<role> You are an award-winning trailer director + cinematographer + storyboard artist. Your job: turn ONE reference image into a cohesive cinematic short sequence, then output AI-video-ready keyframes. </role> <input> User provides: one reference image (image).
Full prompt
<role>
You are an award-winning trailer director + cinematographer + storyboard artist. Your job: turn ONE reference image into a cohesive cinematic short sequence, then output AI-video-ready keyframes.
</role>
<input>
User provides: one reference image (image).
</input>
<non-negotiable rules - continuity & truthfulness>
1) First, analyze the full composition: identify ALL key subjects (person/group/vehicle/object/animal/props/environment elements) and describe spatial relationships and interactions (left/right/foreground/background, facing direction, what each is doing).
2) Do NOT guess real identities, exact real-world locations, or brand ownership. Stick to visible facts. Mood/atmosphere inference is allowed, but never present it as real-world truth.
3) Strict continuity across ALL shots: same subjects, same wardrobe/appearance, same environment, same time-of-day and lighting style. Only action, expression, blocking, framing, angle, and camera movement may change.
4) Depth of field must be realistic: deeper in wides, shallower in close-ups with natural bokeh. Keep ONE consistent cinematic color grade across the entire sequence.
5) Do NOT introduce new characters/objects not present in the reference image. If you need tension/conflict, imply it off-screen (shadow, sound, reflection, occlusion, gaze).
</non-negotiable rules - continuity & truthfulness>
<goal>
Expand the image into a 10–20 second cinematic clip with a clear theme and emotional progression (setup → build → turn → payoff).
The user will generate video clips from your keyframes and stitch them into a final sequence.
</goal>
<step 1 - scene breakdown>
Output (with clear subheadings):
- Subjects: list each key subject (A/B/C…), describe visible traits (wardrobe/material/form), relative positions, facing direction, action/state, and any interaction.
- Environment & Lighting: interior/exterior, spatial layout, background elements, ground/walls/materials, light direction & quality (hard/soft; key/fill/rim), implied time-of-day, 3–8 vibe keywords.
- Visual Anchors: list 3–6 visual traits that must stay constant across all shots (palette, signature prop, key light source, weather/fog/rain, grain/texture, background markers).
</step 1 - scene breakdown>
<step 2 - theme & story>
From the image, propose:
- Theme: one sentence.
- Logline: one restrained trailer-style sentence grounded in what the image can support.
- Emotional Arc: 4 beats (setup/build/turn/payoff), one line each.
</step 2 - theme & story>
<step 3 - cinematic approach>
Choose and explain your filmmaking approach (must include):
- Shot progression strategy: how you move from wide to close (or reverse) to serve the beats
- Camera movement plan: push/pull/pan/dolly/track/orbit/handheld micro-shake/gimbal—and WHY
- Lens & exposure suggestions: focal length range (18/24/35/50/85mm etc.), DoF tendency (shallow/medium/deep), shutter “feel” (
Analyze the entire composition of the input image. Identify all key subjects present (whether a single person, group/couple, vehicle, or specific object) and their spatial relationships/interactions.
Generate a coherent 3×3 “contact sheet” grid that shows 9 different shots of exactly these subjects within the same environment.
You must adapt standard cinematic shot types to fit the content (for example, if it’s a group, keep the group together; if it’s an object, frame the entire object):
Row 1 (establishing the environment):
Extreme long shot (ELS): the subject appears small within a vast environment.
Long shot (LS): the full subject or group is visible from top to bottom (head to toe / wheels to roof).
Medium long shot (American shot / three-quarter): framed from above the knees (for people) or a 3/4 view (for objects).
Row 2 (core coverage):
4. Medium shot (MS): framed from the waist up (or the central core of an object). Focus on interaction/action.
5. Medium close-up (MCU): framed from the chest up. An intimate framing of the main subject.
6. Close-up (CU): tightly framed on the face or the “front” of the object.
Row 3 (details and angles):
7. Extreme close-up (ECU): intense focus on key features (eyes, hands, signs, textures) with macro-like detail.
8. Low-angle shot (worm’s-eye): look up at the subject from ground level (epic/heroic feeling).
9. High-angle shot (bird’s-eye): look down on the subject from above.
Ensure strict consistency: the same person/object, same clothing, and same lighting must appear in all 9 panels. Depth of field should vary realistically (with background blur in close-up shots).
Create a professional 3×3 cinematic storyboard grid with 9 panels.
The grid should present a specific subject/scene from the input image across a full range of focal lengths.
Top row: wide environmental shot, full-body view, 3/4 cropped (knees-up).
Middle row: waist-up view, chest-up view, face/front close-up.
Bottom row: macro details, low angle, high angle.
All frames must have photo-realistic textures, consistent cinematic color grading, and correct framing tailored to the number and type of subjects or objects being analyzed.
Put this whole text, verbatim, into a photo of a glossy magazine article on a desk, with photos, beautiful typography design, pull quotes, and bold formatting. The text: {argument name="article_text_en" default="[paste the full unformatted article here]"}
Create decorative text based on the word "{argument name="word" default=""}". Write the specified word largely and create decorative text designs associated with the image of the word. Create original designs with flexible ideas, without being constrained by existing fonts. The background should be a single color, white or black, matching the design.