{"id":58074,"date":"2026-10-15T10:31:30","date_gmt":"2026-10-15T02:31:30","guid":{"rendered":"https:\/\/www.1ai.net\/?p=58074"},"modified":"2026-09-20T15:07:26","modified_gmt":"2026-09-20T07:07:26","slug":"ai%e6%8f%90%e7%a4%ba%e8%af%8d%e5%88%9b%e4%bd%9c%e7%ac%ac%e5%85%ad%e5%8d%81%e5%9b%9b%e8%8a%82%ef%bc%9aai%e7%94%bb%e9%9d%a2%e6%83%b3%e8%a6%81%e7%9c%9f%e5%ae%9e%ef%bc%8c%e5%85%88","status":"publish","type":"post","link":"https:\/\/www.1ai.net\/en\/58074.html","title":{"rendered":"SECTION 64 OF THE AI PHRASING: HOW TO USE LIGHT TO IMPROVE THE QUALITY OF AI VIDEO? A.I. WANTS TO BE REAL"},"content":{"rendered":"

A lot of people doAI Video<\/a>At times, all attention is focused on characters, clothing, scenery and style. It's a long text and a fine part, but it's still like \"generating a picture\" when it comes out, and it's lacking the quality of the real image\u3002<\/p>\n

Often the problem is not that the person is not good enough or complex, but that the light is not designed\u3002<\/p>\n

In the real picture, the light is not just lighting people, it determines the relationship between the subject and the background, whether the person is emotional, whether the picture is hierarchical or whether the audience believes it exists\u3002<\/p>\n

SO WE DON'T TALK ABOUT COMPLEX STYLES, WE DON'T TALK ABOUT OVERSTRETCHING, WE START WITH FIVE OF THE MOST PRACTICAL DIRECTOR-LEVEL EMPTIES, AND WE START WITH A CLEAR PICTURE OF HOW, WHEN, AND WHY, THE LIGHT THAT'S USED IN AI COMICS, COMMERCIALS, BRAND MOVIES\u3002<\/p>\n

I. WHY IS AI LOOKING FALUE, LONGLY BECAUSE THERE'S NO SHOOT CLASS<\/strong><\/p>\n

THE BIGGEST PROBLEM WITH MANY OF THE AI IMAGES IS NOT THE LOW DEGREE OF CLARITY, BUT THE LIGHT IS TOO EVEN\u3002<\/p>\n

People stand in images, their faces are bright, their clothes are bright and their background is bright. Everything is on average light, certainly clean, but without focus or space\u3002<\/p>\n

Real photography doesn't do that\u3002<\/p>\n

In the real picture, the photographer will decide where the subject is and where the light comes from. There will be direction, power and colour, and a dark transition. People are not just lighted, but are \u201cformed\u201d by light\u3002<\/p>\n

For example, when a light comes from behind a person's back, there's a light around his hair and shoulder, and the person can be separated from the background. For example, when the light comes in front of the side, half of the face is bright, half of the face is dark, and the mood of the person becomes more visible. For example, when the hard light goes through the blinds and hits the product, the image immediately becomes the design sense of the commercial\u3002<\/p>\n

That's the value of light\u3002<\/p>\n

THE HINT IS NOT JUST TO SAY \"MEMBRACING SENSE\" \"HIGH SENSE\" \"REAL SENSE\" BUT TO TELL AI WHERE THE LIGHT COMES FROM, WHERE IT GOES, WHERE IT SHOULD SHINE, WHERE IT SHOULD BE DARK, WHETHER THE EDGE OF THE LIGHT IS SOFT OR CLEAR AND WHETHER THE LIGHT IS WARM OR COLD\u3002<\/p>\n

WHEN YOU WRITE THIS INFORMATION, THE REAL SENSE OF AI'S IMAGE INCREASES\u3002<\/p>\n

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II. FIRST: THE REVERSE LIGHT IS THE BEST MOVIE FOR THE AI COMIC<\/strong><\/p>\n

THE SIDE-REVERSE LIGHT IS A MUCH-USED LIGHT IN THE AI COMICS, ESPECIALLY FOR ANCIENT SHORTS, EMOTIONAL LENSES, CHARACTER APPEARANCES AND ATMOSPHERE\u3002<\/p>\n

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Its core is that the light source is not in front of the person, but behind the person\u3002<\/p>\n

This has three advantages\u3002<\/p>\n

FIRST, IT SEPARATES THE PERSON FROM THE BACKGROUND. IN MANY OF THE AI IMAGES, PEOPLE'S CLOTHES, HAIR AND BACKGROUND COLOR ARE MIXED, AND THE IMAGES LOOK FLAT. THE SIDE-REVERSE LIGHT CAN FORM A LIGHT ON THE EDGE OF THE PERSON, AND THE SUBJECT CAN JUMP OUT OF THE BACKGROUND\u3002<\/p>\n

Secondly, it can form contours on the edges of hair, shoulders and clothing. In particular, the elements of twilight, twirling, veiling and cloaking are themselves well suited to light. As long as there's light on the edge, it's more subtle\u3002<\/p>\n

Third, it makes it more like a movie shot. Because film images rarely use only face-to-face flats, side-to-side reverses can give the picture a back-to-back level and make the person look less \u201cshaping\u201d\u3002<\/p>\n

When writing a hint, do not just say \"film light.\" It can be written as follows:<\/p>\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<\/p>\n

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This type of light is best used to pass a person's first appearance, turn back, wait, meet, wipe his shoulder. It does not need to exaggerate the person's face, and as long as the light cuts in from behind, the person naturally has a sense of being caught in the camera\u3002<\/p>\n

iii. Second: the contours, which let the characters out of the dark background<\/strong><\/p>\n

The contours and side-reverses are somewhat similar, but they place more emphasis on light control at the edge of the person\u3002<\/p>\n

MANY OF THE AI CHARACTERS LOOK FAKE, NOT BECAUSE THEIR FACES ARE NOT SUFFICIENTLY SOPHISTICATED, BUT BECAUSE THEY ARE NOT SEPARATED FROM THEIR BACKGROUND. IN PARTICULAR, IN DARK BACKGROUND, NIGHT VIEW, ANCIENT WIND CHAMBER, WOODS, SMOKE SCENES, HAIR, SHOULDERS, EDGES OF CLOTHING, AND BACKGROUND, IT IS EASY TO MERGE\u3002<\/p>\n

This is a time when contours need to be added\u3002<\/p>\n

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The core of the contours is not to brighten the person as a whole, but rather to beat it from behind or behind the side of the person with a gleaming of the edge of the hair, the contours of the side face, the shoulder, the edge of the clothing. So the person gets cut out of the background, and the image immediately has a sense of space\u3002<\/p>\n

If you want a stronger sense of film, you can write it in a side-back hard light\u3002<\/p>\n

for example:<\/p>\n

[Light set] uses side-to-side reverse hard light as the main light, which is located behind the side of the person and produces an extremely reverse light effect. Strong light highlights the edges of the person ' s hair, hair, side face profile, shoulder and edge of clothing, and the edges of hair and clothing are glittered out of a broad and bright golden rim. The whole is based on a light-side\/side-reverse approach, with a dark background, a clear separation of the person's subject from the background, and a strong film sense and space depth\u3002<\/p>\n

But if you write only against the light, the face of the person may be too dark. So you have to add facial light\u3002<\/p>\n

If you want to make it more like a movie or an old wind opera, you can add a light<\/p>\n

So the whole message can be written:<\/p>\n

[Light-layed] side reverse hard light is the main source of light, which is located behind the person's side, creating a highly reverse light effect. The edges of the person ' s hair, hair, side face profiles, shoulders and clothing are highlighted by strong light, and the edges of the hair and clothing are glittered out of a wide and bright golden rim. The whole is based on a light-to-side\/side reverse-light approach, with the background remaining darker and the subject of the person being clearly separated from the background. The person joins a soft and wide-reflective light in front of the person, slightly highlights the dark side of the face, preserves the skin details and the five official structures, while at the same time luminous eyes are visible in the position of the eye. There is a slight smoke in the air, and the reverse light passes through the smoke to form visible mass beams, producing divine light effects and increasing space depth and film sense\u3002<\/p>\n

This type of contour is particularly suitable for the appearance of a person, the return of an ancient woman, the presence of a war-torn person in the smoke, the appearance of a divinely perceptive character, and the image of a large branded person\u3002<\/p>\n

Here's to note that the contours are not just \"a circle of light behind.\" A truly high profile, usually a retrogressive light, is responsible for cutting out the edge of the person, soft and patchy light is responsible for preserving the details of the face, eyes are responsible for making the person alive and size is responsible for increasing the space\u3002<\/p>\n

But the contours have an important role to play in controlling emotions\u3002<\/p>\n

Different colours of contour change the way people feel about people\u3002<\/p>\n

A warm-coloured contour demonstration hint:<\/p>\n

The golden side of the reverse hard light is projected from behind the side of the person, creating a strong reverse light effect, highlighting the edge of the person ' s hair, hair, face profile, shoulder and edge of the clothing, and sculpting a broad and bright golden luminous luminous luminous radiance. The whole is based on a slightly dark background, with a clear separation of the subject from the background. The person is subject to a soft, wide-reflective resonance, a slight luminous light, a skin detail and a five-office structure, and a clear eye at the eye position, which gives the eye a bright look. There is a slight smoke in the air, and the reverse light passes through the smoke to form a visible volume beam, enhancing space depth and film sense. The overall atmosphere is warm, romantic, nuanced, with a sense of destiny at the height of emotion\u3002<\/p>\n

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Cold contour demonstration hint:<\/p>\n

The cold blue side reverse hard light is projected from behind the side of the person, creating a strong reverse light effect, highlighting the edges of the person ' s hair, hair, face profile, shoulder and edge of the clothing, and strangling a clear and bright circle of the cold blue line. The whole is based on a light-side-side-side reverse-light approach, with a dark background from which the subject of the person clearly emerges. The person's face is filled with a weak, soft, wide-reflective resonance, the light of the face is lightened slightly, the structure of the five officials and the skin level is preserved, the light of the eye is small and the person appears calm and divine. There is a slight fog in the air, and the reverse light passes through the air to form a visible volume beam, enhancing the spatial level of the image, the sense of mystery and the depth of the depth. The overall atmosphere is calm, restrained, mysterious, with a sense of distance and suspicion\u3002<\/p>\n

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THE CONTOURS ARE NOT JUST A LIGHT, BUT A SET OF LIGHT LOGIC. THE CLEARER IT IS, THE EASIER IT IS FOR AI TO GENERATE IMAGES CLOSE TO THE REAL STUDIO\u3002<\/p>\n

IV. Third: Sidelight, shaping the mood of a person by contrast<\/strong><\/p>\n

There is a great difference between sidelight and side-reverse light\u3002<\/p>\n

The side-reverse light is mainly used to outline the profile of the person, while the side-light is primarily used to shape the invisibility of the person's face\u3002<\/p>\n

In short, the light is the light coming from the front side of the person\u3002<\/p>\n

It will light half the person's face and hide the other half in the shadow. At this point, even if the person does not make a particularly exaggerated look, the person's emotions are felt by the audience\u3002<\/p>\n

This is why the sidelights are particularly appropriate for people's monologues, secrets, conflicts, and internal struggles\u3002<\/p>\n

If the person's face was evenly lit, the picture would be safe, but it would be even. The audience saw \"A good-looking person.\" But if half the person's face is in the light and half his face is in the shadow, the audience will start to feel the role\u3002<\/p>\n

So the hint of the sidelight should not just say \u201csidelight\u201d, but rather the light should be clearly written from which direction, which side of the face to shine, how much detail to keep in the dark and whether there is light in the eyes\u3002<\/p>\n

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

[Light set] is dominated by the front side main light, which is 45 degrees above the person's right and produces a visible side light effect. The light highlights half the face of the person, the nose, the cheek, the lips and the collar, while the other side of the face naturally enters into the shadow and forms a dark and dark facial structure. The whole is based on a medium-high-light than a light-side approach, with a clear bright and dark face, which retains skin texture and five official details. The characters are facing very weak flashing resonance, lightening the shadow area slightly and avoiding the blackness of their faces, while not destroying the contrasts of the sidelight. The position of the eyes is small and clear, so that the person's eyes are quiet, divine and emotional. The background is slightly dark and remains soft and defunct, and the picture is quiet, restrained and suitable for character monologue and internal scenery\u3002<\/p>\n

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If it's an ancient monologue, it can be written softer:<\/p>\n

[Light-laid] Indoor, the warm-coloured light is tilted from the window side, and the main light is in front of the person, softly and brightly on the person ' s half face, eyebrow, nostrils, lips and collars, and the other side slowly transitions to the natural shadow. The whole is a soft and side-light vs. medium light, which contrasts clearly but not too strongly. The person had a light permutation light on his face, kept dark skin details and a five-office structure, and had a small, warm eye. The light outside the window is slightly air-sensitive, the background is quiet and fading, the image is one of low-speaking self-restraint, warm, nuanced and storytale\u3002<\/p>\n

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If it's a shot of suspicion, reversal or secret disclosure, it can be written colder:<\/p>\n

[Light-laid] Cold-coloured light cuts in from the left side of the picture, with the main light in front of the person, highlighting half of the person's face and the area of his eyes, while the other half is hidden in a dark shadow, forming a strong and dark contrast. The whole is based on a light-to-side approach, with a sharp bright face, with a small number of five details left in the dark, not completely black. The person's face is filled with a very weak patch of light, controls the dark layer of the face, maintains a small, cold-eyed look in the eye, and makes the person seem calm, alert and oppressive. The overall background is dark, the space is still quiet, and the images carry a sense of tension and suspicion that is about to open in secret\u3002<\/p>\n

\"f4e4f455j00tli5dg00h8d000v90hlp\"<\/p>\n

The most important aspect of the light is to control the bright and dark scale\u3002<\/p>\n

Don't put the dark side completely black, or the face will be dirty. And don't let the light be too bright on either side, or the light loses its effect. The more sound formulation is that the bright side is clear, the dark side is kept in detail, the person has a weak light on the face and the eye is kept in the light\u3002<\/p>\n

The sidelight that is written is not just darkening the picture, but rather shaping the mood of the person in a clear and dark way. Audiences do not need to hear the lines, but also feel the man's hesitation, restraint, indulence or danger from light\u3002<\/p>\n

Fourth: hard light, best suited for commercial advertising and product images<\/strong><\/p>\n

The first few lights are better suited to character and drama, while hard light is better suited to commercial advertising, product presentation and brand vision\u3002<\/p>\n

The biggest feature of hard light is that the edge of the light is very clear\u3002<\/p>\n

Sweat light makes the picture look gentle, natural and clean. Hard light would make the picture more powerful, more design-oriented and easier to highlight the shape, edge and material of the product\u3002<\/p>\n

For example, a strong light came in through the window, through the blinds, the window frame, the vegetative blade or the karate, creating a clear projection of the product and the background wall. At this point, the light itself is not just a light, but a part of the design\u3002<\/p>\n

So the hard-light hint is not just about \u201ccommercial advertising\u201d, but about the direction of the light, the hardness of the light, the shape of the projection, the high light on the product's surface, and the design of the light in the background\u3002<\/p>\n

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

[Light set] with hard light as the main light, the source of light lies on or above the side of the picture, forming a clear, sharp edge of the light. Hard light passes through the blinds or window frame structure and is projected on the surface of the product and on the background wall, creating a rhythmed striped shadow and geometric projection. The main subject of the product is clearly lighted by the main light, with clear contours on the edges, with clean light on the surface of the bottle, metal, glass or plastic material, highlighting the shape, quality and commercial advertising properties of the product. The background is clear, but it is not loud, the whole picture is clean, profitable, and there is a sense of high-level brand advertising\u3002<\/p>\n

For products such as skin, perfume and beverages, more emphasis can be placed on materials:<\/p>\n

A strong hard light [lighted] is projected over the product bottle, the desktop and the background wall, as it enters from the upper left side of the picture, through the blinds to form a clear strip of light. The product has a soft and reflective resonance on its front, which ensures that brand marking, bottle profile and material details are clearly visible. The glass bottle contains a clean, high-light edge, a true reflection of the liquid or packaging material, and the shadow edge is clear but not excessive. The background is kept simple, and the projection forms a design sensor, and the overall picture is like a high-end commercial advertisement\u3002<\/p>\n

\"b14ac756j00tli5dw00idd000v9000hlp\"<\/p>\n

If a person holds a product, it can also be written:<\/p>\n

[The light is set] with hard light above the side as the main light, which falls through the blinds on the face, hand, clothing and product surface of the person, creating a clear stripe. The products are highlighted, the contours are prominent, and the surface is kept clean, high and true. The person is a face-on-the-face person who adds light of light, displays the darkness of the face and the details of the hand, avoids the shadows being too heavy, while retaining the strong dark and bright structure of the hard light. With a slightly dark background, the wall retains a design-sensitive light projection with a clean, fashionable, commercial brand-size large-scale sense of quality\u3002<\/p>\n

\"9dca4052j00tli5e400nd000v90hlp\"<\/p>\n

Hard light has the advantage of being clear, shaped and orderly. But it's easy too\u3002<\/p>\n

If the light's too messy, the picture gets dirty. If the shadow is too heavy, the details of the product will be covered. If the light is too high, the bottle, packaging and skin of the person are easily exposed\u3002<\/p>\n

So when you write hard light, you have to add control\u3002<\/p>\n

for example:<\/p>\n

The shadow edges are clear, but not muscular, the product subjects are clear, brand markings are visible, the material is not exposed to light, and the background projection has a sense of design but does not capture the subject\u3002<\/p>\n

Hard light is not just a light, but a structure. It is best used in commercial advertising, product photography, branding, fashion and high-quality sensory images\u3002<\/p>\n

When you want to move the product map from a \"general display\" to an \"advertisement film,\" hard light is a very good way of doing it\u3002<\/p>\n

VI. Fifth type: low-bit light<\/strong><\/p>\n

Because its focus is not on the light coming from beneath the person, but on the light coming very close to the person, and the picture usually contains a clear luminous prop. This light source can be under the person, under the person, even on the person ' s chest or hand. As long as the light is close enough to the person, it creates a very concentrated local light on the face and on the clothes, making the picture immediately mysterious, dramatic and emotional\u3002<\/p>\n

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For example, lanterns, candlesticks, magic machines, radiant jade, handheld light sources, fluorescent objects, energy cores can be sources of light in close proximity\u3002<\/p>\n

It is particularly suitable for images such as phantoms, skepticism, human awakening, dark-field conversations, ancient night shows, and mysterious rituals\u3002<\/p>\n

There are three most important features of this type of light\u3002<\/p>\n

First, it has a clear light source\u3002
\nThe audience can see at first sight why the person is lighted. So the picture doesn't look fake\u3002<\/p>\n

Second, it's local lighting\u3002
\nIt does not average the person's face, but only parts of the area close to the source of light, such as the side of the face, the chin, the lower edge of the nose, the lips, the fingers, the collar or the front of the chest\u3002<\/p>\n

Thirdly, it is naturally emotional\u3002
\nBecause the light is concentrated and the contrast is clear, it gives the image a sense of mystery, oppression, danger, or drama when people wake up\u3002<\/p>\n

So this type of light hint, rather than just \u201cbacklight\u201d or \u201cperson glow\u201d, should be clear: what is the source of light, where it is located, where the person is lighted, to what extent the dark is preserved, whether there is light or not, and what is the overall mood\u3002<\/p>\n

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

The main source of light is light from a close radiant device or person in the person's hand. The light is close to the person's face and upper body, and focuses on local areas of the face, hands, collars and clothing, with strong but restrained local lighting. The main light is not evenly covered with the whole face, but only on one side close to the light source, so that the other side naturally enters the shadow. The characters are facing very weak flash resonance, lightening the dark slightly, maintaining the five-office structure and skin details to avoid the blacking of the picture. Keep a small, clear look in the eye position. The background is dark and the air can be slightly mist or dizziness, and the whole picture is mysterious, quiet and dramatic\u3002<\/p>\n

The light source is closer to the person ' s chest or side, as it can be written:<\/p>\n

[Light set] with close-range cold-colored radiance as the main light, which is located on the side of the person ' s chest, close to the person ' s face and hand. Cold-colored light is concentrated on the side of the person ' s face, chin, lower edge of the nose, lips, necks and front-button clothing, creating a clear local light and a dark transition. The other side naturally sank in the face but retained the five-office structure and the dark details. The characters are very soft and patchy to avoid the dark and dark, while not undermining the drama of the light. The light of the eyes remains weak, making the characters quiet, vigilant and mysterious. The overall background is dark, with a slight fog in the air, increasing the spatial level and the climate of suspicion\u3002<\/p>\n

\"6b95b20dj00tli5f300jnd000v90hlp\"<\/p>\n

If it's an ancient night show, the light comes from the light in your hand, and can be written:<\/p>\n

The light in the person's hands is the main light, the light is close to the person's body, lies on the front or lower side of the chest, warms the person's chin, lips, side of the cheek, finger and front of the dress, forming a concentrated and restrained local light. The other side of the face retains a natural shadow, the dark side is not dark and the five-member structure is clear. The person is a face-on-the-face with a very weak patch of light, with a slight resonance of the dark side of the face and a high eye. The background is darker, with only a small amount of ambient light in the distance, light fog and warm radiance in the air, a quiet, mysterious picture of the whole, and a story of the ancient night show\u3002<\/p>\n

\"edc3f286j00tli5fl00hmd000v90hlp\"<\/p>\n

The most important of this type of light is not \u201cwhere to hit\u201d per se, but rather the source of light must be reasonable, clearly located, and with restraint of intensity\u3002<\/p>\n

BECAUSE ONCE IT'S WRITTEN TOO HARSHLY, FOR EXAMPLE, BY WRITING \"A STRONG BACKGROUND LIGHT IN THE FACE,\" IT'S EASY FOR AI TO MAKE PEOPLE LOOK WEIRD, TURN THEM INTO SIMPLE FLASHLIGHTS IN THE FACE, AND HAVE A DISTORTED FACE STRUCTURE\u3002<\/p>\n

So the more secure way to write is to add these controls:<\/p>\n

Close-range light sources, local lighting, light restraint, but exposure, not excessive lighting of the whole face, dark retention of details, clear five-office structure, very weak light on the front, weak light on the eye, dark background, strong emotions\u3002
\n
\nVII. WHEN WRITING A LIGHT MESSAGE FOR AI, NOT JUST FOR LIGHT, BUT FOR FULL LIGHT LOGIC<\/strong><\/p>\n

We have already talked about a number of common lighting methods, but we really want to use them, and we can't copy them only in a fixed way\u3002<\/p>\n

A better way is to write \"light\" as a separate module\u3002<\/p>\n

MANY PEOPLE WRITE TIPS THAT MIX CHARACTERS, SCENES, COSTUMES, STYLES, LENSES AND LIGHT. THIS LOOKS LIKE A LOT OF STUFF, BUT AI'S GOT A MESS. THE FINAL SCENE MAY HAVE BEEN MADE, BUT THE LIGHT IS STILL UNSTABLE\u3002<\/p>\n

So, when you write a video hint, you can take the light out and write it in a clear [light set] paragraph\u3002<\/p>\n

This paragraph does not need to be particularly complex, but four things must be made clear\u3002<\/p>\n

First, where the light comes from\u3002<\/p>\n

THAT'S ALL THAT MATTERS. THE LIGHT SOURCE POSITION DETERMINES THE SPATIAL SENSE OF THE IMAGE. YOU'RE GONNA TELL AI IF IT'S JUST RIGHT AHEAD OF THE PERSON, ON THE SIDE, BEHIND, BEHIND OR BELOW. IF THERE'S NO DIRECTION, IT'S EASY FOR AI TO DEFAULT ON THE GENERATION OF AVERAGE LIGHT, AND THE IMAGE IS FLAT\u3002<\/p>\n

Second, where the main light is\u3002<\/p>\n

The light is not an average full picture, but rather a focus. It can light the person ' s face or the hair, shoulder, edge of clothing, product surface, background wall. The more specific you write, the easier it is to get the level of real photography\u3002<\/p>\n

Third, what about the dark\u3002<\/p>\n

Many images add light to the problem of being too dark-faced, lost in detail and deformed. It is therefore important to make it clear that the dark part is not completely black, but rather that the skin texture, the five official structures and the material details are kept\u3002<\/p>\n

Fourth, how do you treat the light and the eye\u3002<\/p>\n

It's the key to making people more real. The main light is responsible for the atmosphere, the light is responsible for keeping the details and the eye is responsible for keeping the person alive. Especially when the person's eyes don't have light, the finer face will look dumb\u3002<\/p>\n

So a more stable light module can be written according to this structure:<\/p>\n

[Light set] with some light as the main light, the source of light is in one direction of the picture, with a focus on certain positions of the subject and a clear and dark relationship. The dark side keeps the details, but dark, but exposed. The person is a face-on-the-face, with a moderate light, with a skin texture and a five-office structure. Keep your eyes clear. The background is a slightly dark, defunct, clean or projective layer, depending on the needs of the picture, which allows for a clear relationship between the subject and the environment\u3002<\/p>\n

\"0f2d150bj00tli5g300tsd000v90hlp\"<\/p>\n

The advantage of this structure is that it is not a fixed death hint, but a set of interchangeable writings\u3002<\/p>\n

WHEN YOU WRITE AN AI IMAGE LATER, YOU CAN NOT RUSH INTO WORDS. LET ME ASK MYSELF: WHO IS THIS CAMERA BEING LIT? WHERE DID THE LIGHT COME FROM? WHERE SHOULD THE AUDIENCE SEE FIRST? WHERE TO HIDE IN THE DARK<\/p>\n

And when you think about these questions, the hint you're writing is no longer a simple picture, but a real scene\u3002<\/p>\n

THIS IS ALSO THE KEY TO THE MOVE FROM \"GENERATIVE\" TO \"IMAGE.\"\u3002<\/p>\n

VIII. FINAL SUMMARY<\/strong><\/p>\n

AI WANTS TO BE REAL, NOT AS LONG AS THE HINTS ARE LONG, OR AS MANY WORDS AS POSSIBLE\u3002<\/p>\n

The real effective way is to give the picture a photographic logic\u3002<\/p>\n

Where people are, where they come from, whether the background should be bright or dark, if the edges need no contours, if the face needs no contrasts, if the product needs a clear projection, which directly affects the quality of the final picture\u3002<\/p>\n

The side-reverse light is responsible for the film sense, the contours is responsible for the material separation and emotional control, the side-light is responsible for the inner play of the person, the hard light is responsible for the commercial design sense, the low light and the light of the close side is responsible for the mystery and theatrics\u3002<\/p>\n

WHEN YOU START TO WRITE THE HINTS LIKE THIS, AI IS NO LONGER JUST CREATING A GOOD-LOOKING PERSON OR A GOOD-LOOKING SCENE, BUT IS GENERATING A SHOT THAT IS CLOSER TO REAL\u3002<\/p>\n

SO THEN DO AN AI VIDEO, NOT JUST FOCUS ON PEOPLE AND SCENES. LET ME ASK MYSELF:<\/p>\n

Where should this light come from<\/p>\n

When the light comes in direction, the picture has space\u3002<\/p>\n

When the light and the dark are connected, the person gets emotional\u3002<\/p>\n

WHEN THE HINT BEGINS TO HAVE A REAL PHOTOGRAPHIC LOGIC, THE AI IMAGE REALLY MOVES FROM A SENSE TO A SENSE OF IMAGE\u3002<\/p>","protected":false},"excerpt":{"rendered":"

A LOT OF PEOPLE DO AI VIDEOS WITH THEIR FULL FOCUS ON CHARACTERS, COSTUMES, SCENES AND STYLES. IT'S A LONG TEXT AND A FINE PART, BUT IT'S STILL LIKE \"GENERATING A PICTURE\" WHEN IT COMES OUT, AND IT'S LACKING THE QUALITY OF THE REAL IMAGE. OFTEN THE PROBLEM IS NOT THAT THE PERSON IS NOT GOOD ENOUGH OR COMPLEX, BUT THAT THE LIGHT IS NOT DESIGNED. IN REAL PHOTOGRAPHY, THE LIGHT IS NOT JUST LIGHTING PEOPLE, IT DETERMINES THE RELATIONSHIP BETWEEN THE SUBJECT AND THE BACKGROUND, WHETHER THE PERSON IS EMOTIONAL, WHETHER THE PICTURE IS HIERARCHICAL OR WHETHER THE AUDIENCE BELIEVES IT EXISTS. SO IN THIS SECTION, WE DON'T TALK ABOUT COMPLEX STYLES, WE DON'T TALK ABOUT OVERLY STACKED PAINTS, BUT WE START WITH FIVE OF THE MOST PRACTICAL DIRECTOR-SIGHTING METHODS, AND WE START WITH A CLEAR IDEA OF HOW TO WRITE, WHAT TO WRITE, WHAT TO DO WITH THE LIGHT THAT'S USED IN AI COMICS, COMMERCIALS, BRAND MOVIES<\/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-58074","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\/58074","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=58074"}],"version-history":[{"count":0,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/posts\/58074\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/media?parent=58074"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/categories?post=58074"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/tags?post=58074"},{"taxonomy":"collection","embeddable":true,"href":"https:\/\/www.1ai.net\/en\/wp-json\/wp\/v2\/collection?post=58074"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}