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PROMPT SHARE: AI video gets way more interesting when it stops looking like AI. #Kling# #Kling3# #KlingAI# @Kling_ai Kling can create the kind of natural movement, lighting, and detail that makes you look twice. Natural movement, believable environments, and real-looking people make the difference. Paid partnership with Kling ➜ Image Prompt: Create an ultra-realistic candid street-fashion photograph of a gorgeous young woman with striking, high-fashion model features standing on a busy narrow city street in Paris during daytime. She has an elegant oval face, sculpted cheekbones, full natural lips, softly defined brows and large expressive eyes. Her skin is completely photographic with visible pores, fine texture and subtle natural luminosity. No fake skin, no plastic skin, no excessive smoothing, no beauty-filter appearance, no CGI or animated look. Photography & Cinematography Vertical three-quarter portrait framed from approximately mid-thigh upward. Use a direct on-camera flash mixed with natural overcast daylight, giving her face and clothing a crisp foreground exposure while retaining the spontaneous character of the surrounding street. Slight compact-camera character, subtle grain, natural contrast and imperfect documentary framing. Environment Set her on a narrow, upscale Paris street lined with cream stone buildings, tall windows, understated storefronts and parked cars. Several fashionable pedestrians pass closely behind her, creating depth and genuine city activity. The street should feel busy and lived-in rather than staged. Pose She stands slightly angled toward the camera with her head gently tilted and gives the lens a soft, confident direct gaze. One hand lightly holds the strap of her shoulder bag near her chest while the opposite arm hangs naturally beside her. Her dark brunette hair is worn loose with a deep side part, soft volume and large natural waves cascading around her face and shoulders. A few imperfect strands fall forward. Outfit Create a sophisticated three-layer tonal look in cream, taupe and pale stone. Start with a fitted, semi-sheer taupe short-sleeve mock-neck top made from extremely fine lightweight knit fabric. Layer a fitted ivory spaghetti-strap camisole over it, clearly revealing the high neckline and sleeves of the sheer layer underneath. Over both, add an unusual semi-sheer pale stone fitted vest/top with narrow contrasting sage-gray trim running around the neckline and vertically down the front. Small exposed metal snap buttons fasten the front, while the translucent fabric allows the ivory camisole beneath to remain visible. The hem ends around the upper hips with subtle raw-edge detailing. Pair everything with low-rise tailored camel-beige trousers, relaxed through the hips with a clean minimal waistband and single dark button. Add a small pale sage-gray leather shoulder bag tucked beneath one arm. Keep jewelry nearly nonexistent. The finished styling should feel layered, sophisticated and quietly experimental—soft neutrals, thin fabrics, unusual proportions and effortless Paris street style captured as a spontaneous fashion photograph.

America: a 250 year tribute. i made this 5 minute documentary completely orchestrated by opus with a montage of the remastered versions of the most iconic moments of US history

The Gaza documentary “NAZA” earned a massive 24.5-minute #VeniceFilmFestival# ovation as the crowd cheered and waved Palestinian flags. This marks the longest-ever standing ovation at Venice, beating the 22-minute ovation for “The Voice of Hind Rajab” last year, and perhaps the longest at any film festival, period. The new documentary was shot at night on the rooftops of Tel Aviv and shows “in detail the systems behind Israel’s calculated mass killing of Palestinian civilians in Gaza,” per an official synopsis. Abraham and Szor interviewed 24 Israeli military intelligence officers and soldiers — all of whom spoke on the condition of anonymity — who were involved in the surveillance or remote killing of Palestinian civilians in Gaza. Their appearance and voices were digitally altered to disguise their identities.

A director who doesn't come up to the builder's heels makes a four-hour film about him. Yesterday in Venice, Alex Gibney's nearly four-hour documentary "Musk" had its world premiere. It is a classic case of someone who has spent a career telling other people's stories taking on a man who actually builds those stories with rockets, cars, satellites, and infrastructure, not slides. Alex Gibney is an acclaimed documentarian. An Oscar for Taxi to the Dark Side, Emmys for Going Clear on Scientology, high-profile films on Enron, Elizabeth Holmes and Theranos. His specialty is exposing corporations, cults, and frauds. He does it skillfully and with a thesis. The problem starts when he applies the same method to someone who is not selling an illusion, but hardware that either flies or blows up in front of the entire world. Gibney's fuel is controversy. Elon's fuel is the pursuit of truth hard, engineering truth, the kind that either works on the test stand or it doesn't. It would have been enough to make a film based on facts. Instead we got another rut that fits the slogans of provocation: megalomaniac, confidence man, threat to democracy, an AI avatar reciting old quotes, ex-wives, his father, a former partner. Musk said in 2023 it would be a hit piece. After the premiere, a large share of reviewers effectively agreed with him. I don't know about you, but four hours of falsified formulas would bore me. Instead I watch how much Elon has already done. His energy is extraordinary. Tesla changed the car industry. SpaceX brings rockets back. Starlink works. Starship stands on the pad and prepares for the next flight. This is not a PowerPoint. It is steel, fuel, engines, and people who cannot hide failure in the edit suite. A weak documentary like this is a crumb on the shoulder of his jacket. Now it depends on us when and how quickly that blown-off crumb a utopian attention vampire is simply starved of attention. You could list the names of people who tried to take Elon's energy. Energy is the most precious thing we have. Anyone who steals it with slogans, gossip, and a four-hour indictment that excludes the main subject is sowing under his own feet. Gibney: you reap what you sow. If you have a shred of shame, look at the list of Elon's accomplishments. Look at what kind of person he is for the world and what he does around himself so that things get better cars that drive, internet from orbit, rockets that return, attempts at a brain-computer interface, AI that is supposed to be more than another chatbot. You can dislike his tweets, his political alliances. You cannot honestly erase the scale of what was physically built. A good documentarian should stand, at least for a moment, in the shoes of the person he is portraying. Gibney did not just fail to do that. He took a measure cut for Enron and Holmes and held it up to a man who lands rockets. He left Elon's shoes in the edit suite. Elon walked on barefoot and kept building. One man tells stories about the world from an editing chair. The other moves that world. A four-hour film will not change that. At most it will confirm what people who already disliked Musk already believed. Everyone else can blow the crumb off the jacket and keep going. History does not judge a man by the length of a film. It judges him by what is still in the air when the camera has stopped running. Controversy feeds on attention. Building feeds on repetition. One vanishes when you look away. The other keeps flying. You can cut a man together in four hours. You cannot cut a landing together. A documentary can be switched off. The work cannot.

Resurfaced clip from Abdul El-Sayed documentary shows him directing his crew to NOT film his shelf full of Qurans in order to "keep the shot secular." He doesn't want people seeing that side of him. I wonder why... h/t @FreeBeacon

Out now. Mountaineer Dawa Yangzum Sherpa has broken barriers for female alpinists. Now, as part of an exclusive documentary series about the #RolexFamily#, she reveals what it is like to live a ‘Life at Altitude’. More on #PerpetualPlanet# #Reachforthecrown#

So many people knew Hayden Panettiere as an actress, but many may not know that she was also an incredibly passionate advocate for dolphins and whales. In 2007, at just 18 years old, Hayden traveled to Taiji, Japan, where she joined a group of activists who paddled directly into the infamous cove in an attempt to stop a group of dolphins from being killed. She wasn’t there playing a role. She put herself in the middle of what was happening because she believed it was wrong. The confrontation was captured on camera and would later become part of the Academy Award-winning documentary The Cove. I’ve talked about The Cove many times over the years, and tonight I’m at a loss for words. Millions of people will remember Hayden for Heroes, Nashville, Scream and the many characters she brought to life. I hope she’s also remembered for the things she cared about when the cameras weren’t supposed to be rolling. Rest in peace, Hayden. 🤍