AI 视频生成器

Through the Mirror

模型

提示词

Prompt:
SCENE CONTEXT
A character flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks them through into an underwater city. There, mid-float before the great shell palace, they turn their head — a flash of POV shows a colossal mouth opening onto them — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 15 seconds, full realism.
ACTIVE REFERENCES — STRICT ROLE HIERARCHY
<<<image_1>>>: THEIR EXACT FACE — sole source of identity and features, 100% match, zero drift. Ignore this reference's hair, clothing, background and lighting. Face identity comes from this reference in every single frame.
CHARACTER DESIGN — controls everything except the face: long voluminous wavy chestnut-brown hair past the shoulders; neat elven ears with slender pointed tips; outfit must exactly match the style of the provided costume reference: a white medieval linen top with puffed sleeves, fitted sage-green trousers, tall brown leather boots, brown leather gloves, and a forest-green wool hooded cloak clasped at the collar. If the input face is female, use the feminine version of the outfit with a brown leather underbust corset. If the input face is male, use the masculine version of the same outfit style, adapted as male medieval fantasy clothing while preserving the same overall design language, colors, materials, and silhouette logic. This does NOT control the face.
FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the described look.
UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the described look.
FORMAT MODE
One continuous shot from 0:00 to 0:12, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism.
HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT
Whenever the character checks behind, they do NOT turn toward the camera and do NOT look into the lens. They rotate their head roughly 45° to ONE SIDE and their EYES GO THE SAME WAY their head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn.
SHOT 1 — 0:00–0:01 — HER FEET, LOW AND CANTED
LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing the BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with the rhythm; the pursuer heard far behind in the fog.
SHOT 2 — 0:01–0:02 — HER FACE, FRIGHTENED
Unbroken move: the frame rises and pushes in to the FACE — a tight running close-up travelling with the character, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on the cheek. Twice they perform the 45° glance as specified, eyes going the same way as the head, searching the fog off to that side; then forward again.
SHOT 3 — 0:02–0:03 — THE TRIP, WIDE
Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance the leading boot CATCHES a root — the foot stops dead, momentum throws the character forward, and they go down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over them. They land sprawled, chest heaving.
SHOT 4 — 0:03–0:05 — THE MIRROR THEY ALMOST IGNORE
Unbroken: the camera drifts in from the front, then around to the side, settling into profile with the character and the mirror in frame.
Fear first, curiosity second: sprawled, they check behind with the 45° head-and-eyes turn; the crashing is closer. They scramble up, barely looking ahead — then register an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off the sleeve with ONE hand, the eyes stay on the glass.
THE MIRROR DOES NOT REFLECT: the reflection NEVER appears, no mirror image of the character, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes the face.
ACTING TASK — THE CHOICE (the work happens in the eyes): glass → a 45° glance into the fog behind → glass again; they register that nothing of THEM answers their movement in it; no time to solve it. They extend ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.)
SHOT 5 — 0:05–0:06 — THE YANK: UNDER A SECOND
The fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES the hand. INSTANT: the character is RIPPED off their feet, jerked forward along the outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane.
Camera: caught off guard WITH them — it WHIPS sideways-and-forward, slings around behind the flying body and punches through the rippling surface on the heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT their POV.
SHOT 6 — 0:06–0:09 — ARRIVAL IN THE PLAZA
Same shot, no cut — camera behind the character.
THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of the underwater city; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES the character within a meter or two.
THE BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer.
UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past the shoulders by inertia. The character pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall.
THE HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from the whole head, strands crossing over the crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water.
THE CHARACTER CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding breath. Bubbles rise from the mouth in small silver clusters climbing upward past the face.
ACTING TASK: to ORIENT beneath something impossibly huge — the attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses.
SHOT 7 — 0:09–0:10.5 — SETTLE INTO THE MEDIUM PROFILE FRAME
Same shot, no cut. The camera drifts smoothly from behind around to the side and settles into the framing that holds for the rest of the film:
FRAMING LOCK — MEDIUM PROFILE: the character is seen from their LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; the head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward.
Behind and above, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; bubbles rising past the face. The character hangs weightless with the faintest sway.
SHOT 8 — 0:10.5–0:12 — SHE TURNS HER HEAD (SAME FRAME)
No cut, camera locked in the FRAMING LOCK. The character turns their head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from the mouth. The shoulder tenses; nothing else moves. They are still only chest-up in frame; the whale is NOT visible yet.
HARD CUT.
SHOT 9 — 0:12–0:13 — POV: THE MOUTH OPENS ON US
FIRST-PERSON POV FROM THEIR EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick, no lingering. The frame goes to the mouth's darkness.
HARD CUT.
SHOT 10 — 0:13–0:15 — BACK TO THE SAME FRAME: THE WHALE MOVES ON
Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The character is no longer there; only the last scattered bubbles rising where they floated.
The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk.
TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails.
Its wake rocks the jellyfish and scatters the bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END.
Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale.
PHYSICS
Forest: real running biomechanics, the head-turns costing balance, the trip stopping the foot dead while momentum carries the body over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap.
LIGHTING
Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization.
MATERIALS
Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen.
AUDIO — SFX ONLY, NO MUSIC
0:00–0:03: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp.
0:03–0:05: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass.
0:05–0:06: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead.
0:06–0:12: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace.
0:10.5–0:13: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw.
0:13–0:15: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience.
No score, no melody anywhere.
POSITIVE CONSTRAINTS
Continuous shot 0:00–0:12; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere.
FRAMING LOCK: from 0:09 to the end (except the POV insert) the camera holds the same medium profile framing — the character is CHEST-UP, seen from their left side, lower-left of frame, with the glowing spiral palace filling the background. They are never shown full-body in this section, never small in frame, and the camera never moves.
The finale order is exact: the character turns their head left (chest-up, whale not visible) → HARD CUT to their POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits.
Their glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens.
The forest pursuer is NEVER shown — distant sound only.
The mirror NEVER reflects the character or the forest — a lit window, not a reflective surface.
Underwater they never swim — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel.
Their hair underwater is a chaotic free-floating mass — never parted, never neat, never still.
Face 100% <<<image_1>>> every frame, zero drift; hair, elven ears, wardrobe as described above; forest and underwater city exactly as described above.
No grabbing, chewing, blood or gore; exactly ONE creature; the character is not visible after the POV cut, only the bubbles.
Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. The character is the only person. No text, no logos, no watermarks.
OPTICS
STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles.
Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on the face. Shot 3: wide, deep focus. Shots 4–5: the face and the mirror's glow. Shots 6–8: the character in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

15250 / 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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