Настроение:	sick
Музыка:	Pink Floyd - Fillmore West 1970
Entry tags:	ai, film

ONEIRIC
Хорошее
https://www.youtube.com/watch?v=aAg9iDh9_BQ
https://higgsfield.ai/@higgsfield.studio/projects/oneiric

Двадцатиминутное AI-видео, вполне достойное голливуда (то
есть хоть сейчас продавай в кинотеатр). Все использованные
промпты и все картинки, созданные походу, выложены на
сайт, можно посмотреть.

Типичный промпт (для сцены на 7 секунд)

SCENE CONTEXT

A warm, cozy dorm common room, warm amber
daylight. Alfie's three friends - worried for him, trying
to learn the reason for his tears without scaring his
emotions off with pressure. Standalone shot, built from
image references only. 21:9, anamorphic.

ACTIVE REFERENCES

@loc_ON_dorm_commonroom_front_s2 - the dorm common room;
the interior of the shot matches this reference 100%,
every object in its place: couch under the window with
rumpled bedding and pillows piled at both ends, Bob's
brown patterned armchair at the couch's left end, Sam's
beige armchair at its right end, space posters taped to
the walls, potted plants on the windowsill, curtains at
the frame edges. ON THE COFFEE TABLE in the center: an
open pizza box with a whole uncut pizza, a second flat
closed pizza box under it, two bright blue-and-orange soda
cans, a dark red mug, a light pink mug, a white drinking
glass, a cup holding pens and pencils, and loose papers
under the boxes. ON THE FLOOR: an open empty cardboard box
in front of the coffee table with its flaps up, a second
cardboard box at the lower-left by Bob's armchair, a thick
dark hardcover book lying by the couch's left leg,
scattered papers and a piece of dark clothing near the
couch, and backpacks/duffel bags piled at the couch's
right end. All of it stays exactly where the reference
places it - nothing added, nothing removed, nothing moved.

@char_ON_Bob_s2_v1 - big warm build, hands free; in the
brown armchair at the couch's left end. Exactly one. 100%
matches the reference.

@char_ON_Rudy_s2_v1 - calm dreamer; on the couch,
@prop_ON_rudy_guitar lying beside him on the cushions
(never the floor). Exactly one. 100% matches the
reference.

@char_ON_Sam_s2_v1 - slim, ginger, rimless glasses,
"Quantum Kids" tee; in the beige armchair at the couch's
right end - the seat nearest off-screen Alfie. Exactly
one. 100% matches the reference.

@Image 1 - POSITION REFERENCE ONLY. It is ONLY a map of
where things are: take from it the framing, the camera
angle, and the positions, poses, scale and facing
directions of the three seated people and the furniture -
take nothing of its look. Do not add anything it doesn't
contain; do not complete what its frame cuts. Every visual
quality of the shot - style, light, color grade, faces,
wardrobe, environment, props - comes exclusively from
@loc_ON_dorm_commonroom_front_s2 and the character
references. The shot is a fully photoreal live-action
frame.

LEGEND (the colors identify WHO IS WHO on the map only -
wardrobe and grading come from the character and location
references):

the BLUE figure on @Image 1 = BOB @char_ON_Bob_s2_v1 →
brown armchair frame-left, forearms on the armrests, feet
planted, facing camera.

the ORANGE figure on @Image 1 = RUDY @char_ON_Rudy_s2_v1 →
center of the couch, hands empty and loosely clasped
between his knees, facing camera; the guitar shape beside
him = @prop_ON_rudy_guitar resting on the couch cushions
at his side, untouched.

the GREEN figure on @Image 1 = SAM @char_ON_Sam_s2_v1 →
beige armchair frame-right, leaning slightly forward,
hands near his knees, facing camera.

RENDER RULE: place the real, photoreal characters (from
their own references) into the real room from
@loc_ON_dorm_commonroom_front_s2 at the positions @Image 1
defines, and take nothing else from it. Everyone stays in
their map-locked position for the whole clip.

CAMERA

ONE SINGLE STATIC WIDE for the entire clip - the clip
OPENS directly on this frame: the three friends in their
seats exactly as placed on @Image 1, full 21:9
composition. No cuts, no dissolves, no fades, no camera
movement, no push-in. Anamorphic, warm amber grade.

GAZE DIRECTION - MASTER RULE

Off-screen Alfie stands ONE FULL STEP to the camera's
RIGHT, at lens height. All three friends look at HIM:
their faces are turned toward camera, but every eyeline is
offset ~10-15 degrees to the camera's RIGHT of the lens
axis, focused past the camera plane on Alfie. In every
man's eyes the pupils sit visibly shifted toward the
viewer's RIGHT edge of frame - never centered toward the
lens. All three eyelines converge on that single point
beside the camera: on Alfie - not on the lens, not on the
viewer. Allowed exceptions, always returning to that
point: Rudy's brief exchanged glances with Bob and Sam
(head turns only), and Sam's one quick sideways glance at
the others (~2.5s). No direct-to-camera contact at any
moment.

ACTING TASKS (the work happens in the eyes; nobody plays
the emotion - everyone plays the direction)

SCENE DIRECTION (shared, unspoken): draw the reason out of
Alfie without pressing - keep the room soft enough that
his tears can keep coming; one push too hard and he
closes.

ESSENTIAL AXIS: care for Alfie. All three are PLUS on it -
they differ only in how they hide it. None of them
understands what is happening; all three are searching for
the answer.

OBSTACLE (shared): their own alarm. The urge to jump up,
crowd him, demand answers - each man is holding down his
instinct to press, because pressing is exactly what would
shut him.

PHYSICAL ACTION (the terrain): a pizza evening interrupted
- everyone stays planted in his seat, and the
staying-seated IS the effort.

ACTING TASK - BOB (fully invested in his tactic):

MOTIVE: the protector - a friend in pain is a problem he must fix, now.

GOAL: get Alfie to hand him the problem - name it, so Bob can carry it.

TACTIC: he opens the door wide and warm - asks big so
Alfie can answer small. Eyes on Alfie beside the camera's
right side - pupils shifted toward the viewer's right, off
the lens - checking both of Alfie's eyes for permission to
come closer, reading whether his question landed as help
or as pressure; his forward lean is the leash he keeps on
himself instead of standing up.

- "Bro, what? What's goin' on?" - he offers the question
like an open hand, then holds still, watching for the
smallest sign Alfie will take it.

- While others speak: he stays on Alfie, measuring - worse
or better after each word.

ACTING TASK - RUDY (fully invested in his tactic; his BODY
stays locked - ALL his life is in his head and eyes):

MOTIVE: he understands what's happening no better than the
others and it scares him - he's worried sick for Alfie and
looking for anyone who has the answer.

GOAL: figure out what happened to Alfie - and find out
whether the others know more than he does.

TACTIC: his body holds its exact map pose - seated
mid-couch, hands loosely clasped between his knees, torso
still - while his HEAD does all the work: he EXCHANGES
GLANCES with the guys, not understanding what's going on -
a head turn to Bob: *do you know?* - Bob doesn't; a head
turn to Sam: *do you?* - Sam doesn't either; then back to
Alfie beside the camera's right side, pupils shifted right
of the lens, searching his eyes: what happened, how bad,
what does he need. Each exchanged glance is a real
question asked and answered in silence. Every head move
deliberate and slow, so his worry doesn't add to the
pressure on Alfie.

- "You good, man?" - placed like a hand on a shoulder,
head returning to Alfie with a small forward dip on the
words: the question doesn't ask for information, it asks
Alfie to breathe.

- While others speak: head and eyes keep working the
triangle - the speaker, Sam or Bob, back to Alfie -
reading whether anyone understands more than he does.

ACTING TASK - SAM (fully invested in his tactic):

MOTIVE: open emotion terrifies him - his bite is how he
drags the world back to normal.

GOAL: pull Alfie back to the ordinary evening - if
everything sounds normal again, then nothing terrible is
happening.

TACTIC: he pokes at the situation to test if it's really
serious - checking Alfie's eyes (beside the camera's right
side, pupils off the lens toward the viewer's right) for
the joke that must be there, then flicking to Bob and Rudy
(~2.5s) to verify: are THEY scared too? - meeting Rudy's
questioning glance for a beat, finding no answer there -
and snapping back before anyone reads his own fear.

- "Dude, the heck - c'mon, you're freakin' us out." - the
words push, the eyes plead; on "you're freakin' us out"
his fuel runs out for half a beat - the worry shows
through the bite before he covers it again.

- While others speak: he can't hold still - small restless
checks between Alfie and the others, deciding how bad
this is

(Safety: all gazes engaged in their task on Alfie one step
right of camera - eyelines ~10-15 degrees right of the
lens axis, pupils visibly off-center toward the viewer's
right, never centered into the lens, never a frozen,
glassy, unfocused stare; natural blink cadence, small real
refocusing of the eyes.)

ACTION AND DIALOGUE TIMING (0.0s-8.0s)

The clip opens on a short held beat - 0.5 seconds of
silence: all three already turned toward off-screen Alfie
one step right of camera; Rudy's first questioning
head-turn toward Bob lands in this beat. Then:

BOB @char_ON_Bob_s2_v1 0.5s-1.9s, alarmed, warm, sitting
forward, pupils shifted right of the lens onto Alfie:
"Bro, what? What's goin' on?"

RUDY @char_ON_Rudy_s2_v1 2.4s-3.4s, low, steady, body
still, head returning from the exchanged glances to Alfie
with a small forward dip on the words, eyes landing right
of the lens: "You good, man?"

SAM @char_ON_Sam_s2_v1 3.8s-6.8s, fast, rattled, covering
worry with irritation, leaning toward Alfie beside the
camera's right side: "Dude, the heck - c'mon, you're
freakin' us out."

One speaker at a time; still lips otherwise; nobody rises
from his seat in this clip.

AUDIO

Three DISTINCT voices - never blended or averaged.

BOB: warm boisterous baritone - here alarmed but gentle.

RUDY: low, deep, bassy, unhurried - quiet concern.

SAM: bright, high-set, reedy, fast - rattled, the worry
showing through the bite.

The audio track contains ONLY the three scripted lines -
nothing else: no off-screen sounds, no crying, no
breathing sounds, no room ambience, no foley, no SFX, no
music, no subtitles. Silence before, between and after the
lines.

PHYSICS

Real small body language born from the tasks: Bob's weight
shifting forward onto the armrests and held there; Rudy's
body completely still in its map pose - only his head
moves: slow questioning turns to Bob and Sam, small tilts,
then back to Alfie; Sam's restless micro-checks between
Alfie and the others. Natural blinks in all three; the
guitar rests untouched on the couch cushions; nothing on
the table or floor moves.

LIGHTING

Warm amber daylight, cozy low-contrast, soft practical
glows - matching the location reference exactly; no
lighting change.

POSITIVE LOCKS

Standalone generation from the image references only - the
first frame IS the static wide described above. One static
wide shot, start to end - no cuts, no camera
movement. @Image 1 defines positions only; all style,
light, and texture come exclusively from
@loc_ON_dorm_commonroom_front_s2 and the character
references; the interior - furniture, posters, window,
everything on the table and on the floor - matches
@loc_ON_dorm_commonroom_front_s2 100%. Exactly ONE Bob,
ONE Rudy, ONE Sam; Alfie is never in frame, no fourth
figure ever enters. Everyone stays seated in their
map-locked positions; Rudy's torso, arms and hands hold
their exact starting pose for the full clip - only his
head and eyes move; the guitar stays lying on the couch
beside Rudy, untouched. GAZE LOCK: all three eyelines
converge on Alfie ONE STEP to the camera's RIGHT at lens
height - ~10-15 degrees right of the lens axis, pupils
visibly shifted toward the viewer's right, never centered
into the lens, not on the lens, not on the viewer - for
the full clip, except Rudy's exchanged glances with the
guys and Sam's single quick glance at ~2.5s, each
returning to Alfie. The first 0.5 seconds are a silent
held beat; the audio track is ONLY the three scripted
lines, verbatim, each in its own window; voices match the
locked timbres exactly.

* * *

Описание сцены дается с таким количеством деталей,
что часто проще снять самому, чем придумывать.

Походу профессия "генератор промптов" будет одной из самых
высокооплачиваемых в ближайшие сколько-то лет.

Привет