di Luca Desiderato
I 7 prompt[6] per un ritratto surreale dall’aspetto realistico chiedono di inserire il volto della foto in scene con occhi giganti, teste svitate e altre situazioni impossibili. Ogni testo specifica scala, contatto e spazio. Le 22 immagini comprendono foto di partenza e risultati con Lia, Luca e Matteo.
Sommario
Come è costruito il comando
L’ancora è uguale in tutti: Take only the FACE from the supplied reference[4] photograph and nothing else from it.
Tutti e sette aprono con A SURREAL. Il tipo di fotografia cambia ogni volta, da FORCED-PERSPECTIVE a CINEMATIC. La struttura è in THE SCENE, THE OBJECT o THE IDEA.
Le misure dichiarano scala: fills about 90% of the frame[7], three times life size, about the height of a hand (15 to 20 centimetres). Contatto: with a contact shadow beneath her.
/bigeye · Seduta nell’occhio
Chiede un occhio umano enorme che occupa circa il novanta per cento dell’inquadratura[1]. Lia, di dimensioni normali, è seduta sulla palpebra inferiore; pupilla e iride sono dietro la parte alta del suo corpo.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 249 parole
⚠️ Le 2 immagini qui sopra vengono dallo stesso comando ma da due testi diversi, uno per soggetto[5]: quello che pubblichiamo è il primo. Il secondo cambia l’oggetto e la scena[8], non l’impianto. Lo trovi in RACCOLTA_PROMPT.csv, colonna prompt_variante.
La mossa che c’è dentro. La scala è about one third of the eye's height. Il contatto è her hips press a soft dent into the eyelid with a contact shadow beneath her.
Il prompt
A SURREAL FORCED-PERSPECTIVE PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE SCENE: one enormous human eye fills about 90% of the frame and runs past both side edges, seen in extreme macro detail: radial iris fibres in LIA's own dark-brown iris colour, a moist tear line, a glossy corneal reflection with a natural catchlight, individual lashes, pores and fine peach fuzz on the surrounding skin. It is LIA's own eye, open and looking straight ahead. Seated on the lower eyelid, as if the face were a landscape, is LIA at normal size, about one third of the eye's height: her legs hang freely down over the cheek, her hands rest between her thighs, her hips press a soft dent into the eyelid with a contact shadow beneath her. The giant pupil and iris sit directly behind her upper body, framing her. Wardrobe: a relaxed grey long-sleeve sweatshirt, loose olive-green cargo trousers with elastic cuffs, a small black crossbody bag worn diagonally, tan lace-up boots with thick soles. Soft diffused neutral studio light, subtle direction from the left, neutral cinematic grading; both the giant iris and her face are sharp. LIA, the woman in the supplied reference photograph, her face unchanged on the seated figure: 25 years old, long wavy dark-brown hair, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with a faint half-smile. Photorealistic, vertical 4:5.Lo stesso comando, da riempire
Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.
A SURREAL FORCED-PERSPECTIVE PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE SCENE: one enormous human eye fills about 90% of the frame and runs past both side edges, seen in extreme macro detail: radial iris fibres in [NOME]'s own [COLORE DELL’IRIDE], a moist tear line, a glossy corneal reflection with a natural catchlight, individual lashes, pores and fine peach fuzz on the surrounding skin. It is LIA's own eye, open and looking straight ahead. Seated on the lower eyelid, as if the face were a landscape, is [NOME] at normal size, about [SCALA RISPETTO ALL’OCCHIO]: her legs hang freely down over the cheek, her hands rest between her thighs, her hips press a soft dent into the eyelid with a contact shadow beneath her. The giant pupil and iris sit directly behind her upper body, framing her. Wardrobe: a relaxed grey long-sleeve sweatshirt, loose olive-green cargo trousers with elastic cuffs, a small black crossbody bag worn diagonally, tan lace-up boots with thick soles. Soft diffused neutral studio light, subtle direction from the left, neutral cinematic grading; both the giant iris and her face are sharp. LIA, the woman in the supplied reference photograph, her face unchanged on the seated figure: 25 years old, long wavy dark-brown hair, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with a faint half-smile. Photorealistic, vertical 4:5.Per usarlo su altro. Sostituisci colore dell’iride e soggetto. Per cambiare posizione o struttura dell’occhio, riscrivi scena e contatto. Non l’abbiamo provato.
/fishbag · Nel sacchetto dei pesci
Chiede un sacchetto trasparente da pesci, alto quanto una persona e sospeso, pieno per due terzi d’acqua. Lia è rannicchiata vicino al fondo con sei pesci rossi attorno; una mano tiene il collo del sacchetto.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 310 parole
La mossa che c’è dentro. Il contenitore è an enormous transparent polyethylene pet-shop fish bag. La struttura è dichiarata con vertical tension folds e lower corners bulging under the weight of the water.
Il prompt
A SURREAL STUDIO PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE OBJECT: an enormous transparent polyethylene pet-shop fish bag, as tall as a person, hanging in mid-air and filling about 80% of the frame: a wide rounded bottom, gathering into many folds toward the top, where a woman's hand with deep-red nail polish enters from the upper-left edge and holds the twisted neck of the bag between its fingers, carrying it the way you carry a goldfish home. The bag is two-thirds full of crystal-clear water with a visible air pocket above; the waterline runs above her head. Inside, near the bottom, LIA sits curled up: knees drawn to her chest, one arm around her shins, the other hand resting on her knees, body turned three-quarters, face turned straight to the lens and optically clear through water and plastic. Six small orange goldfish swim around her at different depths, tiny compared with her. Wardrobe: a fitted black sleeveless top, black shorts, white retro sneakers, all wet and clinging naturally. Her long wavy dark-brown hair lifts gently in the water. Realistic bag physics: vertical tension folds, lower corners bulging under the weight of the water, a meniscus where water meets plastic, small suspended bubbles, caustic light patterns along the edges. Seamless deep-burgundy background and floor with a soft vignette; the bag floats a hand above the floor and casts a soft shadow beneath it. Cinematic studio light from the upper left with crisp specular highlights on the plastic and a gentle rim light around her. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with a faint half-smile. Photorealistic, 50 mm lens, f/5.6, vertical 4:5.Lo stesso comando, da riempire
Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.
A SURREAL STUDIO PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE OBJECT: an enormous transparent polyethylene pet-shop fish bag, as tall as a person, hanging in mid-air and filling about 80% of the frame: a wide rounded bottom, gathering into many folds toward the top, where a woman's hand with deep-red nail polish enters from the upper-left edge and holds the twisted neck of the bag between its fingers, carrying it the way you carry a goldfish home. The bag is two-thirds full of crystal-clear water with a visible air pocket above; the waterline runs above her head. Inside, near the bottom, [NOME] sits [POSA NEL SACCHETTO], the other hand resting on her knees, body turned three-quarters, face turned straight to the lens and optically clear through water and plastic. [NUMERO] small [COLORE] [TIPO DI PESCE] swim around her at different depths, tiny compared with her. Wardrobe: a fitted black sleeveless top, black shorts, white retro sneakers, all wet and clinging naturally. Her long wavy dark-brown hair lifts gently in the water. Realistic bag physics: vertical tension folds, lower corners bulging under the weight of the water, a meniscus where water meets plastic, small suspended bubbles, caustic light patterns along the edges. Seamless deep-burgundy background and floor with a soft vignette; the bag floats a hand above the floor and casts a soft shadow beneath it. Cinematic studio light from the upper left with crisp specular highlights on the plastic and a gentle rim light around her. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with a faint half-smile. Photorealistic, 50 mm lens, f/5.6, vertical 4:5.Per usarlo su altro. Sostituisci soggetto, posa, guardaroba e pesci. Per un contenitore diverso, riscrivi acqua, pieghe, angoli e mano. Non l’abbiamo provato.
/freshface · In vaschetta
Chiede una vaschetta rettangolare di polistirolo[3] espanso rosa polvere, in piedi, con la testa di Lia al centro sotto una pellicola trasparente. Etichetta, prezzo e codice a barre stanno nell’angolo alto destro.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 289 parole
⚠️ Le 2 immagini qui sopra vengono dallo stesso comando ma da due testi diversi, uno per soggetto: quello che pubblichiamo è il primo. Il secondo cambia l’oggetto e la scena, non l’impianto. Lo trovi in RACCOLTA_PROMPT.csv, colonna prompt_variante.
La mossa che c’è dentro. L’oggetto è a rectangular dusty-pink expanded-foam supermarket tray. La pellicola copre vaschetta e volto: One layer of tightly stretched transparent food-grade cling film covers the whole front of the tray and her face.
Il prompt
A SURREAL PRODUCT PHOTOGRAPH, CLEAN AND PLAYFUL. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE OBJECT: a rectangular dusty-pink expanded-foam supermarket tray with a raised rim and rounded corners, standing upright and facing the camera, filling about 85% of the frame. Centred inside the tray is LIA's head, seen frontally from a slightly low angle, chin toward the bottom of the tray; a short section of neck disappears smoothly under the lower rim, the way a display head sits in its packaging. One layer of tightly stretched transparent food-grade cling film covers the whole front of the tray and her face: diagonal tension wrinkles, stretched highlights, tiny condensation droplets near the rim, and her face fully readable under the film with its shape intact. In the upper-right corner a slightly tilted white paper price label is stuck on top of the film: thin red border, bold black capitals «FACCIA FRESCA», smaller red text «qualità superiore» beneath, then a black barcode with small digits. The label covers part of the hair and leaves both eyes, nose and mouth clear. Seamless charcoal-to-black studio background with a faint warm brown gradient. Key light from the upper left sculpting the face and skating glossy reflections across the film, a softer fill from the right, a contact shadow beneath the tray so it reads as a real object photographed upright. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, long wavy dark-brown hair pressed flat under the film, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with a faint half-smile. Photorealistic, sharp, 85 mm lens, vertical 4:5.Lo stesso comando, da riempire
Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.
A SURREAL PRODUCT PHOTOGRAPH, CLEAN AND PLAYFUL. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE OBJECT: a rectangular dusty-pink expanded-foam supermarket tray with a raised rim and rounded corners, standing upright and facing the camera, filling about 85% of the frame. Centred inside the tray is LIA's head, seen frontally from a slightly low angle, chin toward the bottom of the tray; a short section of neck disappears smoothly under the lower rim, the way a display head sits in its packaging. One layer of tightly stretched transparent food-grade cling film covers the whole front of the tray and her face: diagonal tension wrinkles, stretched highlights, tiny condensation droplets near the rim, and her face fully readable under the film with its shape intact. In the upper-right corner a slightly tilted white paper price label is stuck on top of the film: thin red border, bold black capitals «[TESTO PRINCIPALE]», smaller red text «[TESTO SECONDARIO]» beneath, then a black barcode with small digits. The label covers part of the hair and leaves both eyes, nose and mouth clear. Seamless charcoal-to-black studio background with a faint warm brown gradient. Key light from the upper left sculpting the face and skating glossy reflections across the film, a softer fill from the right, a contact shadow beneath the tray so it reads as a real object photographed upright. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, long wavy dark-brown hair pressed flat under the film, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with a faint half-smile. Photorealistic, sharp, 85 mm lens, vertical 4:5.Per usarlo su altro. Sostituisci le righe dell’etichetta. Per cambiare vaschetta, pellicola o posizione della testa, riscrivi i rispettivi blocchi. Non l’abbiamo provato.
/headshelf · Lo scaffale delle facce
Chiede una stanza con uno scaffale di sedici vani. In quasi tutti i vani c’è una testa di Matteo con la stessa faccia e ricci, ma espressioni diverse. Davanti c’è il suo corpo senza testa che ne tiene un’altra sul palmo.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 302 parole
La mossa che c’è dentro. La griglia è four columns by four rows of cubbies. Il corpo ha il vincolo the neck ends in a clean smooth surface just above the collar, like a shop mannequin.
Il prompt
A SURREAL EDITORIAL PHOTOGRAPH OF ONE MAN MULTIPLIED. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE SCENE: a bright minimalist room with warm off-white walls; a floor-to-ceiling pale natural-wood shelving unit, a precise grid of four columns by four rows of cubbies, fills the entire background. In almost every cubby sits ONE head of MATTEO, centred, resting on a clean smooth base like a display bust; every head has the same face and the same curls, and the only difference between them is the expression: one laughing with the mouth open, one frowning hard, one wide-eyed in surprise, one with eyes closed at rest, one sticking the tongue out, one squinting sceptically, one puffing the cheeks, one smiling softly, one looking up, one pouting a kiss, one grinning with the eyes squeezed shut, one shouting theatrically. In the foreground, from mid-thigh up, stands MATTEO's HEADLESS body in a fitted black crewneck sweater and dark-blue jeans: the neck ends in a clean smooth surface just above the collar, like a shop mannequin. His right arm is raised to the side and holds one more of his heads in the open palm by the jaw, turned toward the body with an amused half-smile, as if he were choosing which expression to wear today. Soft diffused daylight from the front left, gentle shadows inside the cubbies, the same skin tone on every head. Camera at chest height, straight on, slightly wide, the body left of centre, every head sharp. MATTEO, the man in the supplied reference photograph, his face unchanged on every head: 35 years old, dark curls, a full short beard, a square face, a strong straight nose, deep-set grey-blue eyes. Photorealistic, 35 mm lens, f/5.6, vertical 4:5.Lo stesso comando, da riempire
Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.
A SURREAL EDITORIAL PHOTOGRAPH OF ONE MAN MULTIPLIED. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE SCENE: a bright minimalist room with warm off-white walls; a floor-to-ceiling pale natural-wood shelving unit, a precise grid of [COLONNE] columns by [RIGHE] rows of cubbies, fills the entire background. In almost every cubby sits ONE head of MATTEO, centred, resting on a clean smooth base like a display bust; every head has the same face and the same curls, and the only difference between them is the expression: [ELENCO DELLE ESPRESSIONI], one with eyes closed at rest, one sticking the tongue out, one squinting sceptically, one puffing the cheeks, one smiling softly, one looking up, one pouting a kiss, one grinning with the eyes squeezed shut, one shouting theatrically. In the foreground, from mid-thigh up, stands MATTEO's HEADLESS body in a fitted black crewneck sweater and dark-blue jeans: the neck ends in a clean smooth surface just above the collar, like a shop mannequin. His right arm is raised to the side and holds one more of his heads in the open palm by the jaw, turned toward the body with an amused half-smile, as if he were choosing which expression to wear today. Soft diffused daylight from the front left, gentle shadows inside the cubbies, the same skin tone on every head. Camera at chest height, straight on, slightly wide, the body left of centre, every head sharp. MATTEO, the man in the supplied reference photograph, his face unchanged on every head: 35 years old, dark curls, a full short beard, a square face, a strong straight nose, deep-set grey-blue eyes. Photorealistic, 35 mm lens, f/5.6, vertical 4:5.Per usarlo su altro. Sostituisci soggetto, volto ed elenco delle espressioni. Se cambi vani o posa del corpo, riscrivi griglia e primo piano. Non l’abbiamo provato.
/headstool · Seduto sulla sua testa
Chiede una testa enorme di Matteo, tre volte a grandezza naturale, sul pavimento. Il corpo di Matteo, senza testa e di dimensioni normali, è seduto sopra, con una mano sul berretto e l’altra che punta a sinistra.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 273 parole
La mossa che c’è dentro. La proporzione è three times life size. Il contatto è the beret, which compresses slightly under his weight, with contact shadows where body meets head.
Il prompt
A SURREAL FASHION-CAMPAIGN PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE SCENE: a minimalist interior with warm light-beige walls, a polished medium-tone wooden floor and tall rectangular abstract wall panels in dusty rose, taupe, mauve and dark burgundy arranged behind. On the floor, lower centre, rests an ENORMOUS head of MATTEO, three times life size, upright, facing the camera with a calm expression and a faint smile, a soft grey knitted beret sitting on top of his curls and oversized clear-frame glasses on his nose. Sitting on top of the giant head as if it were a stool is MATTEO's HEADLESS body at normal size: the neck ends cleanly at the sweater collar, like a mannequin; both legs hang down on either side of the giant head with the knees relaxed; one arm points horizontally to the left with the index finger, the other hand rests on the beret, which compresses slightly under his weight, with contact shadows where body meets head. Wardrobe: an oversized sage-green crewneck sweater, beige tapered joggers, white crew socks, off-white retro sneakers. Soft daylight from a window beyond the left edge casting long geometric shadows across the wall and floor. Low camera near floor level, slightly wide, the giant head dominating the lower half of the frame. MATTEO, the man in the supplied reference photograph, his face unchanged on the giant head: 35 years old, dark curls under the beret, a full short beard, a square face, a strong straight nose, deep-set grey-blue eyes. Photorealistic, 35 mm lens, f/4, vertical 4:5.Lo stesso comando, da riempire
Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.
A SURREAL FASHION-CAMPAIGN PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE SCENE: a minimalist interior with warm light-beige walls, a polished medium-tone wooden floor and tall rectangular abstract wall panels in dusty rose, taupe, mauve and dark burgundy arranged behind. On the floor, lower centre, rests an ENORMOUS head of MATTEO, [SCALA DELLA TESTA], upright, facing the camera with a calm expression and a faint smile, a soft grey knitted beret sitting on top of his curls and oversized clear-frame glasses on his nose. Sitting on top of the giant head as if it were a stool is MATTEO's HEADLESS body at normal size: the neck ends cleanly at the sweater collar, like a mannequin; [POSA DEL CORPO SULLA TESTA] with the knees relaxed; one arm points horizontally to the left with the index finger, the other hand rests on the beret, which compresses slightly under his weight, with contact shadows where body meets head. Wardrobe: an oversized sage-green crewneck sweater, beige tapered joggers, white crew socks, off-white retro sneakers. Soft daylight from a window beyond the left edge casting long geometric shadows across the wall and floor. Low camera near floor level, slightly wide, the giant head dominating the lower half of the frame. MATTEO, the man in the supplied reference photograph, his face unchanged on the giant head: 35 years old, dark curls under the beret, a full short beard, a square face, a strong straight nose, deep-set grey-blue eyes. Photorealistic, 35 mm lens, f/4, vertical 4:5.Per usarlo su altro. Sostituisci soggetto, abiti e posa. Se cambia scala o punto di contatto, riscrivi anche quelle frasi. Non l’abbiamo provato.
/ramenhead · Ramen in testa
Chiede due versioni di Luca: una testa enorme sul tavolo, con una ciotola circolare di ramen sulla sommità; dietro, Luca a grandezza normale solleva i noodles con bacchette di legno.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 281 parole
⚠️ Le 2 immagini qui sopra vengono dallo stesso comando ma da due testi diversi, uno per soggetto: quello che pubblichiamo è il primo. Il secondo cambia l’oggetto e la scena, non l’impianto. Lo trovi in RACCOLTA_PROMPT.csv, colonna prompt_variante.
La mossa che c’è dentro. La ciotola è a perfectly circular bowl opening cut into the bald crown. Il vapore ha direzione: drifting to the right, away from both faces.
Il prompt
A SURREAL CINEMATIC PHOTOGRAPH OF TWO VERSIONS OF THE SAME MAN. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE SCENE, a desk at night. In the foreground, resting upright on a light-grey tabletop, is an ENORMOUS head of LUCA, about one and a half times life size, facing the camera with the eyes gently closed behind his glasses and a peaceful expression, a faint smile. The top of this head is a perfectly circular bowl opening cut into the bald crown, smooth and clean like glazed ceramic, filled to the brim with hot cooked ramen noodles; forehead, eyebrows, glasses, eyes, nose, lips and beard are all intact below the rim. Behind the table, chest up, stands LUCA at normal size in a fitted black long-sleeve top, looking down at the food, calm and focused, lifting a long tangled bundle of noodles out of the bowl-head with light-wood chopsticks held in one hand with a natural five-finger grip. Steam rises from the noodles in translucent wisps drifting to the right, away from both faces. A dark keyboard sits out of focus at the lower right. A dark minimalist interior in charcoal and blue-grey. Cool blue screen-like key light from the front right and a subtle warm fill on the skin so the natural skin tone holds. Shallow depth of field with both faces sharp, the giant head sharpest. LUCA, the man in the supplied reference photograph, his face unchanged on both heads: 40 years old, a completely bald shaved head, thick black rectangular glasses, a long full dark beard. Photorealistic, 50 mm lens, f/2.8, vertical 4:5.Lo stesso comando, da riempire
Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.
A SURREAL CINEMATIC PHOTOGRAPH OF TWO VERSIONS OF THE SAME MAN. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE SCENE, a desk at night. In the foreground, resting upright on a light-grey tabletop, is an ENORMOUS head of LUCA, about one and a half times life size, facing the camera with the eyes gently closed behind his glasses and a peaceful expression, a faint smile. The top of this head is a perfectly circular bowl opening cut into the bald crown, smooth and clean like glazed ceramic, filled to the brim with [CONTENUTO DELLA CIOTOLA]; forehead, eyebrows, glasses, eyes, nose, lips and beard are all intact below the rim. Behind the table, chest up, stands LUCA at normal size in a fitted black long-sleeve top, looking down at the food, calm and focused, [AZIONE SUL CONTENUTO CON LO STRUMENTO] held in one hand with a natural five-finger grip. Steam rises from the noodles in translucent wisps drifting to the right, away from both faces. A dark keyboard sits out of focus at the lower right. A dark minimalist interior in charcoal and blue-grey. Cool blue screen-like key light from the front right and a subtle warm fill on the skin so the natural skin tone holds. Shallow depth of field with both faces sharp, the giant head sharpest. LUCA, the man in the supplied reference photograph, his face unchanged on both heads: 40 years old, a completely bald shaved head, thick black rectangular glasses, a long full dark beard. Photorealistic, 50 mm lens, f/2.8, vertical 4:5.Per usarlo su altro. Sostituisci soggetto, contenuto della ciotola e azione[9] con le bacchette. Per un oggetto diverso, riscrivi il blocco della struttura. Non l’abbiamo provato.
/screwhead · Testa a vite
Chiede la testa svitata e sospesa sopra il collo, con fra le due parti uno spazio vuoto alto da quindici a venti centimetri. Sotto la testa c’è una filettatura maschio; nel collo una sede femmina che non la tocca.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 338 parole
⚠️ Le 2 immagini qui sopra vengono dallo stesso comando ma da due testi diversi, uno per soggetto: quello che pubblichiamo è il primo. Il secondo cambia l’oggetto e la scena, non l’impianto. Lo trovi in RACCOLTA_PROMPT.csv, colonna prompt_variante.
La mossa che c’è dentro. L’effetto dichiarato è THE ONE THING THIS PICTURE MUST SHOW. Il divieto che definisce lo spazio è The thread and the socket are NOT touching.
Il prompt
A SURREAL STUDIO PORTRAIT. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE IDEA, AND THE ONE THING THIS PICTURE MUST SHOW: her head is UNSCREWED and hovers in mid-air well above her neck, with a clear gap of empty pale-grey background between the two, about the height of a hand (15 to 20 centimetres). In that gap you see, from top to bottom: the underside of the floating head ending in a large polished silver male screw thread pointing straight down into empty air; then nothing but background; then the neck, which ends in a clean circular opening holding the matching polished silver female socket with concentric grooves, open and waiting. The thread and the socket are NOT touching: the space between them is what makes the image. HER HAIR: long wavy dark-brown hair, well past shoulder length, exactly as in the reference; it hangs from the floating head and falls BEHIND it, down the back, so that the thread under the chin and the gap in front stay fully in view; a few strands frame the face. FRAMING: from the upper torso up, centred, against a seamless pale cool-grey background, with generous empty space above the floating head. She wears a plain white ribbed sleeveless tank top. The transition from skin to metal is immaculate and seamless on both parts, designed like a fine product prototype. The floating head is turned slightly three-quarters, eyes looking up and away in thought; one hand is raised so the fingers rest on the forehead near the hairline, the other shoulder is loose. The floating head casts a soft shadow down onto the shoulders. Soft daylight-style studio light from the front left, neutral grading, accurate metallic reflections. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, straight strongly marked eyebrows, high cheekbones, full lips, and a faint half-smile even while she looks up. Photorealistic, 85 mm lens, f/4, vertical 4:5.Lo stesso comando, da riempire
Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.
A SURREAL STUDIO PORTRAIT. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. THE IDEA, AND THE ONE THING THIS PICTURE MUST SHOW: her head is UNSCREWED and hovers in mid-air well above her neck, with a clear gap of empty pale-grey background between the two, [ALTEZZA DELLO SPAZIO]. In that gap you see, from top to bottom: the underside of the floating head ending in [ELEMENTO SOTTO LA TESTA] pointing straight down into empty air; then nothing but background; then the neck, which ends in a clean circular opening holding the matching polished silver female socket with concentric grooves, open and waiting. The thread and the socket are NOT touching: the space between them is what makes the image. HER HAIR: long wavy dark-brown hair, well past shoulder length, exactly as in the reference; it hangs from the floating head and falls BEHIND it, down the back, so that the thread under the chin and the gap in front stay fully in view; a few strands frame the face. FRAMING: from the upper torso up, centred, against a seamless pale cool-grey background, with generous empty space above the floating head. She wears a plain white ribbed sleeveless tank top. The transition from skin to metal is immaculate and seamless on both parts, designed like a fine product prototype. The floating head is turned slightly three-quarters, eyes looking up and away in thought; one hand is raised so the fingers rest on the forehead near the hairline, the other shoulder is loose. The floating head casts a soft shadow down onto the shoulders. Soft daylight-style studio light from the front left, neutral grading, accurate metallic reflections. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, straight strongly marked eyebrows, high cheekbones, full lips, and a faint half-smile even while she looks up. Photorealistic, 85 mm lens, f/4, vertical 4:5.Per usarlo su altro. Sostituisci soggetto e descrizione di capelli o abiti. Per cambiare filettatura, sede o distanza, riscrivi struttura e spazio. Non l’abbiamo provato.
Le immagini di questa pagina sono generate con AI e riviste una per una. I personaggi che vi compaiono sono personaggi di Making of Magazine e non sono persone reali; Luca è reale. Il metodo con cui questi comandi sono scritti è spiegato in Come sono scritti questi prompt.
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L'unità minima del linguaggio cinematografico. Tecnicamente, è la porzione di spazio (fisico o virtuale) delimitata dai bordi dell'obiettivo della macchina da presa. Nel montaggio, corrisponde a una registrazione continua tra due stacchi (tagli).
(close-up) Un'inquadratura che isola un soggetto, tipicamente il volto di un personaggio (dalle spalle in su). È usata per enfatizzare i dettagli, le reazioni e le emozioni. È una delle inquadrature più potenti a livello narrativo per creare intimità e connessione emotiva con lo spettatore.
(polisti / beadboard) Pannello di polistirene espanso bianco. È uno strumento leggero ed economico usato sul set con una doppia funzione: come riflettore (per luce di rimbalzo), crea una luce diffusa e morbidissima; come diffusore (se la luce ci passa attraverso), crea un'ombra molto tenue.
(video reference) File video esportato dal montaggio "bloccato" (picture lock) utilizzato dal colorist e dal sound designer come guida visiva per verificare la corrispondenza dei tagli (conforming) e la sincronizzazione.
In AI generativa: Una reference è un’immagine data al sistema come riferimento visivo. Aiuta a orientare il risultato verso caratteristiche come luce, materia o atmosfera. Non impone da sola la posizione della camera o dei soggetti, che richiedono una condizione strutturale.
Il soggetto è un breve testo che riassume l'idea centrale e la trama di un film. Descrive in sintesi i personaggi, l'ambientazione, il conflitto principale e l'evoluzione della storia. Serve a presentare il nucleo narrativo a produttori e registi, fornendo la base da cui si svilupperanno successivamente il trattamento e la sceneggiatura definitiva.
