MiniMax H3 / Hailuo 3.0 · FL2VA
自动绘成的 1890 年代鸟类图鉴
空白旧纸先出现铅笔稿，再叠加墨线和色彩，最后图鉴中的鸟悄然苏醒。 原生视频规格为 15 秒 · 1920×1440。原帖完整公开了 Prompt，本页按原文保留。
- 生成模式
- FL2VA
- 模型
- MiniMax H3（创作者标注）
- 输出
- 15s · 1920×1440 · landscape
- 标签
- MiniMax H3 · 社区案例 · 公开 Prompt · X 原帖
- 提示词来源
- 创作者原文
原始 Prompt
以下为来源公开的原文 Prompt，未翻译、改写或补全。
@ Image1 is the sole visual authority for the folio spread, the wren, the hazel twig, the egg study, the foot sketch, the handwriting, the printed type, the paper, the foxing, the lighting, the palette, the layout and the horizontal composition. Animate this exact page without redesigning it. Preserve every existing mark, letter and colour in its final state. [Goal] Create a 15-second sequence in which this plate makes itself, and then the bird inside it comes quietly alive. One continuous, locked, straight-on overhead composition. No camera movement, no cuts, no cropping, no perspective change, no page turning. [Sequence] 0-2.4 seconds: Begin on blank aged ivory paper — the empty spread, correct in paper texture, chain lines, foxing and lighting, but carrying no image, no writing and no type. A faint graphite underdrawing appears across the right page in light searching strokes, finding the wren's posture and the line of the twig. A few construction marks overshoot and are left uncorrected. 2.4-6 seconds: Engraved ink linework draws itself over the pencil, following the exact contours of the finished plate — outline first, then hatching building the shadow under the wing, the barring of the tail, the texture of the twig. The rectangular plate mark presses into the paper around the image with a soft physical impression, lifting the paper very slightly at its edge. 6-10.5 seconds: Watercolour floods in. Washes enter the printed outlines and settle into them, warm russet across the back, buff along the eyebrow stripe, muted olive on the twig, each wash landing exactly within the shapes of the finished plate and overrunning the line in the same few places the reference does. The colour blooms wet and then visibly dries, darkening slightly at the edges. On the left page, the sepia handwriting writes itself line by line from the top, in a period cursive hand that is elegant, cramped and only partly legible. The small egg study fills with colour and the pencil foot sketch appears faintly beside it. 10.5-13 seconds: The printed type impresses into the right page — TROGLODYTES TROGLODYTES, then The Common Wren beneath it, then PLATE XVII in the top right corner. Foxing spots deepen. The last details resolve: the highlight in the bird's eye, the fine barring on the flank. The page settles. Everything on the spread is now exactly as in @[ref img]. 13-15 seconds: The page stays completely still and completely flat — it is paper and it behaves like paper. But the printed bird begins to breathe. Its flank rises and falls very slightly. It blinks once. It turns its head a few degrees and holds, alert, looking past the viewer at something outside the page. The cocked tail gives one small twitch. It does not fly, it does not leave the plate, it does not become three-dimensional, and it does not look at the viewer. Settle into a living idle: the bird breathing, one more slow blink, the paper still. Render as photoreal archival photography of a real object under warm north-window light. Keep the printed page flat and matte with no glow, no emission, no glint and no digital sheen. Keep the two motion layers distinct: the page is a made thing being made, the bird is alive. Keep all type, handwriting, marks and geometry fixed once they appear. Do not introduce any new text, letters, numerals, marks, birds, objects, hands, tools, logos, captions, borders, watermarks or page numbers. Do not turn or lift the page. Do not move, rotate or scale the camera. Do not zoom. Do not add glow, neon, coloured light, lens flare, bokeh or shallow-focus racking. Do not make the bird photoreal or three-dimensional — it must remain a hand-coloured engraving that happens to be alive. Do not have it fly, hop, open its beak wide, or leave the plate. Audio: fine graphite scratching on rough paper; the dry precise scrape of a steel nib; the deep soft compression of a plate press; a sable brush loaded with water moving across paper; paper fibres settling; the quiet room tone of a study with a slow long-case clock ticking somewhere behind. At 13 seconds, one Eurasian wren song — sudden, intricate and far louder than anything that small should produce — then the room tone returns and the clock keeps going. No music, no dialogue, no narration, no electronic tones.