30 秒古风舞蹈 H3 I2VA 提示词
提示词文段使用
> 锁定图 1：人物 + 服装 + 背景 / 灯光 / 构图全部锁定。音乐全程连续不中断，按 H3 non_diegetic_music 标准格式嵌入。SEGMENT 01｜GLOBAL 00:00:00–00:00:15｜Beats 1–16
### 舞蹈乐章：凝神起势 → 舒展绽放
For the target video, at 0.00 seconds into the target video, \<Picture 1> (from \[Shot 1]) is fully referenced.
**subject\_definitions:** \<Subject 1> is the exact same subject shown in \<Picture 1>. Use \<Picture 1> as the sole and complete visual authority for identity, face, body, hairstyle, clothing, accessories, environment, lighting, composition, color, texture, and all other visible attributes. Do not describe, redesign, reinterpret, beautify, replace, simplify, or add any visible characteristic. Structural anchor only: purple-and-gold layered ancient Chinese dance costume, high-slit multi-layer sheer skirt with gold embroidery, gold chest harness and waist ornament with purple gem, flowing purple sheer ribbons attached at both arms with tassel ends, gold arm cuffs and bracelets, half-up high bun with gold hair ornament and forehead purple gem pendant, barefoot, as shown in \<Picture 1>.
**visual\_anchor:** \<Picture 1> must remain fully respected throughout the entire segment. The video begins from the exact physical and visual state contained in \<Picture 1>. Do not replace the opening composition with a newly invented pose, viewpoint, environment, costume state, or character design.
**integrated\_multimodal\_description:**
Overall choreography language: Chinese classical dance (shen-yun body rhythm) as primary, with Dunhuang / Western Regions dance influence as secondary. The dancer behaves like a trained live performer. Motion must be continuous, anatomically connected, physically grounded, and driven by musical phrasing rather than isolated commands.
**Filming style: live-action cinematic realism, shot on a real performer in a practical stone hall set. No CGI, no VFX, no digital compositing, no post-production visual effects of any kind. All lighting is practical (real candles, real ambient sources). All wind is produced by an off-camera industrial fan. Natural skin texture, visible fabric weave, real candlelight flicker, natural film grain, shallow depth of field from a real lens.**
Musical structure (creative target, not observed fact): 4/4 time, approximately 76 BPM, slow lyrical gufeng. Phrase A: beats 1–8 (intro + theme emergence), Phrase B: beats 9–16 (development + expansion). Strong beats on 1, 5, 9, 13; medium accents on 3, 7, 11, 15; weak beats for continuation and recovery.
**\[Shot 1]** At the beginning, preserve the exact starting frame from \<Picture 1>. Dancer stands in the opening dance pose: right leg extended forward, left leg supporting behind, right arm raised with elbow bent, left arm extended to the side, purple sheer ribbons drifting in the off-camera wind, weight slightly forward, gaze forward with calm focus.
* **\[Local Beat 1 strong]:** Initiate from lower dan-tian — deep breath sinks the chest, right hand begins to descend in a slow arc, fingers trailing last. Weight transfers subtly from right to left foot. Wind catches the right sleeve ribbon, pulling it outward.
* **\[Local Beat 2 weak]:** Right hand continues downward arc past the hip, left hand begins to lift slightly. Ribbons respond with delayed follow-through, settling downward but continuously agitated by the wind.
* **\[Local Beat 3 medium]:** Left arm sweeps outward and upward to shoulder height, torso rotates gently to the right (yun-shen body twist). Right hand rests near the right hip, palm facing inward. Wind presses the sheer skirt fabric against the left leg, revealing the silhouette beneath.
* **\[Local Beat 4 weak]:** Hold the extended twist position, chest opens with a subtle inhale, hair and ribbons continue their residual drift. A strand of hair blows across the cheek in the wind.
* **\[Local Beat 5 strong]:** Right toe taps the ground and traces a slow semicircle outward, body follows with a controlled sink-and-rise (chen-ti). Right hand leads from the hip in a small circle upward. The skirt's outer layer lifts and flutters in the wind as the toe circles.
* **\[Local Beat 6 weak]:** Body reaches the lowest point of the sink, knees soft, then begins to rise. Ribbons swing outward from the centrifugal force of the toe circle, wind amplifying their arc.
* **\[Local Beat 7 medium]:** Both hands rise from the lower abdomen to chest height, palms facing each other as if holding a sphere, then begin to separate outward like a flower blooming. Torso performs a wave-like ti-chen (lift-sink) from lumbar to cervical spine. Wind streams both ribbons horizontally backward.
* **\[Local Beat 8 weak]:** Hands fully extended to both sides at shoulder height, fingers softly spread, chest lifted. Ribbons float horizontally at their widest span, wind pulling them taut. This is the first visual expansion point.
* **\[Local Beat 9 strong]:** Initiate a slow half-turn to the left, led by the right hand sweeping across the body from right to left. Weight shifts to the left foot, right heel lifts. Wind hits the dancer's right side as she turns, ribbons wrapping then streaming.
* **\[Local Beat 10 weak]:** Mid-turn — torso faces left, right hand passes in front of the face, left hand trails behind. Ribbons cross in front of the body then separate, wind catching the trailing edges.
* **\[Local Beat 11 medium]:** Complete the half-turn, now facing left profile. Right arm extends forward at eye level, left arm extends backward, creating a long horizontal line. Right leg lifts slightly backward, knee soft, foot pointed. Wind streams the forward ribbon and the backward ribbon in opposite directions, creating a visual tension line.
* **\[Local Beat 12 weak]:** Hold the arabesque-like extension, supporting knee deepens slightly, gaze follows the forward hand. Ribbons trail in the air behind, wind keeping them aloft. The skirt's back panel lifts in the wind.
* **\[Local Beat 13 strong]:** Begin to recover — right leg lowers, hands begin to circle upward from the extended position. Weight centers.
* **\[Local Beat 14 weak]:** Hands rise above the head, wrists cross, then begin to separate and descend along the front of the body. Body follows the hands downward. Wind pushes loose hair forward over the shoulders.
* **\[Local Beat 15 medium]:** Hands reach the lower abdomen, body fully sunk, head slightly bowed. Ribbons wrap softly around the forearms, wind still agitating the tassel ends.
* **\[Local Beat 16 weak]:** Begin to rise slightly, right foot shifts to a side position, body turns toward a three-quarter angle. This is the continuation state for Segment 02. Wind remains constant.
At 00:00:15, the movement resolves into a half-risen, three-quarter-turned preparatory state with weight on the left foot, right foot lightly touching to the side, hands resting near the lower abdomen ready to explode upward on the next strong beat.
**camera\_direction:** Real Steadicam operation, medium shot matching \<Picture 1> composition, 35mm lens, natural shallow depth of field. Slow operator Push In with very small amplitude during beats 1–4, matching the dancer's initial breath, with natural Steadicam micro-sway. At beat 5, subtle operator Truck Left to follow the toe circle. At beat 9, slow operator Arc Shot (small amplitude, counterclockwise, walking arc) to accompany the half-turn, ending in left-profile medium shot. Operator decelerates as dancer sinks at beats 13–16. No zoom during the half-turn (prime lens). Natural lens breathing, no digital stabilization smoothing beyond what the Steadicam provides.
**editing:** One continuous take throughout Segment 01. No cuts. The half-turn at beats 9–11 is captured in a single unbroken take. Continuous take is mandatory — this is a live performance captured in one shot.
**performance:** Emotional progression from calm, meditative focus (beats 1–4) → gentle openness and curiosity (beats 5–8) → flowing, expressive release (beats 9–12) → introspective collection (beats 13–16). No smiling. Gaze follows the leading hand, then softens forward during the sink. Subtle breath visible in the chest and shoulders. Wind occasionally moves hair across the face — the dancer does not break character to adjust it.
**body\_mechanics:** Every movement originates from the lower dan-tian and lumbar spine. Kinetic chain: feet → ankles → knees → hips → lumbar → thoracic → shoulders → elbows → wrists → fingers → head → hair. The ti-chen wave must propagate sequentially through the spine, not as a whole-body jerk. Turns originate from the supporting foot and hip rotation, not isolated upper-body twist. Hands never move independently of the torso. Weight transfers are smooth and continuous, with no instant shifts.
**costume\_hair\_physics (with practical off-camera wind):** An industrial fan is positioned off-camera at the dancer's front-left (approximately 45 degrees), running continuously throughout the entire 30 seconds. The wind is a constant physical force, not a post-production effect. Wind speed has a gentle baseline throughout, with subtle natural variation (not perfectly steady — real fan turbulence). Purple sheer ribbons attached at both arms respond to both arm movement AND the constant wind — they lag behind the hand, trail during turns, and are continuously streamed and fluttered by the wind even when the arms are still. During the half-turn, ribbons sweep through the air in wide arcs and wrap/cross around the body, wind catching the trailing edges and pulling them outward. The multi-layer high-slit skirt responds to leg movement, turns, AND wind — outer layers move first, inner layers follow, wind lifts and separates the sheer layers, pressing fabric against the legs to reveal silhouette, causing the hem to flutter continuously. Hair moves with the head and torso AND wind — strands blow across the face and shoulders, the half-up bun's loose strands stream backward, hair settles onto the shoulders with natural bounce. Tassels at ribbon ends provide the longest residual motion and are continuously agitated by the wind. During the sink, all fabric settles gradually but the wind keeps it from ever going completely still. No independently animated fabric or hair — all motion is a physical response to body movement + practical wind.
**negative\_constraints:** No CGI, no VFX, no visual effects, no digital compositing, no post-production effects of any kind, no particle effects, no glow or bloom added in post, no artificial lens flare, no color grading beyond natural, no skin smoothing, no body morphing, no digital fabric simulation, no digital wind added in post (all wind is practical from off-camera fan), no speed ramps, no motion blur added in post, no new people, no additional props, no weapons, no added garments, no added accessories, no redesign of any visible element, no change to reference environment, no background redraw, no lighting change, no face beautification, no anatomy alteration, no body proportion alteration, no singing, no lip-sync, no exaggerated idol acting, no hip-hop, no jazz-funk, no explosive jumps, no random hand gestures, no mechanical stop-start motion, no arbitrary spins, no floating hair, no independently animated fabric, no dramatic wide-shot pull-out, no 360-degree orbit, no combat-like movement.
**overall\_soundscape:** Only restrained diegetic physical sounds may accompany the music — subtle barefoot contact with stone floor, soft fabric rustle of ribbons and skirt layers, and a very low, constant ambient wind sound from the off-camera fan (barely perceptible, felt more than heard, like air moving through a stone hall). Do not add prominent environmental sound. The wind sound is continuous and does not stop.
**non\_diegetic\_music:** genre: Chinese gufeng / ancient-style lyrical orchestral with ambient electronic undertones; BPM: 76, 4/4; key: A natural minor with pentatonic inflections; instrumentation architecture: guzheng (lead melodic), dizi bamboo flute (counter-melody and breath accents), guqin (textural drone and plucked bass notes), cello (low emotional sustain), subtle bianzhong chimes (punctuation on strong beats), frame drum (soft pulse on beats 1 and 3), ambient synth pad (warm atmospheric bed); musical structure: 4-second guzheng solo intro (beats 1–4, sparse, rubato feel) → theme A emerges with dizi entering (beats 5–8, guzheng arpeggios under melody) → development phrase with cello and chimes adding depth (beats 9–12, melody rises in register) → expansion peak (beats 13–14, all instruments at full texture, dizi holds a high note) → decrescendo and settling (beats 15–16, guzheng solo returns, sparse, preparing for next segment); dynamics arc: pp (intro) → mp (theme A) → mf (development) → f (expansion peak at beat 13) → mp (settling); synchronization: guzheng plucks align with strong beats 1, 5, 9, 13; dizi breath accents on medium beats 3, 7, 11; bianzhong chime on beat 9 marks the half-turn initiation; frame drum soft pulse on beats 1 and 3 only; vocals: none, purely instrumental; production: warm, resonant, slightly reverberant as if in a stone palace hall, guzheng close-miked with natural string resonance, dizi with airy breath noise, overall mix lush and intimate with gentle hall reverb. Music plays continuously without interruption from 00:00:00 through 00:00:30.
***
## SEGMENT 02｜GLOBAL 00:00:15–00:00:30｜Beats 17–32
### 舞蹈乐章：绽放高潮 → 凝神收束
**subject\_definitions:** Inherit all subject, visual anchor, and reference-locking rules from Segment 01. Structural anchor remains: purple-and-gold layered ancient Chinese dance costume, high-slit multi-layer sheer skirt with gold embroidery, gold chest harness and waist ornament with purple gem, flowing purple sheer ribbons attached at both arms with tassel ends, gold arm cuffs and bracelets, half-up high bun with gold hair ornament and forehead purple gem pendant, barefoot, as shown in \<Picture 1>.
**visual\_anchor:** Inherit from Segment 01. \<Picture 1> remains the sole visual authority. No redesign, no environment change, no lighting change at any point.
**integrated\_multimodal\_description:**
Overall choreography language: Chinese classical dance (shen-yun body rhythm) as primary, with Dunhuang / Western Regions dance influence as secondary. Continuous with Segment 01 — this is the same dance, now reaching its climax and resolving.
**Filming style: same live-action cinematic realism as Segment 01. No CGI, no VFX, no digital effects. Practical lighting only. Off-camera industrial fan continues running, wind intensifies slightly during the climax (beats 17–20) then returns to baseline. Natural film grain, real lens depth of field.**
Musical structure (creative target, continuous from Segment 01): Phrase C: beats 17–24 (climax build + peak), Phrase D: beats 25–32 (contraction + resolution + final stillness). Strong beats on 17, 21, 25, 29; the peak accent falls on beat 19 (the spin). Final resolution on beat 32 with music fade to silence.
**\[Shot 1]** At the beginning, dancer is in the continuation state from Segment 01: half-risen, three-quarter turned, weight on left foot, right foot lightly touching to the side, hands resting near lower abdomen, ready to explode upward. Wind continues to stream the ribbons.
* **\[Local Beat 17 strong]:** Explosive rise — both feet push off the ground, body extends upward to full height, both hands sweep from the lower abdomen straight up above the head, fingers reaching. This is the climax initiation. Ribbons snap upward from the force, wind amplifying their lift. The fan wind intensifies slightly at this moment.
* **\[Local Beat 18 weak]:** At full height, hands begin to separate outward and downward in a wide circle. Body starts to rotate to the right, initiated by the right foot pivoting. Wind hits the chest, pressing the sheer top fabric and streaming hair backward.
* **\[Local Beat 19 strong (peak accent)]:** Complete one full 360-degree right turn — the only rotation in the entire 30-second dance. The turn is motivated by the musical peak accent. During the turn, both arms extend fully outward to horizontal, the multi-layer skirt blooms outward in a full circle like a purple flower (centrifugal force + wind), both ribbons trail in wide arcs, hair flies outward. Wind from the off-camera fan catches the skirt during the rotation, adding extra lift and separation to the layers. This is the signature visual moment: the purple skirt-and-ribbon bloom, achieved entirely through practical physics (real fabric + real spin + real fan wind).
* **\[Local Beat 20 weak]:** Landing from the turn — right foot plants first, then left, knees absorb the impact with a soft sink. Arms begin to descend from horizontal, right hand leading downward in a long arc. Ribbons and skirt continue to settle from the spin, wind still agitating the fabric.
* **\[Local Beat 21 strong]:** Right hand completes its downward arc past the right hip, then sweeps upward along the side of the body. Left hand extends outward to the left, creating asymmetry. Torso leans slightly right, counterbalancing. Wind streams the left ribbon horizontally.
* **\[Local Beat 22 weak]:** Right hand reaches above the shoulder, then begins to circle back down. Weight shifts subtly from right to left.
* **\[Local Beat 23 medium]:** Begin small rapid steps (xiao sui bu) moving horizontally to the left — feet close together, quick and light, barely lifting from the ground. Both hands perform continuous small wrist circles (xiao wu hua) at chest height, right and left alternating. Wind makes the ribbons flutter rapidly in small motions, contrasting with the earlier large arcs.
* **\[Local Beat 24 weak]:** Continue small steps and wrist circles, moving left. The movement is quick and delicate, contrasting with the previous large-scale turn. Ribbons make small fluttering motions in the wind.
* **\[Local Beat 25 strong]:** Sudden stillness — all movement stops. Feet plant, hands freeze mid-wrist-circle at chest height, body held in a slight leftward lean. Only the ribbons, skirt layers, and hair continue to move — driven now almost entirely by the constant off-camera wind, since the body has stopped. The wind becomes the sole author of motion in this stillness: ribbons stream and flap, skirt layers lift and settle, hair blows across the face and shoulders. This is a deliberate musical breath / rest, and the practical wind makes the "frozen dancer in living wind" a tangible, real moment.
* **\[Local Beat 26 weak]:** Stillness holds. Wind continues to move the fabric and hair. A strand of hair settles onto the shoulder, then blows again. Ribbons flap with the natural turbulence of the fan. Gaze is soft, slightly downward, introspective. The dancer does not blink excessively or break stillness.
* **\[Local Beat 27 medium]:** Right hand slowly begins to rise from chest height toward the forehead, fingers extended, palm facing inward. The movement is extremely slow and deliberate, as if reaching for something invisible. Wind pushes the attached ribbon upward and backward, trailing behind the slow-moving hand.
* **\[Local Beat 28 weak]:** Right hand continues rising, passing in front of the face, fingertips approaching the forehead gem pendant. Gaze follows the hand upward. Left hand remains at chest, still. Wind moves hair across the rising hand.
* **\[Local Beat 29 strong]:** Right hand reaches its highest point, fingertips lightly near the forehead, palm facing down. Body begins to slowly sink, knees bending. Left hand begins to descend toward the lower abdomen. Wind streams both ribbons downward and backward as the body sinks.
* **\[Local Beat 30 weak]:** Body continues sinking, right hand descends from the forehead along the front of the body, following the sinking torso. The movement mirrors the opening breath-sink of Segment 01, creating narrative closure. Wind wraps the ribbons around the forearms as they descend.
* **\[Local Beat 31 medium]:** Body reaches a low, grounded position — knees deeply bent, torso upright, both hands resting at the lower abdomen, palms facing inward, right foot forward and left foot behind (echoing the opening stance of \<Picture 1> but in a collected, sunken form). Ribbons wrap softly around the forearms and settle into the skirt, wind still gently moving the tassel ends and loose hair.
* **\[Local Beat 32 weak]:** Final micro-adjustment — the dancer settles completely into the final pose, a deep exhale visible in the shoulders, gaze forward with calm, resolved focus. The wind continues to move the fabric and hair gently — it does not stop. Music fades to silence exactly on this beat, leaving only the faint ambient wind sound and the sight of living fabric moving on a still dancer.
At 00:00:30, the movement resolves into complete stillness in a sunken, collected stance echoing the opening pose of \<Picture 1>, both hands at the lower abdomen, gaze forward. The dancer's body is still, but the off-camera wind continues to move ribbons, hair, and skirt — the wind is the final living element.
After 00:00:30, zero body movement, zero camera movement, no post-ending embellishment of any kind. The practical wind may continue naturally.
**camera\_direction:** Real Steadicam operation, same 35mm prime lens. At beat 17, quick operator Push In (medium amplitude, fast deceleration, natural Steadicam momentum) to amplify the explosive rise. At beat 19 (the spin), operator Arc Shot (medium amplitude, clockwise, walking arc matching the dancer's rotation direction) at medium speed — this captures the skirt bloom from a three-quarter angle, natural motion blur from the real lens and moving camera. At beat 20, operator decelerates and settles into a static medium shot. During beats 23–24 (small steps), subtle operator Truck Left following the dancer's horizontal movement, small amplitude, natural walking pace. At beat 25 (sudden stillness), the operator also stops completely — static shot, natural Steadicam settle (a tiny amount of residual operator sway is acceptable and realistic). For beats 27–32, very slow operator Push In (small amplitude, extremely slow) toward the dancer's upper body, emphasizing the introspective resolution. Final frame holds on the settled pose, wind moving the fabric. No zoom (prime lens), no digital stabilization, no crane or jib (operator-held Steadicam only).
**editing:** One continuous take throughout Segment 02. No cuts. The spin at beat 19 must be captured in a single unbroken take — no cut during the rotation. The sudden stillness at beat 25 is a choreographic and camera event, not an edit point. Continuous take is mandatory for the final resolution.
**performance:** Emotional progression from explosive release and elevation (beats 17–20) → flowing confidence (beats 21–24) → sudden introspective stillness (beats 25–26) → reverent, delicate reaching (beats 27–28) → deep, resolved collection (beats 29–32). No smiling throughout. At the peak spin, expression is focused and elevated, not ecstatic. During the final stillness, gaze is calm and grounded. Breath is visible and intentional throughout. Wind moving hair across the face is accepted as part of the live performance — the dancer does not break character.
**body\_mechanics:** The explosive rise at beat 17 originates from the legs and feet pushing into the ground, energy traveling up through the spine to the fingertips — not from the arms lifting first. The spin at beat 19 is initiated by the right foot pivot and hip rotation, with the arms extending outward to control angular momentum (like a figure skater). Landing at beat 20 absorbs force through knee bend and ankle flexion, not a stiff impact. The small steps at beats 23–24 are driven by the ankles and knees with the torso remaining stable — the upper body does not bob. The slow hand rise at beats 27–28 originates from the back and shoulder, with the elbow leading and fingers trailing last. The final sink at beats 29–31 is a sequential spinal flexion from lumbar to cervical, coordinated with the knee bend. All kinetic chains: feet → ankles → knees → hips → lumbar → thoracic → shoulders → elbows → wrists → fingers → head → hair.
**costume\_hair\_physics (with practical off-camera wind):** The off-camera industrial fan continues running from Segment 01, positioned at the dancer's front-left (45 degrees). Wind intensifies slightly during beats 17–20 (climax), then returns to baseline gentle wind for the remainder. The wind is a constant physical force throughout. At the explosive rise (beat 17), ribbons snap upward and outward, skirt layers lift from the legs, wind amplifying the centrifugal and upward force. During the spin (beat 19), the multi-layer skirt blooms into a full horizontal circle — outer sheer layers extend widest, inner layers follow, gold embroidery catches the practical candlelight. Wind from the fan adds extra lift and separation to the skirt layers during the rotation. Both ribbons trail in wide helical arcs around the body, tassel ends flying farthest, wind catching the trailing edges. Hair fans outward from the head, wind streaming it. Landing (beat 20): skirt and ribbons descend and wrap around the legs, hair settles onto the shoulders and back with a bounce, wind keeps the fabric from settling completely. During small steps (beats 23–24), ribbons make small, quick fluttering motions in the wind, skirt hem sways gently. During the sudden stillness (beats 25–26), all primary body motion stops but the wind becomes the sole mover — ribbons stream and flap continuously, skirt layers lift and settle in the wind, hair blows across the face and shoulders, tassels swing. This is the key practical-wind moment: a frozen dancer with living fabric, achieved entirely through real fan wind. During the slow hand rise (beats 27–28), the attached ribbon rises slowly with the arm, wind pushing it upward and trailing behind. During the final sink (beats 29–31), all fabric wraps and settles into a soft, collected mass around the body, but the wind continues to gently move the tassel ends and loose strands. At beat 32 and beyond, the dancer is still but the wind keeps the fabric and hair alive — this is intentional. No independently animated fabric or hair — all motion is physical response to body movement + practical off-camera wind.
**negative\_constraints:** Inherit all negative constraints from Segment 01 (no CGI, no VFX, no digital effects, no digital wind, no skin smoothing, no color grading beyond natural, etc.), plus: no additional spins beyond the single full turn at beat 19, no cut during the spin, no camera movement during the beat 25 stillness beyond natural Steadicam settle, no post-ending body movement after 00:00:30, no stopping the fan wind at any point.
**overall\_soundscape:** Inherit from Segment 01. During the spin, subtle fabric whoosh may be faintly audible (real fabric moving through air). During the stillness (beats 25–26), the faint ambient wind sound from the off-camera fan becomes more perceptible as the music drops out — it is the sound of air moving through the stone hall and through fabric. The wind sound is continuous throughout and does not stop at the end.
**non\_diegetic\_music:** genre: Chinese gufeng / ancient-style lyrical orchestral with ambient electronic undertones (continuous from Segment 01, no break); BPM: 76, 4/4; key: A natural minor with pentatonic inflections; instrumentation architecture: same ensemble as Segment 01 — guzheng, dizi, guqin, cello, bianzhong chimes, frame drum, ambient synth pad; musical structure: climax build (beats 17–18, guzheng rapid arpeggios, dizi ascending line, frame drum doubles to all four beats) → peak at beat 19 (full orchestral hit, bianzhong chime crash, dizi high trill, all instruments at ff, this is the musical peak synchronized with the spin) → post-peak descent (beats 20–22, texture thins, guzheng takes over with descending melodic line, dizi drops out) → delicate transition (beats 23–24, only guzheng pizzicato and soft frame drum, light and quick) → complete musical rest at beat 25 (silence except for subtle reverb tail and the faint ambient wind sound, matching the dancer's sudden stillness) → re-entry (beat 27, guqin single low note, then guzheng sparse melody, extremely slow and delicate) → resolution phrase (beats 29–31, guzheng and cello in unison slow descending line, dizi enters with a soft final note) → final beat 32 (single guzheng pluck, then complete silence, reverb fades naturally, leaving only the faint ambient wind); dynamics arc: f (climax build) → ff (peak at beat 19) → mf (descent) → mp (delicate transition) → niente/complete rest (beat 25–26, wind sound remains) → pp (re-entry) → ppp (resolution) → silence (beat 32+, wind sound remains); synchronization: peak orchestral hit exactly on beat 19 synchronized with the mid-spin skirt bloom; musical rest at beat 25 exactly synchronized with the dancer's sudden stillness; guqin low note on beat 27 synchronized with the hand beginning to rise; final guzheng pluck on beat 32 synchronized with the final pose settling; vocals: none, purely instrumental; production: same warm resonant hall sound as Segment 1, with the peak at beat 19 having slightly wider stereo imaging for impact, the rest at beat 25 exposing the natural hall reverb tail and the faint ambient wind, final moments extremely intimate and close-miked. Music plays continuously without interruption from 00:00:00 through 00:00:30, with the structured silence at beats 25–26 being an intentional musical rest within the continuous track, not a break.
***
## 导演自检摘要
| 检查项 | 状态 |
| ------------------------- | ----------------------------------------------------------------------- |
| 图 1 锁定（人物 + 服装 + 背景 + 灯光） | ✅ 默认全锁定，含 no-background-redraw /no-lighting-change |
| 最小锚点行（轮廓 + 运动结构 + 色调） | ✅ 简短，严格匹配图 1 |
| 实拍无特效 | ✅ 明确 no CGI /no VFX /no digital compositing /no post-production effects |
| 画面外风机风吹 | ✅ 工业风机位于舞者左前方 45°，全程持续运行，高潮段风力增强 |
| 风的物理真实性 | ✅ 所有布料 / 发丝运动 = 身体动作 + 真实风力，无数字模拟风 |
| 舞蹈语言一致性 | ✅ 中国古典舞身韵为主，敦煌 / 西域为辅 |
| 每段核心动作数 | ✅ Segment 01: 8 个，Segment 02: 9 个 |
| 旋转限制 | ✅ 全片仅 1 次 360° 旋转（Beat 19），有明确音乐高潮动机 |
| 标志性动作 | ✅ 紫色裙摆 + 飘带绽放如花（真实离心力 + 真实风机，非 CG） |
| 身体力学链 | ✅ 每段完整 kinetic chain 描述 |
| 服装 / 发丝物理 | ✅ 飘带、多层裙、发丝响应规则完整，含风机风效应 |
| 音乐格式 | ✅ non\_diegetic\_music 标准十项格式，直接嵌入不单独输出 |
| 音乐连续性 | ✅ 00:00–00:30 全程连续，Beat 25–26 为有意留白非中断 |
| H3 格式 | ✅ I2VA 开场指令、字段顺序、local beat 编号均合规 |
| 负面约束 | ✅ 含 no-redesign /no-background-redraw/no-lighting-change /no-CGI/no-VFX |
| 真实摄影机 | ✅ Steadicam + 35mm 定焦，无 CG 运镜，自然操作者微动 | 我先读取 Suno 的古风配方、短曲结构模板和风格指南，确保按专业标准输出。
参考文件已读完。基于古风舞蹈设计（紫金舞衣、烛光石殿、风机风吹、起势→爆发→静止→收束），按 Suno Top-Anchor + 方括号专业写法输出30秒短曲。
Suno 设置
Model: v5.5 (flagship) Mode: Custom / Advanced Instrumental toggle: OFF (有女声)
Style of Music（直接粘贴到 Style 字段）
Traditional Chinese guofeng ballad, pentatonic A minor, 76 BPM, guzheng arpeggios, dizi bamboo flute countermelody, guqin textural drone, cello low sustain, bianzhong chime accents, warm breathy female soprano with classical Chinese diction and restrained head-voice lilt, airy spacious hall reverb, 30-second short, intimate, no drums
Exclude Styles（最多3项）： EDM drop, autotune, heavy distorted guitar
Sliders：
- Weirdness: 35
- Style Influence: 75
Lyrics（直接粘贴到 Lyrics 字段）
[Instrumental Intro] [guzheng solo, pentatonic, sparse, hall reverb] [soft candlelit stone hall atmosphere, establishing] [Verse] [soft breathy female vocal, classical Chinese diction] [guzheng arpeggios, dizi countermelody enters beneath] 紫纱随风起 烛影摇石壁 一舞惊鸿影 风停人独立 [Chorus] [full Chinese ensemble, bianzhong chime, cello swell] [vocal rises to head voice, never belted harshly] [the single peak — dizi high note, guzheng rapid arpeggios] 啊—— 月华染紫衣 千山暮雪寂 [Outro] [stripped to guzheng only, dizi fades] [whispered vocal tail, single final guzheng pluck resolves to silence] (whispered, fading) 啊——
设计说明
结构与时间线（约30秒）：
时间 段落 对应舞蹈 0:00–0:04 Intro 古筝独奏 起势沉气 0:04–0:14 Verse 女声+竹笛 舒展绽放、半转身 0:14–0:22 Chorus 全奏高潮 爆发升腾+360°旋转裙摆绽放 0:22–0:30 Outro 古筝+轻吟渐弱 骤然静止→缓抬手→下沉收束
歌词意境与画面对应：
- 紫纱随风起 — 风机吹动紫色飘带
- 烛影摇石壁 — 烛光石殿背景
- 一舞惊鸿影 — 舞蹈舒展高点
- 风停人独立 — 骤然静止（人停风不停）
- 月华染紫衣 — 高潮，紫色服装在光中
- 千山暮雪寂 — 收束归于寂静
Signature motif： 古筝五声音阶琶音模式，Intro 首次陈述，Outro 以单音拨弦收束，形成首尾呼应。
Dynamics arc： pp → mp → f（唯一高潮在Chorus）→ ppp → silence，最大能量不在开头而在中段。
迭代建议： 生成4–8个take后挑选。若女声咬字不清，提高 Style Influence 至80；若高潮不够突出，在Chorus的bracket stack中加 [biggest moment, widest stereo]。