STARPAR® @_STARPAR

Ultra-realistic spontaneous vertical handheld footage recorded during fighting in the Warsaw Uprising, Warsaw, Poland, August 1944. FORMAT: Native vertical recording, 3:4 aspect ratio, entire clip in portrait orientation. Never switch to landscape. The person filming is one of the group, moving with them on foot, filming with one hand while trying to keep up. His own arm and shoulder occasionally enter the frame. MAIN SUBJECT A young Polish insurgent in his early twenties, filmed from a few steps away. White-and-red armband on his sleeve, a captured field jacket over a civilian shirt, canvas bag on a strap, filthy face streaked with brick dust, hair matted with sweat. His face, build and clothing stay exactly consistent from first frame to last. No identity drift, no costume changes. 0–3 seconds The camera is already rolling, low behind a barricade of paving stones, sandbags and a tram rail. The main insurgent is crouched a few steps away, shouting something back down the line. He rises, fires a short burst over the barricade, drops again immediately. The camera flinches down with him as return fire cracks overhead and brick chips spray off the top of the barricade. Framing is bad, half his body out of frame. 3–6 seconds Someone shouts. The group breaks from cover and runs bent double across the rubble-choked street. The camera runs after them, violently unstable, horizon tilting, subject repeatedly leaving frame. Dust and smoke drift across the lens. Impacts kick up dirt near their boots. The main insurgent slams into the wall of a gutted tenement and the camera arrives a second later, jolting hard. 6–9 seconds Pressed against the wall beside a blown-out doorway. The camera is too close for a moment, then pulls back. The insurgent pulls a grenade from his belt, works the fuse and throws it through the window above. Everyone drops. The camera points at the ground — boots, broken glass, scattered paper. A dull blast, the frame shudders, dust rains down across the lens. 9–12 seconds They go in through the doorway. The camera follows into near-total darkness and the exposure hunts wildly for a second before recovering. Muzzle flash lights torn wallpaper and a collapsed staircase in stutters. The main insurgent moves ahead down the corridor, briefly lost in the dark, then found again. Another fighter shoves past the lens. Shouting, overlapping and indistinct. 12–15 seconds Up broken stairs. A window blows daylight into the frame and everything blooms white before settling. The insurgent crouches at the opening and fires out toward the smoke-filled street. Someone grabs his sleeve and drags him back from the window. The camera swings wildly, catching the burning skyline and black smoke over the rooftops, before the recording cuts out mid-motion. CAMERA REALISM Real recorded video from a small handheld camera carried by someone running for his life. Not rendered, not a game engine, not gameplay, not CGI. Physical camera, real optics, dust and fingerprints smeared on the lens. Extreme instability tied to running and breathing. Imperfect framing, subject constantly half out of frame or briefly lost. Sudden whip pans. Horizon rarely level. Aggressive automatic exposure hunting between bright smoky sky, dark interiors and muzzle flash. Heavy motion blur. Rolling shutter skew on fast pans. Compressed consumer codec with visible blocking in smoke and shadow, sensor noise in dark interiors, chromatic aberration at frame edges, smeared highlights. Autofocus visibly hunting and failing. Frame judder on every nearby impact. The camera never moves deliberately or cinematically. VISUAL STYLE Desaturated, dusty, high-contrast summer daylight filtered through smoke. Grey brick dust over everything. Not graded, not stylized, not heroic. Documentary rawness. ENVIRONMENT Central Warsaw, August 1944. Bombed-out tenements with exposed rooms and hanging floors, facades pocked with impact scars, courtyards buried in rubble, barricades of paving stones, sandbags, tram rails and overturned furniture, the anchor symbol of Polska Walcząca painted on a wall, torn tram wires, scattered paper and broken glass, smoke columns over the rooftops, summer weeds pushing through rubble. People: young insurgents in mismatched uniforms and civilian clothes, white-and-red armbands, a courier girl running low along a wall, a nurse with a Red Cross armband in a doorway. Everyone exhausted, filthy, ordinary. Nobody heroic-looking, nobody posed. HUMAN REALISM Every person has a unique face, hairstyle, clothing and movement. Natural exhausted expressions, natural flinching, natural clumsy movement under stress. No dramatic acting, no heroic posture, no clean faces or uniforms. Nobody looks into the lens except by accident. AUDIO Poor built-in microphone: overloaded, clipping on every gunshot, muffled, uneven. The operator's own heavy breathing close to the mic throughout. Footsteps on rubble and glass, gear rattling. Spoken Polish, short and simple only: "Kryj się!" as fire comes in; "Naprzód!" before the run; "Granat!" before the throw; "Tędy!" inside the building; "Wracaj!" as he is dragged from the window. All single words, shouted, half-swallowed by gunfire. No sentences, no conversation. Speakers are mostly off-frame, turned away or at distance, so no clear lip-sync is required. Ambience: rifle and submachine gun fire near and far, ricochets, grenade blast and pressure thump, falling masonry, crackling fire, distant explosions, aircraft high above, shouting, wind through empty buildings. No music, no soundtrack, no cinematic sound design. STRICT RESTRICTIONS No video game, no gameplay footage, no first-person shooter, no game engine render, no CGI, no 3D render, no HUD, no crosshair, no weapon held in the lower frame, no clean rendered surfaces, no film set look, no reenactment. No visible blood, wounds, bodies or graphic injury. No close-up violence. No enemy faces in frame — opposing fire comes from unseen positions in the smoke. No modern weapons, clothing, vehicles, signage, wires, plastic or modern architecture. No text, subtitles, logos or watermarks. No landscape orientation. No color grading, no beauty filter, no slow motion, no stabilization, no drone shots, no heroic framing. No duplicated people, cloned faces, plastic skin or AI-looking crowd behavior. No music. FINAL FEEL Fifteen seconds of raw, badly-framed video that should not exist — someone running with a camera through a city being destroyed, filming his friends because he cannot do anything else. Not a war film, not a game, not a reenactment.

Poprosiłem Seedance 2.5 o kilka ujęć z Powstania Warszawskiego. Model nadal kiepsko radzi sobie z polskim... Prompt 👇

Ultra-realistic spontaneous vertical handheld vlog during a warm evening at a small local amusement fairground in Poland, early 15th century, around 1410. FORMAT: Native vertical recording, 3:4 aspect ratio. The entire video is filmed vertically in portrait orientation. Never switch to landscape. The footage should look like real footage casually recorded by a friend during a fun summer evening. Warm natural evening light, firelight and low sun. Slightly imperfect exposure. Real people, real reactions, real movement. No cinematic filmmaking. No staged acting. No influencer-style posing. MAIN WOMAN A young Polish woman in her twenties, plain and ordinary looking, no makeup, sun-touched skin, loosely braided brown hair with strands falling loose. She wears a plain belted linen dress in an undyed muted color, a simple woolen overdress, leather shoes, no jewelry. Her face, hair, build and clothing must stay exactly consistent from the first frame to the last. No identity drift, no facial morphing, no costume changes. 0–3 seconds The camera is already recording vertically while the group walks through the fairground between wooden stalls and towering timber ride frames. The main woman walks with two friends, talking casually, holding a small baked snack. She suddenly notices the wooden rollercoaster and gets excited. She hurries toward it while looking back at her friends. The person filming follows naturally, causing handheld shake. A stranger briefly walks between the camera and the group. The framing is imperfect and spontaneous. Ends with her at the base of the ride, craning to look up, friends catching up. 3–6 seconds She climbs into a small open wooden cart at the top of a launch ramp while a stallholder holds a rope brake. She grips the sides and concentrates seriously for a moment. The cart drops and she shrieks and laughs. Her friends laugh behind the camera. The camera whips to follow the cart down the timber track and briefly loses it. Ends with the cart slowing on the run-out, her hair wrecked, still laughing. Nobody looks prepared or posed. 6–9 seconds The group continues walking past food stalls and a hand-cranked carousel where two men push a capstan to turn carved wooden horses. The camera casually follows from the side. The main woman suddenly stops because something catches her eye. One friend jokingly walks past holding a wooden bowl of food and refuses to share it. She laughs and follows him for a few steps. Another friend says something funny from behind the camera. Everyone laughs naturally. People casually pass through the frame, briefly blocking parts of the scene. 9–12 seconds The group moves away from the crowd into a quieter muddy lane behind the rides, past a huge timber ferris wheel turning slowly, powered by people walking inside a wooden treadwheel drum. The main woman and her friend compare the food they bought. She casually takes a bite from her friend's without asking. He reacts with playful annoyance. She laughs and quickly walks away. The camera operator laughs and follows her, stumbling slightly on the rutted ground. She turns back toward the camera while walking and makes a playful expression before turning forward again. 12–15 seconds The group walks back toward the warm torchlight of the fairground. The main woman notices that the camera is still recording and naturally smiles toward it. She starts to wave, but one of her friends accidentally walks between her and the camera. Everyone laughs. The camera tilts slightly as the person filming adjusts their grip. The final frame naturally catches the glowing torches, the turning wheel, people walking around, and the group moving forward before the recording casually cuts off. CAMERA REALISM Authentic vertical handheld home-video footage. Natural handheld movement with imperfect framing, realistic walking and movement shake, occasional autofocus breathing, automatic exposure changes, realistic evening highlights and shadows, realistic motion blur, slight rolling-shutter movement, occasional accidental cropping of people, natural lens flare from torches, minor exposure fluctuations, realistic distance and perspective. The camera operator should behave like a real friend, not a professional videographer. Sometimes the camera should point slightly too low, too high, too close, or briefly lose the main woman. The camera should react naturally to the people and action instead of moving perfectly. ENVIRONMENT A small local amusement fairground in early 15th century Poland, warm evening. Every ride built entirely from timber, rope, leather straps, iron pins and counterweights, powered by hand cranks, capstans, treadwheels, animals or gravity. No metal frames, no paint, no machinery beyond rope and gear. Rides and structures: a tall wooden rollercoaster of pegged beams and scaffolding with small open carts running in a hollowed timber track, a carousel of carved wooden horses turned by men pushing a capstan, a large ferris wheel of timber spokes with hanging plank benches turned by a walking treadwheel, a rope-and-plank swing on a timber A-frame, a strength-test post with a mallet and sliding wooden block, an archery stall with straw targets, a juggler and a fire-eater working a small crowd. Around them: wooden trestle stalls with linen awnings, barrels and wicker baskets, clay cups and wooden bowls, hanging bread and cured meat, pitch torches and horn lanterns, muddy rutted ground churned by feet, timber-framed and thatched houses at the edges, a church tower in the distance, carts and tethered horses, chickens, summer vegetation, a light evening breeze. Local people in period dress: linen tunics, woolen hose, hooded cloaks, simple belted dresses, married women in linen head coverings, leather shoes, a few merchants in dyed wool. Families, children running, teenagers, older townsfolk. Everything should feel lived-in and ordinary rather than a tourism commercial or a historical reenactment. It should feel like a real local event that people attend every year. HUMAN REALISM Natural facial expressions, natural blinking, natural eye movement, natural laughter, natural body movement, natural walking and gestures. No perfect poses. No exaggerated reactions. Background people should behave independently and naturally. Every person should have a unique face, hairstyle, outfit and movement. People should not look at the camera unless naturally prompted by the situation. AUDIO Recorded on a poor built-in microphone: muffled, unedited, uneven levels. Spoken Polish, short and simple only: a friend calling "Hej!" early on; the main woman shrieking and then laughing on the ride; a friend saying "Dawaj!" near the food stalls; a friend protesting "Ej! Nie!" when she takes his food; the main woman answering "No co?" through laughter at the end. All dialogue is one to three syllables, casual, partly buried under crowd noise. No long sentences. Speakers are mostly off-camera, turned away, or at distance, so no clear lip-sync is required. Ambience: fairground crowd murmur, footsteps in mud, creaking timber and rope, the rumble of wooden cart wheels on the track, a hand drum and pipe playing off to the side, horses, chickens, children shouting, crackling torches, light evening wind, indistinct background chatter. No dramatic soundtrack. No artificial sound effects. STRICT RESTRICTIONS No modern amusement park elements: no steel frames, no painted signage, no electric lights, no neon, no ticket booths, no safety bars, no plastic. No modern clothing, hairstyles, glasses, watches, zippers, buttons, printed fabric, glass windows, metal poles, wires or modern architecture. No phones or cameras visible in frame. No armor, knights, banners or battle imagery. No cinematic color grading. No beauty filter. No slow motion. No professional camera movement. No artificial stabilization. No staged influencer behavior. No duplicated people. No cloned faces. No identity drift. No facial morphing. No plastic skin. No perfect symmetry. No exaggerated expressions. No AI-looking crowd behavior. No text. No subtitles. No logos. No watermark. No landscape shots. FINAL FEEL It should look like a completely impossible piece of found footage — an ordinary summer evening at a village funfair six hundred years ago, captured spontaneously by a friend. It must feel like a real video from someone's camera roll, not an AI-generated historical film.

Kolejny test seedance 2.5 , wesołe miasteczko rok 1410 Polska. Prompt 👇

@omen447 2/10 zawsze lepsze niz 1/10 😏

Poprosiłem Seedance 2.5 o urywki vloga wakacji nad Bałtykiem, 1980. Z polskim nadal radzi sobie kiepsko, więc zostawiłem tylko pojedyncze proste słowa.

@higgsfield 720p?

@Szk0da_gadac Piękna produkcja

@Vyrewolwerowany Przez takiego @_STARPAR RAM drożeje...

@MateuszStys1 @TotalnyChampion Dobre

@DudekPL4 Coraz dziwniejsze te reklamy żubra

@MateuszStys1 Co ciekawe google omni sobie najlepiej poradził z tym przejsciem.

Jak mógłby wyglądać film o Dzordzo? Walka z kukiriniarzami i tajniakami na pełnej 🔥🤯 (Film Ai) #memypl #dzordzo #starpar #parodia

@aisearchio Flux 3 > Seedance 2.5 when it comes to multilingual and natural-sounding voice

@aisearchio Christmas comes early this year

In addition to Minimax H3, Seedance 2.5, Flux 3, there are at least 2 more video models coming

⚡AI Search⚡ @aisearchio

3 weeks ago

The coming weeks will be huge for AI video. Multiple frontier models expected.

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Wysoka precyzja czasem jest wadą ;-)

Amerykanie z Satyress robią takiego dziwnego robota-centaura o nazwie Threehalves. Ma 2 metry, ludzką górę i 4 nogi jak koń. Ma wchodzić w pożary, gruzowiska, toksyczne strefy i inne miejsca, gdzie człowiekowi lepiej nie iść. Kończyny da się szybko wymieniać, narzędzia też (piła, wiertarka i co tam jeszcze), a steruje się nim zdalnie. Wygląda trochę jak z horrorów, co myślicie? #Robotyka #USA #AI

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@elonmusk The sound needs to be fixed. Every model has the same AI sound.

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