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![Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elementsโrain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax ruptureโmaintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious sparkโglobal cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elementsโrain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax ruptureโmaintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forwardโteasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decayโcyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point](https://image.24vids.com/tw-1988966242980397339/amplify_video_thumb/1988965923911344128/img/gqolCfFoXWeKsxFv.jpg)
![I made an ad for GPT Image 2.5, full prompt below. It's yours now. Put your own character in @[image1], your own poster in @[image2], change the city, change what she turns into. Quote this with your version, I want to see what you all make of it. Seedance 2.5 on Higgsfield AI ๐งฉ. Seedance 2.5 Prompt: [GLOBAL] 30-second commercial. Photoreal live-action cinema texture, digital cinema camera, 35mm and 24mm lenses, shallow depth of field, real overcast rain-light, low-contrast cool grade, light film grain. 16:9. The spine of the film is one continuous over-the-shoulder tracking shot; all transitions are hidden inside motion blur and the crystallization effect. [CHARACTER ANCHOR] @[image1] = the protagonist, a Japanese woman in her early twenties with a Tokyo street-fashion look: bleached pale-blonde wolf-cut shag with dark roots and a single mint-green streak in the under-layer; clean Japanese makeup โ thin brows, pearlescent eyeshadow, nude lip; an oversized charcoal coach jacket with an original graphic print on the back, a long white tee underneath, baggy black cargo pants, chunky platform sneakers, layered silver jewelry, wired over-ear headphones around her neck, a small crossbody bag. Her face, hair and wardrobe stay 100% identical from 0s to 28s โ never altered, never touched by any "generation" effect. She is the only constant in the film until the final beat. Emotional arc: oblivious โ noticing โ confused โ stunned โ awestruck โ transformed. [ARTWORK REFERENCE] @[image2] = the billboard artwork reference. Used ONLY for the flat graphic displayed on the bus-shelter digital billboard at 11โ15s โ including its complete typographic lockup ("Higgsfield ร OpenAI" in small caps, "GPT IMAGE" in heavy white, the lime-green gradient "2.5", and the wide-tracked "SUNBURST" beneath), along with its layout, palette and composition. @[image2] must appear as a complete flat advertising image inside the billboard screen, carrying correct perspective, screen reflection and rain refraction across the glass surface. The woman pictured in @[image2] must NEVER be used for the protagonist's design, must NEVER leave the billboard screen, and must NEVER appear in the physical space of the scene. @[image1] and the woman in @[image2] are two entirely different people โ never conflate them, never let one influence the other. [CORE VISUAL MOTIF โ THE ONLY TRANSFORMATION LANGUAGE IN THE FILM] Anything being "regenerated" must follow the exact same three-stage process: โ the original object disintegrates from its edges into a cloud of tens of thousands of small translucent white crystalline beads โ like bubble-film or shattered glass pearls, with real volume, specular highlights and real weight; โก the bead cloud hangs briefly and rapidly rearranges; โข the new form grows outward from inside the cloud, the final layer of beads absorbing into its surface and vanishing. Do NOT use flash cuts, dissolves, particle-dispersal effects, or digital-glitch styling for any transformation. [SETTING] A Midtown Manhattan intersection after rain. Wet asphalt reflections, crosswalk stripes, yellow cabs, dense glass curtain walls and older stone buildings, neon and storefront signage, a fire hydrant, a newsstand, a bus-shelter digital billboard. Overcast diffused light throughout, no direct sun. 0โ3s: Over-the-shoulder medium shot, following behind @[image1]. Her back is to camera as she stands on the crosswalk. To frame right, a 1970s green sedan in motion crystallizes entirely and reassembles as a black muscle car; a few frames later it crystallizes again and reassembles as a white wheel-less hover car. She hasn't registered it yet. 3โ7s: The camera arcs around to her side. She starts looking around, the ends of her wolf cut swinging with the head turn. A businessman with a briefcase crystallizes mid-stride โ the human-shaped bead cloud holds the walking pose for two full steps โ and reassembles as a bare-chested barbarian warrior with feathered ornaments, continuing the same stride. Two or three more pedestrians crystallize in the background simultaneously, without pulling focus from her. 7โ11s: Handheld tracking accelerates. More and more people on the street are replaced: a purple-skinned alien warrior woman, white-armored robot troopers, an original gold-suited superhero character (all original designs โ no real-world recognizable characters, logos or trademarks). She walks faster, keeps turning to look back, her breathing quickening, one hand instinctively gripping her crossbody strap. The replacement frequency keeps rising, but the street's spatial relationships, lighting and wet reflections remain continuous throughout โ no jump cuts. 11โ15s: She stops in front of the bus shelter. The digital billboard inside cycles rapidly: a photoreal movie poster โ a hand-painted concept illustration โ a fashion editorial โ each refresh executed with the same crystalline bead reassembly. It finally settles on the complete @[image2] artwork filling the entire screen, its typography and palette exactly as in @[image2]. She raises a hand and points at the screen, mouth open, unable to speak. 15โ18s: The camera tilts down to her feet. The sidewalk paving crystallizes outward from where she stands in a perfect circle, white beads spreading three meters along the joints between slabs, the manhole cover and the standing water turning crystalline with it. She looks down. The ground gives out beneath her platform sneakers. 18โ21s: Wide 24mm. The ground collapses and she falls straight down. The camera falls with her looking up โ the entire city contracts above her into a shrinking square opening, the buildings on either side peeling away, tumbling and receding upward like building blocks, the sky turning to deep blue-black void. She throws her arms out, her hair, jacket hem and bag strap lifted by the updraft. 21โ24s: During the fall the visual style jumps repeatedly, each jump bridged by one full-frame sweep of crystalline beads. In order: โ rich 1980s film stock โ high saturation, heavy halation, heavy grain; โก black-and-white halftone manga panel โ the character rendered in ink linework and dot screens against dense radial speed lines; โข a neon purple-blue digital vortex with long light streaks stretching backward at speed; โฃ near-total darkness with extreme motion blur. Her facial structure, hair and wardrobe must remain recognizably the same person in every one of these styles. 24โ27s: She lands flat on her back on a smooth white floor. A wide lens pushes in slowly and tilts up to reveal the environment: an infinitely extending pure-white showroom/hangar with a gridded softbox ceiling. Hundreds of black circular pedestals cover the floor, each holding a character statue or a parked vehicle โ original-design warriors, mechs, robots, sci-fi troopers, plus large military aircraft and helicopters. A small line of floating white label text sits in front of each pedestal: "FANTASY CHARACTER", "VEHICLE", "MECH" โ set at a small point size, present purely as environmental information. 27โ28s: She sits up and pushes herself to her feet, turning slowly to take in the hall, eyes widening in awe. The camera settles into a full-body medium-wide, centered, the statue array receding out of focus behind her. 28โ30s [THE FINAL TRANSFORMATION]: The instant she stands fully upright, the crystalline beads rise from the floor around her feet and sweep up her body in one continuous wave โ and for the first time in the film, SHE is the thing being regenerated. Her streetwear disintegrates into the bead cloud and a magical-girl battle uniform grows outward in its place, following the exact same three-stage motif, generating in a readable order from the torso outward: a white high-collar fitted bodice โ a mint-green sailor collar with three silver stripes โ a deep mint pleated skirt with silver trim, its pleats opening one by one โ long white gloves to the upper arm with mint piping โ white knee-high boots with a mid heel and mint cuffs โ layered silver jewelry reforming as a silver star brooch at her chest โ a large mint-green bow at her back with long ribbons falling to the backs of her knees โ a fine silver tiara condensing across her forehead. Her face, hairstyle, hair color, the mint streak and the headphones around her neck remain completely unchanged โ only the clothing is regenerated. The last beads absorb into the fabric. She looks down at her own hands, then slowly raises her head, the ribbons still settling behind her, and looks straight past camera with a small, dawning smile. The film cuts on that frame. No end card, no title, no tagline, no subtitle of any kind. [SOUND] Rain and wet-road traffic, urban ambient bed; high-frequency glass/ice shatter-and-rearrange sounds on every crystallization; a short bright locking tone as each reassembly completes; electronic refresh tones from the billboard; low-frequency collapse as the ground gives way; wind through the fall, with a distinct timbre shift for each of the four style jumps (film hiss / paper-and-ink texture / synth sweep / silence); one muffled impact on landing; near-total quiet inside the hall with only faint HVAC room tone; then, over the final transformation, an ascending shimmer of silk and crystal, each garment piece seating with a crisp click, the bow tying with a single sweep of ribbon, and one clear bell tone as the tiara locks in. One escalating electronic music bed ties it together, landing its final hit on her raised head. [HARD RULES] @[image1]'s face, hairstyle, hair color and headphones are absolutely unchanged across all 30 seconds. Her wardrobe is unchanged from 0s to 28s and may be regenerated ONLY in the 28โ30s final beat โ the transformation affects clothing only and must never alter her face, hair or identity. All other replacements happen only to the people, vehicles, ground and environment around her. The film may use only the single "crystalline bead disintegration โ rearrangement โ growth" transformation language, including for the final costume change; no other transition effect may be mixed in. From 0โ18s the film must hold the logic of one spatially continuous tracking shot โ the street's architecture, lighting and wet reflections must never jump. Every character and vehicle in the hall must be an original design; no real-world recognizable characters, brand marks, trademarks or identifiable film properties may appear, and the final magical-girl uniform must be an original design, not any existing anime character's costume. The only brand copy permitted anywhere in the film is the @[image2] artwork on the billboard screen at 11โ15s, existing solely as a flat image inside that screen and never repeated elsewhere. No end card, no title card, no subtitles, no watermark, no overlaid text anywhere in the film. Avoid: cartoon rendering, game-CG feel, plastic materials, full-frame bloom, digital-glitch transitions, weightless floating, incorrect finger structure, garbled text, revealing or suggestive posing or camera angles.](https://image.24vids.com/tw-2098420840073236536/amplify_video_thumb/2098419846346113033/img/ntZLO-Woz5NhUKJy.jpg)
![๐ฝ Did Grusch See Footage of Live Aliens? ๐ฝ "Grusch has seen evidence that will leave you slack-jawed when you hear it." ~JF ๐ถ What Left Congress Speechless, and Staffers with Their Eyes Popping Out of Their Heads? ๐ฑ ~ "Examine biological evidence of living or deceased non-human intelligence." ~Burlison Proposed Legislation (I'm gonna break all of this down and give you my speculation on what left Fox with his jaw on the floor, members of Congress speechless, and their senior staffers with their eyes popping out of their heads.) ~ James Fox: " Probably about two weeks ago (late May), we were having meetings on The Hill with members of Congress. We brought in a PR firm, 42 West, and we were having a meeting with staff members, bipartisan. We had Rep. Anna Paulina Luna, Rep. Tim Burchett Press Office, Rep. Eric Burlison. We had a representative from Congressman Jared Moskowitz's office. We had a number of Chiefs of Staff (top staffer for a specific member of Congress), like, present." (Don't really know why they needed a public relations firm in attendance, but if it helps them with advice on how to handle this, so be it. Just know: it appears like members of that PR firm know what Grusch said, and we don't.) Fox: "And, I can't reveal what was said. I thought it was gonna be said at the actual event that we had yesterday (June 9th) in DC with Mr. Grusch." (Don't be mad at Fox for keeping his word to Grusch and not sharing what was said in that private meeting. But I don't blame people for being annoyed that Grusch shared this information six or so weeks ago and we still don't know what he said in that room.) Fox: "Then, what Mr. Grusch revealed to all of us, what he had seen with his own eyes, left the room speechless. It drew the oxygen out of the room. I looked at everybody in that room, and their eyeballs were popping out. My jaw was on the floor. Like, I simply couldn't believe what he'd seen with his own eyes. Like, I can't wait for it to come out. "So I asked Mr. Grusch today, 'Can I talk about what I heard?' And he's like, 'No, but I will be addressing it very soon.'" (Like I said, it's almost been one month now (June 12) since Fox said this, so what does "very soon" mean? Was Grusch supposed to share this information on CNN with Jake Tapper last week but it didn't happen because that interview was, reportedly (Fox told us), postponed?) Fox: "So that's where we stand right now. But I can tell you, Mr. Grusch has seen evidence that will leave you slack-jawed when you hear it. It's coming, it's coming." (We heard that Gruch's Op/Ed was coming soon and that was 2.5 years ago. It never happened. So, I don't blame people for being skeptical about this. If Grusch hasn't told us by this time next week, I propose someone (a member of Congress) who was in that room just tell us. That's fair, right? Total transparency from our elected representatives?) ~ Fox: "Mr. Grusch is legitimately concerned about his personal safety. He's coming out with it, I promise you, this is coming out. He assured me today that he will address this issue to the general public very soon, in the near future." (I'm glad Grusch told a room full of people what he saw, as that may offer him some protection from people who allegedly want him to stop talking.) Fox: "So I can't speak to what he's gonna say, but I'm just telling you from what I heard out of his mouth, sitting in an office of a member of Congress? And everybody (Fox laughs) in the room, you could have heard a pin drop." Clayton Morris: "Could you give us a hint? Is it related to craft? Can you maybe dance around it a little bit? I want to say, 'You're killing me, Smalls (laughs).'" Fox: "Yeah, so if you can imagine, if you know about 'Moment of Contact,' that involves captured non-human intelligent beings. Think about that for a minute. Think about that case. I heard it out of his mouth, and I can tell you, I was in the room. And I looked around the room, and I'm looking at these young, like, guys in their 20s, you know, the staff guys? And their eyeballs were popping out of their head. My jaw was on the floor. I couldn't believe it." (There's a reason why I included that quote (living or deceased non-human intelligence) from the new Burlison/Carson/Crane legislation at the top of this tweet: At the very least, I'm confident Grusch told them that he saw photos of dead non-human beings. Bodies. But what about evidence of LIVING non-humans, aka aliens of unknown origin? More on that at the end. Fox: "My jaw was on the floor. I couldn't believe it." (Would Grusch saying he saw photos of craft and dead non-humans have that type of effect on Fox? Seems like that's something he would have expected to hear.) ~ Fox: "It was an [out of] body experience when I heard that. But I can tell you...the impression I got, was that he felt a little more protected to talk about this because of President Trump's directive to release the files, and that this... Again, this is my speculation, okay? This is not what Mr. Grusch said. "I got the impression that he was much more relaxed - even though he was still not fully relaxed - because of President Trump's directive to release these files. And that it was something that he had seen during his official investigations just within the last few years." (Imagine how much more relaxed Grusch (and others) would feel if we had an actual Executive Order from Trump with strong language to protect whistleblowers?) Fox: "And that it...I think it had an extremely profound impact on his life when he saw this evidence that he described. Again I'm leaving it right there. I've been talking with Republicans, and they said if Joe Rogan tweets about this, that the President will hear it, And I can't overstate the significance of that." (Why hasn't Rogan already done that? No excuse. Fox has been on Rogan and I'm sure he has Joe's contact information. Make it happen.) Fox: "We need people. We're not asking for money, we're not asking to get on your show, we're just asking, Mr. President, please, as many people as possible, release the files that should not be associated with national security. And that's the alien or non-human sentient beings. That's it." ~~~ (I'm going to speculate on what Grusch may have said in that room.) Fox: "I think it had an extremely profound impact on [Grusch's] life when he saw this evidence that he described." (Grusch has said he started out as a skeptic when he started looking into this. If he was shown what he felt were photos of non-human bodies, I think that might be enough to have an, "extremely profound impact on his life." Depending on exactly what those photos showed, of course.) In "Moment of Contact," Eric Davis had this exchange with Fox: James Fox: "Put me wherever you were when you got to see photographs of crash retrieval and documents. What did that feel like?" Dr. Eric Davis: "That was startling, when I actually see recorded evidence with my own eyes. Photographs, reports, and whatnot. That took it to a higher level, that kicked it up several notches of reality. And that made it very clear that this reality is very hard, very physical, very real. "And this type of evidence, you can't come by in the open literature, it's not public, it's classified. And I can't discuss what it was, but I can tell you, yeah, it's a crash retrieval, there's a craft, and there's alien bodies. That's all I can say about it." Fox: "You swear on your life that you saw those pictures?" Davis: "Oh, I swear on my life, and everybody's...my children's life, so (laughs). Yeah, I'm absolutely telling you the truth. I saw the evidence, and it's stark! I can't tell you the exact number, because it's classified, but I'll just say, there's a few dozen total retrievals." Full exchange with video... ~~~ As I said in my other post, I think Davis, Semivan, Puthoff, Kelleher, Grusch, Lacatski, Stratton, aka The AAWSAP Gang (I just made that up), may have seen the same evidence of photos and reports. Has Grusch seen more than that? I don't know. In 2025, Davis said this... Burlison: "Can you comment on whatever species have been piloting these craft? Are they largish? Are they multiple species? What was their size, and how many are usually on a craft?" Davis: "They're typically the multiple species people are familiar with. The Greys, the Nordics. People have talked about Reptilians and Insectoids. It's not that they're Reptilian or Insectoid, it's that they resemble, to the participant, a reptile, or insect type. A humanoid, because they have this...a hand, and four limbs, and a torso, so..." Burlison: "Large? Small?" Davis: "Human size, human scale." Burlison: "How many are in a crew?" Davis: "Well, the group, well, the Greys I'm familiar with from investigating the crash at Corona, which is misnamed the crash at Roswell. It's not the crash at Roswell, it's the crash at Corona, New Mexico. Those were Greys, those were four-foot tall. And the Nordics are typically human-sized, probably...I've heard five, six-feet tall. And same with the people who mislabel Reptilian and Insectoid. They're roughly that height, too. I haven't heard anything about anything seven or eight feet or nine-foot tall, of that nature." Full post with video... ~ And this past Sunday, Davis said this to The Good Trouble Show with Matt Ford... Davis: "I can say to you guys that there are a minimum of four different alien species. The credibility of that ranges on the spectrum from no credibility to high credibility. The high credibility is the classified part." Full post: My Final Thoughts (Based on everything Davis has shared, it seems he saw classified photos of what appeared to him to be non-human craft and photos that appeared to show dead non-humans (bodies) with enough detail that he could see that some resembled reptiles and others resembled insects. Were there also photos of Greys and beings that looked human (Nordic)? I don't know. These images of non-humans would fall into what Davis deemed "high credibility" and "the classified part.") Davis: "I saw the evidence, and it's stark!" (If Davis saw close-up photos that showed details of beings that looked like Reptilians and Mantids, I'd say that qualifies as stark!) Back to what Fox said... Fox: "Then, what Mr. Grusch revealed to all of us, what he had seen with his own eyes, left the room speechless. It drew the oxygen out of the room. I looked at everybody in that room, and their eyeballs were popping out. My jaw was on the floor. Like, I simply couldn't believe what he'd seen with his own eyes." (I think what caused that reaction was Grusch describing seeing close-up photos of different types of non-human beings. Maybe.) However, Fox also said this: "...if you can imagine, if you know about 'Moment of Contact,' that involves captured non-human intelligent beings (This is the Varginha, Brazil case. ~Joe). Think about that for a minute. Think about that case. I heard it out of his mouth, and I can tell you, I was in the room." (The biggest CLAIM in that film and from that case is that a live, non-human being was captured and that Dr. Italo saw video of it, and then stood next to it for a few minutes when it was in the hospital, in a bed, being cared for by another doctor. Did Grusch say he saw evidence (photos or videos) of a live being that appeared to be non-human? Joe Rogan asked him that in his November 2023 interview... Grusch: "Once you realize the phenomenon's real, then you realize we've recovered artifacts and, you know, biologics or, you know, dead pilots, if you will, even though it's kind of creepy to think about in your world view. You don't think they were ever, you know, alive sometimes, too, right? And I'll leave it at that, only because, you know, that is something the President and his cabinet need to disclose this in a controlled manner." (He was either hinting that he's seen them alive or that them being alive and on this planet is a huge deal and not his responsibility to announce. I think it's the latter.) Rogan: "Are there discussions of interactions with live beings?" Grusch: "Uhh, there was some water-cooler talk about that kind of thing." Rogan: "But that's it?" Grusch: "But, you know, I don't even wanna get into it because it's like, uh, there was some details provided to me but it's like, it's secondary and I don't know if that's like, the telephone game and I don't know if it was hyperbolized in any way...um, you know, in the break room, so to speak. So I just... I'm so anal about making sure what I say is accurate...I don't, you know, I don't know." (Based on what he said there, it seems like he has NOT seen any evidence of live beings. If he now comes out and says that he has, it will seem like a flip flop. So, I'm gonna go with Grusch said he saw photos of non-human bodies and they were of the different types/species that Dr. Eric Davis referenced. One more flashback to what Davis said in that public, congressional briefing in May of 2025.) Davis: "It's not that they're Reptilian or Insectoid, it's that they resemble, to the participant, a reptile, or insect type." (That sounds like someone who has seen exactly what they look like, via photos.) Final point... "Examine biological evidence of living or deceased non-human intelligence." ~Burlison Proposed Legislation (That language was in the original UAPD Disclosure Act co-sponsored by Senators Schumer and Rounds, and four other senators. Why put that language in there if you haven't heard credible reports of living or deceased (bodies) non-human intelligence? Are there stories of living, non-humans on this planet? Yes, and I'll leave you with one of them.) ) (Just to make it clear: I think Grusch will say that he saw clear photos of different types of non-human bodies and some looked like reptiles and others looked like insects. It would be amazing to hear Grusch say he saw video or film of living beings, but I don't expect that. However...this still bothers me... Would Grusch describing seeing photos of craft and different kinds of dead aliens leave veteran-of-the-UFO-field, James Fox, with his jaw on the floor? I guess we're gonna see. And hopefully soon.)](https://image.24vids.com/tw-2075447649453691237/amplify_video_thumb/2075447438866006017/img/nXEwcYZHCI2fyrrG.jpg)
![โDoctor Deathโ Gives Life to Gold Mines Dave Fennell chain-smoked and studied law while winning 6 Grey Cups. He sent 3 quarterbacks to the hospital in one game, becoming 'Dr. Death' and a household name in Canada. Next Dave turned to gold exploration, building 5 ventures worth ~$5 billion. He's never shared his story publiclyโuntil now. After dominating football, Dave Fennell's Midas touch in Guyana could lead to his greatest victory. Mining legends Louis Gignac, Rick Rule and others weigh in. "I was capable of playing very violently," recalls Fennell. "If you're going to survive as a defensive lineman. The people who are opposite you, have to be afraid of you." He played 10 seasons for the Edmonton Eskimos (renamed Elks in โ21), appearing in 8 Grey Cups (Canadaโs Super Bowl). The Eskimos won 6, including 5 in a row 1978-1982. Fennell, who turned 71 Feb 4, is chain smoking Marlboros on a Zoom call with me Feb 5. Heโs reflecting on a career that spans beyond the gridiron to golden ventures. His resume includes co-founding Golden Star (US $467M sale in โ22) and Miramar ($1.5B sale in โ08). Fennell was a tenured director of Sabina ($1.1B sale in โ23) and Torex ($1.2B market cap). His Reunion Gold ($485M market cap) has rapidly discovered a major gold deposit after setbacks. Fennell's sons picked up his drive too. David Jr. played Michigan State football then turned engineer. John raced luge at the Sochi Winter Olympics, now he's a corporate analyst. โ Raised in a middle-class Edmonton, Alberta family, Fennell was the second of four children. โI was taught very early on, you're not allowed to quit when you start something. It was not acceptable.โ He completed a 4 year undergrad degree at U of North Dakota in 3 years. Fennell could have gone to the NFL, but chose to stay in Edmonton, joining the Eskimos on the condition heโd also go to law school. It's hard to imagine a pro athlete smoking, studying law, and winning six championships today. But Dave Fennell did it all. He planned to play pro for 10 seasons, and wondered, โWhat do you do when the cheering stops?โ Joining a law firm next, the bosses leveraged his "Dr. Death" fame for networking. Fennell recalls, โThey loved taking me to the Petroleum Club on Mondays.โ His law practice worked with many small miners. After three years and a Guyana field trip, Fennell decided to get into gold mining himself. At 32, Fennell founded Golden Star Resources (GSR). He partnered with Roger Morton, a U of Alberta geology professor, to explore Guyana. GSR spent $20K staking the forgotten Omai gold deposit. โIt was open ground.โ Anaconda Copper explored Omai extensively in the late 1940s but stopped when the Korean War began. Secrets of the Anaconda Library A private detective helped Fennell find Anacondaโs geological data. They learned of a cavernous library in Montana, holding 100 years of records. A librarian, just laid off, liked Fennell and sold him the Guyana files for $30K. GSR hired SNC Lavalin, with their top supercomputer, to process this historical information. It showed a big potential mine. Placer Dome partnered on Omai in โ87, before walking away. Fennell didn't give up. He invited Louis Gignacโs Cambior to visit Omai during a 3 day rainstorm. Cambior ended up funding construction for a 70% stake. It produced 3.7 million gold ounces from 92-05. Renowned mining investor Rick Rule says Fennell is easy to underestimate. "The physicality obscures a great intellect and a guy that's actually very kind. He's the classic entrepreneur. When he sees an opportunity, he can't not grasp it.โ Next, GSR pursued Cambior to partner in Suriname. โIf I had a mine each time someone told me a story about a property, I'd be a very rich man,โ Gignac says. GSRโs Rosebel discovery was in region reeling after Surinameโs civil war. โDavid, why donโt you settle down, get married, do something easier than this,โ Gignac advised him. Fennell persisted, inviting Gignac to tour Rosebel. It poured rain again on that trip, which Gignac saw as a good omen after Omaiโs success. Cambior eventually built the mine. Rosebel became one of South Americaโs largest, yielding over 6 million ounces. Today, itโs operated by Zijin. GSR stock jumped 600% in the early '90s thanks to these wins. Investor Mike Halvorson says GSRโs work in the Guianas and Suriname put the area on the map for mining. โBack in those days, from a political point of view, it was considered high-risk to go into the Guianas,โ Gignac remembers. โIt took a lot of guts for [Fennell] to get involved, and a lot of guts to follow him there. We eventually mined about twice the [initial] reserves at Omai. By doing Omai, it was that much easier to do Rosebel. We were comfortable with the region and its people. There's a lot of advantages in these countries. It's simpler. Decision makers are easier to know and be in contact with.โ Halvorson remembers Fennell throwing a 'chirping' analyst into a pool on one Suriname stay. The guy skipped on the water like a stone. Fennell and Halvorson connected in Edmonton in the 1980s through their love of migratory bird hunting. โAnything that walks, flies or swims, Dave has killed,โ says mining engineer Bruce McLeod, who hunts and fishes with Fennell. A massive Anaconda snake skin once adorned the crown mouldings in Fennellโs Montreal offices. At 41, Fennell lucked out as the sole bidder for Sigrist House, once King Edward VIII's Bahamian villa. Fennell lived there 28 years before downsizing. In the late 90โs, Fennell clashed with GSR's board and was pushed out. Later, GSR refocused on Africa and was sold to a Chinese company. To avoid GSR conflicts, Fennell eyed new gold regions. BHP's Hugo Dummett offered him all their gold assets for $80 million. But with few flush bidders, BHP sold the portfolio in pieces. Ivanhoe got Mongolia and discovered Oyu Tolgoi. Randgold took West Africa, and Harmony got East Africa. "If you'd have kept that package together, it'd be the second largest copper company [today]. And you'd be arguing with Newmont about who was the biggest gold company," Fennell says. He bought the Canadian assets for US $20.4 million. It had Hope Bay, a 4 million ounce gold discovery in the high arctic. Fennell dealt through Cambiex Exploration (CBX), where heโd been appointed Chair and CEO in January โ99, when CBX was a 15 cent stock with a $3.5 million market cap. CBX split the tab with Miramar, a modest gold miner sitting on cash. Miramar swallowed CBX in 2002, appointing Fennell Executive Vice Chairman. Miramar invested about $100 million in Hope Bay and led it through permitting. In 2008, Newmont bought Miramar for $1.5 billion. Every $1 invested in CBXโs equity funding when Fennell took over in early โ99 was worth $19.50 when Newmont acquired Miramar 9 years later. CBX shareholders made even more money through a spinout company, Ariane Gold, acquired by Cambior in โ03. Rob McLeod, a geologist at Hope Bay, admired Fennell's strong presence, humour, and optimism. Fennell built bonds with Inuit partners through fishing and Crib games, easing the permitting process. Fennell would need that optimism for his next venture. โ In 2004, Fennell listed Nevada explorer New Sleeper. A name change to Reunion Gold (RGD) came in 2006, after recruiting former GSR colleagues and pivoting again to the Giuanas. The stock ran from 30 cents to over $2 in early โ07 on the back of a Suriname gold find. It didnโt pan out. RGD crashed to 3.5 cents during the โ08 financial crisis. โWhen you take your shareholder's money and you say you're going to do this, and if it's not successful, my job is to fix that and I'm not going to roll all the stock back. I'm not going to wipe shareholders out,โ Fennell says, explaining RGDโs current 1.23 billion shares. Reunion roared back above $2 again after a Guyana manganese discovery. Then, metal prices crashed, cutting RGD to one penny by 2016. โYou're going to fail a hundred percent guaranteed in both exploration and football,โ Fennell says. โThe real question is, what are you going to do after you fail?โ A US $10 million sale of the manganese project provided a lifeline. In 2019, Barrick partnered with Reunion on exploration, committing $4.2 million. Reunion was a 7 cent stock in 2020 when they found gold at Guyanaโs Oko project. But, Barrick quickly abandoned the alliance and skipped a $3 million commitment. They even sued Reunion after Oko's success. In 2023, Barrick and RGD settled, owing nothing to each other. Oko moved from a prospect to a major gold deposit rapidly. An initial 2023 resource estimate showed 4.3 million ounces (indicated plus inferred). Fennell believes Oko could be the best gold mine in South America. He sees a 300--400,000 ounce per year, low-cost mine, with a 12 year initial mine life. "Itโs going to be much bigger and longer,โ Fennell says, optimistically. โWhether we're going to live longer is a whole different question." Reunion aims to publish a PEA study on Oko before Summer. Fennell also looks forward to a feasibility study and final permits in Q1 2015, with construction to start soon after. "From a discovery to a tier one mine in [potentially] six years, it doesn't get any better," Fennell says. Heโs in Georgetown this week, talking with the Guyanese government about Oko's future. Reunionโs looking at options: build, sell, merge, or partner up. Fennell wants RGD to avoid execution risk and debt. G Mining Services, led by Fennell's old friend Gignac, is advising on Oko. They've successfully built many mines, like Fruta del Norte in Ecuador (Lundin Gold - $3.7B market cap). Gignac's G Mining Ventures, doing well and on track in Brazil, could be a key player in Oko's future. โThere will be a mine [at Oko]. There's absolutely no question,โ says Gignac. โThe size, grade, and gold content. That's going to be the next one to put on his record.โ Thereโs a slight problem with Venezuelaโs claim over Guyanaโs Essequibo region, where Oko is. Fennell isn't worried. He says the US will protect it because of Exxon and Chevronโs huge oil investments there. Gignac says Fennell hasn't changed since they first met in the late 80s. "Always glass half-full, always enthusiastic. A track record as good as anybody at finding deals, doing exploration, and developing orebodies." Fennell is honest and a consummate salesman according to Rule. โI don't think in 35 years he ever lied to me, but he would polish the living shit out of the rear view mirror.โ Some colourful highlights of my 2 hour Zoom with Mr. Fennell were published in raw video form below. Itโs full of wisdom about gold exploration and football. โDavid is one of the most low key and commercially successful entrepreneurs in [mining],โ Bruce McLeod wrote. โHe has played a huge part in mentoring others too. Without David I wouldn't be where I am today.โ Fennell says, "We always overcome challenges. I never give up." Reunion Gold (RGD-TSXV) is worth $485 million at press time, last at 39.5 cents. Fennell owns 61 million RGD shares. He has warrants and options to purchase 12.6 million more. B. McLeod, Rule & Halvorson all own the stock. All figures CAD unless otherwise indicated. 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