{"id":57905,"date":"2026-10-11T09:18:14","date_gmt":"2026-10-11T01:18:14","guid":{"rendered":"https:\/\/www.1ai.net\/?p=57905"},"modified":"2026-09-20T14:58:01","modified_gmt":"2026-09-20T06:58:01","slug":"ai%e6%8f%90%e7%a4%ba%e8%af%8d%e5%88%9b%e4%bd%9c%e7%ac%ac%e4%ba%94%e5%8d%81%e4%ba%8c%e8%8a%82%ef%bc%9a%e5%91%8a%e5%88%ab%e4%bd%8e%e6%95%88%e5%8f%8d%e6%8e%a8%ef%bc%8c%e6%8e%8c%e6%8f%a1","status":"publish","type":"post","link":"https:\/\/www.1ai.net\/en\/57905.html","title":{"rendered":"SECTION 52 OF THE AI PHRASING: GOOD-BYE, INVERTED, AND MASTERED THE \"PHOTOGRAM STRUCTURE DECOMPOSITION\""},"content":{"rendered":"

IN THE WAVE OF AI'S CREATIONS, WE ARE OFTEN CAUGHT IN THE WRONG SPOT: WE SEE A SENSATIONAL EXPLOSION VIDEO, AND THE FIRST REACTION IS \u201cWITH AI PUSHING THE HINT BACK\u201d. HOWEVER, AFTER COUNTLESS ATTEMPTS, YOU OFTEN FIND THAT WITH THE INVERTED HINTS, THE RESULTS AND THE ORIGINAL FILM ARE A HUGE CONTRAST BETWEEN \"BUYER AND SELLER.\"\u3002<\/p>\n

STOP USING SIMPLE AI INVERTED HINTS, WHICH ARE CURRENTLY THE LEAST EFFECTIVE AND MOST SUSCEPTIBLE TO FRUSTRATION IN AI VISUAL CREATION\u3002<\/p>\n

Today, we will totally reverse this blind box creation, which relies on \u201clabels\u201d, and share a one-size-fits-all approach that works really well in professional visual production \u2014 graphic structure dismantling. Whether a long or short video captures the super-intendance logic based on time lines and space structures, you can not only make it one-to-one precise reset, but can also build on it to achieve a seamless migration of the free substitution and style of elements. Let's get started\u3002
\n
\nChapter I: Why do you push back so often to avoid mined areas<\/p>\n

1.1 Substantive lie of \u201cinverse introverts\u201d<\/strong><\/p>\n

Many creators, when they get a video or an amazing screenshot, routinely throw it to AI<\/p>\n

\"1dda5744j00tlhyzh001id000v9006jp\"<\/p>\n

and enter command<\/p>\n

\"Please describe this video and give me a video message.\"<\/p>\n

AI USUALLY RETURNS TO YOU VERY QUICKLY A LONG LIST OF DESCRIPTIONS IN ENGLISH OR CHINESE, FOR EXAMPLE:<\/p>\n

\"4ed83e87j00tlhyzr00j2d000v9000o1p\"<\/p>\n

It looks very professional, doesn't it? But when you type this in an image or video generation model, the images that you create are very strange. Why? Because these words simply don't determine the true skeleton of the picture, within the industry, we call this description a \u201clabel\u201d\u3002<\/p>\n

\"b22c735bj00tlhyzy00ckd000v9000bhp\"<\/p>\n

Tag Words<\/p>\n

1.2 Why is the description of \u201clong talk\u201d still \u201cturn over\u201d<\/strong><\/p>\n

MORE OFTEN THAN NOT, YOU MAY FEEL THAT THE INVERTED PHRASE IS SUFFICIENTLY DETAILED. IT'S LIKE YOU'RE TAKING A PICTURE TO AI, AND IT'S GOING BACK TO A REALLY GOOD DESCRIPTION<\/p>\n

\"A human robot with a digital screen face, wearing a red brown cowboy hat, wearing a black leather jacket... Dances happily by the unbridled pool of the luxurious beach house, with corpses scattered around, film-class photos, dynamic mirrors...\u201d<\/p>\n

\"8fd1fb6bj00tlhz0c00rhd000v90np\"<\/p>\n

It looks impeccable, with all the core elements in the picture. But if you're going to make a video with this word-and-word text, it's still like \"opening the blind box.\" Why? Because it remains at the level of \u201celementary stacking\u201d, it defines \u201cwhat is in the picture\u201d and fatally ignores \u201cactional processes\u201d and \u201cspace relations\u201d\u3002<\/p>\n

In particular, this detailed description faces three major breakdowns in video generation:<\/p>\n

THERE'S A LACK OF TIME LINES FOR ACTION: THE HINT SAYS \"DANCE WITH JOY,\" BUT HOW DOES IT DANCE IN THE NEXT THREE SECONDS? IS IT A SPACE WALK, A MECHANICAL DANCE, OR A RANDOM TWIST? AI CAN ONLY RANDOMLY ASSIGN A SET OF ACTIONS TO YOU\u3002<\/p>\n

The lens lacks trajectory: the hint is marked with a \"dynamic mirror,\" but in this specific picture, is the lens about a robot doing a 360-degree round and round, or is it a slow up-and-up lens from the bottom of the pool? Without trajectories, the dynamic mirror is nothing\u3002<\/p>\n

Space is random: dead bodies are at the foot of a robot or on the far beach? Is the sun coming from the left side of the contours or the light on the front<\/p>\n

Chapter 2: What is the reverse of a real master<\/strong><\/p>\n

Now that it doesn't work, what is the right thing to do<\/p>\n

THE ANSWER IS, DON'T LET A.I. GIVE YOU A HINT, BUT LET IT HELP YOU TO DISMANTLE THE IMAGE STRUCTURE\u3002<\/p>\n

2.1 What is the \u201cimage structure\u201d<\/p>\n

A truly powerful visual creator, when analysing a picture, sees not \u201cthe stack of words\u201d, but the laws of physics and director logic in a three-dimensional space. A solid image structure with at least the following core dimensions:<\/p>\n

1. Charts and slots: vision, medium, near view or close-up? Do you have a flat view, a look, or a look<\/p>\n

2. Main features: The person ' s clothing and material (e.g., high-reflective leather, rough linen), specific gestures and expression\u3002<\/p>\n

3. Where does the main light source for the light shadow and atmosphere come from? Whether it's a soft peri-reflective or a strong edge contours? Is the color of the picture cold or warm<\/p>\n

4. Environmental depth: What are the protections for the future? What is the subject of the medium view? What is the degree of deflation (deepness) of the context<\/p>\n

\"4126926bj00tlhz<\/p>\n

Use the following hints to invert<\/p>\n

Analyse the image structure in the video<\/p>\n

1. Charts and slots: vision, medium, near view or close-up? Do you have a flat view, a look, or a look
\n2. Main features: The person ' s clothing and material (e.g., high-reflective leather, rough linen), specific gestures and expression\u3002
\n3. Where does the main light source for the light shadow and atmosphere come from? Whether it's a soft peri-reflective or a strong edge contours? Is the color of the picture cold or warm
\n4. Environmental depth: What are the protections for the future? What is the subject of the medium view? What is the degree of deflation (deepness) of the context<\/p>\n

\"72a28cbdj00tlhz1c00p4d000v9010cp\"<\/p>\n

2.2 The soul of video creation: Timelines and Actions<\/strong><\/p>\n

If the center of the image is the spatial structure, then the center of the video is the time line and action. Videos are important not only for static images, but more for the advance of the drama, the interaction of physical engines and the motion of the lens. If you want to reset a video, you have to pull the timeline and look at each frame\u3002<\/p>\n

Chapter III: Core Methodological: Timeline-based \u201cSpecific Dismantling\u201d<\/strong><\/p>\n

AFTER UNDERSTANDING THE IMAGE STRUCTURE, WE NEED TO CREATE A SYSTEMATIC WORKFLOW TO GUIDE AI TO BECOME OUR \u201cVISUAL ANALYST\u201d AND \u201cSPECTURALIST\u201d\u3002<\/p>\n

3.1 From \"whole\" to \"slice\"<\/strong><\/p>\n

Don't try to sum up a 15-second video with a phrase. The correct approach is to cut the video into different time nodes depending on the lens switch and the action\u3002<\/p>\n

For example, a five-second start-up video, which we need to dismantle:<\/p>\n

0-2 seconds: close-up lenses, focus role steps, sandals and ground frictions, background paltry\u3002<\/p>\n

2-4 seconds: camera pulls far to the center, role turns, clothes move physically, main light shines on the side\u3002<\/p>\n

4-5 seconds: Push the camera, the role moves deep into the picture, into the background\u3002<\/p>\n

A video analysis of the time line, lenses, mirrors, diagrams, subject matter, image content will immediately be full of images and better<\/p>\n

\"25919776j00tlhz1y00gkd000v901vgp\"<\/p>\n

3.2 AI UNDERSTANDS THE PHYSICAL WORLD<\/strong><\/p>\n

We need to communicate the laws of the physical world to the models that we create. When preparing the hint, think like you set up a scene in a three-dimensional software:<\/p>\n

Do not write \"pretty light\" and \"the main light source of the 45-degree angle on the left is hit on the face, and on the right there is a small blue environment for light\"\u3002<\/p>\n

Do not write \u201cHe's walking\u201d, but \u201cheavy steps, with natural swings in both arms, and a smooth advance of the lens following his back\u201d\u3002<\/p>\n

Chapter 4: Operational exercises - A full-blown \"super-tip\"<\/strong><\/p>\n

IN ORDER TO ENABLE AI TO IMPLEMENT THE ABOVE LOGIC PERFECTLY, I HAVE SUMMARIZED THIS APPROACH INTO A ONE-SIZE-FITS-ALL \u201cSUPER-TIP\u201d. THE PURPOSE OF THIS HINT IS TO FORCE AI TO CHANGE FROM AN ORDINARY \"LABEL GENERATOR\" TO A \"PROFESSIONAL VIDEO DISASSEMBLER\"\u3002<\/p>\n

You can copy the following directly and send it to your usual dialogue type AA assistant (e.g. Gemini\/ChatGPT, etc.) so that it can analyze the text or image description of the target video and translate it into structured tips that can be used directly for video generation\u3002<\/p>\n

YOU'RE NOW A PROFESSIONAL HOLLYWOOD FILM DIRECTOR, SPECTROSCOPYER AND EXPERT IN VISUAL TIPS. YOU'RE FAMILIAR WITH THE DRAWINGS, THE LIGHT, THE LENS LANGUAGE AND THE CONSISTENCY OF THE ACTION, AND YOU KNOW HOW TO DO ITAI Video<\/a>The generation model gives precise control instructions\u3002
\nI'M GOING TO DESCRIBE TO YOU THE CONTENT OF A VIDEO (OR PROVIDE A VIDEO FILE\/INTERVIEW). YOU ARE REQUESTED TO REJECT THE TRADITIONAL \u201cLABEL\u201d INVERTED APPROACH, TO DISINTEGRATE THE CONTENT I HAVE PROVIDED IN DEPTH IN STRICT ACCORDANCE WITH THE \u201cPHOTOGRAM STRUCTURE\u201d AND THE \u201cTIME LINE\u201d AND TO GENERATE HIGH-QUALITY TIPS THAT CAN BE USED DIRECTLY IN THE AI VIDEO GENERATION TOOL\u3002
\n[Dismantling and Output Format] Please output your dismantling results in the form of tables and structured text, which must contain the following dimensions:
\n1. CORE VISUAL STRUCTURE (GLOBAL SET-UP) VISUAL STYLE (E.G., FILM-WRITING, CYBERPUNK 3D RENDERING, RETRO-FILM, ETC.) BASIC LIGHT (E.G., REMBRANDT LIGHT, NATURAL ENVIRONMENT LIGHT, HIGH CONTRAST NEON) COLOR TONE (E.G., COLD-TEMPERATURE, BLUE ORANGE-COLORED, LOW SATURATION)
\n2. timeline action spectrometers (second-by-second dismantling of the table) please output the following key elements according to the evolution of the video: time slots, slots and transport mirrors: (e.g., fixed feature, medium-spectrum transfer and shot, drone push-over lens) main action details: (must be nuanced to physical action, clothing physics feedback, facial deformities) environment and protometry interactions: (what happened to the subject and the surrounding environment?)
\n3. The final Chinese generation of hints: Merge the above-mentioned dismantling results into a coherent and high-quality Chinese hint, followed by syntax: [Styre parameters] determine death at the top. [The mirror] [time-axis] [Specific and motion picture] [Contact between the subject and the core action description, role description], [environment and background detail], [photo and material],
\n[Work requirements] Do not use empty adjectives (e.g., \u201cgood looking\u201d, \u201cperfect\u201d) and all descriptions must be visual and quantifiable\u3002<\/p>\n

\"a381177cj00tlhz2e0021d000pn00fvp\"<\/p>\n

Gemini and ChatGPT can be both<\/p>\n

Here's a video tip I analyzed from 38s before the morgue cleaner<\/p>\n

[current film foreword style, 2.35:1 wide screen image, 35 mm\/50 mm film mix, shallow depth, midday seaside reverse light, hard shadows, high contrasts, blue sea in contrast to rusty orange track, light low saturation, metal and water high reflection, modern cliff glass house sunset scene, no watermarks, no chinese subtitles]
\n[ mirror 1] [0-2s] [low-level view, close to the pool balcony floor slowly push] [prospect shooting of a muddy and dry-blooded female zombie's calves and bare feet, who walks in rigidly through the centre of the picture, slow on her knees and stomps on wet concrete], [ground-dispersed banknotes, bottles, blood stains, shreds of paper, rusted orange round life-savings on the right, heavily re-reflected far from the sea], [hard light comes in from behind the left, with a long shadow on the person's leg]
\n[small 2] [2-4.5s] [small background and background, back height, slight push forward] [zombie women's back to lens towards edgeless pool, wet hair on shoulder, natural arms down, slow body shaking], [arc glass house on the right, coastline and blue sea], [sun forming a contours behind the person, skin stains and water vapours being crossed by reverse light]
\n[ mirror no. 3][4.5-5.7s] [big pool fixed lens] [female falls into the pool, white water flowers explode from the left side and spread to the centre, with a sharp fluctuations in the surface], [big pool shredding paper and corpses, poolside reclining chair, bottle stand-up], [blue water reflecting the sun, white wave covering the body]
\n[small 4] [5.7-8.3s] [low angle super-proximity, gun point to lens, light view deep] [white human cowboy robot with right arm up, silver revolver on the left side of the horizon, left hand hand with brown cowboy hat cap, black electronic face with blue cold face to green smile face], [back background modern house and palm tree vandalization, robot with black leather jacket, red scarf, gun holster], [gun barrel metal reflecting pool blue light, hood over the face]
\n[ mirror number 5] [8.3-11.6s] [spokes close to the waist view of the pistol, slide from the gun's body to the gun's holster] [the robot's black mechanical hand thumb pulls the hammer and then pulls the pistol back to the brown leather holster holster, with a fine folding of the metal joint on the elbow], [the leather holster has a wear and tear texture, a scratch on the white bra, glass wall and pool background], [the chromium plating gun has a high stripe and a hard shadow is cast in the mechanical gloves]
\n[ mirror number 6] [11.6-14.5s] [aeroplane overlooking, lenses overboard the beach house and beach] [maximous red compressed font headers covering images of the arc house, pool, palm tree and scattered corpses below the heading], [beach stretching along the right side, villas on the left side, slashing deep], [red headings are saturated and background is slightly saturated]
\n[specific mirror 7] [14.5-18.5s] [significant pool vision vertebrae, slightly transverse and rotate] [cowboy robots walk by the pool, pace with rhythm, right arm exaggerating arc, caps covering the upper half of the facescreen], [down body and shredded paper in the pool with blood stains, banknotes, wine bottles, upside-down reclining chairs and round-shaped lifesavers], [sea blue and balcony white concrete in sharp contrast, robotic shadows on the ground]
\n[ mirror 8] [18.5-23.5s] [middleview side heel, motion blurry] [a robot runs horizontally with a limping swimsuit zombie, and the hugged person's limbs are naturally down and his hair swings at the speed; a robot's body is leaning forward, mechanical legs are rapidly shifting and red scarf is drifting back], [background palm trees, pool steps, walls and sea horizons are moving rapidly horizontally], [a strong sun shines on a robot's white legnail, black leather jacket has a hard-side high light]
\n[ mirror no. 9] [23.5-26.6s] [low-angled body closes] [a corrupt zombie head opens up at the pool, then cuts to the robot back-to-face, standing in front of the seascape, with the left hand forkking, with the right hand holding the cape and looking up at birds flying through the air], [a bottle of wine, blood and orange life saver on the head of the body; the arc arc balcony in the sea scene cuts into the right side], [the body closes with a hard-top light and the sea-view is a contrasting reflection]
\n[ mirror no. 10] [26.6-30.8s] [stands midway to remove the mechanical foot extremes and then to cut down the glitch lenses] [the robot runs along the glass wall, the mechanical foot stomps fast behind the condensed surface, then jumps into the image from the edge of the platform, waves with arms up and down, blue electronic eyes and mouth lines glowing], [the glass wall reflects the seascape and robotic body, with blood, dust, corpses and recoiling furniture on the ground], [the sky occupies a large background, the white shell of the robot is cut out of the hard contour by sunlight]
\n[ Mirror No. 11] [30.8-34s] [Frameworkside wide-scripting high profile] [Frozen robot moves or fights with a zombie woman, arms control each other's shoulder and waist, and turns half a circle; then cuts to robotic face close-ups, green LED dots form a big smile and a small head forwards], [background pool, corpses, orange furniture and coastlines are all faded], [Green LED becomes the highest point of light, black face reflects the blue pool]
\n[ mirror number 12] [34-37.5s] [roster-based vision-based big vision fixed position] [the robot stands on the roof for a small dance between corpses, then enters the living room, continues to walk in front of the window and approaches the lens], [the room contains a couch, tea table, bottle, scattered paper and lying body, with bright sea surface and palm trees outside the window], [the room remains dark and the sealight outside the window forms a strong backlight]<\/p>\n

Chapter V: Case resolution<\/strong><\/p>\n

Let us model the analysis through a practical case, using the example of the Vigilante\u3002<\/p>\n

using the hints obtained in the previous step, it is first necessary to prepare reference images of the role of the person, the background of the environment and the equipment of the weapon (the video we produce needs to be used forseedance 2.0)\u3002<\/p>\n

\"c969c442jlhz2x01r4d000v9000onp\"<\/p>\n

generate using feedance 2.0<\/p>\n

\"f4a85eej00tlhz3500cad000o300l4p\"<\/p>\n

Most of them have been restored (the original author was carefully edited, and it is unlikely that all of them will be restored), and a small part of the details will require hand-tiping and multiple draw cards\u3002<\/p>\n

Conclusion<\/strong><\/p>\n

REAL AI VIDEO CREATION IS NOT GIVING EVERYTHING TO LUCK AND BLACK BOXES\u3002
\nAI IS A VERY POWERFUL IMPLEMENTER, BUT IT IS NOT YET A DIRECTOR WITH A SUBJECTIVE AESTHETIC. LEARNING TO USE THIS SUPERTIP TO DECIPHER THE IMAGE STRUCTURE IS LEARNING HOW TO BE A REAL \u201cAI DIRECTOR\u201d\u3002<\/p>\n

YOU CONTROL THE PLANE, YOU CONTROL THE LIGHT, YOU STREAMLINE EVERY FRAME OF ACTION IN THE TIME LINE, YOU MINIMIZE THE RANDOMITY OF AI, AND YOU HOLD THE CERTAINTY OF CREATION IN YOUR HAND\u3002<\/p>","protected":false},"excerpt":{"rendered":"

IN THE WAVE OF AI'S CREATIONS, WE ARE OFTEN CAUGHT IN THE WRONG SPOT: WE SEE A SENSATIONAL EXPLOSION VIDEO, AND THE FIRST REACTION IS \u201cWITH AI PUSHING THE HINT BACK\u201d. HOWEVER, AFTER COUNTLESS ATTEMPTS, YOU OFTEN FIND THAT WITH THE INVERTED HINTS, THE RESULTS AND THE ORIGINAL FILM ARE A HUGE CONTRAST BETWEEN \"BUYER AND SELLER.\" STOP USING SIMPLE AI INVERTED HINTS, WHICH ARE CURRENTLY THE LEAST EFFECTIVE AND MOST SUSCEPTIBLE TO FRUSTRATION IN AI VISUAL CREATION. TODAY, WE WILL TOTALLY REVERSE THIS BLIND BOX CREATION, WHICH RELIES ON \u201cLABELS\u201d, AND SHARE A ONE-SIZE-FITS-ALL APPROACH THAT WORKS REALLY WELL IN PROFESSIONAL VISUAL PRODUCTION \u2014 GRAPHIC STRUCTURE DISMANTLING. WHETHER IT'S A LONG VIDEO OR A SHORT VIDEO, YOU'VE GOT THIS SUPER-TIP LOGIC BASED ON THE TIME LINE AND SPACE STRUCTURE<\/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":[802,3149,956,5321,192,6481],"collection":[],"class_list":{"0":"post-57905","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"hentry","6":"category-jiaocheng","7":"category-baike","8":"tag-ai","12":"tag-prompt","13":"tag-6481"},"acf":[],"_links":{"self":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/57905","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=57905"}],"version-history":[{"count":0,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/57905\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/media?parent=57905"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/categories?post=57905"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/tags?post=57905"},{"taxonomy":"collection","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/collection?post=57905"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}