@image1 is an ABSOLUTE CHARACTER LOCK — face, body, hair, costume, materials and colours are taken from it exactly, with no drift or reinterpretation in any shot. @image2 is the location lock for architecture, lighting and geography. @image3 is the storyboard and is to be followed EXACTLY, matching shot order, framing and pose. At the opening frame, @image1 is the primary visual reference. [STYLE BLOCK — PAINTERLY AESTHETIC] Cinematic 2.5D animation in a fully painterly render where figures and surroundings resemble gouache concept art in motion. Bold, visible directional brushstrokes and thick impasto ridges sit on fabric, water and architecture, and they persist frame to frame as painted handling rather than resolving into clean digital surfaces. Forms are sculpted by light and shadow, never bounded by outlines; edges are scumbled and broken where planes meet. Blocks of colour interweave with hard-edged light and shadow shapes; the finish is matte, soft cinematic volumetric lighting permeates the scene, and depth of field is extremely shallow. This is by no means flat 2D cartoon art: absolutely no thick black outlines or contours, no cel-shading, no flat banded shadows, no ink line-art, no comic, manga, anime or webtoon style, no vector fills, no smooth airbrushed gradients, no glossy CGI rendering, no Unreal Engine style, no photorealism, no plastic-looking surfaces. [PALETTE LOCK] Environment tones: Abyss Blue (#0B1320), Moonlight Gray (#E0E5EC). Accent VFX colours: Neon Orange (#FF5500), Bright Yellow (#FFD700). [CINEMATIC FILM GRAMMAR] Elliptical bokeh; horizontal lens flares. 180° shutter angle for cinematic motion blur. Aperture by shot size: T1.8 close-up, T2.8 medium, T4.0 wide. Soft key light from the upper left; shadows rendered as clean, hard-edged solid shapes without sheen or specular highlights. No ray-traced reflections, no photorealistic physical materials. [MOTION PRINCIPLES & VFX PHYSICS] Heavy physical presence combined with a 2.5D stepped-frame animation feel at 24fps. Cloth and hair move with exaggerated inertial lag and follow-through. Blade trails and environmental destruction are not standard 3D glowing particles — they are thick, bright orange and yellow gouache paint. Energy trails are splashed across 3D space as hard-edged brushstrokes. Water splashes are flat, irregular teal geometric shapes with no soft gradients. During high-speed movement the silhouette generates gouache-style smear frames and colour-offset glitch effects. Rain reads as short, slanted white linear brushstrokes. [SHOT CONTINUITY] Strictly maintain momentum and energy-trail continuity across every cut. The brushstroke trail of light from the blade in one shot continues to dissipate into the first frame of the next. integrated_multimodal_description: [Shot 1] Extreme wide push-in, T4.0, stabilized. They stand in ankle-deep floodwater as the camera slowly pushes in. Wind drives the rain sideways and their outer robe billows violently backward, forming a striking silhouette. One hand grips the hilt and slowly draws the blade; a dazzling orange glow spills from the gap in the scabbard, its hard-edged light slicing across the shadows on their garments. [Shot 2] Cut to a medium tracking shot, side profile, T2.8, handheld with a slight organic breathing shake. They burst into a forward sprint, legs kicking against the water, the spray beneath their feet exploding into countless flat teal geometric colour blocks. The katana comes fully clear of the scabbard, the blade trailing a three-metre neon-orange gouache brushstroke. At speed the background blurs into horizontal streaks of blue paint. They drop their centre of gravity and raise the katana overhead, loading a downward slash. [Shot 3] Cut to a low-angle upward shot, T2.8. They leap high into the air, eclipsing the large moon disc, body fully extended in mid-air, and swing the katana through a massive crescent-shaped arc. The blade unleashes a huge crescent energy wave of bold bright-orange and yellow blocks, its edges rough dry-brush strokes that tear through the curtain of rain. [Shot 4] Cut to an over-the-shoulder angle, T1.8, extremely shallow depth of field. The orange energy wave blasts forward and cleaves the water's surface ahead. They land heavily, with intense camera shake on impact; a ring-shaped shockwave of gouache-like water radiates outward and splashes resembling shattered blocks of colour fly toward the frame edges and slide down the screen. [Shot 5] Cut to a full-body frontal shot, T4.0, eye-level, flattened perspective. It is over. They settle into a relaxed contrapposto stance with their weight on one leg, twirl the katana and sheathe it with a crisp click. The blade's glow vanishes instantly and the image returns to a soft matte texture. They hold a cool, level gaze toward the lens as the space falls silent, leaving only a few solitary flat splashes of water-colour drifting slowly through the air. overall_soundscape: Shot 1 — extremely low, oppressive ambient thunder and the white noise of a downpour striking water, low-frequency enhanced. Shot 2 — an extremely sharp metallic ring of the katana leaving the scabbard, with a stylized swoosh like thick paper tearing, under the low-frequency impact of exploding water. Shot 3 — a massive roaring burst of energy with a synth bass drop; the blade through air is voiced with the spatial quality of roaring flame. Shot 4 — a deafening heavy impact (Foley: heavy wooden clogs striking wet flagstones) and water exploding outward with intense spatial reverb. Shot 5 — an incredibly crisp, sharp sheathing click; all background ambience cuts off abruptly at that moment, leaving perfect silence. non_diegetic_music: 115 BPM. An epic battle score blending traditional Japanese shamisen plucking with modern cyberpunk synthesizers. The tempo accelerates through the opening two shots, taiko percussion growing denser, until a massive bass drop lands on the airborne slash. The music cuts off instantly on the sheathing click, leaving only a lingering, drawn-out echo.

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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 15-second photoreal 16:9 fashion campaign. Same duration, six looks. No on-screen text, no logos. @image1 is the woman. Preserve her face exactly. @image2 is her French outfit sheet — use ALL six looks. AUDIO: street, cafe, sea, no dialogue, no lyrics. Fast cuts, no slow holds. [0-2.5s] Paris sidewalk, Breton stripe + navy blazer. Already walking. [2.5-5s] NEW PLACE: covered arcade / light rain. Camel trench over little black dress, pointed pumps. She turns a corner. [5-7.5s] Riviera overlook: white tee, red capris, red scarf, sunglasses, sea behind. [7.5-10s] Cafe terrace: floral midi, straw basket on the table. [10-12.5s] NEW PLACE: Haussmann gallery / cream stone courtyard. Cream tailored trousersuit, gold hoops. She walks the colonnade. [12.5-15s] Evening wet stone: black turtleneck, grey midi skirt, gold light. Walk toward camera. End. NEGATIVE: skipping the trench or the cream suit, a different face, on-screen text, extra faces in focus, studio still as frame 1, stretching past 15s.

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Use @image1 for the character's identity, anatomy, costume, colors, materials and visual style. Adapt body-region cues to their actual anatomy, replacing absent features with existing equivalents. Invent no anatomy or accessories. Select signature inserts from their most recognizable details. Rigid parts rotate; flexible materials bend or stretch. Hyperrealistic macro photography throughout: every insert reads as a real lens held close to a real surface, with visible weave and thread, leather grain, brushed and scratched metal, dust caught in the light, shallow macro depth of field falling off softly, physically accurate light and true material response. No illustration, no cel shading, no painterly or hand-drawn rendering, no comic or animated look, no plastic CGI sheen, no smooth airbrushed surfaces. A character-detail montage: exactly 20 shots joined by hard cuts. An empty, seamless warm-white studio background; soft directional light reveals the surfaces. Shots 1-19 are tightly cropped body details and rear angles: keep the face, eyes and facial profile entirely outside the frame, including reflections. Shot 20 is the first and only face reveal. No full-body view. Three connected bursts: a sharp head turn with the body bracing; a coiled arm opening into a strong sweep and torso twist; one short step into a planted pivot, finishing with a sudden look into camera. Carry body state across cuts without resetting to neutral. Existing hair, clothing and attachments react naturally. Keep the character active, with clear articulation and weight shifts. Jump between distant body regions. Mix brief visual punches with longer moving-detail reads. Use one abrupt camera move per shot except locked-camera inserts 4 and 11, where the character supplies the speed. Vary height, angle and direction. Brake moves briefly for legibility while the subject keeps moving. Local whips stay tightly cropped; changes of body region use hard cuts. Connect selected cuts through similar shapes or motion vectors, without morphing. Real-time action, no slow motion or freeze frames. Shots 1-5. A concealed head turn triggers the first burst: 1. Extreme upper-back detail: a crash push catches its surface shifting as a sharp head turn begins entirely above the crop. 2. Fingers: a short downward snap catches them curling into a fist as the body braces. 3. Rear three-quarter shoulder detail: a tight camera arc catches the shoulder drawing back behind the turning head. 4. Locked floor-level foot detail: the grounded support foot braces, its raised heel pressing down firmly without taking a step. 5. Rear neck detail: a short upward tilt catches the nape stretching with the turn; stop below the back of the head, keeping the jaw and face excluded. Shots 6-13. The coiled arm opens into a forceful sweep: 6. A signature upper-body detail: a fast diagonal slide catches an existing seam, joint or distinctive contour responding as the arm draws inward. 7. Elbow: a sharp lateral track catches the folding joint tightening the arm's coil. 8. Supporting knee: hard match cut from the bent elbow to the knee's similar angle; a short camera drop catches the leg compressing under the same preparation. 9. Wrist: a quick shallow orbit catches it turning outward to initiate the release. 10. Upper chest: a short punch-in catches the chest opening as the arm drives outward beyond the crop. Let this moving surface read slightly longer. 11. Locked hand detail: fingers spring open and the hand sweeps rapidly across the fixed frame. Catch one crisp, readable phase of the spread fingers before they leave the crop. 12. Upper back: a sharp sideways slide continues that screen direction as the shoulder rolls through the sweep and the torso twists. 13. A distinctive torso or waist detail: a close diagonal move catches its physical response to the twist, such as an existing fold pulling taut or an attached piece swinging. Give the material response a clear moving read. Shots 14-19. One short step and a pivot build toward the reveal: 14. Thigh of the other leg: an abrupt low tracking move catches it driving the single short step out of the twist. 15. Advancing foot: a brief downward whip catches it landing; show clear floor contact. 16. Ankle and lower-leg detail: a fast side slide catches the landed leg accepting weight as the ankle flexes. 17. Waist: a tight orbit catches the torso rotating above the planted-foot pivot. The foot supports the turn rather than sliding across the floor. 18. Back-of-head contour: a short lateral whip catches the start of the return turn from behind. Keep only the rear contour in frame, never the facial profile. 19. A signature shoulder detail: a sharp diagonal slide catches its follow-through beneath the turning head, which stays completely above the crop. Cut at the peak of this movement. Shot 20. First face reveal: 20. Hard cut to a frontal face close-up as the character sharply completes the turn toward the lens. An explosive short push reveals the entire face clearly for the first time and stops tightening before cropping out their features. Direct eye contact lands while hair, clothing or natural body follow-through remains alive. Keep the whole face readable through the end; finish on living motion, without a held pose or another cut. No added props, scenery, text, graphic overlays or split screens.

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@image1 (character sheet) is an ABSOLUTE CHARACTER LOCK. Face, hair, skin tone, build and proportions come from it exactly and stay identical in every shot — no drift, no reinterpretation, no second person. @image2 (storyboard) is the shot plan. Follow it exactly: same running order, same setting, same wardrobe and same framing for each of its seven panels. Live-action fashion film. Photoreal, full-frame look, shallow depth of field, strong contrast, clean modern colour grade. No illustration, no cel shading, no 3D render look. Seven beats of equal length, hard cut between each, every beat carrying one clear action. 1. They draw their sunglasses down with one hand and hold the lens. Slow push in. 2. They walk away down the street, then stop and look back over one shoulder. Camera tracks behind them. 3. They raise what is in their hand towards the lens and break into a smile. Handheld, slight sway. 4. They turn from profile towards the lens as the wind lifts their hair. Slow push in. 5. They lift their hair off the neck with both hands, watching themselves in the glass. Slow tilt up. 6. They walk straight at the lens and stop. The image sits as a tilted rectangle on black that rotates slowly upright. Locked camera. 7. They plant one hand on the hip and hold the pose. Quick push in, then still. On-screen type, one beat at a time, animating in on each cut and holding until the next: 1. FASHION MODE / ON 2. STREET STYLE 3. SO CUTE / PINK 4. AFTERGLOW / RUN THE NIGHT 5. ICON / FLASH READY 6. ATTITUDE / NO RULES 7. OWN THE LOOK Where a beat carries two lines, set the first large and the second smaller beneath it; where it carries one, set it large on its own. Centre the type over the frame, heavy sans-serif except beat 4 which is a light serif. On beat 6 run the words as tilted strips in the black margin either side of the rotated image. No other captions, no watermark, no logo. Audio: one continuous driving music bed across all seven beats, cuts landing on the beat. No dialogue and no voice-over.

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Generate a chase through a 1940s Venice that folds overhead and ends as a sphere.

3 steps1697.6K

Ultra-photorealistic commercial. Live-action macro tabletop cinematography throughout: real optics, true shallow depth of field with a fast macro lens, natural motion blur, fine dust in the air, warm practical light spilling from the model's windows against cool ambient fill. Real materials at every scale — timber grain, laid shingles, weathered stone, cured resin, glass, and the fine-grain matte weave of the gloves. No stylisation of any kind. Gloved hands in matte-black technical gloves build a handcrafted diorama on a dark graphite workbench: a steep rocky outcrop carrying a tall alpine mill house in weathered timber and stone, steeply pitched shingled gable roof, a timber waterwheel on its flank, a modelled stream bed running down under a plank footbridge to a pool, and a vertical glass cutaway slicing through that pool. Hold the model identical in every shot — same architecture, proportions, materials and colours, no drift and no reinterpretation. THE MODEL IS A STATIC, INERT OBJECT ON A BENCH. It is never animated and never comes to life. Through every miniature shot the only things that move are the gloved hands, the resin while it is being poured, and the camera. The model's water is cured resin and is rock-solid and mirror-still; the sculpted whitewater is hard and frozen; the fish are cast pieces fixed in the resin; the waterwheel is seated in its bracket and stays motionless at all times. Hands assemble the model piece by piece on the workbench, every part installed physically: INSERT → ALIGN → SEAT → SET. Gloved fingertips set the first cut stone into the rock base with fine steel tweezers, CLICK. Then both hands lower the timber mill-house shell down onto the rock outcrop and seat it. Then one hand seats the timber waterwheel into its bracket while the other steadies it, and the hands withdraw leaving it still. Then a fingertip presses the last row of roof shingles down flat. Then tweezers plant a slender conifer into a crevice in the rock. Then a hand feeds the LED wire in under the base and the windows come on, warm amber from inside. Then both hands press the glass cutaway wall into its channel and run a bead along the seal, the dry pool floor behind it already laid with pale sand, boulders and small painted fish. Then a hand tilts a graduated mixing cup and a clear ribbon of resin runs down into the basin, spreading across the sand and levelling out to a glass-hard, perfectly flat surface, and a cloth polishes the outside of the glass — the camera pushes in on the motionless wheel until the frame is filled by it → MATCH CUT. Then that same wheel is the wheel of a real full-size mill above a river, now genuinely turning under falling water, river running white over the rocks, mist lifting, the camera tracking low and wide as the light goes warm and long across the valley. Give each beat the same weight and the same screen time — no beat rushed, none held longer than the rest. Extreme macro, overhead, POV and low tabletop angles. Fast hard cuts throughout the build, one continuous move only on the push into the wheel and the shot it lands in. One camera move per shot. Audio: fine mechanical CLICKs as parts seat, tweezers ticking on stone, a soft bead of sealant, resin running and settling, cloth on glass, then a hard cut into full-size river sound and the creak of a working wheel. The miniature must read as a real handbuilt static model of real architecture, never as a toy. No moving water in the model, no flowing stream, no rippling or sloshing resin once poured, no swimming fish, no turning wheel before the match cut, no drifting weed, no smoke, no self-assembly, no part moving on its own, no magic, no plastic toy surfaces, no cartoon or stylised rendering, no tilt-shift look on the full-size shot, no text, no captions, no subtitles, no logo, no watermark, no UI.

5 steps3100