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.

SHREVEPORT BRACKET ACTION 𝙇𝙎𝙐 𝙎𝙝𝙧𝙚𝙫𝙚𝙥𝙤𝙧𝙩 𝘽𝙖𝙨𝙚𝙗𝙖𝙡𝙡’s Jackson Syring drops a perfect triple ball into right field! #GeauxPilots #AnchorUp #NAIA #OpeningRound

LSUS Athletics

4,304 subscribers

12,928 Aufrufe • vor 1 Jahr •via X (Twitter)

#GeauxPilots #AnchorUp #NAIA #OpeningRound

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

🚨 WORLD SERIES GAME 12 WINNERS BRACKET AJAY SCZEPKOWSKI DEEP INTO THE NIGHT 🚀 The 2023 NAIA Ball Lou Brock Player Of The Year answers the call and BLASTS this baseball for a 3-R HR into the left field bleachers to give #2 Georgia Gwinnett a 6-4 lead 🎥: @SWXRightNow #NAIABall

🚨 WORLD SERIES GAME 12 WINNERS BRACKET AJAY SCZEPKOWSKI DEEP INTO THE NIGHT 🚀 The 2023 NAIA Ball Lou Brock Player Of The Year answers the call and BLASTS this baseball for a 3-R HR into the left field bleachers to give #2 Georgia Gwinnett a 6-4 lead 🎥: @SWXRightNow #NAIABall

NAIA Ball

32,327 Aufrufe • vor 2 Jahren

Jackson Holliday's toe tap allowed him to stay back on this Michael Wacha 2-1 changeup and hammer it into right-center field for a triple. 103.8 mph off the bat, 11.70 seconds from home to third. Holliday is .286 with an .810 OPS this season.

Jackson Holliday's toe tap allowed him to stay back on this Michael Wacha 2-1 changeup and hammer it into right-center field for a triple. 103.8 mph off the bat, 11.70 seconds from home to third. Holliday is .286 with an .810 OPS this season.

Jacob Calvin Meyer

718,586 Aufrufe • vor 1 Jahr

🚨WEIRD PLAY ALERT🚨 This is from tonight's Atlanta Braves at Miami Marlins game. This was originally scored a triple and an error, and almost immediately changed to an error on the right fielder and a throwing error on the center fielder. The original error on the rright fielder was for colliding with the center fielder as it looked like he had the ball. However, this was changed back to a triple and an error, as you have both fielders on a dead sprint back into right center. While yes, it might be a catch, the catch itself, and the play, is well above ordinary effort. The collision error isn't for this type of play, but a play where a fielder is situated where he can field the ball with ordinary effort and gets run into, with the ball getting knocked out, so this was changed after a review after the game but before stats were posted.

🚨WEIRD PLAY ALERT🚨 This is from tonight's Atlanta Braves at Miami Marlins game. This was originally scored a triple and an error, and almost immediately changed to an error on the right fielder and a throwing error on the center fielder. The original error on the rright fielder was for colliding with the center fielder as it looked like he had the ball. However, this was changed back to a triple and an error, as you have both fielders on a dead sprint back into right center. While yes, it might be a catch, the catch itself, and the play, is well above ordinary effort. The collision error isn't for this type of play, but a play where a fielder is situated where he can field the ball with ordinary effort and gets run into, with the ball getting knocked out, so this was changed after a review after the game but before stats were posted.

MLB Scoring Changes

10,917 Aufrufe • vor 4 Monaten

Puka Nacua says he reads the serial number on the football mid-air and turns downfield before it hits his hands but his coach hates it Puka: “My coach gets mad at me all the time ‘cause you're supposed to watch it all the way into your hands. All the footballs have numbers on them. It's like number 700 or something like that.” “So I'm reading, okay, ball 657. And right before I catch it, I'm already turning.” Logan: “Wait. Hold on. That's so…” Mike: “I've seen a couple of yours where you turned down field before you had the ball.” Puka: “If you drop one and you’re sick, ‘cause I’m like, I know Matthew hates me right now. ‘I just laid you a perfect ball and you just dropped that.’”

Puka Nacua says he reads the serial number on the football mid-air and turns downfield before it hits his hands but his coach hates it Puka: “My coach gets mad at me all the time ‘cause you're supposed to watch it all the way into your hands. All the footballs have numbers on them. It's like number 700 or something like that.” “So I'm reading, okay, ball 657. And right before I catch it, I'm already turning.” Logan: “Wait. Hold on. That's so…” Mike: “I've seen a couple of yours where you turned down field before you had the ball.” Puka: “If you drop one and you’re sick, ‘cause I’m like, I know Matthew hates me right now. ‘I just laid you a perfect ball and you just dropped that.’”

katsu

733,883 Aufrufe • vor 1 Monat

Opus 5 crushed Fable 5 at 3D destruction physics for 2x cheaper! We gave four models the same task: build three self-contained HTML scenes with real physics Prompts: - A tornado that sucks in a whole field - A wrecking ball taking down an apartment block - An overloaded truck collapsing a truss bridge Outputs: - Opus 5: 55.9K tokens, $1.40 - Fable 5: 55.1K tokens, $2.82 - Kimi K3: 35.7K tokens, $0.55 - GPT 5.6: 20.1K tokens, $0.31 Opus got all three right unlike the other models. Houses fly up the funnel and out the top, the wall breaks where the ball hits and the rubble piles up, the bridge drops the truck into the river. Fable had almost nothing on the ground for the tornado to pick up, its building collapsed on its own before the ball even touched it and its bridge blew into sticks all at once. GPT is the cheapest here but its ball never reached the building at all and its bridge fell apart in a way nothing falls apart in real life. Kimi K3, the new Chinese frontier model, ended up in the same place as GPT

Opus 5 crushed Fable 5 at 3D destruction physics for 2x cheaper! We gave four models the same task: build three self-contained HTML scenes with real physics Prompts: - A tornado that sucks in a whole field - A wrecking ball taking down an apartment block - An overloaded truck collapsing a truss bridge Outputs: - Opus 5: 55.9K tokens, $1.40 - Fable 5: 55.1K tokens, $2.82 - Kimi K3: 35.7K tokens, $0.55 - GPT 5.6: 20.1K tokens, $0.31 Opus got all three right unlike the other models. Houses fly up the funnel and out the top, the wall breaks where the ball hits and the rubble piles up, the bridge drops the truck into the river. Fable had almost nothing on the ground for the tornado to pick up, its building collapsed on its own before the ball even touched it and its bridge blew into sticks all at once. GPT is the cheapest here but its ball never reached the building at all and its bridge fell apart in a way nothing falls apart in real life. Kimi K3, the new Chinese frontier model, ended up in the same place as GPT

atomic.chat

1,483,260 Aufrufe • vor 2 Monaten

Carson Palmer says he and Chad Ochocinco would argue about whether or not he was open on the previous drive, so they drove to Indianapolis to study what Peyton Manning, Marvin Harrison and Reggie Wayne did on the sidelines “Chad and I were having a lot of success on the field, but then we’d come off the field and he’d be, ‘Dude, I’m wide open.’ And I’d go look at the picture like, ‘There’s 19 guys covering you. You’re not.’” “So we went down there to see what those guys were doing when the defense was on the field. What was Peyton doing? Was Peyton sitting by himself? Was he looking at pictures? What was Marvin doing? Was Marvin goofing off like Chad was?” “So we went to learn. We saw them communicate. They literally talked every series after. And it was never Marvin going over to Peyton. It was Peyton coming over to Marvin and Reggie.” “That was just something we implemented. We saw what they were doing on the field, obviously, but you don’t get to see what they’re doing when they’re getting Gatorade in between series.” “Seeing that constant dialogue and talking about this, talking through that — that was something that helped Chad and I get even more on the same page.” “We wanted to see what was going on. What kind of communication was it? Once a quarter? It was every series.” “They went three-and-out, there’s three runs, they would come over and talk about something because they’re always, ‘All right, we ran the ball three times. Here’s the run action we gave them. We’re going to hit them with the play-action post or the play-action corner,’ whatever it was.” “They were getting ready for that next series. And that’s something that Chad and I implemented into our games.”

Carson Palmer says he and Chad Ochocinco would argue about whether or not he was open on the previous drive, so they drove to Indianapolis to study what Peyton Manning, Marvin Harrison and Reggie Wayne did on the sidelines “Chad and I were having a lot of success on the field, but then we’d come off the field and he’d be, ‘Dude, I’m wide open.’ And I’d go look at the picture like, ‘There’s 19 guys covering you. You’re not.’” “So we went down there to see what those guys were doing when the defense was on the field. What was Peyton doing? Was Peyton sitting by himself? Was he looking at pictures? What was Marvin doing? Was Marvin goofing off like Chad was?” “So we went to learn. We saw them communicate. They literally talked every series after. And it was never Marvin going over to Peyton. It was Peyton coming over to Marvin and Reggie.” “That was just something we implemented. We saw what they were doing on the field, obviously, but you don’t get to see what they’re doing when they’re getting Gatorade in between series.” “Seeing that constant dialogue and talking about this, talking through that — that was something that helped Chad and I get even more on the same page.” “We wanted to see what was going on. What kind of communication was it? Once a quarter? It was every series.” “They went three-and-out, there’s three runs, they would come over and talk about something because they’re always, ‘All right, we ran the ball three times. Here’s the run action we gave them. We’re going to hit them with the play-action post or the play-action corner,’ whatever it was.” “They were getting ready for that next series. And that’s something that Chad and I implemented into our games.”

Josh Chambers

1,214,820 Aufrufe • vor 1 Monat

Diggs vs Woolen. This is one of the matchups I’ll be keeping an eye on this Sunday. Fangio isn’t walking Mitchell all over the field. Terry McLaurin is getting Quinyon most of the time. Diggs is getting Woolen unless Washington motions him inside, and that’s not a cheat code or anything. That’s Cooper DeJean for a snap. Woolen is bigger, longer, and faster. 6-4, 210, 33 plus inch arms, 4.26, 42 inch vert. He can run with almost anybody and still get a hand on the ball at the catch point. Diggs is 6-0, 191, 4.46. He was never a pure burner in the NFL sense. He’s a technician. He doesn’t stack long corners the way he did in Buffalo. What he still does is sell the stem, snap off the break, and win leverage. Woolen wins the race and the jump ball. Diggs wins the first five yards and the cut. Last season Diggs put up 85 for 1,013 with New England. PFF loved him (top 10). Almost all of it was short and intermediate, aDOT in the 8s, only two drops, and a high catch rate. That’s the player Washington bought... a chain mover, not a 50-50 guy. Woolen’s 2025 tape in Seattle was decent, but not special. Coverage grade in the 60s, allowed around 55% completions, about 5 yards per target, a few scores. He still got his hands on balls. Career 12 picks. He’s a real starter but he’s not erasing WR1s every week. Diggs is the better player right now. Woolen has the better body for this assignment. Washington’s new offense is huddle, under center, play action, more two tight end. Terry moves around. Diggs is the other outside guy with some slot mixed in. Philly is Fangio. Two high look before the snap, then cover 3, quarters, cover 6. Woolen off or match on the boundary, press when they want to get physical. That’s where the matchup is. - When Woolen plays off, Diggs can work the hitch, the out, and the option. - When Woolen presses, Diggs has to win the release or Daniels has to get off it. - When Fangio drops into zone, Diggs is hunting the hole on the over and the crosser. - When it turns into man late, it’s Woolen’s length against Diggs hands. Jayden knows Woolen should win anything vertical. Isolated 9, fade, late ball over the top if the rush is there. He won’t throw that unless it’s perfect. Diggs should win the 8 to 18 yard stuff, the crosser versus Cover 3, the option versus cushion, the comeback if Woolen sits on the go. Watch Woolen’s hands, he’s not exactly a DPI machine, but over four years in Seattle he took about 36 flags for around 400 yards. If he grabs at the stem, Diggs doesn’t have to win clean. Diggs is savvy. Red zone is Woolen unless Washington uses a rub or Daniels scrambles. Slot snaps just trade a Woolen for DeJean match up. What I’ll be watching - First quarter: is Woolen giving a cushion or putting his hands on him? - Third and 6: Diggs option versus Woolen trailing. That’s the snap. - Play action over: if the safety rotates late, Diggs can hit the window. - If Fangio closes it and Carter wins, the target never comes. If it’s a real game, Diggs is looking at 6 to 9 targets. A few underneath, one chunk if they time it. Not a 140 yard day. Not a donut either. Woolen wins if this turns into a track meet. I think Diggs wins if it stays a route game.

Diggs vs Woolen. This is one of the matchups I’ll be keeping an eye on this Sunday. Fangio isn’t walking Mitchell all over the field. Terry McLaurin is getting Quinyon most of the time. Diggs is getting Woolen unless Washington motions him inside, and that’s not a cheat code or anything. That’s Cooper DeJean for a snap. Woolen is bigger, longer, and faster. 6-4, 210, 33 plus inch arms, 4.26, 42 inch vert. He can run with almost anybody and still get a hand on the ball at the catch point. Diggs is 6-0, 191, 4.46. He was never a pure burner in the NFL sense. He’s a technician. He doesn’t stack long corners the way he did in Buffalo. What he still does is sell the stem, snap off the break, and win leverage. Woolen wins the race and the jump ball. Diggs wins the first five yards and the cut. Last season Diggs put up 85 for 1,013 with New England. PFF loved him (top 10). Almost all of it was short and intermediate, aDOT in the 8s, only two drops, and a high catch rate. That’s the player Washington bought... a chain mover, not a 50-50 guy. Woolen’s 2025 tape in Seattle was decent, but not special. Coverage grade in the 60s, allowed around 55% completions, about 5 yards per target, a few scores. He still got his hands on balls. Career 12 picks. He’s a real starter but he’s not erasing WR1s every week. Diggs is the better player right now. Woolen has the better body for this assignment. Washington’s new offense is huddle, under center, play action, more two tight end. Terry moves around. Diggs is the other outside guy with some slot mixed in. Philly is Fangio. Two high look before the snap, then cover 3, quarters, cover 6. Woolen off or match on the boundary, press when they want to get physical. That’s where the matchup is. - When Woolen plays off, Diggs can work the hitch, the out, and the option. - When Woolen presses, Diggs has to win the release or Daniels has to get off it. - When Fangio drops into zone, Diggs is hunting the hole on the over and the crosser. - When it turns into man late, it’s Woolen’s length against Diggs hands. Jayden knows Woolen should win anything vertical. Isolated 9, fade, late ball over the top if the rush is there. He won’t throw that unless it’s perfect. Diggs should win the 8 to 18 yard stuff, the crosser versus Cover 3, the option versus cushion, the comeback if Woolen sits on the go. Watch Woolen’s hands, he’s not exactly a DPI machine, but over four years in Seattle he took about 36 flags for around 400 yards. If he grabs at the stem, Diggs doesn’t have to win clean. Diggs is savvy. Red zone is Woolen unless Washington uses a rub or Daniels scrambles. Slot snaps just trade a Woolen for DeJean match up. What I’ll be watching - First quarter: is Woolen giving a cushion or putting his hands on him? - Third and 6: Diggs option versus Woolen trailing. That’s the snap. - Play action over: if the safety rotates late, Diggs can hit the window. - If Fangio closes it and Carter wins, the target never comes. If it’s a real game, Diggs is looking at 6 to 9 targets. A few underneath, one chunk if they time it. Not a 140 yard day. Not a donut either. Woolen wins if this turns into a track meet. I think Diggs wins if it stays a route game.

TheJoesList

49,677 Aufrufe • vor 24 Tagen

Player Profile: Khanyisa Mayo[27]📝 Position: RW/RF/CF Foot: Left Club: Kaizer Chiefs FC Kaizer Chiefs has made another bold move in adding quality to the teams attack. Khanyisa Mayo provides immediate and long-term attacking solutions for the club on the right. 1. Technical Qualities Mayo is a skillful, left-footed attacker with a profile built for modern, high-intensity attacking football. ■ A very direct winger, always looking to advance play instead of recycling possession. ■ Excellent at carrying the ball through pressure, breaking lines, and forcing defenders into retreat. ■ His dribbling and progressive runs add verticality to the team’s attacking structure. Shooting and Passing: ■ Strong shooting range when cutting inside from the right. He provides that unpredictability to the attack with his quality to strike the ball from range. Consistently attempts to feed the box: goals, assists, and key passes. A finisher and creator between the lines. Positional Versatility: ■ In a 4-3-3/4-2-3-1, his best role is as the right forward or right winger, cutting inside to shoot or combine. He can also be effective stretching play and still carry goal threat and creativity. ■ As a No. 9: While not his best role, he is capable of leading the line. He uses his pace to run in behind. He can compete but lacks the physicality to hold off defenders, though his finishing is good. ■ As a Second Striker[442]: A role that plays better to his strengths than as a 9. He is comfortable operating between the lines, combining with midfielders and a traditional box striker. His mobility, creativity, and shooting ability allow him to function as the link player, collecting the ball, supporting the primary striker, and creating or finishing opportunities. This ability to operate both wide and centrally makes him tactically flexible, giving Chiefs options in various attacking structures. 2. Physical Attributes ■ Pace & Explosiveness: Quick acceleration makes him a constant outlet for balls in behind. ■ Strength & Balance: He is strong enough to hold off fullbacks, sustaining attacking sequences under pressure ■ High Intensity: Matches the tempo of Chiefs’ pressing and counter-pressing game. We do most actions with a lot of intensity, and his explosive nature will be very much welcomed in our attack. 3. Tactical Fit at Chiefs Under Coach Nabi, Chiefs are shaping into a side that plays with directness, intensity, and aggression across all phases of play: ■ Pressing & Counter-Pressing: The team applies immediate pressure after losing the ball. Mayo’s speed, defensive work rate, and forward momentum align seamlessly with this system. ■ High-Tempo Attacking: Chiefs don’t rely on slow possession. Attacks are vertical, sharp, and quick. Mayo’s instinct to drive forward, dribble at defenders, and attack space makes him an ideal fit. ■ Attacking Personality: His ability to provide not just progression but also the final goal, final pass, and decisive action elevates Chiefs’ attacking efficiency. Mayo’s game is inherently aligned with protagonist football: high tempo, forward intent, and productivity. 4. Experiential Value ■ Continental Experience: Spent a season in Algeria with CR Belouizdad, scoring 6 goals from wide positions. Notable not just for the numbers but for adapting to a challenging cultural and tactical environment. ■ Tactical Growth: North African teams are disciplined and organized, with compact defenses and structured pressing. Mayo sharpened his decision-making, spatial awareness, and ability to operate against tight blocks, preparing him for high-level CAF competitions. ■ Mentality: At 27, he blends maturity with hunger. His willingness to take risks reflects confidence and attacking intent. Yet to reach his peak, now is the perfect time to step up, showing the quality glimpsed at Cape Town City. Mayo joins Chiefs as both a system player and a game-changer. A top signing by the Glamour Boys! 📝

El Capitano⚪

89,575 Aufrufe • vor 1 Jahr

Can't get enough of Seedance 2.5. The best part is it can generate 30s video in one single prompt, and the result is so realistic! So, here's another one that I made using CapCut. Prompt: [STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over a dramatic coastal cliff and open ocean. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic coastal cliff and ocean physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush over open water, near-miss whooshes past yachts, soft landing roll on sand, distant ocean waves and beach ambient noise, final bite sounds. [IMAGE REFERENCES] Use the provided Hoshino character sheet as the single strict visual reference for the male character. Exact face, black hair, dark brown eyes, lean athletic build (178 cm), gold earrings, and overall facial structure locked from the reference. Outfit: modern high-performance cliff-jumping wingsuit — sleek, form-fitting design in matte charcoal black with sharp white paneling and subtle gold zipper accents (matching his minimalist aesthetic). The wingsuit is worn from the start with a matching technical backpack. Body proportions, posture, and face remain fully locked to the Hoshino reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Hoshino stands on the edge of a high rocky cliff overlooking the open ocean, wearing his charcoal-and-white wingsuit and technical backpack. He looks straight into the camera with calm, confident intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the cliff edge. 3-5s: [Continuous freefall] He completes the somersault and falls head-first toward the sea. At exactly 1.5 seconds into the fall he fully deploys the wingsuit with a sharp snap. The wing membranes inflate and he levels out into a smooth glide. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed just above the ocean surface along the coastline. He weaves tightly past sheer cliff faces, banking hard left and right, turquoise water and rocky walls streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above the water. He almost collides with a large luxury yacht that suddenly turns, banks hard to avoid it, then narrowly misses a smaller motor yacht. He dips under a yacht’s outstretched boom and threads between two more vessels. 18-23s: [Water-level action] Still flying extremely low over the sea, he dodges a startled seabird that dives across his path, skims past a group of people on a nearby yacht who scatter in surprise, and banks sharply to avoid an open yacht swim platform. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the soft beach sand and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the sand beside him, revealing a clean fitted white undershirt underneath. 26-28s: [Beach level] He walks a few steps still wearing the backpack and stops right in front of a classic beachside hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a calm, satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit membranes, impact, roll, near-misses with yachts, water spray), stable character locked to the Hoshino reference, realistic ocean reflections, cliff rock textures and wind, no artifacts, movie-level stability, pure single continuous take.

Can't get enough of Seedance 2.5. The best part is it can generate 30s video in one single prompt, and the result is so realistic! So, here's another one that I made using CapCut. Prompt: [STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over a dramatic coastal cliff and open ocean. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic coastal cliff and ocean physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush over open water, near-miss whooshes past yachts, soft landing roll on sand, distant ocean waves and beach ambient noise, final bite sounds. [IMAGE REFERENCES] Use the provided Hoshino character sheet as the single strict visual reference for the male character. Exact face, black hair, dark brown eyes, lean athletic build (178 cm), gold earrings, and overall facial structure locked from the reference. Outfit: modern high-performance cliff-jumping wingsuit — sleek, form-fitting design in matte charcoal black with sharp white paneling and subtle gold zipper accents (matching his minimalist aesthetic). The wingsuit is worn from the start with a matching technical backpack. Body proportions, posture, and face remain fully locked to the Hoshino reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Hoshino stands on the edge of a high rocky cliff overlooking the open ocean, wearing his charcoal-and-white wingsuit and technical backpack. He looks straight into the camera with calm, confident intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the cliff edge. 3-5s: [Continuous freefall] He completes the somersault and falls head-first toward the sea. At exactly 1.5 seconds into the fall he fully deploys the wingsuit with a sharp snap. The wing membranes inflate and he levels out into a smooth glide. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed just above the ocean surface along the coastline. He weaves tightly past sheer cliff faces, banking hard left and right, turquoise water and rocky walls streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above the water. He almost collides with a large luxury yacht that suddenly turns, banks hard to avoid it, then narrowly misses a smaller motor yacht. He dips under a yacht’s outstretched boom and threads between two more vessels. 18-23s: [Water-level action] Still flying extremely low over the sea, he dodges a startled seabird that dives across his path, skims past a group of people on a nearby yacht who scatter in surprise, and banks sharply to avoid an open yacht swim platform. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the soft beach sand and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the sand beside him, revealing a clean fitted white undershirt underneath. 26-28s: [Beach level] He walks a few steps still wearing the backpack and stops right in front of a classic beachside hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a calm, satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit membranes, impact, roll, near-misses with yachts, water spray), stable character locked to the Hoshino reference, realistic ocean reflections, cliff rock textures and wind, no artifacts, movie-level stability, pure single continuous take.

MrDejie

198,144 Aufrufe • vor 1 Monat

Carlos Estévez recalls how a scout humiliated him and called him a “piece of shit” (Written and translated by Master Flip) “I went to this Pirates showcase. They told everyone you had to be there by 10 a.m. to sign in, and I was like, no problem, we’re out early. I rolled up way before that, ended up second on the list. Perfect spot, right? They put me in super late. I threw maybe six pitches total to two Cubans. Got a strikeout and a fly ball to left. Solid stuff. I felt good. I saw the big dawg, the legendary scout who’d signed tons of ballplayers, walking over, and I thought, here it comes. Some real feedback. He’s gonna see what I got. Instead, in front of everybody, “Who brought this piece of shit here?” In front of everybody! My heart dropped. Then he kept going: “Get this piece of shit out of here.” This was a major league scout with a long track record, though he’s out of baseball now after some ugly situation. I was expecting pointers like “Close out your delivery more, kid, let’s see what happens”something to build on. Not that! I’d been there since 7 a.m. on a Sunday. I’d been grinding all week throwing sessions, I come here and throw 6 or 7 pitches and this guy comes here and tells me that? I walked off the mound, sat down to switch into my running shoes, and the tears just came. Big ones rolling down. I felt crushed. Then Josue Herrera, a Pirates scout, came over, tapped me on the shoulder, and said, “Big dawg, get up from there and go run. You’re gonna be a big leaguer one day.” Man, I still get goosebumps thinking about it. He said it straight up like that. I laced up, hit the field, and ran my foul pole to foul pole routine and did it 10 times straight. Only this time, I was angry!” 🎥 Abriendo Sports

Carlos Estévez recalls how a scout humiliated him and called him a “piece of shit” (Written and translated by Master Flip) “I went to this Pirates showcase. They told everyone you had to be there by 10 a.m. to sign in, and I was like, no problem, we’re out early. I rolled up way before that, ended up second on the list. Perfect spot, right? They put me in super late. I threw maybe six pitches total to two Cubans. Got a strikeout and a fly ball to left. Solid stuff. I felt good. I saw the big dawg, the legendary scout who’d signed tons of ballplayers, walking over, and I thought, here it comes. Some real feedback. He’s gonna see what I got. Instead, in front of everybody, “Who brought this piece of shit here?” In front of everybody! My heart dropped. Then he kept going: “Get this piece of shit out of here.” This was a major league scout with a long track record, though he’s out of baseball now after some ugly situation. I was expecting pointers like “Close out your delivery more, kid, let’s see what happens”something to build on. Not that! I’d been there since 7 a.m. on a Sunday. I’d been grinding all week throwing sessions, I come here and throw 6 or 7 pitches and this guy comes here and tells me that? I walked off the mound, sat down to switch into my running shoes, and the tears just came. Big ones rolling down. I felt crushed. Then Josue Herrera, a Pirates scout, came over, tapped me on the shoulder, and said, “Big dawg, get up from there and go run. You’re gonna be a big leaguer one day.” Man, I still get goosebumps thinking about it. He said it straight up like that. I laced up, hit the field, and ran my foul pole to foul pole routine and did it 10 times straight. Only this time, I was angry!” 🎥 Abriendo Sports

Phillip Feliz | Master Flip 🇩🇴

124,991 Aufrufe • vor 7 Monaten

1B Tanner Thach (UNCW Baseball) is another college bat to keep close tabs on this season. Thach was drafted by the Giants in the 18th round of the 2022 draft but decided to honor his commitment to the Seahawks. Thach made a significant impact in his first year on campus and posted a .290/.356/.544 slash line with 11 2B, 15 HR—a UNCW single-season freshman record—and 68 RBIs. He outdid himself in 2024 and hit .324/.406/.700 with 11 2B, a UNCW single-season record 27 HR and 75 RBIs in 61 games. Thach’s production didn’t end there, though, as he was named a Cape League all-star, hitting .275/.367/.493 with 6 doubles, 8 HR and 25 RBIs. Thach has a strong, physical build at 6’4” and 220-lbs. He has a crouched stance in the box with an open front side and a medium-high handset. It’s a bit of a noisy load in which he drops and drifts his hands, but Thach does possess plenty of bat speed. He has a steep, uphill swing path, and it’s a violent operation that is geared towards getting the ball up in the air and doing damage. However, it can get long at times. Thach’s carrying tool is undoubtedly his immense power. He has established a now-lengthy track record of power production with both metal and wood, and he has zero issue tapping into it on a game-to-game basis. Thach has home run power to all fields, though his highest quality of contact comes to the pull side. He gets the ball up in the air on a consistent basis, and when he catches the baseball on the sweet spot, it flies. Thach posted maximum exit velocities during the spring and summer of 113.5 mph and 103.1 mph, respectively. At the start of the summer, he would sometimes unnecessarily sell out to get to his power which caused him to top-spin line drives to the pull side, but as the season progressed he was able to break that habit. Thach has plus in-game power to all fields. The biggest key going forward for Thach is for him to continue to make enough contact to get to his power on a regular basis. His bat-to-ball skills are fringy, though he did post a 90% in-zone contact rate against all fastballs. Like a lot of hitters, the root of Thach’s contact struggles are secondary offerings. He’ll have difficulty at times picking up spin out of the hand which leads to both miss and chase. Thach will also tend to whiff and chase against heaters that are either elevated or on the outer-half of the plate. However, he does handle velocity well and last season he hit .533/.588/1.033 against all fastballs 92+. While Thach feasts on righthanded pitching, he hit just .246/.321/.551 last season against lefties. Thach’s power is tremendous, but he’ll need to add a coat or two of polish to his hit-ability as he transitions into professional baseball. First base isn’t the flashiest defensive profile, but Thach moves well around the bag and is a strong athlete at the position. He’s not afraid to range into the four-hole and he is a reassuring anchor on the right side of the infield. Thach has an advanced baseball sense, a trait that shines on a game-to-game basis. While he won’t pitch professionally, expect Thach to log some innings this spring for UNCW. His fastball tops out in the low 90s and flashes some hop in the top of the zone, but he’ll also mix in a mid-70s curveball and a low-80s changeup. The cherry on top with Thach is his makeup, both on and off the field. It’s impossible to stick a grade on it because it’s a 90 on the 20-80 scale. Would have him as a 2nd-early 3rd round type this July. (🎥: UNCW Baseball, Cotuit Kettleers)

Peter Flaherty III

42,659 Aufrufe • vor 1 Jahr

Carlos Estévez on why Shohei Ohtani is an Android built on discipline and raw talent; (Written and translated by Master Flip) He’s a robot. Straight up, that guy’s a robot. He’s in a league of his own. His routine, the way he prepares from the moment he steps on the field, the discipline it takes to be ready for a 2 p.m. first pitch, it’s not easy. But that discipline is incredible. And it’s where the whole talent vs. hard work debate gets real. I’m a firm believer in hard work. I’m the kind of guy who was made through grind, I don’t have natural gifts like that. I’ve always said hard work beats talent when talent slacks off. But Ohtani? He’s the rare combination of both. That’s how you end up with an Android. As a hitter, he barely needs BP on the field. He heads straight to the cage, does a drill going the other way, and that’s it. Hitting is hard, everyone knows it, but this guy does minimal tuning and still turns into a beast at the plate. Pitching, though? That’s where he puts in the real work. He comes out, throws weighted balls, drills his mechanics, grinds on every detail. Maybe it’s because pitching is the side where he’s humanely made, but he’s naturally a hitter, that’s the way I see it. Either way, his ability is unreal. One time, he made an out against Michael King’s sinker and immediately asked, “What was that? A sinker? How do you grip it?” The very next day in the bullpen, he’s out there throwing sinkers. The day before he pitches, he’ll throw maybe 10–15 pitches in the pen. Then, three pitches into his start the next day, boom, a sinker! I’m sitting there thinking, How?! I’ve spent a thousand years trying to perfect a nasty slider, and he just picks up something new and drops it in game like it’s nothing. The lifestyle that level of player lives is tough. Guys like Trout are the same way, they have to stay low key because everyone knows them. At the ’23 All-Star Game, I flew with Ohtani, hung out with him the whole time until we got to the hotel. Once we arrived, it was straight to the back entrance for him, different access. I just said, goodbye Charlie, I’ll see you later, and went off with the regular mortals. But we bonded over the little things. I play video games, watch anime and read manga, he does too. That’s how we became close. This year at the All Star Game, he was repping the NL and I was on the AL side. He waited for me. My oldest daughter yelled “Ohtani!” and he recognized her right away, so he held up just to talk to me. That’s who he is, he’s a superstar among superstars. All the other MLB stars want pics with him. He’s the only one on that level. I’m not exaggerating. There’s that famous video from the ’23 All Star Game where he was about to take a selfie and the phone almost dropped. It was with me, he was coming over to snap a pic, but I yanked him out of the swarm. Everyone was crowding him with, “Let’s take a pic! Let’s take a pic!” I yelled, “Ohtani, let’s take a pic!” and he ran straight to me. He took the selfie, the phone nearly slipped, that’s the clip that went viral. When we got inside, he looked at me and said, “Thank you.” He noticed right away. He’s not gonna call anyone out or act rude, he just handles it with class.” 🎥 Abriendo Sports

Carlos Estévez on why Shohei Ohtani is an Android built on discipline and raw talent; (Written and translated by Master Flip) He’s a robot. Straight up, that guy’s a robot. He’s in a league of his own. His routine, the way he prepares from the moment he steps on the field, the discipline it takes to be ready for a 2 p.m. first pitch, it’s not easy. But that discipline is incredible. And it’s where the whole talent vs. hard work debate gets real. I’m a firm believer in hard work. I’m the kind of guy who was made through grind, I don’t have natural gifts like that. I’ve always said hard work beats talent when talent slacks off. But Ohtani? He’s the rare combination of both. That’s how you end up with an Android. As a hitter, he barely needs BP on the field. He heads straight to the cage, does a drill going the other way, and that’s it. Hitting is hard, everyone knows it, but this guy does minimal tuning and still turns into a beast at the plate. Pitching, though? That’s where he puts in the real work. He comes out, throws weighted balls, drills his mechanics, grinds on every detail. Maybe it’s because pitching is the side where he’s humanely made, but he’s naturally a hitter, that’s the way I see it. Either way, his ability is unreal. One time, he made an out against Michael King’s sinker and immediately asked, “What was that? A sinker? How do you grip it?” The very next day in the bullpen, he’s out there throwing sinkers. The day before he pitches, he’ll throw maybe 10–15 pitches in the pen. Then, three pitches into his start the next day, boom, a sinker! I’m sitting there thinking, How?! I’ve spent a thousand years trying to perfect a nasty slider, and he just picks up something new and drops it in game like it’s nothing. The lifestyle that level of player lives is tough. Guys like Trout are the same way, they have to stay low key because everyone knows them. At the ’23 All-Star Game, I flew with Ohtani, hung out with him the whole time until we got to the hotel. Once we arrived, it was straight to the back entrance for him, different access. I just said, goodbye Charlie, I’ll see you later, and went off with the regular mortals. But we bonded over the little things. I play video games, watch anime and read manga, he does too. That’s how we became close. This year at the All Star Game, he was repping the NL and I was on the AL side. He waited for me. My oldest daughter yelled “Ohtani!” and he recognized her right away, so he held up just to talk to me. That’s who he is, he’s a superstar among superstars. All the other MLB stars want pics with him. He’s the only one on that level. I’m not exaggerating. There’s that famous video from the ’23 All Star Game where he was about to take a selfie and the phone almost dropped. It was with me, he was coming over to snap a pic, but I yanked him out of the swarm. Everyone was crowding him with, “Let’s take a pic! Let’s take a pic!” I yelled, “Ohtani, let’s take a pic!” and he ran straight to me. He took the selfie, the phone nearly slipped, that’s the clip that went viral. When we got inside, he looked at me and said, “Thank you.” He noticed right away. He’s not gonna call anyone out or act rude, he just handles it with class.” 🎥 Abriendo Sports

Master Flip 🇩🇴

104,086 Aufrufe • vor 7 Monaten

👽🐶 "The orb made its way toward a grove of trees...with the dogs barking right behind. Soon the barks turned to yelps of extreme pain, and then there was silence." 🐶👽 Was the Phenomenon Just Playing "Games" When It Killed Three Dogs? (This story has always bothered me.) Knapp: "30 years ago this month, right now, as we're talking, at the ranch, the rancher (Terry Sherman) sees this blue-turquoise orb lead his dogs out across the pasture in Homestead One, and zapped them. And all he ever found of those dogs were these gooey puddles. Another demonstration. I just wonder what is the message from that?" Robert Bigelow: "Terry showed me those, showed me...later. Showed me the remnants of what was left of those dogs." Knapp: "So what's being communicated there? We could do this to you if we wanted to? We could carve up you instead of cattle? Zap you instead of dogs?" Bigelow: "It's not clear to me what was communicated, because it's more of a human-animal reaction. Of...well, I'm gonna get even, Or, I'm going to hurt you. I'm gonna hurt something you care about. Those are more human kind of reactions, because we're a human animal." Knapp: "So we're looking for a meaning as we would interpret it, as opposed to..." Bigelow: "Yeah, I'm looking for a message. As a researcher, I'm looking for information for a message, as, you know, of a demonstration. But... " (But as an animal lover, I wanna know why the phenomenon felt the need to kill three dogs when it, easily, could have flown away from them. That's always been my question.) Bigelow: "That was a teal ball, as I [recall] that they were chasing." Knapp: "Yep." Bigelow; "The message might have been: the dogs were expensable. Expendable, And the message might have been for Terry. And the message is: this needs to be taken really seriously, or we, or me, or it, whatever that ball is, if it's a consciousness. Not just that it can, the locomotion, is that it can dodge branches throughout a forest of trees with perfect precision, at speed. "But it may have a consciousness connected to it, and it may have been the message was for Terry. Not that the animals' lives weren't sacrificed for nothing. So they were sacrificed, maybe, speculating, as a message for Terry." Knapp: "Well, it seems, clearly, whatever that intelligence is can differentiate between cows and dogs and people." Bigelow: "Oh, sure." Knapp: "What it did to cows are things that we do to cattle all the time." Bigelow: "Oh yeah." Knapp: "What it did to those dogs. I mean, it still is different from what it could do to humans and did not." (And it may have known about how humans treat dogs and figured we don't really care about them. According to the ASPCA, in 2025, 320,000 dogs and 277,000 cats were euthanized in the U.S. due to space and resource limitations at shelters. That's horrifying. But, again, why kill them on Skinwalker Ranch and leave everyone to speculate why it was done?) Bigelow: "Well, you have to take it seriously. I mean, they're... So, all of it is very serious, that...whether it can cause human problems, which it has, or kind of innocuous kind of things that are just games, you know? So." ~~~ (Is there another witness who saw what was left of the dogs after they were allegedly eviscerated? Yes, and I've posted this a few times on here... ⬇️⬇️⬇️ ~~~Begin Excerpt from "The Utah UFO Display"~~~ Then there were the orbs. One evening, [Skinwalker Ranch owner, Terry Sherman] and his wife, [Gwen] saw a bright blue orb or sphere, about three times the size of a baseball, drifting among the trees and around their cattle and horses, which remained strangely calm. The orb gave off enough blue light that the cattle were illuminated. It came up close to [the Shermans], about twenty feet away and fifteen feet above the ground, where they could see it clearly. It looked as if it were made of glass, with a swirling blue liquid inside. [Terry's] wife reached for her flashlight, and the orb sped away into the trees, where it maneuvered under apparently intelligent control. Later, they saw it out of their window. During the close encounter, both [Terry] and [Gwen] were so gripped by fear that they later said that the orb must have exercised control over their minds! Yet the orbs became a common sight on the ranch, with many appearances. The final straw involved one of those orbs. One evening the [Shermans] were watching the orange thing in the western sky when, out of the corner of their eye, they saw one of those blue orbs. It again came close, but [Terry] made the mistake of releasing his three barking and well-trained dogs, which were a special pride to him. The dogs chased after the orb, which descended from its ten-foot altitude close enough to earth for the dogs to jump and lunge at it. It seemed to tease them, moving away just as the dogs’ jaws almost made contact. The orb made its way toward a grove of trees, moving into the trees without touching as much as a branch, and with the dogs barking right behind. Soon the barks turned to yelps of extreme pain, and then there was silence. [Terry] was not about to go into those trees after what had happened, but the next morning, after making his way through the thick vegetation, he came upon a clearing. Leaves on the trees were dry or burned. There was a powerfully unpleasant odor, and there were three large circles of brown, dried-out grass. In the center of each circle was a greasy, dark mess - apparently what was left of the dogs! The [Shermans] had a family conference and decided to sell the ranch. This story gains credibility because Junior Hicks visited the ranch, heard the account of what had happened, and saw the circles of dead grass with their piles of “grease” in the center. (His memory is of only two dogs and circles, but to me [Terry] confirmed three dogs.) Furthermore, Charles Winn’s grandson told us about seeing an orb moving close to Winn’s house, as we’ll see in an interview near the end of this chapter. Such orbs are part of the UFO literature from all over the world. Quite recently, I was contacted through email by Richard F. Colagiovanni who had been a student of mine at Utah State University back in my UFO-hunting days. I had forgotten both the student and the story he had told me, but it had bothered him enough that after forty years he wanted to tell me again. In 1964, he was with a companion, Dave DeCrosta, near Cranston, Rhode Island, in a wooded area shooting BB gun pellets made of copper-coated steel. These pellets made sudden, right-angle turns in their two-hundred-foot-per-second trajectories, moving in any direction, apparently in response to a strong magnetic field! There were no power lines or other possible sources of magnetism. Then along came a bright, metallic sphere or orb about the size of a tennis ball, also doing right-angle turns. It had a bright, semi-glowing, silver/platinum appearance. It disappeared into the ground, leaving no mark at its entry point! ~~~End Excerpt from "The Utah UFO Display"~~~

👽🐶 "The orb made its way toward a grove of trees...with the dogs barking right behind. Soon the barks turned to yelps of extreme pain, and then there was silence." 🐶👽 Was the Phenomenon Just Playing "Games" When It Killed Three Dogs? (This story has always bothered me.) Knapp: "30 years ago this month, right now, as we're talking, at the ranch, the rancher (Terry Sherman) sees this blue-turquoise orb lead his dogs out across the pasture in Homestead One, and zapped them. And all he ever found of those dogs were these gooey puddles. Another demonstration. I just wonder what is the message from that?" Robert Bigelow: "Terry showed me those, showed me...later. Showed me the remnants of what was left of those dogs." Knapp: "So what's being communicated there? We could do this to you if we wanted to? We could carve up you instead of cattle? Zap you instead of dogs?" Bigelow: "It's not clear to me what was communicated, because it's more of a human-animal reaction. Of...well, I'm gonna get even, Or, I'm going to hurt you. I'm gonna hurt something you care about. Those are more human kind of reactions, because we're a human animal." Knapp: "So we're looking for a meaning as we would interpret it, as opposed to..." Bigelow: "Yeah, I'm looking for a message. As a researcher, I'm looking for information for a message, as, you know, of a demonstration. But... " (But as an animal lover, I wanna know why the phenomenon felt the need to kill three dogs when it, easily, could have flown away from them. That's always been my question.) Bigelow: "That was a teal ball, as I [recall] that they were chasing." Knapp: "Yep." Bigelow; "The message might have been: the dogs were expensable. Expendable, And the message might have been for Terry. And the message is: this needs to be taken really seriously, or we, or me, or it, whatever that ball is, if it's a consciousness. Not just that it can, the locomotion, is that it can dodge branches throughout a forest of trees with perfect precision, at speed. "But it may have a consciousness connected to it, and it may have been the message was for Terry. Not that the animals' lives weren't sacrificed for nothing. So they were sacrificed, maybe, speculating, as a message for Terry." Knapp: "Well, it seems, clearly, whatever that intelligence is can differentiate between cows and dogs and people." Bigelow: "Oh, sure." Knapp: "What it did to cows are things that we do to cattle all the time." Bigelow: "Oh yeah." Knapp: "What it did to those dogs. I mean, it still is different from what it could do to humans and did not." (And it may have known about how humans treat dogs and figured we don't really care about them. According to the ASPCA, in 2025, 320,000 dogs and 277,000 cats were euthanized in the U.S. due to space and resource limitations at shelters. That's horrifying. But, again, why kill them on Skinwalker Ranch and leave everyone to speculate why it was done?) Bigelow: "Well, you have to take it seriously. I mean, they're... So, all of it is very serious, that...whether it can cause human problems, which it has, or kind of innocuous kind of things that are just games, you know? So." ~ (Is there another witness who saw what was left of the dogs after they were allegedly eviscerated? Yes, and I've posted this a few times on here... ⬇️⬇️⬇️ ~Begin Excerpt from "The Utah UFO Display"~ Then there were the orbs. One evening, [Skinwalker Ranch owner, Terry Sherman] and his wife, [Gwen] saw a bright blue orb or sphere, about three times the size of a baseball, drifting among the trees and around their cattle and horses, which remained strangely calm. The orb gave off enough blue light that the cattle were illuminated. It came up close to [the Shermans], about twenty feet away and fifteen feet above the ground, where they could see it clearly. It looked as if it were made of glass, with a swirling blue liquid inside. [Terry's] wife reached for her flashlight, and the orb sped away into the trees, where it maneuvered under apparently intelligent control. Later, they saw it out of their window. During the close encounter, both [Terry] and [Gwen] were so gripped by fear that they later said that the orb must have exercised control over their minds! Yet the orbs became a common sight on the ranch, with many appearances. The final straw involved one of those orbs. One evening the [Shermans] were watching the orange thing in the western sky when, out of the corner of their eye, they saw one of those blue orbs. It again came close, but [Terry] made the mistake of releasing his three barking and well-trained dogs, which were a special pride to him. The dogs chased after the orb, which descended from its ten-foot altitude close enough to earth for the dogs to jump and lunge at it. It seemed to tease them, moving away just as the dogs’ jaws almost made contact. The orb made its way toward a grove of trees, moving into the trees without touching as much as a branch, and with the dogs barking right behind. Soon the barks turned to yelps of extreme pain, and then there was silence. [Terry] was not about to go into those trees after what had happened, but the next morning, after making his way through the thick vegetation, he came upon a clearing. Leaves on the trees were dry or burned. There was a powerfully unpleasant odor, and there were three large circles of brown, dried-out grass. In the center of each circle was a greasy, dark mess - apparently what was left of the dogs! The [Shermans] had a family conference and decided to sell the ranch. This story gains credibility because Junior Hicks visited the ranch, heard the account of what had happened, and saw the circles of dead grass with their piles of “grease” in the center. (His memory is of only two dogs and circles, but to me [Terry] confirmed three dogs.) Furthermore, Charles Winn’s grandson told us about seeing an orb moving close to Winn’s house, as we’ll see in an interview near the end of this chapter. Such orbs are part of the UFO literature from all over the world. Quite recently, I was contacted through email by Richard F. Colagiovanni who had been a student of mine at Utah State University back in my UFO-hunting days. I had forgotten both the student and the story he had told me, but it had bothered him enough that after forty years he wanted to tell me again. In 1964, he was with a companion, Dave DeCrosta, near Cranston, Rhode Island, in a wooded area shooting BB gun pellets made of copper-coated steel. These pellets made sudden, right-angle turns in their two-hundred-foot-per-second trajectories, moving in any direction, apparently in response to a strong magnetic field! There were no power lines or other possible sources of magnetism. Then along came a bright, metallic sphere or orb about the size of a tennis ball, also doing right-angle turns. It had a bright, semi-glowing, silver/platinum appearance. It disappeared into the ground, leaving no mark at its entry point! ~End Excerpt from "The Utah UFO Display"~~~

Joe Murgia

16,276 Aufrufe • vor 1 Monat

#BRI vs #AFC - How transitions could be key to a big away win! A big game today and its our third tough away game of the season already. Happy to get these out of the way early. Started with hard fought wins vs Villa and Sunderland and I can't see Brighton being any easier. Arsenal Defensively - Brighton's aggressive positioning (Image 1) Brighton set up in an aggressive 2-3-5 with both fullbacks tucking into the midfield line joining the pivot midfielder (Ayari or Chema). The aim is overload the backline with 5 technically capable attacking players. This will force us into a different shape with Rice probably dropping deeper to pick up Kostoulas or a central attacker. Odegaard will inturn have to drop to occupy the space Rice vacates (Image 1). Saka and Tzolis will have important tucking duties with Boscagli and Kadioglu respectively. The best way we can prevent this is by making it as cramped as possible for Brighton centrally whilst remaining confident in defending 1v1/2v2 in wider areas. Brighton's attack is fluid and very technically capable. Blindside runs are a danger. Yalcouye has proved extremely dangerous. He will be facing Konsa today and I feel the Englishman's recovery pace will prove strong against Malian. Gross is also an excellent "ghost" runner. A key tactical point: Yalcouye - The Danger Man A simple thing Brighton do is leave a man in between the double pivot of opposition teams and then look to find that man through a blindside run with a third-man combination. It can be lethal. Yalcouye has proved dangerous consistently (Image 2). It leaves a devastating dilemma for 4 players: Konsa, Gabriel, Rice and Bruno. That too, Kostoulas and Gross are important to create lanes to receive before playing the third-man (Yalcouye) Their central zones and long range shooting is another particularly dangerous aspect as they have scored 3/13 goals from zone 14 (PL). 18/80 shots (PL). Raya may have a busy day from long range shots too. Note: From deep build up they aim to draw the press out before "creating their own transitions" (what I like to refer to it as) as they rapidly increase the tempo with line-breaking passes, quick combinations and blindside movement. They are brilliant to watch. They are an incredibly direct team and look to find the most efficient way forward. So strong and so dangerous. Our midfield and backline have to remain very aware. The Transition Possibilities - Brighton's Counter-Press (Video 1) Brighton's aggressive positioning does not stop when they lose possession. Their immediate reaction is to counter-press, with Hurzeler implementing what he describes as a "5 second counter-pressing principle". The aim is simple. Swarm the area around the turnover, prevent the opposition from escaping and regain possession as high as possible. We saw a perfect example in the build-up to their second goal against United in the League Cup. A sequence of pressing actions concluded with Vuskovic aggressively following Sesko high up the pitch, while Gross remained advanced to create an overload around the ball if United attempted to play backwards or possession turned over. Included within Video 1 When Brighton get this right, it is extremely effective. Their aggressive starting positions mean they already have numbers around the ball and can immediately suffocate the opposition after losing possession. But that aggression comes with a major risk. Beating the First Press and Balls In-Behind - Where We Can Hurt Them (Video 2) If we can play through or around that initial press, enormous spaces can appear behind it. Vuskovic regularly commits extremely high, while Brighton's midfielders and fullbacks are often positioned ahead of the ball. That can leave Dunk as the deepest defender and force Brighton into open-field defensive situations they are far less comfortable dealing with. This is where players such as Raya, Bruno G and Odegaard could be crucial. One clean pass through the first wave can immediately turn a Brighton attack into an Arsenal transition, with Havertz, Saka, Calafiori and Tzolis providing the main outlets. The objective should be to turn these moments into 3v3s or 3v4s as quickly as possible, before Brighton have time to recover their structure. There is a particular opportunity down our left side. Although Vuskovic is an incredibly talented box defender and excellent on the ball, defending the channels and dealing with quick dribblers in open space are not his strongest traits. He is also the CB who steps forward far more aggressively than Dunk. That makes Tzolis vs Dunk one of the transition match-ups I expect to see most frequently. Calafiori also may find himself in these positions. Saka on the opposite flank too. I'd also expect the sprayed long balls from Raya to continue: - 5/9 long balls vs Coventry - 5/14 long balls vs Villa - 6/19 long balls vs Chelsea - 9/20 long balls vs Sunderland 62/118 (53%) attempted passes this season have been long balls (PL). Further, supporting data suggests the entire Brighton back line lacks recovery speed and is not comfortable defending large spaces. Their top speeds this season: - Dunk — 31.1 km/h - Vuskovic — 30.6 km/h - Kadioglu — 33.8 km/h - Boscagli — 31.3 km/h That is an extremely slow back line to leave exposed. Chelsea's third goal against Brighton is a perfect example. Vuskovic follows Rogers forward and, once the counter-press is beaten, Hato and Weiffer suddenly find themselves in a foot race towards Brighton's goal. Dunk is left isolated and forced to defend two options; Hato or Pedro. Pedro eventually receives and finishes the move. Included within Video 2 An Alternative That Is Unlikely But Could Genuinely Work - Viktor Gyokeres The transition moments I've described above are almost tailor-made for a profile like Viktor Gyokeres. These are exactly the situations he thrived in throughout his time at Sporting, and we saw similar qualities against Atletico in last season's UCL SF. If he can attack the space behind Brighton's press and isolate himself against slower defenders such as Vuskovic and Dunk, this could be a far more favourable game for him than his other two starts this season. His power, direct running and ability to carry the ball over distance could make him particularly dangerous if Arsenal are able to break Brighton's first line of pressure. There are obvious downsides: - Less stability in our hold-up play. - We are still likely to dominate possession for long periods, meaning many of the same issues he has faced in settled attacks would remain. It would therefore be more of a situational option than an obvious starting choice, but the specific spaces Brighton concede make his profile especially interesting for this game. Summary This is more of an alternative tactical angle I noticed while watching Brighton this season. We will likely dominate possession, but I wanted to analyse a less obvious way we could create chances and score through what seems to be Brighton's biggest weakness this season. Attacking Shape - Expect The Same Simply put, I'd expect us to remain in our 3-1-6/3-2-5 base shape with similar positional fluidity. Expect a similar attacking set-up due to the lack of changes expected within the line-up. To summarise this analysis: Brighton are devastating when pressing high up the pitch, but the large spaces they leave in behind offer an alternative route for us to hurt them. It is certainly something to keep a close eye on when the opportunity presents itself. I've worked all morning on this so a retweet would be greatly appreciated. I hope you enjoyed my analysis! 4-2 Arsenal Win. High scoring game. Video 1: Counter-Pressing Moments Video 2: Transition Weakness Moments

Nino Scouting

28,568 Aufrufe • vor 12 Tagen

Seedance 2.5 on DomoAI official Prompt AN EXCITING TAIWAN TRAVEL VLOG — 30 SEC MUSIC CUT SUBJECT: one fictional adult Korean woman in her early twenties, with large round dark eyes, a small nose, coral-red lips, long side-parted black waves and small cubic-zirconia stud earrings. Keep the face established in the first shot consistent throughout. Visible pores and natural skin texture, without doll-like smoothness or a beauty filter. OUTFIT: throughout all 30 seconds, she wears an indigo denim one-shoulder crop top and asymmetric-hem skirt, burgundy leather belt and pointed burgundy ankle boots. Keep the exposed shoulder, stitching and direction of the longer skirt panel consistent with their appearance in the first shot. Her outfit and hair do not change between locations. CAMERA: the texture of a personally filmed phone travel video. She films the selfies. An off-screen travel companion films the two-handed chicken-cutlet handoff, her back in the market, and the restaurant food and eating shots. Changing operators does not introduce filming equipment or device UI into the image. Landscape 16:9, no black padding. Ordinary travel shots use a 26mm-equivalent phone wide angle, enough depth of field to read the surroundings, and natural iPhone colour. Handheld movement follows real footsteps; exposure and focus catch up slightly late. A fingerprint on the lens causes local light smearing beside strong light sources. No cinematic colour grade, studio lighting or added post-production glow. People in the surroundings move independently and do not stare into the lens for long. EXCEPTIONS: only the three restaurant shots from 17 to 23 seconds use a DV-tape texture, light noise and slightly delayed focus. This deliberately differs from the travel footage; phone texture returns at 23 seconds. The food close-up at 19–21 seconds and the sunset focus change at 23–26.5 seconds follow their own shot-specific depth-of-field directions. MUSIC: upbeat BGM carries the excitement and rhythm across the travel montage. Location sounds do not repeatedly interrupt the music. Only the gondola section has a one-beat drop. Dialogue is brief and relaxed, with audible breaths and complete word endings. Mandarin is limited to the opening and closing greetings, delivered as newly learned phrases. The ㅋㅋㅋ in the dialogue means laughter, not spoken letters. PROPS: the bubble-tea clerk directly hands her a clear cup; the chicken-cutlet stall owner directly hands her the fried-chicken bag. In the xiaolongbao restaurant, the waiter sets the steamer with its lid on the table and she eats with chopsticks in her right hand and a spoon in her left. Food and containers are used only in their respective food scenes. (0:00–0:02) — Guesthouse window, Taipei morning. She films a selfie from a low angle on her phone, smiling broadly. Tilt Up extends the frame above her face to the view through the window. Taipei 101's green-glass tower rises beyond low grey buildings, rooftop water tanks and air-con units. Exposure catches up with the bright sky. Dialogue: "你好~ 대만 왔다!" Transition: Hard cut on beat. (0:02–0:04) — Main-road junction. At the crossing, she turns the phone into selfie position. A packed queue of helmeted scooter riders leaves the white stop line as the light turns green, passing behind her. Overcast daylight, Handheld Selfie and deep focus. Dialogue: "스쿠터 뭐야 미쳤어ㅋㅋㅋ" Transition: Fast cut on beat. (0:04–0:06) — Bubble-tea counter. She points the phone in her left hand downward to film. Her right hand reaches out first. With arm and torso visible, the aproned clerk lowers the clear cup upright into it. After she supports its base and side, the clerk releases it. The sealed film lid faces up; black brown-sugar streaks line the cup. A wide straw rests on the counter. Insert, briefly Static. Transition: Snap cut. (0:06–0:08) — Chicken-cutlet stall. The companion films from beside her, including both her hands and the owner. The large fried cutlet, seasoned with pepper and chilli, is already in a white paper bag. She extends both hands first. With arms and torso visible, the owner lowers the bag with its opening facing up. Only after her two hands support the bottom does the owner release it. Steam rises above the bag. Handheld Insert under a daylight awning. Transition: Cut at the end of the handoff. (0:08–0:10) — Longshan Temple. She starts with a selfie and raises the phone. Tilt Up shifts the view from her face to incense smoke, red lanterns and the dragon-carved roof. The sky above the eaves is bright in natural daylight. Transition: Cut during the upward movement. (0:10–0:12.5) — Jiufen stepped lane. She extends her arm high for a selfie and speaks. As she tilts the phone downward in a Tilt Down, her face leaves the frame and layers of red lanterns along the narrow stone stairway and wooden teahouse windows on both sides come into view. A misty afternoon; light fog veils the lower stairs. Dialogue: "여기 진짜 영화 속인데" Transition: Cut while looking down the stairway. (0:12.5–0:15) — Dihua Street market. The companion films a waist-height Follow Shot from behind her. She raises the chicken-cutlet bag in one hand and takes a bite while walking through the passage. On either side of her indigo denim outfit, sacks of dried seafood, dried shiitake, tea tins, red envelopes and herbal-medicine drawers pass in sequence. Other people independently browse or walk by. Overcast afternoon light. Transition: Cut on forward movement. (0:15–0:17) — Maokong gondola. In this scene she is not holding food or its bag. She films downward through the glass floor, holding the phone at knee height in one hand. Green tea fields drift beneath her feet and a cable shadow passes across them. Low Static. The music drops for one beat and returns. Transition: Snap cut. (0:17–0:19) — Xiaolongbao restaurant, DV texture begins. She is already seated; the companion films a Static Medium from eye level across the table. The waiter sets a bamboo steamer upright on the table with its lid on, then lifts the lid. Six xiaolongbao on white paper, shredded ginger and black vinegar. She watches and speaks while the waiter performs the action. Dialogue: "이거 육즙 터진다며?" Transition: Cut to the open steamer. (0:19–0:21) — Broth close-up. The companion films a downward-looking Macro from beside the table, with shallow depth of field. One xiaolongbao is already on the spoon in her left hand. She opens the skin slightly with the tips of the chopsticks in her right hand; broth flows into the spoon. Steam brushes past the lens. DV texture continues. Transition: Cut from the filled spoon. (0:21–0:23) — First mouthful. The companion films a close Handheld shot from across the table. Begin immediately after her first mouthful of xiaolongbao. She lowers the spoon in her left hand and smiles toward the lens. White restaurant fluorescent light, DV texture continues. Dialogue: "미쳤다 진짜." Transition: Cut to sunset footage with phone texture. (0:23–0:26.5) — Tamsui Fisherman's Wharf, signature. Phone texture returns. She walks beside the railing while filming an extended-arm selfie. The white Lover's Bridge and its reflection on the sea catch orange sunset light; her long waves and asymmetric denim hem move in the wind. Rack Focus: focus moves from the initially sharp bridge behind her to her face, leaving the bridge softly blurred. Actual sunset light, without added post-production glow. 60% slow motion. Transition: Cut when focus settles on her face. (0:26.5–0:30) — Shifen railway, night. She films a selfie with the phone extended in her right hand. Her left hand releases the lower edge of a red sky lantern bearing brush calligraphy. The lit lantern leaves her fingertips and rises into the sky. Shop lights and other sky lanterns remain around her. She waves at the lens with her now-free left hand while speaking. Dialogue: "그럼 모두 再見~!" That left hand covers the lens, ending at 30 seconds. Natural night phone exposure. CONSISTENCY: preserve the same face and single denim outfit. Contact between hands and props is visible, without smeared fingers. Do not add subtitles, graphic text, logos or watermarks to the footage. Writing that belongs to the location or props, including the lantern calligraphy, remains. No filming equipment is visible in frame. FINALLY: skin and movement should look like real travel footage, not AI-generated imagery. Dialogue remains clear within natural breathing, without slurred syllables or clipped word endings. Expressions and gestures respond to the situation rather than posing like an advertising model. #DomoAI #DomoAICPP

Seedance 2.5 on DomoAI official Prompt AN EXCITING TAIWAN TRAVEL VLOG — 30 SEC MUSIC CUT SUBJECT: one fictional adult Korean woman in her early twenties, with large round dark eyes, a small nose, coral-red lips, long side-parted black waves and small cubic-zirconia stud earrings. Keep the face established in the first shot consistent throughout. Visible pores and natural skin texture, without doll-like smoothness or a beauty filter. OUTFIT: throughout all 30 seconds, she wears an indigo denim one-shoulder crop top and asymmetric-hem skirt, burgundy leather belt and pointed burgundy ankle boots. Keep the exposed shoulder, stitching and direction of the longer skirt panel consistent with their appearance in the first shot. Her outfit and hair do not change between locations. CAMERA: the texture of a personally filmed phone travel video. She films the selfies. An off-screen travel companion films the two-handed chicken-cutlet handoff, her back in the market, and the restaurant food and eating shots. Changing operators does not introduce filming equipment or device UI into the image. Landscape 16:9, no black padding. Ordinary travel shots use a 26mm-equivalent phone wide angle, enough depth of field to read the surroundings, and natural iPhone colour. Handheld movement follows real footsteps; exposure and focus catch up slightly late. A fingerprint on the lens causes local light smearing beside strong light sources. No cinematic colour grade, studio lighting or added post-production glow. People in the surroundings move independently and do not stare into the lens for long. EXCEPTIONS: only the three restaurant shots from 17 to 23 seconds use a DV-tape texture, light noise and slightly delayed focus. This deliberately differs from the travel footage; phone texture returns at 23 seconds. The food close-up at 19–21 seconds and the sunset focus change at 23–26.5 seconds follow their own shot-specific depth-of-field directions. MUSIC: upbeat BGM carries the excitement and rhythm across the travel montage. Location sounds do not repeatedly interrupt the music. Only the gondola section has a one-beat drop. Dialogue is brief and relaxed, with audible breaths and complete word endings. Mandarin is limited to the opening and closing greetings, delivered as newly learned phrases. The ㅋㅋㅋ in the dialogue means laughter, not spoken letters. PROPS: the bubble-tea clerk directly hands her a clear cup; the chicken-cutlet stall owner directly hands her the fried-chicken bag. In the xiaolongbao restaurant, the waiter sets the steamer with its lid on the table and she eats with chopsticks in her right hand and a spoon in her left. Food and containers are used only in their respective food scenes. (0:00–0:02) — Guesthouse window, Taipei morning. She films a selfie from a low angle on her phone, smiling broadly. Tilt Up extends the frame above her face to the view through the window. Taipei 101's green-glass tower rises beyond low grey buildings, rooftop water tanks and air-con units. Exposure catches up with the bright sky. Dialogue: "你好~ 대만 왔다!" Transition: Hard cut on beat. (0:02–0:04) — Main-road junction. At the crossing, she turns the phone into selfie position. A packed queue of helmeted scooter riders leaves the white stop line as the light turns green, passing behind her. Overcast daylight, Handheld Selfie and deep focus. Dialogue: "스쿠터 뭐야 미쳤어ㅋㅋㅋ" Transition: Fast cut on beat. (0:04–0:06) — Bubble-tea counter. She points the phone in her left hand downward to film. Her right hand reaches out first. With arm and torso visible, the aproned clerk lowers the clear cup upright into it. After she supports its base and side, the clerk releases it. The sealed film lid faces up; black brown-sugar streaks line the cup. A wide straw rests on the counter. Insert, briefly Static. Transition: Snap cut. (0:06–0:08) — Chicken-cutlet stall. The companion films from beside her, including both her hands and the owner. The large fried cutlet, seasoned with pepper and chilli, is already in a white paper bag. She extends both hands first. With arms and torso visible, the owner lowers the bag with its opening facing up. Only after her two hands support the bottom does the owner release it. Steam rises above the bag. Handheld Insert under a daylight awning. Transition: Cut at the end of the handoff. (0:08–0:10) — Longshan Temple. She starts with a selfie and raises the phone. Tilt Up shifts the view from her face to incense smoke, red lanterns and the dragon-carved roof. The sky above the eaves is bright in natural daylight. Transition: Cut during the upward movement. (0:10–0:12.5) — Jiufen stepped lane. She extends her arm high for a selfie and speaks. As she tilts the phone downward in a Tilt Down, her face leaves the frame and layers of red lanterns along the narrow stone stairway and wooden teahouse windows on both sides come into view. A misty afternoon; light fog veils the lower stairs. Dialogue: "여기 진짜 영화 속인데" Transition: Cut while looking down the stairway. (0:12.5–0:15) — Dihua Street market. The companion films a waist-height Follow Shot from behind her. She raises the chicken-cutlet bag in one hand and takes a bite while walking through the passage. On either side of her indigo denim outfit, sacks of dried seafood, dried shiitake, tea tins, red envelopes and herbal-medicine drawers pass in sequence. Other people independently browse or walk by. Overcast afternoon light. Transition: Cut on forward movement. (0:15–0:17) — Maokong gondola. In this scene she is not holding food or its bag. She films downward through the glass floor, holding the phone at knee height in one hand. Green tea fields drift beneath her feet and a cable shadow passes across them. Low Static. The music drops for one beat and returns. Transition: Snap cut. (0:17–0:19) — Xiaolongbao restaurant, DV texture begins. She is already seated; the companion films a Static Medium from eye level across the table. The waiter sets a bamboo steamer upright on the table with its lid on, then lifts the lid. Six xiaolongbao on white paper, shredded ginger and black vinegar. She watches and speaks while the waiter performs the action. Dialogue: "이거 육즙 터진다며?" Transition: Cut to the open steamer. (0:19–0:21) — Broth close-up. The companion films a downward-looking Macro from beside the table, with shallow depth of field. One xiaolongbao is already on the spoon in her left hand. She opens the skin slightly with the tips of the chopsticks in her right hand; broth flows into the spoon. Steam brushes past the lens. DV texture continues. Transition: Cut from the filled spoon. (0:21–0:23) — First mouthful. The companion films a close Handheld shot from across the table. Begin immediately after her first mouthful of xiaolongbao. She lowers the spoon in her left hand and smiles toward the lens. White restaurant fluorescent light, DV texture continues. Dialogue: "미쳤다 진짜." Transition: Cut to sunset footage with phone texture. (0:23–0:26.5) — Tamsui Fisherman's Wharf, signature. Phone texture returns. She walks beside the railing while filming an extended-arm selfie. The white Lover's Bridge and its reflection on the sea catch orange sunset light; her long waves and asymmetric denim hem move in the wind. Rack Focus: focus moves from the initially sharp bridge behind her to her face, leaving the bridge softly blurred. Actual sunset light, without added post-production glow. 60% slow motion. Transition: Cut when focus settles on her face. (0:26.5–0:30) — Shifen railway, night. She films a selfie with the phone extended in her right hand. Her left hand releases the lower edge of a red sky lantern bearing brush calligraphy. The lit lantern leaves her fingertips and rises into the sky. Shop lights and other sky lanterns remain around her. She waves at the lens with her now-free left hand while speaking. Dialogue: "그럼 모두 再見~!" That left hand covers the lens, ending at 30 seconds. Natural night phone exposure. CONSISTENCY: preserve the same face and single denim outfit. Contact between hands and props is visible, without smeared fingers. Do not add subtitles, graphic text, logos or watermarks to the footage. Writing that belongs to the location or props, including the lantern calligraphy, remains. No filming equipment is visible in frame. FINALLY: skin and movement should look like real travel footage, not AI-generated imagery. Dialogue remains clear within natural breathing, without slurred syllables or clipped word endings. Expressions and gestures respond to the situation rather than posing like an advertising model. #DomoAI #DomoAICPP

Sharon Riley

34,557 Aufrufe • vor 16 Tagen

I made this 30-second clip on Higgsfield AI 🧩 Prompt: Create a 30-second first-person POV cinematic food-and-pet video. On a rainy evening, inside a compact but beautifully lived-in contemporary European-style home kitchen, an adult man's hands prepare a complete comforting dinner: pan-seared salmon, roasted baby potatoes, honey-glazed carrots, and a creamy mushroom soup. During the preparation, he prepares a tiny cooled piece of salmon for his small puppy waiting nearby. The video is intimate, observational, natural and completely unscripted in feeling. The entire sequence uses a controlled multi-camera-feeling POV structure created through hard cuts. Every cooking action is shown clearly and physically. At the end, the complete dinner is arranged on a wooden serving board and carried to a small dining table. SCENE SETTING: A compact, warm modern home kitchen that has clearly been used for years. The kitchen contains matte cream cabinets, a dark stone countertop, a stainless-steel induction cooktop, a small convection oven, an old wooden cutting board, ceramic bowls, a cast-iron skillet, a medium saucepan and a compact countertop rice/steam cooker. On the counter are the prepared ingredients in separate containers: a skin-on salmon fillet, baby potatoes, small carrots, fresh mushrooms, heavy cream, garlic, butter, fresh rosemary, thyme, olive oil, a small bowl of honey, black pepper, sea salt, and chopped parsley. A wooden dining table is visible several steps away from the kitchen. Near the table sits a small cream-colored fluffy puppy with slightly darker ears. The puppy is lying on a folded gray blanket, quietly watching the man's hands. It occasionally raises its head when it smells the salmon but otherwise remains patient. A large kitchen window is above the sink. Outside, heavy evening rain falls against the glass. Water droplets slowly travel down the window, and blurred streetlights glow through the wet glass. Whenever the camera faces the window, the rain remains clearly visible. The refrigerator contains a few ordinary magnets and a small blank paper note. No readable branding, logos, recognizable labels or copyrighted imagery appear anywhere. POV LOCK: Every shot is first-person POV from the eye level of an approximately 178cm tall adult man working naturally in the kitchen. Only his hands, wrists and forearms are visible. His face and body are never shown, including reflections. The hands have medium-light natural skin, short clean fingernails and a small faint healed scratch near the left thumb. He wears a charcoal-gray long-sleeve home shirt with the sleeves casually rolled to the forearms and a dark beige kitchen apron. These exact hand, sleeve and apron details remain consistent throughout the entire video. The camera behaves like a real human head. It moves only when the person naturally turns, bends, reaches, looks toward the stove, looks toward the puppy or walks toward the table. No independent cinematic camera movement. Slight natural body sway, subtle breathing movement, tiny framing imperfections and realistic handheld instability are allowed. FORMAT MODE: Controlled multi-shot sequence. Real-time speed. Hard cuts only. Every segment begins with an action already in progress. Hands, utensils or food must already be visible immediately after every cut. No empty establishing shots. No slow motion. No artificial time-lapse. No dissolves. The emotional center is the small interaction between the man and the puppy. The final complete dinner is the visual culmination. COOKING CONTINUITY LOCK: This is a high-priority continuity rule. Every pan, bowl, saucepan, tray and plate must contain exactly what was previously placed inside it. Nothing appears or disappears without being visibly handled. Every completed action happens only once. No cooking action is repeated after it has already occurred. The salmon remains the same individual fillet throughout the video. The same potatoes remain the same potatoes. The same soup remains in the same saucepan. The puppy's salmon piece comes from the same salmon fillet that is eventually served. No duplicate food is allowed. Unused ingredients remain inside their original containers until visibly used. The salmon journey is locked: Beat 1 — the raw salmon fillet is placed skin-side down into the hot cast-iron skillet. Beat 2 — the salmon remains in the skillet while its underside sears. Beat 3 — the same salmon is turned once and continues cooking. Beat 4 — the cooked salmon is removed from the skillet. Beat 5 — a small piece is taken from the edge of that exact fillet and cooled for the puppy. Beat 6 — the remaining salmon is placed onto the final serving board. The missing piece remains visibly missing from the salmon until the end. ACTION BEATS: BEAT 1 — SALMON + POTATOES At the beginning, the cast-iron skillet is empty and heating. The man's right hand places the same skin-on salmon fillet into the skillet with metal tongs. A strong natural sizzle begins immediately. The salmon remains in the exact same position while the skin gradually becomes crisp. With the other hand, he places halved baby potatoes into a separate shallow roasting pan. A small amount of olive oil and rosemary is added. The oven door opens and the potatoes are placed inside. The oven closes. Hard cut. BEAT 2 — SALMON SEARING The salmon remains inside the same skillet. The edges begin turning opaque while the skin becomes golden and crisp. The man's hand adds a small knob of butter, crushed garlic and fresh thyme beside the fish. The butter melts around the salmon. He gently tilts the skillet and spoons the hot butter over the top of the fish several times. Steam rises naturally. No fish is removed yet. Hard cut. BEAT 3 — SOUP The same saucepan is now visible on the second burner. The saucepan contains sliced mushrooms and butter. The man's hand stirs them slowly until they soften. Cream is poured into the saucepan. The cream mixes naturally with the mushrooms. A small amount of black pepper and salt is added. The soup begins steaming gently. The rain continues audibly outside. Hard cut. BEAT 4 — FINAL SALMON + PUPPY The man returns to the skillet. Using the same metal tongs, he carefully turns the same salmon fillet ONCE. The underside is beautifully browned and the surface glistens with butter. He cooks it briefly. He then removes the salmon from the skillet and places it onto the wooden cutting board. The puppy, hearing the movement, raises its head from the blanket. The man notices the puppy. He smiles subtly. Using a fork, he separates a very small flaky piece from the edge of the salmon. The missing section remains visible. He places the small piece into his palm. He brings it close to his mouth and gently blows on it twice to cool it. The man's face remains completely outside the frame. The camera naturally lowers as he crouches beside the puppy. The puppy is now sitting upright with its tail gently moving. He places the cooled salmon piece on the gray blanket in front of the puppy. The puppy carefully approaches. It takes the salmon in small bites. Its eyes narrow slightly while chewing. Its tail gives a few happy movements. The man's hand gently scratches the puppy behind one ear. The puppy leans its head into his fingers. This interaction is quiet, natural and affectionate. Hard cut. BEAT 5 — PLATING At the beginning of this beat, an empty rectangular wooden serving board is on the dining table. The roasted potatoes are removed from the oven and placed into a small ceramic bowl. The mushroom soup is ladled into a deep ceramic bowl. The honey-glazed carrots are transferred onto a narrow plate. The salmon, still with the small missing section from the puppy's piece, is lifted from the cutting board using the tongs. It is placed onto a long ceramic plate. A few rosemary leaves and chopped parsley are added naturally. The four finished components are arranged together on the wooden serving board. Nothing is duplicated. Every portion comes from the food previously prepared. Steam rises naturally from the soup, salmon and potatoes. The plating is attractive but imperfect and homemade. Hard cut. BEAT 6 — DINNER TABLE The serving board begins exactly as it appeared at the end of Beat 5. The man grips both sides of the wooden board. He turns away from the kitchen and walks several natural steps toward the dining table. The camera moves with his body. The image sways subtly with each step. The rainy window passes through the background. The puppy follows behind him with its tail raised. He gently places the serving board onto the dining table. The puppy sits beside the table and looks up at him. His hands enter the lower portion of the frame. He briefly scratches the puppy's head. The final frame holds on the steaming homemade dinner with the puppy sitting beside the table. OPTICS AND CAMERA: Natural first-person human POV. Approximately 45–50 degree diagonal field of view. No artificial zoom. No gimbal. No drone movement. No impossible camera transitions. Camera movement comes exclusively from realistic head and body movement. When reaching toward the skillet, the camera naturally leans forward. When looking toward the puppy, the head turns downward. When crouching, the camera lowers with the body. When walking to the dining table, natural footstep-induced vertical movement is visible. Autofocus behaves naturally between hands, food, puppy and background. Slight focus breathing is allowed. Minor framing imperfections are encouraged. No fisheye distortion. No exaggerated lens effects. No cinematic crane shots. PHYSICS: Hyper-realistic cooking physics. Salmon skin crackles and becomes crisp. Butter melts immediately when touching the hot skillet. Steam rises according to heat. Cream swirls naturally into the mushroom mixture. Potatoes have believable weight and moisture. Honey coats the carrots rather than floating separately. Food never duplicates, disappears or changes shape unnaturally. The puppy's fur reacts naturally to touch. The puppy's ears move subtly according to sound and attention. Its pupils adjust naturally. Its jaw and mouth movements during eating remain realistic. The puppy must never behave like a human. No floating objects. No clipping. No impossible hand positions. No teleporting food. LIGHTING: Warm practical kitchen lighting from overhead fixtures. Cool blue-gray ambient light from the rainy window. Soft reflections on the dark countertop. Subtle warm highlights around the skillet and oven. Natural exposure prioritizing hands and food without making the scene look like a commercial. The rain outside creates a gentle cool contrast against the warm kitchen interior. No extreme HDR. No excessive bloom. No artificial beauty lighting. No perfect food-commercial presentation. REALISM: The final result should feel like an authentic first-person home video captured by a real person, but with exceptionally high visual fidelity. Food must look edible and naturally imperfect. The salmon should have uneven browning. The potatoes should have slightly different shapes. The carrots should vary subtly in size. The soup surface should contain natural movement. The serving board should not look perfectly symmetrical. The puppy should feel like a real young dog rather than a cartoon mascot. FRAME RATE: Stable real-time 24fps. No slow motion. No speed ramping. No frame interpolation artifacts. No ghosting. No stuttering. No temporal deformation. AUDIO: Only natural synchronized environmental audio. Continuous rain against the kitchen window. Soft distant city ambience. Skillet sizzling. Butter bubbling. Knife touching the cutting board. Potatoes moving inside the roasting pan. Oven door opening and closing. Soup gently simmering. Ceramic bowls touching the countertop. Tongs lightly clicking against the skillet. Soft puppy breathing. Tiny puppy chewing sounds. The puppy's collar makes a very subtle metallic sound when it moves. Wooden serving board makes a soft dull sound when placed on the table. No narration. No dialogue. No music. No subtitles. No text overlays. No logos. No watermark. FINAL NEGATIVE LOCK: No Japanese kitchen. No Japanese meal. No mackerel. No tamagoyaki. No rice set meal. No tabby cat. No copied character design. No recognizable branded products. No readable logos. No artificial food duplication. No changing hand appearance. No changing sleeves. No changing puppy appearance. No changing kitchen layout. No random ingredients appearing. No objects teleporting. No impossible physics. No cinematic camera that moves independently from the person's body. No CGI-looking food. No advertisement aesthetic. No staged comedy. No exaggerated animal behavior. The entire video must maintain one coherent physical reality from the first frame to the final frame.

I made this 30-second clip on Higgsfield AI 🧩 Prompt: Create a 30-second first-person POV cinematic food-and-pet video. On a rainy evening, inside a compact but beautifully lived-in contemporary European-style home kitchen, an adult man's hands prepare a complete comforting dinner: pan-seared salmon, roasted baby potatoes, honey-glazed carrots, and a creamy mushroom soup. During the preparation, he prepares a tiny cooled piece of salmon for his small puppy waiting nearby. The video is intimate, observational, natural and completely unscripted in feeling. The entire sequence uses a controlled multi-camera-feeling POV structure created through hard cuts. Every cooking action is shown clearly and physically. At the end, the complete dinner is arranged on a wooden serving board and carried to a small dining table. SCENE SETTING: A compact, warm modern home kitchen that has clearly been used for years. The kitchen contains matte cream cabinets, a dark stone countertop, a stainless-steel induction cooktop, a small convection oven, an old wooden cutting board, ceramic bowls, a cast-iron skillet, a medium saucepan and a compact countertop rice/steam cooker. On the counter are the prepared ingredients in separate containers: a skin-on salmon fillet, baby potatoes, small carrots, fresh mushrooms, heavy cream, garlic, butter, fresh rosemary, thyme, olive oil, a small bowl of honey, black pepper, sea salt, and chopped parsley. A wooden dining table is visible several steps away from the kitchen. Near the table sits a small cream-colored fluffy puppy with slightly darker ears. The puppy is lying on a folded gray blanket, quietly watching the man's hands. It occasionally raises its head when it smells the salmon but otherwise remains patient. A large kitchen window is above the sink. Outside, heavy evening rain falls against the glass. Water droplets slowly travel down the window, and blurred streetlights glow through the wet glass. Whenever the camera faces the window, the rain remains clearly visible. The refrigerator contains a few ordinary magnets and a small blank paper note. No readable branding, logos, recognizable labels or copyrighted imagery appear anywhere. POV LOCK: Every shot is first-person POV from the eye level of an approximately 178cm tall adult man working naturally in the kitchen. Only his hands, wrists and forearms are visible. His face and body are never shown, including reflections. The hands have medium-light natural skin, short clean fingernails and a small faint healed scratch near the left thumb. He wears a charcoal-gray long-sleeve home shirt with the sleeves casually rolled to the forearms and a dark beige kitchen apron. These exact hand, sleeve and apron details remain consistent throughout the entire video. The camera behaves like a real human head. It moves only when the person naturally turns, bends, reaches, looks toward the stove, looks toward the puppy or walks toward the table. No independent cinematic camera movement. Slight natural body sway, subtle breathing movement, tiny framing imperfections and realistic handheld instability are allowed. FORMAT MODE: Controlled multi-shot sequence. Real-time speed. Hard cuts only. Every segment begins with an action already in progress. Hands, utensils or food must already be visible immediately after every cut. No empty establishing shots. No slow motion. No artificial time-lapse. No dissolves. The emotional center is the small interaction between the man and the puppy. The final complete dinner is the visual culmination. COOKING CONTINUITY LOCK: This is a high-priority continuity rule. Every pan, bowl, saucepan, tray and plate must contain exactly what was previously placed inside it. Nothing appears or disappears without being visibly handled. Every completed action happens only once. No cooking action is repeated after it has already occurred. The salmon remains the same individual fillet throughout the video. The same potatoes remain the same potatoes. The same soup remains in the same saucepan. The puppy's salmon piece comes from the same salmon fillet that is eventually served. No duplicate food is allowed. Unused ingredients remain inside their original containers until visibly used. The salmon journey is locked: Beat 1 — the raw salmon fillet is placed skin-side down into the hot cast-iron skillet. Beat 2 — the salmon remains in the skillet while its underside sears. Beat 3 — the same salmon is turned once and continues cooking. Beat 4 — the cooked salmon is removed from the skillet. Beat 5 — a small piece is taken from the edge of that exact fillet and cooled for the puppy. Beat 6 — the remaining salmon is placed onto the final serving board. The missing piece remains visibly missing from the salmon until the end. ACTION BEATS: BEAT 1 — SALMON + POTATOES At the beginning, the cast-iron skillet is empty and heating. The man's right hand places the same skin-on salmon fillet into the skillet with metal tongs. A strong natural sizzle begins immediately. The salmon remains in the exact same position while the skin gradually becomes crisp. With the other hand, he places halved baby potatoes into a separate shallow roasting pan. A small amount of olive oil and rosemary is added. The oven door opens and the potatoes are placed inside. The oven closes. Hard cut. BEAT 2 — SALMON SEARING The salmon remains inside the same skillet. The edges begin turning opaque while the skin becomes golden and crisp. The man's hand adds a small knob of butter, crushed garlic and fresh thyme beside the fish. The butter melts around the salmon. He gently tilts the skillet and spoons the hot butter over the top of the fish several times. Steam rises naturally. No fish is removed yet. Hard cut. BEAT 3 — SOUP The same saucepan is now visible on the second burner. The saucepan contains sliced mushrooms and butter. The man's hand stirs them slowly until they soften. Cream is poured into the saucepan. The cream mixes naturally with the mushrooms. A small amount of black pepper and salt is added. The soup begins steaming gently. The rain continues audibly outside. Hard cut. BEAT 4 — FINAL SALMON + PUPPY The man returns to the skillet. Using the same metal tongs, he carefully turns the same salmon fillet ONCE. The underside is beautifully browned and the surface glistens with butter. He cooks it briefly. He then removes the salmon from the skillet and places it onto the wooden cutting board. The puppy, hearing the movement, raises its head from the blanket. The man notices the puppy. He smiles subtly. Using a fork, he separates a very small flaky piece from the edge of the salmon. The missing section remains visible. He places the small piece into his palm. He brings it close to his mouth and gently blows on it twice to cool it. The man's face remains completely outside the frame. The camera naturally lowers as he crouches beside the puppy. The puppy is now sitting upright with its tail gently moving. He places the cooled salmon piece on the gray blanket in front of the puppy. The puppy carefully approaches. It takes the salmon in small bites. Its eyes narrow slightly while chewing. Its tail gives a few happy movements. The man's hand gently scratches the puppy behind one ear. The puppy leans its head into his fingers. This interaction is quiet, natural and affectionate. Hard cut. BEAT 5 — PLATING At the beginning of this beat, an empty rectangular wooden serving board is on the dining table. The roasted potatoes are removed from the oven and placed into a small ceramic bowl. The mushroom soup is ladled into a deep ceramic bowl. The honey-glazed carrots are transferred onto a narrow plate. The salmon, still with the small missing section from the puppy's piece, is lifted from the cutting board using the tongs. It is placed onto a long ceramic plate. A few rosemary leaves and chopped parsley are added naturally. The four finished components are arranged together on the wooden serving board. Nothing is duplicated. Every portion comes from the food previously prepared. Steam rises naturally from the soup, salmon and potatoes. The plating is attractive but imperfect and homemade. Hard cut. BEAT 6 — DINNER TABLE The serving board begins exactly as it appeared at the end of Beat 5. The man grips both sides of the wooden board. He turns away from the kitchen and walks several natural steps toward the dining table. The camera moves with his body. The image sways subtly with each step. The rainy window passes through the background. The puppy follows behind him with its tail raised. He gently places the serving board onto the dining table. The puppy sits beside the table and looks up at him. His hands enter the lower portion of the frame. He briefly scratches the puppy's head. The final frame holds on the steaming homemade dinner with the puppy sitting beside the table. OPTICS AND CAMERA: Natural first-person human POV. Approximately 45–50 degree diagonal field of view. No artificial zoom. No gimbal. No drone movement. No impossible camera transitions. Camera movement comes exclusively from realistic head and body movement. When reaching toward the skillet, the camera naturally leans forward. When looking toward the puppy, the head turns downward. When crouching, the camera lowers with the body. When walking to the dining table, natural footstep-induced vertical movement is visible. Autofocus behaves naturally between hands, food, puppy and background. Slight focus breathing is allowed. Minor framing imperfections are encouraged. No fisheye distortion. No exaggerated lens effects. No cinematic crane shots. PHYSICS: Hyper-realistic cooking physics. Salmon skin crackles and becomes crisp. Butter melts immediately when touching the hot skillet. Steam rises according to heat. Cream swirls naturally into the mushroom mixture. Potatoes have believable weight and moisture. Honey coats the carrots rather than floating separately. Food never duplicates, disappears or changes shape unnaturally. The puppy's fur reacts naturally to touch. The puppy's ears move subtly according to sound and attention. Its pupils adjust naturally. Its jaw and mouth movements during eating remain realistic. The puppy must never behave like a human. No floating objects. No clipping. No impossible hand positions. No teleporting food. LIGHTING: Warm practical kitchen lighting from overhead fixtures. Cool blue-gray ambient light from the rainy window. Soft reflections on the dark countertop. Subtle warm highlights around the skillet and oven. Natural exposure prioritizing hands and food without making the scene look like a commercial. The rain outside creates a gentle cool contrast against the warm kitchen interior. No extreme HDR. No excessive bloom. No artificial beauty lighting. No perfect food-commercial presentation. REALISM: The final result should feel like an authentic first-person home video captured by a real person, but with exceptionally high visual fidelity. Food must look edible and naturally imperfect. The salmon should have uneven browning. The potatoes should have slightly different shapes. The carrots should vary subtly in size. The soup surface should contain natural movement. The serving board should not look perfectly symmetrical. The puppy should feel like a real young dog rather than a cartoon mascot. FRAME RATE: Stable real-time 24fps. No slow motion. No speed ramping. No frame interpolation artifacts. No ghosting. No stuttering. No temporal deformation. AUDIO: Only natural synchronized environmental audio. Continuous rain against the kitchen window. Soft distant city ambience. Skillet sizzling. Butter bubbling. Knife touching the cutting board. Potatoes moving inside the roasting pan. Oven door opening and closing. Soup gently simmering. Ceramic bowls touching the countertop. Tongs lightly clicking against the skillet. Soft puppy breathing. Tiny puppy chewing sounds. The puppy's collar makes a very subtle metallic sound when it moves. Wooden serving board makes a soft dull sound when placed on the table. No narration. No dialogue. No music. No subtitles. No text overlays. No logos. No watermark. FINAL NEGATIVE LOCK: No Japanese kitchen. No Japanese meal. No mackerel. No tamagoyaki. No rice set meal. No tabby cat. No copied character design. No recognizable branded products. No readable logos. No artificial food duplication. No changing hand appearance. No changing sleeves. No changing puppy appearance. No changing kitchen layout. No random ingredients appearing. No objects teleporting. No impossible physics. No cinematic camera that moves independently from the person's body. No CGI-looking food. No advertisement aesthetic. No staged comedy. No exaggerated animal behavior. The entire video must maintain one coherent physical reality from the first frame to the final frame.

Shara

15,449 Aufrufe • vor 1 Monat

Leaving work at five shouldn’t require stealth mode, but her boss made it a mission. Seedance 2.5 0n SJinn Agent Prompt SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [Image] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man. LOCATION MAP One unbroken spatial route the camera travels with her: Her workstation → low desk partition → printer aisle → corridor T-junction → meeting-room alcove with mobile whiteboard → elevator lobby → elevator interior. Keep the route compact and physically traversable within the 27-second continuous section. Foreground: polished linoleum floor, office desks, steel filing cabinets, rolling chairs, and reflective glass meeting-room partitions. Background: window wall on camera-right overlooking neighboring office buildings, dust suspended in the sunbeams. Light enters from camera-right along the office route. ELEVATOR GEOMETRY The elevator entrance is at the end of the office corridor. The call button is on the wall beside the entrance. The elevator is empty when NAGI enters. Inside the elevator: brushed-metal rear wall, side handrails, softly illuminated ceiling, control panel beside the doorway. No rear exit and no mirror creating a second NAGI. NAGI enters facing the rear wall, then turns to face the open elevator doors. For the final reverse shot, the camera is positioned INSIDE the elevator, immediately beside the doorway, looking inward at NAGI. The brushed-metal rear wall is behind her. The elevator doors close behind the camera, allowing her face to remain visible throughout the final shot. FIRST FRAME / BLOCKING First frame is already in motion: NAGI darts in from lower-left toward camera-right, work tote clutched to her chest, and drops into a crouch-slide behind a low desk partition beside her workstation. Camera behind her right shoulder. Game HUD fully visible from frame one. A small desk clock reads 17:00. FORMAT MODE One continuous unbroken take from 0.0s to 27.0s with no cuts of any kind, then a single HARD CUT at 27.0s to one final locked reverse shot that runs to 30.0s. Exactly one cut exists in the whole video, at 27.0s. The camera does not cut anywhere else. OPTICS One lens for the continuous section: 47° third-person over-the-shoulder framing as the baseline, breathing in to 29° on reaction beats and out to 63° for the boss encounter and moving-whiteboard concealment. All FOV changes in that section happen as smooth continuous zoom breathing, never as a jump. The final shot after the cut is a fixed 29° frontal framing of NAGI, no drift. CAMERA For the continuous section, the camera is a physical object flying with her. Chest-height, 1.5 meters behind NAGI, slightly camera-right of her spine, swinging with a soft spring delay half a beat behind her turns like an analog-stick gameplay camera. It dips to knee height when she crouches, rises when she stands, slides sideways along the filing cabinets with her, swings wide to corridor-left to reveal the boss encounter, drifts behind her for the moving whiteboard, and follows her through the open elevator doorway. The camera travels through open space around desks and partitions. It never clips through furniture, walls, the whiteboard, or elevator doors. After the cut, the camera is repositioned inside the elevator beside the doorway, looking inward at NAGI — locked off, eye level, completely static, no movement. ACTION [Beat 1 — 0.0s to 6.0s] NAGI crouch-slides behind the low desk partition, back flat against it, chest heaving. She leans out 20 cm to peek at the TEAM LEADER checking his watch beside the adjacent desk cluster, then pulls back. She whispers in Japanese: {定時だ…捕まったら終わり。} HUD flashes 【5:00 PM — SHIFT OVER】 and the mission banner 【OBJECTIVE: REACH THE ELEVATOR UNDETECTED】. The TEAM LEADER turns toward a ringing desk phone. NAGI slips behind his back, staying below the desk-partition line, and moves into the printer aisle. The camera follows without stopping. [Beat 2 — 6.0s to 12.0s] The camera stays with her beside the steel filing cabinets. NAGI presses her spine flat against the cabinets and shuffles sideways at 2 km/h, sneakers rolling heel-to-toe in silence. The camera tracks sideways with her at the same speed. The PAPERWORK COWORKER walks past the end of the row carrying a thick stack of printouts, scanning the office for someone available to help. NAGI holds her breath, pupils tracking the coworker without moving her head, and whispers: {来ないで…こっち見ないで。} The minimap vision cone sweeps past NAGI’s marker and turns away. HUD shows 【SNEAKING MODE】. The PAPERWORK COWORKER exits frame-left. NAGI exhales, crouches beneath the edge of the last desk, and slips into the corridor with the camera still on her shoulder. [Beat 3 — 12.0s to 18.0s] The BOSS steps around the T-junction two meters in front of her, blue assignment folder in hand. He catches a brief glimpse of movement. A red exclamation marker snaps above his bald head with a sharp alert sting. The HUD edge pulses red: 【ALERT】. He starts saying in Japanese: {なぎさん、追加の仕事が…} The camera swings wide to corridor-left as NAGI reacts in one motion: hugs her tote tightly against her ribs, drops below his eye line, pivots around the corner of a tall filing cabinet, and slips into the adjacent meeting-room alcove. The cabinet fully blocks his view before he can finish approaching her. She whispers: {今だけは無理…！} HUD prints 【EVASIVE MANEUVER】 and 【BREAK LINE OF SIGHT】. The BOSS takes a step toward the place where he last saw her, looking around the cabinet. NAGI has already moved to the far side of a mobile whiteboard in the alcove. The camera falls in behind her again. [Beat 4 — 18.0s to 24.0s] The OFFICE ASSISTANT starts pushing the mobile whiteboard out of the meeting-room alcove toward the elevator lobby. The whiteboard is a tall, opaque rectangular board on a metal frame with four caster wheels. Its panel extends low enough to conceal NAGI’s crouched torso and head; only her white sneakers occasionally show below the frame. NAGI crouches on the side opposite the BOSS and shuffles with the board, matching its rolling speed exactly. She keeps her tote tucked close so it never protrudes beyond the board’s edge. The camera tracks low on her concealed side, showing her careful steps and the BOSS intermittently visible beyond the board’s far edge. The BOSS pauses, looks toward the moving whiteboard for a full beat, then turns back toward the office with his assignment folder. From behind the board, NAGI whispers: {ホワイトボード…最強。} HUD prints 【MOBILE COVER EQUIPPED】, then 【ENEMY LOST CONTACT】. The alert bar drains to green. The OFFICE ASSISTANT steers the board into a wall recess beside the elevator lobby. NAGI slips away from its concealed side as it stops. [Beat 5 — 24.0s to 27.0s] NAGI reaches the elevator call button and taps it once. A soft arrival chime sounds. The elevator is already waiting on this floor; its doors slide fully open. She slips through the clear doorway. The camera follows her inside, staying behind her shoulder. She turns to face the entrance and presses the door-close button once. Her shoulders remain tense, tote held tightly in both hands. The doors remain open until the cut. 27.0s HARD CUT [Beat 6 — 27.0s to 30.0s] Locked static reverse shot from inside the elevator beside the doorway, looking inward: NAGI stands facing camera, shoulders squared, work tote held in front of her, chest still rising fast. Behind her are the brushed-metal rear wall and a horizontal handrail. Off camera behind the lens, from the distant office corridor, the BOSS calls in Japanese: {なぎさん、ちょっといい？} The elevator doors slide closed behind the camera. Their narrowing opening is registered by the shrinking patch of corridor light across NAGI’s face and the sliding-door sound. NAGI answers brightly, looking straight down the lens: {お先に失礼します！} The doors finish closing. Her shoulders drop with relief. HUD prints 【MISSION COMPLETE】, 【STEALTH RANK: S】, 【ADRENALINE +150】, and the final notification: 【AFTER-HOURS TASK EVADED】 Final frame: NAGI facing camera, a tiny triumphant smile pulling at one corner of her mouth. PERFORMANCE Photographic human realism indistinguishable from live-action footage: skin with visible pores, fine vellus hair catching the light, subsurface scattering in the earlobes and fingertips, capillary flush across her cheeks and ears from running, individual flyaway strands lifting off her hair, wet living eyes with true window catchlights and a faint red inner rim, clean matte skin. Visible fast breathing at the collarbone, eyes darting a half-second before her head turns. Tension shown by muscle: shoulders drawn up to her ears, fingers clamped white on the tote handles, jaw set, then a full-body shoulder drop on each escape. All adults have equally real skin, real hair follicles, and natural asymmetric faces. PHYSICS Her blouse and tailored trousers crease naturally during crouches and turns. Hair lags and sweeps across her face on fast direction changes. The work tote has real weight: its handles pull taut in her hands, and its body swings with inertia before settling against her torso. The mobile whiteboard has real mass. Its caster wheels rotate against the floor, swivel when steered, and rattle lightly over a flooring seam. The board wobbles subtly when the OFFICE ASSISTANT starts and stops it. NAGI moves with her own visible footsteps; the board does not drag or transport her. The coworker’s printouts flex slightly while walking. The BOSS’s folder stays in his hand. Elevator doors slide smoothly on fixed tracks and close only after NAGI and the camera are fully inside. Contact shadows stay glued under every foot, every knee, every furniture leg, and every caster wheel. LIGHTING One continuous light logic across the office route: bright late-afternoon sun at 5600K entering from the window wall on camera-right, throwing long window-frame stripes across the floor. NAGI passes through light and shadow as she travels. Soft bounce fill off the pale linoleum lifts her face. Fine dust hangs suspended in the sunbeams. The elevator lobby receives the same window light. Inside the elevator, neutral overhead illumination provides continuous soft fill. In the final reverse shot, the same corridor daylight enters from camera-left through the open doorway, raking across her cheek. As the doors close behind the lens, this daylight narrows and disappears naturally, leaving the elevator’s established overhead light. Exposure rolls smoothly as she moves between bright and shadowed stretches, and the color temperature matches exactly across the cut. HUD GTA-style real-time game HUD locked to fixed screen positions for the whole 30 seconds, with every on-screen word written in English: Circular minimap bottom-left with the player arrow and yellow vision cones for the office characters; health and stamina bars top-left; alert-state bar shifting green to amber to red; controller button prompts bottom-right; English mission objective text top-center; floating red exclamation markers over alerted characters; notification cards sliding in from screen-right. The HUD stays in the same screen positions across the cut. No subtitles or caption bars anywhere on screen. The HUD is a clean flat graphic overlay composited on top of fully photographic live-action-grade footage. AUDIO Tense minimalist stealth synth loop with a pulsing heartbeat underneath, running unbroken across the cut and resolving to a short bright victory fanfare at the end. Ambience carries continuously through the cut. Office sounds become naturally muffled as the elevator doors close. All dialogue is spoken in Japanese. STYLE Photoreal live-action realism, real human beings and real fabric, natural skin tones with true-to-life color science, physically correct materials, realistic human proportions and anatomy, real optical depth of field, real floor reflections, subtle handheld gameplay motion blur, fine film grain at 5%, sharp detail intent. OUTPUT SETTINGS 16:9, real-time speed throughout, one continuous 27-second take plus one 3-second locked shot after a single hard cut. POSITIVE LOCKS Exactly one cut in the entire video, at 27.0s — everything before it is a single unbroken take with the camera connected to NAGI. NAGI is consistently an adult office employee, 25, with the same face, long black hair with blunt bangs, white office blouse, charcoal tailored trousers, black belt, white sneakers, clipped employee ID, and black work tote throughout, with dry clean skin. The work tote stays with her throughout. The mobile whiteboard appears only from the meeting-room alcove onward and is physically pushed by the OFFICE ASSISTANT. It remains between NAGI and the BOSS during the concealment beat. The bald BOSS in the charcoal suit and the tall bearded OFFICE ASSISTANT with thick black hair are unmistakably different men. The office route remains spatially continuous. Characters do not teleport between locations. NAGI enters the elevator before turning toward its doors. In the final shot, the camera is inside the elevator beside the doorway, with NAGI facing the lens and the brushed-metal rear wall behind her. The doors close behind the camera; they never pass between the lens and her face. All on-screen text is English. The last 3 seconds hold a locked frontal eye-level shot of NAGI facing camera. HUD elements stay in the same screen corners throughout. One single NAGI on screen at all times. All spoken lines are in Japanese. Sunlight direction stays consistent across the office route, with a physically motivated transition to elevator lighting as the doors close. Final notification: 【AFTER-HOURS TASK EVADED】.

Leaving work at five shouldn’t require stealth mode, but her boss made it a mission. Seedance 2.5 0n SJinn Agent Prompt SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [Image] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man. LOCATION MAP One unbroken spatial route the camera travels with her: Her workstation → low desk partition → printer aisle → corridor T-junction → meeting-room alcove with mobile whiteboard → elevator lobby → elevator interior. Keep the route compact and physically traversable within the 27-second continuous section. Foreground: polished linoleum floor, office desks, steel filing cabinets, rolling chairs, and reflective glass meeting-room partitions. Background: window wall on camera-right overlooking neighboring office buildings, dust suspended in the sunbeams. Light enters from camera-right along the office route. ELEVATOR GEOMETRY The elevator entrance is at the end of the office corridor. The call button is on the wall beside the entrance. The elevator is empty when NAGI enters. Inside the elevator: brushed-metal rear wall, side handrails, softly illuminated ceiling, control panel beside the doorway. No rear exit and no mirror creating a second NAGI. NAGI enters facing the rear wall, then turns to face the open elevator doors. For the final reverse shot, the camera is positioned INSIDE the elevator, immediately beside the doorway, looking inward at NAGI. The brushed-metal rear wall is behind her. The elevator doors close behind the camera, allowing her face to remain visible throughout the final shot. FIRST FRAME / BLOCKING First frame is already in motion: NAGI darts in from lower-left toward camera-right, work tote clutched to her chest, and drops into a crouch-slide behind a low desk partition beside her workstation. Camera behind her right shoulder. Game HUD fully visible from frame one. A small desk clock reads 17:00. FORMAT MODE One continuous unbroken take from 0.0s to 27.0s with no cuts of any kind, then a single HARD CUT at 27.0s to one final locked reverse shot that runs to 30.0s. Exactly one cut exists in the whole video, at 27.0s. The camera does not cut anywhere else. OPTICS One lens for the continuous section: 47° third-person over-the-shoulder framing as the baseline, breathing in to 29° on reaction beats and out to 63° for the boss encounter and moving-whiteboard concealment. All FOV changes in that section happen as smooth continuous zoom breathing, never as a jump. The final shot after the cut is a fixed 29° frontal framing of NAGI, no drift. CAMERA For the continuous section, the camera is a physical object flying with her. Chest-height, 1.5 meters behind NAGI, slightly camera-right of her spine, swinging with a soft spring delay half a beat behind her turns like an analog-stick gameplay camera. It dips to knee height when she crouches, rises when she stands, slides sideways along the filing cabinets with her, swings wide to corridor-left to reveal the boss encounter, drifts behind her for the moving whiteboard, and follows her through the open elevator doorway. The camera travels through open space around desks and partitions. It never clips through furniture, walls, the whiteboard, or elevator doors. After the cut, the camera is repositioned inside the elevator beside the doorway, looking inward at NAGI — locked off, eye level, completely static, no movement. ACTION [Beat 1 — 0.0s to 6.0s] NAGI crouch-slides behind the low desk partition, back flat against it, chest heaving. She leans out 20 cm to peek at the TEAM LEADER checking his watch beside the adjacent desk cluster, then pulls back. She whispers in Japanese: {定時だ…捕まったら終わり。} HUD flashes 【5:00 PM — SHIFT OVER】 and the mission banner 【OBJECTIVE: REACH THE ELEVATOR UNDETECTED】. The TEAM LEADER turns toward a ringing desk phone. NAGI slips behind his back, staying below the desk-partition line, and moves into the printer aisle. The camera follows without stopping. [Beat 2 — 6.0s to 12.0s] The camera stays with her beside the steel filing cabinets. NAGI presses her spine flat against the cabinets and shuffles sideways at 2 km/h, sneakers rolling heel-to-toe in silence. The camera tracks sideways with her at the same speed. The PAPERWORK COWORKER walks past the end of the row carrying a thick stack of printouts, scanning the office for someone available to help. NAGI holds her breath, pupils tracking the coworker without moving her head, and whispers: {来ないで…こっち見ないで。} The minimap vision cone sweeps past NAGI’s marker and turns away. HUD shows 【SNEAKING MODE】. The PAPERWORK COWORKER exits frame-left. NAGI exhales, crouches beneath the edge of the last desk, and slips into the corridor with the camera still on her shoulder. [Beat 3 — 12.0s to 18.0s] The BOSS steps around the T-junction two meters in front of her, blue assignment folder in hand. He catches a brief glimpse of movement. A red exclamation marker snaps above his bald head with a sharp alert sting. The HUD edge pulses red: 【ALERT】. He starts saying in Japanese: {なぎさん、追加の仕事が…} The camera swings wide to corridor-left as NAGI reacts in one motion: hugs her tote tightly against her ribs, drops below his eye line, pivots around the corner of a tall filing cabinet, and slips into the adjacent meeting-room alcove. The cabinet fully blocks his view before he can finish approaching her. She whispers: {今だけは無理…！} HUD prints 【EVASIVE MANEUVER】 and 【BREAK LINE OF SIGHT】. The BOSS takes a step toward the place where he last saw her, looking around the cabinet. NAGI has already moved to the far side of a mobile whiteboard in the alcove. The camera falls in behind her again. [Beat 4 — 18.0s to 24.0s] The OFFICE ASSISTANT starts pushing the mobile whiteboard out of the meeting-room alcove toward the elevator lobby. The whiteboard is a tall, opaque rectangular board on a metal frame with four caster wheels. Its panel extends low enough to conceal NAGI’s crouched torso and head; only her white sneakers occasionally show below the frame. NAGI crouches on the side opposite the BOSS and shuffles with the board, matching its rolling speed exactly. She keeps her tote tucked close so it never protrudes beyond the board’s edge. The camera tracks low on her concealed side, showing her careful steps and the BOSS intermittently visible beyond the board’s far edge. The BOSS pauses, looks toward the moving whiteboard for a full beat, then turns back toward the office with his assignment folder. From behind the board, NAGI whispers: {ホワイトボード…最強。} HUD prints 【MOBILE COVER EQUIPPED】, then 【ENEMY LOST CONTACT】. The alert bar drains to green. The OFFICE ASSISTANT steers the board into a wall recess beside the elevator lobby. NAGI slips away from its concealed side as it stops. [Beat 5 — 24.0s to 27.0s] NAGI reaches the elevator call button and taps it once. A soft arrival chime sounds. The elevator is already waiting on this floor; its doors slide fully open. She slips through the clear doorway. The camera follows her inside, staying behind her shoulder. She turns to face the entrance and presses the door-close button once. Her shoulders remain tense, tote held tightly in both hands. The doors remain open until the cut. 27.0s HARD CUT [Beat 6 — 27.0s to 30.0s] Locked static reverse shot from inside the elevator beside the doorway, looking inward: NAGI stands facing camera, shoulders squared, work tote held in front of her, chest still rising fast. Behind her are the brushed-metal rear wall and a horizontal handrail. Off camera behind the lens, from the distant office corridor, the BOSS calls in Japanese: {なぎさん、ちょっといい？} The elevator doors slide closed behind the camera. Their narrowing opening is registered by the shrinking patch of corridor light across NAGI’s face and the sliding-door sound. NAGI answers brightly, looking straight down the lens: {お先に失礼します！} The doors finish closing. Her shoulders drop with relief. HUD prints 【MISSION COMPLETE】, 【STEALTH RANK: S】, 【ADRENALINE +150】, and the final notification: 【AFTER-HOURS TASK EVADED】 Final frame: NAGI facing camera, a tiny triumphant smile pulling at one corner of her mouth. PERFORMANCE Photographic human realism indistinguishable from live-action footage: skin with visible pores, fine vellus hair catching the light, subsurface scattering in the earlobes and fingertips, capillary flush across her cheeks and ears from running, individual flyaway strands lifting off her hair, wet living eyes with true window catchlights and a faint red inner rim, clean matte skin. Visible fast breathing at the collarbone, eyes darting a half-second before her head turns. Tension shown by muscle: shoulders drawn up to her ears, fingers clamped white on the tote handles, jaw set, then a full-body shoulder drop on each escape. All adults have equally real skin, real hair follicles, and natural asymmetric faces. PHYSICS Her blouse and tailored trousers crease naturally during crouches and turns. Hair lags and sweeps across her face on fast direction changes. The work tote has real weight: its handles pull taut in her hands, and its body swings with inertia before settling against her torso. The mobile whiteboard has real mass. Its caster wheels rotate against the floor, swivel when steered, and rattle lightly over a flooring seam. The board wobbles subtly when the OFFICE ASSISTANT starts and stops it. NAGI moves with her own visible footsteps; the board does not drag or transport her. The coworker’s printouts flex slightly while walking. The BOSS’s folder stays in his hand. Elevator doors slide smoothly on fixed tracks and close only after NAGI and the camera are fully inside. Contact shadows stay glued under every foot, every knee, every furniture leg, and every caster wheel. LIGHTING One continuous light logic across the office route: bright late-afternoon sun at 5600K entering from the window wall on camera-right, throwing long window-frame stripes across the floor. NAGI passes through light and shadow as she travels. Soft bounce fill off the pale linoleum lifts her face. Fine dust hangs suspended in the sunbeams. The elevator lobby receives the same window light. Inside the elevator, neutral overhead illumination provides continuous soft fill. In the final reverse shot, the same corridor daylight enters from camera-left through the open doorway, raking across her cheek. As the doors close behind the lens, this daylight narrows and disappears naturally, leaving the elevator’s established overhead light. Exposure rolls smoothly as she moves between bright and shadowed stretches, and the color temperature matches exactly across the cut. HUD GTA-style real-time game HUD locked to fixed screen positions for the whole 30 seconds, with every on-screen word written in English: Circular minimap bottom-left with the player arrow and yellow vision cones for the office characters; health and stamina bars top-left; alert-state bar shifting green to amber to red; controller button prompts bottom-right; English mission objective text top-center; floating red exclamation markers over alerted characters; notification cards sliding in from screen-right. The HUD stays in the same screen positions across the cut. No subtitles or caption bars anywhere on screen. The HUD is a clean flat graphic overlay composited on top of fully photographic live-action-grade footage. AUDIO Tense minimalist stealth synth loop with a pulsing heartbeat underneath, running unbroken across the cut and resolving to a short bright victory fanfare at the end. Ambience carries continuously through the cut. Office sounds become naturally muffled as the elevator doors close. All dialogue is spoken in Japanese. STYLE Photoreal live-action realism, real human beings and real fabric, natural skin tones with true-to-life color science, physically correct materials, realistic human proportions and anatomy, real optical depth of field, real floor reflections, subtle handheld gameplay motion blur, fine film grain at 5%, sharp detail intent. OUTPUT SETTINGS 16:9, real-time speed throughout, one continuous 27-second take plus one 3-second locked shot after a single hard cut. POSITIVE LOCKS Exactly one cut in the entire video, at 27.0s — everything before it is a single unbroken take with the camera connected to NAGI. NAGI is consistently an adult office employee, 25, with the same face, long black hair with blunt bangs, white office blouse, charcoal tailored trousers, black belt, white sneakers, clipped employee ID, and black work tote throughout, with dry clean skin. The work tote stays with her throughout. The mobile whiteboard appears only from the meeting-room alcove onward and is physically pushed by the OFFICE ASSISTANT. It remains between NAGI and the BOSS during the concealment beat. The bald BOSS in the charcoal suit and the tall bearded OFFICE ASSISTANT with thick black hair are unmistakably different men. The office route remains spatially continuous. Characters do not teleport between locations. NAGI enters the elevator before turning toward its doors. In the final shot, the camera is inside the elevator beside the doorway, with NAGI facing the lens and the brushed-metal rear wall behind her. The doors close behind the camera; they never pass between the lens and her face. All on-screen text is English. The last 3 seconds hold a locked frontal eye-level shot of NAGI facing camera. HUD elements stay in the same screen corners throughout. One single NAGI on screen at all times. All spoken lines are in Japanese. Sunlight direction stays consistent across the office route, with a physically motivated transition to elevator lighting as the doors close. Final notification: 【AFTER-HOURS TASK EVADED】.

Sharon Riley

62,727 Aufrufe • vor 17 Tagen

$GTA in Brazil 🇧🇷 All this chaos just to deliver the package to the right house! Created using Seedance 2.5 on Pollo AI Prompt: Create a 30-second ultra-realistic AAA third-person open-world gameplay sequence set in a densely populated Brazilian neighborhood inspired by Rio de Janeiro. The video must look like genuine next-generation GTA-style gameplay captured directly from a playable open-world game — not a cinematic film. Use a consistent third-person gameplay camera positioned naturally behind the protagonist, realistic player-controlled movement, seamless environmental interaction, physically accurate collisions, natural NPC behavior, detailed Brazilian surroundings, and believable game-world physics. MAIN CHARACTER: Use the uploaded character image as the exact identity reference for the protagonist. Preserve her face, facial proportions, hairstyle, hair color, skin texture, body proportions and overall identity consistently throughout the entire sequence. She is a young Korean woman in her early 20s with long black hair, wearing a casual summer outfit with a pastel-lavender top, loose white cargo pants and sneakers. Her clothing, face and hairstyle must remain completely consistent from beginning to end. OPENING — 0–3 SECONDS: Begin immediately in playable third-person view. She is casually walking along a busy Brazilian residential street. The environment instantly establishes Brazil: dense hillside homes, colorful painted walls, Portuguese storefront signs, overhead electrical cables, parked compact cars, motorcycles, pedestrians, small neighborhood businesses, tropical plants and realistic street clutter. Without warning, a motorcycle delivery rider pulls up nearby and places a sealed cardboard package on a low wall while checking his phone. The protagonist looks at it. A contextual gameplay prompt appears: “TAKE PACKAGE [E]” She looks around. She takes the package. Immediately: MISSION STARTED “DON'T GET CAUGHT WITH THE PACKAGE” 3–8 SECONDS: The delivery rider looks up. He realizes the package is gone. A red alert appears: “PACKAGE STOLEN” He points toward her and starts chasing. She freezes for half a second, realizes what is happening, then runs. The camera smoothly follows her like authentic third-person gameplay. She runs downhill through a crowded Brazilian street, narrowly passing pedestrians and motorcycles. NPCs react naturally — some step aside, one briefly looks back, another continues walking while barely acknowledging the chaos. 8–15 SECONDS: She cuts through a narrow alley between houses. The rider follows on foot. She jumps over a low concrete barrier and continues running. A motorcycle passes extremely close in front of her. She instinctively stops for a fraction of a second. A notification appears: “BAD DECISION” She immediately turns down another street. Her stamina bar visibly drops. “STAMINA LOW” She reaches a small local football court where several people are playing. A ball suddenly rolls directly into her path. She kicks it aside without stopping. The players briefly react as she runs through. 15–22 SECONDS: She reaches a steep hillside street. She looks back. The delivery rider is still chasing her. She notices an open doorway beside a tiny neighborhood shop and quickly ducks inside. The rider runs past. The screen briefly displays: “THEY LOST YOU” She quietly steps back outside. The rider suddenly appears at the other end of the street. “THEY FOUND YOU” She panics and runs again. 22–27 SECONDS: She finally reaches a small Brazilian house matching the address printed on the package. She looks at the label. Then at the house number. A subtle objective updates: “DELIVER PACKAGE” She rings the doorbell. A Brazilian woman opens the door. The protagonist hands her the package. The woman checks the address and happily accepts it. Objective instantly changes: “DELIVERY COMPLETE” 27–30 SECONDS: The exhausted delivery rider finally arrives. He stops. Looks at the protagonist. Looks at the woman. Looks at the package. He slowly realizes that the protagonist accidentally delivered it to the correct address. He is completely confused. The protagonist gives him an innocent smile and casually walks away. Final HUD notification: “MISSION COMPLETE” “CHAOS +250” The rider remains standing there, speechless. GAMEPLAY & VISUAL STYLE: Ultra-photorealistic AAA open-world game graphics with realistic human characters, detailed facial animation, physically based materials, realistic skin, individual hair strands, natural cloth movement, accurate shadows, global illumination, realistic reflections, detailed road surfaces and authentic environmental imperfections. Brazil must be visually recognizable through authentic environmental details rather than exaggerated stereotypes. Use realistic Rio-inspired hillside neighborhoods, dense residential streets, Portuguese signage, Brazilian motorcycles and compact cars, local stores, football culture, tropical vegetation, concrete walls, balconies, utility poles and tangled overhead wiring. NPCs should have varied appearances, clothing, animations and reactions. No duplicated-looking crowds. All physics must be grounded: the cardboard package has believable weight, pedestrians react naturally to collisions, motorcycles have realistic acceleration and suspension, clothing responds naturally to movement, and characters maintain consistent proportions. CAMERA: Strictly authentic third-person open-world gameplay perspective. No cinematic establishing shots. No drone shots. No slow-motion hero shots. No dramatic camera transitions. No movie-style depth of field. No impossible camera movements. The camera should behave as if a player is controlling the character in a real AAA open-world game. HUD: Use a restrained GTA-inspired gameplay HUD integrated naturally into the screen: - circular minimap - health bar - stamina bar - mission objective tracker - contextual interaction prompts - alert indicators - small gameplay notifications The interface should feel like part of an actual AAA game rather than an overlay added afterward. NEGATIVE REQUIREMENTS: No anime. No cartoon. No cel shading. No mobile-game graphics. No fantasy. No exaggerated physics. No gore. No distorted faces. No changing character identity. No changing clothing. No inconsistent package size. No duplicated NPCs. No teleporting objects. No floating objects. No rubbery character movement. No cinematic movie shots. No unrealistic facial expressions. No artificial-looking crowds. The final result should feel like a completely authentic 30-second gameplay clip from a huge, photorealistic AAA open-world game set in Brazil, funny because of the situation and gameplay mechanics, not because the visuals are exaggerated.$

GTA in Brazil 🇧🇷 All this chaos just to deliver the package to the right house! Created using Seedance 2.5 on Pollo AI Prompt: Create a 30-second ultra-realistic AAA third-person open-world gameplay sequence set in a densely populated Brazilian neighborhood inspired by Rio de Janeiro. The video must look like genuine next-generation GTA-style gameplay captured directly from a playable open-world game — not a cinematic film. Use a consistent third-person gameplay camera positioned naturally behind the protagonist, realistic player-controlled movement, seamless environmental interaction, physically accurate collisions, natural NPC behavior, detailed Brazilian surroundings, and believable game-world physics. MAIN CHARACTER: Use the uploaded character image as the exact identity reference for the protagonist. Preserve her face, facial proportions, hairstyle, hair color, skin texture, body proportions and overall identity consistently throughout the entire sequence. She is a young Korean woman in her early 20s with long black hair, wearing a casual summer outfit with a pastel-lavender top, loose white cargo pants and sneakers. Her clothing, face and hairstyle must remain completely consistent from beginning to end. OPENING — 0–3 SECONDS: Begin immediately in playable third-person view. She is casually walking along a busy Brazilian residential street. The environment instantly establishes Brazil: dense hillside homes, colorful painted walls, Portuguese storefront signs, overhead electrical cables, parked compact cars, motorcycles, pedestrians, small neighborhood businesses, tropical plants and realistic street clutter. Without warning, a motorcycle delivery rider pulls up nearby and places a sealed cardboard package on a low wall while checking his phone. The protagonist looks at it. A contextual gameplay prompt appears: “TAKE PACKAGE [E]” She looks around. She takes the package. Immediately: MISSION STARTED “DON'T GET CAUGHT WITH THE PACKAGE” 3–8 SECONDS: The delivery rider looks up. He realizes the package is gone. A red alert appears: “PACKAGE STOLEN” He points toward her and starts chasing. She freezes for half a second, realizes what is happening, then runs. The camera smoothly follows her like authentic third-person gameplay. She runs downhill through a crowded Brazilian street, narrowly passing pedestrians and motorcycles. NPCs react naturally — some step aside, one briefly looks back, another continues walking while barely acknowledging the chaos. 8–15 SECONDS: She cuts through a narrow alley between houses. The rider follows on foot. She jumps over a low concrete barrier and continues running. A motorcycle passes extremely close in front of her. She instinctively stops for a fraction of a second. A notification appears: “BAD DECISION” She immediately turns down another street. Her stamina bar visibly drops. “STAMINA LOW” She reaches a small local football court where several people are playing. A ball suddenly rolls directly into her path. She kicks it aside without stopping. The players briefly react as she runs through. 15–22 SECONDS: She reaches a steep hillside street. She looks back. The delivery rider is still chasing her. She notices an open doorway beside a tiny neighborhood shop and quickly ducks inside. The rider runs past. The screen briefly displays: “THEY LOST YOU” She quietly steps back outside. The rider suddenly appears at the other end of the street. “THEY FOUND YOU” She panics and runs again. 22–27 SECONDS: She finally reaches a small Brazilian house matching the address printed on the package. She looks at the label. Then at the house number. A subtle objective updates: “DELIVER PACKAGE” She rings the doorbell. A Brazilian woman opens the door. The protagonist hands her the package. The woman checks the address and happily accepts it. Objective instantly changes: “DELIVERY COMPLETE” 27–30 SECONDS: The exhausted delivery rider finally arrives. He stops. Looks at the protagonist. Looks at the woman. Looks at the package. He slowly realizes that the protagonist accidentally delivered it to the correct address. He is completely confused. The protagonist gives him an innocent smile and casually walks away. Final HUD notification: “MISSION COMPLETE” “CHAOS +250” The rider remains standing there, speechless. GAMEPLAY & VISUAL STYLE: Ultra-photorealistic AAA open-world game graphics with realistic human characters, detailed facial animation, physically based materials, realistic skin, individual hair strands, natural cloth movement, accurate shadows, global illumination, realistic reflections, detailed road surfaces and authentic environmental imperfections. Brazil must be visually recognizable through authentic environmental details rather than exaggerated stereotypes. Use realistic Rio-inspired hillside neighborhoods, dense residential streets, Portuguese signage, Brazilian motorcycles and compact cars, local stores, football culture, tropical vegetation, concrete walls, balconies, utility poles and tangled overhead wiring. NPCs should have varied appearances, clothing, animations and reactions. No duplicated-looking crowds. All physics must be grounded: the cardboard package has believable weight, pedestrians react naturally to collisions, motorcycles have realistic acceleration and suspension, clothing responds naturally to movement, and characters maintain consistent proportions. CAMERA: Strictly authentic third-person open-world gameplay perspective. No cinematic establishing shots. No drone shots. No slow-motion hero shots. No dramatic camera transitions. No movie-style depth of field. No impossible camera movements. The camera should behave as if a player is controlling the character in a real AAA open-world game. HUD: Use a restrained GTA-inspired gameplay HUD integrated naturally into the screen: - circular minimap - health bar - stamina bar - mission objective tracker - contextual interaction prompts - alert indicators - small gameplay notifications The interface should feel like part of an actual AAA game rather than an overlay added afterward. NEGATIVE REQUIREMENTS: No anime. No cartoon. No cel shading. No mobile-game graphics. No fantasy. No exaggerated physics. No gore. No distorted faces. No changing character identity. No changing clothing. No inconsistent package size. No duplicated NPCs. No teleporting objects. No floating objects. No rubbery character movement. No cinematic movie shots. No unrealistic facial expressions. No artificial-looking crowds. The final result should feel like a completely authentic 30-second gameplay clip from a huge, photorealistic AAA open-world game set in Brazil, funny because of the situation and gameplay mechanics, not because the visuals are exaggerated.

Johnn

42,867 Aufrufe • vor 16 Tagen

There is ONE non-partisan statewide race that could be decided tomorrow if one candidate receives a majority of the vote: Superintendent of Public Instruction. Last week, every viable candidate participated in a 2-hr forum mediated by Jacki Karsh hosted by Jewish California (formerly JPAC) . I watched it, and here are my notes 📝 🔵 The field of Democrats (Muratsuchi, Berrera, Newman, Rendon) are current or former legislators who presided over the teacher’s union hijacking control over all areas of policy in California that coincided with the measurable decline in enrollment and quality of education in the schools 😂 Ironically, all of them are touting their past roles in CA education as credentials for this race 🔴 Sonja Shaw called them all out on it right out the gate: we spend billions and less than half of our kids can read, and California education has become discriminatory 👩🏻‍💻 When asked about teaching kids media literacy, Muratsuchi didn’t answer the question, Newman blamed social media for the decline in academic achievement, Rendon said we should look to Norway for answers, Sonja called these types of programs potential Trojan Horses for ideological indoctrination unless there is a Superintendent who will ensure they’re not, Berrera’s answer is to make the students issue-based activists to immunize them from corporate mediae manipulation 😨 Mental Health in schools: Newman believes schools are perfect place to deliver mental healthcare for kids; Rendon blamed Trump for deteriorating mental health; Shaw discussed limiting cell phone use and allowing for more discipline in the classroom to support the teachers; Berrera and Muratsuchi also supports making schools healthcare providers. ✡️ When asked about safety of Jewish students at school (600%+ increase in antisemitic incidents in schools), Shaw immediately called out ethnic studies as a Trojan Horse for this despite being warned by Jewish communities. Muratsuchi gave an All Lives Matter answer. Newman’s answer criticized CTA (shock). Additional notes: 🗒️ Shaw shut down ceasefire & BDS resolutions in Chino - schools should be neutral 👎🏻 Muratsuchi admitted he opposed AB715 to protect pro-Palestinian debate, Becerra & Muratsuchi defended BDS in schools as free speech ❌Rendon is completely out of touch. He keeps referring to more funding as the solution to everything and blames Trump for defunding our system (even though all our $150B disappears into the blackhole of failing schools) 👨🏻‍⚖️ Each candidate was asked if they would commit to defending AB715 from legal challenges: Berrera No, Muratsuchi No, Newman Yes, Rendon Yes, Shaw Yes (Muratsuchi didn’t even vote on it) 🏳️‍🌈Muratsuchi accused Shaw of being proponent of hate against LGBTQ students - Shaw turned the tables: the issue is about discrimination and safety of girls in sports & locker rooms 📚After 90 minutes, zero minutes have been spent on improving proficiency on hard academics for CA students (except when Sonja mentions it as something we need to deal with) 🧑‍🧑‍🧒‍🧒 Sonja also includes parent involvement in many of her answers 📖 The answers on ethnic studies are as expected: Dems love it as part of the solution, but Newman walked the line between good intention and poor execution; Shaw clearly characterizes it as intentionally divisive Trojan Horse for ideological indoctrination and unnecessary (we already have history class) 👀 After this, it’s beyond clear. Watch Mama Bear Sonja in action:

There is ONE non-partisan statewide race that could be decided tomorrow if one candidate receives a majority of the vote: Superintendent of Public Instruction. Last week, every viable candidate participated in a 2-hr forum mediated by Jacki Karsh hosted by Jewish California (formerly JPAC) . I watched it, and here are my notes 📝 🔵 The field of Democrats (Muratsuchi, Berrera, Newman, Rendon) are current or former legislators who presided over the teacher’s union hijacking control over all areas of policy in California that coincided with the measurable decline in enrollment and quality of education in the schools 😂 Ironically, all of them are touting their past roles in CA education as credentials for this race 🔴 Sonja Shaw called them all out on it right out the gate: we spend billions and less than half of our kids can read, and California education has become discriminatory 👩🏻‍💻 When asked about teaching kids media literacy, Muratsuchi didn’t answer the question, Newman blamed social media for the decline in academic achievement, Rendon said we should look to Norway for answers, Sonja called these types of programs potential Trojan Horses for ideological indoctrination unless there is a Superintendent who will ensure they’re not, Berrera’s answer is to make the students issue-based activists to immunize them from corporate mediae manipulation 😨 Mental Health in schools: Newman believes schools are perfect place to deliver mental healthcare for kids; Rendon blamed Trump for deteriorating mental health; Shaw discussed limiting cell phone use and allowing for more discipline in the classroom to support the teachers; Berrera and Muratsuchi also supports making schools healthcare providers. ✡️ When asked about safety of Jewish students at school (600%+ increase in antisemitic incidents in schools), Shaw immediately called out ethnic studies as a Trojan Horse for this despite being warned by Jewish communities. Muratsuchi gave an All Lives Matter answer. Newman’s answer criticized CTA (shock). Additional notes: 🗒️ Shaw shut down ceasefire & BDS resolutions in Chino - schools should be neutral 👎🏻 Muratsuchi admitted he opposed AB715 to protect pro-Palestinian debate, Becerra & Muratsuchi defended BDS in schools as free speech ❌Rendon is completely out of touch. He keeps referring to more funding as the solution to everything and blames Trump for defunding our system (even though all our $150B disappears into the blackhole of failing schools) 👨🏻‍⚖️ Each candidate was asked if they would commit to defending AB715 from legal challenges: Berrera No, Muratsuchi No, Newman Yes, Rendon Yes, Shaw Yes (Muratsuchi didn’t even vote on it) 🏳️‍🌈Muratsuchi accused Shaw of being proponent of hate against LGBTQ students - Shaw turned the tables: the issue is about discrimination and safety of girls in sports & locker rooms 📚After 90 minutes, zero minutes have been spent on improving proficiency on hard academics for CA students (except when Sonja mentions it as something we need to deal with) 🧑‍🧑‍🧒‍🧒 Sonja also includes parent involvement in many of her answers 📖 The answers on ethnic studies are as expected: Dems love it as part of the solution, but Newman walked the line between good intention and poor execution; Shaw clearly characterizes it as intentionally divisive Trojan Horse for ideological indoctrination and unnecessary (we already have history class) 👀 After this, it’s beyond clear. Watch Mama Bear Sonja in action:

Elizabeth Barcohana

10,451 Aufrufe • vor 4 Monaten