From 82d98bd8cffa2b28bb0497804db8165c052bd3dc Mon Sep 17 00:00:00 2001 From: Kenso Grimm Date: Thu, 6 Aug 2026 13:16:19 +0200 Subject: [PATCH] promts ueberarbeitung --- .../banana-pro-director-30.zip | Bin 0 -> 38279 bytes .../banana-pro-director-30/SKILL.md | 1117 +++++++++++++++++ .../character-builder.zip | Bin 0 -> 17326 bytes .../character-builder/SKILL.md | 546 ++++++++ .../cinema-director.zip | Bin 0 -> 18147 bytes .../cinema-director/cinema-director/SKILL.md | 637 ++++++++++ .../story-bible-builder.zip | Bin 0 -> 15441 bytes .../story-bible-builder/SKILL.md | 200 +++ .../character-interview.md | 137 ++ .../character-section-format.md | 55 + .../example-bible-excerpts.md | 115 ++ .../banana-pro-director-30.zip | Bin 0 -> 38279 bytes .../banana-pro-director-30/SKILL.md | 1117 +++++++++++++++++ .../character-builder.zip | Bin 0 -> 17326 bytes .../character-builder/SKILL.md | 546 ++++++++ Joey's Cinema Skill Files/cinema-director.zip | Bin 0 -> 18147 bytes 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zN!T@iWxRgBpV2Mz-amNX0sj6T938phw_gz9HRx@zgF2HgV|H+@+NPY2p1nm=RX|Urn4S?V>0te;AF3O|AMbrJcZASx2Q|77} z8yZkSF-P7g3$OczGw3sdTTB>XOlaor&cuYh9NV?k%CrV3O9#=Usw&r5$p%vzjnEs1 zqP;#Pd%gF#!Nq&Lje+%O-H&t4V*m_{{{u9o Want to build this in Banana Pro (Nano Banana) or Soul Cinema? +> — **Banana Pro:** writes styling from scratch via prompt, single locked output. Best when the outfit is relatively simple and full prompt control gets us there cleanly in one shot. +> — **Soul Cinema (two-step flow):** Step 1 builds the outfit on a bland slim fit model on mid-gray seamless. Step 2 takes that outfit reference + the locked character reference and composites them. Best for custom/complex fits where wardrobe should be designed separately from casting. + +Wait for the user to pick. Different tools use different prompt structures — see Mode 1A (Banana Pro) and Mode 1B (Soul Cinema, two-step) below. + +Then run the standard pre-prompt check, wait for the green light, then deliver the prompt in a single fenced code block. + +### Mode 2 — Character sheet + +Only after a single-image base reference has been generated (and the user is happy with it) can a character sheet be built. + +**Default to the 3-panel (Mode 2A).** When the user asks for "a character sheet" without naming a format, build the 3-panel: full body front with the head cleanly removed (ghost-mannequin hollow for structured necklines, clean neck cut for dresses and open necklines), full body rear with the head attached, and a tight chest-up face lock. Do not ask which format, do not offer the 6-panel. + +**6-panel (Mode 2B) is legacy and explicit-request only.** If the user names it, flag once that six cells starve the face panels of resolution, then proceed on their go-ahead. + +Same pre-prompt confirmation rule: bulleted summary, get the nod, then deliver the prompt in a code block. + +### Mode 3 — Scene plates (with or without characters) + +Always available. Never proposed proactively. Only built when the user asks for a scene, an environment, a plate, a moment, or describes a setting. + +Same pre-prompt confirmation rule applies. + +### Mode 4 — GPT-2 detail mode (optional, gated) + +Only used for chest-up portraits or detail face shots, and only when the user explicitly asks for that level of close-up. Even when the user asks, ask first: "want to run this on Higgsfield GPT-2 for the higher-fidelity face read? heads-up, GPT-2 uses more Higgsfield credits than Banana Pro." Mention the credit cost once per conversation, then drop it for the rest of the session. Wait for confirmation, then deliver the prompt. + +GPT-2 prompt structure differs slightly — see the GPT-2 section below. + +--- + +## THE PRE-PROMPT CONFIRMATION RULE (UNIVERSAL) + +Every prompt — single image, character sheet, scene plate, GPT-2 — gets a short "here's what I'm about to prompt, sound good?" check before the full prompt is written. This is not optional. Long prompts are expensive in attention and copy-paste effort, and the user shouldn't have to wait on a wall of text only to discover it missed the mark. + +**Exception — minor iteration on a just-delivered prompt.** When the user requests a small adjustment to a prompt that was already approved and delivered in this same conversation thread (composition tweak, framing shift, pose change, lighting nudge, swap one wardrobe element, repositioning subjects, etc.), skip the pre-prompt check and deliver the revised full prompt directly in a fenced code block. The character is locked, the wardrobe is locked, the world is locked — only the variable being tweaked is changing, and the user has already seen the spec. Re-confirming on tiny deltas creates friction. + +What still triggers a full pre-prompt check even mid-thread: +- New character entering the frame +- New wardrobe (not a tweak — a full outfit swap) +- New mode (going from single-image to a character sheet, or from base to scene plate) +- New environment / scene type +- The user explicitly asking for a check ("walk me through it first") + +Default to delivering when in doubt on a clear minor delta. Default to checking when the change touches anything load-bearing. + +**Format: clean bullet points only.** No quote blocks, no em-dash prose lines, no narrative wrapper. One short opening line ("Pre-prompt check:" or similar), then bullets. **References listed first, always** — this confirms back to the user that every reference image they uploaded is being read and accounted for in the composition. If a reference is uploaded but missing from the list, the prompt is being composed wrong and the user catches it before the full prompt ships. + +The pre-prompt check is short, plain-language, and lists in this order: +- **References attached** (one bullet, always first — list every uploaded reference image by short visual descriptor) +- **Character** (one bullet — hair, skin, identity markers, expression) +- **Outfit / styling** (one bullet — wardrobe head-to-toe, jewelry, body markers) +- **Backdrop or environment** (one bullet) +- **Framing** (one bullet, only if non-default) + +Close with a single short question line ("Sound good?" / "Lock it?" / "Run it?"). + +Format example: + +Pre-prompt check: +- **References attached:** locked character reference sheet, outfit wardrobe reference plate +- **Character:** platinum-blonde ponytail, warm fair skin, sharp almond eyes, neutral expression +- **Outfit:** ivory zip-V corset, ivory parachute pants, cream platforms, clear acrylic accessories +- **Backdrop:** mid-gray seamless studio (locked default) +- **Framing:** full body + +Sound good? + +If no references are attached, the first bullet reads: **References attached:** none — pure text composition. + +Wait for the green light. Then drop the full prompt in a single fenced code block. + +--- + +## CORE PHILOSOPHY + +No plastic. No CGI sheen. No 3D-render look. No commercial gloss. No AI-generic skin or hair. + +Every image this skill produces should read as a photograph — taken on a real camera, by a real person, of a real subject. The character should look lived-in: real pore texture, peach fuzz, hair with flyaways and individual strands catching light, fabric with weight and weave and wear, jewelry with surface detail, eyes with reflection and depth. + +**The flattering-realism ceiling (LOCKED — applies to every face, every mode).** Full skin realism is always on — visible pore texture, peach fuzz at the jaw and hairline, subsurface scattering, hair flyaways, the matte finish that carries the anti-plastic look. But realism never means *unflattering*. Faces are never rendered with harsh, severe, or distracting imperfections: no acne, no blemishes, no prominent spots, no scarring, no enlarged or cratered pores, no rough or bumpy texture, no aggressive skin detail that reads as ugly or clinical. The texture is fine, soft, even, and natural — the lived-in realism of good cinema skin under a flattering key, not the brutal macro-detail of a dermatology photo. Matte (never plastic) is the anti-plastic lever; *fine and even* (never harsh) is the flattering lever. Both are always on together. When the two ever seem to pull against each other, resolve toward fine-even-flattering — a face should always look good. + +Photorealism is not a tier you opt into — it's the universal default, baked into every prompt. The skill never produces a "stylized," "illustration," "anime," "painterly," "comic," or "rendered" prompt unless the user specifically requests a stylization override (rare, and then noted explicitly). + +--- + +## UNIVERSAL RENDER RULES — FIGHTING THE AI AESTHETIC + +These rules are baked into every Banana Pro, Soul Cinema, and GPT-2 prompt this skill produces. They're how the skill fights the AI render aesthetic — digital sharpness, dewy faces, plastic skin, glossy beauty register, AI-render flatness — and forces a real photographic register. + +**1. Real human skin.** +- Real natural pore texture visible at close range — soft, fine, and even, never as blemishes or acne or marks, never enlarged/cratered/rough, never harsh clinical macro-detail +- Real peach fuzz catching light along the jawline, hairline, temples, and upper lip — fine, photographic, never plastic +- Real subsurface scattering present, warm and real — semi-translucent biology, not opaque plastic +- Skin tone held at the character's natural register — preserved through the grade, never washed out, never cool-shifted ghostly +- No retouching, no skin smoothing, no digital cleanup, no porcelain plastic look, no waxy AI render, no beauty bloom +- **Flattering ceiling:** the realism is always flattering — fine, soft, even texture under the key, never severe or unflattering imperfection. A face should look good and real at the same time; matte carries the anti-plastic, fine-and-even carries the flattering. Resolve any tension toward flattering. +- Doll-coded characters (when explicitly requested): smooth matte register without visible pores or peach fuzz but still real and natural, never plastic, never AI-render, never waxen + +**2. Real hair physics — strand-by-strand, context-aware.** +- All hair rendered strand by strand with realistic flyaways, baby hairs at the hairline, separation between strands, light transmission through hair ends — never block-of-hair animation +- Hair responds to the actual environment of the scene: still interior = settled hair, moving vehicle = wild hair in active motion, wind = drift, action = kinetic lift and fall, wet = damp matte clumping never glossy oil-slick +- Hair register defaults matte — fine diffuse fiber with soft natural shape, never glossy shine, never reflective sheen unless the user specifies a high-gloss styling + +**3. Real lens character.** +- Wide-latitude digital cinema capture as the default register — broad dynamic range, gentle filmic highlight roll-off, never a flat video look +- For character canonicals and seamless studio stills (gray or white): a clean fast normal prime around a 50mm full-frame field of view at a wide aperture — natural round bokeh, even sharpness, gentle background separation, no anamorphic stretch on portraits unless requested +- For scene plates with characters or environments: vintage 2x anamorphic optical character — oval bokeh, a gentle horizontal squeeze on out-of-focus highlights, soft frame-edge falloff, mild organic optical imperfection toward the edges, plus a light diffusion bloom that lifts highlights into a soft halation and takes the hard digital edge off +- Real anamorphic-style horizontal streak flares on point light sources when called for, never on portraits + +**4. Real light physics.** +- **Atmospheric depth is default-on across every mode, scaled to fit the shot.** Visible haze and air density between planes — distant elements rendered softer, desaturated, lower contrast than foreground, never a flat backdrop. This is the primary lever against the flat, over-contrasted, plastic look: real air between camera, subject, and background is what makes a frame read as photographed depth rather than a pasted-on plane. Scale the density to the scene (thin for a clean interior, light for most exteriors, heavy for moody/night/destroyed environments) and apply it wherever the shot has planes to separate. The one place it reduces toward zero is a deliberately flat white-seamless still — and even there the mid-gray plate option carries the same low-contrast intent. +- Shadow falloff with physically accurate wrap on real anatomy — soft transitions, never hard edges, real human anatomy under real cinema light +- Subsurface scattering at ear edges, nostrils, eye sockets with warm undertone bleed +- Highlights rolled off gently in a filmic curve, never clipping to pure white — light blooms softly into haze rather than punching as hard white discs +- Lifted blacks that stay open and never crush to pure black, highlights that roll off and never clip — wide dynamic range, full detail held in both shadows and highlights + +**5. Real grain.** +- Color-negative motion-picture film look — daylight-balanced for day registers, tungsten-balanced and pushed for night work, the organic color rendition of real film stock baked in +- Fine theatrical 35mm film grain across the entire frame including skin, fabric, atmosphere, backdrop — never the silent clinical fine-grain register of editorial photography +- The grain is what ties everything to real cinema photographic capture + +**These five rules are the lock. Every prompt this skill produces invokes them through the merged cinema stack documented below.** + +## NIGHT CINEMA REGISTER (FOR NIGHT SCENES) + +When the user asks for a night scene, the night work has a specific theatrical action cinema target — **Justin Lin / James Wan / Greig Fraser night work**. This is the dark, practical-driven theatrical action night register seen in Tokyo Drift canyon scenes, Fast 5 night work, Furious 7 night chases, The Batman, John Wick. Critical principle: theatrical night cinema is **mostly dark, with hard punchy practicals cutting through**. NOT saturated-teal-everywhere. NOT bright-night. + +**Two modes of night cinema:** + +**A. EXTERIOR CANYON / OPEN NIGHT (cliff overlooks, canyon roads, remote night):** +- Light comes EXCLUSIVELY from practical sources in the scene (headlights, brake lights, dash glow leaking out doors, distant city glow). No ambient moonlight, no ambient sky lift. +- The sky and surroundings are committed to deep crushed near-black darkness +- A faint horizon glow may be visible at very deep distance — small, contained, abstract neon color (magenta, cyan, warm amber, hot pink) barely readable as far-off civilization, NOT bright enough to illuminate anything in foreground or midground +- Atmospheric haze suspended in air catches headlight beams as visible warm white volumetric god rays +- Headlight backscatter lights only the immediate front of each vehicle and the rocks/ground directly in front +- Everything outside the headlight throws and their immediate backscatter falls into deep crushed near-black shadow +- The cars themselves read primarily as silhouettes against the night sky with their headlight glow defining their forward edges +- This is the Tokyo Drift canyon night register — DARK, with hard warm headlight punch as the only light + +**B. INTERIOR / URBAN / LIT NIGHT (parking garages, warehouses, city streets, interior cabins):** +- Practical sources in the scene drive the look — sodium-vapor street lamps, fluorescent garage lights, neon signs, dash glow, brake lights, interior lighting +- Teal-amber color split can read here because practical sources motivate it (cool sodium / fluorescent / neon vs warm dash / brake / amber lights) +- Atmospheric haze gives light volumetric body +- Background subjects readable through the lit zones +- This is the Tokyo Drift parking garage register, Furious 7 night chase register — practical-driven, deep contrast, real teal-amber color split where motivated + +**Universal night cinema rules across both modes:** + +**Contrast:** Deep cinematic contrast — shadows are deep but hold information, highlights are hot but don't clip into mush. Wide dynamic range that reads on a real cinema screen. + +**Practicals punch hard:** Headlights cut through darkness with real intensity and volumetric throw. Brake lights saturate hot red. Dash glow saturates cabin interiors. Light HITS the scene with purpose, not softly diffused into mush. + +**Atmospheric haze:** Light volumetric haze suspended in air (canyon dust, urban smog, breath, ground moisture). The haze catches practical light beams as visible volumetric cones. This is what makes light feel real on screen. + +**Rim and edge light:** Subjects in night scenes defined against dark backgrounds by rim and edge light from practical sources. Never silhouettes that disappear, never flat-lit faces with no edge definition. + +**Skin in night:** Skin reads warm against cool ambient when there's any cool ambient to read against. Real human skin tone preserved through the grade. Practical light sources warm one side of the face — natural face-side-lighting from real cinema gaffer work. + +**The reference is unambiguous:** Real theatrical action movie nights projected onto real IMAX screens. Tokyo Drift, Fast 5, Furious 7, The Batman, John Wick. Theatrical, punchy, **mostly dark, with practical light cutting through**. Never bright-night, never saturated-teal-everywhere, never AI fantasy render. + +--- + +## 18% GRAY SEAMLESS + FLAT GRADE (LOCKED DEFAULT FOR ALL CHARACTER WORK) + +**18% neutral gray seamless with a completely flat, shadowless grade is the locked default** for all character work — face locks, character references, outfit plates, 3-panel and 6-panel sheets, and prop references. **Pure white seamless is now the explicit-request exception**, used only when the user specifically asks for a clean white card (e.g. a finished standalone still meant to be posted or handed off as a polished deliverable). When in doubt, default to gray. + +**Why gray as the standing default.** Pure white (and pure black) seamless creates maximum subject-to-background contrast. Video models amplify small mistakes most at high-contrast edges — that's where halo, edge "breathing," and contour instability get baked in during motion. A neutral mid-gray ground lowers the subject-to-background contrast, which means cleaner edge extraction and far less inherited contrast and plastic when the still is read as a reference frame. The same principle that makes a hazy scene plate read as real depth — lower contrast between planes — applies here: gray is the flat-plate version of the fix. Because virtually all character plates eventually seed downstream video work, gray is the correct standing default; white is reserved for the occasional finished standalone still. + +**The background stays neutral; the character does not.** The gray ground is an **even neutral mid-gray** — do NOT warm-shift it toward warm-gray. The neutral ground is the locked look. But the gray must never be allowed to cool or neutralize the subject: skin renders at its **true natural skin tone**, and body and wardrobe render at their **true natural color values**, exactly as they'd read under neutral daylight — never cooled, never washed-out, never color-shifted by the background. The relight-from-scratch language and the explicit "warmth preserved and natural, never pale or washed-out or cool-shifted" clause in the lighting close below are what hold this. Keep the background neutral and the subject true. + +**The white exception:** only when the user explicitly asks for white. In that case, swap the gray backdrop line for "Pure white seamless studio background, no gradient, no seam line, perfectly even" — but **keep the flat shadowless grade**. Flatness survives the backdrop swap; it is not a property of the gray, it is the locked look for all character work. + +**Lighting close for a gray plate (LOCKED FLAT GRADE — use this, NOT the full cinema stack):** + +``` +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette, no falloff to lighter or darker anywhere in the frame. Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the subject evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no cheek triangle, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background — the backdrop stays clean flat gray behind the entire figure. No contact shadow, no drop shadow, no ambient occlusion anywhere in the frame. Extremely low contrast, even, milky, catalogue-flat. Form is described by bone structure, hair strands, and fabric folds alone, not by light and shadow. Skin reads matte and velvety — zero shine on forehead, nose bridge, cheekbones, temples, and chin, no oily T-zone. Skin renders at its true natural skin tone and wardrobe at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real soft fine even pore texture, subsurface scattering reading as semi-translucent biology, never plastic, never waxy AI render, never glass-skin, never harsh — fine flattering texture that keeps the face looking good, no acne, no blemishes, no rough pores. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. +``` + +**Why flat, and why the lean close instead of the full cinema stack.** These plates are references, not finished frames. Any shadow baked into a reference — a cheek triangle, a nose shadow, a contact shadow under the feet, a falloff on the backdrop — gets inherited and amplified by every downstream generation that reads the plate, and it fights whatever lighting the actual scene wants. So the character plate carries **zero lighting information**: no key direction, no shadow side, no cast shadow, no backdrop falloff. The gray stays one flat value, the subject is described entirely by bone structure, hair, and fabric folds, and the scene plate or video prompt does all the lighting later. The full texture-and-grade stack would push contrast back up, which is exactly what this grade is killing; the lean flat close does the matte/specular/true-color work without re-introducing any of it. + +**The three things that must appear in every flat close, always:** +1. **Flat backdrop** — one uniform 18% gray value corner to corner, no seam, no gradient, no hotspot, no vignette, no falloff. +2. **Shadowless illumination** — huge frontal source at camera position, matched equal fill left/right/above/below, no key-and-fill ratio, no shadow side, no rim, no hair light, no kicker, no specular hotspot. +3. **Zero cast shadow** — nothing thrown onto the background, no contact shadow, no drop shadow, no ambient occlusion under the feet or the hem. + +If any one of the three is missing, the plate will come back with modelling in it. + +**3-panel sheets:** the flat default applies the same way, and the flatness must be stated as applying **uniformly across all three panels** — same flat gray value, same shadowless light, no cast shadow in any panel. Close with the flat grade above instead of the full cinema stack. Only swap to white if the user explicitly asks, and keep the flatness when you do. + +**6-panel sheets:** same — flat gray value and shadowless light stated as applying uniformly across all six panels, no cast shadow in any panel. Close with the flat grade above instead of the full cinema stack. Keep everything else (panel layout, identity lock) identical. Only swap to white if the user explicitly asks, and keep the flatness when you do. + +--- + +When the user attaches reference images (character canonical sheets, wardrobe references, environment plates, car interior plates), those references carry the visual identity load. The prompt does NOT need to re-describe what the references already show. Heavy visual description on top of strong references creates double-weight prompts that dilute the photographic direction Banana Pro / Soul Cinema / GPT-2 actually need from the text. + +**The new structure for every prompt this skill produces:** + +**1. Identify subjects by short, distinguishing visual descriptors only.** +- "the woman with platinum-blonde hair in the white unitard" — not a paragraph describing her face structure, skin texture, hair waves, lash length, lip shape, brow arch, body type, posture, makeup +- "the cream pearl coupe interior" — not a paragraph describing every dash gauge, knob, charm, harness, switch +- One distinguishing visual handle per subject is enough — the reference image carries the rest + +**2. Put the load on what the prompt UNIQUELY needs to communicate:** +- Composition and framing (where the subject is in the frame, what's in foreground/background, what the camera angle is) +- Pose, expression, what bodies and hands are doing +- Light direction and quality (where the light is coming from, how it falls on the subject) +- Wardrobe or styling SPECIFIC TO THIS PLATE that's not in the existing references +- The cinema stack at the end + +**3. Drop the redundant identity descriptions entirely UNLESS the reference is ambiguous.** +- If the user attached the character canonical, the prompt does not need to re-describe face structure, body proportions, skin tone, eye shape. Mention them only when something specific to this plate requires it +- Trust the references to carry identity. The prompt's job is to tell Banana Pro what to DO with the identity in this specific shot + +**4. When in doubt, lean shorter.** +- A 2500-character Banana Pro prompt with strong references beats a 5000-character prompt every time +- Banana Pro reads the front of the prompt most heavily; loading the front with composition + pose + light gets better results than burying those decisions under visual description +- The references show the model what things LOOK like. The prompt tells the model how to FRAME them. + +**Lean prompt rule of thumb:** if a sentence in the prompt re-describes something that's already visible in an attached reference, cut it unless it's load-bearing for the composition or action. + +--- + +## THE CINEMA STACK (LOCKED — APPENDS TO MOST PROMPTS) + +Every prompt this skill outputs ends with a version of this single merged cinema stack. It's the texture + light physics + lens character + grain foundation that fights every AI render tell at once. One block, one job — close the prompt with a real photographic register. + +``` +Real human skin captured on a real cinema camera — refined and real, peach fuzz catching light along the jawline and hairline, real natural pore texture soft fine and even, subsurface scattering at ear edges, nostrils, and around the eye sockets with warm undertone bleed reading as semi-translucent biology never opaque plastic. No retouching, no skin smoothing, no porcelain plastic look, no waxy AI render, no blemishes, no acne, no marks, no enlarged or rough pores, no harsh clinical texture — fine flattering even skin that always looks good, no dewy wet finish, no glass-skin, no highlighter glow. Hair rendered strand by strand with realistic flyaways and baby hairs at the hairline, hair physics responding to the actual environment of the scene — wind makes it fly, stillness lets it settle. Fabric with real weave detail, real weight, real drape. Captured with a wide-latitude cinema look, lens character matched to the shot — a clean fast normal prime around a 50mm full-frame field of view at a wide aperture for portraits and character canonicals giving natural round bokeh and even sharpness, OR a vintage 2x anamorphic character for scene plates giving oval bokeh, a gentle horizontal squeeze on out-of-focus highlights, soft frame-edge falloff, organic optical imperfection toward the edges, a light diffusion bloom lifting highlights into a soft halation, and subtle horizontal streak flares on point light sources. Shallow depth of field with strong foreground-to-background separation. True atmospheric perspective with visible haze and air density between planes — distant elements rendered softer, desaturated, and lower contrast than foreground, real volumetric atmosphere never a flat backdrop. Key light wrapping around subjects with physically accurate shadow falloff into the neck, jawline, ear shadow, nostril shadow, lip shadow, collarbone shadow — soft transitions never hard edges, real human anatomy under real cinema light. Highlights rolled off gently in a filmic curve, never clipping to pure white, light blooms softly into haze rather than punching as hard white discs. Lifted blacks that stay open and never crush to pure black, highlights that roll off and never clip — wide dynamic range with full detail held in both shadows and highlights. Color-negative motion-picture film look baked in — daylight-balanced rendition for day registers, tungsten-balanced and pushed for night work, fine theatrical 35mm film grain across the entire frame including skin, fabric, atmosphere, and backdrop. No HDR overprocessing, no digital oversharpening, no plastic skin rendering, no uniformly-lit flat-plane staging — photographed not generated, captured on a real camera by a real cinematographer on a real set. +``` + +**Modal application:** +- **Mode 0 (face lock), Mode 1 (single-image character outfit), Mode 2 (character sheet), Mode 4 (GPT-2 detail), Mode 5 (outfit replacement) — i.e. all studio character work:** these close with the **LOCKED FLAT GRADE**, not the full cinema stack. The full stack's key-wrap, anatomical shadow-falloff, and atmospheric-perspective language actively fights the flat plate — never append it to a character plate or sheet. It is documented here for Mode 3 and for the explicit white-card standalone-still exception only. +- **Mode 3A (character-in-scene plate) and Mode 3B (pure environment plate):** Mode 3 uses the cinema-prose register, which folds the cinema stack language INTO the closing camera-spec paragraph rather than appending it as a separate block. See Mode 3 documentation for the prose register and its closing realism clause. +- **Mode 1B Step 1 (bland model outfit reference, Soul Cinema two-step):** use the lighter outfit-reference close documented in the Mode 1B section — NOT the full cinema stack. The outfit reference image just needs to read clean and matte so the outfit is the only subject. + +**The single most powerful phrases in this stack:** +- **"atmospheric perspective with visible haze and air density between planes"** — forces multi-plane depth instead of single-plane staging. Biggest fix for the "video game" look. +- **"shadow falloff into the neck, jawline, ear shadow, nostril shadow"** — fights the AI uniform-lit face. Forces real anatomical shadow geometry. +- **"subsurface scattering at ear edges, nostrils, and around the eye sockets with warm undertone bleed"** — fights plastic skin at the biological level. Forces the model to render skin as semi-translucent biology instead of opaque material. +- **"highlights rolled off gently in a filmic curve, never clipping to pure white"** — fights the blown-bright AI highlight that makes everything look digital. Forces the cinema highlight roll-off. +- **"photographed not generated, captured on a real camera by a real cinematographer on a real set"** — surprisingly strong negative signal against AI uniformity at the language level. + +**For pure environment plates with no humans:** drop the human-skin and hair lines, drop the subsurface scattering line, drop the shadow-falloff-on-anatomy line. Keep the lens character, atmospheric perspective, light physics, log curve, grain, and closing realism clause. + +--- + +## READING REFERENCE IMAGES + +When the user uploads reference images, extract everything visible in the frame by **visual description only** — never use names, never invent details that aren't in the image. + +**For each character in the reference, capture:** + +- **Hair:** color (every nuance — platinum, jet black with cool undertone, rose-pink, burgundy, ash brown, dirty blonde, etc.), length, style, texture (straight, wavy, curly, coily), parting, any styling (slicked, blown out, flat-ironed, braided, bunned, ponytail, bangs — and which kind of bangs), accessories (clips, bows, ribbons, caps, bandanas, headbands) +- **Makeup:** skin finish (matte, dewy, glass-skin, bare), foundation/coverage register, brow shape and density, eye treatment (cat-eye liner, smoky, sharp graphic, soft bare, glitter, colored), lashes, lip (gloss, matte, gradient, color, fullness), cheek (flush, contour, highlight), any face jewelry, freckles or beauty marks **only if visible in the reference** (do not invent) +- **Wardrobe:** every garment top to bottom — fabric, color, fit (cropped, oversized, fitted, baggy), structural details (cutouts, keyholes, ribbing, ribbed cotton, knit, denim wash, leather finish, mesh, latex, silk), neckline, sleeve length, hem position, layering, branding details (described generically — "three-stripe athletic sneakers" not the brand name) +- **Jewelry & accessories:** every piece — earring style, necklace count and material, rings, bracelets, body chains, belts, bag, sunglasses, watch +- **Body markers:** piercings (only if visible), tattoos (only if visible), nail length and color, distinguishing features +- **Pose and energy:** body angle, weight distribution, hand position, expression register + +**Naming rule (CRITICAL).** Never use proper names in the prompt output. Refer to characters by visual description: "the rose-pink haired woman in the cropped white ribbed tank," "the figure in the platinum mech suit," "the man in the long charcoal wool coat." Higgsfield does not know names. Visual descriptors survive across prompts; names do not. + +**Brand name rule (CRITICAL).** Never use real brand names or protected IP in the prompt output. Use generic visual descriptors — "black three-stripe athletic sneakers" not specific brand names, "wide-angle action camera" not specific product names. Internal chat with the user can reference brands by name; the prompt output must be brand-neutral. + +**Age-blind rule.** Never describe characters by age. Avoid: *boy, girl, child, kid, young, teen, little, middle-aged, elderly, old.* Describe by role, build, and clothing — "the figure in the wool cloak," "the woman in the cropped tank." + +**No-invention rule.** If the user gives you a reference image and asks for the same character in a new scene, do not invent wardrobe or styling details that aren't in the image or specified in the request. If something is needed but not specified (e.g., a new outfit for a new scene), ask before composing. + +--- + +## MODE 0 — FACE LOCK (NEW CHARACTERS ONLY) + +**When to use:** Any time a character is being developed from scratch and there is no existing canonical reference image of their face. Run this BEFORE any outfit work, any character sheet, any scene plate. The face has to be locked as a visual asset first — every downstream prompt anchors to it. + +**Goal:** Produce the canonical face reference for the character. Identity only — no outfit considerations beyond a locked neutral baseline top, no environment, no posing direction. Just: a clean, locked face on white background with soft soft lighting that makes the skin read matte and cinema-placement-ready. + +**Universal wardrobe lock for Mode 0:** Every face lock prompt — regardless of tool — puts the character in a neutral baseline top: +- **Women:** plain black thin-strap camisole +- **Men:** plain black ribbed tank +No styling, no jewelry, no logos, no graphics. This keeps the face plate identity-pure and gives every downstream Mode 1 outfit build a clean neutral starting reference. + +--- + +### Tool fork — pick one (ask the user first) + +Before any prompt, ask the user which tool to use for the face lock. Three options: + +> Want to build this in Banana Pro, GPT-2, or Soul Cinema? +> — **Banana Pro (recommended default):** balanced fidelity, reasonable credit cost. Works for most character builds straight up. Single-pass build, no Step 0.1 needed. +> — **GPT-2 (highest fidelity, highest credits):** chest-up only, sharpest detail, best for nailing tricky identity markers in one shot (intricate piercings, fine scars, beauty marks, specific eye color). Heads-up — uses considerably more Higgsfield credits than Banana Pro. +> — **Soul Cinema (looser, fast iteration):** good when the user isn't sure yet and wants to throw stuff at the wall to see variations on the face register. Lower fidelity than Banana Pro but faster to iterate. If used, run as Step 0.1 first to produce a face plate, then a Banana Pro 3:4 pass (Step 0.2) to lock the finer detail. + +Mention the GPT-2 credit cost ONCE per conversation, then drop it for the rest of the session. + +Wait for the user to pick. Then proceed to the matching step. + +--- + +### Step 0.A — Banana Pro single-pass face lock (default) + +**When:** User picks Banana Pro (or doesn't specify and goes with the default recommendation). + +**How:** Single-pass Banana Pro generation, no Soul Cinema plate required. The prompt itself locks identity markers in one shot. + +**Pre-prompt check:** + +Pre-prompt check — Banana Pro face lock (single-pass): +- **Reference attached:** none — text-only build +- **Character spec:** [identity essentials only — heritage, build, skin, hair color + length + texture, eye shape + color, key identity markers like beauty marks/scars/piercings] +- **Wardrobe:** plain black [camisole / ribbed tank] +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft natural light from camera-[left/right] +- **Framing:** 3:4 headshot, forehead to upper chest, face filling most of the frame + +Sound good? + +**Canonical Step 0.A prompt structure:** + +``` +A clean cinema-character-reference 3:4 headshot, framed from forehead to upper chest with the face filling most of the frame. [Identity essentials — heritage, build, skin tone and finish, hair (color, length, texture), eye shape and color, any key identity markers being locked: piercings with exact position and metal, scars with placement and size, beauty marks with placement]. She wears [a plain black thin-strap camisole / he wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes to camera, lips closed and relaxed, subtle controlled energy. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette, no falloff to lighter or darker anywhere in the frame. Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the subject evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no cheek triangle, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background — the backdrop stays clean flat gray behind the entire figure. No contact shadow, no drop shadow, no ambient occlusion anywhere in the frame. Extremely low contrast, even, milky, catalogue-flat. Form is described by bone structure, hair strands, and fabric folds alone, not by light and shadow. Skin reads matte and velvety — zero shine on forehead, nose bridge, cheekbones, temples, and chin, no oily T-zone. Skin renders at its true natural skin tone and wardrobe at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real soft fine even pore texture, subsurface scattering reading as semi-translucent biology, never plastic, never waxy AI render, never glass-skin, never harsh — fine flattering texture that keeps the face looking good, no acne, no blemishes, no rough pores. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. + +[Gray is the locked default — use the flat close above. If the user explicitly asks for a white card instead, swap the backdrop line to "Pure white seamless studio background, no gradient, no seam line, perfectly even" and keep every flat/shadowless clause exactly as written. Flatness never comes off.] + +--- + +### Step 0.B — GPT-2 single-pass face lock (highest fidelity) + +**When:** User explicitly picks GPT-2 and has confirmed the higher credit cost. + +**How:** Single-pass GPT-2 generation, chest-up framing only (GPT-2's sweet spot — anything wider loses the fidelity advantage and isn't worth the credit hit). + +**Pre-prompt check:** + +Pre-prompt check — GPT-2 face lock (single-pass, chest-up only): +- **Reference attached:** none — text-only build +- **Character spec:** [identity essentials only — heritage, build, skin, hair color + length + texture, eye shape + color, key identity markers] +- **Wardrobe:** plain black [camisole / ribbed tank] +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft natural light from camera-[left/right] +- **Framing:** chest-up portrait, face dominant in the frame + +Sound good? + +**Canonical Step 0.B prompt structure:** Use the GPT-2 prompt structure documented in the GPT-2 section of this skill (Mode 4). Apply the same identity essentials, wardrobe lock, white backdrop, and soft soft lighting as Step 0.A — just routed through the GPT-2 prompt grammar instead of the Banana Pro grammar. + +--- + +### Step 0.1 + Step 0.2 — Soul Cinema two-pass face lock (iteration path) + +**When:** User picks Soul Cinema. Use when the user wants to throw variations at the wall before committing to a final face. Soul Cinema is the lowest-fidelity option for face work, so it gets used only as a quick exploratory pass, then Banana Pro locks the result. + +### Step 0.1 — Soul Cinema face plate + +Run a lean Soul Cinema generation to produce a clean face plate on mid-gray seamless with soft soft lighting. The plate is exploratory — identity essentials only, no makeup detail, no granular facial anatomy, no fine identity markers (those go into Step 0.2 where Banana Pro can actually hold them). + +**Pre-prompt check:** + +Pre-prompt check — Step 0.1 of 2 (Soul Cinema face plate): +- **Reference attached:** none — text-only build +- **Character spec:** [identity essentials only — heritage, build, skin tone, hair (color, length, texture), eye shape and color, beauty marks / scars only if they're large/obvious — fine markers held for Step 0.2] +- **Wardrobe:** plain black [camisole / ribbed tank] +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft natural light from camera-[left/right] +- **Framing:** chest-up, face clearly readable, body squared to camera + +Sound good? + +**Canonical Step 0.1 prompt structure (lean — identity essentials only):** + +``` +A [heritage] [woman / man] with a [slim / specified] build, [skin tone and finish], [hair color, length, texture]. [Eye shape and color]. [Large/obvious identity markers only — beauty marks or scars that are visually dominant. Hold fine markers for Step 0.2]. [She wears a plain black thin-strap camisole / He wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes to camera, lips closed and relaxed. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette. Completely flat shadowless illumination — a huge soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the face read at exactly the same brightness. No shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker. Zero shadow cast onto the background. Extremely low contrast, even, milky, catalogue-flat. Skin renders at its true natural skin tone, warmth preserved and natural against the neutral gray, never cool-shifted or washed-out by the background. Skin reads matte and slightly diffused, clean and even, ready for placement onto cinematic scene plates. Chest-up framing. + +Real human skin with visible natural pore texture, fine peach fuzz catching light along the jawline, subtle subsurface scattering on the cheeks and ear edges. Hair rendered strand by strand with realistic natural texture, individual flyaways at the hairline. Fine cinema grain. Lived-in, not pristine. Photographic, not rendered. +``` + +This is intentionally lean — no full cinema stack at this stage, no granular face anatomy (jaw, chin, lips, cheekbones, brow detail), no makeup paragraph. Let Soul Cinema interpret the face from the essentials. Step 0.2 locks the rest. + +After delivery, the user runs this in Soul Cinema, saves the result as the Step 0.1 face plate reference. + +### Step 0.2 — Banana Pro 3:4 headshot to lock the full facial character + +Once the Soul Cinema face plate exists, run a second-pass Banana Pro 3:4 headshot using that Soul Cinema plate as the character reference. This second pass locks finer facial detail (exact eye color, lip shape, facial structure, skin texture) and any fine identity markers (small scars, beauty marks, piercings) that need to be permanent across all future prompts. + +**Pre-prompt check:** + +Pre-prompt check — Step 0.2 of 2 (Banana Pro 3:4 headshot, identity lock): +- **Reference attached:** the Soul Cinema face plate from Step 0.1 +- **Character spec:** [same essentials as Step 0.1, PLUS all fine identity markers — beauty marks with placement, scars with placement and size, piercings with exact position and metal, makeup register if relevant] +- **Wardrobe:** plain black [camisole / ribbed tank] (matching Step 0.1) +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft from camera-[left/right] (matching Step 0.1) +- **Framing:** 3:4 headshot, forehead to upper chest, face filling most of the frame + +Sound good? + +**Canonical Step 0.2 prompt structure:** + +``` +A clean cinema-character-reference 3:4 headshot of the same character as the attached Soul Cinema face plate, framed from forehead to upper chest with the face filling most of the frame. [Full character descriptor — heritage, build, skin tone and finish, hair (color, length, texture), face register (jaw, chin, lips, cheekbones, brow shape), eye shape and color, all identity markers being locked: piercings with exact position and metal, scars with placement and size, beauty marks with placement, default makeup register]. She wears [a plain black thin-strap camisole / he wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes to camera, lips closed and relaxed, subtle controlled energy. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette, no falloff to lighter or darker anywhere in the frame. Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the subject evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no cheek triangle, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background — the backdrop stays clean flat gray behind the entire figure. No contact shadow, no drop shadow, no ambient occlusion anywhere in the frame. Extremely low contrast, even, milky, catalogue-flat. Form is described by bone structure, hair strands, and fabric folds alone, not by light and shadow. Skin reads matte and velvety — zero shine on forehead, nose bridge, cheekbones, temples, and chin, no oily T-zone. Skin renders at its true natural skin tone and wardrobe at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real soft fine even pore texture, subsurface scattering reading as semi-translucent biology, never plastic, never waxy AI render, never glass-skin, never harsh — fine flattering texture that keeps the face looking good, no acne, no blemishes, no rough pores. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. + +[Gray is the locked default — use the flat close above. If the user explicitly asks for a white card instead, swap the backdrop line only and keep every flat/shadowless clause exactly as written. Flatness never comes off.] +``` + +After delivery, the user runs this in Banana Pro. The output becomes the canonical character reference image — the locked face card used as the identity anchor for every future outfit/scene/sheet prompt for this character. + +**Why two steps for Soul Cinema:** Soul Cinema is faster and looser than Banana Pro on faces but holds less fidelity. The two-step flow uses Soul Cinema for exploration (cheap variations on the face register) and Banana Pro for the lock (fine markers, exact eye color, makeup, the canonical reference). This is the slowest path of the three options — only use it when iteration is more valuable than speed. + +--- + +**What Mode 0 is NOT for:** +- Refining an existing character that already has a canonical reference → not needed, skip to Mode 1 +- Outfit design → use Mode 1 (Mode 0's locked black camisole/tank is identity-baseline, not a styled outfit) +- Multi-angle sheets → use Mode 2A (3-panel, default), but only AFTER Mode 0 + Mode 1 are done + +Mode 0 is one-and-done per character. Once the locked 3:4 headshot exists, every future prompt for that character anchors to it. + +--- + +## MODE 1A — SINGLE-IMAGE CHARACTER OUTFIT, BANANA PRO PATH + +**When to use:** First image of any character/outfit pairing **when the user picks Banana Pro** in the Mode 1 tool fork. Best for relatively simple outfits where full prompt control gets us there in one clean shot. Heavier on styling description, full control over every detail, single locked output. + +**Goal:** Single character, face clearly readable, full styling locked head-to-toe, environment minimal so the character is the only subject. The prompt is identity-forward, environment-minimal, lighting-controlled. + +**Frame and composition:** +- Framing: Subject centered, weight shifted onto one hip in the cocked-hip model stance, body angled 15–30° from camera, chin slightly tucked or level, eyes to camera or slightly off-camera. Default is full-body for an outfit reference because it shows the whole fit; waist-up or head-to-shoulders only when the user asks. Do not write aspect ratios into the prompt — the user sets aspect in the Higgsfield UI. +- Background: **18% neutral gray seamless studio, flat.** The locked default for all character/outfit work — one uniform gray value, no seam line, no gradient, no falloff. Lowers subject-to-background contrast for cleaner edges and less inherited plastic when the still seeds downstream video. **Exception:** if the user explicitly asks for a clean white card, swap to pure white seamless — but keep the flat shadowless grade. +- Lighting: **Flat and shadowless.** Huge frontal source at camera position, matched equal fill left, right, above, below. No key side, no shadow side, no rim light, no hair light, no kicker, no cast shadow on the background, no contact shadow under the feet. Skin reads matte and even, carrying zero lighting information into downstream work. + +**Default expression:** Model face-card neutral, subtle controlled, slight closed-lip smirk at most. Never teeth-showing smile unless the user specifically requests it. + +**Canonical Mode 1A prompt structure:** + +``` +[Visual descriptor of the character — hair, makeup, full wardrobe head-to-toe, jewelry, body markers, all extracted from references or locked from the development phase]. [Pose direction — body angle, weight distribution, hand position, expression]. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette, no falloff to lighter or darker anywhere in the frame. Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the whole figure evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face and body read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background — the backdrop stays clean flat gray behind and around the entire figure. No contact shadow, no drop shadow, no ambient occlusion on the floor beneath the feet. Extremely low contrast, even, milky, catalogue-flat. Form is described by fabric folds, garment structure, and bone structure alone, not by light and shadow. Skin and fabric read matte and velvety, no shine, no gloss, no oily T-zone. Skin renders at its true natural skin tone and the outfit at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real fine even pore texture, subsurface scattering reading as semi-translucent biology, real fabric weave and drape, never plastic, never waxy, never harsh. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. [Framing — full body / waist-up / head-to-shoulders]. + +[Gray is the locked default — use the flat close above. If the user explicitly asks for a white card, swap the backdrop line only and keep every flat/shadowless clause exactly as written. Flatness never comes off.] +``` + +**Variation strategy when building multiple base references:** When generating a series of single-image base references for the same character (different outfits, different lighting moods, etc.), keep the mid-gray seamless backdrop locked and vary one parameter per shot: + +- Pose (cocked-hip front → angled three-quarter → seated → side profile → back-to-camera over-shoulder) +- Framing (full body → waist-up → head-to-shoulders) +- Expression (neutral → smirk → eyes-closed → looking off-frame) +- Lighting direction (key from L → R → top → backlit) + +Don't vary face, skin, or core identity markers. Those stay locked. + +--- + +## MODE 1B — SINGLE-IMAGE CHARACTER OUTFIT, SOUL CINEMA PATH + +**When to use:** First image of any character/outfit pairing **when the user picks Soul Cinema** in the Step 1 tool fork. Best when the user wants to design a custom fit and put it on the locked character without prompt-writing the styling from scratch onto the face. Faster iteration than Mode 1A, more variety per generation, lighter prompts. + +**How it works — TWO-STEP FLOW (critical):** + +Soul Cinema is a two-step process. Do not skip Step 1B.1 and jump straight to compositing. + +### Step 1B.1 — Generate the outfit on a neutral model + +First, build the outfit on a slim, normal-looking model (gender-matched to the outfit) so it exists as a clean visual reference. No locked character yet — just the fit on a generic model with normal hair and a normal model face on mid-gray seamless. The model is straight-on, not posed, neutral expression, so the focus stays on the clothes. + +**Model spec (locked):** +- Slim model build, refined proportions +- Normal hair — simple natural style appropriate to the model's gender (medium-length straight or slight wave for women, short clean cut for men), neutral natural color (medium brown by default unless the outfit calls for something specific) +- Normal model face — clean even features, neutral natural makeup if a woman (skin-tint, soft brow, neutral lip), no styled makeup if a man, blank neutral model expression +- Straight-on stance, weight evenly distributed, arms relaxed at the sides, not posed, not cocked-hip +- Body squared to camera, eyes to camera +- Gender matched to the outfit — woman for women's wear, man for menswear, the figure that fits the outfit best for unisex + +**Pre-prompt check (clean bullet format):** + +Pre-prompt check — Step 1 of 2 (build the fit): +- **Subject:** slim [woman/man], normal hair, neutral model face, straight-on relaxed stance +- **Outfit:** [full outfit description — every garment, accessory, jewelry, footwear] +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft natural light from camera-[left/right] (user picks side) + +Sound good? + +**Canonical Step 1B.1 prompt structure:** + +``` +A slim [woman / man] standing straight-on to camera in a relaxed neutral stance, weight evenly distributed across both feet, arms hanging relaxed at the sides, shoulders level and relaxed, body squared to the camera, head level. Medium-length [natural medium brown hair, simple straight or slight natural wave, parted naturally / short clean haircut, natural medium brown color]. Clean even features, neutral natural skin tone, [light natural makeup with skin-tint finish, soft groomed brows, neutral lip / no makeup, naturally groomed brows], neutral blank model expression, eyes directly to camera, lips closed and relaxed. Slim model build with refined proportions. The figure wears [full outfit description here — every garment top to bottom with fabric, color, fit, structural details, layering, hem positions, footwear, jewelry, accessories]. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no visible seam line, no gradient, no hotspot, no vignette, no falloff to black or white. Completely flat shadowless illumination — a huge soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the figure read at exactly the same brightness. No shadow side, no harsh shadows, no rim light, no kicker, no hair light. Zero shadow cast onto the background, no contact shadow on the floor beneath the feet. Extremely low contrast, even, milky, catalogue-flat. Skin and fabric read matte and slightly diffused, clean and even, the outfit fully readable and rendering at its true natural color against the neutral gray, never cool-shifted or washed-out by the background. Full body framing from head to just below the footwear. + +Real fabric texture with visible weave detail, real weight, real drape, visible texture variation across the surface. Jewelry with real metal surface detail. Real human skin with natural pore texture. Fine cinema grain, soft lens vignette, natural color grade. Photographic, not rendered. +``` + +Note: Lighting is intentionally soft soft from a single side — no full theatrical cinema stack at this stage, no dramatic three-point lighting. The outfit is the only subject. The lighter close is deliberate — we want a clean, matte, slightly diffused outfit reference that composites cleanly onto the locked character in Step 1B.2 without dragging cinema register baggage along. Run this in Soul Cinema. The user saves the result — that's the outfit reference for Step 1B.2. + +### Step 1B.2 — Composite the outfit onto the locked character + +Once the outfit reference exists from Step 1B.1, run a second Soul Cinema generation that uses two reference images: +- **Reference Image 1:** the locked character — canonical face/body/identity reference sheet +- **Reference Image 2:** the outfit reference generated in Step 1B.1 — the neutral model in the locked fit + +Both images are uploaded directly in the Higgsfield UI. + +**Pre-prompt check (clean bullet format):** + +Pre-prompt check — Step 2 of 2 (composite onto character): +- **Reference Image 1 (character):** the locked canonical character reference (from Mode 0 face lock or previously approved reference sheet) +- **Reference Image 2 (outfit):** the neutral model reference from Step 1B.1 +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft studio lighting + +Sound good? + +**Canonical Step 1B.2 prompt structure:** + +``` +Place the face and body from reference image 1 onto the outfit from reference image 2. Background is an even 18% neutral gray seamless, completely flat — one uniform value corner to corner, no seam line, no gradient, no vignette. Skin and outfit at their true natural tone. Completely flat shadowless studio illumination — soft frontal source at camera position with matched equal fill from both sides, above, and below. No shadow side, no rim light, no kicker, no contact shadow, no shadow cast onto the background. Extremely low contrast, even, catalogue-flat. +``` + +That's it. Do not add styling description (Soul Cinema reads it from Image 2). Do not add character description (Soul Cinema reads it from Image 1). Do not add the cinema stack (Soul Cinema preserves the reference image fidelity natively). Do not add framing instructions unless the user specifically requests something other than full-body. + +**Universal prompt rules still apply (both steps):** +- No character names in prompt output +- No real brand names in prompt output +- No `@image` tags or `<<>>` placeholders — image attachment happens in the Higgsfield UI directly +- No aspect ratios in prompt output + +**When to push the user back to Mode 1A:** If the user wants the outfit and character built in a single shot without the two-step process, or wants extreme stylistic control over how the outfit reads on the character's specific body — that's a Mode 1A job. Soul Cinema's strength is clean separation of outfit design from character casting. + +--- + +## MODE 2 — CHARACTER SHEETS + +Two formats. **2A (3-panel) is the default.** 2B (6-panel) is legacy and only runs on explicit request. + +**When the user asks for "a character sheet" with no format named, build the 3-panel. Do not ask which one, do not offer the 6-panel.** The 6-panel only enters the conversation if the user names it. + +--- + +## MODE 2A — 3-PANEL CHARACTER SHEET (PRIMARY, LOCKED DEFAULT) + +**When to use:** Any time a character sheet is requested, unless the user explicitly names the 6-panel. Only after a single-image base reference exists and is approved. + +**Why 3 panels beat 6:** the sheet is one image with a fixed pixel budget. Six cells splits that budget six ways, and the face — the one thing the sheet exists to lock — lands in cells too small to hold real identity detail. Three cells give each panel roughly double the resolution, which is what makes the chest-up face panel actually usable as a downstream identity anchor. + +**Canonical 3-panel layout (one horizontal frame, three equal vertical panels, thin clean separation between them):** + +1. **LEFT — Full body front, headless.** The full figure squared to camera, arms relaxed at the sides, hands open and loose, weight even across both feet, framed head-to-hem with **full headroom preserved** — generous empty backdrop above the shoulders where the head would be, so the figure sits in the frame at the same scale and position as a normal full-body portrait. **This is not a crop.** The head is *removed from the body*, not cropped out by the frame edge. The panel exists to isolate the garment, the silhouette, and the body proportions with zero facial data competing for the model's attention. + +2. **CENTER — Full body rear, head attached.** Photographed from directly behind, standing straight, arms relaxed, weight even. Hair fall, garment back construction, hem, train, and footwear all readable from behind. + +3. **RIGHT — Tight chest-up face lock.** Framed from just above the top of the head down to the collarbones and the very top of the garment only. Face fills most of the panel — a true close-up. Body squared to camera, head level, eyes to camera, lips closed and relaxed, neutral controlled expression. Brows, lashes, lip texture, and skin detail readable at close range. **This panel is the identity anchor. It must be tight — chest-up, not waist-up.** If the framing drifts wider, the sheet loses its whole reason for existing. + +--- + +### THE HEADLESS CUT — TWO VARIANTS (PICK BY GARMENT) + +The left panel's headless treatment changes based on what the character is wearing. Read the neckline, then pick. + +**Variant A — GHOST MANNEQUIN (hollow neckline).** Use when the garment has a **structured or closed neckline that sits at or above the collarbone** — a t-shirt collar, a crew neck, a ribbed tank, a turtleneck, a shirt, a hood, a jacket collar, a keyhole top. Anything with a real opening the eye expects a neck to come out of. + +There is **no head and no neck at all** — nothing rises above the shoulder line. The collar holds its own three-dimensional shape and the opening reads as an **empty dark hollow looking down into the inside of the garment**, with the inner back of the fabric faintly visible inside the opening. The garment reads as if worn by an invisible body — full volume, natural drape, real fabric tension across the chest and shoulders — but nothing emerging from the neckline. Necklaces, if present, still sit around the empty collar opening, resting on the fabric. + +**Variant B — CLEAN NECK CUT (mannequin termination).** Use when the garment has **no real neckline to hollow out** — a strapless gown, a halter, a spaghetti-strap slip, a deep cowl, a scooped or plunging dress, a bandeau. The chest and shoulders are largely bare, so there is no collar for the eye to look "into." + +Here the **neck rises a short way from the shoulders and terminates in a clean, flat, sharply defined horizontal edge at the base of the throat** — exactly like a headless dress-form mannequin. A crisp sculptural cut with a clean visible edge. Above that edge there is only empty backdrop. + +**Both variants ship with the same suppression stack, always:** not blurred, not faded, not dissolving, no wisps, no smoke, no ghosting, no transparency in the body, no stump, no anatomy detail at the cut, no blood, no gore. And in both variants, **the hair goes with the head** — no hair falling across the chest or shoulders in the left panel. + +**Locked left-panel language, Variant A (ghost mannequin):** +``` +LEFT PANEL — full body front view, no head, no neck, and no hair. The body stands squared to camera from the shoulders down to [the shoes / the hem], arms relaxed at the sides, hands open and loose, weight even across both feet. There is no head, no neck, and no hair at all — nothing rises above the shoulder line, and no hair falls across the chest or shoulders. The [collar type] of the [garment] holds its own shape at the top of the garment and its opening is an empty dark hollow looking down into the inside of the [garment], with the inner back of the fabric faintly visible inside the opening. The garment reads as if worn by an invisible body — full three-dimensional shape, natural drape, real fabric tension across the chest and shoulders, but nothing emerging from the neckline. No stump, no skin, no cut edge, no anatomy, no blood, no fade, no blur, no ghosting, no transparency in the body. The panel keeps full headroom, generous empty mid-gray backdrop above the shoulders, so the figure sits at the same scale and position in the frame as a normal full-body portrait. +``` + +**Locked left-panel language, Variant B (clean neck cut):** +``` +LEFT PANEL — full body front view, headless. The full figure stands squared to camera from the shoulders down to [the shoes / the hem], arms relaxed at the sides, hands open and loose, weight even across both feet. There is no head and no hair — no hair falls across the chest or shoulders. The neck rises a short way from the shoulders and terminates in a clean, flat, sharply defined horizontal edge at the base of the throat, exactly like a headless dress-form mannequin — a crisp sculptural cut with a clean visible edge, not blurred, not faded, not dissolving, no wisps, no smoke, no ghosting, no transparency, no blood, no anatomy detail at the cut. Above that clean edge there is only empty mid-gray backdrop. The panel keeps full headroom — generous empty space above the shoulders where the head would be — so the figure sits in the frame at the same scale and position as a normal full-body portrait. +``` + +--- + +### Mode 2A pre-prompt check + +``` +Pre-prompt check — 3-panel character sheet: +- **References:** [list every reference being attached, in order] +- **Left:** full body front, headless — [ghost-mannequin hollow at the (collar type) / clean neck cut, per the garment] +- **Center:** full body rear, head attached +- **Right:** tight chest-up face lock +- **Outfit:** [locked outfit, identical across all three panels] +- **Backdrop:** mid-gray seamless (locked default), uniform across all panels + +Sound good? +``` + +--- + +### Canonical Mode 2A prompt structure + +``` +A three-panel character reference sheet composed as one horizontal frame, divided into three equal vertical panels side by side, thin clean separation between panels, the same figure and the same outfit rendered identically across all three. + +[Identity paragraph — build, skin, hair color/length/texture, makeup register, identity markers, nails. Described ONCE, applies to all three panels.] + +[Wardrobe paragraph — full outfit head-to-toe, every garment, fabric, color, construction detail, footwear, jewelry. Described ONCE, applies to all three panels.] + +[LEFT PANEL — headless front. Use Variant A or Variant B locked language above, per the garment.] + +CENTER PANEL — full body rear view, head attached. The same figure photographed from directly behind, standing straight, [hair fall from behind], [garment back construction — open back, seams, hem, train], arms relaxed at the sides, hands loose, weight even across both feet, from the top of the head down to [the shoes / the end of the hem]. + +RIGHT PANEL — tight chest-up portrait, identity lock. The same figure framed from just above the top of the head down to the collarbones and the very top of the garment only, the face filling most of the panel, a true close-up. Body squared to camera, head level, eyes directly to camera, lips closed and relaxed, neutral controlled expression. [Hair, brows, lashes, lip texture, key identity markers] all clearly readable at close range. + +18% neutral gray seamless studio backdrop applied uniformly across all three panels — one single flat uniform value corner to corner in every panel, no seam line, no gradient, no hotspot, no vignette, no falloff to black or white, and the identical gray value in all three panels. Relight from scratch overriding any reference lighting: completely flat shadowless illumination in every panel — one enormous soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the face and body read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background in any panel — the backdrop stays clean flat gray behind and around the figure. No contact shadow, no drop shadow, no ambient occlusion on the floor beneath the feet. Extremely low contrast, even, milky, catalogue-flat, identical in every panel. Form is described by fabric folds, garment structure, and bone structure alone, not by light and shadow. Skin and fabric read matte and velvety, no shine, no gloss, no oily T-zone. Skin renders at its true natural skin tone, identical in value and hue across the face, arms, and body in every panel, never darkened, never tanned, never pale or washed-out or cool-shifted by the background. [Garment colors] render true and consistent across all three panels. Real peach fuzz at the jaw and hairline, real fine even pore texture, subsurface scattering reading as semi-translucent biology, real fabric weave and drape, visible fine metal surface detail on the jewelry, never plastic, never waxy, never harsh. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. +``` + +**Critical rules for the 3-panel format:** +- One prompt, one fenced code block, one image output. Never deliver three separate prompts. +- Identity and wardrobe live in the opening paragraphs — described once, applied to all three panels. +- Each panel only describes what's *different* — angle, framing, head state. +- **Skin-tone consistency clause is mandatory.** Rear panels drift darker/tanner without it. Always state that skin renders identical in value and hue across face, back, arms, and hands in every panel. +- Backdrop and lighting are uniform across all three cells. +- Every panel carries its explicit position label (LEFT / CENTER / RIGHT) so the model composes the grid correctly. +- No aspect ratio in the prompt — the user sets it in the Higgsfield UI. + +--- + +## MODE 2B — 6-PANEL CHARACTER SHEET (LEGACY, EXPLICIT REQUEST ONLY) + +**Never propose this format.** It only runs when the user names it. + +**When the user asks for a 6-panel, say this once, then wait:** + +> Heads up — splitting into six panels cuts the pixel budget per cell, so the face panels will hold noticeably less identity detail than the 3-panel sheet's chest-up lock. The face is usually the whole point of the sheet, so the 3-panel holds up better as a downstream anchor. Happy to run the 6-panel anyway if you want it — just say go. + +If the user says go, build it. Don't re-litigate, don't repeat the warning later in the session. + +**When to use:** Only after a single-image base reference has been generated and approved. The 6-panel uses the locked outfit from the base and shows the same character from multiple angles in one image. + +**Critical:** Never deliver six separate prompts. Always one prompt → one 16:9 image → six panels in a 3×2 grid. + +**Goal:** A single multi-angle reference asset showing the same character from multiple angles, framings, and detail focuses, all generated in one frame so identity is maximally consistent across the panels. + +**Canonical 6-panel layout (3×2 grid, top row left-to-right, bottom row left-to-right):** + +1. **Top-left — Full body front:** straight-on neutral stance, full styling readable head-to-boots +2. **Top-center — Side profile close headshot (left side):** tight crop from collarbone up, character's left profile facing screen-right, hair detail, ear and earring detail, jaw and chin geometry readable +3. **Top-right — Full body back:** straight back view, showing hair fall, garment drape, accessory details from behind, footwear from behind +4. **Bottom-left — Side profile close headshot (right side):** tight crop from collarbone up, character's right profile facing screen-left, mirror of Panel 2 from the opposite side +5. **Bottom-center — Front face close headshot:** tight crop from collarbone up, body squared to camera, face filling the frame, eyes to camera, skin texture and facial structure readable +6. **Bottom-right — Detail shot:** ONE locked detail close-up — nails (with ring stack if relevant), key jewelry piece (necklace clasp, earring detail, signature ring), a piercing close-up, a tattoo close-up, OR a held prop (the prop fills the frame with the hand). User picks which detail at the pre-prompt check. + +**Variation rule:** If the user requests a different mix of panels (e.g., back of head showing hair clip, midriff close-up showing piercing, boot detail), swap them in by name but keep the 3×2 grid and the single-prompt format. The default layout above is what gets used if the user doesn't specify. + +**Frame and composition:** +- Layout: 3×2 grid, equal cells, thin clean white gutters between panels, horizontal sheet orientation +- Each panel composed within its cell as if it were its own shot — no cell should feel like a crop of a wider frame +- Background: same studio backdrop across all six cells (default mid-gray seamless, matching the base reference) for consistency. Only swap to white-across-all-six-panels if the user explicitly asks for a white sheet (see the MID-GRAY SEAMLESS BACKDROP section). +- Lighting: same three-point key/fill/rim setup across all six cells — identity stays locked when lighting is locked +- Do not write aspect ratios into the prompt — the user sets aspect in the Higgsfield UI (typically 16:9 for sheets, but specified in UI not prompt) + +**Canonical Mode 2 prompt structure:** + +``` +A 6-panel character reference sheet arranged as a 3-column by 2-row grid in a single horizontal frame, separated by thin clean white gutters between panels. Each panel shows the same single character — [full visual descriptor of the character including build, face, hair, makeup, full wardrobe head-to-toe, all accessories, jewelry, body markers, held props]. + +Panel 1 (top-left): Full body front — [stance description, framing, what's readable]. +Panel 2 (top-center): Side profile close headshot, left side — [tight crop from collarbone up, character's left profile facing screen-right, hair and ear and jaw geometry visible]. +Panel 3 (top-right): Full body back — [stance, what's visible from behind]. +Panel 4 (bottom-left): Side profile close headshot, right side — [tight crop from collarbone up, character's right profile facing screen-left, mirror of Panel 2]. +Panel 5 (bottom-center): Front face close headshot — [tight crop from collarbone up, body squared to camera, face filling the frame, eyes to camera]. +Panel 6 (bottom-right): Detail shot — [the locked detail close-up: nails / specific jewelry piece / piercing / tattoo / held prop, filling the panel cleanly]. + +18% neutral gray seamless studio backdrop applied uniformly across all six panels — one single flat uniform value corner to corner in every panel, no seam line, no gradient, no hotspot, no vignette, and the identical gray value in all six panels. Relight from scratch overriding any reference lighting, applied uniformly across all six panels: completely flat shadowless illumination — one enormous soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the face and body read at exactly the same brightness. No modelling, no shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background in any panel, no contact shadow beneath the feet. Extremely low contrast, even, milky, catalogue-flat, identical in every panel. Skin and fabric read matte and velvety, rendering at their true natural skin tone and color against the neutral gray, warmth preserved and natural, never cool-shifted or washed-out by the background. Sharp focus across every panel. Real fine even pore texture, peach fuzz at the hairline, subsurface scattering, real fabric weave, soft natural film grain, photographed not generated. Identical character identity locked across all six panels — same face, same skin, same hair, same wardrobe, same accessories, same proportions in every cell. + +[Gray is the locked default — use the flat grade above. If the user explicitly asks for a white sheet, swap to "Pure white seamless studio backdrop applied uniformly across all six panels" and keep every flat/shadowless clause exactly as written. Flatness never comes off.] +``` + +**Critical rules for the 6-panel format:** +- One prompt, one fenced code block, one image output. Never deliver six separate prompts when the user asks for a character sheet. +- Identity description (build, face, hair, wardrobe, accessories) lives in the opening paragraph — described once, applies to all six panels. +- Each panel only describes what's *different* from the locked identity — stance, angle, framing, focus. +- Aspect ratio is set in the Higgsfield UI by the user, never written into the prompt. +- Lighting and backdrop are always uniform across all six cells. +- Every panel must include the explicit panel position label ("Panel 1 (top-left)", etc.) so Banana Pro can compose the grid correctly. + +--- + +## MODE 3 — CINEMATIC SCENE PLATE + +**When to use:** Only when the user asks for a scene, an environment, a plate, a moment, or describes a setting. Never proposed proactively. + +Two flavors: + +- **3A — Character-in-environment plate:** placing one or more locked characters into a fully realized environment. Output becomes a Higgsfield reference asset that can feed Seedance for video generation. Camera language matches the cinema mode the eventual video will use. +- **3B — Pure environment plate:** no characters in frame. Pure location, lighting, atmosphere, set dressing. Useful as an environment anchor for video generation, mood-setting, or world-building. + +**Goal:** A single still that captures the world (and the character, when present) and the camera grammar — as if a cinematographer locked off and grabbed a photo on the same camera package mid-take. + +**Camera grammar — five cinema modes paired to scene type.** Pick the cinema mode that matches the scene. The cinema mode register (M1, M2, M3, M4, M5) is woven into the camera spec paragraph at the end of the prompt as part of the named camera package — see "THE CINEMA-PROSE REGISTER" for the locked write-out format. + +| If the scene is... | Cinema mode | +|---|---| +| Real-world dramatic (street, kitchen, car, bar, interior, exterior location) | M1 — Narrative | +| Studio / editorial / void / clean set / fashion film | M2 — Studio / Editorial | +| Action / combat / chase / high-energy physical | M3 — Action / Combat | +| Performance / concert / stage / pit | M4 — Performance / Concert | +| Atmospheric / empty / no-humans / weather plate | M5 — Atmospheric / Empty | + +The cinema mode carries: lens character, filtration look, film-stock rendition, grain, grade, color cast — all described as the visual *look*, never as brand names or model numbers the tools don't recognize. In the cinema-prose register, this gets written out as plain-language aesthetic, e.g., "Captured with a wide-latitude cinema look and a vintage 55mm-equivalent 2x anamorphic character at a wide aperture — oval bokeh, gentle horizontal squeeze, soft frame-edge falloff, a light diffusion bloom lifting highlights into a soft halation, color-negative daylight film rendition with fine 35mm grain, in an M1 cinematic narrative register." The M-tag appears as a brief identifier woven into the prose, not as a standalone label. + +--- + +### THE SILENT 6-BLOCK MENTAL CHECKLIST (PRE-COMPOSITION ONLY) + +Before writing the cinema-prose prompt, the skill silently runs through this six-bucket mental checklist to make sure the composition is complete. The buckets are NEVER written as labeled blocks in the prompt — they get woven into continuous cinema prose per the locked register below. This checklist is a thinking tool, not an output structure. + +**Bucket 1 — Shot DNA.** Camera position, what the camera is looking at, the framing register, and the mood. The spine of the shot. + +**Bucket 2 — Subject behavior + spatial placement.** What the subject is doing in this frame, where they sit in the frame (translated to positional prose, not coordinate notation), direction of motion or gaze. + +**Bucket 3 — Visible detail (resolution-aware).** Only the details a real camera at this distance, lens, and motion register would resolve. (Resolution-aware rule documented below.) + +**Bucket 4 — World.** Environment as ambience, not architecture. The space's register matters more than counting structural elements. World plate references carry the geometry — the prompt narrates the moment on top. + +**Bucket 5 — Light and atmosphere.** What the light is doing, where the haze is, where shadows fall, color temperature register, key vs fill vs rim relationships. + +**Bucket 6 — Camera spec + finish.** Full cinema stack as continuous descriptive prose, ending with the closing realism clause. + +These six buckets get composed into the five-paragraph prose structure below — they do NOT appear as labeled blocks in the output. See "THE CINEMA-PROSE REGISTER" for the actual write-out format. + +--- + +### RESOLUTION-AWARE DETAIL RULE (LOCKED) + +**Describe what the camera at this position can physically see, not what's "true" about the subject.** + +Before writing any visual detail in Block 3, the skill silently runs three diagnostic questions: + +1. **At this distance, would a real cinema lens resolve this detail?** If no, drop it. +2. **At this motion blur level, would this detail read?** If no, drop it. +3. **At this lighting register, would this detail be visible?** If no, drop it. + +**Examples of what this rule kills:** + +- A car shot from 200 feet up at 120 mph at dawn → side decals, windshield text, badge logos, wheel spoke count are NOT resolvable. Drop them. The car reads as silhouette + color blocks + headlights + motion blur trails. +- A person walking across a wide environmental plate at 50 yards → facial expression, jewelry, fabric weave are NOT resolvable. Drop them. The person reads as silhouette + hair color + wardrobe color blocks + posture. +- A character in a moody night scene lit by one practical → skin pore detail, peach fuzz, micro-expression are NOT visible at this lighting. Drop them. The character reads as face shape + eye glints + key wardrobe pieces catching light. + +**Examples of what this rule preserves:** + +- The same car in a tight static shot at 20 feet → decals readable, windshield text readable, badge legible, wheel detail visible. Describe them. +- The same person in a medium two-shot at 8 feet → facial expression readable, jewelry visible, wardrobe detail clear. Describe them. + +**Detail is earned by camera proximity, lens length, motion stillness, and lighting intensity. The skill respects this physics.** + +--- + +### X/Y COORDINATE SYSTEM (MENTAL COMPOSITION TOOL — NOT OUTPUT NOTATION) + +**The X/Y coordinate system is the skill's internal composition tool. It is NEVER written into the prompt body in the cinema-prose register.** The skill uses it silently to plan rule-of-thirds placement, motion direction, lead room, and landmark anchoring — then translates the coordinates into positional prose for the prompt (see the translation table under "THE CINEMA-PROSE REGISTER"). + +The coordinate library below is documented for the skill's planning use only. It does not appear in the output. + +**Frame grid:** +- **X axis:** 0% = left edge, 50% = center, 100% = right edge +- **Y axis:** 0% = top edge, 50% = center, 100% = bottom edge + +**Coordinate notation (internal use only):** `X: 30–55% / Y: 55–85%` — the rectangle of frame real estate the subject occupies. Always expressed as a range that represents the subject's bounding box, never a single point. + +**Rule-of-thirds anchor table (locked vocabulary):** + +| Thirds position | X | Y | +|---|---|---| +| Upper-left third | 33% | 33% | +| Upper-right third | 67% | 33% | +| Lower-left third | 33% | 67% | +| Lower-right third | 67% | 67% | +| Center | 50% | 50% | +| Upper third line (horizon/eye line) | — | 33% | +| Lower third line (horizon/eye line) | — | 67% | +| Left third line (vertical anchor) | 33% | — | +| Right third line (vertical anchor) | 67% | — | + +**Standard cinematographer placement library:** + +- **Hero subject, strong vertical (left third):** subject `X: 28–38% / Y: 25–95%` +- **Hero subject, strong vertical (right third):** subject `X: 62–72% / Y: 25–95%` +- **Two-shot facing each other:** subject A `X: 15–40% / Y: 25–90%`, subject B `X: 60–85% / Y: 25–90%` +- **Wide environmental with hero subject on lower-right third:** subject `X: 60–75% / Y: 55–80%`, environment fills the rest +- **Close-up face with eye line on upper third:** subject `X: 25–75% / Y: 10–85%`, eyes at `Y: 33%` +- **Three-quarter body portrait:** subject `X: 30–70% / Y: 15–95%` +- **Horizon on upper third:** horizon line at `Y: 33%`, sky fills `Y: 0–33%`, ground fills `Y: 33–100%` +- **Horizon on lower third:** horizon line at `Y: 67%`, sky fills `Y: 0–67%`, ground fills `Y: 67–100%` +- **Vehicle in motion:** car positioned at `X: 30–55%` with motion direction pointing toward `X: 100%`, leaving lead room ahead of the car for the eye to follow movement (always leave lead room in the direction of motion — never trail room) +- **Aerial subject (overhead light source, helicopter, sun shaft):** light source enters frame at the top edge `Y: 0%`, cone widening as it falls, source itself off-frame, subject lit at the destination coordinates +- **Architectural symmetry (centered hallway, centered facade, centered car alignment):** subject `X: 35–65% / Y: variable`, symmetry preserved + +**Coordinates are translated into positional prose for the prompt output.** Internally, the skill thinks of the primary subject in Paragraph 2 with a coordinate range, environmental landmarks in Paragraph 3, and load-bearing light sources in the light-and-atmosphere writing — then writes those positions as "centered in the room," "in the deeper background camera-left," "anchored on the lower-left third," etc. See the positional prose translation table under "THE CINEMA-PROSE REGISTER" for the canonical mappings. + +--- + +### THE LOCKED TAG BLOCK (DEPRECATED FOR PROSE — KEPT AS FALLBACK) + +**This six-phrase tag block is deprecated for the cinema-prose register.** It has been superseded by the closing realism clause documented under "THE CINEMA-PROSE REGISTER" below — a continuous descriptive paragraph that describes the actual look in plain language (wide-latitude cinema capture, vintage anamorphic character, diffusion bloom, color-negative film rendition with 35mm grain) along with the M-mode register, then closes with the "Real photographic frame... no CGI, no plastic, no AI" quality filter. + +The tag block format remains documented here ONLY as a fallback for cases where the user explicitly requests a stripped-down lean Mode 3 prompt without full cinema-prose. Default behavior is the cinema-prose closing paragraph. + +``` +[Cinema mode tag — M1 Narrative / M2 Studio / M3 Action / M4 Performance / M5 Atmospheric]. Atmospheric volumetric haze. Real volumetric light physics. Gentle filmic highlight roll-off. Lifted blacks. Theatrical 35mm grain. Photographed not generated. +``` + +If the fallback tag block is used, it REPLACES the cinema stack at the end. Modes 0, 1, 2, 4, and 5 still append the full cinema stack. The cinema-prose register's closing paragraph also replaces the cinema stack for Mode 3 — they are mutually exclusive options for Mode 3, with cinema-prose as the default. + +--- + +### THE CINEMA-PROSE REGISTER (LOCKED, NON-NEGOTIABLE) + +**Mode 3 prompts are written like a DP describing a real frame, not like a spec sheet.** The 6-block spatial logic still applies — but it dissolves INTO the prose. No labeled headers, no `X: 30–55% / Y: 25–95%` coordinate notation in the body, no CRITICAL LIGHTING RULES blocks, no explicit negations, no architectural enumeration of room geometry. + +The voice is **cinematic anamorphic prose** — confident, declarative, observational. The kind of language that appears in a treatment, a shot list narration, or a hero-still caption. Like a real photograph being described, not a frame being engineered. + +**Why this register works:** +- The model responds to confident scene description, not coordinate grids +- References carry the heavy lifting on geometry, palette, and continuity — the prompt narrates the moment ON TOP of the reference +- Over-specification creates conflicting instructions; the model trusts plain language more than rule-blocks +- Spatial logic is preserved by writing positionally ("standing alone in the center of the room," "in the deeper background camera-left") instead of numerically + +**What the register sounds like:** + +> "A cinematic anamorphic still photograph captured handheld on a real cinema set — a Dutch-tilted intimate over-the-shoulder hero composition of a young Korean man standing alone in a dim converted private garage lounge at pre-dawn, the entire frame tilted at approximately 4 degrees Dutch angle camera-left low giving the composition a quietly off-kilter held-breath feel, the camera positioned right behind him at shoulder height in a waist-up framing showing his back, shoulders, and the back of his head filling the foreground with the wall-mounted television playing the live broadcast visible past his right shoulder in the mid-ground." + +That opening sentence does the work of Blocks 1 and 2 in one continuous breath, with the camera position, the framing, the Dutch tilt, the subject placement, and the mood all woven together. + +--- + +### THE FIVE-PARAGRAPH PROSE STRUCTURE (LOCKED) + +Every Mode 3 prompt is composed as five paragraphs in this order. Paragraphs are not labeled in the output — they flow as continuous prose for the model. + +**Paragraph 1 — Opening shot description.** One long sentence that establishes: the medium ("a cinematic anamorphic still photograph"), the framing register ("Dutch-tilted intimate hero composition"), the subject identification at high level ("a young Korean man standing in a dim converted private garage lounge at pre-dawn"), the camera position and angle in prose ("the camera positioned right behind him at shoulder height in a waist-up framing"), and the mood/intent ("quietly off-kilter held-breath feel"). This is the spine. Everything that follows hangs from this opening. + +**Paragraph 2 — Character block.** Describes the character(s) in confident observational prose. Identity markers pulled from the attached reference written as visible facts in the frame ("dark layered mid-length tousled fringe falling across the back of his head, double small silver hoop earrings on each ear lobe catching faint warm spill, warm fair matte Korean skin"). Pose, attention, and held props woven in naturally ("a small black television remote held loosely in his right hand at his side... his head perfectly motionless, his eyes locked on the screen ahead of him"). + +**Paragraph 3 — World/environment block.** Describes the location as ambience and atmosphere, not architecture. The space's register — converted garage at pre-dawn, dawn cliffside, neon parking garage — matters more than counting structural elements. Anchor the world to the attached reference ("the converted garage lounge at pre-dawn carrying from the attached world reference"). Background subjects (a car silhouette in deep BG, a second character in the alcove) get positional language ("in the deeper background camera-left") not coordinates. + +**Paragraph 4 — Subject anchor block.** Whatever the focal anchor of the shot is — the TV broadcast playing on the wall, the second car in BG, the dawn whisper on the horizon — gets its own paragraph. This is where any specific content (broadcast graphics, decals, signage, environmental detail) is described. If the shot has no focal anchor beyond the character, this paragraph folds into Paragraph 3. + +**Paragraph 5 — Camera spec + finish.** Full cinema look in one continuous descriptive paragraph: capture register, lens character, diffusion/filtration look, film-stock rendition, grain register, grade, color cast, optical character (anamorphic oval bokeh, organic handheld breath, edge falloff, soft diffusion bloom if relevant) — all in plain-language look terms, never brand or model names — and the closing realism clause ("Real photographic frame captured on a real cinema camera, real anamorphic lens, real cotton tee, real human subject, real concrete and haze — no CGI, no rendered look, no digital cleanliness, no plastic surfaces, no AI smoothness, no skin smoothing, no glow, no halation bloom that reads as artificial, no glossy highlights"). + +The closing realism clause is mandatory. The list of "no X, no Y, no Z" at the very end is a load-bearing element — it tells the model what NOT to lean toward, and it does so AFTER all the positive description, where the model handles it as a quality filter rather than a conflicting instruction. + +--- + +### KEY WRITING RULES FOR THE PROSE REGISTER + +1. **No labeled blocks in output.** Never write "Block 1," "PARAGRAPH 2," "CRITICAL LIGHTING RULE," or any structural label in the prompt body. The structure is invisible — it lives in the writing order. + +2. **No coordinate notation in the prompt body.** No `X: 38–62% / Y: 12–95%`. Replace with positional prose: "centered in the room," "in the deeper background camera-left," "filling the foreground," "anchored upper-left of the broadcast." + +3. **No CRITICAL/IMPORTANT/MUST rules.** No "the cool wash MUST NOT catch the back wall." Replace with descriptive prose about what IS happening: "the cool broadcast wash catching only the immediate floor patch around his feet and a soft cool rim on his shoulders." + +4. **No explicit negations as instructions.** Don't write "NO long sleeves, NOT factory tank-top construction." Write what IS there: "the sleeves cut off cleanly at the shoulder seam with raw unfinished armholes." The end-of-prompt realism clause is the ONLY place negations appear, and only as quality filters (no CGI, no plastic, no AI smoothness). + +5. **References do the geometry work.** When the user attaches a world plate, write "carrying identically from the attached world reference" — don't re-enumerate the room geometry. The reference IS the geometry. + +6. **References do the identity work.** When the user attaches a character reference sheet, write "carrying identically from the attached character reference" — don't re-describe every facial feature in the prompt. The reference IS the identity. + +7. **The prompt narrates THE MOMENT.** What is the character doing right now? What is the camera doing right now? What is the light doing right now? That's the prompt's job. Continuity (room geometry, character identity, broadcast content) is reference work. + +8. **The closing realism clause is non-negotiable.** Every Mode 3 prompt ends with the full cinema stack paragraph + the "Real photographic frame... no CGI, no plastic, no AI" close-out. This replaces the old locked tag block. + +9. **The cinema mode register (M1/M2/M3/M4/M5) is invoked by DESCRIBING the actual look in plain language** in Paragraph 5 — not by writing "M1 Narrative" as a tag, and never by naming camera/lens/stock brands. Example: "Captured with a wide-latitude cinema look and a vintage 55mm-equivalent 2x anamorphic character at a wide aperture — oval bokeh, gentle horizontal squeeze, soft frame-edge falloff, a light diffusion bloom lifting highlights into a soft halation, color-negative daylight film rendition pushed slightly, with fine 35mm grain, in an M1 cinematic narrative register." The M-tag appears as a brief identifier at the end of the description, not as a standalone label. + +10. **Do not write aspect ratios into the prompt** — the user sets aspect in the Higgsfield UI (typically 21:9 or 2.39:1 for cinematic plates). + +--- + +### CANONICAL MODE 3 PROMPT — REFERENCE EXAMPLE + +This is the locked register. Every future Mode 3 prompt is written in this voice — confident, observational, declarative, references doing the geometry and identity work, no labeled blocks, no coordinate notation in the body. + +``` +A cinematic anamorphic still photograph captured handheld on a real cinema set — a low-angle medium hero composition of a woman standing alone at the edge of an empty rooftop at dusk, the camera positioned slightly below her eye line in a waist-up framing anchored to the left third of the frame, the deepening dusk sky filling the upper two-thirds of the frame behind her, the city skyline reading in soft silhouette across the lower third of the background, the composition holding a quiet observational stillness. + +The character carrying identically from the attached character reference — her hair, skin, makeup, and identity locked from the reference. She wears the wardrobe carrying identically from the attached wardrobe reference, the fabric reading natural across her shoulders and upper torso. Her body is angled three-quarters toward camera, her weight settled on her back foot, her left hand resting loosely at her side, her right hand at her hip. Her gaze is locked across the rooftop toward the horizon screen-right, her expression neutral and held, her shoulders relaxed but settled. + +The rooftop beyond her is the location carrying from the attached environment plate — weathered concrete edge, rusted railing in the foreground softened by shallow depth of field, the city skyline beyond reading as silhouette layers stacked into atmospheric haze, distant building lights coming on one by one as dusk falls. Light atmospheric haze suspended through the deeper space giving the air real physical body, the horizon glow warm magenta-orange transitioning into deep blue overhead. Practical warm light from off-frame at camera-right catches the right side of her face and shoulder with restrained natural rim, the cool ambient dusk light wrapping faintly around her left side where the warm and cool temperatures meet. + +The city skyline reads as the visual anchor of the deeper frame — building silhouettes layered front-to-back with progressive atmospheric desaturation, the warm horizon glow visible between the structures, scattered building lights warm and small in the deep distance, a faint aircraft beacon blinking once at the upper-right edge of the frame, the rest of the sky held in deep cool blue with the first stars just visible at the upper edge. + +Captured with a wide-latitude cinema look and a vintage 55mm-equivalent 2x anamorphic character at a wide aperture, a light diffusion bloom softening the highlights, color-negative daylight film rendition pushed slightly, in an M1 cinematic narrative register. Real anamorphic optical character with oval bokeh on the deeper city elements, organic handheld operator breath, subtle frame-edge falloff, a faint horizontal streak flare on the brightest horizon highlight. Theatrical fine 35mm film grain across the entire frame — skin, fabric, concrete, sky, haze. Contemporary teal-amber cinema grade with the warm horizon glow on her right side meeting the cool dusk wash on her left, shadows lifted gently into deep cool blue-grey never crushed, highlights rolled off softly never blown. Real photographic frame captured on a real cinema camera, real anamorphic lens, real fabric, real human subject, real concrete and haze — no CGI, no rendered look, no digital cleanliness, no plastic surfaces, no AI smoothness, no skin smoothing, no glow, no halation bloom that reads as artificial, no glossy highlights. +``` + +This example demonstrates the five-paragraph prose structure with references doing the geometry/identity work, positional prose instead of coordinates, and the closing realism clause. + +--- + +### THE OLD COORDINATE GRAMMAR (DEPRECATED) + +The previous Mode 3 structure used labeled blocks, X/Y coordinate notation, CRITICAL LIGHTING RULES sections, explicit negations, and architectural room enumeration. **That grammar is deprecated for prose composition.** It made the model overcorrect and confuse spatial relationships. + +The 6-block spatial logic (Shot DNA, Subject + placement, Visible detail, World, Light, Locked tag block) is preserved as a SILENT mental checklist — the skill thinks in those buckets, but writes in continuous cinema prose. The X/Y coordinate library and resolution-aware detail rule remain as composition diagnostics, but coordinates are translated into positional prose for the prompt body. + +Positional prose translation table: + +| Old coordinate notation | New prose translation | +|---|---| +| `X: 38–62% / Y: 12–95%` | "centered in the frame" / "filling the centered vertical column" | +| `X: 18–55% / Y: 8–95%` | "in the left half of the frame" / "filling the foreground left" | +| `X: 60–85% / Y: 25–80%` | "in the right portion of the frame" | +| `X: 30–55% / Y: 55–85%` | "in the lower-left third" / "anchored to the lower-left third" | +| horizon at `Y: 33%` | "the horizon line sitting at the upper third" | +| subject in `X: 28–38%` (left third) | "anchored on the left third" / "weighted to the left of frame" | +| second subject `X: 60–85%` | "in the deeper right background" / "positioned camera-right" | + +--- + +## MODE 4 — GPT-2 DETAIL FACE SHOT (HIGGSFIELD GPT-2) + +**When to use:** Only when the user explicitly asks for a chest-up portrait, face detail shot, or close-up where face/skin/eye fidelity matters most. Never suggested proactively for any other shot type. + +**Gating behavior:** +- Wait for the user to ask for a detail/face/chest-up shot. +- Then ask: "want to run this on Higgsfield GPT-2 for the higher-fidelity face read? heads-up — GPT-2 uses more Higgsfield credits than Banana Pro." (Mention the credit cost only the first time per conversation. After that, just confirm "want this on GPT-2?") +- Wait for the green light. Then run the standard pre-prompt confirmation. Then deliver the prompt. + +**Goal:** Maximum face fidelity. Skin texture, eye detail, lip detail, hair edge detail, micro-expression, fabric weave at the collar and shoulder. The character stays locked from existing references — GPT-2 just reads it sharper. + +**Frame and composition:** +- Framing: chest-up, shoulders-up, or face-only (forehead to collarbone) +- Background: mid-gray seamless studio (locked default, matches base references) OR soft moody studio backdrop if the user wants a more cinematic register — white seamless only on explicit request +- Lighting: classical beauty lighting — soft key from slightly above and camera-left, soft fill at chest level from camera-right, subtle hair light behind, soft underlight bounce from below to lift eye sockets +- Do not write aspect ratios into the prompt — the user sets aspect in the Higgsfield UI (typically 4:5 or 1:1 for face/chest-up). + +**Canonical Mode 4 (GPT-2) prompt structure:** + +``` +[Visual descriptor of the character — hair, makeup, wardrobe visible in frame from the chest up, jewelry visible at collar and ears, eye color and detail, lip detail, skin finish]. [Pose direction — head angle, shoulder angle, expression register]. + +[Background — mid-gray seamless studio (locked default) OR specified moody backdrop]. Classical beauty lighting — soft key from slightly above and camera-left at 35 degrees, soft fill at chest level from camera-right, subtle hair light behind defining the crown, soft underlight bounce lifting the eye sockets. [Framing — chest-up portrait / shoulders-up / face-only forehead-to-collarbone]. + +Extreme face fidelity. Real skin texture with visible pores, fine peach fuzz catching light along the jawline and upper lip, subtle subsurface scattering on the nose bridge cheeks and ears, micro-expression detail in the eyes and mouth corners, individual lash detail, real moisture and reflection in the iris with visible iris pattern, real lip texture with subtle natural lip lines, hair rendered strand by strand at the hairline with visible baby hairs and flyaways, fabric weave visible at the collar and shoulder. + +[The cinema stack]. +``` + +**Why GPT-2 for these shots:** Banana Pro is excellent for full-body, multi-panel, and scene work. GPT-2 has a stronger read on micro-detail at face-and-shoulders range — pores, lash separation, iris pattern, lip texture, hair strand definition at the hairline. For any shot where the face is the entire point of the image, GPT-2 earns the extra credits. + +--- + +## MODE 5 — OUTFIT REPLACEMENT (BANANA PRO TWO-REFERENCE SWAP) + +**When to use:** When the user wants to take an outfit and pose from one image and apply it to a different character. The outfit reference image has the wardrobe, styling, footwear, accessories, and body pose locked in. The character reference image has the face, bone structure, body type, skin tone, and hair locked in. The output combines them — the character from the second image now wears the outfit and holds the pose from the first image. + +Trigger phrases include: "outfit replacement," "outfit swap," "put [character] in this outfit," "swap the face," "put this character in that fit," "replace the model with [character] wearing [outfit]," or any request that involves combining a wardrobe/pose reference with a separate character reference. + +**Goal:** Maximum identity transfer of the character (from @image2) onto the outfit and pose (from @image1) with zero alteration to either side — the outfit stays exactly as shown, the character's identity stays exactly as shown, only the body underneath the outfit changes to match the new character. + +**Reference attachment order (CRITICAL):** +- **@image1 = outfit reference** — the image containing the outfit, styling, footwear, accessories, and pose to keep +- **@image2 = character reference** — the image containing the face, bone structure, body type, skin tone, and hair to apply + +This order is fixed. Do not swap. The prompt is written around this exact mapping and reversing it will break the swap. + +**Pre-prompt confirmation rule applies.** Even though the prompt itself is short and locked, the user should confirm: +- Which reference is the outfit/pose source +- Which reference is the character/identity source +- That both references are uploaded and visible in chat + +Use the standard pre-prompt check format — references first, then the two roles, then run. + +**Canonical Mode 5 prompt (LOCKED — do not modify):** + +``` +Replace the character in @image1 with the character in @image2. Keep the outfit and pose from @image1 exactly. Match the face, bone structure, body type, skin tone, and hair from @image2. Clean mid-gray seamless studio background, even neutral mid-gray with no seam line, soft large-source studio lighting, skin and outfit rendering at their true natural tone against the neutral gray, natural film grain, full body framing. +``` + +**Why this prompt is locked:** Mode 5 does not use the cinema stack. The two reference images carry the photographic register on their own — adding texture stack language on top of a swap operation creates conflicting instructions and degrades the identity transfer. The lean prompt structure is the entire point of this mode. Trust the references. + +**Background and lighting language is also locked.** The locked prompt outputs to a clean mid-gray seamless studio with soft large-source lighting — this is the canonical neutral output for character/outfit reference assets (white seamless only if the user explicitly asks for a white card). If the user wants the swap output dropped into a different environment, that becomes a Mode 3 scene plate built on top of the Mode 5 output (run Mode 5 first to produce the locked base, then Mode 3 to place it in the scene). + +**Per-character or per-IP modifiers:** None. Mode 5 is character-and-IP-agnostic. The prompt does not name characters, does not specify nationality, does not adjust language per group or project. The two reference images carry all of the identity load. The skill ships the locked prompt unchanged regardless of what the character or outfit is. + +**What Mode 5 is NOT for:** +- Building a new outfit from scratch on a locked character → use Mode 1A (Banana Pro full styling) or Mode 1B (Soul Cinema two-step) +- Generating multiple angles of a locked character in a locked outfit → use Mode 2A (3-panel character sheet, default) or Mode 2B (6-panel, only if the user asks for it) +- Placing a character in a cinematic environment → use Mode 3A +- Detail face shots → use Mode 4 (GPT-2) + +Mode 5 is the single-purpose tool for: *here is an outfit on a model I don't care about, and here is the character I do care about, give me the character in that outfit.* + +--- + +## UNIVERSAL PROMPT RULES (ALL MODES) + +These apply to every prompt this skill produces, no exceptions: + +1. **No character names in prompt output.** Describe by hair color, wardrobe, identity markers extracted from references or the locked development spec. +2. **No real brand names in prompt output.** Generic visual descriptors only. +3. **No `@image` tags or `<<>>` placeholders.** Image attachment happens in the Higgsfield UI directly. The prompt is text-only. +4. **No internal production context.** No "carried through the world," no "matching the previous scene." Every prompt is standalone and self-contained. +5. **Pure visual description only.** No meta-commentary about why the shot is framed that way, no references to the medium ("this is the still," "what the photo looks like"), no emotional intent ("the read is..."). Every word describes a visible thing in the frame. +6. **No teeth-showing smiles** unless the user explicitly requests one. Default expressions are model face-card neutral, subtle controlled, slight closed-lip smirk at most. +7. **No negative prompts.** This skill does not output negative prompt blocks. Higgsfield workflow doesn't use them. +8. **Cinema stack baked in for Modes 0, 1, 2, 4, 5.** The cinema stack closes every Mode 0, 1, 2, 4, and 5 prompt (with Step 1B.1 outfit reference using the lighter close documented in that section, and Mode 5 using its own locked lean prompt). Mode 3 is the exception — see rule 9. +9. **Mode 3 uses the cinema-prose closing paragraph in place of the cinema stack AND locked tag block.** Mode 3 scene plates (3A and 3B) close with the cinema-prose paragraph documented under "THE CINEMA-PROSE REGISTER" — the full look described in plain language (wide-latitude cinema capture, vintage anamorphic character, light diffusion bloom, color-negative film rendition with 35mm grain, never brand or model names), real anamorphic optical character (oval bokeh, handheld breath, edge falloff), theatrical fine grain, contemporary teal-amber grade with shadow/highlight handling, and the closing realism clause ("Real photographic frame captured on a real cinema camera... no CGI, no plastic, no AI smoothness, no skin smoothing"). This closing paragraph replaces the cinema stack AND the old locked tag block for Mode 3. The old tag block remains documented as a deprecated fallback only. +10. **Single fenced code block on output.** Deliver the full prompt as one continuous code block ready for clean copy-paste — no preamble or postamble unless the user explicitly asks for a breakdown. (The pre-prompt confirmation is its own short message before the code block — that's not preamble inside the code block.) +11. **Pre-prompt confirmation, always — except minor iteration on an approved prompt.** Every full prompt is preceded by a bulleted "here's what I'm about to prompt, sound good?" check. **References listed first**, then character, outfit, backdrop/environment, framing. Wait for the green light. Exception: if the user requests a minor tweak to a prompt already approved and delivered in this thread (framing shift, pose change, repositioning, single wardrobe swap, lighting nudge), skip the check and deliver the revised prompt directly. New characters, full outfit swaps, new modes, or new scene types still trigger a check. +12. **Flat grade on every character plate and sheet — no exceptions.** Every Mode 0, 1, 2, 4, and 5 prompt closes with the LOCKED FLAT GRADE: flat 18% gray backdrop (one uniform value, no gradient, no falloff), shadowless frontal illumination with matched fill on all sides (no key side, no shadow side, no rim, no hair light, no kicker), and zero cast shadow (none on the background, no contact shadow under the feet or hem). Never write a key direction, a shadow triangle, a nose or under-chin shadow, or a floor shadow into a character plate. Mode 3 scene plates are the ONLY place directional cinematic lighting lives. +13. **No aspect ratios in prompt output.** Never write "3:4 vertical aspect ratio," "16:9 horizontal," "21:9 cinematic," "4:5 portrait," "2.39:1," or any other ratio spec inside the prompt body. The user sets aspect ratio in the Higgsfield UI directly. The prompt describes framing in plain language only ("full body," "chest-up portrait," "wide establishing shot," "medium two-shot") — never with a numerical ratio. + +--- + +## INVENTORY EXTRACTION CHECKLIST (run silently before composing) + +Before writing the final prompt, silently catalog: + +- [ ] Mode selected (0 face lock / 1 single-image outfit / 2 six-panel / 3A character scene / 3B environment plate / 4 GPT-2 / 5 outfit replacement) and rationale +- [ ] Every uploaded reference image identified and listed by short visual descriptor (this becomes the first bullet of the pre-prompt check) +- [ ] If Mode 0: text spec for the new character is locked and approved, tool fork has been presented (Banana Pro / GPT-2 / Soul Cinema), user has picked, and the locked baseline wardrobe (plain black camisole for women, plain black ribbed tank for men) is included in the prompt. If Soul Cinema picked, running Step 0.1 (Soul Cinema face plate) before Step 0.2 (Banana Pro 3:4 headshot). +- [ ] If Mode 1: a Mode 0 face lock exists for the character (if new), OR a locked character reference exists (if existing) +- [ ] If a character sheet was requested with no format named: defaulting to Mode 2A (3-panel), not offering the 6-panel +- [ ] If Mode 2A: left-panel headless variant picked correctly from the garment (Variant A ghost-mannequin hollow for structured necklines — tees, tanks, collars, hoods, keyholes; Variant B clean neck cut for dresses, halters, strapless, spaghetti straps, plunging or scooped necklines). Full headroom preserved — the head is removed from the body, not cropped by the frame. Hair removed with the head. Right panel is tight CHEST-UP, not waist-up. Skin-tone consistency clause present across all panels. +- [ ] If Mode 2B (6-panel): user explicitly asked for it, the resolution warning was given once, and the user said go +- [ ] If Mode 2: a Mode 1 base outfit reference exists and is approved (if not, stop and build the base first) +- [ ] If Mode 4: user explicitly asked for face/chest-up and confirmed GPT-2 +- [ ] If Mode 5: two reference images uploaded — outfit reference (becomes @image1) and character reference (becomes @image2), order confirmed with the user +- [ ] Every character described by visual markers only (hair, makeup, wardrobe, jewelry, body markers, pose, expression) +- [ ] If Mode 3: environment described as ambience (not architectural enumeration) — world plate reference carries geometry +- [ ] If Mode 3: matching cinema mode identified (M1/M2/M3/M4/M5) and woven into Paragraph 5 camera spec +- [ ] If Mode 3: subject placed in frame with positional prose (not X/Y coordinate notation) — rule-of-thirds anchored, not dead-center unless explicitly motivated +- [ ] If Mode 3: resolution-aware detail check passed — every visible detail is something the camera at this distance, lens, motion, and lighting can physically resolve; anything the camera couldn't see is dropped +- [ ] If Mode 3: prompt follows the FIVE-PARAGRAPH PROSE STRUCTURE (Opening shot / Character / World / Subject anchor / Camera spec + finish) — no labeled blocks in output +- [ ] If Mode 3: closing realism clause is in place (full camera package + M-mode + "Real photographic frame... no CGI, no plastic, no AI" quality filter) +- [ ] Pose, body angle, expression register chosen +- [ ] No names, no brands, no internal context, no meta-commentary +- [ ] LOCKED FLAT GRADE will close the prompt (Modes 0, 1, 2, 4, 5) — flat uniform 18% gray, shadowless matched-fill light, zero cast shadow, stated per-panel on sheets. Mode 3 uses the cinema-prose closing paragraph instead and is the only mode with directional light. +- [ ] Pre-prompt confirmation delivered and confirmed — references listed FIRST in the bullet list + +If anything needed for composition is missing from the user input, ask before writing. + +--- + +## WHEN THE USER ASKS FOR A PROMPT + +The flow is always: **confirm character → confirm what's about to be prompted → deliver the prompt in a fenced code block**. + +The user pastes the code block straight into Higgsfield. Tool routing: Banana Pro / Nano Banana for Mode 0 Step 0.A (single-pass default), Mode 0 Step 0.2 (Soul Cinema path lock), Modes 1A, 2, 3, 5; GPT-2 for Mode 0 Step 0.B (highest fidelity single-pass) and Mode 4; Soul Cinema for Mode 0 Step 0.1 (iteration path) and Mode 1B. The user attaches the same reference images (or selects them from their Higgsfield character/environment library) inside the Higgsfield UI. 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QVgkY)K>7jjBn<`z0Jt$)Qvd(} literal 0 HcmV?d00001 diff --git a/Joey's Cinema Skill Files/Joey's Cinema Skill Files/character-builder/character-builder/SKILL.md b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/character-builder/character-builder/SKILL.md new file mode 100644 index 0000000..527f3b1 --- /dev/null +++ b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/character-builder/character-builder/SKILL.md @@ -0,0 +1,546 @@ +--- +name: character-builder +description: "Character and outfit builder for Higgsfield image generation. Three workflows: (1) BUILD FROM SCRATCH — photoreal humans via a Higgsfield Soul face test followed by a detailed 3:4 chest-up lock in Nano Banana Pro or Higgsfield GPT-2, or anime/cel-shaded characters built directly in Banana Pro with a full cel render stack; (2) ADDITIONS TO AN EXISTING CHARACTER — hair changes, makeup registers, piercings, tattoos, scars, expression sets, and re-locks that extend a character without breaking identity; (3) OUTFIT BUILDER — wardrobe proposals, direct 9:16 builds on the locked character, invisible-mannequin garment plates for complex looks, and 3-panel character sheets. Covers the flat 18% gray plate, the flattering-realism ceiling, the cel-shade render stack, identity-marker locking, and reference reading. Use for building a new character, locking a face, changing a character's hair or markings, designing an outfit, generating a character sheet, or any character reference still." +--- + +# Character Builder — Higgsfield Character & Outfit Grammar + +The locked grammar for building characters and their wardrobes as reusable image assets. A character is not one picture — it is a canonical face lock, a set of identity markers, and a growing library of outfits, all anchored so that every downstream image and video prompt renders the same person. + +Three workflows: + +| Workflow | Use when | +|---|---| +| **Part 1 — BUILD FROM SCRATCH** | No reference exists. The character is being invented. | +| **Part 2 — ADDITIONS** | The character is locked. Something is being changed or added to them permanently. | +| **Part 3 — OUTFIT BUILDER** | The character is locked. A new fit is being designed and put on them. | + +Never skip forward. An outfit cannot be built on a character whose face isn't locked. An addition cannot be made to a character who doesn't exist yet. + +--- + +## CORE PHILOSOPHY + +No plastic. No CGI sheen. No 3D-render look. No commercial gloss. No AI-generic skin or hair. + +### The two axes — separate these, always + +Photoreal character work runs two things that sound like one thing and are not: + +**Axis 1 — BIOLOGICAL REALISM: fully on.** The subject must read as a real living person. Real pore texture, real peach fuzz at the jaw and hairline, real subsurface scattering, hair rendered strand by strand with flyaways and baby hairs, real fabric weave and weight and drape, real metal surface on jewelry, real eyes with depth and moisture. This never comes off. + +**Axis 2 — PHOTOGRAPHIC CAPTURE BEHAVIOR: off on every character plate.** A character plate is not a photograph. It carries no lighting, no shadow, no lens character, no atmosphere, and no capture artifacts. No key direction, no shadow side, no cast shadow, no contact shadow, no falloff on the background, no light spill, no bokeh, no depth-of-field falloff, no vignette, no flare, no film grain. + +The two get tangled constantly because "photorealistic" sounds like it means both. It doesn't. Writing *"photographed on a real camera by a real photographer"* into a character plate switches on Axis 2 along with Axis 1 — and Axis 2 is exactly what poisons a reference. The subject should look like a real person, rendered flat, against nothing. + +**Why Axis 2 is off.** These are references, not finished frames. Any lighting information baked into a plate — a cheek triangle, a nose shadow, a contact shadow under the feet, a soft falloff behind the shoulder, a warm bleed on the backdrop — is inherited and amplified by every downstream generation that reads it, and it fights whatever lighting the actual scene wants. The plate carries zero lighting. The scene prompt or the video prompt does all the lighting later. + +### The flattering-realism ceiling — LOCKED, every face, every mode + +Full skin realism is always on: visible pore texture, peach fuzz, subsurface scattering, hair flyaways, the matte finish that carries the anti-plastic look. But realism never means unflattering. No acne, no blemishes, no prominent spots, no scarring the user didn't ask for, no enlarged or cratered pores, no rough bumpy texture, no aggressive detail that reads clinical. The texture is fine, soft, even, and natural. Matte is the anti-plastic lever; fine-and-even is the flattering lever. Both run together. Where they conflict, resolve toward flattering — a face should always look good. + +### Cel-shaded characters + +The philosophy inverts. Every image reads as hand-drawn animation production art. Clean deliberate line weight, hard-edged tonal separation, flat color fills, no photographic grain, no lens blur, no airbrush gradients. Axis 1 is off along with Axis 2 — no pore texture, no subsurface scattering, no strand-level hair. + +--- + +## THE FLAT GRAY PLATE (LOCKED DEFAULT FOR ALL CHARACTER WORK) + +**18% neutral gray seamless with a completely flat shadowless grade is the locked default** for face locks, character references, outfit plates, character sheets, and prop references. Pure white is the explicit-request exception, used only for a finished standalone still meant to be posted or handed off. + +**Why gray.** Pure white and pure black create maximum subject-to-background contrast. Image and video models amplify errors most at high-contrast edges — that's where halo, edge breathing, and contour instability get baked in. A neutral mid-gray ground lowers subject-to-background contrast, giving cleaner edge extraction and far less inherited contrast when the still is read as a reference frame downstream. + +**The background stays neutral; the subject does not.** The ground is an even neutral mid-gray, never warm-shifted. But the gray must never cool or neutralize the subject — skin renders at its true natural tone and wardrobe at its true natural color, exactly as under neutral daylight. The relight-from-scratch language and the explicit "warmth preserved and natural, never pale or washed-out or cool-shifted" clause hold this. + +**Why flat.** See Axis 2 above. The plate carries zero lighting information so nothing downstream inherits it. + +**The background is a field, not a room.** This is the distinction that matters most and the one most often lost. A photographed seamless is a *physical surface* — it takes light, it falls off, it catches spill, it holds the subject's shadow, it has a floor the subject stands on. A character plate background is none of that. It is a flat uniform color field with nothing behind the subject at all: no surface, no floor, no wall, no corner, no seam, no horizon, no plane the subject makes contact with. The subject does not stand on anything and does not stand in front of anything. Nothing the subject does affects the field. + +**Zero shadow outside the subject — absolute.** No cast shadow of any kind anywhere in the frame. No contact shadow, no floor shadow, no drop shadow, no ambient occlusion where the body meets the field, no soft darkening behind the shoulders or under the hem, no halo, no edge darkening, no rim of any kind separating the figure from the field. Shading exists only *on* the subject and stops at the subject's silhouette. + +**Zero light bleed outside the subject.** No spill, no glow, no bounce, no color cast thrown from the subject or the wardrobe onto the field. No brightening behind the head, no warm bleed off the skin, no reflected color from a bright garment. The field's value is identical at every pixel whether it is beside the subject or in the far corner. + +**LOCKED FLAT CLOSE — use verbatim on every photoreal character plate:** + +``` +The background is a single flat 18% neutral gray field — one uniform value at every pixel corner to corner, identical directly beside the subject and in the far corners, with no seam line, no gradient, no hotspot, no vignette, and no falloff to lighter or darker anywhere in the frame. It is a flat color field, not a photographed backdrop — no surface, no floor, no wall, no corner, no horizon, and no plane the figure stands on or in front of. + +Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the subject evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no cheek triangle, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Extremely low contrast, even, milky, catalogue-flat. Form is described by bone structure, hair strands, and fabric folds alone, not by light and shadow. + +Absolutely zero shadow anywhere outside the subject. No cast shadow, no contact shadow, no floor shadow, no drop shadow, no ambient occlusion where the body meets the background, no soft darkening behind the shoulders or beneath the hem, no halo, no edge darkening, and no rim separating the figure from the field. Shading exists only on the subject and stops cleanly at the silhouette. Absolutely zero light bleed outside the subject — no spill, no glow, no bounce, no reflected color cast thrown from the skin or the wardrobe onto the background, and no brightening anywhere behind the figure. + +Skin reads matte and velvety — zero shine on forehead, nose bridge, cheekbones, temples, and chin, no oily T-zone. Skin renders at its true natural skin tone and wardrobe at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real soft fine even pore texture, subsurface scattering reading as semi-translucent biology, real hair rendered strand by strand with fine flyaways at the hairline, real fabric weave and drape, never plastic, never waxy, never glass-skin, never harsh — fine flattering texture that keeps the face looking good, no acne, no blemishes, no rough pores. + +Even sharpness edge to edge across the entire frame. No depth-of-field falloff, no bokeh, no background blur, no lens vignette, no lens distortion, no flare, no bloom, no chromatic aberration, no film grain, no atmospheric haze, no air between the subject and the background. +``` + +**Four things must appear in every flat close, always:** +1. **Flat field** — one uniform value at every pixel, explicitly a color field rather than a photographed surface +2. **Shadowless illumination on the subject** — huge frontal source, matched fill on all four sides, no key ratio, no rim, no hair light, no kicker +3. **Zero shadow outside the subject** — no cast, contact, drop, occlusion, halo, or edge darkening +4. **Zero light bleed outside the subject** — no spill, glow, bounce, or reflected color onto the field + +Miss any one and the plate comes back with lighting information baked into it. + +**For sheets:** the flatness must be stated as applying *uniformly across all panels* — same gray value, same shadowless light, no cast shadow in any panel. + +--- + +# PART 1 — BUILD FROM SCRATCH + +For any character with no existing reference. Three stages, in order: text spec → style fork → build. + +## Stage 1 — The text spec + +Let the user describe the character in their own words. Listen, then mirror back a locked spec in plain language covering: + +- **Apparent age register** — described by build and bearing, never a number +- **Face** — head shape, bone structure, jaw, chin, cheekbones, brow shape, eye shape and color, nose, lip shape +- **Skin** — tone and finish +- **Hair** — color with every nuance, length, texture, part, styling +- **Body** — build, proportions, posture +- **Default makeup register** — if any +- **Default expression and energy** +- **Identity markers** — piercings with position and metal, scars with placement and size, beauty marks, tattoos, signature jewelry + +Iterate the text spec freely until the user says it's locked. Nothing gets generated until they do. Fixing a face in text costs nothing; fixing it after twelve outfits have been built on it costs everything. + +## Stage 2 — The style fork + +Ask once, before any prompt: + +> Photoreal human, or anime / cel-shaded? + +The two paths do not share a render register, a tool routing, or a build sequence. Pick one before writing anything. + +--- + +## PATH A — PHOTOREAL HUMAN + +Three tools. Ask which before writing anything. + +| Tool | Role | When | +|---|---|---| +| **Higgsfield Soul** | Face test pass | Cheap and fast. Throws variations so the user can see the face several ways before committing. | +| **Nano Banana Pro** | Canonical lock — default | Balanced fidelity, reasonable cost, handles any framing. The standard lock tool. | +| **Higgsfield GPT-2** | Canonical lock — maximum fidelity | Sharpest read on micro-detail at face-and-shoulders range. Chest-up only. Higher credit cost. | + +**The standard sequence is Soul → Nano Banana Pro.** Run Soul first for the test pass, then lock in Nano Banana Pro. Skip Soul only if the user already knows exactly what the face is. + +**GPT-2 substitutes for Nano Banana Pro at the lock step**, not for Soul. It reads pores, lash separation, iris pattern, lip surface, and hair-strand definition at the hairline noticeably sharper than Nano Banana Pro — worth the credits when the face is the entire point of the image, which on a canonical lock it always is. + +**Offer GPT-2 whenever a photoreal lock is about to be written**, and whenever the user asks for a highly detailed portrait or headshot on a plain gray field: + +> Want the lock on Nano Banana Pro or GPT-2? GPT-2 reads micro-detail sharper — pores, lash separation, iris pattern — but it's chest-up only and costs more credits. + +Mention the credit cost **once per conversation**, then drop it. + +**GPT-2 constraints:** +- Chest-up framing only. Anything wider loses the fidelity advantage and wastes the credit hit. +- Everything else is identical to the Nano Banana Pro lock — same 3:4 framing, same 17-item description order, same flat plate, same locked close. The tool changes; the grammar does not. +- GPT-2 responds especially well to explicit micro-detail language, so a GPT-2 lock adds one dedicated fidelity paragraph before the flat close (see below). + +**Step A1 — Higgsfield Soul face test.** Cheap, fast, loose. Identity essentials only — no fine markers, no makeup detail, no granular anatomy. Soul can't hold those, and asking it to wastes the pass. + +**Step A2 — Canonical lock, 3:4 chest-up, in Nano Banana Pro or GPT-2.** Takes the approved Soul plate as the character reference and writes the face out in full detail. This is the image every future prompt anchors to, so it gets the longest, most specific description in the entire skill. + +### Step A1 — Soul face test + +**Wardrobe lock:** plain black thin-strap camisole for women, plain black ribbed tank for men. No jewelry, no logos, no graphics. Identity-pure. + +**Prompt structure — lean, essentials only:** + +``` +A [heritage] [woman / man] with a [build], [skin tone and finish], [hair color, length, texture]. [Eye shape and color]. [Only large, visually dominant markers — hold fine markers for the lock pass]. [She wears a plain black thin-strap camisole / He wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes to camera, lips closed and relaxed. + +The background is a single flat 18% neutral gray field — one uniform value at every pixel corner to corner, no seam line, no gradient, no hotspot, no vignette. It is a flat color field, not a photographed backdrop — no surface, no floor, no wall, no plane the figure stands in front of. Completely flat shadowless illumination — a huge soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the face read at exactly the same brightness. No shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker. Absolutely zero shadow outside the subject — no cast shadow, no contact shadow, no drop shadow, no ambient occlusion, no halo, no edge darkening. Absolutely zero light bleed onto the background — no spill, no glow, no bounce, no reflected color cast. Extremely low contrast, even, milky, catalogue-flat. Skin renders at its true natural skin tone, warmth preserved and natural against the neutral gray, never cool-shifted or washed-out by the background. Skin reads matte and slightly diffused, clean and even. Chest-up framing. + +Real human skin with visible natural pore texture, fine peach fuzz along the jawline, subtle subsurface scattering on the cheeks and ear edges. Hair rendered strand by strand with realistic natural texture and individual flyaways at the hairline. Even sharpness edge to edge, no depth-of-field falloff, no background blur, no vignette, no flare, no grain. +``` + +Deliberately lean. No full detail stack, no granular anatomy, no makeup paragraph. Let Soul interpret the face from the essentials so the variations are actually different from each other. The user runs several, picks one, and that becomes the reference for Step A2. + +### Step A2 — Canonical 3:4 chest-up lock (Nano Banana Pro or GPT-2) + +**This is the most important image in the character's life.** Everything downstream anchors here. Write it long and write it specific. + +**Framing:** 3:4 vertical, forehead to upper chest, the face filling most of the frame. A true close-up headshot, not a portrait with air around it. Chest-up, never waist-up — the whole point is resolution on the face. + +**What gets written out in full, in this order:** + +1. **Framing declaration** — 3:4 chest-up, forehead to upper chest, face filling the frame +2. **Reference anchor** — "the same character as the attached face plate" +3. **Build and heritage** — one clause +4. **Skin** — tone, undertone, finish +5. **Head and face structure** — head shape, forehead, temples, cheekbone height and projection, cheek hollow, jaw angle and definition, chin shape and projection, the line from ear to chin +6. **Eyes** — shape, set, spacing, tilt at the outer corner, lid crease depth and visibility, iris color with its variation across the iris, limbal ring, pupil, the wet line at the inner corner, under-eye structure +7. **Brows** — shape, arch position, thickness, density, hair direction, color relative to the hair +8. **Lashes** — length, density, curl, separation, upper and lower +9. **Nose** — bridge width and straightness, tip shape and projection, nostril shape and visibility, the shadow-free plane transitions +10. **Lips** — fullness upper versus lower, cupid's bow definition, philtrum length and depth, mouth width, corner shape, natural lip color and surface texture +11. **Ears** — shape and set, whether visible under the hair +12. **Hair** — color with every nuance and any tonal variation root to tip, length, texture, part, how it falls, hairline shape, baby hairs +13. **Makeup register** — if any, as a default that swaps freely later +14. **Identity markers** — each with exact placement: piercings by position and metal, beauty marks by location, scars by placement and size, visible tattoos +15. **Wardrobe** — plain black camisole or ribbed tank, no jewelry, no logos +16. **Pose and expression** — squared to camera, head level, neutral relaxed, eyes to camera, lips closed +17. **The LOCKED FLAT CLOSE** — verbatim + +**Prompt structure:** + +``` +A clean cinema-character-reference 3:4 headshot of the same character as the attached face plate, framed from the forehead down to the upper chest with the face filling most of the frame — a true close-up, not a portrait with space around it. + +[Build and heritage.] [Skin tone, undertone, and finish.] [Head and face structure — head shape, forehead, temples, cheekbone height and projection, cheek hollow, jaw angle, chin shape, the line from ear to chin.] [Eyes — shape, set, spacing, outer-corner tilt, lid crease, iris color and its variation across the iris, limbal ring, under-eye structure.] [Brows — shape, arch position, thickness, density, direction, color.] [Lashes — length, density, curl, separation, upper and lower.] [Nose — bridge, tip, nostrils.] [Lips — upper versus lower fullness, cupid's bow, philtrum, mouth width, corner shape, natural color and surface texture.] [Ears — shape, set, visibility under the hair.] [Hair — color with every nuance and tonal variation root to tip, length, texture, part, fall, hairline shape, baby hairs.] [Default makeup register, if any.] [Every identity marker with exact placement — piercings by position and metal, beauty marks by location, scars by placement and size, visible tattoos.] + +[She wears a plain black thin-strap camisole / He wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes directly to camera, lips closed and relaxed, subtle controlled energy. + +[LOCKED FLAT CLOSE — verbatim] +``` + +The output is the canonical character reference. Every future prompt for this character attaches it. + +**GPT-2 addition.** When the lock runs on GPT-2, insert one dedicated fidelity paragraph between the pose line and the flat close. GPT-2 rewards explicit micro-detail language in a way Nano Banana Pro does not: + +``` +Extreme face fidelity. Real skin texture with visible individual pores, fine peach fuzz catching light along the jawline and upper lip, subtle subsurface scattering across the nose bridge, cheeks, and ear edges reading as semi-translucent biology. Individual lash separation, upper and lower. Real moisture and reflection in the iris with a visible fibrous iris pattern radiating from the pupil and a soft limbal ring at the outer edge. Real lip surface texture with fine natural vertical lip lines. Hair rendered strand by strand at the hairline with visible baby hairs and individual flyaways. Visible fabric weave at the collar and shoulder. Micro-expression detail held in the eye corners and the mouth corners. +``` + +Everything else in the GPT-2 lock is identical to the Nano Banana Pro lock — same framing, same description order, same flat close, chest-up only. + +--- + +## PATH B — ANIME / CEL-SHADED (single-step, Banana Pro) + +Built directly in Banana Pro. No test pass — cel-shaded output is deterministic enough that the detailed prompt gets there in one shot, and a Soul test pass would return a photoreal face that fights the style. + +**Go full detail.** Cel-shaded characters live or die on specificity, because the style strips away the incidental realism that would otherwise carry identity. Every simplification is a decision that must be made explicitly. + +### The sub-style fork + +Ask which register before writing: + +| Register | Line | Shading | Eyes | Palette | +|---|---|---|---|---| +| **Modern TV anime** | Clean thin uniform, dark brown-black | 2-tone cel, soft-edged shadow | Large, multi-layer iris, 1–2 highlights | Bright, moderately saturated | +| **90s cel / retro** | Thicker, slight variation, hard black | 2-tone cel, hard-edged shadow | Rounder, simpler iris, single highlight | Muted, film-print warmth | +| **Manhwa / webtoon** | Very fine, tapering, often colored | 3-tone with soft gradient in hair | Detailed, glossy, heavy lower lash | High-key, pastel, airy | +| **Shonen action** | Bold varying weight, heavy black | 2-tone, hard shadow, strong rim | Sharp, angular, small highlight | Saturated, high contrast | +| **Shojo** | Delicate, tapering, brown-toned | Soft 2-tone, blush-heavy | Very large, deep multi-layer iris, many highlights | Soft, warm, pale | + +### What must be specified explicitly + +**Line art:** weight and whether it varies · color (pure black, dark brown, or color-matched to the fill it borders) · whether lines close fully or break · line weight on the face versus the body versus the hair. + +**Cel shading:** the tone count — two-tone (base plus shadow) is the default; three-tone adds a highlight band · whether shadow edges are hard or slightly softened · where the light comes from, since cel shadows are drawn shapes and need a stated direction even on a flat plate · whether there is any bounce or rim tone at all. + +**Color fill:** flat and uniform within each shape · no airbrush gradients · no photographic texture · no noise. + +**Eyes — the single most important identity element in cel work.** Specify: overall shape and tilt · iris size relative to the eye opening · the number of iris layers and their colors from outer ring inward · the pupil size and shape · the highlight count, size, and position · whether there is a lower-lid light reflection · upper lash line weight and how far it extends past the outer corner · lower lash presence · the gap between the lash line and the iris top. + +**Hair:** rendered in clumped wedges and locks, never individual strands · the number and shape of the front pieces framing the face · the crown shape and how the part reads · the highlight band — its shape, whether it is a single sweep or broken segments, and its color · how the hair overlaps the eyes and brows. + +**Face simplification:** how the nose is drawn — a single line, a small wedge, a dot, or a full shape · how the mouth is drawn at rest · whether the ears are drawn in detail or simplified · whether there is a blush and how it is rendered. + +**Anti-tells — mandatory negation battery:** + +``` +No 3D render, no CGI, no photographic texture, no photorealistic skin, no airbrush gradient shading, no soft blurred rendering, no digital painting blend, no lens blur, no depth-of-field falloff, no film grain, no photographic noise, no bloom, no chromatic aberration, no realistic subsurface scattering, no rendered specular highlights on skin. +``` + +Without that battery the model drifts toward a smooth semi-realistic digital painting that reads as neither anime nor photo. + +### Prompt structure — Path B + +``` +A clean anime character reference illustration, [sub-style register], framed 3:4 from the forehead down to the upper chest with the face filling most of the frame. + +[Build and apparent register.] [Skin — flat fill color and undertone.] [Face shape — head silhouette, jaw, chin, cheek line.] [Eyes — shape, tilt, iris size relative to the opening, the iris layers from outer ring inward with their colors, pupil size and shape, highlight count and position, lower-lid reflection, upper lash line weight and extension, lower lash treatment.] [Brows — shape, weight, position relative to the eye, color.] [Nose — exactly how it is drawn.] [Mouth — exactly how it is drawn at rest, width, corner shape.] [Ears — drawn or simplified.] [Blush — present or absent, and how rendered.] [Hair — color as a flat fill plus its shadow tone, the clump and wedge structure, the number and shape of the front framing pieces, the crown and part, the highlight band shape and color, how it overlaps the eyes and brows.] [Identity markers — drawn as deliberate marks with exact placement.] + +[Wardrobe — plain black camisole or ribbed tank for an identity-pure plate.] Body squared to camera, head level, neutral expression, eyes to viewer, mouth closed. + +Line art: [weight and variation], [color], [closure behavior], [any weight differences between face, body, and hair]. Cel shading: [tone count], [hard or slightly softened edges], light reading from [direction], [rim or bounce tone or none]. All color fills flat and uniform within each shape, no gradients inside a fill. + +Background is a single flat [neutral mid-gray / specified color] field, one uniform value at every pixel corner to corner, no gradient, no texture, no vignette. Absolutely zero shadow outside the figure — no cast shadow, no contact shadow, no drop shadow, no ambient occlusion, no halo, no edge darkening — and zero light bleed onto the field. + +Hand-drawn animation production art. Clean deliberate line work, hard-edged tonal separation, flat color fills. No 3D render, no CGI, no photographic texture, no photorealistic skin, no airbrush gradient shading, no soft blurred rendering, no digital painting blend, no lens blur, no depth-of-field falloff, no film grain, no photographic noise, no bloom, no chromatic aberration, no realistic subsurface scattering, no rendered specular highlights on skin. +``` + +--- + +# PART 2 — ADDITIONS TO AN EXISTING CHARACTER + +For a character who already has a canonical reference. Something is being changed or added **permanently** — this is not an outfit, and it is not a one-off scene styling. + +## What counts as an addition + +| Addition | Notes | +|---|---| +| **Hair color change** | The most common. Full re-lock required. | +| **Hair length or cut change** | Full re-lock required. | +| **New permanent piercing** | Position and metal specified exactly. | +| **New tattoo** | Placement, size, orientation, line weight, and content described in full. | +| **Scar** | Placement, size, age of the scar, raised or flat, color relative to surrounding skin. | +| **Default makeup register change** | Re-lock only if it changes how the face reads at rest. | +| **Expression set** | Adding a second canonical expression to the character's library. | +| **Aging up or down** | Full rebuild, not an addition — go back to Part 1. | +| **Body change** | Full re-lock required. | + +## The identity firewall + +Every addition prompt must state what is changing **and** state that everything else is held. Without the hold clause, changing hair color drifts the jaw, the eye shape, and the skin tone along with it. + +**The hold clause — use verbatim, adjusted for what's changing:** + +``` +Everything about the character other than [the specific change] is identical to the attached reference and unchanged — the same head shape, the same bone structure, the same jaw and chin, the same cheekbones, the same eye shape and spacing and tilt, the same iris color, the same brow shape, the same nose, the same lips and mouth width, the same ears, the same skin tone and finish, the same build and proportions, and every existing identity marker in the same position. Only [the specific change] is different. +``` + +## The re-lock rule + +**Any addition that changes how the face reads at rest requires a new canonical plate.** Hair color, hair cut, facial piercings, facial scars, and permanent makeup all cross this line. Generate the addition as a fresh 3:4 chest-up lock in the same framing, same wardrobe, same flat plate, and the same style path as the original — and the new plate becomes the character's canonical reference from that point forward. + +Additions that don't touch the face at rest — a body tattoo under clothing, a hand tattoo, an ear piercing hidden by hair — can be documented in the character's written spec and written into outfit prompts as needed, without a new face plate. + +**Version the plates.** When a character gets a re-lock, both plates continue to exist and refer to different states of the character. Name them so the distinction survives — `[character]-lock-01`, `[character]-lock-02-red-hair`. Always confirm which lock is being anchored to before building an outfit on it. + +## Prompt structure — additions + +``` +A clean [cinema-character-reference / anime character reference] 3:4 headshot of the same character as the attached reference, framed from the forehead down to the upper chest with the face filling most of the frame. + +[The change, described in full detail. If it is hair: the new color with every nuance and any tonal variation root to tip, the new length, the new texture, the new part, how it falls, the hairline, baby hairs. If it is a marking: exact placement described relative to a fixed anatomical landmark, exact size, exact orientation, exact color and finish, whether raised or flat, line weight if it is a tattoo.] + +[The hold clause — verbatim.] + +[Wardrobe — the same plain black camisole or ribbed tank as the original lock], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes directly to camera, lips closed and relaxed. + +[LOCKED FLAT CLOSE for photoreal, or the cel render close for anime — matching the original build path.] +``` + +## Expression sets + +A character can carry more than one canonical expression. Useful for characters who appear across a lot of material with a consistent emotional register. + +Build them as a 3-panel sheet in one image so the identity holds across all three: neutral at rest, the character's signature expression, and one extreme. Each panel is the same framing, the same lighting, the same wardrobe — only the face changes. + +State per panel exactly which muscles move: brow position, lid aperture, mouth corner direction, jaw, whether teeth show, where the eyes look. Never name the emotion alone. *"Brows drawn slightly together and down at the inner ends, upper lids lowered a fraction, mouth corners level and pressed, jaw set"* renders. *"Angry"* does not. + +--- + +# PART 3 — OUTFIT BUILDER + +For a character with a locked face. Three steps. Skipping step 2 is the single most common cause of an outfit rendering wrong. + +## Step 1 — The wardrobe proposal (text only) + +Before any image, write the outfit out in plain text and wait for approval. Never combine a wardrobe proposal with an image prompt in the same message. + +Cover, head to toe: +- **Every garment** — color, fabric, weave or finish, cut, fit, neckline, sleeve, hem position, closures, how it sits on the body +- **Layering** — what goes over what, what's open, what's tucked +- **Structural detail** — cutouts, panels, boning, ruching, pleats, distressing, hardware +- **Footwear** — style, material, heel height and shape, how it interacts with the hem +- **Jewelry** — every piece, metal, scale +- **Accessories** — bags, belts, gloves, eyewear, headwear +- **Nails** — length, shape, finish +- **Hair styling for this outfit** — if it differs from the character's default +- **Makeup for this outfit** — if it differs from the default + +Iterate on text until locked. Text iteration is free. + +## Step 2 — Build the outfit + +Two paths. **Default to the direct build and encourage it.** Only route to the mannequin path when the outfit genuinely earns it. + +### Path 1 — DIRECT ON THE MODEL (default, encouraged) + +Build the outfit straight onto the locked character in one generation, **9:16 vertical, full body**. The character reference is attached; the prompt writes the wardrobe. + +This is the right call for most outfits. It's one generation instead of several, the fit reads on the character's actual proportions from the start, and there's no compositing step to degrade identity. + +**Why 9:16.** A full-body outfit reference needs the frame to be taller than it is wide. 9:16 gives the garment the vertical pixel budget — hem lengths, break at the ankle, footwear, and drape all read at usable resolution instead of getting squeezed into the middle of a square. + +**Prompt structure — Path 1:** + +``` +A full-body character reference of the same man as the attached character reference, standing [pose], framed head to toe in a tall vertical 9:16 frame with the full figure and the footwear entirely within the frame. + +[Identity restated briefly — build, skin, hair, face register. Two or three clauses only; the reference carries the rest.] + +He wears [the full outfit head to toe — every garment with color, fabric, weave or finish, cut, fit, collar or neckline, sleeve, hem position, closures, structural detail, how it sits and moves on the body, layering, footwear, jewelry, accessories, nails]. + +[Pose and expression.] + +[LOCKED FLAT CLOSE — verbatim, adjusted to full-body framing.] +``` + +### Path 2 — INVISIBLE MANNEQUIN GARMENT PLATES (complex outfits only) + +For outfits with multiple custom pieces, unusual construction, heavy hardware, or a specific designed cut that a direct build would round off toward something generic. + +**Step 2A — Build each piece in Nano Banana Pro on an invisible mannequin.** One plate per garment, or grouped when pieces read together. The garment holds its full three-dimensional worn shape with no body inside it — collar and cuffs holding their own volume, the opening reading as an empty dark hollow looking down into the inside of the garment, real fabric tension across the chest and shoulders, natural drape and weight, but nothing emerging from any opening. + +Because there's no face and no body competing for attention, the entire prompt can be about the garment. This is what makes it hold custom construction that a direct build loses. + +**Prompt structure — Step 2A:** + +``` +A garment reference of a single [garment type] worn on an invisible body, floating in frame and holding its full three-dimensional worn shape. + +[The garment in complete detail — color, fabric, weave or finish, cut, fit, collar or neckline construction, sleeve, hem, closures, seams, panels, hardware, pockets, print or pattern with its scale and layout, lining if visible.] + +There is no head, no neck, no hands, and no body anywhere in the frame — the garment reads as worn by an invisible figure with full volume, natural drape, and real fabric tension across the chest and shoulders, the collar and cuffs holding their own three-dimensional shape, every opening reading as an empty dark hollow looking down into the inside of the garment with the inner back of the fabric faintly visible. No stump, no skin, no cut edge, no anatomy, no mannequin form, no hanger, no stand, not blurred, not faded, no ghosting, no transparency. + +[LOCKED FLAT CLOSE — verbatim.] +``` + +**Step 2B — Bring the garment plates to Banana Pro with the character.** Attach the character reference plus every garment plate, and compose the full look on the character in one generation. + +``` +A full-body character reference of the same man as the character reference, wearing the garments from the attached garment references, framed head to toe in a tall vertical 9:16 frame. + +Keep every garment exactly as shown in its reference — the same color, the same fabric, the same cut and fit, the same collar and cuffs, the same hem position, the same closures, the same hardware, and the same print or pattern at the same scale. Keep the character's identity exactly as shown — the same face, the same bone structure, the same eye shape and color, the same skin tone, the same hair, and every identity marker in the same position. + +[Layering — what goes over what, what is open or closed, what is tucked.] [Footwear, jewelry, and accessories not covered by a garment plate.] [Pose and expression.] + +[LOCKED FLAT CLOSE — verbatim, adjusted to full-body framing.] +``` + +### Choosing the path + +**Direct (Path 1)** — a shirt and trousers, a dress, a suit, a jacket over a tee, a matching set, anything the model already understands as a category. Most outfits. + +**Mannequin plates (Path 2)** — heavily constructed pieces, unusual silhouettes, custom hardware, garments whose whole point is a specific detail that would get averaged away, or a look where the user wants each piece designed and approved independently before it's committed to the character. + +**When in doubt, run Path 1 first.** It's one generation. If the garment comes back rounded off toward generic, that's the signal to fall back to Path 2 for the piece that failed — and only that piece. + +## The 3-panel character sheet + +Built only after an outfit plate exists on the locked character and the user is happy with it. One image, three vertical panels, one prompt. + +### Attach the outfit render alone — not the face lock + +**Default: the approved full-look outfit render is the only reference.** It already carries the face, the hair, the skin, the build, the wardrobe, and every accessory in one image, all of them already agreeing with each other. It is a strictly better reference for a sheet than the outfit render plus the face lock, because it needs no reconciliation. + +**Adding the canonical face lock alongside it is usually a downgrade.** Two references means two sources for the same face, and the model has to reconcile them — different framing, different crop, different neutral wardrobe, different hair state. That reconciliation costs attention that should be going to the panel geometry and the garment, and on a three-panel sheet the attention budget is already split three ways. Overloading references is one of the most reliable ways to get a mushy sheet. + +**Attach the face lock as a second reference only when there's a specific reason:** +- Identity has visibly drifted in the outfit render and needs pulling back toward canon +- The outfit render obscures the face — heavy eyewear, a mask, a hood, deep shadow, a turned head +- The outfit render came out soft or low-detail in the face +- A previous sheet attempt returned a face that doesn't match +- The user explicitly wants the sheet re-anchored to the original lock + +When it is attached, say what each reference is for in the prompt body so the model doesn't average them: *"the face, bone structure, and skin tone come from the face reference; the wardrobe, hair styling, and accessories come from the look reference."* + +**The same economy applies everywhere in this skill.** More references is not more control past the point where they start disagreeing. Attach the fewest images that carry everything the prompt needs, and prefer one image that already resolves a combination over two that have to be merged. + +### Layout +1. **LEFT — full body front, headless.** Full headroom preserved — the head is *removed from the body*, not cropped by the frame edge. Isolates the garment, the silhouette, and the proportions with no facial data competing. +2. **CENTER — full body rear, head attached.** Hair fall, back construction, hem, footwear all readable from behind. +3. **RIGHT — tight chest-up face lock.** Just above the crown down to the collarbones. The face fills the panel. This is the identity anchor and it must be tight. + +**The headless cut — pick by garment:** + +*Variant A — ghost mannequin.* For structured or closed necklines sitting at or above the collarbone — collars, crew necks, ribbed tanks, turtlenecks, hoods, jacket collars, keyholes. No head and no neck at all; nothing rises above the shoulder line. The collar holds its own three-dimensional shape and the opening reads as an empty dark hollow looking down into the inside of the garment, the inner back of the fabric faintly visible. + +*Variant B — clean neck cut.* For garments with no neckline to hollow — strapless, halter, spaghetti strap, deep cowl, scooped or plunging. The neck rises a short way from the shoulders and terminates in a clean flat sharply defined horizontal edge at the base of the throat, like a headless dress-form mannequin. + +**Both variants ship the same suppression stack:** not blurred, not faded, not dissolving, no wisps, no smoke, no ghosting, no transparency in the body, no stump, no anatomy detail at the cut, no blood. And the hair goes with the head — no hair falling across the chest or shoulders in the left panel. + +**Critical rules:** +- One prompt, one code block, one image. Never three separate prompts. +- **The approved outfit render is normally the only reference.** Add the face lock only for a stated reason, and say what each reference carries when you do. +- Identity and wardrobe described **once** in opening paragraphs, applying to all three panels. +- Each panel describes only what differs — angle, framing, head state. +- **Skin-tone consistency clause is mandatory.** Rear panels drift darker without it: *"skin renders at its true natural skin tone, identical in value and hue across the face, arms, and body in every panel, never darkened, never tanned, never pale or washed-out."* +- Backdrop and lighting uniform across all three cells, stated explicitly as uniform. +- Every panel carries its position label so the grid composes correctly. + +--- + +## READING REFERENCE IMAGES + +When the user uploads references, extract everything visible by **visual description only** — never use names, never invent what isn't there. + +- **Hair** — color with every nuance, length, style, texture, part, styling treatment, accessories +- **Makeup** — skin finish, coverage register, brow shape and density, eye treatment, lashes, lip, cheek, face jewelry, freckles or beauty marks *only if visible* +- **Wardrobe** — every garment top to bottom: fabric, color, fit, structural detail, neckline, sleeve, hem, layering +- **Jewelry and accessories** — every piece, metal, scale +- **Body markers** — piercings and tattoos *only if visible*, nail length and finish +- **Pose and energy** — body angle, weight, hands, expression register + +**No-invention rule.** If something is needed for the prompt but isn't in the reference or the spec, ask before composing. Never fill a gap with a guess — a guessed detail that renders becomes canon by accident. + +--- + +## UNIVERSAL RULES + +1. **No character names in prompt output.** Describe by hair, wardrobe, and identity markers. The tools don't know names; visual descriptors survive across prompts. +2. **No aspect ratios in prompt output.** Set in the Higgsfield UI. Describe framing in words — "3:4 chest-up headshot," "full body," "tight close-up." +3. **No `@image` tags or placeholders.** Attachment happens in the UI. The prompt is text-only and refers to references in prose — "the attached face plate," "the character reference," "the outfit reference." +4. **No internal production context.** Every prompt is standalone and self-contained. +5. **Pure visual description only.** No meta-commentary, no explanation of intent, no references to the medium. +6. **No teeth-showing smiles** unless explicitly requested. Default is model face-card neutral, or a slight closed-lip smirk. +7. **Default pose for outfit work is the cocked-hip model stance** — weight on one hip, body angled 15 to 30 degrees from camera. Not a straight-on catalogue stance, which is reserved for the neutral outfit model in Step 2. +8. **Age-blind.** Describe by build, bearing, role, and wardrobe — never by age word or number. +9. **Brand names, text, and graphics are written verbatim.** A specific label, wordmark, slogan, or logo gets named and described — shape, color, placement, legibility. Naming the thing renders the thing. +10. **Flat grade on every character plate and sheet.** Directional cinematic lighting belongs in scene plates, never in a character reference. +11. **Single fenced code block on output.** + +--- + +## DELIVERY FORMAT + +Three parts: + +**1. Bolded title line.** Names what's being built and which step it is. +`**Face lock — step 2 of 2, Nano Banana Pro 3:4 —**` + +**2. Numbered reference list.** One line per attached reference. If none: `No references — text-only build.` + +**3. One fenced code block.** + +**Tool routing goes in the title**, so the user knows where to paste: Soul, Nano Banana Pro, or Banana Pro. + +**On iterations — deliver directly.** Any tweak to an already-approved prompt (palette, framing, pose, lighting, a single garment swap, a styling nudge) ships as the revised full prompt with no confirmation bullets. Re-check only on a full scope change — a new character, a new outfit, a new mode, or a new style path. + +**Wardrobe proposals are the exception to deliver-by-default.** A new outfit always gets its text proposal approved before any image prompt is written, and the two never ship in the same message. + +--- + +## PRE-DELIVERY PASS + +- [ ] Which part of the skill applies — build from scratch, addition, or outfit — and the prerequisite for that part exists +- [ ] For a new character: text spec locked and approved before any generation +- [ ] Style path forked and the render register matches it throughout +- [ ] Photoreal builds route Soul for the test pass, and Nano Banana Pro or GPT-2 for the lock — with the GPT-2 option offered and its credit cost mentioned once per conversation +- [ ] GPT-2 locks are chest-up only and carry the extreme-fidelity paragraph +- [ ] The lock pass is 3:4 chest-up with the face filling the frame, never waist-up +- [ ] Every facial plane, the eyes in full, and every identity marker with exact placement are written into the lock +- [ ] Anime builds carry line spec, cel tone count, shading direction, full eye construction, hair clump structure, and the anti-tell negation battery +- [ ] Additions carry the hold clause and trigger a re-lock if they change the face at rest +- [ ] Outfits went through the text proposal, then a direct 9:16 build on the locked character — or invisible-mannequin garment plates first if the outfit was complex enough to earn it +- [ ] Character sheets have identity and wardrobe described once, the correct headless variant, and the skin-tone consistency clause +- [ ] Reference economy — the fewest images that carry what the prompt needs, and no canonical face lock stacked onto a sheet without a stated reason +- [ ] Axis 1 on and Axis 2 off — biological realism written in full, zero photographic capture behavior anywhere in the plate +- [ ] Flat gray field, shadowless light on the subject, zero shadow outside the subject, zero light bleed onto the field — stated per panel on sheets +- [ ] No names, no aspect ratios, no placeholder tags, no meta-commentary +- [ ] Bolded title with tool routing, numbered reference list, one code block + +**Repair pass:** +- Face drifting between outfits → the lock plate isn't tight enough; rebuild it chest-up with fuller facial description +- Outfit rendering generic or rounded off → fall back to an invisible-mannequin garment plate for the piece that failed, and only that piece +- Rear panel skin darker than front → the skin-tone consistency clause is missing +- Shadow appearing under the feet or behind the shoulder → the zero-shadow-outside-the-subject clause is missing or too short +- Background brightening or picking up color near the figure → the zero-light-bleed clause is missing +- Background reading as a lit wall or floor rather than a flat field → the "color field, not a photographed backdrop" line is missing +- Modelling appearing on the face → one of the four flat requirements is missing +- Grain, vignette, or background blur appearing → capture-behavior language leaked in from Axis 2 +- Anime output reading semi-realistic → the anti-tell negation battery is incomplete +- Hair color change also changed the face → the hold clause is missing or too short +- Identity marker in the wrong place → it was described relative to nothing; anchor it to a fixed anatomical landmark +- Sheet coming back mushy or averaged → too many references disagreeing; drop back to the single approved outfit render +- Face on a sheet drifting off canon → this is the case where the face lock earns its slot; attach it and state what each reference carries diff --git a/Joey's Cinema Skill Files/Joey's Cinema Skill Files/cinema-director.zip b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/cinema-director.zip new file mode 100644 index 0000000000000000000000000000000000000000..b397f5ab5a5cff49df7498f3c44c46c62ed29670 GIT binary patch literal 18147 zcmZs>V{j!-)a@NiY)@?4wr$(CCblyZ+d4^3Y}+}pGqG)Ja{td$Z@nLG-CfnIx~q2m zK6dY3wN&IGf53zNPqqC1Hu&Go|0k$m1YqX2PL__Qj25np{-^tYMdd#d=6?s+|0VfkyYK`^f`PqNgMt10e~{GWWfc^d94-ET;{Q

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z=@Y!=Vpm_e0y>$lqIU+6p0+S-Opy*!n>gTBO)peRV^RoA1PmQbg~-2VJ)a21#MMY} z6qDL8Jz`)>q?U!tic=4yr;i4uNYS0Hp?yX!GZU^JHq(hXAF{@7?lwt-oGlg0aIRU= zy2+V66`y0~GhzAPB_zEc{ zF?I7GdzCpS#GUkqb>bp^UT)$Z<*{&{Ky_PIwQi>99wthEgd zNnkWeUAFn(EO%C7hGm|OEr@`~@Wizfo^ToK*w "Reading this two ways — is it composed and held, or do you want the camera hot and punching?" + +Never ask when the description has already answered. Never offer all four when only two are live. + +**Register can be mixed deliberately** — a Tier 1 subject inside a Tier 4 camera is a real and powerful choice (a woman moving slowly while the camera tears around her). When the user asks for that, state the split explicitly in a directive block so the model doesn't average the two into a mush. + +--- + +## REFERENCE TAGS + +References are indexed image and video tags in the platform's native syntax: + +- Images: `@[Image 1](image_1)` … `@[Image 9](image_9)` — nine maximum +- Video/audio: `@[Video 1](video_1)` + +**Ordering convention:** character sheets first in narrative order, then group/corps wardrobe sheet, then prop sheets, then environment plate last. Audio or video reference last of all. + +**Every character gets their own slot.** A character visible inside an environment plate still gets a separate canonical reference and a separate Subject Lock. The plate carries the world; the sheet carries identity. + +**The corps or group wardrobe sheet is its own slot**, separate from any formation or staging plate. Two different references — collapsing them loses the wardrobe. + +**Renumber cleanly.** If a reference is added, renumber every tag in the body and reissue the list. Never leave a gap or a stale index. + +--- + +## DELIVERY FORMAT + +Three parts, in this order: + +**1. Bolded title line with runtime.** Names the scene and states the duration. + +`**Fur couch — hype ending — 8s**` + +**2. Numbered reference list.** One line per reference, as a numbered list — never a prose paragraph. + +``` +1. @[Image 1](image_1) — [what it is] +2. @[Image 2](image_2) — [what it is] +3. @[Video 1](video_1) — [what it is] +``` + +**3. One fenced code block** containing the prompt. + +Nothing else. No preamble, no explanation, no post-amble — unless a conflict needs flagging, which goes in one or two lines above the title. + +**On iterations — deliver directly.** Any tweak to an already-approved prompt (palette, framing, pose, lens, lighting, wardrobe, staging, duration) ships as the revised full prompt with no confirmation bullets. Re-check only on a full scope change: new scene, new character set, new capture family. + +**Always ship the full prompt.** Never partial swaps or "replace this line," unless a targeted patch is specifically requested. + +**Split rather than overload.** Two camera vantages on the same action are two prompts. A sequence past 15 seconds is two prompts. Say so and deliver both. + +**Foreign-language dialogue** ships as a mini script in the response body — English, formatted for a translator — separate from the code block. Inside the prompt, specify the language spoken, the line verbatim, and *"no captions, no subtitles, and no burned-in translation of any kind on screen at any point."* + +--- + +## BLOCK ORDER (LOCKED) + +Inside the single fenced code block, in this order: + +``` +1. Shot count + total duration + per-shot timecodes + cut policy + speed policy +2. CAPTURE CADENCE (cinema) or CAPTURE FORMAT (phone) +3. NO ON-SCREEN TEXT — CRITICAL (mandatory, always first directive block) +3b. Remaining ALL-CAPS CRITICAL directive blocks — as many as the scene needs +4. Subject Lock — @[Image N](image_n) (one per named character) +5. Corps Wardrobe Lock / Crew Lock (group uniforms) +6. PROP LOCK — [name] (any prop that must render exactly) +7. World Plate (anchored to the plate tag) +8. THE ATMOSPHERE — CRITICAL +9. SHOT N — 0.0 to X.Xs blocks (one per shot) +10. Cross-Frame Rules +11. Last Frame +12. Sound Bed +13. Camera & Capture Realism (merged closer — always last) +``` + +No mode line. No prose between blocks. + +--- + +## BLOCK 1 — SHOT HEADER + +States shot count, total duration, every shot's in and out point, cut policy, and speed policy. + +``` +4 shots. Total duration 8 seconds — shot 1 runs 0.0 to 2.0s, shot 2 runs 2.0 to 4.0s, shot 3 runs 4.0 to 6.0s, shot 4 runs 6.0 to 8.0s. Hard cuts between them, no transitions, no dissolves. All shots at normal speed. +``` + +Single take: `1 continuous shot. Total duration 10 seconds, no cuts, no transitions, no dissolves. Normal speed throughout.` + +If slow motion is deliberately excluded, say so explicitly: *no slow motion, no overcranking, no ramping, and no speed change anywhere in this sequence.* The model volunteers slow motion unprompted on stylized material. + +If cuts must never land mid-word (lipsync): *the cuts fall between words and never inside a word.* + +**Per-shot timing must sum exactly to the stated total. Maximum total duration is 15 seconds.** Anything longer splits into separate prompts. + +**Runtime guidance:** 1.5–2.5s per shot for high-energy cutting · 2.5–4s for narrative beats · 4–7s for a held lipsync line · 8–15s for a continuous take. + +--- + +## BLOCK 2 — CAPTURE CADENCE / CAPTURE FORMAT + +The single most important anti-artifact block. Goes second, always, before anything else competes for attention. + +**Cinema version:** + +``` +CAPTURE CADENCE — CRITICAL: captured natively at 24 frames per second with a true 180-degree shutter angle, a real 1/48 second exposure on every single frame. Every frame carries genuine photographic motion blur and each frame blends smoothly into the next. Motion is fluid, filmic, and continuous. Never choppy, never stuttering, never staccato, never juddering, and never stepping between positions. No frame interpolation, no frame blending, no digital smoothing, no ghosting, no double-imaging, no dropped frames, no high-shutter crispness, no video look. +``` + +**When the scene contains strobe or flashing light**, add the quarantine — it moves the stepping onto the light and off the footage: + +``` +The stuttering, stepped quality of this sequence comes entirely from the strobe lighting described below — from bodies being revealed only in discrete flashes — and never from broken or choppy footage. The camera motion between flashes is continuous and smooth even while the bodies appear to jump between positions. +``` + +Without the quarantine the model returns genuinely broken footage. + +**Phone version:** the Family B spec, written out in full in this slot at the same priority. + +--- + +## BLOCK 3 — ALL-CAPS CRITICAL DIRECTIVE BLOCKS + +The defining feature of this grammar. Any element the model routinely drops, softens, or gets wrong is promoted out of the descriptive body into its own named block in capitals near the top. + +Format: `THE [THING] — CRITICAL:` or `THE [THING] IS THE DEFINING FEATURE OF THIS SEQUENCE — CRITICAL:` followed by an exhaustive paragraph. + +### The mandatory first directive block + +**Every video prompt carries this block, always, as the first directive block — immediately after capture cadence.** It never appears in Last Frame and never appears only at the bottom. Overlay text is generated early in the frame, so the instruction must sit early in the prompt. + +``` +NO ON-SCREEN TEXT — CRITICAL: no on-screen text of any kind anywhere in frame at any point. No captions, no subtitles, no burned-in dialogue, no auto-captions, no karaoke text, no lower thirds, no titles, no title cards, no credits, no watermarks, no logos, no timecode, no UI overlays, no social-media overlays, no interface elements. The frame is clean of all overlay graphics from first frame to last. +``` + +This block does not count against the six-block cap. + +**Never carve out in-world text inside this block.** No "other than," no "except for," no exception clause of any kind — an exception clause reopens the door and the model renders captions. Physical text that genuinely exists in the scene (garment prints, packaging, signage, book spines, screens) is described separately, elsewhere, as a physical object with shape, color, placement, and legibility. The suppression block stays absolute. + +**Weight it hardest on phone, selfie, and talking-head prompts.** Those pull captions straight from social-media training data and fail most often. + +| Block | Use when | +|---|---| +| `NO ON-SCREEN TEXT` | **always — mandatory, first, exempt from the cap** | +| `THE SINGING` | any lipsync — first after the text block, top content priority | +| `HER MOUTH IS ALWAYS VISIBLE AND ALWAYS READABLE` | any lipsync, paired with the above | +| `THE STROBE` / `THE LIGHT` | flashing, pulsing, or any non-obvious lighting behavior | +| `THE CAMERA` | when the camera behavior is itself the style | +| `THE STAGING` | when who-stands-where must not drift | +| `THE ATMOSPHERE` | always, when haze is present | +| `THE TONE` | comedic, warm, or emotionally specific scenes that could be misread | +| `THE LANGUAGE` | foreign-language dialogue, no-caption instruction | +| `NOBODY ELSE IS IN THE FRAME` | any scene that must be empty of extras | +| `THE VANTAGE` | when camera distance or position must not creep | +| `THE BEAT` | when the dramatic point of the shot is a specific reversal | +| `THE LIGHT CHANGE` | when lighting shifts mid-take and the shift is the spine | + +**Rules:** +- Cap at roughly six. Past that they compete and all of them dilute. +- Order by importance — the model weights early text more heavily. +- Each block is exhaustive within itself. Never distribute one idea across two blocks. +- The block is the instruction; SHOT blocks and Cross-Frame Rules only *apply* it. Never contradict a directive block downstream — and never restate one in full downstream either. Say it once, at full weight, at the top. + +**Anti-redundancy, universal.** Every fact belongs to exactly one block. Wardrobe lives in Subject Lock and is never re-described in a SHOT block — SHOT blocks name a garment only when it is doing something visible (a hem swinging, a strap catching light). Lighting lives in its directive block or the World Plate, not both. Atmosphere lives in Block 8 only. A prompt that repeats itself reads as long without reading as specific, and the duplicated phrasing dilutes the original. + +--- + +## BLOCK 4 — SUBJECT LOCK + +One discrete block per named character. Never jam two into one paragraph. + +``` +Subject Lock — @[Image 1](image_1): [build and skin] [face and bone structure] [hair color, length, styling, permanent features] [makeup] [clean-face negations] [wardrobe head to toe] [jewelry, nails] [role or position in the scene]. +``` + +**Target 90–140 words per Subject Lock.** Tight enough that four locks don't swamp the prompt, detailed enough that nothing drifts. + +**Wardrobe is restated in every prompt, every time** — but written economically. One clause per garment, not one paragraph. Name: color, fabric, cut, and how it sits on the body. Include hardware only when it's an identity marker (a signature carabiner, a chrome hinge, a studded waistband). Skip stitching, seam construction, and pocket counts unless the user has flagged them. + +- ❌ *"a long-sleeved charcoal-grey cropped top in soft washed matte jersey with a faded mineral-dyed finish, high round neckline, long slim sleeves fitted to the wrist, front panel wide and solid across the chest, hem sitting just below the ribcage, the back left open and held only by the neckline and shoulders"* +- ✅ *"a cropped charcoal washed-jersey long-sleeve with a high round neck and an open back, hem just under the ribcage"* + +Both lock the garment. The second leaves room for the rest of the prompt to matter. + +**Permanent identity features are declared permanent.** If a character always has blunt bangs, write *"the bangs are permanent and present in every frame."* If a mask is never removed, say so here and again in Cross-Frame Rules. + +**Clean-face negations are explicit:** *"Clean clear face, no beauty marks, no rhinestones, no facial markings, no tattoos."* The model invents facial detail otherwise. + +**Never use character names.** Refer by hair color, wardrobe, and identity markers — *"the woman with the long jet-black hair."* This holds in every block including staging and Cross-Frame Rules. + +**Close with the scene role** when staging matters: *"She is seated upright on the couch and never lies down."* + +**Skin lock:** warm fair or very fair as specified, *rendering true and natural, never cool-shifted, never pale porcelain.* + +### Corps Wardrobe Lock / Crew Lock +Group uniforms get one shared block anchored to the group sheet: the full uniform, the permitted variation range (*"some wear a sheer mesh layer, some have bare arms, some wear fingerless gloves"*), and the anonymity lock (*"every masked face identical in styling, no dancer ever unmasked, no faces visible beyond the eyes"*). + +Crew Locks specify ethnicity, wardrobe color, mask state, and equipment carried. If the crew wardrobe should read plain and anonymous, close with *"no branding, no printed graphics, and no visible text on any garment"* — but that is a styling choice for that scene, not a standing rule. + +### PROP LOCK +Any prop that must render exactly: material, scale relative to a hand or body, hardware, surface finish, how it's held, what it does. + +--- + +## BLOCK 7 — WORLD PLATE + +Anchored to the plate tag: `World Plate: Anchored to @[Image 6](image_6).` Then the environment — the hero object, its construction and material, the surrounding space, the floor, the light sources built into the set, what falls away into darkness. + +Close with the emptiness lock when the space must stay bare: *"no props, no set dressing, and no other structure anywhere in the space."* + +Re-describe the plate even though it's attached. The plate anchors look; the text anchors persistence across shots. + +--- + +## BLOCK 8 — THE ATMOSPHERE + +Haze is the most drift-prone element in the grammar. It gets its own CRITICAL block with a mandatory negation battery. + +``` +THE ATMOSPHERE — CRITICAL, depth only: extremely heavy suspended atmospheric haze fills the entire space at very high uniform density, hanging completely still and motionless for the full [X] seconds, fine suspended particulate saturating every plane. It sits thick between every plane so depth reads in clearly separated layers — [name the actual planes of this shot, nearest to furthest, and how each softens]. Bodies pass through it without disturbing it, leaving no wakes and no trails. It reads as thickened still air only — no drifting, no currents, no plumes, no banks, no wisps, no tendrils, no swirls, no rolling, no fog machine texture, no smoke shapes, and nothing that ever reads as fog or smoke. +``` + +**The negation list is mandatory and complete.** Drop items and the corresponding artifact returns. If a scene contains one legitimate moving vapor (steam off a hot cup, breath in cold air), carve it out explicitly as the sole exception. + +**Haze is for depth separation, never for mood.** Always name the actual planes of the actual shot. + +**Clean-air scenes** state it just as hard: *"the air is clean — no haze, no fog, no smoke, no atmospheric density, no visible light beams, no suspended particulate."* + +--- + +## BLOCK 9 — SHOT BLOCKS + +One per shot, timecoded, in four labeled parts. + +``` +SHOT 2 — 2.0 to 4.0s. [ALL-CAPS SHOT NAME]. Camera move: [height, position, the move, the physicality, the cant range in degrees, the never-settles clause]. Subject action: [what every visible body does, in order]. Position: [x% placement of each subject and what fills the rest of the frame]. Sound: diegetic only. +``` + +- **Camera move** always names height, position, move, physicality, cant range, and closes with *"never settling, never locking off."* +- **Subject action** covers every visible figure. Silence about a body means it drifts. +- **Position** uses x% for asymmetric compositions, prose for classical ones. +- **Sound** is a one-word pointer; the real audio lives in Sound Bed. + +**Every shot differs in angle and height from every other shot.** Restate this in Cross-Frame Rules. + +**Shot naming** in caps summarizes the grammar: `WIDE, LOW, TRACKING LATERALLY` · `CLOSE ON THE HANDS, SLAMMING IN` · `OVERHEAD, LOOKING STRAIGHT DOWN` · `HIGH THREE-QUARTER, CRANING BACK AND OUT`. + +--- + +## BLOCK 10 — CROSS-FRAME RULES + +The continuity contract. **It covers only what could drift *between* cuts — it is not a summary of the prompt.** + +**The no-restatement rule.** If a directive block already locked something, Cross-Frame Rules does not say it again. The directive block is the instruction and it already carries full weight at the top; repeating it here buys nothing and costs length. Restate only where the risk is specifically continuity — a thing that holds in shot 1 and slips by shot 3. + +What this cuts in practice: +- Atmosphere is locked in Block 8 — do not re-describe the haze here, only "holds uniform across all shots, never drifts" +- The cadence quarantine is in Block 2 — reference it in one clause, do not rewrite the battery +- Wardrobe is exhaustive in each Subject Lock — here it is one line: identical to each tagged reference, one look per person, no mixing +- Clean-face negations and permanent identity features get a short list of the markers, not their full descriptions + +Standard contents, in order — each one line, not one paragraph: +1. Lighting behavior across every frame +2. The cadence quarantine restated, if strobe is present +3. Who is in the sequence and who is not +4. Staging locks — who stays where, who never stands, who never enters +5. Movement quality locks — who moves slow, who moves hard, who never dances on the beat +6. Permanent identity features restated (bangs, masks, mic hand) +7. Wardrobe identical to each tagged reference, one look per person, no mixing +8. Environment identical across all shots +9. Every shot a different angle and height +10. Camera handheld throughout, frame never settles square +11. Atmosphere holds uniform, never drifts, never reads as fog +12. Skin protection +13. Performance negations — no mouthed words, no singing, no teeth + +--- + +## BLOCK 11 — LAST FRAME + +The exact final composition. Every body's position and state, what the light is doing, what the camera is still doing mid-move. A freeze-frame description. + +**No text suppression here.** That lives in its own mandatory directive block at the top. Never restate it at the bottom — a second pass at the same instruction late in the prompt adds length without adding weight. + +Last Frame describes composition only. Nothing else. + +--- + +## BLOCK 12 — SOUND BED + +**Default: diegetic only.** Specific physical sounds tied to specific surfaces and materials — footsteps naming the surface, fabric by type, hardware, breath, room tone, environmental ambient. Close with *"No music, no lyrics, no dialogue, no singing."* + +Never write song references, lyrics, track-tied dialogue, or phone-filtered vocal lines. Music is uploaded separately as an audio reference. + +**Lipsync exception — HARD LOCK.** When an audio or video track is attached, it is the sole and complete audio source: + +``` +Sound Bed: The attached clip @[Video 1](video_1) is the sole and complete audio source for this sequence. Generate no additional audio of any kind — no room tone, no foley, no ambience, no breath, no added dialogue, no music. +``` + +The attached clip also owns all internal timing. Never impose per-beat timing on a lipsync take. + +**Spoken dialogue is allowed** when a scene has real speech. Write the line verbatim in quotes and specify delivery physics — mic distance, reverberation, compression, pitch level, accent. + +**Phone-captured audio** gets its own physics: *thin, compressed, close, with handling noise from the grip and clipping on the loudest transients.* + +--- + +## BLOCK 13 — CAMERA & CAPTURE REALISM (MERGED CLOSER) + +One block, always last. Gear and physics together — the lens spec sits at the bottom of the prompt, where the FOV lock holds best. + +Six parts, in order: + +**1. Capture register and lens.** Wide-latitude cinema capture or phone capture · lens character and aperture · **FOV in degrees with mm in parentheses, per shot, inline.** + +**2. Camera physicality.** The full handheld description, cant range, focus behavior, what carries depth separation. + +**3. Rendition.** Film stock and grain, or phone processing. Frame rate, shutter, exposure, total runtime. + +**4. Grade.** Palette, where blacks sit, what blooms, what flares specular, what holds saturation, what clips and what doesn't. Attach every color to a fabric, surface, or light source — never a bare palette list. + +**5. Skin.** Locked language: + +> Skin reads true cinematic matte — zero shine on forehead, nose bridge, cheekbones, and collarbones, real fine even pore texture, real peach fuzz at the jaw and hairline, real lip surface texture, light absorbed like true subsurface scattering, warm fair skin protected and rendering true and natural, never plastic, never doll-skin, never harsh — no acne, no blemishes, no enlarged or rough pores, fine flattering texture that keeps every face looking good. + +**The flattering ceiling is locked.** Realism never makes a face look ugly. Where matte-realism and flattering conflict, resolve toward flattering. + +**6. Material run and negation tail.** Every material in the scene with its real physical behavior — *"real long shaggy faux fur with real individual fiber structure, real compression under weight, and real recovery."* Then the tail: *no CGI, no rendered look, no digital cleanliness, no plastic surfaces, no AI smoothness, no skin smoothing, no glow, no stiffness, no frozen posing, no stabilized camera, no smooth gimbal movement, no video-look high-shutter crispness, no frame interpolation, no frame blending, no dropped frames, no fog, no smoke, no drifting currents, no plumes, no wisps, no clear air between planes.* + +Tune the tail to the scene. Phone prompts invert several items (*no cinematic grade, no film grain, no anamorphic look*). + +**Never state aspect ratio.** Aspect is set in the platform UI. + +--- + +## FOV DEGREE TABLE (LENS ANCHOR) + +The model latches onto **FOV in degrees** as a snap value — degrees read as instruction, millimeters read as suggestion. Write the degree first with mm in parentheses. Pick from the anchor steps; never write an off-ladder value like 23°. + +| FOV | mm equiv | Feel | Use for | +|---|---|---|---| +| 180° | fisheye | spherical bulge | POV, dream-state, hallucination | +| 107° | 14–16mm | architectural ultra-wide | vast interior scale, epic establishing | +| 84° | 20–24mm | wide | full-body group blocking, environmental establish | +| 63° | 28–35mm | reportage wide | observational, walking-alongside, doc feel | +| 47° | 40–50mm | eye-level neutral | universal medium, two-shot, waist-up | +| 29° | 75–85mm | portrait compression | isolated bust, tight coverage | +| 18° | 100–135mm | portrait tight | identity-hold close-up, held emotional beat | +| 12° | 180–200mm | tele detail | hand insert, object close, jewelry, texture | +| 8° | 300–400mm | extreme long-lens | anchored-far observation, broadcast, watchtower | + +Write as: `47° (50mm) eye-level neutral in shot 1, 18° (100mm) portrait tight in shot 2.` Never mm alone. Never an off-ladder degree. + +**Extreme-FOV multishot** (8° or 107° across several beats) drifts fastest. Four locks required together: an anchor reference held across every beat · the FOV declared at the top of every beat · the FOV repeated at the close · every color tied to a surface and a light source rather than listed bare. Drop one and it drifts by beat three. + +--- + +## THE LIPSYNC PROTOCOL + +Lipsync fails for four diagnosable reasons: the lyric was stated abstractly rather than as a score; the mouth got obscured; too many cuts forced per-shot mouth re-initialization; other CRITICAL blocks out-competed the singing instruction. + +Five parts. Use all five. + +### 1. Promote the singing to the top block + +``` +THE SINGING IS THE PRIMARY SUBJECT OF THIS SEQUENCE — every other element is secondary to it. [Description by hair and wardrobe] sings out loud, full voice, mouth open and working hard, for all [X] seconds without stopping. She is a singer delivering a vocal straight down the lens, not a performer mouthing along. Her mouth is the focus of every shot. +``` + +### 2. Write the lyric verbatim, then the mouth mechanics word by word + +Bilabial consonants — **B, M, P** — get maximum emphasis. A visible lip seal is what the eye reads as real lipsync. + +``` +"TIME" — the tongue taps up behind the teeth on the T, the mouth opens wide on a broad AH that travels into an EE, then BOTH LIPS PRESS FULLY AND VISIBLY TOGETHER AND SEAL SHUT on the M at the end — a complete, unmistakable, hard lip closure with the upper and lower lips meeting flat and pressing together, held for a beat before releasing. +``` + +Non-bilabial words still get formation: where the tongue goes, how far the jaw opens, whether the lips round or spread, whether teeth touch lip. + +### 3. State the closure count + +``` +THE PATTERN OF CLOSURES: four hard lip seals across the sequence — on the M ending "TIME," the M starting "ME," the B starting "BEEN," and the B starting "BEFORE" — plus a smaller visible closure on the P of "UP." Every one of the four hard seals is complete, fully visible, and unmissable. The mouth is never lazily half-open and never mumbling between them. +``` + +**Building a closure map:** scan the line for B, M, P — those are the hard seals. F and V are teeth-on-lip, described but not counted. Sustained final vowels are declared held open. + +### 4. Lock mouth visibility in its own block + +``` +HER MOUTH IS ALWAYS VISIBLE AND ALWAYS READABLE — CRITICAL: her face is turned toward the lens and her mouth is unobstructed, frontal, and clearly readable in every single frame of every shot, and it stays readable through the camera movement, through the cant, and through every flicker of the light. Nothing ever covers it — no hand, no hair, no arm, no other body. She never turns her mouth away from the lens. +``` + +### 5. Hand timing to the clip and minimize cuts + +``` +Do not invent or impose any internal timing on the singing — the attached clip @[Video 1](video_1) owns the timing entirely, and every syllable, vowel opening, and lip seal syncs precisely to the vocal in that clip. +``` + +Prefer one continuous take. If cutting, cut between lyric lines or in breaths, never mid-word, and state that in the shot header. + +**Strobe fights lipsync.** Hard flash-to-black eats roughly half the closures. When both are wanted, flag it and soften the strobe on the singer only — a fast bright flicker that never drops her face fully to black — while background bodies keep the full treatment. Say so in both THE LIGHT and Cross-Frame Rules. + +--- + +## STROBE GRAMMAR + +``` +THE STROBE IS THE DEFINING FEATURE OF THIS SEQUENCE — CRITICAL: the space is lit by hard white strobe flashes firing relentlessly on a fast [BPM] beat per minute pulse. The rhythm is flash, black, flash, black — hard on, hard off, with occasional double and triple stutter runs. Each flash is instantaneous and brilliant, revealing the scene crisply frozen mid-motion, hard-edged and contrasty. Each black interval drops the frame to near-total darkness. There is no fade in and no fade out — every transition is a hard snap. Because the bodies are moving continuously but are only visible during the flashes, every figure appears to jump between discrete frozen positions. Nothing ever sits at a comfortable normal exposure at any point. +``` + +Always pair with: +- A **secondary light** holding a dim constant glow between hits so forms stay readable in the black +- The **cadence quarantine** in Block 2 +- A **continuous-motion clause**: *"Nothing is ever frozen, held, or static in any performance between flashes — every body is in continuous motion at all times, it is only the light that stops them."* + +**Per-beat light pulsing causes perceived choppiness.** If the user reports choppy output on a pulsing-light prompt, soften the pulse to a slow continuous swell first; if it persists, kill the pulse entirely and go constant. + +--- + +## MOVEMENT AND CHOREOGRAPHY + +Name four layers, always, even when a layer is "nothing else moves": +1. **Character motion** — physical actions across the runtime +2. **Micro-motion** — breath, hair, fabric, jewelry, chain swing +3. **Environmental motion** — water, particles, fabric in air +4. **Camera motion** — lives in the closing block, not here + +**Synchronized group choreography** needs the unison lock plus the anti-mannequin clause: *"Every dancer hits the same shape at the same moment while carrying her own micro-timing, head angle, and limb height inside the count so the corps never reads as identical mannequins."* + +**Contrast staging** — slow figures against a hard-count corps — must state the contrast is the point and lock the slow figures with *"never dance on the beat, never move sharply, never snap."* + +**Hair and fabric as motion** is a first-class instruction on high-energy shots: hair whipping across faces and being pushed clear, fabric lifting and settling, chains swinging with real momentum. It reads as physical truth more than any body description. + +--- + +## CAMERA PHYSICALITY LADDER + +Four registers, mapping one-to-one onto the dynamic register tiers. Pick one per prompt and hold it. + +| Register | Cant range | Language | +|---|---|---| +| **Gentle handheld** | 3–10° | floating, drifting, riding breath, small organic corrections | +| **Heavy handheld** | 12–25° | jolting, bobbing, kicking, lurching, snapping in corrections, high-frequency vibration underneath, framing slipping and hauling back | +| **Violent handheld** | 25–45° | punching in and ripping back, hard fast surges, violent corrections, every frame mid-move | +| **Locked-off** | 0° | opt-in only — user must ask for it by name | + +**Every register except locked-off closes with:** *"never locked, never stabilized, never mechanically smooth, never gimbal-glide, every frame mid-move, but always smooth and continuous in its own travel."* + +That last clause matters. Without it, violent handheld returns broken footage rather than energetic footage. + +**Dutch cant is a swinging range in degrees**, plus *"never passing through level, never settling square."* + +--- + +## HOUSE RULES + +**No character names anywhere in the prompt body.** Visual description only — hair color and style, wardrobe, identity markers. Applies universally, including staging and positioning. + +**No mode line in the prompt.** + +**No aspect ratio.** Set in the UI. + +**No internal production context.** No "carried through from the previous scene," no "matching the earlier plate." Every prompt is standalone with all details restated fresh. + +**No platform or tool names** in the prompt body. + +**No meta-commentary.** Every word describes something visible or audible. + +**Age-blind.** Describe by role, hair, wardrobe, identity markers. + +**English only inside the code block.** + +**Brand names, text, and graphics are written verbatim.** If the scene has a Heinz ketchup bottle, write "a Heinz ketchup bottle" and describe the label — the glass shape, the keystone label, the printed lettering. Same for a Nissin Cup Noodles cup, a Coca-Cola can, a specific car model, a wordmark on a tee, a slogan on a slate. Naming the thing renders the thing; a generic paraphrase renders a vague approximation of it. Describe the physical marks alongside the name so the model has something to draw: shape, color, placement, legibility. + +**Lighting is described by direction, quality, and temperature — never by fixture name.** No named lamps, no LogC4, no IRE, no stock codes in the body. + +--- + +## STORY BIBLE HANDOFF + +If a story bible or canon skill is active in the session, treat it as the identity and context source and this skill as the cinematography grammar. Pull from it: + +- **Character voice, movement signature, and stillness register** → into Subject Lock state descriptors and the Subject action lines of each SHOT block +- **Speech patterns and cadence** → into Sound Bed when a scene has real dialogue +- **Aesthetic era, palette, and world texture** → into the grade portion of the closing Camera & Capture Realism block +- **Production rules and locked conventions** → layered on top of House Rules, taking precedence where they conflict + +The bible answers *who and what world*. This skill answers *how it is shot*. Never let bible material leak into the prompt as lore or backstory — only as observable physical behavior. + +Operate standalone when no bible is present. + +--- + +## PRE-DELIVERY PASS + +- [ ] Bolded title with runtime, then a numbered reference list, then one code block +- [ ] Every named character has its own reference slot and its own Subject Lock +- [ ] Group wardrobe sheet has a slot separate from any formation plate +- [ ] Shot header: count, total, every timecode, cut policy, speed policy — timings sum, total ≤ 15s +- [ ] Capture cadence or capture format block sits second +- [ ] Strobe scenes carry the cadence quarantine +- [ ] Dynamic register deduced or asked, and cut rate, cant range, and camera physicality all match it +- [ ] No mode line anywhere in the prompt +- [ ] NO ON-SCREEN TEXT block present, first directive block, no carve-out or exception clause inside it +- [ ] Remaining directive blocks ordered by importance, capped at ~six +- [ ] Subject Locks 90–140 words each, wardrobe economical but complete +- [ ] Permanent identity features declared permanent, repeated in Cross-Frame Rules +- [ ] Clean-face negations present +- [ ] No character names anywhere +- [ ] Atmosphere block carries the complete negation battery, planes named +- [ ] Every shot block has all four labeled parts, every shot a different angle and height +- [ ] Cross-Frame Rules covers all thirteen standard items, one line each, nothing restated from a directive block +- [ ] Last Frame is composition only — no text suppression, no repeated locks +- [ ] No fact appears in two blocks — wardrobe, lighting, and atmosphere each live in exactly one place +- [ ] Sound Bed diegetic, or the lipsync sole-source lock if a track is attached +- [ ] Closing block merges camera and realism, carries FOV in degrees with mm, no aspect ratio +- [ ] Lipsync prompts carry all five protocol parts and a closure count +- [ ] Phone prompts explicitly kill the film grammar +- [ ] One fenced code block, no prose inside it + +**Repair pass:** +- Wardrobe drifting → restate every garment, not just the changed one +- Choppy output → check cadence block position, then soften or kill any per-beat light pulse +- Lipsync closures missing → check mouth-visibility block, cut count, and whether strobe is eating the face +- Bodies drifting between shots → tighten Cross-Frame Rules staging locks +- Haze reading as fog → the negation battery is incomplete +- Extras appearing → add the population lock as its own directive block +- Slow motion appearing unbidden → add the explicit no-speed-change line to the shot header +- Phone footage reading cinematic → the film-grammar kill line is missing +- Captions or subtitles appearing → the text block drifted down the prompt, or an "other than" carve-out crept back into it +- Prompt long but vague → something is stated twice; find the duplicated fact and delete the later copy +- Prompt overloaded or over 15s → split into two prompts by camera or by beat diff 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Output is a ready-to-install SKILL.md the user drops into Claude as their own custom skill, so every future prompt (image, video, music, dialogue, scene) automatically knows the world, characters, voices, tone, plot, and production rules without eating into the user's 30 memory slots. Covers premise, thesis, timeline, factions, locations, characters with voice and movement locks, ensemble dynamics, plot engines, and production rules. Use whenever a user wants to build a story bible, lock in character consistency, capture their world, define character personality and voice, stop prompt drift, or turn a loose idea into an installable canon skill. Trigger on 'build a bible', 'story bible', 'lock my characters', 'character bible', 'canon doc', 'turn my story into a skill', or any close variant." +--- + +# Story Bible Builder + +An interview-driven skill for building a **single dense canon document** — a story's bible — that ships as an installable SKILL.md the user can drop into Claude as their own custom skill. + +The point: instead of burning memory slots on world context, or re-explaining the story every chat, the user gets one file that lives as a skill and auto-loads every time they work on their world. + +The output is a locked, opinionated, prompt-ready canon doc. Not a template. Not a workbook. A **bible**. + +--- + +## WHAT THIS SKILL IS FOR + +Users bring a story world they're building — a film, a series, a game, an album, an AI-generated universe. This skill interviews them across every dimension of that world and assembles it into a single `SKILL.md` file matching the structure below. They install that file as a skill. Future Claude sessions read it and know their world. + +**The output is one file.** Not modular. Not multi-file. One dense, canon SKILL.md — because that's what installs cleanly as a skill and stays under 500 lines. + +--- + +## TWO WAYS THE BIBLE GETS USED + +Every bible this skill produces is engineered to work in **both** modes below. Design every output to serve both. + +### Mode 1 — Standalone canon reference + +The user installs the bible as a skill and uses it on its own. Future Claude sessions read the bible when the user asks for anything set in that world — a scene, a dialogue exchange, a character beat, an outfit, a song lyric, a straight text-to-image prompt, a story pitch, a treatment. The bible provides the context so Claude doesn't have to ask. + +For this mode, the bible needs to be **dense, opinionated, and self-contained** — no dependencies on other skills. + +### Mode 2 — Context source for a video prompt director skill + +Many users pair the bible with a video prompt director skill (like `cinema-worldbuilder-pro-20` or similar). In this pairing, the director skill handles the cinematography grammar, mode selection, frame composition, and prompt syntax. The bible provides the identity, voice, movement, aesthetic era locks, and canon that the director skill can't get from a reference image alone. + +The director skill reads uploaded reference images for wardrobe, hair, and identity. It cannot read *voice*, *movement quality*, *stillness*, *what era's aesthetic applies*, or *what production rules are locked for this world*. Those come from the bible. + +**When both skills are active in the same session**, the director skill should pull directly from the bible for: +- **Character voice descriptors** (goes into Sound Bed / dialogue direction) +- **Character movement and stillness descriptors** (goes into Subject Lock block) +- **Aesthetic era differentiation** (goes into World Plate / grade selection) +- **Production rules** (locked visual traits that must appear in every render — piercings, scars, permanent hair features, "never" clauses) +- **Ensemble dynamics** (informs Cross-Frame Rules when multiple canonical characters share a shot) + +The bible's job is to make every one of those descriptors **copy-paste-ready** — quoted, tight, prompt-facing. If a descriptor in the bible can't be pasted verbatim into a Seedance Sound Bed or Subject Lock block, it's written wrong. + +--- + +## THE STRUCTURE OF THE OUTPUT + +Every bible this skill produces follows this section order. Not every section applies to every story — skip cleanly when the user says something doesn't apply. + +1. **One-line premise** — the whole story in a sentence +2. **The thesis** — the core question every scene comes back to +3. **The world — timeline** — eras, years, what defines each +4. **Aesthetic era differentiation** — the palette/lighting/texture per era (critical for prompts) +5. **Major factions / powers / entities** — antagonists, protagonist groups, third parties +6. **Bases / locations** — where things happen, with visual specificity +7. **The rules of the world** — technology, magic, social systems, what's normal, what's forbidden +8. **The characters** — one deep section per character (structure below) +9. **Relationships and ensemble dynamics** — who fills silence, who leads what, who watches +10. **Structural engines** — the story shapes chapters can take +11. **Production rules** — locked prompt-facing rules the user has learned about their own work +12. **When this skill is active** — instructions to future Claude on how to use the bible, in both standalone and paired-with-director modes + +Reference `references/character-section-format.md` for how each character section is structured. Reference `references/example-bible-excerpts.md` when the user needs to see what a good section looks like. + +--- + +## THE BUILD FLOW + +### Step 0 — Scope check (fast) + +Ask in one compact block: +- What's the working title of the story? +- How many main characters? +- What genre/vibe? (One or two references — films, shows, games, albums, aesthetic movements) +- Does the world already exist in their head, or are we building parts from scratch? +- Which prompt tools will future scenes use? (Seedance, Banana Pro, Midjourney, Suno, ElevenLabs, etc.) + +This shapes pacing, section depth, and what production rules to bake in at the end. + +### Step 1 — The spine (premise, thesis, world timeline, aesthetic) + +Sections 1–4 of the output. Interview the user through: + +- **One-line premise.** Push hard for one sentence. If they give more, help compress. The compression is the value. +- **Thesis.** Not plot. Theme. The question every scene answers. If they can't state it, help them find it by asking "what's your character actually deciding, every time?" +- **Timeline.** Walk era by era. For each, ask: year(s), what defines it, aesthetic differentiation (palette, lighting quality, texture, grain). The aesthetic-per-era block is what keeps future image prompts consistent — push for specificity. + +Assistant behavior: never invent. Mark `[TBD]` if the user doesn't know. Push on aesthetic locks — this is where most bibles are weakest. When a user says "dark and moody," ask "what colors specifically?" Reference the demo excerpts in `references/example-bible-excerpts.md` if the user needs to see the level of specificity. + +### Step 2 — Factions, locations, world rules (sections 5–7) + +Cover these together — they interlock. + +- **Factions.** For each: name, what they do, what they believe, how they read visually (uniform, silhouette, color signature), public face vs actual behavior if there's a gap. +- **Locations.** For each: name, what it is, visual tags (three to seven words), function in the story. Push for the visual — "Berlin bunker" is not enough. Concrete walls, monitor light, cable spaghetti, one warm amber pocket — that's a location. +- **World rules.** Ask about: technology tier and access, magic/powers/abilities (and how they LOOK on screen — color, motion, sound), social systems, what's normal here that isn't normal in our world, what's forbidden or dangerous. + +Short declarative bullets, not paragraphs. Dense. + +### Step 3 — The characters (section 8, the biggest section) + +**One character at a time. Never batch.** Each character gets a deep dedicated pass. This is where most of the bible lives. + +For each character, run the character interview in `references/character-interview.md`. It covers: + +- **Visual lock** — the physical descriptors that must appear in every prompt +- **Function in the story** — what role they play in the overall narrative +- **Backstory beats** — where they came from, what shaped them +- **Present-tense psychology** — where they are RIGHT NOW in the story, what they're carrying +- **Speech pattern** — register, cadence, vocabulary, signature phrases, dialogue prompt-ready descriptor +- **Movement pattern** — how they move, combat if relevant, gestures, tics +- **Stillness pattern** — what they do when they're not moving (often more revealing than movement) +- **Musical voice if music is in scope** — Suno-ready descriptor + +After each character is drafted, show the user their section and ask: "Add anything, cut anything, sharpen anything?" Iterate until they lock it. Then move on. + +### Step 4 — Relationships and ensemble dynamics (section 9) + +Ask: "When these characters are in a room together, what's the shape of the room? Who leads what? Who fills silence? Who watches? Which pairings are calm, which are charged?" + +Capture as short declarative sentences. Example: *"Maren and Wren are the quietest room in the house — neither fills space, both notice everything. Owen and Iris cannot be in the same kitchen without one of them leaving."* + +This section is short but disproportionately valuable — it's what makes ensemble scenes feel real. + +### Step 5 — Structural engines (section 10) + +Ask: "What are the recurring chapter shapes your story runs on? Not specific episodes — the shapes. A heist? A rescue? A performance? A confrontation? A flashback?" + +List each engine with a one-line description. Note that engines stack (a heist can end in a confrontation, a performance can be interrupted by a rescue). This gives future Claude a menu of story shapes to pull from when the user asks for a new scene. + +### Step 6 — Production rules (section 11) + +Ask: "What are the rules you've hard-earned about your own work? The stuff that only works in a specific way. Prompt rules, naming rules, canon lock rules, aesthetic rules that can't be broken." + +Bake in these defaults for AI-filmmaker users unless the user overrides: +- No character names in image/video/music prompts (models drift on names) — refer by visual description +- Every prompt is standalone (no "matching the previous scene") +- Output prompts in code blocks, no aspect ratio in the prompt body +- Any locked physical traits get restated verbatim in every prompt + +Add anything the user has learned from their own prompt work. Copy their exact phrasing where possible — this is a doc of their rules. + +### Step 7 — Assembly and "when this skill is active" (section 12) + +Assistant now assembles the full SKILL.md. The final section — "When this skill is active" — must instruct future Claude how to use the bible in **both modes**: + +**Standalone mode:** +1. When the user asks for anything in this world (scene, dialogue, character beat, outfit, lyric, prompt, treatment), pull relevant character/world context from the bible and use it +2. Stay inside canonical world (year, locations, rules, relationships) +3. Never invent details that conflict with locked canon — ask instead +4. Use the quoted Speech/Movement/Stillness descriptors verbatim when writing prompts + +**Paired-with-director-skill mode:** +1. If a video prompt director skill is also active in the session (e.g., `cinema-worldbuilder-pro-20` or similar), the director skill handles cinematography, mode selection, frame composition, and prompt syntax +2. The bible feeds the director skill: character voice → Sound Bed; movement/stillness → Subject Lock; aesthetic era locks → World Plate / grade; production rules → cross-frame rules and locked traits +3. When the user asks for a video prompt in this world, pull the relevant character's voice, movement, and stillness lines and the correct aesthetic era block, and hand them to the director skill's prompt structure +4. Named canonical character references (uploaded reference images the user always attaches) get called out here so the director skill knows to expect them + +Ask the user what production companion skills they use (if any) and name them explicitly in this closing section so future Claude knows the paired workflow. + +Ship the file with the YAML frontmatter (name + pushy description) and the full canon body. Save to `/mnt/user-data/outputs/[working-title-slug].md` and present. + +Offer to zip it as an installable `.skill` file if the user wants that packaging. + +--- + +## HOUSE PRINCIPLES (HOLD THROUGH EVERY INTERVIEW) + +1. **Density over prose.** Bibles are working references, not pitch decks. Short declarative sentences. Bold labels. Bullet points. The user should be able to grep this doc. + +2. **Never invent.** If the user doesn't know something, mark `[TBD]` in the doc and move on. Invented canon becomes locked canon becomes prompt drift. + +3. **Push on the vague.** "Dark and moody" isn't an aesthetic lock. "Cool voice" isn't a voice profile. "Powerful" isn't a description. When the user gives a vague answer, ask the follow-up that makes it prompt-actionable — color specifics, register, movement quality. Reference `references/example-bible-excerpts.md` if the user needs to see the level of specificity. + +4. **Locks exclude as much as they include.** When the user locks a physical trait, ask what the wrong-answer drift would be. "Warm fair skin — never pale porcelain, never tan." The "never" clause is what stops model drift over hundreds of future renders. + +5. **Character depth matters more than character count.** Better to ship a bible with three deep characters than eight shallow ones. If the user is trying to cram too many characters into the interview, offer to do the deepest three first and hold the rest for a follow-up pass. + +6. **The user's voice, not yours.** When they phrase something well, keep their phrasing verbatim. When they name their own rules, quote them. This is their bible. + +--- + +## REFERENCE FILES + +- `references/character-section-format.md` — Structure for each character section in the final output +- `references/character-interview.md` — Questions to walk each character through +- `references/example-bible-excerpts.md` — Sample sections at the right density level to reference or show the user + +Load each reference only when its step is active. + +--- + +## WHEN THE USER ONLY WANTS PART OF THIS + +Common. If they say "I just want to nail down the characters" — skip straight to Step 3. If they want to update an existing bible, ask them to paste it and work from there. The full flow is the default, not a requirement. diff --git a/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-interview.md b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-interview.md new file mode 100644 index 0000000..95f07e5 --- /dev/null +++ b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-interview.md @@ -0,0 +1,137 @@ +# Character Interview + +One character at a time. Run through these in order. After each character is drafted, show the section back to the user and iterate until locked. Then move on. + +The output is one character section in the format defined in `character-section-format.md`. + +--- + +## 1. Function + +Start here, not with looks. Ask: + +**"What role does this character play in the story? Not their job — their *function*. What do they represent? What are they the emotional/narrative anchor for?"** + +Look for a role tag — one to three words. *The Heart. The Watcher. The Chaos. The Grounding.* This becomes the italicized tag after the character name in the header. + +Push if they give something generic. "The leader" is a job. "The one who feels most for the humans they're saving" is a function. + +--- + +## 2. Visual lock + +Cover in this order: + +- **Hair.** Color (specific — "cool ash platinum" not "blonde"), length, cut, permanent features (always bangs, always center part, wispy temple pieces) +- **Skin.** Tone with specifier ("warm fair," "cool fair," "olive medium," "warm deep") + finish (dewy, matte, freckled, natural). Ask what the wrong drift would be — that becomes the never-clause. +- **Face structure.** Jaw, cheekbones, chin, nose, lips — one adjective each. Doll-coded, sharp-sculpted, soft, angular, refined. Push for a committed shape. +- **Eyes.** Shape, size, color, any lift at the outer corner +- **Signature identity markers.** The permanent stuff. Piercings, scars, moles, unique features. Ask what would make someone identify them in a crowd. Every character needs at least one. +- **Body / posture.** Height range, build, default stance +- **Default expression.** Watchful? Warm? Blank? Slight smirk? What does their face do when nothing is happening? +- **Locked "never" clauses.** No beauty mark. No teeth-showing smile. No visible piercings. Whatever the wrong-answer drifts are for this character. + +The Visual block gets compressed into one dense line for the final output — but interview them on all these pieces to get it right. + +--- + +## 3. Backstory + +Ask: **"Give me the origin and the shaping events. Where did they come from, what made them who they are, what happened before the story starts."** + +Keep it brief in the final output — one short paragraph or a few tight bullets. The point isn't to write their biography. The point is to give future Claude enough backstory to make consistent choices in scenes. + +Push for **one formative detail** that's specific and small. Not "she had a hard childhood" — "she used to fix the sink in their apartment herself at 3am because the plumber would have asked questions." Small specific detail beats grand backstory summary every time. + +--- + +## 4. Present-tense psychology + +Ask: **"Where is this character *right now* as the story begins? What are they carrying? What are they about to have to face? What do they not yet know?"** + +This section is what makes the bible feel alive. It tells future Claude where the character is emotionally so scenes stay anchored in the right beat. + +Push for the internal contradiction — the thing the character is doing versus the thing they're actually feeling. That gap is where the drama lives. + +--- + +## 5. Speech + +Ask separately and assemble into one quoted line: + +- **Register:** low, mid, high — chesty, throaty, resonant +- **Texture:** clean, dry, warm, breathy, silvery, gravelly +- **Cadence:** fast, slow, deliberate, syncopated, clipped +- **Volume default:** quiet, medium, loud +- **Vocabulary tier:** plainspoken, precise, slangy, poetic, technical, coded +- **Signature moves:** long pauses before speaking, run-on sentences, self-interruption, filler tics, code-switching + +Then write it up as one quoted string. Format: +> *"cool mid-register voice with clean smooth tone, measured volume, surgical sentence construction, long deliberate pauses, sophisticated vocabulary, never raises her voice in anger"* + +That's the format. Copy-pasteable into Seedance dialogue prompts and ElevenLabs voice casts. + +--- + +## 6. Movement + +Ask separately, assemble into one quoted line: + +- **Gesture quality:** economical, kinetic, expressive, minimal, weighted, precise, animated +- **Body carriage:** grounded, aesthetic, centered, poised, contained +- **Combat posture (if relevant):** offensive precision, defensive efficient, reactive counter-punch, wildcard creative +- **Habitual tics:** hand at the back of the neck, hands in pockets, self-adjustment, light physical contact with teammates +- **Gait:** heavy-heeled, silent, prowling, floating, deliberate tempo + +Assemble one quoted line: +> *"minimal contained gestures, small precise head tilts, reactive counter-punch combat posture, prolonged steady looking, infrequent blinking"* + +--- + +## 7. Stillness + +Often more revealing than movement. Ask: **"What do they look like at rest? When they're not talking, not moving, not doing anything? What do their hands do? Where's their weight? What's their expression? Their breath?"** + +Assemble one quoted line: +> *"deep settled stillness, square shoulders, hands crossed at the waist or one hand at the opposite elbow, neutral observing expression, slow breath"* + +If the character is never really still (high-energy characters), capture that too: +> *"brief tense stillness, animated stance, weight shifted onto one hip with hand on it, gestural opposite hand, closed-lip almost-smirk expression, chin down eyes up"* + +--- + +## 8. Musical voice (music scope only) + +Only if the story involves music (AI-idol projects, musicals, music-driven narratives). Ask: + +- Vocal range and register in song +- Timbre when singing (often different from speaking) +- Signature register on stage (belt, whisper-sing, rap, half-rap, head voice) +- Style affinity (pop, R&B, hyperpop, alt, ballad, EDM) +- Signature move (breath control on runs, a specific ad-lib style, a rap flow character) + +Assemble a Suno-ready descriptor: +> *"high-register clean-cool lead vocalist with steely precision, strong head voice, restrained vibrato, emphasis on control over warmth"* + +Never use artist names or song references in Suno prompts — that gets rejected. Describe sonic qualities only. + +--- + +## 9. Sub-beats (optional) + +Ask: **"Any specific locked story threads for this character? A hidden relationship, a secret, a recurring pattern, a running joke, a private ritual?"** + +Only include as bold sub-beats in the final section if the user says yes and can name it specifically. Don't force this. Sub-beats are for locked canon threads, not speculation. + +Example — a locked hidden thread for a returning-sibling character: +> *"The signing: When the lawyer slides the paper across the table, her hand moves before her face does. She signs. She does not look up. She knows before her siblings know that the document is not what they were told it is."* + +--- + +## Iterate + +After drafting the character section, show it back: + +> "Here's [character name]'s section. Anything to add, cut, or sharpen? Once you approve, this is locked canon in your bible." + +Iterate until they lock it. Then move to the next character. diff --git a/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-section-format.md b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-section-format.md new file mode 100644 index 0000000..2e4946e --- /dev/null +++ b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-section-format.md @@ -0,0 +1,55 @@ +# Character Section Format + +How each character appears in the final assembled bible. Match this shape. + +--- + +## Structure per character + +```markdown +### [NAME] — *[Role tag]* + +**Visual:** [Hair] [skin] [signature identity markers — piercings, scars, permanent physical features]. [Face structure — one line]. [Body / posture default]. [Default expression]. [Any locked "never" clauses — no beauty mark, no teeth-showing smile, etc.] + +**Function in the story:** [What they represent, what role they play, what they were built/born to be, what they became] + +**Backstory:** [Origin, formative period, key pre-story events. One short paragraph or a few bullets.] + +**Present-tense psychology:** [Where they are RIGHT NOW as the story begins. What they're carrying. What they don't yet know. What they're about to face.] + +**Speech:** "[prompt-ready dialogue descriptor — register, texture, cadence, vocabulary, volume]" + +**Movement:** "[prompt-ready movement descriptor — gesture quality, combat posture if relevant, tics, gait]" + +**Stillness:** "[prompt-ready stillness descriptor — what they do at rest, hands, weight, expression, breath]" + +**Suno (if music scope):** "[prompt-ready singing voice descriptor — register, timbre, style, signature move]" + +[Optional bold sub-beats for specific narrative threads — e.g., a hidden relationship, a secret, a recurring pattern. Use sparingly and only when locked.] +``` + +--- + +## Rules + +1. **The four prompt-ready descriptors (Speech, Movement, Stillness, Suno) must be in quotes.** They're engineered to drop verbatim into future prompts — either as standalone prompt inputs, or as feeder blocks for a video prompt director skill (like `cinema-worldbuilder-pro-20`). Specifically: + - **Speech** feeds the Sound Bed block or dialogue direction + - **Movement** and **Stillness** feed the Subject Lock block + - **Suno** feeds vocal casting for music prompts + That's the whole point — the descriptors are formatted this way so they slot in cleanly. + +2. **Never use the character's name inside the quoted descriptors.** Refer by trait ("low-register voice," "cocked-hip stance"). Names drift models. Names live in the header only. + +3. **Visual block is one dense line.** Not a bulleted list of features. One flowing sentence-fragment block with commas and periods. Easier to scan, easier to paste into a prompt as a character anchor. + +4. **Function comes before backstory.** What they ARE in the story matters more than where they came from. Function is what future Claude uses to write scenes. Backstory is context. + +5. **Present-tense psychology is what makes the bible alive.** It tells future Claude where the character is emotionally at the current story moment, so scenes are anchored in the right beat. + +6. **Bold sub-beats are optional.** Use them for locked narrative threads (a hidden relationship, a secret, a recurring pattern). Don't force them. If a character's arc is straightforward, skip. + +--- + +## Reference the demo bible + +The example excerpts reference file (`example-bible-excerpts.md`) contains a full character section (MAREN from the HOLLOWTIDE demo) in this exact format. If the user has never seen one, show them that section as a reference. That's the density and shape to hit. diff --git a/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/example-bible-excerpts.md b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/example-bible-excerpts.md new file mode 100644 index 0000000..adcd2df --- /dev/null +++ b/Joey's Cinema Skill Files/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/example-bible-excerpts.md @@ -0,0 +1,115 @@ +# Example Bible Excerpts + +Show these to the user when their answers are too vague, or when they ask "what should this look like." These are density-and-shape references — the level of specificity the bible needs to hit. + +All examples come from a fictional demo bible (working title: **HOLLOWTIDE**, a folk-horror ensemble set in a coastal fishing town). It's invented purely for calibration. Use it to show the format, then pivot back to the user's own story. + +--- + +## Example — One-line premise + +> *"In a fog-locked fishing town where the tide brings something back every full moon, four estranged siblings return home for their mother's funeral and find out she was the last thing keeping it at bay."* + +Not one sentence exactly, but the shape is right — setup, protagonist role, engine, twist. + +--- + +## Example — Thesis + +> *"HOLLOWTIDE is a story about what a family owes a place, and what a place owes a family. Every chapter is some version of one question: **What do you inherit that you never agreed to?**"* + +Thesis works when it collapses to a single question every scene answers. + +--- + +## Example — Aesthetic era differentiation + +Notice how each era gets a distinct visual signature, not just a mood: + +> *"- **1962 (flashback era)** — grainy Kodachrome, warm ambers, salt-stained wood, kerosene lamplight, low sun through fog* +> *- **Present day (main timeline)** — desaturated grays and mossy greens, wet stone, sodium streetlight cutting through mist, long lens compression* +> *- **The Tideward (the thing beneath)** — inverted palette, bioluminescent teal against total black, wet reflective surfaces, no natural light ever"* + +Each line is copy-paste-ready as the environmental anchor for a scene prompt in that era. + +--- + +## Example — Faction + +> *"**The Harbor Council.** The seven oldest families of the town, meeting monthly in the salt-house on the pier. They own the docks, the cannery, the ferry, and every business that touches the water. They present as civic stewards — parades, memorials, scholarships. Underneath: they enforce the tide-pacts. Every generation, one member of one family goes into the water on the last night of the year. The town has voted in that death since 1798. No one outside the seven families knows. Fighting the Harbor Council means fighting the town's memory of itself."* + +Faction blocks work when they cover: what they own or do, what they believe, how they present publicly, the gap between public and actual, and why they're hard to fight. + +--- + +## Example — Location + +> *"**The salt-house.** A century-old wooden structure at the end of the longest pier, built on stilts sunk into bedrock. Interior: raw plank walls, tallow candles in iron holders, a single long table, seven chairs, no electricity. The council meets here monthly. Nothing has been added, removed, or repaired in ninety years — anything that breaks, stays broken. The floor sags. The candles smoke. The building holds."* + +Location works when it has: what it is (function), specific visual tags for prompts, and one poetic line that captures the feel ("The building holds."). + +--- + +## Example — Character section + +``` +### MAREN — *The Eldest* + +**Visual:** Ash-blonde hair, cropped short and uneven, like she cut it herself. Cool fair skin, freckled across the nose and cheekbones. Sharp square jaw, straight nose, thin unpainted lips. Gray-green eyes, downturned at the outer corner, deep set. Small silver ring in the left earlobe, worn since 16. Tall, wiry build, hands too big for her wrists. Default expression: watchful, jaw slightly set. No teeth-showing smile. + +**Function:** The one who left and stayed gone. Represents refusal — the sibling who tried to break inheritance by walking away. Learns across the story that walking away is not the same as being free. + +**Backstory:** Left town at 19, twelve years ago. Works as a paramedic three states over. Has not spoken to her mother in eight years and to her siblings in three. Came home only when the estate lawyer called. Once, at 15, saw something in the water she has never told anyone about. + +**Present-tense psychology:** Braced. Wearing the same jacket she left in twelve years ago because she didn't pack for staying. Carrying the certainty that if she doesn't get out by the funeral, she never will. About to be handed a document that requires her signature to leave. + +**Speech:** "low mid-register voice with dry contained tone, quiet volume, short precise sentences, deliberate pausing before answering, plainspoken practical vocabulary, never raises her voice" + +**Movement:** "economical gestures, weight settled and grounded, walks with a slight limp in the left leg she doesn't acknowledge, keeps her hands in her jacket pockets when idle" + +**Stillness:** "settled watchful stillness, weight evenly distributed, hands in pockets, shoulders slightly raised, jaw set, eyes level and unblinking" + +**The signing:** When the lawyer slides the paper across the table, her hand moves before her face does. She signs. She does not look up. She knows before her siblings know that the document is not what they were told it is. +``` + +That's the density. Every section is one to three lines. Every quoted descriptor is prompt-ready. Every backstory beat is specific ("wearing the same jacket she left in twelve years ago because she didn't pack for staying" — not "she doesn't want to be here"). + +--- + +## Example — Ensemble dynamics + +> *"**Among the siblings:** Maren leads by refusing to. Owen fills every silence with something practical. Iris asks the question everyone else is avoiding. Wren watches the other three and reports back to no one.* +> +> ***Pairings:** Maren and Wren are the quietest room in the house — neither fills space, both notice everything. Owen and Iris cannot be in the same kitchen without one of them leaving. Maren and Owen fight in complete sentences. Wren has not spoken to Owen since 2019."* + +Ensemble dynamics work when they name the *feel* of specific pairings and groupings, not just the relationships. + +--- + +## Example — Structural engine + +> *"1. **The council meeting** — a Harbor Council session, always in the salt-house, always at night. A vote is taken. Someone loses.* +> *2. **The tide chapter** — a full-moon night. The Tideward comes closest to surface. Rules of the world bend. Combat, if any, lives here.* +> *3. **The confession chapter** — one sibling tells one other sibling one thing. Whole story shifts."* + +Engines work when each is a shape (not a plot), and the user can mix and match them for new chapters. + +--- + +## Example — Production rule + +> *"**Locked physical traits, never omitted:*** +> *- Maren: ash-blonde uneven crop, small silver earring left ear, slight limp* +> *- Owen: always wearing his father's watch, band cracked, still worn* +> *- All four siblings: cool fair freckled skin (never tan, never porcelain)* +> *- All four siblings: no teeth-showing smiles — default expression is watchful, closed-lip"* + +Production rules work when they include the "never" clause. What's excluded is as important as what's included. + +--- + +## The universal signal + +Every section should pass this test: **could a stranger who has never heard of this story write a scene in it, using only this bible, and get it right?** + +If yes, the section is dense enough. 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z_&xi4D1sxNp0hq>iFtifx4NR=@bX;RG4@SA7w>baDn`341<^@%R~zwEvsOX9aOinw zDgBMBY#)KOby2?c^ylw$A^0DIcl$Z>QRH%}ar9(5hb@0C9l-wDq>F3dcBrYGg>ULC zvy7=TNnrW+yiP=Feeej&j?cl!NRfrM9)se%T*)U1Me(}K*HIyRTB7oI_BZA?ZZpXY zi}U+LR!S-x_1SkgYE(E8{*D0e4SBH5SiR@p+O+d}Gr?#gYTfei%U+HBs=>IOV)51$ zYn&9ZhBaJT8hTOw*VVyu83Qd{qP$_O0b>!wM6?hV)Mo59N4j6v7;it!aWRdx`qiB? zN!T@iWxRgBpV2Mz-amNX0sj6T938phw_gz9HRx@zgF2HgV|H+@+NPY2p1nm=RX|Urn4S?V>0te;AF3O|AMbrJcZASx2Q|77} z8yZkSF-P7g3$OczGw3sdTTB>XOlaor&cuYh9NV?k%CrV3O9#=Usw&r5$p%vzjnEs1 zqP;#Pd%gF#!Nq&Lje+%O-H&t4V*m_{{{u9o Want to build this in Banana Pro (Nano Banana) or Soul Cinema? +> — **Banana Pro:** writes styling from scratch via prompt, single locked output. Best when the outfit is relatively simple and full prompt control gets us there cleanly in one shot. +> — **Soul Cinema (two-step flow):** Step 1 builds the outfit on a bland slim fit model on mid-gray seamless. Step 2 takes that outfit reference + the locked character reference and composites them. Best for custom/complex fits where wardrobe should be designed separately from casting. + +Wait for the user to pick. Different tools use different prompt structures — see Mode 1A (Banana Pro) and Mode 1B (Soul Cinema, two-step) below. + +Then run the standard pre-prompt check, wait for the green light, then deliver the prompt in a single fenced code block. + +### Mode 2 — Character sheet + +Only after a single-image base reference has been generated (and the user is happy with it) can a character sheet be built. + +**Default to the 3-panel (Mode 2A).** When the user asks for "a character sheet" without naming a format, build the 3-panel: full body front with the head cleanly removed (ghost-mannequin hollow for structured necklines, clean neck cut for dresses and open necklines), full body rear with the head attached, and a tight chest-up face lock. Do not ask which format, do not offer the 6-panel. + +**6-panel (Mode 2B) is legacy and explicit-request only.** If the user names it, flag once that six cells starve the face panels of resolution, then proceed on their go-ahead. + +Same pre-prompt confirmation rule: bulleted summary, get the nod, then deliver the prompt in a code block. + +### Mode 3 — Scene plates (with or without characters) + +Always available. Never proposed proactively. Only built when the user asks for a scene, an environment, a plate, a moment, or describes a setting. + +Same pre-prompt confirmation rule applies. + +### Mode 4 — GPT-2 detail mode (optional, gated) + +Only used for chest-up portraits or detail face shots, and only when the user explicitly asks for that level of close-up. Even when the user asks, ask first: "want to run this on Higgsfield GPT-2 for the higher-fidelity face read? heads-up, GPT-2 uses more Higgsfield credits than Banana Pro." Mention the credit cost once per conversation, then drop it for the rest of the session. Wait for confirmation, then deliver the prompt. + +GPT-2 prompt structure differs slightly — see the GPT-2 section below. + +--- + +## THE PRE-PROMPT CONFIRMATION RULE (UNIVERSAL) + +Every prompt — single image, character sheet, scene plate, GPT-2 — gets a short "here's what I'm about to prompt, sound good?" check before the full prompt is written. This is not optional. Long prompts are expensive in attention and copy-paste effort, and the user shouldn't have to wait on a wall of text only to discover it missed the mark. + +**Exception — minor iteration on a just-delivered prompt.** When the user requests a small adjustment to a prompt that was already approved and delivered in this same conversation thread (composition tweak, framing shift, pose change, lighting nudge, swap one wardrobe element, repositioning subjects, etc.), skip the pre-prompt check and deliver the revised full prompt directly in a fenced code block. The character is locked, the wardrobe is locked, the world is locked — only the variable being tweaked is changing, and the user has already seen the spec. Re-confirming on tiny deltas creates friction. + +What still triggers a full pre-prompt check even mid-thread: +- New character entering the frame +- New wardrobe (not a tweak — a full outfit swap) +- New mode (going from single-image to a character sheet, or from base to scene plate) +- New environment / scene type +- The user explicitly asking for a check ("walk me through it first") + +Default to delivering when in doubt on a clear minor delta. Default to checking when the change touches anything load-bearing. + +**Format: clean bullet points only.** No quote blocks, no em-dash prose lines, no narrative wrapper. One short opening line ("Pre-prompt check:" or similar), then bullets. **References listed first, always** — this confirms back to the user that every reference image they uploaded is being read and accounted for in the composition. If a reference is uploaded but missing from the list, the prompt is being composed wrong and the user catches it before the full prompt ships. + +The pre-prompt check is short, plain-language, and lists in this order: +- **References attached** (one bullet, always first — list every uploaded reference image by short visual descriptor) +- **Character** (one bullet — hair, skin, identity markers, expression) +- **Outfit / styling** (one bullet — wardrobe head-to-toe, jewelry, body markers) +- **Backdrop or environment** (one bullet) +- **Framing** (one bullet, only if non-default) + +Close with a single short question line ("Sound good?" / "Lock it?" / "Run it?"). + +Format example: + +Pre-prompt check: +- **References attached:** locked character reference sheet, outfit wardrobe reference plate +- **Character:** platinum-blonde ponytail, warm fair skin, sharp almond eyes, neutral expression +- **Outfit:** ivory zip-V corset, ivory parachute pants, cream platforms, clear acrylic accessories +- **Backdrop:** mid-gray seamless studio (locked default) +- **Framing:** full body + +Sound good? + +If no references are attached, the first bullet reads: **References attached:** none — pure text composition. + +Wait for the green light. Then drop the full prompt in a single fenced code block. + +--- + +## CORE PHILOSOPHY + +No plastic. No CGI sheen. No 3D-render look. No commercial gloss. No AI-generic skin or hair. + +Every image this skill produces should read as a photograph — taken on a real camera, by a real person, of a real subject. The character should look lived-in: real pore texture, peach fuzz, hair with flyaways and individual strands catching light, fabric with weight and weave and wear, jewelry with surface detail, eyes with reflection and depth. + +**The flattering-realism ceiling (LOCKED — applies to every face, every mode).** Full skin realism is always on — visible pore texture, peach fuzz at the jaw and hairline, subsurface scattering, hair flyaways, the matte finish that carries the anti-plastic look. But realism never means *unflattering*. Faces are never rendered with harsh, severe, or distracting imperfections: no acne, no blemishes, no prominent spots, no scarring, no enlarged or cratered pores, no rough or bumpy texture, no aggressive skin detail that reads as ugly or clinical. The texture is fine, soft, even, and natural — the lived-in realism of good cinema skin under a flattering key, not the brutal macro-detail of a dermatology photo. Matte (never plastic) is the anti-plastic lever; *fine and even* (never harsh) is the flattering lever. Both are always on together. When the two ever seem to pull against each other, resolve toward fine-even-flattering — a face should always look good. + +Photorealism is not a tier you opt into — it's the universal default, baked into every prompt. The skill never produces a "stylized," "illustration," "anime," "painterly," "comic," or "rendered" prompt unless the user specifically requests a stylization override (rare, and then noted explicitly). + +--- + +## UNIVERSAL RENDER RULES — FIGHTING THE AI AESTHETIC + +These rules are baked into every Banana Pro, Soul Cinema, and GPT-2 prompt this skill produces. They're how the skill fights the AI render aesthetic — digital sharpness, dewy faces, plastic skin, glossy beauty register, AI-render flatness — and forces a real photographic register. + +**1. Real human skin.** +- Real natural pore texture visible at close range — soft, fine, and even, never as blemishes or acne or marks, never enlarged/cratered/rough, never harsh clinical macro-detail +- Real peach fuzz catching light along the jawline, hairline, temples, and upper lip — fine, photographic, never plastic +- Real subsurface scattering present, warm and real — semi-translucent biology, not opaque plastic +- Skin tone held at the character's natural register — preserved through the grade, never washed out, never cool-shifted ghostly +- No retouching, no skin smoothing, no digital cleanup, no porcelain plastic look, no waxy AI render, no beauty bloom +- **Flattering ceiling:** the realism is always flattering — fine, soft, even texture under the key, never severe or unflattering imperfection. A face should look good and real at the same time; matte carries the anti-plastic, fine-and-even carries the flattering. Resolve any tension toward flattering. +- Doll-coded characters (when explicitly requested): smooth matte register without visible pores or peach fuzz but still real and natural, never plastic, never AI-render, never waxen + +**2. Real hair physics — strand-by-strand, context-aware.** +- All hair rendered strand by strand with realistic flyaways, baby hairs at the hairline, separation between strands, light transmission through hair ends — never block-of-hair animation +- Hair responds to the actual environment of the scene: still interior = settled hair, moving vehicle = wild hair in active motion, wind = drift, action = kinetic lift and fall, wet = damp matte clumping never glossy oil-slick +- Hair register defaults matte — fine diffuse fiber with soft natural shape, never glossy shine, never reflective sheen unless the user specifies a high-gloss styling + +**3. Real lens character.** +- Wide-latitude digital cinema capture as the default register — broad dynamic range, gentle filmic highlight roll-off, never a flat video look +- For character canonicals and seamless studio stills (gray or white): a clean fast normal prime around a 50mm full-frame field of view at a wide aperture — natural round bokeh, even sharpness, gentle background separation, no anamorphic stretch on portraits unless requested +- For scene plates with characters or environments: vintage 2x anamorphic optical character — oval bokeh, a gentle horizontal squeeze on out-of-focus highlights, soft frame-edge falloff, mild organic optical imperfection toward the edges, plus a light diffusion bloom that lifts highlights into a soft halation and takes the hard digital edge off +- Real anamorphic-style horizontal streak flares on point light sources when called for, never on portraits + +**4. Real light physics.** +- **Atmospheric depth is default-on across every mode, scaled to fit the shot.** Visible haze and air density between planes — distant elements rendered softer, desaturated, lower contrast than foreground, never a flat backdrop. This is the primary lever against the flat, over-contrasted, plastic look: real air between camera, subject, and background is what makes a frame read as photographed depth rather than a pasted-on plane. Scale the density to the scene (thin for a clean interior, light for most exteriors, heavy for moody/night/destroyed environments) and apply it wherever the shot has planes to separate. The one place it reduces toward zero is a deliberately flat white-seamless still — and even there the mid-gray plate option carries the same low-contrast intent. +- Shadow falloff with physically accurate wrap on real anatomy — soft transitions, never hard edges, real human anatomy under real cinema light +- Subsurface scattering at ear edges, nostrils, eye sockets with warm undertone bleed +- Highlights rolled off gently in a filmic curve, never clipping to pure white — light blooms softly into haze rather than punching as hard white discs +- Lifted blacks that stay open and never crush to pure black, highlights that roll off and never clip — wide dynamic range, full detail held in both shadows and highlights + +**5. Real grain.** +- Color-negative motion-picture film look — daylight-balanced for day registers, tungsten-balanced and pushed for night work, the organic color rendition of real film stock baked in +- Fine theatrical 35mm film grain across the entire frame including skin, fabric, atmosphere, backdrop — never the silent clinical fine-grain register of editorial photography +- The grain is what ties everything to real cinema photographic capture + +**These five rules are the lock. Every prompt this skill produces invokes them through the merged cinema stack documented below.** + +## NIGHT CINEMA REGISTER (FOR NIGHT SCENES) + +When the user asks for a night scene, the night work has a specific theatrical action cinema target — **Justin Lin / James Wan / Greig Fraser night work**. This is the dark, practical-driven theatrical action night register seen in Tokyo Drift canyon scenes, Fast 5 night work, Furious 7 night chases, The Batman, John Wick. Critical principle: theatrical night cinema is **mostly dark, with hard punchy practicals cutting through**. NOT saturated-teal-everywhere. NOT bright-night. + +**Two modes of night cinema:** + +**A. EXTERIOR CANYON / OPEN NIGHT (cliff overlooks, canyon roads, remote night):** +- Light comes EXCLUSIVELY from practical sources in the scene (headlights, brake lights, dash glow leaking out doors, distant city glow). No ambient moonlight, no ambient sky lift. +- The sky and surroundings are committed to deep crushed near-black darkness +- A faint horizon glow may be visible at very deep distance — small, contained, abstract neon color (magenta, cyan, warm amber, hot pink) barely readable as far-off civilization, NOT bright enough to illuminate anything in foreground or midground +- Atmospheric haze suspended in air catches headlight beams as visible warm white volumetric god rays +- Headlight backscatter lights only the immediate front of each vehicle and the rocks/ground directly in front +- Everything outside the headlight throws and their immediate backscatter falls into deep crushed near-black shadow +- The cars themselves read primarily as silhouettes against the night sky with their headlight glow defining their forward edges +- This is the Tokyo Drift canyon night register — DARK, with hard warm headlight punch as the only light + +**B. INTERIOR / URBAN / LIT NIGHT (parking garages, warehouses, city streets, interior cabins):** +- Practical sources in the scene drive the look — sodium-vapor street lamps, fluorescent garage lights, neon signs, dash glow, brake lights, interior lighting +- Teal-amber color split can read here because practical sources motivate it (cool sodium / fluorescent / neon vs warm dash / brake / amber lights) +- Atmospheric haze gives light volumetric body +- Background subjects readable through the lit zones +- This is the Tokyo Drift parking garage register, Furious 7 night chase register — practical-driven, deep contrast, real teal-amber color split where motivated + +**Universal night cinema rules across both modes:** + +**Contrast:** Deep cinematic contrast — shadows are deep but hold information, highlights are hot but don't clip into mush. Wide dynamic range that reads on a real cinema screen. + +**Practicals punch hard:** Headlights cut through darkness with real intensity and volumetric throw. Brake lights saturate hot red. Dash glow saturates cabin interiors. Light HITS the scene with purpose, not softly diffused into mush. + +**Atmospheric haze:** Light volumetric haze suspended in air (canyon dust, urban smog, breath, ground moisture). The haze catches practical light beams as visible volumetric cones. This is what makes light feel real on screen. + +**Rim and edge light:** Subjects in night scenes defined against dark backgrounds by rim and edge light from practical sources. Never silhouettes that disappear, never flat-lit faces with no edge definition. + +**Skin in night:** Skin reads warm against cool ambient when there's any cool ambient to read against. Real human skin tone preserved through the grade. Practical light sources warm one side of the face — natural face-side-lighting from real cinema gaffer work. + +**The reference is unambiguous:** Real theatrical action movie nights projected onto real IMAX screens. Tokyo Drift, Fast 5, Furious 7, The Batman, John Wick. Theatrical, punchy, **mostly dark, with practical light cutting through**. Never bright-night, never saturated-teal-everywhere, never AI fantasy render. + +--- + +## 18% GRAY SEAMLESS + FLAT GRADE (LOCKED DEFAULT FOR ALL CHARACTER WORK) + +**18% neutral gray seamless with a completely flat, shadowless grade is the locked default** for all character work — face locks, character references, outfit plates, 3-panel and 6-panel sheets, and prop references. **Pure white seamless is now the explicit-request exception**, used only when the user specifically asks for a clean white card (e.g. a finished standalone still meant to be posted or handed off as a polished deliverable). When in doubt, default to gray. + +**Why gray as the standing default.** Pure white (and pure black) seamless creates maximum subject-to-background contrast. Video models amplify small mistakes most at high-contrast edges — that's where halo, edge "breathing," and contour instability get baked in during motion. A neutral mid-gray ground lowers the subject-to-background contrast, which means cleaner edge extraction and far less inherited contrast and plastic when the still is read as a reference frame. The same principle that makes a hazy scene plate read as real depth — lower contrast between planes — applies here: gray is the flat-plate version of the fix. Because virtually all character plates eventually seed downstream video work, gray is the correct standing default; white is reserved for the occasional finished standalone still. + +**The background stays neutral; the character does not.** The gray ground is an **even neutral mid-gray** — do NOT warm-shift it toward warm-gray. The neutral ground is the locked look. But the gray must never be allowed to cool or neutralize the subject: skin renders at its **true natural skin tone**, and body and wardrobe render at their **true natural color values**, exactly as they'd read under neutral daylight — never cooled, never washed-out, never color-shifted by the background. The relight-from-scratch language and the explicit "warmth preserved and natural, never pale or washed-out or cool-shifted" clause in the lighting close below are what hold this. Keep the background neutral and the subject true. + +**The white exception:** only when the user explicitly asks for white. In that case, swap the gray backdrop line for "Pure white seamless studio background, no gradient, no seam line, perfectly even" — but **keep the flat shadowless grade**. Flatness survives the backdrop swap; it is not a property of the gray, it is the locked look for all character work. + +**Lighting close for a gray plate (LOCKED FLAT GRADE — use this, NOT the full cinema stack):** + +``` +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette, no falloff to lighter or darker anywhere in the frame. Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the subject evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no cheek triangle, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background — the backdrop stays clean flat gray behind the entire figure. No contact shadow, no drop shadow, no ambient occlusion anywhere in the frame. Extremely low contrast, even, milky, catalogue-flat. Form is described by bone structure, hair strands, and fabric folds alone, not by light and shadow. Skin reads matte and velvety — zero shine on forehead, nose bridge, cheekbones, temples, and chin, no oily T-zone. Skin renders at its true natural skin tone and wardrobe at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real soft fine even pore texture, subsurface scattering reading as semi-translucent biology, never plastic, never waxy AI render, never glass-skin, never harsh — fine flattering texture that keeps the face looking good, no acne, no blemishes, no rough pores. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. +``` + +**Why flat, and why the lean close instead of the full cinema stack.** These plates are references, not finished frames. Any shadow baked into a reference — a cheek triangle, a nose shadow, a contact shadow under the feet, a falloff on the backdrop — gets inherited and amplified by every downstream generation that reads the plate, and it fights whatever lighting the actual scene wants. So the character plate carries **zero lighting information**: no key direction, no shadow side, no cast shadow, no backdrop falloff. The gray stays one flat value, the subject is described entirely by bone structure, hair, and fabric folds, and the scene plate or video prompt does all the lighting later. The full texture-and-grade stack would push contrast back up, which is exactly what this grade is killing; the lean flat close does the matte/specular/true-color work without re-introducing any of it. + +**The three things that must appear in every flat close, always:** +1. **Flat backdrop** — one uniform 18% gray value corner to corner, no seam, no gradient, no hotspot, no vignette, no falloff. +2. **Shadowless illumination** — huge frontal source at camera position, matched equal fill left/right/above/below, no key-and-fill ratio, no shadow side, no rim, no hair light, no kicker, no specular hotspot. +3. **Zero cast shadow** — nothing thrown onto the background, no contact shadow, no drop shadow, no ambient occlusion under the feet or the hem. + +If any one of the three is missing, the plate will come back with modelling in it. + +**3-panel sheets:** the flat default applies the same way, and the flatness must be stated as applying **uniformly across all three panels** — same flat gray value, same shadowless light, no cast shadow in any panel. Close with the flat grade above instead of the full cinema stack. Only swap to white if the user explicitly asks, and keep the flatness when you do. + +**6-panel sheets:** same — flat gray value and shadowless light stated as applying uniformly across all six panels, no cast shadow in any panel. Close with the flat grade above instead of the full cinema stack. Keep everything else (panel layout, identity lock) identical. Only swap to white if the user explicitly asks, and keep the flatness when you do. + +--- + +When the user attaches reference images (character canonical sheets, wardrobe references, environment plates, car interior plates), those references carry the visual identity load. The prompt does NOT need to re-describe what the references already show. Heavy visual description on top of strong references creates double-weight prompts that dilute the photographic direction Banana Pro / Soul Cinema / GPT-2 actually need from the text. + +**The new structure for every prompt this skill produces:** + +**1. Identify subjects by short, distinguishing visual descriptors only.** +- "the woman with platinum-blonde hair in the white unitard" — not a paragraph describing her face structure, skin texture, hair waves, lash length, lip shape, brow arch, body type, posture, makeup +- "the cream pearl coupe interior" — not a paragraph describing every dash gauge, knob, charm, harness, switch +- One distinguishing visual handle per subject is enough — the reference image carries the rest + +**2. Put the load on what the prompt UNIQUELY needs to communicate:** +- Composition and framing (where the subject is in the frame, what's in foreground/background, what the camera angle is) +- Pose, expression, what bodies and hands are doing +- Light direction and quality (where the light is coming from, how it falls on the subject) +- Wardrobe or styling SPECIFIC TO THIS PLATE that's not in the existing references +- The cinema stack at the end + +**3. Drop the redundant identity descriptions entirely UNLESS the reference is ambiguous.** +- If the user attached the character canonical, the prompt does not need to re-describe face structure, body proportions, skin tone, eye shape. Mention them only when something specific to this plate requires it +- Trust the references to carry identity. The prompt's job is to tell Banana Pro what to DO with the identity in this specific shot + +**4. When in doubt, lean shorter.** +- A 2500-character Banana Pro prompt with strong references beats a 5000-character prompt every time +- Banana Pro reads the front of the prompt most heavily; loading the front with composition + pose + light gets better results than burying those decisions under visual description +- The references show the model what things LOOK like. The prompt tells the model how to FRAME them. + +**Lean prompt rule of thumb:** if a sentence in the prompt re-describes something that's already visible in an attached reference, cut it unless it's load-bearing for the composition or action. + +--- + +## THE CINEMA STACK (LOCKED — APPENDS TO MOST PROMPTS) + +Every prompt this skill outputs ends with a version of this single merged cinema stack. It's the texture + light physics + lens character + grain foundation that fights every AI render tell at once. One block, one job — close the prompt with a real photographic register. + +``` +Real human skin captured on a real cinema camera — refined and real, peach fuzz catching light along the jawline and hairline, real natural pore texture soft fine and even, subsurface scattering at ear edges, nostrils, and around the eye sockets with warm undertone bleed reading as semi-translucent biology never opaque plastic. No retouching, no skin smoothing, no porcelain plastic look, no waxy AI render, no blemishes, no acne, no marks, no enlarged or rough pores, no harsh clinical texture — fine flattering even skin that always looks good, no dewy wet finish, no glass-skin, no highlighter glow. Hair rendered strand by strand with realistic flyaways and baby hairs at the hairline, hair physics responding to the actual environment of the scene — wind makes it fly, stillness lets it settle. Fabric with real weave detail, real weight, real drape. Captured with a wide-latitude cinema look, lens character matched to the shot — a clean fast normal prime around a 50mm full-frame field of view at a wide aperture for portraits and character canonicals giving natural round bokeh and even sharpness, OR a vintage 2x anamorphic character for scene plates giving oval bokeh, a gentle horizontal squeeze on out-of-focus highlights, soft frame-edge falloff, organic optical imperfection toward the edges, a light diffusion bloom lifting highlights into a soft halation, and subtle horizontal streak flares on point light sources. Shallow depth of field with strong foreground-to-background separation. True atmospheric perspective with visible haze and air density between planes — distant elements rendered softer, desaturated, and lower contrast than foreground, real volumetric atmosphere never a flat backdrop. Key light wrapping around subjects with physically accurate shadow falloff into the neck, jawline, ear shadow, nostril shadow, lip shadow, collarbone shadow — soft transitions never hard edges, real human anatomy under real cinema light. Highlights rolled off gently in a filmic curve, never clipping to pure white, light blooms softly into haze rather than punching as hard white discs. Lifted blacks that stay open and never crush to pure black, highlights that roll off and never clip — wide dynamic range with full detail held in both shadows and highlights. Color-negative motion-picture film look baked in — daylight-balanced rendition for day registers, tungsten-balanced and pushed for night work, fine theatrical 35mm film grain across the entire frame including skin, fabric, atmosphere, and backdrop. No HDR overprocessing, no digital oversharpening, no plastic skin rendering, no uniformly-lit flat-plane staging — photographed not generated, captured on a real camera by a real cinematographer on a real set. +``` + +**Modal application:** +- **Mode 0 (face lock), Mode 1 (single-image character outfit), Mode 2 (character sheet), Mode 4 (GPT-2 detail), Mode 5 (outfit replacement) — i.e. all studio character work:** these close with the **LOCKED FLAT GRADE**, not the full cinema stack. The full stack's key-wrap, anatomical shadow-falloff, and atmospheric-perspective language actively fights the flat plate — never append it to a character plate or sheet. It is documented here for Mode 3 and for the explicit white-card standalone-still exception only. +- **Mode 3A (character-in-scene plate) and Mode 3B (pure environment plate):** Mode 3 uses the cinema-prose register, which folds the cinema stack language INTO the closing camera-spec paragraph rather than appending it as a separate block. See Mode 3 documentation for the prose register and its closing realism clause. +- **Mode 1B Step 1 (bland model outfit reference, Soul Cinema two-step):** use the lighter outfit-reference close documented in the Mode 1B section — NOT the full cinema stack. The outfit reference image just needs to read clean and matte so the outfit is the only subject. + +**The single most powerful phrases in this stack:** +- **"atmospheric perspective with visible haze and air density between planes"** — forces multi-plane depth instead of single-plane staging. Biggest fix for the "video game" look. +- **"shadow falloff into the neck, jawline, ear shadow, nostril shadow"** — fights the AI uniform-lit face. Forces real anatomical shadow geometry. +- **"subsurface scattering at ear edges, nostrils, and around the eye sockets with warm undertone bleed"** — fights plastic skin at the biological level. Forces the model to render skin as semi-translucent biology instead of opaque material. +- **"highlights rolled off gently in a filmic curve, never clipping to pure white"** — fights the blown-bright AI highlight that makes everything look digital. Forces the cinema highlight roll-off. +- **"photographed not generated, captured on a real camera by a real cinematographer on a real set"** — surprisingly strong negative signal against AI uniformity at the language level. + +**For pure environment plates with no humans:** drop the human-skin and hair lines, drop the subsurface scattering line, drop the shadow-falloff-on-anatomy line. Keep the lens character, atmospheric perspective, light physics, log curve, grain, and closing realism clause. + +--- + +## READING REFERENCE IMAGES + +When the user uploads reference images, extract everything visible in the frame by **visual description only** — never use names, never invent details that aren't in the image. + +**For each character in the reference, capture:** + +- **Hair:** color (every nuance — platinum, jet black with cool undertone, rose-pink, burgundy, ash brown, dirty blonde, etc.), length, style, texture (straight, wavy, curly, coily), parting, any styling (slicked, blown out, flat-ironed, braided, bunned, ponytail, bangs — and which kind of bangs), accessories (clips, bows, ribbons, caps, bandanas, headbands) +- **Makeup:** skin finish (matte, dewy, glass-skin, bare), foundation/coverage register, brow shape and density, eye treatment (cat-eye liner, smoky, sharp graphic, soft bare, glitter, colored), lashes, lip (gloss, matte, gradient, color, fullness), cheek (flush, contour, highlight), any face jewelry, freckles or beauty marks **only if visible in the reference** (do not invent) +- **Wardrobe:** every garment top to bottom — fabric, color, fit (cropped, oversized, fitted, baggy), structural details (cutouts, keyholes, ribbing, ribbed cotton, knit, denim wash, leather finish, mesh, latex, silk), neckline, sleeve length, hem position, layering, branding details (described generically — "three-stripe athletic sneakers" not the brand name) +- **Jewelry & accessories:** every piece — earring style, necklace count and material, rings, bracelets, body chains, belts, bag, sunglasses, watch +- **Body markers:** piercings (only if visible), tattoos (only if visible), nail length and color, distinguishing features +- **Pose and energy:** body angle, weight distribution, hand position, expression register + +**Naming rule (CRITICAL).** Never use proper names in the prompt output. Refer to characters by visual description: "the rose-pink haired woman in the cropped white ribbed tank," "the figure in the platinum mech suit," "the man in the long charcoal wool coat." Higgsfield does not know names. Visual descriptors survive across prompts; names do not. + +**Brand name rule (CRITICAL).** Never use real brand names or protected IP in the prompt output. Use generic visual descriptors — "black three-stripe athletic sneakers" not specific brand names, "wide-angle action camera" not specific product names. Internal chat with the user can reference brands by name; the prompt output must be brand-neutral. + +**Age-blind rule.** Never describe characters by age. Avoid: *boy, girl, child, kid, young, teen, little, middle-aged, elderly, old.* Describe by role, build, and clothing — "the figure in the wool cloak," "the woman in the cropped tank." + +**No-invention rule.** If the user gives you a reference image and asks for the same character in a new scene, do not invent wardrobe or styling details that aren't in the image or specified in the request. If something is needed but not specified (e.g., a new outfit for a new scene), ask before composing. + +--- + +## MODE 0 — FACE LOCK (NEW CHARACTERS ONLY) + +**When to use:** Any time a character is being developed from scratch and there is no existing canonical reference image of their face. Run this BEFORE any outfit work, any character sheet, any scene plate. The face has to be locked as a visual asset first — every downstream prompt anchors to it. + +**Goal:** Produce the canonical face reference for the character. Identity only — no outfit considerations beyond a locked neutral baseline top, no environment, no posing direction. Just: a clean, locked face on white background with soft soft lighting that makes the skin read matte and cinema-placement-ready. + +**Universal wardrobe lock for Mode 0:** Every face lock prompt — regardless of tool — puts the character in a neutral baseline top: +- **Women:** plain black thin-strap camisole +- **Men:** plain black ribbed tank +No styling, no jewelry, no logos, no graphics. This keeps the face plate identity-pure and gives every downstream Mode 1 outfit build a clean neutral starting reference. + +--- + +### Tool fork — pick one (ask the user first) + +Before any prompt, ask the user which tool to use for the face lock. Three options: + +> Want to build this in Banana Pro, GPT-2, or Soul Cinema? +> — **Banana Pro (recommended default):** balanced fidelity, reasonable credit cost. Works for most character builds straight up. Single-pass build, no Step 0.1 needed. +> — **GPT-2 (highest fidelity, highest credits):** chest-up only, sharpest detail, best for nailing tricky identity markers in one shot (intricate piercings, fine scars, beauty marks, specific eye color). Heads-up — uses considerably more Higgsfield credits than Banana Pro. +> — **Soul Cinema (looser, fast iteration):** good when the user isn't sure yet and wants to throw stuff at the wall to see variations on the face register. Lower fidelity than Banana Pro but faster to iterate. If used, run as Step 0.1 first to produce a face plate, then a Banana Pro 3:4 pass (Step 0.2) to lock the finer detail. + +Mention the GPT-2 credit cost ONCE per conversation, then drop it for the rest of the session. + +Wait for the user to pick. Then proceed to the matching step. + +--- + +### Step 0.A — Banana Pro single-pass face lock (default) + +**When:** User picks Banana Pro (or doesn't specify and goes with the default recommendation). + +**How:** Single-pass Banana Pro generation, no Soul Cinema plate required. The prompt itself locks identity markers in one shot. + +**Pre-prompt check:** + +Pre-prompt check — Banana Pro face lock (single-pass): +- **Reference attached:** none — text-only build +- **Character spec:** [identity essentials only — heritage, build, skin, hair color + length + texture, eye shape + color, key identity markers like beauty marks/scars/piercings] +- **Wardrobe:** plain black [camisole / ribbed tank] +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft natural light from camera-[left/right] +- **Framing:** 3:4 headshot, forehead to upper chest, face filling most of the frame + +Sound good? + +**Canonical Step 0.A prompt structure:** + +``` +A clean cinema-character-reference 3:4 headshot, framed from forehead to upper chest with the face filling most of the frame. [Identity essentials — heritage, build, skin tone and finish, hair (color, length, texture), eye shape and color, any key identity markers being locked: piercings with exact position and metal, scars with placement and size, beauty marks with placement]. She wears [a plain black thin-strap camisole / he wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes to camera, lips closed and relaxed, subtle controlled energy. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette, no falloff to lighter or darker anywhere in the frame. Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the subject evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no cheek triangle, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background — the backdrop stays clean flat gray behind the entire figure. No contact shadow, no drop shadow, no ambient occlusion anywhere in the frame. Extremely low contrast, even, milky, catalogue-flat. Form is described by bone structure, hair strands, and fabric folds alone, not by light and shadow. Skin reads matte and velvety — zero shine on forehead, nose bridge, cheekbones, temples, and chin, no oily T-zone. Skin renders at its true natural skin tone and wardrobe at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real soft fine even pore texture, subsurface scattering reading as semi-translucent biology, never plastic, never waxy AI render, never glass-skin, never harsh — fine flattering texture that keeps the face looking good, no acne, no blemishes, no rough pores. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. + +[Gray is the locked default — use the flat close above. If the user explicitly asks for a white card instead, swap the backdrop line to "Pure white seamless studio background, no gradient, no seam line, perfectly even" and keep every flat/shadowless clause exactly as written. Flatness never comes off.] + +--- + +### Step 0.B — GPT-2 single-pass face lock (highest fidelity) + +**When:** User explicitly picks GPT-2 and has confirmed the higher credit cost. + +**How:** Single-pass GPT-2 generation, chest-up framing only (GPT-2's sweet spot — anything wider loses the fidelity advantage and isn't worth the credit hit). + +**Pre-prompt check:** + +Pre-prompt check — GPT-2 face lock (single-pass, chest-up only): +- **Reference attached:** none — text-only build +- **Character spec:** [identity essentials only — heritage, build, skin, hair color + length + texture, eye shape + color, key identity markers] +- **Wardrobe:** plain black [camisole / ribbed tank] +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft natural light from camera-[left/right] +- **Framing:** chest-up portrait, face dominant in the frame + +Sound good? + +**Canonical Step 0.B prompt structure:** Use the GPT-2 prompt structure documented in the GPT-2 section of this skill (Mode 4). Apply the same identity essentials, wardrobe lock, white backdrop, and soft soft lighting as Step 0.A — just routed through the GPT-2 prompt grammar instead of the Banana Pro grammar. + +--- + +### Step 0.1 + Step 0.2 — Soul Cinema two-pass face lock (iteration path) + +**When:** User picks Soul Cinema. Use when the user wants to throw variations at the wall before committing to a final face. Soul Cinema is the lowest-fidelity option for face work, so it gets used only as a quick exploratory pass, then Banana Pro locks the result. + +### Step 0.1 — Soul Cinema face plate + +Run a lean Soul Cinema generation to produce a clean face plate on mid-gray seamless with soft soft lighting. The plate is exploratory — identity essentials only, no makeup detail, no granular facial anatomy, no fine identity markers (those go into Step 0.2 where Banana Pro can actually hold them). + +**Pre-prompt check:** + +Pre-prompt check — Step 0.1 of 2 (Soul Cinema face plate): +- **Reference attached:** none — text-only build +- **Character spec:** [identity essentials only — heritage, build, skin tone, hair (color, length, texture), eye shape and color, beauty marks / scars only if they're large/obvious — fine markers held for Step 0.2] +- **Wardrobe:** plain black [camisole / ribbed tank] +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft natural light from camera-[left/right] +- **Framing:** chest-up, face clearly readable, body squared to camera + +Sound good? + +**Canonical Step 0.1 prompt structure (lean — identity essentials only):** + +``` +A [heritage] [woman / man] with a [slim / specified] build, [skin tone and finish], [hair color, length, texture]. [Eye shape and color]. [Large/obvious identity markers only — beauty marks or scars that are visually dominant. Hold fine markers for Step 0.2]. [She wears a plain black thin-strap camisole / He wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes to camera, lips closed and relaxed. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette. Completely flat shadowless illumination — a huge soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the face read at exactly the same brightness. No shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker. Zero shadow cast onto the background. Extremely low contrast, even, milky, catalogue-flat. Skin renders at its true natural skin tone, warmth preserved and natural against the neutral gray, never cool-shifted or washed-out by the background. Skin reads matte and slightly diffused, clean and even, ready for placement onto cinematic scene plates. Chest-up framing. + +Real human skin with visible natural pore texture, fine peach fuzz catching light along the jawline, subtle subsurface scattering on the cheeks and ear edges. Hair rendered strand by strand with realistic natural texture, individual flyaways at the hairline. Fine cinema grain. Lived-in, not pristine. Photographic, not rendered. +``` + +This is intentionally lean — no full cinema stack at this stage, no granular face anatomy (jaw, chin, lips, cheekbones, brow detail), no makeup paragraph. Let Soul Cinema interpret the face from the essentials. Step 0.2 locks the rest. + +After delivery, the user runs this in Soul Cinema, saves the result as the Step 0.1 face plate reference. + +### Step 0.2 — Banana Pro 3:4 headshot to lock the full facial character + +Once the Soul Cinema face plate exists, run a second-pass Banana Pro 3:4 headshot using that Soul Cinema plate as the character reference. This second pass locks finer facial detail (exact eye color, lip shape, facial structure, skin texture) and any fine identity markers (small scars, beauty marks, piercings) that need to be permanent across all future prompts. + +**Pre-prompt check:** + +Pre-prompt check — Step 0.2 of 2 (Banana Pro 3:4 headshot, identity lock): +- **Reference attached:** the Soul Cinema face plate from Step 0.1 +- **Character spec:** [same essentials as Step 0.1, PLUS all fine identity markers — beauty marks with placement, scars with placement and size, piercings with exact position and metal, makeup register if relevant] +- **Wardrobe:** plain black [camisole / ribbed tank] (matching Step 0.1) +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft from camera-[left/right] (matching Step 0.1) +- **Framing:** 3:4 headshot, forehead to upper chest, face filling most of the frame + +Sound good? + +**Canonical Step 0.2 prompt structure:** + +``` +A clean cinema-character-reference 3:4 headshot of the same character as the attached Soul Cinema face plate, framed from forehead to upper chest with the face filling most of the frame. [Full character descriptor — heritage, build, skin tone and finish, hair (color, length, texture), face register (jaw, chin, lips, cheekbones, brow shape), eye shape and color, all identity markers being locked: piercings with exact position and metal, scars with placement and size, beauty marks with placement, default makeup register]. She wears [a plain black thin-strap camisole / he wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes to camera, lips closed and relaxed, subtle controlled energy. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette, no falloff to lighter or darker anywhere in the frame. Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the subject evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no cheek triangle, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background — the backdrop stays clean flat gray behind the entire figure. No contact shadow, no drop shadow, no ambient occlusion anywhere in the frame. Extremely low contrast, even, milky, catalogue-flat. Form is described by bone structure, hair strands, and fabric folds alone, not by light and shadow. Skin reads matte and velvety — zero shine on forehead, nose bridge, cheekbones, temples, and chin, no oily T-zone. Skin renders at its true natural skin tone and wardrobe at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real soft fine even pore texture, subsurface scattering reading as semi-translucent biology, never plastic, never waxy AI render, never glass-skin, never harsh — fine flattering texture that keeps the face looking good, no acne, no blemishes, no rough pores. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. + +[Gray is the locked default — use the flat close above. If the user explicitly asks for a white card instead, swap the backdrop line only and keep every flat/shadowless clause exactly as written. Flatness never comes off.] +``` + +After delivery, the user runs this in Banana Pro. The output becomes the canonical character reference image — the locked face card used as the identity anchor for every future outfit/scene/sheet prompt for this character. + +**Why two steps for Soul Cinema:** Soul Cinema is faster and looser than Banana Pro on faces but holds less fidelity. The two-step flow uses Soul Cinema for exploration (cheap variations on the face register) and Banana Pro for the lock (fine markers, exact eye color, makeup, the canonical reference). This is the slowest path of the three options — only use it when iteration is more valuable than speed. + +--- + +**What Mode 0 is NOT for:** +- Refining an existing character that already has a canonical reference → not needed, skip to Mode 1 +- Outfit design → use Mode 1 (Mode 0's locked black camisole/tank is identity-baseline, not a styled outfit) +- Multi-angle sheets → use Mode 2A (3-panel, default), but only AFTER Mode 0 + Mode 1 are done + +Mode 0 is one-and-done per character. Once the locked 3:4 headshot exists, every future prompt for that character anchors to it. + +--- + +## MODE 1A — SINGLE-IMAGE CHARACTER OUTFIT, BANANA PRO PATH + +**When to use:** First image of any character/outfit pairing **when the user picks Banana Pro** in the Mode 1 tool fork. Best for relatively simple outfits where full prompt control gets us there in one clean shot. Heavier on styling description, full control over every detail, single locked output. + +**Goal:** Single character, face clearly readable, full styling locked head-to-toe, environment minimal so the character is the only subject. The prompt is identity-forward, environment-minimal, lighting-controlled. + +**Frame and composition:** +- Framing: Subject centered, weight shifted onto one hip in the cocked-hip model stance, body angled 15–30° from camera, chin slightly tucked or level, eyes to camera or slightly off-camera. Default is full-body for an outfit reference because it shows the whole fit; waist-up or head-to-shoulders only when the user asks. Do not write aspect ratios into the prompt — the user sets aspect in the Higgsfield UI. +- Background: **18% neutral gray seamless studio, flat.** The locked default for all character/outfit work — one uniform gray value, no seam line, no gradient, no falloff. Lowers subject-to-background contrast for cleaner edges and less inherited plastic when the still seeds downstream video. **Exception:** if the user explicitly asks for a clean white card, swap to pure white seamless — but keep the flat shadowless grade. +- Lighting: **Flat and shadowless.** Huge frontal source at camera position, matched equal fill left, right, above, below. No key side, no shadow side, no rim light, no hair light, no kicker, no cast shadow on the background, no contact shadow under the feet. Skin reads matte and even, carrying zero lighting information into downstream work. + +**Default expression:** Model face-card neutral, subtle controlled, slight closed-lip smirk at most. Never teeth-showing smile unless the user specifically requests it. + +**Canonical Mode 1A prompt structure:** + +``` +[Visual descriptor of the character — hair, makeup, full wardrobe head-to-toe, jewelry, body markers, all extracted from references or locked from the development phase]. [Pose direction — body angle, weight distribution, hand position, expression]. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no seam line, no gradient, no hotspot, no vignette, no falloff to lighter or darker anywhere in the frame. Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the whole figure evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face and body read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background — the backdrop stays clean flat gray behind and around the entire figure. No contact shadow, no drop shadow, no ambient occlusion on the floor beneath the feet. Extremely low contrast, even, milky, catalogue-flat. Form is described by fabric folds, garment structure, and bone structure alone, not by light and shadow. Skin and fabric read matte and velvety, no shine, no gloss, no oily T-zone. Skin renders at its true natural skin tone and the outfit at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real fine even pore texture, subsurface scattering reading as semi-translucent biology, real fabric weave and drape, never plastic, never waxy, never harsh. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. [Framing — full body / waist-up / head-to-shoulders]. + +[Gray is the locked default — use the flat close above. If the user explicitly asks for a white card, swap the backdrop line only and keep every flat/shadowless clause exactly as written. Flatness never comes off.] +``` + +**Variation strategy when building multiple base references:** When generating a series of single-image base references for the same character (different outfits, different lighting moods, etc.), keep the mid-gray seamless backdrop locked and vary one parameter per shot: + +- Pose (cocked-hip front → angled three-quarter → seated → side profile → back-to-camera over-shoulder) +- Framing (full body → waist-up → head-to-shoulders) +- Expression (neutral → smirk → eyes-closed → looking off-frame) +- Lighting direction (key from L → R → top → backlit) + +Don't vary face, skin, or core identity markers. Those stay locked. + +--- + +## MODE 1B — SINGLE-IMAGE CHARACTER OUTFIT, SOUL CINEMA PATH + +**When to use:** First image of any character/outfit pairing **when the user picks Soul Cinema** in the Step 1 tool fork. Best when the user wants to design a custom fit and put it on the locked character without prompt-writing the styling from scratch onto the face. Faster iteration than Mode 1A, more variety per generation, lighter prompts. + +**How it works — TWO-STEP FLOW (critical):** + +Soul Cinema is a two-step process. Do not skip Step 1B.1 and jump straight to compositing. + +### Step 1B.1 — Generate the outfit on a neutral model + +First, build the outfit on a slim, normal-looking model (gender-matched to the outfit) so it exists as a clean visual reference. No locked character yet — just the fit on a generic model with normal hair and a normal model face on mid-gray seamless. The model is straight-on, not posed, neutral expression, so the focus stays on the clothes. + +**Model spec (locked):** +- Slim model build, refined proportions +- Normal hair — simple natural style appropriate to the model's gender (medium-length straight or slight wave for women, short clean cut for men), neutral natural color (medium brown by default unless the outfit calls for something specific) +- Normal model face — clean even features, neutral natural makeup if a woman (skin-tint, soft brow, neutral lip), no styled makeup if a man, blank neutral model expression +- Straight-on stance, weight evenly distributed, arms relaxed at the sides, not posed, not cocked-hip +- Body squared to camera, eyes to camera +- Gender matched to the outfit — woman for women's wear, man for menswear, the figure that fits the outfit best for unisex + +**Pre-prompt check (clean bullet format):** + +Pre-prompt check — Step 1 of 2 (build the fit): +- **Subject:** slim [woman/man], normal hair, neutral model face, straight-on relaxed stance +- **Outfit:** [full outfit description — every garment, accessory, jewelry, footwear] +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft natural light from camera-[left/right] (user picks side) + +Sound good? + +**Canonical Step 1B.1 prompt structure:** + +``` +A slim [woman / man] standing straight-on to camera in a relaxed neutral stance, weight evenly distributed across both feet, arms hanging relaxed at the sides, shoulders level and relaxed, body squared to the camera, head level. Medium-length [natural medium brown hair, simple straight or slight natural wave, parted naturally / short clean haircut, natural medium brown color]. Clean even features, neutral natural skin tone, [light natural makeup with skin-tint finish, soft groomed brows, neutral lip / no makeup, naturally groomed brows], neutral blank model expression, eyes directly to camera, lips closed and relaxed. Slim model build with refined proportions. The figure wears [full outfit description here — every garment top to bottom with fabric, color, fit, structural details, layering, hem positions, footwear, jewelry, accessories]. + +Background is an even 18% neutral gray seamless, completely flat — one single uniform value corner to corner, no visible seam line, no gradient, no hotspot, no vignette, no falloff to black or white. Completely flat shadowless illumination — a huge soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the figure read at exactly the same brightness. No shadow side, no harsh shadows, no rim light, no kicker, no hair light. Zero shadow cast onto the background, no contact shadow on the floor beneath the feet. Extremely low contrast, even, milky, catalogue-flat. Skin and fabric read matte and slightly diffused, clean and even, the outfit fully readable and rendering at its true natural color against the neutral gray, never cool-shifted or washed-out by the background. Full body framing from head to just below the footwear. + +Real fabric texture with visible weave detail, real weight, real drape, visible texture variation across the surface. Jewelry with real metal surface detail. Real human skin with natural pore texture. Fine cinema grain, soft lens vignette, natural color grade. Photographic, not rendered. +``` + +Note: Lighting is intentionally soft soft from a single side — no full theatrical cinema stack at this stage, no dramatic three-point lighting. The outfit is the only subject. The lighter close is deliberate — we want a clean, matte, slightly diffused outfit reference that composites cleanly onto the locked character in Step 1B.2 without dragging cinema register baggage along. Run this in Soul Cinema. The user saves the result — that's the outfit reference for Step 1B.2. + +### Step 1B.2 — Composite the outfit onto the locked character + +Once the outfit reference exists from Step 1B.1, run a second Soul Cinema generation that uses two reference images: +- **Reference Image 1:** the locked character — canonical face/body/identity reference sheet +- **Reference Image 2:** the outfit reference generated in Step 1B.1 — the neutral model in the locked fit + +Both images are uploaded directly in the Higgsfield UI. + +**Pre-prompt check (clean bullet format):** + +Pre-prompt check — Step 2 of 2 (composite onto character): +- **Reference Image 1 (character):** the locked canonical character reference (from Mode 0 face lock or previously approved reference sheet) +- **Reference Image 2 (outfit):** the neutral model reference from Step 1B.1 +- **Backdrop:** mid-gray seamless studio (locked default) +- **Lighting:** soft soft studio lighting + +Sound good? + +**Canonical Step 1B.2 prompt structure:** + +``` +Place the face and body from reference image 1 onto the outfit from reference image 2. Background is an even 18% neutral gray seamless, completely flat — one uniform value corner to corner, no seam line, no gradient, no vignette. Skin and outfit at their true natural tone. Completely flat shadowless studio illumination — soft frontal source at camera position with matched equal fill from both sides, above, and below. No shadow side, no rim light, no kicker, no contact shadow, no shadow cast onto the background. Extremely low contrast, even, catalogue-flat. +``` + +That's it. Do not add styling description (Soul Cinema reads it from Image 2). Do not add character description (Soul Cinema reads it from Image 1). Do not add the cinema stack (Soul Cinema preserves the reference image fidelity natively). Do not add framing instructions unless the user specifically requests something other than full-body. + +**Universal prompt rules still apply (both steps):** +- No character names in prompt output +- No real brand names in prompt output +- No `@image` tags or `<<>>` placeholders — image attachment happens in the Higgsfield UI directly +- No aspect ratios in prompt output + +**When to push the user back to Mode 1A:** If the user wants the outfit and character built in a single shot without the two-step process, or wants extreme stylistic control over how the outfit reads on the character's specific body — that's a Mode 1A job. Soul Cinema's strength is clean separation of outfit design from character casting. + +--- + +## MODE 2 — CHARACTER SHEETS + +Two formats. **2A (3-panel) is the default.** 2B (6-panel) is legacy and only runs on explicit request. + +**When the user asks for "a character sheet" with no format named, build the 3-panel. Do not ask which one, do not offer the 6-panel.** The 6-panel only enters the conversation if the user names it. + +--- + +## MODE 2A — 3-PANEL CHARACTER SHEET (PRIMARY, LOCKED DEFAULT) + +**When to use:** Any time a character sheet is requested, unless the user explicitly names the 6-panel. Only after a single-image base reference exists and is approved. + +**Why 3 panels beat 6:** the sheet is one image with a fixed pixel budget. Six cells splits that budget six ways, and the face — the one thing the sheet exists to lock — lands in cells too small to hold real identity detail. Three cells give each panel roughly double the resolution, which is what makes the chest-up face panel actually usable as a downstream identity anchor. + +**Canonical 3-panel layout (one horizontal frame, three equal vertical panels, thin clean separation between them):** + +1. **LEFT — Full body front, headless.** The full figure squared to camera, arms relaxed at the sides, hands open and loose, weight even across both feet, framed head-to-hem with **full headroom preserved** — generous empty backdrop above the shoulders where the head would be, so the figure sits in the frame at the same scale and position as a normal full-body portrait. **This is not a crop.** The head is *removed from the body*, not cropped out by the frame edge. The panel exists to isolate the garment, the silhouette, and the body proportions with zero facial data competing for the model's attention. + +2. **CENTER — Full body rear, head attached.** Photographed from directly behind, standing straight, arms relaxed, weight even. Hair fall, garment back construction, hem, train, and footwear all readable from behind. + +3. **RIGHT — Tight chest-up face lock.** Framed from just above the top of the head down to the collarbones and the very top of the garment only. Face fills most of the panel — a true close-up. Body squared to camera, head level, eyes to camera, lips closed and relaxed, neutral controlled expression. Brows, lashes, lip texture, and skin detail readable at close range. **This panel is the identity anchor. It must be tight — chest-up, not waist-up.** If the framing drifts wider, the sheet loses its whole reason for existing. + +--- + +### THE HEADLESS CUT — TWO VARIANTS (PICK BY GARMENT) + +The left panel's headless treatment changes based on what the character is wearing. Read the neckline, then pick. + +**Variant A — GHOST MANNEQUIN (hollow neckline).** Use when the garment has a **structured or closed neckline that sits at or above the collarbone** — a t-shirt collar, a crew neck, a ribbed tank, a turtleneck, a shirt, a hood, a jacket collar, a keyhole top. Anything with a real opening the eye expects a neck to come out of. + +There is **no head and no neck at all** — nothing rises above the shoulder line. The collar holds its own three-dimensional shape and the opening reads as an **empty dark hollow looking down into the inside of the garment**, with the inner back of the fabric faintly visible inside the opening. The garment reads as if worn by an invisible body — full volume, natural drape, real fabric tension across the chest and shoulders — but nothing emerging from the neckline. Necklaces, if present, still sit around the empty collar opening, resting on the fabric. + +**Variant B — CLEAN NECK CUT (mannequin termination).** Use when the garment has **no real neckline to hollow out** — a strapless gown, a halter, a spaghetti-strap slip, a deep cowl, a scooped or plunging dress, a bandeau. The chest and shoulders are largely bare, so there is no collar for the eye to look "into." + +Here the **neck rises a short way from the shoulders and terminates in a clean, flat, sharply defined horizontal edge at the base of the throat** — exactly like a headless dress-form mannequin. A crisp sculptural cut with a clean visible edge. Above that edge there is only empty backdrop. + +**Both variants ship with the same suppression stack, always:** not blurred, not faded, not dissolving, no wisps, no smoke, no ghosting, no transparency in the body, no stump, no anatomy detail at the cut, no blood, no gore. And in both variants, **the hair goes with the head** — no hair falling across the chest or shoulders in the left panel. + +**Locked left-panel language, Variant A (ghost mannequin):** +``` +LEFT PANEL — full body front view, no head, no neck, and no hair. The body stands squared to camera from the shoulders down to [the shoes / the hem], arms relaxed at the sides, hands open and loose, weight even across both feet. There is no head, no neck, and no hair at all — nothing rises above the shoulder line, and no hair falls across the chest or shoulders. The [collar type] of the [garment] holds its own shape at the top of the garment and its opening is an empty dark hollow looking down into the inside of the [garment], with the inner back of the fabric faintly visible inside the opening. The garment reads as if worn by an invisible body — full three-dimensional shape, natural drape, real fabric tension across the chest and shoulders, but nothing emerging from the neckline. No stump, no skin, no cut edge, no anatomy, no blood, no fade, no blur, no ghosting, no transparency in the body. The panel keeps full headroom, generous empty mid-gray backdrop above the shoulders, so the figure sits at the same scale and position in the frame as a normal full-body portrait. +``` + +**Locked left-panel language, Variant B (clean neck cut):** +``` +LEFT PANEL — full body front view, headless. The full figure stands squared to camera from the shoulders down to [the shoes / the hem], arms relaxed at the sides, hands open and loose, weight even across both feet. There is no head and no hair — no hair falls across the chest or shoulders. The neck rises a short way from the shoulders and terminates in a clean, flat, sharply defined horizontal edge at the base of the throat, exactly like a headless dress-form mannequin — a crisp sculptural cut with a clean visible edge, not blurred, not faded, not dissolving, no wisps, no smoke, no ghosting, no transparency, no blood, no anatomy detail at the cut. Above that clean edge there is only empty mid-gray backdrop. The panel keeps full headroom — generous empty space above the shoulders where the head would be — so the figure sits in the frame at the same scale and position as a normal full-body portrait. +``` + +--- + +### Mode 2A pre-prompt check + +``` +Pre-prompt check — 3-panel character sheet: +- **References:** [list every reference being attached, in order] +- **Left:** full body front, headless — [ghost-mannequin hollow at the (collar type) / clean neck cut, per the garment] +- **Center:** full body rear, head attached +- **Right:** tight chest-up face lock +- **Outfit:** [locked outfit, identical across all three panels] +- **Backdrop:** mid-gray seamless (locked default), uniform across all panels + +Sound good? +``` + +--- + +### Canonical Mode 2A prompt structure + +``` +A three-panel character reference sheet composed as one horizontal frame, divided into three equal vertical panels side by side, thin clean separation between panels, the same figure and the same outfit rendered identically across all three. + +[Identity paragraph — build, skin, hair color/length/texture, makeup register, identity markers, nails. Described ONCE, applies to all three panels.] + +[Wardrobe paragraph — full outfit head-to-toe, every garment, fabric, color, construction detail, footwear, jewelry. Described ONCE, applies to all three panels.] + +[LEFT PANEL — headless front. Use Variant A or Variant B locked language above, per the garment.] + +CENTER PANEL — full body rear view, head attached. The same figure photographed from directly behind, standing straight, [hair fall from behind], [garment back construction — open back, seams, hem, train], arms relaxed at the sides, hands loose, weight even across both feet, from the top of the head down to [the shoes / the end of the hem]. + +RIGHT PANEL — tight chest-up portrait, identity lock. The same figure framed from just above the top of the head down to the collarbones and the very top of the garment only, the face filling most of the panel, a true close-up. Body squared to camera, head level, eyes directly to camera, lips closed and relaxed, neutral controlled expression. [Hair, brows, lashes, lip texture, key identity markers] all clearly readable at close range. + +18% neutral gray seamless studio backdrop applied uniformly across all three panels — one single flat uniform value corner to corner in every panel, no seam line, no gradient, no hotspot, no vignette, no falloff to black or white, and the identical gray value in all three panels. Relight from scratch overriding any reference lighting: completely flat shadowless illumination in every panel — one enormous soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the face and body read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background in any panel — the backdrop stays clean flat gray behind and around the figure. No contact shadow, no drop shadow, no ambient occlusion on the floor beneath the feet. Extremely low contrast, even, milky, catalogue-flat, identical in every panel. Form is described by fabric folds, garment structure, and bone structure alone, not by light and shadow. Skin and fabric read matte and velvety, no shine, no gloss, no oily T-zone. Skin renders at its true natural skin tone, identical in value and hue across the face, arms, and body in every panel, never darkened, never tanned, never pale or washed-out or cool-shifted by the background. [Garment colors] render true and consistent across all three panels. Real peach fuzz at the jaw and hairline, real fine even pore texture, subsurface scattering reading as semi-translucent biology, real fabric weave and drape, visible fine metal surface detail on the jewelry, never plastic, never waxy, never harsh. Photographed on a 50mm prime, even sharpness, soft natural film grain. Photographed not generated. +``` + +**Critical rules for the 3-panel format:** +- One prompt, one fenced code block, one image output. Never deliver three separate prompts. +- Identity and wardrobe live in the opening paragraphs — described once, applied to all three panels. +- Each panel only describes what's *different* — angle, framing, head state. +- **Skin-tone consistency clause is mandatory.** Rear panels drift darker/tanner without it. Always state that skin renders identical in value and hue across face, back, arms, and hands in every panel. +- Backdrop and lighting are uniform across all three cells. +- Every panel carries its explicit position label (LEFT / CENTER / RIGHT) so the model composes the grid correctly. +- No aspect ratio in the prompt — the user sets it in the Higgsfield UI. + +--- + +## MODE 2B — 6-PANEL CHARACTER SHEET (LEGACY, EXPLICIT REQUEST ONLY) + +**Never propose this format.** It only runs when the user names it. + +**When the user asks for a 6-panel, say this once, then wait:** + +> Heads up — splitting into six panels cuts the pixel budget per cell, so the face panels will hold noticeably less identity detail than the 3-panel sheet's chest-up lock. The face is usually the whole point of the sheet, so the 3-panel holds up better as a downstream anchor. Happy to run the 6-panel anyway if you want it — just say go. + +If the user says go, build it. Don't re-litigate, don't repeat the warning later in the session. + +**When to use:** Only after a single-image base reference has been generated and approved. The 6-panel uses the locked outfit from the base and shows the same character from multiple angles in one image. + +**Critical:** Never deliver six separate prompts. Always one prompt → one 16:9 image → six panels in a 3×2 grid. + +**Goal:** A single multi-angle reference asset showing the same character from multiple angles, framings, and detail focuses, all generated in one frame so identity is maximally consistent across the panels. + +**Canonical 6-panel layout (3×2 grid, top row left-to-right, bottom row left-to-right):** + +1. **Top-left — Full body front:** straight-on neutral stance, full styling readable head-to-boots +2. **Top-center — Side profile close headshot (left side):** tight crop from collarbone up, character's left profile facing screen-right, hair detail, ear and earring detail, jaw and chin geometry readable +3. **Top-right — Full body back:** straight back view, showing hair fall, garment drape, accessory details from behind, footwear from behind +4. **Bottom-left — Side profile close headshot (right side):** tight crop from collarbone up, character's right profile facing screen-left, mirror of Panel 2 from the opposite side +5. **Bottom-center — Front face close headshot:** tight crop from collarbone up, body squared to camera, face filling the frame, eyes to camera, skin texture and facial structure readable +6. **Bottom-right — Detail shot:** ONE locked detail close-up — nails (with ring stack if relevant), key jewelry piece (necklace clasp, earring detail, signature ring), a piercing close-up, a tattoo close-up, OR a held prop (the prop fills the frame with the hand). User picks which detail at the pre-prompt check. + +**Variation rule:** If the user requests a different mix of panels (e.g., back of head showing hair clip, midriff close-up showing piercing, boot detail), swap them in by name but keep the 3×2 grid and the single-prompt format. The default layout above is what gets used if the user doesn't specify. + +**Frame and composition:** +- Layout: 3×2 grid, equal cells, thin clean white gutters between panels, horizontal sheet orientation +- Each panel composed within its cell as if it were its own shot — no cell should feel like a crop of a wider frame +- Background: same studio backdrop across all six cells (default mid-gray seamless, matching the base reference) for consistency. Only swap to white-across-all-six-panels if the user explicitly asks for a white sheet (see the MID-GRAY SEAMLESS BACKDROP section). +- Lighting: same three-point key/fill/rim setup across all six cells — identity stays locked when lighting is locked +- Do not write aspect ratios into the prompt — the user sets aspect in the Higgsfield UI (typically 16:9 for sheets, but specified in UI not prompt) + +**Canonical Mode 2 prompt structure:** + +``` +A 6-panel character reference sheet arranged as a 3-column by 2-row grid in a single horizontal frame, separated by thin clean white gutters between panels. Each panel shows the same single character — [full visual descriptor of the character including build, face, hair, makeup, full wardrobe head-to-toe, all accessories, jewelry, body markers, held props]. + +Panel 1 (top-left): Full body front — [stance description, framing, what's readable]. +Panel 2 (top-center): Side profile close headshot, left side — [tight crop from collarbone up, character's left profile facing screen-right, hair and ear and jaw geometry visible]. +Panel 3 (top-right): Full body back — [stance, what's visible from behind]. +Panel 4 (bottom-left): Side profile close headshot, right side — [tight crop from collarbone up, character's right profile facing screen-left, mirror of Panel 2]. +Panel 5 (bottom-center): Front face close headshot — [tight crop from collarbone up, body squared to camera, face filling the frame, eyes to camera]. +Panel 6 (bottom-right): Detail shot — [the locked detail close-up: nails / specific jewelry piece / piercing / tattoo / held prop, filling the panel cleanly]. + +18% neutral gray seamless studio backdrop applied uniformly across all six panels — one single flat uniform value corner to corner in every panel, no seam line, no gradient, no hotspot, no vignette, and the identical gray value in all six panels. Relight from scratch overriding any reference lighting, applied uniformly across all six panels: completely flat shadowless illumination — one enormous soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the face and body read at exactly the same brightness. No modelling, no shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Zero shadow cast onto the background in any panel, no contact shadow beneath the feet. Extremely low contrast, even, milky, catalogue-flat, identical in every panel. Skin and fabric read matte and velvety, rendering at their true natural skin tone and color against the neutral gray, warmth preserved and natural, never cool-shifted or washed-out by the background. Sharp focus across every panel. Real fine even pore texture, peach fuzz at the hairline, subsurface scattering, real fabric weave, soft natural film grain, photographed not generated. Identical character identity locked across all six panels — same face, same skin, same hair, same wardrobe, same accessories, same proportions in every cell. + +[Gray is the locked default — use the flat grade above. If the user explicitly asks for a white sheet, swap to "Pure white seamless studio backdrop applied uniformly across all six panels" and keep every flat/shadowless clause exactly as written. Flatness never comes off.] +``` + +**Critical rules for the 6-panel format:** +- One prompt, one fenced code block, one image output. Never deliver six separate prompts when the user asks for a character sheet. +- Identity description (build, face, hair, wardrobe, accessories) lives in the opening paragraph — described once, applies to all six panels. +- Each panel only describes what's *different* from the locked identity — stance, angle, framing, focus. +- Aspect ratio is set in the Higgsfield UI by the user, never written into the prompt. +- Lighting and backdrop are always uniform across all six cells. +- Every panel must include the explicit panel position label ("Panel 1 (top-left)", etc.) so Banana Pro can compose the grid correctly. + +--- + +## MODE 3 — CINEMATIC SCENE PLATE + +**When to use:** Only when the user asks for a scene, an environment, a plate, a moment, or describes a setting. Never proposed proactively. + +Two flavors: + +- **3A — Character-in-environment plate:** placing one or more locked characters into a fully realized environment. Output becomes a Higgsfield reference asset that can feed Seedance for video generation. Camera language matches the cinema mode the eventual video will use. +- **3B — Pure environment plate:** no characters in frame. Pure location, lighting, atmosphere, set dressing. Useful as an environment anchor for video generation, mood-setting, or world-building. + +**Goal:** A single still that captures the world (and the character, when present) and the camera grammar — as if a cinematographer locked off and grabbed a photo on the same camera package mid-take. + +**Camera grammar — five cinema modes paired to scene type.** Pick the cinema mode that matches the scene. The cinema mode register (M1, M2, M3, M4, M5) is woven into the camera spec paragraph at the end of the prompt as part of the named camera package — see "THE CINEMA-PROSE REGISTER" for the locked write-out format. + +| If the scene is... | Cinema mode | +|---|---| +| Real-world dramatic (street, kitchen, car, bar, interior, exterior location) | M1 — Narrative | +| Studio / editorial / void / clean set / fashion film | M2 — Studio / Editorial | +| Action / combat / chase / high-energy physical | M3 — Action / Combat | +| Performance / concert / stage / pit | M4 — Performance / Concert | +| Atmospheric / empty / no-humans / weather plate | M5 — Atmospheric / Empty | + +The cinema mode carries: lens character, filtration look, film-stock rendition, grain, grade, color cast — all described as the visual *look*, never as brand names or model numbers the tools don't recognize. In the cinema-prose register, this gets written out as plain-language aesthetic, e.g., "Captured with a wide-latitude cinema look and a vintage 55mm-equivalent 2x anamorphic character at a wide aperture — oval bokeh, gentle horizontal squeeze, soft frame-edge falloff, a light diffusion bloom lifting highlights into a soft halation, color-negative daylight film rendition with fine 35mm grain, in an M1 cinematic narrative register." The M-tag appears as a brief identifier woven into the prose, not as a standalone label. + +--- + +### THE SILENT 6-BLOCK MENTAL CHECKLIST (PRE-COMPOSITION ONLY) + +Before writing the cinema-prose prompt, the skill silently runs through this six-bucket mental checklist to make sure the composition is complete. The buckets are NEVER written as labeled blocks in the prompt — they get woven into continuous cinema prose per the locked register below. This checklist is a thinking tool, not an output structure. + +**Bucket 1 — Shot DNA.** Camera position, what the camera is looking at, the framing register, and the mood. The spine of the shot. + +**Bucket 2 — Subject behavior + spatial placement.** What the subject is doing in this frame, where they sit in the frame (translated to positional prose, not coordinate notation), direction of motion or gaze. + +**Bucket 3 — Visible detail (resolution-aware).** Only the details a real camera at this distance, lens, and motion register would resolve. (Resolution-aware rule documented below.) + +**Bucket 4 — World.** Environment as ambience, not architecture. The space's register matters more than counting structural elements. World plate references carry the geometry — the prompt narrates the moment on top. + +**Bucket 5 — Light and atmosphere.** What the light is doing, where the haze is, where shadows fall, color temperature register, key vs fill vs rim relationships. + +**Bucket 6 — Camera spec + finish.** Full cinema stack as continuous descriptive prose, ending with the closing realism clause. + +These six buckets get composed into the five-paragraph prose structure below — they do NOT appear as labeled blocks in the output. See "THE CINEMA-PROSE REGISTER" for the actual write-out format. + +--- + +### RESOLUTION-AWARE DETAIL RULE (LOCKED) + +**Describe what the camera at this position can physically see, not what's "true" about the subject.** + +Before writing any visual detail in Block 3, the skill silently runs three diagnostic questions: + +1. **At this distance, would a real cinema lens resolve this detail?** If no, drop it. +2. **At this motion blur level, would this detail read?** If no, drop it. +3. **At this lighting register, would this detail be visible?** If no, drop it. + +**Examples of what this rule kills:** + +- A car shot from 200 feet up at 120 mph at dawn → side decals, windshield text, badge logos, wheel spoke count are NOT resolvable. Drop them. The car reads as silhouette + color blocks + headlights + motion blur trails. +- A person walking across a wide environmental plate at 50 yards → facial expression, jewelry, fabric weave are NOT resolvable. Drop them. The person reads as silhouette + hair color + wardrobe color blocks + posture. +- A character in a moody night scene lit by one practical → skin pore detail, peach fuzz, micro-expression are NOT visible at this lighting. Drop them. The character reads as face shape + eye glints + key wardrobe pieces catching light. + +**Examples of what this rule preserves:** + +- The same car in a tight static shot at 20 feet → decals readable, windshield text readable, badge legible, wheel detail visible. Describe them. +- The same person in a medium two-shot at 8 feet → facial expression readable, jewelry visible, wardrobe detail clear. Describe them. + +**Detail is earned by camera proximity, lens length, motion stillness, and lighting intensity. The skill respects this physics.** + +--- + +### X/Y COORDINATE SYSTEM (MENTAL COMPOSITION TOOL — NOT OUTPUT NOTATION) + +**The X/Y coordinate system is the skill's internal composition tool. It is NEVER written into the prompt body in the cinema-prose register.** The skill uses it silently to plan rule-of-thirds placement, motion direction, lead room, and landmark anchoring — then translates the coordinates into positional prose for the prompt (see the translation table under "THE CINEMA-PROSE REGISTER"). + +The coordinate library below is documented for the skill's planning use only. It does not appear in the output. + +**Frame grid:** +- **X axis:** 0% = left edge, 50% = center, 100% = right edge +- **Y axis:** 0% = top edge, 50% = center, 100% = bottom edge + +**Coordinate notation (internal use only):** `X: 30–55% / Y: 55–85%` — the rectangle of frame real estate the subject occupies. Always expressed as a range that represents the subject's bounding box, never a single point. + +**Rule-of-thirds anchor table (locked vocabulary):** + +| Thirds position | X | Y | +|---|---|---| +| Upper-left third | 33% | 33% | +| Upper-right third | 67% | 33% | +| Lower-left third | 33% | 67% | +| Lower-right third | 67% | 67% | +| Center | 50% | 50% | +| Upper third line (horizon/eye line) | — | 33% | +| Lower third line (horizon/eye line) | — | 67% | +| Left third line (vertical anchor) | 33% | — | +| Right third line (vertical anchor) | 67% | — | + +**Standard cinematographer placement library:** + +- **Hero subject, strong vertical (left third):** subject `X: 28–38% / Y: 25–95%` +- **Hero subject, strong vertical (right third):** subject `X: 62–72% / Y: 25–95%` +- **Two-shot facing each other:** subject A `X: 15–40% / Y: 25–90%`, subject B `X: 60–85% / Y: 25–90%` +- **Wide environmental with hero subject on lower-right third:** subject `X: 60–75% / Y: 55–80%`, environment fills the rest +- **Close-up face with eye line on upper third:** subject `X: 25–75% / Y: 10–85%`, eyes at `Y: 33%` +- **Three-quarter body portrait:** subject `X: 30–70% / Y: 15–95%` +- **Horizon on upper third:** horizon line at `Y: 33%`, sky fills `Y: 0–33%`, ground fills `Y: 33–100%` +- **Horizon on lower third:** horizon line at `Y: 67%`, sky fills `Y: 0–67%`, ground fills `Y: 67–100%` +- **Vehicle in motion:** car positioned at `X: 30–55%` with motion direction pointing toward `X: 100%`, leaving lead room ahead of the car for the eye to follow movement (always leave lead room in the direction of motion — never trail room) +- **Aerial subject (overhead light source, helicopter, sun shaft):** light source enters frame at the top edge `Y: 0%`, cone widening as it falls, source itself off-frame, subject lit at the destination coordinates +- **Architectural symmetry (centered hallway, centered facade, centered car alignment):** subject `X: 35–65% / Y: variable`, symmetry preserved + +**Coordinates are translated into positional prose for the prompt output.** Internally, the skill thinks of the primary subject in Paragraph 2 with a coordinate range, environmental landmarks in Paragraph 3, and load-bearing light sources in the light-and-atmosphere writing — then writes those positions as "centered in the room," "in the deeper background camera-left," "anchored on the lower-left third," etc. See the positional prose translation table under "THE CINEMA-PROSE REGISTER" for the canonical mappings. + +--- + +### THE LOCKED TAG BLOCK (DEPRECATED FOR PROSE — KEPT AS FALLBACK) + +**This six-phrase tag block is deprecated for the cinema-prose register.** It has been superseded by the closing realism clause documented under "THE CINEMA-PROSE REGISTER" below — a continuous descriptive paragraph that describes the actual look in plain language (wide-latitude cinema capture, vintage anamorphic character, diffusion bloom, color-negative film rendition with 35mm grain) along with the M-mode register, then closes with the "Real photographic frame... no CGI, no plastic, no AI" quality filter. + +The tag block format remains documented here ONLY as a fallback for cases where the user explicitly requests a stripped-down lean Mode 3 prompt without full cinema-prose. Default behavior is the cinema-prose closing paragraph. + +``` +[Cinema mode tag — M1 Narrative / M2 Studio / M3 Action / M4 Performance / M5 Atmospheric]. Atmospheric volumetric haze. Real volumetric light physics. Gentle filmic highlight roll-off. Lifted blacks. Theatrical 35mm grain. Photographed not generated. +``` + +If the fallback tag block is used, it REPLACES the cinema stack at the end. Modes 0, 1, 2, 4, and 5 still append the full cinema stack. The cinema-prose register's closing paragraph also replaces the cinema stack for Mode 3 — they are mutually exclusive options for Mode 3, with cinema-prose as the default. + +--- + +### THE CINEMA-PROSE REGISTER (LOCKED, NON-NEGOTIABLE) + +**Mode 3 prompts are written like a DP describing a real frame, not like a spec sheet.** The 6-block spatial logic still applies — but it dissolves INTO the prose. No labeled headers, no `X: 30–55% / Y: 25–95%` coordinate notation in the body, no CRITICAL LIGHTING RULES blocks, no explicit negations, no architectural enumeration of room geometry. + +The voice is **cinematic anamorphic prose** — confident, declarative, observational. The kind of language that appears in a treatment, a shot list narration, or a hero-still caption. Like a real photograph being described, not a frame being engineered. + +**Why this register works:** +- The model responds to confident scene description, not coordinate grids +- References carry the heavy lifting on geometry, palette, and continuity — the prompt narrates the moment ON TOP of the reference +- Over-specification creates conflicting instructions; the model trusts plain language more than rule-blocks +- Spatial logic is preserved by writing positionally ("standing alone in the center of the room," "in the deeper background camera-left") instead of numerically + +**What the register sounds like:** + +> "A cinematic anamorphic still photograph captured handheld on a real cinema set — a Dutch-tilted intimate over-the-shoulder hero composition of a young Korean man standing alone in a dim converted private garage lounge at pre-dawn, the entire frame tilted at approximately 4 degrees Dutch angle camera-left low giving the composition a quietly off-kilter held-breath feel, the camera positioned right behind him at shoulder height in a waist-up framing showing his back, shoulders, and the back of his head filling the foreground with the wall-mounted television playing the live broadcast visible past his right shoulder in the mid-ground." + +That opening sentence does the work of Blocks 1 and 2 in one continuous breath, with the camera position, the framing, the Dutch tilt, the subject placement, and the mood all woven together. + +--- + +### THE FIVE-PARAGRAPH PROSE STRUCTURE (LOCKED) + +Every Mode 3 prompt is composed as five paragraphs in this order. Paragraphs are not labeled in the output — they flow as continuous prose for the model. + +**Paragraph 1 — Opening shot description.** One long sentence that establishes: the medium ("a cinematic anamorphic still photograph"), the framing register ("Dutch-tilted intimate hero composition"), the subject identification at high level ("a young Korean man standing in a dim converted private garage lounge at pre-dawn"), the camera position and angle in prose ("the camera positioned right behind him at shoulder height in a waist-up framing"), and the mood/intent ("quietly off-kilter held-breath feel"). This is the spine. Everything that follows hangs from this opening. + +**Paragraph 2 — Character block.** Describes the character(s) in confident observational prose. Identity markers pulled from the attached reference written as visible facts in the frame ("dark layered mid-length tousled fringe falling across the back of his head, double small silver hoop earrings on each ear lobe catching faint warm spill, warm fair matte Korean skin"). Pose, attention, and held props woven in naturally ("a small black television remote held loosely in his right hand at his side... his head perfectly motionless, his eyes locked on the screen ahead of him"). + +**Paragraph 3 — World/environment block.** Describes the location as ambience and atmosphere, not architecture. The space's register — converted garage at pre-dawn, dawn cliffside, neon parking garage — matters more than counting structural elements. Anchor the world to the attached reference ("the converted garage lounge at pre-dawn carrying from the attached world reference"). Background subjects (a car silhouette in deep BG, a second character in the alcove) get positional language ("in the deeper background camera-left") not coordinates. + +**Paragraph 4 — Subject anchor block.** Whatever the focal anchor of the shot is — the TV broadcast playing on the wall, the second car in BG, the dawn whisper on the horizon — gets its own paragraph. This is where any specific content (broadcast graphics, decals, signage, environmental detail) is described. If the shot has no focal anchor beyond the character, this paragraph folds into Paragraph 3. + +**Paragraph 5 — Camera spec + finish.** Full cinema look in one continuous descriptive paragraph: capture register, lens character, diffusion/filtration look, film-stock rendition, grain register, grade, color cast, optical character (anamorphic oval bokeh, organic handheld breath, edge falloff, soft diffusion bloom if relevant) — all in plain-language look terms, never brand or model names — and the closing realism clause ("Real photographic frame captured on a real cinema camera, real anamorphic lens, real cotton tee, real human subject, real concrete and haze — no CGI, no rendered look, no digital cleanliness, no plastic surfaces, no AI smoothness, no skin smoothing, no glow, no halation bloom that reads as artificial, no glossy highlights"). + +The closing realism clause is mandatory. The list of "no X, no Y, no Z" at the very end is a load-bearing element — it tells the model what NOT to lean toward, and it does so AFTER all the positive description, where the model handles it as a quality filter rather than a conflicting instruction. + +--- + +### KEY WRITING RULES FOR THE PROSE REGISTER + +1. **No labeled blocks in output.** Never write "Block 1," "PARAGRAPH 2," "CRITICAL LIGHTING RULE," or any structural label in the prompt body. The structure is invisible — it lives in the writing order. + +2. **No coordinate notation in the prompt body.** No `X: 38–62% / Y: 12–95%`. Replace with positional prose: "centered in the room," "in the deeper background camera-left," "filling the foreground," "anchored upper-left of the broadcast." + +3. **No CRITICAL/IMPORTANT/MUST rules.** No "the cool wash MUST NOT catch the back wall." Replace with descriptive prose about what IS happening: "the cool broadcast wash catching only the immediate floor patch around his feet and a soft cool rim on his shoulders." + +4. **No explicit negations as instructions.** Don't write "NO long sleeves, NOT factory tank-top construction." Write what IS there: "the sleeves cut off cleanly at the shoulder seam with raw unfinished armholes." The end-of-prompt realism clause is the ONLY place negations appear, and only as quality filters (no CGI, no plastic, no AI smoothness). + +5. **References do the geometry work.** When the user attaches a world plate, write "carrying identically from the attached world reference" — don't re-enumerate the room geometry. The reference IS the geometry. + +6. **References do the identity work.** When the user attaches a character reference sheet, write "carrying identically from the attached character reference" — don't re-describe every facial feature in the prompt. The reference IS the identity. + +7. **The prompt narrates THE MOMENT.** What is the character doing right now? What is the camera doing right now? What is the light doing right now? That's the prompt's job. Continuity (room geometry, character identity, broadcast content) is reference work. + +8. **The closing realism clause is non-negotiable.** Every Mode 3 prompt ends with the full cinema stack paragraph + the "Real photographic frame... no CGI, no plastic, no AI" close-out. This replaces the old locked tag block. + +9. **The cinema mode register (M1/M2/M3/M4/M5) is invoked by DESCRIBING the actual look in plain language** in Paragraph 5 — not by writing "M1 Narrative" as a tag, and never by naming camera/lens/stock brands. Example: "Captured with a wide-latitude cinema look and a vintage 55mm-equivalent 2x anamorphic character at a wide aperture — oval bokeh, gentle horizontal squeeze, soft frame-edge falloff, a light diffusion bloom lifting highlights into a soft halation, color-negative daylight film rendition pushed slightly, with fine 35mm grain, in an M1 cinematic narrative register." The M-tag appears as a brief identifier at the end of the description, not as a standalone label. + +10. **Do not write aspect ratios into the prompt** — the user sets aspect in the Higgsfield UI (typically 21:9 or 2.39:1 for cinematic plates). + +--- + +### CANONICAL MODE 3 PROMPT — REFERENCE EXAMPLE + +This is the locked register. Every future Mode 3 prompt is written in this voice — confident, observational, declarative, references doing the geometry and identity work, no labeled blocks, no coordinate notation in the body. + +``` +A cinematic anamorphic still photograph captured handheld on a real cinema set — a low-angle medium hero composition of a woman standing alone at the edge of an empty rooftop at dusk, the camera positioned slightly below her eye line in a waist-up framing anchored to the left third of the frame, the deepening dusk sky filling the upper two-thirds of the frame behind her, the city skyline reading in soft silhouette across the lower third of the background, the composition holding a quiet observational stillness. + +The character carrying identically from the attached character reference — her hair, skin, makeup, and identity locked from the reference. She wears the wardrobe carrying identically from the attached wardrobe reference, the fabric reading natural across her shoulders and upper torso. Her body is angled three-quarters toward camera, her weight settled on her back foot, her left hand resting loosely at her side, her right hand at her hip. Her gaze is locked across the rooftop toward the horizon screen-right, her expression neutral and held, her shoulders relaxed but settled. + +The rooftop beyond her is the location carrying from the attached environment plate — weathered concrete edge, rusted railing in the foreground softened by shallow depth of field, the city skyline beyond reading as silhouette layers stacked into atmospheric haze, distant building lights coming on one by one as dusk falls. Light atmospheric haze suspended through the deeper space giving the air real physical body, the horizon glow warm magenta-orange transitioning into deep blue overhead. Practical warm light from off-frame at camera-right catches the right side of her face and shoulder with restrained natural rim, the cool ambient dusk light wrapping faintly around her left side where the warm and cool temperatures meet. + +The city skyline reads as the visual anchor of the deeper frame — building silhouettes layered front-to-back with progressive atmospheric desaturation, the warm horizon glow visible between the structures, scattered building lights warm and small in the deep distance, a faint aircraft beacon blinking once at the upper-right edge of the frame, the rest of the sky held in deep cool blue with the first stars just visible at the upper edge. + +Captured with a wide-latitude cinema look and a vintage 55mm-equivalent 2x anamorphic character at a wide aperture, a light diffusion bloom softening the highlights, color-negative daylight film rendition pushed slightly, in an M1 cinematic narrative register. Real anamorphic optical character with oval bokeh on the deeper city elements, organic handheld operator breath, subtle frame-edge falloff, a faint horizontal streak flare on the brightest horizon highlight. Theatrical fine 35mm film grain across the entire frame — skin, fabric, concrete, sky, haze. Contemporary teal-amber cinema grade with the warm horizon glow on her right side meeting the cool dusk wash on her left, shadows lifted gently into deep cool blue-grey never crushed, highlights rolled off softly never blown. Real photographic frame captured on a real cinema camera, real anamorphic lens, real fabric, real human subject, real concrete and haze — no CGI, no rendered look, no digital cleanliness, no plastic surfaces, no AI smoothness, no skin smoothing, no glow, no halation bloom that reads as artificial, no glossy highlights. +``` + +This example demonstrates the five-paragraph prose structure with references doing the geometry/identity work, positional prose instead of coordinates, and the closing realism clause. + +--- + +### THE OLD COORDINATE GRAMMAR (DEPRECATED) + +The previous Mode 3 structure used labeled blocks, X/Y coordinate notation, CRITICAL LIGHTING RULES sections, explicit negations, and architectural room enumeration. **That grammar is deprecated for prose composition.** It made the model overcorrect and confuse spatial relationships. + +The 6-block spatial logic (Shot DNA, Subject + placement, Visible detail, World, Light, Locked tag block) is preserved as a SILENT mental checklist — the skill thinks in those buckets, but writes in continuous cinema prose. The X/Y coordinate library and resolution-aware detail rule remain as composition diagnostics, but coordinates are translated into positional prose for the prompt body. + +Positional prose translation table: + +| Old coordinate notation | New prose translation | +|---|---| +| `X: 38–62% / Y: 12–95%` | "centered in the frame" / "filling the centered vertical column" | +| `X: 18–55% / Y: 8–95%` | "in the left half of the frame" / "filling the foreground left" | +| `X: 60–85% / Y: 25–80%` | "in the right portion of the frame" | +| `X: 30–55% / Y: 55–85%` | "in the lower-left third" / "anchored to the lower-left third" | +| horizon at `Y: 33%` | "the horizon line sitting at the upper third" | +| subject in `X: 28–38%` (left third) | "anchored on the left third" / "weighted to the left of frame" | +| second subject `X: 60–85%` | "in the deeper right background" / "positioned camera-right" | + +--- + +## MODE 4 — GPT-2 DETAIL FACE SHOT (HIGGSFIELD GPT-2) + +**When to use:** Only when the user explicitly asks for a chest-up portrait, face detail shot, or close-up where face/skin/eye fidelity matters most. Never suggested proactively for any other shot type. + +**Gating behavior:** +- Wait for the user to ask for a detail/face/chest-up shot. +- Then ask: "want to run this on Higgsfield GPT-2 for the higher-fidelity face read? heads-up — GPT-2 uses more Higgsfield credits than Banana Pro." (Mention the credit cost only the first time per conversation. After that, just confirm "want this on GPT-2?") +- Wait for the green light. Then run the standard pre-prompt confirmation. Then deliver the prompt. + +**Goal:** Maximum face fidelity. Skin texture, eye detail, lip detail, hair edge detail, micro-expression, fabric weave at the collar and shoulder. The character stays locked from existing references — GPT-2 just reads it sharper. + +**Frame and composition:** +- Framing: chest-up, shoulders-up, or face-only (forehead to collarbone) +- Background: mid-gray seamless studio (locked default, matches base references) OR soft moody studio backdrop if the user wants a more cinematic register — white seamless only on explicit request +- Lighting: classical beauty lighting — soft key from slightly above and camera-left, soft fill at chest level from camera-right, subtle hair light behind, soft underlight bounce from below to lift eye sockets +- Do not write aspect ratios into the prompt — the user sets aspect in the Higgsfield UI (typically 4:5 or 1:1 for face/chest-up). + +**Canonical Mode 4 (GPT-2) prompt structure:** + +``` +[Visual descriptor of the character — hair, makeup, wardrobe visible in frame from the chest up, jewelry visible at collar and ears, eye color and detail, lip detail, skin finish]. [Pose direction — head angle, shoulder angle, expression register]. + +[Background — mid-gray seamless studio (locked default) OR specified moody backdrop]. Classical beauty lighting — soft key from slightly above and camera-left at 35 degrees, soft fill at chest level from camera-right, subtle hair light behind defining the crown, soft underlight bounce lifting the eye sockets. [Framing — chest-up portrait / shoulders-up / face-only forehead-to-collarbone]. + +Extreme face fidelity. Real skin texture with visible pores, fine peach fuzz catching light along the jawline and upper lip, subtle subsurface scattering on the nose bridge cheeks and ears, micro-expression detail in the eyes and mouth corners, individual lash detail, real moisture and reflection in the iris with visible iris pattern, real lip texture with subtle natural lip lines, hair rendered strand by strand at the hairline with visible baby hairs and flyaways, fabric weave visible at the collar and shoulder. + +[The cinema stack]. +``` + +**Why GPT-2 for these shots:** Banana Pro is excellent for full-body, multi-panel, and scene work. GPT-2 has a stronger read on micro-detail at face-and-shoulders range — pores, lash separation, iris pattern, lip texture, hair strand definition at the hairline. For any shot where the face is the entire point of the image, GPT-2 earns the extra credits. + +--- + +## MODE 5 — OUTFIT REPLACEMENT (BANANA PRO TWO-REFERENCE SWAP) + +**When to use:** When the user wants to take an outfit and pose from one image and apply it to a different character. The outfit reference image has the wardrobe, styling, footwear, accessories, and body pose locked in. The character reference image has the face, bone structure, body type, skin tone, and hair locked in. The output combines them — the character from the second image now wears the outfit and holds the pose from the first image. + +Trigger phrases include: "outfit replacement," "outfit swap," "put [character] in this outfit," "swap the face," "put this character in that fit," "replace the model with [character] wearing [outfit]," or any request that involves combining a wardrobe/pose reference with a separate character reference. + +**Goal:** Maximum identity transfer of the character (from @image2) onto the outfit and pose (from @image1) with zero alteration to either side — the outfit stays exactly as shown, the character's identity stays exactly as shown, only the body underneath the outfit changes to match the new character. + +**Reference attachment order (CRITICAL):** +- **@image1 = outfit reference** — the image containing the outfit, styling, footwear, accessories, and pose to keep +- **@image2 = character reference** — the image containing the face, bone structure, body type, skin tone, and hair to apply + +This order is fixed. Do not swap. The prompt is written around this exact mapping and reversing it will break the swap. + +**Pre-prompt confirmation rule applies.** Even though the prompt itself is short and locked, the user should confirm: +- Which reference is the outfit/pose source +- Which reference is the character/identity source +- That both references are uploaded and visible in chat + +Use the standard pre-prompt check format — references first, then the two roles, then run. + +**Canonical Mode 5 prompt (LOCKED — do not modify):** + +``` +Replace the character in @image1 with the character in @image2. Keep the outfit and pose from @image1 exactly. Match the face, bone structure, body type, skin tone, and hair from @image2. Clean mid-gray seamless studio background, even neutral mid-gray with no seam line, soft large-source studio lighting, skin and outfit rendering at their true natural tone against the neutral gray, natural film grain, full body framing. +``` + +**Why this prompt is locked:** Mode 5 does not use the cinema stack. The two reference images carry the photographic register on their own — adding texture stack language on top of a swap operation creates conflicting instructions and degrades the identity transfer. The lean prompt structure is the entire point of this mode. Trust the references. + +**Background and lighting language is also locked.** The locked prompt outputs to a clean mid-gray seamless studio with soft large-source lighting — this is the canonical neutral output for character/outfit reference assets (white seamless only if the user explicitly asks for a white card). If the user wants the swap output dropped into a different environment, that becomes a Mode 3 scene plate built on top of the Mode 5 output (run Mode 5 first to produce the locked base, then Mode 3 to place it in the scene). + +**Per-character or per-IP modifiers:** None. Mode 5 is character-and-IP-agnostic. The prompt does not name characters, does not specify nationality, does not adjust language per group or project. The two reference images carry all of the identity load. The skill ships the locked prompt unchanged regardless of what the character or outfit is. + +**What Mode 5 is NOT for:** +- Building a new outfit from scratch on a locked character → use Mode 1A (Banana Pro full styling) or Mode 1B (Soul Cinema two-step) +- Generating multiple angles of a locked character in a locked outfit → use Mode 2A (3-panel character sheet, default) or Mode 2B (6-panel, only if the user asks for it) +- Placing a character in a cinematic environment → use Mode 3A +- Detail face shots → use Mode 4 (GPT-2) + +Mode 5 is the single-purpose tool for: *here is an outfit on a model I don't care about, and here is the character I do care about, give me the character in that outfit.* + +--- + +## UNIVERSAL PROMPT RULES (ALL MODES) + +These apply to every prompt this skill produces, no exceptions: + +1. **No character names in prompt output.** Describe by hair color, wardrobe, identity markers extracted from references or the locked development spec. +2. **No real brand names in prompt output.** Generic visual descriptors only. +3. **No `@image` tags or `<<>>` placeholders.** Image attachment happens in the Higgsfield UI directly. The prompt is text-only. +4. **No internal production context.** No "carried through the world," no "matching the previous scene." Every prompt is standalone and self-contained. +5. **Pure visual description only.** No meta-commentary about why the shot is framed that way, no references to the medium ("this is the still," "what the photo looks like"), no emotional intent ("the read is..."). Every word describes a visible thing in the frame. +6. **No teeth-showing smiles** unless the user explicitly requests one. Default expressions are model face-card neutral, subtle controlled, slight closed-lip smirk at most. +7. **No negative prompts.** This skill does not output negative prompt blocks. Higgsfield workflow doesn't use them. +8. **Cinema stack baked in for Modes 0, 1, 2, 4, 5.** The cinema stack closes every Mode 0, 1, 2, 4, and 5 prompt (with Step 1B.1 outfit reference using the lighter close documented in that section, and Mode 5 using its own locked lean prompt). Mode 3 is the exception — see rule 9. +9. **Mode 3 uses the cinema-prose closing paragraph in place of the cinema stack AND locked tag block.** Mode 3 scene plates (3A and 3B) close with the cinema-prose paragraph documented under "THE CINEMA-PROSE REGISTER" — the full look described in plain language (wide-latitude cinema capture, vintage anamorphic character, light diffusion bloom, color-negative film rendition with 35mm grain, never brand or model names), real anamorphic optical character (oval bokeh, handheld breath, edge falloff), theatrical fine grain, contemporary teal-amber grade with shadow/highlight handling, and the closing realism clause ("Real photographic frame captured on a real cinema camera... no CGI, no plastic, no AI smoothness, no skin smoothing"). This closing paragraph replaces the cinema stack AND the old locked tag block for Mode 3. The old tag block remains documented as a deprecated fallback only. +10. **Single fenced code block on output.** Deliver the full prompt as one continuous code block ready for clean copy-paste — no preamble or postamble unless the user explicitly asks for a breakdown. (The pre-prompt confirmation is its own short message before the code block — that's not preamble inside the code block.) +11. **Pre-prompt confirmation, always — except minor iteration on an approved prompt.** Every full prompt is preceded by a bulleted "here's what I'm about to prompt, sound good?" check. **References listed first**, then character, outfit, backdrop/environment, framing. Wait for the green light. Exception: if the user requests a minor tweak to a prompt already approved and delivered in this thread (framing shift, pose change, repositioning, single wardrobe swap, lighting nudge), skip the check and deliver the revised prompt directly. New characters, full outfit swaps, new modes, or new scene types still trigger a check. +12. **Flat grade on every character plate and sheet — no exceptions.** Every Mode 0, 1, 2, 4, and 5 prompt closes with the LOCKED FLAT GRADE: flat 18% gray backdrop (one uniform value, no gradient, no falloff), shadowless frontal illumination with matched fill on all sides (no key side, no shadow side, no rim, no hair light, no kicker), and zero cast shadow (none on the background, no contact shadow under the feet or hem). Never write a key direction, a shadow triangle, a nose or under-chin shadow, or a floor shadow into a character plate. Mode 3 scene plates are the ONLY place directional cinematic lighting lives. +13. **No aspect ratios in prompt output.** Never write "3:4 vertical aspect ratio," "16:9 horizontal," "21:9 cinematic," "4:5 portrait," "2.39:1," or any other ratio spec inside the prompt body. The user sets aspect ratio in the Higgsfield UI directly. The prompt describes framing in plain language only ("full body," "chest-up portrait," "wide establishing shot," "medium two-shot") — never with a numerical ratio. + +--- + +## INVENTORY EXTRACTION CHECKLIST (run silently before composing) + +Before writing the final prompt, silently catalog: + +- [ ] Mode selected (0 face lock / 1 single-image outfit / 2 six-panel / 3A character scene / 3B environment plate / 4 GPT-2 / 5 outfit replacement) and rationale +- [ ] Every uploaded reference image identified and listed by short visual descriptor (this becomes the first bullet of the pre-prompt check) +- [ ] If Mode 0: text spec for the new character is locked and approved, tool fork has been presented (Banana Pro / GPT-2 / Soul Cinema), user has picked, and the locked baseline wardrobe (plain black camisole for women, plain black ribbed tank for men) is included in the prompt. If Soul Cinema picked, running Step 0.1 (Soul Cinema face plate) before Step 0.2 (Banana Pro 3:4 headshot). +- [ ] If Mode 1: a Mode 0 face lock exists for the character (if new), OR a locked character reference exists (if existing) +- [ ] If a character sheet was requested with no format named: defaulting to Mode 2A (3-panel), not offering the 6-panel +- [ ] If Mode 2A: left-panel headless variant picked correctly from the garment (Variant A ghost-mannequin hollow for structured necklines — tees, tanks, collars, hoods, keyholes; Variant B clean neck cut for dresses, halters, strapless, spaghetti straps, plunging or scooped necklines). Full headroom preserved — the head is removed from the body, not cropped by the frame. Hair removed with the head. Right panel is tight CHEST-UP, not waist-up. Skin-tone consistency clause present across all panels. +- [ ] If Mode 2B (6-panel): user explicitly asked for it, the resolution warning was given once, and the user said go +- [ ] If Mode 2: a Mode 1 base outfit reference exists and is approved (if not, stop and build the base first) +- [ ] If Mode 4: user explicitly asked for face/chest-up and confirmed GPT-2 +- [ ] If Mode 5: two reference images uploaded — outfit reference (becomes @image1) and character reference (becomes @image2), order confirmed with the user +- [ ] Every character described by visual markers only (hair, makeup, wardrobe, jewelry, body markers, pose, expression) +- [ ] If Mode 3: environment described as ambience (not architectural enumeration) — world plate reference carries geometry +- [ ] If Mode 3: matching cinema mode identified (M1/M2/M3/M4/M5) and woven into Paragraph 5 camera spec +- [ ] If Mode 3: subject placed in frame with positional prose (not X/Y coordinate notation) — rule-of-thirds anchored, not dead-center unless explicitly motivated +- [ ] If Mode 3: resolution-aware detail check passed — every visible detail is something the camera at this distance, lens, motion, and lighting can physically resolve; anything the camera couldn't see is dropped +- [ ] If Mode 3: prompt follows the FIVE-PARAGRAPH PROSE STRUCTURE (Opening shot / Character / World / Subject anchor / Camera spec + finish) — no labeled blocks in output +- [ ] If Mode 3: closing realism clause is in place (full camera package + M-mode + "Real photographic frame... no CGI, no plastic, no AI" quality filter) +- [ ] Pose, body angle, expression register chosen +- [ ] No names, no brands, no internal context, no meta-commentary +- [ ] LOCKED FLAT GRADE will close the prompt (Modes 0, 1, 2, 4, 5) — flat uniform 18% gray, shadowless matched-fill light, zero cast shadow, stated per-panel on sheets. Mode 3 uses the cinema-prose closing paragraph instead and is the only mode with directional light. +- [ ] Pre-prompt confirmation delivered and confirmed — references listed FIRST in the bullet list + +If anything needed for composition is missing from the user input, ask before writing. + +--- + +## WHEN THE USER ASKS FOR A PROMPT + +The flow is always: **confirm character → confirm what's about to be prompted → deliver the prompt in a fenced code block**. + +The user pastes the code block straight into Higgsfield. Tool routing: Banana Pro / Nano Banana for Mode 0 Step 0.A (single-pass default), Mode 0 Step 0.2 (Soul Cinema path lock), Modes 1A, 2, 3, 5; GPT-2 for Mode 0 Step 0.B (highest fidelity single-pass) and Mode 4; Soul Cinema for Mode 0 Step 0.1 (iteration path) and Mode 1B. The user attaches the same reference images (or selects them from their Higgsfield character/environment library) inside the Higgsfield UI. 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QVgkY)K>7jjBn<`z0Jt$)Qvd(} literal 0 HcmV?d00001 diff --git a/Joey's Cinema Skill Files/character-builder/character-builder/SKILL.md b/Joey's Cinema Skill Files/character-builder/character-builder/SKILL.md new file mode 100644 index 0000000..527f3b1 --- /dev/null +++ b/Joey's Cinema Skill Files/character-builder/character-builder/SKILL.md @@ -0,0 +1,546 @@ +--- +name: character-builder +description: "Character and outfit builder for Higgsfield image generation. Three workflows: (1) BUILD FROM SCRATCH — photoreal humans via a Higgsfield Soul face test followed by a detailed 3:4 chest-up lock in Nano Banana Pro or Higgsfield GPT-2, or anime/cel-shaded characters built directly in Banana Pro with a full cel render stack; (2) ADDITIONS TO AN EXISTING CHARACTER — hair changes, makeup registers, piercings, tattoos, scars, expression sets, and re-locks that extend a character without breaking identity; (3) OUTFIT BUILDER — wardrobe proposals, direct 9:16 builds on the locked character, invisible-mannequin garment plates for complex looks, and 3-panel character sheets. Covers the flat 18% gray plate, the flattering-realism ceiling, the cel-shade render stack, identity-marker locking, and reference reading. Use for building a new character, locking a face, changing a character's hair or markings, designing an outfit, generating a character sheet, or any character reference still." +--- + +# Character Builder — Higgsfield Character & Outfit Grammar + +The locked grammar for building characters and their wardrobes as reusable image assets. A character is not one picture — it is a canonical face lock, a set of identity markers, and a growing library of outfits, all anchored so that every downstream image and video prompt renders the same person. + +Three workflows: + +| Workflow | Use when | +|---|---| +| **Part 1 — BUILD FROM SCRATCH** | No reference exists. The character is being invented. | +| **Part 2 — ADDITIONS** | The character is locked. Something is being changed or added to them permanently. | +| **Part 3 — OUTFIT BUILDER** | The character is locked. A new fit is being designed and put on them. | + +Never skip forward. An outfit cannot be built on a character whose face isn't locked. An addition cannot be made to a character who doesn't exist yet. + +--- + +## CORE PHILOSOPHY + +No plastic. No CGI sheen. No 3D-render look. No commercial gloss. No AI-generic skin or hair. + +### The two axes — separate these, always + +Photoreal character work runs two things that sound like one thing and are not: + +**Axis 1 — BIOLOGICAL REALISM: fully on.** The subject must read as a real living person. Real pore texture, real peach fuzz at the jaw and hairline, real subsurface scattering, hair rendered strand by strand with flyaways and baby hairs, real fabric weave and weight and drape, real metal surface on jewelry, real eyes with depth and moisture. This never comes off. + +**Axis 2 — PHOTOGRAPHIC CAPTURE BEHAVIOR: off on every character plate.** A character plate is not a photograph. It carries no lighting, no shadow, no lens character, no atmosphere, and no capture artifacts. No key direction, no shadow side, no cast shadow, no contact shadow, no falloff on the background, no light spill, no bokeh, no depth-of-field falloff, no vignette, no flare, no film grain. + +The two get tangled constantly because "photorealistic" sounds like it means both. It doesn't. Writing *"photographed on a real camera by a real photographer"* into a character plate switches on Axis 2 along with Axis 1 — and Axis 2 is exactly what poisons a reference. The subject should look like a real person, rendered flat, against nothing. + +**Why Axis 2 is off.** These are references, not finished frames. Any lighting information baked into a plate — a cheek triangle, a nose shadow, a contact shadow under the feet, a soft falloff behind the shoulder, a warm bleed on the backdrop — is inherited and amplified by every downstream generation that reads it, and it fights whatever lighting the actual scene wants. The plate carries zero lighting. The scene prompt or the video prompt does all the lighting later. + +### The flattering-realism ceiling — LOCKED, every face, every mode + +Full skin realism is always on: visible pore texture, peach fuzz, subsurface scattering, hair flyaways, the matte finish that carries the anti-plastic look. But realism never means unflattering. No acne, no blemishes, no prominent spots, no scarring the user didn't ask for, no enlarged or cratered pores, no rough bumpy texture, no aggressive detail that reads clinical. The texture is fine, soft, even, and natural. Matte is the anti-plastic lever; fine-and-even is the flattering lever. Both run together. Where they conflict, resolve toward flattering — a face should always look good. + +### Cel-shaded characters + +The philosophy inverts. Every image reads as hand-drawn animation production art. Clean deliberate line weight, hard-edged tonal separation, flat color fills, no photographic grain, no lens blur, no airbrush gradients. Axis 1 is off along with Axis 2 — no pore texture, no subsurface scattering, no strand-level hair. + +--- + +## THE FLAT GRAY PLATE (LOCKED DEFAULT FOR ALL CHARACTER WORK) + +**18% neutral gray seamless with a completely flat shadowless grade is the locked default** for face locks, character references, outfit plates, character sheets, and prop references. Pure white is the explicit-request exception, used only for a finished standalone still meant to be posted or handed off. + +**Why gray.** Pure white and pure black create maximum subject-to-background contrast. Image and video models amplify errors most at high-contrast edges — that's where halo, edge breathing, and contour instability get baked in. A neutral mid-gray ground lowers subject-to-background contrast, giving cleaner edge extraction and far less inherited contrast when the still is read as a reference frame downstream. + +**The background stays neutral; the subject does not.** The ground is an even neutral mid-gray, never warm-shifted. But the gray must never cool or neutralize the subject — skin renders at its true natural tone and wardrobe at its true natural color, exactly as under neutral daylight. The relight-from-scratch language and the explicit "warmth preserved and natural, never pale or washed-out or cool-shifted" clause hold this. + +**Why flat.** See Axis 2 above. The plate carries zero lighting information so nothing downstream inherits it. + +**The background is a field, not a room.** This is the distinction that matters most and the one most often lost. A photographed seamless is a *physical surface* — it takes light, it falls off, it catches spill, it holds the subject's shadow, it has a floor the subject stands on. A character plate background is none of that. It is a flat uniform color field with nothing behind the subject at all: no surface, no floor, no wall, no corner, no seam, no horizon, no plane the subject makes contact with. The subject does not stand on anything and does not stand in front of anything. Nothing the subject does affects the field. + +**Zero shadow outside the subject — absolute.** No cast shadow of any kind anywhere in the frame. No contact shadow, no floor shadow, no drop shadow, no ambient occlusion where the body meets the field, no soft darkening behind the shoulders or under the hem, no halo, no edge darkening, no rim of any kind separating the figure from the field. Shading exists only *on* the subject and stops at the subject's silhouette. + +**Zero light bleed outside the subject.** No spill, no glow, no bounce, no color cast thrown from the subject or the wardrobe onto the field. No brightening behind the head, no warm bleed off the skin, no reflected color from a bright garment. The field's value is identical at every pixel whether it is beside the subject or in the far corner. + +**LOCKED FLAT CLOSE — use verbatim on every photoreal character plate:** + +``` +The background is a single flat 18% neutral gray field — one uniform value at every pixel corner to corner, identical directly beside the subject and in the far corners, with no seam line, no gradient, no hotspot, no vignette, and no falloff to lighter or darker anywhere in the frame. It is a flat color field, not a photographed backdrop — no surface, no floor, no wall, no corner, no horizon, and no plane the figure stands on or in front of. + +Relight from scratch overriding any reference lighting: completely flat shadowless illumination — one enormous soft frontal source at camera position wrapping the subject evenly, matched equal fill from camera-left and camera-right at identical intensity, matched fill from above and below, so both sides of the face read at exactly the same brightness. No key-and-fill ratio, no modelling, no shadow side, no cheek triangle, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker, no specular hotspot. Extremely low contrast, even, milky, catalogue-flat. Form is described by bone structure, hair strands, and fabric folds alone, not by light and shadow. + +Absolutely zero shadow anywhere outside the subject. No cast shadow, no contact shadow, no floor shadow, no drop shadow, no ambient occlusion where the body meets the background, no soft darkening behind the shoulders or beneath the hem, no halo, no edge darkening, and no rim separating the figure from the field. Shading exists only on the subject and stops cleanly at the silhouette. Absolutely zero light bleed outside the subject — no spill, no glow, no bounce, no reflected color cast thrown from the skin or the wardrobe onto the background, and no brightening anywhere behind the figure. + +Skin reads matte and velvety — zero shine on forehead, nose bridge, cheekbones, temples, and chin, no oily T-zone. Skin renders at its true natural skin tone and wardrobe at its true natural color, warmth preserved and natural against the neutral gray, never pale or washed-out or cool-shifted by the background. Real peach fuzz at the jaw and hairline, real soft fine even pore texture, subsurface scattering reading as semi-translucent biology, real hair rendered strand by strand with fine flyaways at the hairline, real fabric weave and drape, never plastic, never waxy, never glass-skin, never harsh — fine flattering texture that keeps the face looking good, no acne, no blemishes, no rough pores. + +Even sharpness edge to edge across the entire frame. No depth-of-field falloff, no bokeh, no background blur, no lens vignette, no lens distortion, no flare, no bloom, no chromatic aberration, no film grain, no atmospheric haze, no air between the subject and the background. +``` + +**Four things must appear in every flat close, always:** +1. **Flat field** — one uniform value at every pixel, explicitly a color field rather than a photographed surface +2. **Shadowless illumination on the subject** — huge frontal source, matched fill on all four sides, no key ratio, no rim, no hair light, no kicker +3. **Zero shadow outside the subject** — no cast, contact, drop, occlusion, halo, or edge darkening +4. **Zero light bleed outside the subject** — no spill, glow, bounce, or reflected color onto the field + +Miss any one and the plate comes back with lighting information baked into it. + +**For sheets:** the flatness must be stated as applying *uniformly across all panels* — same gray value, same shadowless light, no cast shadow in any panel. + +--- + +# PART 1 — BUILD FROM SCRATCH + +For any character with no existing reference. Three stages, in order: text spec → style fork → build. + +## Stage 1 — The text spec + +Let the user describe the character in their own words. Listen, then mirror back a locked spec in plain language covering: + +- **Apparent age register** — described by build and bearing, never a number +- **Face** — head shape, bone structure, jaw, chin, cheekbones, brow shape, eye shape and color, nose, lip shape +- **Skin** — tone and finish +- **Hair** — color with every nuance, length, texture, part, styling +- **Body** — build, proportions, posture +- **Default makeup register** — if any +- **Default expression and energy** +- **Identity markers** — piercings with position and metal, scars with placement and size, beauty marks, tattoos, signature jewelry + +Iterate the text spec freely until the user says it's locked. Nothing gets generated until they do. Fixing a face in text costs nothing; fixing it after twelve outfits have been built on it costs everything. + +## Stage 2 — The style fork + +Ask once, before any prompt: + +> Photoreal human, or anime / cel-shaded? + +The two paths do not share a render register, a tool routing, or a build sequence. Pick one before writing anything. + +--- + +## PATH A — PHOTOREAL HUMAN + +Three tools. Ask which before writing anything. + +| Tool | Role | When | +|---|---|---| +| **Higgsfield Soul** | Face test pass | Cheap and fast. Throws variations so the user can see the face several ways before committing. | +| **Nano Banana Pro** | Canonical lock — default | Balanced fidelity, reasonable cost, handles any framing. The standard lock tool. | +| **Higgsfield GPT-2** | Canonical lock — maximum fidelity | Sharpest read on micro-detail at face-and-shoulders range. Chest-up only. Higher credit cost. | + +**The standard sequence is Soul → Nano Banana Pro.** Run Soul first for the test pass, then lock in Nano Banana Pro. Skip Soul only if the user already knows exactly what the face is. + +**GPT-2 substitutes for Nano Banana Pro at the lock step**, not for Soul. It reads pores, lash separation, iris pattern, lip surface, and hair-strand definition at the hairline noticeably sharper than Nano Banana Pro — worth the credits when the face is the entire point of the image, which on a canonical lock it always is. + +**Offer GPT-2 whenever a photoreal lock is about to be written**, and whenever the user asks for a highly detailed portrait or headshot on a plain gray field: + +> Want the lock on Nano Banana Pro or GPT-2? GPT-2 reads micro-detail sharper — pores, lash separation, iris pattern — but it's chest-up only and costs more credits. + +Mention the credit cost **once per conversation**, then drop it. + +**GPT-2 constraints:** +- Chest-up framing only. Anything wider loses the fidelity advantage and wastes the credit hit. +- Everything else is identical to the Nano Banana Pro lock — same 3:4 framing, same 17-item description order, same flat plate, same locked close. The tool changes; the grammar does not. +- GPT-2 responds especially well to explicit micro-detail language, so a GPT-2 lock adds one dedicated fidelity paragraph before the flat close (see below). + +**Step A1 — Higgsfield Soul face test.** Cheap, fast, loose. Identity essentials only — no fine markers, no makeup detail, no granular anatomy. Soul can't hold those, and asking it to wastes the pass. + +**Step A2 — Canonical lock, 3:4 chest-up, in Nano Banana Pro or GPT-2.** Takes the approved Soul plate as the character reference and writes the face out in full detail. This is the image every future prompt anchors to, so it gets the longest, most specific description in the entire skill. + +### Step A1 — Soul face test + +**Wardrobe lock:** plain black thin-strap camisole for women, plain black ribbed tank for men. No jewelry, no logos, no graphics. Identity-pure. + +**Prompt structure — lean, essentials only:** + +``` +A [heritage] [woman / man] with a [build], [skin tone and finish], [hair color, length, texture]. [Eye shape and color]. [Only large, visually dominant markers — hold fine markers for the lock pass]. [She wears a plain black thin-strap camisole / He wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes to camera, lips closed and relaxed. + +The background is a single flat 18% neutral gray field — one uniform value at every pixel corner to corner, no seam line, no gradient, no hotspot, no vignette. It is a flat color field, not a photographed backdrop — no surface, no floor, no wall, no plane the figure stands in front of. Completely flat shadowless illumination — a huge soft frontal source at camera position with matched equal fill from camera-left, camera-right, above, and below, so both sides of the face read at exactly the same brightness. No shadow side, no nose shadow, no under-chin shadow, no rim light, no hair light, no kicker. Absolutely zero shadow outside the subject — no cast shadow, no contact shadow, no drop shadow, no ambient occlusion, no halo, no edge darkening. Absolutely zero light bleed onto the background — no spill, no glow, no bounce, no reflected color cast. Extremely low contrast, even, milky, catalogue-flat. Skin renders at its true natural skin tone, warmth preserved and natural against the neutral gray, never cool-shifted or washed-out by the background. Skin reads matte and slightly diffused, clean and even. Chest-up framing. + +Real human skin with visible natural pore texture, fine peach fuzz along the jawline, subtle subsurface scattering on the cheeks and ear edges. Hair rendered strand by strand with realistic natural texture and individual flyaways at the hairline. Even sharpness edge to edge, no depth-of-field falloff, no background blur, no vignette, no flare, no grain. +``` + +Deliberately lean. No full detail stack, no granular anatomy, no makeup paragraph. Let Soul interpret the face from the essentials so the variations are actually different from each other. The user runs several, picks one, and that becomes the reference for Step A2. + +### Step A2 — Canonical 3:4 chest-up lock (Nano Banana Pro or GPT-2) + +**This is the most important image in the character's life.** Everything downstream anchors here. Write it long and write it specific. + +**Framing:** 3:4 vertical, forehead to upper chest, the face filling most of the frame. A true close-up headshot, not a portrait with air around it. Chest-up, never waist-up — the whole point is resolution on the face. + +**What gets written out in full, in this order:** + +1. **Framing declaration** — 3:4 chest-up, forehead to upper chest, face filling the frame +2. **Reference anchor** — "the same character as the attached face plate" +3. **Build and heritage** — one clause +4. **Skin** — tone, undertone, finish +5. **Head and face structure** — head shape, forehead, temples, cheekbone height and projection, cheek hollow, jaw angle and definition, chin shape and projection, the line from ear to chin +6. **Eyes** — shape, set, spacing, tilt at the outer corner, lid crease depth and visibility, iris color with its variation across the iris, limbal ring, pupil, the wet line at the inner corner, under-eye structure +7. **Brows** — shape, arch position, thickness, density, hair direction, color relative to the hair +8. **Lashes** — length, density, curl, separation, upper and lower +9. **Nose** — bridge width and straightness, tip shape and projection, nostril shape and visibility, the shadow-free plane transitions +10. **Lips** — fullness upper versus lower, cupid's bow definition, philtrum length and depth, mouth width, corner shape, natural lip color and surface texture +11. **Ears** — shape and set, whether visible under the hair +12. **Hair** — color with every nuance and any tonal variation root to tip, length, texture, part, how it falls, hairline shape, baby hairs +13. **Makeup register** — if any, as a default that swaps freely later +14. **Identity markers** — each with exact placement: piercings by position and metal, beauty marks by location, scars by placement and size, visible tattoos +15. **Wardrobe** — plain black camisole or ribbed tank, no jewelry, no logos +16. **Pose and expression** — squared to camera, head level, neutral relaxed, eyes to camera, lips closed +17. **The LOCKED FLAT CLOSE** — verbatim + +**Prompt structure:** + +``` +A clean cinema-character-reference 3:4 headshot of the same character as the attached face plate, framed from the forehead down to the upper chest with the face filling most of the frame — a true close-up, not a portrait with space around it. + +[Build and heritage.] [Skin tone, undertone, and finish.] [Head and face structure — head shape, forehead, temples, cheekbone height and projection, cheek hollow, jaw angle, chin shape, the line from ear to chin.] [Eyes — shape, set, spacing, outer-corner tilt, lid crease, iris color and its variation across the iris, limbal ring, under-eye structure.] [Brows — shape, arch position, thickness, density, direction, color.] [Lashes — length, density, curl, separation, upper and lower.] [Nose — bridge, tip, nostrils.] [Lips — upper versus lower fullness, cupid's bow, philtrum, mouth width, corner shape, natural color and surface texture.] [Ears — shape, set, visibility under the hair.] [Hair — color with every nuance and tonal variation root to tip, length, texture, part, fall, hairline shape, baby hairs.] [Default makeup register, if any.] [Every identity marker with exact placement — piercings by position and metal, beauty marks by location, scars by placement and size, visible tattoos.] + +[She wears a plain black thin-strap camisole / He wears a plain black ribbed tank], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes directly to camera, lips closed and relaxed, subtle controlled energy. + +[LOCKED FLAT CLOSE — verbatim] +``` + +The output is the canonical character reference. Every future prompt for this character attaches it. + +**GPT-2 addition.** When the lock runs on GPT-2, insert one dedicated fidelity paragraph between the pose line and the flat close. GPT-2 rewards explicit micro-detail language in a way Nano Banana Pro does not: + +``` +Extreme face fidelity. Real skin texture with visible individual pores, fine peach fuzz catching light along the jawline and upper lip, subtle subsurface scattering across the nose bridge, cheeks, and ear edges reading as semi-translucent biology. Individual lash separation, upper and lower. Real moisture and reflection in the iris with a visible fibrous iris pattern radiating from the pupil and a soft limbal ring at the outer edge. Real lip surface texture with fine natural vertical lip lines. Hair rendered strand by strand at the hairline with visible baby hairs and individual flyaways. Visible fabric weave at the collar and shoulder. Micro-expression detail held in the eye corners and the mouth corners. +``` + +Everything else in the GPT-2 lock is identical to the Nano Banana Pro lock — same framing, same description order, same flat close, chest-up only. + +--- + +## PATH B — ANIME / CEL-SHADED (single-step, Banana Pro) + +Built directly in Banana Pro. No test pass — cel-shaded output is deterministic enough that the detailed prompt gets there in one shot, and a Soul test pass would return a photoreal face that fights the style. + +**Go full detail.** Cel-shaded characters live or die on specificity, because the style strips away the incidental realism that would otherwise carry identity. Every simplification is a decision that must be made explicitly. + +### The sub-style fork + +Ask which register before writing: + +| Register | Line | Shading | Eyes | Palette | +|---|---|---|---|---| +| **Modern TV anime** | Clean thin uniform, dark brown-black | 2-tone cel, soft-edged shadow | Large, multi-layer iris, 1–2 highlights | Bright, moderately saturated | +| **90s cel / retro** | Thicker, slight variation, hard black | 2-tone cel, hard-edged shadow | Rounder, simpler iris, single highlight | Muted, film-print warmth | +| **Manhwa / webtoon** | Very fine, tapering, often colored | 3-tone with soft gradient in hair | Detailed, glossy, heavy lower lash | High-key, pastel, airy | +| **Shonen action** | Bold varying weight, heavy black | 2-tone, hard shadow, strong rim | Sharp, angular, small highlight | Saturated, high contrast | +| **Shojo** | Delicate, tapering, brown-toned | Soft 2-tone, blush-heavy | Very large, deep multi-layer iris, many highlights | Soft, warm, pale | + +### What must be specified explicitly + +**Line art:** weight and whether it varies · color (pure black, dark brown, or color-matched to the fill it borders) · whether lines close fully or break · line weight on the face versus the body versus the hair. + +**Cel shading:** the tone count — two-tone (base plus shadow) is the default; three-tone adds a highlight band · whether shadow edges are hard or slightly softened · where the light comes from, since cel shadows are drawn shapes and need a stated direction even on a flat plate · whether there is any bounce or rim tone at all. + +**Color fill:** flat and uniform within each shape · no airbrush gradients · no photographic texture · no noise. + +**Eyes — the single most important identity element in cel work.** Specify: overall shape and tilt · iris size relative to the eye opening · the number of iris layers and their colors from outer ring inward · the pupil size and shape · the highlight count, size, and position · whether there is a lower-lid light reflection · upper lash line weight and how far it extends past the outer corner · lower lash presence · the gap between the lash line and the iris top. + +**Hair:** rendered in clumped wedges and locks, never individual strands · the number and shape of the front pieces framing the face · the crown shape and how the part reads · the highlight band — its shape, whether it is a single sweep or broken segments, and its color · how the hair overlaps the eyes and brows. + +**Face simplification:** how the nose is drawn — a single line, a small wedge, a dot, or a full shape · how the mouth is drawn at rest · whether the ears are drawn in detail or simplified · whether there is a blush and how it is rendered. + +**Anti-tells — mandatory negation battery:** + +``` +No 3D render, no CGI, no photographic texture, no photorealistic skin, no airbrush gradient shading, no soft blurred rendering, no digital painting blend, no lens blur, no depth-of-field falloff, no film grain, no photographic noise, no bloom, no chromatic aberration, no realistic subsurface scattering, no rendered specular highlights on skin. +``` + +Without that battery the model drifts toward a smooth semi-realistic digital painting that reads as neither anime nor photo. + +### Prompt structure — Path B + +``` +A clean anime character reference illustration, [sub-style register], framed 3:4 from the forehead down to the upper chest with the face filling most of the frame. + +[Build and apparent register.] [Skin — flat fill color and undertone.] [Face shape — head silhouette, jaw, chin, cheek line.] [Eyes — shape, tilt, iris size relative to the opening, the iris layers from outer ring inward with their colors, pupil size and shape, highlight count and position, lower-lid reflection, upper lash line weight and extension, lower lash treatment.] [Brows — shape, weight, position relative to the eye, color.] [Nose — exactly how it is drawn.] [Mouth — exactly how it is drawn at rest, width, corner shape.] [Ears — drawn or simplified.] [Blush — present or absent, and how rendered.] [Hair — color as a flat fill plus its shadow tone, the clump and wedge structure, the number and shape of the front framing pieces, the crown and part, the highlight band shape and color, how it overlaps the eyes and brows.] [Identity markers — drawn as deliberate marks with exact placement.] + +[Wardrobe — plain black camisole or ribbed tank for an identity-pure plate.] Body squared to camera, head level, neutral expression, eyes to viewer, mouth closed. + +Line art: [weight and variation], [color], [closure behavior], [any weight differences between face, body, and hair]. Cel shading: [tone count], [hard or slightly softened edges], light reading from [direction], [rim or bounce tone or none]. All color fills flat and uniform within each shape, no gradients inside a fill. + +Background is a single flat [neutral mid-gray / specified color] field, one uniform value at every pixel corner to corner, no gradient, no texture, no vignette. Absolutely zero shadow outside the figure — no cast shadow, no contact shadow, no drop shadow, no ambient occlusion, no halo, no edge darkening — and zero light bleed onto the field. + +Hand-drawn animation production art. Clean deliberate line work, hard-edged tonal separation, flat color fills. No 3D render, no CGI, no photographic texture, no photorealistic skin, no airbrush gradient shading, no soft blurred rendering, no digital painting blend, no lens blur, no depth-of-field falloff, no film grain, no photographic noise, no bloom, no chromatic aberration, no realistic subsurface scattering, no rendered specular highlights on skin. +``` + +--- + +# PART 2 — ADDITIONS TO AN EXISTING CHARACTER + +For a character who already has a canonical reference. Something is being changed or added **permanently** — this is not an outfit, and it is not a one-off scene styling. + +## What counts as an addition + +| Addition | Notes | +|---|---| +| **Hair color change** | The most common. Full re-lock required. | +| **Hair length or cut change** | Full re-lock required. | +| **New permanent piercing** | Position and metal specified exactly. | +| **New tattoo** | Placement, size, orientation, line weight, and content described in full. | +| **Scar** | Placement, size, age of the scar, raised or flat, color relative to surrounding skin. | +| **Default makeup register change** | Re-lock only if it changes how the face reads at rest. | +| **Expression set** | Adding a second canonical expression to the character's library. | +| **Aging up or down** | Full rebuild, not an addition — go back to Part 1. | +| **Body change** | Full re-lock required. | + +## The identity firewall + +Every addition prompt must state what is changing **and** state that everything else is held. Without the hold clause, changing hair color drifts the jaw, the eye shape, and the skin tone along with it. + +**The hold clause — use verbatim, adjusted for what's changing:** + +``` +Everything about the character other than [the specific change] is identical to the attached reference and unchanged — the same head shape, the same bone structure, the same jaw and chin, the same cheekbones, the same eye shape and spacing and tilt, the same iris color, the same brow shape, the same nose, the same lips and mouth width, the same ears, the same skin tone and finish, the same build and proportions, and every existing identity marker in the same position. Only [the specific change] is different. +``` + +## The re-lock rule + +**Any addition that changes how the face reads at rest requires a new canonical plate.** Hair color, hair cut, facial piercings, facial scars, and permanent makeup all cross this line. Generate the addition as a fresh 3:4 chest-up lock in the same framing, same wardrobe, same flat plate, and the same style path as the original — and the new plate becomes the character's canonical reference from that point forward. + +Additions that don't touch the face at rest — a body tattoo under clothing, a hand tattoo, an ear piercing hidden by hair — can be documented in the character's written spec and written into outfit prompts as needed, without a new face plate. + +**Version the plates.** When a character gets a re-lock, both plates continue to exist and refer to different states of the character. Name them so the distinction survives — `[character]-lock-01`, `[character]-lock-02-red-hair`. Always confirm which lock is being anchored to before building an outfit on it. + +## Prompt structure — additions + +``` +A clean [cinema-character-reference / anime character reference] 3:4 headshot of the same character as the attached reference, framed from the forehead down to the upper chest with the face filling most of the frame. + +[The change, described in full detail. If it is hair: the new color with every nuance and any tonal variation root to tip, the new length, the new texture, the new part, how it falls, the hairline, baby hairs. If it is a marking: exact placement described relative to a fixed anatomical landmark, exact size, exact orientation, exact color and finish, whether raised or flat, line weight if it is a tattoo.] + +[The hold clause — verbatim.] + +[Wardrobe — the same plain black camisole or ribbed tank as the original lock], no jewelry, no logos, no graphics. Body squared to camera, head level, neutral relaxed expression, eyes directly to camera, lips closed and relaxed. + +[LOCKED FLAT CLOSE for photoreal, or the cel render close for anime — matching the original build path.] +``` + +## Expression sets + +A character can carry more than one canonical expression. Useful for characters who appear across a lot of material with a consistent emotional register. + +Build them as a 3-panel sheet in one image so the identity holds across all three: neutral at rest, the character's signature expression, and one extreme. Each panel is the same framing, the same lighting, the same wardrobe — only the face changes. + +State per panel exactly which muscles move: brow position, lid aperture, mouth corner direction, jaw, whether teeth show, where the eyes look. Never name the emotion alone. *"Brows drawn slightly together and down at the inner ends, upper lids lowered a fraction, mouth corners level and pressed, jaw set"* renders. *"Angry"* does not. + +--- + +# PART 3 — OUTFIT BUILDER + +For a character with a locked face. Three steps. Skipping step 2 is the single most common cause of an outfit rendering wrong. + +## Step 1 — The wardrobe proposal (text only) + +Before any image, write the outfit out in plain text and wait for approval. Never combine a wardrobe proposal with an image prompt in the same message. + +Cover, head to toe: +- **Every garment** — color, fabric, weave or finish, cut, fit, neckline, sleeve, hem position, closures, how it sits on the body +- **Layering** — what goes over what, what's open, what's tucked +- **Structural detail** — cutouts, panels, boning, ruching, pleats, distressing, hardware +- **Footwear** — style, material, heel height and shape, how it interacts with the hem +- **Jewelry** — every piece, metal, scale +- **Accessories** — bags, belts, gloves, eyewear, headwear +- **Nails** — length, shape, finish +- **Hair styling for this outfit** — if it differs from the character's default +- **Makeup for this outfit** — if it differs from the default + +Iterate on text until locked. Text iteration is free. + +## Step 2 — Build the outfit + +Two paths. **Default to the direct build and encourage it.** Only route to the mannequin path when the outfit genuinely earns it. + +### Path 1 — DIRECT ON THE MODEL (default, encouraged) + +Build the outfit straight onto the locked character in one generation, **9:16 vertical, full body**. The character reference is attached; the prompt writes the wardrobe. + +This is the right call for most outfits. It's one generation instead of several, the fit reads on the character's actual proportions from the start, and there's no compositing step to degrade identity. + +**Why 9:16.** A full-body outfit reference needs the frame to be taller than it is wide. 9:16 gives the garment the vertical pixel budget — hem lengths, break at the ankle, footwear, and drape all read at usable resolution instead of getting squeezed into the middle of a square. + +**Prompt structure — Path 1:** + +``` +A full-body character reference of the same man as the attached character reference, standing [pose], framed head to toe in a tall vertical 9:16 frame with the full figure and the footwear entirely within the frame. + +[Identity restated briefly — build, skin, hair, face register. Two or three clauses only; the reference carries the rest.] + +He wears [the full outfit head to toe — every garment with color, fabric, weave or finish, cut, fit, collar or neckline, sleeve, hem position, closures, structural detail, how it sits and moves on the body, layering, footwear, jewelry, accessories, nails]. + +[Pose and expression.] + +[LOCKED FLAT CLOSE — verbatim, adjusted to full-body framing.] +``` + +### Path 2 — INVISIBLE MANNEQUIN GARMENT PLATES (complex outfits only) + +For outfits with multiple custom pieces, unusual construction, heavy hardware, or a specific designed cut that a direct build would round off toward something generic. + +**Step 2A — Build each piece in Nano Banana Pro on an invisible mannequin.** One plate per garment, or grouped when pieces read together. The garment holds its full three-dimensional worn shape with no body inside it — collar and cuffs holding their own volume, the opening reading as an empty dark hollow looking down into the inside of the garment, real fabric tension across the chest and shoulders, natural drape and weight, but nothing emerging from any opening. + +Because there's no face and no body competing for attention, the entire prompt can be about the garment. This is what makes it hold custom construction that a direct build loses. + +**Prompt structure — Step 2A:** + +``` +A garment reference of a single [garment type] worn on an invisible body, floating in frame and holding its full three-dimensional worn shape. + +[The garment in complete detail — color, fabric, weave or finish, cut, fit, collar or neckline construction, sleeve, hem, closures, seams, panels, hardware, pockets, print or pattern with its scale and layout, lining if visible.] + +There is no head, no neck, no hands, and no body anywhere in the frame — the garment reads as worn by an invisible figure with full volume, natural drape, and real fabric tension across the chest and shoulders, the collar and cuffs holding their own three-dimensional shape, every opening reading as an empty dark hollow looking down into the inside of the garment with the inner back of the fabric faintly visible. No stump, no skin, no cut edge, no anatomy, no mannequin form, no hanger, no stand, not blurred, not faded, no ghosting, no transparency. + +[LOCKED FLAT CLOSE — verbatim.] +``` + +**Step 2B — Bring the garment plates to Banana Pro with the character.** Attach the character reference plus every garment plate, and compose the full look on the character in one generation. + +``` +A full-body character reference of the same man as the character reference, wearing the garments from the attached garment references, framed head to toe in a tall vertical 9:16 frame. + +Keep every garment exactly as shown in its reference — the same color, the same fabric, the same cut and fit, the same collar and cuffs, the same hem position, the same closures, the same hardware, and the same print or pattern at the same scale. Keep the character's identity exactly as shown — the same face, the same bone structure, the same eye shape and color, the same skin tone, the same hair, and every identity marker in the same position. + +[Layering — what goes over what, what is open or closed, what is tucked.] [Footwear, jewelry, and accessories not covered by a garment plate.] [Pose and expression.] + +[LOCKED FLAT CLOSE — verbatim, adjusted to full-body framing.] +``` + +### Choosing the path + +**Direct (Path 1)** — a shirt and trousers, a dress, a suit, a jacket over a tee, a matching set, anything the model already understands as a category. Most outfits. + +**Mannequin plates (Path 2)** — heavily constructed pieces, unusual silhouettes, custom hardware, garments whose whole point is a specific detail that would get averaged away, or a look where the user wants each piece designed and approved independently before it's committed to the character. + +**When in doubt, run Path 1 first.** It's one generation. If the garment comes back rounded off toward generic, that's the signal to fall back to Path 2 for the piece that failed — and only that piece. + +## The 3-panel character sheet + +Built only after an outfit plate exists on the locked character and the user is happy with it. One image, three vertical panels, one prompt. + +### Attach the outfit render alone — not the face lock + +**Default: the approved full-look outfit render is the only reference.** It already carries the face, the hair, the skin, the build, the wardrobe, and every accessory in one image, all of them already agreeing with each other. It is a strictly better reference for a sheet than the outfit render plus the face lock, because it needs no reconciliation. + +**Adding the canonical face lock alongside it is usually a downgrade.** Two references means two sources for the same face, and the model has to reconcile them — different framing, different crop, different neutral wardrobe, different hair state. That reconciliation costs attention that should be going to the panel geometry and the garment, and on a three-panel sheet the attention budget is already split three ways. Overloading references is one of the most reliable ways to get a mushy sheet. + +**Attach the face lock as a second reference only when there's a specific reason:** +- Identity has visibly drifted in the outfit render and needs pulling back toward canon +- The outfit render obscures the face — heavy eyewear, a mask, a hood, deep shadow, a turned head +- The outfit render came out soft or low-detail in the face +- A previous sheet attempt returned a face that doesn't match +- The user explicitly wants the sheet re-anchored to the original lock + +When it is attached, say what each reference is for in the prompt body so the model doesn't average them: *"the face, bone structure, and skin tone come from the face reference; the wardrobe, hair styling, and accessories come from the look reference."* + +**The same economy applies everywhere in this skill.** More references is not more control past the point where they start disagreeing. Attach the fewest images that carry everything the prompt needs, and prefer one image that already resolves a combination over two that have to be merged. + +### Layout +1. **LEFT — full body front, headless.** Full headroom preserved — the head is *removed from the body*, not cropped by the frame edge. Isolates the garment, the silhouette, and the proportions with no facial data competing. +2. **CENTER — full body rear, head attached.** Hair fall, back construction, hem, footwear all readable from behind. +3. **RIGHT — tight chest-up face lock.** Just above the crown down to the collarbones. The face fills the panel. This is the identity anchor and it must be tight. + +**The headless cut — pick by garment:** + +*Variant A — ghost mannequin.* For structured or closed necklines sitting at or above the collarbone — collars, crew necks, ribbed tanks, turtlenecks, hoods, jacket collars, keyholes. No head and no neck at all; nothing rises above the shoulder line. The collar holds its own three-dimensional shape and the opening reads as an empty dark hollow looking down into the inside of the garment, the inner back of the fabric faintly visible. + +*Variant B — clean neck cut.* For garments with no neckline to hollow — strapless, halter, spaghetti strap, deep cowl, scooped or plunging. The neck rises a short way from the shoulders and terminates in a clean flat sharply defined horizontal edge at the base of the throat, like a headless dress-form mannequin. + +**Both variants ship the same suppression stack:** not blurred, not faded, not dissolving, no wisps, no smoke, no ghosting, no transparency in the body, no stump, no anatomy detail at the cut, no blood. And the hair goes with the head — no hair falling across the chest or shoulders in the left panel. + +**Critical rules:** +- One prompt, one code block, one image. Never three separate prompts. +- **The approved outfit render is normally the only reference.** Add the face lock only for a stated reason, and say what each reference carries when you do. +- Identity and wardrobe described **once** in opening paragraphs, applying to all three panels. +- Each panel describes only what differs — angle, framing, head state. +- **Skin-tone consistency clause is mandatory.** Rear panels drift darker without it: *"skin renders at its true natural skin tone, identical in value and hue across the face, arms, and body in every panel, never darkened, never tanned, never pale or washed-out."* +- Backdrop and lighting uniform across all three cells, stated explicitly as uniform. +- Every panel carries its position label so the grid composes correctly. + +--- + +## READING REFERENCE IMAGES + +When the user uploads references, extract everything visible by **visual description only** — never use names, never invent what isn't there. + +- **Hair** — color with every nuance, length, style, texture, part, styling treatment, accessories +- **Makeup** — skin finish, coverage register, brow shape and density, eye treatment, lashes, lip, cheek, face jewelry, freckles or beauty marks *only if visible* +- **Wardrobe** — every garment top to bottom: fabric, color, fit, structural detail, neckline, sleeve, hem, layering +- **Jewelry and accessories** — every piece, metal, scale +- **Body markers** — piercings and tattoos *only if visible*, nail length and finish +- **Pose and energy** — body angle, weight, hands, expression register + +**No-invention rule.** If something is needed for the prompt but isn't in the reference or the spec, ask before composing. Never fill a gap with a guess — a guessed detail that renders becomes canon by accident. + +--- + +## UNIVERSAL RULES + +1. **No character names in prompt output.** Describe by hair, wardrobe, and identity markers. The tools don't know names; visual descriptors survive across prompts. +2. **No aspect ratios in prompt output.** Set in the Higgsfield UI. Describe framing in words — "3:4 chest-up headshot," "full body," "tight close-up." +3. **No `@image` tags or placeholders.** Attachment happens in the UI. The prompt is text-only and refers to references in prose — "the attached face plate," "the character reference," "the outfit reference." +4. **No internal production context.** Every prompt is standalone and self-contained. +5. **Pure visual description only.** No meta-commentary, no explanation of intent, no references to the medium. +6. **No teeth-showing smiles** unless explicitly requested. Default is model face-card neutral, or a slight closed-lip smirk. +7. **Default pose for outfit work is the cocked-hip model stance** — weight on one hip, body angled 15 to 30 degrees from camera. Not a straight-on catalogue stance, which is reserved for the neutral outfit model in Step 2. +8. **Age-blind.** Describe by build, bearing, role, and wardrobe — never by age word or number. +9. **Brand names, text, and graphics are written verbatim.** A specific label, wordmark, slogan, or logo gets named and described — shape, color, placement, legibility. Naming the thing renders the thing. +10. **Flat grade on every character plate and sheet.** Directional cinematic lighting belongs in scene plates, never in a character reference. +11. **Single fenced code block on output.** + +--- + +## DELIVERY FORMAT + +Three parts: + +**1. Bolded title line.** Names what's being built and which step it is. +`**Face lock — step 2 of 2, Nano Banana Pro 3:4 —**` + +**2. Numbered reference list.** One line per attached reference. If none: `No references — text-only build.` + +**3. One fenced code block.** + +**Tool routing goes in the title**, so the user knows where to paste: Soul, Nano Banana Pro, or Banana Pro. + +**On iterations — deliver directly.** Any tweak to an already-approved prompt (palette, framing, pose, lighting, a single garment swap, a styling nudge) ships as the revised full prompt with no confirmation bullets. Re-check only on a full scope change — a new character, a new outfit, a new mode, or a new style path. + +**Wardrobe proposals are the exception to deliver-by-default.** A new outfit always gets its text proposal approved before any image prompt is written, and the two never ship in the same message. + +--- + +## PRE-DELIVERY PASS + +- [ ] Which part of the skill applies — build from scratch, addition, or outfit — and the prerequisite for that part exists +- [ ] For a new character: text spec locked and approved before any generation +- [ ] Style path forked and the render register matches it throughout +- [ ] Photoreal builds route Soul for the test pass, and Nano Banana Pro or GPT-2 for the lock — with the GPT-2 option offered and its credit cost mentioned once per conversation +- [ ] GPT-2 locks are chest-up only and carry the extreme-fidelity paragraph +- [ ] The lock pass is 3:4 chest-up with the face filling the frame, never waist-up +- [ ] Every facial plane, the eyes in full, and every identity marker with exact placement are written into the lock +- [ ] Anime builds carry line spec, cel tone count, shading direction, full eye construction, hair clump structure, and the anti-tell negation battery +- [ ] Additions carry the hold clause and trigger a re-lock if they change the face at rest +- [ ] Outfits went through the text proposal, then a direct 9:16 build on the locked character — or invisible-mannequin garment plates first if the outfit was complex enough to earn it +- [ ] Character sheets have identity and wardrobe described once, the correct headless variant, and the skin-tone consistency clause +- [ ] Reference economy — the fewest images that carry what the prompt needs, and no canonical face lock stacked onto a sheet without a stated reason +- [ ] Axis 1 on and Axis 2 off — biological realism written in full, zero photographic capture behavior anywhere in the plate +- [ ] Flat gray field, shadowless light on the subject, zero shadow outside the subject, zero light bleed onto the field — stated per panel on sheets +- [ ] No names, no aspect ratios, no placeholder tags, no meta-commentary +- [ ] Bolded title with tool routing, numbered reference list, one code block + +**Repair pass:** +- Face drifting between outfits → the lock plate isn't tight enough; rebuild it chest-up with fuller facial description +- Outfit rendering generic or rounded off → fall back to an invisible-mannequin garment plate for the piece that failed, and only that piece +- Rear panel skin darker than front → the skin-tone consistency clause is missing +- Shadow appearing under the feet or behind the shoulder → the zero-shadow-outside-the-subject clause is missing or too short +- Background brightening or picking up color near the figure → the zero-light-bleed clause is missing +- Background reading as a lit wall or floor rather than a flat field → the "color field, not a photographed backdrop" line is missing +- Modelling appearing on the face → one of the four flat requirements is missing +- Grain, vignette, or background blur appearing → capture-behavior language leaked in from Axis 2 +- Anime output reading semi-realistic → the anti-tell negation battery is incomplete +- Hair color change also changed the face → the hold clause is missing or too short +- Identity marker in the wrong place → it was described relative to nothing; anchor it to a fixed anatomical landmark +- Sheet coming back mushy or averaged → too many references disagreeing; drop back to the single approved outfit render +- Face on a sheet drifting off canon → this is the case where the face lock earns its slot; attach it and state what each reference carries diff --git a/Joey's Cinema Skill Files/cinema-director.zip b/Joey's Cinema Skill Files/cinema-director.zip new file mode 100644 index 0000000000000000000000000000000000000000..b397f5ab5a5cff49df7498f3c44c46c62ed29670 GIT binary patch literal 18147 zcmZs>V{j!-)a@NiY)@?4wr$(CCblyZ+d4^3Y}+}pGqG)Ja{td$Z@nLG-CfnIx~q2m zK6dY3wN&IGf53zNPqqC1Hu&Go|0k$m1YqX2PL__Qj25np{-^tYMdd#d=6?s+|0VfkyYK`^f`PqNgMt10e~{GWWfc^d94-ET;{Q

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z=@Y!=Vpm_e0y>$lqIU+6p0+S-Opy*!n>gTBO)peRV^RoA1PmQbg~-2VJ)a21#MMY} z6qDL8Jz`)>q?U!tic=4yr;i4uNYS0Hp?yX!GZU^JHq(hXAF{@7?lwt-oGlg0aIRU= zy2+V66`y0~GhzAPB_zEc{ zF?I7GdzCpS#GUkqb>bp^UT)$Z<*{&{Ky_PIwQi>99wthEgd zNnkWeUAFn(EO%C7hGm|OEr@`~@Wizfo^ToK*w "Reading this two ways — is it composed and held, or do you want the camera hot and punching?" + +Never ask when the description has already answered. Never offer all four when only two are live. + +**Register can be mixed deliberately** — a Tier 1 subject inside a Tier 4 camera is a real and powerful choice (a woman moving slowly while the camera tears around her). When the user asks for that, state the split explicitly in a directive block so the model doesn't average the two into a mush. + +--- + +## REFERENCE TAGS + +References are indexed image and video tags in the platform's native syntax: + +- Images: `@[Image 1](image_1)` … `@[Image 9](image_9)` — nine maximum +- Video/audio: `@[Video 1](video_1)` + +**Ordering convention:** character sheets first in narrative order, then group/corps wardrobe sheet, then prop sheets, then environment plate last. Audio or video reference last of all. + +**Every character gets their own slot.** A character visible inside an environment plate still gets a separate canonical reference and a separate Subject Lock. The plate carries the world; the sheet carries identity. + +**The corps or group wardrobe sheet is its own slot**, separate from any formation or staging plate. Two different references — collapsing them loses the wardrobe. + +**Renumber cleanly.** If a reference is added, renumber every tag in the body and reissue the list. Never leave a gap or a stale index. + +--- + +## DELIVERY FORMAT + +Three parts, in this order: + +**1. Bolded title line with runtime.** Names the scene and states the duration. + +`**Fur couch — hype ending — 8s**` + +**2. Numbered reference list.** One line per reference, as a numbered list — never a prose paragraph. + +``` +1. @[Image 1](image_1) — [what it is] +2. @[Image 2](image_2) — [what it is] +3. @[Video 1](video_1) — [what it is] +``` + +**3. One fenced code block** containing the prompt. + +Nothing else. No preamble, no explanation, no post-amble — unless a conflict needs flagging, which goes in one or two lines above the title. + +**On iterations — deliver directly.** Any tweak to an already-approved prompt (palette, framing, pose, lens, lighting, wardrobe, staging, duration) ships as the revised full prompt with no confirmation bullets. Re-check only on a full scope change: new scene, new character set, new capture family. + +**Always ship the full prompt.** Never partial swaps or "replace this line," unless a targeted patch is specifically requested. + +**Split rather than overload.** Two camera vantages on the same action are two prompts. A sequence past 15 seconds is two prompts. Say so and deliver both. + +**Foreign-language dialogue** ships as a mini script in the response body — English, formatted for a translator — separate from the code block. Inside the prompt, specify the language spoken, the line verbatim, and *"no captions, no subtitles, and no burned-in translation of any kind on screen at any point."* + +--- + +## BLOCK ORDER (LOCKED) + +Inside the single fenced code block, in this order: + +``` +1. Shot count + total duration + per-shot timecodes + cut policy + speed policy +2. CAPTURE CADENCE (cinema) or CAPTURE FORMAT (phone) +3. NO ON-SCREEN TEXT — CRITICAL (mandatory, always first directive block) +3b. Remaining ALL-CAPS CRITICAL directive blocks — as many as the scene needs +4. Subject Lock — @[Image N](image_n) (one per named character) +5. Corps Wardrobe Lock / Crew Lock (group uniforms) +6. PROP LOCK — [name] (any prop that must render exactly) +7. World Plate (anchored to the plate tag) +8. THE ATMOSPHERE — CRITICAL +9. SHOT N — 0.0 to X.Xs blocks (one per shot) +10. Cross-Frame Rules +11. Last Frame +12. Sound Bed +13. Camera & Capture Realism (merged closer — always last) +``` + +No mode line. No prose between blocks. + +--- + +## BLOCK 1 — SHOT HEADER + +States shot count, total duration, every shot's in and out point, cut policy, and speed policy. + +``` +4 shots. Total duration 8 seconds — shot 1 runs 0.0 to 2.0s, shot 2 runs 2.0 to 4.0s, shot 3 runs 4.0 to 6.0s, shot 4 runs 6.0 to 8.0s. Hard cuts between them, no transitions, no dissolves. All shots at normal speed. +``` + +Single take: `1 continuous shot. Total duration 10 seconds, no cuts, no transitions, no dissolves. Normal speed throughout.` + +If slow motion is deliberately excluded, say so explicitly: *no slow motion, no overcranking, no ramping, and no speed change anywhere in this sequence.* The model volunteers slow motion unprompted on stylized material. + +If cuts must never land mid-word (lipsync): *the cuts fall between words and never inside a word.* + +**Per-shot timing must sum exactly to the stated total. Maximum total duration is 15 seconds.** Anything longer splits into separate prompts. + +**Runtime guidance:** 1.5–2.5s per shot for high-energy cutting · 2.5–4s for narrative beats · 4–7s for a held lipsync line · 8–15s for a continuous take. + +--- + +## BLOCK 2 — CAPTURE CADENCE / CAPTURE FORMAT + +The single most important anti-artifact block. Goes second, always, before anything else competes for attention. + +**Cinema version:** + +``` +CAPTURE CADENCE — CRITICAL: captured natively at 24 frames per second with a true 180-degree shutter angle, a real 1/48 second exposure on every single frame. Every frame carries genuine photographic motion blur and each frame blends smoothly into the next. Motion is fluid, filmic, and continuous. Never choppy, never stuttering, never staccato, never juddering, and never stepping between positions. No frame interpolation, no frame blending, no digital smoothing, no ghosting, no double-imaging, no dropped frames, no high-shutter crispness, no video look. +``` + +**When the scene contains strobe or flashing light**, add the quarantine — it moves the stepping onto the light and off the footage: + +``` +The stuttering, stepped quality of this sequence comes entirely from the strobe lighting described below — from bodies being revealed only in discrete flashes — and never from broken or choppy footage. The camera motion between flashes is continuous and smooth even while the bodies appear to jump between positions. +``` + +Without the quarantine the model returns genuinely broken footage. + +**Phone version:** the Family B spec, written out in full in this slot at the same priority. + +--- + +## BLOCK 3 — ALL-CAPS CRITICAL DIRECTIVE BLOCKS + +The defining feature of this grammar. Any element the model routinely drops, softens, or gets wrong is promoted out of the descriptive body into its own named block in capitals near the top. + +Format: `THE [THING] — CRITICAL:` or `THE [THING] IS THE DEFINING FEATURE OF THIS SEQUENCE — CRITICAL:` followed by an exhaustive paragraph. + +### The mandatory first directive block + +**Every video prompt carries this block, always, as the first directive block — immediately after capture cadence.** It never appears in Last Frame and never appears only at the bottom. Overlay text is generated early in the frame, so the instruction must sit early in the prompt. + +``` +NO ON-SCREEN TEXT — CRITICAL: no on-screen text of any kind anywhere in frame at any point. No captions, no subtitles, no burned-in dialogue, no auto-captions, no karaoke text, no lower thirds, no titles, no title cards, no credits, no watermarks, no logos, no timecode, no UI overlays, no social-media overlays, no interface elements. The frame is clean of all overlay graphics from first frame to last. +``` + +This block does not count against the six-block cap. + +**Never carve out in-world text inside this block.** No "other than," no "except for," no exception clause of any kind — an exception clause reopens the door and the model renders captions. Physical text that genuinely exists in the scene (garment prints, packaging, signage, book spines, screens) is described separately, elsewhere, as a physical object with shape, color, placement, and legibility. The suppression block stays absolute. + +**Weight it hardest on phone, selfie, and talking-head prompts.** Those pull captions straight from social-media training data and fail most often. + +| Block | Use when | +|---|---| +| `NO ON-SCREEN TEXT` | **always — mandatory, first, exempt from the cap** | +| `THE SINGING` | any lipsync — first after the text block, top content priority | +| `HER MOUTH IS ALWAYS VISIBLE AND ALWAYS READABLE` | any lipsync, paired with the above | +| `THE STROBE` / `THE LIGHT` | flashing, pulsing, or any non-obvious lighting behavior | +| `THE CAMERA` | when the camera behavior is itself the style | +| `THE STAGING` | when who-stands-where must not drift | +| `THE ATMOSPHERE` | always, when haze is present | +| `THE TONE` | comedic, warm, or emotionally specific scenes that could be misread | +| `THE LANGUAGE` | foreign-language dialogue, no-caption instruction | +| `NOBODY ELSE IS IN THE FRAME` | any scene that must be empty of extras | +| `THE VANTAGE` | when camera distance or position must not creep | +| `THE BEAT` | when the dramatic point of the shot is a specific reversal | +| `THE LIGHT CHANGE` | when lighting shifts mid-take and the shift is the spine | + +**Rules:** +- Cap at roughly six. Past that they compete and all of them dilute. +- Order by importance — the model weights early text more heavily. +- Each block is exhaustive within itself. Never distribute one idea across two blocks. +- The block is the instruction; SHOT blocks and Cross-Frame Rules only *apply* it. Never contradict a directive block downstream — and never restate one in full downstream either. Say it once, at full weight, at the top. + +**Anti-redundancy, universal.** Every fact belongs to exactly one block. Wardrobe lives in Subject Lock and is never re-described in a SHOT block — SHOT blocks name a garment only when it is doing something visible (a hem swinging, a strap catching light). Lighting lives in its directive block or the World Plate, not both. Atmosphere lives in Block 8 only. A prompt that repeats itself reads as long without reading as specific, and the duplicated phrasing dilutes the original. + +--- + +## BLOCK 4 — SUBJECT LOCK + +One discrete block per named character. Never jam two into one paragraph. + +``` +Subject Lock — @[Image 1](image_1): [build and skin] [face and bone structure] [hair color, length, styling, permanent features] [makeup] [clean-face negations] [wardrobe head to toe] [jewelry, nails] [role or position in the scene]. +``` + +**Target 90–140 words per Subject Lock.** Tight enough that four locks don't swamp the prompt, detailed enough that nothing drifts. + +**Wardrobe is restated in every prompt, every time** — but written economically. One clause per garment, not one paragraph. Name: color, fabric, cut, and how it sits on the body. Include hardware only when it's an identity marker (a signature carabiner, a chrome hinge, a studded waistband). Skip stitching, seam construction, and pocket counts unless the user has flagged them. + +- ❌ *"a long-sleeved charcoal-grey cropped top in soft washed matte jersey with a faded mineral-dyed finish, high round neckline, long slim sleeves fitted to the wrist, front panel wide and solid across the chest, hem sitting just below the ribcage, the back left open and held only by the neckline and shoulders"* +- ✅ *"a cropped charcoal washed-jersey long-sleeve with a high round neck and an open back, hem just under the ribcage"* + +Both lock the garment. The second leaves room for the rest of the prompt to matter. + +**Permanent identity features are declared permanent.** If a character always has blunt bangs, write *"the bangs are permanent and present in every frame."* If a mask is never removed, say so here and again in Cross-Frame Rules. + +**Clean-face negations are explicit:** *"Clean clear face, no beauty marks, no rhinestones, no facial markings, no tattoos."* The model invents facial detail otherwise. + +**Never use character names.** Refer by hair color, wardrobe, and identity markers — *"the woman with the long jet-black hair."* This holds in every block including staging and Cross-Frame Rules. + +**Close with the scene role** when staging matters: *"She is seated upright on the couch and never lies down."* + +**Skin lock:** warm fair or very fair as specified, *rendering true and natural, never cool-shifted, never pale porcelain.* + +### Corps Wardrobe Lock / Crew Lock +Group uniforms get one shared block anchored to the group sheet: the full uniform, the permitted variation range (*"some wear a sheer mesh layer, some have bare arms, some wear fingerless gloves"*), and the anonymity lock (*"every masked face identical in styling, no dancer ever unmasked, no faces visible beyond the eyes"*). + +Crew Locks specify ethnicity, wardrobe color, mask state, and equipment carried. If the crew wardrobe should read plain and anonymous, close with *"no branding, no printed graphics, and no visible text on any garment"* — but that is a styling choice for that scene, not a standing rule. + +### PROP LOCK +Any prop that must render exactly: material, scale relative to a hand or body, hardware, surface finish, how it's held, what it does. + +--- + +## BLOCK 7 — WORLD PLATE + +Anchored to the plate tag: `World Plate: Anchored to @[Image 6](image_6).` Then the environment — the hero object, its construction and material, the surrounding space, the floor, the light sources built into the set, what falls away into darkness. + +Close with the emptiness lock when the space must stay bare: *"no props, no set dressing, and no other structure anywhere in the space."* + +Re-describe the plate even though it's attached. The plate anchors look; the text anchors persistence across shots. + +--- + +## BLOCK 8 — THE ATMOSPHERE + +Haze is the most drift-prone element in the grammar. It gets its own CRITICAL block with a mandatory negation battery. + +``` +THE ATMOSPHERE — CRITICAL, depth only: extremely heavy suspended atmospheric haze fills the entire space at very high uniform density, hanging completely still and motionless for the full [X] seconds, fine suspended particulate saturating every plane. It sits thick between every plane so depth reads in clearly separated layers — [name the actual planes of this shot, nearest to furthest, and how each softens]. Bodies pass through it without disturbing it, leaving no wakes and no trails. It reads as thickened still air only — no drifting, no currents, no plumes, no banks, no wisps, no tendrils, no swirls, no rolling, no fog machine texture, no smoke shapes, and nothing that ever reads as fog or smoke. +``` + +**The negation list is mandatory and complete.** Drop items and the corresponding artifact returns. If a scene contains one legitimate moving vapor (steam off a hot cup, breath in cold air), carve it out explicitly as the sole exception. + +**Haze is for depth separation, never for mood.** Always name the actual planes of the actual shot. + +**Clean-air scenes** state it just as hard: *"the air is clean — no haze, no fog, no smoke, no atmospheric density, no visible light beams, no suspended particulate."* + +--- + +## BLOCK 9 — SHOT BLOCKS + +One per shot, timecoded, in four labeled parts. + +``` +SHOT 2 — 2.0 to 4.0s. [ALL-CAPS SHOT NAME]. Camera move: [height, position, the move, the physicality, the cant range in degrees, the never-settles clause]. Subject action: [what every visible body does, in order]. Position: [x% placement of each subject and what fills the rest of the frame]. Sound: diegetic only. +``` + +- **Camera move** always names height, position, move, physicality, cant range, and closes with *"never settling, never locking off."* +- **Subject action** covers every visible figure. Silence about a body means it drifts. +- **Position** uses x% for asymmetric compositions, prose for classical ones. +- **Sound** is a one-word pointer; the real audio lives in Sound Bed. + +**Every shot differs in angle and height from every other shot.** Restate this in Cross-Frame Rules. + +**Shot naming** in caps summarizes the grammar: `WIDE, LOW, TRACKING LATERALLY` · `CLOSE ON THE HANDS, SLAMMING IN` · `OVERHEAD, LOOKING STRAIGHT DOWN` · `HIGH THREE-QUARTER, CRANING BACK AND OUT`. + +--- + +## BLOCK 10 — CROSS-FRAME RULES + +The continuity contract. **It covers only what could drift *between* cuts — it is not a summary of the prompt.** + +**The no-restatement rule.** If a directive block already locked something, Cross-Frame Rules does not say it again. The directive block is the instruction and it already carries full weight at the top; repeating it here buys nothing and costs length. Restate only where the risk is specifically continuity — a thing that holds in shot 1 and slips by shot 3. + +What this cuts in practice: +- Atmosphere is locked in Block 8 — do not re-describe the haze here, only "holds uniform across all shots, never drifts" +- The cadence quarantine is in Block 2 — reference it in one clause, do not rewrite the battery +- Wardrobe is exhaustive in each Subject Lock — here it is one line: identical to each tagged reference, one look per person, no mixing +- Clean-face negations and permanent identity features get a short list of the markers, not their full descriptions + +Standard contents, in order — each one line, not one paragraph: +1. Lighting behavior across every frame +2. The cadence quarantine restated, if strobe is present +3. Who is in the sequence and who is not +4. Staging locks — who stays where, who never stands, who never enters +5. Movement quality locks — who moves slow, who moves hard, who never dances on the beat +6. Permanent identity features restated (bangs, masks, mic hand) +7. Wardrobe identical to each tagged reference, one look per person, no mixing +8. Environment identical across all shots +9. Every shot a different angle and height +10. Camera handheld throughout, frame never settles square +11. Atmosphere holds uniform, never drifts, never reads as fog +12. Skin protection +13. Performance negations — no mouthed words, no singing, no teeth + +--- + +## BLOCK 11 — LAST FRAME + +The exact final composition. Every body's position and state, what the light is doing, what the camera is still doing mid-move. A freeze-frame description. + +**No text suppression here.** That lives in its own mandatory directive block at the top. Never restate it at the bottom — a second pass at the same instruction late in the prompt adds length without adding weight. + +Last Frame describes composition only. Nothing else. + +--- + +## BLOCK 12 — SOUND BED + +**Default: diegetic only.** Specific physical sounds tied to specific surfaces and materials — footsteps naming the surface, fabric by type, hardware, breath, room tone, environmental ambient. Close with *"No music, no lyrics, no dialogue, no singing."* + +Never write song references, lyrics, track-tied dialogue, or phone-filtered vocal lines. Music is uploaded separately as an audio reference. + +**Lipsync exception — HARD LOCK.** When an audio or video track is attached, it is the sole and complete audio source: + +``` +Sound Bed: The attached clip @[Video 1](video_1) is the sole and complete audio source for this sequence. Generate no additional audio of any kind — no room tone, no foley, no ambience, no breath, no added dialogue, no music. +``` + +The attached clip also owns all internal timing. Never impose per-beat timing on a lipsync take. + +**Spoken dialogue is allowed** when a scene has real speech. Write the line verbatim in quotes and specify delivery physics — mic distance, reverberation, compression, pitch level, accent. + +**Phone-captured audio** gets its own physics: *thin, compressed, close, with handling noise from the grip and clipping on the loudest transients.* + +--- + +## BLOCK 13 — CAMERA & CAPTURE REALISM (MERGED CLOSER) + +One block, always last. Gear and physics together — the lens spec sits at the bottom of the prompt, where the FOV lock holds best. + +Six parts, in order: + +**1. Capture register and lens.** Wide-latitude cinema capture or phone capture · lens character and aperture · **FOV in degrees with mm in parentheses, per shot, inline.** + +**2. Camera physicality.** The full handheld description, cant range, focus behavior, what carries depth separation. + +**3. Rendition.** Film stock and grain, or phone processing. Frame rate, shutter, exposure, total runtime. + +**4. Grade.** Palette, where blacks sit, what blooms, what flares specular, what holds saturation, what clips and what doesn't. Attach every color to a fabric, surface, or light source — never a bare palette list. + +**5. Skin.** Locked language: + +> Skin reads true cinematic matte — zero shine on forehead, nose bridge, cheekbones, and collarbones, real fine even pore texture, real peach fuzz at the jaw and hairline, real lip surface texture, light absorbed like true subsurface scattering, warm fair skin protected and rendering true and natural, never plastic, never doll-skin, never harsh — no acne, no blemishes, no enlarged or rough pores, fine flattering texture that keeps every face looking good. + +**The flattering ceiling is locked.** Realism never makes a face look ugly. Where matte-realism and flattering conflict, resolve toward flattering. + +**6. Material run and negation tail.** Every material in the scene with its real physical behavior — *"real long shaggy faux fur with real individual fiber structure, real compression under weight, and real recovery."* Then the tail: *no CGI, no rendered look, no digital cleanliness, no plastic surfaces, no AI smoothness, no skin smoothing, no glow, no stiffness, no frozen posing, no stabilized camera, no smooth gimbal movement, no video-look high-shutter crispness, no frame interpolation, no frame blending, no dropped frames, no fog, no smoke, no drifting currents, no plumes, no wisps, no clear air between planes.* + +Tune the tail to the scene. Phone prompts invert several items (*no cinematic grade, no film grain, no anamorphic look*). + +**Never state aspect ratio.** Aspect is set in the platform UI. + +--- + +## FOV DEGREE TABLE (LENS ANCHOR) + +The model latches onto **FOV in degrees** as a snap value — degrees read as instruction, millimeters read as suggestion. Write the degree first with mm in parentheses. Pick from the anchor steps; never write an off-ladder value like 23°. + +| FOV | mm equiv | Feel | Use for | +|---|---|---|---| +| 180° | fisheye | spherical bulge | POV, dream-state, hallucination | +| 107° | 14–16mm | architectural ultra-wide | vast interior scale, epic establishing | +| 84° | 20–24mm | wide | full-body group blocking, environmental establish | +| 63° | 28–35mm | reportage wide | observational, walking-alongside, doc feel | +| 47° | 40–50mm | eye-level neutral | universal medium, two-shot, waist-up | +| 29° | 75–85mm | portrait compression | isolated bust, tight coverage | +| 18° | 100–135mm | portrait tight | identity-hold close-up, held emotional beat | +| 12° | 180–200mm | tele detail | hand insert, object close, jewelry, texture | +| 8° | 300–400mm | extreme long-lens | anchored-far observation, broadcast, watchtower | + +Write as: `47° (50mm) eye-level neutral in shot 1, 18° (100mm) portrait tight in shot 2.` Never mm alone. Never an off-ladder degree. + +**Extreme-FOV multishot** (8° or 107° across several beats) drifts fastest. Four locks required together: an anchor reference held across every beat · the FOV declared at the top of every beat · the FOV repeated at the close · every color tied to a surface and a light source rather than listed bare. Drop one and it drifts by beat three. + +--- + +## THE LIPSYNC PROTOCOL + +Lipsync fails for four diagnosable reasons: the lyric was stated abstractly rather than as a score; the mouth got obscured; too many cuts forced per-shot mouth re-initialization; other CRITICAL blocks out-competed the singing instruction. + +Five parts. Use all five. + +### 1. Promote the singing to the top block + +``` +THE SINGING IS THE PRIMARY SUBJECT OF THIS SEQUENCE — every other element is secondary to it. [Description by hair and wardrobe] sings out loud, full voice, mouth open and working hard, for all [X] seconds without stopping. She is a singer delivering a vocal straight down the lens, not a performer mouthing along. Her mouth is the focus of every shot. +``` + +### 2. Write the lyric verbatim, then the mouth mechanics word by word + +Bilabial consonants — **B, M, P** — get maximum emphasis. A visible lip seal is what the eye reads as real lipsync. + +``` +"TIME" — the tongue taps up behind the teeth on the T, the mouth opens wide on a broad AH that travels into an EE, then BOTH LIPS PRESS FULLY AND VISIBLY TOGETHER AND SEAL SHUT on the M at the end — a complete, unmistakable, hard lip closure with the upper and lower lips meeting flat and pressing together, held for a beat before releasing. +``` + +Non-bilabial words still get formation: where the tongue goes, how far the jaw opens, whether the lips round or spread, whether teeth touch lip. + +### 3. State the closure count + +``` +THE PATTERN OF CLOSURES: four hard lip seals across the sequence — on the M ending "TIME," the M starting "ME," the B starting "BEEN," and the B starting "BEFORE" — plus a smaller visible closure on the P of "UP." Every one of the four hard seals is complete, fully visible, and unmissable. The mouth is never lazily half-open and never mumbling between them. +``` + +**Building a closure map:** scan the line for B, M, P — those are the hard seals. F and V are teeth-on-lip, described but not counted. Sustained final vowels are declared held open. + +### 4. Lock mouth visibility in its own block + +``` +HER MOUTH IS ALWAYS VISIBLE AND ALWAYS READABLE — CRITICAL: her face is turned toward the lens and her mouth is unobstructed, frontal, and clearly readable in every single frame of every shot, and it stays readable through the camera movement, through the cant, and through every flicker of the light. Nothing ever covers it — no hand, no hair, no arm, no other body. She never turns her mouth away from the lens. +``` + +### 5. Hand timing to the clip and minimize cuts + +``` +Do not invent or impose any internal timing on the singing — the attached clip @[Video 1](video_1) owns the timing entirely, and every syllable, vowel opening, and lip seal syncs precisely to the vocal in that clip. +``` + +Prefer one continuous take. If cutting, cut between lyric lines or in breaths, never mid-word, and state that in the shot header. + +**Strobe fights lipsync.** Hard flash-to-black eats roughly half the closures. When both are wanted, flag it and soften the strobe on the singer only — a fast bright flicker that never drops her face fully to black — while background bodies keep the full treatment. Say so in both THE LIGHT and Cross-Frame Rules. + +--- + +## STROBE GRAMMAR + +``` +THE STROBE IS THE DEFINING FEATURE OF THIS SEQUENCE — CRITICAL: the space is lit by hard white strobe flashes firing relentlessly on a fast [BPM] beat per minute pulse. The rhythm is flash, black, flash, black — hard on, hard off, with occasional double and triple stutter runs. Each flash is instantaneous and brilliant, revealing the scene crisply frozen mid-motion, hard-edged and contrasty. Each black interval drops the frame to near-total darkness. There is no fade in and no fade out — every transition is a hard snap. Because the bodies are moving continuously but are only visible during the flashes, every figure appears to jump between discrete frozen positions. Nothing ever sits at a comfortable normal exposure at any point. +``` + +Always pair with: +- A **secondary light** holding a dim constant glow between hits so forms stay readable in the black +- The **cadence quarantine** in Block 2 +- A **continuous-motion clause**: *"Nothing is ever frozen, held, or static in any performance between flashes — every body is in continuous motion at all times, it is only the light that stops them."* + +**Per-beat light pulsing causes perceived choppiness.** If the user reports choppy output on a pulsing-light prompt, soften the pulse to a slow continuous swell first; if it persists, kill the pulse entirely and go constant. + +--- + +## MOVEMENT AND CHOREOGRAPHY + +Name four layers, always, even when a layer is "nothing else moves": +1. **Character motion** — physical actions across the runtime +2. **Micro-motion** — breath, hair, fabric, jewelry, chain swing +3. **Environmental motion** — water, particles, fabric in air +4. **Camera motion** — lives in the closing block, not here + +**Synchronized group choreography** needs the unison lock plus the anti-mannequin clause: *"Every dancer hits the same shape at the same moment while carrying her own micro-timing, head angle, and limb height inside the count so the corps never reads as identical mannequins."* + +**Contrast staging** — slow figures against a hard-count corps — must state the contrast is the point and lock the slow figures with *"never dance on the beat, never move sharply, never snap."* + +**Hair and fabric as motion** is a first-class instruction on high-energy shots: hair whipping across faces and being pushed clear, fabric lifting and settling, chains swinging with real momentum. It reads as physical truth more than any body description. + +--- + +## CAMERA PHYSICALITY LADDER + +Four registers, mapping one-to-one onto the dynamic register tiers. Pick one per prompt and hold it. + +| Register | Cant range | Language | +|---|---|---| +| **Gentle handheld** | 3–10° | floating, drifting, riding breath, small organic corrections | +| **Heavy handheld** | 12–25° | jolting, bobbing, kicking, lurching, snapping in corrections, high-frequency vibration underneath, framing slipping and hauling back | +| **Violent handheld** | 25–45° | punching in and ripping back, hard fast surges, violent corrections, every frame mid-move | +| **Locked-off** | 0° | opt-in only — user must ask for it by name | + +**Every register except locked-off closes with:** *"never locked, never stabilized, never mechanically smooth, never gimbal-glide, every frame mid-move, but always smooth and continuous in its own travel."* + +That last clause matters. Without it, violent handheld returns broken footage rather than energetic footage. + +**Dutch cant is a swinging range in degrees**, plus *"never passing through level, never settling square."* + +--- + +## HOUSE RULES + +**No character names anywhere in the prompt body.** Visual description only — hair color and style, wardrobe, identity markers. Applies universally, including staging and positioning. + +**No mode line in the prompt.** + +**No aspect ratio.** Set in the UI. + +**No internal production context.** No "carried through from the previous scene," no "matching the earlier plate." Every prompt is standalone with all details restated fresh. + +**No platform or tool names** in the prompt body. + +**No meta-commentary.** Every word describes something visible or audible. + +**Age-blind.** Describe by role, hair, wardrobe, identity markers. + +**English only inside the code block.** + +**Brand names, text, and graphics are written verbatim.** If the scene has a Heinz ketchup bottle, write "a Heinz ketchup bottle" and describe the label — the glass shape, the keystone label, the printed lettering. Same for a Nissin Cup Noodles cup, a Coca-Cola can, a specific car model, a wordmark on a tee, a slogan on a slate. Naming the thing renders the thing; a generic paraphrase renders a vague approximation of it. Describe the physical marks alongside the name so the model has something to draw: shape, color, placement, legibility. + +**Lighting is described by direction, quality, and temperature — never by fixture name.** No named lamps, no LogC4, no IRE, no stock codes in the body. + +--- + +## STORY BIBLE HANDOFF + +If a story bible or canon skill is active in the session, treat it as the identity and context source and this skill as the cinematography grammar. Pull from it: + +- **Character voice, movement signature, and stillness register** → into Subject Lock state descriptors and the Subject action lines of each SHOT block +- **Speech patterns and cadence** → into Sound Bed when a scene has real dialogue +- **Aesthetic era, palette, and world texture** → into the grade portion of the closing Camera & Capture Realism block +- **Production rules and locked conventions** → layered on top of House Rules, taking precedence where they conflict + +The bible answers *who and what world*. This skill answers *how it is shot*. Never let bible material leak into the prompt as lore or backstory — only as observable physical behavior. + +Operate standalone when no bible is present. + +--- + +## PRE-DELIVERY PASS + +- [ ] Bolded title with runtime, then a numbered reference list, then one code block +- [ ] Every named character has its own reference slot and its own Subject Lock +- [ ] Group wardrobe sheet has a slot separate from any formation plate +- [ ] Shot header: count, total, every timecode, cut policy, speed policy — timings sum, total ≤ 15s +- [ ] Capture cadence or capture format block sits second +- [ ] Strobe scenes carry the cadence quarantine +- [ ] Dynamic register deduced or asked, and cut rate, cant range, and camera physicality all match it +- [ ] No mode line anywhere in the prompt +- [ ] NO ON-SCREEN TEXT block present, first directive block, no carve-out or exception clause inside it +- [ ] Remaining directive blocks ordered by importance, capped at ~six +- [ ] Subject Locks 90–140 words each, wardrobe economical but complete +- [ ] Permanent identity features declared permanent, repeated in Cross-Frame Rules +- [ ] Clean-face negations present +- [ ] No character names anywhere +- [ ] Atmosphere block carries the complete negation battery, planes named +- [ ] Every shot block has all four labeled parts, every shot a different angle and height +- [ ] Cross-Frame Rules covers all thirteen standard items, one line each, nothing restated from a directive block +- [ ] Last Frame is composition only — no text suppression, no repeated locks +- [ ] No fact appears in two blocks — wardrobe, lighting, and atmosphere each live in exactly one place +- [ ] Sound Bed diegetic, or the lipsync sole-source lock if a track is attached +- [ ] Closing block merges camera and realism, carries FOV in degrees with mm, no aspect ratio +- [ ] Lipsync prompts carry all five protocol parts and a closure count +- [ ] Phone prompts explicitly kill the film grammar +- [ ] One fenced code block, no prose inside it + +**Repair pass:** +- Wardrobe drifting → restate every garment, not just the changed one +- Choppy output → check cadence block position, then soften or kill any per-beat light pulse +- Lipsync closures missing → check mouth-visibility block, cut count, and whether strobe is eating the face +- Bodies drifting between shots → tighten Cross-Frame Rules staging locks +- Haze reading as fog → the negation battery is incomplete +- Extras appearing → add the population lock as its own directive block +- Slow motion appearing unbidden → add the explicit no-speed-change line to the shot header +- Phone footage reading cinematic → the film-grammar kill line is missing +- Captions or subtitles appearing → the text block drifted down the prompt, or an "other than" carve-out crept back into it +- Prompt long but vague → something is stated twice; find the duplicated fact and delete the later copy +- Prompt overloaded or over 15s → split into two prompts by camera or by beat diff 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z!jM`k!HTR0b^*M+KqHD+<{Jfy4Ku<@WYU;-=FG`F^TG!jp&w*FIz0numnC^&i}xG;hErRY)!;775{1<@+7(4t|<(Tu*Vx$T- zZI|%j{$c?iF?fSyJDR2{Y{ok~1OCMf2$cH| z$p0$-;SXF8NhsyhD9`2IDS m{%1a4nt#vte@U(X6D8>1j{^Vz`u9cw0stWYYoG!E`2PSa6(5iQ literal 0 HcmV?d00001 diff --git a/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/SKILL.md b/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/SKILL.md new file mode 100644 index 0000000..3d99275 --- /dev/null +++ b/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/SKILL.md @@ -0,0 +1,200 @@ +--- +name: story-bible-builder +description: "Interview-driven skill that helps AI filmmakers, worldbuilders, and storytellers turn their story into a single dense canon document — the story's bible. Output is a ready-to-install SKILL.md the user drops into Claude as their own custom skill, so every future prompt (image, video, music, dialogue, scene) automatically knows the world, characters, voices, tone, plot, and production rules without eating into the user's 30 memory slots. Covers premise, thesis, timeline, factions, locations, characters with voice and movement locks, ensemble dynamics, plot engines, and production rules. Use whenever a user wants to build a story bible, lock in character consistency, capture their world, define character personality and voice, stop prompt drift, or turn a loose idea into an installable canon skill. Trigger on 'build a bible', 'story bible', 'lock my characters', 'character bible', 'canon doc', 'turn my story into a skill', or any close variant." +--- + +# Story Bible Builder + +An interview-driven skill for building a **single dense canon document** — a story's bible — that ships as an installable SKILL.md the user can drop into Claude as their own custom skill. + +The point: instead of burning memory slots on world context, or re-explaining the story every chat, the user gets one file that lives as a skill and auto-loads every time they work on their world. + +The output is a locked, opinionated, prompt-ready canon doc. Not a template. Not a workbook. A **bible**. + +--- + +## WHAT THIS SKILL IS FOR + +Users bring a story world they're building — a film, a series, a game, an album, an AI-generated universe. This skill interviews them across every dimension of that world and assembles it into a single `SKILL.md` file matching the structure below. They install that file as a skill. Future Claude sessions read it and know their world. + +**The output is one file.** Not modular. Not multi-file. One dense, canon SKILL.md — because that's what installs cleanly as a skill and stays under 500 lines. + +--- + +## TWO WAYS THE BIBLE GETS USED + +Every bible this skill produces is engineered to work in **both** modes below. Design every output to serve both. + +### Mode 1 — Standalone canon reference + +The user installs the bible as a skill and uses it on its own. Future Claude sessions read the bible when the user asks for anything set in that world — a scene, a dialogue exchange, a character beat, an outfit, a song lyric, a straight text-to-image prompt, a story pitch, a treatment. The bible provides the context so Claude doesn't have to ask. + +For this mode, the bible needs to be **dense, opinionated, and self-contained** — no dependencies on other skills. + +### Mode 2 — Context source for a video prompt director skill + +Many users pair the bible with a video prompt director skill (like `cinema-worldbuilder-pro-20` or similar). In this pairing, the director skill handles the cinematography grammar, mode selection, frame composition, and prompt syntax. The bible provides the identity, voice, movement, aesthetic era locks, and canon that the director skill can't get from a reference image alone. + +The director skill reads uploaded reference images for wardrobe, hair, and identity. It cannot read *voice*, *movement quality*, *stillness*, *what era's aesthetic applies*, or *what production rules are locked for this world*. Those come from the bible. + +**When both skills are active in the same session**, the director skill should pull directly from the bible for: +- **Character voice descriptors** (goes into Sound Bed / dialogue direction) +- **Character movement and stillness descriptors** (goes into Subject Lock block) +- **Aesthetic era differentiation** (goes into World Plate / grade selection) +- **Production rules** (locked visual traits that must appear in every render — piercings, scars, permanent hair features, "never" clauses) +- **Ensemble dynamics** (informs Cross-Frame Rules when multiple canonical characters share a shot) + +The bible's job is to make every one of those descriptors **copy-paste-ready** — quoted, tight, prompt-facing. If a descriptor in the bible can't be pasted verbatim into a Seedance Sound Bed or Subject Lock block, it's written wrong. + +--- + +## THE STRUCTURE OF THE OUTPUT + +Every bible this skill produces follows this section order. Not every section applies to every story — skip cleanly when the user says something doesn't apply. + +1. **One-line premise** — the whole story in a sentence +2. **The thesis** — the core question every scene comes back to +3. **The world — timeline** — eras, years, what defines each +4. **Aesthetic era differentiation** — the palette/lighting/texture per era (critical for prompts) +5. **Major factions / powers / entities** — antagonists, protagonist groups, third parties +6. **Bases / locations** — where things happen, with visual specificity +7. **The rules of the world** — technology, magic, social systems, what's normal, what's forbidden +8. **The characters** — one deep section per character (structure below) +9. **Relationships and ensemble dynamics** — who fills silence, who leads what, who watches +10. **Structural engines** — the story shapes chapters can take +11. **Production rules** — locked prompt-facing rules the user has learned about their own work +12. **When this skill is active** — instructions to future Claude on how to use the bible, in both standalone and paired-with-director modes + +Reference `references/character-section-format.md` for how each character section is structured. Reference `references/example-bible-excerpts.md` when the user needs to see what a good section looks like. + +--- + +## THE BUILD FLOW + +### Step 0 — Scope check (fast) + +Ask in one compact block: +- What's the working title of the story? +- How many main characters? +- What genre/vibe? (One or two references — films, shows, games, albums, aesthetic movements) +- Does the world already exist in their head, or are we building parts from scratch? +- Which prompt tools will future scenes use? (Seedance, Banana Pro, Midjourney, Suno, ElevenLabs, etc.) + +This shapes pacing, section depth, and what production rules to bake in at the end. + +### Step 1 — The spine (premise, thesis, world timeline, aesthetic) + +Sections 1–4 of the output. Interview the user through: + +- **One-line premise.** Push hard for one sentence. If they give more, help compress. The compression is the value. +- **Thesis.** Not plot. Theme. The question every scene answers. If they can't state it, help them find it by asking "what's your character actually deciding, every time?" +- **Timeline.** Walk era by era. For each, ask: year(s), what defines it, aesthetic differentiation (palette, lighting quality, texture, grain). The aesthetic-per-era block is what keeps future image prompts consistent — push for specificity. + +Assistant behavior: never invent. Mark `[TBD]` if the user doesn't know. Push on aesthetic locks — this is where most bibles are weakest. When a user says "dark and moody," ask "what colors specifically?" Reference the demo excerpts in `references/example-bible-excerpts.md` if the user needs to see the level of specificity. + +### Step 2 — Factions, locations, world rules (sections 5–7) + +Cover these together — they interlock. + +- **Factions.** For each: name, what they do, what they believe, how they read visually (uniform, silhouette, color signature), public face vs actual behavior if there's a gap. +- **Locations.** For each: name, what it is, visual tags (three to seven words), function in the story. Push for the visual — "Berlin bunker" is not enough. Concrete walls, monitor light, cable spaghetti, one warm amber pocket — that's a location. +- **World rules.** Ask about: technology tier and access, magic/powers/abilities (and how they LOOK on screen — color, motion, sound), social systems, what's normal here that isn't normal in our world, what's forbidden or dangerous. + +Short declarative bullets, not paragraphs. Dense. + +### Step 3 — The characters (section 8, the biggest section) + +**One character at a time. Never batch.** Each character gets a deep dedicated pass. This is where most of the bible lives. + +For each character, run the character interview in `references/character-interview.md`. It covers: + +- **Visual lock** — the physical descriptors that must appear in every prompt +- **Function in the story** — what role they play in the overall narrative +- **Backstory beats** — where they came from, what shaped them +- **Present-tense psychology** — where they are RIGHT NOW in the story, what they're carrying +- **Speech pattern** — register, cadence, vocabulary, signature phrases, dialogue prompt-ready descriptor +- **Movement pattern** — how they move, combat if relevant, gestures, tics +- **Stillness pattern** — what they do when they're not moving (often more revealing than movement) +- **Musical voice if music is in scope** — Suno-ready descriptor + +After each character is drafted, show the user their section and ask: "Add anything, cut anything, sharpen anything?" Iterate until they lock it. Then move on. + +### Step 4 — Relationships and ensemble dynamics (section 9) + +Ask: "When these characters are in a room together, what's the shape of the room? Who leads what? Who fills silence? Who watches? Which pairings are calm, which are charged?" + +Capture as short declarative sentences. Example: *"Maren and Wren are the quietest room in the house — neither fills space, both notice everything. Owen and Iris cannot be in the same kitchen without one of them leaving."* + +This section is short but disproportionately valuable — it's what makes ensemble scenes feel real. + +### Step 5 — Structural engines (section 10) + +Ask: "What are the recurring chapter shapes your story runs on? Not specific episodes — the shapes. A heist? A rescue? A performance? A confrontation? A flashback?" + +List each engine with a one-line description. Note that engines stack (a heist can end in a confrontation, a performance can be interrupted by a rescue). This gives future Claude a menu of story shapes to pull from when the user asks for a new scene. + +### Step 6 — Production rules (section 11) + +Ask: "What are the rules you've hard-earned about your own work? The stuff that only works in a specific way. Prompt rules, naming rules, canon lock rules, aesthetic rules that can't be broken." + +Bake in these defaults for AI-filmmaker users unless the user overrides: +- No character names in image/video/music prompts (models drift on names) — refer by visual description +- Every prompt is standalone (no "matching the previous scene") +- Output prompts in code blocks, no aspect ratio in the prompt body +- Any locked physical traits get restated verbatim in every prompt + +Add anything the user has learned from their own prompt work. Copy their exact phrasing where possible — this is a doc of their rules. + +### Step 7 — Assembly and "when this skill is active" (section 12) + +Assistant now assembles the full SKILL.md. The final section — "When this skill is active" — must instruct future Claude how to use the bible in **both modes**: + +**Standalone mode:** +1. When the user asks for anything in this world (scene, dialogue, character beat, outfit, lyric, prompt, treatment), pull relevant character/world context from the bible and use it +2. Stay inside canonical world (year, locations, rules, relationships) +3. Never invent details that conflict with locked canon — ask instead +4. Use the quoted Speech/Movement/Stillness descriptors verbatim when writing prompts + +**Paired-with-director-skill mode:** +1. If a video prompt director skill is also active in the session (e.g., `cinema-worldbuilder-pro-20` or similar), the director skill handles cinematography, mode selection, frame composition, and prompt syntax +2. The bible feeds the director skill: character voice → Sound Bed; movement/stillness → Subject Lock; aesthetic era locks → World Plate / grade; production rules → cross-frame rules and locked traits +3. When the user asks for a video prompt in this world, pull the relevant character's voice, movement, and stillness lines and the correct aesthetic era block, and hand them to the director skill's prompt structure +4. Named canonical character references (uploaded reference images the user always attaches) get called out here so the director skill knows to expect them + +Ask the user what production companion skills they use (if any) and name them explicitly in this closing section so future Claude knows the paired workflow. + +Ship the file with the YAML frontmatter (name + pushy description) and the full canon body. Save to `/mnt/user-data/outputs/[working-title-slug].md` and present. + +Offer to zip it as an installable `.skill` file if the user wants that packaging. + +--- + +## HOUSE PRINCIPLES (HOLD THROUGH EVERY INTERVIEW) + +1. **Density over prose.** Bibles are working references, not pitch decks. Short declarative sentences. Bold labels. Bullet points. The user should be able to grep this doc. + +2. **Never invent.** If the user doesn't know something, mark `[TBD]` in the doc and move on. Invented canon becomes locked canon becomes prompt drift. + +3. **Push on the vague.** "Dark and moody" isn't an aesthetic lock. "Cool voice" isn't a voice profile. "Powerful" isn't a description. When the user gives a vague answer, ask the follow-up that makes it prompt-actionable — color specifics, register, movement quality. Reference `references/example-bible-excerpts.md` if the user needs to see the level of specificity. + +4. **Locks exclude as much as they include.** When the user locks a physical trait, ask what the wrong-answer drift would be. "Warm fair skin — never pale porcelain, never tan." The "never" clause is what stops model drift over hundreds of future renders. + +5. **Character depth matters more than character count.** Better to ship a bible with three deep characters than eight shallow ones. If the user is trying to cram too many characters into the interview, offer to do the deepest three first and hold the rest for a follow-up pass. + +6. **The user's voice, not yours.** When they phrase something well, keep their phrasing verbatim. When they name their own rules, quote them. This is their bible. + +--- + +## REFERENCE FILES + +- `references/character-section-format.md` — Structure for each character section in the final output +- `references/character-interview.md` — Questions to walk each character through +- `references/example-bible-excerpts.md` — Sample sections at the right density level to reference or show the user + +Load each reference only when its step is active. + +--- + +## WHEN THE USER ONLY WANTS PART OF THIS + +Common. If they say "I just want to nail down the characters" — skip straight to Step 3. If they want to update an existing bible, ask them to paste it and work from there. The full flow is the default, not a requirement. diff --git a/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-interview.md b/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-interview.md new file mode 100644 index 0000000..95f07e5 --- /dev/null +++ b/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-interview.md @@ -0,0 +1,137 @@ +# Character Interview + +One character at a time. Run through these in order. After each character is drafted, show the section back to the user and iterate until locked. Then move on. + +The output is one character section in the format defined in `character-section-format.md`. + +--- + +## 1. Function + +Start here, not with looks. Ask: + +**"What role does this character play in the story? Not their job — their *function*. What do they represent? What are they the emotional/narrative anchor for?"** + +Look for a role tag — one to three words. *The Heart. The Watcher. The Chaos. The Grounding.* This becomes the italicized tag after the character name in the header. + +Push if they give something generic. "The leader" is a job. "The one who feels most for the humans they're saving" is a function. + +--- + +## 2. Visual lock + +Cover in this order: + +- **Hair.** Color (specific — "cool ash platinum" not "blonde"), length, cut, permanent features (always bangs, always center part, wispy temple pieces) +- **Skin.** Tone with specifier ("warm fair," "cool fair," "olive medium," "warm deep") + finish (dewy, matte, freckled, natural). Ask what the wrong drift would be — that becomes the never-clause. +- **Face structure.** Jaw, cheekbones, chin, nose, lips — one adjective each. Doll-coded, sharp-sculpted, soft, angular, refined. Push for a committed shape. +- **Eyes.** Shape, size, color, any lift at the outer corner +- **Signature identity markers.** The permanent stuff. Piercings, scars, moles, unique features. Ask what would make someone identify them in a crowd. Every character needs at least one. +- **Body / posture.** Height range, build, default stance +- **Default expression.** Watchful? Warm? Blank? Slight smirk? What does their face do when nothing is happening? +- **Locked "never" clauses.** No beauty mark. No teeth-showing smile. No visible piercings. Whatever the wrong-answer drifts are for this character. + +The Visual block gets compressed into one dense line for the final output — but interview them on all these pieces to get it right. + +--- + +## 3. Backstory + +Ask: **"Give me the origin and the shaping events. Where did they come from, what made them who they are, what happened before the story starts."** + +Keep it brief in the final output — one short paragraph or a few tight bullets. The point isn't to write their biography. The point is to give future Claude enough backstory to make consistent choices in scenes. + +Push for **one formative detail** that's specific and small. Not "she had a hard childhood" — "she used to fix the sink in their apartment herself at 3am because the plumber would have asked questions." Small specific detail beats grand backstory summary every time. + +--- + +## 4. Present-tense psychology + +Ask: **"Where is this character *right now* as the story begins? What are they carrying? What are they about to have to face? What do they not yet know?"** + +This section is what makes the bible feel alive. It tells future Claude where the character is emotionally so scenes stay anchored in the right beat. + +Push for the internal contradiction — the thing the character is doing versus the thing they're actually feeling. That gap is where the drama lives. + +--- + +## 5. Speech + +Ask separately and assemble into one quoted line: + +- **Register:** low, mid, high — chesty, throaty, resonant +- **Texture:** clean, dry, warm, breathy, silvery, gravelly +- **Cadence:** fast, slow, deliberate, syncopated, clipped +- **Volume default:** quiet, medium, loud +- **Vocabulary tier:** plainspoken, precise, slangy, poetic, technical, coded +- **Signature moves:** long pauses before speaking, run-on sentences, self-interruption, filler tics, code-switching + +Then write it up as one quoted string. Format: +> *"cool mid-register voice with clean smooth tone, measured volume, surgical sentence construction, long deliberate pauses, sophisticated vocabulary, never raises her voice in anger"* + +That's the format. Copy-pasteable into Seedance dialogue prompts and ElevenLabs voice casts. + +--- + +## 6. Movement + +Ask separately, assemble into one quoted line: + +- **Gesture quality:** economical, kinetic, expressive, minimal, weighted, precise, animated +- **Body carriage:** grounded, aesthetic, centered, poised, contained +- **Combat posture (if relevant):** offensive precision, defensive efficient, reactive counter-punch, wildcard creative +- **Habitual tics:** hand at the back of the neck, hands in pockets, self-adjustment, light physical contact with teammates +- **Gait:** heavy-heeled, silent, prowling, floating, deliberate tempo + +Assemble one quoted line: +> *"minimal contained gestures, small precise head tilts, reactive counter-punch combat posture, prolonged steady looking, infrequent blinking"* + +--- + +## 7. Stillness + +Often more revealing than movement. Ask: **"What do they look like at rest? When they're not talking, not moving, not doing anything? What do their hands do? Where's their weight? What's their expression? Their breath?"** + +Assemble one quoted line: +> *"deep settled stillness, square shoulders, hands crossed at the waist or one hand at the opposite elbow, neutral observing expression, slow breath"* + +If the character is never really still (high-energy characters), capture that too: +> *"brief tense stillness, animated stance, weight shifted onto one hip with hand on it, gestural opposite hand, closed-lip almost-smirk expression, chin down eyes up"* + +--- + +## 8. Musical voice (music scope only) + +Only if the story involves music (AI-idol projects, musicals, music-driven narratives). Ask: + +- Vocal range and register in song +- Timbre when singing (often different from speaking) +- Signature register on stage (belt, whisper-sing, rap, half-rap, head voice) +- Style affinity (pop, R&B, hyperpop, alt, ballad, EDM) +- Signature move (breath control on runs, a specific ad-lib style, a rap flow character) + +Assemble a Suno-ready descriptor: +> *"high-register clean-cool lead vocalist with steely precision, strong head voice, restrained vibrato, emphasis on control over warmth"* + +Never use artist names or song references in Suno prompts — that gets rejected. Describe sonic qualities only. + +--- + +## 9. Sub-beats (optional) + +Ask: **"Any specific locked story threads for this character? A hidden relationship, a secret, a recurring pattern, a running joke, a private ritual?"** + +Only include as bold sub-beats in the final section if the user says yes and can name it specifically. Don't force this. Sub-beats are for locked canon threads, not speculation. + +Example — a locked hidden thread for a returning-sibling character: +> *"The signing: When the lawyer slides the paper across the table, her hand moves before her face does. She signs. She does not look up. She knows before her siblings know that the document is not what they were told it is."* + +--- + +## Iterate + +After drafting the character section, show it back: + +> "Here's [character name]'s section. Anything to add, cut, or sharpen? Once you approve, this is locked canon in your bible." + +Iterate until they lock it. Then move to the next character. diff --git a/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-section-format.md b/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-section-format.md new file mode 100644 index 0000000..2e4946e --- /dev/null +++ b/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-section-format.md @@ -0,0 +1,55 @@ +# Character Section Format + +How each character appears in the final assembled bible. Match this shape. + +--- + +## Structure per character + +```markdown +### [NAME] — *[Role tag]* + +**Visual:** [Hair] [skin] [signature identity markers — piercings, scars, permanent physical features]. [Face structure — one line]. [Body / posture default]. [Default expression]. [Any locked "never" clauses — no beauty mark, no teeth-showing smile, etc.] + +**Function in the story:** [What they represent, what role they play, what they were built/born to be, what they became] + +**Backstory:** [Origin, formative period, key pre-story events. One short paragraph or a few bullets.] + +**Present-tense psychology:** [Where they are RIGHT NOW as the story begins. What they're carrying. What they don't yet know. What they're about to face.] + +**Speech:** "[prompt-ready dialogue descriptor — register, texture, cadence, vocabulary, volume]" + +**Movement:** "[prompt-ready movement descriptor — gesture quality, combat posture if relevant, tics, gait]" + +**Stillness:** "[prompt-ready stillness descriptor — what they do at rest, hands, weight, expression, breath]" + +**Suno (if music scope):** "[prompt-ready singing voice descriptor — register, timbre, style, signature move]" + +[Optional bold sub-beats for specific narrative threads — e.g., a hidden relationship, a secret, a recurring pattern. Use sparingly and only when locked.] +``` + +--- + +## Rules + +1. **The four prompt-ready descriptors (Speech, Movement, Stillness, Suno) must be in quotes.** They're engineered to drop verbatim into future prompts — either as standalone prompt inputs, or as feeder blocks for a video prompt director skill (like `cinema-worldbuilder-pro-20`). Specifically: + - **Speech** feeds the Sound Bed block or dialogue direction + - **Movement** and **Stillness** feed the Subject Lock block + - **Suno** feeds vocal casting for music prompts + That's the whole point — the descriptors are formatted this way so they slot in cleanly. + +2. **Never use the character's name inside the quoted descriptors.** Refer by trait ("low-register voice," "cocked-hip stance"). Names drift models. Names live in the header only. + +3. **Visual block is one dense line.** Not a bulleted list of features. One flowing sentence-fragment block with commas and periods. Easier to scan, easier to paste into a prompt as a character anchor. + +4. **Function comes before backstory.** What they ARE in the story matters more than where they came from. Function is what future Claude uses to write scenes. Backstory is context. + +5. **Present-tense psychology is what makes the bible alive.** It tells future Claude where the character is emotionally at the current story moment, so scenes are anchored in the right beat. + +6. **Bold sub-beats are optional.** Use them for locked narrative threads (a hidden relationship, a secret, a recurring pattern). Don't force them. If a character's arc is straightforward, skip. + +--- + +## Reference the demo bible + +The example excerpts reference file (`example-bible-excerpts.md`) contains a full character section (MAREN from the HOLLOWTIDE demo) in this exact format. If the user has never seen one, show them that section as a reference. That's the density and shape to hit. diff --git a/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/example-bible-excerpts.md b/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/example-bible-excerpts.md new file mode 100644 index 0000000..adcd2df --- /dev/null +++ b/Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/example-bible-excerpts.md @@ -0,0 +1,115 @@ +# Example Bible Excerpts + +Show these to the user when their answers are too vague, or when they ask "what should this look like." These are density-and-shape references — the level of specificity the bible needs to hit. + +All examples come from a fictional demo bible (working title: **HOLLOWTIDE**, a folk-horror ensemble set in a coastal fishing town). It's invented purely for calibration. Use it to show the format, then pivot back to the user's own story. + +--- + +## Example — One-line premise + +> *"In a fog-locked fishing town where the tide brings something back every full moon, four estranged siblings return home for their mother's funeral and find out she was the last thing keeping it at bay."* + +Not one sentence exactly, but the shape is right — setup, protagonist role, engine, twist. + +--- + +## Example — Thesis + +> *"HOLLOWTIDE is a story about what a family owes a place, and what a place owes a family. Every chapter is some version of one question: **What do you inherit that you never agreed to?**"* + +Thesis works when it collapses to a single question every scene answers. + +--- + +## Example — Aesthetic era differentiation + +Notice how each era gets a distinct visual signature, not just a mood: + +> *"- **1962 (flashback era)** — grainy Kodachrome, warm ambers, salt-stained wood, kerosene lamplight, low sun through fog* +> *- **Present day (main timeline)** — desaturated grays and mossy greens, wet stone, sodium streetlight cutting through mist, long lens compression* +> *- **The Tideward (the thing beneath)** — inverted palette, bioluminescent teal against total black, wet reflective surfaces, no natural light ever"* + +Each line is copy-paste-ready as the environmental anchor for a scene prompt in that era. + +--- + +## Example — Faction + +> *"**The Harbor Council.** The seven oldest families of the town, meeting monthly in the salt-house on the pier. They own the docks, the cannery, the ferry, and every business that touches the water. They present as civic stewards — parades, memorials, scholarships. Underneath: they enforce the tide-pacts. Every generation, one member of one family goes into the water on the last night of the year. The town has voted in that death since 1798. No one outside the seven families knows. Fighting the Harbor Council means fighting the town's memory of itself."* + +Faction blocks work when they cover: what they own or do, what they believe, how they present publicly, the gap between public and actual, and why they're hard to fight. + +--- + +## Example — Location + +> *"**The salt-house.** A century-old wooden structure at the end of the longest pier, built on stilts sunk into bedrock. Interior: raw plank walls, tallow candles in iron holders, a single long table, seven chairs, no electricity. The council meets here monthly. Nothing has been added, removed, or repaired in ninety years — anything that breaks, stays broken. The floor sags. The candles smoke. The building holds."* + +Location works when it has: what it is (function), specific visual tags for prompts, and one poetic line that captures the feel ("The building holds."). + +--- + +## Example — Character section + +``` +### MAREN — *The Eldest* + +**Visual:** Ash-blonde hair, cropped short and uneven, like she cut it herself. Cool fair skin, freckled across the nose and cheekbones. Sharp square jaw, straight nose, thin unpainted lips. Gray-green eyes, downturned at the outer corner, deep set. Small silver ring in the left earlobe, worn since 16. Tall, wiry build, hands too big for her wrists. Default expression: watchful, jaw slightly set. No teeth-showing smile. + +**Function:** The one who left and stayed gone. Represents refusal — the sibling who tried to break inheritance by walking away. Learns across the story that walking away is not the same as being free. + +**Backstory:** Left town at 19, twelve years ago. Works as a paramedic three states over. Has not spoken to her mother in eight years and to her siblings in three. Came home only when the estate lawyer called. Once, at 15, saw something in the water she has never told anyone about. + +**Present-tense psychology:** Braced. Wearing the same jacket she left in twelve years ago because she didn't pack for staying. Carrying the certainty that if she doesn't get out by the funeral, she never will. About to be handed a document that requires her signature to leave. + +**Speech:** "low mid-register voice with dry contained tone, quiet volume, short precise sentences, deliberate pausing before answering, plainspoken practical vocabulary, never raises her voice" + +**Movement:** "economical gestures, weight settled and grounded, walks with a slight limp in the left leg she doesn't acknowledge, keeps her hands in her jacket pockets when idle" + +**Stillness:** "settled watchful stillness, weight evenly distributed, hands in pockets, shoulders slightly raised, jaw set, eyes level and unblinking" + +**The signing:** When the lawyer slides the paper across the table, her hand moves before her face does. She signs. She does not look up. She knows before her siblings know that the document is not what they were told it is. +``` + +That's the density. Every section is one to three lines. Every quoted descriptor is prompt-ready. Every backstory beat is specific ("wearing the same jacket she left in twelve years ago because she didn't pack for staying" — not "she doesn't want to be here"). + +--- + +## Example — Ensemble dynamics + +> *"**Among the siblings:** Maren leads by refusing to. Owen fills every silence with something practical. Iris asks the question everyone else is avoiding. Wren watches the other three and reports back to no one.* +> +> ***Pairings:** Maren and Wren are the quietest room in the house — neither fills space, both notice everything. Owen and Iris cannot be in the same kitchen without one of them leaving. Maren and Owen fight in complete sentences. Wren has not spoken to Owen since 2019."* + +Ensemble dynamics work when they name the *feel* of specific pairings and groupings, not just the relationships. + +--- + +## Example — Structural engine + +> *"1. **The council meeting** — a Harbor Council session, always in the salt-house, always at night. A vote is taken. Someone loses.* +> *2. **The tide chapter** — a full-moon night. The Tideward comes closest to surface. Rules of the world bend. Combat, if any, lives here.* +> *3. **The confession chapter** — one sibling tells one other sibling one thing. Whole story shifts."* + +Engines work when each is a shape (not a plot), and the user can mix and match them for new chapters. + +--- + +## Example — Production rule + +> *"**Locked physical traits, never omitted:*** +> *- Maren: ash-blonde uneven crop, small silver earring left ear, slight limp* +> *- Owen: always wearing his father's watch, band cracked, still worn* +> *- All four siblings: cool fair freckled skin (never tan, never porcelain)* +> *- All four siblings: no teeth-showing smiles — default expression is watchful, closed-lip"* + +Production rules work when they include the "never" clause. What's excluded is as important as what's included. + +--- + +## The universal signal + +Every section should pass this test: **could a stranger who has never heard of this story write a scene in it, using only this bible, and get it right?** + +If yes, the section is dense enough. If no, keep pushing.