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Wide-angle drone view vs. close-up with Osmo Action 6 — which rocket launch perspective hits harder for you? *Filmed under authorization. Do not attempt. 🎥：damusuishoupai

DJI

1,330,922 subscribers

17,648 次观看 • 1 个月前 •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

7 条评论

🚁🤙🏾That Drone Guy🤙🏾📷 的头像

🚁🤙🏾That Drone Guy🤙🏾📷1 个月前

That's one way to promote an amazing product! 🚀

DJI 的头像

DJI1 个月前

Virtually impossible to recreate on the ground.😀

Super Dad 的头像

Super Dad1 个月前

Bro, take the camera to space next 🚀

DJI 的头像

DJI1 个月前

😆

Ishita ⭐️ 的头像

Ishita ⭐️1 个月前

that’s so coooool. Can I get a DJI osmo pocket 4? Take quick action because today or tomorrow I’m gonna be a huge star. Don’t let me join your competitors. I’m so loyal, I won’t leave those who didn’t leave me. No matter what

Tavisha verma 的头像

Tavisha verma1 个月前

The wide drone shot is incredible for showing scale, trajectory, and that epic cinematic horizon view. But that close-up pad shot? Seeing the violent raw power of the ignition, the shockwaves, and the shear force up close gives you absolute chills. Awesome footage! 🚀🔥

Norman M0JEC💙#WearAMaskSong 的头像

Norman M0JEC💙#WearAMaskSong1 个月前

Drone view

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Osmo Action 6 rides close to the action on deck, while DJI Mavic4 Pro tracks the Gravity-1 rocket's climb from above — sea level to sky, in one story. *Filmed with authorization. Please do not imitate. 🎥：SpaceLens & damusuishoupai

Osmo Action 6 rides close to the action on deck, while DJI Mavic4 Pro tracks the Gravity-1 rocket's climb from above — sea level to sky, in one story. *Filmed with authorization. Please do not imitate. 🎥：SpaceLens & damusuishoupai

DJI

18,013 次观看 • 20 天前

You asked for the full ride. Here it is. The DJI Osmo Action 6 rode a rocket — ignition, high into the atmosphere, all the way back down to a precision vertical landing. *Filmed under authorization. Do not attempt. 🎥：By LandSpace

You asked for the full ride. Here it is. The DJI Osmo Action 6 rode a rocket — ignition, high into the atmosphere, all the way back down to a precision vertical landing. *Filmed under authorization. Do not attempt. 🎥：By LandSpace

DJI

21,900 次观看 • 1 个月前

See a rocket launch like never before. DJI Avata 360 puts you in the center of the action — immersive FPV, full360° view, every angle of the blast. *Filmed with authorization. Do not imitate. 🎥：lanjianhangtian & buziyouxunji

See a rocket launch like never before. DJI Avata 360 puts you in the center of the action — immersive FPV, full360° view, every angle of the blast. *Filmed with authorization. Do not imitate. 🎥：lanjianhangtian & buziyouxunji

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39,374 次观看 • 1 个月前

Captured with DJI Mavic 4Pro and DJI Matrice 4TD, this dual perspective records a milestone moment — the launch and land recovery of the ZhuQue-3 Y2 rocket. * Filmed with authorization. Do not attempt. 🎥 ：LandSpace

Captured with DJI Mavic 4Pro and DJI Matrice 4TD, this dual perspective records a milestone moment — the launch and land recovery of the ZhuQue-3 Y2 rocket. * Filmed with authorization. Do not attempt. 🎥 ：LandSpace

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55,641 次观看 • 2 个月前

This time, the snack came along for the flight. Captured with Osmo 360 and Osmo Action 6. Performed by professionals. Do not attempt. 🎥: vss_max

This time, the snack came along for the flight. Captured with Osmo 360 and Osmo Action 6. Performed by professionals. Do not attempt. 🎥: vss_max

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36,027 次观看 • 2 个月前

POV: You're hyped to try your new parachute... but forgot to read the manual beforehand. Captured every second of the chaos with Osmo Action 6 and Osmo 360 II *Professional skydiver. Do not attempt without proper training. 🎥: vss_max

POV: You're hyped to try your new parachute... but forgot to read the manual beforehand. Captured every second of the chaos with Osmo Action 6 and Osmo 360 II *Professional skydiver. Do not attempt without proper training. 🎥: vss_max

DJI

24,186 次观看 • 1 个月前

Full send. Full immersion. Riding free — captured up close with DJI Avata 2's FPV perspective. * Professional action. Do not imitate. 🎥: pod_kumuzom

Full send. Full immersion. Riding free — captured up close with DJI Avata 2's FPV perspective. * Professional action. Do not imitate. 🎥: pod_kumuzom

DJI

24,232 次观看 • 1 个月前

Again? Good thing we have the full one‑take — the Osmo Action 6 captured those hard‑to‑replicate moments. Which part was the toughest for you? ⚠️ Professional operation. Do not imitate. 🎥：tangqi #OsmoAction6 #dji

Again? Good thing we have the full one‑take — the Osmo Action 6 captured those hard‑to‑replicate moments. Which part was the toughest for you? ⚠️ Professional operation. Do not imitate. 🎥：tangqi #OsmoAction6 #dji

DJI

11,505 次观看 • 5 个月前

POV: one jump, every angle. With Osmo 360, the whole dive becomes part of the story — from the leap to the splash. Tag your most in-sync friend. Would they dare take on the challenge? Professional action. Do not attempt. 🎥：@tristankuhn@flips-by-robin

POV: one jump, every angle. With Osmo 360, the whole dive becomes part of the story — from the leap to the splash. Tag your most in-sync friend. Would they dare take on the challenge? Professional action. Do not attempt. 🎥：@tristankuhn@flips-by-robin

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23,525 次观看 • 1 个月前

A close up view of the area where Zelensky reportedly filmed the on the southern outskirts of Kupyansk next to the stele. It is clear by this video that the area is a total kill zone for drones and most specifically the entire drone tunnel has been destroyed which was not the case when Zelensky filmed. We need to do better with our propaganda so it lasts longer than a single day.

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ayden

129,939 次观看 • 10 个月前

Some sports don’t slow down for the camera.🏎️ That’s why #OsmoAction6 stays with the movement, capturing #rally racing from a perspective few ever see. Every move, every moment, right alongside the action.💥 🚫Performed by professionals. Do not attempt. 🎥: ivan.merino5 #DJI

Some sports don’t slow down for the camera.🏎️ That’s why #OsmoAction6 stays with the movement, capturing #rally racing from a perspective few ever see. Every move, every moment, right alongside the action.💥 🚫Performed by professionals. Do not attempt. 🎥: ivan.merino5 #DJI

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14,377 次观看 • 9 个月前

At about T-8 hours before Starship Flight 13’s third attempt to launch, what are the conditions out at the launch site? What does the weather look like? And, what is it like to be at the launch site and Starbase about 8 or so hours from a launch? Today I talk about all of this and provide some updates (narration & visuals) on the construction around the launch site too & why much of this is necessary. Oh, and a reminder too. If you have ever thought about coming out to Starbase and experience something you can literally not do anywhere else in the world (being at an active rocket launch site with a fully stacked rocket just hours before a launch all up close), then you need to plan on doing so sooner than later. These opportunities may not last forever, and indeed some restrictions continue to be added over time. Good luck to SpaceX and the Starship team … I hope Friday with the 13th launch is lucky indeed! 🚀🍀🤞 Ellie in Space 🚀💫

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Joe Tegtmeyer 🚀 🤠🛸😎

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250,819 次观看 • 4 个月前

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Camera and perspective: – Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look). – The camera angle MUST change significantly from the original: use dramatic angles such as • worm’s-eye view from directly below looking up, • bird’s-eye view from directly above looking down, • very low angle from the ground, • high angle from above, • tilted Dutch angles. – Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective. – The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime. Background consistency: – Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials. – Do NOT replace the background with a completely different place. – Because the camera angle changes, it is allowed and expected that different parts of the environment become visible. – When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place. 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Variation and randomness: – Each edit should look noticeably different from the original image and from other edits, with different: • camera angles, • pose types, • which body parts are closest to the lens, • orientation (straight, tilted, from above, from below). – Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles. Strict rules: – Do NOT change the person into someone else. – Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing. – Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place. – Do NOT add text, logos, watermarks, or graphic design elements. – Do NOT switch to painting, illustration, or anime style; keep it photorealistic. 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一番最後の[Prompt for original image]の部分に画像生成に使用したPromptを入れると一貫性が増します。不要な場合は3行削ってしまっても大丈夫です。 --- Extreme wide-angle perspective and dynamic pose remix edit. This is an EDIT of the original image, not a new character. Use the original image as a strict reference for: – the person’s identity, hairstyle, and overall fashion style, – the general type of background and location (same street, same room, same beach, same kind of architecture, etc.). You are allowed to completely change the camera position, angle, and pose, but you must keep the scene in the SAME location and keep the SAME person and outfit design. Camera and perspective: – Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look). – The camera angle MUST change significantly from the original: use dramatic angles such as • worm’s-eye view from directly below looking up, • bird’s-eye view from directly above looking down, • very low angle from the ground, • high angle from above, • tilted Dutch angles. – Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective. – The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime. Background consistency: – Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials. – Do NOT replace the background with a completely different place. – Because the camera angle changes, it is allowed and expected that different parts of the environment become visible. – When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place. Body parts near the lens (1–2 parts, sometimes 3): – In each edit, choose ONE or TWO main body parts to be extremely close to the lens (sometimes even THREE in more complex poses). – Vary them from image to image, do NOT always use the same body part. – Allowed near-the-lens parts include: • one or both hands / fingers reaching toward the camera, • one or both feet / shoes / boots near the lens, • knees or thighs, • face very close to the lens, • shoulders or chest close to the lens in a leaning pose. – The chosen body parts should come extremely close to the lens, almost touching it, with visible skin texture, fabric texture, and realistic wide-angle distortion. Pose and overall body (complex and varied): – Create strong, cool, dynamic poses that match the extreme perspective. – Randomly use different pose types, including: • standing with one leg or one arm reaching toward the camera, • crouching or squatting low to the ground, • sitting on the floor or on objects, • lying on the ground with legs or feet toward the lens, • leaning forward aggressively toward the camera, • twisting the body, crossing legs, or arching the back for more dynamic lines. – Allow complex poses where: • both hands are near the lens forming shapes (peace signs, triangles, frames, pointing toward the viewer), • both feet are toward the lens, • one hand and one foot are both large in the foreground, • the face is close to the lens while hands or feet are also visible in perspective. – Maintain believable anatomy even with extreme foreshortening. 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Variation and randomness: – Each edit should look noticeably different from the original image and from other edits, with different: • camera angles, • pose types, • which body parts are closest to the lens, • orientation (straight, tilted, from above, from below). – Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles. Strict rules: – Do NOT change the person into someone else. – Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing. – Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place. – Do NOT add text, logos, watermarks, or graphic design elements. – Do NOT switch to painting, illustration, or anime style; keep it photorealistic. 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20,684 次观看 • 10 个月前

Most AI filmmakers know the names of camera angles. Very few know what those angles are actually doing to the story. - A low angle is not automatically “cinematic.” - A Dutch angle is not something you add because the frame feels boring. - And a high angle does not simply mean “weak.” The camera should have a reason to be where it is. Here are 8 angles worth understanding: → Eye-level: For honesty, intimacy, dialogue and natural performance. → Low angle: For authority, threat, monumentality and pressure. → Ground-level: For speed, scale, physicality and extreme size contrast. → High angle: For vulnerability, isolation, exposure and entrapment. → Overhead / Top-down: For geography, choreography, patterns and surveillance. → Dutch angle: For instability, unease and moments when the story itself feels wrong. → POV / Subjective: For immersion, fear, urgency and restricted information. → Over-the-shoulder: For dialogue, eyelines, relationships and screen geography. But this is the important part for AI filmmaking: Do not prompt: “Cinematic low-angle shot of a powerful man.” Direct the geometry instead: SHOT SIZE + CAMERA HEIGHT + ANGLE + LENS + COMPOSITION + CAMERA BEHAVIOR + ACTION Example: “Medium-wide low-angle shot, camera 50 cm above the floor, 32mm lens. Commander stands screen-center beneath converging ceiling beams. Prisoner remains seated in the foreground. Locked camera. The commander slowly lowers his eyes toward him.” That gives the model something useful: where the camera is, what it sees, how perspective should feel, where the characters are, and what happens during the shot. The rule I keep coming back to: Do not choose the angle that looks coolest. Choose the angle that communicates the moment best. I put all 8 angles, their storytelling purpose, scene examples and AI prompts into one cheat sheet. Save it for your next AI film. Share it with someone who is still prompting “cinematic camera angle” and hoping for the best. PS:) Follow for more! . .

Most AI filmmakers know the names of camera angles. Very few know what those angles are actually doing to the story. - A low angle is not automatically “cinematic.” - A Dutch angle is not something you add because the frame feels boring. - And a high angle does not simply mean “weak.” The camera should have a reason to be where it is. Here are 8 angles worth understanding: → Eye-level: For honesty, intimacy, dialogue and natural performance. → Low angle: For authority, threat, monumentality and pressure. → Ground-level: For speed, scale, physicality and extreme size contrast. → High angle: For vulnerability, isolation, exposure and entrapment. → Overhead / Top-down: For geography, choreography, patterns and surveillance. → Dutch angle: For instability, unease and moments when the story itself feels wrong. → POV / Subjective: For immersion, fear, urgency and restricted information. → Over-the-shoulder: For dialogue, eyelines, relationships and screen geography. But this is the important part for AI filmmaking: Do not prompt: “Cinematic low-angle shot of a powerful man.” Direct the geometry instead: SHOT SIZE + CAMERA HEIGHT + ANGLE + LENS + COMPOSITION + CAMERA BEHAVIOR + ACTION Example: “Medium-wide low-angle shot, camera 50 cm above the floor, 32mm lens. Commander stands screen-center beneath converging ceiling beams. Prisoner remains seated in the foreground. Locked camera. The commander slowly lowers his eyes toward him.” That gives the model something useful: where the camera is, what it sees, how perspective should feel, where the characters are, and what happens during the shot. The rule I keep coming back to: Do not choose the angle that looks coolest. Choose the angle that communicates the moment best. I put all 8 angles, their storytelling purpose, scene examples and AI prompts into one cheat sheet. Save it for your next AI film. Share it with someone who is still prompting “cinematic camera angle” and hoping for the best. PS:) Follow for more! . .

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Ox Alpha vs Opus 5 i asked both models to build rocket engine using three.js ox-alpha is not even close to opus 5 performance and it took equal or more time for the output prompt used for both: "Create a 3d SpaceX raptor engine using three.js, use white theme background so the main object is clearly visible" both are one-shot outputs with no additional changes what do you think about Ox Alpha?

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Tim Jayas

104,605 次观看 • 2 个月前

St Joseph’s Coaching Clinic- Part 2 of Kieran McGeary’s series⬇️ “Transitioning with Pace and Purpose,” is out today—featuring drills and small-sided games to sharpen transitions with pace and precision! ⚡️🏐 This session kicks off with high-tempo drills designed to get players moving with speed and intent. 🏃‍♂️🔥 It then progresses into small-sided games that focus on quick transitions, smart decision-making, and creating space under pressure. ⚽️💥 There are 2 videos of the same session now available on the platform: •The close-up video includes audio from the coach, giving you insight into instructions, feedback, and coaching tips in real time. 🎤🔍 •The wide-angle video provides an overview perspective, showing positioning, spacing, and movement throughout the drills and games. 🎥🌍 Both are available to view now—perfect for adding high-quality, game-relevant scenarios to your training sessions! 🏐✨

St Joseph’s Coaching Clinic- Part 2 of Kieran McGeary’s series⬇️ “Transitioning with Pace and Purpose,” is out today—featuring drills and small-sided games to sharpen transitions with pace and precision! ⚡️🏐 This session kicks off with high-tempo drills designed to get players moving with speed and intent. 🏃‍♂️🔥 It then progresses into small-sided games that focus on quick transitions, smart decision-making, and creating space under pressure. ⚽️💥 There are 2 videos of the same session now available on the platform: •The close-up video includes audio from the coach, giving you insight into instructions, feedback, and coaching tips in real time. 🎤🔍 •The wide-angle video provides an overview perspective, showing positioning, spacing, and movement throughout the drills and games. 🎥🌍 Both are available to view now—perfect for adding high-quality, game-relevant scenarios to your training sessions! 🏐✨

DSS Coaching

11,794 次观看 • 1 年前

Lights, camera, action - she’s ready for her close-up. The multi hyphenate Maris Racal proves that being screen-ready is not just about having great skin - but the authenticity to bare it all confidently. With #BeloQFacial, she can count on it for a natural, looking glow anytime, both on and off-cam. “If it makes you feel confident, and if it makes you feel beautiful, do it,” she says. “Do it for yourself.” Know more by clicking the link in bio. #MarisForQFacial #OnlyBeloTouchesMySkin

Lights, camera, action - she’s ready for her close-up. The multi hyphenate Maris Racal proves that being screen-ready is not just about having great skin - but the authenticity to bare it all confidently. With #BeloQFacial, she can count on it for a natural, looking glow anytime, both on and off-cam. “If it makes you feel confident, and if it makes you feel beautiful, do it,” she says. “Do it for yourself.” Know more by clicking the link in bio. #MarisForQFacial #OnlyBeloTouchesMySkin

Belo Medical Group

109,819 次观看 • 2 年前

⚡This machine wasn't built to race — it was built to hunt." Made with Seedance 2.5 on Supercool.com Prompt: Cinematic photorealistic sci-fi action sequence, moody desaturated color grade, dramatic lighting, hyper-detailed mechanical design, motion blur for speed, 4K film quality. Scene 1: Wide low-angle tracking shot of a futuristic armored rider in black tactical exosuit on a black-gold angular sci-fi motorcycle, speeding on empty highway, overcast sky. Scene 2: Close-up transformation shot — motorcycle's rear panels mechanically unfold like wings while riding at high speed, sparks of light on metal joints. Scene 3: Low-angle hero reveal shot of a sleek black Batmobile-style supercar with scissor/wing doors opening, front LED light strip glowing. Scene 4: Rear-tracking low-angle shot of two motorcycles riding side by side on the highway, wheels blurred with speed. Scene 5: Rear pursuit shot of the black supercar driving with glowing taillights, a motorcycle catching up close behind. Scene 6: Aerial drone top-down shot of a curving highway with the car and motorcycles racing, small flying drone visible above for scale. Scene 7: Close-up action shot of the car's front wheel with sparks flying off the road surface, high-speed drift feel. Scene 8: Interior POV shot from the car's dashboard, glowing speedometer, driving fast through a dark tunnel with lights streaking past. Scene 9: Tunnel chase shot — motorcycle and car entering/exiting a concrete tunnel, wet road reflections, cinematic light contrast. Negative prompt: blurry, low quality, distorted proportions, extra limbs, deformed hands, warped motorcycle frame, flickering lights, inconsistent lighting, cartoonish, low-res textures, watermark, text, logo, oversaturated colors, daytime bright sun (unless overcast), shaky unstable camera, jerky motion, unrealistic physics, plastic look, glitch artifacts. #Ai #AIart️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️ #VisualStorytelling #CinematicAI #GenerativeAI #AICreator

Sᴀɪʀᴀ

69,571 次观看 • 24 天前

Here is a fun idea to try. You can create these images with giant people/animals using Nano Banana Pro. Just adjust the elements in brackets and have fun! If you have the option to generate at 4K, definitely use it as it makes the tiny people look crisper. These types of images seem to animate best with Veo 3.1 from testing, but you can try with Kling 2.6 or Grok Imagine as well so have some fun! Feel free to show me your giant humans/animals. 🍌Universal Prompt: A highly detailed, photorealistic [CAMERA ANGLE, e.g., wide-angle shot, aerial shot looking down, extreme low-angle looking up] showing a colossal [DESCRIBE THE PERSON & CLOTHING] positioned in [SPECIFIC LOCATION/CITY/LANDSCAPE]. The giant is [ACTION - INTERACTING WITH THE ENVIRONMENT, e.g., sitting on a building, stepping over a bridge]. To establish the immense scale, tiny [TINY ELEMENTS: PEOPLE, CARS, OR BOATS] are visible near their [FEET/HANDS]. The lighting is [TIME OF DAY, e.g., golden hour, midday sun]. There are more visuals examples with prompts included in my 80 creative use cases document which you can view via this link completely for free. Look for use case 84.

Here is a fun idea to try. You can create these images with giant people/animals using Nano Banana Pro. Just adjust the elements in brackets and have fun! If you have the option to generate at 4K, definitely use it as it makes the tiny people look crisper. These types of images seem to animate best with Veo 3.1 from testing, but you can try with Kling 2.6 or Grok Imagine as well so have some fun! Feel free to show me your giant humans/animals. 🍌Universal Prompt: A highly detailed, photorealistic [CAMERA ANGLE, e.g., wide-angle shot, aerial shot looking down, extreme low-angle looking up] showing a colossal [DESCRIBE THE PERSON & CLOTHING] positioned in [SPECIFIC LOCATION/CITY/LANDSCAPE]. The giant is [ACTION - INTERACTING WITH THE ENVIRONMENT, e.g., sitting on a building, stepping over a bridge]. To establish the immense scale, tiny [TINY ELEMENTS: PEOPLE, CARS, OR BOATS] are visible near their [FEET/HANDS]. The lighting is [TIME OF DAY, e.g., golden hour, midday sun]. There are more visuals examples with prompts included in my 80 creative use cases document which you can view via this link completely for free. Look for use case 84.

Travis Davids

464,273 次观看 • 10 个月前