Your AI vlog. Anywhere, real or not.

VERTICAL 9:16 15s. The person in @image1 takes a SELFIE of THEMSELVES. They hold the phone. NO second person. NO held hands. NO POV partner-arm at the bottom of frame. 0.5x handheld selfie, they are the only person in the selfie (crowds may exist behind them in Tokyo and NYC). Photocopy FACE and hair from @image1 in every cut, exactly as shown, with any jewellery exactly as in @image1. Preserve their gender presentation exactly as shown. Use they / their / them only. Outfit and place come from each look line below; each outfit is styled to suit their gender presentation as shown in @image1. They MOVE. Never a frozen JPEG. ENERGY: travel TikTok influencer, EXCITED about each place. Bigger reactions than a polite smile: gasp, laugh, “oh my god” face, look at the landmark then whip back to the lens. Still not identical wide teeth every cut — different hype each city. TRANSITION (copy the classic 0.5 travel vlog): last ~0.4s of every city they DROP the phone — arm swinging down, frame falls toward their chest. HARD CUT. Next city STARTS already HIGH (lots of sky / forehead, they sit low in frame) and they LOWER the phone into a normal selfie over ~0.4s. Hand-down → hand-up-coming-down. Then they LIVE in the frame, excited. Then dip again. LOOK 1: Singapore Supertrees, rust-red satin. Excited gasp, look at the trees, back to lens. LOOK 2: Petronas, butter-yellow. Laugh, glance at the towers, hyped. LOOK 3: Bali rice terraces, white eyelet. Softer wonder then a big “this is insane” smile. LOOK 4: Tokyo night crossing, leather + silver. Neon hype, laugh, look at the scramble. LOOK 5: Times Square, camel coat. Talk to camera, excited, cab behind. LOOK 6: Copacabana, emerald wrap. Playful, look at the hill, laugh. LOOK 7: Cancun, coral crochet. Warm finish, bigger smile, hold. No dip out. 0.0-2.0 LOOK 1 hold then dip 2.0-4.0 LOOK 2 start high, lower, hype, dip 4.0-6.0 LOOK 3 start high, wonder, dip 6.0-8.0 LOOK 4 start high, neon laugh, dip 8.0-11.0 LOOK 5 start high, NYC talk, dip 11.0-13.0 LOOK 6 start high, Rio laugh, dip 13.0-15.0 LOOK 7 start high, Cancun smile, hold Same person every cut. No on-screen text. No logos. No second face in the selfie.

THE DESTINATION: a tropical island coast with volcanic mountains, palm trees, colourful low buildings and turquoise water COLOUR PALETTE: warm tropical sunlight, soft cream, sandy beige, turquoise ocean, lush greens, sunset orange, pink and lavender skies, warm amber night lighting THE DRINK: a tall chilled tropical drink in a clear glass THE STREET FOOD: a fresh tropical fruit skewer THE CLOSING FEELING: One perfect summer day I never want to forget. 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. Nothing about an attached avatar may be imagined, substituted, swapped, restyled, simplified or "improved" at any point in the chain. ASSET MAP — bind every reference before the story starts: @image1 — Avatar 1. This is the person; it defines face, identity and the outfit they wear. ONE-SENTENCE SUMMARY: Avatar 1 spends one perfect summer day on THE DESTINATION — hotel room, tropical street, hidden beach, jungle cliff, beachfront cafe, open ocean, night market, sunset shoreline and a night balcony — filmed as a luxury travel film crossed with an authentic personal vlog and a nostalgic 35mm vacation diary, on a camera that mixes polished cinematic moves with imperfect handheld ones. CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Copy their face, facial structure, jawline, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hair length, texture and colour, facial hair as shown or none if none, eyeglasses, freckles and distinctive marks, apparent age, build and body proportions — identically, in every frame of every shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle. Never replace them with a generic model. Read all of it off @image1; describe, assume and invent nothing. THE OUTFIT: They wear exactly what @image1 shows them wearing, unchanged in every scene — same garments, same colours, same proportions. Read it all off @image1; describe, assume and invent nothing, and add nothing @image1 does not show. They are barefoot only in the beach and shoreline beats, where they carry their own footwear in one hand. VISUAL DIRECTION: 35mm film aesthetic, subtle organic film grain, warm nostalgic colour grading, realistic skin texture, shallow depth of field, soft atmospheric lighting, natural highlights, realistic autofocus breathing, subtle motion blur, authentic handheld camera movement. Combine polished cinematic shots with imperfect handheld moments so the video feels like a real luxury vacation captured by a talented friend. Use natural camera movement, realistic hair and clothing physics, believable crowds and atmospheric details. COLOUR PALETTE: exactly the tones listed in COLOUR PALETTE above. Keep colours rich but natural and cinematic, never oversaturated. DETAILED PLOT 0-4s — HOTEL MORNING INTO TROPICAL STREET. Start inside a luxury hotel room on THE DESTINATION. Soft morning sunlight enters through sheer white curtains while a tropical breeze moves the fabric. Close-up of Avatar 1 reaching for sunglasses and a woven beach bag. Cut to a handheld shot from behind as they exit the hotel and walk down a bright tropical street, sunglasses resting naturally on their face. Palm trees sway above colourful buildings and small cafes. The camera follows from behind before smoothly moving around to a close-up. They lower the sunglasses slightly and smile naturally toward the camera. Sunlight catches their hair as wind moves it around their face. A palm tree briefly fills the frame and wipes into the next scene. 4-8s — SECRET BEACH DISCOVERY. The ocean is revealed through a narrow tropical street. Avatar 1 notices the beach and instinctively changes direction. The camera follows as they walk faster toward the water. They take off their footwear and carry it in one hand. Cut to an elegant low-angle shot of their feet stepping onto wet sand. A small wave reaches their ankles. They laugh softly and walk along the shoreline. Close-up of their face with wind blowing through their hair. A wide cinematic shot reveals crystal turquoise ocean, volcanic mountains, bright tropical sky and expansive coastline. Natural handheld movement mixed with cinematic slow motion. 8-12s — JUNGLE LIGHT INTO OCEAN CLIFF. Start with a dramatic worm's-eye shot beneath towering palm trees. Sunlight streams through the leaves, creating subtle cinematic lens flares. Cut to Avatar 1 walking through lush tropical vegetation, their hair catching the warm sunlight. Match cut from moving palm leaves to them standing beside a rugged ocean cliff. The camera begins behind them, showing the huge ocean ahead, then makes a slow cinematic push-in. They turn slightly toward the camera, give a subtle peaceful smile, then look back at the ocean. Their hair moves naturally in the coastal wind. 12-16s — SLOW MORNING CAFE. Move into a small sophisticated beachfront cafe. Avatar 1 sits beside an open window overlooking the ocean, warm sunlight falling softly across their face. Close-up details: their fingers holding THE DRINK, condensation sliding down the glass, sunglasses resting on the table, ocean reflections moving across the window. They take a slow sip and look outside thoughtfully. The camera focuses on their reflection in the glass before gently pulling focus back to their eyes. A tiny smile, as if remembering something beautiful. Keep this beat intimate, quiet and personal. 16-20s — TURQUOISE OCEAN. Cut to a more energetic sequence. Avatar 1 floats on a surfboard in crystal-clear turquoise water. Start with an underwater camera shot looking upward, sunlight shimmering across the surface. The camera rises above the water to reveal them smiling on the board. They paddle forward through gentle waves. A water-level tracking shot circles around them. They look directly toward the camera and laugh naturally as a small wave passes. Their wet hair moves realistically in the breeze. A wide shot reveals tropical mountains and coastline behind. Every movement stays natural and physically believable. 20-24s — NIGHT MARKET. Transition from bright ocean sunlight into warm evening with a match cut where sunlight sparkling on the water becomes a glowing market lantern. Avatar 1 walks through a lively night market — warm hanging lights, tropical flowers, wooden food stalls, colourful decorations. The camera follows closely, like a friend capturing the moment. They try THE STREET FOOD; close-up of their first reaction; they smile and laugh naturally. Quick atmospheric inserts: steam rising from food, hands preparing tropical dishes, warm lantern bokeh, their face lit by market lights, people passing softly in the background. Lively but realistic. 24-27s — THE LAST SUNSET. Everything slows down. A wide cinematic shot of Avatar 1 standing barefoot at the shoreline. The sunset fills the sky with soft orange, pink, peach and lavender tones from COLOUR PALETTE, reflecting across the water and wet sand. A gentle wave moves around their feet. The camera slowly pulls backward, revealing the enormous ocean horizon. They quietly watch the last sunlight disappear, their silhouette becoming the main visual focus. Nostalgic, emotional and peaceful. 27-30s — NIGHTTIME MEMORY. Return to the hotel at night. Avatar 1 stands on a high-rise balcony. Behind them, tropical lights sparkle across the night. Warm curtains move gently in the ocean breeze. They rest their arms on the balcony railing and look out. Their hair is slightly looser and naturally imperfect. Soft warm lamplight illuminates their face. They look directly into the camera and give a small genuine smile. The camera slowly pushes toward their face, then cuts to black. The film leaves THE CLOSING FEELING. ADDITIONAL NOTES — what stays constant for all thirty seconds CAMERA LANGUAGE: a mixture of handheld travel-vlog shots, POV perspectives, slow cinematic push-ins, low-angle beach shots, water-level tracking, subtle camera shake, realistic autofocus adjustments, shallow depth of field, soft focus transitions, natural motion blur, reflections, silhouettes, foreground wipes and motivated match cuts. Camera movement feels human and intentional throughout. FINAL LOOK: photorealistic luxury travel film. Dreamy but realistic, beautiful but natural, cinematic but authentic, premium but personal. CONSISTENCY: the film is photographed, not drawn or rendered — real skin keeps its pores, fine lines and natural texture under every light. The face stays identical to @image1 in every frame: same eye colour, same hairline, same hair length and texture, same apparent age, and its natural asymmetry is preserved. Hands keep five fingers and read correctly at every scale. Exactly one lead is in frame at any time and it is always Avatar 1; everyone else is an anonymous background figure. Hair and fabric move with real weight and inertia. Expressions and walking stay natural and unforced. Colour stays rich but true, lens flares stay occasional and motivated, water behaves like real water, and every background holds its geometry steadily from frame to frame. AUDIO: ambient location sound only — surf, wind in palm leaves, cafe murmur, night-market chatter and sizzle. Do not add subtitles. No subtitles. No dialogue.

UNDERGROUND TEMPLE. ONE EXPLORER. FIFTEEN SECONDS. 16:9. ASSET MAP - every reference is bound here and cited by tag below: @avatar_1 - the explorer, and the only person in the film. Face, hair, hair length, hair colour, skin, age, build and every physical characteristic come entirely from @avatar_1 and never from this text. IDENTITY LOCK - HIGHEST PRIORITY: the explorer is exactly the person in @avatar_1 and stays exactly that person in every shot. Do not restyle the face, do not change the hair colour or length, do not age them up or down, do not slim or reshape the body, and never swap in a different person. ONE BODY ONLY - COUNT THEM: exactly one human being exists in this film. There is never a second figure, never a companion, never a double, never a reflection or silhouette of another person, and never a second body in the foreground of a shot. Any shoulder, arm, hand or back of a head that appears in frame belongs to @avatar_1 and to nobody else. If a framing would normally need a second person to stand in front of the camera, do not use that framing. ATTACHED REFERENCES ARE MANDATORY AND FINAL: if a reference is attached, that is the explorer - reproduce them exactly, in every shot, and never invent a different one. The attached reference outranks every word written below it. WARDROBE LOCK: a plain dark sleeveless top, fingerless leather gloves worn to the knuckle, a wide belt with small pouches, cargo trousers tucked into worn lace-up boots. No jewellery, no badges, no lettering and no logo anywhere on the clothing. This list is clothing only and says nothing about hair. THE HAIR COMES FROM THE REFERENCE, NOT FROM THIS TEXT: whatever hair @avatar_1 has is the hair in the film - the same length, the same colour, the same texture, from the first frame to the last. If it is short it stays short, if it is long it stays long, if it is tied up it stays tied up, if there is none there is none. Never add length, never add a ponytail or loose strands that the reference does not have, never restyle it to suit the scene, and never let dust, movement or the action change what kind of hair it is. THE PLACE: a buried stone temple, long abandoned. Carved pillars and low arches, walls cut with deep interlocking relief, roots and pale green creeper coming through the joints, standing water in the dips of a cracked flagstone floor, drifting dust. The only light is a scatter of stubby candles burning low on the stones, plus one narrow shaft of daylight from far above. Warm candle flame against cold blue shadow, everything else near-black. THE LOOK: photographic and close, shot on a fast prime wide open - very shallow focus, strong bokeh on the candle flames, handheld with a live but controlled wobble, fine grain, no gloss. Warm amber on skin, deep blue-green in the dark. THE CUTTING: exactly five shots, hard cuts between them, with the lengths given below. Each shot is its own framing - never let two of them run together as one continuous move. THE CARVING: one panel of the wall is cut with a dense spiral pattern. When a hand touches it, thin lines of warm light run along the grooves and spread outward from the touch, then fade. The light is inside the carved lines only - it never becomes a glow in the air, a hologram or a magical effect. Shot 1 (2.8s) Medium-wide, and @avatar_1 is the subject of this shot from the very first frame - already large in the picture, not a distant figure in the depth. @avatar_1 steps out of the dark between two pillars into the shaft of daylight, one hand trailing the wall, and stops. A few candles sit low at the edge of frame, well out of focus and never filling the foreground. The camera holds handheld. Shot 2 (2.6s) Medium close, from behind and slightly to one side of @avatar_1, the camera just past their own shoulder and nobody else in the frame. @avatar_1 leans in toward the carved panel, face lit from the side by candlelight, and reads the pattern with the eyes before touching anything. The camera drifts in slowly. Shot 3 (2.4s) HARD CUT to a macro insert, a separate shot of its own: nothing but the hand and the stone, framed so tight that no face and no shoulder are anywhere in the picture. The fingers settle into the carved spiral and thin lines of warm light run out along the grooves from under the fingertips. This must not be a continuation of the previous shot - it is a clean cut to a new, much closer framing. Shot 4 (2.6s) Close on the face of @avatar_1, lit now from the wall itself, the expression turning from concentration to understanding to alarm in one continuous take. The eyes go to something off to the side. The camera holds on the face. Shot 5 (4.6s) Wide, pulling back. @avatar_1 straightens up fast and steps away from the wall as the lines of light in the carving keep spreading past the panel and out across the stones of the whole chamber, running along the joints toward the camera. @avatar_1 backs out of frame and the temple is left lit by its own lines. Hold to the last frame. DIALOGUE: @avatar_1 speaks twice, quietly and to themselves, and these are the only words in the film: In Shot 2, half under the breath: <Someone got here first.> In Shot 4, barely voiced, as the understanding lands: <That's not a trail.> SOUND: a deep buried-room tone with a long slow reverb. Water dripping into a pool somewhere off to the side, grit under a boot, the small dry crackle of candle flames, cloth and leather as they move, one slow breath before the first line. Under all of it a low sustained bass note that sits quietly through the first four shots and then swells and opens out as the light spreads in the final shot - the only moment the score makes itself felt. Do not generate subtitles, captions, on-screen text, a title card, a logo, a wordmark, a watermark or any readable lettering or numerals anywhere in frame. The two spoken lines are heard, never written on screen. No second person, no torch, no flashlight, no modern equipment, no magical glow in the air, and no change to the explorer's face, hair or build at any point.

DAY IN THE LIFE OF A SAFARI ADVENTURER — RIDING THE ELEPHANT. A warm montage with a golden savanna film look, full realtime speed, soft jump cuts between short scenes, full of movement. AUDIO MIX (ranked, three separate layers): 1. MUSIC — loudest, dominant from the very first frame: an adventurous African-percussion-and-strings instrumental with a warm, sweeping, uplifting melody; original, instrumental only. 2. SFX — quiet, under the music: a soft savanna breeze, distant birds, a splash of river water and one soft elephant trumpet. 3. VOICE — none; @image1 stays silent the whole clip. Audio suppressor: no voiceover narration, no dialogue, no spoken words, no singing vocals, no lyrics, no library audio bed, no muffled murmuring, no subtitles. The music resolves on a final hit and silence holds the final 0.5s. @image1 is the adventurer and the star of every scene, identity kept EXACTLY from the reference the whole time — same face, hair and features throughout — in a khaki explorer's outfit and a wide-brim hat. BEATS (20s): 0–5s: @image1 rides high on the back of a large African elephant that walks steadily across golden savanna grass, @image1 holding the harness and grinning with the wind in their face. Camera: sweeping alongside, rising to a wide. 5–9s: the elephant wades into a wide river and lifts its trunk to spray a glittering arc of water into the air, @image1 laughing and shielding their face on its back. Camera: tracking across the water. 9–13s: at a sunny wildlife sanctuary @image1 crouches beside a relaxed leopard lying in the shade and gently strokes its back and head, the big cat calm and content, @image1 smiling in wonder. Camera: slow push-in on the gentle moment. 13–16s: back riding the elephant, @image1 passes a group of giraffes and zebras and points toward them. Camera: over the shoulder past @image1 to the animals. 16–20s: the elephant stops on a ridge at sunset overlooking a herd on the plain below, and @image1 rises on its back and throws both arms wide against the blazing orange sky. Camera: crane up and hold on the pose to the last frame. LOOK: warm golden safari grade, soft film grain, sweeping and cinematic, clean frame with no on-screen text, captions, logos or watermark.

Cup your hands, conjure a glowing orb — and watch a living black cat take shape from the magic and settle on your shoulder beside the raven. Upload your photo to become the mage. 15s.

VERTICAL 9:16 20s 24fps handheld selfie. The person in @image1 holds the phone. Photocopy FACE and hair of the person in @image1 — identity only, never the clothes from @image1, never a studio headshot as frame 0. Preserve their gender presentation exactly as shown. Use they / their / them only. Clothes change every location as written. Photocopy the dog from @image2: THIS exact dog — same breed, coat colours, markings, ears, eyes and collar as shown. NOT a different dog. Name spoken: Ellie. Living video, not freeze-frames. Hard cut between countries. At each “smile” a camera shutter + bright white FLASH that fills the frame for a frame, then the cut. 0.0-4.0s PARIS. Eiffel Tower behind. Casual jacket. Ellie sits FAR behind them. They look at the lens and say: “Paris selfie. Ellie, let’s take a picture.” Looks back. Ellie RUNS in, they duck, Ellie jumps, front paws on their shoulders. They smile and say: “And smile.” Shutter + flash. 4.0-8.0s POLAND. Cobblestone square. A different everyday top. Hard cut. “Poland selfie. Ellie, let’s take a picture.” Looks back. Ellie runs and jumps onto their back the same way. “And smile.” Flash. 8.0-12.0s BELGIUM. Brick castle. Another everyday outfit. Hard cut. “Castle selfie. Ellie, let’s take a picture.” Looks back. Ellie jumps onto their back. “And smile.” Flash. 12.0-16.0s US. Brick sidewalk, houses. A warm everyday jacket. Hard cut. “Ellie, let’s take a selfie.” Looks back. Ellie jumps onto their shoulders. “Smile.” Flash. 16.0-20.0s ITALY. They sit on a grassy lawn, lake and mountains behind. A relaxed everyday outfit. Hard cut. “Italy family selfie.” Looks back. Ellie jumps onto their back. “Okay, smile.” Flash ends the clip. Same person from @image1 every beat. Same dog every beat. No on-screen text. No logos.

ASSET MAP — every reference is bound here and cited by tag below: @avatar — the person in this film. It defines face and identity and nothing else; the clothing, the pose, the lighting and the background of that reference are not used anywhere in this video. CHARACTER LOCK — HIGHEST PRIORITY: the person in every shot is exactly the person in @avatar. 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 from the first frame to the last. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. The face holds identically in every frame, the identity holds from the first shot to the last, and the person is the only one near the lens. ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached reference outranks every word written below it. Wherever the reference and this text disagree, follow the reference. WARDROBE LOCK: one outfit for the whole film, in every shot, unchanged — a relaxed, plain casual travel outfit with a light scarf knotted at the throat and comfortable sneakers, and a soft tan leather shoulder bag with a brass zip. The reference shows their face and build, not this outfit — put the outfit on them and fit each garment to their body naturally without altering its cut, proportions or colour. The garment is fixed, only its drape adapts. Every garment and the bag stay plain and unmarked. HANDS: wherever hands are in frame, exactly five fingers on each hand, correct joints, correct thumb placement, natural grip pressure. Each hand reads as a natural hand, its five fingers separate and correctly jointed. SUMMARY: one person spends a single day in Amsterdam and films it themselves on a phone held at arm's length, from waking in a canal-house room to a silhouette at the window at dusk, shot as raw handheld amateur footage in soft northern daylight, vertical. DETAILED PLOT — the whole film is filmed by the person themselves, the camera always handheld and slightly unsteady, drifting and correcting, held at arm's length or resting low; natural daylight only, plain phone-camera colour with no grading and no cinematic lighting, real skin texture and visible pores, no beauty filter and no studio look. 0-3s: a narrow attic room under a sloped beamed ceiling in the morning. The person lies on white rumpled linen, already moving as the shot begins — one hand rubbing the sleep from their eyes — and a bar of pale light from a tall window crosses their face as they turn up into the lens and hold the look. The camera is right above them, tilted, close. 3-6s: the person stands at an open sash window with the camera at arm's length. Behind and below them, a canal runs between rows of narrow brick gabled houses, bicycles are chained along the railing, and a small boat slides past on the water. They look down at it, then turn back into the lens. 6-10s: a room with tall windows and bare wooden floorboards, a steep narrow staircase behind. The camera rests on the floor, wide and still, angled up. The person walks into frame, adjusts the scarf at their throat with both hands, then turns once on the spot so the whole outfit reads, and walks out past the lens. 10-12s: extreme macro in near-darkness, the camera inside the closed shoulder bag. A thin line of daylight runs the length of the brass zip and glints along its teeth. Nothing else is visible. 12-14s: the zip opens from inside the bag and daylight floods in. Looking straight up out of the bag, the person's face appears above the opening against a bright overcast sky, looking down into it, and one hand reaches in toward the lens and out again. 14-15s: the camera held low and forward at knee height, walking. Worn brick paving and their own feet move underneath, a bicycle wheel crossing the frame and the scarf swinging at the edge. 15-17s: the person sits on the stone edge of a canal bridge, the camera at arm's length. Behind them the canal runs straight away under a row of arched bridges, gabled houses leaning slightly along both banks. They point back at it with their thumb, then look into the lens and speak. {Every single street does this.} 17-20s: an open-air market stall. The camera is close over wooden crates of paper packets of flower bulbs and stacked blue and white tiles while the person's hand walks through them, then lifts one packet out and turns it to the lens, filling the frame. 20-24s: a dark wood-panelled cafe seen over a small marble table. In front of the lens sit a thick slice of apple tart with cream and a coffee. The person sits behind them and picks up the fork, takes a bite, and grins into the lens while they talk. {Okay. That is the whole trip right there.} 24-27s: the person stands against the iron rail of a canal bridge at golden hour, arm fully extended holding the camera. The canal stretches behind them with bicycles chained the length of the rail and low sun flaring straight into the lens as their scarf lifts in the wind. 27-30s: filmed from inside a dim room, looking out through a tall open window. The person stands at the window in silhouette against a violet and amber sky over the gables, one hand on the frame, not moving much. Warm lights come on along the canal below. A round table and a chair sit dark in the foreground. The shot holds until the end. AUDIO: (a light unhurried acoustic guitar track, warm and low, running under the whole film and easing off at the very end) <morning birds and a distant street>, <a sash window sliding up>, <bicycle bells and tyres on brick>, <a zip running open>, <market chatter and coins>, <a cup set down on a saucer>, <water slapping against a canal wall>, <a boat engine passing at dusk>. The two spoken lines are close on the phone microphone, conversational and unhurried, in the person's own natural speaking voice. NOTES — what stays consistent: the same one person in every shot and no one else near the lens; the same outfit in every shot; the same tan bag in every shot where a bag appears; the same city and the same soft northern daylight progressing from morning to dusk across the film; the same plain phone-camera look throughout, with no shot ever becoming polished or cinematic. No subtitles.

CHARACTER LOCK — HIGHEST PRIORITY: @avatar is the person in @image2, exactly as shown. Preserve facial identity, facial structure, eye shape and spacing, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build, body proportions and gender presentation exactly as shown. Do not beautify, slim, de-age or restyle. No other people in frame. Every reference to the person in this prompt is @avatar — no pronouns, no description. THE CAT LOCK: the cat is the cat in @image1, exactly as shown — same coat colour, same markings, same face, same build, wearing the same navy baseball cap turned BACKWARDS with the brim pointing behind its head. Do not substitute another cat and do not change the cap. THE FORMAT: a travel vlog filmed entirely on a phone's front camera, framed for whatever shape this film is rendered in. Raw handheld look throughout: slight wobble, natural light, the mild wide-angle barrel distortion a front camera gives, the texture of a real phone clip rather than a commercial. The frame is full-bleed from the very first frame, with no letterbox, pillarbox or black bars at any point. THE CAMERA IS THE CAT'S PHONE, AND IT IS NEVER VISIBLE. We are watching the footage that phone is recording, so the phone cannot appear in its own shot. There is NO phone, no smartphone, no black rectangle, no camera body and no selfie stick anywhere in frame at any moment. WHAT WE DO SEE is the cat's arm holding it: the cat's right foreleg is stretched out from its shoulder straight toward the lens along the right side of the frame, running out of the bottom-right corner. Because it is nearest the lens the leg reads BIG, foreshortened, soft-focused and barrel-distorted, exactly the way a human selfie arm does in a front-camera shot. That outstretched furry foreleg is in frame in every single second of the film and is its visual signature. It never covers or blocks the lens. THE BLOCKING, IDENTICAL IN ALL FOUR SHOTS: the cat sits on @avatar's shoulder, its body pressed against the side of @avatar's head, its head large in the lower foreground beside @avatar's face. @avatar is beside it, head and shoulders, grinning into the lens. @avatar's hands stay down and out of shot throughout. FOUR SHOTS, A QUARTER OF THE RUNTIME EACH, HARD CUT BETWEEN THEM. The blocking, the framing and both characters are identical across all four — only the place behind them changes, and it changes instantly on the cut. SHOT 1: behind them, the location in @image3 fills the whole background — reproduce its architecture, its light and its time of day as that photograph shows them. The cat's foreleg pushes a little further out and the frame widens onto that background; @avatar tips toward the cat and grins. The cat glances back at the place, snaps to the lens and gives one slow blink. SHOT 2: HARD CUT. Behind them, the location in @image4 fills the whole background — reproduce its architecture, its light and its time of day as that photograph shows them; if that photograph is night, this shot is night, lit only by the lights visible in it. The cat tilts its outstretched foreleg and the frame sweeps up across that background, then settles; the cat presses its cheek against @avatar's cheek. SHOT 3: HARD CUT. Behind them, the location in @image5 fills the whole background — reproduce its architecture, its light and its time of day as that photograph shows them. Wind ruffles the cat's fur and @avatar's hair; the cat narrows its eyes but the frame stays steady on the outstretched foreleg, then the cat opens its mouth in a silent meow straight into the lens. SHOT 4: HARD CUT. Behind them, the location in @image6 fills the whole background — reproduce its architecture, its light and its time of day as that photograph shows them. @avatar tips back toward that background without leaving the lens; the cat leans in until its nose almost touches the lens, whiskers and the navy backwards cap filling the side of the frame, then settles back. On the final frame the backwards cap, the outstretched foreleg and that background are all clearly in shot. TIMELINE (written for 20 s; at any other length each shot keeps exactly a quarter of the runtime and every timestamp scales in proportion): 0–5s: SHOT 1, the location in @image3 behind them: the foreleg pushes out, @avatar grins and the cat gives one slow blink. 5–10s: SHOT 2, hard cut to the location in @image4: the frame sweeps up and settles, and the cat presses its cheek against @avatar's cheek. 10–15s: SHOT 3, hard cut to the location in @image5: wind in the fur and hair, then the cat's silent meow into the lens. 15–20s: SHOT 4, hard cut to the location in @image6: the cat leans in to the lens and settles back; hold the final frame with the backwards cap, the outstretched foreleg and that background all in shot. AUDIO: each shot carries the ambience its own place would really have, changing instantly on each cut, with a cat chirp or purr once or twice across the film. No music bed, no voiceover, no narration. AVOID: any phone, smartphone, black rectangle, camera, selfie stick or handheld device visible in frame, a human hand or arm reaching toward the lens, the cat having human arms or fingers, the cat standing on two legs, the paw covering or blocking the lens, a second cat, a second person, on-screen text, captions, letters, logos, watermarks, UI overlays, timestamps, black bars, the cap facing forwards, the cap falling off, two locations blended into one background, a location dissolving or morphing into the next instead of cutting.

2 steps

VERTICAL 9:16 23 seconds 24fps. Real 0.5x handheld selfie VIDEO at each stop — NOT a photo montage, NOT a freeze-frame, NOT a still JPEG with a swapping background. If anyone holds a posed grin without blinking or shifting weight, the shot is wrong. CAMERA: the left arm of the person in @image2 holds the phone (except LOOK 4). Continuous handheld sway. They bounce slightly as if standing and talking. Tiny motion blur on the arm. THE ONLY TRANSITION (copy a real 0.5 travel vlog): Last ~0.4s of every location the person in @image2 DROPS the phone — arm swinging down, frame falls toward chests, sky leaves the top. HARD CUT. Next location STARTS already HIGH (lots of sky / forehead, they sit low in the frame) and the person in @image2 LOWERS the phone into a normal selfie over ~0.4s. Hand-down → hand-up-coming-down. Then they LIVE in the frame. Then drop again. Never cut on a frozen face. SMILES — CRITICAL: mostly SMALL. Closed mouth or slight smile. Talking. Looking at each other. Looking at the landmark. Wide teeth on ONLY two beats: LOOK 2 and LOOK 5. The other seven beats MUST NOT show a big toothy grin. No identical enthusiastic smile copied across cuts. THEY MOVE the whole time: blink, talk (no readable words), weight shift, hair in wind, the person in @image1 adjusts a bag, the person in @image2 nods. This is a selfie they are RECORDING, not a photograph they are posing for. POSES (four different, not consecutive): LOOK 1 Casa Batlló — classic selfie, SMALL smile, talking. LOOK 2 Sagrada Família — classic, the first wide laugh only. LOOK 3 Tuscany — DIFFERENT: the person in @image1 looks at the person in @image2, who looks at the lens, closed-mouth smile. LOOK 4 Colosseum — DIFFERENT: the person in @image1 holds the phone (the person in @image1 is left). Soft smile, sunglasses pushed up on their HEAD. The arm of the person in @image2 is not the dip — the arm of the person in @image1 is. LOOK 5 Eiffel — classic, second wide laugh only. LOOK 6 Louvre — classic, small smile, they glance at the pyramid then back. LOOK 7 Budapest Parliament — DIFFERENT: they look at the building, then a small look at each other, then the lens. Winter clothes. No teeth. LOOK 8 thermal baths — classic, wet, SMALL smile, steam. No laugh. LOOK 9 Schönbrunn yellow palace — DIFFERENT: the cheek of the person in @image1 on the shoulder of the person in @image2, small smile. MUST be the last beat. Do not end on the baths. PERSON 1 LOCK: @image1 is the first person — photocopy their face exactly as in @image1. PERSON 2 LOCK: @image2 is the second person — photocopy their face exactly as in @image2. Preserve their gender presentation exactly as shown. Use they / their / them only. Clothes and place change per LOOK. Same two people. Distant tourists ok. No on-screen text. No POV caption. No logos. TIMING (live video, then dip): 0.0-2.5 LOOK 1 settle ~1.6s then dip 2.5-5.1 LOOK 2 start high, lower, laugh, dip 5.1-7.6 LOOK 3 start high, the person in @image1 looks at the person in @image2, dip 7.6-10.1 LOOK 4 the person in @image1 holds, high then lower, dip 10.1-12.6 LOOK 5 start high, laugh, dip 12.6-15.1 LOOK 6 start high, small smile, dip 15.1-17.6 LOOK 7 start high, look at building, dip 17.6-20.2 LOOK 8 start high, baths, small smile, dip 20.2-23.0 LOOK 9 start high, Schönbrunn, cheek on shoulder, hold (no dip out) Wrong: frozen grin, same pose every cut, background snapping behind statues. Right: one continuous 0.5 selfie the person in @image2 keeps filming while the world changes on the arm-dip.

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. @image1 is face, hair, skin and identity only. Wardrobe is a fitted olive-green utility jacket, brown trekking trousers, sturdy hiking boots, and a small tan canvas backpack. Hair and jacket move naturally with the mountain wind throughout. Do not copy a black V-neck top, a gold snake pendant, layered gold chains, a gold bangle, a crossed-arms studio pose, or a white seamless backdrop from the still. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person appears throughout. No other people, faces or hands ever enter the frame. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. ENVIRONMENT: a dramatic high-altitude mountain landscape — misty granite ridgelines, alpine meadows dotted with wildflowers, a still turquoise alpine lake, distant snow-capped peaks, and thin cloud drifting across the rock faces. Crisp, elevated, adventurous atmosphere. LIGHTING AND CINEMATOGRAPHY: warm golden-hour sunlight cutting through drifting mist, soft highlights on rock and water, natural shadows, realistic skin texture, cinematic depth of field, subtle lens flare, smooth camera movement, natural motion blur, high-end travel-film color grading. Tell the following story in exactly 15 seconds, same character throughout, already in motion from frame 0 — never a frozen studio pose. Clear visual beginning, middle and ending. SHOT 1 (0.0-3.0s): RIDGELINE. Open already in motion — no frozen pose. Aerial wide of a misty mountain ridge, fog already drifting across the rock, wind already moving the character’s jacket and hair as they stand at the edge of an overlook, back toward the camera, looking out over the peaks. The camera slowly descends and moves closer. SHOT 2 (3.0-6.0s): RIDGE TRAIL. Smooth tracking shot as they walk along a narrow rocky trail through an alpine meadow, boots finding footing on stone, wildflowers brushing past their legs. Jacket and hair move naturally in the wind. Camera follows from behind and slightly to the side. SHOT 3 (6.0-9.0s): CLOSE-UP. Intimate close-up as they turn toward the camera with a soft, natural smile, windblown hair across the face. Warm sunlight on the skin, misty peaks blurred behind. Photocopy @image1 face. SHOT 4 (9.0-12.0s): LAKESIDE. Side-profile beside the still alpine lake, looking toward the distant snow-capped peaks, eyes gently closing to feel the mountain wind. Camera slowly circles as sunlight creates a soft golden rim light on the hair. SHOT 5 (12.0-15.0s): ENDING. Wide shot walking toward a scenic rocky viewpoint over the mountain range as the sun sets in soft golden, peach and pink tones. Camera pulls backward and upward, revealing the full ridgeline and valley below. End on a peaceful, dreamy frame — a clear last beat, not a fade-out. MOOD AND STYLE: dreamy, peaceful, adventurous, elegant, premium cinematic travel-film atmosphere. Ultra-realistic, photorealistic, cinematic 1080p, realistic human anatomy, consistent facial identity, natural facial expressions, realistic mist and cloud movement, realistic wind, natural lighting. No artificial CGI appearance, no distorted anatomy, no identity changes, no unnatural movements. AUDIO (native, synced, no BGM, no voiceover, no narration): wind gusting across the ridge, distant faint bird calls, boots on rock and gravel, fabric moving in the wind. No on-screen text, no subtitles, no watermark, no logos. Never cut to the attached still.

A 30-second ultra-photorealistic cinematic science-fiction sequence, vertical 9:16. One astronaut alone on a frozen alien planet discovers that the ground they have been walking on is a living creature. Grounded, filmic, live-action realism — never animation, never cartoon, never video-game CGI. STYLE: premium feature-film science fiction. Large-format cinematography, shallow depth of field, natural motion blur, subtle handheld weight on the wide shots. Real fabric and metal texture on the suit, real breath fog inside the helmet, real ice. Restrained contrast. Volumetric light through frozen mist. PALETTE: near-black ice and black thorn, a deep charcoal-violet sky, two pale moons. Exactly one saturated colour exists in the film — deep blood red: the glow burning far beneath the ice, the dying rose, and the creature itself. Nothing else in frame is saturated. THE ASTRONAUT: one person only, in a used white-grey hard-shell spacesuit with a clear bubble helmet, scuffed panels, a small mission patch, and thick articulated gloves. Their face is clearly visible through the visor throughout — exactly the person in @image1: the same face, hair, skin tone and apparent age as in @image1, real skin texture, breath fogging the glass. Preserve their gender presentation exactly as shown. Use they / their / them only. Frame 1 is already in the scene — never the attached still as the opening frame. Exactly one human being appears in this film and they are never shown from the front in the final shot. THE WORLD: a vast flat plain of black ice under a dark violet sky with two pale moons low on the horizon. Deep beneath the ice, far down, a diffuse red light glows — as if something enormous were burning under the surface. Across the entire plain stand dense fields of tall dry black thorns, taller than a person, sharp and brittle, stretching unbroken to the horizon. AUDIO: wind across open ice, ice groaning and cracking, brittle thorns scraping the suit, breathing inside the helmet, a low sub-bass impact once every five seconds growing louder, cathedral-sized tearing of ice as the creature rises, deep roaring, running footsteps on breaking ice, heavy clunk and hiss of the hatch. After the hatch closes, only breathing. Sparse flat English dialogue through radio. No music, no score, no trailer drums. No on-screen text, no subtitles. [0-5s] Wide establishing. A small landing craft on black ice, its lights the only clean white. The astronaut climbs down and steps onto the surface, alone, tiny. Red light glows faintly up through the ice beneath their boots. Breath fogs the visor. Radio: Readings? Astronaut: Cold. Very cold. End: standing alone on the ice, thorn field ahead. [5-10s] They walk into the black thorn field, turning shoulders to pass, dry spines scraping the suit. Camera tracks at helmet height, thorns wiping the lens. They stop. A slow deep impact through the ice into their boots — once. Pause. Again. They look down at their feet. Astronaut: I’m getting a pulse. Once every five seconds. Radio: Seismic? Astronaut: It doesn’t feel seismic. End: still among the thorns, looking down. [10-15s] The thorns open onto an enormous dead rose alone on the plain, as tall as a building — blackened deep red, frozen solid, petals curling and breaking, falling slowly. They walk to its base and reach up. One dark red petal lands in their open glove. They close their fingers. The pulse harder. Ice cracks. End: petal in closed glove, rose towering. [15-20s] Fracture lines race across the ice; red light blasts up, lighting them from below. They turn on the spot. The thorns begin to rise — not falling, lifting. The entire field tilts upward as the ground lifts. Radio: What’s happening? Astronaut, quietly: That’s not thorns. End: plain tilting, the astronaut fighting for footing. [20-25s] Reveal: they have been walking on a back. The black thorns are spines down an enormous creature. A colossal blood-red dragon rises out of the frozen plain, ice plates sliding off and shattering. Its head lifts into the violet sky, eyes open burning red. The great dead rose topples and breaks on the ice. They turn and run. End: creature towering, astronaut sprinting away. Creature never seen before this beat. [25-30s] Wide low: the astronaut sprints across collapsing ice, tiny, creature immense behind them, red light throwing their long shadow ahead. They reach the craft, haul in, hatch seals. Inside close-up: they lean back against the door, chest heaving, helmet fogging. They look down and slowly open their glove. The petal is still there. Through the small window behind them the creature roars, filling the opening with red. Final image: the dark red petal in their open glove, red glow in the window behind. They are not shown from the front. Hold. CONTINUITY: exactly one astronaut and exactly one creature. The petal appears at the rose and is still in the glove at the end — never dropped, never falling, never changing. Suit, helmet and patch identical every shot. Two moons stay put. Creature never before 20s and never shown in full body. NEGATIVE: no text, no subtitles, no captions, no HUD, no logos. No second astronaut, no other people, no alien humanoids, no ships in the sky, no weapons, no fighting, no blood, no gore, no catching them, no mouth close-up, no wings unfolding, no fire breathing, no cartoon, no video-game CGI, no neon, no lens-flare spam, no slow-motion, no montage, no crossfades. The astronaut never falls and is never harmed.