AI 视频生成器

Three Worlds Express

模型

提示词

SCENE CONTEXT
Single continuous 15-second shot. Vertical 9:16. Photoreal live-action. The camera is bolted inside a moving train carriage and never moves, never pans, never zooms, never cuts. THREE worlds, connected by TWO cloud passages. No stations, no tunnels bored through rock, no space.
The train interior is a clean modern commuter carriage with white-grey walls, large rectangular windows with black rubber seals and painted metal trim, a worn light-grey ledge beneath the window, slim overhead strip lights, ceiling ventilation panels, and blue-grey vinyl bench seating. Only a minimal sliver of this interior is visible because the framing stays locked toward the window.
FRAMING — THE WINDOW IS ALMOST THE WHOLE FRAME
The camera is turned nearly square-on to the glass so the window is seen head-on and its full rectangle is visible edge to edge. The window occupies roughly 85% of the total frame — from the top edge down to the bottom sixth, filling the entire left and centre. The character is SMALL and pushed to the far right edge, occupying only the right 15% of the frame width, a narrow vertical slice, seen in profile and cropped by the frame edge so we see them from the shoulder forward. Visible interior is minimal: the rubber seal, the metal trim, the ledge, a sliver of ceiling panel at the very top. If the character takes up more than a sixth of the frame, the framing is wrong. Every landscape must be readable across its full width at all times.
ACTIVE REFERENCES
@Image 1 — MAIN CHARACTER FACE REFERENCE. Controls ONLY the character’s exact face, facial structure, skin texture, eyes, brows, lips, and hair. 100% match, zero drift. This is a face-only reference: do not inherit clothing, pose, lighting, accessories, or background from the reference image. Instead, the character must be generated in-scene wearing a grey oversized hoodie, dark denim jeans, and white wired earbuds with a visible cable. If the face reference is male, render a young man and make the clothing read naturally masculine in fit and styling. If the face reference is female, render a young woman and make the clothing read naturally feminine in fit and styling.
@Image 2 — WORLD ONE, THE MEADOW: ordinary sunlit summer meadow tearing past at speed — long grass laid over in racing wind-waves, dandelion clocks shredding, buttercups whipping, the low treeline bending, pale blue sky with torn cirrus. Window content only, 0.0–3.8s.
@Image 3 — WORLD TWO, the rose-quartz valley: towering translucent pink crystal spires rising from green meadow slopes, a winding pink glass-smooth river, banks crowded with large pale-pink blossoms, soft green mountain ridges behind, silver-grey daylight sky. Window content only, 5.7–9.4s.
@Image 4 — WORLD THREE, the cloud-sea hills: colossal round emerald hills breaking through a rolling white fog ocean, small white houses with dark roofs on each summit, a narrow grey road winding up the slope with a few tiny cars, streetlamps, deep blue sky above the mist. Window content only, 10.7–15.0s.
CRITICAL REFERENCE RULE. Every landscape reference is a WINDOW PLATE. None ever becomes the full frame, none dictates the camera, none replaces the interior. We stay inside this carriage, at this exact angle, for all 15 seconds.
SPEED AND DIRECTION — LOCKED
The train travels forward in one single direction for all 15 seconds and it is FAST. It never turns, never banks, never reverses. Static scenery always drifts across the glass in ONE unchanging direction: entering at the window’s forward edge (frame left) and exiting at its rear edge (frame right). Never the opposite.
ABSOLUTELY NO SLOW MOTION. Every frame runs at real-time speed. We pass these worlds — we do not float through them. Foreground detail streaks with genuine motion blur. Wind moves at real wind speed. Water falls at real speed. Petals drift at real physical speed.
If any element looks dreamy, floaty or retimed, it is wrong.
Every transition is the same manoeuvre: the nose pitches up to roughly 45° and the train flies FORWARD and UPWARD along its own axis into a cloud bank, gaining altitude while still travelling ahead. Never a vertical lift, never hovering. This reads through the world outside and through the slant of the light rectangle on the interior wall — never through a tilted camera. The camera horizon stays level. After each cloud the train levels back to horizontal.
THE SUN — MANDATORY, TREATED AS A CHARACTER
The sun is a real physical light source in every world and must be visibly working in the frame.
* It is low, hard and bright, sitting within or just outside the window’s field so its light rakes directly through the glass into the carriage.
* Because the train moves forward and the sun is fixed, its position shifts across the window in real time and its beam sweeps continuously through the interior — a hard bright rectangle travelling across the ledge, up the wall, over the character’s face and hair, then moving on. This sweep never stops in the daylight worlds.
* Every time the sun passes behind something outside — a crystal spire, a hill summit, or a cloud tower — the whole interior darkens for a beat then blows bright as it clears. This flicker of light and shadow is one of the main signs of speed.
* Real optical behaviour on the glass: the sun blooms across the dirt and scratches on the window, veiling glare washing across the pane at certain angles, faint chromatic fringing at the frame edges. No streak flares, no star flares, no lens-flare overlays.
* The sun glints hard off water: sharp moving specular sparkles on the pink river, a bright shifting sheen on the fog sea and cloud-sea tops, a burning rim along the edge of every cloud it stands behind.
* Karima’s face is lit almost entirely by this light through the glass — hard warm key on the window side, deep soft shadow on the carriage side, bright rim along their cheek, nose bridge and the edge of their hair. Their eyes narrow slightly when the beam crosses them and relax when it passes.
THE WIND — MANDATORY, STRONG AND VISIBLE
Strong wind, not a breeze, and every organic surface in every world reacts on its own layer and its own timing.
* Grass is laid over in travelling gusts: waves race across whole meadow slopes and hill faces, flattening blades in a moving band that crosses the frame in under a second, springing back behind.
* Pink flowers along the crystal river whip and nod violently on thin stems, petals torn loose and streaking past the glass.
* Loose material rides the air: petals, seed fluff, pollen, dust and torn grass streaking past close to the glass.
* Fog and cloud are sheared by the wind — edges tearing and re-forming, thin veils pulled off the hill summits and off the cloud-sea tops, whole shapes deforming as they move.
* Chimney smoke is bent almost horizontal.
* Wind noise bleeds through the window seal — a constant pressure hiss rising and falling with the gusts.
FIRST FRAME AND SPATIAL BLOCKING
[FRAME] Vertical.
Window seen almost square-on, filling the frame from top edge to lower sixth, across the entire left and centre. The character at the far right, x≈90%, small, cropped by the frame edge, in profile.
[ORIENTATION] Turned toward the window, back and right shoulder toward the lens, roughly 25% of their face readable in profile, lit entirely by the sun through the glass.
[HEAD] Level, chin neutral, eyes DOWN on the phone in their left hand. Never at the camera at any point.
[ARMS] Right arm raised to the pole at shoulder height, hand wrapped around the metal, fingertips not meeting. Left arm bent at the waist, phone at chest level, thumb resting on it. Earbud cable in a soft slack loop.
[TORSO] Upright, weight settled slightly on the right leg.
[LEGS] Feet shoulder-width, braced against the carriage’s motion, right foot half a step forward, knees soft.
[BANS] No eye contact with the lens. No head rotation past 90°. No arms above the head. No other passengers, ever. They never cover more than a sixth of the window.
CAMERA
Fixed rigid mount. Wide-angle spherical lens, roughly 80° horizontal field of view in vertical orientation, mild natural barrel distortion. Focus on the glass plane and on them.
The camera is a passenger with weight: continuous low-frequency sway for all 15 seconds — 2–4 pixels of vertical bob at about 1.5 Hz plus a slow 1–2 pixel roll — never stopping, never smooth, never perfectly still. At each pitch-up the shake spikes to 10–16 pixels of high-frequency vibration for 0.3 seconds and decays over 0.6 seconds; dust motes in the sunbeam jitter. No pans, no zooms, no dollies, no dutch-angle changes, ever.
OPTICS
Photoreal digital cinema capture. Fine organic grain. Real specular behaviour on metal and glass. Genuine dirt, water-spots and hairline scratches on the window that light up whenever the sun rakes across them. No anamorphic squeeze, no lens-flare overlays, no floating bokeh circles, no glow, no CG gloss, no beauty filter, no plastic skin.
ACTION TIMING
0.0–0.8s — WORLD ONE, THE MEADOW (@Image 2), ground level.
Ordinary sunlit summer meadow tearing past at speed — long grass laid over in racing wind-waves, dandelion clocks shredding, buttercups whipping, the low treeline bending, pale blue sky with torn cirrus. Near grass is a hard horizontal smear; mid-field readable; treeline drifting with real parallax. Seed fluff streaks past the glass. Everything flows left to right. Hard low sun rakes through the window, its bright rectangle lying across the ledge. The character looks down at their phone, uninterested. One small thumb scroll.
0.8–1.2s — PA CHIME.
A thin two-tone station chime from small ceiling speakers, tinny and compressed. The character does not react — their eyes flick up two millimetres and drop back.
1.2–2.4s — ANNOUNCEMENT.
A calm female voice through the overhead speakers, compressed, speaker-thin, faint echo down the empty carriage: {"Next station… Dream Core."} English, unhurried, exactly like a real transit announcement. Outside the meadow keeps tearing past and the sunbeam sweeps up the wall.
2.4–2.8s — CHIME OUT.
The same two-tone chime closes the announcement. Under it the drive-note climbs.
2.8–3.3s — FIRST PITCH-UP.
A hard mechanical lurch as the nose rises to 45°. The camera snaps 14 pixels and vibrates. The character’s knees absorb it, their torso pitches forward 15°, their pole grip tightens — tendons raised, knuckles pale — and their left arm swings out, the phone tipping in their palm. Their hair lifts and falls. They catch themself. THEN their head turns 40° toward the window, and their EYES GO THE SAME WAY as their head.
3.3–4.2s — CLIMBING.
Flying forward and upward at 45°. The ground falls away fast: the treeline slides down out of the window’s lower edge, the meadow shrinks to a patchwork with cloud shadows racing across it, the horizon bows, the sky expands. The sun swings across the window and its rectangle skews and climbs the wall. They slide the phone into the hoodie pocket without hurrying — the earbud cable pulling into a shorter loop, swinging once against their chest — and bring both hands onto the pole.
4.2–5.7s — CLOUD PASSAGE ONE.
Grey cumulus undersides tower up past the glass, their edges burning where the sun stands behind them, then we punch into the layer: for about one second the glass is a luminous white rectangle with filaments streaking past at speed, and the interior goes flat, shadowless, diffuse white — every hard shadow dies and the sunbeam vanishes. The train levels back to horizontal.
5.7–9.4s — WORLD TWO, THE ROSE-QUARTZ VALLEY (@Image 3).
The white tears open and cool pink-silver daylight slams back across the ledge, the wall and their face, hard low sun burning through with strong veiling glare across the pane.
* Towering translucent pink crystal spires rise from the green valley floor in clusters, hundreds of metres tall, passing with heavy parallax — near spires sweeping by fast, far clusters drifting. Light REFRACTS through them: as each spire crosses the sun, the carriage dims and then a soft rose-tinted flash washes the interior as the sun burns through the crystal. Hard specular glints slide across their facets as our angle changes.
* The pink river winds glass-smooth through the valley, throwing sharp moving sun-sparkles and long pink reflections of the spires that ripple as gusts rake the surface.
* Both banks are crowded with large pale-pink blossoms whipping and nodding violently on thin stems, petals torn loose and streaking past the glass.
* The meadow grass is laid over in racing wind-waves, whole slopes rippling in travelling bands, the green killed and restored by racing cloud shadows.
* Smaller crystal boulders sit half-sunk in the grass like standing stones, still and heavy while everything around them moves.
* Soft green mountain ridges roll behind, nearly motionless with distance, torn cloud dragging across their shoulders.
* Birds cross in flocks against the pale sky.
At about 7.0s the character takes half a step closer and rests both palms flat on the glass, arms nearly straight, fingers splayed, the flesh flattening and paling at the pressure points. Their breath faintly fogs a small oval and clears. From here on they watch — captivated, curious, absorbed, with a small soft closed-mouth smile that barely moves.
9.4–10.7s — SECOND PITCH-UP AND CLOUD PASSAGE.
The nose rises to 45° again with a gentler bump, the camera shaking 8 pixels, their hands staying on the glass. The crystal valley drops below the window’s edge and we fly up into cloud: dense white for about one second, the interior flattening to shadowless white, the light rectangle skewing with the climb. Then level.
10.7–15.0s — WORLD THREE, THE CLOUD-SEA HILLS (@Image 4).
The cloud tears open and hard blue-white daylight floods the carriage. We are flying level just above a rolling ocean of white fog, and colossal round emerald hills break through it like green whale-backs, everything in motion:
* The fog sea itself rolls and pours between the hills — thin veils torn off its surface by the wind, whole banks sliding down the slopes and re-forming, edges shearing continuously. Where the sun catches the fog tops they burn bright with a shifting sheen.
* Each hill summit carries one or two small white houses with dark pitched roofs, their windows flashing hard as they catch the low sun in passing. A wisp of chimney smoke off one of them is bent horizontal.
* The nearest hill sweeps past close and fast with violent parallax — its grass laid over in racing gust-waves, whole bright-green bands flattening and springing back — while the far hills drift slowly, half-drowned in fog.
* The narrow grey road winds up out of the fog and over a saddle between hills: two tiny cars crawl along it with real slow distance-speed, a streetlamp or two standing dead in the daylight. The road is a fast pale streak where it passes near, a thin thread where it climbs far.
* Every time a hill summit crosses the sun, the whole carriage dims and blows bright again — hill after hill, a slow heavy strobe.
* Birds cross in loose flocks low over the fog, banking and flashing in the light.
* Above everything, clean deep-blue sky with a few sheared cirrus.
The character’s face goes from pink-silver to hard blue-white here, the hill-strobe throwing slow bars of shadow and light across their profile.
From about 12.2s the drive note drops in pitch and the rail rhythm spaces out — clack… clack… clack — the world outside decelerating with real inertia, not slow motion, over the remaining seconds. At about 14.4s the train settles to a stop with a soft hydraulic sigh and one last gentle rock forward and back; the character’s body absorbs that final sway through their knees. The last frame holds: the glass, the green hills beyond it breaking through the cloud sea, and their small silhouette at the edge.
PHYSICS
Everything inside obeys the vehicle. The carriage is always gently rocking, all 15 seconds. Dust motes hang in every light beam and jitter with the vibration. The character always moves BECAUSE of the train — one frame after the jolt, never before it, never in perfect sync. Their hoodie compresses at the elbows and shoulders and holds its creases. The earbud cable swings with true pendulum lag, always a beat behind their torso. Their hair is lifted and dropped by every impact.
Outside, scale governs speed: nearest ground streaks into blur, mid-ground moves fast with clean parallax, and the enormous distant elements — the far mountain ridges, the far hills, and the cloud layers — move almost not at all. Nothing gigantic moves quickly. Nothing distant moves at the speed of something near. Falling water always falls downward and throws mist. Nothing teleports.
MATERIALS
Painted metal window trim with real chips and grime in the corners. Worn ledge with dirt in the seams. Window glass with faint water-spots, one hairline scratch and dust along the rubber seal, all of it lighting up when the sun rakes across. Their hoodie: soft, matte, absorbent — light sinks into it, it never shines. Jeans: dense cotton twill with real seam puckering. Skin: subsurface scatter, visible pores, faint down on the cheek edge glowing where the sun rims them. Outside: real translucent mineral crystal with internal fractures and refraction, real grass, real fog, real weather — never plastic, never CG-smooth.
LIGHTING
Motivated entirely by what comes through the window plus a weak neutral ceiling strip. The interior’s colour and intensity change continuously: hard neutral daylight in the meadow → golden haze on each climb → shadowless white flood inside every cloud → cool pink-silver light with rose refraction flashes in the crystal valley → hard blue-white daylight with slow hill-strobing over the cloud-sea hills. The light rectangle must physically travel and skew across the ledge, the wall and their face in every sunlit world — it is never static. If the interior brightness stays constant across these worlds, the shot is wrong.
INTEGRATION LOCK
The character is physically inside this carriage. Their shadow falls on the ledge and wall and moves as the light moves. They are reflected faintly in the glass. They share the carriage’s exposure, grain, haze and lens softness — never sharper, never brighter, never cleaner, never flatter than the trim beside them. The window frame and seal overlap in front of them where the geometry demands it.
EMOTIONAL REGISTER
Extremely restrained throughout. They are captivated and curious — absorbed by what’s outside, with a small soft closed-mouth smile that barely changes for the entire video. Their interest reads through their eyes tracking the view, slow blinks, a two-millimetre brow lift, and their body drawing closer to the glass. Banned completely: wide grins, open mouth, gasps, hands over the mouth, theatrical shock, giggling, tears, any big expression.
AUDIO — SFX ONLY, NO MUSIC
No music, no score, no ambient pads, no swells, nothing melodic anywhere. Only real diegetic sound.
Continuous wheel rumble and rail clatter changing character with each stage: hard steel-on-steel at ground level, thinning into wind rush and a deep drive-hum in the air, muffled and close inside each cloud, opening out again in each new world, slowing to spaced-out clacks at the end. Two-tone PA chime at 0.8s and again at 2.4s with the announcement voice between them. Metallic clang and bass thump at each of the two pitch-ups, the first hardest. Constant wind hiss through the window seal, rising and falling with the gusts. In the crystal valley: a faint high glassy resonance as the spires pass, river hiss, wind through the blossoms. Over the hills: open wind, distant house shutters knocking, birds. Carriage creaks and joints ticking throughout. Hydraulic sigh and settling creak at the stop. Their only vocal sound is one soft exhale.
POSITIVE CONSTRAINTS
Window fills roughly 85% of every frame; the character occupies only the right 15%. Exactly three worlds in this exact order: meadow, rose-quartz valley, cloud-sea hills. Exactly two cloud passages, each a 45° nose-up forward climb. One continuous take, one camera position, one lens, all 15 seconds. Forward travel only, no turns, no banking, no reversal, never a vertical lift. No slow motion anywhere. No horses, no aircraft, no spacecraft; the only vehicles ever visible are the tiny distant cars on the hill road in World Three. No other passengers. No stations or space visible. All text illegible — signage and the phone screen blank, blurred or turned away. No brand logos. No exterior shot of the train. Full photorealism — real skin, real fabric, real metal, real water, real crystal, real blossom. No CG gloss, no plastic sheen, no beauty filter, no over-saturation, no orange-teal grade, no glow overlay. Real highlights, true contrast, no grey washed veil.

20862 / 50000

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时长

分辨率

生成音频2 倍积分Basic+

所需积分50

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