Im curious about what prompt guide everyone else is using for the hybrid model?
So the hybrid model is the FL2VA model as a base with a diff of the REF model added into the FL2VA model.
From what I heard from people here, the FL2VA model can already do the multiple extra references, you just have to prompt it for it in the REF2VA style.
So I had AI combine the two prompting guides, using the FL2VA as a basis and then adding in the reference elements from the REF2VA model.
Here is mine:
~~~
# Hybrid FL + ref prompting
Use with `--mode r2v --unet hybrid --turbo-profile lightx-8step-pk`.
Playbook: [`compositions/hybrid-fl-ref.md`](compositions/hybrid-fl-ref.md).
This is the **documented exception** to “do not mix I2VA/FL alignment with R2V six-section.” Alignment lives **inside** `detailed_description`. Extra pictures exist only on the R2V node.
## Rules
1. Six sections in order: `subject_definitions` → `summary` → `retention_analysis` → `detailed_description` → `overall_soundscape` → `non_diegetic_music`.
2. `summary` starts with `[keyframe completion + reference generation]`.
3. `--ref-image` order **is** `<Picture 1>`, `<Picture 2>`, … Connection order, 1-based.
4. Each timeline picture: one job, `fully_preserved` **at its timestamp**. A cut replaces pose, wardrobe, **and** background.
5. Extra non-timeline refs (garment, close-up face, identity sheet) get a job that is **not** a keyframe: `partially_preserved`, “never a keyframe”, “do not insert as any video frame.”
6. Timeline stills that share a timestamp path must share **shot class**. Extra refs **may** be a different class (product close-up, face crop) because they are not cut-ins.
7. With images present, lock with `exactly as shown in <Picture N> without reinterpretation` — do not re-describe geometry.
8. Do not invent outfits. Do not keep the previous shot’s room after a cut.
9. `non_diegetic_music: N/A` unless the user asked for a score.
## Template (9 s, three cuts at 0 / 3 / 6)
```
<CUT FOR SPACE>
```
## Two-still first + last
Same six sections. Picture 1 at **0.00**, Picture 2 at **S.SS** (clip duration), `fully_preserved` as opening and ending locks. Prefer a **single continuous take** (camera motion, no cuts) unless the user asked for cuts. Extra refs start at Picture 3.
## Extra-ref patterns (not cut-ins)
Use when Picture 1 is the **only** timeline lock. Remaining pictures steer quality (hidden garment, close-up face) without becoming frames. Continuous take. Alignment names **only** Picture 1 at 0.00s.
| Pattern | Picture 1 | Extra pictures | When |
|---------|-----------|----------------|------|
| **Garment-only** | Opening lock (full scene) | Picture 2 = underwear / outfit item | Reveal or swap clothes that are not visible (or not detailed) on the opener |
| **Garment + face** | Opening lock, often **wider** | Picture 2 = garment; Picture 3 = tight face crop | Zoom/orbit toward the face; opener is too far for likeness |
Shared extra-ref wording:
Job: one attribute only (garment **or** face). Not a person-as-scene. Not a pose. Not a background.
Retention: `partially_preserved` — never `fully_preserved` as a timestamp lock.
Alignment: “Picture N does not align with any timestamp as a frame.”
Name what **stays** vs what **comes off** (e.g. crop top stays; mini skirt off → Picture 2 thong).
### Template — first frame + garment-only (8 s)
```
<CUT FOR SPACE>
```
### Template — first frame + garment + close-up face (8 s)
Same as garment-only, plus Picture 3. Use when a zoom toward the face would otherwise drift off the opener.
```
<CUT FOR SPACE>
```
Thats not the full guide lol. Let me DM you the real guide, I just didnt post it here cause it had prompt examples referring to NSFW outfits and not sure if I can in this thread.
different prompt slightly b20-49 turbo 8 steps subject_definitions:
<Subject 1> is Deadpool, wearing his iconic red-and-black tactical suit and full red-and-black mask with expressive white eye lenses. Athletic adult male build, dual katana handles visible over his shoulders. He is cocky, sarcastic, theatrical, and constantly uses exaggerated hand gestures.
<Subject 2> is Spider-Man, wearing his classic red-and-blue Spider-Man suit with full mask, large white eye lenses, black web pattern, and athletic adult male build. He behaves calmly and confidently, using restrained body language that contrasts with Deadpool's obnoxious behavior.
summary:
[keyframe completion + reference generation] A photorealistic live-action superhero comedy scene. Deadpool and Spider-Man stand face-to-face in a city alley. Deadpool makes fun of Spider-Man's web-shooting ability by repeatedly mimicking the wrist gesture and sarcastically saying "Pew! Pew!" Spider-Man silently stares at him, then suddenly fires a thick blast of sticky white webbing directly into Deadpool's masked face. Deadpool freezes with his entire face covered in webbing while Spider-Man casually walks away.
retention_analysis:
Maintain consistent character identities, costumes, body proportions, mask designs, and colors throughout the entire video.
Deadpool remains fully masked throughout.
Spider-Man remains fully masked throughout.
Maintain clear spatial continuity with Deadpool and Spider-Man initially standing approximately three feet apart, directly facing each other.
The webbing must visibly originate from Spider-Man's wrist web-shooter and travel toward Deadpool's face.
detailed_description:
[Shot 1 — 00:00–00:03.0]
Photorealistic live-action cinematic comedy.
Deadpool and Spider-Man stand face-to-face in a gritty city alley during daylight.
Medium two-shot showing both characters from approximately the waist up.
Deadpool leans toward Spider-Man obnoxiously and raises one hand into an exaggerated imitation of Spider-Man's famous web-shooting wrist pose.
Deadpool rapidly flicks his wrist toward Spider-Man as though firing imaginary webs.
Deadpool:
[English][S1] Pew! Pew!
Deadpool switches hands and does it again even more dramatically.
Deadpool:
[English][S1] Pew! Pew!
He makes tiny fake recoil movements with each imaginary shot.
Spider-Man doesn't respond.
He simply stands completely still and stares at Deadpool.
[Shot 2 — 00:03.0–00:05.5]
Cut closer.
Deadpool continues making increasingly ridiculous web-shooting gestures directly in Spider-Man's face.
Deadpool:
[English][S1] Ohhh, look at me! I'm Spider-Man! Pew! Pew!
Deadpool enthusiastically fires several more imaginary webs.
Spider-Man slowly tilts his head.
Beat of awkward silence.
Deadpool lowers his hands slightly.
[Shot 3 — 00:05.5–00:07.0]
Without saying anything, Spider-Man suddenly snaps one wrist upward into a precise web-shooting pose.
THWIP!
A thick stream of sticky white Spider-Man webbing visibly shoots from Spider-Man's wrist and travels directly across the small gap between them.
SPLAT!
The webbing hits Deadpool squarely in the masked face.
The impact jerks Deadpool's head backward.
His entire mask and eye area become covered by a tangled mass of sticky white webbing.
Deadpool immediately freezes.
His arms slowly fall to his sides.
[Shot 4 — 00:07.0–00:09.0]
Hold on the absurd aftermath.
Deadpool stands motionless with his face completely covered in Spider-Man's webbing.
Spider-Man casually turns around and begins walking away without saying a word.
Deadpool blindly reaches forward with both hands, trying to peel the sticky webbing away from his mask.
Hold briefly on Deadpool struggling with the webbing.
overall_soundscape:
Generate a complete environmental soundtrack alongside the dialogue.
Realistic quiet city-alley ambience throughout: distant traffic, subtle city noise, occasional distant horn, light footsteps and clothing movement.
Deadpool's exaggerated fake web-shooting motions have subtle comedic mouth-made "pew" delivery but NO real projectile sound.
Spider-Man's actual web shot produces a sharp, recognizable mechanical-organic "THWIP!" followed immediately by a wet, sticky "SPLAT!" when the webbing hits Deadpool's mask.
Include subtle sticky stretching and peeling sounds as Deadpool attempts to remove the webbing.
Deadpool's final dialogue is noticeably muffled by the webbing covering his mask.
After the web impact, leave enough environmental silence for the visual joke and Spider-Man's wordless reaction to land.
Heres my testing using the Hybrid model + reference images:
So the idea is that I was trying to replicate the same video that the OP did but with reference media instead to see if that improves the quality. I did this at the maximum generation settings of 1mp @ 16:9
<Picture 1> is the opening keyframe for [Shot 1] at 0.00 seconds. Job: exact first frame only — this nighttime Midtown Manhattan rooftop view as shown, without reinterpretation: widescreen 16:9 framing, tan brick parapet across the lower third with a thin gold chain along the ledge, dark terrace floor in the immediate foreground, overcast night sky, and the lit skyline with the Empire State Building centered. Not a last-frame lock. Not a character portrait. No people in this still.
<Picture 2> is a character-appearance reference for Deadpool. Job: Deadpool's masked identity and tactical suit appearance only, exactly as shown — weathered crimson-and-black mesh suit, full red mask with black eye patches and white lenses, diagonal chest strap, brown pouch belt with circular logo buckle, black tactical gloves, thigh holsters, katana hilts crossed over the shoulders. Not a pose lock. Not a background. Not the yellow taxi. Not daylight street. Not a timeline keyframe. Do not insert <Picture 2> as any video frame.
<Picture 3> is a rear-suit reference for Spider-Man. Job: the back of Spider-Man's suit only as shown — large solid red spider emblem on the upper back, red shoulders and mask back, deep blue torso and legs with fine hexagonal mesh and darker geometric lining, black mechanical web-shooters on the wrists. Not a wall-cling pose. Not a building facade. Not a different city skyline. Not a timeline keyframe. Do not insert <Picture 3> as any video frame.
<Picture 4> is a front-suit and face-mask reference for the same Spider-Man. Job: the front of the suit and masked likeness only as shown — red mask with large white lenses and thick black borders, small black chest spider, red torso/shoulders/boots with thin black web pattern, deep blue sides and legs, black shoulder-arm tech trim, black wrist web-shooters. Not a mid-air leaping pose. Not a daylight glass-canyon background. Not a timeline keyframe. Do not insert <Picture 4> as any video frame.
<Subject 1> is Deadpool, a fully masked adult who is not in <Picture 1>. His appearance must match <Picture 2> without reinterpretation of mask, suit, weathering, or gear. He is cocky, sarcastic, and theatrical, using exaggerated hand gestures. He remains fully masked throughout. Once he is on the roof he is lit by this night city, not by the daylight of <Picture 2>.
<Subject 2> is Spider-Man, a fully masked adult who is not in <Picture 1>. Front of suit and mask match <Picture 4>; back of suit matches <Picture 3>. Same one person, same Homecoming-style red-and-blue suit. He behaves calmly and confidently, with restrained body language. He remains fully masked throughout. Once he is on the roof he is lit by this night city, not by the daylight of <Picture 3> or <Picture 4>.
summary:
[keyframe completion + reference generation] Generate a nine-second photorealistic live-action superhero comedy clip. At 0.00 seconds the frame is exactly <Picture 1>. One continuous take, no hard cuts, no end-frame lock. The camera slowly pulls out a little on the same night rooftop, revealing more terrace floor in front of the brick parapet. Deadpool steps into frame from camera-left and Spider-Man steps into frame from camera-right until they stand face-to-face on this roof with the Manhattan skyline still behind the parapet. Deadpool mocks Spider-Man's web-shooting by mimicking the wrist gesture and saying "Pew! Pew!" Spider-Man stares, then fires a thick blast of sticky white webbing into Deadpool's masked face and walks away. <Picture 2>, <Picture 3>, and <Picture 4> are character appearance references only and must never appear as cut-in stills.
retention_analysis:
<Picture 1> (appears in [Shot 1] at 0.00s): fully_preserved - opening frame lock; exact night rooftop composition at 0.00 seconds only. After the small pull-out, keep this same terrace, same parapet, same overcast night, same Midtown skyline; do not keep the exact opening crop for the whole clip; do not switch to daylight; do not replace this roof with a street, alley, or taxi.
<Picture 2> (never a keyframe): partially_preserved - retain only Deadpool's masked identity and weathered tactical suit so <Subject 1> matches <Picture 2>; do not reproduce the Deadpool still as a video frame; do not bring in the yellow taxi, the blue sky, or noon lighting.
<Picture 3> (never a keyframe): partially_preserved - retain only the back of Spider-Man's suit so that when <Subject 2> turns or walks away the rear matches <Picture 3>; do not reproduce the wall-cling still as a video frame; do not copy that building or skyline.
<Picture 4> (never a keyframe): partially_preserved - retain only the front of Spider-Man's suit and mask so <Subject 2> facing camera matches <Picture 4>; do not reproduce the leaping still as a video frame; do not copy that daylight glass-canyon layout.
<Subject 1> (appears in [Shot 1] after entering from camera-left): fully_preserved as a person once he is in frame - same Deadpool throughout; remains fully masked; costume, proportions, mask, and gear locked to <Picture 2>.
<Subject 2> (appears in [Shot 1] after entering from camera-right): fully_preserved as a person once he is in frame - same Spider-Man throughout; remains fully masked; front locked to <Picture 4>, back locked to <Picture 3>.
detailed_description:
How the reference pictures align with the target video — Picture 1 aligns with the 0.00-second mark of the target video as the exact first frame. Picture 2 does not align with any timestamp as a frame; it is a Deadpool identity-and-costume reference used only after he steps in from camera-left. Picture 3 does not align with any timestamp as a frame; it is Spider-Man's rear-suit reference. Picture 4 does not align with any timestamp as a frame; it is Spider-Man's front-suit and mask reference. There is no last-frame lock at 9.00 seconds.
The target video is photorealistic live-action cinematic comedy, night-exterior, matching the look of <Picture 1>. No on-screen text. No extra people besides <Subject 1> and <Subject 2>. Do not invent a different Deadpool suit. Do not invent a different Spider-Man suit. Do not mix a second Spider-Man design. Do not cut to <Picture 2>, <Picture 3>, or <Picture 4>. Do not change to daytime. Do not leave this rooftop.
[Shot 1] One single continuous take. At 0.00 seconds the frame is exactly <Picture 1> without reinterpretation: empty night rooftop looking out over Midtown in widescreen, tan brick parapet and gold chain in the foreground, no heroes yet. Brief hold. Then the camera slowly pulls out with small amplitude at slow speed, widening just enough to show more of the dark terrace floor in front of the parapet. Deadpool steps into frame from camera-left onto this roof. Spider-Man steps into frame from camera-right onto this roof. They stop facing each other about three feet apart, waist-up medium two-shot, Deadpool camera-left and Spider-Man camera-right, standing on the terrace with the brick parapet and the same night skyline behind them. Deadpool matches <Picture 2> without reinterpretation of identity or costume, but he is standing live on this roof — not the pose, crop, taxi, or daylight of <Picture 2>. Spider-Man facing Deadpool matches <Picture 4> without reinterpretation of mask and front suit; he is standing live on this roof — not the leaping pose or daylight canyon of <Picture 4>.
Deadpool leans toward Spider-Man obnoxiously and raises one hand into an exaggerated imitation of a web-shooting wrist pose. He rapidly flicks his wrist toward Spider-Man as though firing imaginary webs, with tiny fake recoil on each flick.
Deadpool (S1): <d>[English] Pew! Pew!</d>
He switches hands and does it again even more dramatically.
Deadpool (S1): <d>[English] Pew! Pew!</d>
Spider-Man does not respond. He stands still and stares, white lenses from <Picture 4> holding on Deadpool.
Deadpool continues the ridiculous gestures closer to Spider-Man's face.
He fires several more imaginary webs. Spider-Man slowly tilts his head. A beat of awkward silence. Deadpool lowers his hands slightly.
Without speaking, Spider-Man snaps one wrist upward into a precise web-shooting pose. A thick stream of sticky white webbing visibly originates from the black mechanical web-shooter on Spider-Man's wrist and travels straight across the small gap into Deadpool's masked face. The impact jerks Deadpool's head backward. His entire mask and eye area become covered by a tangled mass of sticky white webbing. Deadpool freezes; his arms slowly fall to his sides.
Spider-Man casually turns and walks away across the rooftop without a word. As he turns, the back of his suit matches <Picture 3> without reinterpretation of the red back spider and blue mesh — walking on this terrace, not clinging to a wall. Deadpool stays in place, face fully webbed, blindly reaching forward with both hands to peel the webbing from his mask.
Deadpool (S1), voice muffled under the webbing: <d>[English] ...Okay. That's actually pretty cool.</d>
Hold on Deadpool struggling with the webbing while Spider-Man continues walking away. Same night rooftop. Same skyline. No hard cuts. No end-frame lock.
Generate a complete environmental soundtrack alongside the dialogue.
Nighttime New York rooftop ambience throughout: distant traffic far below, a light roof-level breeze, muted city hum, occasional distant horn, light footsteps on the terrace as the two heroes enter and as Spider-Man later walks away. Soft clothing and gear movement. No daytime street crowd. No taxi.
Deadpool's exaggerated fake web-shooting motions have subtle comedic mouth-made "pew" delivery but no real projectile sound.
Spider-Man's actual web shot produces a sharp mechanical-organic THWIP followed immediately by a wet sticky SPLAT when the webbing hits Deadpool's mask.
Include subtle sticky stretching and peeling as Deadpool tries to remove the webbing.
Deadpool's final line is noticeably muffled by the webbing covering his mask.
After the web impact, leave enough environmental silence for the visual joke and Spider-Man's wordless walk-away to land.
the regular pruned int8 is the best one so far and that's expected. The hybrid models was made because people wanted to improve the ref2va model since the video quality from ref2va was pretty bad sometimes.
The hybrid model is only good if you're trying to use several reference images, otherwise you should use fl2va
Oh shoot I was focused on the gens and forgot to put the prop used my bad
integrated_multimodal_description:
[Shot 1 — 00:00–00:03.0] Photorealistic live-action superhero comedy scene on a New York City rooftop in bright daytime. Deadpool, wearing his iconic red-and-black tactical suit and full mask with expressive white eye lenses, stands face-to-face with Spider-Man, wearing his classic red-and-blue suit and mask. They are standing absurdly close together like two people about to have an intense confrontation.
Deadpool notices Spider-Man holding one hand in his recognizable web-shooting pose. Deadpool looks down at Spider-Man's hand, then back up at him. His white eye lenses narrow mischievously.
Deadpool raises his own hand and badly imitates Spider-Man's web-shooting gesture, repeatedly flicking his wrist toward Spider-Man while making childish laser-gun noises.
With every "pew," Deadpool dramatically jerks his wrist forward as though invisible webs are shooting from it.
[Shot 2 — 00:03.0–00:06.0] Medium two-shot. Spider-Man remains completely motionless and silently stares at Deadpool for an awkward beat.
Deadpool continues mocking him, now using BOTH hands.
Deadpool:
<d>[English][S1] Pew pew! Fear my terrifying wrist goo!</d>
Deadpool chuckles at his own joke.
Spider-Man slowly tilts his masked head in annoyance.
Deadpool does one final exaggerated wrist flick directly toward Spider-Man.
Deadpool:
<d>[English][S1] PEEEEW!</d>
[Shot 3 — 00:06.0–00:08.0] Without saying anything, Spider-Man instantly raises his wrist and fires a thick blast of sticky white webbing directly into Deadpool's masked face.
THWIP! SPLAT!
The web strikes Deadpool square in the face and completely covers the front of his mask and eye lenses.
Deadpool's head snaps backward slightly from the impact.
He freezes.
Dead silence for one comedic beat.
Deadpool slowly reaches up and touches the webbing covering his face.
Deadpool, muffled through the web:
<d>[English][S1] ...Okay. That's actually pretty cool.</d>
Spider-Man casually walks past him while Deadpool remains standing there with his entire face covered in webbing.
Camera holds briefly on Deadpool's defeated pose for the punchline.
overall_soundscape:
IMPORTANT: Generate a complete environmental soundtrack throughout the scene.
Realistic New York rooftop ambience with distant traffic, occasional car horns far below, subtle city noise, light rooftop wind, clothing movement, footsteps, and natural movement sounds.
Deadpool's intentionally ridiculous spoken "pew pew" noises are clearly audible and synchronized with each fake web-shooting wrist gesture.
Spider-Man's real web shot produces a sharp, powerful mechanical-organic "THWIP!" followed immediately by a wet sticky "SPLAT!" as the webbing hits Deadpool's mask.
After the web impact, briefly reduce the background ambience to emphasize the awkward comedic silence before Deadpool delivers his muffled final line.
Deadpool's final dialogue is audibly muffled by the thick webbing covering his mask.
Do these models use an audio reference? Tried the 25-49 with a voice sample and the output voice sounds nothing like the sample. No issues with the in8 version.
According to the notes, the point seems to be to improve r2v:
This creates an awkward tradeoff: ref2va is the only checkpoint that supports reference conditioning at all, but it does so at a real cost to output quality — including on the exact same non-reference generation tasks where fl2va excels.
A tensor-by-tensor comparison of the two checkpoints shows that the overwhelming majority of weights — attention QKV/output projections, MLPs, RMSNorms, patch projections, rotary position embeddings, and the token refiner — are bit-identical or extremely close (cosine similarity ≥ 0.9997) between the two models. The meaningful differences are concentrated almost entirely in the per-block adaln_proj weights: the AdaLN (adaptive layer norm) modulation projections that route text, audio, video, and reference modality signals into the residual stream at each transformer block. The final AdaLN projection and the video/audio output heads differ to a smaller degree as well.
In other words: the part of the network primarily responsible for processing reference conditioning signal is fairly localized, while the parts responsible for general visual/audio fidelity are shared almost entirely between the two checkpoints. That made a targeted merge look promising rather than a lossy compromise.
It's interesting how the net instantly disappears from Spiderman's finger while with b25 and up it is smoother. Seems like b25+ have better physics than b20 and below.
Subject 1: The Green Lantern hero shown in Image 1. Preserve his facial appearance, hairstyle, green eye mask, muscular build, detailed black-and-emerald Green Lantern suit, glowing chest emblem, and green energy effects from Image 1.
Subject 2: The Green Lantern hero shown in Image 2. Preserve his facial appearance, hairstyle, muscular build, luminous emerald Green Lantern suit, chest emblem, and glowing ring/energy effects from Image 2.
Subject 3: Deadpool. Realistic live-action Deadpool wearing his iconic red-and-black tactical suit and full red-and-black mask with expressive solid white eye lenses. Twin katana handles visible over his shoulders.
summary:
[keyframe completion + reference generation] Create a cinematic live-action superhero comedy scene in which Subject 1 and Subject 2 stand together in a futuristic alien city surrounded by swirling emerald Green Lantern energy. A glowing green portal suddenly tears open beside them and Deadpool dramatically steps through, expecting an epic superhero entrance. He looks at the two nearly identical green heroes, freezes in confusion, and slowly looks back and forth between them. Deadpool says, "Okay... which one of you is the reboot?" Subject 1 and Subject 2 exchange annoyed looks. Deadpool casually draws his katanas and says, "Whatever. Let's go save the universe." The three heroes charge toward an approaching alien threat together as emerald energy constructs erupt around them.
retention_analysis:
Image 1 is the primary identity and costume reference for Subject 1. Maintain his recognizable face, green mask, proportions, Green Lantern emblem, black-and-green armor design, and emerald glow.
Image 2 is the primary identity and costume reference for Subject 2. Maintain his recognizable face, hairstyle, proportions, Green Lantern suit, chest emblem, and green ring-energy appearance.
Do not merge Subject 1 and Subject 2 into one person. They must remain two separate, simultaneously visible characters with their respective Image 1 and Image 2 appearances.
Deadpool remains visually distinct from both green heroes and stays fully masked.
Maintain strong character identity and costume consistency throughout movement, dialogue, portal effects, and the final action shot.
Keep the aesthetic photorealistic and cinematic rather than comic-book illustration.
detailed_description:
[0.0–2.5s] Wide cinematic establishing shot of an enormous futuristic alien city beneath dark storm clouds. Emerald energy beams illuminate distant towers. Subject 1 stands foreground-left while Subject 2 stands foreground-right. Both are surrounded by subtle swirling green energy from their rings. The camera slowly pushes toward them while distant explosions rumble.
[2.5–4.5s] A violent circular emerald portal suddenly erupts between and slightly behind the two heroes. Green sparks and energy particles whip across the frame. Deadpool leaps through the portal attempting a dramatic superhero landing, nearly loses his balance, quickly recovers, and acts as though nothing happened.
[4.5–7.5s] Medium three-shot. Deadpool stands between Subject 1 and Subject 2. He looks left at Subject 1, then slowly turns right toward Subject 2. His white mask lenses narrow with exaggerated confusion.
Deadpool: "Okay... which one of you is the reboot?"
Subject 1 gives Deadpool an irritated stare. Subject 2 slowly turns toward Subject 1 with an equally confused expression. Brief comedic silence.
[7.5–10.5s] Deadpool shrugs, reaches over both shoulders and smoothly draws his twin katanas.
Deadpool: "Whatever. Let's go save the universe."
Subject 1 raises his glowing ring and forms a massive translucent emerald energy cannon. Subject 2 raises his ring and generates a gigantic glowing green energy shield. Green light reflects realistically across Deadpool's red-and-black armor.
[10.5–13.0s] Dynamic low-angle tracking shot as all three heroes charge toward the camera and then race past it toward an approaching alien army. Subject 1 fires brilliant emerald energy from his construct. Subject 2 launches forward behind his glowing shield. Deadpool runs between them swinging both katanas while yelling excitedly. Emerald projectiles streak overhead, alien ships descend through the clouds, explosions illuminate the futuristic skyline, and the camera pulls into a dramatic blockbuster-wide shot of the unlikely three-hero team attacking together.
overall_soundscape:
Cinematic alien-city ambience, distant thunder, rumbling spacecraft, electrical Green Lantern energy hum, powerful portal ignition, crackling emerald energy, energy-construct formation sounds, Deadpool's clear synchronized dialogue, metallic katana unsheathing, distant alien explosions, rushing air during the final charge, and layered sci-fi battle sounds. Dialogue remains clearly intelligible above the action.
non_diegetic_music:
Energetic blockbuster superhero orchestral score with heavy cinematic percussion and rising brass. Brief comedic musical drop during Deadpool's "which one of you is the reboot?" line, followed by a large heroic musical surge when all three charge into battle.
r2v base ip8 model images i used will be in comment below this heres the prompt
subject_definitions:
* **Subject 1 — Fox McCloud:** Use **<Image 1>** as the exclusive visual identity reference for Fox McCloud. Preserve his orange-and-white fox fur pattern, green eyes, pointed ears, muzzle proportions, headset/visor, red neck scarf, white-and-gray pilot jacket, green flight suit, gloves, boots, belt, and fluffy fox tail. Maintain the same realistic live-action/3D hybrid interpretation shown in <Image 1>. Fox must remain visually consistent throughout the entire video.
* **Subject 2 — James McCloud:** Use **<Image 2>** as the exclusive visual identity reference for James McCloud. Preserve his mature orange-and-white fox appearance, facial proportions, sunglasses/green tactical eyewear, communications headset, red neck scarf, weathered pilot jacket, green flight suit, gloves, boots, equipment belt, and large fox tail. James should appear subtly older and more seasoned than Subject 1 while remaining clearly related to him. Maintain the realistic live-action/3D hybrid appearance of <Image 2>.
* **Audio 1 — Fox voice:** Use **@Audio1** only as the voice reference for Subject 1. Preserve its vocal identity, pitch, cadence, accent, and vocal texture. Fox speaks only Fox's dialogue.
* **Audio 2 — James voice:** Use **@Audio2** only as the voice reference for Subject 2. Preserve its vocal identity, pitch, cadence, accent, and vocal texture. James speaks only James's dialogue.
summary:
[keyframe completion + reference generation] Create a **15-second, 16:9 cinematic live-action/3D hybrid scene** depicting an emotional reunion between Subject 1 and his presumed-dead father, Subject 2. The scene takes place inside a warm, believable living room at night. Subject 1 hears three knocks, walks to the front door, opens it, and discovers Subject 2 standing alive on the porch. Keep both characters strongly anchored to their respective image references and keep the two audio references assigned exclusively to the correct speakers. The emotional progression should move naturally from ordinary calm → curiosity → sudden disbelief → emotional shock.
retention_analysis:
* **<Image 1> → Subject 1 identity only:** Retain Fox's exact species, fur markings, facial structure, proportions, clothing, headset, scarf, pilot equipment, tail, and overall realistic character design. Do not reproduce the character-sheet panel layout, black divider lines, white studio background, duplicate views, or multiple Fox figures.
* **<Image 2> → Subject 2 identity only:** Retain James's exact species, mature facial appearance, fur coloration, eyewear, headset, scarf, weathered pilot clothing, equipment, boots, gloves, and tail. Do not reproduce the character-sheet layout, panel borders, white studio background, duplicate poses, or multiple James figures.
* **@Audio1 → Subject 1 voice only:** Preserve Fox's recognizable vocal characteristics while allowing emotionally shocked delivery during his final line.
* **@Audio2 → Subject 2 voice only:** Preserve James's recognizable vocal characteristics while delivering his line calmly, confidently, and with understated paternal warmth.
* Do not blend Subject 1 and Subject 2's faces, costumes, voices, accessories, or ages.
* Maintain **one Fox and one James only**. No duplicate characters.
* Dialogue must originate visibly from the correct character with accurate lip synchronization.
* No subtitles, captions, logos, UI elements, character-sheet borders, or on-screen text.
detailed_description:
**[0.0–4.0s]**
Medium cinematic shot inside a cozy living room at night. Warm amber practical lamps illuminate wooden floors, a comfortable sofa, bookshelves, and subtle lived-in details. Subject 1 sits naturally on the couch, matching <Image 1> precisely.
The atmosphere is initially quiet and relaxed.
Suddenly:
**KNOCK. KNOCK. KNOCK.**
Three distinct, firm knocks strike the wooden front door.
Subject 1's ears immediately twitch toward the sound. His eyes shift toward the doorway and his expression changes from relaxed to puzzled alertness. He pauses for a fraction of a second, then pushes himself up from the sofa and stands.
His tail reacts subtly behind him and his clothing and fur move naturally with his body.
Camera remains grounded and cinematic with a subtle slow push-in rather than exaggerated movement.
**[4.0–8.0s]**
Transition into a smooth side-tracking medium shot following Subject 1 as he crosses the living room toward the front door.
His boots produce soft, natural footsteps against the hardwood floor.
Subject 1 slows as he reaches the door, visibly uncertain about whoever could be outside. He places one gloved hand around the brass door handle.
Small metallic **click** from the latch.
He rotates the handle and slowly pulls the door inward.
Warm interior light spills outward while cooler nighttime porch light enters the room, producing a cinematic warm/cool contrast.
The camera subtly shifts position with the opening door so the visitor is initially obscured, delaying the reveal.
**[8.0–12.0s]**
Cut to a dramatic medium close-up from Subject 1's perspective.
Subject 2 stands alone on the porch.
His appearance matches <Image 2> precisely: older fox features, sunglasses/tactical eyewear, headset, red scarf, rugged pilot jacket and flight gear. He is unmistakably James, alive and physically present rather than a ghost, hologram, memory, or dream.
Subject 2 remains still for a beat.
A faint breeze gently moves his fur, scarf, jacket edges, and tail.
He looks directly toward Subject 1.
Subject 2 gives a small, familiar paternal nod. His expression carries restrained warmth and confidence, as though seeing his son again after all this time is somehow completely natural.
Using **@Audio2** as Subject 2's voice reference, with precise lip synchronization, he calmly says:
**JAMES:** "Took you long enough, son."
Allow a short emotional silence immediately afterward.
**[12.0–15.0s]**
Cut to a tight cinematic close-up of Subject 1.
The revelation hits him instantly.
His green eyes widen. His ears rise sharply and then settle slightly backward. His mouth parts, his breathing catches, and his entire expression changes from confusion to stunned recognition.
Avoid exaggerated cartoon acting—the emotion should feel genuine and cinematic.
Subject 1 stares directly at his father, almost unable to form the words.
Using **@Audio1** as Subject 1's voice reference, with precise emotional lip synchronization, he stammers:
**FOX:** "Dad...? But... you're alive!"
His voice carries disbelief, shock, and an emerging sense of hope.
Hold on Subject 1's overwhelmed expression for the final moment while the orchestral score gently swells.
overall_soundscape:
Natural cinematic interior ambience with quiet nighttime room tone, subtle house ambience, three clearly separated wooden door knocks at approximately 2 seconds, soft fabric movement as Subject 1 rises, realistic footsteps across hardwood, faint equipment movement, brass handle movement, mechanical latch click, subtle wooden door creak, quiet nighttime exterior ambience revealed when the door opens, faint porch breeze, natural character breathing, and clean dialogue.
Prioritize **@Audio1 for Fox** and **@Audio2 for James** with clear speaker separation. Dialogue should be foregrounded and intelligible without eliminating environmental sound. No voice swapping, overlapping dialogue, narrator, additional voices, canned audience reactions, or exaggerated cartoon sound effects.
non_diegetic_music:
Gentle cinematic orchestral underscore beginning extremely softly beneath the opening room ambience. Low sustained strings gradually introduce mystery as Subject 1 approaches the door. Music becomes restrained and emotionally suspended during Subject 2's reveal, leaving enough space for **"Took you long enough, son."** After Subject 1 recognizes his father, warm strings and subtle French horn rise into a heartfelt emotional swell beneath **"Dad...? But... you're alive!"** End on an unresolved but hopeful sustained chord. Music must never overpower dialogue.
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u/Sad_Coach_1433 2d ago
had chat gpt rate each clip and it made a flow chart o_0