THAT'S WHAT AN AI ASSET MEANS\u3002<\/p>\n
THE AI ASSET IS NOT JUST A FEW REFERENCE MAPS, NOR IS IT A GOOD ONE IN THE FOLDER. IT'S MORE LIKE CREATING A VISUAL MANUAL FOR AI. IT TELLS AI WHO IT IS, WHAT IT LOOKS LIKE, WHAT IT WEARS, WHAT IT USES IN WHAT SPACE, WHAT IT USES, WHAT IT SHOULD KEEP\u3002<\/p>\n
When this information is sufficiently clear, the hint will really work\u3002<\/p>\n
THIS SECTION MAKES IT CLEAR FROM SCRATCH WHAT TO DO WITH AI ASSETS, WHAT TO PREPARE FOR, WHAT TO DO WITH CHARACTERS, SCENES, PROPS, PALETTES, AND WHERE TO FIND THE EASIEST PIT TO STEP ON\u3002 A LOT OF PEOPLE START MAKING AN AI VIDEO WITH AN ERROR: THEY THINK A ROLE MAP CAN PRODUCE A WHOLE PICTURE\u3002<\/p>\n For example, you create a very happy hostess, with a nice face and a nice costume, and then you take this picture and do all the shots in the back. The first one may be okay, the second side is changing, the third side is changing, the fourth side is big, the face is changed to another person\u3002<\/p>\n It's not a model that's deliberately insensitive, but you give it too little information\u3002<\/p>\n WHEN AI SEES A PICTURE, IT CAN ONLY KNOW WHAT THIS CHARACTER LOOKS LIKE AT THIS ANGLE, AT THIS LIGHT, AT THIS LOOK. IT DOES NOT KNOW THE SHAPE OF THE PERSON ' S SIDE FACE, NOR THE HAIR OF THE BACK OF THE HEAD, NOR THE DETAILS OF THE BACK OF THE CLOTHES, MUCH LESS HOW HER FACE CHANGES WHEN SHE MOVES\u3002<\/p>\n so you write \"one girl\" \"same character\" and \"same character\" has only a limited effect\u3002<\/p>\n A truly effective way is to break the role into a manageable asset in the early stages\u3002<\/p>\n People need face assets, make-up assets, face-action assets\u3002<\/p>\n The scenes need to have multiple angles of assets and space layouts\u3002<\/p>\n Proofs require physical and virtual props\u3002<\/p>\n Colour panels need to have colours, properties and use scenery\u3002<\/p>\n THIS IS HOW AI IS GENERATED, NOT BY IMAGINATION, BUT BY EXTENSION IN THE VISUAL INFORMATION AVAILABLE\u3002<\/p>\n THAT IS WHY THE MORE COMPLEX THE AI VIDEO, THE MORE DEPENDENT IT IS ON A HINT. THE INSTRUCTIONS ARE FOR THE TASK AND THE ASSET IS RESPONSIBLE FOR PROVIDING THE BASIS. THERE'S NO BASIS FOR IT. IT'S PRETTY AND EASY TO LOSE CONTROL\u3002<\/p>\n II. PERSONAL ASSETS: FIRST LET AI KNOW WHO THIS PERSON IS<\/strong><\/p>\n PERSONAL ASSETS ARE THE MOST IMPORTANT CATEGORY OF ALL AI ASSETS\u3002<\/p>\n BECAUSE THE AUDIENCE IS THE MOST SENSITIVE TO CHANGES IN PEOPLE. A LITTLE CHANGE IN THE CHAIR IN THE SCENE MAY NOT BE IMMEDIATELY DISCOVERED BY THE AUDIENCE, BUT THE PERSON'S FACE, EYES, HAIR, AND APPEARANCE WILL FEEL WRONG. SO YOU WANT AI TO STABILIZE TO CREATE THE SAME CHARACTER, AND THE FIRST STEP IS NOT TO MAKE A DIRECT VIDEO, BUT TO BUILD THE CHARACTER'S ASSETS\u3002<\/p>\n A LOT OF PEOPLE WHO UNDERSTAND A PERSON'S ASSETS STOP AT \u201cA ROLE MAP IS ENOUGH\u201d. BUT ACTUALLY, A PICTURE CAN ONLY TELL AI WHAT THIS CHARACTER LOOKS LIKE AT ONE ANGLE, AT ONE LIGHT, AT ONE STATE. IT DOES NOT TELL AI EXACTLY WHAT THE FACE STRUCTURE OF THIS PERSON IS, WHAT THE SIDEBONES ARE, WHAT THE BACK HAIR IS, AND WHAT THE TOP AND THE BACK OF THE DRESS IS\u3002<\/p>\n AND THAT'S WHY MANY PEOPLE LOOK VERY WELL AT THE FIRST ONE AND START TO LOOK DIFFERENT ON THE SECOND AND THIRD. BECAUSE AI DOESN'T REALLY RECOGNIZE THIS MAN, IT'S JUST GUESSING ON A MAP\u3002<\/p>\n SO THE CORE OF THE PERSON'S ASSETS IS NOT A MAP, BUT AN INFORMATION BOARD THAT ALLOWS AI TO READ THE PERSON'S STRUCTURE\u3002<\/p>\n 1. Prepare a base figure before making the assets of the person<\/strong><\/p>\n Before you make a person's asset, you need to have a clear picture of the person as the basis for the subsequent generation of the asset\u3002<\/p>\n THIS FIGURE DOES NOT HAVE TO COME FROM A REFERENCE MAP, BUT ALSO FROM A PREVIOUS COURSE APPROACH TO CREATE AN ORIGINAL ROLE. IF YOU DON'T HAVE A STABLE BASE FIGURE, YOU CAN START WITH A POSITIVE IMAGE OF THE PERSON YOU'RE SATISFIED WITH. WHEN THE HUMAN FACE, THE FRAGRANCE, THE HAIR AND THE BASIC MAKE-UP OF THIS MAP ARE IDENTIFIED, IT WILL ENTER THE ASSET-MAKING PHASE\u3002<\/p>\n This is my figure<\/p>\n Here's to be careful, the base figure better meet a few conditions\u3002<\/p>\n First, you need to be clear\u3002 Because it's not the end of the picture, it's more like a \u201cmother map\u201d of all the assets behind it. The clearer the parent figure, the more stable the assets that are transferred back\u3002 when you have a stable personal base map, the next step will be to transform it into a personal asset map using a tool portal that can be consulted at https:\/\/www.super-i.cn\/info-2796.html\u3002<\/p>\n THE PURPOSE OF THIS STEP IS NOT SIMPLY \u201cTO CHANGE THE LAYOUT\u201d, BUT TO BREAK DOWN A ROLE INTO A STRUCTURE OF INFORMATION MORE SUITABLE FOR AI READING. IN OTHER WORDS, YOU HAVE TO LET AI NOT JUST SEE WHAT \u201cTHIS MAN LOOKS GOOD\u201d, BUT WHAT \u201cTHIS MAN LOOKS LIKE IN THE FACE, WHAT HE LOOKS LIKE IN THE SIDE, WHAT HE LOOKS LIKE IN THE DRESS STRUCTURE AND WHAT HE LOOKS LIKE IN THE BACK\u201d\u3002<\/p>\n Now you can use two sets of templates directly here. They can be a personal asset, but their use and advantages and disadvantages differ\u3002<\/p>\n Template I: A four-wide view<\/p>\n A big face + three view of the body<\/p>\n This is a standard set of asset templates for people. Its structure is intuitive: on the left is a fine, face-to-face close-up, on the right is a face, a side, a three-faced body map\u3002<\/p>\n IT IS SUITABLE FOR USE IN THE INITIAL CONSTRUCTION OF A PERSON ' S ASSETS, AS THE INFORMATION IS CLEARLY STRUCTURED AND AI IS EASIER TO UNDERSTAND\u3002<\/p>\n the hint is as follows (to be generated directly using the main map above using nanobanan pro):<\/p>\n \"The creation of a four-view image of the person in the picture, the white-ground map, and the left-hand section of the character's fine-titling portrait. Its facial features, skeletal structure, dementia, hairstyle and headdressing must be in strict conformity with the reference map, with natural skin textures, pores and hairline details, high-resolution preservation of hair holes, stripes, feathers, eyebrows, small ups and downs of the hairline and light of the skin, non-branding, non-heavy overtification, non-conforming, non-optimal beauty, photo studio taste, full face, no movement, and real make-up. On the right side, the full-body picture of the role is presented in a standard A-pose position, organized in three precise views: positive view, side view and back map. Supermodel body size, complete clothing design, fabric level, shoes and overall dress style must be strictly followed. All clothing and accessories exhibit a true sense of physical material quality.\u201d<\/p>\n advantage<\/p>\n THE ADVANTAGE OF THIS TEMPLATE IS THAT IT IS STRUCTURED AND RESULTS IN A MORE STABLE LOGIC. THE BIG FACE ON THE LEFT CAN HELP AI TO FIX THE FIVE-OFFICE STRUCTURE, AND THE THREE-VIEW OF THE WHOLE BODY ON THE RIGHT CAN HELP AI TO UNDERSTAND THE SIZE OF THE ROLE, THE PROFILE OF THE COSTUME AND THE SHAPE OF THE BACK. IF YOU'RE JUST TRYING TO CREATE A ROLE-BASED ASSET QUICKLY, THE TEMPLATE IS ENOUGH\u3002<\/p>\n shortcoming In addition, the pure side view on the right, although theoretically part of the three views, is not well used in many of the actual video-generated scenes. Because of the pure-side human position reference, it is not the most common angle of use in the lens, and in many cases it is \u201cexistent\u201d, but not necessarily a true high frequency. That was why the entire picture was not used to the greatest extent\u3002<\/p>\n So the template is more like a standard, base person asset. It's a good entry and a good initial role, but it's not the best solution if you're looking at human face consistency\u3002<\/p>\n Template II: Two headers above, and the top back of the dress<\/strong><\/p>\n Two big heads + magnified clothing master charts<\/p>\n The second set of templates is now the more recommended version. This is because it uses information more efficiently and is more in line with the actual demand for follow-up video generation\u3002<\/p>\n the logic of this template is clear (to be generated directly using the main map above using nanobanan pro):<\/p>\n One third above, with two large heads and a face and a side\u3002 The prompt words are as follows:<\/p>\n The image of the person in the image is set in four views, the grey studio background, the overall make-up board for the professional human role, the layout, the clean, not the poster, not the big magazine, not the drama, not the complex scene\u3002<\/p>\n The overall layout is strictly divided into two parts, top and bottom: the first half accounts for one third of the height of the picture and the second half for two thirds\u3002 The area below shows two reference maps of body and clothing, arranged around\u3002<\/p>\n The left-hand picture must be a larger frontal costume display with a standard A-pose position for the person\u3002 The right side of the picture is the entire body of the back, standard A-pose, which presents the whole body from the head to the back of the shoe. The person's back-to-back lens, with complete back, hair, back structure of the clothing, shoes and overall contour, is used to display the role-back shape. The right side of the picture is shown on the general whole back, with a normal figure ratio, which does not need to be magnified as the left\u3002<\/p>\n The two charts below must be the same person, the same dress, the same set of accessories, the same body ratio. The entire body is maintained at a permutation rate, but do not exaggerate. Clothing design, fabric level, shoes, dress style, clothing structure and costume styles must strictly follow the original map. All clothing and fittings are characterized by a sense of true physical material quality, with natural wrinkles, crumblings and thin changes, with real reflections of metals, and with real natural expression of materials such as leather, silk and veils. If the original dress is a long skirt with a fork, the person on the left side can walk half-step by leg in order to show the fork structure and the effect on the leg, but the whole body will still need to remain in a stable position with a make-up and not a show\u3002<\/p>\n The light is only polished using a three-point clean and integrated studio: the main light on the right, the auxiliary light on the right and the contours on the right. Don't mess with the light, don't color the light, don't get the vibe. The background is pure gray and seamless\u3002<\/p>\n Strictly require: The advantages of this template are clear\u3002<\/p>\n First, it has two big heads, one face, one face\u3002 Second, it makes a \"magnified clothing master map\" of the frontal body on the lower left\u3002 Thirdly, it keeps a full back-hull map\u3002 Therefore, from a practical point of view, the template is more suitable for subsequent video generation than the first set. This is because it places more emphasis on \u201cstable faces\u201d and \u201cscreen utilization\u201d than on the mechanical pursuit of a standard three view\u3002<\/p>\n 3. What are the options for the two sets of templates<\/strong><\/p>\n If you're just starting role-building, you want to get a standard version of the personal asset quickly, then the first set can be used directly. It has a simple structure and is more suitable for basic role information pages\u3002<\/p>\n BUT IF YOUR GOAL IS TO FOLLOW UP WITH VIDEO, ESPECIALLY MULTI-SCENARIO, MULTI-SPECTRUM, WITH A PROFILE OF THE PERSON AND A SIDE-FACE, THEN THE SECOND SET IS CLEARLY MORE PRACTICAL. BECAUSE IT CONTAINS HIGHER-VALUE INFORMATION IN THE SAME PICTURE: A FACE-FACE, A SIDE-FACE, A MAGNIFIED CLOTHING MASTER MAP AND A COMPLETE BACK-FACED BODY MAP. THIS WILL MAKE IT EASIER FOR AI TO CAPTURE THE PERSON ' S FACIAL STRUCTURE AND CLOTHING DETAILS IN SUBSEQUENT READING\u3002<\/p>\n You can understand both as asset pages in two different directions\u3002<\/p>\n The first set is more of a \u201cstandard set\u201d\u3002 III. Cosmetic assets: not a set of clothes, but a stylist of the same role<\/strong><\/p>\n The role of make-up assets is not to wear only one set of clothing for a fixed role, but to create different costumes for the same role\u3002<\/p>\n Because a character is in a complete video, often in different scenarios. Such as daily scenes, sports scenes, work scenes, or special scenes. The role can change, but not. In other words, regardless of the change in clothing, the person ' s face, hair, body size ratio and overall quality must be consistent\u3002<\/p>\n So the core of the make-up asset is not a new role, but an expansion of different costume versions based on the same role\u3002<\/p>\n The creation of this type of asset is not complex and the steps are simple\u3002<\/p>\n The first step is to prepare a full picture of this character\u3002 the hint is simple (using your character to generate a body map model nanobanan pro):<\/p>\n Generate this character's entire body. And maintain a supermode body ratio<\/p>\n Step two, replace it with the other costumes you need\u3002<\/p>\n For example, if you want this character to have a routine, a sports, a job or a combat, you can replace it with the one you need, based on this whole body map. It is important to note here that only clothes are replaced, not the characters themselves. In other words, the face, the hair, the body ratio and the character look must not change, but only the clothes and the accessories\u3002<\/p>\n the hint is simple (using a body chart and your costume to generate model nanobanan pro):<\/p>\n Replace the make-up in figure 1 with a complete set of make-up in figure 2 to maintain a supermodel body ratio<\/p>\n In the third step, the entire body of the dress was changed and four views were generated following the approach of chapter II\u3002 For example, you made three models: THAT'S THREE SETS, ONE VIEW EACH. SO YOU CAN CALL WHATEVER KIND OF MAKEUP ASSET YOU WANT BEHIND YOU, INSTEAD OF TEMPORARILY ASKING AI TO GUESS WHAT THE ROLE IS\u3002<\/p>\n So the logic of makeup assets is direct:<\/p>\n The first is a full picture of the same character IV. Emoticons and movement assets<\/strong><\/p>\n A lot of people can still do static roles, just as soon as they get to the video\u3002<\/p>\n The reason is that the role has no expression or movement assets\u3002<\/p>\n AI DOES NOT KNOW HOW THIS PERSON SMILES, HOW HIS EYES CHANGE WHEN HE'S ANGRY, HOW HE BEHAVES WHEN HE'S RUNNING, WHETHER HE'S NERVOUS OR CALM WHEN HE FIGHTS. IF YOU DON'T TELL IT, IT'LL APPLY THE MOST COMMON PERFORMANCES IN THE MODEL\u3002<\/p>\n So the third category of people's assets are face and movement assets\u3002<\/p>\n Emoticon assets address the emotional consistency of the role\u3002 1. Emoticon assets: keeping the role emotional<\/strong><\/p>\n Emoticon assets are mainly used to fix face changes in different emotions\u3002<\/p>\n A FULL ROLE CAN'T ALWAYS HAVE ONLY ONE FACE. SHE MAY HAVE DIFFERENT STATES OF NATURE, SMILE, FOCUS, SURPRISE, DOUBT, FATIGUE, STRESS, ANGER, INDIFFERENCE, PAIN, RELIEF, ETC. IF YOU DON'T DO THE FACE ASSET IN ADVANCE, THEN WHEN THE VIDEO IS GENERATED, AI WILL DO IT IN THE WAY IT DEFAULTS ON THE FACE\u3002<\/p>\n It's easy to ask the question: there's an expression, but the person is not\u3002<\/p>\n FOR EXAMPLE, YOU WANTED TO MAKE A COOL CHARACTER SMILE, AND THEN AI MADE HER SMILE\u3002 These indicate that the expression has not been assetized\u3002<\/p>\n EMOTICONS ARE MADE IN A SIMPLE WAY. YOU CAN GET AI TO MAKE A LOOK AT A NINE OR A SIXTEEN, BASED ON A ROLE MAP ALREADY DONE. THE POINT IS NOT TO EXAGGERATE EVERY EXPRESSION, BUT TO MAKE IT FIT THE CHARACTER ITSELF\u3002<\/p>\n That's what you can say<\/p>\n Based on the same person in the reference, a map of the real role expression assets, a grey studio background, a full set of nine or sixteen palaces was produced. All expressions must maintain the same person ' s facial characteristics, facial ratios, five official structures, hair profiles, makeup and age perceptions. Each cell displays a different state of expression, including nature, focus, a slight smile, doubt, surprise, stress, fatigue, calm, frown, anger, relief, etc. Face change needs to be genuine, not exaggerated, not significantly altered in the five official scales, not changed in the face, not overlooking, not plastic skin. The image is a real studio make-up sense, a clean and integrated light, a concise background, and a focus on the face reactions of the same character in different emotions\u3002<\/p>\n When making face assets, you need to be careful with one key point: don't look as good as you can, but it's about your story\u3002<\/p>\n If you're doing it, you can do more nature, doubt, a little smile, fatigue, loss, relief\u3002 Emoticon assets are not intended to fill emotions, but rather to prevent the role from suddenly becoming another person when it is necessary to perform\u3002<\/p>\n 2. ACTION ASSETS: FIRST LET AI HELP YOU WITH YOUR MOVEMENTS, THEN CREATE A MAP<\/strong><\/p>\n The action asset solves another problem: whether the action is systematic\u3002<\/p>\n A lot of people do action images by writing \"heat fight\" and \"fast-shield\" and \"film action.\" However, the actions thus written are often fragmented, inconsistent and difficult to develop a reusable set of actions\u3002<\/p>\n SO A BETTER WAY TO MAKE THE ACTION ASSET IS NOT TO DO IT ONE BY ONE, BUT TO GIVE THE IDEA OF YOUR PLAY TO AI, SO THAT IT CAN BREAK YOU INTO A 16-GAUGE ACTION MAP\u3002<\/p>\n For example, you can enter an idea first:<\/p>\n The female agent was ambushed by a strong man in the rainy night and underground parking lot, without weapons and with the use of evasive, anti-coastal, knee-buttoning, fall-downs and miscellaneous items on the scene. The whole is like a modern action movie, dark, cold, real, not blood. Please produce for me a reminder of 16-gauge motion\u3002<\/p>\n Then we'll take the following general hint:<\/p>\n You're a movie action specter designer and visual hint engineer. Users will enter a script, clip or simple idea. Your job is to turn it into an image-generation programme for a \"acting poster.\"\u3002<\/p>\n Require: Output format: If the user\u2019s input is not a play, it should also be turned into a spectroscopy of the same structure, such as chase, negotiation, escape, suspicion, love interaction, etc\u3002 Actions: Suspended: Horror: Science fiction film: Love film: AFTER THE INPUT, AI WILL ANALYZE THE CORE CONFLICT, CHARACTER RELATIONS, SCENE ATMOSPHERE AND MOVEMENT STYLE OF THIS SEGMENT, AND THEN BREAK IT DOWN INTO 16 CONTINUOUS MOTION LENSES. EACH CELL PRODUCES A CLEAR ACTION INSTANTANEOUS, AS WELL AS A SINGLE GRAPH TO MATCH\u3002<\/p>\n generate using gpt image2.0<\/p>\n Of course, it's not just for fighting\u3002<\/p>\n If what you're talking about is a chase, it can be a chase\u3002 So the essence of the mobility asset is not simply a play-off, but to tear a feature into a visual spectroscope asset\u3002<\/p>\n V. SIDE ASSETS: DON'T JUST GIVE A VISIT TO AI<\/strong><\/p>\n Site assets are often ignored\u3002<\/p>\n A LOT OF PEOPLE THINK IT'S ENOUGH TO PRODUCE A NICE BIG PICTURE. ONE ROOM, ONE STREET, ONE OFFICE, ONE RUIN. THE PROBLEM IS, WHEN YOU START CUTTING THE CAMERA, AI DOESN'T KNOW THE COMPLETE STRUCTURE OF THE SPACE\u3002<\/p>\n The first shot is left, the second shot is probably on the right\u3002 That's the problem with the consistency of the scene\u3002<\/p>\n To solve it, the scene assets need to be more than a single map, but a multi-dimensional one\u3002<\/p>\n A more stable method is to make a Nine Palace scene asset. The first eight were the different angles of the scene, and the last was the flat layout\u3002<\/p>\n The first eight could include: a positive perspective, a negative perspective, a left perspective, a right perspective, an entry perspective, a corner perspective, an overlooking local view, and a critical landscape\u3002<\/p>\n THE LAST FLAT LAYOUT IS USED TO TELL AI SPACE STRUCTURES, SUCH AS WHERE THE DOOR IS, WHERE THE WINDOW IS, WHERE THE TABLE IS AND WHERE THE PERSON CAN GO\u3002<\/p>\n What about scenario assets<\/p>\n First step, make it clear what you want\u3002<\/p>\n FOR EXAMPLE, IF YOU WANT TO MAKE A SKEPTICAL SHORT-SCENARIO SCENE, \"THE MASTER IS ALONE LOOKING FOR CLUES IN THE OLD APARTMENT,\" YOU TELL AI:<\/p>\n I want an empty scene in the old apartment for the suspense clip. The scenes need to be real, quiet, depressed, and not horror movies. The space requires a living room, a door, an old sofa, a tea table, curtains, a half-open door, scattered documents, old photographs, a lamp, a shoe cabinet and some signs of life. The whole feels like someone just left soon\u3002<\/p>\n STEP TWO, HAND OVER YOUR NEEDS TO AI ALONG WITH THE TEMPLATE FOR THE NEXT MESSAGE\u3002<\/p>\n THAT IS, YOU TELL AI WHAT YOU WANT AND THEN YOU SEND IT WITH THIS WHOLE SET. THAT WAY AI WILL HELP YOU TO SORT OUT A WHOLE SET OF SCENE TIPS\u3002<\/p>\n The following is an example of a template that can be used directly:<\/p>\n I'm going to get a set of scene tips along the following templates\u3002
\n
\nI. WHY IS AI GONNA HAVE TO MAKE ASSETS FIRST<\/strong><\/p>\n![\"a16d31d7j00tln5oo016d000v9000v1p\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/a16d31d7j00tln5oo016dd000v900v1p.jpg\" "\\"a16d31d7j00tln5oo016d000v9000v1p\\"")
<\/p>\n![\"6423e5c4j00tln5ov00vgd000v9000bsp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/6423e5c4j00tln5ov00vgd000v900bsp.jpg\" "\\"6423e5c4j00tln5ov00vgd000v9000bsp\\"")
<\/p>\n![\"902017](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/902017daj00tln5p2007id000v9008pp.jpg\" "\\"902017")
<\/p>\n![\"5c29d46cj00tln5p7006rd000v9000c9p\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/5c29d46cj00tln5p7006rd000v900c9p.jpg\" "\\"5c29d46cj00tln5p7006rd000v9000c9p\\"")
<\/p>\n![\"ef4528e8jln5pv01ubd000v9015up\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/ef4528e8j00tln5pv01ubd000v9015up.jpg\" "\\"ef4528e8jln5pv01ubd000v9015up\\"")
<\/p>\n
\nSecondly, hair and head contour should be clear\u3002
\nThirdly, it's best to have some identification point\u3002
\nFourthly, the images should not be too expensive, and as much as possible should be avoided by overheating the atmosphere, excessive lenses and too complex a background\u3002<\/p>\n
\n
\n2. convert the figure of the person into a four-view asset with nanobanan pro<\/strong><\/p>\n![\"e1bfae35j00tln5qk00xmd000v9000hfp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/e1bfae35j00tln5qk00xmd000v900hfp.jpg\" "\\"e1bfae35j00tln5qk00xmd000v9000hfp\\"")
<\/p>\n
\nBUT IT ALSO HAS A CLEAR DRAWBACK: IT HAS ONLY ONE BIG FACE AND NO SIDE FACE. AS A RESULT, AFTER THE VIDEO WAS GENERATED, AI SOMETIMES MADE UP ITS OWN STRUCTURES IF THE CAMERA WAS TURNED TO A HALF OR A SIDE FACE, LEADING TO A DECREASE IN HUMAN FACE CONSISTENCY\u3002<\/p>\n![\"b9dbee2cj00tln5r502osd000t501g7p\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/b9dbee2cj00tln5r502osd000t501g7p.jpg\" "\\"b9dbee2cj00tln5r502osd000t501g7p\\"")
<\/p>\n
\nTwo-thirds below, using two clothing and body reference diagrams, the left is a magnified top clothing master map, and the right is a complete back body map\u3002<\/p>\n
\nThe area above displays two fine face features, on the left, on the front, and on the right, on the side. Both features are focused on the head and the neck, and are well organized, with a clear display of the characters ' five officials, bone structure, make-up, hair, hairdressing and decorum. Personal facial features, hairstyles, make-up and head dressing must be strictly consistent with the reference image. The skin sense is real and natural, with porosity, stripes, fuzzy hair, eyebrows, nuanced hair and light on the skin, not grinding skin, not too sharp, not looking like a beauty, and a high-resolved make-up feel\u3002<\/p>\n
\nThe focus of this picture is not on the whole body, but rather on \u201ca significantly larger number of people\u201d, so that the role is more proportional to the picture\u3002
\nThe picture on the left side must be taken in a more proximate light, with the person starting to draw from the lower side of the shoulder neck, until the end of the shoe, and the head being completely cut off from the picture because the image was amplified\u3002
\nPlease note that this is not an ordinary long-range body picture, but rather a positive one that is magnified at close range: the body is significantly larger in the picture, with the upper and lower parts being magnified and the overall visual effect being the main part of the dresser in the time frame\u3002
\nThe person ' s shoulder, arms, hands, torso, waist, legs and shoes must be preserved in their entirety, and the edge of the image allows for only the head to be cut off and the hand, foot or body to be cut off\u3002
\nThis figure on the left must look more \"near\" than on the back of the right, more \"full\" and more \"expanded\" to make the details and body ratio more visible\u3002
\nIt is prohibited to make the left part of the body as a general small scale, to make the person too small in the left side, to keep the head in the picture and to cut off only half the head or leave a chin, mouth, nose, edge of the hair\u3002<\/p>\n
\nThe two faces above account for one third of the picture\u3002
\nThe two bodies below account for two thirds of the picture\u3002
\nThe left bottom figure must be a \u201cmagnified frontal costume display\u201d, with a significantly larger figure in the picture and a full head cut out for close proximity\u3002
\nThe right bottom figure must be a full back full body\u3002
\nIt is forbidden to use the lower left-hand map as a small general scale\u3002
\nDo not allow any head information to appear in the lower left chart\u3002
\nThe right and left clothing is prohibited from inconsistent\u3002
\nThe percentage of characters is prohibited\u3002
\nIT IS FORBIDDEN FOR AI TO BE GREASY, PLASTIC SKIN, EXCESSIVE BEAUTY, CHEAP CG\u3002<\/p>\n
\nTHIS WILL HELP AI TO FIX THE FACE STRUCTURE MORE THAN A FACE, ESPECIALLY WHEN THE FOLLOW-UP VIDEO FOOTAGE INVOLVES A TURN, A SIDE SHOT, AND A HALF FACE FEATURE\u3002<\/p>\n
\nThis step is really crucial. Since the face has been shown again and again on top, if there is another positive picture of the normal scale below, a portion of the entire asset chart will be duplicated. And you now have this template, which cuts the head off of the frontal body and leaves only the parts below the shoulder neck to the shoes, which is the equivalent of making room for the layouts, the size of the body and the details of the material, so that the information can be used more\u3002<\/p>\n
\nThe haircut on the back of the role, the structure of the dress, and the contours of the shoes are still presented in their entirety and no information on the back is lost because of the pursuit of the face\u3002<\/p>\n
\nThe second set is more \"Video-oriented Optimization\"\u3002<\/p>\n
\nThis whole body chart can be based directly on the role of the person that has been created in Chapter II. The role is first given a clear and stable body map, either white or grey, with as much standards as possible, to facilitate the replacement of the post\u3002<\/p>\n![\"4286d740jln5s50184dlj012lp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/4286d740j00tln5s50184d000lj012lp.jpg\" "\\"4286d740jln5s50184dlj012lp\\"")
<\/p>\n![\"1](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/1e64436aj00tln5sk0114d000v900m1p.jpg\" "\\"1")
<\/p>\n
\nIN OTHER WORDS, EACH SET OF CLOTHING IS RE-CREATED AS A CORRESPONDING FOUR-VIEW ASSET. SO THE BACK OF AI WILL KNOW WHAT THE CHARACTER LOOKS LIKE, WHAT THE SIDE LOOKS LIKE AND WHAT THE BACK LOOKS LIKE WHEN HE WEARS THIS SUIT\u3002<\/p>\n
\nA set of routines
\nA set of sports clothes
\nAn official set\u3002<\/p>\n![\"31357448jln5t9014ad000v9000kp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/31357448j00tln5t9014ad000v900ikp.jpg\" "\\"31357448jln5t9014ad000v9000kp\\"")
<\/p>\n
\nAnd replace the different costumes
\nFinally, according to the approach of chapter II, each set of clothing is presented in four views\u3002<\/p>\n![\"a7ceb7e5jln5tp01gud000v90lp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/a7ceb7e5j00tln5tp01gud000v900lyp.jpg\" "\\"a7ceb7e5jln5tp01gud000v90lp\\"")
<\/p>\n
\nThe action asset addresses the continuity of the role\u3002<\/p>\n
\nYOU WANT A MATURE ROLE TO GET NERVOUS, AND THEN AI SQUEEZES THE FIVE\u3002
\nYOU WANT TO MAKE A CHARACTER ANGRY, AND THEN AI MAKES HIS FACE INTO A COMIC-COMB\u3002<\/p>\n![\"306](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/306bf620j00tln5u601lad000oo00wwp.jpg\" "\\"306")
<\/p>\n
\nIf you do action, you can do more focus, vigilance, stress, stress, anger, calm\u3002
\nIf you do this, you can do more observation, doubt, depression, surprise, fear, meditation\u3002
\nIf you're making love films, you can do more to stop smiling, to avoid looking, to hesitate, to be ungrateful, to be relieved, to be moved\u3002<\/p>\n
\n1 Core conflicts, personality relations, scenes, emotions and movement styles extracted from the script\u3002
\n2 Splits the actions into 16 continuous spectroscopes, each showing only one clear action for an instant\u3002
\n3 Each spectroscopy needs to include: numbering, code name, image description, action visual focus, single graph generation of hints\u3002
\n4 The hint only depicts the film and does not write about the real harm course\u3002
\n5 Maintain a uniform style of person clothing, scenery, light and lens\u3002
\n6 When generating a picture, do not require a model to generate Chinese text, which is used for later layout\u3002
\n7 Final output of a general poster set of alerts, as well as titles, subheadings, each style and a brief description\u3002<\/p>\n
\nPoster Theme
\nCorporate visual settings
\nCharacter Set
\nscene setting
\n16-bar motion specs
\nEvery single graph hint
\nPoster settips
\nLate Text<\/p>\n
\nVariable formula for different subject matter:<\/p>\n
\nROLES A AND B CLASHED IN CLOSE PROXIMITY IN A PARTICULAR SCENE, BREAKING DOWN INTO 16 DEFENSIVE ACTIONS, BLACK AND RED HARD MAPS\u3002<\/p>\n
\nThe detective found clues in a certain scene, dissecting them into 16 observation, reasoning, tracking, confrontation scenes, drawings of black and red cases\u3002<\/p>\n
\nThe protagonists fled the monster in a certain space, tearing down 16 scenes of terror, flight, hiding, discovering the truth, and black and red survival\u3002<\/p>\n
\nThe role is to carry out tasks in future facilities, detached into 16 facilities, used, infiltrated, fought, escaped the camera, blue and black technology\u3002<\/p>\n
\nThe relationship changed between the two in an emotional setting, breaking into 16 eyes, proximity, misunderstandings, and misunderstandings\u3002<\/p>\n![\"891c2f3cj00tln5ve01xad000qb013gp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/891c2f3cj00tln5ve01xad000qb013gp.jpg\" "\\"891c2f3cj00tln5ve01xad000qb013gp\\"")
<\/p>\n
\nIf what you're talking about is a mystery, it can be a clue\u3002
\nIf what you're talking about is a horror scene, it can be a way out\u3002
\nIf your content is a love scene, it can become an interactive map\u3002<\/p>\n
\nThe first shot table against the window, the second shot table could disappear\u3002
\nThe first shot came through the door and the second shot was completely different\u3002<\/p>\n![\"6423e5c4j00tln5vw00vgd000v9000bsp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/6423e5c4j00tln5vw00vgd000v900bsp.jpg\" "\\"6423e5c4j00tln5vw00vgd000v9000bsp\\"")
<\/p>\n
\nPing-Pong Hall is open. \"Beautiful, but no.\"
\nGenerates a modern, indoor Ping-Pong-Pong-Tai-Tai-Pong-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Pong-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Tai-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-Ki-K-K No person, no person, no person, no shadow, no shadow, no body, no hand, no face\u3002
\nThe scene is set for the first time that a woman is playing ping-pong, with the appearance that she wants to get a sense of sports life and that she can't actually catch the light comedy scene at all. The whole body is flat, boring, real-life, with a slight sense of self-tasteful entertainment. With the green ping-pong table and the court bench at the centre of vision, it highlights the following traces of the ball flying around: the ping-pong ball falling on the corner of the table, the ping-pong ball against the wall, half a bottle of water, a sports bag, a sweat towel, a crooked towel and a ball rolling off the ground. The scene is designed for community indoors or general sports centres, with cold white headlights, green table, dark-coloured glue, white edges, wall-side bumper packs, side-of-the-story benches, storage cabinets, drinking water machines, sports wrapping areas. The space consists of entrances, dressing\/store areas, main ball table areas, next-door table areas, bench rest areas, drinking water areas, and pick-up lines. The overall space is real and reasonable, and there are no professional stadiums, no auditoriums, and no flaunting of competitive lights. Time is set for the day or evening room, with a cold and white top light, a small amount of natural light on the side of the window, and a low, clean and living body. Lights form soft and high on the surface of the table, the net, the gel and the white ping-pong. The image is of Kodak Portra 400 film colour, slightly green and warm Teal & Warm Amber, light particles, soft focus, real gymnastic air\u3002
\nUse 3x3 of the Nine Palace grid:
\nFull wide view of the main indoor ping-pong stadium
\nGreen ping-pong table, net, glucose complete space relationship
\nThe entrance to the court and the restroom
\nSide bench, sports bag, half a bottle of water, towel rest area
\nThe mid-spect lenses of ping-pong ball and bat by the main ball table
\nFrom opposite the table to the bench and the drinking water area
\nPing-pong, bat, sweat towel, half a bottle of waterway
\nEarth-sliding ball, corner table, net, sports bag details
\nPlane layout of the scene, with signs to the mouth, main table, next-door table, benches, storage area, drinking water area, pick-up line, actor-set sports route
\nArchitectural Vision,
\nFilm Production Design,
\nModern Chinese Slice of Life Cody,
\nEmtty Indor Table Tennis Hall,
\nCommunity Reports Center,
\nI'm sorry,
\nReports Hall Scene Bible,
\nI don't know,
\nKodak Portra 400,
\nTeal Warm Amber,
\nGlobal Illumination,
\nUltra Detailed,
\nIt's not like you're in trouble,
\nScene Bible,
\nMasterpiece<\/p>\n
![\"6b00a52bj00tln5wk00t7d000v9000hnp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/6b00a52bj00tln5wk00t7d000v900hnp.jpg\" "\\"6b00a52bj00tln5wk00t7d000v9000hnp\\"")
<\/p>\n![\"4f47aea3j00tln5wy00wvd000v90hfp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/4f47aea3j00tln5wy00wvd000v900hfp.jpg\" "\\"4f47aea3j00tln5wy00wvd000v90hfp\\"")
<\/p>\n![\"43211956jln5ya00h9000v9000blp\"](\"https:\/\/www.1ai.net\/wp-content\/uploads\/2026\/09\/43211956j00tln5ya00h9d000v900blp.jpg\" "\\"43211956jln5ya00h9000v9000blp\\"")
<\/p>\n