Prompt Lib

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Mix 'noise' such as "{argument name="noise 1" default="garbage house"}" and "{argument name="noise 2" default="depressed person"}" into the prompt

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Horizontal split-screen cinematic wide shot of {argument name="city" default="Tokyo city"} seamlessly blending two eras: {argument name="era 1" default="1920s"} on the left and {argument name="era 2" default="present day"} on the right, merging organically in the center with transitional materials and interactions between people from both times., "subject": "Tokyo city split between 1920s and present day with people interacting across eras", "environment": "Urban Tokyo streetscape transitioning from wooden machiya shops, tiled roofs, narrow alleys, rickshaws, vintage trams and paper lanterns on the left to glass-and-steel skyscrapers, neon-lit storefronts, elevated train lines, LED billboards, sleek cafes, bicycles, taxis and compact cars on the right; wet reflective pavement and blended center where gates, tracks and lighting morph into modern equivalents", "style": "photorealistic, cinematic, ultra-detailed, historically accurate period detail on left and crisp contemporary detail on right", "lighting": "mixed cinematic lighting: soft warm sepia fill on the 1920s left with subtle film-grain texture, cool neon backlight and high-contrast illumination on the present-day right, volumetric city fog and atmospheric particles across the scene, balanced color grading to preserve both eras", "camera": { "angle": "eye-level wide-angle", "distance": "wide shot (cinematic 4:3 composition)", "depth_of_field": "dynamic depth of field (selective focus across planes)", "focus": "primary focus on the midground center where era interactions occur, with layered focus into foreground and background details" }, "composition": { "framing": "horizontal split-screen blended composition, cinematic wide 4:3 framing", "subject_placement": "left half dominated by 1920s elements, right half by modern elements, central seam blended organically with key human interactions placed near center rule-of-thirds points", "foreground": "wet pavement reflections, close pedestrians from both eras, rickshaw wheel and modern bicycle tire, scattered period props newspapers and modern items smartphones", "background": "left: narrow alleys, vintage trams, tiled roofs and paper signs; right: elevated train lines, skyscrapers, LED billboards and neon storefronts; distant atmospheric fog and city lights unifying the skyline", "negative_space": "subtle open sky and upper building massing to avoid clutter while maintaining cinematic breadth" }, "mood": "cinematic, nostalgic on the left, vivid and energetic on the right, overall sense of curiosity and surprise from human interactions, narrative and time-travel intrigue", "color_palette": [ "sepia brown", "warm amber", "cool cyan", "neon magenta", "neutral concrete grays" ], "technical": { "render_type": "photorealistic photo", "post_processing": [] }

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A giant Max Verstappen in a dark navy Red Bull race suit crouches on the pit lane with a grin, treating the tiny Red Bull F1 car like a toy he’s about to prank the world with. He gently taps the rear wing to make it wobble, amused by how fragile it looks in his enormous hand. Mini Red Bull mechanics run around dramatically, holding up giant STOP signs and shouting exaggeratedly for Max not to push too hard. Max smirks and gives the tiniest nudge—yet the car rockets forward like a slingshot. Low-angle comedic perspective: Max towers like a playful titan. Tiny Red Bull logos wave on little flags, confetti explosions pop at random, and one miniature crew member gets blown backward by the sudden launch. Bright arcade-style lighting, funny dust clouds, high-speed cartoonish motion.

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The setting is an ultra-realistic, editorial-quality photograph capturing a busy breakfast café at mid-morning—sunlight spilling through tall windows, steam rising from espresso cups, soft clatter of plates, and an overall warm, bustling atmosphere. In the immediate foreground sits an anime-styled man with vivid blue hair, rendered with perfectly integrated cel-shading, crisp line art, and subtle specular lighting, yet placed with photographic depth-of-field so he feels physically present within the space. At the next table in the mid-ground, one of the patrons appears as a pencil-sketch figure, drawn in delicate graphite with visible cross-hatching and textured paper grain, seamlessly embedded into the real environment as if occupying a parallel medium. In the distant background, another customer is portrayed in full claymation style, shaped from hand-molded colored clay with visible fingerprints, matte surfaces, and slight frame-by-frame imperfections that suggest stop-motion movement. The entire scene blends these three visual languages into one cohesive cinematic image with rich ambient lighting, shallow depth-of-field transitions, and hyper-detailed café textures. No text overlays.

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Generate an image of a film set, an aerial high-angle shot of one scene on the set, with annotations indicating the film set is: {argument name="film title" default="If Going to Work Were a Play"}

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While maintaining the character in the attached image, rewrite it in the style of a panel from a Japanese weekly manga magazine.

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Create an image of a crazy psycho with speech bubble that says “heading out?” Make the entire image extremely detailed but make it really messed up and weird af.

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overlay this with insane schizophrenic conspiracy scribbles, red ink, doodles, remarks, comments.

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Show me 5 minutes earlier so I can see why he’s upset.