Generate two people in few different scenes with a snap of the fingers.

3 steps12211.2K

Generate a video with your animated avatar, in japanese anime world, fighting the siege.

4 steps443.8K

Generate a liquid glass dress swap short video.

5 steps5180

Ultra-realistic cinematic action-comedy, bustling outdoor Mediterranean-style wedding on a sunlit Tuscan-style estate lawn in late-afternoon golden light. Handheld chase camera, subtle camera shake, occasional fast whip pans, shallow depth of field, 35mm documentary lens look, natural colors, grounded physical comedy, realistic goat movement, believable crowd reactions, no cartoon physics, no exaggerated CGI movement. 0-5s: Wide shot of the decorated lawn — string lights, olive-branch and white wildflower garlands, guests posing near a flower-covered arch while @avatar, the wedding photographer, sets up a group photo. A small white goat wearing a loose wildflower garland wanders into frame and grabs the end of @avatar's long camera strap in its mouth. 5-10s: @avatar notices and gently tries to pull the strap back. The goat refuses to let go. For one beat they awkwardly tug in opposite directions, @avatar half-laughing, half-panicked: "Hey — no, let go!" Then the goat suddenly turns and sprints away, dragging the camera bag behind it. 10-15s: Fast handheld chase shot follows the goat running across the lawn, weaving between decorated chairs, flower stands, waiters carrying trays, children playing, and confused guests. @avatar runs after it, camera strap still half-attached, shouting: "Wait — that's got the memory card!" 15-20s: The goat darts beneath a row of hanging garlands. @avatar tries to follow, gets briefly tangled in the flowers, spins around once, frees themself, and immediately continues the chase with absurd action-hero determination. Nearby guests start laughing and filming on their phones. 20-25s: The goat suddenly runs directly onto the wedding stage during the formal family photo. Everyone freezes. The bride and groom turn in shock as the goat casually walks straight between them. The exhausted @avatar finally reaches the stage but stops short, realizing dozens of guest phones are now pointed at them instead. 25-30s: The goat calmly sits beside the bride and groom, still holding the camera strap, and looks straight into the main camera as if posing for the official portrait. @avatar drops to their knees in defeat, laughing despite themself: "...okay, that's actually the shot." The bride laughs, the groom pets the goat, the whole family gathers around for one ridiculous final group photo, and the camera shutter clicks on a freeze-frame of the bride, groom, goat, and exhausted @avatar all accidentally making the perfect wedding portrait. Audio: warm outdoor wedding ambience throughout — string-light chatter, distant acoustic guitar, birds, light breeze. Goat bleats twice when it first grabs the strap. @avatar's two lines ("Hey — no, let go!" and "Wait — that's got the memory card!") delivered breathless and half-laughing. Crowd laughter and phone-camera shutter sounds build steadily from 15s onward. Final beat: one clear diegetic camera shutter click, then a wave of guest laughter and applause under @avatar's last line, "...okay, that's actually the shot." Negative: no subtitles, no on-screen text, no cartoon physics, no exaggerated CGI movement, no gore or injury to the goat or any guest, no real venue names or logos, no second focal human character competing with @avatar for the camera's attention.

2 steps17374

CHARACTER LOCK - HIGHEST PRIORITY: The person in every frame is exactly the person in @avatar. 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 identity drift. THE HEAD IS ALWAYS BARE: no hat, no cap, no hood, no sunglasses and nothing covering the hair, the eyes or the face at any point. The face and hairline stay visible in every shot, including the leap, the fight and the climb. ATTACHED IMAGES ARE MANDATORY AND FINAL: If an avatar image is attached, that is the person - reproduce them exactly in every frame. The attached images outrank every word below them; wherever image and text disagree, follow the image. @avatar defines identity only - its clothing, pose, background and lighting are ignored completely. Wardrobe (comes from this text, never from @avatar): an unbuttoned cream linen shirt with the sleeves rolled, worn loose and open over a plain white cotton tank, sand-coloured linen drawstring shorts to mid-thigh, a thin woven bracelet and worn canvas sneakers. The shirt hangs loose and is never fitted to the chest. Unisex cut, no logos or lettering. Fit each garment to the character's body naturally without altering its design, cut, proportions or colour - the garment is fixed, only its drape adapts. The same in every shot. Ultra-realistic cinematic action cinematography, 30 seconds. @avatar is hunted across a modern Greek island town on a holiday afternoon. Hard Mediterranean sun, white and bone against Aegean blue, handheld weight, real motion blur, shallow depth of field, fine grain. Hands stay correct in every frame: five fingers per hand, natural grip on every ledge and wrist. 0-4 seconds - THE LEAP. The film opens already in the air: @avatar mid-leap off a whitewashed rooftop terrace, arms spread, the open shirt snapping, falling toward the lower roofs. No fade in and no still opening frame. Below spread white cube houses, blue domes, stepped lanes and the flat blue sea. The camera falls alongside. 4-8 seconds - THE LANDING. @avatar drops onto a lower terrace into folded fishing nets, rolls out in one motion and comes up running along the white roof. The camera whips down and picks up the run from behind at shoulder height. 8-12 seconds - THE LANES. @avatar sprints a narrow stepped lane between white walls, ducking a laundry line and cutting between tavern tables while tourists scatter. Bougainvillea petals and dust cross the lens. 12-17 seconds - THE FIGHT. Two hired killers in dark linen suits step out of a doorway and reach in. @avatar turns the first one's arm aside and puts them both down on the steps in two fast moves. The camera comes in close on @avatar's face as the arm turns and holds there, the face fully readable. The killers are unarmed in frame: no gun and no knife is ever drawn, and there is no blood and no gore. 17-22 seconds - THE CHASE. @avatar runs a shadowed alley with two more suited killers closing in behind, faces turned away, vaults a terrace wall, slides under a stone arch and takes a corner hard past a blue-domed church. The camera stays close behind and unsteady. 22-27 seconds - THE CLIMB. @avatar hits a white wall of window ledges, a pergola beam and a drainpipe and goes straight up it, hand over hand, back onto the roofs. The camera rises and turns to show the town dropping away. 27-30 seconds - THE TERRACE. @avatar pulls onto the highest terrace, rises out of a crouch and turns to look straight into the lens, face fully readable. Behind: white roofs, blue domes, the harbour and the whole sea under a low sun. Final wide, held. The killers and the tourists are anonymous - hats, turned backs and faces out of frame. Nobody else wears sunglasses and no other face is ever the subject of a shot. Sound: breathing and footfalls all the way through, linen snap in the fall, nets and dust on the landing, tavern voices and cicadas, scuffs in the fight, sneakers on stone steps, wind and gulls on the last terrace, under a restrained low score. No subtitles.

2 steps131.2K

ASSET MAP — @image1 = the traveller who is leaving (person, identity only). @image2 = the one who stays behind (a different person, identity only). @image3 = the platform of an orbital rail station (location only, no person). ATTACHED IMAGES ARE FINAL: @image1 and @image2 are the people in this film and the images outrank this text. For each of them preserve facial structure, eye shape and spacing, exact skin tone, hairline, hair length, texture and colour, distinctive marks, apparent age, build and proportions, and their gender presentation exactly as shown. Do not beautify, de-age or restyle. Two different faces, each appearing once per frame. WARDROBE (from THIS TEXT, never from @image1 or @image2; the garment is fixed, only its drape adapts): @image1 in an ivory-white EVA pressure suit with a long camel-tan thermal over-mantle worn open, carrying a white helmet low in one hand. @image2 in a charcoal-grey pressure suit with a slate-green utility overjacket, helmet under one arm. A 1985 science-fiction television drama on the platform @image3: tungsten warmth against cold blue planet-light, soft analog broadcast texture, fine grain, gentle optical zooms and fixed shots only, one movement per shot. 0-4s Medium shot, slow optical zoom-out. @image1 stands on the deck of @image3, face toward the lens, the lit windows of a departing shuttle streaking behind, then turns to look down the platform. <shuttle whine, ventilation hum, one footstep> 4-8s The shot cuts to a medium shot, fixed. @image2 steps out of the lit station kiosk under a red illuminated sign reading "PLATFORM 7"; two travellers cross close to the lens, out of focus with faces turned away. @image2 looks toward @image1 off frame. <a pressure door sighing open, muffled voices> 8-11s The shot cuts to a two-shot, fixed. @image2 is in the near foreground with the back of the head to the lens; @image1 faces @image2 and holds the look. <ventilation hum, a distant chime> 11-15s The shot cuts to a wider two-shot at the kiosk window, slow optical zoom-out. At the 13-second mark a second shuttle sweeps across the foreground and blurs the frame; when it clears @image1 and @image2 still stand in the same position. <heavy rush, then a sudden quiet> 15-19s The shot cuts to a close-up of @image1, speaking quietly with a pause between the lines: {I signed the transfer this morning.} {I did not come here to argue about it.} <suit fabric shifting> 19-22s The shot cuts to a close-up of @image2, restrained: {Then why did you come?} <ventilation hum> 22-26s The shot cuts to a two-shot. @image1 lowers the gaze, turns away from @image2 without answering and steps toward the lens; @image2 stays in place and keeps watching. (a sparse warm analog synth pad, two chords) <footsteps on the metal deck> 26-30s The shot cuts to a wide shot down the platform, slow optical zoom-in. @image1 passes the lens on the left, gaze lowered; far down the deck @image2 stands alone under the canopy of @image3. In the last second @image1 glances back once. (the pad fades out) Hands stay anatomically correct with five fingers wherever a hand is visible, and the helmet never merges with the glove. No people other than the two out-of-focus travellers, and no readable face but those of @image1 and @image2. English dialogue only, three lines, quiet, with natural pauses. No subtitles.

4 steps36920.2K