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Become a geisha — the full dressing shown step by step: white makeup, red lips, the lacquered wig and kanzashi, the layered kimono and the obi, each applied by hand in order. Upload a photo, you keep your own face. Music only. 25s.

Become a Bollywood bride — the sari wrapped, mehndi drawn, gold jewellery placed piece by piece, ending in a joyful dance. Upload a photo, you keep your own face. Music only. 25s.

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, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Refer to them only as they/them in this prompt. ATTACHED IMAGE IS MANDATORY AND FINAL: The attached image outranks every word written below it: wherever the attached image and this text disagree, follow the image. ASSET MAP: @image1 — the tiny living person. Photocopy face, hair, skin, and the clothes on the still (long blonde waves with curtain bangs, cream wrap mini dress with a blue-green-tan floral print and short puff sleeves, thin gold necklace with a small pendant, woven tan rattan bag with a brown clasp on the forearm, gold ring). Ignore the grey studio pad around @image1 — that pad is not a set. Never freeze on the attached still as frame 0. Never show a checkerboard or transparency grid. SUBJECT LOCK — HIGHEST PRIORITY: The tiny subject in every shot is exactly what is in @image1, only shrunk in scale. Do not beautify, restyle, slim or redesign it. No other version of it appears anywhere in frame. NATURAL FLIGHT — HIGHEST PRIORITY: they are a living person riding the dandelion, not a posed still pasted onto it. Do not copy the seated cafe-chair pose from @image1 into the air. They nest in the hollow of the seed head like a soft nest: hips sunk into the seeds, knees loosely tucked, torso relaxed and slightly forward, face clear above the fluff rim from frame 1 — never buried in the seeds. Hair, puff sleeves, dress hem and bag strap stream and lift in the real airflow. On every tilt they lean with gravity; on every dip their body sinks a beat then recovers with the puff. Soft living micro-motion the whole time — blinks, looking where they are going, breath in the shoulders. Not a doll, not a statue, not a frozen smile, not hovering above the puff, not glued on top. HANDS: if the subject has hands, they are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Hands rest loosely in their lap or on the seed rim — they do not grip, hold or manipulate anything. SINGLE SUBJECT: only the @image1 subject rides the dandelion as the story’s subject — a single real moth may appear as natural wildlife in the scene, not as a character, and no other people, figures or hands enter frame. They are a tiny real person, not a doll. PHOTOREAL LIVE-ACTION: real camera, real garden at dusk, real light — not CGI, not a painting, not an animated illustration. Match grain, colour and lighting between the subject and the dandelion so the whole shot reads as one photograph. SCALE REALISM: the subject, nested in the hollow centre of a single dandelion seed head, is a few centimetres tall relative to the real garden below — blades of grass, a low garden fence, and a ring of mushrooms at a tree’s base all read at true towering scale beneath it. Match lighting and colour grade between the subject and the dandelion throughout so the whole shot reads as one real photograph, not a composite. The scale contrast is clearly visible in the very first frame. Unbranded: no logos, no brand names, no readable text on seeds, grass or mushrooms. PROP CONTINUITY: the dandelion seed head carrying the subject, the grass blades and low fence below, and the ring of glowing mushrooms at the destination tree are all visible from frame 1 or clearly established before first use — nothing new appears later unexplained. CAUSALITY LOCK: every event has a shown, physical cause — the dandelion tilts because a real gust of wind visibly bends the grass below it first; it dips suddenly because a real moth’s wingbeat disturbs the air close by, visible a beat before the dip; it rights itself and descends only because the wind settles and gravity brings it down, a visible physical process, never an unexplained recovery. PACING: real, continuous motion for the full duration — no calm establishing pause longer than 1 second except the brief settled beat at landing. Each beat below must read as a distinct, clearly readable event, not a blur. Do NOT default to a calm, mostly-still shot. Shot 1 must open already in motion. Never freeze on the reference still. SCENE: a real garden at dusk, warm fading light low on the horizon, cool blue shadow rising from below. The tiny living person, built exactly from @image1, is already airborne, nested in the dandelion hollow, rising fast past the grass blades when the shot opens. Whimsical live-action macro realism, shallow depth of field. Tiny real person — not a doll, not a statue. 0–2s: Already rising fast, the dandelion carries them up past the grass blades and over the low garden fence. Their hair and dress hem stream in the airflow; face readable above the fluff; hips nested in the seeds. 2–4s: A real gust bends the grass below first, then catches the dandelion — it tilts hard to one side. They lean with it, hair flattening with the fluff, then the puff levels and they settle back into the hollow. 4–6s: A real moth flutters close, its wingbeat disturbing the air — the dandelion dips suddenly. Their body sinks with the drop, then the puff catches air and they recover with it. 6–8s: Steadied, it drifts higher through a loose scatter of real fireflies, their light catching the fluff strands and the moving hair as it passes through them. 8–10s: Below, the garden opens into a ring of glowing mushrooms circling the base of a large tree — they look down toward the destination coming into view. 10–12s: The dandelion settles gently down at the edge of the mushroom ring, fluff coming to rest, they still nested and living at its centre, soft mushroom-glow lighting the whole scene — the full miniature garden world visible in this final frame. STYLE: photoreal live-action macro, real garden at dusk, warm fading light, shallow depth of field. Vertical 9:16. Tiny real person nested in a giant dandelion seed head — not a doll, not a statue, not a posed still. AUDIO (native, synced, no BGM, no voiceover, no narration): a steady breeze, fluff rippling and rustling, a soft gust gusting past, a faint moth wingbeat, gentle settling as it lands, soft ambient dusk insects at the end. No on-screen text, no watermark, 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, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Refer to them only as they/them in this prompt. ATTACHED IMAGE IS MANDATORY AND FINAL: The attached image outranks every word written below it: wherever the attached image and this text disagree, follow the image. ASSET MAP: @image1 — the tiny living person. Photocopy face, hair, skin, and the clothes on the still (dark charcoal corduroy overshirt with two buttoned chest pockets, olive-green crew-neck t-shirt, gold chain with a small vertical bar pendant). Ignore the grey studio pad around @image1 — that pad is not a set. Never freeze on the attached still as frame 0. Never show a checkerboard or transparency grid. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. SINGLE SUBJECT: only @image1 appears as a living subject — no other people or extra hands enter frame at any point. They are a tiny real person, not a doll. SCALE REALISM: @image1 is only a few centimetres tall on a real windowsill among full-size objects (a small potted plant, a window-blind cord, the sill’s edge dropping to the floor below). Match lighting and colour grade between the tiny person and the surroundings so the whole shot reads as one real photograph, not a composite. The scale contrast is clearly visible in the very first frame. Unbranded: no logos, no brand names, no readable text on the plant pot, tag, blinds or sill. PROP CONTINUITY: the plant pot, the hanging blind cord and the drop to the floor are all visible from frame 1 — nothing new appears later unexplained. CAUSALITY LOCK: every event has a shown, physical cause — a gust from the cracked-open window knocks a small paper tag off the sill first, visibly, before they react to it; their slide down the cord happens because they grab it mid-fall, not instantly; the catch at the bottom is a direct physical response to the tag’s falling speed, not a lucky unexplained grab. PACING: real, energetic, continuous motion for nearly the whole duration — no calm establishing pause longer than 1 second. Each beat below must read as a distinct, clearly readable event, not a blur — slow down fractionally at the peak of each moment so the action is visible, then keep moving. Do NOT default to a calm, mostly-still shot. Shot 1 must open already in motion. Never freeze on the reference still. SCENE: a windowsill at dusk, warm indoor light mixing with cool blue evening light through the glass. @image1, only a few centimetres tall, is already moving the instant the gust hits. Whimsical live-action macro realism, shallow depth of field. Tiny real person — not a doll, not a statue. 0–2s: A gust through the cracked window knocks a small blank paper tag off the sill edge — they, standing nearby, immediately turn and sprint after it as it tumbles off the edge. 2–4s: At the sill’s edge, with no time to climb down safely, they leap and grab the hanging blind cord, swinging out over the drop. 4–6s: Sliding fast down the cord, both hands gripping tight, passing the plant pot’s rim at speed — a near-miss as a leaf brushes past their shoulder. 6–8s: Lands hard on the floor below, rolls once to absorb the impact, and scrambles forward just as the tag flutters down — catching it in both hands a breath before it hits the ground. 8–10s: Stands up straight on the floor, tag held up triumphantly, looking back up at the long drop they just came down, the windowsill towering above them. STYLE: photoreal live-action macro, dusk windowsill, warm indoor light mixed with cool evening window light, shallow depth of field. Vertical 9:16. Tiny real person on a giant windowsill — not a doll, not a statue. AUDIO (native, synced, no BGM, no voiceover, no narration): a soft window-gust whoosh, quick tiny footsteps, the cord creaking under grip, a brief rush of air during the slide, a soft thud on landing, a satisfied exhale at the catch. No on-screen text, no watermark, no subtitles.

VERTICAL 9:16 22 seconds. Handheld selfie UGC in an SUV, driver’s seat. Hard cuts. ONE person. No on-screen captions. CHARACTER LOCK: the person is exactly @image1. Preserve face, hair, skin, age, build, gender presentation. Use they / their / them only. @image1 = FACE only. Photocopy this person. Do not copy studio wardrobe from the lock. Casual car clothes: plain t-shirt, no hat. @image2 = THIS drink, FRONT. Photocopy the can exactly as in @image2, its colours and label as printed. NEVER a different can. @image3 = THIS drink, BACK / nutrition label. Photocopy the label panel. NEVER invent a different label. They hold the real @image2 can whenever the can is in frame. 0.00–6.00 Driver’s seat selfie. Holds @image2 up to camera. ON CAMERA: “All right, hot take here, but this is way more important than coffee in my cup holder in the morning. Like, I don’t leave without it.” 6.00–9.00 Hard cut. Close-up of @image3 nutrition label, readable. ON CAMERA: “And look at what’s in it. That’s it.” 9.00–13.00 Speaks to camera, then cut to close-up of @image2 front of the can. ON CAMERA: “It’s so good and it just hits every time. I literally bought a whole case again last night.” 13.00–22.00 Points at the label on the can, then talks to camera. ON CAMERA: “See that? That’s my drink, and it keeps me going for the whole day. Don’t sleep on this. If you need a real boost, this is it right here.” Same person. Same can as the photos, both sides. SUV interior. No extra people. Never a studio still as frame 0.

ATTACHED IMAGES ARE MANDATORY AND FINAL. They outrank every word written below them: wherever an attached image and this text disagree, follow the image. @image1 is the absolute identity lock for the cat — its exact coat colour, pattern and markings, face, eyes, ears, build and its white apron, with no drift in any frame. Never invent a different animal. @image2 is the absolute lock for the drink — the same vessel, the same contents, the same colour and the same fill level in every serving on the tray. Handheld vertical phone footage, documentary look, inside a traditional Balkan kafana tavern. The cat@image1 walks upright on its hind legs like a waiter. One front paw is raised high above its head, balancing a round metal tray that carries exactly five identical servings of the drink@image2, every one matching the reference exactly. The camera tracks alongside at cat height, low to the wooden floor, bouncing slightly with each step, table legs and chair legs rushing past, the cat clear of furniture and never hidden behind it. Around it a warm dim kafana: dark wood panelling, long tables under red-and-white checkered tablecloths, bentwood chairs, framed old photographs on the walls, amber pendant lamps. The guests at the tables turn to look, laughing and clapping, a few lifting phones to film. In the final beats the cat reaches an occupied table, slows, brings both front paws to the rim of the tray and slides it flat down onto the checkered tablecloth, then lets go and lowers its paws; the five servings rock once and settle, the glasses clink, and the guests burst out laughing. Realistic fur detail, warm tungsten interior light, shallow depth of field, natural handheld shake, normal speed. AUDIO: kafana ambience — overlapping chatter and bursts of laughter, chairs scraping, glasses clinking as the tray lands, faint live tamburitza music underneath. No voice-over, no music sting.

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VERTICAL 9:16 30 seconds. Handheld selfie GRWM, close on the face. Hard cuts. ONE person. Light grey walls. No on-screen captions. No brand names spoken. CHARACTER LOCK: the person is exactly @image1. Preserve face, hair, skin, age, build, gender presentation. Use they / their / them only. @image1 = FACE only. Photocopy this person. Do not copy studio wardrobe from the lock. WARDROBE: plain white t-shirt. Layered gold necklaces. Hair DONE — styled, not wet, not in a towel. GLOWY healthy skin, NO dark under-eyes, lashes look like they already have mascara. SHOW EACH PRODUCT TO CAMERA BEFORE THEY USE IT. @image2 = THIS tinted sunscreen. Photocopy it exactly as in @image2, label as printed. NEVER a different product. @image3 = THESE brightening drops. Photocopy the bottle. @image4 = THIS concealer. Photocopy it exactly as in @image4. @image5 = THIS lip liner pencil. Photocopy it. @image6 = THIS lip balm. Photocopy it exactly as in @image6. TALKING vs VOICEOVER: 0.00–4.00 INTRO — they TALK to camera, lips match. 4.00–21.00 VOICEOVER — lips still, they do the steps. 21.00–30.00 they TALK again, lips match. 0.00–4.00 Smiles at camera, hair already done. ON CAMERA: “Hey guys. My favorite kind of makeup look is skincare makeup, and I’m gonna show you how I do it.” 4.00–15.00 FIRST hold @image2 and @image3 up to camera, both readable. THEN mix BOTH on the FACE: squeeze tinted sunscreen onto cheeks AND add the drops onto the same spots so both products are visibly on the skin at once, then rub in. VO: “I mix this tinted sunscreen with these brightening drops. It gives such a luminous, glowy effect. This is what I do when I want that skincare makeup look—it just evens out my skin tone.” 15.00–21.00 FIRST hold @image4 to camera. THEN a tiny dot on the chin, blend with a finger. VO: “If I am breaking out, I just add a little dot of concealer and blend it with my finger.” 21.00–26.00 They TALK. Hold @image5 to camera, then draw: ON CAMERA: “Then just a little lip shaping” Then hold @image6 to camera and apply: ON CAMERA: “and some lip balm.” 26.00–30.00 Adjusts hair, glowy skin, smiles. ON CAMERA: “And this is it. Very light, still glowy, but more on the skincare side than makeup.” Same person. Same products as the photos. No extra people. Never a studio still as frame 0.

Your body suddenly seizes and jerks on its own, rises off the floor and arches back, your eyes rolling to blank white, then it passes and you return to normal. One continuous cinematic take with a loud score. Upload a photo, you keep your own face. 20s.

You walk into a candlelit hall lined with the seated dead; a spectral host floats up and glides high above the long banquet table toward you, then the doors slam and her skull-face shrieks inches from your face. Upload a photo, you keep your own face. One continuous cinematic take with a loud score. 20s.

Transform into a forest elf — pointed ears, leaf-and-silver braids, elven armour and a longbow in an ancient sunlit forest. Upload a photo, you keep your own face. One continuous cinematic take, music only. 15s.

Live a day as a billionaire sheikh — palace villa, pet tiger, falcon, supercars and a private jet, over-the-top luxury. Upload a photo, you keep your own face. Music only. 15s.

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, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Refer to them only as they/them in this prompt. ATTACHED IMAGES ARE MANDATORY AND FINAL: The attached images outrank every word written below them. Wherever an attached image and this text disagree, follow the image — including the product’s exact shape, features and proportions. ASSET MAP: @image1 — the tiny person. Photocopy face, hair, skin, and the clothes on the still (black sleeveless cut-out dress, layered pearl and gold chain necklace, gold hoop earrings, gold rings, red lipstick, blunt dark bob). Ignore the grey studio pad around @image1 — that pad is not a set. Ignore any restaurant tables, chairs, windows or city skyline leftover in the still — those are not the location. Never freeze on the attached still as frame 0. Never show a checkerboard or transparency grid. The hand-at-necklace pose on the still is not the action. @image2 — the product: the brown weathered leather cowboy hat with a pinched crown, wide brim, stitched brim edge, and a studded leather hatband with a round metal concho. Unchanged and not regenerated — same shape, colour, materials, band and hardware in every shot it appears. Ignore the grey studio pad and any thin white JPEG fringe around @image2 — those are not part of the hat. No invented branding, text, feathers, or extra hardware. No giant wearer. No other people, hands, or faces enter frame at any point. HANDS: if the subject has hands, they are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. The story does not require the subject to grip, hold or manipulate anything — only to be carried along by the water and ride out the motion. SINGLE SUBJECT: only the @image1 subject appears as a character in this scene — no other people, figures or hands enter frame. PHOTOREAL LIVE-ACTION: real camera, real drizzle, real water — not CGI, not a painting. Match grain, colour and lighting between the subject, the droplet and the product’s surface so the whole shot reads as one photograph. SCALE REALISM: the subject is a few centimetres tall relative to @image2, which stands at its true full size — like a towering landscape. A natural slope or curve on the product’s own surface forms the run the water follows. Match lighting and colour grade between the subject and the product throughout so the whole shot reads as one real photograph, not a composite. The scale contrast is clearly visible in the very first frame. PROP CONTINUITY: the slope on the product’s surface (crown-to-brim leather), a sharp curve partway down it (where the crown meets the brim), and a small ridge near the bottom (stitched brim edge) are all visible from frame 1 or clearly established before first use — nothing new appears later unexplained. CAUSALITY LOCK: every event has a shown, physical cause — a real raindrop lands and gathers into a single large droplet at the top of the slope first, visibly, before it breaks free and starts rolling; the subject is swept along only because the moving water physically reaches and carries them; the brief airborne moment happens because the ridge is a visible bump in the product’s surface, not an unexplained jump; the splash at the end happens because the droplet and subject reach a real puddle that has visibly formed at the product’s base. PACING: real, continuous motion for the full duration — no calm establishing pause longer than 1 second except the brief settled beat at the very end. Each beat below must read as a distinct, clearly readable event, not a blur. Do NOT default to a calm, mostly-still shot. Shot 1 must open already in motion. SCENE: light drizzle falling onto @image2's real surface, overcast daylight, shallow depth of field. The subject, exactly as in @image1, is already perched at the top of the slope as a droplet forms nearby when the shot opens. Whimsical live-action macro realism. 0–2s: A single large droplet gathers from the drizzle right beside the subject, then breaks free and starts rolling down the product’s natural slope — the subject, caught at its edge, is swept along with it. 2–4s: Gathering speed together down the slope, water spraying off to the sides. 4–6s: The slope curves sharply — droplet and subject swing wide around the curve, water fanning outward at the turn. 6–8s: They hit the small ridge near the bottom — a brief airborne moment, both lifting off the surface together — before landing back on the slope, still moving fast. 8–10s: Reaching the bottom, droplet and subject splash together into a small puddle that has formed at the product’s base. 10–12s: Settled at the puddle’s edge, drizzle still falling softly around them, the subject sits or rests there, @image2 towering behind them — the full scale of the product landscape visible in this final frame. AUDIO: natural foley only — soft drizzle, water gathering and breaking free, a rushing trickle as it rolls and speeds up, a brief whoosh at the airborne moment, a soft splash at the bottom, gentle rain ambience settling at the end. No music, no BGM, no voiceover, no narration. No on-screen text, no watermark, 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, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Refer to them only as they/them in this prompt. ATTACHED IMAGE IS MANDATORY AND FINAL: The attached image outranks every word written below it: wherever the attached image and this text disagree, follow the image. ASSET MAP: @image1 — the tiny living person. Photocopy face, hair, skin, and the clothes on the still (deep burgundy long-sleeve V-neck top, two layered gold chains with a snake pendant, thin gold cuff on one wrist, long dark wavy hair). Ignore the grey studio pad around @image1 — that pad is not a set. Never freeze on the attached still as frame 0. Never show a checkerboard or transparency grid. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. SINGLE SUBJECT: only @image1 appears as a living subject — no other people or extra hands enter frame at any point. They are a tiny real person, not a doll. SCALE REALISM: @image1 is only a few centimetres tall in a real back-garden flower bed at dusk — among real moss, pebbles, fallen petals, a spanning strand of spider silk, and two large blooms. Match lighting and colour grade between the tiny person and the surroundings so the whole shot reads as one real photograph, not a composite. The scale contrast is clearly visible in the very first frame. Unbranded: no logos, no brand names, no readable text on pots, petals or stones. PROP CONTINUITY: the mossy stone step, the scattered petals, the spider-silk strand spanning the gap between the two blooms, and both blooms themselves are all visible from frame 1 or clearly established before first use — nothing new appears later unexplained. CAUSALITY LOCK: every event has a shown, physical cause — the petals scatter because a real gust moves through the garden first (grass and moss stir before the petals lift); the stumble happens because a loose pebble shifts underfoot, visibly; the silk strand sways because the same recurring gust catches it mid-crossing, not randomly; every recovery is a direct physical reaction to its cause, never unexplained. PACING: real, energetic, continuous motion for the full duration — no calm establishing pause longer than 1 second. Each beat below must read as a distinct, clearly readable event, not a blur — slow down fractionally at the peak of each moment so the action is visible, then keep moving. Do NOT default to a calm, mostly-still shot. Shot 1 must open already in motion. Never freeze on the reference still. SCENE: a magical-feeling corner of a real garden at dusk, warm golden-blue light, soft natural bokeh from real distant light sources (not added sparkle effects). The tiny living person, built exactly from @image1, is already climbing when the shot opens. Whimsical live-action macro realism, shallow depth of field. Tiny real person — not a doll, not a statue. 0–2s: Already mid-climb up a mossy stone step, they reach the top just as a gust moves through the garden — grass and moss stir first, a beat before the fallen petals around them lift into the air. 2–4s: Caught in the drifting petals, they duck and shield their face with one arm as petals swirl past, one grazing their shoulder. 4–6s: Stepping forward through the thinning petal-fall, a loose pebble shifts underfoot — they stumble, catch themselves on the stem of the first large bloom, steadying in one motion. 6–8s: Looking up, they spot a single strand of spider silk spanning the gap to a second, taller bloom. They test it with one foot, grip it with both hands, and start crossing hand-over-hand above the drop. 8–10s: Midway across, the same recurring gust catches the strand — it sways hard, their feet slip free for a moment, swinging, before they hook a leg back over the strand and keep moving, shaken but steady. 10–12s: Reaching the far side, they haul themselves up the last stretch onto the second bloom’s open petal edge and stand there, breathing hard but upright — the full dusk garden, both blooms, the crossed strand, and the soft distant lights all visible in this final frame. STYLE: photoreal live-action macro, real garden at dusk, warm golden-blue light, shallow depth of field. Vertical 9:16. Tiny real person among giant blooms — not a doll, not a statue. AUDIO (native, synced, no BGM, no voiceover, no narration): rustling grass and moss, a soft gust of wind, petals fluttering past, a small stumble sound, the silk strand creaking and swaying, an effort grunt mid-swing, a relieved exhale at the top. No on-screen text, no watermark, no subtitles.

A reaction reveal in two shots. Three people at a bus stop react one by one to something the camera never shows, then a hard cut reveals it: the person standing astride two identical copies of the uploaded car, arms folded, riding them down a sunlit street. Upload ANY face and ONE photo of ANY car — the second shot builds a matching twin of it. 10s, 9:16, ambient audio, no dialogue.

@image1 is the cat and the absolute identity lock. Reproduce this exact animal in every frame: their coat colour and pattern, fur length and texture, ear shape and set, eye colour and shape, muzzle, markings, whiskers and body build exactly as shown. Never substitute a different cat and never change their colouring. @image2 is the kitchen: same counters, same hanging racks, same light. ATTACHED IMAGES ARE MANDATORY AND FINAL. Wherever an attached image and this text disagree, follow the image. Handheld vertical phone footage, one single unbroken take, filmed by a person standing in the professional restaurant kitchen@image2 — stainless steel counters, rows of steel ladles and skimmers hanging from an overhead rack, cooks in white jackets and tall toques working the line, a pan erupting in orange flame in the background, warm tungsten light. The camera opens already on the cat@image1, who is cooking. They sit upright on their haunches on the steel counter with both front paws wrapped around the handle of a long wooden spoon, stirring slow circles inside a big steel pot, steam rising into their face. They wear a tiny white chef's toque and a small white apron: the hat and apron fit to their own head and body naturally, whatever their size, build and fur, without altering the cat themselves. They are concentrating, completely serious. The cameraman's bare hand reaches in from the left and touches the cat@image1. First a flat palm stroking down their back, fur flattening under the fingers — they keep stirring, eyes narrowing. The hand comes back and pokes a fingertip into their cheek, pushing the fur in; their ears twitch flat. The hand comes a third time and tugs their ear between two fingers. That is the trigger. The wooden spoon drops from their paws and clatters into the pot. Their head snaps around, they scream with their mouth wide open, and they launch straight at the camera, a front paw slapping across the lens. Ladles clang and swing on the rack overhead, a pan tips and clatters, steam bursts, a cook flinches in the background. The camera whips sideways, the image smears, and it falls — hitting the tiled floor and skidding to rest at a tilt. Final beat: from floor level, lens pointed up, the image blurs then snaps into focus. The cat@image1 walks into frame and stops directly above the lens, chef's hat crooked, staring straight down into the camera in total silence. Whiskers twitch. Hold on that stare. Realistic domestic cat anatomy and real fur, paws gripping the spoon handle naturally, on all four paws when walking, never standing or walking on two legs. The phone doing the filming is never visible in frame. Raw amateur phone video: no stabilisation, autofocus hunting, motion blur, rolling shutter wobble, blown highlights from the kitchen lights, light grain. AUDIO: the roar of a working kitchen — sizzling, clattering steel, distant voices. A man laughing as he pokes, cut short by one loud furious cat scream and a crash of metal. Then sudden silence under the final stare. No music, no narration.

You're chased through a dark underground parking garage by a huge grey predator — you slam a stairwell door shut, then it punches and tears through from the other side for a terrifying close reveal. Upload a photo, you keep your own face. One continuous cinematic take with a loud score. 20s.

Handmaidens dress and adorn you into Cleopatra — pleated white linen, a broad gold-and-carnelian collar, authentic kohl-lined eyes and a golden cobra circlet — ending sovereign on a gilded throne. One continuous cinematic take with a loud score. Upload a photo, you keep your own face. 25s.

VERTICAL 9:16 30 seconds. TikTok talking-head UGC. Handheld selfie, medium close-up, slight sway. Jump cuts. No full-screen app B-roll cuts — they stay on camera. CHARACTER LOCK: the person is exactly @image1. Preserve face, hair, skin, age, build, gender presentation. Use they / their / them only. @image1 = FACE only. Photocopy this person. Glasses only if they wear them in @image1. Light blue top. Small black lavalier mic clipped to the top. Phone in one hand. @image2 = THE APP on the phone. Photocopy this screen UI onto the phone when it is readable. SET: bright home office, wood-paneled walls, potted plant. 0.0–4.0s Lean in, eyebrows up, point at camera. “Okay, if you travel and you’re still buying SIM cards at the airport, stop. Watch this.” 4.0–11.0s Head-shake, eye-roll. “Last trip I landed in Vietnam, no data, standing in a line for a SIM card, trying to figure out which plan wasn’t a scam. Never again.” 11.0–21.0s Phone up next to the face. Screen shows @image2 as they tap. “Now I use this app. You type where you’re going, it compares eSIM plans from like thirty different providers, you pick one, buy it, and install it right in the app. Took me two minutes on my couch.” 21.0–25.0s Lower phone, count on fingers. “And it works alongside your normal SIM, so you still get texts from home.” 25.0–30.0s Smile, shrug. “Landed, connected, done. Just grab it in your app store. You’re welcome.” Same person. No extra people. Never a studio still as frame 0.

Transform into the Demon Lord — dark armour, huge horns and vast demon wings in a hellfire cathedral, with gargoyles circling you as their master. Upload a photo, you keep your own face. One continuous cinematic take, music only. 20s.

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, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Refer to them only as they/them in this prompt. ATTACHED IMAGE IS MANDATORY AND FINAL: The attached image outranks every word written below it: wherever the attached image and this text disagree, follow the image. ASSET MAP: @image1 — the tiny living person. Photocopy face, hair, skin, and the clothes on the still (sleeveless bare shoulders, long curly brown hair, layered gold necklaces with a round coin pendant). Ignore the grey studio pad around @image1 — that pad is not a set. Never freeze on the attached still as frame 0. Never show a checkerboard or transparency grid. SUBJECT LOCK — HIGHEST PRIORITY: The tiny subject in every shot is exactly what is in @image1, only shrunk in scale. Do not beautify, restyle, slim or redesign it. No other version of it appears anywhere in frame. HANDS: if the subject has hands, they are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. The story does not require them to grip, hold or manipulate anything — only to ride, sway and settle with the boat’s motion. SINGLE SUBJECT: only the @image1 subject rides the leaf-boat as the story’s subject — a real frog and real fireflies may appear as natural wildlife in the scene, not as characters, and no other people, figures or hands enter frame. They are a tiny real person, not a doll. PHOTOREAL LIVE-ACTION: real camera, real miniature stream, real water, real light — not CGI, not a painting, not an animated illustration. Match grain, colour and lighting between the subject and the water so the whole shot reads as one photograph. SCALE REALISM: the subject, riding on a single large fallen leaf, is a few centimetres tall relative to a real miniature garden stream — the blades of grass on either bank tower like canyon walls, a lily pad ahead is the size of a small island. Match lighting and colour grade between the subject and the water throughout so the whole shot reads as one real photograph, not a composite. The scale contrast is clearly visible in the very first frame. Unbranded: no logos, no brand names, no readable text on leaves, petals or water. PROP CONTINUITY: the leaf-boat the subject rides, the grass-blade banks, and the overhanging curtain of petals partway downstream are all visible from frame 1 or clearly established before first use — nothing new appears later unexplained. CAUSALITY LOCK: every event has a shown, physical cause — a real frog leaps from the bank into the water first, visibly, before the ripple-wave it creates reaches the boat; the boat tips because that same wave physically strikes it, not randomly; it rights itself because the wave passes and the water settles, a visible physical process, never an unexplained recovery. PACING: real, continuous motion for the full duration — no calm establishing pause longer than 1 second except the brief settled beat at the very end. Each beat below must read as a distinct, clearly readable event, not a blur. Do NOT default to a calm, mostly-still shot. Shot 1 must open already in motion. Never freeze on the reference still. SCENE: a miniature garden stream at dusk, warm fading light on the water, grass blades rising like canyon walls on either bank. The tiny living person, built exactly from @image1, is already riding the leaf-boat downstream when the shot opens. Whimsical live-action macro realism, shallow depth of field. Tiny real person — not a doll, not a statue. 0–2s: Already racing downstream, the leaf-boat weaves between the grass-blade banks, a fine spray kicking up at its bow, the subject riding steady at its centre. 2–4s: Ahead on the bank, a real frog leaps into the water — the splash sends a ripple-wave racing toward the boat. 4–6s: The wave strikes — the leaf-boat rears up and tips hard to one side, the subject sliding toward the rim, before the wave passes and the leaf levels out flat on the water again. 6–8s: The current carries the boat under a low curtain of overhanging petals — they brush just overhead as the boat ducks beneath, emerging into open water on the far side. 8–10s: The stream widens into a still, glowing pool, real fireflies hovering low over the surface, their light scattered across the water. 10–12s: The leaf-boat drifts to rest against a large lily pad at the pool’s edge, the subject settled and steady at its centre, fireflies circling softly above — the full miniature river world visible in this final frame. STYLE: photoreal live-action macro, real garden stream at dusk, warm fading light, shallow depth of field. Vertical 9:16. Tiny real person on a giant leaf-boat — not a doll, not a statue. AUDIO (native, synced, no BGM, no voiceover, no narration): rushing water, a frog’s splash and the ripple that follows, water lapping against the leaf, a soft rustle as petals brush overhead, gentle water settling at the pool, faint insect hum at the end. No on-screen text, no watermark, 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, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Refer to them only as they/them in this prompt. ATTACHED IMAGE IS MANDATORY AND FINAL: The attached image outranks every word written below it: wherever the attached image and this text disagree, follow the image. ASSET MAP: @image1 — the tiny living person. Photocopy face, hair, skin, and the clothes on the still (emerald satin button-down, black wide-leg trousers, long blonde braid from a high ponytail, thin gold necklace, tan structured handbag in one hand, tan loafers). Ignore the grey studio pad and any gym, brick wall, banners, weights, or extra people behind @image1 — that pad is not a set. Never freeze on the attached still as frame 0. Never show a checkerboard or transparency grid. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. SINGLE SUBJECT: only @image1 appears as a living subject — no other people or extra hands enter frame at any point. They are a tiny real person, not a doll. SCALE REALISM: @image1 is only a few centimetres tall on a real, full-size home-office desk among everyday objects (a stapler, a phone charger cable, a stack of books, loose coins). Match lighting and colour grade between the tiny person and the surroundings so the whole shot reads as one real photograph, not a composite. The scale contrast is clearly visible in the very first frame. Unbranded: no logos, no brand names, no readable text on the stapler, books, cable or desk. PROP CONTINUITY: the charger cable, the stapler and the stack of books are all visible from frame 1, placed across the desk — nothing new appears later unexplained. CAUSALITY LOCK: every obstacle has a shown, physical cause — the cable swings because it was already gently moving from a draft, not randomly; papers stir from a desk-fan gust a half-second before that same gust reaches them; their catch and recovery are a direct physical reaction to that gust, never an unexplained save. PACING: real, energetic, continuous motion for nearly the whole duration — no calm establishing pause longer than 1 second. Each beat below must read as a distinct, clearly readable event, not a blur — slow down fractionally at the peak of each obstacle so the action is visible, then keep moving. Do NOT default to a calm, mostly-still shot. Shot 1 must open already in motion. Never freeze on the reference still. SCENE: a cluttered home-office desk at warm late-afternoon light. @image1, only a few centimetres tall, is already running across the desk surface toward a stapler at the far end, weaving between obstacles. Whimsical live-action macro realism, shallow depth of field. Tiny real person — not a doll, not a statue. 0–2s: Already sprinting — they dash across open desk space, dodging a stray coin rolling slowly in their path, vaulting over it without breaking stride. 2–4s: A phone charger cable hanging off the desk edge swings into their path like a pendulum, already mid-swing from an earlier draft. They time it, duck low, and slide underneath just as it passes overhead. 4–6s: A sudden gust from an unseen desk fan hits — loose papers nearby flutter and lift first, a half-second before the gust reaches them. They stagger, grab the edge of a book to keep from being blown back, and hold on through the gust. 6–8s: Gust passes. They let go, climb the stacked books like steps, using the raised spine of the top book as a final foothold to reach the base of the stapler. 8–10s: They reach the top of the stapler — the highest point on the desk in view — and stand there, chest heaving, looking out across the whole desk landscape they just crossed. The full size contrast is clearly visible in this final frame. STYLE: photoreal live-action macro, warm late-afternoon desk lighting, shallow depth of field. Vertical 9:16. Tiny real person on a giant desk — not a doll, not a statue. AUDIO (native, synced, no BGM, no voiceover, no narration): quick tiny footsteps, a whoosh as the cable swings past, a gust of wind and papers fluttering, a grunt of effort at the book-grab, a relieved exhale at the top. No on-screen text, no watermark, no subtitles.

Stylized 3D animated film, exaggerated cartoon physics, squash and stretch. The attached first frame is the set, the cast and the flat unassembled pieces of THE PRODUCT. Every piece keeps the exact colour, material, texture, trim, hardware and markings it has in the first frame. THE PRODUCT is never redesigned, recoloured or relettered, and it never changes scale: it stays the same small piece of pet furniture the pieces belong to, roughly two kittens tall. It must never grow into a shed, a cabin or a human-sized building. 0-2s - Two kittens plant their paws on the blueprint; one taps the drawing twice, another bats the chunky calculator. All of them look up from the paper toward the pieces on the grass. 2-4s - They haul the first upright panel into standing position, three kittens shoving it from behind while a fourth steadies the edge with both paws. 4-7s - The second panel is walked into place and joined into a standing corner, then the panel carrying the opening is slotted in between them. THE PRODUCT now stands as an open frame. 7-9s - Two kittens carry a roof piece over their heads and lower it onto the frame; another fits a shelf or ledge onto the side, turning a screw with one paw. 9-10s - The kittens step back onto the grass and look up at what they have built. Camera: low and slow, a push-in over the blueprint, then a steady arc around THE PRODUCT as it rises. Warm golden afternoon light, green lawn, wooden fence and flowering shrubs behind. High-end CG animation, lively and slightly unreal. No text anywhere, no lettering on the hard hats. No cardboard boxes or cartons anywhere in the frame. AUDIO: upbeat comedic orchestral score running the whole take, hollow wooden knocks and clacks as pieces meet, a couple of screwdriver ratchets, busy excited kitten meows, light garden ambience with birds. No dialogue and no human voice of any kind.

5 steps

Two of you rip an explosive hip-hop routine on a golden-hour rooftop — synced footwork, body rolls, trade-off solos and a duo freeze. Upload two photos, you both keep your own faces. One continuous 20s take to a hard 808 beat. Music only.

You're a tomb raider who grabs a cursed golden idol — and petrify from the hand up, setting into a temple statue among the others. Upload a photo, you keep your own face. One continuous cinematic take with a loud score. 15s.

You sprint through a dark snowy forest at night while THE ANTLERED — a towering elk-skulled creature — chases you down and lunges. Upload a photo, you keep your own face. One continuous cinematic take with a loud score. 15s.

Your pale spectral double — wearing your exact face — peels out of a fogged mirror behind you, drifts closer, then rushes straight at the camera. Upload a photo, you keep your own face. One continuous cinematic take with a loud score. 15s.