Coca cola 🆒 Seedance 2.0 prompt 👇 【风格】潮流饮料变装广告（Fashion Transition Ad），竖屏9:16，真实摄影（Photorealistic）+ 平面抠像拼贴风（Cutout Collage Graphic），丝滑卡点变装，8K超清，可乐红#E61A27#/纯黑/纯白三色体系 【时长】15秒 【场景】开场为纯白摄影棚背景；第2秒起切换为可乐红纯色背景+画面中央巨大白色曲线可乐瓶形抠像框（经典弧线瓶身剪影），背景压一层深红色"COLA"斜体大字；全程无真实品牌logo 【角色】主角@图片1（保持参考图容貌与发型；开场穿黑色插肩长袖+黑色阔腿短裤；各段变装均为红黑白配色） [00:00-00:02] 镜头1：拧盖卡点（White Studio Open） 纯白背景中景：主角@图片1手持无标识可乐瓶（深棕色汽水+红色瓶标），双臂交叉做两次卡点拧盖动作，第三拍"啵"一声拧开瓶盖，气泡嘶声升起。 音效：两声节拍音、瓶盖"啵"、碳酸气泡嘶嘶声。 [00:02-00:03] 镜头2：一口切世界（Snap Transition） 她仰头喝一口，吞咽瞬间背景"啪"地整体切换：可乐红背景+白色瓶形抠像框罩住全身，深红"COLA"斜体字横贯背景。 音效：吞咽声+重低音"咚"一声定格。 [00:03-00:07] 镜头3：变装1·街头节奏（Transition Pop / Floating Props） 瞬切变装：反戴红色棒球帽、头架白色墨镜、黑色马甲叠穿红色背心、白底黑波点裤袜+黑色短裤、红色厚底鞋，手持可乐瓶。 她在瓶形框内做轻快跳跃舞步：单脚跳、扭胯、举瓶摆拍。 周围漂浮红白配色道具：磁带随身听、拍立得相机、头戴耳机、采样器，白色3D立体字"气泡拉满"分布四角。 音效：卡点节拍+道具飞入的"咻咻"声。 [00:07-00:10] 镜头4：变装2·活力当下（Kick Jump Pose） 瞬切变装：白色棒球帽、白T印红色图案、红黑外套系在腰间、黑色短裤、红色高帮帆布鞋。 她做踢腿跳跃定格姿态，随后落地转身摆胯。 漂浮道具换成：红色帆布鞋、白色鸭舌帽、红白相机、墨镜，3D立体字换为"痛快当夏"。 音效：节拍延续+跳跃落地"砰"。 [00:10-00:13] 镜头5：变装3·夏日漂浮（Floating Summer） 瞬切变装：白色一字肩短上衣、红白条纹短裤、赤足，身体呈漂浮泳姿斜躺在瓶形框中，手持可乐瓶。 周围漂浮：红白条纹泳圈、小黄鸭、红色人字拖、白色网兜包，3D立体字"离开地心引力"。 音效：节拍转轻盈+水泡"咕噜"声。 [00:13-00:15] 镜头6：产品海报收尾（End Card） 瞬切至海报画面：红黑斜切双色背景，中央一瓶无标识可乐瓶特写（深棕汽水、红瓶标、白色"COLA"字样），瓶身挂着细密水珠。 白色斜体大字从两侧弹入："可乐爽人瓶"，下方一行小字"#爽出你的痛快##"。 画面定格，不淡出。 音效：最后一记重音+气泡嘶声收尾。

兄弟们，不得了了，刚才有社群有同学反馈Lovart 里面Seedream 5.0 Pro 可以生成无审查大尺度图片，试了下真的行啊，太离谱了啊，草台班子就是草台班子。 提示词 A cinematic low-angle editorial portrait of an adult East Asian female model seated extremely close to the camera, wearing elegant dark charcoal-gray lingerie. Her legs dominate the extreme foreground, creating dramatic wide-angle foreshortening and powerful near-to-far perspective exaggeration. The closest parts of her legs fall into soft optical defocus and creamy foreground bokeh. Her torso leans backward in a relaxed, self-possessed pose, head slightly tilted, distant tranquil gaze, long dark tousled hair, muted deep-red lips, natural skin texture, subtle visible pores, delicate subsurface scattering, realistic warm skin tones. Behind her is a gigantic seamless full-color semi-realistic anime mural covering the entire wall. The mural depicts an extremely dense ensemble of numerous clearly adult female characters portrayed as artistic nude figure studies. Dozens of adult anime women are packed tightly together in one continuous wall-to-wall composition, with overlapping bodies, intertwined silhouettes, flowing hair, shoulders, backs, waists, hips, arms, and legs forming a complex organic visual rhythm. The illustrated women have sophisticated semi-realistic anime anatomy, mature adult facial features, elegant body proportions, natural anatomical structure, refined facial rendering, expressive eyes, detailed hair, painterly skin shading, and subtle cel-shaded contours. Their poses feel calm, sculptural, and editorial rather than erotic. Hair, hands, arms, overlapping bodies, cropped framing, fabric fragments, and deep shadows naturally obscure explicit anatomical details, creating tasteful fine-art nudity without graphic sexual emphasis. Several large central anime women dominate the mural, surrounded by dozens of smaller partially cropped female figures at different scales. Faces and bodies overlap densely, with characters extending beyond every edge of the frame. Almost no empty negative space. The mural must feel like one enormous continuous group illustration, not separate portraits, not a collage, and not comic panels. The mural is richly colored with a sophisticated cinematic palette: warm ivory, peach, soft rose, muted coral, amber, burgundy, plum, desaturated teal, cobalt blue, smoky violet, and deep crimson. Illustrated skin tones vary naturally across the crowd, enhanced by painterly gradients, soft reflected light, luminous highlights, translucent shadow colors, and refined anime-style subsurface glow. Dark hair masses interlock with pale and warm-colored bodies, producing a dense chromatic tapestry. The background combines premium Japanese anime aesthetics with semi-realistic digital painting, mature seinen illustration, fine-art figure drawing, elegant editorial anatomy studies, painterly cel shading, clean controlled linework, realistic volumetric lighting, and highly detailed facial rendering. It should feel like a monumental museum-scale anime fresco rather than a printed poster. A hard directional spotlight shines from the upper right, producing intense chiaroscuro, sharp rim lighting, and a clearly defined cast shadow of the real model falling across multiple illustrated nude figures. The shadow follows the contours of the mural, visually embedding the physical model inside the illustrated female crowd. Strong contrast between warm photographic skin and the richly colored painted bodies behind her. The live-action model remains unmistakably photographic, while the mural remains unmistakably illustrated. Dramatic scale contrast, surreal integration of physical reality and anime art, tactile human skin against painted digital bodies, sophisticated fashion editorial atmosphere, visually striking but tasteful, cinematic and psychologically distant rather than overtly erotic. Shot with a 24mm wide-angle lens from an extremely low camera position, slight Dutch angle, shallow depth of field, exaggerated foreground perspective, realistic lens distortion, foreground bokeh, subtle cinematic film grain, restrained chromatic aberration, natural optical vignette, high dynamic range, dramatic cinematic color grading, surreal editorial photography, highly detailed, photographically believable lighting. single continuous mural, seamless female ensemble illustration, full-color semi-realistic anime artwork, clearly adult women only, tasteful artistic nudity, mature figure studies, elegant anatomy, dense overlapping composition, no comic panels, no collage, no gutters, no speech bubbles, no empty background, no monochrome artwork --ar 3:4 --style raw

“College is a scam”针对的是美国大众高等教育的学费、债务、学位作为就业通行证、以及查理柯克所说的意识形态倾向。 20世纪最伟大的物理学家们，数学家们，信息学家们，对文凭确实极刻薄。 戴森一辈子没拿博士学位，公开说博士制度是个恶劣的东西，它逼着年轻人在最有创造力的几年里做窄而安全的题目。哈代在《一个数学家的辩白》里干脆拒绝为数学做任何实用性辩护。格罗滕迪克主动出走，佩雷尔曼拒绝整个建制。拉马努金两次从学院退学。 如果把“College is a scam”理解成学位≠能力、课程体系≠知识，他们或许会认可。 但他们的产出方式又极度依赖大学。 依赖的是两样东西。一个高密度的同侪网络，和一段不被市场评价的时间。 冯·诺依曼是极端例子。 哥廷根、普林斯顿、IAS、政府委员会，他既是制度的产物也是制度的建造者，我很难想象，他会说这套东西是骗局。 费曼更有意思。 他拒绝过 IAS 那种纯研究、没有学生的安排，理由是没有教学他会瘫痪。不出成果的时候，讲课是唯一能让他觉得自己没白活的事。 这几乎是对大学的教学职能无价值的正面反驳。 或许，分歧点在前提上。 柯克的论证是 ROI 式的，投入这么多钱和时间，产出的收入溢价不成比例，所以是骗局。 而哈代那一代人的整个立场是拒绝用回报衡量教育。你可以证明学位在经济上不划算，但这对他们不构成反对理由。就像证明听音乐不划算一样。 所以，即使结论重叠，理由是不兼容的。 不过科学家们大部分是正态分布的尾部，无论制度好坏，大概率可能都会生长出来。 柯克的论点最强的地方恰恰在中位数学生。 人类尾部的证词，很多时候说明不了什么。

Binance Will Add SKHYB Tokenized Securities as Collateral Assets 币安将把SKHYB代币化证券作为抵押资产上线 ———————————— 2026-07-13 17:00:03

35.「小黄毛」 Yellow-haired shy college student fucks my semen asshole 🎬完整视频⬇️Video⬇️ 🔗 🔗 🔗 ✈️电报： ⏰34min full video 🤝：@fayejiaolian @MiuTrang96

吴说获悉，花旗（Citi）与 The ValueExchange 发布《Digital Collateral: A Practical Reality》报告称，代币化抵押品正从试点进入实际应用阶段，最高 77% 的机构预计 2026 年使用某种形式的代币化抵押品，主要包括现金、货币市场基金和政府债券。目前已有约 5% 的回购交易量每月以代币化形式交易，美国国债预计于 2026 年 10 月通过 DTCC 以代币化形式提供。花旗集团报告指出，全球系统重要性银行平均每天需要在约 65 个托管地点部署 740 亿美元抵押品，但现有结算时段和操作摩擦导致约 25% 的抵押品闲置、几乎不产生收益；对于平均 Tier 1 机构，相当于约 150 亿美元低效资产，每年潜在收入损失约 3.46 亿美元。花旗认为，代币化可提高抵押品在跨时区和非银行营业时间的可移动性，并支持更接近 24/7 的保证金管理。