Sensitive content

This media may contain sensitive content.

Video wird geladen...

Video konnte nicht geladen werden

Beim Laden dieses Videos ist ein Problem aufgetreten. Dies könnte an einem vorübergehenden Netzwerkproblem liegen oder das Video ist möglicherweise nicht verfügbar.

seedance prompt: Realistic Video Narration (15-Second Full Version - Pure First-Person POV): Presented in the style of unprocessed, handheld, unstable iPhone video footage. All camera settings are automatic, with no post-processing color grading or special effects. The footage captures the realistic breathing of the operator and slight, irregular hand... shake. Autofocus frequently exhibits intense searching, brief out-of-focus periods, and delayed recovery. Auto white balance naturally shifts between warm and cool tones as it blends with the library lights and natural light from distant windows. The overall image is flat and slightly washed out, retaining realistic lens flare, edge purple-green iridescence, and slight overexposure or underexposure. Faint fingerprint artifacts occasionally appear at the bottom of the frame. Only natural ambient sound effects are used (the sound of turning pages, very light footsteps in the distance, the low hum of an air conditioner, suppressed breathing, and the subtle rustling of stockings against a cheongsam). All sounds are extremely suppressed, with slight microphone distortion at louder frequencies. The entire video employs a pure first-person POV perspective (student's subjective viewpoint), with camera movements completely following natural head rotations and gaze movements. The composition is occasionally imperfect, showing realistic breathing tremors and slight shaking during moments of tension. From 0-4 seconds, the camera, in a first-person perspective, rests on a desk in a secluded corner of the library, with noticeable breathing tremors. You can clearly see your legs in black trousers. A female teacher approaches from behind and sits directly opposite you, wearing a white, glossy cheongsam-style dress (high slit design, keyhole cutout at the chest, pink floral lace shoulder embellishments), paired with white suspender stockings and white garter belts. She suddenly leans forward, one hand reaching out to cover your mouth, the other pressing on the inside of your black trousers, whispering, "Don't make a sound... be good, sit still." Her voice is extremely low, yet carries a powerful seduction. The autofocus searches for the high slit of the white cheongsam and the white suspender stockings. Between 4 and 9 seconds, the teacher leans forward more proactively, the high slit of her glossy white cheongsam sliding upwards, revealing a large expanse of her fair thigh and white stockings. She whispers in your ear, "Watch closely... this is what you want to see." The camera instinctively lowers its focus, locking onto a close-up of your black trousers and the teacher's white stockings—the glossy cheongsam fabric taut, the stockings subtly reflective. Your breathing noticeably becomes heavier. Between 9 and 15 seconds, footsteps approach in the distance, and the teacher presses you down more aggressively, whispering a warning, "Someone's coming... but you can't move or make a sound." The high slit of the white cheongsam and the stockings are pressed tightly together, the image shakes violently, the tension reaching its peak. The footsteps grow closer, and the image freezes in an extremely oppressive atmosphere. The footage presents a realistic, unprocessed handheld video quality, a natural, imperfect feel reminiscent of a documentary, without any post-production color grading or special effects. All camera actions are consistent with the physical characteristics of iPhone automatic shooting.show more

John

19,111 subscribers

32,137 Aufrufe • vor 2 Monaten •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

DepressedBergman

61,555 Aufrufe • vor 1 Jahr

Have you ever faced this situation? if yes, stop dating broke boys. GPT Image 2 + Seedance 2.0 on TapNow prompt Part 1 (0–15 seconds) Cinematic close-up establishing shot inside an elegant, dimly lit Parisian fine-dining restaurant. Dark wood paneling, crystal chandeliers, candlelit marble tables, and mirrors reflecting warm ambient light. A handsome man in his early 30s with dark hair, wearing an open-collar white linen shirt, sits across from a stunning blonde woman in a fitted black low-cut dress. A young waiter in a crisp white shirt and black bowtie approaches and places a black leather bill folder on the table, saying, “Your bill, sir.” The man opens the folder and examines the long receipt showing a total of €217.40. He calmly pulls out a white calculator, types in the numbers, then looks up at the woman with a slight smile and says, “So, shall we split it?” The woman freezes mid-sip of her red wine, her eyes widening in surprise. The camera holds on her reaction as the intimate restaurant ambience continues. Warm golden lighting, shallow depth of field, realistic film grain, cinematic 24fps style. --- Part 2 (15–30 seconds) The blonde woman slowly lowers her wine glass, staring at the man with a mix of disbelief and quiet amusement. She reaches into her black handbag, takes out a gold credit card, and hands it to the waiter as he returns with the payment terminal. The man watches in stunned silence, his mouth slightly open. The terminal beeps with a green confirmation light as the full bill is paid. She stands gracefully, adjusts her dress, looks back at him with an unreadable smile, and says, “Don’t lose your calculator.” She walks away through the elegant restaurant while the waiter hides a smile. The man remains seated, staring after her, completely caught off-guard. The camera smoothly follows her exit, then slowly pulls back to reveal the luxurious dining room, flickering candles, soft background chatter, and the man sitting alone with the calculator still open. Rich contrast, fashion-film aesthetic, natural skin texture, realistic mot

Have you ever faced this situation? if yes, stop dating broke boys. GPT Image 2 + Seedance 2.0 on TapNow prompt Part 1 (0–15 seconds) Cinematic close-up establishing shot inside an elegant, dimly lit Parisian fine-dining restaurant. Dark wood paneling, crystal chandeliers, candlelit marble tables, and mirrors reflecting warm ambient light. A handsome man in his early 30s with dark hair, wearing an open-collar white linen shirt, sits across from a stunning blonde woman in a fitted black low-cut dress. A young waiter in a crisp white shirt and black bowtie approaches and places a black leather bill folder on the table, saying, “Your bill, sir.” The man opens the folder and examines the long receipt showing a total of €217.40. He calmly pulls out a white calculator, types in the numbers, then looks up at the woman with a slight smile and says, “So, shall we split it?” The woman freezes mid-sip of her red wine, her eyes widening in surprise. The camera holds on her reaction as the intimate restaurant ambience continues. Warm golden lighting, shallow depth of field, realistic film grain, cinematic 24fps style. --- Part 2 (15–30 seconds) The blonde woman slowly lowers her wine glass, staring at the man with a mix of disbelief and quiet amusement. She reaches into her black handbag, takes out a gold credit card, and hands it to the waiter as he returns with the payment terminal. The man watches in stunned silence, his mouth slightly open. The terminal beeps with a green confirmation light as the full bill is paid. She stands gracefully, adjusts her dress, looks back at him with an unreadable smile, and says, “Don’t lose your calculator.” She walks away through the elegant restaurant while the waiter hides a smile. The man remains seated, staring after her, completely caught off-guard. The camera smoothly follows her exit, then slowly pulls back to reveal the luxurious dining room, flickering candles, soft background chatter, and the man sitting alone with the calculator still open. Rich contrast, fashion-film aesthetic, natural skin texture, realistic mot

Sharon Riley

28,271 Aufrufe • vor 9 Tagen

This woman showed up to her own brother’s wedding in this pretty pink floral dress, excited to celebrate with family. But right after the ceremony one of the bridesmaids pulled her aside and said she had to change or leave because there was “too much white” in her dress. I know there’s a longstanding tradition that guests should avoid wearing white to weddings out of respect for the bride, and maybe picking a dress with zero white would have been the safest move. That being said, this is clearly a soft pink floral dress. It doesn’t come across as bridal at all. I’m curious… do you think this dress was too white to wear to a wedding? And I can’t help wondering how her brother and the rest of the family felt about her being asked to leave on such a joyful day. In the end, she chose the high road — she left peacefully and even took some flowers with her on the way out 😭

This woman showed up to her own brother’s wedding in this pretty pink floral dress, excited to celebrate with family. But right after the ceremony one of the bridesmaids pulled her aside and said she had to change or leave because there was “too much white” in her dress. I know there’s a longstanding tradition that guests should avoid wearing white to weddings out of respect for the bride, and maybe picking a dress with zero white would have been the safest move. That being said, this is clearly a soft pink floral dress. It doesn’t come across as bridal at all. I’m curious… do you think this dress was too white to wear to a wedding? And I can’t help wondering how her brother and the rest of the family felt about her being asked to leave on such a joyful day. In the end, she chose the high road — she left peacefully and even took some flowers with her on the way out 😭

End3of6Days9 (Helen) 🇺🇸

79,861 Aufrufe • vor 2 Monaten

Audrey Hepburn in “Funny Face” (1957). Designers Hubert de Givenchy and Edith Head were responsible for Hepburn’s fashions though Givenchy was given an exclusive rein of her couture selections in the film. He would later oversee her fashion design wear in the 1961 film ― Breakfast at Tiffany’s. Truman Capote, writer of the original novella upon which the film was based, wanted Marilyn Monroe for the role. Monroe turned it down. Concerns the character was a prostitute was the reason. Givenchy’s designing in the film Funny Face ― is nothing short of fine constructive artistry. Full of restraint but aesthetically pronounced as Hepburn looks utterly divine. The first piece is a white and pink evening gown. It is a refined floor-length silk dress with rare short-sleeved pink blazer with a fastened train of fabric which adds to the garment’s silhouette. This is paired with a set of white gloves, diamond tiara and diamond earrings. The second piece is a floral summer dress. Her richly coloured dress bears proportions of an Impressionist painting by Monet or even a post-Impressionist work by Cezanne. It is a full circle skirt, fitted bodice, with a pair of light yellow gloves ― oversized straw hat with matched flowers in hat and hair. The third piece is a two-piece dress suit with a knee length tan coloured dress, matching coat, fur hat, dark brown heels and gloves with a fur coat over arm. The fourth piece ― features a full skirted white circle dress. Paired with her white gloves, white low heeled pumps, and draped in a royal emerald coloured coat with matching hair tie. Exquisite regality. A fifth piece is the French chic outfit. Her white slacks and white blazer with a silk pink waist tie of fabric, a straw hat and pink flats. Very modern look. The sixth piece is a floral off the shoulder ball gown ― fitted at the waist, and a full flouncing skirt with patterned embroidery. Highly detailed. The look finished off with silver flat shoes. Givenchy’s final design is a silk tube evening gown with a long train of fabric ― and a matching red silk wrap, colour contrasted with white gloves, with a statement necklace and matching earrings.

Audrey Hepburn in “Funny Face” (1957). Designers Hubert de Givenchy and Edith Head were responsible for Hepburn’s fashions though Givenchy was given an exclusive rein of her couture selections in the film. He would later oversee her fashion design wear in the 1961 film ― Breakfast at Tiffany’s. Truman Capote, writer of the original novella upon which the film was based, wanted Marilyn Monroe for the role. Monroe turned it down. Concerns the character was a prostitute was the reason. Givenchy’s designing in the film Funny Face ― is nothing short of fine constructive artistry. Full of restraint but aesthetically pronounced as Hepburn looks utterly divine. The first piece is a white and pink evening gown. It is a refined floor-length silk dress with rare short-sleeved pink blazer with a fastened train of fabric which adds to the garment’s silhouette. This is paired with a set of white gloves, diamond tiara and diamond earrings. The second piece is a floral summer dress. Her richly coloured dress bears proportions of an Impressionist painting by Monet or even a post-Impressionist work by Cezanne. It is a full circle skirt, fitted bodice, with a pair of light yellow gloves ― oversized straw hat with matched flowers in hat and hair. The third piece is a two-piece dress suit with a knee length tan coloured dress, matching coat, fur hat, dark brown heels and gloves with a fur coat over arm. The fourth piece ― features a full skirted white circle dress. Paired with her white gloves, white low heeled pumps, and draped in a royal emerald coloured coat with matching hair tie. Exquisite regality. A fifth piece is the French chic outfit. Her white slacks and white blazer with a silk pink waist tie of fabric, a straw hat and pink flats. Very modern look. The sixth piece is a floral off the shoulder ball gown ― fitted at the waist, and a full flouncing skirt with patterned embroidery. Highly detailed. The look finished off with silver flat shoes. Givenchy’s final design is a silk tube evening gown with a long train of fabric ― and a matching red silk wrap, colour contrasted with white gloves, with a statement necklace and matching earrings.

Hollywood Golden Age of Cinema

52,384 Aufrufe • vor 8 Monaten

The latest version of One UI 8.5 adds a function to the default camera. This kind of detail may only be easily found by me. The default camera adds the white balance adjustment function.Please take a look at my demonstration. You can adjust the white balance of the photos taken by the default camera and fine-tune the colors. This is very important, because there are often some problems with the white balance of the default camera of Samsung S25 Ultra. For example, under indoor lighting, it usually appears as cold color instead of warm color, which is an error in white balance. This option allows you to adjust the white balance yourself to correct this error. However, it should be pointed out that although this function exists at present, it cannot take effect. I tried it and it cannot take effect correctly.

The latest version of One UI 8.5 adds a function to the default camera. This kind of detail may only be easily found by me. The default camera adds the white balance adjustment function.Please take a look at my demonstration. You can adjust the white balance of the photos taken by the default camera and fine-tune the colors. This is very important, because there are often some problems with the white balance of the default camera of Samsung S25 Ultra. For example, under indoor lighting, it usually appears as cold color instead of warm color, which is an error in white balance. This option allows you to adjust the white balance yourself to correct this error. However, it should be pointed out that although this function exists at present, it cannot take effect. I tried it and it cannot take effect correctly.

Ice Universe

26,415 Aufrufe • vor 7 Monaten

It is infinitely easier for white men to sleep with black women for the same reason it is easier for PL champions to sign Championship players. Beyond the denial and online posturing, blacks recognise white superiority and so the s'xual attraction of a white man to a black woman is validating and status-enhancing for her. Hence, when an African woman realises a white man finds her desirable, she jumps at the opportunity and spreads her legs faster than fake news on whatsapp. This is why you will find a million 'The Russian' in Africa before you find one 'The Nigerian' in Europe. Whilst there are other inducements like money and relocation prospects, the principal incentive is the validation of being desired by a man from a superior race whose women are more desirable than yours. It's not juju or hypnosis; women are both cheap and 'expensive'. It is their valuation of you that determines what version you get. And if you're a young white man in Africa, you don't even get cheap or expensive. You get free

Sensitive content

It is infinitely easier for white men to sleep with black women for the same reason it is easier for PL champions to sign Championship players. Beyond the denial and online posturing, blacks recognise white superiority and so the s'xual attraction of a white man to a black woman is validating and status-enhancing for her. Hence, when an African woman realises a white man finds her desirable, she jumps at the opportunity and spreads her legs faster than fake news on whatsapp. This is why you will find a million 'The Russian' in Africa before you find one 'The Nigerian' in Europe. Whilst there are other inducements like money and relocation prospects, the principal incentive is the validation of being desired by a man from a superior race whose women are more desirable than yours. It's not juju or hypnosis; women are both cheap and 'expensive'. It is their valuation of you that determines what version you get. And if you're a young white man in Africa, you don't even get cheap or expensive. You get free

Yehgha

60,095 Aufrufe • vor 5 Monaten

One shirt. 10 outfits. Infinite possibilities. Which look are you wearing first? 👀👇 Made with Seedance 2.0 on BudgetPixel AI Prompt: > Create a trendy, ultra-realistic Instagram fashion reel featuring a stylish Gen Z female influencer showing **10 ways to style the same oversized pastel yellow button-up shirt**. No dialogue, only upbeat viral pop music with clean animated text labels for each look. Vertical 9:16. > > Open with the influencer holding the shirt on a hanger in a bright, minimalist apartment. She smiles at the camera and tosses the shirt forward as the text **"1 Shirt 🤍 10 Ways to Style"** appears. > > Fast-paced fashion montage with smooth whip pans, spin transitions, jump cuts, and snap transitions. > > Show these looks: > > 1. Casual Chic – open over a white crop top with wide-leg jeans. > 2. Front Knot – tied at the waist with denim. > 3. Off Shoulder – relaxed styling with sunglasses. > 4. Tucked In – tucked into tailored white trousers with a belt. > 5. Open with Denim Shorts – casual summer look with an iced coffee. > 6. Belted Chic – fully buttoned with a slim belt and black tailored trousers. > 7. Layered Dress – worn open over a fitted white midi dress. > 8. French Tuck – half-buttoned with rolled sleeves and relaxed jeans. > 9. Effortless Layers – draped over the shoulders with white linen trousers and a black tank. > 10. Monochrome Minimal – buttoned with cream wide-leg trousers for a clean luxury look. > > Throughout the video, show the influencer confidently walking, posing, spinning, adjusting the collar and sleeves, fixing sunglasses, holding a coffee, checking herself in a mirror, and smiling naturally. Mix full-body shots, medium shots, close-ups of fabric, accessories, and outfit details. > > Bright natural daylight, warm minimalist interiors, luxury Pinterest aesthetic, cinematic handheld camera movement, shallow depth of field, realistic fabric physics, premium editorial fashion photography, smooth transitions, ultra-realistic 4K HDR. > > End with a quick collage of all 10 looks surrounding the final outfit and the text: **"10 Looks. 1 Shirt. 🤍 Which one's your favorite?"**

One shirt. 10 outfits. Infinite possibilities. Which look are you wearing first? 👀👇 Made with Seedance 2.0 on BudgetPixel AI Prompt: > Create a trendy, ultra-realistic Instagram fashion reel featuring a stylish Gen Z female influencer showing 10 ways to style the same oversized pastel yellow button-up shirt. No dialogue, only upbeat viral pop music with clean animated text labels for each look. Vertical 9:16. > > Open with the influencer holding the shirt on a hanger in a bright, minimalist apartment. She smiles at the camera and tosses the shirt forward as the text "1 Shirt 🤍 10 Ways to Style" appears. > > Fast-paced fashion montage with smooth whip pans, spin transitions, jump cuts, and snap transitions. > > Show these looks: > > 1. Casual Chic – open over a white crop top with wide-leg jeans. > 2. Front Knot – tied at the waist with denim. > 3. Off Shoulder – relaxed styling with sunglasses. > 4. Tucked In – tucked into tailored white trousers with a belt. > 5. Open with Denim Shorts – casual summer look with an iced coffee. > 6. Belted Chic – fully buttoned with a slim belt and black tailored trousers. > 7. Layered Dress – worn open over a fitted white midi dress. > 8. French Tuck – half-buttoned with rolled sleeves and relaxed jeans. > 9. Effortless Layers – draped over the shoulders with white linen trousers and a black tank. > 10. Monochrome Minimal – buttoned with cream wide-leg trousers for a clean luxury look. > > Throughout the video, show the influencer confidently walking, posing, spinning, adjusting the collar and sleeves, fixing sunglasses, holding a coffee, checking herself in a mirror, and smiling naturally. Mix full-body shots, medium shots, close-ups of fabric, accessories, and outfit details. > > Bright natural daylight, warm minimalist interiors, luxury Pinterest aesthetic, cinematic handheld camera movement, shallow depth of field, realistic fabric physics, premium editorial fashion photography, smooth transitions, ultra-realistic 4K HDR. > > End with a quick collage of all 10 looks surrounding the final outfit and the text: "10 Looks. 1 Shirt. 🤍 Which one's your favorite?"

Maria

33,811 Aufrufe • vor 1 Monat

OK! this is a series. Prompt: You can also check it here: ---prompt--- Single unbroken handheld boyfriend vlog take throughout, 30 seconds total. A realistic personal travel vlog filmed by a boyfriend following his girlfriend during a normal day in Tokyo. Use the woman from the reference image as the main character. Maintain her exact facial identity, hairstyle, facial features, body proportions, and overall appearance throughout the entire video. She must remain the same person in every shot. The camera feels like a real boyfriend holding a small mirrorless camera or phone, not a professional production. Natural handheld movement, imperfect framing, occasional camera shake, spontaneous reactions, authentic everyday moments. The woman does not pose for the camera. She behaves naturally, sometimes forgetting the camera is there. 0-5s: Morning at a small Tokyo apartment. The camera starts recording as the boyfriend casually walks into the room. Soft morning sunlight enters through the window. The woman is sitting near the bed, fixing her hair and preparing for the day. She notices the camera, smiles naturally, laughs, and playfully tells him to stop filming. The camera stays close, slightly shaky, capturing a private everyday moment. 5-10s: Walking through Tokyo neighborhood streets. The boyfriend follows behind her as they leave the apartment. She walks through a quiet Tokyo street, carrying a small bag. Morning shops are opening, bicycles pass by, locals walk along the street. She stops at a convenience store. The camera follows her inside. She looks at different drinks and snacks, turns around and asks the person behind the camera which one she should choose. Natural interaction, casual conversation, realistic body language. 10-18s: Local food experience. The camera follows her through a small Tokyo alley to a cozy local restaurant. She sits down and tries a bowl of ramen or a local dish. The camera captures close handheld moments: her picking up chopsticks, tasting the food, reacting naturally, laughing when the food is hotter than expected. The boyfriend laughs behind the camera. The moment feels unplanned and authentic. 18-25s: Tokyo afternoon exploration. The couple walks through a lively neighborhood. She browses small shops, looks at interesting objects, takes photos, and occasionally looks back at the camera. The camera moves naturally between her face, her hands, the street atmosphere, and small details of daily life. Crowds pass naturally around them. The city feels alive and real. 25-30s: Tokyo night ending. Night falls. The camera follows her through illuminated Tokyo streets. She walks slightly ahead, then turns back and smiles at the camera. They ride a train home. She sits beside the window, watching city lights pass outside. The camera slowly moves closer as she rests quietly, ending like a real personal memory. Visual style: Authentic boyfriend travel vlog footage. Realistic handheld camera movement. Natural lighting. Casual documentary realism. Unplanned everyday moments. Real human expressions and interactions. Slight motion blur, natural exposure changes, realistic camera autofocus adjustments. No commercial advertisement style. No dramatic posing. No perfect cinematic composition. No text overlays. No logos. No face changes. No identity changes. No artificial transitions. No CGI feeling. Stable character consistency throughout.

OK! this is a series. Prompt: You can also check it here: ---prompt--- Single unbroken handheld boyfriend vlog take throughout, 30 seconds total. A realistic personal travel vlog filmed by a boyfriend following his girlfriend during a normal day in Tokyo. Use the woman from the reference image as the main character. Maintain her exact facial identity, hairstyle, facial features, body proportions, and overall appearance throughout the entire video. She must remain the same person in every shot. The camera feels like a real boyfriend holding a small mirrorless camera or phone, not a professional production. Natural handheld movement, imperfect framing, occasional camera shake, spontaneous reactions, authentic everyday moments. The woman does not pose for the camera. She behaves naturally, sometimes forgetting the camera is there. 0-5s: Morning at a small Tokyo apartment. The camera starts recording as the boyfriend casually walks into the room. Soft morning sunlight enters through the window. The woman is sitting near the bed, fixing her hair and preparing for the day. She notices the camera, smiles naturally, laughs, and playfully tells him to stop filming. The camera stays close, slightly shaky, capturing a private everyday moment. 5-10s: Walking through Tokyo neighborhood streets. The boyfriend follows behind her as they leave the apartment. She walks through a quiet Tokyo street, carrying a small bag. Morning shops are opening, bicycles pass by, locals walk along the street. She stops at a convenience store. The camera follows her inside. She looks at different drinks and snacks, turns around and asks the person behind the camera which one she should choose. Natural interaction, casual conversation, realistic body language. 10-18s: Local food experience. The camera follows her through a small Tokyo alley to a cozy local restaurant. She sits down and tries a bowl of ramen or a local dish. The camera captures close handheld moments: her picking up chopsticks, tasting the food, reacting naturally, laughing when the food is hotter than expected. The boyfriend laughs behind the camera. The moment feels unplanned and authentic. 18-25s: Tokyo afternoon exploration. The couple walks through a lively neighborhood. She browses small shops, looks at interesting objects, takes photos, and occasionally looks back at the camera. The camera moves naturally between her face, her hands, the street atmosphere, and small details of daily life. Crowds pass naturally around them. The city feels alive and real. 25-30s: Tokyo night ending. Night falls. The camera follows her through illuminated Tokyo streets. She walks slightly ahead, then turns back and smiles at the camera. They ride a train home. She sits beside the window, watching city lights pass outside. The camera slowly moves closer as she rests quietly, ending like a real personal memory. Visual style: Authentic boyfriend travel vlog footage. Realistic handheld camera movement. Natural lighting. Casual documentary realism. Unplanned everyday moments. Real human expressions and interactions. Slight motion blur, natural exposure changes, realistic camera autofocus adjustments. No commercial advertisement style. No dramatic posing. No perfect cinematic composition. No text overlays. No logos. No face changes. No identity changes. No artificial transitions. No CGI feeling. Stable character consistency throughout.

BubbleBrain

70,222 Aufrufe • vor 2 Tagen

一番最後の[Prompt for original image]の部分に画像生成に使用したPromptを入れると一貫性が増します。不要な場合は3行削ってしまっても大丈夫です。 --- Extreme wide-angle perspective and dynamic pose remix edit. This is an EDIT of the original image, not a new character. Use the original image as a strict reference for: – the person’s identity, hairstyle, and overall fashion style, – the general type of background and location (same street, same room, same beach, same kind of architecture, etc.). You are allowed to completely change the camera position, angle, and pose, but you must keep the scene in the SAME location and keep the SAME person and outfit design. Camera and perspective: – Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look). – The camera angle MUST change significantly from the original: use dramatic angles such as • worm’s-eye view from directly below looking up, • bird’s-eye view from directly above looking down, • very low angle from the ground, • high angle from above, • tilted Dutch angles. – Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective. – The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime. Background consistency: – Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials. – Do NOT replace the background with a completely different place. – Because the camera angle changes, it is allowed and expected that different parts of the environment become visible. – When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place. Body parts near the lens (1–2 parts, sometimes 3): – In each edit, choose ONE or TWO main body parts to be extremely close to the lens (sometimes even THREE in more complex poses). – Vary them from image to image, do NOT always use the same body part. – Allowed near-the-lens parts include: • one or both hands / fingers reaching toward the camera, • one or both feet / shoes / boots near the lens, • knees or thighs, • face very close to the lens, • shoulders or chest close to the lens in a leaning pose. – The chosen body parts should come extremely close to the lens, almost touching it, with visible skin texture, fabric texture, and realistic wide-angle distortion. Pose and overall body (complex and varied): – Create strong, cool, dynamic poses that match the extreme perspective. – Randomly use different pose types, including: • standing with one leg or one arm reaching toward the camera, • crouching or squatting low to the ground, • sitting on the floor or on objects, • lying on the ground with legs or feet toward the lens, • leaning forward aggressively toward the camera, • twisting the body, crossing legs, or arching the back for more dynamic lines. – Allow complex poses where: • both hands are near the lens forming shapes (peace signs, triangles, frames, pointing toward the viewer), • both feet are toward the lens, • one hand and one foot are both large in the foreground, • the face is close to the lens while hands or feet are also visible in perspective. – Maintain believable anatomy even with extreme foreshortening. Angle and attitude (randomized): – Randomize camera angle and orientation (up, down, side, Dutch tilt) while keeping the composition visually balanced and powerful. – Keep the vibe cool, confident, and fashion/editorial or street style, depending on the original outfit. – Facial expressions can vary (serious, playful, confident, mysterious), but must still look like the same person. Lighting and rendering: – Keep the general time of day and lighting mood similar to the original (night vs day, indoor vs outdoor, soft vs hard light), but you may enhance contrast and color to make the image punchy and dramatic. – Maintain realistic shadows and contact points with the ground or floor. – High-resolution, sharp details with clear skin texture, fabric weave, and material highlights. Variation and randomness: – Each edit should look noticeably different from the original image and from other edits, with different: • camera angles, • pose types, • which body parts are closest to the lens, • orientation (straight, tilted, from above, from below). – Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles. Strict rules: – Do NOT change the person into someone else. – Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing. – Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place. – Do NOT add text, logos, watermarks, or graphic design elements. – Do NOT switch to painting, illustration, or anime style; keep it photorealistic. Overall: Transform the original photo into a dramatic, photorealistic, ultra wide-angle shot with an extreme camera angle (including views from directly below or above), where one or more body parts are right next to the lens and look huge, the rest of the body recedes in perspective, and the same person strikes a stylish, complex, powerful pose in a consistent, expanded version of the original environment. Also, below is the prompt for generating the original image. Please use it as a reference. [Prompt for original image] #nanobanana2

一番最後の[Prompt for original image]の部分に画像生成に使用したPromptを入れると一貫性が増します。不要な場合は3行削ってしまっても大丈夫です。 --- Extreme wide-angle perspective and dynamic pose remix edit. This is an EDIT of the original image, not a new character. Use the original image as a strict reference for: – the person’s identity, hairstyle, and overall fashion style, – the general type of background and location (same street, same room, same beach, same kind of architecture, etc.). You are allowed to completely change the camera position, angle, and pose, but you must keep the scene in the SAME location and keep the SAME person and outfit design. Camera and perspective: – Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look). – The camera angle MUST change significantly from the original: use dramatic angles such as • worm’s-eye view from directly below looking up, • bird’s-eye view from directly above looking down, • very low angle from the ground, • high angle from above, • tilted Dutch angles. – Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective. – The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime. Background consistency: – Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials. – Do NOT replace the background with a completely different place. – Because the camera angle changes, it is allowed and expected that different parts of the environment become visible. – When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place. Body parts near the lens (1–2 parts, sometimes 3): – In each edit, choose ONE or TWO main body parts to be extremely close to the lens (sometimes even THREE in more complex poses). – Vary them from image to image, do NOT always use the same body part. – Allowed near-the-lens parts include: • one or both hands / fingers reaching toward the camera, • one or both feet / shoes / boots near the lens, • knees or thighs, • face very close to the lens, • shoulders or chest close to the lens in a leaning pose. – The chosen body parts should come extremely close to the lens, almost touching it, with visible skin texture, fabric texture, and realistic wide-angle distortion. Pose and overall body (complex and varied): – Create strong, cool, dynamic poses that match the extreme perspective. – Randomly use different pose types, including: • standing with one leg or one arm reaching toward the camera, • crouching or squatting low to the ground, • sitting on the floor or on objects, • lying on the ground with legs or feet toward the lens, • leaning forward aggressively toward the camera, • twisting the body, crossing legs, or arching the back for more dynamic lines. – Allow complex poses where: • both hands are near the lens forming shapes (peace signs, triangles, frames, pointing toward the viewer), • both feet are toward the lens, • one hand and one foot are both large in the foreground, • the face is close to the lens while hands or feet are also visible in perspective. – Maintain believable anatomy even with extreme foreshortening. Angle and attitude (randomized): – Randomize camera angle and orientation (up, down, side, Dutch tilt) while keeping the composition visually balanced and powerful. – Keep the vibe cool, confident, and fashion/editorial or street style, depending on the original outfit. – Facial expressions can vary (serious, playful, confident, mysterious), but must still look like the same person. Lighting and rendering: – Keep the general time of day and lighting mood similar to the original (night vs day, indoor vs outdoor, soft vs hard light), but you may enhance contrast and color to make the image punchy and dramatic. – Maintain realistic shadows and contact points with the ground or floor. – High-resolution, sharp details with clear skin texture, fabric weave, and material highlights. Variation and randomness: – Each edit should look noticeably different from the original image and from other edits, with different: • camera angles, • pose types, • which body parts are closest to the lens, • orientation (straight, tilted, from above, from below). – Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles. Strict rules: – Do NOT change the person into someone else. – Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing. – Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place. – Do NOT add text, logos, watermarks, or graphic design elements. – Do NOT switch to painting, illustration, or anime style; keep it photorealistic. Overall: Transform the original photo into a dramatic, photorealistic, ultra wide-angle shot with an extreme camera angle (including views from directly below or above), where one or more body parts are right next to the lens and look huge, the rest of the body recedes in perspective, and the same person strikes a stylish, complex, powerful pose in a consistent, expanded version of the original environment. Also, below is the prompt for generating the original image. Please use it as a reference. [Prompt for original image] #nanobanana2

AI Girl's Photo Studio

20,684 Aufrufe • vor 8 Monaten

🔥 Limited edition drop • 6 conceptual video projects • 15 pieces each 🔴 Red: A dramatic and intense underwater video that captures the bold and passionate reds found in the water. The camera moves through the water, showcasing the rich and vibrant shades of red. Viewers can immerse themselves in the powerful and captivating world of "Red", where excitement and energy abound. 🔵 Blue: This video features a cool-toned underwater environment, with models gracefully swimming and posing amidst blue-tinted lighting. The serene and tranquil atmosphere creates a sense of calm and relaxation. 🔄 Reverse: In this video, the footage is played in reverse, creating a mesmerizing and surreal effect as the models move and interact with the water in unexpected ways. The reversed motion adds an intriguing and otherworldly quality to the underwater scenes. 🪶Sensual: The sensual video showcases intimate and evocative underwater moments, with close-up shots of the models' movements and interactions with the water. The soft, warm lighting enhances the sensuality of the footage, creating a captivating and alluring visual experience. ♥️ Amatory: This video explores themes of love and connection, engaging in tender and affectionate underwater embraces. The romantic and intimate scenes are bathed in a gentle, yellow, red and blue lights, evoking a sense of passion and emotional depth. 👾 Glitch: In this experimental video, the footage is manipulated to create glitchy and distorted visuals, adding an edgy and futuristic element to the underwater scenes. The glitch effects disrupt the natural flow of the footage, resulting in a visually dynamic and unpredictable viewing experience. • First conceptual video and link in next tweet ⤵️

🔥 Limited edition drop • 6 conceptual video projects • 15 pieces each 🔴 Red: A dramatic and intense underwater video that captures the bold and passionate reds found in the water. The camera moves through the water, showcasing the rich and vibrant shades of red. Viewers can immerse themselves in the powerful and captivating world of "Red", where excitement and energy abound. 🔵 Blue: This video features a cool-toned underwater environment, with models gracefully swimming and posing amidst blue-tinted lighting. The serene and tranquil atmosphere creates a sense of calm and relaxation. 🔄 Reverse: In this video, the footage is played in reverse, creating a mesmerizing and surreal effect as the models move and interact with the water in unexpected ways. The reversed motion adds an intriguing and otherworldly quality to the underwater scenes. 🪶Sensual: The sensual video showcases intimate and evocative underwater moments, with close-up shots of the models' movements and interactions with the water. The soft, warm lighting enhances the sensuality of the footage, creating a captivating and alluring visual experience. ♥️ Amatory: This video explores themes of love and connection, engaging in tender and affectionate underwater embraces. The romantic and intimate scenes are bathed in a gentle, yellow, red and blue lights, evoking a sense of passion and emotional depth. 👾 Glitch: In this experimental video, the footage is manipulated to create glitchy and distorted visuals, adding an edgy and futuristic element to the underwater scenes. The glitch effects disrupt the natural flow of the footage, resulting in a visually dynamic and unpredictable viewing experience. • First conceptual video and link in next tweet ⤵️

demidovich.eth | SnapSign 📸

95,223 Aufrufe • vor 2 Jahren

Slovak Member of the EU Milan Mazurek spoke out against the European Parliament for openly allowing violence against White People, and only White People “I will say something what many of you (The EU) will have a problem with, and I will say it loudly and openly: White Lives Matter Because right now, White People are just a tiny minority in this world, and white people are the most hated group in the whole world. Everything is allowed against white people. You can openly spread hatred and racism against white people. You can openly call for a violence against white people and nobody will ban you from social networks. Nobody will prosecute you or put you in jail for that. Nobody will prosecute you and trying to destroy your life because doing something like that. And that's why I consider it very important to repeat that for you as a white man, as a Christian father of the family, White Lives Matter”

Slovak Member of the EU Milan Mazurek spoke out against the European Parliament for openly allowing violence against White People, and only White People “I will say something what many of you (The EU) will have a problem with, and I will say it loudly and openly: White Lives Matter Because right now, White People are just a tiny minority in this world, and white people are the most hated group in the whole world. Everything is allowed against white people. You can openly spread hatred and racism against white people. You can openly call for a violence against white people and nobody will ban you from social networks. Nobody will prosecute you or put you in jail for that. Nobody will prosecute you and trying to destroy your life because doing something like that. And that's why I consider it very important to repeat that for you as a white man, as a Christian father of the family, White Lives Matter”

Wall Street Apes

651,661 Aufrufe • vor 7 Monaten

Detectives Seek to Identify Armed, Masked Person in Southwest Aurora #APDAlert Late Friday night, June 14, at about 11:45 p.m., two incidents occurred within minutes of each other in a neighborhood near S. Peoria St. and S. Parker Rd. Detectives are actively investigating these incidents and need the community's help to identify this person. Please read the incident descriptions below, watch the surveillance footage, and then submit any tips through MetroDenverCrimeStoppers. In one of the instances, a person dressed in all black with a full-faced white mask started knocking on the front door. The homeowner opened the door and was met by this masked person. The homeowner quickly closed and locked the door before the suspect could get inside. Thankfully, the homeowner was not injured. The other incident, captured on surveillance footage, shows the same suspect driving in front of the house in a dark-colored SUV. They then walk from around the corner dressed in all black and wearing a white mask. The suspect used a handgun to bang on the front door, but the homeowner never answered. A few things to notice in the video include the unique footwear of the suspect, the dark vehicle that pulls up along the street, and possibly a necklace or lanyard in view around the suspect's neck. Again, if you have tips about the suspect's identity, please submit them to Crime Stoppers. It is crucial to maintain a high level of vigilance in our community. Do not open the door for strangers. If you notice any suspicious activity, report it to law enforcement immediately, providing a detailed description for responding officers. Ensure the exteriors of your houses are well-lit, consider installing motion lights, and invest in a video doorbell or similar device that could help deter criminals. Remember, being a good neighbor means if you see something, say something.

Detectives Seek to Identify Armed, Masked Person in Southwest Aurora #APDAlert Late Friday night, June 14, at about 11:45 p.m., two incidents occurred within minutes of each other in a neighborhood near S. Peoria St. and S. Parker Rd. Detectives are actively investigating these incidents and need the community's help to identify this person. Please read the incident descriptions below, watch the surveillance footage, and then submit any tips through MetroDenverCrimeStoppers. In one of the instances, a person dressed in all black with a full-faced white mask started knocking on the front door. The homeowner opened the door and was met by this masked person. The homeowner quickly closed and locked the door before the suspect could get inside. Thankfully, the homeowner was not injured. The other incident, captured on surveillance footage, shows the same suspect driving in front of the house in a dark-colored SUV. They then walk from around the corner dressed in all black and wearing a white mask. The suspect used a handgun to bang on the front door, but the homeowner never answered. A few things to notice in the video include the unique footwear of the suspect, the dark vehicle that pulls up along the street, and possibly a necklace or lanyard in view around the suspect's neck. Again, if you have tips about the suspect's identity, please submit them to Crime Stoppers. It is crucial to maintain a high level of vigilance in our community. Do not open the door for strangers. If you notice any suspicious activity, report it to law enforcement immediately, providing a detailed description for responding officers. Ensure the exteriors of your houses are well-lit, consider installing motion lights, and invest in a video doorbell or similar device that could help deter criminals. Remember, being a good neighbor means if you see something, say something.

Aurora Police Dept

46,978 Aufrufe • vor 2 Jahren

Despite constantly reciting the mantra of "colorblindness" to their White base and claiming that "the GOP doesn't do identity politics," in reality, it enthusiastically embraces the racial identity of every group other than White people. They have racial coalitions, racial community centers, racial campaign signs - racial everything you can imagine - but never for White people. The GOP won't even mention "White people" by name unless it's to condemn us as "supremacists," or to point out the hypocrisy of some "White liberal” where the word "White" is attached as an insult. And as they pander to the racial identity and racial interests of every group other than Whites, any White person who notices and asks “why” is excommunicated as a "RACIST.” The GOP is merely the other side of the anti-White shit sandwich. Both sides of the uniparty are all-in on post-White America. No one is “baiting White people into identity politics.” Everything achieved by the architects of America's decline has relied exactly upon the absence of White racial consciousness. Their greatest achievement is turning a 90% White America into a 50% White America in 60 years - the largest, fastest demographic decimation in world history. And they aim to continue that trajectory. A system that considers our existence its greatest threat must be considered the greatest threat to us. The last thing it wants is for us to see it for what it is and, therein, finally see ourselves and what's been done to us. There is nothing this system works harder to suppress - and cracks down on with greater force - than any outward expression of White racial consciousness. It will continue to do so, and, in turn, our consciousness will continue to rise. And fits of apoplexy at this inevitability will continue from the Progressive Left and the Fake Right.

Despite constantly reciting the mantra of "colorblindness" to their White base and claiming that "the GOP doesn't do identity politics," in reality, it enthusiastically embraces the racial identity of every group other than White people. They have racial coalitions, racial community centers, racial campaign signs - racial everything you can imagine - but never for White people. The GOP won't even mention "White people" by name unless it's to condemn us as "supremacists," or to point out the hypocrisy of some "White liberal” where the word "White" is attached as an insult. And as they pander to the racial identity and racial interests of every group other than Whites, any White person who notices and asks “why” is excommunicated as a "RACIST.” The GOP is merely the other side of the anti-White shit sandwich. Both sides of the uniparty are all-in on post-White America. No one is “baiting White people into identity politics.” Everything achieved by the architects of America's decline has relied exactly upon the absence of White racial consciousness. Their greatest achievement is turning a 90% White America into a 50% White America in 60 years - the largest, fastest demographic decimation in world history. And they aim to continue that trajectory. A system that considers our existence its greatest threat must be considered the greatest threat to us. The last thing it wants is for us to see it for what it is and, therein, finally see ourselves and what's been done to us. There is nothing this system works harder to suppress - and cracks down on with greater force - than any outward expression of White racial consciousness. It will continue to do so, and, in turn, our consciousness will continue to rise. And fits of apoplexy at this inevitability will continue from the Progressive Left and the Fake Right.

Daniel Concannon

15,909 Aufrufe • vor 1 Jahr

What if we could RECREATE the REFLECTION of the FLASH seen in the GLASS during the Charlie Kirk assassination? Literally recreate it on site. The timing of the flash seen in the reflection of the glass is what makes it so interesting. What else would cause a flash that bright in the middle of the day? This could at least determine a lot of good information and confirm or deny theories that are out there. Just to get an idea of where the FLASH came from, which could identify a possible shooter or 2nd shooter location. The reason I say this is because it lines up perfectly with the sound of the gun, meaning you see the flash first, then you hear the shot, which would make sense because light travels faster than sound. This way we could get an idea of where it came from in the first place and determine if it's a good lead or not and then check the crowd or building locations. It could be recreated with a camera flash or something with bright enough lumens. This could clear up at least one theory or confirm it and lead us in the right direction of where the shooter could have been. Please comment with your thoughts and ideas. We need to get someone out there to the location with the Proper equipment. At least we could confirm or deny some theories. Video in bottom left shows the flash.

What if we could RECREATE the REFLECTION of the FLASH seen in the GLASS during the Charlie Kirk assassination? Literally recreate it on site. The timing of the flash seen in the reflection of the glass is what makes it so interesting. What else would cause a flash that bright in the middle of the day? This could at least determine a lot of good information and confirm or deny theories that are out there. Just to get an idea of where the FLASH came from, which could identify a possible shooter or 2nd shooter location. The reason I say this is because it lines up perfectly with the sound of the gun, meaning you see the flash first, then you hear the shot, which would make sense because light travels faster than sound. This way we could get an idea of where it came from in the first place and determine if it's a good lead or not and then check the crowd or building locations. It could be recreated with a camera flash or something with bright enough lumens. This could clear up at least one theory or confirm it and lead us in the right direction of where the shooter could have been. Please comment with your thoughts and ideas. We need to get someone out there to the location with the Proper equipment. At least we could confirm or deny some theories. Video in bottom left shows the flash.

The SCIF

108,760 Aufrufe • vor 10 Monaten

One additional point to consider about the YouTube creators being incentivized by AtNight to peddle baseless theories—such as the Texas Roadhouse claims and their latest attempt to “debunk” the “lights” video—is the nature of the footage they are using. The video they are analyzing is not an original copy of the surveillance footage. It is a recording taken by someone using their phone to capture a computer monitor playing the footage. The borders of the video have been cropped, and the footage has been stabilized, which masks the fact that it’s a secondhand recording. As a result, what you’re seeing is not an accurate representation of the original surveillance footage. You lose critical context, such as the plane and angle of the recording, the camera shake from the person’s unsteady hand, and how they selectively zoom in on certain parts of the screen. In contrast, the unedited version tells a different story. This surveillance footage was recorded by the property owner directly off the monitor because they didn’t know how to export it from the server. Before the TBI took possession of the server, the footage was recorded by playing it back on the monitor and capturing it with a phone. What you’re watching is essentially a recording of a recording being played on a computer monitor. Even a slight tilt or shift of the phone during recording can distort the perspective, and this has likely affected what you see in the manipulated version. So, the “packaged version” they are pushing is just more misinformation designed to mislead and sell their narrative. That’s the truth of the matter. Attached is the raw version which you can see the edges of the computer monitor.

One additional point to consider about the YouTube creators being incentivized by AtNight to peddle baseless theories—such as the Texas Roadhouse claims and their latest attempt to “debunk” the “lights” video—is the nature of the footage they are using. The video they are analyzing is not an original copy of the surveillance footage. It is a recording taken by someone using their phone to capture a computer monitor playing the footage. The borders of the video have been cropped, and the footage has been stabilized, which masks the fact that it’s a secondhand recording. As a result, what you’re seeing is not an accurate representation of the original surveillance footage. You lose critical context, such as the plane and angle of the recording, the camera shake from the person’s unsteady hand, and how they selectively zoom in on certain parts of the screen. In contrast, the unedited version tells a different story. This surveillance footage was recorded by the property owner directly off the monitor because they didn’t know how to export it from the server. Before the TBI took possession of the server, the footage was recorded by playing it back on the monitor and capturing it with a phone. What you’re watching is essentially a recording of a recording being played on a computer monitor. Even a slight tilt or shift of the phone during recording can distort the perspective, and this has likely affected what you see in the manipulated version. So, the “packaged version” they are pushing is just more misinformation designed to mislead and sell their narrative. That’s the truth of the matter. Attached is the raw version which you can see the edges of the computer monitor.

SF INVESTIGATES • STEVE FISCHER

12,497 Aufrufe • vor 1 Jahr

We are used to seeing the 1920s in black and white. This is what London actually looked like, in full color, more than a hundred years ago. What you are watching comes from The Open Road, filmed in the summer of 1924 by a British cinematographer named Claude Friese-Greene. It is some of the earliest colour film of London ever made. What I love about this film is that the color collapses the distance between us and them. The black-and-white footage we are used to is beautiful, but it makes the past feel like another world. Colour changes that. Red buses, a blue sky, the green of the trees, and suddenly 1924 does not feel like history at all... What most people don't know is that this footage was one man's attempt to finish his father's life's work: Claude was the son of William Friese-Greene, one of the pioneers of early cinema. Together they had spent years developing a way to capture true color on film, using a system of spinning red and blue-green filters in front of the camera. The process was flawed. It flickered, it produced strange color fringes around anything that moved too fast, and it was soon overtaken by better systems and forgotten. Claude set out on a journey by car from Land's End to the north of Scotland, filming the whole country in his imperfect color, trying to prove that his father's dream could work. For decades the footage sat largely unseen, its flaws making it almost unwatchable. Then, in our own century, the British Film Institute used digital technology to clean away the flicker and the fringing, revealing what Friese-Greene had actually captured: a lost world, brought back to life in color.

We are used to seeing the 1920s in black and white. This is what London actually looked like, in full color, more than a hundred years ago. What you are watching comes from The Open Road, filmed in the summer of 1924 by a British cinematographer named Claude Friese-Greene. It is some of the earliest colour film of London ever made. What I love about this film is that the color collapses the distance between us and them. The black-and-white footage we are used to is beautiful, but it makes the past feel like another world. Colour changes that. Red buses, a blue sky, the green of the trees, and suddenly 1924 does not feel like history at all... What most people don't know is that this footage was one man's attempt to finish his father's life's work: Claude was the son of William Friese-Greene, one of the pioneers of early cinema. Together they had spent years developing a way to capture true color on film, using a system of spinning red and blue-green filters in front of the camera. The process was flawed. It flickered, it produced strange color fringes around anything that moved too fast, and it was soon overtaken by better systems and forgotten. Claude set out on a journey by car from Land's End to the north of Scotland, filming the whole country in his imperfect color, trying to prove that his father's dream could work. For decades the footage sat largely unseen, its flaws making it almost unwatchable. Then, in our own century, the British Film Institute used digital technology to clean away the flicker and the fringing, revealing what Friese-Greene had actually captured: a lost world, brought back to life in color.

James Lucas

170,406 Aufrufe • vor 1 Monat

Jim Jarmusch on why editing is similar to sculpting & how he wanted "Dead Man" (1995) to feel like: "Interviewer: Are you the kind of director who finds the film in the cutting room or do you do the montage in your head as you shoot? Jarmusch: I’m in-between. When | go in the cutting room, I have a pretty good idea of how a scene was intended to be cut together. The editing is very important because you get to a Zen-like place where the film starts telling you how to cut it. A lot of scenes were shot for 'Dead Man' that are not in the film. Shooting is like cutting up big pieces of granite that are sort of in the right shape of the thing you want to sculpt out of them. And then you go back, and the shape is not exactly what you had in mind so you sculpt them some more. I like the process. That’s why I never use a storyboard, and on 'Dead Man' I didn’t even have shot lists in advance. I don’t want to know in advance what we’re going to do because then we are not thinking on our feet. Interviewer: How did you work out the conception of the film’s look with DP Robby Miiller? It’s a black-and-white film with lots of shades of gray. And the landscapes were quite ugly but beautifully so. Jarmusch: We worked hard to use black and white like it was used in the ’30s and ’40s when the gray scale was the color palette. We wanted to avoid the recent “hard” black-and-white look, although the blacks are very black and the whites are very white. We wanted a feeling like a film by Mizoguchi. And when we were scouting for locations, whenever we saw any magnificent view, like a postcard type, we would appreciate it, Robby and I, and then turn out backs and look for our location with that out of view." (Jim Jarmusch's interview with Scott Macaulay, 1996) P.S: On this day, 30 years ago, "Dead Man" (1995) premiered at the Cannes Film Festival, France.

Jim Jarmusch on why editing is similar to sculpting & how he wanted "Dead Man" (1995) to feel like: "Interviewer: Are you the kind of director who finds the film in the cutting room or do you do the montage in your head as you shoot? Jarmusch: I’m in-between. When | go in the cutting room, I have a pretty good idea of how a scene was intended to be cut together. The editing is very important because you get to a Zen-like place where the film starts telling you how to cut it. A lot of scenes were shot for 'Dead Man' that are not in the film. Shooting is like cutting up big pieces of granite that are sort of in the right shape of the thing you want to sculpt out of them. And then you go back, and the shape is not exactly what you had in mind so you sculpt them some more. I like the process. That’s why I never use a storyboard, and on 'Dead Man' I didn’t even have shot lists in advance. I don’t want to know in advance what we’re going to do because then we are not thinking on our feet. Interviewer: How did you work out the conception of the film’s look with DP Robby Miiller? It’s a black-and-white film with lots of shades of gray. And the landscapes were quite ugly but beautifully so. Jarmusch: We worked hard to use black and white like it was used in the ’30s and ’40s when the gray scale was the color palette. We wanted to avoid the recent “hard” black-and-white look, although the blacks are very black and the whites are very white. We wanted a feeling like a film by Mizoguchi. And when we were scouting for locations, whenever we saw any magnificent view, like a postcard type, we would appreciate it, Robby and I, and then turn out backs and look for our location with that out of view." (Jim Jarmusch's interview with Scott Macaulay, 1996) P.S: On this day, 30 years ago, "Dead Man" (1995) premiered at the Cannes Film Festival, France.

DepressedBergman

19,490 Aufrufe • vor 2 Monaten

The demands of women 😂😂 Made by using reference to video Seedance 2.0 on Sjolt GPT Image 2 prompt Preserve the girl's face shape, facial features, skin tone, A realistic portrait of a young East Asian woman with long wavy platinum blonde hair, wearing a large fluffy black fur hat (ushanka/beret style) and a tight black leather high-neck sleeveless top. She has dramatic makeup with thick white winged eyeliner, pink lips, and a slightly pouty or intense expression looking at the camera. Soft studio lighting with cool blue tones on a plain light wall background, medium close-up shot, high detail, photorealistic

The demands of women 😂😂 Made by using reference to video Seedance 2.0 on Sjolt GPT Image 2 prompt Preserve the girl's face shape, facial features, skin tone, A realistic portrait of a young East Asian woman with long wavy platinum blonde hair, wearing a large fluffy black fur hat (ushanka/beret style) and a tight black leather high-neck sleeveless top. She has dramatic makeup with thick white winged eyeliner, pink lips, and a slightly pouty or intense expression looking at the camera. Soft studio lighting with cool blue tones on a plain light wall background, medium close-up shot, high detail, photorealistic

Sharon Riley

30,599 Aufrufe • vor 10 Tagen

Robert Bresson on the power of sound: "The eye is lazy. The ear, on the contrary, is inventive—it’s much more attentive, whereas the eye is content to receive, other than in exceptional cases when it too invents, but by fantasizing. The ear is, in some sense, far more evocative and profound. The whistle of a train, for example, can call to mind the image of an entire station: sometimes of a precise station you know, sometimes of the atmosphere of a station, or of tracks with a stopped train... The possible evocations are innumerable. What’s good about this, this sound, is that it leaves the viewer free. And that’s what we must strive toward: leaving the viewer as free as possible. And at the same time, you have to make him learn to love it. You have to make him love the way you render things. That is: show him the things in the order and in the way in which you want to see them and feel them; make him see them, by presenting them, the way you see them and feel them yourself; and do all of this while leaving him a very great liberty, while making him free. Now, this freedom is greater with sound than it is with imagery." — Robert Bresson interviewed by Jean-Luc Godard for Cahiers du Cinéma in 1966 ⬇️ Pickpocket (1959).

Robert Bresson on the power of sound: "The eye is lazy. The ear, on the contrary, is inventive—it’s much more attentive, whereas the eye is content to receive, other than in exceptional cases when it too invents, but by fantasizing. The ear is, in some sense, far more evocative and profound. The whistle of a train, for example, can call to mind the image of an entire station: sometimes of a precise station you know, sometimes of the atmosphere of a station, or of tracks with a stopped train... The possible evocations are innumerable. What’s good about this, this sound, is that it leaves the viewer free. And that’s what we must strive toward: leaving the viewer as free as possible. And at the same time, you have to make him learn to love it. You have to make him love the way you render things. That is: show him the things in the order and in the way in which you want to see them and feel them; make him see them, by presenting them, the way you see them and feel them yourself; and do all of this while leaving him a very great liberty, while making him free. Now, this freedom is greater with sound than it is with imagery." — Robert Bresson interviewed by Jean-Luc Godard for Cahiers du Cinéma in 1966 ⬇️ Pickpocket (1959).

RadiantFilm

26,500 Aufrufe • vor 10 Monaten