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Split-screen test on Flux 3! Prompt : Split-screen video showing the same real-time action from two different camera angles. The screen is divided vertically into two equal halves. On the left side, show a static, wide overhead view from a ceiling-mounted camera in the back corner of the room.... The full room layout is visible: a couch, coffee table, rug, bookshelves, and a tall shelf near the wall. The cat is perched on top of the shelf. At the 2-second mark, it suddenly jumps, flips mid-air above the furniture, and lands gracefully on the coffee table. On the right side, show the same action in perfect sync from a side, eye-level camera placed low beside the couch. The view includes the shelf, the space between, and the coffee table. The camera follows the cat’s leap, capturing body motion, twist, and landing.Both sides must be precisely synchronized, showing the exact same event from different angles with consistent lighting, physics, and timing.show more

Umesh

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78,488 views • 4 days ago •via X (Twitter)

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This from Flux 3 is incredible! Prompt : Four-way CCTV-style split-screen showing the same real-time event inside a convenience shop. Divide the frame into four equal security-camera views with timestamps. Top left: wide ceiling-corner view covering aisles, entrance, and cashier. Top right: overhead view above the central aisle. Bottom left: camera facing the checkout counter. Bottom right: camera near the entrance looking inward. At the 2-second mark, a customer takes a boxed item from a shelf, accidentally bumps a display, catches one falling bottle, then places the box on the checkout counter. The cashier turns, scans it, and hands over a receipt as another shopper crosses behind them. All four views must remain perfectly synchronized, showing identical people, movements, object positions, occlusions, timestamps, lighting, and physical reactions. Use realistic low-resolution CCTV footage, slight lens distortion, fixed cameras, and no cinematic camera movement.

This from Flux 3 is incredible! Prompt : Four-way CCTV-style split-screen showing the same real-time event inside a convenience shop. Divide the frame into four equal security-camera views with timestamps. Top left: wide ceiling-corner view covering aisles, entrance, and cashier. Top right: overhead view above the central aisle. Bottom left: camera facing the checkout counter. Bottom right: camera near the entrance looking inward. At the 2-second mark, a customer takes a boxed item from a shelf, accidentally bumps a display, catches one falling bottle, then places the box on the checkout counter. The cashier turns, scans it, and hands over a receipt as another shopper crosses behind them. All four views must remain perfectly synchronized, showing identical people, movements, object positions, occlusions, timestamps, lighting, and physical reactions. Use realistic low-resolution CCTV footage, slight lens distortion, fixed cameras, and no cinematic camera movement.

Umesh

103,682 views • 3 days ago

A new split-screen prompt experiment. Prompt : Sweeping romantic harbor festival at sunset with lanterns, sea wind, warm amber glow, and crowds moving through music and laughter. Split screen vertically for the full sequence. On the left side, follow her with a soft floating camera weaving through dancers and market stalls as she suddenly notices him across the harbor square. On the right side, show the same instant from his perspective, a slow push through lantern light and passing couples as he spots her at exactly the same moment. Both halves mirror the same event but with different emotional emphasis, her side showing hesitation and vulnerability, his side showing disbelief and hope. The camera on each half circles slightly as they begin moving toward one another through the crowd, with near misses, shifting eyelines, and people crossing frame in sync. Climax: both sides reach the seawall at the same time, and the split screen collapses visually in spirit as their hands meet. Ending: hold the split for a few seconds longer even in the embrace, showing each face from the other’s point of view as lanterns rise behind them.

A new split-screen prompt experiment. Prompt : Sweeping romantic harbor festival at sunset with lanterns, sea wind, warm amber glow, and crowds moving through music and laughter. Split screen vertically for the full sequence. On the left side, follow her with a soft floating camera weaving through dancers and market stalls as she suddenly notices him across the harbor square. On the right side, show the same instant from his perspective, a slow push through lantern light and passing couples as he spots her at exactly the same moment. Both halves mirror the same event but with different emotional emphasis, her side showing hesitation and vulnerability, his side showing disbelief and hope. The camera on each half circles slightly as they begin moving toward one another through the crowd, with near misses, shifting eyelines, and people crossing frame in sync. Climax: both sides reach the seawall at the same time, and the split screen collapses visually in spirit as their hands meet. Ending: hold the split for a few seconds longer even in the embrace, showing each face from the other’s point of view as lanterns rise behind them.

Umesh

22,189 views • 3 months ago

This is absolutely amazing with Flux 3’s split-screen rendering. More power to storytelling! Upscaled with Topaz Astra. Prompt : Split-screen video. Two equal vertical halves. Both halves show the SAME event, at the SAME time, frame-synchronized, filmed by two different cameras. SCENE: A quiet street, daytime. A long tall hedge wall runs along the sidewalk, too tall to see over. There is one narrow gap in the hedge ahead. A woman in a red jacket walks alone along the sidewalk on the near side of the hedge. On the FAR side of the hedge is an open grass field, where a large golden dog runs. LEFT HALF — CAMERA A: ground-level tracking shot on the sidewalk, following the woman from behind at shoulder height. IMPORTANT: from this camera, only the woman, the sidewalk, and the hedge wall are visible. The field, the dog, and anything behind the hedge are NEVER visible in the left half. The street looks calm and empty. RIGHT HALF — CAMERA B: aerial top-down drone shot, directly above, moving with the woman. This view shows BOTH sides of the hedge at once: the woman on the sidewalk, the hedge as a thin green line, and the golden dog sprinting across the field on the other side, on a converging path toward the gap in the hedge. ACTION — identical timing in both halves: 0–8s: The woman walks calmly. LEFT: peaceful, nothing unusual. RIGHT: the dog races closer and closer to the gap, its path and the woman's path clearly about to meet. 8–11s: The woman reaches the gap. The dog bursts through it. LEFT: the dog appears suddenly from nowhere, a total surprise; the woman flinches. RIGHT: the meeting looks perfectly predictable, two paths joining. 11–15s: The dog jumps up joyfully; it is her own dog greeting her. She laughs, kneels, and hugs it. Both halves show this ending. RULES: Same woman, same dog, same timing in both halves. The dog is visible ONLY in the right half until 8s. No cuts, no other people, no cars.

This is absolutely amazing with Flux 3’s split-screen rendering. More power to storytelling! Upscaled with Topaz Astra. Prompt : Split-screen video. Two equal vertical halves. Both halves show the SAME event, at the SAME time, frame-synchronized, filmed by two different cameras. SCENE: A quiet street, daytime. A long tall hedge wall runs along the sidewalk, too tall to see over. There is one narrow gap in the hedge ahead. A woman in a red jacket walks alone along the sidewalk on the near side of the hedge. On the FAR side of the hedge is an open grass field, where a large golden dog runs. LEFT HALF — CAMERA A: ground-level tracking shot on the sidewalk, following the woman from behind at shoulder height. IMPORTANT: from this camera, only the woman, the sidewalk, and the hedge wall are visible. The field, the dog, and anything behind the hedge are NEVER visible in the left half. The street looks calm and empty. RIGHT HALF — CAMERA B: aerial top-down drone shot, directly above, moving with the woman. This view shows BOTH sides of the hedge at once: the woman on the sidewalk, the hedge as a thin green line, and the golden dog sprinting across the field on the other side, on a converging path toward the gap in the hedge. ACTION — identical timing in both halves: 0–8s: The woman walks calmly. LEFT: peaceful, nothing unusual. RIGHT: the dog races closer and closer to the gap, its path and the woman's path clearly about to meet. 8–11s: The woman reaches the gap. The dog bursts through it. LEFT: the dog appears suddenly from nowhere, a total surprise; the woman flinches. RIGHT: the meeting looks perfectly predictable, two paths joining. 11–15s: The dog jumps up joyfully; it is her own dog greeting her. She laughs, kneels, and hugs it. Both halves show this ending. RULES: Same woman, same dog, same timing in both halves. The dog is visible ONLY in the right half until 8s. No cuts, no other people, no cars.

Umesh

32,365 views • 1 day ago

Another 4-way split screen clip with Flux 3! Prompt : Four-way split-screen showing the same emergency airplane river landing from four synchronized camera perspectives. Each panel follows the aircraft continuously while the visuals change as the event unfolds. Top left: interior cabin view showing passengers, crew, shaking seats, overhead bins, and the river visible through the windows. Top right: exterior side-tracking view following the aircraft as it descends, levels out, touches the water, and creates a large spray. Bottom left: cockpit view showing the pilots, controls, instrument lights, windshield view, and final approach toward the river. Bottom right: aerial view tracking the aircraft from above, showing its flight path, surrounding city, bridges, river traffic, touchdown, and wake. At the 2-second mark, the aircraft descends lower. Passengers brace, the pilots adjust the nose, and the wings remain level. The plane touches the river, producing a wide burst of water. It skims forward, slows down, and settles while floating. Emergency boats appear in the distance. The cameras may change framing, zoom slightly, or reposition to keep the main action visible, but every panel must remain perfectly synchronized. Show identical aircraft movement, timing, passenger reactions, lighting, weather, water spray, reflections, and final position. Use realistic aviation details, natural reactions, believable water-landing physics, cinematic realism, and consistent spatial continuity. No duplicated aircraft, mismatched timing, changing plane design, teleportation, or contradictory actions between views.

Another 4-way split screen clip with Flux 3! Prompt : Four-way split-screen showing the same emergency airplane river landing from four synchronized camera perspectives. Each panel follows the aircraft continuously while the visuals change as the event unfolds. Top left: interior cabin view showing passengers, crew, shaking seats, overhead bins, and the river visible through the windows. Top right: exterior side-tracking view following the aircraft as it descends, levels out, touches the water, and creates a large spray. Bottom left: cockpit view showing the pilots, controls, instrument lights, windshield view, and final approach toward the river. Bottom right: aerial view tracking the aircraft from above, showing its flight path, surrounding city, bridges, river traffic, touchdown, and wake. At the 2-second mark, the aircraft descends lower. Passengers brace, the pilots adjust the nose, and the wings remain level. The plane touches the river, producing a wide burst of water. It skims forward, slows down, and settles while floating. Emergency boats appear in the distance. The cameras may change framing, zoom slightly, or reposition to keep the main action visible, but every panel must remain perfectly synchronized. Show identical aircraft movement, timing, passenger reactions, lighting, weather, water spray, reflections, and final position. Use realistic aviation details, natural reactions, believable water-landing physics, cinematic realism, and consistent spatial continuity. No duplicated aircraft, mismatched timing, changing plane design, teleportation, or contradictory actions between views.

Umesh

34,569 views • 2 days ago

A Ukrainian heavy drone under attack from a Russian FPV emits a bright flash of light. The FPV video camera is temporarily blinded, and the operator loses track of the target. (The heavy drone is near the top of the screen under the static rectangle.)

A Ukrainian heavy drone under attack from a Russian FPV emits a bright flash of light. The FPV video camera is temporarily blinded, and the operator loses track of the target. (The heavy drone is near the top of the screen under the static rectangle.)

Roy🇨🇦

278,966 views • 7 months ago

Bullet time effect using Seedance 2.0 on SocialSight Prompt: Bullet time effect. A businessman in white shirt and black tie slipping and falling backwards on an icy wet street in Wall Street, New York. Coffee cup standing on ground, liquid exploding outward frozen in mid-air. Ice chunks, water droplets, and coffee splash all completely suspended time is frozen. Tall buildings on both sides creating a canyon effect. The camera smoothly orbits 360 degrees around the falling man at low ground level angle, only the camera moves while everything else remains perfectly still. Cinematic, overcast dramatic lighting, wide angle lens distortion.

Bullet time effect using Seedance 2.0 on SocialSight Prompt: Bullet time effect. A businessman in white shirt and black tie slipping and falling backwards on an icy wet street in Wall Street, New York. Coffee cup standing on ground, liquid exploding outward frozen in mid-air. Ice chunks, water droplets, and coffee splash all completely suspended time is frozen. Tall buildings on both sides creating a canyon effect. The camera smoothly orbits 360 degrees around the falling man at low ground level angle, only the camera moves while everything else remains perfectly still. Cinematic, overcast dramatic lighting, wide angle lens distortion.

Oogie

59,287 views • 3 months ago

A cool prompt : Warhorse sprint on a cliff aqueduct (15 seconds, single continuous shot) A sweeping wide of ancient cliffs and a narrow aqueduct clinging to them. The camera dives to a tiny moving spark: a rider on a warhorse sprinting impossibly fast along the stone channel. Lock-on: hooves strike, water splashes, stone chips fly. The camera slingshots past, whips around, and drops tight to hoof-level: droplets and grit snapping off with each impact. The aqueduct cracks; sections tilt. The rider makes a last-second lateral leap across a broken span, and the camera roll-matches the jump, skimming the water’s surface below. A rockslide slams into the far side; the pair thread between falling blocks, then burst through a mist cloud from a cascading spillway. Final reveal: the camera rockets up to show the aqueduct pouring into a sunlit terraced oasis city, suddenly serene.

A cool prompt : Warhorse sprint on a cliff aqueduct (15 seconds, single continuous shot) A sweeping wide of ancient cliffs and a narrow aqueduct clinging to them. The camera dives to a tiny moving spark: a rider on a warhorse sprinting impossibly fast along the stone channel. Lock-on: hooves strike, water splashes, stone chips fly. The camera slingshots past, whips around, and drops tight to hoof-level: droplets and grit snapping off with each impact. The aqueduct cracks; sections tilt. The rider makes a last-second lateral leap across a broken span, and the camera roll-matches the jump, skimming the water’s surface below. A rockslide slams into the far side; the pair thread between falling blocks, then burst through a mist cloud from a cascading spillway. Final reveal: the camera rockets up to show the aqueduct pouring into a sunlit terraced oasis city, suddenly serene.

Umesh

12,156 views • 3 months ago

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

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

underwood

33,358 views • 3 months ago

Nearly identical plays from Detroit and Philly, but the details make or break this. From the OL technique, to the footwork from the WR on the screen, plus the execution on the blocks. A lot goes into one play being a negative vs one play being a positive on the same exact play

Nearly identical plays from Detroit and Philly, but the details make or break this. From the OL technique, to the footwork from the WR on the screen, plus the execution on the blocks. A lot goes into one play being a negative vs one play being a positive on the same exact play

Nick Waters

23,086 views • 9 months ago

#runway Gen-3 ❤️ Prompt share 🧵 Community 🫶🏼 Starting from a ground-level view of a road leading towards a tunnel in a graffiti covered city with skyscrapers in the background, the camera tracks smoothly along the road into a short dark tunnel. As it emerges on the other side, the camera rapidly ascends, revealing the road continuing through a huge field of multicoloured wildflowers surrounded by snow capped mountains.

#runway Gen-3 ❤️ Prompt share 🧵 Community 🫶🏼 Starting from a ground-level view of a road leading towards a tunnel in a graffiti covered city with skyscrapers in the background, the camera tracks smoothly along the road into a short dark tunnel. As it emerges on the other side, the camera rapidly ascends, revealing the road continuing through a huge field of multicoloured wildflowers surrounded by snow capped mountains.

aroha

33,517 views • 2 years ago

A sinusoidally-excited dipole antenna radiates equally in all directions perpendicular to its axis. The xz view is the "side view" which shows the length of the antenna, and the xy view is the "top view" which looks down along the antenna axis. The middle plots show two antennas spaced a quarter wavelength apart, with their electrical excitations offset by 90 degrees. This "directional array" radiates preferentially toward one side. The right plots show four antennas, spaced by a quarter wavelength and with a 90-degree electrical shift between adjacent antennas (basically, just an extension of the two-antenna case). The main beam gets even tighter and more focused, but this comes at the expense of the radiation pattern developing "side lobes" which are visible in the xy view. The total input power is the same in all three cases, to make a fair comparison.

A sinusoidally-excited dipole antenna radiates equally in all directions perpendicular to its axis. The xz view is the "side view" which shows the length of the antenna, and the xy view is the "top view" which looks down along the antenna axis. The middle plots show two antennas spaced a quarter wavelength apart, with their electrical excitations offset by 90 degrees. This "directional array" radiates preferentially toward one side. The right plots show four antennas, spaced by a quarter wavelength and with a 90-degree electrical shift between adjacent antennas (basically, just an extension of the two-antenna case). The main beam gets even tighter and more focused, but this comes at the expense of the radiation pattern developing "side lobes" which are visible in the xy view. The total input power is the same in all three cases, to make a fair comparison.

RossRadio

39,103 views • 7 months ago

Only one Adobe Firefly video prompt from our research hit production-ready on the first generation. Prompt in comments 👀 It looks you have to direct the camera as much as the model to get the most out of Firefly. Every other video session in our research needed a revision. Revising the first frame is where Firefly broke: >motion failures (temporal flicker, motion continuity, physics in motion) carried 60% of video's issue mix once designers re-prompted. TLDR: in Adobe Firefly, the camera does a lot of the work. Bake it into the first prompt and the video lands. Its by far the best time to be a creative.

Only one Adobe Firefly video prompt from our research hit production-ready on the first generation. Prompt in comments 👀 It looks you have to direct the camera as much as the model to get the most out of Firefly. Every other video session in our research needed a revision. Revising the first frame is where Firefly broke: >motion failures (temporal flicker, motion continuity, physics in motion) carried 60% of video's issue mix once designers re-prompted. TLDR: in Adobe Firefly, the camera does a lot of the work. Bake it into the first prompt and the video lands. Its by far the best time to be a creative.

ben @ CVPR

12,847 views • 2 months ago

👀Seeing #CryptoNinja lay waste to their opponents in the #NFTDuel arena is a delight. The ability to see it from various angles is the icing on top. 📷Use the Camera Feature to see action from your favorite angle. #NinjaDAO #CNP #Metaverse #P2E

👀Seeing #CryptoNinja lay waste to their opponents in the #NFTDuel arena is a delight. The ability to see it from various angles is the icing on top. 📷Use the Camera Feature to see action from your favorite angle. #NinjaDAO #CNP #Metaverse #P2E

XANA

23,060 views • 3 years ago

Seedance 2 is so good at character and scene consistency across cuts. I tested it with a short film on something I learned last week about cats. The key is detailed prompts - take your story to an LLM to nail the structure, then to Krea to make the video. Take my prompt 👇 Style: high-quality 3D animation, expressive character acting, cozy lighting, cinematic composition Timestamped structure: 0:00 - 0:02 Open on a cozy desk setup in a home office. A black cat, Finn, is near the desk, alert and curious. The woman with brown hair and blue eyes sits at her computer, pulling up a YouTube-style bird video. The screen shows colorful birds hopping on branches. Finn immediately locks in on the movement. 0:03 - 0:05 The woman smiles knowingly and adjusts the monitor so Finn can see better. She lightly gestures toward the screen. Finn jumps onto the chair or desk edge and sits facing the monitor, ears forward, body still, completely mesmerized by the birds. 0:05 - 0:07 The woman gets up from the desk and walks away casually, leaving Finn watching. Finn remains seated, staring at the bird video with total concentration. Maybe a subtle tail flick or tiny head movement tracks the birds on screen. 0:07 - 0:10 Cut to later in the day, in the exact same office. The woman is now back at the desk in a Zoom meeting, still with the single monitor on the same desk. The computer screen now shows a video call grid or work presentation instead of the birds. She is mid-conversation, professional and focused, seated upright, saying "and now we'll move to the next slide" 0:10 - 0:12 Finn suddenly jumps up onto the desk from below, entering frame with urgency. He looks at the screen, confused and dissatisfied that the birds are gone. He starts pawing at the screen and the woman is shocked and embarrassed

Seedance 2 is so good at character and scene consistency across cuts. I tested it with a short film on something I learned last week about cats. The key is detailed prompts - take your story to an LLM to nail the structure, then to Krea to make the video. Take my prompt 👇 Style: high-quality 3D animation, expressive character acting, cozy lighting, cinematic composition Timestamped structure: 0:00 - 0:02 Open on a cozy desk setup in a home office. A black cat, Finn, is near the desk, alert and curious. The woman with brown hair and blue eyes sits at her computer, pulling up a YouTube-style bird video. The screen shows colorful birds hopping on branches. Finn immediately locks in on the movement. 0:03 - 0:05 The woman smiles knowingly and adjusts the monitor so Finn can see better. She lightly gestures toward the screen. Finn jumps onto the chair or desk edge and sits facing the monitor, ears forward, body still, completely mesmerized by the birds. 0:05 - 0:07 The woman gets up from the desk and walks away casually, leaving Finn watching. Finn remains seated, staring at the bird video with total concentration. Maybe a subtle tail flick or tiny head movement tracks the birds on screen. 0:07 - 0:10 Cut to later in the day, in the exact same office. The woman is now back at the desk in a Zoom meeting, still with the single monitor on the same desk. The computer screen now shows a video call grid or work presentation instead of the birds. She is mid-conversation, professional and focused, seated upright, saying "and now we'll move to the next slide" 0:10 - 0:12 Finn suddenly jumps up onto the desk from below, entering frame with urgency. He looks at the screen, confused and dissatisfied that the birds are gone. He starts pawing at the screen and the woman is shocked and embarrassed

Justine Moore

27,336 views • 3 months ago

Two cinematic prompts for Seedance 2.0 right here 👇 [STYLE + CAMERA + ATMOSPHERE] Ultra-photorealistic cinematic 15-second action sequence from a grounded action thriller film. Nighttime at an abandoned industrial train yard. Old trains, rusted tracks, broken platforms and warehouses. Strong moonlight and industrial lighting. The visual language is gritty and realistic with hyper-realistic practical destruction. Camera is handheld-dynamic with urgent moves. [IMAGE REFERENCES] No reference images provided. Generate a fully consistent lead character: a male fugitive in his mid-30s, short hair, intense expression. He wears a dark jacket, jeans and boots. Maintain exact same appearance and clothing throughout the clip. [TIMELINE SECOND BY SECOND] 0-3s: [Dynamic handheld tracking shot from side-rear] The man runs across the train yard as a freight train derails violently after hitting a collapsed section of track. Massive train cars tip over and crash into the ground, sending metal, wood and cargo flying. The camera tracks him urgently as the destruction spreads. 3-7s: [Slow continuous orbiting camera moving around the frozen destruction] At the peak of the derailment, everything freezes in perfect realistic physics. Huge train cars, twisted metal, wooden debris and clouds of dust hang motionless in the air with accurate weight and trajectories. The camera performs a smooth, continuous orbit through the frozen chaos, moving between large suspended train cars and passing close to sharp metal fragments while the man remains visible. 7-15s: [Dynamic tracking shot as time resumes] At the 7-second mark time snaps back to forward motion with a slight realistic temporal residue. Some outer debris shows a very subtle reverse lag before continuing. The man has used the frozen moment to dive behind a concrete barrier. When motion resumes, several large pieces of metal miss him. He stays low and runs toward an open warehouse as debris finally crashes down. The camera tracks with him through the dust. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, hyper-realistic rigid body destruction with correct material properties (metal, wood, train parts), perfect frozen mid-air physics, seamless transition from freeze to resume, natural dust interaction, heavy cinematic motion blur on fast debris, stable character performance, movie-level practical destruction VFX quality.

Two cinematic prompts for Seedance 2.0 right here 👇 [STYLE + CAMERA + ATMOSPHERE] Ultra-photorealistic cinematic 15-second action sequence from a grounded action thriller film. Nighttime at an abandoned industrial train yard. Old trains, rusted tracks, broken platforms and warehouses. Strong moonlight and industrial lighting. The visual language is gritty and realistic with hyper-realistic practical destruction. Camera is handheld-dynamic with urgent moves. [IMAGE REFERENCES] No reference images provided. Generate a fully consistent lead character: a male fugitive in his mid-30s, short hair, intense expression. He wears a dark jacket, jeans and boots. Maintain exact same appearance and clothing throughout the clip. [TIMELINE SECOND BY SECOND] 0-3s: [Dynamic handheld tracking shot from side-rear] The man runs across the train yard as a freight train derails violently after hitting a collapsed section of track. Massive train cars tip over and crash into the ground, sending metal, wood and cargo flying. The camera tracks him urgently as the destruction spreads. 3-7s: [Slow continuous orbiting camera moving around the frozen destruction] At the peak of the derailment, everything freezes in perfect realistic physics. Huge train cars, twisted metal, wooden debris and clouds of dust hang motionless in the air with accurate weight and trajectories. The camera performs a smooth, continuous orbit through the frozen chaos, moving between large suspended train cars and passing close to sharp metal fragments while the man remains visible. 7-15s: [Dynamic tracking shot as time resumes] At the 7-second mark time snaps back to forward motion with a slight realistic temporal residue. Some outer debris shows a very subtle reverse lag before continuing. The man has used the frozen moment to dive behind a concrete barrier. When motion resumes, several large pieces of metal miss him. He stays low and runs toward an open warehouse as debris finally crashes down. The camera tracks with him through the dust. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, hyper-realistic rigid body destruction with correct material properties (metal, wood, train parts), perfect frozen mid-air physics, seamless transition from freeze to resume, natural dust interaction, heavy cinematic motion blur on fast debris, stable character performance, movie-level practical destruction VFX quality.

TechHalla

15,845 views • 22 days ago

On land, at sea, and in the air. In all conditions, every day of the year. Together with our allies. 🤝 The latest showreel from the Defence Forces Combat Camera is out now. Jump in and watch the full video on YouTube. 🎬💥

On land, at sea, and in the air. In all conditions, every day of the year. Together with our allies. 🤝 The latest showreel from the Defence Forces Combat Camera is out now. Jump in and watch the full video on YouTube. 🎬💥

Puolustusvoimat

10,986 views • 5 months ago

Seedance 2.0 on FlovaAI =================== Prompt: [Reference Identity Lock] Image 1 is ONLY the main female protagonist. Her face, hairstyle, body type, and outfit must match Image 1 exactly and stay consistent for the entire video. Image 2 is ONLY a uniform reference. All four opponents wear the school uniform shown in Image 2. Never swap, merge, duplicate, or blend identities. The protagonist's identity comes ONLY from Image 1. The four opponents have NO reference images. They are defined by the text descriptions below. The four opponents must not resemble the protagonist, and they must not resemble each other. All five characters must remain clearly distinct and recognizable until the end. [Priority Order] 1. Preserve the protagonist's identity from Image 1. 2. Keep the four opponents visually distinct from her and from each other. 3. Maintain one continuous shot with no cuts. 4. Keep the classroom layout spatially consistent. 5. Make the action fast but readable and physically connected. 6. Keep the tone as a Korean school action drama, stylish but grounded. Korean school action drama classroom fight scene — 15 seconds, ONE CONTINUOUS SHOT, NO CUTS. A single uninterrupted handheld shot. No cuts, no scene transitions, no montage. The camera should feel handheld, with micro-jitters, slight rolling shutter, and raw unstable realism. The camera must physically travel through the same classroom space. Every transition must be motivated by camera movement, not editing. Whip pans are allowed, but they must not hide a cut. Do not teleport the camera or characters. The classroom layout and character positions must remain spatially consistent. Audio: No music. Only realistic school and classroom ambient sounds: old fluorescent light hum, distant hallway noise, ceiling fan, shoes scraping the floor, desks dragging, chair legs screeching, cloth friction, dull body impacts, and breathing that gradually becomes heavier. Breathing continues throughout the scene and keeps building. Lighting: Late afternoon in a Korean high school classroom. Mixed cool fluorescent light and warm sunlight through the windows. Dust floating in the sunlight. Soft fan shadows moving across desks and school uniforms. Main character: The Korean female high school student from Image 1, age 17–18. Cold, emotionless, calm, and intimidating. She barely speaks and does not scream during the fight. She remains composed from beginning to end. Her movements are efficient, explosive, and precise. Even if her frame is not large, she dominates through speed, timing, and accuracy. Main outfit: Exactly the outfit shown in Image 1. Do not change its colors, design, or details. Her jacket or outer layer is either removed and hanging on a chair, or worn in a slightly messy way. The action must be non-sexualized and combat-focused. Fabric movement, dust, sweat, wrinkles, and impact response should feel realistic. Opponent rules: Four Korean female high school students, all wearing the Hanlim Multi Art School uniform shown in Image 2. They have no reference images. Define them strictly by these descriptions and keep each one consistent: Opponent A: short black bob with straight bangs, medium build, round face. Opponent B: long straight hair tied in a high ponytail, tall and lean, sharp jawline. Opponent C: shoulder-length hair with side-swept bangs, slim build, narrow face. Opponent D: long wavy hair worn loose, slightly stocky and broad-shouldered. A, B, C, and D must each keep clearly different faces, hairstyles, body shapes, and silhouettes. They must not resemble the protagonist, and they must not resemble each other. No face duplication, no face merging, no identity confusion. Environment: An empty classroom at Hanlim Multi Art School, a Korean performing arts high school in Seoul. Green chalkboard, chalk tray, worn wooden desks, plastic chairs, classroom clock, class schedule poster, discipline/life-guidance posters, cleaning tools, blinds or curtains, wall study materials, and a slightly scuffed floor. Desks and chairs should react naturally to impacts, sliding, shaking, and collapsing when hit. Camera framing rules: Even during kicks, framing should stay around chest-level or eye-level. No low-angle shots under the skirt. Do not focus on legs, thighs, underwear, or fetish-like details. All action framing must prioritize faces, upper-body motion, impact, and spatial choreography. Continuous action and camera choreography: From 0 to 15 seconds, the fight continues without any cuts. The action should be stylish but readable, and every movement must be physically connected. 0–3s: The camera starts behind the protagonist at a slightly low handheld angle, drifting left through the classroom aisle. Opponent A grabs the protagonist's shoulder roughly and says in Korean: "야, 너 지금 뭐 하자는 거야?" The protagonist silently turns and lands one hard straight punch to A's face. At impact, use a very brief 15% slow motion: cheek ripple, dust particles, deep thud. A falls sideways into a desk. The camera dips slightly from the shock, then whip-pans right without cutting. 3–6s: Opponent B charges in from the right. The protagonist steps forward instead of retreating. A short body shot to the stomach. Immediate uppercut to the chin. Without pausing, she drives forward into a flying knee to B's chest. B is thrown backward across or into a desk. The camera follows the forward motion low, then rebounds upward with the impact. 6–9s: Opponent D attacks with two fast punches. The protagonist deflects both strikes with her arms, then flows into a turning backfist to D's face. As D staggers, she continues the same rotation into a spinning back elbow that lands hard on D's jaw or temple. D crashes sideways into two or three desks. The camera arcs around her shoulder and jitters slightly at each impact. No cuts. 9–12s: Opponent C rushes in from the chalkboard side. The protagonist clearly grabs C's collar with her left hand. C's face must be fully visible from the front and clearly different from the protagonist. The protagonist lands one short, hard punch to C's face, then immediately throws a powerful high kick or flying high kick into C's chest. The force sends C backward into the green chalkboard. The protagonist remains in the foreground and never touches the board. The protagonist's face should be side-profile or partially obscured. C's face should be clearly visible from the front at the moment of impact. Their faces must never overlap in frame. Use a very brief 20% slow motion at the chalkboard impact: chalk dust bursts outward, and C slides down the board. The camera pushes up with the impact, then tilts down as C slides. 12–15s: Through the chalk dust, the camera hard-pans right. D makes one final charge. The protagonist sidesteps and lands a tight uppercut to D's chin, followed immediately by a cross. D crashes into a row of desks, causing a chain reaction of collapsing desks and chairs. The camera drifts forward slowly. The protagonist adjusts her loose tie or ribbon and brushes chalk dust off her shoulder. Her expression stays cold and serious. She walks past the camera and exits the frame. Dust floats in the sunlight. Natural ending. =================== Made with Flova #FlovaAI #FlovaCPP

TSUBAKI

17,869 views • 11 days ago