OpenZhenZhen AI Prompt Gallery · GPT Image 2.6 · image
Cinematic Post-Processing: Lens, Light & Color
Cinematic Post-Processing: Lens, Light & Color — explore this GPT Image 2.6 creation on OpenZhenZhen, with its original prompt and a reusable generation example.
Prompt
Chinese prompt
将完整的附加 ref-10a-v1 图像作为精确起始帧和唯一身份／设计输入。这是对同一图像进行后期处理，不是创作新镜头。保持原构图、主体身份与外观、位置、方向、画幅比例、机位、时间、天气、季节和故事情境不变。禁止裁切、重新取景、移动机位，也不得增添、移除或重新设计任何物体、文字或装饰；只改变后期呈现效果。 只能选择一种模式：D（默认 D），禁止混合模式。完整执行以下五个流程。 1. 镜头重设计：分析原图的焦距印象、景深和周边描绘，再以电影镜头的光学特性明显重设计，同时保持场景几何结构和取景不变。镜头造成的三维结构变化必须一眼可辨。A——优先主体分离并整理背景；禁止浅景深，但通过受控对焦和明暗分离让主体最清晰可读；使用轻微暗角引导视线至中心。B——让前景到背景的距离清晰可读，保留周边信息并保持空间连续。C——维持标准范围内的自然光学效果，以轻柔渐变和细微模糊呈现空气层，禁止浑浊。D——优先电影感稳定；避免极端散景并抑制像差。 2. 光照重建：只有叙事上合理时才可添加或强调光线；不得误导时间或天气。始终用光线引导视线至主体。A——整理主体周围的主光、轮廓光和反射光，并压低背景。B——建立由前景到中景再到背景的光线渐变，引导视线深入空间。C——强调漫射光和环绕光以增加整个空间的密度，但不要强化明显的单一光源。D——不得添加不自然高光；整理现有光线，使之成为自然的电影光照。 3. 空间特效：目标是营造可触及的空间深度，而非炫目效果。按需克制使用体积光、细微空中颗粒、薄雾／雾霾／湿度、轻微镜头光晕或光散射。不得均匀铺满特效，也不得干扰主体。A——最少，仅在主体周围和视线路径上使用。B——中等强度，形成空间层次。C——极少量，在全空间呈现不显眼的密度感。D——近乎不可见，只提供克制的空间深度。 4. 色彩分级：保留原有色相范围，不引入新的主导色；重新分配饱和度、对比度和亮度，统一为电影色调。A——优先主体清晰度和分离度，降低背景饱和度和信息量。B——用分层色彩支撑空间深度并强调渐变。C——保持适度饱和，通过亮度和细微色温差异表达空气感。D——避免明显 LUT 感，优先统一与庄重，避免过度强调。 5. 最终检查：与原图并排比较时，镜头／光线／色调差异一眼可辨；画面仍为同一时刻，时间、天气、季节和故事不变；光线与特效克制不过度；成品作为单一电影镜头成立；达到超高清电影质感。全程保持原有图像内容与几何构图不变。
English prompt
Use the complete attached ref-10a-v1 image as the exact starting frame and sole identity/design input. This is a post-production edit of that same image, not a new shot. Preserve its composition, subject identity and appearance, placement, orientation, aspect ratio, camera position, time of day, weather, season and story situation. Do not crop, reframe, move the camera, or add, remove or redesign any object, text or decoration. Change only the finishing appearance. Select exactly one mode: D (default D). Never combine modes. Complete all five processes below. 1. Lens redesign: Analyze the original focal-length impression, depth of field and peripheral rendering, then visibly redesign those optical qualities as a cinema lens while keeping scene geometry and framing fixed. The changed three-dimensional lens structure must be obvious at a glance. A — prioritize subject separation and organize the background; do not use shallow depth of field, but make the subject read clearest through controlled focus and tonal separation; use a light vignette toward center. B — make foreground-to-background distance legible, retain peripheral information and keep spatial continuity. C — keep standard-range natural optics and an airy layer through gentle gradation and subtle blur; never make it muddy. D — favor cinematic stability; avoid extreme bokeh and suppress aberration. 2. Lighting reconstruction: Added or emphasized light is allowed only when narratively plausible; never imply different time or weather. Always guide the gaze to the main subject. A — organize key light, rim light and reflections around the subject and suppress the background. B — create a foreground-to-midground-to-background light gradient that guides the eye through depth. C — emphasize diffused and wraparound light to enrich the whole space without strengthening a conspicuous source. D — add no unnatural highlights; organize existing light into natural cinematic lighting. 3. Spatial effects: The goal is tactile spatial depth, not flashiness. Use only as appropriate: volume light, fine airborne particles, mist/haze/humidity, subtle lens flare or light scattering. Do not apply effects uniformly or let them interfere with the subject. A — minimum, only near the subject and gaze path. B — medium, forming depth layers. C — trace amount, perceptible as subtle density throughout but not conspicuous. D — virtually invisible, present only as restrained depth. 4. Color grading: Maintain the original hue family and introduce no new dominant colors. Reallocate saturation, contrast and brightness into a coherent cinematic tone. A — prioritize subject clarity and separation; reduce background saturation and information. B — support spatial depth with layered color and emphasize gradation. C — use moderate saturation and express air through luminance and subtle color-temperature differences. D — avoid an obvious LUT look; prioritize unity and dignity without excessive emphasis. 5. Final check: Compared side by side with the original, the lens/light/tonal difference is obvious; the image still depicts the same moment with unchanged time, weather, season and story; lighting and effects are restrained; the result reads as one cinematic cut; deliver ultra-high-definition film quality. Keep all original image content and geometry unchanged throughout.
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