THREE WOMEN. THREE FACES. PHOTOCOPY EACH TAG. @image1 is LANA — hair and skin exactly as shown. Photocopy her exact face, bone structure, mouth, nose, brows. IGNORE her clothing, accessories and background in @image1. She does NOT wear sunglasses in this film. Eyes visible. @image2 is CATE. Photocopy her exact face, eyes and hair. IGNORE her clothing and background in @image2. @image3 is ELARA. Photocopy her exact face, bone structure, eyes and hair. IGNORE her clothing, jewellery and background in @image3. They stay these three people in every frame. Do not swap faces. Do not clone one face onto the others. Do not recast. Do not beautify into stock influencers. WARDROBE FROM THIS PROMPT, NOT FROM THE STILLS. Authentic mid-2000s casual mall fashion. Each woman a DIFFERENT outfit from this palette: cropped hoodies, fitted graphic baby-tees, low-rise bootcut jeans, colorful sneakers, small shoulder bags, chunky plastic bracelets, playful hair clips/butterflies. No clothing or jewellery carried over from the photos. No sunglasses. No heels. LANA (@image1): pale-pink cropped hoodie, white baby-tee peeking, low-rise light-wash bootcut jeans, pink-and-white sneakers, small shoulder bag, butterfly clip in her hair. No sunglasses. CATE (@image2): fitted colorful graphic baby-tee (2005 mall graphic), low-rise medium-wash bootcut jeans, chunky bracelets, colorful sneakers, small bag, hair down with a small clip. ELARA (@image3): mint or lavender cropped hoodie, fitted top, low-rise bootcut jeans, colorful sneakers, chunky bracelets, hair with a playful clip. CAMERA is a bulky MiniDV camcorder held by an unseen friend — POV only, no fourth face on camera. Heavy handheld shake, accidental zooms, sudden pans, awkward close-ups, autofocus breathing, imperfect framing, no stabilization. Location: ordinary US suburban shopping mall, around 2005. CRT TVs, CD shop, food court, arcade, clothing stores, vending machines, tiled floors, a small photo booth. No smartphones. No modern LED displays. Style: ultra-realistic 2005 consumer MiniDV. Faded colors, soft contrast, realistic skin, mild digital noise, compression artifacts, blown highlights, autofocus hunting, motion blur, imperfect white balance, slight exposure pumping. 9:16 vertical MiniDV (camcorder held portrait). They MOVE. Laugh, shove, squeeze, sneeze. Never a frozen JPEG of the lock stills. Never open on a studio headshot. No on-screen titles. No brand logos to read. No end card. [TIMELINE — 15 SECONDS] 00:00–00:03 Outside a mall photo booth. LANA announces, “We need a perfect picture!” She dramatically fixes her hair. ELARA secretly messes it up from behind. LANA turns around in confusion. CATE is filming-adjacent in frame, laughing. Handheld MiniDV, 9:16. 00:03–00:06 All three squeeze into the tiny photo booth: LANA, CATE and ELARA, each exactly as in their photo. The curtain sticks halfway open, leaving them awkwardly visible to the mall walkway. They try pulling it closed while laughing. 00:06–00:09 Countdown beeps. They pose seriously — then CATE sneezes exactly as the flash fires. LANA and ELARA look at her in shock, then all three burst out laughing. 00:09–00:12 Another photo. ELARA changes poses too early, LANA closes her eyes, CATE accidentally bumps the booth wall. Muffled screaming and laughter. Camera outside the half-open curtain. 00:12–00:15 They emerge holding the photo strip. All three inspect it silently. Faces slowly turn disappointed. LANA: “We paid for THAT?” Everyone collapses laughing. Camcorder zooms aggressively into the terrible photo strip (three faces matching LANA/CATE/ELARA, bad poses), loses focus, cuts to black. Audio: mall ambience, footsteps, distant arcade, photo-booth countdown beeps, flashes, muffled voices, laughter, shopping bags, natural conversation. No added music, no narrator. Humor through bad luck: hair prank → stuck curtain → timed sneeze → ruined poses → terrible strip. Spontaneous, physically realistic. Forgotten 2005 MiniDV mall tape.
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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 12-second photoreal 1:1 luxury FANTASY editorial. No on-screen text, no logos, no brand names, no other people. @image1 is the rider — face, hair, skin and build exactly as shown. Preserve their face exactly. @image2 is the coat. Lock it: exactly as shown — same cut, colour, material and collar, never changing. They WEAR this coat. No readable label. They ride a large BLACK panther — wet black fur, muscular, gold-green eyes. CRITICAL BODY: they have TWO VISIBLE LEGS the entire time. They sit astride the panther — thighs, knees, calves and black boots clearly in frame. Never a missing-leg crop. Never a floating torso. CRITICAL GAZE: both the rider AND the panther look INTO THE CAMERA. Confident, powerful, unapologetic. Not looking away at the volcano as the main beat. SETTING: volcanic jungle. Snow on tropical leaves. Distant active volcano, red-orange sky. Fantasy editorial. AUDIO: low wind, distant rumble, panther breath. No dialogue. [0-4s] WIDE full bodies: rider in the @image2 coat astride the black panther, BOTH LEGS visible in boots, BOTH looking straight at camera. Volcano behind. Slow track. [4-8s] They walk toward camera through iced ferns. Legs still visible. Direct eye contact, power. [8-12s] Halt. Full-body three-quarter. The rider and the panther stare down the lens. Hold. End. NEGATIVE: missing legs, a stump, looking away the whole time, extra people, on-screen text, studio headshot as frame 1, split-screen, snow leopard.
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.
UNDERGROUND TEMPLE. ONE EXPLORER. FIFTEEN SECONDS. 16:9. ASSET MAP - every reference is bound here and cited by tag below: @avatar_1 - the explorer, and the only person in the film. Face, hair, hair length, hair colour, skin, age, build and every physical characteristic come entirely from @avatar_1 and never from this text. IDENTITY LOCK - HIGHEST PRIORITY: the explorer is exactly the person in @avatar_1 and stays exactly that person in every shot. Do not restyle the face, do not change the hair colour or length, do not age them up or down, do not slim or reshape the body, and never swap in a different person. ONE BODY ONLY - COUNT THEM: exactly one human being exists in this film. There is never a second figure, never a companion, never a double, never a reflection or silhouette of another person, and never a second body in the foreground of a shot. Any shoulder, arm, hand or back of a head that appears in frame belongs to @avatar_1 and to nobody else. If a framing would normally need a second person to stand in front of the camera, do not use that framing. ATTACHED REFERENCES ARE MANDATORY AND FINAL: if a reference is attached, that is the explorer - reproduce them exactly, in every shot, and never invent a different one. The attached reference outranks every word written below it. WARDROBE LOCK: a plain dark sleeveless top, fingerless leather gloves worn to the knuckle, a wide belt with small pouches, cargo trousers tucked into worn lace-up boots. No jewellery, no badges, no lettering and no logo anywhere on the clothing. This list is clothing only and says nothing about hair. THE HAIR COMES FROM THE REFERENCE, NOT FROM THIS TEXT: whatever hair @avatar_1 has is the hair in the film - the same length, the same colour, the same texture, from the first frame to the last. If it is short it stays short, if it is long it stays long, if it is tied up it stays tied up, if there is none there is none. Never add length, never add a ponytail or loose strands that the reference does not have, never restyle it to suit the scene, and never let dust, movement or the action change what kind of hair it is. THE PLACE: a buried stone temple, long abandoned. Carved pillars and low arches, walls cut with deep interlocking relief, roots and pale green creeper coming through the joints, standing water in the dips of a cracked flagstone floor, drifting dust. The only light is a scatter of stubby candles burning low on the stones, plus one narrow shaft of daylight from far above. Warm candle flame against cold blue shadow, everything else near-black. THE LOOK: photographic and close, shot on a fast prime wide open - very shallow focus, strong bokeh on the candle flames, handheld with a live but controlled wobble, fine grain, no gloss. Warm amber on skin, deep blue-green in the dark. THE CUTTING: exactly five shots, hard cuts between them, with the lengths given below. Each shot is its own framing - never let two of them run together as one continuous move. THE CARVING: one panel of the wall is cut with a dense spiral pattern. When a hand touches it, thin lines of warm light run along the grooves and spread outward from the touch, then fade. The light is inside the carved lines only - it never becomes a glow in the air, a hologram or a magical effect. Shot 1 (2.8s) Medium-wide, and @avatar_1 is the subject of this shot from the very first frame - already large in the picture, not a distant figure in the depth. @avatar_1 steps out of the dark between two pillars into the shaft of daylight, one hand trailing the wall, and stops. A few candles sit low at the edge of frame, well out of focus and never filling the foreground. The camera holds handheld. Shot 2 (2.6s) Medium close, from behind and slightly to one side of @avatar_1, the camera just past their own shoulder and nobody else in the frame. @avatar_1 leans in toward the carved panel, face lit from the side by candlelight, and reads the pattern with the eyes before touching anything. The camera drifts in slowly. Shot 3 (2.4s) HARD CUT to a macro insert, a separate shot of its own: nothing but the hand and the stone, framed so tight that no face and no shoulder are anywhere in the picture. The fingers settle into the carved spiral and thin lines of warm light run out along the grooves from under the fingertips. This must not be a continuation of the previous shot - it is a clean cut to a new, much closer framing. Shot 4 (2.6s) Close on the face of @avatar_1, lit now from the wall itself, the expression turning from concentration to understanding to alarm in one continuous take. The eyes go to something off to the side. The camera holds on the face. Shot 5 (4.6s) Wide, pulling back. @avatar_1 straightens up fast and steps away from the wall as the lines of light in the carving keep spreading past the panel and out across the stones of the whole chamber, running along the joints toward the camera. @avatar_1 backs out of frame and the temple is left lit by its own lines. Hold to the last frame. DIALOGUE: @avatar_1 speaks twice, quietly and to themselves, and these are the only words in the film: In Shot 2, half under the breath: <Someone got here first.> In Shot 4, barely voiced, as the understanding lands: <That's not a trail.> SOUND: a deep buried-room tone with a long slow reverb. Water dripping into a pool somewhere off to the side, grit under a boot, the small dry crackle of candle flames, cloth and leather as they move, one slow breath before the first line. Under all of it a low sustained bass note that sits quietly through the first four shots and then swells and opens out as the light spreads in the final shot - the only moment the score makes itself felt. Do not generate subtitles, captions, on-screen text, a title card, a logo, a wordmark, a watermark or any readable lettering or numerals anywhere in frame. The two spoken lines are heard, never written on screen. No second person, no torch, no flashlight, no modern equipment, no magical glow in the air, and no change to the explorer's face, hair or build at any point.
Create a 15-second ultra-realistic cinematic 16:9 video. Sound ON. If this place were a chocolate bar. ATTACHED IMAGES ARE THE COUNTRY — photocopy them, do not invent a generic coast or Alps. @image1 is the first REAL place: reproduce it exactly as photographed, its landforms, buildings, water and colours. @image2 is the second REAL place: reproduce it exactly as photographed, its landforms, colours and texture. OPENING: dark chocolate bar, red-gold wrapper, dark table. Hand snaps it. The break REVEALS these two places, unmistakably: first the place in @image1, exactly as photographed, then the place in @image2, exactly as photographed. Melted chocolate = bay. Crumbs = karst. Finish aerial: the place from @image1 in front, the place from @image2 behind. Broken chocolate at edges. No places other than @image1 and @image2, no generic coast, no on-screen text. AUDIO: snap, sea, mountain wind. No vocals. Duration 15s. Aspect 16:9.
22 seconds, 16:9, eight shots, no speech. @image_1 and @image_2 are the two riders and the only attached assets. ATTACHED IMAGES ARE MANDATORY AND FINAL: @image_1 and @image_2 decide who these two people are; where this text and an attached image disagree, the attached image wins. Never draw one rider with the other's face and never swap them between shots. CHARACTER LOCK: the whole film is drawn in the animation style below, and inside that style each rider is unmistakably the person in their own attached asset - same face shape and features, same hair colour, length and texture, same skin tone, same build, same apparent age. Stylised, never re-cast. Preserve the gender presentation of each rider exactly as shown. Every hand in frame has five fingers. HEADS ARE BARE - THIS IS THE POINT: both riders ride bare-headed in every shot, the whole face uncovered and readable, hair loose and streaming in the airflow. WARDROBE LOCK: @image_1 in a fitted forest-green riding suit with cream shoulder panels, @image_2 in a fitted cream suit with rust-orange shoulder panels; both with tan leather slide gloves and dark knee pads. Each suit is fixed, only its drape adapts to that rider. STYLE: a stylised animated short. Solid three-dimensional forms lit by one low sun, with painted surfacing laid over them - matte, warm, simplified. Low autumn light rakes between the trunks and strobes across the riders. Longboard physics are real: gravity, inertia, grip and weight transfer. THE PLACE: a single-lane road winding down a wooded hillside. Birch, beech and maple in gold, amber, rust and deep red, the canopy closing overhead into a tunnel of colour, drifts of fallen leaves along the verges, mossy boulders, a low wooden guardrail and mist in the hollows. Low down the hill the road itself crosses a shallow stream on a small stone bridge: the bridge carries the road, a low stone parapet runs along each side, and the riders ride over it. Everywhere else the road sits on solid ground for its whole width, with verge and forest floor visible along both edges, so it always rests on the hillside and is never lifted above it. [0-3s] Already at full speed - nothing starts from rest. Low camera near the tarmac, tracking behind and to the side; both tucked but heads up and faces visible. [3-5s] The camera drops in front and tracks backwards low to the road. Both faces full to camera, @image_2 half a board ahead, @image_1 tight in the slipstream. [5-8s] First fast corner: @image_2 runs wide, @image_1 takes the inside line, both leaning together, leaves torn off the verge. [8-11s] Whip pan through the trunks, gold smearing across frame, then both burst back into shot lower down the hill. [11-14s] Close on @image_1, front three-quarter, the whole face in frame, hair whipping. [14-17s] A leaf-covered hairpin: both drop a gloved hand and carry a long powerslide, dry leaves exploding off the tarmac. [17-20s] @image_1 pulls out of the slipstream and draws level, then ahead; the two glance across at each other and half-smile, both faces in the same frame. [20-22s] Wide and high from behind: the road runs away into a tunnel of gold and in the middle distance carries the two riders over the little stone bridge, its low parapet passing on either side. They are small and side by side, shrinking into the light. AUDIO: driving instrumental music across the whole cut; under it wheels on tarmac, rush of air, leaves skittering, the scrape of a glove puck in the slide, birds at the end. There is no speech anywhere in this film. The eight shots run back to back with no gaps; the first frame is already moving at speed. No subtitles.
30 seconds, 16:9, thirteen shots, upbeat music. @image_1 is the traveller and the only attached asset - the same person in every shot. ATTACHED IMAGES ARE MANDATORY AND FINAL: @image_1 decides the face, hair, skin and build in every frame. Where this text and the attached image disagree, the attached image wins. Preserve the gender presentation of @image_1 exactly as shown. Every hand in frame has five fingers and contact with a prop stays clean. WARDROBE LOCK: one outfit for all 30 seconds - a fitted indigo denim top, matching indigo denim bottoms, a burgundy leather belt and pointed burgundy ankle boots. Each garment is fixed; only its drape adapts to the body of @image_1. CAMERA: a phone travel video. @image_1 films the selfies at arm's length; an off-screen companion films the food handoff, the market walk from behind and the restaurant. Both operators stay behind the lens. 26mm-equivalent wide angle, colour as the phone records it, handheld movement on real footsteps, exposure and focus a beat late. Only the three restaurant shots from 17 to 23 seconds carry a DV-tape look - a texture over the whole picture, with the frame edge unchanged. [0-2s] Guesthouse window at morning, selfie already in motion, tilt up to a green-glass tower over low grey rooftops. "okay, Taipei, let's go." [2-4s] Main-road junction, scooters pulling off the stop line behind @image_1. "the scooters here are insane." [4-6s] Bubble-tea counter: the clerk lowers a clear sealed cup into the outstretched hand of @image_1 and lets go only once it is supported. [6-8s] Street stall: @image_1 puts both hands out and the vendor lowers a steaming white paper bag into them. [8-10s] Temple courtyard, tilt up off the face to incense smoke, red lanterns and a dragon-carved roof. [10-13s] Stepped hillside lane, tilt down to layers of red lanterns over a stone stairway in light fog. "this looks like a movie set." [13-15s] Dried-goods market, followed from behind at waist height, a bite taken while walking. [15-17s] Gondola with a glass floor, filmed straight down over green tea terraces. The music drops one beat. [17-19s] Restaurant, DV texture begins: a waiter lifts the lid off a bamboo steamer. "everyone says these explode." [19-21s] Macro: chopsticks open a dumpling and broth runs into the spoon. [21-23s] First mouthful, close and handheld. "okay. that's the one." [23-26s] Sunset waterfront, phone texture returns, focus racks from the bridge behind onto the face of @image_1. 60% slow motion. [26-30s] Night: a lit red sky lantern leaves the fingertips of @image_1, who waves at the lens. The hand covers the lens at 30 seconds. The thirteen shots run back to back with no gaps; the first frame is already lit and already moving. Writing in frame is only writing that belongs to the place. No subtitles.
@image1 is an absolute character lock for the figure: face, body, hair, outfit, materials and colour are taken exactly from it and must not drift or be reinterpreted at any point. @image2 is the graphic system and holds its off-white ground, mid-grey panel, sage teal and dusty rose blocks, thin black rules, corner tick brackets and type style throughout. @image3 is the storyboard and is followed exactly — same beat order, same framing, same staging, same scale. Style: a high-end editorial fashion lookbook. Photorealistic live-action figure, physically lit against a clean studio seamless, composited inside a flat Swiss-editorial graphic layout that rebuilds itself around them. Real skin, real denim, real jersey, fine fabric texture, natural depth of field, calm neutral colour, no heavy grade. The graphics stay flat, hard-edged and print-clean with no shadow or bevel. Movement is unhurried and confident throughout, never posed or bouncy, the whole piece reading as one continuous studio take with the layout changing around a figure who never cuts away. The figure walks toward camera in a relaxed three-quarter turn, one leg swinging through, arms loose at the sides. They continue the turn away from camera, then look back over one shoulder, the hips staying angled off. They come back around and walk straight toward camera, square to lens, arms swinging naturally with the stride. They arrive and settle, bringing one hand to rest on the hip as the weight drops onto one leg. They hold still and square with the arms at the sides, standing smaller in the frame with more ground around them. The camera moves closer to frame them from mid-thigh up, and they stand relaxed with the shoulders level. They turn slightly off axis at that same closeness, the weight shifting across, one shoulder easing toward camera. The camera draws back to full length and they finish with one hand on the hip, chin level, holding the pose. Through all of it the graphic layout rebuilds itself around the figure between beats: the masthead FASHION holds across the top, the labels LOOK_01, LOOK_02 and LOOK_03 exchange positions at the left and upper right, and the teal and rose blocks, thin rules and corner brackets slide and resettle into a new arrangement each time. The type is crisp, correctly formed and stable while on screen, never garbled, never flickering, never warping. （A calm minimal electronic music bed, soft and even, no vocals.） The figure is never duplicated and no second person enters. Do not generate any text beyond FASHION, LOOK_01, LOOK_02 and LOOK_03. Do not generate a logo. Do not generate a watermark. No filming equipment visible in frame. Skin and movement look like real footage, not AI-generated imagery, with no distorted hands, no extra fingers and no smeared contact where a hand meets the body.
18-second 16:9 cinematic fantasy martial-arts sequence in a vast verdant forest under a dramatic stormy sky. Moss, ferns, wet leaves, tall trees — not desert, not sand. @image1 is absolute character truth for person 1. @image2 is absolute character truth for person 2. Photocopy both sheets. Do not describe appearance, hair, clothes, or faces. Use they / their / them only. SHOT 1 — 0:00–0:02 Extreme close-up. The frame is almost filled with swirling green leaves, mist, and bright shafts of forest light rushing toward the camera. Motion blur, volumetric rays. SHOT 2 — 0:02–0:04 Reveal a huge empty forest clearing, dark rocky ridge behind the trees. @image1 and @image2 appear in the distance, moving rapidly across the moss. Camera tracks low. SHOT 3 — 0:04–0:06 @image1 launches a martial-arts cut, rotating through the air. A brilliant blue-white energy trail follows the sword; a warm orange-golden energy arc sweeps around. Energy is physical and luminous, lighting the mist. SHOT 4 — 0:06–0:09 Overhead / three-quarter. @image1 spins across the forest floor; @image2 mirrors at a distance. Robes make large circular shapes. Orange energy ring, blue-white pulses from the blades. Leaves and earth spiral outward. SHOT 5 — 0:09–0:12 Camera pulls back. A gigantic leaf-and-mist vortex forms around both. Particles and chunks of earth rotate. They stay visible in the center, blue-white and golden energy. Enormous scale. SHOT 6 — 0:12–0:14 Wide. A massive tornado-like column of leaves and mist rises from the clearing into the dark clouds. Both partially visible inside. Circular disturbances on the moss. Dark storm vs illuminated foliage. SHOT 7 — 0:14–0:16 Fast push-in through the vortex toward @image1. They emerge, sword extended. Blue-white energy streams from the blade. Debris flies past the camera. @image2 still in the wind behind. SHOT 8 — 0:16–0:18 Heroic close/medium. @image1 faces the camera, calm, sword diagonal. @image2 stands just behind and to the side. Mist and sunlight. End on a still, powerful hold. No on-screen text. AUDIO: wind, leaves, energy whoosh, no lyrics.
A 15-second photoreal 1:1 cinematic. Start from @image1 as the first frame. No on-screen text, no logos. Keep the glass corporate office tower and the lava-veined black bull-demon. @image1 is the opening: the demon is ON ALL FOUR LEGS in the plaza, low and animal, lava cracks in the hide, horns, chains, spiked shoulders. Glass offices behind. Not standing upright. Not the Colosseum. AUDIO: rumble, glass, a building roar. No dialogue. [0-3s] FIRST FRAME LOCK then motion: the demon is on all fours, prowling the wet plaza toward camera. Office workers watch from windows. Steam, lava pulse. [3-5s] It RISES onto two legs in one heavy, dynamic stand-up — not a cut. Camera low, push in. [5-15s] At 5s it GOES FERAL. Mouth wide, a roar. Fire and lava burst from the chest cracks. Visible sound-shockwaves slam the glass. EVERY window on the tower shatters in a cascading burst. Office workers are thrown BACKWARD off their chairs, papers fly. Debris, sparks, more roar. Dynamic, violent, no still holds. End on the standing demon roaring at the broken facade. NEGATIVE: Colosseum, arena, remaining on all fours after 5s, a quiet still pose, on-screen text, extra demons, no glass breaking.
Generate a two-shot action video that hard-cuts on a kick from a bedroom to a night street.
ASSET MAP: @image_1 is the first frame of this film and the only reference. The person in @image_1 is the reader and the city path in @image_1 is the only location. Identity: the reader in every second is exactly the person in @image_1 - face, skin tone, hairline, hair length, texture and colour, build and gender presentation unchanged, never masculinized or feminized, never restyled, and long hair is never added to a short haircut. No action, gesture, camera note or lighting note anywhere in this text may imply hair that the person does not have: nothing is pushed, tucked, swept or spilled over an edge, and nothing is rimmed or backlit through hair. Only one person is in this film. The black t-shirt, the rust-orange trousers, the bare feet, the rope hammock, the two cast-iron lamp posts, the concrete path, the grass, the sprinkler, the newspaper and the city skyline all come from @image_1 and stay unchanged. THE NEWSPAPER AND THE HEAD NEVER SHARE SPACE - HIGHEST PRIORITY: the newspaper lies open low across the lap and thighs for the whole film, exactly where @image_1 has it, and its top edge stays below the collarbone in every single frame. The newspaper is never lifted to the chest, never lifted to the face and never raised in front of the head. The face stays entirely clear of the paper with the street and the sky behind it: the face never overlaps the paper, is never drawn on the paper, is never seen through the paper, and no part of the face or the hair is ever printed inside the newsprint. THE FORM - THIS IS THE WHOLE FILM: one locked-off camera. The camera never pans, never tilts, never tracks, never zooms and never cuts - the frame of @image_1 holds from the first second to the last, and everything that changes happens inside it. Style: ultra-photorealistic live-action, warm cinematic city light, shallow depth of field on the skyline, fine natural grain, no gloss and no stylisation. Natural colors. 0-4 seconds: the film starts exactly on @image_1 and moves at once. The hammock rocks once under a shift of weight and steadies, and the crossed bare feet settle against each other. The reader turns one page of the newspaper flat on the lap, both hands staying low, and smooths it down; the sheets crackle. Behind, the sprinkler arc sweeps across the grass and two pigeons drop down onto the path and begin walking along it. The warm low sun holds on the face. 4-8 seconds: the light begins to go. The amber on the path cools and drains, the sky behind the skyline deepens from gold to blue, the shadows lengthen and go soft at the edges, and the windows of the towers start to pick up small lights. The reader reads on with the chin slightly lowered toward the paper on the lap, blinking slowly. Both lamp heads are still dark. 8-11 seconds: dusk. The street lamps strike on with a short warm buzz. The two lamp heads that hold the hammock are above the top edge of the frame, so the light arrives from directly overhead and drops a clean warm pool straight down onto the hammock, the newspaper and the reader, leaving the rest of the street dark around it; a second later the lamp standing further down the avenue lights too, small and warm in the distance. The reader lifts the chin and looks straight up into the light overhead, face fully lit from above, hands resting flat on the newspaper on the lap. 11-15 seconds: the two pigeons flutter up and land on the foot end of the hammock, settling by the crossed bare feet. The reader turns the head slowly from the lamp toward the lens and looks straight into the camera with a small, unbothered half-smile, holds that look, and one hand smooths the newspaper flat on the lap as the frame settles still on the final second. Continuity: one person throughout, five fingers on every hand, both hammock ropes taut and attached to the lamp posts at each end, the newspaper solid and opaque, the pigeons landing with real bird weight, and one continuous natural light change from low sun to lamp-lit dusk with no jump and no re-grade. Nothing in this film passes through anything else and nothing is ever printed onto another surface. Every surface stays free of readable lettering, signage and logos. Audio: distant traffic, the tick and hiss of the lawn sprinkler, newspaper rustling, pigeon wings and soft cooing, the short electrical buzz as the lamp strikes on, and a light breeze. Nobody speaks. No subtitles.
ASSET MAP: @avatar_1 is the performer, and the only person in this film whose face, hair, skin tone, build and age come from a reference. Nothing in this text describes any of those things. ATTACHED REFERENCES ARE MANDATORY AND FINAL: the reference attached as @avatar_1 outranks every sentence below it. Where a word here and the reference disagree about what this person looks like, the reference wins and the word is ignored. IDENTITY LOCK - HIGHEST PRIORITY: the person on screen is exactly the person in @avatar_1. Preserve their facial identity and facial structure, eye shape, spacing and colour, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions - identically, from the first frame to the last. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift, and no second performer. The same person is on screen in the first second and in the thirtieth. THE HAIR COMES FROM THE REFERENCE, NOT FROM THIS TEXT: whatever hair @avatar_1 has is the hair in the film - the same length, the same colour, the same texture. If it is short it stays short, if it is long it stays long, if it is tied up it stays tied up, if there is none there is none. Movement and wind may throw it about, but they never change what kind of hair it is. Never add length, never add a ponytail or loose strands the reference does not have, never add a clip, a band, a ribbon or any other ornament to the head, and never restyle it to suit the dance. UNIFORM BOTTOMS: chequered school trousers COLLAR PIECE: a chequered necktie These two lines are the only place the uniform is decided. Change either one - to a chequered pleated skirt, to a ribbon bow tied at the collar - and the film follows it. No sentence below ever repeats or overrides the value. WARDROBE LOCK: a white button-down shirt worn loose with the sleeves pushed up the forearm, THE COLLAR PIECE at the collar, THE UNIFORM BOTTOMS in the same chequered pattern as the collar piece, white socks and plain white low-top trainers. The reference shows their face and build, not this outfit - put the outfit on them. Fit each garment to their body naturally without altering its design, cut, proportions or colour: the garment is fixed, only its drape adapts, and it is cut the same way whatever their build or gender presentation. Nothing in this outfit is chosen to suit one kind of body over another, and nothing about it is changed, softened or restyled because of who the reference turns out to be. The same clothing from the first frame to the last, never changed, never removed, never swapped mid-move. No jewellery, no badge, no lettering and no logo anywhere on it. This list is clothing only and says nothing whatsoever about hair. ONE SHOT, NO CUTS: the whole thirty seconds is a single unbroken handheld take. There is no cut, no dissolve, no jump, no flash frame and no black frame anywhere in it. One camera, one operator, one continuous move. What changes across the film is only how close the operator is standing and what passes in front of the lens. THE PLACE: a wide paved square outside a modern glass-fronted building at the end of a clear evening. Young trees in planters, a low kerb, shopfronts with awnings down one side, the sun already low and out of frame behind the far side of the square. A small black portable loudspeaker stands on the paving at the edge of the open ground; it is the only equipment in the scene. THE RING: a crowd stands in a closed ring around the open ground, two and three people deep, every one of them turned inward. They are ordinary onlookers of every sort, a whole mixture of them, standing shoulder to shoulder. Many hold phones up at chest and head height, filming. They clap along, they laugh, they shout, they lean into each other. They never step into the open ground, they never cross in front of the performer's body, and not one of them dances a routine - exactly one person is performing and the ring only watches. THE FRONT ROW WIPES THE LENS: the camera stands among the front row for most of the film, so shoulders, backs of heads, loose hair and raised arms slide across the near foreground, thrown completely out of focus by the long lens, sometimes filling the frame for half a second before sliding clear again. These passes are never cuts - the camera keeps rolling behind them and the performer is there again on the other side, one step further into the move. THE CAMERA, SECOND BY SECOND: 0-3 s: the film is already moving in its first frame - no fade, no black, no still frame, no establishing pause. The performer is on screen and mid-step from frame one, centre of the open ground, dancing hard, and for the first second nothing stands between them and the lens. The lens is at chest height among the front row, never lower, and the legs and hips are never the subject of a frame: from the second second onward a dark out-of-focus body drifts in from the right and sways across the frame twice, and the performer keeps dancing past it. The far ring of onlookers fills the background behind them. 3-9 s: the operator steps clear of the front row, the lens still at chest height. The performer is now full-figure and centre frame, the ring of onlookers and the glass building behind, low sun flaring in from the far side. 9-11 s: the operator walks straight in through the front row. Heads and loose hair sweep the lens three times in a row, the ground steadies between each, and each time the frame clears the performer is nearer. 11-15 s: waist-up now, the camera weaving slowly sideways inside the ring, keeping the performer centred while faces slide past both edges of the frame. 15-16 s: the operator takes one step back and the performer is briefly full-figure again against the packed ring, travelling sideways across the open ground. 16-20 s: the camera holds that width for a beat, then closes again as the performer spins and plays straight down the lens. 20-26 s: a close shot - the face fills most of the frame, the crowd behind reduced to blurred colour, the performer holding the lens with a direct look and mouthing the words right at it. 26-28 s: the camera swings fast around the performer in one blurred arc, a whipped half circle in which the whole background smears into streaks of gold, and comes out of it at chest height. 28-30 s: it settles at waist-up with the black loudspeaker on the ground behind, the crowd standing and clapping in a row across the back of the frame. The performer keeps dancing straight into the last frame - no pose held, no freeze, no slow-down, the film simply ends mid-move. THE PERFORMANCE: a fast, sharp, front-facing routine danced in place and travelling only a step or two at a time - quick footwork on the beat, arms cutting clean straight lines, shoulder pops, hands framing the face on the accents, a full spin on the heavier beats. Every accent in the body lands on a beat that can be heard on the track. The face is doing as much work as the body: wide eyes, grins, a raised eyebrow at the lens, a mouthed word thrown at whoever is filming. Whenever the track is singing, the mouth moves with the words - real syllables, real breaths, the jaw and lips shaped by the sound. When the singing stops and only the instrument plays, the mouth stops with it and the dancing carries on without a break. MUSIC: one track carries the whole film and it is the loudest thing in it, playing out of the loudspeaker on the paving from the very first frame - a fast, bright, driving pop record with a hard four-beat kick, a clapping layer on the offbeat and a sung vocal line over it. It runs at full level through the first fifteen seconds. At fifteen seconds everything drops away for one beat, the kick and the vocal both gone, only a thin held note left hanging. At sixteen seconds the chorus lands hard, louder than anything before it, and on that exact hit every onlooker in the ring throws both arms straight up into the air and shouts; from that hit the track stays at its loudest, unbroken, all the way into the final frame. The crowd is audible underneath it - clapping, cheering, the shout at sixteen seconds - but always clearly quieter than the music, never level with it and never on top of it. No speech, no narration, no voice-over, no dialogue. LIGHT: low evening sun coming across the square from behind the ring, hitting the performer from behind and edging the shoulders and the outline of the head in hot gold. Long soft shadows across the paving, warm haze in the air, the glass of the building throwing the light back in pale sheets, a little flare across the lens whenever the sun clips the frame. Warm, rich, slightly hazy colour - the whole film shot in the last half hour of light. HANDS: five fingers on every hand, every time a hand comes near the face or is thrown up in the air - no extra finger, no missing finger, no fused or bent-back joint, no hand that changes shape between one move and the next. The same goes for every raised hand in the crowd. NOTHING READABLE: no readable words anywhere in the frame - no signage, no shop name, no logo, no brand mark, no writing on the loudspeaker, no printed text on anyone's clothing or bag. Surfaces that would normally carry lettering are plain. NEGATIVES: No subtitles. No on-screen text. No captions.
@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.
Generate a 30-second selfie video of a puppy climbing into the front pocket of your hoodie.
【Generation Goal】 Generate a premium cinematic short film in which someone only a few inches tall crosses a worktable, finds a tear in an enormous jacket, threads a needle taller than they are, repairs the seam by hand, and is finally revealed riding in the breast pocket of the finished jacket as a giant wears it. 【Visual Style】 High-end cinematic 3D animation of polished feature-film quality, with realistic materials, detailed fabric, natural textures, physically based lighting, realistic shadows and subtle depth of field. Cloth reads as real wool and cotton with legible weave, fibre and thread detail and correct weight in every fold. Cloth, wood, metal and paper each read as their own material. Skin is soft and matte with subsurface warmth. Long soft shadows and rich material separation, with the lighting taken from @image2. Do not render a plastic, vinyl, toy or figurine look, cartoon physics, clay or stop-motion surfaces, photoreal live-action photography, ink outlines or line-art contours, cel shading, flat banded shadows, comic, manga, anime or webtoon styling, or vector or flat-illustration fills. 【Reference Asset Roles】 @image1 defines the character's face, hair, body proportions, clothing and accessories; take the identity and costume entirely from it and do not adopt its neutral background. @image2 defines the location and every object in it: the workshop, the worktable, the jacket, the needle, the spool of thread, the measuring tape, the tools and the lighting. It also defines scale — the size relationship between the character and every object is fixed by @image2 and never changes. Do not take any person from it. @image3 is the storyboard and governs shot order, framing, staging, character position and camera geography; read it left to right and then top to bottom, and do not adopt its panel grid, gutters or flat layout into the video. 【Subjects and Relationships】 There is one continuous character throughout, defined by @image1, only a few inches tall. Use they / their / them. They are never swapped, duplicated, replaced or altered in face, hair, clothing, proportions, colours or accessories in any shot. They work with calm, practised care and quiet pride. A second, giant person appears late — first as a hand and wrist entering frame, then as a body wearing the jacket. This giant is always framed so that no face and no head is visible: the hand shot shows only hand and wrist, and the final shot is framed from the chest down. The giant is never described, never turns toward camera and never speaks. The jacket, the needle, the spool of thread, the measuring tape and the worktable stay consistent in size, shape, position and appearance throughout. The tear exists until it is stitched, and once stitched it stays closed. 【Event Script】 Stage 1: A wide low shot along the surface of the worktable. The character walks steadily across the table toward the jacket spread out ahead of them, the coiled measuring tape carried over one shoulder. At the end, they are partway across the table and the jacket fills the ground ahead. Stage 2: They reach the edge of the jacket and stop at the foot of the fabric, tipping their head back to look up as the lapel rises above them. At the end, they are standing still at the base of the cloth, looking up. Stage 3: They climb onto the wool and cross to the failed seam, then crouch beside the open tear and lay a hand on the frayed edge, tracing its length. At the end, they are crouched at the tear with the split clearly open in front of them. Stage 4: They cross to the needle lying on the table and stand at its eye, raising the end of the thread with both arms and feeding it through the open loop. At the end, the thread is through the eye and they hold the doubled end. Stage 5: They set the needle into the wool and haul it through, braced back against the weight, the thread drawing after it in a long line. The cloth dimples and releases around each pass. At the end, the first stitches are laid and the needle is clear of the fabric again. Stage 6: A closer frame travels along the seam as the work continues, the tear closing behind a run of neat even stitches. They kneel at the last stitch and draw it tight. At the end, the tear is fully closed and the seam is clean. Stage 7: They step back onto the jacket, hands on hips, and look along the finished seam. An enormous hand descends into frame, closes on the cloth and lifts it, and they ride the rising fabric, catching their balance. At the end, the jacket is off the table and they are holding on. Stage 8: The camera pulls smoothly and steadily back into a wide shot. A giant stands wearing the repaired jacket, framed from the chest down. The character sits in the breast pocket with the needle held upright beside them, looking out. The shot holds on that final state. Throughout, movement is unhurried and physically believable, with correct anatomy and natural human-like motion. Objects have real weight — the needle is heavy, the cloth resists and settles, the thread has slack. Dust turns slowly in the raking light. Camera moves are smooth and cinematic with stable framing and consistent perspective; there are no rapid cuts, no camera jumps, no morphing, warping or artifacts, and no impossible physics. 【Sound】 <the soft scuff of small footsteps on polished wood>, <cloth shifting and settling under weight>, <the fine rasp of thread drawn through wool>, <a single quiet tap as the needle is set down>, <a distant clock in another room>, <the low hum of a warm afternoon workshop>. No one speaks, no narration, no music, and no subtitles appear on screen. The character keeps their mouth naturally closed throughout. 【Maintain Consistency】 Keep the character's identity, face, hair, clothing, proportions, colours and accessories exactly as defined by @image1 in every shot, with no drift or reinterpretation. Keep the workshop, worktable, jacket, needle, thread, measuring tape and lighting consistent with @image2, and hold the scale relationship between the character and every object fixed throughout. Keep the giant's face and head out of frame in every shot they appear in. Keep the tear closed once it is stitched. Keep the shot order, framing and camera geography matching @image3. Do not generate any text, titles, captions, subtitles, logos or watermarks.
CHARACTER LOCK: The person in every shot is exactly @image1. Photocopy the face from @image1. Do not restyle the hair away from @image1. Gender presentation as shown. They/them. No other people. Do not describe the person. @image1 is face and identity only, not the studio shirt. 30 seconds, 16:9. Photoreal live-action adventure. DESERT: canyon wash, sand, heat haze, dunes, sun-bleached rock. Not alpine forest, not moss, not snow. Already in the wash as frame 0 — never a studio portrait plate. NO ON-SCREEN TEXT, captions, titles, logos. They cross a shallow desert wash by jumping between natural stepping stones. Authentic balance, foot placement, one unstable rock that shifts. Water if present is a thin desert stream — sand and gravel around it. 0–6s. Wide: desert canyon, @image1 at the near bank. Handheld follow. 6–14s. Jumps stone to stone. Rock-level close-ups of feet. Side tracking. 14–22s. One stone shifts. They regain balance. Continue. 22–30s. Reach the far bank. Look back. Camera pulls away across the desert. Hold. Cut. SOUND: wind, gravel, shoe impacts, small splashes if any, breathing, cloth. No music. No speech. NEGATIVE: ice, pine forest, mossy alpine river as the only set, studio white shirt as the only outfit, extra people, studio headshot as frame 0, on-screen text, slow-mo freeze.
A 12-second photoreal cinematic 16:9. No on-screen text, no logos, no people. @image1 is the T-rex — body, colours, spines and snout exactly as shown — leaping through sunset peach clouds. Keep that exact creature until the morph. AUDIO: wind, dinosaur run, then wingbeats. No dialogue. [0-6s] Fully a T-rex the whole time. Runs and leaps through sunset cumulus. Tiny forelimbs, massive tail, scales. Camera tracks. NO feathers yet. NO beak yet. [6-9s] NATURAL morph over these three seconds only — not a snap, not a dissolve to a different animal: second 6: small feathers push through the scales along the back and arms; skin-sails start at the shoulders; second 7: wings lengthen, plumage fills in, the snout shortens and the jaw reshapes into a curved beak — same head turning into a macaw beak, not a cut; second 8-9: macaw colours (red, blue, yellow, green) finish across the body; wings spread. Same creature, same leap, continuous. [9-12s] Full macaw. Flaps and flies through the same peach clouds. End. NEGATIVE: a pop-cut at 3 seconds, a different animal appearing, extra creatures, text, remaining a T-rex after 9s, studio still as frame 1.
【REFERENCE】 @image1 is a completed 2 columns × 2 rows 4-panel fashion editorial board featuring the same single subject in 4 different outfits. Define top left as PANEL_01／LOOK_01, top right as PANEL_02／LOOK_02, bottom left as PANEL_03／LOOK_03, bottom right as PANEL_04／LOOK_04. @image1 is an absolute lock for appearance: take face, hair, age appearance, skin tone, body type and proportions from it exactly and hold them identical across all LOOKs, with no drift or reinterpretation in any SHOT. Inherit clothing, shoes, accessories, background composition, base colours, accent colours and text only within the corresponding LOOK for each PANEL. Poses and shooting angles within PANELs are visual references from the start and not fixed. Do not newly set characters, outfits or colours on the text side; do not mix faces, bodies, outfits or colours between PANELs. Usage order is PANEL_01→02→03→04→01→02→03→04. Do not output 2×2 boards, borders, multiple people, or pans/zooms on sheets into the video; expand the corresponding PANEL into an independent full-frame space for each SHOT. 【CONDITION】 All 8 SHOTs, high-quality live-action fashion editorial video. Give all 8 SHOTs equal screen time; no SHOT runs noticeably longer or shorter than any other. Do not make it a video switching between 8 still posters. Ensure each SHOT establishes "starting pose → one clear fashion action → ending pose different from start," with stillness held only at the very end of the final SHOT. Combine natural one or half-step, body and shoulder direction turns, arm and hand position changes, weight shifts, head and gaze, and hair and outfit sway for the subject. Not dancing. Move subject, camera, text and colour blocks simultaneously. Base the entire edit on horizontal panel movement, without vertical scrolling. Within each SHOT, also move text, colour blocks, rectangles and lines left and right at 8–20% differing speeds. For each transition, shift the old LOOK's graphic plane 40–55% of screen width to one side, leaving about half, enter the next LOOK's colour block and text horizontally from the opposite side, pass through a brief uneven split screen, then fully reveal the next LOOK. Vary direction, width and speed per transition; do not repeat the same full-screen wipe. Only one subject during splits. Hard cut subject and outfit at edit points; do not use morphs or crossfades. Displayed text is only FASHION, IN MOTION, LOOK 01, LOOK 02, LOOK 03, LOOK 04, 02, 03. Same Helvetica Neue Condensed family as the adopted board. Make major text fully readable once before moving, without covering the face. 【SHOT FLOW】 [Shot 1] PANEL_01. Full body slightly to the right. From reference pose, move half a step, shift weight and arm position, stop in a different pose facing shoulder and gaze to camera. Camera short horizontal move opposite the subject. After FASHION and LOOK 01 establish, text and rectangle shift half screen left, LOOK_02 colour block enters from right. [Shot 2] PANEL_02. Full body with margins. While stepping horizontally, swing body to 3/4, change hand position to face front. Arc, base colour block and thin lines move horizontally at speeds different from the subject. At end, exit these background elements horizontally, enter PANEL_03 slope horizontally from opposite side. [Shot 3] PANEL_03. From start, the subject's full body fits centre-right on screen and does not follow the background slide. Without walking, from front-facing pose, relax one knee to shift weight to the hip, place one hand on the hip, return outward gaze to camera. Hair and hem sway naturally once with delay. Prohibit off-screen entry, horizontal move, sharp turns. Short push in. 03, slope, halftone and barcode accelerate horizontally, barcode strip slides horizontally to open LOOK_04. [Shot 4] PANEL_04. Full body. Step forward to open the shoulders, land in a pose with changed arm and leg placement. Short pull back. Arc, light colour block and IN MOTION shift left and right, at end retreat half to screen right, restart LOOK_01 grid from left. [Shot 5] PANEL_01. 3/4 to medium. During short push in, twist the upper body, quickly change one arm position and gaze to make the pose different from the first cycle. FASHION, rectangle and grid move horizontally in reverse direction parallax, connect to LOOK_02 rectangle. [Shot 6] PANEL_02. Pull back from medium to full body. Step forward to camera, change shoulder and hand position to land in a different full body pose. Base colour block, arc and thin lines three-layer horizontal move at differing speeds, at end exit these background elements horizontally, enter PANEL_03 slope horizontally from opposite side. [Shot 7] PANEL_03. From start, the subject is in screen centre and does not follow the background slide. During pull from knee-up to full body, slowly rotate about 90 degrees on one foot axis in place, turn the body then face front. Naturally lower both arms to stop in an upright pose. The long hem alone draws one large arc with delay. Maximise sway amplitude, do not increase subject speed. Prohibit off-screen entry, walking, fast horizontal move. Camera also short horizontal move. 03, slope, halftone and barcode cross left and right, open arc plane horizontally to connect to LOOK_04. [Shot 8] PANEL_04. Slowly pull from medium to full body. The subject steps forward to change arm, leg and weight, converging to a hero pose different from the first cycle. Arc and thin lines decelerate horizontal move, hold the end on a fully readable IN MOTION end screen. Do not return to 4 panels. 【NEGATIVE】 Prohibit sequence of still images, long stills per SHOT, repetition of reference poses, motion only at transitions, vertical scrolling, 2×2 board display, multiple people, subject duplication, pans/zooms on sheets, reading order changes, added people/outfits/colours/text, mixing between PANELs, different people, morphs of face/outfit/body, crossfades, all SHOTs same central full body or same scale, same-direction full-screen wipes, text cutoff, text covering face, subtitles, brands, logos, watermarks, limb distortions. overall_soundscape: Very soft, brief clicks and fabric swishes occur only at shot changes, mixed clearly below the music. No dialogue, narration or system voice. non_diegetic_music: A continuous instrumental fashion beat led by a dry kick drum, tight closed hi-hats and a steady synth-bass pulse at 118 BPM. It starts at a clearly audible level on the first frame, remains the dominant audio layer without ducking or fading, and continues through the final frame. No vocals.
A locked static camera, eye level, subject centred and framed head to feet with the floor visible. The camera never moves, zooms or reframes. The setting is one modern apartment living room, unchanged from first frame to last: warm honey-toned wide-plank wood floor, cream-white walls, a low beige sofa with olive-green cushions along the back wall, a squared wood-slab coffee table holding a small stack of books, framed artwork on the left wall, tall black open shelving on the right with a trailing green plant, an open doorway at the right edge, soft even daylight. Along the bottom of the frame sits a row of four small circular white buttons, each holding a tiny icon of one garment. A small white arrow cursor moves between them. They stand centred in their own clothing, weight shifting from one leg to the other, hands settling at the waist, shoulders turning slightly. The cursor slides to the first button and taps it, and the outfit from @image1 replaces what they are wearing in a single instant snap. They smooth the skirt down and lift one hand to the brim of the hat. The cursor taps the second button and the outfit from @image2 snaps into place. They straighten, roll one shoulder to settle the pauldron, and take a half step. The cursor taps the third button and the outfit from @image3 snaps into place. They turn a few degrees to one side, set a hand on the hip, and let the weight shift open the slit. The cursor taps the fourth button and the outfit from @image4 snaps into place. They raise both hands to the back of their head, lower them again, and settle facing camera. Every outfit change is instantaneous, one frame to the next. No dissolve, no morphing, no transition, no fabric growing or unfolding. Room tone only. No dialogue, no speech, no singing, no music. Avoid generating any text, subtitles, captions, logos or watermarks.
10-second 9:16 colorful giant-product city film. @image1 is the product: photocopy that tall black matte tumbler with handle, black lid, stainless rim and base. Not a soda can. No invented label. No on-screen text. 0.0–1.33s: Extreme macro of the matte black wall and handle in bright sunlight. Cut wider into cyan sky. 1.33–2.67s: The same tumbler floats among chunky pink and yellow voxel blocks and miniature cargo stacks. Geometric glyphs orbit outside the product. Energetic scale shift. 2.67–4.0s: Dramatic low city angle. Giant tumbler towers over stacked cargo. Hard sunlight, cyan sky. Full geometry intact, handle visible. 4.0–5.33s: Top-down miniature cargo yard. Oversized tumbler among pink, yellow, cyan stacks. 5.33–8.0s: Open-sky. Blocks assemble around the tumbler. One brief water splash ~6.4–7.2s without deforming it. Splash settles by 8.0s. 8.0–10.0s: Low-angle oversized hero against cyan sky. Tumbler fully visible, larger than surrounding structures. Hold. No captions. AUDIO: original electronic beat, dry clicks, one splash accent, no vocals.
Create a 20-second 16:9 ultra-realistic cinematic live-action video. Sound ON. IDENTITY: The person is exactly the attached portrait — face, hair, skin and eyes exactly as shown, with pointed elf ears added. Same face every frame. Do not beautify or change them. The clothes in the portrait are NOT their outfit. OUTFIT: dark fairytale forest gown (deep moss velvet, subtle gold embroidery). Keep it the whole clip. SETTING: enchanted ancient woods — giant mossy trees, fireflies, floating motes, shafts of magical light, mist. Everything magical and fairytale. NOT a concert. NOT a city crowd. GREMLINS: small mischievous forest gremlins (pointed ears, sharp grins, leafy/mossy hides) instead of a human crowd. They surround the person among the roots. ACTION (same rhythm as the storm clip): 0–6s: The person walks calmly through the dense gremlin throng. They jostle, chatter, climb trunks. 6–12s: The person stops still at a clearing. The gremlins suddenly move in rapid synchronized motion — heads snap, arms up — then FREEZE mid-action around the person. 12–16s: The person looks around while the gremlins stay locked. Camera slowly pushes in. 16–20s: The person looks into the lens, subtle mysterious smile. Fireflies. OPENING: already in the woods mid-walk. Never a grey studio headshot. No on-screen text. AUDIO: forest, gremlin chatter, magical drone, no songs. Duration 20s. Aspect 16:9.
ASSET MAP - every reference is bound here and cited by tag below: @image1 - Avatar 1, the sitter. This is a person; it defines face and identity only. @image2 - Avatar 2, the photographer. This is a different person; it defines face and identity only. CHARACTER LOCK - HIGHEST PRIORITY: the two people in this film are exactly the people in @image1 and @image2, and they are never mixed with each other. For each of them preserve facial identity, facial structure, eye shape and spacing, eyebrows, 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 each person's gender presentation exactly as shown, and do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Each person wears exactly what their own reference shows, and that clothing stays the same from the first shot to the last. Hands stay complete and correct throughout, with five fingers on every visible hand. Only these two people appear in the film. ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached images outrank every word written below them, and wherever an attached image and this text disagree, the image is followed. @image1 and @image2 define who each person is and what they wear; the pose, framing, background, location and lighting of those images are ignored and come from this text instead. SUMMARY: @image1 sits for a portrait and @image2 photographs them on a large-format camera in a sunlit loft studio, until @image2 sets the self-timer and joins @image1 for a portrait of the two of them together; warm documentary style on a 35mm lens, shallow depth of field, hard afternoon window light throwing long window-frame shadows across a pale plaster wall, cream and amber palette, fine film grain. TIMELINE 0-4s Extreme close-up of @image1 against the sunlit wall, already in motion: @image1 puffs their cheeks and holds the silly face for a beat, then lets it go and settles into stillness as the light moves across their face. The camera holds still, breathing slightly. 4-8s Cut to @image2 standing behind a large-format bellows camera on a wooden tripod, the loft's tall windows and brick wall behind them. @image2 leans to the ground glass, adjusts the bellows with one hand, and looks up over the camera toward @image1. The camera pushes in slowly. 8-11s Cut to a close-up of @image1 as the shutter fires; @image1 breaks into a real smile a moment after the sound. 11-15s Cut to a wide two-shot of the studio: @image2 stands at the tripod on the left with their back half to us, @image1 sits on a wooden stool on the right in the window light, the shadow of the window frame falling across the wall between them. The camera trucks slowly to the right. 15-18s Cut to an extreme close-up of the back of the camera. @image2's hand enters the frame and turns the self-timer lever; a small red lamp starts to blink. The camera holds still. 18-22s Cut to a wide shot: @image2 walks away from the tripod into the set, sits down on the second stool beside @image1, and straightens up facing the lens. The blinking red lamp is visible on the camera in the foreground. 22-26s Cut to a medium two-shot of @image1 and @image2 side by side against the sunlit wall, both facing the lens. They glance at each other and start to laugh. 26-30s The shutter fires. @image1 and @image2 hold the laugh, look back to the lens together, and the frame settles as the window light slides a little further across the wall. The camera holds still to the end. NOTES: the loft, the wall, the stools, the tripod and the direction of the window light stay the same in every shot, and the film is one continuous afternoon. @image1 stays @image1 and @image2 stays @image2 in every shot they appear in. The large-format camera keeps the same body, bellows and tripod from the first shot to the last, and its body is plain matte black with a blank nameplate. No subtitles. No BGM; generate only environmental sounds and action sounds - room tone, footsteps on a wooden floor, the bellows and the shutter, the ticking of the self-timer, and their laughter.
subject_definitions: @image_1 is the 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. Every person who appears in this film is an adult. summary: [reference generation] A 15-second 16:9 photorealistic live-action horror scene in which @image_1 is shopping alone in a small night-time convenience store when a stranger walks in, turns on the shop worker, and then hunts @image_1 down the aisles using a voice @image_1 knows. retention_analysis: @image_1 (appears in [Shot 1], [Shot 2], [Shot 4], [Shot 5], [Shot 6], [Shot 7]): fully_preserved - gender, face, hair, skin and body proportions stay exactly as in @image_1 in every shot. detailed_description: Photorealistic live-action with premium theatrical cinematography: real skin texture, believable body mechanics, accurate clothing physics, natural motion blur and real depth of field. One small neighbourhood convenience store at night, keeping the same layout, shelves and stock in every shot. Practical cool-white fluorescent light from the ceiling only, with realistic falloff and hard reflections on refrigerator glass and polished floor. @image_1 wears a mustard-yellow hooded sweatshirt, dark jeans and a small backpack, fixed in cut and colour, only its drape adapting to the body. The stranger stays human-looking and ordinary throughout - a person behaving wrongly, never a monster. Every hand in frame has five separate fingers. [Shot 1] The film opens close on the face of @image_1, lit from the side by a refrigerator door, then the camera pulls back with large amplitude at medium speed to reveal the aisle, the red basket, the worker at the counter and the dark glass doors. [Shot 2] At 00:02.000, a medium shot facing the entrance: the doors slide open and a stranger steps in unsteadily, one hand on the frame. The worker looks up. The camera pushes in with small amplitude at slow speed. [Shot 3] At 00:04.000, a close shot of the stranger. The swaying stops. The eyes focus. One small wrong twitch of the head. The camera holds a static shot. [Shot 4] At 00:06.000, a fast medium-wide shot: the stranger drives at the counter, the worker is slammed back, stock goes on the floor, @image_1 drops the basket and runs. The camera whips right with large amplitude at fast speed. [Shot 5] At 00:08.000, a low camera in an aisle at the eye level of @image_1: @image_1 drops behind the shelf, one hand hard over their own mouth, watching through a gap between packets. The camera holds a static shot. [Shot 6] At 00:10.000, from behind the shelf: the stranger walks into the aisle, looks left, then right, then stops facing the hiding place. The camera pushes in with small amplitude at slow speed. [Shot 7] At 00:12.500, an extreme close shot of @image_1's face, hand over mouth, one tear. The stranger is a blurred shape beyond the shelf. The stranger (S1), speaking from off screen in a warm, familiar, mid-range voice at an unhurried pace, says <d>[English] Sweetheart. Come out. I'm right here.</d> Then <d>[English] Come to me.</d> @image_1 does not move. The camera pushes in with small amplitude at slow speed and holds to the end. overall_soundscape: Refrigerator compressors, a fluorescent buzz, the two-note door chime, footsteps on polished floor, stock hitting the ground, and the tight held breathing of @image_1. After the counter the room tone thins out, so footsteps and breathing carry the last third alone. non_diegetic_music: A single sustained low drone with one slow rising note under it, entering only after the counter. It stays at one even, moderate level and never swells into a stinger.
@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.
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.
ELARA is the only person. Same person in every frame: face, hair colour and eyes exactly as in @image1. Photocopy FACE from @image1. Outfit, shoes, jewelry and location come from each look below. They MOVE in every beat (walk, turn, look-back, hair/cloth). Never a frozen JPEG. ONE PERSON ONLY. No crowd, no extra faces. 15 SECONDS, 9:16 VERTICAL (TikTok / Reels), 24fps. High-energy live-action fashion transformation MV. Every strong beat changes outfit + location + composition. Hard cuts / energy wipes, not a still grid. GRAPHIC LAYER — CRITICAL: All type lives BEHIND them, on walls / glass / night sky / concrete / mirrors, like a magazine set. They walk IN FRONT of the letters and OCCLUDE them. Never overlay letters on their face, hair, torso, legs, or boots. Never a floating HUD in front of the body. Never type across their chest. If a letter would hit their silhouette, keep it in the background — they cover it, the letter does not cover them. Giant bold English, same energy as MODE ON filling a wall behind an elevator. In 9:16, stack letters vertically on the LEFT and RIGHT gutters and on the wall above their head, not through their body. English ONLY. No Korean. No Hangul. Never write SOLVÉRA, SOLVERA, OUT NOW, or any brand end-card. Each section a DIFFERENT English graphic style: oversized white sans, pink condensed, sticker handwriting, thin serif, metallic 3D chrome, diagonal stretched on garage walls, outlined poster serif, minimal luxury caps. Never the same white bold font twice. LOOKS — garments and set per look (face and hair colour always from @image1): LOOK 01: midnight navy satin one-button blazer and matching trousers, deep plunging neckline, silver chain at waist, navy pointed pumps. Dark blue textured studio. Hair slicked back, its own colour from @image1. Stand square, then one slow step toward camera. Huge MODE ON on the wall behind them; they occlude the middle. LOOK 02: black leather bomber over white tank, ripped denim shorts, black leather over-the-knee stiletto boots, sunglasses on head. Wet graffiti alley, rain on asphalt. Hair loose in its own colour from @image1, look back over shoulder while walking. STREET MODE on shop signs / sky behind them, not on their jacket. LOOK 03: dusty-pink fuzzy cardigan, white crop tee, grey pleated mini, grey suede over-the-knee heels, small silver shoulder bag. Bright pink-white convenience store aisle. Playful, hold the bag strap, small turn. Sticker SO CUTE and PINK MODE on fridge doors and shelves behind them, never on their clothes. LOOK 04: ivory silk mini slip, charcoal wool coat slipping off shoulders, gold chain, cream knee boots. Sunset rooftop, city haze, hair blowing. Turn into wind toward camera. Thin serif AFTER GLOW / RUN THE NIGHT in the sky behind them. LOOK 05: silver sequin mini, spaghetti straps, crystal drop earrings, wide silver cuff, black patent knee stiletto boots. Hair pulled up, its own colour from @image1. Backstage vanity with round bulbs. Adjust earring, look into lens. Metallic chrome ICON on the mirror wall BEHIND their head; FLASH READY on the counter/mirror below, never across the dress. LOOK 06: cropped black leather biker, black bandeau, zip leather mini, silver chain belt, black leather over-the-knee boots. Underground parking garage, fluorescent tubes. Walk toward camera. ATTITUDE and NO RULES painted on concrete walls behind them, parallax slower than their walk, never across their body. LOOK 07: black crystal-studded mock-neck mini with sheer sparkle sleeves and a sheer sparkle train, black ankle-strap sandals, drop earrings. Hair loose, its own colour and length from @image1. Dark studio spotlight. Powerful stand, small weight shift. Huge outlined OWN THE LOOK on the back wall; they occlude the center. LOOK 08: floor-length liquid silver cowl slip, spaghetti straps, silver stiletto sandals. Hair down, its own colour and length from @image1. Pale grey seamless studio. Walk two steps and stop. Minimal LAST LOOK on the floor/wall behind their boots and to the sides, never across the gown. BEATS: 0.0–1.5s LOOK 01. Fast push-in. MODE ON wall behind. 1.5–3.0s LOOK 02 alley. Low-angle walk + look back. 3.0–4.5s LOOK 03 store. 4.5–6.0s LOOK 04 rooftop. 6.0–7.5s LOOK 05 vanity. 7.5–9.0s LOOK 06 garage. 9.0–10.5s LOOK 07 dark studio. 10.5–12.0s LOOK 08 silver studio. No SOLVÉRA. 12.0–15.0s FINAL HERO: night terrace. Elara holds center in the LOOK 08 silver slip. Magazine pages FLY IN around them, behind and beside, never on their face. English behind them only: CUTE high on the sky, then IS POWER on the terrace wall behind their legs. End 0.5s fashion-cover freeze. NO end-card. NO SOLVÉRA. NO OUT NOW. NO Korean. Realistic skin, hair, fabrics. Identity locked. No logos, no UI, no watermarks in-scene. AUDIO: high-energy fashion MV punchy beat, no vocals, no speech.
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.
CHARACTER LOCK: The person in every shot is exactly @image1. Photocopy the face from @image1. Do not restyle the hair away from @image1. Gender presentation as shown. They/them. No other people. Do not describe the person. @image1 is face and identity only, not the studio knit. @image2 is the product (the outfit). Do not name it. Do not describe it. They wear the product from @image2 in every shot. Do not dress them in the clothing visible in @image2. 15 seconds, 16:9. Photoreal luxury fashion editorial — not anime, not cel-shade. Glossy black studio floor, architectural light panels, haze. Already walking in as frame 0 — never a studio portrait plate. NO ON-SCREEN TEXT, captions, titles, logos. 0–3s. They walk diagonally across the studio and stop. Low-angle, reflection on the floor. 3–7s. Glance back. Hair and the product from @image2 move. Close then wider. 7–11s. A controlled turn. Fabric follows. Camera circles. 11–15s. Hold a fashion stance. Slow push. Cut. SOUND: diegetic studio hush, footsteps, cloth. Audio must be present. No speech. No famous track. NEGATIVE: anime, chibi, extra people, the clothing from @image2 as the outfit, studio headshot as frame 0, on-screen text, wall logos, TARA.
VINTAGE GRAND PRIX. THREE DRIVERS. NO DIALOGUE. THIRTY SECONDS. 21:9. ASSET MAP - every reference is bound here and cited by tag below: @avatar_1 - the driver of car number 1. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_1 and never from this text. @avatar_2 - the driver of car number 2. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_2 and never from this text. @avatar_3 - the driver of car number 3. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_3 and never from this text. IDENTITY LOCK - HIGHEST PRIORITY: each driver is exactly the person in their own reference. Keep their face, hair, skin tone and build the same from the first frame to the last. Do not restyle them, do not age them up or down, do not slim or bulk the build, never swap which reference drives which car, and never put a fourth driver on the track. Three drivers, the same three, for the whole film. ATTACHED REFERENCES ARE MANDATORY AND FINAL: if a reference is attached, that is the driver - reproduce them exactly, in every shot, and never invent a different one. The attached references outrank every word written below them. CAR AND DRIVER PAIRING - NEVER BREAK IT: @avatar_1 drives the red car with a white roundel and the numeral 1. @avatar_2 drives the dark green car with a white roundel and the numeral 2. @avatar_3 drives the pale blue car with a white roundel and the numeral 3. The numerals on the cars are the only numbers allowed anywhere in the film. WARDROBE LOCK: all three wear the same cut of plain period racing kit - a light canvas one-piece with a wide leather belt, a soft leather helmet and round goggles pushed up on the forehead, and leather gauntlets. The kit differs only in colour, matching each driver's own car. No lettering, no sponsor patches, no badges and no logos anywhere on the kit or the cars. THE CARS: three small open-wheel single-seaters from the late nineteen-fifties - riveted aluminium bodies, exposed suspension arms, tall thin tyres with visible spokes, a single mirror on a stalk, no wings and no modern aerodynamics. They sit low and look hand-built. THE PLACE: an old countryside road circuit at the last hour of daylight. Cracked tarmac, painted red-and-white kerbs, hay bales and low wooden fencing, mown grass banks, a long avenue of trees down one side, a wooden footbridge over the track, a small empty timing tower and a shallow grandstand of bare wooden benches. THE LOOK: shot on film at golden hour and graded warm - long low sun straight down the track, heavy lens flare, dust and pollen lit in the air, shallow depth of field, gentle anamorphic stretch on the highlights, fine grain. Everything is amber, brass and deep green. The sun is always low and always in shot or just outside it. THE CUTTING: exactly seven shots and no more. Each one is long and unhurried and runs its full length without an internal cut. Do not break any shot below into several shorter ones - the camera does the work, not the edit. Shot 1 (5.5s) Wide, low and head-on. The three cars sit side by side on the grid, engines running, heat shimmering off the bonnets, the low sun directly behind them throwing long shadows toward camera. @avatar_1, @avatar_2 and @avatar_3 sit in their cars looking ahead. The camera pushes in slowly. Shot 2 (4.2s) High and wide, looking down on the circuit as the three cars come off the line together and take a long sweeping bend in formation, dust lifting off the kerbs behind them. The camera drifts with them. Shot 3 (5.2s) Low, on the tarmac under the wooden footbridge, looking up the track. A single carrot lies on the racing line right in the foreground, very close to the lens and filling a good part of the bottom of frame, sharp while the track behind it is soft. The three cars come through the bridge's shadow at speed and burst past it, and the carrot is torn apart into a spray of orange fragments across the road. The camera holds low as they pass over. Shot 4 (5.0s) ONE UNBROKEN SHOT, no cut inside it: in the car with @avatar_1, camera mounted just ahead of the cockpit and locked on the face for the full five seconds. Goggles down, jaw set, the whole frame shaking with the road, hedges and trees tearing past in a blur, dust and low sun flaring across the lens. This is the fastest and roughest shot in the film and it must run as a single continuous take. Shot 5 (4.2s) Wide and almost still. The long straight with the sun sitting exactly on the road at the end of it. The three cars are small black silhouettes running dead into the light, their shadows stretched enormous behind them. Almost nothing moves in frame but them. The camera holds. Shot 6 (2.2s) Track level at the grandstand. The cars come past flat out, close to camera, and a marshal standing at the trackside edge of frame waves a small chequered flag on a short wooden pole as they cross the line. The flag is a real cloth flag held in a hand, moving with the wave - it is never a band, strip or banner stretched across the top or bottom of the picture, and never an overlay on the image. Shot 7 (3.7s) The podium at sunset. A real three-step wooden podium stands beside the track with three clearly different heights - a tall centre step, a lower step to its left, a lower step again to its right. @avatar_1 stands on the tall centre step and is visibly higher than the other two. @avatar_2 stands on the left step and @avatar_3 on the right step, both lower. Each of them does something different: one raises both arms, one folds their arms and grins, one is still pulling their goggles off. Do not give the three of them the same pose or the same gesture. Goggles pushed up, dusty and pleased, the last of the sun going down over the trees behind. The camera pushes in slowly and holds to the final frame. MUSIC - THIS FILM IS SCORED AND THE SCORE IS LOUD AND PRESENT, WELL IN FRONT OF THE ENGINES. A warm orchestral score with brass and strings, the sound of an old sports newsreel, and it is tied to three things that happen on screen: It sits low and tense, strings only, while the cars are standing still on the grid. On the exact frame the three cars move off the line, a rising brass note lifts and the full theme starts running, driving and bright, and carries the whole chase. On the exact frame the chequered flag is waved, one big brass swell lands at once, at least twice as loud as anything before it, and then opens out warm and broad over the podium and holds to the final second. Mix the music loud - it should be the first thing anyone hears, and it must be clearly louder at the end than at the start. The engines are always quieter than the music. At every moment of the film the score sits on top and the engines sit underneath it, and the gap between them widens toward the end: over the podium the music is at its loudest of the whole film and the engines have stopped altogether. ENGINE AND ROOM SOUND, KEPT WELL BELOW THE MUSIC AT ALL TIMES: three small unsilenced engines at different pitches, gear changes, tyres over kerbs, gravel flicking up, wind and a flag snapping. These are background texture only - they must never be as loud as the score, never mask it, and they fade out completely on the podium so the whole podium shot is music alone. No voices, no commentary, no dialogue, no lyrics, no singing. Do not generate subtitles, captions, on-screen text, a title card, a sponsor board, a brand name, a logo, a wordmark, a watermark or any readable lettering anywhere in frame. The only numbers allowed are the 1, 2 and 3 on the cars. No modern cars, no modern clothing, no rabbits or animals of any kind, no fourth driver, and no change to any driver's face or build at any point.
ASSET MAP: @image_1 is the first frame of this film and the only reference. The person in @image_1 is the walker and the autumn village in @image_1 is the only location. Identity: the walker in every second is exactly the person in @image_1 - face, skin tone, hairline, hair length and colour, build and gender presentation unchanged, never masculinized or feminized, never restyled, and long hair is never added to a short haircut; the hair moves only as much as its own length allows. No action, gesture, camera note or lighting note anywhere in this text may imply hair that the person does not have: nothing is ever pushed, tucked, swept or blown out of the face, nothing is rimmed or backlit through hair, and where the hair is short or shaved it simply stays short or shaved and barely moves. Only one person walks in this film. The oatmeal cable-knit sweater, the light blue straight-leg jeans, the cream ankle boots, the timber houses, the cobbled lane, the bamboo fence, the firewood, the pumpkins and the amber hillside all come from @image_1 and stay unchanged. THE FORM - THIS IS THE WHOLE FILM: one single unbroken take. No cuts, no dissolves, no jumps and no change of location at any point. The camera never stops moving and never lets the walker out of frame; every change below is a continuous move of one camera, not an edit. Style: ultra-photorealistic live-action, warm late-autumn golden hour - low sun down the lane, amber and rust bounce from the orange canopy, long soft shadows on the cobbles, haze with drifting motes, fallen leaves lifting as the walker passes, real handheld weight, shallow depth of field. 0-5 seconds: the film starts exactly on @image_1 and moves at once - the walker lets go of the doorframe, steps down onto the cobbles and looks into the lens with a small easy smile before walking forward, the camera retreating ahead at walking pace, leaves drifting through the sunlight. 5-10 seconds: still retreating, the camera drifts lower and closer until the walker is held from the waist up, the low sun flaring past one shoulder while the orange canopy slides by on both sides. 10-15 seconds: without any cut the camera arcs around the shoulder of the walker and settles behind, following a few steps back down the lane past dark timber facades, a bamboo fence and drifts of fallen leaves. 15-20 seconds: still one move, the camera rises and pulls back into a high wide crane - the lane falling away, the whole village opening out with its roofs and woodsmoke, the amber mountainside behind and the walker small and centred far below. The move slows and the frame settles on the final second. Continuity: the walker always moves away down the same descending lane so the door is never seen again, five fingers on every hand, the light and the sun direction consistent for the whole take, and no other person ever in frame. Every surface stays free of lettering and signage. No green summer foliage anywhere; the whole film is deep autumn. Audio: boots on stone, dry leaves, light wind, a stream below, distant birds and a soft piano line. Nobody speaks. No subtitles.
Create a 10-second ultra-photorealistic 16:9 luxury furniture commercial. Sound ON. Continuous first-person POV, 26–28mm, black studio, matte-black leather gloves only. No face. No other people. HERO PRODUCT is exactly @product from the reference: same shape, upholstery, colour, cushions, arms and base. Photocopy this chair. It must stay identical once chosen. 0–0.8s: a different cream cloud armchair floats center; gloved hand swipes left. 0.8–1.6s: ivory modular chair orbits out; another chair arrives from right. 1.6–2.4s: swipe, curved boucle chair. 2.4–3.2s: swipe, caramel leather chair. 3.2–4.2s: the HERO chair from the reference arrives slowly, rotates frontal, stops with heavy inertia. Its details clearly visible. 4.2–5.0s: open-palm STOP. Other chairs recede. 5.0–5.8s: hand presses and slides the hero armrest — upholstery compression. 5.8–6.6s: chair lands; walnut floor slides under, a neutral rug unrolls. 6.6–8.5s: SAME hero chair stays put while a quiet-luxury room assembles around it (walnut walls, coffee table, pendant, curtains). 8.5–10s: panoramic window, warm daylight, slow dolly back. Hero chair 100% identical. Real mass, inertia, friction. No morphing, no UI, no text, no logos. AUDIO: soft whoosh of swipes, upholstery creak, furniture weight, room settle. No vocals. OPENING: already the first chair in black studio — never a white packshot still. Duration 10s. Aspect 16:9.
THIRD-PERSON ACTION GAME CAPTURE. ONE PLAYABLE CHARACTER. NO DIALOGUE. FIFTEEN SECONDS. ASSET MAP - every reference is bound here and cited by tag below: @avatar_1 - the playable character, and the only named performer in the film. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_1 and never from this text. IDENTITY LOCK - HIGHEST PRIORITY: the playable character is exactly the person in @avatar_1. Keep their face, hair, skin tone and build the same from the first frame to the last. Do not restyle them, do not age them up or down, do not slim or bulk the build, and never swap in a different character. One playable character, the same one, for the whole capture. STYLISED, NOT PHOTOGRAPHED: @avatar_1 is rebuilt as a modern game character - clean stylised 3D shading, soft subsurface skin, rim light on the hair, crisp material separation - and never composited in as a photograph. Their face still has to read as unmistakably theirs: the same features, the same proportions, the same hair and skin tone, rebuilt in the game's own look. ATTACHED REFERENCES ARE MANDATORY AND FINAL: if a reference is attached, that is the character - reproduce them exactly, in every shot, and never invent a different one. The attached reference outranks every word written below it. FACE TIME: the camera sits behind and slightly above the right shoulder for most of the capture, but @avatar_1's face is clearly visible and clearly lit at least twice - once early, once at the end - as the character turns through the action. WARDROBE LOCK: @avatar_1 wears a fitted white and pale pink armoured jacket with hard shoulder plates, a utility harness across the chest, dark fitted trousers with armoured shin guards, and a large rounded backpack. The backpack is white with warm yellow panels and it stays white and warm yellow in every single shot - it never turns green, blue, pink or any other colour. The whole outfit is fixed in cut and colour for the capture and only its drape adapts to the body wearing it. No lettering, no numerals and no logo anywhere on the clothing or the pack. THE LOOK: a captured frame from a modern third-person action game running at high settings. Clean stylised 3D rendering, physically lit, shallow game-camera depth of field, mild motion blur on fast turns, crisp specular highlights on metal and wet floor. Saturated colour, heavy use of practical light sources in frame. Nothing hand-drawn, nothing photoreal - it should read as a game, not as film. THE PLACE: a sealed underground facility. It opens in a cold teal service corridor with a wall-mounted data terminal glowing on one side. It moves into a red-lit loading corridor with heavy blast doors, warning chevrons painted on the metal, and pipework overhead. It ends in a long amusement arcade - two facing rows of upright arcade game machines with big lit marquees and glowing screens, the floor wet and reflecting magenta and cyan. THE OPPOSITION: three armoured figures in matte dark grey combat gear with full face visors. Faces never visible. No badges, no flags, no unit markings, no readable lettering anywhere on them. 00:00-00:03 Over the right shoulder of @avatar_1 in the teal service corridor, walking up to the wall terminal and reaching out to work it. The light from the screen falls across the side of the face. The camera holds behind the shoulder. 00:03-00:06 Cut to the red loading corridor: one of the opposition rushes in from the left and @avatar_1 turns hard into them, striking the weapon aside and putting them down in two fast movements. The face comes round to camera through the turn. The camera whips with the turn. 00:06-00:09 Cut to a low wide shot as a second figure comes over a crate and @avatar_1 drops them with a short burst, the muzzle flash lighting the blast doors, smoke rolling out across the floor. The camera tracks right at speed. 00:09-00:12 Cut to the arcade, camera behind the shoulder, @avatar_1 advancing slowly between the two rows of arcade machines with the weapon up. Marquee light slides across the armour plates. The camera pushes forward with them. 00:12-00:15 The last of the opposition breaks from cover at the far end and @avatar_1 drops them, then turns back toward camera, lit clean by the arcade screens, and holds. The camera settles to a stop and holds to the last frame. AUDIO: a sealed underground room - low air handling, a fluorescent tube buzzing, footsteps on wet concrete. Terminal beeps at the start, cloth and armour under strain, two short weapon bursts, shell casings on the floor, arcade machines idling in the background at the end. A tense electronic bed on low synth pulse, kept well under the effects and never rising to a peak. No voices, no shouting, no dialogue, no lyrics. Do not generate subtitles, captions, on-screen text, a mission banner, a minimap, a health bar, a HUD of any kind, a title card, a logo, a wordmark, a watermark or any readable lettering or numerals anywhere in frame. The frame must be left completely clean of interface. Do not generate spoken dialogue or narration.
15-second 16:9 cinematic. @image1 is the traveler’s face. @image2 is the storyboard — photocopy outfit, canoe, forest, and the WATER DRAGON from the board. Do not describe appearance, hair, or clothes. Use they / their / them only. One traveler, one canoe, one lantern. Current carries the canoe; no paddle. One inhabitant: a colossal WATER DRAGON, not a stag or elk. Concealed until the end, then a gentle bow toward the lantern. SHOT 01 | 00.00–01.75 | water-level 24mm. Already moving. Glide just above the lake. Canoe toward screen right. Lantern reflection. Enormous overhead branch. SHOT 02 | 01.75–03.00 | 100mm moss at the waterline. A tremor, one droplet. Lantern passes as a blur. SHOT 03 | 03.00–05.00 | 20mm over the bow, through hanging roots. A hand sweeps one strand aside. SHOT 04 | 05.00–07.00 | 50mm, track backward. They kneel and lower the lantern ~20cm above the water. Offering, not panic. SHOT 05 | 07.00–09.00 | 35mm overhead. A broad swell lifts the bow. They keep the lantern steady. SHOT 06 | 09.00–11.50 | 18mm underwater. Flooded roots. One enormous scaled dragon limb settles on the silt. Not a tentacle. Sediment curl. SHOT 07 | 11.50–15.00 | 24mm over their shoulder. The water dragon was there in the mist all along. Slow bow toward the lantern. Exhale of mist. Hold the last 0.70s. No fade. Seven clean cuts. No on-screen text. AUDIO: water on wood, canopy air, muffled pulse underwater, a breath at the bow. No lyrics.
Generate a video of 15s 16:9: desert, one-finger array, your avatar, fighting monsters.
Clips on this page (40)
- Mall Booth
- Office Minotaur
- Woods Gremlins
- SELF-TIMER PORTRAIT
- Shoe Kick Midnight Ride
- NY Street Style
- Strung Between Streetlamps
- Riviera Cover Film
- A Voice You Know
- One Song Long
- Frozen Panther
- Crimson Fox Shrine Duel
- Universal Lookbook
- Diorama Build Commercial
- French Lookbook
- Hoodie Pocket
- Hair Product Showcase
- Seoul Switch
- Crimson Salon
- Not a Trail
- Sci-Fi Character Detail Montage
- The Tiny Tailor
- Montenegro Bar
- Studio Turn
- Desert Stones
- Take the Wind
- Into the Sun
- Rex Macaw
- Bed Review
- Down the Amber Lane
- Fashion Editorial Board
- Chair Carousel
- Interactive Outfit Switch
- One Day in Taipei
- Sublevel Four
- Editorial Lookbook Turnaround
- Tumbler Block City
- Water Dragon Bow
- Desert Array
- Forest Vortex