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Pressure Point Vol.4 Interactive VR Gameplay FREE GAMEPLAYS Interactive. POV. VR. No limits. You’re the main character now. Watch the full uncensored version below. #VAM #VirtAMate #VRPorn #VRgame #anime #hentai #pov #Adultgame #Universens

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UniversenS

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189,824 views • 2 days ago •via X (Twitter)

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HUGE UPDATE My twitch 3d livestream is now in VR and AR! We've basically made a hologram that can be shrunk down to sit on your desk!!! The 3d livestream is a real-time interactive point cloud (built using LiDAR cameras) of me, synced up with my regular twitch broadcasts. It's full 360, uses no avatars or assets, and has integrated twitch features such as chat, a movie screen with the normal 2D stream displayed, and customizable sprite characters that viewers can control and move freely about the space with AND they show up on the regular stream as if in the room with me. We've recently gotten collision working so I can swat viewers away and send them flying, added a racing minigame with hoops that also show up in the normal stream, and ultimately made VR / AR HOLOGRAMS I'm so excited and it's only gonna get better. We're adding more interactive features, working on better aesthetics, and creating REAL NON-VR holograms that can ACTUALLY sit on your desk!! I can't wait Follow the project here and on and swing by if you have any questions or if you want to join future playtests (please do ahaha) :)
0:44

HUGE UPDATE My twitch 3d livestream is now in VR and AR! We've basically made a hologram that can be shrunk down to sit on your desk!!! The 3d livestream is a real-time interactive point cloud (built using LiDAR cameras) of me, synced up with my regular twitch broadcasts. It's full 360, uses no avatars or assets, and has integrated twitch features such as chat, a movie screen with the normal 2D stream displayed, and customizable sprite characters that viewers can control and move freely about the space with AND they show up on the regular stream as if in the room with me. We've recently gotten collision working so I can swat viewers away and send them flying, added a racing minigame with hoops that also show up in the normal stream, and ultimately made VR / AR HOLOGRAMS I'm so excited and it's only gonna get better. We're adding more interactive features, working on better aesthetics, and creating REAL NON-VR holograms that can ACTUALLY sit on your desk!! I can't wait Follow the project here and on and swing by if you have any questions or if you want to join future playtests (please do ahaha) :)

Perri

40,289 views • 1 year ago

🚀 The Future of 3D Creation is Here! World Labs World Labs dropped a bombshell with #Marble, and the spatial computing world is buzzing. 🤯 👉 For Beginners: Create stunning 3D worlds, no code needed. 👉 For Pros: Power-up your workflow with advanced tools. 👉 For Industry: Marks a milestone in Spatial AI innovation! But let's talk about the elephant in the room: Hardware. 🖥️ While #Marble leverages cloud power to generate worlds in seconds, accessing and sharing them still depends heavily on local device performance. 𝗧𝗵𝗲 𝗖𝗵𝗮𝗹𝗹𝗲𝗻𝗴𝗲𝘀 𝗔𝗿𝗲 𝗥𝗲𝗮𝗹: ➤ 𝗔𝗰𝗰𝗲𝘀𝘀𝗶𝗯𝗶𝗹𝗶𝘁𝘆: Basic laptops struggle to run initial generations smoothly — not to mention high-fidelity scenes. Sharable links are a step forward, but must every viewer own high-end hardware? ➤ 𝗠𝗼𝗯𝗶𝗹𝗲 𝗚𝗮𝗽: Full creation tools aren’t mobile-ready yet. Desktop is still a must for the complete experience. ➤ 𝗩𝗥 "𝗩𝗶𝗲𝘄𝗶𝗻𝗴": "Open in VR" is a great start—but true collaborative VR requires serious rendering power and device support. How do we include everyone, without top-tier headsets or perfect networks? We tested #Marble on a typical Windows laptop. See the performance gap? We bring fluid Marble experience via #LarkXR! 👀 ▶︎ 𝗙𝗹𝗶𝗽 𝘁𝗵𝗲 𝗦𝘄𝗶𝘁𝗰𝗵 #LarkXR is here. Our Cloud XR Streaming Technology delivers high-fidelity VR and 3D experiences to any device — breaking through hardware limits and compatibility gaps. Now every user can join, view, and collaborate seamlessly. #Marble Unlocks Spatial World Creation. #LarkXR Unlocks Interactive Immersive Accessibility. 𝘓𝘦𝘵'𝘴 𝘸𝘰𝘳𝘬 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘵𝘰 𝘦𝘯𝘴𝘶𝘳𝘦 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦, 𝘦𝘷𝘦𝘳𝘺𝘸𝘩𝘦𝘳𝘦, 𝘰𝘯 𝘢𝘯𝘺 𝘥𝘦𝘷𝘪𝘤𝘦, 𝘤𝘢𝘯 𝘵𝘳𝘶𝘭𝘺 𝘴𝘵𝘦𝘱 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥𝘴 𝘺𝘰𝘶 𝘤𝘳𝘦𝘢𝘵𝘦. 𝗚𝗲𝘁 𝗦𝘁𝗮𝗿𝘁𝗲𝗱 𝗪𝗶𝘁𝗵 𝗟𝗮𝗿𝗸𝗫𝗥 𝗧𝗼𝗱𝗮𝘆 🚀 🚀 🚀 #WorldLabs
1:06

🚀 The Future of 3D Creation is Here! World Labs World Labs dropped a bombshell with #Marble, and the spatial computing world is buzzing. 🤯 👉 For Beginners: Create stunning 3D worlds, no code needed. 👉 For Pros: Power-up your workflow with advanced tools. 👉 For Industry: Marks a milestone in Spatial AI innovation! But let's talk about the elephant in the room: Hardware. 🖥️ While #Marble leverages cloud power to generate worlds in seconds, accessing and sharing them still depends heavily on local device performance. 𝗧𝗵𝗲 𝗖𝗵𝗮𝗹𝗹𝗲𝗻𝗴𝗲𝘀 𝗔𝗿𝗲 𝗥𝗲𝗮𝗹: ➤ 𝗔𝗰𝗰𝗲𝘀𝘀𝗶𝗯𝗶𝗹𝗶𝘁𝘆: Basic laptops struggle to run initial generations smoothly — not to mention high-fidelity scenes. Sharable links are a step forward, but must every viewer own high-end hardware? ➤ 𝗠𝗼𝗯𝗶𝗹𝗲 𝗚𝗮𝗽: Full creation tools aren’t mobile-ready yet. Desktop is still a must for the complete experience. ➤ 𝗩𝗥 "𝗩𝗶𝗲𝘄𝗶𝗻𝗴": "Open in VR" is a great start—but true collaborative VR requires serious rendering power and device support. How do we include everyone, without top-tier headsets or perfect networks? We tested #Marble on a typical Windows laptop. See the performance gap? We bring fluid Marble experience via #LarkXR! 👀 ▶︎ 𝗙𝗹𝗶𝗽 𝘁𝗵𝗲 𝗦𝘄𝗶𝘁𝗰𝗵 #LarkXR is here. Our Cloud XR Streaming Technology delivers high-fidelity VR and 3D experiences to any device — breaking through hardware limits and compatibility gaps. Now every user can join, view, and collaborate seamlessly. #Marble Unlocks Spatial World Creation. #LarkXR Unlocks Interactive Immersive Accessibility. 𝘓𝘦𝘵'𝘴 𝘸𝘰𝘳𝘬 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘵𝘰 𝘦𝘯𝘴𝘶𝘳𝘦 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦, 𝘦𝘷𝘦𝘳𝘺𝘸𝘩𝘦𝘳𝘦, 𝘰𝘯 𝘢𝘯𝘺 𝘥𝘦𝘷𝘪𝘤𝘦, 𝘤𝘢𝘯 𝘵𝘳𝘶𝘭𝘺 𝘴𝘵𝘦𝘱 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥𝘴 𝘺𝘰𝘶 𝘤𝘳𝘦𝘢𝘵𝘦. 𝗚𝗲𝘁 𝗦𝘁𝗮𝗿𝘁𝗲𝗱 𝗪𝗶𝘁𝗵 𝗟𝗮𝗿𝗸𝗫𝗥 𝗧𝗼𝗱𝗮𝘆 🚀 🚀 🚀 #WorldLabs

Paraverse

16,000 views • 10 months ago

The state of LOW-FI and platform support (Death of PCVR): When the Kickstarter ran back in , the main focus was "Next-Gen VR", meaning at the time PCVR, with high hopes for PSVR2 (which hadn't been officially announced). During the next year or so, we (myself, Noah Rayburn and Mark Schramm #VR #AR #MR) focused purely on supporting PC VR hardware. Rift/S, Vive, Index (including controllers), all WMR devices, etc... Mark even added HOTAS and Leap Motion support. BUT, as I'm sure you know, PCVR has been in decline since around the launch of Half-Life: Alyx, which Anton Hand so eloquently called the punctuation mark on the gravestone of PCVR. The Rift store is a ghost town.. like officially.. even according to Meta, Viveport (lets not even go there), what else we got? WMR Store? Was that even a thing? Anyway... Lucky for us, PSVR2 was just over the horizon and we had the dev kits! How well is PSV2 doing though? Guess is (based on speaking with other top VR devs), not that great... Somewhere in there, the great and powerful Noah Rayburn was able to implement a pretty slick "non-VR mode" upon my request to be able to test the game without having to keep taking the HMD off and on while balancing controllers on my knees and working with janky Quest link stuff. Good news! Non-VR mode is great! No just for testing, but for playing. We decided to go full in on it's development and offer it to the consumers. Bonus, it also runs on Steam Deck! (See video below). Now as we gear up to finish the game and run out of money (hopefully in that order), I'm thinking a lot about the market for the game and our placement in it. We have a decent amount of wishlists (66k on Steam and 24k on PS5) so far. Hope is that launching as a PSVR2 title will capture a good chunk of those users, pushing it up on the general PSN store ranking (notoriously hard for indies to do otherwise), and we'll make some sales to traditional flat PS5 gamers as well. Snowballing a bit if we're lucky. Steam launch could do decently well if timed properly, with hopes of the same "VR first" snowballing effect. Why am I telling you all of this? I just thought it would be good to get it in writing and have a place to point. We are starting to run low on money (PCVR presales have basically dried up), so it's also to let you know that the fire is lit under my ass to ship this thing. That said, it won't ship until its good and done. A delayed game is eventually good, but a rushed game is forever bad. Oh, and before you say "Why not port it to Quest", put down the pipe. I understand that you're not a developer, but take my word for it, that's not happening. Not with this budget(or lack thereof), this sized team , or this generation of devices. Ok. that's it. My longest twitter post. PC/PCVR Preorder and early access: Steam Wishlist PSN Wishlist ❤️🧡💙🖤
1:28

The state of LOW-FI and platform support (Death of PCVR): When the Kickstarter ran back in , the main focus was "Next-Gen VR", meaning at the time PCVR, with high hopes for PSVR2 (which hadn't been officially announced). During the next year or so, we (myself, Noah Rayburn and Mark Schramm #VR #AR #MR) focused purely on supporting PC VR hardware. Rift/S, Vive, Index (including controllers), all WMR devices, etc... Mark even added HOTAS and Leap Motion support. BUT, as I'm sure you know, PCVR has been in decline since around the launch of Half-Life: Alyx, which Anton Hand so eloquently called the punctuation mark on the gravestone of PCVR. The Rift store is a ghost town.. like officially.. even according to Meta, Viveport (lets not even go there), what else we got? WMR Store? Was that even a thing? Anyway... Lucky for us, PSVR2 was just over the horizon and we had the dev kits! How well is PSV2 doing though? Guess is (based on speaking with other top VR devs), not that great... Somewhere in there, the great and powerful Noah Rayburn was able to implement a pretty slick "non-VR mode" upon my request to be able to test the game without having to keep taking the HMD off and on while balancing controllers on my knees and working with janky Quest link stuff. Good news! Non-VR mode is great! No just for testing, but for playing. We decided to go full in on it's development and offer it to the consumers. Bonus, it also runs on Steam Deck! (See video below). Now as we gear up to finish the game and run out of money (hopefully in that order), I'm thinking a lot about the market for the game and our placement in it. We have a decent amount of wishlists (66k on Steam and 24k on PS5) so far. Hope is that launching as a PSVR2 title will capture a good chunk of those users, pushing it up on the general PSN store ranking (notoriously hard for indies to do otherwise), and we'll make some sales to traditional flat PS5 gamers as well. Snowballing a bit if we're lucky. Steam launch could do decently well if timed properly, with hopes of the same "VR first" snowballing effect. Why am I telling you all of this? I just thought it would be good to get it in writing and have a place to point. We are starting to run low on money (PCVR presales have basically dried up), so it's also to let you know that the fire is lit under my ass to ship this thing. That said, it won't ship until its good and done. A delayed game is eventually good, but a rushed game is forever bad. Oh, and before you say "Why not port it to Quest", put down the pipe. I understand that you're not a developer, but take my word for it, that's not happening. Not with this budget(or lack thereof), this sized team , or this generation of devices. Ok. that's it. My longest twitter post. PC/PCVR Preorder and early access: Steam Wishlist PSN Wishlist ❤️🧡💙🖤

Blair Renaud // LOW-FI 🟥🟧⬛

69,789 views • 2 years ago

Predictix: DNA, AI, and the #Zionist Infiltration of UK Mental Health. My report yesterday for UK Column covers the Israeli influence over mental health in the UK - DNA-mining and fast-track drug prescription. Yesterday’s main report covers the progression from the UK-Israel partnership on health sectors in northern England to the involvement of Israeli “innovation” in mental health care and fast-track to drug prescription based on your DNA and demographic data. It is a terrifying glimpse into a future influenced and governed those who wish to see us converted into hackable humans with no connection to our collective Humanity. You can watch the full news program here. The following is taken from a recent article by Julian Rose, further excerpts below: Yuval Noah Harari, the Israeli professor of history and top advisor to the Word Economic Forum cabal, has made a point of stating how human beings are now “hackable”, and how this will enable the reengineering of the human into a gene edited version in which ‘all the faults have been removed’. With the result that this entity will then become ‘superior to God’. “We will do better than God” in Harari’s words. This has a strong throw-back to Hitler’s preoccupation with the pre World War Two eugenics program, designed to result in the breeding of ‘the perfect Aryan’. In the Nazi’s case, an athletic, blond haired, blue eyed ‘ubermensch’. Read more on my Substack: David Miller Crispin Flintoff
18:20

Predictix: DNA, AI, and the #Zionist Infiltration of UK Mental Health. My report yesterday for UK Column covers the Israeli influence over mental health in the UK - DNA-mining and fast-track drug prescription. Yesterday’s main report covers the progression from the UK-Israel partnership on health sectors in northern England to the involvement of Israeli “innovation” in mental health care and fast-track to drug prescription based on your DNA and demographic data. It is a terrifying glimpse into a future influenced and governed those who wish to see us converted into hackable humans with no connection to our collective Humanity. You can watch the full news program here. The following is taken from a recent article by Julian Rose, further excerpts below: Yuval Noah Harari, the Israeli professor of history and top advisor to the Word Economic Forum cabal, has made a point of stating how human beings are now “hackable”, and how this will enable the reengineering of the human into a gene edited version in which ‘all the faults have been removed’. With the result that this entity will then become ‘superior to God’. “We will do better than God” in Harari’s words. This has a strong throw-back to Hitler’s preoccupation with the pre World War Two eugenics program, designed to result in the breeding of ‘the perfect Aryan’. In the Nazi’s case, an athletic, blond haired, blue eyed ‘ubermensch’. Read more on my Substack: David Miller Crispin Flintoff

Vanessa Beeley

13,614 views • 1 year ago

🚨THE CHURCH BECOMES THE MOSQUE MORE PROPAGANDA & CONQUEST: Imam Struts Through a Christian Church While the Cross Hangs Behind Him This is a deliberate smack in the face to Christians. Watch the video: the imam walks the aisle of the First Lutheran Church of Montclair, New Jersey, hands raised, making sure the cross stays in the frame as he celebrates the “purchase.” He is not hiding it. He is selling it. They feature the conquest as the selling point for donors. Empty Christian pews → full Islamic prayer hall. The cross is still there for now — so the whole ummah can watch it get replaced. This is not “community.” This is the pattern: buy the church, erase the Gospel, plant the crescent, call it charity. And let’s drop the polite fiction about “respect for Jesus.” Islam’s Jesus is not the Jesus of the Bible. He is a tool used to attack Christianity. The Qur’an denies His divinity (4:171, 5:17, 5:72, 9:30). It denies the crucifixion and resurrection (4:157). It calls those who believe Jesus is the Son of God “disbelievers” and “the most vile of created beings” (5:17, 98:6). It commands Muslims to fight and subjugate Christians (9:29). Islamic tradition says Jesus will return not as Savior, but to “break the cross” and abolish every religion except Islam. The rich character, miracles of compassion, and redemptive work of the biblical Jesus are stripped away. What remains is a diminished figure whose main job in the Islamic narrative is to refute Christians and affirm Muhammad. They do not respect the Jesus of the New Testament, the Christian faith, or its followers. The hostility is doctrinal, explicit, and enduring. While Christian leaders stay silent and congregations shrink, the ummah is mobilized, fundraising, and filming the takeover for the world to see. Allahu Akbar?! No. This is the slow erasure of a civilization, church by church, town by town.
1:03

🚨THE CHURCH BECOMES THE MOSQUE MORE PROPAGANDA & CONQUEST: Imam Struts Through a Christian Church While the Cross Hangs Behind Him This is a deliberate smack in the face to Christians. Watch the video: the imam walks the aisle of the First Lutheran Church of Montclair, New Jersey, hands raised, making sure the cross stays in the frame as he celebrates the “purchase.” He is not hiding it. He is selling it. They feature the conquest as the selling point for donors. Empty Christian pews → full Islamic prayer hall. The cross is still there for now — so the whole ummah can watch it get replaced. This is not “community.” This is the pattern: buy the church, erase the Gospel, plant the crescent, call it charity. And let’s drop the polite fiction about “respect for Jesus.” Islam’s Jesus is not the Jesus of the Bible. He is a tool used to attack Christianity. The Qur’an denies His divinity (4:171, 5:17, 5:72, 9:30). It denies the crucifixion and resurrection (4:157). It calls those who believe Jesus is the Son of God “disbelievers” and “the most vile of created beings” (5:17, 98:6). It commands Muslims to fight and subjugate Christians (9:29). Islamic tradition says Jesus will return not as Savior, but to “break the cross” and abolish every religion except Islam. The rich character, miracles of compassion, and redemptive work of the biblical Jesus are stripped away. What remains is a diminished figure whose main job in the Islamic narrative is to refute Christians and affirm Muhammad. They do not respect the Jesus of the New Testament, the Christian faith, or its followers. The hostility is doctrinal, explicit, and enduring. While Christian leaders stay silent and congregations shrink, the ummah is mobilized, fundraising, and filming the takeover for the world to see. Allahu Akbar?! No. This is the slow erasure of a civilization, church by church, town by town.

Amy Mek

129,366 views • 1 month ago

Here's a copy/paste prompt recipe and vid showing exactly how to ask an LLM for an interactive map with satellite/map layers + a georeferencer that lets you see how old maps correspond with modern geography. Today the computer can’t make good print maps (that's your hill to climb ) but it can, with five bucks and twenty minutes, make good interactive maps. No software/GIS knowledge necessary, you just need a few nouns and an LLM. Scroll to the bottom for the repo/live map if you want those. I'm using Claude Code as an extension in VS Code but you can use the Claude CLI, Cursor, whatever. 1) Let's grab an old cadastral map and see who owned big tracts of a city; I found this an 1854 map of Niagara Falls, NY I found in the Library of Congress: , grabbed the .jp2, saved as a jpg from photoshop. 2) Let's ask Claude Code for a map. You can see exactly what I did in the video but my prompt, sans simple "hey it's busted" debugging, is written out in the following paragraphs. I explain the map-specific nouns in brackets. You can likely dump this whole thing in your LLM window and it'll work; I'd try plan mode + skip permissions. THE PROMPT Make an interactive map with MapLibre GL JS [maplibre is a javascript mapping library, a FOSS version of Mapbox GL JS. This lets us display tiled map data and arbitrary images on the map] Add basemap toggles with Esri satellite, Carto Positron, and OSM [these map layers require no API keys for light usage; Carto Positron is a nice road map layer and OSM is ugly but comprehensive] Add a globe/mercator projection toggle [I think the globe looks better at low zooms] Add a layer panel on the left with visibility checkboxes and delete buttons. Add a search box on the map that flies to results, with deletable pin markers [Makes this easy to get to your area of interest] Include an interactive local georeferencer: drop a JPG, pick ground control points on a zoomable/pannable image viewer, place them on the map, watch it warp with a progress bar centered on the map. [The georeferencer uses math ("affine transform"??) to match points on the old map to points on the new map; generally you click road intersections on the old map, match them on the new map, repeat a dozen times and everything aligns] The georeferenced map overlay defaults to 25% opacity with a slider above the control point list. [I want it easy to see the underlying modern geography] Add Export/import control point buttons [this saves the control points as a JSON so you can save and reimport your work] Add a button to export the warped image as a GeoTIFF with a .prj [In case you want to add the georeferenced image to a real GIS program like QGIS] Look up all relevant docs before starting [Claude sometimes uses outdated stuff] Split everything into separate HTML/CSS/JS files [Claude tends to pile everything in index.html, which is hard to read] Use Optima font, base color #FEFAF6 [I just like this style] Let me test with a local server [it serves it on a simple server so you can nav your host to localhost:8000 and try it out] Log all errors [so you don't have to play telephone with the LLM describing what's busted] 3) Once your LLM finishes, test it out in your browser; if it doesn't work, ask the LLM to check logs. Repeat 'til functional. 4) After this works on your computer, you can show it to everyone by hosting it on GitHub: prompt with "write a README explaining what everything does, add it to a new GitHub repo, deploy using GitHub pages, gimme the live URL" Here's what Claude made for me, try it yourself: • Upload the JPG in the repo, which is linked below • "Add GCP" • Click somewhere recognizable on the old map, like the tip of an island or a road intersection • Click the matching point on the new map • Repeat til you have least 3x points • Hit "georeference" • You'll see the old map atop the new map; if you want a better fit, delete bad points or add a dozen new ones, hit georeference again, repeat Repo: Is this map robust? Human-maintainable? Elegant? Performant? Secure? No, but *your* personal web map need not be. It just needs to work for *your* narrow use case, because it’s *your* map.
28:20

Here's a copy/paste prompt recipe and vid showing exactly how to ask an LLM for an interactive map with satellite/map layers + a georeferencer that lets you see how old maps correspond with modern geography. Today the computer can’t make good print maps (that's your hill to climb ) but it can, with five bucks and twenty minutes, make good interactive maps. No software/GIS knowledge necessary, you just need a few nouns and an LLM. Scroll to the bottom for the repo/live map if you want those. I'm using Claude Code as an extension in VS Code but you can use the Claude CLI, Cursor, whatever. 1) Let's grab an old cadastral map and see who owned big tracts of a city; I found this an 1854 map of Niagara Falls, NY I found in the Library of Congress: , grabbed the .jp2, saved as a jpg from photoshop. 2) Let's ask Claude Code for a map. You can see exactly what I did in the video but my prompt, sans simple "hey it's busted" debugging, is written out in the following paragraphs. I explain the map-specific nouns in brackets. You can likely dump this whole thing in your LLM window and it'll work; I'd try plan mode + skip permissions. THE PROMPT Make an interactive map with MapLibre GL JS [maplibre is a javascript mapping library, a FOSS version of Mapbox GL JS. This lets us display tiled map data and arbitrary images on the map] Add basemap toggles with Esri satellite, Carto Positron, and OSM [these map layers require no API keys for light usage; Carto Positron is a nice road map layer and OSM is ugly but comprehensive] Add a globe/mercator projection toggle [I think the globe looks better at low zooms] Add a layer panel on the left with visibility checkboxes and delete buttons. Add a search box on the map that flies to results, with deletable pin markers [Makes this easy to get to your area of interest] Include an interactive local georeferencer: drop a JPG, pick ground control points on a zoomable/pannable image viewer, place them on the map, watch it warp with a progress bar centered on the map. [The georeferencer uses math ("affine transform"??) to match points on the old map to points on the new map; generally you click road intersections on the old map, match them on the new map, repeat a dozen times and everything aligns] The georeferenced map overlay defaults to 25% opacity with a slider above the control point list. [I want it easy to see the underlying modern geography] Add Export/import control point buttons [this saves the control points as a JSON so you can save and reimport your work] Add a button to export the warped image as a GeoTIFF with a .prj [In case you want to add the georeferenced image to a real GIS program like QGIS] Look up all relevant docs before starting [Claude sometimes uses outdated stuff] Split everything into separate HTML/CSS/JS files [Claude tends to pile everything in index.html, which is hard to read] Use Optima font, base color #FEFAF6 [I just like this style] Let me test with a local server [it serves it on a simple server so you can nav your host to localhost:8000 and try it out] Log all errors [so you don't have to play telephone with the LLM describing what's busted] 3) Once your LLM finishes, test it out in your browser; if it doesn't work, ask the LLM to check logs. Repeat 'til functional. 4) After this works on your computer, you can show it to everyone by hosting it on GitHub: prompt with "write a README explaining what everything does, add it to a new GitHub repo, deploy using GitHub pages, gimme the live URL" Here's what Claude made for me, try it yourself: • Upload the JPG in the repo, which is linked below • "Add GCP" • Click somewhere recognizable on the old map, like the tip of an island or a road intersection • Click the matching point on the new map • Repeat til you have least 3x points • Hit "georeference" • You'll see the old map atop the new map; if you want a better fit, delete bad points or add a dozen new ones, hit georeference again, repeat Repo: Is this map robust? Human-maintainable? Elegant? Performant? Secure? No, but *your* personal web map need not be. It just needs to work for *your* narrow use case, because it’s *your* map.

Evan Applegate

15,772 views • 6 months ago

Animated ads are the CHEAPEST way to scale a saturated category in 2026. Steal these 19 tricks Hydroh used in this winning ad: 1. Good Guy vs. Bad Guy: Make your product look like a hero, and make cheap knockoffs look like an ugly villain. 2. Crazy 2-Second Hook: Start in the middle of wild action so thumb-scrollers stop instantly. 3. Bright vs. Dirty Setup: Place your product in a bright room and the cheap competition in a dark gross spot. 4. Giant Cartoon Faces: Use big & silly facial expressions to show happy or angry feelings faster than real actors can. 5. Never Stay Still: Keep tiny bubbles, sparkles, motion (whatever’s relevant with your product) going so the video never feels dead or boring. 6. Show the Inside: Animate the inside of your product so buyers see why it works (your secret mechanism). 7. Funny Voice Contrast: Give your hero product a friendly voice and the bad product a scratchy & untrustworthy voice. 8. Juicy Sound Effects: Add satisfying pops, fizzes, and clicks whenever stuff moves on screen. 9. Bouncing Captions: Pop big words on screen right as they are spoken so people watching on mute still buy. 10. Look at the Buyer: Have your character stare right into the camera so the viewer feels like they're being talked to directly. 11. Show the Flaw Fast: Show why the cheap competitor sucks within the first 5 seconds. 12. Zoom In for Proof: Zoom in close when showing a cool feature, then pull back for the main point. 13. Touch & Bump: Make characters high-five, bump shoulders, or lean on each other so the animation feels real. 14. Big Flex Numbers: Put huge numbers on screen like "50g Protein" or "3,000 PPB" to prove it's high quality. 15. Sad Loser Ending: Make the bad product look sad, broken, and defeated right before you drop the price deal. 16. Sticky Buy Button: Keep a bright "Shop Now" banner glued to the bottom of the screen the whole time. 17. No-Risk Promise: Flash a huge risk reversal at the end to make buying a no-brainer. 18. Declare the Winner: Have your character explicitly point out why your product beat the competition. 19. Never-Ending Loop: Make the last second of the ad blend perfectly into the first second so people accidentally watch it twice. Now go and make your next winning animated ad. (If you’re doing $100k+ months and can’t crack animated winners like this, DM me ‘PIXAR’ )
0:53

Animated ads are the CHEAPEST way to scale a saturated category in 2026. Steal these 19 tricks Hydroh used in this winning ad: 1. Good Guy vs. Bad Guy: Make your product look like a hero, and make cheap knockoffs look like an ugly villain. 2. Crazy 2-Second Hook: Start in the middle of wild action so thumb-scrollers stop instantly. 3. Bright vs. Dirty Setup: Place your product in a bright room and the cheap competition in a dark gross spot. 4. Giant Cartoon Faces: Use big & silly facial expressions to show happy or angry feelings faster than real actors can. 5. Never Stay Still: Keep tiny bubbles, sparkles, motion (whatever’s relevant with your product) going so the video never feels dead or boring. 6. Show the Inside: Animate the inside of your product so buyers see why it works (your secret mechanism). 7. Funny Voice Contrast: Give your hero product a friendly voice and the bad product a scratchy & untrustworthy voice. 8. Juicy Sound Effects: Add satisfying pops, fizzes, and clicks whenever stuff moves on screen. 9. Bouncing Captions: Pop big words on screen right as they are spoken so people watching on mute still buy. 10. Look at the Buyer: Have your character stare right into the camera so the viewer feels like they're being talked to directly. 11. Show the Flaw Fast: Show why the cheap competitor sucks within the first 5 seconds. 12. Zoom In for Proof: Zoom in close when showing a cool feature, then pull back for the main point. 13. Touch & Bump: Make characters high-five, bump shoulders, or lean on each other so the animation feels real. 14. Big Flex Numbers: Put huge numbers on screen like "50g Protein" or "3,000 PPB" to prove it's high quality. 15. Sad Loser Ending: Make the bad product look sad, broken, and defeated right before you drop the price deal. 16. Sticky Buy Button: Keep a bright "Shop Now" banner glued to the bottom of the screen the whole time. 17. No-Risk Promise: Flash a huge risk reversal at the end to make buying a no-brainer. 18. Declare the Winner: Have your character explicitly point out why your product beat the competition. 19. Never-Ending Loop: Make the last second of the ad blend perfectly into the first second so people accidentally watch it twice. Now go and make your next winning animated ad. (If you’re doing $100k+ months and can’t crack animated winners like this, DM me ‘PIXAR’ )

Nick Theriot

41,790 views • 1 month ago

I’m thrilled to announce the launch of Spatial Film—an immersive 180° and 360° film app we’ve built: After months of self-teaching Swift and app development, I finally turned my dream of having a platform dedicated to showcasing the highest-quality immersive films into reality. I’m not a developer by trade—I’m an immersive filmmaker—but I wanted a space where our original 3D 180 and 360 films could shine, free from the heavy compression of typical platforms. So, four months ago, I dove into coding, and here we are with version 1! This journey has been both challenging and incredibly rewarding, and I couldn’t have done it alone. My gratitude goes out to the immersive and VR community, our loyal Patreon members, and developers around the world who generously offered advice and encouragement along the way. What makes Spatial Film unique? It’s 100% original content, from immersive films to 360° environments, all crafted to provide an unparalleled experience. Some of you might recognize us as immersive filmmakers and educators on YouTube, where we’ve shared tutorials and inspired countless creators on Meta, Apple, Pico, HTC, and even back in the early YouTube VR days. Now, we’re taking advantage of Vision Pro’s stunning display to bring our work to you in the best quality possible. Our journey with immersive content goes way back—we’ve worked with 12K camera rigs like Jaunt, Google Jump, and Yi Halo, creating wild experiences for brands. But despite our efforts, our films were often stuck on platforms with heavy compression, which limits the quality. Vision Pro changed that for us, but it’s taken a lot of work to adapt. We’re still learning, refining, and working hard to optimize this new pipeline. Our hope with Spatial Film is to champion immersive storytelling on our own terms, without big corporations that might restrict artistic freedom. We’re here to bring you genuine, immersive stories—not influenced by financial projections. This platform is small, just me and a Shiba Inu sidekick named Kimchi, and we plan to keep it that way. No outside investment, no mission drift—just pure, immersive storytelling. And the best part? We’re releasing free films every other week, so you can explore and download our latest releases without a paywall. Every film also comes with its own immersive environment, free of charge. If you’d like to support us, you can subscribe to access the full library for a super affordable price, helping us keep this going as a true “mom-and-pop” shop on VisionOS. Feedback is more than welcome as we continue learning, optimizing, and improving the experience for all of you. Thank you for being part of this journey with us!
0:27

I’m thrilled to announce the launch of Spatial Film—an immersive 180° and 360° film app we’ve built: After months of self-teaching Swift and app development, I finally turned my dream of having a platform dedicated to showcasing the highest-quality immersive films into reality. I’m not a developer by trade—I’m an immersive filmmaker—but I wanted a space where our original 3D 180 and 360 films could shine, free from the heavy compression of typical platforms. So, four months ago, I dove into coding, and here we are with version 1! This journey has been both challenging and incredibly rewarding, and I couldn’t have done it alone. My gratitude goes out to the immersive and VR community, our loyal Patreon members, and developers around the world who generously offered advice and encouragement along the way. What makes Spatial Film unique? It’s 100% original content, from immersive films to 360° environments, all crafted to provide an unparalleled experience. Some of you might recognize us as immersive filmmakers and educators on YouTube, where we’ve shared tutorials and inspired countless creators on Meta, Apple, Pico, HTC, and even back in the early YouTube VR days. Now, we’re taking advantage of Vision Pro’s stunning display to bring our work to you in the best quality possible. Our journey with immersive content goes way back—we’ve worked with 12K camera rigs like Jaunt, Google Jump, and Yi Halo, creating wild experiences for brands. But despite our efforts, our films were often stuck on platforms with heavy compression, which limits the quality. Vision Pro changed that for us, but it’s taken a lot of work to adapt. We’re still learning, refining, and working hard to optimize this new pipeline. Our hope with Spatial Film is to champion immersive storytelling on our own terms, without big corporations that might restrict artistic freedom. We’re here to bring you genuine, immersive stories—not influenced by financial projections. This platform is small, just me and a Shiba Inu sidekick named Kimchi, and we plan to keep it that way. No outside investment, no mission drift—just pure, immersive storytelling. And the best part? We’re releasing free films every other week, so you can explore and download our latest releases without a paywall. Every film also comes with its own immersive environment, free of charge. If you’d like to support us, you can subscribe to access the full library for a super affordable price, helping us keep this going as a true “mom-and-pop” shop on VisionOS. Feedback is more than welcome as we continue learning, optimizing, and improving the experience for all of you. Thank you for being part of this journey with us!

Hugh Hou

17,557 views • 1 year ago

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
0:27

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

Sharon Riley

28,464 views • 29 days ago

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.
0:30

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.

Sharon Riley

38,437 views • 1 month ago

Claude Code is now scary good at full-stack! I asked it to build a real-time weather intelligence dashboard with an interactive 3D globe, a forecasting layer that predicts weather 3 days ahead, and an anomaly detector that flags cities whose weather is behaving abnormally. It came back with a spinning globe that has a day/night cycle using NASA satellite imagery, city lights on the dark side, weather icons that switch between sun and moon based on local time, and a time travel slider that scrubs through 10 days of data. And when a city's weather breaks from its own normal, it pulses red (abnormally hot) or blue (abnormally cold) right on the globe, updating live and reflecting the anomaly state at any point you drag the slider to. Claude Code built the whole thing in a single session, including the backend, database, data pipeline, and frontend. For the database, I needed something fast for time-series workloads since the app ingests hourly weather readings across many cities and serves time-range queries on every slider interaction. I used Tiger Cloud by Tiger Data - Creators of TimescaleDB, which gives you managed TimescaleDB on the Postgres you already know. Claude Code connected to it through the Tiger CLI MCP server and set up the entire backend directly: - Provisioned the database service - Created hypertables for time-partitioned weather storage - Set up continuous aggregates for pre-computed rollups - Built the data ingestion pipeline and the full NextJS + ThreeJS frontend The time travel slider queries thousands of rows on every position change. On a regular Postgres table, this would require manual partitioning and index tuning to stay fast as data grows. TimescaleDB partitions the data by timestamp automatically, so each query only hits the relevant time chunk. Continuous aggregates serve the trend charts, the forecast layer, and the anomaly baselines from pre-computed rollups instead of rescanning raw data on every request. The video below shows the final build in action, and I worked with the Tiger Data team to put this together. Tiger CLI is open-source (Apache 2.0) and works with Claude Code, Cursor, Codex, Gemini CLI, and VS Code. To try this yourself: → Sign up for Tiger Cloud (I have shared the link in the replies). It gives you $1,000 free credits (no card needed) → Install Tiger CLI: curl -fsSL https(:)//cli(.)tigerdata(.)com | sh → Run tiger mcp install claude-code → Give Claude Code a prompt and let it build sign-up here: My co-founder also wrote a detailed article on this. The article is quoted below.
0:50

Claude Code is now scary good at full-stack! I asked it to build a real-time weather intelligence dashboard with an interactive 3D globe, a forecasting layer that predicts weather 3 days ahead, and an anomaly detector that flags cities whose weather is behaving abnormally. It came back with a spinning globe that has a day/night cycle using NASA satellite imagery, city lights on the dark side, weather icons that switch between sun and moon based on local time, and a time travel slider that scrubs through 10 days of data. And when a city's weather breaks from its own normal, it pulses red (abnormally hot) or blue (abnormally cold) right on the globe, updating live and reflecting the anomaly state at any point you drag the slider to. Claude Code built the whole thing in a single session, including the backend, database, data pipeline, and frontend. For the database, I needed something fast for time-series workloads since the app ingests hourly weather readings across many cities and serves time-range queries on every slider interaction. I used Tiger Cloud by Tiger Data - Creators of TimescaleDB, which gives you managed TimescaleDB on the Postgres you already know. Claude Code connected to it through the Tiger CLI MCP server and set up the entire backend directly: - Provisioned the database service - Created hypertables for time-partitioned weather storage - Set up continuous aggregates for pre-computed rollups - Built the data ingestion pipeline and the full NextJS + ThreeJS frontend The time travel slider queries thousands of rows on every position change. On a regular Postgres table, this would require manual partitioning and index tuning to stay fast as data grows. TimescaleDB partitions the data by timestamp automatically, so each query only hits the relevant time chunk. Continuous aggregates serve the trend charts, the forecast layer, and the anomaly baselines from pre-computed rollups instead of rescanning raw data on every request. The video below shows the final build in action, and I worked with the Tiger Data team to put this together. Tiger CLI is open-source (Apache 2.0) and works with Claude Code, Cursor, Codex, Gemini CLI, and VS Code. To try this yourself: → Sign up for Tiger Cloud (I have shared the link in the replies). It gives you $1,000 free credits (no card needed) → Install Tiger CLI: curl -fsSL https(:)//cli(.)tigerdata(.)com | sh → Run tiger mcp install claude-code → Give Claude Code a prompt and let it build sign-up here: My co-founder also wrote a detailed article on this. The article is quoted below.

Akshay 🚀

37,269 views • 24 days ago

🚨BOMBSHELL: Candace Responds to the "Mitch Snow" SNOPES LEVEL FAKE DEBUNKING and Exposes Erika Kirk And TPUSA As The MASTERMIND Behind All These ATTACKS🤔 Candace just made a video responding to the noise and torched the entire coordinated hit job. Andrew Kolvet (TPUSA spokesman) got caught red-handed live-texting "alibis" for Erika Kirk to YouTubers mid-stream – while they were supposedly "exposing" Mitch as an abuser. The alibi? A photo claiming Erika was with Charlie on Sept 9... But NO ONE ever said for sure Erika was there on the 9th. Mitch said he saw her the night before – Sept 8 – at Candlewood Suites on Fort Huachuca. And get this: The messages show Erika's own hand in the photo Kolvet sent. She's directing her own spokesman to feed these YouTubers scripted "proof" behind the scenes. Why not just send it to Candace directly? Why the cloak-and-dagger through obscure channels? Candace: "Telling the truth is free." If Erika wasn't there, just say where she was on Sept 8. Done. Instead: Panic. Misdirection. Wrong dates. Straw-man "debunks." Alex Jones jumps in. Random YouTubers tease "career-ending" exposés on Mitch's past (irrelevant to Fort Huachuca). All roads lead back to TPUSA and Erika Kirk orchestrating the smears. This isn't cleanup. This is a PR nightmare of their own making. The harder they push these fake alibis and character attacks, the more obvious it becomes: They're terrified of the Sept 8 timeline. Candace never claimed 100% Erika was there – she said 50/50 on the ID, but 100% on the base, the meeting, and the detention. Now their desperate spin is backfiring spectacularly. The truth doesn't need scripted texts and wrong-date photos. Charlie deserves better. Watch Candace dismantle it all – clip below. Candace Owens is over the target, and they're in full meltdown. The mask is off. Who's really running the show at Turning Point? 🔥
5:36

🚨BOMBSHELL: Candace Responds to the "Mitch Snow" SNOPES LEVEL FAKE DEBUNKING and Exposes Erika Kirk And TPUSA As The MASTERMIND Behind All These ATTACKS🤔 Candace just made a video responding to the noise and torched the entire coordinated hit job. Andrew Kolvet (TPUSA spokesman) got caught red-handed live-texting "alibis" for Erika Kirk to YouTubers mid-stream – while they were supposedly "exposing" Mitch as an abuser. The alibi? A photo claiming Erika was with Charlie on Sept 9... But NO ONE ever said for sure Erika was there on the 9th. Mitch said he saw her the night before – Sept 8 – at Candlewood Suites on Fort Huachuca. And get this: The messages show Erika's own hand in the photo Kolvet sent. She's directing her own spokesman to feed these YouTubers scripted "proof" behind the scenes. Why not just send it to Candace directly? Why the cloak-and-dagger through obscure channels? Candace: "Telling the truth is free." If Erika wasn't there, just say where she was on Sept 8. Done. Instead: Panic. Misdirection. Wrong dates. Straw-man "debunks." Alex Jones jumps in. Random YouTubers tease "career-ending" exposés on Mitch's past (irrelevant to Fort Huachuca). All roads lead back to TPUSA and Erika Kirk orchestrating the smears. This isn't cleanup. This is a PR nightmare of their own making. The harder they push these fake alibis and character attacks, the more obvious it becomes: They're terrified of the Sept 8 timeline. Candace never claimed 100% Erika was there – she said 50/50 on the ID, but 100% on the base, the meeting, and the detention. Now their desperate spin is backfiring spectacularly. The truth doesn't need scripted texts and wrong-date photos. Charlie deserves better. Watch Candace dismantle it all – clip below. Candace Owens is over the target, and they're in full meltdown. The mask is off. Who's really running the show at Turning Point? 🔥

Project Constitution

417,258 views • 8 months ago

Harlan Coben is the master of the plot twist. He's published 35 novels and sold more than 100 million books. This conversation is all about how he writes. Here are the highlights: 1) Keep enough fear to stop yourself from phoning it in. He says: "Every writer I know who thinks they’re really good actually sucks." 2) Write your first draft knowing nobody gets to see how bad it is. This is your chance to break every writing rule because nobody's going to read what you wrote 3) How do you create suspense? By answering questions, then making the answers open bigger questions. 4) Write dialogue people would want to overhear. Ask yourself: “If I were sitting at a pub, is this the conversation I would want to overhear?” If the answer is no, make it better. 5) Give your dialogue a reason to happen: Don’t just put two people in a pub and have them talk. Imagine someone has keeled over, or a fight has broken out, and they’re debating whether to intervene. Now the conversation has a purpose. 6) Start in the middle, where there’s already a story happening. Don’t have your character walk into the church, sit down, and notice the flowers. Put him in the back pew watching the only woman he’ll ever love marry another man. Now we’re engaged. 7) Find the one detail that brings the whole scene to life: A group of mystery writers once debated the scariest sound in the world. Warren Murphy said: you’re alone in a cabin in the woods, and upstairs, you hear the toilet flush. That’s the moment you’re looking for. 8) Make room for quiet, or your loud moments won’t mean anything. If your story is always storming, a rainstorm won’t matter. Think of a placid pond: a small rock makes a ripple. But throw a boulder in a churning ocean, and nobody will notice. 9) Know your ending so you can afford to get lost along the way. Harlan says: "I know I’m driving from New Jersey to Los Angeles. I might take a detour through the Panama Canal and stop in Tokyo, but I know where I’m going. That gives me freedom. I can go off the main road because there’s a destination in the GPS. Knowing the ending lets me explore more without panicking that I’m completely lost." 10) Don't tell people what you're writing before you finish it. If you're at a cocktail party and start explaining your book, you'll almost feel the air coming out of the balloon. You'll get satisfaction without doing the work when all your satisfaction should be coming from finishing the book. 11) Don't expect to be good when you start writing: Harlan's first published novel was the fourth he'd written. You could have the skill of LeBron James, but if you’ve never played basketball, you’re going to suck when you get on that court. Why would writing be different? — — Timestamps: 0:34 How to find your next idea 4:02 Know your ending first 10:21 Why talent isn’t enough 13:45 Only bad writers think they’re good 18:30 What keeps Harlan going 23:47 Books vs TV adaptations 28:48 The mistake most writers make 35:06 What makes for good dialogue 43:08 Your themes find you 47:39 What he learned from Hitchcock 57:01 Making the boring parts interesting 59:58 How Harlan writes chapters 1:02:23 Main vs secondary characters 1:04:37 Don’t talk about your book 1:06:46 Why routines stop working 1:10:12 Stop making excuses 1:12:30 Genre vs form I've shared the full conversation with Harlan Coben below. If you'd rather watch on YouTube, or listen to the episode on Apple / Spotify, check out the reply tweets. Enjoy!
1:14:25

Harlan Coben is the master of the plot twist. He's published 35 novels and sold more than 100 million books. This conversation is all about how he writes. Here are the highlights: 1) Keep enough fear to stop yourself from phoning it in. He says: "Every writer I know who thinks they’re really good actually sucks." 2) Write your first draft knowing nobody gets to see how bad it is. This is your chance to break every writing rule because nobody's going to read what you wrote 3) How do you create suspense? By answering questions, then making the answers open bigger questions. 4) Write dialogue people would want to overhear. Ask yourself: “If I were sitting at a pub, is this the conversation I would want to overhear?” If the answer is no, make it better. 5) Give your dialogue a reason to happen: Don’t just put two people in a pub and have them talk. Imagine someone has keeled over, or a fight has broken out, and they’re debating whether to intervene. Now the conversation has a purpose. 6) Start in the middle, where there’s already a story happening. Don’t have your character walk into the church, sit down, and notice the flowers. Put him in the back pew watching the only woman he’ll ever love marry another man. Now we’re engaged. 7) Find the one detail that brings the whole scene to life: A group of mystery writers once debated the scariest sound in the world. Warren Murphy said: you’re alone in a cabin in the woods, and upstairs, you hear the toilet flush. That’s the moment you’re looking for. 8) Make room for quiet, or your loud moments won’t mean anything. If your story is always storming, a rainstorm won’t matter. Think of a placid pond: a small rock makes a ripple. But throw a boulder in a churning ocean, and nobody will notice. 9) Know your ending so you can afford to get lost along the way. Harlan says: "I know I’m driving from New Jersey to Los Angeles. I might take a detour through the Panama Canal and stop in Tokyo, but I know where I’m going. That gives me freedom. I can go off the main road because there’s a destination in the GPS. Knowing the ending lets me explore more without panicking that I’m completely lost." 10) Don't tell people what you're writing before you finish it. If you're at a cocktail party and start explaining your book, you'll almost feel the air coming out of the balloon. You'll get satisfaction without doing the work when all your satisfaction should be coming from finishing the book. 11) Don't expect to be good when you start writing: Harlan's first published novel was the fourth he'd written. You could have the skill of LeBron James, but if you’ve never played basketball, you’re going to suck when you get on that court. Why would writing be different? — — Timestamps: 0:34 How to find your next idea 4:02 Know your ending first 10:21 Why talent isn’t enough 13:45 Only bad writers think they’re good 18:30 What keeps Harlan going 23:47 Books vs TV adaptations 28:48 The mistake most writers make 35:06 What makes for good dialogue 43:08 Your themes find you 47:39 What he learned from Hitchcock 57:01 Making the boring parts interesting 59:58 How Harlan writes chapters 1:02:23 Main vs secondary characters 1:04:37 Don’t talk about your book 1:06:46 Why routines stop working 1:10:12 Stop making excuses 1:12:30 Genre vs form I've shared the full conversation with Harlan Coben below. If you'd rather watch on YouTube, or listen to the episode on Apple / Spotify, check out the reply tweets. Enjoy!

David Perell

25,777 views • 4 days ago

5 Years in Crypto & 4 Years in Content Creation, Here’s How I’ve Grown In 2019, I was just a clueless college kid trying to change the AR/VR industry. I skipped college placements and grinded hackathons to find support for my idea. (Clip from those college days below!) Why AR/VR? After joining engineering college, one thing became clear: India is a rat race, best case scenario: life will force you into a stable growth trajectory, if you want asymmetrical growth, think outside the box. Pursue areas where there is no crowd maybe you’ll fail, or maybe you’ll change an industry. In 2020, we hit the jackpot. With Covid there was No more college to waste our time, we grew our startup, built a prototype, and sharpened our skills by freelancing AR/VR projects. By the end of 2020, we were so skilled that companies across India were flying us out to help with their projects. We were earning ₹2L/month each in our final semester of college. Our startup, Hovar, had 8 employees. Every single one went on to land 20+ LPA jobs after college. Most were just in their 2nd year when we hired them. In 2020, we got paid in Crypto for the first time. That’s when my crypto journey began, passive at first, since the startup kept me busy. In 2021, I had to move to Bangalore for a compulsory college internship. Hovar was paying me ₹2L/month for just 3 hours of work daily, but I saw no future in AR/VR. Apple’s headset was delayed, and interest in the industry was dying. It was time to say goodbye to the comfy ₹2L/month and find a new industry. Coincidentally, the crypto bull market had just begun. I searched YouTube and realized there was hardly any reliable, to the point source of up to date crypto education. That was the gap I needed. I started winding down Hovar and focused on content creation, while still working 9–6 at the office and grinding on personal projects till 2 AM every day. In April 2021, the second wave of COVID hit. I got lucky Youtube took off. Crypto was looking like a legit career. Hovar was gone, but now I had a full time job in Bangalore and a growing youtube channel. By October 2021, I took another leap. I quit my job to focus fully on content with daily lives, this was with less than 45K subs. Another BIG RISK! My only backup was 6 months of emergency fund. After November 2021, the crypto markets crashed. Money dried up, trading became impossible, and I had to take big losses just to save my portfolio. That phase taught me a lot about risk management and how it is easy to make profits in crypto but how hard it is to keep those profits. 2022 was a nightmare. Nobody was watching my videos. Crypto markets were a dumpster fire. I decided to double down, went deep into the space, made a plan to rebuild my portfolio, and invested everything I had. In 2023, the markets started to recover. My portfolio turned green. 2022, Bear markets had taught me lessons that many 2024 batch students are only learning now. I was consistently making profits with a locked in trade setup system (still use it today). My channel crossed 100K subs. It was time for the next step. I never got comfortable neither with Hovar, nor with my job, nor as a content creator. Building distribution had one goal: Build your own product. I began searching for what to build. Tried smaller services for crypto investors, but they couldn’t scale. Indians weren’t keen on crypto beyond niche group chats. Indian exchanges sucked. Billion-dollar giants existed, yet the experience was awful. I thought regulations were the reason but no. They had just grown too fast in 2021, and their tech wasn’t built to scale. That’s why Indian exchanges stutter compared to Bybit or Binance. But was this a problem worth solving? Not really, with heavily funded players and a tight knit ecosystem of people. I floated the idea of building my own exchange. Everyone said it was a terrible idea: bad regulations, no banking support, zero chance of funding, and most importantly why would an influencer, who could easily make 50–70% profits from exchange referrals, work this hard to build an exchange? It was indeed a huge risk. I would lose referral income (the main way influencers make money), burn through my savings, and go against giants. I passed. Risk seemed too high. But the audience changed my mind. Hundreds of comments daily complained about Indian exchanges withdrawal issues, trading engines failing during high volume, no real education beyond half-baked YouTube videos, and more. These problems were tough but solvable. Now I just needed the right people to build with people who wouldn’t second-guess the mission. In 2024, WazirX got hacked. Everyone realized Indian exchanges were not safe. The government wouldn’t help. A gap was forming. I had moved to Dubai, to meet passionate builder to help me build an exchange or at least show me a path and finally, after 6 months felt confident enough to start Fedhabit. Moved back to Banglore after 6 months, Announced the exchange to public in Jan 2025, now we’ve come a long way. It took a lot of effort: finding scalable tech, hiring people crazy enough to go against Goliaths with me, securing FIU registration, and finding a bank bold enough to take a chance on us. What a ride. With FedHabit Alpha successfully concluded, just a few steps remain before launch. And I’m told that’s when the real struggle begins. Let’s keep grinding. There is no gain without pain.
0:22

5 Years in Crypto & 4 Years in Content Creation, Here’s How I’ve Grown In 2019, I was just a clueless college kid trying to change the AR/VR industry. I skipped college placements and grinded hackathons to find support for my idea. (Clip from those college days below!) Why AR/VR? After joining engineering college, one thing became clear: India is a rat race, best case scenario: life will force you into a stable growth trajectory, if you want asymmetrical growth, think outside the box. Pursue areas where there is no crowd maybe you’ll fail, or maybe you’ll change an industry. In 2020, we hit the jackpot. With Covid there was No more college to waste our time, we grew our startup, built a prototype, and sharpened our skills by freelancing AR/VR projects. By the end of 2020, we were so skilled that companies across India were flying us out to help with their projects. We were earning ₹2L/month each in our final semester of college. Our startup, Hovar, had 8 employees. Every single one went on to land 20+ LPA jobs after college. Most were just in their 2nd year when we hired them. In 2020, we got paid in Crypto for the first time. That’s when my crypto journey began, passive at first, since the startup kept me busy. In 2021, I had to move to Bangalore for a compulsory college internship. Hovar was paying me ₹2L/month for just 3 hours of work daily, but I saw no future in AR/VR. Apple’s headset was delayed, and interest in the industry was dying. It was time to say goodbye to the comfy ₹2L/month and find a new industry. Coincidentally, the crypto bull market had just begun. I searched YouTube and realized there was hardly any reliable, to the point source of up to date crypto education. That was the gap I needed. I started winding down Hovar and focused on content creation, while still working 9–6 at the office and grinding on personal projects till 2 AM every day. In April 2021, the second wave of COVID hit. I got lucky Youtube took off. Crypto was looking like a legit career. Hovar was gone, but now I had a full time job in Bangalore and a growing youtube channel. By October 2021, I took another leap. I quit my job to focus fully on content with daily lives, this was with less than 45K subs. Another BIG RISK! My only backup was 6 months of emergency fund. After November 2021, the crypto markets crashed. Money dried up, trading became impossible, and I had to take big losses just to save my portfolio. That phase taught me a lot about risk management and how it is easy to make profits in crypto but how hard it is to keep those profits. 2022 was a nightmare. Nobody was watching my videos. Crypto markets were a dumpster fire. I decided to double down, went deep into the space, made a plan to rebuild my portfolio, and invested everything I had. In 2023, the markets started to recover. My portfolio turned green. 2022, Bear markets had taught me lessons that many 2024 batch students are only learning now. I was consistently making profits with a locked in trade setup system (still use it today). My channel crossed 100K subs. It was time for the next step. I never got comfortable neither with Hovar, nor with my job, nor as a content creator. Building distribution had one goal: Build your own product. I began searching for what to build. Tried smaller services for crypto investors, but they couldn’t scale. Indians weren’t keen on crypto beyond niche group chats. Indian exchanges sucked. Billion-dollar giants existed, yet the experience was awful. I thought regulations were the reason but no. They had just grown too fast in 2021, and their tech wasn’t built to scale. That’s why Indian exchanges stutter compared to Bybit or Binance. But was this a problem worth solving? Not really, with heavily funded players and a tight knit ecosystem of people. I floated the idea of building my own exchange. Everyone said it was a terrible idea: bad regulations, no banking support, zero chance of funding, and most importantly why would an influencer, who could easily make 50–70% profits from exchange referrals, work this hard to build an exchange? It was indeed a huge risk. I would lose referral income (the main way influencers make money), burn through my savings, and go against giants. I passed. Risk seemed too high. But the audience changed my mind. Hundreds of comments daily complained about Indian exchanges withdrawal issues, trading engines failing during high volume, no real education beyond half-baked YouTube videos, and more. These problems were tough but solvable. Now I just needed the right people to build with people who wouldn’t second-guess the mission. In 2024, WazirX got hacked. Everyone realized Indian exchanges were not safe. The government wouldn’t help. A gap was forming. I had moved to Dubai, to meet passionate builder to help me build an exchange or at least show me a path and finally, after 6 months felt confident enough to start Fedhabit. Moved back to Banglore after 6 months, Announced the exchange to public in Jan 2025, now we’ve come a long way. It took a lot of effort: finding scalable tech, hiring people crazy enough to go against Goliaths with me, securing FIU registration, and finding a bank bold enough to take a chance on us. What a ride. With FedHabit Alpha successfully concluded, just a few steps remain before launch. And I’m told that’s when the real struggle begins. Let’s keep grinding. There is no gain without pain.

Neel Kukreti

26,384 views • 1 year ago

Efsane Platform Introduction I. Platform Overview • Platform Positioning: EFSANE (main domain is the world's fastest-growing blockchain news portal, serving as the core gateway to the entire ecosystem. The platform integrates multiple modules, including predictions, live streaming, games, and social networking, striving to provide users with a one-stop on-chain entertainment and interactive experience. • Core Mission: To establish a secure, reliable, low-threshold, and diverse on-chain entertainment platform, enabling users to conveniently participate in Gem (GEM) trials, USDT live games, prediction markets, live streaming interactions, and community exchanges, forming a complete closed-loop ecosystem. II. Core Values ​​and Features 1. One-Stop Ecosystem Hub • Integrated Sub-Channel Access: The main site homepage and user center clearly display channels for various modules, including prediction network, live streaming, blockchain games, and efschat (social networking), allowing users to directly access their desired scenarios without having to navigate multiple platforms. • Unified Asset and Account System: Centrally displays Gem/GEM and USDT balances, records participation in each module and historical returns, and enables one-stop asset management. • Unified Notifications and Customer Support: Integrates platform announcements, event reminders, and reward notifications, providing multiple customer service channels to significantly enhance the overall user experience. 2. Brand Trust and Security Transparency • Operational Data Announcements: The platform publicly discloses core metrics such as registered users, daily active users, withdrawal success rate, and total bonus pool, ensuring data authenticity and verifiability. • Compliance and Audit Visualization: Displays security audit summaries, risk control systems, and compliance instructions, allowing users to immediately perceive the platform's professionalism and credibility. • Risk Warnings and User Education: Key pages and workflows prominently highlight participation risks, and provide resources such as operation guides, video tutorials, and live streams. 3. Diverse Gameplay and Incentive Design • Gem/GEM Beginner Mechanism: Users can earn gems by signing in, completing tasks, or participating in events, allowing them to try out the game before converting, lowering the barrier to entry. • USDT Payment and Real Earnings Mechanism: Used in advanced games and predictive gameplay, ensuring authentic payment and cash-out mechanisms, enhancing asset authenticity and building trust. • Cross-module Incentive Mechanism: A task system enables cross-module linkage. For example, completing prediction tasks earns rewards in the live streaming/gaming modules, fostering deeper user engagement. • Multi-tiered Promotion Revenue Mechanism: Through an invitation code system and a three-tiered fission reward structure, promoters can earn high commissions, with commissions increasing to higher levels during special periods, stimulating user enthusiasm for cross-platform sharing. 4. Social and Community-Driven • Community Aggregation Portal: Enables cross-scenario discussion and sharing among users of modules like prediction, gaming, and live streaming. • User-generated Content Creator System: Encourages users to contribute high-quality content such as tutorials, guides, and reviews, providing incentives and resource support to outstanding creators and streamers. • Interactive Operational Activities: Regularly organize AMAs, online competitions, and data review livestreams to enhance user engagement and a sense of belonging to the platform. 5. Technical and User Experience Assurance • High-availability Architecture: The platform utilizes CDN acceleration, load balancing, and site-wide SSL/TLS encryption to ensure stable access and data security. • Full-Device Support and Multi-Language Optimization: Compatible with mobile and desktop devices, it supports a multi-language interface, offers a simple registration process, and quickly guides new users onboarding. • Behavioral Data-Driven Optimization: Analyze user behavior to deliver precise recommendations, improving gameplay conversion rates and user retention. III. Introduction to Key Modules (Platform Portal and Linked Examples) 1. Prediction Module ( Provides prediction scenarios for multiple sectors, including the crypto market, hot events, and sports events. Gameplay includes time-limited battles, binary options, and multiple-choice intervals. It features transparent settlement, a leaderboard mechanism, and integration with live streaming and the main platform's asset system. 2. Live Streaming Channel Showcases project roadshows, platform tutorials, live event broadcasts, and community interactive live streams to enhance user engagement and trust. It supports both gem and USDT tipping mechanisms and can be directly linked to the main platform's event page or task guide. 3. Chain Game Entertainment Channel Offers a diverse selection of games, from casual mini-games to competitive GameFi, supporting gem trials and USDT live trading. A leaderboard and tournament system is integrated with the main site's asset management and livestreaming content. 4. Social Community Users can participate in discussions, post content, and share task results in interest-based zones. A creator development system and content governance structure are established, serving as a hub for cross-module communication and feedback. 5. Other Expandable Portals The platform can subsequently expand subdomains such as dedicated event pages, tutorial pages, and creator centers as needed, all under the main domain for unified management. IV. User Flow Examples 1. First Visit: Users visit and register/log in. The homepage displays featured events and module portals, encouraging participation in gem trials or popular gameplay. 2. Onboarding: New users receive gem trial coupons and are guided through live tutorials or tutorials to quickly understand the platform's core mechanics. 3. Multi-Scenario Participation: Users can choose to participate in prediction betting, game battles, watch live streams and give rewards, join communities to express their opinions, or complete tasks and invite friends. 4. Asset Management and Withdrawal: Users can centrally view their Gem and USDT balances and earnings on the platform and withdraw them or use them to participate in other modules. Promotional earnings and commission details are displayed simultaneously. 5. Sticky Loop: The system periodically pushes cross-module tasks, community events, leaderboard incentives, and other content to promote continuous user engagement and platform retention. V. Trust and Compliance Assurance • Operational Transparency: The platform regularly publishes key data and security audit information to ensure openness and verifiability. • Risk Control Mechanism: Key processes such as withdrawals, deposits, and prediction participation are equipped with anomaly detection and anti-cheating mechanisms; large-scale transactions require KYC review. • Compliance Strategy: The platform monitors the regulatory status of crypto entertainment and prediction mechanisms in various markets and implements grayscale openness, geographic restrictions, and compliance disclosure procedures. • Privacy Compliance: The platform strictly adheres to local data protection laws to safeguard user privacy and security, and clearly states the scope of data usage in the user agreement. VI. Brand and Promotional Positioning • Suggested Platform Slogan: • " A one-stop on-chain entertainment platform with low barriers to entry, high transparency, and real returns." • "Gem Trials, USDT Play, the new standard for secure and reliable on-chain entertainment." • Core Marketing: Focus on beginner gem experiences, real USDT withdrawals, diverse gameplay options, and safety and compliance mechanisms. • Promotional Channels: Includes Telegram, Discord, and WhatsApp groups, livestream promotions with influencers (KOLs), and SEO/advertising (using keywords such as "on-chain entertainment platform" and "GameFi Real Returns"). VII. Technical and Operational Support System • Multilingual Operational Capabilities: Currently supports Chinese, English, Turkish, and Japanese, and will gradually expand to 16+ languages ​​globally, providing a localized experience for the international market. • Data-Driven Growth Analysis: Build a full-chain conversion analysis system to monitor new user conversion rates, retention rates, paying behavior, and task completion. • Customer Support and User Feedback Mechanism: Provide a multilingual customer service portal for immediate responses to user questions; promptly integrate community suggestions into product iterations and provide regular announcements. • Platform Optimization and Emergency System: Develop a security incident emergency response plan to ensure rapid platform recovery in the event of an emergency; continuously optimize the user experience through a data feedback mechanism. VIII. Future Development Outlook • Deep Ecosystem Development: Continuously optimize existing gameplay and module integrations, and explore the introduction of new economic mechanisms such as NFT incentives, DeFi mining, or staking. • Technology Evolution: Follow cutting-edge technologies such as Layer 2 expansion, off-chain settlement, and AI-powered recommendations to improve transaction efficiency and user experience accuracy. • Compliance Expansion Strategy: Promote legal operations in regions with mature regulations, and proactively prepare for compliance in high-potential markets to mitigate legal risks. • Community Brand Ecosystem: Cultivate a community of core players, influencers (KOLs), and creators, building a trusted brand image and enhancing user belonging through online livestreams and offline salons. 🔗 Register as a new user and receive $6. Join now:
0:41

Efsane Platform Introduction I. Platform Overview • Platform Positioning: EFSANE (main domain is the world's fastest-growing blockchain news portal, serving as the core gateway to the entire ecosystem. The platform integrates multiple modules, including predictions, live streaming, games, and social networking, striving to provide users with a one-stop on-chain entertainment and interactive experience. • Core Mission: To establish a secure, reliable, low-threshold, and diverse on-chain entertainment platform, enabling users to conveniently participate in Gem (GEM) trials, USDT live games, prediction markets, live streaming interactions, and community exchanges, forming a complete closed-loop ecosystem. II. Core Values ​​and Features 1. One-Stop Ecosystem Hub • Integrated Sub-Channel Access: The main site homepage and user center clearly display channels for various modules, including prediction network, live streaming, blockchain games, and efschat (social networking), allowing users to directly access their desired scenarios without having to navigate multiple platforms. • Unified Asset and Account System: Centrally displays Gem/GEM and USDT balances, records participation in each module and historical returns, and enables one-stop asset management. • Unified Notifications and Customer Support: Integrates platform announcements, event reminders, and reward notifications, providing multiple customer service channels to significantly enhance the overall user experience. 2. Brand Trust and Security Transparency • Operational Data Announcements: The platform publicly discloses core metrics such as registered users, daily active users, withdrawal success rate, and total bonus pool, ensuring data authenticity and verifiability. • Compliance and Audit Visualization: Displays security audit summaries, risk control systems, and compliance instructions, allowing users to immediately perceive the platform's professionalism and credibility. • Risk Warnings and User Education: Key pages and workflows prominently highlight participation risks, and provide resources such as operation guides, video tutorials, and live streams. 3. Diverse Gameplay and Incentive Design • Gem/GEM Beginner Mechanism: Users can earn gems by signing in, completing tasks, or participating in events, allowing them to try out the game before converting, lowering the barrier to entry. • USDT Payment and Real Earnings Mechanism: Used in advanced games and predictive gameplay, ensuring authentic payment and cash-out mechanisms, enhancing asset authenticity and building trust. • Cross-module Incentive Mechanism: A task system enables cross-module linkage. For example, completing prediction tasks earns rewards in the live streaming/gaming modules, fostering deeper user engagement. • Multi-tiered Promotion Revenue Mechanism: Through an invitation code system and a three-tiered fission reward structure, promoters can earn high commissions, with commissions increasing to higher levels during special periods, stimulating user enthusiasm for cross-platform sharing. 4. Social and Community-Driven • Community Aggregation Portal: Enables cross-scenario discussion and sharing among users of modules like prediction, gaming, and live streaming. • User-generated Content Creator System: Encourages users to contribute high-quality content such as tutorials, guides, and reviews, providing incentives and resource support to outstanding creators and streamers. • Interactive Operational Activities: Regularly organize AMAs, online competitions, and data review livestreams to enhance user engagement and a sense of belonging to the platform. 5. Technical and User Experience Assurance • High-availability Architecture: The platform utilizes CDN acceleration, load balancing, and site-wide SSL/TLS encryption to ensure stable access and data security. • Full-Device Support and Multi-Language Optimization: Compatible with mobile and desktop devices, it supports a multi-language interface, offers a simple registration process, and quickly guides new users onboarding. • Behavioral Data-Driven Optimization: Analyze user behavior to deliver precise recommendations, improving gameplay conversion rates and user retention. III. Introduction to Key Modules (Platform Portal and Linked Examples) 1. Prediction Module ( Provides prediction scenarios for multiple sectors, including the crypto market, hot events, and sports events. Gameplay includes time-limited battles, binary options, and multiple-choice intervals. It features transparent settlement, a leaderboard mechanism, and integration with live streaming and the main platform's asset system. 2. Live Streaming Channel Showcases project roadshows, platform tutorials, live event broadcasts, and community interactive live streams to enhance user engagement and trust. It supports both gem and USDT tipping mechanisms and can be directly linked to the main platform's event page or task guide. 3. Chain Game Entertainment Channel Offers a diverse selection of games, from casual mini-games to competitive GameFi, supporting gem trials and USDT live trading. A leaderboard and tournament system is integrated with the main site's asset management and livestreaming content. 4. Social Community Users can participate in discussions, post content, and share task results in interest-based zones. A creator development system and content governance structure are established, serving as a hub for cross-module communication and feedback. 5. Other Expandable Portals The platform can subsequently expand subdomains such as dedicated event pages, tutorial pages, and creator centers as needed, all under the main domain for unified management. IV. User Flow Examples 1. First Visit: Users visit and register/log in. The homepage displays featured events and module portals, encouraging participation in gem trials or popular gameplay. 2. Onboarding: New users receive gem trial coupons and are guided through live tutorials or tutorials to quickly understand the platform's core mechanics. 3. Multi-Scenario Participation: Users can choose to participate in prediction betting, game battles, watch live streams and give rewards, join communities to express their opinions, or complete tasks and invite friends. 4. Asset Management and Withdrawal: Users can centrally view their Gem and USDT balances and earnings on the platform and withdraw them or use them to participate in other modules. Promotional earnings and commission details are displayed simultaneously. 5. Sticky Loop: The system periodically pushes cross-module tasks, community events, leaderboard incentives, and other content to promote continuous user engagement and platform retention. V. Trust and Compliance Assurance • Operational Transparency: The platform regularly publishes key data and security audit information to ensure openness and verifiability. • Risk Control Mechanism: Key processes such as withdrawals, deposits, and prediction participation are equipped with anomaly detection and anti-cheating mechanisms; large-scale transactions require KYC review. • Compliance Strategy: The platform monitors the regulatory status of crypto entertainment and prediction mechanisms in various markets and implements grayscale openness, geographic restrictions, and compliance disclosure procedures. • Privacy Compliance: The platform strictly adheres to local data protection laws to safeguard user privacy and security, and clearly states the scope of data usage in the user agreement. VI. Brand and Promotional Positioning • Suggested Platform Slogan: • " A one-stop on-chain entertainment platform with low barriers to entry, high transparency, and real returns." • "Gem Trials, USDT Play, the new standard for secure and reliable on-chain entertainment." • Core Marketing: Focus on beginner gem experiences, real USDT withdrawals, diverse gameplay options, and safety and compliance mechanisms. • Promotional Channels: Includes Telegram, Discord, and WhatsApp groups, livestream promotions with influencers (KOLs), and SEO/advertising (using keywords such as "on-chain entertainment platform" and "GameFi Real Returns"). VII. Technical and Operational Support System • Multilingual Operational Capabilities: Currently supports Chinese, English, Turkish, and Japanese, and will gradually expand to 16+ languages ​​globally, providing a localized experience for the international market. • Data-Driven Growth Analysis: Build a full-chain conversion analysis system to monitor new user conversion rates, retention rates, paying behavior, and task completion. • Customer Support and User Feedback Mechanism: Provide a multilingual customer service portal for immediate responses to user questions; promptly integrate community suggestions into product iterations and provide regular announcements. • Platform Optimization and Emergency System: Develop a security incident emergency response plan to ensure rapid platform recovery in the event of an emergency; continuously optimize the user experience through a data feedback mechanism. VIII. Future Development Outlook • Deep Ecosystem Development: Continuously optimize existing gameplay and module integrations, and explore the introduction of new economic mechanisms such as NFT incentives, DeFi mining, or staking. • Technology Evolution: Follow cutting-edge technologies such as Layer 2 expansion, off-chain settlement, and AI-powered recommendations to improve transaction efficiency and user experience accuracy. • Compliance Expansion Strategy: Promote legal operations in regions with mature regulations, and proactively prepare for compliance in high-potential markets to mitigate legal risks. • Community Brand Ecosystem: Cultivate a community of core players, influencers (KOLs), and creators, building a trusted brand image and enhancing user belonging through online livestreams and offline salons. 🔗 Register as a new user and receive $6. Join now:

EFSANE

28,263 views • 11 months ago

Local AI 101: open models, Hugging Face, and businesses to build (38 min masterclass) I still think cloud AI is the default for most things, and honestly it should be, the frontier models are the strongest and easiest to use. But something shifted in the last 4-5 months. You can now run genuinely good open models directly on your own laptop, or even your phone. And once you actually try it, it changes how you think about what AI is even for. LOCAL AI, CLEARLY EXPLAINED: 1. The model is the brain doing the thinking. Gemma, Llama, Mistral, and Qwen are the main families, and each is better at different things, some at reasoning, some at coding, some small enough to run on a phone. 2. Hugging Face is the warehouse where you find them. You go there to see what each model is good at, check the license, and grab the compressed versions that run on a normal computer. 3. The software is what runs the model on your machine. Start with LM Studio if you're not technical, it feels like a normal app where you search, download, and start chatting. Ollama is the one you reach for when you want to plug a model into your own apps. 4. The workflow is the actual product you build on top of it all. That's what I'm ideating around for some businesses to create. I think local AI just made a specific kind of business way easier to start. Find an industry that: 1. Sits on sensitive data they'd never paste into ChatGPT 2. Does the same review over and over 3. Runs on software from 2003 Then build a local AI tool that does that review on their own machine, so the data never leaves the building! Take home health agencies. Nurses write visit notes all day, and if a note is missing a detail, the billing gets denied or the audit flags it. Here's how I'd start: 1. Find 5 small agencies. Offer to review a batch of their notes for them. 2. Run the notes through Gemma locally (free, private, no cloud). Read every output yourself. 3. Write down the 20 issues that keep showing up: missing vitals, vague med changes, notes that don't support the billed level. 4. That list of 20 is your checklist. The checklist is the product. 5. Turn it into a local desktop app that flags those 20 things before a note gets submitted. You just went from a service anyone could offer to a product nobody else has, and you learned exactly what to build by doing the work by hand first. Same recipe works for restoration contractors (draft the damage report on-site before the tech leaves) and wealth advisors (catch the compliance landmine in a client email before it sends). Basically the framework is sensitive data, repeated review, ancient software. I think there are tons of businesses like this! Almost none of it clicked for me until I actually started using local AI. So if you take one thing from this, go run a model on your own machine once. Also a fun thing to try with your friends. Feel free to send this to a friend. The episode is live for free on The Startup Ideas Podcast (SIP) 🧃 (thanks to Google for sponsoring today's episode and supporting local AI) I feel like local AI one of those things you need to try for it to really click. Run one model on your own machine and you'll see what I mean! I go way deeper in the full 38 minute masterclass, the models, the setup, and the businesses to build. Link below. LINK TO WATCH: OR WATCH BELOW ON X What do you think of local AI?
38:45

Local AI 101: open models, Hugging Face, and businesses to build (38 min masterclass) I still think cloud AI is the default for most things, and honestly it should be, the frontier models are the strongest and easiest to use. But something shifted in the last 4-5 months. You can now run genuinely good open models directly on your own laptop, or even your phone. And once you actually try it, it changes how you think about what AI is even for. LOCAL AI, CLEARLY EXPLAINED: 1. The model is the brain doing the thinking. Gemma, Llama, Mistral, and Qwen are the main families, and each is better at different things, some at reasoning, some at coding, some small enough to run on a phone. 2. Hugging Face is the warehouse where you find them. You go there to see what each model is good at, check the license, and grab the compressed versions that run on a normal computer. 3. The software is what runs the model on your machine. Start with LM Studio if you're not technical, it feels like a normal app where you search, download, and start chatting. Ollama is the one you reach for when you want to plug a model into your own apps. 4. The workflow is the actual product you build on top of it all. That's what I'm ideating around for some businesses to create. I think local AI just made a specific kind of business way easier to start. Find an industry that: 1. Sits on sensitive data they'd never paste into ChatGPT 2. Does the same review over and over 3. Runs on software from 2003 Then build a local AI tool that does that review on their own machine, so the data never leaves the building! Take home health agencies. Nurses write visit notes all day, and if a note is missing a detail, the billing gets denied or the audit flags it. Here's how I'd start: 1. Find 5 small agencies. Offer to review a batch of their notes for them. 2. Run the notes through Gemma locally (free, private, no cloud). Read every output yourself. 3. Write down the 20 issues that keep showing up: missing vitals, vague med changes, notes that don't support the billed level. 4. That list of 20 is your checklist. The checklist is the product. 5. Turn it into a local desktop app that flags those 20 things before a note gets submitted. You just went from a service anyone could offer to a product nobody else has, and you learned exactly what to build by doing the work by hand first. Same recipe works for restoration contractors (draft the damage report on-site before the tech leaves) and wealth advisors (catch the compliance landmine in a client email before it sends). Basically the framework is sensitive data, repeated review, ancient software. I think there are tons of businesses like this! Almost none of it clicked for me until I actually started using local AI. So if you take one thing from this, go run a model on your own machine once. Also a fun thing to try with your friends. Feel free to send this to a friend. The episode is live for free on The Startup Ideas Podcast (SIP) 🧃 (thanks to Google for sponsoring today's episode and supporting local AI) I feel like local AI one of those things you need to try for it to really click. Run one model on your own machine and you'll see what I mean! I go way deeper in the full 38 minute masterclass, the models, the setup, and the businesses to build. Link below. LINK TO WATCH: OR WATCH BELOW ON X What do you think of local AI?

GREG ISENBERG

31,056 views • 6 days ago

How to build a $100K/month iOS app (playbook below): Over the next 18 months, we'll see 200+ apps hit $100k/month solving problems that were impossible to solve until right now. AI can now solve hyper-specific problems for tiny audiences. Problems so specific only 50,000 people on earth have them. But those 50,000 will pay $40/month for a perfect solution. Meanwhile, the "For You Page" killed the need for followers. Any creator with zero audience can go viral tomorrow. One video about your niche app can deliver 1,000 paying customers overnight. This is the perfect storm. Micro-problems can finally be solved. Micro-apps can finally find their people. *Disclaimer* No, this won't work for everyone. Not everyone will make $100k MRR app. But there is a tremendous amount of opportunity, and my point is this is how i'd approach it: The playbook: 1) Daily habit (not occasional use) Not "track calories." Think "photograph your psoriasis patches every morning to track flare triggers." Not "meditate" but "record your stutter severity after each phone call." The winning apps solve micro-problems inside daily routines. The person checking if their dog's food has ingredients that trigger seizures. The runner who needs to know if today's pollen will trigger their exercise-induced asthma. Find the tiny, specific thing someone does at the exact same time every day. 2) AI-powered narrow wedge One problem. One perfect solution. "AI that tells if this supplement will interfere with your Adderall." "AI that identifies which FODMAP ingredients are in this restaurant dish." The narrower you go, the more people will pay. Start with one use case that takes 10 seconds to understand. 3) One channel, 3 formats TikTok or Instagram. Pick one. Test three content types daily. When something hits, make 50 versions. The apps making $100K/month mastered one platform before touching another. 4) 100 obsessed users 100 people who use it daily and would riot if you shut down. They'll bring the next 100. Those bring 400. But without the first 100 fanatics, you have nothing. Use organic audience to bring these people there. 5) Charge immediately Paywall goes up week one. $7-40/month. Free users give garbage feedback. Paying users tell you exactly what to build. If nobody pays for your broken MVP, they won't pay for your polished version either. 90-day timeline: Days 1-10: Find the habit, validate demand (reddit, tiktok, Idea Browser) Days 11-30: Ship the ugliest working version (use bolt/lovable/vibecode app/rork) While you're doing this you're building organic audience. Figuring out formats, focusing on 1 channel, working with creators. Days 31-60: Get 100 users, obsess over them Days 61-90: Double down on what's working TLDR; Pick a daily micro-problem this weekend. Ship something that solves it by next weekend. Charge for it the weekend after. (full episode is below or on the latest episode The Startup Ideas Podcast (SIP) 🧃 on yt etc) Enjoy the sauce. People charge for this sorta sauce. It's free for you. The App Store is open for the first time in years. Go claim your piece. Im rooting for you.
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How to build a $100K/month iOS app (playbook below): Over the next 18 months, we'll see 200+ apps hit $100k/month solving problems that were impossible to solve until right now. AI can now solve hyper-specific problems for tiny audiences. Problems so specific only 50,000 people on earth have them. But those 50,000 will pay $40/month for a perfect solution. Meanwhile, the "For You Page" killed the need for followers. Any creator with zero audience can go viral tomorrow. One video about your niche app can deliver 1,000 paying customers overnight. This is the perfect storm. Micro-problems can finally be solved. Micro-apps can finally find their people. *Disclaimer* No, this won't work for everyone. Not everyone will make $100k MRR app. But there is a tremendous amount of opportunity, and my point is this is how i'd approach it: The playbook: 1) Daily habit (not occasional use) Not "track calories." Think "photograph your psoriasis patches every morning to track flare triggers." Not "meditate" but "record your stutter severity after each phone call." The winning apps solve micro-problems inside daily routines. The person checking if their dog's food has ingredients that trigger seizures. The runner who needs to know if today's pollen will trigger their exercise-induced asthma. Find the tiny, specific thing someone does at the exact same time every day. 2) AI-powered narrow wedge One problem. One perfect solution. "AI that tells if this supplement will interfere with your Adderall." "AI that identifies which FODMAP ingredients are in this restaurant dish." The narrower you go, the more people will pay. Start with one use case that takes 10 seconds to understand. 3) One channel, 3 formats TikTok or Instagram. Pick one. Test three content types daily. When something hits, make 50 versions. The apps making $100K/month mastered one platform before touching another. 4) 100 obsessed users 100 people who use it daily and would riot if you shut down. They'll bring the next 100. Those bring 400. But without the first 100 fanatics, you have nothing. Use organic audience to bring these people there. 5) Charge immediately Paywall goes up week one. $7-40/month. Free users give garbage feedback. Paying users tell you exactly what to build. If nobody pays for your broken MVP, they won't pay for your polished version either. 90-day timeline: Days 1-10: Find the habit, validate demand (reddit, tiktok, Idea Browser) Days 11-30: Ship the ugliest working version (use bolt/lovable/vibecode app/rork) While you're doing this you're building organic audience. Figuring out formats, focusing on 1 channel, working with creators. Days 31-60: Get 100 users, obsess over them Days 61-90: Double down on what's working TLDR; Pick a daily micro-problem this weekend. Ship something that solves it by next weekend. Charge for it the weekend after. (full episode is below or on the latest episode The Startup Ideas Podcast (SIP) 🧃 on yt etc) Enjoy the sauce. People charge for this sorta sauce. It's free for you. The App Store is open for the first time in years. Go claim your piece. Im rooting for you.

GREG ISENBERG

102,168 views • 11 months ago