Midjourney Advanced Prompt Guide: Master Writing Prompts for AI Art Generation

1. Midjourney Advanced Prompt Intro: In this class you'll learn how to craft the most advanced prompts for your mid journey ai image generation process. Hi, I'm Arnold. I'm a marketing director and content creator and I've been implementing AI image generation in many parts of my professional work. Like when I'm creating video content, making art, or generating visuals for physical products. In this class, you'll learn how to craft an advanced prompt for your AI image generation process. We'll dive into how to do composition, subject building, and creating styles, and then how to bring all of that together into crafting your prompt. This class is perfect for RS want to test out concepts, creative thinkers with many ideas or content creators that need media for their content. I've even prepared a class cheat sheet for you to reference along the way. And for our final project will be going through how to create an advanced prompt based on everything that we learned in this class, image generation is really so easily accessible and can be implemented in a wide variety of needs. By the end of this class, you'll understand advanced techniques to creating my journey prompts and the thought process on how to craft the perfect work of art. So if you're ready to create some of the most advanced prompts for mid journey. Let's get started. 2. Project: The project for this class, we're going to be creating a prompt based on exactly what you want to create. That was not just going to be a simple problem. We're going to dive into every single part of this prompt and create it in a way that is something that is specific to what you want to make. And if you don't have anything in mind, I'm going to help you come up with something in mind. So how this project is going to work is we're going to reference our mid journey worksheet and we're going to follow the structure. We're going to create something that is composed, how you want it to be looking like. We're going to build up the subject. We're going to give it a lot of different details and attention to so that it comes to life. And then finally, we're going to put that all together and spice up this whole image and make it into a masterpiece by creating the environment and setting that it's going to be. And then finally, if there are any extra last things you'd like to do, we'll add it in the parameters. So your project is to create something in great detail about what we're going to be going through in this class. Up next, we're going to learn about exactly how the prompts should look. 3. Quick Challenge: Prompting: Here's a quick challenge for you. They'll set you on the way of how your thought process should be as we're generating Nidra any prompts? So here's this image. Take a look at this image and give yourself about a minute and write down and describe this scene. Okay, Now, welcome back. Take a look at what you have and we're going to do it again. This time. I'm going to give you specific parameters to think about while you are writing down your description. Again, give it a minute and write down as much as you can. Here's some things to consider. What color is the cats for? What color is the cat's, Kate, What is the cat doing? How does the cat feel? Where's the light coming from? How does the light field on the entire environment? What camera lens is this shot on? If you don't know what camera lens then what type of angle is this shot on? Is it a centered profile? Is there a wide angle shot? Describe it in your best terms. Is there buildings in the background? Where is this scene? How does the background look like? What is this cat's posture look like? Where is the cat looking at? How does this cat feel? How does this image with a cat in their field? Like, what is this cat doing with its pause and consider as many more descriptions as you can. So after this, you probably have a lot more to describe this scene of the cat. This is the thought process that you should have as you're generating prompts for MIT journey. The more in detail, the better. Alright, So for the next lecture, we're going to talk about the process. 4. Prompt Engineering Process: Alright, welcome to the prompt lecture and we're going to learn about the structure of what a prompt is going to look like. And I'm going to reference our sheet here, which is available below. So make sure you download it. And the first thing that we're going to have is the ideation part. Now the ideation part is just a way for you to give me a journey, something to reference. Because as you are building a scene Ahmed, journey and image, all of this is kinda materializing into this image. In mid journey, takes that and gives it something to build off of for the rest of the render. So the examples that were given, such as an May style, would help give this image and anime style to base off of or a certain person because this is going to be the star of it, the place. Maybe it's going to be a certain area or if it's interior, which will make it an interior shot. Or if you started off as a selfie, then it will build off of a selfie shot. The thing is, if you give it something else and then tried to make it into a selfie shot later than it's already built on this original part of the render. And it's going to have a tough time switching it into a different angle. So this first phase really is to give it an idea of what to build. The next phase is where the fun comes in. Composition is where you start writing your prompt or at least giving it the space, bringing it to life. This is where you talked about how it's going to be composed, how the image is going to look like, following that is subject and subject building. This is where you name your subject and then you build on top of the subject. You'll give it ideas to build off of like descriptions of their close the mood, the facial structure, and the whole visual of this subject. After that, we'll move on to settings. The setting is the place or environment that this scene is going to take place. You can define the background, the location, and the lighting. And this is where your image really starts coming to life because you're gonna give it this Spice, this taste that makes it from just a simple image into this image with many different dimensions. This is essentially what solidifies this piece as a masterpiece. And then finally, we'll end it with parameters. Parameters are grayed out because it's not so much something that affects your image completely, but more so as some guidelines for this image to follow, and that's it. Flowchart on how you should have your image prompt process be made. In this class, we'll be highlighting the most important parts, which are the three, that includes composition, the subject and subject building. And then creating this setting and environment that it's gone to live on. On the next lecture, we're going to talk about the way for us to do the composition. 5. Composition in Prompt: Alright, let's talk about composition. And in this section, we're going to discuss how composition should be looked at as we're doing our mid journey of renders. Now as a photographer, composition is one of my favorite things to consider, but my journey goes beyond that. We generally really only think of composition as how the shot is going to look based on our photo. So maybe it's an up-close shot, a faraway shot. It's a wide shot to Zoom, didn't show, it's a macro shot. These are all very basic photography terms, and for the most part they do do the job. Mid journey has so much more capabilities that you need to think outside of these typical ways to compose an image. What I mean by that is consider what type of words might affect how your image turns out. Now this could be whether referencing a artist, a photographer, whose style is typically done in the way that you want it to be composed. Or you could consider what type of shot this is from. Maybe this is from a cctv or a GoPro camera. The thing is, as you're considering this, it helps mid journey render out your image properly because the way that it's built, if your image is rendering out and throughout the process, it's like 20% being rendered and it's already rendering a very zoomed in image. It's most likely not going to be a wide image shot by the end of it. So as you're reading your prompt, make sure that you give it clear directions, that you want it to be a certain type of way when it is working on the composition. So now let's dive into some examples so we can see how people are doing their composition. And then finally, we're going to jump in and do her own so you can follow along. Okay, I want to show the example of this person's renders, Miguel Ochoa, who, if you look at his images here, you can see that there's different angles and every one of these renders. Now, let's dive in and look at his prompts just to get an idea of exactly what he uses to change up the composition of these images. So the first one, we'll look at this one. And the art is where he keeps the prompts. And this one, if you look at it, I'll say extreme close-up photo. So this is what he used to prompt and extreme close-up photo. And as you can see, it does make a difference. It's right on her face and it's up-close. There's a lot of detail in the face and head bones and there's a bit blurred behind it. Now the next photo on the Alt and the description where he describes the prompt, it also says side view. So this one he gave it prompt or the word side view in this prompt. So that because of that, this is now a side view. And you can see clearly in this render that it is a side view. Okay, moving on, we have this third image. This third image, he uses epic wide shot. Now, this is in my opinion, not completely epic wide, but maturity is like that. It is a bit wider, but it's not completely wide. So if you do do something like this, I would recommend many different renders. And then for his last one, here, he has a more of a body in this band, the other images. So let's take a look at the prompt and see what he has. Now. This one he prompted full body shot photo of a ferry, none. Now, the full body stuff is not always perfect, but you do need to do a lot of different renders to finally get it to look right. Now, this does bring it out a little bit. It's all completely zoomed in. So it does show a bit of body. So you can see that having the word full body in the prompt changes it up significantly. This is not completely zoomed in on her as the other few we're, now this is just a couple of quick examples of how having the composition be words on exactly where to Zoom and how to look makes an impact on the image that comes out. The next example, we're going to have more obscure words that in a way hint to how the framing and composition is going to look. Okay, here are nicholas do words generations and we're going to go in and look at this because it's a good example of what composition is as we're writing our prompt. So as you can see here, he is playing with some portraits in the latest update at the time that this is videos recorded, which is version 5.1. So let's go in and look at his photos. Now, the first one you can see here, here is the prompt of it, which is getting a little closer. But basically take a look at this, get an idea of where it looks like beautiful image. And we're going to look at the prompt. The prompt says the output is cinematic shot. Now I'm actually going to break this down a bit more. If this is a multi-pronged and if you look at this, you can see that there are multiple parts to his prompt. Now, here's this prompt, and once we break it down, we have three different sections. Output background emphasizes. And then finally, we have some parameters at the end. Now for the composition of this shot, we're looking at the output section that he made. The output. Part of this multiproduct. And you can see that it says cinematic shot and the subject is the French supermodel with, are there other descriptions? Now the key thing to note is the cinematic shot. And if we go back and we look at some of the other photos that he has. This one has output as candid shot with paparazzi. So this is going to be kind of like a popper artsy shot. Now if we look at it, it's a bit tough to tell if they're both portraits, but they do play subtle differences according to the scene. So maybe this scene is not exactly something that you would see in a porosities. Shoot. If you were doing something in the city, maybe I might add a flash or it might add a way that gives it a paparazzi style. Now, we'll look at this image two and then shake out the prop that he used. And this one is also candid shot paparazzi style of another French supermodels subject. And you can see that they've made sure to include photo in it. So this is also another portrait, paparazzi style. Now I do feel it is kind of similar, but depending on what else goes on in your image, it's going to play a difference or make a difference. Now this last one is also cinematic shot subject, French supermodel. So as we're noting again, it's a cinematic shot. Now, cinematic shots, you'll notice are very much, very much a lot of rule of thirds. Now she might not be directly in a third of the image or whatnot. But if you look at it, she's positioned to be 33% of the image, which works out to the rule of thirds. Now, this one as well, this is very cinematic looking and she is the center of attention here. As you can see, composition involves more than just the aspect ratios and the proportions of what you want your image to look like. It really is kind of a 3D, tangible experience that you're trying to communicate with the mid journey AI language model so that it can understand what you're trying to create. So let's go on and create our own. Now, went to some examples on how we can work on our composition. So I'm going to start by creating something that is based off of our subject being a cat in the Amsterdam canals. Now, we're going to go back to the beginning and we're actually going to write in our composition in here. So for this example, I'm going to show you that there's so many different ways that you can see your composition play out. I'm gonna do this one as a GoPro shot selfie of a cat in the Amsterdam canals. Now, we're also going to prompt some other ones. And we're going to keep the cat and the Amsterdam canal example. And we're going to go with bird's eye view, aerial shot of cat in the Amsterdam canals. Okay, so that's to add another one. We'll maybe do a like a 50 millimeter photograph of cat in the Amsterdam canals. And then one of my favorites is going back in time and doing something like a 1930s film Portrait of cat in the Amsterdam. And now, now we let this sit and play out and we're going to show you, or we're gonna go together and see how it ends up looking like. And you're gonna see that composition has a lot to do with how these are going to come out. And it's not just the amount of zoom the lens that you're putting in. So it's so much more, it's like every single element that you can think of to compose and make this look like an image could be used. So e.g. this first one just finished the GoPro shot selfie of a cat and the Amsterdam canals. And you can see here that this is framed as if it is a selfie. Some of these shots literally have the cat's paws reaching out holding the camera like this one, the second one and the fourth one is literally a cat holding his paws out, taken a selfie, and it looks like a GoPro wide screenshot. Now, you could also do other types of selfies, but this one, the GoPro, why screenshot really looks like the cat and is actually doing a selfie. You can also do different subjects as well, but you can see that this changes the composition of how your image generates. Now this next one, we have bird's eye view, aerial shot of cat in the Amsterdam canals. And you can see here, this is pretty bird's eye view, which is not completely zoomed up like the fourth one is the closest one that we got to, it being like a bird flying over. But I would say even the third and fourth one looks like it's a bird overhead flying over and seeing this scene. So for this in particular, I would probably run it a few more times if I want to continue going with this composition and the same concept, because I already see that this fourth one looks pretty good. I could even do a variation of the fourth one and hope that it comes out just like how I want it. Okay, moving on. Now we have a Leica 50 millimeter port photograph of a cat in the Amsterdam canals. Here we see a portrait like looking photo 50 mm, which is a great portrait lens. That's why it probably came out looking like this. And you also note that there's not much distortion on this side of the images. So that's what they say. About 50 millimeter is that when you shoot with it, it's not distorted and it's more like the humans natural. I like what you see naturally. So here's what you got a cat hanging out and nothing is distorted. It's, the sizing is good and it's really beautiful, pretty realistic. Okay, moving down, we have a 130s film Portrait of a cat in the Amsterdam canals. So as you notice here, once you put in the 1930s effect, you can see that the photo is more of a vintage look. Now I'm going to open it up on the browser so that we can get a better view of the quality. But you can see here that the photos look a bit older. Some of them have some grain on it like this one has grain on it. And it's generally just kind of in the past kind of element and feel to it. And at the same time, it utilizes the composition element that you gave it. Now one thing to note is that in the past, a lot of cameras were manually focus. So it's a lot simpler. And with those cameras, you wouldn't be able to have a very low apertures. And very low aperture is make four blurry backgrounds. So you can see a lot of these photos actually implement that part and have a very blurry background like this one, e.g. the second image is probably my favorite in terms of how it's composed by having a super blurry background like that. And maybe it's like a 0.8 F-stop or 1.2 or something. But essentially, composition is a big factor in driving how your image ends up looking. And there's so much to it. So you need to think outside the box and consider how you would use composition in your renders. Now the next lecture we'll talk about using the subject in your art and how we're going to build upon that subject to create an amazing masterpiece. 6. Subject & Subject Building : Alright, in this section, we're going to talk about the subject. The subject is very important because the subject is what you are making this image about. In this section, we're going to talk about what that is. We're gonna go into some examples of how people are doing their subjects and subject building. And then finally, we're going to run through our own examples as well. So first of all, what is the subject? The subject is what you're outlining and what you're highlighting in your image rendered. And there are many complexities then you can add to this subject. You've probably seen a ton of viral images being rendered on AI with different notable figures doing a certain thing or a certain character doing something else that's completely random and not something that they're used to doing are not something that you're typically expecting them to be doing. This is because as you're building a subject, you have the capability to be able to add anything onto that subject, change how that subject is looking, what they're doing, and how they're going to be perceived after the image is done rendering. Now the mindset that you should have as you're reading your subject is you're building this layer now on top of the scene that you've previously built. And now it's bringing together this character, this main topic in your image. This is where you add some style, some descriptive details to really bring this thing to life, we start adding things to our subject. Like instead of just a woman, this could be a woman that is meditating, that is wearing a certain type of clothes that has a certain emotion that she's showing. Or if it's like a animal like this cat is wearing a helmet, this cat is wearing a suit, this cat is smiling. This part of the process, you're defining your subject and building on top of that subject. So let's jump into some examples and see what people are doing. Okay, let's jump into the prompts and look at how they're building their subject, and they're doing their subject building. Okay, Let's dive into these props. And the first example is by Mayor Qing Ai. And we're going to look at how he's doing his subject and then subject building. Now this go with this first one, which is Dorothy Darth mall. And I actually liked his prompts a lot because he puts a lot of detail into his subject building and its hands. So many different elements into the character, the main subject of the generation. So we'll see here that this is Darth mall. Okay, Then on top of that, he adds Darth mall, the character from Star Wars Episode one, The Phantom Menace. This makes it precisely in the episode one of The Phantom Menace of Star Wars. So at references that, and then it adds that he is in a combat pose with double red lightsabers, challenging, imposing epic. These are all things that are describing, giving life and description and elements to this character is a subject that is going to be rendered. He also adds, he, as in the, the artists here, adds he has small horns on his head. His skin is red with black lines. His eyes have yellow iris and black pupils. Wears black clothes like in the movie. And then he goes on to add the setting, the scene of the image. But you can see here the level of detail that he put into creating this character, this main subject that is going to be highlighted. And it's also done in a way that it's not just Darth mall. This is Darcy's law. Looking challenging, looking imposing. He has the horn look, his skin is red. There's a lot of emphasis on how this character is going to look versus if you just put Darth mall and that might make you have a Darth mall that's sitting, that's doing something else, eating or something. Not as an imposing action stance type of Darth mall that you see here. This is what he got out from his prompt. Now, next we'll move on to his Bobo fit one here. And then you can see how he built it is actually, it's not bulb if it's the Mandalorian. But he says here, starts off with the Mandalorian character from Star Wars in a combat pose with layers are pistol on a planet Fighting stormtroopers, challenging opposing epic side angle view, looking to the camera. Now, we'll just highlight this because this is the subject that they are putting together. And you can see here there's many different things going into effect. So the Mandalorian here, he's making sure that it's a character from Star Wars. He's also adding that this Mandalorian character is in a comment pose with a pistol and he's not dancing, he's not just standing, but this is a combat pose. So he's looking like he's gotta be in an action stance. And then it also adds on a planet Fighting Storm Troopers. Now, this is depending on how much do you have going on in your prompt. This might not be as Evident in the final render because it's another another thing going on like fighting Storm Troopers is maybe you might have to do a blend or something to actually bring that out. But in the context of this, it actually might help in a way that as the prompt is getting rendered, the fighting Storm Troopers part pools from image databases of whether Miranda Lorien was fighting stormtroopers, sorry, of when the Mandalorian was actually fighting stormtroopers. So that might give a certain lift or a feeling that is brought about at this Mandalorian character is in this exact scenario. And then again, he moves on to the other parts here, which we'll go into later. Now will also go down to Yoda. And then here is yoda, a scene of Master Yoda outside it, Jedi temple meditating. So as you notice, this one starts off with him meditating. All the other ones. If you were just to put out a scene of Master Yoda, he might be sitting here, might be standing. You might be just posing randomly. So you never really know what you're going to get when you just throw in your subject. But this prompter added outside the Jedi temple meditating. So this gives it a context of what to build on. And as the image is building and building the character, you can start to see that this is very helpful in helping mid journey understand what you're trying to create. Because first, it builds the scene of Star Wars, and then next it adds in the character and then it adds in the pose of this character right away. And then the next part is the force surrounds him with a bluish light. I'm guessing there's a typo right here, but the forest surrounds him with a bluish light, gives off a lot of energy, imposing side angle view and looking at the camera. So I was just looking at it one more time. And it does kinda look like Yoda is bit imposing. It, it looks like he's a confident looking guy in a confident position. And he's also in that Jedi temple as the prompter had asked for it. Okay, now finally, this is Luke Skywalker and we're gonna go in and look at what he prompted to create a loop. Now this is an older Luke and he used Mark Hamill as Luke Skywalker. Now you'll also notice that he added a close up portrait shot of Mark Hamill as Luke Skywalker from episode of The Last Jedi. Now, I don't really follow Star Wars too much, but because he links and references episode of The Last Jedi, this will specifically bring in that specific Luke Skywalker versus the roof Skywalker that we know from the classic Star Wars. Luke, I am your father seeing that's a much younger loop. But this references the episode eight of The Last Jedi and brings out an older loop. And then he's also in a combat pose holding a green light taper. Now his face is going to be fierce, determined, and he's in an epic scene wearing Jedi clothes. And if we highlight all of this, we can see that this is how much detail that this person put into generating this subject and building onto the subject. Now, let's go on to doing some examples of RL. I also wanted to show some examples of animal subjects. So here we're going to reference date and Brewer who posted these generations. And then we're going to look at in his animals and how he built the subject and put it into his prompt. So here we have a shot of an incredibly angry tiger. Okay, I also wanted to show how the subject building goes into fantasy type characters as well. Now we're going to reference pyrrhic shove LEA here. And he made a couple of fantasy looking images that are just beautiful. I want to show you how he built this alchemist figure and what he used as his subject, and how he built onto that subject. Now, to start off with, he wrote a captivating Alpha semester, women concocting a mysterious glowing elixir. Now as you can see, this is the subject, the women creating an elixir. And On top of that, it shows a couple of things that you should know that this is a woman one, and an alchemist could be male or female. So the fact that he put women in their symbolizes are shows that this is or tells the a added, this is going to be a woman. And then he added concocting a mysterious glowing elixir. Now, this has a couple of things to note as well. Concocting an elixir being the first one. So it shows that this is going to be a person making something, working on something, concocting something. And then also the elixir is a glowing concoction. It's something that, you know. Has a bit of mysterious next to it. But basically here you have the subject as someone that's working on something, concocting something that is a glowing, mysterious elixir. Next, we have an enchanting beauty. Now this is going to be describing the person, but it can also sometimes blend into describing the element as well. So as you can see here though, the elements that he uses in the prompt that gets translated into the character is captivating alchemists, concocting the elixir and enchanting beauty. Okay, now for the next part, where you got to dive into it and try it ourselves and have her own examples to look at. Okay, we're gonna go into the example of building our subject. So I'm going to start with and imagine. And for this first one, we'll start with a cat in an astronaut suit looking excited for a mission. He is wearing a helmet and typing commands. Now with this, you can see that it's going to build a cat with an astronaut suit. And he also has an expression, so he's looking excited at the same time, we're giving it some guidelines on what this character is wearing. This is not like a typical cat right there. You don't typically see a cat in an astronaut suit. But here, with it being labeled like this, the mid journey ai can start looking through its images and generate something that includes a cat wearing a helmet. And as you can already see, some of it is coming out. We have three where the cat wearing a helmet. And then finally there's that last added element of the cat typing some commands in. Maybe he's at a space station and typing commands in. So we can add that at the end. Cat and astronaut's suit looking excited for emission, he's wearing a helmet and typing commands while sitting at a space station. And so the first one finished generating. And you can see it's got everything that we asked for, helmets and the typing. Now not all of it has helmet and typing. And also the aspect ratios might make a difference to as a squared is a bit zoomed in, but we can change this up a little bit and give it some more room. So I will just render another one and I'll add an aspect ratio of maybe 16 by nine. This way it's wider and gives you more room to just have things to look at. Now, our second renders coming out to seem like it has the keyboard really in there. Now, you also know that as we added space station, it shows a bit of a background more so than the first render. And as you can see here, it really came out with the images that we're looking for. Three of these cats have helmet, I think the best one is the bottom right one, the fourth one where the cotton is visibly at a space station visibly typing and visibly has said helmet that we were requesting that it have. And you could also see this last render is starting to come into fruition. And it's the one that we did with the 16 by nine aspect ratio. And it doesn't look like too many of them are typing only this third image. But that's fine. If you see something that vaguely looks like what you're looking for, continue rendering it. Some images take multiple renders. But for the most part, a lot of it is what we asked for the cat and astronaut suit, and he is wearing a helmet. Now, we're gonna do an example with humans in it. So I'm gonna do and imagine again. And it's sue, someone that's like a recognizable figure. So e.g. I. Could do the previous president of America, Obama. Obama as a nascar racer sitting in an F1 car. He is excited for his upcoming race and he is wearing a helmet. I guess I just love helmets to David's Hill was really show that it looks like something that's exciting. Like you're not going to wear a helmet a lesser doing something exciting like riding in a rocket ship or F1 race car in this situation. So you're going to have Obama in a racecars City. He's excited and he's wearing a helmet, and then we'll render it. Okay, our render is complete. And here's Obama as a nascar racer. He's got the racer outfit on here. He's got his helmet. It looks like he's sitting in a Formula One car, although some of these other ones look like go-karts, but it's not too easy to tell. But for the most part, it's got the elements that we asked for incorporated into this image. And the thing is, you don't typically see Obama in a Formula One racing outfit. So something like this is seeing that mid journey is able to reference a lot of other images and put it in together to create based on this prop that we gave it. And it's actually using a lot of the elements that it was given as well. So here we see the nascar racer outfit sitting in an F1 car. He is excited. You can see these images like two of these. He's excited for the upcoming race and he's wearing a helmet. Okay, now I'm gonna do another example. We're going to go back in time now, I'm going to do in 1940. Mechanic working by firm it, furnace, sweating, looking serious and stern, very strong and masculine while building in working with metal. So with this prompt, I'm expecting something to look like this mechanic is standing next to a furnace building onto something like maybe a kind of a up-close ish photo, but an action photo nonetheless, of them working. So as we can see here, it's coming together and we got her guy. So we don't really see too much working on the metal part, but we do see these sweaty guy who is working by the furnace looking like he's working really hard. Now, I want to try and add a bit more onto this. So we're going to use the same prompt here. We're going to imagine him. But now this time I'm going to add the working on metal in the front. This way kind of emphasizes the working on metal part more so than just the standing by a furnace part. And then I'm also going to add with a hammer so that it shows that it's more of a action shot. And maybe I'll change working with hounding on metal with a hammer next to a furnace, looking serious and stern, very strong and masculine. And you don't need this. And then this should be enough for us to go off of. And as you can see, moving the Pwnie on the metal with a hammer to the front really gives it an emphasis on this person now working more of an action shot. And you can see it here. Still next to a furnace is pounding on the metal, and it's an action shot from the 1840s. The options really are limbless on how you can build up your subject. You can even add e.g. of things that they're wearing. So like here we can add with a welder's mask and sometimes it doesn't fully come out. So you have to change this up a bit. 1940 welder wearing a mask, pounding with a hammer next to a furnace. And we'll run this one. This one will probably come up with it. But the thing with prompts is you need to work around them sometimes to get exactly what you want and what the few renders were finally able to get a welder. Now again, you have to work with your prompt if it doesn't turn out exactly how you want. But here you can see that we went through it three times. And then finally, this one has three of the renders wearing a mask for us to choose from. Now, the takeaway is that as you're building a subject, There's so many different elements that you can add onto your subject. And it's really up to your creativity for you to describe this subject so well that MIT journey understands what you're trying to build. Next up, we're going to talk about the setting that you're putting your subject into. Like, where is this whole theme taken place? And all the elements that are going to go into it. 7. Setting, Environment, & Mood: Okay, now let's talk about the setting, the scene of this whole image day you are rendering. In this section, we're going to describe what that is. We're going to go through some examples. And then finally, we're going to run through it ourselves. Now this section is where you're putting your topic into this world and then crafting that world. So this is where as many descriptive words that you can come up with is going to help bring this whole image to life, e.g. this is where you would start considering where the background would be if you're doing an animal, e.g. maybe you want to put that animal in a certain background. Maybe it's a castle with a forest, It's a beach that they're at. This is where you put that in. And then you're going to also want to think about how much further can you take this with your descriptive words? Is there a white sand beach? Is the sun coming in from a certain direction? Is it overcast lighting or is it sunset lighting, or is this a studio lighting? Maybe they set up a studio on the beach, as it may be, you can start thinking about what this whole atmospheres feels like. Is it a gloomy environment? Is there a lot of clouds going around? Are the colors matted and gray? What is the mood like? How is this overall tone and how does that affect the image? You're piecing all of these together and really bringing this scene to life at this stage, Let's jump into zig, fix this, jump into some examples and see how other people are doing it. And then we'll also do our own. Let's go through some examples from some of my favorite people making, okay, Let's go through some examples of building out the environment, the setting, setting, the stage of the photo, or that you're generating. Now we're going to reference this person, time traveler. And he has built some amazing prompts that generated these very realistic looking images that are just absolutely beautiful. So we're going to look through them and then we're going to go and dive into how he created this setting that all of his generations are in. So we'll start with this first one. This one, we're going to look at the Alt and he's listed the prompt here. So let's go in. Now. The subject is the Cambodian temple, Angkor Wat. And basically this is the subject part. And then now, well, the subject part just there, okay, Now the rest, these ones kind of add into the subject. But let's go and dive into how it creates the setting. He mentioned, extra dimensional plane, unexplainable. Now, this extra dimensional plane is actually what's underneath. It's another claim, like another dimension to the image. So he has that plane, gives it a bit of inception may trace living in the simulation type of thing. So it gives you this feeling that it's like kind of surreal. And that's what exactly what he's going for here. They, these words are to make this look a bit more surreal. Now, you'll dive into it a bit more there singularity, there is rain, there's mirror universe and upside down. So what that does is it's showing that There's kind of a uniform this to this image. There's the water, which is probably what the rain and mirror universe is being used for as mid journey is rendering these images. So the upside down part is just like a flip, a mirror image. And then finally, we get to photorealistic and photo montage. Now photorealistic, it's something a lot of people that work with magenta use to create an image that is kind of more photo-realistic, more real than an AI looking images. There's that look that a lot of AI images have. And with photorealistic, it does give it that bit of touch that makes it look more real. Now the next one with the monk is really nice. I liked how it turned out a lot. It looks really, really real. So let's dive into his prompt. Now. His prompt is prompt is a portrait of a Cambodian Buddhist monks dressed in traditional orange robe. Okay, Then how he is building onto the setting is that he is putting it and I'll setting might not be the right word. The staging of this image, the mood and he's creating this whole university is creating behind this image is what follows, which is captured by dance photographer lowest greenfield. So this probably implements this person's photo style, those Greenfield using a medium format camera with an 80 millimeter lens and F28 aperture and ISO of 200. So what this does is it gives it that medium format camera look on an 80 millimeter lens. So it's gonna be a good portrait lens with a 2.8 aperture. What that does is it gives the blurry background type of effect. This is going to look a lot like a portrait, ISO 200, ISO. When it's lower, is typically going to be for having your image look like it doesn't have much grain, so it's like better quality that he also added the hands should be perfect. Hands should have the correct number of digits. I'm not exactly sure if that makes a difference in my journeys renders yet during version 5.1, but maybe it does help. And what we really need to look for is actually the sets part. So he says the lighting should be dramatic with hard directional light creating shadows and highlights on the Neil's body. Now the part that we are emphasizing is that this is creating light shadows and the light is dramatic. So this will be something like a studio, which I see that he mentioned here. So we'll go down. We'll keep looking at the emotional contexts should be graceful and elegant, Okay? Yes, it does look elegant. It looks classy, and the setting should be a studio with a dark background and minimal prompts. This is making this render going to look like it's shot in a studio. And then finally he adds that the art mediums should be digital color photography. So all of these together are aspects that are part of a photographer's shot. So you can see here that he implemented lowest Greenfield as the reference photographer. He added what camera to use, and then he added the type of lighting that should be in this scene and in this case, a studio type of lighting. And then finally he ended with the color that should be in there, which is digital color photography. And as you look, it looks really nice. The colors are good. It looks like it's a new camera, digital photography camera, and it's not like a faded type or strange looking color. Okay, now we'll jump into this monkey one that he has, this one. And then the prompt, the prompt is a Cambodian monkey sitting near Angkor Wat. Now what he adds on here is bright and vibrant shop with a Canon EOS R6, with a Canon EF, 60% 35 F2, 0.83 Usain lens. So basically, what he wants to reference in here is that this is a bright photo and it's shot with one of the new cameras from Canon and using one of the canons wide angle lens. And if you're a photo nerd like me, you'll notice that it's an F2, 0.8 L, which is one of the highest end lines of cannons lenses. Basically this one gives it a color and it gives it an example of how the image is going to look like when it's referenced using samples of a lens. And it turned out pretty cool. Now finally, this last one of a woman at a Cambodian temple. Colors are great. It looks really photorealistic. Let's jump in and see what the prompt is. So here we'll just isolate the subject out first, which is a beautiful Cambodian women at Angkor Wat exploring ancient ruins at the ancient temple. Okay, now everything else is basically building up to that scene. That setting will notice right away, they framing the composition is a medium close-up photo. Next, basically, we need to take note of everything down here because this is what builds up the setting that gives the subject a place to live. Alright, so we'll see that it's a wide angle view taken by a Panasonic Lumix JH five S, which is one of the new cameras that panasonic has. Panasonics known for doing cinematic type videos. So here he's going for a cinematic approach and you'll see that he added cinematic lighting on this as well. Clean, sharp focus, and then beautifully color-coded. These are all things that go in line with cinema quality. So he's trying to emulate a similar quality, a cinema of quality image through this render. And this will probably turn out looking like something from a film that he also added photography winning awards. So this should be a image of something that's been winning photo awards. So it's going to have my journey reference a lot of old photos that have been winning awards throughout the past, throughout time, whatever is in its archives. And then he also added ultra realistic photorealistic, insane details and directed by the knee Villanova. So these are, like I mentioned before, the ultra realistic, photorealistic and insane details. This is to add the details into this image so that it's not just like a very soft image. This has sharp focus on the details. And then finally, directed by this person, probably implements the style that this person have. I'm not completely familiar with their work, but when you are referencing someone like a producer or director, then their style is implemented into this render. Now, let's jump into mid journey and create our own. So you can follow along and see how we can build up an image. Let's your own examples so you can get an idea of what it's like to create the scene or setting of your major and your render. So we're going to start by doing an imagined. And for this one, we're going to start with something that's more of a scene at first. So I've always wanted to live at some nice places. So let's do an interior of a penthouse in Paris, and this will be the subject. Now, once you have the subject, we're going to build onto this and create an environment for this subject to live it. I want to add blue light coming in from the city, night sky. The furniture inside is minimal and futuristic fates and there are LED lights. This way. It has kind of a modern feel to it. And then there is a sulfur and bed. And you can see the Eiffel Tower and night city skyline behind the window. Okay, So this is a scene of where this is going to be at. Now, I'll also add maybe shot on Sony FE 16 to 35, which is one of their top of the line lenses. And I'll finally add an aspect ratio of 16 ninths cents the room. I think it's better to have a nice wide shot for a room just so we can appreciate the whole beauty of it. So I'm going to run this and then we'll see what we get ordered. Van. Okay, you're seeing it come together and it's nice. You can see that it's lit up, it's blue, and there's also the Eiffel Tower and the bat. But give it a second, we're going to have the full render. Okay, So with this full render, we can see that it's a very nice, modern, beautiful room. And it's an upscale luxury apartment shot on a wide angle lens. And it has everything that we asked for. The Eiffel Tower in the back, the light coming in from the city. And it really is just a nice place to live at, which is what we gave as we wrote out all the environment type prompts or addition to the prompt so that it can build this image. Now let's go on to another example where we're going to work with an actual character. So I'll go and imagine again and do a figure like Elon Musk. Elon Musk. Now we have our subject already, but I'll add a little bit more to it, wearing hiking gear, standing on a cliff side. Now this is where we get creative and think about all the different elements that can bring this photo or this render to light. So maybe it's sunny, natural light. We're thinking about the lighting, how the light comes in and hits a subject, illuminates a subject. So sunny natural light illuminating the subject. There is a lot of grass nearby that look soft. The photo is shot on a Canon 85 millimeter F1 or web or two l. This is a $2,000 lens from Canon. And the environment has a very happy and it JOB or feel guilty. So something that makes this whole photo look happy. Now we can also add in photorealistic hybrid detailed, which we saw one of the other examples used. And we can just render this and see what we get. Alright, cool. So we have a image of Elon Musk hiking. But if we want to get more creative, this is where you can get creative as well. So let's reuse this prompt and then we'll add in some more elements to it. So environment is happy, we'll keep that photo realistic. So maybe I'll change this. Maybe instead of having this photo look, I'll have it directed by Wes Anderson. This is where you can get really creative. And even if it's not directed by a certain person, you could even have it P and N may render or a hand-drawn render. And really the style is up to what you want it to be. Now, if we look closely, we can see that already there is a change with directed by Wes Anderson. You have a lot more pastel is looking colors like this. So here he's wearing yellow, faded kind of yellow. And the other one, the colors are much more muted. So this is where you really get creative and add a lot of the different elements that bring these renders to life. 8. Conclusion: Congratulations on making it to the end. Now, to conclude, let's summarize what we learned today and we'll pull up our chart to reference. So the first thing that we learned is that you need to set a reference for mid journey to know what you're making. And this is the ideation phase is the first phase that leads and gets the ball rolling for your image. Next, we learned about the composition of this image. How this image should be composed, what types of thoughts you're trying to think of as you're thinking of when this image is being put together, how it should look, What type of approach mid-range should take. And then following that, we talked about how to build the subject up, making the subject more understandable or customize. Maybe they're doing a certain action, maybe they're looking a certain way or wearing a certain thing. And then after that, we talked about the setting that this subject is in. What does this look like? How does the scene look? What types of things affect this scene? We discuss things like the location, the lighting, and the mood. And then finally, we're led to the parameters section. And this section is for certain parameters that you want to have for your image. Maybe it's an aspect ratio. Maybe it's a certain version of mid journey that you're using and that's it. Make sure you remember to submit a project because I love to see what you're working on and what you end up creating through this advanced prompt class. And if you could do me a favor, leave me a review, let me know what you like and what else you'd like to see so I can approve this for the future. Thanks again and congratulations on finishing the course.