Asset referencing: @image1 is the first frame of this video: a completely closed cream greeting card standing on a pale pink table, folded like a closed book with its fold on the LEFT side, held at its edges by two hands. @image2 is the last frame of this video: the same card opened sideways like a book, its vertical fold in the middle, with a colourful paper pop-up party scene — paper balloons, a flag garland, paper stars and a flat cut-out paper figure of THE PERSON — and the words "You're Invited!" printed inside. Together they define the card, the pop-up scene, the paper figure, the lettering, the hands, the light and the framing. ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached frames outrank every word written below them. Wherever the images and this text disagree, follow the images. The paper figure keeps exactly the face, hair and clothing it has in @image2 for the whole film. THE POP-UP — this is the whole point of the film: the card starts fully shut. The card opens sideways like a book: its fold is the vertical crease on the LEFT side, and the right hand swings the front cover open to the LEFT around that fold in one smooth, continuous movement, until the two halves stand open on the table like an open book with the fold in the middle, exactly as in @image2; it never opens upward or downward and never folds back shut — and as it opens, the whole paper scene springs up out of the fold in layers: the balloons lift and bob on their paper strings, the flag garland pulls taut across the top, the little paper stars flip up, and the paper figure of THE PERSON rises upright in the centre. Then, as if by magic, the paper figure comes alive like a paper puppet: its one paper arm swings up at the shoulder on a tiny paper hinge and waves at the viewer, then settles back down to its side. THE PAPER FIGURE NEVER CHANGES SHAPE: it stays exactly the size and outline it has in @image2 — cut off above the knees, flat as a single sheet of card, with a thin white paper border around its edge. It never grows legs or feet, never becomes rounded or three-dimensional, never becomes a real person, and never grows taller. Only its waving paper arm moves on the hinge. Summary: a playful pop-up invitation film in one unbroken take in which hands open a closed card, a paper party scene springs up out of it, and the paper cut-out of the visitor waves under the words "You're Invited!". Timeline: 0–1s — The framing of @image1: the card is completely closed, the hands holding its edges. 1–4s — The front cover swings open to the left around the vertical fold, like the cover of a book, and the pop-up scene springs up in layers — balloons lifting, the garland pulling taut, stars flipping up, the paper figure rising upright — while "You're Invited!" comes into view. 4–8s — The flat paper figure of THE PERSON swings its paper arm up on its hinge and waves at the viewer, while the paper balloons bob gently. 8–10s — The paper arm settles back down, the scene comes to rest, and the film arrives at the framing of @image2. Notes: everything is made of paper and card and moves the way paper moves — folding, springing, bobbing. The card opens once and never closes again. The paper figure stays a flat paper cut-out. The lettering reads "You're Invited!" whenever it is visible. The same two hands appear throughout. The camera stays still at card height with no cuts, and the film runs as one unbroken take. No subtitles. No BGM; generate only environmental sounds and action sounds: a crisp, playful mix — the stiff creak of the card opening, the lively snap and flutter of paper layers springing up, the tiny tick of the paper hinge as the arm waves, and a cheerful quiet room ambience, to the last frame.
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15 seconds, 9:16. Seedance 2.5. ONE CONTINUOUS UNBROKEN TAKE — no hard cuts. Locked frontal tracking camera moving BACKWARD to match his flight speed. WILLIAM LOCK: @image1 is William — photocopy his face, hair, eyes and facial hair exactly as shown. Wardrobe: black ribbed tank, blue jeans, brown belt, black combat boots. Adult. Arms visible. NOT shirtless. No jacket over the tank. SETTING: Hong Kong at dusk. Harbour, neon, ferry, narrow streets, skyscrapers. AUDIO: wind, water, city. No speech. No lyrics. 0.0–5.0s APPROACH. He flies horizontally just above the water toward the skyline. Rapid barrel roll to dodge. Camera tracks backward, locked on him. 5.0–10.0s SLOW-MO DODGE. Past a ferry into the city. Slow-motion as he flies extremely close to a glowing ORANGE neon sign. Both arms reach forward, focused expression, dodging structures. 10.0–15.0s CITY SPRINT. Full speed. Bursts through a splash of water. Flies down a busy narrow street flanked by skyscrapers, ducking under a concrete overpass. HOLD. NEGATIVE: shirtless, nude, jacket, hard cuts, overlay type, weapons, extra people as heroes, recast face.
15 seconds, 9:16. Seedance 2.5. Cinematic PARKOUR at dusk. HARD CUT between shots. ~3.7s each. ERIC LOCK: @image1 is Eric — photocopy their face, hair, facial hair and features exactly as in @image1. Adult. IGNORE casual clothes in @image1. Dark suit, flowing long coat. Same person every frame. SETTING: illuminated NYC skyline at dusk. Sprawling rooftops. Other men in dark suits running behind Eric — anonymous extras, not celebrities. AUDIO: wind, city, helicopter, footsteps. No speech. No lyrics. SHOT 1 (0.0–3.7) Front-facing tracking. A helicopter spotlight SNAPS onto a high-rise rooftop, instantly illuminating Eric already in a full sprint TOWARD the camera. Suited runners behind Eric matching pace. HARD CUT. SHOT 2 (3.7–7.5) Wide profile. Eric hits the ledge at speed and executes a sweeping cinematic leap off the building, soaring with forward momentum over the glowing cityscape. HARD CUT. SHOT 3 (7.5–11.2) Ground-level tracking. Eric hits the lower rooftop and drops into a fluid, SAFE forward shoulder roll, then springs out of the rotation without breaking stride. HARD CUT. SHOT 4 (11.2–15.0) Fast pan. Eric accelerates from the roll, sprints the gravel roof, and launches off the next ledge into the night. HOLD. NEGATIVE: weapons, fight, crash into people, overlay type, Mateo, William, brown bomber, skipped shots, extra celebrity faces.
Asset referencing: @image1 is the first frame of this video. It shows an old newspaper called "THE BIRTHDAY TIMES" on a wooden table, with the headline "YOU'RE INVITED!" and a large black-and-white photo of THE PERSON on the front page. It defines the newspaper, the masthead, the headline, the photo, the table, the light and the framing of the opening shot. ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached first frame outranks every word written below it. Wherever the image and this text disagree, follow the image. THE PERSON in the photo is exactly the person printed in @image1, with the same face, hair, clothes and background, for the whole film. THE LIVING PHOTO — this is the whole point of the film: the photo printed on the front page comes to life, like magic, while the rest of the newspaper stays ordinary paper. Inside its black border, still in black and white, THE PERSON in the photo blinks, their face lights up, they break into a big warm smile, lean slightly toward the viewer and give a cheerful wave, then point playfully at the headline above them. The printed paper around the photo, the headline and the masthead never move; only the picture inside the border is alive. Summary: a playful invitation film in one unbroken take in which the black-and-white photo on the front page of "THE BIRTHDAY TIMES" comes to life and the person in it smiles, waves and points at the headline "YOU'RE INVITED!". Timeline: 0–2s — The framing of @image1. The newspaper lies still; a soft breeze stirs the corner of the page. 2–4s — The photo on the front page begins to move: THE PERSON blinks and looks up into the lens, their face lighting up. 4–7s — THE PERSON breaks into a big warm smile and waves cheerfully at the viewer from inside the photo, the camera pushing in slowly toward the page. 7–10s — THE PERSON points up playfully at the headline "YOU'RE INVITED!" above the photo and laughs, as the camera settles with the headline and the living photo together in the frame. Notes: the newspaper, the masthead "THE BIRTHDAY TIMES", the headline "YOU'RE INVITED!", the grey columns of newsprint, the table and the light stay exactly as in @image1. Only the picture inside the black border moves, and it stays black and white. The camera moves as one slow continuous push-in with no cuts, and the film runs as one unbroken take. No subtitles. No BGM; generate only environmental sounds and action sounds: a soft, warm mix — the gentle rustle of newspaper in a light breeze, a faint magical shimmer as the photo comes to life, a small happy laugh, the soft crinkle of the paper, and the quiet ambience of a sunny morning kitchen, to the last frame.
Create an ultra-photorealistic MONOLITHIC ORIGAMI transformation from the exact bare room in @image1 to the exact finished room in @image2, static locked first-person POV camera; a black-gloved hand performs ONE finger snap, then large architectural planes sequentially unfold and become the floor → feature walls → built-ins → coffee table → armchair → HERO sofa → rug → curtains → decor → lighting; hard folded geometry transforms into real stone, wood and metal, while the sofa and armchair visibly soften into upholstery and cushions with realistic weight and settling; large calm precise folds, one element at a time, realistic physics and contact shadows, no paper/cardboard look, particles, magic, glow, flying objects, extra gestures or camera movement; finish with warm light and hold the exact completed room to the end.
@image1 (look 1 outfit sheet) and @image2 (look 2 outfit sheet) are absolute locks for the person and for both outfits: face, body, hair, garments, materials and colours are taken from them exactly, with no drift or reinterpretation at any point. @image3 is the storyboard and is followed exactly — same framing, same camera position, same progression of states. Photoreal fashion-campaign film. Real fabric physics throughout: knit that follows the body, leather that creases and catches highlights, heavy wool that carries weight and swings with the stride. Soft high-key studio light, neutral colour, shallow depth on the backdrop, fine natural grain. One continuous locked-off take. The camera does not move, zoom or rotate at any point — a single fixed frontal setup at chest height, the figure centred, floor visible, seamless backdrop behind. The person walks steadily toward camera in the first look, one measured stride after another, arms swinging naturally, shoulders level, gaze forward. The walk continues and the wardrobe transforms in place without a cut. The gathered hair releases and sweeps outward, then settles long and loose. At the same time the second look grows over the first: the jacket forms across the torso from the centre outward, panel by panel; the trouser fabric unfurls downward over the boots and pools at the floor; the necklaces layer in at the throat one strand at a time. The first look stays visible underneath as this happens and is progressively covered, never cut away. The walk continues in the second look, the same measured stride, the long trouser hem dragging and trailing behind on the floor, the necklaces swinging lightly against the chest, the hair moving with each step. Audio: quiet studio room tone, the soft brush of fabric and the muted contact of each footfall. No music, no voice. Give each of the three stages the same amount of screen time so the transformation sits in the middle of the take. Do not generate any text, captions or subtitles. Do not generate a logo or a watermark. No cuts, no cross-dissolves, no flashes, no speed ramps. No additional people, no props, no set dressing.
15 seconds, 9:16. Seedance 2.5. Fast cinematic PARKOUR, overcast city. HARD CUT between shots. ~2.5s each. Handheld tracking, quick pans. WILLIAM LOCK: @image1 is William — photocopy his face, hair and facial hair exactly as shown; wearing a BROWN LEATHER bomber, olive t-shirt, dark cargo pants, brown boots. Same man every frame. Adult. Athletic lead runner. Two other RUNNERS in dark clothing matching his pace behind him. Anonymous, not aggressive, not celebrities. AUDIO: footsteps, wind, city. No speech. No lyrics. SHOT 1 (0.0–2.5) Wide tracking. William sprints a flat rooftop, two runners behind matching pace. Fast pan as he vaults a low wall. HARD CUT. SHOT 2 (2.5–5.0) Low angle. He leaps athletically across a wide alley gap. The following runners take the same path. HARD CUT on landing. SHOT 3 (5.0–7.5) Ground-level tracking. He slides smoothly under rooftop pipes, recovers footing, jumps gracefully from the building edge. HARD CUT. SHOT 4 (7.5–10.0) High angle looking down. He descends from fire-escape scaffolding onto the roof of a passing grey delivery truck. HARD CUT. SHOT 5 (10.0–12.5) Fast pan. He leaps from the moving truck onto wooden crates, then a controlled safe roll onto the wet street. HARD CUT. SHOT 6 (12.5–15.0) Medium tracking. He sprints, glides over the hood of a yellow taxi, glances back at the runners. HOLD. NEGATIVE: violence, weapons, crash, fight, overlay type, Mateo, Istanbul, skipped shots, celebrity extras.
Asset referencing: @image1 is the first frame of this video: a large sealed burgundy envelope with a whole ivory wax seal on its flap, on dark velvet, with two hands on it. @image2 is the last frame of this video: the same hands holding up an ivory invitation card, smaller than the envelope, with THE PHOTO in a gold frame and the words "You're Invited", above the opened envelope, with the wax seal lying loose on the velvet beside it. Together they define the envelope, the card, the photo, the hands, the light and the framing. ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached frames outrank every word written below them. Wherever the images and this text disagree, follow the images. THE PHOTO on the card is exactly the photo in @image2 and never changes. THE OPENING — this is the whole point of the film: the fingertips peel the whole wax seal off the flap in one piece with a soft crackle and set it down on the velvet to the left of the envelope, then lift the flap and slowly draw out the thick ivory invitation card, which is smaller than the envelope and slides out of it easily. As the card slides free, they lift it up and turn it toward the camera, revealing THE PHOTO in its gold-foil frame and "You're Invited" in gold script beneath it. Summary: an elegant invitation film in one unbroken take in which hands break the wax seal of a burgundy envelope and draw out an ivory card that shows the visitor's photo in a gold frame above the words "You're Invited". Timeline: 0–2s — The framing of @image1. The fingertips peel the whole wax seal off the flap and set it down on the velvet to the left of the envelope. 2–4s — The hands lift the flap and open the envelope, and the top edge of the ivory card appears inside. 4–7s — The hands slowly draw the card out of the envelope and lift it up toward the camera, the gold foil catching the candlelight. 7–10s — The card is held still facing the camera, as in @image2: THE PHOTO in its gold frame and "You're Invited" beneath, the candlelight flickering softly across the foil. Notes: the envelope, the velvet, the hands and the warm candlelight stay as in the two frames. Once the seal is off, it lies on the velvet beside the envelope for the rest of the film and never returns to the flap. The card is always smaller than the envelope. The only lettering is "You're Invited" on the card. The camera eases back slowly and continuously from the closer framing of @image1 to the wider framing of @image2, with no cuts, and the film runs as one unbroken take. No subtitles. No BGM; generate only environmental sounds and action sounds: a close intimate mix — the soft crackle of the wax seal peeling away and a small tap as it is set down, the soft rasp of thick paper as the flap lifts, the smooth slide of the card out of the envelope, a faint rustle as it turns, and the quiet crackle of candles in a hushed room, to the last frame.
CHARACTER LOCK - HIGHEST PRIORITY: @avatar is the person on the attached look sheet (the first reference image), exactly as shown - the face matches the large portrait on that sheet and the look matches its full-length views. 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 second reference image is the location: follow its platform, lighting and palette exactly. Nothing is added to @avatar's look that is not on the sheet. Photoreal fashion film, music-video energy, vertical 9:16, 10 seconds. Mixed handheld fashion-cam and locked beauty close-ups, shallow depth of field on the face, the passing train smeared into silver-and-light streaks behind. A train rushes past behind @avatar for the whole film; its wind keeps the hair and the outfit moving throughout. 0.0-1.3s MEDIUM CLOSE-UP, handheld. @avatar stands shoulder to the lens and looks back over it straight into camera as the train screams past. 1.3-2.6s CLOSE PROFILE, locked. @avatar lifts a lip balm and applies it, the train wind catching the hair and the outfit. 2.6-3.6s MEDIUM CLOSE-UP, handheld. A quick turn to face the lens, the outfit swinging with the turn, eyes on camera, a slight smirk. 3.6-5.0s WIDER, knees up, handheld drifting left. @avatar touches the collarbone and runs a finger along the strap of the bag, the bag readable at the hip, the train still running behind. 5.0-6.0s MEDIUM CLOSE-UP, locked. Head tipped back, chin up, the hair and the outfit catching the rush. 6.0-7.2s MEDIUM SHOT, handheld. Shoulder to the lens again, @avatar looks back over it and breaks into a smile. 7.2-8.2s MEDIUM SHOT, handheld. A hand sweeps up over the head in a fast toss as @avatar turns partly away, face still three-quarter to the lens. 8.2-10.0s TIGHT CLOSE-UP, locked beauty framing. @avatar brings the fingers to the lips and blows a kiss to the lens, then breaks into a wide smile, the flower still behind the ear. Every movement runs forward in normal time: @avatar always moves in the direction the body faces and nothing moves in reverse. Audio: an upbeat instrumental dance-pop / Latin-pop track, with the train's rumble low underneath. No speech, no dialogue, no lyrics, no voice-over. No other people in focus. No text, no captions, no logos, no watermarks, no end card.
A dog loses its mind while a delivery box is opened in a quiet living room. Twelve seconds: the wait, the tape, the film, the strain, the collapse.
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