Как сделать 3D-мультфильм с ИИ: нуар от черновика в Blender до 4K

Вложения: Image 1–3 — кадры ролика-образца, их мы не публикуем.

A character model sheet for a stylised 3D animated feature film: the same character shown full-length four times side by side - front view, three-quarter view, side profile, back view - plus a large close-up portrait of the face in three-quarter view, the eyes looking off to the side of the frame, never into the lens. Plain neutral mid-grey seamless background, soft cinematic studio light with a gentle warm key and a soft rim so the forms read.

STYLE REFERENCES: Images 1, 2 and 3 are stills from the film whose look we follow. Copy ONLY their rendering style and design language: glossy high-end stylised 3D animation, a glamorous adult face design - large almond-shaped eyes with long thick upper lashes and a fine winged lash line, sculpted arched brows, a small refined nose, full glossy lips, softly flushed cheeks, a long slender neck, slim elegant adult proportions - soft subsurface skin with warm blush, sculpted hair with loose flyaway strands, and rich cinematic light. Do NOT copy the person in them: not her face, not her black hair, not her red dress, not her gloves, not the background or the text.

THE CHARACTER: a strikingly beautiful slender woman of about twenty-eight, the singer of a grand old mountain hotel, a femme fatale. Thick copper-red hair pinned in a loose, messy low bun at the nape of her neck, with long wavy loose strands falling around her face and down her neck. Porcelain skin with a soft warm blush on her cheeks and a few faint freckles on her nose, large almond-shaped green eyes with long dark lashes and a fine winged liner, arched dark-copper brows, a small refined nose, full lips with deep red lipstick. She wears a floor-length emerald-green velvet evening gown with an off-the-shoulder neckline, a fitted bodice and a long straight skirt with a high slit on the right side; a single strand of round pearls at her neck and small pearl drop earrings; black satin heels. No gloves, no rings. Calm, melancholic and dangerous.

Never photoreal, never 2D, never anime, never clay. No text, no labels, no letters, no numbers, no logos anywhere.

Вложения: Image 1 — кадр черновика из Blender, Image 2 — лист героини, Image 3 — лист охранника.

Image 1 is a rough grey-box sketch from 3D software: take ONLY where the camera stands, which way it looks and who and what is where in the frame. Never take its flat colours, blocky mannequin shapes, plain surfaces or lighting; the people in it are stand-ins for the real characters.
Image 2 is the character sheet of the heroine: take the face, hair and clothes from it exactly; its layout and grey background are not inherited. Image 3 is the character sheet of the thug: take the face, hair and clothes from it exactly; its layout and grey background are not inherited.

THE FRAME: a 16:9 shot almost straight into an old grand-hotel service kitchen, full and lived-in: a black-and-white checkered tile floor; white tiled walls; along the back wall a big black cast-iron range with copper pots simmering on it and soft steam rising under a steel hood, open shelves crowded with glass jars, tins, stacked white plates and copper pans, a utensil rail with ladles and knives, a deep steel sink with a dish rack, a tall steel refrigerator at the far left; in the middle a long steel prep island with a wooden cutting board, vegetables, bowls, a big stock pot and a towel, and above it a steel rack of seven gleaming copper pots hanging on hooks at head height; at the right a pair of swing doors with round porthole windows, glowing red from the alarm in the corridor behind them, an exit lamp above; crates of vegetables and sacks along the right wall; in the near foreground a low steel service trolley with a heavy copper frying pan on top, its long handle toward us, and stacked plates and a folded cloth on its lower shelf, a 28 mm lens, from standing eye height. At the right of the frame the heroine: a beautiful slender young woman with porcelain skin, a warm blush and faint freckles, large green almond-shaped eyes with long lashes and a fine winged liner, full deep-red lips; copper-red hair in a loose messy low bun with long wavy loose strands around her face; a floor-length emerald-green velvet off-the-shoulder gown with a high slit on the right, a single strand of round pearls, pearl drop earrings, black satin heels; no gloves has just come in through the red-lit swing doors and walks toward screen left, a small black pistol low in her right hand, her left hand pressed to the right side of her waist; she has just seen the thug and her eyes are on him. At the left of the frame a huge thug of the same type - a huge hotel bodyguard with a barrel chest and a small head: very short black hair, a jutting square jaw, a mean frown; a charcoal-grey suit, white shirt, dark grey tie, a clear curly earpiece wire - charges toward her along the near side of the island, his right fist drawn back for a punch, his eyes on her. The copper pan lies on the trolley in the foreground between them. A dark wet patch has soaked into the velvet on the right side of her waist, under her pressing left hand - only a darker green-black stain, no red blood anywhere.
LOOK: warm amber light from green enamel pendant lamps over the island, gleaming copper, white tiles, a red alarm glow from the swing doors at the right, soft steam drifting over the range, deep warm shadows in the corners.
STYLE: a frame from a glossy high-end stylised 3D animated feature film, in exactly the look of the attached character sheets: sculpted stylised characters with soft subsurface skin and a warm blush, glossy sculpted hair with loose strands, rich velvet, satin, brass, marble and polished wood, cinematic light with soft bloom on every lamp and highlight, gentle shallow depth of field. Never photoreal, never 2D, never anime, never clay. Nobody looks into the lens. No text, no subtitles, no letters, no numbers, no logos, no watermark anywhere.

Вложения: Image 1 — ключевой кадр, Image 2 — лист героини, Image 3 — лист охранника, Video 1 — черновик из Blender, 5 секунд.

EXACT CAST: the heroine and one huge thug in a grey suit. Nobody else.

ACTIVE REFERENCES
Image 1 - FIRST FRAME: frame 0 is this image exactly - the hotel service kitchen almost head-on: she has just come in through the red-lit swing doors at the right, the thug charges at her from the left, the copper frying pan lies on the steel service trolley in the foreground.
Image 2 - the character sheet of the heroine. Controls the face, hair and clothes only; the sheet layout and grey background are not inherited.
Image 3 - the character sheet of the bodyguards. Controls the face, hair and clothes only; the sheet layout and grey background are not inherited. (the thug is one of them)
Video 1 - a rough grey-box sketch made in 3D software by the director. It shows only WHO is WHERE, where every object is before anyone touches it, which way everyone moves and the ORDER of the events with their rough moments. Its motion is crude: limbs snap, bodies slide, falls are stiff and the speed is wrong. Do NOT copy its motion, its poses, its speed, its exact timing, its camera position or lens, or its blocky shapes and flat colours. Perform every movement yourself, the way a real stunt team and great character animators would: smooth, continuous, with real weight, balance, anticipation and follow-through. The images above are the look; you do everything better than this sketch. Colour key: the mannequin in emerald green with a copper head and bun is the heroine, grey mannequins with black heads are the bodyguards, the burgundy one with a white head is the hotel owner, small black blocks are pistols; the copper cylinders hanging over the island are the pots, the small copper disc with a handle on the near trolley is the frying pan.

FORMAT: one horizontal 16:9 clip of 5 seconds, one continuous shot, real-time motion at natural speed, no speed ramps, no freeze frames, no dissolves unless a shot says so. No subtitles, captions, letters or logos anywhere.

SCENE CONTEXT
A short noir revenge story in a grand old mountain hotel on a snowy winter night. The hotel singer, married to the hotel owner, goes up to his penthouse to settle the score: he had the young pianist she loved killed. She fights her way up, is wounded, faces her husband, and comes down to die beside her lover at the piano in the ballroom. She is wounded in the side and makes her way through the service kitchen toward the back stairs.

SHOT 1, 0-5.0 s (approximate moments - real movement sets the pace): as in Image 1. She takes a step in from the swing doors toward screen left, a small black pistol low in her right hand, her left hand pressed to her side (0-0.6 s). The huge thug charges at her along the near side of the island (0-0.7 s) and throws a big looping right hook at her head (0.6-0.9 s). She drops under it, bending at the knees and waist, and slips forward toward us past his right side (0.6-1.0 s); his fist sweeps through the air where her head was and his own weight carries him on past her toward the swing doors, stumbling (0.9-1.4 s). Still low, she grabs the copper frying pan off the trolley by its long handle with her left hand (about 1.1 s), rises and swings it backhand in a wide flat arc, and as he turns back to her the pan meets the side of his head with a deep ringing CLANG (about 1.5 s): his head snaps sideways with the blow. He reels back, his hips and back hit the edge of the island hard and the hanging copper pots above it swing and knock (1.6-1.9 s); his knees give, he slides down the side of the island to sit on the tiles and slumps over onto his side (1.9-2.8 s). She covers him with a small black pistol in her right hand, the pan still in her left (1.9-2.8 s), then lets the pan fall - it clatters on the tiles at her feet (about 2.8 s) - presses her left hand back to her side and walks on slowly toward screen left past the island, limping a little (3.1-5.0 s). He stays down. The pots still sway behind her. Where her left hand presses her right side there is only a darker wet patch soaked into the green velvet: no red anywhere, no blood on her hand or her dress.
THE ROOM stays full and alive exactly as in the first frame: every piece of furniture, every prop and every light stays where it is for the whole clip; nothing disappears, nothing new appears. Steam keeps rising softly over the range.

CAMERA: LOCKED OFF ON A TRIPOD in every shot. The camera never moves: no push-in, no zoom, no dolly, no pan, no tilt, no handheld drift, no shake on the shots. The framing of the first frame of each shot holds unchanged to its last frame; only the characters and objects move inside it.
GAZE: nobody ever looks into the lens. Every face is turned to another character, to an object or past the edge of the frame exactly as described; when someone turns, the head turns past the camera without the eyes stopping on it.
MOTION: every movement is continuous and physically believable: the weight shifts before each step, the hips lead, hands speed up and slow down, nothing snaps from pose to pose, nobody slides or glides, nothing freezes. A fight is tight stunt choreography with real contact: the body that is struck reacts at the very moment of contact and loses balance in the direction of the blow. A man who goes down goes down in stages with his real weight - the knees give, he drops to them or sits back, then slumps onto his side - never stiff as a plank, never flying backwards, never bouncing.
CAUSE: nothing appears from nowhere: every object a hand takes is visible where it lies before the hand reaches it. Every fall has its visible cause in the same shot. Nobody passes through a wall, a door, a table or another person. Hands have five fingers and real contact.
LOOK: a glossy high-end stylised 3D animated feature film, exactly the look of the reference images: sculpted stylised characters with soft subsurface skin and a warm blush, glossy sculpted hair with loose strands, rich velvet, satin, brass and marble, cinematic light with soft bloom on every lamp and highlight, gentle shallow depth of field. Never photoreal, never 2D, never anime.
AUDIO: her heels on the tiles, his heavy charging footsteps, the whoosh of the hook, a deep metallic CLANG of the pan on his head, the hanging pots ringing and knocking, his groan and the thud of him sliding down the island, the pan clattering on the tiles, her uneven footsteps going away; the simmering pots, the alarm bell ringing faintly behind the swing doors. No music, no score, no singing.

Вложения: Image 1 — ключевой кадр общего плана, Image 2 — кадр второго плана у рояля, Image 3 и 4 — листы героини и пианиста, Video 1 — черновик из Blender, 9 секунд.

EXACT CAST: the heroine and the dead pianist on the floor. Nobody else.

ACTIVE REFERENCES
Image 1 - FIRST FRAME: frame 0 is this image exactly - SHOT 1, the wide ballroom: she in the near foreground at the right, seen from behind, the piano under the broken dome, the pianist lying beside the bench.
Image 2 - how CUT 2 looks: at the piano bench, she sitting on it, the pianist lying in the low foreground, the ballroom behind.
Image 3 - the character sheet of the heroine. Controls the face, hair and clothes only; the sheet layout and grey background are not inherited.
Image 4 - the character sheet of the pianist. Controls the face, hair and clothes only; the sheet layout and grey background are not inherited.
Video 1 - a rough grey-box sketch made in 3D software by the director. It shows only WHO is WHERE, where every object is before anyone touches it, which way everyone moves and the ORDER of the events with their rough moments. Its motion is crude: limbs snap, bodies slide, falls are stiff and the speed is wrong. Do NOT copy its motion, its poses, its speed, its exact timing, its camera position or lens, or its blocky shapes and flat colours. Perform every movement yourself, the way a real stunt team and great character animators would: smooth, continuous, with real weight, balance, anticipation and follow-through. The images above are the look; you do everything better than this sketch. Colour key: the mannequin in emerald green with a copper head and bun is the heroine, grey mannequins with black heads are the bodyguards, the burgundy one with a white head is the hotel owner, small black blocks are pistols; the white-and-black mannequin lying on the floor is the pianist and the black shape under the dome is the grand piano.

FORMAT: one horizontal 16:9 clip of 9 seconds made of 2 shots joined by hard cuts at the CUT marks, real-time motion at natural speed, no speed ramps, no freeze frames, no dissolves unless a shot says so. No subtitles, captions, letters or logos anywhere.

SCENE CONTEXT
A short noir revenge story in a grand old mountain hotel on a snowy winter night. The hotel singer, married to the hotel owner, goes up to his penthouse to settle the score: he had the young pianist she loved killed. She fights her way up, is wounded, faces her husband, and comes down to die beside her lover at the piano in the ballroom. This is the end: she comes down to the ballroom, where he was killed beside his piano.

SHOTS (approximate moments - real movement sets the pace)
SHOT 1, 0-3.3 s: as in Image 1, the camera still: she walks slowly away from us between the banquet tables toward the piano and the pianist lying in the moonlight, unsteady, swaying a little, her left hand pressed to her side, her right hand empty - she has no pistol any more. Snow falls through the broken dome in the shaft of moonlight; glass crunches under her heels.
CUT 2, 3.3-9.0 s: as in Image 2, one continuous take, the camera still: she sits on the piano bench beside him, her eyes lowered on his face for a long moment (3.3-4.4 s). Then she turns on the bench to the keys, lays the fingers of her right hand on them and plays a few slow, soft, broken notes, her left hand still pressed to her side (4.4-6.6 s). Her hand stops on the keys. Slowly, with her last strength, she leans forward and lays her forearm on the piano and her cheek on her forearm, her eyes closing; she settles and stays still (6.6-9.0 s). He lies motionless the whole time, eyes closed. Snow keeps settling on them both. Where her left hand presses her right side there is only a darker wet patch soaked into the green velvet: no red anywhere, no blood on her hand or her dress.
THE ROOM stays full and alive exactly as in the first frame: every piece of furniture, every prop and every light stays where it is for the whole clip; nothing disappears, nothing new appears.

CAMERA: LOCKED OFF ON A TRIPOD in every shot. The camera never moves: no push-in, no zoom, no dolly, no pan, no tilt, no handheld drift, no shake on the shots. The framing of the first frame of each shot holds unchanged to its last frame; only the characters and objects move inside it.
GAZE: nobody ever looks into the lens. Every face is turned to another character, to an object or past the edge of the frame exactly as described; when someone turns, the head turns past the camera without the eyes stopping on it.
MOTION: every movement is continuous and physically believable: the weight shifts before each step, the hips lead, hands speed up and slow down, nothing snaps from pose to pose, nobody slides or glides, nothing freezes. A fight is tight stunt choreography with real contact: the body that is struck reacts at the very moment of contact and loses balance in the direction of the blow. A man who goes down goes down in stages with his real weight - the knees give, he drops to them or sits back, then slumps onto his side - never stiff as a plank, never flying backwards, never bouncing.
CAUSE: nothing appears from nowhere: every object a hand takes is visible where it lies before the hand reaches it. Every fall has its visible cause in the same shot. Nobody passes through a wall, a door, a table or another person. Hands have five fingers and real contact.
LOOK: a glossy high-end stylised 3D animated feature film, exactly the look of the reference images: sculpted stylised characters with soft subsurface skin and a warm blush, glossy sculpted hair with loose strands, rich velvet, satin, brass and marble, cinematic light with soft bloom on every lamp and highlight, gentle shallow depth of field. Never photoreal, never 2D, never anime.
AUDIO: her slow footsteps on the parquet and glass crunching, her heavy breathing, the soft rustle of the falling snow, a few slow soft notes of the piano under her hand, then silence. No other music, no score, no singing.