「film」の検索結果

Produce 3D assets with Meshy (meshy.ai) through its REST API and web platform — text-to-3D, image-to-3D, multi-image-to-3D, AI texturing/PBR, remesh/topology control, UV, and auto-rigging/animation. Use this skill when an agent must generate a mesh from a prompt or reference image, control polygon count and topology, apply or restyle textures, rig a humanoid for animation, export to GLB/FBX/OBJ/USDZ/STL for Unity/Unreal/Blender, drive Meshy's asynchronous job API (auth, polling, streaming, webhooks, credits, rate limits), review generated meshes for game/film/print readiness, or decide whether Meshy is the right tool at all. Not for editing an existing hand-modeled asset's geometry, hard-surface CAD with exact dimensions, or guaranteed-watertight manufacturing parts.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent title design and kinetic typography direction for video, animation, ads, explainers, social hooks, brand films, lyric/text videos, title cards, main titles, lower thirds, captions-as-design, and other motion-led text. Use when an agent must plan, prompt, implement, hand off, iterate, or QA typography hierarchy, readability, timing, reveal/hold/exit, motion semantics, line breaks, safe areas, localization, brand constraints, accessibility, flashing/motion safety, or production specs for animated text.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent production design direction for AI-generated media. Use when translating narrative, brand, advertising, product, social, film, or worldbuilding intent into sets, locations, props, color and material palettes, era research, graphic and environmental design, continuity bibles, image/video prompt planning, reference strategy, production constraints, iteration notes, handoff specs, and QA.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent storyboard and previsualization direction for AI agents turning briefs, scripts, treatments, ads, films, social videos, and generated-media concepts into shot-by-shot boards, animatics, previs plans, camera/blocking/movement direction, reference packs, AI image/video prompt plans, review workflows, continuity checks, and production handoffs.

日本語の概要は準備中です。原文の説明を表示しています。

Direct cinematic shots and coverage for AI-assisted content production. Use when an agent must translate story intent into framing, shot size, lens and perspective, camera position, movement, blocking, screen direction, lighting-aware coverage, continuity, shot specifications, or diagnose why generated or filmed shots do not cut together.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent lighting direction for AI-generated images, video clips, ads, film scenes, avatars, product shots, interviews, beauty work, and social content. Use when an agent must specify, translate, maintain, troubleshoot, or QA motivated lighting, key/fill/back/rim/practical lights, hard or soft light, color temperature, exposure, contrast, time-of-day, continuity, reference strategy, or safety/accessibility risks in generated media.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent performance direction for generated video, avatar/spokesperson clips, animation, ads, film scenes, social content, and voice-led media. Use when an agent must cast or direct synthetic performers, avatars, animated characters, talking heads, AI video characters, or voice performances; plan acting beats, objective/obstacle/action, blocking, gesture, eye-line, facial expression, body language, lip-sync, voice alignment, rehearsal prompts, iteration, continuity, consent, and performance QA.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent color grading and finishing direction for generated video, ads, trailers, product films, social clips, explainers, and mixed-source edits. Use when planning, directing, reviewing, or QAing color correction, shot matching, exposure, contrast, saturation, skin/product color protection, look development, LUT/reference use, SDR/HDR color management, delivery constraints, generated-media artifacts, editor/compositor handoff, and finishing QC.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent motion graphics direction for AI agents producing title sequences, lower thirds, explainer graphics, product UI overlays, social ads, kinetic typography, diagrams, data callouts, brand films, and video post. Use when planning, prompting, storyboarding, specifying, implementing, reviewing, or QAing motion graphics across live footage, generated video, UI capture, data visualization, brand systems, typography, accessibility, claim integrity, runtime handoff, and iteration.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent sound design and Foley direction for generated media. Use when an agent must plan, prompt, source, generate, edit, mix, hand off, repair, or QA sound effects, Foley, ambience, impacts, transitions, UI/product audio, emotional sound design, or accessibility-safe captions for videos, ads, trailers, animation, avatar clips, explainers, games/trailers, product films, and social edits.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent production workflow for AI-assisted fashion campaigns, lookbooks, editorial fashion films, ecommerce/editorial hybrids, social cutdowns, virtual try-on assets, generated model/lifestyle ads, and retouched fashion visuals; use when an agent must plan, prompt, produce, review, localize, or deliver fashion imagery or video while preserving garment truthfulness, model consent, fit representation, claims substantiation, platform compliance, accessibility, and fashion QA.

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Provider-independent asset continuity and version management for generated-media production. Use when an agent must track generated or reference assets, prompts, seeds, model/tool versions, manifests, approvals, edit decisions, derivatives, localization variants, metadata/provenance, and continuity QA across image, video, audio, avatar, product-ad, social, explainer, or film-style pipelines.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent music supervision and scoring direction for AI agents producing generated videos, ads, trailers, explainers, product films, social clips, documentaries, game trailers, and branded content. Use when planning, prompting, selecting, licensing, mixing, repairing, or quality-reviewing music, score, temp tracks, needle drops, AI-generated tracks, cue sheets, stems, loudness, loopability, platform music constraints, and rights-aware audio handoff for visual media.

日本語の概要は準備中です。原文の説明を表示しています。

Provider-independent dialogue editing and ADR direction for AI agents producing generated videos, films, ads, avatar clips, explainers, localization/dubbing, podcasts, recuts, and social content. Use for dialogue prep, repair, room tone, take comping, sync, ADR cueing, dubbing direction, pronunciation, de-essing, plosives, mouth clicks, voice continuity, synthetic voice consent boundaries, captions/transcripts handoff, mix handoff, loudness, intelligibility, accessibility, and QA.

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Overlay doctrine for the embedded-captions workflow — the caption MODEL (drop / rail / embed) and the rule that captions are an OVERLAY composited on top of the film, never a reserved bottom band you shift content up to avoid. Load when adding captions/subtitles to a talking-head or launch video, when deciding whether a phrase should be dropped, ride the verbatim rail, or be promoted to a scarce embedded climax, when laying out a composition that will carry captions (do NOT reserve a keep-out band), or when centering a composition on the true frame center under captions. Quotes the rail+embed model from embedded-captions and constraint

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Make kinetic-typography motion reels (MP4) in code: showreels, portfolio or work reels, product promos, intro films, "motion design"-style videos with bold condensed type, HUD micro-type, black/cream/lime palette, three.js generative layers (particle terrain, liquid marble, chrome knot, particle clouds), shape-continuity transitions and a synthesized, beat-locked score. Canvas 2D + WebGL rendered frame by frame in headless Chrome, encoded with ffmpeg. Use when the user asks for a reel, showreel, motion-graphics / kinetic-type video, a "Work Reel" in this style, or to extend/re-cut the Work Reel ’26.

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The art and science of narrative-driven brand communication. This skill transforms brand messages into compelling stories that connect emotionally, build memory, and drive action. In a world of infinite content, story is the only thing that cuts through. Great brands don't sell products—they tell stories. Apple tells the story of creative rebels. Nike tells the story of human potential. Patagonia tells the story of environmental stewardship. This skill teaches you to find, craft, and tell your brand's story across every touchpoint. AI amplifies storytelling capability—generating variations, adapting across channels, maintaining consistency—but the human insight that identifies the true story remains essential. This skill bridges narrative craft with AI execution. Use when "story, storytelling, narrative, brand story, origin story, hero journey, emotional connection, customer story, testimonial, case study, brand film, about us, storytelling, narrative, brand-story, emotional, hero-journey, content" mentioned.

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Search real live music, theater, dance, comedy, film, art, sports, festivals, markets, food and drink, nightlife, classes, talks and lectures, books and literary events, tours, outdoors and nature programs, family and kids activities, social and dating nights, networking and business events, wellness classes, religion and spirituality services, civic meetings, charity and volunteering in New York City — with dates, times, prices, booking links and images. Use this whenever someone asks what to do, where to go, what is on, or where to take people in New York, for any date or none, even if they do not name SyncSo. Live catalogue, updated continuously.

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音乐制作 / 混音 (音乐制作 / 混音 (Music Production & Mixing) — 录音棚与卧室工作室里把一首歌从编曲/录音/编程做到混音/母带成品的工程+艺术认知操作系统，面向制作人(producer)、混音师(mixing engineer)、母带工程师(mastering engineer)、beatmaker、唱作人/bedroom producer，以及想入行/服务这行(录音棚、plugin 厂商、sample 公司)的视角。覆盖: (a) 第一性张力 — **服务歌曲/情绪 (serve the song / emotion-first: 技术只为打动人，'if it sounds good it is good'，用耳朵不用眼睛) ⇄ 技术正确/工程纪律 (technical correctness: gain staging 增益结构、headroom 余量、相位 phase、监听校准、LUFS 响度规范)**; **黄金耳朵/直觉混音 (mix by ears, reference-driven, 不看分析仪) ⇄ 看表/分析仪/规则 (mix by metrics: EQ 曲线、频谱仪 spectrum analyzer、相关计 correlation meter)**; **少即是多/减法混音 (subtractive, 'less is more', 录好源头 = 混音成功一半) ⇄ 重度处理/'we'll fix it in the mix' (heavy processing, 后期补救)**; **In-the-box 全数字 (ITB: DAW + 插件，召回方便，bedroom 可达专业) ⇄ 模拟硬件/outboard (analog console + 硬件，'mojo'/谐波染色 vs 召回噩梦)**; **人性化/groove/不完美 (humanize, push/pull, 'the feel') ⇄ 量化/网格/修音 (quantize to grid, pitch-correct, 'in the pocket' 靠编辑)**; (b) 核心工作流 / pipeline (最标准、最易蒸高质量+CLI 化) — 编曲制作 arrangement/production → 录音/编程 tracking/programming → 编辑 editing (comping 选段/quantize/pitch-correct/time-align) → 混音 mixing (gain staging → balance 平衡 → EQ → compression → 空间 reverb/delay → 自动化 automation → 总线/母线处理 bus/mix-bus) → 母带 mastering (响度/EQ/限制 limiting/dither/排序+间隔) → 交付 delivery (DDP/streaming spec/stems); (c) 工具栈 — DAW (Pro Tools 录音棚标准/Ableton Live 电子+现场/Logic Pro Mac 性价比/FL Studio beatmaker/Cubase/Studio One/Reaper); 插件 (EQ: FabFilter Pro-Q/SSL/API; 压缩: 1176/LA-2A/SSL bus comp 及其复刻 Waves/UAD/Plugin Alliance; 混响: Valhalla/Lexicon/Bricasti; 调音: Auto-Tune/Melodyne; 限制器 limiter: Pro-L 2/Ozone); 硬件 (监听音箱 monitors: Yamaha NS-10/Genelec; 声学处理 acoustic treatment; 转换器 converters: Apollo/RME; 话筒 mics: U47/SM7B/57); 采样/音色 (Splice/sample packs/Kontakt/Serum 合成器); (d) 知识正典 — Mixing Secrets for the Small Studio (Mike Senior)、The Mixing Engineer's Handbook / Recording Engineer's Handbook (Bobby Owsinski)、Zen and the Art of Mixing (Mixerman)、The Art of Mixing (David Gibson 可视化)、Modern Recording Techniques、Sound on Sound 杂志、Mix With The Masters 大师课、Pensado's Place; (e) figures/流派 — 混音大师 (Chris Lord-Alge CLA 摇滚/Andrew Scheps 'Stadium' 3-bus/Tony Maserati/Manny Marroquin/Serban Ghenea 流行隐形混音/Michael Brauer multing); 制作人 (Rick Rubin 减法/氛围、Quincy Jones、Dr. Dre 完美主义、Max Martin 流行结构、Jack Antonoff、Finneas bedroom→Grammy、Metro Boomin/trap、Timbaland、Pharrell); 母带 (Bob Katz K-system/响度战争批判、Bob Ludwig、Greg Calbi); 教育者 (Mike Senior、Pensado、Warren Huart Produce Like A Pro、Dan Worrall 技术深挖); (f) 行业话术/黑话 — gain staging/headroom/LUFS/true peak/comping/bouncing/printing/stems/DI/reamp/sidechain/parallel compression 并行压缩/mid-side/bus/aux/send-return/dry-wet/transient/sibilance/de-ess/pumping/mud 浑浊/harsh 刺耳/boxy/muddy/in the pocket/the pocket/quantize/swing/groove/vibe/mojo/reference track/A/B/recall/print/glue 胶水; (g) 争议/批判 — 响度战争 loudness war (Bob Katz/Loudness Penalty/streaming 归一化 LUFS 终结了吗)、修音/Auto-Tune 之争 (artistic vs cheating)、ITB vs 模拟玄学 (硬件 'warmth' 是否安慰剂、null test 盲测)、preset/AI 混音 (iZotope/LANDR/sample-based 是否毁了 craft)、bedroom producer 民主化 vs 录音棚消亡、'loudness'/over-compression、plugin 复刻 vs 真硬件、Spotify normalization 对母带的影响、过度依赖 reference/抄袭; (h) 创意 vs 技术张力是本行业 deep tacit 知识的核心 — 大量隐性 '听感' 知识难以言传，靠 reference/学徒/千小时积累。不含: 现场扩声 live sound/PA、音乐理论/作曲 composition (虽相关但聚焦录音棚后期制作)、配乐/film scoring (虽相关但聚焦歌曲制作)、纯硬件电子工程/合成器 DIY、音乐商业/版权/发行 (虽相关但聚焦制作技艺本身)。) Master OS — automated mastery of 音乐制作 / 混音 (Music Production & Mixing) — 录音棚与卧室工作室里把一首歌从编曲/录音/编程做到混音/母带成品的工程+艺术认知操作系统，面向制作人(producer)、混音师(mixing engineer)、母带工程师(mastering engineer)、beatmaker、唱作人/bedroom producer，以及想入行/服务这行(录音棚、plugin 厂商、sample 公司)的视角。覆盖: (a) 第一性张力 — **服务歌曲/情绪 (serve the song / emotion-first: 技术只为打动人，'if it sounds good it is good'，用耳朵不用眼睛) ⇄ 技术正确/工程纪律 (technical correctness: gain staging 增益结构、headroom 余量、相位 phase、监听校准、LUFS 响度规范)**; **黄金耳朵/直觉混音 (mix by ears, reference-driven, 不看分析仪) ⇄ 看表/分析仪/规则 (mix by metrics: EQ 曲线、频谱仪 spectrum analyzer、相关计 correlation meter)**; **少即是多/减法混音 (subtractive, 'less is more', 录好源头 = 混音成功一半) ⇄ 重度处理/'we'll fix it i

日本語の概要は準備中です。原文の説明を表示しています。

摄影 (摄影 (Photography) — 以静态影像为产出的视觉创作 + 服务行业：从看见 → 用光 → 构图 → 拍摄 → 后期 → 交付的认知操作系统，覆盖商业摄影 (commercial: 产品/广告/电商/美食)、人像摄影 (portrait: 影楼/写真/婚礼/时尚/环境人像)、纪实与街头摄影 (documentary/photojournalism/street)，以及与之贯通的风光、新闻、艺术摄影。面向职业摄影师 / 助理 / 修图师 / 想转职业的资深爱好者 / 服务这行的人 (器材厂商、图库、后期外包、影楼运营)。覆盖: (a) 第一性张力 — **光 (light is the craft — 看光、控光、塑光：硬光/柔光、方向、色温、光比、布光是摄影第一性) ⇄ 器材 (gear — 相机/镜头/灯具迷信, 'GAS' gear-acquisition-syndrome, 'the best camera is the one you have with you' — 器材不是摄影)**; **决定性瞬间/抓取 (decisive moment, Cartier-Bresson, 等待与预判, 纪实/街头不可重来) ⇄ 构建/导演 (constructed/directed, 商业与人像是布光摆姿造光的'制造'而非'捕获')**; **前期/拍对 (get it right in camera, 曝光/白平衡/构图当场拍对) ⇄ 后期/暗房 (post/darkroom, Ansel Adams 'negative is the score, print is the performance' — RAW 冲洗/调色/修图是创作一半)**; **作者性/艺术表达 (vision, personal voice, 'photograph what you feel not what you see') ⇄ 服务性/商业交付 (client brief, 影楼标准化出片, 'shoot the brief not your ego', 摄影是生意)**; **真实/未操纵 (truth, photojournalism ethics, 不过度 PS, 新闻摄影伦理) ⇄ 修饰/理想化 (retouch, 商业人像液化磨皮, 广告的'谎言')**; **决定性技术参数 (曝光三角 aperture/shutter/ISO, 景深, 互易律) ⇄ 看见/眼力 (seeing, 'photography is about seeing not cameras', 构图/光感是 tacit 眼力)**; **胶片/慢/不可见 (film, 慢工, 不可即时回看, 暗房) ⇄ 数码/即时/海量 (digital, chimping, 连拍, 后期无限)**; AI 对摄影的冲击 ('是不是摄影'、生成式填充/换天/AI 修图、真实性危机); (b) 核心工作流 / pipeline (最标准、最易蒸高质量+CLI 化) — 通用链: 看光选光 → 曝光三角决策 (光圈定景深/快门定动静/ISO 兜底) → 测光与曝光 (评价/点测光, 向右曝光 ETTR, 直方图, 区域系统) → 构图 (三分法/引导线/框架/负空间/前景) → 对焦 → 拍摄 → 选片 culling → RAW 后期 (Lightroom/Capture One: 曝光/白平衡/色调曲线/HSL/局部) → 精修 retouch (Photoshop: 频率分离/液化/D&B) → 调色 grading → 输出交付 (色彩管理/sRGB/打印/图库上传); 子流派 SOP: 影棚商业布光 (主光/辅光/轮廓光/背景光, 三点布光, 光质修饰器 softbox/beauty-dish/grid)、婚礼/纪实一天流程、街头扫街、产品/电商台面、人像引导摆姿 posing & direction; (c) 工具栈 — 相机系统 (无反主导: Sony A 系 / Canon R / Nikon Z / 富士 X&GFX / 徕卡 M; 中画幅 Phase One/Hasselblad/GFX 商业; 残幅 vs 全幅 vs 中幅)、镜头 (大三元, 定焦 vs 变焦, 35/50/85 人像三剑客, 微距, 移轴)、灯具 (机顶闪 Godox/Profoto, 影室灯, 常亮 LED, 持续光 vs 闪光)、修饰器 (柔光箱/反光伞/束光筒/雷达罩/旗板)、测光/附件 (测光表, 灰卡, 三脚架, 滤镜 ND/CPL/渐变)、后期软件 (Adobe Lightroom Classic/CC 主导, Capture One 商业/影室, Photoshop 精修, DxO PhotoLab/PureRAW 降噪, Capture One vs Lightroom 之争, 国产: 醒图/泼辣 Polarr/Snapseed 移动端, RawTherapee/Darktable 开源, AI: Lightroom 生成式/Photoshop Generative Fill/Topaz Photo AI/Gigapixel/Luminar Neo)、色彩管理 (X-Rite/Calibrite 校色仪, ICC, 显示器)、图库/交付 (Pixieset/图虫/500px/视觉中国/Getty/Adobe Stock, 客片在线选片); (d) 知识正典 — Ansel Adams 'The Camera / The Negative / The Print' 三部曲 + 区域系统 (Zone System)、Henri Cartier-Bresson 'The Decisive Moment'、Michael Freeman 'The Photographer's Eye' (构图) 'The Photographer's Mind'、Bryan Peterson 'Understanding Exposure' (曝光入门圣经)、Scott Kelby 'Digital Photography Book' 系列 + Lightroom/Photoshop 书、Joe McNally 'The Hot Shoe Diaries / Sketching Light' (闪光灯)、Light Science & Magic (布光科学经典教材)、Roland Barthes 'Camera Lucida' (摄影哲学)、Susan Sontag 'On Photography'、John Szarkowski 'The Photographer's Eye'、National Geographic 摄影指南、Robert Capa / Sebastião Salgado / Steve McCurry (纪实)、Annie Leibovitz / Richard Avedon / Peter Lindbergh (人像/时尚)、Galen Rowell / Ansel Adams (风光); (e) figures/流派 — 风光/系统派 (Ansel Adams 区域系统奠基、Galen Rowell 探险风光、Marc Adamus); 决定性瞬间/纪实街头派 (Henri Cartier-Bresson 奠基、Robert Capa 战地、Sebastião Salgado 社会纪实、Steve McCurry、Vivian Maier、Daido Moriyama、森山大道/荒木经惟 日本派、Vivian Maier); 人像/时尚派 (Richard Avedon、Annie Leibovitz、Peter Lindbergh、Platon、Joey L、Lindsay Adler 时尚布光); 布光/教育派 (Joe McNally、Zack Arias 'one light'、Profoto/strobist David Hobby 'Strobist' 闪光灯启蒙博客、Karl Taylor 商业布光教学); 商业/广告派 (Chase Jarvis 'CreativeLive'创办+'best camera'、Joel Grimes、Tim Wallace 汽车); 后期/修图派 (Pratik Naik、Aaron Nace 'Phlearn'); 街头当代派 (Eric Kim 街头博客、Joel Meyerowitz、Saul Leiter 色彩街头); 中文圈 (李涛 'photoshop教学'、宁思潇潇 器材评测、thomas 'Thomas看看世界' 风光后期、阿刘 风光、668 人像); 哲学/批评 (Susan Sontag、Roland Barthes、John Szarkowski MoMA); (f) 行业话术/黑话 — 曝光三角 exposure triangle / 光圈 aperture f-stop / 快门 shutter speed / 感光度 ISO / 景深 DoF depth of field / 焦段 focal length / 等效 / 全画幅 full-frame vs 残幅 crop / 大三元 / 定焦 prime / 互易律 reciprocity / 向右曝光 ETTR / 直方图 histogram / 高光溢出 clipping / 动态范围 dynamic range / 宽容度 / 白平衡 WB

日本語の概要は準備中です。原文の説明を表示しています。

Judges whether a user's input suits the Vibe Creating style of video-prompt writing, and when it does, distills single-scene prompts, multi-shot descriptions, emotional imagery, or mixed input into prompts that are easier for a video model to generate from — while preserving any user-specified dialogue, voiceover, music, sound effects, and other hard constraints. Use when a user wants to turn an idea, story, feeling, or rough/over-specified prompt into a strong text-to-video prompt (Seedance, Sora, Kling, Veo, Runway, etc.), or asks to "rewrite", "improve", "clean up", or "vibe-ify" a video prompt. Do NOT use for long narrative films that need precise word-for-word dialogue sync, industrial shot lists meant to be executed verbatim, or functional/UI demos and step-by-step tutorials.

日本語の概要は準備中です。原文の説明を表示しています。

Suede Labs skill that prepares a song for sync pitching: scene and emotional angles, a supervisor-facing one-sheet, an exists/missing/unknown asset checklist covering master, instrumental, clean, and stems, screened lyric flags, mood tags, and the open clearance questions kept in their own labeled pile. Use when a track is headed for film, TV, ads, games, trailers, or creator campaigns; when a music supervisor, sync agent, or brand asks what a song is and whether it can be used; or when someone asks for a one-sheet, pitch email, or sync package for a release. Prepares review-ready materials only: never claims clearance, promises placement, or sends outreach. NOT FOR: finding and organizing the rights gaps behind an open clearance question (use suede-rights-audit); building the rights transfer package (use suede-rights-passport); linting the release folder itself (use suede-release-linter); a full rollout campaign (use suede-campaign-in-a-box).

日本語の概要は準備中です。原文の説明を表示しています。

Decide whether a preview the visual-diff bot flagged actually regressed or is simply nondeterministic, using a repeat-render oracle at a single commit. Use when a PR's preview diff reports a changed preview whose source the PR does not touch, or when a render, GIF or filmstrip is suspected of being unstable.

日本語の概要は準備中です。原文の説明を表示しています。

将剧本或画面描述转成专业、连续、可执行的电影分镜，并交给当前生图路由生成。

日本語の概要は準備中です。原文の説明を表示しています。