GPT-Image 2.5 looks way stronger than previous models in action. Prompt below: Create a single square 1:1 artwork, 2048 × 2048. "SCENE AND COMPOSITION A giant Japanese dragon confronting a lone samurai in a vast windswept grassland. Wide view, fixed low camera, both subjects clearly situated in the same landscape. The dragon dominates the left side; the full-body samurai stands on the right, facing left toward the dragon. Leave a clear gap between them. A low, gently rolling horizon divides the open sky from the dense grassy field. DRAGON An unmistakably reptilian Japanese serpentine dragon with a long coiled body and an elegant S-curving neck. Large overlapping scale plates, broad segmented belly scutes, hard triangular dorsal spines, swept-back antler-like horns and a few long, smooth whiskers. An elongated reptilian skull with visible nostrils, an armored brow and a slightly open jaw showing sharp conical teeth. Powerful clawed forelimbs planted in the grass. Its head angles downward toward the samurai. Completely hairless: no fur, mane, beard, feathers, wolf ears or mammalian muzzle. No wings. Define the body with individual scale plates, never hair-like strokes. SAMURAI A full-body warrior seen from a three-quarter back/profile angle. Traditional kabuto helmet with a crescent crest, menpo mask, layered shoulder guards, intricately laced lamellar armor, divided armored skirt and shin guards. Knees slightly bent, feet firmly planted, torso leaning into a defensive stance. Both hands hold one katana diagonally upward-left between him and the dragon. Long cloth ties stream sideways in the wind. FIELD Dense tall grass fills the foreground and stretches far into the distance. Large bent blades and seed heads near the camera, progressively finer grass toward the horizon. Broad curved bands of leaning grass suggest wind rippling across the entire field. Rich, irregular white scratches describe individual stems against deep black masses. PALETTE AND RENDERING A strictly limited palette of cool dark cherry red, approximately #901C35#, absolute black and near-white. Flat cherry-red sky; the same red appears between grass blades and in the samurai’s cloth ties. Realistic dimensional forms translated into an aggressively thresholded black-and-white xerox print. Crushed black shadows, fractured white highlights, dense stippled dithering, scratched engraving, irregular ink coverage and crunchy, slightly pixelated edges. A gritty photocopied dark-fantasy image, not polished digital painting. Preserve fine detail in scales, armor and grass. No smooth gradients, glossy CGI, clean anime shading, soft lighting, orange-red sky, buildings, trees, mountains, sun, moon, extra characters, duplicate swords, text, logos, borders, panels or watermarks. One complete full-bleed image."

ChatGPT Images 2.5 prompt 👇 Medium shot, eye-level cinematic live-action portrait of an exceptionally gorgeous 19-year-old Japanese woman celebrating the night cherry blossom festival inside a traditional Kyoto wooden pavilion. Sitting gracefully behind a dark timber table, she uses both delicate hands to proudly hold a large dark glass Japanese sake bottle with a navy-and-gold calligraphic label, resting her hands along its side and base. She gazes directly into the camera with an enchanting, sweet closed-mouth smile. Her facial features are doll-like and tender: radiant, dewy porcelain skin with a soft blush across her cheeks, a petite jawline, large clear amber-brown almond eyes with fine lashes and natural aegyo-sal, and soft glossy cherry-tinted lips. Her caramel-brown hair is swept up into a traditional high bun adorned with an ornate Japanese kanzashi hairpin featuring handcrafted blue silk blossoms, golden ribbon ties, and dangling silk tassels, paired with light see-through fringe bangs across her brow. She is dressed in an opulent, traditional royal navy-blue silk furisode kimono richly woven with gold-foiled cherry blossom patterns, featuring layered gold and white inner collars and a sculptural gold brocade obi sash tied at the back. The setting is an enchanting spring night in Kyoto: in the foreground, a dark wooden table holds a matching navy-and-gold ceramic sake cup and carafe scattered with fallen petals. Behind and above her, lush blooming sakura branches hang densely in the night air, illuminated by warm glowing paper lanterns creating breathtaking creamy golden bokeh beneath a deep twilight sky. Bathed in warm, magical golden lantern light mixed with soft, flattering frontal key illumination that makes her porcelain skin glow and ignites brilliant reflections along the kimono's gold embroidery and glass sake bottle. Photographed on an anamorphic 50mm cinema lens at T1.8, ISO 200, 1/120s, delivering authentic skin micro-texture, tactile silk embroidery, and an unforgettable, atmospheric Japanese romantic cinema aesthetic.

『Sakura Rain🌸』 Please give it a try! ↓↓ A cinematic ultra-realistic portrait of the exact woman from the reference image, perfectly reproducing her facial features, bone structure, skin tone, eyes, and presence with absolute realism. Wardrobe: a luxurious couture gown inspired by cherry blossoms, combining ivory silk, soft blush chiffon and sakura petal textures, decorated with three-dimensional embroidered blossoms and translucent flowing fabric. Scene: a magical sakura petal storm, where thousands of cherry blossom petals cascade from above like soft pink rain. Petals swirl dynamically around her in layered depth from foreground to background. Pose: captured in a graceful upward gaze, one hand raised toward the sky touching drifting petals, hair and dress moving softly as if in slow motion. Lens effect: dramatic circular cinematic lens flare, rainbow flare rings and warm glowing flare orbs produced by shooting toward a hidden sun behind the falling petals. Lighting: bright golden sunlight filtering through petals creating sparkling highlights, volumetric beams and shimmering pollen particles floating in the air. Atmosphere: romantic fantasy spring scene, cinematic motion energy, shallow depth of field, dreamy soft focus foreground petals. Ultra photorealistic, cinematic dynamic range, extremely detailed textures, masterpiece photography, vertical 9:16.

For two years, an American boy rode my train to school in Tokyo. His name is Owen. He's from Vermont. He was eight. He was born blind. He had a white cane, and he had one question. He asked it every morning, to whoever was sitting next to him. "What color is the sky today?" His mother taught him that. "If you can't see something, ask someone who can. They'll look at it better for you." Most mornings, the person next to him was Mr. Ishida. Fifties. Gray suit. The most tired man on the Chuo Line. For a month, Mr. Ishida's answer was always the same. "Gray." One morning, Owen asked, "Is Tokyo always gray?" Mr. Ishida didn't answer. Later, he told me that was the moment he realized he had not looked up at the sky in about twenty years. Owen started calling him Mr. Gray. Owen knows colors by how they feel. Blue feels like cold water. Yellow feels like the sun on your arms. Red feels like a hug from his grandma. So one morning, he asked: "Mr. Gray, what does gray feel like?" Mr. Ishida couldn't answer. Owen thought about it. "I think gray feels like waiting." The next morning, Mr. Ishida left his house twenty minutes early. He stood outside the station and studied the sky like it was a contract. Japanese has hundreds of old names for colors. He started using them. "Today the sky is asagi. The color of a young green onion." Owen gasped. "The sky is an onion?" The whole train car laughed. In Tokyo, at 7:40 in the morning, a whole train car laughed out loud. I had never heard that before. After that, it spread. A high school girl described the cherry blossoms for him. An old woman got off two stops early, picked a petal from the sidewalk, and came back on the next train to put it in his hand. The station attendant started writing on the whiteboard by the ticket gate every morning: "For Owen. Today's sky." People stopped to read it. Then they started adding to it. "Pale pink at the edges. Like the inside of a shell." "One cloud. It looks like a sleeping cat." "Blue. Real blue. Tell him it's a good one today." And Owen gave it back. A young woman was crying quietly across from him one morning. Nobody looks at that in Tokyo. You look away. Owen leaned toward the sound. "You sound sad. Do you want to hold my hand?" She did. All the way to Shinjuku. To a man who got on heavy and slow every day, he said, "Your feet sound tired. I hope you get to sit down." The boy who couldn't see anything saw every single one of us. Last spring, Owen's family went home to Vermont. On his last morning, the whiteboard at the station was completely full. Hundreds of people. Hundreds of skies. Mr. Ishida read every one of them to him on the platform. His voice cracked on most of them. At the very bottom, in his own handwriting, was one more. "Today's sky is the color of Vermont." Owen tilted his head. "What color is Vermont?" Mr. Ishida was quiet for a long time. "I don't know," he said. "But I think it feels like you." There is still a corner of that whiteboard, every morning, that says "For Owen. Today's sky." Somebody takes a picture and sends it to his mother in Vermont. She reads it to him at breakfast. Mr. Ishida still introduces himself to new people at work as "Mr. Gray." He says it's the best name anyone has ever given him. A boy who has never seen the sky taught a whole train line in Tokyo to look up.

I'm done with Bonsai 2 27B. This model has taken enough of my time and patience. After the whole argument, I ran 12 OMP sessions on my 4x RTX 3090 rig using PrismML's launcher settings and the reasoning budget nisten asked for. 1 session per GPU, 128K context, no follow-up prompts. Same ternary model, 2 weight packings, 3 KV caches, 2 prompts. Here are the results, the exact prompts, the memory guide and the settings. Do whatever you want with them. Big thread 🧵 First, the extended prompt. 3 of the 6 runs produced usable scenes. PQ2_0 with Q8 KV made the garden I liked most: 42.0 minutes, 69,240 output tokens. PQ2_0 with Q4 KV + bias spent 4h54m and 418,141 output tokens producing an empty sky. I stopped it myself. FP16 KV also failed to produce a usable scene after 151.7 minutes and 210,512 output tokens. The videos show every configuration, including the failures. Output tokens include reasoning; time is the full agent session. Exact extended prompt: Design and create a very creative, elaborate, and detailed voxel art scene of a pagoda in a beautiful garden with trees, including some cherry blossoms. Make the scene impressive and varied and use colorful voxels. Use whatever libraries to get this done but make sure I can paste it all into a single HTML file and open it in Chrome. I'd call the model tolerable for its size. PrismML's marketing still pisses me off. Simple results and the memory guide below.

Not a real vlog. Not a real morning. Just Seedance 2.5 making AI look a little too real. Prompt: Create a 30-second, 1080p ultra-realistic personal home-video showing an ordinary Sunday morning in the life of a young Korean woman. No reference image. MAIN SUBJECT Young Korean woman in her early 20s, natural and approachable look, realistic skin texture with visible pores, bare-faced or barely-there makeup, warm and slightly playful expression. Shoulder-length wavy black hair left down, side-swept bangs, small mole near her left eye. Wearing an oversized pastel-yellow hoodie, loose gray jogger pants, fuzzy slide sandals, and a small crossbody pouch bag. Maintain the same face, hairstyle, clothing, body proportions, and appearance throughout the entire video. SETTING A small countryside town on a bright, breezy Sunday morning. A traditional outdoor market with striped awnings, crates of vegetables, a fishmonger's stall, an old bus stop with a rusted bench, a narrow road running alongside rice paddies, a local bakery with a hand-painted sign, a grandmother's front yard with drying red peppers on a mat, chickens wandering nearby, and mountains faintly visible in the background. Everything sun-bleached, dusty, and authentically rural. CAMERA / VISUAL AESTHETIC Raw personal footage casually recorded by a friend, strong handheld vlog feel throughout. Constant natural hand shake and micro-jitters, footsteps visibly bouncing the frame, imperfect and often off-center framing, occasional partial crops of her face or shoulder, autofocus visibly hunting between her and the background, exposure flaring when the camera swings toward the sun, mild motion blur on quick turns, soft image detail, subtle digital noise, slightly warm and faded color grading like an old phone camera. The camera operator walks and jogs to keep up with her, breathing audible at times, camera dipping and swaying with each step. No stabilization, no gimbal smoothness, no cinematic camera movements, no dramatic lighting, no slow motion, no polished commercial appearance. The footage should feel like a real, unplanned phone recording — accidentally beautiful rather than deliberately cinematic. --- 00:00–00:05 — MARKET ENTRANCE She weaves through the outdoor market stalls, the camera bouncing behind her as it struggles to keep pace. She stops briefly to pick up a small bag of cherry tomatoes, holding them up toward the camera with a grin. The frame jolts as the operator steps over a crate in the path. **00:05–00:10 — FISH STALL DETOUR** She wanders to the fishmonger's stall, wrinkling her nose playfully at the smell and laughing. The camera whip-pans slightly too fast trying to follow her hand gesture, briefly blurring before catching focus again. She waves the camera away, still laughing: *"Ugh, don't film that, film me!"* **00:10–00:15 — BUS STOP WAIT** She jogs to catch the local bus stop bench just as an old bus pulls away without her, the camera shaking hard from the sudden running motion. She throws her hands up in mock frustration, plops down on the rusted bench, and sighs dramatically, laughing at herself. The frame settles slightly off-center as she rests her chin on her palm. **00:15–00:20 — RICE PADDY ROAD** She walks along the narrow road beside the rice paddies, wind blowing loose strands across her face. The camera drifts low near her feet as she kicks a small pebble, then swings back up to her face, slightly overexposed from the open sky. She spins around once with her arms out, the frame swaying and overshooting past her before correcting. **00:20–00:25 — GRANDMOTHER'S YARD** She ducks into a yard where red peppers dry on a mat, crouching to gently shoo away a curious chicken pecking near her sandals. The camera jerks back suddenly as the chicken flaps its wings, both of them startled and laughing. She picks up a dried pepper, sniffs it, makes a face, and tosses it back down. **00:25–00:30 — FINAL MOMENT** She grabs a warm bag of fresh bread from the nearby bakery counter, takes a big bite, and turns straight to the camera mid-chew. The frame shakes as she leans in too close, filling half the screen with her grinning face. She says, muffled and amused: *"Okay, stop filming me eating!"* She swats the camera lens with her hand, and the footage cuts abruptly to black, mid-laugh. --- **AUDIO** Natural location sound only: Market chatter, footsteps crunching on gravel, a bus engine pulling away, wind, chickens clucking, rustling plastic bags, distant rooster crow, bread bag crinkling, the operator's breathing and quiet laughter, and audible handheld camera noise. No music. No narration. No artificial sound effects. Only the spoken lines: *"Ugh, don't film that, film me!"* and *"Okay, stop filming me eating!"* **FINAL FEEL** The entire video should feel like a chaotic, cheerful, completely unplanned Sunday morning caught on a friend's phone — bright, breezy, playful, and warmly nostalgic. No dramatic events. No exaggerated acting. No model poses. No cinematic hero shots. The realism should come from constant handheld imperfection, sun glare, dust, uneven pacing, real laughter, and moments that feel genuinely caught rather than staged.