Create a 22-second square 1:1 ultra-photorealistic live-action cooking video, closely following the pacing, composition, camera angles and cooking actions described below. ASSET MAP — every reference is bound here and cited by tag below: @image1 — The product. This is the raw food item; it defines shape, size, texture, color and identity. The attached photo is a pile of raw chicken wings (whole wing pieces with drumette and flat, pale pink skin, natural moisture) on a dark slate. OBJECT LOCK — HIGHEST PRIORITY: The food item shown in every shot is exactly the same physical piece shown in @image1. Preserve its recognizable shape, size, texture, color, proportions and distinctive surface details — identically — as it is seasoned, marinated, fried, lifted, tossed and plated. Never replace, duplicate, regenerate, morph or substitute it with a different piece. The final cooked, plated result must visibly originate from the exact item shown in @image1. ATTACHED IMAGE IS MANDATORY AND FINAL: @image1 is the real object — reproduce it exactly, in every single frame. Never invent a different item, shape or texture. The attached image outranks every word written below it: wherever the image and this text disagree, follow the image. EVERY FRAME MUST LOOK LIKE REAL LIVE-ACTION FOOD FOOTAGE: real ingredients, real hands, real utensils, real oil, real steam, real kitchen, physically accurate cooking. No CGI, 3D render, animation, artificial food, plastic textures or impossible physics. Natural imperfections, realistic moisture, oil bubbles, steam and browning. Hands have five fingers each, anatomically correct, natural grip. Do not add any lettering, logo, brand mark or on-screen text that is not present on the reference image. No subtitles. No watermark. 0-2s — RAW PRODUCT: Extreme macro close-up of the exact product from @image1 on a white ceramic plate. Show its raw texture, color and structure exactly as shown in the reference — natural moisture, real surface detail. Camera slowly pushes across it, clearly establishing its individual shape and identity. 2-4s — SEASONING: Cut to a clear glass mixing bowl containing the same product. Golden beaten egg is already present around it. Seasoning powder is poured from above, visibly landing on the same product. Show realistic powder particles and glossy egg coating. 4-6s — MIXING: Black-gloved hands vigorously mix and massage the same product inside the glass bowl. It becomes evenly coated in a glossy reddish-orange marinade. Close-up of fingers turning the same recognizable pieces. Preserve their original shapes exactly as in @image1. 6-9s — FIRST FRY: Wooden chopsticks place the same marinated product piece by piece into a black frying pan filled with shimmering hot oil. Vigorous bubbles erupt immediately around each piece. Camera stays close to the pan. The product gradually changes from raw to golden brown while retaining its original shape from @image1. 9-11s — LIFT FROM OIL: Use a metal spider strainer to lift the same freshly fried product from the oil. Oil drains naturally through the wire mesh. Show crisp golden-brown surfaces, bubbling oil droplets and realistic steam. No replacement pieces. 11-14s — AROMATICS + TOSS: The same fried product is placed back into the pan. Add fresh glossy green kaffir lime leaves, whole garlic cloves and bright red chilies. Chopsticks and the strainer gently toss everything together. The product becomes deeper golden and crisp while the leaves and garlic fry naturally. 14-17s — PLATING: The same cooked product is lifted directly from the pan with the metal strainer and transferred onto a clean white ceramic plate. Arrange it naturally into a small stack. Fried kaffir lime leaves, sliced red chilies and garlic are placed visibly around and on top of the same product. 17-20s — MACRO FOOD DETAIL: Extreme macro close-up of one specific piece from the original raw set shown in @image1. Show its crisp blistered golden crust, browned edges and cooked texture. The camera slowly pushes in. Tiny oil droplets and delicate steam are visible. It must retain recognizable characteristics from its raw appearance in @image1. 20-22s — FINAL HERO SHOT: Elegant close-up of the completed plate on a dark kitchen countertop. The exact same product is stacked naturally with green kaffir lime leaves, red chilies and fried garlic. Warm natural cinematic lighting, shallow depth of field, realistic steam and subtle camera movement. End on a sharp appetizing macro detail of the crispy crust and cooked texture. CONTINUITY RULE: RAW PRODUCT (@image1) → MARINATED → FRYING → FRIED → PLATED = THE EXACT SAME PHYSICAL ITEM. Never introduce a new piece. Never replace a piece during a cut. Never regenerate the cooked result as a different item. Cooking changes only its color, moisture, texture and crispiness naturally. VISUAL QUALITY: High-end professional food commercial, photorealistic detail, real camera optics, realistic depth of field, natural motion blur, cinematic warm lighting, authentic reflections and shadows, extremely detailed texture, fat, crispy crust, oil and steam. AUDIO: diegetic kitchen only — oil sizzle, powder pour, mixing, strainer lift, toss, soft plate set. No music, no narration, no lyrics, no on-screen text.
Drag the clip sideways
Premium stylized 3D CGI animation with chibi proportions, expressive exaggerated faces, smooth squash-and-stretch animation, cinematic materials, warm orange/amber lighting, soft volumetric light, rim lighting, shallow depth of field, and high-quality rendered reflections. Fast physical comedy driven by character acting and reactions, not camera movement. No photorealism. No 2D animation. OPENING: already inside the cozy living room. Never a studio still, grey backdrop, title card, or frozen first frame of a still image. ENVIRONMENT One cozy living room with one comfortable chair in the center. Only: - One man - One medium-sized cute dog - One chair Keep the characters, chair, room, lighting, and furniture consistent throughout. CAMERA Mostly one stable medium-wide shot showing the man, dog, and chair. Minimal camera movement and cuts. Use only one final close-up. No excessive zooms, whip pans, shaky camera, spinning shots, or rapid angle changes. ACTION 0–2s: The Man Gets Up The man sits comfortably. The dog watches nearby. The man gets up and walks a few steps away. The dog’s eyes widen excitedly. 2–4s: Seat Theft The dog instantly jumps onto the exact chair and settles comfortably like it owns it. The man turns around, sees the dog, and freezes. 4–6s: Refusal The man returns and gestures for the dog to move. The dog ignores him and looks away. The man becomes confused and annoyed. 6–9s: The Push The man gently tries pushing the dog off the chair. It barely moves and settles back. He tries again with more effort, becoming frustrated. 9–11.5s: The Dog Snaps The dog suddenly turns toward him with an exaggerated, funny angry face: lowered eyebrows, intense eyes, and slowly opens its mouth as if saying, “Seriously?!” 11.5–13.5s: Fear The dog’s angry expression becomes more intimidating but still cartoonishly funny. The man instantly pulls back, eyes widening as his frustration turns to fear. 13.5–15s: Punchline Close-up of the terrified man. He slowly backs away from his own chair while the dog calmly relaxes on it like nothing happened. PERFORMANCE Man: Relaxed → confused → annoyed → frustrated → shocked → terrified. Dog: Watching → excited → comfortable → stubborn → offended → hilariously angry → victorious. Use exaggerated eyes, eyebrows, mouth shapes, body poses, freezes, and reactions. AUDIO Natural comedic sound design: room ambience, chair movement, dog jump, footsteps, pushing sounds, brief silence before the angry reaction, funny dog growl-like vocalization, and the man’s frightened gasp. No narration, lyrics, subtitles, or complicated music. RULES - One room, one man, one dog, one chair. - The dog steals the exact chair the man was sitting on. - The dog stays on the chair until the end. - The man never removes the dog. - The angry reaction happens only after the man tries pushing the dog. - Fast pacing, exaggerated acting, minimal camera movement. - No extra characters, text, subtitles, logos, photorealism, or 2D animation. - Maintain consistent premium 3D CGI quality throughout. - No on-screen text, captions, logos, or watermarks.
@image1 is the PRODUCT. Photocopy the exact Chipsy Oven Baked Yoghurt & herbs pack. Same pillow bag, CHIPSY star-burst logo, Oven Baked script, Yoghurt & herbs, 50% less fat badge, yoghurt bowl with herbs, two ridged golden chips, light-green watercolor. Not Chitato. Not a seaweed pack. No fake text. No duplicate packs unless the same unit in motion. Keep the pack sharp whenever visible. 15 SECONDS, 9:16, 8 scenes. Premium FMCG food film. Ridged oven-baked chips, yoghurt-and-herb seasoning, parsley flakes, creamy white yoghurt swirls. Color: herb green, yoghurt white, warm gold chips, dark studio. Macro, push-ins, whip cuts, orbit, slow-mo. No people. No tagline. No titles except a single KRAKK! at the crunch. 01 | 0–1.5s PACK BURST. Dark studio. Exact Chipsy pack upright, facing camera. Herb flakes and yoghurt droplets burst behind it; ridged chips launch forward. Fast push-in. One chip crosses the lens → match cut. 02 | 1.5–3.2s CHIP LAUNCH. Extreme macro of one ridged oven-baked chip, herb specks, slow-mo. Track and rotate, then accelerate toward camera. Motion blur into next. 03 | 3.2–5.0s CHASE. Several chips race through floating parsley and yoghurt droplets. Camera chases. One chip dives into a swirling pale-green herb wave. 04 | 5.0–6.8s HERB WORLD. Chip in a photoreal yoghurt-and-herb world: creamy ribbons, dill/parsley leaves as flowing sheets (not nori). Chip rotates, camera orbits. Soft appetite lighting. 05 | 6.8–8.5s HERB STORM. Calm breaks into a herb-seasoning vortex. Thousands of tiny herb flakes spiral around the chip. Chip cuts through in slow-mo. Rapid push-in, background spins. Energy peaks as seasoning coats the chip. Freeze → crunch. 06 | 8.5–10.2s KRAKK! Extreme macro crunch. Chip breaks. Crumbs and herb flakes burst in slow-mo. Crispy interior. Impact lighting, camera shake. One clean on-screen word: KRAKK! 07 | 10.2–12.5s PRODUCT RETURN. Exact Chipsy pack rises from a cloud of herb flakes and crumbs. Dark green-herb premium background. Slow push-in. Pack sharp, centered, readable. A few chips at the base. 08 | 12.5–15.0s CRAVING → HERO. Pack centered. One ridged chip slowly rotates in the foreground. Herb particles drift. Subtle push-in. Hold on a clean readable hero. End. No slogan. AUDIO: WHOOSH → CHIP LAUNCH → AIR RUSH → HERB SWIRL → STORM → dry crisp KRAKK! → soft product reveal → final hit. Music starts energetic, then slows into a craving finish.
12 seconds, 1:1 split screen. @image_1 is the person in the LEFT panel, @image_2 is the person in the RIGHT panel. Exactly two people, one per panel. COMPOSITION: the frame is split down the exact middle by a hard vertical edge into two equal panels with a thin black seam. Each panel is its own separate vertical phone video, filmed by a different person, on a different phone, in a different room, at a different time. Nothing ever crosses the seam and the two halves never merge into one room. ATTACHED IMAGES ARE MANDATORY AND FINAL: reproduce each person exactly as in their own attached image, in every frame — face, hairline, hairstyle, hair colour, skin tone, build and apparent age. Preserve each one's gender presentation exactly as shown. Do not beautify, slim or restyle either of them. They are two different people with different faces and different hair: never draw one with the other's face, and never swap the panels. Each voice belongs to its own person. Both wear a plain fitted black cotton t-shirt with a plain crew neck, a thin gold chain and small gold hoop earrings. SETTINGS, one per panel and deliberately different: left is a lived-in bedroom with an unmade bed and a cluttered shelf, daylight from the left; right is a kitchen worktop with mugs and a kettle, daylight from the right. The two rooms must never look like the same place. REALISM — the point of the shot: both panels are raw phone front-camera footage held at arm's length, natural daylight only, handheld drift, slight autofocus breathing, visible sensor grain, a little motion blur. Both faces read as real skin — visible pores, peach fuzz along the jaw, a faint sheen on the nose, soft shadows under the eyes, a few hairs out of place. No beauty filter, no smoothing, no retouching, no studio lighting, no colour grading, no gimbal steadiness. [0-4s] @image_1 in the left panel says: "everyone keeps asking what filter i use." @image_2 listens and half-smiles at their own lens. [4-8s] @image_2 in the right panel leans in, shrugs: "i don't use one either." @image_1 laughs quietly and looks off to the side. [8-12s] @image_1: "this is just my face." @image_2: "same." Both laugh once and both clips end mid-laugh. Only one person speaks at a time. Each panel is one unbroken take. The lines are in English, each in that person's own natural voice, close to the phone mic. The first frame is already lit and in motion in both panels; no fade from black. Do not add subtitles. No on-screen text. No music.
Cinematic 2.5D animation in painterly rendering, gouache concept art in motion, visible brush textures, flat posterized color blocks, matte finish, soft volumetric lighting. NOT flat 2D cartoon, NO outlines, NOT glossy CGI, NO photorealism. @image1 (character sheet) is an absolute character lock — face, body, hair, costume, materials and colours are taken from it exactly, with no drift or reinterpretation in any shot. @image2 (environment plate) is the location lock — architecture, palette and light come from it. @image3 (storyboard) is to be followed exactly, matching shot order, framing and pose. Ten filmic cuts: • SHOT 1 (Macro Detail): Macro close-up of their prosthetic fingers twitching; glowing gold gravitational threads unspool into the vacuum. • SHOT 2 (Scale & Threat): Wide shot of the dying planetary core cracking in half, blasting shockwaves of golden light through the floating pillars. • SHOT 3 (Character Entrance): Low-angle tracking shot as they glide weightlessly into the abyss, their cloak ballooning around them like a cosmic void. • SHOT 4 (Expression Focus): Close-up on their face; the gold glyphs flare brightly as they tilt their head in absolute, chilling composure. • SHOT 5 (Casting the Strings): Medium shot; they sweep both hands outward, casting hundreds of glowing gold puppet strings across the entire starfield. • SHOT 6 (Reality Pull): Dynamic wide shot; they violently pull the strings taut, arresting the collapse of the planet and dragging the colossal burning fragments back together. • SHOT 7 (High-Speed Tracking): FPV tracking shot swooping past floating debris as the planetary fragments collide and fuse into a newly ignited miniature golden sun. • SHOT 8 (Power Apex): Medium shot; they rotate their wrists, the orbital halo spinning rapidly and locking the new star into orbit behind them. • SHOT 9 (Aftermath Echo): Extreme wide shot; the restored golden star illuminates the massive expanse, their silhouette dead-centre as the master of the cosmos. • SHOT 10 (Hero Poster Frame): Low-angle hero shot; they lower their hands, gravity strings dissolving into gold dust, their mantle settling around their silhouette. Hold final frame. Weighty natural animation, zero-G fabric motion, 24fps filmic motion, shallow depth of field. NOT flat 2D cartoon, no bold outlines, not glossy CGI, no photorealism.
Cinematic live-action fantasy, feature-film VFX. Real skin and real fabric, physically lit, heavy atmospheric haze, volumetric shafts, practical-looking dust, embers, debris and spray, natural motion blur, fine film grain. No outlines or ink line-art, no cel shading, no flat banded shadows, no comic, manga, anime or webtoon look, no vector fills, no smooth airbrushed gradients. @image1 and @image2 are absolute character locks for the two fighters: face, body, hair, costume, materials and colour are taken exactly from them and must not drift, blend or be reinterpreted in any shot. @image1 carries the cyan-blue energy, @image2 carries the violet energy, and the two must never be confused with one another. @image3 is the storyboard and is followed exactly — same shot order, same framing, same staging, same scale. A fist-to-fist duel between two immortals, cyan-blue power colliding against violet lightning, told in nine beats of equal length. They meet in the courtyard, @image1 driving in low while @image2 turns into the strike, a white flare bursting where the two guards lock. Handheld low angle, camera pushing in with them. The exchange carries across the paving, blows traded fast and close, cyan and violet trails smearing off their forearms. Camera tracks laterally alongside, holding both in frame. They fight up onto the roof, braced along the sloping ridge, striking and blocking while tiles crack and slide out from under their feet. Camera cranes up with them and settles wide. A struck eave detonates, blowing tiles, beams and dust outward, and both are thrown clear of the blast. Fast snap-in to the point of impact, then the camera rides the debris outward. Both break upward off the collapsing roof and climb hard, cyan and violet streaming behind them into the cloud above. Camera tilts up and follows the climb. High in the cloud they hover apart, each drawing power into one drawn-back fist until the cyan and the violet swell into full coronas. Slow push in, holding both in profile. The two fists meet dead centre. A white core detonates on contact, a violet shockwave blasting outward and tearing the cloud into an expanding ring. Locked wide, the frame shaking with the hit. Driven down through the spray beside the falling water, the two keep striking at each other all the way down, then land skimming the surface. Camera falls with them, then levels off low over the water. One last exchange throws a vast circular shockwave racing out across the water. Cut to an extreme close-up on @image1's eyes as a three-pointed sigil ignites cold blue on the brow. Audio: low sustained wind and rolling thunder under the whole piece, sharp cracking impacts on every blow, shattering tile, a deep sub-bass detonation on the fist collision, and heavy falling water in the closing beats. No music, no voices, no dialogue. No on-screen text, no subtitles, no captions, no logos, no watermark.
A 20-second 16:9 photoreal action film. Sound ON. IDENTITY: Exact attached grandmother — short bright pink hair, thin metal glasses, blue-pink fairisle cardigan, pearl necklace. Same face every frame. PRODUCT: Exact attached copper-rose hair styler — copper handle, two blue buttons, blush-pink collar, long black barrel, pink cap. NOT an umbrella. NOT a generic white dryer. Wet narrow alley, overcast, puddles. Third-person. NO HUD, no on-screen text. TIGHT PACE — no idle walking: 0–4s: She is ALREADY in the alley, styler in hand. Two men block her. She lifts the styler. 4–10s: Air blast into the first man's hair. Barrel tap on the second. Both down. Fast. 10–16s: Larger man charges. She staff-hits + air blast. He slips on wet stone. 16–20s: She flicks her pink hair with the styler and walks off. Gravity. No magic hover. AUDIO: whoosh, drizzle, thuds. No voiceover. OPENING: alley, mid-action. Never a living-room portrait. Duration 20s. Aspect 16:9.
LANA is the only person. @image1 is her FACE — photocopy bone structure, long wavy blonde hair, skin, age. Do not keep the ivory coat or cat-eye sunglasses from that still. Same woman in every shot. Lana's face wins over the look-model if they disagree. OUTFITS, SHOES, JEWELRY, SETS from the look photos — photocopy: LOOK 01 @image2: black turtleneck halter knit, charcoal pinstripe wide trousers, black belt with gold ring, dark jacket draped at hip, black pointed heels. Concrete + black block studio. Pose: standing square to camera, both hands in pockets, jacket hanging off one hip. Then she takes a slow half-step, weight shift, still facing camera. LOOK 02 @image3: forest-green belted wool coat, ivory shirt, gold chain necklace, camel trousers, tan pumps. Green/grey studio with white plus-mark. Pose: walking toward camera, one foot mid-stride, coat swinging, then stop 3/4 and look into lens. LOOK 03 @image4: burgundy satin backless halter gown, burgundy heels. Burgundy/terracotta diagonal studio. Pose: over-the-shoulder, both hands on hips, back of the gown visible, then a slow 90° turn toward camera with the satin skirt arcing. Never walk in from off-frame. LOOK 04 @image5: mustard oversized sweater, blue satin shirt cuffs, gold collar necklace, brown leather midi skirt, brown knee boots. Mustard/cream studio. Pose: hands on hips, feet planted, then one step forward into a hero stance. GRAPHIC LAYER — CRITICAL, MATCH THE BOARD (@image6): All type and numbers live BEHIND her, on the studio wall, like a magazine set. She walks IN FRONT of them. Never overlay letters on her face, hair, torso, or legs. Never a floating HUD in front of the body. Huge outlined numerals filling 40–70% of the background: LOOK 01 has giant "01", LOOK 02 giant "02", LOOK 03 giant "03", LOOK 04 giant "04" — thin white/grey outlines, same as the 4-panel board. They drift slowly left-right BEHIND her as she moves. Small labels LOOK 01 / LOOK 02 / LOOK 03 / LOOK 04 sit in corners, never covering her. FASHION is huge condensed black type across the top of LOOK 01, behind/around her head — readable but not plastered on her face. IN MOTION is huge condensed black type across the bottom of LOOK 04, behind her boots/skirt, fully readable on the last hold. Plus-marks, dotted grids, thin circles, barcode sit on the walls behind her, parallax slower than her walk. Type never morphs onto her body. If a letter would hit her silhouette, it stays in the background and she occludes it. 15 SECONDS, 1:1, 8 SHOTS. Living fashion film. Strong editorial poses, real walk/turn/weight-shift. Horizontal wipes between looks (40–55% of frame). Never show the 2×2 board as a grid. No extra people. No brands besides the set graphics above. Shot 1 0–1.7s LOOK 01: hands-in-pockets stance, half-step, giant 01 behind her, FASHION on the wall. Wipe to 02. Shot 2 1.7–3.4s LOOK 02: walk toward camera, coat swing, giant 02 behind. Wipe to 03. Shot 3 3.4–5.1s LOOK 03: already in frame, hands on hips over-shoulder, giant 03 behind, hair and gown settle. Wipe to 04. Shot 4 5.1–6.8s LOOK 04: hands on hips then one step, giant 04 + IN MOTION behind. Wipe back to 01. Shot 5 6.8–8.6s LOOK 01 medium, different pose than shot 1, short push-in, 01 still behind her. Shot 6 8.6–10.4s LOOK 02 pull to full, one step, new pose. Wipe to 03. Shot 7 10.4–12.3s LOOK 03 centered, slow 90° turn back-to-face, gown arc, 03 behind her the whole time. Shot 8 12.3–15s LOOK 04 medium to full, step forward, hero, hold 0.5s with IN MOTION readable behind her legs. Do not return to the 4-panel board. AUDIO: 118 BPM dry kick, hats, synth bass, no vocals. Soft fabric swish on cuts. No speech.
PERIOD DRAMA. TWO PERFORMERS. ONE MORNING. FIFTEEN SECONDS. ASSET MAP - every reference is bound here and cited by tag below: @avatar_1 - the first performer. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_1 and never from this text. @avatar_2 - the second performer. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_2 and never from this text. IDENTITY LOCK - HIGHEST PRIORITY: each performer on camera is exactly the person in their own reference. Preserve the face, hair, skin and build of @avatar_1 and of @avatar_2 identically from the first frame to the last. Do not restyle either of them, do not age either of them up or down, do not swap which reference plays which part, and never place a third person in frame. Two performers, the same two, for the whole film. ATTACHED REFERENCES ARE MANDATORY AND FINAL: if a reference is attached, that is the performer - reproduce them exactly, in every shot, and never invent a different one. The attached references outrank every word written below them. WARDROBE LOCK: @avatar_1 wears a faded denim work shirt with the sleeves rolled to the elbow, canvas gardening gloves tucked into the belt, and reading glasses hanging on a cord. @avatar_2 wears a soft cotton flat cap, a plaid short-sleeved shirt, and work trousers with grass stains at the knees. These garments are fixed in cut and colour for the whole film and only their drape adapts to the body wearing them. Neither performer changes clothing at any point. WORLD: the backyard of a white clapboard farmhouse in rural New England, late August 1991, early morning. A wide lawn freshly mown into stripes. Tomato cages and bean poles down one side, a wooden shed with its door standing open, a screened porch with two chairs, a low white picket fence at the back. Along that fence, where a tall tangle of wildflowers stood until this morning, there is now a strip of cut stubble with a few bent stems of purple coneflower lying in the grass. Low golden sun coming through maples behind the fence, long shadows reaching across the stripes, a light haze in the air. A dog sleeps on the porch steps. Period-correct throughout: no object, vehicle or device made after 1991 appears anywhere in frame. LOOK: authentic early-1990s American independent cinema. 35mm film grain, warm honey and green morning palette, shallow depth of field, clean prime-lens focus, restrained naturalistic camera work, steady eye-level framing, close-ups that sit on faces and on hands. Shot 1: Medium-wide. @avatar_2 shuts off a push mower by the shed, lifts a chipped enamel coffee mug off the fence post and calls back toward the porch without turning around, pleased and unhurried. <Got the back corner done before breakfast. It was a jungle back there.> @avatar_1 comes down the porch steps carrying a second mug, catches sight of the fence line, and stops walking mid-step. Shot 2: Cut to @avatar_1, closer. A look travels from the strip of cut stubble to the bent coneflowers lying in the grass. The face does not change. <That was the meadow.> Cut to @avatar_2, turning, still smiling, mug halfway up. <The what?> Shot 3: Close on @avatar_1, crouching down, lifting one bent coneflower and turning it slowly between the fingers. Calm, no anger anywhere in it. <Three years. The bees found it in June.> Cut to @avatar_2. The smile is gone. Quietly: <I thought I was helping.> Shot 4: Medium-wide. @avatar_1 stands, holds out the single coneflower until @avatar_2 takes it, lifts the mug out of the other hand, and walks away toward the shed. <Put the mower away.> @avatar_2 is left standing alone on the striped lawn holding one flower, the dog on the porch now awake and watching. Hold on that, and fade to black. PERFORMANCE: keep both performances mature, dry and restrained. @avatar_1 carries patient disappointment the whole way through, never anger, with affection underneath it. @avatar_2 travels from cheerful pride to sheepish regret. Leave a beat of silence after every line and let the birdsong carry the pauses. The single bent coneflower is the physical focus of the whole scene. DIALOGUE: every line in < > is spoken aloud, exactly as written, by the performer named immediately before it, with natural lip-sync and no reassignment of lines between the two. AUDIO: a real rural morning - birdsong across the whole film, a push mower ticking as it cools, a screen door on a spring, footsteps in cut grass, one dog shifting on wooden steps. No music of any kind. Do not generate subtitles, captions, on-screen text, a title card, a timestamp, a recording indicator, an interface overlay, a logo or a watermark. No third person, no smartphone, no modern vehicle or equipment, no dramatic score, no narration, and no change to either performer's face, hair, build or clothing at any point.
15s 16:9 rock MV: original lyric, your face, your outfit. Upload a face as @image1 and an outfit photo as @image2. Rebuilt from a post by @ImaStudio_ai.
Demon Hunter vs Shuten-DojiRecreate workflow