Check intent before locking
Do not replace accepted tracking, reveals or relationship moves with a lock just to eliminate drift. Determine whether the output follows the plan or adds unwanted motion.
“Fully locked” and “slow orbit” conflict over the same interval. An actor moving under a static camera may be fine if framing carries action and endpoint. A blank camera field is not automatically static; confirm a supplied choice with the storyboard.
See motivated movement for the creative choice. This guide implements the selected behavior in a video prompt.
Original prompt: still camera, active performance
The sample storyboard fixes this plan: Arui sits by a window, hears a doorbell and looks toward an off-screen doorway, remaining seated. Eye-level medium close framing keeps table edge and window as spatial anchors; the curtain already moves gently. This manual prompt has not been generated.
Vague: “Cinematic locked camera, gently floating orbit, she hears the bell, keep the entire picture still.” It demands both lock and orbit while freezing performance and curtain.
Revision candidate:
Hold the accepted eye-level medium close framing throughout, keeping table edge and window in place. Arui waits and breathes naturally. At the established doorbell, she looks toward the off-screen doorway and remains seated. Her breathing, head turn and gentle curtain movement continue inside the frame. The camera does not follow her turn; end framing matches the start.
Separate camera hold from action within the image. The bell exists in this sample script; add no extra person or event to cause the turn. When a real reference already supplies looks and interior detail, do not restate all the decoration.
If movement is wanted, mark its interval
A shot can hold, move, then land if those phases are accepted upstream. Triggers and landmarks such as “after the bell” or “when she reaches the door” are clearer than “push suitably.”
For explicit timed phases, use the accepted duration and state order or overlap. One or two hold anchors need not turn the whole shot into a stopwatch. Actor and camera speeds may differ; state who follows whom and the final frame rather than revising the design to equalize speed.
Use wording supported by the chosen target rather than treating another model’s term as a universal guarantee.
Find the issue in actual frames
Compare start, change point and end: do table/window anchors shift together, does framing tighten unexpectedly, and does the actor perform the agreed action? A head turn, clothing change or warped background is not necessarily camera movement; locate the actual issue.
| Issue | Next step |
|---|---|
| Lock and move coexist | Resolve their same-interval conflict |
| “Fixed” leaves framing vague | Add viewpoint, interval and allowed action |
| Correct move misses a reaction | Adjust trigger/landing; revise framing if needed |
| Stable camera, warped actor or background | Treat identity, assets or action separately |
| Clear wording still drifts | Compare replacement, usable spans or pickups |
This diagnostic table is not a success-rate test. Record the span and change, then use reroll or revision choices.
FAQ
Does a fixed camera require a motionless actor?
No. Camera position and framing remain fixed; performance and accepted environmental movement can continue. Specify permitted action separately from what stays fixed.
Do it with the skill
Use $short-drama-video-prompts with the accepted storyboard. Separate hold/move intervals and state framing, trigger, path, endpoint and permitted in-frame action. Preserve story facts and review spatial anchors and performance in actual output.
Read the method: Static and moving camera intervals · Start, motion and camera landing
About Drama SkillsThe short-drama-video-prompts skill on GitHub