Mavern

@Mavern_0x

▪ AI is making reality look fake. 👁️ ▪ AI video • Seedance 2.5 • Free prompts & workflows ▪ I create the unreal. You decide what’s real. ▪ Collabs? DM me 🤝

Turn your idea into a vide 👉

Joined May 2026

53 Following

3.3K Followers

412 Posts

Mavern

@Mavern_0x

25 minutes ago

@voyzai @makeugc Ahahaha😂

Mavern

@Mavern_0x

33 minutes ago

@Alexneyef @makeugc Hahaha, that would have been his best decision

Mavern

@Mavern_0x

40 minutes ago

He laughed at her first punch. She hadn’t used her real hand yet. Made with Unlimited Seedance on @makeugc Prompt ⬇️ Create a native 16-second, vertical 9:16 real smartphone video: one continuous take with no cuts, recorded by a phone propped on a gym bench next to a boxing arcade machine in an ordinary gym. It must look like a real clip that caught a cocky gym guy challenging a girl to beat his punch score, her first weak punch, and her second punch maxing out the machine. No reference image. CORE RULES Two adults in focus: MAYA, a woman of 25, and BRAD, a man of 30. One continuous shot from the first frame to the last. The camera is fixed: the framing, the angle and the size of the people in the frame stay exactly the same from the first frame to the last; no push-in, no zoom, no pan. Each person keeps the same face, hair, body and outfit throughout. Each has exactly two arms and two legs; each hand has five fingers; joints bend only naturally. Nobody wears boxing gloves; all punches are bare fists. The recording phone is never visible. Natural, understated behaviour: nobody performs for the camera. Fluid real-time motion, no freezes, no slow motion. No readable text, numbers, logos or brand marks anywhere, including the machine, clothing and walls. CHARACTER Tone: a real gym moment caught by accident, with a twist nobody saw coming. Funny and satisfying because it is real. MAYA is a beautiful, eye-catching 25-year-old woman, naturally sexy in an effortless, believable way. She has an athletic, curvy, strong figure with a full, large, natural-looking bust, a defined waist and realistic body proportions. Long dark-brown hair in a high ponytail with a few loose flyaways, never across her face. She wears a fitted black sports bra with a softly scooped neckline under an open cropped teal-grey zip hoodie, fitted high-waisted black leggings and white training shoes. Small gold hoop earrings. Fresh glowing everyday makeup: defined brows, soft mascara, nude lip gloss. Sweet, innocent-looking, secretly confident. The clip stays about the punches and the faces, never about her body. No logos. BRAD is a 30-year-old big, muscular, cocky gym guy: short dark buzz cut, thick neck, trimmed beard, large arms. He wears a plain black tight sleeveless training shirt, plain grey shorts and plain black training shoes. No logos. FACE MAYA: oval face with high cheekbones, almond-shaped warm brown eyes with long dark lashes, defined natural brows, full lips with nude gloss, small mole above the LEFT corner of her upper lip, straight natural white teeth, warm olive skin with a healthy glow. Innocent and sweet, then fake-embarrassed, then calm and focused, then a sweet, satisfied smile. BRAD: square face, small dark eyes, trimmed beard. Cocky smirk, then laughing, then a fading smile, then frozen with his mouth slightly open. Both: eyes focus on what they look at, gaze moves before the head, natural blinking, gradual expressions, head turns under 40 degrees. Nothing covers either face. When they speak, mouths open moderately, lips close on m, b and p; smiles show only upper teeth. No cartoonish faces, no shouting, no glassy eyes, no warped teeth. VOICE BRAD: deep, loud, cocky, American accent, two short lines. MAYA: soft, sweet, slightly playful, soft American accent, two short lines. Both recorded by the phone microphone: roomy, with gym noise underneath. Every word matches the speaker's lips. Each line is said once. CAMERA A phone propped upright on a flat gym bench about 3 metres from the machine, lens at chest height, side-on to the punching spot, wide front-camera field of view. Locked and static for the whole clip. The boxing machine stands in the LEFT third of the frame, fully visible from its base to the top of its light column. The punching spot is in the centre of the frame, about one metre to the right of the machine; whoever punches stands there, facing screen-left toward the machine, seen in side profile with their LEFT side toward the camera. The waiting spot is in the RIGHT third of the frame. Both people are visible from head to feet the whole time. Horizon tilted about 2 degrees. The phone is never visible. This exact framing never changes. CAMERA HAND Nobody holds the camera. It stays propped on the bench the entire time. HANDHELD No handheld movement. The camera stays completely still. Never gimbal-smooth, never shaking, except one faint vibration of the bench at the moment of the maximum punch. LOOK Real smartphone footage: slight wide-angle distortion near the edges, mild noise in darker areas, light compression, auto white balance leaning a little cool under fluorescent light, auto-exposure that briefly dips when the machine flashes. Ordinary colours, flat contrast, no colour grading, no film look, no shallow depth of field. Natural skin with pores, sweat shine and redness. No beauty filter, no plastic skin, no glossy commercial finish. LIGHTING Available light from the ceiling fixtures and practical lamps present in the scene. Slightly uneven illumination, believable shadows and modest colour-temperature differences between existing light sources. Preserve realistic skin tones and readable surroundings. No added studio lighting, dramatic spotlighting or artificial glow. The only extra light is the glow of the machine's own light column, which tints the nearest person slightly red when it is lit. VISUAL MATCH The image must look exactly like an ordinary phone clip from a busy budget chain gym on a weekday evening: flat white fluorescent ceiling panels, a worn black rubber floor, racks and benches, a mostly blown-out window wall, and one bright, slightly worn arcade boxing machine in the corner. Everything is in focus. Slightly messy, lived-in, ordinary. Nothing looks styled or composed. SETTING The corner of a regular budget chain gym in the evening. The boxing machine: a tall black and red cabinet about 2 metres high with a round red padded punching bag on a hinged metal arm at chest height. When the bag is hit, the arm swings backward and down toward the cabinet, then springs back up to vertical by itself within about 1.5 seconds. Above the bag, a vertical column of exactly 12 rectangular light segments with no numbers or text: unlit segments are dark grey, lit segments glow from yellow at the bottom to red at the top. Behind: a dumbbell rack, a cable machine, a wall fan and an overexposed window wall. Far in the back, about 8 metres away, two big gym guys train with dumbbells. No mirrors. BACKGROUND Readable instantly as a gym corner. Three layers: the edge of the bench in the near bottom of the frame; MAYA, BRAD and the boxing machine in the middle; the racks, the window wall and the two distant gym guys behind. Palette: black rubber, grey metal, white fluorescent light, the red bag and the yellow-to-red light column as the bright accents, the teal-grey hoodie and the black shirt. Background story: at 11.8 s, right after the siren, both distant gym guys stop mid-rep, lower their dumbbells at the same time and turn their heads toward the machine; they stay watching until the end and never come closer. The background never warps. MOTION Real movement with weight. Every punch has a load, a strike and a recoil: the back foot pushes, the hips turn, the fist travels straight, touches the bag for a split second and returns to the chest. BRAD moves big and showy. MAYA's first punch is soft and short with no hip turn; her second punch is fast, compact and explosive with a full hip turn. Eyes lead, then head, then shoulders. Left and right sides never mirror. No freezes except BRAD's deliberate frozen moment, no slow or sped-up motion, no posing. DEFECT PREVENTION Hands: all punches are bare closed fists, thumb outside the fingers, the fist stays closed before, during and after each punch. BRAD punches only with his RIGHT fist at 0.6 s; at 2.6 s he flexes only his RIGHT arm at shoulder height; at 6.6 s his LEFT hand rests on his chest while he laughs; from 9.6 s his arms are crossed over his chest until 12.4 s, then drop to his sides. MAYA punches with her RIGHT fist at 5.2 s; at 8.0 s she gives her RIGHT hand one short shake at waist height; at 11.0 s she punches with her LEFT fist; her hands never touch her face. Each fist touches the bag for a split second only. Five fingers per hand; fists never merge with the bag, each other or the body. Face: both faces stay visible the whole time; nothing covers either face. BRAD's frozen look is a slightly open mouth and wide eyes, not a cartoon gape. Head turns under 40 degrees. Body and legs: BRAD stands at the punching spot from 0 s to 3.6 s, then walks two steps to the waiting spot on the RIGHT and stays there. MAYA stands at the waiting spot on the RIGHT from 0 s to 3.6 s, then walks two steps LEFT to the punching spot and stays there until 14.6 s, then walks out of frame to the RIGHT. At 9.6 s MAYA switches stance: her RIGHT foot steps forward toward the machine and her LEFT foot slides back, weight on her back LEFT foot. Exactly two arms and two legs each; legs keep a constant length; feet never slide unnaturally. Objects: one boxing machine with one red bag on one hinged arm and one column of 12 light segments; one bench edge. The bag never detaches, never falls to the floor, never changes shape or colour; it only swings backward on its arm and springs back up. Light segments: 6 lit after BRAD's punch, 2 lit after MAYA's first punch, all 12 lit and flashing after MAYA's second punch until the end. No numbers, digits or text appear anywhere on the machine. Objects never vanish, duplicate or pass through bodies. Continuity: one continuous take, no cuts, identical framing from first to last frame, same outfits, same light. The machine always in the LEFT third, the punching spot in the centre, the waiting spot in the RIGHT third. Physics and environment: the bag swings back with force matching each punch: medium, very small, maximum with a loud bang against its stop. No mirrors, windows show no reflections. Only the two distant gym guys appear; nobody else comes near. STORYBOARD (16 s, one continuous take) START POSE: The first frame shows BRAD at the punching spot in side profile facing the machine, RIGHT fist already drawn back at his shoulder, LEFT fist at his chin, weight on his back RIGHT foot, a cocky smirk. The machine's light column is dark. MAYA stands at the waiting spot on the RIGHT, arms relaxed at her sides, watching him with innocent curiosity. 00:00.0-00:00.6 - BRAD drives off his RIGHT foot, hips turn, RIGHT fist travels straight forward. 00:00.6-00:01.0 - His fist hits the red bag with a loud slap; the bag swings back halfway on its arm; his fist returns to his chest. 00:01.0-00:02.0 - The light column fills from the bottom: exactly 6 of 12 segments light up yellow to orange with a rising electronic beep; the bag springs back up. FACE BRAD: proud grin. 00:02.0-00:03.6 - BRAD turns toward MAYA, flexes his RIGHT arm at shoulder height. BRAD (loud, cocky; not angry): "Beat THAT." The 6 segments go dark. 00:03.6-00:04.8 - BRAD walks two steps to the waiting spot on the RIGHT; MAYA walks two steps LEFT to the punching spot, gives a small innocent shrug, and stands side-on facing the machine. FACE MAYA: a sweet, unsure little smile. 00:04.8-00:05.2 - MAYA lifts her RIGHT fist loosely, no hip turn. 00:05.2-00:05.6 - A soft, short RIGHT punch: her fist taps the bag; the bag tilts back only a little; her fist returns to her chest. 00:05.6-00:06.6 - Exactly 2 segments light up yellow with a short, sad low beep, then go dark. FACE MAYA: lips pressed, a fake-embarrassed wince. 00:06.6-00:08.0 - BRAD laughs, LEFT hand on his chest. BRAD (amused, condescending; not loud): "Cute." 00:08.0-00:08.8 - MAYA looks down at her RIGHT fist and gives her RIGHT hand one short shake at waist height. FACE: thoughtful, eyebrows slightly raised. 00:08.8-00:09.6 - MAYA turns her head toward BRAD. MAYA (sweet, innocent, matter-of-fact; not smug): "Wait. I'm LEFT-handed." FACE BRAD: his laugh stops, smile still on. 00:09.6-00:10.4 - MAYA switches stance: RIGHT foot steps forward, LEFT foot slides back, weight on her back LEFT foot, LEFT fist drawn back to her shoulder, RIGHT fist at her chin. BRAD crosses his arms, his smile fading a little. FACE MAYA: calm, focused, eyes locked on the bag. 00:10.4-00:11.0 - A beat of silence. MAYA breathes in once through her nose. 00:11.0-00:11.3 - MAYA explodes: LEFT foot drives, hips snap, LEFT fist shoots straight into the bag. 00:11.3-00:11.8 - The bag slams back hard against its stop with a loud bang; the bench vibrates faintly; her fist returns to her chin. All 12 segments light up at once, bottom to top, yellow to red. 00:11.8-00:13.0 - The column flashes red on and off, a short loud arcade siren wails for 1.2 seconds; the red glow tints BRAD's face. The two distant gym guys stop and turn. FACE BRAD: frozen, mouth slightly open, eyes wide. 00:13.0-00:14.6 - MAYA lowers her fists, turns her head to the lens. MAYA (sweet, light, innocent; not mocking): "Was that GOOD?" FACE: a small satisfied smile, upper teeth. 00:14.6-00:16.0 - MAYA walks out of frame to the RIGHT past BRAD without looking at him; BRAD stays frozen, arms dropping slowly to his sides, staring at the flashing red column. SOUND Real phone-on-the-bench audio: gym hum, distant clank of weights, faint gym music with no lyrics far away, BRAD's loud slap on the bag and rising beep, his two lines and laugh, MAYA's soft tap and short sad beep, her two lines, a beat of near silence, then a loud bang of the bag hitting its stop, a fast rising beep and a short loud arcade siren, the machine's flashing hum, her footsteps walking away. HANDS AND FEET Five fingers on each hand, fists closed and never merging with the bag, each other or the body. Nobody touches their face. Exactly two arms and two legs each; knees follow the toes; feet planted during every punch. CONTINUITY AND REALISM One continuous take. Two people, two distant gym guys, one boxing machine with one bag and 12 light segments, all in the same places from start to end. No floating or disappearing objects, no transformations, no captions, logos, numbers or watermarks. The framing never emphasises her chest or body; the focus stays on the punches, the machine and the faces. Everyone is an adult. FINAL FEEL A real, unedited phone clip from an ordinary gym: a cocky guy dares a sweet girl to beat his score, laughs at her weak first punch, and then she switches hands and maxes out the machine. Real, imperfect, phone-recorded. Not a commercial. Not a fashion shoot. Not polished influencer content.

235

Mavern

@Mavern_0x

33 minutes ago

@YourAlphaMom @makeugc I reckon he certainly wasn’t expecting that😂

Mavern

@Mavern_0x

36 minutes ago

@itsKfrost The pizza was just the bait 😂🍕

Mavern

@Mavern_0x

37 minutes ago

@TheFutureMemo The biggest fortunes are built by people who bet on the future before the rest of the world believes in it. Brett isn’t just building robots - he’s betting on the next industrial revolution. 🤖🔥

Mavern

@Mavern_0x

about 13 hours ago

@YourAlphaMom @makeugc The real test isn’t the best result after 10 attempts. It’s the best result you can get consistently on the first try. That’s where the economics of AI video get interesting 👀

148

Mavern

@Mavern_0x

about 13 hours ago

@Alexneyef @makeugc That’s certainly spot on😆

Mavern

@Mavern_0x

about 14 hours ago

She was the calmest robot at the expo. For about 4 seconds. Made with Unlimited Seedance on @makeugc Prompt👇 Create a native 15-second, vertical 9:16 handheld iPhone video filmed by a person standing in a crowd at a tech expo booth. One continuous shot, no cuts. The uploaded image is the exact first frame of the video. REFERENCE IMAGE LOCK The android girl in the center of the image is NOVA. Keep her 100 percent identical to the image in every frame: the same face, facial features and proportions, the same light hazel eyes, brows, lips and skin tone, the same jet black hair with center part, the same teal crop T-shirt, the same high-waisted black bike shorts with silver buttons, the same body shape, and the same exposed mechanical waist band with silver pistons, springs and servos. Do not redesign, beautify, age or slim her. Keep the same booth, crowd, ceiling, light, colors and camera angle as in the image. The spectator hand holding sunglasses on the LEFT edge lowers out of frame within 0.5 seconds and never returns. Nova wears no sunglasses in the entire video. CORE RULES One continuous handheld shot. One main character: NOVA. Nova stays on the same spot for the whole video: she never walks, never turns around, never spins. From 00:04.0 there is an empty circle of at least 3 meters around her; nobody is within 3 meters of her while she moves. She never touches anyone. Exactly two people fall, and they fall from fright at the loud spark crack, while Nova is still standing frozen and not moving. Nobody falls while Nova is striking. Everyone else stays standing for the whole video. Nobody is injured. No text, captions or overlays on screen. All people are adults aged 18 to 30. CHARACTER NOVA looks exactly like the image: a female android who looks like a real young woman, apparently 23 years old, slim, very narrow waist, full, large, natural-looking bust, long athletic legs, realistic body proportions. Straight glossy jet black hair, center part. Fitted teal short-sleeve crop T-shirt, high-waisted black bike shorts with a row of small silver buttons, black sneakers. THE ROBOT WAIST: exactly as in the image, a fully exposed band between top and shorts with brushed silver steel actuators, vertical pistons with coil springs, small servo motors, black cables and aluminium plates. Always visible, never changes shape. In fight mode tiny blue status lights blink inside it. FACE Identical to the image in every frame. Normal mode: sly closed-lip half smile, eyes open and on the camera; she never looks down. Fight mode: blank, emotionless machine face, eyes locked on the camera, lips closed. Only upper teeth if teeth show. Her face is always sharp and never motion blurred. Her hair never covers her face. VOICE Soft, calm, slightly synthetic female voice with a small digital edge. One line only, at the end. CAMERA Held by a spectator about 2 meters in front of Nova at chest height, pointing slightly down, as in the image. At 00:04.0 the camera person steps back about 1.5 meters once, so Nova is visible from head to feet inside the empty circle with the crowd around, and stays there to the end. A young woman in a denim jacket holding a black tablet is on the RIGHT edge at the start. CAMERA HAND The phone holder is never visible. HANDHELD Natural small shake in the calm part, a strong jolt at the spark crack, then a slightly nervous shake that keeps Nova centered. No zoom. LOOK Plain iPhone video at 60 fps, default phone processing, light sharpening, natural noise, no filters, no color grading. Real documentary feel. LIGHTING Even overhead light from rows of round LED ceiling lamps in a large exhibition hall. Neutral cool white, soft shadows, her face always well lit. VISUAL MATCH The image must look exactly like the uploaded image: a phone video from inside a dense crowd at a tech expo, neutral grey and white hall, open steel truss ceiling with many round lamps, the teal top as the only strong color accent, black T-shirts with blue lanyards on the crowd, blue panels behind, everyday iPhone sharpness, no overlays. SETTING The same robotics booth inside a huge modern exhibition hall during the day. BACKGROUND As in the image: about 20 young adults with blue lanyards around Nova, several filming with phones, a metal cart with robot parts behind her, white booth walls, a dark blue backlit poster on the LEFT, a blue flag, steel truss ceiling. T-shirts are plain black with no logos or text. One distant movement: a person walking far behind the booth. MOTION Normal mode: human-like but slightly too precise. Fight mode is a malfunctioning robot running a martial arts program: every move is a sharp mechanical jerk that snaps into a pose in 0.15 seconds and then stops dead and holds completely still for 0.4 seconds before the next move, like a robot hitting fixed positions. No flowing dance moves, no swaying, no circling arms. Each snap has a servo click and a whoosh. Hair swings on each snap and settles during each hold. DEFECT PREVENTION Hands: Nova's hands are either tight fists with the thumb outside or flat open palms with fingers together, five fingers each, never merging. Every strike goes into empty air in front of her or to her side, never toward a person and never toward the lens. The woman on the RIGHT holds the tablet with both hands until she steps out of frame at 00:03.8. The camera hand is never visible. Face: identical and sharp in every frame. Her head never jerks or snaps; she always faces the camera, head turns under 20 degrees. Hair never covers her face. Body and legs: exactly two arms and two legs. Her feet stay on the same spot all video. Every kick uses one leg while the other foot stays flat on the floor carrying her weight; knee up first, then a straight extension forward no higher than waist height, then the foot back down to the same place. No jumps, no spins, no turning her back, no walking. Knees bend only forward over the toes. People: from 00:04.0 nobody stands within 3 meters of Nova. Exactly two young men end up sitting on the floor, both at the far edge of the circle, at least 3 meters away from her. All other people stay standing for the whole video. Nobody appears from behind Nova. Objects: one tablet, one metal cart (always behind Nova at 3 meters, untouched). All phones stay in their owners' hands. Objects never vanish, duplicate or pass through bodies. No readable text anywhere. Continuity: Nova's face, outfit, hair, mechanical waist, booth, LEFT/RIGHT positions and light stay identical through the whole video. Her final pose matches the first frame. Physics: one spark moment only, a burst of small blue sparks from her waist at 00:03.5. No smoke, no fire. The background never warps. STORYBOARD 00:00.0-00:02.0 HOOK, FIRST FRAME: exactly the image. Nova faces the camera, sly closed-lip half smile, eyes on the lens, arms along her thighs, robot waist fully visible, crowd filming, chatter. 00:00.0-00:00.5: the hand with sunglasses on the LEFT lowers out of frame. 00:00.5-00:01.3: her smile widens slightly, one slow blink. 00:01.3-00:02.0 STRANGE DETAIL: head and face stay completely still and sharp, smile unchanged. Only her RIGHT shoulder twitches up twice, fast and mechanical, with two sharp electric clicks, and a piston in her waist jerks. 00:02.0-00:03.5 FREEZE: she is too still, smile frozen, eyes not blinking. 00:02.3: her RIGHT arm rises stiffly straight forward to shoulder height, palm flat down, and freezes, rising servo whine. 00:02.9: her LEFT arm rises the same way. Her smile switches off; face blank. The operator on the RIGHT taps the tablet fast. Chatter drops. 00:03.5-00:04.5 SPARK AND PANIC: a burst of small blue sparks pops from her waist with a loud electric crack, blue lights blink inside the machinery. Nova does not move at all, arms still frozen forward. The crowd panics and pushes back hard, opening a wide empty circle around her. The operator ducks out of frame. The camera person jumps back 1.5 meters with a strong jolt. In the push, two young men at the far edge of the circle, one on the LEFT and one on the RIGHT, both at least 3 meters from Nova, lose their balance and drop down sitting on the floor on their backside, hands behind them. They stay sitting on the floor until the end, staring at her. Nova is still frozen and far from them. 00:04.5-00:06.5 SNAP 1: Nova snaps both fists to her hips and drops into a wide horse stance in 0.15 seconds, then holds still. Snap: RIGHT straight punch forward into empty air, stop dead, hold. Snap: LEFT straight punch forward, stop dead, hold. Each with a servo click and a whoosh. 00:06.5-00:08.5 SNAP 2: snap: RIGHT open-palm chop out to her RIGHT side at shoulder height, hold. Snap: LEFT open-palm chop out to her LEFT side, hold, both arms now out to the sides like a T. Snap: both fists back to her hips, hold. 00:08.5-00:10.5 SNAP 3, KICK: weight onto her LEFT leg, RIGHT knee snaps up to waist height, hold 0.3 seconds, the leg snaps straight forward into a front kick into empty air at waist height, stops dead, hold 0.4 seconds, the foot returns to the floor in the same place. Back in the stance. The crowd gasps from a safe distance; the two men on the floor scoot back a little. 00:10.5-00:12.0 FINAL POSE: snap: RIGHT straight punch forward, LEFT fist at hip, stop dead and hold completely still. A fading servo whine. The blue lights in her waist go off. Silence. Everyone frozen with phones up. 00:12.0-00:15.0 PUNCHLINE: she lowers her fist, straightens up out of the stance, feet together, arms along her thighs, exactly like the first frame. Her face switches back to the sly closed-lip half smile, eyes on the camera. 00:12.5-00:14.0 she says calmly: "Sorry. Self defense mode was ON." Slow and playful, stress on ON; not monotone, not shouting. 00:14.0-00:15.0: one slow blink, the crowd bursts out laughing, one man on the floor raises a thumb up. STAYS STILL: Nova's feet position, the booth walls, poster, cart, ceiling and lights. SOUND Busy expo hall ambience and chatter. Two sharp electric clicks at 00:01.3. Rising servo whine at 00:02.3. Loud electric crack and gasps at 00:03.5, then shouting. A servo click and a short whoosh on every snap. Silence at 00:11.0. Her line, then a burst of laughter. No music. HANDS AND FEET Fists tight with the thumb outside, open palms flat with fingers together, five fingers each. Supporting foot always flat on the floor. Sneakers stay on. No close-up of feet. CONTINUITY AND REALISM Same Nova as the image in every frame, same outfit, same visible mechanical waist, same booth, same light. One continuous take. The crowd behaves like real expo visitors: scared, keeping their distance, then laughing. FINAL FEEL Real phone footage from a robotics expo where a lifelike android girl short-circuits into a rigid martial arts program, the crowd panics, two guys end up on the floor, and she calmly apologizes. Not polished influencer content.

Mavern

@Mavern_0x

about 13 hours ago

@YourAlphaMom @makeugc ahahaha🤣

Mavern

@Mavern_0x

about 14 hours ago

@guylookaround @makeugc thank you

Mavern

@Mavern_0x

about 14 hours ago

@devgetsit @makeugc That’s for sure. And I’ll have at least one valerian drink as well.

Mavern

@Mavern_0x

about 17 hours ago

The bear came for the candy. Nobody told him the doll wanted a hug Made with Unlimited Seedance on @makeugc Prompt👇 SEEDANCE MASTER PROMPT: "THE DOLL THAT SCARED THE BEAR" Photorealistic Halloween doorbell-camera incident | Target duration: 23 seconds | One continuous security-camera viewpoint CORE OBJECTIVE Generate a highly believable, unexpectedly funny-but-creepy Halloween incident that looks like genuine consumer doorbell security footage accidentally capturing something impossible. The clip must feel observed rather than directed: a real suburban porch at night, a real-looking black bear behaving like a curious wild animal, an ordinary creepy Halloween doll, a bowl of candy, a glass front door, and a homeowner visible behind the glass. The doll's sudden movement is the single main shock. The bear's startled escape is the physical payoff. The final image of the doll holding the homeowner's phone is the quiet, uncanny twist. Keep the action clear enough to understand instantly, with no explanatory dialogue, no cinematic coverage, no dramatic music, and no obvious AI visual artifacts. The clip should resemble authentic doorbell-camera footage viewed after a motion alert. It must not resemble a polished horror-movie trailer, a music video, a game cutscene, or a sequence of unrelated generated shots. Use one fixed camera, one spatially consistent porch, continuous real-time action, practical night lighting, natural animal movement, and restrained visual storytelling. The camera never becomes a character and never moves to help the audience. The viewer is simply watching a security recording. FORMAT AND VISUAL LANGUAGE - Duration: approximately 22-25 seconds. - Aspect ratio: vertical 9:16 composition, as if exported from a vertical smart doorbell camera. Preserve the full porch action inside this frame. - Camera: a single fixed, wide-angle doorbell security camera mounted beside the front door, about 1.6-1.8 metres above the porch floor, angled slightly downward. - Lens: realistic consumer security-camera wide angle, approximately 150-160-degree field of view. Mild edge distortion is acceptable, but do not bend bodies, railings, or door frames unnaturally. - Recording character: compressed low-light digital footage, subtle sensor noise, slight sharpening, modest compression artifacts, realistic shadow noise, and believable automatic exposure. The image should still be clear enough to read the doll's eyes and the bear's reaction. - Lighting: a warm porch bulb above the door, a weak spill of indoor light through the glass, and cool ambient darkness beyond the steps. The porch bulb is the main light source. Do not add theatrical spotlights, coloured horror lighting, artificial fog, or glowing supernatural effects. - Colour: natural night-time colours, muted wood and siding, warm amber near the door, cooler shadows in the yard. Avoid extreme teal-orange grading, crushed blacks, oversaturated orange, or a glossy commercial finish. - Audio: raw security-camera microphone sound. Quiet night ambience, faint leaves moving, subtle bear snuffling, candy-wrapper rustle, small plastic-bucket sounds, claws or paws contacting the porch, one abrupt startled animal vocalization if physically plausible, quick scrambling footsteps, and the faint sound of the homeowner reacting behind the glass. No soundtrack, no narrator, no captions, no voice-over, no added cinematic bass hit, and no artificial sting. - The timestamp or security-camera interface may be minimally visible, but it must not distract. Do not generate legible brand logos, fake app notifications, random text, watermarks, or prominent UI overlays. LOCATION AND BLOCKING The location is an ordinary American suburban front porch decorated for Halloween. The door and its frame occupy the right side of the vertical image. The left and centre contain the porch floor, a small candy bucket, a seated life-size Halloween doll, and the top of two or three steps leading down into a dark front yard. The house siding and porch railing should remain fixed and geometrically consistent throughout the clip. Through the glass panel or glass in the front door, the homeowner can be seen inside the house, partially obscured by reflections and indoor darkness. The porch should look lived-in and ordinary, not like a haunted attraction. Include a few restrained Halloween details: a small orange candy bucket with a simple pumpkin face, one or two small pumpkins, a short string of dim warm lights if naturally placed, and a life-size doll in a pale vintage dress. Do not clutter the scene. The candy bucket is placed on the porch floor near the doll, close enough for the bear to investigate without crossing the whole porch. A smartphone belonging to the homeowner rests near the threshold, on a narrow ledge or on the floor just inside the door's exterior edge, visible enough that the doll can plausibly reach it after the bear leaves. Keep the phone's position fixed until the final beat. The doll is unsettling but physically plausible as a Halloween prop: a life-size child-sized figure with a worn pale face, old-fashioned light dress, dark hair, glassy eyes, and a slightly open neutral mouth. It should look like a real animatronic or antique-style Halloween decoration, not a supernatural creature. The hands are articulated prop hands, capable of a quick mechanical movement. The doll sits on a low porch chair or sturdy stool beside the candy bucket. Its feet, skirt, chair and hands must stay spatially consistent. At first, the doll is completely still. No blinking, no head turns, no torso motion, no moving hair, and no hint of movement before the eyes begin tracking the bear. The bear is a realistic adult black bear of believable size and anatomy. Its fur is dark and textured, with natural highlights from the porch bulb. It moves cautiously, sniffing and investigating food, with appropriate weight transfer and four-legged gait. Its paws must contact the porch surface naturally. The bear must not behave like a human, grin, stand theatrically, or perform exaggerated cartoon movements. The startled response should be abrupt but physically credible: it jerks back, loses its balance for a fraction of a second, knocks the lightweight bucket over, then scrambles down the steps and disappears into the dark yard. Do not show injury, blood, or prolonged aggression. The doll's grab is a brief surprise action, not a sustained attack. The homeowner is an adult visible behind the glass front door. They wear ordinary casual indoor clothing and remain inside. Their face should be only partly visible through reflections, but their reaction is readable: they witness the sudden grab, recoil, and instinctively cover their mouth. Do not make them open the door, step outside, speak directly to camera, or block the central action. Their movement should be small and believable, not a staged theatrical scream. CONTINUITY RULES The entire clip is one uninterrupted recording from the same fixed camera. No cuts, no angle changes, no zooms, no slow motion, no handheld movement, no re-framing, no time jumps, no transitions, and no flash frames. All characters and props occupy the same positions from start to finish unless moved by a visible physical action. The porch architecture, door frame, chair, steps, bucket, pumpkins, phone, and lighting must not change between frames. The bear's size and coat must remain consistent. The doll's face, dress, hair, hands, and body proportions must remain identical throughout. The homeowner remains behind the same glass door. The smartphone cannot teleport, duplicate, vanish, or change colour. The tipped candy bucket remains tipped after it is knocked over. Any spilled candy stays where it lands. The camera must not pan toward the bear, follow it down the steps, or automatically zoom. The bear can leave the frame naturally through the lower-left or lower-centre steps. The final beat must still be readable in the same fixed composition: the bear has gone, the doll remains in its chair, and the doll is now holding the phone. Avoid any shot where the phone appears in the doll's hands before the bear has left. The phone must be physically reachable from the doll's seated position. If needed, place it on the low outer threshold or a narrow ledge beside the chair, within arm's reach, rather than several metres away. The doll should not cross the porch or move its chair to get it. TIMED ACTION: FOLLOW THIS ORDER PRECISELY 0.0-2.5 SECONDS: ORDINARY, QUIET SETUP Begin already recording, as if the motion alert has just started. The porch is quiet. The bear enters from the dark lower-left edge of the frame or is already just stepping onto the porch at the left edge. It approaches the candy bucket with a natural cautious gait, head lowered and nose working. The doll sits completely motionless beside the bucket. The homeowner is faintly visible behind the glass, standing inside and looking toward the porch. Nothing supernatural happens yet. The first seconds should be mundane and credible, so the later event feels surprising. Do not begin with a jump scare, a sudden close-up, a dramatic growl, or an obvious sign that the doll is alive. 2.5-6.5 SECONDS: THE BEAR INVESTIGATES THE CANDY The bear reaches the bucket, sniffs it, nudges it gently with its nose, and picks up or mouths one piece of wrapped candy. It may use a paw to steady the bucket, but keep the movement animal-like and simple. The bucket gives a small plastic rattle. The bear's shoulders and back move with natural breathing. The doll remains perfectly still, facing forward. Its eyes do not yet move. The homeowner watches from inside but is not yet alarmed. Maintain the same camera exposure and composition; the warm porch light falls naturally across the bear's muzzle and the doll's pale face. 6.5-8.5 SECONDS: THE EYES TRACK While the bear's nose is down near the candy bucket, the doll's pupils slowly shift sideways toward the bear. Only the eyes move. The head remains fixed, the chin remains at the same angle, the shoulders and dress remain still, and the hands remain resting in the same position. The eye movement should be subtle but unmistakable when noticed. It should look like a small concealed animatronic mechanism, not glowing supernatural eyes. No glowing pupils, no head rotation, no twitching limbs, no floating, and no exaggerated facial morphing. The movement lasts about one second, then the eyes hold their new direction. The bear does not instantly react; it continues sniffing for a brief moment, which makes the eye movement more unnerving. 8.5-10.5 SECONDS: THE BEAR NOTICES The bear pauses mid-sniff. Its ears lift slightly, its head rises a little, and it looks toward the doll's face. It shifts its weight back by a small amount, then cautiously leans its muzzle closer as if trying to identify the object. The movement should be slow and curious, not aggressive. The doll's head and body remain absolutely fixed. Only its eyes continue to watch the bear. The room behind the glass stays quiet; the homeowner begins to lean forward slightly, trying to see what the bear is doing. The tension comes from the distance closing between a large real animal and a completely still prop. 10.5-12.0 SECONDS: A SHORT, TENSE PAUSE The bear brings its muzzle close to the doll's face, stopping just short of touching it. Hold the stillness for a fraction of a second. The bear's nose twitches; its breath and soft snuffling are audible. The doll's eyes remain locked on the bear. The audience should have time to expect nothing more than a strange animatronic trick. Do not prolong the pause beyond what feels natural. The sudden movement must arrive before the tension becomes slow or repetitive. The bear's face, the doll's hands, and the bucket should all remain visible in the wide frame. 12.0-13.0 SECONDS: THE GRAB In one fast, mechanically sharp action, the doll suddenly lifts both articulated hands and briefly grabs the bear's muzzle from the sides. The movement is startling and quick, like a concealed animatronic trigger firing. Both hands make visible contact with the fur around the muzzle, but do not cover the bear's eyes completely and do not deform the bear's skull. The doll's torso stays seated and anchored to the chair; its hips and legs do not slide, and the chair does not travel across the porch. The hands move from their resting position to the bear's muzzle in a single clear action. Do not create extra arms, elongated fingers, rubbery limbs, or impossible joint angles. The doll does not bite, growl, stretch its mouth unnaturally, or transform into a monster. The shock comes from a recognisable doll suddenly moving and grabbing the animal. 13.0-15.0 SECONDS: THE BEAR'S STARTLED ESCAPE The bear reacts instantly and believably: a sharp backward jerk, a startled huff or yelp, a rapid pivot, and a scramble away from the doll. It bumps the candy bucket, which tips onto its side and spills several wrapped sweets across the porch floor. The bear's paws skid slightly but retain contact with the ground; its body mass and momentum feel real. It hurries down the steps and exits into the dark yard. The action is chaotic for a moment but never becomes an unreadable blur. The doll releases the bear as it pulls away and returns its hands toward its lap. The doll must not cling to the bear, fly off the chair, or pursue it. Do not show the bear attacking the doll or the homeowner. The escape should feel like a startled wild animal fleeing an unexpected mechanical movement. 15.0-17.5 SECONDS: THE HOMEOWNER REACTS As the bear disappears down the steps, the homeowner behind the glass recoils from the door. They lift one hand to cover their mouth and take one or two involuntary steps backward. Their expression is startled disbelief, not a theatrical horror scream. Their reflection and the porch light may overlap naturally on the glass. They do not open the door or come outside. The audio captures a small muffled gasp or sharp intake of breath from inside, barely audible through the glass. The porch is now still except for a few sweets settling on the floor and the faint night ambience. The doll sits in its original position, once again completely motionless.