Transcript · July 13, 2024 · 12.6K words
Ep. 2: Midjourney Hacks That Are Too Good To Keep Secret
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0:00:00The AI Explosion: What's Coming Next in Midjourney?
Play from 0:00:01 What's up everybody. Drew Brucker, Rory Flynn, Midjourney Fast Hours, Episode two. How are we doing? How are we feeling? We're good. We're good, man. You know, I think Drew and I were just laughing because we messed up the intro. You know, there's there's something that, you know, whenever I'm recording videos, I swear to God, man, I will do the first 10 seconds like 70 times because I screw it up so much. I can't even get into what I want to talk about. I screw it up all the time. I have like a, I have like a B roll. Of all this, of all the screw ups, and it's just me talking to myself, like, You're such an idiot. Oh, you suck. You know? It's, You know, for, for me, it's, it's just these, these big lips get in the way sometimes, bro. So, I mean, it just happens, but I feel you on that. I feel you. And man, it feels good to be back here. I mean, we had. A lot of fun recording episode one,
Play from 0:00:50 we had no idea what the hell we were doing as we told you guys. And you know, I think one of the things that we've talked about is just the format of this and kind of straddling this nice little line of delivering it in a valuable way, making it community driven making it something easy to listen to, no matter what you're doing, right. Whether you're driving. Doing something around the house, et cetera. And so we're trying to straddle this line between that and making sure we deliver that, but also not over engineering this thing, right? Because we don't need to do that. This is really just about us. Two friends, two nerds with Midjourney, just kind of talking through that.
Play from 0:01:29 And I like it better that way. I don't know about you. I do. I mean, I'm not, I'm an, I'm an agent of chaos. You know, I thrive in it. I don't like anything structured. It's you know, probably why Midjourney fits so well with my personality. It's just pure, pure. unadulterated, like creativity and freedom. So yes, I'm down with it. And again, as Drew said, we don't know what we're doing. So we're just going to test some stuff, see what works. You guys tell us what you like, tell us what you don't like. You know, we're going to, this thing's going to sound different in six months and it does right now. So we'll rip on it, but you know, that being said, man, you know, there's always, always, it feels like in this AI world slash landscape, whatever the hell you want to call it.
Play from 0:02:08 It's like one week explosion, 50 things happen. Everyone gets all like crazy. And then the next week it's like, you know, mellow waters, which feels like it was like a mellow waters week this week in comparison to the last But, you know, we're waiting here for. Midjourney probably to drop some, you know, news on when 6. 5 is going to come out. That's going to be probably fairly soon. You know, it's always, you read the office hours, you listen to the office hours, Ah, it's a couple weeks away. Okay, cool. Like, you know, they, they will never give us any heads up either. It'll just happen one day. It, you know, we always joke it's like Friday at 11:37PM when no one can go and try it unless you're in Europe or Asia, especially us over here in the, on the East coast of the US but yeah, man, that being said, there was some interesting updates or at least a couple of things we can talk about from the office hours this week.
Play from 0:02:56 So we're going to run through a few of those provide some potential color commentary on it. See where the hell everything goes. And then we'll rock and roll from there. I like it. Yeah. Let's run through this. So kind of on the immediate horizon, let's start there. Right. You know, last episode, we were talking about something that David said about, how do we bring this magic over from discord over to the website? And one of the first updates coming here is that they're going to start synchronizing the discord rooms with the website rooms.
0:03:00Hands-Gate: The Truth About AI-Generated Hands
Play from 0:03:27 So that's interesting. We've got personalization that they're working on sort of like a V2, I guess we could call it. Right. So just including a better version of what that is. Like you mentioned, Rory, the 6. 5 training it, planning to release it in the coming weeks. Could it be the end of the month? Possibly. We don't know. But what we do know for sure is that it'll come when we're both doing something and we're very busy so that, that you could totally trust. Now what comes with 6. 5, right? So apparently that's going to include improved image clarity, And details like hands and skin textures.
Play from 0:04:04 It's supposed to be a fairly big improvement overall. I think that's why they're leaning towards a 6. 5 versus like a 6. 1, for example. So pretty excited about that. And then lastly, this idea about style exploration and there being a tool for that. So that's something that they're in progress and working on. They're running a little bit behind on that, but that could potentially launch you know, sooner than expected to, if they, you Sort of launch a more MVP style version of that. So those are the things that are immediately coming up based on that group. Anything you want to talk about specifically, Yeah, I mean, it's pretty interesting. A few of them, right? Like, I think the one thing that I've, I've always noticed, right? Like, especially with something like the personalization now, to me, it's probably going to mimic something like style reference where we saw that first version and it was, it was okay.
Play from 0:04:53 Like it was good. It worked, but like now we're at Style version four. And I don't even think we knew about style version two, two, three. And, you know, it was just like, kind of like, Oh, you can go back through the style versions now. I was like, I don't even remember you were releasing that, but cool. I feel like that's going to be the same way with personalization. Like each one of them got somewhat better. And I think they got way more controllable as you started to get a little bit further into it. So I'm like, I'm kind of amped about the personalization. I. I already think it's been better, to be honest. Like from when it first started, this is just anecdotal.
Play from 0:05:24 And you know, I might just be crazy, but when we first, first got it, it was, I don't know if it's still taking into account and like building as the algorithm, you know, evolves for how it generates. But my stuff now has been way more. Even more so amplified in my style. Like I could, I could really just, you know, if I'm trying to get something that, you know, I was doing my, my typical Land Rover Defender prompt that I use in just about every presentation I was doing that the other day Yeah. Yeah, yeah.
Play from 0:05:54 swapped in my P code and it was like bang spot on. And I was like, that is crazy. I don't even have to do anything anymore. So, That that's interesting too, because I wonder how much of that is based on things that you've created. From the prompt, right? Like it, like, does that personalization come down to even keywords within the prompt? Right? So like I've prompted so many portraits and that's where I noticed the personalization stand out the most.
Play from 0:06:20 Right. But I wonder too, like, does it get down to that granular granular of a level To where it knows that you've done that. It's got a data set it's pulling from. And then it's basically saying, okay, here's what we would get without it. Here's what we would get, you know, what he's created already with it. You know, we're going to sort of lean the side of the direction with the personalization code. I am curious based on when this first launched, I think you and I were talking about, Hey, like let's run this stylization of the personalization code pretty high. Let's see what that looks like. Have you been playing around with lower numbers now?
Play from 0:06:56 Because I know. You just like I are, are sort of like a lower stylization numbers guy, but obviously that could play a little bit differently with the personalization because that's what it's impacting when you have personalization on It's crazy if you want to get real nerdy, right? Like, it's always, it's always depending on me what else is, what else is going on. I Rory. That's what we do here. That's what we do here. Like, like I'm saying, man, I, I, I always like to The stuff I, you know Granted the, a lot of the stuff that I produced and put out on, you know, social, I try to keep it very digestible.
0:07:00Personalization: The Secret Sauce to Better AI Images in Midjourney
Play from 0:07:29 Cause it's just, you know, I don't want my, my crazy brain to be on expose at all times, which is either a good thing or a bad thing. But you know, when I'm throwing in five different image prompts and three different style references and, you know, playing around with multi prompts, throwing my P value in there, like it starts to get really hard to understand like an isolate the variable, which is affecting it all. Right. So they even bring it down, which I did recently, which is all right. I'm going to go with. Super simple prompts, like super simple, like break it back down to like, just having like my subject and what's going on and that's it. Nothing else.
Play from 0:08:00 And then using my P value and then ripping up on the stylization to see what happens. I've seen like, I don't want to say it gets too crazy, but like it does, if it starts to feel like off and that's just me, that's just my own personal opinion on it. It doesn't feel like it does it. Like a hundred, like a hundred, you just thought default feels like me up to about 400, 500. Feels like me. I think it starts to feel like it's, you know, Midjourney taken over like it normally does.
Play from 0:08:26 But I am so glad you said that because I have kind of felt that too, right? Like when we first started, again, when we first started talking about personalization, when it rolled out, you know, we did a live, we did a LinkedIn live, we had a group session on that. We talked through the idea that, Hey, run that stylization up. Because let's see what your personalization actually is. And again, they didn't, we don't know what updates have taken place from that first launch to what they're working on now. I do feel like it's changed. But I I'm totally with you, right? Like, I think there's a case that you could make of, Hey, if it's a small, simpler prompt, And you have a little bit of Liberty creatively of what you're trying to put together, run the stylized higher on your personalization versus maybe lower on something
Play from 0:09:15 a little bit more specific, kind of like what we did with the Midjourney specific model anyway. But I think like that way you could almost use your personalization as this big asset. You know, when you run that stylization number high versus, I always was afraid to run that stylization number super high with the Midjourney. You know model just because it would start to to not really look like the type of images I would want yeah. Here's a, here's a question for you. Cause I know you use it way more than I do. Like you know, I feel like you're in two camps here. It's very bipolar. You either a style raw person or you're not. So I know you're probably more in the style raw camp than I am. Like I tend to, I tend to love, you know, mid journeys overemphasize like crazy style, it makes me happy.
Play from 0:09:58 But, you know, I don't really use it that much with StyleRaw because I feel like my personalization style is on like more of the raw side. Ah difference? Does it play a big role for you when you're using it? the style raw on or StyleRaw and personalization Oh, I mean, I that's all i've run really I may have Just run a handful where it's just the standard but I leave raw on as a default. So Most of the time, I don't even think about it. But that, that's probably worth exploring too, right? Like how far does that veer off and what kind of results do you get that are a little bit differently from that?
Play from 0:10:35 I was starting to get this idea with style raw, actually, how much does this really matter? Yeah, Because I felt like it used to matter a lot more. And what I mean by that. Is I noticed like, you know, in that, that day between, you know, those times between discord and having multiple windows open, I thought I had style raw on. And it turns out like for, for, I don't know, a couple of days I didn't, and I didn't really notice much of a difference. So I say all that, like, I don't even know if that is really a huge factor anymore. I think now when you got stuff like personalization too, which is kind of your point, it knows that I like a little bit more of this photo realism, filmy look kind of thing.
Play from 0:11:21 So, so maybe it's, it's not really as important to make sure that I have on, but that, that's an interesting question Cause for me, especially when I'm creating content, right. And I'm trying to show people ask a lot of times, you know, like, what's it, what's the difference? Like why don't you either one, why don't you use style raw or number two? Like what is style raw? And to me, the hardest, one of the hardest pieces of content I ever had to create was like showing the difference between both. It's most of the time you get, it's, it's. there's no, there's no visible difference. Because I did, I ran it on like, I don't know, 25 tests. Maybe it was visible on like five and I put that and here's, here's a little behind the scenes. Everyone's sometimes a little bit ingenuous to show, you know, comparison for the sakes on like what some of the content that personally I have to produce for something like that, like style raw, it's such a minute difference.
Play from 0:12:09 It's really hard to compare and contrast. And like give someone a visual representation of what that means. So, you know, even if there was 25 tests run, only two of them came out, like those are the ones that you're going to see because it has to make some sort of visual difference, right? But I, that's always been my, always been my thing. I have like, it worked really well with, I want to say like V5 Like it was definitely a noticeable difference that, okay. So that's what I was going to bring it back to, because you remember how that shifted, you know, in those early V five. 5. 15 point twos, where they each had very distinct looks, it felt like raw made a bigger difference. And ever since six, I don't know that I've really seen it a that's like when that's also like with stylized, right? Like when stylized back in V five, I think
Play from 0:12:54 it was V 5. 1 or maybe V 5. 2 when like stylized became like when you got to 400, it was like, Whoa, like we're changing the entire image here back. I want to say V five. It was, you know, you dialed up stylized and it would go. Basically, I would be at like between seven, 15, a thousand on every image. And now I'm like, rarely touching that ever. I mean, some images where she's like, I want to go nuts and like, let's, let's really push the push the envelope here and see what kind of wild stuff is going to pump out. Yeah. Go there.
Play from 0:13:23 But you know, Let's, let's, let's, let's let's take a few steps back on this too. Just for people that, Cause stylization when we've, we've talked about this, but I think it still confuses people, right? Like it's because a lot of things are named style and Midjourney, but also like stylization is always been this weird thing to really grasp. And that's because it's sort of this idea of like, I want to add. Style. And it sounds like you should dial that all the way up. Right. But when you do that, you also give you, you give your control of the prompt away a bit, right? You're giving some of the equity and control away and deferring to Midjourney to fill in the gaps.
Play from 0:14:07 And so it becomes. You know sort of this balance that you need to find for your particular style you and I have always Dialed it down. I think you might even go lower than me now, but I I typically just for you know context here. I'm usually somewhere between 100 and 250 I feel like somewhere in between there's like usually my sweet spot Because it usually does a great job of taking into consideration everything that i've put into the prompt And then also, you know adding enough of that style You To, to fit my aesthetic.
Play from 0:14:38 Right. And so what, you know, what would you like to share or what do you think is some of the hangup with stylization? Are you kind of seeing that with people that you talk to that they don't really know how to dial that in? Yeah. I mean, everything's just called style. I think you hit on that, right? It's like, all right, we got style, raw stylized style weights, you know, style reference style. This, it just, it's so much style, but you know, it was, I think it might've been one of the first parameters if I'm not, if I'm not incorrect on that.
Play from 0:15:06 Maybe I am. I just mean, I remember that coming out and being like, Oh, I can juice the hell out of this without being like you know, changing my prompt a lot. So that was, you know, it was like one of those things, but you know, it's weird. Like I live, I live below. The default a lot on this stuff. Now, like 90 is a great one for me. I do like style. I like between 90 and a hundred tends to tends to produce some stuff. I also think it's like, again, going to whatever you're trying to get from an output standpoint. If you want someone super sensationalized, like go all the way up. If you want something that looks way more raw and maybe even more like vintage, you want to go down to, down to zero, not vintage.
Play from 0:15:41 Maybe that's the best. That's not the best Flat, like a flat, like a flat, like you're not, you don't need to see every detail. It's more like what you would get out of a camera, right? Like, or that film look that you and I really like, right. It's, it's sort of like, it's more about the image as a whole than it is like somebody's face and seeing every little. You know, dot and texture and poor, you know, and I think there are places and times for both, but you know, most of the time what we're creating is not sort of these, these extreme closeups and just depends what, what, what type of image you're going for.
Play from 0:16:11 Well, it's crazy is most of the time. What I noticed too, is like, when you go up to, if you want like a closeup of a face, right. And you go up to like stylized thousand, you get some of the most symmetrical, crazy looking, like model faces you've ever seen. Like the most chiseled jaw lines, like women with absolutely perfect symmetrical faces and like sharp green eyes, like what, like where are they even getting this train of data, training data from, you know, that's when it looks like that Polish to it.
Play from 0:16:38 It's like that, that like. Yes. it the AI polish. It looks like a doll like it like a sheen, like a it's like a like a That's where it was for a long time. That's what everyone was producing. I mean, I remember when we were like There was like this there's like this total arc where it was a I came out and then it was like How do we make everything look like that? And then everyone's like, Oh, we got there and everyone else started doing it. It's like, how do we make things go make things look ugly? You know, Oh, it's let's produce, let's introduce weird. And then I was like, Oh, that's what This is, this is a, this is a, this is a photography thing too. And I've noticed this with. Like people that photographers, you know, especially when they're new, you start with this idea similar to that, right? It's like, I'm going to,
Play from 0:17:26 you know, dial up saturation and do this and that, and it just becomes too much. Right. So then you have to understand and develop this eye to know where to bring it back to. And it's similar to that, you know, same with like presets or anything with Lightroom, if you're a photographer, just like all of that, it's, there's just like with anything else. The key is moderation, right? So it's like, this is too far. And usually what you think is, is probably, especially when you're early is just right, it's probably a little too far. So you just pull back just a little bit. Right. And I don't know, it's just something I think we all go through as we're developing that I, especially if you haven't been there before because you have to sort of train and put in the reps, you know, to really understand what looks right.
Play from 0:18:10 It's hard to, you know, really critique and understand and like, Decide on your own images as opposed to somebody else's bro. very similar. This might be an outreach. On a, on a comparison, but I feel like it's very similar to how I listen to music, right? If I find a new genre or a new band that I like or something, right? Like, Oh, okay. Let me go listen to everything that they've done. You go all the way to like the most present thing. And it's like, what, how do they start? You know, you just, you rip it back down to the bottom, like, especially with something like hip hop.
Play from 0:18:42 Let's say you got introduced to hip hop today, start listening to hip hop. You get into it, you start like trying to find more and then you're like, how did this all start? You get back into the, you know, into the nineties and the late eighties and you're like, well, this shit's, this shit's hot. This shit this pops. This is good. So some, I saw something on Tik TOK yesterday about bone thugs in harmony took like this old school Sega game. And I can't remember the name of the game. It's some like, not even a popular game, but like different screens. Like if you're going through a character's bio, there was like this beat and they took that beat and applied it to the music, right?
Play from 0:19:21 Like that's, that's why. 90s early 2000s hip hop was the best is because they're just creating this music from Just these things of that were just born out of imagination, right? And it's just so much more Natural and organic and relatable I think from that standpoint versus all this auto tune stuff, but that's that's just maybe my opinion I'm with you on that, unfortunately. You know, you go down the YouTube rabbit hole every once in a while, I find myself watching, like, the history of turntables, and things like that. And it's, same thing, you just, like, people just find sounds, and they're like, I'm gonna loop that, and then I'm gonna throw a bassline on it, and throw a kick drum, and like, bang.
Play from 0:19:59 Song. It's like, all right, that's way more creative than, you know, let's do a, you know, not to, not to hate on something like Suno or UDO or whatever the new AI tools are that can produce music. They are fun to use. I will say that you can go in there and create anything. Most of the time going in there and creating like instrumental nineties, hip hop beats, like that's what I'm looking for. So, you know, trying, trying to utilize. Without having to go through stock stock images or stock music, but like, you know, that, that it's, it's timeless. It works for just about anything to that type of music. So it's, I'm glad, I'm glad we have the same perspective on that, but it's the same thing with these images, right?
Play from 0:20:36 Like, I feel like I went so far when I started, went so far with the stylize and was like, here's all this crazy stuff. And then I was trying to bring it back down to like stylize zero. And how do I make people look ugly and weird? I remember there was a phase, like, how do I make people. This sounds so bad. How do I make people look ugly and like natural, not polished, not perfect eyebrows, not perfect lips, you know, asymmetrical features, normal fat, even I remember, I remember trying to prompt fat Arnold Schwarzenegger for like two hours. It just wouldn't happen. Like they wouldn't, they like, like wouldn't allow it.
Play from 0:21:13 It's long ago? How long ago is that? Oh my God, that might've been V5, but I swear to God, I spent. Two hours, every word you could think of, every word you could think of to try and get them fat. It wouldn't work. you know, I I I I I've been there with actually that scenario. I haven't, I haven't spent a ton of time with like overweight, fat, obese, but the ones that I have, they only go so far. Like it, like it doesn't seem to exaggerate too much now, ugly. I have found the end of that road. It does get pretty ugly. And, and actually so ugly that it becomes.
Play from 0:21:47 Beautiful. Right. Like, and so that's where, where I think you're sort of alluding to as well, but I think it's, I think it's super interesting. What do you think now that we're talking about too, you know, maybe like with stylization, right? Like there's probably some, some myths about how to use it or some, some real lack of knowledge of how it worked. Are there anything else that you feel like are myths or. Misconceptions based on people that you talk to about Midjourney as a whole.
Play from 0:22:16 Oh, there's a bunch, man. Like, I feel like I get this, I get this question asked a lot to me from, from graphic designers, especially where, you know, they're used to, they're used to just building and constructing images and multiple layers and they're doing, you know, different pieces and different, it, it basically like you're a chef in a kitchen, right? Like you basically put all of your ingredients out onto the table and then you make a meal. Right. So I, I think about, you know, it's, it's not a finished product. I say it a million times. It doesn't have to be this one image that incorporates everything. You can go and create all the ingredients and then put them together yourself.
Play from 0:22:49 So, you know, for me, I've always liked to do that, especially with my carousels and things of that nature, you know icons, different, like little, different little, like. Overlays or gradients or things like that. Cause you know, if you've ever worked in Photoshop, you know, a lot of times you're thinking in layers. I mean, that's how I was trained as a designer. You're thinking in layers, how to mask things, how to put different, you know, you're like a collage artist in, in digital fashion. So, you know, if you're thinking about all the pieces of the collage that you need to pull together, a lot of times that wasn't just all provided to you.
0:23:00Stylization Secrets: Why Less is Often More
Play from 0:23:20 You had to go search on stock sites. You had to go find different things and like transform it into vector images on. On Illustrator, and then move it over into Photoshop, so you could make it, you know, get rid of the pixelation. I mean, there was so much crap that we had to do. Now, it's like, I use it for, you know, I need an icon. Great. Done. I need a, you know, I need like a, a half moon, half moon, like, little, something to overlay, so that I can create like a different frame. On an image or something along those lines. Yeah, I can go do that. So it's, I like it for its versatility. You know, I love creating you know, different photorealistic, like crazy scenarios, but I also love it for, if I'm creating a presentation and I want to do like show a flow chart and I want to
Play from 0:24:05 create basically like a visual representation of that flow chart, this is how I can go and do it. Very easily. So yeah, I think there's, I think everyone just looking at it as a, you know, push button solution and it's not, but also it does way more than people think it does. So that's a, I think that's a really good one actually. Yeah. Because I mean, all you, all you hear about is, is really typically just the images, but, but to your point, icons, illustrations, frames or wire frames, rather mood boards, what you do, like there are different ways to utilize it outside of a single image.
Play from 0:24:41 Right. And so. There are plenty of those use cases. And I don't think people are really thinking about that or talking about it enough for me. I think it's two things that, that immediately stand out one. I'm tired of hearing about the hands. Like, God. Enough. We get don't, I don't, I don't really think the hands are that bad. I don't think they've been that bad for a while, to be honest. I, if you are you prompting? Like what, what are the prompts here that are getting the hands so bad? I want to know. Cause I would love to know too, because it, because it's really, it's really, it hasn't been bad for a while. And even if you do get. The image that you really like. And there's a six finger or four fingers. Right. And it's salvageable it's salvageable 90 percent of the time. And in a repaint, I guess now what we're calling it formerly, formerly known as very region,
Play from 0:25:29 but you know, you know, like that's an easy fix. So I think that's, that's one. The other one for me is which we were talking about right before we jumped on here is just, there are so many ways to create images, right? Outside of just typing in the prompt, right. And going through a subtle variant, upscaling it or a strong variant, upscaling it, right. There's blending, right. Which is. You know, using an image weight, using a style reference, using a style code, using a style tuner, like you've got all these things, personalization you know, reframe, right? So you could zoom out, you could change the aspect ratio, you could pan you could remix, right?
Play from 0:26:09 Like, so, so it's just, there are all these different ways to tackle a problem. And I think for me and you, you know, A lot of people are still creating these things for personal projects. You and I do this, this stuff also for clients or for work too. And so I think that's important to mention because when you do that, you get into a little bit more of this troubleshooting mindset of how do I do this, right? How do I get this there? Because you've got a very specific request or a specific thing in mind that you're trying to work toward versus being a little bit more lenient on the You know, creative capacity or creative output that you're, you're just getting. Right. And so I think like being under those constraints also pushes you to really understand the tool a little bit better and dissect those things further.
Play from 0:26:56 And let's face it. I mean. You can blend two images together and get awesome results. You can now more than ever use a short prompt with stylization and personalization and get great results. Right? Like, so, so this idea that you need to have this perfect prompt isn't always the case that you're starting from scratch on, there are just so many other ways to do it. It's, it sounds so annoying, but it's like fundamental understanding of the tool, like, really just helps you. You know, it's really hard for me to try to explain to someone, like, this is how you, to get to, like, some of the end results that we get to. Where it's like, Oh, you just use, you know, for me talking to you, I'd be like, I use a style, you know, I use style reference, I dropped the style way down to, you know, 0.
Play from 0:27:38 5 or a 50. I, you know, added an image prompt and blended this. And, you know, basically I waited the two style codes against each other, right? Like something crazy like that, that would sound like gibberish to someone who doesn't know what we're talking about. So, you know, I could, I could try to explain that, but again, the fundamental understanding of the tools makes it so much better and so much easier, that's just cause we're nerds and we have to do it, but still at the same time. You know, it's just like at the end of the day with troubleshooting becomes so much easier with the function at understanding the functionality and like what works also going back to the hand situation. I just remembered something that I was, I was riffing on with with a client about this the other day.
Play from 0:28:15 I've noticed I have noticed. So I apologize for what are you, like, you know, the, what are you prompting little interjection I had before shorter prompts tend to have crap your hands. That's what I've noticed. I w we ran a bunch of tests because I just remember this, my brain isn't functioning at full capacity today, but we ran a bunch of tests, shorter prompts always for whatever reason, hat, like the hands, you get like these big fat fingers or they have like three fingers, the longer the prompt goes, like the more detailed it is, the more expansive it is for some reason, the hands end up better.
Play from 0:28:48 I don't know what it is. It's just like, maybe it's pulling from too many different, you know, when it's, when it's a shorter prompt. It's pulling way too much in, leaving way too much on Midjourney's plate for it to, you know, kind of comprehend hands. And if, you know, the longer prompts, you're generating more tokens, you're pulling more from its like random access memory there. And maybe that's why the There you go. I think we just answered our own question because that would make a ton of sense. I don't think you and I are doing too many short prompts.
Play from 0:29:14 No. You know, so again, there's nothing wrong with that, but that's maybe why we're not seeing the hands issues that other people are seeing. And probably more likely newer users are saying, so I think that makes a ton of sense. That's interesting. I've also known, like notice some interesting things with, and I know you have to, with some of these other controls. At low, low values, having a big impact, right? Yeah, even just like putting chaos at five, three, 10, you know, weird at one, three, 10, like those scales are big, but you actually don't need.
Play from 0:29:55 The scale really like everything like almost 10 and under with both of those is crazy. It's a huge difference. So I would say like if you haven't played with stuff like that, that is also worth exploring because I don't like too much weirdness in my, in my prompts because most of the stuff that I feel like Midjourney throws and that's weird doesn't fit what I'm going for. That's just my personal opinion. But I noticed if I use like a weird of like, Three and under sometimes I get some, sometimes there's a huge difference there. So I just think like little stuff like that, you're not going to know that unless you've really, really don't gone far in this tool.
Play from 0:30:32 100 percent man. I, like, I still remember my favorite, like, parameter set from when I, when I originally cracked, like, how to, how to make things look real and not polished on a, I think it was V5. 1 Yeah. I think, weren't you, weren't you adding a little bit of weird just for that reason, it was, it was Stylized 225, it was Chaos 10, and it was Weird 20. And those, those three together gave me like the good enough mixture where I remember I was prompting like the, you know, New York city men in a bodega. And it was like two dudes were in flat bill Yankee hats, like overweight were in, you know, puffy like North face jackets.
Play from 0:31:08 I'm like, we just, we just encapsulated New York. Like, there it is. That wasn't, it wasn't like a supermodel walking into a bodega. You know, it had like, The real like crappy lighting. It was like, this is, I was like, this is, this is it. This is it right here. And then I started translating that to I was like, Oh, can I do like grungy nineties, like skateboard photography? And it was like, bang. I was like, okay, we did it. Like that was what I was looking for. But weird, weird can, I think it's so underutilized because I still don't know, honestly, after using it all this time, what the scale is between, you know, it's, it goes between zero and 3000. But to me, some Yeah, sometimes three does more than 1, 500 and sometimes 1, 500 does more than 3, 000, but you know, it's so random
Play from 0:31:55 that's, I think that's also another point that, that could be dug into a little bit is you would think, right, the sliding scale or threshold, the higher you go on something. The more different it's going to be. It's not always the case. I like there's, there's always been this little buffer on either side of a number and, and each one's different that it just kind of feels like, okay, there's not much of a difference there, or I feel like there should be a bigger difference there, or there's too much of a difference there, you know?
Play from 0:32:27 So like we've, we've talked about this with stylized before. I think you could like probably on a less noticeable scale, but chaos too. Right? Like running chaos at 10 versus 25, even though that's a large scale number, like big difference, big difference, weird, right? Like there's a big difference even just with a subtle movement. But like, once you get past a certain point, it's almost like diminishing returns. You're not really getting much of a difference anymore. Same with stylized. I would probably say even two now between like seven 50 and up kind of feels like you're all playing in the same ballpark. I don't know.
Play from 0:33:01 I feel the same way man like The thing with chaos though, which is crazy, you see, like when you run those higher levels of chaos, you get nothing close to your prompt, but sometimes like 75, 75 to a hundred, you'll get some absolute bangers that like, you might take a couple of Jen, a couple of gens to get there, but I always remember like, cause I was doing tests, like when I would run, I'm creating content, let's just say I'm doing like, you know, a breakdown on the chaos parameter or just on parameters in general.
Play from 0:33:28 And I'm like, Oh, okay. I have to show the difference between chaos, zero chaos, 10, 20, 30 through a hundred, and I'd run these things and I'd find like chaos, 70, 80, I'm, I'm getting one image out of the four out of the four, you know, grid that is. Crazy good, but I wouldn't even know how to prompt for that. And I've tried to run it through describe and find it not even close. So it's just, you know, it's like a little slot machine, just like the style reference codes. But I love, I love me some chaos, especially when you have a really, this is like when you have a really, in depth, like deep, detailed prompt. A lot of times when it's that detailed, your, your grid is going to look very similar.
Play from 0:34:07 So like even lower levels of chaos, like five, like you're saying five to 10, that can help. Sometimes, you know, you might want to push it up a little bit. 15 out of, you know, it's weird that we have, that we have like, you know, all the freedom in the world and you can also do decimal points, which I've, you know I've always screwed around with just to be like, what happens if I do 1. Yeah. Is there like a magic number that I type in and every time I'm going to get a banger, like, I just want, I just want that every time, you know, it's an Easter all thought, yeah, like exactly. Like, is there, I mean, I think that's, that's something I've thought about quite a bit too, but like, yeah, I mean, decimal points, right.
Play from 0:34:43 We've played with that, with the image, image weight, for example, like we've played with all that and, and maybe even two decimal points, right. Where you're like. 1. 55, you know, 1. 92. It's so random. There's no, I mean, then you end up starting to default to like, even an an even numbers in like five and 10, right? It's like, Oh, I'm going to do a two 20, but I'm not going to do two 21. You know, it's like very, to me, it's so funny that you have all these options, but you probably don't use them all.
0:35:00Blend Masters: The Underrated Technique You're Not Using
Play from 0:35:12 And then I tried to actually, this is fun. I mean, this is how you guys, you can really just roast me for this one. I tried to calculate with ChatGPT, the amount of, if you wanted to do every single parameter combination. With, with Midjourney. I mean, it was like, it was like 40 to the, or something? it's impossible. But that was even before they added things like style, weight and style reference. And it was like, I mean, it was like, cannot compute, dude, just give it up. So, you know, cause I was just trying to make a point that it's like legitimately unlimited. Like there is no end. You can't, you can't reach the bottom basically.
Play from 0:35:47 thinking, I was thinking about that too, with like the workflow of showing, you know, how, how, how does someone treat an image, right? Like, let's just say I have something very specific in mind. Okay. Like, let me start. Here's how the way I'm going to go about it. Now I've got my original grid. What do we do from here? Okay. I know you and I act in different ways sometimes on this, but that's where it starts to, to split. And there's so many, like, I've tried to think about that as a flow chart or some sort of visual process to show that you can't do that. I mean, cause, cause think about this, right? Like, let's just say I wanted to subtly vary a photo, right?
Play from 0:36:26 Okay, now I've got four new options. All right. I like two of the options there. Okay. Now you got two more options, but right. You could also settle, vary those. You could settle strong nose. You could pan those, but you could also then reroll and get more options within that subtle, very right. And you could do that for infinity really. If, if that's. What your, you know, your method to get to where you're going. So like that's a strategy or you could say, Hey, look like this is kind of what I want.
Play from 0:36:55 Let me do that same thing, but with very strong. And again, okay, now I got four, four, four new images. Two of these, I like they're, they're closer now. So let me settle, vary these. Okay, cool. I got two more that I like, but it's missing a finger, you know, or this is in the background. I don't want that. Now I'm going to repaint boom, boom. And now I've arrived at my final image. Right. But like the, the thing is too. That's a very quick funnel, you know? So like how, how much time do you want to spend or do you spend rerolling or getting more options to then boil down to the option that you land on?
Play from 0:37:33 And that just, that, that fascinates me alone because there's so many micro decisions that go into that. How do you, you know, like, is there a certain way that you act every time? Do you treat this on a case by case basis? I'm curious, you know, from your standpoint, like, do you have a, a default way that you like to handle your images? Sometimes, sometimes I would say like, I typically try to start with just like a prompt structure. In mind, look, I'm always, depending on what it is, like if it's something that's a photo or we're going photorealistic on that side, I'm really starting with like what the shot type is in my head. Is it a closeup?
Play from 0:38:14 Is it something like, what's the distance? Like, is it close up? Is it far away? I love that. Me and you are on the same page with that every time. That's the first thing I'm thinking about. Yeah. Cause that'll also determine what I'm doing as an aspect ratio. Cause then I can also figure out how to construct like around it. Like, are we going 69, three, two, two, one, or are we going four or five? Like, cause then I know what to prompt. Cause I know if I'm going to prompt something. Right? Like, you gotta think about this the same way, I think it probably gets Aspect ratio doesn't get talked about enough because it affects the image so much. But, you know, yeah. If you want to do a close up of a face, but you want to do it in, you know, 3 by 1 aspect ratio, like, you're only gonna get the eyes, because a face doesn't fit.
Play from 0:38:52 It's a, it's a long and thin. It's not gonna fit into a wide and thin. Box, but same thing. If you wanted like a full body shot of a person and you say, you know, I want it in two, one aspect ratio and typically not going to get the full body because a body is long and thin. It doesn't fit that way. Now, if you did one to three aspect ratio or nine 16, you're going to get the full body in the image because it can fit. So, I mean, I'm always thinking about that stuff first and you know, how to then, okay, what, what room do I have in my little cubicle? My little canvas to then build around it. So that like basically the shot type and the aspect ratio will tell me what other details I can put in there. And then from there, I kind of just thought, you know, I'm, I'm very, I preach structure, I'm pretty unstructured.
Play from 0:39:37 Cause I'm really just going for anything at that point. I feel like you and me both have ADHD with this stuff. I think like, because the other part of this, right, is you and I are probably also, Both running a lot of experiments at the same time. And what I mean by that is using permutations with some of the stuff we've talked about in the past. But, you know, for me personally, it's most of the time I'm running permutations. I would say the most on stylized number. Just because there's sometimes a nice difference between a 90, like you said, or a hundred to a two 50, you know, like somewhere in that range. So I usually do a couple stops within there, like a hundred, 150, maybe like a two 25, right? Interesting stuff. So, so always doing that, but then you get into, Yeah.
Play from 0:40:24 Like you said, maybe like a, a parameter like aspect ratio, maybe you get into something like chaos, maybe you get into something like Oh God, image weight, you know, style, weight numbers. Like, I mean, so, so it, to me, it's always about how can I get there the fastest, but also explore enough options at the same time. yeah. I think it comes down to. I think that's a good point, but also like going to the image. Wait, you said it. I don't want to jump off it. Cause I think it's important. One of the things that is the hardest to me, right. It's like when we get started, you get that, I like a blank canvas, right? Like basically I just, I kind of want to like build the prompt as I go.
Play from 0:40:59 It's going to take a couple of generations. I don't really reroll too much unless I really like something. And I just want to get like more and more and more of it. Cause essentially I know most of the time, whatever I prompt, if it's, if it's pretty standard, it's going to be pretty standard the next time too. So I'll just keep building upon it. But. Like when I'm looking for something that's hard, like, let's say I get a lot of people that ask me about sports, like sports images and things like that. It's hard for Midjourney to handle.
Play from 0:41:25 Cause the body motion is dynamic. Like it's not, it's not typical, Great point. a fashion pose. Right. It's not like someone that you, you could probably have 1 million. If you think about the poses that people can do from like a fashion sense or like a regular photography sense, there's not many. If you think about the movement of a body, how many different sports images there could be and how different they are and how jumbled they are. Like every run step, like, you know, think about soccer, every, every position of their legs could be totally different in every image. No one looks exactly the same. It could be wide stance, could be like a short stance I was, I was trying, Right?
Play from 0:42:00 I was doing something with runners the other day. Runners hard, right? Like just, you got all, all four. Appendages moving and unpredictable ways to your point. So that's when I'm, that's when I started looking for structure, right? Like I need a structure, like I need to give it an inspiration, almost like if you were going to give it like a, like a virtual skeleton in a sense, like this is how I want the image to look and be constructed and that I can kind of like skin it how I want it.
Play from 0:42:26 So I'm thinking image prompt there. Right. So image prompt to me is like, you want the construction of something. So, you know, also if you, there's like a really, you want to create like some sort of like really dynamic shot or angle, that's really hard for Midjourney to conceptualize you know, utilizing something else, if you can go find an image that looks like that, or maybe it's, you know, some sort of something you've seen before in the past, that can be a really good way to do it. And then also, you know, you have to use image weight. To basically, you know, balance that now image way used to be way more predictable to me. It's a little bit, it's a little bit more testy now.
Play from 0:42:59 Yes, it is. know if you noticed that. Oh yeah. Noticed ever since they moved it to three, once it, once it, when it was at two, it was good. Like I know one is like the sliding scale between, you know, you go lower, it's less, you go higher, it's more. Now I feel like one, one is too strong in, in, in the scale of that should be a third of what it's taking into consideration. totally, totally. And that's why right? Because like, if you're, because here's perfect example, if you get into, Hey, I'm going to use this image as an image weight. And but instead I want this person to be black instead of white or have a totally different hairstyle than what they have.
Play from 0:43:39 But you want to keep, you know, let's just, for this example, let's just say everything else is the same. Well, one is too strong. One is too strong for that. So then it gets down to, okay, you got to go to the decimals, right? You got to get into that zero point, you know, anywhere between like a 50. Three, if you're really going far away from it to like a 0. 75, you know what I mean? Like you have to go below one to achieve some of that stuff. And I agree. I feel like it's gotten, it's gotten far more sensitive since three. And I would even say it's probably gotten more sensitive. In the last couple of months, I've noticed even one I feel like is even stronger than it used to be.
0:44:00Image Weight Wizardry: Unlocking Advanced AI Art Control
Play from 0:44:18 I, I have a theory on this because I have, I do like this stupid avatar of myself on every single carousel that I make. So it used to be like anywhere between 1. 1 and 1. 2 was like my sweet spot. Like that was where it was like, okay, this is where my face and like everything else translates and I can like roll with it now. It's like, I mean, 6 is where it translates. So like there is a, I do have a lot of testing and control against that because I do it for just about everything that I produce. So that one, you know, that's where it's interesting too. Right. Cause you can also bring in just like subtle elements of things. Now where it gets hard is basically, and this is my conceptualization of it.
Play from 0:44:57 I think this could be wrong, but I'm gonna throw it out there anyway. So we do multiple image prompts. So when you bring like two different image prompts in together, and then you try to utilize the image weight, I'm pretty sure what that does is blend the image into one into like how it would blend, you know, just And then, and then take, hmm. kind of what I've noticed because I've run them separately. I've run two image prompts, you know, as just a blend to see what would come out as, then I've run the two image, you know, two image prompts with a text prompt and then, you know, mess with the style or the image weight. And then you kind of end up with the same thing. So it's, it's pretty, I think that's how it works.
Play from 0:45:35 I'm going to, I'll be That's interesting. I've never, I don't play with that, but that's fascinating. That, that that's the route if, if that's the case. And it would make sense, right? You're, I mean, Take the first two images together first, then you're doing it. But I, ideally you're thinking the default is the other way around, right? Where it's like, I want this much of this image. This most of this, this image, then blend them. Right. So can you, there's a dumb question. If anyone knows this blasted out in the comment section, can you not wait image prompts, like I mean, I guess you could probably multi prompt maybe, if I'm thinking about that correctly. I don't know why I've never thought to do this, but like, can I I thought that's what, I thought that's what you were referring to in the first No, I'm, I'm talking like, you know, if, let's just say sometimes we're going nuts.
Play from 0:46:20 Like I do these crazy, like face art pictures where it's like, you know, someone's face was like all these different kinds of patterns and, and different, you know, really highly saturated, super colorized. But when I get to a point where I'm like, all right, let's push the needle. I'll put like six image prompts in there. I'll just put like all the ones that I like and then just hit generate. So I can't, I don't know if I can personally. Weight each individual image like you can in style and style reference I don't think you can, but yeah, if somebody does know. Let us know in the comments. I, again, like that's why I was sort of like that would make sense, but I've never done it. But that would be, that would be something that you would know.
Play from 0:47:01 I would figure you would know just because you really nerd out on the image weight stuff. So that, that is interesting. I don't, I don't know that I would still use it even if it was an option, but it is fascinating to think about. So even circling back to where we were going with like the, you know, the whole process, right? Like that image construction, that's where image, image prompting helps and image weight helps when you want like visual aesthetic or like style transfer. That's what the style references for. So if you like.
Play from 0:47:26 Kind of like the visual signature of the image, like the colors, sort of the composition, like that's going to translate more with style reference than image reference, like image reference basically. Or if you don't, if you've never played around with image weight, either, basically you assign how much value you want to take from that one image. And on the low end of the scale, it will do absolutely nothing on the high end of the scale. It'll basically turn into that image. So if you wanted to like replicate a photo, I remember I did this for a picture that I took in It was like a food picture that I took on vacation. I was like, yo, let me just see, let me just see what it'll do.
Play from 0:47:58 If I put it up an image, wait three. And it was like pretty much exactly the same thing. It just like retouched it and polished it for me. So, you know, people that are looking for something that's really close, but maybe not exactly the same thing. That's how you do it. I just think there's so many different ways to go get to the end result. A lot of times I'm using image prompting for like construction of an image, like actual structure and then style reference for. Any sort of like aesthetic that I want to transfer.
Play from 0:48:26 Yeah, no, I could, I could definitely see that. do you, so like, here's another question when this is actually, this is why, this is why, you know, being on this tool so much can be kind of annoying because I'll oftentimes find images like from old presentations or old you know, Carousels that I'm like, Oh, I want to use that again. Like I want to use that prompt or I want to use that, that image as an image reference or a style reference. But you know, when you have 50, things in your archive, scrolling back and trying to find that in the sea of nonsense, that's there, one thing. Figma just did this, which I thought was freaking genius.
Play from 0:49:06 They added this AI feature into their Figma boards. Cause you can, you know, Figma boards are like infinite. You can go in there forever and to just go on and on and on. They have like an, they almost have like an image, image reference search tool. So it's like a reverse image search in there. So you put an image and it'll go find it in your design, in your design board for you, Midjourney, if you're listening. I would love that feature so I could just like plug that into my archive and it would like pull up my image so I don't wouldn't have to remember what I prompted when it was like randomly over the last three years because I feel like that would be super helpful going to find the old stuff. That's my rant for today.
Play from 0:49:42 My only my only request of Midjourney, but I feel like that would be a very easy thing to do. The other, the other part of that too, for me with the archive is almost, I almost have a different problem with it, which is not so much that as it is just being aware of the things that you've created in the past, right? Because when you, when you create enough, even with like, I don't know your process too, with, do you upscale every image that you like?
Play from 0:50:09 no. I, I, I tend to now, I didn't used to be that way, but like I tend to now just thinking. Oh, I may have a use for that in the future. Right. And maybe that's just like maybe for a LinkedIn post or whatever, but like, I feel like if I like it, I just take the extra time to just, but that's even a problem because now it's just like, I'm not even remembering images that I created three weeks ago that are good.
Play from 0:50:35 And they're just. They're collecting dust. No one sees them. Right. So it's like that, that idea of repurposing it. And so it's almost like being just aware of the images you created versus a specific example, which is what you're talking about. Both could be, I think, solved. I know that mid journeys talked about organization as a whole being something they would like to address. It's just further down the priority list at the moment, given their bandwidth. There's so many things that I, you know, probably people don't even care about that I would want from that, you know? Like That, that, yeah, yeah, there's so many like that in that space, in the archive space, like I would love to just be able to select like 10 things, like oh here's like 10 images, and then be able to share that.
Play from 0:51:16 Like, here's the, like, put the either one, like create a folder that's shareable or two. Like, here's like a, like basically like a custom portfolio link where you can just go like, bing, bing, bing, bing, bing, share, or, you know, some way to download multiple photos at one time where it's more so like, you can just organize them into like a collage feature where it's like, okay, 1, 2, 3, 4, 5 auto format download. Great. Awesome. That would be really nice. I'd be really, I'd really appreciate that. There's so many like little things. Like, I don't think that that matters to them. Maybe they'll have like, you know, to your point, it'll be like a, on this day feature, like it, like it did in Facebook or whatever for Yeah, yeah, yeah, yeah.
Play from 0:51:54 you created this most Hey, it was pull up. Crap. You know what? While we're on this, what do you, what do you think is like one little thing that you don't hear enough people talking about, you know, that, that you think deserves more love, or maybe it's a. Maybe it's a tip. Maybe it's a trick. Maybe it's just something you've noticed along the way that you want to shine some light on.
0:52:00Hidden Gems: Midjourney Features You Didn't Know Existed
Play from 0:52:20 Is there anything like that, that stands out? There's, there's so many things. I feel like, I feel like a lot of the older functions. Just don't get, don't get enough. I mean, like blend, I've still feel like it's awesome. And I don't feel like people use it enough. I I don't either. so much and I don't, I don't show it a lot because, you know, there's really not a lot to instruct around it. It's just, you put two images together, see what happens, It is pretty fantastic though. I mean, especially like if you're going for like something with, with product or texture or something like that, because you can create a whole new thing that doesn't even exist. All you're doing is smashing two images together. And, you know, just in my process of like looking at other people's stuff, liking stuff, I mean, there are a lot of people that just, just do that.
Play from 0:53:06 They just do that. Right. It's not even a prompt. It's just that. And I think that's, that's super cool too, because like, again, it's just another thing that you can do that doesn't require the typical fill in the blank box of what I'm trying to create. Right. It could just be, I want to see what this would look like with this. There's, there's some other like random stuff I've come across. Like whenever I'm trying to do minimalism, like super well, I've always tried to flip on Niji. For a little bit in the photo realism space, or at least like create an image in with Niji and then reference it against that. So there's always, there was some like really weird tricks.
Play from 0:53:42 I also like to use Niji to like, kind of give my photo sometimes like an animated polish to it. We're not go full animated, but sometimes go like, Oh, I created something photo realistic and I'll throw it into Niji, right. And then give it like this subtle. This subtle, like streak of animation. It can look really cool. This is personal stuff, guys. I'm not doing this for work. This is like for real. Like when I want to have fun and like really just blend stuff and see what you can actually do with this tool. That's, that's where I have a lot of fun. That's when the gates open up to when you start going down those routes.
Play from 0:54:13 Also flipping back through old versions. I mean, I love to go back to 5. 2. I love to create tuned styles, go back, create those basically like your own SREF codes. And then go utilize them back as style references now. So then like, I can create like my own little style reference code. Then I come back, flip back to V6 and then go and do that. So, you know, not, I don't know how many people are doing that, but I miss my one. I miss my good ones that I had there. Cause those things were fire. Now they're, now they're lost to the, not lost to the archive somewhere.
Play from 0:54:45 Yeah, that's, you? What are you that's a, You got to do some weird stuff. You got to do some weird stuff too. Come on. no, I do. I'm just trying to think like of a few different options we could go here. I, I think one that not a lot of people talk about one that a lot, not a lot of people talk about too much is probably in the curation process of putting together images, the search functionality within an image.
Play from 0:55:14 So there's that search icon. There's there's the search bar. Right. But then there's a search icon when you click into an image, and that could be from your archive, or that could be from an explore page. So I just did a post on LinkedIn, putting together some fashion images. I wanted to get different angles that I thought looked cool or featured different subjects in a, in an interesting way, I utilize things like. You know, that search functionality, the bar find some image that I like, maybe that's from like a. Angle perspective, or just the way things are laid out a composition. And then I'll click into that and then I'll click into the search icon. But now what that does is that gives you a different feed of similar images to that one.
Play from 0:56:06 And that's an incredibly powerful way to put together images, especially when you're trying to tell a story. Because then you can, like, you're not just going through. Maybe your process of, Hey, these are all the camera angles I know. Right. And you know, this is that, and this is that you're really then almost like shortcutting the system of, Hey, Midjourney does do this. And rather than me taking five hours to figure out how it does this, I can do that, apply it to this particular project and make this a piece of my story. Right. Whether I'm changing out the subject, the lighting, the colors, whatever it is building on top of it, doesn't matter, but like there's that portion of it, and then you could do that with your own images.
Play from 0:56:49 Right. So you can click in your own image, any image that you have in your archive, click on that search, and then you can see all those similar images. And that was sort of like a thing that kind of disappeared for a while that, you know, if you remember that, like in the early days of Midjourney, that it used to just give that to you. Pretty, pretty obviously I would say. And you're just like, Oh, these are cool. This is, you know, this is a cool way to, to sort of think about that same image or the same subject, for example. Well, that. In particular, I would say is like one of the bigger things. I don't think a lot of people talk about, don't know about, don't utilize.
Play from 0:57:25 And the quality of the results when you do that versus just going to a search bar, you get like three X better results. They're, they're higher quality results. And I'm not sure what goes into that. It could be. Community rankings, liking, you know, likes, for example. I have no idea, but the results are better. You showed me that and I was like, what? This exists? I had no clue. I had no clue that Man, I just, I use that a lot. I use it a ton because you know, yes, you can know all of the angles in the world, you can know all the different things as a photographer or a film director or whatever you are, but like still you have to operate in the confines of Midjourney and so when you really.
0:58:00Song Lyrics to Surreal Art: Unconventional Prompting Hacks
Play from 0:58:10 View and curate other people's stuff and understand what worked, what didn't. Right. Then I think you understand the system a little bit better too. You know how to sort of manipulate that prompt or what you're going for within the confines of Midjourney, which is going to save you time, right? So yeah, that's, that's, that's the, that's the one I got right now. I'll think on that some more, maybe we'll do that for the next, next episode, but that's what I got.
Play from 0:58:36 It's a good one though. I mean, realistically, there's also, you know, it's, it's rooms is a, is a big room. Unlock for me. I, you know, you can go in there and learn, but also I like to organize myself. I've built myself private rooms. So if you miss the channels and discord, you can build your own private room and just generate what you want in there as if you would like a channel on discord. I do it for style reference code, so I can keep that organized at least. So I can go and scroll through there quickly instead of to the entire, you know, mishmash. That's my archive and just that wasteland of stuff that's in there. So, I mean, that's, That's another one. I just think there's so many, there's so many little intricacies.
Play from 0:59:13 You know, this, this, I was doing this the other day too. I was sitting nice to Africa where the hell I was somewhere where I was waiting in line. I was like, let me, let me rip open Midjourney real quick. Go with the go with a little bit of you know, just off the cuff prompting, see what happens. I don't want to prompt too much. I went and I started doing like song lyrics that were in my head and I actually got some really crazy stuff. Now, again, it depends on the song lyrics. I used to be, I used to see a lot of that on, on social, on Twitter, things like that. But you know, I threw in there, I think it was from red hot chili peppers, like psychic spies from China, try to steal your mind's elation.
Play from 0:59:50 And I was getting the most wild stuff I'd ever seen dialing up the weird value to just to see where that would go. And you know, it's, it's funny because you put so much effort into prompting all these crazy things, right? Like, oh, you make sure all my shot angles are correct and all my, you know, my color grading is right. And then out of nowhere, you know, throw in throw in psychic spies from China and bang, I start getting absolute, you know, piss missiles of, of, of images that are out of this world. And I don't even know where to share them because they're so weird, but they're so cool at the same time. And you know, things like that.
Play from 1:00:22 You just go in and got to have fun with it.