subject_definitions: @image_1 is the first performer. Gender, face, hair, skin and body proportions come entirely from @image_1 and not from this text. @image_1 defines identity only - its clothing, pose, framing, background and lighting are ignored. @image_2 is the second performer. Gender, face, hair, skin and body proportions come entirely from @image_2 and not from this text. @image_2 defines identity only - its clothing, pose, framing, background and lighting are ignored. summary: [reference generation] The target video is a 15-second 16:9 opening title sequence in which @image_1 and @image_2 live separate nights in the same city, never meet, and are connected only by one small yellow paper ticket, cut together as a punk editorial collage and ending on a single title card and a two-face poster frame. retention_analysis: @image_1 (appears in [Shot 1], [Shot 2], [Shot 5], [Shot 6], [Shot 8]): fully_preserved - gender, face, hair, skin and body proportions stay exactly as in @image_1 in every shot. @image_2 (appears in [Shot 1], [Shot 3], [Shot 5], [Shot 6], [Shot 8]): fully_preserved - gender, face, hair, skin and body proportions stay exactly as in @image_2 in every shot. detailed_description: The target video is live-action and photographic, cut and printed like an underground magazine: real people and real rooms, then torn paper edges, xerox grain, rough halftone and offset misprint laid over them. The palette is restrained and graphic - deep black, dirty white, cobalt blue and one sharp yellow. Light comes from fluorescent tubes and street lamps only, never from glow effects. @image_1 wears a heavy dark work jacket over a plain pale shirt; @image_2 wears a dark wool overcoat over a plain pale shirt. Both outfits are fixed in cut and colour and only their drape adapts to the body; the gender, face, hair and skin of each performer come from their own reference and never from this text. The two performers never share a room and never touch. [Shot 1] A split composition holds two panes of glass side by side. On the left @image_1 stands inside a late-night laundromat behind its window; on the right @image_2 stands behind the window of a passing tram. Reflections of buildings slide across both faces at the same speed, so the two panes read as one continuous street. The camera holds a static shot. [Shot 2] At 00:02.000, the shot cuts to a close shot of @image_1's hands lifting a folded shirt from a machine, and a small yellow paper ticket falls out of it onto the metal counter. The camera pushes in slowly onto the ticket. [Shot 3] At 00:03.800, the shot cuts to an identical yellow paper ticket held between @image_2's fingers against the tram window, matched in size, angle and position to the previous frame. The camera holds a static shot. [Shot 4] At 00:05.600, the shot cuts to a fast burst of fragments printed as torn magazine panels: an eye, a hand on a rail, two pairs of shoes walking in opposite directions, tram doors closing, a washing drum spinning, overhead wires against a black sky. Photocopied city maps and rough black marker strokes slide between them. The camera shakes slightly at fast speed. [Shot 5] At 00:08.000, the shot cuts to @image_1 and @image_2 standing in the same frame but in separate torn panels. Each figure breaks apart into xerox slices and offset print layers, then reassembles in the opposite corner of the frame. Both faces stay whole and readable while everything around them fragments. [Shot 6] At 00:10.000, the shot cuts to a wide street view as the tram passes directly in front of the laundromat window. For one instant @image_1 and @image_2 are aligned on opposite sides of the glass, both in profile, looking past each other. The camera trucks left with large amplitude at fast speed. [Shot 7] At 00:11.800, the image freezes and the surrounding paper fragments, maps and marker strokes collapse inward and assemble into a single title card. Cut and pasted letters spell "NIGHT SHIFT" across the middle of the frame in dirty white with the second word in sharp yellow. This is the only text in the entire video. [Shot 8] At 00:13.400, the shot cuts to a final poster frame: @image_1 on the left and @image_2 on the right, both turned to face the camera straight on, evenly lit, faces clean and unfragmented and filling the frame, the pane of glass between them and the small yellow ticket centred on it. The camera holds a static shot through the final frame. overall_soundscape: A late city night: a washing machine drum turning and stopping, tram wheels on rail joints, doors hissing shut, a fluorescent tube buzzing, footsteps on wet pavement, paper tearing and the flat snap of a photocopier. non_diegetic_music: A driving instrumental built on a dry drum machine, a single distorted bass line and one repeating minor piano figure at 118 BPM. The arrangement stays at one even, moderate level from start to finish, with hits landing on the ticket falling, the fragment burst, the tram passing and the title card assembling.
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A warm, heartwarming beach scene at golden hour: @image1 gently feeds and befriends a small stray cat by the shoreline, coaxing it closer until it eats from their hand and settles beside them. Photoreal, tender, soft natural light, gentle waves and a light music bed, no dialogue.
A cozy creator-desk UGC unboxing and review of @image2: @image1 holds the product up, opens it, lays out every included piece in a clean overhead flatlay, demonstrates it, and gives a warm sign-off. Authentic handheld UGC feel, works with any product. Photoreal, natural location sound, one presenter talking to camera.
CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their 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 and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or reinterpret it. Do not beautify, slim, de-age or restyle them. The attached image outranks every word below it: wherever the image and the text disagree, follow the image. Frame 1 is already in the scene — never a studio portrait, grey backdrop, or the attached still as an opening plate. Use they/them throughout. No other people. @image1 is identity only — face, bone structure, skin, long blonde hair, green eyes, age, body. Not wardrobe. Do not keep the white crew-neck t-shirt from the photo. Do not give them dark hair or bangs. WARDROBE (from the source film): white sleeveless fitted ribbed tank; light-blue wide-leg jeans; single-strand pearl choker; thin silver rings; a delicate silver bracelet on the left wrist. Bare arms. Same outfit the full 30 seconds. SETTING: bright modern bedroom, unmade white duvet, white pillows, cream wall, golden-hour sun from camera-right throwing a sharp silhouette of the person on the wall. Handheld smartphone UGC, subtle shake, cinematic commercial grade. One person only. No on-screen text, no logos, no subtitles, no watermarks, no end card. PRODUCTS (match the source clip, no brand marks on the devices): - A book-style foldable phone: closed it is champagne-silver on the lower back with a glossy black camera bar, vertical triple cameras on the left of that bar. Opens like a book to a large inner screen. - A white rectangular retail box on the bed. - A gold-case smartwatch with a white sport band. 30 SECONDS. Native room tone + their spoken lines only. No BGM. BEATS AND LINES (lip-sync these exact lines): 0–5s — already sitting on the bed facing camera, box and watch on the duvet. Smiling. Says: "I genuinely wasn't expecting to love this foldable iPhone this much." Picks up the box, opens it, lifts the folded phone. 5–9s — holds the closed phone toward camera, rotates it slowly (thin frame, hinge, camera bar). Says: "The design already feels incredibly premium." Then: "The design is so sleek, and I really love how the foldable screen opens up." Unfolds it. 9–16s — phone fully open, colorful app grid on the inner display. Scrolls, opens camera, points it around the room. Says: "And the camera quality is seriously impressive. Everything looks so sharp and detailed." Closes and opens the phone once. Says: "Plus, the battery is supposed to be better too, which is honestly a huge win for me." 16–23s — sets the phone on the bed, picks up the gold-and-white smartwatch, holds it close to camera (case, crown, strap). Says: "And the new Apple Watch is actually really nice too." Buckles it onto their left wrist, raises the wrist to camera, scrolls the face. Says: "I love how clean it looks, and having all these features right on my wrist is so convenient." Turns the wrist in the sunlight. 23–30s — picks the folded phone back up. Holds phone in the right hand and shows the watch on the left wrist. Looks into camera, warm smile. Says: "Honestly... this might be one of my favorite Apple upgrades yet." Soft laugh, glance down at both, then holds the phone beside their face with the watch clearly on the wrist. Slow push-in. Last frame still in the bedroom — no fade to black, no titles. Frame 1 is already on the bed in the scene — never a studio portrait or the attached still. Photoreal skin, real hands, five fingers. Same foldable and same watch the whole time.
A hyper-realistic one-take water-park obstacle challenge: @image1 taps the device @image3 (a smartwatch or a phone), says "Let's track my time," and runs a floating obstacle course — slipping, swinging on a rope, kicking an inflatable and wiping out into the pool — while @image2 watches and laughs. Photoreal, single continuous handheld shot, swimwear, natural sound, subtle device showcase.
CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their 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 and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or reinterpret it. Do not beautify, slim, de-age or restyle them. The attached image outranks every word below it: wherever the image and the text disagree, follow the image. Frame 1 is already in the scene — never a studio portrait, grey backdrop, or the attached still as an opening plate. Use they/them throughout. No other people. A warm hand-painted pastoral anime sequence in a quiet apple orchard at the start of autumn. The person wears a soft cream blouse and a rust-colored skirt and walks beneath trees heavy with red apples. Golden afternoon sunlight, first hints of autumn, rich painted textures, gentle breeze, nostalgic countryside atmosphere, simple graceful actions, highly detailed. No on-screen text. Shot 1: Wide establishing shot, slow push-in. Rows of apple trees glow in warm autumn sunlight. Frame 1 is already in the orchard — never a studio portrait. Shot 2: Low-angle shot, static. Red apples hang among green leaves against a pale blue sky. Shot 3: Medium rear shot, gentle tracking. The person walks slowly between the trees. Shot 4: Close-up, static. Their skirt brushes softly against tall grass. Shot 5: Medium profile shot, static. They pause beneath one tree. Shot 6: Close-up, static. A ripe red apple hangs from a low branch. Shot 7: Medium shot, slight push-in. They reach toward the apple. Shot 8: Close-up, static. Their hand gently picks it from the branch. Shot 9: Close-up portrait, static. They look at the apple and smile. Shot 10: Wide side shot, slow pan. Leaves move gently around them. Shot 11: Medium rear shot, static. They continue walking through the orchard. Shot 12: Close-up, static. Sunlight flickers across fallen leaves on the grass. Shot 13: Low-to-high shot, gentle tilt. Branches sway overhead. Shot 14: Wide rear shot, slow pull back. They walk toward the far end of the orchard. Shot 15: Far wide shot, static. The orchard rests beneath soft golden evening light. CAMERA: slow, simple, graceful. No teleporting. AUDIO: soft breeze, leaves, quiet countryside. No voiceover. NEGATIVE: no live-action photoreal, no modern objects, no text, no watermark, no extra people.
A 30-second 16:9 cinematic heist. Sound ON. ALAN is exactly the attached portrait — dark hair, beard, hazel-green eyes. PRODUCT: Deep Burgundy iPhone 18 Pro Max from the stills — square island, three lenses, apple mark. Burgundy boxes. NEVER glacier. STORY (mandatory ending): He HEARS the police (sirens, radios, shouting) before they reach him. He does NOT walk past officers at the front. He takes a DIFFERENT exit at the BACK of the warehouse. He gets INTO A VAN with the boxes and DRIVES AWAY. 0–8s: Warehouse, he loads boxes onto a cart. Sirens swell. He hears them, looks toward the front, panics. 8–16s: He hauls the boxes to a rear loading dock / back door. Not the main police entrance. 16–24s: Back lot. A van waits. He throws/loads the boxes in, climbs in. 24–30s: Van doors slam. The van DRIVES OFF with him and the boxes. Police arrive too late at the front. AUDIO required: sirens getting louder, shouts, running, van door, engine pull-away. No magic hover. Duration 30s. 16:9.
A breathless premium tech-launch parody: @image1 is told they hold the very last unit and sprints across a vast glass HQ as a countdown ticks, intercut with glossy beauty shots of the product @image2, bursting into the keynote crowd just in time to hold it up. Photoreal, cinematic, comedic energy, no dialogue except one urgent line. Product @image2 is any premium product and is optional.
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