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No one is holding back on the iPhone leaks. iPhone Ultra leaks dropped. iPhone could cost around $2300 in the US. > 7.8” inner display, 5.5” 4:3 outer display > No Face ID, Touch ID side button > Titanium + aluminum frame, liquid metal hinge > 4.5mm open, 9.5mm...

425,277 Aufrufe • vor 7 Tagen •via X (Twitter)

50 Kommentare

Profilbild von ChargePozitive ⚡️➕
ChargePozitive ⚡️➕vor 7 Tagen

“Nearly invisible” crease. One of the main reasons I don’t want a folding phone. Also I’d just use my iPad if I need that size. Hope there’s still the “regular” iPhone pro max. $2,300 is basically a full computer at that point. Hard to justify the cost merely for optional screen size

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 7 Tagen

Yes we will still have the Pro Max. I agree about the crease. I love my iPad Pro.

Profilbild von Try TLGen App | Brandon Starship 🇺🇸
Try TLGen App | Brandon Starship 🇺🇸vor 7 Tagen

I’m willing to give it a go

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 7 Tagen

Steep price

Profilbild von Ash Martian ✨
Ash Martian ✨vor 7 Tagen

No Face ID? No thanks

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 6 Tagen

Surprising if they don’t have Face ID

Profilbild von Dan UNSTPBL
Dan UNSTPBLvor 7 Tagen

Let’s see what the Pro looks like…. I want true behind the screen Face ID, no notch, and telefoto lens. Don’t think I want a folding phone right now but I want to replace my 14 pro max.

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 7 Tagen

They aren’t ready to offer that yet sadly. The island will be smaller but not behind screen.

Profilbild von cyclistal
cyclistalvor 7 Tagen

$2300 for a phone is INSANE! Like Apple Watch Gold Edition with the Hermes band insane.

Profilbild von kkong dr
kkong drvor 7 Tagen

Even as a Samsung employee, I think this would sell well even at $2,300. All that talk about the crease is just from people who’ve never actually used it; in real life, you don't notice it at all. Apple fanboys are going to buy it anyway.

Profilbild von dhavi
dhavivor 7 Tagen

$2300 and no telephoto feels like Apple charging extra just to fold it in half

Profilbild von Shane Morris
Shane Morrisvor 4 Tagen

1 billion in tariffs refunds btw

Profilbild von 𝕘 𝕥 𝕨 𝕪
𝕘 𝕥 𝕨 𝕪vor 6 Tagen

i can't see the crease at all on my z fold8

Profilbild von Empress Heavy
Empress Heavyvor 7 Tagen

If Apple is gonna make a foldable phone, then they should at least partner with Nintendo and add DS-3DS games That would really make a $2300 flip phone sell lol

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 6 Tagen

Could be cool

Profilbild von Carey Phillips
Carey Phillipsvor 7 Tagen

That thing is going to break. $2300 is ridiculous 😂

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 7 Tagen

Every fold phone is ridiculous in my opinion. 😂

Profilbild von Carey Phillips
Carey Phillipsvor 7 Tagen

Yeah it’s too much.

Profilbild von kingduck
kingduckvor 6 Tagen

Definitely waiting for version 2 that will have Face ID lol

Profilbild von Big Tesla Bro
Big Tesla Brovor 7 Tagen

@TexasTSLA I’ll lyk you how it is when I get it

Profilbild von Mark Statkus
Mark Statkusvor 7 Tagen

The z fold 1TB $2600 so go higher

Profilbild von Dmitrii Repenek
Dmitrii Repenekvor 6 Tagen

Да ставьте уже цену как за новую Камри

Profilbild von Alex McDonald
Alex McDonaldvor 7 Tagen

No Face ID is an L

Profilbild von ShiningLightXL🇦🇺🦘🌏
ShiningLightXL🇦🇺🦘🌏vor 6 Tagen

It’s going to cost over 3200 in Australia Apple can fuck off 🖕

Profilbild von Andrew Krowczyk
Andrew Krowczykvor 7 Tagen

That's a lot!

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 7 Tagen

Heavy price tag. Could even be more. The leak might be wrong.

Profilbild von Yongseok Choi
Yongseok Choivor 7 Tagen

I recently purchased my new MacBook Pro 16-inch model for $3000. Now, iPhone Ultra pro? can match that price. It’s getting crazy out there!

Profilbild von 15SidedCube
15SidedCubevor 7 Tagen

I can get past the lack of faceID but no telephoto lens is a deal breaker. I can’t have my primary camera nerfed to that much of a degree

Profilbild von Cyber Bandit
Cyber Banditvor 6 Tagen

Why would they not include touch or Face ID? They have built all of their platforms around this security. Zero chance they just left it out

Profilbild von Peter Petrovic
Peter Petrovicvor 7 Tagen

Why $2300 and not $3200?

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 7 Tagen

Depends were you live. $2300-$2500 is the leaked plan. We will see what they bring.

Profilbild von Peter Petrovic
Peter Petrovicvor 7 Tagen

That’s a used car cost for a disposable.

Profilbild von barışcan(peace)
barışcan(peace)vor 4 Tagen

@CyberMikeOG 5000$ at Türkiye 🇹🇷

Profilbild von barışcan(peace)
barışcan(peace)vor 3 Tagen

@CyberMikeOG İ know 5000$ 256gb at Türkiye 🇹🇷

Profilbild von Peter Petrovic
Peter Petrovicvor 3 Tagen

@CyberMikeOG $3000 Canada. Nonsense!

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 3 Tagen

@Bar43780681 Crazy!!

Profilbild von RISK
RISKvor 6 Tagen

Pretty in line with other foldables in terms of price seems high but it would be a flex

Profilbild von Alastair
Alastairvor 6 Tagen

Cool; they made an iPad that bends in half

Profilbild von Matt
Mattvor 7 Tagen

I’ll never buy an iPhone without Face ID. Touch ID rarely worked for me

Profilbild von dweeder
dweedervor 7 Tagen

What is this trash?? What’s the point ?

Profilbild von MelusiedStheh 
MelusiedStheh vor 5 Tagen

At least it’s finally coming out. Hoping for more innovations in the coming years

Profilbild von Gustavo Guarnieri
Gustavo Guarnierivor 6 Tagen

I felt like I was already watching Apple’s Keynote

Profilbild von PHX | ESS | RM
PHX | ESS | RMvor 6 Tagen

It's nice to be able to move back to Apple from Android to have a foldable tablet. If you think these are foldable phones, you're not using them right or they're not for you.

Profilbild von Enrique Newman
Enrique Newmanvor 7 Tagen

Wait for version 2?

Profilbild von Travis Cook /unsupervised
Travis Cook /unsupervisedvor 7 Tagen

Does it still fit it your pocket?

Profilbild von ⭕️ CyberMike ⭕️
⭕️ CyberMike ⭕️vor 3 Tagen

Smaller that current generation iPhones when folded.

Profilbild von KerbalSpaceNut
KerbalSpaceNutvor 6 Tagen

No Face ID or zoom tho…,😭

Profilbild von Marto
Martovor 7 Tagen

Hard pass, sry

Profilbild von Nr99
Nr99vor 6 Tagen

Please a real black like the air!

Profilbild von BawBag
BawBagvor 6 Tagen

Show me your chips 🇮🇱

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During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. 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The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"

Aaliya

11,907 Aufrufe • vor 16 Tagen

Trapped between a locked door and a deadly drop. One mysterious drive, one desperate escape, and nowhere left to run. Created on seedance 2.5 Prompt: Ultra-photorealistic cinematic 30-second action-thriller set inside a modern upscale hotel room on a high floor at night. An adult professional woman in a practical dark jacket, trousers, and comfortable shoes discovers she is being pursued after securing a mysterious encrypted-looking USB drive inside her travel bag. 0–5s: Tight macro close-up of the USB drive on the hotel desk. She quickly grabs it, looks toward the door, places it inside her travel bag, and closes it. Three sudden knocks freeze her in place. 5–10s: Slow cinematic push toward the hotel door. A heavy knock follows as a muffled male voice says, “Open the door. We know you're inside.” Her expression shifts from confusion to fear. She whispers, “That's not possible,” then cautiously backs away. 10–15s: Extreme close-up of the door handle slowly turning downward. Realistic latch and lock sounds. Cut to her frightened face as she grabs the travel bag and rushes toward the balcony. 15–20s: She slides the glass balcony door open with both hands, physically overcoming the resistance of the track. Cool night air moves her hair and jacket naturally. Behind her, the hotel room door shakes violently from an impact. She steps carefully onto the balcony, maintaining realistic balance near the high ledge. 20–25s: Another powerful impact hits the hotel door. The lock and frame resist before the door finally swings inward naturally around its hinges. A partially visible silhouette appears in the doorway. Loose papers flutter from the sudden airflow as she moves farther onto the balcony. 25–30s: She reaches the railing and looks down at the city far below. She turns toward a neighboring balcony separated by a narrow gap, then looks back toward the approaching silhouette. She grips the railing tightly and whispers, “Think.” Dramatic exterior wide shot reveals the hotel façade, her balcony, and the neighboring balcony. Grounded movie realism, realistic human acting and biomechanics, accurate gravity, momentum, inertia, friction, balance, door mechanics, sliding glass movement, fabric motion, object weight, natural night lighting, restrained handheld cinematography, realistic depth of field, natural motion blur, practical-effects aesthetic, synchronized dialogue and sound design, distant city ambience, footsteps, breathing, door impacts, lock vibration, glass-door movement, and night wind. No superhero physics, no impossible jump, no falling, no teleportation, no floating objects, no exploding door, no broken glass without cause, no exaggerated wind, no robotic acting, no distorted anatomy, no changing face or clothing, no duplicated characters, no impossible camera movement, no CGI appearance, no blood, no gore, no text, no logos, no watermark. End with a hard cut to black at the peak of the cliffhanger..

Rshhad

11,599 Aufrufe • vor 1 Tag

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 Aufrufe • vor 27 Tagen

Made with Seedance 2.5 using 2 prompts (15s each) + manual stitching. PROMPT 1: ⬇️ 15 seconds, 16:9 horizontal, one continuous photorealistic viral smartphone shot. Absurd surreal comedy scene in a small indoor hotel pool. Realistic environment: tiled walls, fluorescent ceiling lights, metal pool ladders at the sides, pool depth markers, white plastic chairs, vending machines, and 6–8 normal-size spectators in swimwear standing around the pool, laughing, cheering, and filming on smartphones. A giant young sexy blonde woman in her early 20s is floating flat on her back in the pool. Her enormous head, neck, and upper shoulders float naturally on the water surface. Her face is almost horizontal, looking upward toward the ceiling. Wet slicked-back blonde hair spreads slightly in the water. She is exceptionally beautiful, youthful, glamorous, and highly photogenic, with blue eyes, glossy wet skin, and realistic pores. At the very first frame, a full-size normal middle-aged man in plaid swim trunks is already standing barefoot with BOTH FEET planted directly on the center of the giant woman’s forehead above her eyebrows. He is holding a white cup. The man is approximately 180 cm tall in the world of the scene. He is NOT miniature, NOT toy-sized, NOT dwarf-sized, NOT shrunken. His size, height, head size, and body proportions must match the men standing around the pool. He must also match the human scale of the pool ladders, chairs, and vending machines. Only the woman is gigantic. The man is NOT standing on a ladder, NOT standing on the pool edge, and NOT climbing down from anywhere. The pool ladders exist only in the background and never interact with him. The giant woman remains lying flat on her back throughout the scene. Her enormous face floats on the water while the full-size normal man stands clearly on top of her forehead. Do not make him grab her nose. ACTION: 0–3s: Wide poolside smartphone shot. The giant blonde woman floats flat on her back. The full-size normal 180 cm man is already balancing on her forehead with both feet. The crowd behind them laughs and films. She looks upward at him with amused, slightly confused eyes. 3–6s: The man moves quickly and awkwardly across her forehead, taking faster unsteady steps and windmilling his arms while trying not to fall. He should not move carefully or slowly. The crowd reacts louder. The phone camera does a slight shaky push-in. 6–9s: He slips suddenly and slides faster down the slope of her giant face toward her nose and mouth. His white cup flies out of his hand. Her eyes track him and her expression changes from amused confusion to surprised disbelief. 9–12s: She opens her mouth very wide in sudden surprise. He slides directly into the open mouth much faster, feet-first, with a more dramatic loss of balance. 12–15s: He falls completely into her open mouth and disappears fully inside. No part of him remains outside. She closes her mouth, blinks in shock, and the people around the pool erupt in cheers, laughter, raised hands, and excited phone filming. CAMERA / REALISM: One continuous viral smartphone shot from poolside, slightly handheld, natural framing, mild compression, realistic fluorescent indoor lighting, convincing wet skin, water reflections, and splashes. No cinematic grading. The impossible scale should still look weirdly believable: giant woman floating on the water + full-size normal 180 cm man standing on her face + normal-size crowd behind them. TONE: Funny, surreal, visually shocking, and energetic, but not horror. No gore, no blood, no violence, no body horror. CRITICAL NEGATIVES: NO man on ladder. NO man on pool edge. NO man climbing into frame. NO nose grabbing. NO miniature man. NO toy-sized man. NO dwarf-sized man. NO shrunken man. NO woman upright in the water. NO giant head standing vertically. NO scale changes. NO broken anatomy. NO extra limbs. NO glitchy transitions. ---- PROMPT 2 (with a screenshot of the man as a reference): ⬇️ 15 seconds, 16:9 horizontal Use the provided man as the reference identity. Keep his face, hairstyle, age, body type, and plaid swim trunks recognizable. He is the same man from the previous scene. Photorealistic absurd surreal comedy continuation. The man is rushing through a huge surreal internal tunnel inspired by a human colon/rectum, but presented like a bizarre water slide. The tunnel is fleshy, pinkish, wet, and organic-looking, with curved tubular walls, but it stays clean and surreal — no gore, no blood, no fecal content. Water rushes around him as if he is riding an impossible fleshy water slide. The man is visible in the frame for most of the sequence, sliding, spinning, yelling, and trying to hold on as he gets carried forward by the rushing water. The tunnel gradually opens into daylight. He shoots out of the end of the surreal organic slide into a bright real outdoor waterpark splash pool. Realistic sunny waterpark setting: colorful slides, shallow pool, splashing water, and a crowd of people cheering and clapping as he bursts out and lands in the water. He pops up from the splash, shocked but unharmed, while everyone applauds. CAMERA STYLE: cinematic but still realistic, smooth motion as if the camera follows him inside the tunnel, then a clean wide exterior shot for the final exit. Strong realism, good water physics, clear continuity, exciting but playful tone. Tone: surreal, hilarious, high-energy, impossible but convincing. Not disgusting, not gory, not sexual. More like a bizarre theme-park sequence. ACTION TIMING: - 0–4s: Inside the surreal organic tunnel, the man slides feet-first through the wet curved passage while splashing water rushes around him. - 4–8s: He tumbles and spins through the fleshy water-slide tunnel, still clearly visible, yelling and flailing. - 8–11s: The tunnel brightens ahead as daylight appears. He accelerates toward the opening. - 11–15s: He blasts out into a real outdoor waterpark pool in a huge splash, the crowd cheers and claps, and he surfaces looking stunned but okay. Important: preserve the man’s identity from the reference. Keep him visible for most of the interior ride. Make the internal tunnel feel like a surreal organic water slide, not graphic anatomy. No gore, no fecal imagery, no body horror, no broken limbs, no glitching. #AIVideo

Alpha Mom

93,672 Aufrufe • vor 26 Tagen

Product video created using Director on OpenArt Seedance and GPT prompt: Prompt: Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, makeup, skin tone, body proportions, facial proportions, and overall appearance consistently throughout the entire video. Maintain the same natural beauty look while changing her outfit to a fitted white athletic crop top, high-waisted black leggings, white premium sneakers, and a sleek black smartwatch. Keep realistic hand anatomy, natural expressions, and consistent character identity in every shot. Create a 25-second premium wireless earbuds commercial set in a futuristic modern lifestyle environment with clean architecture, warm natural lighting, premium interiors, and cinematic product cinematography. The earbuds are the hero product while the woman naturally interacts with them throughout the film. Ultra-realistic luxury technology advertisement, commercial-grade production, photorealistic 4K HDR. The video opens with the woman confidently walking through a bright modern atrium while holding the closed wireless earbuds charging case beside her face. She smiles naturally toward the camera before flipping the case open to reveal the earbuds resting inside. Macro cinematic shots showcase the charging case from multiple angles. The glossy finish, precision hinge, metallic accents, LED charging indicator, and premium craftsmanship are highlighted as soft reflections glide across the surface. She gently removes both earbuds and places them into her ears. Extreme close-ups capture the precise fit, realistic skin texture, and premium finish while the camera slowly circles around her profile. As the music begins, she closes her eyes for a moment and smiles naturally. Cinematic slow-motion captures subtle hair movement as she enjoys the immersive sound experience before confidently continuing her walk through the modern space. The environment transitions into an outdoor urban plaza during golden hour. She walks confidently through tree-lined streets, cafés, and contemporary architecture while listening to music. Tracking shots follow her naturally as the earbuds remain securely in place. She pauses beside a glass building and taps one earbud to answer a phone call. Natural expressions and clean close-ups emphasize effortless touch controls, crystal-clear communication, and premium smart functionality. The camera cuts to elegant product hero shots. The earbuds float against a soft premium background while rotating slowly. Macro cinematography reveals the speaker mesh, charging contacts, sculpted curves, premium materials, and subtle reflections. She reaches a rooftop terrace overlooking the city skyline during sunset. Removing one earbud, she smiles toward the camera while holding the charging case confidently beside her face. Warm golden light beautifully illuminates her features and the product. The film concludes with a dramatic hero shot of both earbuds floating beside the charging case against a luxurious minimalist background. Soft cinematic lighting, elegant reflections, and slow camera movement highlight the premium craftsmanship before fading to black. Style: Premium luxury technology commercial, cinematic product cinematography, elegant handheld and gimbal camera movement, shallow depth of field, macro product shots, realistic reflections, luxury lighting, photorealistic skin textures, natural body movement, premium commercial color grading, ultra-detailed, realistic physics, 4K HDR, 25fps. Negative Prompt: No text, no subtitles, no logos, no watermarks, no duplicate people, no distorted hands, no deformed anatomy, no extra fingers, no AI artifacts, no cartoon style, no oversaturated colors, no flickering, no low resolution. #director #openart

Smiling Khan

23,527 Aufrufe • vor 1 Monat

Night Out Vlogger style Seedance 2.5 on Magnific Person from img 1 face and hairstyle must match Img1 completely. Do not transform her into a different person. Ignore Image 1 outfit, gym, backpack, pose, background, and text. Even if image quality is rough, facial features remain clearly defined. Same woman throughout, late 20s, curly dark ponytail that becomes messier as the night goes on. She is with ONE friend the entire video. Friend is the woman from Img2 Her face, hairstyle, hair color, facial features, and identity must remain consistent throughout. Ignore Image 2's original outfit, background, pose, and setting. Friend is mid-20s, straight dirty-blonde hair, natural everyday appearance, not overly model-like. Give her a modern casual going-out outfit instead of copying Image 2: contemporary fitted top or ribbed tank, stylish denim or lightweight jacket, relaxed straight/wide-leg jeans, small shoulder/crossbody bag, simple jewelry, clean white sneakers. Affordable, believable, current fashion. No luxury brands, sequins, heels, or designer styling. She leans into the selfie, talks over the main woman, laughs, looks around, checks her phone, and does not pose. Main woman wears modern casual going-out clothes: fitted black top/tank, relaxed straight-leg jeans, gold hoops, small black shoulder bag, white sneakers, with a lightweight black jacket added outside. Outfit should look current, attractive, realistic and affordable, not copied from Image 1. 16:9 landscape. Front-facing selfie the entire time. She never puts the phone down. No rear camera, no tripod, no propped shots, no friend holding the camera. Entire video has an old iPhone low-quality everyday-vlog look. Constant heavy noise and compression artifacts throughout. Setting: Real Saturday night in Columbus, Ohio. Mid-size Midwest US city, brick bar street, cheap bars, small club, late-night taco counter, normal Uber. No landmarks, skyline money shots, luxury nightlife, or readable text/signage/branding. Timeline: 0–3s: Bedroom selfie, arm's length. Main woman finishes lipstick, friend from Image 2 sits on the bed behind her. Main woman: "okay we're going out, I wasn't gonna but whatever. " Friend: "you were gonna. " 3–6s: Bathroom selfie, both visible in mirror behind phone. Main woman adjusts her top and hair, friend laughs and grabs jackets. 6–9s: Walking selfie on packed brick bar street. Friend beside her. Main woman: "this is it, it's already chaos. " Friend looks toward a group of guys. 9–12s: Cheap bar selfie, both holding inexpensive drinks and clinking. Main woman: "we just got here and it's packed. " Friend yells something unintelligible. 12–15s: Club bathroom line selfie, harsh fluorescent lighting. Main woman: "we can't even get in the bathroom. " Friend rolls her eyes. 15–18s: Tiny club selfie, cheap colorful lights. They dance casually. Friend accidentally bumps the phone. Main woman laughs. No choreography or posing. 18–21s: Outside around 3am, jackets on, cold, hair messy. Main woman: "I need food immediately. " Friend: "tacos. Now. " 21–24s: Late-night taco counter selfie, ugly fluorescent lighting. Both eat with their hands. Main woman: "best decision of the night. " Friend nods aggressively while eating. 24–27s: Uber back-seat selfie, both exhausted, city lights through window. Main woman: "don't talk to me until tomorrow. " Friend already on her phone: "you said that last Saturday. " Main woman gives the camera a defeated look. 27–30s: Apartment hallway selfie. Both sitting on floor, shoes kicked off, wrecked hair and tired faces. Main woman: "we're dead. Bye. " Friend: "literally. " Before the phone stops recording, friend suddenly says: "Wait. . . Did we lock the Uber door?" Both freeze and stare at each other. Main woman slowly looks into camera. CUT TO BLACK. Funny accidental ending. Inspired by TechHalla

ANKIT PATEL 🇮🇳 | AI

19,030 Aufrufe • vor 16 Tagen

Seedance 2.5 Prompt: Create a trendy, ultra-realistic 30-second fashion reel in true 16:9 landscape, featuring a stylish Gen Z female influencer demonstrating 10 ways to style the same oversized pastel-yellow button-up shirt. Opening — 0–3s: In a bright, minimalist luxury apartment, she holds the shirt on a hanger, looks directly into the camera, smiles naturally, and clearly says: “One shirt, ten ways to style.” Show matching on-screen text: “1 Shirt 🤍 10 Ways to Style.” Her spoken words must be accurate, natural, clearly audible, and perfectly synchronized with her lip movements. Main Montage — 3–27s: Use energetic whip pans, spin transitions, snap cuts, and match cuts to quickly showcase: 1. Casual Chic — open over a white crop top with wide-leg jeans. 2. Front Knot — tied at the waist with denim. 3. Off Shoulder — relaxed styling with sunglasses. 4. Tucked In — tucked into tailored white trousers with a belt. 5. Summer Casual — open with denim shorts and iced coffee. 6. Belted Chic — fully buttoned with a slim belt and black tailored trousers. 7. Layered Dress — open over a fitted white midi dress. 8. French Tuck — half-buttoned with rolled sleeves and relaxed jeans. 9. Effortless Layers — draped over the shoulders with white linen trousers and a black tank. 10. Monochrome Minimal — buttoned with cream wide-leg trousers. Include confident walking, posing, spinning, adjusting the collar and sleeves, fixing sunglasses, holding coffee, checking the mirror, and natural smiling. Mix full-body, medium, and detailed close-up shots. Look & Camera: Bright natural daylight, warm minimalist interiors, luxury Pinterest aesthetic, cinematic handheld movement, shallow depth of field, realistic fabric physics, natural hair and skin movement, premium editorial fashion photography, smooth transitions, ultra-realistic 4K HDR. Ending — 27–30s: Finish with a rapid, elegant reveal of all 10 looks surrounding the final outfit. On-screen text: “10 Looks. 1 Shirt. 🤍 Which one’s your favorite?” No additional dialogue or narration after the opening line. Keep the pacing polished, fashionable, energetic, and suitable for a viral Instagram reel.

Saul Goodman

21,314 Aufrufe • vor 10 Tagen

Created With Grok Imagine. ●. The Ring World - Stillness, silence 1. Nebula Birthplace - Star formation 2. The Pillars - Birth, creation 3. The Storm - Isolation, turbulence 4. The Wanderer - Eternal journey 5. The Threshold - Edge of reality 6. The Collision - Time meaningless 7. The Abyss - Forever stares back 8. The Pale Blue Dot - Home grok imagine prompts used: [ { "id": 0, "title": "The Ring World", "prompt": "A gas giant's rings stretching to infinity, seen edge-on as razor-thin lines of pale gold and silver ice extending beyond comprehension into the void. The planet itself is a massive sphere of muted amber and slate grey storms, half in shadow, half catching distant starlight. The rings cast a whisper-thin shadow band across the planet's face. Everything floats in absolute silence and stillness against crushing black emptiness. A single moon, small and pale, drifts in the middle distance. The scale is vertigo-inducing - the rings could wrap around everything you've ever known. Cinematic composition, extreme wide shot, deep atmospheric blacks, soft diffused lighting, melancholic and vast, jewel-tone highlights on ring particles catching light, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 1, "title": "Nebula Birthplace", "prompt": "A breathtaking view of the Carina Nebula's star-forming pillars, towering columns of cosmic dust and hydrogen gas illuminated by the fierce ultraviolet radiation of newborn blue-white stars. The pillars rise like ancient cathedral spires against a backdrop of deep crimson and burnt orange gas clouds, with delicate tendrils of teal and magenta plasma curling at their edges. Thousands of pinpoint stars scatter across the scene like diamond dust, while a brilliant central cluster of young O-type stars blazes with intense blue-white light, casting dramatic shadows through the translucent dust lanes. Wispy shock fronts of superheated gas glow in electric blue where stellar winds collide with denser material. Ultra high resolution, photorealistic astrophotography style, Hubble Space Telescope quality." }, { "id": 2, "title": "The Pillars", "prompt": "Colossal pillars of cosmic dust rising from an infinite void, monolithic towers of deep indigo and midnight blue stretching impossibly tall against the blackness of space. Edges glow with ethereal bioluminescent teal and soft magenta where newborn stars ignite within, light bleeding through translucent layers of gas like lanterns behind silk. Thousands of stars scattered like crushed diamonds across absolute darkness. Scale is incomprehensible - each pillar contains worlds. Soft god rays pierce through gaps in the dust. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into the void, jewel-tone luminosity, 8K, anamorphic lens quality, awe-inspiring cosmic sublime aesthetic." }, { "id": 3, "title": "The Storm", "prompt": "A massive planetary storm seen from orbit, a swirling vortex of deep sapphire blue and electric teal gases spinning slowly in the darkness. The eye of the storm reveals darker layers beneath - navy, cobalt, almost black. High altitude cloud wisps of pale white ice crystals streak across the surface at impossible speeds, frozen in this moment. The planet's limb curves away into shadow, a thin bright arc of atmospheric haze glowing where day meets night. Everything else is void - pure crushing blackness surrounding this lonely turbulent world. Cinematic close orbit view, moody and isolated, deep rich blues against absolute black, soft diffused lighting from distant sun, atmospheric and melancholic, 8K, anamorphic lens quality, cosmic sublime aesthetic." }, { "id": 4, "title": "The Wanderer", "prompt": "A comet drifting through the inner solar system, its ancient dark nucleus trailing twin tails that stretch across the entire frame and beyond. The dust tail sweeps in a graceful arc of pale gold and cream, while the ion tail streams straight back in ghostly electric blue, both dissolving into the infinite black. The nucleus itself is a small dark heart of primordial ice, barely visible, jets of sublimating gas creating a soft teal-white coma glow around it. It has traveled for billions of years through absolute nothing to reach this moment. Loneliness incarnate. Cinematic composition, sense of vast journey and isolation, soft ethereal glow against crushing void, muted jewel tones, atmospheric and melancholic, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 5, "title": "The Threshold", "prompt": "The event horizon of a supermassive black hole, reality distorting at the edge of existence. A thin brilliant ring of superheated gas - white-hot fading to deep amber and crimson - orbits at nearly light speed, smeared into a perfect glowing halo by gravitational lensing. Behind it, stars are warped and duplicated, stretched into arcs and rings around the perfect circular darkness at the center. The black hole itself is absence - not black but nothing, a hole in the universe where light falls forever. The accretion disk reflects faintly in the gravitationally mirrored space above and below. Staring into infinity. Cinematic composition, reality-bending distortion, warm accretion glow against absolute crushing void, terrifying and beautiful, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 6, "title": "The Collision", "prompt": "Two galaxies passing through each other in slow gravitational embrace, their spiral arms stretched and distorted into sweeping tidal ribbons of light. Stars by the billions flow like luminous rivers between the merging cores - streams of pale gold, soft blue, and distant white pulling across hundreds of thousands of light-years of void. Where the cores approach, intense knots of newborn stars blaze in clusters of soft cyan and magenta. Dark dust lanes create dramatic silhouettes against the glowing stellar streams. The interaction has been happening for millions of years and will continue for millions more. Time is meaningless at this scale. Cinematic extreme wide shot, incomprehensible scale, soft ethereal luminosity, jewel tones against absolute black void, 8K, anamorphic, cosmic sublime aesthetic." }, { "id": 7, "title": "The Abyss", "prompt": "A vast cosmic void stretching infinitely in all directions, an endless expanse of deep black punctuated by distant pinpricks of starlight. In the foreground, a swirling nebula of ethereal gas and dust glows softly in shades of violet, indigo, and midnight blue, illuminated from within by the faint light of newborn stars. Wisps of iridescent teal and magenta drift through the darkness like ghostly tendrils, creating a sense of depth and mystery. The scale is incomprehensible - this is a place where entire galaxies could fit within the frame. You are small. You are nothing. You are staring into forever and forever stares back. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into infinite void, soft ethereal bioluminescence, jewel-tone nebula glow against absolute darkness, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 8, "title": "The Pale Blue Dot", "prompt": "Earth seen from four billion miles away, a tiny pale blue-white speck barely visible against the absolute black void of deep space. No detail, no continents, no clouds - just a faint luminous point of soft cyan light, smaller than a grain of sand, floating in endless nothing. The frame is almost entirely pure black emptiness with the tiny distant Earth off-center, barely there, almost lost. A subtle scattered band of faint light crosses the frame diagonally - ancient sunlight diffused through interplanetary dust. The loneliness is overwhelming. The fragility is heartbreaking. Everything that ever lived, loved, or mattered exists on that barely-visible point of light. Minimalist composition, extreme negative space, 90% pure black void, tiny distant pale blue dot, Voyager 1 perspective, melancholic and profound, 8K, anamorphic lens, cosmic sublime aesthetic." } ]

tetsuo

714,269 Aufrufe • vor 8 Monaten

Seedance 2.5 is incredible It can take you to any city in the world. Xin chào Việt Nam 🇻🇳 It feels like I actually traveled to Hanoi, Vietnam! 👇Feel free to add any city you’d like to visit to this prompt. HANOI TRAVEL VLOG — 30 SEC No reference image. The woman below is described in words and must be built from the text alone. SUBJECT: one Korean woman, early 20s, the only person the film follows. Small oval face with a soft jawline, large round eyes with double lids, a small straight nose, full coral-red lips, fair skin. Black wavy hair tied low at the nape and pulled forward over one shoulder, with loose strands left at the temples. A small gold hoop in each ear. Real Korean skin texture with visible pores — no doll-like AI smoothness, no beauty filter. The face established in the first shot is repeated exactly in every following shot: same features, same hair, same colour. She never morphs into a different person and no lookalike appears. OUTFIT (identical throughout): burgundy ribbed knit halter top, cream high-waist flared trousers, tan leather belt with a gold buckle, burgundy platform heeled sandals, a thin gold bracelet on one wrist. There is no changing shot. CAMERA: she is filming herself on her own phone. Most shots are selfies with her arm extended; objects and food are shot by turning the phone toward them. 16:9 landscape throughout, no black bars. 26mm phone lens, deep focus, neutral iPhone colour, handheld jolt on every step, autofocus landing a beat late, exposure lagging when she moves from bright to dark, a fingerprint smudge bleeding beside strong lights. No cinematic grading, no studio lighting, no glow fx. Background people stay out of focus and nobody looks at the camera for long. DIALOGUE: lines are short and land in one breath. An interjection plus one short sentence is fine, but never two complete sentences strung together. There is breath between them and they are never rushed into each other. Punctuation is used once — no doubled question marks or exclamation marks. The two Vietnamese greetings are not fluent — just phrases she has picked up. (0:00–0:02) — Hotel window, Hanoi morning reveal. Selfie, low angle. She shoves the curtain sideways and narrow tube houses under bundled cables open up behind her. The window blows out white, then the exposure catches up. Bright grin. Dialogue: "Xin chào~ 하노이 왔다!" Transition: Hard cut on beat (0:02–0:04) — Old Quarter junction, a river of motorbikes. Selfie, stepping out between the bikes. She swings the phone to her face while a stream of helmets and conical hats flows behind her, horns overlapping. Overcast daylight, deep focus. Dialogue: "이걸 어떻게 건너?" Transition: Fast cut on beat (0:04–0:06) — Street café. Selfie, arm short. She pushes a glass with condensed milk settled at the bottom toward the lens until it fills half the frame, eyebrows raised. Low backless stools, a stained yellow French wall behind. Transition: Snap cut (0:06–0:08) — Alley bánh mì cart. Insert, phone pointed down at her hands. A baguette split over the charcoal is handed to her in newspaper and she peels the paper down with her fingertips. Steam rises and a few sprigs of coriander stick out of the split. White tube light on the cart, a parked motorbike beside it. Transition: Cut on natural movement (0:08–0:09.75) — Huc Bridge reveal. She raises the phone from her face and tilts it up until the red wooden bridge crossing the lake fills the frame. Natural daylight, sky blown out behind a banyan tree. Her mouth opens slightly. Transition: Soft cut mid-upward motion (0:09.75–0:12) — Train Street café. Selfie. On a low stool beside the track she is holding a coffee glass in both hands; hearing it come she sets the glass down and pulls her stool back against the wall. She looks at the lens, then sideways, and her face collapses into a laugh as a train comes out of the far end of the lane and passes an arm's length away. Dialogue: "헐 진짜 온닷ㅋㅋㅋㅋ" Transition: Cut on the end of the laugh (0:12–0:13.75) — Old Quarter, the 36 streets. Follow from behind, phone low. She shoulders through the packed lane with the bánh mì, finishes the last piece and folds the newspaper away. Unlit lanterns and signs stacked tight overhead, people pushing past. Overcast afternoon light. Transition: Cut on forward movement (0:13.75–0:15.5) — Back seat of a cyclo. Her hands are empty now — the phone low at knee height in one hand, the rail in the other. The street slides past under the folded canopy, the driver's back swaying in front. She looks out, not at the lens. The music drops a beat, leaving only wheels and horns. Transition: Snap cut (0:15.5–0:18) — Phở shop. From here the image is camcorder: blooming tape, light noise, late focus. The camera is fixed at eye level across the counter, no phone or camera visible in frame. Medium. She sits down on a low blue stool under a hand-painted Phở sign. The owner sets a steaming bowl of beef phở down — thin-sliced beef, rice noodles, spring onion, a side plate of sprouts and basil. Dialogue: "쌀국수! 이거 먹으러 왔어~" Transition: Cut on the bowl landing (0:18–0:20) — Lifting the noodles. Macro, phone lowered to the bowl, shallow focus. She draws rice noodles up out of the clear broth with her chopsticks, steam climbing. The steam crosses the lens and one side of the frame hazes over and clears. Only the broth and the slurping at the next stool. Transition: Cut with the noodles still raised (0:20–0:22) — First mouthful. Selfie, handheld. She pulls in a big mouthful, closes her eyes and opens them. Her shoulders drop and she nods once at the lens. Just after sundown, the white fluorescent light of the shop. Dialogue: "미쳤다 진짜." Transition: Cut where her face softens (0:22–0:23.5) — The broth. Selfie, close. She lifts the bowl in both hands, tips it back, sets it down and lets out a breath. The lens fogs with steam. Sound only. Transition: Cut back to phone image quality (0:23.5–0:27) — Tạ Hiện beer street ★signature. She steps into the narrow lane on an extended-arm selfie, walking between the rows of low plastic stools set out on the ground, and slowly lifts her head. Red, yellow and green lanterns hung low across the lane slide over her face and the same colours bleed across the wet ground. Rack focus — her face sharp, the signs behind spreading. Practical light only, no glow. 60% slow motion. Transition: Soft cut with her head still up (0:27–0:30) — Long Biên Bridge, night reveal. Close selfie → arm extends → the river and the Hanoi night open up below. Wind pushes her bangs across her eyes once. Natural night phone exposure. Dialogue: "그럼 모두 tạm biệt~!" She waves broadly at the camera and that same hand covers the lens as the frame goes dark. AUDIO: real location sound over the music. Unbroken motorbike horns and engines, stools scraping the pavement, charcoal sizzling, a train horn and rails, cyclo wheels, broth boiling and chopsticks, slurping at the next stool, night street noise, wind. Her muttering is natural Korean. CONSISTENCY: the same face, the same hair and the same clothes in every shot. Hands and chopsticks are natural with no smeared fingers. No text, no subtitles, no logo and no watermark on screen. No filming equipment is visible in frame. FINALLY: this has to look like footage a real person shot on a phone. Nothing about the face, the skin or the movement should read as AI-generated. Every line of dialogue is enunciated clearly, syllable by syllable — no slurring, no swallowed syllables, no clipped word endings, and the tense consonants and final consonants of Korean are pronounced accurately. Expressions and gestures are not performed; they are what the moment would naturally produce.

MagicAI

22,627 Aufrufe • vor 27 Tagen

Meme Vlog using Seedance 2.5 Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. The vlogger's phone IS the camera — it never appears on screen, and she never holds a second phone or any other device. Spontaneous amateur vlog energy. 0:00–0:05 — Front camera, selfie mode: the vlogger >> films herself at arm's length while walking down the sidewalk, her face a touch overexposed by daylight. She starts excitedly: "Guys! I just—" — behind her shoulder, a couple >>walking the opposite way passes right beside her; a beat later the guy stops and turns back, head over his shoulder, staring straight at her — the exact reference pose — while his girlfriend , gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau; his stare reads odd and unreadable, not flirty. She catches them in her own selfie frame, cuts off mid-word and reacts instantly, without breaking stride: "...What was that?" — and keeps walking. 0:05–0:09 — Same take, no cut: she flips the phone to the rear camera and whips it to the RIGHT — a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, a small speaker beside it looping a soft instrumental backing. He leans in, takes a breath to sing the first line — and bursts out laughing instead, turning away and covering his mouth, then waves it off and resets toward the mic. The vlogger laughs quietly behind the camera. 0:09–0:13 — Without cutting, the camera slides and zooms further RIGHT along the same café terrace: at one table a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in, holding her back. Quick punch-in digital zoom to the opposite table: the cat >> sits upright behind a plate of salad, perfectly calm and unimpressed. Autofocus hunts for a split second on the zoom. 0:13–0:17 — Without cutting, the camera TILTS UP the facade directly above the café awning: a second-floor open window of the same brick building, a fire escape beside it. Quick digital zoom in — the image gets slightly softer and shakier — the dog >> sits in the window with its eyes closed, chin lifted, blissfully soaking up the warm golden sunlight hitting the facade. She melts behind the camera: "Awww, look at him..." 0:17–0:21 — The camera drops back down and swings FORWARD — a few steps ahead of her on the same sidewalk stands a couple in office attire, mid-argument. The guy >> leans in toward the woman, talking heatedly, both hands raised mid-gesture; the woman >> doesn't even glance at him — she smiles down at the phone in her hand, her other arm extended toward his face, flat palm raised in a firm "stop, talk to the hand" gesture, exactly matching the reference poses. The vlogger steps around them, the camera holding on the pair as she half-laughs: "What is going on?" 0:21–0:25 — Same take: she whips the camera to the LEFT, across the two-lane road — a sedan parked at the opposite curb. Shaky digital zoom onto the driver's window: a man >> sits behind the wheel, one hand draped over the top of the steering wheel, staring straight into the lens with a heavy, unblinking suspicious look, his eyes slowly tracking her as she passes. She says flatly: "...What is his problem?" 0:25–0:30 — The camera swings back forward: ahead at the corner of the block, a guy >> stands in profile by a red brick wall, heatedly arguing with the wall itself — both hands gesturing, leaning in, making his case to the bricks like a real debate. Quick shaky digital zoom toward him as she approaches, his agitated voice rising under the street noise. She flips to the front camera — her speechless, wide-eyed face fills the frame — then flips back to the rear camera: he's still going at it. The take ends mid-argument, no cut.

Oogie

45,323 Aufrufe • vor 14 Tagen