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“The Impossible” 1964 shot that reportedly left Martin Scorsese speechless. This stunning sequence from the 1964 film I Am Cuba (Soy Cuba) is still regarded as one of the most technically daring shots ever captured on camera. Long before CGI or stabilized drone systems existed, director Mikhail Kalatozov and...

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It just works. Seedance 2.0 prompts are below 👇 Authentic live-action cinematic footage shot on real 35mm film as one continuous dynamic tracking shot in an urban city during overcast daylight. Natural light, real city atmosphere, subtle film grain, smooth yet energetic camera movement following the action without any cuts. Authentic physics and surprise, no CGI. Use the exact man from the reference image: 40-year-old white man with short dark beard, wearing black beanie, thick gold chains, black and grey plaid shirt over white t-shirt, blue jeans. Tough, street-wise appearance. 0-3s: The man stands clearly at the edge of a gritty urban rooftop, cornered, hands in pockets, looking down with a calm, determined expression. The camera slowly pushes in on him as he leans back and deliberately lets himself fall backwards off the roof into the void. 3-6s: As he plummets toward the ground, just before impact his body transforms in a quick burst of white mist and subtle particles into an ordinary city pigeon. The pigeon immediately takes flight with powerful wingbeats. The camera plunges down with him and then smoothly transitions into following the pigeon as it flies low over the street toward a nearby park. 6-10s: The camera continues tracking the pigeon as it flies into the park and lands among other pigeons on the ground. An old man is sitting on a bench throwing bread crumbs. The pigeon walks forward and starts eating the bread naturally. The camera moves to ground level, smoothly following the pigeon as it eats. 10-13s: While the pigeon is eating, it transforms back into the man in a quick flash of white mist and particles. He rises from a crouch, stands up, and casually shakes his shoulders and arms. The camera rises with him and continues tracking as he walks calmly toward the old man on the bench. 13-15s: The man reaches the old man. They share a quick, respectful fist bump. The man then turns and walks away confidently into the park. The camera slowly pulls back in one continuous movement, revealing the old man watching him leave with his mouth slightly open in quiet astonishment. Photorealistic real film capture, ultra-detailed skin, clothing, feathers and urban textures, perfect real-world physics during the fall and transformations, natural motion blur, cinematic color grading, heavy realistic film grain, stable real performer, no digital artifacts, authentic urban location quality, 100% practical footage feel with subtle mystical transformation effects captured on film. share yours!
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It just works. Seedance 2.0 prompts are below 👇 Authentic live-action cinematic footage shot on real 35mm film as one continuous dynamic tracking shot in an urban city during overcast daylight. Natural light, real city atmosphere, subtle film grain, smooth yet energetic camera movement following the action without any cuts. Authentic physics and surprise, no CGI. Use the exact man from the reference image: 40-year-old white man with short dark beard, wearing black beanie, thick gold chains, black and grey plaid shirt over white t-shirt, blue jeans. Tough, street-wise appearance. 0-3s: The man stands clearly at the edge of a gritty urban rooftop, cornered, hands in pockets, looking down with a calm, determined expression. The camera slowly pushes in on him as he leans back and deliberately lets himself fall backwards off the roof into the void. 3-6s: As he plummets toward the ground, just before impact his body transforms in a quick burst of white mist and subtle particles into an ordinary city pigeon. The pigeon immediately takes flight with powerful wingbeats. The camera plunges down with him and then smoothly transitions into following the pigeon as it flies low over the street toward a nearby park. 6-10s: The camera continues tracking the pigeon as it flies into the park and lands among other pigeons on the ground. An old man is sitting on a bench throwing bread crumbs. The pigeon walks forward and starts eating the bread naturally. The camera moves to ground level, smoothly following the pigeon as it eats. 10-13s: While the pigeon is eating, it transforms back into the man in a quick flash of white mist and particles. He rises from a crouch, stands up, and casually shakes his shoulders and arms. The camera rises with him and continues tracking as he walks calmly toward the old man on the bench. 13-15s: The man reaches the old man. They share a quick, respectful fist bump. The man then turns and walks away confidently into the park. The camera slowly pulls back in one continuous movement, revealing the old man watching him leave with his mouth slightly open in quiet astonishment. Photorealistic real film capture, ultra-detailed skin, clothing, feathers and urban textures, perfect real-world physics during the fall and transformations, natural motion blur, cinematic color grading, heavy realistic film grain, stable real performer, no digital artifacts, authentic urban location quality, 100% practical footage feel with subtle mystical transformation effects captured on film. share yours!

TechHalla

42,633 Aufrufe • vor 1 Monat

MiniMax H3 Prompt: A cinematic wide shot of four young women running barefoot across a vast rain-soaked green field during a sudden summer downpour. Their casual summer clothes and loose hair are drenched by the rain as they sprint together from left to right, giving the moment a spontaneous, carefree sense of youth and freedom. Rather than posing for the camera, they appear completely absorbed in the moment. Shot as an extreme wide environmental shot from roughly eye level, with the figures occupying only the lower third of the composition. A huge amount of open landscape and pale overcast sky surrounds them, emphasizing scale, isolation and atmosphere. A single small tree near the center of the frame acts as a quiet visual anchor against the movement of the running figures. The camera feels static or only subtly handheld, allowing the women to rush through the frame rather than actively tracking them. A moderately wide lens, around 28–35mm equivalent, captures the expansive field, distant hills and surrounding trees while keeping the runners readable. The women are intentionally rendered with strong natural motion blur, suggesting a relatively slow shutter speed and creating an impressionistic sense of speed. The landscape remains comparatively stable and readable, making their blurred movement especially prominent. Lighting is entirely soft natural daylight filtered through heavy storm clouds and rainfall. Visibility gradually falls off toward the distant hills, where rain and atmospheric haze create layered depth. The palette is subdued and earthy, dominated by wet olive green, moss, muted yellow, warm grey and faded brown. The image has a distinctly analog cinematic texture, with soft focus, restrained contrast, subtle grain, slightly muddy colors and imperfect exposure. It feels like a frame from a 1970s or 1990s coming-of-age arthouse film, balancing nostalgia, freedom, summer melancholy and the chaotic energy of being caught unexpectedly in the rain.
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MiniMax H3 Prompt: A cinematic wide shot of four young women running barefoot across a vast rain-soaked green field during a sudden summer downpour. Their casual summer clothes and loose hair are drenched by the rain as they sprint together from left to right, giving the moment a spontaneous, carefree sense of youth and freedom. Rather than posing for the camera, they appear completely absorbed in the moment. Shot as an extreme wide environmental shot from roughly eye level, with the figures occupying only the lower third of the composition. A huge amount of open landscape and pale overcast sky surrounds them, emphasizing scale, isolation and atmosphere. A single small tree near the center of the frame acts as a quiet visual anchor against the movement of the running figures. The camera feels static or only subtly handheld, allowing the women to rush through the frame rather than actively tracking them. A moderately wide lens, around 28–35mm equivalent, captures the expansive field, distant hills and surrounding trees while keeping the runners readable. The women are intentionally rendered with strong natural motion blur, suggesting a relatively slow shutter speed and creating an impressionistic sense of speed. The landscape remains comparatively stable and readable, making their blurred movement especially prominent. Lighting is entirely soft natural daylight filtered through heavy storm clouds and rainfall. Visibility gradually falls off toward the distant hills, where rain and atmospheric haze create layered depth. The palette is subdued and earthy, dominated by wet olive green, moss, muted yellow, warm grey and faded brown. The image has a distinctly analog cinematic texture, with soft focus, restrained contrast, subtle grain, slightly muddy colors and imperfect exposure. It feels like a frame from a 1970s or 1990s coming-of-age arthouse film, balancing nostalgia, freedom, summer melancholy and the chaotic energy of being caught unexpectedly in the rain.

Kōda

14,946 Aufrufe • vor 16 Tagen

#Interstellar #InterstellarRerelease last night at Prasads Multiplex #PCX Screen — superb experience! Image and sound quality was perfection — such a crisp, sharp, detailed, contrasty and bright, high quality DCP! You could even notice the difference in the grain between the 35mm shot scenes and the IMAX 70mm shot scenes. Certain scenes got bright enough that they could light up the front part of the hall (you can see that in the docking sequence clip here). Sound was lovely and powerful (in some parts like the tesseract sequence I noticed that the sound was so powerful it made the screen vibrate, and you could see a vibration like effect on the subtitles too!), as expected. It was a similar experience as the one I had in July 2023. I have said it before, this is undoubtedly, the best place in Hyderabad to watch this movie. Yes, this is the Scope version without the (IMAX exclusive) switching aspect ratios. However the movie is powerful and impactful enough that you'll have a wonderful experience. Thanks as always to Mohan Kumar for regular updates here on X.
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#Interstellar #InterstellarRerelease last night at Prasads Multiplex #PCX Screen — superb experience! Image and sound quality was perfection — such a crisp, sharp, detailed, contrasty and bright, high quality DCP! You could even notice the difference in the grain between the 35mm shot scenes and the IMAX 70mm shot scenes. Certain scenes got bright enough that they could light up the front part of the hall (you can see that in the docking sequence clip here). Sound was lovely and powerful (in some parts like the tesseract sequence I noticed that the sound was so powerful it made the screen vibrate, and you could see a vibration like effect on the subtitles too!), as expected. It was a similar experience as the one I had in July 2023. I have said it before, this is undoubtedly, the best place in Hyderabad to watch this movie. Yes, this is the Scope version without the (IMAX exclusive) switching aspect ratios. However the movie is powerful and impactful enough that you'll have a wonderful experience. Thanks as always to Mohan Kumar for regular updates here on X.

Karthik Abhiram

30,002 Aufrufe • vor 1 Jahr

1/ We've all been aware of the hype surrounding Dreamina Seedance 2.0, and I finally got early access to the tool. And wow, I'm blown away. This is by far the best. It is starting to make AI video feel less like "generate a clip" and more like "direct a scene." What stood out to me is the level of control: camera motion, pacing, visual consistency, and the ability to build from multiple references inside one workflow. Some of the prompt directions that feel especially strong: - a busy modern city square during daytime. Suddenly, time freezes completely - a single continuous camera movement through a natural landscape that transitions through all four seasons in one shot - an underwater bioluminescent city waking up at dawn The big shift is this: One Prompt, Viral Remade. Edit Videos as Easy as Editing Photos. Dreamina Seedance 2.0 feels like a real step toward AI-native directing rather than just AI generation. Here are some examples 🧵:
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1/ We've all been aware of the hype surrounding Dreamina Seedance 2.0, and I finally got early access to the tool. And wow, I'm blown away. This is by far the best. It is starting to make AI video feel less like "generate a clip" and more like "direct a scene." What stood out to me is the level of control: camera motion, pacing, visual consistency, and the ability to build from multiple references inside one workflow. Some of the prompt directions that feel especially strong: - a busy modern city square during daytime. Suddenly, time freezes completely - a single continuous camera movement through a natural landscape that transitions through all four seasons in one shot - an underwater bioluminescent city waking up at dawn The big shift is this: One Prompt, Viral Remade. Edit Videos as Easy as Editing Photos. Dreamina Seedance 2.0 feels like a real step toward AI-native directing rather than just AI generation. Here are some examples 🧵:

Chubby♨️

76,342 Aufrufe • vor 5 Monaten

Prompt : A realistic cinematic scene opens on a quiet Japanese countryside at dawn. Mist clings to rice paddies. A bullet train appears as a distant silver streak on the horizon. The camera launches forward at impossible speed, racing alongside the train, matching its velocity. The camera then punches through the window glass in one seamless motion and enters the cabin interior. Inside, everything is calm. A woman sits by the window, sipping tea, completely still. Steam rises slowly from her cup. The camera drifts past her face, catches the blur of the landscape reflected in her glasses, then exits through the opposite window. Outside again, the camera spirals around the full body of the train at high speed before pulling far back to reveal the train crossing a massive bridge over a turquoise river valley. End on a wide aerial shot, the train now small again, disappearing into a mountain tunnel. Silence except for a single distant horn echo.
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Prompt : A realistic cinematic scene opens on a quiet Japanese countryside at dawn. Mist clings to rice paddies. A bullet train appears as a distant silver streak on the horizon. The camera launches forward at impossible speed, racing alongside the train, matching its velocity. The camera then punches through the window glass in one seamless motion and enters the cabin interior. Inside, everything is calm. A woman sits by the window, sipping tea, completely still. Steam rises slowly from her cup. The camera drifts past her face, catches the blur of the landscape reflected in her glasses, then exits through the opposite window. Outside again, the camera spirals around the full body of the train at high speed before pulling far back to reveal the train crossing a massive bridge over a turquoise river valley. End on a wide aerial shot, the train now small again, disappearing into a mountain tunnel. Silence except for a single distant horn echo.

Umesh

33,138 Aufrufe • vor 6 Monaten

Continuous unbroken shot with image references with Kling 3.0 Omni. Prompt : Hyper-realistic cinematic action sequence using all uploaded images as visual references, presented as one seamless, unbroken continuous shot. A lone motorbike rider begins as a tiny silhouette crossing a glowing meadow beneath an immense, shadowed forest canopy. The camera descends rapidly from a sweeping aerial view, skimming the grass before locking beside the bike as it enters a corridor of colossal moss-covered trees. The rider accelerates through wet earth, drifting around roots and rocks as mud, leaves, water droplets, and mist explode into the air. The camera swings behind the rider for an intense low chase, circles smoothly around the bike, then races ahead while facing backward through shafts of green daylight. Without any cuts, the trail rises onto an abandoned railway bridge covered in vines, passing forgotten overgrown train carriages and a dark tunnel entrance. The camera drops beneath the bridge to reveal the river and vast forest below, then climbs back around the rider as the bridge transforms into a narrow elevated ridge. The motorcycle bursts into a luminous clearing at the edge of a towering grass-covered cliff. The camera pulls dramatically outward into an immense panoramic view, revealing the rider suspended above an endless emerald valley. Maintain consistent rider, bike, lighting, forest geography, momentum, cinematic realism, natural motion blur, atmospheric depth, and fluid camera movement throughout.
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Continuous unbroken shot with image references with Kling 3.0 Omni. Prompt : Hyper-realistic cinematic action sequence using all uploaded images as visual references, presented as one seamless, unbroken continuous shot. A lone motorbike rider begins as a tiny silhouette crossing a glowing meadow beneath an immense, shadowed forest canopy. The camera descends rapidly from a sweeping aerial view, skimming the grass before locking beside the bike as it enters a corridor of colossal moss-covered trees. The rider accelerates through wet earth, drifting around roots and rocks as mud, leaves, water droplets, and mist explode into the air. The camera swings behind the rider for an intense low chase, circles smoothly around the bike, then races ahead while facing backward through shafts of green daylight. Without any cuts, the trail rises onto an abandoned railway bridge covered in vines, passing forgotten overgrown train carriages and a dark tunnel entrance. The camera drops beneath the bridge to reveal the river and vast forest below, then climbs back around the rider as the bridge transforms into a narrow elevated ridge. The motorcycle bursts into a luminous clearing at the edge of a towering grass-covered cliff. The camera pulls dramatically outward into an immense panoramic view, revealing the rider suspended above an endless emerald valley. Maintain consistent rider, bike, lighting, forest geography, momentum, cinematic realism, natural motion blur, atmospheric depth, and fluid camera movement throughout.

Umesh

17,097 Aufrufe • vor 1 Monat

Night Invitation👹 Nano Banana 2 x Seedance 2.0 on Yapper A mysterious vampire emerges from the shadows of a foggy alley, revealing blood-stained fangs and inviting the viewer into the darkness before the camera fades into the abyss of her sinister smile. Prompt: Dark gothic alley at night, wet brick wall and rain-soaked pavement reflecting a dim street lamp. Heavy fog drifts slowly through the alley. A pale elegant vampire woman in a long black coat and dark red dress leans against the wall, motionless and mysterious. Cinematic horror lighting, dramatic shadows, shallow depth of field, ultra-realistic, 35mm film look, film grain, volumetric fog. The camera begins at her black leather boots and performs a slow cinematic vertical dolly shot upward, moving smoothly from her feet → legs → waist → shoulders → lips → eyes. Suspense builds as the camera rises. When the camera reaches her face, she slowly tilts her head and gives a cold villain smile. Her long sharp vampire fangs slide into view, fresh blood dripping slowly from the tips. Her eyes glow subtly in the darkness. She whispers softly: “Welcome to the night…” Immediately after, she lets out a quiet sinister villain laugh as the fog thickens and the lighting darkens. The scene begins to slowly fade to black, while the camera continues pushing forward into an extreme close-up, zooming closer and closer until the camera enters her mouth, ending in darkness. Style keywords: cinematic horror, gothic vampire, slow camera movement, dramatic lighting, suspenseful, photorealistic, moody atmosphere, shallow depth of field, film grain, volumetric fog.
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Night Invitation👹 Nano Banana 2 x Seedance 2.0 on Yapper A mysterious vampire emerges from the shadows of a foggy alley, revealing blood-stained fangs and inviting the viewer into the darkness before the camera fades into the abyss of her sinister smile. Prompt: Dark gothic alley at night, wet brick wall and rain-soaked pavement reflecting a dim street lamp. Heavy fog drifts slowly through the alley. A pale elegant vampire woman in a long black coat and dark red dress leans against the wall, motionless and mysterious. Cinematic horror lighting, dramatic shadows, shallow depth of field, ultra-realistic, 35mm film look, film grain, volumetric fog. The camera begins at her black leather boots and performs a slow cinematic vertical dolly shot upward, moving smoothly from her feet → legs → waist → shoulders → lips → eyes. Suspense builds as the camera rises. When the camera reaches her face, she slowly tilts her head and gives a cold villain smile. Her long sharp vampire fangs slide into view, fresh blood dripping slowly from the tips. Her eyes glow subtly in the darkness. She whispers softly: “Welcome to the night…” Immediately after, she lets out a quiet sinister villain laugh as the fog thickens and the lighting darkens. The scene begins to slowly fade to black, while the camera continues pushing forward into an extreme close-up, zooming closer and closer until the camera enters her mouth, ending in darkness. Style keywords: cinematic horror, gothic vampire, slow camera movement, dramatic lighting, suspenseful, photorealistic, moody atmosphere, shallow depth of field, film grain, volumetric fog.

Aaliyah | AI

76,426 Aufrufe • vor 3 Monaten

I've seen a lot of animatics lately that are super detailed, essentially viewport previews of the final shot. But an animatic at it's core doesn't need to be anything fancy. Its main purpose is to plan and test the timing, camera angles, movement, and overall composition. With animatics you have to keep in mind the following: Pre-visualization: It allows to see a basic version of the animation or scene before committing to detailed work. Timing and pacing: An animatic helps identify how long each scene or shot should last, ensuring that the timing feels right. Planning: It helps with layout, camera angles, and transitions. By visualizing the shots, the team can ensure that the framing and overall design of the scenes work well in 3D space. Efficiency: It allows the team to test and fix any potential issues early on, like awkward movements or awkward pacing, before spending time on high-quality rendering or complex animation. In short, an animatic helps in conceptualizing the final animation by giving a low-res, rough version of the scenes, which guides the entire production process in terms of visual design, timing, and storytelling.
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I've seen a lot of animatics lately that are super detailed, essentially viewport previews of the final shot. But an animatic at it's core doesn't need to be anything fancy. Its main purpose is to plan and test the timing, camera angles, movement, and overall composition. With animatics you have to keep in mind the following: Pre-visualization: It allows to see a basic version of the animation or scene before committing to detailed work. Timing and pacing: An animatic helps identify how long each scene or shot should last, ensuring that the timing feels right. Planning: It helps with layout, camera angles, and transitions. By visualizing the shots, the team can ensure that the framing and overall design of the scenes work well in 3D space. Efficiency: It allows the team to test and fix any potential issues early on, like awkward movements or awkward pacing, before spending time on high-quality rendering or complex animation. In short, an animatic helps in conceptualizing the final animation by giving a low-res, rough version of the scenes, which guides the entire production process in terms of visual design, timing, and storytelling.

Voxyde

22,244 Aufrufe • vor 1 Jahr

You don't understand... Higgsfield MCP + Claude just automated AI film making. Every single step you used to grind through to make an AI movie, you can now do 10x faster. Drop the script into Claude Opus 4.8 and say: "Here's my script. Break it into a full shotlist. Shot number, scene, shot type, camera move and the action in each frame." Now the whole film is mapped, shot by shot. - Pull your assets. Ask Claude: "From this shotlist, list every character, every location and every prop across the whole film." That's your build list. The stuff you would need to generate and give as references in next steps. - Build the character sheets. Higgsfield MCP is connected, so Claude has hands now to do stuff directly. It generates the images itself. Have the full body, back view and close up in the character sheet. One per character. Each sheet becomes the locked reference for that face. Same move for locations, generate the empty plate for each one before anyone steps into it. - Generate the frames. Feed Claude the references plus the shot and have it write and fire the Seedance 2.0 prompt. "Using the lead's character sheet and the alley plate, generate shot 4 in Seedance 2.0. Low angle, slow push-in, rain." Claude builds the prompt, calls Seedance 2.0 and the frame lands back in chat. Use a Seedance 2.0 skill to teach Claude how to prompt it properly. Now, there are 3 ways to make the shots. Pick one per scene. - Pure prompting. Fastest one. You describe the action in words and let Seedance interpret it. For consistency across a sequence, feed it a frame from the previous shot so the look carries. - Storyboarding. You hand it a panel and it matches that composition exactly. Way more control over how the shot is framed. The tradeoff is that it can introduce more cuts than you actually want. - Path Control System This is the latest technique Seedance 2.0 technique. Generate a still base plate of the scene. Draw a red line across it to mark the exact path of the movement, then describe what's happening. Seedance follows that line for the action. Also ask Claude to remove the red line when animating. This is the one for anything where motion has to land precisely. The output reads like real live action. - Lastly, generate every clip you need, then cut them together. Get it to Capcut for editing and audio design. And that's it. The pipeline that used to need a full crew and a studio can now run from one Claude chat. 2026 is gonna be wild
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You don't understand... Higgsfield MCP + Claude just automated AI film making. Every single step you used to grind through to make an AI movie, you can now do 10x faster. Drop the script into Claude Opus 4.8 and say: "Here's my script. Break it into a full shotlist. Shot number, scene, shot type, camera move and the action in each frame." Now the whole film is mapped, shot by shot. - Pull your assets. Ask Claude: "From this shotlist, list every character, every location and every prop across the whole film." That's your build list. The stuff you would need to generate and give as references in next steps. - Build the character sheets. Higgsfield MCP is connected, so Claude has hands now to do stuff directly. It generates the images itself. Have the full body, back view and close up in the character sheet. One per character. Each sheet becomes the locked reference for that face. Same move for locations, generate the empty plate for each one before anyone steps into it. - Generate the frames. Feed Claude the references plus the shot and have it write and fire the Seedance 2.0 prompt. "Using the lead's character sheet and the alley plate, generate shot 4 in Seedance 2.0. Low angle, slow push-in, rain." Claude builds the prompt, calls Seedance 2.0 and the frame lands back in chat. Use a Seedance 2.0 skill to teach Claude how to prompt it properly. Now, there are 3 ways to make the shots. Pick one per scene. - Pure prompting. Fastest one. You describe the action in words and let Seedance interpret it. For consistency across a sequence, feed it a frame from the previous shot so the look carries. - Storyboarding. You hand it a panel and it matches that composition exactly. Way more control over how the shot is framed. The tradeoff is that it can introduce more cuts than you actually want. - Path Control System This is the latest technique Seedance 2.0 technique. Generate a still base plate of the scene. Draw a red line across it to mark the exact path of the movement, then describe what's happening. Seedance follows that line for the action. Also ask Claude to remove the red line when animating. This is the one for anything where motion has to land precisely. The output reads like real live action. - Lastly, generate every clip you need, then cut them together. Get it to Capcut for editing and audio design. And that's it. The pipeline that used to need a full crew and a studio can now run from one Claude chat. 2026 is gonna be wild

Rez Karim

10,951 Aufrufe • vor 2 Monaten

How far would you go for a kiss you'll never forget? Nano Banana Pro + Seedance 2.0 on BudgetPixel AI prompt Cinematic 6-second drone shot at dusk. A young couple @[Image 1](image_1) passionately kissing while sitting on the edge of the giant white Hollywood sign. Start in a tight medium shot focused on their kiss: a woman with wavy blonde hair in a low bun wearing a babypink sleeveless high-neck top, black leggings and chunky black platform boots, and a muscular man with short hair, small hoop earring, white ribbed tank top and black trousers. They are sitting side by side on the narrow ledge of the letter, legs dangling, leaning into a deep kiss. The man holds a small black object in his hands. The camera performs a slow, smooth, continuous pull-back and slight ascending crane movement. As it moves, the massive scale of the iconic white Hollywood sign is gradually revealed beneath them. The shot ends in a wide establishing view showing the full "HOLLYWOOD" sign letters against dry golden-brown California hills, a dramatic cloudy dusk sky with warm orange-pink sunset glow on the horizon, and a tall communication tower visible in the distance. The couple remains visible as small figures still kissing on the first letter. Natural cinematic lighting, soft dusk atmosphere, high detail, realistic live-action, filmic color grading with slightly desaturated tones, strong contrast between the bright white sign and the moody landscape. Romantic, bold, epic yet intimate mood. Smooth camera movement, no cuts.
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How far would you go for a kiss you'll never forget? Nano Banana Pro + Seedance 2.0 on BudgetPixel AI prompt Cinematic 6-second drone shot at dusk. A young couple @[Image 1](image_1) passionately kissing while sitting on the edge of the giant white Hollywood sign. Start in a tight medium shot focused on their kiss: a woman with wavy blonde hair in a low bun wearing a babypink sleeveless high-neck top, black leggings and chunky black platform boots, and a muscular man with short hair, small hoop earring, white ribbed tank top and black trousers. They are sitting side by side on the narrow ledge of the letter, legs dangling, leaning into a deep kiss. The man holds a small black object in his hands. The camera performs a slow, smooth, continuous pull-back and slight ascending crane movement. As it moves, the massive scale of the iconic white Hollywood sign is gradually revealed beneath them. The shot ends in a wide establishing view showing the full "HOLLYWOOD" sign letters against dry golden-brown California hills, a dramatic cloudy dusk sky with warm orange-pink sunset glow on the horizon, and a tall communication tower visible in the distance. The couple remains visible as small figures still kissing on the first letter. Natural cinematic lighting, soft dusk atmosphere, high detail, realistic live-action, filmic color grading with slightly desaturated tones, strong contrast between the bright white sign and the moody landscape. Romantic, bold, epic yet intimate mood. Smooth camera movement, no cuts.

Sharon Riley

34,983 Aufrufe • vor 1 Monat

Energy creates its own ocean.⚽🥅 Created on Prompt: A Pixar-style cinematic 3D animated sequence set inside a massive World Cup stadium, highly emotional and visually surreal. The stadium is packed with a roaring crowd, shown in ultra-detailed wide shots. As the match begins, the crowd subtly starts to behave like a living ocean—thousands of fans blending into flowing wave-like motion, their movements synchronized like rolling tides reacting to every pass, tackle, and shot. The camera sweeps smoothly across the stadium, revealing wave patterns forming across stands, creating a mesmerizing ocean effect made of human energy and light. Lighting is dramatic and cinematic with glowing stadium floodlights reflecting like sunlight on water. The match reaches its climax: the winning goal is scored. At the exact moment of impact, the entire crowd-ocean surges upward in a powerful wave. The motion becomes monumental and symbolic as the waves rise and morph into the glowing silhouette of the FIFA World Cup trophy above the stadium. Emotional, awe-inspiring atmosphere, ultra-detailed Pixar-inspired 3D animation, volumetric lighting, shallow depth of field, smooth cinematic camera movement, epic storytelling, surreal transformation, 15-second short film pacing. sunjian Wery #Wery #AiExpertWorkspace #TellWeryTheGoal
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Energy creates its own ocean.⚽🥅 Created on Prompt: A Pixar-style cinematic 3D animated sequence set inside a massive World Cup stadium, highly emotional and visually surreal. The stadium is packed with a roaring crowd, shown in ultra-detailed wide shots. As the match begins, the crowd subtly starts to behave like a living ocean—thousands of fans blending into flowing wave-like motion, their movements synchronized like rolling tides reacting to every pass, tackle, and shot. The camera sweeps smoothly across the stadium, revealing wave patterns forming across stands, creating a mesmerizing ocean effect made of human energy and light. Lighting is dramatic and cinematic with glowing stadium floodlights reflecting like sunlight on water. The match reaches its climax: the winning goal is scored. At the exact moment of impact, the entire crowd-ocean surges upward in a powerful wave. The motion becomes monumental and symbolic as the waves rise and morph into the glowing silhouette of the FIFA World Cup trophy above the stadium. Emotional, awe-inspiring atmosphere, ultra-detailed Pixar-inspired 3D animation, volumetric lighting, shallow depth of field, smooth cinematic camera movement, epic storytelling, surreal transformation, 15-second short film pacing. sunjian Wery #Wery #AiExpertWorkspace #TellWeryTheGoal

Soulful Ai

12,777 Aufrufe • vor 2 Monaten

Will Adipurush save Namit Malhotra’s ₹4,000 crore Ramayana? 🫪👇🏻 Adipurush was undeniably a non-serious film. But its scenes suddenly going viral again feels like an attempt to lower the benchmark for Ramayana. The timing is interesting. By constantly reminding audiences how bad Adipurush was, the comparison sets the bar extremely low, making Ramayana appear better by default, even if it has its own shortcomings, such as weak acting, inconsistent CGI, technical flaws, loose crowns, incorrect archery techniques, overuse of CGI (even for something as simple as fire), and a lack of attention to detail. Compare that with films like Dhurandhar, which reportedly used real tanker explosions instead of relying entirely on CGI. The comparison is also unfair in terms of scale. Adipurush was reportedly made on a budget of around ₹500 crore, while Ramayana has been claimed by its producer, Namit Malhotra, to have a budget of about ₹4,000 crore. The makers of Ramayana may be pleased that people are still highlighting Adipurush’s flaws years later. But they should remember that the same audience will scrutinize Ramayana just as closely. A much bigger budget brings much bigger expectations, and the film is already facing criticism even before its release.
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Will Adipurush save Namit Malhotra’s ₹4,000 crore Ramayana? 🫪👇🏻 Adipurush was undeniably a non-serious film. But its scenes suddenly going viral again feels like an attempt to lower the benchmark for Ramayana. The timing is interesting. By constantly reminding audiences how bad Adipurush was, the comparison sets the bar extremely low, making Ramayana appear better by default, even if it has its own shortcomings, such as weak acting, inconsistent CGI, technical flaws, loose crowns, incorrect archery techniques, overuse of CGI (even for something as simple as fire), and a lack of attention to detail. Compare that with films like Dhurandhar, which reportedly used real tanker explosions instead of relying entirely on CGI. The comparison is also unfair in terms of scale. Adipurush was reportedly made on a budget of around ₹500 crore, while Ramayana has been claimed by its producer, Namit Malhotra, to have a budget of about ₹4,000 crore. The makers of Ramayana may be pleased that people are still highlighting Adipurush’s flaws years later. But they should remember that the same audience will scrutinize Ramayana just as closely. A much bigger budget brings much bigger expectations, and the film is already facing criticism even before its release.

maithun

37,371 Aufrufe • vor 27 Tagen

how to prompt undetectable ai shots while designing a running scene, first think about these 3 basic questions: how does the camera move? what is it looking at? where does it stop? a good motion prompt is really just a timeline it needs to follow real-world physics, and it needs to carry story at the same time 1. start with the narrative goal of the shot camera movement is not just movement it is the storytelling so before writing the prompt, define what the shot is trying to do for example, in a 15-second one take, the goal could be: follow the female lead laterally while she runs, to build speed and tension then briefly reveal the people chasing her then let the camera hesitate for a moment and find her again that small “lose and recapture” moment adds spatial depth and makes the chase feel more intense 2. build a clear space for the camera to work in if the space is vague, the shot gets messy very fast i like breaking the scene into layers so the model knows where everything belongs foreground: passing objects, environmental motion main subject layer: the woman running midground: cafe tables, pedestrians, the people chasing her background: the vanishing point of the street, and the entrance to the pedestrian area once the space is clear, the camera has a stage to move through 3. describe motion like a physical process a good moving shot has to respect inertia if the movement feels weightless or too perfect, it instantly feels fake so instead of using broad words, describe a chain of actions the camera can actually perform what accelerates what slows down when it adjusts when it slightly overshoots when it catches itself again that little bit of imperfection is usually what makes it feel real 4. use focus as part of the storytelling in a one take, focus is one of the best ways to guide attention you can design moments where focus shifts with intention for example: focus briefly drifts from the chasers’ faces, passes beyond them, lands on the woman in the distance, then quickly pulls back again it feels like a small mistake, but that’s exactly why it works it simulates a camera operator re-evaluating the subject in the middle of a fast-moving shot that kind of temporary focus loss and recovery adds a lot of immediacy and documentary feeling 5. build the sound space with the camera sound should move with the shot when the camera turns toward the chasers, the woman’s breathing should fall deeper into the sound field, while the chasers’ footsteps and breathing move to the center when the camera finds the woman again, her breath becomes the main sound again that shift in audio perspective helps the scene feel much more immersive it’s not just about what we see it’s also about where we feel the scene from 6. use negative constraints to stop common ai mistakes this part matters a lot i usually add clear “don’ts” at the end to stop the model from breaking the shot for example: no cuts no teleporting zooms no sliding characters no body fusion no floating props the travel bag must keep believable weight and inertia these negative constraints act like guardrails they help keep the result inside a believable physical world for me, the core of a strong motion prompt is simple: organize space, camera, focus, action, and sound into one executable timeline that’s really the difference instead of prompting a vague feeling, you’re designing a physical process and that’s usually what helps ai generate a moving shot that feels coherent, grounded, and full of tension
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how to prompt undetectable ai shots while designing a running scene, first think about these 3 basic questions: how does the camera move? what is it looking at? where does it stop? a good motion prompt is really just a timeline it needs to follow real-world physics, and it needs to carry story at the same time 1. start with the narrative goal of the shot camera movement is not just movement it is the storytelling so before writing the prompt, define what the shot is trying to do for example, in a 15-second one take, the goal could be: follow the female lead laterally while she runs, to build speed and tension then briefly reveal the people chasing her then let the camera hesitate for a moment and find her again that small “lose and recapture” moment adds spatial depth and makes the chase feel more intense 2. build a clear space for the camera to work in if the space is vague, the shot gets messy very fast i like breaking the scene into layers so the model knows where everything belongs foreground: passing objects, environmental motion main subject layer: the woman running midground: cafe tables, pedestrians, the people chasing her background: the vanishing point of the street, and the entrance to the pedestrian area once the space is clear, the camera has a stage to move through 3. describe motion like a physical process a good moving shot has to respect inertia if the movement feels weightless or too perfect, it instantly feels fake so instead of using broad words, describe a chain of actions the camera can actually perform what accelerates what slows down when it adjusts when it slightly overshoots when it catches itself again that little bit of imperfection is usually what makes it feel real 4. use focus as part of the storytelling in a one take, focus is one of the best ways to guide attention you can design moments where focus shifts with intention for example: focus briefly drifts from the chasers’ faces, passes beyond them, lands on the woman in the distance, then quickly pulls back again it feels like a small mistake, but that’s exactly why it works it simulates a camera operator re-evaluating the subject in the middle of a fast-moving shot that kind of temporary focus loss and recovery adds a lot of immediacy and documentary feeling 5. build the sound space with the camera sound should move with the shot when the camera turns toward the chasers, the woman’s breathing should fall deeper into the sound field, while the chasers’ footsteps and breathing move to the center when the camera finds the woman again, her breath becomes the main sound again that shift in audio perspective helps the scene feel much more immersive it’s not just about what we see it’s also about where we feel the scene from 6. use negative constraints to stop common ai mistakes this part matters a lot i usually add clear “don’ts” at the end to stop the model from breaking the shot for example: no cuts no teleporting zooms no sliding characters no body fusion no floating props the travel bag must keep believable weight and inertia these negative constraints act like guardrails they help keep the result inside a believable physical world for me, the core of a strong motion prompt is simple: organize space, camera, focus, action, and sound into one executable timeline that’s really the difference instead of prompting a vague feeling, you’re designing a physical process and that’s usually what helps ai generate a moving shot that feels coherent, grounded, and full of tension

el.cine

14,603 Aufrufe • vor 20 Tagen

Rita AI now supports Seedance 2.0. If you're looking for a platform that combines AI image generation, AI video generation, and workflow orchestration, this one is worth checking out. In addition to Seedance 2.0, it also supports Kling 3.0 and Motion Control, making dynamic camera moves, controllable motion, and video generation much easier. Link: I tested it with the following prompt, and the result felt very cinematic: A fearless young woman rides a skateboard at high speed through the crowded streets of New York City, weaving through pedestrians, darting past street vendors, yellow taxis, and cyclists with breathtaking agility. She rockets through intersections, skims past towering skyscrapers and iconic storefronts, and launches over curbs, street cracks, and scattered obstacles with stylish precision. Every movement feels bold, controlled, and exhilarating. Shot like a cinematic action sequence, the scene features fast-paced tracking shots, dramatic low-angle close-ups of the skateboard wheels scraping the asphalt, sweeping side-follow shots, and occasional slow-motion hero moments as she lands tricks and cuts through traffic. Dynamic motion blur heightens the sensation of speed, while golden hour sunlight bathes the city in a warm glow, reflecting off glass facades, metal surfaces, and the street below. Steam drifts from subway vents, traffic lights flicker, and the soundless visual energy of New York creates a pulsing urban backdrop. Ultra-realistic, intense, stylish, and immersive, with the visual tone of a high-end action film, capturing speed, confidence, danger, and freedom in the heart of the city.
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Rita AI now supports Seedance 2.0. If you're looking for a platform that combines AI image generation, AI video generation, and workflow orchestration, this one is worth checking out. In addition to Seedance 2.0, it also supports Kling 3.0 and Motion Control, making dynamic camera moves, controllable motion, and video generation much easier. Link: I tested it with the following prompt, and the result felt very cinematic: A fearless young woman rides a skateboard at high speed through the crowded streets of New York City, weaving through pedestrians, darting past street vendors, yellow taxis, and cyclists with breathtaking agility. She rockets through intersections, skims past towering skyscrapers and iconic storefronts, and launches over curbs, street cracks, and scattered obstacles with stylish precision. Every movement feels bold, controlled, and exhilarating. Shot like a cinematic action sequence, the scene features fast-paced tracking shots, dramatic low-angle close-ups of the skateboard wheels scraping the asphalt, sweeping side-follow shots, and occasional slow-motion hero moments as she lands tricks and cuts through traffic. Dynamic motion blur heightens the sensation of speed, while golden hour sunlight bathes the city in a warm glow, reflecting off glass facades, metal surfaces, and the street below. Steam drifts from subway vents, traffic lights flicker, and the soundless visual energy of New York creates a pulsing urban backdrop. Ultra-realistic, intense, stylish, and immersive, with the visual tone of a high-end action film, capturing speed, confidence, danger, and freedom in the heart of the city.

underwood

61,800 Aufrufe • vor 4 Monaten

Star Wars pioneered so many special effects that we take for granted today. When filming the destruction of Alderaan in Star Wars, the effects team at Industrial Light & Magic used a surprisingly simple practical effect. The planet was a painted sphere suspended in front of a black backdrop. To create the explosion, they rigged the miniature with pyrotechnics and filmed it with high-speed cameras at a faster frame rate so the blast would appear massive and cinematic when slowed down. One interesting detail is that the explosion was partially achieved using gasoline and powdered cement. The cement gave the blast a heavier, planetary look rather than a quick fireball. Because the miniature exploded outward so quickly, the slowed footage helped sell the illusion of an entire planet tearing apart in space. The shot lasts only a few seconds in the final film but became one of the most iconic visual effects moments in cinema history, created years before CGI existed. (Original 1977 footage)
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Star Wars pioneered so many special effects that we take for granted today. When filming the destruction of Alderaan in Star Wars, the effects team at Industrial Light & Magic used a surprisingly simple practical effect. The planet was a painted sphere suspended in front of a black backdrop. To create the explosion, they rigged the miniature with pyrotechnics and filmed it with high-speed cameras at a faster frame rate so the blast would appear massive and cinematic when slowed down. One interesting detail is that the explosion was partially achieved using gasoline and powdered cement. The cement gave the blast a heavier, planetary look rather than a quick fireball. Because the miniature exploded outward so quickly, the slowed footage helped sell the illusion of an entire planet tearing apart in space. The shot lasts only a few seconds in the final film but became one of the most iconic visual effects moments in cinema history, created years before CGI existed. (Original 1977 footage)

Best of Star Wars

29,808 Aufrufe • vor 3 Monaten

AI video is remarkably good at imagining historical events. This is a one-shot video from Seedance 2 of Pompeii when Mt. Vesuvius erupted. Prompt is below, you can ask an LLM to rewrite it for any other event 👇 This is handheld documentary footage recorded on an early-2000s consumer DV camcorder from the streets of Pompeii at the moment Mount Vesuvius begins erupting. The footage feels like real, imperfect home video of ordinary people witnessing the beginning of a historic disaster. The recording shows a busy street in Pompeii during the daytime, with merchants, families, children, laborers, and townspeople moving through the city. In the distance, Mount Vesuvius is visible above the rooftops. At first, people are going about normal daily life, but then a strange plume of smoke and ash begins rising from the volcano. The crowd gradually notices it. Some people stop and stare, some point toward the mountain, and others begin shouting to one another in confusion. The camera moves through the street like someone in the crowd trying to capture what is happening. It shows frightened townspeople looking up at the sky, parents pulling children closer, merchants abandoning their stalls, and groups of people beginning to run as ash starts falling. The footage captures the shift from curiosity to fear as the eruption becomes impossible to ignore. There are natural cuts between wider views of the street, the mountain in the distance, and closer views of people reacting in panic. The handheld camera shows natural shake, drifting framing, sudden reactive movement, autofocus mistakes as the person filming swings between the crowd and the volcano, slight exposure problems from bright daylight and ash in the air, and the imperfect look of old DV footage. The movement should feel urgent and unplanned, like someone trying to document the disaster while also staying safe. Natural sound only: the noise of the street, footsteps on stone, people murmuring and then shouting, children crying, distant rumbling from the volcano, debris falling, and the panic of the crowd. No cinematic music added. The result must feel like authentic, raw footage of ordinary people in Pompeii experiencing the beginning of the eruption of Mount Vesuvius, captured on an old DV camcorder.”
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AI video is remarkably good at imagining historical events. This is a one-shot video from Seedance 2 of Pompeii when Mt. Vesuvius erupted. Prompt is below, you can ask an LLM to rewrite it for any other event 👇 This is handheld documentary footage recorded on an early-2000s consumer DV camcorder from the streets of Pompeii at the moment Mount Vesuvius begins erupting. The footage feels like real, imperfect home video of ordinary people witnessing the beginning of a historic disaster. The recording shows a busy street in Pompeii during the daytime, with merchants, families, children, laborers, and townspeople moving through the city. In the distance, Mount Vesuvius is visible above the rooftops. At first, people are going about normal daily life, but then a strange plume of smoke and ash begins rising from the volcano. The crowd gradually notices it. Some people stop and stare, some point toward the mountain, and others begin shouting to one another in confusion. The camera moves through the street like someone in the crowd trying to capture what is happening. It shows frightened townspeople looking up at the sky, parents pulling children closer, merchants abandoning their stalls, and groups of people beginning to run as ash starts falling. The footage captures the shift from curiosity to fear as the eruption becomes impossible to ignore. There are natural cuts between wider views of the street, the mountain in the distance, and closer views of people reacting in panic. The handheld camera shows natural shake, drifting framing, sudden reactive movement, autofocus mistakes as the person filming swings between the crowd and the volcano, slight exposure problems from bright daylight and ash in the air, and the imperfect look of old DV footage. The movement should feel urgent and unplanned, like someone trying to document the disaster while also staying safe. Natural sound only: the noise of the street, footsteps on stone, people murmuring and then shouting, children crying, distant rumbling from the volcano, debris falling, and the panic of the crowd. No cinematic music added. The result must feel like authentic, raw footage of ordinary people in Pompeii experiencing the beginning of the eruption of Mount Vesuvius, captured on an old DV camcorder.”

Justine Moore

21,009 Aufrufe • vor 1 Monat

Created with Seedance 2.0 on SJinn Agent Prompt: FORMAT cinematic continuous shot / motivated camera movement / 15s SCENE A bustling Elizabethan-era market street in London, circa 1500s, at dusk. Timber-framed buildings lean over a narrow muddy street, upper floors nearly touching. Wooden market stalls overflow with bread, fish, herbs, and cloth. Butchers’ hooks hang with raw meat, barrels of ale line the الطريق, and livestock—geese, chickens, and a stray pig—wander freely. Vendors shout in the 거리, accents rough and lively. Smoke rises from chimneys, mixing with damp fog rolling in from the nearby River Thames. The ground is wet, reflecting torchlight and lantern glow in uneven puddles. CAMERA CONCEPT A continuous, motivated camera move where each subject’s motion naturally redirects attention—flowing like a living observer through the chaos of the market. SEQUENCE 0:00–0:03 Close street-level view of a wooden stall stacked with apples and root vegetables. CAMERA FOCUS: a cloaked woman argues over price with a merchant. She bites into an apple to test it, then reluctantly drops worn coins into his hand. 0:03–0:05 A horse-drawn cart loaded with sacks of grain suddenly splashes through muddy water across the foreground, briefly obscuring the scene. CAMERA SHIFT: the camera picks up the cart and begins tracking alongside it. 0:05–0:07 The cart grinds through the tight street, brushing against a hanging cloth banner bearing a faded guild emblem. The fabric whips across the lens. CAMERA SHIFT: as the cloth clears, a group of geese scatter loudly across the الطريق. 0:07–0:09 A ragged street boy darts into frame, chasing the geese with a stick, weaving through townsfolk and baskets. CAMERA SHIFT: the camera follows him, dodging passersby. 0:09–0:12 The boy rushes past the entrance of a dim tavern. He disappears into the crowd. CAMERA SHIFT: the tavern door creaks open as a drunk patron stumbles out. 0:12–0:15 The camera glides past him and into the tavern interior. Thick smoke hangs in the air, lit by flickering oil lanterns. Rough wooden tables, spilled ale, murmuring voices. CAMERA FINAL FOCUS: a silent armored figure sits in the corner—less polished knight, more worn mercenary—mud-stained boots, dented armor, a longsword resting against the bench. He slowly raises his eyes toward the camera. STYLE Authentic Elizabethan street life, dense crowd choreography, grounded realism, historically textured details. LIGHTING Warm torchlight reflecting in wet mud outside, cool fog diffusion, dim golden lantern glow inside, smoke-heavy atmosphere. QUALITY photorealistic, cinematic lighting, historically grounded detail, immersive camera flow, rich 1500s London atmosphere
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Created with Seedance 2.0 on SJinn Agent Prompt: FORMAT cinematic continuous shot / motivated camera movement / 15s SCENE A bustling Elizabethan-era market street in London, circa 1500s, at dusk. Timber-framed buildings lean over a narrow muddy street, upper floors nearly touching. Wooden market stalls overflow with bread, fish, herbs, and cloth. Butchers’ hooks hang with raw meat, barrels of ale line the الطريق, and livestock—geese, chickens, and a stray pig—wander freely. Vendors shout in the 거리, accents rough and lively. Smoke rises from chimneys, mixing with damp fog rolling in from the nearby River Thames. The ground is wet, reflecting torchlight and lantern glow in uneven puddles. CAMERA CONCEPT A continuous, motivated camera move where each subject’s motion naturally redirects attention—flowing like a living observer through the chaos of the market. SEQUENCE 0:00–0:03 Close street-level view of a wooden stall stacked with apples and root vegetables. CAMERA FOCUS: a cloaked woman argues over price with a merchant. She bites into an apple to test it, then reluctantly drops worn coins into his hand. 0:03–0:05 A horse-drawn cart loaded with sacks of grain suddenly splashes through muddy water across the foreground, briefly obscuring the scene. CAMERA SHIFT: the camera picks up the cart and begins tracking alongside it. 0:05–0:07 The cart grinds through the tight street, brushing against a hanging cloth banner bearing a faded guild emblem. The fabric whips across the lens. CAMERA SHIFT: as the cloth clears, a group of geese scatter loudly across the الطريق. 0:07–0:09 A ragged street boy darts into frame, chasing the geese with a stick, weaving through townsfolk and baskets. CAMERA SHIFT: the camera follows him, dodging passersby. 0:09–0:12 The boy rushes past the entrance of a dim tavern. He disappears into the crowd. CAMERA SHIFT: the tavern door creaks open as a drunk patron stumbles out. 0:12–0:15 The camera glides past him and into the tavern interior. Thick smoke hangs in the air, lit by flickering oil lanterns. Rough wooden tables, spilled ale, murmuring voices. CAMERA FINAL FOCUS: a silent armored figure sits in the corner—less polished knight, more worn mercenary—mud-stained boots, dented armor, a longsword resting against the bench. He slowly raises his eyes toward the camera. STYLE Authentic Elizabethan street life, dense crowd choreography, grounded realism, historically textured details. LIGHTING Warm torchlight reflecting in wet mud outside, cool fog diffusion, dim golden lantern glow inside, smoke-heavy atmosphere. QUALITY photorealistic, cinematic lighting, historically grounded detail, immersive camera flow, rich 1500s London atmosphere

Zara

10,809 Aufrufe • vor 4 Monaten

Surreal and Heartbreaking: Iranian state security forces coerced #ArezooBadri, an innocent woman shot by police for not wearing a hijab, into giving a false confession while she lies in critical condition in the hospital. Sources have informed me that Arezoo, in tears, pleaded with them not to film her, but they ruthlessly forced her to say she is “fine” with her situation. The authorities even tried to compel her family to lie on camera, denying that Arezoo was shot and paralyzed by the police over her choice not to wear the hijab. Despite the immense pressure, her family courageously resisted. This vile act of coercion against a defenseless woman and her family is a gross violation of human rights and must be condemned in the strongest terms. I call on the international community to urgently intervene to ensure Arezoo receives the medical care and protection she so desperately needs. The world cannot remain silent in the face of such brutality.
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Surreal and Heartbreaking: Iranian state security forces coerced #ArezooBadri, an innocent woman shot by police for not wearing a hijab, into giving a false confession while she lies in critical condition in the hospital. Sources have informed me that Arezoo, in tears, pleaded with them not to film her, but they ruthlessly forced her to say she is “fine” with her situation. The authorities even tried to compel her family to lie on camera, denying that Arezoo was shot and paralyzed by the police over her choice not to wear the hijab. Despite the immense pressure, her family courageously resisted. This vile act of coercion against a defenseless woman and her family is a gross violation of human rights and must be condemned in the strongest terms. I call on the international community to urgently intervene to ensure Arezoo receives the medical care and protection she so desperately needs. The world cannot remain silent in the face of such brutality.

Masih Alinejad

103,149 Aufrufe • vor 2 Jahren

As of this morning, every brand-new Car sold in Europe is mandated by law to watch its “driver”, and the reason to worry is the opposite of what everyone is screaming about. The camera is not filming your face. The law explicitly bans that. It rather tracks your eyes. The danger is not what it does today. It is what it is now physically positioned to do tomorrow. This became binding across all 27 countries today, the 7th of July 2026, and no member state can opt out, because road safety is an EU competence and EU law overrides national law. Every new car and van, roughly 18 million of them a year, must now carry an infrared camera, usually on the steering column, that follows the driver's gaze. Look away too long, six seconds under 50 kilometers an hour, three and a half above it, and the car warns you with a sound, a light, or a buzz in the seat. The stated reason is real. Distraction causes up to 30 percent of crashes, and the Commission projects the wider safety package will save 25,000 lives by 2038. The outrage dissolves on contact with the actual text. The law actually fully forbids facial recognition and any biometric identification of anyone in the car, and the footage is legally barred from leaving the vehicle. No recording, no transmission, no police feed. As written today, this is a safety beeper, not a spy. But look at what already sits beside it. Think about it.. come on!! Europe's cars already run always-on systems that do transmit, the automatic crash caller that dials emergency services, the black-box event recorder, and over-the-air software that rewrites the car remotely overnight. The sensor was just made universal. The wall keeping it private is a single legal paragraph, and the same law already schedules its own review for 2027 to read cognitive state and body movement, while suppliers openly sell using the identical mandated camera to watch the passengers too. So this is the quiet architecture of every threshold. The permanent thing is physical, a camera now bolted into 18 million dashboards a year. The thing protecting you is a mere sentence, and sentences are the easiest part of any system to revise. Europe hardwired the eye. It left what the eye may see as the one part that can still be changed later. Hmm 🤨
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As of this morning, every brand-new Car sold in Europe is mandated by law to watch its “driver”, and the reason to worry is the opposite of what everyone is screaming about. The camera is not filming your face. The law explicitly bans that. It rather tracks your eyes. The danger is not what it does today. It is what it is now physically positioned to do tomorrow. This became binding across all 27 countries today, the 7th of July 2026, and no member state can opt out, because road safety is an EU competence and EU law overrides national law. Every new car and van, roughly 18 million of them a year, must now carry an infrared camera, usually on the steering column, that follows the driver's gaze. Look away too long, six seconds under 50 kilometers an hour, three and a half above it, and the car warns you with a sound, a light, or a buzz in the seat. The stated reason is real. Distraction causes up to 30 percent of crashes, and the Commission projects the wider safety package will save 25,000 lives by 2038. The outrage dissolves on contact with the actual text. The law actually fully forbids facial recognition and any biometric identification of anyone in the car, and the footage is legally barred from leaving the vehicle. No recording, no transmission, no police feed. As written today, this is a safety beeper, not a spy. But look at what already sits beside it. Think about it.. come on!! Europe's cars already run always-on systems that do transmit, the automatic crash caller that dials emergency services, the black-box event recorder, and over-the-air software that rewrites the car remotely overnight. The sensor was just made universal. The wall keeping it private is a single legal paragraph, and the same law already schedules its own review for 2027 to read cognitive state and body movement, while suppliers openly sell using the identical mandated camera to watch the passengers too. So this is the quiet architecture of every threshold. The permanent thing is physical, a camera now bolted into 18 million dashboards a year. The thing protecting you is a mere sentence, and sentences are the easiest part of any system to revise. Europe hardwired the eye. It left what the eye may see as the one part that can still be changed later. Hmm 🤨

Shanaka Anslem Perera ⚡

650,189 Aufrufe • vor 1 Monat