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Create a video of 15s 16:9: vanity commercial, with your face and your product.

2 steps327.7K

A cinematic fantasy fight. Epic, brutal and relentless — every blow lands with devastating, ground-breaking weight. The hunter wins. VISUAL STYLE — HIGHEST PRIORITY Match the reference images exactly: animated painterly concept art, visible brush strokes, hand-painted textures, saturated but controlled palette, anime and game splash-art aesthetic. This illustrated rendering must hold through every movement, power effect and camera angle — characters and environment share the same painted look, no style mismatch. Absolutely no photorealism, no live-action textures, no glossy 3D-CGI or plastic rendering, no outlines or ink line-art, no cel shading, no flat banded shadows, no vector fills, no smooth airbrushed gradients. REFERENCE ASSIGNMENTS @image1 is an absolute character lock for the hunter: face, body, hair, costume, accessories, materials, colours and the sword are taken from it exactly, with no drift or reinterpretation in any shot. @image2 is an absolute character lock for the oni: face, horns, body, costume, materials, colours and the club are taken from it exactly, with no drift or reinterpretation in any shot. The height relationship between the two characters established in the references holds in every shot. @image3 is the storyboard and is followed exactly — shot order, framing, camera angle, staging, pose and the location's architecture, perspective, lighting and colour palette. Stage the entire battle in that one location, its facades bordering the action, the tall structure and the blossom trees clearly visible in wide compositions. CHOREOGRAPHY Begin in motion with the hunter charging. Low lateral tracking shot as they sprint down the street straight toward the oni, the great sword trailing sparks along the stone, wisps of dark energy already bleeding off the blade. The oni plants a wide stance and swings the club down horizontally to meet the charge. The hunter slides beneath it; the club smashes a facade apart, beams exploding outward. They spring up into an ascending strike that rakes the oni's forearm — first hit, the oni recoils. The hunter leaps onto a facade, two fast wall-running steps, and launches back at the oni. Whip pan catches the airborne slash, releasing a sharp crescent of dark energy that carves across the oni's chest. The oni roars, raises the club with both hands, then hammers it straight down into the street — the ground splits open in a jagged fissure, slabs heaving upward, dust and petals blasting out in a shockwave. Quick close-up in slight slow motion as the hunter reads the impact and kicks off a rising slab to clear the widening crack. The hunter lands and attacks at superhuman speed, darting around the oni's flanks with painted motion trails, dark energy trailing off the sword. Three readable, connected strikes — each one visibly biting into the oni, staggering them back a full step. The oni pivots, catches the third on the club, and backhands the hunter across the street; they smash through a railing, skid, and rise without missing a beat. Tight camera orbit through the exchange. Red flames coil around the oni's club and a dark crimson demonic aura erupts around the oni's body. The oni raises the club overhead and brings it down like a meteor — a massive flaming ground-slam that tears the street apart, a wall of fire and debris racing outward. Slow-motion dodge beat: track tight beside the hunter as they spring off a collapsing facade and vault over the erupting shockwave in slow motion, red flames licking inches away, petals suspended, eyes locked on the oni. Snap back to real time as they thrust their free hand forward and hurl a bolt of dark energy into the oni's chest, staggering them. Cut on impact into a wider view that re-establishes the tall structure behind. The finisher builds. The hunter sprints and leaps high into the air above the oni, rising against the tall structure and the blossoms, the great sword raised overhead in both hands, channelling a massive surge of dark energy along the entire blade — black tendrils spiralling out, the light draining from the street. The oni looks up and raises the club to guard. At the apex they swing down and release a colossal black energy slash. Drop into dramatic slow motion as the black crescent splits the flaming club and cleaves straight through the oni — a black shockwave ring detonating outward, swallowing the red flames, petals frozen mid-air, the ground buckling beneath the blow. Real time returns. The oni is cut clean in two along the energy line; the halves separate and fall away, dissolving into red embers and black smoke before they hit the ground — no gore, a clean dispersal of light and ash. The hunter lands lightly in a crouch amid the wreckage, dark energy fading from the sword, and rises. End on a strong wide composition: the hunter standing alone in the shattered, split street, embers and black smoke dispersing where the oni fell, the tall structure behind them, blossoms drifting down through the settling dust. CAMERA AND CONTINUITY Frantic but readable action. Tracking, motivated orbits and controlled whip pans, clear spatial continuity, cuts driven by movement or impact. Reserve full slow motion for the mid-fight dodge and the final cleaving strike, plus the brief close-up in the second beat. Maintain consistent anatomy, weapon geometry, grip, clothing and height difference throughout. Every attack has anticipation, contact or evasion, and follow-through. Environmental damage persists and accumulates — cracks, fire and debris carry across the fight. Give every beat comparable screen time; no beat is rushed and none is held long. Exactly two characters. No duplicates, additional characters, changing faces, extra limbs, extra weapons, text, subtitles or logos. Stylized clean defeat, no gore.

4 steps

Cinematic 2.5D animation in painterly rendering, gouache concept art in motion, visible brush textures, flat posterized color blocks, matte finish, soft volumetric lighting. NOT flat 2D cartoon, NO outlines, NOT glossy CGI, NO photorealism. @image1 (character sheet) 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 (environment plate) is the location lock — architecture, palette and light come from it. @image3 (storyboard) is to be followed exactly, matching shot order, framing and pose. Ten filmic cuts: • SHOT 1 (Macro Detail): Macro close-up of their prosthetic fingers twitching; glowing gold gravitational threads unspool into the vacuum. • SHOT 2 (Scale & Threat): Wide shot of the dying planetary core cracking in half, blasting shockwaves of golden light through the floating pillars. • SHOT 3 (Character Entrance): Low-angle tracking shot as they glide weightlessly into the abyss, their cloak ballooning around them like a cosmic void. • SHOT 4 (Expression Focus): Close-up on their face; the gold glyphs flare brightly as they tilt their head in absolute, chilling composure. • SHOT 5 (Casting the Strings): Medium shot; they sweep both hands outward, casting hundreds of glowing gold puppet strings across the entire starfield. • SHOT 6 (Reality Pull): Dynamic wide shot; they violently pull the strings taut, arresting the collapse of the planet and dragging the colossal burning fragments back together. • SHOT 7 (High-Speed Tracking): FPV tracking shot swooping past floating debris as the planetary fragments collide and fuse into a newly ignited miniature golden sun. • SHOT 8 (Power Apex): Medium shot; they rotate their wrists, the orbital halo spinning rapidly and locking the new star into orbit behind them. • SHOT 9 (Aftermath Echo): Extreme wide shot; the restored golden star illuminates the massive expanse, their silhouette dead-centre as the master of the cosmos. • SHOT 10 (Hero Poster Frame): Low-angle hero shot; they lower their hands, gravity strings dissolving into gold dust, their mantle settling around their silhouette. Hold final frame. Weighty natural animation, zero-G fabric motion, 24fps filmic motion, shallow depth of field. NOT flat 2D cartoon, no bold outlines, not glossy CGI, no photorealism.

4 steps

Cinematic live-action fantasy, feature-film VFX. Real skin and real fabric, physically lit, heavy atmospheric haze, volumetric shafts, practical-looking dust, embers, debris and spray, natural motion blur, fine film grain. No outlines or ink line-art, no cel shading, no flat banded shadows, no comic, manga, anime or webtoon look, no vector fills, no smooth airbrushed gradients. @image1 and @image2 are absolute character locks for the two fighters: face, body, hair, costume, materials and colour are taken exactly from them and must not drift, blend or be reinterpreted in any shot. @image1 carries the cyan-blue energy, @image2 carries the violet energy, and the two must never be confused with one another. @image3 is the storyboard and is followed exactly — same shot order, same framing, same staging, same scale. A fist-to-fist duel between two immortals, cyan-blue power colliding against violet lightning, told in nine beats of equal length. They meet in the courtyard, @image1 driving in low while @image2 turns into the strike, a white flare bursting where the two guards lock. Handheld low angle, camera pushing in with them. The exchange carries across the paving, blows traded fast and close, cyan and violet trails smearing off their forearms. Camera tracks laterally alongside, holding both in frame. They fight up onto the roof, braced along the sloping ridge, striking and blocking while tiles crack and slide out from under their feet. Camera cranes up with them and settles wide. A struck eave detonates, blowing tiles, beams and dust outward, and both are thrown clear of the blast. Fast snap-in to the point of impact, then the camera rides the debris outward. Both break upward off the collapsing roof and climb hard, cyan and violet streaming behind them into the cloud above. Camera tilts up and follows the climb. High in the cloud they hover apart, each drawing power into one drawn-back fist until the cyan and the violet swell into full coronas. Slow push in, holding both in profile. The two fists meet dead centre. A white core detonates on contact, a violet shockwave blasting outward and tearing the cloud into an expanding ring. Locked wide, the frame shaking with the hit. Driven down through the spray beside the falling water, the two keep striking at each other all the way down, then land skimming the surface. Camera falls with them, then levels off low over the water. One last exchange throws a vast circular shockwave racing out across the water. Cut to an extreme close-up on @image1's eyes as a three-pointed sigil ignites cold blue on the brow. Audio: low sustained wind and rolling thunder under the whole piece, sharp cracking impacts on every blow, shattering tile, a deep sub-bass detonation on the fist collision, and heavy falling water in the closing beats. No music, no voices, no dialogue. No on-screen text, no subtitles, no captions, no logos, no watermark.

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A 20-second 16:9 photoreal action film. Sound ON. IDENTITY: Exact attached person from @image2 — face, hair, skin, age and any glasses exactly as in @image2; they wear a cosy knit cardigan. Same face every frame. PRODUCT: The exact hair styler in @image3 — its shape, colours, controls and finish exactly as shown, never changed. NOT an umbrella. NOT a generic dryer. Wet narrow alley, overcast, puddles. Third-person. NO HUD, no on-screen text. TIGHT PACE — no idle walking: 0–4s: They are ALREADY in the alley, styler in hand. Two men block them. They lift the styler. 4–10s: Air blast into the first man's hair. Barrel tap on the second. Both down. Fast. 10–16s: Larger man charges. They staff-hit + air blast. He slips on wet stone. 16–20s: They flick their hair with the styler and walk off. Gravity. No magic hover. AUDIO: whoosh, drizzle, thuds. No voiceover. OPENING: alley, mid-action. Never a living-room portrait. Duration 20s. Aspect 16:9.

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Exactly 12 seconds. 16:9. Photoreal handheld street clip. ONE CONTINUOUS TAKE. CAMERA: They walk TOWARD us the whole time. Front three-quarter, then closer front. We see their FACE and the FRONT of every jacket. Not over-the-shoulder. Not walking away. @image1 is the person — lock this exact face, hair, age. Bare head. NO CAP, no hat, no beanie, no hood up — hair visible in every frame. Frame 1 is already on the wet zebra crossing, already walking toward camera, already in outfit 1. NEVER a studio portrait. SET: Overcast wet city, wet asphalt, zebra crossing, huge classical stone cathedral with columns behind them. Cool grey daylight, light rain, cars passing. NO HATS AT ALL. Three jackets only. OUTFIT 1 (start): black leather jacket, dark trousers, no cap. Walking toward us. Front of the leather clearly readable. 0.0-3.5s — Walking toward camera. A hollow olive-green bomber jacket floats in the air to their right, empty, slightly translucent. They grab it with their right hand. Particle dissolve: black leather becomes the olive bomber. Cap never appears. Same face, hair uncovered. Front of the new bomber fills the frame. 3.5-7.5s — Olive bomber, still walking toward us, checking the front zipper. A hollow grey pinstripe double-breasted overcoat floats to their left, empty. They grab it. 7.5-12.0s — Particle dissolve into the grey pinstripe overcoat (no cap, no red hat). They keep walking TOWARD camera until they are a medium close-up, coat front fully visible. Abrupt end. Same person. Rain on each fabric. Distant unreadable pedestrians only. No on-screen text. No logos. No music. No baseball cap in any second. AUDIO: rain, wet footsteps, traffic, fabric whoosh on each swap. Duration: exactly 12 seconds. Aspect ratio: 16:9.

[Generation Goal] @image1 launches from the high launch ledge toward the lower destination roof. Their mechanical wings malfunction during the descent, folding around them into an armored cocoon before they crash into the roof. They force the wings open, stand amid the dust, and impatiently close a wingtip that refuses to stay folded. Begin with clear spatial geography, build into a forceful impact, and finish with understated physical comedy. [Reference Material Roles] @image1 is an absolute character lock. Face, body, hair, costume, wing materials and silhouette are taken from it exactly and preserved through every mechanical configuration, with no drift or reinterpretation in any shot. Do not adopt its neutral background. @image2 is the environment lock. The launch ledge, the destination roof, the surrounding architecture, materials and lighting direction are taken from it exactly. Begin with the destination roof intact; preserve the damage after impact. Do not take any person from it. [Visual Style] Premium painterly fantasy animation. Stylized dimensional forms combined with hand-painted 2D brush textures, graphic facial lighting, visible painterly edges, asymmetric shadow shapes, rich material detail, expressive poses, and strong readable silhouettes. Use brief, controlled brush-like motion smears along fast-moving wing edges. Dramatic but controlled contrast, atmospheric depth, and sharp architecture. Skin, fabric, architecture, armor, and mechanical surfaces retain tactile definition and subtle wear. [Event Script] Wide shot from a slightly elevated rear three-quarter angle. @image1 stands on the high launch ledge in the left foreground. Across the gap, the lower destination roof occupies the right midground, with the distance behind it establishing depth. Keep them and the landing area clearly readable together. They step to the edge, look directly toward the open roof, and lower their weight into a launch stance. Their folded wings begin to open. HARD CUT. Full-body profile shot from ledge height, with the destination roof visible lower on the right. They push off with both legs and clear the ledge, moving left-to-right. The camera tracks right beside them as the ledge recedes. Wing spars extend through visible hinges; overlapping feather plates spread into a complete flight silhouette. End with both wings open and supporting their glide. Continue the same shot without a cut. The camera follows them forward and downward as they angle their chest toward the destination roof and extend their legs behind them. Both wings hold a balanced, steady spread, and the relic core glows evenly. The roof grows larger below and ahead as the gap closes. End in a controlled diagonal descent running from upper-left toward lower-right. HARD CUT. Full shot from a slightly elevated rear three-quarter angle, showing their body and both wing joints. The camera tracks along their descent. Their right outer wing joint abruptly snaps beyond its normal angle and locks. Only then does uneven lift roll their body sideways. Their head turns toward the failed wing as the relic core flickers. The destination roof remains visible below, making the approaching danger clear. End with them losing control while continuing toward the same landing area. HARD CUT. Full-body shot from a three-quarter frontal angle, camera tracking downward beside them. They tuck their knees toward their chest as both wing roots rotate forward. The metal feathers overlap around their arms, head, and bent legs, mechanically enclosing them in a tapered armored cocoon. A final narrow seam closes over their alarmed eyes. The shell remains visibly made from their original wing plates. End with the cocoon fully closed and still falling. HARD CUT. Low-angle wide shot from roof level, looking diagonally across the landing area. The cocoon strikes from upper-left and gouges a short path toward screen-right. Contact lifts a wave of roof surface along its path that breaks and scatters outward. A single sharp camera jolt marks the impact, then the frame settles. Heavy fragments fall in short arcs and bounce down the slope while fine dust expands behind the sliding shell. The cocoon stops in a shallow trench, supported by the structure beneath. End with the shell motionless inside the dust. HARD CUT. Static medium shot at cocoon height, three-quarter angle. Debris settles around the closed shell and the dust begins to thin. A single muffled punch from inside knocks an overlapping plate outward. A gloved hand pushes through the seam, grips its edge, and strains against it. The opening widens just enough to reveal one furious eye. End with their hand gripping the plate and the shell partially open. HARD CUT. Low-angle full shot from the front-left, keeping their boots, torso, and wing assembly visible. They plant both boots on the exposed roof support and force the shell apart. The left wing releases first, swinging clear of their body and folding behind their shoulder; the right wing catches halfway. They brace, jerk their right shoulder backward, and pull the resistant mechanism free. Its hinges snap into alignment in sequence as they straighten to full standing height. Dust drifts away from their silhouette; both wings now form compact vertical stacks behind their back. HARD CUT. Static medium shot at eye level from the front-left, holding their face and right shoulder mechanism together. They give the faulty right wing a narrow-eyed sideways glare, lips pressed together, then look forward with exhausted composure. Only after they look away does the upper wingtip spring open beside their shoulder with a small metallic squeak. Without looking back, they reach across with their left hand and press it firmly into its latch. Their hand drops. End on their unimpressed expression as one final fragment lands beside them. [Maintain Consistency] Keep the same person and attached wing assembly throughout. The right wing is the malfunctioning wing. The cocoon forms from the existing metal feathers rotating and overlapping through mechanical joints; those same components unfold and nest behind their shoulders. The high ledge remains the launch point, and the lower roof remains the destination. Keep all cameras on the same side of the flight and skid axis, preserving left-to-right travel. Maintain lighting direction, the gouge in the roof, and accumulated debris across cuts. Use natural-speed action: a deliberate launch, brief stable glide, sudden malfunction, fast fall, heavy impact, resistant mechanical recovery, and a clearly readable final comic beat. Give every beat comparable screen time so the sequence reads evenly from launch to final gesture, with no beat rushed and none held long. [Audio] <Soles scrape the ledge, followed by a firm push-off.> <Wing hinges extend and feather plates click into position as wind builds.> <A harsh ratchet snap interrupts the steady flight noise; the relic core sputters.> <Rapid overlapping metal clicks seal the cocoon.> <A heavy impact, brittle fracturing, grinding metal, and bouncing debris.> <A brief lull, then one muffled punch from inside the shell.> <Straining hinges, sliding plates, sequential latch snaps, and a firm final locking click.> <A small wingtip squeak, a dry closing clack, and one last fragment tick.> No dialogue, narration, or music. Their mouth remains naturally closed. No subtitles or on-screen text. [Rendering Exclusions] No clean anime cel-shading, thin anime line art, glossy generic CGI, photorealism, flat cartoon rendering, film grain, muddy textures, excessive bloom, noisy AI-looking detail, or blurry architecture.

3 steps

【Generation Goal】 Generate a whimsical, cinematic, unhurried illustrated story in which two people set a single paper lantern onto still water at dusk, watch it drift, discover the pond filling with many more, share the sight with each other, and finally sit down together at the water's edge as the whole garden glows. 【Visual Style】 A classic feature-animation look — appealing rounded character design, large expressive eyes, soft full forms and warm readable faces — rendered as a hand-painted illustration with gouache and watercolour surfaces, luminous glazed colour, softly broken tonal transitions and controlled visible brush texture. Forms are sculpted by light and by the edges of the paint rather than drawn with contour lines. Glowing evening colour throughout: warm lantern light against cool blue evening shadow, coloured shadows, soft painterly highlights, elegant reflections and richly detailed foliage. Do not render ink outlines or line-art contours, cel shading, flat banded shadows, comic, manga, anime or webtoon styling, vector or flat-illustration fills, or photoreal imagery. 【Reference Asset Roles】 @image1 defines the first character's face, hair, body proportions and clothing; take the identity and costume entirely from it and do not adopt its neutral background. @image2 defines the second character's face, hair, body proportions and clothing; take the identity and costume entirely from it and do not adopt its neutral background. @image3 defines the location: the garden, the pond, the stone ledge, the bridges, the foliage, the lantern posts and the lighting; do not take any person from it. @image4 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 are exactly two people throughout, defined by @image1 and @image2. They remain the same two continuous people in every shot, never swapped, duplicated, replaced or altered in face, hair or clothing. Use they / their / them for both. They are warm and easy with one another, and their attention is mostly on the lantern and on each other. One paper lantern begins the sequence; the many lanterns that appear later are additional and the first one is never removed. The ledge, the near bank and the far side of the pond are parts of one continuous location. 【Event Script】 Stage 1: Both stand together at the near edge of the water, @image1 on the left and @image2 on the right, a small paper lantern resting on the flat stone ledge between them. Both look down at it and wait. At the end, the lantern is still on the ledge and neither has touched it. Stage 2: @image1 bends slightly and lifts the lantern from the ledge with both hands. @image2 stays close beside them, hands clasped beneath the chin, watching it closely. Both bodies angle inward toward the lantern. At the end, the lantern is held in @image1's two hands. Stage 3: @image1 crouches and lowers the lantern carefully onto the surface of the water. @image2 leans in from the right, watching. At the end, the lantern is resting on the water directly in front of them and @image1's hands have come away. Stage 4: Both stand side by side, looking down as the lantern drifts a short way out. @image2's expression opens in amazement; @image1 smiles. Reflections ripple across the water beneath it. At the end, the lantern is a little way from the bank and both are still watching it. Stage 5: Further out, more lanterns begin to glow across the water. @image2 reaches across and lightly touches @image1's sleeve, drawing their attention toward the far side. @image1 turns their head the same way. At the end, both are looking out across the pond together. Stage 6: The two have moved beneath a low trailing branch, still side by side, both facing the water. @image2 extends one arm and points out toward dozens of floating lanterns. @image1 looks where they point and smiles more brightly. Flower petals drift on the surface. At the end, the arm is still extended and both are looking out. Stage 7: @image2 turns to @image1 with delight, and @image1 turns back to them with affection. Behind them the water is filled with glowing lanterns, the bridges and the layered foliage. At the end, they are looking at each other. Stage 8: Both sit down together on the stone ledge at the water's edge, shoulders almost touching, facing forward toward the glowing water. The camera pulls gently back into a wide shot holding the whole lantern-filled garden under the deepening evening sky. The shot holds on that final state. Throughout, the water stays almost still and the lanterns drift slowly, their reflections shifting under them. Petals move on the surface, the trailing branches stir faintly, and the sky deepens gradually from pink toward blue. All movement is slow, soft and continuous; nothing is hurried and there are no fast cuts. 【Sound】 <Very quiet water lapping at a stone edge>, <a soft evening breeze moving through leaves>, <faint insects in the foliage>, <the small papery sound of a lantern set onto water>, <quiet movement of cloth as they shift and sit>. No one speaks, no narration, no music, and no subtitles appear on screen. Both characters keep their mouths naturally closed except where the script describes an open expression. 【Maintain Consistency】 Keep each character's identity, face, hair and clothing exactly as defined by @image1 and @image2 in every shot, with no drift, swapping or reinterpretation. Keep the garden, pond, ledge, bridges, foliage and lighting consistent with @image3. Keep the first lantern present once it is on the water, keep the number of lanterns growing and never shrinking, keep the near bank and the far side of the pond consistently oriented, and keep the shot order, framing and camera geography matching @image4.

5 steps

A 15-second 16:9 photoreal tech unboxing. Sound ON. ALAN is exactly the attached portrait — face, hair, facial hair and eyes exactly as shown; black shirt. Same face every frame. Do not change their gender presentation. PRODUCT is exactly the camera from the stills, same body, colours, screen, controls and markings, in a retail box printed with it. NEVER a MacBook. NEVER a laptop. OPENING: Frame 1 is already the sealed retail box sliding toward camera. Never a grey studio portrait of Alan. 0–4s: Extreme close-up of the product's retail box sliding toward camera. Pull-tab, CLICK, lid rises. Cut to Alan’s face, natural: “Today we’re unboxing this one.” 4–9s: Overhead. ALAN lifts the lid, takes out the camera, flips the screen, fingers on the joystick. 9–12s: Macro of the lens, screen and controls. ALAN powers it, screen lights. 12–15s: ALAN holds it toward the lens, small smile. “First impression — this is going to be fun.” Studio desk, mic in background. AUDIO: cardboard, click, ALAN's voice, studio room. No other people. Duration 15s. Aspect 16:9.

2 steps

Create a 15-second 16:9 FPV commercial. Sound ON. Photoreal, fast continuous camera, no cuts if possible. PRODUCT LOCK: The hero at the end is exactly @product from the stills — its packaging and bar exactly as the stills show, same colours, wrapper, printed claims, bar shape and markings. Photocopy this bar. Never a coffee cup. Never espresso. Never a different candy. FPV path (coffee-origin rhythm, cocoa instead): 0–3s: Fly over a tropical cacao plantation, yellow-orange pods. 3–6s: A pod splits, wet beans, then beans drying in the sun. 6–9s: Roast, then grind into liquid chocolate the shade of the bar in @product. 9–12s: Liquid pours into a bar mold, sets. 12–15s: FPV lands on @product: its packaging and bar exactly as in the stills, close, hero hold. AUDIO: whoosh of flight, jungle, crack of pod, roast crackle, pour, then a deep resolved hit on the bar. No vocals. No on-screen text. Duration 15s. Aspect 16:9. OPENING: already flying over trees — never a white packshot still.

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30-second 16:9 cinematic. @image1 is the fighter — photocopy their face. Outfit: dark blue-black battle armour, spear that later unfolds into a long energy rifle. Do not invent a different face. The enemy is an ICE DRAGON: colossal wingless oriental serpentine body, pale-blue ice-crystal scales, frost mane, ice horns, no fire, no lava. Frozen black-stone ruin over an ice abyss. Storm of ice crystals, not embers. 0–6s: Low TRACK under a giant ice claw slamming down. The fighter slides through, cyan spear flashing, stabs the claw. 6–12s: They climb the frozen arm and spine. Ice shards fly. FPV past the jaws. Frost breath blast — they vault a stone pillar. 12–18s: Along the ice-ridge of the back, a heavy spear cut. Ice scales crack, pale-blue frost-blood mist. The dragon recoils and a close frost-breath knocks them away. 18–24s: They slam onto a cliff altar, spear-tail braking. The same spear unfolds into a long cyan energy rifle. The ice dragon coils in the storm, ice-core glowing in the chest. 24–30s: Kneeling, they track the core and fire a white-cyan beam that punches the ice-core. Hold. No slow-mo. No on-screen text. AUDIO: ice crack, roar, spear hits, one rifle blast.

PERIOD DRAMA. TWO PERFORMERS. ONE MORNING. FIFTEEN SECONDS. ASSET MAP - every reference is bound here and cited by tag below: @avatar_1 - the first performer. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_1 and never from this text. @avatar_2 - the second performer. Face, hair, skin, age, build and every physical characteristic come entirely from @avatar_2 and never from this text. IDENTITY LOCK - HIGHEST PRIORITY: each performer on camera is exactly the person in their own reference. Preserve the face, hair, skin and build of @avatar_1 and of @avatar_2 identically from the first frame to the last. Do not restyle either of them, do not age either of them up or down, do not swap which reference plays which part, and never place a third person in frame. Two performers, the same two, for the whole film. ATTACHED REFERENCES ARE MANDATORY AND FINAL: if a reference is attached, that is the performer - reproduce them exactly, in every shot, and never invent a different one. The attached references outrank every word written below them. WARDROBE LOCK: @avatar_1 wears a faded denim work shirt with the sleeves rolled to the elbow, canvas gardening gloves tucked into the belt, and reading glasses hanging on a cord. @avatar_2 wears a soft cotton flat cap, a plaid short-sleeved shirt, and work trousers with grass stains at the knees. These garments are fixed in cut and colour for the whole film and only their drape adapts to the body wearing them. Neither performer changes clothing at any point. WORLD: the backyard of a white clapboard farmhouse in rural New England, late August 1991, early morning. A wide lawn freshly mown into stripes. Tomato cages and bean poles down one side, a wooden shed with its door standing open, a screened porch with two chairs, a low white picket fence at the back. Along that fence, where a tall tangle of wildflowers stood until this morning, there is now a strip of cut stubble with a few bent stems of purple coneflower lying in the grass. Low golden sun coming through maples behind the fence, long shadows reaching across the stripes, a light haze in the air. A dog sleeps on the porch steps. Period-correct throughout: no object, vehicle or device made after 1991 appears anywhere in frame. LOOK: authentic early-1990s American independent cinema. 35mm film grain, warm honey and green morning palette, shallow depth of field, clean prime-lens focus, restrained naturalistic camera work, steady eye-level framing, close-ups that sit on faces and on hands. Shot 1: Medium-wide. @avatar_2 shuts off a push mower by the shed, lifts a chipped enamel coffee mug off the fence post and calls back toward the porch without turning around, pleased and unhurried. <Got the back corner done before breakfast. It was a jungle back there.> @avatar_1 comes down the porch steps carrying a second mug, catches sight of the fence line, and stops walking mid-step. Shot 2: Cut to @avatar_1, closer. A look travels from the strip of cut stubble to the bent coneflowers lying in the grass. The face does not change. <That was the meadow.> Cut to @avatar_2, turning, still smiling, mug halfway up. <The what?> Shot 3: Close on @avatar_1, crouching down, lifting one bent coneflower and turning it slowly between the fingers. Calm, no anger anywhere in it. <Three years. The bees found it in June.> Cut to @avatar_2. The smile is gone. Quietly: <I thought I was helping.> Shot 4: Medium-wide. @avatar_1 stands, holds out the single coneflower until @avatar_2 takes it, lifts the mug out of the other hand, and walks away toward the shed. <Put the mower away.> @avatar_2 is left standing alone on the striped lawn holding one flower, the dog on the porch now awake and watching. Hold on that, and fade to black. PERFORMANCE: keep both performances mature, dry and restrained. @avatar_1 carries patient disappointment the whole way through, never anger, with affection underneath it. @avatar_2 travels from cheerful pride to sheepish regret. Leave a beat of silence after every line and let the birdsong carry the pauses. The single bent coneflower is the physical focus of the whole scene. DIALOGUE: every line in < > is spoken aloud, exactly as written, by the performer named immediately before it, with natural lip-sync and no reassignment of lines between the two. AUDIO: a real rural morning - birdsong across the whole film, a push mower ticking as it cools, a screen door on a spring, footsteps in cut grass, one dog shifting on wooden steps. No music of any kind. Do not generate subtitles, captions, on-screen text, a title card, a timestamp, a recording indicator, an interface overlay, a logo or a watermark. No third person, no smartphone, no modern vehicle or equipment, no dramatic score, no narration, and no change to either performer's face, hair, build or clothing at any point.

15s 16:9 rock MV: original lyric, your face, your outfit. Upload a face as @image1 and an outfit photo as @image2. Rebuilt from a post by @ImaStudio_ai.

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A single continuous 14-second one-take that travels from a colossal flying turtle in open sky, through an open pane in its glass shell, into the promenade beneath it, and ends on one passenger raising a glass to camera. No cuts anywhere. Photographic, live-action blockbuster cinematography, shot on large-format digital, fine real-world texture detail. NOT an illustration, NOT a digital painting. THE SUBJECT: an immense flying turtle, easily two hundred metres across. Its body is ancient and real — deeply creased grey-green hide, a broad blunt head extended forward on a thick wrinkled neck, four enormous flippers beating in slow deliberate strokes, and a short tail. It must read unmistakably as a turtle in the very first frame, never as a dome or a blimp. Its shell is a vast Victorian glasshouse: hexagonal panes of glass set in riveted brass framing, the panes following the natural hexagonal scute pattern of a real turtle shell exactly. Warm red lamplight burns along every brass seam from inside, so the whole shell glows red along its joints. High on the shell’s flank, one large hexagonal pane stands hinged open like a greenhouse vent. It glides slowly and steadily through a bright cloud sea above a forested landscape. Dozens of small hot air balloons drift in the distance. SCALE IS THE STORY: the shot must make the viewer recalibrate three times. First the turtle reads as a landscape feature. Then, as the camera nears, the angle on the glass changes, the sky reflection breaks apart, and tiny human figures appear inside the shell — it becomes architecture. Then it becomes a room. Then a face. Each step must be legible, and the moment the reflection breaks is the most important beat in the film. 0-3s: exterior wide. The turtle glides across frame through bright cloud, seen whole against sky and distant forest — head, all four flippers and tail clearly in frame. Its glass shell is completely opaque from this angle, a mirror of pale sky and moving cloud, revealing nothing of what is inside. The camera tracks alongside, matching its speed. Nothing else happens — the scale is established. 3-6s: the camera closes and swings around the flank. The reflection on the glass slides away and breaks, and through the panes the interior suddenly resolves: warm light, brass, and dozens of tiny passengers. The true size lands. The camera continues its arc and passes cleanly through the single open hinged pane, brass frame sweeping past the lens on both sides. 6-9s: inside now, gliding out over a circular promenade deck beneath the shell — a curving glass-and-brass arcade, warm lit, the hexagonal panes arching overhead with the cloud sea and balloons visible through them. Passengers stand at a railing looking out. 9-12s: the camera settles to human height and moves laterally in a slow curve through the crowd — passengers in Belle Epoque dress at a bar, gowns in deep teal and wine, gentlemen in frock coats and cravats. 12-14s: it arrives on one young man in a dark green frock coat. He turns toward the lens, raises a crystal coupe of red wine, and smiles directly at camera — warm, knowing, a small private salute to the viewer. Hold. End on this. Colour: cool silver-grey brass, grey-green hide and pale blue sky outside, warm amber and brass inside. The cool exterior and the warm interior are deliberately opposed. Exactly one saturated colour runs through the whole film — deep red: the lamplight along the shell’s brass seams, and the wine in the glass at the end. They rhyme. Light: bright high-key daylight, sun from behind and above, strong bounce off the cloud floor. Hard specular reflections sliding across the glass shell. Interior lit warm by contrast, shafts of daylight cutting down through the hexagonal panes. Clean and open, not moody. Grade: rich and clean, slightly lifted blacks, natural saturation, cinematic blockbuster contrast. Fine film grain. No crushing, no teal-orange push. Lens and camera: wide angle throughout with slight barrel distortion, deep focus in the exterior and the pane passage, shallower as it reaches human distance. One unbroken smooth glide — confident, steady, gently accelerating and decelerating, never handheld, never shaky, never whipping. The motion is elegant, not frantic. Texture: dense detail everywhere — deeply creased reptile hide, riveted brass framing, thick imperfect glass with visible reflections and slight distortion, glass panels, rigging, period costume detail in the fabrics. The world feels built, heavy and real. The turtle is a living animal, not a machine — the hide moves and flexes as the flippers beat. Audio: quiet and atmospheric — wind, the slow heavy beat of the flippers and a low structural creak of brass and glass outside, crossfading as the camera enters into warm interior murmur, glassware, distant conversation and a light string ensemble. No narration, no score swell, no stingers. Constraints: no captions, no text overlays, no watermarks, no cuts, no camera shake, no modern clothing, no additional saturated colours, no wings, no mechanical parts on the animal itself, the turtle never opens its mouth and never looks at camera, and the man at the end is the only person who ever looks at the lens.

15-second 16:9 stylized game-cinematic. Painterly oil-clay surfaces, chunky sculpted cloth, grim ruined street, high-contrast acid-green magic, heroic third-person camera, stop-motion clay texture. Not photoreal. @image1 is absolute character truth. Photocopy the sheet. Do not describe appearance, hair, clothes, or face. Use they / their / them only. 0–3s: Extreme close-up. A palm gathers a dense ball of acid-green fire. Hat brim frames the shot. Slow raise of the hand. 3–6s: Pull wide. They stand in a glowing green rune circle on a ruined street at dusk. Monster silhouettes pack the wreckage ahead. Hand still rising. 6–9s: Green flame detonates from the palm. Shockwave. A tide of green-veined creatures fills the ruins. 9–12s: They lift off the ground. Floating beams smash through the horde. The whole street is inside the cast. 12–15s: Snap to a close grin, eyes catching the green light. Camera holds as the street floods with the spell. AUDIO: spell charge, explosion, creature roar, no lyrics. No on-screen text.

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An authentic in-store iPhone review: a creator inside a busy Apple Store holds the new iPhone @image2, talks through its design, display and cameras, turns it to camera to show it off and taps the screen naturally. Real handheld vlog energy, busy retail background, natural sound.

Generate a video of 30s 16:9: underwater berserker vs cosmic leviathan, glowing axe.

Create a polished 15-second 16:9 fictional shoe commercial. Photoreal editorial cinematography. Sound ON. PRODUCT LOCK: @product is exactly the attached pair — same shape, colours, materials, straps, heel and details as the reference. Photocopy these shoes. Never a different pair than the reference. SUBJECT: Exactly one adult seen from the waist down. Black tailored trousers or a slim black hem. Same pair of @product on both feet. No other people. No face. LOCATION: One elegant city sidewalk, initially nearly monochrome cool gray. Wet pavement. 0–3s: Extreme low-angle close-up of the right stiletto hovering above wet gray pavement. It lands firmly once. On contact a circular light wave in the accent colour of @product ripples out across the pavement. 3–9s: Track alongside the legs, two or three deliberate steps in the stilettos. As the wave travels, the gray street and buildings become rich warm color and amber sunlight. Shoes stay physically realistic. Heels click. No floating. 9–12s: Arc around the planted stiletto at ground level while the last gray parts become colorful. Its details catch the light. 12–15s: Clean close product view of the planted @product, sharp material texture and details exactly as the reference, warm backlight, colorful city soft behind. Hold 1.5s. AUDIO: city atmosphere, deep impact on first footfall, original electronic rhythm, no vocals, no songs. No on-screen text. Duration 15s. Aspect 16:9. OPENING: already the shoe above pavement — never a white packshot still.

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CHARACTER LOCK — HIGHEST PRIORITY: Use @image1 for the MAIN FIGURE’s facial identity ONLY. Preserve their exact facial structure, eye shape and colour, eyebrows, nose, lips, cheekbones, skin tone, freckles and overall facial identity, identically across every shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do NOT copy their reference-image clothing, hairstyle, jewellery, background or pose — their wardrobe and hairstyle are newly designed for this scene, described below. ATTACHED IMAGE IS MANDATORY AND FINAL: wherever @image1 and this text disagree on facial identity, follow the image. No face changes, no identity drift, no other people sharing their face. @image1 is face and identity only. It is not a green satin shirt, not a gym, not a brown handbag, not a long side braid, not beige loafers. Ignore wardrobe and set in the still. DECLARED VARIABLES (edit these to reskin the workflow — the body below refers to them by name and must not restate their values): CROWD_OUTFIT: identical matte charcoal-grey tactical suits HERO_PROP: a sleek pair of black sunglasses VOICE_STYLE: calm, low, effortlessly confident — no forced accent LINE_1: “Took you long enough.” LINE_2: “Let’s dance.” COLOR_GRADE: cool blue-gray cinematic grade, overcast daylight, subtle atmospheric haze SETTING: A large outdoor stone staircase completely filled with rows of people wearing CROWD_OUTFIT, standing in perfectly organised rows. The crowd remains visually consistent throughout — same outfit, same formation. COLOR_GRADE. Realistic depth, dramatic high-end music-video cinematography. THE MAIN FIGURE wears an elegant, sophisticated monochromatic black-and-white fashion outfit: a fitted black tailored blazer, crisp white shirt, elegant high-waisted black bottom, sheer black tights or tailored trousers, and polished black designer-style boots. Hair is a newly designed sleek elegant style for this scene — not the gym braid from @image1. Their styling is luxurious, refined and powerful. They are the ONLY person wearing this fashion-forward outfit, creating a strong visual contrast against the uniformed crowd. Their presence must feel like an elite, intimidating fashion icon — effortless, never rushed or casual. Hands have five fingers each, anatomically correct, natural grip throughout. No subtitles. No on-screen text or logos. No watermark. 16:9. TOTAL DURATION: 15 SECONDS. CUT SCENES ALLOWED. OPENING: already on the stone staircase in the black-and-white fashion look. Never a studio portrait, gym interior, or the attached still as frame 0. 0-3s — SHOT 1: Wide frontal shot, framed from mid-thigh up so face and outfit both read clearly. The MAIN FIGURE stands calmly in the centre foreground on the stone staircase. Behind them, the massive CROWD_OUTFIT crowd stands completely motionless in perfectly organised rows. The camera slowly pushes toward them. They look relaxed, confident and completely unbothered, HERO_PROP held loosely in one hand. 3-5s — SHOT 2: Cut to a sophisticated medium close-up. They slowly and deliberately put on HERO_PROP with effortless precision. Their expression remains composed and slightly amused. They look directly into the camera and say naturally, in VOICE_STYLE: “LINE_1” 5-7s — SHOT 3: Cut to a dramatic over-the-shoulder shot from behind them. They slowly turn toward the enormous staircase filled with the motionless crowd. Their playful expression instantly changes into a fierce, commanding stare. They shout, in VOICE_STYLE: “LINE_2" 7-10s — SHOT 4: Cut immediately to a dynamic wide action shot. The entire crowd suddenly charges down the staircase toward them. The camera rapidly tracks backward while keeping the MAIN FIGURE centred. Several attackers rush toward them simultaneously from different directions. They immediately launch into extremely fast hand-to-hand martial-arts combat — precise blocks, parries, rapid punches, spinning kicks, low sweeps and evasive movements. Their blazer, outfit and hair react naturally to every movement. Aggressive speed ramping, realistic motion blur, dynamic tracking, physically believable impacts. 10-12s — SHOT 5 — TIME BULLET: At the peak of the fight, they launch into a spectacular spinning aerial kick. TIME BULLET. Everything suddenly FREEZES in mid-air. The MAIN FIGURE is suspended dramatically at the centre of the frame. Multiple attackers are frozen around them at different distances and angles, some airborne, some falling backward, some reaching toward them. Their hair and clothing are frozen mid-motion. Dust particles, tiny debris and fabric fibres are suspended perfectly in space. The camera performs a smooth cinematic 360-degree orbit around the frozen action, revealing the enormous staircase and frozen crowd from multiple angles. Ultra-detailed frozen motion, realistic anatomy, cinematic depth of field. 12-15s — SHOT 6: TIME RESUMES suddenly at extreme speed. Their spinning kick completes with a powerful impact. Several attackers are thrown backward and tumble down the staircase. They land perfectly and calmly. The chaos abruptly settles. They casually adjust their blazer cuff, and look directly into the camera. Final expression: completely calm, confident and slightly amused, as if absolutely nothing happened. CINEMATIC STYLE: High-end realistic live-action music video. COLOR_GRADE. Realistic skin texture. Realistic physics. Dynamic handheld camera energy. Controlled motion blur. Aggressive speed ramping during combat. Highly cinematic depth of field. Strong visual contrast between the fashion-forward MAIN FIGURE and the uniform crowd. AUDIO: spoken LINE_1 and LINE_2 in VOICE_STYLE, diegetic footsteps and combat impacts, no lyrics, no extra on-screen captions.

10-second 16:9 ultra-photoreal cinematic architectural commercial. Follow the same mechanical assemble-to-hero beats. @image1 is the completed building and site — photocopy that architecture, terraces, green roofs, hedges, street, cars, and facade. Same materials as the photo. Do not invent a different development. Only gloved hands in matte-black gloves. Bright hard sunlight, clear deep-blue sky. 0.0–0.6s: extreme macro, a finger draws a straight line through sand, revealing a concrete foundation. 0.6–1.3s: a hand places one concrete core; columns and structural grid assemble outward. 1.3–2.0s: two fingers pull upward; floors, slabs and columns rise and lock. 2.0–2.7s: a hand slides the upper volume sideways, forming terraces, setbacks and deep balconies; short orbit. 2.7–3.4s: a hand sweeps the frame; stone, metal, panoramic glass and balcony details install. 3.4–4.1s: fingers click the final panel; macro glide across stone + metal + glass. 4.1–4.8s: a finger draws a path through sand; paving assembles into paths, plaza and driveway. 4.8–5.5s: a hand plants one mature tree; surrounding trees, lawn and shrubs appear to match @image1 landscaping. 5.5–6.2s: fast hand sequence places bench → architectural light → a dark luxury SUV like the one in @image1. 6.2–7.0s: a finger draws an arc; ground lowers into a shallow reflecting pool and fills. 7.0–8.2s: fingers adjust the final tree; camera pushes into leaves; scale shift from miniature to real-world; hands disappear. 8.2–10.0s: camera emerges under the real tree, flies low over paving, rises along the facade, orbits the corner, ends on a wide HERO SHOT matching @image1. Physical mechanical transformations only: sliding, unfolding, assembling, locking, realistic mass and shadows. No magic, glow, holograms, toys, cranes, workers. No extra on-screen captions. AUDIO: quiet construction clicks, wind, no voiceover.

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Premium stylized 3D CGI animation with chibi proportions, expressive exaggerated faces, smooth squash-and-stretch animation, cinematic materials, warm orange/amber lighting, soft volumetric light, rim lighting, shallow depth of field, and high-quality rendered reflections. Fast physical comedy driven by character acting and reactions, not camera movement. No photorealism. No 2D animation. OPENING: already inside the cozy living room. Never a studio still, grey backdrop, title card, or frozen first frame of a still image. ENVIRONMENT One cozy living room with one comfortable chair in the center. Only: - One man - One medium-sized cute dog - One chair Keep the characters, chair, room, lighting, and furniture consistent throughout. CAMERA Mostly one stable medium-wide shot showing the man, dog, and chair. Minimal camera movement and cuts. Use only one final close-up. No excessive zooms, whip pans, shaky camera, spinning shots, or rapid angle changes. ACTION 0–2s: The Man Gets Up The man sits comfortably. The dog watches nearby. The man gets up and walks a few steps away. The dog’s eyes widen excitedly. 2–4s: Seat Theft The dog instantly jumps onto the exact chair and settles comfortably like it owns it. The man turns around, sees the dog, and freezes. 4–6s: Refusal The man returns and gestures for the dog to move. The dog ignores him and looks away. The man becomes confused and annoyed. 6–9s: The Push The man gently tries pushing the dog off the chair. It barely moves and settles back. He tries again with more effort, becoming frustrated. 9–11.5s: The Dog Snaps The dog suddenly turns toward him with an exaggerated, funny angry face: lowered eyebrows, intense eyes, and slowly opens its mouth as if saying, “Seriously?!” 11.5–13.5s: Fear The dog’s angry expression becomes more intimidating but still cartoonishly funny. The man instantly pulls back, eyes widening as his frustration turns to fear. 13.5–15s: Punchline Close-up of the terrified man. He slowly backs away from his own chair while the dog calmly relaxes on it like nothing happened. PERFORMANCE Man: Relaxed → confused → annoyed → frustrated → shocked → terrified. Dog: Watching → excited → comfortable → stubborn → offended → hilariously angry → victorious. Use exaggerated eyes, eyebrows, mouth shapes, body poses, freezes, and reactions. AUDIO Natural comedic sound design: room ambience, chair movement, dog jump, footsteps, pushing sounds, brief silence before the angry reaction, funny dog growl-like vocalization, and the man’s frightened gasp. No narration, lyrics, subtitles, or complicated music. RULES - One room, one man, one dog, one chair. - The dog steals the exact chair the man was sitting on. - The dog stays on the chair until the end. - The man never removes the dog. - The angry reaction happens only after the man tries pushing the dog. - Fast pacing, exaggerated acting, minimal camera movement. - No extra characters, text, subtitles, logos, photorealism, or 2D animation. - Maintain consistent premium 3D CGI quality throughout. - No on-screen text, captions, logos, or watermarks.

A premium cinematic forest-retreat ad: one guest moves from a moss-roofed treehouse lounge to the deck over a jade lake, where a calm pale resident creature makes them smile, ending on an invitation to stay. Intimate, misty, quietly luxurious, with a natural product-placement moment for any item.

Generate 15-second anime music video (16:9, 2K). Pure 2D cel animation + torn-paper collage aesthetic (ink black, warning red, paper white). Female swordfighter protagonist with antagonist silhouette shadow-pursuer. 8 cinematic shots with hard cuts. Kinetic typography synchronized to action. Original K-pop hip-hop × cyber-grunge soundtrack with foley. Character lock: protagonist identical throughout. Antagonist appears only in shots 3, 6, 8. Two still moments for pacing. Hard cut to black on final beat.

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【REFERENCE IMAGE RULES】 @image1 is the sole source of truth for the lead's face and body. Photocopy it. Never describe, restyle or reinterpret their face, hair or build, and never let them drift across the film. Take nothing else from @image1 — not its background, not its pose, not its framing, not its wardrobe. The lead carries no sword, spear, staff or any other solid physical weapon. 【GLOBAL PRE-SET: IMAGE QUALITY AND TEXTURE】 Top-tier theatrical live-action Eastern-fantasy war-film texture. A real adult performer, a real molten palace built as a practical set, real camera language combined with high-budget cinema-grade lava and fire VFX. 8K, 60fps, 12-bit HDR, 16:9, no subtitles, no UI, no watermark. Strictly 30 seconds, one continuous take, normal time flow. The lead is in constant motion throughout — sprinting, skimming across the lava surface, rolling, leaping into attacks, and counter-attacking the instant they are blown back. At most three primary actions per second. IRON LAW: the effects must fill the entire frame. Every wide shot must be packed with rotating solar wheel arrays, firestorm tornadoes, surging lava tide, falling ember rain, molten dragons, cinder horrors and collapsing palace debris. There is never an empty frame. The horde surrounds and counter-attacks from every side without pause; the fight goes both ways. 【SUBJECT-SPECIFIC EFFECT SYSTEM】 PRIMARY EFFECT — the Emberflow Sun-Tide, 50%: an incandescent ember-white core at the centre, a mid-layer of translucent molten crimson flow, and an outer layer of heat haze, spark spray and drifting cinders. The molten flow may only originate from the ember core at their chest, the lava already on the ground, the palace's fire channels, and the light of the blood sun overhead. SECONDARY EFFECT ONE — the twin lava dragons and the solar wheel arrays, 30%: two translucent molten dragons spiral at speed along the lead's arms and around their body, and an enormous crescent solar ring separates into multiple rotating arrays. Every dragon attack must travel along the lead's gesture, their body's turn, or the rotation path of the solar wheel. SECONDARY EFFECT TWO — obsidian tide blades, 20%: lava under sudden pressure flash-cools in an instant, forming crescent obsidian blades, spiralling basalt spikes and full-frame showers of glowing shards. Obsidian shatters the moment it touches a target; it never becomes a permanent solid weapon. COMPLETE CAUSAL CHAIN: the ember core drinks in the blood sun's light and the lava underfoot → the crescent ring lights up ring by ring → the dragons build pressure along the lead's body movement → the lead swings an arm, stamps the lava surface or strikes the ground to release → the pressure propagates along the solar wheel, the lava tide and the molten surface → it lands on a horror's plating → the plating splits with white-hot cracks → the enemy collapses into black slag, charred scales, obsidian shards and guttering gold light motes. 【SUBJECT-SPECIFIC BLOODLESS CONVERSION PROTOCOL】 Absolutely no blood, no severed limbs and no viscera anywhere in the film. When the cinder-wraiths, the basalt magma serpents and the abyssal titans are struck, their bodies first crust over with a shell of cooling black rock, white-hot cracks race across the charred plating, and then they crumble into black slag, scorched scales, obsidian shards, ash smoke and gold light motes. Damage to the lead may only be shown as torn heat-shimmer gauze, scattered scale-feathers, the ember core flaring out of control, scoring on the armour, and the body being thrown by pressure or impact. No open wounds. 【CHARACTER: THE SUN-TIDE SOVEREIGN】 The lead is an adult. Their face and body come from @image1 exactly and are never described. They wear an ember-white scale-feather crown and dark-gold headpiece, an ember-white and deep-crimson scale-feather robe, translucent heat-shimmer gauze, obsidian-and-gold armour and fine gold filigree, with a glowing ember core suspended in front of their chest. They fight by combining high-speed body technique with control of the molten flow. Both hands draw the lava dragons; the body's rotation changes the direction of the tide; stamping the lava surface forms a skimming path; the solar wheel both blocks and compresses the flow. Any charge-up must be completed while running, skimming, rolling, blocking, leaping or falling. 【WEAPON / ABILITY: THE EMBER CORE AND THE TWIN LAVA DRAGONS】 The core abilities are the ember core suspended at the chest, the crescent solar ring behind them, and two translucent lava dragons. The ember core always floats at a fixed distance in front of the chest and is never held in the hand; the crescent ring keeps its ember-white, incandescent-orange and fine-gold design throughout. The dragons must form by gathering lava that is already present in the scene, with a translucent molten-flow structure and obsidian-gold plating patterns. They never become solid Eastern dragons, solid beasts or independent creatures. The solar wheel never becomes a sword, wings or a machine weapon. 【HORDE / ENEMIES: THE ABYSSAL CINDER-WRAITHS AND THE BASALT SERPENT LEGION】 Tens of thousands of abyssal cinder-wraiths pour out of the palace's fire channels and out of the black slag tide. Melee wraiths wear black basalt plating and carry bone forks, chains and curved blades; the basalt magma serpents burrow beneath the lava for ambushes, tail-sweeps, lunging bites and high-pressure black-slag breath; winged wraiths hurl charred bone spears from the air. Mid-film, siege beasts armoured in heavy slag-crusted bone appear; at the end, an abyssal Cinder Dragon King the size of a palace rises. The army charges head-on, pincers from both sides, ambushes from behind, strikes from under the lava and blockades from the air. It never waits to be hit. 【SETTING: THE HALF-SUNKEN CELESTIAL PALACE IN THE LAVA SEA】 An enormous Eastern celestial palace half-sunk into a sea of lava beneath a vast blood sun. Shin-deep molten lava covers a pale ash-stone plaza; on the left are a collapsed sun gate and rows of broken columns; at the centre is a giant circular observatory altar; on the right are a leaning palace tower and a fractured stone bridge; in the distance are palace clusters drowned in black slag, the huge blood sun and an endless army of horrors. Firestorm winds drag across the molten surface and the lava tide keeps washing over the ash-stone steps. Every wide shot must be filled with rotating solar wheels, firestorm tornadoes, surging lava waves, falling ember rain, basalt serpents, the wraith tide, flying roof tiles and ash smoke. 【CAMERA SPECIFICATION】 One continuous take throughout, 24–35mm dynamic wide. Use ultra-low camera positions skimming the molten surface, high-speed following from behind and to the side, whip pans, spin orbits, high aerial dives and close passes through the lava spray. The camera keeps real breathing micro-shake, the inertia of each stamped step, impact rebound and dynamic shutter smear. Ordinary hits use tier-one impact frames; elite blocks and titan impacts use tier-two impact frames; the two named ultimates use tier-three impact frames. Lava waves, obsidian shards, the dragons, the slag tide and the robe may never occlude the lens for more than 0.15 seconds. Even when the effects fill the frame, the lead, the dragons' attack paths, the solar wheel's orientation, the target being hit and the palace's spatial anchors must all stay readable. 【ACT ONE: 0–10 SECONDS — HIGH-SPEED BASELINE COMBAT】 Camera: ultra-low skimming flight over the lava + extreme whip pans between the wraith packs + close following on the dragons. T=0–1s (Charge the Tide) Action 1: the lead runs at speed, back to camera, across the shin-deep lava of the palace plaza. Action 2: the front rank of wraiths lunges with bone forks; they turn side-on and draw the right-hand dragon. Action 3: the dragon sweeps horizontally along their arm's path and slams the wraith pack into the surging lava. Camera: the camera chases hard along the molten surface, then whips at speed along the dragon's sweep. Effect causality: their footfalls wake the ember core → the lava on the ground pours into the right-hand dragon → the dragon compresses into an arcing tide-strike → white-hot cracks split the wraiths' plating → the enemies become black slag, charred scales and obsidian shards. T=1–2s (Pincer) Action 1: two squads of wraiths swing chains inward from left and right at the same time. Action 2: the lead drops low and slides across the lava, through the gap before the chains close. Action 3: mid-slide their arms cross and the two dragons coil the chains in opposite directions and tear them outward. Camera: the camera slides along the molten surface in sync; the two chains cross past the lens above and below. Effect causality: the chains are sheathed in ember-tide the moment they touch the dragons → pressure travels along the metal → the plating on both flanks cracks white-hot at once → chains and armour burst into black metal flakes and glowing shards. T=2–3s (Ambush From Below) Action 1: a basalt magma serpent bursts up through the lava directly under the lead. Action 2: they plant a foot on its crown plate and use it to leap into the air. Action 3: falling, they press both hands downward and guide the solar wheel into firing an ember-tide shock. Camera: the camera first dips beneath the surface to catch the serpent rising, then follows the lead's fast ascent. Effect causality: the serpent's breach drives up a huge column of lava → the solar wheel absorbs the rising flow → pressure concentrates under the lead's palms → the ember tide punches through the crown plate and leaves the serpent a cracking black-rock statue. T=3–4s (Encircled) Action 1: the lead lands and keeps sprinting along the outer rim of the circular altar. Action 2: dozens of wraiths tighten the ring; they spin their body and drive both dragons into a coil. Action 3: the two dragons form a close-body spiral tide-shield and slam the first attackers away. Camera: the camera spins at high speed around the lead as the outer ring of horrors keeps closing. Effect causality: the body's rotation redirects the dragons → the dragons draw in lava and obsidian debris → a ring-shaped high-pressure tide-shield forms → wraiths that touch it crack and crumble into black slag and ember-white grit. T=4–5s (Spears From Above) Action 1: winged wraiths rain dense charred bone spears from the sky. Action 2: the lead forward-rolls clear of the first volley. Action 3: rising, they lift a hand and spin the solar wheel, deflecting the rest of the spears into the broken columns to the left. Camera: the camera drops low with the roll, then tilts up along the spinning solar wheel. Effect causality: the wheel's rotation drags air and heat-shimmer with it → an arcing deflection layer of tide forms → the spears change course and shatter the columns → falling stone, obsidian shards and lava spray fill the frame. T=5–6s (Tail-Struck) Action 1: a giant basalt serpent sweeps its tail out of the right-hand fire channel and hits the lead. Action 2: the lead is torn off the molten surface and tumbles through the air. Action 3: before landing they whip the left dragon around a stone column and force their fall onto a new line. Camera: the camera is flung sideways with the tail strike, then travels back along the taut dragon to where they land. Effect causality: the tail hit triggers tier-two impact frames → scale-feathers and gold light motes scatter off them → the dragon coiling the column creates tension → the column's surface is cut with a spiral scar by the pressurised flow. T=6–7s (Counter Around the Column) Action 1: the dragon's pull swings the lead around the column and they land. Action 2: their feet touch the lava and they accelerate instantly in the opposite direction. Action 3: they swing an arm and drive the other dragon into the belly plating of the pursuing serpent. Camera: the camera arcs a half-circle around the column, then snaps back behind the lead's shoulder. Effect causality: coiling the column completes the dragon's pressure build → the other dragon gains reverse acceleration → the high-pressure dragon head lands on the belly plating → the serpent cracks white-hot and bursts into scales, black slag and ash smoke. T=7–8s (Sun-Blade Sweep) Action 1: the lead charges into the densest part of the wraith pack. Action 2: they drop low and spin, drawing the crescent solar ring in a flat sweep across the lava. Action 3: the spin ends and they immediately side-step a bone fork thrusting in from behind. Camera: the camera travels along the wheel's arc in sync, then pulls back fast to behind their shoulder. Effect causality: the crescent ring compresses the molten surface → a broad crescent tide-blade forms → the blade cuts through the ranks along a true arc → the wraiths' plating cracks and collapses from near to far. T=8–9s (Slag Breath) Action 1: three serpents spray high-pressure black slag head-on at the same time. Action 2: the lead rolls sideways under the leaning stone bridge. Action 3: mid-roll they bring both hands together and cross the two dragons into the centre of the slag stream. Camera: the camera passes through the low span of the bridge as the slag rips past just above the lens. Effect causality: the crossed dragons compress the flow → translucent molten pressure meets the slag head-on → the collision throws a full-frame rotating cloud of ash and sparks → the slag chills into great black rock slabs that crash down into the lava. T=9–10s (The Bone Siege Beast) Action 1: a slag-plated siege beast smashes through the stone bridge and charges the lead head-on. Action 2: they block its two horns with the crossed dragons. Action 3: the momentum drives them back into the central observatory altar; they roll on landing and are instantly back on their feet. Camera: the camera meets the beast's charge from behind the lead's shoulder, then falls into the altar with the shattered bridge. Effect causality: horns against dragons triggers tier-two impact frames → the dragons are crushed into flat molten rings → radial cracks open across the altar surface → hidden sun-tide sigils light up ring by ring from under the lava. 【ACT TWO: 10–20 SECONDS — ESCALATION AND THE FIRST ULTIMATE】 Camera: altar orbit-chase + passes through the lava spray + high aerial overhead of the layered solar wheel arrays. T=10–11s (Break the Ring) Action 1: the lead runs at speed around the circumference of the altar. Action 2: the bone siege beast charges again; they whip the right dragon around its great horn. Action 3: they use the beast's forward momentum to vault over its back. Camera: the camera chases around the outside of the altar, then rises fast along the dragon's tension line. Effect causality: coiling the horn absorbs the charge pressure → the ember core brightens → the beast is dragged off line into the altar steps → more sun-tide sigils are shocked awake. T=11–12s (Ten Thousand Close In) Action 1: the wraith legion forms a layered encirclement on all four sides of the altar. Action 2: the lead slides backwards along the inner ring. Action 3: they gesture repeatedly, letting the two dragons light three sigil nodes under the lava. Camera: the camera orbits low over the molten surface, then lifts to reveal the complete ring of horrors. Effect causality: the dragons touch the sigils in sequence → three lines of incandescent light connect beneath the lava → the running horde drives the lava into a vortex → the first solar wheel array rises out of the molten surface. T=12–13s (Sky and Lava at Once) Action 1: bone spears from above and a serpent from below strike the lead simultaneously. Action 2: they slide side-on to avoid the serpent's lunging bite. Action 3: a bone spear grazes their shoulder plate and knocks them toward the altar's centre. Camera: the camera catches the serpent low over the lava, then whips to the point where the spear lands. Effect causality: the spear hit triggers tier-two impact frames → ember-white scale-feathers and light grit scatter → the ember core absorbs part of the black energy → a fast-spinning ember-white core appears inside each dragon. T=13–14s (Six Wheels Gather) Action 1: the lead lands and keeps sliding backwards. Action 2: both arms open outward, sending the dragons spiralling in opposite directions along the altar's cracks. Action 3: they turn their body to aim the ember core's centre at the sigils under the lava. Camera: the camera tracks the two dragons close over the surface, then swings behind the lead to show the closing tide of beasts. Effect causality: the dragons complete the fire-paths along the cracks → six layers of solar wheel array rise from the molten sea in sequence → the blood sun's light, the lava tide, the horde's vortex and the ember core's energy all pour into the centre at once. T=14–16s (FIRST ULTIMATE — SIX RINGS OF THE MOLTEN SEA — THE EMBER-TIDE FIRESTORM ARRAY) Action 1: the lead skims sideways across the lava just before the beast tide reaches them. Action 2: mid-slide both arms rotate, driving the two dragons together into the altar's centre. Action 3: they keep moving back under the army's pressure, holding the ember core coaxial with the array. Camera: the camera follows the slide close in, then rockets upward above the altar as the dragons strike the ground. Effect causality: the dragons' real impact on the altar triggers tier-three impact frames → the six solar wheels counter-rotate at speed → lava climbs the six rings → six ember-tide firestorm tornadoes form and cover the battlefield. T=16–18s (The Six Rings Spread) Action 1: the lead bursts out of the array's centre. Action 2: still running, they cut the right-hand fire-path with a gesture, turning two of the tornadoes into the densest part of the army. Action 3: they leap the fracturing altar, land on a rolling crest of lava and keep going. Camera: a high overhead follows the six tornadoes expanding, then dives back to lock in behind the lead's shoulder. Effect causality: the firestorms swallow wraiths, serpents, slag and palace debris → enemy plating cracks and collapses inside the vortex → large numbers become obsidian shards, scales and ash smoke; in the distance heavy-armoured siege beasts push on through the array — the first ultimate does not clear the field. T=18–19s (The Titan Breaks Through) Action 1: a siege beast smashes through a weakening firestorm tornado. Action 2: a giant claw hits the crest and knocks the lead sideways through the air. Action 3: mid-tumble they whip a dragon around the eaves of the right-hand palace tower to change direction. Camera: the camera takes a violent lateral shove with the claw, then chases the dragon's arc toward the tower. Effect causality: the claw hit triggers tier-two impact frames → the ember core's energy destabilises briefly → the dragon's pull rips the tower's roof tiles free → broken tile, obsidian, lava spray and black scale fill the lens. T=19–20s (The Dragon King Rises) Action 1: the lead swings off the eaves and lands on the leaning palace tower. Action 2: their feet touch the tiles and they immediately run for higher ground. Action 3: far out across the molten sea the abyssal Cinder Dragon King rises and smashes the tower's lower storey with one claw. Camera: the camera climbs the roof ridge at speed, then whips to the Dragon King's vast shadow as it blots out the blood sun. Effect causality: the Dragon King's breach throws up a hundred-metre wall of black slag → the tower collapses into an avalanche of debris → the remaining solar wheels are scattered by the slag → the frame fills with black slag, ash, obsidian and horrors going into Act Three. 【ACT THREE: 20–30 SECONDS — THE FINAL ULTIMATE AND A MOVING CLOSE】 Camera: high-speed roof-ridge chase + close oppressive framing on the Dragon King + solar array lift + final overhead of the lava tide. T=20–21s (Hunted Along the Ridge) Action 1: the lead sprints along the leaning roof ridge, back to camera. Action 2: the Dragon King smashes the palace apart behind them with repeated claw strikes. Action 3: they reach back and drive a dragon into the seam between its claw plates. Camera: the camera chases close over the tiles as the claws keep landing just behind the lens. Effect causality: the dragon compresses along their gesture → the dragon head's pressure lands in the plate seam → fine white-hot cracks appear on the Dragon King's claw → the impact throws up a wide sheet of tiles and ash. T=21–22s (Blown Off the Ridge) Action 1: the Dragon King opens its jaws and fires a column of black slag. Action 2: the lead crosses both dragons into a head-on block. Action 3: the pressure still throws them off the ridge and they tumble through the air. Camera: the camera catches the pressure collision head-on, then falls with the lead toward the smoke and the molten sea. Effect causality: slag meeting the dragons triggers tier-two impact frames → the ember core splits the slag stream to either side → the palace cluster is punched through by the column → the dragons' structure breaks apart into long translucent molten ribbons. T=22–23s (The Sun Gate) Action 1: falling, the lead lands a foot on the fractured sun gate. Action 2: they keep sliding down its tilted face. Action 3: they open both arms and let the scattered ribbons gather back into the two dragons. Camera: the camera slides down the gate with them, then swings behind to reveal the beast tide below. Effect causality: the light left in the sun gate enters the ember core → the scattered ribbons are drawn back → the dragons reform along the slide path → a vast line of light appears on the molten sea linking the blood sun to the altar. T=23–24s (The Sun Gathers the Sea) Action 1: the Dragon King slams into the sun gate; the lead leaps with everything they have as the stone collapses. Action 2: rising and rolling, they drive the two dragons into a spin. Action 3: as their body tips into the fall, they aim the ember core at the Dragon King and the centre of the legion. Camera: the camera rises through the collapsing gate with them, then swings behind to look down over the whole sunken palace. Effect causality: the blood sun throws down a colossal pillar of light → lava, the remaining six-ring array and both dragons converge on the ember core at once → layered solar wheels covering sky and sea close at speed. T=24–26s (FINAL ULTIMATE — LAST FORM — THE SUN RIVER DROWNS THE SEA) Action 1: the lead keeps falling at speed, both arms driving the dragons through one complete crossing rotation. Action 2: they slam both dragons into the Dragon King's crown plate at the same time. Action 3: on impact they rotate their body, opening the solar wheel's axis outward along the entire slag legion. Camera: the camera dives from behind the lead with the dragons, pushing all the way in to the point of impact on the crown plate. Effect causality: the blood sun, the lava tide, the arrays and the ember core's energy compress into the dragons → the dragons form an incandescent ember-white core → a real hit on the Dragon King triggers tier-three impact frames → the core drives into the plate cracks opened earlier. T=26–28s (The Sun River Clears the Field) Action 1: the lead back-flips off the recoil of the impact. Action 2: landing on the Dragon King's back plating, they run on across its splitting scales. Action 3: they leap from its tail toward a distant ash-stone bridge, away from the centre of the blast. Camera: the camera travels the shock path through the legion, then dives from high altitude to lock back onto the lead. Effect causality: white-hot cracks erupt across the Dragon King's whole body at once → a giant solar wheel pulls a ring-shaped river of fire up out of the molten sea → firestorm tornadoes, ember rain and a lava tsunami expand along the army's lines → every wraith and serpent becomes black slag, scales, obsidian and gold light motes, completing the full-field clear. T=28–29s (Blast Wave to the Bridge) Action 1: the ring-shaped tsunami's shock throws the lead forward from behind. Action 2: they tumble in the air and whip a dragon around an ash-stone bridge pillar. Action 3: the pull drops them onto the bridge deck and they are running again instantly. Camera: the camera passes through obsidian, lava spray, scales and light grit, dropping to chase along the bridge deck. Effect causality: the dragon on the pillar leaves a spiral scar → the shock drives the lava into layered concentric walls of wave → spent black scale and obsidian fall away on both sides of the frame. T=29–30s (The Tide Runs On) Action 1: the lead sprints away from camera along the half-sunken ash-stone bridge into the depths of the palace. Action 2: still running, they gesture and let the dragons smash a falling palace column out of their path. Action 3: they cross the broken span and leap toward the next palace, still at full speed. Camera: an ultra-low camera follows the receding figure, gradually pulling back to show a full frame of broken solar arrays, firestorm tornadoes, lava waves and ember rain. Effect causality: the dragons hitting the column throw an ember-white burst → the last arrays crumble ring by ring into gold light motes → the surging molten sea and falling cinders still fill the wide → the image fades out directly on the sprinting figure and a sky full of burning tide-light. 【GLOBAL CONSTRAINTS AND ANTI-COLLAPSE CONDITIONS】 Absolutely no blood anywhere. No slow motion, no bullet time, no freeze frames, no hovering, no stutter-frames, no standing still, no stationary casting, no posing to camera and no looking down the lens. The lead is always sprinting, skimming the lava, rolling, leaping into attacks, swinging, falling, or counter-attacking the instant they are thrown. At most three primary actions per second. The effects must fill the frame. Every wide must contain rotating solar wheels, firestorm tornadoes, surging lava tide, ember rain, molten dragons, cinder horrors and palace debris. Never empty. The horrors must surround and counter-attack continuously from the front, from both flanks, from behind, from under the lava and from the air. Enemy attacks must genuinely force the lead to block, roll, change direction, fall or change tactics. Only two named ultimates are permitted in the whole film: the first at 14–18 seconds and the last at 24–28 seconds. The first ultimate must not clear the field; the last ultimate must complete the final clear. 【NEGATIVE PROMPT】 Forbidden: animation style, cartoon style, game-CG look, plastic-looking lava, text, watermarks, UI, subtitles, multi-shot editing, hard cuts, empty wide shots. Forbidden: blood, severed limbs, viscera, blood mist, open wounds, body parts; enemies may only become black slag, scales, obsidian, ash smoke and gold light motes. Forbidden: slow motion, bullet time, freeze frames, stutter-frames, hovering, stationary charge-ups, static posed shots, face-on posing, looking at the camera. Forbidden: the lead's face changing, their hair being restyled, recoloured, straightened, lengthened, shortened, tied up or covered, the crown disappearing, the robe changing colour, body-size drift, extra limbs, wrong fingers, body clipping. Forbidden: extra weapons, the ember core held in the hand, the ember core drifting out of position, the dragons turning into solid animals, the solar ring turning into a blade or wings. Forbidden: lava appearing out of nowhere, arrays with no triggering source, dragons moving in reverse, obsidian exploding without contact, endless white flashes, effects occluding the lead for more than 0.15 seconds. Forbidden: the horrors stopping their counter-attack, copy-pasted beast tides, serpents clipping through geometry, enemies waiting to be hit, the encirclement vanishing suddenly, the first ultimate clearing all enemies. No other colour may become the primary effect; only ember white, incandescent orange, deep crimson, molten gold, obsidian black, a little fine gold filigree and the pale ash-stone of the palace.

@image2 is the person. Match that face and body in every frame. Do not invent a different person. They/them throughout. No other people. @image1 is the product. Put that product on @image2 as worn clothing. Do not change the product. OPENING — MANDATORY: Frame 1 is already on a sunlit garden path, the person already walking away from camera. Do not open on a studio portrait, grey backdrop, still headshot, or the attached image as a plate. Do not describe the person. Do not describe the product. 0-4s — path: Already walking away down a stone garden path, flowers and trees on both sides, a distant building in morning light. Slow follow. 4-8s — turn: They turn toward camera in the trees, a brief close look, then keep moving. Soft wind. 8-12s — glade: They sit among oversized forest mushrooms and ferns, reach a hand toward moss and light. Same path-world, quieter. 12-15s — pull-back: Aerial pull-back over the trees. The path, the glade, a city skyline far beyond. Hold. No on-screen text. Cut. Diegetic outdoor sound only: birds, breeze, footsteps. No speech, no music, no subtitles, no logos, no watermark. Duration: exactly 15 seconds. Aspect ratio: 16:9.

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CHARACTER LOCK: The person in every shot is exactly @image1. Face locked. Gender presentation as shown. They/them. No other people. Do not describe the person. @image1 is face and identity only, not the black studio top. @image2 is the product (the outfit). Do not name it. Do not describe it. They wear the product from @image2 in every shot. 5 seconds, 16:9. Photoreal high-end sports-fashion commercial. Already in the studio as frame 0 — never a studio portrait plate of @image1. NO ON-SCREEN TEXT, captions, titles, logos. Keep any logos or marks exactly as on the product in @image1. Set: clean white studio. Pink, black, and white geometric shapes slowly slide and morph behind them. 0–1.5s. Extreme close-up of @image1. They look into the lens, right hand toward camera, slight head tilt. Dolly-in. Geometry slides. 1.5–3.5s. Low full-body: they wear the product from @image2, one knee up, chin on hand, then look to camera. Side track. Stripes and pink rectangles rearrange. 3.5–5s. Beauty close, slight low angle, chin lift, fingers adjusting a detail of the product. Slow push-in. Geometry settles. Cut. SOUND: diegetic studio hush, fabric, footsteps. No speech. NEGATIVE: extra people, different outfit, studio headshot as frame 0, on-screen text.

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