{"id":57035,"date":"2026-09-10T15:01:26","date_gmt":"2026-09-10T07:01:26","guid":{"rendered":"https:\/\/www.1ai.net\/?p=57035"},"modified":"2026-09-10T15:01:26","modified_gmt":"2026-09-10T07:01:26","slug":"ai-%e5%95%86%e4%b8%9a%e5%b9%bf%e5%91%8a%e7%89%87%e5%ae%9e%e6%88%98%ef%bc%8c%e6%88%91%e7%94%a8ai%e5%88%b6%e4%bd%9c%e4%ba%86%e4%b8%80%e6%94%af%e5%ae%8c%e6%95%b4tvc%ef%bc%9f%e4%bb%8e%e4%ba%a7%e5%93%81","status":"publish","type":"post","link":"https:\/\/www.1ai.net\/en\/57035.html","title":{"rendered":"AI, COMMERCIALS, I MADE A FULL TVC FROM AI? FROM PRODUCT SET-UP TO END-TO-END LESSON"},"content":{"rendered":"

There's no real productTVC<\/a>\u266a I CAN'T \u266a THIS TIME I CREATED A GREEN PLUM BUBBLE FROM ZERO, AND I USED AI TO FINISH THE CHARACTERS, SCENES, SPECTROSCOPY, VOICE AND FINAL FILM\u3002<\/p>\n

So then, in my thinking and in my steps, you can do something like this. Let's do it<\/p>\n

Preparation Tool<\/strong><\/p>\n

seedance2.5\/seedream 5.0pro https:\/\/jimeng.jianying.com\/ai-tool\/home\/<\/p>\n

nanbonan pro https:\/\/labs.google\/fx\/tools\/flow<\/p>\n

Midjourney https:\/\/www.midjourney.com\/explore?tab=top<\/p>\n

ChatGPT https:\/\/chatgpt.com\/<\/p>\n

If you don't know how to use the model, you can refer to it https:\/\/www.1ai.net\/56824.html<\/a>Use it with the curriculum<\/p>\n

I. PRODUCTION AND STORY<\/strong><\/p>\n

The heart of the story is very simple (this is a modified story, and earlier stories can look at the chat I extracted):<\/p>\n

When I was little, a green plum fell between boys and girls. The boy first took the green plum, but struck twice on it and then pushed the girl. Later, the two men were led by their grandmother and worked together to make green plum juice\u3002<\/p>\n

Years later, the girl arrived at an old commissary that was about to close. The boys behind the counter knocked twice on a bottle of a bottle of plum bubble and pushed the drink in front of her\u3002<\/p>\n

The girl, who heard the familiar \u201ctwigs and twigs\u201d, recognized the man before her, the boy who left her last plum when she was a child\u3002<\/p>\n

The product is not intruded into the story, but rather assumes the role of connecting the past to the present\u3002<\/p>\n

II. MANUFACTURING PEOPLE AND SIDE ASSETS<\/strong><\/p>\n

ONCE YOU HAVE A STORY, YOU CAN GIVE IT TO AI FOR ANALYSIS<\/p>\n

It then goes to make the assets of the adult male and female masters\u3002<\/p>\n

I'll start by looking for a suitable facial reference map online<\/p>\n

\"e0f5fccbj00tl4yq5013pd000u00148p\"<\/p>\n

\"c0c88ae7j00tl4yq9000n3d000u0011vp\"<\/p>\n

IT THEN ALLOWS AI TO ANALYZE THE PERSON ' S FACE, FIVE OFFICIALS, HAIR AND OVERALL AEROBICS, AND THEN ARRANGES THESE FEATURES INTO WRITTEN GRAPHICS\u3002<\/p>\n

Here's a special note: I didn't make a drawing of the reference person. The reference diagrams are used only to extract facial features, and the final figure is still generated through a texture\u3002<\/p>\n

MY REQUESTS TO AI INCLUDE:<\/p>\n

A streamlined English-language introduction suitable for Midjourney V 8.2 was rewritten based on the facial characteristics of the person extracted from the reference diagram. The characters use a pure grey studio background, a standard three-point light, an entire body-faced make-up picture and a natural adult body ratio\u3002<\/p>\n

\"31937c96j00tl4yqy001cd000m008kp\"<\/p>\n

The Midjourney hint must be streamlined. At least in my test, the longer the hints are written, the easier the model is to ignore what is really important, and the easier it is to get away with clothes, age, proportion and quality\u3002<\/p>\n

I produced the following:<\/p>\n

Boys:<\/p>\n

If you're going to die, you're going to die<\/p>\n

\"176fb44bj00tl4yrz00lbd000v9000h3p\"<\/p>\n

\"63fd144bj00tl4ys80391d000v901jtp\"<\/p>\n

Girls:<\/p>\n

it's not the same, it's the same, it's the same, it's the same, it's the same, it's the same, it's the same, it's the same<\/p>\n

\"4f392e63j00tl4yse00kdd000v9000fup\"<\/p>\n

\"a489de1dj00tl4ysm02lkd000v901avp\"<\/p>\n

HAVING IDENTIFIED THE ADULT MALE AND FEMALE MASTERS, I GAVE THE RESULTS BACK TO AI, SO THAT IT COULD REVERSE THE IMAGE OF TWO PEOPLE AS YOUNG AS ADULTS\u3002<\/p>\n

Child roles need to inherit the core recognition of adult roles, such as eye, face, hair and overall aesthetics, but not just to reduce the body of adults. Age, head ratio, facial soft tissue and theorem are all redesigned\u3002<\/p>\n

Children ' s clothing must also be replaced and adult role clothing cannot be taken directly, otherwise it would appear to be reduced to the same set\u3002<\/p>\n

\"1b862617j00tl4yspr000yd000lw0061p\"<\/p>\n

Tips:<\/p>\n

You'll have to re-engineer it<\/p>\n

A boy's childhood tip:<\/p>\n

If you don't, you don't, you don't know, you don't know, you don't know<\/p>\n

\"8ad7422ej00tl4yti00ebd000v9000amp\"<\/p>\n

A girl's childhood tip:<\/p>\n

9 years of age, 9 years of age, 2 years of age, 6 years of age, 6 years of age, 5 years of age, 10 years of age, 10 years of age, 10 years of age, 10 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 18 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 18 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 25 years of age, 18 years of age, 18 years of age, 26 years of age, 18 years of age, 25 years of age, 18 years of age, and<\/p>\n

\"4769fb9fj00tl4ytp00d1d000v9009sp\"<\/p>\n

When formally produced, it is recommended that the adult protagonists generate four-view assets to facilitate follow-up and to maintain consistency\u3002<\/p>\n

\"11d8d6a3j00tl4ytx013ld000kc010jp\"<\/p>\n

\"4e940f0dj00tl4yu2013rd000kd010jp\"<\/p>\n

The role of the child was shorter, so I used only positive person assets. Grandmother's camera was not available, so she did not create a separate figure, but rather directly generated video models\u3002<\/p>\n

After the character was finished, a view of the commissary and the backyard was produced\u3002<\/p>\n

AT FIRST, I HAD AI DESIGN THE RIGHT SCENE, BUT THE RESULT WAS NOT IDEAL: THE COMMISSARY IS TOO NEAT, LIKE A SET-UP STUDIO; THE BACKYARD LACKS THE TRACES OF LIFE AND THE LEVEL OF SUNLIGHT, WHICH IS VERY DIFFERENT FROM WHAT I REALLY WANT\u3002<\/p>\n

So I went to Pinterest to look for reference maps, including old-fashioned commissaries, old freezers, wooden counters<\/p>\n

\"44c5d297j00tl4ui00mud000v90eyp\"<\/p>\n

And the traditional backyards with trees and stained sunlight\u3002<\/p>\n

\"cbd6bf84j00tl4yun00p4d000v90eyp\"<\/p>\n

When I found the reference figure, I asked AI to analyze the spatial structure, material, display density, light orientation and colour of the picture, and then to make it into the Midjourney V 8.2 in English\u3002<\/p>\n

The prompt words are as follows:<\/p>\n

Please analyse the scenes that I uploaded, extracting only its spatial structure, shot angles, set density, main materials, light orientation, dark relationships and overall color, without copying the characters, text, trademarks or specific brands in the images. These visual features have been reorganized into a streamlined English-language scenario introduction applicable to Midjourney V. 8.2, which is used to generate the same quality but original content. The hint is contained in 60 English words and is prepared in the order of \u201csituation type, spatial structure, core setup, material, light, image quality\u201d and does not use the full sentence, does not stack adjectives and does not include significant objects not included in the reference map. The image is based on a 16:9-scale, written-in film-photo-photo sense. Only the final English-language hint is exported, and the analytical process is not shown, and at the end: \u2013ar 16:9 \u2013 v 8.2 \u2013s 75<\/p>\n

\"4fc02798j00tl4yuz001vd000mh007p\"<\/p>\n

The commissary hint reads as follows:<\/p>\n

16:9 the reality film is empty, the southern town of china has for many years run an adjoining commissary with a narrow front, with a camera slashing from 45\u00b0 to the right front of the street and evening 35mm. the fading white and yellow walls, old signboards, green and white stripes, and wood counters are directed directly to the streets. there are old freezers, glass cupboards, coin machine and plastic beverage baskets at the door; snacks, candies and daily items are heavily displayed, somewhat congested and orderly, and the central counter is kept clean. the shelf was partially empty, with boxes in the moving shop. summer evening light, bright outside, warm inside, real old sense of quality, light film particles. there are no characters, readable texts, trademarks, modern convenience store equipment, garbage or ruins. \u2013ar 16:9 \u2013hd<\/p>\n

\"08623da7j00tl4yv800rfd000v9000dcp\"<\/p>\n

Backyard tip:<\/p>\n

in the case of a third party, 45-year-olds, 35-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-olds, all-year-old, all-year-olds, all-year-olds, all-year-old-year-olds, all-year-olds, all-year-old, all-year-olds, all-year-olds, all-year-olds, all-year-old-year-olds, all-year-olds, all-year-old-year-olds, all-year-olds, all-year-olds, all-year-year-old-year-olds, all-year-old-year-year-old, all-year-old-born, all-born, all-born, all-year-year-year-<\/p>\n

\"b08f4611j00tl4yvd00uhd000v9000cvp\"<\/p>\n

\"155da30aj00tl4yvs01g2d000v9000hfp\"<\/p>\n

Scene tips also need to be streamlined. Do not write all the things you can think of and keep only the core elements that determine the atmosphere\u3002<\/p>\n

The function of reference maps is not to allow models to copy a photograph, but to help us translate \u201cI want this feeling\u201d into specific visual conditions that models can understand\u3002<\/p>\n

III. Designing structures, modifying mirrors and generating videos<\/strong><\/p>\n

ONCE THE CHARACTER AND SCENE ASSETS HAVE BEEN COMPLETED, I WILL ALLOW AI TO DIVIDE THE STORY INTO A COMPLETE 45-SECOND STRUCTURE, CONTINUE TO COMPLETE THE STRUCTURE AND AUDIO-VISUAL DESIGN, AND EVENTUALLY PRODUCE A FORMAL SPECTROMETER\u3002<\/p>\n

My order of work is:<\/p>\n

(a) The structure of the story<\/p>\n

Emotional rhythm design<\/p>\n

Positioning and movement of persons<\/p>\n

Cameras and sound connections<\/p>\n

(b) Official spectroscope<\/p>\n

Seedance 2.5 video alert\u3002<\/p>\n

THE TVC TRANSPOSER<\/strong><\/p>\n

Step 1: Story structure split<\/strong><\/p>\n

Tips:<\/p>\n

THE FOLLOWING IS MY PRODUCT INFORMATION AND STORYLINE, AND PLEASE BREAK IT DOWN INTO A COMPLETE NARRATIVE TVC STRUCTURE\u3002
\nProduct information:
\nStoryline:
\nTarget time:
\nPlease divide the paragraphs of the story in chronological order and indicate each paragraph:
\nThe length of the recommendations
\nCore events
\nCurrent targets of the person
\nThe plot role of this segment
\nHow products naturally enter stories
\nThe audience received new information in this section\u3002
\nCharacter relations, product materials or story suspense must occur within five seconds of the opening, and the environment cannot be slowly introduced with an empty mirror. The end must be finished with the ready-to-down and emotional set-ups. Do not write specific mirrors, lens parameters and video alerts in advance\u3002
\nChecks whether the total length of all paragraphs is consistent with the target and deletes those that do not promote the narrative, personal relations or product expression. Only output story structure, not next step\u3002<\/p>\n

\"10f80fffj00tl4ywo002kd000m100l3p\"<\/p>\n

AI DIALOGUE INTERFACE (NOTE THAT ALL CONVERSATIONS ARE IN A DIALOGUE BOX)<\/p>\n

Step two: Emotional rhythm design<\/strong><\/p>\n

Tips:<\/p>\n

IN COMBINATION WITH THE ALREADY ESTABLISHED TVC STORY STRUCTURE, PLEASE DESIGN A COMPLETE EMOTIONAL RHYTHM FOR IT WITHOUT CHANGING THE SEQUENCE\u3002
\nPlease indicate each paragraph separately:
\n(a) The external pacing: loose, moderate or tight
\nInternal emotional state: curiosity, ease, expectation, urgency, pause, confirmation, relief, etc.
\n(b) Image motion density
\nThe speed of editing
\nMusic density
\nNeed to highlight or keep quiet
\nThe paragraph entered the next emotional turning point\u3002
\nThe overall rhythm cannot always be at the same pace and needs to change dramatically. The most emotional position does not necessarily use the fastest cut, but can be accomplished by pause, silence, eyes and movements\u3002
\nOutput an emotional curve from the beginning to the end, and check if there are consecutive paragraphs that are too slow, too flat or that repeat emotions. Just do rhythm design, don't change the story, don't go into camera splitting\u3002<\/p>\n

\"07ab15f6j00tl4yx0001ud000ml09rp\"<\/p>\n

AI DIALOGUE INTERFACE (NOTE THAT ALL CONVERSATIONS ARE IN A DIALOGUE BOX)<\/p>\n

Step 3: Positioning and movement<\/strong><\/p>\n

Tips:<\/p>\n

(b) Designing the position of the person in each paragraph, the line of action and the direction of the image according to the structure of the story, the emotional design, the figure and the scene\u3002
\nPersonal assets:
\nScene asset:
\nPlease specify:
\nEach person is on the left, right, foreground, medium or background
\nWhere people enter and leave
\n(b) The relationship of vision between persons
\nDistance of person to product and mode of interaction
\n(a) Where the key object moves
\nWhich lenses must remain the same axis
\nWhich actions will be repeated over time
\nWhich positions and directions cannot be changed until identity is revealed\u3002
\nPlease establish a fixed set of spatial relationships to avoid the sudden reversal of the person ' s position, direction and vision between the lens\u3002
\nIf the story contains a relationship between childhood and adulthood, between present and present, or other correspondence, leave the same action in the same image and direction, so that the audience can recognize the relationship by action. Only output person movement and movement direction, and no lens parameters are designed\u3002<\/p>\n

\"4bb9f05cj00tl4yxb0036d000m7000bjp\"<\/p>\n

AI DIALOGUE INTERFACE (NOTE THAT ALL CONVERSATIONS ARE IN A DIALOGUE BOX)<\/p>\n

Step 4: Cameras and voices<\/strong><\/p>\n

The prompt words are as follows:<\/p>\n

The complete lens interface is designed to connect to sound, based on established story structure, emotional rhythm and person movement\u3002
\nPlease design it paragraph by paragraph:
\nThis segment is suitable for fixed lenses, lateral slides, slow propulsion, following or slightly surrounding
\nFrom what? From what
\nThe back and back lens completes the connection by action, image, shape, colour or sound
\nWhere to use hard cutting
\nWhere there is a need to take advantage of natural images of prospective objects
\nWhere no change of scene is required
\nHow ambient sound, action sound and music cross the cut points
\nWhich sound is the theme of the re-emergence of the whole piece
\nWhat key actions need to be stopped by narration and music\u3002
\nMirrors must serve information change. The person is to be as stable as possible in his or her precise operation; he or she needs to be shown when the person ' s relationship or space changes, and then use lateral slides, thrusts or minor entanglements\u3002
\nDo not force a person to stretch an object to a camera for the purpose of changing the scene, and do not add a mask, rotation, spray or complex special effects unrelated to the drama. Only the audio-visual connection programme is exported and is not entered into the official lens\u3002<\/p>\n

\"151ccec9j00tl4yx0023d000n000f4p\"<\/p>\n

AI DIALOGUE INTERFACE (NOTE THAT ALL CONVERSATIONS ARE IN A DIALOGUE BOX)<\/p>\n

Step 5: Official Mirror<\/strong><\/p>\n

The introduction reads as follows:<\/p>\n

PLEASE COMPILE AN OFFICIAL SPECTROSCOPY THAT CAN BE USED DIRECTLY IN THE PRODUCTION AND LATER EDITING OF AI VIDEO, BASED ON WHAT HAS BEEN CONFIRMED BELOW. STORY STRUCTURE: EMOTIONAL RHYTHM: PEOPLE'S MOVEMENT: CAMERA TO VOICE: CHARACTER AND SCENE ASSET: [UPLOAD ALL IDENTIFIED MATERIAL]
\nThe mirror list needs to contain the following columns:
\nThe camera, the camera, the camera, the rerun, the sound design, the sound design
\nSpecific requirements:
\nOnly one major narrative task per shot
\nThe time period must be continuous, and the total length of all lenses corresponds to the target length
\nWrite about where people enter, see where they go, and which hand to do the move
\nWriting the location, direction and movement of the product
\nWrite when the camera begins to move and when it stops
\nMaintaining the identity of the person, his or her clothing, his or her space position and his or her light
\nWhere product labels need to be displayed, they must be positive and clear
\n(b) Sufficient time is set aside before and after critical actions and multiple complex actions are not squeezed into the same short shot
\nDerogable decorative lenses will be singled out
\nDelete the camera that does not drive, personal relationships or product displays\u3002
\nAfter completion, check if there are blank descriptions, meaningless features, duplicate actions, over-scopes and complex movements that cannot be generated. Only the official spectroscope is exported\u3002<\/p>\n

\"b9df650bj00tl4y5006sd000nc00hmp\"<\/p>\n

AI DIALOGUE INTERFACE (NOTE THAT ALL CONVERSATIONS ARE IN A DIALOGUE BOX)<\/p>\n

Step 6: Feedance 2.5 video alert<\/strong><\/p>\n

The prompt words are as follows:<\/p>\n

Please convert the official spectroscope to a Chinese video alert that can be used directly for Feedance 2.5. Official Mirror:
\nReference material:
\nGenerate by: [states the whole of the generation or split into paragraphs]
\nThe hint needs to be written consecutively in the order of the actual lens. For each change of lens, only the word \"scircular\" is used to mark\u3002
\nEach shot needs to be clear:
\nThe location of the person and product at the beginning of the picture
\nThe order in which the person completes the act
\nHow the profile of the person changes
\n(a) the direction of the object
\nCameras are fixed, transversal, propulsive, follow or surround
\n(a) The location where the mirror begins and stops
\n(a) The depth and focus
\nImage status to be maintained at the end of the lens
\nHow to connect to the next mirror
\nThe continuity of characters, scenes and products must be maintained\u3002
\nUse a positive action description that can be directly implemented by the image, does not write the mind of the person, does not write the symbolic meaning that the model cannot understand, does not write a lot of explanations \u201cdo not happen\u201d\u3002
\nIt is important to maintain consistency in the product body, label, cap, liquid colour and packaging ratio. The face, hair, age, clothing and position of the person cannot be changed. The scene structure, counters, doors, windows and main displays cannot be moved or new versions generated\u3002
\nMirrors should be used selectively: there is a need to use smooth moving, propulsion or slight entanglements when displaying a person ' s relationship or space; the camera is stable when the specific operation and mood stop. It is also important to avoid continuous drift, meaningless large-scale mirrors and deliberate blocking of the circuit\u3002
\nFinally, a general image, camera language, colour, light, rhythm and voice requirements were added. The hint shall be complete without repetition, without a mirror number form, without an explanation of creative intent, and only with the final Feedance 2.5 video message\u3002<\/p>\n

\"d4a92cbfj00tl4yd0006id000lx00lp\"<\/p>\n

Here's my video message<\/p>\n

First paragraph:<\/p>\n

DO NOT GENERATE ANY BGM, ONLY SOUND
\n@Photo 1 used to be a Southern home, a wood table, a green plum tree, and a first summer sun
\n(b) Strictly maintain @photogram 2 for children and girls and @photogram 3 for boys with the same face, hair, age and clothing
\nProduct bottles strictly follow the bottle type @photogram 4, light green liquid, grey green bottle cap and ivory labels. Natural low-resistance light, clear of green, light film particles, and no use of old-fashioned tan filters\u3002
\nAdding a 50-year-old Chinese woman to the image of her grandmother. She wears a plaster and a light brown apron with dark hair mixed with a small gray hair, with a simple twirl, and is of a soft and gentle nature. Grandmothers appear mainly through the side, upper body and hand, and do not arrange for clear face-to-face writing, and do not steal the visual focus of the two children\u3002
\nDO NOT GENERATE ANY BGM, ONLY SOUND<\/p>\n

The \"photographic sense\" of commercial advertising at the film level is a clear sense of nature's early summer air, soft and low contrasts, dark permeable, bright and thin, colour-restrainted, green, ivory and warm wood. Real fine skin, fruit-coated fibres, beads, refractions of glass and condensed water tastes, light film particles, soft and high luminous dyes, clean, wet, fresh, with real life temperature, while maintaining a high-quality beverage advertisement. Quite restrained East Asia\u2019s film sense of life, early summer natural light in the south, wet green plants, warm old wood space, low contrasts and shadows, real life traces, quiet and incipient personality emotions, food obscurities, natural life, inflammation, and little new filters. We'll refer to Sea Street Journal as the main tone of the entire film
\nthe whole rhythm is naturally driven into the production process by the characters. the interaction of childhood uses a fixed lens to ensure that the person is able to move correctly, with the front lens being slow and lasting around 14s to maintain; after entering the production process, the rhythm is raised by a clear transverse and a physical block; the person is able to maintain a fixed position when he or she operates a glass tank; the time is changed by the hard cut of the exact same image; and a slow retreat is used at the end, and eventually stabilizes on the inner glass tank\u3002
\nPure view of desktop close-ups, cameras are completely fixed. The old wood table occupied most of the picture. The girl was lying on the left side of the table and the boy was lying on the right side, only seeing the hair, shoulder, forearms and hands. Shade tree shadows move slowly on the desktop\u3002
\nA fiery cyanide plum crashes between two people along the lens axis, rapidly clears up when it approaches the desktop and bounces once after touching it. Green plum rolls a few centimetres, and both hands reach at the same time. The boy moved a little faster and held Qingmei down with his fingertips. When the girl's hand was stopped, she was quietly withdrawn and her finger pointed gently across the wood table. Cameras remain fixed\u3002
\nCut the mirror
\nGirl and child side view, camera fixed. She looked at the young plum in the hands of the boy and, if nothing happened to her, her face was calm\u3002
\nCut the mirror
\nSide view of boys and children, camera fixed. He looked down and looked at the girl and saw the girl pull back\u3002
\nCut the mirror
\n45 degrees of top-top desktop close-up, camera fixed. The boy put the plum back in the center of the desktop, hit it with his right index finger twice, and the rhythm was even. The green plum will then be gently pushed from the right side of the picture to the left, and the green plum will flow naturally along the wooden line\u3002
\nCut the mirror
\nThe girl reached out to her left to catch her. She looked down at the plum and looked at the boy. The boy has turned his face to the side and pretended to be looking at the twilight of the tree. The girl had a very slight smile\u3002
\nCut the mirror
\nCameras are down to desktop height, using a 50 mm lens. The image starts with the green plum in the left hand of the girl\u3002
\nThe girl moved right with green plumes, and the camera moved smoothly from left to right along the old wood table and followed her hand at all times. The girl put the plum in a round bamboo scavenger with other plums\u3002
\nThe camera continued to slide in the same direction, with bamboo sifts, potts of pottery, another empty bamboo sift, yellow glucose, transparent glass seals and grandmothers standing behind wood tables. Grandma looked softly at the two children\u3002
\nThe camera stopped flat after Grandma and the bamboo sift formed the complete picture, and did not continue to drift, rotate or change the focus\u3002
\nCut the mirror
\nLow altitude view near the edge of the bamboo scavenger, using a 50 mm lens. The image begins with pottery currents touching the position of the first green plum\u3002
\nGrandma keeps pouring water. The camera follows the current direction, moving a smooth and straight line from the left to the right of the bamboo sift. The clean water flows in turn through a line of green plumes, and the sun forms a continuous high light on the surface of the water and on the bark of fruit\u3002
\nThe hands of girls and boys were only slightly turned on the edge of the picture. The camera stopped calmly when it reached the other end of the bamboo sift and ended up on a green plum surrounded by water\u3002
\nCut the mirror
\nFixed side view. The girl picked up a green plum from the left and handed it to Grandma. Grandma picks out Gotti with a sticky sticker, and then gives the Qingmei to the right. The boy put the plum in another bamboo scavenger\u3002
\nThree actions are done in order. The camera was completely fixed, allowing the hand-transmitting of three persons to form a clear horizontal movement\u3002
\nCut the mirror
\nGrandmother raised round bamboo with plums. The bamboo scavenger approaches the camera in the lower direction of the picture, and the bamboo texture gradually covers the person and the background, and eventually naturally covers the whole picture\u3002
\nCut the mirror
\nThe bamboo scavenger left the camera in the same direction and revealed dried plumes. The plums are evenly arranged in bamboo sifts with dry surfaces, and the sun and tree shadows fall on the fruit\u3002
\nThe camera was in a 45-degree vertebrae position, using a 50-mm lens, starting at the left end of the bamboo scavenger, and slowly slided to the right along a well-arranged plum\u3002
\nThe camera slipped through the edges of the bamboo sift and continued to move along the old wood table, eventually reaching the empty, transparent glass sealed tank in the centre of the desktop. When the glass tank entered the centre of the picture, the camera stopped. Grandmother's hand set the glass cans straight from behind\u3002
\nCut the mirror
\nHold on to a positive view. The wide-mouth transparent glass seal cans are located in the middle of the old wood table. Grandma held the jar from behind, the girl on the left side of the picture and the boy on the right\u3002
\nGrandma used a wooden spoon to put a yellow glucose on the bottom of the glass can. The wooden spoon naturally exits after the action\u3002
\nCut the mirror
\nMaintenance of the same space and structure. The girl picked up a few green plums from the left and put them in the glass can. Green plums naturally fall on ice cream\u3002
\nCut the mirror
\nMaintenance of the same space and structure. The boy adds a yellow glucose to the right with a wooden spoon. It's not like it's like this
\nCut the mirror
\nMaintenance of the same space and structure. Girls continue to join the second layer of green plum\u3002
\nCut the mirror
\nMaintenance of the same space and structure. The boy continues to be added to the second layer of yellow\u3002
\nCut the mirror
\nMaintenance of the same space and structure. The glass cans are filled with staggered cyanome and yellow ice sugar. The grandmother softly adjusted the top plum and then left the glass jar with all three hands\u3002
\nCut the mirror
\nTransparent glass cans are placed in the middle of the old wood table in a quiet manner and the internal cyanome and glucose levels remain completely unchanged. Girls, boys and grandmothers ceased to operate, and the characters remained static\u3002
\nCut the mirror
\nA fixed close-up on top of the glass can. Grandma closed the glass cap alone and pressed the metal seal. The glass caps, seals and metal buttons remain real. The action on the metal button is clear and complete\u3002
\nThen the camera pulls back, the sun and the moon turn, the cyanide juice rises, and the cyanide plum becomes soft and yellow. Make sure the glass can is in the center of the picture
\nSound: early summer stings in the south, leaf frictions, plums down the table, finger-beating \u201cslurping, slurping\u201d of plums, plumes rolling through woodlines, pots pouring water, water flowing over fruit, bamboo scavengers, bamboo sticks picking out fruit, yellow ice sugar falling into glass tanks, blue plumes touching glass, glass lids on, metal-cracked \u201ctips\u201d and glass cans falling on wood tables\u3002
\nKeep the camera moving smoothly and in a clear direction, with the identity of the person, the right and the right position, the clothing, the bamboo sift, the glass tank and the desktop structure. Hand actions match real physics. The video does not produce subtitles, watermarks, teaching text and additional ads\u3002
\nDO NOT GENERATE ANY BGM, ONLY SOUND<\/p>\n

\"33ea8238j00tl4ys00end000mw00r8p\"<\/p>\n

Second paragraph:<\/p>\n

REFERENCE @PHOTO 1 COMMISSARY STRUCTURE, GREEN AND WHITE STRIPES SHACK, OLD WOOD COUNTER, LEFT SIDE NIGHTINGS, SNACKS, PAPERBOXES AND LIFESTYLE SHOWERS. THE MAINTENANCE OF A SLIGHTLY CROWDED, OLD BUT REAL SHOP DOES NOT RESULT IN THE CLEANING OF MODERN CONVENIENCE STORES. TO REMOVE OR BLUR ALL IDENTIFIABLE THIRD-PARTY TRADEMARKS, FREEZER TEXT AND COMMODITY PACKAGING TEXT, \u201cMACHONG\u201d IS THE ONLY CLEARLY IDENTIFIABLE BEVERAGE BRAND. @PHOTO2 ADULT FEMALE HOSTESS AND @PHOTO3 ADULT MALE MASTER'S FACE, HAIR, BODY, CLOTHING AND AGE. THE HOSTESS ARE ALWAYS ON THE LEFT SIDE OF THE PICTURE AND THE MAN IS ALWAYS BEHIND THE COUNTER. THE PRODUCT STRICTLY FOLLOWS @PHOTOGRAM 4 AND DOES NOT CHANGE BOTTLE TYPES, LIGHT GREEN LIQUIDS, GREY GREEN BOTTLE CAPS, IVORY LABELS AND PLUME ILLUSTRATIONS. IN THE EVENING, THE GOLDEN LIGHT IS DARKER THAN THE DOOR, THE COLOUR IS NATURAL AND THE REAL PERFORMANCE IS RESTRAINED. DO NOT GENERATE ANY BGM, ONLY SOUND
\n\"Image\"
\nIt's got a good sense of commercial advertising at the film level, a clear sense of nature's early summer air, soft and low inverse, dark inverted, bright and thin, color-restricted, green, ivory and warm wood. Real fine skin, fruit-coated fibres, beads, refractions of glass and condensed water tastes, light film particles, soft and high luminous dyes, clean, wet, fresh, with real life temperature, while maintaining a high-quality beverage advertisement. Quite restrained East Asia\u2019s film sense of life, early summer natural light in the south, wet green plants, warm old wood space, low contrasts and shadows, real life traces, quiet and incipient personality emotions, food obscurities, natural life, inflammation, and little new filters. We'll refer to Sea Street Journal as the main tone of the entire film
\nOverall rhythm: Quiet product design begins and the female owner accelerates when she enters; the curtain door stops suddenly, the male owner is inside the commissary and the female owner is outside the commissary; the rhythm slows after the \"sing-and-sing\" rings; the female owner recognizes the male owner from the bottle; opens the bottle and bubbles to complete the emotional release; and the product is down to a steady end\u3002
\n\"Fiscal 01\"
\nPhoto 4 is in the center of the picture, standing straight on the honey old wood counter. The camera, located behind the inner counter of the commissary and facing the entrance to the shop, was taken outside the commissary. @Matron, a bottle of ice in picture 4, is located at the centre of the picture, standing directly on the honey-coloured old wood counter. Use 85 mm medium long focus fixed lens. Initially, the focus was entirely on prospective product bottles, with clear headline labels, condensed water and a fine, dense bubble inside the bottles. At the center of the picture, the background is highly defunct. The main man is on the right side of the picture and the right side of picture 4 is fading (we can only see the corner of the person) and the old line on the inside side of the counter pulls the curtains, and the old gray curtains slowly fall. The hostess broke into the product from the left side of the background, and the left side of the picture 4 faded, holding up the bottom of the door until the curtain door was completely down. The curtain door will stop immediately. The camera was fixed and its focus shifted steadily from a prospective product bottle to the female owner\u3002
\nHardcut
\nI'm going to take a look
\nUnder the curtain door, the camera is fixed. The master's hand is steady and holds the grey metal door. The curtain doors remain static and there are still minor post-stop vibrations on the metal surface\u3002
\nHardcut
\n\u266a I'm going to find my voice \u266a
\n50 mm hostess. She bends a little and looks at the shop under the curtain door. Breathe a little faster, and the sight sweeps through the dark shop and falls to the centre of the counter\u3002
\nVisual cut lenses
\n[ camera 04 pounding bottle cap]
\nA bottle of Gatt on the counter, the camera is fixed. The master's right hand enters from the right side of the picture, with the index finger taping twice on the grey green metal bottle cap, with a clear rhythm, which is exactly the same as a young plume\u3002
\nThe sound of the shop after the sound of the bastion has been rapidly reduced, leaving only a thin air bubble in the bottle\u3002
\nSound Slicing Mirror
\n[ Lens 05 pusher and recognition]
\n85mm female hostess, camera fixed. The hostess is on the left side of the picture, and the old wood counter and Meyong bottles are at the bottom of the picture\u3002
\nThe man's hand gently pushed the bottle from the right side of the picture. The bottle was standing straight and smoothed from right to left in front of the hostess, and the frontal label continued towards the camera\u3002
\nThe hostess' vision followed the bottle and ended up on the grey green bottle cap. When the bottle stopped, her eyes slowly moved up from the cap to the man on the right\u3002
\nHer eyes were opened slightly, her breath was suspended, and the appearance gradually turned from doubt to surprise to recognize her. Keep your lips closed and behave with restraint\u3002
\nCut the mirror
\n[Smemor 06 Zero Zero Zero Zero Zero ]
\n85mm male master. The man is on the right side of the picture, looking to the woman on the left. His face was clearly revealed from the tenderness and shadow of the shop. The man raised his eyebrow slightly, looked quiet, and his mouth had changed very little\u3002
\nCut the mirror
\n\"Sport 07\"
\nNearest view among 85mm female masters. She looked down at the glass in front of her and her eyes softened\u3002
\nShe held the bottle steady with her left hand and the wind bell at the door was blown light by the evening wind. Sound Slicing Mirror
\n\"Sport 08\"
\nMaster, the camera is fixed. Take your eyebrows easy and show a very slight smile\u3002
\nAction cut lens
\n\"Sport 09\"
\nBottle with hands close. The master holds the bottle in her left hand, picks up the old metal opener on the counter in her right hand and puts the opener on the edge of the grey green crown cap\u3002
\nShe fell off the bottle cap. When the cap is removed, a thin \u201ctwilight\u201d, a small amount of real fog is released from the bottle, and the thin air bubbles quickly surge up. The camera did a very small advance\u3002
\nOpen the acoustic lens
\n[Screen 10 drinking and emotional release]
\nThe hostess' view. She lifts up a bottle, takes a little sip, and then puts it down\u3002
\nOnce again, she looked at the man and showed restraint and warm smiles. Quiet response from the lord. The sun came out of the shop and the wind bells were ringing again\u3002
\nHard Enter Down
\n[Screen 11 |]
\n85 mm long-focal fixed lens. An open bottle of \"Mechan\" is located in the center of the honey old wood counter to the left, with a full frontal label. The grey green bottle cap and the old metal opener are naturally next to each other, with three green plums around the bottom of the bottle, without covering the label\u3002
\nIn the evening, the reverse light runs through transparent glass and light green drinks from the right rear, and the thin bubble inside the bottle continues to rise vertically, and the condensed water is really clear\u3002
\nThe context of the commissary is highly defunct, with adult female and male owners remaining on both sides of the counter as soft and contours. On the right side of the picture, keep a clean later file area. The camera was completely fixed and finally stabilized\u3002
\nCamera rules: Camera 01 only has one focus shift; camera 09 only has one minor advance; other cameras remain fixed. The movement of people, the movement of products and the movement of cameras cannot be complicated at the same time. All clips are clean, hard-cut, line-of-view, sound-screech or action-screech mirrors, and do not use flash, smoke, solution and vanity\u3002
\nSound: glass bottles touch the old wood counter, roll door metal friction, step of the master, hand in hand to hold the curtain door, three groups of \u201ctwirl, twirl\u201d, bottle bottom slides over the wood table, character breathes, bottle openings, air bubbles up and door bells. Only natural environment sounds and synchronized sounds are generated\u3002
\nMaintain the identity of the person, his\/her position, his\/her direction, his\/her clothing, product packaging, his\/her bottle cover and the commissary structure. Hand action corresponds to real physics and the crown cap must be opened with a metal opener. The video does not produce subtitles, watermarks and additional ads\u3002<\/p>\n

\"870381d9j00tl4yz500jkd000n70vdp\"<\/p>\n

Modification process<\/p>\n

The original plan was 45 seconds, but in the process of actual generation and editing, in order to preserve the integrity of childhood relationships, the production of plumes and the re-emergence of adulthood, the final piece was extended to about one minute\u3002<\/p>\n

My spectro script has been modified many times. The basic approach would be for Mr. Sing to propose specific modifications to the practical issues\u3002<\/p>\n

The following are some of the more significant adjustments to the swath\u3002<\/p>\n

1. Change the opening from the big picture to overlooking features<\/p>\n

The opening scene was the backyard scene, where two children entered from the right and the left\u3002<\/p>\n

I felt that the opening message was too scattered, so I turned it into a purely overlooking table: boys and girls were lying on both sides of the table, and a green plum fell directly between them\u3002<\/p>\n

The first camera, as modified, was accompanied by personality relations, core materials and story suspense, and entered into the drama faster\u3002<\/p>\n

\"a6da9a0dj00tl4yzh00ytd000v9000hkp\"<\/p>\n

2. Deleting large input margins<\/p>\n

The early version included a large number of micro-species, such as cyanide into water, fruit-coated texture, slashing of cuisine, drop of juice, rotation of images and air bubble matching\u3002<\/p>\n

Looking at these cameras alone is not a problem, but it appears to have been placed in the story as a commercial for another product, disrupting the character relationship\u3002<\/p>\n

I ended up deleting the wiring and turning it into a grandmother with two kids making traditional green plum juice. This shows both raw materials and childhood stories\u3002<\/p>\n

Delete the action of the hostess to push back the second bottle<\/p>\n

In the early design, the hostess identified the male master and had to take out the second bottle of drinks from the freezer, hit the cap and push it back to the male master\u3002<\/p>\n

When actually placed in the short film, this set of actions is too complex to repeat the message that has been clearly expressed\u3002<\/p>\n

I eventually deleted the second bottle and kept only the female main view from the bottle to the man, to recognize the other, to open the bottle and to drink. The mood is more concentrated and the product is more prominent\u3002<\/p>\n

Once the changes have been completed, I will split the whole video into two pieces using Feedance 2.5:<\/p>\n

The first part: Childhood and green plum juice<\/p>\n

Second paragraph: Meet again at the commissary after adulthood\u3002<\/p>\n

The advantages of a subparagraph would be to reduce the confusion caused by simultaneous changes in the person, time and scene, and to facilitate a separate paragraph\u3002<\/p>\n

At the time of generation, I upload pictures of the respective person's assets, scene assets and products, and then enter the organized Feedance 2.5 video alert\u3002<\/p>\n

Video alert to specify:<\/p>\n

Who's on the left, who's on the right<\/p>\n

What do people do<\/p>\n

(a) the direction of the object<\/p>\n

Where to stay fixed, where to allow for mirrors<\/p>\n

How to switch the lens<\/p>\n

The details of which products cannot be changed\u3002<\/p>\n

IV. Bystanders and music based on rough cut<\/strong><\/p>\n

AFTER THE VIDEO IS GENERATED, I'LL FINISH THE ROUGH CUT IN THE CLIP AND THEN RE-TRANSMIT IT TO AI\u3002<\/p>\n

I DIDN'T ASK AI TO READ THE ORIGINAL SCRIPT, BUT I ASKED IT TO REWRITE IT ACCORDING TO THE SEQUENCE IN THE ACTUAL FILM:<\/p>\n

1. This is a rough clip of my video, which will be reduced by a few seconds. I'm going to add a story to the video, and I'm going to add a story from the hostess' inner play\u3002
\ncopy<\/p>\n

2. The words that give me a voice are like a girl who tells a story, and every word is indicated in brackets and written together without opening it\u3002<\/p>\n

\"72336871j00tl4z0e007cd000mb00izp\"<\/p>\n

The direct use of seedAudio 1.0 for sound generation has a clear AI sense, so a reference audio can be found that corresponds to the quality of the person\u3002<\/p>\n

THIS IS WHERE YOU CAN GO TO THE BEEP, OR YOU CAN GO TO THE CV, AND YOU CAN FIND A SOUND TO DOWNLOAD, AND THEN YOU CAN EXPORT THE SOUND IN THE CLIP AND USE IT AS A REFERENCE\u3002<\/p>\n

\"5afbdf9bj00tl4z0p00ehd000v90ejp\"<\/p>\n

Quote to generate an oral broadcast<\/p>\n

My hint is as follows:<\/p>\n

To maintain the person's original sense of age, sound lines, sound thickness, voice position and natural speaking habits. Can't change the person's core tone. The natural voice of Chinese girls around the age of 23 is clear, gentle and young, as a quiet talk of a treasured past of childhood; the use of the first person close to the person ' s heart, with restraint, truth, a mild sense of breath, without the use of adhesives, sound-broadcasting or inflaming performances; the whole speech is slow but slow, with a natural pause, and I remember that summer, when a young plume fell. The last one, he always left me. Grandma taught us, one green plum, one ice cream, and wait. And then the green plum turned sweet, and we split up. I thought I couldn't even say goodbye. And until the sound of the two, We recognized him. Mecchan's plum bubble. This one, just back that summer\u3002<\/p>\n

\"1b3b5d3ej00tl4z0x003nd000pn00hwp\"<\/p>\n

BGM IS ALSO GENERATED BY AI, WHICH UPLOADS A ROUGH CLIP TO AI FOR ANALYSIS. BUT I DIDN'T DESCRIBE THE DRAMA TO THE MUSIC MODEL, BECAUSE IT DIDN'T HAVE TO UNDERSTAND WHAT WAS GOING ON IN THE PICTURE, IT NEEDED TO UNDERSTAND THE MUSIC STRUCTURE\u3002<\/p>\n

MY REQUEST TO AI IS:<\/p>\n

Analyse the video, I need the right style bgm. Help me design a 56-second BGM. The first 15 seconds were slow; the first 15 to 30 seconds were accelerating; all the music floors were stopped in 30 seconds; and then a new start was made from quiet and the air was rising slowly. Use professional music terms, don't describe video content, give me a hint\u3002
\ncopy<\/p>\n

The resulting musical hints include a clear time, BPM, instrument, dynamic, accelerator, silent position and end, and the use of FeedMusic 1.0 to generate BGM\u3002<\/p>\n

My music hint reads:<\/p>\n

Generates a strictly 56-second purified instrument film commercial, 4\/4 beat, fresh, warm, restrained, with a mild summer memory, and no incitement. The core motivations are two simple notes, using the acoustic piano, soft wood knocks, light steel tablets, chords, extremely weak air synthesisers and indoor strings of restraint. 0-15 seconds: about 70 BPM, pp. are dynamic, leave a lot of space, two notes appear slowly, the melody is thin and the rhythm is low. 15-30 seconds: Maintain the core motivation to form natural accelerando through the addition of eight-point notes, chords, soft sand hammers and wood knocks, with a constant acceleration of rhythm and density, and move from pp to mf without heavy drums. 30.0 seconds: All musical instruments are precise and clean and stop, and about 0.5 seconds of absolute silence is maintained without the use of tails, acoustic drags, impacts or transients. 30.5-56 seconds: Recommence from a single hymn and return to the velvet speed; re-emergence of two notes with a wider modulus and acoustics, with indoor string, light steel and air-sensitization layers, rising slowly, from pp to mf, warmer than macro; and last four seconds to complete a bright, bright, luminous and acoustic solution, with a clean and stable end, without sudden fade. Interpretural friendly mix, medium-frequency restraint, space reserved for human voice, instantaneous clarity, low-frequency and light, and the stereo is naturally open. No lyrics, no voices, no hummings, no drums, no anthems, no fantasies, no animated piano solos, no exaggerated orgasms, no retrospects\u3002<\/p>\n

\"4255b9daj00tl4z14008nd000uh00h7p\"<\/p>\n

V. PRODUCTION AND COMPLETE CLASSIFICATION<\/strong><\/p>\n

Finally, I used the product bottles, green plums and the old commissary to make a copy\u3002<\/p>\n

I'll start by looking for a typed reference<\/p>\n

\"2107c633\/j00tl4z1c008xd000ms00hnp\"<\/p>\n

IT ALSO ALLOWS AI TO ANALYZE ITS DRAWINGS, STRUCTURES, CHARACTER RELATIONSHIPS AND LAYOUTS, AND TO PRODUCE A FRAME WITH A FINAL TEXT<\/p>\n

\"e2fbfe<\/p>\n

Use this as a bottom map\u3002<\/p>\n

The prompt words are as follows:<\/p>\n

USING A PHOTO OF THE PRODUCT OF THE COMMISSARY AS A COMPLETE BASE, THE LEFT SIDE OF THE METONG BOTTLE, TWO GREEN PLUMES, BOTTLE CAPS, BOTTLE OPENERS, WOOD COUNTERS AND DEFUNCT FIGURES ARE KEPT INTACT AND THE ORIGINAL CODE OF THE LOWER RIGHT CORNER IS REMOVED. THE OVERALL DESIGN REFERENCE GIVES A FONT LAYOUT: A FINE, SINGLE-LINE CHINESE DISPLAY OF FONTS, A SIMPLE, MODERN STRUCTURE, A NATURAL EXTENSION OF PARTIAL CROSS-SECTIONS AND VERTICALS, A MISSIZE OF FONTS, A LIBERAL WHITE AND SUMMER EDITORIAL SENSE OF DESIGN, WHICH CANNOT BE WEEDED OR DIFFICULT TO IDENTIFY. THE TEXT IS FOCUSED ON THE RIGHT SIDE OF THE PICTURE, BALANCING IT WITH THE PRODUCT ON THE LEFT. AT THE TOP, WRITE \u201cTHIS MOUTH\u201d, WITH A SMALLER FONT, AND AT THE BOTTOM, WITH TWO ROWS OF SUPER-LARGE TITLES, \u201cONLY BACK\u201d AND \u201cTHAT SUMMER\u201d; KEY WORDS SUCH AS \u201cBACK TO THE SUMMER\u201d CAN BE MODESTLY AMPLIFIED, WITH A FEW DRAWINGS EXTENDING OUT, BUT NOT COVERING EACH OTHER. THE MAIN TITLE IS MAINLY WARM RICE WHITE, AND LOCAL PENS ARE SPROUTED WITH GREEN AND MATURE PLUM, LOW-SATURATED, NATURAL AND NOT FLUORESCENT. ADD A SIMPLE, MODERN, UNLINED ENGLISH \u201cPLUM ECHOES OF SUMMER\u201d UNDER THE HEADING, AND WRITE \u201cMADAM GREEN PLUM BUBBLES\u201d. THE RIGHT-HAND BACKGROUND ADDS A VERY SLIGHT GREEN, TRANSPARENT GRADIENT OF DEEP LEAVES, WHICH MAKES THE TEXT CLEAR, BUT DOES NOT FORM A VISIBLE PIECE OF COLOUR AND DOES NOT SHIELD THE COMMISSARY ENVIRONMENT. ONLY TWO OR THREE LINED HOLLOW CIRCLES ARE LEFT AROUND AS BUBBLE IMAGES, CONSISTENT WITH FONT LINES. THE WHOLE IS A NICE, QUIET, MODERN SUMMER BEVERAGE COMMERCIAL WITH A GRAPHIC DESIGN SENSE OF REAL FILM PHOTOGRAPHY AND RESTRAINT. ALL CHINESE MUST BE ACCURATE AND THE BOTTLED PACKAGING MUST NOT BE ALTERED AND NO NEW PRODUCTS, ILLUSTRATIONS, CHARACTERS OR COMPLEX DECORATIONS SHOULD BE ADDED\u3002<\/p>\n

\"e09386a7j00tl4z1r00r5d000v90hjp\"<\/p>\n

The text is as follows:<\/p>\n

This one, just back that summer\u3002<\/p>\n

It is then used as a frame of first and last-out, so that video models generate text animations\u3002<\/p>\n

The prompt words are as follows:<\/p>\n

A FOUR- TO FIVE-SECOND SETUP OF ANIMATIONS IS PRODUCED USING THE FRAME OF FIGURE 1 AND THE FRAME OF FIGURE 2. THE CAMERA REMAINED STABLE, WITH ONLY A VERY SMALL SLOW ADVANCE AND AN ACCURATE ARRIVAL AT FIGURE 2. PRODUCT BOTTLES, GREEN PLUMS, BOTTLE CAPS, BOTTLE OPENERS, WOOD TABLES AND DEFUNCT BACKGROUND REMAIN STABLE AND THE BOTTLE NOT DEFORMED. THE RIGHT CHINESE TITLE APPEARS IN A REAL SINGLE-LINE ANIMATION, LIKE AN INVISIBLE LITTLE PEN FOLLOWED BY THE PEN PATH OF THE EXISTING FONT IN FIGURE 2. WRITE \" THIS MOUTH \" FIRST, FIRST, FIRST, AND THEN \" RIGHT, THEN RIGHT, LEFT, AND THEN \" THAT SUMMER.\" EACH PEN IS CONTINUOUSLY EXTENDED FROM THE BEGINNING TO THE END OF THE PEN, AND THE SPEED IS NATURAL, WITH MINOR, SLOW CHANGES AND A BRIEF PAUSE; NO REAL HAND, PEN OR WRITING TOOLS ARE PRESENT. THE GREEN AND YELLOW PLUM PAINTINGS NATURALLY CONTINUE ACCORDING TO THE ORIGINAL LOCATION OF FIGURE 2 AND CANNOT BE CHANGED TEMPORARILY. AFTER THE COMPLETION OF THE MAIN TITLE, THE THREE FINE-LINE RINGS APPEAR QUICKLY IN A SINGLE ROUND; THE ENGLISH WORDS \u201cPLUM ECHOES OF SUMMMER\u201d AND THE CHINESE WORD \u201cMADAM GREEN PLUM BUBBLE\u201d ARE SIMPLY AND CLEANLY DILUTED. ALL TEXTS MUST STRICTLY MAINTAIN THE CONTENTS, FONTS, COLOURS, POSITIONS AND PROPORTIONS IN FIGURE 2, WITHOUT REWORDING, REWORDING OR CREATING ANY CONFUSION. STAY STABLE AT LEAST ONE SECOND AFTER THE ANIMATION IS COMPLETED. THE WHOLE IS SIMPLE AND RESTRAINED, WITH A HAND-WRITTEN LINE SENSE IN MODERN PLANE DESIGN. NO CARTOONS, BUBBLE BLASTS, LIQUID SPRAYS, NEON LIGHT, PENS FLYING, WORD SCALING, STEREO, CAMERA SHAKING OR COMPLEX TURNS\u3002<\/p>\n

\"514ec48dj00tl4z27006yd000nb00ipp\"<\/p>\n

Last but not least, it stays on the floor, allowing the audience time to read\u3002<\/p>\n

WHEN I FINISHED ALL THE MATERIAL, I WENT BACK TO THE CLIPPINGS, REGROUPING THE VIDEOS, THE HOSTESS' CONFIDANTS, BGM, THE SOUND OF THE ENVIRONMENT, THE SOUND OF THE BANGS, THE SOUND OF THE BOTTLE OPENINGS AND THE SET OF ANIMATIONS\u3002<\/p>\n

\"b84641dj00tl4z2a003yd000v9006ip\"<\/p>\n

The whole process can be summarized as:<\/p>\n

The creation of products and stories, the production of characters and scene assets, the design of mirrors and the generation of videos, the production of bystanders and music, and the publication and final editing\u3002<\/p>\n

The most important experience in this production is not one in which a perfect hint is written, but one in which Mr. Se\u00f1or is able to make a judgement and then point out specific issues\u3002<\/p>\n

Instead of saying \u201cnot working well\u201d, it means whether the opening is too loose, the lens is too slow, the mirror is unnecessary, the scene is too deliberate, or the person's actions do not promote the story\u3002<\/p>\n

THE MORE SPECIFIC THE PROBLEM, THE MORE VALID THE CHANGES THAT AI GIVES\u3002<\/p>","protected":false},"excerpt":{"rendered":"

No real product, and a full TVC? This time I created a green plum bubble from zero, and I used AI to finish the characters, scenes, spectroscopy, voice and final film. And then, in my thinking and my steps, you can do this, too?<\/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":[5321,9069,9070],"collection":[],"class_list":["post-57035","post","type-post","status-publish","format-standard","hentry","category-jiaocheng","category-baike","tag-ai","tag-tvc","tag-9070"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/57035","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=57035"}],"version-history":[{"count":0,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/57035\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/media?parent=57035"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/categories?post=57035"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/tags?post=57035"},{"taxonomy":"collection","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/collection?post=57035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}