Not a text prompt. Not a guessed camera path You move the phone. Blender follows. Higgsfield renders the shot. Same idea as locking a camera in 3D — except the move comes from your hand, not a typed sentence

Google just launched Google Pics A new AI-powered tool for creating and editing images. You can edit individual objects, refine or translate text, and collaborate with your team It’s rolling out now to Google Workspace customers and Google AI Pro & Ultra subscribers Try it at http://pics.new

This is the first version of TV that can stay on air because the model is faster than playback fal.live runs infinite, interactive livestreams on H3 Max Director, an autoregressive take on H3 Max with native continuity and up to two minutes of context Scenes hold together instead of resetting every clip. Chat writes the next joke, the next cut, the next world The channel does not end. There is no credits roll. There is only whatever you tell it to do next.

Most AI video looks slow because people write slow prompts. Here's the opposite approach, both prompts below. The reason so much AI video feels lifeless is that people describe a scene and then ask the model to gently animate it. You get drifting, floating, dreamy nothing If you want speed, you have to write speed. Verbs, camera behaviour, physics, all of it explicit The still prompt: Hyper-cinematic night action photograph. A rider on a matte black superbike carving hard through a flooded neon-lit Tokyo backstreet at high speed, bike leaned aggressively into the turn, knee close to the wet asphalt. Huge arcs of water spray exploding off the rear tyre, droplets frozen mid-air catching the neon light. Full black racing suit, mirrored visor reflecting the signs. Narrow street packed with towering Japanese neon signage in hot pink, electric cyan and deep red, all reflected in the flooded mirror-like road. Steam rising from a manhole mid-ground. Lighting: pure neon practicals, hot pink key camera-left, cyan rim camera-right, deep black shadows, wet specular highlights on every surface. Camera: Canon EOS R5, 35mm, f/2.0, low angle from road level looking up, slight motion blur on wheels and background signage, rider sharp. Texture: real wet asphalt, water droplets, carbon fibre, leather, slick paint. Atmosphere: rain in the air, neon haze, steam, volumetric light, film grain. Negative: cartoonish, CGI game render, plastic textures, flat lighting, dry road, daytime, distorted bike anatomy, blurry rider The animation prompt: High-energy cinematic action shot. The superbike accelerates hard toward and past the camera at speed. The camera whip-pans to follow it as it rips past, low to the ground, then swings behind as it powers away down the flooded neon corridor. Massive sheets of spray explode off both tyres, droplets flying at the lens, some hitting it. Neon signs streak into long horizontal light trails from the speed. Rain drives through frame. Steam swirls violently as the bike tears through it. Bike leans further into the turn,

I used to treat every platform as a separate writing job. Then I realised I wasn't short on ideas, I was short on formats Now every idea goes through one loop. Takes about 25 minutes end to end Step 1 - Write the pillar properly One long-form piece, written by me, not the model. This is the only part where quality is non-negotiable, because everything downstream inherits it. Garbage pillar = six pieces of garbage Step 2 - Extract the atoms I paste the pillar in and ask for the list, not the content: "Read this piece. List every standalone idea in it that could survive on its own without the surrounding context. For each one, note the strongest single sentence in the piece that supports it. Don't write anything new." This is the step people skip. If you jump straight to "turn this into a Twitter thread" you get slop, because the model is inventing structure instead of finding it Step 3 - Format each atom on purpose One atom becomes a short post. One becomes an email. One becomes a carousel. Each gets its own prompt with the format constraints spelled out. Never "repurpose this for all platforms" in one shot Step 4 - I rewrite the first and last line of everything Always. The middle can be assisted. The hook and the landing are mine, because that's what people actually judge you on Six pieces, one idea, one afternoon. And they don't feel copy-pasted, because they're genuinely different ideas that happened to live in the same essay What does your repurposing flow look like? I'm still trying to cut Step 3 down.