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نتائج "rage"

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“rage”

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Cinematic Fortuner Underground Garage Portrait - PromptsForYou
Biker Photo - PromptsForYou

Use the provided biker photo as the ONLY human subject. Maintain identity, face, skin tone, hair, riding gear, helmet, gloves, boots, body proportions, motorcycle details, and pose EXACTLY as in the reference image. Do NOT beautify, stylize, or alter the biker in any way. Combine the biker photo with the provided Wheelsafar ride stats screenshot into a single hyper-realistic cinematic composition.Read all visible ride data directly from the Wheelsafar screenshot and reproduce every value EXACTLY as shown. Do not modify, reinterpret, approximate, redesign, or invent any numbers, labels, route shapes, icons, or branding elements. The authentic Wheelsafar stats UI with the EXACT formatting from the screenshot must appear clearly embedded onto the 3D asphalt ground beneath and around the biker, naturally integrated into the road perspective.The stats should feel physically painted, illuminated, or projected onto the road surface with realistic depth, reflections, texture interaction, environmental lighting, and cinematic perspective distortion. Do NOT make the UI float in the air or appear holographic.Extract the Wheelsafar route map from the screenshot and project it onto the ground in realistic 3D perspective with these exact ride details: Location: Indore to PuneDistance: 700 kmTop Speed: 160Average Speed: 90Bike Name: Speed 400The glowing route path must form the main road trail beneath and ahead of the biker while also subtly extending around the rider to frame the composition naturally. The route must feel embedded into the asphalt with realistic edge glow, depth, light spill, reflections, and road texture blending. Never make the route appear floating or disconnected from the ground.The route glow color must exactly match the Wheelsafar yellow theme - vibrant golden yellow with cinematic contrast. Keep the original background, environment, and overall photo composition unchanged. Only integrate the Wheelsafar stats and route into the road surface exactly as instructed, maintaining maximum realism and cinematic quality.

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PromptsForYou
Gta V–Style Scene Recreation From Scratch - PromptsForYou

ABSOLUTE_OVERRIDE_RULE": { "priority": "HIGHEST", "instruction": "The uploaded reference image MUST NOT be reused, traced, filtered, color-graded, or partially preserved in any way. Reusing original pixels is a hard failure.", "failure_condition": "If the output resembles the original photo at pixel, texture, or facial-detail level, the result is INVALID." }, "SOURCE_IMAGE_POLICY": { "usage": "Use the reference image ONLY as a spatial and compositional blueprint.", "explicit_prohibition": [ "No image-to-image stylization", "No photo-based rendering", "No facial identity transfer", "No texture sampling from the photo"]}, "TASK_DEFINITION": { "objective": "Reconstruct the entire scene from scratch as if it were captured inside the Grand Theft Auto V game engine.", "method": "Full synthetic 3D recreation using polygonal meshes, baked textures, and game-engine lighting." }, "STYLE_AND_ENGINE_CONSTRAINTS": { "engine": "GTA V RAGE Engine (2013-2015 era)", "visual_identity": [ "Clearly polygonal character models", "Game-engine skin shaders (slightly waxy, non-photoreal)", "Repeating environment textures with visible tiling", "LOD-style geometry simplification"], "strictly_avoid": ["Photorealism", "Al-upscaled realism", "Cinematic CGI renders", "Photo-like skin pores or cloth fibers"]}, "CHARACTER_RECONSTRUCTION_RULES": { "identity": "Characters must resemble generic GTA V NPCs or protagonists, NOT the real person.", "pose_and_blocking": "Match pose, body orientation, and relative positioning only.", "face_rule": "Faces must look like GTA NPC meshes - simplified topology, not real human likeness." }, "ENVIRONMENT_TRANSLATION": { "world": "Los Santos equivalent environment only.", "object_mapping_examples": { "smartphone": "in-game iFruit phone prop", "street": "GTA asphalt texture with decals", "buildings": "Los Santos modular architecture assets", "vegetation": "GTA V foliage system" }, "background_rule": "The background must

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PromptsForYou
Cinematic Fortuner Underground Garage Portrait - PromptsForYou
Red Rage Poster - PromptsForYou
Blue Apex - PromptsForYou
Indian Flag - PromptsForYou
Hand-Drawn Motivational Doodles | Gemini prompts - PromptsForYou
Salaar Movie Poster Photo Editing Prompt | Gemini Prompts - PromptsForYou

IMPORTANT – FACE LOCK (VERY STRICT) Use the uploaded reference image as the ONLY facial reference. Do NOT change facial structure, eyes, nose, lips, jawline, skin tone, beard, hairline, age, or expression. No beautification, no smoothing, no AI face regeneration. Preserve real skin texture, pores, scars, sweat, blood splatter, and natural asymmetry. Face must be 100% identical and instantly recognizable. PROMPT: A cinematic three-frame vertical film-still montage, ultra-realistic and brutal, featuring a lone action hero in a high-stakes battlefield. ASPECT RATIO: 3:4 vertical FRAME 1 – FRONTLINE DOMINANCE: The hero stands at the center of a burning warzone, feet planted firmly in blood-soaked mud. He grips dual heavy combat blades with chipped metal edges, both weapons stained dark red. His black tactical shirt is torn, clinging to his muscular frame, drenched in blood and ash. Explosions erupt behind him, sparks and fire lighting his face from below. His gaze is locked straight ahead—cold, fearless, unbreakable. Face clarity razor-sharp, every drop of blood and sweat visible. FRAME 2 – BACK OF DESTRUCTION: A dramatic rear shot of the hero, shirt ripped open, muscular back fully visible, layered with scars, grime, and blood streaks. He faces a massive wall of flames and collapsing structures. Strong rim light outlines his shoulders and spine. Flying embers cut through thick smoke, creating depth and motion. The atmosphere feels heavy, violent, and unstoppable. FRAME 3 – CLOSE-UP INTENSITY: A tight cinematic profile close-up of his face. Blood trails across his cheek and jawline, mixing with sweat and dust. Eyes burning with rage and determination. Background blurred: silhouettes of enemy soldiers in red-toned uniforms advancing through dust. Ultra-sharp facial focus, pores, stubble, and micro-details visible. LIGHTING & STYLE: High-contrast cinematic lighting Deep shadows, fiery highlights Volumetric smoke and dust Hyper-realistic textures CAMERA & QUALITY: IMAX-style framing 8K ultra-HD No blur on face Professional action-movie grading MOOD: Savage, epic, relentless, war-god energy TEXT / SIGNATURE: Add “Geminiaiprompt.in” at the bottom-left corner, HANDWRITTEN signature-style typography, thin cursive strokes, small size, subtle premium elegance, white or soft off-white color. NEGATIVE PROMPT: anime, cartoon, illustration, CGI look, face mismatch, smooth skin, blur, low detail, watermark, logo (except signature)

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PromptsForYou
Stable Diffusion prompt: A young French woman in her early twenties, with f... - Stable Diffusion
FLUX prompt: A attractive blond woman who is standing in a car... - FLUX
ChatGPT. Un margouillat (Hemidactylus Frenatus) d... - PromptHero
Stable Diffusion prompt: The image features a woman wearing a red hoodie, s... - Stable Diffusion
DALL·E prompt: Deux amies punk rock s'amusent dans la rue, profit... - DALL·E
Stable Diffusion prompt: This is a scene of a cosmic wonder, where two worl... - Stable Diffusion
FLUX prompt: An epic, gritty scene (1.8) in the style of Makoto... - FLUX

An epic, gritty scene (1.8) in the style of Makoto Shinkai (1.6), showcasing an archangel ascending from the depths of hell (1.8). The angel, his radiant light undiminished (1.7), hovers just above a massive, writhing pile of grotesque demons (1.8), each demon clawing desperately at his legs and wings, their monstrous forms twisted with rage and desperation. His celestial garments are scorched and torn (1.8), the edges glowing faintly with embers from the fires of hell, exposing parts of his glowing, divine skin beneath. Despite the destruction, his majestic aura remains unyielding (1.7). The angel’s sword (1.7), etched with ancient golden runes (1.6) and glowing with an unrelenting holy fire, is raised high above his head, ready to deliver a devastating blow to the infernal horde below. His expression is resolute and fierce (1.6), his glowing eyes fixed downward on the demons that swarm beneath him, their twisted forms writhing and snapping in unholy rage. Beneath him, the mountain of demons (1.8) is vivid and horrifying, a chaotic tangle of claws, fangs, and twisted limbs (1.7). Some demons grab at his legs and wings (1.8), leaving blackened claw marks on his armor and glowing feathers, while others rear back in agony from the blinding holy light. Their forms are diverse and terrifying: some are smoke-like shadows with glowing red eyes (1.7), while others are massive, spiked creatures with gnarled horns and jagged teeth, their mouths dripping molten venom (1.8). The landscape of hell is apocalyptic (1.8), with rivers of lava glowing faintly beneath the writhing mass of demons. Above, a relentless storm of molten lava hail (1.7) rains down, searing the ground and the demons alike. Brimstone fills the air, mixing with thick smoke and ash, illuminated by the hellish glow of the inferno. Volcanic eruptions burst in the background, their fiery plumes adding to the overwhelming chaos of the scene. The archangel’s wings (1.7), enormous and majestic, span 25 meters, their feathers glowing with radiant hues of white, gold, and celestial blue (1.6), cutting through the suffocating darkness. Despite the demons' desperate attempts to pull him down, the angel’s divine presence creates a blinding halo of light (1.7), pushing back the shadows of hell. The molten hail and embers swirl around him, the fiery atmosphere emphasizing his unyielding determination. Volumetric lighting (1.6) streams through the swirling smoke and ash, casting dramatic shadows across the scene. The contrast between the angel’s blinding holy light and the hellish, gritty chaos of the demons and environment creates a cinematic tension, highlighting the eternal battle between divine and infernal forces. The overall composition is intense and dynamic (1.7), with the angel’s raised sword and massive wings dominating the upper frame, while the chaotic pile of demons and fiery hellscape fills the lower half. The atmosphere is overwhelming, with every detail contributing to the unbearable, apocalyptic tension of the angel’s escape from hell.

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FLUX
Llama 2 prompt: Create a striking full body(average body type,long... - Llama 2
Flux.2 prompt: (ImagineArt 1.5) A high-resolution cinematic portr... - Flux.2
Ideogram prompt: Mr. J. C. Bloomfield (image 1) create an irish si... - Ideogram

Mr. J. C. Bloomfield (image 1) create an irish simple image about the following: EXTRAORDINARY SCENE AT BELLEEK. (November 1892) Abducting a Wife. Would not go to Mass or Live with her Husband—He says She is Insane; the Magistrates say she is not. A case of much local interest came before Messrs. Maloney, R.M., Tredennick and D. Johnston, the Magistrates who presided at Belleek Petty Sessions on Tuesday, when Mrs. John M'Goldrick, Ballymagahran (Castlecaldwell) was brought up in custody of the police charged on a warrant sworn by her husband that she, “has been discovered and apprehended at Ballymagahan under circumstances denoting a derangement of mind and a purpose of committing an indictable crime, that is to say—she has repeatedly threatened to take her life by drowning and being violent; she took up a stool in her hands and raised it in a threatening manner as if going to strike informant, John M'Goldrick, with it.” Mrs. M'Goldrick was a light little woman about 60 years of age, neat and clean in her person, and her husband was about the same age—a small farmer. M'Goldrick being sworn deposed to the truth of the information. Mr. J. C. Bloomfield—I appear as the friend of this poor woman, and if the application be granted it would be an outrage against civil and religious liberty. Some weeks since THE R. C. CURATE OF BELLEEK CAME to see the poor woman at my house, and during the conversation said the woman must be mad when she would not go home and to her religious duty, upon which I wrote to the Canon a letter which is in the hands of my solicitor. Later I was informed by my wife that he had told her the Parish Priest, Canon M'Kenna, insisted on her going to her duty or that she would be sent to the asylum. Later on the Canon himself appeared with another curate and the husband at the door of my house and made a great demonstration, threatening the woman that she should be placed in the asylum if she did not attend her duties and go home. She then declared to him she would not. I endeavoured to make the priest understand this—as I had previously in my first letter, that the Inquisition was not yet established—that it was yet no crime to refuse to go to her duties, nor a fault anything with his confinement in a lunatic asylum. He left in a rage, and I subsequently wrote to him another letter, the copy also now in the hands of my solicitor, who being engaged at Enniskillen Quarter Sessions, cannot be here. About two years since John M'Goldrick came to me and endeavoured to persuade me to be a party to commit his wife as a dangerous lunatic. Upon enquiring I found that this was A CONSPIRACY TO DEPRIVE THE WOMAN OF HER LIBERTY. because she would not attend to her religious duties. I also found the whole family were parties to her incarceration. The poor woman from the persecution she underwent had run from her home and for some time was absent, but I found by the police acting as a servant in a farmer's in Co. Tyrone. On or about the 6th November, ’90, she fled into my house for protection and there remained for two years, all but a few days, and acted in the most exemplary way. On Wednesday I was in Enniskillen, and on my return by the late train I found that the poor woman had been abducted by a party of men while my family including Sir Fenton Hart, were at dinner, and I was yesterday informed that the husband had sworn an affidavit and obtained a warrant to bring her before the magistrates as dangerous lunatic. I hereby swear that such an information is absolutely false, and that a more correct, well-behaved woman never lived in our house, and quite ready to receive her back and go bail for her conduct. Should this warrant during abduction and false information succeed in its purpose, the result will be a calamitous exhibition—a state of things utterly unconstitutional and subversive of civil and religious liberty. Mr. Maloney (to M'Goldrick)—On what grounds do you make your application? The applicant made a brief statement embodying the facts that his wife left him five years ago, and at length he discovered her whereabouts and brought her home, and she had threatened to destroy herself, and then went away from him. Mr. Maloney (to Mrs. M'Goldrick)—Are you suffering from any illness? Mrs. M'Goldrick—No sir; I gave myself up to Mr. Bloomfield, and I will live where I am. Husband—And not stop with me. Wife—No, nor I never threatened to drown myself. Mr. Bloomfield again gave testimony to the woman's exemplary conduct, and stated that when she was abducted Dr. Stephens was sent for and the priest, and he believed they said the woman was mad. He could prove it, and if pressed will prove it a false accusation and THEY ARE LIABLE TO A TRIAL FOR BIGAMY. The man in his affidavit says, “For the last three years I have noticed my wife,” whereas the woman has been in my house for the past two. Husband—You were in Dublin, and I was watching outside. Mr. Maloney (to Husband)—What do you want to put her in an asylum for?—If we leave the house this woman may drown herself. Mr. Bloomfield—Then why do you take her from us?—Why did your wife bring her to your house? Sgt. Greer said he knew the woman for the past six months and did not consider her insane, or that she had anything wrong with her. Mr. Maloney (to Mrs. M'Goldrick)—Are you willing to go back to Mr. Bloomfield?—Yes, sir, I will go back to-night. Did your husband ask you to go back and live with him?—Yes, and I would not go. Mr. M'Hugh, who was in court, here became infuriating and chipping about declaring very Sotto voce that “it was scandalous.” M'Goldrick said the woman had run away from Mr. Bloomfield, who had to get men and dogs out to hunt the deserter for her. Mr. Bloomfield—This is false. But is it not to be wondered at, that a woman would threaten to drown herself because of your bad treatment of her for refusing to go to her duties. Dr. Stephens here volunteered evidence and asked to be sworn, he declared the woman was insane and should be sent to an asylum. In reply to Mr. Bloomfield witness admitted it was four years since he examined her, and two years of the time since she had been in Mr. Bloomfield's. He only saw her once since. MR. M'HUGH IN EVIDENCE. Mr. M'Hugh again exhibited alarming symptoms of excitement. He picked up a law book, and placing a new pair of pince nez on his nose tried to read, but the being up to those fashionable contrivances, the glasses came off; then when he held them his hand shook so much he laid down the book and declared “it was poisonous.” Mr. Tredennick accused Mr. M'Hugh's interference, ordered him to keep quiet, and District Inspector Toppers gave him a caution. Mr. Maloney at length attended by the scene, asked him what he wanted. Mr. M'Hugh declared it was insane if Mr. Bloomfield should be permitted to take away this man's wife. Mr. Bloomfield—I never did—never interfered. Mr. M'Hugh again pranced about, and Mr. Toppers again had to snub him. Mr. Tredennick—Why is Mr. M'Hugh speaking or interfering? Is he a witness? Mr. Maloney—My curiosity was aroused by conduct and I asked the question. Mr. M'Hugh said he was not anxious to be examined, but immediately proceeded to make a long statement. He was however stopped and swore, and he then said he met Canon M'Kenna at Castlecaldwell, and from his conversation with him sent an order to Dr. Stephens to come out and examine her, as it was commonly reported the woman was a dangerous lunatic. The man and husband also said she was dangerous—and I may tell you that I would not allow any man in Ireland to interfere with my wife. The fact of the woman leaving her husband was proof enough that THERE WAS SOMETHING RADICALLY WRONG. Mr. Bloomfield—During the two years she has been in Blen-na-lung do you know anything about her?—No. If the man was anxious to have his wife living at home with him why did he swear an affidavit to put her in an asylum? Mr. M'Hugh would not answer this question but poured forth a torrent of words in which could only be distinguished something about “because she stopped in a certain place,” “she would not stop with her husband,” “if Mr. Bloomfield dared to keep my wife,” &c. During the time this jargon was uttered Mr. Maloney looked on smilingly, whilst Mr. Tredennick, who had evidently less time to spare, was annoyed. At length he finished and Mr. Bloomfield remarked—“A magnificent specimen of declamation.” NEW WITNESS. Mr. Tredennick asked had Dr. Stephens sworn an information. Dr. Stephens said not, but he was prepared to do so, and state the grounds for his declaring the woman insane. He saw her on Sunday for the first time in the past two years. Upon your single visit you find she is a dangerous lunatic?—And knowing her previous history, but I did not take into consideration the time she was in your house. Mr. Tredennick—Would it not be possible that a person would be insane and recover since?—They might be insane for only a day and recover. Mr. Bloomfield—Not one woman in a hundred would have experienced the treatment she did, and not go insane. Mr. Maloney then examined the woman and she said she would not go back to her husband. Asked why she would not go back, she said she knew herself, and she would not listen to his wrong talk. She gave herself up to Mr. Bloomfield as she wanted to get peace, and her husband was trying to make her out of her mind. Why could not he leave her alone and give her liberty to earn her living as she had done and was able to do, and she did not want a half-penny from him. HUSBAND WANTS HER TO GO BACK. Have you got children, and why will you not go back to them?—They gave me bad usage and I will take an oath I will not stand on his floor again. I have two hands and I will earn my living if they leave me alone. Asked further questions about the children, the woman answered all well and intelligently. In reply to Mr. Maloney Mr. Bloomfield repeated his statement, that during the past two years the woman had always been quiet save when she dwelt upon the way she had been treated by her husband and family. Mr. M'Hugh here called M'Goldrick aside and told him quietly (so that the bench would not hear) to dare the magistrates to send her home with Mr. Bloomfield, and M'Goldrick at once called this out, that the woman was his wife. Mr. Bloomfield asked for the protection of the court, he had not interfered with the pair; the woman came to him, and he was in the midst of the greatest nest of ruffians. The magistrates unanimously made the following order—‘Defendant to be discharged from custody, being satisfied she is not insane.’ Mr. Bloomfield asked for protection for the woman. The country was a free one, and she should be able to go where she liked. Mrs. M'Goldrick—I will give myself up to Mr. Bloomfield. Mr. Bloomfield said that if she was interfered with he would take the case up in another way. Mr. M'Hugh attempted to make some remarks but was not attended to, and finally silenced, and the woman was taken down to Johnston's hotel.

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Ideogram
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