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Guide · ANIME Studio

Speak the real words.

ANIME Studio uses the terms anime production actually uses, in English, everywhere. Here is what each one means, and what to write for each tool — with a bad prompt next to the one that works.

The words you'll see

Shown as labels in the studio. Explained once, here.

Key visual
The single reference image that sets a whole project's look — everything else is made to match it.
Settei / model sheet
A turnaround reference sheet for one character: front, three-quarter, side, back, same outfit and proportions.
Layout
The stage that places a character into a background at the right size, angle and framing, before the shot is animated.
Genga
The key drawings an animator makes that define where a movement starts, peaks and ends.
Douga
The in-between drawings filled in between the genga to make a movement read as smooth.
Cel shading
Flat, 2-tone color with a hard edge between light and shadow — no soft gradient blending.
2.5D
Flat, cel-shaded characters moving over a painted background, inside a real, moving 3D camera.
Compositing
The final assembly: character, background, effects and color graded together into one frame.
On twos / on threes
Limited animation: a new drawing every 2nd or 3rd frame instead of every frame — the classic TV-anime economy of motion.
Smear frame
A stretched, blurred drawing standing in for a very fast motion, instead of drawing every position along the way.
Impact frame
A single, high-contrast still held for a beat at the moment of a hit, to sell its weight.
Sakuga
A shot animated to a noticeably higher standard than the rest of the show — usually one key action beat.

Style vocabulary

Name a real reference and a concrete detail. "Anime style" alone describes nothing a model can act on.

Makoto Shinkai-style lighting
Hard sun shafts through clouds, visible lens flare, a backlit silhouette against a saturated sky.
Ghibli watercolor backgrounds
Soft, hand-painted gouache texture, muted earth tones, visible brushwork in foliage and clouds.
Trigger-style impact frames
A single hyper-stylized still, exaggerated anatomy, blown-out contrast, held on the hit.
Thick lineart
A heavy, uneven ink line that thickens on the outer silhouette and thins on interior detail, like a 90s cel.
Flat cel shading, soft gradient shadow
Mostly flat 2-tone color, but the shadow's edge is a short, soft gradient instead of a hard line — a modern digital-cel look.

Good prompt, bad prompt — by tool

Same tool, same cost, very different result. The good column names concrete, visual choices; the bad column is the kind of prompt that gives the model nothing to decide.

Key visual (Krea 2 Turbo, style reference)

image_krea2_turbo_int8_image_style_reference
Good

Key visual, fine dark ink lineart, flat two-tone cel shading, warm amber rim light at dusk, painted background with three depth layers. No text, no watermark.

Bad

anime style picture, cool colors, good quality

Names no line weight, no shading, no light, no layering — the model has nothing concrete to lock onto for every later shot to match.

Model sheet / settei (Qwen Image 2.1 edit)

image_qwen_image_2_1_image_edit
Good

Turnaround sheet: front, three-quarter, side, back. Same character, same outfit, same proportions. Neutral grey background, consistent cel shading across all four poses. No text.

Bad

character sheet anime girl

Doesn't ask for the four fixed angles a model sheet needs, or say the proportions and outfit must match across them.

Backgrounds (Krea 2 Turbo / Qwen edit)

image_krea2_turbo_int8_image_style_reference
Good

Painted background, Ghibli watercolor style, layered depth: foreground foliage, mid-ground rooftops, distant mountains in haze. No people. Soft diffused daylight.

Bad

nice anime background

No depth layers, no named reference, no lighting — three things a background needs to feel painted rather than flat.

Acting shots (Wan 2.2 14B + AniSora)

video_wan2_2_14B_i2v
Good

Character walks into frame, on-twos timing, a weight-shifted stride, hair and cloth with a short secondary-motion lag, cel-shaded, matching the project's key visual.

Bad

make them move

Says nothing about timing, weight or secondary motion — the three things that make hand-drawn-feeling movement read as intentional rather than generic.

Camera / wide shots (LTX-2.5)

video_ltx2_5_i2v
Good

Slow dolly-in across a painted skyline at golden hour, Makoto Shinkai-style volumetric light shafts through cloud, visible parallax between depth layers, no camera shake.

Bad

cinematic camera movement

Names no camera move, no light, no reference — "cinematic" alone is not a visual instruction.

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