{"id":54406,"date":"2026-07-01T16:15:59","date_gmt":"2026-07-01T08:15:59","guid":{"rendered":"https:\/\/www.1ai.net\/?p=54406"},"modified":"2026-07-01T16:16:24","modified_gmt":"2026-07-01T08:16:24","slug":"%e7%94%b5%e5%bd%b1%e7%ba%a7ai%e8%a7%86%e9%a2%91%e7%94%9f%e6%88%90%e6%95%99%e7%a8%8b%ef%bc%8c3-%e6%ad%a5%e6%b3%95%e6%90%9e%e5%ae%9a%e9%95%9c%e5%a4%b4%e8%af%ad%e8%a8%80%e5%ae%9e%e6%88%98%e8%a7%86","status":"publish","type":"post","link":"https:\/\/www.1ai.net\/en\/54406.html","title":{"rendered":"FILM-LEVEL AI VIDEO GENERATION COURSE, 3 STEPS TO ADDRESS THE LIVE VIDEO CASE OF THE CAMERA"},"content":{"rendered":"<p>A lot of people do <a href=\"https:\/\/www.1ai.net\/en\/tag\/ai%e8%a7%86%e9%a2%91\" title=\"[View articles tagged with [AI Video]]\" target=\"_blank\" >AI Video<\/a>, will be caught in an error:<\/p>\n<p>I'm just thinking about the image and the character, and I'm missing something more important<\/p>\n<p><strong>Camera language\u3002<\/strong><\/p>\n<p>Same scene, different scenes<a href=\"https:\/\/www.1ai.net\/en\/tag\/%e8%bf%90%e9%95%9c\" title=\"[View articles tagged with [mirror]]\" target=\"_blank\" >mirrors<\/a>The rhythm, the effect of coming out is very different:<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>Approach<\/section>\n<\/th>\n<th>\n<section>effect<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>Medium View of the whole process + Panorama<\/section>\n<\/td>\n<td>\n<section>Surveillance video<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Side-by-side + mirror matching<\/section>\n<\/td>\n<td>\n<section>Big movie<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Speculation, yes\u00a0<strong>It's the heart of the movie<\/strong>.<\/p>\n<p>TODAY, I'M TEARING DOWN THE IA VIDEO CAMERA LANGUAGE\u00a0<strong>3 parts<\/strong>\u00a0Speech:<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>move<\/section>\n<\/th>\n<th>\n<section>Theme<\/section>\n<\/th>\n<th>\n<section>Core issues<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>initial step<\/section>\n<\/td>\n<td>\n<section>* Reissued for technical reasons<\/section>\n<\/td>\n<td>\n<section>How big is it<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>second step<\/section>\n<\/td>\n<td>\n<section>Zooming mirrors<\/section>\n<\/td>\n<td>\n<section>How does the camera move<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>third step<\/section>\n<\/td>\n<td>\n<section>The rhythm<\/section>\n<\/td>\n<td>\n<section>How do you cut the camera<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Each part has:<strong>FOUNDATION + AI HINTING + PIT AVOIDANCE GUIDE + FIELD TECHNIQUES<\/strong>.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-54408\" title=\"b331306j00thl500myd000u000f0m\" src=\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/07\/b3331306j00thhl5h00myd000u000f0m.jpg\" alt=\"b331306j00thl500myd000u000f0m\" width=\"1080\" height=\"540\" \/><\/p>\n<p>And one more<strong>Full spectroscopy case<\/strong>You can use it directly\u3002<\/p>\n<p>First step: the vision -- determining what the audience is looking at<\/p>\n<p>\"How much is in the picture\"**\u3002<\/p>\n<p>But it's not just a \"middleview\/nearview\/specialty\" category -- it's a director's\u00a0<strong>\"Focus bar.\"<\/strong>:<\/p>\n<ul>\n<li>You want to show the audience the environment<strong>long-range view<\/strong><\/li>\n<li>You want the audience to see the mood<strong>Close shot<\/strong><\/li>\n<li>You want to show the audience the details<strong>close-up (filmmaking, photography etc)<\/strong><\/li>\n<\/ul>\n<p><strong>How do you remember\u3002<\/strong><\/p>\n<p>6 Core View and Usage<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>scenery<\/section>\n<\/th>\n<th>\n<section>Image Range<\/section>\n<\/th>\n<th>\n<section>Main roles<\/section>\n<\/th>\n<th>\n<section>AI PHRASING EXAMPLE<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td><strong>Grand Vision<\/strong><\/td>\n<td>\n<section>It's a very small person<\/section>\n<\/td>\n<td>\n<section>It's time and space<\/section>\n<\/td>\n<td><code>The big vision, a tiny figure in the vast desert<\/code><\/td>\n<\/tr>\n<tr>\n<td><strong>long-range view<\/strong><\/td>\n<td>\n<section>One-quarters below<\/section>\n<\/td>\n<td>\n<section>Showcasing the environment, the person and the environment<\/section>\n<\/td>\n<td><code>Vision, stand alone at the top of the mountain<\/code><\/td>\n<\/tr>\n<tr>\n<td><strong>panoramic<\/strong><\/td>\n<td>\n<section>He's in the mirror<\/section>\n<\/td>\n<td>\n<section>Show me how you're doing<\/section>\n<\/td>\n<td><code>Panorama, people stand up<\/code><\/td>\n<\/tr>\n<tr>\n<td><strong>medium term view<\/strong><\/td>\n<td>\n<section>Knees \/ waist above<\/section>\n<\/td>\n<td>\n<section>Narratives, conversations, action presentations<\/section>\n<\/td>\n<td><code>Midview, two people at the table<\/code><\/td>\n<\/tr>\n<tr>\n<td><strong>Close shot<\/strong><\/td>\n<td>\n<section>Boobs above<\/section>\n<\/td>\n<td>\n<section>Passing emotions, expressions, eyes<\/section>\n<\/td>\n<td><code>Near view, sad look on the face<\/code><\/td>\n<\/tr>\n<tr>\n<td><strong>close-up (filmmaking, photography etc)<\/strong><\/td>\n<td>\n<section>Only local<\/section>\n<\/td>\n<td>\n<section>Emphasis on detail, creating impact<\/section>\n<\/td>\n<td><code>Close-up, shivering fingers<\/code><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Side by side: progressive narrative power of the side by side<\/p>\n<p>It's nothing in a single view..<strong>It's all about power<\/strong>.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-54407\" title=\"2f8692e1j00thl5h00p5d000uf0m\" src=\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/07\/2f8692e1j00thhl5h00p5d000u000f0m.jpg\" alt=\"2f8692e1j00thl5h00p5d000uf0m\" width=\"1080\" height=\"540\" \/><\/p>\n<p>It's the most classic scenery chain:<strong>Vision, panorama, medieval, proximate, close-up<\/strong><\/p>\n<p>It's like walking into people's hearts:<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>Order<\/section>\n<\/th>\n<th>\n<section>scenery<\/section>\n<\/th>\n<th>\n<section>Screen content<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>1<\/section>\n<\/td>\n<td>\n<section>long-range view<\/section>\n<\/td>\n<td>\n<section>It's a rainy city<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>2<\/section>\n<\/td>\n<td>\n<section>panoramic<\/section>\n<\/td>\n<td>\n<section>Walking alone on the street<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>3<\/section>\n<\/td>\n<td>\n<section>medium term view<\/section>\n<\/td>\n<td>\n<section>He's down, he's slow<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>4<\/section>\n<\/td>\n<td>\n<section>Close shot<\/section>\n<\/td>\n<td>\n<section>His eyebrows are locked and his eyes are tired<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>5<\/section>\n<\/td>\n<td>\n<section>close-up (filmmaking, photography etc)<\/section>\n<\/td>\n<td>\n<section>Raindrops fall from his chin<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<ul>\n<li>\ud83d\udca1 <strong>AI VIDEO TECHNIQUES<\/strong>: Do not attempt to complete all the conversions in one shot. Make every view<strong>Single camera<\/strong>And later cut together -- better than a single long shot\u00a0<strong>10 times<\/strong>.<\/li>\n<\/ul>\n<p>Paranormal: Don't jump, it'll blow<\/p>\n<p>It's not always gradual\u3002<\/p>\n<p><strong>Jump to the edge<\/strong>It can create a strong impact:<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>Lenses<\/section>\n<\/th>\n<th>\n<section>scenery<\/section>\n<\/th>\n<th>\n<section>Image<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>1<\/section>\n<\/td>\n<td>\n<section>long-range view<\/section>\n<\/td>\n<td>\n<section>Empty conference rooms<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>2<\/section>\n<\/td>\n<td><strong>Queue (jump cut)<\/strong><\/td>\n<td>\n<section>One hand pops the file on the table<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>One hand pops the file on the table<\/p>\n<p>There is no medium-term transition \u2014 the impact is simply full\u3002<\/p>\n<p>THIS \"JUMPING\" IS PARTICULARLY USEFUL IN AI VIDEO -- BECAUSE\u00a0<strong>AI, GENERATING A SINGLE SHOT IS MUCH MORE STABLE THAN CREATING A COMPLEX MIRROR<\/strong>.<\/p>\n<p>AI GENERATES SEPARATE 3 PITS<\/p>\n<p><strong>PIT ONE: WRITE A FAREWELL BUT AI DOESN'T LISTEN<\/strong><\/p>\n<p>A lot of people said, \"I wrote a close-up, and the result was still a medium.\"\u3002<\/p>\n<p>REASON: THE DESCRIPTION IS TOO GENERAL, AI DOESN'T KNOW YOU WANT MORE \"SPECIAL.\"\u3002<\/p>\n<table>\n<thead>\n<tr>\n<th><\/th>\n<th>\n<section>Writing<\/section>\n<\/th>\n<th>\n<section>effect<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>\u274c<\/section>\n<\/td>\n<td><code>close-up (filmmaking)<\/code><\/td>\n<td>\n<section>AI RANDOMLY PLAY<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>\u2705<\/section>\n<\/td>\n<td><code>THE CLOSE-UP CAMERA, ONLY THE PERSON'S FACE<\/code><\/td>\n<td>\n<section>The accuracy rate is much higher<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Pipe II: The scenery doesn't match the movement<\/strong><\/p>\n<p>FOR EXAMPLE, WHEN YOU WRITE \"THE PERSON IS RUNNING,\" HOW DO YOU FILM A RUN? AI DOESN'T KNOW HOW TO PRODUCE IT\u3002<\/p>\n<ul>\n<li>\u2705 Vision \/ Panorama Magnificent (run, walk, fight)<\/li>\n<li>\u266a In the middle, in the middle \u266a<\/li>\n<li>\u266a Close view \/ close-up \u266a<\/li>\n<\/ul>\n<p><strong>Pipe Three: Extreme scenery is prone to collapse<\/strong><\/p>\n<p>THE BIG VISION AND BIG FEATURES ARE THE WORST-HIT AREAS OF AI:<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>Extremely<\/section>\n<\/th>\n<th>\n<section>question<\/section>\n<\/th>\n<th>\n<section>Solution<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>Grand Vision<\/section>\n<\/td>\n<td>\n<section>You can't see your face<\/section>\n<\/td>\n<td>\n<section>Don't use extreme scenery as the main character<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Big close<\/section>\n<\/td>\n<td>\n<section>Five deformed, hand\/mouth broken<\/section>\n<\/td>\n<td>\n<section>Lock the first and last frame with a front-end frame<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Step two: the mirror -- deciding what the audience thinks<\/p>\n<p>The mirror\u00a0<strong>\"How does the camera move?\"<\/strong>.<\/p>\n<p>The good mirrors allow the audience to follow the camera, and the insinuation is just full; the bad mirrors are just hanging around, looking dizzy\u3002<\/p>\n<p><strong>How do you remember: the mirror = the movement trajectory of the eyes of the audience\u3002<\/strong><\/p>\n<p>AI VIDEO'S MOST POPULAR 8-VIEW MIRRORS<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>mirrors<\/section>\n<\/th>\n<th>\n<section>effect<\/section>\n<\/th>\n<th>\n<section>Phrasing<\/section>\n<\/th>\n<th>\n<section>problem<\/section>\n<\/th>\n<th>\n<section>recommend<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td><strong>push the camera forward<\/strong><\/td>\n<td>\n<section>Push forward. Focus<\/section>\n<\/td>\n<td><code>The camera is moving forward slowly<\/code><\/p>\n<section>\u00a0\/\u00a0<code>Slow down to the characters<\/code><\/section>\n<\/td>\n<td>\n<section>\u2b50<\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>pull camera<\/strong><\/td>\n<td>\n<section>Pull back. Show me the whole picture<\/section>\n<\/td>\n<td><code>Pull back slowly<\/code><\/p>\n<section>\u00a0\/\u00a0<code>It's getting away<\/code><\/section>\n<\/td>\n<td>\n<section>\u2b50<\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Shake the camera<\/strong><\/td>\n<td>\n<section>Left and right\/up and down<\/section>\n<\/td>\n<td><code>Scatter to the left<\/code><\/p>\n<section>\u00a0\/\u00a0<code>Keep the camera up<\/code><\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Move camera<\/strong><\/td>\n<td>\n<section>Move Parallel<\/section>\n<\/td>\n<td><code>Camera Parallel Move<\/code><\/p>\n<section>\u00a0\/\u00a0<code>Side and side<\/code><\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Follow the camera<\/strong><\/td>\n<td>\n<section>Move with Subject<\/section>\n<\/td>\n<td><code>The camera follows the person<\/code><\/p>\n<section>\u00a0\/\u00a0<code>Follow it from behind<\/code><\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Surrounding Lens<\/strong><\/td>\n<td>\n<section>Turn around the subject<\/section>\n<\/td>\n<td><code>The camera rotates slowly around the person<\/code><\/p>\n<section>\u00a0\/\u00a0<code>Round and around<\/code><\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Up and down<\/strong><\/td>\n<td>\n<section>Move Up\/ Down<\/section>\n<\/td>\n<td><code>The camera is rising slowly<\/code><\/p>\n<section>\u00a0\/\u00a0<code>The camera is falling<\/code><\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Handshake<\/strong><\/td>\n<td>\n<section>Simulate handheld filming<\/section>\n<\/td>\n<td><code>Slight handshake<\/code><\/p>\n<section>\u00a0\/\u00a0<code>Handheld shoot<\/code><\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<td>\n<section>\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50\u2b50<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<ul>\n<li>\ud83d\udca1 <strong>Selection principles<\/strong>First-hand push\/pull\/smash (low-problem, good-impact); second-hand push\/pull is the best-priced mirror \u2014 impact blows, low rate of car flips\u3002<\/li>\n<\/ul>\n<p>Gold law: Slow is steady<\/p>\n<p>THIS IS AI <a href=\"https:\/\/www.1ai.net\/en\/tag\/%e8%a7%86%e9%a2%91%e8%bf%90%e9%95%9c\" title=\"[Sees articles with tags]\" target=\"_blank\" >video transport lens<\/a>First rule:<\/p>\n<blockquote>\n<ul>\n<li>The slower the mirrors, the more steady the picture; the faster the mirrors, the easier they fall\u3002<\/li>\n<\/ul>\n<\/blockquote>\n<p>WHY? BECAUSE AI IS A FRAME-- IT'S A BIG MOTION, IT DOESN'T MATCH THE FRAME, IT'S SCINTILLATING, DEFORMING, DRESSING\u3002<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>Type of lens<\/section>\n<\/th>\n<th>\n<section>Security Speed Word<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>Push\/ pull camera<\/section>\n<\/td>\n<td><code>Very slowly<\/code><\/p>\n<section>\u00a0or\u00a0<code>Slowly<\/code><\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Shake\/Move camera<\/section>\n<\/td>\n<td><code>Softly<\/code><\/p>\n<section>\u00a0or\u00a0<code>Slowly<\/code><\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Surrounding Lens<\/section>\n<\/td>\n<td><code>Quick Round<\/code><\/p>\n<section>(not recommended fast rounding)<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\u26a0\ufe0f <strong>The blood and tears<\/strong>: NEVER WRITE \"FAST ZOOM\" OR \"QUICK ROLLER.\" 90%'S PROBABILITY WILL BE TOO HIGH FOR MOM TO RECOGNIZE\u3002<\/p>\n<p>2026 New play: First frame control precision mirrors<\/p>\n<p>THE OLD AI MIRROR WAS \"BLIND BOX\" -- YOU WRITE A \"SLOW ADVANCE,\" AND AI PUSHES AS MUCH AS YOU LIKE\u3002<\/p>\n<p>Now I do<strong>First End Frame Control<\/strong>, you can precisely control the start and end of the mirror:<\/p>\n<blockquote>\n<ul>\n<li>Zenium\u00a0<strong>Example: Move from Panorama to Nearview<\/strong>\n<ol>\n<li><strong>First Frame<\/strong>: Panorama. People in the middle of the room<\/li>\n<li><strong>End Frame<\/strong>The view, the upper half, the same angle and position<\/li>\n<li><strong>Prompt word<\/strong>: From the panorama to the periphery, the camera moves smoothly<\/li>\n<li>AI AUTO-GENERATED INTERMEDIATE PROPULSION<\/li>\n<\/ol>\n<\/li>\n<\/ul>\n<\/blockquote>\n<p>It's a better mirror than a plain word\u00a0<strong>10 times<\/strong>And it's stable\u3002<\/p>\n<p>Mirror protection: 4 of the most prone to collapse<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>serial number<\/section>\n<\/th>\n<th>\n<section>Mine-affected areas<\/section>\n<\/th>\n<th>\n<section>Don't write<\/section>\n<\/th>\n<th>\n<section>Alternatives<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>1<\/section>\n<\/td>\n<td>\n<section>Quick Focus<\/section>\n<\/td>\n<td><code>Quick Zoom<\/code><\/p>\n<section>\u00a0\/\u00a0<code>Quick Shrink<\/code><\/section>\n<\/td>\n<td>\n<section>Replace it with a push\/ pull lens, or control it with a front frame<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>2<\/section>\n<\/td>\n<td>\n<section>360\u00b0 Around<\/section>\n<\/td>\n<td><code>360 degrees rotate around<\/code><\/td>\n<td>\n<section>Small angle around\u00a0<code>Forty-five degrees slow<\/code>Or later<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>3<\/section>\n<\/td>\n<td>\n<section>Complex Multiaxis<\/section>\n<\/td>\n<td>\n<section>All right, let's go<\/section>\n<\/td>\n<td>\n<section>It's only one of them<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>4<\/section>\n<\/td>\n<td>\n<section>He's shaking<\/section>\n<\/td>\n<td><code>Strong handshake<\/code><\/td>\n<td><code>A little hand-held<\/code><\/p>\n<section>It's too shaky<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Step three: rhythm -- determines the mood of the audience<\/p>\n<p>The rhythm is..<strong>It's easy to be ignored, but it's hard to see<\/strong>THE PART\u3002<\/p>\n<p>What's the rhythm? In short:<\/p>\n<ul>\n<li>How long is every shot<\/li>\n<li>How do you cut between the cameras<\/li>\n<li>Faster or slower<\/li>\n<\/ul>\n<blockquote>\n<ul>\n<li>The rhythm determines emotions:<\/li>\n<\/ul>\n<\/blockquote>\n<ul>\n<li>Quick rhythm = stress, excitement, excitement<\/li>\n<li>Slow pace = silence, depression, deep love<\/li>\n<li>\u266a Slow and slow \u266a<\/li>\n<\/ul>\n<p><strong>How do you remember: rhythm = rate of heartbeat of the audience\u3002<\/strong><\/p>\n<p>3 classic rhythms<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>dimension (math.)<\/section>\n<\/th>\n<th>\n<section>Slow pace<\/section>\n<\/th>\n<th>\n<section>Medium rhythm<\/section>\n<\/th>\n<th>\n<section>Quick<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td><strong>Lens Length<\/strong><\/td>\n<td>\n<section>5-10 sec\/ individual<\/section>\n<\/td>\n<td>\n<section>3-5 seconds per person<\/section>\n<\/td>\n<td>\n<section>1-2 seconds per person<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Change of scenery<\/strong><\/td>\n<td>\n<section>Slow. Vision\/wideview<\/section>\n<\/td>\n<td>\n<section>Right, right, right, right<\/section>\n<\/td>\n<td>\n<section>Big. Big<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>mirrors<\/strong><\/td>\n<td>\n<section>Slow, soft<\/section>\n<\/td>\n<td>\n<section>Steady<\/section>\n<\/td>\n<td>\n<section>Quick, moving<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Application<\/strong><\/td>\n<td>\n<section>The landscape, the emotional shorts, the atmosphere<\/section>\n<\/td>\n<td>\n<section>Story, play, Vlog<\/section>\n<\/td>\n<td>\n<section>Action, ads, cut, cut points<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>AI VIDEO RHYTHM DESIGN HEART METHOD<\/p>\n<p><strong>Heart method one: set the whole rhythm, then take one shot<\/strong><\/p>\n<p>Think about it before you make a video:<\/p>\n<ul>\n<li>Is this whole video fast or slow<\/li>\n<li>What's the mood tone<\/li>\n<li>Where to accelerate, where to slow down<\/li>\n<\/ul>\n<p>Don't come up here and do it all in one shot and end up in a mess\u3002<\/p>\n<p><strong>Heart Method II: Respiration changes<\/strong><\/p>\n<p>A better rhythm would be boring. It's like breathing<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>Paragraph Type<\/section>\n<\/th>\n<th>\n<section>rhythm characteristics<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>Tension Paragraph<\/section>\n<\/td>\n<td>\n<section>Cut, close, short<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Soften Paragraph<\/section>\n<\/td>\n<td>\n<section>Long lenses, visions, slow mirrors<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>One by one, the audience won't get tired\u3002<\/p>\n<p><strong>Heart method three: The card points aren't all the rhythm<\/strong><\/p>\n<blockquote>\n<ul>\n<li>The real rhythm is for content, not for card points\u3002<\/li>\n<\/ul>\n<\/blockquote>\n<p>It's time to slow down, it's time to hurry. Card music is a means, not an end\u3002<\/p>\n<p>AI VIDEO FOR RHYTHM 2 TECHNIQUES<\/p>\n<p><strong>Skill 1: Generate by lens, later cut<\/strong><\/p>\n<p>DON'T TRY TO CREATE A LONG VIDEO WITH A CLIP -- AN ACCELERATOR OUT OF A MESS\u3002<\/p>\n<p>Correct practice:<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>move<\/section>\n<\/th>\n<th>\n<section>manipulate<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>1<\/section>\n<\/td>\n<td>\n<section>Script by spectroscope, each shot generated separately<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>2<\/section>\n<\/td>\n<td>\n<section>4-8 seconds per shot<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>3<\/section>\n<\/td>\n<td>\n<section>Import a clip, cut by your own rhythm<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>4<\/section>\n<\/td>\n<td>\n<section>Come on, come on, come on<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>YOU CONTROL THE CUT, AI HANDLES THE SINGLE-PHOTO--<strong>Clear division of labour. Best results<\/strong>.<\/p>\n<p><strong>Skills II: Making rhythm with speed change<\/strong><\/p>\n<p>Same shot, different speeds, different moods:<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>tempo<\/section>\n<\/th>\n<th>\n<section>Emotional effects<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>Normal speed<\/section>\n<\/td>\n<td>\n<section>Narrative, real<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>slow motion (0.5x)<\/section>\n<\/td>\n<td>\n<section>\u266a And stress, love, beauty \u266a<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>quick in (2x)<\/section>\n<\/td>\n<td>\n<section>Time passes, Montage<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>AI PRODUCES THE ORIGINAL AT NORMAL SPEED, YOU CAN RE-PACE LATER:<\/p>\n<ul>\n<li>Critical emotional lens\u00a0<strong>Slow down<\/strong><\/li>\n<li>Transitional camera\u00a0<strong>Speed up<\/strong><\/li>\n<li>Action lenses<\/li>\n<\/ul>\n<p>Full field case: 30 seconds emotional short shot<\/p>\n<p>So many theories, a full-scale battle<strong>Part + Mirror + rhythm<\/strong>And make a 30-second rain-day emotional short\u3002<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>project<\/section>\n<\/th>\n<th>\n<section>Set<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td><strong>Theme<\/strong><\/td>\n<td>\n<section>I feel alone and cured in a rainy city<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>Total rhythm<\/strong><\/td>\n<td>\n<section>It's a slow pace, and it's the atmosphere<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><strong>tool<\/strong><\/td>\n<td>\n<section>Vidu + Clip<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Mirror watch (6 lenses in total)<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>mirror image number (e.g. on a mirror image of a person)<\/section>\n<\/th>\n<th>\n<section>scenery<\/section>\n<\/th>\n<th>\n<section>mirrors<\/section>\n<\/th>\n<th>\n<section>length of time<\/section>\n<\/th>\n<th>\n<section>Description of the screen<\/section>\n<\/th>\n<th>\n<section>Prompt word<\/section>\n<\/th>\n<th>\n<section>corresponds English -ity, -ism, -ization<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>1<\/section>\n<\/td>\n<td>\n<section>Grand Vision<\/section>\n<\/td>\n<td>\n<section>Move slowly down<\/section>\n<\/td>\n<td>\n<section>6s<\/section>\n<\/td>\n<td>\n<section>The city is full of rain and rain<\/section>\n<\/td>\n<td><code>Grand Vision, Rain City Skyline, High Towers, Drizzling Rains, Scramble Down, Cold Blue, Film-class<\/code><\/td>\n<td>\n<section>Set<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>2<\/section>\n<\/td>\n<td>\n<section>panoramic<\/section>\n<\/td>\n<td>\n<section>Slow advance<\/section>\n<\/td>\n<td>\n<section>5s<\/section>\n<\/td>\n<td>\n<section>A man with a transparent umbrella walking on an empty street<\/section>\n<\/td>\n<td><code>Panorama, a man walking on an empty street with a transparent umbrella, in the rain, with the camera slowly moving forward, soft and environmental light, a lonely atmosphere<\/code><\/td>\n<td>\n<section>Introduction<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>3<\/section>\n<\/td>\n<td>\n<section>medium term view<\/section>\n<\/td>\n<td>\n<section>Side and side<\/section>\n<\/td>\n<td>\n<section>5s<\/section>\n<\/td>\n<td>\n<section>Walking through water, splattering water<\/section>\n<\/td>\n<td><code>Midview, side view, character walks through a puddle of water, splashes up, shots follow, rain streets, reflections on the ground<\/code><\/td>\n<td>\n<section>Narrative<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>4<\/section>\n<\/td>\n<td>\n<section>Close shot<\/section>\n<\/td>\n<td>\n<section>set rigidly in place<\/section>\n<\/td>\n<td>\n<section>4s<\/section>\n<\/td>\n<td>\n<section>Stop and look up at the rain<\/section>\n<\/td>\n<td><code>Look, people look up in the rain, and there's raindrops, soft and light on their faces, and there's a shallow view<\/code><\/td>\n<td>\n<section>Pass<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>5<\/section>\n<\/td>\n<td>\n<section>close-up (filmmaking, photography etc)<\/section>\n<\/td>\n<td>\n<section>Slow advance<\/section>\n<\/td>\n<td>\n<section>4s<\/section>\n<\/td>\n<td>\n<section>Raindrops fall from the umbrella<\/section>\n<\/td>\n<td><code>Closely written, raindrops fall from transparent umbrellas, micro-species, slow advance, background vandalization, fine details<\/code><\/td>\n<td>\n<section>Hold on<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>6<\/section>\n<\/td>\n<td>\n<section>long-range view<\/section>\n<\/td>\n<td>\n<section>set rigidly in place<\/section>\n<\/td>\n<td>\n<section>6s<\/section>\n<\/td>\n<td>\n<section>People disappear in the rain<\/section>\n<\/td>\n<td><code>The vision, the characters go deep into the rain, the shadows get smaller and smaller, the cloudy atmosphere, the wide lenses, the end of poetry<\/code><\/td>\n<td>\n<section>End<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Speed Design<\/p>\n<p>Total curve:<strong>Slow, quick, slow<\/strong><\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>Lens Range<\/section>\n<\/th>\n<th>\n<section>rhythm<\/section>\n<\/th>\n<th>\n<section>clarification<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>Mirror 1-2 (Specific Perspective)<\/section>\n<\/td>\n<td>\n<section>Slow<\/section>\n<\/td>\n<td>\n<section>Create an atmosphere that allows the audience to enter the mood<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Mirror 3-4 (middle view)<\/section>\n<\/td>\n<td>\n<section>Quick<\/section>\n<\/td>\n<td>\n<section>Focus. Emotional<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Mirror 5 (detail)<\/section>\n<\/td>\n<td>\n<section>The slowest<\/section>\n<\/td>\n<td>\n<section>Zoom in<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Mirror 6 (Vision)<\/section>\n<\/td>\n<td>\n<section>Slow<\/section>\n<\/td>\n<td>\n<section>It's a long time<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Post-production steps<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>move<\/section>\n<\/th>\n<th>\n<section>manipulate<\/section>\n<\/th>\n<th>\n<section>Specific parameters<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>1 \ufe0f\u20e3 Import<\/section>\n<\/td>\n<td>\n<section>6 lenses imported in sequence<\/section>\n<\/td>\n<td>\n<section>\u2014<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>2 Crop<\/section>\n<\/td>\n<td>\n<section>Cut by the time frame<\/section>\n<\/td>\n<td>\n<section>\u2014<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>3 o'clock, turn around<\/section>\n<\/td>\n<td>\n<section>Use \"clip\" all<\/section>\n<\/td>\n<td>\n<section>0.5 seconds, soft and unchallenged<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>4 Tunnel<\/section>\n<\/td>\n<td>\n<section>Unified Colour Preset<\/section>\n<\/td>\n<td>\n<section>Cold Blue +15 \/ Contrast +8 \/ Saturation -10 \/ Dark Corner +15<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>5\ufe0f\u20e3 Sound<\/section>\n<\/td>\n<td>\n<section>Collapse Environment Sound<\/section>\n<\/td>\n<td>\n<section>Rain (wholly) + Watercrowding (scope 3) + Remote Thunder<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>BGM<\/section>\n<\/td>\n<td>\n<section>Choosing slow-paced atmosphere pure music<\/section>\n<\/td>\n<td>\n<section>\u2014<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<ul>\n<li>\ud83d\udca1 <strong>Core approach<\/strong>: THE LENS LANGUAGE IS NOT A SHOWDOWN, BUT A SERVICE TO STORIES AND EMOTIONS. THE SCENERY LEADS TO ATTENTION, THE MIRROR CREATES A SENSE OF ENTRY, THE RHYTHM MOBILIZES EMOTIONS. THREE PEOPLE WORK TOGETHER TO MAKE AN AI VIDEO THAT REALLY HAS A MOVIE SENSE\u3002<\/li>\n<\/ul>\n<p>\u2022 Comprehensive summary<\/p>\n<table>\n<thead>\n<tr>\n<th>\n<section>move<\/section>\n<\/th>\n<th>\n<section>Core skills<\/section>\n<\/th>\n<th>\n<section>Synopsis<\/section>\n<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>\n<section>First step: farewell<\/section>\n<\/td>\n<td>\n<section>6 Speculations<\/section>\n<\/td>\n<td>\n<section>This is a close-up of the big vision for the whole picture<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>\n<section>Adjournment<\/section>\n<\/td>\n<td>\n<section>Progress = Emotional Progress; Jump = Impact<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>\n<section>3 pits<\/section>\n<\/td>\n<td>\n<section>It needs to be specific, it needs to be matched, it needs to avoid extremes<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Step two: the mirror<\/section>\n<\/td>\n<td>\n<section>8 Mirrors<\/section>\n<\/td>\n<td>\n<section>Push\/ pull\/ shake\/ move\/closer\/up\/down\/handheld<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>\n<section>The law of gold<\/section>\n<\/td>\n<td>\n<section>Slow is steady. Slower the mirrors, steadyer the picture<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>\n<section>2026, new play<\/section>\n<\/td>\n<td>\n<section>First-end frame control precision mirrors<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>\n<section>4 Large mined areas<\/section>\n<\/td>\n<td>\n<section>Quick zoom, 360 degrees around, multi-axis motion, violent shaking<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<section>Step three: rhythm<\/section>\n<\/td>\n<td>\n<section>3 Modes<\/section>\n<\/td>\n<td>\n<section>Slow rhythm (twice) \/ medium rhythm (dissemination) \/ fast rhythm (stimulation)<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>\n<section>3 Heart Method<\/section>\n<\/td>\n<td>\n<section>We'll fix the whole thing. We'll change our breath<\/section>\n<\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>\n<section>2 skills<\/section>\n<\/td>\n<td>\n<section>Scan + late clip, speed change to make rhythm<\/section>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<ul>\n<li>Zenium <strong>Remember that<\/strong>: Good shot language. The audience doesn't feel the camera. It's just being carried away\u3002<\/li>\n<\/ul>\n<p>Today's three steps, you learn<\/p>\n<p><strong>Leave a little homework<\/strong>: PICK A FILM CLIP YOU LIKE, TAKE IT OUT OF THE SCENERY, THE MIRROR, THE RHYTHM, AND TRY TO RESET IT WITH AI\u3002<\/p>\n<p>It's too much. It's natural\u3002<\/p>\n<div class=\"ries-writing-assistant-badge-host\" style=\"position: fixed !important; z-index: 2147483647 !important; pointer-events: none !important; margin: 0px !important; padding: 0px !important; border: none !important; background: none !important; width: 0px !important; height: 0px !important; overflow: visible !important; left: 1361px !important; top: 18282.5px !important;\"><\/div>\n<div class=\"ries-translation-extension-container\"><\/div>\n<div class=\"ries-writing-assistant-badge-host\" style=\"position: fixed !important; z-index: 2147483647 !important; pointer-events: none !important; margin: 0px !important; padding: 0px !important; border: none !important; background: none !important; width: 0px !important; height: 0px !important; overflow: visible !important; left: 1371px !important; top: 4161px !important;\"><\/div>","protected":false},"excerpt":{"rendered":"<p>A LOT OF PEOPLE WHO DO THE A.I. VIDEO GET CAUGHT IN THE WRONG SPOT: JUST LOOKING AT THE IMAGE AND LOOKING AT THE PEOPLE AND NOT LOOKING GOOD, AND IGNORING SOMETHING MORE IMPORTANT -- THE LENS LANGUAGE. THE SAME SCENES, DIFFERENT SCENES, MIRRORS, RHYTHMS, COME OUT WITH A VERY DIFFERENT EFFECT: THE WHOLE MEDIUM OF THE PROCESS, THE EFFECT OF THE EFFECT, THE VISION OF THE SURVEILLANCE VIDEO, THE EVOLUTION OF THE SCENE, THE MIRRORS, THE BIG FILM, THE LENS LANGUAGE, IS AT THE HEART OF THE FILM. THIS ISSUE OF TODAY, I'M TEARING THE IA VIDEO LENS INTO THREE PARTS: STEPS, THEMES, CORE ISSUES, FIRST STEPS, SCENERY, HOW BIG IT IS, DETERMINING WHAT THE AUDIENCE IS LOOKING AT IN THE SECOND STEP, IN THE MIRROR, IN THE LENS<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[144],"tags":[3765,956,5321,6638,6821],"collection":[],"class_list":{"0":"post-54406","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"hentry","6":"category-baike","7":"tag-ai","10":"tag-6638","11":"tag-6821"},"acf":[],"_links":{"self":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/54406","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=54406"}],"version-history":[{"count":0,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/54406\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/media?parent=54406"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/categories?post=54406"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/tags?post=54406"},{"taxonomy":"collection","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/collection?post=54406"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}