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30 seconds, 9:16. Informative influencer. Handheld phone, slight sway. Medium waist-up. HARD CUT. Bright grocery/pharmacy SUPPLEMENT AISLE. He TALKS from frame 1. RASHID LOCK: @image1 is Rashid — photocopy their FACE, hair, facial hair and features exactly as in @image1, adult. IGNORE the clothes, props and background in @image1. He wears BLACK MEDICAL SCRUBS. Stands behind a BLUE shopping cart. Same person every scene. 0.0–6.0s HOOK. Aisle, hands gesturing. Simple animated 3D supplement bottles with question marks float beside him. Spoken: "So honestly, there are four supplements that I think are non-negotiable that everyone should consider taking." HARD CUT. 6.0–16.0s MAGNESIUM. Holds a green-and-white bottle of magnesium glycinate, points at it. Spoken: "Magnesium glycinate. Magnesium is needed for over 300 processes in your body, and 85% of people are deficient. Working out, running, causes deficiency in magnesium. So we want magnesium glycinate because it's very absorbable..." HARD CUT. 16.0–27.0s CREATINE. Holds a WHITE TUB of creatine monohydrate, free hand gesturing. Spoken: "Creatine monohydrate. Do not fall for the scams of liposomals or any of that stuff. Creatine monohydrate, five grams every day. It helps with muscle recovery, helps with cognition, and it helps with our gains..." HARD CUT. 27.0–30.0s Tosses the white tub into the BLUE cart. Looks at camera, casual friendly nod. Spoken: "...effort in the gym. I'll cover the other two non-negotiables in Part 2, so drop a follow and stay tuned." On-screen text, lower third: Follow for Part 2! HOLD. AUDIO: spoken English, store ambience. No songs. NEGATIVE: clothes, props or background from @image1, extra people, overlay except Follow for Part 2, Lana, Elara.

30 seconds, 9:16. Handheld street interview. Sunny beach path, boats, water, buildings behind. Both men in frame. Slight sway. HARD CUT between beats. MATEO (interviewer): @image1 FACE, hair and facial hair exactly as shown. IGNORE the outfit worn in @image1. Outfit from @image2 ONLY: every garment, colour and accessory exactly as shown in @image2, never changing. IGNORE the background of @image2. WILLIAM (interviewee): @image3 FACE, hair and facial hair exactly as shown. IGNORE the outfit worn in @image3. Outfit from @image4 ONLY: every garment, colour and accessory exactly as shown in @image4, never changing. IGNORE the background of @image4. They FACE EACH OTHER. Mateo holds a small professional MIC and a bright YELLOW protein cookie-dough PACKET. Natural, easy-going. 0.0–12.0s HOOK. Mateo points the mic at William, holds up the yellow packet. Mateo: "Quick question, brother. Do you like cookie dough?" William: "I absolutely love cookie dough." Mateo: "What if I told you that this cookie dough right here actually has 15 grams of protein, but it doesn't have that chalky protein bar taste?" HARD CUT. 12.0–18.0s OFFER. Mateo gestures with the packet. Mateo: "You want to try this out?" William: "Let's do it." Mateo: "Moment of truth right here. I want an honest reaction." HARD CUT. 18.0–30.0s REACTION. William has just tasted it. Hands gesture, nodding. William: "There's no chalky taste to it. This is like a genuine... like, you know as a kid growing up with your grandma or mom, like, 'hey you wanna try the cookie dough as long as there's no raw egg in it?' That's exactly how it tastes." HOLD. AUDIO: beach, two male voices. No songs. NEGATIVE: studio backdrop, the outfits worn in @image1 or @image3, extra people, overlay type, girls, Lana.

@image1 is an absolute product lock: all three pieces in it keep their exact form, proportions, material, finish, colour and every surface detail, and must not drift, restyle, merge or swap with one another at any point. Exactly one piece is on screen at a time, and each appears once. Follow @image2 exactly — its shot order, framing progression, hand position and staging. Soft editorial product film, shot on a long lens wide open. High-key white, blown-out daylight from above, heavy bloom, warm-neutral white balance, very shallow depth of field, delicate tissue and fabric texture held in the mid-tones, no hard shadows anywhere. Calm, intimate, unhurried. One continuous take, no cuts. The whole film is shot from inside a bag of crumpled translucent white material, looking out through one irregular soft-edged opening torn through it. That material fills the foreground on every edge, far out of focus and glowing, and the opening is blown out to pure white. The camera stays down at the bottom of the enclosure with the lens angled steeply up at that opening, and creeps steadily nearer it across the film so it grows in frame, never pulling back and never leaving the enclosure. RIGID ATTACHMENT RULE: once the fingers close on a piece, that piece is locked to the hand and moves ONLY because the hand moves. It never turns, spins, rotates, tilts, drifts, floats, sways or changes its angle on its own. Every change in how it faces the camera comes from the wrist rolling or the fingers rolling it — hand and piece travel as one rigid unit, with the piece keeping exactly the same grip position in the fingers from the moment it is picked up to the moment it leaves frame. If the hand is still, the piece is still. THE HAND IS NEVER STILL AND NEVER POSES. It is always travelling — descending, closing, rising, or leaving frame. No held beats, no static presentation, no hovering in place. The action is one simple cycle, repeated three times: the hand reaches DOWN into the bag toward the camera, closes on a piece, lifts it UP and carries it OUT of frame to the side — leaving the bag empty for a beat before the hand comes down again for the next one. The hand comes down through the opening toward the lens, filling the frame and covering the light so the picture falls to near-black for a moment. The fingers close on the first piece and the hand rises without pausing, the wrist rolling over as it climbs so the piece it is gripping swings through the light with it, and carries it up and away out of frame. The frame is left empty — folded white material and the bright opening, nothing else. The hand comes down again into the same brief darkness, the fingers close on the second piece, and the hand draws straight back up, the wrist turning as it rises so the gripped piece comes round with the hand, then takes it up and out of frame to the side. The bag is empty again. The hand descends a third and last time, closes on the final piece and climbs again, the fingers rolling it slightly as the wrist turns, then carries it out of frame after the others — leaving the empty bag and the softening light to hold to the end. Each descent covers the lens and darkens the frame, and each beat ends with the piece leaving frame upward. Nothing is ever set back down, no piece reappears once it has gone, and only one piece is ever on screen at a time. Do not animate any product independently of the hand. No spinning jewellery, no floating or hovering pieces, no product rotating in mid-air, no piece turning while the hand holds still, no piece slipping or shifting inside the grip. Audio: soft ambient room tone, the faint rustle of tissue and bag, and a quiet sparse music bed low in the mix. No dialogue, no voiceover. Do not generate any text, subtitles, captions, logos or watermarks.

3 steps1890

Photoreal luxury product film, shot as one unbroken take. Commercial studio lighting, crisp specular highlights travelling across polished metal, true reflections, rich saturated colour, the products held sharp throughout. No stylisation, no grade shift, no filter. Three products take turns on a round pedestal table — a glossy black top with a polished chrome rim on a slim black column — against a deep crimson seamless backdrop, with a polished stainless steel cloche covering whatever is on the stand. A hand in a white satin glove, with three chunky gold bangles stacked at the wrist, works the dome. Hold each product, the set, the dome and the hand consistent from the first frame to the last. The camera is locked off on a tripod for the whole take — front-on, centred on the pedestal, no pan, no tilt, no push, no zoom, no orbit. One continuous shot with no cuts. The hand enters from the top of frame and its fingers close around the knob of the dome. The hand raises the dome in one smooth vertical lift until it clears the pedestal, and the first product stands centred on the tabletop beneath it. The hand lowers the dome back down over the pedestal until it seats on the tabletop with a small settling weight. The hand lifts the dome again in the same smooth vertical move, and the second product now stands centred on the tabletop where the first one was. The hand lowers the dome once more until it seats on the tabletop again. The hand lifts the dome a final time, and the third product now stands centred on the tabletop. The hand carries the dome up and out of the top of frame, leaving the third product alone and centred on the pedestal, the light still working across its surface as the take ends. Every lift and every lower moves at the same unhurried pace, and each beat takes the same amount of time as the one before it. The hand never blocks the product. Audio: quiet studio room tone, a soft metallic ring each time the dome seats on the tabletop, and a light airy chime on each reveal. No music bed, no voice.

5 steps1132.1K

Two dogs dance the wiggle beside a pallet of dog food, in one unbroken eight-second take. One dog opens alone, the second walks in from the right and rears up, and both finish the last beats in sync facing the lens.

5 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, 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. No face changes, no identity drift. No other people share their face. ATTACHED IMAGES ARE MANDATORY AND FINAL: If an avatar image is attached, that is the person — reproduce them exactly, in every single frame, and never invent a different face, hairline, hair colour, skin tone, body or age. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character. SCENE vs STILL: @image1 is the person — photocopy their face, hair, makeup, jewellery and clothing exactly as shown. The colourful backstage room, clothing racks, vanity bottles, oval frame and any extra figures in the still are NOT the set. The set is a dark live venue under a single warm spotlight that can die and snap back. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person is ever in frame. The audience is never shown as distinct people or faces — it exists only as implied presence through stage lighting, distant silhouette-dark space beyond the light, and crowd sound. No other individual person or hand ever appears on screen. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same character throughout, with a clear external cause for the interruption and a clear recovery once it resolves. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character is already mid-performance under a single stage spotlight, guitar in hand, singing into a microphone, fully in the moment — confident, present. Mid-note, the power cuts: the spotlight dies instantly, the amplified sound drops out, and the stage plunges into near-darkness, only a faint ambient glow left. Their voice and guitar trail off into the sudden quiet, hand stilling on the strings, eyes adjusting to the dark, a tense pause stretching as the crowd murmurs unseen around them. Then, just as abruptly, the power returns — the spotlight snaps back on, the mic crackles alive again — and instead of restarting politely from the top, they take one breath and pick the song back up exactly where it left off, quieter and rawer than before, playing it through to the end. STYLE: Live-performance realism, single warm spotlight against a dark venue that cuts to near-total darkness and snaps back, shallow depth of field, camera close on the character throughout — steady through the blackout, settling into a slightly more intimate frame once the light returns. Vertical 9:16. Continuous real motion, no freeze-frame, no cutaways to the crowd. No on-screen text, no subtitles, no watermark, no title card; any emergency or exit lighting visible in the dark stays a soft glow with no readable lettering. AUDIO (native, synced, no BGM, no added score, no voiceover): the character’s own original singing and guitar playing — an original melody, never a famous song and never copyrighted lyrics — a sudden electrical pop and hum-drop as the power cuts, their voice and strings trailing into near-silence, faint unseen crowd murmur in the dark, a tense pause, an electrical hum and mic crackle as power snaps back, one breath, then the song resuming quieter and rawer. SHOT 1 (0-7s): Open already inside the performance — no static establishing beat. Character mid-song under the spotlight, guitar in hand, singing, confident and in motion. Face and hands both readable. SHOT 2 (7-13s): The power cuts. Spotlight dies instantly, sound drops out, the stage goes near-dark. Their voice and playing trail off, hand stilling on the strings, eyes adjusting, a tense pause in the near-darkness with faint crowd murmur. The person remains visible in the faint glow — not a cut to black, not an empty frame. SHOT 3 (13-20s): The power returns. Spotlight snaps back on, mic crackles alive. One breath, and they pick the song back up exactly where they left off — quieter, rawer, more honest — playing it through. A clear, resolute ending, not a fade-out.

Asset referencing: @image1 is the first frame of this video: a dark old movie-theatre lobby, a brass-framed poster case on a red velvet wall with every bulb around it unlit, the premiere poster inside in deep shadow. @image2 is the last frame of this video: the same poster case with every bulb around the frame glowing warm and the poster brightly lit, showing THE PHOTO above the title "HAPPY BIRTHDAY" and the line "PREMIERING TONIGHT". Together they define the lobby, the poster case, the bulbs, the poster, the photo, the lettering, the carpet and rope stands, and the framing. ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached frames outrank every word written below them. Wherever the images and this text disagree, follow the images. THE PHOTO on the poster and its lettering are exactly as in @image2 and never change. THE PREMIERE — this is the whole point of the film: the lights come on for the premiere. With a soft electric click, the round bulbs around the brass frame switch on one by one, running in order around the frame starting at the bottom left corner, up the left side, across the top and down the right side, until the whole frame glows. As the last bulb lights, the poster case lights up from inside and THE PHOTO and the title "HAPPY BIRTHDAY" appear bright and sharp, the warm light spilling onto the velvet wall and the red carpet. Summary: a birthday premiere in one unbroken take in which the marquee bulbs around a theatre poster switch on one by one until the poster lights up, revealing the visitor's photo above the title "HAPPY BIRTHDAY". Timeline: 0–1s — The framing of @image1: the dark lobby, the poster in shadow, and the first bulb at the bottom left corner already clicking on. 1–6s — The bulbs switch on one by one in order around the frame, each with a soft click and a warm glow, the brass catching more light with every bulb. 6–7.5s — The last bulb lights and the poster case lights up from inside; THE PHOTO and "HAPPY BIRTHDAY" appear bright and sharp. 7.5–10s — As in @image2: the whole frame glowing, the poster fully lit, the camera gliding very slowly closer, a faint warm shimmer on the bulbs. Notes: once a bulb is on it stays on for the rest of the film and never flickers off. The poster, THE PHOTO and the lettering never move, change or animate — only the light on them changes. The only words are "HAPPY BIRTHDAY" and "PREMIERING TONIGHT" on the poster. No people are in the lobby. The camera is on a smooth slow push-in the whole time, and the film runs as one unbroken take with no cuts. No subtitles. No BGM; generate only environmental sounds and action sounds: a soft electric click and a faint hum as each bulb switches on, rising into a warm steady buzz as the frame fills with light, a low deeper thunk as the poster case lights, and the distant murmur of an excited theatre crowd, to the last frame.

3 steps301.6K

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. No face changes, no identity drift. No other people share their face. Use they / their / them only. ATTACHED IMAGES ARE MANDATORY AND FINAL: If an avatar image is attached, that is the person — reproduce them exactly, in every single frame, and never invent a different face, hairline, hair colour, skin tone, body or age. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. @image1 is identity only — face, hair, skin — not the cafe, not the bookshelves, not a frozen smiling headshot, not the green waffle sweater as locked wardrobe. Photocopy the person from @image1 into a quiet bedroom being packed. Casual home clothes, not cafe knitwear. The worn cardigan in the box is a separate prop — an older, softer, lived-in knit, folded, not the green waffle sweater from @image1. ASSET MAP: @image1 — the character. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. PACING: This is a slow, unhurried scene. Let each action land and hold for a beat before the next begins — no rushed cuts, no compressed motion. Stillness is allowed and wanted. Tell the following story in exactly 3 shots, same character throughout, with genuine emotional stakes — a real, complete arc from avoidance to a conscious decision, not just a mood. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: In a room with several packed and sealed boxes already stacked against one wall — clearly done some time ago — one box sits alone and untouched in the middle of the floor, visibly older, dustier than the rest, as if it’s been walked past for months. The character finally sits down in front of it, takes a slow breath, and opens it. Inside is a single worn cardigan, folded neatly. They lift it out with both hands, and without thinking, bring it close and breathe in, eyes closing for a moment — an old, familiar smell still caught in the fabric. They hold it a while, just sitting with it. Then, deliberately, they stand, cross the room, and instead of folding it back into the box, drape the cardigan over the back of a chair by the window — a place it will be seen every day, not stored away. They step back and look at it there a moment before leaving the box behind, empty, on the floor. STYLE: Slow, quiet handheld realism, soft overcast daylight through a window, shallow depth of field, camera holding steady on small gestures rather than following fast movement. Vertical 9:16. Continuous real motion, no freeze-frame. Never freeze on the reference still. No on-screen text, no subtitles, no watermark, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): the quiet creak of a room, a slow exhale before opening the box, the soft rustle of fabric being lifted, a held breath, footsteps crossing the room, and quiet stillness as the scene settles. SHOT 1 (0-9s): Open already inside the moment — no static establishing beat. The character is seated in front of the one untouched, dustier box, other sealed boxes visible stacked behind them, already established as done long ago. They take a slow breath and open it. Let this breathe — no rush to the next beat. SHOT 2 (9-18s): The turn. They lift out a worn, folded cardigan with both hands, bring it close, and breathe it in, eyes closing briefly. They sit with it a while, not moving on immediately — this pause is the emotional core of the shot, not a transition to rush past. SHOT 3 (18-28s): The resolution. They rise, cross the room, and drape the cardigan over the back of a chair by the window instead of returning it to the box. They step back, looking at it there for a moment, the empty box left open on the floor behind them. A clear, complete, unhurried ending — not a fade-out, not a still.

16 seconds, 9:16. Photoreal winter cabin. Match the ORIGINAL FILM beats. Not a storyboard. MATEO LOCK: @image1 is Mateo — photocopy their face, hair, facial hair and features exactly as in @image1. Adult. IGNORE the clothes in @image1. Outfit: cream cable-knit sweater, dark pants, brown boots. Same person every shot. 0.0–3.0s Intimate close-up of Mateo resting indoors. Warm golden sunlight across HIS face through the window. Eyes open, peaceful. He MOVES slightly. 3.0–6.0s Wide: snowy wooden balcony, pine forest, mountains, sunrise. Empty railing first. 6.0–9.0s Mateo’s hand in the cream sweater sleeve, feeding small birds on the snow-covered railing. Natural bird motion. 9.0–12.0s Inside: his hands holding a steaming ceramic cup beside a bamboo-handle kettle, snowy window. Cream knit sleeves. 12.0–14.5s From behind: he walks a snow-covered wooden path, cream sweater, dark pants, brown boots. Cabins and pines. 14.5–16.0s Wide aerial-style of snow-covered cabins, pine forest, mountains, glowing sun. HOLD. AUDIO: winter wind, birds, kettle, footsteps. No speech. NEGATIVE: recast of @image1, extra people, overlay type, black long coat, Istanbul, NYC.

An interior room, held completely consistent for the whole shot — the same room, the same layout, the same furniture in the same places, shot from a locked-off camera. The camera is on a tripod and never pans, tilts, pushes or drifts, and nothing in the room is repositioned, added or removed. Only colour, finish and the graphic elements change. The room begins stripped of all colour: every surface — cabinetry, worktops, furniture, light fittings, floor, walls and every object in it — rendered in the same flat chalk white and pale grey, matte and unsaturated, as though the space has been built and furnished but never finished. A small rounded rectangular label sits in the upper left, soft translucent grey with white capital letters reading BEFORE. The motion runs as one continuous take: A flat circular colour wheel rises into frame above the centre of the room, spinning as it grows. It resolves at full size into a clean pie of solid colour segments drawn from the room's own finished palette, and holds in the upper half of the frame, still turning slowly. The wheel then contracts, shrinking back toward its centre while continuing to rotate, until it is a small disc. The disc breaks apart. Each segment releases as a separate soft-edged coloured dot, and the dots scatter outward across the room at different sizes and speeds, drifting through the air in front of the cabinets, across the furniture and past the light fittings, some crossing the frame, some slowing and hanging. The dots settle and fade out one by one as they touch the surfaces around them. In the same movement the label crossfades: the word BEFORE dissolves away and the word AFTER fades up in its place within the same grey pill. As the last dots disappear, the room's colour resolves — the flat colourless surfaces take on their finished tones and materials, the lighting warms, and the shot holds steady on the completed room. Clean photorealistic interior look, sharp focus throughout, straight verticals, no lens distortion. No people. No camera movement at any point. No text other than the words BEFORE and AFTER in the label.

4 steps150

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. No face changes, no identity drift. No other people. ATTACHED IMAGES ARE MANDATORY AND FINAL: If an avatar image is attached, that is the person — reproduce them exactly, in every single frame, and never invent a different face, hairline, hair colour, skin tone, body or age. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. @image1 is identity only — face, hair, skin — not any studio backdrop, not a frozen headshot, not any specific outfit as locked wardrobe; outfit, hair and accessories are exactly whatever the uploaded photo shows, only the scale changes. Photocopy the person from @image1, shrunk to a few centimetres tall, into the scene below. ASSET MAP: @image1 — the character. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same miniature character throughout, facing an oversized everyday environment as the world of the adventure. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: In a garden after rain, the character — a few centimetres tall — is already kneeling at the edge of a wide puddle, reaching out toward a bee floundering weakly on the surface, its wings soaked flat and useless, slowly losing its fight to stay afloat. They grip its body carefully with both hands and drag it up onto a dry leaf at the puddle’s edge, where it lies still, wings plastered down, barely moving. They kneel over it, cupping their hands around it to shield it and warm it, gently working the water from its wings and fanning them dry, watching closely as it stirs weakly again and again without lifting off. Finally the bee’s wings flutter, hold, and it lifts unsteadily into the air — but instead of flying off, it circles back low, hovers beneath the character, and lifts them briefly off the leaf, carrying them in a short low flight over the garden before setting them down gently on a nearby flower. The bee flies on; the character watches it go, quiet and steady. STYLE: Whimsical live-action macro realism, soft overcast light after rain, water droplets catching pale silver light, shallow depth of field, handheld camera that stays close and careful during the rescue, then lifts into a smooth low glide during the flight. Vertical 9:16. Continuous real motion. Never freeze on the reference still. No on-screen text, no subtitles, no watermark, no logos, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): birdsong and dripping water after rain, the bee’s weak, uneven buzzing, quiet focused breathing during the rescue, the bee’s buzz steadying and lifting into flight, wind during the short flight, and quiet, settled breathing as it sets them down. SHOT 1 (0-7s): Open already in motion — no static establishing beat. Handheld macro, low over the puddle’s edge. The character reaches out and drags the floundering bee from the water onto a dry leaf, its soaked wings visible and still. The puddle and surrounding raindrops read as unmistakably giant next to them — the scale contrast is clear without slowing the action down. Face readable, focused. SHOT 2 (7-14s): The care and the tension. The character cups their hands around the bee, carefully warming and fanning its wings dry as it stirs weakly again and again, not yet able to lift off. Their focus and patience are the twist here — no danger to themselves, all the stakes belong to the bee. Same person as @image1, miniature scale maintained throughout. SHOT 3 (14-21s): The resolution. The bee’s wings hold and it lifts into the air, circles back, and scoops the character up for a brief, low flight over the garden before setting them down gently on a flower. They watch it fly off, quiet and steady, a clear warm ending — not a fade-out, not a still.

22 seconds, 9:16. UGC hair tutorial. Static front-facing phone. Medium waist-up. HARD CUT. Bright influencer energy. Anna TALKS from frame 1. Bedroom: bed, pillows, small fan on the floor, crystal chandelier, softly blurred. ANNA LOCK: @image1 is Anna — photocopy their FACE, hair colour, length and features exactly as in @image1, adult. IGNORE whatever clothes and accessories are in @image1. She wears a short-sleeve CREAM t-shirt, blue sweatpants, simple necklace, pearl bracelets. Rosy makeup. Hair colour exactly as in @image1. Hair gel: a plain blue-and-red tube, no readable brand. 0.0–2.0s Holds the blue-and-red gel tube to camera, talks, looks down, squeezes onto fingers. Spoken: "I'm just gonna put you all onto this hair gel that I've been loving." HARD CUT. 2.0–6.0s Rubs hands, both hands on their hair, smoothing it straight back. Spoken: "This is not an ad, this is just a product I actually love. If you know me, I love a slick back hairstyle..." HARD CUT. 6.0–8.0s Back to camera, gathering a smooth mid-head ponytail. Spoken: "...and I do like them to last all day." HARD CUT. 8.0–19.0s Facing camera, holds ponytail, pink styling brush on flyaways, then black fine-tooth comb slicking top and sides. Spoken: "This is my mega-hold gel, and I love it because it's like a wet gel and then it dries super naturally and just really quickly. Doesn't leave any sticky residue, and it's just so, so, so good." HARD CUT. 19.0–22.0s Perfect slick ponytail. Holds the tube next to their face, points, nods, bright smile. Spoken: "So if you need a new gel product for your hair, I would 100% recommend this." HOLD. AUDIO: clear spoken English. No songs. NEGATIVE: hair-colour change, overlay type, extra people, clothing from @image1, Layla.

25 seconds, 9:16. Handheld street interview. NYC daylight, tall buildings, pedestrians, cars. Natural sway. HARD CUT. Relaxed TikTok pace. ELARA (interviewer): @image1 is Elara's FACE and hair, exactly as shown, adult. IGNORE the clothes in @image1. ELARA OUTFIT: @image2 clothes ONLY — every garment and accessory exactly as shown in @image2. IGNORE the backdrop in @image2. CATE (interviewee): @image3 is Cate — photocopy face, hair, outfit, bag, sunglasses and jewellery exactly as shown in @image3. Adult. Same woman every scene. They FACE EACH OTHER. Cate holds a small professional handheld MIC. Easy-going, not a vlog into the lens. 0.0–8.0s Medium two-shot. Elara asks, Cate answers, adjusts hair, holds the mic. Elara: "What's something you do everyday that makes you feel beautiful?" Cate: "I think makeup. I'm a makeup artist, so makeup for me is that." HARD CUT. 8.0–14.0s Elara gestures with her free hand. Elara: "What makeup brand are we loving? That's, like, the go-to right now." Cate: "Honestly, a local brand I discovered last year." HARD CUT. 14.0–25.0s Wider full-body of both, outfits readable. Elara: "It is everything. What are you wearing today?" Cate: "Thank you. Well, this top is my favourite." She touches her top. "These are my go-to." Touches her sunglasses. "And this bag goes everywhere with me." Lifts the bag. Elara, excited: "Nice giiirl." HOLD. AUDIO: street, two voices. No songs. NEGATIVE: studio backdrop, girls looking only at camera, Lana, overlay type, Cate's hair differing from @image3, Elara's outfit differing from @image2.

@image1 is an absolute character lock for the first dancer and @image2 is an absolute character lock for the second dancer: face, body, hair, costume, materials and tones are taken from them exactly, with no drift or reinterpretation at any point. @image3 is the storyboard and is followed exactly — the same order of moments, the same framing, the same poses, the same camera positions. High-contrast monochrome film look throughout: deep blacks, luminous whites, fine film grain, no colour at any point. One single continuous take from first frame to last, with no cuts, no transitions and no jumps. They dance a hypnotic Argentine tango in a classic close embrace — only two people, two bodies, two heads, four hands, four feet — their steps precise and continuous through a sequence of ochos. The embrace never breaks. Then the surface beneath them unravels into silk-like vapour ribbons and drifting smoke, and they carry a controlled giro through it without pausing. Then they fall through it without interrupting the dance, bodies still locked together, feet still drawing tango lines in midair. Then they land softly and open into a slow volcada, holding the same unbroken embrace and the same fluid rhythm. Head and neck motion stays small and natural throughout. Faces stay oriented toward each other inside the tango hold. No sudden head snaps, no 180-degree head spins, no whipping turns, no broken necks, no impossible rotations. The camera orbits them slowly from a high three-quarter angle, then descends with them in one smooth unbroken move. Camera motion is steady and fluid. No whip pans. No jump cuts. No abrupt orbit reversals. Identity lock for the entire clip: the same two dancers, the same faces, the same clothing, the same hair, the same tango hold, from first frame to last. Sound: a raw bandoneón tango, close footsteps on vapour and then on stone, wind shearing through the fall, distant city hush. Audio fades out as the screen goes black. Negative: no ghosts, no doubles, no extra people, no extra couple, no extra limbs, no extra heads, no extra arms, no transparent clones, no motion-ghost afterimages, no face morph, no sudden head spins, no whip turns, no broken anatomy, no colour, no cuts, no text until the final black frame.

2 steps06

ASSET MAP — the references are bound here and cited below: THE AVATAR — the attached avatar is the sole source of truth for the person: their face shape, eyes, brows, nose, lips, jawline, ears, hairline, hair length, texture and colour, their exact skin tone, their build and body proportions and their apparent age, all exactly as shown. Reproduce them exactly in every frame they appear in. @image1 — the pet food pack. This defines the product: its exact shape, size, material, finish, colours, printed artwork, typography and logo, all exactly as shown. Reproduce it exactly; never redesign it, never re-letter it, never substitute another pack. 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. Never invent a different face, hairline, hair colour, skin tone, body or age for the person, and never invent different packaging. THE CAT — one specific animal, identical in every frame: a dense plush semi-long coat, golden-brown classic tabby with dark striping down the back and flanks, heavy striping across the forehead, a broad white chest bib, white front paws, a long very fluffy tail. A round broad face with a short muzzle and a small pink-brown nose. Small rounded ears set wide apart. Long white whiskers. Large, round, wide-set amber-copper eyes. WORLD — one lived-in living room, photoreal: a plain pale fabric sofa against a plain wall, soft daylight from camera left. Nothing stylised, nothing cinematic-graded, nothing staged; shot as if on a phone. No phone, camera or tripod is visible anywhere in frame. THE PACK STAYS UPRIGHT — the pack@image1 is an opened 10 kg sack of dry kibble. It stands VERTICAL, base down, opening upward, in every frame: never tipped, never tilted, never rotated toward horizontal, never on its side, never above the person's head, never inverted. It stays roughly the height of the person's head and never grows, never comes toward the camera, and never passes in front of the person's face. If keeping the printed front square to the camera would require tilting the bag, do NOT keep the front square — upright always wins. Nothing spills out of it. THE RIGHT HAND PUSHES THE CAT, IT DOES NOT SIGNAL — from 0:14 onward the person's right hand is PHYSICALLY TOUCHING the cat. The heel and palm of their right hand rest flat against the cat's chest and shoulder, fingers pointing upward, and they push the cat gently but firmly back. Their palm faces the CAT; the camera sees the BACK of their hand, never the palm. From the camera's point of view the hand OVERLAPS the cat's body — the cat's chest is directly behind the hand, they are in contact, and there is no gap of empty air between them. This is a person fending off an animal that is leaning on them, not a gesture made to anyone. PROPS AND HANDS — the pack@image1 is held in the person's LEFT hand and their left hand only, for the entire 18 seconds; it never changes hands and the cat never holds it. Their RIGHT hand takes exactly one kibble from the pack in the second beat, and from 0:14 onward touches only the cat. GEOGRAPHY — the person sits at frame left, the cat is on the same sofa cushion at frame right. The pack is carried sideways toward the left edge of frame, away from the cat, never upward. Nobody swaps sides and nobody leaves frame at any point. CAMERA CONTRACT — handheld at chest height. One continuous medium two-shot from 0:00 to 0:06; three instantaneous snap zooms IN at 0:06, 0:07 and 0:08; one instantaneous snap zoom OUT at 0:10; then one continuous medium two-shot from 0:10 to the end. Every snap is an instant change of scale between fixed framings, each held rock steady. Never a smooth continuous zoom, never a crash dolly, never a whip pan, no other cuts anywhere. STARTING STATE at 0:00 — the person is settling back onto the sofa at frame left. The cat is already sitting upright on the same cushion at frame right, haunches down, front legs braced, calm and unbothered, looking off toward camera left. The person holds the pack@image1 upright in their left hand at chest height with its printed front turned square to the lens, unobstructed, in sharp focus and fully legible. 0:00-0:02 — the person settles into the cushion beside the cat and rests the pack@image1 on their knee, its printed front still square to the lens. The cat does not react; it stays calm, blinks once, looks away. Camera holds the medium two-shot, all three clearly readable. 0:02-0:04 — the person reaches into the pack@image1 with the two fingers of their right hand, takes out one single small dry kibble pellet, lifts it to their mouth and puts it in. Completely casual, unhurried, not looking at the pack, eyes on a television off-frame. The cat is still unbothered. 0:04-0:06 — the person chews the kibble, jaw working, an ordinary snacking motion, still staring off-frame, totally untroubled. On the first chew the cat turns its head sharply toward them and freezes. 0:06-0:07 — HARD SNAP ZOOM, step one: the frame jumps instantly from the medium two-shot to a chest-up shot of the cat. The cat's eyes are wide, pupils blown fully open, mouth fallen open, one white front paw lifted and frozen in mid-air at chest height. 0:07-0:08 — HARD SNAP ZOOM, step two: another instantaneous jump to a tight close-up of the cat's head and shoulders. The paw stays up and frozen. The expression holds, absolutely still. 0:08-0:10 — HARD SNAP ZOOM, step three: a final instantaneous jump to an extreme close-up of the cat's amber-copper eyes and open mouth, filling the frame. Hold dead still with the faintest handheld tremble. The expression never resolves, never softens, never blinks. 0:10-0:12 — HARD SNAP ZOOM OUT: the frame jumps instantly back to the medium two-shot, the person at frame left and the cat at frame right, both fully in frame with the pack@image1. The cat goes from frozen with one paw in the air to standing on all four paws on the cushion, and walks across the cushion toward the person. The pack@image1 is back on the person's knee in their left hand, upright. 0:12-0:14 — the cat rises onto its hind legs and plants both front paws flat on the person's left forearm, leaning its weight into them. The person leans their upper body away to frame left and lifts the pack@image1 off their knee to shoulder height, still perfectly vertical, base down, the same size in frame as before. 0:14-0:16 — the person holds the pack@image1 out to the left at shoulder height, near the left edge of frame, upright and unchanged in size, away from the cat. The cat leans and reaches across to frame left after it and swings one white front paw at the bag exactly three times, missing every time. At the same time the person brings their right hand onto the cat: their palm lands flat on the cat's chest and shoulder, in contact with the fur, and pushes the cat back. The hand overlaps the cat's body in frame, the back of the hand toward the camera. 0:16-0:18 — the standoff holds: the pack@image1 stays out to frame left at shoulder height, upright, base down, same size. The person's right palm stays pressed against the cat's chest, still touching, still pushing back. The cat stays up on its hind legs, straining forward against that hand, stretched toward the bag. Both are looking at the bag. The person's face is fully visible, mouth closed, brows raised, refusing. Nothing else moves. The camera holds this exact framing, dead steady, until the last frame. CONTINUITY — the person's face, hair and clothing are identical in every frame they appear in. The cat's coat, markings and eye colour are exactly as described above in every frame from 0:00 to 0:18, and identical across all four changes of framing — the same animal at a different distance, never a different cat. The pack@image1 keeps the same artwork and the same lettering every time it is on screen. Only one person and only one cat exist in this scene. Both the cat's shock and its begging are a real cat's: real feline anatomy, real fur, real pupils, real claws, real balance. Never a cartoon, never humanised eyebrows or hands, never a human mouth, never CGI, never a speaking animal, never walking upright like a person. NEGATIVE — no stop gesture to the camera, no palm facing the lens, no raised hand in empty air, no gap between the hand and the cat. No tilted bag, no tipped bag, no bag overhead, no bag on its side, no bag growing larger, no bag in front of the face, no spilled kibble. No phone, no smartphone, no camera, no tripod anywhere in frame, including the foreground and the bottom edge. The live cat in the room is NOT the cat printed on the pack@image1: never copy the printed kitten's coat, colour, markings, face or expression onto the real animal, and never let the printed artwork replace or blend with it. No on-screen text, no captions, no subtitles, no title cards, no watermark, no logo overlay, no second person, no other animals, no hands entering from off-frame, no slow motion, no fade in or out, no black frames, no split screen. AUDIO: diegetic sound recorded in a quiet room, plus orchestral stings on the snaps and one comedic sting at the end. 0:00-0:02, faint room tone and the soft rustle of the sofa cushion. 0:02-0:04, the dry papery rustle of a hand in the pack. 0:04-0:06, one loud, hard, dry CRUNCH as the kibble breaks between their teeth, close and unmistakable, then a second slower crunch. 0:06, 0:07 and 0:08, a short low orchestral sting on each of the three snap zooms — one deep brass hit each, decaying. 0:10-0:12, the soft thump of the cat's paws crossing the cushion. 0:12-0:14, fabric scuffing as the cat leans on their sleeve, and one short high begging chirp from the cat. 0:14-0:16, claws scratching dry against the foil of the bag on each of the three swipes, and a second short begging chirp. 0:16-0:18, quiet room tone, and over the final one and a half seconds a classic comedic SAD TROMBONE: a single muted trombone playing a slow descending wah-wah-waaah slide, four falling notes, ending flat and deflated exactly on the last frame. No music bed, no song, no other instruments, no dialogue, no words, no narration, no voiceover, no meowing beyond the two chirps, no purring, no laugh track.

2 steps

30 seconds, 9:16. Cute 3D animation. Static camera per scene. HARD CUT. Lip-sync English. Photocopy the characters from the stills. Do not invent new gadget designs. @image1 = the angry old phone vs the smug smartphone, exactly as drawn in @image1, in the setting shown there. @image2 = the angry old PC vs the smug laptop, exactly as drawn in @image2. @image3 = the angry floppy vs the smug USB stick, exactly as drawn in @image3. @image4 = the angry filament bulb vs the smug LED bulb, exactly as drawn in @image4. 0.0–7.0s @image1. Old phone angry: "I survive wars, you panic at 5% battery." Smartphone smug: "Yeah, but people love touching me, not bricks." Cartoon kick. HARD CUT. 7.0–15.0s @image2. Old PC angry: "I built empires of code before you even had a battery." Laptop smug: "And I run circles around you without needing half the desk." Fist slam, steam puffs. HARD CUT. 15.0–23.0s @image3. Floppy angry: "I stored legends when you did not exist." USB smug: "And needed 10 copies for one song. Move aside, fossil." USB points. Floppy shocked. HARD CUT. 23.0–30.0s @image4. Filament bulb angry: "I sparked the modern world while you sip electricity like a minimalist intern." LED smug: "And I outlast you by decades while you burn out chasing nostalgia." Filament bulb sparks and dims. HOLD. AUDIO: two cartoon voices per scene. No songs. NEGATIVE: overlay type, extra gadgets, humans, recast characters that don't match the stills.

20 seconds, 9:16. TikTok UGC. Static front-facing smartphone. HARD CUT every 5s. Bright indoor, softly blurred WHITE SOFA behind her. LANA LOCK: @image1 is Lana — photocopy her FACE and hair exactly as shown, adult. IGNORE the clothes in @image1. DRESS: @image2 is the dress (and any shoes shown with it). Photocopy that garment on Lana. IGNORE any model's face in @image2. Same cut, straps, neckline, colour and fabric as shown in @image2. Hair exactly as in @image1, worn loose for UGC. SERUM: @image3 is the bottle — photocopy it exactly as shown — same bottle shape, glass colour, cap, label and liquid, never changing. Hold THIS bottle, not a generic vial. She LIP-SYNCS English. 0.0–5.0s Holds the serum CLOSE to the lens, then pulls back to show her face. Spoken: "Starting with this serum." HARD CUT. 5.0–10.0s Tilts her head, applies a little of the serum from the @image3 bottle to her cheek. Spoken: "It's made with ingredients my skin loves..." HARD CUT. 10.0–15.0s Both hands massage the serum into her skin. Spoken: "...so it helps calm your skin, even out your tone..." HARD CUT. 15.0–20.0s Bright smile, dewy skin. Spoken: "...and add that healthy glow without feeling sticky." HOLD. AUDIO: clear spoken English, room. No songs. NEGATIVE: clothes from @image1, bun-only if it fights the dress look, extra people, overlay type, a bottle that differs from @image3, slow-mo.

15 seconds, 1:1. MiniMax H3. Cinematic live-action fused with precise black-and-white manga. Cate is ONE woman in two states. @image1 = SCENE_TRAPPED: giant open manga on the floor of the room shown in @image1. Ink Cate trapped in the page. @image2 = SCENE_BREAKTHROUGH: ink Cate tearing through paper, fingers punching out. @image3 = SCENE_EMERGENCE: REAL Cate, exactly as shown in @image3, stepping out of the torn page. @image4 = SCENE_ENCOUNTER: REAL Cate pointing at her ink self still in the book. CATE LOCK: photocopy the REAL person in @image3/@image4 — face, hair, age and outfit exactly as shown. The manga figure in @image1/@image2 is the SAME person, same outfit, ink-only. 0.0–1.0s Low wide of the giant book (@image1). Fast push-in. Ink Cate confused, looking around. 1.0–3.3s Hard cuts: face, hands searching the paper wall, profile pushing. Whisper: "Where is this? I can't get out." 3.3–4.6s Low three-quarter. Feet brace, fingers bite paper. "Open up!" Speed lines. 4.6–6.8s Paper bulges into the room. Hands, face, torso, legs convert from ink to REAL Cate (@image3) in order. Halftone becomes color. One woman only. 6.8–8.4s She lands on the floor, steadies. "I got out…?" 8.4–10.3s Smile dies. She looks back at the book. Whip pan. 10.3–11.2s @image4: REAL Cate and ink Cate point at each other. Hit-stop. Record scratch. 11.2–12.8s Smash zoom on ink Cate: "No way… you actually came out!?" 12.8–15.0s Smash zoom on REAL Cate: "Who… are you?" Brief !? graphic. Hold. Do NOT copy speech-bubble lettering from the stills except a brief ink バリッ and a final !?. No extra logos. NEGATIVE: third woman, extra people, overlay subtitles, 9:16 crop, recast hair, walking away from the book.

10 seconds, 9:16. ONE continuous LOW tracking shot. Golden hour. Photoreal. ELARA LOCK: @image1 is Elara — photocopy their FACE, hair and features exactly as in @image1. Adult. IGNORE whatever clothes are in @image1. Elara is a GIANT lying on their SIDE on a grassy hill, filling the frame like a landscape. Pose from the original film: left elbow on the grass, left hand near their cheek, looking toward camera. Right hand on a long wooden staff. Black-and-white POLKA-DOT halter crop, black choker, long black robe draped over hips and legs. NOT on their back. NOT overhead. ERIC LOCK: @image2 is Eric — photocopy their FACE. Adult. IGNORE whatever clothes are in @image2. TINY skateboarder: dark gray t-shirt, beige trousers, black sneakers, olive bag. CAMERA: extremely LOW, almost on Elara's skin. Opens on a huge thigh filling the bottom of the frame. Tracks FORWARD and slightly UP with the skater. Strong foreground motion blur. Never a bird’s-eye top-down. ERIC SKATE (real skills, curved lines, not a straight crawl): 0.0–3.0s Starts on Elara's sunlit THIGH. Carves an S-turn, knees bent, arms out, pumping the board. 3.0–6.0s Rides up onto the black ROBE at Elara's hip. Kick-turn, then a small ollie over a fabric fold, lands rolling. 6.0–8.5s Carves across the polka-dot crop toward Elara's collarbone. Weight shifts, board tilts on the curves of Elara's body. 8.5–10.0s Ends tiny on Elara's collarbone, near their face. Elara still holds the cheek pose. HOLD. AUDIO: urethane wheels, wind, grass. No speech. NEGATIVE: bird’s-eye, Elara on their back, straight-line walk without carving, extra people, overlay type, recast of @image1 or @image2.

Asset referencing: @image1 is the first frame of this video: a clean arched mirror in a wooden frame against a pale wall, a printed photo tucked into its lower right corner, one hand holding a cupcake with a lit candle, and a second hand touching the tip of a berry-red lipstick to the clean glass. @image2 is the last frame of this video: the same mirror with the words "Happy Birthday" written across it in lipstick, the same printed photo in the corner, and the same hand holding the cupcake with its lit candle. Together they define the mirror, the wall, the photo, the hands, the light and the framing. ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached frames outrank every word written below them. Wherever the images and this text disagree, follow the images. THE PHOTO tucked into the frame is exactly the photo in @image2, stays in the same corner and never changes. THE GREETING — this is the whole point of the film: the lipstick writes "Happy Birthday" on the glass by hand, letter by letter, in thick waxy berry-red strokes, "Happy" on the first line and then "Birthday" on the second, each letter appearing only where the tip of the lipstick has just passed. When the last letter is finished, the writing hand lifts away and leaves the frame, and the words stay on the glass exactly as in @image2, above the steady candle flame. Summary: a warm birthday greeting in one unbroken take in which a hand writes "Happy Birthday" in lipstick on a mirror while another hand holds up a cupcake with a lit candle beside the visitor's printed photo. Timeline: 0–1s — The framing of @image1: clean glass, the lipstick tip touching it, the candle flame steady. 1–4s — The lipstick writes "Happy" across the upper part of the glass, stroke by stroke. 4–7.5s — The lipstick writes "Birthday" on the line below, stroke by stroke. 7.5–10s — The writing hand lifts away and leaves the frame; the finished words, the candle flame and the printed photo hold still as in @image2, the flame flickering softly. Notes: the letters appear only under the moving lipstick tip and never appear anywhere by themselves; once written, a letter never moves, fades or changes. The only words ever on the glass are "Happy Birthday". The hand with the cupcake stays in the same place for the whole film and the candle stays lit and upright. The mirror shows only the blank wall, never a person, a camera or a phone. The camera is handheld and nearly still, and the film runs as one unbroken take with no cuts. No subtitles. No BGM; generate only environmental sounds and action sounds: a close intimate mix — the soft waxy squeak of lipstick dragging across glass with every stroke, a tiny tap as the tip lifts between letters, the faint whisper of the candle flame, and a quiet room tone, to the last frame.

3 steps291.5K

GIANT SCALE — Skate Up the Giant @image1 is a giant person reclining on a grassy hilltop at golden hour; @image2 is a tiny skater who rides a skateboard up @image1's giant body as the camera travels up to end on the giant's face. Surreal, dreamy scale-VFX. Plug in ANY two avatars.

PRODUCT LOCK — HIGHEST PRIORITY: The product in every shot it appears is exactly as shown in @image1, unchanged and not regenerated — same shape, colour, materials, label and logo text every time it appears. No redesign, no restyling, no substituting a similar-looking item. Never add any lettering or logo that is not already visible on the reference photo. ASSET MAP: @image1 — the product, exactly as shown, unchanged and not regenerated. SINGLE SUBJECT — HIGHEST PRIORITY: Only one person’s hands appear in this entire video, the same pair throughout, doing every action. No other people, no other hands, no second set of arms ever enter the frame. Camera stays at counter/hand height for all three shots — the person’s face is never required and should not be framed; keep the composition on hands, bowl, ingredients and the product only. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot. Tell the following story in exactly 3 shots with a clear visual beginning, twist and ending. The product from @image1 is the twist/resolution — it naturally solves the problem set up in shot 1. STORY: Hands scoop a heaping, uneven spoonful of flour into a mixing bowl by eye, tipping it in loosely — beside the bowl, a first batch of oddly flat, unevenly spread cookies sits cooling on a tray, clearly a failed attempt. The same hands push the tray aside, place a clean bowl onto the product from @image1, and reset it to zero. This time flour is added slowly and carefully, a thin steady stream, until it settles at the exact amount needed. The hands fold the dough, portion it into neat, evenly sized rounds on a tray, and slide it into the oven. Moments later the same hands pull out a new tray — golden, uniform, evenly risen cookies — and carefully pack them into a tin, closing the lid. STYLE: Warm, lived-in kitchen realism, soft natural daylight, shallow depth of field, handheld camera held consistently at counter height throughout, close and steady on hands and surfaces. Vertical 9:16. Continuous real motion, no freeze-frame. No on-screen text, no subtitles, no watermark, no logo beyond what the product itself shows, no title card. Never show a checkerboard, transparency grid or empty studio sweep — @image1 lives on a kitchen counter. AUDIO (native, synced, no BGM, no voiceover, no narration): the soft scrape of a spoon in flour, a quiet exhale at the failed batch, the gentle rustle of the product being set down, flour pouring in a light steady stream, dough being shaped, an oven timer, and the soft click of a tin lid closing. SHOT 1 (0-6s): Open already in motion — no static establishing beat. Close on hands scooping a heaping, uneven spoonful of flour into a bowl. A tray of flat, unevenly baked cookies sits visible beside the bowl, already established as a failed first attempt. Camera stays at counter height, hands and tray in clear focus, no face in frame. SHOT 2 (6-12s): The product is introduced exactly as shown in @image1. The same hands place a clean bowl on it, zero it, and pour flour in slowly and precisely, watching it settle at the exact amount. Camera holds steady on the product and hands throughout. SHOT 3 (12-18s): The resolution. The same hands shape the dough into neat, even rounds, then pull a finished tray of golden, uniform cookies from the oven and pack them carefully into a tin, closing the lid. A clear, satisfying, settled ending — not a fade-out, not a still.

PRODUCT LOCK — HIGHEST PRIORITY: The product in every shot it appears is exactly as shown in @image1, unchanged and not regenerated — same shape, colour, materials, label and logo text every time it appears. No redesign, no restyling, no substituting a similar-looking item. Never add any lettering or logo that is not already visible on the reference photo. ASSET MAP: @image1 — the product, exactly as shown, unchanged and not regenerated. The product is the dog toy shown in @image1, exactly as photographed. No treat bowl in any shot. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots with a clear visual beginning, twist and ending. The product from @image1 is the twist/resolution — it naturally solves the problem set up in shot 1. STORY: A dog paces by the front door, already unsettled, as their owner ties their shoes and picks up their keys — the dog’s ears pin back, they whine softly and press against the owner’s leg, sensing the goodbye coming. The owner kneels down, takes the product from @image1 from a nearby shelf, and tucks it into the dog’s bed, pressing it in close where the dog can reach it. As the owner opens the door to leave, the dog turns back toward the bed instead of the door, sniffs at the product, and settles down, curling around it. The door closes gently, and the dog exhales and rests calmly, at ease in the quiet room. STYLE: Warm, intimate handheld realism, soft natural window light, shallow depth of field, lived-in home setting. Camera stays low and close, no sweeping moves. Vertical 9:16. Continuous real motion, no freeze-frame. No on-screen text, no subtitles, no watermark, no logo beyond what the product itself shows, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): soft footsteps and the jingle of keys, a quiet anxious whine, gentle reassuring murmurs from the owner, the soft door latch, and calm settled breathing from the dog as the room quiets. SHOT 1 (0.0-7.0s): Open already in motion — no static establishing beat. Handheld, low angle near the door. The dog paces and presses against the owner’s leg as the owner ties their shoes and picks up their keys, ears back, clearly anxious. Owner’s hands and the dog’s body language both readable and in focus. SHOT 2 (7.0-14.0s): The product is introduced exactly as shown in @image1 — exactly the toy in @image1. The owner kneels, takes it from a nearby shelf, and tucks it into the dog’s bed, pressing it in close. Camera holds steady on the product as the dog notices it and moves toward the bed instead of the door. SHOT 3 (14.0-20.0s): The resolution. The owner opens the door and steps out; the dog, now settled with the product, curls around it and exhales, at ease. The door closes gently on a calm, quiet room. A clear, warm, settled ending — not a fade-out, not a still.

30 seconds, 9:16. BRIGHT GRWM. TikTok influencer energy — upbeat, chatty, looking at the lens. Static front-facing phone. Medium close-up. HARD CUT. LIGHTING like a well-lit bathroom/bedroom selfie: bright, even, flattering, not dim, not moody. LAYLA LOCK: @image1 is Layla — photocopy their FACE, hair and features exactly as in @image1, adult. IGNORE any clothing in @image1. WHITE HALTER, gold bracelet RIGHT wrist, LONG RED NAILS. Layla TALKS from frame 1 and TALKS at the end. Lip-sync. NO on-screen text. NO overlay. 0.0–3.5s She is ALREADY TALKING while holding her hair back with both hands, smiling at the camera, influencer energy. Spoken: "Let's run through my glass skincare routine. Step by step, I'm going to break it all down." Drops her hands. HARD CUT. 3.5–10.0s WHITE PUMP vitamin C serum. Pumps, rubs, pats cheeks. Still talking. Spoken: "This is my vitamin C serum. It is the main product that I credit my dark spots clearing up to. Just that alone is stunning." HARD CUT. 10.0–23.0s GREY glazing-milk bottle. Pours, rubs, massages face and forehead. Chatty. Spoken: "I know this may be controversial, but this glazing milk has never once broken me out. I am extremely acne-prone, and this has healed my skin barrier more than any other product. And just nothing will ever beat this glow." HARD CUT. 23.0–30.0s Hair down. She holds hair back, still TALKING, shows glow, drops hands, palms-up, then a small WAVE while she says bye. Spoken: "And there you have it. Bye." HOLD. AUDIO: bright spoken English, influencer cadence. No songs. NEGATIVE: overlay type, silent opening, silent ending, dim lighting, clothing from @image1, extra people.

@image1 is the first frame and @image2 is the last frame. The product's identity comes entirely from @image2 — its shape, colour, material, finish and every marking on it are taken from there and are never invented, substituted or restyled. The product, its position, the tabletop, the reflection and the framing are identical in both frames and do not change at any point. One continuous locked-off take. The product is revealed by light arriving on it. The product holds as a dark silhouette while a soft key light begins to come up from the front, catching only its nearest edge. The key keeps rising and the product's form separates out of the shadow — curvature, edges and depth become readable while the surface is still dark. The light climbs across the face of the product and the true colour, material and finish of @image2 emerge out of the dark. The key reaches full and the product stands exactly as it appears in @image2, completely lit, colour true and every marking clearly readable, the tabletop reflection matching it below. The backdrop stays dark and even throughout and does not brighten, bloom or form a glow behind the product. The product keeps its position and orientation, the camera holds its frame, and the light rises continuously and evenly from first frame to last. No cut, no zoom, no push, no orbit.

3 steps340

30 seconds, 9:16. Handheld STREET INTERVIEW. Natural, easy-going, slightly messy. Daylight cobblestone, blurred pedestrians. Eye-level. HARD CUT between groups. LANA LOCK: @image1 is Lana — photocopy her FACE. IGNORE the clothes in @image1. OUTFIT: @image2 clothes ONLY — every garment, colour, fabric and accessory exactly as shown in @image2, never changing. IGNORE the studio backdrop. She wears this on the STREET. Lana is IN EVERY SHOT. She holds a BLACK handheld INTERVIEW MICROPHONE. She FACES the girls. The girls look at LANA, not the camera. Two-shots and over-the-shoulder. Never a talking-head into the lens. 0.0–3.0s Lana mic toward a young blonde in denim jacket, white pants, sunglasses on her head. They face each other. Lana: "Can you rate your hair out of ten?" Woman looking at Lana: "Rate my hair? Yeah. Seven." HARD CUT. 3.0–6.0s Lana with mic, two women: brown leather trench + orange pants, beige coat + grey hoodie. They look at Lana. Beige to Lana: "I'm gonna give it a solid six." Brown to Lana: "Like a seven." HARD CUT. 6.0–14.0s Lana with mic. Olive quilted jacket + cap (gestures), beige coat + green scarf. They look at Lana. Olive to Lana: "I'm going to say an eight. Just because it's very low maintenance. I don't really have to do anything to it." Beige to Lana: "For me, it's six." HARD CUT. 14.0–22.0s Lana with mic, blonde curly hair, beige trench, white top, light blue jeans. Woman looks at Lana, smiles, shrugs. Woman to Lana: "I love my hair, but having, like, naturally curly hair, like, sometimes it's just like a wreck. So I feel like I can't give it higher than a six. I'm always dealing with it." HARD CUT. 22.0–30.0s Wider two-shot. Lana still holding the mic, hands a plain WHITE tube of curl cream. Woman smiles and takes it. Lana: "We'd love to give you this curl defining cream, which will really help you maintain your hair and really nourish it. So here you go." Woman: "Thank you." HOLD. AUDIO: street, two voices, mic presence. No songs. NEGATIVE: girls looking into camera, Lana missing from a shot, no microphone, studio backdrop, overlay type, talking-head vlog.

@image1 is an absolute lock for the pieces: it holds two opposing sets, banded upper and lower, and the same pieces, the same number of them, the same colour, finish, thickness, proportion and detailing are taken from it. Nothing is added, removed, restyled or substituted in any shot, and nothing from one set is blended into the other. @image2 is the board: its wood tones, square size and strict alternation are taken from it. Follow @image3 exactly — same beat order, same framing, same hand entries, same piece positions. Look: live-action product film, photographed not rendered. Soft even overhead daylight with no hotspot. Real material behaviour — specular highlights sliding along each curve as it moves, crisp contact shadows sitting directly beneath every piece and travelling with it. Real skin texture, real wood grain. Restrained natural colour, shallow contrast, no grade push. The camera is locked directly overhead, square-on to the board, and holds that exact position and height throughout — it never pans, tilts, pushes, rises or rotates. All movement in frame comes from the hands and the pieces. This is a real game in progress, not product arranged on a checked surface. Every piece stands centred on its own square, one piece per square, never straddling a line and never between squares. The first side's pieces are gathered toward the lower part of the frame and the opposing side's toward the upper part, the two fronts meeting across the middle, about eight to twelve pieces on the board at once with a denser knot near the middle and a few still held back at each side's own end. A short row of already-taken pieces sits just off the board at the right edge of frame and grows as the game goes on. Each move is a single legal-shaped move — straight along a rank, straight along a file, or along a clean diagonal — travelling a whole number of squares and landing centred. Between moves NOTHING on the board shifts except the one piece being played; every other piece holds exactly the square it was on, and the position only ever changes by the move just made. A woman's hands work the board — short neat natural nails, two slim gold rings and a fine gold chain bracelet, the same hands from the first shot to the last. They enter only from the frame edges and withdraw out of frame between moves; they are never shown whole and no face, arm or body ever enters frame. A hand reaches in from the lower edge and advances a first-side piece one square straight forward along its file, landing it centred, then withdraws. A hand reaches in from the upper edge and advances an opposing-side piece two squares straight down its file toward the middle, then withdraws. A hand slides a first-side piece along a clean diagonal, three squares, stopping centred on a square beside an opposing piece, then lifts away. A hand lifts that threatened opposing-side piece straight up off its square and carries it to the row of taken pieces at the right edge of frame, setting it at the end of the row, then withdraws. A hand slides the capturing first-side piece sideways into the square just vacated, fingertips resting a moment where it lands, then withdraws. The last hand draws back out of frame, leaving the position mid-game, the taken row one piece longer than it was at the start. Each beat carries one entry, one move and one withdrawal, and they are spread evenly across the film — none rushed, none held longer than the rest. Audio: soft instrumental music only, low and unhurried, with the faint tap of metal meeting wood as each piece lands. No voiceover, no dialogue, no narration. Do not generate: text, captions, subtitles, on-screen words, logos, watermarks, brand names, price tags, packaging, substituted or restyled product, extra pieces that are not in the reference, sets blended together, pieces between squares, pieces on square lines, two pieces on one square, pieces sliding to random positions, the position rearranging itself between moves, hands held still enough to freeze, faces, bodies, moving camera, tilted or perspective angles, illustration, 3D render, cartoon, cel shading, outlines, flat banded shadows, floating pieces, detached shadows.

4 steps320

17 seconds, 9:16. Intimate GRWM. Dimly lit room, neutral background. ONE hard cut. Front-facing. ELARA LOCK: @image1 is Elara — photocopy her face, hair, eyes, top, jeans and earrings exactly as in @image1. Adult. Same woman both scenes. IGNORE any logo in the corner of @image1. COMPACT: @image2 is the blush — photocopy this compact exactly as in @image2 — case, lid, band and the shade inside. Hold THIS compact, not a generic one. She LIP-SYNCS English. 0.0–11.0s CLOSE-UP. She taps the blush from @image2, in its own shade, onto her cheekbone with a brush, smooths it softly, turns her head to show the glow, then POINTS at her cheek. Spoken: "More people need to be talking about this blush. Look at how pretty it is. It blends so well, but do you see this sheen? It's like a glass finish blush." HARD CUT. 11.0–17.0s She holds up the compact from @image2 and gestures to it. Spoken: "It's so buildable and it comes in several beautiful shades." HOLD. AUDIO: clear spoken English, quiet room. No songs. NEGATIVE: overlay type, extra people, hair recast away from @image1, generic compact, outfit different from @image1, watermark on her face.

20 seconds, 9:16. Macro beauty. Soft sparkly bokeh. HARD CUT between the two scenes. Photoreal 3D character. CHARACTER LOCK: @image1 is the cute 3D tub mascot — photocopy this exact character: lid, jar, label face, colours, limbs and shoes exactly as shown. Same character both scenes. Adult-safe cute. It LIP-SYNCS the English lines. 0.0–10.0s HAIR HACK. Static macro. The character stands on a coiled thick strand of brown hair. It holds a wooden spoon with white cream and golden oil. It smiles and WINKS at camera. Spoken, lip-synced: "If you mix this jelly with olive oil in equal amounts, then take a small amount and apply it to the ends of your hair, you won't need to buy expensive hair products." HARD CUT. 10.0–20.0s PERFUME HACK. Static macro. The character stands on a human wrist wearing a delicate gold bracelet. One hand holds a wooden spoon of clear gel, the other a miniature glass perfume bottle. Gentle smile. Spoken, lip-synced: "If you layer this jelly with your perfume and apply it to your skin, it helps lock in moisture and makes the scent last much longer." HOLD. AUDIO: clear spoken English, soft beauty ambience. No songs. No extra people talking. NEGATIVE: overlay type, extra mascots, walking off, different jar, silent mouth.

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. No face changes, no identity drift. No other people share their face. ATTACHED IMAGES ARE MANDATORY AND FINAL: If an avatar image is attached, that is the person — reproduce them exactly, in every single frame, and never invent a different face, hairline, hair colour, skin tone, body or age. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the character. SINGLE SUBJECT — HIGHEST PRIORITY: Only this one person is ever clearly in frame. Other travelers and staff may appear only as distant, out-of-focus background movement — never a second face in focus, never another named or featured person. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same character throughout, ending in a real, unresolved loss — no rescue, no alternate solution, no last-second save. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character is already sprinting through the airport terminal, bag over one shoulder, boarding pass gripped in hand, weaving around other travelers, breathing hard, eyes locked on the gate ahead. They round the last corner just as the gate agent’s desk stands empty and the jet bridge door mechanism begins sliding shut, sealing with a heavy final clunk right as they reach it. They stop dead, hand landing flat on the closed door, chest heaving — no one to argue with, no line to join, nothing left to do. Through the terminal window beside the gate, the plane is already pulling back from the jet bridge outside. They lower their hand from the door, straighten up, and simply stand there watching it go, breath slowing, the boarding pass still in their other hand — no phone call, no new plan shown, just the moment landing fully. STYLE: Tense handheld realism building to stillness, bright terminal lighting, shallow depth of field, camera moving urgently with the sprint then settling into a static, held frame for the final stillness at the window. Vertical 9:16. Continuous real motion, no freeze-frame. No on-screen text, no subtitles, no watermark, no title card, departure boards and signage present but always soft and unreadable in the background. AUDIO (native, synced, no BGM, no voiceover, no narration): hurried footsteps and breathing, ambient terminal noise and distant announcements, the heavy mechanical clunk of the jet bridge door sealing, a sudden drop into quieter ambience, the character’s breath slowing, faint distant engine sound of the plane pulling away outside the glass. SHOT 1 (0-7s): Open already mid-sprint — no static establishing beat. Character running through the terminal, weaving past blurred background travelers, bag and boarding pass in hand, urgency visible on their face. SHOT 2 (7-13s): They round the corner to the gate just as the jet bridge door slides shut and seals with a final clunk right as they arrive. They stop hard, hand flat on the door, chest heaving — the door will not reopen. SHOT 3 (13-20s): They lower their hand, straighten, and stand still at the window watching the plane pull away outside, breath slowing, boarding pass still in hand. A clear, honest ending in the loss itself — not a fade-out, not a fix.

Asset referencing: @image1 is the first frame of this video: a closed matte-black gift box with "Happy Birthday" in silver script on its front, its lid on top, two hands resting on the lid, in a bright living room between two tall columns of black and silver balloons. @image2 is the last frame of this video: the same box open, its lid lying on the floor beside it, a cloud of black and silver balloons risen out of it, and in the middle one big clear balloon with THE PHOTO printed on it. Together they define the box, the lettering, the balloons, the photo balloon, the room, the light and the framing. ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached frames outrank every word written below them. Wherever the images and this text disagree, follow the images. THE PHOTO printed on the clear balloon is exactly the photo in @image2 and never changes. THE SURPRISE — this is the whole point of the film: the hands lift the lid straight up off the box and set it down on the floor to the right of the box, and the moment the box is open a cloud of glossy black and chrome-silver helium balloons floats up out of it, their silver ribbons unrolling from inside the box. The big clear balloon with THE PHOTO printed on its front rises last, from the middle of the cloud, turns gently to face the camera and settles right above the box as in @image2, bobbing softly on its ribbon. Summary: a birthday surprise in one unbroken take in which hands lift the lid of a black "Happy Birthday" box, a cloud of black and silver balloons floats up out of it, and a big clear balloon printed with the visitor's photo rises into the middle. Timeline: 0–2s — The framing of @image1. The hands grip the lid and lift it straight up off the closed box. 2–3.5s — The hands set the lid down on the floor to the right of the box and leave the frame; the first balloons push up out of the open box. 3.5–7s — The cloud of black and silver balloons floats up out of the box, ribbons trailing, and the big clear photo balloon rises from the middle of the cloud. 7–10s — The photo balloon turns to face the camera and settles above the box as in @image2, bobbing gently, THE PHOTO clear and sharp. Notes: the box stays in the same place on the floor for the whole film and its "Happy Birthday" lettering never changes. The balloons come only out of the box and rise slowly and softly upward; none of them pops. THE PHOTO is a flat print on the balloon's surface and never becomes a person inside the balloon. The two tall balloon columns at the sides stay still on their weights. The camera stays at chest height and eases gently to the framing of @image2, and the film runs as one unbroken take with no cuts. No subtitles. No BGM; generate only environmental sounds and action sounds: the soft scrape of the cardboard lid lifting off, a light tap as it is set on the tiled floor, the rubbery squeak and soft bump of balloons brushing past each other as they float up, the whisper of unrolling ribbons, and a quiet bright room tone, to the last frame.

3 steps281.5K

15 seconds, 9:16. Photoreal. Match the ORIGINAL FILM grammar. Lana is PLANTED — she does not walk. ONE shot. Slow push-in from full-body to close-up. No hard cuts. LANA LOCK: @image1 is Lana — photocopy her face and hair colour exactly as shown, hair in a bun; dressed in an ivory silk shirt, camel trousers, gold chain, nude pumps. Adult. KEEP this outfit. Same woman every frame. No turtleneck. No pleated skirt. SETTING: modern glass-and-wood CORPORATE OFFICE corridor. Desks, glass rooms, warm daylight. NOT a school. No lockers. No ninjas. No weapons. EXTRAS: colleagues in BLACK SUITS, approaching with papers, folders, pens, coffee cups. 0.0–2.0s LOCKED full-body. Lana STANDS center, facing camera, arms at her sides, calm. Black-suited colleagues rush AT her at NORMAL SPEED with papers. 2.0–4.0s She raises her RIGHT HAND, OPEN PALM toward camera — the same stop-gesture as the source. Still planted. Still calm. 4.0–9.0s SLOW MOTION. Papers, pens, folders, coffee cups FLY around her. Colleagues STEP BACK, thrown off balance. Her hair lifts and drifts as if in wind. Camera SLOWLY PUSHES IN. Palm still toward camera. 9.0–11.5s Tighter. She switches to a raised INDEX FINGER (same as the source). Hair still in slow-mo wind. Debris still floating. Extras receding. 11.5–15.0s CLOSE-UP of her face. Chaos falls out of frame. She lifts her LEFT HAND to her left ear / hair, calm, like the source ending. HOLD. AUDIO: office, whoosh on the palm, paper flutter. No speech. NEGATIVE: walking, school, ninjas, batons, turtleneck, hair recast, overlay type, extra celebrity faces, tracking-back walk.

@image1 (construction shell) is the opening state and @image2 (finished interior) is the closing state of one room. Every surface, object and architectural detail is taken from them without reinterpretation or drift, and the camera viewpoint, height and lens match across both. The camera pushes slowly and steadily straight forward at a constant speed, eye-level, easing into a slight downward tilt as it advances so the ceiling fills more of the upper frame. Across that one continuous move the room finishes itself around the camera: the sand mound, cement sacks, buckets, cable coil and rubble clear from the floor, the bare slab resolving into a woven jute rug; the raw concrete walls take on cream limewash plaster; the rectangular voids overhead close into the warm timber slatted ceiling with its recessed downlights; the opening in the far wall glazes over onto dense green planting and bright sky; and the low linen sofa, wooden coffee table, floor lamp, blank cream canvas and potted palms settle into place. The change is physical and continuous, built out of the room itself rather than cross-faded between two pictures, and it completes before the move ends. No on-screen text, captions or titles of any kind. Audio: quiet interior room tone only. No voices, no narration, no music.

3 steps1480

PRODUCT LOCK — HIGHEST PRIORITY: The product in every shot it appears is exactly as shown in @image1, unchanged and not regenerated — same shape, colour, materials, label and logo text every time it appears. No redesign, no restyling, no substituting a similar-looking item. Never add any lettering or logo that is not already visible on the reference photo. ASSET MAP: @image1 — the product, exactly as shown, unchanged and not regenerated. SINGLE SUBJECT — HIGHEST PRIORITY: Only one person’s hands appear in this entire video, the same pair throughout, doing every action. No other people, no other hands, no second set of arms ever enter the frame. Camera stays at chest/hand height for all three shots — the person’s face is never required and should not be framed; keep the composition on hands, boxes, the wall and the product only. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot. CONTINUITY: There are exactly two boxes in this scene, established together in shot 1 and never confused: Box A is a plain, unlabeled moving box being taped shut. Box B sits open beside it the entire time, already marked “KEEP” in thick marker on its side from the very first shot — it is never sealed until the final shot, and no other box is introduced later. Tell the following story in exactly 3 shots with a clear visual beginning, twist and ending. The product from @image1 is the twist/resolution — it naturally solves the problem set up in shot 1. STORY: Hands press tape across the top of Box A, a plain moving box, sealing it shut in an otherwise empty, echoing room. Beside it, Box B sits open, already marked “KEEP” on its side, waiting half-empty. Setting Box A aside, the hands pause — on the bare wall behind, the product from @image1 still hangs where it always has, its years of pencil marks and dates faded but visible on it, easy to have overlooked among the packing. The hands reach up and lift it down before it gets left behind. They roll it up carefully from the bottom and tie it closed. They lower it into Box B — the “KEEP” box, still open and waiting exactly as it was — and fold the flaps shut over it. STYLE: Warm, lived-in realism, soft daylight through a bare window, shallow depth of field, handheld camera held consistently at chest/hand height throughout. Vertical 9:16. Continuous real motion, no freeze-frame. No on-screen text, no subtitles, no watermark, no logo beyond what the product itself shows, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): tape being pressed onto cardboard, the hollow echo of an empty room, a small pause, the soft rustle of the product being taken down and rolled up, and the quiet fold of box flaps closing. SHOT 1 (0-6s): Open already in motion — no static establishing beat. Hands finish taping Box A shut. Box B sits open beside it, “KEEP” clearly marked on its side, established here and not introduced later. Hands set Box A aside and pause, attention shifting toward the wall behind. Camera at chest/hand height, no face in frame. SHOT 2 (6-12s): The product is the twist itself, exactly as shown in @image1 — still hanging on the otherwise bare wall. The hands lift it down, roll it up carefully from the bottom, and tie it closed. Camera holds steady on the product throughout the motion. SHOT 3 (12-18s): The resolution. The hands lower the rolled product into Box B — the same open “KEEP” box from shot 1, unchanged — and fold its flaps shut. A clear, quiet, settled ending — not a fade-out, not a still.

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. No face changes, no identity drift. No other people. ATTACHED IMAGES ARE MANDATORY AND FINAL: If an avatar image is attached, that is the person — reproduce them exactly, in every single frame, and never invent a different face, hairline, hair colour, skin tone, body or age. The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. @image1 is identity only — face, hair, skin — not any studio backdrop, not a frozen headshot, not any specific outfit as locked wardrobe; outfit, hair and accessories are exactly whatever the uploaded photo shows, only the scale changes. Photocopy the person from @image1, shrunk to a few centimetres tall, into the scene below. ASSET MAP: @image1 — the character. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Tell the following story in exactly 3 shots, same miniature character throughout, facing an oversized everyday environment as the world of the adventure. Clear visual beginning, twist and ending — never ambiguous or faded-out. STORY: The character, a few centimetres tall, is already partway up the trunk of a large potted houseplant, gripping a thick leaf vein as they climb toward the last patch of warm evening light catching the topmost leaves. Below them, the room has slipped into shadow, an ordinary coffee mug on a distant table already dwarfed and half-lost in the dimness. Reaching for the next leaf, their foot slips on its smooth waxy surface and they drop, catching a thin curling tendril just in time, swinging and scrambling for footing against the stem. They find their grip again, climb the last stretch, and pull themselves onto the topmost leaf just as the last ray of sunset light hits it directly, warming them in gold. They stand, catch their breath, and look out past the leaf’s edge at the reddening sky beyond the window, calm and steady. STYLE: Whimsical live-action macro realism, warm dwindling sunset light fading to soft blue shadow below, shallow depth of field, visible leaf texture and fine backlit hairs on the stem, handheld camera that tightens and steadies through the climb. Vertical 9:16. Continuous real motion. Never freeze on the reference still. No on-screen text, no subtitles, no watermark, no logos, no title card. AUDIO (native, synced, no BGM, no voiceover, no narration): rustling leaves and a light evening breeze, strained breathing during the climb, a sharp gasp as their foot slips, the tendril creaking as they catch it, and calm, settled breathing as they reach the top. SHOT 1 (0-7s): Open already in motion — no static establishing beat. Handheld macro, mid-climb on the plant’s stem. The character grips a thick leaf vein, climbing steadily toward the light above. A normal-sized object (the coffee mug) sits dim and distant on a table far below, unmistakably giant next to the room’s fading scale. Face readable through the effort of the climb. SHOT 2 (7-14s): The twist. Reaching for the next leaf, their foot slips on its smooth waxy surface and they drop suddenly, catching a thin curling tendril just in time. They swing against the stem, scrambling for footing, expression shifting from alarm to focused determination as they steady themselves and keep climbing. Same person as @image1, miniature scale maintained throughout. SHOT 3 (14-20s): The resolution. They pull themselves onto the topmost leaf just as the last ray of sunset light hits it directly, bathing them in gold while the room dims below. They stand, catch their breath, and look out at the reddening sky beyond the window — calm, steady, quietly satisfied. A clear settled ending, not a fade-out, not a still.