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C9I
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- オリジナルプロンプト
- A hyper-realistic, beautiful human face made of smooth, warm wax. The smile is wide and perfect. However, the edges of the face are slowly melting and dripping into a black pool below. Where the wax melts, it reveals not bone, but a hollow, cold, starry void inside the head. Surreal, unsettling, psychological horror. Cinematic lighting, chiaroscuro, deep blacks, pale skin tones, 8k, film grain. No text, no watermark. --ar 16:9
- モード
- pro
- 縦横比
- 768 x 1280
- サンプリング方法
- Euler
- ネガティブ
- lowres, worst quality, low quality, bad anatomy, explicit
プロンプト自動変換
利用したモデルとLoRA
ほかの類似作品
続きを読む
1 face, single disembodied wax face, hyper-realistic human face made of smooth warm wax, pale skin tones, wide perfect smile, perfect white teeth, melting edges, dripping wax, wax drips falling, black pool below, hollow head, starry void inside the head, cold void instead of bone, surreal, unsettling, psychological horror, cinematic lighting, chiaroscuro, deep blacks, high contrast, film grain, no text, no letters, no words, no watermark, no signature, wide shot, from above, slight high angle, three-quarter view, shallow depth of field, black background
Seen from a slight high angle in a three-quarter view, a single disembodied human face floats above an absolute black ground, tilted back so the camera looks down past the forehead into the crown. The face is hyper-realistic and beautiful, cast in smooth warm wax with pale skin tones, its surface softly translucent where the key light grazes it: a fine beeswax warmth in the cheeks and lips, cooler ivory at the temples. The smile is wide and perfect, lips parted just enough to show an even row of white teeth, the corners lifted high and utterly symmetrical, and the eyes above it are open, calm and glassy, gazing slightly off to the side rather than at the viewer. The wax is running. Along the jawline, the right cheek and the lower lip the edges have softened and slumped, thick slow rivulets of warm wax beading at the chin and stretching into long threads that fall straight down, and a few have already landed, spreading in a black pool that fills the bottom of the frame beneath the face; the pool's surface is glossy and near-still, holding a dim amber reflection of the drips.
Where the wax has melted away along the upper left of the skull and through a widening gap at the temple, there is no bone: the head opens into a hollow, cold, starry void, a depth of pure black scattered with faint pinprick stars and a thin haze of cold blue-white nebula, and the torn lip of warm wax around the opening curls and thins against that frozen emptiness, the only cold light in the image coming from inside the head. Chiaroscuro governs everything: a single hard key light from the upper left carves the lit half of the face and leaves the other half to drown in deep blacks, and the void's cold glow rims the melted edge from within. Palette is restricted to warm wax amber and pale ivory against absolute black and that cold star-blue, nothing else admitted. Fine 35mm film grain sits over the whole frame, the wax surface catching a soft specular sheen where the light strikes it while the black pool stays matte-dark at its edges. Completely clean image surface, every area of the frame free of letters, words, watermarks or signatures. Quiet dread, exquisite and wrong.
C9I
1 face, single disembodied wax face, hyper-realistic human face made of smooth warm wax, pale skin tones, wide perfect smile, perfect white teeth, melting edges, dripping wax, wax drips falling, black pool below, hollow head, starry void inside the head, cold void instead of bone, surreal, unsettling, psychological horror, cinematic lighting, chiaroscuro, deep blacks, high contrast, film grain, no text, no letters, no words, no watermark, no signature, wide shot, from above, slight high angle, three-quarter view, shallow depth of field, black background
Seen from a slight high angle in a three-quarter view, a single disembodied human face floats above an absolute black ground, tilted back so the camera looks down past the forehead into the crown. The face is hyper-realistic and beautiful, cast in smooth warm wax with pale skin tones, its surface softly translucent where the key light grazes it: a fine beeswax warmth in the cheeks and lips, cooler ivory at the temples. The smile is wide and perfect, lips parted just enough to show an even row of white teeth, the corners lifted high and utterly symmetrical, and the eyes above it are open, calm and glassy, gazing slightly off to the side rather than at the viewer. The wax is running. Along the jawline, the right cheek and the lower lip the edges have softened and slumped, thick slow rivulets of warm wax beading at the chin and stretching into long threads that fall straight down, and a few have already landed, spreading in a black pool that fills the bottom of the frame beneath the face; the pool's surface is glossy and near-still, holding a dim amber reflection of the drips.
Where the wax has melted away along the upper left of the skull and through a widening gap at the temple, there is no bone: the head opens into a hollow, cold, starry void, a depth of pure black scattered with faint pinprick stars and a thin haze of cold blue-white nebula, and the torn lip of warm wax around the opening curls and thins against that frozen emptiness, the only cold light in the image coming from inside the head. Chiaroscuro governs everything: a single hard key light from the upper left carves the lit half of the face and leaves the other half to drown in deep blacks, and the void's cold glow rims the melted edge from within. Palette is restricted to warm wax amber and pale ivory against absolute black and that cold star-blue, nothing else admitted. Fine 35mm film grain sits over the whole frame, the wax surface catching a soft specular sheen where the light strikes it while the black pool stays matte-dark at its edges. Completely clean image surface, every area of the frame free of letters, words, watermarks or signatures. Quiet dread, exquisite and wrong.
C9I
1 face, single disembodied wax face, hyper-realistic human face made of smooth warm wax, pale skin tones, wide perfect smile, perfect white teeth, melting edges, dripping wax, wax drips falling, black pool below, hollow head, starry void inside the head, cold void instead of bone, surreal, unsettling, psychological horror, cinematic lighting, chiaroscuro, deep blacks, high contrast, film grain, no text, no letters, no words, no watermark, no signature, wide shot, from above, slight high angle, three-quarter view, shallow depth of field, black background
Seen from a slight high angle in a three-quarter view, a single disembodied human face floats above an absolute black ground, tilted back so the camera looks down past the forehead into the crown. The face is hyper-realistic and beautiful, cast in smooth warm wax with pale skin tones, its surface softly translucent where the key light grazes it: a fine beeswax warmth in the cheeks and lips, cooler ivory at the temples. The smile is wide and perfect, lips parted just enough to show an even row of white teeth, the corners lifted high and utterly symmetrical, and the eyes above it are open, calm and glassy, gazing slightly off to the side rather than at the viewer. The wax is running. Along the jawline, the right cheek and the lower lip the edges have softened and slumped, thick slow rivulets of warm wax beading at the chin and stretching into long threads that fall straight down, and a few have already landed, spreading in a black pool that fills the bottom of the frame beneath the face; the pool's surface is glossy and near-still, holding a dim amber reflection of the drips.
Where the wax has melted away along the upper left of the skull and through a widening gap at the temple, there is no bone: the head opens into a hollow, cold, starry void, a depth of pure black scattered with faint pinprick stars and a thin haze of cold blue-white nebula, and the torn lip of warm wax around the opening curls and thins against that frozen emptiness, the only cold light in the image coming from inside the head. Chiaroscuro governs everything: a single hard key light from the upper left carves the lit half of the face and leaves the other half to drown in deep blacks, and the void's cold glow rims the melted edge from within. Palette is restricted to warm wax amber and pale ivory against absolute black and that cold star-blue, nothing else admitted. Fine 35mm film grain sits over the whole frame, the wax surface catching a soft specular sheen where the light strikes it while the black pool stays matte-dark at its edges. Completely clean image surface, every area of the frame free of letters, words, watermarks or signatures. Quiet dread, exquisite and wrong.
C9I
solitary object, no humans, single white porcelain mask, no eyes, smooth featureless eye area, serene gentle closed-lip smile, pristine glossy glaze, hairline cracks spreading from behind the face outward, thick dark cold smoke seeping through every fissure, hollow shell with empty void cavity behind the face, floating unsupported, pitch-black void background, absolute darkness beyond the mask, cold clinical key light, hard rim light, cinematic lighting, high detail, 35mm film grain, shallow depth of field, 16:9 widescreen, no text, no lettering, no watermark, no signature, clean frame, eerie, unsettling, psychological horror
A single mask hangs alone in the centre of the frame, seen straight on and slightly from below at a shallow upward tilt so the chin edge of the shell lifts toward the lens and the void swallows the space above it; nothing else exists in the image -- no stand, no wire, no floor, no horizon, no hands, no body. The mask floats unsupported in a pitch-black void, an oval of white porcelain tilted a few degrees off vertical, its left rim catching a glint while its right side rolls into shadow. Its surface is pristine and beautiful: cool, glassy glaze over eggshell-white porcelain, so finely finished that the light slides along it in one long soft highlight down the left cheek. Where eyes would be, the porcelain is smooth and unbroken -- two undisturbed, slightly convex blank areas, no sockets, no lids, no pupils, a featureless face that keeps the gaze from ever landing anywhere. The mouth is a shallow, serene, gentle smile, its corners lifted only a few millimetres, a dimpled indentation at each end of the lip line; the smile never wavers and becomes unbearable because of it.
The mask is cracking from the inside out: fine hairline fractures radiate from a point behind the middle of the face, spidering outward under the glaze toward the cheeks, the brow line and the jaw, each line dark and slightly widened, the porcelain along the fracture edges lifting in minute chipped lips that catch the light as thin white slivers. The cracks widen toward the centre. Through them, thick, dark, cold smoke leaks -- heavy, slow, almost liquid, rolling over the rim of each fissure and spilling down the surface of the mask in tarry coils instead of rising, so the smoke hangs and drips against gravity rather than drifting up. Where the fractures open widest, the shell thins to nothing and an endless, empty void shows behind the face: a rectangle of deeper-than-black nothing inside the pale mask, its edges broken and razor-thin, no interior, no backing, no wall -- the mask is a hollow shell with the vacuum behind it pressing through the smile.
The lighting is cold and clinical: one hard, colourless key from the upper left, the temperature of an examination lamp, striking only the mask and refusing to fall into the black, so the surrounding void stays absolutely dark with no gradient and no floor. A second, weaker rim light traces the right edge of the shell. The mask's cast shadow falls on nothing at all -- its only evidence is the darkness that clings to the underside of the chin and inside the open cracks, where no light reaches. Palette: white and pale gray porcelain, deep near-black of the void, and smoke graded from charcoal to a cold blue-tinged gray where the rim light brushes it.
The detail budget goes to the glaze, the fracture branches and the chipped edges, the smoke's rolling friction against the surface, the void behind the smile; the nine-to-sixteen widescreen frame leaves the mask small in a large field of black with irregular negative space so the black feels endless. Visible 35mm film grain sits in the midtones of the porcelain and in the smoke and in the black, never on the highlight. Shallow focus holds the face's cracks sharp while the far rim of the shell softens. Eerie, unsettling fake perfection, psychological horror.
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