霧的密度調低一檔，暗部才不吃噪點
紅光只做側key，霧層負責透光，噪點和光暈都得壓著，跟調渲染引數一個道理。
✍️ 留白不是留空的，另一側刻意把霧壓到最低、漸變收乾淨，這跟給圖示騰位置是同一個函式。密度和噪點兩個變數互相牽制，調猛了就變噪片。
📋 提示詞 自然語言1054 字元
A 16:9 widescreen cinematic-atmosphere wallpaper, built for an OLED-friendly, mostly dark canvas: near-black space holds subtle red gel-lit fog shaped into elegant volumetric ribbons, with one dominant flow line sweeping diagonally across the frame and layered wisps that feel slow, intentional, and airy. Fog density stays low throughout, so darkness still dominates.
Light it like a controlled studio haze test: a soft red side key reveals the fog's translucency, with faint edge highlights and deep charcoal shadow pooling inside the layers. Add only extremely sparse particulate shimmer and micro-grain, just enough for the haze to read as physical rather than noisy, and keep any glow bloom restrained and smooth — never neon-sharp.
Reserve a broad negative-space plate on the opposite side of the frame, where fog stays minimal and the gradient runs clean and dark. Let the fog concentrate in a single region so the whole composition feels designed and icon-friendly, staying fully abstract and unmarked — no objects, no typography cues anywhere.
📋 中文譯寫版 自然語言
這是一張16:9寬屏的電影氛圍桌布，專為OLED螢幕設計的深色主導畫面：近乎全黑的空間裡飄著一層淡淡的紅色膠片霧，被塑造成一道道優雅的體積感絲帶，一條主導的氣流線斜穿畫面，配著幾縷層疊的霧絲，慢、剋制、輕盈。霧的密度始終偏低，讓畫面整體維持深色基調。
打光手法像一次受控的棚拍霧測：一道柔和的紅色側光揭示出霧的透光性，邊緣打出細微高光，霧層內部沉著深炭灰色陰影。只加入極其稀疏的顆粒閃爍和微粒質感，剛好讓霧氣讀起來像實體而不是噪點，光暈控制得剋制而順滑——絕不做成霓虹式的銳利光斑。
畫面另一側特意留出大片留白區域，那裡的霧維持在最低限度，漸變乾淨而深沉。讓霧集中在單一區域，使整體構圖顯得經過設計、便於放圖示，畫面始終保持抽象、不帶任何標記——沒有具體物體，也沒有排版文字的暗示元素。
