Separate layout, view and temporary state
drama-skills’ location-reference method preserves geography and fixed anchors before choosing a view. A common failure is to describe the reverse angle as a fresh decorative scene, effectively asking for a new room.
This bike shop is an original production example, not a measured generation result.
| Layer | Example and change |
|---|---|
| Layout | Example: Entrance opens onto a central aisle; bench on east wall; one rear door on north wall; window on west wall; Between shots: Not merely because the camera moves |
| View | Example: From entrance facing north; from rear door facing south; Between shots: Yes, while preserving the room |
| State | Example: Rainy evening, desk lamp on, two bikes beside the aisle; Between shots: With a story reason and continuity |
| Framing | Example: Medium shot, low camera, vertical frame; Between shots: Yes, without relocating structures |
Use room-relative directions and named anchors first, then translate them into screen directions for each view. “Window on the left” alone becomes ambiguous when the camera turns.
Two reference prompts for the same room
From entrance looking in:
Empty reference image of a small bicycle repair shop, viewed north from the south entrance. A central aisle connects the entrance to the single rear door on the north wall. The bench runs along the east wall; one horizontal window is on the west wall. Preserve aisle width, rear-door position and fixed furniture. Rainy evening: cool light enters from the west window, with a warm desk lamp already on at the bench. No story characters or added crowd. Use the accepted material and color reference.
From rear door looking out:
The same shop viewed south from the north rear door. The east-wall bench appears screen-left, the west-wall window screen-right, and the central aisle leads to the south entrance. Keep the same doors, bench length and aisle relationships. It is the same rainy evening; cool light still comes from the west window, and the desk lamp remains in place and on. Empty space; do not add a new counter or exit.
Prioritize fixed structures and simplify secondary decoration. The views may differ in brightness or backlighting, but the difference must follow from one light setup and different directions. Compare them side by side rather than independently choosing two attractive images.
Track entrances and lighting changes
Before a character crosses from entrance to rear door, establish a usable route and record start and end positions. A beautiful reference without an aisle cannot support walking through the bench.
When evening becomes night, change the time and lighting state: window light weakens while the desk lamp stays on. If a ceiling light is switched on, every relevant view and following shot must inherit that fact.
| Change | Update |
|---|---|
| Camera turns | View direction, visible anchors and screen directions |
| Ceiling light turns on | Switch state, light hierarchy and neighboring shots |
| Prop moves | Who moves it, from where to where, and its next position |
| Time advances | Exterior brightness, weather and continuity of the action |
Do not seal an exit or invent damage merely to make a location feel dangerous. Express mood through accepted light, material and framing choices.
Fix the reference before generating motion
- Doors and windows swap: check whether this is a valid reverse view or a relocated structure.
- New furniture in every shot: remove nonfunctional decoration and retain a few recognizable anchors.
- Reverse angles have incompatible color: confirm the same window and lamp still serve the same roles; record explainable view differences.
- No route for the actor: revise the reference or blocking rather than asking motion to pass through furniture.
- Matching style, different space: a shared palette does not establish geography; inspect entrances and routes.
Confirm relationships between reference images before making keyframes and motion. Prompt instructions describe the target; generated images and cuts still require visual review.
FAQ
Does a new camera angle require a new location?
Usually it is a new view of the same location. Keep entrances, boundaries and fixed structures, and specify the relationships visible from that direction.
Must a location reference always be empty?
An empty space is easier to reuse. A deliberate scale reference or established occupancy may include people, but specify the purpose and avoid obscuring geography or inventing events.
Do it with the skill
Ask short-drama-image-prompts for entrance-inward and rear-door-outward reference prompts based on the accepted layout. Preserve doors, routes and the same lighting state, and list differences to verify.
Read the method: Location geography and lighting across views · Locations and viewing directions
About Drama SkillsThe short-drama-image-prompts skill on GitHub