Story to Video. Story to video AI that casts you in a short film.

Photorealistic mockumentary, 9:16 vertical, 30 seconds. Grey overcast autumn city, rainy windows, muted cool tones with small warm accents (Halloween decorations, warm lamps). Handheld documentary camera with subtle shake for daily-life scenes; static, slightly off-centre framing for interview confessionals. Natural healthy skin. Never open on the attached stills. Never cut away to the attached stills as plates. IDENTITY: @image1 is the lead — photocopy their face, hair, features, skin tone, body proportions and clothes exactly as in @image1, adult. Preserve gender presentation as shown. Use they / their / them only. Only one of them. Do not beautify, slim, de-age or restyle them. PRODUCT: Photocopy the product in @image2 — its shape, colours, lettering and finish exactly as shown, never changing. Only one @image2 exists in every shot it appears, always at real size, free and unpackaged, never inside a new box, case or wrapper. Do not add or change any lettering. THE MONSTER (original character, not based on any film monster): a huge, gentle, shaggy monster about two and a half metres tall, covered in thick grey-blue fur, with two small curved ivory horns, a broad soft face, big round amber eyes full of sadness, and large clawed hands that move very carefully. It wears an oversized, slightly worn mustard-yellow knitted cardigan. Calm, shy, soft-spoken, deep voice. Clearly a different being from @image1 — never resembles them. Refer to it as the monster. No green skin, no stitches, no neck bolts, no flat head. CONCEPT: A mockumentary about a gentle monster who scares everyone just by existing — until one person is not afraid, and the product in @image2 finally gives it a moment of peace. Melancholic and funny at the same time. Other passengers, yoga students and instructors are extras in the story. AUDIO: Quiet documentary atmosphere: rain on bus windows, bus engine hum, muffled city sounds; a sudden wall of screaming passengers on the hook; doors banging and more screaming in the yoga flashback; soft melancholic solo piano under the confessionals, warming gently at the end. The monster's voice is deep, soft and clear, above the music. Dialogue in English only. No subtitles, no on-screen text, no logos other than lettering already on @image2. 0.0-2.0s HOOK — Inside a crowded city bus on a rainy day. The monster climbs aboard and sits down. Every passenger instantly screams and scrambles to the far end of the bus, bags flying, leaving the monster alone in the middle of a suddenly empty stretch of seats. Handheld. 2.0-7.5s THE ONE WHO STAYS — A beat of silence. @image1 gets on at the next stop, walks past the terrified extras, and calmly sits right next to the monster. The monster slowly turns its head, surprised. @image1 casually takes out @image2 and offers it to the monster with a small friendly smile. Close-up: @image2 held between them in the soft grey window light, every detail visible. 7.5-12.0s CONFESSIONAL 1 — Interview shot, static, slightly off-centre. The monster on an old sofa in a dim living room, warm lamp, a few small carved pumpkins on the shelf behind it. It holds @image2 carefully in both large hands on its lap. Looking slightly off camera, it says quietly in English: "People always scream. I don't mean to scare anyone." 12.0-16.5s FLASHBACK — Quick handheld montage. The monster outside a yoga studio holding a rolled-up yoga mat; the instructors and students run out of the door screaming. Then the monster standing alone in the empty studio, holding the mat, shoulders slumped. 16.5-20.5s CONFESSIONAL 2 — Back on the sofa with @image2. The monster looks down at it and says: "Then someone just… sat next to me." A tiny, shy smile. 20.5-25.0s THE CALM — Back on the bus: @image1 and the monster side by side, both relaxed. The monster holds @image2 and closes its eyes peacefully for a moment while rain slides down the window. The other passengers peek at them, confused. 25.0-30.0s FINAL SHOT — Evening, the monster's dim living room. The monster sits alone on the sofa, content now, @image2 on the little table beside the warm lamp. It looks straight into the documentary camera and says: "It helps." Slow push-in on @image2 in the warm lamplight. Hold. No gore. No duplicate of @image1. No duplicate of @image2.

CHARACTER LOCK — HIGHEST PRIORITY (applies separately to @image1 and @image2): Each character in every shot is exactly the character in their own reference image. Photocopy facial identity from the matching tag. Preserve facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown. Use they / their / them only. Do not beautify, slim, de-age, restyle hair, or morph any face into another. Never swap the two identities. Do not invent extra leads. Do not describe the faces — follow the images only. @image1 is the younger sibling. Photocopy @image1 exactly: same face, same hair, same skin, same body, same clothes exactly as in the still. Clothing from @image1 stays on them the whole film. They do not hold any object from the still. @image2 is the older sibling. Photocopy @image2 exactly: same face, same hair, same skin, same body, same clothes exactly as in the still. Clothing from @image2 stays on them the whole film. Never swap with @image1. Never change either sibling’s apparent age. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. PROP CONTINUITY: the flashlight and the blanket are both present from Scene 1 onward — nothing new appears later that was not already established. CAUSALITY LOCK: the only light sources are the flashlight beam (held by @image2) and brief natural lightning flashes through the window — the wall shadow shapes only appear because of the flashlight beam directly shown causing them. PACING: despite the storm setting, all human motion stays calm, slow and reassuring throughout — no panicked or frantic movement; the only quick element is a single brief lightning flash. Never open on a studio headshot, grey seamless, white cyclorama, checkerboard cutout, or the attached photos as frame 0. First frame is already in the younger sibling’s bedroom, in-scene. 18 seconds. 9:16 vertical. Heartwarming cinematic 3D animated short film in a high-quality family-animation style — a cozy bedtime story moment during a nighttime storm. Premium animated-movie look, not live-action street photoreal. Expressive characters, realistic soft skin and hair on the locked faces, detailed facial expressions, physically accurate lighting, warm-to-cool nighttime color palette, soft shadows, realistic fabric and blanket textures, smooth natural body movement, cinematic depth of field, subtle camera motion, high-end animated movie quality, polished rendering, emotionally wholesome storytelling. AUDIO (native, synced, diegetic only): distant thunder, rain on the window, a flashlight click, quiet fabric, a small shared laugh, a goodnight hug. No BGM, no score, no songs, no on-screen text. SCENE 1 — 0–5s: A soft flash of lightning briefly lights the window as @image1 sits up in bed, startled by the thunder outside. @image2 quietly enters the room holding a flashlight and the blanket, sitting down beside the bed with a warm, reassuring smile. SCENE 2 — 5–10s: @image2 switches on the flashlight and gently shapes their hands to cast a butterfly-shaped shadow on the wall, moving it slowly and playfully. @image1 watches, curiosity replacing fear, a small smile appearing. SCENE 3 — 10–14s: @image2 shifts the flashlight to cast a second, different shadow shape — a hopping rabbit — gently moving across the wall. Both @image1 and @image2 smile and quietly laugh together, fully at ease now. SCENE 4 — 14–18s: The storm softens outside to a gentle, steady rain. @image2 switches off the flashlight, tucks @image1 in with the blanket, and gives a warm goodnight hug. Soft moonlight settles over the room as @image1 drifts off to sleep, calm and safe. CAMERA: Smooth cinematic camera movement, close-ups, medium shots, gentle push-ins, shallow depth of field, natural focus transitions. No text, no subtitles, no logos, no burned-in watermark, no BGM, no distorted anatomy, no extra fingers or limbs, no flickering, no sudden character or design changes, no studio grey still as frame 0, no object from the stills as a scene prop. NEGATIVE: identity swap, age recast, extra people, live-action street photoreal that drops the 3D family-film look, on-screen type, score/BGM, checkerboard background.

@image1 is an absolute character lock. Face, body, hair, garment, materials and colours are taken from it exactly and hold without drift or reinterpretation for the entire shot. Do not restyle, re-age, re-cast or re-dress the subject. LOOK: photorealistic live action, shot on a long lens from across a forecourt — the plain unglamorous look of a phone clip of a real person, not a commercial. Hard midday sun overhead, strong directional daylight with open shade under the vehicle, deep contrast, real tarmac glare, accurate contact shadows, natural skin with visible pores and real sweat sheen, slight lens compression, fine sensor grain. Ordinary unposed body mechanics with small weight shifts and hesitations between actions. Clothing and hair carry real fabric and fibre weight on every turn. This grade governs the shot and overrides the flat neutral lighting of the reference sheet. One continuous locked-off take. The camera is fixed on a tripod at chest height and never pans, tilts, zooms, pushes or tracks — the framing is identical in the first and last frame. A pale vertical bollard stands in the near foreground at the left edge, partly masking that side of the frame throughout, so the shot reads as observed from a distance rather than staged. Medium-wide: the subject and the side of the vehicle fill the frame, ground to just above roof height. Setting is a fuel station forecourt — a large dark SUV parked alongside a pump, kerb and low planter behind it, mature trees, utility poles and distant traffic signals beyond. The subject stands between the pump and the vehicle's rear flank. The subject holds the fuel nozzle in one hand throughout, except where stated. The subject is in motion in every beat; nothing in this shot ever holds a frozen pose. Beats run in this order and each takes a comparable share of the shot: They shift their weight at the pump beside the vehicle, head dipping toward the nozzle in their hand, fingers adjusting their grip on it. They rotate toward the vehicle and extend the free hand to the filler panel, torso angling in toward the bodywork. They work at the panel with that hand, head lowered toward it, the nozzle still held clear in the other hand. They rotate their head and shoulders away from the vehicle, chin lifting, and speak a few words. Both arms open outward into a questioning shrug, palms turning up and away from the body, shoulders rising, still speaking. They rotate back, crouch low beside the rear wheel and reach toward the ground, then straighten and step in toward the vehicle as hair and clothing swing with the turn. Audio: forecourt ambience only — distant road traffic, faint pump hum, light wind. The subject's speech is indistinct at this distance. No scripted dialogue, no music, no voiceover. Exclusions: no watermark, logo, on-screen text, captions or timecode. No cuts, transitions or jump cuts. No slow motion or speed ramping. Nobody else enters frame. No beauty retouching, skin smoothing or body reshaping. No lens flare, no night, no rain, no studio lighting.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift. No other people share their face. 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. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character (the florist). @image1 is face, hair, skin and identity only. Wardrobe is florist-shop work clothes from the scene (simple work shirt or apron) — do not copy the clothing or the background from the still. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person appears throughout. No other people or hands ever enter the frame. CAUSALITY LOCK: The open shop door is already visible and slightly ajar from shot 1, so the gust of wind that swings it open further and scatters the stems has a clear, visible source. Nothing moves without a shown cause. PROP CONTINUITY: One partly-finished bouquet, one pair of shears, and one held stem all exist from shot 1. The loose stems and petals that scatter in shot 2 come only from the bouquet already established. Nothing new appears later. PACING: All human motion in this scene is unhurried and deliberate — no rushed, sped-up or frantic movement at any point, including while picking scattered items back up. Allow brief, natural pauses between actions. The gust of wind itself is a quick natural event, but the character’s own movements stay calm and controlled throughout, even during the recovery. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same character throughout, where shot 2 is a genuinely different event from shot 1 — not a bigger version of the same action. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character is already at the counter, the shop door slightly ajar behind them, holding a single flower stem firmly in one hand at a marked length. They position the open shears around the stem, pause a beat, then close the blades slowly and deliberately, cutting cleanly through it in one visible, unhurried snip — the cut stem clearly falling free into their palm. They place it into the bouquet with calm, practiced care. A sudden gust swings the door open wider, and it visibly scatters several loose stems and petals off the counter onto the floor, knocking the bouquet slightly off-balance in its vase — a clear, different event from the calm cutting before. The character sets down the shears, kneels, and picks the scattered stems and petals back up one at a time, unhurried, straightening each one before returning it to the arrangement. They right the vase, step back, and take a slow, satisfied look at the finished bouquet. STYLE: Warm, grounded flower-shop realism, soft natural light from the doorway, shallow depth of field, camera close and steady on hands and face throughout, holding on the single deliberate cut in shot 1, a brief quick beat for the gust itself, then settling into an unhurried, steady pace for the calm recovery. Vertical 9:16. Continuous real motion, no freeze-frame, no cutaways, no time-lapse or sped-up motion anywhere. No on-screen text, no subtitles, no watermark, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): quiet shop ambience, the single clean snip of the shears through the stem, a pause, a sudden gust and the door swinging with a creak, stems and petals scattering onto the counter and floor, then calm, unhurried gathering sounds one stem at a time, the door clicking shut, and a slow, satisfied exhale. SHOT 1 (0-8s): Open already inside the work — no static establishing beat. Character holding a single stem firmly in one hand, positioning the shears around it, and cutting through it in one clear, deliberate, unhurried snip, then placing it into the bouquet. The stem must be visibly present and visibly cut, not an empty gesture. SHOT 2 (8-16s): The turn — a different event, not a repeat. A gust swings the door open wider, scattering stems and petals off the counter and onto the floor, knocking the bouquet off-balance. This is the one quick natural moment in the scene. SHOT 3 (16-24s): The resolution. Calm, unhurried gathering — the character kneels and picks up each scattered stem one at a time, straightens it, and returns it to the arrangement, then rights the vase. They step back and take a slow, satisfied look at the finished bouquet. A clear, decisive ending, not a fade-out.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift. No other people share their face. 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. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character (the barista). @image1 is face, hair, skin and identity only. Wardrobe is café barista clothes from the scene (simple dark shirt, apron) — do not copy the clothing, jewellery or backdrop from the still. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person appears throughout. No other people, hands, carts or props ever enter or move in the frame except the two cups named below. CAUSALITY LOCK: Nothing in this scene moves unless this character’s own hand is directly throwing, tossing or catching it in that same continuous motion. No object drifts, rolls, slides or moves on its own at any point. PROP CONTINUITY: Exactly two empty ceramic cups exist in this scene, both already on the counter in shot 1. No other cup or prop appears later. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same character throughout, with a real physical risk and a real, visible recovery. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character is already mid-flair behind the counter, one empty cup in hand, tossing it up in a smooth arc and catching it behind their back without looking — clearly practiced, confident, having fun with it. Feeling good, they pick up a second empty cup from the counter with their free hand and toss both cups into the air at once, raising their own stakes. One cup spins cleanly — but the other tumbles off-axis mid-air, wobbling badly, about to be missed. Their eyes widen, focus sharpens instantly, and in one fast, decisive motion they dart both hands out, catching the wobbling cup at the last possible moment in one hand while the other cup lands cleanly in their other palm at the same time. They straighten up, both cups secured, and break into a proud, relieved grin. STYLE: Energetic handheld café realism, bright natural window light mixed with warm counter lighting, shallow depth of field, camera tracking the tossed cups closely, a quick snap-focus on the wobbling cup at the moment of risk, settling into a steadier frame for the triumphant finish. Vertical 9:16. Continuous real motion, no freeze-frame, no cutaways. No on-screen text, no subtitles, no watermark, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): café ambience, the soft whoosh of the first toss and catch, a confident exhale, the second double-toss, a sharp intake of breath as the cup wobbles off-axis, a fast decisive catch sound in both hands at once, then a relieved laugh. SHOT 1 (0-6s): Open already inside the flair — no static establishing beat. Character tossing one cup up and catching it behind their back, confident and fluid, clearly a practiced skill. SHOT 2 (6-11s): The turn. They pick up the second cup and toss both at once — a bigger, riskier move. One cup wobbles badly off-axis mid-air, visibly about to be missed. Their expression sharpens with focus. SHOT 3 (11-16s): The resolution. In one fast, continuous motion, both cups are caught — the wobbling one saved at the last instant, the other landing clean at the same moment. They straighten up with a proud, relieved grin. A clear, decisive ending, not a fade-out.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift. No other people share their face. 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. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person is ever clearly in frame. Other travelers and staff may appear only as distant, out-of-focus background movement — never a second face in focus, never another named or featured person. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same character throughout, ending in a real, unresolved loss — no rescue, no alternate solution, no last-second save. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character is already sprinting through the airport terminal, bag over one shoulder, boarding pass gripped in hand, weaving around other travelers, breathing hard, eyes locked on the gate ahead. They round the last corner just as the gate agent’s desk stands empty and the jet bridge door mechanism begins sliding shut, sealing with a heavy final clunk right as they reach it. They stop dead, hand landing flat on the closed door, chest heaving — no one to argue with, no line to join, nothing left to do. Through the terminal window beside the gate, the plane is already pulling back from the jet bridge outside. They lower their hand from the door, straighten up, and simply stand there watching it go, breath slowing, the boarding pass still in their other hand — no phone call, no new plan shown, just the moment landing fully. STYLE: Tense handheld realism building to stillness, bright terminal lighting, shallow depth of field, camera moving urgently with the sprint then settling into a static, held frame for the final stillness at the window. Vertical 9:16. Continuous real motion, no freeze-frame. No on-screen text, no subtitles, no watermark, no title card, departure boards and signage present but always soft and unreadable in the background. AUDIO (native, synced, no BGM, no voiceover, no narration): hurried footsteps and breathing, ambient terminal noise and distant announcements, the heavy mechanical clunk of the jet bridge door sealing, a sudden drop into quieter ambience, the character’s breath slowing, faint distant engine sound of the plane pulling away outside the glass. SHOT 1 (0-7s): Open already mid-sprint — no static establishing beat. Character running through the terminal, weaving past blurred background travelers, bag and boarding pass in hand, urgency visible on their face. SHOT 2 (7-13s): They round the corner to the gate just as the jet bridge door slides shut and seals with a final clunk right as they arrive. They stop hard, hand flat on the door, chest heaving — the door will not reopen. SHOT 3 (13-20s): They lower their hand, straighten, and stand still at the window watching the plane pull away outside, breath slowing, boarding pass still in hand. A clear, honest ending in the loss itself — not a fade-out, not a fix.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Refer to them only as they/them in this prompt. ATTACHED IMAGE IS MANDATORY AND FINAL: The attached image outranks every word written below it on the FACE: wherever the attached image and this text disagree on face, hair, or skin, follow the image. ASSET MAP: @image1 — the person. Photocopy @image1 for FACE, HAIR, SKIN and identity only. Do not copy any burgundy or wine dress, gold snake necklace, gold bracelet, crossed-arms studio pose, or white studio backdrop from the still. Ignore any pad around the still — that pad is not a set. Never freeze on the attached still as frame 0. WARDROBE: casual beachwear for a sunny public beach — a simple tank or short-sleeve tee and shorts WITH A REAL SIDE POCKET they can put a phone into. Barefoot or simple sandals. No formal dress, no silk blouse, no office look, no gold snake pendant. PHONE CONTINUITY — HIGHEST PRIORITY: the phone is a real physical object. It never vanishes, never teleports, never dissolves, never cuts away. While they walk and look at it, it is in their hand. BEFORE they pick up the volleyball or play, they visibly SLIDE THE PHONE INTO THE SHORTS POCKET. After that, the phone stays in that pocket through the pickup and the hit — both hands are free because the phone is in the pocket, not because it disappeared. Do not generate a play beat with empty hands and no pocket stow. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. OTHER PEOPLE: the volleyball players are background people only — never named, aged, or described by ethnicity/gender, only by role and action. CAUSALITY LOCK: the ball only moves because of a shown cause — a player’s bad pass, it bouncing off @image1's back, them picking it up, and them serving it — never on its own. PROP CONTINUITY: it is the SAME volleyball throughout — never duplicated, never swapped. The SAME phone throughout. SETTING: sunny public beach with a real outdoor beach volleyball court in warm late-afternoon light. Sand, a few beach chairs, a fence line, players, and ONE clearly visible net visible from frame one. A few people casually play volleyball. @image1 walks beside the court, looking at their phone, wearing the casual beachwear above. CAMERA: normal handheld phone footage by another person nearby. Natural shake, imperfect framing, mild motion blur, small autofocus/exposure shifts. No cinematic moves. ONE continuous handheld shot, no cuts. 00:00–00:04 @image1 walks beside the court, focused on their phone held in one hand. The players play normally behind them. One player makes a bad pass; the same volleyball flies out of the court, lightly hits @image1 in the UPPER BACK, then drops to the sand beside them. They never see it coming. Phone still in their hand. 00:04–00:07 They turn, surprised. They put the phone into their shorts pocket — a clear, visible stow, phone going into the pocket, hand coming out empty. Then they pick up the same ball. One player calls: “Hey! Serve it back!” 00:07–00:10 Phone is in the pocket. Still facing mostly AWAY from the net, @image1 casually tosses and hits the ball BACKWARD over one shoulder without looking at the net. One clean hit only. Both hands are on the ball/hit because the phone is already in the pocket. Camera quickly follows the ball. 00:10–00:13 The ball flies in a realistic arc and drops cleanly on the other side of the net, in bounds, for a clean point. The players freeze, then react in genuine disbelief. One shouts: “No way!” Phone still in the pocket. 00:13–00:15 Camera returns to @image1. They give a tiny casual glance back, then take the phone back out of the pocket (visible draw) and keep walking along the sand looking at the phone like nothing happened. IMPORTANT: ball hits their BACK, NEVER their legs; net visible from frame one; same ball only; one backward hit; phone goes IN THE POCKET before they play and only comes out after; no cuts, duplicated ball, disappearing phone, distortions, extra limbs, or cartoon behavior. Realistic physics and reactions. Already in motion from frame 0. AUDIO: beach/park ambience, ball bounces, voices, footsteps, the ball landing, surprised reactions. No BGM. Do not generate: subtitles, on-screen text, watermark, logos, distorted hands, extra fingers or limbs, the studio still as a cutaway, burgundy dress, gold snake necklace, a vanishing phone.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift. No other people share their face. Use they / their / them only. 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. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character. @image1 is face, hair, skin and identity only. Ignore the café, bookshelves, window street, espresso machine, and any beige pad around the still — that pad is not a set. Wardrobe is comfortable at-home loungewear from the scene (soft knit, lounge pants) — do not treat the still as a frozen smiling headshot, and do not copy the café as the location. SINGLE SUBJECT: only @image1 appears in this video — no other people, hands, or faces enter frame at any point. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. PROP CONTINUITY: the laptop, the blanket, and a mug on the side table are all present from Scene 1 onward — nothing new appears later that wasn’t already established (only refills/accumulation of the same mug, shown clearly as a growing stack, not a new object type). Unmarked laptop — no brand logos on the lid. CAUSALITY LOCK: every prop change has a shown cause — the mug stack grows only through visible refill actions across the cuts, the window light shifts only through a natural time-lapse of the sky, and the laptop/room-scale shift in Scene 4 is an intentional stylized visual metaphor, not a continuity error. OPENING LIGHTING — HIGHEST PRIORITY FOR 0–4s: Do not open on an empty couch, a blown-out lampshade, a dark hallway, or a person entering from the shadows. Frame 1 already has @image1 in a medium shot on/near the couch, face fully in frame and fully readable. Warm practical lamp light plus a soft fill so skin, eyes and hair are correctly exposed from the first frame — cozy, even, cinematic, not gloomy, not silhouette, not spotlighted from behind. The lamp is a light source in the room, not the subject. No underexposed doorway, no motion-smear collapse as the first beat. Create a short cinematic, humorous lifestyle video about someone who refuses to sleep because they finally have time for themself after work — this time, the trap is “just one more episode.” SCENE 1 — 0–4s: Late evening, already home. Warm, even lamp lighting on @image1 from frame 1. They drop their bag beside the couch, settle into comfortable loungewear, and sit down — face readable the whole time. Exhausted but relieved, they reach for a laptop already on the couch. Exposure stays correct on their face. SCENE 2 — 4–8s: They settle under a blanket and dim the room lights (a visible, motivated dim — not a sudden blackout). They open a streaming show on the laptop. The laptop’s glow mixes with the remaining warm lamp. A soft whispered voice-over: “Just one more episode.” They press play, smiling. Face stays readable. SCENE 3 — 8–12s: A cinematic time-lapse of the night passing — shown only through the sky outside the window steadily darkening and the moon rising higher, never through any on-screen clock or number. Intercut quick beats of @image1 still watching, eyes growing progressively more tired, soft dark circles slowly deepening under their eyes with each cut. The mug on the side table is refilled again each time, the stack quietly growing taller. Faces stay lit enough to read. SCENE 4 — 12–15s: Visual metaphor, stylized and surreal: the laptop screen appears to loom larger in frame while @image1 curls smaller beside it, as if the show is consuming the night. Their dark circles read as soft, ink-like shadows beneath their eyes. Still enough light on the face to hold identity. SCENE 5 — 15–18s: Close-up on @image1's face, lit by a mix of leftover lamp warmth and laptop glow, heavy-eyed. They glance at the tall mug stack beside them, then back at the screen — and immediately click to the next episode anyway, whispering “Just one more...” Cut to black as the faintest hint of dawn light touches the window. STYLE: cinematic realistic lifestyle film, relatable internet humor, warm even lamp lighting at the open mixed later with cool laptop-screen light, subtle exaggerated dark circles, expressive facial acting, smooth camera movements, realistic skin and fabric, shallow depth of field, natural handheld moments, tasteful comedy, premium social-media reel aesthetic, seamless time transitions, highly polished visual storytelling. Vertical 9:16. Never freeze on the reference still. CAMERA: Scene 1 opens already as a medium shot on their face and upper body — not a foreground couch/laptop still-life with them out of focus in the back. Then close-ups, medium shots, natural handheld moments, shallow depth of field, natural focus transitions. AUDIO (native, synced, no BGM, no extra music): home-evening ambience, bag drop, fabric and blanket, laptop keys/trackpad, a soft whispered “Just one more episode,” mug refill clink, then a last whisper “Just one more...” No karaoke, no soundtrack bed. Do not generate any legible on-screen text, subtitles, numbers, clocks, or timestamps anywhere in frame. No BGM, no watermark, no logos, no distorted hands, no extra fingers or limbs, no duplicated people, no flickering, no sudden identity changes.

CHARACTER LOCK — HIGHEST PRIORITY (applies separately to @image1 and @image2): Each character in every shot is exactly the character in their own reference image. Photocopy facial identity from the matching tag. Preserve facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown. Use they / their / them only. Do not masculinize, feminize or otherwise reinterpret either of them. Do not beautify, slim, de-age, restyle hair, or morph any face into another. Never swap the two identities. Do not invent extra leads. Do not describe the faces — follow the images only. @image1 is the child. Photocopy @image1 exactly: same face, same hair, same skin, same body and the same clothes as in the photo, at their own age. This is the child in the photo, not a recast. Clothing from @image1 stays on them the whole film (visible at the neckline above the blanket). They hold nothing from the still — in this film they hold the stuffed toy. @image2 is the parent. Photocopy @image2 exactly: same face, same hair, and the same clothes and jewellery as in the photo. Never swap with @image1. Never recast @image2 as a child. PROP LOCK — @image3 is the stuffed toy only: the toy exactly as shown in @image3 — its shape, colours, material and face detail come only from @image3. Same shape, colour, material and design in every shot it appears, nothing invented or redesigned. Ignore any stacking rings, cubes, rattles or teething rings around the toy in the still — those are not in the film. The picture book is a simple unmarked children’s picture book (no logos, no readable type). Both the picture book and the stuffed toy (@image3) are present from Scene 1 onward — nothing new appears later that was not already established. If no stuffed-toy photo is attached (no @image3), the child hugs one simple plain plush toy instead — soft, no logos, no text — identical in every shot, and every mention of the stuffed toy or @image3 means that plush toy. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. CAUSALITY LOCK: the only “magical” element is the soft glow coming from the picture book’s pages, established in Scene 1 as the sole light source for the wall shadows — nothing moves or glows without that shown cause. PACING: all motion stays calm, slow and gentle throughout — no rushed or sped-up moments anywhere in the video. Never open on a studio headshot, grey seamless, white cyclorama, or the attached photos as frame 0. First frame is already in the child’s bedroom, in-scene. 20 seconds. 9:16 vertical. Heartwarming cinematic 3D animated short film in a high-quality family-animation style — a cozy bedtime story moment. Premium animated-movie look, not live-action street photoreal. Expressive characters, realistic soft skin and hair on the locked faces, detailed facial expressions, physically accurate lighting, warm golden-to-cool-blue color palette, soft shadows, realistic fabric and blanket textures, smooth natural body movement, cinematic depth of field, subtle camera motion, high-end animated movie quality, polished rendering, emotionally wholesome storytelling. AUDIO (native, synced, diegetic only): a parent reading a picture book softly, a page turn, fabric and blanket, a small sleepy breath, a forehead kiss, a bedside lamp click. No BGM, no score, no songs, no on-screen text. SCENE 1 — 0–6s: @image2 sits on the edge of a child’s bed at night, reading a picture book aloud to @image1, who is tucked under the blanket hugging the stuffed toy (@image3). The book’s pages softly glow with a warm golden light. Cozy nightlight, moonlight through the window, soft shadows. Faces match their tags. The toy is the one in @image3. SCENE 2 — 6–12s: As @image2 turns a page, the glow from the book gently casts soft, slow-moving silhouette shapes (a bird, a tree, gentle waves) across the bedroom wall, as if the story is coming alive in light and shadow. @image1 watches, eyes wide with quiet wonder, holding the stuffed toy (@image3) close. SCENE 3 — 12–17s: @image1's eyes grow heavy and they slowly settle deeper into the pillow, still holding the stuffed toy (@image3). @image2 gently closes the book, the glow fading softly, and pulls the blanket up. SCENE 4 — 17–20s: @image2 leans in and gives a tender goodnight kiss on the forehead, then quietly reaches to turn off the bedside lamp. The room settles into soft blue moonlight as @image1 drifts off to sleep, peaceful and calm. CAMERA: Smooth cinematic camera movement, close-ups, medium shots, gentle push-ins, shallow depth of field, natural focus transitions. No text, no subtitles, no logos, no burned-in watermark, no BGM, no distorted anatomy, no extra fingers or limbs, no flickering, no sudden character or design changes, no studio grey still as frame 0, no extra toys from the still besides the @image3 toy, no bracelet as a scene prop. NEGATIVE: identity swap, adult recast of @image1, child recast of @image2, extra people, live-action street photoreal that drops the 3D family-film look, on-screen type, score/BGM.

CHARACTER LOCK — HIGHEST PRIORITY (applies separately to @image1, @image2, @image3): Each character in every shot is exactly the character in their own reference image. Photocopy facial identity from the matching tag. Preserve facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve each person’s gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Use they / their / them only. Do not beautify, slim, de-age, restyle hair, or morph any face into another. Never swap the three identities. Do not invent extra leads. Do not describe the faces — follow the images only. @image1 is the child. Photocopy @image1 exactly: same face, same hair, same skin, same body and the same clothes as in the photo. This is the child in the photo at their own age, not a recast, not a different kid. Clothing from @image1 stays on them the whole film. @image2 is the first parent (sleeping, then waking). Photocopy @image2 exactly: same face, same hair, same features. Never swap with @image3. @image3 is the second parent (pickup at the door). Photocopy @image3 exactly: same face, same hair, any facial hair, and the same clothes as in the photo. Never swap with @image2. Ignore any checkerboard behind @image3 — that is not part of the set. HANDS: always anatomically correct with five fingers each, naturally proportioned, including the child’s hands, in every shot they appear. Never open on a studio headshot, a garden still, a checkerboard, or the attached photos as frame 0. First frame is already in the bedroom, in-scene. 19 seconds. 9:16 vertical. Heartwarming cinematic 3D animated short film, high-quality family-animation style (premium animated-movie look, not live-action photoreal street). Expressive characters, realistic soft skin and hair on the locked faces, detailed facial expressions, physically accurate lighting, warm golden color palette, soft shadows, realistic cloth and blanket textures, smooth natural body movement, cinematic depth of field, subtle camera motion. AUDIO (native, synced): quiet morning household only — soft breathing, bed sheets, small feet on wood, a gentle door, a warm parent laugh. No BGM, no score, no songs, no on-screen text. SCENE 1 — 0–5s: Warm cozy bedroom. The child (@image1) sits behind the sleeping parent (@image2) on a comfortable bed and gently touches and plays with their hair. @image2 sleeps peacefully, head on a soft pillow. The child smiles mischievously, looking at them with curiosity. Warm golden morning sunlight through sheer curtains. Cozy wooden bed, bedside lamp, soft blankets. Cinematic close-ups, shallow depth of field, soft volumetric lighting. Faces match their tags. SCENE 2 — 5–9s: The child slowly crawls over the bed toward the edge. @image2 begins to wake, looking surprised as they realize the child is moving away, raising their head and reaching toward the child. The child continues crawling with an excited expression. Natural character movement. Faces still match @image1 and @image2. SCENE 3 — 9–13s: The child carefully climbs down from the bed and crawls across the bedroom floor toward the open doorway. Camera follows from behind at the child’s eye level. Warm wooden flooring, soft morning light, cozy home interior, cinematic tracking shot. The child is still @image1 in the same clothes. SCENE 4 — 13–16s: The child crawls through the hallway toward the entrance of the home, camera smoothly following from behind across the polished wooden floor. Tiny hands and knees move naturally. Emotional, playful family atmosphere. SCENE 5 — 16–19s: @image3 appears and picks up the child, smiling warmly and looking at them with affection. The child happily touches @image3's face and gives a gentle kiss on the cheek. Warm indoor lighting, emotional close-up, beautiful family moment. Both faces photocopy their tags. CAMERA: Smooth cinematic camera movement, close-ups, medium shots, low-angle child perspective, gentle tracking shots, shallow depth of field, natural focus transitions. No text, no subtitles, no logos, no burned-in watermark, no BGM, no distorted anatomy, no extra fingers or limbs, no flickering, no sudden character changes, no garden terrace from @image1, no checkerboard from @image3. NEGATIVE: age recast of @image1, swapped parents, third invented adult, studio grey still as frame 0, live-action street photoreal that drops the 3D family-film look, on-screen type.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift. No other people share their face. 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. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character. Photocopy @image1 for face, hair, skin, identity, and the wardrobe exactly as worn on the still. Add a simple day bag they carry. Do not restyle hair. Do not invent different clothing. Ignore any beige pad around the still — that pad is not a set. If any other person appears (the security guard, the HR associate, the department head), they are never named, aged or gendered in the text — described only by their role and what they do. Only @image1's face is locked as an identity. Extra people in this story are beats, not copies of @image1. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. SETTING & CAMERA: One continuous modern office: entrance → security desk → badge gate → glass corridor → open office → whiteboard aisle → the character’s own desk. Morning light, hard floors, realistic office furniture. A white PTZ security camera is already mounted above/right of their desk and must remain there throughout. 0-25.5s: continuous third-person tracking, usually 1.5m behind the character’s shoulder. Realistic follow-lag, whip-pans to threats, no hidden cuts or teleportation. 25.5s: hard cut to a fixed frontal medium close-up showing the character, their desk, and the PTZ camera. HUD: a simple colour-based detection indicator top-center (green → yellow → red, no numeric readout). Minimap bottom-left; STAMINA/COMPOSURE top-left; SPRINT/CROUCH/INTERACT/SLIDE bottom-right icons only, no numbers. Opening text: “LATE — 12 MIN” / “OBJECTIVE: REACH YOUR DESK UNDETECTED.” 0-7s — SECURITY GUARD: The character sprints through the entrance with their bag. The guard notices them. They hide behind a large planter instead of confronting the guard, dropping low as the guard approaches with a radio. The indicator flares toward red. When the guard looks away, they quietly slip out, badge through the gate, and continue. The guard notices the closing gate but does not chase. The indicator eases back toward green. 7-13s — HR CART: HR pushes a tall cart loaded with folders toward the character. They accidentally brush the glass, then quickly crouch behind the cart and move with it, staying hidden as HR checks both sides. They circle behind the cart when HR looks away, then break cover and run once the corridor is clear. HR never clearly sees them. The indicator peaks red, then drops back toward green. 13-18s — DEPARTMENT HEAD DISCOVERY: The department head appears at a T-junction and notices the character’s reflection through the glass. They turn toward the character. A solid red “!” flashes exactly twice above the department head. Only afterward, the indicator turns full red: “ALERT.” The department head calls, “Hey! Hold on!” The character turns and says, “Oh, crap!” The department head follows their route. 18-23.5s — WHITEBOARD ESCAPE: The character races through the open-office aisle, grabs a wheeled whiteboard, and pulls it diagonally across the department head’s path. The department head brakes before hitting it and immediately circles around. The character squeezes through the remaining gap between the whiteboard and a desk using a low side-slide, keeping their bag tight to their body, then immediately gets up and runs. The department head stays behind them. 23.5-25.5s — FALSE SUCCESS: The character reaches their desk, drops into the chair, puts the bag underneath, and starts typing while catching their breath. The department head searches the rear aisle but cannot see them. The indicator falls to green. Green “MISSION COMPLETE” appears. The character smiles with relief. 25.5-30s — CCTV TWIST: At 26.2s, the pre-installed PTZ camera physically whirs, pans and tilts toward the character, then its red indicator illuminates. They slowly look up toward it and freeze. Remove “MISSION COMPLETE.” Show “CCTV DETECTED,” followed by red “MISSION FAILED.” They mutter, “You’ve got to be kidding me.” Hold their defeated expression, the red-lit camera, and the failure HUD until the end. PHYSICS & RESTRICTIONS: real footsteps, shoe friction, breathing, bag movement, glass reflections, radio, badge gate, cart/whiteboard/chair wheels, keyboard sounds, and PTZ motor. No teleportation, clipping, frictionless movement, clones, identity changes, distorted hands, plastic skin, impossible reflections, or furniture hitting people. Only the department head pursues the character. The guard and HR associate never chase. The CCTV camera must physically turn; the HUD must not replace the physical camera action. AUDIO (native, synced, no BGM, no voiceover, no narration besides the spoken lines): hard-floor footsteps, bag fabric, radio chatter, badge-gate beep, cart wheels, glass tap, the department head’s “Hey! Hold on!”, the character’s “Oh, crap!”, whiteboard wheels, keyboard keys, PTZ motor whir, then “You’ve got to be kidding me.” No subtitles, no BGM, no extra logos. Vertical 9:16. Exactly 30 seconds.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift. No other people share their face. 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. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character (the skater). @image1 is face, hair, skin and identity only. Wardrobe is casual outdoor skate clothes from the scene (fitted hoodie or tee, loose skate pants, sneakers) — do not copy the clothes, jewellery, studio pose or backdrop from the still. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person appears throughout. No other people, hands or vehicles ever enter the frame. CAUSALITY LOCK: The skateboard only ever moves because this character’s own feet or hands are directly acting on it in that same continuous motion. It never moves, flips or rolls on its own. PROP CONTINUITY: Exactly one skateboard exists in this scene, already under the character’s feet in shot 1. Nothing new appears later. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same character throughout, as one continuous, physically clear chain of action — never vague or chaotic motion. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character is already rolling through an outdoor plaza on their skateboard, casually popping a simple, practiced flick trick and landing it clean without breaking stride — confident, relaxed, clearly a personal signature move they’ve done a thousand times. Feeling good, they line up toward a low ledge ahead and push into a bigger, more ambitious version of the same trick — a higher pop, a faster flip. Mid-air, the board spins a fraction too far, tilting off-axis, clearly about to slip out from under them on landing. Their eyes lock onto it, legs adjusting instantly, and in one sharp, continuous motion their foot catches the board’s tail just before it would have shot away, snapping it level and stomping the landing clean. They roll out of it smoothly, glancing back at the ledge with a satisfied grin. STYLE: Energetic outdoor realism, natural daylight, shallow depth of field, camera tracking alongside the character at skate height, a quick tight focus on the board during the wobble, smoothing out into a steady tracking shot for the clean rollaway. Vertical 9:16. Continuous real motion, no freeze-frame, no cutaways. No on-screen text, no subtitles, no watermark, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): the rattle and roll of wheels on pavement, a clean pop-and-catch of the first trick, ambient outdoor sound, a sharper pop as they push into the bigger attempt, a tense scrape as the board tilts off-axis, a fast decisive foot-catch, the clean snap of landing, and a satisfied exhale. SHOT 1 (0-6s): Open already inside the ride — no static establishing beat. Character rolling through the plaza, popping their casual signature trick and landing it clean without stopping. SHOT 2 (6-12s): The turn. They line up toward the ledge and push into a bigger version of the same trick. Mid-air, the board spins too far, tilting off-axis, clearly about to slip out on landing. SHOT 3 (12-18s): The resolution. One sharp, continuous foot-catch snaps the board level; they stomp the landing clean and roll away smoothly, glancing back with a satisfied grin. A clear, decisive ending, not a fade-out.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift. No other people share their face. 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. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character. SCENE vs STILL: @image1 is the person — photocopy their face, hair, makeup, jewellery and clothing exactly as shown. The colourful backstage room, clothing racks, vanity bottles, oval frame and any extra figures in the still are NOT the set. The set is a dark live venue under a single warm spotlight that can die and snap back. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person is ever in frame. The audience is never shown as distinct people or faces — it exists only as implied presence through stage lighting, distant silhouette-dark space beyond the light, and crowd sound. No other individual person or hand ever appears on screen. The unseen crowd is generated background presence only, never a second lead. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same character throughout, with a clear external cause for the interruption and a clear recovery once it resolves. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character is already mid-performance under a single stage spotlight, guitar in hand, singing into a microphone, fully in the moment — confident, present. Mid-note, the power cuts: the spotlight dies instantly, the amplified sound drops out, and the stage plunges into near-darkness, only a faint ambient glow left. Their voice and guitar trail off into the sudden quiet, hand stilling on the strings, eyes adjusting to the dark, a tense pause stretching as the crowd murmurs unseen around them. Then, just as abruptly, the power returns — the spotlight snaps back on, the mic crackles alive again — and instead of restarting politely from the top, they take one breath and pick the song back up exactly where it left off, quieter and rawer than before, playing it through to the end. STYLE: Live-performance realism, single warm spotlight against a dark venue that cuts to near-total darkness and snaps back, shallow depth of field, camera close on the character throughout — steady through the blackout, settling into a slightly more intimate frame once the light returns. Vertical 9:16. Continuous real motion, no freeze-frame, no cutaways to the crowd. No on-screen text, no subtitles, no watermark, no title card; any emergency or exit lighting visible in the dark stays a soft glow with no readable lettering. AUDIO (native, synced, no BGM, no added score, no voiceover): the character’s own original singing and guitar playing — an original melody, never a famous song and never copyrighted lyrics — a sudden electrical pop and hum-drop as the power cuts, their voice and strings trailing into near-silence, faint unseen crowd murmur in the dark, a tense pause, an electrical hum and mic crackle as power snaps back, one breath, then the song resuming quieter and rawer. SHOT 1 (0-7s): Open already inside the performance — no static establishing beat. Character mid-song under the spotlight, guitar in hand, singing, confident and in motion. Face and hands both readable. SHOT 2 (7-13s): The power cuts. Spotlight dies instantly, sound drops out, the stage goes near-dark. Their voice and playing trail off, hand stilling on the strings, eyes adjusting, a tense pause in the near-darkness with faint crowd murmur. The person remains visible in the faint glow — not a cut to black, not an empty frame. SHOT 3 (13-20s): The power returns. Spotlight snaps back on, mic crackles alive. One breath, and they pick the song back up exactly where they left off — quieter, rawer, more honest — playing it through. A clear, resolute ending, not a fade-out.

ASSET MAP: @image1 — the creature, exactly as shown, unchanged and not regenerated — same colour, pattern, skin/surface texture, limb count and proportions in every shot it appears. ATTACHED IMAGE IS MANDATORY AND FINAL: The attached image outranks every word written below it for the creature’s anatomy. Photocopy the creature in @image1 exactly — colour, skin, fins, eyes, limbs and suckers as shown. Same limb count as @image1. No extra limbs, no missing limbs, no humanoid features. @image1 is the creature’s body only. Do not reproduce any background, scenery, other animals, equipment or lighting from the still. Those are not part of this film. The setting below is a working fishing boat in overcast daylight. ANATOMY LOCK — HIGHEST PRIORITY: This is one intact animal. Its body, head and every arm or tentacle shown in @image1 stay connected as a single animal in every frame. When the crew loosen and pull the net away, only mesh and water move off the creature — no arm or tentacle detaches, severs, or lies as a separate piece on the deck. CAUSALITY LOCK: every movement has a shown cause — the net is lowered by the visible winch/boom, the creature’s motion begins only after the net loosens around it, and the water splash happens only because of the creature’s own visible body movement. PROP CONTINUITY: the net, winch, boom, and deck layout are established in the opening frame and remain consistent throughout — nothing new appears later that wasn’t already there. Create a 15-second, ultra-realistic found-footage video of two crew members hauling an unusually large sea creature (@image1) aboard a working fishing boat. Recorded by an unseen crew member standing on deck. CAMERA AND LIGHTING: Authentic casual smartphone footage — slight hand shake, imperfect framing, ordinary autofocus, natural motion blur, realistic digital zoom. The recording device and its operator stay out of frame. Bright overcast daylight, neutral colours, soft shadows, wet surfaces, worn fishing equipment, ordinary grey sea. Natural skin/texture rendering, no cinematic lighting or beauty filters. Observer stays several steps inside the deck, with a clear view of the net, both crew members, and the creature. The boat rocks gently. SETTING AND SUBJECT: A working fishing boat with a broad wet deck, metal gunwale, and a small hydraulic lifting boom. Two crew members wear waterproof jackets, rubber gloves, and work boots. A heavy fishing net hangs from the boom above the deck, the winch supporting its weight while the crew guide and open it. Inside is the creature (@image1), unusually large, its body filling much of the net. CONTINUOUS ACTION: Start MID-HAUL — the dripping net is already being brought aboard, suspended just above the deck, its load filling much of the frame. Part of the creature’s body protrudes through the loose netting, shifting slightly. The unseen person filming reacts immediately: “That thing is huge — what is that?” The winch lowers the net onto the clear deck. Water drains across the boards. The creature’s weight visibly settles onto the surface before the crew loosen the net. One crew member pulls the slack mesh away from one end of the creature while the other draws it clear from the opposite end. The creature stays in the same position as the net opens around it. Arms and tentacles stay attached. The view makes a short, slightly uneven digital zoom toward the creature’s body, then adjusts to reveal more of it beneath the wet netting — its eye, matching @image1, slowly shifting toward the nearest crew member. Hold this discovery briefly, with audible breathing from behind the camera. Then the creature abruptly makes a sudden, forceful full-body movement, striking the wet deck and throwing a sheet of water toward the crew. Both crew members recoil in separate, instinctive movements, releasing the loose mesh and stepping away. The person filming shouts: “It’s moving!” The view quickly zooms back out to keep the creature and the retreating crew visible. A brief startled shake interrupts the framing, but the creature stays readable as one intact animal. End at 15 seconds with the creature raised slightly off the deck, oriented toward the person filming. The loosened net remains beneath and beside it. SOUND AND CONTINUITY: Natural live audio only — winch motor, water draining, quiet boat engine, wind, wet netting, boots on deck, the impact of the creature’s movement, startled breathing, and the two short reactions. No music or added horror sound effects. One uninterrupted recording at normal speed — no cuts, hidden transitions, slow motion, or external viewpoints. Do not generate: subtitles, on-screen graphics, watermark, recording interface, distorted anatomy, extra limbs or body parts beyond what @image1 shows, a detached tentacle, or any humanoid features.

THE SCULPTOR — intimate cinematic montage, about 25 seconds, fast rhythmic editing, cut on action. @image1 is THE SCULPTOR, in a clay-smeared sleeveless top and black work overalls with wet clay on their hands; quiet grief. @image2 is THE LOVE, the person THE SCULPTOR lost, in an elegant evening outfit styled to suit their gender presentation as shown in @image2; warm and playful; THE LOVE appears ONLY in the Super-8 flashbacks. Preserve each person's gender presentation exactly as their avatar shows it; refer to both only by role, never with he/she pronouns. Keep each person exactly as their uploaded avatar; never swap the two identities and never change either avatar's appearance. THE BUST is a life-size soft grey clay sculpture of THE LOVE (clearly THE LOVE, in clay), eyes closed, on a tall pedestal, never larger than THE SCULPTOR's head, never moving, never crying. PRESENT DAY: crisp digital cinema, cool skylight and a warm desk-lamp pool, bottle-green and plum studio tones, no film grain. FLASHBACK: vintage Super-8, heavy grain, halation, orange light leaks, handheld. TIMELINE (25 s): 0–2s: THE SCULPTOR yanks a white sheet off the clay bust (whip transition). 2–5s: over-the-shoulder and macro shots as THE SCULPTOR smooths the clay cheek and neck, jaw tight. 5–7s: a close two-shot in profile, natural scale, as THE SCULPTOR's clay thumb glides across the clay lower lip. 7–9s: MATCH CUT into Super-8 as the same thumb glides across THE LOVE's real lower lip and THE LOVE smiles. 9–13s: flashbacks of a neon nightclub where THE LOVE looks back over one shoulder, the younger sculptor says softly 'Hi there.', THE LOVE replies playful 'Hey, you.' and laughs. 13–16s: a golden-hour park where their hands interlock and THE LOVE pulls THE SCULPTOR by the hand 'Come on, slowpoke!' 16–19s: a slow orbit as THE LOVE whispers 'Don't let go.' and they kiss, then the Super-8 burns to white. 19–22s: return to present as THE SCULPTOR's eyes open, clay-covered hands cup both clay cheeks, and THE SCULPTOR presses their forehead to the bust's forehead, eyes closing. 22–25s: final extreme close-up of THE SCULPTOR's face as a single tear slides down their cheek and stops, holding still on the tear to the final frame at 25s. AUDIO: absolutely NO music of any kind; sound effects and the four short spoken English lines only (heard only in the flashbacks, soft like a memory) — canvas ripped with a whoosh, stool creak, desk-lamp hum, wet squelch of clay under the thumb, a soft shutter click at the match cut, a Super-8 projector rattle and muffled crowd murmur under the flashbacks, leaves rustling, THE LOVE's soft laughter, a slow shaky exhale then silence on the tear. No present-day dialogue, no narration, no on-screen text. Never swap identities; the bust never cries (only the sculptor's tear at the end); no nudity, no warped faces or extra fingers, no logos or watermark.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift. No other people share their face. 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. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character (the florist). @image1 is face, hair, skin and identity only. Wardrobe is florist-shop work clothes from the scene (simple work shirt or apron) — do not copy the clothing or the background from the still. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person appears throughout. No other people or hands ever enter the frame. CAUSALITY LOCK: The open shop door is already visible and slightly ajar from shot 1, so the gust of wind that swings it open further and scatters the stems has a clear, visible source. Nothing moves without a shown cause. PROP CONTINUITY: One partly-finished bouquet, one pair of shears, and a small pile of loose stems and petals on the counter all exist from shot 1. Nothing new appears later. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same character throughout, where shot 2 is a genuinely different event from shot 1 — not a bigger version of the same action. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character is already mid-work at the counter, the shop door slightly ajar behind them, trimming stems for a bouquet with fast, confident, practiced snips of the shears — no measuring, clearly skilled, placing each stem into the arrangement in one fluid motion. A sudden gust swings the door open wider, and it visibly scatters the loose stems and petals on the counter, sweeping several off onto the floor and knocking the bouquet slightly off-balance in its vase. The character’s hands move quickly and precisely — completely different motion than the cutting before — gathering the scattered stems and petals off the counter and floor in fast, sure sweeps, tucking them back into the arrangement and straightening the vase, finishing with the bouquet looking fuller and better than before. They push the door shut with one hand, step back, and smile at the finished arrangement. STYLE: Warm, grounded flower-shop realism, soft natural light from the doorway, shallow depth of field, camera close on hands and face throughout, a sudden gust of motion for the scatter, settling into a steady frame for the recovery. Vertical 9:16. Continuous real motion, no freeze-frame, no cutaways. No on-screen text, no subtitles, no watermark, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): the snip of shears, quiet shop ambience, a sudden gust and the door swinging with a creak, the scatter of stems and petals hitting the counter and floor, quick decisive gathering sounds, the door clicking shut, and a satisfied exhale. SHOT 1 (0-6s): Open already inside the work — no static establishing beat. Character trimming stems with fast, confident snips and placing them into the bouquet, door slightly ajar behind them. SHOT 2 (6-12s): The turn — a different event, not a repeat. A gust swings the door open wider, scattering stems and petals off the counter and onto the floor, knocking the bouquet off-balance. SHOT 3 (12-18s): The resolution. Quick, precise gathering — a different hand motion than the cutting — restores the scattered stems to the arrangement, the vase is straightened, the door is pushed shut. They step back and smile at the finished bouquet. A clear, decisive ending, not a fade-out.

15 seconds, 1:1. MiniMax H3. Cinematic live-action fused with precise black-and-white manga. The person in @image3 is ONE person in two states. @image1 = SCENE_TRAPPED: giant open manga on the floor of the room shown in @image1. The ink version of the person trapped in the page. @image2 = SCENE_BREAKTHROUGH: the ink person tearing through paper, fingers punching out. @image3 = SCENE_EMERGENCE: the REAL person, exactly as shown in @image3, stepping out of the torn page. @image4 = SCENE_ENCOUNTER: the REAL person pointing at their ink self still in the book. PERSON LOCK: photocopy the REAL person in @image3/@image4 — face, hair, age and outfit exactly as shown. The manga figure in @image1/@image2 is the SAME person, same outfit, ink-only. Preserve their gender presentation exactly as shown. Use they / their / them only. 0.0–1.0s Low wide of the giant book (@image1). Fast push-in. The ink person confused, looking around. 1.0–3.3s Hard cuts: face, hands searching the paper wall, profile pushing. Whisper: "Where is this? I can't get out." 3.3–4.6s Low three-quarter. Feet brace, fingers bite paper. "Open up!" Speed lines. 4.6–6.8s Paper bulges into the room. Hands, face, torso, legs convert from ink to the REAL person (@image3) in order. Halftone becomes color. One person only. 6.8–8.4s They land on the floor and steady themselves. "I got out…?" 8.4–10.3s Smile dies. They look back at the book. Whip pan. 10.3–11.2s @image4: the REAL person and the ink person point at each other. Hit-stop. Record scratch. 11.2–12.8s Smash zoom on the ink person: "No way… you actually came out!?" 12.8–15.0s Smash zoom on the REAL person: "Who… are you?" Brief !? graphic. Hold. Do NOT copy speech-bubble lettering from the stills except a brief ink バリッ and a final !?. No extra logos. NEGATIVE: third person, extra people, overlay subtitles, 9:16 crop, recast hair, walking away from the book.