white and orange and indigo prompts

6 months ago

Create a meticulously staged cinematic scene with rigid symmetry and frontal, low-angle framing, emphasizing a diagonal composition (45-degree tilt) where all elements align along a single dynamic axis. Color Grading: 60% Dominant: Soft, powdery pastel pinks (Pantone 12-1109 TPX "Marshmallow") saturating the sky, snow, and TV casing. 30% Secondary: Frosted teal blues (HEX #6ECEDA) in the glacial lake, aurora, and TV screen static. 10% Accent: Mustard-yellow (Pantone 15-0950 TPX "Golden Glow") in the aurora streaks, wool tufts, and corroded metal knobs. TV Design: A 1950s Bakelite TV (matte eggshell plastic with hairline cracks) tilted diagonally (top-left corner at 10 o’clock, bottom-right submerged at 4 o’clock). Crack: A jagged diagonal fissure (2cm wide) splits the screen from top-left to bottom-right, leaking viscous, neon-bright color bar pigment (RGB values: pink #FF9EB5, teal #5FDAC3, gold #FFD700) that pools into the water below. Materials: Body: Faux-weathered plastic with chipped edges revealing rusted steel underlayers. Details: Three rotary knobs (tarnished brass, 4cm diameter) labeled "VOL," "TUNE," "POWER." Cables: Braided wool cords (undyed cream yarn, 3cm thickness) coiled around the TV’s base, fraying at the ends. Screen Imagery: Static Overlay: A 1953 RCA-style color bar test pattern (8 vertical bands) glitching every 2 seconds, causing the teal and pink bars to "melt" downward into liquid the word "Imagen-4" glitches on the screen Underlying Image: A faint, glowing topographical map (golden-yellow lines on indigo) dissolves into water that cascades from the screen’s crack, merging with the glacial lake. Environment: Glacial Lake: Semi-frozen water (translucent teal, 70% opacity) with jagged ice shards (20cm height) encircling the TV. Snowfall: Heavy, dense snowflakes (1cm diameter) falling at 45 degrees, accumulating on the TV’s top-left corner. Aurora Borealis: Three parallel bands (pink #FFB3D1, teal #7FE5E5, gold #FFE44D) in smooth sine waves, 15° tilt, 80% opacity. Sky: Ultra-high-contrast starfield (ISO 51200 noise pattern) with 2,000 visible stars (randomized 2-4px white dots). Lighting & Effects: Key Light: A frontal, low-orange sodium vapor lamp (3200K) casting sharp diagonal shadows (20° angle) from the TV onto the ice. Bloom: Halation around the aurora and screen, radius 15px, intensity 70%. Textures: Film Grain: 35mm Kodak Vision3 250D overlay (gritty, high-detail). Lens Defects: Two hairline scratches (1px width) at 15° and 75° angles, plus hexagonal lens flare (60% opacity) from the aurora. Physics & Motion: Water: Viscous fluid dynamics—the leaking color bars swirl in 5cm eddies, blending with the glacial lake. Wool: Submerged yarn floats upward in 10cm tufts, swaying at 0.5Hz frequency. Result: A hyper-detailed, reference-free scene that implicitly channels Wes Anderson’s aesthetic through obsessive symmetry, retro-kitsch materials, and a strict 60/30/10 pastel hierarchy—no director named, all style embedded in granular technical specs.

6 months ago

"Create a meticulously staged cinematic scene with rigid symmetry and frontal, low-angle framing, emphasizing a diagonal composition (45-degree tilt) where all elements align along a single dynamic axis. Color Grading: 60% Dominant: Soft, powdery pastel pinks (Pantone 12-1109 TPX "Marshmallow") saturating the sky, snow, and TV casing. 30% Secondary: Frosted teal blues (HEX #6ECEDA) in the glacial lake, aurora, and TV screen static. 10% Accent: Mustard-yellow (Pantone 15-0950 TPX "Golden Glow") in the aurora streaks, wool tufts, and corroded metal knobs. TV Design: A 1950s Bakelite TV (matte eggshell plastic with hairline cracks) tilted diagonally (top-left corner at 10 o’clock, bottom-right submerged at 4 o’clock). Crack: A jagged diagonal fissure (2cm wide) splits the screen from top-left to bottom-right, leaking viscous, neon-bright color bar pigment (RGB values: pink #FF9EB5, teal #5FDAC3, gold #FFD700) that pools into the water below. Materials: Body: Faux-weathered plastic with chipped edges revealing rusted steel underlayers. Details: Three rotary knobs (tarnished brass, 4cm diameter) labeled "VOL," "TUNE," "POWER." Cables: Braided wool cords (undyed cream yarn, 3cm thickness) coiled around the TV’s base, fraying at the ends. Screen Imagery: Static Overlay: A 1953 RCA-style color bar test pattern (8 vertical bands) glitching every 2 seconds, causing the teal and pink bars to "melt" downward into liquid with the word "Prompthero" barely visible on it. Underlying Image: A faint, glowing topographical map (golden-yellow lines on indigo) dissolves into water that cascades from the screen’s crack, merging with the glacial lake. Environment: Glacial Lake: Semi-frozen water (translucent teal, 70% opacity) with jagged ice shards (20cm height) encircling the TV. Snowfall: Heavy, dense snowflakes (1cm diameter) falling at 45 degrees, accumulating on the TV’s top-left corner. Aurora Borealis: Three parallel bands (pink #FFB3D1, teal #7FE5E5, gold #FFE44D) in smooth sine waves, 15° tilt, 80% opacity. Sky: Ultra-high-contrast starfield (ISO 51200 noise pattern) with 2,000 visible stars (randomized 2-4px white dots). Lighting & Effects: Key Light: A frontal, low-orange sodium vapor lamp (3200K) casting sharp diagonal shadows (20° angle) from the TV onto the ice. Bloom: Halation around the aurora and screen, radius 15px, intensity 70%. Textures: Film Grain: 35mm Kodak Vision3 250D overlay (gritty, high-detail). Lens Defects: Two hairline scratches (1px width) at 15° and 75° angles, plus hexagonal lens flare (60% opacity) from the aurora. Physics & Motion: Water: Viscous fluid dynamics—the leaking color bars swirl in 5cm eddies, blending with the glacial lake. Wool: Submerged yarn floats upward in 10cm tufts, swaying at 0.5Hz frequency. Result: A hyper-detailed, reference-free scene that implicitly channels Wes Anderson’s aesthetic through obsessive symmetry, retro-kitsch materials, and a strict 60/30/10 pastel hierarchy—no director named, all style embedded in granular technical specs.

8 months ago

A surreal and hyperrealistic depiction of the White House. Donald Trump stands in front of the building, which is positioned dramatically within a swirling, cosmic vortex of fiery orange and deep indigo colors, resembling a black hole or wormhole. The sky is filled with celestial bodies and a starry background. The image has a vibrant color palette featuring deep reds, oranges, and blues.  Trump, larger than life, is rendered in realistic detail, and appears to be gesturing.  A red carpet stretches towards the vortex, and several figures, ncluding individuals in business suits, walk towards it. A sense of dramatic tension and impending doom permeates the scene.  Lush, vibrant flowerbeds surround the White House, creating a striking contrast with the otherworldly cosmic scene. The style is surreal, with elements of impressionism in the swirling celestial forces, but with hyperrealistic details in the figures and the White House itself. The image combines a political scene with cosmic imagery, creating an impactful visual narrative

8 months ago

IMG_6478.jpg A sprawling construction site nestled in a rugged Himalayan valley, where hundreds of miniature sadhus—tiny, intricately detailed ascetics no taller than a foot, dressed in tattered saffron robes with weathered faces and flowing white beards—labor tirelessly. They swarm over a colossal, gigantic sculpture of Lord Shiva, towering hundreds of feet high, carved from glossy black granite with veins of gold and silver. The sculpture portrays Shiva in serene meditation, his third eye faintly aglow, trident gripped firmly, and a crescent moon nestled in his intricately detailed matted hair, radiating divine grandeur. Surrounding the site, large construction machinery dominates the scene: massive cranes with steel cables swinging overhead, enormous bulldozers churning the earth, and towering hydraulic lifts humming with power. The miniature sadhus wield oversized tools—some hoist tiny ropes to scale the sculpture, others guide gigantic stone blocks lifted by the cranes, while a few hammer away with miniature chisels, sparks flying against the stone. Dust and debris hang in the air, illuminated by the warm, amber glow of a setting sun, casting dramatic shadows across the rocky ground. Beyond, snow-dusted peaks pierce a sky painted with deep indigo and fiery orange streaks. The scene fuses spiritual devotion with industrial might, rendered in ultra-realistic detail, highlighting the sadhus’ delicate features, the machinery’s gleaming surfaces, and the sculpture’s monumental presence.

8 months ago

A sprawling construction site nestled in a rugged Himalayan valley, where hundreds of miniature sadhus—tiny, intricately detailed ascetics no taller than a foot, dressed in tattered saffron robes with weathered faces and flowing white beards—labor tirelessly. They swarm over a colossal, gigantic sculpture of Lord Shiva, towering hundreds of feet high, carved from glossy black granite with veins of gold and silver. The sculpture portrays Shiva in serene meditation, his third eye faintly aglow, trident gripped firmly, and a crescent moon nestled in his intricately detailed matted hair, radiating divine grandeur. Surrounding the site, large construction machinery dominates the scene: massive cranes with steel cables swinging overhead, enormous bulldozers churning the earth, and towering hydraulic lifts humming with power. The miniature sadhus wield oversized tools—some hoist tiny ropes to scale the sculpture, others guide gigantic stone blocks lifted by the cranes, while a few hammer away with miniature chisels, sparks flying against the stone. Dust and debris hang in the air, illuminated by the warm, amber glow of a setting sun, casting dramatic shadows across the rocky ground. Beyond, snow-dusted peaks pierce a sky painted with deep indigo and fiery orange streaks. The scene fuses spiritual devotion with industrial might, rendered in ultra-realistic detail, highlighting the sadhus’ delicate features, the machinery’s gleaming surfaces, and the sculpture’s monumental presence.