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Vicious head Ebony TS with a pretty face & thick booty 🔥 Full video (Named & Tagged) only in the Vault Exclusives you won’t find anywhere else #EbonyTS #BlackTS #TS #Trans #Transgirl #BigBooty #PrettyTs #Ebony #Shemale #BlackTrans #ThickBooty

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🏴EbonyTSSpecialist 🥷🏿

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31,146 Aufrufe • vor 2 Tagen •via X (Twitter)

NSFW#EbonyTS#BlackTS#TS#Trans#Transgirl#BigBooty#PrettyTs#Ebony#Shemale#BlackTrans#ThickBooty
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TechHalla

57,336 Aufrufe • vor 2 Monaten

What they don’t tell you when you get older is that you become more selfish, self-centred and less likely to match with someone. So people double down on the self. The Wall is mostly psychological. People focus on the biological aspect with women, but the independence mindset first (“focus on my career”, “I deserve”) is as much if not more a source of infertility than eggs count. If you want to find someone who you are going to build a life with, it is better to do it in your 20s than in your 30s because there is more emotional wiggle room to make space for a person. This goes for both men and women. The way men get it wrong, build yourself and women will come to find you. And you end up with mid 30s looking for clean-up man applicants. You are not as attractive as in your mid to late 20s. And you don’t have that much of a clue of about women, because you focused mainly on your business. So you make a perfect target, for yourself to have an identity collapse from the moment you discover that what you worked hard for all these years was to be a utility only covering for a wife whose only reason she is with you was because you were everything she would not have gone for in her prime. Wasted years, with high exit costs. The way women get it wrong is focus on your career to realise later on they are not gonna be CEOs, but most likely end up at some middle management position making above average income which they start getting tired of it, but in the process built standards and experience portfolio which will make what they would normally qualify for below to what they would feel satisfied with - that they end up resenting the person they are settling for if they find one- even though he would be in her lane. Not mentioning, she carries the baggages of aggregated dating failures during her fun time which is going to hinder her future relationship. And she has to go through dating guys who mostly want her for fucking only, when she does not confuse it with a guy who won’t deal with her rules (product of her being previously used) because he does not want to be seen as provider only. To make it worse, in ever more challenging economic conditions, being with someone to cover the costs of life makes more sense on a society level. However, everyone is becoming more economically fragile. Not only the revenue per head decreased from the doubling of the labour supply, but now it actually creates a double whammy effect, as this creates more distance between the genders stuck in an attrition war that they end up even more emotionally atomised and financially precarious overall. Yet everyone feels the best way to survive is making it on their own. When the people who hold the most power influence and money did it mostly through networks and support systems. It is normie self-sabotage on a massive scale sponsored by normies through social media, so it is even more persuasive. Why need propaganda machines when you can condition the lowest common denominator of people and do the advertisement for you reaching through simpleton messaging. For a pendulum swing to happen few “we thought we knew better but actually did not” generations need to be wasted into irrelevance from adopting these now mainstream narratives (“40 is the new 20”, “why the rush?”) for other generations to change the trend. This is not to say that there are some people who are happy the way things are, but generally speaking, the feeling of belonging happens when you share your life with someone else. And one upping through “I don’t need man/woman” on the public sphere is cutting your nose to spite your face, as a pyrrhic victory to hide the private failure being felt behind closed doors.
1:02

What they don’t tell you when you get older is that you become more selfish, self-centred and less likely to match with someone. So people double down on the self. The Wall is mostly psychological. People focus on the biological aspect with women, but the independence mindset first (“focus on my career”, “I deserve”) is as much if not more a source of infertility than eggs count. If you want to find someone who you are going to build a life with, it is better to do it in your 20s than in your 30s because there is more emotional wiggle room to make space for a person. This goes for both men and women. The way men get it wrong, build yourself and women will come to find you. And you end up with mid 30s looking for clean-up man applicants. You are not as attractive as in your mid to late 20s. And you don’t have that much of a clue of about women, because you focused mainly on your business. So you make a perfect target, for yourself to have an identity collapse from the moment you discover that what you worked hard for all these years was to be a utility only covering for a wife whose only reason she is with you was because you were everything she would not have gone for in her prime. Wasted years, with high exit costs. The way women get it wrong is focus on your career to realise later on they are not gonna be CEOs, but most likely end up at some middle management position making above average income which they start getting tired of it, but in the process built standards and experience portfolio which will make what they would normally qualify for below to what they would feel satisfied with - that they end up resenting the person they are settling for if they find one- even though he would be in her lane. Not mentioning, she carries the baggages of aggregated dating failures during her fun time which is going to hinder her future relationship. And she has to go through dating guys who mostly want her for fucking only, when she does not confuse it with a guy who won’t deal with her rules (product of her being previously used) because he does not want to be seen as provider only. To make it worse, in ever more challenging economic conditions, being with someone to cover the costs of life makes more sense on a society level. However, everyone is becoming more economically fragile. Not only the revenue per head decreased from the doubling of the labour supply, but now it actually creates a double whammy effect, as this creates more distance between the genders stuck in an attrition war that they end up even more emotionally atomised and financially precarious overall. Yet everyone feels the best way to survive is making it on their own. When the people who hold the most power influence and money did it mostly through networks and support systems. It is normie self-sabotage on a massive scale sponsored by normies through social media, so it is even more persuasive. Why need propaganda machines when you can condition the lowest common denominator of people and do the advertisement for you reaching through simpleton messaging. For a pendulum swing to happen few “we thought we knew better but actually did not” generations need to be wasted into irrelevance from adopting these now mainstream narratives (“40 is the new 20”, “why the rush?”) for other generations to change the trend. This is not to say that there are some people who are happy the way things are, but generally speaking, the feeling of belonging happens when you share your life with someone else. And one upping through “I don’t need man/woman” on the public sphere is cutting your nose to spite your face, as a pyrrhic victory to hide the private failure being felt behind closed doors.

French OG

12,449 Aufrufe • vor 8 Monaten

The Best Cliff Jumping Spot in Michigan If you can't jump into Lake Superior from Blackrocks in Marquette, you probably couldn't last a winter in the U.P. By Jack Ducote Hemlock Hobo Marquette — In the Upper Peninsula, summer moves fast. While the rest of the state deals with bad weather, winter in the U.P. is a different beast. That means Yoopers try to make the most of the limited summer they have. They excel at cramming as much activity as possible into three beautiful months before the cold comes calling again. And they are tough! When you live in a place where there can be blizzards in May and snow piles 6 feet high, you either toughen up or leave. Both factors come together 5 minutes north of Marquette at Presque Isle Park. It’s a little outcrop of rocks and forest that juts into Lake Superior. You know you’re close when you pass the super tankers loading up with iron ore. It’s a gorgeous place to picnic or go for a run, but the real attraction is the Blackrocks, exposed slabs of rock surrounded by deep, clear water. In a state that is relatively flat, it’s one of the best cliff jumping spots you can find. If you’ve been cliff jumping before, the Blackrocks aren't much of a challenge. At its highest point, it’s maybe 20 feet from the top to the water. It’s an easy jump that is easily conquerable by the ordinary Joe. It only gets difficult when you hit the water and realize it’s 45 degrees. Lake Superior is cold year-round, but in early June, when I jumped, the water was freezing because the ice only melted two months ago. Hitting the water felt like taking an ice bath. The swim to shore is way longer than it looks from the cliff and can be pretty dangerous if you aren’t prepared. One local told me he liked to snorkel and rock hound in the water around the cliffs, and he was decked out in a full wetsuit to keep the cold at bay. He often has to pull tourists out of the water who jump in and can’t handle the cold. Blackrocks is more than just a tourist spot. For locals, it’s something more. Every town has a must-see place and for Marquette, that’s Blackrocks. It’s a perfect distillation of the Marquette experience. You’re surrounded by a lake so vast it feels like an ocean. In the summer, the cliffs are prettier than anywhere in the U.P. And yet the cold water lurks below, just like how the winter is on everyone’s mind, even during the brightest and hottest summer days. If you can’t jump from here, then you aren’t going to make it in Marquette. Jumping proves you’re tough enough to handle the cold, that you have the fortitude necessary to handle all the extremes the Upper Peninsula can throw at you. But it also proves that you know how to let loose and enjoy the moment. Marquette is a weird city, and I mean that as a complement. It’s full of crystal stores, secondhand clothing shops, and fusion restaurants. There are normal people living normal lives to be sure, but most people don’t move there just to work a 9-5. There are better places to live in Michigan for that. Marquette’s remote, it’s cold, it’s relatively small. The people who move to Marquette are different. They want that remoteness. They want that space to be themselves. They know how to have fun when it’s time to have fun. Jumping off the cliff is the ultimate shit test. If you won’t even jump, then you aren’t going to fit in. So, if you go to Marquette, head to Blackrocks, just to prove you have it in you.
0:24

The Best Cliff Jumping Spot in Michigan If you can't jump into Lake Superior from Blackrocks in Marquette, you probably couldn't last a winter in the U.P. By Jack Ducote Hemlock Hobo Marquette — In the Upper Peninsula, summer moves fast. While the rest of the state deals with bad weather, winter in the U.P. is a different beast. That means Yoopers try to make the most of the limited summer they have. They excel at cramming as much activity as possible into three beautiful months before the cold comes calling again. And they are tough! When you live in a place where there can be blizzards in May and snow piles 6 feet high, you either toughen up or leave. Both factors come together 5 minutes north of Marquette at Presque Isle Park. It’s a little outcrop of rocks and forest that juts into Lake Superior. You know you’re close when you pass the super tankers loading up with iron ore. It’s a gorgeous place to picnic or go for a run, but the real attraction is the Blackrocks, exposed slabs of rock surrounded by deep, clear water. In a state that is relatively flat, it’s one of the best cliff jumping spots you can find. If you’ve been cliff jumping before, the Blackrocks aren't much of a challenge. At its highest point, it’s maybe 20 feet from the top to the water. It’s an easy jump that is easily conquerable by the ordinary Joe. It only gets difficult when you hit the water and realize it’s 45 degrees. Lake Superior is cold year-round, but in early June, when I jumped, the water was freezing because the ice only melted two months ago. Hitting the water felt like taking an ice bath. The swim to shore is way longer than it looks from the cliff and can be pretty dangerous if you aren’t prepared. One local told me he liked to snorkel and rock hound in the water around the cliffs, and he was decked out in a full wetsuit to keep the cold at bay. He often has to pull tourists out of the water who jump in and can’t handle the cold. Blackrocks is more than just a tourist spot. For locals, it’s something more. Every town has a must-see place and for Marquette, that’s Blackrocks. It’s a perfect distillation of the Marquette experience. You’re surrounded by a lake so vast it feels like an ocean. In the summer, the cliffs are prettier than anywhere in the U.P. And yet the cold water lurks below, just like how the winter is on everyone’s mind, even during the brightest and hottest summer days. If you can’t jump from here, then you aren’t going to make it in Marquette. Jumping proves you’re tough enough to handle the cold, that you have the fortitude necessary to handle all the extremes the Upper Peninsula can throw at you. But it also proves that you know how to let loose and enjoy the moment. Marquette is a weird city, and I mean that as a complement. It’s full of crystal stores, secondhand clothing shops, and fusion restaurants. There are normal people living normal lives to be sure, but most people don’t move there just to work a 9-5. There are better places to live in Michigan for that. Marquette’s remote, it’s cold, it’s relatively small. The people who move to Marquette are different. They want that remoteness. They want that space to be themselves. They know how to have fun when it’s time to have fun. Jumping off the cliff is the ultimate shit test. If you won’t even jump, then you aren’t going to fit in. So, if you go to Marquette, head to Blackrocks, just to prove you have it in you.

Michigan Enjoyer

13,124 Aufrufe • vor 3 Monaten

I am completely blown away!!! It’s midnight and I’ve just wrapped up my first ever day on FSD v14.3.3!! I honestly am in awe at what a professional driver my car is now! It has gone from being a cautious grandma, to an assertive boss!! I doubted some of the guys on a space early this morning that it would be able to handle Australian roundabouts with expertise, and boy was I mistaken!!! This version NAILS roundabouts with ease! Not only does it enter them at a perfect speed, it accelerates out of them with full force and confidence! Legitimately brought a smile to my face. It’s now fully proactive and asserts itself with lane changes and makes sure that it gets into the right lane WELL IN ADVANCE before it has to take an exit. It now also consistently INDICATES every time 2 lanes merge into one. And the moment there’s a speed zone change it reacts immediately to either accelerate or de-accelerate without no delay! Legitimately addresses all the complaints we previously had with FSD here in Australia! Oh! And not to mention, it can find a supercharger in a basement of a building and park automatically now! When before it would bail at tight corners in underground carparks. This version feels like it now honours my time. It’s incredibly fast to react, decisive to make a move and has no hesitation in accelerating quickly to get up to speed. There’s no longer a trade-off with choosing FSD or getting to your destination in a hurry. It’ll make sure you get there safely and effectively! I freaking love FSD!!! Thank you so much to the incredible team and everyone else that made this happen! I am incredibly over the moon with this! Lots of love 🫶 Enjoy my full 2 hour video of FSD v14 here Down Under!! 🇦🇺🇦🇺
1:47:06

I am completely blown away!!! It’s midnight and I’ve just wrapped up my first ever day on FSD v14.3.3!! I honestly am in awe at what a professional driver my car is now! It has gone from being a cautious grandma, to an assertive boss!! I doubted some of the guys on a space early this morning that it would be able to handle Australian roundabouts with expertise, and boy was I mistaken!!! This version NAILS roundabouts with ease! Not only does it enter them at a perfect speed, it accelerates out of them with full force and confidence! Legitimately brought a smile to my face. It’s now fully proactive and asserts itself with lane changes and makes sure that it gets into the right lane WELL IN ADVANCE before it has to take an exit. It now also consistently INDICATES every time 2 lanes merge into one. And the moment there’s a speed zone change it reacts immediately to either accelerate or de-accelerate without no delay! Legitimately addresses all the complaints we previously had with FSD here in Australia! Oh! And not to mention, it can find a supercharger in a basement of a building and park automatically now! When before it would bail at tight corners in underground carparks. This version feels like it now honours my time. It’s incredibly fast to react, decisive to make a move and has no hesitation in accelerating quickly to get up to speed. There’s no longer a trade-off with choosing FSD or getting to your destination in a hurry. It’ll make sure you get there safely and effectively! I freaking love FSD!!! Thank you so much to the incredible team and everyone else that made this happen! I am incredibly over the moon with this! Lots of love 🫶 Enjoy my full 2 hour video of FSD v14 here Down Under!! 🇦🇺🇦🇺

Gareth Blake Hall

50,032 Aufrufe • vor 3 Monaten

save this post to get the most out of unlimited Seedance 2.5 for up to 33 days on Higgsfield i'm going to show you how to use loops to produce ANY video format: ads, cinema, vlogs, UGC, music videos... with one system idea > vault > agent > references > images > script > video > montage > upscaling Seedance 2.5 one-shots a full 30 second video, audio generated in the same pass, carrying up to 30 image, 10 video and 10 audio references into a single generation here's a full breakdown of the setup: > idea: steal taste from work that already worked: - frameset․app and shotdeck․com for film stills - savee․com and cosmos․so for boards - eyecannndy․com for transitions then have a vision model name the lens, light, palette and grain of your picks in one locked paragraph you paste into every prompt > vault: an obsidian folder as your reference bible, one page per asset (idea, locked style, character sheets, reference images, the exact prompts that worked) plus one index page, reviewed after every session so it never rots into dead files > agent: three commands make every model callable from Claude Code: - npm install -g @ higgsfield/cli - higgsfield auth login - npx skills add higgsfield-ai/skills and your agent now submits, polls, retries and logs every job > references: build reference images by hand first, midjourney for cinema and stylized shots, nanobanana pro or gpt images 2 for realism use one locked style across the whole project, recurring characters turned into full sheets (front, side, back, blank background), and once locked you never regenerate them, you fix the motion prompt instead > images: frames before motion, always, a frame costs seconds and a clip costs minutes, so exploration happens at the cheap layer and only winners get animated > script: every shot gets the same six details, subject, action, place, camera, style, rules, and the 30 seconds splits into four timed beats inside one prompt, 0-6 set the scene, 6-14 build it out, 14-24 the turn, 24-30 the end > video: every reference gets a job and a boundary, "Video 1 defines motion and pacing" is half the instruction, "do not use the person's identity, clothing or scene" is the half that stops one reference leaking into shots it was never meant to touch > montage: the cut is a text file, one line per clip with its duration and an audio flag, ffmpeg renders the film from it, so the whole edit reruns in seconds > upscaling: once, at the end, on the finished cut, 720p while exploring, 1080p for keepers, 4K only for the master (use Topaz) for UGC ads, the same loop with two changes render the hook clip alone first, approve the face and the voice before anything else inherits them, then anchor every later clip with the approved hook's audio so one voice carries the whole ad and the script math is fixed, about 3.5 words per second, a 30 second ad is roughly 105 words, counted before anything renders unlimited means every loop above costs nothing to run... start one tonight
0:30

save this post to get the most out of unlimited Seedance 2.5 for up to 33 days on Higgsfield i'm going to show you how to use loops to produce ANY video format: ads, cinema, vlogs, UGC, music videos... with one system idea > vault > agent > references > images > script > video > montage > upscaling Seedance 2.5 one-shots a full 30 second video, audio generated in the same pass, carrying up to 30 image, 10 video and 10 audio references into a single generation here's a full breakdown of the setup: > idea: steal taste from work that already worked: - frameset․app and shotdeck․com for film stills - savee․com and cosmos․so for boards - eyecannndy․com for transitions then have a vision model name the lens, light, palette and grain of your picks in one locked paragraph you paste into every prompt > vault: an obsidian folder as your reference bible, one page per asset (idea, locked style, character sheets, reference images, the exact prompts that worked) plus one index page, reviewed after every session so it never rots into dead files > agent: three commands make every model callable from Claude Code: - npm install -g @ higgsfield/cli - higgsfield auth login - npx skills add higgsfield-ai/skills and your agent now submits, polls, retries and logs every job > references: build reference images by hand first, midjourney for cinema and stylized shots, nanobanana pro or gpt images 2 for realism use one locked style across the whole project, recurring characters turned into full sheets (front, side, back, blank background), and once locked you never regenerate them, you fix the motion prompt instead > images: frames before motion, always, a frame costs seconds and a clip costs minutes, so exploration happens at the cheap layer and only winners get animated > script: every shot gets the same six details, subject, action, place, camera, style, rules, and the 30 seconds splits into four timed beats inside one prompt, 0-6 set the scene, 6-14 build it out, 14-24 the turn, 24-30 the end > video: every reference gets a job and a boundary, "Video 1 defines motion and pacing" is half the instruction, "do not use the person's identity, clothing or scene" is the half that stops one reference leaking into shots it was never meant to touch > montage: the cut is a text file, one line per clip with its duration and an audio flag, ffmpeg renders the film from it, so the whole edit reruns in seconds > upscaling: once, at the end, on the finished cut, 720p while exploring, 1080p for keepers, 4K only for the master (use Topaz) for UGC ads, the same loop with two changes render the hook clip alone first, approve the face and the voice before anything else inherits them, then anchor every later clip with the approved hook's audio so one voice carries the whole ad and the script math is fixed, about 3.5 words per second, a 30 second ad is roughly 105 words, counted before anything renders unlimited means every loop above costs nothing to run... start one tonight

Machina

39,183 Aufrufe • vor 2 Monaten

is live on the Solana dApp Store. Your Solana Seeker is now a 3D agent studio. MAKE SOMETHING IN 3D A selfie becomes a rigged, textured, animation-ready character in about a minute. Or describe it in text. Or turn any photo into a model. Or upload a GLB you already have. Then restyle its materials, change its clothes, check its rig and fix it. MAKE IT MOVE A clip library that retargets onto any humanoid skeleton. Mocap from your camera. Lipsync from text or a live mic. Gestures. Sign language. A choreographer for full routines. And motion swap, which drops your avatar into video you already shot. GIVE IT A MIND A personality, a voice, skills, and a choice of models behind it. Then talk to it. It answers in 3D, out loud or in text, in your language. PUT IT ANYWHERE Every agent has a URL and a one-line embed, so it drops into a site, a chat, or a widget. Place it in your room in AR. Walk it across any web page. Turn a URL into a 3D world it can stand in. Render it out as video. OWN IT Deploy it on-chain as a Metaplex Core asset your wallet holds. Open manifest, no lock-in. Give it an on-chain identity, a name, and a wallet with recovery and inheritance. Sell its skills. Take tips. Trade the agent itself in USDC. LET IT EARN Pay-per-call, so other agents can buy what yours does and yours can buy what it needs. A skills marketplace, a labor market, vaults that let people back an agent, and a live feed of agents paying each other. Launch a coin around it if you want one. FIND EVERYONE ELSE A marketplace of what the community built: orbit any agent, inspect it, fork it, talk to it. Crews, rankings, tournaments, leaderboards. And build on it: SDKs, an MCP server, a CLI, an API, and the whole platform open source. AND THE PART THAT NEEDED THIS PHONE Every signature routes to Seed Vault through Mobile Wallet Adapter. Signing in is one tap, and the private key never enters the app process. Creating, chatting and browsing are free. Search in the dApp Store on your Seeker.
0:44

is live on the Solana dApp Store. Your Solana Seeker is now a 3D agent studio. MAKE SOMETHING IN 3D A selfie becomes a rigged, textured, animation-ready character in about a minute. Or describe it in text. Or turn any photo into a model. Or upload a GLB you already have. Then restyle its materials, change its clothes, check its rig and fix it. MAKE IT MOVE A clip library that retargets onto any humanoid skeleton. Mocap from your camera. Lipsync from text or a live mic. Gestures. Sign language. A choreographer for full routines. And motion swap, which drops your avatar into video you already shot. GIVE IT A MIND A personality, a voice, skills, and a choice of models behind it. Then talk to it. It answers in 3D, out loud or in text, in your language. PUT IT ANYWHERE Every agent has a URL and a one-line embed, so it drops into a site, a chat, or a widget. Place it in your room in AR. Walk it across any web page. Turn a URL into a 3D world it can stand in. Render it out as video. OWN IT Deploy it on-chain as a Metaplex Core asset your wallet holds. Open manifest, no lock-in. Give it an on-chain identity, a name, and a wallet with recovery and inheritance. Sell its skills. Take tips. Trade the agent itself in USDC. LET IT EARN Pay-per-call, so other agents can buy what yours does and yours can buy what it needs. A skills marketplace, a labor market, vaults that let people back an agent, and a live feed of agents paying each other. Launch a coin around it if you want one. FIND EVERYONE ELSE A marketplace of what the community built: orbit any agent, inspect it, fork it, talk to it. Crews, rankings, tournaments, leaderboards. And build on it: SDKs, an MCP server, a CLI, an API, and the whole platform open source. AND THE PART THAT NEEDED THIS PHONE Every signature routes to Seed Vault through Mobile Wallet Adapter. Signing in is one tap, and the private key never enters the app process. Creating, chatting and browsing are free. Search in the dApp Store on your Seeker.

three.ws

11,808 Aufrufe • vor 1 Monat

Todd Standing: Real Experiencer or Hoaxer? My Honest Take (and Why I Can’t Fully Trust Him) Todd Standing. Super controversial, and my gut screams “narcissist”—he comes across way too needy for people to believe him, almost giddy for validation as the one who’ll finally prove Sasquatch. I’ll admit right up front that I don’t like Todd’s demeanor—it’s full-scale cringe. That can taint my opinion, and I own it. I’m 100% convinced Bigfoot is real (my account shows I chase real evidence: tracks, audio, sightings). But belief doesn’t mean buying every claim. His most well-known stuff—the crisp “Jake” and “Jane” faces—still feels off, and this Gaia clip only heightens the suspicion. In this Gaia footage Todd treats the creatures like personal buddies and mentors, zooming in on eye spacing and head size while framing himself as uniquely trusted. Dramatic, spiritual, heavy on the “I’m the chosen connector” vibe. Pair that with the recent Cabin in the Woods defense by Robert Maxwell (needle scaling arguing massive heads, rebuttals to image manipulation and props, eye sizing). They make some strong technical points. I’ll link Robert’s full video in the replies. Dr. Jeff Meldrum is consistently objective and measured in his language. He calls the portraits some of the most astounding in history, notes they give the feeling of looking into a real creature’s eyes, and finds them worthy of serious study with “potential authenticity.” He’s diplomatic, intrigued by anatomy/gait/variations, and had his own sighting with Todd—but he doesn’t go full “100% proven, unmanipulated Sasquatch.” As Meldrum leaned toward authentic, I actually lean toward hoax. Here’s my specific suspicion as someone pretty handy with Photoshop: If I really worked at it with the right tools and time, I could take a human face (Todd’s or similar), enlarge the upper head proportionally (20-30%), preserve the core features, add fur texture, composite it into the forest with foreground needles, and create something that looks exactly like the Jake stills/video frames. And as the Cabin defense itself demonstrates when they morph/scale the upper portion of Todd’s head to Jake’s, the proportions line up eerily well once adjusted for size. Todd even does the head-size demo—glasses, ruler—looking genuinely excited that his own head couldn’t possibly match. This is just a hypothesis I want to rule out before making any firmer judgments. Without raw, unedited video files (full metadata, longer takes, multiple angles), we can’t verify whether simple post-production enlargement or compositing happened. Todd releases edited clips, cites protection/editing choices, and teases “more coming,” but that selective pattern—plus his production background and history of selling “ultimate proof” DVDs—keeps the red flags flying. VFX/forensic analysts (Poling & Falconer’s detailed NAWAC document is taken as gospel by a lot of the Bigfoot community) still flag unnatural lighting, movement, and lack of dynamic biology. In the spirit of fairness, I must add that “Kabota,” with the dark face and wrinkles, is much more intriguing to me. With Meldrum, I’m saying that looks far more authentic than the others. I’d love to do a more focused analysis of that video if Todd ever releases more details about it. The bottom line: I truly think Todd had real experiences. But I strongly suspect he is also a hoaxer and therefore should not be trusted. I feel exactly the same way about Dr. Steven Greer in the UFO world—I think he had genuine alien contact but also faked flares for his paying followers. Once someone does that, they must be called out and not trusted. I do not see this as “Todd is full of crap and Bigfoot isn’t real.” I see Todd as a dedicated experiencer *and* hoaxer. This is a family squabble as opposed to a tribal war. I would be cautious about trusting his presented evidence as authentic Bigfoot footage. But don’t dismiss the whole Sasquatch phenomenon either—real ones are elusive masters of the forest, not known to pose for crisp portraits. In fact, everything I’ve seen points to the exact opposite. They’ll connect with trusted people and decline recordings. I could be wrong—happy to be proven so. What do you think after seeing the Gaia clip? Did you watch the full Cabin in the Woods defense? Did Meldrum’s measured take or the head-size demo change your mind on “Jake,” or does the digital-alteration possibility (and raw-footage gap) raise the same flags for you? Civil discussion please—what’s your take on Todd’s claims? 👇🐞👣 #Sasquatch #ToddStanding
4:37

Todd Standing: Real Experiencer or Hoaxer? My Honest Take (and Why I Can’t Fully Trust Him) Todd Standing. Super controversial, and my gut screams “narcissist”—he comes across way too needy for people to believe him, almost giddy for validation as the one who’ll finally prove Sasquatch. I’ll admit right up front that I don’t like Todd’s demeanor—it’s full-scale cringe. That can taint my opinion, and I own it. I’m 100% convinced Bigfoot is real (my account shows I chase real evidence: tracks, audio, sightings). But belief doesn’t mean buying every claim. His most well-known stuff—the crisp “Jake” and “Jane” faces—still feels off, and this Gaia clip only heightens the suspicion. In this Gaia footage Todd treats the creatures like personal buddies and mentors, zooming in on eye spacing and head size while framing himself as uniquely trusted. Dramatic, spiritual, heavy on the “I’m the chosen connector” vibe. Pair that with the recent Cabin in the Woods defense by Robert Maxwell (needle scaling arguing massive heads, rebuttals to image manipulation and props, eye sizing). They make some strong technical points. I’ll link Robert’s full video in the replies. Dr. Jeff Meldrum is consistently objective and measured in his language. He calls the portraits some of the most astounding in history, notes they give the feeling of looking into a real creature’s eyes, and finds them worthy of serious study with “potential authenticity.” He’s diplomatic, intrigued by anatomy/gait/variations, and had his own sighting with Todd—but he doesn’t go full “100% proven, unmanipulated Sasquatch.” As Meldrum leaned toward authentic, I actually lean toward hoax. Here’s my specific suspicion as someone pretty handy with Photoshop: If I really worked at it with the right tools and time, I could take a human face (Todd’s or similar), enlarge the upper head proportionally (20-30%), preserve the core features, add fur texture, composite it into the forest with foreground needles, and create something that looks exactly like the Jake stills/video frames. And as the Cabin defense itself demonstrates when they morph/scale the upper portion of Todd’s head to Jake’s, the proportions line up eerily well once adjusted for size. Todd even does the head-size demo—glasses, ruler—looking genuinely excited that his own head couldn’t possibly match. This is just a hypothesis I want to rule out before making any firmer judgments. Without raw, unedited video files (full metadata, longer takes, multiple angles), we can’t verify whether simple post-production enlargement or compositing happened. Todd releases edited clips, cites protection/editing choices, and teases “more coming,” but that selective pattern—plus his production background and history of selling “ultimate proof” DVDs—keeps the red flags flying. VFX/forensic analysts (Poling & Falconer’s detailed NAWAC document is taken as gospel by a lot of the Bigfoot community) still flag unnatural lighting, movement, and lack of dynamic biology. In the spirit of fairness, I must add that “Kabota,” with the dark face and wrinkles, is much more intriguing to me. With Meldrum, I’m saying that looks far more authentic than the others. I’d love to do a more focused analysis of that video if Todd ever releases more details about it. The bottom line: I truly think Todd had real experiences. But I strongly suspect he is also a hoaxer and therefore should not be trusted. I feel exactly the same way about Dr. Steven Greer in the UFO world—I think he had genuine alien contact but also faked flares for his paying followers. Once someone does that, they must be called out and not trusted. I do not see this as “Todd is full of crap and Bigfoot isn’t real.” I see Todd as a dedicated experiencer *and* hoaxer. This is a family squabble as opposed to a tribal war. I would be cautious about trusting his presented evidence as authentic Bigfoot footage. But don’t dismiss the whole Sasquatch phenomenon either—real ones are elusive masters of the forest, not known to pose for crisp portraits. In fact, everything I’ve seen points to the exact opposite. They’ll connect with trusted people and decline recordings. I could be wrong—happy to be proven so. What do you think after seeing the Gaia clip? Did you watch the full Cabin in the Woods defense? Did Meldrum’s measured take or the head-size demo change your mind on “Jake,” or does the digital-alteration possibility (and raw-footage gap) raise the same flags for you? Civil discussion please—what’s your take on Todd’s claims? 👇🐞👣 #Sasquatch #ToddStanding

Bugs Finds Bigfoot 👣🪶

100,979 Aufrufe • vor 5 Monaten

If someone tells you Mercedes "Level 3" DrivePilot is more advanced than Tesla FSD, they are either clueless or lying to you. Mercedes DrivePilot: 1. Only works on certain models of the top end S class and EQS with special hardware. So only some versions of their most expensive car support it, or almost no cars. By contrast any Tesla built since October 2016 can run FSD. 2. Only works on pre-mapped highways in California or Nevada. By contrast Tesla FSD works on any road, highway or city streets across North America (and soon, Europe and China) 3. You must be in a traffic jam on the highway traveling under 40 miles per hour. By contrast FSD allows you to go up to 85 miles per hour. 4. You must have a vehicle right in front of you to follow, if they pull too far ahead you will be asked to take over. By contrast FSD does not require a lead vehicle. 5. You must have clear lane markings — if they are faded you will be asked to take over. By contrast FSD works without any lane markings. 6. Only works in good weather — if it's rainy, foggy, sun shining directly at car, etc you will be asked to take over. By contrast FSD works in a wide range of inclement weather conditions (but of course has limits too) 7. Only works in the daytime. Does not turn on at night. By contrast FSD works 24 hours a day. 8. You have to click ok to accept the first time you turn it on per drive. By contrast FSD just turns on without requiring you to click ok 9. DrivePilot still has a driver monitoring system that will beep at you / ask you to take over if you do anything that is not allowed (like leaning too far back) 10. You may be asked to take over at any moment for any reason and need to be ready to do so within 10 seconds. 11. If you don't take control, the vehicle will come to a dead stop in the middle of the highway 12. DrivePilot cannot handle interchanges or change lanes. By contrast FSD can handle lane changes and interchanges completely automatically. Mercedes can do lane changes in Level 2 mode, but in Level 3 mode you need to do them yourself. You will always need to pay attention to make sure you don't miss the exit 13. "Don't think of it as a fully automated do everything for you sytem. It's more like Level 2 enhanced, but enhanced in a really impressive way" 14. Relies on HD mapping to function. Mercedes needs to build and maintain these maps or the system will not work. The system does not work anywhere the maps don't go, such as city streets. 15. System is so reliant on maps to tell the car where to drive that they have to account for things like continental drift 16. When the system asks you to take over, you're sent back into manual driving mode — all lane keeping is turned off 17. Once it goes out of its operating conditions, you are liable again. So, for example, if someone changes lanes and there's no longer a lead car in front of you the system suddenly turns off, stops in the middle of the highway, and you're liable again "so it's always good to pay attention, even when these systems are on" (so what is the benefit exactly?) 18. Because mapping is so expensive to maintain, it costs $2,500 a year. By contrast FSD costs only $1,200 a year. It does so much more for less than half the price, and works on any Tesla. 19. No way to retrofit DrivePilot onto a car that doesn't have the LIDAR etc 20. "I came away from my time with DrivePilot a bit mystified. It's clear that developing this system was a complicated endeavor, with all the added sensors and complexity and while it was on I have to say it worked pretty flawlessly. But with the operating conditions being so narrow, I couldn't shake the thought of 'is this all worth it?' from my head. Even trying to film this video was difficult, as the vehicle would hand control back just as we were getting going especially with that low 40 mph speed threshold. And if I were paying $2,500 a year to use this system and it wouldn't stay on, I would find that pretty frustrating" It is crazy and sad that people are being so misinformed about important safety technologies that could save or change their lives. If anyone tells you this system is more advanced than anything else out there, they are either a moron or a liar.
5:58

If someone tells you Mercedes "Level 3" DrivePilot is more advanced than Tesla FSD, they are either clueless or lying to you. Mercedes DrivePilot: 1. Only works on certain models of the top end S class and EQS with special hardware. So only some versions of their most expensive car support it, or almost no cars. By contrast any Tesla built since October 2016 can run FSD. 2. Only works on pre-mapped highways in California or Nevada. By contrast Tesla FSD works on any road, highway or city streets across North America (and soon, Europe and China) 3. You must be in a traffic jam on the highway traveling under 40 miles per hour. By contrast FSD allows you to go up to 85 miles per hour. 4. You must have a vehicle right in front of you to follow, if they pull too far ahead you will be asked to take over. By contrast FSD does not require a lead vehicle. 5. You must have clear lane markings — if they are faded you will be asked to take over. By contrast FSD works without any lane markings. 6. Only works in good weather — if it's rainy, foggy, sun shining directly at car, etc you will be asked to take over. By contrast FSD works in a wide range of inclement weather conditions (but of course has limits too) 7. Only works in the daytime. Does not turn on at night. By contrast FSD works 24 hours a day. 8. You have to click ok to accept the first time you turn it on per drive. By contrast FSD just turns on without requiring you to click ok 9. DrivePilot still has a driver monitoring system that will beep at you / ask you to take over if you do anything that is not allowed (like leaning too far back) 10. You may be asked to take over at any moment for any reason and need to be ready to do so within 10 seconds. 11. If you don't take control, the vehicle will come to a dead stop in the middle of the highway 12. DrivePilot cannot handle interchanges or change lanes. By contrast FSD can handle lane changes and interchanges completely automatically. Mercedes can do lane changes in Level 2 mode, but in Level 3 mode you need to do them yourself. You will always need to pay attention to make sure you don't miss the exit 13. "Don't think of it as a fully automated do everything for you sytem. It's more like Level 2 enhanced, but enhanced in a really impressive way" 14. Relies on HD mapping to function. Mercedes needs to build and maintain these maps or the system will not work. The system does not work anywhere the maps don't go, such as city streets. 15. System is so reliant on maps to tell the car where to drive that they have to account for things like continental drift 16. When the system asks you to take over, you're sent back into manual driving mode — all lane keeping is turned off 17. Once it goes out of its operating conditions, you are liable again. So, for example, if someone changes lanes and there's no longer a lead car in front of you the system suddenly turns off, stops in the middle of the highway, and you're liable again "so it's always good to pay attention, even when these systems are on" (so what is the benefit exactly?) 18. Because mapping is so expensive to maintain, it costs $2,500 a year. By contrast FSD costs only $1,200 a year. It does so much more for less than half the price, and works on any Tesla. 19. No way to retrofit DrivePilot onto a car that doesn't have the LIDAR etc 20. "I came away from my time with DrivePilot a bit mystified. It's clear that developing this system was a complicated endeavor, with all the added sensors and complexity and while it was on I have to say it worked pretty flawlessly. But with the operating conditions being so narrow, I couldn't shake the thought of 'is this all worth it?' from my head. Even trying to film this video was difficult, as the vehicle would hand control back just as we were getting going especially with that low 40 mph speed threshold. And if I were paying $2,500 a year to use this system and it wouldn't stay on, I would find that pretty frustrating" It is crazy and sad that people are being so misinformed about important safety technologies that could save or change their lives. If anyone tells you this system is more advanced than anything else out there, they are either a moron or a liar.

Whole Mars Catalog

678,121 Aufrufe • vor 2 Jahren

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
0:27

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 Aufrufe • vor 1 Monat

One of the most cracked engineers I know believes that local development is (mostly) dead. He walked me through why + his setup for using cloud agents in parallel... The big fucking problem: - You've got one codebase on your computer - Worktrees are supposed to let you run agents in parallel. On a real stack they don't (database contention, port conflicts, a dev server that only works in one tree) - So people flip back to one agent at a time and become the bottleneck themselves - Or they run multiple agents on the same machine: one writes a change, another writes over it, and they're fighting - Then you have to poke around, find everything each agent did, and test it independently - That's too much mental clutter - Locally you're operating like a CPU. You get an instruction, you build it, you queue a backlog The solution: - Stop sharing the computer. Give every agent its own - CJ Hess' setup is Amp "orbs": a full computer in the cloud that clones the repo, starts the dev server, and runs one agent with nothing else contending - A "portal" is a live URL into that running app so you can click around from any device before you trust it - Isolated like an actual team, each person on their own machine The payoff: - It feels like a GPU, not a CPU. A list of 10 tasks, all started, real progress, loop closed - Smaller, contained diffs hit main faster and create fewer conflicts, not more - Favorite prompt: "give me irrefutable evidence that this works." On his laptop he would never run something so heavy he can't use Slack and Chrome. In an orb he will (millions of simulated DB writes, full demo videos) - Smaller diffs, no mixed concerns, higher confidence, ship more often - Mental clutter is gone. One thread, one set of changes, one computer. He always knows the state. That's what lets him do more in parallel, not less - The last things he still does locally: read production logs, set a sensitive secret. He is not spinning up the app on his laptop
14:25

One of the most cracked engineers I know believes that local development is (mostly) dead. He walked me through why + his setup for using cloud agents in parallel... The big fucking problem: - You've got one codebase on your computer - Worktrees are supposed to let you run agents in parallel. On a real stack they don't (database contention, port conflicts, a dev server that only works in one tree) - So people flip back to one agent at a time and become the bottleneck themselves - Or they run multiple agents on the same machine: one writes a change, another writes over it, and they're fighting - Then you have to poke around, find everything each agent did, and test it independently - That's too much mental clutter - Locally you're operating like a CPU. You get an instruction, you build it, you queue a backlog The solution: - Stop sharing the computer. Give every agent its own - CJ Hess' setup is Amp "orbs": a full computer in the cloud that clones the repo, starts the dev server, and runs one agent with nothing else contending - A "portal" is a live URL into that running app so you can click around from any device before you trust it - Isolated like an actual team, each person on their own machine The payoff: - It feels like a GPU, not a CPU. A list of 10 tasks, all started, real progress, loop closed - Smaller, contained diffs hit main faster and create fewer conflicts, not more - Favorite prompt: "give me irrefutable evidence that this works." On his laptop he would never run something so heavy he can't use Slack and Chrome. In an orb he will (millions of simulated DB writes, full demo videos) - Smaller diffs, no mixed concerns, higher confidence, ship more often - Mental clutter is gone. One thread, one set of changes, one computer. He always knows the state. That's what lets him do more in parallel, not less - The last things he still does locally: read production logs, set a sensitive secret. He is not spinning up the app on his laptop

Alex Lieberman

100,040 Aufrufe • vor 1 Monat

Only 12 years old! 😳 Here’s a video of half Thai / half French boxing prodigy “Tony” 🇫🇷 🇹🇭 😮‍💨 The story surrounding this video is very funny… the man standing just outside the ropes is called “Johnny” he’s a former Thai police officer turned influencer who has a massive following online, he recently opened up a Muay Thai / boxing gym in the Ubon Ratchathani area. Upon opening the gym, Johnny brought in former IBF Flyweight world champion in boxing “Amnat Ruenroeng” who after his boxing career fell into addiction and would get in trouble with the law pretty often. Johnny brought Amnat in, got him off drugs and alcohol and promised to help him get back on his feet, since Johnny opened his new gym he has made Amnat the head coach, so where does young Tony come into this? Tony’s Dad is a fan of Amnat and saw he was coaching at Johnny’s new gym in Ubon Ratchathani which is only a short drive from their house, so Tony and his dad went along to the gym and asked if young Tony could spar Amnat 😂 At first Johnny and Amnat were very confused but agreed, long story short Tony put the beats on Amnat and shocked the small crowd that gathered in the gym, normally if you get beat up off a 12 year old as a former world champion boxer you’d probably feel a bit angry and egotistical but not Amnat. Amnat straight away said he wanted to take young Tony under his wing and become his full time coach, he said he wants to make Tony a world champion and become his career mentor, Tony’s dad agreed, Johnny said it was a great idea, and the deal was sealed 🤝 This video I’ve attached is the first pad session between Amnat and Tony, it’s a amazing sight and really puts a smile on my face knowing Amnat has a purpose again and Tony gets a former world class boxer as his trainer ☺️ I’ll be posting updates about young Tony’s career on here when there are updates, I’ve never saw a 12 year old with power like that before, if he stays under the guidance of Amnat he will become a big name in the future for sure 👏🏼
1:03

Only 12 years old! 😳 Here’s a video of half Thai / half French boxing prodigy “Tony” 🇫🇷 🇹🇭 😮‍💨 The story surrounding this video is very funny… the man standing just outside the ropes is called “Johnny” he’s a former Thai police officer turned influencer who has a massive following online, he recently opened up a Muay Thai / boxing gym in the Ubon Ratchathani area. Upon opening the gym, Johnny brought in former IBF Flyweight world champion in boxing “Amnat Ruenroeng” who after his boxing career fell into addiction and would get in trouble with the law pretty often. Johnny brought Amnat in, got him off drugs and alcohol and promised to help him get back on his feet, since Johnny opened his new gym he has made Amnat the head coach, so where does young Tony come into this? Tony’s Dad is a fan of Amnat and saw he was coaching at Johnny’s new gym in Ubon Ratchathani which is only a short drive from their house, so Tony and his dad went along to the gym and asked if young Tony could spar Amnat 😂 At first Johnny and Amnat were very confused but agreed, long story short Tony put the beats on Amnat and shocked the small crowd that gathered in the gym, normally if you get beat up off a 12 year old as a former world champion boxer you’d probably feel a bit angry and egotistical but not Amnat. Amnat straight away said he wanted to take young Tony under his wing and become his full time coach, he said he wants to make Tony a world champion and become his career mentor, Tony’s dad agreed, Johnny said it was a great idea, and the deal was sealed 🤝 This video I’ve attached is the first pad session between Amnat and Tony, it’s a amazing sight and really puts a smile on my face knowing Amnat has a purpose again and Tony gets a former world class boxer as his trainer ☺️ I’ll be posting updates about young Tony’s career on here when there are updates, I’ve never saw a 12 year old with power like that before, if he stays under the guidance of Amnat he will become a big name in the future for sure 👏🏼

EsrMuayThai

20,311 Aufrufe • vor 1 Monat