Prompt_what · 246万播放量视频的制作过程全部分享。 首先，我的钩子方法是从第一帧开始用规模猛击， 怪兽举起一个有窗户的建筑物那么大的岩石， 然后在2秒内把它向灯塔方…

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246万播放量视频的制作过程全部分享。 首先，我的钩子方法是从第一帧开始用规模猛击， 怪兽举起一个有窗户的建筑物那么大的岩石， 然后在2秒内把它向灯塔方向飞来的场景放进去， 以这种方式不加解释就直接结束对规模有多大的展示。 接下来，每1~2秒切换镜头， 交替插入主人公的手势镜头和远处水面反应的镜头， 让画面中的某物不停变化，不留一丝无聊的空隙。 然后这是一个30秒两段分别生成后拼接的技巧，后半部分的提示词中直接写上前半部分结束时的状态即可。 同一个防波堤、湿漉漉的头发和服装、敌人在画面右侧。 这样写的话，分别生成的两个视频 在镜头编辑时就会自然衔接。 而且在这种实拍动作中，尺寸很重要。 我的提示词中有三分之一是那个描述， 如果只写“远处”、“巨大”这种， 就会导致距离被拉近、身体变小的认知偏差。 距离用“四个防波堤的长度”， 尺寸用“灯塔达到大腿的身体大小”这样， 用眼睛能看到的实物钉死就好了。 不只这个类型，其他地方也能适用。 最后，视频的实拍感首先由背景决定， 我最常使用的工具是Higgsfield Soul Cinema。 比任何工具都更像实际拍摄的照片。 提示词和剩余制作过程在评论中继续👇 앞부분 30초 프롬프트 (씨댄스 2.5) 이미지 첨부 순서: 1 여제 시트 → 2 창 → 3 해안 도시·등대 배경 → 4 괴수 시트 @Image 1 defines the Empress's face, hair, full costume and accessories. Ignore its background, pose and lighting. @Image 2 defines her physical spear, shape and materials. @Image 3 defines the photographed coastal city, lighthouse, breakwater, rock shelf and daylight. Extend the visible water offshore for the distant action below. @Image 4 defines ONE black shell-armored creature. Preserve its anatomy and surface; ignore the sheet layout, studio and pose. Live-action multishot, hard cuts, real-time movement. No dialogue, chanting, narration, singing or background music. The Empress defeats the creature remotely through one continuous evolving mass of seawater. SPACE AND SCALE Use a side-on shore-flank action axis: city, lighthouse and Empress screen-left; distant creature screen-right; farther open sea beyond it to the right. The Empress stands on the breakwater LEFT of the lighthouse. The creature stands on a separate offshore reef beyond a broad uninterrupted channel. The water gap is at least FOUR lengths of the entire photographed breakwater laid end to end. Show that expanse clearly in the opening wide. Neither participant crosses it. The creature cannot reach her, the breakwater or lighthouse with its limbs. The creature is a walking high-rise: if the photographed lighthouse stood beside its feet, the lantern would reach only its upper thigh. Preserve that world-scale relationship throughout, including prone and kneeling poses. In the opening side-on wide, keep near shore and offshore reef at comparable camera distances so perspective cannot miniaturize the creature. The Empress stays ordinary human size beside its small doorway. One Empress, one creature, one main water construct. Her RIGHT hand retains the actual spear, her LEFT hand controls water. She remains on her breakwater throughout. The water swordsman will match the creature's upright height and bulk; neither resembles a human-sized opponent. Keep camera positions on the same side of the axis. Shots of her are from her landward three-quarter side, looking past her toward screen-right. All mouth movement is natural breathing only. CONTINUOUS WATER The sequence is: defensive water cushion -> racing surface stream -> ankle lasso -> axe -> swordsman and sword -> octopus -> sea. Each departing shape flows visibly into the next. Additional seawater feeds larger forms through visible rising streams. Preserve wet translucent turquoise water, internal currents, refraction, pressure foam and heavy runoff. No solid metal, ice, glowing graphics or instantaneous replacements. At the opening, the creature's legs are completely free. Ordinary waves surround them. The FIRST ankle restraint forms only after the projectile has been blocked and her water has visibly traveled across the channel. 0-3 seconds — TEAR OUT THE REEF Start with action already underway in a broad elevated side-on view: tiny Empress and lighthouse at left, wide empty channel across the middle, enormous creature on the separate reef at right. It is levering a jagged slab out of the reef with both hands. The house-sized slab sheds water and seaweed. CUT closer from the same flank to the hands and grounded feet. The rock tears free; water pours off its underside and smaller stones fall into the cavity. The creature twists its torso and hurls the slab toward the Empress on screen-left. Show the slab leave its hands. This throw is its ONLY attack; later motion is failed recovery under her control. 3-6 seconds — TRACK THE INCOMING ROCK CUT to a moving camera beside and slightly behind the flying slab, looking along its shoreward flight. Water trails backward; the lighthouse and tiny Empress grow nearer ahead. The camera follows the actual projectile across the channel, not a cut directly from launch to arrival. As the rock approaches the breakwater, HARD CUT to her landward three-quarter waist-up view. She fixes her eyes on the incoming rock at screen-right, snaps her left palm outward and braces the spear diagonally in her right hand. CUT immediately to a lateral view including her full body, approaching slab and water between them. Seawater surges vertically just beyond the paving into a deep concave cushion wider than the rock. The slab strikes this water immediately in front of her, within one spear-length of its rear surface. Show impact and rapid deceleration: the cushion bows toward her, her knees bend, spray lashes her face, and the rock stops before reaching her. 6-10 seconds — DEFENSE BECOMES A DISTANT ANKLE LASSO Stay lateral as she turns her left wrist downward. The cushion rolls the stopped rock sideways off the breakwater's seaward side; the slab drops clear of her into the adjacent water. HARD CUT to her left hand and spear grip from the landward side. She thrusts both gestures toward the distant reef. CUT to the broad shore-flank view as the SAME defensive water collapses into a thick fast surface stream. Show it depart her position, cross the middle of the open channel with a foaming wake and arrive at the creature's feet in the same shot. Only on arrival does the stream fork around the two ankles and reconnect as one tightening lasso. CUT briefly to her pulling the spear sideways and clenching her left fist. CUT back wide: the lasso drags the feet from under the creature, tipping its entire body onto the offshore shelf. The huge flank strikes water and rock. 10-14 seconds — LASSO TO AXE, DENY THE RISE From the same offshore flank, the creature plants one hand and begins pushing its chest up. HARD CUT to her landward-side hand insert: left fingers curl upward. CUT to a low lateral track along the creature's outer leg. The ankle loop visibly unwraps and flows up the thigh; its bottom thins while the rising mass thickens. Nearby seawater feeds it. Above the shoulder, the continuous stream spreads into a broad heavy axe blade with a liquid haft. HARD CUT to her three-quarter upper body making a sharp downward spear stroke. CUT on the stroke to the offshore flank. The axe strikes the rising shoulder and upper chest, driving the torso back down and collapsing the supporting stance. The axe remains pressed against the body. 14-19 seconds — AXE TO BUILDING-SIZED SWORDSMAN HARD CUT to the Empress's three-quarter waist-up from her landward side: she raises the spear and opens her left hand upward, lips closed. CUT to a wide offshore-flank view and KEEP this transformation continuous. The axe blade unfolds into broad liquid shoulders and a torso; the haft feeds the body. Seawater rises to fill two enormous legs planting beside the fallen creature. The part already pressing its upper body becomes a restraining left hand, maintaining contact. A smooth faceless head forms above the shoulders. The right arm draws a broad long sword from the same water. Show one complete human-shaped swordsman, two arms and two legs, matching the creature's full standing size. Its left hand holds the creature down; its right raises the sword. 19-23 seconds — ONE COMPLETE SWORD STROKE HARD CUT to her full grounded figure from the landward three-quarter side. She slashes her spear diagonally and drives her left palm along the same direction. CUT to the offshore side-wide. The swordsman's left hand lifts and restrains the upper torso enough to expose the cutting path. One forceful diagonal sword stroke passes from shoulder to opposite flank. Show blade travel, contact and the body separating into exactly two large shell-covered pieces. Dark mineral-like interior and seawater appear in the split, without blood or exposed organs. The left hand retains the upper piece. The lower piece starts tipping away. 23-27 seconds — SWORDSMAN TO OCTOPUS HARD CUT to her left hand turning inward and closing from her landward side. CUT to the offshore flank and hold the liquid transformation in view. The extended sword bends into the first long tentacle, passing under the lower piece. The left arm holding the upper piece becomes the second tentacle without releasing it. Shoulders and torso fold into a round mantle; the legs flow outward into the remaining arms. One giant water octopus with eight thick tentacles now occupies the swordsman's place. Multiple coils tighten around EACH of the two pieces, pressing against the shell. Both loads rise clear of the reef, bending the supporting tentacles under their weight. 27-30 seconds — THROW FARTHER OUT TO SEA HARD CUT to her landward three-quarter upper body as she sweeps the spear farther screen-right and opens her left palm. CUT to an elevated broad side view: the octopus turns and swings both pieces AWAY from the distant city, farther out to sea beyond its reef. Show release and a continuous airborne arc over visible water. Both pieces diminish into the distance and land in succession, raising two separate huge splash columns. In the same closing wide, the Empress and lighthouse remain on the far-left shore. She lowers her spear as the now-empty octopus cascades back into the sea at its offshore position. CONTINUITY AND SOUND The lighthouse and breakwater remain standing. The thrown rock rests in the water beside the breakwater; the torn reef cavity remains offshore. Preserve wet hair and costume after the defense. Her control inserts are brief hard cuts, with gesture directions matching the next giant action. No slow motion, dissolved transitions, teleportation, early ankle restraints, extra attacks, duplicates or relocation beside the lighthouse. Only synchronized diegetic sound: reef fracture, scraping rock, falling stones, rushing air around the projectile, a heavy muffled water impact, spray, pressurized water, creature breathing, shell cracking and distant impacts. No spoken words, chants, voice-over, music or singing. No subtitles, on-screen text, logos or watermarks. 뒷부분 30초 프롬프트 (씨댄스 2.5) 이미지 첨부 순서: 1 여제 시트 → 2 창 → 3 해안 도시·등대 배경 새 괴수와 물 거인은 이미지 없이 글로만 정의함 @Image 1 defines the Empress's face, hair, costume and worn accessories. @Image 2 defines her physical spear and its materials. @Image 3 defines the photographed coastal city, lighthouse, breakwater, shallow rock shelf and daylight. Preserve the architecture, extending the visible sea offshore for the action. Text-only additions: one new armored sea predator, its spines and one water giant. No previous creature. Live-action multishot with hard cuts on action. Only the face-level dodge and capture briefly use slow motion; all subsequent movement returns to real time. SPACE, IDENTITY AND SCALE The Empress stands on the same wet breakwater beside the lighthouse, retaining wet hair and costume from her previous battle. The opening turn establishes the new axis: Empress, city and lighthouse screen-left; new enemy beyond a broad channel screen-right. Keep subsequent cameras on the same side of this axis. She looks toward the enemy, never into the lens. The enemy is at least four complete photographed breakwater lengths away. It cannot touch the lighthouse or woman with its limbs. Exactly one human, one new enemy, and later one water giant. Her RIGHT hand retains the physical spear; her LEFT hand performs water control. NEW ENEMY, TEXT-DEFINED A colossal low-bodied marine predator with four load-bearing limbs, an immense deep torso, a long flattened wedge-shaped head and broad interlocking jaws. Layered charcoal shell armor, salt-gray worn edges, dark folded joint skin and wet rough surf

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