UMER AI @umer_ai_

Today we’re launching OpenArt Arena, the global leaderboard for creative intelligence. Every AI model claims to be the best. But best at what? We brought together creative professionals to evaluate the world’s leading AI models blindly, across the work creators actually care about: Film. Ads. Animation. Motion design. Video editing. And more. Because the real question isn’t “Which model is best?” It’s “Which model is best for what I want to create?”

We really like this approach. Saying that a model is "the best" doesn't mean much if we don't know for what task. Comparing them with real creative works and evaluating them blindly makes the result much more interesting.

OpenArt @openart_ai

a day ago

Today we’re launching OpenArt Arena, the global leaderboard for creative intelligence. Every AI model claims to be the best. But best at what? We brought together creative professionals to evaluate the world’s leading AI models blindly, across the work creators actually care

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📌I generated $43,800 overnight using an automated OpenClaw setup. At 3:47 AM, my system triggered a confirmation alert. I approved it half-asleep—by morning, the position had closed with a +$43,800 gain. I’ve documented the exact, step-by-step process behind this timezone arbitrage strategy. [ 𝐍𝐨𝐭𝐞: 𝐅𝐨𝐥𝐥𝐨𝐰 𝐌𝐞: @mostofakamal00 (𝐅𝐨𝐫 𝐢𝐧𝐬𝐭𝐚𝐧𝐭𝐥𝐲 𝐚𝐮𝐭𝐨 𝐃𝐌)] What you need: • Claude • A laptop • 24 hours to test it (no cost) The system runs continuously, scanning global news across Japanese, European, Australian, and Middle Eastern markets. It identifies pricing inefficiencies—situations where outcomes are already reflected overseas, but U.S. markets have yet to adjust. After 9 days of running this setup, the results have been consistent—and eye-opening. Most traders focus on EST. Markets don’t. While one region sleeps, another resolves events in real time. That timing gap is the opportunity. How to access the guide: 1. Comment " 𝐂𝐥𝐚𝐰 " 2. Like & repost 3. Follow @mostofakamal00 (so I can send it via DM)

Fin.com. $20M Raised. 7 M&A’s completed in 12 months. Investors include Expa, Coinbase Ventures, and Tenet Fund. 825 million users impacted. You have probably used us already. We help your favorite fintechs move money to the rest of the world.

Seedance 2.5 is making AI dance videos more consistent and cinematic. 🔥 With APOB AI, you can build an AI influencer, create a storyboard, and turn it into a 30-second K-pop dance video. This workflow is seriously impressive. ⚡

apob @apob_ai

2 days ago

x.com/i/article/2099…

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Video and images were basically the last missing piece in my Claude workflow. That gap got filled this morning. Ended up making a complete spot from start to finish. Didn’t even have to open another tool.

ElevenLabs @ElevenLabs

2 days ago

Introducing voice, music, image, and video generation in the ElevenLabs MCP. Generate speech, transcripts, dubs, music, sound effects, images, and video from the assistant you already work in.

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The first set tells you what the company is worth. The second tells you what the planet pays. And for too long, only the first had a balance sheet. Follow @dkarbon_green

dkarbon @dkarbon_green

3 days ago

Every company now keeps two sets of numbers. One in currency, one in tonnes. Only one of them has been audited for a century. #dkarbon

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Every company now keeps two sets of numbers. One in currency, one in tonnes. Only one of them has been audited for a century. #dkarbon

Had a video sitting half-finished all week because I kept putting off the voiceover. Finally did it this morning in about three minutes. Now I’m looking at everything else I’ve left sitting halfway done. Starting to wonder how much of it was just waiting on the right tool.

ElevenLabs @ElevenLabs

2 days ago

Introducing voice, music, image, and video generation in the ElevenLabs MCP. Generate speech, transcripts, dubs, music, sound effects, images, and video from the assistant you already work in.

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AI video isn't just about generating visuals anymore. It can actually start to look like a commercial production workflow. For this iPhone Duo concept, GPT-6 Astra took the footage + editing direction and controlled CapCut PC to build the ad — assembling shots, shaping the pacing, adding captions, transitions and audio. Then the project stayed editable in CapCut PC, so I could refine individual clips and captions on separate tracks. Astra handles the first cut. CapCut PC turns it into something I can actually finish as a commercial. #GPT6Astra #CapCutPC #AIVideo #Seedance25

I think AI filmmaking gets more interesting when you stop asking AI to make the whole thing in one shot. The better workflow might be: Idea → Storyboard → Video → Edit. Here’s how I’d build it 👇 #GPTImage25 #CapCutPC

Introducing voice, music, image, and video generation in the ElevenLabs MCP. Generate speech, transcripts, dubs, music, sound effects, images, and video from the assistant you already work in.

Had a video sitting half-finished all week because I kept putting off the voiceover. Finally did it this morning in about three minutes. Now I’m looking at everything else I’ve left sitting halfway done. Starting to wonder how much of it was just waiting on the right tool.

ElevenLabs @ElevenLabs

2 days ago

Introducing voice, music, image, and video generation in the ElevenLabs MCP. Generate speech, transcripts, dubs, music, sound effects, images, and video from the assistant you already work in.

139 3K 3K 4.1M 952

use ChatGPT almost every day for AI research, writing, and content creation. I recently discovered a more affordable way to access ChatGPT through @GamsGo_Global for just $5/month — around 75% less than the official price. I’m currently using it as part of my daily workflow to see how it performs in real-world use. If you’re looking for a more budget-friendly option, you can check it out below. Use code MKCNZ for 3% off.

Created this on PixVerse using a simple frame-to-frame approach, no complex prompt, just a small moment: working at a desk, a little visitor slides over a coupon, turns out to be a PixVerse code. @MossAI_Official is running a campaign right now where you can win from a 100K credits prize pool by creating something similar. Also, PixVerse is now a Redemption Agent on Moss, meaning you can mint a share once and claim usable credits whenever you're ready, no subscription, no expiry. Check it out 👉 moss.site BTW, only giving away 2 Standard Membership codes, picking winners this week. RT + comment to enter.

He built a machine to send objects sixty seconds into the future. Then he stepped inside it himself. ⏱️🔬 One experiment. One impossible reflection staring back. A reminder that some questions, once answered, can never be unasked. Made with Seedance 2.5 on @newtake_kr #newtake #nextscenechallenge

A simple day filled with little moments, friendship, and beautiful memories. From busy city streets to peaceful sunsets, every moment feels special. Created on seedance 2.0 Prompt: Create a cinematic, realistic lifestyle video following a young Korean university girl through a peaceful and productive day. Start with her commuting to campus by city bus in the morning. Then show her studying in a bright university classroom with a laptop, notebook, and books. Continue with her working on assignments in a cozy library or café while drinking coffee. Next, show her walking through campus in the rain with a transparent umbrella, smiling naturally. Then cut to her enjoying a warm bowl of Korean-style soup at a small local restaurant. At sunset, show her standing on a beautiful rooftop overlooking the city, enjoying the golden-orange sky. Then show her meeting three Korean girlfriends and taking a fun selfie together. End with the main girl riding home on a modern train at night, looking through the window at the glowing city lights, followed by a warm close-up of her smiling peacefully. Style: photorealistic Korean lifestyle, cinematic storytelling, premium commercial quality, natural expressions, realistic skin and hair, soft lighting, smooth camera movements, shallow depth of field, detailed environments, emotional and cozy atmosphere, 4K, no text, no logos, no watermark.

People say money can’t buy happiness. But when you have money, you can worry about happiness. When you don’t have money, you worry about food, bills, and your family. So tell me honestly: Which kind of struggle is harder? Created with AI. Promp! A cinematic, ultra-realistic scene showing two contrasting lives in one frame. On one side, a wealthy person sitting comfortably in a luxurious modern home, surrounded by expensive furniture, elegant clothes, and financial success, but looking emotionally empty and disconnected. On the other side, a struggling person in a simple modest home, looking worried while counting a few remaining banknotes and thinking about bills, food, and family responsibilities. Subtle contrast between comfort and financial stress, realistic human emotions, natural facial expressions, sophisticated cinematic lighting, moody atmosphere, shallow depth of field, photorealistic skin texture, highly detailed environment, emotional storytelling, premium editorial photography, realistic colors, dramatic composition, 9:16 vertical, no text, no watermark.

Leaving work at five shouldn’t require stealth mode, but her boss made it a mission. Seedance 2.5 0n @SJinn_Agent Prompt SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [@Image1] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man. LOCATION MAP One unbroken spatial route the camera travels with her: Her workstation → low desk partition → printer aisle → corridor T-junction → meeting-room alcove with mobile whiteboard → elevator lobby → elevator interior. Keep the route compact and physically traversable within the 27-second continuous section. Foreground: polished linoleum floor, office desks, steel filing cabinets, rolling chairs, and reflective glass meeting-room partitions. Background: window wall on camera-right overlooking neighboring office buildings, dust suspended in the sunbeams. Light enters from camera-right along the office route. ELEVATOR GEOMETRY The elevator entrance is at the end of the office corridor. The call button is on the wall beside the entrance. The elevator is empty when NAGI enters. Inside the elevator: brushed-metal rear wall, side handrails, softly illuminated ceiling, control panel beside the doorway. No rear exit and no mirror creating a second NAGI. NAGI enters facing the rear wall, then turns to face the open elevator doors. For the final reverse shot, the camera is positioned INSIDE the elevator, immediately beside the doorway, looking inward at NAGI. The brushed-metal rear wall is behind her. The elevator doors close behind the camera, allowing her face to remain visible throughout the final shot. FIRST FRAME / BLOCKING First frame is already in motion: NAGI darts in from lower-left toward camera-right, work tote clutched to her chest, and drops into a crouch-slide behind a low desk partition beside her workstation. Camera behind her right shoulder. Game HUD fully visible from frame one. A small desk clock reads 17:00. FORMAT MODE One continuous unbroken take from 0.0s to 27.0s with no cuts of any kind, then a single HARD CUT at 27.0s to one final locked reverse shot that runs to 30.0s. Exactly one cut exists in the whole video, at 27.0s. The camera does not cut anywhere else. OPTICS One lens for the continuous section: 47° third-person over-the-shoulder framing as the baseline, breathing in to 29° on reaction beats and out to 63° for the boss encounter and moving-whiteboard concealment. All FOV changes in that section happen as smooth continuous zoom breathing, never as a jump. The final shot after the cut is a fixed 29° frontal framing of NAGI, no drift. CAMERA For the continuous section, the camera is a physical object flying with her. Chest-height, 1.5 meters behind NAGI, slightly camera-right of her spine, swinging with a soft spring delay half a beat behind her turns like an analog-stick gameplay camera. It dips to knee height when she crouches, rises when she stands, slides sideways along the filing cabinets with her, swings wide to corridor-left to reveal the boss encounter, drifts behind her for the moving whiteboard, and follows her through the open elevator doorway. The camera travels through open space around desks and partitions. It never clips through furniture, walls, the whiteboard, or elevator doors. After the cut, the camera is repositioned inside the elevator beside the doorway, looking inward at NAGI — locked off, eye level, completely static, no movement. ACTION [Beat 1 — 0.0s to 6.0s] NAGI crouch-slides behind the low desk partition, back flat against it, chest heaving. She leans out 20 cm to peek at the TEAM LEADER checking his watch beside the adjacent desk cluster, then pulls back. She whispers in Japanese: {定時だ…捕まったら終わり。} HUD flashes 【5:00 PM — SHIFT OVER】 and the mission banner 【OBJECTIVE: REACH THE ELEVATOR UNDETECTED】. The TEAM LEADER turns toward a ringing desk phone. NAGI slips behind his back, staying below the desk-partition line, and moves into the printer aisle. The camera follows without stopping. [Beat 2 — 6.0s to 12.0s] The camera stays with her beside the steel filing cabinets. NAGI presses her spine flat against the cabinets and shuffles sideways at 2 km/h, sneakers rolling heel-to-toe in silence. The camera tracks sideways with her at the same speed. The PAPERWORK COWORKER walks past the end of the row carrying a thick stack of printouts, scanning the office for someone available to help. NAGI holds her breath, pupils tracking the coworker without moving her head, and whispers: {来ないで…こっち見ないで。} The minimap vision cone sweeps past NAGI’s marker and turns away. HUD shows 【SNEAKING MODE】. The PAPERWORK COWORKER exits frame-left. NAGI exhales, crouches beneath the edge of the last desk, and slips into the corridor with the camera still on her shoulder. [Beat 3 — 12.0s to 18.0s] The BOSS steps around the T-junction two meters in front of her, blue assignment folder in hand. He catches a brief glimpse of movement. A red exclamation marker snaps above his bald head with a sharp alert sting. The HUD edge pulses red: 【ALERT】. He starts saying in Japanese: {なぎさん、追加の仕事が…} The camera swings wide to corridor-left as NAGI reacts in one motion: hugs her tote tightly against her ribs, drops below his eye line, pivots around the corner of a tall filing cabinet, and slips into the adjacent meeting-room alcove. The cabinet fully blocks his view before he can finish approaching her. She whispers: {今だけは無理…！} HUD prints 【EVASIVE MANEUVER】 and 【BREAK LINE OF SIGHT】. The BOSS takes a step toward the place where he last saw her, looking around the cabinet. NAGI has already moved to the far side of a mobile whiteboard in the alcove. The camera falls in behind her again. [Beat 4 — 18.0s to 24.0s] The OFFICE ASSISTANT starts pushing the mobile whiteboard out of the meeting-room alcove toward the elevator lobby. The whiteboard is a tall, opaque rectangular board on a metal frame with four caster wheels. Its panel extends low enough to conceal NAGI’s crouched torso and head; only her white sneakers occasionally show below the frame. NAGI crouches on the side opposite the BOSS and shuffles with the board, matching its rolling speed exactly. She keeps her tote tucked close so it never protrudes beyond the board’s edge. The camera tracks low on her concealed side, showing her careful steps and the BOSS intermittently visible beyond the board’s far edge. The BOSS pauses, looks toward the moving whiteboard for a full beat, then turns back toward the office with his assignment folder. From behind the board, NAGI whispers: {ホワイトボード…最強。} HUD prints 【MOBILE COVER EQUIPPED】, then 【ENEMY LOST CONTACT】. The alert bar drains to green. The OFFICE ASSISTANT steers the board into a wall recess beside the elevator lobby. NAGI slips away from its concealed side as it stops. [Beat 5 — 24.0s to 27.0s] NAGI reaches the elevator call button and taps it once. A soft arrival chime sounds. The elevator is already waiting on this floor; its doors slide fully open. She slips through the clear doorway. The camera follows her inside, staying behind her shoulder. She turns to face the entrance and presses the door-close button once. Her shoulders remain tense, tote held tightly in both hands. The doors remain open until the cut. 27.0s HARD CUT [Beat 6 — 27.0s to 30.0s] Locked static reverse shot from inside the elevator beside the doorway, looking inward: NAGI stands facing camera, shoulders squared, work tote held in front of her, chest still rising fast. Behind her are the brushed-metal rear wall and a horizontal handrail. Off camera behind the lens, from the distant office corridor, the BOSS calls in Japanese: {なぎさん、ちょっといい？} The elevator doors slide closed behind the camera. Their narrowing opening is registered by the shrinking patch of corridor light across NAGI’s face and the sliding-door sound. NAGI answers brightly, looking straight down the lens: {お先に失礼します！} The doors finish closing. Her shoulders drop with relief. HUD prints 【MISSION COMPLETE】, 【STEALTH RANK: S】, 【ADRENALINE +150】, and the final notification: 【AFTER-HOURS TASK EVADED】 Final frame: NAGI facing camera, a tiny triumphant smile pulling at one corner of her mouth. PERFORMANCE Photographic human realism indistinguishable from live-action footage: skin with visible pores, fine vellus hair catching the light, subsurface scattering in the earlobes and fingertips, capillary flush across her cheeks and ears from running, individual flyaway strands lifting off her hair, wet living eyes with true window catchlights and a faint red inner rim, clean matte skin. Visible fast breathing at the collarbone, eyes darting a half-second before her head turns. Tension shown by muscle: shoulders drawn up to her ears, fingers clamped white on the tote handles, jaw set, then a full-body shoulder drop on each escape. All adults have equally real skin, real hair follicles, and natural asymmetric faces. PHYSICS Her blouse and tailored trousers crease naturally during crouches and turns. Hair lags and sweeps across her face on fast direction changes. The work tote has real weight: its handles pull taut in her hands, and its body swings with inertia before settling against her torso. The mobile whiteboard has real mass. Its caster wheels rotate against the floor, swivel when steered, and rattle lightly over a flooring seam. The board wobbles subtly when the OFFICE ASSISTANT starts and stops it. NAGI moves with her own visible footsteps; the board does not drag or transport her. The coworker’s printouts flex slightly while walking. The BOSS’s folder stays in his hand. Elevator doors slide smoothly on fixed tracks and close only after NAGI and the camera are fully inside. Contact shadows stay glued under every foot, every knee, every furniture leg, and every caster wheel. LIGHTING One continuous light logic across the office route: bright late-afternoon sun at 5600K entering from the window wall on camera-right, throwing long window-frame stripes across the floor. NAGI passes through light and shadow as she travels. Soft bounce fill off the pale linoleum lifts her face. Fine dust hangs suspended in the sunbeams. The elevator lobby receives the same window light. Inside the elevator, neutral overhead illumination provides continuous soft fill. In the final reverse shot, the same corridor daylight enters from camera-left through the open doorway, raking across her cheek. As the doors close behind the lens, this daylight narrows and disappears naturally, leaving the elevator’s established overhead light. Exposure rolls smoothly as she moves between bright and shadowed stretches, and the color temperature matches exactly across the cut. HUD GTA-style real-time game HUD locked to fixed screen positions for the whole 30 seconds, with every on-screen word written in English: Circular minimap bottom-left with the player arrow and yellow vision cones for the office characters; health and stamina bars top-left; alert-state bar shifting green to amber to red; controller button prompts bottom-right; English mission objective text top-center; floating red exclamation markers over alerted characters; notification cards sliding in from screen-right. The HUD stays in the same screen positions across the cut. No subtitles or caption bars anywhere on screen. The HUD is a clean flat graphic overlay composited on top of fully photographic live-action-grade footage. AUDIO Tense minimalist stealth synth loop with a pulsing heartbeat underneath, running unbroken across the cut and resolving to a short bright victory fanfare at the end. Ambience carries continuously through the cut. Office sounds become naturally muffled as the elevator doors close. All dialogue is spoken in Japanese. STYLE Photoreal live-action realism, real human beings and real fabric, natural skin tones with true-to-life color science, physically correct materials, realistic human proportions and anatomy, real optical depth of field, real floor reflections, subtle handheld gameplay motion blur, fine film grain at 5%, sharp detail intent. OUTPUT SETTINGS 16:9, real-time speed throughout, one continuous 27-second take plus one 3-second locked shot after a single hard cut. POSITIVE LOCKS Exactly one cut in the entire video, at 27.0s — everything before it is a single unbroken take with the camera connected to NAGI. NAGI is consistently an adult office employee, 25, with the same face, long black hair with blunt bangs, white office blouse, charcoal tailored trousers, black belt, white sneakers, clipped employee ID, and black work tote throughout, with dry clean skin. The work tote stays with her throughout. The mobile whiteboard appears only from the meeting-room alcove onward and is physically pushed by the OFFICE ASSISTANT. It remains between NAGI and the BOSS during the concealment beat. The bald BOSS in the charcoal suit and the tall bearded OFFICE ASSISTANT with thick black hair are unmistakably different men. The office route remains spatially continuous. Characters do not teleport between locations. NAGI enters the elevator before turning toward its doors. In the final shot, the camera is inside the elevator beside the doorway, with NAGI facing the lens and the brushed-metal rear wall behind her. The doors close behind the camera; they never pass between the lens and her face. All on-screen text is English. The last 3 seconds hold a locked frontal eye-level shot of NAGI facing camera. HUD elements stay in the same screen corners throughout. One single NAGI on screen at all times. All spoken lines are in Japanese. Sunlight direction stays consistent across the office route, with a physically motivated transition to elevator lighting as the doors close. Final notification: 【AFTER-HOURS TASK EVADED】.

One photo in. Two worlds out. Top half stays the real shot. Bottom half rebuilds it as torn print, ASCII, and photocopy grain on old paper. Made with GPT Image 2.5 Sunburst on @TapNow_AI Prompt: Turn this portrait photo into a single high-end halftone travel-collage poster. Output one poster per uploaded photo — never merge multiple photos into one frame. FORMAT 3:4 vertical canvas. Split into two roughly equal zones — real photo on top, printed collage below — divided by one clean, sharp horizontal line. Do not stretch, warp, or reposition the figure to force the proportions. TOP HALF — THE REAL SHOT Preserve the original photo faithfully: same identity, face, expression, pose, hands, clothing, personal items, background structure, natural light and shadow, original color mood. Add only a light high-end color grade and the faintest film grain. Do not redraw or reinterpret the person. BOTTOM HALF — THE PRINTED RECONSTRUCTION Same warm gray old-paper background. Rebuild the same figure as a printed collage: torn photographic slices + fixed-width ASCII character fields + photocopy halftone dots. Keep face, hands, hairstyle, clothing, and one signature item recognizable — identity must survive the breakdown. Torn-edge photo fragments carry the face and key structural lines; fabric, shadow, and background dissolve outward into ASCII characters, black halftone dots, and fractured print grain. Texture: rough white paper-fiber edges, slight print misregistration, old paper stains, a couple of crop marks, one restrained red calibration bar. Color: warm gray paper + black ink + the photo’s own muted original colors + the single red accent. Never fully desaturate. Figure fills roughly 60–88% of the frame width — always leave 22–38% of the paper untouched and empty, so it reads as archival print, not a packed terminal screen. Add one readable fixed-width title pulled from the photo’s theme, plus the line "REC. STUDY 01" and one short observational caption. A few loose ASCII glyphs can trace the figure’s edge as texture only — never used to fake body detail or invent specs. MOOD Early digital systems meets analog photocopy meets underground zine meets modern travel editorial. The figure should feel like it’s surfacing — half photograph, half character, half print — restrained, archival, a little experimental. AVOID Solid black terminal backgrounds, walls of dense code, cyberpunk neon, fully hidden faces, random symbols with no meaning, invented technical readouts, garbled fake text, author credits, brand logos, QR codes, watermarks.

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