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NEPA took light during IG handover, MC lie ontop switch head say “Please be careful with the light switches please” 🤣 Foolishness and APC na 5&6.

MaziTundeEdnut

20,380 subscribers

18,962 次观看 • 5 个月前 •via X (Twitter)

Anya Rossi• Live Now

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Those aren't fireflies, and it’s not a beautiful starry night reflection. 😨 That is an entire army of swamp-dragons doing a head count. Tourists, please listen to me: If you see a hundred glowing eyes playing red-light, green-light with you at night… do not investigate. Do not say, “Aw look, Honey, they’re smiling at us!” Slowly back away, get in your rented Nissan Rogue, and drive straight back to Disney. Mickey Mouse might be expensive, but at least he won't mistake your leg for a chicken tender. Stay safe out there, or better yet — stay home. 😂🐊

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@VivianIfeomaOj Yariba and jealousy 5&6. Imagine claiming "it's in Pakistan" when there are literal videos of when this house was built 🤣🤣. They literally posted the building stages of this house from beginning to end. Ndi Jealousy. Tufiakwa!! No be only Pakistan, na Saudi Arabia too.

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“Adeleke university with suffering and smiling. They pay nothing less than 2.5million per year to be constantly treated like an1m&l$. Students can't make it to class because something as simple as water, light, they can't provide for them, their food and medical system is bad and every student is so scared to speak out because they expel them the moment they do. Davido please talk to your dad.”

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Gistlovers.blog1

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Seedance 2.0 on Higgsfield AI just raised the bar. The quality, motion, and creative control are on another level. Full open-source prompts & assets below. SCENE CONTEXT A young man carries the sleeping woman into her pink bedroom, lays her down on the bed, covers her with the blanket and switches off the lamp, then sits on the floor at the foot of the bed, rests his head on the mattress edge, and falls asleep there, keeping a respectful distance. ACTIVE REFERENCES >>: young man, messy light-brown hair, white t-shirt, carrying then floor-sitting posture, tender careful movement. 100% matches the reference. >>: sleeping young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, pink plaid pajama bottoms, eyes closed, carried then lying tucked in bed. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. LOCATION MAP Pink bedroom, remembered corner by corner from >> and held identical in every shot: - Wooden door with brass knob and dark wood trim / wardrobe on one side wall. - A large ornate pink-and-white Victorian dollhouse standing on the floor against the wall. - A wide window with sheer white curtains, cool outside light filtering through. - A vanity desk with an upright mirror and a pink desk chair beside the window, a leafy potted plant next to it. - A tall warm floor lamp — the main practical light — near the bed, wall-mounted shelves with small items above it, wood wainscoting along the lower wall. - An ornate white bed frame with pink ruffled bedding and a soft pink pillow, the central anchor of the room. - A woven area rug on a wooden floor, light soft clutter (tissue boxes, papers) scattered naturally. Open floor between the door and the bed is his carrying path; clear floor space at the foot of the bed is where he sits. FIRST FRAME AND SPATIAL BLOCKING The first visible frame matches the attached carry reference exactly: he stands mid-room holding her in a bridal carry, her head resting against his chest and shoulder, eyes closed, pink plaid fabric bundled across his forearms, the white ornate bed and pink bedding soft behind, sheer-curtained window and dollhouse readable in the background. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 3.5s, 7.5s, and 11.0s. Real-time motion, gentle handheld for the carry only. No subtitles, no music. OPTICS Shot 1 (carry): 50° diagonal field of view, standard normal lens character, camera 1.5 to 2 meters, clean medium two-shot holding both faces. Shot 2 (lay down): 56° diagonal field of view, near-normal lens character, camera low at the head of the bed looking down along her body, 1 to 1.3 meters, shallow depth on her settling face. Shot 3 (blanket + lamp): 63° diagonal field of view, slightly-wide lens character, camera 2 meters back at a bedside three-quarter angle, wide enough to hold him, the tucked bed, and the floor lamp in frame. Shot 4 (floor sleep): 63° diagonal field of view, slightly-wide lens character, camera low at the foot of the bed, then a slow crane-up to a high three-quarter looking down the length of the bed. CAMERA Shot 1: gentle handheld follow, slow dolly-in with him toward the bed, subtle vertical bob and weight-shift pulse matching the carry, human motion not digital jitter. Shot 2: separate angle from the head of the bed; slow push-in as he lowers her, settling as her head meets the pillow. Shot 3: static-leaning three-quarter as he draws the blanket up and tucks it, then reaches and clicks off the floor lamp; frame holds through the drop into moody low light, her tucked body still framed. Shot 4: low static at the foot of the bed as he sinks to the floor and lowers his head to the mattress edge, then a smooth crane-up to a high three-quarter — her tucked on the bed, him asleep on the floor below. ACTION TIMING 0.0s to 3.5s: he carries her in a bridal hold, walking slowly toward the bed, her head lolling gently against his chest, pigtail swaying with each step. 3.5s HARD CUT. 3.5s to 7.5s: from the head-of-bed angle he lowers her onto the mattress, her shoulders and head settling into the pillow, hair fanning out, body coming to rest. 7.5s HARD CUT. 7.5s to 11.0s: he draws the pink blanket up over her and tucks the edge along her shoulder with both hands, then reaches to the floor lamp and switches it off; the warm glow dies and the room falls to cool moody window light — she lies exactly as he left her, tucked and unmoved. 11.0s HARD CUT. 11.0s to 15.0s: in the dim room he lowers himself to sit on the floor at the foot of the bed, rests his head sideways on the mattress edge near her feet, settles, breathing slows, and he closes his eyes and falls asleep there — not on the bed, a clear respectful distance kept. PHYSICS Her body carries real dead-weight during the carry — limbs sag, head lolls, pigtail swings freely. As he lowers her, pillow and mattress compress under her head and shoulders, hair sliding and resettling; the pink blanket drapes and folds naturally as it is pulled up and tucked. His footsteps are grounded heel-to-toe with real weight transfer. As he sinks to the floor his weight settles, one arm resting on the mattress, head lowering onto the edge which dips slightly; his eyelids close with a soft final settle. LIGHTING Cinematic low-key interior, moody and restrained, never bright or flat. Primary motivation: the warm floor lamp and a low bedside practical, casting soft warm pools with gentle falloff into deep but detailed shadow, cool bluish light from the sheer-curtained window balancing the warmth for filmic warm-cool contrast. Naturalistic film texture, soft grain, gentle highlight rolloff, faces modeled and readable within the low light, not lit up. Shots 1–3 carry the warm lamp motivation. At the lamp switch (shot 3) the room drops to cool low-key window moonlight — atmospheric, shadows deep, her tucked form and his movement still clearly readable, never a crushed black frame. Shot 4 stays in this cool moody light, his sitting, head-lowering, and closing eyes visible, the bed and floor softly modeled by the window. AUDIO Shot 1: soft footsteps, faint effort breath under her weight, a quiet sleepy sigh from her. Shot 2: soft mattress and pillow settle as she comes to rest. Shot 3: gentle blanket rustle as he tucks her in, a quiet lamp-switch click, room tone shifting. Shot 4: a soft floor settle and faint cloth rustle as he sits and lowers his head, then quiet steady breathing from both. No dialogue, no music, no subtitles. POSITIVE LOCKS First frame matches the attached carry reference exactly. Man matches >> exactly, woman matches >> exactly. The bedroom matches >> exactly and every listed corner — door and wood trim, ornate dollhouse, sheer-curtained window, vanity with mirror and pink chair, floor lamp, shelves, ornate white bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. Carrying and laying her down are two separate shots with different angles. Lighting stays cinematic and dim, motivated by the practical lamps, never bright or flat. When the lamp is switched off she remains tucked in the exact pose he left her, unmoved. He does not lie on the bed: he sleeps sitting on the floor at the foot of the bed with his head on the mattress edge, a clear respectful gap kept.

Seedance 2.0 on Higgsfield AI just raised the bar. The quality, motion, and creative control are on another level. Full open-source prompts & assets below. SCENE CONTEXT A young man carries the sleeping woman into her pink bedroom, lays her down on the bed, covers her with the blanket and switches off the lamp, then sits on the floor at the foot of the bed, rests his head on the mattress edge, and falls asleep there, keeping a respectful distance. ACTIVE REFERENCES >>: young man, messy light-brown hair, white t-shirt, carrying then floor-sitting posture, tender careful movement. 100% matches the reference. >>: sleeping young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, pink plaid pajama bottoms, eyes closed, carried then lying tucked in bed. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. LOCATION MAP Pink bedroom, remembered corner by corner from >> and held identical in every shot: - Wooden door with brass knob and dark wood trim / wardrobe on one side wall. - A large ornate pink-and-white Victorian dollhouse standing on the floor against the wall. - A wide window with sheer white curtains, cool outside light filtering through. - A vanity desk with an upright mirror and a pink desk chair beside the window, a leafy potted plant next to it. - A tall warm floor lamp — the main practical light — near the bed, wall-mounted shelves with small items above it, wood wainscoting along the lower wall. - An ornate white bed frame with pink ruffled bedding and a soft pink pillow, the central anchor of the room. - A woven area rug on a wooden floor, light soft clutter (tissue boxes, papers) scattered naturally. Open floor between the door and the bed is his carrying path; clear floor space at the foot of the bed is where he sits. FIRST FRAME AND SPATIAL BLOCKING The first visible frame matches the attached carry reference exactly: he stands mid-room holding her in a bridal carry, her head resting against his chest and shoulder, eyes closed, pink plaid fabric bundled across his forearms, the white ornate bed and pink bedding soft behind, sheer-curtained window and dollhouse readable in the background. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 3.5s, 7.5s, and 11.0s. Real-time motion, gentle handheld for the carry only. No subtitles, no music. OPTICS Shot 1 (carry): 50° diagonal field of view, standard normal lens character, camera 1.5 to 2 meters, clean medium two-shot holding both faces. Shot 2 (lay down): 56° diagonal field of view, near-normal lens character, camera low at the head of the bed looking down along her body, 1 to 1.3 meters, shallow depth on her settling face. Shot 3 (blanket + lamp): 63° diagonal field of view, slightly-wide lens character, camera 2 meters back at a bedside three-quarter angle, wide enough to hold him, the tucked bed, and the floor lamp in frame. Shot 4 (floor sleep): 63° diagonal field of view, slightly-wide lens character, camera low at the foot of the bed, then a slow crane-up to a high three-quarter looking down the length of the bed. CAMERA Shot 1: gentle handheld follow, slow dolly-in with him toward the bed, subtle vertical bob and weight-shift pulse matching the carry, human motion not digital jitter. Shot 2: separate angle from the head of the bed; slow push-in as he lowers her, settling as her head meets the pillow. Shot 3: static-leaning three-quarter as he draws the blanket up and tucks it, then reaches and clicks off the floor lamp; frame holds through the drop into moody low light, her tucked body still framed. Shot 4: low static at the foot of the bed as he sinks to the floor and lowers his head to the mattress edge, then a smooth crane-up to a high three-quarter — her tucked on the bed, him asleep on the floor below. ACTION TIMING 0.0s to 3.5s: he carries her in a bridal hold, walking slowly toward the bed, her head lolling gently against his chest, pigtail swaying with each step. 3.5s HARD CUT. 3.5s to 7.5s: from the head-of-bed angle he lowers her onto the mattress, her shoulders and head settling into the pillow, hair fanning out, body coming to rest. 7.5s HARD CUT. 7.5s to 11.0s: he draws the pink blanket up over her and tucks the edge along her shoulder with both hands, then reaches to the floor lamp and switches it off; the warm glow dies and the room falls to cool moody window light — she lies exactly as he left her, tucked and unmoved. 11.0s HARD CUT. 11.0s to 15.0s: in the dim room he lowers himself to sit on the floor at the foot of the bed, rests his head sideways on the mattress edge near her feet, settles, breathing slows, and he closes his eyes and falls asleep there — not on the bed, a clear respectful distance kept. PHYSICS Her body carries real dead-weight during the carry — limbs sag, head lolls, pigtail swings freely. As he lowers her, pillow and mattress compress under her head and shoulders, hair sliding and resettling; the pink blanket drapes and folds naturally as it is pulled up and tucked. His footsteps are grounded heel-to-toe with real weight transfer. As he sinks to the floor his weight settles, one arm resting on the mattress, head lowering onto the edge which dips slightly; his eyelids close with a soft final settle. LIGHTING Cinematic low-key interior, moody and restrained, never bright or flat. Primary motivation: the warm floor lamp and a low bedside practical, casting soft warm pools with gentle falloff into deep but detailed shadow, cool bluish light from the sheer-curtained window balancing the warmth for filmic warm-cool contrast. Naturalistic film texture, soft grain, gentle highlight rolloff, faces modeled and readable within the low light, not lit up. Shots 1–3 carry the warm lamp motivation. At the lamp switch (shot 3) the room drops to cool low-key window moonlight — atmospheric, shadows deep, her tucked form and his movement still clearly readable, never a crushed black frame. Shot 4 stays in this cool moody light, his sitting, head-lowering, and closing eyes visible, the bed and floor softly modeled by the window. AUDIO Shot 1: soft footsteps, faint effort breath under her weight, a quiet sleepy sigh from her. Shot 2: soft mattress and pillow settle as she comes to rest. Shot 3: gentle blanket rustle as he tucks her in, a quiet lamp-switch click, room tone shifting. Shot 4: a soft floor settle and faint cloth rustle as he sits and lowers his head, then quiet steady breathing from both. No dialogue, no music, no subtitles. POSITIVE LOCKS First frame matches the attached carry reference exactly. Man matches >> exactly, woman matches >> exactly. The bedroom matches >> exactly and every listed corner — door and wood trim, ornate dollhouse, sheer-curtained window, vanity with mirror and pink chair, floor lamp, shelves, ornate white bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. Carrying and laying her down are two separate shots with different angles. Lighting stays cinematic and dim, motivated by the practical lamps, never bright or flat. When the lamp is switched off she remains tucked in the exact pose he left her, unmoved. He does not lie on the bed: he sleeps sitting on the floor at the foot of the bed with his head on the mattress edge, a clear respectful gap kept.

𝗦𝗮𝗻𝗶𝗮

50,358 次观看 • 11 天前

dear Hong Seunghan, happy 22nd birthday! today feels extra special because it’s the day you came into this world. thank you for being you—for your smile, your voice, your kindness, your laugh and the way you always shine no matter what. even though things may not always be easy, please remember that there are so many people who love you and will keep supporting you no matter where life takes you. you’ve given us so much happiness, and i hope this year brings you the same joy and comfort that you’ve shared with us. at 22, may you find new beginnings, endless laughter, and moments that make your heart feel light. please take care of yourself and always believe in how precious you are. you deserve nothing but happiness and love, once again happy birthday Seunghan 🩵 #꽃필때_만난_승한아_생일축하해 #HAPPY_XNGHAN_DAY #SEUNGHAN

dear Hong Seunghan, happy 22nd birthday! today feels extra special because it’s the day you came into this world. thank you for being you—for your smile, your voice, your kindness, your laugh and the way you always shine no matter what. even though things may not always be easy, please remember that there are so many people who love you and will keep supporting you no matter where life takes you. you’ve given us so much happiness, and i hope this year brings you the same joy and comfort that you’ve shared with us. at 22, may you find new beginnings, endless laughter, and moments that make your heart feel light. please take care of yourself and always believe in how precious you are. you deserve nothing but happiness and love, once again happy birthday Seunghan 🩵 #꽃필때_만난_승한아_생일축하해 #HAPPY_XNGHAN_DAY #SEUNGHAN

𝐍𝐢𝐜🍀

24,511 次观看 • 10 个月前

DRAFTKINGS TOOK $100,000 FROM MY ACCOUNT: Last night, DraftKings went ahead and paid me out $18,500 in winning bets, along with $80,000 in pending bets on Pick-6. Upon withdrawing a portion of the 18.5k DraftKings froze my account, rescinded the payouts and cancelled my withdrawal. Upon rescinding the money they unlocked my account with no communication or explanation. As the Pick-6 Sets were still pending I gave the benefit of the doubt and assumed it would be repaid. They have now gone and systematically deleted all 9 of my slips, they’re no longer in the live category or recent picks. THERE HAS BEEN NO COMMUNICATION from DraftKings regarding this in the last 16 hours. Please RT if also affected. DraftKings Support draftkingssports Pick6

DRAFTKINGS TOOK $100,000 FROM MY ACCOUNT: Last night, DraftKings went ahead and paid me out $18,500 in winning bets, along with $80,000 in pending bets on Pick-6. Upon withdrawing a portion of the 18.5k DraftKings froze my account, rescinded the payouts and cancelled my withdrawal. Upon rescinding the money they unlocked my account with no communication or explanation. As the Pick-6 Sets were still pending I gave the benefit of the doubt and assumed it would be repaid. They have now gone and systematically deleted all 9 of my slips, they’re no longer in the live category or recent picks. THERE HAS BEEN NO COMMUNICATION from DraftKings regarding this in the last 16 hours. Please RT if also affected. DraftKings Support draftkingssports Pick6

ChimmyBimmy

3,149,701 次观看 • 6 个月前

SEEDANCE prompt : Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated, with no post-processing coloring or special effects applied. The footage features genuine handheld vibrations and the slight movement due to the operator's breathing. Autofocus occasionally experiences delays and brief loss of focus. Automatic white balance switches rapidly between strong lighting from flashlights and ambient classroom light. The image is overall flat, preserving the real-life lens flare, edge blurriness, slight overexposure, and motion blur. Only natural environmental sounds from within the scene are used, including sounds of chalk writing, page turning, student whispers, and recording notifications from the phone. The footage is captured from a first-person handheld perspective from behind the classroom. The camera movement is natural, with slight shaking occurring occasionally due to nervousness. A tall, short-haired Asian female teacher is depicted in the footage. Clothing She stood in front of the classroom blackboard. She had a well-proportioned figure, with a delicate makeup, and wore a pair of black-rimmed glasses. A high-intensity lighting source was placed on the floor in front of the classroom, shining brightly upwards. At 0 seconds, the camera was positioned behind the classroom, focusing on the female teacher as she stood sideways in front of the blackboard, writing with chalk. The high-intensity light from below illuminated her body, creating a strong backlight effect and prominent highlights. At 1 second, the light passed through the semi-transparent fabric of her black net dress, clearly highlighting the contours of her thighs, hips, and body. The autofocus briefly lost focus due to the intense light, but then re-established itself. At 2 seconds, the female teacher continued to write on the blackboard, and the sound of chalk against the blackboard was clearly audible. Fine chalk dust floated in the air of the 3 seconds, the student on the left side of the front row already noticed the bright light around them. Excitedly, she took out her phone and started recording the teacher secretly. The reflection on the screen made a brief flash in the video. At 4 seconds, the female teacher finished writing, put down her chalk, and turned to face the students. At 5 seconds, she picked up the dark red textbook on the table, held it with both hands, and stood up straight. At 6 seconds, the female teacher began teaching, holding the textbook in her hands, with her gaze directed towards the back of the classroom. The bright light from below made her silhouette even more distinct. At 7 seconds, the students in the front row already started talking in low voices. The student on the left continued to record secretly, while the student on the right tilted her head to look at the screen. At 8 seconds, the female teacher suddenly noticed that the back of the classroom was unusually quiet. Her movements paused briefly, and she slowly closed the textbook, with a slight frown on her 9 seconds, she raised her head, her gaze piercing straight through the black frame of her glasses, towards the back of the classroom. Her expression changed from concentration to obvious confusion and seriousness. At 10 seconds, the female teacher looked directly at the camera, speaking in a low but firm voice: “Wait, what’s going on?” Her voice sounded particularly clear in the classroom. At 11 seconds, it could be seen that several students were lowering their heads to avoid her gaze. One student quickly put away his phone. At 12 seconds, the female teacher remained standing in the middle of the classroom. The bright light from below elongated her silhouette. She didn’t press further, but simply stared silently at the back of the classroom, her eyes filled with obvious questioning and dissatisfaction. At 13 seconds, she tilted her head slightly, and the bright light highlighted the outline of her black net-style dress. A tense silence filled the 14 seconds, the female teacher held the book against her chest. Her voice was calm, but there was a sense of pressure in her tone: “Let’s continue with the lesson.” At 15 seconds, she turned back towards the blackboard. The scene ended in a tense and awkward atmosphere. The footage was captured using an unprocessed iPhone, with a natural, unrefined quality, without any post-processing adjustments or special effects. All of the camera movements were consistent with the physical characteristics of real-life classroom snaps. Changes in lighting and focus adjustments were all handled automatically.

SEEDANCE prompt : Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated, with no post-processing coloring or special effects applied. The footage features genuine handheld vibrations and the slight movement due to the operator's breathing. Autofocus occasionally experiences delays and brief loss of focus. Automatic white balance switches rapidly between strong lighting from flashlights and ambient classroom light. The image is overall flat, preserving the real-life lens flare, edge blurriness, slight overexposure, and motion blur. Only natural environmental sounds from within the scene are used, including sounds of chalk writing, page turning, student whispers, and recording notifications from the phone. The footage is captured from a first-person handheld perspective from behind the classroom. The camera movement is natural, with slight shaking occurring occasionally due to nervousness. A tall, short-haired Asian female teacher is depicted in the footage. Clothing She stood in front of the classroom blackboard. She had a well-proportioned figure, with a delicate makeup, and wore a pair of black-rimmed glasses. A high-intensity lighting source was placed on the floor in front of the classroom, shining brightly upwards. At 0 seconds, the camera was positioned behind the classroom, focusing on the female teacher as she stood sideways in front of the blackboard, writing with chalk. The high-intensity light from below illuminated her body, creating a strong backlight effect and prominent highlights. At 1 second, the light passed through the semi-transparent fabric of her black net dress, clearly highlighting the contours of her thighs, hips, and body. The autofocus briefly lost focus due to the intense light, but then re-established itself. At 2 seconds, the female teacher continued to write on the blackboard, and the sound of chalk against the blackboard was clearly audible. Fine chalk dust floated in the air of the 3 seconds, the student on the left side of the front row already noticed the bright light around them. Excitedly, she took out her phone and started recording the teacher secretly. The reflection on the screen made a brief flash in the video. At 4 seconds, the female teacher finished writing, put down her chalk, and turned to face the students. At 5 seconds, she picked up the dark red textbook on the table, held it with both hands, and stood up straight. At 6 seconds, the female teacher began teaching, holding the textbook in her hands, with her gaze directed towards the back of the classroom. The bright light from below made her silhouette even more distinct. At 7 seconds, the students in the front row already started talking in low voices. The student on the left continued to record secretly, while the student on the right tilted her head to look at the screen. At 8 seconds, the female teacher suddenly noticed that the back of the classroom was unusually quiet. Her movements paused briefly, and she slowly closed the textbook, with a slight frown on her 9 seconds, she raised her head, her gaze piercing straight through the black frame of her glasses, towards the back of the classroom. Her expression changed from concentration to obvious confusion and seriousness. At 10 seconds, the female teacher looked directly at the camera, speaking in a low but firm voice: “Wait, what’s going on?” Her voice sounded particularly clear in the classroom. At 11 seconds, it could be seen that several students were lowering their heads to avoid her gaze. One student quickly put away his phone. At 12 seconds, the female teacher remained standing in the middle of the classroom. The bright light from below elongated her silhouette. She didn’t press further, but simply stared silently at the back of the classroom, her eyes filled with obvious questioning and dissatisfaction. At 13 seconds, she tilted her head slightly, and the bright light highlighted the outline of her black net-style dress. A tense silence filled the 14 seconds, the female teacher held the book against her chest. Her voice was calm, but there was a sense of pressure in her tone: “Let’s continue with the lesson.” At 15 seconds, she turned back towards the blackboard. The scene ended in a tense and awkward atmosphere. The footage was captured using an unprocessed iPhone, with a natural, unrefined quality, without any post-processing adjustments or special effects. All of the camera movements were consistent with the physical characteristics of real-life classroom snaps. Changes in lighting and focus adjustments were all handled automatically.

John

11,360 次观看 • 2 个月前

Dear Ashwini Vaishnaw ji, We are so happy that you are relaunching the IRCTC website in 30 days. Instead of working on CAPCHA, please ensure the following: 1. The Site should not crash during Tatkal bookings. Zero crashes especially during payments. 2. Ensure that Senior Citizens get Lower Berths (even now, many Senior citizens get Middle or Upper) even if they book a little later (Algorithm can be fixed) 3. Introduce More General Coaches to accommodate more Travelers 4. Strict Penalty for Unreserved Passengers occupying Reserved Seats. Work on AI cameras to detect this 5. RAC passengers should only pay half the fare for half the seat. So, once chart is prepared, please refund the 50% fare. This can easily be incorporated using simple technology. 6. If any train is delayed for more than 2 hours, refund should be issued automatically. 10% per hour delay. This can be done with some technology. 7. People's time should be valued. Tech can be used for the same. CAPCHA can wait. These things cannot !!! Request my audience to add more points so that the new website can have all these things in next 30 days 😍 #FI

Dear Ashwini Vaishnaw ji, We are so happy that you are relaunching the IRCTC website in 30 days. Instead of working on CAPCHA, please ensure the following: 1. The Site should not crash during Tatkal bookings. Zero crashes especially during payments. 2. Ensure that Senior Citizens get Lower Berths (even now, many Senior citizens get Middle or Upper) even if they book a little later (Algorithm can be fixed) 3. Introduce More General Coaches to accommodate more Travelers 4. Strict Penalty for Unreserved Passengers occupying Reserved Seats. Work on AI cameras to detect this 5. RAC passengers should only pay half the fare for half the seat. So, once chart is prepared, please refund the 50% fare. This can easily be incorporated using simple technology. 6. If any train is delayed for more than 2 hours, refund should be issued automatically. 10% per hour delay. This can be done with some technology. 7. People's time should be valued. Tech can be used for the same. CAPCHA can wait. These things cannot !!! Request my audience to add more points so that the new website can have all these things in next 30 days 😍 #FI

Fundamental Investor ™ 🇮🇳

30,215 次观看 • 1 个月前

We read this word genocide so much that we can forget what is inside it. It starts here, with just dust, barren land. It ends here, with just dust, blood, that terrible smell of death no one has a word for… Everything is a weapon aimed at us. Missiles that destroy us, water that poisons us, food that is held by mercenaries, money that we must pay simply to receive, it is always hot and then at night it is so cold. We are holding this genocide up to the light so you can see it! Look away, if you want to. I will not be ashamed to ask for what all life needs! Imagine you introduce your loved ones to this place, would you want to? It's dust. I cannot say it higher. We deserve to live. We were not born to be buried in blue bags, in mass graves, with everyone arguing over how many have died! Please, we are enduring something that hates life. Hates us. Please donate what you can. Will 🦥 Menaker ★ The Saviour

We read this word genocide so much that we can forget what is inside it. It starts here, with just dust, barren land. It ends here, with just dust, blood, that terrible smell of death no one has a word for… Everything is a weapon aimed at us. Missiles that destroy us, water that poisons us, food that is held by mercenaries, money that we must pay simply to receive, it is always hot and then at night it is so cold. We are holding this genocide up to the light so you can see it! Look away, if you want to. I will not be ashamed to ask for what all life needs! Imagine you introduce your loved ones to this place, would you want to? It's dust. I cannot say it higher. We deserve to live. We were not born to be buried in blue bags, in mass graves, with everyone arguing over how many have died! Please, we are enduring something that hates life. Hates us. Please donate what you can. Will 🦥 Menaker ★ The Saviour

‏🇵🇸Amjad Iyad from gaza🇱🇧

45,823 次观看 • 10 个月前

Dear friends😔🤍, I am deeply disappointed. The situation is getting worse and the danger is getting closer.😞💔 The occupation is dropping flares. It looks like it will be a difficult night. Please🙏, my friends.🫂💕I am facing enormous challenges. The food shortage in the shelter and the crazy rise in prices are making it extremely difficult.😔😿💔 I started mixing bread with meat to save our resources, but bread has become as scarce as hope.🥖😞 Any help is greatly appreciated in light of the difficult circumstances we are living in Gaza.🙏🐾🫂🆘💔 PayPal: GFM: #Save_the_Animals #Gaza

Dear friends😔🤍, I am deeply disappointed. The situation is getting worse and the danger is getting closer.😞💔 The occupation is dropping flares. It looks like it will be a difficult night. Please🙏, my friends.🫂💕I am facing enormous challenges. The food shortage in the shelter and the crazy rise in prices are making it extremely difficult.😔😿💔 I started mixing bread with meat to save our resources, but bread has become as scarce as hope.🥖😞 Any help is greatly appreciated in light of the difficult circumstances we are living in Gaza.🙏🐾🫂🆘💔 PayPal: GFM: #Save_the_Animals #Gaza

Salam animal care

17,312 次观看 • 1 年前

Some of my favorite moments running through my head this morning as I try to wrap my head around the fact it’s been 6 months without my friend Charlie. We never know how long we have in this life—thank you for inspiring me to use the time I do have to fight with everything I have for what is good & true & beautiful. Pray for us while we keep working down here & until we join you in eternal life, CK. & if you’re reading this, please say a prayer for Charlie’s beautiful family today as they navigate this next chapter of their lives. We love you and your beautiful babies, Erika Kirk 🫶

Some of my favorite moments running through my head this morning as I try to wrap my head around the fact it’s been 6 months without my friend Charlie. We never know how long we have in this life—thank you for inspiring me to use the time I do have to fight with everything I have for what is good & true & beautiful. Pray for us while we keep working down here & until we join you in eternal life, CK. & if you’re reading this, please say a prayer for Charlie’s beautiful family today as they navigate this next chapter of their lives. We love you and your beautiful babies, Erika Kirk 🫶

Isabel Brown

30,482 次观看 • 4 个月前

Created with Getvivix , ethereal high-fantasy visuals, volumetric glow, and fluid cinematic motion crafted like a continuous film sequence. Seedance on Getvivix offers one of the lowest costs in the market , around 1000 credits ($1 per video), making high-quality cinematic generation highly scalable and affordabl You can try it here Prompt included below STORYBOARD 2 — "THE ENCHANTRESS PROJECT TYPE: 10-second cinematic fantasy storyboa CHARACTER LOCK Single consistent elf sorceress — original fictional STYLIZED fantasy character (not a real person): pointed ears, long flowing BLONDE hair, an elegant flowing medieval gown, graceful curvy figure (tasteful, elegant), holding a glowing wand. Her FACE IS NEVER CLEARLY SEEN — hood up and/or long blonde hair falling across her face, turned 3/4-away, or haloed/silhouetted by her own magic light in every frame. Identical elf/gown/wand across all frame STYLE Ethereal high-fantasy, cinematic, painterly film stills, dreamli PACING & FLO Slow, graceful, dreamy — no rush. One continuous moment: she walks into a glade and conjures a bloom of magic. Smooth gradual rises and push-ins; the magic light grows continuously across frames so each beat melts into the next — light + motion carry through, no hard cut FRAMES (8 shots, 0–10s) — angle | lens | motion | lighting | environment | → into nex 1 (0–1.5s Wide | 35mm | stands 3/4-back in a sunlit enchanted glade, hair drifting, slow push-in | dappled god-rays, mist | mossy ruins, floating motes → she steps forwa 2 (1.5–3s Tracking from behind | 50mm | walks gracefully deeper, gown + hair trailing | soft backlight | glowing flora → she raises the wa 3 (3–4.5s 3/4-back, slow rise | 50mm | lifts the wand, tip kindling to light, hair veiling her face | warm wand-glow | ferns, fireflies → light begins to blo 4 (4.5–6s Low rising | 35mm | magic blooms upward — motes + spiraling vines of light | radiant magic key | glade lighting up → she sweeps the wa 5 (6–7.5s Orbiting 3/4 | 50mm | sweeps the wand, conjuring a swirl of glowing petals, turning so hair hides her face | bloom of color | swirling light → camera keeps orbiti 6 (7.5–8.5s): Silhouette wide | 35mm | the glade ignites with fireflies, she's haloed by her own magic (face in silhouette) | rim halo | full glow → she tilts her head 7 (8.5–9.5s): Low 3/4-back | 50mm | gazes up at her creation, face turned up and away | soft uplight, sparkles | canopy of light → camera settl 8 (9.5–10s Hero hold | 35mm | stands amid the slow-swirling magic, 3/4-back silhouette, ethereal | dreamy backlight haze | glowing glade → free LAYOUT: film sheet — left: 3 dynamic poses (walking, casting upward, mid-sweep — in-scene, face hair-veiled/turned); center: 8-frame grid; right: director notes; bottom: 0–10 VISUAL STYLE: ethereal high-fantasy, painterly, volumetric god-rays, magical bloom light, floating particles, shallow DOF, soft slow camera; stylized — NOT photorealistic, not real human skin; FACE NEVER CLEARLY SEEN (hood / blonde hair / turned / haloed).

Created with Getvivix , ethereal high-fantasy visuals, volumetric glow, and fluid cinematic motion crafted like a continuous film sequence. Seedance on Getvivix offers one of the lowest costs in the market , around 1000 credits ($1 per video), making high-quality cinematic generation highly scalable and affordabl You can try it here Prompt included below STORYBOARD 2 — "THE ENCHANTRESS PROJECT TYPE: 10-second cinematic fantasy storyboa CHARACTER LOCK Single consistent elf sorceress — original fictional STYLIZED fantasy character (not a real person): pointed ears, long flowing BLONDE hair, an elegant flowing medieval gown, graceful curvy figure (tasteful, elegant), holding a glowing wand. Her FACE IS NEVER CLEARLY SEEN — hood up and/or long blonde hair falling across her face, turned 3/4-away, or haloed/silhouetted by her own magic light in every frame. Identical elf/gown/wand across all frame STYLE Ethereal high-fantasy, cinematic, painterly film stills, dreamli PACING & FLO Slow, graceful, dreamy — no rush. One continuous moment: she walks into a glade and conjures a bloom of magic. Smooth gradual rises and push-ins; the magic light grows continuously across frames so each beat melts into the next — light + motion carry through, no hard cut FRAMES (8 shots, 0–10s) — angle | lens | motion | lighting | environment | → into nex 1 (0–1.5s Wide | 35mm | stands 3/4-back in a sunlit enchanted glade, hair drifting, slow push-in | dappled god-rays, mist | mossy ruins, floating motes → she steps forwa 2 (1.5–3s Tracking from behind | 50mm | walks gracefully deeper, gown + hair trailing | soft backlight | glowing flora → she raises the wa 3 (3–4.5s 3/4-back, slow rise | 50mm | lifts the wand, tip kindling to light, hair veiling her face | warm wand-glow | ferns, fireflies → light begins to blo 4 (4.5–6s Low rising | 35mm | magic blooms upward — motes + spiraling vines of light | radiant magic key | glade lighting up → she sweeps the wa 5 (6–7.5s Orbiting 3/4 | 50mm | sweeps the wand, conjuring a swirl of glowing petals, turning so hair hides her face | bloom of color | swirling light → camera keeps orbiti 6 (7.5–8.5s): Silhouette wide | 35mm | the glade ignites with fireflies, she's haloed by her own magic (face in silhouette) | rim halo | full glow → she tilts her head 7 (8.5–9.5s): Low 3/4-back | 50mm | gazes up at her creation, face turned up and away | soft uplight, sparkles | canopy of light → camera settl 8 (9.5–10s Hero hold | 35mm | stands amid the slow-swirling magic, 3/4-back silhouette, ethereal | dreamy backlight haze | glowing glade → free LAYOUT: film sheet — left: 3 dynamic poses (walking, casting upward, mid-sweep — in-scene, face hair-veiled/turned); center: 8-frame grid; right: director notes; bottom: 0–10 VISUAL STYLE: ethereal high-fantasy, painterly, volumetric god-rays, magical bloom light, floating particles, shallow DOF, soft slow camera; stylized — NOT photorealistic, not real human skin; FACE NEVER CLEARLY SEEN (hood / blonde hair / turned / haloed).

Ai Girllie

14,141 次观看 • 1 个月前

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord

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