不同于之前大都以实拍加CG模式完成的成片，这一次陈墨墨使用AI技术在创作中的应用拓宽了作品本身的叙事边界。
我们从时装片到美妆大片两个层面，分别用三组作品去探讨AI使用的方式与可行性：最终证明足够细腻的真人面部、身体、轮廓与超越物理限制的画面效果，让利用AI完成的大片具有不同以往的冲击力，尤其是在美妆片的色彩输出部分，打破了常规妆面大片的枯燥乏味、千篇一律的调调。
Different from previous films that were mostly completed with photograph and CGI, this time Momo_Chen used AI in creation to broaden the narrative boundaries of the work itself.
我们从时装片到美妆大片两个层面，分别用三组作品去探讨AI使用的方式与可行性：最终证明足够细腻的真人面部、身体、轮廓与超越物理限制的画面效果，让利用AI完成的大片具有不同以往的冲击力，尤其是在美妆片的色彩输出部分，打破了常规妆面大片的枯燥乏味、千篇一律的调调。
Different from previous films that were mostly completed with photograph and CGI, this time Momo_Chen used AI in creation to broaden the narrative boundaries of the work itself.
From fashion pictures to beauty pictures, we used three series of works to explore the methods and feasibility of using AI: it was finally proven that the face and body of real people and the picture effects that transcend physical limitations are sufficiently delicate to be completed using AI.
