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SHIMESABAKUN
Show Parameters
- Mode
- flash
- Size
- 2048 x 1536
Model & LoRA used
PixAI DiT.3
Tsubaki.3 Flash
2.07k
User LoRA
Beautiful background
119
User LoRA
Information Density Enhancer
223
User LoRA
Quality Booster：DiT.3
96
Creation Assistant
Agent
Mio.2
Minimal input, professional output
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(((Beautiful background))), (4k, 8k, Ultra HD), (Masterpiece), (Best quality), (High detailed), ultra detailed, dramatic lighting, glowing highlights, A cinematic and photorealistic 3D render of Element 17, Chlorine, in a secure scientific containment facility. The center of the image features a thick-walled, industrial-grade glass cylinder filled with dense, swirling, pale green-yellow chlorine gas. The gas has a heavy, opaque quality with internal currents. Around the base of the cylinder, metallic supports and valves show realistic signs of corrosion and oxidation. The environment is a dark, high-tech laboratory with a deep charcoal-grey background and dim ambient lighting. A faint, eerie green glow emanates from the gas, casting soft light on the surrounding metallic surfaces. 8k resolution, professional scientific visualization, hyper-realistic textures, moody and clinical atmosphere.
SHIMESABAKUN
2 boys, two scribbled ink figures, abstract chaotic ink scribble silhouettes, scribbled heads, faceless, no facial features, ink-line bodies, widescreen, 16:9, horizontal banner composition, cinematic, from below, dutch angle, wide shot, rooftop, industrial tower top, rain-slicked metal plating, wind, exposed girders, overlooking city grid far below, night, massive vintage telegraphic relay station, etheric transmission apparatus, spinning copper rotors, copper rotor blades blurred in motion, glass vacuum tubes glowing, antenna mast, glowing electric blue energy arcs, blue signal pulses, arcs radiating into dark sky, signal schematics overlay, frequency blueprints overlay, global transmission equations overlay, blueprint drafting lines, high-contrast monochrome, cold epic, tech-noir, monochrome with single electric blue accent,
Shot from below on a hard dutch angle, the camera cants up past the tower's rain-slicked steel lip so the antenna mast rears diagonally across the top-left of the 16:9 frame while the city grid tilts away down the right. The frame is a blueprint plate first and a scene second: high-contrast monochrome ink-and-paper, deep black drafting ink laid on cold pale grey drafting stock, every construction line visible as fine ruled graphite, and the whole lower-right third given over to an inverted black field of equations so the density of the plate beats against the empty sky above the mast. Two figures stand on the tower top, both rendered only as abstract chaotic ink scribble silhouettes -- dense overlapping scribbled ink-line bodies, heads that are scribbled knots of looping ink with no facial features, no eyes, no mouth, shoulders and limbs resolving out of tangles of dark line. The nearer figure stands left of the apparatus in a wide stance on the wet plating, both feet planted, right hip heavy, its torso twisted toward a tall bank of lever handles, one scribbled arm extended so its ink-written hand closes around a brass signal lever pulled halfway through its throw; the second figure braces further back and to the right against the relay's riveted housing, one hip against the frame, one arm raised to steady a dial of spinning copper rotors whose blades smear into continuous arcs of copper-grey, the other hand flat on the housing's condensation-beaded flank. Neither head turns to the camera -- the nearer one's scribble mass angles down toward the lever it is working, the far one's tilts up toward the glowing vacuum tubes racked in their glass cylinders along the mast's base, so both gazes are readable as lean and orientation alone. Above them the antenna mast splits the sky, and from its crown electric blue energy arcs and signal pulses break out in forked filaments radiating up and outward into the black, the only colour in the image: a cold electric blue that bleeds a faint halo at each arc's root and thins as it climbs. That blue is the sole light source besides the tubes -- it strikes the tops of the copper rotors, the upper edges of the levers, the antenna struts and the upward faces of the two scribbled heads, rimming each ink figure with a thin electric edge while their front planes fall into flat black; the vacuum tubes pool a weaker blue at the apparatus base, and the wet plating between the figures catches broken vertical reflections of both, stretched and dimmed in the rainwater filmed across the steel. Wind shows itself in the way the rain streaks are drawn as long horizontal hatching across the sky and in the way the nearer figure's scribble edges fray and drag to one side. Behind and beneath everything the city grid lies far down in perspective, a ruled lattice of streets and blocks drawn as fine blueprint linework that fades into the dark, and over that background float the overlays: signal schematics in thin white construction lines, a frequency blueprint chart with its measured wave curve rising across the mid-right, and dense blocks of global transmission equations set in small drafted notation, all of them printed flat on the plate and legible only as drafted shapes, never as plain signage. Paper tooth and ink bleed give the monochrome its grain; the copper rotors' motion blur and the water's broken reflections are the only softness in an otherwise hard-ruled drawing. Cold epic, tech-noir.
NergoProxy
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青の実験室：神秘の砂時計
世界の何処かの何か
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