Загрузка видео...

Не удалось загрузить видео

Возникла проблема при загрузке этого видео. Это может быть связано с временными проблемами сети или видео может быть недоступно.

На главную

Out on the open plains, #OsmoPocket4P turns wide space into motion — its dual-camera system and 3-axis stabilization keep every frame steady and cinematic, so freedom looks exactly the way it feels. 🎥 JIM #DJI #DJIOsmo #PocketCamera

DJI

1,330,682 subscribers

24,198 просмотров • 2 месяцев назад •via X (Twitter)

#OsmoPocket4P #DJI #DJIOsmo #PocketCamera

Anya Rossi• Live Now

Private livecam show

Комментарии: 0

Нет доступных комментариев

Здесь появятся комментарии из оригинального поста

Похожие видео

Move however you want. The frame stays locked. DJI Ronin 4D's 4-axis stabilization turns every motion into pure fluidity — the camera follows your vision without ever losing balance.

Move however you want. The frame stays locked. DJI Ronin 4D's 4-axis stabilization turns every motion into pure fluidity — the camera follows your vision without ever losing balance.

DJI

590,290 просмотров • 1 месяц назад

EARTH’S ROTATION CAUGHT ON CAMERA AND IT’S WILD They used a star tracker to film the Milky Way in the desert and accidentally caught Earth spinning. Turns out if you lock onto the stars, the ground moves instead. It looks like the planet’s doing a slow-motion cartwheel. Source: Jayesh Nikam

EARTH’S ROTATION CAUGHT ON CAMERA AND IT’S WILD They used a star tracker to film the Milky Way in the desert and accidentally caught Earth spinning. Turns out if you lock onto the stars, the ground moves instead. It looks like the planet’s doing a slow-motion cartwheel. Source: Jayesh Nikam

Mario Nawfal

302,004 просмотров • 1 год назад

This is wild. Every filmmaker needs to try this hybrid AI workflow for precision camera control: 1) Block out your camera in Blender to create a motion reference and animate the camera move 2) Generate your start frame in Midjourney to match the pose and composition 3) Feed both to Seedance It tracks the move almost exactly. This is the most powerful hybrid pipeline I've tried yet.

This is wild. Every filmmaker needs to try this hybrid AI workflow for precision camera control: 1) Block out your camera in Blender to create a motion reference and animate the camera move 2) Generate your start frame in Midjourney to match the pose and composition 3) Feed both to Seedance It tracks the move almost exactly. This is the most powerful hybrid pipeline I've tried yet.

Reid Hannaford

72,512 просмотров • 3 месяцев назад

this DIY camera stabilizer costs roughly $30–45 to build. not because it beats DJI. because it doesn’t try to. it uses a 3D-printed frame, an ESP32, an IMU, and two $4 micro servos to keep a lightweight action camera roughly level. for comparison: DJI’s RS 4 Mini starts at $309. the $260+ difference is not just branding. DJI gives you three brushless axes, smooth motion, better mechanics, calibration, battery management, and a product that works out of the box. this build gives you something else: a working feedback-control system you can hold in your hand. $40 buys the lesson. $309 buys the polished result.

this DIY camera stabilizer costs roughly $30–45 to build. not because it beats DJI. because it doesn’t try to. it uses a 3D-printed frame, an ESP32, an IMU, and two $4 micro servos to keep a lightweight action camera roughly level. for comparison: DJI’s RS 4 Mini starts at $309. the $260+ difference is not just branding. DJI gives you three brushless axes, smooth motion, better mechanics, calibration, battery management, and a product that works out of the box. this build gives you something else: a working feedback-control system you can hold in your hand. $40 buys the lesson. $309 buys the polished result.

ard

55,497 просмотров • 2 месяцев назад

Seedance 2.0 4K on Higgsfield Prompt: Scene: A seamless ultra-cinematic one-take shot starting from deep space and ending in an intimate café moment. The sequence emphasizes speed, scale, and immersive transition from cosmic to human scale. Subject / Character: Final subject is irene galbraith — a young woman sitting in an open-air café named “LUMOS”, wearing denim shorts and a white shirt, casually eating a hamburger with a drink beside her. Action Timeline (TOTAL: 15s): 0–4s (Space → Earth Approach): Wide cinematic shot of Earth in deep space. Camera accelerates forward smoothly. Earth rapidly grows in frame. Subtle light streaks, atmospheric glow becomes visible. Motion builds gradually but feels grand. 4–8s (Atmospheric Entry → Fast Descent): Camera pierces atmosphere with intense glow and motion blur. Clouds rush past. Continents and terrain sweep underneath at high speed. Strong sense of acceleration. 8–11s (City Dive → Street Flow): Camera locks onto a city and dives sharply. Skyscrapers rise fast. Transition into street-level movement — fluid glide through streets, passing buildings, corners, and urban elements with dynamic motion. 11–12s (Café Target Lock): Camera spots outdoor café with large “LUMOS” sign. Rapid but smooth deceleration begins. Focus tightens. 12–15s (Final Scene – Character): Camera settles into a medium shot of irene galbraith. She sits casually, eating a hamburger, drink on table. Natural motion (taking a bite, relaxed posture). Warm, calm contrast to previous high-speed sequence. Camera: One continuous shot, no cuts. Extreme speed ramping: slow → ultra-fast → controlled slowdown. Wide lens in space → natural cinematic lens at final shot. Smooth stabilization with slight handheld realism at the end. Audio: Cinematic rise from deep space ambience → intense whooshing during descent → city ambience → soft café sounds (light chatter, ambient noise). Style: Cinematic color grading: cool tones in space/descent → gradually warmer tones at street/café. High contrast, subtle film grain, volumetric lighting, atmospheric particles, ultra-detailed, 8K, photorealistic.

Seedance 2.0 4K on Higgsfield Prompt: Scene: A seamless ultra-cinematic one-take shot starting from deep space and ending in an intimate café moment. The sequence emphasizes speed, scale, and immersive transition from cosmic to human scale. Subject / Character: Final subject is irene galbraith — a young woman sitting in an open-air café named “LUMOS”, wearing denim shorts and a white shirt, casually eating a hamburger with a drink beside her. Action Timeline (TOTAL: 15s): 0–4s (Space → Earth Approach): Wide cinematic shot of Earth in deep space. Camera accelerates forward smoothly. Earth rapidly grows in frame. Subtle light streaks, atmospheric glow becomes visible. Motion builds gradually but feels grand. 4–8s (Atmospheric Entry → Fast Descent): Camera pierces atmosphere with intense glow and motion blur. Clouds rush past. Continents and terrain sweep underneath at high speed. Strong sense of acceleration. 8–11s (City Dive → Street Flow): Camera locks onto a city and dives sharply. Skyscrapers rise fast. Transition into street-level movement — fluid glide through streets, passing buildings, corners, and urban elements with dynamic motion. 11–12s (Café Target Lock): Camera spots outdoor café with large “LUMOS” sign. Rapid but smooth deceleration begins. Focus tightens. 12–15s (Final Scene – Character): Camera settles into a medium shot of irene galbraith. She sits casually, eating a hamburger, drink on table. Natural motion (taking a bite, relaxed posture). Warm, calm contrast to previous high-speed sequence. Camera: One continuous shot, no cuts. Extreme speed ramping: slow → ultra-fast → controlled slowdown. Wide lens in space → natural cinematic lens at final shot. Smooth stabilization with slight handheld realism at the end. Audio: Cinematic rise from deep space ambience → intense whooshing during descent → city ambience → soft café sounds (light chatter, ambient noise). Style: Cinematic color grading: cool tones in space/descent → gradually warmer tones at street/café. High contrast, subtle film grain, volumetric lighting, atmospheric particles, ultra-detailed, 8K, photorealistic.

simeon-sanai

59,749 просмотров • 3 месяцев назад

The day AI can build shots like this from a rough prompt, half of the Blender flexing on this app is over. This is not just “a cool spaceship.” It is camera movement, scale, motion, lighting, materials, composition, and enough tiny decisions to normally eat hours or days of actual work. That is why clips like this are so interesting. They make you stop asking whether AI can generate pretty images and start asking when it will be able to handle a full cinematic workflow inside a real 3D scene. Not just spit out one lucky frame, but actually block out the ship, place the cameras, shape the materials, animate the motion, inspect what looks wrong, and keep iterating until the shot feels intentional. We are probably closer to that moment than most people want to admit. And when it really clicks, “I made this in Blender” might start meaning “I directed it,” not “I manually suffered through every step.”

The day AI can build shots like this from a rough prompt, half of the Blender flexing on this app is over. This is not just “a cool spaceship.” It is camera movement, scale, motion, lighting, materials, composition, and enough tiny decisions to normally eat hours or days of actual work. That is why clips like this are so interesting. They make you stop asking whether AI can generate pretty images and start asking when it will be able to handle a full cinematic workflow inside a real 3D scene. Not just spit out one lucky frame, but actually block out the ship, place the cameras, shape the materials, animate the motion, inspect what looks wrong, and keep iterating until the shot feels intentional. We are probably closer to that moment than most people want to admit. And when it really clicks, “I made this in Blender” might start meaning “I directed it,” not “I manually suffered through every step.”

Rina

26,634 просмотров • 2 месяцев назад

kling 2.6 turns one winning ugc into infinite “new” creators same script same product framing same camera distance only the face changes brands don’t reshoot they clone kling keeps the mouth sync, expressions, and hand motion so every version feels native, not copied this is how one ad becomes 50 creators without paying 50 creators i broke down exactly how teams use kling for ugc cloning at scale rt + comment “kling” and i’ll send it (follow for dm)

kling 2.6 turns one winning ugc into infinite “new” creators same script same product framing same camera distance only the face changes brands don’t reshoot they clone kling keeps the mouth sync, expressions, and hand motion so every version feels native, not copied this is how one ad becomes 50 creators without paying 50 creators i broke down exactly how teams use kling for ugc cloning at scale rt + comment “kling” and i’ll send it (follow for dm)

Daffy

26,246 просмотров • 8 месяцев назад

A cinematic AI-powered visual experience showcasing how imagination can be transformed into stunning digital worlds From futuristic environments and creative fashion visuals to seamless character transformations every scene blends technology creativity, and storytelling into one immersive piece. Made with MiniMaxH3 on WeryAI Wery Prompt: A stylish young South Asian woman with long dark hair, natural glamorous makeup and an elegant modern outfit. Keep her face, hairstyle, outfit and appearance consistent throughout the entire video. Scene 1 — 0–4s: She sits at a sleek modern workstation in a futuristic studio. She looks directly into the camera and says naturally: “What if you could turn your ideas into reality in just a few clicks?” Natural facial expressions and hand gestures. Slow cinematic camera push-in. Perfect lip-sync. Scene 2 — 4–7s: She turns to her computer and opens WeryAI. She types a creative idea and says: “That’s exactly what I love about WeryAI.” The interface responds with elegant AI processing animations and glowing digital effects. Scene 3 — 7–11s: Her simple idea transforms into stunning AI-generated visuals: a fashion scene, futuristic city, cinematic character, premium product advertisement and social-media video. She looks impressed and says: “Give it an idea, and watch it come to life.” Use smooth cinematic transitions and dynamic camera movement. Scene 4 — 11–15s: She turns back toward the camera with a confident smile and says: “WeryAI. Your imagination, powered by AI.” The camera slowly pulls back as the WeryAI brand reveal appears with a clean futuristic glow. Audio: Natural confident female voice, warm energetic delivery, subtle futuristic background music and soft cinematic sound effects. Keep dialogue clear and prominent. Lip-sync: The woman must visibly speak every line with accurate lip synchronization, natural mouth movement, blinking and facial expressions. Visual quality: Photorealistic, cinematic 4K, realistic skin, smooth camera movement, premium lighting, shallow depth of field, consistent character. No subtitles, no distorted face, no warped hands, no extra fingers, no flickering, no random text, no watermark.

Calira

13,161 просмотров • 1 месяц назад

Korean outfit style board GPT Image 2.5 and Seedance 2.5 on Renoise AI 日本公式 Prompt: A clean, premium 4-second fashion lookbook animation starting from the first frame. The entire layout stays exactly as shown: same background, same cream item panel, same captions, same crown icons, same wordmark, same framing. The model on the right turns a full 360° on the spot the way a real fashion model does on set: she steps her feet around naturally, shifting her weight from one leg to the other as she turns, her arms moving freely and her shoulders relaxed. As she comes around to the back she glances over her shoulder, and as she returns to face the camera she settles into a new, different confident model pose. Natural posture, realistic cloth physics; hair, hems and accessories swing and settle with the motion. She stays in the same spot and at the same size in frame throughout. At the same time, every product cutout inside the item panel rotates in place on its own vertical axis, like a luxury product display render, revealing front, side and back. Each item stays centered in its own slot, keeps its size, and completes exactly one full rotation in sync with the model's turn, ending in its original orientation. The panel, divider lines, captions, crown icons and wordmark stay perfectly fixed; only the model moves and the products rotate. Camera locked off, no zoom, no pan. Soft studio lighting with realistic shadows under the model and the products. Smooth, natural motion, clean commercial fashion-ad aesthetic, ultra-sharp details, luxury catalog presentation.

TSUBAKI

66,803 просмотров • 21 дней назад

Demas Nwoko’s home in southeastern Nigeria feels almost sacred in its quietness. The home is designed with an open plan and no rigid rooms, the space flows naturally, just as he believes life should. “That is our way of living: open plan, no rooms,” Nwoko says. The house is modelled the same way, so you can move through it very freely.

Demas Nwoko’s home in southeastern Nigeria feels almost sacred in its quietness. The home is designed with an open plan and no rigid rooms, the space flows naturally, just as he believes life should. “That is our way of living: open plan, no rooms,” Nwoko says. The house is modelled the same way, so you can move through it very freely.

Tope Dada

64,164 просмотров • 7 месяцев назад

The next frontier in AI video isn't better motion - it's better perspective. What used to require a full production setup, camera rig, location scout, multi-shot choreography - now starts with a single image inside Comfy. Creator seungho__yeo ( IG ) used Hyper POV + Seedance 2 to build a complete cinematic space traversal from one still frame: → Aggressive first-person orbit through the full environment → Fly-through movement that inhabits the space, not just records it → Motion blur and single-take continuity that holds the cinematic feel end to end → No cuts. No rig. One image as the source of truth. This is what perspective design looks like at the new baseline.

The next frontier in AI video isn't better motion - it's better perspective. What used to require a full production setup, camera rig, location scout, multi-shot choreography - now starts with a single image inside Comfy. Creator seungho__yeo ( IG ) used Hyper POV + Seedance 2 to build a complete cinematic space traversal from one still frame: → Aggressive first-person orbit through the full environment → Fly-through movement that inhabits the space, not just records it → Motion blur and single-take continuity that holds the cinematic feel end to end → No cuts. No rig. One image as the source of truth. This is what perspective design looks like at the new baseline.

ComfyUI

35,150 просмотров • 3 месяцев назад

Turning a simple idea into a dreamy visual ✨ Made with Supercool.com Video.Prompt⤵️ Create an extremely funny, adorable cinematic 3D animated short film, exactly 10 seconds long. CHARACTER CONSISTENCY: Use the exact same tiny baby otter character throughout the entire video. The otter is extremely small and adorable, with fluffy brown wet fur, a round cute face, huge expressive eyes, tiny ears, small whiskers, chubby cheeks, and tiny paws. Keep the exact same facial features, fur color, proportions, anatomy, and appearance in every shot. SCENE 1 — INSTANT COMEDY START (0–2 seconds): Open with the baby otter sitting on a wet tree stump beside a fast-flowing rainy forest river. The otter is holding a tiny fish-shaped snack with both paws and happily eating it. Suddenly, a gigantic crocodile silently rises behind the otter. The crocodile opens its enormous mouth directly behind the tiny otter. The otter keeps eating completely unaware. Use a funny camera angle showing the enormous crocodile behind the tiny innocent otter. SCENE 2 — THE REALIZATION (2–4 seconds): The otter suddenly notices the crocodile's giant shadow. It slowly stops chewing. Its eyes move upward. The otter slowly turns its head. It sees the gigantic crocodile. Extreme close-up of the otter's face. Its eyes become ridiculously huge. Its mouth opens in complete shock. The crocodile looks extremely confident. SCENE 3 — UNEXPECTED REACTION (4–6 seconds): Instead of running away, the tiny otter suddenly stands on its little back legs. It raises both tiny paws toward the crocodile. The otter tries to look extremely scary. It puffs out its tiny chest. Its cheeks become puffed up. It makes the funniest possible "angry" face. The contrast between the tiny harmless otter and the enormous crocodile should be hilarious. SCENE 4 — CROCODILE PANICS (6–8 seconds): The crocodile suddenly gets confused. It leans backward. The otter takes one tiny step forward. The crocodile becomes increasingly nervous. Then the otter suddenly sneezes. A tiny puff of water shoots from its nose. The crocodile reacts as if it has been attacked by a monster. It dramatically jumps backward into the river with an enormous SPLASH. SCENE 5 — FINAL COMEDY PUNCHLINE (8–10 seconds): The otter looks at the camera with a completely confused expression. It looks at its own tiny paws. Then it looks back toward the river. The crocodile's head slowly appears from the water again. The crocodile looks embarrassed. The otter casually goes back to eating its fish snack as if absolutely nothing happened. End with the crocodile staring at the otter in disbelief while the otter happily continues eating. VISUAL STYLE: High-end cinematic 3D animated movie quality, adorable stylized characters, extremely expressive facial animation, exaggerated comedy, realistic wet fluffy fur, detailed rain droplets, realistic water simulation, dramatic splashes, lush rainy forest, misty atmosphere, cinematic lighting, volumetric fog, beautiful reflections, smooth animation, dynamic camera movement, cinematic depth of field, polished feature-film rendering. COMEDY: Make every reaction exaggerated and visually funny. The humor should come from the extreme size difference between the tiny otter and giant crocodile, unexpected pauses, facial expressions, sudden movement, exaggerated splash effects, and perfect comedic timing. The otter should never actually hurt the crocodile. Keep the tone playful, harmless, cute, and family-friendly. CAMERA: Fast cinematic close-ups, dramatic reveal, reaction close-up, low-angle crocodile shot, slow-motion splash, and final comedic close-up. FORMAT: Exactly 10 seconds. Vertical 9:16. Fast pacing. Strong hook in the first second. Clear visual storytelling. Big comedic payoff at the end. No dialogue. No text. No subtitles. No logos. No watermark.

Turning a simple idea into a dreamy visual ✨ Made with Supercool.com Video.Prompt⤵️ Create an extremely funny, adorable cinematic 3D animated short film, exactly 10 seconds long. CHARACTER CONSISTENCY: Use the exact same tiny baby otter character throughout the entire video. The otter is extremely small and adorable, with fluffy brown wet fur, a round cute face, huge expressive eyes, tiny ears, small whiskers, chubby cheeks, and tiny paws. Keep the exact same facial features, fur color, proportions, anatomy, and appearance in every shot. SCENE 1 — INSTANT COMEDY START (0–2 seconds): Open with the baby otter sitting on a wet tree stump beside a fast-flowing rainy forest river. The otter is holding a tiny fish-shaped snack with both paws and happily eating it. Suddenly, a gigantic crocodile silently rises behind the otter. The crocodile opens its enormous mouth directly behind the tiny otter. The otter keeps eating completely unaware. Use a funny camera angle showing the enormous crocodile behind the tiny innocent otter. SCENE 2 — THE REALIZATION (2–4 seconds): The otter suddenly notices the crocodile's giant shadow. It slowly stops chewing. Its eyes move upward. The otter slowly turns its head. It sees the gigantic crocodile. Extreme close-up of the otter's face. Its eyes become ridiculously huge. Its mouth opens in complete shock. The crocodile looks extremely confident. SCENE 3 — UNEXPECTED REACTION (4–6 seconds): Instead of running away, the tiny otter suddenly stands on its little back legs. It raises both tiny paws toward the crocodile. The otter tries to look extremely scary. It puffs out its tiny chest. Its cheeks become puffed up. It makes the funniest possible "angry" face. The contrast between the tiny harmless otter and the enormous crocodile should be hilarious. SCENE 4 — CROCODILE PANICS (6–8 seconds): The crocodile suddenly gets confused. It leans backward. The otter takes one tiny step forward. The crocodile becomes increasingly nervous. Then the otter suddenly sneezes. A tiny puff of water shoots from its nose. The crocodile reacts as if it has been attacked by a monster. It dramatically jumps backward into the river with an enormous SPLASH. SCENE 5 — FINAL COMEDY PUNCHLINE (8–10 seconds): The otter looks at the camera with a completely confused expression. It looks at its own tiny paws. Then it looks back toward the river. The crocodile's head slowly appears from the water again. The crocodile looks embarrassed. The otter casually goes back to eating its fish snack as if absolutely nothing happened. End with the crocodile staring at the otter in disbelief while the otter happily continues eating. VISUAL STYLE: High-end cinematic 3D animated movie quality, adorable stylized characters, extremely expressive facial animation, exaggerated comedy, realistic wet fluffy fur, detailed rain droplets, realistic water simulation, dramatic splashes, lush rainy forest, misty atmosphere, cinematic lighting, volumetric fog, beautiful reflections, smooth animation, dynamic camera movement, cinematic depth of field, polished feature-film rendering. COMEDY: Make every reaction exaggerated and visually funny. The humor should come from the extreme size difference between the tiny otter and giant crocodile, unexpected pauses, facial expressions, sudden movement, exaggerated splash effects, and perfect comedic timing. The otter should never actually hurt the crocodile. Keep the tone playful, harmless, cute, and family-friendly. CAMERA: Fast cinematic close-ups, dramatic reveal, reaction close-up, low-angle crocodile shot, slow-motion splash, and final comedic close-up. FORMAT: Exactly 10 seconds. Vertical 9:16. Fast pacing. Strong hook in the first second. Clear visual storytelling. Big comedic payoff at the end. No dialogue. No text. No subtitles. No logos. No watermark.

Zarnab Ai

11,311 просмотров • 1 месяц назад

This from Flux 3 is incredible! Prompt : Four-way CCTV-style split-screen showing the same real-time event inside a convenience shop. Divide the frame into four equal security-camera views with timestamps. Top left: wide ceiling-corner view covering aisles, entrance, and cashier. Top right: overhead view above the central aisle. Bottom left: camera facing the checkout counter. Bottom right: camera near the entrance looking inward. At the 2-second mark, a customer takes a boxed item from a shelf, accidentally bumps a display, catches one falling bottle, then places the box on the checkout counter. The cashier turns, scans it, and hands over a receipt as another shopper crosses behind them. All four views must remain perfectly synchronized, showing identical people, movements, object positions, occlusions, timestamps, lighting, and physical reactions. Use realistic low-resolution CCTV footage, slight lens distortion, fixed cameras, and no cinematic camera movement.

This from Flux 3 is incredible! Prompt : Four-way CCTV-style split-screen showing the same real-time event inside a convenience shop. Divide the frame into four equal security-camera views with timestamps. Top left: wide ceiling-corner view covering aisles, entrance, and cashier. Top right: overhead view above the central aisle. Bottom left: camera facing the checkout counter. Bottom right: camera near the entrance looking inward. At the 2-second mark, a customer takes a boxed item from a shelf, accidentally bumps a display, catches one falling bottle, then places the box on the checkout counter. The cashier turns, scans it, and hands over a receipt as another shopper crosses behind them. All four views must remain perfectly synchronized, showing identical people, movements, object positions, occlusions, timestamps, lighting, and physical reactions. Use realistic low-resolution CCTV footage, slight lens distortion, fixed cameras, and no cinematic camera movement.

Umesh

115,929 просмотров • 2 месяцев назад

THIS ROBOT HAS A DEAD FLY'S BRAIN AND IT WALKS LIKE A FLY scientists sliced the fly into thousands of layers thinner than a virus to copy every wire in its body the fly didn't survive the map did: 166,700 neurons, from the brain all the way down to the legs so somebody built it a new body six metal legs, 18 motors, two camera eyes and a battery strapped to its back no walking code, they just wired the leg neurons into the motors and switched it on > it turned its head and looked straight at the camera > then it walked, three legs down, three legs up, the exact way a real fly does > when someone reached for it, it froze > when the hand got closer, it ran nobody taught it any of that the fly has been dead for years, and its brain still knows how to escape next on the list is a mouse

THIS ROBOT HAS A DEAD FLY'S BRAIN AND IT WALKS LIKE A FLY scientists sliced the fly into thousands of layers thinner than a virus to copy every wire in its body the fly didn't survive the map did: 166,700 neurons, from the brain all the way down to the legs so somebody built it a new body six metal legs, 18 motors, two camera eyes and a battery strapped to its back no walking code, they just wired the leg neurons into the motors and switched it on > it turned its head and looked straight at the camera > then it walked, three legs down, three legs up, the exact way a real fly does > when someone reached for it, it froze > when the hand got closer, it ran nobody taught it any of that the fly has been dead for years, and its brain still knows how to escape next on the list is a mouse

explos1ve

69,049 просмотров • 10 дней назад

Been testing this the whole weekend and it actually holds up. Turns out GPT-6 Astra + Dreamina Seedance 2.5 is an actual pipeline. Astra codes the geometry → Blender → Clay Renderer Plugin → final render on Dreamina. The Clay Renderer Plugin does the handoff. Your Blender clay model goes straight into Dreamina, then Seedance 2.5 turns it into final footage — camera and layout stay exactly where you left them. Full 2.5 quality, and the render pass cost me less than lunch. #Dreamina #DreaminaPartner

Been testing this the whole weekend and it actually holds up. Turns out GPT-6 Astra + Dreamina Seedance 2.5 is an actual pipeline. Astra codes the geometry → Blender → Clay Renderer Plugin → final render on Dreamina. The Clay Renderer Plugin does the handoff. Your Blender clay model goes straight into Dreamina, then Seedance 2.5 turns it into final footage — camera and layout stay exactly where you left them. Full 2.5 quality, and the render pass cost me less than lunch. #Dreamina #DreaminaPartner

Mabia Khatun

14,912 просмотров • 1 месяц назад

MiniMax H3 Prompt: A cinematic wide shot of four young women running barefoot across a vast rain-soaked green field during a sudden summer downpour. Their casual summer clothes and loose hair are drenched by the rain as they sprint together from left to right, giving the moment a spontaneous, carefree sense of youth and freedom. Rather than posing for the camera, they appear completely absorbed in the moment. Shot as an extreme wide environmental shot from roughly eye level, with the figures occupying only the lower third of the composition. A huge amount of open landscape and pale overcast sky surrounds them, emphasizing scale, isolation and atmosphere. A single small tree near the center of the frame acts as a quiet visual anchor against the movement of the running figures. The camera feels static or only subtly handheld, allowing the women to rush through the frame rather than actively tracking them. A moderately wide lens, around 28–35mm equivalent, captures the expansive field, distant hills and surrounding trees while keeping the runners readable. The women are intentionally rendered with strong natural motion blur, suggesting a relatively slow shutter speed and creating an impressionistic sense of speed. The landscape remains comparatively stable and readable, making their blurred movement especially prominent. Lighting is entirely soft natural daylight filtered through heavy storm clouds and rainfall. Visibility gradually falls off toward the distant hills, where rain and atmospheric haze create layered depth. The palette is subdued and earthy, dominated by wet olive green, moss, muted yellow, warm grey and faded brown. The image has a distinctly analog cinematic texture, with soft focus, restrained contrast, subtle grain, slightly muddy colors and imperfect exposure. It feels like a frame from a 1970s or 1990s coming-of-age arthouse film, balancing nostalgia, freedom, summer melancholy and the chaotic energy of being caught unexpectedly in the rain.

MiniMax H3 Prompt: A cinematic wide shot of four young women running barefoot across a vast rain-soaked green field during a sudden summer downpour. Their casual summer clothes and loose hair are drenched by the rain as they sprint together from left to right, giving the moment a spontaneous, carefree sense of youth and freedom. Rather than posing for the camera, they appear completely absorbed in the moment. Shot as an extreme wide environmental shot from roughly eye level, with the figures occupying only the lower third of the composition. A huge amount of open landscape and pale overcast sky surrounds them, emphasizing scale, isolation and atmosphere. A single small tree near the center of the frame acts as a quiet visual anchor against the movement of the running figures. The camera feels static or only subtly handheld, allowing the women to rush through the frame rather than actively tracking them. A moderately wide lens, around 28–35mm equivalent, captures the expansive field, distant hills and surrounding trees while keeping the runners readable. The women are intentionally rendered with strong natural motion blur, suggesting a relatively slow shutter speed and creating an impressionistic sense of speed. The landscape remains comparatively stable and readable, making their blurred movement especially prominent. Lighting is entirely soft natural daylight filtered through heavy storm clouds and rainfall. Visibility gradually falls off toward the distant hills, where rain and atmospheric haze create layered depth. The palette is subdued and earthy, dominated by wet olive green, moss, muted yellow, warm grey and faded brown. The image has a distinctly analog cinematic texture, with soft focus, restrained contrast, subtle grain, slightly muddy colors and imperfect exposure. It feels like a frame from a 1970s or 1990s coming-of-age arthouse film, balancing nostalgia, freedom, summer melancholy and the chaotic energy of being caught unexpectedly in the rain.

Kōda

14,946 просмотров • 1 месяц назад

opus 5.5 is f*cking cracked at motion design this entire video is code, 0 after effects im open sourcing the prompt template for these motion designs steal it to recreate these ↓ Ask me for: 8 to 12 UI states I want the shape to become (e.g. button, loader, player, slider, toggle, tabs, chart, command palette, toast), pure black and white or one accent color, and a royalty-free song around 120 BPM (e.g. Mixkit, free for commercial use). Dribbble-level UI motion. One shape, never cut: every state is the same element morphing its size, radius and color while its content swaps with a short blur. A cursor drives every change with real clicks and drags. Light warm-gray canvas, black and white components, one clean UI font (Geist). Springs everywhere, a tiny overshoot at most. The camera zooms so each state fills the frame. The last frame is the first frame, so it loops. Banned: bouncy easing, particle bursts, glows, gradients on UI chrome, mismatched icon strokes, dead time, anything that looks like a template. 120 BPM, 7 bars, something happens on every beat. Button → loader → check → dynamic island → music player with a play/pause morph → scrub the progress bar → it becomes a volume slider that stretches when dragged past max → a toggle flips on the beat → the knob becomes a liquid tab indicator → the tabs open into a chart that draws itself, with a tooltip on hover → it collapses into ⌘K → type to filter → enter → toast → back to the button. 1. One HTML file, square 1440x1440. Every style is computed from time inside seek(t): no CSS transitions, no timers, no state carried between frames. 2. Springs are closed-form step responses. A value that changes target many times is the sum of one spring per change, so it stays a pure function of time. 3. The tab indicator's two edges ride different springs, so the leading edge stretches ahead of the trailing one. Same trick for the toggle knob. 4. Drags are direct manipulation: while the cursor is held, the value is computed from its position. On release it springs back from wherever it was. 5. Analyze the song with numpy for the beat grid and start on a downbeat. Place every UI sound by its measured peak. 6. Render with Playwright: 4 subframes per frame, blended with ffmpeg tmix for motion blur at 60fps. 7. Render one frame per beat before the full render. Fix anything off the grid, cramped or hard to read. Never put will-change on anything the camera scales or the text renders blurry. Text that swaps inside a morphing container needs its own enter and exit timing or it overlaps. Make the last frame identical to the first, cursor position and speed included, or the loop stutters. Ask me for the inputs, then show me the state list on the beat grid before you write any code.

opus 5.5 is f*cking cracked at motion design this entire video is code, 0 after effects im open sourcing the prompt template for these motion designs steal it to recreate these ↓ Ask me for: 8 to 12 UI states I want the shape to become (e.g. button, loader, player, slider, toggle, tabs, chart, command palette, toast), pure black and white or one accent color, and a royalty-free song around 120 BPM (e.g. Mixkit, free for commercial use). Dribbble-level UI motion. One shape, never cut: every state is the same element morphing its size, radius and color while its content swaps with a short blur. A cursor drives every change with real clicks and drags. Light warm-gray canvas, black and white components, one clean UI font (Geist). Springs everywhere, a tiny overshoot at most. The camera zooms so each state fills the frame. The last frame is the first frame, so it loops. Banned: bouncy easing, particle bursts, glows, gradients on UI chrome, mismatched icon strokes, dead time, anything that looks like a template. 120 BPM, 7 bars, something happens on every beat. Button → loader → check → dynamic island → music player with a play/pause morph → scrub the progress bar → it becomes a volume slider that stretches when dragged past max → a toggle flips on the beat → the knob becomes a liquid tab indicator → the tabs open into a chart that draws itself, with a tooltip on hover → it collapses into ⌘K → type to filter → enter → toast → back to the button. 1. One HTML file, square 1440x1440. Every style is computed from time inside seek(t): no CSS transitions, no timers, no state carried between frames. 2. Springs are closed-form step responses. A value that changes target many times is the sum of one spring per change, so it stays a pure function of time. 3. The tab indicator's two edges ride different springs, so the leading edge stretches ahead of the trailing one. Same trick for the toggle knob. 4. Drags are direct manipulation: while the cursor is held, the value is computed from its position. On release it springs back from wherever it was. 5. Analyze the song with numpy for the beat grid and start on a downbeat. Place every UI sound by its measured peak. 6. Render with Playwright: 4 subframes per frame, blended with ffmpeg tmix for motion blur at 60fps. 7. Render one frame per beat before the full render. Fix anything off the grid, cramped or hard to read. Never put will-change on anything the camera scales or the text renders blurry. Text that swaps inside a morphing container needs its own enter and exit timing or it overlaps. Make the last frame identical to the first, cursor position and speed included, or the loop stutters. Ask me for the inputs, then show me the state list on the beat grid before you write any code.

zero

1,160,943 просмотров • 19 дней назад

🎬 Motion Control has arrived! Take full control of your AI videos with 12 dynamic camera shots — from smooth Dolly moves to dramatic Cranes and VFX like Explosions and Disintegration. Perfect for adding cinematic flare, stock footage, product ads, or just experimenting with storytelling. ✨ How it works: 1️⃣ Head to the new Video creation tool 2️⃣ Enter your prompt 3️⃣ Pick your camera shot from the Motion Control panel 4️⃣ (Optional) Add a Style or inspiration image as a start frame 💡Want extra consistency? Train an Element, generate your key stills, and animate them for a fully guided scene. More features are coming soon — including End Frames 👀 So stay tuned, and let us know what you create! 🎥 Lights, camera... Motion! Try it now on the Video page 👉🏻

🎬 Motion Control has arrived! Take full control of your AI videos with 12 dynamic camera shots — from smooth Dolly moves to dramatic Cranes and VFX like Explosions and Disintegration. Perfect for adding cinematic flare, stock footage, product ads, or just experimenting with storytelling. ✨ How it works: 1️⃣ Head to the new Video creation tool 2️⃣ Enter your prompt 3️⃣ Pick your camera shot from the Motion Control panel 4️⃣ (Optional) Add a Style or inspiration image as a start frame 💡Want extra consistency? Train an Element, generate your key stills, and animate them for a fully guided scene. More features are coming soon — including End Frames 👀 So stay tuned, and let us know what you create! 🎥 Lights, camera... Motion! Try it now on the Video page 👉🏻

Leonardo.Ai

984,421 просмотров • 1 год назад

China is steadily tearing down every mosque that looks Islamic in style. The Chinese government is doing all of this in the name of stopping extremism and separatism. In 2023 it even brought down the last historic mosque, and still the Muslim countries did not speak out against it. On the contrary, OIC delegations go to Xinjiang and praise its development and stability. China is stripping every mosque of Arabic style and putting up Chinese-style towers, plus chicken farms, pubs, and bars. The government calls this the “Sinicization of religion.” It has gone so far that, to keep Chinese Islam under control, it is attacking every Islamic style and way of life that is Arabic.

China is steadily tearing down every mosque that looks Islamic in style. The Chinese government is doing all of this in the name of stopping extremism and separatism. In 2023 it even brought down the last historic mosque, and still the Muslim countries did not speak out against it. On the contrary, OIC delegations go to Xinjiang and praise its development and stability. China is stripping every mosque of Arabic style and putting up Chinese-style towers, plus chicken farms, pubs, and bars. The government calls this the “Sinicization of religion.” It has gone so far that, to keep Chinese Islam under control, it is attacking every Islamic style and way of life that is Arabic.

Alpha Wolf 🐺

67,144 просмотров • 16 дней назад