AI 動画でキャラクターの一貫性を保つ方法：設定画

英語ナレーションの文字起こしです。

0:04If there's one thing an audience notices instantly, it's a character who changes face between two shots. It breaks the spell, every time. And it's the hardest problem in AI filmmaking. In Lost Garden, the same two nights carry the story from the first minute to the last. In this lecture, you'll learn the method that makes that possible. Reference sheets, built and used the right way.

0:32Start in writing, before any image. Give each character an identity paragraph. Age, build, face, hair, costume. And one distinctive detail. For Emily, a woman of 35, chestnut hair tied back, a beige wool coat and a burgundy scarf. For Thomas, a man of 40, with a short dark beard and tired eyes. A navy blue coat over a grey sweater. Keep that exact wording and reuse it everywhere. In the sheet, in the prompts, in the notes.

1:08Then build the reference sheet. The same character, seen from the front, in three -quarter view, in profile and from the back. Plus a close -up of the face. A neutral pose, neutral light, a plain background. Each view teaches the model something. The front gives the face. The profile gives the nose and the jaw. The back gives the hair and the coat. Together, they give the model a character it can turn in space.

1:38To generate a sheet, describe the layout explicitly. Character reference sheet, the same woman shown four times, full body. Front view, three -quarter view, profile, back view. Plus a close -up of her face. Neutral standing pose, flat, even studio light, plain grey background. Then add the identity paragraph, word for word. Generate a few and keep the one where the face is clearest and the costume simplest.

2:09In Screenweaver, each character actually gets two sheets. A storyboard sheet, in 3D previous style, used for blocking the shots, and a production sheet, in the final look of the film, generated from your art direction and the character's description. You'll find them on the canvas, in the story element of each character, under storyboard and production. The previs sheet helps you direct. The production sheet is what the video model receives.

2:37The two sheets must describe the same person. If your previs Emily has short hair and your production Emily has long hair, the storyboard will mislead every shot. So check them side by side. The same silhouette, the same costume, the same hair.

2:55Now, an important rule. The story wins. The sheet gives the model a face and a silhouette, but what the character wears, holds, and looks like in a given scene comes from the story. If the script says Thomas arrives soaked by the rain, his hair is wet, even if the sheet shows it dry. If a scene happens years later, the costume changes. Never let the sheet overrule the scene. Check every shot against the script, not only against the sheet.

3:25Before you produce anything, test your sheet. Generate three quick shots. A wide, a medium, and a close -up. Then compare them side by side. The face, the hair, the costume, the one distinctive detail. If something drifts, fix the sheet or the description, not the individual shots. A weak sheet will cost you on every shot of the film. A strong one pays you back on every shot.

3:53Look at the four shots of the photo. Emily in the opening two -shot, in the exchange, her hands in the insert, her face in the close -up. Same hair, same beige coat, same burgundy scarf, from the first frame to the last. That's what a good sheet buys you.

4:13A word about faces. Some video models refuse photorealistic faces as references to prevent misuse. If yours does, you can switch to a model that accepts them for your project, push the style slightly away from photorealism, or build your characters from generated faces. And one rule with no exceptions, never build a character from a real person's photo without their consent.

4:37Consistency also lives in your words. One name per character, everywhere, as we saw in the screenwriting section. In Screenweaver, when you write a shot's action, you mention characters with the at sign. At Thomas hands an old photo to at Emily. Each mention links that character's sheet to the shot automatically. The model always receives the right reference, and you never have to attach it by hand.

5:06Lost Garden pushes the same method much further. Many shots per episode, and the same nights in every one of them. The secret isn't a magic model. It's the same sheets, the same names, and the same descriptions used with discipline, shot after shot.

5:25Here are the four failures you'll meet most often, and their fixes. The age drifts, put the age in the description, and in the sheet's close -up. Costume details disappear. Simplify the costume, because fewer, bolder details hold better than many small ones. Two characters blend together. Contrast their silhouettes and colours, like Emily's beige against Thomas's navy. And objects switch hands. Write which hand in the action of the shot.

5:56And keep a consistency log. For every character, note the exact description, the sheet you used, and anything that changes during the story. Wet hair from scene three, a bandage after the fight, a different coat in the flashback. When you come back to a scene weeks later, or when a teammate generates a shot, the log is what keeps everyone on the same character.

6:20Your exercise. Write the identity paragraph of each main character, build their reference sheets, and run the three -shot test. Then start your consistency log. That's the end of section three. Take the quiz, and in section four, we'll break the script down into shots and storyboard them in 3D previews so that every camera decision is made before you generate.