{"id":57923,"date":"2026-10-11T10:28:08","date_gmt":"2026-10-11T02:28:08","guid":{"rendered":"https:\/\/www.1ai.net\/?p=57923"},"modified":"2026-09-20T14:58:31","modified_gmt":"2026-09-20T06:58:31","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%e5%9b%9b%e8%8a%82%ef%bc%9a%e8%ae%a9ai%e8%a7%86%e9%a2%91%e4%ba%ba%e7%89%a9%e5%8a%a8%e4%bd%9c%e6%9b%b4","status":"publish","type":"post","link":"https:\/\/www.1ai.net\/en\/57923.html","title":{"rendered":"SECTION 54 OF THE AI TIP: A MORE NATURAL HINT FOR THE AAI VIDEO CHARACTER"},"content":{"rendered":"

A lot of people doAI Video<\/a>At times, there is a clear problem: the picture looks good and the character is not too bad, but it's not natural to move\u3002<\/p>\n

FOR EXAMPLE, IF YOU WANT THE ROLE TO MOVE FORWARD, IT SAYS ONLY \"ONE GIRL GOES FORWARD\" IN THE HINT, AND AI DOES PRODUCE WALKING IMAGES, BUT IT TENDS TO BE RIGID. SOMETIMES PEOPLE LOOK LIKE THEY'RE SLIDING, SOMETIMES THEIR LEGS DON'T WORK IN HARMONY, SOMETIMES THE UPPER HALF DOESN'T FOLLOW AT ALL, AND THE WHOLE VIDEO IS LESS REAL\u3002<\/p>\n

IT'S BECAUSE AI DOESN'T KNOW HOW THIS GUY WENT. DID SHE WALK SOFTLY, OR DID SHE WALK SOFTLY? DID SHE MOVE HER SHOULDER, DID HER ARM MATCH, DID SHE CHANGE HER WEIGHT? IF THIS INFORMATION IS NOT CLEAR, AI CAN ONLY GENERATE ACTION BASED ON A VERY VAGUE UNDERSTANDING\u3002<\/p>\n

THUS, WHEN MAKING THE AI VIDEO ALERT, IT IS NOT JUST ABOUT WHAT A PERSON DOES, BUT ABOUT HOW A PERSON DOES IT. IT'S ABOUT THE VIDEO, AND IT'S ABOUT SOME OF THE CORE WRITINGS OF THE CHARACTER ACTION TIPS\u3002<\/p>\n

FIRST CHAPTER, WHY IS IT EASY FOR AVPS TO BE RIGID<\/strong><\/p>\n

AI VIDEO ANDAI Image<\/a>The biggest difference is that video changes in time\u3002<\/p>\n

Pictures need only be fixed for one moment, and videos need to move people from one state to another. The video is prone to incoherence as long as it is not clearly written\u3002<\/p>\n

Let's start with this\u3002<\/p>\n

It's an ancient woman standing inside the palace. Her dress is gorgeous and her overall quality is modest, quiet and restrained\u3002<\/p>\n

If you take this picture directly to generate the video, just write one sentence:<\/p>\n

Let the characters move forward\u3002<\/p>\n

AI CAN GET PEOPLE TO MOVE, BUT THE ACTION GENERATED DOESN'T NECESSARILY MATCH THE QUALITY OF THIS PICTURE\u3002<\/p>\n

For example, a person may go too fast, move too far, or walk too modern. The video is moving, but it doesn't match the character\u3002<\/p>\n

So the first step of the Tusheng video is not to rush people, but to judge first:<\/p>\n

How does this character get away<\/p>\n

The character in this picture is not suitable to walk away, nor to exaggerate. She is better suited to move forward slowly, modestly and smoothly\u3002<\/p>\n

For example:<\/p>\n

The ancient women walk in the same direction to the camera, and their feet and feet are calm, and their sleeves sway with their feet\u3002<\/p>\n

The point of this sentence is to write \"walking\" specifically\u3002<\/p>\n

IT'S NOT JUST THAT SHE'S WALKING, BUT THAT'S WHAT AI SAYS:
\nShe's walking slowly, slowly and smoothly\u3002<\/p>\n

So the video that's generated will make the person's movement more graphic and not ludicrous\u3002<\/p>\n

So the first step is to remember:<\/p>\n

Don't just write the characters on their way\u3002<\/p>\n

Chapter 2 First step: Write down the steps of the person<\/strong><\/p>\n

\"f6fb73f4j00tlzkg00s2d000v9000hfp\"<\/p>\n

The person in the picture, though also an ancient woman, did not stand in a bright court but appeared in the streets of the night. The surroundings are dark and quieter, with a sense of mystery\u3002<\/p>\n

So if this is just:<\/p>\n

Let the characters move forward\u3002<\/p>\n

AI CAN ALSO GENERATE ACTION, BUT IT'S TOO COMMON FOR PEOPLE TO WALK OUT\u3002
\nFor example, walking too randomly, too lightly, or walking normally in the streets like modern people, would be incompatible with the ancient night streets\u3002<\/p>\n

The characters in this picture are better suited to a slow, cautious and restrained pace\u3002<\/p>\n

She's not going to be happy, she's not going to be moving forward, but she's going to be careful in the night, not too big, and she's going to be light, and she's going to have to fit in\u3002<\/p>\n

It can be written as follows:<\/p>\n

The red-coloured women stood in the streets of the night, then slowly marched forward, moving slowly, moving slowly and in a quiet and cautious manner, as if in the night\u3002<\/p>\n

Then we add a few other dynamic details:<\/p>\n

The red-coloured woman stood in the night in the ancient streets and then slowly moved forward. Her pace was light, her pace was slow, her movement was natural and her overall posture was quiet and cautious, as if she were walking in the night. Her eyes move briefly between the front and the side of the street, with quiet but a little vigilance; her head moves with a slight turn of pace, with a small natural rise in the shoulder and upper body; her hands are gently placed in front of her sleeve and her fingers move slightly; and her sleeve, hair and ears are swayed with walking. The whole thing is not to exaggerate, to maintain the intangibility and restraint of the ancient women, in a quiet, mysterious and nighttime sense of the street\u3002<\/p>\n

The focus of the paragraph is still on the specifics of \u201cwalking\u201d\u3002<\/p>\n

DON'T JUST SAY SHE'S GONE, BUT TELL AI:
\nShe walked slowly, gently and cautiously\u3002<\/p>\n

The resulting video will make the person's action more relevant to the scene of the picture and to the climate of the ancient streets at night\u3002<\/p>\n

Chapter three, step two: Join the body<\/strong><\/p>\n

\"2c71a000jlzl400tbd000v90hfp\"<\/p>\n

Let's start with this case chart\u3002<\/p>\n

The image is of an ancient red-coloured woman standing in a dim indoor environment with a wooden hand in her hand and an entire person in a state of silence and restraint\u3002<\/p>\n

If at this point in time you're producing a video, just say:<\/p>\n

People look up and look forward\u3002<\/p>\n

Or just:<\/p>\n

People stand still and turn a little\u3002<\/p>\n

It can also generate action, but it's easy to look thin. Because when the real person moves, not one part moves\u3002<\/p>\n

For example, if she looks up, her head moves, her eyes change, her shoulders move a little bit, and her arms and his wooden cards change finely with her body\u3002
\nThat's physical connection\u3002<\/p>\n

So this chapter focuses on:<\/p>\n

Don't write a single move, you have to fill in the other parts of the body\u3002<\/p>\n

The figure itself cannot move too much, because she is quiet, depressed and restrained\u3002
\nThe connection is therefore to be light, with emphasis on minor changes in the head, shoulder, arm and upper body\u3002<\/p>\n

For example:<\/p>\n

The camera is moving slowly, and the shallow view is focused on the red women. In the dark wood hall, the woman held a wooden card in her arms. She seems to have heard the footsteps coming from the side, and the previously silent eyes were focused at once, and the eyes were staring at the sound. She consciously held the wooden cards in her arms even tighter, her fingers tightened, her body focused slightly backwards, her shoulder shrunk, and made an instinctive preparedness and guard posture. With a slight change in the weight of her body, the cuffs of her large red shirt and the hairs lying in her chest produce natural delayed swings. The candles in the background sway in the shadows, and warm the shadows of the yellow light upon her twirling jaws and on her small lips. Her throat moved softly, crushing her eyes with grief and unease, and finally the movement stopped in an intransigent and incriminating setting, with the warning of no retreat in her eyes\u3002<\/p>\n

THE POINT OF THIS PARAGRAPH IS NOT TO LET HER DO A LOT OF WORK, BUT TO LET AI KNOW:<\/p>\n

She is not just \u201chead moving\u201d, but head moving, with a little reaction from shoulder, upper body, arm and hand\u3002<\/p>\n

So the video looks more complete and more like real people\u3002<\/p>\n

Chapter IV. Step 3: Joining emotion and state<\/strong><\/p>\n

Let's look at this case chart\u3002<\/p>\n

The person in the picture is standing in a warm, dark environment, with red veils, lanterns, old costumes and an overall calm atmosphere, but the person is not calm. She looked down at the old cloth in her hand, not much, but it was like she was squeezing\u3002<\/p>\n

At this point, if only:<\/p>\n

The women looked down at the rags in their hands\u3002<\/p>\n

It can also generate videos, but the images will be flat\u3002
\nBECAUSE AI ONLY KNEW THAT SHE WAS \u201cSEEING\u201d, BUT DID NOT KNOW WHY SHE WAS WATCHING OR WHAT WAS GOING ON IN HER HEART\u3002<\/p>\n

AND THE MOST IMPORTANT PART OF THIS CHAPTER IS TO LET AI UNDERSTAND:<\/p>\n

The character is not just acting, but acting with emotion\u3002<\/p>\n

It's the same thing that looks down on the hands
\nIt can be a quiet look
\nIt can be seen with hesitation
\nIt can also be oppressive, indignant, and forced to look calmly after knowing a secret\u3002<\/p>\n

Once the emotions are different, the person's state is completely different\u3002
\nHer eyes change, her hands change, her breath changes, even the way she looks\u3002<\/p>\n

So this chapter, we're not going to fill it with big moves, but:<\/p>\n

What she's feeling right now, what she's crushing\u3002<\/p>\n

It's better to write in this picture:<\/p>\n

Repression, indulgence, vibrations, and finally the state of silence\u3002<\/p>\n

For example:<\/p>\n

The characters looked down at the old cloth in their hands, and their right fingers were squeezing, as if they were trying to suppress the amazing secrets they had just learned. Her jaw was slightly tight, her throat was softly swallowed, and she was breathing into her chest. She then slowly raised her eyelids and moved her eyes off the cloths, with the eyes slowly sanctified by fluctuations and strangulation\u3002<\/p>\n

Finally, some other details are added:<\/p>\n

The interior is warm and dark, and the red veil is slowly rising. The person was wearing a blue-bed red-side costume, with a golden crown on his head, and looked down at the old cloth in his hands. The right hand's finger was strangling, strangling the wrists of the right hand and the left hand, as if it was trying to suppress the shocking secrets just learned. Her jaw was tight, her throat was slightly swallowed, and she had a deep breath-enabled chest cavity. Immediately thereafter, the wrists were applied downward, and the cloth was slowly collected back to the waist, and the shoulder was slightly sunk. Her vision was moved from the plaster, and her eyes were raised slowly towards the side, and the twilight eyes were immediately sanctified and rejected. The warm light of the left lantern swayed on her cheek, and the red hairbelt swayed with pressure under her shoulder with a very slight delay. The camera slowly moves forward and slightly turns to the face, with a shallow landscape deep in the background, focusing on the details of the wrists and the swirling mechanism of the eyes\u3002<\/p>\n

THE FOCUS OF THIS PARAGRAPH IS TO LET AI KNOW:<\/p>\n

She's not simply \"look at the cloth.\"
\nIt's about being emotional and restrained\u3002<\/p>\n

The video that's generated will make the person more active and the picture more dramatic\u3002<\/p>\n

So what you're going to teach you in this chapter is not \"a few more action words,\" but:<\/p>\n

You add cause to the action, emotion to the action, state to the action\u3002
\n
\nChapter 5 Further up: Disassemble action into action chains<\/strong><\/p>\n

We have already talked about the state of step, physical connection, emotional state\u3002
\nAt this point, you have to make the person more processive\u3002<\/p>\n

A LOT OF PEOPLE ARE USED TO WRITING A VIDEO MESSAGE LIKE:<\/p>\n

Junior swings the long pole\u3002<\/p>\n

It's not inconvenient, but it's too short\u3002
\nAI ONLY KNOWS HOW TO \u201cSWING THE POLE\u201d, BUT DOES NOT KNOW HOW HE STARTS, HOW TO PULL, HOW TO PULL, WHERE TO STOP\u3002<\/p>\n

So to make video action more qualitative, you have to break it down into a full action chain\u3002<\/p>\n

Action Chain Formula<\/p>\n

Remember this formula:<\/p>\n

Start state + Trigger cause + Preparatory action + Body force + Active + Emotional change + Ending static + lens alignment<\/p>\n

The simple understanding is:<\/p>\n

The character was doing something because of what started, what was prepared before moving, how did the movement happen, what was stopped after moving, how did the camera record the process\u3002<\/p>\n

That's the biggest difference between video and picture\u3002<\/p>\n

Images are more focused on an instant
\nVideo focuses more on the process from the beginning to the end\u3002<\/p>\n

Use this as a case<\/p>\n

Let's see this\u3002<\/p>\n

\"a97fa37cj00tlzhmo00u2d000v9000hfp\"<\/p>\n

The image is of an ancient young man standing in the streets of the night with his hands on a long pole in front of him, with cold eyes, as if he was confronting someone in the front\u3002<\/p>\n

If only:<\/p>\n

Junior swings the long pole\u3002<\/p>\n

The movement will seem too sudden. Still a little silly<\/p>\n

This chart's action chain is broken<\/p>\n

This can be done:<\/p>\n

Start state:
\nThe young man held a long pole with his hands and stood in the night market with eyes locked in front\u3002<\/p>\n

Activate:
\nTighten your fingers, press your wrists, bandage your shoulders and lower your body\u3002<\/p>\n

Power:
\nThe waist and shoulder are boosted, and the arms work\u3002<\/p>\n

Action direction:
\nLong poles sweep out from the right side of the body to the left\u3002<\/p>\n

Motion trajectory:
\nA fast arc line was drawn in front of the pole and crossed the lens\u3002<\/p>\n

End position:
\nWhen the swing is completed, the adolescent body turns slightly, the long pole stops on the left side of the picture and the eyes remain locked in the front\u3002<\/p>\n

Camera matching:
\nSlightly backsliding, following the direction of long rods, highlighting the speed and power of movement\u3002<\/p>\n

Video alerts are as follows:<\/p>\n

At night, in the city of Old Wind Street, the young man was dressed in dark, with his hands held by the long pole in front of him, and his eyes were locked in cold and cold. At the beginning of the scene, he maintained a short stand-off, his fingers were slowly tightened, his wrist was pressed down, his shoulders were gradually bandaged and his body's weight was slightly reduced. Immediately thereafter, he was driven by his waist and shoulder, and his arms were quickly aligned, and he swept the long pole from the right side of the body to the left side. Long poles draw a powerful arc in front of them, fast ahead of the lens, and the sleeves and hairs are carried up by action. When the swing was complete, his body turned slightly, and the long pole stopped on the left side of the picture, and his eyes remained sharp in front. The background crowd is slightly indeterminate, the lanterns sway, the lens retreats slightly and follows in the direction of the long poles, focusing on the power, sweeps and stationary after the action has been completed\u3002<\/p>\n

Chapter 6: Multiplaying<\/strong><\/p>\n

Let's look at this case chart\u3002<\/p>\n

\"25ed0fc2j00tlzhng00y6d000v9000hfp\"<\/p>\n

There are two characters in the picture: the man in red and the woman in light. The two were very close, sitting face-to-face inside, and the atmosphere was clearly tense\u3002<\/p>\n

Many people will be able to write only:<\/p>\n

A man and a woman look in the room\u3002<\/p>\n

There will be too little movement\u3002<\/p>\n

It's probably just two people blinking. It's not a change\u3002<\/p>\n

So it's a multi-player image, and it's a lot of action\u3002<\/p>\n

Multi-Performance Formula<\/p>\n

Main role: Location + Proactive + Emotional state
\nSide: Location + Response Action + Emotional state
\nInteraction: Who's near, who's back, who's stopping, who's responding
\nEnd state: the two ended up in what relationship<\/p>\n

In short:<\/p>\n

Don't just write about two people together, write about how they interact\u3002<\/p>\n

Use this as a case<\/p>\n

In this picture, a man in red can take the initiative\u3002
\nHe didn't just sit there and look at her, but came forward with a sense of oppression\u3002<\/p>\n

Women as respondents\u3002
\nShe can take her mind off and pull back a little, and then look up at him, like she's holding on to her emotions\u3002<\/p>\n

So the move becomes:<\/p>\n

\u266a Man close, woman retreat \u266a<\/p>\n

It's more obvious than a simple \"eye-to-eye\" but it fits the mood of the picture\u3002<\/p>\n

Video Cue Words:<\/p>\n

In the ancient wind room, the man in red sat on the left side, the woman in shallow clothes sat on the right side, and the two were face to face. The man slowly leaned towards the woman, then reached out and held her wrist at the table. The woman withdrew a little bit, and immediately looked up to the man, looking from panic to stubbornness. She tried to pull her hand back gently, but the man did not release, but only looked down and talked to her. In the end, the woman stopped earning, looked at him, and they stopped in a state of tension. The camera pushed slightly, highlighting the continuous changes in the approach, the stroke of the wrist, the attempt on the hand and the sight\u3002<\/p>\n

CHAPTER VII: GENERAL TEMPLATE FOR AI VIDEO-PERSON ACTION<\/strong><\/p>\n

Finally, a template that you can apply directly:<\/p>\n

Personal identity + scene + start state + action + body connection + emotional state + end state + lens movement + video atmosphere<\/p>\n

Example:<\/p>\n

A young girl standing on a morning street, briefly paused and began to move towards the camera, with a small pace, a slight rise and a slight vicissitudes of her feet, a natural movement of her arms, a relaxation of her shoulders, a calm smile on her face, and finally a slow stop in front of the camera, a smooth back-scenes and a fresh atmosphere\u3002
\ncopy<\/p>\n

THIS TEMPLATE SUITS MOST OF THE AVP ACTIONS\u3002<\/p>\n

If the action is simple, focus on step and body\u3002
\nIf it's complicated, use the action chain\u3002
\nIf there's a lot of characters, write\u3002
\nIf you want the video to have a better sense of quality, add camera motion\u3002<\/p>\n

CHAPTER VIII: FINALIZATION: A COMMON TEMPLATE FOR AVP ACTION<\/strong><\/p>\n

AI VIDEO ACTION PHRASING GENERIC FORMULA<\/p>\n

Remember this formula:<\/p>\n

Personal identity + scene atmosphere + emotional state + active + auxiliary dynamic + body connection + end state + simple lens<\/p>\n

Open it and see:<\/p>\n

Personal status:
\nWho is she? An ancient woman, a young man, a man in red, a woman in court\u3002<\/p>\n

The scenery:
\nWhere is she? At night, in the Old Street, in the dark hall, by the red pole, under the indoor lantern\u3002<\/p>\n

Emotional state:
\nWhat is she now? Tension, depression, tolerance, rejection, vigilance, restraint\u3002<\/p>\n

Proactive:
\nWhat does she do? Walk forward, turn around, head up, approach, back, swing, raise your hands to stop\u3002<\/p>\n

Auxiliary dynamics:
\nGive a little action to make the picture more natural. For example, dress cuffs, tight fingers, light side sides, and silk\u3002<\/p>\n

Physical connection:
\nWhen the action occurs, the shoulder, the upper body, the arm and the head shall be naturally matched\u3002<\/p>\n

End state:
\nWhere was the last stop? Keep your eyes open, keep your eyes open, keep your eyes open, keep your eyes open and keep your guard when you're done\u3002<\/p>\n

Easy shot:
\nThe camera moves slowly, follows side by side, shoots the medium view and keeps the characters in the center\u3002
\n
\nFinal summary<\/strong><\/p>\n

THE MAIN PART OF THIS COURSE IS ABOUT HOW TO WRITE THE AI VIDEO PERSON ACTION ALERT\u3002<\/p>\n

The core is not a complex narrative, but rather a more clear and role-like one\u3002<\/p>\n

Remember these points:<\/p>\n

First, write down how people move
\nNot just \u201cwalking\u201d, but \u201cslow walking, careful walking, good walking and steady walking\u201d\u3002<\/p>\n

Second, add a little side dynamic
\nFor example, the cuff moves, the hair moves, the eyes move and the fingers tighten so that the video is not monotonous\u3002<\/p>\n

Number three, act with a body
\nThe person's head, turn around and lift his hand must be accompanied by natural cooperation in the shoulder, upper body and arm\u3002<\/p>\n

Fourth, join emotions and state
\nThe same move, stress, depression, rejection, calm, produces different feelings\u3002<\/p>\n

Number five, make it simple
\nDon't write a little, don't pile too much\u3002
\nThe most stable are:
\nStart state \u2192 Actively make \u2192 Auxiliary action \u2192 End state\u3002<\/p>\n

Sixth, there's a multiplayer\u3002
\nWhoever moves first, who responds, and who stops in what relationship, write it\u3002<\/p>\n

Remember one last sentence:<\/p>\n

THE AI VIDEO ALERTS NEED TO BE PROACTIVE, STATE-BASED AND END-OF-LIFE. IT'S NATURAL AND IT'S EVEN MORE STORYTELLING\u3002<\/p>","protected":false},"excerpt":{"rendered":"

A LOT OF PEOPLE DO AI VIDEOS, AND THERE'S A VERY OBVIOUS PROBLEM: THE PICTURE LOOKS GOOD AND THE CHARACTER DOESN'T HAVE TOO MANY PROBLEMS, BUT IT'S NOT NATURAL TO MOVE. FOR EXAMPLE, IF YOU WANT THE ROLE TO MOVE FORWARD, IT SAYS ONLY \"ONE GIRL GOES FORWARD\" IN THE HINT, AND AI DOES PRODUCE WALKING IMAGES, BUT IT TENDS TO BE RIGID. SOMETIMES PEOPLE LOOK LIKE THEY'RE SLIDING, SOMETIMES THEIR LEGS DON'T WORK IN HARMONY, SOMETIMES THE UPPER HALF DOESN'T FOLLOW AT ALL, AND THE WHOLE VIDEO IS LESS REAL. IT'S BECAUSE AI DOESN'T KNOW HOW THIS GUY WENT. DID SHE WALK SOFTLY, OR DID SHE WALK SOFTLY? DID SHE MOVE HER SHOULDER, DID HER ARM MATCH, DID SHE CHANGE HER WEIGHT? IF THIS INFORMATION IS NOT CLEAR, AI CAN ONLY GENERATE ACTION BASED ON A VERY VAGUE UNDERSTANDING. SO, DO AN A<\/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-57923","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\/57923","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=57923"}],"version-history":[{"count":0,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/57923\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/media?parent=57923"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/categories?post=57923"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/tags?post=57923"},{"taxonomy":"collection","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/collection?post=57923"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}