AI dog dancing. Your cat can dance too.

The viral pet dance: your first pet dances the routine to the song while your second pet films it on a phone. Upload two pet photos. 15 s, vertical, with music.

@image1 is the cat and the absolute identity lock. Reproduce this exact animal in every frame: their coat colour and pattern, fur length and texture, ear shape and set, eye colour and shape, muzzle, markings, whiskers and body build exactly as shown. Never substitute a different cat and never change their colouring. @image2 is the kitchen: same counters, same hanging racks, same light. ATTACHED IMAGES ARE MANDATORY AND FINAL. Wherever an attached image and this text disagree, follow the image. Handheld phone footage, one single unbroken take, filmed by a person standing in the kitchen@image2 exactly as it appears in @image2 — its own counters, fittings and utensils, with ladles hanging from a rack overhead, cooks in white jackets and tall toques working the line, a pan erupting in orange flame in the background, warm tungsten light. The camera opens already on the cat@image1, who is cooking. They sit upright on their haunches on the steel counter with both front paws wrapped around the handle of a long wooden spoon, stirring slow circles inside a big steel pot, steam rising into their face. They wear a tiny white chef's toque and a small white apron: the hat and apron fit to their own head and body naturally, whatever their size, build and fur, without altering the cat themselves. They are concentrating, completely serious. The camera operator's bare hand reaches in from the left and touches the cat@image1. First a flat palm stroking down their back, fur flattening under the fingers — they keep stirring, eyes narrowing. The hand comes back and pokes a fingertip into their cheek, pushing the fur in; their ears twitch flat. The hand comes a third time and tugs their ear between two fingers. That is the trigger. The wooden spoon drops from their paws and clatters into the pot. Their head snaps around, they scream with their mouth wide open, and they launch straight at the camera, a front paw slapping across the lens. Ladles clang and swing on the rack overhead, a pan tips and clatters, steam bursts, a cook flinches in the background. The camera whips sideways, the image smears, and it falls — hitting the tiled floor and skidding to rest at a tilt. Final beat: from floor level, lens pointed up, the image blurs then snaps into focus. The cat@image1 walks into frame and stops directly above the lens, chef's hat crooked, staring straight down into the camera in total silence. Whiskers twitch. Hold on that stare. Realistic domestic cat anatomy and real fur, paws gripping the spoon handle naturally, on all four paws when walking, never standing or walking on two legs. The phone doing the filming is never visible in frame. Raw amateur phone video: no stabilisation, autofocus hunting, motion blur, rolling shutter wobble, blown highlights from the kitchen lights, light grain. AUDIO: the roar of a working kitchen — sizzling, clattering steel, distant voices. Someone laughing as they poke, cut short by one loud furious cat scream and a crash of metal. Then sudden silence under the final stare. No music, no narration.

POV first-person food-delivery comedy, full realtime speed throughout. The delivery dog is @image1 — keep the exact same dog from the reference the whole time: its exact breed, size, coat and markings, unchanged. 0–4s: @image1, the delivery dog, in a small red delivery jacket and tiny courier cap, rides up on a little delivery motorbike to a front doorway, balancing a warm pizza box, engine putting; the camera is the person inside opening the door to greet it. Camera: slow push-in on the dog. 4–8s: @image1 stands up on the seat and holds the pizza box up toward the camera with both front paws, offering the delivery; the viewer's hands reach into frame and take the warm box. Camera: locked-off POV. 8–11s: The viewer's hand holds out folded cash; @image1 eagerly takes the money in its mouth, tail wagging fast. Camera: small tilt down to the hand-off. 11–14s: @image1 spins around, hops back onto the motorbike and putters off down the street. Camera: quick pan following the bike away. 14–17s: Back at the doorway the viewer opens the pizza box on a counter — the pizza is already half-eaten, several slices gone, greasy crumbs and little paw smudges left in the box. Camera: top-down push-in on the open box. 17–20s: Final shot down the street: @image1 on the motorbike glances back over its shoulder with a guilty grin, cheeks still stuffed, then speeds away. Camera: tracking from behind, the dog's head turning back to the lens. Real ordinary street and doorway, warm late-afternoon light, shallow depth of field, clean frame with no on-screen text or logos. (music only, mixed loud and full so the music dominates from the very first frame: upbeat cheeky comedic funk with a bouncy walking bassline and playful brass stabs) <motorbike engine putter, door creak, paper pizza-box flap, a playful cartoon whoosh on the guilty look-back>

A deadpan pet interview, filmed as a straight documentary street interview: six hard cuts, one animal, one microphone, an unseen interviewer, no music. ASSET MAP — every reference is bound here and cited by tag below: @image1 — THE PET. This defines the animal and nothing else: their species, build and body proportions, head and face shape, ear shape and carriage, eye shape, spacing and colour, their exact coat, fur or feather colour, pattern, length and texture, every marking, patch and asymmetry, and their collar or tag. Do NOT use @image1's grey studio background, its studio lighting or its sitting pose — the world and the action are written below. @image2 — THE TOY. This defines the object the animal carries: its exact shape, colour, material, surface finish and proportions. Do NOT use @image2's grey studio background or its studio lighting. ATTACHED IMAGES ARE MANDATORY AND FINAL: wherever an attached image and this text disagree about WHAT THE PET OR THE TOY LOOKS LIKE, follow the image. Never invent a different animal, species, colour, marking or age, and never redesign THE TOY. WORLD — built entirely from these words, not from either reference: a suburban backyard concrete patio in late afternoon, a blurred green lawn and a weathered wooden fence behind, low golden sun raking in from frame left, long soft shadows across the concrete, warm amber bounce off the patio, a bright warm rim along the animal's back and the top of their head. Warm golden-hour colour throughout — never overcast, never flat, never grey, and never a studio backdrop. THE MICROPHONE — also from these words: a polished chrome-and-gold handheld interview microphone with a black foam windscreen, held into frame from the right edge by a human hand in a dark grey sleeve. Hand and microphone sharp and clearly readable, with clean finger separation. Nothing of the interviewer is ever seen but that hand. THE VOICE: the animal's voice — low, flat and unbothered, with a slight gravel, completely deadpan, never excited and never cartoonish. THE INTERVIEWER: an off-screen voice — warm, even and professional, the measured tone of a documentary street interviewer, never sarcastic, never laughing and never baby-talking to the animal. (Change the voice description here only.) THE SCRIPT: the interviewer's five questions and the animal's six replies below are the swappable part of this recipe. Replace them with your own, keeping the same count and roughly the same length. The animal's last line is their own natural sound. THE PET@image1 never stands on hind legs, never gestures and never becomes a cartoon. This is a real animal, filmed straight, whose mouth moves as they speak. Only the mouth and the small muscles of the face animate for speech; everything else stays real animal behaviour. STARTING STATE AT 0s: THE PET@image1 is already running, at the far end of the patio, THE TOY@image2 clamped crosswise in their mouth, coming toward the camera. The microphone is NOT yet in frame. No fade-in and no black frame — the first frame is the full lit outdoor scene with the animal already in motion. Shot 1 (0-4s). Locked static frame, 50mm, camera low at the animal's eye level; the patio runs away from the camera toward the fence. THE PET@image1 comes at speed from the far end of the patio with THE TOY@image2 clamped crosswise in their mouth, ears up, growing fast in frame — a few bounding strides that carry them from full body in the distance to a head-and-chest close-up. They plant their front feet and stop hard, a short skid on the concrete, chest still moving from the run. Immediately, with no pause, they open their mouth and let THE TOY@image2 drop — it bounces once on the concrete and settles by their front foot. The gold microphone enters from the right edge of frame and steadies in front of them. They lift their eyes to it and hold a flat, level stare. Neither of them speaks. Cut to. Shot 2 (4-9s). Slow push-in to a tight head-and-shoulders close-up. [THE INTERVIEWER, off-screen]: "Is that your favourite toy?" Then THE PET@image1 drops their eyes to THE TOY@image2 on the ground, lifts them back to the microphone, and speaks: "Yeah. They just got it for me today." Cut to. Shot 3 (9-15s). Locked static frame, no camera movement, wider than shot 2. [THE INTERVIEWER, off-screen]: "Does your owner take you out regularly?" THE PET@image1 holds eye contact a beat too long, shifts their weight forward, and speaks: "Not as often as I'd like." They blink once, slowly. Then, quieter: "Sometimes the other people in the house take me out." Cut to. Shot 4 (15-20s). Slight low angle, 85mm, locked frame. [THE INTERVIEWER, off-screen]: "Who's your favourite person in the house?" Immediately, THE PET@image1 speaks: "Whoever gives me food." Their eyes flick left toward THE TOY@image2 on the ground and back, and they speak again: "Or buys me a toy." Cut to. Shot 5 (20-25s; 20-22.5s on the 25s length; second-to-last beat). Slow push-in that stops the moment their eyes drop. [THE INTERVIEWER, off-screen]: "What's the last thing you destroyed?" THE PET@image1 turns their whole head clearly away to their right, so their muzzle points out of frame and only the side of their face is toward the microphone, and speaks: "Trust." Their ears flatten a fraction. Then, still turned away: "And a shoe." Then they lower their head toward the concrete and speak, quieter: "But the trust was worse." Cut to. Shot 6 (25-30s; 22.5-25s on the 25s length; final beat, to the end of the film). Slow pull-out to a medium frame. [THE INTERVIEWER, off-screen]: "Anything you'd like to say before we go?" THE PET@image1 lowers their head, closes their mouth on THE TOY@image2, lifts their head and looks straight down the lens. Muffled through THE TOY@image2, they make one short sound in their own species' natural voice. FINAL FRAME: THE PET@image1 holding THE TOY@image2, staring into the lens, the gold microphone still held up at the right of frame receiving nothing. AUDIO: no music at any point — the silence between the lines is the joke. Ambience only: a light breeze through grass, distant traffic, a lawnmower two gardens away. In Shot 1, the animal's claws scrabble on the concrete as they run and skid, they are breathing hard from the run, and THE TOY@image2 makes a soft bounce true to its material when it drops. THE INTERVIEWER's questions are spoken off-screen in that voice, close to the microphone and slightly louder than the ambience. THE PET@image1's replies are delivered in THE VOICE. Question and reply never overlap: each question finishes completely, then a beat of silence, then the reply begins. A longer silence sits under the last line of Shot 5.

3 steps

A 10-second dance video, vertical 9:16, photorealistic, one continuous shot. THE PET: exactly the animal in the attached photo. Keep its fur colour and pattern, every marking in the same place, its coat length, face markings, nose colour, eye colour and build. The photo outranks this text - if they disagree, follow the photo. It wears a black bandana over its head with the ears through and a thin gold chain. Nothing else. It dances upright on its hind legs, centred, full body in frame, staying on one spot. THE DANCE - a C-walk, flowing without a single pause. The hind paws stay close together and swivel: heels together with toes splayed out, then toes twisting inward as the heels push apart, twice a second, over and over. The knees bend deep and knock in and out. The body bounces, the shoulders roll, the head bobs on the beat. The front paws rest on its hips with the elbows flared wide, pumping on the beat, never leaving the hips. The dance is already running on the first frame - no still opening. SETTING: a street corner at night, one sodium streetlight overhead, wet asphalt, a chain-link fence and a low wall, a classic lowrider parked behind. Two cats of a clearly different colour sit on the wall, nodding along, never dancing. Camera locked and static, slightly low. THE FACE: deadpan the whole time, straight into the lens. Never smiles, never opens its mouth. ENDING at 9s: one front paw thrusts straight at the lens, everything stops dead, the music cuts out. Silence and stillness for the last second. AUDIO: an upbeat hip-hop beat, no vocals, no meowing. NEGATIVE: no humans, no text, no logos, no extra limbs, no distorted paws, no fur colour or pattern different from the photo, no smiling, no open mouth, no paws leaving the hips, no walking or travelling, no pausing, no camera motion, no cuts, no fade.

Asset referencing: @image1 is the FIRST FRAME of this video. It defines the kitten, its white toque and apron, its pink collar with two gold bells, the counter, THE PRODUCT standing on the left exactly as shown, with the blender jug's small ROUND LID lying flat on the counter beside it, the white blender base with its glass jug of milk and strawberries, the steel pan and the bowl of strawberries to the right, the shelf of three tiny pans and two white cups above, the warm defocused kitchen behind, and the lighting. ATTACHED IMAGE IS MANDATORY AND FINAL: the attached first frame outranks every word written below it. Wherever the image and this text disagree, follow the image. Summary: a kitten chef starts a blender with no lid on it, fights the eruption with the only lid it can reach, loses the fight, and brings the whole miniature kitchen down on itself. THE KITTEN IS ON SCREEN IN EVERY SINGLE FRAME — no exceptions. It is the subject of this film and it is never absent, never hidden, never below the counter edge and never out of the picture. Even when it is flat on its back or buried in shake, its body stays visible above the counter top. A frame without the kitten in it is a failed frame. SPEED AND PHYSICS: everything happens at REAL SPEED, in real time, as ordinary footage played back at 1x. There is NO slow motion anywhere, not for one frame. Gravity is full, normal and HARD: things that fall, fall fast and land within a fraction of a second — they never float, drift or hang in the air. These are MINIATURE objects at one fifth of kitchen scale, so movements are short, snappy and quick, with fast bounces and rapid settling. Liquid moves at real speed: the geyser jets hard under pressure, splatter lands immediately, the flood runs fast. The kitten moves like a real kitten — fast, twitchy, reactive bursts, never a slow graceful arc. FRAMING IS LOCKED: the camera holds the exact width and height of @image1 for the whole film. It may breathe and drift a few degrees to follow the action, handheld and alive, but it NEVER pushes in, never zooms, never goes to a close-up and never crops tighter than @image1. THE PRODUCT is WHOLE AND UNCROPPED in the left third in every single frame, including the last, with its entire label inside the picture. NOTHING DISAPPEARS: every object in @image1 is present in every frame. Nothing fades out, nothing is removed, nothing is replaced, and nothing new appears. Objects get knocked over, flooded and buried, but they stay on screen: the white blender base stays on the counter and keeps running; the glass jug stays with it; the steel pan, the bowl and the strawberries stay on the counter; the pans from the shelf land on the counter and stay; the shelf stays on the wall; the kitten's white toque stays ON ITS HEAD through every beat, soaked and crooked but NEVER off, and its pink collar with both gold bells stays on throughout. THE PRODUCT IS FIXED: it stands upright in the left third exactly where @image1 has it and NEVER MOVES. Nothing hits it, nothing lands on it, nothing covers it. The blender's loose lid beside it, however, is in play — that lid is a prop of this film. THE KITTEN IS FIXED: the same single kitten as @image1 throughout — the same almost-white cream coat, the same large round deep blue eyes, the same pink nose. Never a grey or tabby cat, never a second cat. PAWS, NEVER HANDS — absolute, every frame: plain rounded cat paws, no fingers, no thumbs. No human hand appears at any moment. SCALE LOCK: THE PRODUCT is full human size; everything else on the counter is a real miniature at one fifth of kitchen scale. ONE CONTINUOUS SHOT. No cuts, no dissolves, no fades. Something is being poured, sprayed, knocked over, flooded or dropped in EVERY second — no pause, no still beat, no held look. Timeline — one action per beat, each caused by the last, each executed fast: 0:00–0:01.5 — The kitten tips the scoop and a thick fall of pale powder drops fast into the open glass jug and clouds the milk. END STATE: powder in the milk, a puff of dust over the jug, the scoop dropped on the counter. 0:01.5–0:02.5 — It stabs the black button with a paw. The blender ROARS and instantly a geyser of pink shake erupts straight up out of the open jug and hits the shelf above. The kitten's eyes go wide and it rears back. END STATE: a column of pink shake firing upward, the kitten reared back, still in frame. 0:02.5–0:04.5 — It throws itself sideways at the blender's loose ROUND LID lying on the counter beside THE PRODUCT, grabs it in both front paws, hauls it up over the jug and SLAMS it down onto the jug mouth to stop the eruption. For a beat the jet is capped and bulges against it. Then the pressure blasts the lid straight out of its paws; the lid flies up, spins across the counter and clatters down flat in the flood. END STATE: the lid lying in the shake, the geyser firing again at full height, the kitten still gripping at nothing. 0:04.5–0:06.0 — Desperate, the kitten throws its whole body over the mouth of the jug to block it. The geyser blasts it straight off and flips it over backwards onto the counter, coat plastered flat and pink, bells swinging. END STATE: the kitten on its back on the counter, drenched, the jug still erupting. 0:06.0–0:07.5 — Falling, it catches the jug's handle and drags it over. The jug topples onto its side on the base and the whole load of shake dumps out at once and runs fast across the counter. The base keeps running. END STATE: the jug on its side, the counter flooding quickly. 0:07.5–0:09.5 — The kitten scrambles to get up in the flood. Its paws shoot out from under it on the slick surface and it goes down hard on its side, soaking itself completely. END STATE: the kitten down flat in the shake, legs splayed, still in frame. 0:09.5–0:11.5 — It slides from there, skidding the whole length of the counter on its back at speed, paws in the air, bells ringing, and slams into the steel pan and the bowl of strawberries, scattering them around it. Everything stays on the counter. END STATE: the kitten on its back among the pan, bowl and loose strawberries. 0:11.5–0:13.0 — The crash jolts the shelf above and the three tiny pans slide off in quick succession and drop hard onto the counter around the kitten, clanging. One white cup is left on the tilted shelf, teetering on the edge. END STATE: three pans down around the kitten, one cup about to go. 0:13.0–0:15.0 — The kitten hauls its head and shoulders up out of the flood right beside THE PRODUCT, blinking, completely pink, the toque flopped over one eye — and the last cup drops straight off the shelf, fast, and lands upside down on its head with a hollow plonk. It wobbles there, and the kitten does not move. END ON MOVEMENT: the cup rocking on its head, shake still dripping off the shelf, the blender base still whirring at the very last frame. Notes: the destruction only accumulates — nothing that falls stands back up, nothing spilled disappears, and the counter gets progressively more flooded across the film. No subtitles. No on-screen text of any kind. No logo anywhere other than THE PRODUCT's own label. Audio — wall to wall, never silent for a frame: the dry fall of powder, the click of the button, the hard roar of the blender running the whole film, the muffled choked note as the lid caps the jet and the bang as it blows off, the wet slapping of shake on the shelf and wall, the jingling of the collar bells on every movement, the heavy slop of the flood, the skid, the clatter of pan and bowl, the sharp clang of three pans dropping, and the hollow plonk of the cup landing on the kitten's head. Fast light chaotic music underneath. No voices, no dialogue, no narration.

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Your dog goes on a one-take nighttime rampage through the house — knocking over a garbage can and scattering trash, tearing through the rooms — then stops and looks right into the camera. Upload your own dog and it stars, keeping its own breed.

Asset referencing: @image1 is the FIRST FRAME of this video. It defines THE PET dressed as a chef, its coat, markings, ears and eyes, its white toque and white apron, the pale oak counter, the black pan standing EMPTY AND DRY on the lit gas hob, the bowl of eggs, the warm defocused kitchen behind, the lighting and the framing. @image2 is the LAST FRAME of this video: the same scene, the same camera, the same animal — and the pan now holding clear turquoise seawater with tropical fish, a small golden sand island with one palm, a tiny wooden sailing boat and a little sea turtle swimming. ATTACHED IMAGES ARE MANDATORY AND FINAL: the two attached frames outrank every word below them. The film begins on @image1 and ends on @image2, and everything between them is the journey from one to the other. THE PAN STARTS EMPTY: at 0:00 the pan is completely empty, clean and dry — no butter, no oil, no fat, no water, nothing. Everything that ever appears in the pan arrives out of an eggshell, and nothing in the pan ever vanishes once it has arrived. THE SEA ONLY EVER GROWS, THEN STOPS: water enters the pan three times and only three times, once out of each shell. After the third shell is empty NO more water arrives, and the level stays exactly where it is for the rest of the film. THE ISLAND NEVER SINKS — it never shrinks, never flattens and is never submerged. From the moment it forms until the last frame it stands clear of the surface with its palm upright. COAT NOTE — written separately because this is what drifts: in every single second of this film, including the last, THE PET's coat keeps exactly the texture it has in @image1. If that coat is wiry, broken and scruffy it stays wiry, broken and scruffy and never becomes smooth, sleek or short-haired. Its muzzle keeps its length, its markings keep their places, its ears keep their shape. PAWS, NEVER HANDS — absolute, every frame: THE PET has its own plain animal paws, no fingers and no thumbs. The eggs and the shells are gripped in the crease of a paw. No human hand and no finger appears at any moment. ONE UNBROKEN TAKE: a single continuous shot from a locked-off camera in exactly the position @image1 gives it. No cuts, no dissolves, no fades, no pans, no zooms, no dollies, no handheld drift. The camera does not move once. THE MIRACLE — what this film is about: when a shell opens, what comes out of it is not egg. It is the sea, and the things that live in the sea. This happens as a plain physical event, photographed straight, with no sparkle, no glow and no magic effect of any kind. The pan simply holds an ocean. THE WATER STAYS IN THE PAN: it never rises over the rim, never spills onto the hob or the counter, and never floods the kitchen. The kitchen around it stays an ordinary dry kitchen. Timeline (written for 20 seconds; at a shorter length, compress every window in proportion and keep the final still hold on @image2): 0:00–0:01.5 — Exactly the framing of @image1, the pan empty and dry. THE PET brings the egg down and taps it against the rim; a fine crack runs across the shell. 0:01.5–0:05.0 — The paw opens the shell over the empty pan. Instead of white, CLEAR TURQUOISE SEAWATER pours out in ONE single smooth unbroken stream — not in spurts, not in bursts — and the pan fills continuously and evenly to a shallow depth. The surface settles into moving ripples and the sunlit ripple-net plays across the dark metal below. Tiny bright tropical fish — orange, yellow, electric blue, some striped — come out with the water and begin to swim, each casting a small shadow on the bottom. 0:05.0–0:07.0 — The yolk falls out of the shell immediately after the water and drops into the middle of the pan exactly where a yolk would land. For a moment it IS the yolk — round, golden, sitting in the water — and only then does it settle and open out into A SMALL GOLDEN SAND ISLAND: a low round dome of warm sand standing clear of the surface, a darker wet rim where the water laps it, a tuft of green grass, and ONE small palm tree that unfurls its fronds as it rises. Rings of ripple run out to the edge of the pan. 0:07.0–0:09.0 — NOTHING ELSE HAPPENS IN THIS SHOT. No new water, no new object, no new egg. For two full seconds the only thing that moves is THE PET: it sets the empty shell down on the counter, its ears come up, and it leans in and tilts its head slowly to one side, looking at the island. This pause is deliberate and must not be filled with anything else. 0:09.0–0:10.5 — THE PET takes a second egg from the bowl with a paw and taps it on the rim. 0:10.5–0:13.0 — The second shell opens. More clear seawater pours in in one smooth stream and the level rises a little, and instead of a yolk A TINY WOODEN SAILING BOAT drops out — a simple little boat with a pale varnished hull, a short mast and a small white sail. It lands with a soft splash, rocks, rights itself and settles upright on the water beside the island. 0:13.0–0:14.5 — THE PET takes a THIRD egg from the bowl and taps it on the rim. 0:14.5–0:17.5 — The third shell opens. A last smooth pour of seawater comes out, and instead of a yolk A LITTLE SEA TURTLE slides out of the shell — a small green-brown turtle with a patterned shell, about the size of a walnut. It drops into the water, sinks a little, rights itself, spreads its front flippers and begins to swim, head up just breaking the surface, leaving a soft V of ripple behind it. This is the last water that ever enters the pan. 0:17.5–0:20.0 — No more water. The level is fixed and the island stands full with its palm upright. The turtle swims a slow arc past the island on one side while the boat drifts on the other, both leaving faint wakes; the fish dart underneath them; the palm sways very slightly; thin curls of steam rise where the water meets the hot rim. The film comes to rest on exactly the picture of @image2 and holds there, still, to the last frame. Notes: the pan, the hob and its lit flame, the counter, the bowl of eggs, the background kitchen and the light stay exactly as @image1 has them for the whole film. The sea, the fish, the island, the boat and the turtle are filmed as real physical things sitting inside a real pan, in the same light as the rest of the kitchen. Each egg is opened over the pan and its shell set down on the counter; the eggs in the bowl go from three to two to one to none. No subtitles. No on-screen text of any kind. No logo anywhere. Audio: no music. Generate only close, present, dry environmental and action sound — the small dry crack of each shell against the metal rim, the pour and splash of water running into the pan, the gentle lapping of a shallow lagoon, the soft plop of the island settling and the ripple that follows, the light splash and wooden creak of the boat landing and righting itself, the small wet slither and splash of the turtle sliding out and the soft paddle of its flippers, the faint hiss where water meets the hot rim, one distant gull far away, and the quiet room tone of a warm kitchen under it all to the last frame. No voices, no dialogue, no narration.

3 steps

ASSET MAP — every reference is bound here and cited by tag below: @image1 — THE VENUE. The exact interior every indoor shot takes place in: its architecture, counter, shelving, materials, palette and lighting. Every shot of the room matches it exactly. Its signs and boards have already been wiped plain — leave them plain. @image2 — THE ANIMAL. This is the resident animal; it defines its exact species, colours and pattern, face, eye, beak or muzzle, and tail. Every shot of the animal matches it exactly. Whatever species @image2 shows is the species in the film — never substitute another animal. THE ORDER: "MACCHIATO. NO SUGAR." Documentary-style commercial, nine locked-off tripod shots cut hard together. Every shot takes place inside the exact venue from @image1. Shallow depth of field keeps the back of the room soft; every surface in frame is plain and unmarked. [PRIORITY — if the film runs shorter than 30 seconds, drop whole exchanges from the bottom of this list, never by shortening an answer and never by inventing a question that is not written below] 1. The wordless order: the customer points, the animal speaks THE ORDER. 2. The last exchange — the long silence, then "See you tomorrow" straight down the lens. 3. "What do you do when the place is closed?" — "I repeat." 4. "What annoys you most?" — "The WiFi password." 5. "How long have you worked here?" 6. The two remaining questions. Whatever the length, the film ends on the animal holding its look down the lens and then turning away — never on an empty frame, never on a held empty perch. 0–3s: SHOT 1 - Brisk opening. The camera sits BEHIND a customer, filming them from the back. Their shoulders and coat fill the lower left of the frame; their face is never visible. They step up to the counter and immediately raise one arm, pointing past a member of staff toward a bare wooden branch on the shelf behind the counter. They say nothing. The member of staff, in a dark apron, follows the arm with their eyes and waits. 3–5s: SHOT 2 - Hard cut. Static close-up of the branch fixed across the shelf, beside a stack of cups. Resting on it out in the open is the exact animal from @image2. It leans forward and speaks THE ORDER out loud, in a clipped, gravelly, slightly mechanical voice. 5–7s: SHOT 3 - Hard cut to the member of staff, seen over the customer's shoulder from behind them. They smile faintly, turn to the machine and start making the drink. Steam hisses. SHOTS 4 to 9 (0:07-0:30) - Interview setup, held for the rest of the film: the exact animal from @image2 resting on a smooth wooden perch inside the exact venue from @image1, warm lamp light, the room falling off into soft bokeh behind it. It sits in the LEFT THIRD of the frame, the right third left as clean empty background. An off-screen interviewer speaks in a calm, serious news-reporter voice; the animal answers flatly and deadpan, beak or mouth and throat moving in sync with every word. Each exchange is its own locked-off shot, cut hard, the framing tightening progressively. 7–10s: "How long have you worked here?" - "Longer than anyone who works here." 10–13s: "Do you know many of the guests?" - "More than I would like." 13–18s: "How many orders do you remember?" - "I do not remember orders. I remember who drinks what." 18–21s: "What annoys you most?" - "The WiFi password." 21–25s: "What do you do when the place is closed?" The animal holds still for a long beat, then: "I repeat." Slow push-in toward its eye. 25–30s: "Anything you would say to the guests?" A long silence. The animal turns its head and looks straight down the lens: "See you tomorrow." It holds the look, then turns away. [Maintain consistency] One animal and one venue for the whole film — the same individual at every framing, never a second animal, never a different room. The animal is the species @image2 shows and keeps its exact markings in every shot. It stays a real animal: real anatomy, real eyes, real feet — never a cartoon, never humanised hands or eyebrows, never standing upright like a person. Only its beak or mouth and throat move when it speaks. NEGATIVE — no on-screen text anywhere: no subtitles, no captions, no title cards, no lettering on any wall, board, cup, apron or shelf, no logo overlay, no watermark. No second animal, no visible camera or crew, no fade from black, no black frames, no split screen. Natural room acoustics, no music. Every surface in frame stays plain and unmarked.

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ASSET MAP — every reference is bound here and cited by tag below: @image1 — the DRIVER. This is the animal that drives. @image2 — the FRONT PASSENGER. This is the animal in the passenger seat. @image3 — the REAR PASSENGER. This is the animal on the rear bench. ATTACHED IMAGES ARE MANDATORY AND FINAL: each attached image IS that animal — reproduce it exactly in every frame, preserving its species, body shape, proportions, coat colour, markings, ear shape, face and size relative to a real animal of its kind. Never substitute a different animal, never blend two of them together, and never invent a fourth. The attached images outrank every word written below them: wherever an image and this text disagree, follow the image. WORLD. Ultra-realistic smartphone footage shot inside the cabin of a worn rally hatchback that is ALREADY travelling flat out on a rough gravel road. The glass buzzes, the dashboard trembles, and the whole image carries heavy motion blur from the first frame to the last. The car never starts from rest, never slows, and never stops. Documentary realism: real fur, real upholstery, real metal and glass, natural daylight, slight wide-angle distortion, mild phone-video compression. No real brand logos anywhere. GEOGRAPHY CONTRACT, true for the whole take. @image1 is in the driver's bucket seat, frame-left, in a raised seat and a fitted racing harness so its front limbs reach the steering wheel. @image2 is in the passenger bucket seat, frame-right, harnessed. @image3 is on the rear bench, its head filling the gap between the two front seatbacks at centre. A tall sequential gear lever stands on the centre tunnel between the front seats. Turquoise bucket seats, bright-green steel roll cage bars, a plain dashboard. Nothing changes these positions or these colours at any point. No human is present and no human hand ever enters frame. CAMERA CONTRACT. ONE unbroken take for the full length of the clip, normal speed, with the beats below spread evenly across it. The camera is bolted to the chassis: it never pans, never zooms, never cuts, and never leaves the car. Its only motion is the vibration it inherits from the car. The recording device is never visible. BEATS. 0:00-0:02 — All three animals are in frame with the wheel and the gear lever. @image1 holds the wheel with both front limbs and makes small fast corrections left and right. The entire frame buzzes with constant fast vibration. 0:02-0:04 — Exactly one gear change. @image1 keeps its LEFT front limb on the wheel, lifts its RIGHT front limb off the wheel, sets it on the gear lever, pushes the lever one short step forward, and returns that same limb to the wheel. Screen goes from right limb on wheel, to right limb on lever, to right limb back on wheel. 0:04-0:06 — The wheels drop into and climb out of four successive ruts. Each rut throws the whole frame hard up then down. The harnesses hold all three bodies in their seats while heads, ears and loose skin keep travelling a half-beat late. @image2 opens its mouth and calls out in alarm. @image3 braces its front limbs against the back of the driver's seat and its shoulders bob above the seatbacks. 0:06-0:08 — Exactly one more gear change, identical in mechanics to the first. Left front limb stays on the wheel, right front limb leaves the wheel, lands on the lever, pushes it one short step forward, and returns to the wheel. @image2 keeps calling out; @image3 keeps bracing. 0:08-0:10 — One large bump. The suspension compresses fully and rebounds once. All three animals are lifted off their seats and pressed back down. @image2 makes its longest, loudest call. @image1 is already back on the wheel with both front limbs, eyes forward. The final frame holds this same fixed view: @image1 frame-left steering, @image2 frame-right braced, @image3's head between the seatbacks. AUDIO: live cabin sound only — a hard-revving engine that drops in pitch at each of the two gear changes and climbs again, two mechanical gear-lever clicks, gravel striking the underside of the car, suspension thumps, cabin and roll-cage rattles, and the front passenger's alarmed calls. Whatever sounds the three animals make are the natural sounds of their own species. No human speech, no music, no laugh track, no cartoon sound effects.

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ONE-SENTENCE SUMMARY: This is authentic creator content filmed by the person themselves on their own phone, front camera, phone held in their own hand at arm's length — @image2 sits indoors by a window with the pet from @image1 against their chest, and over 30 unbroken seconds the pet finds the front pocket of THE HOODIE, burrows in head first, gets stuck, pops back out and ends up sniffing the lens. THE HOODIE: a loose oatmeal-grey hoodie with a large front pocket — the whole film happens in that pocket, so it has to be a hoodie with one wide pocket across the front; it is the only worn item this prompt names, everything else @image2 wears is read off their own avatar THE ROOM: a plain room beside a large window in natural daylight — the only place the film goes, and its window is the only light source ASSET MAP — every reference is bound here and cited by tag below: @image2 — Avatar 1. This is the person; it defines face and identity. @image1 — the pet sheet from the step above. This is the pet; it defines the animal, its coat, its markings and its size. The numbering follows the order the references are attached. Cite them by tag; never rely on a label drawn inside an image. ATTACHED IMAGES ARE MANDATORY AND FINAL: If an avatar image is attached, that is the person — reproduce them exactly, in every single frame, and never invent a different face, hairline, hair colour, skin tone, body or age. If a product image is attached, that is the product — reproduce it exactly, in every single frame, and never invent a different shape, proportion, colour, material, finish, label or branding. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. Nothing about an attached avatar or an attached product may be imagined, substituted, swapped, restyled, simplified or "improved" at any point in the chain. ATTACHED IMAGES OVERRIDE THE FIELDS: The attached images are the truth and the text fields above are only a fallback. The avatar reference always defines the person, no matter what any text says. Wherever an attached image and the text disagree, follow the image and ignore that part of the text. CHARACTER LOCK: The person in frame is the person in @image2, present from the first frame to the last. Their face stays identical to @image2 throughout — the same facial structure, the same eye shape and spacing, the same eyebrows, nose and mouth, the same skin tone, the same hairline, hairstyle, hair length, texture and colour, the same freckles and distinctive marks, the same apparent age, build and body proportions. Their gender presentation stays exactly as @image2 shows it; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle. They are the only person in the film and THE ROOM holds only them and the pet. PUPPY LOCK: The animal in frame is the pet in @image1 — the same coat colour and length, the same markings, the same ear shape, the same eye colour, the same small size. It is the same single pet from the first frame to the last, and it is the only animal in the film. REFERENCE FIDELITY: @image1 is a reference sheet — the pet photographed four times against grey panels, with a line of text across the top. Take the pet off it and nothing else; the grey panels, the frames around them, that lighting, that framing and that text all stay out of the film. THE OUTFIT: @image2 wears THE HOODIE. Everything else visible on them — hair, skin, any eyewear, any jewellery — is read off @image2 and stays exactly as that reference shows it. The surface of THE HOODIE stays one flat unbroken colour, plain fabric across the whole garment, with a plain pocket opening. DETAILED PLOT: 0-5s — @image2 holds the pet against their chest, filming themselves at arm's length on their own phone, front camera, in THE ROOM. The pet is calm and looking around. They gently rub its head while looking at the phone. They smile and say: "Look who's being nice today." The pet gives a tiny curious sniff. 5-10s — The pet notices the large front pocket of THE HOODIE. It lowers its head. Its nose moves toward the pocket opening. @image2 looks down. They realise what the pet is doing. They laugh quietly. The pet pushes its nose into the pocket. 10-15s — The pet tries to climb its head farther inside the pocket of THE HOODIE. @image2 looks at the camera with an amused expression, the phone still in their own hand. They gently hold the pet's body to keep it balanced. The pet's ears disappear behind the edge of the pocket. They start laughing. They say: "What are you looking for?" 15-20s — The pet wiggles enthusiastically inside the pocket. The fabric of THE HOODIE moves and stretches around its head. @image2 laughs harder. They carefully support the pet and try to guide it backward. The pet resists for a second. Their shoulders shake from laughter. The phone becomes slightly shaky. 20-24s — The pet suddenly pulls its head out of the pocket. Its ears pop free. @image2 reacts with a surprised laugh. The pet immediately looks toward their face. They lean backward slightly. The camera drifts upward with their arm. 24-27s — The pet places its front paws against their chest and tries climbing toward their shoulder. @image2 catches its body with their palm. The fabric of THE HOODIE rustles. They laugh and say: "Okay, you're done exploring." The pet keeps moving. 27-30s — The pet suddenly turns toward the phone. Its face moves directly toward the lens. Its nose and whiskers fill the foreground. @image2 pulls their face away while laughing, still holding their own phone at arm's length. They start: "You really love this camera—" but their laughter interrupts the sentence. The pet gives a tiny sniff toward the lens. Focus briefly breathes. The frame dips as their arm moves. The clip ends with the pet still trying to investigate the camera. HOLD THROUGHOUT: One single continuous take on the same front-facing phone camera, from the first frame to the last, at one focal length. @image2 holds the phone in one hand at arm's length the whole time; their other hand is on the pet. The framing changes only with the movement of their own arm and body, and the camera stays on that arm the whole 30 seconds. Exactly one person and exactly one pet are in frame, alone in THE ROOM, and the daylight from its window is the only light. The pet stays small enough to be held against a chest in one hand. Fabric deformation, the pet's weight, its paw placement, the hand supporting it, facial expressions and handheld movement all stay physically real. The picture stays clean: bare image only, the full frame given over to the two of them. AUDIO: Natural indoor ambience, hoodie fabric rustling, pet paws, breathing, one tiny pet sound, and @image2's dialogue and genuine laughter. Do not add subtitles. No BGM. No voice-over.

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ATTACHED IMAGES ARE MANDATORY AND FINAL. They outrank every word written below them: wherever an attached image and this text disagree, follow the image. @image1 is the absolute identity lock for the cat — its exact coat colour, pattern and markings, face, eyes, ears, build and its white apron, with no drift in any frame. Never invent a different animal. @image2 is the absolute lock for the drink — the same vessel, the same contents, the same colour and the same fill level in every serving on the tray. Handheld vertical phone footage, documentary look, inside a traditional Balkan kafana tavern. The cat@image1 walks upright on its hind legs like a waiter. One front paw is raised high above its head, balancing a round metal tray that carries exactly five identical servings of the drink@image2, every one matching the reference exactly. The camera tracks alongside at cat height, low to the wooden floor, bouncing slightly with each step, table legs and chair legs rushing past, the cat clear of furniture and never hidden behind it. Around it a warm dim kafana: dark wood panelling, long tables under red-and-white checkered tablecloths, bentwood chairs, framed old photographs on the walls, amber pendant lamps. The guests at the tables turn to look, laughing and clapping, a few lifting phones to film. In the final beats the cat reaches an occupied table, slows, brings both front paws to the rim of the tray and slides it flat down onto the checkered tablecloth, then lets go and lowers its paws; the five servings rock once and settle, the glasses clink, and the guests burst out laughing. Realistic fur detail, warm tungsten interior light, shallow depth of field, natural handheld shake, normal speed. AUDIO: kafana ambience — overlapping chatter and bursts of laughter, chairs scraping, glasses clinking as the tray lands, faint live tamburitza music underneath. No voice-over, no music sting.

2 steps

Asset referencing: @image1 is the FIRST FRAME of this video. It defines the kitten chef and its markings, its oversized white toque and white apron, the pale oak counter, THE PRODUCT standing open on the left with its label facing the camera, the miniature cooking station on the right, the warm defocused kitchen behind, the lighting and the opening framing. ATTACHED IMAGE IS MANDATORY AND FINAL: the attached first frame outranks every word written below it. Wherever the image and this text disagree, follow the image. THE PRODUCT IS FIXED — the single most important rule of this film: THE PRODUCT stands upright on the counter in the left of frame exactly where @image1 has it, and it NEVER MOVES. It never tips, never rotates, never slides, never leaves the counter, and nothing ever covers it. In every wide shot it is WHOLE AND UNCROPPED inside the frame, never cut off by the left edge, with its labelled front squarely towards the camera, sharp and fully readable, carrying exactly the words, layout, typefaces and colours @image1 gives it. No word on it changes or re-spells itself. No new lettering, logo, sticker or label appears anywhere else in the film. PAWS, NEVER HANDS — absolute, every frame: the kitten has plain rounded cat paws, no fingers and no thumbs. Every tool is gripped in the crease of a paw, exactly the way @image1 shows it held. No human hand and no finger appears at any moment. SCALE LOCK: THE PRODUCT is full human size and everything else on the counter is a real miniature at about one fifth of kitchen scale. The pan is smaller than the kitten's head, and the small coins lying on the wood stay coin-sized beside it. This contrast holds in every shot, including the finished plate. Summary: a miniature-cooking film in which a kitten chef makes a small stack of pancakes with THE PRODUCT on a doll-sized cooktop, with THE PRODUCT standing full-size beside it the whole time. FORMAT: timed multishot, 8 shots, HARD CUTS at 0:01.2, 0:02.6, 0:04.5, 0:06.6, 0:08.2, 0:10.6 and 0:13.0. No dissolves and no fades — every transition is a hard cut. The same kitten, the same counter, THE PRODUCT in the same place and the same warm light across every cut. Only three camera setups are used, and every shot is locked off — no pans, no dollies, no zooms, no handheld drift. The cuts do all the movement. SETUP A — wide frontal at counter height, the framing of @image1: the kitten centred from the chest up, the counter across the lower third, THE PRODUCT whole, uncropped and sharp in the left third of frame, the cooking station lower right. SETUP B — macro looking down at the small STAINLESS STEEL pan from above and slightly in front, the pan filling the frame. THE PRODUCT is outside this framing. SETUP C — the finished plate large in the foreground lower centre, the kitten behind it and slightly soft, and THE PRODUCT still standing in the left third, WHOLE AND UNCROPPED and in focus, its whole label inside the frame. Frame wide enough that none of the pack is cut off. Timeline: 0:00–0:01.2 — SHOT 1, SETUP A, the exact framing of @image1. The kitten tips the measure it is holding and a clearly visible fall of THE PRODUCT drops into the little white mixing bowl — a cascade of powder, a thick ribbon, a stream, whatever the product is. This fall is plainly visible for the whole shot. THE PRODUCT stands sharp on the left. 0:01.2–0:02.6 — SHOT 2, SETUP A. The kitten sets the measure down on the counter and works the slim wooden whisk in the bowl in quick small circles; the batter turns smooth, taking on the colour of THE PRODUCT. THE PRODUCT has not moved. 0:02.6–0:04.5 — SHOT 3, SETUP B. A paw tips the mixing bowl and the batter pours into the hot buttered STAINLESS STEEL pan and spreads out into one clean round disc. The melted butter hisses around its edge and a thin curl of steam lifts. 0:04.5–0:06.6 — SHOT 4, SETUP B, a little closer, the same STAINLESS STEEL pan. Bubbles rise up through the batter and pop one after another across the surface; the rim sets, goes matte and lifts very slightly from the pan. Steam curls upward. 0:06.6–0:08.2 — SHOT 5, SETUP B, the same STAINLESS STEEL pan. A tiny steel spatula held in a paw slides under the pancake; the pancake flips over and lands flat with a soft slap, its deep golden side now facing up. 0:08.2–0:10.6 — SHOT 6, SETUP A. The kitten lifts three finished golden pancakes one onto the other on a coin-sized white plate on the counter in front, and lays a small pat of butter on top; the butter begins to slide and melt down the side of the stack. THE PRODUCT is whole and sharp on the left, label to camera. 0:10.6–0:13.0 — SHOT 7, SETUP C. A thin glossy ribbon of syrup pours slowly down over the stack and runs off its sides onto the plate. THE PRODUCT still stands in the left third, complete and uncropped and in focus, its entire label inside the frame. 0:13.0 to the end — SHOT 8, SETUP C, held completely still. The finished stack glistens, the butter still melting. The kitten raises one front paw, holds it up and looks straight into the camera. THE PRODUCT stands beside them, whole, uncropped, sharp and fully legible. Hold this shot, unchanged and unmoving, to the very last frame of the film, however long the film runs. Notes: the kitten's markings, its oversized white toque and its white apron stay exactly as @image1 has them for the whole film, with no drift between shots. The pan is the same stainless steel pan of @image1 in every shot and never becomes a dark non-stick pan. The warm amber LED strip and the softly defocused wooden kitchen stay behind the kitten in every wide shot. Nothing on the counter changes position between shots except the food being cooked and the tools the kitten picks up. No subtitles. No on-screen text of any kind. No logo anywhere other than THE PRODUCT's own label. Audio: a soft, light, playful melody kept low under everything, and close, present, dry foley on top of it — the soft sound of THE PRODUCT falling into the bowl, the quick tick of the whisk against the china, the batter hitting the hot pan and the butter hissing, the small wet pops of the bubbles, the soft slap of the flip, a light clink of the spatula on the plate, the slow thick drip of syrup, and the quiet room tone of a warm kitchen under it all to the last frame. No voices, no dialogue, no narration.

2 steps

PET FRIENDLY CAFE WALK-IN A chest-mounted action cam follows two golden retrievers wiggling down a sunny pavement, then lifts to reveal @image1 — your own cafe entrance — and carries through the door into a welcome from the resident dog. Attach one straight-on daylight photo of your frontage. 14s.

2 steps

THE SCRIPT — VERBATIM AND COMPLETE. This is the entire spoken content of the film. Every line below is spoken exactly as written, word for word, in this exact order, by the speaker named. No line is reworded, shortened, expanded, reassigned to the other speaker, repeated or skipped. No word is spoken anywhere in this film that does not appear below. There are exactly TWELVE spoken lines: five belong to THE INTERVIEWER and seven belong to THE PARROT. Replace the wording with your own venue's script if you like — keep the same line count and the same speaker for each line. One line names the species — "I'm a bird." If the animal in the photo is not a bird, change that one line to name what it is; it is the only line in the script that does. SHOT 1 — no speech at all. THE INTERVIEWER: "You're here every day. How's the coffee?" THE PARROT: "I don't drink coffee." (beat) THE PARROT: "I'm a bird." THE INTERVIEWER: "Then what do you do here?" THE PARROT: "I listen." THE INTERVIEWER: "And what do people say?" THE PARROT: "That's the best coffee I've ever had." THE INTERVIEWER: "Would you recommend it?" THE PARROT: "I live here." (0.5 second pause) THE PARROT: "There's your review." THE INTERVIEWER: "Any final words?" THE PARROT: "See you tomorrow, coffee's on me." Nothing else is said by anyone. The shot descriptions further down say WHERE and HOW each line is delivered — they never change WHAT is said or WHO says it. If a shot description and this script ever disagree about the words or the speaker, this script wins. THE TWO VOICES: — THE INTERVIEWER is an off-screen voice: warm, even and professional, the measured tone of a documentary street interviewer. They are heard only in their five questions above and never at any other moment. — THE PARROT is THE BIRD@image2: a dry, flat, matter-of-fact voice, unhurried, completely deadpan, never squawky and never cartoonish. It keeps this same voice for every word it says and never changes voice, never imitates anyone and never does an impression — including the line it repeats back from a customer. THE PARROT is only a role name: the speaker is whatever animal @image2 shows, and the film never contradicts the photo about what that animal is. --- A deadpan interview with a parrot inside a busy café, filmed as a straight documentary street interview: FOUR shots only, three hard cuts, one bird, one microphone that is never out of frame, an unseen interviewer, no music. THE FRAME: compose for whatever format this film is rendered in. In a tall frame the bird fills the height with the room reading above and below it; in a wide frame the room spreads to either side of the bird. In every format the bird is the subject of every shot, and the microphone stays in frame. THE LENGTH: the four shots and the twelve lines are written for a 24-second film, and the shot times below are for that length. If this film is rendered longer than 24 seconds, every extra second belongs to SHOT 4 — the questions and the answers sit further apart, the silences between the twelve lines get longer, and the bird holds the lens a beat longer on its last line. No line is added, no line is repeated, no fifth shot is added, and the film never cuts away to an empty room and never holds on a frame the bird is not in. CLEAN AUDIO RULE: no profanity, no swearing and no obscene language is ever spoken, voiced or generated by anyone, in any language, at any point. THE MICROPHONE — HIGHEST PRIORITY PROP: a polished chrome-and-gold handheld interview microphone with a black foam windscreen, held by a human hand in a dark sleeve entering from the right edge of frame. THE MICROPHONE IS IN EVERY FRAME from the moment it enters in Shot 1 until the last frame of the film. It never leaves frame, it is never absent from a shot, and it never cuts away. It stays within a hand's width of the bird's head at all times, angled up toward the beak, held steady. In every shot both the gold body and the black foam head are clearly visible and readable, sharp, with clean finger separation on the hand. When the framing changes, the microphone and hand move with it and stay on the bird. Nothing of the interviewer is ever seen but that hand and that microphone. THE COFFEE AND THE SUGAR: on the table directly in front of the bird stands a white ceramic cup FILLED WITH BLACK COFFEE — dark liquid almost to the rim, a little steam rising off it. It is a cup of coffee, not a cup of sugar and not an empty cup. Beside the cup sits a small open bowl of white sugar cubes. ASSET MAP — every reference is bound here and cited by tag below: @image1 — THE ROOM. This defines the venue and nothing else: its wall surfaces and their colours and textures, any painted panelling and its exact colour, the framed pictures and wall pieces and what is in them, any wall lamps, the tables and their material, the chairs and their frames and colours, the floor, the ceiling fittings, and the objects standing on the tables. Every shot happens inside THIS room. Do NOT use @image1's emptiness — the room is full of people below. @image2 — THE BIRD. This defines the animal and nothing else: its species, size and proportions, head and beak shape, the exact colours and their placement across head, face, chest, wings and tail, the bare facial skin, the eye, the feet. Do NOT use @image2's grey studio background or its studio lighting. ATTACHED IMAGES ARE MANDATORY AND FINAL: wherever an attached image and this text disagree about WHAT THE ROOM OR THE BIRD LOOKS LIKE, follow the image. Never invent a different room, different furniture or different artwork, and never invent a different animal, species or colour scheme. THE CROWD — background texture only, never the subject: customers sit at the tables and pass through the background, a member of staff moves behind them. They are ALWAYS out of focus and often cropped by the frame edge — a shoulder, a sleeve, the back of a head. No face is ever sharp or readable. Nobody looks at the camera, nobody reacts to the bird, nobody stops. They carry cups, they lean in to talk, they laugh at their own table. Keep them soft, partial and incidental in every shot. None of them is ever heard speaking an intelligible word. THE BIRD@image2 stays a real animal throughout: it perches, it shifts its feet, it tilts its head, its beak moves as it speaks. It never gestures with a wing, never stands like a person, never becomes a cartoon. STARTING STATE AT 0s — THE HOOK IS THE FIRST FRAME: no fade-in, no black frame, no establishing beat and no empty room. The very first frame of the film already has THE BIRD@image2 in the air above the table, wings fully open, coming down to land, with the café already busy and already loud behind it. The film opens on that movement. Shot 1 (0-5s). WIDE, 35mm, from just inside the entrance looking across the room, the nearest table in the foreground with the white cup of black coffee and the bowl of sugar cubes on it. Customers at the tables behind. THE BIRD@image2 is already dropping through the frame as the film begins and lands on the back of the chair at that table, wings folding. It leans down, takes a single white sugar cube from the BOWL in its beak, holds it a moment, then drops it into the CUP OF BLACK COFFEE — the cube breaks the dark surface with a small plink and sinks. The bird straightens up. The gold microphone now enters from the right edge and settles close beside the bird's head, where it will remain for the rest of the film. NOBODY SPEAKS IN THIS SHOT. Cut to. Shot 2 (5-11s). MEDIUM CLOSE, 50mm, the bird filling the middle of the frame on the chair back, the room warm and out of focus behind, the gold microphone held steady in frame at the right, close to its head. Here THE INTERVIEWER asks their FIRST question and THE PARROT gives its two-part answer; then, after a beat of silence, THE INTERVIEWER asks their SECOND question and THE PARROT answers. The bird tilts its head a few degrees before the first answer, and holds still through the beat between its two lines. Cut to. Shot 3 (11-16s). WIDER, 35mm, from further back across the room, the bird on its chair with tables and out-of-focus customers filling the foreground and background — and the gold microphone and the hand still clearly in frame at the right, close to the bird, sharp against the soft room. Here THE INTERVIEWER asks their THIRD question and THE PARROT answers with the line it repeats back from a customer, delivered flat, in its own voice, with no impression. Cut to. Shot 4 (16-24s). LOW ANGLE CLOSE, 50mm, camera just below the level of the chair back looking up at the bird, ceiling lights behind it, the gold microphone large and clearly readable in frame at the right, right beside the beak. Here THE INTERVIEWER asks their FOURTH question and THE PARROT gives its two-part answer with the half-second pause between the two lines. Then THE INTERVIEWER asks their FIFTH and final question, and THE BIRD@image2 turns its head fully to the lens — the only time it addresses the camera directly — and delivers the last line of the script straight down the barrel. This shot is long enough for all four of these lines to breathe, with a clear silence between each one. FINAL FRAME: the bird facing the lens on the chair back, the gold microphone still held up beside it, the café carrying on out of focus behind as if nothing happened. AUDIO: no music at any point. A continuous, unbroken café ambience running under every single shot from the first frame to the last, mixed loud enough to feel busy but always under the dialogue: overlapping indistinct conversation at several tables with no intelligible words, the hiss and shriek of an espresso machine steaming milk, cups and saucers set down, a spoon ringing against glass, a burst of laughter two tables away, chair legs scraping, the door opening with a shop bell and closing again, footsteps on the floor. In Shot 1 the sugar cube makes a small plink as it hits the coffee. Only two voices are ever intelligible in this film: THE INTERVIEWER asking their five questions, and THE PARROT answering. Question and answer never overlap: each question finishes completely, then a beat of silence, then the bird answers. The twelve lines of the script are delivered unhurried, with real silence between them — never rushed to fit.

3 steps

A pet turned into a chubby fluffy 3D character dances nonstop for fifteen seconds in a pink cat-sticker room, in one unbroken static take, to its own silly bouncy beat. The choreography is copied from a locked reference clip; the animal, its coat and its markings come entirely from the uploaded photo.

2 steps