Longevity Plan III

Each run is the workflow’s own record: the model it called, the prompt it was given, and what came out.

1. 01

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   # Episode 3 Outline｜Seventh Pier ## One sentence summary No. 3 and No. 5 sneaked into Pier 7 to track down the missing No. 2 and No. 4, and accidentally discovered that the Hawks were using deceived civilians to conduct human experiments. The rescue operation triggered a giant octopus attack. Zero and One came to support. The four of them worked together to severely damage it, but were forced to evacuate because the pier was about to explode. After returning to the base, they learned from No. 2's incomplete recording that Mishouzhi and the underground black market were related to the Hawks. The Hawks also secretly launched Plan C, preparing to use the four people to find the next location and turn them into human experiment subjects. ## Act One: Human Experiments at Pier 7 There is an illegal experimental base hidden inside Pier 7. A large number of ordinary people were lured here by the "high-paying job recruitment" scam and were subsequently imprisoned. The Yellow Guards used them to test human experiments related to life expectancy, and those who failed were dealt with in secret. This paragraph first makes it clear to the audience: the Hawks are not only recycling the longevity essence in monsters, but also using ordinary people to test life extension technology for a long time. ## Act Two: No. 3 and No. 5 infiltrate Numbers 3 and 5 followed the signals of 02 and 04 and entered the interior of Pier 7. Number Three activates his ability by touching the time pendant, blurring reality, and predicts guard actions using thermal imaging, random particles and future afterimages. Number 5 is responsible for clearing the enemy head-on. He used daggers and throwing knives to continuously kill the guards, and even used the throwing knives to cut through the incoming bullets. The two rescued Lao Zhou, a Sichuan native, in the corridor. Lao Zhou told them: "There are still many people detained down there." "It's all

2. 02

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   # Episode 3 Outline｜Seventh Pier ## One sentence summary No. 3 and No. 5 sneaked into Pier 7 to track down the missing No. 2 and No. 4, and accidentally discovered that the Hawks were using deceived civilians to conduct human experiments. The rescue operation triggered a giant octopus attack. Zero and One came to support. The four of them worked together to severely damage it, but were forced to evacuate because the pier was about to explode. After returning to the base, they learned from No. 2's incomplete recording that Mishouzhi and the underground black market were related to the Hawks. The Hawks also secretly launched Plan C, preparing to use the four people to find the next location and turn them into human experiment subjects. ## Act One: Human Experiments at Pier 7 There is an illegal experimental base hidden inside Pier 7. A large number of ordinary people were lured here by the "high-paying job recruitment" scam and were subsequently imprisoned. The Yellow Guards used them to test human experiments related to life expectancy, and those who failed were dealt with in secret. This paragraph first makes it clear to the audience: the Hawks are not only recycling the longevity essence in monsters, but also using ordinary people to test life extension technology for a long time. ## Act Two: No. 3 and No. 5 infiltrate Numbers 3 and 5 followed the signals of 02 and 04 and entered the interior of Pier 7. Number Three activates his ability by touching the time pendant, blurring reality, and predicts guard actions using thermal imaging, random particles and future afterimages. Number 5 is responsible for clearing the enemy head-on. He used daggers and throwing knives to continuously kill the guards, and even used the throwing knives to cut through the incoming bullets. The two rescued Lao Zhou, a Sichuan native, in the corridor. Lao Zhou told them: "There are still many people detained down there." "It's all

3. 03

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   [Global aesthetic settings] Format: 21:9 ultrawide screen Tone: Low saturation, cool green grey; strobe red light and high contrast muzzle flash of base-wide alarm. Photography: The sharp camera movement with the tension of Hong Kong-style action movies, combined with the FPV travel machine with a strong sense of three-dimensional space, one shot to the end. The movements are crisp and neat, and the ultimate upgrade (Slow Motion) special effect that emphasizes the "combination of movement and stillness" highlights the invincible handsomeness of the two-person tactical cooperation. Location: The junction of the main corridor of the detention area and the maintenance trail on the east side (a three-dimensional structure with a multi-layer maintenance platform and stairs). 4. Text: storyboard execution action Game 4: One gun and one knife, three-dimensional strangulation Lens 28｜01:49.2—01:52.2｜3 seconds Camera/focal length: 35mm, mid-side shot of shoulder-to-shoulder junction No. 3 Composition/Mirroring: The left side is the narrow entrance to the alley, and the right side is the wide, three-dimensional junction. Falling back to reality at high speed from the particle overlook, the handheld shaking is extremely obvious after landing. Picture: The extremely violent ebb of high-dimensional perception! The dark blue and platinum particles instantly shrunk and collapsed toward No. 3! The real world returns with a bang, along with its piercing red alarm. No. 3 opened his eyes suddenly, leaning against the heavy steel pillar at the junction: "Four on the front, two on the upper level, and two on the side." No. 5 held the throwing knife behind his back with both hands, his posture as cold as iron: "The top and sides are mine." The enemy's first round of heavy fire came wildly. The bullet hit the steel pillar between the two men, and sparks exploded suddenly. Shot 2

4. 04

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   [Global aesthetic settings] Format: 21:9 ultrawide screen Tone: low saturation, cold cyan gray, shallow depth of field, slight soft focus; abandon cheap light pollution and pursue the ultimate sense of physical reality and physiological horror. Photography: Mainly take 35° and 45° side shots; absolutely avoid exposure of the front faces of No. 3 and No. 5, and only retain the back, close-ups of limbs and side silhouettes; use close-fitting hand-holding, brief out-of-focus and real center of gravity shift for the action segments. Location: In the international waters of the Western Pacific, the semi-submersible facility "K-7" is disguised as a deep-sea resource transfer station. The underground personnel call it "Pier 7". 4. Text: storyboard execution action Lens 9｜00:31.5—00:35.5｜4 seconds Camera/focal length: 18mm, drone ultra-wide angle and long-range view Composition/Mirroring: The seventh pier is located on the three-point line on the right, leaving a large area of black sea surface on the left; the speedboat enters from the lower left. The camera swoops slowly from beneath the thick clouds while panning to the right, gradually revealing the full scale of the platform. Screen: Cut directly from a pure black screen. The high seas of the Western Pacific. Thick storm clouds pressed above the sea, and huge waves kept hitting the semi-submersible platform. All the lights at Pier 7 have been turned off. There are no warning lights, no window light sources, and the huge facility is just a steel silhouette standing on the Black Sea. A flash of lightning flashed. The complex jibs, pipelines, helipads and deep-sea restraint towers half-sunk into the sea outside the platform were briefly illuminated. In the distance, a black speedboat cut through the huge waves and approached Pier 7 at high speed.

5. 05

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   [Global aesthetic settings] Format: 21:9 ultrawide screen Tone: low saturation, cold cyan gray, shallow depth of field, slight soft focus; abandon cheap light pollution and pursue the ultimate sense of physical reality and physiological horror. Photography: Mainly take side shots at 35° and 45°; avoid keeping characters in the center for long periods of time; use close-fitting hand-holding, brief out-of-focus and real center of gravity shifts for action sequences. Location: In the international waters of the Western Pacific, the semi-submersible facility "K-7" is disguised as a deep-sea resource transfer station. The underground personnel call it "Pier 7". Text: Storyboard execution action Scene One: The Price of Fifty Years Shot 1｜00:00.0—00:03.0｜3 seconds Camera: 35mm, low position handheld Composition/Camera Movement: Yellow protection personnel occupy both sides, dragging an unknown civilian from the depths of the frame towards the camera. Quick retreat with obvious step shock. Screen: The first frame directly captures people. The civilians dragged their feet across the slippery ground, struggling desperately. A calm, low voice from a man sounded: Voice-over: "If I only get one shot..." Shot 2｜00:03.0—00:05.8｜2.8 seconds Camera: 85mm, side close-up Composition/Shot: The restraint chair is on the right, and the yellow protective personnel constitute the oppressive foreground on the left. The camera moves close to the characters and captures the rough details of the action. Picture: Civilian being pressed hard into a cold restraint chair. The two yellow protection personnel acted extremely skillfully and cold-bloodedly, and forcibly killed the civilians on their wrists, chests and foreheads one after another.

6. 06

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   [Global aesthetic settings] Format: 21:9 ultrawide screen Tone: low saturation, cold cyan gray, shallow depth of field, slight soft focus; the perceived space is transformed into a pure microscopic particle vision of dark blue, turquoise and platinum. Photography: Resolutely break the centered composition; the action segments emphasize real physical momentum and destruction. Shot 21 releases the 45-degree profile of No. 5 for the first time, and strictly maintains the profile and back the rest of the time. Location: In the international waters of the Western Pacific, the semi-submersible facility "K-7" is disguised as a deep-sea resource transfer station. The underground personnel call it "Pier 7". 4. Text: storyboard execution action Session 4: Deep sea cage and high-dimensional sand table Lens 21｜01:20.0—01:25.0｜5 seconds Camera/focal length: 50mm, mid-close shot of three people from the side Composition/Shot: Lao Zhou is sitting on the left wall of the picture, No. 5 is squatting half-crouched in the right foreground; No. 3 is standing behind and to the right, and the three of them are not on the same level. As No. 5 leaned over, he pressed down slightly, and then slowly rose up as Lao Zhou stood up. Screen: No. 5 put away the dagger and came to Lao Zhou. (It wasn’t until this point that we were given a clearer 45-degree profile of No. 5 for the first time.) No. 5 is mainly in Mandarin, with a bit of Sichuan accent: "Don't be afraid. Can you still leave?" Lao Zhou was stunned for a moment when he heard the familiar accent. He grabbed No. 5’s arm tightly and reluctantly stood up: "You can walk." Lao Zhou hurriedly pointed to the lower level, his eyes full of anxiety: "There are still many people detained down there." "They all came in after seeing high-paying jobs being recruited." No. 3

7. 07

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   [Global aesthetic settings] Format: 21:9 ultrawide screen Tone: Low saturation, cold cyan gray; from the strobe red light indoors, seamlessly cutting into the desperate high contrast of the dark night of heavy rain and the deep blue bioluminescence (Bioluminescent Glow) of the deep sea. Photography: The hand-held imbalance and physical feeling of falling are very tense in a disaster movie; it emphasizes the extremely violent physical gravity feeling (the physical body resists the door) and the microscopic feeling of human beings in front of giant objects. Core elements: Heavy blast doors, giant mutant octopus (Deep Sea Cthulhu aesthetic), red Guan Gong mask, heavy industrial container (physical bunker). Location: West Pacific Pier 7 - Junction of East Maintenance Channel ➔ Open Deck. Text: Storyboard execution action Game 4: Physical fight against the door / Game 5: Abyssal lamp and godhead mask Lens 36｜02:18.0—02:21.6｜3.6 seconds Camera/focal length: 24mm, close to the ground and looking up, wide-angle Composition/Mirroring: extremely tight space cutting and sense of oppression. The camera is located under the door, with a wide corridor in front (in the direction of the pursuing troops) and a narrow passage in the rear. The thick explosion-proof door that descended tightly pressed against the top of the screen. With the door body falling and the heavy pressure of No. 5, a violent vibration (Camera Shake) occurs. Picture: The ultimate explosion of physical power! Everyone was running towards the maintenance channel on the east side. Deep in the corridor behind, the gunfire of a large number of pursuing soldiers was already lighting up crazily. Suddenly, the heavy explosion-proof door in front was activated, and the thick metal door quickly opened

8. 08

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   [Global aesthetic settings] Format: 21:9 ultrawide screen Tone: low saturation, cold cyan gray, shallow depth of field, slight soft focus; abandon cheap light pollution and pursue the ultimate sense of physical reality and physiological horror. Photography: Mainly take 35° and 45° side shots; absolutely avoid exposure of the front faces of No. 3 and No. 5, and only retain the back, close-ups of limbs and side silhouettes; use close-fitting hand-holding, brief out-of-focus and real center of gravity shift for the action segments. Location: In the international waters of the Western Pacific, the semi-submersible facility "K-7" is disguised as a deep-sea resource transfer station. The underground personnel call it "Pier 7". 4. Text: storyboard execution action Scene Three: Hunting in the Dark Shot 13｜00:47.1—00:51.1｜4 seconds Camera/focal length: 32mm, shoulder-mounted and low-position shooting Composition/Shot: No. 5 is in the foreground on the left, No. 3 is half a step behind in the middle shot on the right; the space between the two is repeatedly cut by thick pipes and door frames to prevent them from being centered. Follow slowly from behind the two people, and move slightly laterally when passing the fork in the road, showing the depth inside the platform. Picture: Number 5 takes the lead in entering the seventh platform. He held the short knife behind his back and advanced against the wall on the left. The three masks on the clothes collided slightly with the tactical pace, but made no sound. Handheld detector No. 3 followed behind. The main circuit had been interrupted, and only a few independent emergency lights flickered intermittently in the corridor. Rain dripped down the cracked roof. The 02 and 04 signals on the detector suddenly strengthened. No. 3 stopped at the fork in the road and raised his hand to signal No. 5. Type 5s are extremely sensitive

9. 09

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   [Global AI vision and fluid settings] Format/Tone: 21:9 ultrawide screen/cold gray background. In the dark night of heavy rain, cold white lightning and the tentacles of the blue giant beast. Fluids and wind fields: Severe convective storms. The splitting of low-altitude water in shot 62; the rain curtain (Rain Slicing) cut when swooping and drawing a knife in shot 64; and the terrifying downwash fluid dynamics (Downwash Fluid Dynamics) generated by the transport aircraft engine in shot 66/68. Core elements: Zero (Tang Dao), No. 1 (Long Sword), VTOL tactical transport aircraft, deep-sea behemoth. Space Law: No 4-person Frame is absolutely prohibited. The battlefield is strictly divided into "main battlefield (No. 0, 1, and 5)" and "evacuation area (No. 3, civilians)" by using depth of field, bunkers and camera movement. Text: Storyboard execution action Game 6: Zero and One enter the formation, tactical handover Lens 62｜03:58.8—04:03.8｜5 seconds Camera/focal length: 18mm, virtual FPV drone ultra-low altitude wide angle (Ultra-Low FPV Drone) Composition/camera movement: Pushing forward at high speed from above the water on the deck ➔ No. 5 and weapons passing by in the foreground ➔ The camera violently rises 90 degrees (Pitch Up), climbing rapidly against the outer wall of the control building ➔ Stopping over the guardrail, forming a strong overhead shot of the two people on the roof. Picture: Rising from the ground with a great sense of speed and pressure! camera distance from deck

10. 10

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    4. Text: storyboard execution action Game 8: Explosion countdown, abyss trap Lens 77｜05:11.8—05:15.4｜3.6 seconds Camera/focal length: 85mm, extreme close-up of No. 3 detector to telephoto on the sea surface Composition/Screen Movement: The detector screen is located in the lower right foreground, with a very shallow focus; it slowly zooms in from the two cold white signal points, and then whips the lens (Whip Pan) very quickly with No. 3's sight to cut to the sea vortex in the distant view on the left, and at the same time pulls the focus (Rack Focus). Image: The fatal synchronization of micro and macro. In the dark screen of the detector, two cold white signal points were moving away from Pier 7 at an extremely high speed. Number Three suddenly raised his head and looked at the sea. The giant octopus that escaped from injury has sunk underwater, and a black shadow as huge as a mountain is swimming quickly in the deep sea. Every time it changes direction, the two signal points in the detector will turn simultaneously at the same absolute instant! No deviation, not a millisecond delay! No. 3 stared at the detector with an expression as if he had fallen into an ice cave: "It's going in the same direction. The signal is moving with it." The camera pushes toward the black sea in an extremely depressing manner. A bolt of cold white lightning instantly tore open the water layer, briefly illuminating the terrifying outline of the octopus escaping with its broken tentacles. Deep under its huge head - two faint cold white lights flashed extremely secretly. Lens 78｜05:15.4—05:19.2｜3.8 seconds Camera/focal length: 50mm, mid-close shot of four people moving sideways (extremely depressing

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    Lens 69｜04:26.8—04:41.8｜15 seconds Zero 135 - Regroup Camera: 40mm anamorphic lens, close-up and wide-angle perspective Composition: Starting from a very close shot of the feet; Zero, Number One, Number Five, and Number Three enter the camera from the right side in sequence, the foreground character always presses one side of the picture, and the previous character naturally retreats into the background; the ending is a deep group portrait of four people Mirror movement: following close to the ground → using the hem of clothes to block and lift → continuously sliding to the right → four close focus relays → arcing to the front → retreating at high speed to lead Filming: One shot of the whole process, no hidden editing is used; the first half is slightly slowed down, and when the four people start running, it smoothly enters 120 frames to upgrade Heavy rain washed over the broken deck. The deep roar of the giant mutated octopus came from the distance. The camera is close to the ground, less than ten centimeters away from standing water. There is currently no one on the screen. Only the raindrops hit the water and caused dense ripples. The next second—— A black tactical boot steps in from the right side of the screen. Not falling gently. The soles of the shoes, carrying the inertia from running, stepped heavily into the water. "Crack!" Water splashes exploded to both sides of the lens. There was no pause after the soles of the shoes were firmly planted, and the body continued to pass in front of the camera. The black trouser legs and the hem of clothes blown up by the strong wind are close to the camera, briefly covering most of the frame. The identity of the visitor will not be disclosed for the time being. The camera quickly lifts up due to this black foreground occlusion. Clothes

12. 12

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    4. Text: storyboard execution action Game 7: Global awareness, three-dimensional strangling of giant beasts Lens 70｜04:41.8—04:45.8｜4 seconds Camera/focal length: 21mm, ultra-low-angle wide-angle shot from behind four people (high-speed follow-up shooting) Composition/Mirroring: Numbers 0 and 1 are in front, left and right; Numbers 5 and 3 are behind the center. The camera follows the deck close to the deck at high speed, producing strong step vibrations as it runs wildly; in the middle part, the steps suddenly tilt up to reveal the full view of the beast. Picture: The Death Squadron in the backlight! Four tactical boots simultaneously crushed the water on the deck. The four of them maintained an extremely tight attack formation and sprinted towards the sea at high speed. The searchlights and lightning on the sea in front formed a strong backlight, and the bodies of the four people turned into extremely cold black silhouettes. Only the edges of the Tang knife, long sword and flying knife reflected the biting cold light. Water splashes in the backlight exploded crazily from both sides. The camera suddenly pans up from the running footsteps—— At the end of the deck, the giant octopus looks like a black mountain rising from the deep sea. Dozens of tentacles wrapped around the sea surface and the wreckage. Thunder and lightning exploded behind it. The four of them were as small as ants, but their speed did not slow down at all. A giant tentacle suddenly lifted up, covering the searchlight, and a huge shadow swallowed the entire deck from front to back. No. 3 grabbed the triangular pendant on his chest and closed his eyes while running. She suddenly stepped on the ground and stopped in the middle of the deck, becoming the absolute anchor of perception for the entire battle. Zero, One and Five continued to rush into the huge shadow like arrows from her left and right sides! mirror

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    # Shot 47-53｜The final revised version of Godhead No. 5’s transformation ## Shot 47｜02:59.0—03:03.8｜4.8 seconds ### Photographed by tentacles - creating the illusion of death Camera: 65mm to 28mm, close-up of No. 5’s side face Composition: Number Five is located on the right side of the screen; the red mask enters from the left foreground; the shadow of the giant tentacle gradually engulfs the entire background Camera movement: First move in a small arc around the side of No. 5's face; after the tentacle appears, it quickly zooms away and tilts, and the camera is violently unbalanced at the moment of impact Number Five stands alone on top of the red container. He lifted up the red godhead mask and slowly covered his face. The camera is close to No. 5’s 45-degree profile. The mask is about to conform to the skin. At this moment—— The light on No. 5's face suddenly dimmed. A huge shadow covered the entire container. The camera quickly zooms in behind No. 5. A giant tentacle has dropped vertically from an altitude of tens of meters. The suckers spread out densely, covering the entire sky. Number Five did not look up. The red mask continued to stick to his face. The moment the mask came into contact with the skin, a layer of dark red light just appeared on the edge—— The tentacles fell suddenly. "Boom——!" The entire container was flattened instantly. The steel plate exploded in all directions, and water, sparks, and metal fragments rushed towards the camera at the same time. The impact caused the screen to overturn violently. focus

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    Lens 54｜03:28.8—03:33.8｜5 seconds Divine Ultimate Move - Martial Saint Kaihai Camera: 21mm, low-angle high-speed photography Composition: No. 5 jumps from the lower right corner of the screen to the octopus head; the giant octopus occupies the upper left corner; several tentacles form a shrinking circle Mirror movement: Take over the previous shot and follow No. 5 as it rises at high speed; when it reaches the highest point, it will circle half a circle, and the knife will instantly enter the 120 frame upgrade. Number Five stepped on the tentacles and jumped towards the head of the giant octopus. The octopus senses danger. The remaining tentacles immediately changed direction and closed in from all sides of No. 5 at the same time. The suckers are densely spread out. The spaces above, below, left, and right of No. 5 were completely sealed. Five didn't slow down. The first tentacle drew horizontally. He turned the Qinglong Yanyue Knife and used the handle to change the trajectory of the tentacles. The second tentacle hit him head on. Number 5 stepped on the tip of the tentacle and used the force of the impact to jump high again. The red divine texture on the mask began to flash rapidly. Thirty seconds have reached the last moment. No. 5 raised the knife with both hands in mid-air. All the surrounding vermilion divine particles suddenly stopped floating and instantly gathered towards the Qinglong Yanyue Sword. The martial soul's real body behind him completely solidified. Each person has a martial spirit, and they raise their swords at the same time. No. 5 suppressed his trembling arms and roared: "Martial Saint lend me -" Number 5 and Wuhun's true form swung their swords at the same time. "Open the sea!" A huge mountain

15. 15

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    Two big words: assets

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16. 16

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    I want a Chinese maintenance worker kind of character, a male character. The dress of the near future, no national flag, short sleeves

17. 17

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    I want a Chinese maintenance worker character, a female character. The dress of the near future, no national flag, short sleeves, real-life effect

18. 18

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    a single colossal translucent abyssal octopus kaiju, exactly eight enormous muscular tentacles, fully visible from head to every tentacle tip, elongated semi-transparent dark-blue mantle, internal nervous system, three enormous hearts and layered muscle fibers faintly visible beneath thick gelatinous skin, two small pale recessed eyes, black beak at the center of the arms, double rows of translucent suction cups containing cold-blue bioluminescent nerves, subtle cyan light traveling through the body like slow neural impulses, matte semi-translucent flesh instead of glass, realistic deep-sea soft-tissue anatomy, pressure wrinkles, internal shadows and organic density, not brightly glowing, tiny submarine and cargo ship beside the creature for scale, clear 35-degree three-quarter view, cold directional light revealing the entire silhouette, cinematic biological science-fiction horror, grounded live-action kaiju, photorealistic, 8K

19. 19

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    a colossal ancient battle-scarred abyssal octopus kaiju, exactly eight arms in total, seven gigantic mature muscular tentacles and one visibly shorter regenerated tentacle, enormous elongated mantle leaning to one side, asymmetrical but biologically believable silhouette, two small pale recessed eyes, one eye surrounded by an old circular scar, gigantic black beak, double rows of ivory suction cups, several damaged suction cups and healed tissue along the arms, matte dark-indigo and charcoal skin covered with deep pressure folds, pale healed scars and restrained dark-purple chromatophore markings, subtle cold-blue neural glow appearing beneath injured areas, massive realistic soft-tissue musculature, full body clearly visible, tiny aircraft carrier and cranes beside it for scale, cold overcast lighting, cinematic live-action monster history, photorealistic biological detail, 8K

20. 20

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    Empty detention corridor beneath an offshore industrial harbor, no people or human silhouettes. Heavy steel mesh holding cells lining both sides of a long narrow passage, repurposed refrigerated shipping container panels, thick maritime bulkhead doors, new electronic locks on old rusted frames, surveillance cameras in upper corners. Exposed refrigeration pipes and ventilation ducts above, cold vapor flowing along wet floor, seawater dripping through cracked reinforced concrete walls, narrow drainage trenches filled with dark water. Abandoned blankets and empty metal food trays inside vacant cells. Alternating cold fluorescent light and deep shadow, one dim red emergency light glowing at far end. Strong deep perspective, camera close to left wall, non centered composition, slight Dutch angle, 28mm lens, shallow depth of field, restrained blue gray palette, low saturation, cinematic live action industrial thriller, photorealistic.

21. 21

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    Enormous empty multi level detention block inside a repurposed offshore cold storage facility, no people or human silhouettes, three vertical levels of vacant steel mesh holding cells surrounding a deep central service floor, rusted grated catwalks, narrow staircases and suspended maintenance bridges, new black security doors and electronic locks integrated into decayed industrial architecture, giant refrigeration machinery in reinforced concrete walls, thick frost covered insulated pipes, seawater leaking through expansion joints, shallow flooded sections reflecting architecture, dense cold vapor beneath ceiling, cold white ceiling lights mixed with red emergency illumination, symmetrical structure from asymmetric 35 degree corner angle, strong vertical scale, foreground machinery partially framing image, clear depth layers, 20mm wide angle lens, low saturation, cinematic industrial oppression, realistic live action production design, photorealistic, sharp environmental detail

22. 22

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    I want Chinese people to look like young, middle-aged men and women, short-sleeved

23. 23

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    I want Russian crowd portraits, both men and women, no sunglasses in summer

24. 24

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    Pure white background with black text: MJ8.2+GPT2 is best for assets.

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25. 25

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    • 20Go to run 20

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    • 21Go to run 21

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    4 outputs — open the canvas to view

30. 30

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    • 22Go to run 22

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The remaining 29 runs are on the canvas in CinAI Studio.