AI video generator. Your ideas, in motion

UNDERGROUND TEMPLE. ONE EXPLORER. FIFTEEN SECONDS. 16:9. ASSET MAP - every reference is bound here and cited by tag below: @avatar_1 - the explorer, and the only person in the film. Face, hair, hair length, hair colour, skin, age, build and every physical characteristic come entirely from @avatar_1 and never from this text. IDENTITY LOCK - HIGHEST PRIORITY: the explorer is exactly the person in @avatar_1 and stays exactly that person in every shot. Do not restyle the face, do not change the hair colour or length, do not age them up or down, do not slim or reshape the body, and never swap in a different person. ONE BODY ONLY - COUNT THEM: exactly one human being exists in this film. There is never a second figure, never a companion, never a double, never a reflection or silhouette of another person, and never a second body in the foreground of a shot. Any shoulder, arm, hand or back of a head that appears in frame belongs to @avatar_1 and to nobody else. If a framing would normally need a second person to stand in front of the camera, do not use that framing. ATTACHED REFERENCES ARE MANDATORY AND FINAL: if a reference is attached, that is the explorer - reproduce them exactly, in every shot, and never invent a different one. The attached reference outranks every word written below it. WARDROBE LOCK: a plain dark sleeveless top, fingerless leather gloves worn to the knuckle, a wide belt with small pouches, cargo trousers tucked into worn lace-up boots. No jewellery, no badges, no lettering and no logo anywhere on the clothing. This list is clothing only and says nothing about hair. THE HAIR COMES FROM THE REFERENCE, NOT FROM THIS TEXT: whatever hair @avatar_1 has is the hair in the film - the same length, the same colour, the same texture, from the first frame to the last. If it is short it stays short, if it is long it stays long, if it is tied up it stays tied up, if there is none there is none. Never add length, never add a ponytail or loose strands that the reference does not have, never restyle it to suit the scene, and never let dust, movement or the action change what kind of hair it is. THE PLACE: a buried stone temple, long abandoned. Carved pillars and low arches, walls cut with deep interlocking relief, roots and pale green creeper coming through the joints, standing water in the dips of a cracked flagstone floor, drifting dust. The only light is a scatter of stubby candles burning low on the stones, plus one narrow shaft of daylight from far above. Warm candle flame against cold blue shadow, everything else near-black. THE LOOK: photographic and close, shot on a fast prime wide open - very shallow focus, strong bokeh on the candle flames, handheld with a live but controlled wobble, fine grain, no gloss. Warm amber on skin, deep blue-green in the dark. THE CUTTING: exactly five shots, hard cuts between them, with the lengths given below. Each shot is its own framing - never let two of them run together as one continuous move. THE CARVING: one panel of the wall is cut with a dense spiral pattern. When a hand touches it, thin lines of warm light run along the grooves and spread outward from the touch, then fade. The light is inside the carved lines only - it never becomes a glow in the air, a hologram or a magical effect. Shot 1 (2.8s) Medium-wide, and @avatar_1 is the subject of this shot from the very first frame - already large in the picture, not a distant figure in the depth. @avatar_1 steps out of the dark between two pillars into the shaft of daylight, one hand trailing the wall, and stops. A few candles sit low at the edge of frame, well out of focus and never filling the foreground. The camera holds handheld. Shot 2 (2.6s) Medium close, from behind and slightly to one side of @avatar_1, the camera just past their own shoulder and nobody else in the frame. @avatar_1 leans in toward the carved panel, face lit from the side by candlelight, and reads the pattern with the eyes before touching anything. The camera drifts in slowly. Shot 3 (2.4s) HARD CUT to a macro insert, a separate shot of its own: nothing but the hand and the stone, framed so tight that no face and no shoulder are anywhere in the picture. The fingers settle into the carved spiral and thin lines of warm light run out along the grooves from under the fingertips. This must not be a continuation of the previous shot - it is a clean cut to a new, much closer framing. Shot 4 (2.6s) Close on the face of @avatar_1, lit now from the wall itself, the expression turning from concentration to understanding to alarm in one continuous take. The eyes go to something off to the side. The camera holds on the face. Shot 5 (4.5s) Wide, pulling back. @avatar_1 straightens up fast and steps away from the wall as the lines of light in the carving keep spreading past the panel and out across the stones of the whole chamber, running along the joints toward the camera. @avatar_1 backs out of frame and the temple is left lit by its own lines. Hold to the last frame. DIALOGUE: @avatar_1 speaks twice, quietly and to themselves, and these are the only words in the film: In Shot 2, half under the breath: <Someone got here first.> In Shot 4, barely voiced, as the understanding lands: <That's not a trail.> SOUND: a deep buried-room tone with a long slow reverb. Water dripping into a pool somewhere off to the side, grit under a boot, the small dry crackle of candle flames, cloth and leather as they move, one slow breath before the first line. Under all of it a low sustained bass note that sits quietly through the first four shots and then swells and opens out as the light spreads in the final shot - the only moment the score makes itself felt. Do not generate subtitles, captions, on-screen text, a title card, a logo, a wordmark, a watermark or any readable lettering or numerals anywhere in frame. The two spoken lines are heard, never written on screen. No second person, no torch, no flashlight, no modern equipment, no magical glow in the air, and no change to the explorer's face, hair or build at any point.

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VINTAGE GRAND PRIX. THREE DRIVERS. NO DIALOGUE. THIRTY SECONDS. 21:9. ASSET MAP - every reference is bound here and cited by tag below: @avatar_1 - the driver of car number 1. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_1 and never from this text. @avatar_2 - the driver of car number 2. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_2 and never from this text. @avatar_3 - the driver of car number 3. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_3 and never from this text. IDENTITY LOCK - HIGHEST PRIORITY: each driver is exactly the person in their own reference. Keep their face, hair, skin tone and build the same from the first frame to the last. Do not restyle them, do not age them up or down, do not slim or bulk the build, never swap which reference drives which car, and never put a fourth driver on the track. Three drivers, the same three, for the whole film. ATTACHED REFERENCES ARE MANDATORY AND FINAL: if a reference is attached, that is the driver - reproduce them exactly, in every shot, and never invent a different one. The attached references outrank every word written below them. CAR AND DRIVER PAIRING - NEVER BREAK IT: @avatar_1 drives the red car with a white roundel and the numeral 1. @avatar_2 drives the dark green car with a white roundel and the numeral 2. @avatar_3 drives the pale blue car with a white roundel and the numeral 3. The numerals on the cars are the only numbers allowed anywhere in the film. WARDROBE LOCK: all three wear the same cut of plain period racing kit - a light canvas one-piece with a wide leather belt, a soft leather helmet and round goggles pushed up on the forehead, and leather gauntlets. The kit differs only in colour, matching each driver's own car. No lettering, no sponsor patches, no badges and no logos anywhere on the kit or the cars. THE CARS: three small open-wheel single-seaters from the late nineteen-fifties - riveted aluminium bodies, exposed suspension arms, tall thin tyres with visible spokes, a single mirror on a stalk, no wings and no modern aerodynamics. They sit low and look hand-built. THE PLACE: an old countryside road circuit at the last hour of daylight. Cracked tarmac, painted red-and-white kerbs, hay bales and low wooden fencing, mown grass banks, a long avenue of trees down one side, a wooden footbridge over the track, a small empty timing tower and a shallow grandstand of bare wooden benches. THE LOOK: shot on film at golden hour and graded warm - long low sun straight down the track, heavy lens flare, dust and pollen lit in the air, shallow depth of field, gentle anamorphic stretch on the highlights, fine grain. Everything is amber, brass and deep green. The sun is always low and always in shot or just outside it. THE CUTTING: exactly seven shots and no more. Each one is long and unhurried and runs its full length without an internal cut. Do not break any shot below into several shorter ones - the camera does the work, not the edit. Shot 1 (5.6s) Wide, low and head-on. The three cars sit side by side on the grid, engines running, heat shimmering off the bonnets, the low sun directly behind them throwing long shadows toward camera. @avatar_1, @avatar_2 and @avatar_3 sit in their cars looking ahead. The camera pushes in slowly. Shot 2 (4.2s) High and wide, looking down on the circuit as the three cars come off the line together and take a long sweeping bend in formation, dust lifting off the kerbs behind them. The camera drifts with them. Shot 3 (5.2s) Low, on the tarmac under the wooden footbridge, looking up the track. A single carrot lies on the racing line right in the foreground, very close to the lens and filling a good part of the bottom of frame, sharp while the track behind it is soft. The three cars come through the bridge's shadow at speed and burst past it, and the carrot is torn apart into a spray of orange fragments across the road. The camera holds low as they pass over. Shot 4 (5.0s) ONE UNBROKEN SHOT, no cut inside it: in the car with @avatar_1, camera mounted just ahead of the cockpit and locked on the face for the full five seconds. Goggles down, jaw set, the whole frame shaking with the road, hedges and trees tearing past in a blur, dust and low sun flaring across the lens. This is the fastest and roughest shot in the film and it must run as a single continuous take. Shot 5 (4.2s) Wide and almost still. The long straight with the sun sitting exactly on the road at the end of it. The three cars are small black silhouettes running dead into the light, their shadows stretched enormous behind them. Almost nothing moves in frame but them. The camera holds. Shot 6 (2.2s) Track level at the grandstand. The cars come past flat out, close to camera, and a marshal standing at the trackside edge of frame waves a small chequered flag on a short wooden pole as they cross the line. The flag is a real cloth flag held in a hand, moving with the wave - it is never a band, strip or banner stretched across the top or bottom of the picture, and never an overlay on the image. Shot 7 (3.7s) The podium at sunset. A real three-step wooden podium stands beside the track with three clearly different heights - a tall centre step, a lower step to its left, a lower step again to its right. @avatar_1 stands on the tall centre step and is visibly higher than the other two. @avatar_2 stands on the left step and @avatar_3 on the right step, both lower. Each of them does something different: one raises both arms, one folds their arms and grins, one is still pulling their goggles off. Do not give the three of them the same pose or the same gesture. Goggles pushed up, dusty and pleased, the last of the sun going down over the trees behind. The camera pushes in slowly and holds to the final frame. MUSIC - THIS FILM IS SCORED AND THE SCORE IS LOUD AND PRESENT, WELL IN FRONT OF THE ENGINES. A warm orchestral score with brass and strings, the sound of an old sports newsreel, and it is tied to three things that happen on screen: It sits low and tense, strings only, while the cars are standing still on the grid. On the exact frame the three cars move off the line, a rising brass note lifts and the full theme starts running, driving and bright, and carries the whole chase. On the exact frame the chequered flag is waved, one big brass swell lands at once, at least twice as loud as anything before it, and then opens out warm and broad over the podium and holds to the final second. Mix the music loud - it should be the first thing anyone hears, and it must be clearly louder at the end than at the start. The engines are always quieter than the music. At every moment of the film the score sits on top and the engines sit underneath it, and the gap between them widens toward the end: over the podium the music is at its loudest of the whole film and the engines have stopped altogether. ENGINE AND ROOM SOUND, KEPT WELL BELOW THE MUSIC AT ALL TIMES: three small unsilenced engines at different pitches, gear changes, tyres over kerbs, gravel flicking up, wind and a flag snapping. These are background texture only - they must never be as loud as the score, never mask it, and they fade out completely on the podium so the last six seconds are music alone. No voices, no commentary, no dialogue, no lyrics, no singing. Do not generate subtitles, captions, on-screen text, a title card, a sponsor board, a brand name, a logo, a wordmark, a watermark or any readable lettering anywhere in frame. The only numbers allowed are the 1, 2 and 3 on the cars. No modern cars, no modern clothing, no rabbits or animals of any kind, no fourth driver, and no change to any driver's face or build at any point.

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22 seconds, 16:9, eight shots, no speech. @image_1 and @image_2 are the two riders and the only attached assets. ATTACHED IMAGES ARE MANDATORY AND FINAL: @image_1 and @image_2 decide who these two people are; where this text and an attached image disagree, the attached image wins. Never draw one rider with the other's face and never swap them between shots. CHARACTER LOCK: the whole film is drawn in the animation style below, and inside that style each rider is unmistakably the person in their own attached asset - same face shape and features, same hair colour, length and texture, same skin tone, same build, same apparent age. Stylised, never re-cast. Preserve the gender presentation of each rider exactly as shown. Every hand in frame has five fingers. HEADS ARE BARE - THIS IS THE POINT: both riders ride bare-headed in every shot, the whole face uncovered and readable, hair loose and streaming in the airflow. WARDROBE LOCK: @image_1 in a fitted forest-green riding suit with cream shoulder panels, @image_2 in a fitted cream suit with rust-orange shoulder panels; both with tan leather slide gloves and dark knee pads. Each suit is fixed, only its drape adapts to that rider. STYLE: a stylised animated short. Solid three-dimensional forms lit by one low sun, with painted surfacing laid over them - matte, warm, simplified. Low autumn light rakes between the trunks and strobes across the riders. Longboard physics are real: gravity, inertia, grip and weight transfer. THE PLACE: a single-lane road winding down a wooded hillside. Birch, beech and maple in gold, amber, rust and deep red, the canopy closing overhead into a tunnel of colour, drifts of fallen leaves along the verges, mossy boulders, a low wooden guardrail and mist in the hollows. Low down the hill the road itself crosses a shallow stream on a small stone bridge: the bridge carries the road, a low stone parapet runs along each side, and the riders ride over it. Everywhere else the road sits on solid ground for its whole width, with verge and forest floor visible along both edges, so it always rests on the hillside and is never lifted above it. [0-3s] Already at full speed - nothing starts from rest. Low camera near the tarmac, tracking behind and to the side; both tucked but heads up and faces visible. [3-5s] The camera drops in front and tracks backwards low to the road. Both faces full to camera, @image_2 half a board ahead, @image_1 tight in the slipstream. [5-8s] First fast corner: @image_2 runs wide, @image_1 takes the inside line, both leaning together, leaves torn off the verge. [8-11s] Whip pan through the trunks, gold smearing across frame, then both burst back into shot lower down the hill. [11-14s] Close on @image_1, front three-quarter, the whole face in frame, hair whipping. [14-17s] A leaf-covered hairpin: both drop a gloved hand and carry a long powerslide, dry leaves exploding off the tarmac. [17-20s] @image_1 pulls out of the slipstream and draws level, then ahead; the two glance across at each other and half-smile, both faces in the same frame. [20-22s] Wide and high from behind: the road runs away into a tunnel of gold and in the middle distance carries the two riders over the little stone bridge, its low parapet passing on either side. They are small and side by side, shrinking into the light. AUDIO: driving instrumental music across the whole cut; under it wheels on tarmac, rush of air, leaves skittering, the scrape of a glove puck in the slide, birds at the end. There is no speech anywhere in this film. The eight shots run back to back with no gaps; the first frame is already moving at speed. No subtitles.

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Generate a UGC video, reviewing the product you want.

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