Как экономить кредиты на генерации видео в ИИ

This is an outfit-change edit of the attached character reference sheet, used for consistent character design. Keep the exact same three-panel layout, framing, crop and wide 16:9 format as the reference: panel 1 on the left is a head-and-shoulders close-up, panel 2 in the middle is a full-body front view with the head area left empty and dark exactly as in the reference, panel 3 on the right is a full-body back view. Change ONLY the clothing, identically in every panel: - Shirt: a red and black buffalo-check flannel shirt with long sleeves, buttoned up, cuffs buttoned at the wrists, worn untucked, soft brushed cotton texture with natural folds and creases. In the close-up the pointed shirt collar and the top buttons are clearly visible. - Cap: a muted olive-green, swamp-green baseball cap with a curved brim, plain fabric with no logo or text. In panel 1 and panel 3 it sits naturally on his head, facing forward; in the back view the cap's rear strap is visible. His blonde hair stays the same colour and length, visible below the cap at the sides and back. Panel 2 stays headless, so no cap appears there. - Trousers: mid-blue straight-leg denim jeans, classic five-pocket cut, visible stitching, slight natural stacking at the hem over the boots. - Shoes: classic wheat-yellow nubuck lace-up work boots, ankle height, padded collar, chunky rubber lug sole, tan laces, no visible brand logo. Preserve exactly: his face, facial features, eye colour, skin tone and texture, expression, hairstyle and hair colour, body proportions, height, pose, arm and hand positions, the dark grey studio background, the soft even studio lighting and shadows, the camera angles and the photorealistic photographic style. The new clothes must fit his body realistically and match the existing lighting. Do not redesign the character, do not change his pose, do not add accessories, text, logos, watermarks or any extra elements.

A photorealistic cinematic film still of the empty interior of a classic American roadside diner at midday, meant as an establishing shot for a short film. Wide horizontal 16:9 composition. Scene: a long chrome-edged counter with red vinyl swivel stools runs diagonally from the left foreground into the depth of the frame. Along the right wall is a row of booths with cracked teal vinyl seats and Formica tables holding ketchup and mustard bottles, napkin dispensers, sugar pourers and a couple of abandoned coffee mugs. Black-and-white checkered linoleum floor, slightly scuffed. Behind the counter: a stainless steel coffee machine with a full glass coffee pot, a glass pie display case with a cherry pie, a pass-through window to the kitchen with order tickets clipped above it. Large windows along the right wall look out onto a sunlit parking lot with a dusty pickup truck and an empty two-lane road. Light: bright midday sun streams through the windows from the right, casting hard rectangular light patches and sharp window-frame shadows across the tables and floor. Fine dust visible in the sunbeams. Warm highlights on chrome and Formica, cooler fill in the shaded interior. Quiet, still atmosphere. Camera and look: shot at eye level from the end of the counter with a 35mm lens, shallow depth of field with the foreground stools crisp and the far booths softly out of focus. Anamorphic cinematic feel, subtle film grain, natural colour with slightly warm highlights and gentle teal shadows, no heavy colour grading. Real wear and texture everywhere: fingerprints on chrome, worn edges on vinyl, scratches on tabletops. Constraints: no people or human figures anywhere, including outside the windows and in the kitchen window; no readable text, signs, menus or logos; no watermark; no letterbox black bars.

A cinematic 10-second sequence in three shots, 16:9, photorealistic film look with subtle grain and shallow depth of field. The scene is set inside the empty diner @image2 at midday, keeping its red stools, chrome counter, teal booths, checkered floor and hard sunlight from the windows exactly as in the reference. @image1 keeps his exact appearance in every shot: same face as in the close-up panel of his reference, blonde hair, olive-green cap, red and black buffalo-check flannel shirt, blue jeans and wheat-yellow work boots. Shot 1 (0–3 s): Close-up of a small brass bell hanging on a curved bracket above the glass entrance door of @image2. The door swings open quickly, the bell jolts and rings, swaying back and forth. A wash of bright daylight and the long shadow of a person spill across the checkered floor as someone steps inside. Static camera with a slight tilt down following the motion of the door. Shot 2 (3–6.5 s): Handheld tracking shot from behind. @image1 walks unhurriedly down the aisle of @image2 between the counter with red stools on the left and the teal booths on the right, toward the far end of the diner. The camera follows him at shoulder height with natural handheld sway, then makes a gentle pan to the left as he turns toward the counter. Sunlight from the windows slides across his flannel shirt as he passes through the light patches. Shot 3 (6.5–10 s): Medium shot from behind the counter of @image2, low angle at counter height, the coffee machine and pie display softly out of focus in the foreground edge. @image1 pulls out a red stool, sits down on it and rests his forearms on the chrome counter, glancing around the empty diner. Slow, subtle push-in toward him. Warm window light from the right, cooler shade behind him. Audio: the bright jingle of the door bell, the door creaking shut, footsteps of heavy boots on linoleum, the squeak of the stool, quiet diner ambience with a humming refrigerator. No music, no dialogue. No other people in the diner, no on-screen text, no logos, @image1's outfit and @image2's interior stay exactly the same across all shots.