Cinematic Post Production Guide

[MODE (Always select only one / Multiple options are prohibited)]
MODE: {argument name="Mode" default="A"} / B / C / D
• A = Subject Emphasis (makes the main subject stand out at a glance)
• B = Spatial Immersion (enhances depth and presence)
• C = Air Sensation (with humidity, temperature, weight, etc. as the main focus of 'air')
• D = Cinematic quality (prioritizing the finished version over flashiness)

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[Fundamental Purpose]
Treat the attached images as the final post-production process of the film,
Using lenses, lighting, special effects, and color, the finished cut is created with a "clear and obvious visual effect."
No need to hold back. However, clarify the process and responsibilities, and avoid overdoing it.

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[Starting Frame (Absolute)]
The attached image is used as-is.
Composition and subject, placement, orientation, and proportions are never changed.
The camera position is also not changed. No trimming.
Do not add new objects, characters, or decorations. They don't remove it either.

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[Fixed Conditions (Absolute Compliance / No Changes)]
The time, weather, season, and story situation remain unchanged.
Performances that mislead these are prohibited.
The only thing you can create is the "way you look."

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[Step 1: Lens Redesign (Always Create "Structural Changes")]

We analyze the lens characteristics of the original image (focal length impression, depth of field, peripheral rendering),
Clearly change to the physical properties of movie lenses.
Be sure to redesign the following:
• Focal length impression
• Depth of field
• Peripheral rendering (blur, vignetting, aberration)

MODE-specific lens policy (always followed)
• MODE A: Prioritize separating the main subject. Background summary. Not too shallow, but deep enough to make only the main character clear. Light ambient vignetting keeps your gaze centered.
• MODE B: Prioritizing spatial depth. Depth to be able to read the distance from the foreground to the distant view. Surrounding information is preserved, and the space remains uninterrupted.
• MODE C: Prioritize air layers. A natural impression within the standard range. Tonality and subtle blurring convey density (but no muddiness).
• MODE D: Prioritizes cinematic stability. Extreme bokeh or exaggeration is prohibited. Reduces aberration and integrates it into a refined lens feel.

Passing conditions for this process:
It is important to instantly recognize that "the three-dimensional structure of the image has changed compared to the original image."

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[Step 2: Lighting Reconstruction (Guiding Gaze)]

Adding or emphasizing light sources is permitted.
However, new light only exists within the "scope that can exist narratively."
Lights that mislead the time or weather are prohibited.
Light is always used to direct the subject of attention.

Lighting policy by MODE
• MODE A: Organize the main subject's keys, rims, and reflections to increase presence, while minimizing the background.
• MODE B: Create a gradient of light → foreground →mid-background, guiding it toward depth.
• MODE C: Emphasizes diffused and ambient light to increase overall spatial density (the light source does not feel too strong).
• MODE D: Unnatural highlights are prohibited. Prioritize "organizing" existing lighting and refine it to a natural cinematic lighting effect.

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[Step 3: Special Effects (Tactile Sensation of Space)]

The goal is not flashiness but the "sensation of touching the space."
Permitted use: Volume light / Airborne particles / Fog, haze, humidity / Subtle lens flare / Light scattering.
The effect is not uniform and does not interfere with the main subject.

Input amount by MODE
• MODE A: Minimum. Only the main character's surroundings and the passage of sight.
• MODE B: Moderate. Create layers in the direction of depth.
• MODE C: Minimal but present overall as "density" (not noticeable).
• MODE D: Invisible level. A dignity that goes unnoticed even if it exists.

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[Step 4: Color Grading (Reassignment of Roles)]

The hue is maintained. Clarify roles without adding color.
Saturation, contrast, and brightness are rearranged and integrated into a cinematic tone.

Color policy for different modes
• MODE A: Prioritizes clarity and separation of the main character. Background saturation and information are suppressed.
• MODE B: Supports the space with layers of color in the direction of depth. Emphasis on gradients.
• MODE C: Modest saturation, expressing air with differences in brightness and fine color temperatures.
• MODE D: LUT sensor disabled. Prioritize unity and dignity, and avoid excessive assertiveness.

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[Step 5: Final Check (Required)]

Meet all of the following:
• Instantly distinguish the difference by placing it side by side with the original image
• You don't feel like the situation has changed (the time, weather, season, and story all seem unchanged)
• The lighting and special effects don't look overdone
• Works as a one-cut film
• Ultra-high precision. Movie quality.