TWO PEOPLE — PHOTOCOPY BOTH STILLS. Do not invent faces. @image1 = MAIN CHARACTER. Photocopy face, bone structure, olive skin, long curly dark-brown hair, brown eyes, mole, faint forehead scar, stubble. Athletic street clothes: black crew-neck t-shirt from the still is allowed, plus dark shorts and basketball shoes for the court. Same man every frame. @image2 = FRIEND. Photocopy face, bone structure, short swept blonde hair, blue eyes, light stubble. Do not give him black hair. Do not keep the navy leather jacket from the still on the court. On court he wears a faded navy basketball jersey over a white tee, black athletic shorts, white crew socks, worn black basketball shoes. Same man every frame. Never swap them. Never a third player. Never OPENCLIPS.AI type. 30 SECONDS, 16:9. Realistic live-action neighborhood basketball, late afternoon, worn blue-gray court, one hoop with glass backboard, chain-link fence, trees, houses. Warm sun. Handheld, fast, physically believable. Move about every two seconds. Only two people and one ball. Friend starts with the ball. After the steal, main keeps it. LINES (lip-sync): Friend at the sidewalk: "Wanna play? Loser buys the drinks." Main at the end: "I win!" TIMELINE 0–5s main exits a house, closes the door, walks to the sidewalk. Friend walks past dribbling, bobbles the ball, recovers, notices him, stops. Handheld medium-wide, pan from main to friend. 5–9s friend bounces once, gestures at the court, says the line, confident smile. Main nods and takes the ball. Two-shot, both faces. 9–12s cut to the court. Both walk on. Friend stretches, bounces on his feet. Main drops into defense. Friend starts dribbling. Establishing then low track. 12–14s friend two hard dribbles right; main slides; friend crossover left. 14–16s friend drives left; main forces him to the sideline; friend spin move. 16–18s main reaches; friend pulls back, pivots, protects with the shoulder. Shoe squeaks. 18–20s friend fakes a drive, stops, sprints; main bites on the fake. 20–22s main recovers, taps the ball loose. Both sprint for it. 22–24s main gets there first, dribbles to the hoop; friend chases. 24–26s two dribbles, sharp step-back behind the arc; friend contests too late. 26–28s jump shot; AFTER release, slow-mo; ball high arc. 28–29s swish, net snaps; back to real time. 29–30s main lands, both arms up, shouts "I win!" Friend head down, shoulders slump under the hoop. AUDIO: outdoor air, ball, squeaks, footsteps, the two spoken lines, rim/net. No BGM. No subtitles.

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30-second 16:9 Seedance clip. Identity and costume come ONLY from the attached images: @image1 is the face, @image2 is the full character (body, techwear, palette, katana, scabbard). Photocopy those. Do not describe the character. Do not invent a different face, outfit, or sword. Setting: a vast sci-fi spaceship — stacked hangar decks, grated catwalks, a cargo pit instead of a ravine. Same fight beats as an uphill battle, mapped onto ship architecture. Dozens of enemies on the lower hangar floor, mid catwalk terrace, and upper switchback ramp. Spearmen with energy shafts, swordsmen, riot shields. Survivors pursue upward through the decks. Graphic sci-fi action, strong silhouettes. White-hot blade arcs, crimson contact, cyan trails. Hits have immediate local results; defeated bodies stay down. No energy web, no remote mass-kill. Camera coupled to sword momentum: blade-height whip tracking, orbits, snap zooms. 0–7s SHOT 1: Low wide tracking beside the legs on the hangar floor. Spearmen surge down the ramp, swordsmen through gaps. Iaijutsu draw beats a spear aside, kills the exposed swordsman, ducks an overhead. Neighbor countercuts; snap-zoom on crossed blades, whip upward to the next deck. A shield drives from above; pivot around its edge, cut the wielder, spring past into the blade trail. 7–15s SHOT 2: Rising half-orbit outside the mid catwalk, cargo pit plunging below. Kick off a bulkhead into an aerial spin. Spearman tracks the landing; deflect, reverse-grip in midair, kill a second attacker on descent. Rebound into a rising countercut. Ride a cyan arc into the next shot. 15–22s SHOT 3: Slingshot along the upper switchback ramp, camera retreating just beyond the blade. Shielded reinforcements charge down. Spinning cuts, resheath-and-draw. A shield shoves toward the pit; plant at the edge, cut the wielder. Duck a countercut, gain the next step. Rising white-hot arc eclipses the lens. 22–30s SHOT 4: Burst onto the upper approach. One uninterrupted combination through the remaining force: iaijutsu, reverse-grip, aerial spins. Each kill is blade contact. Last cut onto the upper lip, low finishing stance, blade extended. Wide three-quarter: enemies motionless along the decks. AUDIO: steel, ship hum, impacts. No voiceover. No on-screen text. NEGATIVE: no mountain, no traditional robes, no character redesign, no captions.

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REFERENCES @image3 controls only the man's face, hair colour, skin, eye colour and build. Do not copy wardrobe, background, pose, framing or lighting from @image3 . @image1 controls only the pack geometry, colour, finish and all label text. Do not copy background, hands, lighting or scale from @image1 . SCENE Late afternoon on a quiet country road. @image2 and @image3 are sitting side by side on the hood of a classic late-1980s car, @image3 on the left, @image2 on the right, both turned slightly toward each other with their knees almost touching. The car's paint, badge and grille read clearly below them. Behind them the road falls away into blurred trees and a low sun, and the frame holds only the two of them, the hood, and the treeline. WARDROBE @image3 wears a faded blue denim button-up open over a plain white T-shirt, high-waisted relaxed blue jeans and a worn leather belt. His hair has authentic late-1980s volume. @image2 wears a loose oversized white blouse with rolled sleeves tucked into high-waisted light-blue denim jeans, and a small vintage wristwatch. Her hair is styled with late-1980s volume and body, colour and length exactly as @image2 . Both are dressed and groomed as real people in 1988, never as a costume. LIGHT One condition, unchanged across every beat. Low warm afternoon sun from frame-right, flaring gently at the edge of the lens. Warm rim on the sides of their hair and jawlines. Soft bounce off the pale car hood filling the shadow side of both faces. Subtle atmospheric haze between them and the treeline. No fill light, no studio lighting. CAMERA Locked-off eye-level two-shot on a 50mm lens, chest-up on both of them, with one very slow push-in across the whole clip. Shallow depth of field so the treeline stays soft. Slight handheld weight, never a visible operator move, never a cut. 0:00-0:03 @image3 turns toward @image2 and looks at her with a small affectionate expression. @image2 is already looking back at him, her hand flat on the hood between them. The low sun catches the edge of her hair. Neither of them speaks. A single slow blink from @image2 . 0:03-0:05 @image3 leans in slowly toward @image2 . @image2 reads it, lifts her chin, and leans in to meet him. Both sets of eyes lower. They stop a few centimetres apart. Her fingers curl slightly against the hood. Neither of them speaks. 0:05-0:06 @image2 stops dead. Her eyes snap open and she pulls back one sharp inch, her nose wrinkling. @image3 stays exactly where he is, eyes still closed for a beat, then opens them. 0:06-0:08 @image2 holds @image3 at arm's length with one flat palm on his chest and looks straight at him. Her mouth moves only for her own line. At 0:06 she says, flatly and a little appalled: "Wait, did you eat garlic?" 0:08-0:09 @image2 turns her face away an inch and fans the air once with her free hand. @image3 stays where he is, still leaning, and starts to realise what she means. At 0:08 she says, short and disgusted: "Ew." 0:09-0:10.5 @image2 keeps the palm on his chest and digs into her front jean pocket with the other hand. @image3 opens his mouth to answer and closes it again. At 0:09 she says, without looking at him: "I'm not kissing that." 0:10.5-0:12 @image2 brings @image1 up between them and thumbs one piece free of the pack. The label on @image1 crosses the frame in focus for this beat and is sharpest here. @image3 watches her hands, eyebrows going up. At 0:10.5 she says, business-like: "Here, chew this first." 0:12-0:13.5 @image2 puts the @image1 straight into @image3 hands. He lets her, too surprised to stop it. She sits back and folds her arms, while @image3 still in @image3 hands. One object only, never a second pack anywhere in frame. At 0:12, starting before opening @image1 , @image3 says, defensively: "It was one piece of bread." 0:13.5-0:15 @image3 opens @image1 , slowly, and looks at @image2 completely bewildered. @image2 raises her eyebrows at him and does not move. At 0:13.5, @image3 says: "One." From 0:14.2 to the last frame neither of them speaks. They hold the look, the sun flares once at the lens edge, and the car and treeline are unchanged. PERFORMANCE Played straight, never mugged. The first three seconds are a genuine romantic beat with no comedy in them, and the turn at 0:05 is the whole joke, so it must be sudden and physical rather than acted out in advance. @image2 is practical rather than cruel about it. @image3 is not offended, only confused, and stays confused to the last frame. Real weight shifts, real breathing, small unconscious adjustments on the hood. VOICE @image2 : female, warm and bright, unhurried American. @image3 : male, dry and slightly flat American, lower placement. Each mouth moves only during that person's own lines. Realistic lip articulation, no exaggerated mouth opening, no head turns while speaking. Natural breaths. REALISM Pore-level skin realism on both faces, fine texture, faint natural shine on the forehead in the warm light, real eyebrow and lash detail, wet living eyes with catch-lights and natural asymmetric blinking. Flyaway hairs catching the low sun. Denim shows real weave, creasing and wear. The car hood shows fine swirl marks and dust in the raking light. PHYSICS Both bodies carry weight on the hood and the suspension settles very slightly when @image2 sits back at 0:12. Hair moves with real inertia when she pulls back and a few strands fall across her face. Cloth creases and drapes naturally under the lean. @image1 has real weight and correct contact shadow against her hand. Correct contact between her palm and his chest. FILM LOOK Authentic 35mm analog film capture. Warm muted vintage colour, slightly faded highlights, gentle brown and beige tones, low-to-moderate contrast, subtle halation around the sun and the brightest edges, fine authentic film grain, mild lens imperfections, slight softness away from the centre, faint gate weave. It should read as a genuine home-shot film clip from 1988, imperfect and warm. AUDIO Natural ambient only: warm outdoor air, distant birds, a car passing far off, the faint creak of the hood under their weight, the small crackle of the pack. Ambience ducks slightly under each line. LOCKS Same face, hair colour and length, skin and eye colour as @image2 for the woman in every beat, first frame to last. Same face, hair colour, skin and eye colour as @image3 for the man in every beat, first frame to last. Same wardrobe on both from first frame to last, fully covered throughout. @image1 stays one object, correct one-hand scale, label text correctly spelled and legible whenever in focus, sharpest in the 0:10.5-0:12 beat. Exactly two people in frame, four arms and four hands total, anatomically correct with five fingers each. Same car, same road, same warm low sun from frame-right, first frame to last. Spoken lines exactly as written, in order, at the stated timings, with accurate natural lip-sync, and each line spoken by the named person only. AVOID No cuts. No slow motion. No repeated action. No second or duplicate product. No modern cars, no modern clothing, no modern hairstyles, no contemporary styling. No digital sharpness, no CGI look, no glossy studio lighting, no retouching, no skin smoothing, no commercial polish. No on-screen text, no captions, no subtitles, no music. No logos other than the product's own packaging. No third person in frame and no reflection of the camera anywhere in the shot.

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TWO LEADS — PHOTOCOPY BOTH STILLS. Do not invent faces. Do not swap them. @image1 = FEMALE LEAD. Photocopy her face, bone structure, skin, long blonde hair, green eyes, body. ALSO photocopy her outfit from that photo (the prompt has no wardrobe for her): burgundy corset bodice with black leather harness straps and silver rings, high-slit burgundy skirt, ivory chiffon cape that ombrés to blood-red at the hems, black gladiator lace-up sandals, small hoop earring. She fights with a jian / straight sword. Same woman and same clothes every frame. @image2 = MALE LEAD. Photocopy his face, bone structure, skin, wavy dark-brown hair to the jaw, body. ALSO photocopy his outfit from that photo: wide black kasa/sugegasa straw hat, black kimono and hakama, black sash, katana at the left hip, black tabi. Same man and same clothes every frame. The hat can tilt in motion but stays on. Never give him her burgundy dress. Never give her his kasa. Never a third human. Never OPENCLIPS.AI type. SETTING: vast ornate temple hall from the source film — gilded dragon columns, wet reflective stone floor, thousands of candles, teal mist, high vault. 16:9. 30 seconds. One continuous action sequence. No dialogue, no subtitles, no on-screen text. LIGHTNING (required on every clash): whenever the two swords collide, a bright white-blue lightning arc flashes along both blades and a fork of electricity cracks the air at the contact point — not ordinary orange sparks alone. Every bind, parry and strike that meets steel = lightning. CORE: zero-delay chaining; scene changes only via their bodies (slam a column, leap from a pillar, crash through candelabra); real weight — blocked hits shove the other back, feet slip, bodies twist. Camera follows limbs; never orbit a frozen pose. BEATS (30s) 0–2s already sprinting from opposite ends of the hall, full-speed clash at centre. Blades meet with a lightning burst; both recoil half a step; floor tiles crack. No establishing pause. 2–7s close melee: he sweeps a wide horizontal cut; she drops almost to the floor, blade skimming her nose, a lock of blonde hair cut; she springs up with a straight thrust to his chest; he spins, wrists reverse to bind. Swords lock, shoulder to shoulder, then both shove off with lightning at the bind. Two steps back. 7–9s the shove sends him into a dragon column; he rebounds, runs vertically up the pillar; she explosive-jumps after. Two or three lightning clashes on the column, blades scarring the gilt. 9–12s he is forced to the beam; her heavy blow knocks him off; he mid-air flips, diving slash; she drops from the column to meet it. Landing clash — lightning + sparks, arms visibly shake. Now they are on the hall floor again. 12–17s densest round: she three accelerating cuts (he sidesteps, then floor-dodge, then ducks under and slashes at her waist). Her cape corner splits. He lunges; she barely slips, fabric tears at the shoulder; she counters so hard his blade rings and the tsuba cracks; he staggers two steps. 17–21s bind at close range, simultaneous break, charge again — they smash a row of candelabra; candles snuff then relight from the sword-wind; they keep fighting through fallen candles and oil, lightning every contact, water-mist from the wet floor. 21–26s peak speed: cut, thrust, parry, counter in two–three seconds, each hit a lightning flash plus body feedback. Teal-green sword qi spirals. No frozen frame. 26–29s simultaneous all-out strike; blades meet; a hall-wide teal-white lightning shockwave hurls both back several metres; tiles and columns crack; candles gutter; camera shake then soft defocus. 29–30s smoke thins. Both still on their feet, one knee or standing, chests heaving, sword-hands shaking from exhaustion. Remaining candles relight. Wide two-shot. Hold. No titles. AUDIO: steel, thunder-crack on every clash, stone, fire, breath, shockwave. No BGM. No speech.

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Cyberpunk action-comedy, missed-train revenge set in a neon mega-city transit station. Rain on plexi, magenta/cyan signage, wet concrete, holographic ads.

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@image1 is the man. Photocopy face, bone structure, brown hair, blue eyes, stubble, athletic build. Do not keep OPENCLIPS.AI. Outfit follows the beats below, not the black tee from the still (except identity). @image2 is the dog in every shot where a dog appears. Photocopy this exact Bernese Mountain Dog: large tricolor, black body, rust legs and cheeks, white chest blaze and muzzle, white feet, brown eyes. NOT a blue merle border collie. Same dog every time. 30 SECONDS, 4:3. Provençal stone farmhouse, golden morning. Photoreal. No on-screen text. BEATS 0–4.5s bedroom: he sleeps on his side in charcoal boxers, bare-shouldered, the Bernese curled on his chest. Dog licks his jaw; he squints, sleepy smile, rubs its neck. 4.5–6.5s kitchen: two eggs into a smoking cast-iron skillet, butter spit; his torso and boxers behind the pan. 6.5–8.5s floor: kibble rattles into a metal bowl; the Bernese dances then dives in; he stands barefoot over it. 8.5–10.5s table: he eats standing, tosses a scrap; the dog leaps and snaps it from the air. 10.5–12.5s sink: splashes cold water on his face, slicks wet hair back. 12.5–14.5s he puts on an off-white pinstripe work shirt, rolls both sleeves above the elbow, pulls khaki Y-back suspenders taut. 14.5–16s foot into a brown leather boot, laces yanked; the dog already waiting by the door, tail sweeping. 16–18.5s stable aisle, dust motes: he walks with the dog at heel, hand along a bay horse's neck. Two bay horses in stalls. 18.5–21.5s paddock gate: he leads both horses out, dog sweeping behind their heels; horses trot; he latches the gate. 21.5–24s chopping block: axe rises against the sun, one clean strike, log splits; he sets the next log. 24–27.5s gallop left to right on the darker bay, body low; the Bernese sprints alongside; dust in golden backlight. 27.5–30s handheld selfie on horseback, walking pace, grin, horse ears and fields; dog trots into frame; loose two-finger salute, looks to the horizon. AUDIO: birds, skillet, kibble, water, boots, horses, axe crack, gallop, dog pant, light fingerpicked guitar under. No speech. No titles.

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