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VIDEO: Florida State true freshman defensive back Shamar Arnoux (Shamar “Dudie” Arnoux) is making impact plays on the football during the Seminoles’ second spring scrimmage. 🔥 #GoNoles 🎥 via: Oliver Davis II

Norvell Central

12,373 subscribers

18,482 просмотров • 1 год назад •via X (Twitter)

Новости и политика Спорт #GoNoles

Anya Rossi• Live Now

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VIDEO: Former Florida State defensive back Derwin James Jr. deals the deal against the Miami Dolphins. 🔥 #GoNoles #NoleFamily 🎥 via: Los Angeles Chargers

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The true freshman LJ McCray D’antre Robinson Michai Boireau up front are making an impact. The future is bright for Mike Peterson Gerald Chatman and the Florida Gator defense. Florida Gators Football 📈| #FreshmanImpact

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Jacob LaFrance

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VIDEO: Former Florida State running back Lawrance Toafili got his opportunity with the New York Jets last night in their preseason matchup versus the Green Bay Packers. 🍢 #GoNoles #fsufootball #nfl #nflpreseason #jetsvspackers #lawrancetoafili 🎥 via: Holy Fish Salad/YouTube

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I heard what people were saying on Twitter about Jarrian Jones while at Florida State… Props to him for turning his career around and becoming a staple in the Jaguars’ secondary. 🔥 #GoNoles 🎥 via: NFL

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Norvell Central

22,386 просмотров • 8 месяцев назад

Lots of talk about Mylan Graham and Notre Dame’s true freshmen wide receivers this spring. Rightfully so; the newcomers can ball. But be on the lookout for redshirt freshman Elijah Burress. He can blossom in his second season in South Bend. A lot to like in him. via Notre Dame Football

Lots of talk about Mylan Graham and Notre Dame’s true freshmen wide receivers this spring. Rightfully so; the newcomers can ball. But be on the lookout for redshirt freshman Elijah Burress. He can blossom in his second season in South Bend. A lot to like in him. via Notre Dame Football

Tyler Horka

46,811 просмотров • 4 месяцев назад

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

15,080 просмотров • 1 год назад

Ever wanted to enter the TV during a match? Made this video using Seedance 2.0 on Picsart Try here: prompt First-person POV from a comfortable reclining armchair in a cozy modern living room decorated with elegant baby-pink accents. Soft baby-pink cushions, a pastel pink knitted blanket, subtle blush décor, and warm neutral furniture create a stylish modern aesthetic. From the very first frame, a large wall-mounted television directly ahead is already broadcasting a live Argentina vs Spain football match in full swing. Soft golden afternoon sunlight pours through the windows, filling the room with a warm, inviting match-day atmosphere. The viewer's legs are stretched out comfortably while wearing casual shorts, enjoying the game from a relaxed position. Authentic British football commentary and realistic crowd ambience naturally play from the television. At 0:02, a beautiful young woman wearing a fashionable baby-pink casual shorts outfit with white sneakers enters from the right side of the frame. Her hair is styled in a neat half-French braid that moves naturally with every step. She is a neutral football fan, supporting neither team. She notices the intensity of the Argentina vs Spain match, smiles with excitement, then suddenly accelerates into a sprint across the living room. At 0:04, she runs directly toward the television. The camera remains perfectly stable in a first-person perspective without shaking or zooming. At 0:05, she leaps directly into the television screen in one continuous motion. No cuts, no edits, no transitions. As she reaches the display, the entire living room organically dissolves into a gigantic international football stadium hosting Argentina vs Spain. The television audio naturally expands into an overwhelming live stadium atmosphere while maintaining one uninterrupted continuous shot. At 0:06, she lands smoothly on the football pitch still wearing the exact same baby-pink outfit and identical half-French braid. A single football rolls naturally toward her. STRICT OBJECT PERMANENCE: Only one football exists during the entire video. The same football remains continuously visible from first touch until the goal. No duplication, replacement, teleportation, morphing, flickering, disappearing, texture changes, scaling inconsistencies, floating ball, clipping, frame jumps, or AI artefacts. Realistic football physics only. At 0:07, she cushions the ball perfectly with a controlled first touch. From 0:08–0:11, she dribbles continuously through both Argentina and Spain defenders using realistic footwork, believable acceleration, proper spacing, authentic body balance, and natural player reactions. Every touch follows realistic momentum with accurate football physics. No clipping, collision issues, or unnatural animation. At 0:11, she reaches the edge of the penalty area. At 0:12, she unleashes a powerful long-range strike using the same football. The camera smoothly tracks the ball's entire flight from her foot to the goal in one uninterrupted motion. Realistic spin, natural speed, believable trajectory, premium broadcast-quality tracking. At 0:13, the football rockets into the top corner of the net. The goal net stretches and ripples realistically as the stadium erupts. Authentic British football commentator shouts: "What a strike! Absolutely sensational!" Crowd chants become deafening. At 0:14, she turns and sprints toward the corner flag as the camera follows closely behind. For the final second, she leaps high into the air and performs the iconic Siuuu celebration, rotating before landing confidently with feet apart and arms extended downward while facing the roaring crowd. Her half-French braid swings dramatically through the air. Brilliant stadium floodlights illuminate the scene as tens of thousands of fans celebrate around her. **Ultra-realistic cinematic football commercial, premium sports broadcast quality, seamless living-room-to-stadium transformation, one continuous unbroken shot, authentic British football commentary, realistic player movement, physically accurate football physics, strict single-ball continuity, stable first-person camera, cinematic lighting, dramatic atmosphere, crowd chants, sprinting footsteps, grass impact sounds, realistic ball contact, powerful strike, natural net deformation, HDR, ultra-detailed textures, premium realism, 15-second duration, portrait 9:16, baby-pink aesthetic, no logos, no text overlays, no subtitles, no watermark, no flickering objects, no AI artefacts, no visual glitches.

Ever wanted to enter the TV during a match? Made this video using Seedance 2.0 on Picsart Try here: prompt First-person POV from a comfortable reclining armchair in a cozy modern living room decorated with elegant baby-pink accents. Soft baby-pink cushions, a pastel pink knitted blanket, subtle blush décor, and warm neutral furniture create a stylish modern aesthetic. From the very first frame, a large wall-mounted television directly ahead is already broadcasting a live Argentina vs Spain football match in full swing. Soft golden afternoon sunlight pours through the windows, filling the room with a warm, inviting match-day atmosphere. The viewer's legs are stretched out comfortably while wearing casual shorts, enjoying the game from a relaxed position. Authentic British football commentary and realistic crowd ambience naturally play from the television. At 0:02, a beautiful young woman wearing a fashionable baby-pink casual shorts outfit with white sneakers enters from the right side of the frame. Her hair is styled in a neat half-French braid that moves naturally with every step. She is a neutral football fan, supporting neither team. She notices the intensity of the Argentina vs Spain match, smiles with excitement, then suddenly accelerates into a sprint across the living room. At 0:04, she runs directly toward the television. The camera remains perfectly stable in a first-person perspective without shaking or zooming. At 0:05, she leaps directly into the television screen in one continuous motion. No cuts, no edits, no transitions. As she reaches the display, the entire living room organically dissolves into a gigantic international football stadium hosting Argentina vs Spain. The television audio naturally expands into an overwhelming live stadium atmosphere while maintaining one uninterrupted continuous shot. At 0:06, she lands smoothly on the football pitch still wearing the exact same baby-pink outfit and identical half-French braid. A single football rolls naturally toward her. STRICT OBJECT PERMANENCE: Only one football exists during the entire video. The same football remains continuously visible from first touch until the goal. No duplication, replacement, teleportation, morphing, flickering, disappearing, texture changes, scaling inconsistencies, floating ball, clipping, frame jumps, or AI artefacts. Realistic football physics only. At 0:07, she cushions the ball perfectly with a controlled first touch. From 0:08–0:11, she dribbles continuously through both Argentina and Spain defenders using realistic footwork, believable acceleration, proper spacing, authentic body balance, and natural player reactions. Every touch follows realistic momentum with accurate football physics. No clipping, collision issues, or unnatural animation. At 0:11, she reaches the edge of the penalty area. At 0:12, she unleashes a powerful long-range strike using the same football. The camera smoothly tracks the ball's entire flight from her foot to the goal in one uninterrupted motion. Realistic spin, natural speed, believable trajectory, premium broadcast-quality tracking. At 0:13, the football rockets into the top corner of the net. The goal net stretches and ripples realistically as the stadium erupts. Authentic British football commentator shouts: "What a strike! Absolutely sensational!" Crowd chants become deafening. At 0:14, she turns and sprints toward the corner flag as the camera follows closely behind. For the final second, she leaps high into the air and performs the iconic Siuuu celebration, rotating before landing confidently with feet apart and arms extended downward while facing the roaring crowd. Her half-French braid swings dramatically through the air. Brilliant stadium floodlights illuminate the scene as tens of thousands of fans celebrate around her. **Ultra-realistic cinematic football commercial, premium sports broadcast quality, seamless living-room-to-stadium transformation, one continuous unbroken shot, authentic British football commentary, realistic player movement, physically accurate football physics, strict single-ball continuity, stable first-person camera, cinematic lighting, dramatic atmosphere, crowd chants, sprinting footsteps, grass impact sounds, realistic ball contact, powerful strike, natural net deformation, HDR, ultra-detailed textures, premium realism, 15-second duration, portrait 9:16, baby-pink aesthetic, no logos, no text overlays, no subtitles, no watermark, no flickering objects, no AI artefacts, no visual glitches.

Sharon Riley

52,132 просмотров • 1 месяц назад

Seedance 2.0 Parameter Based Prompts I've been experimenting with variable-based prompting in Seedance 2.0 and built a modular template for these bullet-time selfie sequences. The main video was made with a different prompt. I used it as a base to build this template. It won't always be perfect depending on the scene, but the parameter-based approach is still very usable. Dropped a few examples in the replies, you just need to change the variables. Prompt Template: FORMAT: 15s / ONE CONTINUOUS SHOT / BULLET TIME SELFIE PARAMS: : define subject, outfit, state : define location, time, atmosphere : define threat / accident / impact : define reaction (attack / dodge / collision / escape) : define ending state RULE: Freeze the world, keep only in real-time motion. Delay character action inside slow motion (~2s hold before selfie). Selfie must clearly include both and the in the same frame. STRUCTURE: 0.0–3.0s — SETUP in , normal flow. begins and escalates rapidly. 3.0–10.0s — PEAK (SLOW MOTION) 3.0–5.0s Time slows almost to a freeze at the critical moment. holds position, tension builds. 5.0–10.0s [cam: close, slight orbit / bullet time] [sfx: ambience stretch, single phone snap] pulls out phone → takes selfie capturing the moment → puts it back. 10.0–13.0s — OUTCOME ACTION Time snaps back instantly. plays out. 13.0–15.0s — END .

Seedance 2.0 Parameter Based Prompts I've been experimenting with variable-based prompting in Seedance 2.0 and built a modular template for these bullet-time selfie sequences. The main video was made with a different prompt. I used it as a base to build this template. It won't always be perfect depending on the scene, but the parameter-based approach is still very usable. Dropped a few examples in the replies, you just need to change the variables. Prompt Template: FORMAT: 15s / ONE CONTINUOUS SHOT / BULLET TIME SELFIE PARAMS: : define subject, outfit, state : define location, time, atmosphere : define threat / accident / impact : define reaction (attack / dodge / collision / escape) : define ending state RULE: Freeze the world, keep only in real-time motion. Delay character action inside slow motion (~2s hold before selfie). Selfie must clearly include both and the in the same frame. STRUCTURE: 0.0–3.0s — SETUP in , normal flow. begins and escalates rapidly. 3.0–10.0s — PEAK (SLOW MOTION) 3.0–5.0s Time slows almost to a freeze at the critical moment. holds position, tension builds. 5.0–10.0s [cam: close, slight orbit / bullet time] [sfx: ambience stretch, single phone snap] pulls out phone → takes selfie capturing the moment → puts it back. 10.0–13.0s — OUTCOME ACTION Time snaps back instantly. plays out. 13.0–15.0s — END .

Kōda

14,985 просмотров • 4 месяцев назад

2. Teasers / MV / Live presentations We believe all the content should include all members. Not some content, but all of it. We see some people excusing the exclusion of Lee Know in some content because "he will appear in other content", we don't understand why he would be excluded out of any content when the group includes 8 members. There isn't an excuse for this to happen all the time. We will only talk about recent releases and God's Menu to not make this even longer. a) Gods Menu - A title track where they gave him zero lines and screen time (song that they continue to sing, so the company could have made a redistribution of the lines). b) Megaverse - They gave him lines in the initial release, but then they cut his part to 3 seconds, and decided to delete his center part leaving him with half of a line. c) Hall Of Fame - Every live presentation they would cut Lee Know on his own part recording from below all of the other members and only listening to Lee Know's voice without being able to look at him. d) S-Class - They stopped recording the kick he does and instead they record the other members, Lee Know sings there. e) JJAM - When it was dance racha time, Lee Know got almost no time, during the life presentation the moment he goes to the center he says his line "I know..." and while he says it, the screen gets black, so he doesn't have that time on screen, later he is placed at the back covered during the dance break. He is the dance leader. f) Walkin on Water' - During the live presentation, they decided to record everyone on his part, and cut it from his own fancam. g) Recent teasers - He was completely excluded from the first teaser and only included in the second one, he got no solo recording on the MV like the other members. h) Giant - There is a part on the video where all the members are shown, Lee Know is covered and the lights are lowered where he is, making him invisible. During the live presentation, they record other members on his part, they put the dance focus on others, being the only part he has where he sings alone. i) YOUTH - After the release of the MV, the company decided to edit the video causing views to freeze and deleting a very important part where it thanked the people involved. The time from when the video was finished to when it was published was enough to arrange all the details, and the part deleted was so big, it was impossible to miss it. This happened before with his other individual work “Dawn”, which was deleted after some time, and re-uploaded, deleting all the views it had accumulated. This means one of two things, the company puts less interest and effort in Lee Know's work, or the company is purposefully hindering Lee Know's work. Either of the two is unacceptable by a company with so many resources and that claims to be a leader in the industry. This only shows a lack of professionalism and care. j) Dance leader - We know he is the dance leader, and K-stays and the members have talked a lot about how involved he is and how hard he works in that position, but the company refuses to include any footage of him doing it, and even cuts the parts where he gives his all. Just recently K-Stays were raving about how hard Lee Know worked as the dance leader and how much effort it took, One Label cut all of that footage from the Talker. It appears they don't want stays to look at anything he does, or to not give him recognition for anything.

2. Teasers / MV / Live presentations We believe all the content should include all members. Not some content, but all of it. We see some people excusing the exclusion of Lee Know in some content because "he will appear in other content", we don't understand why he would be excluded out of any content when the group includes 8 members. There isn't an excuse for this to happen all the time. We will only talk about recent releases and God's Menu to not make this even longer. a) Gods Menu - A title track where they gave him zero lines and screen time (song that they continue to sing, so the company could have made a redistribution of the lines). b) Megaverse - They gave him lines in the initial release, but then they cut his part to 3 seconds, and decided to delete his center part leaving him with half of a line. c) Hall Of Fame - Every live presentation they would cut Lee Know on his own part recording from below all of the other members and only listening to Lee Know's voice without being able to look at him. d) S-Class - They stopped recording the kick he does and instead they record the other members, Lee Know sings there. e) JJAM - When it was dance racha time, Lee Know got almost no time, during the life presentation the moment he goes to the center he says his line "I know..." and while he says it, the screen gets black, so he doesn't have that time on screen, later he is placed at the back covered during the dance break. He is the dance leader. f) Walkin on Water' - During the live presentation, they decided to record everyone on his part, and cut it from his own fancam. g) Recent teasers - He was completely excluded from the first teaser and only included in the second one, he got no solo recording on the MV like the other members. h) Giant - There is a part on the video where all the members are shown, Lee Know is covered and the lights are lowered where he is, making him invisible. During the live presentation, they record other members on his part, they put the dance focus on others, being the only part he has where he sings alone. i) YOUTH - After the release of the MV, the company decided to edit the video causing views to freeze and deleting a very important part where it thanked the people involved. The time from when the video was finished to when it was published was enough to arrange all the details, and the part deleted was so big, it was impossible to miss it. This happened before with his other individual work “Dawn”, which was deleted after some time, and re-uploaded, deleting all the views it had accumulated. This means one of two things, the company puts less interest and effort in Lee Know's work, or the company is purposefully hindering Lee Know's work. Either of the two is unacceptable by a company with so many resources and that claims to be a leader in the industry. This only shows a lack of professionalism and care. j) Dance leader - We know he is the dance leader, and K-stays and the members have talked a lot about how involved he is and how hard he works in that position, but the company refuses to include any footage of him doing it, and even cuts the parts where he gives his all. Just recently K-Stays were raving about how hard Lee Know worked as the dance leader and how much effort it took, One Label cut all of that footage from the Talker. It appears they don't want stays to look at anything he does, or to not give him recognition for anything.

LEE KNOW 리노 GLOBAL ★

21,011 просмотров • 1 год назад

ACCRA, GHANA: In August 2024, the Aye (NBM) cult group recorded one of the most painful BKB cases ever recorded on this platform - a case in Accra, Ghana, where a former Aye number 1 man named Summer or Summerboy (seen in the video) was be@ten to de@th by people he considered friends and fellow Ayes. This story revolves around 3 key individuals: Summer, Update, and Asima - all members of Aye. Summer, originally from Imo state, but raised in Ebonyi state, was an Aye number 1 man while in school at Akanu Ibiam Federal Polytechnic, Unwana, Ebonyi State. Asima (right pic) was his godson (Kson) in Aye. Update is Asima’s younger brother and a childhood friend of Summer. This means Summer was the godfather (LM) to his childhood friend’s elder brother. After Summer graduated and completed his NYSC, he reached out to Update and Asima who lives in Ghana and runs an HK office, seeking to learn how to make money. They agreed and invited Summer to Ghana. When Summer arrived, Asima, Update, and other Ayes in the HK office decided to drill him - a practice just like cult initiation which is meant to toughen up newcomers in the HK. After drilling Summer the first time, they said the drilling was soft and they had to drill him harder the second time. It was during the second drilling that Summer became unc0nscious and was rushed to the hospital, where he d!£d. Summer d!£d on the same day he arrived in Ghana. A godson and a childhood friend, both NBM members, involved in the k**ling of Summer - a friend, a fellow Aye, an Aye godfather, and a former Aye number 1 man. Summer was a very talented musician, and a very peaceful young boy who loved peace and discouraged violence. Summer had supported both Update and Asima in many ways in the past, even supporting them both as a childhood friend and financially, especially when they started a new life in Ghana. Non-cultists (Free Men), there is no true brotherhood in cultism. Reject Aye. Reject Cultism.

ACCRA, GHANA: In August 2024, the Aye (NBM) cult group recorded one of the most painful BKB cases ever recorded on this platform - a case in Accra, Ghana, where a former Aye number 1 man named Summer or Summerboy (seen in the video) was be@ten to de@th by people he considered friends and fellow Ayes. This story revolves around 3 key individuals: Summer, Update, and Asima - all members of Aye. Summer, originally from Imo state, but raised in Ebonyi state, was an Aye number 1 man while in school at Akanu Ibiam Federal Polytechnic, Unwana, Ebonyi State. Asima (right pic) was his godson (Kson) in Aye. Update is Asima’s younger brother and a childhood friend of Summer. This means Summer was the godfather (LM) to his childhood friend’s elder brother. After Summer graduated and completed his NYSC, he reached out to Update and Asima who lives in Ghana and runs an HK office, seeking to learn how to make money. They agreed and invited Summer to Ghana. When Summer arrived, Asima, Update, and other Ayes in the HK office decided to drill him - a practice just like cult initiation which is meant to toughen up newcomers in the HK. After drilling Summer the first time, they said the drilling was soft and they had to drill him harder the second time. It was during the second drilling that Summer became unc0nscious and was rushed to the hospital, where he d!£d. Summer d!£d on the same day he arrived in Ghana. A godson and a childhood friend, both NBM members, involved in the k**ling of Summer - a friend, a fellow Aye, an Aye godfather, and a former Aye number 1 man. Summer was a very talented musician, and a very peaceful young boy who loved peace and discouraged violence. Summer had supported both Update and Asima in many ways in the past, even supporting them both as a childhood friend and financially, especially when they started a new life in Ghana. Non-cultists (Free Men), there is no true brotherhood in cultism. Reject Aye. Reject Cultism.

Naija Confra

20,349 просмотров • 5 месяцев назад

C Easton Carmichael (Oklahoma Baseball) is one of the top college catchers in this year's Draft. Started from the get-go as a Freshman and hit .306/.346/.482 with 18 XBH and 48 RBIs. Proceeded to enjoy an outstanding Sophomore campaign to the tune of a .366/.406/.563 slash line with 31 XBH, 64 RBIs and 12 SB. Carmichael was then an All-Star and All-League selection in the Cape League after hitting .299/.372/.496 with 10 2B, 5 HR and 23 RBIs across 36 games. Prototypical catcher's frame at 6'1" and 200-lbs with strength throughout. Slightly crouched stance in the box with a high handset and the bat held horizontally above his back shoulder. Hands drift a little bit in his load, leg lift leads into a normal stride. Does a nice job of getting into his back hip. Average bat speed. Carmichael has an aggressive approach and digs into the box ready to hit. He uses the entire field and has a tick above-average bat-to-ball skills. Has shown the ability to drive the baseball into either gap. Could stand to tighten up his swing decisions a bit; chased at a 35% clip and was particularly susceptible to secondaries down and away. Present barrel skills. Would say his hit tool is a 50 right now, though it's probably closer to a 55. It's more extra-base hit and gap-to-gap power than it is HR power for Carmichael right now, but he has shown he can generate quality contact. Posted a Max EV of 109.5 during the spring and 104.2 on the Cape. If he can pull the ball in the air more (had an Air Pull% of just 20.8 in '24), it could lead to an increase in power production. 50 raw, it plays more like 45 in-game. It's been encouraging to see the progress Carmichael has made defensively. Has gotten better at corralling balls in the dirt and his transfers have gotten quicker. Best part of Carmichael's defensive skillset is his receiving. Soft and quiet, consistently works down to up and has a knack for stealing strikes. Doesn't stab at the baseball. Average arm strength, continuing to shore up his footwork will only help as it pertains to controlling the running game and delivering accurate throws down to bases. A nice cherry on top to Carmichael's profile is that he's far from a clogger on the bases. By no means a burner, but he'll pick his spots to steal a bag. Carmichael has an intriguing toolset and profiles as a 2nd-4th round pick this July. (📽️: Oklahoma Baseball)

Peter Flaherty III

32,357 просмотров • 1 год назад

$Archaeologists in Livorno, Italy, are putting together the pieces of a great mystery that began with a stunning find. While hiking in a cleared area of a Tuscan forest northeast of Livorno, a member of the Livorno Paleontological Archaeological Group spotted a few glimmering coins in the dirt in November 2021. Upon closer inspection and excavation, researchers determined that the find included 175 silver Roman denarii coins. Nearly all were in good condition, making this one of the few hoards of ancient coins found intact, according to the group. But the discovery prompted a number of questions: Whose treasure was it? Who were they hiding it from? And why didn’t they come back for it? The archaeological group, along with the archaeologist official for the provinces of Pisa and Livorno, Dr. Lorella Alderighi, has spent more than a year measuring, weighing and documenting the coins, according to a news release posted on its Facebook page. Now, the researchers think they have some answers. “This treasure is about a person’s life, the savings of a soldier’s life and his hopes for building his farm,” Alderighi said via email. “However, it also tells a sad story: (T)he owner of the coins died before he could make his dreams come true using his savings. The coins tell his story.” The hoard now displayed at the Museum of Natural History of the Mediterranean in Livorno. It’s impossible to know exactly who buried the coins, Alderighi said, but the coins would most likely have been the treasure of a former soldier who served during Rome’s Social War from 91-88 BC and during civil war between Sulla and Marians from 83-82 BC. The owner of the hoard buried it in a terra-cotta pot, which served as a sort of piggy bank. The earliest coins in the stash dated to 157 or 156 BC, and the latest up to 83 or 82 BC, according to archaeological group’s release. During that time, 175 denarii would have been a soldier’s salary for about a year and a half, Alderighi said. Now, the treasure has a value of around 20,000 to 25,000 euros, she added. The coins were preserved well in their buried state. Only two are fractured, but they can be reassembled, the release noted. Studying them could provide scholars with more background on the history of coins and how people used them and could even lead to changes with fundamental typology, created in 1974 and still used today to identify and date Roman coins, she added. “It is one of the very few hoards of ancient coins found intact and provides a lot of numismatic, historical and social information,” Alderighi said. 🎥© rometravelers (IG) © CNN #archaeohistories$

Archaeologists in Livorno, Italy, are putting together the pieces of a great mystery that began with a stunning find. While hiking in a cleared area of a Tuscan forest northeast of Livorno, a member of the Livorno Paleontological Archaeological Group spotted a few glimmering coins in the dirt in November 2021. Upon closer inspection and excavation, researchers determined that the find included 175 silver Roman denarii coins. Nearly all were in good condition, making this one of the few hoards of ancient coins found intact, according to the group. But the discovery prompted a number of questions: Whose treasure was it? Who were they hiding it from? And why didn’t they come back for it? The archaeological group, along with the archaeologist official for the provinces of Pisa and Livorno, Dr. Lorella Alderighi, has spent more than a year measuring, weighing and documenting the coins, according to a news release posted on its Facebook page. Now, the researchers think they have some answers. “This treasure is about a person’s life, the savings of a soldier’s life and his hopes for building his farm,” Alderighi said via email. “However, it also tells a sad story: (T)he owner of the coins died before he could make his dreams come true using his savings. The coins tell his story.” The hoard now displayed at the Museum of Natural History of the Mediterranean in Livorno. It’s impossible to know exactly who buried the coins, Alderighi said, but the coins would most likely have been the treasure of a former soldier who served during Rome’s Social War from 91-88 BC and during civil war between Sulla and Marians from 83-82 BC. The owner of the hoard buried it in a terra-cotta pot, which served as a sort of piggy bank. The earliest coins in the stash dated to 157 or 156 BC, and the latest up to 83 or 82 BC, according to archaeological group’s release. During that time, 175 denarii would have been a soldier’s salary for about a year and a half, Alderighi said. Now, the treasure has a value of around 20,000 to 25,000 euros, she added. The coins were preserved well in their buried state. Only two are fractured, but they can be reassembled, the release noted. Studying them could provide scholars with more background on the history of coins and how people used them and could even lead to changes with fundamental typology, created in 1974 and still used today to identify and date Roman coins, she added. “It is one of the very few hoards of ancient coins found intact and provides a lot of numismatic, historical and social information,” Alderighi said. 🎥© rometravelers (IG) © CNN #archaeohistories

Archaeo - Histories

68,908 просмотров • 2 лет назад

Here is the New Year Amur Falcon Migration -Very long Q&A Part II Q1. What is the longest non-stop distance covered by these satellite-tagged Amur Falcons? A: Published tracking shows Amur Falcons can do multi-day, non-stop flights of approx. 5,600–6,000 km during the India→Africa leg, depending on the individual & year. Also, peer-reviewed/technical tracking confirms their open-sea crossings can be about 2,364–3,138 km (Somalia↔India), typically completed in roughly 44–80 hours. Q2. Do satellite tags interfere with their flight, health, or mating? A: Properly fitted tags are designed to minimise interference, but no tag is “zero-impact.”. Best practice is to keep transmitter mass very small relative to body weight and use well-tested harness designs; the recent India work has been described as using very lightweight transmitters (a few grams). However, ethical review, careful fitting, and post-deployment evaluation should be done & is being done Q3. Do jet streams or high-altitude winds help them on this journey? A: Yes winds are a major part of the “physics” that makes the journey possible. The best-documented help is from seasonal monsoon tailwinds and strong, persistent wind systems over the Arabian Sea/Indian Ocean that can provide sustained push. Q4. How many other falcons are “accompanying” these famous three? A: These famous three are just the tagged individuals we can follow in reality, Amur Falcons migrate and roost in huge aggregations, often tens of thousands to over 100,000 at key stopovers, and broader estimates discuss movements involving very large numbers of birds across the flyway. Q5. Why have these three gone to different destinations? A: It’s common for individuals of the same species to winter in different areas within southern/eastern Africa. Differences can be driven by wind and weather, refuelling success and timing at stopovers, individual strategy/experience (age, condition, learned routes) etc. Q6. When will they return and what route will they take? A: In broad terms, Amur Falcons winter in Africa and then move north in late winter/early spring, reaching breeding regions in northeast Asia around May–June. Routes can differ between autumn vs spring, and tracking shows spring and autumn ocean crossings can follow different lines. Q7. Does part of the falcon’s brain “sleep” during the long flight? A: We have strong evidence that some birds can sleep in flight (including unihemispheric sleep) famously shown in frigatebirds. For Amur Falcons specifically, it’s not proven. Q8. How do they decide their destination, and do they return to the same places each year? A: The best-supported explanation is a mix of: Innate navigation programmes (genetically guided ) Environmental cues (winds, weather, geography, magnetic and celestial cues), learning/experience (older birds often show more consistent routes). Satellite work indicates the species follows remarkably consistent large-scale timing and corridors, even though individuals may vary. Q9. What do they eat to fuel such massive journeys? A: During the crucial Northeast India stopover, studies show they are highly insectivorous, with termites often dominant, along with other insect groups exactly the kind of high-abundance prey that allows rapid fattening before an ocean crossing. This is why protecting stopover habitats (and the insect “boom” they depend on) is so important. Q10. Is Ahu expected to move further? Why she is stationery ? A. Periods of little movement usually indicate resting or feeding in suitable habitat. This is normal behaviour and not a cause for concern Q11. How long does the GPS tag stay on the bird? A. The tag is fixed as a backpack & expected to stay for long, however this may come off from prolonged wear and tear, the tags may also stop transmitting after prolonged battery use. As told to Supriya Sahu IAS by Suresh Kumar Wildlife Institute of India #AmurFalconMigration video - The stopover tagging site in Manipur

Here is the New Year Amur Falcon Migration -Very long Q&A Part II Q1. What is the longest non-stop distance covered by these satellite-tagged Amur Falcons? A: Published tracking shows Amur Falcons can do multi-day, non-stop flights of approx. 5,600–6,000 km during the India→Africa leg, depending on the individual & year. Also, peer-reviewed/technical tracking confirms their open-sea crossings can be about 2,364–3,138 km (Somalia↔India), typically completed in roughly 44–80 hours. Q2. Do satellite tags interfere with their flight, health, or mating? A: Properly fitted tags are designed to minimise interference, but no tag is “zero-impact.”. Best practice is to keep transmitter mass very small relative to body weight and use well-tested harness designs; the recent India work has been described as using very lightweight transmitters (a few grams). However, ethical review, careful fitting, and post-deployment evaluation should be done & is being done Q3. Do jet streams or high-altitude winds help them on this journey? A: Yes winds are a major part of the “physics” that makes the journey possible. The best-documented help is from seasonal monsoon tailwinds and strong, persistent wind systems over the Arabian Sea/Indian Ocean that can provide sustained push. Q4. How many other falcons are “accompanying” these famous three? A: These famous three are just the tagged individuals we can follow in reality, Amur Falcons migrate and roost in huge aggregations, often tens of thousands to over 100,000 at key stopovers, and broader estimates discuss movements involving very large numbers of birds across the flyway. Q5. Why have these three gone to different destinations? A: It’s common for individuals of the same species to winter in different areas within southern/eastern Africa. Differences can be driven by wind and weather, refuelling success and timing at stopovers, individual strategy/experience (age, condition, learned routes) etc. Q6. When will they return and what route will they take? A: In broad terms, Amur Falcons winter in Africa and then move north in late winter/early spring, reaching breeding regions in northeast Asia around May–June. Routes can differ between autumn vs spring, and tracking shows spring and autumn ocean crossings can follow different lines. Q7. Does part of the falcon’s brain “sleep” during the long flight? A: We have strong evidence that some birds can sleep in flight (including unihemispheric sleep) famously shown in frigatebirds. For Amur Falcons specifically, it’s not proven. Q8. How do they decide their destination, and do they return to the same places each year? A: The best-supported explanation is a mix of: Innate navigation programmes (genetically guided ) Environmental cues (winds, weather, geography, magnetic and celestial cues), learning/experience (older birds often show more consistent routes). Satellite work indicates the species follows remarkably consistent large-scale timing and corridors, even though individuals may vary. Q9. What do they eat to fuel such massive journeys? A: During the crucial Northeast India stopover, studies show they are highly insectivorous, with termites often dominant, along with other insect groups exactly the kind of high-abundance prey that allows rapid fattening before an ocean crossing. This is why protecting stopover habitats (and the insect “boom” they depend on) is so important. Q10. Is Ahu expected to move further? Why she is stationery ? A. Periods of little movement usually indicate resting or feeding in suitable habitat. This is normal behaviour and not a cause for concern Q11. How long does the GPS tag stay on the bird? A. The tag is fixed as a backpack & expected to stay for long, however this may come off from prolonged wear and tear, the tags may also stop transmitting after prolonged battery use. As told to Supriya Sahu IAS by Suresh Kumar Wildlife Institute of India #AmurFalconMigration video - The stopover tagging site in Manipur

Supriya Sahu IAS

14,260 просмотров • 7 месяцев назад

𝐕𝐈𝐃𝐄𝐎: 𝐅𝐚𝐭𝐡𝐞𝐫 𝐀𝐥𝐥𝐞𝐠𝐞𝐬 𝐃𝐢𝐬𝐜𝐫𝐢𝐦𝐢𝐧𝐚𝐭𝐢𝐨𝐧 𝐚𝐭 𝐈𝐥𝐨𝐫𝐢𝐧 𝐌𝐚𝐥𝐥 𝐎𝐯𝐞𝐫 𝐃𝐚𝐮𝐠𝐡𝐭𝐞𝐫’𝐬 𝐒𝐩𝐞𝐜𝐢𝐚𝐥 𝐍𝐞𝐞𝐝𝐬 A Nigerian father has taken to TikTok to express his frustration and after he was allegedly denied entry into Emirate Mall in Ilorin, Kwara State, because of his daughter, who has special needs The incident occurred during the recent Eid holiday, when the man dressed in white native attire visited the mall with his young daughter, clad in pink, hoping to shop for a few items. However, he claimed they were alledgedly turned away at the entrance of the supermarket by security personnel. In a now-viral TikTok video which started trending on Tuesday, the father is seen cradling his daughter and addressing the camera, saying, "Let's go. This is a supermarket. She's also a child like other children here. Those guys are not crying. Those children are not crying. They welcomed her. Now the staff are walking us out because of my baby. No problem. Let's go, family." In a follow-up post which was shared via his handle #folorunshobodmas on Tuesday, the father offered an update, noting that the situation was later addressed by senior mall staff. He praised the Chief Security Officer of Emirate Mall for intervening and eventually granting them access. He said, "Here is Ilorin, Emirate Mall. I'm very disappointed. I took my baby down here for shopping. We were so sad that the security officer sent us out because of my baby. But thank God for the CSO of the Emirate Mall who later intervened and took us back in." --- Follow us for more breaking news and videos

𝐕𝐈𝐃𝐄𝐎: 𝐅𝐚𝐭𝐡𝐞𝐫 𝐀𝐥𝐥𝐞𝐠𝐞𝐬 𝐃𝐢𝐬𝐜𝐫𝐢𝐦𝐢𝐧𝐚𝐭𝐢𝐨𝐧 𝐚𝐭 𝐈𝐥𝐨𝐫𝐢𝐧 𝐌𝐚𝐥𝐥 𝐎𝐯𝐞𝐫 𝐃𝐚𝐮𝐠𝐡𝐭𝐞𝐫’𝐬 𝐒𝐩𝐞𝐜𝐢𝐚𝐥 𝐍𝐞𝐞𝐝𝐬 A Nigerian father has taken to TikTok to express his frustration and after he was allegedly denied entry into Emirate Mall in Ilorin, Kwara State, because of his daughter, who has special needs The incident occurred during the recent Eid holiday, when the man dressed in white native attire visited the mall with his young daughter, clad in pink, hoping to shop for a few items. However, he claimed they were alledgedly turned away at the entrance of the supermarket by security personnel. In a now-viral TikTok video which started trending on Tuesday, the father is seen cradling his daughter and addressing the camera, saying, "Let's go. This is a supermarket. She's also a child like other children here. Those guys are not crying. Those children are not crying. They welcomed her. Now the staff are walking us out because of my baby. No problem. Let's go, family." In a follow-up post which was shared via his handle #folorunshobodmas on Tuesday, the father offered an update, noting that the situation was later addressed by senior mall staff. He praised the Chief Security Officer of Emirate Mall for intervening and eventually granting them access. He said, "Here is Ilorin, Emirate Mall. I'm very disappointed. I took my baby down here for shopping. We were so sad that the security officer sent us out because of my baby. But thank God for the CSO of the Emirate Mall who later intervened and took us back in." --- Follow us for more breaking news and videos

Punch Newspapers

16,941 просмотров • 1 год назад

Made this cinematic AI video in minutes using Getvivix Prompt used below 👇 STORYBOARD 1 "THE KNIGHT" PROJECT TYPE: 10-second cinematic fantasy storyboard CHARACTER LOCK: single consistent knight — original fictional STYLIZED fantasy warrior (not a real person). Full ornate plate armor, VISOR DOWN the entire sequence (face never visible — safe by design), tattered surcoat + banner, mounted on an armored warhorse. Identical armor/horse across all frames. STYLE: epic dark-fantasy, cinematic, painterly film stills PACING & FLOW: slow, weighty, EPIC — no rush. One continuous charge → clash → melee → hero arc. Gradual camera moves; the action carries unbroken from frame to frame (each beat is the next instant of the last). Transitions are match-on-motion — the horse's stride and the sword's arc bridge every cut, never a hard jump. FRAMES (8 shots, 0–10s) — angle | lens | motion | lighting | environment | → into next: 1 (0–1.5s): wide establishing | 24mm | knight reined at a hill crest, banner snapping, slow push-in | cold dawn backlight, mist | battlefield below → camera drifts down as the horse shifts weight 2 (1.5–3s): 3/4-rear tracking | 35mm | horse breaks into a canter down the slope | low sun raking | churned mud, distant ranks → match-on-stride into the gallop 3 (3–4.5s): side tracking | 50mm | full gallop toward the enemy line, dust plume | side rim light, haze | spears + banners ahead → he lowers the lance, carrying the motion 4 (4.5–6s): low-angle hero | 35mm | lance leveled mid-gallop, visor catching light | backlit dust glow | closing on the line → impact begins 5 (6–7s): impact wide | 50mm | lance strikes, enemy hurled back, splinters | harsh flash + sparks | clash of the lines → horse rears from the hit 6 (7–8s): low 3/4 | 35mm | warhorse rears amid the melee, sword drawn | embers, torchlight | swirling battle → the blade sweeps down 7 (8–9s): tracking the blade | 50mm | sweeping arc through foes, motion-blur trail | sparks on steel | bodies + banners → camera settles, pulls back 8 (9–10s): hero hold | 24mm | horse reared, sword raised, banner behind, silhouette | dramatic backlight, battle haze | the field beyond → freeze LAYOUT: film sheet — left: 3 dynamic mounted poses (charging 3/4, rearing, mid-swing — in-scene, visor down); center: 8-frame grid; right: director notes; bottom: 0–10s. VISUAL STYLE: cinematic dark-fantasy, painterly, volumetric dawn light, dust + embers + mist, shallow DOF, motion blur, anamorphic; stylized — NOT photorealistic, not real human skin; FACE NEVER SHOWN (visor down). Seedance on Getvivix lets you generate high-end cinematic visuals for around 1000 credits (~$1), making pro-level video creation cheap and scalable. Try it here:

Made this cinematic AI video in minutes using Getvivix Prompt used below 👇 STORYBOARD 1 "THE KNIGHT" PROJECT TYPE: 10-second cinematic fantasy storyboard CHARACTER LOCK: single consistent knight — original fictional STYLIZED fantasy warrior (not a real person). Full ornate plate armor, VISOR DOWN the entire sequence (face never visible — safe by design), tattered surcoat + banner, mounted on an armored warhorse. Identical armor/horse across all frames. STYLE: epic dark-fantasy, cinematic, painterly film stills PACING & FLOW: slow, weighty, EPIC — no rush. One continuous charge → clash → melee → hero arc. Gradual camera moves; the action carries unbroken from frame to frame (each beat is the next instant of the last). Transitions are match-on-motion — the horse's stride and the sword's arc bridge every cut, never a hard jump. FRAMES (8 shots, 0–10s) — angle | lens | motion | lighting | environment | → into next: 1 (0–1.5s): wide establishing | 24mm | knight reined at a hill crest, banner snapping, slow push-in | cold dawn backlight, mist | battlefield below → camera drifts down as the horse shifts weight 2 (1.5–3s): 3/4-rear tracking | 35mm | horse breaks into a canter down the slope | low sun raking | churned mud, distant ranks → match-on-stride into the gallop 3 (3–4.5s): side tracking | 50mm | full gallop toward the enemy line, dust plume | side rim light, haze | spears + banners ahead → he lowers the lance, carrying the motion 4 (4.5–6s): low-angle hero | 35mm | lance leveled mid-gallop, visor catching light | backlit dust glow | closing on the line → impact begins 5 (6–7s): impact wide | 50mm | lance strikes, enemy hurled back, splinters | harsh flash + sparks | clash of the lines → horse rears from the hit 6 (7–8s): low 3/4 | 35mm | warhorse rears amid the melee, sword drawn | embers, torchlight | swirling battle → the blade sweeps down 7 (8–9s): tracking the blade | 50mm | sweeping arc through foes, motion-blur trail | sparks on steel | bodies + banners → camera settles, pulls back 8 (9–10s): hero hold | 24mm | horse reared, sword raised, banner behind, silhouette | dramatic backlight, battle haze | the field beyond → freeze LAYOUT: film sheet — left: 3 dynamic mounted poses (charging 3/4, rearing, mid-swing — in-scene, visor down); center: 8-frame grid; right: director notes; bottom: 0–10s. VISUAL STYLE: cinematic dark-fantasy, painterly, volumetric dawn light, dust + embers + mist, shallow DOF, motion blur, anamorphic; stylized — NOT photorealistic, not real human skin; FACE NEVER SHOWN (visor down). Seedance on Getvivix lets you generate high-end cinematic visuals for around 1000 credits (~$1), making pro-level video creation cheap and scalable. Try it here:

Zoraiz Ai

10,748 просмотров • 2 месяцев назад