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sky lantern

🫧

23,443 subscribers

46,220 görüntüleme • 3 ay önce •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

6 Yorum

𝓒. profil fotoğrafı

𝓒.3 ay önce

beautiful

∆ profil fotoğrafı

∆3 ay önce

Wanna experience this once >

Talia Ergochen profil fotoğrafı

Talia Ergochen3 ay önce

decision architecture around sky lanterns remains underspecified

Anak Nusantara profil fotoğrafı

Anak Nusantara3 ay önce

cantiiknya

❤️❤️❤️ profil fotoğrafı

❤️❤️❤️3 ay önce

❤️❤️❤️

joon love bot profil fotoğrafı

joon love bot3 ay önce

hope i get to experience this in life

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MANY MAY KNOW THE HISTORY OF THE LAST POST, MANY DON"T. SO I POST THIS. Gentlemen, This is how the Last Post, a military band tune, heard by so many of us was conceived! If any of you have ever been to a military funeral in which The Last Post was played; This brings out a new meaning of it. Here is something everyone should know. Until I read this, I didn't know. We have all heard the haunting song: 'The Last Post.' It's the song that gives us the lump in our throats and usually tears in our eyes. Here is the story behind the song: Reportedly, it all began in 1862 during the American Civil War, when Union Army Captain Robert Ellicombe was with his men near Harrison's Landing in Virginia . The Confederate Army was on the other side of the narrow strip of land. During the night, Captain Ellicombe heard the moans of a soldier who lay severely wounded on the field. Not knowing if it was a Union or Confederate soldier, the Captain decided to risk his life and bring the stricken man back for medical attention. Crawling on his stomach through the gunfire, the Captain reached the stricken soldier and began pulling him toward his encampment. When the Captain finally reached his own lines, he discovered it was actually a Confederate (enemy) soldier, but the soldier was dead. The Captain lit a lantern and suddenly caught his breath and went numb with shock. In the dim light, he saw the face of the soldier.. It was his own son. The boy had been studying music in the South when the war broke out. Without telling his father, the boy enlisted in the Confederate Army. The following morning, heartbroken, the father asked permission of his superiors to give his son a full military burial, despite his enemy status. His request was only partially granted. The Captain had asked if he could have a group of Army band members play a funeral dirge for his son at the funeral. The request was turned down since the soldier was a Confederate(enemy camp). But, out of respect for the father, they did say they could give him only one musician. The Captain chose a bugler. He asked the bugler to play a series of musical notes he had found on a piece of paper in the pocket of the dead youth's uniform. This wish was granted. The haunting melody, we now know as 'The Last Post' used at military funerals was born. The words are: Day is done. Gone the sun.. From the lakes From the hills. From the sky. All is well. Safely rest. God is nigh. Fading light. Dims the sight. And a star. Gems the sky. Gleaming bright. From afar.. Drawing nigh. Falls the night.. Thanks and praise. For our days. Neath the sun Neath the stars. Neath the sky As we go. This we know. God is nigh... I too have felt the chills while listening to 'The Last Post' but never read all the words to the song until now. I didn't even know there was more than one verse. I also never knew the story behind the song and I didn't know if, You had either so I thought I'd pass it along. I now have an even deeper respect for the song than I did before. Remember Those Lost and Harmed While Serving Their Country. Also Remember Those Who Have Served And Returned; And for those presently serving in the Armed Forces. Please send this on for the men who gave their today for our tomorrow. Video: Last Rites of Hav Mohd Saleem Akhoon, who made the supreme sacrifice on 09 April 2021.

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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. 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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

35,308 görüntüleme • 1 ay önce

What if every beautiful moment disappears before we even realize it was happening? Seedance 2.5 on TapNow Prompt A cinematic fashion short film, ~20 seconds, 24fps, anamorphic widescreen, filmic grain, teal-and-warm color grade with slightly crushed blacks and lifted highlights. Subject is a pale young woman @[Image 1](image_1) with a short pastel pink bob and blunt bangs, cool blue eyes, wearing an oversized soft green T-shirt layered over a thin white long-sleeve, a flowing brown-orange-grey plaid skirt, and slouchy babypink knee-high boots. Mood is poetic, solitary, and slightly melancholic — time passing through a historic European city (Haussmann stone facades, colonnades, courtyards, waterfront, ornate interiors). Heavy use of motion blur, whip pans, low-angle tracking, shallow depth of field, and mixed slow/fast motion. Shot sequence / visual language - Opening whip-pan across a row of pale stone arches and columns, interiors glowing warm behind glass, strong horizontal motion blur. - Low-angle medium of the woman new version.jpeg walking toward camera through a historic courtyard; face slightly soft/out of focus at first, green shirt filling the frame, stone palace architecture behind her. - She @[Image 1](image_1) looks upward, profile against a pale sky and ornate upper stories; contemplative, wind in her hair. - Cut to a flock of pigeons exploding off a blue-shuttered historic facade, heavy motion blur, birds streaking across the frame. - She sits on a stone balustrade between tall columns, one black boot kicked up, plaid skirt fanned, looking directly at camera with a still, distant expression. - Close low-angle as she leans her head on her shoulder against a large arched window; warm interior light in the glass. - Fast blurred street shot: a cyan pedestrian light, traffic, reflections on glass. - Close tracking of her legs and slouchy black boots walking on grey stone pavement, skirt swinging. - Overexposed high-key medium of her walking toward camera in a bright square, buildings and flags washed almost white. - Profile/three-quarter as she walks along a waterfront or bridge at golden hour, city buildings and water lights behind her. - Interior: ornate stained-glass lunette with a helmeted warrior, zodiac/animal motifs, sun flare through the panes, hanging lantern. - Motion-blurred spin/whip of her turning in front of a colonnaded palace facade. - Low tracking of her standing on a stone pedestal/balustrade, only boots and skirt visible at first. - Low-angle walking shot looking up at her against grand columns and windows. - She sits on the dark sculpted rim of a fountain, knees drawn up, looking off-camera. - Extreme close-up of her hand trailing fingers through fountain water, ripples and reflections. - Tight frontal portrait against a dark carved wooden door with iron scrollwork; intense eye contact, almost still. - Abstract whip-pan of stone and sky. - Final aerial of a dense European city (Paris-like rooftops, a pedestrian bridge over a cut, autumn trees, traffic). Voiceover (calm, slightly distant female voice, sparse, over ambient city + soft score) Everything is already leaving. "The dark holds what daylight drops. A step is a promise the ground won’t keep. Time doesn’t wait. It only looks back." Technical / style keywords Cinematic fashion film, editorial movement, motion blur, anamorphic flares, golden-hour mixed with overcast stone, shallow DOF, low angles, tracking and whip pans, film grain, teal-orange grade, contemplative pacing, no dialogue except VO, high-end commercial look (think luxury fashion campaign meets short art film).

Sharon Riley

16,754 görüntüleme • 27 gün önce