Made with OpenClips.AI

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.

Produce a 12-second cinematic underground breakdance short in a 16:9 aspect ratio, set at night inside an authentic multilevel concrete parking structure. @image1 is the male dancer. Preserve his facial identity, structure, eyes, brows, nose, mouth, skin, hairline, hair and build exactly. Do not beautify, slim, de-age or restyle him. @image2 is the female dancer. Preserve her facial identity, structure, eyes, brows, nose, mouth, skin, hairline, hair and build exactly. Do not beautify, slim, de-age or restyle her. Only these two people. No crowd. No extra faces. No split-screen. No on-screen text, no subtitles, no logos. Wardrobe (dance-ready, early-2000s street): @image1 wears a sleeveless weathered metallic silver-and-charcoal printed shirt, steel chains, black half-finger gloves, relaxed dark pants, heavy black shoes. @image2 wears a snug dark knitted cap, large angular jet-black shades, close-fitting ivory shirt, a roomy black coat hanging off the shoulders, cropped charcoal skirt over black dance shorts, over-the-knee black stockings, thick-soled footwear. Fit garments to each body; do not change their faces. Film everything through an ultra-wide retro fisheye optic with obvious barrel warping and exaggerated spatial depth. Footage like a compact first-generation digital camcorder on one extended arm. Minor compositional errors, horizon wander, hand tremor, walking impacts, inconsistent distance, focus hunting, directional blur. No perfect stabilization. Illuminate almost exclusively with cool fluorescent garage fixtures: faint greenish-white cast, overexposed halos, dense shadows, gray cement. Tactile realism. Raw early-2000s underground attitude. AUDIO — required: garage ambience, sneakers on cement, body hits the floor, a muted boom-bap / breakbeat bed. No dialogue, no lyrics. 0-2 seconds Already in the scene: both dancers crouch inches from the lens beside a dark motorcycle, staring coolly into the glass. Overhead fluorescent halo. Same parking structure: columns, yellow curb, a dark sedan and pale van far back. 2-4 seconds They pop up. Handheld camera circles, rolls and angles around them. @image1 flexes a freeze / bicep pose. @image2 hits a cool stance and acknowledges the operator. Fast. 4-7 seconds Low fisheye on the cement: they break. Windmill, flare, freeze, kip-up energy — real breakdance power moves, not slow-mo. Sneakers scrape. Motorcycle still in the background. Camera stays with them, never a black void. 7-9 seconds They cut across the painted pedestrian crossing, still dancing — a short six-step into a walk. Relaxed handheld reverse tracking deeper into the garage. 9-12 seconds They pivot and stride at the operator; the fisheye magnifies faces, hands, clothes. They drop back into the opening crouch beside the motorcycle — matching the first composition, an invisible loop. End. Negative: a third person, split-screen, editorial flash-cuts of a different face, studio portrait as frame 1, readable text, slow motion.

Generate a video of your avatar fighting the evil ghosts.

Cyberpunk action-comedy, missed-train revenge set in a neon mega-city transit station. Rain on plexi, magenta/cyan signage, wet concrete, holographic ads.

TWO PEOPLE — PHOTOCOPY BOTH STILLS. Do not invent faces. @image1 = MAIN CHARACTER. Photocopy face, bone structure, skin, hair, eyes, facial marks and facial hair exactly as shown. Athletic street clothes for the court: a black crew-neck t-shirt, dark shorts and basketball shoes. Same person every frame. @image2 = FRIEND. Photocopy face, bone structure, hair, eyes and facial hair exactly as shown. Keep the friend's hair exactly as in @image2. Do not keep the clothes from @image2 on the court. On court the friend wears a faded navy basketball jersey over a white tee, black athletic shorts, white crew socks, worn black basketball shoes. Same person every frame. Never swap them. Never a third player. Never OPENCLIPS.AI type. 30 SECONDS, 16:9. Realistic live-action neighborhood basketball, late afternoon, worn blue-gray court, one hoop with glass backboard, chain-link fence, trees, houses. Warm sun. Handheld, fast, physically believable. Move about every two seconds. Only two people and one ball. Friend starts with the ball. After the steal, main keeps it. LINES (lip-sync): Friend at the sidewalk: "Wanna play? Loser buys the drinks." Main at the end: "I win!" TIMELINE 0–5s main exits a house, closes the door, walks to the sidewalk. Friend walks past dribbling, bobbles the ball, recovers, notices main, stops. Handheld medium-wide, pan from main to friend. 5–9s friend bounces once, gestures at the court, says the line, confident smile. Main nods and takes the ball. Two-shot, both faces. 9–12s cut to the court. Both walk on. Friend stretches, bounces on their feet. Main drops into defense. Friend starts dribbling. Establishing then low track. 12–14s friend two hard dribbles right; main slides; friend crossover left. 14–16s friend drives left; main forces the friend to the sideline; friend spin move. 16–18s main reaches; friend pulls back, pivots, protects with the shoulder. Shoe squeaks. 18–20s friend fakes a drive, stops, sprints; main bites on the fake. 20–22s main recovers, taps the ball loose. Both sprint for it. 22–24s main gets there first, dribbles to the hoop; friend chases. 24–26s two dribbles, sharp step-back behind the arc; friend contests too late. 26–28s jump shot; AFTER release, slow-mo; ball high arc. 28–29s swish, net snaps; back to real time. 29–30s main lands, both arms up, shouts "I win!" Friend head down, shoulders slump under the hoop. AUDIO: outdoor air, ball, squeaks, footsteps, the two spoken lines, rim/net. No BGM. No subtitles.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or reinterpret it. Do not beautify, slim, de-age or restyle them. The attached image outranks every word below it: wherever the image and the text disagree, follow the image. Frame 1 is already in the scene — never a studio portrait, grey backdrop, or the attached still as an opening plate. Use they/them throughout. No other people. @image1 is identity only — face, bone structure, skin, hair and eyes exactly as shown, age, body. Not wardrobe. Do not keep any clothing from the photo. Keep their hair exactly as in @image1. WARDROBE (from the source film): white sleeveless fitted ribbed tank; light-blue wide-leg jeans; single-strand pearl choker; thin silver rings; a delicate silver bracelet on the left wrist. Bare arms. Same outfit the full 30 seconds. SETTING: bright modern bedroom, unmade white duvet, white pillows, cream wall, golden-hour sun from camera-right throwing a sharp silhouette of the person on the wall. Handheld smartphone UGC, subtle shake, cinematic commercial grade. One person only. No on-screen text, no logos, no subtitles, no watermarks, no end card. PRODUCTS (match the source clip, no brand marks on the devices): - A book-style foldable phone: closed it is champagne-silver on the lower back with a glossy black camera bar, vertical triple cameras on the left of that bar. Opens like a book to a large inner screen. - A white rectangular retail box on the bed. - A gold-case smartwatch with a white sport band. 30 SECONDS. Native room tone + their spoken lines only. No BGM. BEATS AND LINES (lip-sync these exact lines): 0–5s — already sitting on the bed facing camera, box and watch on the duvet. Smiling. Says: "I genuinely wasn't expecting to love this foldable phone this much." Picks up the box, opens it, lifts the folded phone. 5–9s — holds the closed phone toward camera, rotates it slowly (thin frame, hinge, camera bar). Says: "The design already feels incredibly premium." Then: "The design is so sleek, and I really love how the foldable screen opens up." Unfolds it. 9–16s — phone fully open, colorful app grid on the inner display. Scrolls, opens camera, points it around the room. Says: "And the camera quality is seriously impressive. Everything looks so sharp and detailed." Closes and opens the phone once. Says: "Plus, the battery is supposed to be better too, which is honestly a huge win for me." 16–23s — sets the phone on the bed, picks up the gold-and-white smartwatch, holds it close to camera (case, crown, strap). Says: "And the new smartwatch is actually really nice too." Buckles it onto their left wrist, raises the wrist to camera, scrolls the face. Says: "I love how clean it looks, and having all these features right on my wrist is so convenient." Turns the wrist in the sunlight. 23–30s — picks the folded phone back up. Holds phone in the right hand and shows the watch on the left wrist. Looks into camera, warm smile. Says: "Honestly... this might be one of my favorite upgrades yet." Soft laugh, glance down at both, then holds the phone beside their face with the watch clearly on the wrist. Slow push-in. Last frame still in the bedroom — no fade to black, no titles. Frame 1 is already on the bed in the scene — never a studio portrait or the attached still. Photoreal skin, real hands, five fingers. Same foldable and same watch the whole time.

Generate an on stage video of 3 people singing.

A 30-second 16:9 cinematic heist. Sound ON. ALAN is exactly the attached portrait (@image2) — face, hair, facial hair and eyes exactly as shown. PRODUCT: the exact product from the stills in @image1 — same shape, colour, finish, logo and details as shown, never changing. Boxes in the product's own colours, as in the stills. STORY (mandatory ending): ALAN HEARS the police (sirens, radios, shouting) before they reach ALAN. ALAN does NOT walk past officers at the front. ALAN takes a DIFFERENT exit at the BACK of the warehouse. ALAN gets INTO A VAN with the boxes and DRIVES AWAY. 0–8s: Warehouse, ALAN loads boxes onto a cart. Sirens swell. ALAN hears them, looks toward the front, panics. 8–16s: ALAN hauls the boxes to a rear loading dock / back door. Not the main police entrance. 16–24s: Back lot. A van waits. ALAN throws/loads the boxes in, climbs in. 24–30s: Van doors slam. The van DRIVES OFF with ALAN and the boxes. Police arrive too late at the front. AUDIO required: sirens getting louder, shouts, running, van door, engine pull-away. No magic hover. Duration 30s. 16:9.

2 steps

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. The person in every shot is exactly the person in @image1 — face, bone structure, hair exactly as in @image1, age, body. The photo is identity only, not wardrobe. IGNORE the clothes and background in @image1. Never a hair colour different from @image1. WARDROBE: black ink-wash kimono, wide dripping sleeves, wrapped sash, barefoot. The garment is made of wet sumi ink and watercolor that keeps flowing. SETTING: a sheet of white xuan paper. No studio, no floor, no crowd. Real time, 15 seconds, 4:3. Frame 1 is already dancing — never a portrait plate. No slow motion. No on-screen text. One person only. Ink and watercolor bleed from feet, hands, sleeves, hair and every joint. Each step stains the paper. After 5s most of the white is already layered with strokes. Crimson, indigo and gold mix into the black from shot 3 onward. SHOT 1 (0–2.5s) Already mid-step. Weight shifts, arms flowing. Wet ink spreads under each foot. Sleeves throw black ribbons. Full body. SHOT 2 (2.5–5s) Axis changes, low arm sweeps, short spins. Sleeve ribbons blur into clouds. Paper heavily stained. Full body, slight handheld. SHOT 3 (5–7.5s) Rotations and arm spirals. Long ink trails. Crimson, indigo and gold enter the black. Full body. SHOT 4 (7.5–10s) Reverse spin, a short dance jump (not a hop in place), torso twist, another spin. Foreground splashes and airborne ribbons. Full body to medium. SHOT 5 (10–12.5s) The ink is now the world. Two rotations and a large sleeve sweep. They stay visible. No final pose yet. Camera does not pull back. SHOT 6 (12.5–15s) Final pose: weight on one leg, one arm high, opposite sleeve hanging in the air. Body freezes; ink and watercolor keep dripping. Slow constant-speed pullback. Ends as a living sumi-e: paper fibers, uneven bleeds, hand-drawn strokes. No intro, no walking, no mid-pose freeze before shot 6, no empty white paper after 5s, no dancer vanishing.

Generate a video of your avatar stopping the time.

@image1 is ELARA. Photocopy face, bone structure, hair, eyes, skin and age exactly as in @image1. Never recast them. Do not put OPENCLIPS.AI in the scene. OUTFIT from the ad (not the clothes in the still): white cropped tube top, faded denim hotpants, scuffed brown hiking boots, thin chain anklet, small silver aviator sunglasses. Hair stays exactly as in @image1, breeze moving it. 30 SECONDS, 16:9, one continuous take, no cuts. Live-action cinematic. Late-afternoon Utah slickrock, burnt-orange sandstone, pale washed-blue sky. Bright yellow doorless off-road 4x4 on a tilted slab. They sit on the hood, back against the windshield, one knee up, phone in both hands. Yellow 4x4 is the only saturated note. Deadpan comedy. AUDIO: dry wind, raven, engine ticking. 0.8s one sharp phone ping. 1.2–4.0s chipper compressed voice-note: "Hey! Love it. Just one more quick change — can we get it as soon as possible? Thanks!" Then only wind. Optional tiny "uh oh" at 5.5s. No BGM. No on-screen text. TIMELINE 0–1s already on the hood, medium from the front bumper looking up, handheld drift, scrolling, small smile. 1–4s ping. Push to close-up face and phone. Smile flattens. They read twice. 4–7s lowers the phone. Silent uh-oh: brows lift, mouth tight. Sunglasses down with one finger, glance left at a rock wall, right at a boulder, over her shoulder through the windshield at the empty back seat, down at the phone. Micro-shrug. Taps the phone on the hood once. 7–12s smooth zoom-out to full shot: the person + whole 4x4 on the tilted slickrock, cooler and rolled tent on the back, one tyre against a boulder. They are still looking around, phone up as if hunting signal. 12–17s pull-back and rise: 4x4 a small yellow rectangle in house-sized boulders and sandstone fins; faint tyre scuff climbing a steep ledge behind. 17–22s keep rising: boulder field is a wide bowl ringed by fins and one natural arch, snow-dusted mountains on the horizon. The way out is near-vertical rock ledges — harder to drive down than up. 22–27s wide high aerial: slickrock to the horizon, 4x4 a yellow pixel, no road, no town, no other vehicle. 27–30s settle extreme wide. Shadow of a fin sweeps over the 4x4 as the sun drops. Hold. End. Keep the 4x4 near frame center. Horizon level. No other people, no other cars, no paved road, no buildings, no water, no night, no titles.

@image1 is the man. Photocopy face, bone structure, hair, eyes, facial hair and build exactly as in @image1. Do not keep any watermark or text from @image1. Outfit follows the beats below, not the clothes in @image1 (@image1 is identity only). @image2 is the dog in every shot where a dog appears. Photocopy this exact dog from @image2 — breed, size, coat colours and markings exactly as shown. Never a different dog. Same dog every time. 30 SECONDS, 4:3. Provençal stone farmhouse, golden morning. Photoreal. No on-screen text. BEATS 0–4.5s bedroom: he sleeps on his side in charcoal boxers, bare-shouldered, the dog curled on his chest. Dog licks his jaw; he squints, sleepy smile, rubs its neck. 4.5–6.5s kitchen: two eggs into a smoking cast-iron skillet, butter spit; his torso and boxers behind the pan. 6.5–8.5s floor: kibble rattles into a metal bowl; the dog dances then dives in; he stands barefoot over it. 8.5–10.5s table: he eats standing, tosses a scrap; the dog leaps and snaps it from the air. 10.5–12.5s sink: splashes cold water on his face, slicks wet hair back. 12.5–14.5s he puts on an off-white pinstripe work shirt, rolls both sleeves above the elbow, pulls khaki Y-back suspenders taut. 14.5–16s foot into a brown leather boot, laces yanked; the dog already waiting by the door, tail sweeping. 16–18.5s stable aisle, dust motes: he walks with the dog at heel, hand along a bay horse's neck. Two bay horses in stalls. 18.5–21.5s paddock gate: he leads both horses out, dog sweeping behind their heels; horses trot; he latches the gate. 21.5–24s chopping block: axe rises against the sun, one clean strike, log splits; he sets the next log. 24–27.5s gallop left to right on the darker bay, body low; the dog sprints alongside; dust in golden backlight. 27.5–30s handheld selfie on horseback, walking pace, grin, horse ears and fields; dog trots into frame; loose two-finger salute, looks to the horizon. AUDIO: birds, skillet, kibble, water, boots, horses, axe crack, gallop, dog pant, light fingerpicked guitar under. No speech. No titles.

REFERENCES @image3 controls only the man's face, hair colour, skin, eye colour and build. Do not copy wardrobe, background, pose, framing or lighting from @image3 . @image1 controls only the pack geometry, colour, finish and all label text. Do not copy background, hands, lighting or scale from @image1 . SCENE Late afternoon on a quiet country road. @image2 and @image3 are sitting side by side on the hood of a classic late-1980s car, @image3 on the left, @image2 on the right, both turned slightly toward each other with their knees almost touching. The car's paint, badge and grille read clearly below them. Behind them the road falls away into blurred trees and a low sun, and the frame holds only the two of them, the hood, and the treeline. WARDROBE @image3 wears a faded blue denim button-up open over a plain white T-shirt, high-waisted relaxed blue jeans and a worn leather belt. His hair has authentic late-1980s volume. @image2 wears a loose oversized white blouse with rolled sleeves tucked into high-waisted light-blue denim jeans, and a small vintage wristwatch. Her hair is styled with late-1980s volume and body, colour and length exactly as @image2 . Both are dressed and groomed as real people in 1988, never as a costume. LIGHT One condition, unchanged across every beat. Low warm afternoon sun from frame-right, flaring gently at the edge of the lens. Warm rim on the sides of their hair and jawlines. Soft bounce off the pale car hood filling the shadow side of both faces. Subtle atmospheric haze between them and the treeline. No fill light, no studio lighting. CAMERA Locked-off eye-level two-shot on a 50mm lens, chest-up on both of them, with one very slow push-in across the whole clip. Shallow depth of field so the treeline stays soft. Slight handheld weight, never a visible operator move, never a cut. 0:00-0:03 @image3 turns toward @image2 and looks at her with a small affectionate expression. @image2 is already looking back at him, her hand flat on the hood between them. The low sun catches the edge of her hair. Neither of them speaks. A single slow blink from @image2 . 0:03-0:05 @image3 leans in slowly toward @image2 . @image2 reads it, lifts her chin, and leans in to meet him. Both sets of eyes lower. They stop a few centimetres apart. Her fingers curl slightly against the hood. Neither of them speaks. 0:05-0:06 @image2 stops dead. Her eyes snap open and she pulls back one sharp inch, her nose wrinkling. @image3 stays exactly where he is, eyes still closed for a beat, then opens them. 0:06-0:08 @image2 holds @image3 at arm's length with one flat palm on his chest and looks straight at him. Her mouth moves only for her own line. At 0:06 she says, flatly and a little appalled: "Wait, did you eat garlic?" 0:08-0:09 @image2 turns her face away an inch and fans the air once with her free hand. @image3 stays where he is, still leaning, and starts to realise what she means. At 0:08 she says, short and disgusted: "Ew." 0:09-0:10.5 @image2 keeps the palm on his chest and digs into her front jean pocket with the other hand. @image3 opens his mouth to answer and closes it again. At 0:09 she says, without looking at him: "I'm not kissing that." 0:10.5-0:12 @image2 brings @image1 up between them and thumbs one piece free of the pack. The label on @image1 crosses the frame in focus for this beat and is sharpest here. @image3 watches her hands, eyebrows going up. At 0:10.5 she says, business-like: "Here, chew this first." 0:12-0:13.5 @image2 puts the @image1 straight into @image3 hands. He lets her, too surprised to stop it. She sits back and folds her arms, while @image3 still in @image3 hands. One object only, never a second pack anywhere in frame. At 0:12, starting before opening @image1 , @image3 says, defensively: "It was one piece of bread." 0:13.5-0:15 @image3 opens @image1 , slowly, and looks at @image2 completely bewildered. @image2 raises her eyebrows at him and does not move. At 0:13.5, @image3 says: "One." From 0:14.2 to the last frame neither of them speaks. They hold the look, the sun flares once at the lens edge, and the car and treeline are unchanged. PERFORMANCE Played straight, never mugged. The first three seconds are a genuine romantic beat with no comedy in them, and the turn at 0:05 is the whole joke, so it must be sudden and physical rather than acted out in advance. @image2 is practical rather than cruel about it. @image3 is not offended, only confused, and stays confused to the last frame. Real weight shifts, real breathing, small unconscious adjustments on the hood. VOICE @image2 : female, warm and bright, unhurried American. @image3 : male, dry and slightly flat American, lower placement. Each mouth moves only during that person's own lines. Realistic lip articulation, no exaggerated mouth opening, no head turns while speaking. Natural breaths. REALISM Pore-level skin realism on both faces, fine texture, faint natural shine on the forehead in the warm light, real eyebrow and lash detail, wet living eyes with catch-lights and natural asymmetric blinking. Flyaway hairs catching the low sun. Denim shows real weave, creasing and wear. The car hood shows fine swirl marks and dust in the raking light. PHYSICS Both bodies carry weight on the hood and the suspension settles very slightly when @image2 sits back at 0:12. Hair moves with real inertia when she pulls back and a few strands fall across her face. Cloth creases and drapes naturally under the lean. @image1 has real weight and correct contact shadow against her hand. Correct contact between her palm and his chest. FILM LOOK Authentic 35mm analog film capture. Warm muted vintage colour, slightly faded highlights, gentle brown and beige tones, low-to-moderate contrast, subtle halation around the sun and the brightest edges, fine authentic film grain, mild lens imperfections, slight softness away from the centre, faint gate weave. It should read as a genuine home-shot film clip from 1988, imperfect and warm. AUDIO Natural ambient only: warm outdoor air, distant birds, a car passing far off, the faint creak of the hood under their weight, the small crackle of the pack. Ambience ducks slightly under each line. LOCKS Same face, hair colour and length, skin and eye colour as @image2 for the woman in every beat, first frame to last. Same face, hair colour, skin and eye colour as @image3 for the man in every beat, first frame to last. Same wardrobe on both from first frame to last, fully covered throughout. @image1 stays one object, correct one-hand scale, label text correctly spelled and legible whenever in focus, sharpest in the 0:10.5-0:12 beat. Exactly two people in frame, four arms and four hands total, anatomically correct with five fingers each. Same car, same road, same warm low sun from frame-right, first frame to last. Spoken lines exactly as written, in order, at the stated timings, with accurate natural lip-sync, and each line spoken by the named person only. AVOID No cuts. No slow motion. No repeated action. No second or duplicate product. No modern cars, no modern clothing, no modern hairstyles, no contemporary styling. No digital sharpness, no CGI look, no glossy studio lighting, no retouching, no skin smoothing, no commercial polish. No on-screen text, no captions, no subtitles, no music. No logos other than the product's own packaging. No third person in frame and no reflection of the camera anywhere in the shot.

4 steps56568

TWO LEADS — PHOTOCOPY BOTH STILLS. Do not invent faces. Do not swap them. @image1 = FEMALE LEAD. Photocopy her face, bone structure, skin, hair, eyes and body exactly as in @image1. ALSO photocopy her outfit from that photo (the prompt has no wardrobe for her): exactly the garments, colours, footwear and accessories shown in @image1 — do not describe or change them. She fights with a jian / straight sword. Same woman and same clothes every frame. @image2 = MALE LEAD. Photocopy his face, bone structure, skin, hair and body exactly as in @image2. ALSO photocopy his outfit from that photo: exactly the garments, headwear, colours and footwear shown in @image2, with a katana at the left hip — do not describe or change them. Same man and same clothes every frame. Any headwear from @image2 can tilt in motion but stays on. Never swap their outfits. Never a third human. Never OPENCLIPS.AI type. SETTING: vast ornate temple hall from the source film — gilded dragon columns, wet reflective stone floor, thousands of candles, teal mist, high vault. 16:9. 30 seconds. One continuous action sequence. No dialogue, no subtitles, no on-screen text. LIGHTNING (required on every clash): whenever the two swords collide, a bright white-blue lightning arc flashes along both blades and a fork of electricity cracks the air at the contact point — not ordinary orange sparks alone. Every bind, parry and strike that meets steel = lightning. CORE: zero-delay chaining; scene changes only via their bodies (slam a column, leap from a pillar, crash through candelabra); real weight — blocked hits shove the other back, feet slip, bodies twist. Camera follows limbs; never orbit a frozen pose. BEATS (30s) 0–2s already sprinting from opposite ends of the hall, full-speed clash at centre. Blades meet with a lightning burst; both recoil half a step; floor tiles crack. No establishing pause. 2–7s close melee: he sweeps a wide horizontal cut; she drops almost to the floor, blade skimming her nose, a lock of her hair cut; she springs up with a straight thrust to his chest; he spins, wrists reverse to bind. Swords lock, shoulder to shoulder, then both shove off with lightning at the bind. Two steps back. 7–9s the shove sends him into a dragon column; he rebounds, runs vertically up the pillar; she explosive-jumps after. Two or three lightning clashes on the column, blades scarring the gilt. 9–12s he is forced to the beam; her heavy blow knocks him off; he mid-air flips, diving slash; she drops from the column to meet it. Landing clash — lightning + sparks, arms visibly shake. Now they are on the hall floor again. 12–17s densest round: she three accelerating cuts (he sidesteps, then floor-dodge, then ducks under and slashes at her waist). A corner of her outfit splits. He lunges; she barely slips, fabric tears at the shoulder; she counters so hard his blade rings and the tsuba cracks; he staggers two steps. 17–21s bind at close range, simultaneous break, charge again — they smash a row of candelabra; candles snuff then relight from the sword-wind; they keep fighting through fallen candles and oil, lightning every contact, water-mist from the wet floor. 21–26s peak speed: cut, thrust, parry, counter in two–three seconds, each hit a lightning flash plus body feedback. Teal-green sword qi spirals. No frozen frame. 26–29s simultaneous all-out strike; blades meet; a hall-wide teal-white lightning shockwave hurls both back several metres; tiles and columns crack; candles gutter; camera shake then soft defocus. 29–30s smoke thins. Both still on their feet, one knee or standing, chests heaving, sword-hands shaking from exhaustion. Remaining candles relight. Wide two-shot. Hold. No titles. AUDIO: steel, thunder-crack on every clash, stone, fire, breath, shockwave. No BGM. No speech.

CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or reinterpret it. Do not beautify, slim, de-age or restyle them. The attached image outranks every word below it: wherever the image and the text disagree, follow the image. Frame 1 is already in the scene — never a studio portrait, grey backdrop, or the attached still as an opening plate. Use they/them throughout. No other people. A warm hand-painted pastoral anime sequence in a quiet apple orchard at the start of autumn. The person wears a soft cream blouse and a rust-colored skirt and walks beneath trees heavy with red apples. Golden afternoon sunlight, first hints of autumn, rich painted textures, gentle breeze, nostalgic countryside atmosphere, simple graceful actions, highly detailed. No on-screen text. Shot 1: Wide establishing shot, slow push-in. Rows of apple trees glow in warm autumn sunlight. Frame 1 is already in the orchard — never a studio portrait. Shot 2: Low-angle shot, static. Red apples hang among green leaves against a pale blue sky. Shot 3: Medium rear shot, gentle tracking. The person walks slowly between the trees. Shot 4: Close-up, static. Their skirt brushes softly against tall grass. Shot 5: Medium profile shot, static. They pause beneath one tree. Shot 6: Close-up, static. A ripe red apple hangs from a low branch. Shot 7: Medium shot, slight push-in. They reach toward the apple. Shot 8: Close-up, static. Their hand gently picks it from the branch. Shot 9: Close-up portrait, static. They look at the apple and smile. Shot 10: Wide side shot, slow pan. Leaves move gently around them. Shot 11: Medium rear shot, static. They continue walking through the orchard. Shot 12: Close-up, static. Sunlight flickers across fallen leaves on the grass. Shot 13: Low-to-high shot, gentle tilt. Branches sway overhead. Shot 14: Wide rear shot, slow pull back. They walk toward the far end of the orchard. Shot 15: Far wide shot, static. The orchard rests beneath soft golden evening light. CAMERA: slow, simple, graceful. No teleporting. AUDIO: soft breeze, leaves, quiet countryside. No voiceover. NEGATIVE: no live-action photoreal, no modern objects, no text, no watermark, no extra people.

A warm, heartwarming beach scene at golden hour: @image1 gently feeds and befriends a small stray cat by the shoreline, coaxing it closer until it eats from their hand and settles beside them. Photoreal, tender, soft natural light, gentle waves and a light music bed, no dialogue.

A cozy creator-desk UGC unboxing and review of @image2: @image1 holds the product up, opens it, lays out every included piece in a clean overhead flatlay, demonstrates it, and gives a warm sign-off. Authentic handheld UGC feel, works with any product. Photoreal, natural location sound, one presenter talking to camera.

【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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IDENTITY: @image1 and @image2 are two different people. Photocopy each face from its tag for the whole 30s. Do not morph. Do not describe them. They/them. @image1 and @image2 are face/identity only, not studio clothes. Surfwear. No other humans. 30 seconds, 16:9. Painterly semi-realistic animation (not live-action photo, not game CG). Deep blue / turquoise water, bright white spray, clear sky, strong sun. NO ON-SCREEN TEXT, captions, titles, logos. Prop: one red-and-white shortboard for @image1. If @image2 rides, a second board of the same family. Leash on the rear ankle, connected to the tail. OPENING: already on the water. Never a studio portrait as frame 0. 0–3s. Ultra-low, almost on the water, looking back from the nose. The red-white board cuts dark blue water. @image1 barefoot on the deck, one foot forward, knees bent. Spray. Camera tracks with the board. 3–6s. Pull back. First full view of @image1 and the forming wave. They drop along the steep face. @image2 is also in the lineup / on a board in the same wave system — readable, same face as the tag. 6–9s. Wide side follow. Huge teal wall. @image1 at the base, high speed. Peak curling, sun through the lip. 9–12s. Closer side. @image1 lowers for the tube. Hair and spray back. Hands for balance. 12–15s. Inside the barrel. Camera in the tube, shooting back. @image1 crouched, sliding the wall. Circular blue cave, sky in the exit. 15–18s. Track backward down the tube center. @image1 stays centered. Water tunnel. Small steering. Rim light. 18–21s. Low hero close on @image1. One hand toward camera. Barrel frames them. Tiny slow-mo ~1s, then normal speed. 21–24s. They exit the foam into sun. Small carve. Real weight and inertia. 24–27s. Wave flattens. @image1 stands taller, still slightly bent, glides the shoulder. Pull back. @image2 visible on the same clean water. No rocks. 27–30s. Camera rises and pulls to a wide aerial. Both of them small on a wide blue sea. Trails of white foam. Ending is CLEAN BEACH SAND — pale sand, no dark cliffs, no reef rocks. They keep gliding. Hold. Cut. PHYSICS: boards stay on the water. Feet do not clip through the deck. Wave rolls forward and tubes. Gravity on spray. SOUND: diegetic water, board, wind. No speech. NEGATIVE: rock cliffs, reef, extra third person, face morph, studio still, photoreal live-action, text, polo shirt, black knit top.

2 steps913.2K

30-second 16:9 Seedance clip. Identity and costume come ONLY from the attached images: @image1 is the face, @image2 is the full character (body, techwear, palette, katana, scabbard). Photocopy those. Do not describe the character. Do not invent a different face, outfit, or sword. Setting: a vast sci-fi spaceship — stacked hangar decks, grated catwalks, a cargo pit instead of a ravine. Same fight beats as an uphill battle, mapped onto ship architecture. Dozens of enemies on the lower hangar floor, mid catwalk terrace, and upper switchback ramp. Spearmen with energy shafts, swordsmen, riot shields. Survivors pursue upward through the decks. Graphic sci-fi action, strong silhouettes. White-hot blade arcs, crimson contact, cyan trails. Hits have immediate local results; defeated bodies stay down. No energy web, no remote mass-kill. Camera coupled to sword momentum: blade-height whip tracking, orbits, snap zooms. 0–7s SHOT 1: Low wide tracking beside the legs on the hangar floor. Spearmen surge down the ramp, swordsmen through gaps. Iaijutsu draw beats a spear aside, kills the exposed swordsman, ducks an overhead. Neighbor countercuts; snap-zoom on crossed blades, whip upward to the next deck. A shield drives from above; pivot around its edge, cut the wielder, spring past into the blade trail. 7–15s SHOT 2: Rising half-orbit outside the mid catwalk, cargo pit plunging below. Kick off a bulkhead into an aerial spin. Spearman tracks the landing; deflect, reverse-grip in midair, kill a second attacker on descent. Rebound into a rising countercut. Ride a cyan arc into the next shot. 15–22s SHOT 3: Slingshot along the upper switchback ramp, camera retreating just beyond the blade. Shielded reinforcements charge down. Spinning cuts, resheath-and-draw. A shield shoves toward the pit; plant at the edge, cut the wielder. Duck a countercut, gain the next step. Rising white-hot arc eclipses the lens. 22–30s SHOT 4: Burst onto the upper approach. One uninterrupted combination through the remaining force: iaijutsu, reverse-grip, aerial spins. Each kill is blade contact. Last cut onto the upper lip, low finishing stance, blade extended. Wide three-quarter: enemies motionless along the decks. AUDIO: steel, ship hum, impacts. No voiceover. No on-screen text. NEGATIVE: no mountain, no traditional robes, no character redesign, no captions.

2 steps19688

Generate a commercial like video for the product of your choice.

2 steps668.5K

Generate a video with you in an enchanted library.