\n
\nI. WHY SHOULD AI ANALYSE THE REFERENCES FIRST<\/strong><\/p>\n
A fight involves both the identity of the person, the weapon, the movement, the scene, the lens and the effects. It is not only long, but also easy to miss out on key relationships\u3002<\/p>\n
The reference diagrams remove different information:<\/p>\n
THE MAP IS RESPONSIBLE FOR TELLING AI WHO THE TWO PROTAGONISTS ARE
\nThe map is responsible for determining where the fighting took place
\n(a) The drawings provide movement direction and physical posture
\nThe Mirror Map explains how the lens follows the fight
\nSpecial effects maps show how hit, energy and shock are performed\u3002<\/p>\n
AI DOES NOT NEED TO SPECULATE ABOUT ALL THE DETAILS BY READING THESE INPUTS AND ORGANIZING THE FIGHT TIPS\u3002 This method uses a total of 10 pictures. The upload order cannot be arbitrary, as the subsequent analytical instructions specify the role of each chart directly by a number such as \" Figure I \" \" Figure IX \" \u3002<\/p>\n The specific division of labour is:<\/p>\n 1. Charts 1 and 2: Reference to the different characters of the first protagonist<\/p>\n 2. Figure 3, Figure 4: Reference of different figures for the second leading actor<\/p>\n Figure 5: Outdoor scene reference<\/p>\n 4. Figure VI: Red guns<\/p>\n Figure VII: Fistage of swordsmanship<\/p>\n Figure VIII: Fighting style reference maps<\/p>\n 7. Combat mirror reference map<\/p>\n 8. Energy and special effects reference maps<\/p>\n Here's a graph that lists 10 inputs according to their actual use\u3002<\/p>\n When uploading, a selection should be made from the beginning of the chart\u3002<\/p>\n THE SCHEMATIC REFERENCE DIAGRAM IS NOT USED ONLY TO CHECK ACTION NAMES. AI WILL ALSO READ BODY POSTURES, WEAPON TRAJECTORIES, DISTANCE AND DEFENSIVE RELATIONSHIPS FROM PICTURES\u3002<\/p>\n If you do not know what to choose, you can first choose from action name information. Direct fists, blockages, choppings, stings, evasives and retreats produce different trajectories\u3002<\/p>\n There is also a clear division of labour between mirror and special effects maps. The mirror reference determines whether the lens follows, surrounds, pushes or follows the direction of the receptor; the special effects reference determines the impact of the spark, the spread of energy and the impact range\u3002<\/p>\n AFTER UPLOADING IS COMPLETE, CHECK THE PHOTO ORDER. IF YOU HAVE THE WRONG NUMBER, FOR EXAMPLE, IF YOU TREAT THE SCENE AS FIGURE IX, THEN EVEN IF THE INSTRUCTIONS ARE WRITTEN CORRECTLY, AI WILL READ THE WRONG INFORMATION\u3002<\/p>\n III. USE THIS COMMAND TO ALLOW AI TO GENERATE A PUNCHWORD<\/strong><\/p>\n After 10 images are uploaded, enter the following:<\/p>\n i'm now going to make an indoor fight video that needs a sense of tension, shock, and figure i and figure ii are my first protagonists, and she uses a red hyena, which can be referred to in figure vi. figures iii and iv are another lead, and she uses a sword, and she can refer to figure vii. figure v shows the scene, figure viii refers to fighting style, figure ix refers to lenses and figure x refers to energy and special effects. you need to be creative, you need to have a practical perspective, you don't have to have so many moves, you need to keep it together<\/p>\n Generate a hint interface<\/p>\n The analysis instructions specify the person, scene, style, mirror and effects by photo number<\/p>\n IV. THE SECOND IMPORTANT: WRITING A SENSE OF POWER FROM THE ACT PERSPECTIVE<\/strong><\/p>\n ONLY ACTION NAMES ARE STILL INSUFFICIENT. EVEN IF AI KNEW THAT THE ROLE WAS STABBING, STABBING OR CUTTING, IT COULD SIMPLY PLAY OUT THE ACTION IN A FLAT: NO DIRECTION, NO PAUSE IN LIFE AND NO APPARENT STRENGTH OF THE OPPONENT\u3002<\/p>\n IF YOU DON'T KNOW HOW TO WRITE A COMPLEX FIGHT MIRROR, YOU CAN FIRST REMEMBER A KEYWORD: ACT, THE ACTION GAME PERSPECTIVE\u3002<\/p>\n ACT HAS THREE ROLES IN THIS APPROACH\u3002<\/p>\n First role<\/p>\n It's to let the camera follow the direction of the attack. When the red stun gun stabbing forward, the lens moves in the direction of the sledgehammer; when the long sword swings horizontally, the lens follows the movement. The camera is in the same direction as the attack, and it is easier for the audience to feel the speed and momentum of the movement\u3002<\/p>\n Second role<\/p>\n It's a short stop at short notice. This pause does not allow the person to stand still for long periods of time, but rather a brief slowdown at the point of weapons contact or attack, giving the audience time to confirm that the hit was hit. The more focused the pause, the more heavy the picture\u3002<\/p>\n Third role<\/p>\n is auto-enhanced camera feedback. For example, there was a slight lens vibration at the time of the hit, and the hit part was leaning back, moving sideways or retreating in the direction of the stress. The camera feedback comes at the same time as the body feedback, so that the audience can truly believe the impact of the blow\u3002<\/p>\n Three more advanced mirror tips<\/strong><\/p>\n IF YOU NEED MORE CONTROL, YOU CAN ADD THE FOLLOWING THREE MIRROR REQUIREMENTS TO THE ACT PERSPECTIVE\u3002<\/p>\n Following the hero's drive load for mirrors<\/p>\n The camera follows the character's attack momentum. The main character's improvisation is moving forward in a synchronized fashion, swinging the camera along the weapon's trajectory, always highlighting the hero's active offensive and speed\u3002 Following the enemy's response to the mirror<\/p>\n When hit, the camera follows the enemy's repulsive direction. When the enemy is pushed back, the lens is moved briefly back or sideways, while the attacker and the hit point are retained so that the results of the response are clearly visible\u3002 One shot at a time<\/p>\n Use a continuous one-stop mirror, without a reasoned cut. The camera follows the two roles in a continuous fashion, maintaining the direction of the person, the position in the space and the line of action, from hand-to-hand to cross-crowd to full force\u3002<\/p>\n This formulation is appropriate to emphasize continuity and immersion, but is more difficult. The more action the model is, the more transient or space-disrupted it is, and therefore still has to control the number of actions\u3002<\/p>\n All three advanced mirrors need not be used simultaneously. If you want to highlight the main actor, you choose \u201cfollow the main character's momentum\u201d; if you want to highlight the hit results, you choose \u201cfollow the enemy's receptivity\u201d; and if you want to highlight the full defensive process, you use \u201cone shot at the end\u201d\u3002<\/p>\n V. HOW AI WOULD GENERATE A SET OF FIGHTING TIPS<\/strong><\/p>\n HERE'S AN AI-GENERATED FIGHT TIP:<\/p>\n INDOOR FIGHTING VIDEO DESIGN: A MIRROR TO THE ACT VIEW Roles and Effects Configuration<\/p>\n Lead one Lead 2 (Sword) The scene interacts with the environment (Tu 8a indoors) Action design and mirror trajectory (script at the end)<\/p>\n Rise: still-growing outbreak CROSS-CUTTING: ACT PERSPECTIVE High: Space shuttle and environmental damage Ending the confrontation: fixed tension VI. Spacing cards are also required for fighting tips<\/strong><\/p>\n AI BASED ON THE SAME PICTURE AND ANALYSIS OF THE SAME PARAGRAPH, IT IS POSSIBLE TO GENERATE DIFFERENT FIGHTING OPTIONS. THE PROCESS ALSO REQUIRES A \u201cTICK CARD\u201d\u3002<\/p>\n The point is not to randomly select the most gorgeous version, but to generate more than a few times, comparing which action logic is most appropriate for video generation\u3002<\/p>\n A MORE CONSERVATIVE APPROACH IS TO ALLOW AI TO GENERATE THREE TO FIVE SETS OF CANDIDATE TIPS, FROM WHICH IT SELECTS THE LEAST ACTION, THE CLEAREST CAUSE AND EFFECT, AND THE CLEAREST VERSION OF THE LENS\u3002<\/p>\n VII. After the selection of the hint, the video model<\/strong><\/p>\n Once a version of the fight tip has been identified, it will be submitted to the video model along with a role map, scene map or other reference input\u3002<\/p>\n The overall introduction reads as follows:<\/p>\n The core of the [photographic senses and atmospheres] style: high-quality, antiquated women's short play style Real scenery Super-written Film-grade sense Film-level film full-open 85mm f1.4 photoscopes using Sony FX3 Long focus lenses, defunct background, dizziness and softness: add a light, luminous red light to the high-light areas (e.g. silk edges, clothing reflectors, swaggers) so that the high light \u201csprays\u201d to the dark side to remove the sharpness of digitality; perturbation\/sweetness of the edges; 1\/2 Black soft filters, physical level \u201cdissilence, visible silt and mist; semi-transparent texture, high-sensity, dynamic swamination, filtration of fine strips; realism, percetuous softing of the warm days, with a nice background; no full view, focus on the beauty of the person. No subtitles, no music\u3002 Design concept This program combines high-intensity shock senses with the vision of the ACT action game and is designed to be based on the false lens of Seamless Long Take. The sense of oppression is created through the physical interaction of the lens and the role, and the broken feedback of environmental props. A strong confrontation between black gold and red gold in colour\u3002 The scenes interact with the environment (indoors in Tuchia) and the core areas of the fight are: the interior cathedral, the screen partition, the round window tea case. Dynamic destruction elements: a fragrance stove rolls, screen torn, tea tatters, flying pink cherry petals. Each blow must have physical feedback from environmental props to reinforce the shock\u3002<\/p>\n Action design and mirror trajectory (script at the end)<\/p>\n Rise: still-growing outbreak Ending the confrontation: fixed tension It was only then that the second draw was made: video\u3002<\/p>\n Even if the hints are identical, the action, face, weapon and impact feedback generated by the video model may vary from time to time. Fighting is more difficult to stabilize than the movement of ordinary people, and therefore usually requires the generation of many times and the selection of the best continuous version from the results\u3002<\/p>\n The Storyboard is another independent means of strengthening<\/strong><\/p>\n THE BASIS FOR THIS IS: UPLOAD 10 FILES, ALLOW AI TO GENERATE CANDIDATE FIGHT TIPS, AND DO VIDEO DRAW CARDS AFTER COMPLETING THE TIPCARD\u3002<\/p>\n Storyboards are not a fixed step in this process. It is a separate control method that is suitable for use in:<\/p>\n There is still a sudden movement of people after multiple generation Storyboards can be understood as a set of continuous drafts that fix the position, the action phase and the direction of the lens\u3002<\/p>\n the storybooks are created by the charades, combined with the figure map, using the image 2.0<\/p>\n The prompt words are as follows:<\/p>\n i'm going to do an indoor fight video and help me make a story edition. there is a need for a sense of stimuli and shock, and figure 1 and 2 is my first lead, and he uses a red stun gun. figures 3 and 4 are another major event. he's got a sword, he's got to be innovative, he's got to have a real perspective, he doesn't have to do so much, he's got to keep it together Design philosophy Roles and Effects Configuration<\/p>\n Lead one Lead 2 (Sword) Visual features: red hair, warm gold robes, noble cold\u3002 The scene interacts with the environment (Tu 8a indoors) Action design and mirror trajectory (script at the end)<\/p>\n Rise: still-growing outbreak CROSS-CUTTING: ACT PERSPECTIVE High: Space shuttle and environmental damage Ending the confrontation: fixed tension The video is then generated in the same way\u3002<\/p>\n Video alerts are as follows:<\/p>\n The core of the [photographic senses and atmospheres] style: high-quality, antiquated women's short play style Real scenery Super-written Film-grade sense Film-level film full-open 85mm f1.4 photoscopes using Sony FX3 Long focus lenses, defunct background, dizziness and softness: add a light, luminous red light to the high-light areas (e.g. silk edges, clothing reflectors, swaggers) so that the high light \u201csprays\u201d to the dark side to remove the sharpness of digitality; perturbation\/sweetness of the edges; 1\/2 Black soft filters, physical level \u201cdissilence, visible silt and mist; semi-transparent texture, high-sensity, dynamic swamination, filtration of fine strips; realism, percetuous softing of the warm days, with a nice background; no full view, focus on the beauty of the person. No subtitles, no music\u3002 XI. Genuinely reusable methods<\/strong><\/p>\n The focus of this approach is not to remember a magic spell that applies to all fights, but to learn to assign responsibility for different information\u3002<\/p>\n THE CHARACTER CHART DETERMINES WHO'S PLAYING, THE SCENE CHART DETERMINES WHERE TO PLAY, THE PATTERN CHART DETERMINES HOW TO PLAY, THE MIRROR CHART DETERMINES HOW THE LENS MOVES, AND THE SPECIAL EFFECTS CHART DETERMINES HOW TO ACT. THE ANALYTICAL INSTRUCTIONS THEN CLARIFY THE NUMBERING, ROLE AND CREATION REQUIREMENTS OF THIS INFORMATION, AND ALLOW AI TO GENERATE A CANDIDATE CALL\u3002<\/p>\n The complete process can be summarized as:<\/p>\n Prepare and number 10 pictures Enter analytical commands Many times you generate a candidate for a fight tip select or modify a tip submit a video model generate and filter the video several times\u3002<\/p>\n Fighting is in itself a difficult task to create. Acceptance of both the message and the video requires a card and does not mean that the method is ineffective. The real concern is whether the input is clear before each card is drawn and whether the criteria are clear at each screening\u3002<\/p>","protected":false},"excerpt":{"rendered":" THE HARDEST PART IS TO PRODUCE AN AI FIGHT VIDEO, NOT TO COPY IT INTO A VIDEO TOOL, BUT TO GET A REALLY USEFUL ONE. IF ONLY AI SAID \u201cWRITING AN IRRITATING PUNCHWORD\u201d, IT DID NOT KNOW WHAT THE TWO ROLES LOOKED LIKE, WHAT WEAPONS WERE USED, WHERE TO FIGHT, OR WHAT ACTION, EFFECTS AND LENS SHOULD REFER TO. THE FINAL CONTENT MAY BE POPULAR BUT CANNOT MATCH THE ROLES AND MATERIALS IN HAND. A MORE STABLE APPROACH IS TO GIVE ALL CHARACTERS, SCENES, ACTION MOVES, MIRRORS AND SPECIAL EFFECTS REFERENCES TO AI IN SUPPORT OF THE MAPPING, FOLLOWED BY A CLEARLY NUMBERED DIRECTIVE TO ANALYSE THE IMAGES AND GENERATE CANDIDATE COUNTERPOINTS. HERE YOU HAVE TO DISTINGUISH BETWEEN TWO PHRASES: AN ANALYTICAL COMMAND: YOU ENTER TO AI, YOU ASK IT TO ANALYZE THE INFORMATION AND CREATE A COUNTER-INTENSE<\/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-58052","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\/58052","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=58052"}],"version-history":[{"count":0,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/58052\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/media?parent=58052"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/categories?post=58052"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/tags?post=58052"},{"taxonomy":"collection","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/collection?post=58052"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n
\nII. Preparation of additional materials and fixed numbers<\/strong><\/p>\n![\"c53a067cj00tli4i000w3d000v9000d8p\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/c53a067cj00tli4i000w3d000v900d8p.jpg\" "\\"c53a067cj00tli4i000w3d000v9000d8p\\"")
<\/p>\n![\"ec8ff5daj00tli4i800t5d000v9000d8p\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/ec8ff5daj00tli4i800t5d000v900d8p.jpg\" "\\"ec8ff5daj00tli4i800t5d000v9000d8p\\"")
<\/p>\n![\"7e907892j00tli4ig015d000v90hkp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/7e907892j00tli4ig015dd000v900hkp.jpg\" "\\"7e907892j00tli4ig015d000v90hkp\\"")
<\/p>\n![\"d0aec5a2j00tli4iw037rd000v901jkp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/d0aec5a2j00tli4iw037rd000v901jkp.jpg\" "\\"d0aec5a2j00tli4iw037rd000v901jkp\\"")
<\/p>\n![\"7f184834j00tli4ja03mvd000v901jkp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/7f184834j00tli4ja03mvd000v901jkp.jpg\" "\\"7f184834j00tli4ja03mvd000v901jkp\\"")
<\/p>\n![\"313d8046j00tli4kd02fod000u001hcp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/313d8046j00tli4kd02fod000u001hcp.jpg\" "\\"313d8046j00tli4kd02fod000u001hcp\\"")
<\/p>\n![\"f29c80efj00tli4kt02b0d000u001hcp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/f29c80efj00tli4kt02b0d000u001hcp.jpg\" "\\"f29c80efj00tli4kt02b0d000u001hcp\\"")
<\/p>\n![\"4c95d1e5j00tli4l4031xd000u001hcp-1\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/4c95d1e5j00tli4l4031xd000u001hcp-1.jpg\" "\\"4c95d1e5j00tli4l4031xd000u001hcp-1\\"")
<\/p>\n![\"a0d0dc69j00tli4ld017d000v9014sp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/a0d0dc69j00tli4ld017dd000v9014sp.jpg\" "\\"a0d0dc69j00tli4ld017d000v9014sp\\"")
<\/p>\n![\"b93f1326j00tli4lu004wd000gt00lip\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/b93f1326j00tli4lu004wd000gt00lip.jpg\" "\\"b93f1326j00tli4lu004wd000gt00lip\\"")
<\/p>\n![\"b73b2523j00tli4m200fkd000v9000kep-1\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/b73b2523j00tli4m200fkd000v900kep-1.jpg\" "\\"b73b2523j00tli4m200fkd000v9000kep-1\\"")
<\/p>\n![\"db9981cbj00tli4mi00rwd000v9000j3p-1\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/db9981cbj00tli4mi00rwd000v900j3p-1.jpg\" "\\"db9981cbj00tli4mi00rwd000v9000j3p-1\\"")
<\/p>\n
\nThis is a good way to highlight the behaviour of the attackers and to allow the audience to follow the lead\u3002<\/p>\n
\nThis formulation is appropriate to emphasize \u201cwhat was the result of this blow\u201d and applies in particular to repel, ejection or side impact\u3002<\/p>\n
\nDesign philosophy
\nThis program combines high-intensity shock senses with the visualization of ACT action games and is designed to be based on a false lens (Seamless Long Take). The sense of oppression is created through the physical interaction of the lens and the role, and the broken feedback of environmental props. A strong confrontation between black gold and red gold in colour\u3002<\/p>\n
\nVisual features: black hair, black gold, blue facial makeup\u3002
\nEnergy special effects: Black ink abyss smoke (figure XII-5) is intertwined with pure white sword-gas belts (figure XII-22). The tip of the gun leaves an ink-coloured trajectories along with the white air current torn\u3002
\nMotivation styles: Large and large, but dynamic rotations, suppression and sweeps using the distance advantage of a long weapon\u3002<\/p>\n
\nVisual features: red hair, warm gold robes, noble cold\u3002
\nEnergy special effects: warm orange sunset sunlight (figures XII-29) and red fire (figure XII-1). The sword comes out with a high-temperature heat wave, with a red gold arc and a spark\u3002
\nMotion style: high-speed, accurate, close to each other, good at stinging and borrowing back, using body to cut into the inner circle of a long gun\u3002<\/p>\n
\nThe core areas of the fight are: the house halls, the screens are broken, and the window tea case\u3002
\nDynamic destruction elements: a fragrance stove rolls, screen torn, tea tatters, flying pink cherry petals. Each blow must have physical feedback from environmental props to reinforce the shock\u3002<\/p>\n
\nThe copper oven (Figure 8-8) painted on the scenes of the crime\u3002
\nAll of a sudden, a red rim went into the picture, tearing up the smoke\u3002
\nThe camera was turned off at a fast pace (figure XI-4: Rapid Scratch) to display the main point of the black man (gun) (figure IX-5)\u3002
\nThe red-haired hero (sword) sideways, with a saber-precision shielding the tip of the gun, erupted the first wave of Mars (figure XIII-7: Fuzzy remnant of motion)\u3002<\/p>\n
\nTHE CAMERA QUICKLY WENT AROUND THE REDHEAD AND BECAME A THIRD PERSON'S ACT GAME PERSPECTIVE (FIGURE XI-1: AND MIRRORS)\u3002
\nThe red-haired hero pulled his sword, bringing back the wind and the wind (figure X-2), dragging out the red fire (figure XII-1) and slashing the rifle\u3002
\nThe main person in the black coat collected the gun, wrinkled his back, returned to the hall (figure IX-6), and the gun pole brought smoke from the dark ink abyss (figure XII-5), swirling to the wheel\u3002
\nThe redhead jumps, and the sky jumps, and the swords go up and down\u3002
\nThe camera then turned to a low angle (figure XI-5), and looked up at the collision\u3002<\/p>\n
\nDouble-edged, resulting in a violent shock wave and a violent shaking of the lens (figure XIII-6)\u3002
\nThe force bumps open and the main man in the black breaks the wood screen behind him\u3002
\nThe camera was uncut, using a walk through walls (figures XI-12), closely followed the lead in the black suit through the breaking screen\u3002
\nThe main man in the black shirt turned by force in the middle of the air, with a retrogressive gun (figure IX-13), the tip of which provoked a piece of wood that was broken and pointed at his opponent like a dark instrument\u3002
\nThe red-haired hero waved his sword to defend himself against the sword (figure X-12), and the Red-Gold-Sword Network cut the wood into powder\u3002
\nTwo men were close to each other in front of the windows (figure VIII-5). The red-haired hero used a series of punches, the Lian-joo sword (figure X-11), and the black-clothed hero stood by with guns (figure IX-10). The tip of the sword collided at high speed with the barrel, the sparks were splattered and the cherry petals outside the window were thrown into the air and rotated around them\u3002<\/p>\n
\nThe main man in the black suit sells the cracks, and the red-haired hero is caught in a sharp and sharp way, with the sword of piercing stabbing and shock (figure X-3) pointed to his throat\u3002
\nThe main man in the black was shot in the tails, with the power to emptied him, to make a dragon ambush (Figure IX-18) and to turn the gun against the wrists of his opponent\u3002
\nThe two warriors clashed in the air, with the sword to the point one inch from the throat of the hero in the black suit and the gun to the point one inch from the wrist of the hero in the red hair\u3002
\nThe images go into slow motion and mirrors (figures XI-7) and are then fixed at the moment of the eruption of the current (figure XI-15: fixed lenses)\u3002
\nBlack and white ink and red flaming flames form too extreme energy around both sides of the body (figures 12-30), and the cherry petals are still in the middle of the air, and after a moment the waves burst and the long lens ends\u3002<\/p>\n![\"c59f22dj00tli4nd00h3d000v90jp-1\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/ce59f22dj00tli4nd00h3d000v900jjp-1.jpg\" "\\"c59f22dj00tli4nd00h3d000v90jp-1\\"")
<\/p>\n![\"166cd81cj00tli4nl005gd000fx00mcp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/166cd81cj00tli4nl005gd000fx00mcp.jpg\" "\\"166cd81cj00tli4nl005gd000fx00mcp\\"")
<\/p>\n
\n[Light-based] side-to-side reverse hard light is the main, extreme reverse light, brightening the edge of the person's hair (i.e., filament) and face profile, with a very high intensity of light, hair and clothing ** golden edge,** light-to-side light, strong side\/side reverse light, hard light; face-to-face light, face-to-face reflection light, brightness of the person's face, brightness of the eye's eyes, \u201cthining\u201d and evoking; smoke machine to create \u201cdignity light\/building light\u201d that creates visible light in the air and increases space depth\u3002
\n[smart]act view
\nImage 1 by Image 2: Mainist: Guns in Black. It's beautiful and beautiful, with dark hairs like ink, moons on the star, light blue petals on both cheeks. He was wearing a black-based gold-grained, lavish robe with a long, red silver blade. Combat style: Large-scale, gun-like, high-speed, high-speed, good at using long-gun distance to suppress and sweep\u3002
\nOpposite: Photo 3 Photo 5 Red-haired Kenzi. The face is cold and noble, and the hair of a fire is long, and it's shaky. He was wearing a long skirt with an iron sword. Fighting style: Swords are swift, they are well prepared, they are good at short and precise, and they counter very quickly\u3002
\nScene: Photo 4 The Chinese Classic Hall and the cherry garden. There are fine screens, woody caseries, tea and aromatic stoves in the room, and the sun is shrouded through the sculpturing window. A huge pink cherry tree is blooming in the outdoor courtyard, with petals falling in the wind\u3002
\nSpectroscope
\nINDOOR FIGHTING VIDEO DESIGN: A MIRROR TO THE ACT VIEW<\/p>\n
\nRoles and Effects Configuration
\nLead one
\nVisual features: black hair, black gold, blue facial makeup. Energy special effects: Black ink abyss smoke (figure XII-5) is intertwined with pure white sword-gas belts (figure XII-22). The tip of the gun leaves an ink-coloured trajectories along with the white air current torn. Motivation styles: Large and large, but dynamic rotations, suppression and sweeps using the distance advantage of a long weapon\u3002
\nLead 2 (Sword)
\nVisual features: red hair, warm gold robes, noble cold. Energy special effects: warm orange sunset sunlight (figures XII-29) and red fire (figure XII-1). The sword comes out with a high-temperature heat wave, with a red gold arc and a spark. Motion style: high-speed, accurate, close to each other, good at stinging and borrowing back, using body to cut into the inner circle of a long gun\u3002<\/p>\n
\nIt's a copper oven (figure VIII-8) painted on the scene. All of a sudden, a red rim went into the picture, tearing up the smoke. The camera was turned off at a fast pace (figure XI-4: Rapid Scratch) to display the main point of the black man (gun) (figure IX-5). The red-haired hero (sword) sideways, with a saber-precision shielding the tip of the gun, erupted the first wave of Mars (figure XIII-7: Fuzzy remnant of motion)\u3002
\nCROSS-CUTTING: ACT PERSPECTIVE
\nTHE CAMERA QUICKLY WENT AROUND THE REDHEAD AND BECAME A THIRD PERSON'S ACT GAME PERSPECTIVE (FIGURE XI-1: AND MIRRORS). THE RED-HAIRED HERO PULLED HIS SWORD, BRINGING BACK THE WIND AND THE WIND (FIGURE X-2), DRAGGING OUT THE RED FIRE (FIGURE XII-1) AND SLASHING THE RIFLE. THE MAIN PERSON IN THE BLACK COAT COLLECTED THE GUN, WRINKLED HIS BACK, RETURNED TO THE HALL (FIGURE IX-6), AND THE GUN POLE BROUGHT SMOKE FROM THE DARK INK ABYSS (FIGURE XII-5), SWIRLING TO THE WHEEL. THE REDHEAD JUMPS, AND THE SKY JUMPS, AND THE SWORDS GO UP AND DOWN. THE CAMERA THEN TURNED TO A LOW ANGLE (FIGURE XI-5), AND LOOKED UP AT THE COLLISION\u3002
\nHigh: Space shuttle and environmental damage
\nThe double-edged, which produces a violent concussion wave, and the lens vibrates sharply (figure XIII-6). The force bumps open and the main man in the black breaks the wood screen behind him. The camera was uncut, using a walk through walls (figures XI-12), closely following the lead in the black suit through the breaking screen. The main man in the black shirt turned by force in the middle of the air, with a retrogressive gun (figure IX-13), the tip of which provoked a piece of wood that was broken and pointed at his opponent like a dark instrument. The red-haired hero waved his sword to defend himself against the sword (figures X-12), and the Red-Gold-Sword Network cut the wood into powder. Two men were close to each other in front of the windows (figure VIII-5). The red-haired hero made a series of strikes at the Lian-joo sword (figure X-11) and the black-coloured hero stood by with guns (figure IX-10). The tip of the sword collided at high speed with the barrel, the sparks were splattered and the cherry petals outside the window were thrown into the air and rotated around them\u3002<\/p>\n
\nThe main man in the black suit sells the cracks, and the red-haired hero is caught in a sharp and sharp way, with the sword of piercing stabbing and shock (figure X-3) pointed to his throat. The main man in the black suit was shot in the tail, emptied with the power to make a dragon ambush (figure IX-18) and pointed the gun against the wrist of his opponent. The two warriors clashed in the air, with the sword to the point one inch from the throat of the hero in the black suit and the gun to the point one inch from the wrist of the hero in the red hair. The images go into slow motion and mirrors (figures XI-7) and are then fixed at the moment of the eruption of the current (figure XI-15: fixed lenses). Black and white ink and red flaming flames form too extreme energy around both sides of the body (figures 12-30), and the cherry petals are still in the middle of the air, and after a moment the waves burst and the long lens ends\u3002<\/p>\n
\nThere is frequent confusion in the right and right positions of the two players
\nA video contains multiple lenses or action stages
\nPre-fixing of scenery, structure and lens sequence is required\u3002<\/p>\n![\"38cdab1dj00tli4os00zqd000v90j3p\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/38cdab1dj00tli4os00zqd000v900j3p.jpg\" "\\"38cdab1dj00tli4os00zqd000v90j3p\\"")
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\nINDOOR FIGHTING VIDEO DESIGN: A MIRROR TO THE ACT VIEW<\/p>\n
\nThis program combines high-intensity shock senses with the visualization of ACT action games and is designed to be based on a false lens (Seamless Long Take). The sense of oppression is created through the physical interaction of the lens and the role, and the broken feedback of environmental props. A strong confrontation between black gold and red gold in colour\u3002<\/p>\n
\nVisual features: black hair, black gold, blue facial makeup\u3002
\nEnergy special effects: Black ink abyss smoke (figure XII-5) is intertwined with pure white sword-gas belts (figure XII-22). The tip of the gun leaves an ink-coloured trajectories along with the white air current torn\u3002
\nMotivation styles: Large and large, but dynamic rotations, suppression and sweeps using the distance advantage of a long weapon\u3002<\/p>\n
\nEnergy special effects: warm orange sunset sunlight (figures XII-29) and red fire (figure XII-1). The sword comes out with a high-temperature heat wave, with a red gold arc and a spark\u3002
\nMotion style: high-speed, accurate, close to each other, good at stinging and borrowing back, using body to cut into the inner circle of a long gun\u3002<\/p>\n
\nThe core areas of the fight are: the house halls, the screens are broken, and the window tea case\u3002
\nDynamic destruction elements: a fragrance stove rolls, screen torn, tea tatters, flying pink cherry petals. Each blow must have physical feedback from environmental props to reinforce the shock\u3002<\/p>\n
\nThe copper oven (Figure 8-8) painted on the scenes of the crime\u3002
\nAll of a sudden, a red rim went into the picture, tearing up the smoke\u3002
\nThe camera was turned off at a fast pace (figure XI-4: Rapid Scratch) to display the main point of the black man (gun) (figure IX-5)\u3002
\nThe red-haired hero (sword) sideways, with a saber-precision shielding the tip of the gun, erupted the first wave of Mars (figure XIII-7: Fuzzy remnant of motion)\u3002<\/p>\n
\nTHE CAMERA QUICKLY WENT AROUND THE REDHEAD AND BECAME A THIRD PERSON'S ACT GAME PERSPECTIVE (FIGURE XI-1: AND MIRRORS)\u3002
\nThe red-haired hero pulled his sword, bringing back the wind and the wind (figure X-2), dragging out the red fire (figure XII-1) and slashing the rifle\u3002
\nThe main person in the black coat collected the gun, wrinkled his back, returned to the hall (figure IX-6), and the gun pole brought smoke from the dark ink abyss (figure XII-5), swirling to the wheel\u3002
\nThe redhead jumps, and the sky jumps, and the swords go up and down\u3002
\nThe camera then turned to a low angle (figure XI-5), and looked up at the collision\u3002<\/p>\n
\nDouble-edged, resulting in a violent shock wave and a violent shaking of the lens (figure XIII-6)\u3002
\nThe force bumps open and the main man in the black breaks the wood screen behind him\u3002
\nThe camera was uncut, using a walk through walls (figures XI-12), closely followed the lead in the black suit through the breaking screen\u3002
\nThe main man in the black shirt turned by force in the middle of the air, with a retrogressive gun (figure IX-13), the tip of which provoked a piece of wood that was broken and pointed at his opponent like a dark instrument\u3002
\nThe red-haired hero waved his sword to defend himself against the sword (figure X-12), and the Red-Gold-Sword Network cut the wood into powder\u3002
\nTwo men were close to each other in front of the windows (figure VIII-5). The red-haired hero used a series of punches, the Lian-joo sword (figure X-11), and the black-clothed hero stood by with guns (figure IX-10). The tip of the sword collided at high speed with the barrel, the sparks were splattered and the cherry petals outside the window were thrown into the air and rotated around them\u3002<\/p>\n
\nThe main man in the black suit sells the cracks, and the red-haired hero is caught in a sharp and sharp way, with the sword of piercing stabbing and shock (figure X-3) pointed to his throat\u3002
\nThe main man in the black was shot in the tails, with the power to emptied him, to make a dragon ambush (Figure IX-18) and to turn the gun against the wrists of his opponent\u3002
\nThe two warriors clashed in the air, with the sword to the point one inch from the throat of the hero in the black suit and the gun to the point one inch from the wrist of the hero in the red hair\u3002
\nThe images go into slow motion and mirrors (figures XI-7) and are then fixed at the moment of the eruption of the current (figure XI-15: fixed lenses)\u3002
\nBlack and white ink and red flaming flames form too extreme energy around both sides of the body (figures 12-30), and the cherry petals are still in the middle of the air, and after a moment the waves burst and the long lens ends\u3002<\/p>\n![\"4ee66b8dj00tli4p30086d000g500j9p\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/4ee66b8dj00tli4p30086d000g500j9p.jpg\" "\\"4ee66b8dj00tli4p30086d000g500j9p\\"")
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\n[Light-based] side-to-side reverse hard light is the main, extreme reverse light, brightening the edge of the person's hair (i.e., filament) and face profile, with a very high intensity of light, hair and clothing ** golden edge,** light-to-side light, strong side\/side reverse light, hard light; face-to-face light, face-to-face reflection light, brightness of the person's face, brightness of the eye's eyes, \u201cthining\u201d and evoking; smoke machine to create \u201cdignity light\/building light\u201d that creates visible light in the air and increases space depth\u3002
\n[smart]act view
\nImage 1 Image 2: Mainist: Gunshot Woman in Black. It's beautiful and beautiful, with dark hairs like ink, moons on the star, light blue petals on both cheeks. He was wearing a black-based gold-grained, lavish robe with a long, red silver blade. Combat style: Large-scale, gun-like, high-speed, high-speed, good at using long-gun distance to suppress and sweep\u3002
\nInverse: Picture 3 Photo 4 Redhead Kenzi. The face is cold and noble, and the hair of a fire is long, and it's shaky. He was wearing a long skirt with an iron sword. Fighting style: Swords are swift, they are well prepared, they are good at short and precise, and they counter very quickly\u3002
\nScene: An elegant Chinese-class hall and cherry garden. There are fine screens, woody caseries, tea and aromatic stoves in the room, and the sun is shrouded through the sculpturing window. A huge pink cherry tree is blooming in the outdoor courtyard, with petals falling in the wind\u3002
\nImage 5
\nVideo is generated by reference plate 6 of the Indoor Fighting Video Design Program\u3002
\nDesign concept This program combines high-intensity shock senses with the vision of the ACT action game and is designed to be based on the false lens of Seamless Long Take. The sense of oppression is created through the physical interaction of the lens and the role, and the broken feedback of environmental props. The colours form a strong collision between black gold and red gold<\/p>\n![\"fb197d58j00tli4pf007gd000fk00ktp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/fb197d58j00tli4pf007gd000fk00ktp.jpg\" "\\"fb197d58j00tli4pf007gd000fk00ktp\\"")
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