30 seconds, 9:16. ONE continuous take. action-cam forehead POV then selfie. Photoreal. Adult man. WILLIAM LOCK: @image1 is William — photocopy his FACE, hair and facial hair exactly as shown. IGNORE whatever clothes are in @image1. Face only appears in the last 8 seconds. OUTFIT the whole clip: BLACK tank, RED swim shorts with WHITE FLOWERS and white drawstrings, barefoot. Not navy. Not mustard hibiscus. Canyon: PNW pine forest, basalt hexagonal cliffs, turquoise spring pool, two waterfalls, submerged logs, pink-and-white tube. 0–2s POV looking down from the cliff. Bare feet on the ledge, RED floral shorts at the bottom of frame. Hands at sides. Toes curl. Right hand tosses the pink-and-white tube; it falls to a speck on the water. 2–4s Nervous tilt down, exhale, two steps back. Spoken, hyped: "Three, two, one!" 4–7s Slow-mo takeoff. Two running steps, last foot leaves the ledge. Arms out. Canyon opens below. 7–13s Real-time fall. Frame wobbles. "Woooooo!" Walls streak. Water rushes up. Pencil dive. 13–14s Feet-first splash. Bubbles swallow the lens. 14–17s Underwater, sun shafts, logs, one breaststroke, kick up. 17–19s Surface. Grabs the tube. 19–22s Bobbing, tilt up at the cliff. Spoken: "Yeah, dude! That was insane!" 22–30s Still in the water, he TURNS the camera around to himself, holding it like a selfie. WILLIAM's face now in frame, wet, excited, same energy. He looks into the lens. Spoken, excited: "Have to try this again!" HOLD. AUDIO: wind, waterfall, splash, spoken English. Chill electronic without lyrics. No overlay type. NEGATIVE: navy shorts, mustard flowers, clothing from @image1, overlay captions, extra people, 16:9.

15 seconds, 1:1. Photoreal night Shibuya. Hard cuts. Cinematic. ELARA LOCK: @image1 is Elara on the STREET — photocopy their FACE, hair and features exactly as in @image1. IGNORE the background of @image1. STREET OUTFIT: charcoal blazer, white shirt, dark mini skirt, black pumps. Same person in the crowd shots. POSTER LOCK: @image2 is the ONLY billboard ad — Elara exactly as pictured in @image2. Photocopy that poster onto the giant screen. Do not redesign. Night city, crowds glance and point. Elara walks, confused, looks UP. 0.00–1.70 High angle sidewalk, Elara walking. HARD CUT. 1.70–3.30 Side follow. Passerby turns, someone points. HARD CUT. 3.30–4.90 Front face CU, slight confusion. HARD CUT. 4.90–6.60 High oblique, more looks. HARD CUT. 6.60–8.50 Follow. Elara checks left/right, then looks up. HARD CUT. 8.50–10.80 Face closer. Gaze UP. HARD CUT. 10.80–15.00 Building-wall digital billboard showing @image2. FIRST the full @image2 poster fills the screen. Camera PUSHES IN continuously to a CLOSE-UP of their made-up face. Then the person ON THE POSTER winks once and freezes. HOLD. AUDIO: city, cinematic BGM. No speech. NEGATIVE: character-sheet text, overlay captions, the @image1 background, extra hero faces.

@image1 (product plate) is the absolute product lock: silhouette, proportions, structure, materials, finish, colour and every existing marking are taken from it exactly and must not drift, restyle, recolour or change in any shot. @image2 (storyboard) is to be followed exactly — same shot order, same framing, same camera position and same staging in every beat. Photorealistic cinematic product-detailing film, filmed as authentic first-person footage. Realistic wide-angle action camera around 18mm equivalent with subtle optical distortion, natural handheld walking motion, tiny wrist corrections, realistic autofocus breathing and physically accurate motion blur. Begin extremely close on one corner of the product, completely buried under thick dried brown grime. The contamination has irregular texture, cracked areas, wet streaks and heavy buildup packed into every recess, seam and lowest surface. Gloved hands enter naturally from the bottom of frame holding professional cleaning equipment. Slowly step backward to reveal how dirty it is. Then the operator raises a professional foam cannon and sprays intensely saturated pink cleaning foam across the upper surface and the nearest corner. Show the liquid leaving the nozzle as real atomized spray. Foam gradually accumulates instead of appearing instantly. Pink cleaner mixes with brown dirt, becomes darker in contaminated areas, drips downward under gravity and splashes onto the tiled floor. Then move quickly but naturally in toward the most intricate part of the product. Capture an intimate close view as a detailing brush scrubs into a tight recess. Thick pink foam moves around the brush fibers, dirty liquid runs down the lowest surfaces and small droplets hit the camera lens. Preserve realistic hand pressure, brush deformation and imperfect human movement. Then pick up a pressure washer and begin rinsing the product from close range. The water jet physically cuts a clean path through the brown and pink foam, revealing the product's own untouched finish and true colour underneath. Follow the cleaning line across the upper surface and around to one side. Water sheets over the surface, beads along edges and explodes into fine mist where it strikes. Dirty runoff spreads naturally across the floor drain. Then a smooth handheld orbit around the nearest corner as the last foam is rinsed away. Bright rectangular ceiling lights stretch as realistic reflections across the newly clean wet surface. Water droplets remain across the product. Daylight from the open entrance softly mixes with the neutral white indoor lighting. Finish with a clean wide hero view of the pristine product from a low three-quarter angle. The operator lowers the pressure washer into the foreground while water continues dripping. Hold briefly on the transformation with no artificial camera flourish. Give all six beats equal screen time. Prioritize physical realism above spectacle. Accurate water physics, changing foam density, believable reflections, natural shadows, correct hand anatomy, consistent product geometry, stable proportions and unchanged surface detail from first frame to last. Include tiny lens droplets, subtle camera exposure adjustment when turning toward daylight, slight footsteps and restrained handheld shake. No morphing, no floating tools, no impossible liquid behaviour, no changing the product's design or colour, no fake glossy CGI surfaces, no text, no logos, no captions. Audio uses an energetic modern electronic percussion track with a deep clean rhythm that builds with the transformation. Integrate realistic foam cannon hiss, brush scrubbing, water splashes, pressure washer impact, dripping water and wet floor footsteps into the music mix. Make the pressure wash reveal land strongly with the main musical beat. No dialogue.

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@image1 (the room untidy and dirty) is the opening frame and @image2 (the same room clean and tidy) is the closing frame. Together they fix the space, the fixtures, the furniture, the lighting and the framing for the whole film; nothing is redesigned, re-lit, re-proportioned or rebuilt at any point, and every change between the two is one that tidying and cleaning could actually produce. One continuous locked-off timelapse, no cuts. The camera holds the opening framing for the whole film and breathes only with the faintest drift, arriving on the closing framing exactly. Time runs fast: hands and cleaning tools sweep in and out of frame in short bursts of motion blur, never settling long enough to resolve, while the room itself stays sharp between passes. The film opens on the room as it is, held just long enough to read the clutter and the dulled, grubby surfaces. Then the reset runs. Loose clutter is gathered and carried out of frame in armfuls, the surfaces emptying one after another. Cloths sweep across worktops, shelves and sills, lifting the dull film so the finish comes up bright behind each pass and dust stops sitting in the edges. Textiles are pulled free, shaken out and dropped back, billowing once and settling flat and square. Glass and metal are wiped and buffed until they hold a clean highlight again. The remaining items travel back to their places in quick hops and line themselves up square and evenly spaced. Last the floor is worked over: a tool passes across it, grey suds and lifted dirt rolling ahead of the head while the clean surface opens behind, the water thinning and running clear and then sheeting away. Finally everything comes to rest. The last wet surface dries, the bursts of motion stop, and the room holds still and clean in the settled light. Physical realism throughout: real weight in what is lifted and carried, real fabric behaviour in the textiles, real fluid behaviour in the foam and the running water, clutter and dirt physically removed from the room rather than fading out on the spot, accurate reflections on the cleaned surfaces, natural light response, real camera capture.

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