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C9I

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C9I

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1 mirror, no humans, scenery, wide shot, from below, dutch angle, antique mirror, standing mirror, ornate wooden frame, cracked glass, frosted glass, frost, snow-covered ground, snowy field, fog, dusk, deep indigo and silver palette, reflective glass, reflection, dark room, empty room, glowing monitor, monitor glow, screen fading to black, slight motion blur, film grain, night, cold, eerie, melancholic, 16:9 A cinematic wide shot taken from low to the frozen ground and tilted a few degrees off level, so the tall standing mirror rises off-center to the right of frame, occupying barely a fifth of the picture while the field swallows the rest. The mirror is an antique full-length piece: a tall arched frame of dark carved wood gone silver-grey with rime, its feet sunk a hand's depth into the snow, standing alone with no wall, no post, nothing to lean on. The glass is crazed with cracks that branch from the lower left corner and hold a fine web of frost, thickest along the frame's inner lip and thinning toward the centre where the surface is still clear enough to see through. Everything the glass shows belongs to another place: a dark empty room behind it, bare floorboards receding into unlit corners, and a single digital screen standing on a low surface at the room's centre, its face a rectangle of pale cold light that fades from a bright edge on its left to near-black on its right, mid-dim, a faint rim of glow still clinging to the bezel. No winter field, no snow, no dusk sky appears in the glass; the reflection holds only that room and its dying screen. The pane's frost and cracks lie over the room like a second skin, so the screen's light breaks into thin bright threads wherever a crack crosses it. Around the mirror the field is featureless snow rolling to a fog bank that erases the horizon; the fog is densest at the left and lower edges and thins to a grey wash high in the frame, and the last dusk light sits low behind it as a band of dim indigo rather than any warm colour. The light in the scene comes from that dying dusk behind the fog and from the screen inside the glass, which throws a weak silver pool onto the snow at the mirror's base — brighter than the dusk, and visibly dimming toward the right side of the frame as the screen goes dark. Snow has settled only on the upward-facing surfaces: the top of the arched frame, the upper faces of its carving, the mirror's top edge, while the vertical faces and the glass itself stay swept clear. The palette is deep indigo in the sky, fog and snow shadow, and silver on the frost, the frame's rime and the screen's glow, with nothing warm admitted anywhere. Slight motion blur softens the falling snow and the far fog line; film grain sits over the whole frame, heaviest in the indigo shadows. Quiet dread, existential cold.
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Ursprünglicher Prompt
An antique, cracked mirror standing alone in a snowy, foggy field at dusk. The mirror is covered in frost. Instead of reflecting the winter landscape, the glass reflects a dark, empty room with a single, glowing digital screen that is slowly turning black. No people. The mood is eerie, melancholic, existential, and cold. Cinematic wide shot, deep indigo and silver palette, slight motion blur. 8k, film grain. No text, no watermark. --ar 16:9
Modus
pro
Größe
768 x 1280
Sampling-Methode
Euler
Negativ
lowres, worst quality, low quality, bad anatomy, explicit
Prompt-Assistent

Verwendetes Modell und LoRA

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
6.02k

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AI artwork
Avatar image of C9I
1 mirror, no humans, scenery, wide shot, from below, dutch angle, antique mirror, standing mirror, ornate wooden frame, cracked glass, frosted glass, frost, snow-covered ground, snowy field, fog, dusk, deep indigo and silver palette, reflective glass, reflection, dark room, empty room, glowing monitor, monitor glow, screen fading to black, slight motion blur, film grain, night, cold, eerie, melancholic, 16:9 A cinematic wide shot taken from low to the frozen ground and tilted a few degrees off level, so the tall standing mirror rises off-center to the right of frame, occupying barely a fifth of the picture while the field swallows the rest. The mirror is an antique full-length piece: a tall arched frame of dark carved wood gone silver-grey with rime, its feet sunk a hand's depth into the snow, standing alone with no wall, no post, nothing to lean on. The glass is crazed with cracks that branch from the lower left corner and hold a fine web of frost, thickest along the frame's inner lip and thinning toward the centre where the surface is still clear enough to see through. Everything the glass shows belongs to another place: a dark empty room behind it, bare floorboards receding into unlit corners, and a single digital screen standing on a low surface at the room's centre, its face a rectangle of pale cold light that fades from a bright edge on its left to near-black on its right, mid-dim, a faint rim of glow still clinging to the bezel. No winter field, no snow, no dusk sky appears in the glass; the reflection holds only that room and its dying screen. The pane's frost and cracks lie over the room like a second skin, so the screen's light breaks into thin bright threads wherever a crack crosses it. Around the mirror the field is featureless snow rolling to a fog bank that erases the horizon; the fog is densest at the left and lower edges and thins to a grey wash high in the frame, and the last dusk light sits low behind it as a band of dim indigo rather than any warm colour. The light in the scene comes from that dying dusk behind the fog and from the screen inside the glass, which throws a weak silver pool onto the snow at the mirror's base — brighter than the dusk, and visibly dimming toward the right side of the frame as the screen goes dark. Snow has settled only on the upward-facing surfaces: the top of the arched frame, the upper faces of its carving, the mirror's top edge, while the vertical faces and the glass itself stay swept clear. The palette is deep indigo in the sky, fog and snow shadow, and silver on the frost, the frame's rime and the screen's glow, with nothing warm admitted anywhere. Slight motion blur softens the falling snow and the far fog line; film grain sits over the whole frame, heaviest in the indigo shadows. Quiet dread, existential cold.
C9I
AI artwork
Avatar image of C9I
1 mirror, no humans, scenery, wide shot, from below, dutch angle, antique mirror, standing mirror, ornate wooden frame, cracked glass, frosted glass, frost, snow-covered ground, snowy field, fog, dusk, deep indigo and silver palette, reflective glass, reflection, dark room, empty room, glowing monitor, monitor glow, screen fading to black, slight motion blur, film grain, night, cold, eerie, melancholic, 16:9 A cinematic wide shot taken from low to the frozen ground and tilted a few degrees off level, so the tall standing mirror rises off-center to the right of frame, occupying barely a fifth of the picture while the field swallows the rest. The mirror is an antique full-length piece: a tall arched frame of dark carved wood gone silver-grey with rime, its feet sunk a hand's depth into the snow, standing alone with no wall, no post, nothing to lean on. The glass is crazed with cracks that branch from the lower left corner and hold a fine web of frost, thickest along the frame's inner lip and thinning toward the centre where the surface is still clear enough to see through. Everything the glass shows belongs to another place: a dark empty room behind it, bare floorboards receding into unlit corners, and a single digital screen standing on a low surface at the room's centre, its face a rectangle of pale cold light that fades from a bright edge on its left to near-black on its right, mid-dim, a faint rim of glow still clinging to the bezel. No winter field, no snow, no dusk sky appears in the glass; the reflection holds only that room and its dying screen. The pane's frost and cracks lie over the room like a second skin, so the screen's light breaks into thin bright threads wherever a crack crosses it. Around the mirror the field is featureless snow rolling to a fog bank that erases the horizon; the fog is densest at the left and lower edges and thins to a grey wash high in the frame, and the last dusk light sits low behind it as a band of dim indigo rather than any warm colour. The light in the scene comes from that dying dusk behind the fog and from the screen inside the glass, which throws a weak silver pool onto the snow at the mirror's base — brighter than the dusk, and visibly dimming toward the right side of the frame as the screen goes dark. Snow has settled only on the upward-facing surfaces: the top of the arched frame, the upper faces of its carving, the mirror's top edge, while the vertical faces and the glass itself stay swept clear. The palette is deep indigo in the sky, fog and snow shadow, and silver on the frost, the frame's rime and the screen's glow, with nothing warm admitted anywhere. Slight motion blur softens the falling snow and the far fog line; film grain sits over the whole frame, heaviest in the indigo shadows. Quiet dread, existential cold.
C9I
#Fate/Grand Order
AI artwork
Avatar image of C9I
1 mirror, no humans, scenery, wide shot, from below, dutch angle, antique mirror, standing mirror, ornate wooden frame, cracked glass, frosted glass, frost, snow-covered ground, snowy field, fog, dusk, deep indigo and silver palette, reflective glass, reflection, dark room, empty room, glowing monitor, monitor glow, screen fading to black, slight motion blur, film grain, night, cold, eerie, melancholic, 16:9 A cinematic wide shot taken from low to the frozen ground and tilted a few degrees off level, so the tall standing mirror rises off-center to the right of frame, occupying barely a fifth of the picture while the field swallows the rest. The mirror is an antique full-length piece: a tall arched frame of dark carved wood gone silver-grey with rime, its feet sunk a hand's depth into the snow, standing alone with no wall, no post, nothing to lean on. The glass is crazed with cracks that branch from the lower left corner and hold a fine web of frost, thickest along the frame's inner lip and thinning toward the centre where the surface is still clear enough to see through. Everything the glass shows belongs to another place: a dark empty room behind it, bare floorboards receding into unlit corners, and a single digital screen standing on a low surface at the room's centre, its face a rectangle of pale cold light that fades from a bright edge on its left to near-black on its right, mid-dim, a faint rim of glow still clinging to the bezel. No winter field, no snow, no dusk sky appears in the glass; the reflection holds only that room and its dying screen. The pane's frost and cracks lie over the room like a second skin, so the screen's light breaks into thin bright threads wherever a crack crosses it. Around the mirror the field is featureless snow rolling to a fog bank that erases the horizon; the fog is densest at the left and lower edges and thins to a grey wash high in the frame, and the last dusk light sits low behind it as a band of dim indigo rather than any warm colour. The light in the scene comes from that dying dusk behind the fog and from the screen inside the glass, which throws a weak silver pool onto the snow at the mirror's base — brighter than the dusk, and visibly dimming toward the right side of the frame as the screen goes dark. Snow has settled only on the upward-facing surfaces: the top of the arched frame, the upper faces of its carving, the mirror's top edge, while the vertical faces and the glass itself stay swept clear. The palette is deep indigo in the sky, fog and snow shadow, and silver on the frost, the frame's rime and the screen's glow, with nothing warm admitted anywhere. Slight motion blur softens the falling snow and the far fog line; film grain sits over the whole frame, heaviest in the indigo shadows. Quiet dread, existential cold.
C9I
AI artwork
Avatar image of C9I
wide shot, cinematic wide shot, 16:9, no humans on the pyre, large wooden pyre, central wooden stake, ornate antique mirror bound to the stake, rope lashings, no human figure bound to the stake, dark misty forest at night, bare black tree trunks, deep blacks, cold fog, bright fierce flames, glowing orange fire, flames engulfing the pyre base, five shadowy faceless figures, dark hooded robes, hoods drawn up, faces hidden in shadow, standing in a circle, watching the fire, still standing, dark fantasy, witch hunt, oppressive atmosphere, film grain, no text, no watermark, no signature A cinematic wide shot from a low eye-level camera at the fog-shrouded clearing's edge: in the center of the frame, a tall wooden pyre of stacked logs and crossed timbers rises out of the dark forest floor, and the large ornate antique mirror is lashed to the central wooden stake with rough rope at its top corners, its carved frame chipped and blackened at the base. The mirror's silvered surface reflects a calm, peaceful snowy landscape—soft white drifts, pale bare branches, a still gray sky—untouched by the fire below, a cold serene world behind the glass. Bright fierce flames engulf the wood below the mirror, orange and gold tongues climbing the logs, throwing hot light upward onto the mirror's gilt frame while the reflected snow stays cool and silent. The mirror is the only thing bound to the stake; no human figure is on the pyre. In a rough circle around the blaze, five shadowy faceless figures in dark heavy hooded robes stand motionless, hoods pulled up and faces lost in shadow, their bodies turned inward toward the fire, watching. The camera is positioned low so the pyre rises against the black canopy; foreground is a dark frame of bare trunks and drifting cold fog, midground the fire's glow catching the fog into orange haze, background the forest dissolving into deep black. The fire is the only warm light source; its glow rims the hoods and the mirror's frame while everything beyond the firelight sinks into absolute darkness. Palette: deep blacks, cold blue-gray fog, and the glowing orange of the flames against the mirror's pale snow. Film grain across the whole surface; no text, no signage, no watermark, ink-black shadow and witch-hunt dread.
C9I

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음안
character: eren_yeager, mikasa_ackerman character: eren_yeager, mikasa_ackerman Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver. The perspective is extremely dynamic: Mikasa's outstretched hand and blade are large in the foreground while her body rapidly narrows toward the center of the image. Eren appears smaller but perfectly clear behind her, creating a strong diagonal connection between them. Their ODM cables slice through the composition as thin steel lines, crossing the image at different angles and disappearing beyond the frame. One cable passes extremely close to the camera, creating a dramatic foreground line. The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks. Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail. A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration. The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static. Painterly digital anime illustration, expressive textured brushwork, cinematic motion frozen in a single frame, extreme wide-angle perspective, dramatic foreshortening, strong diagonals, layered depth, detailed characters, flowing hair and fabric, taut cables, airborne debris, warm sunlight cutting through cool gray ruins, muted military colors with Mikasa's red scarf as the strongest accent, sophisticated composition, subtle graphic design, powerful silhouettes, intense expressions, visceral sense of speed, beautiful atmospheric lighting, energetic, cinematic
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3#Attack on Titan#Mikasa Ackerman
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