50 prompts d'images IA gratuits, avec les images qu'ils ont générées

# Shot 1: Country Highway — Morning

Wide cinematic establishing shot of a quiet two-lane country road winding through rolling autumn hills. Golden morning sunlight stretches across the landscape, warm and hazy. A small silver sedan cruises peacefully with windows down, autumn leaves swirling in its wake. The mood is idyllic, unhurried, and full of warmth. No dialogue.

# S1: Rail Yard — Establish

Wide night shot of the Asheville rail yard. A chain link fence in the foreground, beyond it rows of dead freight cars stretching into darkness. Four young punks crouch low in the tall weeds near the fence, barely lit. A security truck spotlight rakes across the distant boxcars, a hard cone of light sweeping the metal. Cold blue moonlight, deep shadows, sodium vapor lamp glow far off. Tense, still, cinematic wide shot, 35mm film grain.

# S5: The Doorway — Freedom

The open boxcar doorway frames a sunrise over the Great Smoky Mountains, layered blue ridges under a golden and pink dawn sky. Casey crawls to the edge, legs dangling out in the rushing wind, hair blowing back, silhouetted against the bright sky, a look of pure release on his face. The wooden boxcar interior dark around the glowing rectangle of the door. Epic yet intimate, backlit, cinematic wide shot, film grain.

A quiet rural neighborhood street at dusk. Modest houses line both sides of the road, some driveways have cars parked in them, others are empty. Sidewalks run along each side of the street. Streetlights are lit, casting warm pools of light in the dim evening air. The sky is a deep indigo blue fading to grey. Trees dot the yards, leaves rustling. The street is still and peaceful, cinematic and moody atmosphere.

# Scene 1B: EXT. Garden Painting Studio

A charming brick garden studio a short walk from a redbrick Victorian country house, nestled among magnificent English gardens in Kent on a sunny summer day in 1964. The studio door stands open to the garden, revealing a hint of easels and canvases in the warm interior shadow. Climbing greenery frames the doorway, flowerbeds and a gravel path lead up to it. Soft golden afternoon light, painterly period cinematography, vintage film color, medium wide shot. No people in frame.

Live-action cinematic still frame.

Interior of a traditional Japanese room, very dim overall, with most of the room in soft shadow. The space is a washitsu-style Japanese interior with tatami mats, wooden beams and posts, shoji paper screens, muted plaster walls, and a simple, quiet, minimal atmosphere. The room feels calm, empty, and slightly austere.

A large sliding door is open, and strong warm sunlight pours in from outside, creating a bright rectangular patch of light on the tatami floor and long streaks of sunlight extending into the darkness of the room. The contrast between the bright exterior light and the dark interior is strong. Fine dust particles are visible floating in the sunbeam.

Inside the room stands a traditional Chinese wooden martial arts training dummy (Muk Yan Jong / wooden dummy). It is clearly not a human mannequin, but a wooden practice post used for kung fu training. The dummy has a dark wooden cylindrical trunk, three short wooden striking arms protruding from the upper-middle section, and one lower angled wooden leg projecting forward. It is mounted upright on a simple support structure. The wood surface is worn smooth in places from repeated use, with visible grain, dents, and age.

The wooden dummy stands inside the dim room near the light path, partially illuminated by the sunlight coming through the open door. Parts of the dummy catch warm highlights, while the rest falls into shadow. The tatami texture, wood grain, and soft paper surfaces of the room remain visible but subdued in the low light.

No people. No extra furniture clutter. Keep the composition focused on the dark Japanese room, the open doorway with sunlight streaming in, and the wooden martial arts dummy as the key object.

Real photographic texture, realistic lighting, natural shadow falloff, subtle film grain, slight lens softness, realistic material detail, and authentic live-action cinematic atmosphere.

# Beach Ref: The Beach

A wide empty stretch of sandy beach at midday, warm pale sand in the foreground with scattered footprints, gentle surf breaking at the shoreline on the left, dune grass and a low sandy rise in the background, a huge hazy sky above. Empty, quiet, no people. Faint wall of tan haze building far on the horizon hinting at an approaching sandstorm. Washed out warm film with a bleach bypass cross processed look, faded reds, milky whites, golden nostalgic sunlight, dreamlike remembered mood. Cinematic wide establishing shot, soft grain, atmospheric haze.

Palette (exact hex): bright aqua #5FC6C2, dusty coral #E8A87C, warm sand #F2C896, hazy sky blue #C4D4D0, bleached white #F0E6C8.

Wide shot 35mm of a hospital room. A hospital bed sits nearby, Vivi's @Vivi Lovell Character Sheet body lies motionless beneath white sheets, connected to machines, a mask, tubes, bandages. Flowers in a vase sits on the windowsill. a door with a small window. a chair by the window.

# Shot 3: Interior Family Car — The Crash

Sunlight dances through the windshield. The radio hums. Then a violent horn blast shatters the calm. A truck's headlights suddenly fill the windshield, swerving across the center line. The steering wheel jerks. Brakes scream. Glass explodes. Metal twists. The world spins.

FATHER: "Hold on!"

Cut to black. Silence. Then a single crow caws in the dark.

A quiet cemetery at dusk with a prominent grave headstone in the foreground using @Workman Double Headstone Pawleys Island only for the shape of the headstone, and writing placement. The headstone reads at the top 'LOVELL', on the left side 'Joseph Lovell' and below that 'May 28, 1960', below that 'June 20, 2011', on the right side 'Cathorine Lovell' and below that 'Aug. 14, 1962', and just below that 'June 20, 2011'. Surrounding graves and headstones are visible in the background. A large old tree stands nearby with sprawling branches. A weathered bench sits close by. The atmosphere is still and melancholic, soft grey light, moody and cinematic.

# Character: Patches

Female, 25, sun-scorched and road-hardened. Cropped or wild hair, weathered skin. Wears a battered leather jacket covered in patches and pins, layered grungy shirts, worn cargo pants, heavy boots. Sharp eyes that miss nothing. Cool and guarded expression — warmth buried deep. The kind of face that has seen things and decided not to be surprised anymore.

# Character: Casey (Scrapes)

live action film, shot on 35mm, photorealistic skin, Male, 23, road-new and jittery. Long unkempt hair). Lean build, slightly wide-eyed. Wears a worn black teeshirt under flannel, beat-up sneakers, gravel-scraped jeans. Face is open and earnest — not yet hardened by the road. A grin that breaks through even when he's scared.

Photoreal cinematic three quarter body portrait of Tenzin, a 28 year old Himalayan man with warm weathered brown skin, strong features, dark eyes, black hair and a short beard. He wears layered handwoven wool, a dark jacket, a striped sash, sturdy boots. Sleeves rolled, working hands. Warm, grounded, gentle expression, looking slightly off camera. Warm daylight from a small window, stone kitchen wall behind. Natural color cinematic film photography, soft directional light, 16:9.

Photoreal cinematic full expression portrait of Pema, a 28 year old Himalayan woman, warm weathered brown skin, high cheekbones, dark almond eyes, black hair parted center and tied back, wearing a small delicate GOLD NOSE PIN in her left nostril. Traditional handwoven wool dress in maroon and deep blue with a woven apron, coral and silver necklace. Bright genuine warm smile, laughing softly. Standing in the warm firelit and daylit mountain kitchen. Natural color cinematic film photography, warm soft light, 16:9.

Photoreal cinematic close up portrait of Tenzin, a 28 year old Himalayan mountain man, warm brown skin, strong cheekbones, dark warm eyes with fine lines, thick black hair, short beard. Tender, thoughtful, loving expression. Handwoven wool collar visible at his shoulders. Soft warm window light, blurred stone and timber kitchen background. Natural color cinematic film photography, shallow depth of field, 16:9.

Frontal Extreme close-up of Brenda's eyes, eyes looking slightly up to the left, in the extremely blurred background the blue sky of the American mid west, and in the distance dried grass with patches of green grass

Warm sunlight pours through the windows. Inside, life continues. Friends laugh. A barista calls out orders. Coffee beans grind.
VIVI @Vivi Lovell Character Sheet sits alone beside the window. A warm mug of coffee rests between her hands.

Using the provided character reference: the young woman with auburn red hair in an updo, freckled pale skin, and ivory lace dress is now seated by a window inside a 19th-century luxury first-class train carriage. Facial structure 100% match the reference. She is turned so her face is in profile or three-quarter profile facing the window, eyes directed outward at the passing scenery. Expression calm and contemplative.

The carriage interior: deep mahogany wood panelling, tufted burgundy velvet seat, brass fittings, warm ambient oil-lamp glow from inside. The window is large.

Outside the window: Victorian London street scene, gas lamps, soot-stained stone buildings, horse-drawn carriages, cobblestones, overcast grey sky, faint smoke in the air.

Deep focus split: the woman is tack sharp with fine detail, realistic skin texture, visible pores, faint freckles. The carriage foreground elements and the window background cityscape are heavily blurred with strong bokeh, simulating a shallow depth-of-field lens. The sharpness plane sits entirely on her face and shoulders.

Soft warm interior light catches the side of her face from the carriage lamps, with cool grey daylight from the window as a rim. Slightly washed-out highlights on the window glass. Subtle film grain, slight chromatic aberration, mild lens softness on the blurred zones, very light indoor haze. Realistic fabric texture on the dress and velvet seat. A more realistic harder light structure rather than global soft light. Natural imperfect real-camera rendering.

Character sheet of Vivi Lovell. Headshot, full body front and back view. Over solid background, nothing else in the image.

Appearance:
Early twenties, 5'3", pale skin, bright blue eyes, black hair pulled into two messy buns. She wears a worn denim jacket over a casual top, slim jeans with made-in rips in the front, and dark sneakers. Her style is effortlessly relaxed — like someone who threw on whatever felt comfortable but somehow always looks put-together.

## Personality
Normally lively and bubbly — the kind of person who lights up a room without trying. She's warm, a little chaotic, and deeply loyal to the people she loves. She laughs easily and talks with her hands. People are drawn to her energy.

Professional character turnaround reference sheet. Show the SAME woman (Patches) in 3 panels side by side: front view, left profile, right profile. Full body, neutral A-pose, plain white seamless background, even studio lighting, orthographic framing. Identical face (25, sun-scorched, blue-green eyes, long dirty blonde hair), same costume in every panel: patched leather jacket covered in pins and buttons over white tank top, olive cargo pants, heavy brown boots. Most importantly keep the stick-and-poke tattoos identical in every panel: neck and upper chest tattoos of pine trees, a winding freeway, a small heart, a star, and road motifs in thin faded amateur lines. Label each panel: FRONT, LEFT, RIGHT.

Professional character expression reference sheet. Show the SAME man (Gumby) in 3 panels: panel 1 — big whooping laugh (head thrown back, pure joy), panel 2 — wide-eyed panic (realizing danger, about to bolt), panel 3 — sheepish grin (caught doing something dumb, totally unapologetic). Same face (23, lanky, scruffy patchy stubble), same outfit: red bandanna, oversized olive jacket, baggy cords. Plain white seamless background, bust framing. Label panels: LAUGHING, PANICKED, SHEEPISH.

Realistic character sheet with real human textures. Create a character reference sheet over a white background with front, side, and back view. And also a headshot, using the man in the reference image.
# Character: Death

## Appearance
Tall at 6'3, lean and commanding. He wears all black — loose dark clothes beneath a long black cloak with a deep hood that obscures his face. When his face is revealed, he appears as a strikingly handsome man in his mid-twenties with pale skin, tousled short black hair, and piercing eyes that glow an icy blue — beautiful, but deeply unsettling. Massive black feathery wings extend from his back, dark and immense. A flock of crows always heralds his arrival before he is ever seen.

## Personality
Cold, ancient, and quiet. He does not hate — he simply is. He carries an air of inevitability. But something about Vivi gives him pause.

## Role in the Story
Death comes for Vivi after the accident. But her bubbly personality even on death's doorstep makes him curious. He is not sure what to do with her.

Professional character expression reference sheet for Evelyn (same woman from the turnaround sheet reference images — mid-30s South Asian woman, olive skin, sharp jawline, high cheekbones, black hair in a tight ponytail, brown penetrating eyes, wearing fitted earth-tone trousers, tucked shirt with sleeves rolled up, sleeveless light jacket). Create ONE wide image showing SIX close-up portrait panels of her face, each with a different expression: neutral calm, determined focused, fearful scared, sad grieving, intense fierce, and tender emotional. Same face and features in every panel, 100% identical likeness to the reference, plain pure white seamless background, even flat lighting, chest-up framing for each panel. No scene, no props, no other people.

Regenerate this exact same character reference sheet keeping the woman's identity, face, dark curly hair, olive-bronze Mesopotamian features, toned physique, and her warm terracotta hex BE704A one piece lifeguard swimsuit, and the small greyish antiqued silver Pazuzu amulet on a thin cord around her neck all identical. TWO changes only: 1) Remove ALL text and the white cross graphic from the swimsuit so it is a clean plain solid terracotta suit with no lettering or logos on any view. 2) Have her HOLD a classic circular lifeguard ring buoy float, the round life preserver ring, held naturally at her side or in front of her in the full body views. Keep the same clean turnaround layout: full body front view, left profile, right profile, back view, plus the large closeup headshot panel. Same even flat lighting, orthographic framing, plain seamless pure white background. Show only this one character.

Create a full professional character sheet of the same person shown in the reference images (image 1 full body, image 2 facial close up).

Maintain identical facial features, hairstyle, skin texture, and clothing.

Generate the following views in a clean studio setting with neutral soft lighting and a plain light background:

1. Full body front view
2. Full body left profile
3. Full body right profile
4. Full body back view
5. Close up front portrait
6. Close up left profile
7. Close up right profile

Neutral expression.
Arms relaxed at sides.
No stylization.
No dramatic lighting.
No pose changes.
No outfit changes.

Highly detailed, sharp focus, consistent proportions across all views.

Create a full character turnaround and expression sheet for Sasa based on this reference. Top row: 4 full-body poses in a row: FRONT, 3/4 FRONT-RIGHT, SIDE (profile), BACK — all at the same scale aligned on the same baseline. Bottom row: 6 facial expression close-ups of just the head/face: HAPPY, SAD, SURPRISED, ANGRY, EMBARRASSED, LAUGHING. Keep his exact design: round red/orange face, blue full-body fox/cat onesie with small ears on the hood, yellow boots, small round black eyes, rosy cheeks, yellow zipper/bell detail on chest. Flat 2D illustration style, no glossy or shiny effects, matte colors. Outlines only at joints and where different colors meet, no heavy interior outlines within same-color areas. Tricolor blue yellow and red/orange palette, white background. Label each pose and expression. Title: "Character Turnaround: Sasa".

Create a character reference sheet over a white background with front, side, and back view. And also a headshot.
# Character: Death

## Appearance
Tall at 6'3, lean and commanding. He wears all black — loose dark clothes beneath a long black cloak with a deep hood that obscures his face. When his face is revealed, he appears as a strikingly handsome man in his mid-twenties with pale skin, tousled short black hair, and piercing eyes that glow an icy blue — beautiful, but deeply unsettling. Massive black feathery wings extend from his back, dark and immense. A flock of crows always heralds his arrival before he is ever seen.

## Personality
Cold, ancient, and quiet. He does not hate — he simply is. He carries an air of inevitability. But something about Vivi gives him pause.

## Role in the Story
Death comes for Vivi after the accident. But her bubbly personality even on death's doorstep makes him curious. He is not sure what to do with her.

Fai le espressioni solo del viso di Mila: felice, triste, arrabbiata, sorridente, con una goccia di lacrima, con occhi chiusi, spaventata. Mila è un personaggio pacato, introverso. Fai meno esagerato le espressioni. Mantieni il design minimalista, gli occhi, i capelli, i suoi colori, il tipo di tratto, e ombre.

Black and white documentary photograph of a colossal giant young woman sitting in a vast open grassy park field, she sits with her knees pulled up to her chest and her arms wrapped around her shins, resting her head down on her knees, enormous in scale like a mountain dwarfing the landscape, tiny ordinary people scattered across the meadow lying on the grass and cycling and picnicking utterly dwarfed beside her giant form, distant tree line and pale open sky, dramatic surreal scale contrast between the giant figure and the minuscule park visitors, bright natural summer daylight, high contrast monochrome, fine 35mm film grain, candid street photography aesthetic, wide establishing shot, natural realistic lighting and shadows, 3:2 aspect ratio

deep analog film grain, printed and scanned. no film specks, just depth of texture

Using images 1, 2 and 3 as texture, color and mood references (grainy faded analog film, soft halation), generate a NEW wide garden scene with no people and no animals anywhere in frame. A softly overgrown meadow of tall wild grasses fills the middle ground, deep olive green in shadow. A dense treeline and tangled hedgerows frame the background, foliage green. A gnarled old tree leans in from one edge, bare limbs against a pale desaturated sky. Scattered tiny wildflowers dot the grass in scarlet, cream and white. Match the grainy 16mm film texture, faded analog color, deep quiet shadows, and dreamlike vintage stillness of the reference images.

needs analog film grain

now i want an aerial shot with the table in the center of the frame. keep the analog film grain aesthetic

生成jeremy看表的主观视角，手臂完全构图完全参考image1，大特写，阿莱35摄影机拍摄，极浅景深，突出表盘样式和指针，7:57，时针指向8 的位置，分针指向57

一切元素不变。真实打光，真实alexa35相机质感

remove all the crows

Rimuovi la coda.

Make the porthole windows slightly lighter — change them from very dark black to a deep dark navy blue or very dark teal, keeping the glass reflection highlights. Keep everything else identical.

Image 1 is a landscape scene containing a lake with an unnaturally square, straight-edged shoreline. Image 2 shows a lake with a natural, irregular, uneven organic shoreline. Reshape the lake in Image 1 so its shoreline becomes natural and uneven like the lake in Image 2: soft curving edges, gentle inlets and coves, irregular bends, and a believable transition between water and land. Keep the lake in roughly the same location and overall size within the scene, but break up all straight lines and sharp right angles. Preserve everything else in Image 1 unchanged: the surrounding terrain, vegetation, sky, lighting, reflections on the water, perspective, and the overall color grade. Blend the new shoreline naturally into the existing ground so it looks like it was always part of the landscape.

Add a single classic California wooden lifeguard tower standing far back on the dry sand, set right up against the low grassy dune line on the distant horizon, well away from the shoreline. It should appear small and distant, placed deep in the background near the dunes, NOT in the near or mid foreground. Raised on tall stilts with a small enclosed cabin, ramp and railed deck, big sloped windows, weathered white paint with faded red trim, a small red flag on top. The tower has absolutely NO text, NO numbers, NO letters, NO signage or markings anywhere on it, clean bare weathered wood only. Keep everything else in the image completely identical: same wet sand and foamy shoreline foreground, same wide expanse of dry sand, same dunes and grass, same huge hazy sky and tan sandstorm haze, same washed out warm bleach bypass film grade and palette, same grain and dreamlike mood. The distant tower sits naturally with a soft grounded shadow, empty and quiet, no people. Cinematic wide shot.

Add the logo from Image 2 (the textless orange life-ring buoy) onto the metal door of the chamber in Image 1. Reproduce Image 2's logo EXACTLY as it appears, same ring design, same orange color, no text or lettering, no alterations. Place it centered on the upper portion of the door at a natural, readable size, weathered slightly to match the grimy metal and sand blasted surface so it sits believably on the door.

Keep everything else in Image 1 identical: the chamber, the big window, the "435" numbering, the sand drifts, the storm, the lighting, and the color grade. Preserve the palette: deep teals and cool greys #161E20, #253534, #1B2727, #3F5153, #545456, #777775, warm amber #F2A462 and burnt sienna #BE704A. Preserve the logo's own orange as given in Image 2.

Keep the same warm interior car scene. The father is driving (left seat, correct). Vivi (22, black hair in two messy buns, bright blue eyes — matching the reference image provided) sits in the back seat on the right side, a paper coffee menu in her lap. Move the mother to the FRONT PASSENGER SEAT (right side of front), turning slightly to smile back at Vivi through the gap between seats. Soft natural window light, warm golden morning atmosphere, intimate family framing.

Keep the ocean of image 1 EXACTLY as shown above the waterline (identical waves, horizon, hazy sky, lighting, color). Place this boy, Benji (the child in reference images 2, long wavy sun bleached blonde hair, gray-green eyes, bare chest, gray swim shorts) into it, floundering and splashing at the surface in the middle distance, arms flailing. IMPORTANT: he is LOW in the water, mostly submerged up to his shoulders and chin, only his head, shoulders and flailing arms breaking the surface, he is NOT riding high out of the water, the sea line sits high on him. Angle his body and head roughly three quarters away from the camera, NOT facing the lens directly. His long wet blonde hair is pushed back off his face, NOT in his eyes. Lower the framing so the camera sits right at the waterline with the lens PARTIALLY UNDERWATER: the bottom third of the frame is below the surface. Make that underwater portion DEEP and DARK, clean clear water with NO sediment, dust, murk or particles, deep shadowy aqua getting darker toward the bottom of the frame, his kicking legs and the current dimly descending into the dark. Above the waterline stays bright and hazy. Wet waterline blur where water pushes against the lens across the middle. Wide to medium framing, Benji fairly small in the vast sea. Washed out warm bleach bypass film grade above water, soft grain, dreamlike. STRICT COLOR GRADE within this exact palette: bright aqua #5FC6C2 for surface water, deeper darker teal of that same aqua for underwater depth, dusty coral #E8A87C in warm highlights, warm sand #F2C896, hazy sky blue #C4D4D0 for sky, bleached white #F0E6C8 for brightest whites and foam. No colors outside this palette.

now create a scene far view where she's standing near tall window shutters, bathing in the bright sun. keep the visual style

close up of her face, she's looking up. keep visual style and consistency

i want a shot where the lens is behind her now, so you can see her back and a wide shot of the park. keep the same scale (she is a giant) and analog film grain. make the configuration of people different since this is a different camera shot

instead of them standing, how about theyre sitting at a table having brunch. keep the wide shot and analog film grain look

create a gilded opera based on this photo. keep the same vintage film grain and color grade. dont include the confetti

keep the same composition as @Untitled Image. use my characters @Gilded Opera House - Boxer Portrait, Bright Lights and @Gilded Opera House - Prizefighter Portrait, with @Gilded Opera House - Boxer Portrait, Bright Lights as the loser, on the ground bloody and beat, with @Gilded Opera House - Prizefighter Portrait as the victorious winner, his fist in the air. use @Spotlight Brightened, Film Grain and @Gilded Opera House as the setting reference. keep a film grain 20s old analog film aesthetic and texture. the bright spotlight should be shining at them. the stage isnt bloody, only the man.

Cinematic film still of the SAME warm timber-and-stone Himalayan kitchen interior as the reference image — keep identical materials, stone walls, warm timber beams, wood-plank floor, warm golden light and period. This is a NEW camera angle: the camera has panned to the RIGHT to face the right-side wall of the room. Frame that right wall head-on: the small-paned wooden window with the hazy mountain-and-pine view beyond it (same window design, small panes, wooden frame as in the reference), its deep stone sill with a brass pot and small potted plants, the rough whitewashed stone wall, the colorful woven rug/textile hanging on the wall to the right of the window, hanging dried chilies, and the low cushioned bench seating with woven rugs beneath the window. The stove and cooking counter are now OUT of frame to the left. Same warm ambient interior light with the sun coming through the window. 35mm cinematic natural film photography, eye level, 16:9.

metti Mila di spalle di fronte alla cucina. sta mescolando una pentola. Mantieni lo stile minimalista di Mila, con pochi outline e incomplete