shot on 35mm film, fine film grain, gentle halation, muted warm color grade, slight lens softness, shallow depth of field, 24fps, 180-degree shutter motion blur
Create an exactly 15-second cinematic sequence in 2.39:1 widescreen at 24fps.
REFERENCE IMAGE:
Use the attached image as the exact visual reference for:
- The protagonist
- His battered black early-1980s wedge-shaped sports car
- The enormous brutalist tower
- The concentric elevated highways
- The retro-futurist city architecture
- The physical rain and smoke
- The established color palette
Preserve the protagonist’s exact face, curly dark hair, distressed brown leather jacket, off-white T-shirt, black driving gloves and scratched silver medallion.
Do not redesign, replace or modernize anything.
VISUAL STYLE:
A lost big-budget 1987 action-fantasy film photographed on 35mm anamorphic film.
Practical city miniatures combined with full-size foreground sets. Coarse organic film grain, subtle gate weave, halation around streetlights, physical rain, atmospheric smoke and realistic wet surfaces.
Color palette:
- Sodium-vapor amber
- Muted cyan
- Faded magenta
- Deep photographic blacks
The image must feel tactile, constructed and photographed. It must never resemble clean contemporary CGI.
TIMED ACTION:
00:00–00:03
Begin close behind the parked black car.
Rain strikes the roof and runs down the rear glass. The engine idles unevenly, causing a subtle vibration through the car.
The protagonist stands beside the driver’s door with his back to the camera, staring into the distance.
00:03–00:06
The camera begins a slow physical crane upward and forward over his shoulder.
He remains almost motionless. Wind moves the bottom of his wet leather jacket.
The first elevated highway becomes visible beneath him.
00:06–00:10
As the camera continues rising, reveal multiple circular elevated highways surrounding the city.
Dozens of period-correct 1970s and early-1980s cars race along the wet roads toward the center.
Their headlights form moving rings around the architecture.
The protagonist and his car gradually become smaller at the bottom of the frame.
00:10–00:12
The enormous brutalist tower is fully revealed at the center of the city.
The tower dominates the composition. It feels severe, ancient, industrial and physically constructed.
Every level remains dark except for one tiny warm illuminated room at the summit.
00:12–00:15
Without cutting, begin a powerful continuous optical zoom toward the summit.
The camera travels visually across the circular highways, through atmospheric smoke and up the face of the tower.
The illuminated room grows rapidly from a tiny point into the dominant image.
Continue zooming directly into the warm light until it fills the entire frame.
End on a full frame of softly blooming amber-white light.
Do not cut back to the protagonist.
Do not reveal the room’s interior.
CAMERA:
The entire sequence is one uninterrupted shot.
Begin as a controlled physical crane movement. At 00:12, transition smoothly into a forceful period-style optical zoom toward the tower’s summit.
The zoom should resemble an ambitious 1980s combination of:
- Long zoom lens photography
- Optical printer enlargement
- Miniature photography
- Subtle concealed perspective transitions
The zoom must remain cinematic and legible. It should not resemble a modern drone flight, digital tunnel effect or artificial hyperspace movement.
A small increase in 35mm grain during the extreme enlargement is desirable and period-authentic.
AUDIO — ABSOLUTELY NO MUSIC:
Do not generate music of any kind.
No score.
No synthesizer.
No drums.
No bass pulse.
No orchestra.
No humming.
No singing.
No musical drone.
No melodic tones.
Use only natural environmental and mechanical sounds:
- Rain striking the car
- Uneven engine idle
- Wind across the elevated roadway
- Wet tires moving on distant highways
- Distant traffic echoes
- The protagonist’s jacket moving
As the zoom accelerates, the traffic and engine sounds gradually become distant and muffled.
Introduce only a natural rushing-air sound caused by the camera’s rapid visual movement.
As the light fills the frame, reduce everything to near silence.
AVOID:
A cut back to the protagonist, revealing the room’s interior, modern cars, modern skyscrapers, smartphones, LED billboards, flying vehicles, digital HUDs, excessive neon, cyberpunk clutter, smooth drone movement, digital tunnel effects, hyperspace effects, synthetic CGI surfaces, changing the protagonist’s face or clothing, generated music, readable text, logos, subtitles or watermarks.
# 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.
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.
@Tenzin, Age 72 - Winter 2024 is a tired 70-year-old Himalayan man (Tenzin, charcoal knit cap, grey scarf, dark puffer jacket) carrying two plain ceramic plates, one in each hand, each with a small mound of thin-skinned steamed momos (low pleats, normal size, not thick buns), both pluming thick steam. @Himalayan Kitchen, Evening Light is the style reference for the stone-and-timber kitchen: cast-iron stove burning at frame left, and at the far end a timber door standing FULLY OPEN onto a raging white blizzard. Extend the world freely, do not reproduce it 1:1. Three hard-cut shots.
Shot 1 (0-5s): tight high three-quarter on the counter, his hands slide under both plates and lift them together, thick warm steam rolls upward, hands tremble faintly then steady, he turns away from camera.
Shot 2 (5-10s): close on his face in three-quarter profile as he walks, plates at chest height, steam fogging past his mouth, heavy-lidded exhaustion and a slow blink, he glances down at the plates once then ahead at the door, cold blue light climbing his face as the warm stove light drains off his back.
Shot 3 (10-15s): wide from deep inside, the open doorway a violent white rectangle centre frame, he walks away small against the storm, at the threshold the steam is torn off both plates, wind drives snow across the floorboards, he crouches with one hand on the door frame and sets exactly ONE plate on the porch boards, straightens still holding the second plate, and stands with his back to camera looking into the whiteout.
Camera stays INSIDE the house the whole time and never crosses the threshold or follows him out, handheld with fine drift, 180 degree shutter motion blur, full real speed no slow motion. Warm amber stove firelight dominant, deep near-black interior shadow, cold blue-white overexposed storm light through the doorway. Nothing outside moves, porch and yard empty. Face tired and neutral, no tears, no turning to camera, no dialogue. Second plate stays visible in his hand at the end. Ambient only: crackling stove, steam hiss, howling wind and snow at the door, no music.
The image exhibits a naturalistic and true-to-life representation of the scene, captured with a depth of field and lighting that evokes a filmic quality.
更多細節
The textures and details are rendered with a high degree of fidelity, giving it a tangible and immersive feel.
This image exhibits the aesthetic qualities of traditional film photography, characterized by natural lighting, a visible grain texture, and a slightly muted color palette.
更多細節
The composition conveys a sense of candid realism and a somewhat vintage feel.
鏡頭柔焦有許多提示詞但影片數較少：其 1,999 個提示詞中有 1,755 個來自 Jaime Yao 影片中的一個配方。
更多來自 Flick 影片的 35mm 膠片質感範例
另外 12 個鏡頭，按元素分組，每個都附有生成它的提示詞以及其來源影片。
顆粒：黑白細緻 35mm 顆粒
顆粒以其格式命名，細緻 35mm，緊鄰其所屬的攝影類型。
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
analog film grain texture. camera locked. she comfortably lays down to take a nap. as she gets to the ground, the people below her exchange gasps and surprise and move out of her way. no one should walk in in the foreground
A static fixed film grain overlay sits on top of the entire frame, moving like a natural vintage static. The grain is staticy the entire clip. Camera locked, no camera movement. the entire scene should be a vintage analog look, an archived film
A woman cries in sorrow, then wipes away her tears with her hand. Outside the window, the scenery flows by, while the carriage sways gently. The simulated film grain remains, subtly shifting.
roaring applause from the audience and stand ovation. he stands there in victory, tired and heavy breathing, the bright light shining on him. camera locked. analog film grain texture.
A static fixed film grain overlay sits on top of the entire frame, moving like a natural vintage static. The grain is staticy the entire clip. the entire scene should be a vintage analog look, an old archived film
Use @Avery Voice as what Avery's voice sounds like. use @Cole's Voice as what Cole's voice sounds like. use @EXT. Cole House as the background through the windows of the car. Use @Avery Character Profile (2) as the visual reference for Avery.
Use @Cole 20% (1) as the visual reference for Cole.
use @Cole 20% Bump Flat on as the bump on cole's back.
Use @REGRADE Avery Car interior as the visual reference for the car interior. Blocking: Cole and Avery are sitting in the car interior. cole in the left passenger seat and Avery in the right seat. Avery is driving and Cole's head is dipped down as if very ashamed of himself. we can see the bump on cole's back which looks exactly like @Cole 20% Bump Flat on. Action: handheld close-up two shot of Avery and Cole, filmed from behind the seats catching the back of their heads. Avery on the right, Cole on the left. cole's eyes look 100% like @Cole Eyes. Between and beyond them, the windshield shows the landscape rushing past as the car drives forward. Avery is looking ahead through the windshield, holding back some anger, glancing over to cole and getting more and more disgusted by Cole' presence. Avery makes a decision and flips the middle switch, right above the small screen in the center console, into the up position. An AI male voice from the dashboard says, "Autopilot engaged." Avery lets go of the steering wheel and the car starts driving itself. In a flash, Avery smacks Cole on the head with his left hand exactly twice. Cole is whimpering and just taking it. Holding up his arms to cover, but getting hit anyways. Inside, Cole knows he deserves this. This is a big brother beats up little brother moment.
Then Avery raises his arm up to strike a third time but stops. His arm frozen mid strike. He grits his teeth, wanting to hit Cole again, but knows deep inside that it's useless. He retracts his arm and takes a deep breath, calms down a little bit. Finally he looks at Cole with a very stern parental look, Avery says with utter disbelief, "The hell is wrong with you?"
Camera: handheld shaky close up two shot from behind.
Style: handheld shaky camera. 35mm film emulation, halation, bloom, shallow depth of field with hexagonal bokeh.
Audio: no music, no score. The smacks of cole's head getting hit. Cole's whimpers and "ows". Avery's heavy breathing.
Camera: handheld, extreme close-up from behind the seats, both faces in profile filling the sides of frame, the windshield and passing landscape visible between them. Holds long on the tender moment. No cuts.
Style: handheld, shaky camera. 35mm film emulation, halation, bloom, shallow depth of field with hexagonal bokeh.
Audio: no music, no score. The hum of the hover car and the faint rush of the landscape passing, Cole's soft sniffling,
Duration: 15s. Aspect ratio: 16:9 (follows reference frame). No background music, no score. Ambient sound effects only — wind, water sloshing against the lens, muffled splashing beneath the surface. Camera completely static and locked-off for the entire shot — no pans, tilts, zooms, or push-ins. The lens stays half-submerged at the waterline the whole time, water pushing against the glass at the horizon split.
@image1 is the first frame. @image2 is the last frame.
Visual style: analog film simulation, images that look remembered rather than seen. Fine film grain, subtle CRT scan lines present but not dominant, slight chromatic aberration at the edges only, soft corner vignetting, gentle warm-yellow/faded-green color shift. Washed-out warm film / bleach bypass look. Palette: bright aqua
#5FC6C2, hazy sky blue
#C4D4D0, warm sand
#F2C896, bleached white
#F0E6C8, dusty coral
#E8A87C.
MOTION (0–15s):
Young Benji floats at the surface in the upper-middle of the frame, splashing and flailing, long wet blonde hair plastered across his eyes. His arms slap weakly at the water; he bobs and tips, struggling to stay up. Water sloshes against the half-submerged lens, intermittently revealing his legs kicking beneath the surface in the current. He tires and sinks lower and lower across the shot. In the final 3 seconds he loses the fight, his head drops below the surface, and he descends straight down and out through the bottom edge of the frame — until only disturbed, settling water remains. The camera never moves. Ends on empty churning ocean.
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.
# 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.
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.
Continue this clip seamlessly from the last frame. Maintain the exact same locked-off or slow camera movement, the desolate landscape, the dusty red-orange atmosphere, same lighting direction, same color grade and film grain. The expanse stretches on in complete silence and stillness. No new elements enter the frame. No people, animals, or vehicles. Just the vast empty world breathing slowly for 5 more seconds. The emptiness is the point — let it linger.
00:15
00:15
00:15
