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Seedance 2.0 Takeshi's Castle (Roller Game version) prompt 🎎 Authentic 1980s Japanese television game show broadcast footage, realistic recreation of original Takeshi's Castle ENG camera footage, natural handheld camera with subtle shake and tracking, broadcast video noise, analog grain, limited dynamic range and color saturation of the era, slight... color bleeding on highlights, chaotic energetic atmosphere of the original show. No reference images provided. Generate the entire scene from the text description. 0-3s: [Wide handheld tracking shot from the side] A determined young Japanese male contestant in his mid-20s, short black hair, wearing a bright orange tracksuit with white stripes, white sneakers and a white headband, sprints confidently from the wooden starting platform onto the first of several large spinning cylindrical logs floating over a murky pond. He runs with pumping arms and focused expression as the log begins to rotate slowly beneath his feet, causing his body to wobble slightly. Water ripples and splashes lightly around the base of the logs. 3-6s: [Dynamic medium tracking shot moving alongside] He leaps to the second spinning log at a slightly higher level, landing with bent knees to absorb the impact. The faster-rotating drum spins his feet out from under him; he flails his arms dramatically to regain balance, torso leaning left then right, face shifting from concentration to surprise. The log's wet surface glistens as he struggles to stay upright. 6-9s: [Closer side profile action shot with motion blur] Pushing forward to the third log, his right foot slips on the spinning wet wood. He lurches forward violently, arms windmilling, body twisting as he tries to recover by crouching low. His left leg dips into the water creating a splash, but he pulls it out and continues with desperate momentum, the rotating cylinder throwing off his rhythm. 9-12s: [Dynamic tracking shot from a three-quarter angle] He attempts a running jump to the next log but the combined spin and his forward speed causes him to lose all balance. His body tilts backward sharply, legs kicking in the air, arms reaching out for nothing as he begins to fall off the side of the log. 12-15s: [Impact focused shot with water dynamics] The contestant falls backward off the spinning log into the pond with a huge explosive splash, water shooting up around his body. He submerges briefly, then resurfaces gasping and flailing, completely soaked, as the logs continue their relentless spinning in the background. His expression is one of shocked defeat mixed with the show's signature comedic failure. High fidelity recreation of 1980s analog broadcast video, visible natural grain and broadcast noise, realistic motion characteristics of old ENG cameras, coherent but slightly imperfect physics and movement as seen in original Takeshi's Castle episodes, era-accurate color response and limited dynamic range, stable character with the natural imperfections of analog footage, no modern digital sharpness or artifacts.show more

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Seedance2.0 × パルクール Prompt ↓ A hyper-realistic, 8K resolution, adrenaline-fueled single-take POV action sequence. The camera is chest-mounted on a man wearing camouflage joggers and worn-out black-and-white sneakers. He stands on the dizzying edge of a rusted skyscraper, 1000 feet above a crystalline turquoise ocean. No clouds, no haze—just a sheer, terrifying vertical drop into the deep blue. [The Initial Freefall] The sequence begins with a sudden, heart-stopping leap into a 20-meter vertical freefall. The camera points directly at his feet as the sea surface rushes toward the lens. A deafening, high-pitched whistling 'Hyuo' wind screams past the microphone. Just before the impact, he catches a lower rusted horizontal bar with both hands—white wristband visible—and swings his body forward to land on a tiny vertical pole. [The Rhythmic Jumps & The Near-Death Slip] He immediately begins a rhythmic series of high-speed jumps: Jump 1: A clean, agile spring to a second vertical pole 2 meters away. Jump 2: A rapid leap to a thin, rusted horizontal pipe. Jump 3 (The Slip): As he jumps toward the third vertical pole, his right sneaker completely misses the mark and slides off the rusted metal. The camera tilts violently over the edge, staring straight down at the 1000-foot abyss. He lets out a sharp, panicked gasp. For a terrifying second, his body leans into the void, but he desperately claws at the pole with his fingers, his boots scrambling against the side until he manages to hook his leg and haul himself back up. Jump 4: Still trembling, he forces a frantic, heavy-breathing leap to the next bar to keep the momentum. Jump 5: A final, explosive long-distance jump to a swaying metal platform. He lands with a heavy, jarring metallic 'Clang', his body hunching low, gripping the vibrating metal for dear life. [The Ending] The camera remains in a low, fetal position on the final bar, shaking from the adrenaline. No dialogue. The audio is a visceral layer of the aggressive 'Hyuo' wind, his intense, ragged, and rapid gasping for air, and a loud, thumping heartbeat that resonates as if inside his chest. The harsh midday sun glints off the ocean waves far below, creating a blinding, beautiful, yet lethal glare. Cinematic materials, fluid 120fps motion, hyper-detailed rust and skin textures.

Seedance2.0 × パルクール Prompt ↓ A hyper-realistic, 8K resolution, adrenaline-fueled single-take POV action sequence. The camera is chest-mounted on a man wearing camouflage joggers and worn-out black-and-white sneakers. He stands on the dizzying edge of a rusted skyscraper, 1000 feet above a crystalline turquoise ocean. No clouds, no haze—just a sheer, terrifying vertical drop into the deep blue. [The Initial Freefall] The sequence begins with a sudden, heart-stopping leap into a 20-meter vertical freefall. The camera points directly at his feet as the sea surface rushes toward the lens. A deafening, high-pitched whistling 'Hyuo' wind screams past the microphone. Just before the impact, he catches a lower rusted horizontal bar with both hands—white wristband visible—and swings his body forward to land on a tiny vertical pole. [The Rhythmic Jumps & The Near-Death Slip] He immediately begins a rhythmic series of high-speed jumps: Jump 1: A clean, agile spring to a second vertical pole 2 meters away. Jump 2: A rapid leap to a thin, rusted horizontal pipe. Jump 3 (The Slip): As he jumps toward the third vertical pole, his right sneaker completely misses the mark and slides off the rusted metal. The camera tilts violently over the edge, staring straight down at the 1000-foot abyss. He lets out a sharp, panicked gasp. For a terrifying second, his body leans into the void, but he desperately claws at the pole with his fingers, his boots scrambling against the side until he manages to hook his leg and haul himself back up. Jump 4: Still trembling, he forces a frantic, heavy-breathing leap to the next bar to keep the momentum. Jump 5: A final, explosive long-distance jump to a swaying metal platform. He lands with a heavy, jarring metallic 'Clang', his body hunching low, gripping the vibrating metal for dear life. [The Ending] The camera remains in a low, fetal position on the final bar, shaking from the adrenaline. No dialogue. The audio is a visceral layer of the aggressive 'Hyuo' wind, his intense, ragged, and rapid gasping for air, and a loud, thumping heartbeat that resonates as if inside his chest. The harsh midday sun glints off the ocean waves far below, creating a blinding, beautiful, yet lethal glare. Cinematic materials, fluid 120fps motion, hyper-detailed rust and skin textures.

GENEL | AIを用いた動画制作

24,201 views • 4 months ago

GPT image 2 and Seedance 2.0 Prompt: A photorealistic, cinematic live television broadcast video set in a crowded indoor sports arena. The video starts with a shot of a massive, glowing jumbotron suspended from the ceiling, showing an Asian man with glasses and a blue varsity jacket taking a bite of a hamburger. The camera immediately cuts to the actual man sitting in the stadium seats among a cheering, slightly blurred crowd. As he chews, he suddenly realizes he is on the big screen. He freezes, looks surprised with his cheeks full of food, then breaks into an embarrassed, good-natured smile and waves awkwardly at the camera. The lighting is bright, even stadium floodlights. High-quality sports broadcast aesthetic, complete with realistic digital overlays, a 'LIVE' badge, and Korean broadcast graphics, 8k resolution, captured on professional broadcast cameras.

GPT image 2 and Seedance 2.0 Prompt: A photorealistic, cinematic live television broadcast video set in a crowded indoor sports arena. The video starts with a shot of a massive, glowing jumbotron suspended from the ceiling, showing an Asian man with glasses and a blue varsity jacket taking a bite of a hamburger. The camera immediately cuts to the actual man sitting in the stadium seats among a cheering, slightly blurred crowd. As he chews, he suddenly realizes he is on the big screen. He freezes, looks surprised with his cheeks full of food, then breaks into an embarrassed, good-natured smile and waves awkwardly at the camera. The lighting is bright, even stadium floodlights. High-quality sports broadcast aesthetic, complete with realistic digital overlays, a 'LIVE' badge, and Korean broadcast graphics, 8k resolution, captured on professional broadcast cameras.

Taaruk

15,018 views • 3 months ago

john wick seedance text to video prompt： [STYLE / CINEMATIC SETUP] A 10.5-second, 16:9 photorealistic AAA action-game cinematic rendered at real-time speed with no slow motion. The setting is a cramped, cluttered late-night Asian restaurant connected to a rain-soaked street. Cyan-green fluorescent light, red neon and warm practical lamps create a high-contrast mixed-light environment, with reflections across wet floors and pavement. Shoot with a 35mm spherical lens, shallow-to-moderate depth of field and cinematic motion blur appropriate to the actual speed of movement. Use close shoulder-mounted and handheld coverage, connecting seven short close-combat shots with fast hard cuts. The camera instinctively pans, retreats or drops with each block, takedown and collision while keeping the action and contact points readable. No dialogue, no subtitles and no BGM. Generate only synchronized rain, appliance hum, urgent footsteps, fabric movement, body impacts, gunshots, metal contact and breaking glass. [IMAGE REFERENCES] No external still-image reference. Follow the written character and environment descriptions consistently. If the platform supports reference video, use the supplied video only as a reference for editing rhythm, camera distance, action direction and lighting atmosphere, not for copying a specific actor’s identity. The protagonist remains the same lean, agile man in his early forties throughout the sequence: neck-length black hair swept back, a short beard, a tired but focused face, a slightly wrinkled black suit, white shirt and narrow black tie, all carrying faint rain and wear marks. Preserve his face, hairstyle, body proportions, clothing and screen direction across all seven shots. Keep every opponent visually distinct: a man in a blue work uniform, a bald man in a navy jacket, a heavy man in a black jacket, a bald counter attacker, a red-headband attacker, a red-jacketed armed attacker and a heavy man in a dark green coat outside. [TIMELINE SECOND BY SECOND] 0–1.9s: [Shoulder-height medium close-up, tight lateral handheld tracking, real-time speed] The protagonist stands on screen left, pinning the blue-uniformed attacker against a glass refrigerator with his left forearm and palm. He delivers two compact, weighted elbow and palm-heel strikes. Each impact drives the attacker’s head into the refrigerator door, loosening his white headband and leaving a small blood trace on the glass; the attacker finishes sliding down the door while the protagonist remains standing. 1.9–4.3s: [Medium shot transitioning into a high-angle overhead, shoulder-mounted drop, real-time speed] Hard cut near the restaurant’s rear entrance. The bald attacker in a navy jacket locks the protagonist from behind. The protagonist lowers his center of gravity, traps the attacker’s arm and rotates his hips, throwing him heavily over the shoulder onto the wet floor. The camera drops with them into an overhead view. Kneeling across the attacker’s torso, the protagonist draws a compact black pistol and fires one downward shot; recoil travels through his wrist and the attacker jolts once before becoming still. 4.3–5.9s: [Tight medium shot, lateral handheld follow, real-time speed] Hard cut with both men already upright. A heavy attacker in a black jacket swings from screen right. The protagonist slips outside the punch, allowing it to pass close to his face, circles behind the attacker and locks his shoulder and neck off balance. He presses the pistol close to the side of the attacker’s head and fires. The muzzle flash briefly illuminates both faces; the attacker’s head and shoulders snap backward and his body begins to collapse. 5.9–7.9s: [Counter-height medium close-up, subtle handheld push-in, real-time speed] Hard cut to the restaurant counter. Another bald attacker bends forward and clamps around the protagonist’s waist. The protagonist pins the attacker’s head and neck under his left arm while grabbing a short, rigid pointed utensil from the counter. He drives two compact downward thrusts into the upper shoulder and side of the neck. Each contact bends the attacker’s knees further; a restrained amount of blood marks the shirt and counter edge before the attacker hangs helplessly beneath the protagonist’s controlling arm. 7.9–9.0s: [Two-person medium close-up, fast pan with a short retreat, real-time speed] Hard cut as the red-headband attacker rushes into close range. He throws a wide hook from screen right. The protagonist raises his forearm to block, catches the wrist and pulls it outward, then drives a palm heel and forearm into the attacker’s face. The camera retreats with the impact as the attacker loses his balance and staggers toward the rear right of the frame. 9.0–9.9s: [Low-angle wide shot, slight arc around the action, real-time speed] Hard cut to a wider section of the restaurant. The red-jacketed armed attacker advances from screen left. Holding a long black firearm with both hands, the protagonist uses it as a blunt weapon and swings horizontally from right to left. The weapon strikes the attacker’s upper chest and shoulder, rotating his torso, crossing his feet and sending him off balance toward screen left. 9.9–10.5s: [Exterior rainy-street medium shot, fast parallel tracking, real-time speed] Hard cut outside the restaurant. The protagonist already controls a heavy attacker in a dark green coat and uses his forward momentum to drive the man’s head and upper body into the side window of a parked black station wagon. The glass bursts inward at the contact point, scattering both large and fine fragments. The attacker folds through the broken window while the protagonist regains stable footing beside the car, ending with glass fragments still falling. [STYLE & QUALITY BOOSTERS] Maintain the protagonist’s face, black suit, white shirt, tie, hairstyle and body proportions through every hard cut. The pistol, pointed utensil, injuries and blood marks must appear only in their designated shots and must never morph or change ownership. Throws, recoil, strike reactions, loss of balance and window breakage must show believable weight, inertia and precise contact. Apply motion blur only to rapidly moving arms, weapons, glass fragments and camera-relative backgrounds. No sudden face or costume changes; no extra fingers, fused limbs or inverted joints; no morphing weapons, utensils or vehicles; no foot sliding or rubber-like collision reactions; no blood, bullet damage or glass fragments appearing before physical contact.

john wick seedance text to video prompt： [STYLE / CINEMATIC SETUP] A 10.5-second, 16:9 photorealistic AAA action-game cinematic rendered at real-time speed with no slow motion. The setting is a cramped, cluttered late-night Asian restaurant connected to a rain-soaked street. Cyan-green fluorescent light, red neon and warm practical lamps create a high-contrast mixed-light environment, with reflections across wet floors and pavement. Shoot with a 35mm spherical lens, shallow-to-moderate depth of field and cinematic motion blur appropriate to the actual speed of movement. Use close shoulder-mounted and handheld coverage, connecting seven short close-combat shots with fast hard cuts. The camera instinctively pans, retreats or drops with each block, takedown and collision while keeping the action and contact points readable. No dialogue, no subtitles and no BGM. Generate only synchronized rain, appliance hum, urgent footsteps, fabric movement, body impacts, gunshots, metal contact and breaking glass. [IMAGE REFERENCES] No external still-image reference. Follow the written character and environment descriptions consistently. If the platform supports reference video, use the supplied video only as a reference for editing rhythm, camera distance, action direction and lighting atmosphere, not for copying a specific actor’s identity. The protagonist remains the same lean, agile man in his early forties throughout the sequence: neck-length black hair swept back, a short beard, a tired but focused face, a slightly wrinkled black suit, white shirt and narrow black tie, all carrying faint rain and wear marks. Preserve his face, hairstyle, body proportions, clothing and screen direction across all seven shots. Keep every opponent visually distinct: a man in a blue work uniform, a bald man in a navy jacket, a heavy man in a black jacket, a bald counter attacker, a red-headband attacker, a red-jacketed armed attacker and a heavy man in a dark green coat outside. [TIMELINE SECOND BY SECOND] 0–1.9s: [Shoulder-height medium close-up, tight lateral handheld tracking, real-time speed] The protagonist stands on screen left, pinning the blue-uniformed attacker against a glass refrigerator with his left forearm and palm. He delivers two compact, weighted elbow and palm-heel strikes. Each impact drives the attacker’s head into the refrigerator door, loosening his white headband and leaving a small blood trace on the glass; the attacker finishes sliding down the door while the protagonist remains standing. 1.9–4.3s: [Medium shot transitioning into a high-angle overhead, shoulder-mounted drop, real-time speed] Hard cut near the restaurant’s rear entrance. The bald attacker in a navy jacket locks the protagonist from behind. The protagonist lowers his center of gravity, traps the attacker’s arm and rotates his hips, throwing him heavily over the shoulder onto the wet floor. The camera drops with them into an overhead view. Kneeling across the attacker’s torso, the protagonist draws a compact black pistol and fires one downward shot; recoil travels through his wrist and the attacker jolts once before becoming still. 4.3–5.9s: [Tight medium shot, lateral handheld follow, real-time speed] Hard cut with both men already upright. A heavy attacker in a black jacket swings from screen right. The protagonist slips outside the punch, allowing it to pass close to his face, circles behind the attacker and locks his shoulder and neck off balance. He presses the pistol close to the side of the attacker’s head and fires. The muzzle flash briefly illuminates both faces; the attacker’s head and shoulders snap backward and his body begins to collapse. 5.9–7.9s: [Counter-height medium close-up, subtle handheld push-in, real-time speed] Hard cut to the restaurant counter. Another bald attacker bends forward and clamps around the protagonist’s waist. The protagonist pins the attacker’s head and neck under his left arm while grabbing a short, rigid pointed utensil from the counter. He drives two compact downward thrusts into the upper shoulder and side of the neck. Each contact bends the attacker’s knees further; a restrained amount of blood marks the shirt and counter edge before the attacker hangs helplessly beneath the protagonist’s controlling arm. 7.9–9.0s: [Two-person medium close-up, fast pan with a short retreat, real-time speed] Hard cut as the red-headband attacker rushes into close range. He throws a wide hook from screen right. The protagonist raises his forearm to block, catches the wrist and pulls it outward, then drives a palm heel and forearm into the attacker’s face. The camera retreats with the impact as the attacker loses his balance and staggers toward the rear right of the frame. 9.0–9.9s: [Low-angle wide shot, slight arc around the action, real-time speed] Hard cut to a wider section of the restaurant. The red-jacketed armed attacker advances from screen left. Holding a long black firearm with both hands, the protagonist uses it as a blunt weapon and swings horizontally from right to left. The weapon strikes the attacker’s upper chest and shoulder, rotating his torso, crossing his feet and sending him off balance toward screen left. 9.9–10.5s: [Exterior rainy-street medium shot, fast parallel tracking, real-time speed] Hard cut outside the restaurant. The protagonist already controls a heavy attacker in a dark green coat and uses his forward momentum to drive the man’s head and upper body into the side window of a parked black station wagon. The glass bursts inward at the contact point, scattering both large and fine fragments. The attacker folds through the broken window while the protagonist regains stable footing beside the car, ending with glass fragments still falling. [STYLE & QUALITY BOOSTERS] Maintain the protagonist’s face, black suit, white shirt, tie, hairstyle and body proportions through every hard cut. The pistol, pointed utensil, injuries and blood marks must appear only in their designated shots and must never morph or change ownership. Throws, recoil, strike reactions, loss of balance and window breakage must show believable weight, inertia and precise contact. Apply motion blur only to rapidly moving arms, weapons, glass fragments and camera-relative backgrounds. No sudden face or costume changes; no extra fingers, fused limbs or inverted joints; no morphing weapons, utensils or vehicles; no foot sliding or rubber-like collision reactions; no blood, bullet damage or glass fragments appearing before physical contact.

underwood

12,588 views • 19 days ago

Seedance 2.0 Test text to video Prompt: [Shot 1: Frontal Menacing Shot] A medium shot of a SWAT officer in full tactical gear, gas mask, and helmet. He is pointing his assault rifle directly at the camera lens (breaking the fourth wall). He is shouting with visible intensity: "LET THE HOSTAGE GO! DROP THE WEAPON NOW!" [Shot 2: The Threat] Cut to a medium shot of the killer in a dirty tank top, holding a woman in a chokehold. He has a pistol pressed to her head. He is sweating and manic, screaming at the off-screen officer: "STAY BACK! I'LL KILL HER! I SWEAR I'LL DO IT!" [Shot 3: Over-the-Shoulder Resolution] The camera is positioned directly behind the SWAT officer's right shoulder. We see the back of his helmet and his rifle in the foreground. In the distance (mid-ground), the killer is still visible holding the girl. The killer screams one last time: "I'M GONNA DO IT!" after The officer's rifle kicks back with a single sho and hit head enemy. The killer falls instantly. The girl is left standing, shocked but safe. Technical Style: High-shutter speed action, realistic muzzle flashes, handheld camera shake, 24fps, English dialogue.

Seedance 2.0 Test text to video Prompt: [Shot 1: Frontal Menacing Shot] A medium shot of a SWAT officer in full tactical gear, gas mask, and helmet. He is pointing his assault rifle directly at the camera lens (breaking the fourth wall). He is shouting with visible intensity: "LET THE HOSTAGE GO! DROP THE WEAPON NOW!" [Shot 2: The Threat] Cut to a medium shot of the killer in a dirty tank top, holding a woman in a chokehold. He has a pistol pressed to her head. He is sweating and manic, screaming at the off-screen officer: "STAY BACK! I'LL KILL HER! I SWEAR I'LL DO IT!" [Shot 3: Over-the-Shoulder Resolution] The camera is positioned directly behind the SWAT officer's right shoulder. We see the back of his helmet and his rifle in the foreground. In the distance (mid-ground), the killer is still visible holding the girl. The killer screams one last time: "I'M GONNA DO IT!" after The officer's rifle kicks back with a single sho and hit head enemy. The killer falls instantly. The girl is left standing, shocked but safe. Technical Style: High-shutter speed action, realistic muzzle flashes, handheld camera shake, 24fps, English dialogue.

Marco "Shikoba" Riccetti

236,351 views • 6 months ago

The vet had been honest with the Hollands. Baxter didn't have much time left, and the kindest thing they could do now was make whatever he had left count. So on a warm Saturday in June , instead of a normal quiet day at home, they loaded the old Bernese into the back of the van and drove him two hours to the coast. Baxter had never seen the ocean. He was 13, and his whole life had been the backyard and the same worn spot on the living room rug. The kids wanted him to see something big before he went. He moved slow getting out of the van. His back legs weren't what they used to be, and the boys had to help him down onto the sand. For a second he just stood there at the top of the beach, nose up, taking in all that salt air and open water like he couldn't quite believe it. Then something in him shifted. He started down toward the surf on his own, stiff and determined, the way he used to trot to the door when the kids came home from school. When the first cold wave washed over his paws, his whole face lit up. He didn't run, he couldn't, but he waded in up to his chest and stood in the shallow water with the sun going down behind him, and the whole family just watched. Nobody said much. They didn't need to. They stayed until the light was almost gone, taking pictures, letting Baxter rest against their legs, giving him one perfect afternoon to hold onto. The vet was right about the time. Baxter left them a few weeks later, at home, surrounded by the people who loved him. But he saw the ocean first. And every one of them is glad they gave him that.

The vet had been honest with the Hollands. Baxter didn't have much time left, and the kindest thing they could do now was make whatever he had left count. So on a warm Saturday in June , instead of a normal quiet day at home, they loaded the old Bernese into the back of the van and drove him two hours to the coast. Baxter had never seen the ocean. He was 13, and his whole life had been the backyard and the same worn spot on the living room rug. The kids wanted him to see something big before he went. He moved slow getting out of the van. His back legs weren't what they used to be, and the boys had to help him down onto the sand. For a second he just stood there at the top of the beach, nose up, taking in all that salt air and open water like he couldn't quite believe it. Then something in him shifted. He started down toward the surf on his own, stiff and determined, the way he used to trot to the door when the kids came home from school. When the first cold wave washed over his paws, his whole face lit up. He didn't run, he couldn't, but he waded in up to his chest and stood in the shallow water with the sun going down behind him, and the whole family just watched. Nobody said much. They didn't need to. They stayed until the light was almost gone, taking pictures, letting Baxter rest against their legs, giving him one perfect afternoon to hold onto. The vet was right about the time. Baxter left them a few weeks later, at home, surrounded by the people who loved him. But he saw the ocean first. And every one of them is glad they gave him that.

Gabriele Corno

119,678 views • 1 month ago

$Grandma’s rolling trouble 🛹 🧓🏻 Video prompt : { "type": "video", "duration": 6, "scene": { "description": "Continuation of the reference frame with the same person riding a skateboard down a busy city street, same low wide-angle camera position near the front of the board, moving forward along the road.", "environment_motion": "Background buildings and billboards slide past smoothly to emphasize forward motion along the street." }, "camera": { "framing": "Low, wide-angle shot from the skateboard pointing upward toward the rider, matching the reference image.", "movement": "Camera is fixed to the skateboard, gently bobbing and vibrating with the motion of the wheels on the street.", "lens_effects": "Subtle wide-angle distortion; slight motion blur on the street and passing cars to show speed." }, "character_actions": [ { "body_part": "head", "action": "rhythmic dance movement to the beat of the music", "details": "The rider keeps their body mostly steady for balance while the head moves in small, expressive motions: nodding up and down, tilting side to side, and making short circular motions, all in sync with the music.", "loop": true }, { "body_part": "upper_body", "action": "minimal natural balancing", "details": "Shoulders and torso make subtle micro-adjustments for balance but do not perform separate dance moves; focus stays on the head movement." } ], "skateboard_motion": { "speed": "medium, smooth continuous roll forward", "path": "straight along the street with slight natural wobble from the road surface", "interaction": "Wheels roll over small imperfections in the asphalt, causing gentle vibrations." }, "audio": { "mix": "stereo", "music": { "presence": "foreground", "description": "Energetic, upbeat track with a clear rhythm that the head dance follows.", "sync": "Head movements stay clearly in time with the main beat." }, "sfx": [ { "type": "street_ambience", "description": "City street sounds in the background: distant cars passing, faint honks, muffled crowd noise and echoes from tall buildings.", "level": "low to medium, behind the music" }, { "type": "skateboard", "description": "Continuous rolling sound of skateboard wheels on asphalt, occasional soft clacks from cracks in the road.", "level": "medium, clearly audible under the music" } ] } } …………………………………………………………… Video : kling 2.6 on Higgsfield AI 🧩 ▫️The best offer on the market - 70% OFF▫️$

Grandma’s rolling trouble 🛹 🧓🏻 Video prompt : { "type": "video", "duration": 6, "scene": { "description": "Continuation of the reference frame with the same person riding a skateboard down a busy city street, same low wide-angle camera position near the front of the board, moving forward along the road.", "environment_motion": "Background buildings and billboards slide past smoothly to emphasize forward motion along the street." }, "camera": { "framing": "Low, wide-angle shot from the skateboard pointing upward toward the rider, matching the reference image.", "movement": "Camera is fixed to the skateboard, gently bobbing and vibrating with the motion of the wheels on the street.", "lens_effects": "Subtle wide-angle distortion; slight motion blur on the street and passing cars to show speed." }, "character_actions": [ { "body_part": "head", "action": "rhythmic dance movement to the beat of the music", "details": "The rider keeps their body mostly steady for balance while the head moves in small, expressive motions: nodding up and down, tilting side to side, and making short circular motions, all in sync with the music.", "loop": true }, { "body_part": "upper_body", "action": "minimal natural balancing", "details": "Shoulders and torso make subtle micro-adjustments for balance but do not perform separate dance moves; focus stays on the head movement." } ], "skateboard_motion": { "speed": "medium, smooth continuous roll forward", "path": "straight along the street with slight natural wobble from the road surface", "interaction": "Wheels roll over small imperfections in the asphalt, causing gentle vibrations." }, "audio": { "mix": "stereo", "music": { "presence": "foreground", "description": "Energetic, upbeat track with a clear rhythm that the head dance follows.", "sync": "Head movements stay clearly in time with the main beat." }, "sfx": [ { "type": "street_ambience", "description": "City street sounds in the background: distant cars passing, faint honks, muffled crowd noise and echoes from tall buildings.", "level": "low to medium, behind the music" }, { "type": "skateboard", "description": "Continuous rolling sound of skateboard wheels on asphalt, occasional soft clacks from cracks in the road.", "level": "medium, clearly audible under the music" } ] } } …………………………………………………………… Video : kling 2.6 on Higgsfield AI 🧩 ▫️The best offer on the market - 70% OFF▫️

Saman | AI

18,695 views • 8 months ago

From an ordinary man to a celestial warrior, this cinematic transformation. Created with Seedance 2.0 on Lart AI . Unreal visuals, smooth motion, and movie-quality storytelling. Try yours here 👇 Prompt: Duration: 10 seconds Style: Ultra-cinematic, photorealistic IMAX realism, continuous single shot, no cuts. --- Character & Setup Use Image as the identity reference. Preserve the exact facial identity, facial structure, hairstyle, skin tone, and proportions throughout the entire sequence. His face is bruised with a small streak of blood at the corner of his mouth. He looks exhausted after battle. During the transformation, he shows restrained pain with only a slight frown—no exaggerated screaming. Armor design is inspired by image2. His clothing is battle-damaged, torn, dusty, and partially burned. In his right hand he tightly grips a glowing Holy Ring Crystal Core radiating intense white-blue divine energy. Environment Apocalyptic Jakarta under a dark overcast sky. Ruined skyscrapers, burning buildings, drifting ash, smoke, flying debris, distant fires, and flaming meteors crossing the sky. Cold grey-blue cinematic color palette with dramatic atmosphere. Visual Style Photorealistic cinematic realism, IMAX-quality visuals, 35mm Panavision lens, handheld camera with subtle breathing movement, compressed shadows, highly detailed textures, slight edge softness, natural film grain, grounded realism. Thousands of glowing feathers physically assemble the armor with a powerful divine aura, combining biological pain with advanced alien technology. --- 0–2.5s — Fall The hero crashes violently into broken concrete and rubble, creating a powerful dust explosion. The handheld camera shakes from the impact. He slowly rises to one knee, breathing heavily while staring at the glowing Holy Ring Crystal Core in his right hand. 2.5–5s — Awakening He quietly whispers, "Berubah!", then crushes the crystal. A blinding white-blue beam erupts into the sky. Thousands of glowing feathers materialize and spiral around him. They wrap around his arm, chest, and entire body. His eyes become pure white as a faint golden halo symbol briefly appears behind him. 5–7.5s — Transformation Sacred energy explodes outward. White smoke, golden sparks, and streams of blue energy surround him. Feather light solidifies into mechanical armor components that rapidly lock onto his torso, arms, legs, and shoulders with satisfying metallic clicks. The camera circles smoothly around him during the transformation. 7.5–10s — Completion The transformation completes into magnificent white-platinum armor with pearl-like metallic surfaces, elegant golden engravings, and glowing blue energy flowing through every armor seam. Massive mechanical angel wings unfold dramatically, scattering thousands of glowing feathers. A radiant halo appears behind him while a transparent energy helmet forms over his face. Two blazing holy energy blades materialize in his hands. The camera pulls back to a low-angle full-body shot as divine energy lifts rocks and debris into the air. In the final second, the armored angel launches straight upward at incredible speed, blasting out of frame as the camera violently shakes from the shockwave.

From an ordinary man to a celestial warrior, this cinematic transformation. Created with Seedance 2.0 on Lart AI . Unreal visuals, smooth motion, and movie-quality storytelling. Try yours here 👇 Prompt: Duration: 10 seconds Style: Ultra-cinematic, photorealistic IMAX realism, continuous single shot, no cuts. --- Character & Setup Use Image as the identity reference. Preserve the exact facial identity, facial structure, hairstyle, skin tone, and proportions throughout the entire sequence. His face is bruised with a small streak of blood at the corner of his mouth. He looks exhausted after battle. During the transformation, he shows restrained pain with only a slight frown—no exaggerated screaming. Armor design is inspired by image2. His clothing is battle-damaged, torn, dusty, and partially burned. In his right hand he tightly grips a glowing Holy Ring Crystal Core radiating intense white-blue divine energy. Environment Apocalyptic Jakarta under a dark overcast sky. Ruined skyscrapers, burning buildings, drifting ash, smoke, flying debris, distant fires, and flaming meteors crossing the sky. Cold grey-blue cinematic color palette with dramatic atmosphere. Visual Style Photorealistic cinematic realism, IMAX-quality visuals, 35mm Panavision lens, handheld camera with subtle breathing movement, compressed shadows, highly detailed textures, slight edge softness, natural film grain, grounded realism. Thousands of glowing feathers physically assemble the armor with a powerful divine aura, combining biological pain with advanced alien technology. --- 0–2.5s — Fall The hero crashes violently into broken concrete and rubble, creating a powerful dust explosion. The handheld camera shakes from the impact. He slowly rises to one knee, breathing heavily while staring at the glowing Holy Ring Crystal Core in his right hand. 2.5–5s — Awakening He quietly whispers, "Berubah!", then crushes the crystal. A blinding white-blue beam erupts into the sky. Thousands of glowing feathers materialize and spiral around him. They wrap around his arm, chest, and entire body. His eyes become pure white as a faint golden halo symbol briefly appears behind him. 5–7.5s — Transformation Sacred energy explodes outward. White smoke, golden sparks, and streams of blue energy surround him. Feather light solidifies into mechanical armor components that rapidly lock onto his torso, arms, legs, and shoulders with satisfying metallic clicks. The camera circles smoothly around him during the transformation. 7.5–10s — Completion The transformation completes into magnificent white-platinum armor with pearl-like metallic surfaces, elegant golden engravings, and glowing blue energy flowing through every armor seam. Massive mechanical angel wings unfold dramatically, scattering thousands of glowing feathers. A radiant halo appears behind him while a transparent energy helmet forms over his face. Two blazing holy energy blades materialize in his hands. The camera pulls back to a low-angle full-body shot as divine energy lifts rocks and debris into the air. In the final second, the armored angel launches straight upward at incredible speed, blasting out of frame as the camera violently shakes from the shockwave.

Zar⭕on

23,974 views • 1 month ago

We’ve seen guys like Judge, Stanton, Wells and others tinker with their stances to get into a better hitting position to attack strikes in the zone. When a guy like Volpe has struggled to hit consistently for his first 3 years, is constantly late on mid-velocity heaters in the middle of the zone and is constantly off-balance when he misses the off-speed stuff; you think to take a look at his pre-pitch habits especially what he’s doing with his hands and stride, and consider eliminating some of the unnecessary movements to simplify things and be ready to attack a pitch in the strike zone sooner. Volpe starts with his hands high above his head with some waggle to probably keep his hands moving and stay in rhythm, then as he strides he drops his hands into the slot while he loads, then wraps his hands behind him as he strides and keeps his weight back on his backside. That front foot needs to get down early as he gets his hands back to be ready to smoke something in the zone. Why hasn’t someone suggested dropping his hands pre-pitch in his stance to get them into the slot early, keep them back to prevent wrapping, and cut out one less moving part to get him better ready to attack pitches in the zone? He can even still have some waggle back there if he prefers to keep his hands moving. In theory if his hands are down and back already, all he needs to do is get his front foot down in time? It’s worth a try lol

We’ve seen guys like Judge, Stanton, Wells and others tinker with their stances to get into a better hitting position to attack strikes in the zone. When a guy like Volpe has struggled to hit consistently for his first 3 years, is constantly late on mid-velocity heaters in the middle of the zone and is constantly off-balance when he misses the off-speed stuff; you think to take a look at his pre-pitch habits especially what he’s doing with his hands and stride, and consider eliminating some of the unnecessary movements to simplify things and be ready to attack a pitch in the strike zone sooner. Volpe starts with his hands high above his head with some waggle to probably keep his hands moving and stay in rhythm, then as he strides he drops his hands into the slot while he loads, then wraps his hands behind him as he strides and keeps his weight back on his backside. That front foot needs to get down early as he gets his hands back to be ready to smoke something in the zone. Why hasn’t someone suggested dropping his hands pre-pitch in his stance to get them into the slot early, keep them back to prevent wrapping, and cut out one less moving part to get him better ready to attack pitches in the zone? He can even still have some waggle back there if he prefers to keep his hands moving. In theory if his hands are down and back already, all he needs to do is get his front foot down in time? It’s worth a try lol

JL

329,513 views • 1 year ago

A massive male lion attempts a risky crossing through a deep, murky river channel, his heavy mane weighed down by the water as he swims toward the opposite bank. Unbeknownst to the big cat, his splashing has alerted a colossal Nile crocodile lurking in the depths. Moving with absolute stealth beneath the surface, the armored reptile positions itself directly behind the swimming feline, utilizing the river's current and its powerful tail to close the distance without creating a single ripple. The ambush is sudden and devastating. Just as the lion nears the shallow water, the crocodile erupts from the river, its massive jaws snapping shut with bone-crushing force around the lion's hindquarters. Dragged backward into the deep water, the lion thrashes violently, turning to strike at the reptile with its sharp claws, but it is entirely out of its element. The apex reptile utilizes its immense weight and the momentum of the strike to pull the struggling king of the jungle beneath the surface, submerging completely as the river ripples settle over the fatal encounter.

A massive male lion attempts a risky crossing through a deep, murky river channel, his heavy mane weighed down by the water as he swims toward the opposite bank. Unbeknownst to the big cat, his splashing has alerted a colossal Nile crocodile lurking in the depths. Moving with absolute stealth beneath the surface, the armored reptile positions itself directly behind the swimming feline, utilizing the river's current and its powerful tail to close the distance without creating a single ripple. The ambush is sudden and devastating. Just as the lion nears the shallow water, the crocodile erupts from the river, its massive jaws snapping shut with bone-crushing force around the lion's hindquarters. Dragged backward into the deep water, the lion thrashes violently, turning to strike at the reptile with its sharp claws, but it is entirely out of its element. The apex reptile utilizes its immense weight and the momentum of the strike to pull the struggling king of the jungle beneath the surface, submerging completely as the river ripples settle over the fatal encounter.

Nature Chapter

38,581 views • 1 month ago

Video generated by Seedance 2.0 on Lart AI Try it there 👇🏻 Prompt 10-Second Cinematic Timeline Prompt — "The Train Escape" 0–2s | The Robbery A crowded 19th-century train station during golden hour. A masked thief steals a mysterious black briefcase and runs toward a departing steam train. Crowds scatter in panic. Cinematic lighting, realistic motion, dramatic atmosphere. Camera: Wide establishing shot → handheld chase shot. --- 2–4s | The Pursuit A fearless young female detective wearing a black trench coat sprints after the thief through the crowded platform, jumping over luggage carts and avoiding passengers. Steam fills the air as the train begins moving. Dialogue: "Stop! Drop the case!" Camera: Dynamic tracking shot with cinematic motion blur. --- 4–6s | The Leap The thief jumps onto the moving steam train. The detective runs at full speed and leaps onto the train moments before it leaves the station. Sparks fly from the tracks. Camera: Slow-motion side tracking shot transitioning to normal speed. --- 6–8s | The Fight On the roof of the speeding train, the detective and thief engage in an intense hand-to-hand fight. Strong wind blows their clothes as steam and sparks surround them. Mountains rush past in the background. Camera: Fast cinematic action shots with dramatic close-ups. --- 8–10s | The Victory The detective defeats the thief, recovers the briefcase, and stands on top of the speeding train as the sun sets behind distant mountains. The thief lies defeated. Camera: Epic wide aerial shot slowly pulling back. Atmosphere: Heroic, cinematic, action movie ending, ultra-realistic, 4K.

Video generated by Seedance 2.0 on Lart AI Try it there 👇🏻 Prompt 10-Second Cinematic Timeline Prompt — "The Train Escape" 0–2s | The Robbery A crowded 19th-century train station during golden hour. A masked thief steals a mysterious black briefcase and runs toward a departing steam train. Crowds scatter in panic. Cinematic lighting, realistic motion, dramatic atmosphere. Camera: Wide establishing shot → handheld chase shot. --- 2–4s | The Pursuit A fearless young female detective wearing a black trench coat sprints after the thief through the crowded platform, jumping over luggage carts and avoiding passengers. Steam fills the air as the train begins moving. Dialogue: "Stop! Drop the case!" Camera: Dynamic tracking shot with cinematic motion blur. --- 4–6s | The Leap The thief jumps onto the moving steam train. The detective runs at full speed and leaps onto the train moments before it leaves the station. Sparks fly from the tracks. Camera: Slow-motion side tracking shot transitioning to normal speed. --- 6–8s | The Fight On the roof of the speeding train, the detective and thief engage in an intense hand-to-hand fight. Strong wind blows their clothes as steam and sparks surround them. Mountains rush past in the background. Camera: Fast cinematic action shots with dramatic close-ups. --- 8–10s | The Victory The detective defeats the thief, recovers the briefcase, and stands on top of the speeding train as the sun sets behind distant mountains. The thief lies defeated. Camera: Epic wide aerial shot slowly pulling back. Atmosphere: Heroic, cinematic, action movie ending, ultra-realistic, 4K.

Stacy Lee 🇺🇸

22,899 views • 2 months ago

Tigers Prospect Jackson Jobe averages 97mph ⛽️ Here are the 3 keys to his delivery: 1. The drift and drop As he goes into his leg lift, notice how straight his back leg is. This sets him up to create a lot of energy and force as he goes into the drop (load). Along with keep the back leg straight into leg lift, he also gains ground towards home. This allow him to initiate linear momentum while also setting himself up for the load. 2. Hip to shoulder separation During the stride phase he does a great job of rotating the pelvis into foot plant while staying closed with the upper body. His ability to stay level with the shoulders and stacked puts him in a good position to rotate instead of push. 3. Rotational velocity of the chest Staying closed with the torso into foot plant plays a large role in rotational velocity of the chest. Think of separation like pulling a rubber band back. That pull back is creating tension and a stretch that will accelerate once it’s let go. Jackson does an exceptional job of this, allowing him to rotate the upper body extremely well. RECAP 3 keys to Jobe’s delivery: 1. The drift and drop 2. Hip to shoulder separation 3. Rotational velocity of the chest It all starts with the beginning of the delivery. Getting the first move right has a positive effect on the rest of the delivery. Jobe is a great example of one good move effecting the next one and the next one. FLATGROUND Pitching

Tigers Prospect Jackson Jobe averages 97mph ⛽️ Here are the 3 keys to his delivery: 1. The drift and drop As he goes into his leg lift, notice how straight his back leg is. This sets him up to create a lot of energy and force as he goes into the drop (load). Along with keep the back leg straight into leg lift, he also gains ground towards home. This allow him to initiate linear momentum while also setting himself up for the load. 2. Hip to shoulder separation During the stride phase he does a great job of rotating the pelvis into foot plant while staying closed with the upper body. His ability to stay level with the shoulders and stacked puts him in a good position to rotate instead of push. 3. Rotational velocity of the chest Staying closed with the torso into foot plant plays a large role in rotational velocity of the chest. Think of separation like pulling a rubber band back. That pull back is creating tension and a stretch that will accelerate once it’s let go. Jackson does an exceptional job of this, allowing him to rotate the upper body extremely well. RECAP 3 keys to Jobe’s delivery: 1. The drift and drop 2. Hip to shoulder separation 3. Rotational velocity of the chest It all starts with the beginning of the delivery. Getting the first move right has a positive effect on the rest of the delivery. Jobe is a great example of one good move effecting the next one and the next one. FLATGROUND Pitching

Pitching Coach "U"

312,275 views • 2 years ago

Made with Seedance 2.0 by Yapper Prompt: MASTER CINEMATIC PROMPT — ROOFTOP CHASE (INTENSE VERSION) SUBJECT: image1 Use the first image as the main subject. Maintain consistent face, body shape, hairstyle, clothing, and proportions throughout the entire video. Use the image2 as the primary storyboard reference. The second image strictly defines scene order, framing, and timing. Prioritize matching the second image over any creative interpretation. ⸻ FACE LOCK The face must remain sharp at all times. No blur, no distortion, no flickering. Expression progression: focused → tense → survival instinct → aggressive. ⸻ OUTFIT LOCK (STRICT) White undershirt (lightweight, slightly sweat-soaked, visible fabric texture, natural wrinkles) Red shorts (knee-length, soft fabric, natural folds, slightly loose fit) Barefoot (no footwear, visible natural foot movement and contact with surfaces) Rules: * Outfit must remain identical in all frames * No color change, no design change, no wardrobe switching * Clothing must stay consistent even when wet * Fabric reacts naturally to wind, movement, and water * Feet must remain barefoot at all times (no shoes appearing) ⸻ ENVIRONMENT Jakarta dense urban rooftop (corrugated metal roofs, rough concrete, tightly packed buildings) Golden hour lighting with strong backlight Hazy atmosphere with airborne dust particles Environment feels hot, dense, and visually chaotic ⸻ STYLE CORE Live-action, ultra-realistic, AAA cinematic quality High contrast, gritty, intense tone Natural motion blur (strong during fast movement) Heavy debris interaction and environmental destruction emphasis ⸻ CAMERA SYSTEM Handheld tracking, very close to the subject Micro-shake increases slightly on impact (controlled, not chaotic) Dynamic continuous movement following subject momentum Rule: Camera must feel physically present in the action No teleporting, no glitching Subject remains dominant in frame ⸻ TIMELINE (STRICT — HARD ACTION) 0.0 – 1.2s Wide rooftop view of Jakarta. Subject sprinting. A loud CRACK — bullet hits metal very close. Large sparks burst, slight camera shock reaction. ⸻ 1.2 – 2.5s Tight rear tracking shot. Heavy barefoot footsteps on metal roof (visible contact and impact). Bullet nearly hits the foot — debris flies toward camera. Clothesline hits his face; he forcefully pushes through without slowing. ⸻ 2.5 – 4.0s Fast slide under water tank. Bullet pierces the tank — heavy water burst crashes down. Clothing becomes wetter, sticks slightly to body. Camera partially passes through the water splash. He rolls hard and drops to a lower rooftop with impact weight. ⸻ 4.0 – 5.5s Running along a narrow ledge. Two rapid shots — concrete explodes beside his shoulder. Debris flies past camera. He nearly loses balance but recovers instantly. ⸻ 5.5 – 7.0s Full sprint into a large building gap jump. Slow motion mid-air. Bullet hits the edge behind him — fragments scatter in the air. Landing is unstable but controlled (barefoot impact visible). ⸻ 7.0 – 8.5s Grabs fire escape railing aggressively. Bullet slams into metal right beside his face — intense sparks. Camera swings with the momentum. He pulls himself up with force. ⸻ 8.5 – 9.5s Fast aggressive climb using windows and AC units. Bullet shatters glass right beside his head. Glass shards fall downward. Movement is fast, urgent, controlled panic. ⸻ 9.5 – 10.0s Reaches rooftop. Bullet hits near his feet. He pauses briefly, spots a hidden sniper suitcase under a water tank. Immediately sprints toward it. ⸻ PHYSICS & EFFECTS Bullet impacts create strong sparks, debris bursts, and visible force Water hits with weight and affects clothing behavior Barefoot contact interacts realistically with surfaces Camera reacts subtly to shock impacts Environment responds dynamically ⸻ CONSTRAINT No cuts No gore No additional scenes No timeline changes No mirrored movement No face distortion

Made with Seedance 2.0 by Yapper Prompt: MASTER CINEMATIC PROMPT — ROOFTOP CHASE (INTENSE VERSION) SUBJECT: image1 Use the first image as the main subject. Maintain consistent face, body shape, hairstyle, clothing, and proportions throughout the entire video. Use the image2 as the primary storyboard reference. The second image strictly defines scene order, framing, and timing. Prioritize matching the second image over any creative interpretation. ⸻ FACE LOCK The face must remain sharp at all times. No blur, no distortion, no flickering. Expression progression: focused → tense → survival instinct → aggressive. ⸻ OUTFIT LOCK (STRICT) White undershirt (lightweight, slightly sweat-soaked, visible fabric texture, natural wrinkles) Red shorts (knee-length, soft fabric, natural folds, slightly loose fit) Barefoot (no footwear, visible natural foot movement and contact with surfaces) Rules: * Outfit must remain identical in all frames * No color change, no design change, no wardrobe switching * Clothing must stay consistent even when wet * Fabric reacts naturally to wind, movement, and water * Feet must remain barefoot at all times (no shoes appearing) ⸻ ENVIRONMENT Jakarta dense urban rooftop (corrugated metal roofs, rough concrete, tightly packed buildings) Golden hour lighting with strong backlight Hazy atmosphere with airborne dust particles Environment feels hot, dense, and visually chaotic ⸻ STYLE CORE Live-action, ultra-realistic, AAA cinematic quality High contrast, gritty, intense tone Natural motion blur (strong during fast movement) Heavy debris interaction and environmental destruction emphasis ⸻ CAMERA SYSTEM Handheld tracking, very close to the subject Micro-shake increases slightly on impact (controlled, not chaotic) Dynamic continuous movement following subject momentum Rule: Camera must feel physically present in the action No teleporting, no glitching Subject remains dominant in frame ⸻ TIMELINE (STRICT — HARD ACTION) 0.0 – 1.2s Wide rooftop view of Jakarta. Subject sprinting. A loud CRACK — bullet hits metal very close. Large sparks burst, slight camera shock reaction. ⸻ 1.2 – 2.5s Tight rear tracking shot. Heavy barefoot footsteps on metal roof (visible contact and impact). Bullet nearly hits the foot — debris flies toward camera. Clothesline hits his face; he forcefully pushes through without slowing. ⸻ 2.5 – 4.0s Fast slide under water tank. Bullet pierces the tank — heavy water burst crashes down. Clothing becomes wetter, sticks slightly to body. Camera partially passes through the water splash. He rolls hard and drops to a lower rooftop with impact weight. ⸻ 4.0 – 5.5s Running along a narrow ledge. Two rapid shots — concrete explodes beside his shoulder. Debris flies past camera. He nearly loses balance but recovers instantly. ⸻ 5.5 – 7.0s Full sprint into a large building gap jump. Slow motion mid-air. Bullet hits the edge behind him — fragments scatter in the air. Landing is unstable but controlled (barefoot impact visible). ⸻ 7.0 – 8.5s Grabs fire escape railing aggressively. Bullet slams into metal right beside his face — intense sparks. Camera swings with the momentum. He pulls himself up with force. ⸻ 8.5 – 9.5s Fast aggressive climb using windows and AC units. Bullet shatters glass right beside his head. Glass shards fall downward. Movement is fast, urgent, controlled panic. ⸻ 9.5 – 10.0s Reaches rooftop. Bullet hits near his feet. He pauses briefly, spots a hidden sniper suitcase under a water tank. Immediately sprints toward it. ⸻ PHYSICS & EFFECTS Bullet impacts create strong sparks, debris bursts, and visible force Water hits with weight and affects clothing behavior Barefoot contact interacts realistically with surfaces Camera reacts subtly to shock impacts Environment responds dynamically ⸻ CONSTRAINT No cuts No gore No additional scenes No timeline changes No mirrored movement No face distortion

Zar⭕on

11,116 views • 3 months ago

The Issa thread PART 1: The Ronaldinho Scam Let's first take a look at Parsa Abbasie’s Career Timeline Beginning as “sphex” he would scam people for Fortnite gift cards on streams. This is where he found his love of ripping people off and later used this name to transition to grifting SMMA and dropshipping courses. He made a big step up in his career after this, finding a way to get hired by Andrew Tate / Andrew Tate. This was huge for him and is what his entire brand was built on prior to crypto. He used to grift on money twitter as a sales and marketing aficionado before he made the shift into crypto scamming. The hook he had was that he was claimed to be Tate’s “top sales guy” when in reality he was probably just Tate’s bottom. He began working for Tate at a time when a majority of Andrew’s income was from trafficking Eastern European women under the age of 18 and forcing them to do sex acts on webcams. So we can see he had a very strong moral base to work off of. When he could no longer make monopoly money off his fake job he used the “G” boyfriend connections he made through his time with Tate to begin his crypto career. Let's take a look at the Pencil Neck Cabal (all pics will be in thread): Sam Patel - Seen pictured alone on a boat with him in the video below (sus) and one of his day ones and closest partner in crime Harry.XBT - You can watch 2 of his cringe tiktoks below, one of which alludes to a $240M crypto as you can see the crew renting cars and flexing their money acquired through stolen funds as well Louie H - He is the blonde guy you can see in the videos above and also goes by Hermes. Seems to have enemies based off the tweet below. Attaching his instagram as well as a pic of his LinkedIn below Jayden Mellor - Big piece of the puzzle. Another day 1 and his father Will Mellor would NOT want the world to know his son has affiliations with Issa. Will is a big deal in the UK, he’s a popular actor from line of duty, works in media, etc. More on Will Mellor - Issa and his goon squad’s scams go all the way back to 2023 when his speciality was HARD RUGGING presales. They would sign up KOLs with large amounts of supply and HARD rug them instantly, ask cheatcoiner.eth about it as he had fell victim before. There were too many of these instances to count, but they all shrinks into comparison to their greatest masterpiece: The Ronaldinho launch on BNB. Depicted below you can see the sussy squad driving around with Ronaldinho and taking pics with him as if he’s some circus animal. They got their practice rounds in prior then executed a swift and VIOLENT rug with Ronaldinho. Ronaldinho post launching the coin: The coin peaked at $400m FDV and is now sitting at near zero. Let that sink in. If you visit Issa's (now privated) twitter, you will see him gloating about his experience in the markets and dropping platitudes nobody asked for. He acts as if he's a market wizard when the reality of the matter is that he's a thief. And now he spends his days at Jumeriah Beach Residence (JBR) in Dubai whilst racing around rented cars and flexing rented watches off the money he stole from YOU.

Rosa Parks 🇺🇸

274,390 views • 8 months ago

Imagine yourself swimming with dolphins . . . Grok Imagine. Prompt: Ultra-realistic cinematic ocean fantasy video, 1:1 square, 10 seconds. A beautiful woman with long wet black hair floats on her back in clear turquoise-blue ocean water, surrounded by several realistic dolphins. She wears a flowing royal-blue sheer gown with ornate gold embroidery and semi-transparent sleeves, elegant and regal, the fabric spreading softly in the water around her. Bright daylight, rich tropical ocean color, sparkling highlights on the water, premium cinematic realism. Start with a top-down aerial view. The woman is floating calmly and gracefully, eyes soft, face relaxed, arms slightly open, dress drifting underwater in soft blue layers. Several dolphins circle around her in a peaceful, magical but realistic way. Their skin is smooth, wet, and highly detailed, natural grey tones, realistic anatomy, realistic scale. As the shot continues, one dolphin swims closer to her upper body and rises partly out of the water beside her. She slowly lifts one hand toward the dolphin in a gentle, elegant motion, as if greeting or touching it. Keep her movement slow and graceful. The dolphins continue circling smoothly, creating ripples and splashes around her. Camera remains mostly overhead with a slight drifting cinematic motion, subtle zoom and gentle rotation. Water movement should feel natural, with soft wave patterns and realistic fabric motion underwater. The mood is dreamy, serene, luxurious, and enchanting. Photorealistic, high detail, cinematic color grading, realistic skin, realistic wet hair, realistic dolphin motion, premium fantasy fashion film.

Imagine yourself swimming with dolphins . . . Grok Imagine. Prompt: Ultra-realistic cinematic ocean fantasy video, 1:1 square, 10 seconds. A beautiful woman with long wet black hair floats on her back in clear turquoise-blue ocean water, surrounded by several realistic dolphins. She wears a flowing royal-blue sheer gown with ornate gold embroidery and semi-transparent sleeves, elegant and regal, the fabric spreading softly in the water around her. Bright daylight, rich tropical ocean color, sparkling highlights on the water, premium cinematic realism. Start with a top-down aerial view. The woman is floating calmly and gracefully, eyes soft, face relaxed, arms slightly open, dress drifting underwater in soft blue layers. Several dolphins circle around her in a peaceful, magical but realistic way. Their skin is smooth, wet, and highly detailed, natural grey tones, realistic anatomy, realistic scale. As the shot continues, one dolphin swims closer to her upper body and rises partly out of the water beside her. She slowly lifts one hand toward the dolphin in a gentle, elegant motion, as if greeting or touching it. Keep her movement slow and graceful. The dolphins continue circling smoothly, creating ripples and splashes around her. Camera remains mostly overhead with a slight drifting cinematic motion, subtle zoom and gentle rotation. Water movement should feel natural, with soft wave patterns and realistic fabric motion underwater. The mood is dreamy, serene, luxurious, and enchanting. Photorealistic, high detail, cinematic color grading, realistic skin, realistic wet hair, realistic dolphin motion, premium fantasy fashion film.

Mario Nawfal

49,224 views • 5 months ago

Little moment of kindness captured with Seedance 2.0 on Lart AI Try it yourself: A highly realistic 12-second vertical (16:9) cinematic short film filmed as if on a smartphone with natural handheld movement. A young man is standing on a pedestrian bridge over a calm river, texting on his smartphone. He accidentally fumbles it, and the phone slips from his hand. The camera follows the phone as it tumbles realistically through the air under gravity. At that exact moment, a small fishing boat is passing beneath the bridge. The experienced boat captain notices the falling phone, quickly reacts, and skillfully lifts a fishing net upward. The phone lands safely inside the net with realistic momentum and bounce. The captain smiles, docks beside the bridge, hands the phone back to the surprised owner, who gratefully says, "Thank you so much!" The captain simply nods with a warm smile before leaving. Golden-hour natural lighting, authentic facial expressions, physically accurate falling motion, realistic boat movement and water ripples, no impossible actions, no slow motion, no CGI-style effects, no jump cuts, cinematic depth of field, natural ambient sounds only (river, birds, engine, footsteps, dialogue), emotionally uplifting ending.

Little moment of kindness captured with Seedance 2.0 on Lart AI Try it yourself: A highly realistic 12-second vertical (16:9) cinematic short film filmed as if on a smartphone with natural handheld movement. A young man is standing on a pedestrian bridge over a calm river, texting on his smartphone. He accidentally fumbles it, and the phone slips from his hand. The camera follows the phone as it tumbles realistically through the air under gravity. At that exact moment, a small fishing boat is passing beneath the bridge. The experienced boat captain notices the falling phone, quickly reacts, and skillfully lifts a fishing net upward. The phone lands safely inside the net with realistic momentum and bounce. The captain smiles, docks beside the bridge, hands the phone back to the surprised owner, who gratefully says, "Thank you so much!" The captain simply nods with a warm smile before leaving. Golden-hour natural lighting, authentic facial expressions, physically accurate falling motion, realistic boat movement and water ripples, no impossible actions, no slow motion, no CGI-style effects, no jump cuts, cinematic depth of field, natural ambient sounds only (river, birds, engine, footsteps, dialogue), emotionally uplifting ending.

Ruzaina

15,359 views • 1 month ago

"Walter always said the Fourth of July was for everyone else. His daughter used to invite him inside before the fireworks started, close the curtains, turn the television up, and pretend she wasn’t watching his hands. Walter hated that part most. He didn’t want pity. He didn’t want people whispering around him. He wanted to sit on his own porch, in his own chair, and act like the noise didn’t still reach places in him he couldn’t explain. He had come home from Vietnam a long time ago, but some nights never seemed as far away as they should have. Most days, Walter was steady. He mowed his lawn, fixed the loose rail by the steps, and waved at every neighbor who passed. Loud sudden sounds were the one thing that could still pull the room out from under him. That night, the first fireworks started before it was fully dark. Walter stayed outside anyway. He sat on the porch steps with his cap low over his face, trying to breathe through each burst like he’d done so many times before. Duke watched him from the walkway. The black shepherd mix had been with Walter for three years. He knew the small things: the way Walter’s shoulders tightened before he said he was fine, the way his fingers curled when the noise got too close, the way silence after a loud boom sometimes scared him more than the boom itself. Another firework cracked over the neighborhood, and Walter covered his face with both hands. Duke came up the steps slowly. He didn’t crowd him. He just walked close enough, waited a second, then rested his head on Walter’s knee. Walter’s hand dropped almost right away. He touched Duke’s ear, then the side of his neck, and his breathing started to slow. The fireworks kept going behind them, lighting the street in red and white, but Walter wasn’t alone with the sound anymore. After a while, he leaned forward and held Duke with both arms. “Good boy,” he whispered. Duke stayed there until the noise moved farther away. What has your dog done when they somehow knew you needed them?

"Walter always said the Fourth of July was for everyone else. His daughter used to invite him inside before the fireworks started, close the curtains, turn the television up, and pretend she wasn’t watching his hands. Walter hated that part most. He didn’t want pity. He didn’t want people whispering around him. He wanted to sit on his own porch, in his own chair, and act like the noise didn’t still reach places in him he couldn’t explain. He had come home from Vietnam a long time ago, but some nights never seemed as far away as they should have. Most days, Walter was steady. He mowed his lawn, fixed the loose rail by the steps, and waved at every neighbor who passed. Loud sudden sounds were the one thing that could still pull the room out from under him. That night, the first fireworks started before it was fully dark. Walter stayed outside anyway. He sat on the porch steps with his cap low over his face, trying to breathe through each burst like he’d done so many times before. Duke watched him from the walkway. The black shepherd mix had been with Walter for three years. He knew the small things: the way Walter’s shoulders tightened before he said he was fine, the way his fingers curled when the noise got too close, the way silence after a loud boom sometimes scared him more than the boom itself. Another firework cracked over the neighborhood, and Walter covered his face with both hands. Duke came up the steps slowly. He didn’t crowd him. He just walked close enough, waited a second, then rested his head on Walter’s knee. Walter’s hand dropped almost right away. He touched Duke’s ear, then the side of his neck, and his breathing started to slow. The fireworks kept going behind them, lighting the street in red and white, but Walter wasn’t alone with the sound anymore. After a while, he leaned forward and held Duke with both arms. “Good boy,” he whispered. Duke stayed there until the noise moved farther away. What has your dog done when they somehow knew you needed them?

Crazy Moments

20,666 views • 1 month ago

This is real gun camera footage from a P-51 Mustang, chasing a German Bf 109 down to the treetops until it goes down in flames. The American pilot flying it, Lt John Kirla, shot down five enemy planes in a single day, becoming an ace in one mission. This footage captures one of his victories over a Bf 109. This is his story.. From Trainee to the Yoxford Boys John Kirla was not a born fighter ace. He was an ordinary young American who had come up through flight training in Texas, graduating at the start of 1944. He learned his trade on trainers, moved up to fighters, and got just 15 hours in the P-51 Mustang before being sent to England as a replacement pilot. He joined the 362nd Fighter Squadron of the 357th Fighter Group, a unit based at Leiston that was already becoming a legend. The 357th was the first group in the Eighth Air Force fully equipped with the Mustang, and it would go on to produce more aces than any other fighter group in the Eighth, including Chuck Yeager and Bud Anderson. Kirla was the newest pilot in a squadron already filled with experienced aces. His job was to escort American bombers deep into Germany and protect them from the Luftwaffe. On November 27 1944, he got the day that would define him. Five Victories in One Mission That morning the 357th ran headlong into a massive swarm of German fighters trying to get at the bombers. Kirla's flight dropped their fuel tanks and dived straight into the middle of it. Almost immediately, the fight became a swirling, low-level brawl of Mustangs, Messerschmitts, and Focke-Wulfs twisting across the sky. Kirla picked out his first target and opened fire, and from that moment he did not stop hunting. In his own account, he spotted a Bf 109 that was attacking an American bomber. He went after it, closed to just 30 yards, and when the German threw his fighter into a tight barrel roll straight down toward the ground, Kirla stayed glued to his tail and, in his words, clobbered him all over until he went down. An Ace in a Day He kept finding more. Again and again through that wild, sprawling fight, Kirla latched onto an enemy aircraft and did not let go. At one point he watched a German fighter shoot down one of his fellow Mustang pilots right in front of him, and closed in for revenge. As he described it afterward, he opened fire, saw pieces start to fly off the enemy aircraft, and watched it fall out of the sky like a leaf drifting to the ground. Rather than breaking away and climbing back to safety, Kirla chased his targets down low, following them almost to the ground, the fighters weaving over villages and treetops until the enemy aircraft finally went down. By the time the fight was over, John Kirla had shot down five German aircraft in a single mission. He had become an ace in a day, one of the relatively few American fighter pilots to achieve that in a single mission. The Mustang That Changed the Air War The Mustang was the aircraft that made days like Kirla's possible. The P-51 combined long range, high speed, and deadly firepower, and it could follow the bombers all the way to their targets and fight the German fighters on equal or better terms. By the end of the war, P-51 groups had claimed close to 5,000 enemy aircraft shot down, about half of all American air-to-air kills in the European theater. Kirla's own group, the 357th, became the top-scoring Mustang group in the Eighth Air Force. Flying one of the finest escort fighters of the war, men like Kirla helped turn the tide of the air war over Germany. The gun-camera film rolling every time he pressed the trigger captured it all, including the footage you are watching. John Kirla's Legacy John Kirla flew on to the end of his combat tour and finished the war as a double ace, credited with 11 and a half enemy aircraft destroyed in the air. He was awarded the Silver Star and the Distinguished Flying Cross for his courage in the skies over Europe. He had gone from a trainee with a handful of hours in a Mustang to one of the deadliest fighter pilots in one of the deadliest fighter groups of the war, in the span of a single year. The footage of his Mustang chasing a Bf 109 down to the trees is only a few seconds long. But behind those few seconds is a young American who climbed into a fighter, dove into a swarm of the enemy, and shot down five of them before the day was out. This was the story of John Kirla. I post a story like this every single day. Most people never see them. Follow so you don't miss the next one.

This is real gun camera footage from a P-51 Mustang, chasing a German Bf 109 down to the treetops until it goes down in flames. The American pilot flying it, Lt John Kirla, shot down five enemy planes in a single day, becoming an ace in one mission. This footage captures one of his victories over a Bf 109. This is his story.. From Trainee to the Yoxford Boys John Kirla was not a born fighter ace. He was an ordinary young American who had come up through flight training in Texas, graduating at the start of 1944. He learned his trade on trainers, moved up to fighters, and got just 15 hours in the P-51 Mustang before being sent to England as a replacement pilot. He joined the 362nd Fighter Squadron of the 357th Fighter Group, a unit based at Leiston that was already becoming a legend. The 357th was the first group in the Eighth Air Force fully equipped with the Mustang, and it would go on to produce more aces than any other fighter group in the Eighth, including Chuck Yeager and Bud Anderson. Kirla was the newest pilot in a squadron already filled with experienced aces. His job was to escort American bombers deep into Germany and protect them from the Luftwaffe. On November 27 1944, he got the day that would define him. Five Victories in One Mission That morning the 357th ran headlong into a massive swarm of German fighters trying to get at the bombers. Kirla's flight dropped their fuel tanks and dived straight into the middle of it. Almost immediately, the fight became a swirling, low-level brawl of Mustangs, Messerschmitts, and Focke-Wulfs twisting across the sky. Kirla picked out his first target and opened fire, and from that moment he did not stop hunting. In his own account, he spotted a Bf 109 that was attacking an American bomber. He went after it, closed to just 30 yards, and when the German threw his fighter into a tight barrel roll straight down toward the ground, Kirla stayed glued to his tail and, in his words, clobbered him all over until he went down. An Ace in a Day He kept finding more. Again and again through that wild, sprawling fight, Kirla latched onto an enemy aircraft and did not let go. At one point he watched a German fighter shoot down one of his fellow Mustang pilots right in front of him, and closed in for revenge. As he described it afterward, he opened fire, saw pieces start to fly off the enemy aircraft, and watched it fall out of the sky like a leaf drifting to the ground. Rather than breaking away and climbing back to safety, Kirla chased his targets down low, following them almost to the ground, the fighters weaving over villages and treetops until the enemy aircraft finally went down. By the time the fight was over, John Kirla had shot down five German aircraft in a single mission. He had become an ace in a day, one of the relatively few American fighter pilots to achieve that in a single mission. The Mustang That Changed the Air War The Mustang was the aircraft that made days like Kirla's possible. The P-51 combined long range, high speed, and deadly firepower, and it could follow the bombers all the way to their targets and fight the German fighters on equal or better terms. By the end of the war, P-51 groups had claimed close to 5,000 enemy aircraft shot down, about half of all American air-to-air kills in the European theater. Kirla's own group, the 357th, became the top-scoring Mustang group in the Eighth Air Force. Flying one of the finest escort fighters of the war, men like Kirla helped turn the tide of the air war over Germany. The gun-camera film rolling every time he pressed the trigger captured it all, including the footage you are watching. John Kirla's Legacy John Kirla flew on to the end of his combat tour and finished the war as a double ace, credited with 11 and a half enemy aircraft destroyed in the air. He was awarded the Silver Star and the Distinguished Flying Cross for his courage in the skies over Europe. He had gone from a trainee with a handful of hours in a Mustang to one of the deadliest fighter pilots in one of the deadliest fighter groups of the war, in the span of a single year. The footage of his Mustang chasing a Bf 109 down to the trees is only a few seconds long. But behind those few seconds is a young American who climbed into a fighter, dove into a swarm of the enemy, and shot down five of them before the day was out. This was the story of John Kirla. I post a story like this every single day. Most people never see them. Follow so you don't miss the next one.

Untold War Stories

156,897 views • 1 month ago

Made with Grok Imagine Prompt: Ultra-realistic cinematic vertical video, 10 seconds. A beautiful young Korean woman relaxes in her cozy bedroom at night, wearing the same oversized white T-shirt. Warm bedside lamp lighting creates a soft, intimate atmosphere while photo prints decorate the wall behind her. The video consists of multiple natural handheld selfie shots, as if filmed on a phone for a personal vlog. Shot 1 (0–2s): Front selfie shot. She smiles warmly at the camera while maintaining eye contact, then gives a playful wink. A few loose strands of hair fall naturally across her face. Shot 2 (2–4s): Extreme close-up from a slightly lower angle. She gently brushes the hair away from her face, smiles softly, and blinks naturally as the camera subtly moves closer. Shot 3 (4–6s): Three-quarter side selfie. She slowly turns her head toward the warm bedside lamp, smiles to herself, then looks back at the camera. Her hair moves naturally with the motion. Shot 4 (6–8s): Over-the-shoulder selfie. She briefly glances toward the photo wall behind her, then laughs quietly before turning back toward the camera. The handheld movement feels natural and authentic. Shot 5 (8–10s): Close-up selfie. She leans slightly closer to the camera, gives another playful wink followed by a soft smile, then gently tilts her head as the camera slowly pulls back, ending with a cozy bedroom ambiance. Style: Ultra-photorealistic, natural facial expressions, realistic blinking, subtle breathing, lifelike hair physics, authentic smartphone handheld movement, warm ambient lighting, shallow depth of field, premium cinematic color grading, 24 fps, 8K, cozy Korean bedroom aesthetic.

Made with Grok Imagine Prompt: Ultra-realistic cinematic vertical video, 10 seconds. A beautiful young Korean woman relaxes in her cozy bedroom at night, wearing the same oversized white T-shirt. Warm bedside lamp lighting creates a soft, intimate atmosphere while photo prints decorate the wall behind her. The video consists of multiple natural handheld selfie shots, as if filmed on a phone for a personal vlog. Shot 1 (0–2s): Front selfie shot. She smiles warmly at the camera while maintaining eye contact, then gives a playful wink. A few loose strands of hair fall naturally across her face. Shot 2 (2–4s): Extreme close-up from a slightly lower angle. She gently brushes the hair away from her face, smiles softly, and blinks naturally as the camera subtly moves closer. Shot 3 (4–6s): Three-quarter side selfie. She slowly turns her head toward the warm bedside lamp, smiles to herself, then looks back at the camera. Her hair moves naturally with the motion. Shot 4 (6–8s): Over-the-shoulder selfie. She briefly glances toward the photo wall behind her, then laughs quietly before turning back toward the camera. The handheld movement feels natural and authentic. Shot 5 (8–10s): Close-up selfie. She leans slightly closer to the camera, gives another playful wink followed by a soft smile, then gently tilts her head as the camera slowly pulls back, ending with a cozy bedroom ambiance. Style: Ultra-photorealistic, natural facial expressions, realistic blinking, subtle breathing, lifelike hair physics, authentic smartphone handheld movement, warm ambient lighting, shallow depth of field, premium cinematic color grading, 24 fps, 8K, cozy Korean bedroom aesthetic.

Ahmad Faraz

23,626 views • 22 days ago

In July 2014, Lars Mittank, a 28-year-old from Germany went on a vacation with his five of friends to Varna, Bulgaria. The week went by really fast," said Paul Rohmann, one of Mittank’s friends. However, the day before the group was scheduled to fly back home, Lars got in a fight with other German nationals at a bar. The fight stemmed from a disagreement over football. Lars was absent for most of the evening but reappeared at his hotel the next morning, recounting to his friends that he had been assaulted by a group of four men, resulting in injuries to his jaw and a ruptured eardrum. Afterwards, Lars visited a doctor who recommended against flying due to his injury. Additionally, the doctor prescribed an antibiotic for him. Despite his friends' desire to stay with him, he insisted he could manage alone. He encouraged them to stick to the initial travel schedule and fly home on July 7, which they did. Lars checked out of the hotel with his friends and then checked into a new hotel. But this is where things turn really strange. The day following his friends' departure, Lars displayed odd and paranoid behavior. From his hotel, he contacted his mother, Sandra Mittank, speaking in hushed tones, expressing fears that individuals were attempting to harm or rob him. He also urged her to cancel his credit cards. The CCTV in the hotel captured him pacing up and down the halls, looking out windows, and hiding in an elevator. Around 1 am, he departed from the hotel and came back approximately an hour later. His whereabouts during this time remain unknown. In the morning, he once again called his mother, telling her that the people pursuing him were getting closer. Lars arrived at Varna Airport on July 8, 2014, the day he intended to board his flight back to Germany. He sought advice from the airport doctor, Dr. Kosta Kostov, who later characterized his demeanor as "nervous and erratic." According to Kostov, he told Mittank that he was fine and could return home. Lars also expressed concerns about the medication he was taking. Shortly after, a construction worker entered the office, causing Lars to exclaim, "I don't want to die here. I have to get out of here." He abruptly fled the office, abandoning his luggage containing his wallet, cell phone, and passport. These final moments of Lars Mittank can be observed in the CCTV footage provided below. Upon exiting the airport, he can be observed in the footage jogging away from the airport, scaling a fence, and bolting into a meadow. Following this, he completely disappeared.

In July 2014, Lars Mittank, a 28-year-old from Germany went on a vacation with his five of friends to Varna, Bulgaria. The week went by really fast," said Paul Rohmann, one of Mittank’s friends. However, the day before the group was scheduled to fly back home, Lars got in a fight with other German nationals at a bar. The fight stemmed from a disagreement over football. Lars was absent for most of the evening but reappeared at his hotel the next morning, recounting to his friends that he had been assaulted by a group of four men, resulting in injuries to his jaw and a ruptured eardrum. Afterwards, Lars visited a doctor who recommended against flying due to his injury. Additionally, the doctor prescribed an antibiotic for him. Despite his friends' desire to stay with him, he insisted he could manage alone. He encouraged them to stick to the initial travel schedule and fly home on July 7, which they did. Lars checked out of the hotel with his friends and then checked into a new hotel. But this is where things turn really strange. The day following his friends' departure, Lars displayed odd and paranoid behavior. From his hotel, he contacted his mother, Sandra Mittank, speaking in hushed tones, expressing fears that individuals were attempting to harm or rob him. He also urged her to cancel his credit cards. The CCTV in the hotel captured him pacing up and down the halls, looking out windows, and hiding in an elevator. Around 1 am, he departed from the hotel and came back approximately an hour later. His whereabouts during this time remain unknown. In the morning, he once again called his mother, telling her that the people pursuing him were getting closer. Lars arrived at Varna Airport on July 8, 2014, the day he intended to board his flight back to Germany. He sought advice from the airport doctor, Dr. Kosta Kostov, who later characterized his demeanor as "nervous and erratic." According to Kostov, he told Mittank that he was fine and could return home. Lars also expressed concerns about the medication he was taking. Shortly after, a construction worker entered the office, causing Lars to exclaim, "I don't want to die here. I have to get out of here." He abruptly fled the office, abandoning his luggage containing his wallet, cell phone, and passport. These final moments of Lars Mittank can be observed in the CCTV footage provided below. Upon exiting the airport, he can be observed in the footage jogging away from the airport, scaling a fence, and bolting into a meadow. Following this, he completely disappeared.

Morbid Knowledge

34,814,733 views • 2 years ago

"Yesterday on our way home, we broke down 2 hours away from home... on a busy interstate with three kids in tow. It wasn't exactly ideal, especially with a hungry newborn. I wouldn't get the baby out of his seat to feed him incase we got smacked by another vehicle on the highway, he was the safest in his seat. We called dispatch and AAA and an Alabama State Trooper showed up to help. I thought he was just going to divert traffic away from our lane, but he did so much more than that. He loaded the kids and I in his car and got us off the highway and to the closest rest stop. Sean stayed with the car to wait for the tow truck. He checked the bathroom for 'boogieman so Madeline could use the restroom. He shot illuminating helicopters in the sky with the kids while I made calls to try to get home. Major got really fussy when I was trying to wrangle my other children and calm them down from the evening's happenings. Without hesitation, he took Major out of his seat and gave him the bottle I had prepared from earlier. It seemed like he does that every day, knew how to hold him and when to burp him. Major even filled his pants during his feeding and the trooper laughed and continued feeding him. He then helped unload all our stuff from our car to his and drove our family to the nearest hotel. It was late, nothing was open, and we couldn't get a rental car until the morning. He helped unload our unruly amount of crap into our hotel room, told us where all the rental car places were, gave the girls a hug, and told us to call if we needed anything. That my friends... is humanity." 🙏

"Yesterday on our way home, we broke down 2 hours away from home... on a busy interstate with three kids in tow. It wasn't exactly ideal, especially with a hungry newborn. I wouldn't get the baby out of his seat to feed him incase we got smacked by another vehicle on the highway, he was the safest in his seat. We called dispatch and AAA and an Alabama State Trooper showed up to help. I thought he was just going to divert traffic away from our lane, but he did so much more than that. He loaded the kids and I in his car and got us off the highway and to the closest rest stop. Sean stayed with the car to wait for the tow truck. He checked the bathroom for 'boogieman so Madeline could use the restroom. He shot illuminating helicopters in the sky with the kids while I made calls to try to get home. Major got really fussy when I was trying to wrangle my other children and calm them down from the evening's happenings. Without hesitation, he took Major out of his seat and gave him the bottle I had prepared from earlier. It seemed like he does that every day, knew how to hold him and when to burp him. Major even filled his pants during his feeding and the trooper laughed and continued feeding him. He then helped unload all our stuff from our car to his and drove our family to the nearest hotel. It was late, nothing was open, and we couldn't get a rental car until the morning. He helped unload our unruly amount of crap into our hotel room, told us where all the rental car places were, gave the girls a hug, and told us to call if we needed anything. That my friends... is humanity." 🙏

G-MA & G-PA

180,601 views • 6 months ago