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💿 ORCHARDS (single) 🎙️NAVY BLUE (PROD. CHILD ACTOR) 📅 TBA

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🇵🇸Mr. lil harlow & the big steppers⛷️

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22,996 Aufrufe • vor 9 Monaten •via X (Twitter)

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Wiki announced ‘Ancient History,’ his first solo album in 7 years. The project is set to release June 12. ⁠ ⁠ According to a press release, the album centers on New York City parks as everyday infrastructure—“places to meet friends, write, think, observe people, and briefly step outside the rush of the city without ever really leaving it.” The lead single "Park" is out now and sets the tone.⁠ ⁠ patrick WIKI morales worked with a range of producers including The Alchemist, Navy Blue, Nick Hakim, Dom Maker (Mount Kimbie), and dj blackpower (MIKE). The 14-track project features NYC artists Your Old Droog, duendita, and Salimata. Wiki also tapped two NYC artists to design his cover art: Esteban Jefferson and an alternate cover from Barry Blitt⁠. ⁠ ‘Ancient History’ is Wiki's first solo full-length project since 2019’s ‘Oofie.’ But he’s been quite active in recent years, releasing collaborative projects with Tony Seltzer, MIKE & The Alchemist, Navy Blue, NAH, and Subjxct5.
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tetsuo

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Seedance V2 prompt: visual_anchor: style: "Delicate oil canvas texture with thick-painted impasto brushwork. High-fidelity 2D digital anime aesthetic mixed with Triple-A CG realism. Low-saturation tones, cinematic haziness, and sophisticated lighting." character_description: "A young woman with a refined, doll-like face, large expressive eyes, and light brown hair styled in twin buns adorned with pink cherry blossoms and navy blue ribbons. She wears a Victorian-inspired maid outfit: a white lace blouse with sheer sleeves, a navy blue corsellette with gold lace-up detailing, and an embroidered apron over a ruffled skirt. White lace-top stockings and navy blue pumps." mecha_form: "The transformation wraps her in sleek, dark blued-steel armor accented with gold filigree and glowing red energy channels. The armor design is intricate and asymmetrical, maintaining her silhouette while adding aggressive mechanical edges." weapon_description: "A massive 'Sapphire Blossom' Saber-Staff. It features a long, blued-steel pole-arm body with a sharp saber blade at the tip. The hilt is ornate, decorated with pink enamel cherry blossoms and a large, glowing teardrop sapphire gem at the crossguard." environment_specs: setting: "Infinite high-altitude sky during peak daylight. Rapidly moving cloud layers and high-velocity air currents. Heavy motion blur, Tyndall effect (god rays), and floating red energy particles." camera: "A single, seamless long take. Panavision C-Series lens (35mm, f4) aesthetic. IMAX film grain. Dramatic camera shake during the high-speed descent to emphasize g-force." timeline_script: 00-02s: "Vertical free-fall. The character descends through the clouds with eyes closed, hair and ribbons whipped violently by the wind. Red electrical arcs dance across her skin as dark mecha plates begin to converge from the periphery, falling in sync with her body." 02-04s: "Lower Body Assembly. Camera glides to her legs. Large blued-steel mecha plates snap and lock onto her thighs and shins over her white stockings. Intricate mechanical parts extend and interlock with a heavy, metallic 'clack' and red sparks." 04-06s: "Torso Assembly. Camera tracks upward. A mechanical chest plate slams into place, locking over her embroidered apron. Asymmetrical armor components ripple outward from her sternum, snapping shut with fluid mechanical precision against the howling wind." 06-08s: "Shoulder & Arm Assembly. Dual shoulder pauldrons lock into place simultaneously with a heavy metallic impact. Mechanical components slide down her sheer sleeves, encasing her arms in blued-steel plating. Her eyes remain tightly shut." 08-10s: "Head Transformation. Tight push-in on her face. Fine mechanical segments extend from behind her ears, interlocking across her forehead and jaw. A sleek mechanical visor slides shut over her eyes, locking with a sharp red glow at the moment of contact." 10-13s: "The Stall & Pose. Character performs a 360-degree mid-air spin to cancel her downward momentum. She hovers in a low-angle hero shot. She draws the Sapphire Blossom Saber-Staff from her back with a flourish, pointing the blade at the lens. Red light erupts from the sapphire gem. A massive circular shockwave震散s the surrounding clouds. Violent camera shake." technical_execution: physics: "Realistic inertia and weight. Mechanical parts have visible thickness and collision. Smooth, non-floaty body mechanics." audio_profile: "Environmental SFX only: wind shear, mechanical locking, electrical hums, and the 'thump' of the shockwave. No BGM." negative_prompt: "Western architecture, text watermarks, distorted limbs, extra fingers, blurry facial features, low-quality VFX, choppy frame transitions."
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Seedance V2 prompt: visual_anchor: style: "Delicate oil canvas texture with thick-painted impasto brushwork. High-fidelity 2D digital anime aesthetic mixed with Triple-A CG realism. Low-saturation tones, cinematic haziness, and sophisticated lighting." character_description: "A young woman with a refined, doll-like face, large expressive eyes, and light brown hair styled in twin buns adorned with pink cherry blossoms and navy blue ribbons. She wears a Victorian-inspired maid outfit: a white lace blouse with sheer sleeves, a navy blue corsellette with gold lace-up detailing, and an embroidered apron over a ruffled skirt. White lace-top stockings and navy blue pumps." mecha_form: "The transformation wraps her in sleek, dark blued-steel armor accented with gold filigree and glowing red energy channels. The armor design is intricate and asymmetrical, maintaining her silhouette while adding aggressive mechanical edges." weapon_description: "A massive 'Sapphire Blossom' Saber-Staff. It features a long, blued-steel pole-arm body with a sharp saber blade at the tip. The hilt is ornate, decorated with pink enamel cherry blossoms and a large, glowing teardrop sapphire gem at the crossguard." environment_specs: setting: "Infinite high-altitude sky during peak daylight. Rapidly moving cloud layers and high-velocity air currents. Heavy motion blur, Tyndall effect (god rays), and floating red energy particles." camera: "A single, seamless long take. Panavision C-Series lens (35mm, f4) aesthetic. IMAX film grain. Dramatic camera shake during the high-speed descent to emphasize g-force." timeline_script: 00-02s: "Vertical free-fall. The character descends through the clouds with eyes closed, hair and ribbons whipped violently by the wind. Red electrical arcs dance across her skin as dark mecha plates begin to converge from the periphery, falling in sync with her body." 02-04s: "Lower Body Assembly. Camera glides to her legs. Large blued-steel mecha plates snap and lock onto her thighs and shins over her white stockings. Intricate mechanical parts extend and interlock with a heavy, metallic 'clack' and red sparks." 04-06s: "Torso Assembly. Camera tracks upward. A mechanical chest plate slams into place, locking over her embroidered apron. Asymmetrical armor components ripple outward from her sternum, snapping shut with fluid mechanical precision against the howling wind." 06-08s: "Shoulder & Arm Assembly. Dual shoulder pauldrons lock into place simultaneously with a heavy metallic impact. Mechanical components slide down her sheer sleeves, encasing her arms in blued-steel plating. Her eyes remain tightly shut." 08-10s: "Head Transformation. Tight push-in on her face. Fine mechanical segments extend from behind her ears, interlocking across her forehead and jaw. A sleek mechanical visor slides shut over her eyes, locking with a sharp red glow at the moment of contact." 10-13s: "The Stall & Pose. Character performs a 360-degree mid-air spin to cancel her downward momentum. She hovers in a low-angle hero shot. She draws the Sapphire Blossom Saber-Staff from her back with a flourish, pointing the blade at the lens. Red light erupts from the sapphire gem. A massive circular shockwave震散s the surrounding clouds. Violent camera shake." technical_execution: physics: "Realistic inertia and weight. Mechanical parts have visible thickness and collision. Smooth, non-floaty body mechanics." audio_profile: "Environmental SFX only: wind shear, mechanical locking, electrical hums, and the 'thump' of the shockwave. No BGM." negative_prompt: "Western architecture, text watermarks, distorted limbs, extra fingers, blurry facial features, low-quality VFX, choppy frame transitions."

Emily

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Zara

10,356 Aufrufe • vor 3 Monaten

Seedance 2.0 on SocialSight Prompt: A single continuous 15-second cinematic long shot inside a sterile, dimly lit public restroom. White subway tiles, large wall mirror, white ceramic sink, flickering fluorescent overhead lights, wet reflective floor. [0:00–0:02] Medium shot. A sophisticated woman in @/image1 with sharp green eyes, bold dark brows, and deep red lips - dressed in a tailored matte black suit and navy silk blouse - washes her hands at the sink, calm and composed, eyes locked on her reflection in the mirror. [0:02–0:04] In the mirror's reflection, a broad-shouldered assassin in a dark charcoal tactical suit bursts from a stall and locks a chokehold around her from behind. Camera subtly pushes in. Both figures slam into the tiled wall. Strained expressions, desperate struggle. [0:04–0:06] She drives her elbow back hard, breaks free, spins and seizes the assassin - camera pans fluidly - executing a powerful Judo shoulder throw that launches the attacker into a metal stall door with crushing impact. Debris and shadows scatter under flickering lights. [0:06–0:09] Camera drops low, tracks laterally through the brawl - rapid punches, parries, blocks - she slips a strike and counters with a devastating blow. Realistic motion blur, gritty handheld energy, sharp focus on her determined green eyes and gritted red lips. [0:09–0:11] Camera swings wide then CRASHES close - she seizes the assassin's head and drives it into the mirror with full force. Ultra slow-motion: thousands of glass shards explode toward the lens, a massive spiderweb crack blooms across the mirror surface. High contrast, visceral impact, dramatic light burst. [0:11–0:13] Slow camera pull-back. She stands tall over the unconscious assassin on the wet restroom floor. She coolly adjusts her silk blouse, straightens her blazer. Her fractured reflection multiplied across broken mirror shards. Cool-toned cinematic grade. [0:13–0:15] Extreme close-up profile. She produces a white handkerchief, wipes a single drop of blood from the corner of her red lips, takes one final look at her distorted cracked reflection - then walks out of frame. Camera lingers on the shattered mirror. Fade to black. Style: Style: Photorealistic, 4K cinematic, John Wick-inspired gritty elegance, cool blue-grey color grade, shallow depth of field, motivated practical lighting from flickering fluorescents, continuous fluid camera movement throughout. Walk-inspired gritty elegance, cool blue-grey color grade, shallow depth of field, motivated practical lighting from flickering fluorescents, continuous
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Seedance 2.0 on SocialSight Prompt: A single continuous 15-second cinematic long shot inside a sterile, dimly lit public restroom. White subway tiles, large wall mirror, white ceramic sink, flickering fluorescent overhead lights, wet reflective floor. [0:00–0:02] Medium shot. A sophisticated woman in @/image1 with sharp green eyes, bold dark brows, and deep red lips - dressed in a tailored matte black suit and navy silk blouse - washes her hands at the sink, calm and composed, eyes locked on her reflection in the mirror. [0:02–0:04] In the mirror's reflection, a broad-shouldered assassin in a dark charcoal tactical suit bursts from a stall and locks a chokehold around her from behind. Camera subtly pushes in. Both figures slam into the tiled wall. Strained expressions, desperate struggle. [0:04–0:06] She drives her elbow back hard, breaks free, spins and seizes the assassin - camera pans fluidly - executing a powerful Judo shoulder throw that launches the attacker into a metal stall door with crushing impact. Debris and shadows scatter under flickering lights. [0:06–0:09] Camera drops low, tracks laterally through the brawl - rapid punches, parries, blocks - she slips a strike and counters with a devastating blow. Realistic motion blur, gritty handheld energy, sharp focus on her determined green eyes and gritted red lips. [0:09–0:11] Camera swings wide then CRASHES close - she seizes the assassin's head and drives it into the mirror with full force. Ultra slow-motion: thousands of glass shards explode toward the lens, a massive spiderweb crack blooms across the mirror surface. High contrast, visceral impact, dramatic light burst. [0:11–0:13] Slow camera pull-back. She stands tall over the unconscious assassin on the wet restroom floor. She coolly adjusts her silk blouse, straightens her blazer. Her fractured reflection multiplied across broken mirror shards. Cool-toned cinematic grade. [0:13–0:15] Extreme close-up profile. She produces a white handkerchief, wipes a single drop of blood from the corner of her red lips, takes one final look at her distorted cracked reflection - then walks out of frame. Camera lingers on the shattered mirror. Fade to black. Style: Style: Photorealistic, 4K cinematic, John Wick-inspired gritty elegance, cool blue-grey color grade, shallow depth of field, motivated practical lighting from flickering fluorescents, continuous fluid camera movement throughout. Walk-inspired gritty elegance, cool blue-grey color grade, shallow depth of field, motivated practical lighting from flickering fluorescents, continuous

Heisenberg

15,976 Aufrufe • vor 3 Monaten

A woman glanced at my dog and said he looked “dangerous.” She even questioned why a German Shepherd like him should be allowed on a plane at all. Let me introduce you to Drake. The same dog she felt uneasy about spent six years working with Marine Special Operations. Drake is a highly trained Multi-Purpose Canine. While most people instinctively move away from danger, his role has always been to run directly toward it. Here’s what he’s done: He has tracked high-value targets during critical missions. He has located hidden explosives before they could harm anyone. He was shot twice while protecting the team he served with. That scar on his shoulder? It came from shrapnel during an IED blast in Helmand Province. Even while injured and bleeding, Drake kept going and identified four more explosive devices nearby, helping keep his team safe. And that slight limp you noticed? It’s from taking multiple rounds during an ambush while shielding his handler. Because of him, a young Marine made it home alive to his child. Drake has been awarded a Navy Commendation Medal and a Purple Heart. He’s also credited with helping save over forty lives. And here’s the part that truly matters — he has never bitten a single person. The only things he’s ever gone after were threats to the people he was trained to protect. So no, I won’t be moving my seat. But if you’d like, you’re more than welcome to thank him for his service. If Drake’s story changed the way you see him… Comment “Drake” below. I’d love to show you what Drake is like now — the calm, loyal side of him, and the way he still quietly watches over everyone around him. | Dogs Are Our World 14M views · 515K reactions | A woman glanced at my dog and said he looked “dangerous.” She even questioned why a German Shepherd like him should be allowed on a plane at all. Let me introduce you to Drake. The same dog she felt uneasy about spent six years working with Marine Special Operations. Drake is a highly trained Multi-Purpose Canine. While most people instinctively move away from danger, his role has always been to run directly toward it. 🐾 Here’s what he’s done: He has tracked high-value targets during critical missions. He has located hidden explosives before they could harm anyone. He was shot twice while protecting the team he served with. That scar on his shoulder? It came from shrapnel during an IED blast in Helmand Province. Even while injured and bleeding, Drake kept going and identified four more explosive devices nearby, helping keep his team safe. And that slight limp you noticed? It’s from taking multiple rounds during an ambush while shielding his handler. Because of him, a young Marine made it home alive to his child. Drake has been awarded a Navy Commendation Medal and a Purple Heart. He’s also credited with helping save over forty lives. And here’s the part that truly matters — he has never bitten a single person. The only things he’s ever gone after were threats to the people he was trained to protect. So no, I won’t be moving my seat. But if you’d like, you’re more than welcome to thank him for his service. If Drake’s story changed the way you see him… Comment “Drake” below. I’d love to show you what Drake is like now — the calm, loyal side of him, and the way he still quietly watches over everyone around him.
0:15

A woman glanced at my dog and said he looked “dangerous.” She even questioned why a German Shepherd like him should be allowed on a plane at all. Let me introduce you to Drake. The same dog she felt uneasy about spent six years working with Marine Special Operations. Drake is a highly trained Multi-Purpose Canine. While most people instinctively move away from danger, his role has always been to run directly toward it. Here’s what he’s done: He has tracked high-value targets during critical missions. He has located hidden explosives before they could harm anyone. He was shot twice while protecting the team he served with. That scar on his shoulder? It came from shrapnel during an IED blast in Helmand Province. Even while injured and bleeding, Drake kept going and identified four more explosive devices nearby, helping keep his team safe. And that slight limp you noticed? It’s from taking multiple rounds during an ambush while shielding his handler. Because of him, a young Marine made it home alive to his child. Drake has been awarded a Navy Commendation Medal and a Purple Heart. He’s also credited with helping save over forty lives. And here’s the part that truly matters — he has never bitten a single person. The only things he’s ever gone after were threats to the people he was trained to protect. So no, I won’t be moving my seat. But if you’d like, you’re more than welcome to thank him for his service. If Drake’s story changed the way you see him… Comment “Drake” below. I’d love to show you what Drake is like now — the calm, loyal side of him, and the way he still quietly watches over everyone around him. | Dogs Are Our World 14M views · 515K reactions | A woman glanced at my dog and said he looked “dangerous.” She even questioned why a German Shepherd like him should be allowed on a plane at all. Let me introduce you to Drake. The same dog she felt uneasy about spent six years working with Marine Special Operations. Drake is a highly trained Multi-Purpose Canine. While most people instinctively move away from danger, his role has always been to run directly toward it. 🐾 Here’s what he’s done: He has tracked high-value targets during critical missions. He has located hidden explosives before they could harm anyone. He was shot twice while protecting the team he served with. That scar on his shoulder? It came from shrapnel during an IED blast in Helmand Province. Even while injured and bleeding, Drake kept going and identified four more explosive devices nearby, helping keep his team safe. And that slight limp you noticed? It’s from taking multiple rounds during an ambush while shielding his handler. Because of him, a young Marine made it home alive to his child. Drake has been awarded a Navy Commendation Medal and a Purple Heart. He’s also credited with helping save over forty lives. And here’s the part that truly matters — he has never bitten a single person. The only things he’s ever gone after were threats to the people he was trained to protect. So no, I won’t be moving my seat. But if you’d like, you’re more than welcome to thank him for his service. If Drake’s story changed the way you see him… Comment “Drake” below. I’d love to show you what Drake is like now — the calm, loyal side of him, and the way he still quietly watches over everyone around him.

Crazy Moments

398,021 Aufrufe • vor 1 Monat

When strangers become big sisters in seconds. GPT Image 2 + Seedance 2.0 on Renoise prompt Create a clean, professional Pixar-style 3D character sheet of a 6-year-old girl, highly detailed, vibrant colors, polished family-friendly animation style. Character Description: Adorable 6-year-old girl with soft dark wavy hair tied in a cute high ponytail with a small pink bow. Big sparkling brown eyes, round expressive face, rosy cheeks, small button nose, and a warm friendly smile. She has a healthy, energetic child body type suitable for a 6-year-old. Outfit: Bright yellow t-shirt, light pink shorts, white ankle socks, and colorful small sneakers (blue and pink accents). Character Sheet Layout: A single clean vertical character sheet with multiple views of the same girl arranged neatly: Top Left: Full-body front view, standing naturally with hands on hips, smiling confidently. Top Right: Full-body 3/4 angle view, showing depth and personality. Middle Left: Full-body side profile view (facing right). Middle Right: Full-body back view. Bottom Center: Large close-up of her face showing 4 different expressions in small circles — Happy smile, Surprised, Shy/embarrassed, and Excited/grinning. Bottom Right: Small extra details — close-up of her ponytail with bow, shoe details, and hand poses. Style & Quality: Beautiful 3D Pixar animation style, smooth rounded shapes, expressive eyes, soft realistic textures, vibrant yet soft lighting, clean white background with subtle light shadows, highly polished, professional character design sheet, perfect proportions, studio quality, sharp details, warm and wholesome feel. 16:9 aspect ratio, ultra-detailed, cinematic lighting. #RenoiseCanvas
0:15

When strangers become big sisters in seconds. GPT Image 2 + Seedance 2.0 on Renoise prompt Create a clean, professional Pixar-style 3D character sheet of a 6-year-old girl, highly detailed, vibrant colors, polished family-friendly animation style. Character Description: Adorable 6-year-old girl with soft dark wavy hair tied in a cute high ponytail with a small pink bow. Big sparkling brown eyes, round expressive face, rosy cheeks, small button nose, and a warm friendly smile. She has a healthy, energetic child body type suitable for a 6-year-old. Outfit: Bright yellow t-shirt, light pink shorts, white ankle socks, and colorful small sneakers (blue and pink accents). Character Sheet Layout: A single clean vertical character sheet with multiple views of the same girl arranged neatly: Top Left: Full-body front view, standing naturally with hands on hips, smiling confidently. Top Right: Full-body 3/4 angle view, showing depth and personality. Middle Left: Full-body side profile view (facing right). Middle Right: Full-body back view. Bottom Center: Large close-up of her face showing 4 different expressions in small circles — Happy smile, Surprised, Shy/embarrassed, and Excited/grinning. Bottom Right: Small extra details — close-up of her ponytail with bow, shoe details, and hand poses. Style & Quality: Beautiful 3D Pixar animation style, smooth rounded shapes, expressive eyes, soft realistic textures, vibrant yet soft lighting, clean white background with subtle light shadows, highly polished, professional character design sheet, perfect proportions, studio quality, sharp details, warm and wholesome feel. 16:9 aspect ratio, ultra-detailed, cinematic lighting. #RenoiseCanvas

Sharon Riley

157,146 Aufrufe • vor 2 Monaten

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇
0:11

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇

gus

100,376 Aufrufe • vor 25 Tagen

Good morning Oscar; I’ve been pondering on how to respond to these screenshots without context and eh; I am totally out of words. 1. Crown has been in school for EIGHT terms, you have paid for two and mostly on condition that you know where I stay, or act positive to your sexual advances or other random that fit your narrative then. Refusing to comply would mean no support. And that I was totally okay without financial support from you. 2. Don’t lie on my dad’s name like that. You almost broke my little brother’s hand fighting for crown in front of both of them. You have insulted my parents to their faces more than once and you are shocked that my dad isn’t besties with you. 3. Oscar, you paid that 1.2M after not talking to your child for a year. How are you shocked that she was in a different school and her school fees paid???? You sat in that meeting and said you are comfortable with crown in fort portal, she went to fort portal and then you got angry???😂😂 4. You can’t do the bare minimum like ask about your child’s school. You know crowns school, if you were intentional; you’d know that it is among the TOP THREE schools in fort portal. You can’t fail to consistently pay 1.2M for school fees, then refuse to pay 850,000 and then fight to pay 2.5M. How does that make sense??? 5. You have both my dad’s numbers, mom’s numbers, grand mom, aunty, twin brother. My dad told you, his home is ALWAYS open for you to visit your child. If you wanted to see your child, you would, but of course, please use me as your excuse. My family called for a meeting, you sat and agreed to terms that you couldn’t comply to thereafter and somehow I am to blame for your deadbeat tendencies?? 6. You want to have “full access” but won’t do the bare minimum to achieve that. You are angry that you showed up to my house at 10PM and no one opened? You are angry that you said “I love when you are sweet to me” because I was polite and I blue ticked you???? You are mad because I said crown needed consistency?? Be for real! 7. Crown used to call you, and you wouldn’t pick, she would reach out and never hear from you, you made crown pack a suitcase twice and wouldn’t show up and communicate. I don’t have to tell your child one single thing about you, never have, to her, you are a good person, she will make prayers for you, and ask God that one day you’ll call her, and yet, you never do that. 8. When I was still staying with crown, I welcomed you into my home, I even told you, I’ll make sure I’m not in the house when you are visiting and will come back after crowns sleeping hours. Just go, bond and do homework, put her to bed. You did that for three weeks, you then started showing up late in the night, not doing the homework, and being sexual. 9. YOU ARE A DEADBEAT FATHER!!!! The worst kind actually because you even have the audacity to try and make it look okay. I won’t be doing a back and forth with you, you are a very bad person. And No, I’m not happy that my child isn’t without her biological dad, but I’ll say this again, she is GOOD!!!! I work hard for that reason. My parents numbers will always be available if you want to visit or see her, you know my home where she is. But that said; you don’t pay school fees, you don’t offer support, you don’t check on her, you don’t pick her calls. I won’t be doing this back and forth with you, you are a deadbeat!!!! And like I told you; GO TO COURT AND HAND IN THESE SCREENSHOTS WITH THEIR CONTEXT!!! I would absolutely absolutely LOVE THAT!!!!🫱🏿‍🫲🏾🫱🏿‍🫲🏾🫱🏿‍🫲🏾🫱🏿‍🫲🏾
0:19

Good morning Oscar; I’ve been pondering on how to respond to these screenshots without context and eh; I am totally out of words. 1. Crown has been in school for EIGHT terms, you have paid for two and mostly on condition that you know where I stay, or act positive to your sexual advances or other random that fit your narrative then. Refusing to comply would mean no support. And that I was totally okay without financial support from you. 2. Don’t lie on my dad’s name like that. You almost broke my little brother’s hand fighting for crown in front of both of them. You have insulted my parents to their faces more than once and you are shocked that my dad isn’t besties with you. 3. Oscar, you paid that 1.2M after not talking to your child for a year. How are you shocked that she was in a different school and her school fees paid???? You sat in that meeting and said you are comfortable with crown in fort portal, she went to fort portal and then you got angry???😂😂 4. You can’t do the bare minimum like ask about your child’s school. You know crowns school, if you were intentional; you’d know that it is among the TOP THREE schools in fort portal. You can’t fail to consistently pay 1.2M for school fees, then refuse to pay 850,000 and then fight to pay 2.5M. How does that make sense??? 5. You have both my dad’s numbers, mom’s numbers, grand mom, aunty, twin brother. My dad told you, his home is ALWAYS open for you to visit your child. If you wanted to see your child, you would, but of course, please use me as your excuse. My family called for a meeting, you sat and agreed to terms that you couldn’t comply to thereafter and somehow I am to blame for your deadbeat tendencies?? 6. You want to have “full access” but won’t do the bare minimum to achieve that. You are angry that you showed up to my house at 10PM and no one opened? You are angry that you said “I love when you are sweet to me” because I was polite and I blue ticked you???? You are mad because I said crown needed consistency?? Be for real! 7. Crown used to call you, and you wouldn’t pick, she would reach out and never hear from you, you made crown pack a suitcase twice and wouldn’t show up and communicate. I don’t have to tell your child one single thing about you, never have, to her, you are a good person, she will make prayers for you, and ask God that one day you’ll call her, and yet, you never do that. 8. When I was still staying with crown, I welcomed you into my home, I even told you, I’ll make sure I’m not in the house when you are visiting and will come back after crowns sleeping hours. Just go, bond and do homework, put her to bed. You did that for three weeks, you then started showing up late in the night, not doing the homework, and being sexual. 9. YOU ARE A DEADBEAT FATHER!!!! The worst kind actually because you even have the audacity to try and make it look okay. I won’t be doing a back and forth with you, you are a very bad person. And No, I’m not happy that my child isn’t without her biological dad, but I’ll say this again, she is GOOD!!!! I work hard for that reason. My parents numbers will always be available if you want to visit or see her, you know my home where she is. But that said; you don’t pay school fees, you don’t offer support, you don’t check on her, you don’t pick her calls. I won’t be doing this back and forth with you, you are a deadbeat!!!! And like I told you; GO TO COURT AND HAND IN THESE SCREENSHOTS WITH THEIR CONTEXT!!! I would absolutely absolutely LOVE THAT!!!!🫱🏿‍🫲🏾🫱🏿‍🫲🏾🫱🏿‍🫲🏾🫱🏿‍🫲🏾

Misheline Mutuzo

450,362 Aufrufe • vor 1 Jahr

Seedance 2.0 on Sjolt =================== Prompt: Style: 8K. Photorealistic — no 3D render, no game engine. Korean idol variety self-content aesthetic with a glam music-video mood — playful romantic tension, kiss-that-never-happens energy, always tasteful. Lighting: Warm and moody, dimmer than standard broadcast — soft warm key from frame-left, glowing string-light bokeh and a soft neon wash in the background, gentle amber rim light tracing hair and cheekbones, faces always cleanly lit. Color: 60:30:10 — dusty rose and mauve dominant / deep plum shadow secondary / red Pepero box and warm neon accent. Broadcast graphics: Persistent variety-show overlay locked to screen corners across every cut — a round pastel-pink "MELLOW GIRLS" show logo badge pinned top-left, and a title graphic pinned top-right reading exactly "PEPERO GAME", spelled P-E-P-E-R-O with one single P in the middle of the word — NOT "PEPPERO", NOT double P. Overlays never drift, never distort, letters never change between cuts. No subtitles, no lower-thirds. Props: The Pepero stick is MATCHSTICK-THIN — a delicate biscuit stick as thin as a wooden matchstick or a cotton-swab stem, about 2-3mm in diameter and 14cm long, with a whisper-thin chocolate coating, exactly matching the attached real Pepero product reference photo. Scale rule: the stick is always dramatically thinner than a person's lips are tall — a hair-thin line compared to the faces around it. It is NEVER a thick bar, never cigar-thick, never pencil-thick — if in doubt, make it thinner. The red Pepero box is a small light carton the size of a smartphone, held in one hand — it always looks small in a hand. Dialogue: Any spoken words are KOREAN ONLY — short natural Korean exclamations like "대박!", "어떡해!", "미쳤어!". Never any English words spoken. Camera: Physical broadcast cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, glossy idol makeup, pore-shadow matching set light. Skin tone stays CONSTANT from first frame to last — no blushing, no reddening of cheeks or ears, no color change on any face at any point. Acting: Charged restraint — slow blinks, lidded eyes, gazes that drop from eyes to lips and back, breath held then released, a swallow before a move, suppressed smiles. The tension of almost — never a kiss, never contact between lips. Characters never frozen, always breathing and reacting. Physics: Gravity and inertia respected — the thin stick flexes slightly and snaps cleanly like a real biscuit, correct bite marks, tiny crumbs fall naturally. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, wardrobe, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Room tone and close breathy foreground in the tense cuts — but from the moment the game starts, the two spectators keep up a constant excited high-pitched squealing off-screen ("꺄아—!", "꺄악!"), bubbling under every cut, rising with every bite, choking into whispers at the climax. Korean chatter, the crisp dry snap of the biscuit stick. No music. No subtitles. Characters: YURI — the group's eldest (unnie). Long platinum-blonde hair with wispy see-through bangs, pale porcelain skin, cool deadpan resting face. Cream cable-knit sweater vest over a white long-sleeve shirt, navy sailor collar with double white stripes, navy tie, pleated denim mini skirt, slouchy white loose socks, black loafers. RENA — younger than YURI. Long jet-black straight hair, sharp elegant features, pearl drop earrings. Black ribbed knit top with a wide pointed knit collar and thin black ribbon tie over a peeking white shirt collar, black pleated micro skirt with a small side buckle, black crew socks, chunky black loafers. HAEIN — long pastel ice-blue hair with a faint lavender sheen, glossy coral lips. Mustard-yellow double-breasted cropped blazer with navy trim, big navy bow ribbon at the collar, mustard sweater underneath, navy pleated skirt, white socks, white sneakers. MEMBER 4 — long black hair with soft face-framing layers, warm bright smile. Sleeveless green-and-white striped ribbed knit top with an orange-striped high neck and a small white triangle badge, light-blue wide-leg jeans, white sneakers. Scene: A moody glam lounge set — a dusty-rose velvet drape backdrop with a soft glowing neon squiggle sign, strings of warm fairy lights hanging out of focus, a tall arrangement of pale roses and pampas grass at frame-left, warm haze in the air. No table — everyone is STANDING. YURI and RENA stand face to face at center frame in profile to camera, barely a forearm's length apart, one matchstick-thin chocolate-dipped Pepero stick bridging their mouths, each end barely gripped between front teeth. HAEIN and MEMBER 4 stand a step behind at frame-right, shoulder to shoulder; HAEIN holds the small red Pepero box in one hand, forgotten. The broadcast overlays sit locked in the top-left and top-right corners throughout. CUT 1 — Wide static, 35mm, eye-level, locked off: The face-off. YURI and RENA stand toe to toe in the warm neon glow, the matchstick-thin stick a delicate line between their profiles. RENA tucks a strand of black hair behind her ear without breaking eye contact. YURI's chin lifts a degree — silent challenge. Behind them HAEIN grips MEMBER 4's arm with her free hand, both leaning in; MEMBER 4 whispers "어떡해…". Off-screen someone breathes "시작…" — the first slow bites begin. CUT 2 — Over-the-shoulder, 50mm, slow push-in over RENA's shoulder onto YURI: Framed past RENA's black hair, YURI takes one slow bite, then another — unhurried, deliberate. Her lidded eyes hold RENA's, then drop for half a second to RENA's lips, then come back up. The stick shortens. Her cool deadpan stays intact but her fingers slowly curl into the hem of her knit vest, betraying her. Shallow focus, warm bokeh blooming behind her. Her breathing is close-mic in the foreground while the spectators' high-pitched squeals bubble continuously off-screen — "꺄아—!" — climbing a note with every bite. CUT 3 — Reverse over-the-shoulder, 50mm, slow push-in over YURI's shoulder onto RENA: Mirror framing past YURI's platinum hair. RENA's answer: she bites in slowly, closing the distance, head tilting to the angle of a kiss. More than half the stick is gone. Her hands stay clasped neatly behind her back — the well-mannered posture of the younger member toward her unnie — which makes the boldness of her bite land twice as hard. One eyebrow lifts a millimeter. Off-screen HAEIN's high strangled "꺄악—!", hands presumably over her mouth, MEMBER 4's giddy stomping heard under it. CUT 4 — Tight profile close-up, 85mm, static, shallow depth of field — the almost-kiss: Both faces in full profile fill the frame — noses, lips, chins all visible for scale. Only TWO OR THREE CENTIMETERS of the matchstick-thin stick remain, and their noses are about to collide — the stick can't get any shorter head-on. Then the move the fans are waiting for: RENA slowly TILTS her head to one side, her nose sliding past YURI's nose instead of bumping it, faces now interlocking at the kiss angle — and the blocked final centimeter opens up. She nibbles in again, millimeter by millimeter, the stub shrinking shorter than seemed possible, until their lips are a single warm breath apart, offset and almost overlapping. Lidded eyes gone slightly cross-eyed at this distance. YURI's answer: her hands rise and take a firm, gentle hold of BOTH of RENA's shoulders — the unnie steadying her challenger, half embrace, half "I'm not losing." She swallows but holds her ground. RENA's breath audibly trembles on the exhale — the composed one cracking first. A long held beat, the tiny stub trembling between two suppressed smiles. Off-screen a whispered "미쳤어…". CUT 5 — Handheld wide, 24mm, whip in from the spectators: At the closest possible moment the tiny stub SNAPS with a crisp dry crack. The spell breaks — YURI lets go of RENA's shoulders and spins away covering her mouth with both hands, shoulders shaking with laughter; RENA turns the other way, presses the back of her hand to her lips, then bursts out laughing — dipping into a small apologetic half-bow toward her unnie between laughs. HAEIN and MEMBER 4 collapse into each other screaming "대박!! 미쳤어!!", the small red box tumbling from HAEIN's hand. Camera shakes with the chaos. Corner overlays stay locked as the room erupts.
0:15

Seedance 2.0 on Sjolt =================== Prompt: Style: 8K. Photorealistic — no 3D render, no game engine. Korean idol variety self-content aesthetic with a glam music-video mood — playful romantic tension, kiss-that-never-happens energy, always tasteful. Lighting: Warm and moody, dimmer than standard broadcast — soft warm key from frame-left, glowing string-light bokeh and a soft neon wash in the background, gentle amber rim light tracing hair and cheekbones, faces always cleanly lit. Color: 60:30:10 — dusty rose and mauve dominant / deep plum shadow secondary / red Pepero box and warm neon accent. Broadcast graphics: Persistent variety-show overlay locked to screen corners across every cut — a round pastel-pink "MELLOW GIRLS" show logo badge pinned top-left, and a title graphic pinned top-right reading exactly "PEPERO GAME", spelled P-E-P-E-R-O with one single P in the middle of the word — NOT "PEPPERO", NOT double P. Overlays never drift, never distort, letters never change between cuts. No subtitles, no lower-thirds. Props: The Pepero stick is MATCHSTICK-THIN — a delicate biscuit stick as thin as a wooden matchstick or a cotton-swab stem, about 2-3mm in diameter and 14cm long, with a whisper-thin chocolate coating, exactly matching the attached real Pepero product reference photo. Scale rule: the stick is always dramatically thinner than a person's lips are tall — a hair-thin line compared to the faces around it. It is NEVER a thick bar, never cigar-thick, never pencil-thick — if in doubt, make it thinner. The red Pepero box is a small light carton the size of a smartphone, held in one hand — it always looks small in a hand. Dialogue: Any spoken words are KOREAN ONLY — short natural Korean exclamations like "대박!", "어떡해!", "미쳤어!". Never any English words spoken. Camera: Physical broadcast cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, glossy idol makeup, pore-shadow matching set light. Skin tone stays CONSTANT from first frame to last — no blushing, no reddening of cheeks or ears, no color change on any face at any point. Acting: Charged restraint — slow blinks, lidded eyes, gazes that drop from eyes to lips and back, breath held then released, a swallow before a move, suppressed smiles. The tension of almost — never a kiss, never contact between lips. Characters never frozen, always breathing and reacting. Physics: Gravity and inertia respected — the thin stick flexes slightly and snaps cleanly like a real biscuit, correct bite marks, tiny crumbs fall naturally. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, wardrobe, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Room tone and close breathy foreground in the tense cuts — but from the moment the game starts, the two spectators keep up a constant excited high-pitched squealing off-screen ("꺄아—!", "꺄악!"), bubbling under every cut, rising with every bite, choking into whispers at the climax. Korean chatter, the crisp dry snap of the biscuit stick. No music. No subtitles. Characters: YURI — the group's eldest (unnie). Long platinum-blonde hair with wispy see-through bangs, pale porcelain skin, cool deadpan resting face. Cream cable-knit sweater vest over a white long-sleeve shirt, navy sailor collar with double white stripes, navy tie, pleated denim mini skirt, slouchy white loose socks, black loafers. RENA — younger than YURI. Long jet-black straight hair, sharp elegant features, pearl drop earrings. Black ribbed knit top with a wide pointed knit collar and thin black ribbon tie over a peeking white shirt collar, black pleated micro skirt with a small side buckle, black crew socks, chunky black loafers. HAEIN — long pastel ice-blue hair with a faint lavender sheen, glossy coral lips. Mustard-yellow double-breasted cropped blazer with navy trim, big navy bow ribbon at the collar, mustard sweater underneath, navy pleated skirt, white socks, white sneakers. MEMBER 4 — long black hair with soft face-framing layers, warm bright smile. Sleeveless green-and-white striped ribbed knit top with an orange-striped high neck and a small white triangle badge, light-blue wide-leg jeans, white sneakers. Scene: A moody glam lounge set — a dusty-rose velvet drape backdrop with a soft glowing neon squiggle sign, strings of warm fairy lights hanging out of focus, a tall arrangement of pale roses and pampas grass at frame-left, warm haze in the air. No table — everyone is STANDING. YURI and RENA stand face to face at center frame in profile to camera, barely a forearm's length apart, one matchstick-thin chocolate-dipped Pepero stick bridging their mouths, each end barely gripped between front teeth. HAEIN and MEMBER 4 stand a step behind at frame-right, shoulder to shoulder; HAEIN holds the small red Pepero box in one hand, forgotten. The broadcast overlays sit locked in the top-left and top-right corners throughout. CUT 1 — Wide static, 35mm, eye-level, locked off: The face-off. YURI and RENA stand toe to toe in the warm neon glow, the matchstick-thin stick a delicate line between their profiles. RENA tucks a strand of black hair behind her ear without breaking eye contact. YURI's chin lifts a degree — silent challenge. Behind them HAEIN grips MEMBER 4's arm with her free hand, both leaning in; MEMBER 4 whispers "어떡해…". Off-screen someone breathes "시작…" — the first slow bites begin. CUT 2 — Over-the-shoulder, 50mm, slow push-in over RENA's shoulder onto YURI: Framed past RENA's black hair, YURI takes one slow bite, then another — unhurried, deliberate. Her lidded eyes hold RENA's, then drop for half a second to RENA's lips, then come back up. The stick shortens. Her cool deadpan stays intact but her fingers slowly curl into the hem of her knit vest, betraying her. Shallow focus, warm bokeh blooming behind her. Her breathing is close-mic in the foreground while the spectators' high-pitched squeals bubble continuously off-screen — "꺄아—!" — climbing a note with every bite. CUT 3 — Reverse over-the-shoulder, 50mm, slow push-in over YURI's shoulder onto RENA: Mirror framing past YURI's platinum hair. RENA's answer: she bites in slowly, closing the distance, head tilting to the angle of a kiss. More than half the stick is gone. Her hands stay clasped neatly behind her back — the well-mannered posture of the younger member toward her unnie — which makes the boldness of her bite land twice as hard. One eyebrow lifts a millimeter. Off-screen HAEIN's high strangled "꺄악—!", hands presumably over her mouth, MEMBER 4's giddy stomping heard under it. CUT 4 — Tight profile close-up, 85mm, static, shallow depth of field — the almost-kiss: Both faces in full profile fill the frame — noses, lips, chins all visible for scale. Only TWO OR THREE CENTIMETERS of the matchstick-thin stick remain, and their noses are about to collide — the stick can't get any shorter head-on. Then the move the fans are waiting for: RENA slowly TILTS her head to one side, her nose sliding past YURI's nose instead of bumping it, faces now interlocking at the kiss angle — and the blocked final centimeter opens up. She nibbles in again, millimeter by millimeter, the stub shrinking shorter than seemed possible, until their lips are a single warm breath apart, offset and almost overlapping. Lidded eyes gone slightly cross-eyed at this distance. YURI's answer: her hands rise and take a firm, gentle hold of BOTH of RENA's shoulders — the unnie steadying her challenger, half embrace, half "I'm not losing." She swallows but holds her ground. RENA's breath audibly trembles on the exhale — the composed one cracking first. A long held beat, the tiny stub trembling between two suppressed smiles. Off-screen a whispered "미쳤어…". CUT 5 — Handheld wide, 24mm, whip in from the spectators: At the closest possible moment the tiny stub SNAPS with a crisp dry crack. The spell breaks — YURI lets go of RENA's shoulders and spins away covering her mouth with both hands, shoulders shaking with laughter; RENA turns the other way, presses the back of her hand to her lips, then bursts out laughing — dipping into a small apologetic half-bow toward her unnie between laughs. HAEIN and MEMBER 4 collapse into each other screaming "대박!! 미쳤어!!", the small red box tumbling from HAEIN's hand. Camera shakes with the chaos. Corner overlays stay locked as the room erupts.

TSUBAKI

32,190 Aufrufe • vor 22 Tagen

【断言します】 NotebookLMでのスライドが微妙... という人はあるコツが抜けています。 コツはデザイン指示をプロンプトに入れることです。用途別に3つ作ったので、そのままコピーして使ってください。保存もお忘れなく👇 1. 営業・商談用提案資料用 ＜プロンプト＞ Create a presentation with the following design system: ## VISUAL STYLE: Japanese Sales Proposal Minimal ### Color Palette - Background: Pure white (#FFFFFF) - Primary text: Near-black (#1A1A1A) - Accent: Navy blue (#1E3A5F) — used sparingly for icons, highlights, key numbers only - Borders/lines: Light gray (#E0E0E0) - Table headers: Very light gray (#F5F5F5) ### Typography - Title: Bold, condensed sans-serif with wide tracking - Section numbers: Large (48–64pt), light weight, gray tone - Body text: 10–12pt, regular weight, high line-height (1.8) - All text is left-aligned or center-aligned ### Layout Grid - Consistent top header bar: 会社名（左）+ 提出日（右） - Bottom footer: 担当者名・連絡先、left-aligned - Content area: generous white space, never overcrowded - Two-column layouts: left = 課題・現状, right = 提案・解決策 ### Illustration Style - Isometric flat illustrations - Thin line strokes, minimal fill - Color accent = navy only on key objects - Subject matter: オフィス、会議室、握手、データ画面 ### Data Visualization - 導入効果: 棒グラフ、single-color bars (#1A1A1A) - ROI比較: 2カラム（導入前・導入後）、数字を大きく - 導入事例: thin border cells、業種・課題・効果の3列 ### Slide Types to Include 1. 表紙 — 提案タイトル・顧客名・日付・担当者名 2. エグゼクティブサマリー — 提案の結論を3点で 3. 御社の課題認識 — 数字で示す現状の問題 4. 解決策の全体像 — サービス概要を図解 5. 機能・サービス詳細 — 3点カード形式 6. 導入事例・実績 — 業種別Before/After 7. 導入効果・ROI — 投資対効果を数字で 8. 導入スケジュール — 横型タイムライン（4フェーズ） 9. 費用・プラン一覧 — 比較表形式 10. 次のステップ — アクション・期限・担当者 ### Tone & Voice - ビジネスフォーマル、結論ファースト - 顧客の課題を起点に、解決策へ流れる構成 - 数字と実績をヒーロー要素として大きく配置 - 装飾は最小限、すべての要素に意味を持たせる
0:12

【断言します】 NotebookLMでのスライドが微妙... という人はあるコツが抜けています。 コツはデザイン指示をプロンプトに入れることです。用途別に3つ作ったので、そのままコピーして使ってください。保存もお忘れなく👇 1. 営業・商談用提案資料用 ＜プロンプト＞ Create a presentation with the following design system: ## VISUAL STYLE: Japanese Sales Proposal Minimal ### Color Palette - Background: Pure white (#FFFFFF) - Primary text: Near-black (#1A1A1A) - Accent: Navy blue (#1E3A5F) — used sparingly for icons, highlights, key numbers only - Borders/lines: Light gray (#E0E0E0) - Table headers: Very light gray (#F5F5F5) ### Typography - Title: Bold, condensed sans-serif with wide tracking - Section numbers: Large (48–64pt), light weight, gray tone - Body text: 10–12pt, regular weight, high line-height (1.8) - All text is left-aligned or center-aligned ### Layout Grid - Consistent top header bar: 会社名（左）+ 提出日（右） - Bottom footer: 担当者名・連絡先、left-aligned - Content area: generous white space, never overcrowded - Two-column layouts: left = 課題・現状, right = 提案・解決策 ### Illustration Style - Isometric flat illustrations - Thin line strokes, minimal fill - Color accent = navy only on key objects - Subject matter: オフィス、会議室、握手、データ画面 ### Data Visualization - 導入効果: 棒グラフ、single-color bars (#1A1A1A) - ROI比較: 2カラム（導入前・導入後）、数字を大きく - 導入事例: thin border cells、業種・課題・効果の3列 ### Slide Types to Include 1. 表紙 — 提案タイトル・顧客名・日付・担当者名 2. エグゼクティブサマリー — 提案の結論を3点で 3. 御社の課題認識 — 数字で示す現状の問題 4. 解決策の全体像 — サービス概要を図解 5. 機能・サービス詳細 — 3点カード形式 6. 導入事例・実績 — 業種別Before/After 7. 導入効果・ROI — 投資対効果を数字で 8. 導入スケジュール — 横型タイムライン（4フェーズ） 9. 費用・プラン一覧 — 比較表形式 10. 次のステップ — アクション・期限・担当者 ### Tone & Voice - ビジネスフォーマル、結論ファースト - 顧客の課題を起点に、解決策へ流れる構成 - 数字と実績をヒーロー要素として大きく配置 - 装飾は最小限、すべての要素に意味を持たせる

ケンイチ | AIスキルアカデミー『誰でもわかるAI活用術』

96,006 Aufrufe • vor 4 Monaten

I’m livid‼️‼️‼️ Still shaking as I type this ‼️‼️‼️‼️ A BRT bus crushed the front of my vehicle at about 6:40pm this evening on my way from work. Everything is broken. The bumper shattered, the lights destroyed, the bonnet cover removed 💔💔💔 It happened at Obalende with several eye witnesses. Even with the traffic light which was green for our lane to pass, there was also a civilian at the junction controlling traffic, yet this driver crushed our car 💔 After waiting in turn for the vehicles at the other side of the road to pass, the other lane(where the BRT was) was stopped and our lane was passed… …as soon as we moved an inch, a BRT bus with plate number EKY564XY (driver’s face in frame 3) drove in full speed and collided into our car, destroying car parts worth hundreds of thousands💔💔💔 In shock, we (I and the person driving) came down to assess the damage, and to make videos and capture the plates before he runs, but to our surprise and that of everyone around, including the civilian passing traffic, the BRT driver claimed to not have seen us and that he had right to speed and ram into our vehicle the way he did. He asked for the usefulness of the video I was making and I told him I’ll show him the power of social media‼️‼️ It is unfair for me to go to work for 40 working days of two months , toiling day and night only to pour the money into the repair of a car collision caused by the wild animals Lagos state government employs as driver 💔💔 After calling me names, he ended up saying there is a scratch on his bus too so we should both move on. A scratch compared to the damage this wicked human caused. I want to beg everyone to help me retweet massively tagging The Lagos State Govt and Babajide Sanwo-Olu to see how their driver endangers the lives and properties of the same citizens he is set to protect. Lest I forget, despite eye witness claims he adamantly insisted he was in the right and finally entered his vehicle and zoomed off leaving us at the scene. Lagos state and the driver must repair every single damage made to this car‼️‼️ I cannot be working so hard and pouring my salary into repairing damages caused by wicked and unruly drivers of Lagos State Govt. and Lagos Metropolitan Area Transport Authority LAMATA I am ready to come to their office to substantiate every claim written in this tweet. Babajide Sanwo-Olu where do I see money to repair this damage your driver caused to this car?💔💔💔 I am a mere salary earner trying to fend for myself. Frame 1: shows the damage, Frame 2: raining insults, Frame 3: passenger apologizing on his behalf(driver in navy blue), Frame 4: him driving off
0:07

I’m livid‼️‼️‼️ Still shaking as I type this ‼️‼️‼️‼️ A BRT bus crushed the front of my vehicle at about 6:40pm this evening on my way from work. Everything is broken. The bumper shattered, the lights destroyed, the bonnet cover removed 💔💔💔 It happened at Obalende with several eye witnesses. Even with the traffic light which was green for our lane to pass, there was also a civilian at the junction controlling traffic, yet this driver crushed our car 💔 After waiting in turn for the vehicles at the other side of the road to pass, the other lane(where the BRT was) was stopped and our lane was passed… …as soon as we moved an inch, a BRT bus with plate number EKY564XY (driver’s face in frame 3) drove in full speed and collided into our car, destroying car parts worth hundreds of thousands💔💔💔 In shock, we (I and the person driving) came down to assess the damage, and to make videos and capture the plates before he runs, but to our surprise and that of everyone around, including the civilian passing traffic, the BRT driver claimed to not have seen us and that he had right to speed and ram into our vehicle the way he did. He asked for the usefulness of the video I was making and I told him I’ll show him the power of social media‼️‼️ It is unfair for me to go to work for 40 working days of two months , toiling day and night only to pour the money into the repair of a car collision caused by the wild animals Lagos state government employs as driver 💔💔 After calling me names, he ended up saying there is a scratch on his bus too so we should both move on. A scratch compared to the damage this wicked human caused. I want to beg everyone to help me retweet massively tagging The Lagos State Govt and Babajide Sanwo-Olu to see how their driver endangers the lives and properties of the same citizens he is set to protect. Lest I forget, despite eye witness claims he adamantly insisted he was in the right and finally entered his vehicle and zoomed off leaving us at the scene. Lagos state and the driver must repair every single damage made to this car‼️‼️ I cannot be working so hard and pouring my salary into repairing damages caused by wicked and unruly drivers of Lagos State Govt. and Lagos Metropolitan Area Transport Authority LAMATA I am ready to come to their office to substantiate every claim written in this tweet. Babajide Sanwo-Olu where do I see money to repair this damage your driver caused to this car?💔💔💔 I am a mere salary earner trying to fend for myself. Frame 1: shows the damage, Frame 2: raining insults, Frame 3: passenger apologizing on his behalf(driver in navy blue), Frame 4: him driving off

Big Sis🦄💜✨

498,864 Aufrufe • vor 1 Jahr

AI creations are becoming more impressive, but the most interesting part is often what happens behind the scenes. Higgsfield has open-sourced its Originals, giving creators access to the prompts, references, and workflows behind these AI films. Now you can see how these creations come together, explore the process, and learn from the techniques behind them. Prompt for this video: Style: 8K IMAX, traditional hand-drawn 2D animation, animated on twos at 12 frames per second — each drawing held for two frames then replaced, choppy stepped motion cadence, visible pose-to-pose timing, distinct keyframe drawings with no smooth in-between interpolation, hand-painted oil-brush texture on every drawing, brushstrokes shifting and redrawn from frame to frame, line jitter and boil between frames. No 3D render, no game engine, no CGI smoothness. The 12 principles of animation throughout: anticipation, squash and stretch, follow-through and overlapping action, slow in/slow out, arcs, secondary action, exaggeration, solid drawing — applied to every element including wolf bodies, clothing, breath, and snow particles. Cinematography: Lubezki / Deakins. Aggressively handheld inside the scene — constant restless shake and jitter every frame, jerky bounce, frame buffeted sideways by gusts, sharp reframing jolts, breathing sway. Horizon never perfectly level. Never gimbal-smooth, never tripod, never dolly, never crane, never aerial. Wide anamorphic approximately 24mm. Shallow depth of field. Camera eye level or below. CHARACTER REFERENCE IS ABSOLUTE — faces and designs from reference images exactly 1-to-1. Reference always overrides text description. CHARACTER TAGS: - THE MOTHER = woman from >>. Bundle clamped to her chest in one arm, the bundle a dark non-glowing shape, faint pale grey breath vapor torn off by the wind, no glow. - THE TODDLER = small girl from >>. Name Umai. - THE WOLVES = animals from >>. Each wolf stands roughly half a human's height at the shoulder. Body length from head to tail equals approximately one full human height. Large, heavy, and low to the ground. - THE FOREST = location from >>. Lighting: no light source, no moon, no stars, no rim light, no contre-jour, no key light. Flat dim diffuse ambient grey-white glow only — no direction, no gradient shading. Flat painted shapes. All forms read as dark silhouettes or mid-grey against white atmosphere. Atmosphere: violent blizzard continuous every frame. Snow driven horizontally. Visibility approximately 3 meters. Rolling white-out waves sweeping the lens. Wind never drops. Hair and robe ends stream sideways with full follow-through and overlapping action. Audio: dominant roaring blizzard wind. THE MOTHER's trembling breath close. Distant low wolf howl buried under wind, barely audible in Shot 2D. No dialogue. No music. No subtitles. SHOT 2C — EXTREME CLOSE-UP handheld on THE MOTHER's eyes. Duration: 3 seconds. COMPOSITION: asymmetric — forbidden: any centered or symmetric framing. One eye occupies the left two-thirds of frame. The other eye cut by the right frame edge — only the inner corner visible. Slight Dutch angle tilt. Lashes ice-crusted and heavy. Whites faintly red-veined from cold and wind. Main eye narrowed, gazing off-screen into far distance below frame. ACTION on twos: eyeball in micro left-right tracking movement — pause — pupils contract sharply — the instant of recognition — eyelids flutter slightly in two held frames — jaw corner tightens off-frame, visible only as a tension in the cheek — breath vapor drifts across the lower corner of frame, torn sideways by wind. Constant handheld micro-shake throughout. A rolling wave of buran briefly obscures the frame. Animated on twos. HARD CUT TO SHOT 2D — WIDE SHOT handheld — wolf pack as shadow mass — distance mode. Duration: approx. 8 seconds. COMPOSITION: asymmetric — forbidden: centered framing. Camera positioned within the tree line, offset to the left. Dense tree trunks occupy and crowd the right third of frame. Open space to the left. Depth axis shifted right, not centered. Wolf pack drives into frame from the lower right — mass heaviest on the right side, left edge showing only sparse fringe and trailing edge. THE PACK — approximately two hundred wolves. They do not exist as individual animals. NOT smoke, NOT mist, NOT vapor — the pack has mass, weight, and momentum. The entire pack moves as a single body of dark water surging downhill — liquid with density and pressure behind it, not diffuse or drifting. It is also shadow: it swallows light rather than reflects it, leaving a presence darker than everything around it in the flat grey-white atmosphere. Water and shadow — these two qualities together, never smoke. Movement pace: swift and relentless — faster than expected for something so massive, the speed of a flash flood or a river breaking its banks, not slow and rolling. The mass covers ground urgently, with weight and velocity combined. Mass density clearly differentiated: the core is near-opaque dense black like deep water — solid, heavy, light-swallowing — toward the edges it thins like water spreading at its margins, individual silhouettes briefly legible at the fringe then reabsorbed into the core. The edge is not soft or diffuse like smoke — it is the ragged turbulent edge of moving water. Large waves and small waves alternating with speed: heavy large waves surge and crest — small fast wave-crests explode between them. White teeth are the only thing in frame that does not belong to the shadow — solid, material, flashing simultaneously at multiple points as wave-crests break, then swallowed back. Skull outlines breach the surface and are pulled under like objects in fast current. Charcoal black with deep navy-blue sheen. Amber-yellow eye-points ignite in clusters in the darkness then extinguish in batches like bioluminescence in black water. Black water flood pours between the tree trunks — trunks submerged by black then re-emerging as the mass passes. Contrast: white blizzard / black wolf mass — white fear, black death. Camera near-still, breathing micro-shake only — as if the observer has instinctively stopped breathing. Animated on twos. Constraints: wolf pack is NEVER smoke, mist, or vapor — it has mass, weight, density, and speed — it is water and shadow. Wolf pack is NEVER a collection of individually animated animals — always a single fluid mass. DISTANCE MODE: mass coherence is absolute, individual wolves do not detach or become readable as separate figures. White teeth are the ONLY non-shadow element within the pack mass. Amber-yellow eye-points appear and extinguish in clusters, never individually. No warm light source anywhere in any frame. No rim light, no backlight, no moonlight — flat grey-white diffuse ambient only. No amber glow from forest reference applied. Camera handheld throughout — never stabilized, never smooth. Animated on twos throughout, no interpolation. 11 seconds total. 12fps. 8K. No music. SFX only. No subtitles. No 3D.
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AI creations are becoming more impressive, but the most interesting part is often what happens behind the scenes. Higgsfield has open-sourced its Originals, giving creators access to the prompts, references, and workflows behind these AI films. Now you can see how these creations come together, explore the process, and learn from the techniques behind them. Prompt for this video: Style: 8K IMAX, traditional hand-drawn 2D animation, animated on twos at 12 frames per second — each drawing held for two frames then replaced, choppy stepped motion cadence, visible pose-to-pose timing, distinct keyframe drawings with no smooth in-between interpolation, hand-painted oil-brush texture on every drawing, brushstrokes shifting and redrawn from frame to frame, line jitter and boil between frames. No 3D render, no game engine, no CGI smoothness. The 12 principles of animation throughout: anticipation, squash and stretch, follow-through and overlapping action, slow in/slow out, arcs, secondary action, exaggeration, solid drawing — applied to every element including wolf bodies, clothing, breath, and snow particles. Cinematography: Lubezki / Deakins. Aggressively handheld inside the scene — constant restless shake and jitter every frame, jerky bounce, frame buffeted sideways by gusts, sharp reframing jolts, breathing sway. Horizon never perfectly level. Never gimbal-smooth, never tripod, never dolly, never crane, never aerial. Wide anamorphic approximately 24mm. Shallow depth of field. Camera eye level or below. CHARACTER REFERENCE IS ABSOLUTE — faces and designs from reference images exactly 1-to-1. Reference always overrides text description. CHARACTER TAGS: - THE MOTHER = woman from >>. Bundle clamped to her chest in one arm, the bundle a dark non-glowing shape, faint pale grey breath vapor torn off by the wind, no glow. - THE TODDLER = small girl from >>. Name Umai. - THE WOLVES = animals from >>. Each wolf stands roughly half a human's height at the shoulder. Body length from head to tail equals approximately one full human height. Large, heavy, and low to the ground. - THE FOREST = location from >>. Lighting: no light source, no moon, no stars, no rim light, no contre-jour, no key light. Flat dim diffuse ambient grey-white glow only — no direction, no gradient shading. Flat painted shapes. All forms read as dark silhouettes or mid-grey against white atmosphere. Atmosphere: violent blizzard continuous every frame. Snow driven horizontally. Visibility approximately 3 meters. Rolling white-out waves sweeping the lens. Wind never drops. Hair and robe ends stream sideways with full follow-through and overlapping action. Audio: dominant roaring blizzard wind. THE MOTHER's trembling breath close. Distant low wolf howl buried under wind, barely audible in Shot 2D. No dialogue. No music. No subtitles. SHOT 2C — EXTREME CLOSE-UP handheld on THE MOTHER's eyes. Duration: 3 seconds. COMPOSITION: asymmetric — forbidden: any centered or symmetric framing. One eye occupies the left two-thirds of frame. The other eye cut by the right frame edge — only the inner corner visible. Slight Dutch angle tilt. Lashes ice-crusted and heavy. Whites faintly red-veined from cold and wind. Main eye narrowed, gazing off-screen into far distance below frame. ACTION on twos: eyeball in micro left-right tracking movement — pause — pupils contract sharply — the instant of recognition — eyelids flutter slightly in two held frames — jaw corner tightens off-frame, visible only as a tension in the cheek — breath vapor drifts across the lower corner of frame, torn sideways by wind. Constant handheld micro-shake throughout. A rolling wave of buran briefly obscures the frame. Animated on twos. HARD CUT TO SHOT 2D — WIDE SHOT handheld — wolf pack as shadow mass — distance mode. Duration: approx. 8 seconds. COMPOSITION: asymmetric — forbidden: centered framing. Camera positioned within the tree line, offset to the left. Dense tree trunks occupy and crowd the right third of frame. Open space to the left. Depth axis shifted right, not centered. Wolf pack drives into frame from the lower right — mass heaviest on the right side, left edge showing only sparse fringe and trailing edge. THE PACK — approximately two hundred wolves. They do not exist as individual animals. NOT smoke, NOT mist, NOT vapor — the pack has mass, weight, and momentum. The entire pack moves as a single body of dark water surging downhill — liquid with density and pressure behind it, not diffuse or drifting. It is also shadow: it swallows light rather than reflects it, leaving a presence darker than everything around it in the flat grey-white atmosphere. Water and shadow — these two qualities together, never smoke. Movement pace: swift and relentless — faster than expected for something so massive, the speed of a flash flood or a river breaking its banks, not slow and rolling. The mass covers ground urgently, with weight and velocity combined. Mass density clearly differentiated: the core is near-opaque dense black like deep water — solid, heavy, light-swallowing — toward the edges it thins like water spreading at its margins, individual silhouettes briefly legible at the fringe then reabsorbed into the core. The edge is not soft or diffuse like smoke — it is the ragged turbulent edge of moving water. Large waves and small waves alternating with speed: heavy large waves surge and crest — small fast wave-crests explode between them. White teeth are the only thing in frame that does not belong to the shadow — solid, material, flashing simultaneously at multiple points as wave-crests break, then swallowed back. Skull outlines breach the surface and are pulled under like objects in fast current. Charcoal black with deep navy-blue sheen. Amber-yellow eye-points ignite in clusters in the darkness then extinguish in batches like bioluminescence in black water. Black water flood pours between the tree trunks — trunks submerged by black then re-emerging as the mass passes. Contrast: white blizzard / black wolf mass — white fear, black death. Camera near-still, breathing micro-shake only — as if the observer has instinctively stopped breathing. Animated on twos. Constraints: wolf pack is NEVER smoke, mist, or vapor — it has mass, weight, density, and speed — it is water and shadow. Wolf pack is NEVER a collection of individually animated animals — always a single fluid mass. DISTANCE MODE: mass coherence is absolute, individual wolves do not detach or become readable as separate figures. White teeth are the ONLY non-shadow element within the pack mass. Amber-yellow eye-points appear and extinguish in clusters, never individually. No warm light source anywhere in any frame. No rim light, no backlight, no moonlight — flat grey-white diffuse ambient only. No amber glow from forest reference applied. Camera handheld throughout — never stabilized, never smooth. Animated on twos throughout, no interpolation. 11 seconds total. 12fps. 8K. No music. SFX only. No subtitles. No 3D.

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