[공유] [유튜브] 무료 프롬프트 미쳤다... AI 영상 연기부터 카메라까지, 99%는 모르는 무료 프롬프트 사이트 3곳 공개

https://cafe.naver.com/wonkalab/1293?tc=shared_link

[유튜브] 무료 프롬프트 미쳤다... AI 영상 연기부터 카메라까지, 99%는 모르는 무료 프롬프트 사이

안녕하세요 원카입니다!🎩

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이번에는 연기와 카메라 그리고 모션 사이트들을 가져고 와봤습니다!

사실 이런 프롬프트는 때에 따라 적당하게 사용하면

아주 유용하게 사용할 수 있습니다!

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지금바로 요물단지 사이트 저장해 두시죠 ㅎㅎ

자 그럼 바로 프롬프트 공개해 보겠습니다 :)

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연기 https://seedance-emotion-direction.vercel.app

카메라 https://aicameramovements.com

모션 https://prompt-motion.com

1. 연기

AI 활용

https://seedance-emotion-direction.vercel.app/ 위 사이트의 모든 프롬프트를 가져와줘

여기 있는 표현들을 활용하도록 해서 제작을 해보고 싶어. 상황에 어울리는 장면들을 구성해줘. 현실적인 것도 좋고 시트콤 느낌도 좋고 공포도 좋고 다양한 장면을 연출해 보고 싶어. 단순히 연기만 담는 것이 아니라 전체 길이가 각 25초로 다양한 상황에서의 연기로 앞 뒤 맥락도 넣어줬으면 해.

2번 장면에서의 프롬프트를 다음과 같은 형식으로 해서 제작해줘. Only two people appear: the woman and her roommate. The woman matches the attached reference image exactly: a Korean woman in her twenties, oval face, shoulder-length black hair tied back with loose strands falling around her face, dark eyes, no makeup, wearing an oversized grey sweatshirt. Keep her face identical in every shot. She stays standing for the entire clip and never sits down. The roommate is a Korean man in his mid twenties, round face, short black hair flattened on one side, thick black round glasses, thin build, wearing a faded navy t-shirt and grey sweatpants. Keep his face, hair and clothing identical in every shot. He must not resemble the woman and must not share her features. He stays seated on the sofa with his back to the kitchen until the last shot. No other people appear anywhere in the clip. Duration: 25 seconds. Aspect ratio 16:9. Setting for the entire clip: a small shared apartment at night, the kitchen and living room in one open space. The refrigerator stands on the left with a magnetic notepad on its door. A low sofa faces a television on the right, its back turned toward the kitchen. The ceiling light is on and bright, and the window behind the sofa is black. No daylight. Style: photorealistic live-action contemporary sitcom, 35mm film grain, clean even indoor lighting, slightly brisk comedic timing with one beat of silence before each reaction. Sequence: Shot 1 (0-5s): 50mm medium from inside the refrigerator looking out, cold light on her face. She opens the door and reaches toward the middle shelf. The shelf is empty except for a clean sticky ring on the glass where a cup used to sit. Her hand stops in mid-air. Shot 2 (5-10s): 85mm close-up of her face, frontal, cold fridge light from below. Her eyebrows become asymmetric, one raised and one lowered. Her eyes search rapidly, her head tilts sharply, and her mouth hangs slightly open. The puzzled expression deepens instead of resolving. Shot 3 (10-16s): 50mm over her shoulder, still holding the fridge door open, the roommate small in the background watching television with his back to her. She turns her head toward him. Her chin drops while her eyes stay lifted. One eyebrow rises higher, her head turns slightly so her gaze lands sideways, and her mouth tightens at one corner. The stare holds without blinking. She speaks. Shot 4 (16-20s): 50mm medium on the roommate, the same man in the round glasses. He turns around on the sofa with an empty pudding cup in one hand and a smear of pudding at the corner of his mouth, blinks once behind his glasses, and slowly lowers the cup out of frame as if hiding it. Shot 5 (20-25s): 35mm low angle on the woman, handheld, the roommate visible behind her on the sofa. She slams the refrigerator door shut and takes one step forward. Her eyebrows slam down and inward, her upper lip peels back from her teeth, her nostrils flare, her neck tendons tighten, and her head pushes forward. The snarl holds as hard breaths move through her nose. She speaks, and he shrinks back into the sofa cushions. Dialogue (spoken with a pause before each line): 13-15s, the woman, a Korean female voice in her twenties, low and flat: "...너지?" 17-19s, the roommate, a Korean male voice in his twenties, muffled with his mouth full: "아니야." 21-24s, the woman, a Korean female voice in her twenties, loud and sharp: "그거 내 거였어!" Audio: No music. Only these real natural sounds: the refrigerator door seal opening and the compressor hum, television chatter at low volume, the plastic cup creaking in his hand, the refrigerator door slamming shut, her hard breathing through the nose, the sofa cushions compressing. No whooshes, hits, drones, stingers, magical or transition sounds. No subtitles. No text.

AI 활용

합격 소식 장면

Only one person appears: the woman. The woman is the connected reference: face exactly as in the reference image, a Korean woman in her twenties, shoulder-length black hair tied back with loose strands falling around her face, no makeup, wearing an oversized grey sweatshirt. Duration: 25 seconds. Aspect ratio 16:9. Setting for the entire clip: a small one-room apartment, deep in the night. A desk against the wall holds an open laptop, a half-finished cup of coffee on the left, a phone lying face-down on the right, and a stack of printed papers behind the laptop. The laptop screen is the only light source in the room. The bed and the rest of the room stay dark in the background. Style: photorealistic live-action contemporary drama, 35mm film grain, shallow depth of field, low-key lighting with cool screen light on her face. Unhurried pacing, long pauses, no cuts to other locations. No daylight. Sequence: Shot 1 (0-6s): 50mm medium, frontal at eye level, slowly pushing in. She sits at the desk staring at the laptop, which shows a waiting message. Her eyebrows stay knitted, her eyes flick rapidly from side to side, her lower lip pulls between her teeth, and her breathing stays shallow and quick. Her hands grip together as her weight keeps shifting in the chair. Shot 2 (6-10s): 85mm close-up of her hand on the trackpad, the screen reflected in the dark window behind. She clicks refresh. The same waiting message reloads. Her hand stays on the trackpad without lifting. Shot 3 (10-16s): 50mm close-up of her face, slightly below eye level, drifting in. The page finally loads and the screen brightens on her face. Her blank thinking expression breaks as her eyes widen, her eyebrows jump, her lips part on a silent breath, and her focus snaps back. A slow nod follows while the stunned look holds. One hand rises and covers her mouth. Shot 4 (16-22s): 35mm medium, eye level. She pushes back from the desk and drops against the chair, arms falling to her sides. A large visible exhale empties her chest, her eyes close, her raised eyebrows drop to neutral, and her shoulders collapse downward. One hand rises to her forehead and stays there. A small, shaky smile appears only after the breath finishes, and she speaks. Shot 5 (22-25s): 35mm wide from behind the chair, the lit laptop in front of her and the dark room around. She stays slumped in the chair, one hand still on her forehead, and does not move again. Dialogue (spoken quietly, almost under her breath): 21-23s, the woman, a Korean female voice in her twenties, hoarse and exhaling: "...됐다." Audio: No music. Only these real natural sounds: the laptop fan, a single trackpad click, the chair creaking as she leans back, her shallow breathing and one long exhale, faint traffic far outside the window. No whooshes, hits, drones, stingers, magical or transition sounds. No subtitles. No text.

고양이 시트콤 장면

Only one person appears: the woman. One animal appears: her cat. No other people or animals appear anywhere in the clip. The woman matches the attached reference image exactly: a Korean woman in her twenties, oval face, shoulder-length black hair tied back with loose strands falling around her face, dark eyes, no makeup. The reference image governs her face and hair only. For wardrobe she wears a mustard-yellow knit cardigan, sleeves pushed to the elbows, over a plain white crew-neck t-shirt, with high-waisted blue jeans and white socks, no shoes. Keep her face and her clothing identical in every shot. She stays standing for the entire clip and never sits down. The cat is a chubby black cat with short glossy fur, a round face, bright yellow-green eyes, and one slightly notched left ear. Keep its appearance identical in every shot. The cat moves and behaves like a person: it sits upright, gestures with its front paws, holds objects, stands on its hind legs, makes human facial expressions, and speaks Korean. Its voice is that of a Korean man in his fifties, low, relaxed and unhurried, the voice of someone who is completely comfortable. Its mouth moves as it speaks. It is never cute and never apologetic. Use the attached animated reference video for the cat in the clapping shot: match that upright standing posture on its hind legs, the rhythm of the clapping front paws, the wide open-mouthed grin with the teeth showing, the paw raised to cover its mouth, and the paw extended outward. Keep the cat's own black fur and yellow-green eyes. Duration: 27 seconds. Aspect ratio 16:9. Setting for the entire clip: a small studio apartment at night, the kitchen counter and living room in one open space. The refrigerator stands on the left. A narrow kitchen counter runs along the back wall with a dish rack and a small plant on it. A low sofa and a television are on the right. The ceiling light is on and bright, and the window behind the sofa is black. No daylight. Style: photorealistic live-action multi-camera sitcom, 35mm film grain, clean even indoor lighting, brisk comedic timing with one beat of silence before each reaction and before each laugh. Sequence: Shot 1 (0-5s): 50mm medium from inside the refrigerator looking out, cold light on her face. She opens the door and reaches toward the middle shelf. The shelf is empty except for a pudding cup lying on its side with the foil lid peeled back, and a clean ring of condensation where it used to stand. Her hand stops in mid-air. Shot 2 (5-9s): 85mm close-up of her face, frontal, cold fridge light from below. Her eyebrows become asymmetric, one raised and one lowered. Her eyes search rapidly, her head tilts sharply, and her mouth hangs slightly open. The puzzled expression deepens instead of resolving. Shot 3 (9-13.5s): 50mm over her shoulder, still holding the fridge door open. On the counter behind her the black cat sits upright against the wall like a person, holding an empty pudding cup in one front paw and a small spoon in the other, pudding smeared on its chin. It stops mid-bite and turns its head toward her. She turns her head toward it. Her chin drops while her eyes stay lifted. One eyebrow rises higher, her head turns slightly so her gaze lands sideways, and her mouth tightens at one corner. The stare holds without blinking. She speaks. Shot 4 (13.5-18s): 50mm medium on the cat on the counter, shot at its eye level, its black fur bright against the dark window behind it. Still holding the cup and the spoon, it looks straight at her and speaks flatly without stopping chewing. Then it sets the spoon down, gives one slow deliberate blink, extends one front paw, and pushes the empty cup slowly toward the edge of the counter until it tips over and falls to the floor, keeping eye contact with her the entire time. Shot 5 (18-21s): 35mm low angle on the woman, handheld, the cat visible behind her on the counter. She shuts the refrigerator door and looks down at the cup on the floor, then back up at the cat. Her eyes clamp shut, her jaw slides from side to side, a sharp breath pushes through her nose, and her head shakes once. Her head tips back as one long defeated breath leaves the tension in her face. She speaks. Shot 6 (21-25s): 50mm medium on the cat, camera slightly above it looking down, the woman out of frame. The cat rises onto its hind legs and stands upright and steady. It claps its two front paws together in front of its chest three times in slow applause, its mouth open in a wide human grin with the teeth showing as it looks up into the camera. It brings one front paw up to cover its mouth as if stifling a laugh, shoulders shaking, then lowers that paw and extends the other front paw straight out toward her at chest height, offering a handshake, and holds it there without dropping it. It speaks with the paw still held out, savouring the taste, and licks the last of the pudding from the corner of its mouth as it finishes the line. Shot 7 (25-27s): The camera

도어락 공포

Only one person is clearly visible: the woman. One man appears, but only as a dark indistinct figure seen through the door's peephole. His face is never visible, he is never lit, he never enters, and he is never shown in the room. The woman matches the attached reference image exactly: a Korean woman in her twenties, oval face, shoulder-length black hair tied back loosely with strands falling around her face, dark eyes, no makeup. The reference image governs her face and hair only. For wardrobe she wears a dark navy zip-up hoodie over a grey t-shirt, black leggings, and white socks. Keep her face and her clothing identical in every shot. The man in the peephole shot is a tall Korean man in a black jacket with the hood up and his head lowered, standing still in the corridor. He stays out of focus and unreadable. Duration: 27 seconds. Aspect ratio 16:9. Setting for the entire clip: an old corridor-type apartment on moving-in night. The living room is bare, stacked with sealed cardboard boxes, no curtains on the window, the ceiling light fixture not yet installed. A single floor lamp standing on the vinyl floor is the only light in the room, and the window is black. A short entry hall leads to a steel front door with a digital keypad lock and a small brass peephole. A motion sensor light is mounted on the ceiling of the entry hall, off at the start. An open toolbox sits on top of one of the boxes with a claw hammer resting in it. Style: photorealistic live-action contemporary horror film, 35mm film grain, low-key lighting with deep crushed shadows and hard top light, no fill light. Composition follows horror film grammar: the subject pushed to one edge of the frame with a large area of empty darkness held beside her, low wide angles that let the door loom over her, locked-off frames held a beat too long, and slow creeping dolly moves instead of cuts. Never center her comfortably and never light the dark side of the frame. Sequence: Shot 1 (0-4.5s): 24mm wide, locked off, camera low on the floor behind a stack of boxes so their black edges cut into the bottom and left of the frame. She kneels small in the right third, lit only by the floor lamp, pulling packing tape loose. The left half of the frame is the mouth of the dark entry hall, empty and in focus, held without movement. The keypad beeps four tones from that darkness. Her hands stop. She lifts her head and turns it slowly toward the hall. The camera does not move at all. Shot 2 (4.5-8s): 85mm close-up, her face pushed to the right edge of frame in three-quarter profile, warm lamp light on one cheek and the other side falling to black. Behind her left shoulder the empty dark hallway sits soft and out of focus, occupying the rest of the frame. Her chin drops while her eyes stay lifted. One eyebrow rises higher, her head turns slightly so her gaze lands sideways, and her mouth tightens at one corner. The stare holds without blinking. Shot 3 (8-15s): 24mm low angle from the floor of the entry hall at the base of the door, the steel door filling the upper half of the frame and looming toward camera. She enters from the back of the shot, small in the distance, rising with the claw hammer held low against her thigh, and walks toward the lens. The moment she crosses into the hall the ceiling sensor light snaps on directly above her, a hard top light that drops black shadows under her brows and throws her shadow long across the floor toward camera. She freezes mid-step, exposed, her eyes going up to the light and back to the door. The keypad immediately beeps four more tones and ends in a long error buzz. The camera creeps forward slowly the whole time. She steps up to the door, now towering over the lens, and speaks toward it. Then her jaw sets, she plants her free hand flat on the steel door, and speaks again, louder and harder. After she finishes, the beeping stops completely. Shot 4 (15-17s): 100mm macro, locked off, the small brass peephole dead center on a black field of brushed steel, everything else out of focus. A pinpoint of corridor light glows through the lens. The light dims for a moment as something outside moves close to it, then returns. Her eye enters from the left edge in silhouette, unlit, and comes slowly toward the glass until it fills the left half of the frame. Shot 5 (17-20.5s): Point of view through the peephole, circular fisheye distortion, heavy black vignette eating three quarters of the frame. The man stands dead center in the small circle, perfectly symmetrical, head lowered, out of focus and featureless, not moving at all. The corridor sensor light clicks off and the circle goes almost completely dark with only his outline left. The frame holds on that darkness a beat too long. Shot 6 (20.5-23s): 100mm extreme close-up, handheld with small unsteady drift, her eye and the bridge of her nose filling the right side of the frame, the left side pure black. The entry hall sensor light times out and clicks off, leaving only the weak warm

2. 카메라

AI 활용

이번에는 해당 사이트에서 카메라 연출법 프롬프트를 가져와줘. https://aicameramovements.com/

트래킹 샷으로 한 번 복잡한 미공군 베이스에서 여성 주인공 캐릭터(썬글라스 착용)가 소령 방문으로 부하 지휘관과 함께 베이스를 둘러보면서 병사들 사이를 지나가면서 지휘관에게 보고를 받는 모습으로 제작을 할거야. 총 25초 정도의 영상 프롬프트를 제시해줘. 각 군인별로 지위에 맞는 적합한 복장으로.

공군기지 트래킹 샷

Two people are in the foreground: the woman and the officer escorting her. Background personnel are extras and never block the two main figures. No real-world country, service branch, flag, emblem or unit is identified anywhere in the clip, and all tapes and patches on the uniforms are plain and blank with no legible text. The woman matches the attached reference image exactly: a Korean woman in her twenties, oval face, dark eyes, no makeup. The reference image governs her face only. She is the senior officer present on a military air base: her black hair is pulled into a regulation low bun under a matching camouflage patrol cap, and she wears a camouflage combat uniform with the sleeves rolled, a tan undershirt at the collar, blank chest tapes, a single small embroidered leaf insignia centered on her chest marking her senior rank, a tan web belt and coyote brown boots. She wears dark non-mirrored aviator sunglasses for the entire clip and never removes them except where described. Keep her face and uniform identical for the whole take. The escorting officer is a man in his early thirties, lean, clean-shaven, in the same camouflage uniform and patrol cap, with a small embroidered double bar insignia centered on his chest marking a rank clearly below hers. He carries a tablet in one hand and walks half a step behind her right shoulder, turning toward her as he reports. Background personnel, all clearly junior to them and never saluted by the two first: ground crew in camouflage uniforms with reflective vests and ear protection working around a parked fighter aircraft; two unarmed base security personnel in camouflage with dark blue berets standing at a checkpoint; a pilot in an olive green flight suit walking the opposite way; and a short file of junior personnel in camouflage carrying equipment boxes. Duration: 25 seconds. Aspect ratio 16:9. Setting for the entire clip: a large active military air base flight line at midday, concrete apron with painted yellow guide lines, a fighter aircraft parked under an open sunshade hangar with maintenance stands around it, a tow tractor and equipment carts, fuel trucks in the distance, radio antennas and a control tower on the horizon. Strong direct sunlight, heat haze rising off the concrete, no clouds. Style: photorealistic live-action military drama, 35mm film grain, natural harsh midday light with deep real shadows, documentary realism, no stylisation. Camera: one continuous take with no cuts. 0-9s, reverse tracking shot. Movement: move backward in front of the walking subjects. Speed: match their forward pace. Framing: keep front-facing face and body framing stable as the flight line moves behind them. End: hold a clear front-facing moving composition. 9-17s, arc right into side tracking shot. Movement: swing on a shallow curved path around to their side, then move parallel beside them along their direction of travel. Speed: match the subjects' motion. Framing: keep both figures in three-quarter and then side profile at a stable distance while the parked aircraft and working ground crew slide through the background. End: continue the parallel movement with clear horizontal motion. 17-25s, settle into a handheld shot. Movement: come to a stop as they stop, holding the camera at human operator height with natural body movement. Speed: responsive and organic. Framing: keep both subjects readable with subtle sway and micro-adjustments. End: finish with a natural handheld composition. Action: 0-9s: The two walk out of the shade of the hangar into full sunlight, straight toward the camera. She walks with an even unhurried stride, hands free, chin level. The escorting officer stays half a step behind her right shoulder, glancing between his tablet and her face as he reports. Behind them ground crew work on the aircraft and a tow tractor crosses the frame. At 7s two junior personnel carrying an equipment box come the other way, see her, shift the box to one side, and salute. She returns the salute with one clean economical motion of her right hand to the brim of her cap and drops it without breaking stride. They hold their salute until she has passed. 9-17s: They pass a short file of junior personnel who stop, come to attention and salute together. She returns it once for the group, a single relaxed motion, and keeps walking while the officer continues his report without pausing. The camera arcs to their side as they turn past the equipment carts. The noise of a jet engine spooling up rises and he raises his voice to be heard. Keep the saluting hands and both faces inside the frame during each salute, never cropped. 17-25s: They stop at the edge of the sunshade hangar. He gestures toward an aircraft being towed in the distance. She turns her head toward it, pulls her sunglasses down with one finger, and looks over the top of them at the aircraft while he answers. She gives a single short nod, pushes the sunglasses back up, and the camera holds on the two of them agains

3. 모션

이번에는 해당 느낌으로 진행을 해줘봐. <inputs> Ask me for: 8 to 12 UI states I want the shape to become (e.g. button, loader, player, slider, toggle, tabs, chart, command palette, toast), pure black and white or one accent color, and a royalty-free song around 120 BPM (e.g. Mixkit, free for commercial use). </inputs> <direction> Dribbble-level UI motion. One shape, never cut: every state is the same element morphing its size, radius and color while its content swaps with a short blur. A cursor drives every change with real clicks and drags. Light warm-gray canvas, black and white components, one clean UI font (Geist). Springs everywhere, a tiny overshoot at most. The camera zooms so each state fills the frame. The last frame is the first frame, so it loops. Banned: bouncy easing, particle bursts, glows, gradients on UI chrome, mismatched icon strokes, dead time, anything that looks like a template. </direction> <structure> 120 BPM, 7 bars, something happens on every beat. Button → loader → check → dynamic island → music player with a play/pause morph → scrub the progress bar → it becomes a volume slider that stretches when dragged past max → a toggle flips on the beat → the knob becomes a liquid tab indicator → the tabs open into a chart that draws itself, with a tooltip on hover → it collapses into ⌘K → type to filter → enter → toast → back to the button. </structure> <build> 1. One HTML file, square 1440x1440. Every style is computed from time inside seek(t): no CSS transitions, no timers, no state carried between frames. 2. Springs are closed-form step responses. A value that changes target many times is the sum of one spring per change, so it stays a pure function of time. 3. The tab indicator's two edges ride different springs, so the leading edge stretches ahead of the trailing one. Same trick for the toggle knob. 4. Drags are direct manipulation: while the cursor is held, the value is computed from its position. On release it springs back from wherever it was. 5. Analyze the song with numpy for the beat grid and start on a downbeat. Place every UI sound by its measured peak. 6. Render with Playwright: 4 subframes per frame, blended with ffmpeg tmix for motion blur at 60fps. 7. Render one frame per beat before the full render. Fix anything off the grid, cramped or hard to read. </build> <gotchas> Never put will-change on anything the camera scales or the text renders blurry. Text that swaps inside a morphing container needs its own enter and exit timing or it overlaps. Make the last frame identical to the first, cursor position and speed included, or the loop stutters. </gotchas> <start> Ask me for the inputs, then show me the state list on the beat grid before you write any code. </start>

UI를 조금더 하이엔드 느낌으로 느껴질 수 있도록 글래스 모피즘 버전으로도 하나 만들어 줄 수 있나?

도움이 되셨다면?

하트 한 번 눌러주세요 ㅎㅎ

(제작 동기에 있어 큰 도움이 됩니다 ㅋㅋㅋㅋ)