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Neon lights. Barrel-aged perfection 🌃 Step into Avalon’s underworld or raise hell at the Rolling Hills distillery in #BlackOps6 Season 04 Reloaded on July 2 🔥 🎧 Eclipse – 6v6 & 2v2 🥃 Fringe (remake) – 6v6

208,534 次观看 • 1 年前 •via X (Twitter)

10 条评论

TDAWG 的头像
TDAWG1 年前

this hits diff in 2025 man

borraskka 的头像
borraskka1 年前

FIX YOUR GAME

ᴱⁿᴰ Metal 的头像
ᴱⁿᴰ Metal1 年前

Eclipse would have been perfect for a John Wick collab 😞

Kitsu 🧚🏻‍♀️ 的头像
Kitsu 🧚🏻‍♀️1 年前

You guys for real are going to take another week for the update after it took you months for the last update? Wtf is going on on your studio? You fired everyone or you have mentally challenged people doing the game? Why in bo6 you guys never respected any deadline? I feel scammed with this game season 6 is gonna be what 4 days???? THIS IS A SCAM you guys not even say sorry just act like nothing has happened 😂😂💀

JustinD 的头像
JustinD1 年前

Couldn’t drop that shit today? Was kinda looking forward to ranked resurgence after work

FireSaucePacket 的头像
FireSaucePacket1 年前

Everyone mad in the comments 💀 They really don’t care about the players just profits.

u z i 的头像
u z i1 年前

july 2nd??? it was supposed to be today

SADSMツ 的头像
SADSMツ1 年前

Wait I thought S4 Reloaded was today, the 26th?

XpertFusion (AKA MovieFusion) 的头像
XpertFusion (AKA MovieFusion)1 年前

My baby Fringe is back 😢

Fate 的头像
Fate1 年前

july 2 💀 dogshit game

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🚨 ISRAELI IP MYSTERY: Google Searches EXPLODED for Charlie Kirk Assassination Key Players WEEKS Before the Hit – Coincidence or Cover-Up? You won't believe this... Right after conservative firebrand Charlie Kirk was gunned down on stage at Utah Valley University on Sept 10, 2025, I dove into Google Trends. What I found? A web of SUSPICIOUS spikes from ISRAELI IP addresses hitting EVERY major figure and detail in the case—MONTHS early. Anchor on July 20, 2025: That's when it all lights up. Here's the bombshell breakdown: 🔍 Suspect Tyler Robinson: Massive DC spike on arrest day (Sept 10), but weird July 20 blip too. Who's pre-gaming this? 🏥 Timpanogos Regional Hospital (Orem, UT): DC searches explode Sept 10-11 for where they rushed Kirk. But hold up—spikes July 16, July 3, even June 28. And the DAY BEFORE the shooting? Someone in DC zeros in. Planning the escape route? 💀 Medical Examiner Dr. Deirdre Amaro: Barely searched in DC or Utah... but ISRAEL? Sudden interest. No autopsy on Kirk? Shady—could've revealed bullet angle, type, other injuries. Why skip it? 🚔 Utah DPS Commissioner Beau Mason: Appointed July 17 (replacing Jess Anderson). DC searches July 16—right in that July 20 window. New sheriff in town... convenient? 🛩️ Spy Plane N1098L (Bombardier Global 6500): This US-contracted jet—capable of deploying DRONES—drops from 50k ft to just 204 ft (stall speed!) over Utah Valley campus TWICE on shooting day: once en route to Montana, once 25 mins AFTER Kirk's death. Flies within 2 miles of the site. ISRAEL searches it Aug 8—32 days pre-hit. Drone strike setup? Videos don't lie. 🕵️ FBI Salt Lake SACs: Old boss Mehtab Syed? Israel hits July 9. New guy Robert Bohls? Sept 1 from Israel. Left blamed Trump/Patel for "firing" Syed— but someone KNEW the switcheroo early. ❓ Hunter Kozak (Last Q&A Guy): Liberal student who grilled Kirk moments before the shot. Israel searches Aug 3. Bullets had "transgender terms"? His roommate's drama? Too on-the-nose. 🩹 Timpanogos Surgeons GALORE: In a 2-week frenzy around July 20, Israel IPs hunted SEVEN docs: Steven Neilman (July 18), Robert Patterson MD (July 23-24), Lee Trotter, Lee Patterson (July 19), Brian Gill (July 22), Richard Rasmussen (July 14), William Pugh (July 30). Why ALL the emergency surgeons at Kirk's hospital? Same IP? FBI, check those VPNs! His body wasn't cold, and the left's screaming "Trump did it." But this? Foreign IPs scouting EVERY angle pre-assassination? If it's one user/VPN, it's a smoking gun. Utah State Police/FBI: Subpoena Google NOW. Who's pulling strings from Tel Aviv? WTF is going on? Drop your theories—share if this chills you. Wake up, America! 🔥 Shoutout to BaronColeman On Youtube Who BROKE This Story. I'll link his FULL Video Below. Go Subscribe To This Man Please, He's Doing Great Work...

Project Constitution

433,367 次观看 • 11 个月前

OF RJ Austin (Vanderbilt Baseball) is an intriguing college hitter in this year's Draft. Carved out an every day role as a Freshman and collected 18 XBH with 43 RBIs, but had a breakout summer on the Cape to the tune of a .327/.426/.376 slash line with 13 RBIs in 29 games. Carried that momentum over into last season where he hit .335/.402/.471 with 14 2B, 5 HRs, 54 RBIs and 28 SB. Earned an invitation to Team USA, but had a strong 15-game stint on the Cape and hit .321/.361/.536 with 6 2B, 2 HRs and 9 RBIs. Strong, athletic build at 5'11" and 193-lbs with plenty of natural strength. Stands fairly tall in the box with his knees slightly bent and a tight base with a slightly open front side. Austin has lowered his handset a bit since last spring, and he now has more of a medium-high handset. Barrel tip in his load is accompanied by his hands drifting. High leg kick leads into a rather lengthy stride. Quick hands and easy plus bat speed. Athletic look, rotates well. Austin's hit tool has taken positive strides since the start of his college career, and last year he posted an overall contact rate of 82% and an IZ contact rate of 91% (including 94% against FB). Present feel for the barrel. Approach and swing decisions still need some fine-tuning, and Austin is susceptible to FBs in the top and outer-1/3 as well as secondaries down-and-away. Very pull-oriented approach. Would give it a 50, probably closer to a 55 than a 50. Austin's also a strong kid with more impact in the tank than his 12 career HRs might suggest. All of his HR power has come to the pull side, but he needs to get the ball up in the air more. Posted a Max EV of 110 last spring. There are some ingredients to work with here, but has to lift the baseball on a more regular basis. Power plays as a 45 in-game. Has had limited experience in the OF to this point, but will roam CF this spring for Vanderbilt. Got a fair amount of run out there this summer on the Cape. Austin's speed and athleticism both translate to the position—he can go and get it—but the reads and route running will need refinement. Fringe-average arm. I'm curious to see the progress over the course of the season. I alluded to it, but Austin is a plus runner and an effective base-stealer. Twitchy. 2nd-3rd round type for me this July. (📽️: Vanderbilt Baseball)

Peter Flaherty III

75,608 次观看 • 1 年前

Journey through Hell made with seedance 2.5 prompt :One continuous 30-second chaotic amateur first-person smartphone video filmed by a standing passenger inside a completely packed magnetic-levitation commuter train. Single unbroken take with no cuts, jump cuts, dissolves, crossfades, double exposures, portals, morphing or artificial scene transitions. The train begins as an ordinary weekday commute on Earth and then physically travels downward on an impossible journey — through subway tunnels into bedrock, into a colossal void beneath the crust, past a soot-blackened waiting platform, through an immense eroded gate, out above a burning plain, down the terraced wall of a vast pit, and into the inhabited depths of Hell. Everything must feel physically connected, as though the same train is genuinely travelling down through each environment. The tone is bureaucratic dread, not horror-movie shock. This is a scheduled service. The route is old, the infrastructure is worn, and the train runs it the way it runs any other line. The horror comes from how ordinary the journey is and how enormous the destination turns out to be. The interior is a completely packed standing-room-only maglev commuter car. Passengers are pressed shoulder-to-shoulder, gripping overhead straps and vertical poles. Backpacks are squeezed between bodies, coats and loose clothing shift with acceleration, straps swing on their inertia, and the entire carriage constantly vibrates and rattles. The camera is a cheap smartphone held at chest height by one standing passenger who grips a pole with the other hand. The phone itself is NEVER visible because the phone is the camera. The framing is crooked, slightly off-centre, partially blocked by shoulders and arms, and imperfect like genuine accidental footage. The camera constantly shakes, rolls, yaws and gets thrown around by acceleration. Use realistic rolling-shutter distortion, autofocus hunting, exposure pumping, blown highlights, crushed noisy shadows, low-bitrate compression, macroblocking and smeared motion blur. It must look like genuine spontaneous smartphone footage, not professional cinematic footage. The camera always looks through the LEFT-SIDE WINDOWS at approximately 90 degrees to the train's direction of travel. The train always travels forward and the outside world always streams past the windows from front-to-back. Never switch to a forward-facing train-nose view. Never show the front of the train. The same carriage, same passengers, same poles, same straps and same windows remain visually consistent throughout the entire journey. The interior is the constant realistic anchor while the outside world becomes increasingly impossible. 0 to 3 seconds. Begin with an ordinary overcast weekday commute on an elevated urban line. Grey apartment blocks, rooftop water tanks, a scrapyard, overhead wires, a canal and traffic on a road below streak past the left windows at different distances with realistic parallax. The passengers are tired and mostly uninterested — some on phones, some staring out, some talking quietly. A calm public-address chime sounds and an announcer quietly says, "Next stop: Hell." Nobody reacts. One passenger glances up briefly and goes back to their phone. The train accelerates and everyone instinctively tightens their grip as the carriage gives a hard lateral jolt. 3 to 6 seconds. The line drops into a cutting and then into a tunnel. Tiled subway walls, cable runs, service lights and a passing platform strobe across the windows in hard bands of light and dark, throwing the carriage into stuttering illumination. The tunnel ages as the train descends: modern concrete becomes older brickwork, then rough-cut stone. The fittings become scorched and soot-caked — blackened signal lights, corroded brackets, cabling burnt down to bare metal. This route has been running a long time. The gradient steepens noticeably; passengers lean back against the pitch and the straps hang visibly off-vertical. 6 to 9 seconds. The tunnel wall becomes raw geology and the train is now clearly descending through the crust at impossible speed. Through the left windows the rock face streaks past in visible strata — pale limestone, dark shale, red iron-stained bands, seams catching the carriage light. The air begins to heat and passengers loosen collars. Then, under the mechanical roar, a sound arrives before anything is visible: a vast, distant, continuous mass of human voices, far away and heavily reverberant, never resolving into individual words. It is not loud. It is simply there, and it does not stop. Two passengers look at each other. Nobody says anything. 9 to 11.5 seconds. The rock wall falls away entirely and the train emerges into a void larger than a city, with no visible far side. It runs along a ledge on the wall; below the windows the space drops away into darkness. Stone columns kilometres tall stand in the void with strong parallax — near ones sweeping past, distant ones barely shifting. Far below and far ahead, a faint orange glow is already visible. It must already exist in the frame from this moment and grow continuously from here forward without ever popping or suddenly enlarging. The voices are louder here, spread across an enormous space. One passenger near the glass leans forward slightly. Another quietly says, "Ohh." 11.5 to 14 seconds. The train passes a station. A soot-blackened platform is cut into the rock wall — worn edge, dead lamps, faded markings unreadable under the grime — and figures are standing on it in an orderly queue, waiting, facing the track, completely motionless. They are seen for less than a second at speed, as dark shapes against the platform light, never close enough to read faces. The train does not slow. Nobody boards. The platform is gone behind the carriage. This is the moment the passengers understand. Several stop looking at their phones. Embers begin drifting upward past the windows from below. 14 to 16 seconds. Ahead, a wall crosses the entire void — a single continuous barrier extending beyond sight in both directions and upward past the ceiling. The train passes through an immense gateway cut into it, an arch hundreds of metres tall, its stone eroded smooth by an unimaginable volume of traffic, its carved markings worn past legibility. For half a second the carriage is in the shadow of the arch and everything goes dark. Then it is through, and the light on the far side is completely different: warm, hard, and coming from below. 16 to 19 seconds. The train races above a burning plain. Outside the left windows: a vast crusted expanse of dark solidified ground cracked into slow-moving plates with brilliant orange fissures running between them, distant fountains of molten material rising and falling in slow motion because of their true scale, and smoke columns standing kilometres high. Running across it are raised stone causeways, and on the causeways are crowds — dense, continuous, moving slowly, all in the same direction, extending to the limit of visibility. They are seen only as masses at distance, never in detail. The light entering the carriage is now dominant and hard, throwing sharp orange edges on faces, poles and straps with deep black shadows behind them. The interior air is visibly hazy. The voices are constant. 19 to 21 seconds. The plain ends at the rim of a colossal pit — a shaft so wide the far wall is only a suggestion in the haze. The train races over the edge and begins descending along the interior wall. The wall is terraced: enormous concentric ledges receding downward, each deeper and darker than the last, disappearing into smoke layers. The descent acceleration pushes the passengers down and forward against the poles. Ash begins striking the windows and streaking backward. 21 to 23 seconds. The terraces are populated. Endless slow processions move along every ledge, strings of figures following the curve of the wall down into the smoke and out of sight, lit from below by the fires beneath them. There is no chaos in it — it is orderly, patient and entirely without end, which is worse. Furnace mouths open in the rock face, glowing white at their throats, and long queues stand before them. Everything is at distance. Nothing is close enough to resolve. The light entering the carriage takes on a deeper red and the fluorescents are overwhelmed. Passengers nearest the window press slightly closer to the glass. 23 to 25 seconds. Enormous shapes move among the terraces — figures many times the height of the crowds around them, walking slowly along the ledges, their scale established only by comparison. They do not look at the train. Distant winged forms cross beneath the carriage at low altitude with slow heavy wingbeats appropriate to their size and vanish into the smoke. Stone pens and barred openings are cut into the wall in their thousands, receding into the haze like housing. Ash accumulates in the corners of the windows. The carriage is hot enough that the glass fogs and clears in waves. 25 to 27 seconds. The train reaches the deep layer and the full extent of Hell reveals itself. It is not a city on a human plan and it is not a cavern. It is a continuous inhabited geology extending in every direction — towers of black stone fused into cliff faces, vaults hollowed out of the rock at cathedral scale, rivers of molten material running in cut channels between districts and falling in slow luminous cataracts to levels further down, bridges spanning gaps kilometres across, and everywhere on all of it, crowds. Smoke columns rise for kilometres and flatten against unseen ceilings. Every level is lit by its own fires. The train races along a ridge line through the middle of it; arches and aqueduct spans pass overhead and terraces stream past below the window with violent parallax. It is impossible to see where any of it ends. 27 to 29 seconds. The depths continue past the windows. The camera struggles badly with the contrast, blowing out the fires and crushing everything else into noise. Ash cakes the corners of the glass. Passengers are pressed against the windows in total silence, faces lit from below in hard orange, expressions stunned and completely still. One person quietly whispers, "What is that?" Nobody answers. Autofocus hunts between the ash on the glass and the world beyond it. 29 to 30 seconds. The fires end. The train passes out of the smoke and the lowest region opens — and it is not burning. It is a vast frozen plain stretching beyond the visible horizon, an impossibly wide sheet of dark grey ice, absolutely still, lit by nothing but a faint pale glow from within itself. Shapes are visible held motionless within it, spaced far apart, receding to the horizon, never shown in detail. Every exterior sound stops at once — the voices, the fires, everything — leaving only the carriage. The heat drops out and frost blooms instantly across the outside of the windows. The scale feels planetary. The passengers stare in complete silence. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." The train continues moving. The camera keeps shaking naturally as the frozen expanse extends endlessly beyond the left window. Lighting The lighting must evolve naturally throughout the journey. Begin with flat overcast daylight around 6500K. In the tunnels use harsh strobing bands from passing service lights against near-total dark, then let the sources become sparse until the carriage's own weak fluorescent tubes are the only illumination. In the void the interior lights fall off into nothing. Then introduce a growing warm orange from below — first a faint wash on the lower half of faces, then mixing with the cold interior white, then completely dominating it: hard, high-contrast, sharp-edged, with deep black shadows. Above the burning plain it should be strong enough to blow out the phone's sensor at the window. In the deep layer it becomes red-orange and omnidirectional from countless fires at every distance. In the final second all warm light vanishes and is replaced by a faint pale luminance from the ice, cold and almost sourceless. All exterior light must enter naturally through the LEFT-SIDE WINDOWS and fall across passengers' faces and clothing at every stage. Do not add artificial interior lighting to create the colours. Passengers Keep all passengers completely ordinary throughout the journey. Realistic skin texture, subtle capillary variation, natural blinking, breathing, eye movement and imperfect facial symmetry. Clothing has realistic folds and responds to acceleration. Passengers must continuously perform small independent movements: shifting weight, adjusting grip, loosening a collar in the heat, wiping fog from the glass, turning their heads, tightening their hands around poles. Do not make them freeze. Do not make everyone react at the same moment. Do not let them perform dramatic acting. Their emotional progression is subtle: indifference at the announcement → mild confusion in the tunnels → unease when the voices arrive → the exact moment of understanding as the waiting platform passes → dread on the descent → complete stunned silence in the depths. No screaming. Only one soft "Ohh" at the first glow and one whispered "What is that?" near the end. The most powerful reaction is no reaction — just faces pressed against the glass, lit from below by something that should not exist. Physics The train always travels forward and always downward after the tunnel. Passengers sway according to acceleration and lean against the gradient; straps hang off-vertical on the descents. Loose clothing reacts to movement. Exterior objects have different velocities and distances with strong realistic parallax at every stage — near stone columns sweep past, mid-distance terraces move steadily, distant districts barely shift. Ash and embers must move independently of the train, drifting upward on thermal currents rather than streaming with the carriage. Heat must be expressed physically: window fogging and clearing, haze inside the carriage, frost at the very end. Enormous figures and flying forms must move slowly, because they are enormous. Nothing teleports, nothing freezes, nothing suddenly appears, and nothing changes position without physical cause. No transitions There are absolutely no visual transitions. No dissolves, crossfades, portals, morphing or ghosted overlays. Every environment change happens because the train physically travels into the next environment. The city becomes a cutting, the cutting becomes a tunnel, the tunnel becomes bedrock, the bedrock opens into the void, the void contains the waiting platform, the void ends at the wall, the gateway gives onto the burning plain, the plain ends at the pit rim, the rim becomes a terraced descent, the terraces fill with processions, the processions become the full inhabited depths, and the depths open onto the frozen plain. It must feel like one physically continuous impossible journey where every step is the inevitable consequence of the step before it. Audio Audio must be entirely diegetic with no music. Use cheap compressed smartphone microphone quality. The train produces a constant deep maglev roar, mechanical clatter, rattling poles, vibrating windows, swinging straps and low-frequency carriage rumble, plus passenger breathing and clothing movement. In the tunnels add hard reverberant slap-back and pressure changes as the train passes openings. The defining sound of this video is the voices. They must arrive at 6 to 9 seconds, before anything is visible, as a distant continuous mass of human voices with enormous reverberation, never resolving into words and never rising to screaming. From that point they never stop. They grow with depth and spread across a wider stereo field as the spaces open up. Beneath them, a very low frequency resonance builds steadily, felt more than heard. Above the burning plain add a broad distant roar and irregular deep concussions at long intervals. Ash strikes the hull as fine irregular ticking. In the depths the voices are vast, layered at many distances, and mixed with immense indistinct industrial-scale sound that never resolves into detail. In the final second every exterior sound stops at once — total silence outside, leaving only the carriage, the passengers' breathing, and ice creaking against the hull. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." Style and content limits The overall style must remain dirty photorealistic amateur smartphone footage despite the spectacular environments. Vertical 9:16, real-time speed, no slow motion, no stabilisation, no cinematic camera, no perfect composition, no clean VFX presentation. Use heavy shadow noise, blown highlights, low-bitrate compression, rolling-shutter skew, autofocus hunting, auto-exposure pumping, smeared motion blur and crooked framing. The camera should occasionally be partially blocked by a shoulder, arm or nearby passenger, and should struggle badly with the extreme contrast between fire and darkness. Hell is conveyed through scale, architecture, crowds at distance, fire, ash and sound. Do not show suffering, injury, bodies, blood, restraints or any graphic content. Every figure outside the train stays a distant silhouette or part of a mass — none is ever close enough for its face or condition to be read. Do not use recognisable religious iconography or legible text of any kind; all markings are eroded past legibility. Do not make it look like a game cinematic or a clean VFX render. The world outside should be overwhelming and physically impossible, but the recording itself must look raw, accidental and believable. The most important rule ONE SINGLE CONTINUOUS TAKE. No cuts, no jump cuts, no dissolves, no crossfades, no scene resets and no artificial transitions. The same train, same passengers and same camera remain present from beginning to end. The orange glow must be visible as a faint distant smudge from the first cavern and grow continuously and inevitably until it fills the window. The voices must arrive before the fire and never stop until the final second. The heat must build physically across the whole descent so that its total disappearance at the end lands as a shock. The population must emerge gradually — the waiting platform, then crowds on the causeways, then processions on the terraces, then the full inhabited depths — never appearing all at once. End while the train is still moving, the frozen plain extending endlessly beyond the left window, passengers silent, carriage still shaking, the PA announcement fading into the sound of ice.

Ciri

19,504 次观看 • 1 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

Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious spark—global cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forward—teasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decay—cyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point

NFK

3,351,561 次观看 • 10 个月前

city said fall in love with fall 🍂 not a bad day at all❤️ Created with Seedance 2.5 on Fish Creative Prompt: SCENE CONTEXT A 20-year-old East Asian woman spends an autumn day moving through a big city — leaving her apartment, riding the subway, grabbing coffee from a cart, cutting through a park in falling leaves, browsing a bookstore, catching golden hour on a rooftop, and riding home at night — filmed as a candid, mixed-format day-in-the-city vlog, 30 seconds total. ACTIVE REFERENCES Image: 20-year-old East Asian woman, soft round face, warm ivory skin, dark brown hair in a loose high bun with face-framing strands, natural dewy makeup, gentle expressive eyes, wearing a wine-burgundy ribbed knit off-shoulder sweater and a small silver flower pendant necklace. 100% matches the reference throughout every shot. FORMAT MODE Timed multishot. HARD CUTs only at the stated seconds; camera does not cut on its own between them. Mixed scene styles — not every shot has dialogue; some are silent candid b-roll. 0.0s–4.0s — HARD CUT 4.0s–8.0s — HARD CUT 8.0s–12.0s — HARD CUT 12.0s–17.0s — HARD CUT 17.0s–21.0s — HARD CUT 21.0s–26.0s — HARD CUT 26.0s–30.0s — end OPTICS Shot 1: 63° wide, POV-adjacent handheld. Shot 2: 47° neutral, static-ish lean. Shot 3: 29° portrait-compression, quick transactional. Shot 4: 18° natural-portrait, slow-mo detail. Shot 5: 29° portrait-compression, candid unaware angle. Shot 6: 47° neutral, two-shot-adjacent solo toast. Shot 7: 18° natural-portrait, close reflective. No drift mid-segment. CAMERA Handheld throughout with natural 1–2cm tremor. Shot 1: phone-height POV-style, walking at 4 km/h. Shot 2: camera rests low against a pole, minimal movement, observational. Shot 3: quick whip from hand to face and back. Shot 4: slowed to half real-time, camera drifts sideways at 1 km/h following falling leaves. Shot 5: camera appears to catch her off-guard, slight delay before she notices it. Shot 6: static-ish, propped, she moves into frame. Shot 7: static through car window glass, reflections passing over her face. ACTION 0.0s–4.0s: She steps out of an apartment building onto a leaf-scattered sidewalk, adjusting her bag strap, glancing at her phone, morning light low and warm through bare branches. She looks up at the camera briefly, half-smiles: "Okay — let's do this." 4.0s–8.0s: Inside a subway car, she leans against a pole, earbuds in, watching the platform lights blur past the window, city sounds muffled and rhythmic. No dialogue — just her quiet, unbothered expression, occasional sway with the train's motion. 8.0s–12.0s: At a small street coffee cart, steam rising from the machine, she hands over cash, receives a paper cup, wraps both hands around it immediately for warmth. Brief exchange, she says only: "Thanks, you're the best." 12.0s–17.0s: Slow-motion through a park path thick with falling amber leaves, she tips her head back mid-step and turns once, leaves catching in her hair and sweater, genuine unguarded laugh, no spoken line — just breath and laughter audible. 17.0s–21.0s: Inside a small bookstore, she runs a finger along a shelf, pulls a book halfway out, flips a few pages, unaware of the camera, soft window light across her face, ambient store quiet. No dialogue. 21.0s–26.0s: On a rooftop at golden hour, city skyline hazy behind her, she raises a takeaway coffee cup slightly toward the lens like a small toast, warm low sun rim-lighting her hair, says only: "To days like this." 26.0s–30.0s: Inside a taxi at night, warm amber streetlights sliding across the window glass and over her face in soft passing bands, she rests her head against the seat, tired contented smile, looks toward the lens and says: "Best day, hands down." PERFORMANCE Restrained, natural reactions — no performed excitement. Shots 2 and 5 specifically read as candid/unaware of the camera. Living eyes with catch-light in every close shot, visible breath in shot 1, natural skin and fabric texture throughout. PHYSICS Leaves fall and scatter with real weight and drift, catching briefly in hair and sweater fibers before falling away. Coffee steam rises and dissipates naturally. Streetlight bands move across her face and the window glass with correct parallax as the car moves. Train sway shifts her weight subtly and believably. LIGHTING Shot 1: low warm morning sun through bare branches, soft shadow lines. Shot 2: cool fluorescent subway light with warm practicals flickering past outside. Shot 3: overcast daylight, soft even key. Shot 4: dappled warm sun through park canopy, backlit leaf edges. Shot 5: soft window-diffused daylight, low contrast. Shot 6: warm low-angle golden hour key, strong rim light, soft haze. Shot 7: warm amber sodium streetlight passing bands only, otherwise dark interior. COLOR GRADE Warm autumn palette — amber, rust, and soft gold tones with muted city grays. Warm amber streetlight at night, never neon or saturated colored signage anywhere in frame. No cool-cyan or magenta tint. WARDROBE Wine-burgundy ribbed knit off-shoulder sweater and silver flower pendant necklace, unchanged and clearly visible in every shot. A loosely draped scarf or open coat may sit over it in the subway and taxi shots without covering it. AUDIO Shot 1: quiet street ambience, rustling leaves. Shot 2: muffled train rumble, distant announcement, no dialogue. Shot 3: espresso machine hiss, brief exchange. Shot 4: crunch of leaves, natural laughter, no line. Shot 5: quiet store ambience, page-turning, no dialogue. Shot 6: distant city hum, wind. Shot 7: engine hum, soft radio murmur under her line. STYLE Authentic day-in-the-life vlog cinematography, dreamy 35mm film aesthetic, fine natural grain, realistic autofocus hunting, mix of talking and silent candid shots for a lived-in, unscripted feel. OUTPUT SETTINGS 4K, 24fps, 35mm grain, real-time except shot 4 (half real-time slow motion), realistic handheld motion, no neon or saturated signage in the color palette anywhere. POSITIVE LOCKS Same woman's face and build in every shot, matching Image exactly. Wine-burgundy sweater and silver necklace stay visible in every shot. Hair stays in the same loose high bun throughout. Cuts only at stated seconds, camera does not cut on its own. Shots 2 and 5 stay dialogue-free and candid. Warm amber tones hold throughout — no neon, no cool-cyan tint anywhere.

Mira Sterling

59,030 次观看 • 9 天前

Love and Deepspace | New Interactive 5-Star Memory🎶 [Caleb: Passionate Overload] Don't regret missing the moment he saved the show, for he's always willing to perform again, only for you. With every step closer, every uncovered feeling moves to the rhythm of his hands. "Your makeup got smudged. My bad. Sooo… Do I stop now? Or should I…" 🎶Heartbeats Ablaze Event Duration: From 05:00 on Oct. 29 to 04:59 on Nov. 18 (Server Time) You can select three out of the five event-limited 5-Star Memories: [Xavier: Offbeat Track], [Zayne: Chilling Crescendo], [Rafayel: Ignited Echoes], [Sylus: Improvised Flow], and [Caleb: Passionate Overload]. The drop rate of the 3 Memories you selected will be significantly increased. Each time you obtain a 5-Star Memory, there's a 75% chance it will be one of the three Memories you selected. *Notes: 1. During the event, you can change your selected Memories at any time. If you obtain a 5-Star Memory in a wish, there's a 25% chance that it will be an unselected Memory or a permanent 5-Star Memory. 2. After the event ends, the five event-limited Memories will not be obtainable through other means and will not enter the permanent Wish Pool: Xspace Echo. 3. The Wish event features Precise Wish and a pity system. For more details, please check the in-game rule page. 🎶Claim Polar Night Memory-Themed BGM for Free Intertwine with him in the polar night, and fall together into the endless darkness. Obtain Memory [Caleb: Passionate Overload] and complete specific Memoria to claim the corresponding Polar Night Memory-Themed BGM [Passionate Overload] for free as a reward of completing storyline tree nodes! 🎧The corresponding Polar Night Memory-Themed BGM will be officially available on Oct. 29. Mark your calendar! 🎶Cumulative Wish Rewards During the event, after making a certain number of Wishes, you can claim various rewards: Universal Earrings [Heartwork Broadcast], [Deepspace Wish: Limited*20], His [Memory-Themed Outfits], selectable [Event-Limited 5-Star Memory], and more. *The cumulative rewards are only available during this wish event. 🎶Limited-Time Memory Growth Bonus During the event, by completing the growth tasks of the event-limited 5-Star Memories, you can claim various Upgrade and Ascension Materials. When the event-limited Memories reach Rank 1, you can claim the [Special-Colored Memory-Themed Outfit] for the corresponding love interest. 🎶Special: Memory-Themed Outfit Bonus Each Original or Special-Colored Outfit Set includes a Memory-Themed Outfit and three accessories. All can be used separately. *Your look will be applied in all stage performances in-game. ——— 🪐Official Discord: #LoveandDeepspace #HeartbeatsAblaze #Caleb

Love and Deepspace

584,017 次观看 • 11 个月前

🔊 CHURCH: The Feast of Trumpets begins TOMORROW, FRIDAY 9/11–SUNDAY 9/13—and LOOK at the convergence surrounding it this year! Israel at the center. The nations focused on dividing the land. Iran and its bow bending, ready to break! War expanding. Earthquakes. Intense volcanic activity. Signs in the heavens. And all of it converging as the appointed time of the TRUMPET arrives this year on a Sabbath—A DAY OF REST! ALL THE SIGNS ARE NOT QUIETING DOWN—THEY ARE INTENSIFYING! KEEP LOOKING UP!!! 🎺QUICKLY FIRST — WHAT IS THE FEAST OF TRUMPETS? The Feast of Trumpets—Yom Teruahin the Bible—is one of the LORD's seven appointed feasts. It begins on 1 Tishrei, the first day of the seventh month, and God commanded it to be a day of rest, holy assembly, and trumpet blasts: 📖“In the seventh month, on the first day of the month, you shall have a sabbath-rest, a memorial of blowing of trumpets, a holy convocation.” Lev 23:24 👉🏼The trumpet was used in Scripture to call God's people together, announce movement of the camps, sound an alarm, and proclaim important occasions. And this year is extra special! 🎺Trumpets begins this Friday at sunset September 11, 2026, and 1 Tishrei falls on a Sabbath—God's day of REST. That isn't extremely rare, but the fact that the appointed time of the trumpet falls on the day of rest immediately makes me think of this verse, Isaiah 26:20: But look at what comes BEFORE: 📖 “Your dead shall live... Awake and sing, you who dwell in dust... And the earth shall cast out the dead.” Is 26:19 Then AFTER: 📖 “Come, my people, enter your chambers, and shut your doors behind you; hide yourself, as it were, for a little moment, until the indignation is past.” Is 26:20 And the next verse tells us why: 📖 “For behold, the LORD comes out of His place to punish the inhabitants of the earth for their iniquity...” Is 26:21 🔗So, look at the prophetic sequence here: FIRST, resurrection. THEN, “Come, My people”—enter the chambers, hide, and rest. And AFTER that comes the indignation upon the earth. THIS MAKES US THINK ABOUT PAUL: 📖 “For the Lord Himself will descend from heaven with a shout, with the voice of an archangel, and with the trumpet of God. And the dead in Christ will rise first. Then we who are alive and remain shall be caught up together with them in the clouds to meet the Lord in the air.” 1 Thes 4:16–17 Remember originally there were no chapter breaks—so after saying this Paul points directly to the Day of the Lord: 📖 “But concerning the times and the seasons, brethren... you yourselves know perfectly that the Day of the LORD so comes as a thief in the night.” 1 Thes 5:1–2 Look at Paul's train of thought: 👉🏼Trumpet of God 👉🏼 Dead in Christ rise 👉🏼Church caught up 👉🏼Then Paul immediately turns to the Day of the LORD And centuries before Paul, look again at Isaiah's picture: 👉🏼The dead arise 👉🏼“Come, My people” 👉🏼Enter your chambers 👉🏼 Hide until the indignation passes 👉🏼 The LORD comes to punish the inhabitants of the earth THE PARALLEL IS AMAZING! And this year—coincidentally— 1 Tishrei, the first full day of Trumpets—falls on the Sabbath, which is THE DAY OF REST!! I LOVE IT!! NOW — LOOK AT THE WORLD INTO WHICH THIS FEAST IS ARRIVING. This is where things get really interesting!! Because Trumpets 2026 is not arriving in a quiet world by any stretch of the imagination. It is arriving while the convergence we have already been watching seems to be getting LOUDER! 🗓️I posted last week about Joel already, so I'm gonna try to not repeat my self. But remember what Peter said in his inaugural message to the Church at Pentecost, when he pointed directly back to Joel: 📖 “And I will show wonders in heaven above and signs in the earth beneath: blood and fire and vapor of smoke. The sun shall be turned into darkness, and the moon into blood, BEFORE the coming of the great and awesome day of the LORD.” Acts 2:19–20 🔔A QUICK NOTE HERE: Some understand the Day of the LORD as referring only to Armageddon at the end of the Tribulation. I understand it as the 7 year tribulation period of judgment associated with Daniel’s 70th Week—not only its final battle. 👉🏼Paul says the Day of the LORD comes “as a thief in the night,” when people are saying “Peace and safety!” and then “sudden destruction” comes upon them (1 Thes 5:2–3). After seven years of catastrophic judgment, nobody will be saying "peace and safety" as preparing for Armageddon. Back to what I was saying: since I wrote that post last week, the signs haven’t gotten quieter… THEY JUST KEEP PILING ON!!! ⚠️We’re not looking at one volcano and saying, “THIS IS JOEL.” We’re not looking at one earthquake, one war, one eclipse, or one column of smoke and saying, “PROPHECY FULFILLED.” WE’RE JUST LOOKING AT THE CLUSTER. WE ARE LOOKING AT THE CONVERGENCE AND THE PROPHETIC RESEMBLANCE! And look at what has been added to that picture just as we approach Trumpets: 🌋 ANAK KRAKATAU — INDONESIA A continuous eruptive episode lasting approximately 25 hours. Ash sent 50,000 feet into the atmosphere. Jakarta's international airport was forced to close. Nearly 3,000 flights disrupted. 341,000 passengers stranded. When I saw those towering plumes rising, I immediately thought of Joel’s language: “Pillars of smoke.” Fire. Ash. Towering plumes—so massive they were captured from space in NASA satellite imagery. 🔥 AND LOOK AT WHAT IS HAPPENING IN INDONESIA AT THE SAME TIME. From September 1–7 alone, Indonesia's wildfire emissions reached 19.7 MILLION metric tons of CO₂—more than ONE-THIRD of the entire world's wildfire emissions during that period and 273% ABOVE the seasonal average. Authorities are calling this Indonesia's most intense wildfire season in 11 years, with massive haze now affecting millions of people. THE MIDDLE EAST IS NOT CALMING DOWN EITHER: ISRAEL — IRAN — AND NOW THE CONFLICT IS WIDENING: Last Thursday Prime Minister Netanyahu said: 🎙️“The achievements are immense, but there is still more to complete. I mean, first and foremost, the toppling of the regime. This regime in Iran — its end is near. It is weak, it is fighting for its life, it is faltering.” 🔔Remember what we're watching and waiting for. We're watching for that Jeremiah 49 “bow of Elam” to be broken, potentially opening a window of peace and security for Israel that could set the stage for Ezekiel 38. And as of September 10, the conflict is spreading even further. Iran reports attacks on ships near the Strait of Hormuz, while Houthi advances and attacks are putting the chokepoint Bab el-Mandeb at risk. Think about the geography: ⚠️ STRAIT OF HORMUZ — The world’s #1 oil chokepoint: DISRUPTED ⚠️ BAB EL-MANDEB — A critical global shipping chokepoint: AT RISK ⚠️ IRAN — ISRAEL — U.S. — HOUTHIS — SAUDI ARABIA THE WAR IS NOT CONTRACTING, IT IS WIDENING! AND THERE IS SOMETHING EVEN BIGGER HAPPENING AROUND ISRAEL RIGHT NOW. 🗡️As we approach Trumpets, two days ago, Sep 8th. international pressure for a TWO-STATE SOLUTION is intensifying again. The UK, France and Canada have announced new measures to protect that outcome—and they plan to take that effort directly to the UNITED NATIONS GENERAL ASSEMBLY later this month. And THAT immediately brings us back to Joel once again. Because Joel doesn't only speak about blood, fire, pillars of smoke and signs in the heavens. He also tells us what happens when the NATIONS gather concerning ISRAEL: 📖 “I will also gather all nations… on account of My people, My heritage Israel… THEY HAVE ALSO DIVIDED UP MY LAND.” Joel 3:2 👉🏼THAT is the part of the convergence I don't want us to miss. Israel is not somewhere on the sidelines of this picture—ISRAEL IS AT THE CENTER. What makes this Trumpets season so extraordinary is THESE PARTICULAR PIECES coming together clearly at the same time. And THEN, on top of that geopolitical picture, look at what has been happening in the earth and the heavens. LET'S ZOOM OUT FOR A SECOND HERE. In just the last four weeks we have watched: 🌎 Major earthquakes — Colombia, Indonesia and Peru ⚫August 12 — Total solar eclipse 🔴August 27–28 — Deep partial lunar eclipse 🔥 September 1–7 — Indonesia wildfire emissions running 273% above the seasonal average 🌋 September 4–6 — Anak Krakatau’s extraordinary 25-hour eruptive episode 🇮🇱 September 8th: Growing international pressure for a TWO-STATE SOLUTION involving Israel’s land ⚔️ September 10th: Israel-Iran conflict continuing to widen across the region THIS IS THE VERY TIGHT CLUSTER WE’RE LOOKING AT!! And now, right as we arrive at TRUMPETS, listen to what Joel says: 📖“Blow the trumpet in Zion, and sound an alarm in My holy mountain! Let all the inhabitants of the land tremble; for the day of the LORD is coming, for it is at hand.” Joel 2:1 📜THE SAME PROPHET who spoke of blood, fire, pillars of smoke, the darkened sun and the blood moon ALSO CRIES: BLOW THE TRUMPET AND SOUND THE ALARM!! 👉🏼 Again—earthquakes happen, volcanoes erupt, fires burn, wars happen… ONE EVENT IS NOT OUR POINT—THE CONVERGENCE IS! We are not declaring Joel fulfilled. We are WATCHING, just as Scripture tells us to watch. We are watching the birth pains Jesus described while also seeing striking echoes of Joel’s prophetic language—and THAT is INCREDIBLY fascinating and worth paying attention to!!! 🔊Church: The Feast of Trumpets is here! Trumpets CALLED THE ASSEMBLY. Trumpets SIGNALED THE CAMP TO MOVE. Trumpets SOUNDED THE ALARM. And now the appointed time of the TRUMPET has arrived while the convergence we have been watching is not getting quieter… IT IS GETTING LOUDER! Earthquakes. Fire. Bloodshed. Pillars of smoke. Signs in the heavens. THE PRESSURE OF NATIONS WANTING TO DIVIDE ISRAEL. And the “bow of Elam” looking closer than ever to breaking! Scripture never told us to sleep through the signs—it told us to WATCH!!! So let’s KEEP WATCHING, KEEP PRAYING, KEEP PREACHING THE GOSPEL!! SOON WE WILL HEAR THE TRUMPET OF GOD, ENTER OUR CHAMBERS, AND FINALLY ENTER OUR DAY OF REST!! KEEP LOOKING UP!! Maranatha! 🤍 Come, Lord Jesus, COME!!!

Maranatha777

61,370 次观看 • 14 天前

Tried this with Wan 3.0 on TapNow Prompt Detailed video generation prompt (Scooby-Doo / Interdimensional Cable, Twitch livestream composite) Full-screen recording of a live Twitch stream, identical layout and UI chrome to a real Twitch desktop player. Dark purple/black interface. Top bar: Following | Browse | search field showing “PokémonXP & 2026 Worlds” | notification bells | “Try 1-Month Ad-Free.” Left sidebar “For You / Live Channels” with the same channel list and viewer counts (TheBurntPeanut 515K, stableronaldo 441K, KaiCenat 85.3K, JoeKnowsYT, Jynxzi, k3soju, etc.). Bottom-left streamer badge: circular avatar, red LIVE pill. Right column: Stream Chat with continuously scrolling messages, bits/cheers, subs, and the same chaotic energy (LOL, GEEG GEEG, FAX YELLOW NOT, IM DYING, goodfellow, UNIQLO GG, DROP THE BRAND, IM WEARING PINK, PAAAHAHAHAHAHA, go naked, wait put us on game unc, etc.), “Verified Accounts Only Chat,” chat input box, and viewer/sub counts ticking in the header (ethourah, Khaled_5vl3d, mssmoaka143, etc.). Occasional Twitch notifications (subs, gifted subs, raids) pop in the chat like the original stream. Center player shows the cartoon with a thin player bar (timestamp advancing ~00:06–00:28). Overlaid on the cartoon at key beats are black “DIRECTOR MAX” caption cards, same typography and placement as the source video. Inside the player: Scooby-Doo classic Hanna-Barbera / Warner cartoon style — thick rounded black outlines, flat cel colors, slight film grain and analog-TV softness, 1969–1970s Saturday-morning look (not modern 3D or highly detailed reboot). Characters are on-model: Shaggy Rogers (tall, skinny, slouched, messy brown hair, green shirt, brown pants, goatee, half-lidded lazy eyes, holding a black remote) and Scooby-Doo (Great Dane, brown with black spots, blue collar with gold diamond tag, expressive droopy muzzle). They slouch on the same living-room set as the original video: beige walls, brown two-cushion couch, circular rug, wooden floor, kitchen behind them (fridge, hanging lamp), night window with stars, framed pictures, bookshelf, purple lamp on the side table, coffee table. Do not redesign the room — keep that exact interior. Start with a wide living-room shot. Shaggy and Scooby sit slouched on the couch watching the TV on the left. Shaggy leans back with one long leg extended, remote in hand, looking bored and hungry. Scooby sits slightly hunched, one paw near his muzzle, looking uneasy. Subtle idle animation: breathing, Shaggy’s fingers twitching on the remote, Scooby’s tail giving a small nervous wag, Scooby’s foot tapping. On-screen DIRECTOR MAX card (same style as source): “Scooby-Doo cartoon, cel-shaded: Shaggy and Scooby slouch on the living-room couch flipping interdimensional cable” Shaggy speaks in his classic nasal, slacker voice: “Like, look at this, Scoob — interdimensional cable. It’s just, like, nonsense from other realities.” Cut to medium close-up of their faces. Shaggy’s mouth is open mid-sentence, eyes half-closed. Scooby stares at the TV with growing discomfort, ears slightly back. Cut to over-the-shoulder / TV-centric shots. The television rapidly flips through absurd interdimensional channels (same pacing and cuts as the original): - Bright commercial for a “Plumbus”-style gag, Scooby-Doo flavor: a small green blob-like monster with purple ears and a big smile stands next to a metallic mystery gadget, waving against a yellow background. Banner reads something like “PLUMBUS” in large orange letters (keep the same graphic layout). - Quick cut to a talking toaster wearing a tiny tuxedo and red bowtie, smiling with a cartoon face. - Fast channel change with motion blur into a surreal landscape: rolling green hills and purple mountains under a blue sky, with multiple giant disembodied eyeballs floating and staring at the camera. - Later channels show colorful neon monster / alien game-show hosts (pink, green, blue creatures with glowing outlines) dancing and waving on a dark stage with bright lights and abstract shapes. Scooby, still looking at the screen, in trademark Scooby-speak: “Ruh-roh, Shaggy… some of this stuff is actually kinda spooky.” His expression shifts from confusion to mild distress (trembling jowls, wide eyes). Camera slowly pushes in over their shoulders toward the TV as the screen keeps flickering through more chaotic programming. Low ambient hum of the living-room refrigerator. Scooby becomes more anxious, mumbling about Scooby Snacks / the mystery they were supposed to be working on. He raises both paws to his head in frustration. Shaggy groans, lets out a wet burp, slumps deeper into the couch, and blindly reaches toward a half-empty mug (or sandwich plate) on the coffee table. TV audio dissolves into layered interdimensional static mixed with warped game-show applause and monster voices. Second DIRECTOR MAX card (same placement and length as source): “The camera pushes in slowly over Shaggy and Scooby’s shoulders as the television screen flickers through surreal alien game shows, accompanied by the low hum of the living room refrigerator and Scooby’s anxious mumbling about Scooby Snacks. Shaggy groans, burps wetly, and reaches blindly for a half-empty mug on the coffee table while the TV audio morphs into chaotic interdimensional static.” Scooby, voice rising with panic (still Scooby-speak): “Reah, I really gotta— I mean, we have so many Scooby Snacks to eat, Shaggy, and we’re just sitting here!” He turns slightly toward Shaggy while still glancing at the TV, then grabs the mug. Keep the animation loose and expressive like classic Scooby-Doo: squash-and-stretch faces, rubbery walks even while seated, slight line wobble, big eye takes, Shaggy’s lazy slouch vs Scooby’s cowardly flinch. Lighting stays consistent with the original room — TV glow on their faces plus warm indoor lamps. The Twitch chrome, chat scroll, live-channel list, viewer counts, and DIRECTOR MAX cards remain visible the entire time; the cartoon plays only inside the stream player. No extra watermarks beyond the Twitch UI. Duration target: ~20–25 seconds. Smooth camera moves, natural dialogue timing, rapid but readable channel changes on the TV. High fidelity to Shaggy and Scooby’s personalities (cowardly, snack-obsessed, “like/zoinks/ruh-roh”) while locking the background, shot list, overlay layout, and edit rhythm to the original stream recording.

Sharon Riley

18,709 次观看 • 26 天前

A normal football moment turned into a futuristic legend. ⚽⚡🔥 From a dream shot to a cyber-powered goal AI brought this cinematic football universe to life. Made with GPT Image 2 + Seedance 2.0 Mini on Pollo AI Prompt: Scene 1 (0–2s) – Stadium Establishing Shot A packed football stadium at night under brilliant floodlights. The crowd roars as the camera slowly pushes toward the pitch. Flags wave, atmospheric particles float through the air, and the stadium feels massive and alive. Ultra-realistic sports broadcast quality. Scene 2 (2–4s) – Perfect Cross An original football athlete wearing a sleek futuristic white-and-neon football kit tracks a perfect aerial cross. The camera follows the ball before smoothly transitioning to the athlete's focused expression. Dramatic anticipation builds with cinematic slow motion. Scene 3 (4–7s) – The Leap The athlete explodes into an incredible bicycle volley. The camera switches between low-angle tracking shots, slow-motion close-ups, and dynamic aerial perspectives. Flying grass, dust, and motion blur enhance the realism. Scene 4 (7–10s) – Time Freeze At the exact instant before the foot touches the ball, time completely freezes. Every particle hangs motionless. The camera performs a slow cinematic orbit around the athlete while the stadium remains perfectly frozen. Scene 5 (10–13s) – Cyber Transformation Mechanical armor assembles over the athlete's body piece by piece. Blue and orange energy lines ignite, the visor activates, mechanical wings unfold, and the football transforms into a glowing plasma sphere surrounded by electricity, fire, sparks, and floating energy fragments. Scene 6 (13–15s) – Cliffhanger The transformation completes. The cyber athlete remains frozen inches away from striking the glowing plasma ball. End with a dramatic close-up, intense lens flare, floating energy particles, and a seamless cliffhanger ready for Part 2. Style: Original fictional character only. Hyper-realistic, Unreal Engine 5 quality, cyberpunk-mecha anime fusion, premium VFX, volumetric lighting, HDR, cinematic sports commercial, smooth camera movement, 1080p detail, blockbuster visuals. Negative Prompt: No real football players, no celebrity likeness, no club logos, no copyrighted jerseys, no watermarks, no text, no subtitles, no storyboard visible, no extra limbs, no deformed anatomy, no blurry frames, no flickering, no low quality, no camera shake, no glitches. Part 2 Scene 1 (15–17s) – Action Resumes Time suddenly resumes from the frozen frame. The cyber athlete unleashes a devastating bicycle volley. The instant the foot strikes the plasma football, a massive burst of blue electricity, orange fire, sparks, plasma energy, and shockwaves explodes outward. Capture the impact with ultra slow motion and dramatic close-ups. Scene 2 (17–20s) – Plasma Ball Flight The plasma football rockets toward the goal at incredible speed, leaving behind blazing fire trails, blue lightning, glowing plasma particles, and motion streaks. The camera alternates between tracking shots, side views, and behind-the-ball perspectives while the crowd becomes a cinematic blur. Scene 3 (20–22s) – Goal Impact The glowing plasma football smashes into the top corner of the goal. The net ripples violently as a gigantic energy explosion erupts. Sparks, debris, plasma waves, and holographic shockwaves spread throughout the stadium with blockbuster visual effects. Scene 4 (22–25s) – Stadium Celebration The stadium erupts with fireworks, holographic lights, smoke, confetti, waving flags, and roaring fans. Bright floodlights illuminate the entire arena while glowing energy particles drift through the air. Epic cinematic drone shots reveal the celebration. Scene 5 (25–28s) – Hero Landing The cyber athlete lands powerfully on the pitch. Mechanical wings slowly fold back into the armor while blue energy lines gradually fade. Floating sparks and glowing fragments surround the athlete as the camera circles dramatically. Scene 6 (28–30s) – Epic Finale The athlete stands in a victorious heroic pose facing the roaring stadium. The camera slowly pushes in while cinematic lens flares, volumetric lighting, drifting smoke, and holographic particles fill the scene. End on a premium blockbuster frame with an unforgettable cinematic finish. Style: Original fictional football athlete only. Do not resemble or recreate any real football player, club, team, logo, jersey, or copyrighted content. Hyper-realistic, Unreal Engine 5 quality, cyberpunk-mecha anime fusion, HDR, volumetric lighting, premium VFX, smooth cinematic camera movement, ultra-detailed 1080p, realistic physics, blockbuster sports commercial. Negative Prompt: No real football players, no celebrity likeness, no club logos, no copyrighted jerseys, no watermarks, no subtitles, no storyboard visible, no extra limbs, no deformed anatomy, no blurry frames, no flickering, no glitches, no low quality, no camera shake. #PolloAI #PolloCup

Stonic AI

30,576 次观看 • 2 个月前