I get this question all the time: "If AI video is so good, why...
Alex Patrascu@maxescu
16 views
Aug 27, 2026
~15 min read
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1
I get this question all the time:
"If AI video is so good, why aren't AI movies everywhere?"
My answer never changes: Because nobody is financing them. Yet. The technology is ready.
FOUND YOU: Bad Luck Brian's European Adventures
Full workflow and prompts below 👇
"If AI video is so good, why aren't AI movies everywhere?"
My answer never changes: Because nobody is financing them. Yet. The technology is ready.
FOUND YOU: Bad Luck Brian's European Adventures
Full workflow and prompts below 👇
6:02
2
Tools used:
Agent: Supercomputer on @higgsfield_ai
Agent LLM: @Zai_org GLM-5.3 High
Script: @claudeai Fable 5 Max
Character and prop references: Seedream 5.0 Pro
Video: Seedance 2.5 1080p
Editing: @capcutapp
Music: @epidemicsound
Agent: Supercomputer on @higgsfield_ai
Agent LLM: @Zai_org GLM-5.3 High
Script: @claudeai Fable 5 Max
Character and prop references: Seedream 5.0 Pro
Video: Seedance 2.5 1080p
Editing: @capcutapp
Music: @epidemicsound
3
It all started with my master script prompt, which I ran in Claude Fable 5 Max:
Write a complete shooting script for a 3-minute comedy short film set in Amsterdam, built around three real internet meme characters and faithful to their established meme lore. The script must be shot-ready: every beat needs a scene heading, action described visually, and dialogue where it happens. Total runtime must land at roughly 3 minutes, so keep the beat count tight and the dialogue lean.
The three characters and their lore
Bad Luck Brian (protagonist). Reference image Bad Luck Brian.png is attached. Visual continuity is mandatory: red-and-black plaid sweater vest over a light blue polo, short side-swept blonde hair, metal braces visible when he smiles. His entire lore is that everything he attempts backfires catastrophically and immediately. Every escape attempt in this script must fail in a way that is his own fault, and he should keep smiling that awkward hopeful school-portrait smile right before each disaster.
Overly Attached Girlfriend (Laina). Her lore is relentless, unblinking, wide-eyed romantic obsession delivered with total sincerity and a fixed smile. She never runs out of breath, never seems rushed, and keeps appearing wherever Brian goes as if she already knew he would be there.
Alien Guy (Giorgio-style "Aliens" ancient-astronaut character). His lore is that he explains everything through aliens, with absolute unshakable conviction, wild hair, and expansive hand gestures. He alone believes Laina is an alien because he watched her ship land in a tulip field. He is trying to help Brian, and Brian keeps not listening.
Story beats to dramatize, in this order
Brian on vacation in Amsterdam, realizing Laina is hunting him, and trying to slip away.
Alien Guy intercepts him and urgently explains that Laina is an alien, that he saw her land in a tulip field, and that Brian must follow him to her spaceship. Brian does not follow.
A chase through Amsterdam streets and canals. Brian keeps making his situation worse.
On a bridge, Brian runs into the blonde woman from Judith.png (long blonde hair, black off-shoulder top, shorts, posed on the railing of a dark metal bridge over a canal, white boat with several casual men in sunglasses passing directly below). He startles her, and Brian himself falls into the canal. The men in the boat find it hilarious and help her down or out while Brian flails.
Final scene on a busy Amsterdam street. Laina finds him and says, exactly: "Found you, my love! I'm never letting you go!"
Camera rises to reveal a flying saucer descending slowly over the city.
Hard cut to a close-up of Alien Guy, cheering ecstatically: "I knew it! I knew it! I knew it!"
THE END.
Both quoted lines must appear verbatim.
Craft requirements
Play it as deadpan, escalating slapstick, not parody-with-a-wink. The comedy comes from timing and from each character being 100 percent committed to their own logic. Use recognizable Amsterdam geography as an active obstacle course: narrow canal streets, cyclists, bridges, tram tracks, flower markets, tourist crowds, tulip fields on the outskirts.
Write the bad luck as physical, specific, visually funny events, not as generic mishaps. Each one should be a gag a viewer could describe afterward.
Include brief camera and sound notes only where they carry the joke or the reveal, in particular the final rising camera move to the saucer and the cut to Alien Guy. Keep the visual language grounded and handheld-documentary in feel, so the absurdity lands against a real-looking Amsterdam rather than a glossy one. Keep dialogue minimal outside the Alien Guy monologue and the two verbatim lines. Brian barely speaks.
Deliver the finished script only.
Write a complete shooting script for a 3-minute comedy short film set in Amsterdam, built around three real internet meme characters and faithful to their established meme lore. The script must be shot-ready: every beat needs a scene heading, action described visually, and dialogue where it happens. Total runtime must land at roughly 3 minutes, so keep the beat count tight and the dialogue lean.
The three characters and their lore
Bad Luck Brian (protagonist). Reference image Bad Luck Brian.png is attached. Visual continuity is mandatory: red-and-black plaid sweater vest over a light blue polo, short side-swept blonde hair, metal braces visible when he smiles. His entire lore is that everything he attempts backfires catastrophically and immediately. Every escape attempt in this script must fail in a way that is his own fault, and he should keep smiling that awkward hopeful school-portrait smile right before each disaster.
Overly Attached Girlfriend (Laina). Her lore is relentless, unblinking, wide-eyed romantic obsession delivered with total sincerity and a fixed smile. She never runs out of breath, never seems rushed, and keeps appearing wherever Brian goes as if she already knew he would be there.
Alien Guy (Giorgio-style "Aliens" ancient-astronaut character). His lore is that he explains everything through aliens, with absolute unshakable conviction, wild hair, and expansive hand gestures. He alone believes Laina is an alien because he watched her ship land in a tulip field. He is trying to help Brian, and Brian keeps not listening.
Story beats to dramatize, in this order
Brian on vacation in Amsterdam, realizing Laina is hunting him, and trying to slip away.
Alien Guy intercepts him and urgently explains that Laina is an alien, that he saw her land in a tulip field, and that Brian must follow him to her spaceship. Brian does not follow.
A chase through Amsterdam streets and canals. Brian keeps making his situation worse.
On a bridge, Brian runs into the blonde woman from Judith.png (long blonde hair, black off-shoulder top, shorts, posed on the railing of a dark metal bridge over a canal, white boat with several casual men in sunglasses passing directly below). He startles her, and Brian himself falls into the canal. The men in the boat find it hilarious and help her down or out while Brian flails.
Final scene on a busy Amsterdam street. Laina finds him and says, exactly: "Found you, my love! I'm never letting you go!"
Camera rises to reveal a flying saucer descending slowly over the city.
Hard cut to a close-up of Alien Guy, cheering ecstatically: "I knew it! I knew it! I knew it!"
THE END.
Both quoted lines must appear verbatim.
Craft requirements
Play it as deadpan, escalating slapstick, not parody-with-a-wink. The comedy comes from timing and from each character being 100 percent committed to their own logic. Use recognizable Amsterdam geography as an active obstacle course: narrow canal streets, cyclists, bridges, tram tracks, flower markets, tourist crowds, tulip fields on the outskirts.
Write the bad luck as physical, specific, visually funny events, not as generic mishaps. Each one should be a gag a viewer could describe afterward.
Include brief camera and sound notes only where they carry the joke or the reveal, in particular the final rising camera move to the saucer and the cut to Alien Guy. Keep the visual language grounded and handheld-documentary in feel, so the absurdity lands against a real-looking Amsterdam rather than a glossy one. Keep dialogue minimal outside the Alien Guy monologue and the two verbatim lines. Brian barely speaks.
Deliver the finished script only.
4
I generated the character sheets for our four protagonists using the Higgsfield method to create high-quality assets for your videos.
Headless characters from the front to avoid low-res rendering in Seedance 2.5. Brilliant idea!
I used Seedance 5.0 Pro for these:
Headless characters from the front to avoid low-res rendering in Seedance 2.5. Brilliant idea!
I used Seedance 5.0 Pro for these:
5
I gave Claude my character and the script, along with this prompt. The secret sauce is my custom prompt skill that I've trained to be exactly how I like it, matching the perfect Seedance 2.5 syntax and format:
Read, analyze, and learn everything there is about this short story.
The characters are attached.
Split the story into multiple segments and write the prompt for Seedance 2.5 using our predefined structure.
Tag each character in the prompts with their exact file names (see attachment) when they appear in the prompts. The [Characters] part of the prompt.
I want a lot of cuts, cinematic angles, and careful work based on properly established stills, with strong consistency in the characters, spatial relationships, and overall environment. Everything needs to be perfect.
None of the characters should be facing us, or rather, acknowledge us, the audience, the camera; please fix this for all prompts. They are in their own world.
In all the prompts, you need to specify how they walk, direction, etc. You need to be very specific about the movements.
The characters need to have personalities that match their own meme lore. They need to make their signature reaction (if they have one) move, be happy, and have a lot of other people (NPCs/extras) around on the streets.
It doesn't need to feel empty or desolate. We need lively characters that match their meme lore and personalities; the world is lively and full of dynamic motion.
Read, analyze, and learn everything there is about this short story.
The characters are attached.
Split the story into multiple segments and write the prompt for Seedance 2.5 using our predefined structure.
Tag each character in the prompts with their exact file names (see attachment) when they appear in the prompts. The [Characters] part of the prompt.
I want a lot of cuts, cinematic angles, and careful work based on properly established stills, with strong consistency in the characters, spatial relationships, and overall environment. Everything needs to be perfect.
None of the characters should be facing us, or rather, acknowledge us, the audience, the camera; please fix this for all prompts. They are in their own world.
In all the prompts, you need to specify how they walk, direction, etc. You need to be very specific about the movements.
The characters need to have personalities that match their own meme lore. They need to make their signature reaction (if they have one) move, be happy, and have a lot of other people (NPCs/extras) around on the streets.
It doesn't need to feel empty or desolate. We need lively characters that match their meme lore and personalities; the world is lively and full of dynamic motion.
6
I attached the four characters and my script to the @higgsfield_ai Supercomputer, and I asked the following:
"Here are my characters, the prompts, and the script. Match them to their filenames and descriptions in the prompts from the HTML file, and let me know when everything is clear. Do not generate any videos yet."
It learned everything there is about my short film, and we started generating the videos.
"Here are my characters, the prompts, and the script. Match them to their filenames and descriptions in the prompts from the HTML file, and let me know when everything is clear. Do not generate any videos yet."
It learned everything there is about my short film, and we started generating the videos.
7
From here onwards, the @higgsfield_ai Supercomputer showed its muscles, powered by @Zai_org's newly released GLM-5.3, and it was a conversation to get everything perfect, just as I wanted.
Total usage cost:
Total usage cost:
8
One thing that cost me a bit more was that I didn't account for the boat guys being present so much, so I had to redo all the videos with them because I had no reference. My bad.
But I'm glad I did, because they ended up being so awesome:
But I'm glad I did, because they ended up being so awesome:
9
Here's a prompt example for the opening scene:
[Generation Goal]
A cinematic title sequence in three shots: an extreme close-up of the smiling woman staring straight down the lens, a full-body shot of her standing motionless on a canal bridge, and a high wide of the city with that same bridge below while the crowd streams around her, where the title FOUND YOU appears in flat, chunky, playful yellow lettering. This is the only clip in the film with on-screen text.
[Characters]
Laina corresponds to [Image1]
[Global Settings]
Cinematic comedy coverage: every stage boundary is a hard cut to a new, deliberately composed camera setup, mixing wide establishers, low angles, long lens compression, lateral tracking, fast push-ins and overheads. Photoreal, available natural light, natural summer color, gentle film grain, real time speed. Everything in frame is physically real and photographable: real objects, real light, real physics, the grounded look of a mainstream Hollywood romantic comedy. No invisible, imaginary, glowing or abstract elements, and no metaphor is ever rendered literally; a simile in this prompt describes a performance, never an object to draw. Every character and extra keeps natural, realistic adult human proportions, standard Hollywood live-action anatomy, the head always in correct scale to the body. The streets stay alive in every frame: a constant background flow of cyclists, tourists, locals, vendors, boats and pigeons. No character or extra ever looks into or acknowledges the film camera; every eyeline lands on a person or object inside the scene. All locomotion is explicit: everyone faces their direction of travel unless a stage states otherwise. Screen direction lock: Brian's flight always reads screen left to right. Environment: a stone canal bridge on the Amsterdam canal ring, bright late morning sun, gabled houses and moored houseboats along the water, tour boats passing beneath, a steady two-way stream of pedestrians and cyclists crossing the bridge. Override for this clip only: Laina looks directly into the film camera and holds the stare in stages 1 and 2. This is the single deliberate exception to the eyeline law in the entire film and is required here. Every extra still keeps their eyeline inside the scene and never looks toward the camera. A second override: on-screen title text is permitted in stage 3 only.
[Stage 1] 0-4s.
Shot: extreme close-up, her face filling the frame, shallow depth of field, the bridge railing and the moving crowd soft behind her.
Laina [Image1] looks straight down the lens and holds it: eyes wide open and unnaturally still, a huge fixed delighted smile, head tilted very slightly. She does not blink, does not move, does not speak. A light breeze lifts a few strands of her brown hair. The stare holds one beat longer than is comfortable.
Primary event: the direct stare into the lens.
End state: the smile unchanged, the eyes still locked forward.
[Stage 2] 4-7s.
Shot: hard cut to a clean full-body shot, centered, eye-level, the bridge and canal behind her.
Laina [Image1] stands dead center on the bridge, feet together, arms relaxed at her sides, facing the camera square on, completely motionless, same wide eyes and same fixed smile. Pedestrians and cyclists pass her on both sides in both directions without a glance, their eyeline on their own path.
Primary event: the full-body reveal of the motionless figure.
End state: Laina still perfectly still as the crowd keeps flowing around her.
[Stage 3] 7-12s.
Shot: hard cut to a static high wide from above the rooftops, looking down over the canal ring with the same bridge in the lower half of the frame.
From high above, the city moves: tour boats sliding along the canal, cyclists and pedestrians pouring across the bridge in two directions, gulls crossing the frame. In the middle of the bridge, one small figure stays perfectly still while everyone flows around her: Laina [Image1]. The title appears centered over the frame in bright sunny yellow capitals: a chunky, rounded, playful hand-lettered sans-serif with slightly irregular letter shapes and a gently bouncing baseline, completely flat with one solid fill colour, no bevel, no extrusion, no depth, no gradient, no outline and no drop shadow, in the fun, quirky style of a summer Hollywood romantic comedy main title, reading exactly: FOUND YOU. It holds, then the shot is ready to hard cut into Scene 1.
Primary event: the title over the living city.
End state: the title held over the wide, Laina still motionless on the bridge below.
[Audio]
[Maintain Consistency]
Use only the tagged character sheet for Laina; its three views show the same single person; the panels are not drawn to a shared scale, so the large face close-up defines facial identity only, while the full-body views define build, height and natural proportion. Do not use any other face for her. Laina keeps the light blue tee, navy shorts, white sneakers and shoulder-length brown hair; her hands are empty. She never blinks at any point in this clip, never speaks, and never moves from her spot on the bridge; she is standing still in all three stages. The eyeline release applies to Laina alone: extras never look toward the camera in any stage. All three stages are the same bridge in the same location and the same daylight. Text release: the only on-screen text permitted anywhere in this clip is the title, appearing in stage 3 only, reading exactly the two words FOUND YOU, all capitals, correctly spelled, in flat solid bright yellow chunky rounded playful lettering, centered, with no subtitle, tagline, credit block, date, logo or watermark of any kind. The lettering is strictly two-dimensional and flat: no three-dimensional letters, no bevel, no extrusion, no depth, no metallic or glossy finish and no shadow. Do not render any other text. Do not introduce slow motion, non-diegetic music, camera crew, enlarged heads, bobblehead or chibi proportions, caricature anatomy, miniature bodies, or any invisible, glowing, floating, imaginary or otherwise unreal element.
[Generation Goal]
A cinematic title sequence in three shots: an extreme close-up of the smiling woman staring straight down the lens, a full-body shot of her standing motionless on a canal bridge, and a high wide of the city with that same bridge below while the crowd streams around her, where the title FOUND YOU appears in flat, chunky, playful yellow lettering. This is the only clip in the film with on-screen text.
[Characters]
Laina corresponds to [Image1]
[Global Settings]
Cinematic comedy coverage: every stage boundary is a hard cut to a new, deliberately composed camera setup, mixing wide establishers, low angles, long lens compression, lateral tracking, fast push-ins and overheads. Photoreal, available natural light, natural summer color, gentle film grain, real time speed. Everything in frame is physically real and photographable: real objects, real light, real physics, the grounded look of a mainstream Hollywood romantic comedy. No invisible, imaginary, glowing or abstract elements, and no metaphor is ever rendered literally; a simile in this prompt describes a performance, never an object to draw. Every character and extra keeps natural, realistic adult human proportions, standard Hollywood live-action anatomy, the head always in correct scale to the body. The streets stay alive in every frame: a constant background flow of cyclists, tourists, locals, vendors, boats and pigeons. No character or extra ever looks into or acknowledges the film camera; every eyeline lands on a person or object inside the scene. All locomotion is explicit: everyone faces their direction of travel unless a stage states otherwise. Screen direction lock: Brian's flight always reads screen left to right. Environment: a stone canal bridge on the Amsterdam canal ring, bright late morning sun, gabled houses and moored houseboats along the water, tour boats passing beneath, a steady two-way stream of pedestrians and cyclists crossing the bridge. Override for this clip only: Laina looks directly into the film camera and holds the stare in stages 1 and 2. This is the single deliberate exception to the eyeline law in the entire film and is required here. Every extra still keeps their eyeline inside the scene and never looks toward the camera. A second override: on-screen title text is permitted in stage 3 only.
[Stage 1] 0-4s.
Shot: extreme close-up, her face filling the frame, shallow depth of field, the bridge railing and the moving crowd soft behind her.
Laina [Image1] looks straight down the lens and holds it: eyes wide open and unnaturally still, a huge fixed delighted smile, head tilted very slightly. She does not blink, does not move, does not speak. A light breeze lifts a few strands of her brown hair. The stare holds one beat longer than is comfortable.
Primary event: the direct stare into the lens.
End state: the smile unchanged, the eyes still locked forward.
[Stage 2] 4-7s.
Shot: hard cut to a clean full-body shot, centered, eye-level, the bridge and canal behind her.
Laina [Image1] stands dead center on the bridge, feet together, arms relaxed at her sides, facing the camera square on, completely motionless, same wide eyes and same fixed smile. Pedestrians and cyclists pass her on both sides in both directions without a glance, their eyeline on their own path.
Primary event: the full-body reveal of the motionless figure.
End state: Laina still perfectly still as the crowd keeps flowing around her.
[Stage 3] 7-12s.
Shot: hard cut to a static high wide from above the rooftops, looking down over the canal ring with the same bridge in the lower half of the frame.
From high above, the city moves: tour boats sliding along the canal, cyclists and pedestrians pouring across the bridge in two directions, gulls crossing the frame. In the middle of the bridge, one small figure stays perfectly still while everyone flows around her: Laina [Image1]. The title appears centered over the frame in bright sunny yellow capitals: a chunky, rounded, playful hand-lettered sans-serif with slightly irregular letter shapes and a gently bouncing baseline, completely flat with one solid fill colour, no bevel, no extrusion, no depth, no gradient, no outline and no drop shadow, in the fun, quirky style of a summer Hollywood romantic comedy main title, reading exactly: FOUND YOU. It holds, then the shot is ready to hard cut into Scene 1.
Primary event: the title over the living city.
End state: the title held over the wide, Laina still motionless on the bridge below.
[Audio]
[Maintain Consistency]
Use only the tagged character sheet for Laina; its three views show the same single person; the panels are not drawn to a shared scale, so the large face close-up defines facial identity only, while the full-body views define build, height and natural proportion. Do not use any other face for her. Laina keeps the light blue tee, navy shorts, white sneakers and shoulder-length brown hair; her hands are empty. She never blinks at any point in this clip, never speaks, and never moves from her spot on the bridge; she is standing still in all three stages. The eyeline release applies to Laina alone: extras never look toward the camera in any stage. All three stages are the same bridge in the same location and the same daylight. Text release: the only on-screen text permitted anywhere in this clip is the title, appearing in stage 3 only, reading exactly the two words FOUND YOU, all capitals, correctly spelled, in flat solid bright yellow chunky rounded playful lettering, centered, with no subtitle, tagline, credit block, date, logo or watermark of any kind. The lettering is strictly two-dimensional and flat: no three-dimensional letters, no bevel, no extrusion, no depth, no metallic or glossy finish and no shadow. Do not render any other text. Do not introduce slow motion, non-diegetic music, camera crew, enlarged heads, bobblehead or chibi proportions, caricature anatomy, miniature bodies, or any invisible, glowing, floating, imaginary or otherwise unreal element.
0:12
10
As always, I added the BTS scenes for fun.
Here's an example prompt:
[Generation Goal]
A behind-the-scenes beat in the costume and makeup area: continuity photographs the four leads one at a time while hair fights the believer's hair, wardrobe presses the sweater vest and the influencer resets her earrings.
[Characters]
Brian corresponds to Image1.
Alien Guy corresponds to Image2.
Laina corresponds to Image3.
Judith corresponds to Image4.
[Global Settings]
Cinematic comedy coverage: every stage boundary is a hard cut to a new, deliberately composed camera setup, mixing wide establishers, low angles, long lens compression, lateral tracking, fast push-ins and overheads. Photoreal, available natural light, natural summer color, gentle film grain, real time speed. Everything in frame is physically real and photographable: real objects, real light, real physics, the grounded look of a mainstream Hollywood romantic comedy. No invisible, imaginary, glowing or abstract elements, and no metaphor is ever rendered literally; a simile in this prompt describes a performance, never an object to draw. Every character and extra keeps natural, realistic adult human proportions, standard Hollywood live-action anatomy, the head always in correct scale to the body. The streets stay alive in every frame: a constant background flow of cyclists, tourists, locals, vendors, boats and pigeons. No character or extra ever looks into or acknowledges the film camera; every eyeline lands on a person or object inside the scene. All locomotion is explicit: everyone faces their direction of travel unless a stage states otherwise. Screen direction lock: Brian's flight always reads screen left to right. Environment: a costume and makeup staging area beside the unit trucks on a canal quay, daytime: a rolling wardrobe rail, a steamer, a folding mirror, a continuity supervisor with a camera and a tablet, hairspray and combs on a cart, crew crossing constantly, canal and gables behind.
[Stage 1] 0-3s.
Shot: wide of the staging area.
The four leads wait in a loose line facing the continuity supervisor, who photographs each costume in turn against the neutral side of a truck. Brian [Image1] steps up first, arms at his sides, facing her camera; she checks the frame against her tablet and waves him aside.
Primary event: the continuity photos.
End state: Laina [Image3] stepping up to take his place.
[Stage 2] 3-7s.
Shot: hard cut to a medium at the hair cart.
A hair stylist works on Alien Guy [Image2], teasing his hair upward with a comb and locking it with hairspray, circling him to check the silhouette from both sides. He sits perfectly still, facing the folding mirror, watching his own hair get taller with visible delight.
Primary event: the hair rebuild.
End state: the stylist stepping back; Alien Guy nodding approval at the mirror.
[Stage 3] 7-10s.
Shot: hard cut to a two-part composition, wardrobe screen left, Judith screen right.
A wardrobe assistant runs a steamer down the front of Brian's [Image1] plaid sweater vest while he stands with his arms out to the sides, facing her. Beside them Judith [Image4] leans to the folding mirror and reseats one silver earring, eyes on her own reflection.
Primary event: the final touches.
End state: all four leads ready, turning to walk forward toward the set together.
[Audio]
[Maintain Consistency]
Use only the tagged character sheets; each sheet's three views show the same single person; the panels are not drawn to a shared scale, so the large face close-up defines facial identity only, while the full-body views define build, height and natural proportion. Do not use any other face for any principal. Brian keeps the red and black plaid sweater vest, light blue polo, jeans, both white sneakers and metal braces. Brian carries no bag, backpack, daypack, satchel, shoulder strap or luggage of any kind and wears no hat, cap, sunglasses, watch, jewellery, lanyard or badge; the only accessory he ever has in the film is a small compact digital camera, and it appears only where a stage explicitly places it. Laina keeps the light blue tee and navy shorts. Alien Guy keeps the olive brown suit, checked tie and gravity-defying hair. Judith keeps the black off-shoulder top and black shorts. All four leads are dry and pristine in this clip. Laina's eyes stay open and she is never shown blinking. Alien Guy's hair matches his sheet by the end of stage 2. The continuity supervisor's tablet and camera screens stay unreadable. Crew are prose-defined extras, never promoted, never given dialogue, never looking into the lens; all slates, call sheets, monitors and paperwork stay illegible. Do not introduce direct-to-camera eye contact from anyone, subtitles, captions, on-screen text, logos, watermarks, camera crew equipment failures, slow motion, non-diegetic music, enlarged heads, bobblehead or chibi proportions, caricature anatomy, miniature bodies, or any invisible, glowing, floating, imaginary or otherwise unreal element.
Here's an example prompt:
[Generation Goal]
A behind-the-scenes beat in the costume and makeup area: continuity photographs the four leads one at a time while hair fights the believer's hair, wardrobe presses the sweater vest and the influencer resets her earrings.
[Characters]
Brian corresponds to Image1.
Alien Guy corresponds to Image2.
Laina corresponds to Image3.
Judith corresponds to Image4.
[Global Settings]
Cinematic comedy coverage: every stage boundary is a hard cut to a new, deliberately composed camera setup, mixing wide establishers, low angles, long lens compression, lateral tracking, fast push-ins and overheads. Photoreal, available natural light, natural summer color, gentle film grain, real time speed. Everything in frame is physically real and photographable: real objects, real light, real physics, the grounded look of a mainstream Hollywood romantic comedy. No invisible, imaginary, glowing or abstract elements, and no metaphor is ever rendered literally; a simile in this prompt describes a performance, never an object to draw. Every character and extra keeps natural, realistic adult human proportions, standard Hollywood live-action anatomy, the head always in correct scale to the body. The streets stay alive in every frame: a constant background flow of cyclists, tourists, locals, vendors, boats and pigeons. No character or extra ever looks into or acknowledges the film camera; every eyeline lands on a person or object inside the scene. All locomotion is explicit: everyone faces their direction of travel unless a stage states otherwise. Screen direction lock: Brian's flight always reads screen left to right. Environment: a costume and makeup staging area beside the unit trucks on a canal quay, daytime: a rolling wardrobe rail, a steamer, a folding mirror, a continuity supervisor with a camera and a tablet, hairspray and combs on a cart, crew crossing constantly, canal and gables behind.
[Stage 1] 0-3s.
Shot: wide of the staging area.
The four leads wait in a loose line facing the continuity supervisor, who photographs each costume in turn against the neutral side of a truck. Brian [Image1] steps up first, arms at his sides, facing her camera; she checks the frame against her tablet and waves him aside.
Primary event: the continuity photos.
End state: Laina [Image3] stepping up to take his place.
[Stage 2] 3-7s.
Shot: hard cut to a medium at the hair cart.
A hair stylist works on Alien Guy [Image2], teasing his hair upward with a comb and locking it with hairspray, circling him to check the silhouette from both sides. He sits perfectly still, facing the folding mirror, watching his own hair get taller with visible delight.
Primary event: the hair rebuild.
End state: the stylist stepping back; Alien Guy nodding approval at the mirror.
[Stage 3] 7-10s.
Shot: hard cut to a two-part composition, wardrobe screen left, Judith screen right.
A wardrobe assistant runs a steamer down the front of Brian's [Image1] plaid sweater vest while he stands with his arms out to the sides, facing her. Beside them Judith [Image4] leans to the folding mirror and reseats one silver earring, eyes on her own reflection.
Primary event: the final touches.
End state: all four leads ready, turning to walk forward toward the set together.
[Audio]
[Maintain Consistency]
Use only the tagged character sheets; each sheet's three views show the same single person; the panels are not drawn to a shared scale, so the large face close-up defines facial identity only, while the full-body views define build, height and natural proportion. Do not use any other face for any principal. Brian keeps the red and black plaid sweater vest, light blue polo, jeans, both white sneakers and metal braces. Brian carries no bag, backpack, daypack, satchel, shoulder strap or luggage of any kind and wears no hat, cap, sunglasses, watch, jewellery, lanyard or badge; the only accessory he ever has in the film is a small compact digital camera, and it appears only where a stage explicitly places it. Laina keeps the light blue tee and navy shorts. Alien Guy keeps the olive brown suit, checked tie and gravity-defying hair. Judith keeps the black off-shoulder top and black shorts. All four leads are dry and pristine in this clip. Laina's eyes stay open and she is never shown blinking. Alien Guy's hair matches his sheet by the end of stage 2. The continuity supervisor's tablet and camera screens stay unreadable. Crew are prose-defined extras, never promoted, never given dialogue, never looking into the lens; all slates, call sheets, monitors and paperwork stay illegible. Do not introduce direct-to-camera eye contact from anyone, subtitles, captions, on-screen text, logos, watermarks, camera crew equipment failures, slow motion, non-diegetic music, enlarged heads, bobblehead or chibi proportions, caricature anatomy, miniature bodies, or any invisible, glowing, floating, imaginary or otherwise unreal element.
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I hope you really enjoyed this!
It was really fun to make, and it took about 5 hours in total, including the time I spent writing this whole post.
Let me know if you have any questions, and I'll do my best to answer them below 🙏😊
It was really fun to make, and it took about 5 hours in total, including the time I spent writing this whole post.
Let me know if you have any questions, and I'll do my best to answer them below 🙏😊