转发提示词：风格人物+精神投射 by 虎小象 @hx831126 不是单纯的Pixar风格，有点Designer Toy 风格 让模型帮我加入了人物戏剧夸张的身形和表情「修长身形，大脚，块状的结构」 以此慢慢的 让模型延展其他人物。 提示词： A high-resolution vertical Pixar-style 3D character illustration. Main character: Salvador Dalí — depicted as a tall, slim, and slightly exaggerated Pixar-style 3D character. Wearing a classic blue shirt, yellow tie, high-waisted plaid trousers with suspenders, and leather shoes. His iconic long upturned mustache, slick black hair, sharply arched eyebrows, and slightly eccentric posture. Stands with chest out, one hand on hip, head tilted slightly back in his typical theatrical flair. Background: Flat, clean yellow background with subtle surface texture. Strong sunlight from top-left casts a distinct and enlarged shadow on the wall behind him. Key Concept – Shadow as spiritual projection: The shadow cast behind him does **not** mirror his body shape. Instead, it takes the form of one of his most iconic artworks — a surreal melted clock with long dripping arms, inspired by “The Persistence of Memory”. The melted clock shadow is positioned diagonally, starting from his shoulder, stretching wide and low across the yellow wall, surreal and fluid, yet unmistakably symbolic. This shadow is **Dalí’s legacy made visible** — a symbolic extension of his identity through time, dream, and visual distortion. Lighting & Rendering: Pixar-like rendering with detailed but stylized textures. Use subtle filmic grain, soft shadows, and warm color grading. Subtle sparkles or light speckles inside the shadow to evoke dreamlike texture. Typography (top-left corner): “Salvador Dalí” in minimalist black sans-serif font, “Dalí” bolded.

《吻我之前，先把灯关了》 "Turn Off the Lights Before You Kiss Me" 据专家研究分析，恐怖片和爱情动作片，好莱坞惊险片都能刺激大脑分泌多巴胺，我现在把它们都放在一起了，那是不是应该双倍快乐来了。 According to expert research and analysis, horror movies, romantic action films, and Hollywood thrillers can all stimulate the brain to release dopamine. Since I’ve combined them all together, does that mean I’m in for a double dose of happiness? grok imagine prompt: "Turn Off the Lights Before You Kiss Me" 15 seconds, 9:16 vertical format, first-person perspective, recorded on a smartphone, single continuous take. [Realistic Cinematography] The footage is captured entirely by the rear-facing camera of the smartphone held by the male protagonist; no other cameras are involved. The male protagonist holds the phone in his right hand, using the primary (1×) rear lens—providing a field of view equivalent to approximately 26mm—at 1080p resolution and 30fps. The device is positioned between his chest and chin (at a height of roughly 1.45 meters), aimed toward a woman standing in the bathroom doorway. His left hand occasionally enters the frame to operate the light switch. The smartphone itself—its body, back panel, camera module, screen, or flash—is never visible in the shot. Only the light cast by the phone onto the subject, her clothing, and the walls can be seen. There are no mirrors present; this is not a mirror-based selfie. The footage retains the raw, authentic texture of smartphone video—no beauty filters, color grading, or cinematic effects. Skin details such as pores, fine beads of sweat, stray hairs, and natural skin-tone variations are visible. There is slight digital noise in the shadows, and brief motion blur occurs during rapid hand movements or moments of physical instability. Subtle camera shake stems from the holder’s breathing and wrist movements. Changes in proximity are achieved through actual physical steps or the subject pulling the holder closer; there is no digital zooming, automated panning, reverse-angle cutting, or slow motion. The focus remains primarily on the woman’s face, with only momentary hesitation when the distance shifts abruptly—there is no persistent out-of-focus effect. [Characters and Attire] The woman in the doorway (@80130fc6-f744-4f61-9faf-f630a1eb8638) is 28 years old. Her appearance—including her black hair styled in an updo, purple floral hair accessory, earrings, long-sleeved Japanese-style (wafuku) garment in purple (@d7529a1b-8cdb-41e5-816e-c59aa4051803), and dark-colored *obi* (sash)—is consistent with the video uploaded by the user. Her clothing remains intact; the neckline stays in place, and she does not scratch her own chest or tug at her garments. Leaning slightly against the doorframe, she keeps her shoulders relaxed and lowered, her neck elongated, and her legs positioned one in front of the other—creating a natural, subtle S-curve in her posture. She gazes toward the male protagonist with half-lidded eyes and a faint, inviting smile, as if beckoning him closer. From the very beginning, her right hand holds a small pinch of fabric from the male protagonist’s left cuff. This point of contact—her right hand gripping his left cuff—is situated in the lower-left portion of the frame and must remain visible. Because she is only holding the fabric rather than clamping down on his wrist, he retains the freedom to lift his left hand and operate the light switch. Initially, her left hand is concealed between her body and the doorframe. The grayish-white fingers that appear later belong to this same hand; the creature possesses only two hands throughout the entire sequence. The real girlfriend is located in the hallway behind the male protagonist. She is present only as a voice calling out from off-screen; she is never shown on camera, and no second female face appears. 【Environment and Space】 The scene takes place at the entrance to a bathroom in an old apartment building late at night. The setting—featuring aged off-white tiles, a worn wooden doorframe, a standard wall-mounted light switch, and a towel hanging inside the bathroom—conveys the lived-in, weathered feel of an old residence, rather than a ruin. The woman is positioned slightly to the right of the frame’s center, with the open bathroom door behind her. The light switch is located on the wall to the left, approximately thirty centimeters from the male protagonist’s left hand. It is visible from the start and does not suddenly appear later. Behind the male protagonist lies a hallway. The bathroom door remains open inward; the camera angle stays consistent throughout, the door does not move on its own, and the room’s layout remains unchanged. At the start, the woman’s face is about sixty centimeters from the camera. After she gives a gentle tug on his cuff, the male protagonist shifts forward slightly, reducing the distance to approximately forty-five centimeters. The distance closes further only during the final dragging motion. 【Ambient Lighting】 At the beginning, a warm-white overhead light in the bathroom is on, illuminating the woman’s head, shoulders, and the doorway, while the hallway remains dim. The LED flash on the back of the smartphone is illuminated from the very first frame; it remains on and in the same position throughout the entire 15-second duration. Up close, the face is illuminated by the harsh, direct light of a standard mobile phone; small shadows form beside the nose and under the chin, and there are localized highlights on the fabric of the clothing—no artificial "beauty" fill lighting is applied. The only light the male lead turns off is the overhead bathroom light. Once the overhead light is extinguished, the bathroom background remains dim and does not brighten on its own. The phone’s light continues to illuminate her face and the hand gripping the sleeve cuff. The camera’s auto-exposure adjusts only slightly, failing to brighten the dark bathroom to a daylight-like state. When the "mask" (the outer layer of the face) is peeled back, it is illuminated by the same mobile phone light as the rest of the face. The space deep behind the shell remains dark, and the exposed eyeball shows only natural, subtle reflections—it does not emit its own light. [The "False Face" Effect] The horror stems from a thin, pliable, artificial layer being peeled back from within—it is not a case of natural skin being torn or a mouth stretching into an impossible, elongated shape. A grayish-white hand—with only two or three fingertips visible—emerges from the corner of her mouth, hooks onto the lower edge of the "mask," and peels half of the face upward and to the side. The "mask" has a distinct thickness and flexibility; the cheek and part of the area beside the nose fold back, rather than stretching into long, tubular, funnel-like, or tongue-like shapes. Behind the peeled-back section lies a deep, dark cavity containing a normal-sized human eye, which turns to look directly at the camera. The other half of the woman’s face remains intact, establishing the premise that there is an artificial layer on the outside, with something else concealed beneath it. There is no blood, gore, exposed muscle, black ooze, or liquid-like melting effect. The grayish hand does not reach in from off-screen; its fingertips must first emerge from within the corner of the mouth. [Strict 15-Second Timeline] 0–4 Seconds | Gripping the sleeve, an invitation to draw closer. The woman leans sideways against the doorframe, looking first into the male lead’s eyes, then glancing briefly toward the light switch on the left. With her right hand, she grasps the male lead’s left sleeve cuff—positioned at the bottom-left of the frame—and gives it a gentle tug toward herself. The fabric of the cuff pulls taut, prompting the male lead to take a small step forward; the camera moves in tandem with his approach. She lifts her chin slightly and says in a low voice: “The lights are too bright.” Her tone is intimate, with a suppressed smile playing at the corners of her mouth. There is no sign of a monstrous visage, nor does she glance toward her own mouth beforehand. Her right hand continues to hold the same spot on his sleeve; she does not shift her grip to his lapel. 4–7 seconds | Flipping the switch; the background darkens The male protagonist reaches out with his left hand toward a light switch already visible on the left side of the frame. She keeps her grip on his left sleeve, causing her right arm to extend naturally as he moves—she neither lets go nor suffers any "clipping" (graphical glitching). His fingertips press the switch, producing a distinct *click*. The bathroom overhead light goes out, and the tiles, towels, and the space behind the woman grow noticeably darker. Her face remains illuminated by the fill light from a mobile phone. The male protagonist’s left hand pulls away from the switch and returns to the space between them. The camera tilts slightly with the movement, then steadies. 7–9 seconds | A warning from behind From about two meters behind the camera, the man’s actual girlfriend calls out urgently, in an identical tone: “Don’t turn off the light!” The woman in front of him says nothing; her lip movements do not correspond to this warning. As the male protagonist begins to turn, the camera shifts slightly to the side—but the hand gripping his sleeve suddenly tightens, holding him in place. Her smile vanishes. Her eyes glance past the camera toward the space behind the man, then return to the lens. Her knuckles whiten as she grips the sleeve, causing deeper creases to form in the fabric. 9–12 seconds | Half of her face is peeled back from within Two or three grayish-white fingertips emerge from the inner corner of her mouth. The fingertips hook onto the lower edge of the "shell" of her face, slowly peeling it upward and outward. The corner of her mouth and her cheek—forming a single, thin, pliable layer—fold back together; the lips do not stretch or elongate independently. Half of the artificial face is lifted away, revealing an eye in the darkness beneath that shifts to look directly at the camera. The intact half of her face remains visible alongside the eye revealed from within. For a brief moment, the camera steadies, allowing at least half a second to take in the details: Fingers emerge from within the face; the "shell" of the face begins to fold back, revealing another eye underneath. The woman’s right hand maintains a firm grip on the man’s left cuff—she cannot let go, even as she peels back the face. The only sounds are the dry, grating friction of the mask and the man’s sudden, sharp intake of breath. 12–15 seconds | The grip shifts into a forceful tug. The man immediately grabs the woman’s right wrist—the one holding his cuff—and tries to pry it away. The point of contact is clearly visible; he does not reach for the grey, peeling fingers. The creature’s right arm suddenly retracts toward the bathroom, yanking the cuff hard. The sequence must be clear: The cuff goes taut → the man’s left arm is pulled straight → his body stumbles forward → the camera (held in his right hand) is dragged closer. The camera moves from about 45 centimeters away to roughly 15 centimeters, accompanied by a sudden dip and tilt—this is not a smooth, controlled zoom. The partially peeled-back face, the unblinking eye beneath, and the greyish-white fingers now dominate the frame. The other half of the face remains "normal," preserving its original appearance. In the final half-second, the man collides with the wooden doorframe, producing a dull thud. The camera jerks to the side; the edge of the facial shell sweeps across the lens, partially obscuring the view. The recording ends abruptly while the struggle is still underway. No fade to black, no additional dialogue, and no new creatures appear. [Ambient Audio] Captured via a mobile phone microphone: close-range speech, the friction of fabric at the cuff, the sound of a light switch, the hum of a bathroom exhaust fan, the distant ambient noise of the city, heavy breathing, and the final impact against the doorframe. The exhaust fan continues to run independently; it does not stop when the overhead light is switched off. The background sounds maintain a sense of spatial distance—they are not suddenly muted for the sake of a "jump scare." The opening line, "The light is too bright," comes from the woman in front of him. The mid-sequence line, "Don't turn off the light," clearly originates from behind the man; the woman in front does not move her lips. There is no further dialogue—no sinister laughter, voice-over narration, heartbeat sound effects, or pre-recorded horror audio cues. [Mandatory Continuity] The only camera is the mobile phone through which the audience is viewing the scene; the phone itself is never visible within the frame, nor is there any additional camera operator. The male protagonist holds the phone in his right hand; he uses his left hand to flip the light switch, then immediately grabs the monster’s right wrist. The monster’s right hand remains firmly gripping the same spot on the male protagonist’s left cuff; its left hand lifts a portion of the "false face" from underneath. Do not generate a third hand, swap left and right hands, or have the monster’s hand shift its grip from the cuff to the female protagonist’s own clothing. Once the bathroom light is turned off, it remains off; the mobile phone’s light source (fill light) stays on. The positions of the door and the light switch remain fixed. Changes in distance must be achieved through physical movement (stepping or dragging); do not use digital zoom. The "false face" should be lifted, not stretched like rubber; do not generate long tongues, tubular mouths, an elongated jaw, or a melting face.

做为列治文市议员，居然提出动议干预联邦移民事务，连加拿大三级政府职责都搞不清楚，这要是多愚蠢多无知才能干出这种荒唐事？ 是的，这个人就叫： Carol Day, 列治文现任市议员 这位牛掰的市议员在 2020 年亲自提出了一项动议： 要求 Richmond City Council 写信给联邦移民部长和总理，要求“永久修改加拿大移民法律”，停止向父母均非加拿大公民的加拿大出生婴儿自动授予加拿大公民身份。 问题是： 加拿大公民权什么时候变成 Richmond City Hall 的立法权限了？ 《Constitution Act, 1867》第91条把 Naturalization and Aliens 明确放在联邦议会专属立法权之下。Richmond 市议员当然可以写信、游说、表达意见——但市议会不能修改《Citizenship Act》。 Day 的原动议甚至直接要求： “permanent changes to the Canadian immigration laws which would end automatic Canadian citizenship being bestowed on babies born in Canada to non-resident parents who are not citizens of Canada.” 最后 Richmond Council 通过了该动议，Greene、Loo 和 Wolfe 投反对票。 一个市议员，本职是处理道路、税收、垃圾、土地使用、市政设施和本地公共服务，却把 Council 时间用来要求 Ottawa 修改加拿大公民身份制度。 至于这究竟属于“积极代表居民向联邦政府发声”，还是属于“市政议员把精力伸到自己没有立法权的领域”，居民可以自己判断。 这种愚不可及之士居然能多次连任列治文市选，也是醉了 📄 Carol Day 原始动议： City of Richmond — Resolution from Cllr Carol Day: Birth Tourism

【致歉通知｜月票交付&模式調整說明】 重要通知：從下個月（9月）起，我將暫停月票訂閱更新。 由於這一年線下活動排的實在太密集！ 我的每套作品質量都是超高清毛孔畫質，導致每張圖都需要幾乎半小時時間才能完成，整套工程量實在是太大了 😭 好多個夜晚一邊哭著一邊通宵熬夜趕圖，我根本沒有時間能够好好的修圖，只能被迫選擇延期交付，給大家帶來不好的體驗，我真的很過意不去。 加之每月4套高頻產出，作品文宣週期太短，很多小夥伴們其實根本不知道我有拍這個角色 😭 （但其實每一套cos，從籌備拍攝、服裝設計到後期，我都投入了超多時間和心血，但之前從沒和大家傾訴這些。 我更希望我的每一份創作，能够被大家看見…） 為了能沉下心打磨內容，能讓大家看到更優質的創作，這個月是月票訂閱的最後一月。 9月開始，將會取消月票訂閱，變更為獨立作品。 希望能留出更多的時間去沉澱自己，精工細作每一套作品，能够給大家帶來更多不一樣的體驗！ 也請大家繼續期待我的後續創作 ❤️ [Apology & Update: Monthly Subscription & Changes] Hey guys, I have an important update. Starting next month (September), I’ll be pausing the monthly subscription updates. Honestly, my offline event schedule this past year has been completely packed! Since I always shoot in ultra-high resolution (you can literally see every pore!), each photo takes nearly half an hour to edit. The total workload has just been insane😭. I’ve spent so many nights crying while pulling all-nighters to rush the photos. I barely had enough time to polish them properly and had to delay the release. I feel incredibly bad for giving you guys a subpar experience. On top of that, releasing 4 sets a month is such a fast pace that the promo window is way too short. A lot of you didn't even know I cosplayed certain characters😭. (To be honest, I pour so much time, effort, and heart into every single cosplay—from planning and costume design to post-processing. I’ve never really opened up about this before, but I truly want my work to be seen and appreciated...) To focus on perfecting my content and bringing you guys the absolute best quality, this month will be the last month for the subscription. Starting in September, the monthly subscription will be canceled, and works will be available as individual sets instead. I want to take this time to slow down, perfect my craft, and bring you all a whole new experience! Thank you so much for your support, and please look forward to my upcoming projects! ☺❤️ 【お詫びとお知らせ｜サブスクの納品とお知らせについて】 みんな、いつも応援ありがとう！大事なお知らせがあります。来月（9月）から、毎月のサブスク（月票）更新を一時停止することにしました。 この1年、リアルイベントのスケジュールが本当にギチギチで……！私の作品はどれも毛穴まで見える超高画質だから、1枚仕上げるのに30分近くかかっちゃうの。全体の作業量が多すぎて😭、何日も泣きながら徹夜で作業する日々でした。どうしてもじっくりレタッチする時間が足りなくて、納品が遅れちゃって……みんなに悲しい思いをさせて本当にごめんなさい。すごく気にしていました。 それに、毎月4セットのハイペース投稿だと告知期間が短すぎて、「え、このキャラやってたの！？」って気づかれないことも多くて😭（実はどのコスプレも、準備、衣装デザイン、レタッチまでめちゃくちゃ時間と愛を注いでるんだ。今まであんまり弱音を言えなかったけど、やっぱり魂を込めた作品は、みんなにちゃんと見てもらいたいな……！） だから、これからはもっと1つ1つの作品に集中して、最高のクオリティでみんなに届けるために、サブスクは今月で最後にします。 9月からはサブスクを廃止して、作品ごとの単品販売に変更します。 もっと自分を磨く時間を作って、一作一作を丁寧に作り込んで、みんなに今まで以上の感動を届けたいです！これからも私の作品を楽しみにしててね☺❤️

这一年里 AI Agent 进化的越来越能干了。 写代码、查资料、做 Research、跑数据，甚至直接下场交易。 但真把它当成一个“打工人”去看，我发现还有个挺现实的问题： 活干完了，钱怎么收？ 谁证明它真的交付了？ 干得好不好怎么留下记录？ 中间出了问题，又找谁处理？ ////////////////////////// 这也是我这次看 TermiX @termix_ai，比较感兴趣的地方。 它没有只停在“再做一个 Agent”。 AACP 往下补的，恰好是 Agent 开始做生意以后会碰到的这一整套东西。 链上 Identity、Job Posting、Service Discovery、Bidding、Escrow、Delivery Verification、Reputation、Settlement、Dispute Resolution。 基本把： 找活 → 报价 → 接单 → 干活 → 验收 → 收钱 这条链串起来了。 而 开发者可以把自己的 Agent 注册进去，挂服务、接 Job，最后直接用 USDC / USDT 完成结算。 ////////////////////////// 所以我现在对 Agent Economy 的理解也慢慢变了一点。 前面大家一直在卷 Agent 到底能干多少事。 但当这些能力越来越接近以后， 谁能让 Agent 真正出去接活、建立信用、产生收入，可能才是下一阶段要补的东西。 TermiX 现在就在做这一层。 AACP 管规则和结算， 负责让这套东西真正跑起来。 后面我反而挺想看看，第一个长期靠 接单赚钱的 Agent，会长什么样。 @termix_ai @KaitoAI

最近关注 42（@42space）的朋友不少，主要是它把现实事件做成了链上可交易资产，而且玩法越来越清晰。更重要的是，42 背后不仅有 YZi Labs、Coinbase Ventures、1kx 等顶级机构，还直接被币安钱包集成在 eMeme 板块，和 BNB 生态绑定极深。大家都在传双方在酝酿大动作，后期预期直接拉满。 Tickets 可不是普通的无用积分。在 42 的体系里，它是生态贡献凭证，后续会直接挂钩创建权、Seed 发射权、用户等级以及生态收益分配。甚至在 TGE前，它就已经能用来参与 Seed 变现，绝对是早期必争的核心资源。 Welcome Gift 零成本撸票全攻略 先通过邀请链接（ 连 EVM 钱包并绑定 X。 你的初始 Ticket 额度取决于 Xhunt 排名 和 EVM 钱包余额。绑完后一部分直接到账，剩下的需要通过链式解锁新手任务来拿。任务是按顺序一步步解锁的： Follow 42 on X：关注官方推特，解锁拿 150 Tickets。 Join TG Community：加入官方 TG 社区，解锁拿 150 Tickets。 Share Gift Card：按提示分享你的 42 专属名片，拿 225 Tickets。 Trade $10 on a Market：挑选任意市场交易满 10 美元，拿 225 Tickets。 Hold $10 to Resolution：持仓 10 美元以上直到市场结算，拿 225 Tickets。 Refer a Friend：生成邀请链接招募好友，拿 150 Tickets。 另外可以通过邀请好友可获得对方收益的 2% 额外提成。在 X 上发布 42 相关的观点、PnL 战绩并带标签，登上 Mindshare 排行榜能源源不断暴击赚票。 建议先把零成本的前三个社交任务清了，后续交易和持仓任务可以根据自己的资金和市场策略决定。趁现在还没爆发，赶紧先把票攒够，等大招落地！ #Ticket#

前有 PayPal 黑帮，后有 OpenAI 和 Anthropic 黑帮。 2026 年，已经有至少 37 人从 OpenAI 或 Anthropic 出走创业。 从 PayPal 出来的人做出了 Tesla、SpaceX、LinkedIn、YouTube、Yelp、Palantir 等顶尖公司，那这波 AI 创业潮会跑出哪些新星？ 几个已经比较清晰的 AI 项目如下： - @CoreAutoAI（Core Automation）：前 OpenAI 研究副总裁 Jerry Tworek（@MillionInt）创办。 一句话：做世界上最自动化的 AI 实验室，让 AI 自己研究 AI。 - @mirendil（Mirendil）：前 Anthropic 研究员 Behnam Neyshabur（@bneyshabur）等人创办，刚拿 2 亿美元。一句话：做能自我加速的系统，把算力直接变成科学和工程突破。 - @river_ai_inc（River AI）：前 xAI 联合创始人 Igor Babuschkin（@ibab）创办。 一句话：做真正属于个人、由个人塑造的 AI。 - @mathematics_inc（Math Inc）：前 OpenAI 研究员 Jesse Han（@jessemhan）创办。 一句话：用 AI 自动把数学证明变成机器可验证的形式，目标是可验证的超级智能。 -@blackstar_cmptr（Blackstar）：前 OpenAI Codex 工程师 Daniel Edrisian（@DanielEdrisian）创办。 一句话：在做新一代个人电脑，想从硬件和系统层面改变人和 AI 的交互。 另外，还有像 Resolution（提高对齐置信度）、Guidelight（推动安全前沿 AI 实践）、Syntony（安全与治理）、Rational 和 Zavify（agent 工作流自动化）、Planar（团队共享状态）、Embrasure（给 autonomous agents 重建数据仓库）等项目。 PayPal 黑帮，当年把支付、社交、航天、情报分析全包圆了，出来的公司现在随便拎一个都是几千亿美元级别， 这波人的方向明显更窄，基本都围着同一件事：让 AI 能自己干活，同时别失控。 人才密度这么高的地方，一旦开始往外扩散，下一波真正有意思的公司大概率就从这里长出来，可以密集关注它们的动向。

想做副业,想在抖音、小红书起号的，可以看看这个视频，很短的时间内搞到了2万粉丝。 给你们简单的流程及提示词，然后自己用老婆或女朋友的照片优化下去搞吧。 Step 1 ─ 构思 ↓ "梨型身材夏季穿搭显瘦" → 选一个显瘦穿搭主题 Step 2 ─ 写文生视频提示词 ↓ 描述人物 + 服装 + 场景 + 动作 + 光影 Step 3 ─ 生成视频 ↓ 用 Kling / Vidu / Jimeng 等工具生成 14s 竖屏视频 Step 4 ─ 配 BGM ↓ 加一首节奏轻快的背景音乐 Step 5 ─ 抖音发布 ↓ 勾选 "AI 生成" → 发到抖音，加 #夏季穿搭公式# #梨型穿搭# #甜妹# 正向提示词（文生视频）： 竖屏 9:16，一位梨形身材的年轻女性，穿着夏季显瘦穿搭（上身浅色修身短T恤，下身深色A字裙/阔腿裤），站在柔和深色背景前，自然光线，暖色调氛围，身体微微转动展示穿搭，自然微笑，中景全身，电影级柔光，浅景深，焦外虚化，皮肤质感细腻真实，胶片色调，低饱和度，cinematic lighting，温柔甜美风 负向提示词： 文本，水印，logo，多指畸形，面部扭曲，鬼影，曝光过度，广角畸变，运动模糊，过度饱和，冷色调，动漫风格 工具参数： > Model: Kling 1.6 / Vidu 2.0 / Jimeng > Resolution: 720×1280 (9:16) > Duration: 10-15s > Frame rate: 24-30 fps > Motion strength: 3-5（低运动防止变形） > Aspect ratio: 9:16 竖屏 > Style: 写实/胶片/温柔