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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.

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MaziTundeEdnut

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18,962 Aufrufe • vor 7 Monaten •via X (Twitter)

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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.
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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. 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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.

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51,899 Aufrufe • vor 2 Monaten

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
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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

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24,511 Aufrufe • vor 1 Jahr

I was a guest speaker at the Voice of people TV yesterday. One of the things we discussed is the campaign’s patterns in various parts of Nigeria I also talked about how the surulere government hid under the Lagos signage agency to single me out to take down about 50 of my banners, even the ones that were at wooden structures of the street while leaving their own candidates banner beside me in surulere 1 Anyways I heard they want to frustrate me financially because I invested a lot of monies from my sweat and hard Labour to do this. Anyways Good governance and empathy towards the people is not in banners! Anyways It is illegal for APC to hold on to my banners But I understand them, they are afraid of me and this panic made them to pick all my banners , the funny part of this story is that they even picked the ones attached to a rock, old street light!!, Infact they picked one under a tree!! Anyways, my banner posting is just entertaining gear 2. Please those that say I should remove their banners too!! Please I will not go low ooooo. I will go higher. I promise them that when APC Surulere sleeps and wakes up in constituency 1. It is my face they willl see . Fellow Nigerians do not fear them, God has removed their defense and they are now naked!! The people are tired of APC renewed hopelessness.
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I was a guest speaker at the Voice of people TV yesterday. One of the things we discussed is the campaign’s patterns in various parts of Nigeria I also talked about how the surulere government hid under the Lagos signage agency to single me out to take down about 50 of my banners, even the ones that were at wooden structures of the street while leaving their own candidates banner beside me in surulere 1 Anyways I heard they want to frustrate me financially because I invested a lot of monies from my sweat and hard Labour to do this. Anyways Good governance and empathy towards the people is not in banners! Anyways It is illegal for APC to hold on to my banners But I understand them, they are afraid of me and this panic made them to pick all my banners , the funny part of this story is that they even picked the ones attached to a rock, old street light!!, Infact they picked one under a tree!! Anyways, my banner posting is just entertaining gear 2. Please those that say I should remove their banners too!! Please I will not go low ooooo. I will go higher. I promise them that when APC Surulere sleeps and wakes up in constituency 1. It is my face they willl see . Fellow Nigerians do not fear them, God has removed their defense and they are now naked!! The people are tired of APC renewed hopelessness.

Dr Folaseye (ENT/Head &Neck Surgeon)

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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
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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

3,157,085 Aufrufe • vor 8 Monaten

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.
0:15

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

11,707 Aufrufe • vor 4 Monaten

This is bad. FSD 14.1 Lite drives straight over a log. Seriously, if you have 14 lite please be careful. So many people gave me crap about talking about the problems with 14 lite. Why do they want to hide their heads in the sand and ignore videos that are showing the issues. 🤦‍♂️ This isn't acceptable at this point. Somehow 14 lite took major steps back. This honestly isn't a good look. The problem is that those of us using FSD for years become familiar with it and will have basic expectations of its capabilities. Running into something like this hasn't been around for a long time and really is out of the ordinary. But this is the second video in two days. Not so out of the ordinary with 14 lite.
0:16

This is bad. FSD 14.1 Lite drives straight over a log. Seriously, if you have 14 lite please be careful. So many people gave me crap about talking about the problems with 14 lite. Why do they want to hide their heads in the sand and ignore videos that are showing the issues. 🤦‍♂️ This isn't acceptable at this point. Somehow 14 lite took major steps back. This honestly isn't a good look. The problem is that those of us using FSD for years become familiar with it and will have basic expectations of its capabilities. Running into something like this hasn't been around for a long time and really is out of the ordinary. But this is the second video in two days. Not so out of the ordinary with 14 lite.

Lincoln

1,308,730 Aufrufe • vor 1 Monat

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
0:16

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 ™ 🇮🇳

30,306 Aufrufe • vor 3 Monaten