How does a role map become an actor who can perform across the lens? How does a fight get multiple slots? This production record of the Higgsfield creator, adilintheweldtempo, places assets, hints, material generation and editing options in the same process。
拍AI short filmThe easiest place to get stuck is where a single camera looks good, but it's like a few different movies: people change their faces, offices change their layouts, one shot goes to the next。
What is worth detaching is that it provides a clear reference for every link. First, the role, scene and props are identified, then Claude helps organize the camera and the performance, and finally selects the linkable footage from multiple generation。
The methodology is streamlined in the order in which it is actually produced. The drawings and videos are from the author's public course, which is organized and analysed in Chinese。
1. Establish an asset bank before filming
The original author stored the material in Higgsfield ElementsI don't know. Roles, locations and props have a fixed name, and Claude's name corresponds to that of Higgsfield。
The main character, Adam, the boss, Ron and the rebel Victor, used three-player video elements. Victor's special state, wounds, scenes, weapons, etc., are used to prepare separate photographs。
This division of labour gives each reference a clear task: a person's video provides identity and performance, a scene picture provides space, and a prop picture provides an appearance. Don't let a picture cover faces, costumes, movements and slots。
Four Skills. What's in charge
The original text provided four downloadable annexes and the original document was retained in the package。
this post is part of our special coverage global voices 2011: Organization scenes and camera tips。
i don't know, higgsfield-fight-scene.skill: Organisational combat action versus action。
higgsfield-acting-skill.skill: Organizational emotional changes, performances and correspondence。
Anamorphic skill.md: The visual language that supplements the wide screen lens of transformation。
When used in practice, let's first explain what happened on this scene, who wants to do what, and then let the corresponding Skyll help. They provide writing methods; specific assets still need to be built on their own and properly bound in the generation interface。
Named as the basis for cross-tool collaboration
the role used is @char_adam_video_v1, @char_ron_video_v1, @char_victor_video_v1. the site is called @loc_alley_v1, @loc_room_ron_v1, @loc_club_danceloor_v1。
The value of these names lies in their correspondence. That confirmed material can be found when it comes to the person or room. It is also possible to identify which one can be updated when changing roles or redoing scenes。
2. Pre-identify, then deal with the real sense of substance
Adam started with a photo of the author himself. White hair, white colour, black leather coats and silver fittings constitute recognition. The author first compares curly hair with straight hair, while maintaining the same structure of clothing and set-ups。
On the RIGHT panel, make a highly detached half-body portrait photo of this caratter show the skin and hair in fine detail
♪ and above it onto this caratter in <
Take the skin textures from
>and adapt them to this challenger, but make the skin tonne paler / better than <
Use
As the texture for the black t-shirt
On the LEFT Panel, add a full-length photo of the character - keep it the same.
This phase addresses role selection. First, the face, hair and shape are selected, and then the back lens has a stable starting point。
After the role was identified, the author provided separate references to hair, skin, background and black T-shirts, which were given to Seedream 5.0 Pro for refinement. The modification is justified by the fact that “more realistic” is to be broken down into several visible material targets。
What's the use of this hair reference
This is what the model is forA texture of hairI don't know. The role-setting diagram first identifies Adam ' s face, hair and clothing, and then supplements visual information, such as hairline, flaccidness, texture and reflection, to help refine white hair and reduce the sense of plastic。
When used, the confirmed Adam role map was uploaded to Seedream 5.0 Pro along with this hair map, and their respective responsibilities were clarified: role maps were used to maintain character identity and shape, and hair maps were used to refer to hair quality. Details of the image by skin, background and T-shirt reference。
The role of the reference diagram is to provide an observable material target; when it is actually produced, it also examines the consistency of the person ' s face with the original hairstyle。
Prompt words:
Add Real Texture
What it does: Provides secure references for the hair, skin, background, and T-shirt texture.
On the basis of the design works, Internet access for the hair, skin, background, and T-shirt.
Attach in order: aggravated Adam sheet.
@image_1
@image_2
@image_3
@image_4
@image_5
Here is the details that need to be checked in practice: the upload order in the original note is not exactly the same as the image number in the embedded hint. The description is for Adam, hair, skin, background, T-shirts, while the hints use Image1, Image3 to Image6。
Renumber the current upload slot on recurrence。 Character identity character maps, hair for hair reference and skin for skin reference. Check this correspondence table and then submit it for generation。
Victor's approach was different: first, to explore the face through AI Cast and then to choose a middle-aged male image that matched the role. Ron makes character designs through Soul Cinema. Several figures can be created from different entry points, but ultimately they have to enter the same asset management process。
3. Turning role maps into performance references
After identifying the person's picture, the authors are Adam, Victor and Ron, respectively, producing role videos and adding voice references. Adam's voice was recorded by the author and the other two figures were provided by friends。
This step requires people to open their mouths, turn their heads, blink their eyes and demonstrate a modest change of face. The later call is a role reference with movement and sound information。
Imaged the director of Adam's video appeal into a short window of opportunity.
Show a clear picture of the three-faced face view, a small turn, a retrofitted knowledge of the Smile and a Brief Shift to emergency, the Attached Authorized Voice rule for his virtual success.
The role reference video is designed to make identity clear. Complex mirrors, powerful light changes and drama moves can be left to the official scene. Victor's human form was also preserved separately from the image of subsequent changes。
My understanding is that character design determines “what this person looks like”, and role video further provides “how it feels to move and talk”. The two have different tasks in production。
The scene is empty
The author started by creating a picture without actors: night alleys and telephone booths, Ron's office, nightclubs, corridors, and Victor's office。
Prompt words:
And if any of the world's worst, and if any of the world's most vulnerable and most of the world's most vulnerable, it's not the least of the world's most vulnerable.
CAMERA: 24 mm anatomical Lens, three-largely looking down the Wide Street Ward the Telephobe with soft back to the ground and proper mercy, the natural booker on the planet, with 24 mm anecdotal falloff with pronounced softs, and the normal strangulations of the world.
SYLE: Short on real 35mm civil, Kodak Vision 3,500 Tgrain; 24mm economics with sub-national law, general law enforcement and criminal justice, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law, international law.
Empty scenes are responsible for layout, furniture, materials and light; the lens hints are responsible for where, how and how people stand。
The opening calls and endings were returned to Ron ' s office and the same confirmed scene was used. In this way, the place of recurrence also serves as a link to narrative。
If the Secretary-General is responsible for the destruction of the United States of America, he is responsible for the destruction of the United States of America.
35mm economics, three-quarter at sea, Moderate depth of duty, lamp and armed sharp and the bookcase and far walting suddenly into anamopolic oval bokeh around the lampglows, milled anamophatic edge charachter and a subtle horrid warm flare from the floor lamp, micro-handeld away.
SYLE: shot on real 35mm with fine natural plains and highlight roll-off; anamophistical light-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-black-ble-ble-ble-ble-b.
Clean environment plan, no people, no faces, no files in the chair or recovered in the glass.
Victor ' s office has also made more detailed preparations: first to adjust the lighting of the main view and then to make a reverse view towards the door. The side of the sofa and the side of the door must belong to the same room, so that the light and layout can be connected during the white switch。
The order that is most worth drawing on here is:Put the room right and let the actors in。 If the office is recharacterized every time a white pair is generated, the furniture position and the light source can easily drift together。
From the phone to the club, the camera has a narrative mission
Official generation starts with the telephone. The original author obtained four useful pieces of material using the same hint, each of which was reserved for Adam ' s opening, Ron ' s emotional performance, suspension of the telephone and departure, and then placed in the clip。
This means that a “part generation” does not necessarily correspond to a “final one shot”. As long as there are available expressions, movements or reruns, they can be part of the film。
Video 04 Scene 1.1 — The Phone Call
It was followed by a night bridge. The camera followed the motorcycle and moved to the rear of Adam before lifting to display the bridge and the city. This shot connects two locations and leaves space for the title。
The Bridge at Night
When he arrived at the club, the author did not enter the fight immediately, but arranged to enter the house in turn, to have a party camera, to look in the crowd, to turn back and to be found by the guards。
These cameras each advance a little bit: Adam is looking for someone, the environment is still raging and the danger is coming closer. By the time the conflict arose, the audience knew the relationship between the person and the space。
Let's get this straight
The design of the club, one-on-three, is carried out in the order of the threat on the back, right, left. The sequence of actions is more helpful in reading this scene than the collage of adjectives such as “heavy” “shock”。
At the corridor, the author first created a narrow space with five different guards, then generated dialogue and fighting. The final corridor fight was selected from two segments of production, with the help of fast-scrambling blurs to hide connections with physical motion。
Video 17 Scene 3.2 — The Corridor Light
This cut leaves room for production: it does not have to require a single generation to complete the whole scene. Saves the linked paragraphs and then handles the action direction and cut points。
6. Consistency is required for white and action
Victor's office is composed of six-generated selections. Images can be switched and lines need to be kept intact; the door behind Adam and the couch behind Victor also provide a stable location for the audience。
At that point, the performance focused on the process of change: one person remained calm and the other was gradually changing. The reminder should refer to the moment when the change occurs, rather than just an emotional label。
Follow-up special status is also undiscovered: the identity of the person continues to use video elements and the local state and props are called separately. The author also uses the back of the prospective person to block the morphological change, so that the change takes place after the image is blocked, before the final shape is shown。
This is a removable idea: a process that is difficult to produce in a stable manner and can be re-organised by blocking, reaction lenses and clippings。
Mr. 7 makes basic moves, refills
Before the office ended in a fight, the author explored the full, meso and periphery of the empty room and confirmed the different directions of viewing in the same space。
Subsequently, the starting point for Adam and Victor was marked on the high angle scene. This map controls.. Position, does not require the final video to always use the sub-platform。
The basic fight revolved around the red couch. Each move must be approached, exposed and responsive, so that the distance between the person and the power relationship can be understood。
Video 29 Scene 4C.1 - The Base Light
select the basic fight and then enter it as @video_1 to generate a wider view, lower angles and new slots with hidden prospects。
It's a practical step in this process to set up an action, and then fill the lens around it. It allows for a reference movement for the patch, without having to re-engineer the whole action at every angle。
Video 30 Scene 4D — New Cameron Angels
Finally, use Forward Extendd to continue the selection of the clips, extending backwards from the end frame. The position of the person, the capture of the relationship, the light and the clothing need to be followed by the previous paragraph to link the action to the person ' s breathing。
Turning back to Ron's office at the end, one sentence triggered Adam's face shift and left the story to the next. The stoppage after the action is also part of the whole short-film rhythm。
8. Bring the methodology back to your project
If this course of practice is followed, two roles, one location, one pair of whites or one short action can be selected and the whole process can be completed。
Asset recognitionRole-forming, role video, space scenes, and necessary props can be matched。
Scatter the scene: Each shot describes the narrative mission, the location of the person, the movement changes and the camera behavior。
Generate Selection: Keep a valid selection and record the available time, rather than judging by the success or failure of the entire paragraph。
Continuous inspection: check faces, clothing, props, light, movement direction and white connection。
Cuts and supplements: Reprocessing of connections and closings, as required, for re-responses, mirrors and slots。
The most useful place for this record is through a searchable production process involving role design, scene preparation, lens generation and editing selection. Each step leaves a clear frame of reference for the next step, and a complex short film will have an opportunity to be completed paragraph by paragraph。
Source: Higgsfield/adilintheweldtempoHow to make a Cinematic AI Short Film》.