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Scott
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Scott
@HighlandScott_
Just some randomly weird unverified Scottish dude right now who does AI music under the name Highland Scott. Pleased to meet me!
Inverness, Scotland Katılım Temmuz 2026
74 Takip Edilen41 Takipçiler
@DBSteiger True…. Maybe I could stick a tariff or 2 on it and then be less restrictive 🤔
English
Great breakdown by Karata.
A lot of us have been doing it without even thinking, and it all needs to end!
Maybe. We'll see what they tell us next week. 😅
Karata@karatademada
You might be doing engagement bait without knowing. Here’s a clear list of common engagement bait (by Grok): 1. Financial bait Offering money or prizes just to get replies/likes. (“First to reply with the exact number wins $10k”) 2. Explicit CTAs “Like if you agree” “Tag a friend who needs this” “Comment YES and I’ll DM you the free guide” 3. Follow-for-follow spam “Drop your handles & follow everyone in the comments” 4. Rage bait Deliberately provocative or polarizing takes made only to spark arguments 5. Constant “BREAKING” / clickbait Using sensational headlines or “BREAKING” on almost every post 6. Recycled content Reuploading other people’s videos or posts with little to no original value 7. Forced interaction traps Polls, “interact and I’ll include you” templates, or “tap to see a surprise” posts These tactics artificially farm engagement instead of creating real value. On X, they can reduce your reach and revenue share. Post things people actually want to engage with. Disclaimer: This list is not exhaustive.
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@Z_XSophie Sorry…. But if I don’t keep you on your toes who else will? 🤷🏼♂️ 🤣
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While scrolling through old posts today, I stumbled upon this one.
First, I felt a little sad that it took me so long to join 𝕏, but then I felt overwhelming gratitude that I finally did.
𝕏 didn’t just give me information. It changed how I see the world, how I think, how I speak, and how I feel about the future. It woke me up.
And in the middle of building rockets, cars, AI, Neuralink, and fighting for the future of all humanity, Elon still took a moment to post something so simple, so human, so real.
For all these reasons and so many more, we love you more. 🤍
Elon Musk@elonmusk
i♥️u
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@DBSteiger Couldn’t agree more.
Sometimes it’s also good not to argue 😊
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@HighlandScott_ THE EARTH IS FLAT AND ITS TURTLES ALL THE WAY DOWN!
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@HighlandScott_ Thanks, Scott. This genuinely made me smile. Appreciate you! ✨
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🐢 Turtle artists, this one’s for you! QT this post and share your finest Turtle masterpiece. Let’s inspire each other!
Alexandra Aisling@AllaAisling
✦ Daily Creative Challenge ✦ Today's theme: TURTLE Older than the dinosaurs, slower than everyone, and completely unbothered by it. A creature that carries its home on its back and has survived everything the world has thrown at it. Show us your turtle: ancient, wise, tiny, or magnificently unhurried. Tomorrow I will repost 4 of my favorites. All styles, all levels, all interpretations welcome. Drop your art below and let's take our time 👇
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@humble_whisper Love that Humble, glad you liked it.
AI music is obviously polarising and I understand why people aren’t keen on it but it’s my way of telling stories that works for me.
I enjoy it and knowing you’ve enjoyed some always means a lot to me 🙏🏻
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@HighlandScott_ I was driving in the morning and listening to your Spotify, so good. “Borrowed Time” is a gem. It reminds me of something, but I just can’t place it.
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@HighlandScott_ @wilzap He gets drunk naturally just by looking at me lol 😅
English
@wilzap @HighlandScott_ I know plus we didn't meet at the bar.
We met this way:
Amy G@amynys
🌹✨ He thought he was just dropping her off… but Amy was never really there. Some souls don’t go home. They return to the garden. “Amy Ghost” — where her soul forever resides. #AmyGhost #GhostStory #Fantasy #RoseGarden #ShortFilm I used @PixVerse_ and @capcutapp to create this
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Seedance 2.0 on Higgsfield AI
Check out this short AI film clip
Full open-sourced prompts & assets below:
SCENE CONTEXT
Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door
onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the
quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the
spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small
futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the
OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on
the horizon. He does not raise the spyglass — he just stands and stares at the distant
black sails, holding the look.
ACTIVE REFERENCES
<<>> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow
cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple,
thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat,
cloth sash and leather belts. 100% matches the reference; studio sheet layout NOT inherited.
<<<3c03a667-0057-42b3-bcb4-6282799f4312>>> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder
harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder.
<<<3395e991-20db-4577-945b-0a96129a2fb0>>> — weathered pirate crewmen from the reference group (bandana, rough shirt,
vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and
a second runner who arrives in CUT 4 pointing astern.
<<<38639b83-6b2c-45e7-956c-c9e690a096eb>>> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100%
matches the reference; starts in the lookout's hands, ends at Eduardo's eye.
<<<9470010f-91ae-4b0f-b10d-9f3f29f55e3e>>> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised
quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only.
<<<673b2d64-5cc7-4653-9320-86c1a404fd7b>>> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky
atmosphere only.
<<>> — small lone island: dense dark-green jungle cover, a curved white-sand beach
on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the
reference; it is the island seen on the horizon and inside the spyglass view.
<<<7fa0f5e6-f3ff-4d48-a6ed-2b1864829a1b>>> — small futuristic hard case: matte-black armored corners, neon acid-green side panels,
brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it
appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach.
<<>> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on
the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4
as a tiny silhouette on the horizon — never seen closer in this beat.
LOCATION MAP
<<<9470010f-91ae-4b0f-b10d-9f3f29f55e3e>>> under sail on <<<673b2d64-5cc7-4653-9320-86c1a404fd7b>>>, open bright sea. The sterncastle door opens
onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout
stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon
screen-right. Far on that horizon, 2–3 km out: <<>> — dense green jungle mass, the
white-sand beach catching the sun on its near side, turquoise water at its shore. In the
OPPOSITE direction, astern of the ship screen-left: open sea where <<>> rides
VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved
in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze
visible at the horizon distance. Sun high, sea glitter everywhere.
FIRST FRAME / BLOCKING
First frame: the sterncastle door already swinging open, <<>> mid-stride through it onto
the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the
background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass
already at his eye, pointed screen-right toward the horizon.
FORMAT MODE
Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on
its own.
CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried
scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with
elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but
FAST, covering the deck at 10 km/h. <<<3c03a667-0057-42b3-bcb4-6282799f4312>>> sweeps in from off-frame upper-right, wings
braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across
the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late.
CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with <<<38639b83-6b2c-45e7-956c-c9e690a096eb>>> raised,
body and glass pointed at ONE fixed spot on the horizon SCREEN-RIGHT. Eduardo arrives
frame-left, the scarlet macaw <<<3c03a667-0057-42b3-bcb4-6282799f4312>>> sitting clearly visible ON HIS LEFT SHOULDER
through the whole cut, and squares up NEXT TO the lookout, shoulder to shoulder, FACING THE
SAME DIRECTION — both men oriented at the same point screen-right. With his RIGHT hand he
grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed
to his RIGHT eye toward EXACTLY the same spot on the horizon screen-right the lookout was
sighting, left eye squeezing shut — the glass barely changes its aim in the hand-off, only
its owner. The lookout yields a step but keeps facing that same direction.
CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a
telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass
view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a
hand-held tremor, compressed haze layers stacking toward the island. Distant <<>>
sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows,
heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive
down to the waterline of the beach: <<<7fa0f5e6-f3ff-4d48-a6ed-2b1864829a1b>>> lying on the wet sand, black-and-acid-green case,
steel top plate, green star button glinting. The zoom lands and locks on the case filling half
the circle. Hold.
CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman
from <<<3395e991-20db-4577-945b-0a96129a2fb0>>> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger
the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the
macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US!
BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks
past his shoulder — REVEAL deep in the frame: <<>> VERY far astern, a TINY
black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's
fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but
the black sails read unmistakably. Vast empty water fills everything between the rail and
that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand.
He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon.
The cut ends on his long look toward the enemy ship against the empty sea.
OPTICS
CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass
optics — ONE single circular image (a one-lens telescope, never the twin circles of
binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely
optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the
deep background on the reveal, then holding on Eduardo's profile against the horizon. No
drift mid-segment.
CAMERA
Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT
1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on
the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a
hand-tremor sway of 1–2 cm that calms when the zoom locks on the case.
ACTION
Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the
balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised
with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with
the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings
flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he
keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV
the island rises gently with the ship's sway until the crash zoom pins the case.
PERFORMANCE
Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the
eyepiece his face stills completely — squint tightens, lips part a fraction when the case
appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the
far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw
tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin
realism, sun catch-lights, spray-damp sheen on the temples.
PHYSICS
Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird
mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat
haze wobbles the island image and glitter fires irregularly off the water; the case sits with
real weight in the wet sand, a shallow water film sliding around its base.
LIGHTING
High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below.
Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and
milkier — long air column, haze density rising toward the horizon; the case's acid-green panels
and glowing star button read as the only saturated color on the pale beach.
AUDIO
Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant.
On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low
whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and
distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind:
"CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND
US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from
Eduardo.
STYLE
Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle
roll-off, 8K master.
POSITIVE LOCKS
<<<7fa0f5e6-f3ff-4d48-a6ed-2b1864829a1b>>> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline,
star button glowing green in every frame it exists. The island always matches
<<>>: green jungle, white-sand beach, turquoise shallows — and stays screen-right,
ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island.
The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame.
Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses
it.
<<>> keeps black sails and the green skull mainsail in every appearance and
stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon,
under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass
LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he
simply stands looking at the distant ship, and the beat ends on that look; no cannons and no
gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front,
hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small
steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on
Eduardo's LEFT shoulder continuously from its landing in CUT 1
through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's
hands in CUT 2's first frame and in Eduardo's hands from then on; in CUT 2 both men face the
SAME direction — screen-right, toward the island — before, during and after the hand-off,
and the spyglass stays aimed at the same point on the horizon. Same sun direction, same sea
state, same wardrobe in every cut. Cuts only at the specified points.
English
Scott retweetledi
@HighlandScott_ You can always show your green face. 🤢 Oh wait… it’s not so green anymore. 😂
Happy Friday, Scott 😆🫶
English
