# Higgsfield Camera

> >

- **Type:** Skill
- **Install:** `agentstack add skill-osidemedia-higgsfield-ai-prompt-skill-higgsfield-camera`
- **Verified:** Yes — security-reviewed for prompt injection and unsafe behavior
- **Seller:** [OSideMedia](https://agentstack.voostack.com/s/osidemedia)
- **Installs:** 0
- **Category:** [Content & Media](https://agentstack.voostack.com/c/content-and-media)
- **Latest version:** 0.1.0
- **License:** MIT
- **Upstream author:** [OSideMedia](https://github.com/OSideMedia)
- **Source:** https://github.com/OSideMedia/higgsfield-ai-prompt-skill/tree/main/skills/higgsfield-camera
- **Website:** https://higgsfield.ai

## Install

```sh
agentstack add skill-osidemedia-higgsfield-ai-prompt-skill-higgsfield-camera
```

Requires the [AgentStack CLI](https://agentstack.voostack.com/docs/cli). Works with Claude Code, Cursor, and any MCP-compatible agent.

## About

# Higgsfield Camera Controls

Always reference camera controls by their **exact preset name** in prompts.
Higgsfield recognizes these names directly.

---

## Dolly Movements

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Dolly In** | Smooth linear move toward subject | Intimacy, revelation, tension build | "Camera Dolly In toward her face" |
| **Dolly Out** | Smooth linear move away from subject | Isolation, departure, widening context | "Camera Dolly Out revealing the empty square" |
| **Dolly Left** | Lateral track to the left | Following horizontal movement, revealing scene | "Camera Dolly Left tracking alongside the runner" |
| **Dolly Right** | Lateral track to the right | Following horizontal movement, revealing scene | "Camera Dolly Right as the car accelerates" |
| **Dolly Zoom In** | Dolly forward + zoom out simultaneously | Vertigo, shock, realization (Hitchcock effect) | "Dolly Zoom In — subject stays size as background rushes away" |
| **Dolly Zoom Out** | Dolly back + zoom in simultaneously | Overwhelm, isolation, world closing in | "Dolly Zoom Out — city swallows the figure" |
| **Super Dolly In** | Exaggerated fast rush toward subject | Sudden shock, urgent revelation | "Super Dolly In on the handprint on the window" |
| **Super Dolly Out** | Exaggerated fast pull back | Dramatic reveal of scale, sudden context shift | "Super Dolly Out to reveal the entire burning city" |

---

## Crane / Vertical Movements

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Crane Up** | Camera rises from ground/subject level upward | Reveal scope, transition intimate→grand | "Crane Up from the soldier's hands to the war-torn landscape" |
| **Crane Down** | Camera descends from high position | Introduce location from above, personalize | "Crane Down from the skyline to the lone figure on the street" |
| **Crane Over The Head** | Overhead god-like perspective, directly above | Vulnerability, surveillance, choreography | "Crane Over The Head — top-down view of the crowd" |
| **Levitation** | Smooth upward float, dreamlike | Mystical, transcendence, out-of-body | "Camera Levitates from her feet to her serene face" |

---

## Orbit / Arc Movements

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **360 Orbit** | Full circle around the subject | Emotional isolation, dramatic emphasis | "360 Orbit around the boxer in the ring" |
| **Arc** | Semi-circular sweep around subject | Revelations, emotional turning points | "Camera Arcs slowly around the two detectives" |
| **Lazy Susan** | Slow turntable rotation, subject centered | Product shots, character intros, costume reveal | "Lazy Susan around the antique watch on the table" |
| **Robo Arm** | Precision mechanical arc, complex path | Choreographed scenes, product reveals | "Robo Arm sweeps from headlights over the roof of the car" |

---

## Zoom Effects

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Crash Zoom In** | Rapid sudden zoom toward subject | Shock, realization, emphasis on a detail | "Crash Zoom In on the bloody handprint" |
| **Crash Zoom Out** | Rapid sudden zoom away from subject | Disconnection, sudden wider context | "Crash Zoom Out revealing the battlefield" |

---

## Follow / Action Movements

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **FPV Drone** | Fast agile drone-like weaving motion | Chase sequences, aerial action, kinetic energy | "FPV Drone chasing the motorcycle through the warehouse" |
| **Action Run** | Low follow shot behind running subject | Chase, escape, pursuit | "Action Run — camera low behind him, matching his sprint" |
| **Handheld** | Organic shaky hand-held feel | Documentary realism, intimacy, chaos | "Handheld camera jostling with the crowd" |
| **Head Tracking** | Camera locked to character's head movement | First-person intensity, disorientation | "Head Tracking as the boxer staggers after the punch" |
| **Snorricam** | Camera mounted on actor, background sways | Stress, drunkenness, heightened emotion | "Snorricam locked on her face as the room spins" |

---

## Specialty / Cinematic

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Bullet Time** | Subject frozen/slow-mo, camera sweeps around | Action climax, impact moments | "Bullet Time around the leaping assassin" |
| **Dutch Angle** | Camera tilted diagonally | Psychological tension, instability, dread | "Dutch Angle as the conspirators whisper" |
| **Fisheye** | Wide lens distortion, curved perspective | Surreal, skateboarding, experimental | "Fisheye lens capturing the skateboarder's trick" |
| **Whip Pan** | Fast lateral blur pan | Dynamic transitions, follow rapid action | "Whip Pan from the thief to the officer" |
| **Overhead** | Direct top-down bird's-eye | Choreography, spatial relationships, vulnerability | "Overhead shot of the dancers forming patterns" |

---

## Time-Based

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Hyperlapse** | Moving camera + time-lapse combined | City transformation, travel sequences | "Hyperlapse down the boulevard from dawn to dusk" |
| **Timelapse Human** | Fixed camera, human activity fast-forwarded | Daily routines, urban pulse | "Timelapse Human — subway platform, people rushing" |
| **Timelapse Landscape** | Fixed camera, nature/landscape over time | Weather change, seasons, sunrise/sunset | "Timelapse Landscape — mountain valley sunrise to dusk" |
| **Low Shutter** | Slow shutter, motion blur on fast movement | Speed, urgency, intoxication | "Low Shutter on the spinning dancer — silhouette blurs" |

---

## Through-Object

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Through Object In** | Camera passes through a narrow object into a new space | Reveal secrets, creative transition | "Camera glides Through Object In — through the keyhole into the dusty study" |
| **Through Object Out** | Camera exits through a narrow space revealing exterior | Confined-to-open transition | "Through Object Out — pulls back through the cabin window into the blizzard" |
| **Mouth In** | Camera zooms into a character's open mouth | Surreal transitions, entering memory/dream | "Mouth In transition — camera enters the storyteller's mouth into the fantasy world" |

---

## Specialty Vehicle / Action

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Car Chasing** | Low ground-level follow of speeding vehicles | High-speed pursuits | "Car Chasing — camera hugs the side of the black car through the streets" |
| **Car Grip** | Camera mounted on vehicle, rides with it | Immersive vehicle sequences | "Car Grip — fixed to the hood, shaking on every bump" |
| **Buckle Up** | Jarring, turbulent shaking camera | Rough rides, turbulence, loss of control | "Buckle Up as the car skids around the corner" |

---

## Pitch & Perspective — Camera Angles

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Low Angle** | Camera looks up at subject | Power, dominance, heroism | "Low angle looking up at the general on horseback" |
| **High Angle** | Camera looks down at subject | Vulnerability, smallness, exposure | "High angle looking down at the child in the empty hall" |
| **Eye Level** | Neutral height, conversational | Dialogue, documentary, grounded scenes | "Eye level, two characters facing each other" |
| **Bird's-Eye View** | Directly overhead, looking straight down | Maps, choreography, god-like perspective | "Bird's-eye view of the marketplace from above" |
| **Worm's-Eye View** | Extreme low, looking straight up | Towering scale, surreal, otherworldly | "Worm's-eye view looking up through the forest canopy" |
| **Ground Level** | Camera resting on the ground surface | Intimacy with terrain, small subjects, impact | "Ground level — ants marching across cracked earth" |
| **Canted Angle Left** | Tilted horizon, left lean (Dutch Tilt) | Unease, tension, psychological distortion | "Canted angle left as the hallway stretches ahead" |
| **Canted Angle Right** | Tilted horizon, right lean (Dutch Tilt) | Unease, tension, psychological distortion | "Canted angle right — the interrogation room feels wrong" |
| **Static Oblique** | Angled perspective, off-axis framing | Stylized composition, unease, visual interest | "Static oblique angle on the staircase" |
| **Over-the-Shoulder (OTS)** | Camera behind one subject's shoulder, facing the other | Conversation framing, shot-reverse-shot | "OTS from behind the detective, facing the suspect" |
| **POV / First Person** | Camera IS the character's eyes | Immersion, horror, subjective experience | "POV — hands push open the heavy wooden door" |
| **Two-Shot** | Two subjects framed together | Relationship, confrontation, dialogue | "Two-shot of the couple walking along the pier" |
| **Cowboy Shot** | Framed from mid-thigh up | Western standoffs, character swagger, action-ready | "Cowboy shot — hands hovering near the holster" |

---

## Shot Sizes

| Control | What it does | Best for | Prompt phrase |
|---------|-------------|----------|---------------|
| **Extreme Long Shot (ELS)** | Vast landscape, subject tiny or absent | Establishing location, isolation, epic scale | "Extreme long shot — lone figure crossing the salt flat" |
| **Long Shot / Wide Shot (LS/WS)** | Full body visible + surrounding environment | Establishing character in context, action scenes | "Wide shot of the dancer on the empty stage" |
| **Medium Long Shot / Cowboy (MLS)** | Mid-thigh up | Character stance, western standoffs, group dynamics | "Medium long shot — the three outlaws face the sheriff" |
| **Medium Shot (MS)** | Waist up | Dialogue, interviews, general narrative | "Medium shot — she leans against the bar, arms crossed" |
| **Medium Close-Up (MCU)** | Chest up | Emotional conversation, reaction shots | "Medium close-up as he reads the letter aloud" |
| **Close-Up (CU)** | Face fills the frame | Raw emotion, intensity, intimacy | "Close-up on her face — tears welling, jaw tight" |
| **Extreme Close-Up (ECU)** | Single feature (eye, hand, mouth) | Tension, detail, psychological intensity | "Extreme close-up on the twitching eye" |
| **Insert Shot** | Detail of an object or action | Plot detail, time pressure, texture | "Insert shot — the clock hand ticking past midnight" |

---

## Combining Camera Controls

Layering two compatible movements creates richer shots:

| Combination | Effect | Example |
|-------------|--------|---------|
| Dolly In + Dutch Angle | Closing tension + instability | Villain reveal |
| Crane Up + 360 Orbit | Epic reveal of scale + isolation | Final battle end |
| FPV Drone + Crash Zoom In | Kinetic energy + sudden focus | Chase climax |
| Handheld + Action Run | Raw realism + pursuit urgency | Escape sequence |

**Avoid conflicting moves:** Don't combine Dolly In with Dolly Out, or Crane Up with Crane Down in the same shot — it creates visual contradiction.

**Sequenced vs simultaneous combinations.** The table above lists *simultaneous* combinations (two motions happening at once). Production practice also uses *sequenced* combinations: pan to follow the character through phase one, then push-in on the face when the character stops. State the sequence with timing in the prompt — `Camera pans left from 0-3s tracking the character, holds, then pushes in on the face from 4-8s` — so the model renders the motions as discrete phases rather than collapsing them into a single ambiguous move.

**Static pan vs glide.** A camera that *pans* rotates from a fixed position; a camera that *glides* translates through space. Production practice prefers static-pan over glide for most coverage — the static-pan reads as a chosen viewpoint with directed attention, the glide reads as untethered. State which you mean: `the camera stays in position and pans to follow him` is distinct from `the camera glides alongside him as he walks`.

> **Negative constraints:** For temporal/consistency artifacts related to camera (contradictory
> movements, camera not working, static I2V) and their prevention phrases, see
> `../shared/negative-constraints.md` — Temporal/Consistency Artifacts section.

---

## Camera-Emotion Sync — Movement per Focal Character Emotion

The camera is the emotional double of the focal character.
Movement, lens choice, and shot duration should be picked by the
character's emotional state — not by what looks "cinematic" in the
abstract. The mismatch is one of the most visible tells of an
AI-video prompt that hasn't done the emotional-syncing work: a
calm scene with a jittery handheld camera reads as wrong even when
nothing else is broken; an angry scene with a smooth dolly reads
as detached even when the action is right.

Six emotional registers cover most scenes:

| Focal character emotion | Camera prescription |
|---|---|
| Anger / rage / tension / on edge | Handheld breathing, jittery and unstable — broken breath rhythm, visible micro-twitches in both axes, small amplitude, irregular rhythm. Avoid stabilizers. |
| Calm / control / confidence | Handheld breathing, smooth — steady breath rate, regular micro-amplitude. Stabilizer-light, but still alive. |
| Sadness / vulnerability | Handheld, slow, low — lower breath frequency, slight downward camera drift, weight feels heavier on the operator. |
| Shock / revelation | Static + very slow push-in or pull-out — sharp freeze at the moment of revelation, then minimal movement for the next 0.5-2s. |
| Action | 60fps, 180° shutter — clean motion with shutter-bound motion blur; avoid pulled motion blur from longer shutters. |
| Final beat / verdict | Top-shot freeze, 0.3-0.5s — directly from above, time stops, all positions locked. |
| Emotional breakdown / character needs space | Slow pull-back from medium/close to wide — "leave the character alone." Production-team named technique for emotional moments (a character sobs, curls up, or otherwise needs to be witnessed-but-not-pressured); pulling the camera back gives the audience visual distance that registers as emotional space rather than abandonment. |

### Emotional arcs within a single shot

When the focal character's emotion *changes* across a continuous
take (e.g. rage → controlled in a single shot), the camera should
change synchronously. Write it as named phases in the prompt:

- Opening phase: prescribe the camera for the entry emotion
- Transition phase: describe how the camera character shifts
  (handheld amplitude reduces, drift settles, push-in slows)
- Closing phase: prescribe the camera for the exit emotion

The camera moves with the actor, not on its own clock.

> **Decompose the emotion before picking the camera.** The 6
> emotional registers above are tracked by *named* emotions (anger,
> calm, sadness, shock). If the user supplies a generic emotion
> ("surprised", "tense") the first step is decomposing it into a
> specific named register — see `../higgsfield-prompt/SKILL.md` §
> Generic-Emotion Decomposition for the "which kind of X?"
> clarification template.

---

## Cinema Studio 3.0 Camera Best Practices (Business/Team Plan)

> These best practices apply to Cinema Studio 3.0's generation engine, available exclusively on **Business and Team plans**.

### The One-Move Rule

For any single shot, specify only **ONE primary camera move**. Do NOT stack multiple moves (e.g., dolly push + pan left + tilt up). This is the #1 cause of jitter, unwanted rotation, and failed generations.

**Wrong:** `Camera: dolly push forward while panning left and tilting up to reveal the skyline`
**Right:**

…

## Source & license

This open-source skill is cataloged on AgentStack and links to its original source — we do not rehost the code.

- **Author:** [OSideMedia](https://github.com/OSideMedia)
- **Source:** [OSideMedia/higgsfield-ai-prompt-skill](https://github.com/OSideMedia/higgsfield-ai-prompt-skill)
- **License:** MIT
- **Homepage:** https://higgsfield.ai

Install and usage instructions live in the source repository linked above.

## Pricing

- **Free** — Free

## Security capabilities

Automated source analysis of v0.1.0 — what this tool can access:

- **Network access:** no
- **Filesystem access:** no
- **Shell / process execution:** no
- **Environment & secrets:** no
- **Dynamic code execution:** no

*"Yes" means the capability is present in the source — more access means more to trust, not that it is unsafe.*


## Versions

- **0.1.0** — security scan: passed — Imported from the upstream source.

## Links

- Listing page: https://agentstack.voostack.com/l/skill-osidemedia-higgsfield-ai-prompt-skill-higgsfield-camera
- Seller: https://agentstack.voostack.com/s/osidemedia
- Browse the marketplace: https://agentstack.voostack.com/browse

---
Listed on AgentStack — the marketplace for AI agent skills and MCP servers. Every listing is security-reviewed. Creators keep 70%.