Мультфильм в нейросети: мой папа — пожарный

Ты помогаешь придумать персонажа для мультфильма в духе полнометражной 3D-анимации и пишешь промт для генерации его картинки.

Я опишу персонажа одной-двумя фразами. Всё, чего в описании нет, реши сам и перед промтом одной строкой назови, что ты решил.

Правила персонажа:
1. Силуэт строится на одной простой форме: шар, груша, гриб, шкаф. Назови форму и рост в головах: малыш — 4, ребёнок — 5, подросток — 6, взрослый — 7.
2. Одна черта лица преувеличена, а соседние с ней уменьшены: большие глаза рядом с маленьким носом и подбородком.
3. У ребёнка длинное туловище, короткие ноги, крупная голова и узкие плечи. Взрослому крупную голову не делай.
4. Яркий цвет один на всего персонажа, и он надет или пришит, а не в руках. Остальные цвета приглушённые.
5. Руки пустые, лицо спокойное, поза ровная: эта картинка пойдёт референсом для листа персонажа.

Промт напиши на английском. Первая фраза задаёт стиль: персонаж полнометражного 3D-мультфильма, студийная компьютерная анимация, стилизованные пропорции, не фотореализм и не плоский 2D. Дальше идут строки с метками в таком порядке: Subject, Silhouette, Face, Eyes, Eyebrows, Facial hair (только если есть), Skin, Hands, Hair, Wardrobe, Pose, Camera, Background.

В каждой строке только то, что видно глазами. Не пиши списков того, чего быть не должно, не указывай формат кадра, не описывай свет и настроение. В строке Pose персонаж стоит прямо, лицом к камере, руки опущены. В строке Camera он снят в полный рост, ступни в кадре. В строке Background ровный серый фон.

Персонаж: <опишите своего персонажа>

Full-body render of one character from a feature-length 3D animated family film: studio-grade computer animation with stylised proportions, neither photoreal nor a flat 2D cartoon.

Subject: a six-year-old boy, small and thin, light freckled skin; solemn, very proud of his father.
Silhouette: five heads tall, the shape of a mushroom: a huge round cap of hair over a small face, narrow shoulders, a long body and short thin legs. In a black cut-out he reads as a mushroom.
Face: a tiny upturned nose and a small mouth under very round cheeks; large round eyes set wide apart; a short soft chin.
Eyes: green irises that take up only part of each eye, clear whites visible on both sides, soft heavy upper lids, short sparse lashes, no drawn outline around the eyes.
Eyebrows: ginger, thin and soft, made of fine hairs.
Skin: matte, with a pink tip of the nose, flushed cheeks and ears that glow a little where the light passes through. Freckles across the nose and cheeks, scattered unevenly.
Hands: small, but drawn large for his body, with soft rounded fingers, blunt fingertips and simple palms.
Hair: a thick mop of ginger curls, wider than his face, matte, built from big curls with smaller ones on top, falling onto the forehead.
Wardrobe: grey-green dungarees over an oatmeal long-sleeved top, one strap slightly twisted; worn grey trainers with untidy laces. A red felt fire-engine patch sewn onto the bib of the dungarees: it is the only bright colour on him, everything else is muted. Soft heavy cloth with a few big folds, no logos.
Pose: standing straight and relaxed, facing the camera, arms down, hands open and empty, mouth calm and closed, looking into the lens.
Camera: straight-on view from chest height, the whole figure in frame, feet visible.
Background: an empty, even mid-grey studio backdrop.

Full-body render of one character from a feature-length 3D animated family film: studio-grade computer animation with stylised proportions, neither photoreal nor a flat 2D cartoon.

Subject: a man of about thirty-eight, a firefighter, very tall and very broad, light freckled skin; calm and gentle, slow to speak.
Silhouette: seven heads tall, the shape of a wardrobe: enormous square shoulders and chest, thick arms, a body that narrows only a little towards small feet. Adult proportions: the head is not enlarged. In a black cut-out he reads as a wardrobe.
Face: a wide heavy jaw and a thick neck, and next to them small kind eyes and a small rounded nose. A broad forehead.
Eyes: green irises that take up only part of each eye, clear whites visible on both sides, soft heavy upper lids, no drawn outline around the eyes.
Eyebrows: ginger, thick and clearly shaped, with soft edges.
Facial hair: a short full ginger beard shown as a soft matte mass over the jaw, chin and upper lip, not as separate hairs.
Skin: matte, with a reddish nose tip and ears that glow where the light passes through, weathered cheeks, a few freckles.
Hands: huge and work-worn, built from a few big rounded forms, with thick blunt fingertips and simple palms.
Hair: ginger, short and thick, matte, built from large locks with smaller strands on top, a little flattened as if by a helmet.
Wardrobe: a plain grey T-shirt; dark navy firefighter's trousers with wide pale reflective bands above the ankles, soot on the knees; heavy black boots. Bright yellow braces over the T-shirt: they are the only bright colour on him, everything else is muted. Heavy cloth with a few big folds, no logos, no lettering.
Pose: standing straight and relaxed, facing the camera, arms down, hands open and empty, mouth calm and closed, looking into the lens.
Camera: straight-on view from chest height, the whole figure in frame, feet visible.
Background: an empty, even mid-grey studio backdrop.

Full-body render of one character from a feature-length 3D animated family film: studio-grade computer animation with stylised proportions, neither photoreal nor a flat 2D cartoon.

Subject: a three-year-old boy, very small, warm olive skin; quiet and frightened, he has just been through a house fire.
Silhouette: four heads tall, the shape of a lollipop: a big round head on a small straight body with narrow shoulders and very short legs. In a black cut-out he reads as a lollipop.
Face: huge dark eyes under short thick eyebrows, and next to them a tiny nose, a small mouth and a very short chin.
Eyes: dark brown irises that take up only part of each eye, clear whites visible on both sides, soft heavy upper lids, short sparse lashes, no drawn outline around the eyes.
Eyebrows: black, short and thick, with soft edges.
Skin: matte, with a deeper warm tone on the tip of the nose and on the cheeks, and ears that glow a little where the light passes through. Grey smudges of soot on one cheek, on the forehead, on both hands and on the bare foot.
Hands: tiny, but drawn large for his body, with soft rounded fingers, blunt fingertips and simple palms.
Hair: black, straight and thick, cut like a bowl, with a heavy fringe down to the eyebrows; matte, built from large locks with smaller strands on top.
Wardrobe: loose cream pyjamas with small blue stars, the top buttoned crookedly, the trouser legs too long, soot on the knees and cuffs. One bright orange sock on his left foot, the right foot is bare: the sock is the only bright colour on him, everything else is muted. Soft heavy cloth with a few big folds, no logos.
Pose: standing straight and relaxed, facing the camera, arms down, hands open and empty, mouth calm and closed, looking into the lens.
Camera: straight-on view from chest height, the whole figure in frame, feet visible.
Background: an empty, even mid-grey studio backdrop.

Model sheet of one character from a feature-length 3D animated film: studio-grade computer animation with stylised proportions, neither photoreal nor a flat 2D cartoon. The attached picture is the only source for the character: keep the same face, hair, clothes and proportions.

One plain backdrop for the whole sheet: flat mid-grey #B8B8B8, without a gradient and without shadows on it, in soft even light.

Upper row — four full-length figures of the same character, all the same size, standing on one line and evenly spaced, from left to right: facing the camera; turned three-quarters; in profile; from the back. The pose is the same in all four: standing straight, arms down, hands open and empty, feet flat and side by side, a calm face with a closed mouth.

Lower part — eight head-and-shoulders portraits of the same character in two rows of four, all the same size, all facing the camera. In reading order: 1) calm, mouth closed; 2) a small warm smile with closed lips; 3) delight: eyes wide, a big open smile; 4) sad: inner ends of the brows raised, corners of the mouth down; 5) surprised: brows high, a small round mouth; 6) puzzled: one brow higher than the other, mouth pushed to one side; 7) cross: brows drawn down, lips pressed together; 8) speaking: mouth open in the middle of a word.

Character: <one or two sentences taken from the picture: age, build, hair, clothes from head to toe>.

Matte skin with a warm glow in the ears and fingertips, heavy matte cloth with a few big folds. No text, no numbers, no frames around the panels, nothing in the hands.

An empty interior from a feature-length 3D animated family film: studio-grade computer animation, stylised but believable. No people and no animals.

A playroom of an ordinary city kindergarten in the morning. A wide view from one side of the room, at the eye level of a seated child. In the middle of the floor lies a big round rug with six small cushions set in a half-circle; in front of the cushions is a free spot where a child can stand and face the others. Behind: low shelves with toys and boxes of crayons, small tables with small chairs, large windows on the left, a wall with children's drawings pinned to it. The drawings look the way five-year-olds draw: heads bigger than bodies, arms growing from the head, colour going over the lines, a sun squeezed into a corner.

Light: soft morning daylight from the windows on the left, even and warm, with cool reflected light from the pale walls.

Colours: muted and warm — pale wood, off-white walls, a soft blue-grey rug, straw-coloured cushions. No bright red, orange or yellow anywhere in the room.

No writing anywhere, no letters, no numbers, no logos.

A child's crayon drawing on a sheet of plain white paper, the whole sheet in frame, seen straight from above, lying on a pale wooden table.

It is drawn the way a six-year-old really draws: wobbly thick lines pressed hard, colour scribbled past the outlines, no perspective. On the left stands a small boy with a big cloud of orange curls and green trousers. Next to him stands a very big man, three times taller than the boy: a huge square body, a small round head with an orange beard and a smile, arms sticking out sideways, two yellow straps over his shoulders. A crooked arrow points at the boy, and next to it one Russian letter is written in wobbly crayon capitals: Я. Another crooked arrow points at the man, and next to it two Russian words are written the same way: МОЙ ПАПА. The letters stand alone, without quotation marks or any other signs around them. Behind them is a red fire engine drawn as a box with two wheels and a ladder. A yellow sun is squeezed into the top corner.

There is no other writing on the sheet. Nothing else lies on the table: no crayons, no pencils.

A frame from a feature-length 3D animated family film: studio-grade computer animation with stylised proportions, neither photoreal nor a flat 2D cartoon.

The attached pictures: picture 1 is the boy — keep his face, hair, proportions and clothes, ignore the grey backdrop; picture 2 is the room; picture 3 is his drawing.

A tight close view, with the camera at the height of the boy's chest and very near him. The drawing from picture 3, held up in both of his hands, is in the middle of the frame and fills most of it: we see the whole sheet, and his fingers grip its left and right edges. Above the sheet only the lower part of his face is in the frame — his chin, a wide happy smile with the mouth open, his ears and the ends of his ginger curls at the sides. His eyes are above the top edge of the frame and are not seen.

He stands at the edge of the round rug from picture 2 with his back to the low shelves by the wall. The shelves are close behind him, soft and out of focus, and fill the background from side to side; a narrow strip of the rug shows along the bottom of the frame. There is no open empty floor behind him. Bright morning sunlight comes from the windows on the left.

The drawing is exactly the one from picture 3 and is not changed in any way. There is no other writing in the frame.

REFERENCES IN USE
image 1 (image1, opening frame) — MITYA holding his drawing up to the group in the playroom. It sets the composition, the camera position, the distance, the height and the light for the first frame of Shot 1 and for the first frame of Shot 11. Both first frames match it exactly.
image 2 (image2, the drawing) — the child's crayon drawing: a small boy, a very big firefighter, a fire engine, and the hand-written words Я and МОЙ ПАПА with arrows. Every time the drawing is in the frame it is this drawing, unchanged.
image 3 (image3, character sheet) — MITYA, a six-year-old boy with a big mop of ginger curls, grey-green dungarees with a red fire-engine patch. Take only his face, hair, proportions and clothes.
image 4 (image4, character sheet) — PAPA, the firefighter: a huge man with short ginger hair and a ginger beard, a grey T-shirt, yellow braces, dark navy firefighter's trousers. Take only his face, hair, beard, proportions and clothes. His head is bare the whole time.
image 5 (image5, character sheet) — THE LITTLE BOY, three years old: black bowl-cut hair, cream pyjamas with blue stars, one orange sock, soot on his face, hands, feet and clothes. Take only his face, hair, proportions and clothes.
image 6 (image6, the playroom) — the kindergarten playroom. Take only the space, the materials, the colours and the morning light.
On the character sheets ignore the grey backdrop and the layout.

VOICES
MITYA: a six-year-old Russian boy. A bright, light, slightly husky voice; he speaks Russian fast and eagerly, the words tumble over each other when he gets going and he runs out of breath at the end of a sentence; he is cheerful and carefree, openly and hugely proud of his father, and completely sincere on the last line.

GOAL
The opening of a stylised 3D animated comedy short, eleven shots in 25 seconds. A happy six-year-old boy shows his kindergarten group a crayon drawing of his father, a firefighter. A wipe of fire takes us into a fast, urgent run of shots: the man breaks through falling debris to reach a small boy who is cowering in a corner. The boy is terrified of the huge dark shape above him until the man kneels down to his level. The man forces the burning front door open, carries the boy out and gives him back to his parents, and from his relieved face we cut straight back to the playroom for the boy's last line.

CONTINUITY
Who is where: MITYA is only in the playroom. PAPA and THE LITTLE BOY are only in the fire. They never share a shot with MITYA.
Places: the playroom from image 6 in Shot 1 and Shot 11, a bright sunny morning, warm sunlight raking in from the tall window on the camera's left. Shots 2 to 10 are a house in the suburbs, fully alight at night: first inside, then the street in front of the door.
Props: MITYA holds the drawing from image 2 in the playroom, and it never changes. PAPA wears no helmet and nothing else on his head at any moment.

SHOTS

SHOT 1 | 0–4.5s
Opens on exactly the framing of image 1: MITYA holds the drawing up in front of his chest with both hands in bright morning sunlight, and the paper fills most of the frame.
MITYA, on camera: {Это мой папа.}
The camera then lifts smoothly off the paper to his face and moves in until his eyes fill the frame, bright and shining with pride.
MITYA, on camera: {И он… пожарный.}
Straight after that, real orange flames rise from the bottom edge of the frame over the close-up and climb until the whole screen is fire and rolling smoke.
Cut: a fire wipe — the flames clear upwards and Shot 2 is behind them. No white flash.

SHOT 2 | 4.5–6.5s
A fixed medium-wide view from inside the burning living room of a suburban house at night, looking straight at the closed wooden front door. Flames climb every wall, smoke rolls under the ceiling. The door is smashed inwards off its frame and PAPA charges in at a hard run, bare-headed, enormous, lit from behind by fire. He does not slow down and runs deep into the room while the broken door swings behind him.
MITYA, voiceover: {Он большой и сильный.}
Hard cut.

SHOT 3 | 6.5–9s
A medium-wide view that moves backwards in front of PAPA along a burning hallway full of smoke, fire on both walls. As he runs towards the camera, the ceiling ahead of him gives way and a mass of burning beams and debris crashes down across the hallway and blocks it completely. He does not stop or slow: he lowers one shoulder and smashes straight into the burning barricade, breaks through it in a burst of sparks and splinters, and comes out on the other side still running, through the next doorway.
MITYA, voiceover: {А главное — он храбрый.}
Hard cut.

SHOT 4 | 9–11s
A wide view from behind PAPA and a little above his shoulder as he stops just inside a burning room. Fire climbs the walls on both sides, smoke comes down from the ceiling. The far corner is dark and lost in smoke, nothing can be seen in it. He turns his head across the room, searching, and stops: his head locks onto the far corner. The camera then pushes in quickly towards that corner, through the smoke, and THE LITTLE BOY is seen for the first time as the frame closes on him: pressed into the corner where the two walls meet, knees up, arms wrapped over his head, facing the man.
Hard cut.

SHOT 5 | 11–12.5s
A close view of THE LITTLE BOY from low down, at the level of his eyes, looking up. He is squeezed into the corner, knees up, arms clamped over his head, shaking, with fire and smoke on every side. PAPA moves into the frame above him and stops, towering over him. The orange fire is right behind PAPA, so he reads as a huge black silhouette and his face is completely lost in shadow. THE LITTLE BOY presses himself even harder into the corner and tightens his arms.
MITYA, voiceover: {Его иногда боятся: он большой.}
Hard cut.

SHOT 6 | 12.5–15s
A medium-close view from the side, with the camera down at THE LITTLE BOY's level, both of them in the frame. For the first time PAPA stops hurrying. He lowers himself onto one knee, and as he comes down out of the backlight his face leaves the shadow and warm firelight falls on it for the first time: the ginger beard, the lines at the corners of his eyes, a soft, unhurried smile. He holds out one enormous open hand, palm up, and waits while the room burns around them. THE LITTLE BOY takes his arms off his head, looks up, hesitates for a long moment, then reaches out and takes hold of one of his fingers.
MITYA, voiceover: {А на самом деле он добрый.}
Hard cut.

SHOT 7 | 15–16.5s
A close-up of a mother and a father in the street at night. Their faces are orange from the fire outside the frame, and a turning blue light passes over them. She has broken down completely and cries into his shoulder, both hands gripping his jacket, her face hidden. He holds the back of her head with one hand and stares past the camera at the house, his jaw tight, barely holding on. Behind them a police car pulls up and stops, its lights sweeping across them.
Hard cut.

SHOT 8 | 16.5–18.5s
A close view of the front door of the burning house from outside: the door fills the frame, with fire glowing around it and through it. The door is forced violently open from inside, shoved hard against its own weight, and PAPA pushes out through it shoulder first with THE LITTLE BOY held tight against his chest in both arms. Smoke pours out around them. His face and shoulders fill the frame as he comes through the doorway towards the camera.
MITYA, voiceover: {Дяди зовут его добрым великаном.}
Hard cut.

SHOT 9 | 18.5–21s
A medium-wide view from the side, at the height of an adult's chest, so that the whole meeting is clear across the frame: PAPA on the left with THE LITTLE BOY in his arms, the mother and the father on the right. The mother is already reaching before he is near, her hands grabbing at the air, her face wrecked by crying. PAPA steps in and holds the boy out to her. She snatches her son to her chest with a sob and hides her face in his hair, rocking and crying openly with relief. The father closes in and wraps his arms around both of them, and his own face gives way as he presses his forehead to the boy's head. PAPA lets go and steps back out of the group.
Hard cut.

SHOT 10 | 21–22s
A close-up of PAPA's face, bare-headed, soot across his forehead and cheek, warm light from the burning house on one side and cool blue light from the police car on the other. He looks out of the frame at the family and breathes hard. His face shows only relief and quiet thanks: his jaw relaxes, his eyes soften and grow wet, and a small tired smile appears.
Hard cut.

SHOT 11 | 22–25s
Cuts straight to exactly the framing of image 1: MITYA in the bright morning sunlight of the playroom holds the drawing up in front of his chest with both hands, and the drawing fills most of the frame. The camera lifts smoothly off the paper to his face, and as it settles he grins.
MITYA, on camera: {Вот такой у меня папа. И я его люблю!}
Hard cut, the end of the scene.

STYLE
Studio-grade computer animation from a 3D animated film of feature quality: stylised proportions, matte skin with warm light glowing through the ears and fingertips, matte heavy cloth with a few big folds. The playroom is bright, cheerful and colourful, safe and completely ordinary. The fire is richer and more dramatic: deep orange firelight, thick layered smoke, drifting sparks, a hard rim of light on PAPA — heroic and warm, never grim and never frightening to watch. In Shot 5 the light behind him is strong enough to hide his face completely; in Shot 6, when he kneels, soft golden firelight reaches it. The street is a cool blue night cut by turning red and blue emergency lights, with the whole front of the house glowing orange. The drawing is rough crayon work by a six-year-old and never looks like an adult's illustration. Not photoreal, not a flat cartoon, no film grain, no video-game look.

CAMERA AND ACTING
Exactly eleven shots and ten transitions: one fire wipe out of Shot 1, then nine hard cuts. No fades, no dissolves and no cross-fades anywhere. No cut inside a shot. Shot 4 has one fast push towards the corner; every other shot is one clear composition. Motion in real time, no slow motion. The frame is composed by the rule of thirds.
MITYA is bursting with pride and can hardly hold it in. He holds the drawing in front of his chest with both hands, speaks fast, grinning, with his eyebrows right up, and says the last line warmly and sincerely.
PAPA is urgent and keeps driving forward through the whole rescue: he runs and never walks, and goes through obstacles, not around them. He forces the front door open against its own weight, with real effort in his legs and back and no fear in his face. He stops twice inside the house: when his head locks onto the corner, and when he kneels to THE LITTLE BOY. On his knee his whole body softens: shoulders down, head lower than the boy's eye line, the open hand held still and patient, not reaching. When he gives the boy back he is careful and unhurried, then steps away from the family and does not wait for thanks. He never speaks. In his last close view everything is in the eyes and the jaw: the relief comes late, after the work is done.
THE LITTLE BOY is truly terrified: jammed into the corner, arms clamped over his head, knees up, shaking, hiding and not looking. He comes out of it slowly: first the arms come down, then he looks up, then he hesitates, then he reaches. The change is gradual and easy to read, never instant. Once he is carried he clings, and when he is handed over he grabs his mother's clothes in both fists. He never speaks.
The mother and the father are already broken before the boy comes out: she sobs into her husband's shoulder, he holds her and holds himself together. When the boy is handed over, both come completely apart with relief: she reaches too early, snatches her son in and sobs openly into his hair, rocking; the father's calm finally breaks as he folds around them. Neither of them speaks.
Movement: the door that is smashed in Shot 2 has real weight: it swings hard, hits its limit and bounces back. The falling beams in Shot 3 drop heavy and fast and shatter outwards when he hits them, wood and sparks flying with weight. The front door in Shot 8 resists before it gives way and swings heavy and slow off his shoulder. Every step PAPA takes has real contact with the floor and a shift of weight. THE LITTLE BOY has real weight when he is lifted, carried and passed over: his arms and legs and his pyjamas follow a moment behind the movement, and the mother's arms dip as she takes him. Her sobbing shakes her whole upper body, and the boy moves with her. Nothing is ever frozen: breathing, small shifts of weight and blinks go on through every held moment.

SOUND
(no music anywhere in this scene)
<the bright room tone of a playroom>, <paper crinkles and bends as the drawing is held up>, <a low roar grows as the fire rises over the frame at the end of Shot 1>, <fire roars and crackles on all sides, wood splits, embers pop, glass cracks somewhere out of the frame>, <a heavy wooden door is smashed off its frame and hits a wall>, <heavy boots run over floorboards>, <a ceiling falls into a hallway and the barricade shatters as the man smashes through it>, <a small boy whimpers into his arms in the corner and goes quiet when the man kneels>, <a woman sobs against a man's shoulder>, <a police car pulls up and stops, diesel engines idle, radio chatter, hoses hiss>, <a heavy front door is shoved open against its own weight>, <a mother's open, gasping sobs of relief and a father's breath that breaks>, <hard, ragged breathing in the close view of PAPA>, <the bright room tone of the playroom comes back at once on the cut to Shot 11>

LIMITS
The only words spoken in the whole scene are the eight lines in braces, and they are spoken in Russian. Nothing else written anywhere in this text is speech, and it must never be spoken, whispered or read aloud. MITYA is the only one who speaks: PAPA, THE LITTLE BOY, the mother, the father, the police and the fire crew never say any clear words, though the parents' crying is heard.
PAPA wears no helmet, no hard hat, no hood, no mask, no breathing apparatus and nothing else on his head at any moment.
No fades, no dissolves, no cross-fades, no white flashes, no lens flares. No extra cuts anywhere: eleven shots in all, and no cut inside any shot, above all not during the push in Shot 4.
THE LITTLE BOY is not seen at any moment before the push in Shot 4 shows him. PAPA never appears in the playroom, and MITYA never appears in the fire.
Nobody is visibly hurt or burned: no blood, no injuries, no bodies, no burned skin. No crowd of neighbours: only the mother, the father, the police and the fire crew. No other people are rescued.
No music. No slow motion. No subtitles. No text on screen except the words Я and МОЙ ПАПА on the drawing.

KEEP THE SAME
One MITYA, one PAPA, one LITTLE BOY, one mother and one father from start to finish. The drawing is the same in every frame where it appears. PAPA's clothes are the same in every shot, and his head is bare all the way through. The soot marks on THE LITTLE BOY stay in the same places from Shot 4 to the end. The first frame of Shot 1 and the first frame of Shot 11 both match image 1 exactly.