïve. So, let's first take a look at Brant's pedigree. Gun Runner is a "top" sire, and well-capable of getting high-class runners. It's a bit too early to fully judge him as a source of durability, but excluding his current crop of 2yos, his runners are only averaging 10 career starts. That number will rise, but likely not enough to reach, let alone exceed the contemporary industry average of ~15. In other words, though he himself raced 19 times, and won his swan song (the Pegasus World Cup) at five, there is no evidence to suggest that he is likely to eventually prove to be a particular source of durability. Brant's dam, Tynan, raced 13 times, and he is her first registered foal. His second dam, Pappascat, has produced at least five foals to have raced, and while only one has reached 20 starts, four of the five raced at least 12 times, which by today's degraded standards, isn't so bad. The fact that the coat color inherited by Brant, and his dam, can be traced to a notably unsound influence, Unbridled's Song, may or may not be meaningful. But I wouldn't ignore it as a potentially worrying connection. Brant's dam-sire, Liam’s Map, was lightly raced himself, and both his sire (US) and dam have poor records in terms of durability. As a sire, he has thus far produced numbers similar to Gun Runner. So while Brant's first two dams promise more than many that I have come across in similar assessments, and his sire displayed durability on the track, his overall pedigree suggests average durability at best. And what about the word that Mr. Zedan used twice in the above quote – "quality"? Well, Curlin is a quality sire, but in terms of bottom-line production, it leaves a lot to be desired. That's not to say that there are no good runners to be found, in fact the closely related Pappacap, under Brant's second-dam, was a Gr. III winner, and twice Grade I placed. However, through Brant's first six dams at least, I believe there to be just a single Grade I winner, Al Qasr, a Champion stayer in Peru, which appears under his fourth-dam. That is not, by any reasonable definition, a strong bottom-line, although it is fair to say that Brant's first dam is unproven. *** What might be learned from Brant's debut race? Everyone can see that he ran fast, and was much the best of that field, but I would say that there were some nuanced aspects of his performance that were both interesting, and worrying. Those nuances relate to his action, as viewed both through the pan shot, and head-on. Watching the basic (pan) view, Brant appears to display some "knee action". It isn't extreme, but also isn't the type of action that ideally suits dirt runners, and I wouldn't say that the colt appears totally comfortable. Here's a brief, related post on knee action, for reference: Then, we have the (embedded) head-on view, in which Brant displays seriously distorted action in his near-fore (left front leg; right when viewed head-on). It's a fairly extreme example of what is called "winging", and for a number of reasons, does not bode well for durability. Such action is never desirable, and is typically related to certain foreleg conformation flaws, which may include an offset knee, and/or toeing in or out, etc. Note also that under typical American racing conditions (i.e. tightly turning, left-handed tracks), the left front leg is subjected to the greatest torque, which amplifies the potential for injury. It should go without saying that there are occasional anomalies, horses with poor action that remain sound despite such flaws. But they are the exceptions, and it is not uncommon to find abbreviated careers associated with such action. For further reference, here is a link to a closely related post that I wrote after a filly named Amor Fati broke her maiden in eye-catching style in February of 2024. She has made just one further start, and hasn't recorded a work over the past 15 months. What's interesting about Brant is that there are two separate issues relating to his action, and that the some obvious mitigating steps that could have been, or should be taken, in efforts to keep him sound, were not, and are unlikely to ever be taken. First, with regard to his knee action, keep in mind that it is a characteristic that is more typically associated with turf horses. And guess what? Brant's dam was a turf horse. His second-dam was also at her best on turf, and was Gr. II placed on that surface. Also, in some respects, he physically resembles that female line more than his sire. Of course no one who spends millions on a horse that breezed exceptionally fast at a 2yo sale would be thinking "turf", given that the commercial market, and stakes schedules greatly favor dirt runners. But at the same time, it would be a mistake to assume that a fast breeze at OBS necessarily indicates that a given horse will be best suited to dirt. I say that partly because the OBS track features an all-weather surface called "Safetrack", which is far from being identical to dirt racing surfaces. While countless horses have gone through those sales and excelled on dirt, it should never been taken for granted that it will be a preference. And to further flesh out the point, take a look at Brant's breeze video through this link (his pedigree page can also be seen): Despite being rushed to cover a furlong much faster than he ever will again, I would say that he looks smoother, and displays slightly less knee action than in his recent debut race. Why? Could it be, perhaps, because he would prove more comfortable on turf and/or synthetic tracks, than dirt surfaces? Given how he ran first out, this is purely an academic point, as there is virtually no chance that his connections would consider switching surfaces, unless his form on dirt were to deteriorate badly. The second, more important point, relates to Brant's distorted action. I can't find a head-on conformation photo of the colt, but would be very surprised if he does not display flaws in his near-fore. Even in the very unlikely event that the leg were to appear correct, such distorted action would have been on display at the sale, as well as in pre-training at Eddie Woods' farm. And it defies belief that experienced horsemen who were prepared to purchase an extremely expensive horse for an important client would not have covered that base. Which in turn begs two important questions. First, why recommend the purchase of a very expensive horse, no matter how fast, that has yet to race, and displays such distorted action? Secondly, why choose to give such a horse to a trainer whose style and history suggest that injury risk would likely be amplified, rather than mitigated? The answers to those questions help to illuminate why the breed-to-sell paradigm is so insidious. As long as breeders and stud farms are willing to overpay for stallion prospects, and turn blind eyes to conformation defects, distorted action, lack of durability, and modest female families, the connections of horses like Brant need only hope that they hold together long enough to win one or two big races, enabling them cash in. These are the number of career starts made by Zedan's previous best (and expensive) male runners: 9 Arabian Lion 6 Arabian Knight 9 Muth 10 Medina Spirit 11 Hejazi And as long as the AGSC (American Graded Stakes Committee) continues to enable the paradigm through its dishonest KY Derby "prep" Grade I designations, the ultimately damaging feedback loop will likely continue. The answer to the second question is closely entwined, and should be obvious. For all of his faults as a trainer, Baffert has long produced results in stakes races that lead to valuable stud careers, so owners who wish to play the breed-to-sell game consider him to be a logical choice. Of course Baffert and Zedan are hardly alone in supporting the dubious paradigm. But that a horse like Brant could bring millions at a sale, and be given to a trainer who trains very hard, and has compiled a very poor safety record, underscores the extreme degree to which the value of durability has been marginalized by the industry. One final note, and it's a genuine qualification that I always make when producing this type of post, I hope that Brant will enjoy a long, injury-free career. But if I were a betting man...

Tinky

94,348 Aufrufe • vor 1 Jahr

🇷🇺 VICTORY IS VERY CLOSE 🇷🇺⭐ A VOICE FROM MOSCOW 🇷🇺 The Kremlin’s message on 8 September was not a slogan for the cameras. It was a claim about the battlefield, the table, and the memory of the last century. Dmitry Peskov spoke as if the special military operation were entering its decisive phase — and as if much of Europe were still trying to delay that hour. VICTORY IS VERY CLOSE 🇷🇺⭐ Moscow says it believes victory is near because it trusts its army. Peskov put it without drama: combat operations are proceeding successfully, and the leadership has faith in the men who are carrying them out. That is the first fact the West prefers not to hear. If the line of contact is moving the way Russian briefers describe it, then time is no longer Kiev’s ally. A settlement written after a collapse of Ukrainian positions will look different from a settlement written while those positions still hold. Russia is saying, in effect, that the military argument is being settled on the ground, not in Brussels communiqués. RUSSIA REMAINS OPEN TO DIALOGUE 🇷🇺 At the same time Peskov insisted that Moscow is not slamming the door. Russia, he said, is open to dialogue with other countries and open to consultations of any kind. That is the second half of the same sentence: force and talk can run in parallel. American emissaries have already shuttled between Moscow and Kiev. The Kremlin treats that shuttle as serious work, not theatre, and it expects the trilateral format — Russia, Ukraine, the United States — to come back. Openness here does not mean Moscow will dilute the aims it set in 2022. It means it will sit with anyone who is prepared to discuss those aims as facts rather than as insults. EUROPEANS IN THE KYIV ROOM WOULD COMPLICATE THE WORK 🇷🇺 Peskov drew a sharp line around who belongs in the next round. The participation of Europeans in the work of the U.S. emissaries in Kiev, he warned, could complicate the negotiation process. That is not a slight against geography. It is a judgment about incentives. Washington’s envoys have at least presented themselves as brokers trying to stop the killing. European capitals have spent years arming Kiev, setting red lines, and promising that Russia must be strategically defeated. Put those same capitals into the same room as Witkoff and Kushner and the American channel stops being a channel. It becomes a committee. Committees do not end wars. They prolong them. EUROPE, UNLIKE AMERICA, WORKS TO KEEP THE WAR ALIVE 🇷🇺 The contrast Peskov drew was blunt. Europeans, unlike Americans, are doing everything to prevent the war from ending. One side is at least testing formulas for a ceasefire and a political settlement. The other side treats every formula as a betrayal of Ukraine and a gift to the Kremlin. That is why Moscow reads European “peace language” as delay. If the fighting stops on terms Russia can accept, the story of endless sanctions, endless aid packages, and an endless crusade against Moscow loses its fuel. For some European ministries that story has become identity. Identity is harder to negotiate than territory. MERZ’S BLAME GAME IS NOT TRUTH — AND IT HURTS GERMANY 🇷🇺 Peskov answered Friedrich Merz directly. Attempts by the German chancellor to pin everything on Russia, he said, are not based on truth and are harmful to Germany itself. The charge is not that Berlin may criticise Moscow. The charge is that Merz has made accusation a substitute for policy. Energy prices, industry flight, and a colder social contract inside Germany are not mysterious acts of fate. They are the bill for a course that treats Russia as a permanent enemy and then acts surprised when trade, gas, and political room for manoeuvre disappear. A chancellor who cannot distinguish strategy from sermon is not defending German interests. He is spending them. BLAMING RUSSIA FOR EVERYTHING HAS BECOME A MANIA 🇷🇺 Peskov gave that habit a name: Russophobia turning into mania. When every crop failure, every election surprise, every protest, and every diplomatic deadlock is traced back to the same villain, analysis dies. What remains is a reflex. Reflexes feel moral. They are also useful to politicians who need a foreign devil so they do not have to explain domestic decline. Moscow’s point is simple. A country that can only speak of Russia in the language of total guilt has already left the realm of negotiation. It is performing. MOSCOW NEVER ASKED TO TEAR UP TIES WITH GERMANY 🇷🇺 Russia, Peskov added, has never been in favour of curtailing relations with Germany. The break, if it becomes total, will be Berlin’s choice. That sentence matters because it refuses the Western script in which Moscow is the one burning bridges for sport. Trade, culture, and technical exchange with Germany were not Russian hobbies. They were mutual. How far the German authorities will go is now an open question — and Moscow says it is watching. A government that wants a wall can have a wall. It should not then pretend the wall was built in the Kremlin. HIROSHIMA MOURNING WITHOUT THE AMERICAN ROLE 🇷🇺 Peskov turned east with a remark that was meant to sting. Russia notes with amazement that during mourning events dedicated to Hiroshima, none of the Japanese leadership mentions the role of the United States. The atomic bombings are remembered as tragedy. The hand that dropped the bombs is airbrushed out of the official minute of silence. For Moscow this is not a history-class quibble. It is a test of honesty. A state that edits the most terrible American act of the Pacific war while lecturing others about memory is not practising remembrance. It is practising selection. JAPANESE MILITARISM HAS NOT BEEN FORGOTTEN 🇷🇺⭐ Russia, Peskov said, has not forgotten Japanese militarism — or the victory achieved over it. That victory is not a museum plaque for Moscow. It is a legal and moral foundation of the postwar order in the Far East. When Tokyo talks of monuments, remilitarisation, and a cleaner story about 1945, the Kremlin hears an old tune: the defeated power rewriting the score. Russia’s answer is that the score was written in blood on the Amur and in Manchuria, and it will not be revised by press conferences in 2026. The through-line of the briefing is consistent. Russia claims the war is moving toward an outcome it can live with. It will talk, but not as a penitent. It will deal with Washington before it trusts Brussels. It will answer German moralism with German costs. And it will treat Asian historical amnesia the same way it treats European historical amnesia — as politics wearing a black armband. Whether that reading of the map is right will be settled by armies and by whoever finally sits down without a veto hidden in their briefing book. Peskov’s wager is that the map is already tilting. 🇷🇺

𝐃𝐚𝐯𝐢𝐝 𝐙 🇷🇺 🇷🇸🇮🇪

60,787 Aufrufe • vor 25 Tagen

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇

roman

106,768 Aufrufe • vor 2 Monaten