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Pit Stop Reveal 1 - STEPN Walker: Lamborghini Verde Selvans 💚🏎️ STEPN x Lamborghini Genesis Walker Inspired by the iconic Automobili Lamborghini Sián, this Walker channels high-voltage design: electric green finish, sculpted angles, and pure motion energy in Sneaker form. Only 392 exist. Only 1 way to get it....

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STEPN GO

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13,993 Aufrufe • vor 8 Monaten •via X (Twitter)

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STEPN GO x 🇦🇷 Selección Argentina ⭐⭐⭐ Challenge #1 is LIVE! 👟⚽ We’re kicking off the second STEPN GO x 🇦🇷 Selección Argentina ⭐⭐⭐ drop with our first giveaway, and it starts with the Golden Genesis Walker ✨ Inspired by the energy of the pitch and the passion of Argentina’s fans, this Golden Genesis is for those who play with pride. And yes, it could be yours! How to enter: 🏆 Draw a trophy using your STEPN GO GPS tracking ✉️ Post your run using #STEPNGOxAFA and tag STEPN GO & 🇦🇷 Selección Argentina ⭐⭐⭐ ⏳ Ends July 18th, 9 AM UTC Prizes: 🥇 1 Golden Genesis Walker 🥈 5,000 GMT 📌 2 winners will be randomly selected from eligible entries to win one of the prizes. VAMOS! #STEPNGOxAFA – Move Like a Champion
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STEPN GO x 🇦🇷 Selección Argentina ⭐⭐⭐ Challenge #1 is LIVE! 👟⚽ We’re kicking off the second STEPN GO x 🇦🇷 Selección Argentina ⭐⭐⭐ drop with our first giveaway, and it starts with the Golden Genesis Walker ✨ Inspired by the energy of the pitch and the passion of Argentina’s fans, this Golden Genesis is for those who play with pride. And yes, it could be yours! How to enter: 🏆 Draw a trophy using your STEPN GO GPS tracking ✉️ Post your run using #STEPNGOxAFA and tag STEPN GO & 🇦🇷 Selección Argentina ⭐⭐⭐ ⏳ Ends July 18th, 9 AM UTC Prizes: 🥇 1 Golden Genesis Walker 🥈 5,000 GMT 📌 2 winners will be randomly selected from eligible entries to win one of the prizes. VAMOS! #STEPNGOxAFA – Move Like a Champion

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STEPN x adidas Jogger Showcase ✨ Discover how our exclusive Genesis collection with adidas mirrors their most iconic running silhouettes ✨ As the most avid adidas connoisseurs might have guessed, the STEPN x adidas Jogger Sneaker is a tribute to the famous Supernova Rise! 👟 To celebrate this groundbreaking partnership, we’re giving away a Supernova Rise sneaker to one lucky winner! 👉 Go to and find the STEPN x adidas Jogger Sneaker hidden on the website Clicking on it will lead you to a form where you can secure your spot in the raffle for the sneaker! 📆 Deadline: April 25, 9 am UTC 💚 Like and RT this post to boost your chances 🏆 1 random winner Note: The reward will be given in GMT value (900 GMT) Good luck! STEPN x adidas: Step into the Future.
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STEPN x adidas Jogger Showcase ✨ Discover how our exclusive Genesis collection with adidas mirrors their most iconic running silhouettes ✨ As the most avid adidas connoisseurs might have guessed, the STEPN x adidas Jogger Sneaker is a tribute to the famous Supernova Rise! 👟 To celebrate this groundbreaking partnership, we’re giving away a Supernova Rise sneaker to one lucky winner! 👉 Go to and find the STEPN x adidas Jogger Sneaker hidden on the website Clicking on it will lead you to a form where you can secure your spot in the raffle for the sneaker! 📆 Deadline: April 25, 9 am UTC 💚 Like and RT this post to boost your chances 🏆 1 random winner Note: The reward will be given in GMT value (900 GMT) Good luck! STEPN x adidas: Step into the Future.

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STEPN x adidas Trainer Showcase ✨️ Have you noticed that each of our 4 co-branded Sneaker designs is inspired by a real adidas sneaker? For the The STEPN x adidas Trainer Sneaker, the design has been inspired by the famous adidas Ultraboost silhouette! 👟 With this partnership, we want to break the boundaries between digital and physical, and incentivise our community to a healthier lifestyle. And to move in this direction, we are offering one Ultraboost sneaker to one of you! All you have to do is find the hidden STEPN x adidas Trainer on and click on the image. You will be redirected to a form to validate your participation and enter a raffle to win the sneaker! 📆 Deadline: April 25, 9am UTC 💚 Like and RT this post to boost your chances 🏆 1 random winner Note: The reward will be given in GMT value (900 GMT) Good luck! STEPN x adidas: Step into the Future.
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STEPN GO x 🇦🇷 Selección Argentina ⭐⭐⭐ Challenge #3 is LIVE! 👟🔥 Third in our golden giveaway series: the AFA Golden Genesis Runner built for those who go the extra mile 💨 This Sneaker is inspired by captains, leaders, and those who carry their team forward 🫡 How to enter: 🏃‍♂️ Complete a 2 Energy run using a Runner Sneaker in STEPN GO ✉️ Post a screenshot of your run using #STEPNGOxAFA and tag STEPN GO & 🇦🇷 Selección Argentina ⭐⭐⭐ ⏳ Ends July 24th, 9 AM UTC Prizes: 🥇 1 Golden Genesis Runner 🥈 5,000 GMT 📌 2 winners will be randomly selected from eligible entries to win one of the prizes. Let’s see that champion pace. #STEPNGOxAFA – Move Like a Champion
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MOOAR Box S2 Round 6 🎁 😺 Due to the incredible success and hype around MOOAR Box S2, we're thrilled to announce a BONUS Round 6! 📅 June 18th @ 00:00 UTC This is the last round of Season 2 and your final chance to receive MOOAR Boxes for buying and selling NFTs on MOOAR. Each MOOAR Box contains raffle tickets, which you can HODL until the end of the round to enter a raffle and win some of these amazing prizes ⤵️ 👟 1 x STEPN x adidas Genesis Sneaker 😺 10 x STEPN x MOOAR Genesis Sneakers 👯 200 x MOOAR Frens STEPN OG Sneakers ❤️‍🔥 2,722 x #MOOARFrens NFTs Our Round 6 partners are: 🔥 MATR1X FIRE 🌻 Sunflower Land 🦙 DeFi Land 🎮 ArenaVS Old 👇 ⚔️ League of Kingdoms Arena 🍽️ Plato During Round 6, buying and selling ANY NFTs from these MOOAR Frens collections may result in collection specific tickets. These tickets can be used to enter 2 raffles at the end of the round. 👯 Partner Specific Raffle 🤝 The #STEPN Sneaker prize pool that include MOOAR Frens STEPN OG Sneakers and STEPN x MOOAR Genesis Sneakers 🔥 Trading MOOAR Frens collections boosts your MOOAR Box Rewards and EXP by 125%! 👟 Trading STEPN x adidas Genesis Sneakers gives you double MOOAR Box Rewards and 1 additional adidas ticket 🎫 👟 Trading STEPN x MOOAR Genesis Sneakers will result in general tickets and double MOOAR Box Rewards. 📅 Ends: July 2nd @ 00:00 UTC Make every trade count!
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A premium LEGO-style cinematic sneaker commercial where street basketball culture meets iconic brick-built animation. Featuring a stylish black sheep minifigure rocking custom LEGO Air Jordan 1s, the film delivers dynamic gameplay, dramatic lighting, and high-energy visuals, ending with a bold statement: STEP DIFFERENT. Made for Renoise x Contra challenge Use of Nano Banana 2 + Seedance 2.0 **LEGO STYLE NIKE AIR JORDAN 1 COMMERCIAL (15 SECONDS)** **Style:** Premium LEGO cinematic animation with authentic glossy plastic bricks and minifigure aesthetics, inspired by high-end LEGO animated films. Every object, environment, and character is constructed entirely from LEGO elements with visible studs, molded textures, and realistic plastic reflections. Vibrant neon green and black color palette (60:30:10 — neon green dominant, black secondary, chrome/silver accents). Volumetric haze, cinematic dusk lighting, anamorphic lens flares from stadium floodlights, soft depth of field, realistic plastic reflections, floating LEGO dust particles, smooth 24fps animation. No live action. No text overlays except the final logo card. **Character:** A stylish anthropomorphic LEGO black sheep minifigure with textured curly black LEGO wool hair, molded sheep ears, expressive printed face, and yellow transparent round LEGO sunglasses. Wearing an oversized neon-green sherpa-inspired LEGO fleece jacket with molded fluffy texture over a black-and-neon-green striped sweater torso print. Loose black LEGO jogger legs with sneaker-friendly proportions. Thin silver LEGO chain necklace with a dog-tag accessory. **Footwear:** Authentic LEGO-built Nike Air Jordan 1 "Neon Green/Black" sneakers featuring white LEGO panels, neon green overlays, black toe cap, black swoosh details recreated using LEGO elements while maintaining the recognizable silhouette. **Location:** Stylized LEGO outdoor basketball court at dusk. Brick-built asphalt court with glossy wet reflections, LEGO chain-link fence, colorful graffiti brick walls, distant LEGO city skyline glowing orange and purple beneath towering floodlights. Atmospheric haze between the buildings with floating LEGO dust particles. --- ### CUT 1 (0:00–0:03) Wide low-angle establishing shot (35mm feel), static. The LEGO sheep minifigure stands confidently at center court holding a LEGO basketball beneath one arm. A gentle breeze slightly rustles the oversized sherpa jacket pieces while the character slowly turns toward camera. Hard match-cut into an extreme macro close-up. One LEGO Air Jordan steps forward. Tiny LEGO dust pieces scatter across the brick-built asphalt in slow motion as the shoe locks firmly onto the court. --- ### CUT 2 (0:03–0:07) Low dynamic tracking shot (24mm), energetic handheld feel. The sheep crouches into a basketball dribble. Close-up of the LEGO basketball bouncing beside the glowing neon-green sneaker while the silver chain swings naturally. Whip-pan into a full-body action shot. The sheep bursts into a fast crossover sprint across the court. Neon green motion trails streak behind the shoes. Jacket panels bounce, ears flap, and plastic pieces subtly flex with movement. Camera performs a rapid 180° orbit ending behind the character looking directly toward the basketball hoop. --- ### CUT 3 (0:07–0:10) Slow-motion sequence (50mm). The sheep launches high into the air for a powerful dunk. Oversized sherpa jacket billows dramatically. Yellow LEGO sunglasses catch brilliant floodlight reflections. Cut to an extreme macro. The sneaker heel lands. A circular neon-green LEGO energy ripple travels outward across the court. Cut to the spinning LEGO basketball in shallow depth of field. The ball cleanly swishes through the LEGO chain net in elegant slow motion. --- ### CUT 4 (0:10–0:13) Hero beauty shot (85mm). The sheep lands confidently in a crouched pose. A glowing green energy ring pulses beneath both sneakers. The character slowly rises into a relaxed hero stance. Head tilts slightly. Yellow sunglasses reflect the glowing skyline. Macro insert. Extreme close-up of the LEGO Air Jordan toe box, white brick surfaces, black swoosh details, molded seams, glossy plastic finish, and subtle rim lighting emphasizing every LEGO element. --- ### CUT 5 (0:13–0:15) Static wide shot. The sheep walks away toward the glowing LEGO skyline while casually holding the basketball at its side. Its silhouette disappears into the atmospheric dusk haze. Hard cut. The same character now faces camera with arms crossed in a confident hero pose. Nike swoosh logo and the words: **STEP DIFFERENT.** Fade onto the bottom of the frame in clean white and neon-green typography. No additional motion. --- **Audio:** Authentic LEGO plastic footsteps, sneaker squeaks, basketball dribble impacts, subtle jacket rustling, ambient city atmosphere, distant court ambience, cinematic synth swell building toward the final logo reveal. No dialogue. No lyrics. #RenoiseChallenge

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215,760 Aufrufe • vor 1 Monat

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0:10

🚨SCIENCE NEWS🚨: We’re no longer pushing electrons around wires — we’re learning to whisper directly to the sea’s own spins.🧨 Scientists just figured out how to control magnetism at the atomic level by manipulating individual electron spin patterns and creating stable magnetic whirlpools called skyrmions. These tiny structures can store and move data with almost zero energy, promising faster computers, ultra-dense memory, and a fundamental shift from charge-based electronics to pure spin-based technology. Uniphics already sees this as natural behavior of the ξM-field sea. Every particle is a bound gyrotron made from exactly three spin quanta whose rotations create coherent waves. When those waves form stable, self-sustaining patterns (exactly like the skyrmions now being engineered), they minimize local bound energy density through the negentropy drive. The surrounding unbound energy in the sea always repels itself, so any local spin configuration is naturally stabilized or moved by tiny density gradients. No extra materials or high-power circuits are fundamentally required — the sea itself carries and preserves the information as propagating spin waves. Chrono-coils — three orthogonal toroidal rings with golden-ratio windings and Fibonacci pulsing — let us engineer controlled low-density regions right now, tuning the time flow and stabilizing these spin patterns even more efficiently while harvesting vacuum energy through negentropy relaxation. The same three pillars that flatten galactic rotation curves at 220 km/s without dark matter and thin the cosmos without dark energy also make atomic-scale spin engineering straightforward. We don’t have to invent new physics to build spintronics; we only have to work with the sea that is already doing it everywhere. How soon do you think computing changes when we stop fighting electrons and start sailing the sea’s own spin waves? A Theory of Everything should be able to answer everything. Uniphics Explained Simply PDF: Chapters 1–10 free: Grokipedia: Grok xAI Elon Musk #Uniphics #Spintronics #Skyrmions #TheoryOfEverything

Paul Maley

15,949 Aufrufe • vor 4 Monaten

🚨 JAPAN WILL REVEAL ITS NEW GOVERNMENT DEBT TOTAL ON MONDAY The previous official figure, measured on March 31, was already: ¥1,343,842,600,000,000 Around $8.5 TRILLION. On August 10, Japan will reveal how much higher that number climbed by the end of June. But the debt number is only one part of the problem. Something much bigger is happening underneath Japan’s financial system. The 2-year government bond yield just reached 1.51%. Its highest level since 1995. The 10-year yield climbed toward 2.9%. And Japan’s policy rate is now 1%. Its highest level in 31 years. That means the era of nearly free money in Japan is ending. For decades, investors borrowed cheap yen. Then moved that money into: U.S. Treasuries. Stocks. Real estate. Crypto. And markets around the world. Now borrowing in yen is becoming more expensive. And Japanese bonds are finally offering meaningful returns at home. This creates one enormous risk: Japanese capital no longer needs to stay overseas. If that money starts returning to Japan, the global carry trade begins to unwind. Foreign assets get sold. Bond yields rise. Liquidity leaves risk markets. And volatility spreads everywhere. Japan is already showing signs of panic. The government spent a record ¥6.28 TRILLION defending the yen in a single day in April. Another intervention worth an estimated $95.5 BILLION may have followed in late July. Yet the yen still collapsed toward ¥164 per dollar before recovering. Intervention is buying time. It is not fixing the underlying problem. And now Japan is trapped between two opposite decisions. Raise rates to defend the yen. Or buy more bonds to stop yields from rising. Prime Minister Sanae Takaichi has already urged the Bank of Japan to increase bond purchases when necessary. But more bond buying weakens the yen. While higher rates increase the cost of servicing Japan’s massive debt. Fix one problem. Make the other one worse. Monday will not automatically crash global markets. But it will reveal how much larger Japan’s debt burden has become while borrowing costs are hitting multi-decade highs. That is the real risk. Japan financed global markets for decades. Now it may need that money back. I have studied macro cycles for 15 years. This is one of the most important liquidity shifts to watch in 2026. Follow and turn notifications on. Most people will understand what Japan triggered only after markets begin reacting.
0:18

🚨 JAPAN WILL REVEAL ITS NEW GOVERNMENT DEBT TOTAL ON MONDAY The previous official figure, measured on March 31, was already: ¥1,343,842,600,000,000 Around $8.5 TRILLION. On August 10, Japan will reveal how much higher that number climbed by the end of June. But the debt number is only one part of the problem. Something much bigger is happening underneath Japan’s financial system. The 2-year government bond yield just reached 1.51%. Its highest level since 1995. The 10-year yield climbed toward 2.9%. And Japan’s policy rate is now 1%. Its highest level in 31 years. That means the era of nearly free money in Japan is ending. For decades, investors borrowed cheap yen. Then moved that money into: U.S. Treasuries. Stocks. Real estate. Crypto. And markets around the world. Now borrowing in yen is becoming more expensive. And Japanese bonds are finally offering meaningful returns at home. This creates one enormous risk: Japanese capital no longer needs to stay overseas. If that money starts returning to Japan, the global carry trade begins to unwind. Foreign assets get sold. Bond yields rise. Liquidity leaves risk markets. And volatility spreads everywhere. Japan is already showing signs of panic. The government spent a record ¥6.28 TRILLION defending the yen in a single day in April. Another intervention worth an estimated $95.5 BILLION may have followed in late July. Yet the yen still collapsed toward ¥164 per dollar before recovering. Intervention is buying time. It is not fixing the underlying problem. And now Japan is trapped between two opposite decisions. Raise rates to defend the yen. Or buy more bonds to stop yields from rising. Prime Minister Sanae Takaichi has already urged the Bank of Japan to increase bond purchases when necessary. But more bond buying weakens the yen. While higher rates increase the cost of servicing Japan’s massive debt. Fix one problem. Make the other one worse. Monday will not automatically crash global markets. But it will reveal how much larger Japan’s debt burden has become while borrowing costs are hitting multi-decade highs. That is the real risk. Japan financed global markets for decades. Now it may need that money back. I have studied macro cycles for 15 years. This is one of the most important liquidity shifts to watch in 2026. Follow and turn notifications on. Most people will understand what Japan triggered only after markets begin reacting.

Leshka.eth ⛩

117,571 Aufrufe • vor 4 Tagen

Today was my hardest workout before the Javelina 100—an uphill treadmill supercompensation session accumulating 60 minutes of intervals at 10% grade, starting at threshold and ending harder. I think uphill treadmill threshold sessions can be magical for some athletes. Threshold work is classically defined as LT2 or easier, around what you could sustain for 1 hour. In practice, that feels relatively relaxed at first, and it only starts to get harder after you accumulate a substantial amount of volume. The rationale of threshold work is that it improves lactate shuttling, helping mitochondria be more efficient at processing and transporting lactate, preventing fatigue cascades even at harder efforts on other days (or at easier efforts in marathons or ultras). In other words, it’s primarily an aerobic stress. Faster is not better. The real-world obstacles with threshold work are twofold. First, for most of us, it’s pretty slow when done right, or way too hard when done wrong. A study on the training of elite athletes found that long intervals had the lowest correlation with long-term growth, and this conundrum is probably why—athletes do their long intervals too hard, breaking themselves down without the mechanical or aerobic stimulus to justify it. Second, outdoor threshold work can be an injury risk. If I tried this workout outdoors, it would wreck my calves and high hamstrings for days. The uphill treadmill can help athletes get around these hurdles. It’s slower by design, putting the emphasis squarely on the aerobic system. That helps athletes develop a much more precise understanding of threshold. But perhaps most significantly, the uphill treadmill reduces impact forces immensely. When I finish one of these—even a supercompensation session—I feel fine the next day, allowing me to absorb way more work (and more specific work to my goals). Particularly with age, I find that running training is about managing the efforts that are high impact to be limited and focused. While most of the uphill treadmill work I do is very controlled, it’s also ok to occasionally dig deeper. Today was about supercompensation. It’s not called The Pain Cave for nothing 🔥
0:17

Today was my hardest workout before the Javelina 100—an uphill treadmill supercompensation session accumulating 60 minutes of intervals at 10% grade, starting at threshold and ending harder. I think uphill treadmill threshold sessions can be magical for some athletes. Threshold work is classically defined as LT2 or easier, around what you could sustain for 1 hour. In practice, that feels relatively relaxed at first, and it only starts to get harder after you accumulate a substantial amount of volume. The rationale of threshold work is that it improves lactate shuttling, helping mitochondria be more efficient at processing and transporting lactate, preventing fatigue cascades even at harder efforts on other days (or at easier efforts in marathons or ultras). In other words, it’s primarily an aerobic stress. Faster is not better. The real-world obstacles with threshold work are twofold. First, for most of us, it’s pretty slow when done right, or way too hard when done wrong. A study on the training of elite athletes found that long intervals had the lowest correlation with long-term growth, and this conundrum is probably why—athletes do their long intervals too hard, breaking themselves down without the mechanical or aerobic stimulus to justify it. Second, outdoor threshold work can be an injury risk. If I tried this workout outdoors, it would wreck my calves and high hamstrings for days. The uphill treadmill can help athletes get around these hurdles. It’s slower by design, putting the emphasis squarely on the aerobic system. That helps athletes develop a much more precise understanding of threshold. But perhaps most significantly, the uphill treadmill reduces impact forces immensely. When I finish one of these—even a supercompensation session—I feel fine the next day, allowing me to absorb way more work (and more specific work to my goals). Particularly with age, I find that running training is about managing the efforts that are high impact to be limited and focused. While most of the uphill treadmill work I do is very controlled, it’s also ok to occasionally dig deeper. Today was about supercompensation. It’s not called The Pain Cave for nothing 🔥

David Roche

40,681 Aufrufe • vor 1 Jahr

› Prism goes live today. For months now, we’ve been building around a single conviction: MegaETH doesn’t need "one more dapp”. It needs a home. A place where users can actually live onchain without juggling ten different apps. › That’s Prism. MegaETH’s superdapp, built to make onchain activity feel fast, simple, and obvious. And we built it the only way we know how: 100% self-funded, relentlessly community-first. Today is Ecosystem Day 1. We’re shipping. Live at launch - Swap - Cross-chain Swap - Memecoin Launches (via Faster) - Earn Coming very soon - Prediction Markets - Lending Markets - Portfolio - Perpetuals › Liquidity Generation Event (LGE) — Live Today To kick off Prism on MegaETH mainnet, we’re opening our Liquidity Generation Event (LGE). You can provide liquidity to: - ETH / USDm - USDm / USDT0 - BTC.b (by Lombard) / ETH - BTC.b / USDT0 › LGE bonus (mainnet incentives) : Participating in this event will allow you to earn extra points in our mainnet incentive campaign. This bonus will be exclusive to Liquidity Event participants and will not be obtainable afterward. LGE event is scheduled to last 7 days. › Referral Program Starting today, anyone can generate a referral link. · Referrers earn a 10% bonus based on the points their referees earn. · Referees get a 10% points boost on their own actions when they join using a referral. If you want the latest updates, detailed guides, and direct support from the team and community, our Discord is where everything happens. (
0:16

› Prism goes live today. For months now, we’ve been building around a single conviction: MegaETH doesn’t need "one more dapp”. It needs a home. A place where users can actually live onchain without juggling ten different apps. › That’s Prism. MegaETH’s superdapp, built to make onchain activity feel fast, simple, and obvious. And we built it the only way we know how: 100% self-funded, relentlessly community-first. Today is Ecosystem Day 1. We’re shipping. Live at launch - Swap - Cross-chain Swap - Memecoin Launches (via Faster) - Earn Coming very soon - Prediction Markets - Lending Markets - Portfolio - Perpetuals › Liquidity Generation Event (LGE) — Live Today To kick off Prism on MegaETH mainnet, we’re opening our Liquidity Generation Event (LGE). You can provide liquidity to: - ETH / USDm - USDm / USDT0 - BTC.b (by Lombard) / ETH - BTC.b / USDT0 › LGE bonus (mainnet incentives) : Participating in this event will allow you to earn extra points in our mainnet incentive campaign. This bonus will be exclusive to Liquidity Event participants and will not be obtainable afterward. LGE event is scheduled to last 7 days. › Referral Program Starting today, anyone can generate a referral link. · Referrers earn a 10% bonus based on the points their referees earn. · Referees get a 10% points boost on their own actions when they join using a referral. If you want the latest updates, detailed guides, and direct support from the team and community, our Discord is where everything happens. (

Prism

86,738 Aufrufe • vor 6 Monaten

Seedance 2.0 on Higgsfield AI The visual fidelity and scene consistency bring this pirate adventure to life like never before.Every cut feels intentional immersive and ready for the big screen. Full open sourced prompts & assets below: SCENE CONTEXT Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on the horizon. He does not raise the spyglass — he just stands and stares at the distant black sails, holding the look. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; studio sheet layout NOT inherited. >> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder. >> — weathered pirate crewmen from the reference group (bandana, rough shirt, vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and a second runner who arrives in CUT 4 pointing astern. >> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100% matches the reference; starts in the lookout's hands, ends at Eduardo's eye. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — small lone island: dense dark-green jungle cover, a curved white-sand beach on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the reference; it is the island seen on the horizon and inside the spyglass view. >> — small futuristic hard case: matte-black armored corners, neon acid-green side panels, brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach. >> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4 as a tiny silhouette on the horizon — never seen closer in this beat. LOCATION MAP >> under sail on >>, open bright sea. The sterncastle door opens onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon screen-right. Far on that horizon, 2–3 km out: >> — dense green jungle mass, the white-sand beach catching the sun on its near side, turquoise water at its shore. In the OPPOSITE direction, astern of the ship screen-left: open sea where >> rides VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze visible at the horizon distance. Sun high, sea glitter everywhere. FIRST FRAME / BLOCKING First frame: the sterncastle door already swinging open, >> mid-stride through it onto the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass already at his eye, pointed screen-right toward the horizon. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but FAST, covering the deck at 10 km/h. >> sweeps in from off-frame upper-right, wings braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late. CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with >> raised. Eduardo arrives frame-left, the scarlet macaw >> sitting clearly visible ON HIS LEFT SHOULDER through the whole cut. With his RIGHT hand he grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed to his RIGHT eye toward the horizon screen-right, left eye squeezing shut. The lookout yields a step. CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a hand-held tremor, compressed haze layers stacking toward the island. Distant >> sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows, heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive down to the waterline of the beach: >> lying on the wet sand, black-and-acid-green case, steel top plate, green star button glinting. The zoom lands and locks on the case filling half the circle. Hold. CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman from >> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US! BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks past his shoulder — REVEAL deep in the frame: >> VERY far astern, a TINY black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but the black sails read unmistakably. Vast empty water fills everything between the rail and that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand. He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon. The cut ends on his long look toward the enemy ship against the empty sea. OPTICS CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass optics — ONE single circular image (a one-lens telescope, never the twin circles of binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the deep background on the reveal, then holding on Eduardo's profile against the horizon. No drift mid-segment. CAMERA Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT 1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a hand-tremor sway of 1–2 cm that calms when the zoom locks on the case. ACTION Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV the island rises gently with the ship's sway until the crash zoom pins the case. PERFORMANCE Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the eyepiece his face stills completely — squint tightens, lips part a fraction when the case appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin realism, sun catch-lights, spray-damp sheen on the temples. PHYSICS Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat haze wobbles the island image and glitter fires irregularly off the water; the case sits with real weight in the wet sand, a shallow water film sliding around its base. LIGHTING High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below. Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and milkier — long air column, haze density rising toward the horizon; the case's acid-green panels and glowing star button read as the only saturated color on the pale beach. AUDIO Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant. On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind: "CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from Eduardo. STYLE Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle roll-off, 8K master. POSITIVE LOCKS >> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline, star button glowing green in every frame it exists. The island always matches >>: green jungle, white-sand beach, turquoise shallows — and stays screen-right, ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island. The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame. Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses it. >> keeps black sails and the green skull mainsail in every appearance and stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon, under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he simply stands looking at the distant ship, and the beat ends on that look; no cannons and no gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on Eduardo's LEFT shoulder continuously from its landing in CUT 1 through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's hands in CUT 2's first frame and in Eduardo's hands from then on. Same sun direction, same sea state, same wardrobe in every cut. Cuts only at the specified points.
0:15

Seedance 2.0 on Higgsfield AI The visual fidelity and scene consistency bring this pirate adventure to life like never before.Every cut feels intentional immersive and ready for the big screen. Full open sourced prompts & assets below: SCENE CONTEXT Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on the horizon. He does not raise the spyglass — he just stands and stares at the distant black sails, holding the look. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; studio sheet layout NOT inherited. >> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder. >> — weathered pirate crewmen from the reference group (bandana, rough shirt, vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and a second runner who arrives in CUT 4 pointing astern. >> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100% matches the reference; starts in the lookout's hands, ends at Eduardo's eye. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — small lone island: dense dark-green jungle cover, a curved white-sand beach on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the reference; it is the island seen on the horizon and inside the spyglass view. >> — small futuristic hard case: matte-black armored corners, neon acid-green side panels, brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach. >> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4 as a tiny silhouette on the horizon — never seen closer in this beat. LOCATION MAP >> under sail on >>, open bright sea. The sterncastle door opens onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon screen-right. Far on that horizon, 2–3 km out: >> — dense green jungle mass, the white-sand beach catching the sun on its near side, turquoise water at its shore. In the OPPOSITE direction, astern of the ship screen-left: open sea where >> rides VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze visible at the horizon distance. Sun high, sea glitter everywhere. FIRST FRAME / BLOCKING First frame: the sterncastle door already swinging open, >> mid-stride through it onto the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass already at his eye, pointed screen-right toward the horizon. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but FAST, covering the deck at 10 km/h. >> sweeps in from off-frame upper-right, wings braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late. CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with >> raised. Eduardo arrives frame-left, the scarlet macaw >> sitting clearly visible ON HIS LEFT SHOULDER through the whole cut. With his RIGHT hand he grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed to his RIGHT eye toward the horizon screen-right, left eye squeezing shut. The lookout yields a step. CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a hand-held tremor, compressed haze layers stacking toward the island. Distant >> sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows, heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive down to the waterline of the beach: >> lying on the wet sand, black-and-acid-green case, steel top plate, green star button glinting. The zoom lands and locks on the case filling half the circle. Hold. CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman from >> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US! BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks past his shoulder — REVEAL deep in the frame: >> VERY far astern, a TINY black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but the black sails read unmistakably. Vast empty water fills everything between the rail and that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand. He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon. The cut ends on his long look toward the enemy ship against the empty sea. OPTICS CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass optics — ONE single circular image (a one-lens telescope, never the twin circles of binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the deep background on the reveal, then holding on Eduardo's profile against the horizon. No drift mid-segment. CAMERA Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT 1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a hand-tremor sway of 1–2 cm that calms when the zoom locks on the case. ACTION Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV the island rises gently with the ship's sway until the crash zoom pins the case. PERFORMANCE Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the eyepiece his face stills completely — squint tightens, lips part a fraction when the case appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin realism, sun catch-lights, spray-damp sheen on the temples. PHYSICS Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat haze wobbles the island image and glitter fires irregularly off the water; the case sits with real weight in the wet sand, a shallow water film sliding around its base. LIGHTING High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below. Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and milkier — long air column, haze density rising toward the horizon; the case's acid-green panels and glowing star button read as the only saturated color on the pale beach. AUDIO Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant. On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind: "CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from Eduardo. STYLE Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle roll-off, 8K master. POSITIVE LOCKS >> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline, star button glowing green in every frame it exists. The island always matches >>: green jungle, white-sand beach, turquoise shallows — and stays screen-right, ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island. The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame. Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses it. >> keeps black sails and the green skull mainsail in every appearance and stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon, under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he simply stands looking at the distant ship, and the beat ends on that look; no cannons and no gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on Eduardo's LEFT shoulder continuously from its landing in CUT 1 through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's hands in CUT 2's first frame and in Eduardo's hands from then on. Same sun direction, same sea state, same wardrobe in every cut. Cuts only at the specified points.

Nawal

18,336 Aufrufe • vor 27 Tagen

Lots of people are sleeping on Quinn Priester... I have a feeling this dude is going to make an impact with the major league club next year. Let’s talk about it. Adding velo to the sinker (SI) has been a constant emphasis since coming over via trade, and we already saw a minor increase last year. Avg SI velo (2024) 📈 • w/ PIT: 93.0 mph • w/ BOS: 93.8 mph NOTE: Remove his first two appearances where there wasn’t really any changes made, and his avg SI velo now sits at 94.2 mph. Games where SI sat 94+ mph 📈 • w/ PIT: 2 (of 23) • w/ BOS: 5 (of 10) He’s comfortably hit 96 and topped 97 mph for Worcester (seen in video attached), and has been grinding on a velo program this winter as well. Other top velos, just for fun… • FF: 96.3 mph* • SL: 92.3 mph • CU: 83.5 mph* • CH: 92 mph* • FC: 94.4 mph* *indicates top velo was w/ BOS — On top of this, we all know that Bres/Bailey & Co. love their whiff and secondary offerings. Priester took a huge step forward last year in both of these categories. Overall whiff 📈 • w/ PIT: 29.8% • w: BOS: 35.4% Arsenal whiff w/ BOS 📈 • SI: 22% • FF: 30% • FC: 42% • SL: 48% (‼️) • CU: 43%** **hot take: SI/SL combo are his carrying pitches, but his best pitch is his CH — Clearly, there’s something there. I wouldn’t be surprised if we see a major usage change. Here’s what I would propose: • FA (FF/SI/FC): 46.3% ➡️ 30% - SI: 20% (“get me over” or “need it” kind of pitch; needs to be for a strike, low in zone; CH plays off it) - FC: 9% (would love to use it more, but had a limited sample size in 2024; start off as a LHH-exclusive like Garett Whitlock showcased; needs to either be elevated (tunnel w/ FF) or down+out (tunnel w/ SL) - FF: 1% (similar to what we saw Bello implement… only deploy in key situations; must be elevated) • SL: 31.8% ➡️ 35% - emphasis on gloveside target against both LHH/RHH; vs LHH, catcher sets up more middle/out - maybe try some armside vs LHH to dupe batters? • CH: 14% ➡️ 25% - best pitch results in MLB (.167 BAA, .167 SLG, 29% whiff in limited sample size) but can’t be overused - need to tunnel w/ SI… make sure low in/out of zone; see: Whitlock • CU: 8% ➡️ 10% - LHH exclusive offering, tunnels w/ elevated FC/FF - needs to miss low Overall: SI “first” for strikes with a very heavy dosage of SL/CH mixed in vs both LHH/RHH. FC/CB to LHH only. Elevated FF only in certain sequences. I’ve attached some specific videos to further emphasize my points. • Clip #1: Bogaerts whiff on CH • Clip #2: disgusting SLs to RHHs • Clip #3: Priester sinkers (T97 mph) • Clip #4: just pure nastiness Oh, and a friendly reminder: he’s just 24 years old. There is so much potential to tap into here. The stuff, for one, is there and only getting better. My favorite Red Sox pitcher right now is by far Garrett Whitlock. I see a little bit of baby Whitty in Priester’s delivery, frame, and stuff. 👀 — Alrighty, that was a lot lol. I hope everyone enjoyed. If you have questions, comments, or even player requests, feel free to reach out! I am super excited to see what Priester can do in 2025 and beyond. What do you think? ⬇️
0:20

Lots of people are sleeping on Quinn Priester... I have a feeling this dude is going to make an impact with the major league club next year. Let’s talk about it. Adding velo to the sinker (SI) has been a constant emphasis since coming over via trade, and we already saw a minor increase last year. Avg SI velo (2024) 📈 • w/ PIT: 93.0 mph • w/ BOS: 93.8 mph NOTE: Remove his first two appearances where there wasn’t really any changes made, and his avg SI velo now sits at 94.2 mph. Games where SI sat 94+ mph 📈 • w/ PIT: 2 (of 23) • w/ BOS: 5 (of 10) He’s comfortably hit 96 and topped 97 mph for Worcester (seen in video attached), and has been grinding on a velo program this winter as well. Other top velos, just for fun… • FF: 96.3 mph* • SL: 92.3 mph • CU: 83.5 mph* • CH: 92 mph* • FC: 94.4 mph* *indicates top velo was w/ BOS — On top of this, we all know that Bres/Bailey & Co. love their whiff and secondary offerings. Priester took a huge step forward last year in both of these categories. Overall whiff 📈 • w/ PIT: 29.8% • w: BOS: 35.4% Arsenal whiff w/ BOS 📈 • SI: 22% • FF: 30% • FC: 42% • SL: 48% (‼️) • CU: 43%** **hot take: SI/SL combo are his carrying pitches, but his best pitch is his CH — Clearly, there’s something there. I wouldn’t be surprised if we see a major usage change. Here’s what I would propose: • FA (FF/SI/FC): 46.3% ➡️ 30% - SI: 20% (“get me over” or “need it” kind of pitch; needs to be for a strike, low in zone; CH plays off it) - FC: 9% (would love to use it more, but had a limited sample size in 2024; start off as a LHH-exclusive like Garett Whitlock showcased; needs to either be elevated (tunnel w/ FF) or down+out (tunnel w/ SL) - FF: 1% (similar to what we saw Bello implement… only deploy in key situations; must be elevated) • SL: 31.8% ➡️ 35% - emphasis on gloveside target against both LHH/RHH; vs LHH, catcher sets up more middle/out - maybe try some armside vs LHH to dupe batters? • CH: 14% ➡️ 25% - best pitch results in MLB (.167 BAA, .167 SLG, 29% whiff in limited sample size) but can’t be overused - need to tunnel w/ SI… make sure low in/out of zone; see: Whitlock • CU: 8% ➡️ 10% - LHH exclusive offering, tunnels w/ elevated FC/FF - needs to miss low Overall: SI “first” for strikes with a very heavy dosage of SL/CH mixed in vs both LHH/RHH. FC/CB to LHH only. Elevated FF only in certain sequences. I’ve attached some specific videos to further emphasize my points. • Clip #1: Bogaerts whiff on CH • Clip #2: disgusting SLs to RHHs • Clip #3: Priester sinkers (T97 mph) • Clip #4: just pure nastiness Oh, and a friendly reminder: he’s just 24 years old. There is so much potential to tap into here. The stuff, for one, is there and only getting better. My favorite Red Sox pitcher right now is by far Garrett Whitlock. I see a little bit of baby Whitty in Priester’s delivery, frame, and stuff. 👀 — Alrighty, that was a lot lol. I hope everyone enjoyed. If you have questions, comments, or even player requests, feel free to reach out! I am super excited to see what Priester can do in 2025 and beyond. What do you think? ⬇️

G.G.

54,654 Aufrufe • vor 1 Jahr

Real Benefits of Staying Overnight at Accor’s Mercure Ba Na Hills 🏰☁️ Save Time • Save Money • Experience the REAL Ba Na Hills If Ba Na Hills, Vietnam 🇻🇳 is on your itinerary, do NOT do it as a day trip. An overnight stay at Mercure Ba Na Hills French Village completely changes the experience — and most people miss this 👇 ⸻ 🚡 World’s most unique hotel access — arrive by cable car with luggage This is the ONLY hotel where you reach your hotel room via cable car — with your luggage 🎒🧳 Your stay literally starts with a scenic cable car journey over the lush green forest, waterfalls and through the clouds ☁️ No roads. No buses. Just views and vibes. ⸻ ✨ Ba Na Hills at night = pure magic After sunset 🌄, it feels like you’re staying above the clouds ☁️ Silent streets, misty castles, and unreal vibes — something day visitors never see. 🚶‍♂️ Post 4:30 PM = Ba Na Hills becomes yours Once the day crowd leaves: • Empty streets • Quiet castles • Peaceful photo spots 📸 • Zero chaos ⸻ 🚡 VIP Cable Car access (Huge hidden benefit!) ✔️ Mercure guests get VIP / priority entry into cable cars ✔️ Private cable cars for your family only ✔️ No queues at all ⏳ Day visitors wait 60–90 minutes EACH side, and 10–15 people are packed into one cable car. This benefit alone saves hours. ⸻ 🎢 Fantasy Park with ZERO crowds 🗓️ Friday–Sunday: Open till 7 PM in the evening while day visitors leave by 4:30 PM. Unlimited FREE Rides, games, and 4D/5D shows — repeated multiple times 🎮🎠 No queues. No rush. Full fun mode 😍 ⸻ 🎿 Alpine Coaster Happy Hours = Double Win at this Gravity Based Roller Coasters 🎢, Most Popular at Ba Na 💰 Pay just VND 50k (instead of VND 80k) ⏰ 4:30–5:30 PM | 8:30–9:30 AM 🚫 Almost no waiting 🌫️ Evening mist rides on mountains = unforgettable ⸻ 🌉 Golden Hand Bridge — crowd-free access The iconic Golden Bridge is accessible ONLY to Mercure guests from 6 AM–8 AM Till ~9 AM, there are very few people — perfect for photos & serenity 📸 ⸻ 🚡 30% discount on Cable Car + ALL attractions if purchased at Mercure check-in, The two-way Cable Car tickets includes 👇following on all days on your Stay ✔️ All cable cars (up, down & internal) ✔️ All funiculars 🚆 ✔️ Unlimited Fantasy Park & Moon Castle games ✔️ 4D / 5D / 7D & 360° movies ✔️ Flying Eye Theatre ✔️ Indoor & outdoor bumper cars ✔️ All rides ✔️ Sun Castle & Moon/Lunar Castle ✔️ Le Jardin D’Amour, Pagoda & Love Garden 🌸 ✔️ Thác Thần Mặt Trời waterfall & Golden Horse Statue ✔️Except Alpine Coasters & 10D Show, everything is Free, unlimited times 🤩 Most day visitors don’t even realise what they miss. ⸻ 💡 Bottom Line: Ba Na Hills is NOT meant to be rushed. You need time to feel the vibe and explore peacefully. After staying there, I honestly wished I had booked 2 nights instead of 1. 🏰 A night stay at Mercure Ba Na Hills isn’t just about the hotel — it unlocks the best version of Ba Na Hills. 🔖 Save this post 🇻🇳 Stay tuned for more Vietnam travel & credit-card-optimised travel tips. 📘 Visit SpendWisely Blog: Detailed credit card reviews & guides 👉 Some links may be referral links in the above post. It supports the page without any cost to you. #creditcard #spendwisely #creditcards
0:56

Real Benefits of Staying Overnight at Accor’s Mercure Ba Na Hills 🏰☁️ Save Time • Save Money • Experience the REAL Ba Na Hills If Ba Na Hills, Vietnam 🇻🇳 is on your itinerary, do NOT do it as a day trip. An overnight stay at Mercure Ba Na Hills French Village completely changes the experience — and most people miss this 👇 ⸻ 🚡 World’s most unique hotel access — arrive by cable car with luggage This is the ONLY hotel where you reach your hotel room via cable car — with your luggage 🎒🧳 Your stay literally starts with a scenic cable car journey over the lush green forest, waterfalls and through the clouds ☁️ No roads. No buses. Just views and vibes. ⸻ ✨ Ba Na Hills at night = pure magic After sunset 🌄, it feels like you’re staying above the clouds ☁️ Silent streets, misty castles, and unreal vibes — something day visitors never see. 🚶‍♂️ Post 4:30 PM = Ba Na Hills becomes yours Once the day crowd leaves: • Empty streets • Quiet castles • Peaceful photo spots 📸 • Zero chaos ⸻ 🚡 VIP Cable Car access (Huge hidden benefit!) ✔️ Mercure guests get VIP / priority entry into cable cars ✔️ Private cable cars for your family only ✔️ No queues at all ⏳ Day visitors wait 60–90 minutes EACH side, and 10–15 people are packed into one cable car. This benefit alone saves hours. ⸻ 🎢 Fantasy Park with ZERO crowds 🗓️ Friday–Sunday: Open till 7 PM in the evening while day visitors leave by 4:30 PM. Unlimited FREE Rides, games, and 4D/5D shows — repeated multiple times 🎮🎠 No queues. No rush. Full fun mode 😍 ⸻ 🎿 Alpine Coaster Happy Hours = Double Win at this Gravity Based Roller Coasters 🎢, Most Popular at Ba Na 💰 Pay just VND 50k (instead of VND 80k) ⏰ 4:30–5:30 PM | 8:30–9:30 AM 🚫 Almost no waiting 🌫️ Evening mist rides on mountains = unforgettable ⸻ 🌉 Golden Hand Bridge — crowd-free access The iconic Golden Bridge is accessible ONLY to Mercure guests from 6 AM–8 AM Till ~9 AM, there are very few people — perfect for photos & serenity 📸 ⸻ 🚡 30% discount on Cable Car + ALL attractions if purchased at Mercure check-in, The two-way Cable Car tickets includes 👇following on all days on your Stay ✔️ All cable cars (up, down & internal) ✔️ All funiculars 🚆 ✔️ Unlimited Fantasy Park & Moon Castle games ✔️ 4D / 5D / 7D & 360° movies ✔️ Flying Eye Theatre ✔️ Indoor & outdoor bumper cars ✔️ All rides ✔️ Sun Castle & Moon/Lunar Castle ✔️ Le Jardin D’Amour, Pagoda & Love Garden 🌸 ✔️ Thác Thần Mặt Trời waterfall & Golden Horse Statue ✔️Except Alpine Coasters & 10D Show, everything is Free, unlimited times 🤩 Most day visitors don’t even realise what they miss. ⸻ 💡 Bottom Line: Ba Na Hills is NOT meant to be rushed. You need time to feel the vibe and explore peacefully. After staying there, I honestly wished I had booked 2 nights instead of 1. 🏰 A night stay at Mercure Ba Na Hills isn’t just about the hotel — it unlocks the best version of Ba Na Hills. 🔖 Save this post 🇻🇳 Stay tuned for more Vietnam travel & credit-card-optimised travel tips. 📘 Visit SpendWisely Blog: Detailed credit card reviews & guides 👉 Some links may be referral links in the above post. It supports the page without any cost to you. #creditcard #spendwisely #creditcards

SpendWisely

29,433 Aufrufe • vor 7 Monaten

I love that Higgsfield is making its best AI commercial workflows completely open-source. Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below. Prompts : Style: 8K IMAX. Photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Cinematography: Emmanuel Lubezki × Roger Deakins. Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze throughout. Key light from sky and windows only. Color: 60:30:10 — dominant / secondary / accent. Camera: Physical cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, asymmetric moles, capillary flush, pore-shadow matching on-set light. Acting: Hollywood — micro-pauses before reactions, precise eye-line, wet living eyes with catch-lights, visible breath and chest rise. Physics: Gravity and inertia respected — mass has real weight, correct contact shadows. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Environmental SFX only. No music. No subtitles. SUBJECT — >>, character matches input 100%, >> can in right hand. By end fully transformed into >> — armor assembled mid-air in real-time, >> matches input 100%. WB 6500K. MULTISHOT — fast cinematic cutting, escalating energy across the full 15s. LOCATION — >> is a STYLE REFERENCE ONLY, not a fixed keyframe. Use it for the look, mood, architecture and lighting of the environment — a deserted NYC-type avenue in hard midday sun. Seedance should freely generate and extend the world: new buildings, new stretches of avenue, fresh camera angles. The character TRAVELS through space across the shots — he is NOT pinned to the exact spot or framing of the input image. Do not reproduce the reference frame 1:1. ACTION — SHOT 1 (0:00–0:02) — EXTREME CLOSE, chin to forehead. >> raises >> to lips, deep pull. Adam's apple descends then rises twice. Hard cut. SHOT 2 (0:02–0:04) — Same close framing. Can lowers fast. Eyes snap open, sharp and alert (natural skin and iris detail, no glow). Zygomaticus major fires — wide genuine grin builds in under a second, 2mm to 8mm at mouth corners. Sternum rises with a full deep inhale. He is electric. Hard cut. SHOT 3 (0:04–0:06) — WIDE, low. >> EXPLODES forward into a sprint at 30 km/h, continuing in the SAME direction he was already facing — straight ahead down the avenue, NOT turning around. First strides — sneakers slam cracked asphalt, dust puffs eject 10cm. Hard cut. SHOT 4 (0:06–0:08) — Tracking the sprint. Arms drive at 90°, track jacket trails 15cm, grin held, brow raised, jaw relaxed open. Stride extends, ground contacts shorten. Building speed. Hard cut. SHOT 5 (0:08–0:10) — Final two strides, knees compress to 110°. Right foot drives into asphalt — surface fractures 20cm radius. He LAUNCHES upward at 65 km/h. Hard cut. SHOT 6 (0:10–0:13) — Mid-air in the >> building canyon, 24fps FULL SPEED, NO slow-motion. He is NOT frozen — his whole body keeps moving through the jump: torso rotates, legs cycle and tuck, arms swing out and reach, head turns to track the incoming armor. As he flies and twists through the air, armor pieces rip in from the city geometry and converge onto his moving body — chest plate LOCKS mid-rotation, pauldrons CLAMP as his shoulders swing, gauntlets SNAP onto forearms while his arms extend, shin plates clamp onto cycling legs, helmet descends and visor SLAMS shut as his head turns forward — one violent fluid sequence, body in constant motion throughout. Sharp metallic CRACK at visor seal. Hard cut. SHOT 7 (0:13–0:15) — >> SLAMS into >> in a hard crouch, both armored feet hit asphalt simultaneously, dust ring erupts 80cm. He rises, snaps gauntleted fists open and shut — left then right — glances down at the chest plate. Muffled laugh from behind the sealed visor. Hard cut to black. CAMERA — SUPER-DYNAMIC HANDHELD, never static, never locked off. Strong aggressive operator shake on every shot — 4–8cm bounce, organic human jitter, no stabilization. Pronounced DUTCH ANGLE throughout — frame canted 12–20° and shifting between shots, tilting harder as energy builds. SHOT 1: FOV 18° extreme close, hard dutch 15°, violent micro-shake. SHOT 2: FOV 18°, dutch flips to opposite side ~18°, jittery. SHOT 3: FOV 84° low, dutch 12°, whip into the sprint. SHOT 4: FOV 84°, camera physically chasing the run, dutch 16°, heavy stride bounce, motion blur on pans. SHOT 5: FOV 63°, dutch 20°, snap-tilt up tracking the launch. SHOT 6: FOV 63°, AGGRESSIVE HANDHELD CAMERA MOVEMENT — operator arcs and swings around the airborne body, 6–8cm bounce, fast reframes chasing each armor piece as it locks onto his moving form, strong DUTCH ANGLE swinging 18°→8°, no slow-mo. SHOT 7: FOV 63°, hard jolt on landing impact, dutch 14°, camera recoils 8cm then keeps breathing on the suit inspection. STYLE — Dominant: bleached asphalt grey and building canyon 60%. Secondary: navy/cream outfit transitioning to chrome armor 30%. Accent: grin, dust, chrome flash and visor LED blue on landing 10%. WB 6500K. NO glowing eyes — eyes lit by natural sunlight only. CONSTRAINTS — Cut to black at end. 16:9. MULTISHOT with hard cuts per the timecodes above. NO slow-motion anywhere — everything 24fps full speed, especially the transformation. Camera always handheld with strong shake and dutch angle — NEVER static or locked. NO eye glow. >> is a reference for style only — do NOT lock to the input frame or keep him in the same spot; the world extends and he moves through it. Grin must be fully established before the sprint begins.
0:15

I love that Higgsfield is making its best AI commercial workflows completely open-source. Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below. Prompts : Style: 8K IMAX. Photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Cinematography: Emmanuel Lubezki × Roger Deakins. Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze throughout. Key light from sky and windows only. Color: 60:30:10 — dominant / secondary / accent. Camera: Physical cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, asymmetric moles, capillary flush, pore-shadow matching on-set light. Acting: Hollywood — micro-pauses before reactions, precise eye-line, wet living eyes with catch-lights, visible breath and chest rise. Physics: Gravity and inertia respected — mass has real weight, correct contact shadows. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Environmental SFX only. No music. No subtitles. SUBJECT — >>, character matches input 100%, >> can in right hand. By end fully transformed into >> — armor assembled mid-air in real-time, >> matches input 100%. WB 6500K. MULTISHOT — fast cinematic cutting, escalating energy across the full 15s. LOCATION — >> is a STYLE REFERENCE ONLY, not a fixed keyframe. Use it for the look, mood, architecture and lighting of the environment — a deserted NYC-type avenue in hard midday sun. Seedance should freely generate and extend the world: new buildings, new stretches of avenue, fresh camera angles. The character TRAVELS through space across the shots — he is NOT pinned to the exact spot or framing of the input image. Do not reproduce the reference frame 1:1. ACTION — SHOT 1 (0:00–0:02) — EXTREME CLOSE, chin to forehead. >> raises >> to lips, deep pull. Adam's apple descends then rises twice. Hard cut. SHOT 2 (0:02–0:04) — Same close framing. Can lowers fast. Eyes snap open, sharp and alert (natural skin and iris detail, no glow). Zygomaticus major fires — wide genuine grin builds in under a second, 2mm to 8mm at mouth corners. Sternum rises with a full deep inhale. He is electric. Hard cut. SHOT 3 (0:04–0:06) — WIDE, low. >> EXPLODES forward into a sprint at 30 km/h, continuing in the SAME direction he was already facing — straight ahead down the avenue, NOT turning around. First strides — sneakers slam cracked asphalt, dust puffs eject 10cm. Hard cut. SHOT 4 (0:06–0:08) — Tracking the sprint. Arms drive at 90°, track jacket trails 15cm, grin held, brow raised, jaw relaxed open. Stride extends, ground contacts shorten. Building speed. Hard cut. SHOT 5 (0:08–0:10) — Final two strides, knees compress to 110°. Right foot drives into asphalt — surface fractures 20cm radius. He LAUNCHES upward at 65 km/h. Hard cut. SHOT 6 (0:10–0:13) — Mid-air in the >> building canyon, 24fps FULL SPEED, NO slow-motion. He is NOT frozen — his whole body keeps moving through the jump: torso rotates, legs cycle and tuck, arms swing out and reach, head turns to track the incoming armor. As he flies and twists through the air, armor pieces rip in from the city geometry and converge onto his moving body — chest plate LOCKS mid-rotation, pauldrons CLAMP as his shoulders swing, gauntlets SNAP onto forearms while his arms extend, shin plates clamp onto cycling legs, helmet descends and visor SLAMS shut as his head turns forward — one violent fluid sequence, body in constant motion throughout. Sharp metallic CRACK at visor seal. Hard cut. SHOT 7 (0:13–0:15) — >> SLAMS into >> in a hard crouch, both armored feet hit asphalt simultaneously, dust ring erupts 80cm. He rises, snaps gauntleted fists open and shut — left then right — glances down at the chest plate. Muffled laugh from behind the sealed visor. Hard cut to black. CAMERA — SUPER-DYNAMIC HANDHELD, never static, never locked off. Strong aggressive operator shake on every shot — 4–8cm bounce, organic human jitter, no stabilization. Pronounced DUTCH ANGLE throughout — frame canted 12–20° and shifting between shots, tilting harder as energy builds. SHOT 1: FOV 18° extreme close, hard dutch 15°, violent micro-shake. SHOT 2: FOV 18°, dutch flips to opposite side ~18°, jittery. SHOT 3: FOV 84° low, dutch 12°, whip into the sprint. SHOT 4: FOV 84°, camera physically chasing the run, dutch 16°, heavy stride bounce, motion blur on pans. SHOT 5: FOV 63°, dutch 20°, snap-tilt up tracking the launch. SHOT 6: FOV 63°, AGGRESSIVE HANDHELD CAMERA MOVEMENT — operator arcs and swings around the airborne body, 6–8cm bounce, fast reframes chasing each armor piece as it locks onto his moving form, strong DUTCH ANGLE swinging 18°→8°, no slow-mo. SHOT 7: FOV 63°, hard jolt on landing impact, dutch 14°, camera recoils 8cm then keeps breathing on the suit inspection. STYLE — Dominant: bleached asphalt grey and building canyon 60%. Secondary: navy/cream outfit transitioning to chrome armor 30%. Accent: grin, dust, chrome flash and visor LED blue on landing 10%. WB 6500K. NO glowing eyes — eyes lit by natural sunlight only. CONSTRAINTS — Cut to black at end. 16:9. MULTISHOT with hard cuts per the timecodes above. NO slow-motion anywhere — everything 24fps full speed, especially the transformation. Camera always handheld with strong shake and dutch angle — NEVER static or locked. NO eye glow. >> is a reference for style only — do NOT lock to the input frame or keep him in the same spot; the world extends and he moves through it. Grin must be fully established before the sprint begins.

yopiwhs

11,743 Aufrufe • vor 27 Tagen

WATCH THIS VIDEO CAREFULLY. FORENSIC ANALYSIS OF A VIDEO CURRENTLY BEING CIRCULATED AND SPREAD ON ARAB TELEGRAM CHANNELS (Mor Edge Insight in conjunction with GAZAWOOD - The Pallywood Saga - BACKUP - July 6) What you are about to see is raw footage of an active arrest operation and genuine footage. This clip is currently circulating on Palestinian Telegram channels and is being prepared for wider distribution on X. It follows a familiar pattern of real footage with heavy manipulation and inauthentic audio to create a perception and narrative that doesn’t exist and is not what the footage actually shows. Here is the step-by-step forensic breakdown. The audio track contains multiple sharp “gunshots.” However, frame-by-frame examination shows no muzzle flashes at any point, even in bright daylight where unsuppressed firearms would produce clear, visible bursts. There is also no visible recoil or weapon movement on the individuals holding rifles. The barrels show no suppressors, yet the sounds are relatively clean “pops” rather than the overwhelming cracks expected from unsuppressed fire at that range. The audio of the shots fired are more reminiscent of a children’s toy than a real gunshot. More critically, the visual action is happening at a clear distance across the road, at a distance of an estimated 60-100m away from the camera, yet the gunshots and shouting sound as if recorded right next to the camera. Real distant gunfire would be thinner, more muffled, and accompanied by environmental echoes. This audio was added in post-production. How distance was determined: The white car in the immediate foreground (partially visible on the left) is only 5–10 meters away. The road width and the position of the parked vehicles and people with guns put the core action clearly in the mid-ground, across the full width of the street and shoulder. Reference objects: Standard car lengths (4.5–5m), average adult height (1.7m), and the spacing of streetlights/power poles all support a distance in that 60–100 meter range for the shooters and the SUV. The black SUV drives a noticeable distance across the frame without appearing overly large or close, further confirming it’s not right next to the camera. This distance makes the audio mismatch even more obvious. Real gunfire at 60–100 meters would sound significantly more distant and muted, with clear delay and environmental filtering. The overlaid “cracks” sound like they were recorded (or synthesized) much closer. Summary 1. Real gunshots, especially in an open outdoor environment like this, produce a sharp initial crack (supersonic bullet) followed by a broader report/echo, with significant low-frequency rumble, reverberation off the ground/cars/objects, and environmental decay. These sound more like clean “pop/crack” samples layered on top. 2. They lack the natural variations in volume, timing, or distortion you’d expect from actual firearms in a real chaotic scene (muzzle blast, echoes, distance differences) even with silencers which from that distance you wouldn’t even hear. They feel “pasted in” during editing. 3. The overall audio mix (ambient road noise, car sounds, voices) doesn’t interact naturally with the “shots”, there is no proper masking, reverb bleed, or mic overload you’d get from real loud events captured on the same recording device. Always examine the audio against the visuals, check for continuity errors, and watch how people actually behave when they think no one is watching the performance. Share if you value this kind of detailed verification.
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WATCH THIS VIDEO CAREFULLY. FORENSIC ANALYSIS OF A VIDEO CURRENTLY BEING CIRCULATED AND SPREAD ON ARAB TELEGRAM CHANNELS (Mor Edge Insight in conjunction with GAZAWOOD - The Pallywood Saga - BACKUP - July 6) What you are about to see is raw footage of an active arrest operation and genuine footage. This clip is currently circulating on Palestinian Telegram channels and is being prepared for wider distribution on X. It follows a familiar pattern of real footage with heavy manipulation and inauthentic audio to create a perception and narrative that doesn’t exist and is not what the footage actually shows. Here is the step-by-step forensic breakdown. The audio track contains multiple sharp “gunshots.” However, frame-by-frame examination shows no muzzle flashes at any point, even in bright daylight where unsuppressed firearms would produce clear, visible bursts. There is also no visible recoil or weapon movement on the individuals holding rifles. The barrels show no suppressors, yet the sounds are relatively clean “pops” rather than the overwhelming cracks expected from unsuppressed fire at that range. The audio of the shots fired are more reminiscent of a children’s toy than a real gunshot. More critically, the visual action is happening at a clear distance across the road, at a distance of an estimated 60-100m away from the camera, yet the gunshots and shouting sound as if recorded right next to the camera. Real distant gunfire would be thinner, more muffled, and accompanied by environmental echoes. This audio was added in post-production. How distance was determined: The white car in the immediate foreground (partially visible on the left) is only 5–10 meters away. The road width and the position of the parked vehicles and people with guns put the core action clearly in the mid-ground, across the full width of the street and shoulder. Reference objects: Standard car lengths (4.5–5m), average adult height (1.7m), and the spacing of streetlights/power poles all support a distance in that 60–100 meter range for the shooters and the SUV. The black SUV drives a noticeable distance across the frame without appearing overly large or close, further confirming it’s not right next to the camera. This distance makes the audio mismatch even more obvious. Real gunfire at 60–100 meters would sound significantly more distant and muted, with clear delay and environmental filtering. The overlaid “cracks” sound like they were recorded (or synthesized) much closer. Summary 1. Real gunshots, especially in an open outdoor environment like this, produce a sharp initial crack (supersonic bullet) followed by a broader report/echo, with significant low-frequency rumble, reverberation off the ground/cars/objects, and environmental decay. These sound more like clean “pop/crack” samples layered on top. 2. They lack the natural variations in volume, timing, or distortion you’d expect from actual firearms in a real chaotic scene (muzzle blast, echoes, distance differences) even with silencers which from that distance you wouldn’t even hear. They feel “pasted in” during editing. 3. The overall audio mix (ambient road noise, car sounds, voices) doesn’t interact naturally with the “shots”, there is no proper masking, reverb bleed, or mic overload you’d get from real loud events captured on the same recording device. Always examine the audio against the visuals, check for continuity errors, and watch how people actually behave when they think no one is watching the performance. Share if you value this kind of detailed verification.

Mor Edge Insight

23,394 Aufrufe • vor 1 Monat