{"id":53891,"date":"2026-06-17T18:34:48","date_gmt":"2026-06-17T10:34:48","guid":{"rendered":"https:\/\/www.1ai.net\/?p=53891"},"modified":"2026-06-17T18:49:27","modified_gmt":"2026-06-17T10:49:27","slug":"%e4%bb%8eai%e8%a7%86%e9%a2%91%e6%8f%90%e7%a4%ba%e8%af%8d%e5%88%b0%e6%88%90%e7%89%87%ef%bc%8c%e6%96%b0%e6%89%8b%e4%b9%9f%e5%88%b6%e4%bd%9cai%e8%a7%86%e9%a2%91%e5%85%a8%e6%94%bb%e7%95%a5","status":"publish","type":"post","link":"https:\/\/www.1ai.net\/en\/53891.html","title":{"rendered":"FROM AN AI VIDEO TIP TO A FILM, THE NEW GUY PRODUCES AN AI VIDEO ALL-AROUND"},"content":{"rendered":"

A lot of people just got in touchAI Video<\/a>It's a problem all the time:<\/p>\n

Losing a sentence, waiting for a film, the result was completely different from what I imagined<\/p>\n

Either it's flat like a surveillance screenshot, or it's just a jigsaw puzzle, or it's a character that looks like a plastic man\u3002<\/p>\n

DON'T YELL AT AI. IT'S PROBABLY YOUR PROBLEMPrompt word<\/a>Go on\u3002<\/strong><\/p>\n

TODAY, IT'S FOR THE 10 ISSUES OF THE AVSPrecision Enrichment Edition<\/strong>.<\/p>\n

I refined the 10 issues into 10 core techniques, each with a positive and negative comparison of cases, which can be used directly\u3002<\/p>\n

WHETHER YOU'RE WHITE OR ALREADY HAVE A FOUNDATION, THIS WILL HELP YOU GET THE A.I.V. UP ONE MORE STEP\u3002<\/p>\n

*Technology 1: Six-Element Method \u2014 Bottom logic for the writing of a hint<\/p>\n

A lot of people write hints by feeling, thinking about what to write, of course the picture is unstable\u3002<\/p>\n

IN FACT, THERE ARE SIX FIXED CORE ELEMENTS OF THE AVP, WHICH ARE CLEARLY WRITTEN AND THE QUALITY IS DOUBLED\u3002<\/p>\n\n\n\n\n\n\n\n\n\n\n
\n
key constituent<\/section>\n<\/th>\n
\n
corresponds English -ity, -ism, -ization<\/section>\n<\/th>\n
\n
Example<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
main part<\/strong><\/td>\n\n
Who's in the picture<\/section>\n<\/td>\n
\n
A woman in a windsuit, a retrocar<\/section>\n<\/td>\n<\/tr>\n
movements<\/strong><\/td>\n\n
What's the subject doing<\/section>\n<\/td>\n
\n
Walk slowly, smile back<\/section>\n<\/td>\n<\/tr>\n
Lenses<\/strong><\/td>\n\n
How<\/section>\n<\/td>\n
\n
Slow advance, close-up<\/section>\n<\/td>\n<\/tr>\n
sunlight and shade<\/strong><\/td>\n\n
How do you fight<\/section>\n<\/td>\n
\n
Sunset, warm, contours<\/section>\n<\/td>\n<\/tr>\n
coloration<\/strong><\/td>\n\n
What color<\/section>\n<\/td>\n
\n
Warm gold, cold blue<\/section>\n<\/td>\n<\/tr>\n
Culture<\/strong><\/td>\n\n
What does it feel like<\/section>\n<\/td>\n
\n
Romantic, lonely, nervous<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
    \n
  • \ud83d\udca1 At least cover the subject + action + three lenses before the image has a basic sense of quality. The six elements are complete and the quality is doubled\u3002<\/li>\n<\/ul>\n

    \"342832e6j00tgru1x00rmd000ugwm\"<\/p>\n

    Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
    <\/th>\n\n
    Prompt word<\/section>\n<\/th>\n
    		\n
    result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
    \n
    Backside<\/section>\n<\/td>\n
    		\"On the street alone.\"<\/code><\/td>\n\n
    IT'S RANDOM. IT'S PROBABLY THE BACK OF THE ROAD. IT'S FLAT<\/section>\n<\/td>\n<\/tr>\n
    \n
    Oh, yeah. Heads<\/section>\n<\/td>\n
    		\"The women in khakis slowly walk on the moist streets of Paris, slow motion, warm and golden, romantic, filmy.\"<\/code><\/td>\n\n
    It's big<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    \ud83c\udfacTechnology 2: Don't change the scene<\/p>\n

    WHY IS YOUR AI VIDEO SURVEILLANCE<\/p>\n

    Because you used it all the timeMedium View + Horizon<\/strong>It's the same view as the surveillance\u3002<\/p>\n

    Learn to switch the view, and it's three-fold\u3002<\/p>\n

    \n
      \n
    • Zenium\u00a0Four big scenes: vision setting, medium view narrative, close viewing, close-up<\/strong><\/li>\n<\/ul>\n<\/blockquote>\n\n\n\n\n\n\n\n\n
      \n
      scenery<\/section>\n<\/th>\n
      		\n
      Image Features<\/section>\n<\/th>\n
      		\n
      corresponds English -ity, -ism, -ization<\/section>\n<\/th>\n
      		\n
      Example<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
      long-range view<\/strong><\/td>\n\n
      Small people. Environments<\/section>\n<\/td>\n
      		\n
      Set the scene. Create a sense of space<\/section>\n<\/td>\n
      		A vision. Small people standing in front of a big mountain<\/code><\/td>\n<\/tr>\n
      medium term view<\/strong><\/td>\n\n
      People make up half the picture<\/section>\n<\/td>\n
      		\n
      Narrative, most common<\/section>\n<\/td>\n
      		The man stands at the bar with his hands on his coffee<\/code><\/td>\n<\/tr>\n
      Close shot<\/strong><\/td>\n\n
      Boobs above<\/section>\n<\/td>\n
      		\n
      Passage, face details<\/section>\n<\/td>\n
      		The people are smiling and looking out the window<\/code><\/td>\n<\/tr>\n
      close-up (filmmaking, photography etc)<\/strong><\/td>\n\n
      Just one spot<\/section>\n<\/td>\n
      		\n
      Hold on. The most powerful<\/section>\n<\/td>\n
      		A close-up. One hand slowly turns the yellow pages<\/code><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

      \"51a1d0e3j00tgru1x00uxd000ugwm\"<\/p>\n

      Case comparison:<\/strong><\/p>\n

      \u274c\u00a0Reversal materials<\/strong>(Middleview of the whole way)<\/p>\n

      First shot: \"A woman in a caf\u00e9.\"
      \nSecond shot: \"She brought up a coffee cup.\"
      \nThird shot: \"She looks out the window.\"<\/p>\n

      Results: Like a surveillance video, you want to cut away in 10 seconds\u3002<\/p>\n

      \u2705\u00a0Positive<\/strong>(sides forward)<\/p>\n

      First shot: \"Vision, the streets of Paris in the rain, a woman walks into a caf\u00e9.\"
      \nSecond shot: \"Middleview, she sits down and reaches out to pick up the coffee cup.\"
      \nThird shot: \"The sight, she's holding a cup of coffee, and her mouth is piling up.\"
      \nFourth shot: \"Screen up, hot air in a coffee cup.\"<\/p>\n

      Results: rhythm, hierarchy, emotion, that's what the video looks like\u3002<\/p>\n

      Tactical 3: Mirror + Image -- let the picture move and be beautiful<\/p>\n

      It's not enough to be different. The camera has to move, the picture has to be organized\u3002<\/p>\n

      5 basic mirrors<\/p>\n

      \n
        \n
      • Zenium\u00a0Interviews: Focus, Panorama, Panorama, Space Migration, People<\/strong><\/li>\n<\/ul>\n<\/blockquote>\n\n\n\n\n\n\n\n\n\n
        \n
        mirrors<\/section>\n<\/th>\n
        		\n
        describe<\/section>\n<\/th>\n
        		\n
        Applicable scenarios<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
        shirk (responsibility)<\/strong><\/td>\n\n
        We're slowly approaching the subject<\/section>\n<\/td>\n
        		\n
        Focus, reveal the details<\/section>\n<\/td>\n<\/tr>\n
        Pull<\/strong><\/td>\n\n
        Keep away from the subject<\/section>\n<\/td>\n
        		\n
        Show me the whole picture<\/section>\n<\/td>\n<\/tr>\n
        Shake<\/strong><\/td>\n\n
        Turn left and right<\/section>\n<\/td>\n
        		\n
        Scanning the scene, showing the wide space<\/section>\n<\/td>\n<\/tr>\n
        Move<\/strong><\/td>\n\n
        Partly Move<\/section>\n<\/td>\n
        		\n
        Show space depth<\/section>\n<\/td>\n<\/tr>\n
        Call<\/strong><\/td>\n\n
        Follow the subject<\/section>\n<\/td>\n
        		\n
        Create a sense of company, emphasize the character<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

        Three altimeters<\/p>\n

        \n
          \n
        • Zenium\u00a0A: I don't have a three-point system<\/strong><\/li>\n<\/ul>\n<\/blockquote>\n\n\n\n\n\n\n\n
          \n
          Chart Method<\/section>\n<\/th>\n
          		\n
          Features<\/section>\n<\/th>\n
          		\n
          Applicable scenarios<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
          Triple<\/strong><\/td>\n\n
          The safest, the main points<\/section>\n<\/td>\n
          		\n
          It's perfect<\/section>\n<\/td>\n<\/tr>\n
          Symmetry<\/strong><\/td>\n\n
          The most powerful, visual shock<\/section>\n<\/td>\n
          		\n
          Construction, reflection, ritual sense scenes<\/section>\n<\/td>\n<\/tr>\n
          Lead Line<\/strong><\/td>\n\n
          It's deep, it's rich<\/section>\n<\/td>\n
          		\n
          Roads, rivers, tracks<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

          \"7b33a862j00tgru1x00xbd000ugwm\"<\/p>\n

          Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
          <\/th>\n\n
          Prompt word<\/section>\n<\/th>\n
          		\n
          result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
          \n
          Backside<\/section>\n<\/td>\n
          		\"A girl on the beach.\"<\/code><\/td>\n\n
          It's like a tourist<\/section>\n<\/td>\n<\/tr>\n
          \n
          Oh, yeah. Heads<\/section>\n<\/td>\n
          		\"A vision, a three-part map, a girl standing on a reef, a slow pull-off, revealing a vast coastline, a warm golden tone of sunset.\"<\/code><\/td>\n\n
          It's moving, it's level, it's moving, it's moving, it's moving<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
            \n
          • \u26a0\ufe0f Hole avoidance alert:<\/strong>\u00a0SLOW MOTION PLUS COMPLEX MIRRORS ON AT THE SAME TIME, AI PROBABLY FLIPPED OVER. YOU PICK ONLY ONE MIRROR AT A TIME, AND THEN YOU FOLD\u3002<\/li>\n<\/ul>\n

            Tactics IV: Style first \u2014 style first<\/p>\n

            A lot of people write hints, a lot of main action footage, and the last picture is \"No Four.\"\u3002<\/p>\n

            The problem is:You didn't set the tone\u3002<\/strong><\/p>\n

            IT'S LIKE PAINTING, YOU HAVE TO DECIDE WHETHER IT'S A PAINTING OR A WATERCOLOR OR A SKETCH, OR IT CAN ONLY BE PLAYED RANDOMLY\u3002<\/p>\n\n\n\n\n\n\n\n\n
            \n
            hairstyle<\/section>\n<\/th>\n
            		\n
            Features<\/section>\n<\/th>\n
            		\n
            Applicable scenarios<\/section>\n<\/th>\n
            		\n
            Example of keyword<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
            Write the wind<\/strong><\/td>\n\n
            Photo Real<\/section>\n<\/td>\n
            		\n
            Products, discipline<\/section>\n<\/td>\n
            		Photo Real<\/code><\/p>\n
            \u00a0Natural light<\/code>\u00a0That's very substantive<\/code><\/section>\n<\/td>\n<\/tr>\n
            Cartoon<\/strong><\/td>\n\n
            FLAT\/3D\/VIDEO<\/section>\n<\/td>\n
            		\n
            COPE, IP, BINARY<\/section>\n<\/td>\n
            		3D PIXIES<\/code><\/p>\n
            \u00a0The solar system<\/code>\u00a0Chinese ink and wash national style<\/code><\/section>\n<\/td>\n<\/tr>\n
            Artistic Wind<\/strong><\/td>\n\n
            Paintings\/watercolors\/Sebbunk<\/section>\n<\/td>\n
            		\n
            CREATIVE, MV<\/section>\n<\/td>\n
            		Painting<\/code><\/p>\n
            \u00a0cyberpunk<\/code>\u00a0Steam punk<\/code><\/section>\n<\/td>\n<\/tr>\n
            Film Wind<\/strong><\/td>\n\n
            Wide-banded, shallow, professional<\/section>\n<\/td>\n
            		\n
            Story, ads<\/section>\n<\/td>\n
            		Film-class sense<\/code><\/p>\n
            \u00a0Large banner 16:9<\/code>\u00a0Deep view<\/code><\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

            \"c32a053dj00tgru1x00u9d000ugwm\"<\/p>\n

             <\/p>\n

            Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
            <\/th>\n\n
            Prompt word<\/section>\n<\/th>\n
            		\n
            result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
            \n
            Backside<\/section>\n<\/td>\n
            		\"A girl runs in the forest.\"<\/code><\/td>\n\n
            AI GIVES YOU A RANDOM STYLE<\/section>\n<\/td>\n<\/tr>\n
            \n
            Oh, yeah. Heads<\/section>\n<\/td>\n
            		\"The film-grade sense, the broad painting, a girl in a sports dress running on the forest trail, side-reverse light, side-horizon horizontally following, cold and green, clean of nature.\"<\/code><\/td>\n\n
            It's a uniform style, a clear sense of quality. It's a professional work<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
              \n
            • \ud83d\udca1 Small trick:<\/strong>\u00a0WRITING \"SIMILAR TO THE STYLE OF A CERTAIN DIRECTOR\" LIKE WANG JIA WEI AND MIYAZAKI, AI UNDERSTANDS THE STYLE OF A WELL-KNOWN DIRECTOR\u3002<\/li>\n<\/ul>\n

              \ud83d\udca1Technology 5: Shadow + Color - Image Mass Spirit<\/p>\n

              The same scene, some people make it like a big movie, some people make it like a mobile phone\u3002<\/p>\n

              The difference is..Light and Color<\/strong>.<\/p>\n

              \n
                \n
              • The light is the soul of the picture, the colour is the language of emotion\u3002<\/strong><\/li>\n<\/ul>\n<\/blockquote>\n

                Three techniques for polishing<\/strong><\/p>\n\n\n\n\n\n\n\n
                \n
                Light<\/section>\n<\/th>\n
                		\n
                effect<\/section>\n<\/th>\n
                		\n
                Applicable scenarios<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                Outline Light<\/strong><\/td>\n\n
                Hit it in the back, scratch the edge, highlight the subject<\/section>\n<\/td>\n
                		\n
                Personal close-ups, anti-lights<\/section>\n<\/td>\n<\/tr>\n
                Size Light<\/strong><\/td>\n\n
                Optical column in fog (Dindal effect)<\/section>\n<\/td>\n
                		\n
                Mystery, forest, religious scenes<\/section>\n<\/td>\n<\/tr>\n
                Three o'clock light<\/strong><\/td>\n\n
                Main light + auxiliary light + contours, professional<\/section>\n<\/td>\n
                		\n
                Personal interviews, product presentations<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                3 Hue Formulaes<\/strong><\/p>\n\n\n\n\n\n\n\n
                \n
                tones<\/section>\n<\/th>\n
                		\n
                Emotional keyword<\/section>\n<\/th>\n
                		\n
                Applicable subject matter<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                warm color (arch.)<\/strong><\/td>\n\n
                Warm, romantic, curable<\/section>\n<\/td>\n
                		\n
                Love films, food, travel<\/section>\n<\/td>\n<\/tr>\n
                cool color<\/strong><\/td>\n\n
                Loneliness, technology, alienation<\/section>\n<\/td>\n
                		\n
                Science fiction, doubt, night vision<\/section>\n<\/td>\n<\/tr>\n
                High Saturation Contrast<\/strong><\/td>\n\n
                Excitation, shock, rebellion<\/section>\n<\/td>\n
                		\n
                SABBONK, SPORTS, MV<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                \"a846625j00tgru1x00ngd000ugwm\"<\/p>\n

                Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
                <\/th>\n\n
                Prompt word<\/section>\n<\/th>\n
                		\n
                result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                \n
                Backside<\/section>\n<\/td>\n
                		\"A man sits in his office.\"<\/code><\/td>\n\n
                It's like a hand-held phone<\/section>\n<\/td>\n<\/tr>\n
                \n
                Oh, yeah. Heads<\/section>\n<\/td>\n
                		\"The cold blue, saturated, a man sitting in his late night's office, the light on the computer screen on his face, the city's night view outside the window, the look of his tired eyes, the isolation.\"<\/code><\/td>\n\n
                The audience was brought in in with emotion, atmosphere, story<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
                  \n
                • \u26a0\ufe0f\u00a0Hole avoidance alert:<\/strong>\u00a0DON'T WRITE \"SMART COLOR\" OR \"SMALL COLOR\" -- AI DOESN'T KNOW WHAT COLOR YOU WANT, AND FINALLY GIVES YOU A POT OF MASH\u3002Specifies the one-two maintone + dot colour is enough\u3002<\/strong><\/li>\n<\/ul>\n

                  \ud83e\uddf1Technology VI: Material quality senses - key to saying goodbye to plastic senses<\/p>\n

                  WHAT'S THE BIGGEST CRACK IN AI VIDEO<\/p>\n

                  Plastic sense\u3002<\/strong><\/p>\n

                  SKIN IS WAX, HAIR IS PLASTIC, CLOTHES ARE STICKERS, THE ENVIRONMENT IS TOO CLEAN - IT'S MADE BY AI\u3002<\/p>\n

                  Add a few material keywords, and the real sense increases tenfold\u3002<\/p>\n\n\n\n\n\n\n\n\n
                  \n
                  Parts<\/section>\n<\/th>\n
                  		\n
                  Recommendation for keyword<\/section>\n<\/th>\n
                  		\n
                  effect<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                  Skin<\/strong><\/td>\nSubsurface dispersive effect<\/code><\/p>\n
                  \u00a0A delicate skin<\/code>\u00a0You can see the natural pores<\/code><\/section>\n<\/td>\n
                  		\n
                  The skin is red<\/section>\n<\/td>\n<\/tr>\n
                  Clothes<\/strong><\/td>\nSynthetic Texture<\/code><\/p>\n
                  \u00a0\u266a The silk is shining \u266a<\/code>\u00a0Leather texture clear<\/code><\/section>\n<\/td>\n
                  		\n
                  The fabric feels real<\/section>\n<\/td>\n<\/tr>\n
                  Metal<\/strong><\/td>\nLace metal<\/code><\/p>\n
                  \u00a0Chromium metal reflection<\/code>\u00a0It's metal<\/code><\/section>\n<\/td>\n
                  		\n
                  Metal is natural<\/section>\n<\/td>\n<\/tr>\n
                  matrix<\/strong><\/td>\nWind concrete<\/code><\/p>\n
                  \u00a0Strip the paint<\/code>\u00a0The moss covers the tablets<\/code><\/section>\n<\/td>\n
                  		\n
                  There's a time for this<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                  \"cf86360cj00tgru1x00s6d000ugwm\"<\/p>\n

                   <\/p>\n

                  Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
                  <\/th>\n\n
                  Prompt word<\/section>\n<\/th>\n
                  		\n
                  result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                  \n
                  Backside<\/section>\n<\/td>\n
                  		\"A portrait of a young woman.\"<\/code><\/td>\n\n
                  SKIN'S AS SMOOTH AS WAX. CLOTHES LIKE IT'S ON TOP<\/section>\n<\/td>\n<\/tr>\n
                  \n
                  Oh, yeah. Heads<\/section>\n<\/td>\n
                  		\"Young female portraits, subsurface dispersing skin senses, see delicate hair holes and natural textures, linen shirts with fabric woven textures, elbows with natural wrinkles, natural light at windows, film-grade senses.\"<\/code><\/td>\n\n
                  The skin is red, the clothes are real, and it's real<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
                    \n
                  • \ud83d\udca1\u00a0Principles of use:<\/strong>\u00a0DON'T WRITE FOUR MATERIALS AT THE SAME TIME. AI CAN'T HANDLE IT. EVERY SELECTION1-2 priority materials<\/strong>It's enough - people look at skin, clothes at fabric, buildings at weather\u3002<\/li>\n<\/ul>\n

                    Tactical 7: Speed + Dynamics - Lets people move like real people<\/p>\n

                    WHY DO PEOPLE IN AI VIDEO ALWAYS LOOK LIKE ROBOTS<\/p>\n

                    Because it's missingChanges in speed<\/strong>andDynamic Details<\/strong>.<\/p>\n

                    REAL PEOPLE WALK WITH WEIGHT, THEY TURN AROUND WITH INERTIA, AND THEY HAVE A SLIGHT EXPRESSION -- NONE OF THESE AI DEFAULTS\u3002<\/p>\n

                    3 Speed Controls<\/strong><\/p>\n\n\n\n\n\n\n\n
                    \n
                    Speed Type<\/section>\n<\/th>\n
                    		\n
                    effect<\/section>\n<\/th>\n
                    		\n
                    Applicable scenarios<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                    slow motion<\/strong><\/td>\n\n
                    The motion burst slowly, boosting the impact<\/section>\n<\/td>\n
                    		\n
                    Fight, jump, break<\/section>\n<\/td>\n<\/tr>\n
                    time-lapse photography<\/strong><\/td>\n\n
                    Time compressed, day and night, clouds flowing<\/section>\n<\/td>\n
                    		\n
                    The landscape, the city, the time<\/section>\n<\/td>\n<\/tr>\n
                    Speed Gradient<\/strong><\/td>\n\n
                    Slow down or slow down<\/section>\n<\/td>\n
                    		\n
                    The mood turns, the rhythm changes<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                    4 dynamic keywords<\/strong><\/p>\n\n\n\n\n\n\n\n\n
                    \n
                    Dynamic Type<\/section>\n<\/th>\n
                    		\n
                    describe<\/section>\n<\/th>\n
                    		\n
                    Keyword<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                    Weight<\/strong><\/td>\n\n
                    A real shift in focus at every step<\/section>\n<\/td>\n
                    		Foot tribe has weight<\/code><\/p>\n
                    \u00a0Focus shifts with pace<\/code><\/section>\n<\/td>\n<\/tr>\n
                    Inertial Actions<\/strong><\/td>\n\n
                    Hair\/clothes continue to swing because of inertia<\/section>\n<\/td>\n
                    		Long hair drifts backwards due to inertia<\/code><\/p>\n
                    \u00a0The scarf moves with the wind<\/code><\/section>\n<\/td>\n<\/tr>\n
                    Micro-expression<\/strong><\/td>\n\n
                    The emotional details of restraint<\/section>\n<\/td>\n
                    		\u266a The horns of your mouth \u266a<\/code><\/p>\n
                    \u00a0Eyebrows<\/code><\/section>\n<\/td>\n<\/tr>\n
                    Stand by<\/strong><\/td>\n\n
                    The power of action<\/section>\n<\/td>\n
                    		Let's take it easy<\/code><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                    \"7b8cd19ej00tgru1x00vyd000u00gwm\"<\/p>\n

                    Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
                    <\/th>\n\n
                    Prompt word<\/section>\n<\/th>\n
                    		\n
                    result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                    \n
                    Backside<\/section>\n<\/td>\n
                    		\"A girl runs in the rain.\"<\/code><\/td>\n\n
                    Run like a robot, with no feet, no hair, no clothes<\/section>\n<\/td>\n<\/tr>\n
                    \n
                    Oh, yeah. Heads<\/section>\n<\/td>\n
                    		\"Young women run in the rain, the red dress floats in the wind, the skin is scattered on the subsurface with a micro-red cheek, with a small bouquet splattering every step of the way, with long and wet hairs floating behind their faces because of inertia, a medium view and a camera, a slow fall of rain drops in the water's canopy, cold blues, rain and night\"<\/code><\/td>\n\n
                    Weight, inertia, detail. The character lives<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                    Tight eight: Interactive + Turnover -- multi-scenes<\/p>\n

                    So, what do we do with the multiple scenes<\/p>\n

                    Why aren't people doing anything? What's the spinny turn? How's that sound<\/p>\n

                    3 interactive characters<\/strong><\/p>\n\n\n\n\n\n\n\n
                    \n
                    Interactive Type<\/section>\n<\/th>\n
                    		\n
                    Key Points<\/section>\n<\/th>\n
                    		\n
                    Example<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                    Space relations<\/strong><\/td>\n\n
                    Identify two<\/section>\n<\/td>\n
                    		\"A\" OPPOSITE B<\/code><\/td>\n<\/tr>\n
                    Action Interactive<\/strong><\/td>\n\n
                    Make sure who does what<\/section>\n<\/td>\n
                    		A'S HAND SHOT B'S SHOULDER<\/code><\/td>\n<\/tr>\n
                    Eyes<\/strong><\/td>\n\n
                    Clear eye contact<\/section>\n<\/td>\n
                    		TWO PEOPLE LOOKING AT EACH OTHER<\/code><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                    Three shifts<\/strong><\/p>\n\n\n\n\n\n\n\n
                    \n
                    Transfer Type<\/section>\n<\/th>\n
                    		\n
                    Features<\/section>\n<\/th>\n
                    		\n
                    Applicable scenarios<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                    A similar turn<\/strong><\/td>\n\n
                    Two shots have similar shapes\/colours\/actions<\/section>\n<\/td>\n
                    		\n
                    Fluid connection, unified vision<\/section>\n<\/td>\n<\/tr>\n
                    Sports game<\/strong><\/td>\n\n
                    It's a natural connection with a person or a camera<\/section>\n<\/td>\n
                    		\n
                    It's moving. It's moving fast<\/section>\n<\/td>\n<\/tr>\n
                    The mask turns around<\/strong><\/td>\n\n
                    Use the object to block the scene<\/section>\n<\/td>\n
                    		\n
                    Mystery, suspense<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                    Sound Tictionary<\/p>\n

                    \n
                      \n
                    • Zenium\u00a0Example:<\/strong>\u00a0\u201cEnvironmental sound: Rain + Caf\u00e9 background light music; Person voice: light sighs\u201d<\/li>\n<\/ul>\n<\/blockquote>\n

                      \"1c58109ej00tgru1x00sld000ugwm\"<\/p>\n

                      Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
                      <\/th>\n\n
                      Prompt word<\/section>\n<\/th>\n
                      		\n
                      result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                      \n
                      Backside<\/section>\n<\/td>\n
                      		Two people talking in a caf\u00e9<\/code><\/td>\n\n
                      AI MAY HAVE GIVEN YOU TWO FACELESS PEOPLE SITTING TOGETHER WITHOUT A SENSE OF INTERACTION<\/section>\n<\/td>\n<\/tr>\n
                      \n
                      Oh, yeah. Heads<\/section>\n<\/td>\n
                      		\"CAF\u00c9 INTERIOR, MEDIUM VIEW, TWO FRIENDS SITTING SIDE BY SIDE, TWO CUPS OF COFFEE ON THE TABLE, A SMILES FORWARD, HIS FINGER KNOCKS SOFTLY ON THE TABLE, B LEANS BACK ON THE BACK OF THE CHAIR, CROSSES HIS ARMS, HIS MOUTH WITH A FUNNY SMILE, WARMS THE YELLOW TABLE LIGHTS, WARMS THE ATMOSPHERE.\"<\/code><\/td>\n\n
                      There's an interactive, emotional, storytelling, and it's a live picture<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
                        \n
                      • \u26a0\ufe0f Hole avoidance alert:<\/strong>\u00a0THERE ARE NO MORE THAN THREE PEOPLE WHO INTERACT, AND AI CAN'T HANDLE IT\u3002Keep your hands as simple as possible<\/strong>THE HAND IS THE MOST DISASTER-PRONE AREA FOR AI\u3002<\/li>\n<\/ul>\n

                        Tactical 9: An all-powerful formula -- you can fill in a good piece<\/p>\n

                        There's a lot to learn from here. How do we tie them up<\/p>\n

                        Remember thisA six-part all-power equation<\/strong>Just fill it in:<\/p>\n

                        [subject description] + [action status] + [synthetic language] + [photographic colour] + [material quality] + [emotional atmosphere]<\/p>\n

                        Six-part formula<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n
                        \n
                        Paragraph<\/section>\n<\/th>\n
                        		\n
                        What does it say<\/section>\n<\/th>\n
                        		\n
                        Example keyword<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                        \n
                        \u2460\u00a0Main Description<\/strong><\/section>\n<\/td>\n
                        		\n
                        Who's in the picture? What's it look like<\/section>\n<\/td>\n
                        		Herdsmen in red<\/code><\/p>\n
                        \u00a0Young women<\/code><\/section>\n<\/td>\n<\/tr>\n
                        \n
                        \u2461\u00a0Action Status<\/strong><\/section>\n<\/td>\n
                        		\n
                        What's the subject doing<\/section>\n<\/td>\n
                        		Stand by the lake<\/code><\/p>\n
                        \u00a0Slow down<\/code>\u00a0Smile back<\/code><\/section>\n<\/td>\n<\/tr>\n
                        \n
                        \u2462\u00a0camera language<\/strong><\/section>\n<\/td>\n
                        		\n
                        View, angle, mirror, image<\/section>\n<\/td>\n
                        		The middle view slowly advances<\/code><\/p>\n
                        \u00a0Paradigm<\/code><\/section>\n<\/td>\n<\/tr>\n
                        \n
                        \u2463\u00a0Shadow Color<\/strong><\/section>\n<\/td>\n
                        		\n
                        Lighting, Hue<\/section>\n<\/td>\n
                        		The golden side of the twilight<\/code><\/p>\n
                        \u00a0warm color (arch.)<\/code><\/section>\n<\/td>\n<\/tr>\n
                        \n
                        \u2464\u00a0Material Sensory<\/strong><\/section>\n<\/td>\n
                        		\n
                        Material for skin, clothing, environment<\/section>\n<\/td>\n
                        		There's a coarse fabric in the robe<\/code><\/td>\n<\/tr>\n
                        \n
                        Six\u00a0Emotion<\/strong><\/section>\n<\/td>\n
                        		\n
                        What does it feel like<\/section>\n<\/td>\n
                        		It's quiet and far away<\/code><\/p>\n
                        \u00a0Film quality<\/code><\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                        \"a4f71ad9j00tgru1x00tcd000u00gwm\"<\/p>\n

                        Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
                        <\/th>\n\n
                        Prompt word<\/section>\n<\/th>\n
                        		\n
                        result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                        \n
                        Backside<\/section>\n<\/td>\n
                        		\"A beautiful girl, in a beautiful place, doing something that feels good<\/code><\/td>\n\n
                        IT'S ALL VAGUE ADJECTIVES. AI DOESN'T KNOW WHAT YOU WANT<\/section>\n<\/td>\n<\/tr>\n
                        \n
                        Oh, yeah. Heads<\/section>\n<\/td>\n
                        		\"The herdsmen in the red robes stood by the lake of Namucho, and the snow mountain fell on the lake's surface, the breeze blew the horns, the mid-sight was slowly moving, the twilight and golden sun came from the side, the warm color, the robes were coarsely woven, the quiet atmosphere, the film sense.\"<\/code><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                        Zenium\u00a0Three principles:<\/strong><\/p>\n

                          \n
                        1. From Jane to Bottle<\/strong>: Write the subject, then fix it, and don't come up for perfection<\/li>\n
                        2. Chinese is the main<\/strong>: DAILY DESCRIPTION IN CHINESE, PROFESSIONAL TERMS RETAINED IN ENGLISH, AI UNDERSTANDS BETTER<\/li>\n
                        3. There's more if you're short<\/strong>: not more than 20 keywords, rather than stacking<\/li>\n<\/ol>\n

                          \ud83d\udee0\ufe0fTechnology 10: Tool selection \u2014 tool selection half-time<\/p>\n

                          DIFFERENT AI VIDEO TOOLS, DIFFERENT FIELDS OF EXPERTISE\u3002<\/p>\n

                          Picking the right tool, doing the right thing, picking the wrong tool, making the best of the good\u3002<\/p>\n\n\n\n\n\n\n\n\n\n
                          \n
                          tool<\/section>\n<\/th>\n
                          		\n
                          Areas of Expertise<\/section>\n<\/th>\n
                          		\n
                          dominance<\/section>\n<\/th>\n
                          		\n
                          Shortboard<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                          Dream AI<\/strong><\/td>\n\n
                          It's a reality, a movie<\/section>\n<\/td>\n
                          		\n
                          He's a good person<\/section>\n<\/td>\n
                          		\n
                          It's a lot of action<\/section>\n<\/td>\n<\/tr>\n
                          KeLing AI<\/strong><\/td>\n\n
                          Dynamics, physical effects<\/section>\n<\/td>\n
                          		\n
                          Weight is real, it's natural<\/section>\n<\/td>\n
                          		\n
                          He's got an unstable face<\/section>\n<\/td>\n<\/tr>\n
                          Vidu<\/strong><\/td>\n\n
                          Long video, coherence<\/section>\n<\/td>\n
                          		\n
                          Ten seconds + steady<\/section>\n<\/td>\n
                          		\n
                          The details are weak<\/section>\n<\/td>\n<\/tr>\n
                          Conch AI<\/strong><\/td>\n\n
                          Micro-expressions, emotional scenes<\/section>\n<\/td>\n
                          		\n
                          It's so delicate, it's funny<\/section>\n<\/td>\n
                          		\n
                          Big moves are easy to crash<\/section>\n<\/td>\n<\/tr>\n
                          Tongyi Wanxiang<\/strong><\/td>\n\n
                          Style, art<\/section>\n<\/td>\n
                          		\n
                          It's very diverse and creative<\/section>\n<\/td>\n
                          		\n
                          It's a little weak<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                          Word Selection Tool<\/strong><\/p>\n\n\n\n\n\n\n\n\n
                          \n
                          Demand scenario<\/section>\n<\/th>\n
                          		\n
                          Preferred Tool<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                          \n
                          Make a portrait of a person \/ an emotional play<\/section>\n<\/td>\n
                          		\n
                          DREAM AI + HYDRA AI<\/section>\n<\/td>\n<\/tr>\n
                          \n
                          Exercise \/ Action scene<\/section>\n<\/td>\n
                          		\n
                          KeLing AI<\/section>\n<\/td>\n<\/tr>\n
                          \n
                          Play \/ Long Video<\/section>\n<\/td>\n
                          		\n
                          Vidu<\/section>\n<\/td>\n<\/tr>\n
                          \n
                          Creative\/ Artistic<\/section>\n<\/td>\n
                          		\n
                          Tongyi Wanxiang<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                          Case comparison:<\/strong><\/p>\n\n\n\n\n\n\n
                          <\/th>\n\n
                          Approach<\/section>\n<\/th>\n
                          		\n
                          result<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                          \n
                          Backside<\/section>\n<\/td>\n
                          		\n
                          We'll do it with our friendsOverwhelming portraits of the actual person. Skin detail is clear<\/code><\/section>\n<\/td>\n
                          		\n
                          It's more stylish, it's less real, and it's like drawing<\/section>\n<\/td>\n<\/tr>\n
                          \n
                          Oh, yeah. Heads<\/section>\n<\/td>\n
                          		\n
                          IT'S A DREAMOverwhelming image, subsurface dispersing skin, natural light by the window<\/code><\/section>\n<\/td>\n
                          		\n
                          It's real, it's light, it's light<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                          \ud83c\udf81 Bonus: Full combat -- 30 seconds of product video<\/p>\n

                          IT'S NOT ENOUGH TO LEARN TO WRITE A SINGLE TIP. YOU NEED TO KNOW HOW TO USE AI TO MAKE A FULL VIDEO\u3002<\/p>\n

                          \n
                            \n
                          • \u26a0\ufe0f\u00a0Important cognitive: Don't try to generate a 30-second video with a hint\u3002<\/strong><\/li>\n
                          • AI SINGLE CAMERA4-8 seconds most stable<\/strong>I don't know. The 30-second video is to be split into four-to-five lenses, generated one by one, then spelled with a cut\u3002<\/li>\n<\/ul>\n<\/blockquote>\n

                            Field case: smart watch product video<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n
                            \n
                            Lenses<\/section>\n<\/th>\n
                            		\n
                            length of time<\/section>\n<\/th>\n
                            		\n
                            Prompt word<\/section>\n<\/th>\n
                            		\n
                            corresponds English -ity, -ism, -ization<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                            \n
                            shot one<\/section>\n<\/td>\n
                            		\n
                            Eight seconds<\/section>\n<\/td>\n
                            		SMART WATCHES ARE ON ABOUT WHITE DESKTOPS, CLOSE-UP CAMERAS ARE MOVING SLOWLY, LEFT-SIDE CONTOUR LUMINOUS HULLS, METAL HUSK REFLECTORS, COLD BLUES, 4K SUPER-CLEAR DETAILS, PRODUCT PRESENTATION STYLE<\/code><\/td>\n\n
                            Product close-up, first impression<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            shot two<\/section>\n<\/td>\n
                            		\n
                            Six seconds<\/section>\n<\/td>\n
                            		A young woman wears a watch on her wrist, she's got a near view, she's head down, she's got a natural light on the right window, she's warm, she's got a real skin<\/code><\/td>\n\n
                            Wear the scene and create a sense of introspection<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            shot three<\/section>\n<\/td>\n
                            		\n
                            Eight seconds<\/section>\n<\/td>\n
                            		Hand-watch screen display message, finger clicks, close-up screen displays, dark background, movie-level three-point light, technology ad style<\/code><\/td>\n\n
                            It's a job show<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            Shot Four<\/section>\n<\/td>\n
                            		\n
                            Five seconds<\/section>\n<\/td>\n
                            		Women running in the park at dusk, wrists visible, slow motion, hot sundown light, side by side with the camera<\/code><\/td>\n\n
                            Life scenes, branding<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            shot 5<\/section>\n<\/td>\n
                            		\n
                            Three seconds<\/section>\n<\/td>\n
                            		The watch is hovering, the gradual purified background, the product's main vision, the studio lights, and the sense of simplicity<\/code><\/td>\n\n
                            ending grid, add logo<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                            Late production, four steps<\/p>\n

                            1 Clip puzzle: Import 5 shots sequentially
                            \n2 Plus Turnover: Mask Turnover or Sport Turnover
                            \n3 WITH MUSIC: A LIGHT-PACED TECHNOLOGY FEELING BGM
                            \n4 Subtitles: Product name, feature<\/p>\n

                            So, a professional product video is finished\u3002<\/p>\n

                            Comprehensive summary: 10 checklists of core techniques<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
                            \n
                            #<\/section>\n<\/th>\n
                            		\n
                            Skill<\/section>\n<\/th>\n
                            		\n
                            core element<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n
                            \n
                            1<\/section>\n<\/td>\n
                            		Six-Element Method<\/strong><\/td>\n\n
                            Subject + action + lens + light + colour + atmosphere, lower logic for writing hints<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            2<\/section>\n<\/td>\n
                            		Do not switch<\/strong><\/td>\n\n
                            A vision, a medium view, a near view, a close-up<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            3<\/section>\n<\/td>\n
                            		Mirror + Structure<\/strong><\/td>\n\n
                            Push-and-thrust + three-minute\/symmetry\/guideline<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            4<\/section>\n<\/td>\n
                            		Style first<\/strong><\/td>\n\n
                            Writing of facts\/cartoons\/art\/films, first style before content<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            5<\/section>\n<\/td>\n
                            		Shadow+Colour<\/strong><\/td>\n\n
                            Cursor \/ volume \/ 3 points of light + warm\/cold\/comparable<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            6<\/section>\n<\/td>\n
                            		Material Sensory<\/strong><\/td>\n\n
                            Subsurface dispersion + fabric texture + environmental details, farewell plastic sense<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            7<\/section>\n<\/td>\n
                            		Speed + Dynamic<\/strong><\/td>\n\n
                            Slow motion\/time delay\/pace gradient + weight\/ inertia\/micro-expression<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            8<\/section>\n<\/td>\n
                            		Interactive + Turnover<\/strong><\/td>\n\n
                            Clear spatial relationship + action interaction + like\/move\/mask rotation field<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            9<\/section>\n<\/td>\n
                            		The almighty formula<\/strong><\/td>\n\n
                            Six-part template: main + action + lens + photo + material + atmosphere<\/section>\n<\/td>\n<\/tr>\n
                            \n
                            10<\/section>\n<\/td>\n
                            		Tool Selection<\/strong><\/td>\n\n
                            It's the Dream Man, the Clint Movement, the Vidu video, the sea conch expression, the All-China style<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

                            Zenium\u00a0Remember this:<\/strong><\/p>\n

                            The best hint is not the longest, the most precise\u3002<\/strong><\/p>\n

                            FROM TODAY ON, TRY TO OPTIMIZE YOUR HINTS WITH THESE METHODS, AND YOU'LL FIND THAT -- THE AI VIDEO COULD HAVE BEEN THAT SIMPLE\u3002<\/p>\n

                            <\/div>\n
                            <\/div>\n
                            <\/div>\n
                            <\/div>\n
                            <\/div>\n
                            <\/div>","protected":false},"excerpt":{"rendered":"

                            THIS IS A PROBLEM THAT A LOT OF PEOPLE HAVE JUST COME ACROSS WITH: LOSING A SENTENCE, WAITING FOR A FILM TO COME OUT, AND IT TURNS OUT THAT IT'S NOT THE SAME THING AS YOU THINK -- EITHER IT'S LIKE A SECURITY SCREENSHOT, OR IT'S LIKE A JIGSAW PUZZLE, OR IT'S LIKE A PLASTIC CHARACTER. DON'T YELL AT AI. THE PROBLEM IS PROBABLY ON YOUR HINT. TODAY, IT'S A FINE, CONDENSED VERSION OF 10 ISSUES OF THE AVP DRY. I REFINED THE 10 ISSUES INTO 10 CORE TECHNIQUES, EACH WITH A POSITIVE AND NEGATIVE COMPARISON OF CASES, WHICH CAN BE USED DIRECTLY. WHETHER YOU'RE WHITE OR ALREADY HAVE A FOUNDATION, THIS IS GOING TO HELP YOU GET THE AI VIDEO UP A STEP FURTHER. TACTICS ONE: SIX-FACTOR METHOD -- THE BOTTOM LOGIC OF WRITING A HINT<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[149,144],"tags":[956,5321,837],"collection":[],"class_list":{"0":"post-53891","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"hentry","6":"category-jiaocheng","7":"category-baike","8":"tag-ai","10":"tag-837"},"acf":[],"_links":{"self":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/53891","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/comments?post=53891"}],"version-history":[{"count":0,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/53891\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/media?parent=53891"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/categories?post=53891"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/tags?post=53891"},{"taxonomy":"collection","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/collection?post=53891"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}