15 seconds, 9:16. Rapid HARD CUTS on action. Static front-facing camera with occasional ECU. Modern minimalist apartment LIVING ROOM — pale walls, sofa, daylight. NOT the room or background from @image1. LANA LOCK: @image1 is Lana — photocopy face, hair and eyes exactly as shown; dressed in a cream silk shirt, white trousers, brown belt. IGNORE any watermark or overlay in @image1. Same woman every shot. She MOVES. JEWELRY: @image2 = the gift box — photocopy it exactly as shown, any brand name exactly as printed. Never a different box. @image3 = the necklace — photocopy it exactly as shown (metal, pendant, stones, chain, detail). @image4 = the first ring — photocopy it exactly as shown (metal, shape, stones, detail). @image5 = the second ring — photocopy it exactly as shown (metal, shape, stones, detail). AUDIO: room, box, jewelry. No speech. No lyrics. HARD CUT between every shot. ~1.5s each. SHOT 1 (0.0–1.5) Medium. Lana waves BOTH hands near her face, smiling. Living room. HARD CUT. SHOT 2 (1.5–3.0) Medium. She tosses the gift box (@image2) a little in the air, CATCHES it, holds it near her chin. HARD CUT. SHOT 3 (3.0–4.5) CLOSE-UP of her hands opening the box. Inside: the necklace from @image3. HARD CUT. SHOT 4 (4.5–6.0) Medium. She puts the necklace around her neck. HARD CUT. SHOT 5 (6.0–7.5) Medium pose, necklace on, looking at camera. HARD CUT. SHOT 6 (7.5–9.0) ECU of the necklace on her collarbone. HARD CUT. SHOT 7 (9.0–10.5) She takes the first ring (@image4) from a small pouch / from the box and slides it onto a finger. HARD CUT. SHOT 8 (10.5–12.0) ECU fitting the second ring (@image5) onto a finger. HARD CUT. SHOT 9 (12.0–13.5) Pose, both hands together, both rings visible. HARD CUT. SHOT 10 (13.5–15.0) ECU: hand near lower lip, both rings sharp. HOLD. NEGATIVE: the background of @image1, a hair colour different from @image1, a box different from @image2, blob rings, pebble pendant, watermark, on-screen text, extra people, one continuous uncut take.
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Asset referencing: @image1 is the first frame of this video. It shows THE OBJECT remade from soft ropes of smooth matte dough laid in neat rows that follow its shape, in its own colours, with two hands waiting just above it. It defines the object's shape, its colours, the dough, the hands, the lighting 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. Every colour on THE OBJECT is a colour that already exists on @image1. SOFT ALL THE WAY THROUGH — this is the whole point of the film: THE OBJECT is made of nothing but soft dough; there is nothing hard inside it anywhere. Wherever the hands touch it, the whole body gives: it dents deeply, bulges out around the fingers, sags and slowly relaxes. The dough is smooth, elastic and glossy where it is pulled, like thick stretchy taffy or butter slime, and it always stays in one smooth connected mass with a clean silky surface. THE STRETCH AND THE SQUASH: first the fingers hook under the top rope and pull it slowly upward and outward, far above THE OBJECT, and it stretches into one long, smooth, glossy band that thins in the middle and turns slightly translucent, then sags back down in a soft heavy loop. Then both palms press flat down onto the top of THE OBJECT, and the whole upper half squashes down, spreading and bulging outward between the fingers in soft rounded ropes of its own colours. Summary: a macro ASMR film in one unbroken take in which two hands stretch one rope of THE OBJECT's soft dough into a long glossy band and then squash the whole object down under their palms, and it slowly relaxes back. Timeline: 0–2s — The framing of @image1. The fingertips come down onto the top rope and sink deep into it, and the dough gives and bulges up softly around each fingertip. 2–5s — The fingers hook under the top rope and pull it slowly up and outward, far above THE OBJECT; it stretches into a long smooth glossy band, thinning and turning slightly translucent in the middle, then sags back down onto the rows in a soft heavy loop. 5–8s — Both palms press flat down onto the top of THE OBJECT. The whole upper half squashes down slowly under them, the ropes spreading and bulging out between the fingers, the colours staying clean along each rope. 8–10s — The hands lift slowly away and out of frame. THE OBJECT slowly relaxes and rises part of the way back, still soft and slightly squashed, with the shallow prints of the palms on its top and the stretched loop resting across it, in its own colours. Notes: THE OBJECT keeps exactly the colours it has in @image1 in every rope of dough for the whole film, and the dough keeps its smooth silky surface throughout. The same two bare hands appear throughout. The light stays exactly as @image1 has it, with soft highlights sliding along the ropes as they move. The camera stays low and close with only a slow gentle drift closer, 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 ASMR mix, dry and present — soft pillowy squishes as the fingertips sink in, a slow sticky elastic stretching crackle with tiny air pops as the band is pulled out, a soft heavy slap as the loop sags back down, deep slow squelches and muffled puffs of air as the palms squash the dough down, a gentle sticky release as the hands lift, and the quiet room tone of a calm bright room under everything to the last frame.
Asset referencing: @image1 is the first frame of this video. It shows THE OBJECT remade as a squishy toy — a thin painted skin over a soft clear jelly body — held from above in two bare hands on a pale grey-white background. It defines the object's shape, its colours and markings, the skin, the jelly, the hands, the lighting 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. Every marking on THE OBJECT is a marking that already exists on @image1. THE SKIN AND THE JELLY — this is the whole point of the film: the outside of THE OBJECT is only a thin brittle skin, and the inside is soft, thick, glossy jelly. When the hands squeeze, the skin splits and curls away in large thin flakes that keep the colours and pattern of @image1, and the clear tinted jelly swells out between the flakes and bulges up between the fingers. From then on the jelly is soft, heavy and stretchy, carrying the flakes of skin inside it and on its surface like petals set in glass. HOW IT MOVES: the jelly moves slowly and heavily, like thick cold gel — it stretches, folds over itself and slumps under its own weight, always holding together in one mass. The flakes stay thin and crisp, and they bend and ride along with the jelly. The hands move slowly and deliberately, the way they would in a real squishy video. Summary: a top-down ASMR squishy film in one unbroken take in which two hands squeeze THE OBJECT until its thin painted skin splits into flakes and its soft jelly inside swells out, is kneaded and stretched, and is set down to settle. Timeline: 0–2s — The framing of @image1. The fingers press in slowly, the skin creases deeper around each fingertip, and a first thin crack runs across it with a soft papery crackle. 2–4s — The hands squeeze firmly. The skin splits open all around and curls away in large flakes, and the glossy tinted jelly swells out through the gaps and bulges up between the fingers. 4–7s — The hands knead the jelly slowly: they fold it over, press it with the thumbs and pull it gently apart between them, the flakes of skin turning and glinting inside it and the jelly stretching thick and glossy between the palms. 7–10s — The hands lower the jelly onto the background and let go, and move out of frame. The jelly slumps into a round glossy mound studded with the flakes of skin, wobbles softly a few times and comes to rest, catching the window light. Notes: THE OBJECT keeps exactly the colours and markings of @image1 on every flake of its skin for the whole film, and the jelly keeps the one colour it has in @image1. The same two bare hands appear throughout. The light stays exactly as @image1 has it. The camera stays above, looking straight down, with only a slow gentle drift closer as the jelly comes out, 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 ASMR mix, dry and present — the soft papery crackle of the skin creasing, a crisp crunchy crackle as it splits into flakes, then the wet squelching, sticky squishing and soft pops of the jelly being kneaded and stretched between the hands, a soft heavy plop as it is set down, a gentle wobbling squish as it settles, and the quiet room tone of a calm bright room under everything to the last frame.
19-second 16:9 candid early-2000s compact-camera home video. Handheld shake, autofocus hunt, exposure shifts. One person only. @image1 is FACE ONLY — photocopy their face. Do not describe appearance, hair, or clothes. @image2 is the storyboard — photocopy outfit, car, cliff, and beats. No second person. No driver. They are alone. 0–4s: Inside the parked white sedan, looking out the open passenger door. They stand on the clifftop, arms on the door frame, laughing toward camera. Glittering sea, harsh midday sun. 4–8s: They lean into the cabin, private smile, wind. Camera micro-shake. 8–12s: They sit in, close the beat toward the seat. Cut to aerial: the sedan on the winding cliff road above the surf. They drive alone. 12–16s: Handheld in the moving car. They glance at camera and laugh. Ocean in the window. No other occupant. 16–19s: Close smile, sun flare. Hold them at the wheel, sea and sun path. Late light. No on-screen text, no captions. AUDIO: wind, distant surf, car interior, compact-camera handling, no lyrics.
Keep the 10s 9:16 breakfast-ad grammar. Make the TABLE look like @image2 — real plated breakfast, not a lone jar on empty linen. @image1 = the spread jar. Photocopy it exactly as in @image1 — lid, label, printed brand name and the colour of the spread. @image2 = the plated stack. Photocopy this look: the pancakes, plate, toppings, cutlery and table exactly as in @image2, the @image1 spread between the layers, glass of milk nearby, bright window light. Add a matching gold knife. Real breakfast mess — crumbs, a smear of the @image1 spread on the plate. 0.0–2.0s Slow push-in across the SET TABLE: jar (@image1), glass of milk, gold knife and fork, pancake stack like @image2. Warm morning. No empty white void. 2.0–4.0s MACRO: knife spreading the @image1 spread onto a pancake from the stack (round fluffy pancakes, not square toast). 4.0–6.0s Spoon lifting a swirl of the spread from the open @image1 jar. Slow. Milk glass soft in bokeh. 6.0–8.0s The finished stack like @image2: pancakes, the @image1 spread, the toppings from @image2, gold fork + knife, milk glass beside the plate. 8.0–10.0s HERO: jar + plated pancakes + milk + cutlery, window light, subtle camera drift. HOLD. No overlay type. AUDIO: knife, spoon, soft morning. No speech. NEGATIVE: a jar that differs from @image1, toast as the hero food, empty table, missing milk, missing cutlery, overlay type, people.
Asset referencing: @image1 is the first frame of this video. It shows THE OBJECT remade as a squishy stress toy packed with tiny glossy beads under a thin clear skin, resting on a white tray, with two hands waiting just beside it. It defines the object's shape, its colours and markings, the beads, the skin, the hands, the lighting 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. Every marking on THE OBJECT is a marking that already exists on @image1. THE PRESS AND THE RETURN — this is the whole point of the film: THE OBJECT is soft all the way through. Under the thumbs it flattens and spreads open into a wide, bumpy, pearly disc, and the tiny beads roll and shift under the thin skin, crowding towards the edges and parting in the middle, so the pressed centre turns thin and see-through and the colours deepen where the beads pile up. When the thumbs let go, THE OBJECT slowly puffs back up and fills out again, the beads rolling back into place, until it stands once more in its own exact shape. HOW IT MOVES: the skin is soft and stretchy and never tears; the beads are small, round and loose inside it, and they move like a crowd of tiny marbles — shifting, rolling, bulging the skin into little bumps. The return is slow and even, like memory foam, and the last beads settle into place one by one. Summary: an ASMR squishy film in one unbroken take in which two thumbs press THE OBJECT flat into a wide beaded disc on a white tray, and when they let go it slowly rises back into its own shape. Timeline: 0–2s — The framing of @image1. The two thumbs come onto the top of THE OBJECT and press down slowly into it, and the beads under them begin to shift and bulge the skin around the thumbs. 2–5s — The thumbs press deep and spread outward. THE OBJECT flattens into a wide bumpy disc, beads rolling to the edges, the centre thin and pale, while the fingers underneath cup and turn it slightly so the light rolls across the beads. The camera drifts slowly closer. 5–6s — The thumbs lift away and the hands open and move out of frame. 6–10s — Alone on the tray, THE OBJECT slowly rises back: it puffs up, fills out and rounds itself, the beads rolling back into place under the skin, until it stands in its exact shape from @image1 and the last few beads settle with a tiny tremble. Notes: THE OBJECT keeps exactly the shape, colours and markings of @image1 whenever it is at rest, and the beads keep their colours throughout. The same two bare hands appear throughout. The light stays exactly as @image1 has it, with tiny highlights sliding across the beads as they move. The camera moves as one slow continuous drift closer 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 ASMR mix, dry and present — a soft rubbery squeak as the thumbs sink in, then the dense crackling, rustling, bubbly crunch of hundreds of tiny beads rolling and popping against each other under the skin, growing fuller as it flattens, a soft rubbery release as the thumbs lift, a gentle fading bead rustle and a few last tiny clicks as it rises back into shape, and the quiet room tone of a calm bright room under everything to the last frame.
BABY DANCE — 50s Rock 'n' Roll @image1 is a twelve-month-old baby rocking a razor-sharp adult-level 1950s rock-and-roll routine on a retro stage — rubber-leg knee wobbles, hip swivels, a two-handed air-guitar and fast jitterbug kicks, to a rockabilly track. Music only, mixed loud. One continuous 20s take. Plug in ANY baby avatar.
Cate is the FRONT-ROW FAN filming on their phone. Mateo is a FICTIONAL headliner — not a real celebrity. @image1 = CATE. Photocopy their face, hair, eye colour and features exactly as in @image1. IGNORE the clothes in @image1. Concert wardrobe: fitted black outfit + leather jacket, gold hoops. Same person every selfie. They MOVE, scream, laugh — not a posed still. @image2 = MATEO the singer. Photocopy their face, hair, facial hair and features exactly as in @image2. IGNORE the clothes in @image2. Black layered stage clothes, handheld mic. Do not turn Mateo into a real-world celebrity. 30 seconds, 9:16, photoreal SMARTPHONE concert footage. Seedance 2.5. Handheld shake, autofocus hunt, exposure pumping, high-ISO noise. Selfie camera mixed with flips to rear camera. SETTING: night stadium, barricade, red lights, haze, crowd phones, security. AUDIO: RAW phone — crowd scream, bass clip, their voice close. Lines: “I’M SO CLOSE!” and “NO WAY!” Original live-band energy. NO famous song. NO copyrighted lyrics. 0.0–2.5s SELFIE. Cate already front row, smiling into the lens, arm up: “I’M SO CLOSE!” Stage behind them. 2.5–5.0s FLIP to rear. Mateo walks to the front of the stage, red lights, their hand shakes, other phones in frame. 5.0–7.5s Digital zoom on Mateo at the edge. Focus hunts then locks. Cate screams off-camera. 7.5–10.0s Back to selfie. Cate laughing, screaming, messy hair, crowd jumping behind. 10.0–12.5s Rear. Mateo performs to the front row, mic to the crowd. Jump-shake. An arm blocks the frame. 12.5–15.0s Cate moves around the arm. Mateo looks toward the front row — brief eye contact. They freeze then scream. 15.0–17.5s Selfie. Cate “NO WAY!” red light on one side of their face, violent shake. 17.5–20.0s Rear. Stage goes dark. Phone flashlights. Crowd singing. 20.0–22.5s Lights explode red/white. Mateo at the front. Overexposure. 22.5–25.0s Mateo walks the stage edge. Fans reach. Security. Motion blur. 25.0–27.5s Selfie. Cate overwhelmed, laughing, catching breath. Friends behind. Stage over their shoulder. 27.5–30.0s Rear. Mateo under huge red lights, phones glowing, tilted frame, hands blocking, Cate jumps, recording cuts. NEGATIVE: real celebrity likeness, white studio, cinematic gimbal, Cate as the singer, the clothes from @image1 or @image2, on-screen titles.
Copy the SOURCE CLIP camera and body motion exactly. 13 seconds, 9:16. Photoreal. One woman only. LANA LOCK: @image1 is Lana — photocopy her face, hair and eyes exactly as shown; dressed exactly as in @image1. IGNORE any watermark or logo patch on @image1. A bright kitchen (white cabinets, black track lights). Do not change her hair colour from @image1. Do not change her outfit. JEWELRY FROM THE STILLS — not the source video's blob rings or pebble pendant: @image2 = the first ring — photocopy it exactly as shown (metal, shape, stones, detail). @image3 = the second ring — photocopy it exactly as shown (metal, shape, stones, detail). @image4 = the necklace — photocopy it exactly as shown (metal, pendant, chain, detail). @image5 = the gift box — photocopy it exactly as shown, any brand name exactly as printed. Never a different box. MOTION (match the clip): 0.0–2.0s MCU, waist-up, LOCKED framing. Lana already facing camera. Both hands raised beside her face, fingers spread, showing empty hands, small smile. She MOVES — not a still. 2.0–4.5s SAME MCU. She looks DOWN, brings the gift box (@image5) up, opens the lid with both hands. 4.5–6.5s SAME MCU. She lifts jewelry from the box, holds it at chest height, looks back at the lens. 6.5–8.5s SAME MCU. The necklace (@image4) is now ON over the open shirt. Arms loosely crossed / settling the chain. Head turns slightly, then back to camera. 8.5–10.0s SAME MCU. Looking down, putting on the two rings from @image2 and @image3. 10.0–13.0s CAMERA PUNCHES IN to EXTREME CLOSE-UP: mouth, chin, hands. Both rings from @image2 and @image3 sharp on her fingers. She raises a finger toward her lips. Hold. This CU is mandatory — do not stay wide. AUDIO: room tone, box, jewelry. No speech. No lyrics. NEGATIVE: a hair colour different from @image1, a box different from @image5, blob rings, pebble pendant, watermark patch, storyboard, on-screen text, extra people, frozen JPEG as frame 0.
Glasses On HeadRecreate workflow