{"id":57072,"date":"2026-09-11T09:13:12","date_gmt":"2026-09-11T01:13:12","guid":{"rendered":"https:\/\/www.1ai.net\/?p=57072"},"modified":"2026-09-10T15:16:45","modified_gmt":"2026-09-10T07:16:45","slug":"ai%e5%ae%8c%e6%95%b4%e7%94%9f%e6%88%90%e6%97%85%e8%a1%8cvlog%e5%85%a8%e6%b5%81%e7%a8%8b%e8%a7%86%e9%a2%91%e6%95%99%e7%a8%8b%ef%bc%8c%e5%81%9a%e4%b8%80%e6%94%af%e7%9c%9f%e5%ae%9e%e6%84%9f%e6%97%85","status":"publish","type":"post","link":"https:\/\/www.1ai.net\/en\/57072.html","title":{"rendered":"AI generates a Vlog full-process video tutorial for real-life travel Vlog"},"content":{"rendered":"

AI Vlog<\/a>The hardest part is not to produce a few beautiful shots, but to make people really go out for a day. This time I made a whole mountain of elephants, from the journey, the scene, the character to the cameraTravel<\/a>Vlog\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

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

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

https:\/\/jimeng.jianying.com\/ai-tool\/home\/<\/p>\n

FlowPix https:\/\/www.FlowPix.club<\/p>\n

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

First, we'll make the Vlog story, then prepare the scene, the character and the props<\/strong><\/p>\n

Do AI Vlog, and I don't suggest starting with the video\u3002<\/p>\n

Unlike the normal AI atmosphere short film, the most important thing for the audience is to believe:<\/p>\n

This character really went out for a day\u3002<\/p>\n

So the first step, I'll make a very simple story and a one-day trip\u3002<\/p>\n

This time I set up:<\/p>\n

The hostess went to Ninbo Hill for a day\u3002<\/p>\n

The whole route is probably:<\/p>\n

Get up in the morning and bang the bedroom and make the cat go out and sit on a light track and go to the mountains and the sea and play and eat and take pictures and watch the sunset\u3002<\/p>\n

It does not need to be written in a very detailed script at the outset, just to think about what to do about this day\u3002<\/p>\n

When the location is determined, the person's clothing will follow\u3002<\/p>\n

Because this time it's mostly by the sea, the hostess' overall dress is light, natural, and better suited to travel and the seaside environment\u3002<\/p>\n

\"e09accecj00tl4zrv019fd000jq00zap\"<\/p>\n

And then there's the scene\u3002<\/p>\n

I'm mainly looking for a reference map of elephant mountains in a little red book and a Pinterest\u3002<\/p>\n

\"f048c107j00tl4zs7000z3d000v90rp\"<\/p>\n

Here is a more important request:<\/p>\n

Try to find a picture from the phone\u3002<\/p>\n

Because what's finally going to happen is the iPhone Daily Vlog, and if all you're looking for is a professional photography, a movie picture or a big commercial film, then even if you're going to use a mobile phone, it's easy to feel like a commercial\u3002<\/p>\n

The image can't be screened only for its beauty\u3002<\/p>\n

I'll think about it:<\/p>\n

What can a character do if she shows up here<\/p>\n

If a scene is very beautiful, but there is no reasonable movement when a character is put in, then it's not really appropriate to do Vlog\u3002<\/p>\n

In addition to the scene, I prepared two main props in advance:<\/p>\n

Blue iPhone 17 and Fuji X-T30 camera\u3002<\/p>\n

\"77741a83j00tl4zsh00x2d000v9000o9p\"<\/p>\n

These little props make the behaviour of the person more natural and increase the authenticity of travel records\u3002<\/p>\n

ii. Dispose all material into people, scenes and props<\/strong><\/p>\n

When the material is found, I'll upload it to FlowPix\u3002<\/p>\n

\"a451fd8dj00tl4zsp003zd000v9006dp\"<\/p>\n

But many of the scenes found on the Internet already have figures\u3002<\/p>\n

If it's used directly, the model is easily influenced by original figures\u3002<\/p>\n

So I'll start with Nano Banana Pro:<\/p>\n

\"568<\/p>\n

Enter hint: Remove the person on the left<\/p>\n

Our only aim is to get a clean scene and facilitate the re-entry of our female lead\u3002<\/p>\n

Then we'll deal with the characters\u3002<\/p>\n

I'm going to prepare a basic image of the hostess, and then use Nano Banana Pro to create a 4-view for the characters\u3002<\/p>\n

The role of the four-views is to make the model clearer:<\/p>\n

What exactly does this person look like from a different angle\u3002<\/p>\n

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

The image of the person in the image is set in four views, the grey studio background, the overall make-up board for the professional human role, the layout, the clean, not the poster, not the big magazine, not the drama, not the complex scene\u3002
\nThe overall layout is strictly divided into two parts, top and bottom: the first half accounts for one third of the height of the picture and the second half for two thirds. The area above displays two fine face features, on the left, on the front, and on the right, on the side. Both features are focused on the head and the neck, and are well organized, with a clear display of the characters ' five officials, bone structure, make-up, hair, hairdressing and decorum. Personal facial features, hairstyles, make-up and head dressing must be strictly consistent with the reference image. The skin sense is real and natural, with porosity, stripes, fuzzy hair, eyebrows, nuanced hair and light on the skin, not grinding skin, not too sharp, not looking like a beauty, and a high-resolved make-up feel\u3002
\nThe area below shows two reference maps of body and clothing, arranged around\u3002
\nThe left-hand picture must be a larger, front-looking costume display with a standard A-pose position for the person. The focus of this picture is not on the whole body, but rather on \u201ca significantly larger number of people\u201d, so that the role is more proportional to the picture. The picture on the left side must be taken in a more proximate light, with the person starting to draw from the lower side of the shoulder neck, until the end of the shoe, and the head being completely cut off from the picture because the image was amplified. Please note that this is not an ordinary long-range body picture, but rather a positive one that is magnified at close range: the body is significantly larger in the picture, with the upper and lower parts being magnified and the overall visual effect being the main part of the dresser in the time frame\u3002
\nThe person ' s shoulder, arms, hands, torso, waist, legs and shoes must be preserved in their entirety, and the edge of the image allows for only the head to be cut off and the hand, foot or body to be cut off. This figure on the left must look closer, more \u201cfull\u201d and more \u201cexpanded\u201d than on the back of the right to make the details of the dress and the body more visible. It is prohibited to make the left part of the body as a general small scale, to make the person too small in the left side, to keep the head in the picture and to cut off only half the head or leave a chin, mouth, nose, edge of the hair\u3002
\nThe right side of the picture is the entire body of the back, standard A-pose, which presents the whole body from the head to the back of the shoe. The person's back-to-back lens, with complete back, hair, back structure of the clothing, shoes and overall contour, is used to display the role-back shape. The right side of the picture is shown on the general whole back, with a normal figure ratio, which does not need to be magnified as the left\u3002
\nThe two charts below must be the same person, the same dress, the same set of accessories, the same body ratio. The entire body is maintained at a permutation rate, but do not exaggerate. Clothing design, fabric level, shoes, dress style, clothing structure and costume styles must strictly follow the original map. All clothing and fittings are characterized by a sense of true physical material quality, with natural wrinkles, crumblings and thin changes, with real reflections of metals, and with real natural expression of materials such as leather, silk and veils. If the original dress is a long skirt with a fork, the person on the left side can walk half-step by leg in order to show the fork structure and the effect on the leg, but the whole body will still need to remain in a stable position with a make-up and not a show\u3002
\nThe light is only polished using a three-point clean and integrated studio: the main light on the right, the auxiliary light on the right and the contours on the right. Don't mess with the light, don't color the light, don't get the vibe. The background is pure gray and seamless\u3002
\nStrictly require:
\nTHE TWO FACES ABOVE ACCOUNT FOR ONE THIRD OF THE PICTURE. THE TWO BODIES BELOW ACCOUNT FOR TWO THIRDS OF THE PICTURE. THE LEFT BOTTOM FIGURE MUST BE A \u201cMAGNIFIED FRONTAL COSTUME DISPLAY\u201d, WITH A SIGNIFICANTLY LARGER FIGURE IN THE PICTURE AND A FULL HEAD CUT OUT FOR CLOSE PROXIMITY. THE RIGHT BOTTOM FIGURE MUST BE A FULL BACK FULL BODY. IT IS FORBIDDEN TO USE THE LOWER LEFT-HAND MAP AS A SMALL GENERAL SCALE. DO NOT ALLOW ANY HEAD INFORMATION TO APPEAR IN THE LOWER LEFT CHART. THE RIGHT AND LEFT CLOTHING IS PROHIBITED FROM INCONSISTENT. THE NUMBER OF CHARACTERS IS PROHIBITED. IT IS FORBIDDEN FOR AI TO BE GREASY, PLASTIC SKIN, EXCESSIVE BEAUTY, CHEAP CG\u3002<\/p>\n

\"28b4b565j00tl4zu90jed000v9000t9p\"<\/p>\n

Here, we actually have three types of material in place:<\/p>\n

Personal assets<\/p>\n

Site assets<\/p>\n

Props assets<\/p>\n

This step seems to be just a picture, but it actually determines the consistency of the whole video behind it\u3002<\/p>\n

iii. Get Flowpix Agent to plan the whole Vlog<\/strong><\/p>\n

When the material is ready, I don't have a single shot of myself to write a video message\u3002<\/p>\n

It is the Agent function that directly opens Flowpix\u3002<\/p>\n

\"bf73fddej00tl4zv80088ud000v9000fmp\"<\/p>\n

note: this function consumes token points<\/p>\n

This time, the person, the prop and all the scenes are selected\u3002<\/p>\n

\"227d22caj00tl4zvj009td000v9000s1p\"<\/p>\n

Select here the picture in the canvas<\/p>\n

Enter the overall requirements next\u3002<\/p>\n

The central message I'm using this time is:<\/p>\n

I'm going to make a video of the vlog with AI, and I'm going to use this character as a picture of the female lead, and I'm going to use the following scenes, which are props, mobile phones, and cameras (Fushi-T30). 9:16 vertical, real iPhone daily selfie Vlog. The front camera has a real arm distance and a slight wide agular sense; the back camera uses 0.5x, 1x, 2x slide digital focal and quick push. Keep a slight wrist shaking, walking up and down, automatic focus, exposure breathing and natural motion blurs, and do not overstretch as stabilizers. I want you to think about the content, the movements and the dementia of the person in every scene. The whole storyline begins with the morning bedroom flipping over and getting up, then going to the bedroom to play with the cat, and then going to sit on the light track, followed by the Vlog shoot. I want to split into two, one in 30 seconds\u3002<\/p>\n

\"8e280201jl4zw40077d000ie00zdp\"<\/p>\n

Agent will help you plan the content of each shot and the movement and dementia of the person\u3002<\/p>\n

\"63991e77j00tl4zwb00hud000eq01ixp\"<\/p>\n

IV. Converting planning into Feedance 2.5 and generating<\/strong><\/p>\n

After Agent has finished the whole video program, it can continue:<\/p>\n

just give me a video alert for the soydance 2.5\u3002<\/p>\n

\"1b1a18a4j00tl4zx200axd000ew01pep\"<\/p>\n

So there's no need to rearrange it again\u3002<\/p>\n

This time I split the entire Vlog into two sections\u3002<\/p>\n

About 30 seconds each\u3002<\/p>\n

I'd rather open it than create it for one full minute at a time\u3002<\/p>\n

Otherwise, so many elements will be plugged into the resulting video rhythm very quickly\u3002<\/p>\n

The video message reads as follows:<\/p>\n

Prompt word 1<\/p>\n

Camera 1 (figure 2 bedroom, front camera, 5 seconds): The morning sun spills into the bedroom, she turns on the love sheet, her hair spreads over her pillows, she puts her mobile phone to the side of her face with an eyelid, and he whispers, \"Good morning, going to the sea today\", and the morning light gives light to her breath\u3002
\nCamera 2 (Figure 3 living room, high-push, five seconds): She crouched on the jute carpet with her fingers and the orange cat threw his tail at her, and she approached the camera and whispered, \"It didn't look at me,\" and the blindfold strip smudged on her face, when she got up\u3002
\ncamera 3 (figure 4 light track, 1 x 4 seconds behind): in the light rail carriage, she held her arm against the camera and looked at the blue sea view outside the window, and the sea wind blew her long hair, and she turned back and smiled at the camera, swirled through the lens and pushed the camera towards her side face\u3002
\nCamera 4 (show 5, followed by 0.5x on top, 4 seconds): she was excited to walk by her handler and say, \"Come on, come on, come on, come on, come on, come on, come on, come on, come on, come on, come on\u3002
\ncamera 5 (fig. 6, forward retweet, 4 seconds): the front self-censorship shows her walking to the camera, the other hand pulls out the hair blown by the sea, and then the wrist flips to the back one x one second to the beach\u3002
\ncamera 6 (figure 7 swing, 1 x push 2 x 4 seconds): she sits on the swing of the seaside with her back softly towards the lens, and her skirt and long hair are blown up by the sea wind, and the camera is slowly pushed from the middle to her back\u3002
\nCAMERA 7 (FIGURE 8 BRIDGE, FRONT CAMERA, 4 SECONDS): SHE'S ON A ROCK RAIL, WITH A PINE TREE BEHIND HER AND A CROSS-SEA BRIDGE BEHIND HER, AND SHE BLINKS AND SMILES AT THE CAMERA AND RAISES THE FUSHI X-T30 ON HER CHEST\u3002<\/p>\n

Cue word 2:<\/p>\n

camera 1 (figure 2 rock pool, followed by 0.5 x 1 x 4 seconds): she follows the green pine-coloured pool, and the water glows on the skirt, and she says to the camera with her hand over the sun, \"it's too small here,\" and the camera moves with her feet\u3002
\nCamera 2 (Figure 3-seaside tea table, stationary self-censorship, 4 seconds): She sets the iPhone on an eight-point table, sits on a black wooden chair with her hands on her cheeks, looks quietly at the two-second emptiness of the beach-painted shelf, then turns her head and smiles softly at the camera\u3002
\nCamera 3 (Chart 4 food, 1x poach, 4 seconds): She holds the HeYA ice to the camera and touches the glass, scrambling and tattering, drawing the sound of which to eat first, and then slices herself in front of her and bites her to the ground\u3002
\nCamera 4 (Figure 5 wind bell corridor, forward walk, 4 seconds): She walks in the wood corridor under the shell wind bell and goes to the camera and says, \"It's good in every corner of the shop\" and lifts her hand to the top of the wind bell, and the wind bell shakes\u3002
\nCamera 5 (Figure 6HEYA COFFEE, 1 x 2 x 4 seconds later): She stood by the pool and took a serious photo of Fuji X-T30, and then turned to the iPhone scene and was happy\u3002
\ncamera 6 (figure 7 tsha, followed by 0.5 x 3 seconds): her side face was cut to the surface of the pink orange tsha, \"it was too curable\" and the fishing boat slowly crossed from the right side of the picture\u3002
\ncamera 7 (figure 8 sundown bridge, 1x rapid push, 4 seconds): in the golden sunset, she took a few steps to the lens along the lantern bridge, turned her arms around half, her skirt was flying and she laughed in reverse\u3002
\nCamera 8 (Figure 9, front camera, 3 seconds): She leaned on a wooden rail, her cheeks were dyed with gold by the sunset, and she waved to the camera and said, \"This is it for today, next time,\" and reached out to cover the camera, and the picture ended in black\u3002<\/p>\n

It's not enough to have an asset label and a graphic text<\/p>\n

Here's the text:<\/p>\n

I'm not sure what I'm talking about. The front camera has a real arm distance and a slight wide agular sense; the back camera uses 0.5x, 1x, 2x slide digital focal and quick push. Keep a slight wrist shaking, walking up and down, automatic focus, exposure breathing and natural motion blurs, and do not overstretch as stabilizers\u3002<\/p>\n

And the heroine needs some description<\/p>\n

The lead actress is strictly based on figure 1: brown hair with straight hair, right and transparent lilies, blue and white bouquets with long skirts, four-leaved collars, diamond bracelets, white heel sandals, light makeup. A light blue iPhone from chart 9 and a silver Fuji X-T30 camera with a chest chart 10\u3002<\/p>\n

At the time of generation, I will use this segment:<\/p>\n

Personal + scene + mobile + camera graph<\/p>\n

Connect to the Seedance 2.5 video model together\u3002<\/p>\n

\"57371e7ej00tl4zz300cyd000p300ntp\"<\/p>\n

Here's a detail:<\/p>\n

The order in which the pictures are quoted in the prompting word corresponds to the order in which they are actually transmitted\u3002<\/p>\n

For example:<\/p>\n

Figure 1 is character\u3002<\/p>\n

Figure 2 is the bedroom\u3002<\/p>\n

Figure 3 shows the seaside\u3002<\/p>\n

Figure 4 is mobile phone\u3002<\/p>\n

The model input end must then follow the same logic\u3002<\/p>\n

If the photo sequence and the quotations are not matched, it is easy to see people taking the wrong prop, misidentifying the scene, or even a complete confusion of the content of the lens\u3002<\/p>\n

So I'll check the photo sequence again before every official click is generated\u3002<\/p>\n

V. Clips and deletes the lenses and fills the head and tail<\/strong><\/p>\n

After the video is produced, I'll import the clip\u3002<\/p>\n

The first thing here is not a garter effect or a tuning\u3002<\/p>\n

They are:<\/p>\n

Delete the inoperable part\u3002<\/p>\n

IT'S HARD TO MAKE SURE EVERY SHOT, EVERY SECOND. SOMETIMES THE CHARACTER ITSELF IS NORMAL, BUT THE PROPS CHANGE\u3002<\/p>\n

I don't usually stay in this situation\u3002<\/p>\n

Just delete it\u3002<\/p>\n

After the basic clip was finished, I made a single head and a tail\u3002<\/p>\n

\"572e5776j00tl50010046d000v9084p\"<\/p>\n

So the whole video creates a more complete timeline:<\/p>\n

Get up in the morning and go for a trip and play for the end of the sunset\u3002<\/p>\n

IT'S MORE LIKE A SET OF AI TRAVEL MATERIAL IF YOU JUST PUT TOGETHER THE CAMERA THAT'S GENERATED IN THE MIDDLE\u3002<\/p>\n

But when the person has a clear one-day journey, plus a head and a tail, the audience really has a feeling:<\/p>\n

She's really gone to the mountains for a day\u3002<\/p>\n

Summarize<\/strong><\/p>\n

This time, AI Vlog's entire production process can actually be condensed into five steps:<\/p>\n

\u2022 Agent plans Vlog \u2192Sedance 2.5 to generate \u2192Clip-screened film. What really affects the end effect is not a particularly complex phrase\u3002<\/p>\n

It's whether you put it in advance:<\/p>\n

Who's the character, where, what you brought, what you did today, how you shot it<\/p>\n

Think this through\u3002<\/p>\n

WHEN PEOPLE, SCENES, PROPS AND STORYLINES ARE READY, AI DOES NOT JUST RANDOMLY GENERATE SOME BEAUTIFUL TRAVELS\u3002<\/p>\n

It's the completion of an AI Vlog that really has a start, a process, and an end, as you designed it for a day\u3002<\/p>","protected":false},"excerpt":{"rendered":"

The hardest thing about AI Vlog is not to produce a few beautiful shots, but to make people really go out for a day. This time, I've made a complete travel Vlog from trip, scene, character to camera. And then, in my thinking and in my steps, you can do something like this, and you can do it together<\/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":[5321,7255,9071],"collection":[],"class_list":["post-57072","post","type-post","status-publish","format-standard","hentry","category-jiaocheng","category-baike","tag-ai","tag-vlog","tag-9071"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/57072","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=57072"}],"version-history":[{"count":0,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/57072\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/media?parent=57072"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/categories?post=57072"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/tags?post=57072"},{"taxonomy":"collection","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/collection?post=57072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}