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C9I

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C9I

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wide shot, cinematic composition, 16:9, dark surrealism, pitch-black void background, large shadowy raven perched atop ornate ancient music box, raven completely still, looking down, head tilted downward, beak closed, glossy black feathers, deep red irises, talons gripping the lid, mechanical carousel below, spinning carousel, faceless wooden humanoid figures, featureless blank wooden heads, articulated ball-jointed limbs, forced robotic dance, stiff synchronized pose, colorful grotesque costumes, deep red velvet, pale silver trim, chiaroscuro lighting, single overhead key light, deep shadow, no text, no watermark, no signature, clean image surface, no lettering The camera sits in a wide cinematic 16:9 frame, low and slightly below the axis of the music box, so the ornate lid cuts a dark horizontal line across the upper third and the massive body of the raven rises above it against the absolute black. Behind and beneath everything there is no room, no floor visible as a surface, no horizon — the whole ground of the image is an unlit void of pure black in which only what the light touches exists. The music box occupies the left-of-centre upper midground, tilted a few degrees so its carved corner is nearest the lens: aged dark wood worn pale silver along every edge and ridge, inlaid deep red panels, brass filigree balusters and a tiny crankshaft whose handle stands motionless, tiny chips and lacquer cracks catching the light in fine branching lines. Its lid is closed; the raven is the only thing on it. The raven is huge and heavy — a body larger than the carousel's central column, feathers reading as overlapping plates rather than fluff. It is utterly still: both feet planted flat on the lid, three toes forward and one back on each foot, talons curled and gripping the wood so that a small pale compression ring shows in the dust at each toe. Its back is toward the viewer at a three-quarter angle, one shoulder raised, the head turned down and outward over the drop, the long wedge of the tail hanging past the lid's edge. One deep red eye is fully visible from this angle, the other just over the beak's ridge; the folded wings lie closed, not one feather displaced, and the black plumage is broken only where a silver rim-light picks out the coverts along its upper contour and the fine down at the nape. Its beak stays shut, its gaze nailed to the spinning ring beneath — it does not look at the viewer. The carousel fills the lower half and spreads toward the right, a mechanical base of dark drum and brass gearing turning slowly, its painted deep red canopy scalloped and chewed at the edges. From the centre pole radiate arms, and from each arm hangs a slumped yet violently forced dancer: faceless wooden humanoids, heads smooth and blank with no eyes, no nose, no mouth — only the grain of carved wood and the polish of handling — bodies jointed at shoulder, elbow and hip with visible brass pins and seams, hands with carved fingers splayed in stiff robot-cadenced positions, one leg lifted in the same bent angle across figure after figure. Their costumes are grotesque and saturated: deep red flounced skirts, balloon sleeves, ruffs, patchwork harlequin diamonds in red and silver, one figure with a cracked silver coronet-like band, one with a shredded cape trailing — the colour pushed hard enough to feel gaudy against the void, and the whole ring blurring toward its far edge into soft red and silver smears where the spin grows fast. A few figures at the near-left arm are stopped crisper and darker in a pocket of shadow. Their motion is wrong: identical, rigid, mechanical, every torso pitched at the same unvarying angle. The only light in the image is a single cold overhead key from above and slightly behind the music box, cutting chiaroscuro: it pools on the raven's shoulder and the box's silver-worn edges, throws long teeth of shadow down across the carousel canopy and between the dancers, and drops off fast — beyond the pool, black is total and unhurried. A faint red bounce from the carousel's painted panels warms the underside of the box and the fronts of the nearest figures, never reaching the raven. There is no other source, no glow, no fill. As a single physical tell, the spinning ring throws no motion blur on the nearest arm while the far arc smears into an unbroken streak — near and far governed by the same rotation and separated only by distance. Palette is strictly black, deep red and pale silver, nothing else admitted: black in the void, the bird and the wood; deep red in the raven's eye, the inlay, the canopy, the bounce light and the costumes' loudest panels; pale silver in the box's worn edges, the brass catching high, the rim-light on feathers, and the raw grain of the faceless wooden heads. Detail budget falls on the raven's grip and eye, the carved metal of the box, and the near figures' joints and seams; the far dancers simplify into suggestion without flattening into noise. Silent, cynical, nondual.
매개변수 표시
원본 프롬프트
A large, shadowy raven perched on top of an ancient, ornate music box in a pitch-black void. Below the raven, a mechanical carousel of faceless, wooden humanoid figures is spinning endlessly in a forced, robotic dance. The figures wear colorful, grotesque costumes but have no faces. The raven is completely still, looking down at the absurd spectacle. Mood: nondual, dark surrealism, silent observation, cynical. Cinematic wide shot, dramatic chiaroscuro lighting, black, deep red, and pale silver palette, 8k, highly detailed. No text, no watermark. --ar 16:9
모드
pro
크기
768 x 1280
샘플링 방식
Euler
제외 조건
lowres, worst quality, low quality, bad anatomy, explicit
프롬프트 도우미

모델 및 LoRA 사용

Tsubaki.3 - AI Model 커버 이미지

PixAI DiT.3

Tsubaki.3
6.34k

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AI artwork
Avatar image of C9I
wide shot, cinematic composition, 16:9, dark surrealism, pitch-black void background, large shadowy raven perched atop ornate ancient music box, raven completely still, looking down, head tilted downward, beak closed, glossy black feathers, deep red irises, talons gripping the lid, mechanical carousel below, spinning carousel, faceless wooden humanoid figures, featureless blank wooden heads, articulated ball-jointed limbs, forced robotic dance, stiff synchronized pose, colorful grotesque costumes, deep red velvet, pale silver trim, chiaroscuro lighting, single overhead key light, deep shadow, no text, no watermark, no signature, clean image surface, no lettering The camera sits in a wide cinematic 16:9 frame, low and slightly below the axis of the music box, so the ornate lid cuts a dark horizontal line across the upper third and the massive body of the raven rises above it against the absolute black. Behind and beneath everything there is no room, no floor visible as a surface, no horizon — the whole ground of the image is an unlit void of pure black in which only what the light touches exists. The music box occupies the left-of-centre upper midground, tilted a few degrees so its carved corner is nearest the lens: aged dark wood worn pale silver along every edge and ridge, inlaid deep red panels, brass filigree balusters and a tiny crankshaft whose handle stands motionless, tiny chips and lacquer cracks catching the light in fine branching lines. Its lid is closed; the raven is the only thing on it. The raven is huge and heavy — a body larger than the carousel's central column, feathers reading as overlapping plates rather than fluff. It is utterly still: both feet planted flat on the lid, three toes forward and one back on each foot, talons curled and gripping the wood so that a small pale compression ring shows in the dust at each toe. Its back is toward the viewer at a three-quarter angle, one shoulder raised, the head turned down and outward over the drop, the long wedge of the tail hanging past the lid's edge. One deep red eye is fully visible from this angle, the other just over the beak's ridge; the folded wings lie closed, not one feather displaced, and the black plumage is broken only where a silver rim-light picks out the coverts along its upper contour and the fine down at the nape. Its beak stays shut, its gaze nailed to the spinning ring beneath — it does not look at the viewer. The carousel fills the lower half and spreads toward the right, a mechanical base of dark drum and brass gearing turning slowly, its painted deep red canopy scalloped and chewed at the edges. From the centre pole radiate arms, and from each arm hangs a slumped yet violently forced dancer: faceless wooden humanoids, heads smooth and blank with no eyes, no nose, no mouth — only the grain of carved wood and the polish of handling — bodies jointed at shoulder, elbow and hip with visible brass pins and seams, hands with carved fingers splayed in stiff robot-cadenced positions, one leg lifted in the same bent angle across figure after figure. Their costumes are grotesque and saturated: deep red flounced skirts, balloon sleeves, ruffs, patchwork harlequin diamonds in red and silver, one figure with a cracked silver coronet-like band, one with a shredded cape trailing — the colour pushed hard enough to feel gaudy against the void, and the whole ring blurring toward its far edge into soft red and silver smears where the spin grows fast. A few figures at the near-left arm are stopped crisper and darker in a pocket of shadow. Their motion is wrong: identical, rigid, mechanical, every torso pitched at the same unvarying angle. The only light in the image is a single cold overhead key from above and slightly behind the music box, cutting chiaroscuro: it pools on the raven's shoulder and the box's silver-worn edges, throws long teeth of shadow down across the carousel canopy and between the dancers, and drops off fast — beyond the pool, black is total and unhurried. A faint red bounce from the carousel's painted panels warms the underside of the box and the fronts of the nearest figures, never reaching the raven. There is no other source, no glow, no fill. As a single physical tell, the spinning ring throws no motion blur on the nearest arm while the far arc smears into an unbroken streak — near and far governed by the same rotation and separated only by distance. Palette is strictly black, deep red and pale silver, nothing else admitted: black in the void, the bird and the wood; deep red in the raven's eye, the inlay, the canopy, the bounce light and the costumes' loudest panels; pale silver in the box's worn edges, the brass catching high, the rim-light on feathers, and the raw grain of the faceless wooden heads. Detail budget falls on the raven's grip and eye, the carved metal of the box, and the near figures' joints and seams; the far dancers simplify into suggestion without flattening into noise. Silent, cynical, nondual.
C9I
AI artwork
Avatar image of C9I
wide shot, cinematic composition, 16:9, dark surrealism, pitch-black void background, large shadowy raven perched atop ornate ancient music box, raven completely still, looking down, head tilted downward, beak closed, glossy black feathers, deep red irises, talons gripping the lid, mechanical carousel below, spinning carousel, faceless wooden humanoid figures, featureless blank wooden heads, articulated ball-jointed limbs, forced robotic dance, stiff synchronized pose, colorful grotesque costumes, deep red velvet, pale silver trim, chiaroscuro lighting, single overhead key light, deep shadow, no text, no watermark, no signature, clean image surface, no lettering The camera sits in a wide cinematic 16:9 frame, low and slightly below the axis of the music box, so the ornate lid cuts a dark horizontal line across the upper third and the massive body of the raven rises above it against the absolute black. Behind and beneath everything there is no room, no floor visible as a surface, no horizon — the whole ground of the image is an unlit void of pure black in which only what the light touches exists. The music box occupies the left-of-centre upper midground, tilted a few degrees so its carved corner is nearest the lens: aged dark wood worn pale silver along every edge and ridge, inlaid deep red panels, brass filigree balusters and a tiny crankshaft whose handle stands motionless, tiny chips and lacquer cracks catching the light in fine branching lines. Its lid is closed; the raven is the only thing on it. The raven is huge and heavy — a body larger than the carousel's central column, feathers reading as overlapping plates rather than fluff. It is utterly still: both feet planted flat on the lid, three toes forward and one back on each foot, talons curled and gripping the wood so that a small pale compression ring shows in the dust at each toe. Its back is toward the viewer at a three-quarter angle, one shoulder raised, the head turned down and outward over the drop, the long wedge of the tail hanging past the lid's edge. One deep red eye is fully visible from this angle, the other just over the beak's ridge; the folded wings lie closed, not one feather displaced, and the black plumage is broken only where a silver rim-light picks out the coverts along its upper contour and the fine down at the nape. Its beak stays shut, its gaze nailed to the spinning ring beneath — it does not look at the viewer. The carousel fills the lower half and spreads toward the right, a mechanical base of dark drum and brass gearing turning slowly, its painted deep red canopy scalloped and chewed at the edges. From the centre pole radiate arms, and from each arm hangs a slumped yet violently forced dancer: faceless wooden humanoids, heads smooth and blank with no eyes, no nose, no mouth — only the grain of carved wood and the polish of handling — bodies jointed at shoulder, elbow and hip with visible brass pins and seams, hands with carved fingers splayed in stiff robot-cadenced positions, one leg lifted in the same bent angle across figure after figure. Their costumes are grotesque and saturated: deep red flounced skirts, balloon sleeves, ruffs, patchwork harlequin diamonds in red and silver, one figure with a cracked silver coronet-like band, one with a shredded cape trailing — the colour pushed hard enough to feel gaudy against the void, and the whole ring blurring toward its far edge into soft red and silver smears where the spin grows fast. A few figures at the near-left arm are stopped crisper and darker in a pocket of shadow. Their motion is wrong: identical, rigid, mechanical, every torso pitched at the same unvarying angle. The only light in the image is a single cold overhead key from above and slightly behind the music box, cutting chiaroscuro: it pools on the raven's shoulder and the box's silver-worn edges, throws long teeth of shadow down across the carousel canopy and between the dancers, and drops off fast — beyond the pool, black is total and unhurried. A faint red bounce from the carousel's painted panels warms the underside of the box and the fronts of the nearest figures, never reaching the raven. There is no other source, no glow, no fill. As a single physical tell, the spinning ring throws no motion blur on the nearest arm while the far arc smears into an unbroken streak — near and far governed by the same rotation and separated only by distance. Palette is strictly black, deep red and pale silver, nothing else admitted: black in the void, the bird and the wood; deep red in the raven's eye, the inlay, the canopy, the bounce light and the costumes' loudest panels; pale silver in the box's worn edges, the brass catching high, the rim-light on feathers, and the raw grain of the faceless wooden heads. Detail budget falls on the raven's grip and eye, the carved metal of the box, and the near figures' joints and seams; the far dancers simplify into suggestion without flattening into noise. Silent, cynical, nondual.
C9I
AI artwork
Avatar image of C9I
wide shot, cinematic composition, 16:9, dark surrealism, pitch-black void background, large shadowy raven perched atop ornate ancient music box, raven completely still, looking down, head tilted downward, beak closed, glossy black feathers, deep red irises, talons gripping the lid, mechanical carousel below, spinning carousel, faceless wooden humanoid figures, featureless blank wooden heads, articulated ball-jointed limbs, forced robotic dance, stiff synchronized pose, colorful grotesque costumes, deep red velvet, pale silver trim, chiaroscuro lighting, single overhead key light, deep shadow, no text, no watermark, no signature, clean image surface, no lettering The camera sits in a wide cinematic 16:9 frame, low and slightly below the axis of the music box, so the ornate lid cuts a dark horizontal line across the upper third and the massive body of the raven rises above it against the absolute black. Behind and beneath everything there is no room, no floor visible as a surface, no horizon — the whole ground of the image is an unlit void of pure black in which only what the light touches exists. The music box occupies the left-of-centre upper midground, tilted a few degrees so its carved corner is nearest the lens: aged dark wood worn pale silver along every edge and ridge, inlaid deep red panels, brass filigree balusters and a tiny crankshaft whose handle stands motionless, tiny chips and lacquer cracks catching the light in fine branching lines. Its lid is closed; the raven is the only thing on it. The raven is huge and heavy — a body larger than the carousel's central column, feathers reading as overlapping plates rather than fluff. It is utterly still: both feet planted flat on the lid, three toes forward and one back on each foot, talons curled and gripping the wood so that a small pale compression ring shows in the dust at each toe. Its back is toward the viewer at a three-quarter angle, one shoulder raised, the head turned down and outward over the drop, the long wedge of the tail hanging past the lid's edge. One deep red eye is fully visible from this angle, the other just over the beak's ridge; the folded wings lie closed, not one feather displaced, and the black plumage is broken only where a silver rim-light picks out the coverts along its upper contour and the fine down at the nape. Its beak stays shut, its gaze nailed to the spinning ring beneath — it does not look at the viewer. The carousel fills the lower half and spreads toward the right, a mechanical base of dark drum and brass gearing turning slowly, its painted deep red canopy scalloped and chewed at the edges. From the centre pole radiate arms, and from each arm hangs a slumped yet violently forced dancer: faceless wooden humanoids, heads smooth and blank with no eyes, no nose, no mouth — only the grain of carved wood and the polish of handling — bodies jointed at shoulder, elbow and hip with visible brass pins and seams, hands with carved fingers splayed in stiff robot-cadenced positions, one leg lifted in the same bent angle across figure after figure. Their costumes are grotesque and saturated: deep red flounced skirts, balloon sleeves, ruffs, patchwork harlequin diamonds in red and silver, one figure with a cracked silver coronet-like band, one with a shredded cape trailing — the colour pushed hard enough to feel gaudy against the void, and the whole ring blurring toward its far edge into soft red and silver smears where the spin grows fast. A few figures at the near-left arm are stopped crisper and darker in a pocket of shadow. Their motion is wrong: identical, rigid, mechanical, every torso pitched at the same unvarying angle. The only light in the image is a single cold overhead key from above and slightly behind the music box, cutting chiaroscuro: it pools on the raven's shoulder and the box's silver-worn edges, throws long teeth of shadow down across the carousel canopy and between the dancers, and drops off fast — beyond the pool, black is total and unhurried. A faint red bounce from the carousel's painted panels warms the underside of the box and the fronts of the nearest figures, never reaching the raven. There is no other source, no glow, no fill. As a single physical tell, the spinning ring throws no motion blur on the nearest arm while the far arc smears into an unbroken streak — near and far governed by the same rotation and separated only by distance. Palette is strictly black, deep red and pale silver, nothing else admitted: black in the void, the bird and the wood; deep red in the raven's eye, the inlay, the canopy, the bounce light and the costumes' loudest panels; pale silver in the box's worn edges, the brass catching high, the rim-light on feathers, and the raw grain of the faceless wooden heads. Detail budget falls on the raven's grip and eye, the carved metal of the box, and the near figures' joints and seams; the far dancers simplify into suggestion without flattening into noise. Silent, cynical, nondual.
C9I
AI artwork
Avatar image of C9I
2 subjects, mask, raven (animal), massive white porcelain mask, hollow empty mask, no head, no body, disembodied, crying, tears, closed mouth, gentle serene expression, saint-like sorrow, lowered eyelids, dark void background, black emptiness, thin black strings from above, rotting puppet strings, suspended, raven, black bird, standing on ground, head tilted up, looking up, from below, close-up, depth of field, cinematic lighting, cold tones, film grain, high contrast, psychological horror, no text, no watermark, no signature From a low angle just above ground level, a colossal white porcelain mask hangs tilted forward in an absolute black void, its chin angled toward the camera. The mask fills the upper two thirds of the 16:9 frame, its glossy glaze flawless and unbroken, thin hairline cracks nowhere present. Its face is that of a gentle saint in sorrow: brows knit softly, eyelids half lowered, lips closed and faintly curved, and two thin tears track down from the inner corners of the eyes without breaking the glossy surface. No head, no neck, no body exists behind or beneath it; the void shows through the space where a face's support would be, and only the smooth inner concavity of the mask is faintly visible behind the lower rim if seen from this angle. From above, several thin black rotting puppet strings descend into frame, frayed and slick with grime, tied to the mask's upper rim at three points and pulled taut. In the foreground, lower left of frame, a dark raven stands on a flat, featureless black ground plane, its glossy feathers catching a cold rim light along the back and crown, its head tilted up as it stares into the hollow behind the mask. A single directional cold light from upper right carves the mask's right side in pale blue-white, leaving the left side in deep shadow, and casts a faint soft reflection on the polished porcelain. The raven's small shadow pools beneath it on the ground. Palette: bone white, blue-grey shadow, absolute black, one glint of cold light in the raven's eye. Film grain textures the dark passages. Quiet dread; false virtue.
C9I

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AI artwork
Avatar image of Kani x
character: tenma_tsukasa "", , , digital illustration, cel shading, iridescent palette, pastel aesthetic, pastel colors, soft gradients, subtle color shifts, "painterly semi-realistic anime: faceted torn-glass shading, loose linework, warm golden rim light, lens-flare/prism edges, jewel or earthy palette, large gradient eyes, ornate vintage costuming, dynamic off-balance poses.", pastel_candy_style, dreamy pastel anime illustration, delicate soft lineart, luminous glossy eyes, gentle glowing lighting, glossy hair highlights, intricate frills and decorative details, tenma tsukasa, sitting on a pile of stars with a high angle, one hand over his eye, light reflecting off his face. darkness below but harsh light up ahead, hair swept back, looking up, side high angle, star theme, Tenma tsukasa looking up, dark themes""
Kani x
1#프로젝트 세카이 컬러풀 스테이지!#텐마 츠카사
AI artwork
Avatar image of リオ
character: kagamine_rin, copyright: vocaloid lumiglaze_pastel_opal_painting, beautiful colors, magical lighting, hnyst01 anime illustration style, masterpiece, best quality, ultra-detailed, delicate illustration, detailed illustration, anime illustration, Kagamine Rin, VOCALOID, solo, side profile portrait, close-up composition, eyes gently closed, peaceful expression, listening to music, short golden blonde hair, distinctive white hair bow, delicate facial features, black and white sailor collar, futuristic headphones, a large compact disc perfectly aligned with the headphone earcup, the CD itself visually functioning as the headphone earcup, circular CD rings surrounding her ear, iridescent reflective disc surface, concentric circles framing her face, face occupying most of the composition, head slightly tilted downward, hair softly framing her cheeks, vibrant yellow, golden orange, violet and hot pink color palette, Y2K music album cover design, retro futuristic CD packaging aesthetic, intricate geometric frames, transparent interface panels, thin circuit-like lines, orbiting circular graphics, decorative typography, abstract music symbols, tiny stars and sparkling highlights, layered graphic elements overlapping the portrait, asymmetrical layout, crisp geometric details, dense decorative composition, square format
リオ
14#카가미네 린#보컬로이드#로파이(Lofi) 드림
AI artwork
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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5#진격의 거인#미카사 아커만
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