@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.
Drag the clip sideways
VERTICAL 9:16 15s. Elara takes a SELFIE of THEMSELVES. They hold the phone. NO second person. NO held hands. NO POV boyfriend-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 gold hoops. Outfit and place come from each look line below. 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 Lana/William 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 slip. 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 Elara every cut. No on-screen text. No logos. No second face in the selfie.
Generate a live race-day broadcast where the camera finds you singing along in the grandstand, moved to tears.
16:9 30 seconds. Photocopy @image1 exactly: face, hair and skin tone exactly as shown. Wardrobe: a beige distressed hooded parka with black harness straps, fingerless black gloves, long black torn skirt, black combat boots. Do not restyle hair. Do not put them in armor. Do not beautify. No other people. World: an empty pale desert — huge flat sand, pale grey-blue sky, haze at the horizon. Thin dust, wind in the skirt. ENERGY LANGUAGE: replace every black ink / black smoke / 黑墨 with PINK ink-smoke. Rose-pink calligraphy strokes, magenta fly-white brush, rose-gold hairline cracks, pink mist. Not black. Not ordinary game VFX. Pink Chinese ink invading 3D space. Dark-gold cores may stay as rose-gold. They move light, quiet, almost careless. Tiny gestures trigger huge pink-ink reactions. No weapons. CAMERA: never a game-skill front pose. Low rear-side follow, FPV, orbit, whip, 3/4 profile. Strong motion blur. Time ramps. 00.00–02.50 墨步 / pink step Start already walking, right-rear low 24mm, head slightly down, wind in the skirt. 0.7s their right foot taps the sand — a pink ink ring races across the ground, one-frame pink shock. 1.0–2.5s their body stretches into a long pink brush-stroke, three zigzag dashes, camera skims the sand. 02.50–06.00 水镜 They stop hard. Time ramp. Casual right hand up. Thin glass-like water sheets in the air. Camera flies between them. They close their fist. Sheets fold and crush a stone pillar into spiral gravel. Pink ink flies off the shards. Heavy impact: pink shock-frame, camera dip. 06.00–09.00 墨掌 Spin. 3/4 side. Half-palm push. Pink ink collapses into a tiny core then BLOWS into a huge pink-gold palm-pressure. Camera flies backward through it. Hits the sand — circular crater, dust, pink splash. No fire. 09.00–12.50 流墨回身 They lean back almost to the ground, toe-tap, low spin, skirt becomes a pink-ink arc. Light kick. A thin pink spatial cut flies; three distant pillars split after a delay. 12.50–16.00 水墨坠 Leap. Camera under their boots. Water droplets rise. Pink ink dots orbit. At the apex they press their palm down. World goes quiet. Then the ground collapses — rose-gold ring cracks, PINK ink erupts into a circular ink-landscape shock. 16.00–20.00 墨莲 Hover 30cm off the sand. Orbit 270°. Pink mist, pink brush-strokes, rose-gold threads, giant pink-ink lotus petals painted in the air. Stones float. 20.00–23.50 五行 Calm glance. They vanish. FPV chase: water around them, then wood-like pink branches, then burnt-paper rose-gold “fire”, then geometric rose-gold cracks, then sand+pink ink vortex. Still ink language, not rainbow game VFX. 23.50–30.00 墨界 Dive. Freeze 0.5m above ground. One finger down. Full-screen pink-ink impact frame, negative, flash, radial shake. Three rings: pink ink, water, rose-gold — merge into a giant pink-gold shockwave. Hundreds of meters of sand become a living pink ink landscape. Giant pink brush-strokes shoot to the sky. Then everything sucks back into them. Quiet. They walk on, same as the open, a thin PINK trail behind their boot. Wind in their hair. Cut to black. No logos, no UI, no on-screen text. Same face every frame.
Ultra-photorealistic live-action commercial. Natural midday summer sunlight, warm low sun flaring in from the left, shallow depth of field, real skin texture and real fabric weight, subtle handheld float on the wider shots, clean modern colour grade with no stylisation. @image1, @image2 and @image3 are an ABSOLUTE CHARACTER LOCK for IDENTITY ONLY — the first, second and third character respectively. Face shape, eyes, brows, nose, lips, jawline, ears, hairline, hair, skin tone and micro-asymmetry are taken from them exactly, with no drift, no reinterpretation and no blending between them, in every shot of the film. TAKE NOTHING ELSE FROM THOSE IMAGES: ignore the clothing, footwear, accessories, background and styling in them entirely. @image4 is the storyboard and is an ABSOLUTE LOCK for wardrobe and staging: the clothing each character wears is taken from the storyboard and from nowhere else, and the shot order, framing, poses and camera height are followed exactly as drawn, with nothing added, removed or restyled. Everyone stays in the summer tee-and-shorts the storyboard shows — no coats, jackets, long sleeves, trousers, dresses or skirts at any point. The product is one compact cylindrical portable speaker in a soft off-white housing with a fine woven fabric grille and a slim metal band, held easily in one hand. It stays the same object in every shot. The speaker is held up into the near foreground, filling one side of frame and holding sharp focus while the ground and water behind it stay soft. Then the first character holds it up beside their face and presses the top control with their thumb, and a ring of light comes up on it as they smile down at it. Then they turn and pass it across into the second character's open hands, both of them laughing as the handover lands. Then the camera drops to ankle height and the three of them run across the grass and through a shallow water edge, water kicking up in bright droplets past the lens. Then they pull together into a tight cluster, heads tilting in, the speaker held between them at chest height while they laugh. Then the camera pulls back wide and all three raise their arms, lifting the speaker overhead against open sky. Each beat holds for the same length of time. One continuous camera move per beat, no whip pans, no speed ramps. Audio: bright summer pop playing from the speaker, coming up as the control is pressed and carrying to the end, under natural outdoor ambience — grass, water, birds, light laughter. No voice-over, no narration, no dialogue. Negative prompt: text, subtitles, captions, on-screen graphics, watermark, logos, brand names, extra people, changed faces, changed outfits, distorted hands, duplicated product, stylised or animated look
@image1 is the environment lock and the opening frame: the floor material, colour, pattern, grout lines, wall colour, window position and camera geometry are taken from it exactly and hold without drift for the entire clip. @image2 is the storyboard and is followed exactly — same order of shots, same framing, same stage of the cleaning in each. Look: handheld phone-camera realism throughout. Natural daylight from the window, real water physics, real foam behaviour, real surface reflection as the floor goes from matte to wet to glossy, slight handheld sway and reframing between moves, shallow natural depth, no stylisation and no colour grading beyond what the daylight gives. The floor sits dull and still, then a stream of cleaning liquid arcs down into frame and spreads across the surface in a widening pool. A long-handled floor squeegee enters and sweeps through the liquid in one broad stroke, foam blooming and running ahead of the blade. The squeegee works back and forth across the surface in overlapping passes, foam thickening and the dull film lifting away behind it. A rush of rinse water floods across the floor, and the squeegee pushes the grey water away in long raking strokes toward the far edge. A mop head is lowered into a spin bucket and wrung out, then returns and passes across the damp surface in even overlapping strokes. The final stroke clears the frame and the surface settles, dark and glossy, holding the window light in a clean mirrored reflection. Camera: one move per shot, handheld — a slow push in over the pour, a low tracking follow along the squeegee strokes, a tilt down to the bucket, a slow rise back out to the finished floor. No orbiting, no spinning, no crane moves. Audio: the pour and splash of liquid, foam fizzing, rubber squeegee dragging over hard floor, water sheeting and draining, the ratchet of the mop wringer, damp mop strokes. Room tone only — no music, no voice, no narration. No text, no captions, no on-screen graphics, no logos, no brand labels, no watermark. No faces in frame.
ATTACHED IMAGES ARE MANDATORY AND FINAL: If a reference 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. CHARACTER LOCK — HIGHEST PRIORITY: The person is exactly the person in @image1 (character sheet). 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 throughout. 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. PROPORTIONS — ADULT FIGURE CANON: a fully grown adult figure of approximately seven and a half head-heights from crown to sole. Shoulders about two head-widths across, the hip line at just under half the total height, legs from hip to sole about half the total height, and an adult jaw, chin and neck. Match the build, shoulder width and body mass shown in @image1 (character sheet). Never a child or teenage canon — not five to six head-heights, not an oversized head, not shortened legs, not rounded infantile cheeks, not enlarged eyes relative to the face. Create a high-quality fashion MV based on @image1 (character sheet), @image2 (graphic world) and @image3 (storyboard). Style: Pattern Collage Pop x Fashion Editorial x Fashion MV. The feeling is entering a magazine world made of classic patterns, geometric graphics, collage layouts and bold typography. Keep the person realistic, and keep every background and design element flat, sharp, clean 2D graphic design exactly as established in @image2. Avoid rough handmade collage; make it polished, chic, trendy, glossy and editorial. Follow @image3 exactly for shot order, framing, pose, shot size, graphic treatment and type placement. Slight outfit variation across looks is allowed, but they must still read as one continuous character. Motion and camera: this is a fashion MV, not a slideshow. Each segment must have a clear pose-to-pose action: half-step forward, look back, lower gaze then look up, fix hair, touch bag strap, hand near face, seated side look, crouch with soft smile, reach toward camera, light turn, final hero pose. Expressions: composed, confident, polished. Use fast but smooth lateral movement, light push-in and pull-out, alternating close, medium and full shots, detail inserts, and editorial split compositions. Typography: add large, readable fashion typography without covering the face. Use a main NAME title plus supporting English keywords. Words can include: SOFT CHIC, FASHION CUT, LOVELY MOOD, TRENDY LOOK. Vary placement, size, direction and colour while keeping a unified magazine design system. Timeline: eight stylish looks of equal weight, one flowing into the next at a steady pace, ending in a strong final hero shot where the previous graphics and keywords reassemble into a polished magazine-cover composition. Hold on the final frame. Avoid: a different person, face drift, changed skin tone, changed eye shape, changed ethnicity, restyled or recoloured hair, de-aged, child or teenage figure canon, five- or six-head proportions, oversized head, shortened legs, rounded infantile cheeks, enlarged eyes relative to the face, small receding chin, childlike face, doll or chibi proportions, stylised or anime face, beautified or slimmed body, multiple people, static poster feel, stiff motion, overly realistic backgrounds, unreadable text, text over face, childish tone, cheap filters, logos, watermarks, subtitles, exaggerated dance, or goofy expressions.
DRIFT DOG SNOWBOARD A chest-mounted action camera follows @image1 — your dog in his jacket — riding a snowboard down a sunlit piste: two hard carves, a jump, a landing, and a paw tap at the stop. Attach one side-on photo where the wordmark on the coat is sharp. 20s.
PET FRIENDLY CAFE WALK-IN A chest-mounted action cam follows two golden retrievers wiggling down a sunny pavement, then lifts to reveal @image1 — your own cafe entrance — and carries through the door into a welcome from the resident dog. Attach one photo of your frontage. 14s.
Generate a live race-day broadcast where champagne from the podium rains down on you in the crowd.
Eight Look Magazine MVRecreate workflow