角色設計靈感:真實角色與提示詞

16 個角色設計靈感取自在 Flick 中製作的真實 AI 影片,每個都以其創作者設計的樣子呈現,並附上製作它的確切提示詞。

一本打開的素描本的水墨畫,一頁上畫著男孩的頭像,旁邊有一支鉛筆,背景是珊瑚色

大多數角色設計概念列表只停留在文字描述,因此你永遠看不到這個概念繪製出來後是否仍然有效。這 16 個角色設計概念是來自 10 部在 Flick 中製作的影片的真實角色,其中 8 部來自 2026 年夏季 Flick Residency,2 部來自 Flick 團隊,從有翅膀的死神到小小的外星狐狸。每個角色都展示了影片製作者的設計、逐字逐句的提示詞,以及讓角色一眼就能辨識的關鍵細節。它們按類型分組,並在範例之後說明這 16 個提示詞的共同點以及如何設計你自己的角色。

怪物與精靈角色設計靈感

怪物或靈體的成功之處在於它具有一個可以命名的人類或物質細節,例如死神兜帽下的年輕面孔或生物的黑曜石刀刃,這樣它才能被解讀為一個角色而不是一個影子。
死神角色板:一位蒼白戴兜帽、有黑色翅膀的男子,照片和手寫筆記釘在深色牆上

死神是一位擁有黑色翅膀的英俊年輕男子

一張臉、一個年齡和一種個性將死神從黑暗中的形體轉變為主角可以與之爭辯的對象,而這個提示詞讀起來就像選角筆記。

# 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.
M.E. Owens 執導的《One More Day》
含義:身高六呎三吋的死神穿黑色斗篷露出蒼白俊美面容和冰藍發光眼睛,背後長著巨大黑色羽翼,烏鴉群預示他的到來。
一隻帶刺的黑暗生物手持黑色玻璃刀刃的三格圖,展示正面、背面與臉部,黑色背景

一隻半金屬半血肉的生物

為其材質命名——隕石外殼、剝落的銀箔與原始黑曜石刀刃——賦予這個生物一段可以從它皮膚讀出的歷史。

Extract the monster design from this image and recreate it as a professional character reference sheet with three panels from left to right: full body front view, full body back view, and face close-up. Pure black background. Even neutral studio lighting.

CHARACTER DESIGN: Maintain all the existing design details — the organic-metal hybrid body, the crown-like spike head structure, the mesh metallic texture, the organic tissue wrapping, the dark meteorite surface material, the silver foil skin patches on chest with cracked peeling edges revealing organic flesh beneath.

WEAPON: The creature holds a slender primitive blade — long, thin, asymmetric raw blade with obsidian texture — deep glassy black, sharp edges with natural conchoidal fracture patterns like flint-knapped obsidian. No handle whatsoever. The creature's hand grips directly on the raw blade. The blade is elegant and primitive, not mechanical.

LAYOUT: Clean three-panel reference sheet. Each panel shows the full character clearly. Front view shows the face and weapon clearly. Back view shows the back silhouette and spine detail. Face close-up fills the panel with the head and facial details.

Hyper-realism, extreme detail, black background, professional character concept art sheet.
Alan Xiao 執導的《Tusk Hunters》
含義:有機金屬混合怪物手持黑曜石原始刀刃的三視圖角色設定,正面背面和臉部特寫,黑色背景超寫實風格。

動物角色設計靈感

當動物的斑紋與表情被寫下來時,牠就成為一個角色,這樣牠在每個鏡頭中都是同一隻動物,並在做任何事之前就擁有了個性。
一隻毛茸茸的奶油色和灰色藍眼貓咪的圖表,展示站立正面、站立背面與臉部特寫

一隻毛茸茸、尾巴蓬鬆的西伯利亞貓

用文字固定奶油色和灰色重點色虎斑毛皮、藍色眼睛與蓬鬆尾巴,讓牠在每個圖格與之後的每個鏡頭中都是同一隻貓。

Create a professional character reference sheet of this exact cat (the fluffy Siberian cat with blue eyes, cream and grey tabby-point fur, and a large plumed tail shown in the reference image). Keep the same facial features, fur pattern, coloring, and proportions consistent across all panels. Composition from left to right: full-body front view (standing, facing camera), full-body rear/back view (standing, facing away), and a close-up portrait of the face. Plain seamless pure white background, even studio lighting, cinematic style, sharp detail, orthographic framing, full body in frame for the first two panels.
Alan Xiao 執導的《Tusk Hunters》
含義:奶油灰色虎斑西伯利亞貓藍眼睛和蓬鬆尾巴的三視圖角色設定,正面背面站姿和臉部特寫,白色背景攝影棚風格。
一隻黑白哈士奇的圖表,展示正面坐姿、背面站姿與臉部特寫

一隻有著淺藍色眼睛的傻氣哈士奇

提示詞將表情融入設計的一部分,在每個視角中都呈現可愛且略帶呆萌的神情,讓這隻狗一眼就展現出個性。

Using THIS real dog as the identity reference (same husky/laika breed, identical black-and-white fur markings, face shape, ears, body proportions, light-blue eyes), create a professional character design reference sheet on a clean plain WHITE seamless background, cinematic photoreal lighting. Compose THREE views left to right in one image: (1) LEFT — full-body FRONT view of the dog SITTING, facing camera; (2) MIDDLE — full-body BACK view of the dog; (3) RIGHT — a head close-up portrait. In every view the dog has a cute, endearing, slightly goofy/derpy innocent expression. Keep the eyes their natural light-blue color. Completely REMOVE the collar — bare neck, no collar in any view. Keep the SAME dog with identical markings and proportions across all three views. Fully photorealistic true-to-life fur texture, high detail, film grain, 21:9.
Alan Xiao 執導的《Tusk Hunters》
含義:黑白毛色哈士奇淺藍眼睛的三視圖角色設定,左側坐姿正面中間背面右側頭部特寫,呆萌表情白色背景寫實風格無項圈。

歷史與時代角色設計概念

當提示詞使用真實的服裝、髮型與布料名稱時,歷史角色才會生動,因為像長袍或蕾絲領這樣具體的命名細節,比「老式的」更加明確。
一位剃光頭只留一撮前髮、身穿深紅色外套、手持彎刀的哥薩克士兵的三個視角

一位留著前髮、手持彎刀的哥薩克士兵

真實的歷史術語——oseledets(剃光頭上只留一撮頭髮)與深紅色羊毛長袍——讓歷史士兵變得具體而非籠統。

Keep the same Cossack soldier three-view character sheet (front, side, back of the SAME man), same face, oseledets forelock, drooping mustache, proportions, plain seamless white background, cinematic photoreal documentary lighting. Make these changes: (1) Completely REMOVE the recurve bow, the arrows, and the quiver from every view — no bow and no arrows anywhere. (2) Change the kaftan/coat color from dark teal to a deep DARK RED wool. (3) He now holds ONLY a curved sabre in his hand in the front view (and the sabre visible/sheathed appropriately in side and back views); no other weapons. Keep him blood-and-frost stained and battle-worn, tall leather boots, red sash. Consistent identical face and outfit across all three views. High detail, film grain, 21:9.
Alan Xiao 執導的《Tusk Hunters》
含義:哥薩克士兵穿深紅色外套手持彎刀的三視圖角色設定,相同面容鬍子髮型,沾血霜漬戰損外觀白色背景紀錄片風格。
一位紅髮維多利亞時代女性的三個視角,身穿象牙色與淡藍色絲綢全長禮服,配有高領蕾絲領

身穿象牙色絲綢與蕾絲的維多利亞時代貴婦

描述布料質感與剪裁,帶有光澤的絲綢和有份量感的蕾絲,能讓古裝角色看起來是穿著得體而非單純的戲服裝扮。

Full-body three-view character turnaround sheet of the same woman from the provided character reference. Facial structure, hair, and costume 100% match the reference.

Three panels arranged horizontally on a neutral warm grey background: front view, three-quarter side view, and back view. Each panel shows her full body from head to floor.

Costume consistent across all three panels: the same ivory and pale blue silk dress with high lace collar and lace trim visible in the reference, now shown as a full-length Victorian gown with a fitted bodice, slight bustle silhouette, and floor-length skirt with subtle fabric drape and weight. Period-appropriate posture: straight spine, hands loosely at sides.

Soft directional natural window light from slightly above. Realistic skin texture, visible pores, faint freckles. Realistic silk and lace fabric texture with natural drape, material weight, and slight sheen on the silk. Slightly washed-out highlights on the fabric. Subtle film grain, slight chromatic aberration, mild lens softness. A more realistic harder light structure rather than global soft light. Natural imperfect real-camera rendering. Character sheet format.
Jaime Yao 執導的《Voice consistency》
含義:一名維多利亞時期女性穿著象牙色藍色絲綢蕾絲禮服的正面、四分之三側面及背面全身三視圖,柔和自然光,寫實質感帶輕微顆粒感。
喜馬拉雅女性身穿栗色羊毛長袍的四個畫面:臉部特寫、正面、背面和側面視角

戴著金色鼻環的喜馬拉雅女性

一個小小的標誌性特徵,金色鼻環,被特別強調為重要元素並出現在特寫和側面中,使角色在任何取景下都能被辨識。

Create a professional character reference sheet of THIS exact woman, Pema (the 28 year old Himalayan woman in the reference image) — keep her identical face, dark hair pulled back with loose strands, warm weathered brown skin, and importantly the small delicate GOLD NOSE PIN in her left nostril, and her maroon handwoven wool garment. Lay out FOUR panels on one image against a plain neutral light-gray seamless studio background with even flat lighting. Panel 1: a tight CLOSE UP of her face, front on, calm neutral expression, showing her exact facial features and the gold nose pin clearly. Panel 2: a full body FRONTAL shot showing the front of the body and clothing but with the head turned away or cropped so the face is NOT visible, standing straight, arms at sides. Panel 3: a full body BACK view showing her back and the back of her head and hair (head visible from behind). Panel 4: a full body side PROFILE view, her face clearly visible in profile with the gold nose pin. Consistent identical character, clothing, proportions and lighting across all four panels. Orthographic, full figure in frame for the body shots. Natural color cinematic film photography look, 16:9.
Raj Rishi More 執導的《Seasons》
含義:28歲喜馬拉雅女性Pema穿酒紅色羊毛衣的四格參考圖,包含臉部特寫、正面全身無臉、背面及側面輪廓,展現金鼻環與特徵,平光攝影風格。
留著波浪黑髮的喜馬拉雅男性,身穿靛藍色羊毛長袍配條紋腰帶的四個畫面:臉部、正面、背面和側面

身穿手織靛藍長袍的喜馬拉雅男性

帶有編織紋理與圖案、多彩條紋裝飾和編織腰帶的服裝,在角色開口說話前就已道出他的居住地。

Create a professional character reference sheet of THIS exact man, Tenzin (the 28 year old Himalayan man in the reference image) — keep his identical face, black wavy hair, short beard, warm weathered brown skin, and his handwoven indigo wool robe with the multicolored striped trim and woven waist sash over a pale shirt. Lay out FOUR panels on one image against a plain neutral light-gray seamless studio background with even flat lighting. Panel 1: a tight CLOSE UP of his face, front on, calm neutral expression, showing his exact facial features clearly. Panel 2: a full body FRONTAL shot from behind-neutral so we see the front of the body and clothing but the head is turned away or cropped so the face is NOT visible, standing straight, arms at sides. Panel 3: a full body BACK view showing his back and the back of his head and hair (head visible from behind). Panel 4: a full body side PROFILE view, his face clearly visible in profile. Consistent identical character, clothing, proportions and lighting across all four panels. Orthographic, full figure in frame for the body shots. Natural color cinematic film photography look, 16:9.
Raj Rishi More 執導的《Seasons》
含義:28歲喜馬拉雅男性Tenzin穿靛藍羊毛長袍配彩色條紋邊飾的四格參考圖,包含臉部特寫、正面全身無臉、背面及側面輪廓,平光攝影風格。

現代與日常角色設計概念

日常角色的服裝若能說明此人的職業或身份就很成功,例如配有手電筒的保全制服,或安靜面容上的醒目花卉西裝。
留著灰髮、戴圓框紅色眼鏡的年長男性,身穿橙色花卉印花西裝和圖案領帶的三個視角

身穿橙色花卉西裝的年長男性

平靜面容搭配醒目服裝,一張圖就能呈現完整的人物性格,而圓框紅色眼鏡則為視線提供了第二個落點。

Image 1 is elderly man in orange floral suit, main look (likeness, clothing, and identity).

Create a professional character reference turnaround sheet showing this exact character (same face, same round red glasses, same swept-back gray hair, same orange floral print suit with dark patterned tie) in three full-body views: front view, side profile view, and back view, arranged side by side. Neutral A-pose, standing. Plain seamless light-gray background, even studio lighting, orthographic framing, full body in frame for each view. No props, no scene, no other people. Identical facial features, proportions, and clothing across all views.
Zoey Z. 執導的《Pond Marketing video》
含義:穿橘色花卉西裝配紅色圓框眼鏡的年長男性正面、側面及背面全身三視圖,灰色背景,均勻棚燈,正交構圖。
綁著緊實馬尾的南亞女性,身穿大地色調長褲、無袖背心和登山靴的六個視角

為沙漠環境著裝的野外科學家

展現職業特徵的服裝,捲起的袖子、無袖背心、厚重靴子和手錶,讓觀眾在她開口前就能理解她的工作。

Professional character turnaround reference sheet for Evelyn: a mid-30s South Asian woman, olive skin, sharp jawline, high cheekbones, black hair in a tight ponytail, brown penetrating eyes, slim build around 5'5", wearing fitted earth-tone trousers, tucked shirt with sleeves rolled up, sleeveless light jacket, heavy-duty hiking boots, a watch on her wrist. Create ONE wide image showing six panels side by side: front view, left profile, right profile, back view, three-quarter left view, and three-quarter right view. Same character in every panel, 100% identical face and clothing matching the Desert Portrait reference exactly, neutral A-pose, plain pure white seamless background, even flat lighting, full body in frame, orthographic framing. No scene, no props, no other people.
Karan Archana 執導的《Drop of Water》
含義:南亞女性Evelyn穿大地色緊身褲配襯衫背心及登山靴的六格全身轉身參考圖,包含正面、左右側面、背面及兩個四分之三視角,白色背景平光。
三幅面板顯示一名滿身泥濘、白眼、戴著 GoPro 頭燈的男子,正面、背面和臉部特寫

一名眼睛變成白色的象牙獵人

保留他的日常裝備,汗濕的襯衫和 GoPro 頭燈,讓白眼顯得更加駭人,因為他看起來仍像原本的那個人。

This is a three-panel character reference sheet. Keep everything exactly the same — the three-panel layout, white background, the man's facial features, skin tone, dark blue-black sweat-soaked t-shirt, GoPro headband with headlamp, mud and dirt on face, deep dark circles, posture. Only one change: add black tactical boots on his feet in all full-body panels. The boots should be heavy-duty, lace-up, matte black military-style tactical boots, worn and slightly muddy, consistent across panels. Photorealistic cinematic character reference sheet style.
Alan Xiao 執導的《Tusk Hunters》
含義:三視圖角色設定表展示一名穿深藍濕透上衣戴頭燈男子臉上沾泥現增添黑色戰術靴呈現逼真電影風格
三個標示視角:一名身材魁梧、灰髮的警官,穿著深藍制服,配有徽章、無線電和大型手電筒

一名手持手電筒的鐵路保安

由制服、銀色徽章、肩部無線電和重型手電筒組成的追捕者,立刻展現出權威感,這正是追逐場景所需的一切。

Professional character turnaround reference sheet. Show the SAME man (the Bull, railroad security officer) in 3 panels side by side: front view, left profile, right profile. Full body, neutral stance, plain white seamless background, even studio lighting, orthographic framing. Identical face (fifties, broad, thick jaw, short cropped grey hair, deeply weathered), same uniform in every panel: dark navy railroad security jacket with silver badge, shoulder radio clipped to chest, heavy utility belt, holding large metal flashlight. Label each panel: FRONT, LEFT, RIGHT.
Dr. Dreams 執導的《Catch Out》
含義:專業角色旋轉參考表展示鐵路保安官Bull的正面左側右側全身視圖穿深藍制服持手電筒呈現寫實攝影風格

2D 與動畫角色設計概念

當動畫角色的形狀和顏色少到能每次都以相同方式繪製時,一個誇張的特徵,如巨大的眼睛或長鼻子,就能完成演出。
平面 2D 環繞圖:一個圓臉紅潤的小角色,穿著藍色狐狸連身衣,背著背包,手持雷射手槍

一隻穿著藍色連身衣的小外星狐狸

嚴格的藍色、黃色和紅色配色,讓卡通角色保持足夠簡單,在 2D 影片的每個鏡頭中都能維持一致。

Keep the same character turnaround layout of Sasa (FRONT, 3/4, SIDE, BACK) but add: a rectangular backpack on his back (visible in side and back views) and a flat laser pistol weapon in his right hand in the FRONT and 3/4 views. The laser pistol is flat, compact and futuristic, in blue and yellow colors matching his palette. The backpack is also blue with yellow accents. Keep all his original design details: round red/orange face, blue fox onesie suit, fox ears on hood, yellow boots, rosy cheeks, black outlines. Flat 2D illustration style, tricolor blue yellow and red/orange palette, white background. Same title "Character Turnaround: Sasa" at top.
Katrin Ann Orbeta 執導的《Mila & Sasa》
含義:保持Sasa角色旋轉設定但增加背包和藍黃雷射手槍穿藍色狐狸連身衣呈現扁平二維插畫風格
繪畫風格環繞圖:一名年輕的黑人女孩,梳著串珠玉米辮,穿著白色和金色洋裝,正面、四分之三側面和背面

一個梳著金色串珠辮子、戴著魚形吊墜的女孩

一條承載意義的項鍊,魚形代表水之女神奧舒恩,透過一個小物件將兒童角色與故事的神話連結起來。

Character design sheet of an 8-year-old Black African girl named Dúró, presented as a professional character turnaround with three full-body views: front view, three-quarter view, and back/side view, arranged horizontally on a single clean layout. Painterly digital gouache style with visible brushwork, soft diffused lighting, and organic paper texture, matching a high-fantasy African-inspired concept art aesthetic.

FACIAL FEATURES: dark brown skin with warm undertones, large expressive dark almond-shaped eyes, full lips, rounded soft cheeks, gentle and curious expression with a hint of shyness. African (Nago/Yoruba) features, natural and dignified, not stylized into caricature.

HAIR: neat Nago-style cornrows (tranças nagô) braided close to the scalp in straight lines, ending with small golden beads at the tips. Hair is clean, symmetrical, and frames the face beautifully.

OUTFIT: a simple white cotton dress, modest and childlike, falling just above the knees, with delicate golden trim details along the hem and around the round collar. The dress is loose and comfortable, suitable for a village child. Bare feet.

ACCESSORY: around her neck, a thin golden necklace with a small fish-shaped pendant hanging at the collarbone — the fish is the symbol of Osun, goddess of water. The pendant is small, elegant, and clearly visible.

POSE AND EXPRESSION: the front view shows her standing straight, hands relaxed at her sides, looking at the viewer with soft curiosity. The three-quarter view shows her slightly turned, head tilted, a faint smile. The back view shows the full braids and the back of the dress, with the golden hem visible.

LIGHTING AND COLOR: warm painterly lighting, soft shadows with gentle contrast, earthy color palette (browns, creams, warm golds, terracotta) with the white and gold of the dress as the focal point. Background is a soft neutral warm beige that does not distract from the character.

STYLE: painterly, hand-painted digital gouache feel, visible brush texture, no harsh pixel-perfect rendering, no cel-shading, no 3D render look. Consistent facial features and identical outfit across all three views to maintain character continuity.

NEGATIVE: no text, no watermark, no logo, no signature, no extra characters, no modern objects, no plastic, no shoes, no jewelry other than the necklace, no exaggerated proportions, no anime style.
Walter Mauro 執導的《Duro》
含義:八歲非洲女孩Dúró角色設定表展示正面四分之三背面視圖穿白色洋裝戴金魚項鍊呈現溫暖手繪水粉畫風格
繪畫風格卡通設定圖:一位瘦削的老婦人,灰色盤髮,穿著栗色外套:正面、側面、背面和臉部

一位古怪的老裁縫師,高挑而瘦削

誇張的比例、瘦長的身形和戲劇化的灰色高髻髮型,將一個村莊工匠轉變為令人從一個畫面就記住的主角。

Redraw this exact character reference sheet (same 4 panels: Front, Side, Back, Face; same layout, same painterly cartoon style, same warm gray background, same maroon pinstriped coat and green waistcoat) but make the character UNMISTAKABLY AN ELDERLY WOMAN. Feminize her clearly: soften and round the face and jaw, slimmer refined nose, fuller lips with a touch of muted lipstick, longer thinner arched eyebrows, add soft eyeshadow and defined lashes around the large expressive eyes, add subtle blush on the cheeks. Restyle the hair as a distinctly feminine elderly updo — swept-back silver-grey hair gathered into a soft bun with loose wispy curls framing the face, keeping the dramatic pointed silhouette. Add feminine touches: small pearl drop earrings, a slim brooch at the collar, a fitted waist on the coat giving a softer feminine figure, delicate slender hands. Keep her thin, tall, gaunt and eccentric, and keep the same overall pose, framing, and color palette in every panel. She should read at a glance as an old woman seamstress, not a man.
Simay Ezer Pekcan 執導的《Happy Souls Alive》
含義:將同一角色設定表重繪為明顯的老婦人,保持四格構圖和彩繪卡通風格,增添女性化妝容髮髻及珍珠耳環,呈現瘦削裁縫師形象。
穿著深色細條紋外套、有著大大黑眼圈的瘦削老人的繪畫風格卡通角色設計圖:正面、側面、背面和臉部

一位有著巨大疲憊雙眼的憔悴老裁縫

在風格化的影片中,有著厚重黑眼圈的大眼睛負責演繹情感,因此即使角色靜止不動,臉部也能訴說故事。

Create a professional character reference sheet for the gaunt old tailor man in Image 1. Use his exact face, features, and clothing: tall thin elderly man, long angular face with hollow cheeks, large wide expressive eyes with heavy dark circles, thick dark eyebrows, big ears, prominent nose, swept-back dark grey hair with pointed tufts and a curl at the temple, dressed in a dark maroon pinstriped jacket over a buttoned waistcoat. Show 4 panels in one image: full body front view, full body left side profile, full body back view, and a head and shoulders close-up. All panels in neutral A-pose, plain warm light gray seamless background, flat even lighting. Match the exact stylized cartoon painterly style of Image 1: hand-painted textured brushwork, angular exaggerated proportions, muted earthy teal and ochre palette, bold graphic shapes, expressive character animation look. Same identical character in every panel. Label each panel: Front, Side, Back, Face.
Simay Ezer Pekcan 執導的《Happy Souls Alive》
含義:為瘦削老裁縫製作專業角色設定表,四格展示正面側面背面及特寫,保持彩繪卡通風格及暖灰背景,穿深紅條紋外套。

什麼是好的角色設計概念?

好的角色設計理念有一個清晰的標誌性特徵、年齡和職業,以及幾種指定的材質或顏色,讓角色一眼就能辨識,並且能以相同方式繪製兩次。
本頁面上的 16 個角色設計提示詞,統計於 2026 年 10 月
統計內容提示詞
從影片製作者已有的圖片開始13/16
指定一個素色背景15/16
要求每個視角中都有相同的臉部或服裝14/16
在 12 個人類角色中指定年齡9/12
超過 140 字8 / 16
  1. 1. 像選角備註一樣描寫角色

    給出年齡、體型、服裝和一句性格描述,這樣模型才能畫出一個具體的人物而非類型化角色。

    Cold, ancient, and quiet.
    M.E. Owens 執導的《One More Day》
    含義:呈現寒冷古老寧靜的氛圍畫面。
  2. 2. 指定一個標誌性特徵並保護它

    點出那個必須在每個鏡頭中保留的細節,並說明它應該出現在哪裡。

    importantly the small delicate GOLD NOSE PIN in her left nostril
    Raj Rishi More 執導的《Seasons》
    含義:特別呈現她左鼻孔上的精緻小金鼻環。
  3. 3. 說明材質

    表面承載著角色的歷史,所以要說明皮膚、布料或盔甲是由什麼製成的。

    the dark meteorite surface material, the silver foil skin patches on chest with cracked peeling edges revealing organic flesh beneath
    Alan Xiao 執導的《Tusk Hunters》
    含義:展示深色隕石表面材質,胸前銀箔皮膚貼片邊緣破裂剝落露出底下有機血肉。
  4. 4. 說明角色不是什麼

    當重新設計不斷偏離時,用直白的語言陳述你不想要的呈現效果。

    She should read at a glance as an old woman seamstress, not a man.
    Simay Ezer Pekcan 執導的《Happy Souls Alive》
    含義:她一眼看去應是老女裁縫師而非男性。

由這些概念建構的角色設計提示詞範本

填入括號內容,並刪除不需要的行。

[Name], a [age] [role or job], [build].
Face: [skin], [hair], [eyes], [one expression].
Wearing: [clothes, with their fabric and colour].
Signature: [the one detail that must always show].
Personality: [two or three words].
Style: [photoreal / painterly 2D / flat cartoon], plain [colour] background.
Not: [what the character must not look like].
含義:角色設定包含姓名年齡職業體型臉部特徵服裝標誌性細節個性及風格說明,註明避免呈現的樣貌。

如何使用 AI 設計角色?

用一句話寫出概念,像選角備註一樣描述外觀,生成設計,一次修正一個細節,然後將最終設計做成可以附加到每個鏡頭的角色轉身參考圖。
  1. 1用一句話寫出概念

    說明角色是誰以及他們的與眾不同之處,例如「死神是一位有翅膀的年輕男子」,這樣之後的每個選擇都能以此檢驗。

  2. 2描述外觀

    在圖像節點中使用 GPT Image 2 或 Nano Banana Pro 寫下年齡、體型、服裝、材質和一個標誌性細節,這兩個模型都在 Free 方案中提供。

  3. 3一次修正一個地方

    從你喜歡的設計開始下一個提示詞,並只改變一個細節,這樣角色的其他部分就能保持不變,就像這裡 16 個提示詞中有 13 個是從圖片開始的。

  4. 4製作角色轉面表

    將最終設計以正面、側面和背面視圖呈現在純色背景上,然後將該轉面表附加到每個鏡頭,就像這些角色轉面表一樣。

角色設計概念問題

有哪些好的角色設計概念?

好的角色設計概念會將熟悉的角色定位與一個意想不到的細節配對,例如化身為英俊年輕男子的死神配上黑色翅膀、眼睛變成白色的象牙獵人,或是穿著鮮豔橙色花卉西裝的年長男子。

我該如何構思角色設計?

從角色在故事中的職能開始,然後加上年齡、能展現其身份的服裝,以及一個標誌性細節,例如金色鼻環或魚形吊墜。如果你能用一句話描述角色,設計自然會隨之而來。

角色設計提示詞應該包含什麼?

角色設計提示詞應該包含年齡、體型、臉部、髮型、服裝及其材質和顏色、一個標誌性細節、風格以及純色背景。如果模型持續偏離,可加入角色不應呈現的樣貌。

AI 能為我設計角色嗎?

可以。圖像模型如 GPT Image 2 或 Nano Banana Pro 可以根據文字描述繪製角色,然後你可以從喜歡的設計開始,在每個新提示詞中一次改變一個細節。

角色設計和角色表有什麼不同?

角色設計是角色的外觀呈現,通常是單一圖像或設計板。角色表或轉面表則是在純色背景上展示該設計的正面、側面和背面視圖,以便在每個鏡頭中以相同方式繪製或生成。

如何在 AI 影片中保持角色設計的一致性?

將最終設計轉換成包含正面、側面和背面視圖的轉面表,然後將該表附加到每個圖像和影片提示詞中並在其中命名,這樣模型就會複製角色而不是重新創造。

我可以在自己的作品中使用這些角色設計嗎?

本頁面上的提示詞可以免費複製作為起點,但角色本身、他們的名字和圖像都屬於創作它們的影片製作者,因此請將這些想法轉化為您自己的創作。

在 Flick 中設計角色是免費的嗎?

是的,您可以免費開始:新帳號註冊時可獲得 100 點數,加入 Flick Discord 後可再獲得 200 點數,而本頁面上用於設計的圖像模型可在 Free 方案中運行。

更多在 Flick 中製作角色的內容

此合輯中的影片

設計您自己的角色

寫下想法、生成設計、逐一修正細節,然後在一個 Flick 畫布上將角色帶入每個鏡頭。

在 Flick 中設計你的角色

免費試用,無需信用卡。

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