RAW KUT

Use the uploaded image as the exact base image.Automatically identify the MAIN VISUALLY DOMINANT SUBJECT or SUBJECTS in the frame. The main subject may be a person, animal, object, product, vehicle, prop, structure, or any other clearly prominent foreground element.Transform ONLY the main visually dominant subject(s) into a high-end X-ray / technical engineering wireframe.Leave EVERYTHING outside the selected main subject(s) completely unchanged.Preserve the exact original background, environment, camera angle, framing, composition, perspective, lighting, shadows, reflections, colors, exposure, contrast, depth of field, lens blur, atmosphere, and cinematic color grading.Do NOT regenerate, repaint, reinterpret, relight, recolor, crop, resize, blur, sharpen, move, replace, or redesign the environment.Apply the effect strictly inside the original silhouette of the main subject(s).FOR HUMAN OR ANIMAL SUBJECTS:Convert the visible subject into a dark, semi-transparent anatomical X-ray / technical shell. Clearly reveal the appropriate internal skeletal anatomy that is actually visible within the frame, using precise ultra-thin white or light-gray technical lines.For human subjects, clearly reveal visible anatomical structures such as the skull, jaw, teeth, eye sockets, cervical vertebrae, clavicles, rib cage, spine, pelvis, arms, wrists, hands, fingers, legs, knees, and feet whenever those body parts are visible in the original frame.Do NOT invent body parts outside the frame or change the original pose. Preserve the exact pose, gesture, body proportions, facial direction, hand positions, silhouette, perspective, and scale.Keep subtle technical contour lines for hair, clothing, glasses, jewelry, accessories, and other visible outer details so the original character design remains recognizable while the anatomy is clearly visible.FOR NON-HUMAN OBJECTS:Convert the subject into a refined industrial X-ray / engineering wireframe made of ultra-thin white or light-gray technical vector lines.Reveal the subject's visible internal, mechanical, structural, or constructed form in a believable way while preserving its exact original shape, position, angle, proportions, silhouette, perspective, scale, branding, surface details, and recognizable design.For transparent, electronic, mechanical, optical, architectural, or product subjects, reveal appropriate internal components or structural layers without inventing unnecessary parts.STYLE:The transformed subject should appear predominantly dark / black with extremely fine white or light-gray technical wireframe lines and clearly readable internal structure.Use ultra-thin, precise, elegant, high-detail engineering linework.Add only a small number of subtle professional drafting elements around the transformed subject(s), such as thin dimension lines, measurement arrows, small numerical measurements, and minimal construction guides.Keep all drafting graphics minimal, clean, cinematic, and close to the transformed subject.NO thick white outlines.NO neon glow.NO bright halo.NO cartoon style.NO painterly style.NO hand-drawn sketch style.NO plastic 3D-render look.NO large blueprint grids.NO HUD interface.NO floating diagrams.NO unnecessary labels.NO technical graphics spread across the background.NO environmental changes.Do NOT transform secondary background objects unless they are clearly part of the main foreground subject.The final result must look like the ORIGINAL cinematic photograph in which ONLY the main visually dominant subject(s) have been transformed into a refined X-ray / technical engineering wireframe while the entire environment remains perfectly photorealistic and unchanged.Maintain maximum photographic fidelity, preserve the original aspect ratio, and output in ultra-high-resolution 4K quality.

Rebuild the uploaded image as a single datamoshed video frame: the frame right after the codec lost its keyframe and kept only the motion vectors. THE CORE CONCEPT, read this first: This is COMPRESSION DAMAGE, not blur and not a glitch filter. The picture breaks into square macroblocks, and pixels from the subject are copied, dragged and repeated along the direction of motion, so fragments of the subject leak out past its own outline into the space around it. Every trail is a straight line of duplicated blocks with hard stepped edges. It is not motion blur, not a soft smear, not a painterly streak, not an RGB split and not an evenly applied overlay: it is real content from the image, cloned block by block and displaced. THE STRUCTURE: The damage is concentrated in one connected region centred on the main subject and spreads out from it in one dominant direction, in most cases horizontally (to the left, to the right, or both). Blocks are square, 8 to 16 pixels each at native resolution, and their boundaries stay visible as a stepped grid wherever damage meets clean image. Trails are between 30 and 300 pixels long, run perfectly straight, end abruptly on a block edge and never fade out. Some blocks freeze and float as isolated square tiles in the clean area, up to 20 percent of the frame width away from the subject. Other blocks sit in the wrong place inside the subject: a piece of its edge repeated where its middle should be, a patch of background caught inside its outline. THE CLEAN PART: At least 40 percent of the frame, ideally more, stays completely intact: sharp, correctly coloured, correctly exposed, with zero overlay, zero grain, zero tint and zero glitch. The sky, the ground, the wall, the water, whatever surrounds the subject, must look like the untouched original so the damage has something clean to contrast against. THE COLOUR: The trails carry the subject's own colours: a red garment drags red, a white animal drags white, foliage drags green, fire drags orange. Inside the most damaged blocks the colour may decouple from the brightness and produce flat patches of pale green, magenta or cyan that were not in the original, but this covers at most 10 percent of the damaged area. No global colour cast and no tint over the frame. WHAT SURVIVES: Keep the original composition, framing, crop, subject, pose and camera angle exactly. Roughly half of the subject is still readable as itself, so the eye can say at once what the picture was of. The result is the same picture, damaged, never an abstract texture. NEGATIVE CONSTRAINTS: No gaussian blur, no motion blur, no soft edges anywhere in the trails. No glitch applied evenly over the whole frame. No RGB channel splitting into three offset copies. No scanlines, no VHS tracking bands, no CRT curvature, no analogue noise, no film grain, no vignette. No diagonal or curved trails, they run in straight lines. No new objects, no collage, no stickers, no torn paper. No text, no timecode, no interface elements, no logos, no watermark. Do not change the crop, do not zoom in, do not add a border. The final result must look like a real video frame captured at the exact moment the codec broke, with the subject smearing out of itself into an otherwise perfect picture.

Rebuild the uploaded image as a frame captured from a computer vision system that is analysing it: a tracker drawing its detections, its measurements and its guesses directly over the picture. THE CORE CONCEPT, read this first: A machine is looking at this picture and annotating what it thinks it has found: thin boxes, node points, connecting lines and tiny numeric labels. The subject stays photographic underneath and the annotation is drawn on top as flat, hairline vector graphics with no depth. The detections must be IMPERFECT: a real tracker boxes things that do not matter, misses obvious things, boxes the same object two or three times with slightly offset rectangles, and connects points that have no logical relation. This is not an infographic, not a poster with a tidy diagram, not a film HUD, not a game interface, and nothing on it is designed to be read by a human. THE UNDERLAY: The original picture, with the main subject kept bright, sharp and recognisable, while the surroundings are pushed down toward near black (about 70 to 85 percent darker than the original) and drained of most of their colour, so the graphics are the brightest thing in the frame. Where the subject has fine structure (edges, veins, feathers, hair, branches, folds), part of it may be retraced as thin white contour lines or as a sparse cloud of white points, like a scan. THE GRAPHICS, all hairline, 1 pixel wide, white: Between 15 and 40 rectangular detection boxes of very different sizes, from 10 pixels wide to a third of the frame: some tight on real features, some far too large, some overlapping, some sitting on empty background. Corners are square, and some boxes are drawn as open corner brackets only. Between 20 and 60 small node points, 2 to 3 pixels each, joined by straight lines into an irregular network that spans the whole frame, including the empty areas. Lines cross each other freely. Three to eight tiny square crops of parts of the picture, 40 to 90 pixels wide, pasted elsewhere in the frame with a thin white border and a leader line back to the place they were cut from. One or two faint large circles or arcs crossing the frame, and a few long alignment lines that run all the way to the frame edge. THE LABELS: Tiny monospace text, 5 to 8 pixels tall, deliberately hard to read. Labels are DATA only: decimal numbers with 3 to 6 digits, negative values, coordinate pairs, short filenames with extensions such as .png or .jpeg, tokens like id, obj or frame, and hex codes. Twenty to fifty labels scattered next to nodes and boxes, a few of them clipped by the frame edge. Nothing in plain language and no word that describes the subject. THE PALETTE: Near black ground, white graphics, white labels. Exactly one accent colour, a small red or orange, used on no more than three elements (a filled box, a highlighted node, a single line). No other colour in the graphics. WHAT SURVIVES: Keep the original composition, framing, crop, subject and pose exactly. The subject remains fully recognisable as a photograph under the annotation, and the boxes and nodes follow the real shapes in the picture even when they pick the wrong ones. NEGATIVE CONSTRAINTS: No thick lines, no rounded corners, no glow, no drop shadows, no gradients on the graphics. No legible sentences, headings, titles, captions, brand names or explanations. No neon cyan sci fi interface, no radar, no circular gauges, no percentage bars, no screen bezel. No 3D and no perspective on the graphics, everything sits flat on the picture plane. No bright saturated background, it must be darkened. No second accent colour. No readable text, no logos, no watermark. Do not change the crop. The final result must look like a raw screenshot exported from a machine vision tool halfway through a job, not like a designed poster about one.

Rebuild the uploaded image as a picture drawn by an old monitor in a single blinding electric cyan, on absolute black. THE CORE CONCEPT, read this first: This picture is DRAWN WITH LINES, not photographed and tinted. The subject is rebuilt out of many thin, parallel, glowing cyan lines that run roughly horizontally across the frame and bend as they cross the subject, following its form the way contour lines follow a landscape: they curve around every volume, crowd together and brighten where the surface turns sharply or where the original was light, and thin out, dim or break where the original was dark. Between the lines there is pure black. There is no continuous tone anywhere. This is not a blue duotone photo, not a hologram, not neon tubing, not a wireframe mesh, and not a photo with scanlines laid over it. THE LINES: Line pitch between 3 and 6 pixels at native resolution, line thickness 1 to 2 pixels, spacing consistent across the frame. Each line is made of a fine chain of dots rather than a perfectly smooth stroke, so up close it reads as a screen. Lines break into short dashes and isolated dots in the darkest areas of the original and disappear completely where the original was black. Fine detail such as eyes, mouths, feathers, hair, leaves or edges is carried by the lines bunching, splitting and bending, never by a separate outline stroke. THE COLOUR: Exactly one hue family: electric blue to cyan. Dim lines are a deep saturated blue, medium lines are a bright cyan, and the brightest, densest lines burn to a white core with a cyan edge. Everything else is absolute black, 0 on every channel. No second hue anywhere: no purple, no green, no warm skin tone, no grey. THE BLOOM, this is what makes it look like a tube: The brightest lines overdrive: they widen, lose their sharp edge and spill a soft cyan halo of 4 to 12 pixels into the black around them. Where many bright lines meet they fuse into a solid glowing mass with no detail inside. The glow falls off smoothly into black. THE SCREEN: The image fills the whole frame. A faint darker row every few lines, a very slight barrel curve as if the glass were not flat, and a gentle darkening of the corners. One or two horizontal tears where a band of lines shifts sideways by a few pixels. WHAT SURVIVES: Keep the original composition, framing, crop, subject and pose exactly. The subject must be clearly readable from the line pattern alone, including any face. NEGATIVE CONSTRAINTS: No continuous photographic tone anywhere, no smooth gradients, no blurred or painted areas. No second hue, no colour fringing, no RGB channel splitting. No dark grey background, the black is absolute. No monitor housing, bezel, stand, desk or room around the image. No vertical lines, the lines run horizontally and bend with the form. No text, no interface, no menu bar, no timecode, no logos, no watermark. Do not change the crop. The final result must look like a real photograph redrawn as glowing lines on a cathode ray monitor turned up far too bright.

Rebuild the uploaded image as a picture printed on a thermal till receipt, with the receipt filling the entire frame. THE CORE CONCEPT, read this first: A thermal printer has no grey and no colour. It can only burn a dot black or leave the paper blank, so the picture is reproduced entirely as a coarse pattern of black dots on pale paper, and every tone comes from how densely the dots sit. The picture is printed IN LINE with the receipt text, as one more item on the till roll: monospace lines above it, monospace lines below it, and a few lines of text overlapping its edges. This is not a photo taped onto a receipt, not a polaroid, not a newspaper, not a sticker, not a poster mockup, and not a small receipt placed in a scene. THE FRAMING, mandatory: The receipt FILLS the frame edge to edge. Its paper runs off the top edge and off the bottom edge of the picture, and its left and right edges sit at or just inside the frame borders, so the paper covers at least 85 percent of the image area. Nothing else is in shot: no hands, no table, no wall, no tape, no props, no second object. If any background shows at the sides, it is a flat, out of focus, plain pale surface with no detail, and it never surrounds the receipt on all four sides. THE PAPER: Thin thermal paper, off white to very pale grey, with visible volume: gentle curls, a soft crease or two, and soft shadows across the surface where it buckles, so it reads as a real object and not a flat scan. A fine paper grain. One end has a rough torn edge with small tears, the other end runs off the frame or shows a clean machine cut. THE PRINT: Everything printed is a single dark grey black, slightly faded and uneven the way thermal ink is, with a few weaker patches where the burn was lighter. The picture is reproduced as dots of one size at a coarse pitch, about 3 to 5 pixels between dot centres, with no smooth tone anywhere. If the original has a clearly separable subject (a person, an animal, an object), print that subject cut out from its original background so the blank paper shows around its silhouette and the receipt text runs around and partly over it; if the original is a scene with no separable subject (a landscape, an interior, a crowd), print it as one rectangular block that spans the full printable width. Above the picture: a shop name in slightly larger monospace capitals, a dotted separator line, a date, a time and a transaction number. Below it: three to six lines of items with prices aligned to the right, a subtotal, a tax line, a total, a payment method, a row of asterisks and a short closing line. Near the bottom, a barcode. All of it in a small narrow dot matrix monospace typeface, plausible but not meant to be read. WHAT SURVIVES: Keep the subject, pose, proportions and composition of the original inside the printed area; the subject stays recognisable through the dots. All colour is gone. NEGATIVE CONSTRAINTS: No greys and no smooth gradients inside the printed picture, only dots. No colour anywhere. No glossy photo paper, no polaroid frame, no white border around the picture, no drop shadow of a floating object. Never a small whole receipt in the middle of a larger scene, never a receipt held in a hand, never a receipt on a table or pinned to a wall with tape visible. No legible marketing sentences, no brand logos, no QR code, no watermark. Do not change the crop or the orientation of the subject. The final result must look like a close up photograph of a real till receipt, filling the whole frame, with a picture burnt into it between the lines of text.

Rebuild the uploaded image as a one bit image: pure black and pure white pixels only, with every tone resolved by a dither pattern. THE CORE CONCEPT, read this first: One bit means TWO colours. Every pixel is either full black or full white, and there is not a single grey pixel in the whole image. All shading, gradients and soft light are replaced by patterns of black and white pixels sitting next to each other, so that from a distance the eye averages them into tone. Every dot is the SAME SIZE, one cell of the grid, placed on a regular grid. This is not a halftone where dots grow and shrink, not a stipple drawing, not a threshold silhouette with no midtones, not a grey photo with noise on it, and not a newspaper print. THE DITHER: An ordered dither at a coarse visible pitch, dot cells of 2 to 4 pixels, so the pattern reads as a texture and not as fine noise. In even mid tones the pattern settles into a regular checkerboard, crosshatch or diagonal weave; across transitions it steps through visibly different densities in distinct bands rather than a smooth ramp. In the light areas the black dots thin out into sparse isolated pixels on white; in the dark areas the white dots thin out into sparse isolated pixels on black. Large flat areas such as skies, walls or shadows become an even field of the same pattern. THE TONES: Contrast is pushed hard before dithering: the darkest 25 percent of the original goes to solid black, the lightest 15 percent goes to solid white, and only the middle is dithered. The picture must have real solid black masses and real clean white masses, not an even grey field of dots. Hard edges in the original stay hard: the boundary between a dark shape and a light one is a crisp stepped line of solid black meeting solid white, never a gradual dither ramp. WHAT SURVIVES: Keep the original composition, framing, crop, subject and pose exactly. The subject must stay clearly readable from the dot pattern alone: faces recognisable, silhouettes crisp, the main shapes reading at a glance. NEGATIVE CONSTRAINTS: No grey pixels anywhere, not one. No smooth gradients, no anti aliasing, no soft edges, no blur. No dots of varying size, no halftone rosette, no newspaper screen, no stipple. No colour of any kind, not even a tint on the white or on the black. No paper texture, no ink bleed, no scan artefacts. No scanlines, no CRT curvature, no glitch. No frame, no border, no window, no drop shadow, no device mockup. No text, no logos, no watermark. Do not change the crop. The final result must look like a photograph shown on an early computer screen that can only display black and white pixels.

Rebuild the uploaded image as a single channel phosphor display image: the entire picture drawn in one colour on absolute black, with a visible dot matrix and blown out highlights, filling the whole frame. THE CORE CONCEPT, read this first: There is exactly one hue in this image and it is a hot fluorescent magenta pink. Every bright thing in the frame is that magenta at some intensity, from a dim smoulder up to a white hot core, and every dark thing is pure black. All the original colour information has been thrown away and replaced by brightness alone, mapped onto this one phosphor. This is not a pink tinted photo, not a duotone with a second colour, not a neon outline, and not a photo with a pink light on it: it is one channel, magenta on black. THE STRUCTURE: The image is built from a visible regular dot matrix: a fine grid of round emitting cells, 2 to 4 pixels apart, clearly readable in the mid tones and merging into solid glow where the signal is strongest. Between the dots the grid gaps stay black, so the whole picture carries a woven screen texture. A faint horizontal scan structure runs across the frame, slightly darker every few rows. Very slight vertical streaking is allowed in the brightest areas, as if the phosphor were smearing. THE RESPONSE, this is what makes it look overdriven: The gain is pushed far too high. The brightest 15 percent of the image blooms: it blows out into near white pink cores, spills a soft magenta halo of 6 to 16 pixels into the black around it and loses all internal detail. Mid tones stay clearly dotted. Shadows crush completely to pure black with only scattered isolated dots surviving, like stray hits on a sensor. Fine detail in the dark parts reads as sparse specks rather than continuous texture. THE SCREEN: The image fills the frame edge to edge. A very slight barrel curve of the picture and a gentle darkening of the corners are allowed, but no bezel, housing or surrounding room. WHAT SURVIVES: Keep the original composition, framing, crop, subject and pose exactly. Shapes must still be readable from brightness alone, so the subject and the scene stay recognisable even though everything is one colour. NEGATIVE CONSTRAINTS: No second hue anywhere in the image: no purple, no orange, no red, no cyan fringing, no chromatic aberration. No dark grey background, the black must be absolute. No smooth continuous gradients, the dot matrix must stay visible. No photographic skin tone or any natural colour surviving. No RGB channel splitting, no glitch bands, no interface, no monitor housing. No text, no logos, no watermark. Do not change the composition or the crop. The final result must look like a real photograph displayed on a single colour phosphor screen with the brightness turned up far past what the tube can handle.