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📱✨ Scanned using only a smartphone, no manual work needed 🤯 Check out how our 3D scans perfectly match the real sneaker Left - Photo📷 Right - CGI 🖥️ Full PBR capture at its finest! 🔥👟 #3DScan #TechRevolution #SmartphoneMagic #PBR #MxrTech

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M-XR

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17,977 Aufrufe • vor 2 Jahren •via X (Twitter)

BildungWissenschaft & TechnologieKunst#3DScan#TechRevolution#SmartphoneMagic#PBR#MxrTech
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My Other Automatic Gate Opener — 21 Years in the Making The farm truck rolls up to the big metal gate. A proud Kentucky gentleman leans out, grinning at his daughter riding shotgun. Dad (with a warm laugh): “Alright, show ‘em how it’s done. This right here… this is my other automatic gate opener.” His daughter — born in 2005, now a grown young woman — hops out with confidence. She strides over, swings the heavy gate open smooth and strong, the kind of motion that comes from years of doing it. Dad (voiceover as the camera follows): “I got this model back in 2005. Installation was the easy part — she came with the best smile in the county. It took her about two and a half years before she could reach the latch on her own, but once she did… game changer. Best investment a man could ever make. No batteries needed, no remotes, just pure farm-raised determination and sweet tea.” She latches the gate open, turns back with a big smile and a thumbs-up. Dad (chuckling): “Zero maintenance, runs on sunshine and hard work, and she still closes it without being asked most days. Folks drop thousands on fancy automatic openers… me? I raised mine.” She climbs back in the truck. Dad gives her a fist bump as they drive on through. Dad (softly, to her): “Best helper — and best daughter — a man could ask for.” Wholesome Kentucky farm life at its finest — real, heartfelt, and built to last. 🇺🇸🚜❤️
0:18

My Other Automatic Gate Opener — 21 Years in the Making The farm truck rolls up to the big metal gate. A proud Kentucky gentleman leans out, grinning at his daughter riding shotgun. Dad (with a warm laugh): “Alright, show ‘em how it’s done. This right here… this is my other automatic gate opener.” His daughter — born in 2005, now a grown young woman — hops out with confidence. She strides over, swings the heavy gate open smooth and strong, the kind of motion that comes from years of doing it. Dad (voiceover as the camera follows): “I got this model back in 2005. Installation was the easy part — she came with the best smile in the county. It took her about two and a half years before she could reach the latch on her own, but once she did… game changer. Best investment a man could ever make. No batteries needed, no remotes, just pure farm-raised determination and sweet tea.” She latches the gate open, turns back with a big smile and a thumbs-up. Dad (chuckling): “Zero maintenance, runs on sunshine and hard work, and she still closes it without being asked most days. Folks drop thousands on fancy automatic openers… me? I raised mine.” She climbs back in the truck. Dad gives her a fist bump as they drive on through. Dad (softly, to her): “Best helper — and best daughter — a man could ask for.” Wholesome Kentucky farm life at its finest — real, heartfelt, and built to last. 🇺🇸🚜❤️

🌟🇺🇸Nancy Hamm🇺🇸🌟

36,564 Aufrufe • vor 3 Monaten

We found a flaw in Polymarket that can’t be patched. Then we built the most powerful bot of the World Cup around it. Here’s the flaw: their orderbook will always be slower than the pitch. When a goal, red card, or penalty hits, pro feeds (Sportradar, Opta, ScoutingFeed) register it in 200-500ms. Polymarket takes 2 to 8 seconds to reprice. For those few seconds the book is quoting a score that no longer exists. No amount of engineering closes that gap the event happens in the physical world before any oracle can confirm it on-chain. The engine detects the event, recalculates fair value, and fires via Jito bundles before the book catches up. In at the old price, out at the new. The match outcome is irrelevant we don’t bet on who wins. We capture the lag every event creates. We’ve been building Polymarket bots since 2025. This is the most powerful machine we’ve shipped yet. Two months ago we posted the architecture for this. It hit 1M views one of our most popular posts ever on X. That told us everything: this was the engine to build. First 7 days, - Starting balance: $5,000 - 22 matches scanned, 19 captured - Total profit: +$1,946.86 - ROI: +38.94% in 7 days Why it prints harder than anything we’ve built: the World Cup is the deepest liquidity event prediction markets have ever seen. Tens of millions in volume per match. Dozens of probability-shifting events per game. And an orderbook that physically can’t keep pace with the pitch. How to plug in: 1.Sign up at PolyArbiter (link in bio) 2.Generate PolyArbiter RPC URL 3.Paste it into Jupiter Predict (Polymarket but native on Solana) 4.Set your parameters, activate the World Cup module It’s free to use. We take a share of the profit the engine makes for you. You never deposit anything with us everything runs from your wallet. One honest note: the $1,946 above is our engine at our size and settings. Your numbers depend on your capital, your parameters, and how many matches you’re live for. We’re not promising you’ll match it we’re showing you the machine works, and handing you the same one. These numbers are from the engine running solo. Closed test, just us, before any public access wanted to confirm the whole loop held up end to end before handing it to anyone. That changes the second this goes public. Edge per capture is going to compress. When an event fires the mispriced liquidity is thin and gone in a few seconds more wallets hitting the same window, less left for each. Nothing we can do about it, that’s just how latency arb works. So if the edge thins out past the point where it’s still worth running, we cap access. Hard ceiling on how many engines can hit the same liquidity before it’s gone. Not gonna promise the machine stays this sharp in a few days it might not. But right now it’s live and free. Enjoy 🪄
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We found a flaw in Polymarket that can’t be patched. Then we built the most powerful bot of the World Cup around it. Here’s the flaw: their orderbook will always be slower than the pitch. When a goal, red card, or penalty hits, pro feeds (Sportradar, Opta, ScoutingFeed) register it in 200-500ms. Polymarket takes 2 to 8 seconds to reprice. For those few seconds the book is quoting a score that no longer exists. No amount of engineering closes that gap the event happens in the physical world before any oracle can confirm it on-chain. The engine detects the event, recalculates fair value, and fires via Jito bundles before the book catches up. In at the old price, out at the new. The match outcome is irrelevant we don’t bet on who wins. We capture the lag every event creates. We’ve been building Polymarket bots since 2025. This is the most powerful machine we’ve shipped yet. Two months ago we posted the architecture for this. It hit 1M views one of our most popular posts ever on X. That told us everything: this was the engine to build. First 7 days, - Starting balance: $5,000 - 22 matches scanned, 19 captured - Total profit: +$1,946.86 - ROI: +38.94% in 7 days Why it prints harder than anything we’ve built: the World Cup is the deepest liquidity event prediction markets have ever seen. Tens of millions in volume per match. Dozens of probability-shifting events per game. And an orderbook that physically can’t keep pace with the pitch. How to plug in: 1.Sign up at PolyArbiter (link in bio) 2.Generate PolyArbiter RPC URL 3.Paste it into Jupiter Predict (Polymarket but native on Solana) 4.Set your parameters, activate the World Cup module It’s free to use. We take a share of the profit the engine makes for you. You never deposit anything with us everything runs from your wallet. One honest note: the $1,946 above is our engine at our size and settings. Your numbers depend on your capital, your parameters, and how many matches you’re live for. We’re not promising you’ll match it we’re showing you the machine works, and handing you the same one. These numbers are from the engine running solo. Closed test, just us, before any public access wanted to confirm the whole loop held up end to end before handing it to anyone. That changes the second this goes public. Edge per capture is going to compress. When an event fires the mispriced liquidity is thin and gone in a few seconds more wallets hitting the same window, less left for each. Nothing we can do about it, that’s just how latency arb works. So if the edge thins out past the point where it’s still worth running, we cap access. Hard ceiling on how many engines can hit the same liquidity before it’s gone. Not gonna promise the machine stays this sharp in a few days it might not. But right now it’s live and free. Enjoy 🪄

PolyArbiter

100,534 Aufrufe • vor 2 Monaten

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

Latte

13,565 Aufrufe • vor 1 Monat

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

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

Nawal

18,336 Aufrufe • vor 1 Monat

There has been a lot of hand wringing on the appropriate valuation of SpaceX. Some large institutions believe SpaceX can only be valued at half what the market seems to be willing to pay for it. Others are claiming it has 15X appreciation ahead of it. Almost all of this difference of opinion comes down to how comfortable you are modeling beyond 2030 and what valuation method you use. 2030 valuation using a traditional Gordan DCF produces a very different result than a 2040 EV/EBITDA Multiple. Both have pros and cons. Most analysts don’t really discuss this and lead with a headline number. We are very comfortable modeling out to 2040, as large portions of what SpaceX is proposing is real world infrastructure, which provides modelable physics constraints to anchor against. The analysis we released today explores this in-depth, its open to the public all the way through IPO. I highly encourage you check it out prior to then. We’ve run 5,000 monte carlo runs across 500 variables (real number, even though it sounds fake) and three valuation methods. This video is of a 3D cloud chart showing every simulation outcome expected in valuation output across two of the most impactful variables to the model when using an EV/EBITDA multiple from 2026 to 2040. The horizontal axis is the steepness of the orbital data center demand S-curve. The vertical axis is the rate at which chip compute efficiency becomes cheaper. Each of the 5,000 dots is one simulated future; green dots are the ones where SpaceX's 2040 value clears the $1.77T IPO line, over time. Under EV/EBITDA valuation through 2040, 96% of our simulated futures clear the expected IPO price once the bell rings Friday. We aren’t publishing this publicly to tell investors what the stock is worth, we’re publishing this to help investors understand the world of outcomes, what the fundamentals suggest through 2040, and what frankly most analysis simply won’t share. SpaceX is a generational company working on long term infrastructure harnessing a domain no one has been able to tap in so far: space. It deserves doing the work as an investor. because this in not financial advice. The cleanest way to hold SpaceX is a bond stapled to a call option (AI-Compute); Starlink is the bond, the near term SatCom annuity that funds the next flywheel. Understand the world of outcomes and take your position accordingly. Comparables and P/E won't take you far enough.
0:14

There has been a lot of hand wringing on the appropriate valuation of SpaceX. Some large institutions believe SpaceX can only be valued at half what the market seems to be willing to pay for it. Others are claiming it has 15X appreciation ahead of it. Almost all of this difference of opinion comes down to how comfortable you are modeling beyond 2030 and what valuation method you use. 2030 valuation using a traditional Gordan DCF produces a very different result than a 2040 EV/EBITDA Multiple. Both have pros and cons. Most analysts don’t really discuss this and lead with a headline number. We are very comfortable modeling out to 2040, as large portions of what SpaceX is proposing is real world infrastructure, which provides modelable physics constraints to anchor against. The analysis we released today explores this in-depth, its open to the public all the way through IPO. I highly encourage you check it out prior to then. We’ve run 5,000 monte carlo runs across 500 variables (real number, even though it sounds fake) and three valuation methods. This video is of a 3D cloud chart showing every simulation outcome expected in valuation output across two of the most impactful variables to the model when using an EV/EBITDA multiple from 2026 to 2040. The horizontal axis is the steepness of the orbital data center demand S-curve. The vertical axis is the rate at which chip compute efficiency becomes cheaper. Each of the 5,000 dots is one simulated future; green dots are the ones where SpaceX's 2040 value clears the $1.77T IPO line, over time. Under EV/EBITDA valuation through 2040, 96% of our simulated futures clear the expected IPO price once the bell rings Friday. We aren’t publishing this publicly to tell investors what the stock is worth, we’re publishing this to help investors understand the world of outcomes, what the fundamentals suggest through 2040, and what frankly most analysis simply won’t share. SpaceX is a generational company working on long term infrastructure harnessing a domain no one has been able to tap in so far: space. It deserves doing the work as an investor. because this in not financial advice. The cleanest way to hold SpaceX is a bond stapled to a call option (AI-Compute); Starlink is the bond, the near term SatCom annuity that funds the next flywheel. Understand the world of outcomes and take your position accordingly. Comparables and P/E won't take you far enough.

Aaron Burnett

1,520,719 Aufrufe • vor 2 Monaten

REPORT: Karmelo Anthony supporters are now using government entities (CPS and LE) to do their dirty work and target me in an effort to silence my reporting on the m*rder of Austin Metcalf. I’ve prayed about whether I should post this publicly, and I have decided to do so because people need to know just how badly I am being targeted right now for simply being a lead journalist reporting on the Metcalf/Anthony case. On Sunday, August 24th, my home was swatted. Aside from the emotional distress this caused, especially as I was past my due date, we recovered and appreciated how well the department handled the incident. That same night, I went into labor. I labored at home from 11 PM until 3 AM, then headed to the hospital on the morning of August 25th. Then, at 12 noon on the 25th, while I was in the hospital in active labor, I received a phone call from my teenage son that Child Protective Services was at our door. I shouldn’t have to explain the extreme and immediate emotional distress this caused me and my family. Only cowards use the government to do their dirty work. This is the first time I have posted publicly about this incident. However, Karmelo Anthony supporters have posted multiple times in the past week about “calling CPS on Sarah Fields,” have discussed it in TikTok Lives, have stated that there is a “master plan” to silence me via private Zoom meetings held by Tiffney Billions, and have shared links to petitions encouraging individuals to call and have CPS investigate me and my family. Allow me to be perfectly clear: you do not know what kind of box you just opened with me. My tenacity to keep going and not be intimidated is only matched by my utter hatred of the Department of Child Services, an evil entity that I have repeatedly exposed for targeting good families and its involvement in trafficking children, particularly children from across the southern border. I will investigate harder, I will leave no stone unturned, and I will not be intimidated into walking away from my reporting on this case, nor will I abandon those who have supported my work, including the Metcalfs, the parents of the children of Frisco ISD, and former employees who have been targeted and doxxed by Anthony supporters. My work has been followed by those who are hungry for the truth and facts on this case, who know that the mainstream media will not provide it. CPS is claiming they must conduct a full investigation based on reports being made, even though the reports are baseless, clear harassment in a campaign against me, and lack a single shred of evidence. My attorney, CJ Grisham, has taken the reins on this. We will not be terr0rized, and our peace will not be disturbed. The answer is “no.”
0:14

REPORT: Karmelo Anthony supporters are now using government entities (CPS and LE) to do their dirty work and target me in an effort to silence my reporting on the m*rder of Austin Metcalf. I’ve prayed about whether I should post this publicly, and I have decided to do so because people need to know just how badly I am being targeted right now for simply being a lead journalist reporting on the Metcalf/Anthony case. On Sunday, August 24th, my home was swatted. Aside from the emotional distress this caused, especially as I was past my due date, we recovered and appreciated how well the department handled the incident. That same night, I went into labor. I labored at home from 11 PM until 3 AM, then headed to the hospital on the morning of August 25th. Then, at 12 noon on the 25th, while I was in the hospital in active labor, I received a phone call from my teenage son that Child Protective Services was at our door. I shouldn’t have to explain the extreme and immediate emotional distress this caused me and my family. Only cowards use the government to do their dirty work. This is the first time I have posted publicly about this incident. However, Karmelo Anthony supporters have posted multiple times in the past week about “calling CPS on Sarah Fields,” have discussed it in TikTok Lives, have stated that there is a “master plan” to silence me via private Zoom meetings held by Tiffney Billions, and have shared links to petitions encouraging individuals to call and have CPS investigate me and my family. Allow me to be perfectly clear: you do not know what kind of box you just opened with me. My tenacity to keep going and not be intimidated is only matched by my utter hatred of the Department of Child Services, an evil entity that I have repeatedly exposed for targeting good families and its involvement in trafficking children, particularly children from across the southern border. I will investigate harder, I will leave no stone unturned, and I will not be intimidated into walking away from my reporting on this case, nor will I abandon those who have supported my work, including the Metcalfs, the parents of the children of Frisco ISD, and former employees who have been targeted and doxxed by Anthony supporters. My work has been followed by those who are hungry for the truth and facts on this case, who know that the mainstream media will not provide it. CPS is claiming they must conduct a full investigation based on reports being made, even though the reports are baseless, clear harassment in a campaign against me, and lack a single shred of evidence. My attorney, CJ Grisham, has taken the reins on this. We will not be terr0rized, and our peace will not be disturbed. The answer is “no.”

Sarah Fields

1,763,818 Aufrufe • vor 11 Monaten

🔥🚨 BOMBSHELL INTERVIEW ALERT 🚨🔥 Ousmane Dembélé just sat down for a no-filter interview… and what he said about Lionel Messi and the World Cup is already exploding across social media 😳💥 When the journalist asked him the big question “Does Messi deserve a World Cup?” Dembélé didn’t hesitate. 🗣️ Dembélé: “No. I’m going to be honest, and a lot of people won’t like this… but no, I don’t think Messi deserved that World Cup the way it happened. Listen, Messi is an incredible player, one of the greatest talents the game has ever seen. I played with him, I saw what he can do up close. But ‘deserving’ a World Cup is different. A World Cup is supposed to be the purest competition in football. What we saw in 2022… and what we’re seeing again now… doesn’t always feel pure. There were so many soft penalties, so many moments where the whistle only seemed to go one way. The physicality that was allowed against us, the decisions in the biggest games… it left a bad taste. You work your whole life for these moments and then you feel the match is being influenced by things outside the pitch. That hurts more than losing. I’m not saying Messi isn’t a legend. He is. But when people talk about ‘deserving,’ I look at the full picture the refereeing, the narratives, the pressure on certain teams, the way some matches felt guided. Football should be decided by the players on the field, not by other factors. And this World Cup we’re in right now? Don’t even get me started. Too many strange results, too many soft calls in key moments, too many games that leave you shaking your head. Fans can feel it. Players can feel it. Something is off and nobody wants to say it out loud. I have massive respect for Messi the footballer. But if you’re asking me from the heart whether that 2022 title felt fully clean and fully deserved in the pure sporting sense… my answer is no. And I know I’m not the only one who thinks it.” 😱🔥 The interview is already causing chaos. Argentine fans are furious, French fans are divided, and neutral fans are arguing non-stop in the replies. Dembélé went there. No filter. No holding back.
0:12

🔥🚨 BOMBSHELL INTERVIEW ALERT 🚨🔥 Ousmane Dembélé just sat down for a no-filter interview… and what he said about Lionel Messi and the World Cup is already exploding across social media 😳💥 When the journalist asked him the big question “Does Messi deserve a World Cup?” Dembélé didn’t hesitate. 🗣️ Dembélé: “No. I’m going to be honest, and a lot of people won’t like this… but no, I don’t think Messi deserved that World Cup the way it happened. Listen, Messi is an incredible player, one of the greatest talents the game has ever seen. I played with him, I saw what he can do up close. But ‘deserving’ a World Cup is different. A World Cup is supposed to be the purest competition in football. What we saw in 2022… and what we’re seeing again now… doesn’t always feel pure. There were so many soft penalties, so many moments where the whistle only seemed to go one way. The physicality that was allowed against us, the decisions in the biggest games… it left a bad taste. You work your whole life for these moments and then you feel the match is being influenced by things outside the pitch. That hurts more than losing. I’m not saying Messi isn’t a legend. He is. But when people talk about ‘deserving,’ I look at the full picture the refereeing, the narratives, the pressure on certain teams, the way some matches felt guided. Football should be decided by the players on the field, not by other factors. And this World Cup we’re in right now? Don’t even get me started. Too many strange results, too many soft calls in key moments, too many games that leave you shaking your head. Fans can feel it. Players can feel it. Something is off and nobody wants to say it out loud. I have massive respect for Messi the footballer. But if you’re asking me from the heart whether that 2022 title felt fully clean and fully deserved in the pure sporting sense… my answer is no. And I know I’m not the only one who thinks it.” 😱🔥 The interview is already causing chaos. Argentine fans are furious, French fans are divided, and neutral fans are arguing non-stop in the replies. Dembélé went there. No filter. No holding back.

☥

189,241 Aufrufe • vor 17 Tagen

$KNDX 🤖 Theres 3 big narratives that are sending coins left right and centre rn. 🚀 #AI, #Gamefi, & #NFTs 🔹Theres 50% mindshare for #AI. 🤖 🔹#GameFi mcap is hitting ATH's with #OfftheGrid, $XBG and $SUPER making spectacular moves. 🎮 🔹NFTs and the #Metaverse are making a strong comeback with $APE up 100% over the weekend. 🐵 What if there's a project that touches all these trending narratives with groundbreaking technology to disrupt all 3 of them? 🔥 💡- That's where $KNDX comes in. -💡 Kondux is a cutting-edge Web3 SaaS platform, combining NVIDIA’s Omniverse, AI, Blockchain, and dynamic NFTs to revolutionize secure asset management across industries. 👏 Their flagship product, kNFTs, are 3D digital assets usable across Metaverse and Gaming platforms, AR/VR/XR environments, and manufacturing applications. Kondux’s scalable model opens new revenue streams by enabling effective digital asset monetization. 💰 Kondux is the first Web3 project to integrate VFX pipelines with NVIDIA’s Omniverse and bringing it onto the Blockchain. ⛓️ It is also the only Web3 project with a *Select Status Partnership* with NVIDIA, operating under NVIDIA NDAs and working with them directly for more than 2 years. About their NVIDIA Integrations: 🤖 🔹There are three areas of the Kondux tech stack that coincide with three divisions of NVIDIA: 📡GDN (Graphics Delivery Network, the backbone of GeForce Now) 💡Omniverse for 3D aspects such as, geospatial data, real world physics, lighting, and raytracing 🤖NVIDIA AI Foundation, which covers many aspects of #AI, including inference and deployment scaling. The convergence of all these components lie within .USD file format . 🔹 They are the first blockchain project to integrate NVIDIA’s Omniverse Cloud and Graphics Delivery Network (GDN) to provide high-quality 3D content accessible on any device without requiring high-end hardware. 🔹 This setup streamlines content management, democratises access to resource-intensive 3D content, and enables real-time interaction with 3D NFTs. Now, I haven’t seen any crypto project so deeply connected with NVIDIA and NVIDIA technology. GDN is a HUGE competitive advantage. With it, the need for #GPU’s basically goes out the window. 🤯 Now lets take a look at some of the other main features... 👀 OpenUSD (Universal Scene Description): 📽️ 🔹 Kondux is leveraging USD technology, developed by Pixar and used by Meta, Apple, Microsoft and other industry leaders to enhance 3D graphics and interoperability within its creative ecosystem. 🔹 Originally created for high-end film production, USD now supports a variety of applications, including gaming and virtual reality, making it a key asset for Kondux. kNFT's: 🎨 🔹 Kondux is pioneering a new category of NFTs known as kNFTs, which aim to redefine NFT utility through innovative features. 🔹 A standout feature is the upgradeable aspect provided by Kondux DNA, allowing kNFTs to transform and combine with other NFTs, creating limitless possibilities in art, gaming, and music. 🔹Through the Kondux AI portal it will be possible to communicate with kNFTs. They can learn and adapt. This AI technology is revolutionary because it makes human to kNFT interaction possible, turning it into a unique, personalized experience. Check out the clip of kNFTs in Unreal Engine 5 gameplay below. 👇 Kondux is a very obvious utility play with huge upside because it’s multi narrative. 📈 It's seriously groundbreaking stuff that they’re about to launch. 🚀 After speaking with the team there’s no doubt in my mind this will do crazy big numbers in the next months. 🤑
0:17

$KNDX 🤖 Theres 3 big narratives that are sending coins left right and centre rn. 🚀 #AI, #Gamefi, & #NFTs 🔹Theres 50% mindshare for #AI. 🤖 🔹#GameFi mcap is hitting ATH's with #OfftheGrid, $XBG and $SUPER making spectacular moves. 🎮 🔹NFTs and the #Metaverse are making a strong comeback with $APE up 100% over the weekend. 🐵 What if there's a project that touches all these trending narratives with groundbreaking technology to disrupt all 3 of them? 🔥 💡- That's where $KNDX comes in. -💡 Kondux is a cutting-edge Web3 SaaS platform, combining NVIDIA’s Omniverse, AI, Blockchain, and dynamic NFTs to revolutionize secure asset management across industries. 👏 Their flagship product, kNFTs, are 3D digital assets usable across Metaverse and Gaming platforms, AR/VR/XR environments, and manufacturing applications. Kondux’s scalable model opens new revenue streams by enabling effective digital asset monetization. 💰 Kondux is the first Web3 project to integrate VFX pipelines with NVIDIA’s Omniverse and bringing it onto the Blockchain. ⛓️ It is also the only Web3 project with a *Select Status Partnership* with NVIDIA, operating under NVIDIA NDAs and working with them directly for more than 2 years. About their NVIDIA Integrations: 🤖 🔹There are three areas of the Kondux tech stack that coincide with three divisions of NVIDIA: 📡GDN (Graphics Delivery Network, the backbone of GeForce Now) 💡Omniverse for 3D aspects such as, geospatial data, real world physics, lighting, and raytracing 🤖NVIDIA AI Foundation, which covers many aspects of #AI, including inference and deployment scaling. The convergence of all these components lie within .USD file format . 🔹 They are the first blockchain project to integrate NVIDIA’s Omniverse Cloud and Graphics Delivery Network (GDN) to provide high-quality 3D content accessible on any device without requiring high-end hardware. 🔹 This setup streamlines content management, democratises access to resource-intensive 3D content, and enables real-time interaction with 3D NFTs. Now, I haven’t seen any crypto project so deeply connected with NVIDIA and NVIDIA technology. GDN is a HUGE competitive advantage. With it, the need for #GPU’s basically goes out the window. 🤯 Now lets take a look at some of the other main features... 👀 OpenUSD (Universal Scene Description): 📽️ 🔹 Kondux is leveraging USD technology, developed by Pixar and used by Meta, Apple, Microsoft and other industry leaders to enhance 3D graphics and interoperability within its creative ecosystem. 🔹 Originally created for high-end film production, USD now supports a variety of applications, including gaming and virtual reality, making it a key asset for Kondux. kNFT's: 🎨 🔹 Kondux is pioneering a new category of NFTs known as kNFTs, which aim to redefine NFT utility through innovative features. 🔹 A standout feature is the upgradeable aspect provided by Kondux DNA, allowing kNFTs to transform and combine with other NFTs, creating limitless possibilities in art, gaming, and music. 🔹Through the Kondux AI portal it will be possible to communicate with kNFTs. They can learn and adapt. This AI technology is revolutionary because it makes human to kNFT interaction possible, turning it into a unique, personalized experience. Check out the clip of kNFTs in Unreal Engine 5 gameplay below. 👇 Kondux is a very obvious utility play with huge upside because it’s multi narrative. 📈 It's seriously groundbreaking stuff that they’re about to launch. 🚀 After speaking with the team there’s no doubt in my mind this will do crazy big numbers in the next months. 🤑

Altcoin Miyagi🇯🇵

17,323 Aufrufe • vor 1 Jahr

Created with seedance 2.0 on Pollo AI Tiny Chef vs Popcorn Tornado Duration: 15 seconds Style: Live-action, ultra-photoreal miniature human composite comedy. First-person POV Cooking Vlog. Everything exists in one unified real-world environment with true photographic realism. Real modern home kitchen, black iron popcorn pot on a stovetop, realistic popcorn kernels, steam, oil reflections, natural daylight from a side window, handheld camera with subtle shake, cinematic shallow depth of field, 8K Ultra HD, vertical 9:16. The miniature woman is a real 15 cm adult human seamlessly integrated into the kitchen with physically accurate lighting, contact shadows, realistic skin pores, fabric textures, reflections, and consistent scale. No CGI, no cartoon, no doll, no figurine, no animation. Character: Aria Lin, a 22-year-old adult East Asian woman with mature facial proportions, fair skin, deep brown almond eyes, black waist-length hair with fluffy air bangs and one loose braid draped over her left shoulder. Wearing a white fitted sleeveless tank top, fitted blue jeans, white thick-soled sneakers, and a thin gold bracelet on her right wrist. Same face, hairstyle, outfit, and body proportions throughout. Height remains exactly 15 cm in every shot. 00:00–00:02 | Tiny Inspector First-person overhead POV. A giant black iron popcorn pot sits on the stovetop with oil and popcorn kernels heating. Steam gently rises. Aria confidently walks along the rim carrying a tiny wooden clipboard and a miniature wooden spoon, carefully inspecting the kernels like a professional chef. She smiles at the camera and gives a playful thumbs-up. SFX: Gentle oil sizzling. 00:02–00:04 | Surprise Launch Without warning, one popcorn kernel suddenly pops beneath her feet. Instead of falling, she is launched into the air and lands perfectly on a freshly popped popcorn. She spreads both arms for balance like a surfer, laughing with excitement as realistic steam drifts behind her. SFX: Loud POP, joyful laugh. 00:04–00:07 | Popcorn Tornado Popcorn begins popping rapidly all around her. Giant fluffy popcorn pieces bounce and swirl like a playful tornado. She gracefully jumps from one popcorn to another as if crossing floating stepping stones. The camera follows smoothly while maintaining the dramatic scale difference. SFX: Continuous popcorn popping, light laughter. 00:07–00:10 | Butter River Surf A real human gently pours melted butter into the pan. The flowing butter becomes a glowing golden river. Aria instantly opens a tiny white umbrella and surfs across the butter while standing on a giant popcorn. Warm reflections shimmer across the butter as realistic steam surrounds her. She laughs confidently throughout. SFX: Butter pouring, soft sizzling. 00:10–00:13 | Seasoning Snow Dance A light sprinkle of fine seasoning falls gently from above, sparkling in the sunlight like snowflakes. Instead of hiding, Aria twirls happily beneath the falling seasoning while popcorn continues bouncing around her. The scene feels playful, magical, and cinematic. SFX: Gentle seasoning sprinkle, cheerful laughter. 00:13–00:15 | Champion Ending A real human gently lifts the popcorn she is standing on using two fingers. Aria plants her tiny wooden spoon into the popcorn like a victory flag, stands proudly with one foot raised, waves toward the camera, makes an "OK" gesture, and finishes with a playful wink and bright smile. Steam drifts softly behind her. Final 0.3 seconds: Cinematic freeze-frame showing the giant human fingers, fluffy popcorn, realistic steam, shallow depth of field, and perfect scale contrast. Strict Requirements: - Same adult woman throughout with no face or outfit changes. - Height remains exactly 15 cm. - Full photorealism only. - Real kitchen lighting, shadows, reflections, and contact shadows. - No violence, fear, injury, or distress. - Gentle human interaction only. - No subtitles, logos, watermarks, or extra characters.
0:15

Created with seedance 2.0 on Pollo AI Tiny Chef vs Popcorn Tornado Duration: 15 seconds Style: Live-action, ultra-photoreal miniature human composite comedy. First-person POV Cooking Vlog. Everything exists in one unified real-world environment with true photographic realism. Real modern home kitchen, black iron popcorn pot on a stovetop, realistic popcorn kernels, steam, oil reflections, natural daylight from a side window, handheld camera with subtle shake, cinematic shallow depth of field, 8K Ultra HD, vertical 9:16. The miniature woman is a real 15 cm adult human seamlessly integrated into the kitchen with physically accurate lighting, contact shadows, realistic skin pores, fabric textures, reflections, and consistent scale. No CGI, no cartoon, no doll, no figurine, no animation. Character: Aria Lin, a 22-year-old adult East Asian woman with mature facial proportions, fair skin, deep brown almond eyes, black waist-length hair with fluffy air bangs and one loose braid draped over her left shoulder. Wearing a white fitted sleeveless tank top, fitted blue jeans, white thick-soled sneakers, and a thin gold bracelet on her right wrist. Same face, hairstyle, outfit, and body proportions throughout. Height remains exactly 15 cm in every shot. 00:00–00:02 | Tiny Inspector First-person overhead POV. A giant black iron popcorn pot sits on the stovetop with oil and popcorn kernels heating. Steam gently rises. Aria confidently walks along the rim carrying a tiny wooden clipboard and a miniature wooden spoon, carefully inspecting the kernels like a professional chef. She smiles at the camera and gives a playful thumbs-up. SFX: Gentle oil sizzling. 00:02–00:04 | Surprise Launch Without warning, one popcorn kernel suddenly pops beneath her feet. Instead of falling, she is launched into the air and lands perfectly on a freshly popped popcorn. She spreads both arms for balance like a surfer, laughing with excitement as realistic steam drifts behind her. SFX: Loud POP, joyful laugh. 00:04–00:07 | Popcorn Tornado Popcorn begins popping rapidly all around her. Giant fluffy popcorn pieces bounce and swirl like a playful tornado. She gracefully jumps from one popcorn to another as if crossing floating stepping stones. The camera follows smoothly while maintaining the dramatic scale difference. SFX: Continuous popcorn popping, light laughter. 00:07–00:10 | Butter River Surf A real human gently pours melted butter into the pan. The flowing butter becomes a glowing golden river. Aria instantly opens a tiny white umbrella and surfs across the butter while standing on a giant popcorn. Warm reflections shimmer across the butter as realistic steam surrounds her. She laughs confidently throughout. SFX: Butter pouring, soft sizzling. 00:10–00:13 | Seasoning Snow Dance A light sprinkle of fine seasoning falls gently from above, sparkling in the sunlight like snowflakes. Instead of hiding, Aria twirls happily beneath the falling seasoning while popcorn continues bouncing around her. The scene feels playful, magical, and cinematic. SFX: Gentle seasoning sprinkle, cheerful laughter. 00:13–00:15 | Champion Ending A real human gently lifts the popcorn she is standing on using two fingers. Aria plants her tiny wooden spoon into the popcorn like a victory flag, stands proudly with one foot raised, waves toward the camera, makes an "OK" gesture, and finishes with a playful wink and bright smile. Steam drifts softly behind her. Final 0.3 seconds: Cinematic freeze-frame showing the giant human fingers, fluffy popcorn, realistic steam, shallow depth of field, and perfect scale contrast. Strict Requirements: - Same adult woman throughout with no face or outfit changes. - Height remains exactly 15 cm. - Full photorealism only. - Real kitchen lighting, shadows, reflections, and contact shadows. - No violence, fear, injury, or distress. - Gentle human interaction only. - No subtitles, logos, watermarks, or extra characters.

Anissa

11,250 Aufrufe • vor 24 Tagen

Watch this 17-second clip carefully. What you are about to see is not what it claims to be. For over 25 years I’ve worked as a specialist forensic analyst, both within the intelligence world as well as private security sector. So I’m going to show you how forensic analysis really works to uncover the truth about what we see put in front of us. TRT World, Turkish state media, released this video claiming it shows an Israeli airstrike on a residential building in Al Zaitoun, Gaza on January 5, 2025. The dramatic footage with emotional Arabic overlay text was designed to generate instant outrage. While obvious Pallywood often uses fake blood and staged injuries, this one is more sophisticated. It relies on perfect timing and internal preparation. Here is the second-by-second breakdown: Seconds 0 to 1: The camera is already perfectly framed on the building. White smoke begins venting from multiple windows simultaneously. At around the one-second mark, a bright red dot appears on an upper window for a fraction of a second right before the blast. This is the trigger light that lights up the instant before an explosive charge is detonated. It also acts as a marker for the cameraman. No incoming missile, no external impact flash. Seconds 1 to 2: A massive dark smoke plume erupts violently outward and upward. Debris is ejected. When a real missile strikes a building, you typically see large flames from the missile’s fuel and the force ripping apart major sections of concrete, producing large chunks of debris. Here, we see no significant flames and only small debris mixed with heavy dust, exactly what you would expect from a small internal explosive device designed mainly to blow out windows and create a dramatic smoke plume. The explosion originates from inside the building and expands symmetrically. Seconds 2 to 4: The smoke cloud balloons dramatically. The cameraman, already positioned and recording, smoothly tilts up to capture the most cinematic part of the plume. Seconds 4 to 6: The camera tilts down to street level. A girl in bright pink walks across the dusty area almost casually, not showing the expected panic. Seconds 6 to 9: Civilians appear relatively composed. Then the man in the red hoodie runs in, stops dramatically, and points upward while shouting in a theatrical manner. Seconds 9 to 17: People mill about with surprising calm as dust swirls. The camera work remains composed enough to capture the drama while TRT World adds the emotional propaganda text. This was not an airstrike. It was a carefully timed internal detonation, triggered from within (signaled by the red dot), filmed by someone who knew exactly when it would happen. The internal multi-window venting, perfect camera placement, and staged reactions all confirm it was manufactured for propaganda. If you value the truth and appreciate such detailed analyses, please share. Real tragedy does not need this level of staging. The information war continues.
0:17

Watch this 17-second clip carefully. What you are about to see is not what it claims to be. For over 25 years I’ve worked as a specialist forensic analyst, both within the intelligence world as well as private security sector. So I’m going to show you how forensic analysis really works to uncover the truth about what we see put in front of us. TRT World, Turkish state media, released this video claiming it shows an Israeli airstrike on a residential building in Al Zaitoun, Gaza on January 5, 2025. The dramatic footage with emotional Arabic overlay text was designed to generate instant outrage. While obvious Pallywood often uses fake blood and staged injuries, this one is more sophisticated. It relies on perfect timing and internal preparation. Here is the second-by-second breakdown: Seconds 0 to 1: The camera is already perfectly framed on the building. White smoke begins venting from multiple windows simultaneously. At around the one-second mark, a bright red dot appears on an upper window for a fraction of a second right before the blast. This is the trigger light that lights up the instant before an explosive charge is detonated. It also acts as a marker for the cameraman. No incoming missile, no external impact flash. Seconds 1 to 2: A massive dark smoke plume erupts violently outward and upward. Debris is ejected. When a real missile strikes a building, you typically see large flames from the missile’s fuel and the force ripping apart major sections of concrete, producing large chunks of debris. Here, we see no significant flames and only small debris mixed with heavy dust, exactly what you would expect from a small internal explosive device designed mainly to blow out windows and create a dramatic smoke plume. The explosion originates from inside the building and expands symmetrically. Seconds 2 to 4: The smoke cloud balloons dramatically. The cameraman, already positioned and recording, smoothly tilts up to capture the most cinematic part of the plume. Seconds 4 to 6: The camera tilts down to street level. A girl in bright pink walks across the dusty area almost casually, not showing the expected panic. Seconds 6 to 9: Civilians appear relatively composed. Then the man in the red hoodie runs in, stops dramatically, and points upward while shouting in a theatrical manner. Seconds 9 to 17: People mill about with surprising calm as dust swirls. The camera work remains composed enough to capture the drama while TRT World adds the emotional propaganda text. This was not an airstrike. It was a carefully timed internal detonation, triggered from within (signaled by the red dot), filmed by someone who knew exactly when it would happen. The internal multi-window venting, perfect camera placement, and staged reactions all confirm it was manufactured for propaganda. If you value the truth and appreciate such detailed analyses, please share. Real tragedy does not need this level of staging. The information war continues.

Mor Edge Insight

67,636 Aufrufe • vor 2 Monaten

MiniMax H3で清涼飲料水のCM動画を生成。 映像スタイルはモーショングラフィックス。 もちろん、プロンプトはClaude Codeに全部書いてもらっています。 プロンプトを書いてもらう方法は引用元で紹介しています😃 今回使用したプロンプト↓ ----------------- integrated_multimodal_description: Create a complete 15-second Japanese flat-illustration motion-graphics commercial for a bottled mineral water in a clean 16:9 composition. The bottle is the hero of every shot: it appears within the first second, stays large and centred, and its pale blue label reading the exact Latin characters "AOI WATER" is sharp and readable in every frame it occupies. Use friendly 2D vector illustration, thick navy outlines, flat solid colour fills, and springy cutout animation with snappy overshoot easing. Compact palette of warm white, deep navy, bright aqua, deep blue and saturated yellow, where yellow carries the summer heat and aqua carries the cold refreshment. A fictional young Japanese actress supports the product, drawn as a flat vector icon with a round friendly face, simple dot eyes, a curved smile, a glossy black chin-length bob, a white short-sleeved shirt over a navy tank top; she keeps the same design in every shot. No photorealism, no 3D rendering, no gradients, no drop shadows, no browser interface, no screen-recording artifacts, no player controls. [Shot 1] Begin on a saturated yellow field. A large white sun pulses twice at the top of the frame and wavy heat-haze lines rise from the bottom edge. At 00:00.800 a tall white bottle of AOI WATER shoots up from the bottom edge into the centre of the frame, overshooting and settling at eighty percent of the frame height, and a single white flash frame fires on the impact. Three aqua ripple rings expand from the bottle and the small navy headline assembles word by word at the top: "この夏、あつい。" [Shot 2] At 00:02.400, a wave of bright aqua water sweeps across the frame from the left and washes the yellow away. The bottle stays centred and rotates a quarter turn to show its side. Its pale blue label assembles letter by letter into "AOI WATER" with a thin white underline drawing beneath, six round condensation drops pop onto the glass one after another, and two flat ice cubes tumble down past it. [Shot 3] At 00:05.000, a deep blue field wipes in from the right. The bottle tilts on the left and a clear aqua stream pours in a smooth arc into a tall glass on the right; three flat ice cubes drop into the glass one at a time and bounce, throwing a radial burst of white droplets on the third. Two white snowflake marks pop in beside the glass and the kinetic word "キンッ。" stamps in with a small shake. [Shot 4] At 00:07.600, the deep blue flips to aqua in a hard shape wipe. The actress stands centre frame holding the bottle high, tips it and drinks; a column of aqua fills her outlined body from top to bottom in three quick pulses, one per gulp, and white radial speed-lines snap outward on the third. The kinetic word "ごくっ" pops in beside her cheek and the bottle stays fully visible in her hand. [Shot 5] At 00:10.200, a saturated yellow field wipes in from the bottom. The actress jumps once with the bottle raised above her head, her bob and shirt lifting, while flat aqua and white circles, triangles and arcs burst outward from her in a ring and three ripple rings expand from her landing point. The headline assembles in two stages: "夏に、" then "負けない。" A thick yellow underline strikes beneath the second phrase. [Shot 6] At 00:12.600, cut to a calm warm-white end card with generous negative space. The bottle slides to the centre and scales up slightly, its "AOI WATER" label square to the viewer and perfectly readable, with a ring of six aqua droplets popping outward around it one by one. The logotype "AOI WATER" reveals in deep navy beside the bottle with a small aqua droplet mark, and the smaller line "アオイ・ウォーター" fades in beneath it. A calm, bright young Japanese woman (S1) says in an off-screen voiceover: [Japanese] 夏に、負けない。 The end card holds sharp, centred and readable until exactly 15.000 seconds. Throughout: flat vector motion graphics only, one palette and one line weight, the same bottle design and the same character design in every shot, and something on screen is always moving. All Japanese text in clean gothic type and the label and logotype in clean geometric capitals, correctly formed and static once placed, with no subtitles of the spoken line and no other lettering. overall_soundscape: A deep whoosh and a short impact thud land as the bottle shoots up into frame, followed by three soft ripple taps. An airy whoosh runs under each colour wipe and a liquid sweep carries the aqua water across the frame. Rounded pops mark the sun pulses and each condensation drop, two ice cubes clink as they tumble, and a bottle cap cracks open before a clear pouring stream and three ice cubes landing in a glass. Three deep gulps and a quick refreshed exhale carry the drink, a light whoosh and landing thud carry the jump, and a clean shimmering chime rings on the logotype. non_diegetic_music: Generate an original 15-second bright Japanese commercial cue at 128 BPM using marimba, ukulele upstrokes, hand claps, a warm round bass and a light drum kit, playing without a gap from the first frame to the last. Open with a single accent hit as the bottle lands at 00:00.800, add the full kit as the water sweeps in, thin to marimba and claps under the pour, push to the loudest point with a rising fill under the jump, drop under the spoken line, and resolve on one clean sustained chord at 15.000 seconds. No singing and no lyrics.
0:15

MiniMax H3で清涼飲料水のCM動画を生成。 映像スタイルはモーショングラフィックス。 もちろん、プロンプトはClaude Codeに全部書いてもらっています。 プロンプトを書いてもらう方法は引用元で紹介しています😃 今回使用したプロンプト↓ ----------------- integrated_multimodal_description: Create a complete 15-second Japanese flat-illustration motion-graphics commercial for a bottled mineral water in a clean 16:9 composition. The bottle is the hero of every shot: it appears within the first second, stays large and centred, and its pale blue label reading the exact Latin characters "AOI WATER" is sharp and readable in every frame it occupies. Use friendly 2D vector illustration, thick navy outlines, flat solid colour fills, and springy cutout animation with snappy overshoot easing. Compact palette of warm white, deep navy, bright aqua, deep blue and saturated yellow, where yellow carries the summer heat and aqua carries the cold refreshment. A fictional young Japanese actress supports the product, drawn as a flat vector icon with a round friendly face, simple dot eyes, a curved smile, a glossy black chin-length bob, a white short-sleeved shirt over a navy tank top; she keeps the same design in every shot. No photorealism, no 3D rendering, no gradients, no drop shadows, no browser interface, no screen-recording artifacts, no player controls. [Shot 1] Begin on a saturated yellow field. A large white sun pulses twice at the top of the frame and wavy heat-haze lines rise from the bottom edge. At 00:00.800 a tall white bottle of AOI WATER shoots up from the bottom edge into the centre of the frame, overshooting and settling at eighty percent of the frame height, and a single white flash frame fires on the impact. Three aqua ripple rings expand from the bottle and the small navy headline assembles word by word at the top: "この夏、あつい。" [Shot 2] At 00:02.400, a wave of bright aqua water sweeps across the frame from the left and washes the yellow away. The bottle stays centred and rotates a quarter turn to show its side. Its pale blue label assembles letter by letter into "AOI WATER" with a thin white underline drawing beneath, six round condensation drops pop onto the glass one after another, and two flat ice cubes tumble down past it. [Shot 3] At 00:05.000, a deep blue field wipes in from the right. The bottle tilts on the left and a clear aqua stream pours in a smooth arc into a tall glass on the right; three flat ice cubes drop into the glass one at a time and bounce, throwing a radial burst of white droplets on the third. Two white snowflake marks pop in beside the glass and the kinetic word "キンッ。" stamps in with a small shake. [Shot 4] At 00:07.600, the deep blue flips to aqua in a hard shape wipe. The actress stands centre frame holding the bottle high, tips it and drinks; a column of aqua fills her outlined body from top to bottom in three quick pulses, one per gulp, and white radial speed-lines snap outward on the third. The kinetic word "ごくっ" pops in beside her cheek and the bottle stays fully visible in her hand. [Shot 5] At 00:10.200, a saturated yellow field wipes in from the bottom. The actress jumps once with the bottle raised above her head, her bob and shirt lifting, while flat aqua and white circles, triangles and arcs burst outward from her in a ring and three ripple rings expand from her landing point. The headline assembles in two stages: "夏に、" then "負けない。" A thick yellow underline strikes beneath the second phrase. [Shot 6] At 00:12.600, cut to a calm warm-white end card with generous negative space. The bottle slides to the centre and scales up slightly, its "AOI WATER" label square to the viewer and perfectly readable, with a ring of six aqua droplets popping outward around it one by one. The logotype "AOI WATER" reveals in deep navy beside the bottle with a small aqua droplet mark, and the smaller line "アオイ・ウォーター" fades in beneath it. A calm, bright young Japanese woman (S1) says in an off-screen voiceover: [Japanese] 夏に、負けない。 The end card holds sharp, centred and readable until exactly 15.000 seconds. Throughout: flat vector motion graphics only, one palette and one line weight, the same bottle design and the same character design in every shot, and something on screen is always moving. All Japanese text in clean gothic type and the label and logotype in clean geometric capitals, correctly formed and static once placed, with no subtitles of the spoken line and no other lettering. overall_soundscape: A deep whoosh and a short impact thud land as the bottle shoots up into frame, followed by three soft ripple taps. An airy whoosh runs under each colour wipe and a liquid sweep carries the aqua water across the frame. Rounded pops mark the sun pulses and each condensation drop, two ice cubes clink as they tumble, and a bottle cap cracks open before a clear pouring stream and three ice cubes landing in a glass. Three deep gulps and a quick refreshed exhale carry the drink, a light whoosh and landing thud carry the jump, and a clean shimmering chime rings on the logotype. non_diegetic_music: Generate an original 15-second bright Japanese commercial cue at 128 BPM using marimba, ukulele upstrokes, hand claps, a warm round bass and a light drum kit, playing without a gap from the first frame to the last. Open with a single accent hit as the bottle lands at 00:00.800, add the full kit as the water sweeps in, thin to marimba and claps under the pour, push to the loudest point with a rising fill under the jump, drop under the spoken line, and resolve on one clean sustained chord at 15.000 seconds. No singing and no lyrics.

タナベ | AI動画 × マーケティング

59,566 Aufrufe • vor 8 Tagen

This is my "feel the AGI" moment: I used GPT-5.6 Sol to train my own autocorrect model that outperforms GPT-5.6 Sol (wtf??) I have no ML background. I have no idea what I'm doing. I just kept pushing Sol until it spat out a SOTA model. And I spent $0. The motivation: Years of talking to AI have made me terrible at typing. Rather than fix my skill issue, I decided to throw more AI at it. My idea was: instead of autocorrect that interrupts my flow, I want to type fast with mistakes and have AI clean it up after. I wanted the smallest local model possible, for speed, for battery life, for science! So I decided to train my own. Inspired by Andrej Karpathy’s autoresearch, I ran Codex /goal with this setup: pick an experiment, try it, record the results to a doc, throw it out if it fails, and plan the next experiment without repeating failures. I gave a few examples that had to pass, tight latency targets, and let it run. Sol did some amazing things. First, it scanned benchmarks and shortlisted base models: Qwen 3.5, Gemma 4, Liquid LFM 2.5. It found a dataset on HuggingFace for typed text. Then it built a simulator for fingers striking a Mac keyboard, modeling the physical layout with a Gaussian distribution around each key. It simulated striking the wrong key, wrong order, fat-fingering, etc. With the models + data + simulator, it fine-tuned using MLX right on my MacBook. It had a working prototype within an hour! But accuracy was pretty poor. — Problem 1: Tokenization Sol read papers, ran tests, and identified that the tokenizer was the bottleneck. Tokenization makes typos hard for the model to see, so it memorizes mappings instead of using its language priors. Sol tried ByT5, Google’s tokenizer-free byte-level LLM. This made a big improvement, but the model is old and lacked the knowledge needed to reach Sol performance. Sol dug deeper and realized a tokenizer-free model isn’t needed; instead, it used T5Gemma, an encoder-decoder model. This can understand the input deeply before producing output, and furthermore, Sol could post-train the encoder to improve performance. This gave a much higher ceiling. — Problem 2: Loss function Now the model was correcting some typos perfectly, but ignoring most. Sol realized that standard cross-entropy loss was teaching the model to avoid edits, because the vast majority of characters in the training data were left unmodified. The fix was wild: Sol wrote a custom loss function that byte-aligns the source and target strings, uses a dynamic programming algorithm to compute the minimum edits between the two, then weights correct edits much higher than copies. After a lot of tuning, this dramatically improved accuracy. — Problem 3: Autoregression One failure mode remained: if the model made a mistake, it couldn’t backtrack. It could only predict the next token. Teaching it to “think” like a reasoning model would solve this, but would be far too slow. Sol found a beautiful solution: instead of greedily predicting the next token, beam search over all possibilities. This parallelizes the exploration instead of one linear chain-of-thought. At the end, choose the path with highest cumulative log probability. This worked great, but made the experience worse, since the user wouldn’t see progress until the whole search was done. To fix this, Sol made a clever observation: after each search step, the longest common prefix among surviving branches is guaranteed to appear in the final result, so it can be displayed immediately. As the search progresses, weaker paths are dropped and the prefix grows, so the user sees continuous progress. Sol built all this as a custom MLX pipeline that does the parallel decoding on the MacBook GPU, with just ~40ms TTFT. It’s crazy fast and entirely local. — Final eval (error reduction rate, higher is better): - Apple autocorrect: 49.66% - GPT-5.6 Luna: 82.47% - GPT-5.6 Terra: 87.64% - GPT-5.6 Sol: 90.56% - Our model (1.7B): 91.02% Final cost: - 1 quota reset (thanks Tibo) - $0 (And yes, I verified there's no cheating. In fact, we test words scrubbed from the training data to prove the model isn’t memorizing) There were a ton more details and tangents I could write about: contrastive learning, GRPO, DPO, dynamic masking, and more. Sol is a fascinating and creative model. It blew my mind so many times. Don’t let a lack of experience stop you: Sol makes AI experiments accessible to anyone!
0:12

This is my "feel the AGI" moment: I used GPT-5.6 Sol to train my own autocorrect model that outperforms GPT-5.6 Sol (wtf??) I have no ML background. I have no idea what I'm doing. I just kept pushing Sol until it spat out a SOTA model. And I spent $0. The motivation: Years of talking to AI have made me terrible at typing. Rather than fix my skill issue, I decided to throw more AI at it. My idea was: instead of autocorrect that interrupts my flow, I want to type fast with mistakes and have AI clean it up after. I wanted the smallest local model possible, for speed, for battery life, for science! So I decided to train my own. Inspired by Andrej Karpathy’s autoresearch, I ran Codex /goal with this setup: pick an experiment, try it, record the results to a doc, throw it out if it fails, and plan the next experiment without repeating failures. I gave a few examples that had to pass, tight latency targets, and let it run. Sol did some amazing things. First, it scanned benchmarks and shortlisted base models: Qwen 3.5, Gemma 4, Liquid LFM 2.5. It found a dataset on HuggingFace for typed text. Then it built a simulator for fingers striking a Mac keyboard, modeling the physical layout with a Gaussian distribution around each key. It simulated striking the wrong key, wrong order, fat-fingering, etc. With the models + data + simulator, it fine-tuned using MLX right on my MacBook. It had a working prototype within an hour! But accuracy was pretty poor. — Problem 1: Tokenization Sol read papers, ran tests, and identified that the tokenizer was the bottleneck. Tokenization makes typos hard for the model to see, so it memorizes mappings instead of using its language priors. Sol tried ByT5, Google’s tokenizer-free byte-level LLM. This made a big improvement, but the model is old and lacked the knowledge needed to reach Sol performance. Sol dug deeper and realized a tokenizer-free model isn’t needed; instead, it used T5Gemma, an encoder-decoder model. This can understand the input deeply before producing output, and furthermore, Sol could post-train the encoder to improve performance. This gave a much higher ceiling. — Problem 2: Loss function Now the model was correcting some typos perfectly, but ignoring most. Sol realized that standard cross-entropy loss was teaching the model to avoid edits, because the vast majority of characters in the training data were left unmodified. The fix was wild: Sol wrote a custom loss function that byte-aligns the source and target strings, uses a dynamic programming algorithm to compute the minimum edits between the two, then weights correct edits much higher than copies. After a lot of tuning, this dramatically improved accuracy. — Problem 3: Autoregression One failure mode remained: if the model made a mistake, it couldn’t backtrack. It could only predict the next token. Teaching it to “think” like a reasoning model would solve this, but would be far too slow. Sol found a beautiful solution: instead of greedily predicting the next token, beam search over all possibilities. This parallelizes the exploration instead of one linear chain-of-thought. At the end, choose the path with highest cumulative log probability. This worked great, but made the experience worse, since the user wouldn’t see progress until the whole search was done. To fix this, Sol made a clever observation: after each search step, the longest common prefix among surviving branches is guaranteed to appear in the final result, so it can be displayed immediately. As the search progresses, weaker paths are dropped and the prefix grows, so the user sees continuous progress. Sol built all this as a custom MLX pipeline that does the parallel decoding on the MacBook GPU, with just ~40ms TTFT. It’s crazy fast and entirely local. — Final eval (error reduction rate, higher is better): - Apple autocorrect: 49.66% - GPT-5.6 Luna: 82.47% - GPT-5.6 Terra: 87.64% - GPT-5.6 Sol: 90.56% - Our model (1.7B): 91.02% Final cost: - 1 quota reset (thanks Tibo) - $0 (And yes, I verified there's no cheating. In fact, we test words scrubbed from the training data to prove the model isn’t memorizing) There were a ton more details and tangents I could write about: contrastive learning, GRPO, DPO, dynamic masking, and more. Sol is a fascinating and creative model. It blew my mind so many times. Don’t let a lack of experience stop you: Sol makes AI experiments accessible to anyone!

Anshu

179,046 Aufrufe • vor 1 Monat

PROMPT: Generate a continuous 15-second premium live-action broadcast TV commercial for a high-performance family kitchen blender, designed as an energetic, polished consumer-appliance advertisement emphasizing FAST BLENDING POWER. The commercial must tell a complete miniature visual story within exactly 15 seconds: a busy family needs breakfast quickly, fresh ingredients enter the blender, one touch unleashes powerful high-speed blending, a thick mixture transforms almost instantly into a perfectly smooth fruit smoothie, the family enjoys the result, and the commercial ends on a clean hero product shot with the promise: “Smooth in Seconds.” Maintain a consistent high-end contemporary commercial visual style throughout the entire sequence: photorealistic food photography, tactile ingredient detail, premium appliance surfaces, energetic but controlled camera movement, crisp natural highlights, appetizing freshness, believable family warmth, and polished broadcast-advertising finish. Shoot as if captured on an ARRI Alexa 35 cinema camera using a coordinated set of 24mm, 35mm, 50mm, 85mm, and 100mm macro cinema lenses. Preserve realistic perspective, physically plausible motion, natural depth of field, smooth highlight roll-off, subtle cinematic contrast, clean skin tones, rich food texture, controlled motion blur, and sharp product detail. The entire commercial takes place during one continuous bright weekday morning in the SAME modern family kitchen. The kitchen has warm off-white cabinetry, pale natural-oak counters, a large sunlit window frame-left, brushed stainless-steel fixtures, a small breakfast table in the background, subtle family-life details, and a clean uncluttered countertop. Warm morning sunlight enters consistently from frame-left at approximately 5200K, supplemented by soft interior fill, producing gentle directional shadows and bright natural reflections. Maintain the same architecture, counter layout, window position, furniture, appliances, background objects, lighting direction, and color palette throughout every shot. New camera angles reveal different perspectives of the same physical kitchen and must never create a different-looking location. LOCKED PRODUCT: one premium family countertop blender with a compact matte-silver motor base, black control panel, one illuminated circular speed control, large clear 1.8-liter blending pitcher, black fitted lid, stainless-steel blade assembly, sturdy black handle, and subtle unbranded front badge area. The blender’s shape, proportions, materials, controls, pitcher geometry, lid, handle, blade assembly, reflections, scale, and countertop position remain identical throughout every shot. It begins centered on the main kitchen counter and never changes location. LOCKED INGREDIENTS: fresh strawberries, banana pieces, blueberries, mango chunks, Greek yogurt, milk, and several ice cubes. Ingredients must retain recognizable colors and textures before entering the pitcher. Once added, object permanence must be respected: ingredients cannot reappear outside the blender. During blending, the mixture must transform physically and continuously from visibly chunky fruit and ice into a uniform thick pink-red smoothie. LOCKED FAMILY: a mother in her mid-30s with shoulder-length dark brown hair wearing a soft beige knit top and blue jeans; a father in his late-30s with short dark hair wearing a pale blue casual shirt; an approximately eight-year-old daughter with dark brown hair in a ponytail wearing a muted yellow T-shirt; and an approximately six-year-old son with short brown hair wearing a light green T-shirt. Preserve their exact ages, facial identity, hairstyle, wardrobe, body proportions, and appearance whenever visible. Their expressions progress naturally from hurried anticipation to impressed surprise to relaxed enjoyment. Avoid surreal food behavior, floating ingredients, impossible liquid physics, teleporting objects, changing blender geometry, inconsistent pitcher fill levels, duplicated fruit, warped hands, extra fingers, changing wardrobe, altered kitchen architecture, random background changes, excessive lens distortion, unreadable product geometry, fake plastic food textures, excessive camera shake, oversaturated grading, artificial CGI appearance, flickering light, exposure shifts, continuity resets, jumpy object positions, text artifacts, random labels, logos, watermarks, or unrelated products. 00:00–00:02.0 — OPENING PROBLEM / FAMILY MORNING RUSH. Begin with a dynamic 24mm wide establishing shot from approximately countertop height, looking diagonally across the kitchen while preserving a left-to-right spatial axis. The mother moves briskly toward the counter from frame-left as the two children wait near the breakfast area in the background, visibly eager and short on time. The father passes behind them preparing to leave. Morning sunlight streaks naturally through the frame-left window. The locked blender is already visible on the counter as the visual anchor, positioned prominently but naturally in the foreground-right. Use a smooth fast dolly-in toward the blender rather than a hard zoom. Small breakfast details suggest a busy school morning without cluttering the frame. Sound begins with subtle morning kitchen ambience, quick footsteps, a chair movement, and upbeat rhythmic music immediately establishing urgency. No spoken dialogue. 00:02.0–00:04.0 — INGREDIENT SPEED MONTAGE. Match-cut into a rapid sequence of three extremely concise food-preparation inserts totaling exactly two seconds. First, a 100mm macro close-up catches vivid strawberries and blueberries dropping into the clear pitcher, with realistic gravity, bounce, moisture, and fruit texture. Cut to banana pieces and mango chunks entering from above, maintaining the exact pitcher position and increasing fill level logically. Cut to a tight side insert as Greek yogurt, milk, and ice cubes enter last. Use crisp impact sounds synchronized with each ingredient: thump, splash, clink. Each insert changes visual information and advances the preparation; never repeat the same composition. Camera movement is minimal and precise so the speed comes primarily from editorial cutting. The blender remains OFF throughout these inserts. 00:04.0–00:05.2 — ONE-TOUCH ACTIVATION. Cut to an 85mm close-up from a low three-quarter front angle of the blender control panel. The mother’s right index finger enters naturally from frame-left and presses the illuminated circular control exactly once. Show believable fingertip compression against the control. The instant contact occurs, the control illumination brightens and the motor begins. Add a precise tactile click followed immediately by a confident rising electric motor sound. Use a subtle fast push-in timed to activation. The hand exits naturally; do not show multiple presses. 00:05.2–00:08.2 — POWER DEMONSTRATION / HERO BLENDING MOMENT. Cut to a dramatic but physically realistic 50mm close three-quarter view of the entire pitcher. The motor accelerates rapidly. Ice cubes and fruit initially tumble downward toward the stainless-steel blades, then form a powerful controlled vortex. Show the transformation continuously: recognizable strawberries, blueberries, banana, mango, yogurt, milk, and ice become progressively smaller and more integrated until the mixture turns into a completely smooth, thick pink-red smoothie. The action must communicate exceptional blending speed without supernatural physics. Condensation begins subtly on the outside of the pitcher. Tiny droplets and believable internal turbulence catch the frame-left morning light. During this three-second power demonstration, execute a controlled semicircular camera move of approximately 35 degrees around the front of the blender without crossing the established spatial axis. Begin slightly frame-left of the product and finish near frontal three-quarter. Maintain the blender base completely stable on the countertop with no unrealistic vibration or sliding. Use one brief 100mm macro insert lasting approximately 0.5 seconds to reveal the high-speed vortex and disappearing final fruit fragment, then return immediately to the matching three-quarter product angle. Sound design intensifies with a strong smooth motor whirr synchronized to the vortex, layered with the upbeat music. At approximately 00:07.6, the last visible fruit fragment disappears into the vortex. By 00:08.2 the mixture is visibly uniform, silky, and completely smooth. This transformation is the commercial’s core proof point: FAST BLENDING POWER. 00:08.2–00:09.5 — INSTANT RESULT. The motor stops cleanly. Cut to a 100mm macro beauty shot looking through the clear pitcher wall at the perfectly smooth smoothie surface settling from a gentle spiral into a glossy, uniform texture. A small central swirl collapses naturally. No chunks remain. Condensation beads on the exterior catch bright highlights. Use shallow depth of field while retaining enough pitcher edge detail to identify the product. Sound drops from the motor into a satisfying soft stop, followed by a subtle musical accent. A confident female voice-over begins: “Powerful blending…” 00:09.5–00:11.5 — POUR AND PROOF. Match the circular smoothie motion into a 50mm close-up of the mother tilting the same pitcher and pouring the thick smoothie into two clear family drinking glasses on the same countertop. The liquid forms a smooth continuous ribbon with realistic viscosity and no splashing errors. The pitcher’s remaining fill level decreases correctly. Camera tracks gently with the pour from left to right. The daughter and son appear softly out of focus beyond the glasses, watching with excited expressions. As the glasses fill, rack focus briefly from the flowing smoothie to the children’s delighted reaction. Voice-over completes: “…smooth results in seconds.” 00:11.5–00:13.0 — FAMILY PAYOFF. Cut to a warm 35mm medium shot at the breakfast counter. The two children each take one synchronized first sip from their filled glasses, then immediately exchange impressed smiles. The mother stands behind them with a relaxed satisfied expression while the father takes a filled travel cup and moves toward frame-right, suggesting the blender has saved valuable morning time. Keep performances natural rather than exaggerated. The blender remains visible in the background on its original counter position, recognizable and unchanged. Morning sunlight and the same warm neutral palette continue without variation. The music opens into a bright satisfying resolution. The daughter gives a quick authentic smile and says: “That was fast!” 00:13.0–00:15.0 — PRODUCT HERO / BRAND END FRAME. Use a clean visual match cut from the child’s smoothie glass to the locked blender standing alone in a polished hero composition on the SAME kitchen counter. Shoot on an 85mm lens at slightly below pitcher midpoint for a confident premium product perspective. The blender occupies the center-right of frame while a freshly poured smoothie glass, two strawberries, several blueberries, and one mango slice form a restrained ingredient arrangement in the lower foreground-left. These garnish ingredients are separate presentation ingredients introduced only for the hero composition and must not imply that previously blended ingredients have magically reappeared. Create a slow controlled 5% push-in during the final two seconds. Frame-left morning sunlight creates a clean edge highlight along the clear pitcher and matte-silver motor base. Maintain realistic reflections, exact product geometry, and crisp separation from the softly defocused kitchen background. At 00:13.3, introduce a clean broadcast-safe text overlay in the negative space on frame-left: “FAST BLENDING POWER” At 00:14.0, transition cleanly to the primary campaign line: “SMOOTH IN SECONDS.” Below it, smaller: “POWER FOR EVERY FAMILY MORNING.” Typography is modern, bold, minimal sans-serif, perfectly legible, horizontally aligned, broadcast-safe, with no distorted letters and no unnecessary graphical effects. Keep all typography outside the physical blender silhouette. Voice-over, confident and warm: “Fast power. Smooth mornings.” End exactly at 00:15.0 on a perfectly stable hero frame with the blender sharply resolved, smoothie glass visible, campaign line readable, music landing on a clean sonic logo accent. CAMERA AND EDITING RULES: Use motivated cuts whenever subject, visual information, camera position, action, or emotional emphasis changes. Maintain energetic medium-fast commercial pacing: wider contextual opening, rapid ingredient inserts, tactile activation close-up, high-energy blending demonstration, sensory result macro, fluid pouring shot, human reaction payoff, then a slower premium hero landing. Preserve the established 180-degree axis throughout. No camera crosses the axis unless visibly motivated, and no silent changes in object placement occur between cuts. Maintain consistent camera height for matching shot types. Screen direction remains left-to-right for preparation and family movement. Every shot must introduce new action, information, perspective, reaction, or product proof. AUDIO DESIGN: Begin with subtle morning kitchen ambience under upbeat modern percussive music. Synchronize fruit impacts, ice clinks, control click, motor acceleration, vortex intensity, motor stop, smoothie pour, drinking sounds, and final sonic logo precisely to picture. The blender motor must sound powerful but refined rather than harsh. Duck music naturally beneath the voice-over and daughter’s dialogue. No audio clipping or abrupt ambience resets between cuts. VISUAL COLOR SYSTEM: warm off-white, pale natural oak, matte silver, fresh strawberry red, blueberry blue, mango golden-yellow, and creamy smoothie pink-red. Preserve natural skin tones and realistic food saturation. Use a premium contemporary commercial grade with moderate contrast, soft highlight roll-off, clean whites, controlled blacks, and no teal-orange exaggeration. MOVEMENT AND PHYSICS: All hands interact correctly with objects. Ingredients obey gravity. Liquid volume remains continuous. The pitcher fill level increases when ingredients are added, decreases when smoothie is poured, and never resets between shots. The blender stays physically planted on the counter during operation. The motor vortex follows plausible fluid dynamics. Hair, clothing, reflections, condensation, shadows, and liquid motion react naturally. Maintain strict character consistency, product consistency, object permanence, environment continuity, lighting continuity, and forward-only time progression across the full sequence. Render the final commercial at 24 fps, 16:9 broadcast aspect ratio, UHD 3840×2160 resolution, high-bitrate cinematic master quality, natural 180-degree shutter motion blur, realistic cinema-lens behavior, subtle fine sensor texture, clean compression, no visible digital artifacts, no temporal flicker, no frame interpolation artifacts, and photorealistic high-end commercial rendering. Preserve sharp product edges and legible end-frame typography while allowing natural depth-of-field falloff. The entire finished sequence must be EXACTLY 15 seconds long. Do not extend or shorten any beat. The central visual message must be immediately understandable without dialogue: a busy family morning becomes easier because this family blender turns whole ingredients and ice into a perfectly smooth drink with exceptional speed. The emotional progression is urgency → activation → power → instant proof → family satisfaction → premium product promise. Final audience takeaway: FAST BLENDING POWER. SMOOTH IN SECONDS.
0:15

PROMPT: Generate a continuous 15-second premium live-action broadcast TV commercial for a high-performance family kitchen blender, designed as an energetic, polished consumer-appliance advertisement emphasizing FAST BLENDING POWER. The commercial must tell a complete miniature visual story within exactly 15 seconds: a busy family needs breakfast quickly, fresh ingredients enter the blender, one touch unleashes powerful high-speed blending, a thick mixture transforms almost instantly into a perfectly smooth fruit smoothie, the family enjoys the result, and the commercial ends on a clean hero product shot with the promise: “Smooth in Seconds.” Maintain a consistent high-end contemporary commercial visual style throughout the entire sequence: photorealistic food photography, tactile ingredient detail, premium appliance surfaces, energetic but controlled camera movement, crisp natural highlights, appetizing freshness, believable family warmth, and polished broadcast-advertising finish. Shoot as if captured on an ARRI Alexa 35 cinema camera using a coordinated set of 24mm, 35mm, 50mm, 85mm, and 100mm macro cinema lenses. Preserve realistic perspective, physically plausible motion, natural depth of field, smooth highlight roll-off, subtle cinematic contrast, clean skin tones, rich food texture, controlled motion blur, and sharp product detail. The entire commercial takes place during one continuous bright weekday morning in the SAME modern family kitchen. The kitchen has warm off-white cabinetry, pale natural-oak counters, a large sunlit window frame-left, brushed stainless-steel fixtures, a small breakfast table in the background, subtle family-life details, and a clean uncluttered countertop. Warm morning sunlight enters consistently from frame-left at approximately 5200K, supplemented by soft interior fill, producing gentle directional shadows and bright natural reflections. Maintain the same architecture, counter layout, window position, furniture, appliances, background objects, lighting direction, and color palette throughout every shot. New camera angles reveal different perspectives of the same physical kitchen and must never create a different-looking location. LOCKED PRODUCT: one premium family countertop blender with a compact matte-silver motor base, black control panel, one illuminated circular speed control, large clear 1.8-liter blending pitcher, black fitted lid, stainless-steel blade assembly, sturdy black handle, and subtle unbranded front badge area. The blender’s shape, proportions, materials, controls, pitcher geometry, lid, handle, blade assembly, reflections, scale, and countertop position remain identical throughout every shot. It begins centered on the main kitchen counter and never changes location. LOCKED INGREDIENTS: fresh strawberries, banana pieces, blueberries, mango chunks, Greek yogurt, milk, and several ice cubes. Ingredients must retain recognizable colors and textures before entering the pitcher. Once added, object permanence must be respected: ingredients cannot reappear outside the blender. During blending, the mixture must transform physically and continuously from visibly chunky fruit and ice into a uniform thick pink-red smoothie. LOCKED FAMILY: a mother in her mid-30s with shoulder-length dark brown hair wearing a soft beige knit top and blue jeans; a father in his late-30s with short dark hair wearing a pale blue casual shirt; an approximately eight-year-old daughter with dark brown hair in a ponytail wearing a muted yellow T-shirt; and an approximately six-year-old son with short brown hair wearing a light green T-shirt. Preserve their exact ages, facial identity, hairstyle, wardrobe, body proportions, and appearance whenever visible. Their expressions progress naturally from hurried anticipation to impressed surprise to relaxed enjoyment. Avoid surreal food behavior, floating ingredients, impossible liquid physics, teleporting objects, changing blender geometry, inconsistent pitcher fill levels, duplicated fruit, warped hands, extra fingers, changing wardrobe, altered kitchen architecture, random background changes, excessive lens distortion, unreadable product geometry, fake plastic food textures, excessive camera shake, oversaturated grading, artificial CGI appearance, flickering light, exposure shifts, continuity resets, jumpy object positions, text artifacts, random labels, logos, watermarks, or unrelated products. 00:00–00:02.0 — OPENING PROBLEM / FAMILY MORNING RUSH. Begin with a dynamic 24mm wide establishing shot from approximately countertop height, looking diagonally across the kitchen while preserving a left-to-right spatial axis. The mother moves briskly toward the counter from frame-left as the two children wait near the breakfast area in the background, visibly eager and short on time. The father passes behind them preparing to leave. Morning sunlight streaks naturally through the frame-left window. The locked blender is already visible on the counter as the visual anchor, positioned prominently but naturally in the foreground-right. Use a smooth fast dolly-in toward the blender rather than a hard zoom. Small breakfast details suggest a busy school morning without cluttering the frame. Sound begins with subtle morning kitchen ambience, quick footsteps, a chair movement, and upbeat rhythmic music immediately establishing urgency. No spoken dialogue. 00:02.0–00:04.0 — INGREDIENT SPEED MONTAGE. Match-cut into a rapid sequence of three extremely concise food-preparation inserts totaling exactly two seconds. First, a 100mm macro close-up catches vivid strawberries and blueberries dropping into the clear pitcher, with realistic gravity, bounce, moisture, and fruit texture. Cut to banana pieces and mango chunks entering from above, maintaining the exact pitcher position and increasing fill level logically. Cut to a tight side insert as Greek yogurt, milk, and ice cubes enter last. Use crisp impact sounds synchronized with each ingredient: thump, splash, clink. Each insert changes visual information and advances the preparation; never repeat the same composition. Camera movement is minimal and precise so the speed comes primarily from editorial cutting. The blender remains OFF throughout these inserts. 00:04.0–00:05.2 — ONE-TOUCH ACTIVATION. Cut to an 85mm close-up from a low three-quarter front angle of the blender control panel. The mother’s right index finger enters naturally from frame-left and presses the illuminated circular control exactly once. Show believable fingertip compression against the control. The instant contact occurs, the control illumination brightens and the motor begins. Add a precise tactile click followed immediately by a confident rising electric motor sound. Use a subtle fast push-in timed to activation. The hand exits naturally; do not show multiple presses. 00:05.2–00:08.2 — POWER DEMONSTRATION / HERO BLENDING MOMENT. Cut to a dramatic but physically realistic 50mm close three-quarter view of the entire pitcher. The motor accelerates rapidly. Ice cubes and fruit initially tumble downward toward the stainless-steel blades, then form a powerful controlled vortex. Show the transformation continuously: recognizable strawberries, blueberries, banana, mango, yogurt, milk, and ice become progressively smaller and more integrated until the mixture turns into a completely smooth, thick pink-red smoothie. The action must communicate exceptional blending speed without supernatural physics. Condensation begins subtly on the outside of the pitcher. Tiny droplets and believable internal turbulence catch the frame-left morning light. During this three-second power demonstration, execute a controlled semicircular camera move of approximately 35 degrees around the front of the blender without crossing the established spatial axis. Begin slightly frame-left of the product and finish near frontal three-quarter. Maintain the blender base completely stable on the countertop with no unrealistic vibration or sliding. Use one brief 100mm macro insert lasting approximately 0.5 seconds to reveal the high-speed vortex and disappearing final fruit fragment, then return immediately to the matching three-quarter product angle. Sound design intensifies with a strong smooth motor whirr synchronized to the vortex, layered with the upbeat music. At approximately 00:07.6, the last visible fruit fragment disappears into the vortex. By 00:08.2 the mixture is visibly uniform, silky, and completely smooth. This transformation is the commercial’s core proof point: FAST BLENDING POWER. 00:08.2–00:09.5 — INSTANT RESULT. The motor stops cleanly. Cut to a 100mm macro beauty shot looking through the clear pitcher wall at the perfectly smooth smoothie surface settling from a gentle spiral into a glossy, uniform texture. A small central swirl collapses naturally. No chunks remain. Condensation beads on the exterior catch bright highlights. Use shallow depth of field while retaining enough pitcher edge detail to identify the product. Sound drops from the motor into a satisfying soft stop, followed by a subtle musical accent. A confident female voice-over begins: “Powerful blending…” 00:09.5–00:11.5 — POUR AND PROOF. Match the circular smoothie motion into a 50mm close-up of the mother tilting the same pitcher and pouring the thick smoothie into two clear family drinking glasses on the same countertop. The liquid forms a smooth continuous ribbon with realistic viscosity and no splashing errors. The pitcher’s remaining fill level decreases correctly. Camera tracks gently with the pour from left to right. The daughter and son appear softly out of focus beyond the glasses, watching with excited expressions. As the glasses fill, rack focus briefly from the flowing smoothie to the children’s delighted reaction. Voice-over completes: “…smooth results in seconds.” 00:11.5–00:13.0 — FAMILY PAYOFF. Cut to a warm 35mm medium shot at the breakfast counter. The two children each take one synchronized first sip from their filled glasses, then immediately exchange impressed smiles. The mother stands behind them with a relaxed satisfied expression while the father takes a filled travel cup and moves toward frame-right, suggesting the blender has saved valuable morning time. Keep performances natural rather than exaggerated. The blender remains visible in the background on its original counter position, recognizable and unchanged. Morning sunlight and the same warm neutral palette continue without variation. The music opens into a bright satisfying resolution. The daughter gives a quick authentic smile and says: “That was fast!” 00:13.0–00:15.0 — PRODUCT HERO / BRAND END FRAME. Use a clean visual match cut from the child’s smoothie glass to the locked blender standing alone in a polished hero composition on the SAME kitchen counter. Shoot on an 85mm lens at slightly below pitcher midpoint for a confident premium product perspective. The blender occupies the center-right of frame while a freshly poured smoothie glass, two strawberries, several blueberries, and one mango slice form a restrained ingredient arrangement in the lower foreground-left. These garnish ingredients are separate presentation ingredients introduced only for the hero composition and must not imply that previously blended ingredients have magically reappeared. Create a slow controlled 5% push-in during the final two seconds. Frame-left morning sunlight creates a clean edge highlight along the clear pitcher and matte-silver motor base. Maintain realistic reflections, exact product geometry, and crisp separation from the softly defocused kitchen background. At 00:13.3, introduce a clean broadcast-safe text overlay in the negative space on frame-left: “FAST BLENDING POWER” At 00:14.0, transition cleanly to the primary campaign line: “SMOOTH IN SECONDS.” Below it, smaller: “POWER FOR EVERY FAMILY MORNING.” Typography is modern, bold, minimal sans-serif, perfectly legible, horizontally aligned, broadcast-safe, with no distorted letters and no unnecessary graphical effects. Keep all typography outside the physical blender silhouette. Voice-over, confident and warm: “Fast power. Smooth mornings.” End exactly at 00:15.0 on a perfectly stable hero frame with the blender sharply resolved, smoothie glass visible, campaign line readable, music landing on a clean sonic logo accent. CAMERA AND EDITING RULES: Use motivated cuts whenever subject, visual information, camera position, action, or emotional emphasis changes. Maintain energetic medium-fast commercial pacing: wider contextual opening, rapid ingredient inserts, tactile activation close-up, high-energy blending demonstration, sensory result macro, fluid pouring shot, human reaction payoff, then a slower premium hero landing. Preserve the established 180-degree axis throughout. No camera crosses the axis unless visibly motivated, and no silent changes in object placement occur between cuts. Maintain consistent camera height for matching shot types. Screen direction remains left-to-right for preparation and family movement. Every shot must introduce new action, information, perspective, reaction, or product proof. AUDIO DESIGN: Begin with subtle morning kitchen ambience under upbeat modern percussive music. Synchronize fruit impacts, ice clinks, control click, motor acceleration, vortex intensity, motor stop, smoothie pour, drinking sounds, and final sonic logo precisely to picture. The blender motor must sound powerful but refined rather than harsh. Duck music naturally beneath the voice-over and daughter’s dialogue. No audio clipping or abrupt ambience resets between cuts. VISUAL COLOR SYSTEM: warm off-white, pale natural oak, matte silver, fresh strawberry red, blueberry blue, mango golden-yellow, and creamy smoothie pink-red. Preserve natural skin tones and realistic food saturation. Use a premium contemporary commercial grade with moderate contrast, soft highlight roll-off, clean whites, controlled blacks, and no teal-orange exaggeration. MOVEMENT AND PHYSICS: All hands interact correctly with objects. Ingredients obey gravity. Liquid volume remains continuous. The pitcher fill level increases when ingredients are added, decreases when smoothie is poured, and never resets between shots. The blender stays physically planted on the counter during operation. The motor vortex follows plausible fluid dynamics. Hair, clothing, reflections, condensation, shadows, and liquid motion react naturally. Maintain strict character consistency, product consistency, object permanence, environment continuity, lighting continuity, and forward-only time progression across the full sequence. Render the final commercial at 24 fps, 16:9 broadcast aspect ratio, UHD 3840×2160 resolution, high-bitrate cinematic master quality, natural 180-degree shutter motion blur, realistic cinema-lens behavior, subtle fine sensor texture, clean compression, no visible digital artifacts, no temporal flicker, no frame interpolation artifacts, and photorealistic high-end commercial rendering. Preserve sharp product edges and legible end-frame typography while allowing natural depth-of-field falloff. The entire finished sequence must be EXACTLY 15 seconds long. Do not extend or shorten any beat. The central visual message must be immediately understandable without dialogue: a busy family morning becomes easier because this family blender turns whole ingredients and ice into a perfectly smooth drink with exceptional speed. The emotional progression is urgency → activation → power → instant proof → family satisfaction → premium product promise. Final audience takeaway: FAST BLENDING POWER. SMOOTH IN SECONDS.

Gumvue Studio

20,808 Aufrufe • vor 1 Monat

🚨 ALERT AMERICA - WE HAVE BEEN SOLD OUT! FLORIDA DID NOT VOTE FOR AN ISLAMIC TAKEOVER A Foreign Islamic Government Just Opened an Investment Command Center in Miami – And No One Asked the People of Florida In February, Miami Mayor Francis Suarez proudly announced something no one in Florida voted for: “The Saudi Investment Promotion Authority is opening its first-ever Invest Saudi office right here in Miami.” He said this on stage at the FII Priority Summit — the Saudi state-backed investment conference often called “Davos in the Desert.” This year, it was held on American soil - in Miami - with Donald Trump and major global power brokers applauding. And in the middle of the ceremony, something unprecedented happened: Saudi Arabia officially planted its first sovereign investment office in Florida – and only its second in the United States. No legislation. No vote. No debate in the Florida House or Senate. No public oversight. A foreign government embedded itself in America’s economic system — and Miami’s mayor smiled for the cameras. 🚨 What Saudi Arabia Gains Inside the U.S. Through its $941B+ (approaching $1T) Public Investment Fund (PIF) and the Ministry of Investment, Saudi Arabia can now: Buy U.S. real estate Buy U.S. commercial buildings Buy into U.S. tech & AI Buy stakes in entertainment and sports Influence U.S. markets Host state-backed summits on U.S. soil Operate an official “Invest Saudi” office inside Miami This is unprecedented access for any foreign state. 🚨 And Saudi Isn’t Alone: Other Islamic Monarchies Are Already Deep Inside America While Florida opens the door for Riyadh, the UAE and Qatar have been quietly building massive U.S. economic empires - with no public approval. United Arab Emirates (UAE) Pledged $1.4 trillion in U.S. investments over 10 years (announced March 2025 under Trump). Mubadala (sovereign fund, $327B+) appointed its first head of Americas real estate in July 2025. Snapping up U.S. properties, tech, and infrastructure from New York to Silicon Valley. Abu Dhabi Investment Office (ADIO) scouts U.S. innovation to convert into Emirati profit. 🚨 Qatar QIA ($557B fund) opened U.S. offices in New York (2015) and San Francisco. Has poured billions into Manhattan skyscrapers, Uber, Snapchat, and Hollywood. In May 2025, Qatar agreed to a $1.2 trillion economic exchange with the U.S. Includes the largest Boeing widebody order in history and $500B+ in new AI and energy investment. Americans are still blocked from owning Qatari media or strategic assets. 🚨 Combined Gulf Power Saudi Arabia, UAE, and Qatar control well over $2.8 trillion in sovereign wealth — and are using it to buy influence across American sectors from sports to AI. None of this was approved by the American public. Now Ask the Only Question That Matters Can the United States open a government-backed “Invest America” office inside Riyadh, Dubai, or Doha? No. Absolutely not. It would be rejected instantly. These Islamic monarchies do not allow: U.S. ownership of their land U.S. ownership of their media U.S. ownership of government-adjacent real estate U.S. control of strategic infrastructure U.S. influence over their culture or policy A U.S. government investment office operating on their soil Americans in the Gulf can only work in sectors the regimes approve — never anything strategic. Yet Florida just opened its doors fully to them. Floridians Never Voted For This Florida residents didn’t approve this. The Legislature didn’t vote on it. The Governor didn’t authorize it. This was an elite decision made by Miami’s political and business class - turning the city into a playground for foreign sovereign wealth from Riyadh, Abu Dhabi, and Doha. A foreign government now has a permanent economic foothold in Florida, designed to: Deploy billions into U.S. markets Influence key American industries Expand Gulf reach into Latin America Position Miami as a foreign economic hub Increase U.S. dependence on Islamic monarchy capital 🚨 Not one Florida voter signed off. This Is About Sovereignty This is not about individuals or personal beliefs. This is about sovereignty, power, and national survival. No free nation survives when it allows foreign governments to do inside its borders what it cannot do inside theirs — especially governments that tightly restrict American access to their own markets. 🚨 So Ask Yourself Why is the United States allowing foreign influence that Gulf states would never tolerate? Why is Florida being used as the entry point? Why is Miami becoming the soft-power capital for foreign Islamic monarchies? Why are our leaders surrendering economic and technological leverage without public debate — to Saudi Arabia, the UAE, and Qatar? And most importantly: Who gave them permission to sell off pieces of America without asking the American people?
0:12

🚨 ALERT AMERICA - WE HAVE BEEN SOLD OUT! FLORIDA DID NOT VOTE FOR AN ISLAMIC TAKEOVER A Foreign Islamic Government Just Opened an Investment Command Center in Miami – And No One Asked the People of Florida In February, Miami Mayor Francis Suarez proudly announced something no one in Florida voted for: “The Saudi Investment Promotion Authority is opening its first-ever Invest Saudi office right here in Miami.” He said this on stage at the FII Priority Summit — the Saudi state-backed investment conference often called “Davos in the Desert.” This year, it was held on American soil - in Miami - with Donald Trump and major global power brokers applauding. And in the middle of the ceremony, something unprecedented happened: Saudi Arabia officially planted its first sovereign investment office in Florida – and only its second in the United States. No legislation. No vote. No debate in the Florida House or Senate. No public oversight. A foreign government embedded itself in America’s economic system — and Miami’s mayor smiled for the cameras. 🚨 What Saudi Arabia Gains Inside the U.S. Through its $941B+ (approaching $1T) Public Investment Fund (PIF) and the Ministry of Investment, Saudi Arabia can now: Buy U.S. real estate Buy U.S. commercial buildings Buy into U.S. tech & AI Buy stakes in entertainment and sports Influence U.S. markets Host state-backed summits on U.S. soil Operate an official “Invest Saudi” office inside Miami This is unprecedented access for any foreign state. 🚨 And Saudi Isn’t Alone: Other Islamic Monarchies Are Already Deep Inside America While Florida opens the door for Riyadh, the UAE and Qatar have been quietly building massive U.S. economic empires - with no public approval. United Arab Emirates (UAE) Pledged $1.4 trillion in U.S. investments over 10 years (announced March 2025 under Trump). Mubadala (sovereign fund, $327B+) appointed its first head of Americas real estate in July 2025. Snapping up U.S. properties, tech, and infrastructure from New York to Silicon Valley. Abu Dhabi Investment Office (ADIO) scouts U.S. innovation to convert into Emirati profit. 🚨 Qatar QIA ($557B fund) opened U.S. offices in New York (2015) and San Francisco. Has poured billions into Manhattan skyscrapers, Uber, Snapchat, and Hollywood. In May 2025, Qatar agreed to a $1.2 trillion economic exchange with the U.S. Includes the largest Boeing widebody order in history and $500B+ in new AI and energy investment. Americans are still blocked from owning Qatari media or strategic assets. 🚨 Combined Gulf Power Saudi Arabia, UAE, and Qatar control well over $2.8 trillion in sovereign wealth — and are using it to buy influence across American sectors from sports to AI. None of this was approved by the American public. Now Ask the Only Question That Matters Can the United States open a government-backed “Invest America” office inside Riyadh, Dubai, or Doha? No. Absolutely not. It would be rejected instantly. These Islamic monarchies do not allow: U.S. ownership of their land U.S. ownership of their media U.S. ownership of government-adjacent real estate U.S. control of strategic infrastructure U.S. influence over their culture or policy A U.S. government investment office operating on their soil Americans in the Gulf can only work in sectors the regimes approve — never anything strategic. Yet Florida just opened its doors fully to them. Floridians Never Voted For This Florida residents didn’t approve this. The Legislature didn’t vote on it. The Governor didn’t authorize it. This was an elite decision made by Miami’s political and business class - turning the city into a playground for foreign sovereign wealth from Riyadh, Abu Dhabi, and Doha. A foreign government now has a permanent economic foothold in Florida, designed to: Deploy billions into U.S. markets Influence key American industries Expand Gulf reach into Latin America Position Miami as a foreign economic hub Increase U.S. dependence on Islamic monarchy capital 🚨 Not one Florida voter signed off. This Is About Sovereignty This is not about individuals or personal beliefs. This is about sovereignty, power, and national survival. No free nation survives when it allows foreign governments to do inside its borders what it cannot do inside theirs — especially governments that tightly restrict American access to their own markets. 🚨 So Ask Yourself Why is the United States allowing foreign influence that Gulf states would never tolerate? Why is Florida being used as the entry point? Why is Miami becoming the soft-power capital for foreign Islamic monarchies? Why are our leaders surrendering economic and technological leverage without public debate — to Saudi Arabia, the UAE, and Qatar? And most importantly: Who gave them permission to sell off pieces of America without asking the American people?

Amy Mek

384,147 Aufrufe • vor 9 Monaten

The faggots showed “routes of Ukrainian drones” to the Leningrad region — through the territory of Belarus and NATO countries (Picture #1). Now let’s look at reality, confirmed exclusively by their own official sources. Here’s how the air raid alerts developed in Russia on these days: Video for March 23 (Video #1) Video for March 25 (Video #2) Video for March 26 (Video #3) We’ve been working for a long time on our own website — an independent analog of the Ukrainian air alert site, but for the Russian swamps. It shows not only the alerts, but also the work of their air defense. We just managed to finish the recording and history function right before the strikes on the Leningrad region. Interesting detail: as soon as an air alert is declared in the Leningrad region itself, literally a few minutes later it is immediately announced in the Bryansk, Smolensk, Tver, and other regions that lie “on the way” to Leningrad. We do not rule out that the drones could have flown over the eastern districts of Belarus. That option is theoretically possible. However, there is zero confirmation: Belarusian chats in those areas were silent, locals wrote nothing, and no objective evidence (video or photos) has appeared. A simple logical question for all their “experts”: If our drones were not flying over Russian territory, but somehow cruising through NATO countries, then why the fuck did you declare air alerts across the entire country? What exactly were your air defense systems “shooting down” over your own regions? Why did the alerts trigger exactly in the regions that, according to your version, the drones never flew over? And the most interesting part — why does this alert pattern lead perfectly straight to the Leningrad region, where real strikes and fires occurred on exactly those dates? - Night of March 23 — massive attack on the Primorsk port (one of the key oil terminals on the Baltic). A fuel tank was damaged, and the fire burned for over a day. Governor Drozdenco claimed “over 50 drones shot down.” - Night of March 25 — strikes on the Ust-Luga port (Novatek terminal) and Vyborg (a ship was damaged, likely the icebreaker “Purga”, and the port itself). Fire in the port. They claimed “33 drones shot down.” - Night of March 26 — attack on the Kirishi Oil Refinery (KINEF) industrial zone. Fires confirmed by NASA FIRMS satellite imagery. They claimed “21+ drones shot down.” You faggots, when you lie about “routes through NATO”, at least try to coordinate your bullshit with your own official data. The picture is hilarious: alerts across the whole country, air defense working at full capacity, “hundreds shot down” — yet the drones supposedly “never flew over Russia.” Draw your own conclusions, friends. Logic has never been Russian propaganda’s strong suit.
0:16

The faggots showed “routes of Ukrainian drones” to the Leningrad region — through the territory of Belarus and NATO countries (Picture #1). Now let’s look at reality, confirmed exclusively by their own official sources. Here’s how the air raid alerts developed in Russia on these days: Video for March 23 (Video #1) Video for March 25 (Video #2) Video for March 26 (Video #3) We’ve been working for a long time on our own website — an independent analog of the Ukrainian air alert site, but for the Russian swamps. It shows not only the alerts, but also the work of their air defense. We just managed to finish the recording and history function right before the strikes on the Leningrad region. Interesting detail: as soon as an air alert is declared in the Leningrad region itself, literally a few minutes later it is immediately announced in the Bryansk, Smolensk, Tver, and other regions that lie “on the way” to Leningrad. We do not rule out that the drones could have flown over the eastern districts of Belarus. That option is theoretically possible. However, there is zero confirmation: Belarusian chats in those areas were silent, locals wrote nothing, and no objective evidence (video or photos) has appeared. A simple logical question for all their “experts”: If our drones were not flying over Russian territory, but somehow cruising through NATO countries, then why the fuck did you declare air alerts across the entire country? What exactly were your air defense systems “shooting down” over your own regions? Why did the alerts trigger exactly in the regions that, according to your version, the drones never flew over? And the most interesting part — why does this alert pattern lead perfectly straight to the Leningrad region, where real strikes and fires occurred on exactly those dates? - Night of March 23 — massive attack on the Primorsk port (one of the key oil terminals on the Baltic). A fuel tank was damaged, and the fire burned for over a day. Governor Drozdenco claimed “over 50 drones shot down.” - Night of March 25 — strikes on the Ust-Luga port (Novatek terminal) and Vyborg (a ship was damaged, likely the icebreaker “Purga”, and the port itself). Fire in the port. They claimed “33 drones shot down.” - Night of March 26 — attack on the Kirishi Oil Refinery (KINEF) industrial zone. Fires confirmed by NASA FIRMS satellite imagery. They claimed “21+ drones shot down.” You faggots, when you lie about “routes through NATO”, at least try to coordinate your bullshit with your own official data. The picture is hilarious: alerts across the whole country, air defense working at full capacity, “hundreds shot down” — yet the drones supposedly “never flew over Russia.” Draw your own conclusions, friends. Logic has never been Russian propaganda’s strong suit.

DroneBomber

94,292 Aufrufe • vor 4 Monaten

Lads. Sit down and give me your ear a while, for I have watched from the water long enough and the hour is upon us whether we have the stomach for it or not. You remember. Or your fathers told you, or their fathers did, and the knowledge of it is in the marrow of you whether you drew breath in those days or not. The moors in the grey hour before dawn. Wet heather soft under the boot. Peat smoke rising from a low stone chimney a mile out across the bog, thin as a prayer. A sky the colour of a gun barrel and the gulls lamenting above the headland. The smell of turf burning, and wet wool, and the ferrous tang of the sea when the wind swung around out of the Atlantic and put the taste of iron on your tongue. A man could walk that land and know every stone of it was his by inheritance, because his grandfather had broken his back upon it, and his grandfather before him, back through the generations until you reach men whose names are lost and whose bones are in the soil you are standing on. The potato fields. God be good to us, the potato fields. Lazy beds cut straight as a gunwale, the ridges black and shining after a night of rain, women bent double with creels lashed to their backs and the children at their skirts, drawing the crop up by the hand for there was never any other means devised nor wanted. Hands split open at the knuckles and never entirely healed in this life. Hunger within living memory. Grandmothers who had seen the blight with their own eyes and would not speak of it from the year of it until the day they were laid down, save that a crust was kept always on the dresser which no soul in that house was permitted to touch. Not ever. Not for any reason under heaven. And the chimney sweeps. Wee lads no heavier than a sack of meal, black to the bone with soot, their lungs ruined before they were old enough to marry and old men entirely by thirty. Up the flues at first light, the skin worn off them by the brick, eyes crimson at the rim, breathing the black in with every draw of air. And the coal miners a half mile beneath our feet, down in the wet dark, the roof of the world muttering over their heads, the canary gone silent, a man's whole existence measured out in the shilling a ton and the dust he carried home in his chest to cough up of a Sunday morning into a rag. Fathers who descended and were never hauled up again. Widows at the pit head with the shawl drawn over the head and no tears remaining in them for they had spent those long ago. That was the tariff paid to keep the hearth lit. That was the reckoning of being warm in winter in the Ireland that was. And after the labouring week, Friday evening, and a man had earned the peace of what followed. Home first. Peeled the day off him in the yard. A shower of ice cold moor river water out of a tin bucket punctured with holes, hung on a nail on the gable wall, the water running clean down the back of him and carrying the week's dust and sweat away into the drain. Scrubbed till the skin was pink beneath the grime. Clean shirt laid out by the wife. The hair combed down with a drop of water. Then, and only then, did a man set himself to the table. A meat pie from the baker, tenpence if he was known to you, a shilling and no change if he was not, put down upon a proper plate. Fish and chips for threepence, the salt and vinegar soaked through the newspaper, but carried home and ate slowly at your own table with your people around you, not walked with through the streets like some vagrant tinker off the road. A man ate as a man who had earned his portion, for he had. And later, with the dishes cleared and the kettle set, down the road to the tavern. Low beams black with a century of smoke. A turf fire muttering in the grate. The air thick with pipe smoke and the vapour of wet overcoats steaming themselves dry on the backs of chairs. A pint of stout, cold and black as a cove at midnight, elevenpence laid down on the counter, a head on it thick enough to strike a match upon. A second one because you had it coming to you and no man present would dispute it. A fiddle starting up in the corner of its own accord. The old men in the snug who remembered matters the history books had long since mislaid. A song before the bolt was thrown on the door. The walk home beneath a firmament crowded with stars, the stout warm in the gut of you, the week behind you, and your own door waiting with the latch unlocked for you had no enemies in that parish. That was the country. That was the covenant. Honest labour, plain food, a cold wash, a hot meal, a cold pint, your own tongue in your own mouth, your own soil beneath your boots, and no man standing above you save the Almighty Himself. Now regard her. Regard her close. The fields disposed of to men who have never set foot upon them and never shall. The harbours signed away by the stroke of a pen in a room you were not admitted to, and foreign keels dragging out of our waters the living that sustained this island for a thousand years, while our own boats rot at their moorings for want of a quota. The tradesmen undercut by imported labour and imported goods. The shops shuttered along every main street from Donegal to Cork. The young ones scattered to London and Sydney and Boston and the Gulf because there is nothing remaining for them beneath their own roof. And the entirety of this rotten arrangement dressed up in the soft mannerly language of progress by men in towers of glass who could not tell a lazy bed from a grave, nor a trawler from a tugboat, nor an honest day's work from a pension plan. And now they arrive with the next imposition. A digital identity. A number assigned to each soul. A card required to buy your bread. A code required to draw your own earnings out of your own account. A file kept on every man, woman and child from the cradle forward. Permission asked to move. Permission asked to speak. Permission asked to earn. A levy upon every breath drawn and a regulation upon every step taken. No. And no again. And no for a third time so there is no misunderstanding of it. We do not require your digital identity. We did not request it. We did not vote upon it. We do not consent to it. We do not need your permission to exist upon the soil our forefathers are buried in. We are a free people. We have carried ourselves this far upon our own two backs. Through famine and empire and civil war and black lung and blight and the emigrant ship out of Cobh, we have come this distance under our own steam, and the arrangement appears to be serving us well enough without your intervention. We buried our own. We fed our own. We raised our own roofs and took our own fish and reared our own children in our own tongue. We are in your debt for nothing. Not a signature. Not a biometric scan. Not a single solitary inch. And while we are upon the subject, let us speak plainly of the tax man, for he has gone too long without proper introduction. The tax collector and the tax man are the one article under two names, and the article is a parasite. There is no dressing it up finer than that. A man who produces nothing, who grows nothing, who catches nothing, who builds nothing, who mends nothing, who has never in his professional life lifted anything heavier than a pen, and who arrives at your door with the full apparatus of the state at his back to carry off the fruits of labour he did not perform. He is a middleman between your sweat and some scheme dreamt up in a committee room by his own kind, and the great majority of what he takes is consumed by the machinery of the taking itself before ever a penny of it reaches the road or the hospital or the schoolhouse he claims to be funding. And I will go further while I have the floor. Finance itself, the whole apparatus of it, money breeding money in the dark without a hand laid upon a tool or a spade turned in the earth, is slavery dressed in a good suit. It is the oldest swindle known to man and it has never been anything other. A man who produces nothing yet lives off the productive labour of others through the charging of interest upon money conjured out of nothing is a parasite of a rarer and more refined order than the tax man, but a parasite all the same, and between the pair of them they have the working people of this island bled white and lectured at for the pleasure. A man who will not work with his hands, nor with his back, nor with his mind at some honest problem of the real physical world, is no man that I recognise. He is a ledger entry in a suit. The country was not built by ledger entries. The country was built by farmers and fishermen and masons and smiths and sweeps and miners and shipwrights and midwives and mothers, and those are the people whose say should carry in her councils, and no other. Here is what I put to you. Let each man and woman of this island direct the first tenth of their earnings themselves, by their own judgement, to the purpose they see as worthy. The school down the road. The lifeboat station. The hospice. The widow on the corner. The roof of the chapel. The harbour wall. Whatever it may be. Let the people who earned the money decide where the money travels. You will find the roads mended and the ports dredged and the schools standing and the old ones cared for inside of five years, and done better and for less, because the hand that earned the coin knows the weight of it and will not squander it upon consultants and committees. And let us have done with the paper currency and the numbers in a screen that can be frozen at the whim of a clerk in a tower. Bring back the coin. Gold for the great transactions. Silver for the weekly commerce of a working life. Copper for the small change of the day. Metal you can bite. Metal you can weigh. Metal that cannot be conjured out of nothing by a keystroke, nor erased out of existence by another. Real money for real labour. A coin in the hand is a free man's wage. A number in a database is a collar around a free man's neck, and they are fitting that collar now while we stand arguing over the colour of it. Feel it in your gut. That is not nothing. That is your blood relating to you what your ears will not hear. That is every forebear who starved and fought and coughed the black dust into a rag and descended the shaft regardless, standing at your shoulder and saying no further. Not one more field. Not one more harbour. Not one more son upon a plane. Not one more free man converted into a number in a ledger for the convenience of the parasites. This is the hour. Make no error about it. Ireland is redeemed in this generation or she is lost beyond recovery, and every true son and daughter of her knows it in the marrow. There is no middle ground remaining. There is no waiting it out. There is standing now, upon your own two feet, or there is watching her go under the waves for the last and final time. So stand. Stand with your farmers. Stand with your fishermen. Stand with your tradesmen and your miners and your sweeps and your mothers and your old ones. Raise the tricolour. Speak the tongue. Walk the land. Hold the line in the streets of every town and city and do not break it, for they are relying upon you to break and to go home and to forget by Tuesday. She is calling her children home. Every stone of her, every breaker on her western shore, every acre of wet heather and every coal in every hearth the length and breadth of her is calling. Answer her. Take her back. Every field, every harbour, every last inch of her. Take her back, or lose her entirely. There is no third road open to us.
0:10

Lads. Sit down and give me your ear a while, for I have watched from the water long enough and the hour is upon us whether we have the stomach for it or not. You remember. Or your fathers told you, or their fathers did, and the knowledge of it is in the marrow of you whether you drew breath in those days or not. The moors in the grey hour before dawn. Wet heather soft under the boot. Peat smoke rising from a low stone chimney a mile out across the bog, thin as a prayer. A sky the colour of a gun barrel and the gulls lamenting above the headland. The smell of turf burning, and wet wool, and the ferrous tang of the sea when the wind swung around out of the Atlantic and put the taste of iron on your tongue. A man could walk that land and know every stone of it was his by inheritance, because his grandfather had broken his back upon it, and his grandfather before him, back through the generations until you reach men whose names are lost and whose bones are in the soil you are standing on. The potato fields. God be good to us, the potato fields. Lazy beds cut straight as a gunwale, the ridges black and shining after a night of rain, women bent double with creels lashed to their backs and the children at their skirts, drawing the crop up by the hand for there was never any other means devised nor wanted. Hands split open at the knuckles and never entirely healed in this life. Hunger within living memory. Grandmothers who had seen the blight with their own eyes and would not speak of it from the year of it until the day they were laid down, save that a crust was kept always on the dresser which no soul in that house was permitted to touch. Not ever. Not for any reason under heaven. And the chimney sweeps. Wee lads no heavier than a sack of meal, black to the bone with soot, their lungs ruined before they were old enough to marry and old men entirely by thirty. Up the flues at first light, the skin worn off them by the brick, eyes crimson at the rim, breathing the black in with every draw of air. And the coal miners a half mile beneath our feet, down in the wet dark, the roof of the world muttering over their heads, the canary gone silent, a man's whole existence measured out in the shilling a ton and the dust he carried home in his chest to cough up of a Sunday morning into a rag. Fathers who descended and were never hauled up again. Widows at the pit head with the shawl drawn over the head and no tears remaining in them for they had spent those long ago. That was the tariff paid to keep the hearth lit. That was the reckoning of being warm in winter in the Ireland that was. And after the labouring week, Friday evening, and a man had earned the peace of what followed. Home first. Peeled the day off him in the yard. A shower of ice cold moor river water out of a tin bucket punctured with holes, hung on a nail on the gable wall, the water running clean down the back of him and carrying the week's dust and sweat away into the drain. Scrubbed till the skin was pink beneath the grime. Clean shirt laid out by the wife. The hair combed down with a drop of water. Then, and only then, did a man set himself to the table. A meat pie from the baker, tenpence if he was known to you, a shilling and no change if he was not, put down upon a proper plate. Fish and chips for threepence, the salt and vinegar soaked through the newspaper, but carried home and ate slowly at your own table with your people around you, not walked with through the streets like some vagrant tinker off the road. A man ate as a man who had earned his portion, for he had. And later, with the dishes cleared and the kettle set, down the road to the tavern. Low beams black with a century of smoke. A turf fire muttering in the grate. The air thick with pipe smoke and the vapour of wet overcoats steaming themselves dry on the backs of chairs. A pint of stout, cold and black as a cove at midnight, elevenpence laid down on the counter, a head on it thick enough to strike a match upon. A second one because you had it coming to you and no man present would dispute it. A fiddle starting up in the corner of its own accord. The old men in the snug who remembered matters the history books had long since mislaid. A song before the bolt was thrown on the door. The walk home beneath a firmament crowded with stars, the stout warm in the gut of you, the week behind you, and your own door waiting with the latch unlocked for you had no enemies in that parish. That was the country. That was the covenant. Honest labour, plain food, a cold wash, a hot meal, a cold pint, your own tongue in your own mouth, your own soil beneath your boots, and no man standing above you save the Almighty Himself. Now regard her. Regard her close. The fields disposed of to men who have never set foot upon them and never shall. The harbours signed away by the stroke of a pen in a room you were not admitted to, and foreign keels dragging out of our waters the living that sustained this island for a thousand years, while our own boats rot at their moorings for want of a quota. The tradesmen undercut by imported labour and imported goods. The shops shuttered along every main street from Donegal to Cork. The young ones scattered to London and Sydney and Boston and the Gulf because there is nothing remaining for them beneath their own roof. And the entirety of this rotten arrangement dressed up in the soft mannerly language of progress by men in towers of glass who could not tell a lazy bed from a grave, nor a trawler from a tugboat, nor an honest day's work from a pension plan. And now they arrive with the next imposition. A digital identity. A number assigned to each soul. A card required to buy your bread. A code required to draw your own earnings out of your own account. A file kept on every man, woman and child from the cradle forward. Permission asked to move. Permission asked to speak. Permission asked to earn. A levy upon every breath drawn and a regulation upon every step taken. No. And no again. And no for a third time so there is no misunderstanding of it. We do not require your digital identity. We did not request it. We did not vote upon it. We do not consent to it. We do not need your permission to exist upon the soil our forefathers are buried in. We are a free people. We have carried ourselves this far upon our own two backs. Through famine and empire and civil war and black lung and blight and the emigrant ship out of Cobh, we have come this distance under our own steam, and the arrangement appears to be serving us well enough without your intervention. We buried our own. We fed our own. We raised our own roofs and took our own fish and reared our own children in our own tongue. We are in your debt for nothing. Not a signature. Not a biometric scan. Not a single solitary inch. And while we are upon the subject, let us speak plainly of the tax man, for he has gone too long without proper introduction. The tax collector and the tax man are the one article under two names, and the article is a parasite. There is no dressing it up finer than that. A man who produces nothing, who grows nothing, who catches nothing, who builds nothing, who mends nothing, who has never in his professional life lifted anything heavier than a pen, and who arrives at your door with the full apparatus of the state at his back to carry off the fruits of labour he did not perform. He is a middleman between your sweat and some scheme dreamt up in a committee room by his own kind, and the great majority of what he takes is consumed by the machinery of the taking itself before ever a penny of it reaches the road or the hospital or the schoolhouse he claims to be funding. And I will go further while I have the floor. Finance itself, the whole apparatus of it, money breeding money in the dark without a hand laid upon a tool or a spade turned in the earth, is slavery dressed in a good suit. It is the oldest swindle known to man and it has never been anything other. A man who produces nothing yet lives off the productive labour of others through the charging of interest upon money conjured out of nothing is a parasite of a rarer and more refined order than the tax man, but a parasite all the same, and between the pair of them they have the working people of this island bled white and lectured at for the pleasure. A man who will not work with his hands, nor with his back, nor with his mind at some honest problem of the real physical world, is no man that I recognise. He is a ledger entry in a suit. The country was not built by ledger entries. The country was built by farmers and fishermen and masons and smiths and sweeps and miners and shipwrights and midwives and mothers, and those are the people whose say should carry in her councils, and no other. Here is what I put to you. Let each man and woman of this island direct the first tenth of their earnings themselves, by their own judgement, to the purpose they see as worthy. The school down the road. The lifeboat station. The hospice. The widow on the corner. The roof of the chapel. The harbour wall. Whatever it may be. Let the people who earned the money decide where the money travels. You will find the roads mended and the ports dredged and the schools standing and the old ones cared for inside of five years, and done better and for less, because the hand that earned the coin knows the weight of it and will not squander it upon consultants and committees. And let us have done with the paper currency and the numbers in a screen that can be frozen at the whim of a clerk in a tower. Bring back the coin. Gold for the great transactions. Silver for the weekly commerce of a working life. Copper for the small change of the day. Metal you can bite. Metal you can weigh. Metal that cannot be conjured out of nothing by a keystroke, nor erased out of existence by another. Real money for real labour. A coin in the hand is a free man's wage. A number in a database is a collar around a free man's neck, and they are fitting that collar now while we stand arguing over the colour of it. Feel it in your gut. That is not nothing. That is your blood relating to you what your ears will not hear. That is every forebear who starved and fought and coughed the black dust into a rag and descended the shaft regardless, standing at your shoulder and saying no further. Not one more field. Not one more harbour. Not one more son upon a plane. Not one more free man converted into a number in a ledger for the convenience of the parasites. This is the hour. Make no error about it. Ireland is redeemed in this generation or she is lost beyond recovery, and every true son and daughter of her knows it in the marrow. There is no middle ground remaining. There is no waiting it out. There is standing now, upon your own two feet, or there is watching her go under the waves for the last and final time. So stand. Stand with your farmers. Stand with your fishermen. Stand with your tradesmen and your miners and your sweeps and your mothers and your old ones. Raise the tricolour. Speak the tongue. Walk the land. Hold the line in the streets of every town and city and do not break it, for they are relying upon you to break and to go home and to forget by Tuesday. She is calling her children home. Every stone of her, every breaker on her western shore, every acre of wet heather and every coal in every hearth the length and breadth of her is calling. Answer her. Take her back. Every field, every harbour, every last inch of her. Take her back, or lose her entirely. There is no third road open to us.

SiriusB

15,437 Aufrufe • vor 4 Monaten

Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below: SCENE CONTEXT A young woman sleeps on her side in her pink bedroom at night; in a single locked frame the room snaps instantly from night to morning like a finger-snap time jump. She sleepily half-wakes, turns over to find a white cat curled against her back, then pushes up to half-sitting and sees her room quietly tidied — her school uniform hung on the chair and her backpack packed on the vanity. ACTIVE REFERENCES >>: young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, sleeping then waking. 100% matches the reference. >>: fluffy white long-haired cat, adult, curled and pressed against her back. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. >>: school uniform — navy cardigan, white shirt, green-striped tie, plaid skirt, knee socks — draped and hung on the pink chair. 100% matches the reference. >>: solid pink backpack with front zip pocket and pink pompom keychain, packed and zipped, standing on the vanity table. 100% matches the reference. LOCATION MAP Pink bedroom, remembered corner by corner and held identical in every shot: - Screen-left: a wooden door with a brass knob, dark wood trim and wood wainscoting along the lower wall, blush-pink upper walls. - Beside the door: a large ornate pink-and-white Victorian dollhouse with a small pink chair at its base. - A white vanity desk with a trifold arched mirror, cluttered with cosmetics, brushes and small bottles, a pink desk chair tucked at it. - A wide window with sheer white curtains behind the vanity; a leafy potted plant beside it. - A tall brass floor lamp standing near the bed. - A wooden nightstand at the head of the bed with a small lamp, a framed photo, a tissue box and a cup. - The bed against the wall: carved wooden headboard, pink ruffled bedding, pink pillows, a soft pink blanket — the central anchor of the room. - A woven area rug over dark hardwood floor, a small wall shelf with items above the bed side. FIRST FRAME AND SPATIAL BLOCKING The first visible frame is a close-up of her sleeping face. She lies on her left side facing the bedside lamp / nightstand side, cheek on the pink pillow, hair loose, pink hair-roller clip visible, breathing slow. The bed's pink blanket is clean and clear. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 4.0s, 8.0s and 11.5s. The night-to-morning transition inside shot 1 is an instantaneous in-frame light change, not a cut. Real-time motion. No subtitles, no music. OPTICS Shot 1: 50° diagonal field of view, standard normal lens character, camera 0.6 to 0.8 meters from her face, shallow depth of field — closed eyelids, lashes, loose strands and the hair-roller clip razor-sharp, the room soft behind. Shot 2: 56° diagonal field of view, near-normal lens character, camera 1 meter, holding her face and the white cat against her back, rack focus available between them. Shot 3: 63° diagonal field of view, slightly-wide lens character, camera 1.5 to 2 meters, rising with her as she sits up, more of the room entering frame. Shot 4: 84° diagonal field of view, classic wide lens character, camera 2 meters, wide enough to reveal the tidied room — vanity, chair and bed together — then easing toward her. CAMERA Shot 1: locked close-up with a very slow creeping push-in; the framing does not change through the night-to-morning snap. Shot 2: small reframe and rack focus as she turns, pulling focus onto the cat curled at her back, then back to her reacting face. Shot 3: a smooth crane-up rising with her from lying to half-sitting, revealing the room behind the bed. Shot 4: a slow pan across the tidied room — uniform on the chair, packed backpack on the vanity — settling with a gentle push-in on her half-sitting figure and dawning expression. ACTION TIMING 0.0s to 2.0s: close on her sleeping face at night, perfectly still, breathing slow, cool dim room around her. 2.0s: an instantaneous in-frame light snap — the room flips from night to morning in a single frame, no cut, no dissolve; she does not move at all, only the light changes, like a finger-snap time jump. 2.0s to 4.0s: hold on her face now in soft warm morning light, still asleep for a beat. 4.0s HARD CUT. 4.0s to 8.0s: she sleepily half-opens her eyes, stirs, and turns over toward screen-right, discovering a fluffy white cat curled warmly against her back; her half-lidded eyes drift to it. 8.0s HARD CUT. 8.0s to 11.5s: she pushes herself up on one arm to half-sitting, hair mussed from sleep, blinking and groggy, beginning to glance around the room. 11.5s HARD CUT. 11.5s to 15.0s: reveal of the quietly tidied room — her navy cardigan and plaid skirt uniform hung neatly on the pink chair at the vanity, the packed pink backpack standing zipped on the vanity table, its pompom keychain still — her expression softening into slow, disbelieving realization as she takes it in. PHYSICS During the night-to-morning snap her body is absolutely motionless — only light changes, no drift, no shift. As she wakes, eyelids lift heavily, she rolls with natural weight and the mattress and blanket shift under her; the cat's long fur rises and falls with slow breathing and compresses softly where it presses to her back. Sitting up, her hair falls loose in individual strands, the blanket sliding down naturally, her supporting arm taking real weight. LIGHTING Cinematic and restrained throughout, never bright or flat. Night (pre-snap): low-key cool moonlight through the sheer curtains with a faint warm practical accent, deep but detailed shadow, moody film texture and soft grain. At the snap, the light flips instantly to soft warm directional morning sun through the sheer curtains — golden but controlled and filmic, gentle rolloff, faces readable, shadows soft, not overexposed or blown out. The warm-cool contrast and naturalistic grain carry the cinematic feel into every shot. AUDIO Shot 1: quiet steady sleeping breath, faint cool room tone; at the snap a soft airy shimmer-whoosh transient marks the time jump, then gentle morning birdsong and warm ambience fade in. Shot 2: a soft sleepy inhale, faint fur rustle as she finds the cat, a quiet purr. Shot 3: soft blanket rustle as she sits up. Shot 4: quiet held breath, faint ambient morning tone under her realization. No dialogue, no music, no subtitles. POSITIVE LOCKS Woman matches >> exactly, cat matches >> exactly, bedroom matches >> exactly and every listed corner — wooden door, dollhouse, vanity with trifold mirror, pink chair, brass floor lamp, wooden nightstand, carved bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. The bed's pink blanket is clean and clear — no laptop, bag, papers or objects resting on top of it. The night-to-morning transition is one instantaneous in-frame light change on a single locked framing; she does not move during it — no dissolve, no fade, no camera cut. The white cat lies pressed against her back. In the final shot the uniform hangs on the pink chair matching >> and the packed backpack sits on the vanity matching >>. Lighting stays cinematic and controlled, never bright or washed out.
0:15

Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below: SCENE CONTEXT A young woman sleeps on her side in her pink bedroom at night; in a single locked frame the room snaps instantly from night to morning like a finger-snap time jump. She sleepily half-wakes, turns over to find a white cat curled against her back, then pushes up to half-sitting and sees her room quietly tidied — her school uniform hung on the chair and her backpack packed on the vanity. ACTIVE REFERENCES >>: young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, sleeping then waking. 100% matches the reference. >>: fluffy white long-haired cat, adult, curled and pressed against her back. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. >>: school uniform — navy cardigan, white shirt, green-striped tie, plaid skirt, knee socks — draped and hung on the pink chair. 100% matches the reference. >>: solid pink backpack with front zip pocket and pink pompom keychain, packed and zipped, standing on the vanity table. 100% matches the reference. LOCATION MAP Pink bedroom, remembered corner by corner and held identical in every shot: - Screen-left: a wooden door with a brass knob, dark wood trim and wood wainscoting along the lower wall, blush-pink upper walls. - Beside the door: a large ornate pink-and-white Victorian dollhouse with a small pink chair at its base. - A white vanity desk with a trifold arched mirror, cluttered with cosmetics, brushes and small bottles, a pink desk chair tucked at it. - A wide window with sheer white curtains behind the vanity; a leafy potted plant beside it. - A tall brass floor lamp standing near the bed. - A wooden nightstand at the head of the bed with a small lamp, a framed photo, a tissue box and a cup. - The bed against the wall: carved wooden headboard, pink ruffled bedding, pink pillows, a soft pink blanket — the central anchor of the room. - A woven area rug over dark hardwood floor, a small wall shelf with items above the bed side. FIRST FRAME AND SPATIAL BLOCKING The first visible frame is a close-up of her sleeping face. She lies on her left side facing the bedside lamp / nightstand side, cheek on the pink pillow, hair loose, pink hair-roller clip visible, breathing slow. The bed's pink blanket is clean and clear. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 4.0s, 8.0s and 11.5s. The night-to-morning transition inside shot 1 is an instantaneous in-frame light change, not a cut. Real-time motion. No subtitles, no music. OPTICS Shot 1: 50° diagonal field of view, standard normal lens character, camera 0.6 to 0.8 meters from her face, shallow depth of field — closed eyelids, lashes, loose strands and the hair-roller clip razor-sharp, the room soft behind. Shot 2: 56° diagonal field of view, near-normal lens character, camera 1 meter, holding her face and the white cat against her back, rack focus available between them. Shot 3: 63° diagonal field of view, slightly-wide lens character, camera 1.5 to 2 meters, rising with her as she sits up, more of the room entering frame. Shot 4: 84° diagonal field of view, classic wide lens character, camera 2 meters, wide enough to reveal the tidied room — vanity, chair and bed together — then easing toward her. CAMERA Shot 1: locked close-up with a very slow creeping push-in; the framing does not change through the night-to-morning snap. Shot 2: small reframe and rack focus as she turns, pulling focus onto the cat curled at her back, then back to her reacting face. Shot 3: a smooth crane-up rising with her from lying to half-sitting, revealing the room behind the bed. Shot 4: a slow pan across the tidied room — uniform on the chair, packed backpack on the vanity — settling with a gentle push-in on her half-sitting figure and dawning expression. ACTION TIMING 0.0s to 2.0s: close on her sleeping face at night, perfectly still, breathing slow, cool dim room around her. 2.0s: an instantaneous in-frame light snap — the room flips from night to morning in a single frame, no cut, no dissolve; she does not move at all, only the light changes, like a finger-snap time jump. 2.0s to 4.0s: hold on her face now in soft warm morning light, still asleep for a beat. 4.0s HARD CUT. 4.0s to 8.0s: she sleepily half-opens her eyes, stirs, and turns over toward screen-right, discovering a fluffy white cat curled warmly against her back; her half-lidded eyes drift to it. 8.0s HARD CUT. 8.0s to 11.5s: she pushes herself up on one arm to half-sitting, hair mussed from sleep, blinking and groggy, beginning to glance around the room. 11.5s HARD CUT. 11.5s to 15.0s: reveal of the quietly tidied room — her navy cardigan and plaid skirt uniform hung neatly on the pink chair at the vanity, the packed pink backpack standing zipped on the vanity table, its pompom keychain still — her expression softening into slow, disbelieving realization as she takes it in. PHYSICS During the night-to-morning snap her body is absolutely motionless — only light changes, no drift, no shift. As she wakes, eyelids lift heavily, she rolls with natural weight and the mattress and blanket shift under her; the cat's long fur rises and falls with slow breathing and compresses softly where it presses to her back. Sitting up, her hair falls loose in individual strands, the blanket sliding down naturally, her supporting arm taking real weight. LIGHTING Cinematic and restrained throughout, never bright or flat. Night (pre-snap): low-key cool moonlight through the sheer curtains with a faint warm practical accent, deep but detailed shadow, moody film texture and soft grain. At the snap, the light flips instantly to soft warm directional morning sun through the sheer curtains — golden but controlled and filmic, gentle rolloff, faces readable, shadows soft, not overexposed or blown out. The warm-cool contrast and naturalistic grain carry the cinematic feel into every shot. AUDIO Shot 1: quiet steady sleeping breath, faint cool room tone; at the snap a soft airy shimmer-whoosh transient marks the time jump, then gentle morning birdsong and warm ambience fade in. Shot 2: a soft sleepy inhale, faint fur rustle as she finds the cat, a quiet purr. Shot 3: soft blanket rustle as she sits up. Shot 4: quiet held breath, faint ambient morning tone under her realization. No dialogue, no music, no subtitles. POSITIVE LOCKS Woman matches >> exactly, cat matches >> exactly, bedroom matches >> exactly and every listed corner — wooden door, dollhouse, vanity with trifold mirror, pink chair, brass floor lamp, wooden nightstand, carved bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. The bed's pink blanket is clean and clear — no laptop, bag, papers or objects resting on top of it. The night-to-morning transition is one instantaneous in-frame light change on a single locked framing; she does not move during it — no dissolve, no fade, no camera cut. The white cat lies pressed against her back. In the final shot the uniform hangs on the pink chair matching >> and the packed backpack sits on the vanity matching >>. Lighting stays cinematic and controlled, never bright or washed out.

Noor

13,996 Aufrufe • vor 1 Monat

Tribe Discovery Seedance 2.0 is smart enough to create truly realistic footage! What’s shown on the camera screen and the actual people being filmed look almost identical — same lighting, same movement. Made on CapCut Video Studio. Prompt: Create a 15 second, 16:9 photorealistic nighttime discovery film built around an unbranded early-2000s silver MiniDV camcorder with a flip-out LCD. The physical camcorder dominates the foreground; its LCD stays tack-sharp while the real people and jungle location behind it fall into creamy shallow-focus blur. Keep one continuous believable handheld setup: close to the camcorder, drifting, breathing and making tiny human corrections, never gimbal-smooth. 0.0–1.3s Extreme close foreground view of the closed LCD panel and the operator’s fingers. Under warm firelight and cool moonlight, the hand flips the screen open toward camera. Focus snaps naturally from the camcorder shell to the glowing LCD. Behind it: a remote indigenous tribe gathered in a jungle clearing at night, dark canopy and towering trees, all soft and indistinct. 1.3–3.5s The LCD shows two tribal men and a young woman crowding the MiniDV lens, curious and cautious, exchanging quick glances and small hand gestures while leaning close. Inside the LCD use authentic low-resolution CCD video: harsh direct-camera light, clipped skin highlights, warm reds from fire, cool cyan shadows, fine chroma noise, mild scanline texture and tiny unreadable REC/timecode icons. The exterior world stays warmer and softer, creating a convincing screen-within-screen contrast. 3.5–5.8s The operator subtly pivots right. Parallax shifts the LCD across frame while a tribesman wearing traditional woven cloth and body paint drifts through the blurred background. On the LCD, cut naturally to a low-angle wide-lens clip of a young tribeswoman crouching and slowly moving toward the lens. Allow slight exposure pumping and imperfect autofocus. 5.8–8.2s Continue the handheld orbit. A bright campfire blooms near the top edge, producing mild halation and realistic flare. The LCD shows several tribe members standing shoulder-to-shoulder, observing the camera with quiet intensity, occasionally shifting or exchanging looks, never staged or choreographed. 8.2–10.8s More people enter the soft background; one briefly passes close enough to become a large blurred shape. Keep the camcorder body on the right edge and LCD near center. Inside the LCD, jump between quick candid portraits: an elder looking steadily into the lens, a young man turning his head, then a small group of women and children leaning together. Cuts happen only inside the LCD while the outer shot remains continuous. 10.8–13.0s The operator dips the camcorder slightly, then corrects upward. Warm firelight flares from lower frame. LCD color briefly shifts greener and darker like an old auto-white-balance error, then recovers. Add one very brief analog video hiccup; no digital VFX, floating graphics or impossible distortion. 13.0–15.0s Finish on three or four tribe members bunching into the MiniDV frame, watching the camera with quiet curiosity as the real background group mirrors their energy in blur. End with a tiny handheld push toward the LCD and natural highlight bloom from the fire. VISUAL RULES: 24fps outer capture, 1/48 shutter feel, 35–50mm full-frame look, f/1.8–2.2, handheld micro-jitter, subtle rolling shutter during faster pivots, fine high-ISO grain, realistic skin, true fabric and body-paint texture, practical firelight mixed with cooler moonlight. No plastic skin, warped hands, duplicated people, morphing faces, floating objects, synthetic bokeh, perfect symmetry or glossy CGI. The MiniDV LCD must emit believable light and clearly look like footage from an older camera.
0:15

Tribe Discovery Seedance 2.0 is smart enough to create truly realistic footage! What’s shown on the camera screen and the actual people being filmed look almost identical — same lighting, same movement. Made on CapCut Video Studio. Prompt: Create a 15 second, 16:9 photorealistic nighttime discovery film built around an unbranded early-2000s silver MiniDV camcorder with a flip-out LCD. The physical camcorder dominates the foreground; its LCD stays tack-sharp while the real people and jungle location behind it fall into creamy shallow-focus blur. Keep one continuous believable handheld setup: close to the camcorder, drifting, breathing and making tiny human corrections, never gimbal-smooth. 0.0–1.3s Extreme close foreground view of the closed LCD panel and the operator’s fingers. Under warm firelight and cool moonlight, the hand flips the screen open toward camera. Focus snaps naturally from the camcorder shell to the glowing LCD. Behind it: a remote indigenous tribe gathered in a jungle clearing at night, dark canopy and towering trees, all soft and indistinct. 1.3–3.5s The LCD shows two tribal men and a young woman crowding the MiniDV lens, curious and cautious, exchanging quick glances and small hand gestures while leaning close. Inside the LCD use authentic low-resolution CCD video: harsh direct-camera light, clipped skin highlights, warm reds from fire, cool cyan shadows, fine chroma noise, mild scanline texture and tiny unreadable REC/timecode icons. The exterior world stays warmer and softer, creating a convincing screen-within-screen contrast. 3.5–5.8s The operator subtly pivots right. Parallax shifts the LCD across frame while a tribesman wearing traditional woven cloth and body paint drifts through the blurred background. On the LCD, cut naturally to a low-angle wide-lens clip of a young tribeswoman crouching and slowly moving toward the lens. Allow slight exposure pumping and imperfect autofocus. 5.8–8.2s Continue the handheld orbit. A bright campfire blooms near the top edge, producing mild halation and realistic flare. The LCD shows several tribe members standing shoulder-to-shoulder, observing the camera with quiet intensity, occasionally shifting or exchanging looks, never staged or choreographed. 8.2–10.8s More people enter the soft background; one briefly passes close enough to become a large blurred shape. Keep the camcorder body on the right edge and LCD near center. Inside the LCD, jump between quick candid portraits: an elder looking steadily into the lens, a young man turning his head, then a small group of women and children leaning together. Cuts happen only inside the LCD while the outer shot remains continuous. 10.8–13.0s The operator dips the camcorder slightly, then corrects upward. Warm firelight flares from lower frame. LCD color briefly shifts greener and darker like an old auto-white-balance error, then recovers. Add one very brief analog video hiccup; no digital VFX, floating graphics or impossible distortion. 13.0–15.0s Finish on three or four tribe members bunching into the MiniDV frame, watching the camera with quiet curiosity as the real background group mirrors their energy in blur. End with a tiny handheld push toward the LCD and natural highlight bloom from the fire. VISUAL RULES: 24fps outer capture, 1/48 shutter feel, 35–50mm full-frame look, f/1.8–2.2, handheld micro-jitter, subtle rolling shutter during faster pivots, fine high-ISO grain, realistic skin, true fabric and body-paint texture, practical firelight mixed with cooler moonlight. No plastic skin, warped hands, duplicated people, morphing faces, floating objects, synthetic bokeh, perfect symmetry or glossy CGI. The MiniDV LCD must emit believable light and clearly look like footage from an older camera.

MrDejie

55,084 Aufrufe • vor 25 Tagen

Part One: Are you Libtards SURE you want to talk about Arlington? Are you sure you want to talk about the National Guard? I don’t believe you are… I’ve got the FIRE for your “smoke” 🔥 First off, this “Press Conference” is a part of a Military Occupation, Government in Exile, and Continuity of Operations all outlined in Military Laws, Orders, Regulations, Customs, paired with multiple Executive Orders with National Emergencies = Presidential Emergency Action Documents (PEADs expand the Powers of the President known as Wartime Powers), Treaties, and bipartisan Federal Legislation. Second, the problem we have, too many know how to whine, complain, and distract people from how this Nation functions and operates = Legislation. 👉🏻 99.99999999% of Liberals. 👉🏻 85% of “Republicans.” The Military was founded first in this Nation. United States Army - June 14, 1775 War Articles (Military Law) - June 30, 1775 Continental Navy - October 13, 1775 Continental Marine Corps - November 10, 1775 Union Jack Flag (First Flag) - December 3, 1775 Declaration of Independence - July 4, 1776 United States Flag - June 14, 1777 Articles of Confederation - November 15, 1777 United States Constitution - September 17, 1787 Bill of Rights - December 15, 1791 Unconventional Warfare Publication by the Special Operations Command, April 2016, outlines a Government in Exile, which is a WWII History repeat operated by the United States Military. The Military Justice Act of 2016 is the United States Supreme Court clarifying Military Laws are separate from Federal. Liberals know NOTHING about our Military, Military History, Declaration of Independence, the Constitution, all while “claiming” to “support” them. “We the People” are the Government. The Declaration of Independence outlines our Rights as Americans fought and written and outlined by our Founders. The Constitution is a FRAMEWORK of how our Government is to operate and function to keep CONGRESS, our Representatives, in check. It’s been so jacked up for DECADES that 99% of people don’t even know what it’s supposed to look like. That’s fine. Only 1.7% to 1.9% fought each year during the Revolutionary War. Lead, Follow, or get the HELL out of the way. This “Press Conference” is FULL DISCLOSURE. “I will refer you to the Department of the Army.” “I will refer you to the National Guard.” “The Army has closed this issue.” This whole Arlington National Cemetery thing brings EVERYTHING from January 20, 2017, November 3, 2020, January 6, 2021, and January 20, 2021, FULL CIRCLE. “Be careful what you wish for.” - President Trump You heard the lady… “Refer to Arlington National Cemetery Rules and Regulations.” I also guess that's why on January 20, 2021, all these things took place: 1. National Guard on the perimeter of D.C., who were all the real National Guard, did NOT salute "Bidens" motorcade as it passed by. 2. The "National Guard" on the inside of the perimeter, seen up close on TV, their uniforms were ALL mismatched and NON-REGULATION, all Violations of Army Regulations 670-1. 3. "Biden" did not receive the traditional flight into D.C. on Air Force One by the United States Air Force as ALL other President-Elects. 4. 'Amazing Grace' was performed for "Biden" which is found in the Memorial Honors Army dot Mil. Page 9: ( 5. "Biden" raised his right hand and took Oath at 11:47 AM EST which is a violation of the 20th Amendment of the Constitution that specifically says: "The terms of the President and the Vice President shall end at noon on the 20th day of January, and the terms of Senators and Representatives at noon on the 3d day of January, of the years in which such terms would have ended if this article had not been ratified; and the terms of their successors shall then begin." Keyword: shall THEN. I guess that's why every other President swore in from 12:01 to 12:05 PM EST.
4:07

Part One: Are you Libtards SURE you want to talk about Arlington? Are you sure you want to talk about the National Guard? I don’t believe you are… I’ve got the FIRE for your “smoke” 🔥 First off, this “Press Conference” is a part of a Military Occupation, Government in Exile, and Continuity of Operations all outlined in Military Laws, Orders, Regulations, Customs, paired with multiple Executive Orders with National Emergencies = Presidential Emergency Action Documents (PEADs expand the Powers of the President known as Wartime Powers), Treaties, and bipartisan Federal Legislation. Second, the problem we have, too many know how to whine, complain, and distract people from how this Nation functions and operates = Legislation. 👉🏻 99.99999999% of Liberals. 👉🏻 85% of “Republicans.” The Military was founded first in this Nation. United States Army - June 14, 1775 War Articles (Military Law) - June 30, 1775 Continental Navy - October 13, 1775 Continental Marine Corps - November 10, 1775 Union Jack Flag (First Flag) - December 3, 1775 Declaration of Independence - July 4, 1776 United States Flag - June 14, 1777 Articles of Confederation - November 15, 1777 United States Constitution - September 17, 1787 Bill of Rights - December 15, 1791 Unconventional Warfare Publication by the Special Operations Command, April 2016, outlines a Government in Exile, which is a WWII History repeat operated by the United States Military. The Military Justice Act of 2016 is the United States Supreme Court clarifying Military Laws are separate from Federal. Liberals know NOTHING about our Military, Military History, Declaration of Independence, the Constitution, all while “claiming” to “support” them. “We the People” are the Government. The Declaration of Independence outlines our Rights as Americans fought and written and outlined by our Founders. The Constitution is a FRAMEWORK of how our Government is to operate and function to keep CONGRESS, our Representatives, in check. It’s been so jacked up for DECADES that 99% of people don’t even know what it’s supposed to look like. That’s fine. Only 1.7% to 1.9% fought each year during the Revolutionary War. Lead, Follow, or get the HELL out of the way. This “Press Conference” is FULL DISCLOSURE. “I will refer you to the Department of the Army.” “I will refer you to the National Guard.” “The Army has closed this issue.” This whole Arlington National Cemetery thing brings EVERYTHING from January 20, 2017, November 3, 2020, January 6, 2021, and January 20, 2021, FULL CIRCLE. “Be careful what you wish for.” - President Trump You heard the lady… “Refer to Arlington National Cemetery Rules and Regulations.” I also guess that's why on January 20, 2021, all these things took place: 1. National Guard on the perimeter of D.C., who were all the real National Guard, did NOT salute "Bidens" motorcade as it passed by. 2. The "National Guard" on the inside of the perimeter, seen up close on TV, their uniforms were ALL mismatched and NON-REGULATION, all Violations of Army Regulations 670-1. 3. "Biden" did not receive the traditional flight into D.C. on Air Force One by the United States Air Force as ALL other President-Elects. 4. 'Amazing Grace' was performed for "Biden" which is found in the Memorial Honors Army dot Mil. Page 9: ( 5. "Biden" raised his right hand and took Oath at 11:47 AM EST which is a violation of the 20th Amendment of the Constitution that specifically says: "The terms of the President and the Vice President shall end at noon on the 20th day of January, and the terms of Senators and Representatives at noon on the 3d day of January, of the years in which such terms would have ended if this article had not been ratified; and the terms of their successors shall then begin." Keyword: shall THEN. I guess that's why every other President swore in from 12:01 to 12:05 PM EST.

Derek Johnson

91,513 Aufrufe • vor 1 Jahr