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Rubber base gel (no tips) 💅🏾 1st frame : 2 months growth 2nd frame : new rubber base set 🤍 WhatsApp 0664018675 to make a booking 📍: The sails , Unit 16 ( G-03) 17 Timeball Blvd point waterfront ,Durban

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Lerato Moremi🤍

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Wuthering Waves PS5 Performance Test • Test Setup PS5 Slim (brand new, clean, no dust) Room temperature: 22°C with AC • Map Issue Yes, it's real. The new map is locked to around 2 FPS when opened from the menu, making it extremely laggy. • Stuttering Problems The game has severe stuttering. In some areas, it even freezes for 4–5 seconds, making the experience frustrating. • My Observation From my testing, the game appears to be running at a very high internal resolution on PS5 instead of relying on aggressive upscaling. For example, DLSS Quality at 1440p renders the game internally at approximately 1707×960 before upscaling it to 2560×1440. On PS5, however, it looks like the game is rendering at or near 2560×1440 internally and then upscaling to 4K. If that's true, it's an extremely demanding target for a base PS5. • Is This Fixable? Yes. If the game is indeed using such a high internal resolution, lowering it and using better reconstruction or dynamic resolution scaling could significantly improve performance. Running at such a high internal resolution on a base PS5 doesn't make much sense, and the game has suffered from performance issues for nearly 12 months. • Final Thoughts Kuro Games needs to address this. At this point, we can't keep blaming players, their hardware, or the engine. If the high internal resolution is the cause, it should be adjusted. If it isn't, then something else in the game's optimization is seriously wrong. #WutheringWaves #Gacha
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Wuthering Waves PS5 Performance Test • Test Setup PS5 Slim (brand new, clean, no dust) Room temperature: 22°C with AC • Map Issue Yes, it's real. The new map is locked to around 2 FPS when opened from the menu, making it extremely laggy. • Stuttering Problems The game has severe stuttering. In some areas, it even freezes for 4–5 seconds, making the experience frustrating. • My Observation From my testing, the game appears to be running at a very high internal resolution on PS5 instead of relying on aggressive upscaling. For example, DLSS Quality at 1440p renders the game internally at approximately 1707×960 before upscaling it to 2560×1440. On PS5, however, it looks like the game is rendering at or near 2560×1440 internally and then upscaling to 4K. If that's true, it's an extremely demanding target for a base PS5. • Is This Fixable? Yes. If the game is indeed using such a high internal resolution, lowering it and using better reconstruction or dynamic resolution scaling could significantly improve performance. Running at such a high internal resolution on a base PS5 doesn't make much sense, and the game has suffered from performance issues for nearly 12 months. • Final Thoughts Kuro Games needs to address this. At this point, we can't keep blaming players, their hardware, or the engine. If the high internal resolution is the cause, it should be adjusted. If it isn't, then something else in the game's optimization is seriously wrong. #WutheringWaves #Gacha

Kaito

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most people still don't comprehend how far AI video has come. no memory between clips used to mean every cut reset the scene, drifted, redrew itself. that's basically solved now if you build around it right this whole ad is one continuous WHITEBOARD, 9 chained clips, and the marker ink never moves, never redraws, never resets to a blank board. here's exactly how, so you can build your own version of this for any product the trick: OMNI flash has a hard 10 second limit per clip and zero memory of the clip before it. so you harvest the last frame of clip N, the board exactly as it looks at that instant, and feed it in as the starting frame of clip N+1. that's the entire mechanism. no cuts, no set, just a hand, a marker, and one continuous illusion the flow: - map your script to the arc: symptom, invisible cause, mechanism, solution, real product - write the VO as one continuous read, then split it into beats, ~20-25 words max per clip, one drawing action per clip - build a board map first, what's written and drawn on each row, so nothing collides as it fills up - generate clip 1, harvest its last frame, chain into clip 2, repeat - once the board gets dense (4-5 clips of ink in), "match the board" - stops being enough instruction. name every existing element explicitly, state a hard no-touch rule, and point at your target by position, not just by text, or the model will grab the wrong line - save the reveal for last: a real product photo beats a drawn one almost every time PROMPT: locked blocks, paste verbatim into every single clip STYLE: "Real documentary UGC footage, static locked camera on a dry-erase whiteboard, one real human hand and forearm only, never show a face or body. A single black marker is used for the entire clip, no color changes, no marker switching. Marker ink renders as genuine dry-erase marker, not a digital text or motion-graphic overlay. Handwriting is plain block capitals, legible at a glance. Icons stay minimal and schematic, one simple recognizable shape only. No captions, no subtitles, no on-screen text beyond what the hand physically writes or draws. ASPECT: 9:16 vertical." VOICE: "VOICEOVER (calm, warm, explanatory, American English, mid-30s):" opening clip, full prompt: "An 8-second locked-camera whiteboard explainer, vertical 9:16. Open on a blank white dry-erase board, static tripod shot, no camera movement, no zoom. 00:00-00:05: The hand writes your hook headline in black marker, plain block capitals, upper-left, then underlines it, natural handwriting speed, ink appears stroke by stroke, slight squeak. 00:05-00:08: The hand draws one small icon, upper-right. VOICEOVER: your hook line. AUDIO: marker squeak, quiet room tone underneath. No music. [STYLE LOCK]" every clip after that opens with "use the attached image, [clip N-1]'s final frame, as the opening frame, match the exact board state precisely" before describing the one new action for that beat
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most people still don't comprehend how far AI video has come. no memory between clips used to mean every cut reset the scene, drifted, redrew itself. that's basically solved now if you build around it right this whole ad is one continuous WHITEBOARD, 9 chained clips, and the marker ink never moves, never redraws, never resets to a blank board. here's exactly how, so you can build your own version of this for any product the trick: OMNI flash has a hard 10 second limit per clip and zero memory of the clip before it. so you harvest the last frame of clip N, the board exactly as it looks at that instant, and feed it in as the starting frame of clip N+1. that's the entire mechanism. no cuts, no set, just a hand, a marker, and one continuous illusion the flow: - map your script to the arc: symptom, invisible cause, mechanism, solution, real product - write the VO as one continuous read, then split it into beats, ~20-25 words max per clip, one drawing action per clip - build a board map first, what's written and drawn on each row, so nothing collides as it fills up - generate clip 1, harvest its last frame, chain into clip 2, repeat - once the board gets dense (4-5 clips of ink in), "match the board" - stops being enough instruction. name every existing element explicitly, state a hard no-touch rule, and point at your target by position, not just by text, or the model will grab the wrong line - save the reveal for last: a real product photo beats a drawn one almost every time PROMPT: locked blocks, paste verbatim into every single clip STYLE: "Real documentary UGC footage, static locked camera on a dry-erase whiteboard, one real human hand and forearm only, never show a face or body. A single black marker is used for the entire clip, no color changes, no marker switching. Marker ink renders as genuine dry-erase marker, not a digital text or motion-graphic overlay. Handwriting is plain block capitals, legible at a glance. Icons stay minimal and schematic, one simple recognizable shape only. No captions, no subtitles, no on-screen text beyond what the hand physically writes or draws. ASPECT: 9:16 vertical." VOICE: "VOICEOVER (calm, warm, explanatory, American English, mid-30s):" opening clip, full prompt: "An 8-second locked-camera whiteboard explainer, vertical 9:16. Open on a blank white dry-erase board, static tripod shot, no camera movement, no zoom. 00:00-00:05: The hand writes your hook headline in black marker, plain block capitals, upper-left, then underlines it, natural handwriting speed, ink appears stroke by stroke, slight squeak. 00:05-00:08: The hand draws one small icon, upper-right. VOICEOVER: your hook line. AUDIO: marker squeak, quiet room tone underneath. No music. [STYLE LOCK]" every clip after that opens with "use the attached image, [clip N-1]'s final frame, as the opening frame, match the exact board state precisely" before describing the one new action for that beat

Lad

78,404 Aufrufe • vor 1 Monat

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Andrew D. Huberman, Ph.D.

125,944 Aufrufe • vor 3 Monaten

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

Sharon Riley

28,464 Aufrufe • vor 1 Monat

⚡️ Magyar’s update on the “Brothel”, Somali, and Rubikon (Includes intercepted audio with English subtitles): The USF Birds paid a visit to a hub called “Brothel” in Donetsk (the lair and storage sites of Somali, Rubikon, and the 9th Motor Rifle Brigade of the 51st Army). Such is life among the worms, such are their brothels. Among the diverse targets visited by the 🇺🇦 Unmanned Systems Forces Birds during the night of June 15–16 deep in enemy territory were an Osa air defense system, five coastal radars in Crimea, weapons depots, military equipment and drone workshops, temporary deployment points for personnel, worm cargo logistics moving toward paralysis, and more. 🔥 Osa air defense system – Spartak, Donetsk Oblast – 1st Separate Center of the USF 🔥 “Brothel” hub (base of the Somali, Rubikon, and command staff of the 9th Motor Rifle Brigade, 51st Army) – Donetsk – 9th Battalion “Kairos”, 414th Separate USF Brigade “Magyar’s Birds” 🔥 Shelter containing weapons and military equipment of the 72nd Separate Motor Rifle Brigade, 3rd Army Corps – Debaltseve, Donetsk Oblast 🔥 Coastal radars: - Sterehushche, Crimea - Snizhne, Crimea - Tarkhankut, Crimea - Portove, Crimea - Sieverne, Crimea all struck by the 1st Separate USC of the USF 🔥 Temporary deployment point of fixed-wing UAV pilots – Rozdol, Zaporizhzhia Oblast – 1st Separate Center of the USF 🔥 Drone workshop for heavy UAVs of the 14th Air Assault Brigade, Volunteer Corps – Sokolohirsk, Luhansk Oblast – 20th Separate USF Brigade “K-2” 🔥 UAV warehouse of a unit from the 60th Separate Motor Rifle Brigade, 5th Army – Mariupol, Donetsk Oblast – 413th Separate USF Regiment RAID | 413 Regiment USF 🔥 Enemy logistics transport – Luhansk, Donetsk, and Kherson Oblasts – 20th Separate USF Brigade “K-2”, 2nd Battalion “Wormbusters”, 414th Separate USF Brigade “Magyar’s Birds” The conveyor belt of retribution is running. Follow USF results live: USF Online Dashboard “PIDRAKHUYKA” MAGYAR 🇺🇦 16.06.26
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⚡️ Magyar’s update on the “Brothel”, Somali, and Rubikon (Includes intercepted audio with English subtitles): The USF Birds paid a visit to a hub called “Brothel” in Donetsk (the lair and storage sites of Somali, Rubikon, and the 9th Motor Rifle Brigade of the 51st Army). Such is life among the worms, such are their brothels. Among the diverse targets visited by the 🇺🇦 Unmanned Systems Forces Birds during the night of June 15–16 deep in enemy territory were an Osa air defense system, five coastal radars in Crimea, weapons depots, military equipment and drone workshops, temporary deployment points for personnel, worm cargo logistics moving toward paralysis, and more. 🔥 Osa air defense system – Spartak, Donetsk Oblast – 1st Separate Center of the USF 🔥 “Brothel” hub (base of the Somali, Rubikon, and command staff of the 9th Motor Rifle Brigade, 51st Army) – Donetsk – 9th Battalion “Kairos”, 414th Separate USF Brigade “Magyar’s Birds” 🔥 Shelter containing weapons and military equipment of the 72nd Separate Motor Rifle Brigade, 3rd Army Corps – Debaltseve, Donetsk Oblast 🔥 Coastal radars: - Sterehushche, Crimea - Snizhne, Crimea - Tarkhankut, Crimea - Portove, Crimea - Sieverne, Crimea all struck by the 1st Separate USC of the USF 🔥 Temporary deployment point of fixed-wing UAV pilots – Rozdol, Zaporizhzhia Oblast – 1st Separate Center of the USF 🔥 Drone workshop for heavy UAVs of the 14th Air Assault Brigade, Volunteer Corps – Sokolohirsk, Luhansk Oblast – 20th Separate USF Brigade “K-2” 🔥 UAV warehouse of a unit from the 60th Separate Motor Rifle Brigade, 5th Army – Mariupol, Donetsk Oblast – 413th Separate USF Regiment RAID | 413 Regiment USF 🔥 Enemy logistics transport – Luhansk, Donetsk, and Kherson Oblasts – 20th Separate USF Brigade “K-2”, 2nd Battalion “Wormbusters”, 414th Separate USF Brigade “Magyar’s Birds” The conveyor belt of retribution is running. Follow USF results live: USF Online Dashboard “PIDRAKHUYKA” MAGYAR 🇺🇦 16.06.26

414 Magyar's Birds

39,259 Aufrufe • vor 3 Monaten

EXCLUSIVE: NASA Boss Reveals New Artemis II Launch Plans And Details Ambitious 2027 Lunar Base Start Date; Says Manned Mars Missions And Humans Becoming An Interplanetary Species Within The Next Decade This week on Straight to the Point I sat down with NASAAdmin Jared Isaacman at NASA’s DC Headquarters. In this exclusive interview, the head of the United States space program laid out the future of American missions to the Moon, Mars, the Orbital economy and beyond. LA Times Media Group LA Times Studios Straight to the Point: NASA’s Lunar Ambitions, Mars and Beyond 01:05 Artemis II Launch Window 02:45 Taking Astronauts Farther Into Space Than Ever Before 04:00 NASA Now On Track For Lunar Landing 2028 04:50 Breaking Ground On Lunar Base in 2027 06:20 Humans Become An Interplanetary Species 08:00 Mars Timeline: Within Next Decade 10:50 Nuclear Propulsion Technology Is Game Changer 11:30 China Is On A “Sprint” To The Moon 12:15 You Can’t Be Number #1 On Earth and Number #2 In Space 13:30 What Keeps NASA Administrator Up At Night 14:20 President Trump: Build Enduring Presence On The Moon And Beyond 15:25 Reusable Rockets Have “Ignited” Orbital Economy 16:42 Potential For Tremendous Wealth In Space 17:25 Data Centers In Space Next Five Years 18:55 First Meeting Elon Musk 20:05 What Makes Musk Standout: Takes On Most Challenging Engineering Problems 21:03 What’s Next With Jeff Bezos and Blue Origin 22:20 Space X Broke The Monopoly 24:50 Life Beyond Earth: President Trump Declassifies UAP and UFO Files 26:15 Justification for NASA Budget 28:18 “Ad Astra Per Aspera” 29:20 Independent Journalism
31:56

EXCLUSIVE: NASA Boss Reveals New Artemis II Launch Plans And Details Ambitious 2027 Lunar Base Start Date; Says Manned Mars Missions And Humans Becoming An Interplanetary Species Within The Next Decade This week on Straight to the Point I sat down with NASAAdmin Jared Isaacman at NASA’s DC Headquarters. In this exclusive interview, the head of the United States space program laid out the future of American missions to the Moon, Mars, the Orbital economy and beyond. LA Times Media Group LA Times Studios Straight to the Point: NASA’s Lunar Ambitions, Mars and Beyond 01:05 Artemis II Launch Window 02:45 Taking Astronauts Farther Into Space Than Ever Before 04:00 NASA Now On Track For Lunar Landing 2028 04:50 Breaking Ground On Lunar Base in 2027 06:20 Humans Become An Interplanetary Species 08:00 Mars Timeline: Within Next Decade 10:50 Nuclear Propulsion Technology Is Game Changer 11:30 China Is On A “Sprint” To The Moon 12:15 You Can’t Be Number #1 On Earth and Number #2 In Space 13:30 What Keeps NASA Administrator Up At Night 14:20 President Trump: Build Enduring Presence On The Moon And Beyond 15:25 Reusable Rockets Have “Ignited” Orbital Economy 16:42 Potential For Tremendous Wealth In Space 17:25 Data Centers In Space Next Five Years 18:55 First Meeting Elon Musk 20:05 What Makes Musk Standout: Takes On Most Challenging Engineering Problems 21:03 What’s Next With Jeff Bezos and Blue Origin 22:20 Space X Broke The Monopoly 24:50 Life Beyond Earth: President Trump Declassifies UAP and UFO Files 26:15 Justification for NASA Budget 28:18 “Ad Astra Per Aspera” 29:20 Independent Journalism

Catherine Herridge

1,139,564 Aufrufe • vor 6 Monaten

I asked Alex Garcia 🔍 how to build a top 0.1% social media team with a legitimate strategy... But this is our budget: Level 1 - $0 Level 2 - $5,000 Level 3 - $10,000 Level 4 - $50,000 Level 5 - $100,000 00:00:05 Level 1 A Personal Brand With $0 Budget 00:03:35 Skip Rate Is Your Most Important Metric 00:07:31 How to Read Your Retention Graph 00:10:13 The Best Formats When You Have No Budget 00:13:39 How to Find a Story in Your Everyday Life 00:16:15 You Should Post When You Feel Embarrassed 00:18:58 Level 2 Your First $5K Content Hire 00:23:35 How to Train a Creator (When You're Not Creative) 00:29:31 Every Moment Can Be a Story if You Shoot It Right 00:33:16 Content for Followers Not Just New Followers 00:35:54 Level 3 Scaling Content With a $10K Budget 00:40:02 Why Aesthetics Matter More Than You Think 00:45:24 How to Make Great Content With a Small Budget 00:47:19 The $10K Budget Test and Scale System 00:49:17 Level 4 World Building With a $50K Budget 00:55:46 The $50K Team Producer Set Designer and Customer Accounts 01:02:30 Organic Content Is the Nucleus of Your Brand 01:05:49 Level 5 Building an Entertainment Studio at $100K
1:12:06

I asked Alex Garcia 🔍 how to build a top 0.1% social media team with a legitimate strategy... But this is our budget: Level 1 - $0 Level 2 - $5,000 Level 3 - $10,000 Level 4 - $50,000 Level 5 - $100,000 00:00:05 Level 1 A Personal Brand With $0 Budget 00:03:35 Skip Rate Is Your Most Important Metric 00:07:31 How to Read Your Retention Graph 00:10:13 The Best Formats When You Have No Budget 00:13:39 How to Find a Story in Your Everyday Life 00:16:15 You Should Post When You Feel Embarrassed 00:18:58 Level 2 Your First $5K Content Hire 00:23:35 How to Train a Creator (When You're Not Creative) 00:29:31 Every Moment Can Be a Story if You Shoot It Right 00:33:16 Content for Followers Not Just New Followers 00:35:54 Level 3 Scaling Content With a $10K Budget 00:40:02 Why Aesthetics Matter More Than You Think 00:45:24 How to Make Great Content With a Small Budget 00:47:19 The $10K Budget Test and Scale System 00:49:17 Level 4 World Building With a $50K Budget 00:55:46 The $50K Team Producer Set Designer and Customer Accounts 01:02:30 Organic Content Is the Nucleus of Your Brand 01:05:49 Level 5 Building an Entertainment Studio at $100K

Grant

32,667 Aufrufe • vor 22 Tagen

EllesmereUI's Biggest Patch since Raid Frames is live! Aug Evokers since Blizzard won't give you an active state on your CDM for Ebon Might, I decided to give you one. check out the video! This feature also allows trinkets/pots/racials to get custom active states Players who share profiles: you can now include your full spell layout (which spells go where) and per-spell settings for CDM when exporting profiles! ----------- Full patch notes with new features and bugfixes: **Profiles:** - **NEW:** Profile exports can now carry your entire Cooldown Manager setup - which spells sit on which bars plus every per-spell setting - for the specs you choose, so importing a profile recreates your CDM layout instantly. **CDM:** - **NEW:** Give any trinket, potion, racial, or custom spell an Active State that adds its own glow and color while active, plus a Cooldown State Effect that changes its look based on whether it's ready. - **NEW:** Sync your trinkets, potions, and racials across specs with one button so you only set them up once. - Sound pickers for Focus Cast Sound and per-buff Audio Effect now have a search box. - Pandemic glow's Apply to All now also syncs tracking bars and keeps the same glow style everywhere. - A trinket, potion, or racial already on another bar now auto-moves to the new bar instead of being grayed out. - A buff saved under two spell IDs now shows as a single icon in the buff bar preview. - Cooldowns you remove from Blizzard's Cooldown Manager now disappear from your previews, while trinkets, racials, and custom spells are kept. - Added tracking for the Nightborne racial (Arcane Pulse), which was missing from the racial list. **Tracking Bars:** - **NEW:** Grouped bars now pack together with no blank gaps, always filling the next available slot. - Eclipse (Solar) and Eclipse (Lunar) now each drive their own bar. - Switching specs while the page is open now refreshes the selected bar correctly. - Pandemic glow now fires for Lifebloom on you or a group member. **Resource Bars:** - **NEW:** A new GCD Bar fills over your global cooldown, with full control over size, position, color, and look. - Expand Power Bar if No Resource now also expands when the class resource is toggled off or disabled for the spec. - Fixed the threshold color not showing with Enhance 5 Bar Style. - The cast bar latency overlay now reads live latency, so spell queueing no longer stops it showing. **Raid Frames:** - **NEW:** New healer tools including heal-absorb text, a crowd-control glow on debuffs, and more ways to position and highlight dispellable debuffs. - The Auto Resize toggle is now a dropdown that scales Indicators & Auras and Tracked Buffs independently with frame size. - New Show Over Dispels toggle lifts the heal-absorb overlay above the dispel gradient. - Fixed custom (non-20-player) sizes loading at the wrong position after login. **Unit Frames:** - **NEW:** A non-tank threat border shadows your player frame when you pull or hold aggro, with Has Aggro and Close to Aggro colors. - **NEW:** Player health text gains Heal Absorb Amount and Heal Absorb Short options. - **NEW:** Mini frames and Boss frames gain a per-frame Bar Texture dropdown. - **NEW:** Boss frames gain a Hover Borders control with its own mouseover and target colors. - **NEW:** Independent Spacing X and Spacing Y sliders for buff and debuff icons. - **NEW:** Absorb and heal-absorb style dropdowns now include your installed SharedMedia textures (also on Raid Frames and Nameplates). - A new Hover Borders control lets you turn the mouseover highlight border on or off per frame. - New Show 2 for Boss option adds a second decimal to boss frame health text. - Buff and debuff Offset X/Y sliders now reach plus or minus 1500. - A new Cast Bar Position cog adds an Offset Y slider for the boss cast bar. - Player, target, and focus cast bars now show above other frames instead of behind them. - Cast bar timer text now has room so it no longer cuts off early. **Action Bars:** - **NEW:** A new When Not Dragonriding visibility mode hides a bar while skyriding and shows it the rest of the time. - The When Dragonriding option now also shows the bar in Druid Flight Form. - The stance bar now shows its GCD swipe even for spells that don't change form. - Bars are briefly forced visible while Myslot's window is open to stop a stall during import/export. **Minimap:** - **NEW:** Hovering the calendar button now shows your raid and dungeon lockouts with boss progress, server time, and time until the weekly reset. - The Omnium Folio button no longer goes missing or drifts after a loading screen, and its position and scale now persist. **Mythic+ Timer:** - **NEW:** A new Show Time Remaining toggle adds an MM:SS countdown to the +2/+3 threshold row that reddens as time runs out. - Fixed timer and detail text cutting off after a font swap. **Colors:** - **NEW:** A new Global Colors section lets you share one profile's custom colors across all profiles or give each profile its own. **Localization:** - **NEW:** Full Russian language support. **Auras, Buffs & Consumables:** - Warrior stance reminders now read the stance bar, so each spec is reminded of its correct stance and clears the moment it's active. - The Inky Black Potion reminder now clears after you drink the potion and reappears on cancel, expiry, or death. - The last-used flask, food, and weapon-enchant preference now saves correctly. **Nameplates:** - A new sync icon on the Pandemic Glow Style row applies the nameplate's pandemic glow to all CDM and tracking bars at once. **Chat:** - The Whisper Sound dropdown gained a search box. **Bags:** - Mythic Keystone dungeon abbreviations now split on hyphens (Nexus-Point Xenas shows as NPX) and handle localized names.
0:41

EllesmereUI's Biggest Patch since Raid Frames is live! Aug Evokers since Blizzard won't give you an active state on your CDM for Ebon Might, I decided to give you one. check out the video! This feature also allows trinkets/pots/racials to get custom active states Players who share profiles: you can now include your full spell layout (which spells go where) and per-spell settings for CDM when exporting profiles! ----------- Full patch notes with new features and bugfixes: **Profiles:** - **NEW:** Profile exports can now carry your entire Cooldown Manager setup - which spells sit on which bars plus every per-spell setting - for the specs you choose, so importing a profile recreates your CDM layout instantly. **CDM:** - **NEW:** Give any trinket, potion, racial, or custom spell an Active State that adds its own glow and color while active, plus a Cooldown State Effect that changes its look based on whether it's ready. - **NEW:** Sync your trinkets, potions, and racials across specs with one button so you only set them up once. - Sound pickers for Focus Cast Sound and per-buff Audio Effect now have a search box. - Pandemic glow's Apply to All now also syncs tracking bars and keeps the same glow style everywhere. - A trinket, potion, or racial already on another bar now auto-moves to the new bar instead of being grayed out. - A buff saved under two spell IDs now shows as a single icon in the buff bar preview. - Cooldowns you remove from Blizzard's Cooldown Manager now disappear from your previews, while trinkets, racials, and custom spells are kept. - Added tracking for the Nightborne racial (Arcane Pulse), which was missing from the racial list. **Tracking Bars:** - **NEW:** Grouped bars now pack together with no blank gaps, always filling the next available slot. - Eclipse (Solar) and Eclipse (Lunar) now each drive their own bar. - Switching specs while the page is open now refreshes the selected bar correctly. - Pandemic glow now fires for Lifebloom on you or a group member. **Resource Bars:** - **NEW:** A new GCD Bar fills over your global cooldown, with full control over size, position, color, and look. - Expand Power Bar if No Resource now also expands when the class resource is toggled off or disabled for the spec. - Fixed the threshold color not showing with Enhance 5 Bar Style. - The cast bar latency overlay now reads live latency, so spell queueing no longer stops it showing. **Raid Frames:** - **NEW:** New healer tools including heal-absorb text, a crowd-control glow on debuffs, and more ways to position and highlight dispellable debuffs. - The Auto Resize toggle is now a dropdown that scales Indicators & Auras and Tracked Buffs independently with frame size. - New Show Over Dispels toggle lifts the heal-absorb overlay above the dispel gradient. - Fixed custom (non-20-player) sizes loading at the wrong position after login. **Unit Frames:** - **NEW:** A non-tank threat border shadows your player frame when you pull or hold aggro, with Has Aggro and Close to Aggro colors. - **NEW:** Player health text gains Heal Absorb Amount and Heal Absorb Short options. - **NEW:** Mini frames and Boss frames gain a per-frame Bar Texture dropdown. - **NEW:** Boss frames gain a Hover Borders control with its own mouseover and target colors. - **NEW:** Independent Spacing X and Spacing Y sliders for buff and debuff icons. - **NEW:** Absorb and heal-absorb style dropdowns now include your installed SharedMedia textures (also on Raid Frames and Nameplates). - A new Hover Borders control lets you turn the mouseover highlight border on or off per frame. - New Show 2 for Boss option adds a second decimal to boss frame health text. - Buff and debuff Offset X/Y sliders now reach plus or minus 1500. - A new Cast Bar Position cog adds an Offset Y slider for the boss cast bar. - Player, target, and focus cast bars now show above other frames instead of behind them. - Cast bar timer text now has room so it no longer cuts off early. **Action Bars:** - **NEW:** A new When Not Dragonriding visibility mode hides a bar while skyriding and shows it the rest of the time. - The When Dragonriding option now also shows the bar in Druid Flight Form. - The stance bar now shows its GCD swipe even for spells that don't change form. - Bars are briefly forced visible while Myslot's window is open to stop a stall during import/export. **Minimap:** - **NEW:** Hovering the calendar button now shows your raid and dungeon lockouts with boss progress, server time, and time until the weekly reset. - The Omnium Folio button no longer goes missing or drifts after a loading screen, and its position and scale now persist. **Mythic+ Timer:** - **NEW:** A new Show Time Remaining toggle adds an MM:SS countdown to the +2/+3 threshold row that reddens as time runs out. - Fixed timer and detail text cutting off after a font swap. **Colors:** - **NEW:** A new Global Colors section lets you share one profile's custom colors across all profiles or give each profile its own. **Localization:** - **NEW:** Full Russian language support. **Auras, Buffs & Consumables:** - Warrior stance reminders now read the stance bar, so each spec is reminded of its correct stance and clears the moment it's active. - The Inky Black Potion reminder now clears after you drink the potion and reappears on cancel, expiry, or death. - The last-used flask, food, and weapon-enchant preference now saves correctly. **Nameplates:** - A new sync icon on the Pandemic Glow Style row applies the nameplate's pandemic glow to all CDM and tracking bars at once. **Chat:** - The Whisper Sound dropdown gained a search box. **Bags:** - Mythic Keystone dungeon abbreviations now split on hyphens (Nexus-Point Xenas shows as NPX) and handle localized names.

Ellesmere

54,152 Aufrufe • vor 3 Monaten

Created with GPT Image 2 + Omni Flash / Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: Background: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold dark blue: HAN RIVER WET & DRY 2 IN 1 STEAM IRON Subtitle: ASMR UNBOXING (POV HAND) Information boxes below the title: Duration: 30 Seconds (3 Parts) Style: POV Hand, ASMR, Premium Product Commercial Audience: Home Users, Housewife, Young Adults Voiceover: No Voiceover (Pure ASMR) Audio Suggestion: Tapping, Crinkle, Cardboard, Click, Steam, Water Pouring Layout: Create 12 storyboard panels arranged in a 4 column × 3 row grid, divided into three horizontal blocks labeled PART 1 (0 to 10s), PART 2 (10 to 20s), and PART 3 (20 to 30s). Each panel should contain: A numbered dark blue badge (1 to 12) with its respective timestamp. A realistic cinematic image showing the scene. Handwritten white and orange doodle text sketched over the image. Four text sections below every image: VISUAL: ACTION: DOODLE: AUDIO: Aesthetic Style: Premium lifestyle commercial advertising style. Realistic product photography, light wood or beige table, soft warm studio lighting, shallow depth of field, POV hands only with no face visible. The product is a sleek, cream colored handheld steam iron with a gold rimmed ceramic base. Storyboard sequence: PART 1 (0 to 10s) 1 (0 to 2.5s) Visual: Product box placed flat on a wooden table. Action: Hands enter frame and tap the sides of the box. Doodle: NEW! Audio: Cardboard tapping. 2 (2.5 to 5s) Visual: Close up of the box lid, focusing on the brand logo. Action: Fingers gently trace the printed logo and illustration. Doodle: LET'S OPEN! Audio: Finger scratching on cardboard. 3 (5 to 7.5s) Visual: A box cutter slicing the sealing tape. Action: Blade slowly cuts through the adhesive tape. Doodle: SLICE... Audio: Tape cutting. 4 (7.5 to 10s) Visual: The box flaps are opened, revealing the wrapped product and manual inside. Action: Hands open the main flaps wide. Doodle: WOW! Audio: Box opening. PART 2 (10 to 20s) 5 (10 to 12.5s) Visual: Instruction manual being held up. Action: Hands flip through the pages of the manual. Doodle: MANUAL Audio: Paper flipping. 6 (12.5 to 15s) Visual: The iron is lifted out, still wrapped in its protective plastic sheet. Action: Pulling the wrapped unit completely out of the box. Doodle: CRINKLE~ Audio: Plastic crinkling. 7 (15 to 17.5s) Visual: Peeling away the protective plastic cover to reveal the premium body. Action: Hands slowly unwrap and twist the iron to inspect it. Doodle: SO CLEAN! Audio: Plastic removal. 8 (17.5 to 20s) Visual: Ultra close up of the pristine ceramic soleplate. Action: A single finger smoothly glides down the center of the soleplate. Doodle: SMOOTH Audio: Finger glide on ceramic. PART 3 (20 to 30s) 9 (20 to 22.5s) Visual: Rotating the ergonomic handle. Action: Hand twists the handle 180 degrees until it locks into place. Doodle: 180° Audio: Handle rotation click. 10 (22.5 to 25s) Visual: Water being added to the built in tank. Action: Pouring clean water slowly into the small inlet using a measuring cup. Doodle: FILL Audio: Water pouring. 11 (25 to 27.5s) Visual: The steam button being pressed. Action: Thumb presses the button, and a powerful burst of steam erupts from the base. Doodle: PSSSH~ Audio: Steam release blast. 12 (27.5 to 30s) Visual: Final hero shot of the steam iron standing upright next to its box and measuring cup. Action: Hand enters frame to give a confident thumbs up. Doodle: READY! Audio: Light tap on the table. Footer Infographic Sections: WHAT'S IN THE BOX: Small grid icons showing Steam Iron, Instruction Manual, Measuring Cup, and Power Cord. KEY FEATURES: Checkmarks for Wet & Dry 2 in 1 180° Swivel Handle 150ml Water Tank Ceramic Soleplate Powerful Steam WARRANTY: A prominent 2 YEARS WARRANTY shield badge. IDEAL FOR / WHY CHOOSE IT: Minimalist icons for Home Use, Travel, Small Spaces Bullet points: Lightweight Easy to Use Fast Heating Safe Metadata Text Line: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hand, ASMR, Premium Product Commercial Typography should resemble a professional creative agency storyboard layout featuring neat spacing, sharp dark blue accents, thin gray grid boundaries, and a highly polished presentation structure perfect for a client pitch.
0:27

Created with GPT Image 2 + Omni Flash / Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: Background: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold dark blue: HAN RIVER WET & DRY 2 IN 1 STEAM IRON Subtitle: ASMR UNBOXING (POV HAND) Information boxes below the title: Duration: 30 Seconds (3 Parts) Style: POV Hand, ASMR, Premium Product Commercial Audience: Home Users, Housewife, Young Adults Voiceover: No Voiceover (Pure ASMR) Audio Suggestion: Tapping, Crinkle, Cardboard, Click, Steam, Water Pouring Layout: Create 12 storyboard panels arranged in a 4 column × 3 row grid, divided into three horizontal blocks labeled PART 1 (0 to 10s), PART 2 (10 to 20s), and PART 3 (20 to 30s). Each panel should contain: A numbered dark blue badge (1 to 12) with its respective timestamp. A realistic cinematic image showing the scene. Handwritten white and orange doodle text sketched over the image. Four text sections below every image: VISUAL: ACTION: DOODLE: AUDIO: Aesthetic Style: Premium lifestyle commercial advertising style. Realistic product photography, light wood or beige table, soft warm studio lighting, shallow depth of field, POV hands only with no face visible. The product is a sleek, cream colored handheld steam iron with a gold rimmed ceramic base. Storyboard sequence: PART 1 (0 to 10s) 1 (0 to 2.5s) Visual: Product box placed flat on a wooden table. Action: Hands enter frame and tap the sides of the box. Doodle: NEW! Audio: Cardboard tapping. 2 (2.5 to 5s) Visual: Close up of the box lid, focusing on the brand logo. Action: Fingers gently trace the printed logo and illustration. Doodle: LET'S OPEN! Audio: Finger scratching on cardboard. 3 (5 to 7.5s) Visual: A box cutter slicing the sealing tape. Action: Blade slowly cuts through the adhesive tape. Doodle: SLICE... Audio: Tape cutting. 4 (7.5 to 10s) Visual: The box flaps are opened, revealing the wrapped product and manual inside. Action: Hands open the main flaps wide. Doodle: WOW! Audio: Box opening. PART 2 (10 to 20s) 5 (10 to 12.5s) Visual: Instruction manual being held up. Action: Hands flip through the pages of the manual. Doodle: MANUAL Audio: Paper flipping. 6 (12.5 to 15s) Visual: The iron is lifted out, still wrapped in its protective plastic sheet. Action: Pulling the wrapped unit completely out of the box. Doodle: CRINKLE~ Audio: Plastic crinkling. 7 (15 to 17.5s) Visual: Peeling away the protective plastic cover to reveal the premium body. Action: Hands slowly unwrap and twist the iron to inspect it. Doodle: SO CLEAN! Audio: Plastic removal. 8 (17.5 to 20s) Visual: Ultra close up of the pristine ceramic soleplate. Action: A single finger smoothly glides down the center of the soleplate. Doodle: SMOOTH Audio: Finger glide on ceramic. PART 3 (20 to 30s) 9 (20 to 22.5s) Visual: Rotating the ergonomic handle. Action: Hand twists the handle 180 degrees until it locks into place. Doodle: 180° Audio: Handle rotation click. 10 (22.5 to 25s) Visual: Water being added to the built in tank. Action: Pouring clean water slowly into the small inlet using a measuring cup. Doodle: FILL Audio: Water pouring. 11 (25 to 27.5s) Visual: The steam button being pressed. Action: Thumb presses the button, and a powerful burst of steam erupts from the base. Doodle: PSSSH~ Audio: Steam release blast. 12 (27.5 to 30s) Visual: Final hero shot of the steam iron standing upright next to its box and measuring cup. Action: Hand enters frame to give a confident thumbs up. Doodle: READY! Audio: Light tap on the table. Footer Infographic Sections: WHAT'S IN THE BOX: Small grid icons showing Steam Iron, Instruction Manual, Measuring Cup, and Power Cord. KEY FEATURES: Checkmarks for Wet & Dry 2 in 1 180° Swivel Handle 150ml Water Tank Ceramic Soleplate Powerful Steam WARRANTY: A prominent 2 YEARS WARRANTY shield badge. IDEAL FOR / WHY CHOOSE IT: Minimalist icons for Home Use, Travel, Small Spaces Bullet points: Lightweight Easy to Use Fast Heating Safe Metadata Text Line: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hand, ASMR, Premium Product Commercial Typography should resemble a professional creative agency storyboard layout featuring neat spacing, sharp dark blue accents, thin gray grid boundaries, and a highly polished presentation structure perfect for a client pitch.

Shore Lyn

32,855 Aufrufe • vor 2 Monaten

.Naval: You define wealth in a beautiful way. You talk about wealth as a set of physical transformations that we can affect. So as a society it becomes very clear that knowledge leads directly to wealth creation for everybody. A given individual can obviously affect physical transformations proportional to the resources available to them—but much more proportional to the knowledge available to them. Knowledge is a huge force multiplier. You then define resources as the thing that you combine with knowledge to create wealth. New knowledge allows you to use new things as resources and discard old things that maybe we’re running out of. There are lots of examples of how we’ve done that in the past. For example, in energy we’ve gone from wood to coal to oil to nuclear. But then people say, “Now we’re out of ideas. Now we’re caught up. Now we’re done. There aren’t going to be new ideas, and now we have to freeze the frame and conserve what we have.” The counter to that is, “No, we’ll create new knowledge and have new resources. Don’t worry about the old ones.” Well they say, “If you’re going to have new resources, if you can’t think of them now, it’s not real.” This now gets into the realm of people demanding that if you’re going to claim that new knowledge will be created, you have to name that knowledge now. Otherwise it’s not real. But that seems like a Catch-22. David Deutsch: It does, and it’s a bad argument. I don’t want to claim that the knowledge will be created. We’re fallible; we may not create it. We may destroy ourselves. We may miss the solution that’s right under our nose, so that when the snailiens come from another galaxy and look at us, they’ll say, “How can it possibly be that they failed to do so-and-so when it was right in front of them?” That could happen. I can’t prove or argue that it won’t happen. What I always argue, though, is that we have what it takes. We have everything that it takes to achieve that. If we don’t, it’ll be because of bad choices we have made, not because of constraints imposed on us by the planet or the solar system. Naval: It will be by anti-rational memes that restrict the creation of knowledge and the growth of knowledge. David Deutsch: Maybe. Or maybe it’ll be by well-intentioned errors, which nobody could see why they were errors. Again, it doesn’t take malevolence to make mistakes. Mistakes are the normal condition of humans. All we can do is try to find them. Maybe not destroying the means of correcting errors is the heart of morality; because if there is no way of correcting errors, then sooner or later one of those will get us. Naval: Don’t destroy the means of error correction is the base of morality. I love that. I think about places like North Korea where you can’t have elections and a revolution is very difficult because the gang in charge is armed to the teeth and they’ve destroyed the means of political error correction for a long time. That is a case where humanity is trapped in a local minimum, and it’s very hard to climb out of that hole. If too much of the world falls into that mindset, then we as a species may just stagnate because we’ve lost our biggest advantage. We’ve lost our biggest discovery, which was the ability to make new discoveries.
3:08

.Naval: You define wealth in a beautiful way. You talk about wealth as a set of physical transformations that we can affect. So as a society it becomes very clear that knowledge leads directly to wealth creation for everybody. A given individual can obviously affect physical transformations proportional to the resources available to them—but much more proportional to the knowledge available to them. Knowledge is a huge force multiplier. You then define resources as the thing that you combine with knowledge to create wealth. New knowledge allows you to use new things as resources and discard old things that maybe we’re running out of. There are lots of examples of how we’ve done that in the past. For example, in energy we’ve gone from wood to coal to oil to nuclear. But then people say, “Now we’re out of ideas. Now we’re caught up. Now we’re done. There aren’t going to be new ideas, and now we have to freeze the frame and conserve what we have.” The counter to that is, “No, we’ll create new knowledge and have new resources. Don’t worry about the old ones.” Well they say, “If you’re going to have new resources, if you can’t think of them now, it’s not real.” This now gets into the realm of people demanding that if you’re going to claim that new knowledge will be created, you have to name that knowledge now. Otherwise it’s not real. But that seems like a Catch-22. David Deutsch: It does, and it’s a bad argument. I don’t want to claim that the knowledge will be created. We’re fallible; we may not create it. We may destroy ourselves. We may miss the solution that’s right under our nose, so that when the snailiens come from another galaxy and look at us, they’ll say, “How can it possibly be that they failed to do so-and-so when it was right in front of them?” That could happen. I can’t prove or argue that it won’t happen. What I always argue, though, is that we have what it takes. We have everything that it takes to achieve that. If we don’t, it’ll be because of bad choices we have made, not because of constraints imposed on us by the planet or the solar system. Naval: It will be by anti-rational memes that restrict the creation of knowledge and the growth of knowledge. David Deutsch: Maybe. Or maybe it’ll be by well-intentioned errors, which nobody could see why they were errors. Again, it doesn’t take malevolence to make mistakes. Mistakes are the normal condition of humans. All we can do is try to find them. Maybe not destroying the means of correcting errors is the heart of morality; because if there is no way of correcting errors, then sooner or later one of those will get us. Naval: Don’t destroy the means of error correction is the base of morality. I love that. I think about places like North Korea where you can’t have elections and a revolution is very difficult because the gang in charge is armed to the teeth and they’ve destroyed the means of political error correction for a long time. That is a case where humanity is trapped in a local minimum, and it’s very hard to climb out of that hole. If too much of the world falls into that mindset, then we as a species may just stagnate because we’ve lost our biggest advantage. We’ve lost our biggest discovery, which was the ability to make new discoveries.

Deutsch Explains

143,949 Aufrufe • vor 2 Jahren

What a ride! Made by using GPT Image 2 + Seedance 2.0 on Fish Creative Prompt reference_handling: "Image generation strictly for driver facial and wardrobe styling reference only — calm, composed features silver wristwatch on left wrist Image strictly for sports car styling and cabin reference only — low, wide Italian wedge-shaped body + bright yellow paint + strongly geometric body lines + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin (driver seat on left) + across this sequence the driver-side window (left side of car) is rolled down only for the cockpit reveal shot, all other windows remain as-is throughout. Image strictly for spire architectural geometry, Dubai downtown skyline, and warm hazy midday atmosphere reference only — tapered glass-and-steel spire that widens progressively toward the base + dense glass high-rise skyline below + wide multi-lane boulevard. Do not reproduce any specific camera angle, composition, or caption elements from the reference images" style: "REAL AERIAL + AUTOMOTIVE CINEMATOGRAPHY PLATE — not CGI rendering, not game-engine rendering, not an animated/illustrated look." visual_feel: "Strong overhead midday light + warm hazy atmosphere softening the horizon. Color strictly natural and true-to-life — not oversaturated, not faded, not washed out. Continuous soft haze and atmospheric layering from spire tip down to street level. Every camera move, whether aerial or ground-tracking, strictly gimbal-level smooth — absolutely no handheld feel, no shake, no roll or tilt, even during the FPV-paced dive segment or the accelerating side-pass segments. 16:9 frame + no stylized film-grain treatment, aiming for genuine cinematography texture across every shot" duration: "30 seconds (8-shot sequence)" aspect_ratio: "16:9" character_modeling: driver_suited_woman: base: " appearance and wardrobe strictly per Image generation reference. Present in the car throughout the sequence, but the face is strictly clearly visible only during the 0:20–0:21 cockpit reveal shot — in every other shot the face is strictly not shown or not resolvable, whether by camera position, angle, or framing" wardrobe: silver wristwatch on left wrist . complete, with no wrinkling, misalignment, or missing pieces throughout" presence: "In shots where the driver is not the subject (0:01–0:19, 0:22–0:30), the driver strictly remains seated in the left-side driving position, present but strictly not resolved facially due to camera side, distance, or angle. During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. Strictly only this one car appears across all 8 shots + doors strictly closed throughout + strictly only the driver-side window (left side of car) is rolled down, and only for the 0:20–0:21 cockpit shot + all other windows strictly remain closed/unchanged throughout + left-hand-drive position strictly remains on the left side of the car in every shot — not mirrored, not flipped, regardless of which side the camera is on" physics: "In every shot showing the car in motion, tires strictly show real, visible load deformation on turns + suspension strictly compresses and rebounds continuously with road surface undulation + body strictly shows slight roll and pitch matching cornering or acceleration — strictly not a rigid-glide, zero-deformation model feel. The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"
0:30

What a ride! Made by using GPT Image 2 + Seedance 2.0 on Fish Creative Prompt reference_handling: "Image generation strictly for driver facial and wardrobe styling reference only — calm, composed features silver wristwatch on left wrist Image strictly for sports car styling and cabin reference only — low, wide Italian wedge-shaped body + bright yellow paint + strongly geometric body lines + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin (driver seat on left) + across this sequence the driver-side window (left side of car) is rolled down only for the cockpit reveal shot, all other windows remain as-is throughout. Image strictly for spire architectural geometry, Dubai downtown skyline, and warm hazy midday atmosphere reference only — tapered glass-and-steel spire that widens progressively toward the base + dense glass high-rise skyline below + wide multi-lane boulevard. Do not reproduce any specific camera angle, composition, or caption elements from the reference images" style: "REAL AERIAL + AUTOMOTIVE CINEMATOGRAPHY PLATE — not CGI rendering, not game-engine rendering, not an animated/illustrated look." visual_feel: "Strong overhead midday light + warm hazy atmosphere softening the horizon. Color strictly natural and true-to-life — not oversaturated, not faded, not washed out. Continuous soft haze and atmospheric layering from spire tip down to street level. Every camera move, whether aerial or ground-tracking, strictly gimbal-level smooth — absolutely no handheld feel, no shake, no roll or tilt, even during the FPV-paced dive segment or the accelerating side-pass segments. 16:9 frame + no stylized film-grain treatment, aiming for genuine cinematography texture across every shot" duration: "30 seconds (8-shot sequence)" aspect_ratio: "16:9" character_modeling: driver_suited_woman: base: " appearance and wardrobe strictly per Image generation reference. Present in the car throughout the sequence, but the face is strictly clearly visible only during the 0:20–0:21 cockpit reveal shot — in every other shot the face is strictly not shown or not resolvable, whether by camera position, angle, or framing" wardrobe: silver wristwatch on left wrist . complete, with no wrinkling, misalignment, or missing pieces throughout" presence: "In shots where the driver is not the subject (0:01–0:19, 0:22–0:30), the driver strictly remains seated in the left-side driving position, present but strictly not resolved facially due to camera side, distance, or angle. During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. Strictly only this one car appears across all 8 shots + doors strictly closed throughout + strictly only the driver-side window (left side of car) is rolled down, and only for the 0:20–0:21 cockpit shot + all other windows strictly remain closed/unchanged throughout + left-hand-drive position strictly remains on the left side of the car in every shot — not mirrored, not flipped, regardless of which side the camera is on" physics: "In every shot showing the car in motion, tires strictly show real, visible load deformation on turns + suspension strictly compresses and rebounds continuously with road surface undulation + body strictly shows slight roll and pitch matching cornering or acceleration — strictly not a rigid-glide, zero-deformation model feel. The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"

Aaliya

11,907 Aufrufe • vor 1 Monat

🚨ZHERKA x CLAVICULAR FULL CALL PT. 2 👀🔥 Topics: (0:00) Opening + Airport Call + Fake Drug Story (0:27) Cocaine Risks + Heart Attack Talk (0:58) BDO, Alcohol, and Lethal Dose (1:26) Ketamine, BDNF, and Cognitive Effects (2:25) Therapeutic Use vs Abuse (4:02) Why He Says Not to Do Drugs (4:31) Using Stimulants for Streaming (5:00) Addiction, Willpower, and Audience Influence (6:03) Adderall Era + Building Content (6:29) Daily Use vs Going Hard (7:32) Dopamine from Clips vs Real Life (8:06) Content vs Girls (8:36) Lifestyle, Girls, and Routine (9:28) Grace, Age, and Learning Experience (10:38) Intentions from the Start (11:22) Situation with Girls + Setup (11:49) Genetics, Attraction, and “Genetics Pill” (12:18) Why His Life Doesn’t Apply to Most People (13:04) Clip Farming Strategy (13:30) OnlyFans, Genetics, and Concerns (14:13) Kids, Legacy, and Future Planning (14:42) Building an Empire Through Family (15:22) IGF-1, Growth, and Planning Kids (16:04) Height, Frame, and Physical Traits (16:30) Genetics vs Luck Between Siblings (16:57) Parenting for Optimization (17:24) Gym at a Young Age Debate (17:54) Testosterone Use + Cycles (18:21) Compounds, Confidence, and Behavior (18:52) Yohimbine and Anxiety (19:31) Pre-workout and Supplements (20:00) Testosterone vs DHT (20:33) Estrogen, Collagen, and Skin (21:01) Looks, Models, and Face Optimization (21:32) TRT vs Higher Doses (22:02) DHT Blockers and Aging (22:35) What Actually Ages You (UV, Alcohol, Stress) (23:12) Stress vs Physical Aging Debate (23:46) Hair Loss Prevention + New Tech (24:12) Looksmaxing in 2026 (24:40) Status, Money, and Looks (25:20) Ascending Through Looks (25:36) Bottom Tier Reality (26:06) Money Maxing vs Attraction (26:38) Coming Out to Miami + Linking Up (27:09) Taking Over the Stream + Episode Plans (27:46) Rating Girls + “Trying to Help” (28:42) Watching His Content + Strategy (29:14) Running Streams While Working (29:50) Viral Content vs Personal Fulfillment
30:36

🚨ZHERKA x CLAVICULAR FULL CALL PT. 2 👀🔥 Topics: (0:00) Opening + Airport Call + Fake Drug Story (0:27) Cocaine Risks + Heart Attack Talk (0:58) BDO, Alcohol, and Lethal Dose (1:26) Ketamine, BDNF, and Cognitive Effects (2:25) Therapeutic Use vs Abuse (4:02) Why He Says Not to Do Drugs (4:31) Using Stimulants for Streaming (5:00) Addiction, Willpower, and Audience Influence (6:03) Adderall Era + Building Content (6:29) Daily Use vs Going Hard (7:32) Dopamine from Clips vs Real Life (8:06) Content vs Girls (8:36) Lifestyle, Girls, and Routine (9:28) Grace, Age, and Learning Experience (10:38) Intentions from the Start (11:22) Situation with Girls + Setup (11:49) Genetics, Attraction, and “Genetics Pill” (12:18) Why His Life Doesn’t Apply to Most People (13:04) Clip Farming Strategy (13:30) OnlyFans, Genetics, and Concerns (14:13) Kids, Legacy, and Future Planning (14:42) Building an Empire Through Family (15:22) IGF-1, Growth, and Planning Kids (16:04) Height, Frame, and Physical Traits (16:30) Genetics vs Luck Between Siblings (16:57) Parenting for Optimization (17:24) Gym at a Young Age Debate (17:54) Testosterone Use + Cycles (18:21) Compounds, Confidence, and Behavior (18:52) Yohimbine and Anxiety (19:31) Pre-workout and Supplements (20:00) Testosterone vs DHT (20:33) Estrogen, Collagen, and Skin (21:01) Looks, Models, and Face Optimization (21:32) TRT vs Higher Doses (22:02) DHT Blockers and Aging (22:35) What Actually Ages You (UV, Alcohol, Stress) (23:12) Stress vs Physical Aging Debate (23:46) Hair Loss Prevention + New Tech (24:12) Looksmaxing in 2026 (24:40) Status, Money, and Looks (25:20) Ascending Through Looks (25:36) Bottom Tier Reality (26:06) Money Maxing vs Attraction (26:38) Coming Out to Miami + Linking Up (27:09) Taking Over the Stream + Episode Plans (27:46) Rating Girls + “Trying to Help” (28:42) Watching His Content + Strategy (29:14) Running Streams While Working (29:50) Viral Content vs Personal Fulfillment

ZHERKA DAILY

30,495 Aufrufe • vor 5 Monaten

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

39,421 Aufrufe • vor 1 Monat

15 grams of clean protein- no supplements, just real food. This is a simple sattu buttermilk you can make at home. Fresh home-set curd as your base- clean, natural, full of real probiotics. Add a spoon of sattu for plant protein, steady energy, and satiety. A pinch of my homemade jeera mix- jeera powder, a little hing, and black salt. Add soaked sabja seeds for cooling and gut support. Blend it with water, and it’s ready. I even use this as a post-workout drink too and it’s something the whole family can benefit from. Simple drink yet powerful nourishment. Sattu Buttermilk with Sabja Recipe (Serves 1) Ingredients: -200 ml A2 curd -150 ml water -1½ tbsp sattu (roasted gram flour) -1 tsp sabja seeds, soaked -½ tsp jeera mix -Mint leaves, for garnish Method: -Whisk curd and water until smooth. -Mix in sattu till lump-free. -Add soaked sabja and jeera mix. -Garnish with mint and serve chilled. Nutritional Information (per serving): -Total Calories: ~225 kcal -Total Carbohydrates: 25.5 g -Total Protein: 14.6 g -Total Fat: 8 g Jeera Mix Recipe (For Chaas, Raita & Salads) Ingredients -2 tbsp cumin seeds (jeera) -1 tsp black salt -A pinch of hing (asafoetida) Method: -Dry roast jeera till aromatic. -Cool and grind to a fine powder. -Mix with black salt and hing. -Store in an airtight jar. ✅ Storage: 1–2 months at room temperature ✅ Usage: Add ½ tsp to chaas, raita, or dal to improve digestion. Disclaimer: At our practice, every macro is derived from National Institute of Nutrition reference tables, ensuring your nutrition is science-backed and consistent. Values are standardized estimates and may vary slightly with ingredient quality and preparation. #SattuDrink #Buttermilk #NaturalProtein #RealFood #GutHealth #ancientwisdom #ruralindia
0:28

15 grams of clean protein- no supplements, just real food. This is a simple sattu buttermilk you can make at home. Fresh home-set curd as your base- clean, natural, full of real probiotics. Add a spoon of sattu for plant protein, steady energy, and satiety. A pinch of my homemade jeera mix- jeera powder, a little hing, and black salt. Add soaked sabja seeds for cooling and gut support. Blend it with water, and it’s ready. I even use this as a post-workout drink too and it’s something the whole family can benefit from. Simple drink yet powerful nourishment. Sattu Buttermilk with Sabja Recipe (Serves 1) Ingredients: -200 ml A2 curd -150 ml water -1½ tbsp sattu (roasted gram flour) -1 tsp sabja seeds, soaked -½ tsp jeera mix -Mint leaves, for garnish Method: -Whisk curd and water until smooth. -Mix in sattu till lump-free. -Add soaked sabja and jeera mix. -Garnish with mint and serve chilled. Nutritional Information (per serving): -Total Calories: ~225 kcal -Total Carbohydrates: 25.5 g -Total Protein: 14.6 g -Total Fat: 8 g Jeera Mix Recipe (For Chaas, Raita & Salads) Ingredients -2 tbsp cumin seeds (jeera) -1 tsp black salt -A pinch of hing (asafoetida) Method: -Dry roast jeera till aromatic. -Cool and grind to a fine powder. -Mix with black salt and hing. -Store in an airtight jar. ✅ Storage: 1–2 months at room temperature ✅ Usage: Add ½ tsp to chaas, raita, or dal to improve digestion. Disclaimer: At our practice, every macro is derived from National Institute of Nutrition reference tables, ensuring your nutrition is science-backed and consistent. Values are standardized estimates and may vary slightly with ingredient quality and preparation. #SattuDrink #Buttermilk #NaturalProtein #RealFood #GutHealth #ancientwisdom #ruralindia

Luke Coutinho

20,386 Aufrufe • vor 5 Monaten