IN THE AREA OF CURRENT AI VIDEO GENERATION, CREATORS GENERALLY FACE A SERIOUS VISUAL BOTTLENECK: WHILE WE CAN GENERATE VERY HIGH-RESOLUTION IMAGES, OR EVEN PRECISE CONTROL OF THE LIGHT, BY ARITHMETIC, THE “HEAVY SENSE” AND “REAL SENSE” OF A HOSPITAL-LEVEL FILM ARE OFTEN LACKING. IT'S FULL OF "DIGITAL MACHINE."。
THIS LACK OF DEPTH AND A SENSE OF TRUE NARRATIVE IS ROOTED IN THE FACT THAT THE CREATORS RELY TOO MUCH ON THE “BYSTANDER” SEAT THAT AI VISUAL MODELS CARRY THEMSELVES. THE IMAGE LOSES EMOTIONAL TENSION WHEN THE IMAGE IS TOO BALANCED AND THE VISION IS TOO MODEST. THIS EXPLAINS WHY MANY OF THE SHORT FILMS PRODUCED BY AI SEEM MORE LIKE A MECHANICAL PERFORMANCE IN FRONT OF THE GREEN CURTAIN THAN A REAL FILM NARRATIVE。
This section of the curriculum will be completely detached from the surfaced array of parameters
From three dimensions of three-dimensional space architecture, specialized camera optical physics and film visual psychology
The depth profile is how to infuse Arri Alexa 35-level actual immersion by mastering the "Big Insight" and "Physico-Sight State" of your IA video. Whether it's a grand narrative scene or a nuanced personality mood, this bottom-up photo aesthetic law will fully reshape your director thinking。
I. VISUAL LOGIC: GRAPHIC DEFICIENCIES OF THE AI IMAGE
To eliminate the mechanical sense, we need to understand three dimensions. It's like using 3D software to model. Without a visual camera. All models are flat-sided。
Positive View and Positive View
1. MISSING Z AXIS AND VISION DISASTER
PHYSICAL SPACE HAS X, Y, Z AXES. Z-AXIS IS DEEP. THE DISTANCE OF THE OBJECT FROM THE LENS. TO ENSURE THE INTEGRITY OF THE IMAGE, AI'S DEFAULT LOGIC IS CONSERVATIVE. IT USUALLY USES A VISUAL SPOT. AND LIKE THE CENTER。
THIS PERSPECTIVE IS FATAL. IT IS SERIOUSLY MISSING THE Z-AXIS REFERENCE. THE VIEWERS CAN ONLY MOVE 2D FLAT. NO SPACE DEPTH PULL. THE VISUAL ANCHOR IS TOO SINGLE. THE BRAIN WILL SUBCONSCIOUSLY DETERMINE THAT THE PICTURE IS NOT REAL. IT CUTS OFF THE EMOTIONAL CONNECTION BETWEEN THE IMAGES AND THE AUDIENCE。
2. Implicit word error: detail spills and space collapses
Many creators have problems with the distribution of weights when they write a hint. They like a lot of loose details about the role. However, space structures and field movements were ignored。
Assuming you're going to produce a picture of a man who started a tough business on the streets of Hong Kong in the 1990s. Many newcomers write the following:
a handsome man started a business trip on the streets of hong kong in the 1990s. he was wearing a detailed red brown jacket, a clean white shirt and ironed pants. hair is perfect. stand in the middle of the street. 8k resolution, masterpiece, bright light, extremely detailed face, top quality。
IT'S A MISTAKE. DON'T SPEND A LOT OF PENS DESCRIBING THE PERSON'S CLOTHES. THIS WOULD SERIOUSLY DISTRACT AI'S RENDERING POWER. AI WILL USE ALL OF THIS TO PAINT THE SKIN. AND FINALLY GIVE A STANDARD VISUAL IMAGE. IN VIDEO CREATION, SPACE EMOTIONS ARE MUCH MORE IMPORTANT THAN CLOTHING。
II. Reconstruction of perspectives: pressured position and big visual aesthetics
The sharp instrument that breaks the mediocre perspective is actually very direct: it changes the physical height of the virtual camera. When we decisively adopt a very low angle, even a ground view, the geometric structure of the picture is re-organised in such a way as to generate a “big view” of the narrative。
What's the low angle
1. Narrative power with wide-angle perspective
In many of the classic '90s retrospectal films, photography guides have a strong preference for wide-angle film lenses. They're going to put a lot of space down, even close to the moist tar road. This low-altitude will force a change in the loss point of the image and trigger a strong upward-vision transformation。
In film narratives, physical height often implies psychological height. In a low-angle perspective, the role will be stretched, while the retropy neon lights and the old sign will converge to the centre of the picture。
THE CITY ' S IRON FORESTS THUS GENERATE A STRONG SENSE OF OPPRESSION, WHICH PERFECTS THE SENSE OF DRIFT AND DESTINY OF SMALL PEOPLE IN THE GREAT TIMES. THIS PERSPECTIVE CONVEYS A CLEAR DIRECTOR'S INTENTION TO ERASE THE "DIGITAL BYSTANDER" TONE OF THE IMAGE OF AI AT ONCE, GIVING IT A REAL SENSE OF FILM IMPORTANCE。
Low-Specific Video Screenshot
2. Intent structure optimization and combat
We must strictly manage our weights in the preparation of the big-view alert. Here's a core principle: to try to avoid the costume style of character。
PLEASE DO NOT WASTE YOUR TIME WRITING “DOING OLD JACKETS” OR “ROLLING SHIRTS”, WHICH SERIOUSLY INTERFERES WITH THE RENDERING OF SPACE VISION AND FILM. ALL WE NEED TO DO IS IDENTIFY THE ROLE AND THE CORE EMOTIONS AND LEAVE ALL THE CALCULATIONS IN RETROSPECT。
Let's say we're going to create a picture of a man who opens an unknown journey in a rich and strange city street. We can break the hint like this:
Bottom-of-the-90s:
1990s retro cinema style, 35mm film still, Kodak Portra 400, prominent forest, warm nostalgic member and cyan color grading. I'm not sure
Space command (for the construction of a large perforation skeleton):
Big Perspective, broad perspective, wide angle. I'm not sure
Narrative action (simplifying the subject, highlighting emotions):
A young Asian man riding a bike on a bustling retro street, looking forward with hope and confusion. I'm not sure
Picture Cue Words:
Big Perspective, broad private, wide-angle.
Chinese translation:
Large perspective, wide perspective, wide angle lens, retrospective film style of the 1990s, 35 mm film silent frame, Kodak Portra 400 film, visible film granular sense, warm old amber and cyanide. A young Asian male hero rides a bike on a bloated retrograde street, looking forward with hope and confusion。
Visual resolution:
When the above-mentioned hints are combined, the virtual camera is projected from the ground up. Wide-angle vision gives a strong visual tension to cyclists, and the high-profile buildings on both sides are being oppressed to the centre. Amber's warm light is interwoven with blue shadows in the picture, and thick film particles fill the visual space. When we resolutely disassociate ourselves from the details of our costumes, the sense of the age of light, space and characters becomes the absolute soul of the picture。
III. Space anchors: Foreground cover and film depth
IF GREAT INSIGHT HAS BUILT US A SKELETON IN SPACE, THE FUTURE MASK IS THE MAGIC OF FILLING THIS SKELETON WITH FLESH AND BLOOD. WHEN WE SHOOT WITH A LOW ANGLE, IT IS INEVITABLE THAT THE MESSY ELEMENTS AROUND THE HORIZON WILL BE INCLUDED IN THE PICTURE, WHICH IS THE SECOND KEY TO BREAKING THE AI'S HARD SENSE。
Foreground Blocking
ESTABLISHMENT OF PHYSICAL COORDINATES OF Z AXIS
Looking back at the classic films of the '90s, you'll find that top-level photography guides are obsessed with looking for "coverages." It could be a glass window full of beads, a vague public telephone booth on the edge, or crowds of people rushing through the streets。
WHEN WE CLOSE THE PLANE TO THE GROUND, ROUGH TARMAC AND NEON REFLECTIONS IN THE WATER FORCE THE FRONT END OF THE PICTURE. THE INTRODUCTION OF THESE FOREGROUND ELEMENTS CLEARLY DIVIDES THE FIRST, MIDDLE AND LAST THREE PHYSICAL LAYERS ON A TWO-DIMENSIONAL SCREEN. WITH THE FUZZY OUTLOOK AS A REFERENCE, THE VIEWER'S BRAIN AUTOMATICALLY CALCULATES THE SPACE DISTANCE, AND THE Z-AXIS COORDINATES ARE ACTUALLY BUILT UP IN THE IMAGE. ONCE IT'S DEEP, IT'S A BIG STORY。
2. A strong contrast between optical decay and clarity
The true glamour of physics optics often lies in its “imperfect”. Low angles of film footage combined with large radials can result in a strong external debilitation of the prospects of extreme proximity to the lens。
What's that
THE EXTREME AMBIGUITY OF THIS OUTLOOK AND THE ABSOLUTE CLARITY OF THE MESO FIGURE FORM A PROFOUND CONTRAST IN VISION. THIS IS THE BEST WAY TO BREAK THE PLASTIC SENSE OF "ABSOLUTE FOCUS" OF THE BIG AI MODEL. IT NOT ONLY RESTORES THE REAL OPTICAL FLAWS, BUT IT IS EVEN MORE BLINDFOLDED BY A BLIND EYE, AS IF THE CAMERA WAS HIDING IN A HIDDEN CORNER, WATCHING THE FATE OF THE GREAT AGE。
3. Intent structure optimization and combat
When writing foregrounds, we have to give AI clear optical instructions for “blurred” and “shalolow depth of vision”. We continue to use the example of the man who started a difficult business in the city to see how to optimize the hint:
Core Space Command:
Foreground operation
Heavily blue foreground
Shallow depth of field
Video Level Complete Command:
Heavily blurred rain-slicked astacht and out-of-focus retro phone board in the forest.
(90s retro movie style, 35mm film. very low angle. the outlook is the edges of the wet tar road after heavy and blurred rain and of the focal point for the recalcitrant telephone. a young asian male master stood in the middle of the scenery and started his business trip. film-class warm amber light, shallow view. i'm not sure
Visual resolution
DRIVEN BY THIS DIRECTIVE, AI ' S VIRTUAL PHOTOGRAPHY OPPORTUNITY IS CLEVERLY HIDDEN BEHIND THE EDGES OF THE BLURRY WATER AND TELEPHONE BOOTH. THE RETROPY AMBER LIGHT IS SOFT AND DIZZY OUTSIDE THE FOCUS, AND THE WHOLE PICTURE IS COVERED BY THE COARSE PELLETS. OUR MASTERS ARE IN A CLEAR MEDIUM POSITION AND ARE SMALL BUT FIRM IN THE CONTEXT OF LARGE CITIES. AS WE HAVE REPEATEDLY EMPHASIZED, THERE IS ABSOLUTELY NO NEED TO DWELL ON THE PATTERN OF CLOTHING ON HIS BODY, WHICH ALONE IS A BLURRY PROSPECT THAT HAS BROUGHT FILM-CLASS SPACE AND NARRATIVE TO A FULL EXTENT。
IV. Camera movement: giving the camera the physical state
After the staticAI VideoThe default track is often too smooth. This unstoppable “perfect slide” reveals a strong digital sense. We need to inject physical weight into the camera。
Physical weight and respiratory sense
In film films of the 1990s, heavy equipment fluctuated with the pace of photographers. This “respiration” gives the picture a real sense of strength and humanity. The hand-held coarse sense of the lens conveys the true sense of retropic images more than smooth motion。
2. Dynamic command injection
A clear "physical properties" for virtual cameras must be established。
Core terms:
Handhold camera tracking shot
Light camera Shake
Camera breathing effect。
[Case model: rebirth of fate in the old restaurant]
Video Level Complete Command:
Light camera shake and camera browning effect.
(90s retrospect, 35mm film. low angle hand-held follow. smash with breath. i'm going to take a picture of the young woman through the dark restaurant. amber and the blue light, the emotional atmosphere. i'm not sure
THE AIS WILL SIMULATE REAL PHYSICAL STEPS. IN COMBINATION WITH A LOW-ANGLE PERSPECTIVE, THE IMAGE STRENGTHENS THE NOSTALGIA WITH EVERY SLIGHT SHAKE. THE VIDEO, WHICH WAS ORIGINALLY COLD, WAS IMMEDIATELY READY FOR A REAL MOVIE。
Narrative psychology: the process of “discovery”
IN THE HIGH-LEVEL NARRATIVE LOGIC OF FILMS, IT IS OFTEN DIFFICULT TO CREATE EMOTIONAL RESONANCE AMONG AUDIENCES. THE EFFECTIVE USE OF “PERFECT PSYCHOLOGY” IN VISUAL PSYCHOLOGY CAN SIGNIFICANTLY ENHANCE THE FILM SENSE OF AI VIDEO。
1. Avoiding the full disclosure of information
If the frame of origin of the video is a clear picture that shows without reservation the full picture of the noodle shop, the picture of the male and female protagonists sitting behind their backs, the desire to explore the frame of follow-up will be significantly reduced once the audience has received all the information at once. Excellent image creation tends to lead the audience through an unknown to clear “discovery” process, using poor information to create visual suspense。
Space-discovered camera movement
We can use the fumes of the future, the passing crowds to cover it, and to design a guide line for visual exploration in line with the slow movement of virtual cameras。
The wrong way to do this is to start with the whole picture, with the leading man and woman sitting in the middle of the noodle shop. No suspense。
The correct approach (slowly revealed): The camera begins with a focus on the frontal, hot-faced smoke and the back of the pastors, and through the slow motion of the lens, the male and female protagonists who sit in the corner and eat each other。
[Photo Generating Phrases]
It's not the same, but it's the same thing, and it's the same thing, and it's the same thing.
(Retroactive film style of the 1990s, 35mm film, Koda Portra 400, visible film particles, warm and nostalgia amber and cyanosis. Extremely low angle lenses, large ground-level visualization, wide-angle lenses are taken through a narrow gap between rough wood table legs in the outlook and smoked noodles. Through the cracks, a pair of men and women sat back-to-back at the adjacent table, eating each other ' s face, and did not realize the other ' s existence. Men wear simple dark jackets and women wear soft red sweaters. The dark, claustrophobic atmosphere, the heavy steam rises, and the chandelier sends a soft and tungsten light in contrast to the cold shading. Extremely detailed environments, emotional film-level contrasting light, high-resolution film scanning. I'm not sure
Visual resolution
In this static play, the large area of the picture is occupied by the fuzzy legs and steam, creating a very strong glimpse。
This narrow gap must be used by the audience to “discover” the male and female protagonists in the middle scene. The physical malformations and low altitude of the wide-angle lens stretch the depth of the space and the faint tungsten light is dizzling in the steam。
summarizes the simple dark jacket and muted color vintage forecast, leaving the full weight to the top and warm nostalgic members and cyan color without the need for a dynamic pull-out process, this highly designed static picture alone has already filled the film-class life and “discovery” psychological processes。
VI. Visual warfare: a high-visibility standard workflow
THEORIES ARE APPLIED TO AIMS. WE NEED A STANDARDIZED PROCESS. THE GOAL IS TO GENERATE A NARRATIVE IMAGE OF THE HOSPITAL-LEVEL FILM。
STEP 1: DIRECTIVE CLEANSING. I'M NOT SURE WHAT I'M TALKING ABOUT. TO STREAMLINE IT INTO ROLE IDENTITIES AND ACTIONS. WHEN I'M DOING THIS, THERE'S BASICALLY A THIRD VIEW OF THE PERSON, SO THERE'S NO NEED TO DESCRIBE THE PERSON
Step two: establish a vision. The large perforation skeleton is constructed with a low angle。
STEP 3: INCLUDE DEPTH. USE THE HORIZON TO BLOCK THE Z-AXIS LEVEL。
Step 4: Colour calibration. Use film color terms. Clearing digital rendering。
Step 5: Physical dynamics. Sets the operational status of the camera. Injecting physical defects。
Combining these modules is a professional film-level hint. This is not a vocabulary stack. It's a precise field scheduling order。
Conclusion
THE ARTISTIC VALUE OF THE WORK IS ALWAYS DETERMINED BY YOUR ABILITY TO ORGANIZE IT. CAMERAS ARE NOT A PASSIVE TOOL FOR RECORDING MOVEMENTS. IT'S A VISUAL MEDIUM OF THE DIRECTOR'S SUBJECTIVE EXPRESSION. CONTROL Z-AXIS DEPTH. UNDERSTAND THE BIG VIEW. USE THE HORIZON MASK. SIMULATES THE REAL CAMERA STATE. YOU CAN GET RID OF THE AI MECHANICAL SENSE. IN THE DIGITAL MATRIX, RECREATE REAL MOVIE TIME。