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Uncommitted ‘27 SS/RHP @CullenSchwigen (Rockridge Rocket Baseball) 6-2, 195 frame, top 2-sport athlete/QB. Up to 90 mph, last night living 85-88w/ life, sharp CB 75-77. 9 Ks in 5 IP. Also hitting in the 2-hole, impacting both sides. Ranked No. 10 Prep Baseball Illinois, No. 203 nationally. Wow Factor... show more

Coach B.

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13,027 views • 1 year ago •via X (Twitter)

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RHP Kyle Prebil (Sycamore, 2025) 6-foot-2, 210-pounds. FB was up to 89 mph on Friday, and later settled to 84-87 mph last night. Also mixed in a CB at 72-75 mph. @PBR_Uncommitted | Prep Baseball Illinois | #PBRILOpen

RHP Kyle Prebil (Sycamore, 2025) 6-foot-2, 210-pounds. FB was up to 89 mph on Friday, and later settled to 84-87 mph last night. Also mixed in a CB at 72-75 mph. @PBR_Uncommitted | Prep Baseball Illinois | #PBRILOpen

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‘26 | INF | Mac Solis (Shawnee Mission South Laces a ball down the line for a stand up double for Prime 27:17. Physical 6-foot-2, 205-pound athlete with loud tools on both sides of the ball. Swings with intent to do damage. One of the top Prep Baseball Uncommitted bats in the KS class. #Super1725 Prep Baseball Kansas // Midwest Premier Baseball

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Eliott Wilk

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. West Chester Dragons Baseball Follow 🆙 ‘27 RHP Shane Manuel (WC Henderson) BUILD: 5-10, 165 FB: 90-92 T92.4‼️ SNK: 89-90 SL: 79-82 (2500+🥏) CH: 84-85 (17” HM) CB: 77 Huge showing from the junior. + 10 MPH since the #PASG in June📈 Late life ASR on the FB. SL is a S&M pitch ✔️ Player to follow 💥 Shane Manuel | Prep Baseball Uncommitted | Shooter Hunt

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‘27 1B/LHP Hudson Hardesty (LHS Baseball) One of the top uncommitted two-way players in the state showed out in both sides of the ball in this. The LHH collected two hits including a double. On the mound tossed 5 inn allowing just 2 ER on 4 H 2 BB while punching out 9. FB: 84-87 CB: 70-72 CH: -75-77

‘27 1B/LHP Hudson Hardesty (LHS Baseball) One of the top uncommitted two-way players in the state showed out in both sides of the ball in this. The LHH collected two hits including a double. On the mound tossed 5 inn allowing just 2 ER on 4 H 2 BB while punching out 9. FB: 84-87 CB: 70-72 CH: -75-77

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Slo-mo side angle look at ‘27 Arkansas Baseball commit Jake Jenkins (Jake Jenkins). The 6-3, 205-pound LHP is up to 9️⃣2️⃣ MPH in his start in the Capelli Sport ✭Five Tool Texas✭ DFW Game of the Week. Picks up the strikeout here to end his second inning of work. Has 6K in the 2 IP with one hit. Started the first batter with three straight change ups at 80-82 MPH. Working a slider at 79-80 MPH and curveball at 77 MPH. Sitting 89 MPH and hitting spots. Currently No. 31 on the Five Tool Baseball Texas 55. Out of Legacy Baseball (TX). Profile:

Jeffrey Kahn

11,543 views • 6 months ago

‘28 RHP/IF Alex Potter (Alex Potter) Good look at the No. 2 ranked RHP in the TN ‘28 Class Displayed a quick loose arm w/ an easy arm stroke. Good tempo on the mound and kept hitters off balance. Ran the FB up to 90 mph early then later settled 85-88. Showed lots of confidence in the CB in various counts in the 74-76 mph range. Potter filled up the zone in a win or go home play off game going 5 scoreless frames only allowing 3 hits. #NPI26 // Midland Baseball

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What an outing from Jaxon Becker (‘28 CA) today, dominating on the mound and sending his team into the next round. Final line: 5 ip, 2 H, 0 R, 10 Ks, 0 BB. The 6’3 180lb righty was up to 91 mph with the fastball, sat 88-90, and mixed in a wicked slider in the mid-70s. He’s a bulldog on the mound, pounding the zone with a jerky, but smooth motion, challenging hitters with fastballs all day. No. 9 ranked RHP in California, he’s going to be a strong commitment for someone. Perfect Game California #WWBA

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Perfect Game Scout

18,950 views • 2 months ago

RHP Justin Mitrovich (Elon Baseball) is one mid-major arm to follow this season. Was excellent as a true Freshman and pitched his way to a 3.68 ERA with 66 Ks to 21 BB across 63.2 IP. Last spring he worked a 5.06 ERA and collected 96 Ks against 30 BB in 80 IP. Mitrovich also showed positive flashes on the Cape this summer and notched 17 Ks in as many IP. Mitrovich has an athletic frame at 6'3" and 200-lbs. Room to fill out physically. Worked exclusively out of the stretch during the spring, but went back to the windup this summer. Works on the 1B side of the rubber, starts his motion with a small side step then gathers himself. Leads into a high lift, and the rest of his operation is up-tempo. Plenty of depth on his long arm stroke, attacks from a three-quarters slot with present arm speed. Some effort. Mitrovich's FB sits in the 91-94 range, but has been up to 96 with some life in the top-1/2 of the zone. Figuring his heater out is going to be the key for him going forward. Threw mostly 4-seamers during the spring, but went 2-seam heavy during the summer and still generated a whiff rate < 20%. A handful of the latter flashed late arm side life, particularly against LHH. Both play well in the top-1/2 of the zone. Needs to iron out the shape and maximize it. Mitrovich's bread-and-butter offerings are his secondaries. His low-80s CH is one of the best of its kind in the college ranks. Averaged over 12 MPH off his FB last spring and is a legit swing-and-miss pitch against both LHH and RHH. Throws it with conviction and will use it in any count. Consistently flashes fade to the arm side as well as ample late tumbling life. True "falling off the table" look. Mitrovich's feel for the pitch is highly advanced, and last spring it generated a 52% whiff rate, 47% chase rate and held opposing hitters to a .198 average. Comfortably a 60. Rounds out his arsenal with a low-to-mid-80s SL that is a particular weapon against righthanded hitters. Gyro look that's not big in shape, but will flash some lateral glove-side life with late bite. Flashed above-average at times last spring and garnered a 45% miss rate. Gets whiffs both in and out of the zone. Mitrovich is a strike-thrower who looks the part of a starter at the next level. As mentioned, the key with him is developing the FB. Fits as a 5th-7th rounder for me right now. (📽️: Elon Baseball)

RHP Justin Mitrovich (Elon Baseball) is one mid-major arm to follow this season. Was excellent as a true Freshman and pitched his way to a 3.68 ERA with 66 Ks to 21 BB across 63.2 IP. Last spring he worked a 5.06 ERA and collected 96 Ks against 30 BB in 80 IP. Mitrovich also showed positive flashes on the Cape this summer and notched 17 Ks in as many IP. Mitrovich has an athletic frame at 6'3" and 200-lbs. Room to fill out physically. Worked exclusively out of the stretch during the spring, but went back to the windup this summer. Works on the 1B side of the rubber, starts his motion with a small side step then gathers himself. Leads into a high lift, and the rest of his operation is up-tempo. Plenty of depth on his long arm stroke, attacks from a three-quarters slot with present arm speed. Some effort. Mitrovich's FB sits in the 91-94 range, but has been up to 96 with some life in the top-1/2 of the zone. Figuring his heater out is going to be the key for him going forward. Threw mostly 4-seamers during the spring, but went 2-seam heavy during the summer and still generated a whiff rate < 20%. A handful of the latter flashed late arm side life, particularly against LHH. Both play well in the top-1/2 of the zone. Needs to iron out the shape and maximize it. Mitrovich's bread-and-butter offerings are his secondaries. His low-80s CH is one of the best of its kind in the college ranks. Averaged over 12 MPH off his FB last spring and is a legit swing-and-miss pitch against both LHH and RHH. Throws it with conviction and will use it in any count. Consistently flashes fade to the arm side as well as ample late tumbling life. True "falling off the table" look. Mitrovich's feel for the pitch is highly advanced, and last spring it generated a 52% whiff rate, 47% chase rate and held opposing hitters to a .198 average. Comfortably a 60. Rounds out his arsenal with a low-to-mid-80s SL that is a particular weapon against righthanded hitters. Gyro look that's not big in shape, but will flash some lateral glove-side life with late bite. Flashed above-average at times last spring and garnered a 45% miss rate. Gets whiffs both in and out of the zone. Mitrovich is a strike-thrower who looks the part of a starter at the next level. As mentioned, the key with him is developing the FB. Fits as a 5th-7th rounder for me right now. (📽️: Elon Baseball)

Peter Flaherty III

15,140 views • 1 year ago

OF Nick Dumesnil (California Baptist Baseball) is one of the higher upside college bats in this year's Draft. Showed flashes across a limited sample as a Freshman, but exploded last year to the tune of a .362/.440/.702 slash line with 40 XBH (19 HRs) and 45 RBIs across 61 games. Proceeded to have an excellent summer on the Cape in which he hit .311/.378/.489 with a league-leading 12 2B, 4 HR, 15 RBIs and a league-leading 26 SB in 36 games. Strong, athletic frame at 6'2" and 205-pounds. Big league body. Slightly wide base in the box with a somewhat high handset (lowered his hands as the summer went on, was ultra-high at school with his bat pointed almost straight down behind his back shoulder. Drew Burress-ish look). Ultra-small stride that is more of a toe tap than anything else. Hands already start pretty far back, though they drift slightly in his load. Engaged lower-half, especially his back side. Easy plus bat speed. Dumesnil showed the ability to drive the baseball to all fields both at school and on the Cape. Would give his power a 55 overall, but it's a 6 to the pull side. Top spun a 2-run HR (EV of 106) off the scoreboard in the ASG. Very curious to monitor how his hit tool progresses this spring. There's a present feel for the barrel and his bat-to-ball skills are plus (ovr. IZ contact rate of 90%, including 93% and 91% against FB and SL, respectively). Will certainly need to shore up his pitch recognition skills and swing decisions in order to maximize his offensive upside. Some chase up/out against FB, down/out against secondaries. Key will be doing a better job of picking up spin out of the hand. Plus runner—who most importantly knows HOW to run—whose speed translates on both sides of the baseball. Chaos-causer on the bases, Dumesnil's speed also gives him the opportunity to take an extra base on a ball in the gap or down the line. I thought his instincts in CF got better as the summer went on. Dumesnil's speed and elite athleticism allow him to cover plenty of ground and his arm is average, I'm sure he'll get the opportunity to prove he can stick there in pro ball. Chance he could move off and end up at a corner eventually. Key for Dumesnil is adding polish to his hit tool. There is 5-tool upside (key word) with him and he can impact the game in a number of ways. Potential first round pick this July. (📽️: California Baptist Baseball)

OF Nick Dumesnil (California Baptist Baseball) is one of the higher upside college bats in this year's Draft. Showed flashes across a limited sample as a Freshman, but exploded last year to the tune of a .362/.440/.702 slash line with 40 XBH (19 HRs) and 45 RBIs across 61 games. Proceeded to have an excellent summer on the Cape in which he hit .311/.378/.489 with a league-leading 12 2B, 4 HR, 15 RBIs and a league-leading 26 SB in 36 games. Strong, athletic frame at 6'2" and 205-pounds. Big league body. Slightly wide base in the box with a somewhat high handset (lowered his hands as the summer went on, was ultra-high at school with his bat pointed almost straight down behind his back shoulder. Drew Burress-ish look). Ultra-small stride that is more of a toe tap than anything else. Hands already start pretty far back, though they drift slightly in his load. Engaged lower-half, especially his back side. Easy plus bat speed. Dumesnil showed the ability to drive the baseball to all fields both at school and on the Cape. Would give his power a 55 overall, but it's a 6 to the pull side. Top spun a 2-run HR (EV of 106) off the scoreboard in the ASG. Very curious to monitor how his hit tool progresses this spring. There's a present feel for the barrel and his bat-to-ball skills are plus (ovr. IZ contact rate of 90%, including 93% and 91% against FB and SL, respectively). Will certainly need to shore up his pitch recognition skills and swing decisions in order to maximize his offensive upside. Some chase up/out against FB, down/out against secondaries. Key will be doing a better job of picking up spin out of the hand. Plus runner—who most importantly knows HOW to run—whose speed translates on both sides of the baseball. Chaos-causer on the bases, Dumesnil's speed also gives him the opportunity to take an extra base on a ball in the gap or down the line. I thought his instincts in CF got better as the summer went on. Dumesnil's speed and elite athleticism allow him to cover plenty of ground and his arm is average, I'm sure he'll get the opportunity to prove he can stick there in pro ball. Chance he could move off and end up at a corner eventually. Key for Dumesnil is adding polish to his hit tool. There is 5-tool upside (key word) with him and he can impact the game in a number of ways. Potential first round pick this July. (📽️: California Baptist Baseball)

Peter Flaherty III

21,977 views • 1 year ago

RHP Cole Leaman (Lehigh Baseball) is an arm I'm really looking forward to following this spring. Fresh off a strong Sophomore season in which he worked a 2.31 ERA with 49 Ks to 23 BB across 46.2 IP. Showed some positive flashes on the Cape. While slightly undersized, Leaman has a strong and athletic build at 6' and 190-lbs. Has put on a lot of good weight over the last couple of years. Leaman has almost a "check point" delivery in which he takes a noticeable side step towards the 1B side, gathers himself and breaks into the rest of his motion. Lengthy arm stroke and attacks from a high-3/4 slot from a low release height. Leaman is a high-level athlete and a dynamic mover on the mound. Sits really well on his back glute and his lead leg block enables him to generate power and drive his back side through. Drop and drive delivery. Little bit of effort, but plenty of arm speed. Leaman's FB sits in the 91-94 range, but it was up to 96 this summer and 98 this fall. Jumps out of his hand from a ~5'3" release height and flashes riding life through the zone. Averaged 15" of carry this summer and 2,361 RPMs. Gets over the barrels of opposing hitters when located in the top-1/2 of the zone, which is where the pitch is at its best. Command can be erratic at times. Would give it a 55. Leaman's most-used off speed pitch is a high-70s-to-low-80s CB. Shape is inconsistent and it can get a little slurvy at times, but he snapped off a handful of really good ones between the spring and summer. When it's at its best, it will flash a bigger shape with sharp, downward tilt. Leaman will also mix in a low-to-mid-80s SL that's distinct in shape. Another pitch he's still gaining a feel for, but like his CB it's also shown big time flashes. Shape of it will vary, but it will sometimes flash plus with sharp, two-plane break (more sweep than depth) and essentially take a late, hard left turn. Rounds out his arsenal with a high-80s cutter and a mid-to-high-80s CH. The former is more intriguing than the latter. Curious to see how much he uses the cutter this spring, threw a couple this summer that had late glove-side life. Leaman has a very intriguing blend of athleticism and stuff, though he'll need to iron out his command and control in order to maximize his upside. As mentioned, it's a bit scattered right now and has hindered him in some starts. 5th-8th round type this July. (📽️: Falmouth Commodores)

RHP Cole Leaman (Lehigh Baseball) is an arm I'm really looking forward to following this spring. Fresh off a strong Sophomore season in which he worked a 2.31 ERA with 49 Ks to 23 BB across 46.2 IP. Showed some positive flashes on the Cape. While slightly undersized, Leaman has a strong and athletic build at 6' and 190-lbs. Has put on a lot of good weight over the last couple of years. Leaman has almost a "check point" delivery in which he takes a noticeable side step towards the 1B side, gathers himself and breaks into the rest of his motion. Lengthy arm stroke and attacks from a high-3/4 slot from a low release height. Leaman is a high-level athlete and a dynamic mover on the mound. Sits really well on his back glute and his lead leg block enables him to generate power and drive his back side through. Drop and drive delivery. Little bit of effort, but plenty of arm speed. Leaman's FB sits in the 91-94 range, but it was up to 96 this summer and 98 this fall. Jumps out of his hand from a ~5'3" release height and flashes riding life through the zone. Averaged 15" of carry this summer and 2,361 RPMs. Gets over the barrels of opposing hitters when located in the top-1/2 of the zone, which is where the pitch is at its best. Command can be erratic at times. Would give it a 55. Leaman's most-used off speed pitch is a high-70s-to-low-80s CB. Shape is inconsistent and it can get a little slurvy at times, but he snapped off a handful of really good ones between the spring and summer. When it's at its best, it will flash a bigger shape with sharp, downward tilt. Leaman will also mix in a low-to-mid-80s SL that's distinct in shape. Another pitch he's still gaining a feel for, but like his CB it's also shown big time flashes. Shape of it will vary, but it will sometimes flash plus with sharp, two-plane break (more sweep than depth) and essentially take a late, hard left turn. Rounds out his arsenal with a high-80s cutter and a mid-to-high-80s CH. The former is more intriguing than the latter. Curious to see how much he uses the cutter this spring, threw a couple this summer that had late glove-side life. Leaman has a very intriguing blend of athleticism and stuff, though he'll need to iron out his command and control in order to maximize his upside. As mentioned, it's a bit scattered right now and has hindered him in some starts. 5th-8th round type this July. (📽️: Falmouth Commodores)

Peter Flaherty III

26,791 views • 1 year ago

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Made in Grok Imagine Good evening. My dear friends😊 Let us #connect. "哥哥，来嘛，#交个朋友又不用钱。” "Hey handsome, come on—making friends doesn't cost a thing." #GrokImagine prompt: 1. Concept / Theme A single continuous 10-second shot of elegant, bewitching seduction. Photoreal luxury erotica: a tall mixed-race woman lazily invites the viewer with an overly sweet, breathy, almost cloying voice, then seals it with a one-eye wink. The body must read instantly as an extreme hourglass. 2. Subject One woman, 20–25, Japanese-European mixed, 178 cm tall. Extremely narrow waist, full heavy G-cup breasts, fair tender realistic skin. No other people. 3. Appearance Natural blue eyes, wet and sharp. Delicate bone structure, fashion-level makeup that still looks like real skin: visible pores, peach fuzz, faint chest flush. Glossy, slightly wet lips. Fashionable hair (sleek cool-toned, one strand loose). Breasts look full, soft, and weighty; waist looks cinched and narrow enough that both hands could almost span it. 4. Expression & Emotion Elegant and fox-like, not cute. Half-lidded, knowing, unhurried. While speaking she is syrupy and shamelessly flirtatious. After the line she waits, watching you. Final expression: one-eye wink, the other eye stays open and locked on camera, tiny wicked lift of the mouth. 5. Clothing & Styling Much sexier than editorial minimalism. Dark wet-look silk or tight satin dress / tiny tailored vest-dress, deep neckline, fabric stretched over the G-cup so cleavage and side-breast curve are obvious, waist belt or cut that crushes the midsection into an extreme cinch, high slit showing the long line of the hip. One strap may slip a few millimeters. No modest coverage, no bulky coat hiding the figure, no cheap plastic lingerie. High-fashion slutty elegance. 6. Pose & Body Movement One continuous physical action: slight approach or lean-in, weight on one hip, one hand on a glossy table or railing, chest pushed forward by posture so volume is undeniable, waist shown in profile-three-quarter. Minimal motion after she starts speaking. No dancing, no hair whip. 7. Environment / Setting Dark expensive interior, penthouse or hotel suite, one reflective surface, empty and private. 8. Time / Weather / Lighting Night interior. Soft but directional side-rim light that carves the breast volume, the shadow of the cleavage, and the hollow of the waist. Realistic skin highlights, not beauty-filter glow. 9. Action & Motion 0–2s: living close-up of blue eyes and real breath. 2–5s: slow reveal of full bust and extreme waist as she leans in. 5–7.4s: she says, extremely breathy, clingy, seductive, almost cheesy: “哥哥，来嘛，交个朋友又不用钱.” 7.4–8.6s: freeze and watch the lens. 8.6–10s: wink with only one eye; other eye open; tiny smirk. End. 10. Camera Movement One shot only. No cuts. Start on the eyes, very slow tilt down across cleavage and waist, then a gentle push-in back to the face. Low camera so her height and bust dominate. Tiny natural handheld drift only. 11. Composition & Framing Vertical. Eyes sharp in the open. Mid-frame must display the contrast: huge bust against a violently small waist. Finish tight on the winking eye. 12. Lens / Focus / Depth of Field 85–105mm look, shallow DOF, eyes always sharp, no wide-angle distortion of the face or chest. 13. Visual Style / Quality Photoreal, 4K, real skin texture, real fabric stretch, cinematic grain. Elegant, vampy, humid. Not plastic CGI, not influencer selfie, not hardcore porn set. 14. Negative Prompt / Constraints No cuts. No both-eyes wink. No cute idol face, no peace sign, no cartoon body. No flat chest, no thick waist, no hiding the bust under loose clothes. No cold detached tone; the voice must be cloying and breathy. No extra people, no text, no watermark, no underage look, no explicit sex acts required. Do not change the Chinese line.

Miss.AI

124,956 views • 1 month ago

Seedance 2.0 on Higgsfield AI delivers some of the best camera motion, consistency, and creative control I've seen in AI video generation. Full Open-sourced prompts & assets below: SCENE CONTEXT A bright summer afternoon on the coastal road: the young man drives the mint scooter down toward the sea with the young woman riding behind him, arms around his waist — an easy, happy ride past the railway crossing along the water. ACTIVE REFERENCES >> — young woman, 20 years old, 165 cm tall, slender, straight dark brown hair with side-swept bangs pinned by a small black clip, freckles across her cheeks and nose. 100% matches the reference. >> — young man, 22 years old, 178 cm tall, lean, sun-tanned, messy dark hair under a tan baseball cap worn backwards. 100% matches the reference. >> — vehicle: vintage mint-green scooter with a brown leather saddle, chrome mirrors and silver wheels. 100% matches the reference. >> — location: coastal road curving downhill past a railway crossing with yellow-and-black crossbuck signs, utility poles and wires, stone embankment walls, an orange convex traffic mirror on a pole, the open sea with white-capped waves behind. LOCATION MAP The road from >> curves downhill through the midground toward the railway crossing, the sea filling the background beyond it. Stone embankments rise on both sides, the orange convex mirror stands on the right shoulder in the near foreground, utility poles line the curve. Their path: down the curve, past the crossing, along the water toward screen-left. Primary light: bright seaside daylight, sun high, wind off the sea. FIRST FRAME AND SPATIAL BLOCKING The first visible frame already contains >> rolling down the curve with both riders aboard — >> driving, hands on the grips, >> seated close behind him, arms wrapped around his waist, her head just above his shoulder, a full head shorter than him. No empty establishing frame, no delayed reveal. He drives in every segment; she is always the passenger. FORMAT MODE Controlled four-segment multi-shot sequence: one INSERT CUT and two HARD CUTS. Real-time motion at an easy unhurried scooter pace. Every segment is shot handheld — no static shot anywhere in the sequence. OPTICS LENS LOCK SEGMENT 1 = 47° diagonal field of view, standard normal lens character, camera 12 to 15 meters at the roadside, the scooter and both riders full in frame with the crossing and sea behind, straight lines rectilinear, no fisheye. Soft vintage lens rendering: gentle edge softness, mild halation in the bright sky and sea glare, even brightness across the whole frame — no vignette, corners stay as bright as the center. This rendering applies to every segment. LENS LOCK SEGMENT 2 = 29° diagonal field of view, short telephoto character, camera 3 to 4 meters tracking alongside from a following vehicle, close two-shot of their faces and shoulders, the sea streaming soft behind them. LENS LOCK SEGMENT 3 = 29°, camera 1.5 to 2 meters, tight insert on her hands clasped at his stomach, the mint body and brown saddle below, road surface blurring past. LENS LOCK SEGMENT 4 = 47°, camera 10 to 12 meters behind the orange convex mirror on the right shoulder, the mirror large in the near foreground reflecting the road, the real scooter passing through the frame and receding along the sea. No drift mid-segment. CAMERA Handheld in every segment with no exceptions — a real operator at the roadside and in a following vehicle: the frame breathes with shoulder sway and soft micro-tremor visible in every second, small late reframes chasing the scooter and easing back; the tracking shot carries gentle road vibration on top of the hand movement; the insert trembles slightly more; the mirror wide breathes slower but never freezes. No tripod stillness, no gimbal smoothness, no stabilization anywhere. On top, the footage behaves like an old film print running through a projector: constant subtle gate weave, faint exposure flicker, occasional tiny dust specks and hairline scratches, image soft and slightly diffused like an aged 16mm print — never sharp, never digitally clean, no vignette or darkened corners at any moment. ACTION TIMING 0.0s to 3.5s — Roadside wide: the mint scooter putters down the curve at an easy pace, leaning gently with the bend; >> relaxed at the grips, >> pressed close behind him, her hair and skirt hem streaming in the sea wind; they pass the yellow-and-black crossing signs with the white-capped sea glittering beyond. 3.5s HARD CUT 3.5s to 6.5s — Tracking close two-shot: she rests her chin almost on his shoulder and says something teasing into his ear — lips moving without audible words; he barks a laugh, shaking his head, cap holding snug; she grins wide against the wind, bangs whipping, eyes squinting happily. 6.5s INSERT CUT 6.5s to 8.5s — Tight insert: her hands clasped over his stomach, fingers laced, giving a little squeeze as the scooter sways through a bend; the mint body flexes light reflections, the road surface streams underneath in soft blur. 8.5s HARD CUT 8.5s to 12.0s — Wide past the orange convex mirror: the tiny reflection of the scooter slides across the round mirror in the foreground a beat before the real scooter enters and crosses the frame, unhurried, the two of them small against the vast bright sea; she tips her head back and laughs into the wind as they recede along the coast; the engine putter fades. PHYSICS The scooter carries real combined weight: soft suspension compression over road seams, a gentle lean into each bend with both bodies tilting as one, slight throttle sway she counterbalances by gripping tighter; engine vibration trembles through their sleeves; wind at riding speed streams her hair, his tee and her skirt hem backward continuously with fabric flutter; the sea wind adds gusts; the convex mirror reflection tracks their motion with true optics. LIGHTING Bright seaside daylight only — no artificial light. Aged film print look: the sky and the glittering sea bloom into a soft white-gold haze with visible halation rings, gentle glow hanging in the air, creamy highlights rolling off softly. Faded pastel grade of an old print: lifted milky blacks, warm ivory and honey tones over softened sea blues, the mint scooter body reading as a gentle washed pastel green, the orange mirror and yellow-black signs as warm muted accents — never oversaturated; slightly yellowed whites, low contrast, colors gently washed as if the print has aged for twenty years, heavy visible film grain crawling in every frame, delicate haze. Exposure stays natural across the frame — no added vignette, no darkened edges or corners. The whole image reads as an old 2000s Japanese film discovered on a dusty reel. No crisp modern digital look, no cool color cast. AUDIO SFX only, with the worn texture of an old optical soundtrack — slightly muffled, faint constant hiss: the soft putter of the small scooter engine rising and fading with the throttle, wind buffeting past, waves breaking below the road, gull cries, her bright laugh snatched by the wind, the faint tick of the engine at the far end. No music, no intelligible spoken words, no captions, no score. POSITIVE LOCKS Identities lock 100% to >> and >> in every segment — same outfits as their references throughout, her natural 165 cm and his 178 cm with true relative proportions, his cap staying backwards and snug at riding speed in every shot. >> drives in every segment; >> rides pillion with her arms around his waist from first frame to last, hands unclasping never. The scooter stays 100% >> — mint-green body, brown saddle, chrome mirrors — in every shot. Road geography stays consistent with >> across all cuts: downhill curve, crossing signs, embankments, orange mirror on the right shoulder, sea always beyond the road; travel direction constant toward screen-left. Handheld breathing holds in every single segment, and the aged-film texture holds identically throughout: grain, gate weave, flicker, dust, halation and faded grade never weaken, frame stays vignette-free with even corner brightness; no segment turns rigid, stabilized, sharp or digitally clean. Only these two people appear; the road stays otherwise empty, no cars, no train.

Seedance 2.0 on Higgsfield AI delivers some of the best camera motion, consistency, and creative control I've seen in AI video generation. Full Open-sourced prompts & assets below: SCENE CONTEXT A bright summer afternoon on the coastal road: the young man drives the mint scooter down toward the sea with the young woman riding behind him, arms around his waist — an easy, happy ride past the railway crossing along the water. ACTIVE REFERENCES >> — young woman, 20 years old, 165 cm tall, slender, straight dark brown hair with side-swept bangs pinned by a small black clip, freckles across her cheeks and nose. 100% matches the reference. >> — young man, 22 years old, 178 cm tall, lean, sun-tanned, messy dark hair under a tan baseball cap worn backwards. 100% matches the reference. >> — vehicle: vintage mint-green scooter with a brown leather saddle, chrome mirrors and silver wheels. 100% matches the reference. >> — location: coastal road curving downhill past a railway crossing with yellow-and-black crossbuck signs, utility poles and wires, stone embankment walls, an orange convex traffic mirror on a pole, the open sea with white-capped waves behind. LOCATION MAP The road from >> curves downhill through the midground toward the railway crossing, the sea filling the background beyond it. Stone embankments rise on both sides, the orange convex mirror stands on the right shoulder in the near foreground, utility poles line the curve. Their path: down the curve, past the crossing, along the water toward screen-left. Primary light: bright seaside daylight, sun high, wind off the sea. FIRST FRAME AND SPATIAL BLOCKING The first visible frame already contains >> rolling down the curve with both riders aboard — >> driving, hands on the grips, >> seated close behind him, arms wrapped around his waist, her head just above his shoulder, a full head shorter than him. No empty establishing frame, no delayed reveal. He drives in every segment; she is always the passenger. FORMAT MODE Controlled four-segment multi-shot sequence: one INSERT CUT and two HARD CUTS. Real-time motion at an easy unhurried scooter pace. Every segment is shot handheld — no static shot anywhere in the sequence. OPTICS LENS LOCK SEGMENT 1 = 47° diagonal field of view, standard normal lens character, camera 12 to 15 meters at the roadside, the scooter and both riders full in frame with the crossing and sea behind, straight lines rectilinear, no fisheye. Soft vintage lens rendering: gentle edge softness, mild halation in the bright sky and sea glare, even brightness across the whole frame — no vignette, corners stay as bright as the center. This rendering applies to every segment. LENS LOCK SEGMENT 2 = 29° diagonal field of view, short telephoto character, camera 3 to 4 meters tracking alongside from a following vehicle, close two-shot of their faces and shoulders, the sea streaming soft behind them. LENS LOCK SEGMENT 3 = 29°, camera 1.5 to 2 meters, tight insert on her hands clasped at his stomach, the mint body and brown saddle below, road surface blurring past. LENS LOCK SEGMENT 4 = 47°, camera 10 to 12 meters behind the orange convex mirror on the right shoulder, the mirror large in the near foreground reflecting the road, the real scooter passing through the frame and receding along the sea. No drift mid-segment. CAMERA Handheld in every segment with no exceptions — a real operator at the roadside and in a following vehicle: the frame breathes with shoulder sway and soft micro-tremor visible in every second, small late reframes chasing the scooter and easing back; the tracking shot carries gentle road vibration on top of the hand movement; the insert trembles slightly more; the mirror wide breathes slower but never freezes. No tripod stillness, no gimbal smoothness, no stabilization anywhere. On top, the footage behaves like an old film print running through a projector: constant subtle gate weave, faint exposure flicker, occasional tiny dust specks and hairline scratches, image soft and slightly diffused like an aged 16mm print — never sharp, never digitally clean, no vignette or darkened corners at any moment. ACTION TIMING 0.0s to 3.5s — Roadside wide: the mint scooter putters down the curve at an easy pace, leaning gently with the bend; >> relaxed at the grips, >> pressed close behind him, her hair and skirt hem streaming in the sea wind; they pass the yellow-and-black crossing signs with the white-capped sea glittering beyond. 3.5s HARD CUT 3.5s to 6.5s — Tracking close two-shot: she rests her chin almost on his shoulder and says something teasing into his ear — lips moving without audible words; he barks a laugh, shaking his head, cap holding snug; she grins wide against the wind, bangs whipping, eyes squinting happily. 6.5s INSERT CUT 6.5s to 8.5s — Tight insert: her hands clasped over his stomach, fingers laced, giving a little squeeze as the scooter sways through a bend; the mint body flexes light reflections, the road surface streams underneath in soft blur. 8.5s HARD CUT 8.5s to 12.0s — Wide past the orange convex mirror: the tiny reflection of the scooter slides across the round mirror in the foreground a beat before the real scooter enters and crosses the frame, unhurried, the two of them small against the vast bright sea; she tips her head back and laughs into the wind as they recede along the coast; the engine putter fades. PHYSICS The scooter carries real combined weight: soft suspension compression over road seams, a gentle lean into each bend with both bodies tilting as one, slight throttle sway she counterbalances by gripping tighter; engine vibration trembles through their sleeves; wind at riding speed streams her hair, his tee and her skirt hem backward continuously with fabric flutter; the sea wind adds gusts; the convex mirror reflection tracks their motion with true optics. LIGHTING Bright seaside daylight only — no artificial light. Aged film print look: the sky and the glittering sea bloom into a soft white-gold haze with visible halation rings, gentle glow hanging in the air, creamy highlights rolling off softly. Faded pastel grade of an old print: lifted milky blacks, warm ivory and honey tones over softened sea blues, the mint scooter body reading as a gentle washed pastel green, the orange mirror and yellow-black signs as warm muted accents — never oversaturated; slightly yellowed whites, low contrast, colors gently washed as if the print has aged for twenty years, heavy visible film grain crawling in every frame, delicate haze. Exposure stays natural across the frame — no added vignette, no darkened edges or corners. The whole image reads as an old 2000s Japanese film discovered on a dusty reel. No crisp modern digital look, no cool color cast. AUDIO SFX only, with the worn texture of an old optical soundtrack — slightly muffled, faint constant hiss: the soft putter of the small scooter engine rising and fading with the throttle, wind buffeting past, waves breaking below the road, gull cries, her bright laugh snatched by the wind, the faint tick of the engine at the far end. No music, no intelligible spoken words, no captions, no score. POSITIVE LOCKS Identities lock 100% to >> and >> in every segment — same outfits as their references throughout, her natural 165 cm and his 178 cm with true relative proportions, his cap staying backwards and snug at riding speed in every shot. >> drives in every segment; >> rides pillion with her arms around his waist from first frame to last, hands unclasping never. The scooter stays 100% >> — mint-green body, brown saddle, chrome mirrors — in every shot. Road geography stays consistent with >> across all cuts: downhill curve, crossing signs, embankments, orange mirror on the right shoulder, sea always beyond the road; travel direction constant toward screen-left. Handheld breathing holds in every single segment, and the aged-film texture holds identically throughout: grain, gate weave, flicker, dust, halation and faded grade never weaken, frame stays vignette-free with even corner brightness; no segment turns rigid, stabilized, sharp or digitally clean. Only these two people appear; the road stays otherwise empty, no cars, no train.

WasifAI

17,571 views • 2 months ago

Ice hits, can slams. Fizz explodes. Zero story, pure product. SOLA — sparkling yuzu, hard cuts only. Made with Minimax H3 on Fish Creative Prompt: Flat 2D vector motion graphics commercial advertisement, 15 seconds, 16:9 widescreen, high energy product-focused ad style, zero storytelling, zero narrative arc, pure fast paced product hero showcase. Inspired by Pinterest botanical sparkling-can packaging (clean fruit-soda cans, Twist-style fruit fizz, Petali botanical soda, tropical mocktail cans) but fully original. Tokyo modern editorial pop with risograph print sensibility, refined premium energy, non-stop motion in every single frame, hard cuts only, no dissolves, no static holds until the final end card. Subtle paper grain and risograph ink texture throughout. Cool porcelain background base color hex F4F1EA, generous negative space, grid-aligned composition. Locked palette of three colors only: deep ink teal hex 123C3A, luminous citron hex E8F06A, pure white, plus faint ice-mint highlights. No other colors anywhere in frame. The product is a fictional sparkling yuzu soda brand called SOLA, a sleek deep teal can with a minimal white sun-burst yuzu slice emblem and a thin citron ring accent, consistent in every scene. AUDIO LAYER, drives the cut timing: warm punchy French-house-flavored electronic commercial track, four on the floor kick starting at 0.0s, bass drop synced to the can launch at 4.0s, whoosh sound effect on every camera whip pan, sharp crack sound effect on the can opening, fizzy sustained sparkle sound during the fizz explosion, deep sub bass thud on every impact and squash landing, glass clink sound effect on every ice cube landing, citrus peel snap on fruit slice hits, rising riser sound effect building into the logo lock, satisfying snap sound effect on the logo lock, music hits a full stop exactly on the final frame. SCENE 1, 0.0s to 1.0s: bold editorial open, a sweeping citron light ray wipes diagonally across the clean porcelain background in one confident motion, revealing a rising deep teal silhouette taking shape behind it, sharp and deliberate, zero clutter, premium controlled energy, a thin hairline teal rule draws itself across the lower third, kick drum hits exactly on the wipe. SCENE 2, 1.0s to 2.0s: hard cut, the silhouette snaps into full color and detail as the SOLA soda can in a single confident beat, condensation already gleaming on its surface as flat white crescent shapes, soft upward white rays radiating behind it, camera holds a slow deliberate push in, poised and polished rather than chaotic. SCENE 3, 2.0s to 3.0s: hard cut, the circular white yuzu-slice sun emblem with a citron ring flashes onto the can face with a sharp lens flare burst and a satisfying mechanical snap, one clean ring of citron light pulses outward once and fades, tiny white small-caps microtype arcs around the emblem, confident and premium. SCENE 4, 3.0s to 4.0s: quick controlled zoom out, the can now fully formed hangs centered and commanding in frame over vast porcelain negative space, camera whip reframes to hero angle, tension builds for one beat, bass drop hits exactly as the can launches. SCENE 5, 4.0s to 5.2s: hard cut, the can launches downward from its hover like a meteor, trailing a white ice crystal comet tail and curved teal speed lines, slams into center frame with heavy squash and stretch, ground cracks outward in a starburst pattern, radial citron and teal shockwave ring bursts from the impact point, sub bass thud lands on impact. SCENE 6, 5.2s to 6.2s: hard cut, six chunky white ice cubes cannonball into frame from both left and right edges in a fast alternating rhythm, each landing throws flat white splash droplets outward in a fan burst, glass clink sound effect on every landing, camera whip pans following the rhythm left then right. SCENE 7, 6.2s to 7.4s: hard cut, extreme close push into the can top, the tab cracks open in one sharp motion, crack sound effect syncs exactly to the open, a vertical explosion of white fizz and faint ice-mint sparkling soda rockets straight up past the top of frame, camera shakes once on the burst. SCENE 8, 7.4s to 8.8s: hard cut, three flat white yuzu wheels slice in from the top edge and pin themselves around the can in a tight orbit, each slice throws a thin citron juice arc, citrus peel snap on every hit, camera orbits 20 degrees around the hero can, still locked to 16:9 center. SCENE 9, 8.8s to 10.2s: hard cut, the can tilts and pours a graphic stream of white sparkling liquid into a waiting teal-outlined glass at lower right, liquid fills in stepped beats, ice cubes already inside bounce once, fizz beads climb the glass wall as small white dots, whoosh on the pour start. SCENE 10, 10.2s to 11.6s: hard cut, three matching SOLA cans slam into a tight diagonal product stack from off-frame, each lands with squash and a teal shock ring, middle can stays hero-size, condensation crescents multiply, camera whip to a low 16:9 product-shelf angle. SCENE 11, 11.6s to 13.2s: hard cut, bold teal wordmark SOLA slams on from the left as oversized editorial type, citron underline draws itself in one stroke beneath it, micro line YUZU SPARKLING snaps under in tiny white small-caps, riser builds hard. SCENE 12, 13.2s to 15.0s: hard cut to end card, single centered SOLA can, emblem locked, vast porcelain negative space, teal wordmark and citron ring lock into final position with a snap, one last white fizz sparkle flickers once at the can rim then freezes. Hold only on the last frame. Music stops dead on 15.0s.

Jessica Collins

12,337 views • 1 month ago

Made in Grok Imagine 晚上好😊 我亲爱的𝕏战友们。我们来一起连接美好，享受周末的愉快吧。🤟 “哥哥，来嘛，#交个朋友吧，不要钱的那种。” #GrokImagine 提示词: 1. Concept / Theme A single continuous 10-second gala-night seduction. A tall Japanese woman in a thin-strap haute-couture evening gown has slipped away from a banquet. She delivers a cloying, breathy invitation, waits, then seals it with a one-eye wink. The new line is longer and more teasing; pacing must stay lazy and expensive, never rushed. 2. Subject One Japanese woman, 20–25, 178 cm. Extreme narrow waist, full heavy G-cup breasts, fair realistic skin. No other people. 3. Appearance Refined Japanese features, natural blue eyes, long lashes. Banquet 艳妆: visible pores under porcelain glam, smoky or wine-red eyes, wet berry-gloss lips, flushed cheeks. Sleek evening hair, glossy black, one loose strand. Collarbones, deep cleavage, razor waist all readable. 4. Expression & Emotion Elegant, foxlike, slightly spoiled. Voice is shamelessly 肉麻: syrupy, nasal-breathy, intimate, almost sticky between words. She knows the line is vulgar and enjoys saying it in a ballgown. After speaking she waits as if you might answer. Final: wink with only one eye; the other stays open on camera; tiny wicked smirk. 5. Clothing & Styling Haute-couture thin spaghetti-strap evening gown. Bias silk satin, deep neckline, fabric stretched over G-cup volume, waist engineered extremely small, high slit. Gala jewelry only. No jacket, no modest coverage, no thick straps. 6. Pose & Body Movement Banquet posture, weight on one hip, one hand on a glass, rail, or lacquered table. Lean-in so bust gains weight and waist hollows. After speech, freeze except breath. Optional tiny head tilt on the last words. No dance, no hair whip. 7. Environment / Setting Luxury banquet edge at night: ballroom corridor, terrace door, chandelier bokeh, private corner. 8. Time / Weather / Lighting Night interior. Warm chandelier spill plus side-rim light carving cleavage, breast underside, and the cut-in waist. Moist skin highlights, specular silk. 9. Action & Motion 0.0–2.0s: living eye close-up, breath, thin strap visible. 2.0–4.6s: slow reveal of full bust and extreme waist as she leans. 4.6–7.6s: she says, extremely breathy and cloyingly seductive, with sticky pauses: “哥哥，来嘛，交个朋友吧，不要钱的那种。” Break as: 哥哥 / 来嘛 / 交个朋友吧 / 不要钱的那种. Chest moves with the breath on the final clause. 7.6–8.8s: hold and watch the lens. 8.8–10.0s: one-eye wink, other eye open, tiny smirk. End on the catchlight. 10. Camera Movement One shot, no cuts. Slow tilt from eyes down the neckline to the waist, gentle push-in back to the face. Low camera. Micro handheld drift only. 11. Composition & Framing Vertical. Mid-frame must show huge bust against a violently small waist and thread-thin straps. Close on the single winking eye. 12. Lens / Focus / Depth of Field 85–135mm look, shallow DOF, eyes sharp the whole time, no wide-angle distortion. 13. Visual Style / Quality Photoreal 4K fashion-erotic cinema. Real pores, real silk tension and breast weight. Elegant, vampy, humid, expensive. 14. Negative Prompt / Constraints No cuts. No both-eyes wink. No cute idol face. No rushed line-reading. No modest dress, no hidden bust or thick waist, no plastic skin. No cold detached tone. No extra people, text, watermark, or underage look. Do not use the old line. Do not skip the pause before the wink.

Sensitive content

Made in Grok Imagine 晚上好😊 我亲爱的𝕏战友们。我们来一起连接美好，享受周末的愉快吧。🤟 “哥哥，来嘛，#交个朋友吧，不要钱的那种。” #GrokImagine 提示词: 1. Concept / Theme A single continuous 10-second gala-night seduction. A tall Japanese woman in a thin-strap haute-couture evening gown has slipped away from a banquet. She delivers a cloying, breathy invitation, waits, then seals it with a one-eye wink. The new line is longer and more teasing; pacing must stay lazy and expensive, never rushed. 2. Subject One Japanese woman, 20–25, 178 cm. Extreme narrow waist, full heavy G-cup breasts, fair realistic skin. No other people. 3. Appearance Refined Japanese features, natural blue eyes, long lashes. Banquet 艳妆: visible pores under porcelain glam, smoky or wine-red eyes, wet berry-gloss lips, flushed cheeks. Sleek evening hair, glossy black, one loose strand. Collarbones, deep cleavage, razor waist all readable. 4. Expression & Emotion Elegant, foxlike, slightly spoiled. Voice is shamelessly 肉麻: syrupy, nasal-breathy, intimate, almost sticky between words. She knows the line is vulgar and enjoys saying it in a ballgown. After speaking she waits as if you might answer. Final: wink with only one eye; the other stays open on camera; tiny wicked smirk. 5. Clothing & Styling Haute-couture thin spaghetti-strap evening gown. Bias silk satin, deep neckline, fabric stretched over G-cup volume, waist engineered extremely small, high slit. Gala jewelry only. No jacket, no modest coverage, no thick straps. 6. Pose & Body Movement Banquet posture, weight on one hip, one hand on a glass, rail, or lacquered table. Lean-in so bust gains weight and waist hollows. After speech, freeze except breath. Optional tiny head tilt on the last words. No dance, no hair whip. 7. Environment / Setting Luxury banquet edge at night: ballroom corridor, terrace door, chandelier bokeh, private corner. 8. Time / Weather / Lighting Night interior. Warm chandelier spill plus side-rim light carving cleavage, breast underside, and the cut-in waist. Moist skin highlights, specular silk. 9. Action & Motion 0.0–2.0s: living eye close-up, breath, thin strap visible. 2.0–4.6s: slow reveal of full bust and extreme waist as she leans. 4.6–7.6s: she says, extremely breathy and cloyingly seductive, with sticky pauses: “哥哥，来嘛，交个朋友吧，不要钱的那种。” Break as: 哥哥 / 来嘛 / 交个朋友吧 / 不要钱的那种. Chest moves with the breath on the final clause. 7.6–8.8s: hold and watch the lens. 8.8–10.0s: one-eye wink, other eye open, tiny smirk. End on the catchlight. 10. Camera Movement One shot, no cuts. Slow tilt from eyes down the neckline to the waist, gentle push-in back to the face. Low camera. Micro handheld drift only. 11. Composition & Framing Vertical. Mid-frame must show huge bust against a violently small waist and thread-thin straps. Close on the single winking eye. 12. Lens / Focus / Depth of Field 85–135mm look, shallow DOF, eyes sharp the whole time, no wide-angle distortion. 13. Visual Style / Quality Photoreal 4K fashion-erotic cinema. Real pores, real silk tension and breast weight. Elegant, vampy, humid, expensive. 14. Negative Prompt / Constraints No cuts. No both-eyes wink. No cute idol face. No rushed line-reading. No modest dress, no hidden bust or thick waist, no plastic skin. No cold detached tone. No extra people, text, watermark, or underage look. Do not use the old line. Do not skip the pause before the wink.

AI Girl 📷

51,875 views • 1 month ago

Made in Grok Imagine My dear #friends 😊 have a wonderful weekend.😉 “Hey there, do you like it? Let's be friends.” “哥哥，喜欢吗？#交个朋友吧！” #AIart #AIgirl #GrokImagine prompt: 9:16 VERTICAL, 10-SECOND SINGLE TAKE, PHOTOREAL FASHION-EROTIC SHORT, 2026. 1. OPENING FRAME Low bedside camera, slightly below her eye line. Frame from mid-thigh to hair. 22-year-old beautiful Japanese woman, 178cm, already seated on the edge of a rumpled ivory-and-burgundy hotel bed in a luxury Tokyo suite at night. Delicate face, naturally ice-blue deep wet eyes, long dark wine-black hair slightly mussed, one damp strand on the collarbone. Porcelain-fair skin flushed from champagne on cheeks, nose tip, and upper chest. Smudged glam smoky eye, foggy deep wine-red lips with a worn edge. Ultra-slim waist. Very full natural G-cup breasts, no bra, realistic soft hang and weight. Outfit: wet-burgundy bias-cut silk spaghetti-strap evening gown, extremely thin straps, deep V neckline. The cut is sensual but controlled: nipples fully covered by silk at all times; only a faint sliver of areola may show at the inner edge of the V when she breathes or leans. High slit. Opaque enough silk over the nipple, thinner at the cleavage. Sheer black pantyhose (tights to the waist), glossy, no stocking tops, no bare thigh. 2026 scarlet patent pointed stilettos, red soles: one planted, one heel slightly rolled. Thin sheer burgundy-black organza wrap still on both shoulders. Half-drunk, languid, small private smile. Looking toward the lens, not yet speaking. 2. MOTION & BEATS 0.0–2.5s: She sits, breathes. The thin straps stay put. Deep V shows cleavage and the start of breast weight; nipples remain covered. She glances half a second at her own décolletage, then lifts ice-blue eyes into camera. Wrap on. No speech. 2.5–5.5s: Right hand slides the sheer wrap off the right shoulder down to the elbow. Silk follows. Unsupported G-cup breasts settle with real gravity under the spaghetti-strap gown; the V opens slightly; a tiny hint of areola may appear at the inner curve, nipples never exposed. High slit reveals black pantyhose sheen on the thigh, not bare skin. Slight wine sway only. 5.5–8.0s: She leans a little closer. Breathy, clingy, drunk-sweet Mandarin lip-sync: “哥哥……喜欢吗？” Tiny smile after the question. Hair strand stays on her lip. Nipples stay covered. 8.0–9.4s: Closer lean. Same voice, Mandarin lip-sync: “交个朋友吧。” Soft laugh on the last syllable. Both eyes hold the lens 0.4s. At maximum lean, only a minimal areola edge is allowed; no nipple. 9.4–10.0s: Slow naughty half-drunk wink, LEFT eye only. Ice-blue iris dips, lashes kiss, micro-smirk. RIGHT eye stays open and locked on camera. One scarlet heel slips half-off. Hold to the last frame. She never stands. She does not pull the dress aside. She does not remove the gown. 3. CAMERA MOVE Locked-off 9:16 body, very slow continuous push-in from medium-close to close-up. 2.5–5.5s: tiny tilt down with the falling wrap, then return to face, thin straps, and chest. No handheld shake, no cut, no orbit, no snap zoom. Do not crop so tight that the neckline looks accidental-nude. End on eyes, mouth, thin straps, and controlled deep V. 4. LIGHTING & STYLE Practical warm gold bedside lamp as key. Cool blue city bokeh through floor-to-ceiling window as rim. Catchlights in both ice-blue eyes. Soft shadow in the deep V and under the natural breast hang, enough to read volume without revealing the nipple. Photoreal, 35mm anamorphic, 24fps, shallow DOF, subtle film grain, high-fashion editorial, tasteful erotic, 2026 couture. Spaghetti straps sharp and thin. Pantyhose catch a continuous sheen down the legs. 5. SOUND Close-mic female Mandarin, breathy, slow, clingy, slightly nasal from wine. Quiet hotel room tone. One silk-rustle when the wrap slides. One soft heel tap when the stiletto slips. No music over the voice. No voiceover. No English speech. 6. CONTINUITY & CONSTRAINTS Same identity, same spaghetti-strap burgundy gown, same black pantyhose, same room, same hair, same makeup for the full 10 seconds. Keep: ice-blue eyes, wine-black hair, thin straps not halter, no bra, realistic G-cup hang, nipples ALWAYS covered, only a slight areola hint permitted, 178cm slim-waist proportion, scarlet 2026 stilettos, sheer black tights (pantyhose, not hold-ups), 9:16 vertical. Wink = LEFT eye only, slow, not cartoon, not both eyes closing, not rapid blink. Accurate Chinese lip-sync only on the two lines above. Negative: 16:9, square, anime, cartoon, childlike or underage face, extra fingers, extra limbs, deformed hands, plastic skin, fake perky implants, visible bra, nipple exposure, fully exposed areola, bare thighs, stocking tops, garter belt, hardcore explicit genitals, jump cuts, identity drift, watermark, burned-in subtitles, ugly stagger-drunk, shouting, pulling dress off the breast.

Made in Grok Imagine My dear #friends 😊 have a wonderful weekend.😉 “Hey there, do you like it? Let's be friends.” “哥哥，喜欢吗？#交个朋友吧！” #AIart #AIgirl #GrokImagine prompt: 9:16 VERTICAL, 10-SECOND SINGLE TAKE, PHOTOREAL FASHION-EROTIC SHORT, 2026. 1. OPENING FRAME Low bedside camera, slightly below her eye line. Frame from mid-thigh to hair. 22-year-old beautiful Japanese woman, 178cm, already seated on the edge of a rumpled ivory-and-burgundy hotel bed in a luxury Tokyo suite at night. Delicate face, naturally ice-blue deep wet eyes, long dark wine-black hair slightly mussed, one damp strand on the collarbone. Porcelain-fair skin flushed from champagne on cheeks, nose tip, and upper chest. Smudged glam smoky eye, foggy deep wine-red lips with a worn edge. Ultra-slim waist. Very full natural G-cup breasts, no bra, realistic soft hang and weight. Outfit: wet-burgundy bias-cut silk spaghetti-strap evening gown, extremely thin straps, deep V neckline. The cut is sensual but controlled: nipples fully covered by silk at all times; only a faint sliver of areola may show at the inner edge of the V when she breathes or leans. High slit. Opaque enough silk over the nipple, thinner at the cleavage. Sheer black pantyhose (tights to the waist), glossy, no stocking tops, no bare thigh. 2026 scarlet patent pointed stilettos, red soles: one planted, one heel slightly rolled. Thin sheer burgundy-black organza wrap still on both shoulders. Half-drunk, languid, small private smile. Looking toward the lens, not yet speaking. 2. MOTION & BEATS 0.0–2.5s: She sits, breathes. The thin straps stay put. Deep V shows cleavage and the start of breast weight; nipples remain covered. She glances half a second at her own décolletage, then lifts ice-blue eyes into camera. Wrap on. No speech. 2.5–5.5s: Right hand slides the sheer wrap off the right shoulder down to the elbow. Silk follows. Unsupported G-cup breasts settle with real gravity under the spaghetti-strap gown; the V opens slightly; a tiny hint of areola may appear at the inner curve, nipples never exposed. High slit reveals black pantyhose sheen on the thigh, not bare skin. Slight wine sway only. 5.5–8.0s: She leans a little closer. Breathy, clingy, drunk-sweet Mandarin lip-sync: “哥哥……喜欢吗？” Tiny smile after the question. Hair strand stays on her lip. Nipples stay covered. 8.0–9.4s: Closer lean. Same voice, Mandarin lip-sync: “交个朋友吧。” Soft laugh on the last syllable. Both eyes hold the lens 0.4s. At maximum lean, only a minimal areola edge is allowed; no nipple. 9.4–10.0s: Slow naughty half-drunk wink, LEFT eye only. Ice-blue iris dips, lashes kiss, micro-smirk. RIGHT eye stays open and locked on camera. One scarlet heel slips half-off. Hold to the last frame. She never stands. She does not pull the dress aside. She does not remove the gown. 3. CAMERA MOVE Locked-off 9:16 body, very slow continuous push-in from medium-close to close-up. 2.5–5.5s: tiny tilt down with the falling wrap, then return to face, thin straps, and chest. No handheld shake, no cut, no orbit, no snap zoom. Do not crop so tight that the neckline looks accidental-nude. End on eyes, mouth, thin straps, and controlled deep V. 4. LIGHTING & STYLE Practical warm gold bedside lamp as key. Cool blue city bokeh through floor-to-ceiling window as rim. Catchlights in both ice-blue eyes. Soft shadow in the deep V and under the natural breast hang, enough to read volume without revealing the nipple. Photoreal, 35mm anamorphic, 24fps, shallow DOF, subtle film grain, high-fashion editorial, tasteful erotic, 2026 couture. Spaghetti straps sharp and thin. Pantyhose catch a continuous sheen down the legs. 5. SOUND Close-mic female Mandarin, breathy, slow, clingy, slightly nasal from wine. Quiet hotel room tone. One silk-rustle when the wrap slides. One soft heel tap when the stiletto slips. No music over the voice. No voiceover. No English speech. 6. CONTINUITY & CONSTRAINTS Same identity, same spaghetti-strap burgundy gown, same black pantyhose, same room, same hair, same makeup for the full 10 seconds. Keep: ice-blue eyes, wine-black hair, thin straps not halter, no bra, realistic G-cup hang, nipples ALWAYS covered, only a slight areola hint permitted, 178cm slim-waist proportion, scarlet 2026 stilettos, sheer black tights (pantyhose, not hold-ups), 9:16 vertical. Wink = LEFT eye only, slow, not cartoon, not both eyes closing, not rapid blink. Accurate Chinese lip-sync only on the two lines above. Negative: 16:9, square, anime, cartoon, childlike or underage face, extra fingers, extra limbs, deformed hands, plastic skin, fake perky implants, visible bra, nipple exposure, fully exposed areola, bare thighs, stocking tops, garter belt, hardcore explicit genitals, jump cuts, identity drift, watermark, burned-in subtitles, ugly stagger-drunk, shouting, pulling dress off the breast.

Miss.AI

42,079 views • 1 month ago

$I love that Higgsfield is making its best AI commercial workflows completely open-source. Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below. Prompts : Style: 8K IMAX. Photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Cinematography: Emmanuel Lubezki × Roger Deakins. Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze throughout. Key light from sky and windows only. Color: 60:30:10 — dominant / secondary / accent. Camera: Physical cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, asymmetric moles, capillary flush, pore-shadow matching on-set light. Acting: Hollywood — micro-pauses before reactions, precise eye-line, wet living eyes with catch-lights, visible breath and chest rise. Physics: Gravity and inertia respected — mass has real weight, correct contact shadows. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Environmental SFX only. No music. No subtitles. SUBJECT — >>, character matches input 100%, >> can in right hand. By end fully transformed into >> — armor assembled mid-air in real-time, >> matches input 100%. WB 6500K. MULTISHOT — fast cinematic cutting, escalating energy across the full 15s. LOCATION — >> is a STYLE REFERENCE ONLY, not a fixed keyframe. Use it for the look, mood, architecture and lighting of the environment — a deserted NYC-type avenue in hard midday sun. Seedance should freely generate and extend the world: new buildings, new stretches of avenue, fresh camera angles. The character TRAVELS through space across the shots — he is NOT pinned to the exact spot or framing of the input image. Do not reproduce the reference frame 1:1. ACTION — SHOT 1 (0:00–0:02) — EXTREME CLOSE, chin to forehead. >> raises >> to lips, deep pull. Adam's apple descends then rises twice. Hard cut. SHOT 2 (0:02–0:04) — Same close framing. Can lowers fast. Eyes snap open, sharp and alert (natural skin and iris detail, no glow). Zygomaticus major fires — wide genuine grin builds in under a second, 2mm to 8mm at mouth corners. Sternum rises with a full deep inhale. He is electric. Hard cut. SHOT 3 (0:04–0:06) — WIDE, low. >> EXPLODES forward into a sprint at 30 km/h, continuing in the SAME direction he was already facing — straight ahead down the avenue, NOT turning around. First strides — sneakers slam cracked asphalt, dust puffs eject 10cm. Hard cut. SHOT 4 (0:06–0:08) — Tracking the sprint. Arms drive at 90°, track jacket trails 15cm, grin held, brow raised, jaw relaxed open. Stride extends, ground contacts shorten. Building speed. Hard cut. SHOT 5 (0:08–0:10) — Final two strides, knees compress to 110°. Right foot drives into asphalt — surface fractures 20cm radius. He LAUNCHES upward at 65 km/h. Hard cut. SHOT 6 (0:10–0:13) — Mid-air in the >> building canyon, 24fps FULL SPEED, NO slow-motion. He is NOT frozen — his whole body keeps moving through the jump: torso rotates, legs cycle and tuck, arms swing out and reach, head turns to track the incoming armor. As he flies and twists through the air, armor pieces rip in from the city geometry and converge onto his moving body — chest plate LOCKS mid-rotation, pauldrons CLAMP as his shoulders swing, gauntlets SNAP onto forearms while his arms extend, shin plates clamp onto cycling legs, helmet descends and visor SLAMS shut as his head turns forward — one violent fluid sequence, body in constant motion throughout. Sharp metallic CRACK at visor seal. Hard cut. SHOT 7 (0:13–0:15) — >> SLAMS into >> in a hard crouch, both armored feet hit asphalt simultaneously, dust ring erupts 80cm. He rises, snaps gauntleted fists open and shut — left then right — glances down at the chest plate. Muffled laugh from behind the sealed visor. Hard cut to black. CAMERA — SUPER-DYNAMIC HANDHELD, never static, never locked off. Strong aggressive operator shake on every shot — 4–8cm bounce, organic human jitter, no stabilization. Pronounced DUTCH ANGLE throughout — frame canted 12–20° and shifting between shots, tilting harder as energy builds. SHOT 1: FOV 18° extreme close, hard dutch 15°, violent micro-shake. SHOT 2: FOV 18°, dutch flips to opposite side ~18°, jittery. SHOT 3: FOV 84° low, dutch 12°, whip into the sprint. SHOT 4: FOV 84°, camera physically chasing the run, dutch 16°, heavy stride bounce, motion blur on pans. SHOT 5: FOV 63°, dutch 20°, snap-tilt up tracking the launch. SHOT 6: FOV 63°, AGGRESSIVE HANDHELD CAMERA MOVEMENT — operator arcs and swings around the airborne body, 6–8cm bounce, fast reframes chasing each armor piece as it locks onto his moving form, strong DUTCH ANGLE swinging 18°→8°, no slow-mo. SHOT 7: FOV 63°, hard jolt on landing impact, dutch 14°, camera recoils 8cm then keeps breathing on the suit inspection. STYLE — Dominant: bleached asphalt grey and building canyon 60%. Secondary: navy/cream outfit transitioning to chrome armor 30%. Accent: grin, dust, chrome flash and visor LED blue on landing 10%. WB 6500K. NO glowing eyes — eyes lit by natural sunlight only. CONSTRAINTS — Cut to black at end. 16:9. MULTISHOT with hard cuts per the timecodes above. NO slow-motion anywhere — everything 24fps full speed, especially the transformation. Camera always handheld with strong shake and dutch angle — NEVER static or locked. NO eye glow. >> is a reference for style only — do NOT lock to the input frame or keep him in the same spot; the world extends and he moves through it. Grin must be fully established before the sprint begins.$

I love that Higgsfield is making its best AI commercial workflows completely open-source. Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below. Prompts : Style: 8K IMAX. Photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Cinematography: Emmanuel Lubezki × Roger Deakins. Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze throughout. Key light from sky and windows only. Color: 60:30:10 — dominant / secondary / accent. Camera: Physical cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, asymmetric moles, capillary flush, pore-shadow matching on-set light. Acting: Hollywood — micro-pauses before reactions, precise eye-line, wet living eyes with catch-lights, visible breath and chest rise. Physics: Gravity and inertia respected — mass has real weight, correct contact shadows. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Environmental SFX only. No music. No subtitles. SUBJECT — >>, character matches input 100%, >> can in right hand. By end fully transformed into >> — armor assembled mid-air in real-time, >> matches input 100%. WB 6500K. MULTISHOT — fast cinematic cutting, escalating energy across the full 15s. LOCATION — >> is a STYLE REFERENCE ONLY, not a fixed keyframe. Use it for the look, mood, architecture and lighting of the environment — a deserted NYC-type avenue in hard midday sun. Seedance should freely generate and extend the world: new buildings, new stretches of avenue, fresh camera angles. The character TRAVELS through space across the shots — he is NOT pinned to the exact spot or framing of the input image. Do not reproduce the reference frame 1:1. ACTION — SHOT 1 (0:00–0:02) — EXTREME CLOSE, chin to forehead. >> raises >> to lips, deep pull. Adam's apple descends then rises twice. Hard cut. SHOT 2 (0:02–0:04) — Same close framing. Can lowers fast. Eyes snap open, sharp and alert (natural skin and iris detail, no glow). Zygomaticus major fires — wide genuine grin builds in under a second, 2mm to 8mm at mouth corners. Sternum rises with a full deep inhale. He is electric. Hard cut. SHOT 3 (0:04–0:06) — WIDE, low. >> EXPLODES forward into a sprint at 30 km/h, continuing in the SAME direction he was already facing — straight ahead down the avenue, NOT turning around. First strides — sneakers slam cracked asphalt, dust puffs eject 10cm. Hard cut. SHOT 4 (0:06–0:08) — Tracking the sprint. Arms drive at 90°, track jacket trails 15cm, grin held, brow raised, jaw relaxed open. Stride extends, ground contacts shorten. Building speed. Hard cut. SHOT 5 (0:08–0:10) — Final two strides, knees compress to 110°. Right foot drives into asphalt — surface fractures 20cm radius. He LAUNCHES upward at 65 km/h. Hard cut. SHOT 6 (0:10–0:13) — Mid-air in the >> building canyon, 24fps FULL SPEED, NO slow-motion. He is NOT frozen — his whole body keeps moving through the jump: torso rotates, legs cycle and tuck, arms swing out and reach, head turns to track the incoming armor. As he flies and twists through the air, armor pieces rip in from the city geometry and converge onto his moving body — chest plate LOCKS mid-rotation, pauldrons CLAMP as his shoulders swing, gauntlets SNAP onto forearms while his arms extend, shin plates clamp onto cycling legs, helmet descends and visor SLAMS shut as his head turns forward — one violent fluid sequence, body in constant motion throughout. Sharp metallic CRACK at visor seal. Hard cut. SHOT 7 (0:13–0:15) — >> SLAMS into >> in a hard crouch, both armored feet hit asphalt simultaneously, dust ring erupts 80cm. He rises, snaps gauntleted fists open and shut — left then right — glances down at the chest plate. Muffled laugh from behind the sealed visor. Hard cut to black. CAMERA — SUPER-DYNAMIC HANDHELD, never static, never locked off. Strong aggressive operator shake on every shot — 4–8cm bounce, organic human jitter, no stabilization. Pronounced DUTCH ANGLE throughout — frame canted 12–20° and shifting between shots, tilting harder as energy builds. SHOT 1: FOV 18° extreme close, hard dutch 15°, violent micro-shake. SHOT 2: FOV 18°, dutch flips to opposite side ~18°, jittery. SHOT 3: FOV 84° low, dutch 12°, whip into the sprint. SHOT 4: FOV 84°, camera physically chasing the run, dutch 16°, heavy stride bounce, motion blur on pans. SHOT 5: FOV 63°, dutch 20°, snap-tilt up tracking the launch. SHOT 6: FOV 63°, AGGRESSIVE HANDHELD CAMERA MOVEMENT — operator arcs and swings around the airborne body, 6–8cm bounce, fast reframes chasing each armor piece as it locks onto his moving form, strong DUTCH ANGLE swinging 18°→8°, no slow-mo. SHOT 7: FOV 63°, hard jolt on landing impact, dutch 14°, camera recoils 8cm then keeps breathing on the suit inspection. STYLE — Dominant: bleached asphalt grey and building canyon 60%. Secondary: navy/cream outfit transitioning to chrome armor 30%. Accent: grin, dust, chrome flash and visor LED blue on landing 10%. WB 6500K. NO glowing eyes — eyes lit by natural sunlight only. CONSTRAINTS — Cut to black at end. 16:9. MULTISHOT with hard cuts per the timecodes above. NO slow-motion anywhere — everything 24fps full speed, especially the transformation. Camera always handheld with strong shake and dutch angle — NEVER static or locked. NO eye glow. >> is a reference for style only — do NOT lock to the input frame or keep him in the same spot; the world extends and he moves through it. Grin must be fully established before the sprint begins.

yopiwhs

11,743 views • 2 months ago