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New Weapon: Bow Arrows can be fired from long range. Landing hits on enemies builds up Vigor, increasing the power of strong bow attacks. The bow excels in both mobile attacks & devastating shots enhanced by Vigor. What do you think? #DynastyWarriors #DWOrigins #DWOriginsVOFH

KOEI TECMO AMERICA

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24,757 views • 8 months ago •via X (Twitter)

#DynastyWarriors #DWOrigins #DWOriginsVOFH

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Amidst the accusations and misconceptions that I string slapped myself on purpose to “sell” something that was a complete joke, I actually did have the chance to hit the range! 😂🏹 And you know what? It was an absolute blast, just like always. This marked my inaugural lesson with a compound bow, and I’ve got to say, I’m hooked! The difference from a recurve bow was striking. It seemed to be a lot more forgiving when it came to getting consistently good shots and tight groupings. If I ever decide to take the plunge into bowhunting, the compound would definitely be my weapon of choice for accuracy, a crucial element in hunting. It also made me appreciate the level of skill required to excel with a recurve bow. There are fewer bells and whistles to help with accuracy, which means you really need to hone your skill. Rest assured, if I ever embark on a bowhunting journey, it will be after extensive practice and mastery of the sport. 🦌🌿 Using my new Hoyt Eclipse of course! 😉

Amidst the accusations and misconceptions that I string slapped myself on purpose to “sell” something that was a complete joke, I actually did have the chance to hit the range! 😂🏹 And you know what? It was an absolute blast, just like always. This marked my inaugural lesson with a compound bow, and I’ve got to say, I’m hooked! The difference from a recurve bow was striking. It seemed to be a lot more forgiving when it came to getting consistently good shots and tight groupings. If I ever decide to take the plunge into bowhunting, the compound would definitely be my weapon of choice for accuracy, a crucial element in hunting. It also made me appreciate the level of skill required to excel with a recurve bow. There are fewer bells and whistles to help with accuracy, which means you really need to hone your skill. Rest assured, if I ever embark on a bowhunting journey, it will be after extensive practice and mastery of the sport. 🦌🌿 Using my new Hoyt Eclipse of course! 😉

Janna Breslin

20,249 views • 2 years ago

40% of the BOW TOKEN will be used to address unhappy dogs and social issues. With WEB3, people all over the world can easily connect, right? So I thought I would use WEB3 to make society better. Don't you all think so too? ↓ Metabows is a social problem-solving project utilizing WEB3, initiated by Satoshi and his beloved dog Bruno. Metabows issues BOW tokens and uses the value generated from them to give back to society, aiming to achieve a "well-being society for both humans and dogs." BOW tokens can be mined by participating in a new X to earn mechanism called support2earn. As more people around the world spread the philosophy of Metabows through support2earn, the value of BOW tokens will increase, and society will improve. Metabows progresses through blog stories linked to the project, so please read the blog and participate in support2earn. ↓ ▪︎=============▪︎ 【How to Participate】 From 4/15 22:00 to 4/16 22:00 1⃣ Hold DFT or XCR 2⃣ Like the post 3⃣ Follow Metabows🐕 ADVENTURES 📿🎖️ 4⃣ Quote the first tweet Add a comment ＋ Use any hashtag(s) (Please include easily spreadable hashtags, but it seems better not to use more than two) 5⃣ Participation page

40% of the BOW TOKEN will be used to address unhappy dogs and social issues. With WEB3, people all over the world can easily connect, right? So I thought I would use WEB3 to make society better. Don't you all think so too? ↓ Metabows is a social problem-solving project utilizing WEB3, initiated by Satoshi and his beloved dog Bruno. Metabows issues BOW tokens and uses the value generated from them to give back to society, aiming to achieve a "well-being society for both humans and dogs." BOW tokens can be mined by participating in a new X to earn mechanism called support2earn. As more people around the world spread the philosophy of Metabows through support2earn, the value of BOW tokens will increase, and society will improve. Metabows progresses through blog stories linked to the project, so please read the blog and participate in support2earn. ↓ ▪︎=============▪︎ 【How to Participate】 From 4/15 22:00 to 4/16 22:00 1⃣ Hold DFT or XCR 2⃣ Like the post 3⃣ Follow Metabows🐕 ADVENTURES 📿🎖️ 4⃣ Quote the first tweet Add a comment ＋ Use any hashtag(s) (Please include easily spreadable hashtags, but it seems better not to use more than two) 5⃣ Participation page

Metabows🐕

40,223 views • 3 years ago

#support2earn Metabows is a social problem-solving project utilizing WEB3, initiated by Satoshi and his beloved dog Bruno. Metabows issues BOW tokens and uses the value generated from them to give back to society, aiming to achieve a "well-being society for both humans and dogs." BOW tokens can be mined by participating in a new X to earn mechanism called support2earn. As more people around the world spread the philosophy of Metabows through support2earn, the value of BOW tokens will increase, and society will improve. Metabows progresses through blog stories linked to the project, so please read the blog and participate in support2earn. ↓ ▪︎=============▪︎ 【How to Participate】 From 4/14 23:00 to 4/15 23:00 1⃣ Hold DFT or XCR 2⃣ Like the post 3⃣ Follow Metabows🐕 ADVENTURES 📿🎖️ 4⃣ Quote the first tweet Add a comment ＋ Use any hashtag(s) (Please include easily spreadable hashtags, but it seems better not to use more than two) 5⃣ Participation page

#support2earn Metabows is a social problem-solving project utilizing WEB3, initiated by Satoshi and his beloved dog Bruno. Metabows issues BOW tokens and uses the value generated from them to give back to society, aiming to achieve a "well-being society for both humans and dogs." BOW tokens can be mined by participating in a new X to earn mechanism called support2earn. As more people around the world spread the philosophy of Metabows through support2earn, the value of BOW tokens will increase, and society will improve. Metabows progresses through blog stories linked to the project, so please read the blog and participate in support2earn. ↓ ▪︎=============▪︎ 【How to Participate】 From 4/14 23:00 to 4/15 23:00 1⃣ Hold DFT or XCR 2⃣ Like the post 3⃣ Follow Metabows🐕 ADVENTURES 📿🎖️ 4⃣ Quote the first tweet Add a comment ＋ Use any hashtag(s) (Please include easily spreadable hashtags, but it seems better not to use more than two) 5⃣ Participation page

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Hindutva were harassing a Muslim in India & the inevitable happened: they got busted up by Muslims who saw what was happening. Modi gov't has been silent & even encouraging on Muslims being killed in India. How long do you think that'll be allowed to continue without a response?

Hindutva were harassing a Muslim in India & the inevitable happened: they got busted up by Muslims who saw what was happening. Modi gov't has been silent & even encouraging on Muslims being killed in India. How long do you think that'll be allowed to continue without a response?

Bilal Abdul Kareem

125,499 views • 3 years ago

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

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

roman

106,768 views • 22 days ago

Judge and Stanton both asked what makes Stanton so good in the post season. Two different answers. Judge: “I don’t think the post season or season is any different, he just comes up with big hits when we need him” Stanton: “The weight of the moment. Every pitch can be the deciding factor of your season. You can’t shy away from that. You have to understand that and embrace it and quiet it and get it done”

Judge and Stanton both asked what makes Stanton so good in the post season. Two different answers. Judge: “I don’t think the post season or season is any different, he just comes up with big hits when we need him” Stanton: “The weight of the moment. Every pitch can be the deciding factor of your season. You can’t shy away from that. You have to understand that and embrace it and quiet it and get it done”

Jimmy O'Brien

823,956 views • 1 year ago

🚨🇷🇺 NATO IN PANIC: RUSSIA TURNS SU-57 INTO LONG-RANGE DRONE HUNTER Russia’s top fighter may now be part of a wider shield against long-range drone and missile strikes. New photos from Akhtubinsk show a Su-57 Felon carrying external R-73 missiles and an unidentified targeting pod — pointing to a new role against long-range drones and cruise missiles threatening targets deep inside Russia. Here’s why this matters: 🔸 STRATEGIC ADAPTATION: The Su-57 demonstrates versatility by shifting to defensive missions, effectively protecting Russian airspace with its advanced systems against evolving Ukrainian long-range threats. 🔸 OPTIMIZED LOADOUT: External carriage of R-73/R-74 missiles enables rapid close-range engagements suited for slow, low-altitude drones and cruise missiles, utilizing proven short-range capabilities. 🔸 ADVANCED SENSOR SUITE: The N036 multi-array AESA radar combined with the 101KS electro-optical and IRST systems delivers superior detection and tracking of low-signature targets, enhancing counter-drone performance. 🔸 MULTI-LAYERED DEFENSE: Integrating Su-57 capabilities alongside S-400 batteries, Pantsir systems, and alert fighters provides a comprehensive response to deep strikes, maintaining robust protection over vast Russian territory. Do you think the Su-57 can help Russia counter long-range drone and cruise missile attacks?

🚨🇷🇺 NATO IN PANIC: RUSSIA TURNS SU-57 INTO LONG-RANGE DRONE HUNTER Russia’s top fighter may now be part of a wider shield against long-range drone and missile strikes. New photos from Akhtubinsk show a Su-57 Felon carrying external R-73 missiles and an unidentified targeting pod — pointing to a new role against long-range drones and cruise missiles threatening targets deep inside Russia. Here’s why this matters: 🔸 STRATEGIC ADAPTATION: The Su-57 demonstrates versatility by shifting to defensive missions, effectively protecting Russian airspace with its advanced systems against evolving Ukrainian long-range threats. 🔸 OPTIMIZED LOADOUT: External carriage of R-73/R-74 missiles enables rapid close-range engagements suited for slow, low-altitude drones and cruise missiles, utilizing proven short-range capabilities. 🔸 ADVANCED SENSOR SUITE: The N036 multi-array AESA radar combined with the 101KS electro-optical and IRST systems delivers superior detection and tracking of low-signature targets, enhancing counter-drone performance. 🔸 MULTI-LAYERED DEFENSE: Integrating Su-57 capabilities alongside S-400 batteries, Pantsir systems, and alert fighters provides a comprehensive response to deep strikes, maintaining robust protection over vast Russian territory. Do you think the Su-57 can help Russia counter long-range drone and cruise missile attacks?

NewRulesGeopolitics

17,733 views • 1 month ago

You can fuck off if you try to pretend anything in Israel is even remotely like the sociopathic brainwashing of children that happens below in the reactionary Muslim world. This moronic racist culture is the entire cause of the conflict and you all know it. You know it from the planes Muslim fundamentalists fly into buildings. You know it from the fatwas and attacks on Salman Rushdie. You know it from the underground bombings in London. You know it from the beheadings and the men in town squares jumping up and down burning flags. You all know Israel is surrounded by a bunch of religious nutters. And you are mistaken if you think keeping quiet and sacrificing Israel will keep you safe. Israel is on the front line keeping you safe. You should be thanking Israel and starting to speak up NOW. Because this fundamentalist shit has come to you in drips so far. But it will come in a flood of jihadism seeking to destroy you unless you help Israel stand firm against the global assault on humanity and acceptable norms Hamas and their friends in your countries are trying to let out of the box

You can fuck off if you try to pretend anything in Israel is even remotely like the sociopathic brainwashing of children that happens below in the reactionary Muslim world. This moronic racist culture is the entire cause of the conflict and you all know it. You know it from the planes Muslim fundamentalists fly into buildings. You know it from the fatwas and attacks on Salman Rushdie. You know it from the underground bombings in London. You know it from the beheadings and the men in town squares jumping up and down burning flags. You all know Israel is surrounded by a bunch of religious nutters. And you are mistaken if you think keeping quiet and sacrificing Israel will keep you safe. Israel is on the front line keeping you safe. You should be thanking Israel and starting to speak up NOW. Because this fundamentalist shit has come to you in drips so far. But it will come in a flood of jihadism seeking to destroy you unless you help Israel stand firm against the global assault on humanity and acceptable norms Hamas and their friends in your countries are trying to let out of the box

leekern

1,968,681 views • 2 years ago

🇹🇷Erdogan Just Outsmarted EVERYONE - 🇮🇱Israel is NOW in BIG TROUBLE 🇮🇱Netanyahu: “Trump, you can’t do this! This is betrayal! Giving everything to Erdogan will destroy our air superiority!” 🇺🇸Trump: “You can’t decide what I do. Turkey’s a strong NATO friend – sanctions off, jets on the table!” 🇮🇱Netanyahu: “You don’t know Israel – we will remove you from the office!” 🇮🇱Netanyahu: “We have strong hold in US politics, obey us or we replace you!” 🇺🇸Trump: “You don’t know me. I can turn around everything – because of us Israel exists!” 🇹🇷Erdogan: “Nice to see both our enemies fighting. This is smart playing, Advanced weapons from both US and Russia.” Context: Trump announces removal of CAATSA sanctions on Turkey. (Satire Warning: Fictional quotes)

🇹🇷Erdogan Just Outsmarted EVERYONE - 🇮🇱Israel is NOW in BIG TROUBLE 🇮🇱Netanyahu: “Trump, you can’t do this! This is betrayal! Giving everything to Erdogan will destroy our air superiority!” 🇺🇸Trump: “You can’t decide what I do. Turkey’s a strong NATO friend – sanctions off, jets on the table!” 🇮🇱Netanyahu: “You don’t know Israel – we will remove you from the office!” 🇮🇱Netanyahu: “We have strong hold in US politics, obey us or we replace you!” 🇺🇸Trump: “You don’t know me. I can turn around everything – because of us Israel exists!” 🇹🇷Erdogan: “Nice to see both our enemies fighting. This is smart playing, Advanced weapons from both US and Russia.” Context: Trump announces removal of CAATSA sanctions on Turkey. (Satire Warning: Fictional quotes)

World updates

596,230 views • 1 month ago

Meeting of the Staff First, we received a report from Commander-in-Chief Oleksandr Syrskyi on the situation across all key directions: the South, Kurakhove, Pokrovsk, Toretsk, Chasiv Yar, as well as the Luhansk and Kharkiv regions. The report also covered our defensive actions in the directions from which Russia launched attacks on Ukrainian territory. A report by Commander of the Air Force Mykola Oleshchuk. The Staff approved a plan for further actions on strengthening our air defense system to protect people, critical infrastructure and military facilities. Additionally, Minister of Internal Affairs Ihor Klymenko reported on the comprehensive protection of schools in cooperation with local authorities and communities on all security aspects in preparation for the school year. There was also a report from the Head of the Foreign Intelligence Service, Oleh Ivashchenko, on Russia's new terrorist plans. We see all of this and will be ready. Finally, an important report was delivered by the Head of the Security Service of Ukraine, Vasyl Maliuk, on their special long-range operations. Very productive actions.

Meeting of the Staff First, we received a report from Commander-in-Chief Oleksandr Syrskyi on the situation across all key directions: the South, Kurakhove, Pokrovsk, Toretsk, Chasiv Yar, as well as the Luhansk and Kharkiv regions. The report also covered our defensive actions in the directions from which Russia launched attacks on Ukrainian territory. A report by Commander of the Air Force Mykola Oleshchuk. The Staff approved a plan for further actions on strengthening our air defense system to protect people, critical infrastructure and military facilities. Additionally, Minister of Internal Affairs Ihor Klymenko reported on the comprehensive protection of schools in cooperation with local authorities and communities on all security aspects in preparation for the school year. There was also a report from the Head of the Foreign Intelligence Service, Oleh Ivashchenko, on Russia's new terrorist plans. We see all of this and will be ready. Finally, an important report was delivered by the Head of the Security Service of Ukraine, Vasyl Maliuk, on their special long-range operations. Very productive actions.

Volodymyr Zelenskyy / Володимир Зеленський

610,120 views • 2 years ago

Do you ever wonder what happens inside the mind of an elite athlete? I absolutely love this perspective from gold medal freeskier Eileen Gu on the power of our mindset and belief system: "You can control how you think. And therefore, you can control who you are." Athletes don’t just magically create routines and habits. They’re supported by coaches who use the principles of behavioral science to set them up for success. That means using techniques to reduce decision fatigue and lower stress. Through neuroplasticity, the small choices we repeat every day can strengthen our neural circuits and rewire our brains to make certain behaviors more automatic, which is exactly what Gu has trained her mind to do. As Gu said, “With neuroplasticity on my side, I can become exactly who I want to be.” What was your favorite moment of the Winter 2026 Olympics? Let me know in the comments!

Do you ever wonder what happens inside the mind of an elite athlete? I absolutely love this perspective from gold medal freeskier Eileen Gu on the power of our mindset and belief system: "You can control how you think. And therefore, you can control who you are." Athletes don’t just magically create routines and habits. They’re supported by coaches who use the principles of behavioral science to set them up for success. That means using techniques to reduce decision fatigue and lower stress. Through neuroplasticity, the small choices we repeat every day can strengthen our neural circuits and rewire our brains to make certain behaviors more automatic, which is exactly what Gu has trained her mind to do. As Gu said, “With neuroplasticity on my side, I can become exactly who I want to be.” What was your favorite moment of the Winter 2026 Olympics? Let me know in the comments!

Arianna Huffington

66,655 views • 5 months ago

Is it true the CDC's public data on heart attacks STOPS at 2019? It's now 2026. How long do you think it will take for them to publish heart attack data from 2020, 2021, 2022, 2023, 2024 and 2025? The CDC redacted a 148 page document looking into the impact of mRNA on Myocarditis. The CDC, NIH and the FDA were actively involved in a cover up if this practice of redaction continues. How will we ever get to the truth about what’s happened in the last 6 years and what that tells us about these sets of institutions and how they behave when they face dissent or any threat to their authority? Since when did government get permission to redact documents from the public eye when WE pay their salaries?! What were they trying to hide from all of us?!

Is it true the CDC's public data on heart attacks STOPS at 2019? It's now 2026. How long do you think it will take for them to publish heart attack data from 2020, 2021, 2022, 2023, 2024 and 2025? The CDC redacted a 148 page document looking into the impact of mRNA on Myocarditis. The CDC, NIH and the FDA were actively involved in a cover up if this practice of redaction continues. How will we ever get to the truth about what’s happened in the last 6 years and what that tells us about these sets of institutions and how they behave when they face dissent or any threat to their authority? Since when did government get permission to redact documents from the public eye when WE pay their salaries?! What were they trying to hide from all of us?!

Bridgett Fertig

105,392 views • 3 months ago

🇷🇺🇺🇦🔥 Raw audio reportedly from inside an apartment as the Oreshnik hits. You hear it before you see anything — a low, demonic roar that shakes the walls, then the unmistakable CRACK of hypersonic rods slamming into their targets. Pure kinetic fury ripping through the night. This may be first time we’ve caught the real sound of Russia’s new weapon up close. Not some distant boom. This is what it feels like when Moscow decides the sky over Ukraine belongs to them and is avenging a horrific terrorist attack that killed 21 students in LPR. Listen for yourself. The empire can keep talking “victory.” The ground in Kiev is sounding off on the truth.

🇷🇺🇺🇦🔥 Raw audio reportedly from inside an apartment as the Oreshnik hits. You hear it before you see anything — a low, demonic roar that shakes the walls, then the unmistakable CRACK of hypersonic rods slamming into their targets. Pure kinetic fury ripping through the night. This may be first time we’ve caught the real sound of Russia’s new weapon up close. Not some distant boom. This is what it feels like when Moscow decides the sky over Ukraine belongs to them and is avenging a horrific terrorist attack that killed 21 students in LPR. Listen for yourself. The empire can keep talking “victory.” The ground in Kiev is sounding off on the truth.

THE ISLANDER

62,135 views • 2 months ago

🎙️ NEW EPISODE- Out Monday Joshua Baraka (B’RAKA) is one of Uganda’s fastest-rising artists, but this conversation isn’t about hits alone. On The Long Form, we talk about the pressure behind fame, the business of music in Africa, protecting your art, building wealth from creativity, and staying grounded in an industry that can chew you up fast. This episode is for musicians, creatives, and young Africans asking: how do I make this last? 📌 Monday, 6AM audio drop, 6PM YouTube premiere Turn on notifications. 🔔

🎙️ NEW EPISODE- Out Monday Joshua Baraka (B’RAKA) is one of Uganda’s fastest-rising artists, but this conversation isn’t about hits alone. On The Long Form, we talk about the pressure behind fame, the business of music in Africa, protecting your art, building wealth from creativity, and staying grounded in an industry that can chew you up fast. This episode is for musicians, creatives, and young Africans asking: how do I make this last? 📌 Monday, 6AM audio drop, 6PM YouTube premiere Turn on notifications. 🔔

The Long Form Podcast

14,572 views • 7 months ago

Fellas and Lady fellas, taking you to the chin of Vladivostok Russia where not only the radiation from North Korea can be felt but apparently your team captain goes full Terry Rozier from time to time cutting deals with the Russian mob. You’re playing so god far away from reality that you think you can get away with tucking one in the back of your own net to make sure the first period over hits. What the hell was Libor Sulak trying to accomplish on this play other than cash in for an extra $750,000 ruble which is equivalent to roughly $10,000 USD. Is he playing that puck to his partner and ends up hooding it too much like a trap draw 4 iron stinger out of the pine? What is Lib Sulak doing here folks? What a solid tuck by the 31 year old out of the Czech Republic. Only in the Kontiental #KHL -People’s

Fellas and Lady fellas, taking you to the chin of Vladivostok Russia where not only the radiation from North Korea can be felt but apparently your team captain goes full Terry Rozier from time to time cutting deals with the Russian mob. You’re playing so god far away from reality that you think you can get away with tucking one in the back of your own net to make sure the first period over hits. What the hell was Libor Sulak trying to accomplish on this play other than cash in for an extra $750,000 ruble which is equivalent to roughly $10,000 USD. Is he playing that puck to his partner and ends up hooding it too much like a trap draw 4 iron stinger out of the pine? What is Lib Sulak doing here folks? What a solid tuck by the 31 year old out of the Czech Republic. Only in the Kontiental #KHL -People’s

Jordan Schmaltz

183,595 views • 6 months ago

DAI on PulseChain is up 44% in the last 7 days The most likely driver is the broader risk-on sentiment from the Iran ceasefire and @PulseChain community speculation around its long-standing thesis that pDAI could eventually repeg to $1. That would be a roughly 66,000% move from here. The PulseChain community has been pushing this narrative for months, arguing pDAI is undervalued relative to its theoretical $1 target. Whether that's realistic or pure speculation is the open question. What do you think, can $pDAI ever repeg?

DAI on PulseChain is up 44% in the last 7 days The most likely driver is the broader risk-on sentiment from the Iran ceasefire and @PulseChain community speculation around its long-standing thesis that pDAI could eventually repeg to $1. That would be a roughly 66,000% move from here. The PulseChain community has been pushing this narrative for months, arguing pDAI is undervalued relative to its theoretical $1 target. Whether that's realistic or pure speculation is the open question. What do you think, can $pDAI ever repeg?

BSCN

18,672 views • 3 months ago

$Taking Some Prompt Ideas From This Video Which is Posted in The Comments Section Below 👇 Prompt: { "visual_analysis": { "subject": { "appearance": "Young woman with a slim, fit figure and light skin tone.", "hair": "Long, wavy brunette hair styled in a half-up or loose style, framing the face with soft tendrils.", "expression": "Gentle, pleasant smile, looking directly at the camera.", "pose": "Standing elegantly in a doorway, legs crossed at the ankles, holding a flower with both hands in front of the chest." }, "attire": { "dress": "Light baby pink corset-style mini dress. Features a structured bodice with visible boning/seaming, a sweetheart neckline, spaghetti straps, and a gathered, flared skater skirt with delicate lace trim at the hem.", "footwear": "White pointed-toe kitten heel mules adorned with small, dainty white bows on the front.", "jewelry": "A delicate necklace featuring a small ribbon or bow charm." }, "props": { "item": "A large, pale pink rose with a green stem and leaves, held gently in both hands against the bodice of the dress." }, "environment": { "setting": "Threshold of a large open glass French door.", "architecture": "Beige stone exterior walls and steps. The door frame is dark metal or wood. Inside, there is a glimpse of a dark room with antique-style wooden furniture and a table leg visible.", "lighting": "Strong natural sunlight coming from the left, creating bright highlights on the subject's skin and dress, and casting sharp, defined shadows on the right side of the door frame and ground." } }, "technical_specifications": { "quality": "4k, Ultra HD, 8k resolution, photorealistic.", "style": "Fashion photography, cinematic lighting, high fidelity.", "focus": "Sharp focus on the subject, highly detailed textures on the fabric and skin.", "aspect_ratio": "Vertical portrait." }, "generated_prompt": "A photorealistic 4k HD full-body portrait of a beautiful young woman standing on beige stone steps in an open French doorway. She is wearing a structured baby pink corset mini dress with a gathered skirt and lace hem, paired with white pointed-toe bow heels. She has long wavy brunette hair and is holding a single pale pink rose in her hands. She wears a delicate bow necklace. The lighting is bright and sunny natural light, casting strong, dramatic shadows and highlighting the texture of the dress and her skin. The background shows a glimpse of an elegant interior. Cinematic quality, sharp focus, ultra-detailed, fashion editorial style." }$

Taking Some Prompt Ideas From This Video Which is Posted in The Comments Section Below 👇 Prompt: { "visual_analysis": { "subject": { "appearance": "Young woman with a slim, fit figure and light skin tone.", "hair": "Long, wavy brunette hair styled in a half-up or loose style, framing the face with soft tendrils.", "expression": "Gentle, pleasant smile, looking directly at the camera.", "pose": "Standing elegantly in a doorway, legs crossed at the ankles, holding a flower with both hands in front of the chest." }, "attire": { "dress": "Light baby pink corset-style mini dress. Features a structured bodice with visible boning/seaming, a sweetheart neckline, spaghetti straps, and a gathered, flared skater skirt with delicate lace trim at the hem.", "footwear": "White pointed-toe kitten heel mules adorned with small, dainty white bows on the front.", "jewelry": "A delicate necklace featuring a small ribbon or bow charm." }, "props": { "item": "A large, pale pink rose with a green stem and leaves, held gently in both hands against the bodice of the dress." }, "environment": { "setting": "Threshold of a large open glass French door.", "architecture": "Beige stone exterior walls and steps. The door frame is dark metal or wood. Inside, there is a glimpse of a dark room with antique-style wooden furniture and a table leg visible.", "lighting": "Strong natural sunlight coming from the left, creating bright highlights on the subject's skin and dress, and casting sharp, defined shadows on the right side of the door frame and ground." } }, "technical_specifications": { "quality": "4k, Ultra HD, 8k resolution, photorealistic.", "style": "Fashion photography, cinematic lighting, high fidelity.", "focus": "Sharp focus on the subject, highly detailed textures on the fabric and skin.", "aspect_ratio": "Vertical portrait." }, "generated_prompt": "A photorealistic 4k HD full-body portrait of a beautiful young woman standing on beige stone steps in an open French doorway. She is wearing a structured baby pink corset mini dress with a gathered skirt and lace hem, paired with white pointed-toe bow heels. She has long wavy brunette hair and is holding a single pale pink rose in her hands. She wears a delicate bow necklace. The lighting is bright and sunny natural light, casting strong, dramatic shadows and highlighting the texture of the dress and her skin. The background shows a glimpse of an elegant interior. Cinematic quality, sharp focus, ultra-detailed, fashion editorial style." }

Iris

81,585 views • 6 months ago