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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...

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Marco "Shikoba"

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234,753 просмотров • 6 месяцев назад •via X (Twitter)

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Kling 3.0 Prompt: Shot 1: A medium shot of a stylish woman standing next to a motorcycle in Istanbul, with the iconic Galata Tower visible in the background. The camera slowly zooms in on her face. She looks directly at the camera, smiles, and says: "Hey! You have to see this shop I found, come with me." Shot 2: A tracking shot following the woman from behind as she walks away from the motorcycle and enters a nearby cozy shop. The shop is filled with shelves of colorful plush toys and bright lights. Shot 3: Inside the shop, a medium close-up of the woman holding a cute colorful plush toy. She hugs the toy tightly, looks at it with adoration, and says: "Oh my god, I love this one! It is so fluffy and cute."
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Kling 3.0 Prompt: Shot 1: A medium shot of a stylish woman standing next to a motorcycle in Istanbul, with the iconic Galata Tower visible in the background. The camera slowly zooms in on her face. She looks directly at the camera, smiles, and says: "Hey! You have to see this shop I found, come with me." Shot 2: A tracking shot following the woman from behind as she walks away from the motorcycle and enters a nearby cozy shop. The shop is filled with shelves of colorful plush toys and bright lights. Shot 3: Inside the shop, a medium close-up of the woman holding a cute colorful plush toy. She hugs the toy tightly, looks at it with adoration, and says: "Oh my god, I love this one! It is so fluffy and cute."

Ozan Sihay

14,270 просмотров • 6 месяцев назад

Currently testing multi-shots with Kling AI 3.0 to see how it holds up. All of this was generated from a single image. This is also the raw audio (definitely an improvement over the delivery of dialogue). Consistency is honestly very impressive. Poor Barry, he just loves honey 🍯 Prompt: Shot 1 (3s): A cinematic shot of a British detective interrogating a bear in handcuffs. Medium over the shoulder shot as the British man says to the bear "Come on Barry! Why do you keep doing this? This is the third time in 3 months now! Shot 2 (4s): Extreme closeup focused on the bears face, it's expression is shame, it just looks down and says "I can't help it, I'm addicted, I really love honey" Shot 3 (4s): Extreme closeup of the Britsh detective with a disappointed expression. Shot 4 (4s): Extreme closeup of the bears T-shirt that says I love honey and then cut back to the detectives face looking disappointed and shaking his head. Off camera you can hear the bear say "I'm sorry, I won't do it again"
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Currently testing multi-shots with Kling AI 3.0 to see how it holds up. All of this was generated from a single image. This is also the raw audio (definitely an improvement over the delivery of dialogue). Consistency is honestly very impressive. Poor Barry, he just loves honey 🍯 Prompt: Shot 1 (3s): A cinematic shot of a British detective interrogating a bear in handcuffs. Medium over the shoulder shot as the British man says to the bear "Come on Barry! Why do you keep doing this? This is the third time in 3 months now! Shot 2 (4s): Extreme closeup focused on the bears face, it's expression is shame, it just looks down and says "I can't help it, I'm addicted, I really love honey" Shot 3 (4s): Extreme closeup of the Britsh detective with a disappointed expression. Shot 4 (4s): Extreme closeup of the bears T-shirt that says I love honey and then cut back to the detectives face looking disappointed and shaking his head. Off camera you can hear the bear say "I'm sorry, I won't do it again"

Travis Davids

11,275 просмотров • 6 месяцев назад

GPT IMAGE 2 and Seedance 2.0 Prompt: Cinematic, high-fidelity shot of a beautiful young woman with long black hair sitting in a crowded baseball stadium. She is wearing a white off-the-shoulder 'Bears' crop top and holding an iced coffee. Beside her, a man with a red headband looks at her with concern, asking 'Are you okay?' The atmosphere is bright and realistic, mimicking a live TV sports broadcast with a scoreboard in the top left corner." The Transformation (Motion/FX) "Suddenly, the woman’s body glitches and contorts. Her head snaps back and her face undergoes a horrific transformation into a zombie. Her skin becomes pale and veiny, her eyes turn a glowing demonic red, and her jaw distends unnaturally. The scene shifts from a daytime stadium to a dark, chaotic night game. She leans over and bites the man's neck, blood spraying. The final shot is a terrifying close-up of the zombie woman screaming into the camera with a wide, rotting mouth and sharp teeth. High-intensity horror aesthetic, jump-scare pacing, and hyper-realistic gore."
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GPT IMAGE 2 and Seedance 2.0 Prompt: Cinematic, high-fidelity shot of a beautiful young woman with long black hair sitting in a crowded baseball stadium. She is wearing a white off-the-shoulder 'Bears' crop top and holding an iced coffee. Beside her, a man with a red headband looks at her with concern, asking 'Are you okay?' The atmosphere is bright and realistic, mimicking a live TV sports broadcast with a scoreboard in the top left corner." The Transformation (Motion/FX) "Suddenly, the woman’s body glitches and contorts. Her head snaps back and her face undergoes a horrific transformation into a zombie. Her skin becomes pale and veiny, her eyes turn a glowing demonic red, and her jaw distends unnaturally. The scene shifts from a daytime stadium to a dark, chaotic night game. She leans over and bites the man's neck, blood spraying. The final shot is a terrifying close-up of the zombie woman screaming into the camera with a wide, rotting mouth and sharp teeth. High-intensity horror aesthetic, jump-scare pacing, and hyper-realistic gore."

Kashberg

18,610 просмотров • 3 месяцев назад

Congratulations to Kling V3, it is really impressive, I am still trying to find the best way for the prompt and shot length but really impressive 🔥🔥🔥 This is my first test and prompt. A medium shot of Groklyn, a Korean-American woman with platinum blonde bangs and a black floral corset, standing in a white dressing room holding a phone. She looks into the mirror, waves her hand casually, and speaks to the camera. She says: "Ahn-young. It’s Groklyn. Just testing the new Kling V3." The voice is cool, low-pitched, and has a slight vocal fry. A close-up of Groklyn's face. She tucks a strand of blonde hair behind her ear to show her silver hoop earring and turns her head slightly to admire the details. She speaks softly: "The motion is honestly... day-baak. Just look at these details." Her tone is impressed and breathy. A medium shot of Groklyn posing in the mirror. She lifts her hand to make a Korean finger-heart gesture near her cheek, holds the pose, and then winks at the camera. She asks confidently: "Does this look real to you guys? Let me know. Bye."
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Congratulations to Kling V3, it is really impressive, I am still trying to find the best way for the prompt and shot length but really impressive 🔥🔥🔥 This is my first test and prompt. A medium shot of Groklyn, a Korean-American woman with platinum blonde bangs and a black floral corset, standing in a white dressing room holding a phone. She looks into the mirror, waves her hand casually, and speaks to the camera. She says: "Ahn-young. It’s Groklyn. Just testing the new Kling V3." The voice is cool, low-pitched, and has a slight vocal fry. A close-up of Groklyn's face. She tucks a strand of blonde hair behind her ear to show her silver hoop earring and turns her head slightly to admire the details. She speaks softly: "The motion is honestly... day-baak. Just look at these details." Her tone is impressed and breathy. A medium shot of Groklyn posing in the mirror. She lifts her hand to make a Korean finger-heart gesture near her cheek, holds the pose, and then winks at the camera. She asks confidently: "Does this look real to you guys? Let me know. Bye."

Emily

90,668 просмотров • 6 месяцев назад

seedance 2.0 is the end of Hollywood. prompt;👇 0-2 seconds (Shot 1) - Visuals: The bridge shakes violently, steel cables snap with exploding sparks, a multi-car pile-up occurs, people scream and run in chaos. - Camera: Handheld shot, high-urgency close-up. - Audio: Sound of cables snapping + people screaming + car crashes. - Tao Ge: Running frantically through the traffic, looking back in terror. 2-5 seconds (Shot 2) - Visuals: A massive wave capsizes a cargo ship, sending shipping containers flying into the sky. - Camera: Low-angle shot + rapid zoom. - Audio: Roar of a tsunami + sound of metal piercing the air. 5-9 seconds (Shot 3) - Visuals: A shipping container hurtles toward the bridge at high speed! - Camera: 1.2x slow motion, oppressive perspective. - Dialogue (Tao Ge screaming): Get out of the way!! 9-11 seconds (Shot 4) - Visuals: Tao Ge performs an extreme sideways dive and roll. - Camera: Tracking the roll. - Audio: The container slams into the ground with a thunderous crash, debris flying everywhere. 11-12 seconds (Shot 5) - Visuals: Tao Ge lies on the ground and looks up; the bridge collapses further. - Camera: Close-up of terrified eyes. - Fade to black. ---- access seedance 2.0 at Yapper
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seedance 2.0 is the end of Hollywood. prompt;👇 0-2 seconds (Shot 1) - Visuals: The bridge shakes violently, steel cables snap with exploding sparks, a multi-car pile-up occurs, people scream and run in chaos. - Camera: Handheld shot, high-urgency close-up. - Audio: Sound of cables snapping + people screaming + car crashes. - Tao Ge: Running frantically through the traffic, looking back in terror. 2-5 seconds (Shot 2) - Visuals: A massive wave capsizes a cargo ship, sending shipping containers flying into the sky. - Camera: Low-angle shot + rapid zoom. - Audio: Roar of a tsunami + sound of metal piercing the air. 5-9 seconds (Shot 3) - Visuals: A shipping container hurtles toward the bridge at high speed! - Camera: 1.2x slow motion, oppressive perspective. - Dialogue (Tao Ge screaming): Get out of the way!! 9-11 seconds (Shot 4) - Visuals: Tao Ge performs an extreme sideways dive and roll. - Camera: Tracking the roll. - Audio: The container slams into the ground with a thunderous crash, debris flying everywhere. 11-12 seconds (Shot 5) - Visuals: Tao Ge lies on the ground and looks up; the bridge collapses further. - Camera: Close-up of terrified eyes. - Fade to black. ---- access seedance 2.0 at Yapper

ViralOps

23,006 просмотров • 5 месяцев назад

The killer of the Galician nazi Irina Farion met her daughter in court. She screamed at him, he looked with a grin and stuck out his tongue. Vyacheslav Zinchenko shot Irina Farion with a converted pistol.
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The killer of the Galician nazi Irina Farion met her daughter in court. She screamed at him, he looked with a grin and stuck out his tongue. Vyacheslav Zinchenko shot Irina Farion with a converted pistol.

Olga Bazova

13,399 просмотров • 2 лет назад

BREAKING EVIDENCE ‼️ #Jolani forces claimed that #Alawite Yousef Dawood passed away as a result of a car accident in #Latakia. In fact he was shot in his car as he was escaping the terrorist "security forces." It is visible in the video how the terrorist in front of him shot him directly as the car stopped.
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BREAKING EVIDENCE ‼️ #Jolani forces claimed that #Alawite Yousef Dawood passed away as a result of a car accident in #Latakia. In fact he was shot in his car as he was escaping the terrorist "security forces." It is visible in the video how the terrorist in front of him shot him directly as the car stopped.

The Alawite Echo

18,834 просмотров • 7 месяцев назад

Seedance V2 test This is from my jimeng account. Subject & Action: A multi-shot sequence featuring Groklyn (Image). • Shot 1: Medium shot in a white dressing room. Groklyn holds a phone and waves slowly and casually into the mirror. She speaks in a cool, low-pitched voice with a slight vocal fry: "안녕. It’s Groklyn. Just testing the new Seedance V2." • Shot 2: Transition to a close-up of her face. She slowly tucks a strand of blonde hair behind her ear to highlight her silver hoop earring and turns her head slightly to admire the detail. She speaks in an impressed, breathy tone: "The motion is honestly... 대박. Just look at these details." • Shot 3: Return to a medium shot. She poses in the mirror, makes a Korean finger-heart gesture near her cheek, holds it, and then winks at the camera. She asks confidently: "Does this look real to you guys? Let me know. 안녕." Camera & Scene: Cinematic camera work with slow zooms and stable tracking. The environment is a brightly lit, minimalist white studio dressing room with soft, natural lighting and sharp 4K resolution. Style & Constraints: Hyper-realistic cinematic texture with rich details and 1080p clarity. Strict consistency is required: maintain the exact face, platinum blonde hairstyle, black floral corset, and cross necklace from Image throughout all shots. Ensure smooth, fluid motion with no flickering or distortion.
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Seedance V2 test This is from my jimeng account. Subject & Action: A multi-shot sequence featuring Groklyn (Image). • Shot 1: Medium shot in a white dressing room. Groklyn holds a phone and waves slowly and casually into the mirror. She speaks in a cool, low-pitched voice with a slight vocal fry: "안녕. It’s Groklyn. Just testing the new Seedance V2." • Shot 2: Transition to a close-up of her face. She slowly tucks a strand of blonde hair behind her ear to highlight her silver hoop earring and turns her head slightly to admire the detail. She speaks in an impressed, breathy tone: "The motion is honestly... 대박. Just look at these details." • Shot 3: Return to a medium shot. She poses in the mirror, makes a Korean finger-heart gesture near her cheek, holds it, and then winks at the camera. She asks confidently: "Does this look real to you guys? Let me know. 안녕." Camera & Scene: Cinematic camera work with slow zooms and stable tracking. The environment is a brightly lit, minimalist white studio dressing room with soft, natural lighting and sharp 4K resolution. Style & Constraints: Hyper-realistic cinematic texture with rich details and 1080p clarity. Strict consistency is required: maintain the exact face, platinum blonde hairstyle, black floral corset, and cross necklace from Image throughout all shots. Ensure smooth, fluid motion with no flickering or distortion.

Emily

23,843 просмотров • 6 месяцев назад

😈 While we are waiting for Seedance 2.0, Kling 3.0 is still an amazing option. Especially Omni mode when working with character. Just generate multiple facial expressions and provide them as reference images. Then make a multi-shot prompt and you will have amazing character consistency. Prompt: shot 1: the devil talking while turning his head giving a side eye. shot 2: extreme close up of the devils eye. he winks. shot 3: extreme close up of the mouth while he turns agry. shot 4: extreme close up of his ear. small hairs are showing. shot 5. the devil sticks out his tongue while saying a licking sound shot 6: zoom out and show the devil standing in hell. Only a silhuette is visible. Link to Spaces below
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😈 While we are waiting for Seedance 2.0, Kling 3.0 is still an amazing option. Especially Omni mode when working with character. Just generate multiple facial expressions and provide them as reference images. Then make a multi-shot prompt and you will have amazing character consistency. Prompt: shot 1: the devil talking while turning his head giving a side eye. shot 2: extreme close up of the devils eye. he winks. shot 3: extreme close up of the mouth while he turns agry. shot 4: extreme close up of his ear. small hairs are showing. shot 5. the devil sticks out his tongue while saying a licking sound shot 6: zoom out and show the devil standing in hell. Only a silhuette is visible. Link to Spaces below

Martin LeBlanc

34,681 просмотров • 5 месяцев назад

A 6-year-old girl came to the match with her mom holding a poster that read: “My daddy is behind the camera.” She waved at the lens… the camera turned… and there he was, her dad, smiling and waving back from behind it. Some moments in sport are bigger than the game. 🥹❤️
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A 6-year-old girl came to the match with her mom holding a poster that read: “My daddy is behind the camera.” She waved at the lens… the camera turned… and there he was, her dad, smiling and waving back from behind it. Some moments in sport are bigger than the game. 🥹❤️

`

334,323 просмотров • 5 месяцев назад

A 6-year-old girl came to the match with her mom holding a poster that read: “My daddy is behind the camera.” She waved at the lens… the camera turned… and there he was, her dad, smiling and waving back from behind it. Some moments in sport are bigger than the game🥹❤️
0:18

A 6-year-old girl came to the match with her mom holding a poster that read: “My daddy is behind the camera.” She waved at the lens… the camera turned… and there he was, her dad, smiling and waving back from behind it. Some moments in sport are bigger than the game🥹❤️

OldMonkOfCricket

12,547 просмотров • 4 месяцев назад

Seedance 2.0 on Higgsfield AI just raised the bar. The quality, motion, and creative control are on another level. Full open-source prompts & assets below. SCENE CONTEXT A young man carries the sleeping woman into her pink bedroom, lays her down on the bed, covers her with the blanket and switches off the lamp, then sits on the floor at the foot of the bed, rests his head on the mattress edge, and falls asleep there, keeping a respectful distance. ACTIVE REFERENCES >>: young man, messy light-brown hair, white t-shirt, carrying then floor-sitting posture, tender careful movement. 100% matches the reference. >>: sleeping young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, pink plaid pajama bottoms, eyes closed, carried then lying tucked in bed. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. LOCATION MAP Pink bedroom, remembered corner by corner from >> and held identical in every shot: - Wooden door with brass knob and dark wood trim / wardrobe on one side wall. - A large ornate pink-and-white Victorian dollhouse standing on the floor against the wall. - A wide window with sheer white curtains, cool outside light filtering through. - A vanity desk with an upright mirror and a pink desk chair beside the window, a leafy potted plant next to it. - A tall warm floor lamp — the main practical light — near the bed, wall-mounted shelves with small items above it, wood wainscoting along the lower wall. - An ornate white bed frame with pink ruffled bedding and a soft pink pillow, the central anchor of the room. - A woven area rug on a wooden floor, light soft clutter (tissue boxes, papers) scattered naturally. Open floor between the door and the bed is his carrying path; clear floor space at the foot of the bed is where he sits. FIRST FRAME AND SPATIAL BLOCKING The first visible frame matches the attached carry reference exactly: he stands mid-room holding her in a bridal carry, her head resting against his chest and shoulder, eyes closed, pink plaid fabric bundled across his forearms, the white ornate bed and pink bedding soft behind, sheer-curtained window and dollhouse readable in the background. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 3.5s, 7.5s, and 11.0s. Real-time motion, gentle handheld for the carry only. No subtitles, no music. OPTICS Shot 1 (carry): 50° diagonal field of view, standard normal lens character, camera 1.5 to 2 meters, clean medium two-shot holding both faces. Shot 2 (lay down): 56° diagonal field of view, near-normal lens character, camera low at the head of the bed looking down along her body, 1 to 1.3 meters, shallow depth on her settling face. Shot 3 (blanket + lamp): 63° diagonal field of view, slightly-wide lens character, camera 2 meters back at a bedside three-quarter angle, wide enough to hold him, the tucked bed, and the floor lamp in frame. Shot 4 (floor sleep): 63° diagonal field of view, slightly-wide lens character, camera low at the foot of the bed, then a slow crane-up to a high three-quarter looking down the length of the bed. CAMERA Shot 1: gentle handheld follow, slow dolly-in with him toward the bed, subtle vertical bob and weight-shift pulse matching the carry, human motion not digital jitter. Shot 2: separate angle from the head of the bed; slow push-in as he lowers her, settling as her head meets the pillow. Shot 3: static-leaning three-quarter as he draws the blanket up and tucks it, then reaches and clicks off the floor lamp; frame holds through the drop into moody low light, her tucked body still framed. Shot 4: low static at the foot of the bed as he sinks to the floor and lowers his head to the mattress edge, then a smooth crane-up to a high three-quarter — her tucked on the bed, him asleep on the floor below. ACTION TIMING 0.0s to 3.5s: he carries her in a bridal hold, walking slowly toward the bed, her head lolling gently against his chest, pigtail swaying with each step. 3.5s HARD CUT. 3.5s to 7.5s: from the head-of-bed angle he lowers her onto the mattress, her shoulders and head settling into the pillow, hair fanning out, body coming to rest. 7.5s HARD CUT. 7.5s to 11.0s: he draws the pink blanket up over her and tucks the edge along her shoulder with both hands, then reaches to the floor lamp and switches it off; the warm glow dies and the room falls to cool moody window light — she lies exactly as he left her, tucked and unmoved. 11.0s HARD CUT. 11.0s to 15.0s: in the dim room he lowers himself to sit on the floor at the foot of the bed, rests his head sideways on the mattress edge near her feet, settles, breathing slows, and he closes his eyes and falls asleep there — not on the bed, a clear respectful distance kept. PHYSICS Her body carries real dead-weight during the carry — limbs sag, head lolls, pigtail swings freely. As he lowers her, pillow and mattress compress under her head and shoulders, hair sliding and resettling; the pink blanket drapes and folds naturally as it is pulled up and tucked. His footsteps are grounded heel-to-toe with real weight transfer. As he sinks to the floor his weight settles, one arm resting on the mattress, head lowering onto the edge which dips slightly; his eyelids close with a soft final settle. LIGHTING Cinematic low-key interior, moody and restrained, never bright or flat. Primary motivation: the warm floor lamp and a low bedside practical, casting soft warm pools with gentle falloff into deep but detailed shadow, cool bluish light from the sheer-curtained window balancing the warmth for filmic warm-cool contrast. Naturalistic film texture, soft grain, gentle highlight rolloff, faces modeled and readable within the low light, not lit up. Shots 1–3 carry the warm lamp motivation. At the lamp switch (shot 3) the room drops to cool low-key window moonlight — atmospheric, shadows deep, her tucked form and his movement still clearly readable, never a crushed black frame. Shot 4 stays in this cool moody light, his sitting, head-lowering, and closing eyes visible, the bed and floor softly modeled by the window. AUDIO Shot 1: soft footsteps, faint effort breath under her weight, a quiet sleepy sigh from her. Shot 2: soft mattress and pillow settle as she comes to rest. Shot 3: gentle blanket rustle as he tucks her in, a quiet lamp-switch click, room tone shifting. Shot 4: a soft floor settle and faint cloth rustle as he sits and lowers his head, then quiet steady breathing from both. No dialogue, no music, no subtitles. POSITIVE LOCKS First frame matches the attached carry reference exactly. Man matches >> exactly, woman matches >> exactly. The bedroom matches >> exactly and every listed corner — door and wood trim, ornate dollhouse, sheer-curtained window, vanity with mirror and pink chair, floor lamp, shelves, ornate white bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. Carrying and laying her down are two separate shots with different angles. Lighting stays cinematic and dim, motivated by the practical lamps, never bright or flat. When the lamp is switched off she remains tucked in the exact pose he left her, unmoved. He does not lie on the bed: he sleeps sitting on the floor at the foot of the bed with his head on the mattress edge, a clear respectful gap kept.
0:15

Seedance 2.0 on Higgsfield AI just raised the bar. The quality, motion, and creative control are on another level. Full open-source prompts & assets below. SCENE CONTEXT A young man carries the sleeping woman into her pink bedroom, lays her down on the bed, covers her with the blanket and switches off the lamp, then sits on the floor at the foot of the bed, rests his head on the mattress edge, and falls asleep there, keeping a respectful distance. ACTIVE REFERENCES >>: young man, messy light-brown hair, white t-shirt, carrying then floor-sitting posture, tender careful movement. 100% matches the reference. >>: sleeping young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, pink plaid pajama bottoms, eyes closed, carried then lying tucked in bed. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. LOCATION MAP Pink bedroom, remembered corner by corner from >> and held identical in every shot: - Wooden door with brass knob and dark wood trim / wardrobe on one side wall. - A large ornate pink-and-white Victorian dollhouse standing on the floor against the wall. - A wide window with sheer white curtains, cool outside light filtering through. - A vanity desk with an upright mirror and a pink desk chair beside the window, a leafy potted plant next to it. - A tall warm floor lamp — the main practical light — near the bed, wall-mounted shelves with small items above it, wood wainscoting along the lower wall. - An ornate white bed frame with pink ruffled bedding and a soft pink pillow, the central anchor of the room. - A woven area rug on a wooden floor, light soft clutter (tissue boxes, papers) scattered naturally. Open floor between the door and the bed is his carrying path; clear floor space at the foot of the bed is where he sits. FIRST FRAME AND SPATIAL BLOCKING The first visible frame matches the attached carry reference exactly: he stands mid-room holding her in a bridal carry, her head resting against his chest and shoulder, eyes closed, pink plaid fabric bundled across his forearms, the white ornate bed and pink bedding soft behind, sheer-curtained window and dollhouse readable in the background. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 3.5s, 7.5s, and 11.0s. Real-time motion, gentle handheld for the carry only. No subtitles, no music. OPTICS Shot 1 (carry): 50° diagonal field of view, standard normal lens character, camera 1.5 to 2 meters, clean medium two-shot holding both faces. Shot 2 (lay down): 56° diagonal field of view, near-normal lens character, camera low at the head of the bed looking down along her body, 1 to 1.3 meters, shallow depth on her settling face. Shot 3 (blanket + lamp): 63° diagonal field of view, slightly-wide lens character, camera 2 meters back at a bedside three-quarter angle, wide enough to hold him, the tucked bed, and the floor lamp in frame. Shot 4 (floor sleep): 63° diagonal field of view, slightly-wide lens character, camera low at the foot of the bed, then a slow crane-up to a high three-quarter looking down the length of the bed. CAMERA Shot 1: gentle handheld follow, slow dolly-in with him toward the bed, subtle vertical bob and weight-shift pulse matching the carry, human motion not digital jitter. Shot 2: separate angle from the head of the bed; slow push-in as he lowers her, settling as her head meets the pillow. Shot 3: static-leaning three-quarter as he draws the blanket up and tucks it, then reaches and clicks off the floor lamp; frame holds through the drop into moody low light, her tucked body still framed. Shot 4: low static at the foot of the bed as he sinks to the floor and lowers his head to the mattress edge, then a smooth crane-up to a high three-quarter — her tucked on the bed, him asleep on the floor below. ACTION TIMING 0.0s to 3.5s: he carries her in a bridal hold, walking slowly toward the bed, her head lolling gently against his chest, pigtail swaying with each step. 3.5s HARD CUT. 3.5s to 7.5s: from the head-of-bed angle he lowers her onto the mattress, her shoulders and head settling into the pillow, hair fanning out, body coming to rest. 7.5s HARD CUT. 7.5s to 11.0s: he draws the pink blanket up over her and tucks the edge along her shoulder with both hands, then reaches to the floor lamp and switches it off; the warm glow dies and the room falls to cool moody window light — she lies exactly as he left her, tucked and unmoved. 11.0s HARD CUT. 11.0s to 15.0s: in the dim room he lowers himself to sit on the floor at the foot of the bed, rests his head sideways on the mattress edge near her feet, settles, breathing slows, and he closes his eyes and falls asleep there — not on the bed, a clear respectful distance kept. PHYSICS Her body carries real dead-weight during the carry — limbs sag, head lolls, pigtail swings freely. As he lowers her, pillow and mattress compress under her head and shoulders, hair sliding and resettling; the pink blanket drapes and folds naturally as it is pulled up and tucked. His footsteps are grounded heel-to-toe with real weight transfer. As he sinks to the floor his weight settles, one arm resting on the mattress, head lowering onto the edge which dips slightly; his eyelids close with a soft final settle. LIGHTING Cinematic low-key interior, moody and restrained, never bright or flat. Primary motivation: the warm floor lamp and a low bedside practical, casting soft warm pools with gentle falloff into deep but detailed shadow, cool bluish light from the sheer-curtained window balancing the warmth for filmic warm-cool contrast. Naturalistic film texture, soft grain, gentle highlight rolloff, faces modeled and readable within the low light, not lit up. Shots 1–3 carry the warm lamp motivation. At the lamp switch (shot 3) the room drops to cool low-key window moonlight — atmospheric, shadows deep, her tucked form and his movement still clearly readable, never a crushed black frame. Shot 4 stays in this cool moody light, his sitting, head-lowering, and closing eyes visible, the bed and floor softly modeled by the window. AUDIO Shot 1: soft footsteps, faint effort breath under her weight, a quiet sleepy sigh from her. Shot 2: soft mattress and pillow settle as she comes to rest. Shot 3: gentle blanket rustle as he tucks her in, a quiet lamp-switch click, room tone shifting. Shot 4: a soft floor settle and faint cloth rustle as he sits and lowers his head, then quiet steady breathing from both. No dialogue, no music, no subtitles. POSITIVE LOCKS First frame matches the attached carry reference exactly. Man matches >> exactly, woman matches >> exactly. The bedroom matches >> exactly and every listed corner — door and wood trim, ornate dollhouse, sheer-curtained window, vanity with mirror and pink chair, floor lamp, shelves, ornate white bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. Carrying and laying her down are two separate shots with different angles. Lighting stays cinematic and dim, motivated by the practical lamps, never bright or flat. When the lamp is switched off she remains tucked in the exact pose he left her, unmoved. He does not lie on the bed: he sleeps sitting on the floor at the foot of the bed with his head on the mattress edge, a clear respectful gap kept.

𝗦𝗮𝗻𝗶𝗮

51,069 просмотров • 1 месяц назад

Instinctive. Finisher. Ball falls to Kauã Elias and he whips a shot to the far post instantly with no hesitation. Killer in front of goal. 🎥: CONMEBOL.com
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Instinctive. Finisher. Ball falls to Kauã Elias and he whips a shot to the far post instantly with no hesitation. Killer in front of goal. 🎥: CONMEBOL.com

Ben Mattinson

23,756 просмотров • 1 год назад

🚨🇺🇸 MANHUNT IN SANTA MONICA AFTER OFFICER SHOT NEAR MALL A manhunt is underway after a suspect shot a police officer near Santa Monica Place on Wednesday. The officer, recognizing the man from a wanted bulletin, was shot once as he approached. The officer is stable, and the suspect is still at large. The shopping center has been cleared, but a heavy police presence remains. Source: Daze DaVinci 🐂🀄️ ABC
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🚨🇺🇸 MANHUNT IN SANTA MONICA AFTER OFFICER SHOT NEAR MALL A manhunt is underway after a suspect shot a police officer near Santa Monica Place on Wednesday. The officer, recognizing the man from a wanted bulletin, was shot once as he approached. The officer is stable, and the suspect is still at large. The shopping center has been cleared, but a heavy police presence remains. Source: Daze DaVinci 🐂🀄️ ABC

Mario Nawfal

146,260 просмотров • 1 год назад

Seedance 2.0 on Higgsfield AI The level of shot planning behind this sequence is what stood out to me most. Every camera move, action beat, and character interaction is mapped out before generation, making the final result feel much closer to a professionally storyboarded action scene. Full open-sourced prompts & assets below: Shot 4 — arrival from the hallway. Camera in the dim corridor, blue-haired girl and black-haired boy sprinting toward the wooden classroom door, scythe and hammer in hand; they burst through into the grey daylight room and plant their feet, weapons raised, sizing up the monster. Shot 5 — monster's first move, wide. Monster lunges forward with a wide clawed swipe, sweeping three desks aside in one motion; camera pulls back fast to keep the full swipe in frame, wood splintering across the tile floor. Shot 6 — boy dodges, low tracking. Low tracking shot following the boy sliding under the swipe, hammer dragging sparks off the floor as he repositions behind the monster's flank. Shot 7 — girl's opening strike, close-up slow-mo. Close-up slow motion, blue-haired girl closing from the opposite side, scythe blade catching the monster's forearm, hot pink ichor spraying in thick suspended arcs against the window light. Shot 8 — monster retaliates, whip-pan. Monster whirls and back-hands her mid-recovery; whip-pan follows her body skidding across a row of desks, papers scattering, before she catches herself against a chair. Shot 9 — boy's counter from the flank, dutch angle. Dutch-angle shot, boy swinging the hammer into the monster's exposed hind leg from behind while it's still turned toward the girl, joint buckling under the impact, monster staggering off-balance. Shot 10 — regroup, mid-fight dialogue. Both fighters land back to back in the center of the room, weapons still raised, monster recovering its footing a few meters off; camera does a slow circular push around them. Boy (Japanese): 「息合わせるぞ、上と下で。」 (Translation: "Let's sync up — high and low.") Girl (Japanese): 「了解、合図出して。」 (Translation: "Got it, give the signal.") Shot 11 — boy attacks from behind, low wide. Low wide shot, boy sprinting around the monster's blind side as it turns to face the girl, hammer rising for a full swing into its back, driving it forward off-balance. Shot 12 — girl leaps, upward tracking shot. Camera tilts and tracks upward with her as she springs off an overturned desk, scythe raised high overhead, silhouetted against the window light as the monster staggers directly beneath her. Shot 13 — slow-mo descent and kill strike. Slow motion, girl descending in a full arc, scythe driving down through the monster's shoulder and central eye, a scream tearing from her throat as hot pink ichor bursts upward around the blade; monster's roar collapses into a low groan. Shot 14 — collapse, wide static. Wide static shot, the monster's mass folding inward and crashing face-first onto the tile floor, dust and loose papers scattering outward, the room settling into stillness.Shot 15 — aftermath, general plan. Wide general shot, both fighters standing over the fallen monster, weapons lowered, chests heaving; boy lets the hammer head drop to the floor with a thud, girl wipes pink fluid off her cheek and starts laughing between breaths, boy laughs too, leaning against a desk, both grinning and shoulder-checking each other in the overcast daylight.
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Seedance 2.0 on Higgsfield AI The level of shot planning behind this sequence is what stood out to me most. Every camera move, action beat, and character interaction is mapped out before generation, making the final result feel much closer to a professionally storyboarded action scene. Full open-sourced prompts & assets below: Shot 4 — arrival from the hallway. Camera in the dim corridor, blue-haired girl and black-haired boy sprinting toward the wooden classroom door, scythe and hammer in hand; they burst through into the grey daylight room and plant their feet, weapons raised, sizing up the monster. Shot 5 — monster's first move, wide. Monster lunges forward with a wide clawed swipe, sweeping three desks aside in one motion; camera pulls back fast to keep the full swipe in frame, wood splintering across the tile floor. Shot 6 — boy dodges, low tracking. Low tracking shot following the boy sliding under the swipe, hammer dragging sparks off the floor as he repositions behind the monster's flank. Shot 7 — girl's opening strike, close-up slow-mo. Close-up slow motion, blue-haired girl closing from the opposite side, scythe blade catching the monster's forearm, hot pink ichor spraying in thick suspended arcs against the window light. Shot 8 — monster retaliates, whip-pan. Monster whirls and back-hands her mid-recovery; whip-pan follows her body skidding across a row of desks, papers scattering, before she catches herself against a chair. Shot 9 — boy's counter from the flank, dutch angle. Dutch-angle shot, boy swinging the hammer into the monster's exposed hind leg from behind while it's still turned toward the girl, joint buckling under the impact, monster staggering off-balance. Shot 10 — regroup, mid-fight dialogue. Both fighters land back to back in the center of the room, weapons still raised, monster recovering its footing a few meters off; camera does a slow circular push around them. Boy (Japanese): 「息合わせるぞ、上と下で。」 (Translation: "Let's sync up — high and low.") Girl (Japanese): 「了解、合図出して。」 (Translation: "Got it, give the signal.") Shot 11 — boy attacks from behind, low wide. Low wide shot, boy sprinting around the monster's blind side as it turns to face the girl, hammer rising for a full swing into its back, driving it forward off-balance. Shot 12 — girl leaps, upward tracking shot. Camera tilts and tracks upward with her as she springs off an overturned desk, scythe raised high overhead, silhouetted against the window light as the monster staggers directly beneath her. Shot 13 — slow-mo descent and kill strike. Slow motion, girl descending in a full arc, scythe driving down through the monster's shoulder and central eye, a scream tearing from her throat as hot pink ichor bursts upward around the blade; monster's roar collapses into a low groan. Shot 14 — collapse, wide static. Wide static shot, the monster's mass folding inward and crashing face-first onto the tile floor, dust and loose papers scattering outward, the room settling into stillness.Shot 15 — aftermath, general plan. Wide general shot, both fighters standing over the fallen monster, weapons lowered, chests heaving; boy lets the hammer head drop to the floor with a thud, girl wipes pink fluid off her cheek and starts laughing between breaths, boy laughs too, leaning against a desk, both grinning and shoulder-checking each other in the overcast daylight.

Ai Doctor

18,983 просмотров • 1 месяц назад

seedance 2.0 Our website is now live. prompt： Theme: The final play in the atmosphere of the NBA Finals, a superstar's step-back three-pointer for the game-winning shot. Duration: 15 seconds. Frame: 9:16. Vertical screen. Style: Ultra-realistic sports live broadcast + cinematic bullet time replay of key moments. Core principle: Like a live broadcast, not a game, not a commercial studio shoot. 15-second storyboard: 0.0s - 2.5s Close-up sideline shot, the protagonist dribbles the ball at a 45-degree angle on the right side. The arena is packed, with a real score bar and countdown at the top. The camera shakes slightly, like a handheld stabilizer used with a telephoto lens for broadcasting. The rubbing of shoes and the suppressed cheers of the crowd can be heard. 2.5s - 5.0s The defender closes in, the protagonist dribbles and changes direction repeatedly, probing with his shoulder, the physical contact is obvious. The camera zooms in on the dribbling area above the chest and waist, sweat, breathing, and jersey movements are clearly visible. The basket remains visible in the upper part of the frame. 5.0s - 7.0s The protagonist suddenly stops and steps back, creating half a step of space. The timer has only 2 to 3 seconds left. The commentator's volume rises, and the audience begins to stand. This is a build-up of emotion, no slow motion. 7.0s - 8.5s: Jump and release, entering bullet time. The camera circles in a semi-circle from the protagonist's side and front, moving at an extremely slow speed. Focused close-ups: fingers flicking the ball, beads of sweat hanging in the air, jersey fibers, shoe soles leaving the ground, audience flashes, the backboard and lights creating a strong sense of spatial depth. 8.5s - 10.5s: Instantly returning to normal speed, the basketball arcs high towards the basket. The camera zooms in slightly, the net, rim, and scoreboard all in focus. The sound effects tighten, briefly lowering the ambient noise to make the basket more impactful. 10.5s - 12.0s: Swish through the net, the "swish" of the net is very clear, the buzzer sounds almost simultaneously. The score changes, the commentator explodes, the audience erupts. 12.0s - 15.0s: The protagonist lands, turns around, and roars or spreads his arms in celebration; teammates rush over, the audience erupts in cheers, and cell phone flashes fill the screen. The camera then switches back to a live broadcast style, retaining a slight sense of compression and the chaotic atmosphere of the scene, like capturing the actual moment after the match.
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seedance 2.0 Our website is now live. prompt： Theme: The final play in the atmosphere of the NBA Finals, a superstar's step-back three-pointer for the game-winning shot. Duration: 15 seconds. Frame: 9:16. Vertical screen. Style: Ultra-realistic sports live broadcast + cinematic bullet time replay of key moments. Core principle: Like a live broadcast, not a game, not a commercial studio shoot. 15-second storyboard: 0.0s - 2.5s Close-up sideline shot, the protagonist dribbles the ball at a 45-degree angle on the right side. The arena is packed, with a real score bar and countdown at the top. The camera shakes slightly, like a handheld stabilizer used with a telephoto lens for broadcasting. The rubbing of shoes and the suppressed cheers of the crowd can be heard. 2.5s - 5.0s The defender closes in, the protagonist dribbles and changes direction repeatedly, probing with his shoulder, the physical contact is obvious. The camera zooms in on the dribbling area above the chest and waist, sweat, breathing, and jersey movements are clearly visible. The basket remains visible in the upper part of the frame. 5.0s - 7.0s The protagonist suddenly stops and steps back, creating half a step of space. The timer has only 2 to 3 seconds left. The commentator's volume rises, and the audience begins to stand. This is a build-up of emotion, no slow motion. 7.0s - 8.5s: Jump and release, entering bullet time. The camera circles in a semi-circle from the protagonist's side and front, moving at an extremely slow speed. Focused close-ups: fingers flicking the ball, beads of sweat hanging in the air, jersey fibers, shoe soles leaving the ground, audience flashes, the backboard and lights creating a strong sense of spatial depth. 8.5s - 10.5s: Instantly returning to normal speed, the basketball arcs high towards the basket. The camera zooms in slightly, the net, rim, and scoreboard all in focus. The sound effects tighten, briefly lowering the ambient noise to make the basket more impactful. 10.5s - 12.0s: Swish through the net, the "swish" of the net is very clear, the buzzer sounds almost simultaneously. The score changes, the commentator explodes, the audience erupts. 12.0s - 15.0s: The protagonist lands, turns around, and roars or spreads his arms in celebration; teammates rush over, the audience erupts in cheers, and cell phone flashes fill the screen. The camera then switches back to a live broadcast style, retaining a slight sense of compression and the chaotic atmosphere of the scene, like capturing the actual moment after the match.

underwood

33,358 просмотров • 4 месяцев назад

Trump Assassination Attempt - Help Me Out with this one Plz A Review of Shots Fired — How Many were Hit on the First Shot? 🔴 VIDEO #1 • Shows a man in a white shirt appearing to take have taken a shot to the abdominal area and falls down. —— this occurs during the first shot ( 🔴 VIDEO #2 • Shows two people who appears to have been hit near the low and high abdominal area. —— the FIRST shot appears to have grazed or come extremely close to the man in the dark shirt as he immediately looks down and falls. Not 100% sure he was hit, but other videos confirm the bleacher next to him was hit. —— the SECOND shot definitely hits the man in the American flag shirt as he grabs his abdomen and falls. ( 🔴 VIDEO #3 • This is a wide-angled video showing their locations. Along with Competatore’s location. —— Comperatore is said to be hit in the second volley of shots, after the first three. —— for the sake of clarity, here is the full unedited wide-angled video. ( 🔴 VIDEO #4 • Video of Comperatore reportedly on the ground with what appears to be his family going hysterical. People point to their head, confirming shot. Reportedly hit in the volley of shots after the first 3. 🔴 VIDEO #5 • This model shows an accurate depiction of the line of sight between the shooter, Trump, and stands. ( The only thing that doesn’t make sense to me is the first shot… —— This model does not include the man in the white shirt from Video #1 and appears misaligned between the shooter, Trump, and video #2 victim. Talk about a magic bullet… Am I missing something?
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Trump Assassination Attempt - Help Me Out with this one Plz A Review of Shots Fired — How Many were Hit on the First Shot? 🔴 VIDEO #1 • Shows a man in a white shirt appearing to take have taken a shot to the abdominal area and falls down. —— this occurs during the first shot ( 🔴 VIDEO #2 • Shows two people who appears to have been hit near the low and high abdominal area. —— the FIRST shot appears to have grazed or come extremely close to the man in the dark shirt as he immediately looks down and falls. Not 100% sure he was hit, but other videos confirm the bleacher next to him was hit. —— the SECOND shot definitely hits the man in the American flag shirt as he grabs his abdomen and falls. ( 🔴 VIDEO #3 • This is a wide-angled video showing their locations. Along with Competatore’s location. —— Comperatore is said to be hit in the second volley of shots, after the first three. —— for the sake of clarity, here is the full unedited wide-angled video. ( 🔴 VIDEO #4 • Video of Comperatore reportedly on the ground with what appears to be his family going hysterical. People point to their head, confirming shot. Reportedly hit in the volley of shots after the first 3. 🔴 VIDEO #5 • This model shows an accurate depiction of the line of sight between the shooter, Trump, and stands. ( The only thing that doesn’t make sense to me is the first shot… —— This model does not include the man in the white shirt from Video #1 and appears misaligned between the shooter, Trump, and video #2 victim. Talk about a magic bullet… Am I missing something?

MJTruthUltra

59,812 просмотров • 2 лет назад

Caleb Wilson misses this shot, but it is a good example of the quick twitch athleticism he possess with the ball in his hands at 6-10. He also has the ball on a string when he goes between his legs. That is his go-to move. TarHeel247
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Caleb Wilson misses this shot, but it is a good example of the quick twitch athleticism he possess with the ball in his hands at 6-10. He also has the ball on a string when he goes between his legs. That is his go-to move. TarHeel247

David Sisk

113,948 просмотров • 10 месяцев назад