Как сделать трендовое видео с ИИ: промпты и исходники

EXACT CAST: two men on two galloping horses, nobody else.

ACTIVE REFERENCES
Image 1 - FIRST FRAME: frame 0 is this image exactly - the camera, the framing, both horses, both men, the sea, the low sun, the light and the colour.
Image 2 - character sheet of the first man, on the dapple-grey horse: a lean man of about 35 with a SHORT glossy jet-black bowl-cut bob cut level at the jaw with a heavy straight fringe, a thick black moustache, dark tattoos on his neck, gold aviator sunglasses with amber lenses, a rust-brown 1970s three-piece suit with wide peaked lapels and wide flared trousers, a cream shirt with a long pointed collar, a brown-and-gold paisley tie. Controls his face, hair, glasses, tattoos and clothes only; the sheet layout, poses, street and old cars are not inherited.
Image 3 - character sheet of the second man, on the bay horse: a tall lanky pale man of about 35 with a thick ginger bowl haircut with a straight fringe, a bushy ginger moustache, large thin-rimmed square 1970s glasses, an olive-green corduroy 1970s suit, a cream shirt, a brown patterned tie. Controls his face, hair, glasses and clothes only; the sheet layout, poses and grey background are not inherited.
Video 1 - a rough grey-box sketch made in 3D software: a reference of the director's THOUGHT, only to show what I want to see - roughly where the camera is and how it travels, who rides where, which way they go, when the grey horse overtakes and in what order things happen. It is NOT a template: do not copy its exact camera position, camera path, lens, framing or speed, its poses, its timing or its blocky shapes and flat colours. Move the camera the way a real cinematographer on a camera car would, and let the riders, horses and water move the way real ones do, with real weight; you do everything better than this sketch. Colour key: the brown horse with the man in the green suit and orange hair is the bay with the second man; the pale grey horse with the man in the brown suit and black hair is the dapple-grey with the first man; the white blobs are splashes and foam; the white disc is the sun.

FORMAT: one horizontal 16:9 clip of 17 seconds, ONE continuous shot with no cuts, real-time motion at natural speed, no slow motion, no speed ramps, no freeze frames. No subtitles, text, captions, letters or logos anywhere.

SCENE CONTEXT
The same two friends in their best 1970s suits, the evening after their ride across the meadow: they have galloped all the way to the sea and now race each other flat out along the edge of the surf into the sunset, wild with joy. The grey is a little faster and wins the race.

LOCATION MAP
They gallop from the left of the frame toward the RIGHT the whole time, along the shoreline, through ankle-deep shallow water where the last of the waves runs up the sand. The bay with the ginger man is nearer to the camera; the dapple-grey with the black-haired man is further out in the water. Behind them: the open sea to a straight horizon, small foamy waves rolling in, a dark headland far away on the left, the low sun above the sea on the left. In front of them: wet mirror-like sand reflecting the sky, with a thin sheet of water sliding over it.

CAMERA: a camera car drives along the wet sand beside them at exactly their speed, about six metres away, the lens at saddle height, a normal lens. The camera keeps both riders in the frame and stays centred between them as they change places; the sea and the waves stream past behind them. Steady, with only the light vibration of the car on the sand. No push-in, no zoom, no pan away, no change of side.

LOOK: as Image 1 - golden hour, the sun low above the sea behind the riders, so the men and horses are backlit with warm amber rims of light on their hair, the manes, the tails and the flying spray; faces and suits in soft warm shade. A muted, faded 1970s film palette - soft lifted blacks, gentle contrast, low saturation, warm amber highlights, slightly teal shadows. Shot on a cinema camera with a vintage lens: soft roll-off in the highlights, a little halation and a soft flare around the sun, natural fine film grain, nothing digitally sharpened.

ACTION TIMING / PERFORMANCE (approximate - real movement sets the pace)
PHASE 1, 0-3 s: as in Image 1, the bay is half a length ahead and nearer; the second man leans into the gallop, both hands on the reins, laughing. The first man on the grey rides behind on the left.
PHASE 2, 3-7.5 s: the first man crouches low over the grey's neck and urges it on; the grey surges, draws level behind the bay and overtakes it, and by 7.5 s the grey is half a length AHEAD, on the right of the frame, still further from the camera than the bay. At about 6.5 s the second man glances at him as he passes, then looks ahead again.
PHASE 3, 7.5-11.5 s: the second man lets go of the reins and throws both arms up into a wide V above his head, head tipped back, laughing into the wind, the low sun flashing in his glasses, riding with his knees alone. Then he takes the reins again.
PHASE 4, 11.5-14.5 s: a bigger wave washes in under the horses and both gallop straight through it in a great burst of glowing spray; at the same time the first man stretches his right arm out ahead, pointing at the setting sun along the way they ride, shouting with joy.
PHASE 5, 14.5-17 s: both men ride with both hands on the reins, leaning into the gallop, the horses at full stretch side by side, the grey still just ahead.

PHYSICS: real horses at a full four-beat gallop with real weight - heads and necks pumping, manes and tails streaming, every hoof striking the shallow water and throwing up a burst of spray that glitters in the backlight and falls back in drops; the wet sand and the water reflect the horses' legs. The men rise and fall with the stride, their jackets, ties and trousers flapping in the wind, their trousers darkened with sea spray. Hands have five natural fingers; the reins stay in the hands that hold them.

GAZE: nobody ever looks into the lens - the men look ahead along the way they ride, toward the right edge of the frame, at the sun, up at the sky, or briefly at each other.

AUDIO: real outdoor sound only: hoofbeats in water, splashing, the surf, wind, the men laughing. No music, no speech, no words.

POSITIVE LOCKS
- One continuous take from the side; the horses gallop toward the right from first frame to last.
- The bay always stays nearer to the camera and the dapple-grey further away; only their order along the shore changes when the grey overtakes.
- The first man's hair stays a short jaw-length black bob; his gold aviators stay on; his brown three-piece suit and paisley tie stay the same.
- The second man's ginger bowl haircut, moustache, glasses and olive corduroy suit stay the same.
- Both men stay in their saddles the whole time. No hats.
- Nobody looks into the lens. No text, no letters, no logos, no watermark anywhere.

Image 1 — кадр 0 черновика, Image 2 — кадр прошлого ролика с теми же лошадьми: из него модель взяла лошадей, сбрую, высоту камеры и объектив (сам кадр здесь не показываем). Image 3 и Image 4 — листы героев.

A real photograph, a frame from a 1970s-style feature film shot on location on 35 mm film: two men in suits galloping two horses along the edge of the sea at sunset, filmed from a camera car driving alongside them on the wet sand.

Image 1 is a rough grey-box layout sketch: use it ONLY for where things are in the frame - the camera at saddle height looking straight across at the riders from the side; both horses galloping toward the RIGHT edge of the frame; the bay horse nearer to the camera and slightly ahead, filling the right half; the dapple-grey further away, half a length behind it on the left, partly behind the bay's hindquarters but both horses and both men clearly visible; the sea behind them to the horizon; the low sun above the horizon on the left. Its flat colours and blocky shapes are NOT inherited.

Image 2 is a still of the same two horses from an earlier scene of this film: take from it the horses (the dapple-grey with the white tail, the bay with the black mane, black tail and white socks), their saddles, saddle blankets and bridles, the camera height and the lens, and its real photographic quality. In our frame their order is different: the BAY is nearer to the camera and ahead, the dapple-grey further away and behind. Its meadow, overcast sky and cool colour are NOT inherited.

- The rider on the near bay horse is the man from Image 4: a tall lanky pale man of about 35 with a thick ginger bowl haircut with a straight fringe, a bushy ginger moustache, large thin-rimmed square 1970s glasses, an olive-green corduroy 1970s suit, a cream shirt, a brown patterned tie. He leans into the gallop with both hands on the reins low over the horse's neck, his corduroy jacket and tie flapping, his ginger hair blown back, laughing. He looks ahead along the way they ride, toward the right edge of the frame; we see his face in profile.
- The rider on the far dapple-grey is the man from Image 3: a lean man of about 35 with a SHORT glossy jet-black bowl-cut bob cut level at the jaw with a heavy straight fringe, a thick black moustache, dark tattoos on his neck, gold aviator sunglasses with brown lenses, a rust-brown 1970s three-piece suit with wide peaked lapels and wide flared trousers, a cream shirt with a long pointed collar, a brown-and-gold paisley tie. He rides with both hands on the reins, leaning forward, the wind pushing his short black bob back; he looks ahead toward the right edge of the frame, past the first man; we see him in profile.

LOCATION: a wide empty beach. The horses gallop through ankle-deep shallow water at the very edge of the surf, and every hoof throws up a burst of glittering spray; small foamy waves roll in behind them; wet mirror-like sand in the foreground reflects the sky; the open sea runs to a straight horizon with a dark headland far away on the left.

LIGHT AND COLOUR: golden hour - the sun sits low above the sea behind them on the left, so the men and horses are backlit, with warm amber rims of light on their hair, on the horses' manes and outlines and on the flying spray; their faces and suits are in soft warm shade, never studio-lit. A warm hazy sky fading from pale gold to peach. A muted, faded 1970s film palette - soft lifted blacks, gentle contrast, low saturation, warm amber highlights and slightly teal shadows, natural film grain, a little halation around the sun.

Image 3 and Image 4 are character sheets: take only each man's face, hair, moustache, glasses and clothes from them; their layout, poses and backgrounds are NOT inherited. Both men stay firmly in their saddles. Nobody looks into the lens. No hats. No text, no letters, no logos, no watermark anywhere.

Это текст основного дубля с уже внесённой правкой про телефон. Целиком по нему ролик не генерировался: финал склеен из основного дубля и пересъёмки начала.

EXACT CAST: one man, nobody else.
POINT OF VIEW: this whole video IS the recording of his own phone. We look through his phone, so his phone is never in the picture - no phone, no second camera, no screen anywhere in the frame. He holds it himself at arm's length: his right arm leaves the frame at the lower right corner.
ACTIVE REFERENCES
Image 1 - FIRST FRAME: frame 0 is this image exactly - the man filming himself with the front camera of his phone inside the salt cave, his face and clothes, the bubbly white salt wall behind him, the cold violet light.
Image 2 - WHAT THE PHONE SEES AFTER IT TURNS AROUND: the view from inside the same salt cave out through its mouth - the dark rock ceiling, the salt crust and the shallow pools on the floor, the night ocean, the tall dark sea stack on the left, the violet spiral galaxy, the pale cratered moon with a round hole straight through it, the thick pink waterfall pouring from the hole into the sea, its cloud of glowing mist, the pink clouds on the horizon.
Image 3 - his character sheet with front, side and back views, and Image 4 - his face: a lean young man with pale freckled skin and light blue eyes, a ginger-blond bowl haircut with a straight thick fringe and shaved sides, a huge waxed ginger handlebar moustache with both ends curled up into rings; a mustard-yellow windowpane-check cropped jacket, a turquoise shirt buttoned to the top and a big burgundy velvet bow tie. They control his face, haircut, moustache and clothes only; their white studio background and studio light are not inherited.
Video 1 - a rough grey-box sketch made in 3D software: a reference of the director's THOUGHT, only to show what I want to see - roughly how close the camera is to his face, when he puts his hand on his head, when and which way the phone swings around, how the camera then walks toward the mouth of the cave, when the waves come in and when the camera zooms in on the moon. It is NOT a template: do not copy its exact camera position, path, framing or speed, its poses, its timing or its blocky shapes and flat colours. Move the phone the way a real person filming on a phone would, and move the man like a real astonished person; you do everything better than this sketch. Colour key: the yellow blocky figure with the orange cap is the man - the orange bar is his moustache, the magenta block his bow tie, the turquoise block his shirt; the lilac-white bubbles are the salt crystals, the dark bubbles above are the rock ceiling; the grey disc with the black hole is the moon, the white column is the water pouring out of it, the dark block on the left is the sea stack, the purple shape is the galaxy, the grey ovals on the floor are the waves running into the cave.
FORMAT: one vertical 9:16 clip of 15 seconds, ONE continuous shot with no cuts, filmed on his phone in his hand, real-time motion. No subtitles, text, captions, letters or logos anywhere.
SCENE CONTEXT
Day 3 on an alien planet. A man filming a video diary on his phone has found a sea cave made of salt at the edge of the ocean. Through the mouth of the cave, behind his phone, he sees something impossible and cannot believe his eyes; then he turns the phone around to show it: the moon has a hole in it and a whole ocean pours out of it.
ONE PLACE: Images 1 and 2 are the same cave at the same moment, seen in two opposite directions - the salt wall behind him, and the mouth of the cave in front of him. The salt, the rock and the light stay the same for the whole clip.
CAMERA: his own phone at arm's length, natural handheld micro-shake, a wide phone lens.
PHASE 1, 0-4 s: the selfie of Image 1, the camera a little below his face, looking slightly up at him.
PHASE 2, 4.0-5.2 s: in one quick smooth whip he swings the phone around to his right so its camera faces the mouth of the cave; the salt walls and the dark rock ceiling streak past with motion blur.
PHASE 3, 5.2-12.3 s: the view of Image 2. He walks slowly toward the mouth of the cave, the phone handheld, rising a little toward the moon. At 8 s a big wave rolls into the cave from the left and breaks into white foam over the salt crust and the pools; at 9.5 s a second wave from the right; spray flies in the wind.
PHASE 4, 12.3-13.6 s: the phone zooms in fast toward the moon until the moon with its round hole and the thick pink waterfall pouring out of it fill the frame; 13.6-15 s it holds on the moon, handheld, the water pouring down without end.
PERFORMANCE:
0-1.5 s: frozen in awe - eyebrows raised high, eyes wide, mouth slightly open under the moustache, breathing hard, the wind ruffling his fringe.
1.5-3.5 s: slowly he raises his left hand and puts it on top of his head, pressing his hair down, still staring, mouth open.
3.5-4 s: he lowers the hand. He never speaks.
GAZE: his eyes look past the phone, up and to the left of the frame, at the moon far behind the camera - never into the lens.
LOOK: as Images 1 and 2 - a real phone video at night: cold violet and blue light, pale pink highlights, a soft slightly noisy image, deep blue-black shadows.
AUDIO: real sound only: roaring wind, crashing waves, the deep rumble of the falling water, his heavy breathing. No music, no speech, no words.
POSITIVE LOCKS
- We see through his phone: no phone is ever in the picture.
- One continuous handheld phone shot: the selfie, the whip turn at 4 s, the view out of the cave, the fast zoom on the moon at 12.3 s.
- He is always the same man of Images 3 and 4: the ginger bowl cut, the curled handlebar moustache, the yellow check jacket, the turquoise shirt, the burgundy bow tie.
- His eyes always look past the phone, never into the lens.
- The moon keeps its round hole and the pink waterfall pours from it for the whole clip.
- No text, no letters, no logos, no watermark anywhere.

Вложения: Image 1 — первый кадр, Image 2 — лист, Image 3 — лицо, Video 1 — черновик, обрезанный до 6 секунд.

EXACT CAST: one man, nobody else.
POINT OF VIEW: this whole video IS the recording of his own phone's front camera. We look through his phone, so his phone is never in the picture - no phone, no second camera, no screen, no device anywhere in the frame. He holds it himself at arm's length: his right arm reaches out toward the lower right corner and leaves the frame there; only his shoulder and the start of his sleeve can be seen at the edge.
ACTIVE REFERENCES
Image 1 - FIRST FRAME: frame 0 is this image exactly - his face close to the camera, the bubbly white salt wall behind him, the cold violet light. Nothing is held in front of him.
Image 2 - his character sheet with front, side and back views, and Image 3 - his face: a lean young man with pale freckled skin and light blue eyes, a ginger-blond bowl haircut with a straight thick fringe and shaved sides, a huge waxed ginger handlebar moustache with both ends curled up into rings; a mustard-yellow windowpane-check cropped jacket, a turquoise shirt buttoned to the top and a big burgundy velvet bow tie. They control his face, haircut, moustache and clothes only; their white studio background and studio light are not inherited.
Video 1 - a rough grey-box sketch made in 3D software: a reference of the director's THOUGHT, only to show roughly how close the camera is to his face, when he puts his hand on his head and when and which way the view swings away. It is NOT a template: do not copy its exact camera position, framing or speed, its poses, its timing or its blocky shapes and flat colours; you do everything better than this sketch. Colour key: the yellow blocky figure with the orange cap is the man - the orange bar is his moustache, the magenta block under his chin is his bow tie; the lilac-white bubbles are the salt crystals, the dark bubbles are the rock.
FORMAT: one vertical 9:16 clip of 6 seconds, ONE continuous shot with no cuts, real-time motion. No subtitles, text, captions, letters or logos anywhere.
SCENE CONTEXT
Day 3 on an alien planet. A man filming a video diary of himself has found a sea cave made of salt at the edge of the ocean. Behind the camera, through the mouth of the cave, he sees something impossible and cannot believe his eyes.
LOCATION: inside the salt cave, the wall right behind him covered with bubbly white salt crystals like frozen sea foam, wet and glittering, dark rock above.
CAMERA: a handheld selfie with natural arm micro-shake, a wide front-camera lens, the camera a little below his face looking slightly up at him.
PHASE 1, 0-4 s: the selfie of Image 1.
PHASE 2, 4.0-6 s: in one quick whip the view swings away from his face toward the left of the frame - his face slides out of the right edge, the salt wall and then the dark rock streak past from left to right as a smeared motion blur; at 4.6 s the picture is an almost black smear of dark rock, and it keeps sweeping, blurred and dark, to the end.
PERFORMANCE:
0-1.5 s: frozen in awe - eyebrows raised high, eyes wide, mouth slightly open under the moustache, breathing hard, the wind ruffling his fringe.
1.5-3.4 s: slowly he raises his left hand and puts it on top of his head, pressing his fringe down, still staring, mouth open.
3.4-4 s: he lowers the hand. He never speaks.
GAZE: his eyes look past the camera, up and to the left of the frame, at the thing far behind the camera - never into the lens.
LOOK: as Image 1 - a real phone video at night: cold violet and blue light, pale lilac highlights on the salt, a soft slightly noisy image, deep blue-black shadows.
AUDIO: real sound only: roaring wind, distant crashing waves, his heavy breathing. No music, no speech, no words.
POSITIVE LOCKS
- We see through his phone: the frame shows only his face, shoulders and the salt wall; nothing is held in front of him and no phone is ever in the picture.
- He is always the same man of Images 2 and 3: the ginger bowl cut, the curled handlebar moustache, the yellow check jacket, the turquoise shirt, the burgundy bow tie.
- His eyes always look past the camera, never into the lens.
- No text, no letters, no logos, no watermark anywhere.

Image 1 — кадр популярного ролика, из которого взято только кадрирование селфи (его мы не публикуем), Image 2 — лист, Image 3 — лицо.

A still frame from a real vertical 9:16 phone video at night: the man is filming himself with the front camera of his phone held at arm's length, slightly below his face.

Take ONLY the framing from Image 1: his face in the upper middle of the frame, close to the lens, his shoulders and chest at the bottom edge, a phone wide-angle lens. Nothing else from Image 1 - not its man, not his face, not his clothes.

The man is exactly the man of Images 2 and 3: his ginger-blond bowl haircut with a straight thick fringe and shaved sides, a huge waxed ginger handlebar moustache with both ends curled up into rings, pale freckled skin, light blue eyes, a mustard-yellow windowpane-check cropped jacket, a turquoise shirt buttoned to the top and a big burgundy velvet bow tie. Image 2 is his character sheet and Image 3 his face: keep his face, haircut and moustache exactly; their white studio background and studio light are not inherited.

He is stunned: eyebrows raised high, eyes wide open, mouth slightly open under the moustache, the wind ruffling the fringe of his bowl cut. He does NOT look into the camera: his eyes look past the phone, over its top edge and a little to the left of the frame, at something huge far behind the camera.

He stands inside a cave of salt: the wall right behind him is covered with bubbly white salt crystal formations like frozen sea foam and cauliflower, wet and glittering. A cold violet-blue glow from the mouth of the cave behind the camera lights his face and the salt wall; fine drops of sea spray glisten on his skin and his moustache.

Look: a real phone video at night - soft, slightly noisy, a violet and blue palette with pale lilac highlights on the salt, deep blue shadows. No text, no letters, no logos, no watermark, no phone visible in the frame.