Rearrange that trip through latent space a little, jumping back and forth through different stages of the interpolation in a pattern resembling those customary chorus/verse things and you've got a hit. And you could reuse the exact same rearrange recipe for just about any interpolation between prompt pairs.
Plenty of times this has been called before, and it's certainly possible that this wont be the last time this is called, but allow me to declare this the end of the bedroom producer (stage performers remain unaffected). And no two elevators will ever sound the same again, on any day.
Another way to make this endless would be to loop the original: it would be necessary to find a place near the end that can be imperceptibly spliced with a place near the beginning.
> Enhance 34 to 36. Pan right and pull back. Stop. Enhance 34 to 46. Pull back. Wait a minute, go right, stop. Enhance 57 to 19. Track 45 left. Stop. Enhance 15 to 23. Give me a hard copy right there.
I do the exact same thing, randomly mixing right and wrong snippets. As a result I sometimes go through like 3 or 4 sets, but eventually it lets me in.
This is what I do, but it basically just has the effect of making the first item special instead of the last. That's usually better in practice, though.
DECKARD: Enhance 224 to 176. Enhance, stop. Move in, stop. Pull out, track right, stop. Center in, pull back. Stop. Track 45 right. Stop. Center and stop. Enhance 34 to 36. Pan right and pull back. Stop. Enhance 34 to 46. Pull back. Wait a minute, go right, stop. Enhance 57 to 19. Track 45 left. Stop. Enhance 15 to 23. Give me a hard copy right there.
Plenty of times this has been called before, and it's certainly possible that this wont be the last time this is called, but allow me to declare this the end of the bedroom producer (stage performers remain unaffected). And no two elevators will ever sound the same again, on any day.
reply