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【DMM週間アイドルランキング15位】 【2025/05/10発売】 #ad# ひみつのカノンちゃん/#小日向奏音# 【DMM】 【数量限定】直筆サイン入りチェキ付 【楽天】 #palmu#

長時間配信ありがとうございました😊 イベント1回分で達成したやつ載せます！たくさんの方に遊びに来ていただいて、ほんとに感謝です🙇‍♀️ ほんとに今日はめちゃめちゃ楽しかったね💕︎ 明日は14時頃からコスプレ配信でもしようかな🤔 #Palmuステップアップチャレンジ#

My mom fed a homeless man behind our house for 20 years. Three meals a day, even when we couldn’t afford electricity. I hated her for it. The day after her funeral, that same man took my hands, looked me straight in the eyes, and said: “Before she died, she begged me to stay silent.” I honestly had no idea what he was talking about. For 20 years, this man had lived in a makeshift shelter behind our rental house. My mom brought him breakfast, lunch, and dinner. Every single day. And the crazy thing was, we were poor too. My sneakers had tape covering the holes. Sometimes we struggled to pay our bills, and there were days when we couldn’t even afford electricity. But somehow, my mother always found enough food to feed him. I never understood it. I remember coming home two days before Christmas and finding a yellow eviction notice taped to our front door. We were struggling to keep a roof over our heads, yet my mother was still preparing three meals a day for a stranger. That night, I finally lost my temper. Me: “Maybe if you stopped feeding strangers, we wouldn’t live like this!” My mom turned around so quickly that I knew I had crossed a line. Mom: “Don’t you ever DARE say that again.” I had never seen her that furious before. I didn’t understand why she was defending him so strongly when her own child was going without things. I moved out when I turned 18. We fought less after that, mostly because I stopped asking questions. But the man stayed. Year after year, his little shelter remained behind our house, and my mother continued feeding him. Then my mom got sick. Cancer made her small. She became quiet, and it was the kind of quiet that scares you because you know something terrible is happening. Two weeks before she died, she reached out and grabbed my wrist. Her grip was so weak that it broke my heart. Mom: “Promise me you’ll keep feeding him.” I looked at her. Honestly, I wanted to say no. I wanted to ask why she was still worrying about that man when she was the one who needed help. But you don’t lie to a dying mother. So I promised. My mom eventually passed away. The day after her funeral, I prepared the best meal I could, put it on a plate, covered it with foil, and drove to her house. I had promised her I would keep feeding him. But when I got there, the man was gone. His shelter had been completely cleared out. Everything was gone. The ground had even been swept clean, as if those 20 years had never happened. I stood there holding the warm plate, wondering where he could have gone. Then I noticed something. A black SUV was parked at the curb. Standing beside it was a man wearing an expensive wool coat. He was clean-shaven, well-dressed, and looked nothing like the homeless man I had known for 20 years. But the thing that caught my attention was what he was holding. My mother’s old silver locket. The same locket she had told me she lost when I was eight years old. He looked at me and said: Man: “I thought you wouldn’t come.” I stared at him. Me: “Wait… is that you? What’s going on?” He smiled, but his expression was unsteady. His eyes were already filling with tears. Man: “Your mom hid something from you.” I felt my stomach tighten. Me: “What did she hide?” He looked at the plate in my hands before responding. Man: “Before she died, she begged me to stay silent.” My blood went cold. Me: “Silent about what?” He gently shook his head. Man: “Sit down. You shouldn’t hear this standing in the cold.” We sat on the front steps. The plate was still warm between us. He turned my mother’s silver locket over in his palm as though it might break. Then he began telling me something I never could have imagined. Man: “My real name is Vernon Hale. Before all this, I owned a company. I had a big house in Connecticut, a wife, and a little girl. My daughter was six years old.” I just stared at him.

255M views on a 3D Short by Zack D. Films i tried to rebuild his style with ONE Claude prompt, then ran it on Opus 5.5 and Fable 5.2 (they did NOT make the same Short) the full prompt is below ↓ paste it into Claude Code in an empty folder and answer its 2 questions. it shows u the script and waits for ur go. u need Blender + its free MPFB add-on and a graphics card. give it a few hours (the prompt is minus one optional paid-voice line) Ask me 2 things, then wait: 1. The story in one line: a strange TRUE event where one person did one odd physical thing ("He tied 42 weather balloons to a lawn chair."). If I say "you pick", pitch 3 with one source link each and take the first unless I choose. 2. The voice. Default: Kokoro (free, runs on my computer), a calm, warm male narrator. Then tell me everything else is free: Blender (find my install, or tell me the one download), its free MPFB extension for human bodies (ask me before you install it) and into this folder a Python venv with FFmpeg (imageio-ffmpeg), kokoro-onnx + its model files (kokoro-v1.0.onnx and voices-v1.0.bin from the kokoro-onnx GitHub releases), faster-whisper (small.en), numpy and Pillow. It needs no API key or account and renders on my graphics card with EEVEE. The look: a clean, realistic 3D world, like a good game cutscene. Bright, saturated, a little filmic. - People: realistic bodies with generic faces and big readable expressions (shock, a smirk, a scream). Plain clothes, no logos. Never a real person's likeness: for a real person keep the face out of close-ups (hands, back, side, distance, straight top-down). - CALM shots only. Bodies in fast action or contact (running, jumping, fighting, falling) look stiff, so tell the story with frozen moments under a slowly moving camera, macro inserts of hands and objects, rooms, vehicles, the sky, top-down views and the aftermath. - One new picture for every caption chunk (2-4 words, about 1-1.5 s): a new framing, a new action or a camera move. Nothing ever holds still: every shot drifts, pushes in or orbits. - The shot kit: macro insert (extreme close-up of the key object or hands, very shallow depth of field), hero low angle (wide lens at waist height), god's-eye top-down with a slow rotate, tracked object, over the shoulder, smash zoom on the word that matters, whip pan between beats, glow highlight (the named object glows orange with a rim, then fades), a big 3D number lying in the scene, a thought bubble (a cloud ring showing what he hoped for), a TV in the scene replaying the event. - Light: a bright warm sun, blue sky with clouds, soft shadows. Night scenes use hard lamps and a dark sky. Wide lens up close, depth of field on every shot, motion blur on every fast camera move. - Captions: 2-4 words at a time, white bold rounded sans, about 64 px on a 1080 px-wide frame, centred, 78% down the frame, soft dark shadow, no box. Each chunk replaces the last on the same frame as its picture. - Banned: real footage, photos, downloaded textures or 3D models, logos, AI images or AI video, downloaded music, gore. 38-50 s, 100-140 words, 150-180 words a minute. The voice starts at 0.0 s. - Line 1: the most surprising physical act, in past tense, opening with "He" (or "She"). No name, date or setup. Frame 1 shows that act. - Then a cause-and-effect chain: every sentence starts with a hinge word (Then, Suddenly, So, Because, But, Later) and is ONE visible action. - The context arrives late, after "You see,". - A reveal: someone looks closer and the story turns. - The last line is the consequence. No call to action, no question. - Names are rare: use one only when it pays off. Title = "He ..." or "The Man Who ...". The cover is the first frame. Save every stage to disk so a crash never costs more than one stage. - sources.md: every fact with its link and the date you read it. Anything you can't verify stays out. - script.json: the lines and the caption chunks cut by hand (2-4 words, one picture each), each chunk with its shot: the set, the camera, what moves. - Kokoro reads the whole script in one take (speed 1.0-1.1) and pauses are squeezed to 0.35 s at most; faster-whisper times every word (pass it a 16 kHz numpy array, not a path); write chunks.json with each chunk's start and end. A picture and its caption switch together on frame round(start*30)+1. - blender/: Python scripts run headless (blender -b -P). makes one .blend with the sets, the cast, the props and every shot baked with a key on every frame. sets EEVEE with ray tracing, the AgX view with the Punchy look, motion blur, depth of field and bloom in the compositor. Bodies come from MPFB or are built by you; clothes, hair, props and sets are built in code. - Stills first: one half-size still per shot as a contact sheet. Look at every tile and fix what's off before any full render. Time one full-size frame and tell me the estimate. - Render 1080x1920 at 30 fps to PNG frames, skipping frames already on disk. - numpy only: a light music bed, a sound on every action (a whoosh on each whip pan, hits, wind, room tone), ducked under the voice, mastered to -14 LUFS on the whole stereo mix. - burn the captions in from chunks.json. Encode out/_9x16.mp4 (1080x1920, 30 fps, TV-range yuv420p) and out/_x_7x8.mp4 (1008x1152, under 10 MB, 2-pass): a crop of the 9:16 frame that keeps the subject and the caption. - Blender paths: pass absolute output paths (a relative one lands on the drive root). - MPFB headless: enable it with addon_utils.enable("bl_ext.user_default.mpfb"). Bake a body's shape keys before you pose it: the rig is fitted to the baked shape. - Clothes: cut them from the body mesh and push them 7-16 mm out along the normals; keep two rings of body faces under every hem. - Nothing coplanar: keep every resting object 1 cm off its neighbour and draw ground markings into the texture, or they flicker. - Hair: EEVEE draws hair only from a Curves object, hair type STRIP. Use a Principled BSDF on it (the Hair BSDF renders black). - Skin: keep subsurface weight near 0.2 (more turns faces black in EEVEE) and add a soft fill light from below under a noon sun. - Hands: a curled hand reads as a claw from the palm side, so shoot a grip from behind the knuckles. - Motion blur: shutter position START, a key on every frame, plus a key half a frame after each shot's last frame, so blur never reaches across a cut. - Check: run a black-frame and one-frame-flicker check on the render. Make a contact sheet (a frame every 0.5 s) and look at every tile: the act reads in the first 2 s, faces are lit, nothing clips through anything, captions stay off faces and key objects. Then step through the first 2 s, the middle and the end frame by frame. Fix, render only the changed shots again. Pitch (or take my story), then show me the script with the word count, the caption chunks with their seconds and the shot list with what the first frame shows. Build nothing until I say go. how the two runs went: one run each on the same PC, so it's one sample, not a ranking. both took under 3 hours on one shared 8 GB graphics card. the story for both: a man who tied 42 weather balloons to a lawn chair in 1982 where they split: -> Opus opened wide on the balloons over the yard. Fable opened on the man kneeling at the chair with his Jeep behind him -> Opus put 5 big 3D numbers in its scenes, Fable 2 -> Fable followed the caption spec (white text, soft shadow). Opus went ALL CAPS with a thick outline -> Fable pulled the Smithsonian's own record and ended on the chair in the museum. Opus ended on the $1,500 fine -> a few Opus shots are hazy and one opens on a blank grey frame save this for ur next Short. who did it better, Opus or Fable?

🚨BREAKING: President Donald Trump told #Ravens# CB Marlon Humphrey to say hello to Lamar Jackson while visiting Baltimore today: “Say hello to your quarterback. He’s a little bit injured. Tell him I know his mother. I met his mother a few times in Palm Beach.” 👀👀👀

🚨 BREAKING: President Trump OFFICIALLY announces @anduriltech is investing $3.7 BILLION in Arsenal-2, a TWO MILLION sq. ft. shipbuilding facility in Maryland It'll create 3,100 new permanent jobs, and support over 14,000 jobs overall. The LARGEST US shipyard since WWII "You'll build the next generation of American submarines, including autonomous subs, torpedo tubes, and critical components for our cutting edge Virginia class attack submarines, the greatest and quietest ever built." America has really slipped in our shipbuilding capacity over recent decades, but luckily, it's coming back strong 🔥 Great job, @PalmerLuckey!

🚗☁️Traffic and Weather on the 4's... and Poems! Pacific Road Afterglow | San Diego, California🌌 After sunset, coastal traffic continues along San Diego’s shoreline roads. Headlights stream past palms and beach neighborhoods while late cyclists and evening pedestrians move beneath glowing storefronts. The Pacific keeps the evening surprisingly mild. Warm air lingers above the pavement while a marine breeze carries salt, eucalyptus, sea mist, warm concrete, and the faint fragrance of night-blooming flowers. Palm shadows tremble on the street, ocean air stays soft and sweet. Headlights curve beside the blue, night rolls slowly… westward too..☀️🌄🚦 #PoeticCommute# #grok# #animation# #TrafficAndWeather# #Poetry# #Travel# #art#

Palmer Luckey was the best optical engineer at Oculus and calls it a failure he led only because his hiring was negligent, so the company's ceiling matched his own skill pride is a hiring gap