春之树 实验短片

{{Portrait 1}} 画面中的男生退后一步，继续看着画

{{Image 1}} 骑着 {{Image 3}}样式的自行车，行进在 {{Image 2}}上

A medium close-up shot: a young Chinese man riding an old-style 28-inch bicycle through rapeseed fields. Fair-skinned with delicate features, scholarly air in his brows and eyes, short hair slightly lifted by the wind. He wears a light blue short-sleeve shirt with open collar and a light gray canvas satchel across his neck. Positioned on the left side of the frame, his profile turns toward the right, gaze focused on the withered{{magic:b90817c1-b6f8-4e3e-a2a3-df37623ac544_1:0}} tree ahead on the hillside—the dead tree standing at the edge of the golden flower field, its bare branches silhouetted against the sky. The background is layered terraces of yellow blossoms and pale blue horizon. Sunlight pours from the side, illuminating his profile and shirt, casting a warm glow on his expression as he gazes at the tree. Cinematic medium close-up with shallow depth of field, foreground flowers slightly blurred, focus on the connection between his gaze and the withered tree ahead. 1990s Chinese artistic film aesthetic, warm and poetic lighting, emphasizing contemplative thoughts while moving forward. Masterpiece, best quality, cinematic medium shot, side profile, gazing at withered tree ahead, shallow depth of field, golden hour lighting.

A close-up portrait shot: a young Chinese man riding an old-style 28-inch bicycle, turning his head to look back. Fair-skinned with delicate features, scholarly air in his brows and eyes, neat short hair slightly lifted by the wind. He wears a light blue or cream-colored short-sleeve shirt with an open collar and sleeves hanging naturally. A light gray canvas satchel hangs across his neck. His face occupies the lower-left to center of the frame, his profile turned toward the upper right, gaze looking over his shoulder into the distance. At the end of his line of sight—upper right of the frame—that solitary withered tree stands proudly on the hillside, its bare branches silhouetted against the sky. The background is layered terraces of golden rapeseed fields extending to the horizon. Sunlight pours from the right side of the frame, illuminating the contour of his profile with soft transitions between light and shadow. Cinematic close-up with shallow depth of field, background slightly blurred, focus on the visual connection between his expression and the dead tree. 1990s Chinese artistic film aesthetic, warm and nostalgic lighting, emphasizing the poetic moment of looking back and the thoughts it carries. Masterpiece, best quality, cinematic close-up, side profile, looking back over shoulder, connection to distant withered tree, shallow depth of field, golden hour lighting.

画面中的男生，头转向左侧60°，看画面中的 {{magic:762511a3-e645-4838-8607-d5a7ad2e63e9_1:0}}

画面中的男生，头转向左侧45°，看向树木，眼神中透露着怜惜

{{Image 1}} 站在 {{magic:ec96acd8-da22-45be-aa2f-89350b4dbcce_1:0}}，走向 {{magic:ec96acd8-da22-45be-aa2f-89350b4dbcce_1:0}} {{magic:eb55a1d9-f0c7-4eeb-9fcc-91c76a5335be_2:0}}

{{Image 2}} 走在 {{Image 1}} 的油菜花田里，背朝镜头，用手拨开周围的油菜花，油菜花很多，他走路的空间很狭窄

人物不要骑车了，站在现在的位置，看树

{{CameraPreset 1}}[Ratio: 21:9, Duration: 8s, Cinematic realism, Film grain, Golden hour backlighting] 0-2s: The man stands at the edge of the dirt path facing away from the camera, looking toward the yellow rapeseed field and the gnarled dead tree on the hillside. He begins to walk forward, stepping off the path into the tall yellow rapeseed flowers. Camera STATIONARY on fixed tripod, medium-wide shot, warm afternoon light. 2-5s: He continues walking deeper into the rapeseed field. With both hands, he GENTLY PUSHES ASIDE the yellow flowers around him — palms brushing against petals, stems bending and parting as he moves through. The flowers sway and rustle with his movement. His back remains toward the camera as he advances through the field. 5-8s: He keeps walking steadily through the rapeseed, hands continuing to part the flowers as needed. The gnarled dead tree on the hillside grows larger in the background as he approaches. The yellow flowers surround him at waist height. Dust particles catch the golden light. Camera holds steady throughout — no pan, no zoom, single continuous shot. Preserve {{Portrait 1}} 's identity: the man's back profile, blue shirt, khaki pants, shoulder bag, the dead tree silhouette, and the layered rapeseed field aesthetic. Maintain natural walking motion and physically plausible interaction with the flowers.

参考图片打光

男生的头看 {{magic:b71927b0-1a8b-404c-b554-8d7f877f8820_1:0}}

Use {{Portrait 1}} as the primary visual anchor for the man, wardrobe, tree position, wide composition, taped green leaves already attached across the branches, yellow flower field, blue sky, and natural daylight. Use {{Portrait 2}} only as reference for wind-blown falling leaves in the air. Use {{Mixed 3}} only as reference for the gust timing and flying leaf motion. At the beginning, the scene matches {{Portrait 1}} : a young man is standing carefully on the tree, using transparent tape on the branches, and many green leaves are already taped onto the tree, making the tree appear covered with green leaves. He holds the tape roll and reaches toward the branches. Then a sudden strong gust of wind arrives. The taped leaves begin to shake hard, peel loose, and more than half of them are blown away. Many detached green leaves fly through the air with short transparent tape strips still attached, fluttering and twisting in the wind. After the gust passes, the tree is revealed as mostly bare and withered again, with dry dark branches clearly visible and only a very small number of taped leaves remaining. Camera: handheld wide shot with slight natural breathing sway and subtle handheld micro-shake. No push-in, no dolly, no crane, no orbit, no dramatic camera travel. Keep the full tree, the man, and the yellow flower field in frame. Scene style: quiet poetic realism, warm spring sunlight, realistic wind physics, clear contrast between the leafy taped look before the gust and the bare withered tree after the gust, transparent tape catching small highlights, stable anatomy, no text, no floating letters, no object morphing, no extra people, no identity drift.

{{Portrait 1}} 爬到 {{Image 2}} 树上

[Ratio: 16:9, Duration: 10s, Cinematic realism, Film grain, Golden hour lighting] 0-2s: A man RIDE a bicycle into the frame from the LEFT side, pedaling steadily with VISIBLE leg motion — the rider's feet step on the pedals repeatedly, driving the chain and rear wheel. The bike moves forward naturally along the dirt path through barren grassland. Camera STATIONARY on fixed tripod, medium shot, slight low angle. Dust particles kick up from the wheels. 2-5s: The cyclist decelerates approaching the CENTER-LEFT, then STOPS. He places one foot firmly on the ground — toes touch dirt, heel raised, leg slightly bent — while the other foot remains on the opposite pedal at the lowest point for stability. The bike leans slightly to that side. He slowly turns his head to gaze at the distant gnarled dead tree. Camera holds steady — no pan, no zoom. 5-7s: The man holds his gaze on the dead tree, body still, one foot grounded on dirt. The bike stands motionless beside him. Subtle breeze moves dry grass. Camera continues to hold steady — narrative tension through stillness. 7-9s: The man lifts his grounded foot back onto the pedal, pushes off with slight thrust, and resumes pedaling toward the RIGHT side. Visible leg cycling motion resumes. Natural acceleration, realistic pedaling cadence. Camera remains fixed throughout. 9-10s: The frame is now empty — the cyclist has exited at the RIGHT edge. The dead tree stands alone in the distance, golden-hour light lingers on the horizon. Quiet, contemplative ending. Single continuous shot, no cuts. Preserve {{Portrait 1}} 's identity: the man's appearance, the dead tree silhouette, the barren grassland aesthetic, and the golden-hour color grading. STRICT physical plausibility required — realistic pedaling mechanics, foot-ground contact, natural bike balance.

[Ratio: 21:9, Duration: 10s, Cinematic realism, Film grain, Golden hour lighting] 0-2s: A man rides a bicycle into the frame from the LEFT side, traveling along a dirt path through barren grassland. The camera remains STATIONARY on a fixed tripod, medium shot, slight low angle. Dust particles float in the warm afternoon light. 2-5s: The cyclist decelerates and stops in the CENTER-LEFT of the frame. He plants one foot on the ground for balance, then slowly turns his head to gaze toward the distant gnarled dead tree. Expression calm, slightly wistful. Camera holds steady throughout — no pan, no zoom. 5-7s: The man holds his gaze on the dead tree, body still, bike balanced beneath him. A subtle breeze moves the dry grass. The camera continues to hold steady, creating narrative tension through stillness rather than motion. 7-9s: The man turns his head back to face forward, pushes off with one foot, and resumes cycling toward the RIGHT side of the frame. Natural acceleration, realistic pedaling motion. Camera remains fixed. 9-10s: The frame is now empty — the cyclist has exited at the RIGHT edge. The dead tree stands alone in the distance, the barren grassland stretches before the camera, golden-hour light lingers on the horizon. Quiet, contemplative ending. Single continuous shot, no cuts. Preserve {{Portrait 1}} 's identity: the man's appearance, the dead tree silhouette, the barren grassland aesthetic, and the golden-hour color grading. Maintain physical plausibility in bicycle motion and natural human movement.

[Ratio: 21:9, Duration: 6s, Cinematic realism, Film grain, Golden hour lighting] 0-2s: A man rides a bicycle into the frame from the LEFT side, traveling along a dirt path through barren grassland. The camera remains STATIONARY on a fixed tripod, medium shot, slight low angle. Dust particles float in the warm afternoon light. 2-4s: The cyclist decelerates and stops in the CENTER-LEFT of the frame. He plants one foot on the ground for balance, bike wheel slightly angled. Background shows a gnarled dead tree in the distance against a muted sky. Natural wind sound. 4-6s: The man turns his head to look toward the distant dead tree, his upper body rotating slightly. Expression calm, contemplative. Camera holds steady — no pan, no zoom. Light shifts subtly as clouds pass. The scene carries a quiet, cinematic narrative tension. Preserve {{Portrait 1}} 's identity: the man's appearance, the dead tree silhouette, the barren grassland aesthetic, and the golden-hour color grading. Maintain physical plausibility in bicycle motion and natural human movement. Single continuous shot, no cuts.

前景再添加一些油菜花，他应该是挤压着油菜花的

衣服颜色调整为 {{Image 2}} 的衣服颜色

男子站在树上，从包里拿出一个牛皮纸的信封，信封一半在包里，一半已经拿了出来

Use {{Portrait 1}} as the primary visual anchor for the man, wardrobe, tree position, wide composition, dry dark branches, yellow flower field, blue sky, and natural daylight. Use {{Portrait 2}} only as motion reference for wind-blown leaves and loose transparent tape pieces in the air. A young man stands carefully on the tree trunk among the dry branches. He is using transparent tape to attach green leaves onto the bare tree branches. Several leaves are already taped onto the branches. Suddenly a strong gust of wind passes through the tree. The taped leaves shake intensely, then more than half of them peel loose and fly away. Some falling leaves still have short strips of transparent tape attached, fluttering and twisting in the air. The man pauses and looks toward the leaves being blown away, keeping one hand near the branch and the tape roll in the other hand. Camera: handheld wide shot, filmed from a nearby observer’s position. Keep a slight natural breathing sway and very subtle handheld micro-shake. No push-in, no dolly, no crane, no orbit, no dramatic camera travel. Maintain the full tree structure, the man, and the surrounding yellow flower field in frame. Scene style: quiet poetic realism, warm spring sunlight, realistic wind physics, dry bark texture, transparent tape catching small sunlight highlights, leaves fluttering naturally with tape strips attached, cautious body balance on the tree, stable anatomy, no text, no floating letters, no object morphing, no extra people, no identity drift.

{{CameraPreset 1}} {{CameraPreset 2}} {{Portrait 2}} 中的男生微微抬头，看树木

{{Portrait 1}} 中的男生往 前走，镜头 {{CameraPreset 1}} 穿过丛丛油菜花

自行车驶出画面

[Ratio: 21:9, Duration: 6s, Cinematic realism, Film grain, Golden hour backlighting] 0-2s: The man continues cycling forward on his bicycle. He slowly turns his head toward the RIGHT side of the frame, gazing at the distant gnarled dead tree standing among the yellow rapeseed flowers. His upper body rotates slightly with the head turn while hands stay on handlebars. Visible pedaling motion — feet pressing pedals in continuous rotation. Camera STATIONARY on fixed tripod, medium shot, warm afternoon light rimming his hair. 2-4s: He then turns his head back toward the LEFT side of the frame — now looking toward the camera's general direction, his face catching more of the golden light. Expression calm, slightly curious or thoughtful. Pedaling motion continues uninterrupted. The yellow rapeseed field and dead tree remain visible in background. 4-6s: Finally, he turns his head to face forward again — looking straight ahead in the direction of travel (LEFT side of frame). His posture settles back into normal cycling position. He continues pedaling along the dirt path. Natural wind moves through his hair. Camera holds steady throughout — no pan, no zoom, single continuous shot. Preserve {{Portrait 1}} 's identity: the man's face and appearance, blue shirt, shoulder bag, the dead tree silhouette, and the golden rapeseed field aesthetic. Maintain physical plausibility — realistic pedaling mechanics, natural head turning rhythm, coherent bicycle motion.

[Ratio: 21:9, Duration: 6s, Cinematic realism, Film grain, Golden hour backlighting] 0-1s: The cyclist rides into the frame from the LEFT on a dirt path through the yellow rapeseed field. He decelerates and comes to a COMPLETE STOP in the CENTER of the frame. Both feet leave the pedals — one foot plants firmly on the ground (toes touch dirt, heel raised), the other leg rests on the frame. The bike is stationary, hands remain on handlebars. Camera STATIONARY on fixed tripod, medium shot, warm afternoon light. 1-3s: The man slowly turns his head to the RIGHT side of the frame, gazing at the distant gnarled dead tree among the yellow flowers. His upper body rotates slightly with the head turn. The bike and body remain completely still — no forward momentum. 3-4.5s: He then turns his head toward the LEFT side of the frame, now looking in the general direction of the camera. His face is now more fully lit by the golden afternoon light. Body and bike remain stationary throughout. 4.5-6s: He turns his head back to face FORWARD — looking straight ahead in the direction the bike is facing. His resting posture settles naturally. The yellow rapeseed field stretches behind him, the dead tree stands in the distance. Camera holds steady throughout — no pan, no zoom, single continuous shot. Preserve {{Portrait 1}} 's identity: the man's face and appearance, blue shirt, shoulder bag, the dead tree silhouette, and the golden rapeseed field aesthetic. Maintain physical plausibility — the bike must remain completely stopped, foot firmly planted on ground, no floating or gliding.

[Ratio: 16:9, Duration: 10s, Cinematic realism, Film grain, Golden hour backlighting] 0-1.5s: The cyclist rides into the frame from the LEFT on a dirt path through the yellow rapeseed field. He decelerates and comes to a COMPLETE STOP in the CENTER of the frame. He remains SEATED on the bike saddle — one foot stays on the pedal at the lowest position, the other foot lightly touches the ground for stability (toes graze dirt, knee slightly bent). Hands remain on handlebars. The bike stands motionless with its kickstand or leaning slightly. Camera STATIONARY on fixed tripod, medium shot, warm afternoon backlight. 1.5-4s: The man slowly turns his head to the RIGHT side of the frame while remaining SEATED on the bike, gazing at the distant gnarled dead tree among the yellow rapeseed flowers. His upper body rotates slightly with the head turn. The bike and his body remain completely still — no rocking, no rolling. 4-6.5s: He then turns his head toward the LEFT side of the frame — now looking toward the camera and the open field direction. His face catches more of the golden afternoon light. Body and bike remain completely stationary throughout. 6.5-9s: He turns his head back to face FORWARD — looking straight ahead in the direction the bike is facing. His seated posture settles naturally. He keeps one foot on the pedal and the other still lightly touching ground. 9-10s: Hold on the final frame — the seated cyclist faces forward, the yellow rapeseed field stretches behind him, the dead tree stands in the distance. Camera holds steady throughout — no pan, no zoom, single continuous shot. Preserve {{Portrait 1}} 's identity: the man's face and appearance, blue shirt, shoulder bag, the dead tree silhouette, and the golden rapeseed field aesthetic. STRICT physical plausibility — person MUST remain seated on the bike at all times after stopping, no dismount, no standing, foot only lightly touches ground while person stays on saddle.

男生北朝镜头，抬头，看着枯树，仰拍，枯树很大人比较小

男子重新骑车，驶出画面

男生向左转头，看左侧的树，然后转回头看前方

人物背朝镜头，面向树木

爬树

男子爬树，手扶树干 {{Portrait 1}} ，脚踩 {{Portrait 2}} ， 切全景{{Portrait 3}} ， {{Portrait 4}} 特写手抓树枝

Use {{Portrait 1}} as the primary environment and composition anchor: the huge dry bare tree, dark twisting branches, yellow flower field, blue sky, natural daylight, and wide cinematic framing. Use {{Portrait 2}} as the strict character identity and wardrobe reference: young man, dark hair, blue shirt, beige shoulder bag, olive pants, black shoes. A young man stands under the huge bare tree with his back to the camera, centered in the lower frame. He slowly raises his head and looks up at the dry branches above him. His posture becomes still for a moment, as if quietly accepting the sight of the leafless tree. Then he lowers his shoulders slightly, turns his body to the right, and walks out of frame from the right side with a tired, helpless feeling. Keep the movement natural and restrained. Camera: handheld wide shot from behind the man. Start at the man’s back and the lower trunk, then gently tilt upward with his gaze to reveal more of the dry branches. After the tilt, hold the frame with slight handheld breathing sway and subtle micro-shake. No dolly, no push-in, no crane, no orbit, no dramatic camera travel. Let the man exit frame right while the camera stays mostly in place. Scene style: quiet poetic realism, warm spring sunlight, realistic rural atmosphere, crisp dry bark texture, yellow flowers moving gently in the background breeze, bare branches clearly visible with no green leaves growing on the tree, stable anatomy, natural walking pace, no text, no floating letters, no object morphing, no extra people, no identity drift.

窗外改成油菜花田。花瓣上的画改成 {{Image 2}} 的中间树木的部分，这是一张油画

{{Portrait 1}} 站在画室 {{Image 2}} 里的画板前， 手上拿着油画笔和调色板

把环境改一下，改成一个在中国农村的自建房里的画室，现在太西方了

阳光从左侧的窗户照射进来，丁达尔效应

生成没有背包的蛇舞设定图，衣服和裤子上有被油画颜料污染的痕迹

{{Image 1}} 站在画室 {{Image 2}} 里的画板前， 手上拿着油画笔和调色板。参考 {{Image 3}} 的光影质感。这是一张由IMAX胶片拍摄的照片，具有明显的胶片影像风格。

胶片质感。 画板上的枯树，被画满了叶子，郁郁葱葱

将这张图优化为真实胶片摄影机拍摄质感。严格保留原始画面内容、构图、视角、比例、所有物体位置、窗户、画架、画布、桌面工具、书架、砖墙、阳光和窗外景色，不要新增、删除或移动任何元素。只调整画面质感与影像风格：加入自然细腻的胶片颗粒、柔和的高光晕染、轻微 halation、温暖但自然的色彩层次、柔和的微对比、真实的暗部细节、轻微镜头瑕疵、轻微暗角、平滑的高光过渡和扫描胶片般的真实摄影感。整体效果应像使用 35mm 或中画幅胶片相机拍摄的艺术家工作室照片，温暖、真实、复古、电影感强，但不要让画面变模糊，不要过度锐化，不要改变原图任何内容。

胶片质感

胶片质感， {{Image 1}} 的人物站在 {{Image 2}} 的画板前，面朝画板，背朝镜头，距离画板大概半米远，满意的看着这幅画

胶片质感， {{Image 1}} 的人物站在 {{Image 2}} 的画板前，面朝画板，北朝镜头，距离画板大概半米远，满意的看着这幅画

胶片质感， 的人物站在 的画板前，面朝画板，背朝镜头，距离画板大概半米远，满意的看着这幅画

男子站在画板前，画笔沾着绿色的油画颜料，正在给枯树画绿色的树叶，特写镜头

Use {{Portrait 1}} as the full visual anchor: preserve the same young male painter, blue paint-stained shirt, warm brick art studio, large windows, golden field outside, easel position, canvas composition, and cinematic wide aspect ratio. A realistic cinematic handheld shot inside the sunlit artist studio. The camera feels handheld with subtle natural breathing movement, tiny micro-shakes, and gentle body-weight sway, like a quiet documentary operator standing nearby. Start in a medium-wide view matching {{Portrait 1}} . The man stands near the worktable holding a painter’s palette and brush. Warm sunlight streams through the window blinds, soft dust particles floating in the air, natural lens bloom, shallow cinematic depth of field. The man slowly walks toward the easel, careful and focused. The camera softly tracks with him from left-front angle, maintaining the studio depth and the glowing window light. His wardrobe and face remain consistent with {{Portrait 1}} . He stops in front of the canvas showing the bare tree. He raises the brush, touches the branches, and begins painting fresh green leaves onto the tree. The new leaves appear naturally as small brush strokes spreading across several branches, not magical, not instant. His hand movement is precise and calm. Camera gradually pushes closer to an over-the-shoulder medium shot of the canvas and brush. Palette visible in foreground, green paint on brush tip, soft warm highlights on wet paint. End with the canvas filling more of the frame: the once-bare tree now has scattered fresh green leaves, while the studio remains softly alive in the background. Style: photorealistic cinematic realism, warm golden-hour lighting, handheld documentary breathing, delicate painterly atmosphere, natural motion, stable anatomy, consistent identity, no text, no floating letters.

{{CameraPreset 1}} Use {{Portrait 1}} as the full visual anchor: preserve the same young male painter, blue paint-stained shirt, warm brick art studio, large windows, golden field outside, easel position, canvas composition, and wide cinematic framing. A realistic cinematic handheld shot inside the sunlit artist studio. The camera stays in one fixed position the entire time, like a quiet observer standing silently in the room. Do not track, do not follow, do not push in, do not change camera position. Only keep a very subtle handheld breathing feel, with tiny natural micro-shakes and gentle body sway. Start with a medium-wide composition similar to {{Portrait 1}} . The man is in the studio holding a palette and brush. Warm sunlight passes through the blinds, soft dust floating in the air, natural lens bloom, cinematic depth of field. The man walks by himself toward the easel while the camera remains still and watches from a distance. He enters the space in front of the canvas naturally, calm and focused. His identity, clothing, and proportions remain consistent with {{Portrait 1}} . He stops at the easel and begins painting green leaves onto the bare tree. His brush touches the branches and gradually adds small fresh green leaves. The leaves appear through believable painting progress, one area after another, not magical and not instant. Palette remains in his hand or nearby as he paints. The scene maintains the same observer framing throughout. The environment stays visible: worktable, brushes, art supplies, warm studio depth, and the glowing windows. End with the man still painting quietly at the easel, the tree on the canvas now showing clear new green leaves. Style: photorealistic cinematic realism, locked observer framing, subtle handheld breathing only, warm golden-hour light, quiet artistic mood, no text, no floating letters, stable anatomy, consistent identity.

调整下画面比例，现在感觉被纵向拉长了

画面中的人物，正在取下这幅画，画板被抬下来，画面冲着人，镜头能看到画面

画面中的人物，正在取下这幅画，画板被抬下来

Use as the opening scene anchor, as the character action reference, and as the final composition target. Create one single continuous cinematic shot in the rapeseed field. Preserve the dead tree on the hill, layered yellow flower fields, dirt road foreground, clean bright sky, and warm natural daylight from . Keep the same young male painter from : blue paint-stained shirt, khaki pants, dark shoes, carrying a large square painting of a lush green tree. 0–2s: Begin with the empty landscape exactly like . No person visible. Hold the fixed wide frame for two full seconds. The camera stays in one locked position with only subtle handheld breathing and tiny natural micro-shakes. 2–7s: The man enters from the right side carrying the painting, matching . The painting’s front side with the green tree must face the camera at all times. The back of the canvas is never visible. He walks calmly into the frame toward the center alignment area. 7–10s: He stops at the correct position, keeps the painting front-facing, and raises it with both hands so the painted green tree visually overlaps the real dead tree in the background. The canvas stays flat toward the camera, no flipping, no rotating to the back. 10–15s: The camera remains completely fixed. No cut, no zoom, no dolly, no push-in, no Hitchcock zoom, no focal length change. The man physically walks forward toward the camera along the camera axis while holding the painting front-facing. The painting becomes larger only because the man gets closer to the lens. The camera-to-background relationship stays unchanged. End when the man and painting reach the near foreground, making the frame look like : the large painting fills the center of the image and fully blocks the dead tree behind it. Single take only. The final enlargement must come from subject movement toward the camera, not camera movement or lens zoom. Style: photorealistic cinematic realism, fixed observer framing, subtle handheld breathing, natural body motion, clean composition, consistent identity, no text, no floating letters.

反打镜头，人物的表情，脸上略微有沾染油画颜料，近景

{{Image 2}} 中的男生，拿着 {{Image 4}} 中的油画，不要给油画添加相框，从画面右侧走入 {{Image 1}} 的场景。 拿画的动作参考 {{Portrait 3}} 中拿画的动作。画的大小和人物的相对比例参考 {{Image 4}} 。

Use {{Portrait 1}} as the primary scene anchor and {{Portrait 2}} as the action continuity reference. Preserve the same warm brick art studio, large sunlit windows, golden field outside, easel position, art supplies, finished green tree painting, and the same young male painter in the blue shirt. The camera stays in one fixed position for the entire shot, like a quiet observer inside the room. Do not track, do not pan, do not tilt, do not push in, do not move backward. Keep only a subtle handheld breathing feel with tiny natural micro-shakes and gentle body sway. Start from the wide studio composition of {{Portrait 1}} . The man walks forward toward the easel in a calm, natural pace. He reaches the easel, raises both hands, grips the finished painting by both sides, and carefully lifts it off the stand. The easel remains behind in place. After removing the painting, he turns toward the camera while holding the canvas upright in front of his body. He walks directly toward the camera, carrying the painting. His movement is steady and quiet, not rushed. The fixed camera simply watches him approach. As he gets closer, the painting grows larger in frame and begins to block more of the studio. The green tree painting fills the center of the image first, then expands until it covers nearly the entire frame. In the final moment, the canvas completely covers the lens, fully cover the camera view, creating a natural canvas-wipe ending. No camera movement, only the subject and painting moving toward the lens. Style: photorealistic cinematic realism, fixed observer framing, subtle handheld breathing, warm golden-hour light, natural body motion, realistic canvas handling, stable anatomy, consistent identity, no text, no floating letters.

Use {{Portrait 1}} as the primary scene anchor and {{Portrait 2}} as the action continuity reference. Create a realistic cinematic shot in the same warm sunlit art studio. Preserve the same young male painter, blue shirt, art supplies, brick walls, large sunlit windows, golden field outside, easel position, and overall room layout from {{Portrait 1}} . Keep the finished green tree painting consistent with {{Portrait 2}} . The camera remains in one fixed position for the entire shot, like a quiet observer standing silently in the room. Do not track, do not pan, do not tilt, do not push in. Only keep a subtle handheld breathing motion, with very slight natural body sway and tiny micro-shakes. Start from the composition of {{Portrait 1}} . The man is standing in the room and begins walking forward toward the easel in a calm, natural way. His pace is unhurried, quiet, and focused. When he reaches the easel, he raises both hands, lifts the finished painting off the stand, and holds it in front of himself, matching the action logic of {{Portrait 2}} . The painting removal should feel realistic and smooth, with the easel left behind in place. After taking down the painting, he turns and walks out of the room, carrying the painting with him. He exits naturally from the scene while the camera stays completely in the same position and simply watches. The studio remains visible after he leaves, filled with warm golden light, stillness, and quiet atmosphere. Style: photorealistic cinematic realism, fixed observer framing, subtle handheld breathing, warm golden-hour light, natural character motion, stable anatomy, consistent identity, no text, no floating letters.

{{CameraPreset 1}} 人物举着画站着，有自然的身体晃动。

人物举着画站着，有自然的身体晃动。

画面中的男生，把画举起来，挡住背景中的枯萎的树，使得这棵树好像重新活过来了一样

Use {{Portrait 1}} as the opening scene anchor, {{Portrait 2}} as the character action reference, and {{Portrait 3}} as the final composition target. Create one single continuous cinematic shot in the rapeseed field. Preserve the dead tree on the hill, layered yellow flower fields, dirt road foreground, clean bright sky, and warm natural daylight from @Image1. Keep the same young male painter from {{Portrait 2}} : blue paint-stained shirt, khaki pants, dark shoes, carrying a large square painting of a lush green tree. 0–2s: Begin with the empty landscape exactly like {{Portrait 1}} . No person visible. Hold the fixed wide frame for two full seconds. The camera stays in one locked position with only subtle handheld breathing and tiny natural micro-shakes. 2–7s: The man enters from the right side carrying the painting, matching {{Portrait 2}} . The painted green tree side must face the camera at all times. The back of the canvas is never visible. He walks calmly into the frame toward the center alignment area. 7–10s: He stops at the correct position, keeps the painting front-facing, and raises it with both hands so the painted green tree visually overlaps the real dead tree in the background. 10–15s: He remains standing naturally in place, holding the painting steady in front of him, matching the final composition logic of {{Portrait 3}} . He does not walk closer to the camera. He simply stands there with a calm natural posture, allowing the painting to fully block the dead tree behind it. Single take only. No cut, no zoom, no dolly, no push-in, no Hitchcock zoom, no focal length change. The camera remains fixed for the entire shot. Style: photorealistic cinematic realism, poetic visual metaphor, fixed observer framing, subtle handheld breathing, natural body motion, clean composition, consistent identity, no text, no floating letters.

在调色板上蘸颜料，然后给枯树画绿色的树叶

保持人物一致性

人物往镜头方向稍微向前移动一点，使得人物和画面更大一些

保持 {{Portrait 2}} 不变，用 {{Portrait 1}} 补全周围

/

{{Image 1}} {{Image 2}} {{Image 3}}男子画画，然后看着画面思考

男子画画，然后看着画面思考

保持人物一致性， {{Image 2}} 这个是人物

Use {{Portrait 1}} as the opening scene anchor, {{Portrait 2}} as the character action reference, and {{Portrait 3}} as the final composition reference. Create a single continuous cinematic shot in the rapeseed field. Preserve the same dead tree on the hill, layered yellow flower fields, dirt road in the foreground, clean bright sky, and warm natural daylight from {{Portrait 1}} . Keep the same young male painter from {{Portrait 2}} : blue paint-stained shirt, khaki pants, dark shoes, carrying a large square painting of a lush green tree. 0–2s: Begin with an empty landscape exactly like {{Portrait 1}} . No person visible. Hold the still wide frame for two full seconds, letting the dead tree stand alone in the distance among the yellow flowers. The camera remains fixed, only subtle handheld breathing and tiny natural micro-shakes. 2–7s: The man enters from the right side of frame carrying the painting, matching {{Portrait 2}} . He walks calmly toward the center area, holding the painting in front of his body. His movement is steady, natural, and unhurried. 7–12s: He stops in the correct foreground position and turns the painting toward camera. He raises the painting upward with both hands and carefully aligns it with the dead tree in the background. 12–15s: Match the final staging of {{Portrait 3}} . The green tree painting precisely overlaps and hides the dead tree behind it. The final frame clearly shows the painting centered, creating the illusion that the barren tree has been replaced by the lush painted tree. Camera stays locked in one observer position for the entire shot. Do not track, do not pan, do not tilt, do not push in. Style: photorealistic cinematic realism, poetic visual metaphor, subtle handheld breathing, natural body motion, clean composition, consistent identity, no text, no floating letters.

Use {{Portrait 1}} as the opening scene anchor, {{Portrait 2}} as the character action reference, and {{Portrait 3}} as the final composition target. Create one single continuous cinematic shot in the rapeseed field. Preserve the same dead tree on the hill, layered yellow flower fields, dirt road foreground, clean bright sky, and warm natural daylight from {{Portrait 1}} . Keep the same young male painter from {{Portrait 2}} : blue paint-stained shirt, khaki pants, dark shoes, carrying a large square painting of a lush green tree. 0–2s: Begin with the empty landscape exactly like {{Portrait 1}} . No person visible. Hold the still wide frame for two full seconds. The camera stays locked in the exact same position, with only subtle handheld breathing and tiny natural micro-shakes. 2–7s: The man enters from the right side carrying the painting, matching {{Portrait 2}} . The painted green tree side must remain facing the camera at all times. Never rotate the canvas to show its back side. He walks calmly toward the center alignment area. 7–10s: He stops, turns his body slightly if needed, but keeps the painting front-facing to camera. He raises the painting with both hands and carefully aligns it so the painted green tree overlaps the real dead tree in the background, matching the composition logic of {{Portrait 3}} . 10–15s: Still in the same single shot, with no cut and no camera movement, the man walks slowly toward the camera while continuing to hold the painting front-facing. The camera position, framing logic, and focal length remain unchanged. The painting becomes larger only because the man physically moves closer to the lens. End with the painting filling most of the frame and fully hiding the dead tree behind it. Single take only. No shot change, no jump cut, no zoom, no push-in, no focal length change. Style: photorealistic cinematic realism, poetic visual metaphor, fixed observer framing, subtle handheld breathing, natural body motion, clean composition, consistent identity, no text, no floating letters.

画面中的男子给枯树画绿叶

给枯树画绿叶

给枯树画绿叶，特写镜头