SHOOT 1 ELARA LOCK: @image1 is Elara — photocopy her exact face, hair and eyes exactly as in @image1, gold hoops, gold chain. Same person every frame. Never change their hair colour. Do not beautify. ROOM: the apartment in @image1, exactly as shown, at golden hour. Hallway beyond the door is the same home, warm wood, off-white walls. LOOK 1 (this whole take): exactly the outfit worn in @image1. SCENE: Elara films herself on her own front-facing camera while walking a warm dim hallway and through an open door into the sunlit living room, talking the whole time. Camera is her POV of herself, arm's length. Opens as she brings the camera up. One unbroken take. She crosses into late-afternoon sun, turns, stops in the light for the last line. 9:16 vertical. ~10 seconds. Real-time. No cuts. CAMERA: front-facing phone, swings up from below, holds ~50cm from face, soft bounce on steps, focus on face. ACTION: already walking. Delivers the line into the lens. One brief hair fix. Steps through the door into volumetric sun. Slows and stops for the last words, looking at the lens. VOICE, English, casual then quieter: "I don't know if I should say this, but the thing that scares me about 2026 is that nobody can tell I'm not real." AUDIO: NO MUSIC. Diegetic only — her voice close, footsteps on wood, fabric, room tone. No subtitles. No second person, no phone visible in frame, no logos, no UI. Living micro-motion every frame. Sun from camera-right in the room. SHOOT 2 ELARA LOCK: @image1 is Elara — photocopy face, hair and eyes exactly as in @image1, gold hoops. Same person every frame. Do not recast. ROOM: apartment in @image1, exactly as shown, late-afternoon sun from camera-right. Locked-off vertical UGC. No studio. @image3 = the sweater. Photocopy it exactly as in @image3 — knit, colour, collar, buttons and hem. @image5 = the shirt, exactly as in @image5. @image4 = the skirt, exactly as in @image4. Any label inside the back neck of the @image3 sweater stays exactly as it is; never invent a label. LOOK 1 (first half, still wearing): the outfit from @image1. LOOK 2 (after the cut): the @image5 shirt UNDER the @image3 sweater (collar and cuffs peeking) + the @image4 skirt + tan loafers. FORMAT: 9:16, 15 seconds, timed multishot, exactly ONE HARD CUT at 0:09. Instant cut. Same camera, room, light. Only wardrobe changes. She never speaks. CAMERA: fully locked off, low tripod, head-to-toe, one framing both sides. Phone autofocus hunts when the label comes close. 0:00–0:09 SHOWING. Already in motion. Holds the folded @image3 sweater, the @image5 shirt and the @image4 skirt. Lifts the sweater, lets it fall open, snap, show front and back. Drapes it, drops the skirt open so its details read, then the shirt. Steps in, folds the sweater inside back neck to the lens so its own label fills the frame. Focus hunts then locks on it. HARD CUT. 0:09–0:15 WEARING LOOK 2. Already dressed — no changing shown. The @image3 sweater over the @image5 shirt, the @image4 skirt, loafers. Tugs the hem, hand down the skirt, hair behind ear, weight on one hip, quarter turn, small closed-mouth smile. Mouth stays closed. No speech. AUDIO: NO MUSIC. Fabric rustle, loafers on parquet, room tone. No subtitles. No second person, no phone, no mirror, no extra logos. Fully clothed every frame. Living motion. SHOOT 3 ELARA LOCK: @image1 is Elara — photocopy face, hair and eyes exactly as in @image1, gold hoops. Same person every frame. Do not recast. ROOM: apartment in @image1, exactly as shown, late-afternoon sun from camera-right. Locked-off vertical. Same framing as the previous try-on. @image2 = the dress. Photocopy it exactly as in @image2 — fabric, colour, straps, neckline, detail and length. STARTING OUTFIT (first half): still wearing LOOK 2 — the @image3 sweater over the @image5 shirt, the @image4 skirt, tan loafers. AFTER THE CUT: LOOK 3 — only the @image2 dress. Tan loafers peek under the hem. FORMAT: 9:16, 15 seconds, exactly ONE HARD CUT at 0:08. Instant. Same camera and room. Only wardrobe changes. She never speaks. NO brand label close-up in this shoot — do not invent a brand label on the dress. CAMERA: locked off, low tripod, head-to-toe. 0:00–0:08 SHOWING THE DRESS. Already in LOOK 2, already lifting the @image2 dress. Lets it fall open full length, hem swaying. Small lift so its details read. Rotates to show the back, fabric swinging. No neck-label insert. HARD CUT. 0:08–0:15 WEARING THE DRESS. Already in the @image2 dress, no changing shown. Hand down the fabric, hair behind ear, hip pose, then one slow light pirouette — skirt and hair lift, not a trained dancer. Lands, closed-mouth smile. Mouth stays closed. No speech. AUDIO: NO MUSIC. Fabric swish, hem, loafers on parquet, room tone. No subtitles. No second person, no phone, no mirror, no logos. Fully clothed every frame. Living motion.

@image1 is an absolute lock for the object: shape, proportions, material, colour, surface pattern and markings are taken from it exactly, with no drift, restyling or reinterpretation in any shot. @image2 is the storyboard — follow it exactly, matching shot order, framing and camera distance panel for panel. Look: real handheld macro craft footage shot on a long lens. Natural workshop light, warm and directional. Shallow depth of field with a soft falloff, fine surface texture and real specular highlights on metal. Slight organic hand movement in every frame, live-action realism throughout. Hands hold the object over a worn wooden workbench, a piece missing from its upper edge, and a small steel tool taps once at the broken notch. Then the camera closes to macro as a fine tool bevels and cleans the raw edge, the shavings catching the light. Then the object is braced against a wooden block and a tool presses a soft lump of bright metal into the missing notch until it sits proud of the surface. Then a flat blade files the added metal flush, pale dust falling away across the bench. Then a burnishing tool sweeps along the seam and the metal brightens to a mirror sheen. Then the object turns slowly in soft even light, the polished metal repair carrying a travelling highlight along the mended edge. Camera: one move per beat and no more — a slow push in, a small reframe, a gentle tilt. Keep the object centred and continuously in frame. Audio: natural workshop sound only — tool contact, fine scraping, the settle of the object on wood. No music, no voice. Do not generate any text, captions, subtitles, titles, watermarks or logos. No faces and no bodies — only the working hands. No cuts to a different object, no second object, no duplicated copies of the object in frame.

3 steps

@image1 fixes the object's identity: shape, proportions, construction, materials, hardware and colour are taken from it and must not drift, restyle or change at any point. The soiling seen in @image1 applies to the opening shot only. @image2 is the storyboard and is followed exactly — the same three shots in the same order, with the same framing, camera distance, hand positions and lighting. Style: photoreal macro cinematography, shallow depth of field with the focus plane riding the object, low-key directional light, cool neutral grade with warm specular highlights on the object's surfaces, fine natural grain, restrained handheld micro-movement throughout. Shot 1 — overhead close on the bench. Two hands in black nitrile gloves scrub the soiled object with a small detail brush through grey soapy foam, working along its length in short even strokes and lifting grime out of its seams. The camera eases in slowly from above. Shot 2 — cut to the same gloved hands holding the object up to camera, now fully cleaned. They turn it through a slow quarter rotation so the light travels across the cleaned surfaces. The camera stays where it is, focus riding the object as it turns. Shot 3 — cut to the cleaned object resting on the clean dark surface, hands out of frame. The camera pushes in slowly and settles, light raking across the object, holding to the end. Audio: close ASMR field recording — brush bristles working over the surface, wet foam shifting, small contact clicks against the bench, water and cloth, faint room tone. No music, no voice. Do not generate text, subtitles, captions, logos or watermarks. Do not substitute, redesign or restyle the object. Do not add tools, props, hands or people beyond those described. No cuts other than the two described.

3 steps150

ATTACHED IMAGES ARE MANDATORY AND FINAL. @image1 (poster establishing frame) is an absolute lock. Face, body, hair, build and skin are taken from it exactly and never drift, morph or get replaced in any beat. Its render style, palette, lighting, graphic system and framing are the look of the whole piece: photoreal premium editorial fashion photography, high-contrast clean studio light, visible skin texture and separated hair strands, real fabric weave and drape - never illustration, 3D render, cartoon or painterly. @image2 (wardrobe rail) is the sole source of truth for every outfit. Each beat below names one LOOK by label; dress the character in that exact set from the rail - its TOP PIECE, BOTTOM PIECE and FOOTWEAR - and nothing else. Never add, remove, substitute, restyle, re-cut or re-colour a garment, and never invent an outfit that is not on the rail. The character stays centred in frame for the entire piece. Not narrative - a beat-driven lookbook. The whole piece runs as one continuous take: outfits and layouts change on the beat through sharp in-frame glitch transitions, the display type tearing and shearing sideways with a red scan-line break and a brief datamosh smear, never a cut to a different place. Palette holds throughout: black and white base with red accents. Graphic system holds throughout, and its scale is deliberate. Only the oversized display headline carries readable letters - it is always huge, heavy and cropped by the frame edges. Every smaller editorial element is a clean geometric mark, not small text: solid bars, hairline rules, tick strips, barcode blocks, crosshair registration marks, corner brackets, thin frame borders and light modular grids, with red used only as an accent bar or rule. Keep these marks few, large and crisply edged. Do not render small paragraphs, fine print, dense numeral strings or any lettering too small to read cleanly. Beats, in order, each holding for the same length of time: 1. LOOK 01. Camera locked. They stand naturally, centred. The huge black type reading ONE HIT expands rapidly behind them and the editorial furniture snaps in on the beat, turning the clean studio into a bold magazine poster. 2. LOOK 01. Fast push-in to a close-up. They turn gently toward the lens, hair moving naturally, direct eye contact, calm and confident. The ground simplifies to black and white with film grain. 3. LOOK 02. The outfit changes on the beat. They hold a natural fashion pose, centred. The layout rebuilds completely around them into a new arrangement with an oversized headline, a barcode block and corner brackets. 4. LOOK 03. Medium shot. They take one confident step forward. The display type re-sets rapidly behind them; black and white stay dominant with stronger red accents. 5. LOOK 04. They make a gentle half-turn, hair swinging naturally. The ground flips to red and white - a huge headline, a scan-line band, heavy rules and a bold border. 6. LOOK 05. They lean slightly forward, relaxed and confident. Subtle low angle. Large red type slides into frame on the beat and locks hard against the frame edge. 7. LOOK 06. They drop into a crouching pose. Quick push-in. The layout completely rearranges around them, the headline and the marks landing in new positions. 8. LOOK 07. They stand again. Camera pulls back to a medium shot. The ground returns to black and white with a large headline and barcode elements. 9. LOOK 08. They walk confidently toward the lens. The ground switches to red and black; a new headline, scan-line bands and grid blocks stack in rapidly and the pacing tightens. 10. LOOK 09. Arms crossed, standing confidently, centred. Camera settles into a clean medium shot. The layout gradually simplifies until only a few premium magazine marks remain, a final graphic mark resolves, and the frame freezes on the last beat. Camera stays controlled throughout - locked holds, quick push-ins, subtle pull-backs, pose changes, graphic transitions and layout swaps. Maintain realistic hair movement, fabric physics and natural poses. Avoid: face drift, character replacement, body morphing, extra limbs, distorted hands, unstable proportions, messy typography, chaotic camera movement, random backgrounds, cartoon style, low-quality CGI, watermark, unwanted subtitles. No on-screen words other than ONE HIT.

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Your avatar turns to ash and is carried off on the wind, aware and reacting with a dramatic raised hand, in a windswept field at golden hour. Music only, loud. See the video step for the full prompt.

integrated_multimodal_description: A photoreal fashion spec sheet that animates, held in one locked-off vertical frame. Warm off-white paper ground, soft even warm-neutral light, no cast shadows, everything in focus, no colour grading, no film grain. The frame never pans, tilts, pushes or zooms; every change happens inside a still frame. REFERENCES — the attached images outrank every word here. @image1 is an absolute character lock: face, body, hair and everything worn in it are taken from it exactly, with no drift or reinterpretation in any shot. @image2, @image3, @image4 and @image5 are the four wardrobe lineups; reproduce each one exactly as composed — the three views, their order and spacing, the stance, the annotation rules and labels, the bottom-left wording and its colour, and the palette chips. Nothing is redesigned, recoloured or re-laid-out. This prompt names garments only by slot and never describes them; the lineups are the only source of garment design, colour and material. Shot 1: The figure from @image1 stands full length, front on, centred, alone in the frame. They turn slowly and evenly on the spot, front to profile, feet pivoting under them. Small registration ticks blink on and off in the empty margins around them. Shot 2: The turn continues through the back view and returns to front on. As they settle, the measurement overlay draws itself on from the top of the frame downward: rules extend, end ticks snap in, leader lines run out to the margins, and the numeric callouts fade up in place. The unit caption settles last. Shot 3: Cross-dissolve. The lineup in @image2 resolves in place of the single figure, all three views arriving together. The side rules draw down the edges, the dimension brackets snap across the top, and the bottom-left wording and the palette chips fade up. Shot 4: Cross-dissolve to the lineup in @image3, the three views ghosting in over the outgoing ones before they clear. The same annotation build runs: side rules, then brackets, then the wording and chips, the wording arriving in its own colour. Shot 5: Cross-dissolve to the lineup in @image4. The same annotation build runs in the same order, the wording again in its own colour, the chips landing one after another from left to right. Shot 6: Cross-dissolve to the lineup in @image5. The same annotation build runs a final time, and the frame holds steady once the last chip has landed. Every movement runs forward in normal time: the subject always travels in the direction their body faces and nothing moves in reverse. Between the three views inside any one lineup, nothing about the person changes. Do not generate any text other than what the attached lineups already carry. No logo, no watermark, no subtitles, no captions, no brand names.

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@image1 is an absolute lock for the object: shape, proportions, colour, material, surface finish and markings are taken from it exactly and must not drift, morph or be reinterpreted in any shot. @image2 is the storyboard and is followed exactly — same shot order, same framing, same hand positions, same camera distance, same bench and lighting. The object begins heavily soiled, dulled and discoloured, and is restored across the film to the exact condition shown in @image1. Nothing else about it changes. Five shots of equal length, hard cuts between them, no dissolves. Shot 1: gloved hands work a small abrasive pad back and forth across a soiled area in short firm strokes. Loose deposits lift, flake away and drift down out of frame. Shot 2: hard cut. The hands fold a dark cloth and draw it along the same area in slow overlapping passes, carrying away the loosened residue and leaving the surface beneath uneven and partly revealed. Shot 3: hard cut. A fingertip carrying a small dab of pale compound presses to the surface and works it in tight, even circles, leaving a soft opaque film in its track. Shot 4: hard cut. A clean cloth wrapped over the fingers draws steadily along the object and lifts the film away. The surface brightens behind the cloth as it travels, catching the lamp light in small moving glints along the cleaned edges. Shot 5: hard cut. The hands withdraw out of frame and the finished object is held alone while the lamp light travels slowly across its surface and settles. Camera: locked-off macro, one fixed framing per shot. No push in, no pull back, no pan, no tilt, no orbit, no handheld drift. Audio: close ASMR. The dry grain of the abrasive pad, the soft drag of cloth across the surface, the faint squeak of a fingertip working compound in circles, quiet room tone underneath. No music, no voice, no narration. Do not generate any text, captions, subtitles, watermarks or logos.

3 steps