Generate a live basketball broadcast where the courtside camera catches you on the big screen and you react shyly.

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FLOWER MORPH — The Bush Becomes a Person @image1 walks up and touches a big flowering bush — and the blossoms spiral upward and knit into @image2, who steps out in a flowing gown. A magical two-avatar transformation, cinematic 15s. Plug in ANY two avatars.

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 (the frightened protagonist). Photocopy @image1 for face, hair, skin, identity, and the wardrobe on the still (burgundy long-sleeve V-neck satin dress, layered gold chain with a gold snake pendant, thin gold bangle). Do not restyle hair. Do not invent a different dress or jewellery. Ignore any beige pad around the still — that pad is not a set. If any other person appears (the tactical soldier), they are never named, aged or gendered in the text — described only by their role and what they do. Only @image1's face is locked as an identity. Extra people in this story are beats, not copies of @image1. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Create a cinematic photorealistic action-thriller sequence set in a modern downtown city surrounded by tall skyscrapers, at dusk with the city lights just coming on. SHOT 1 (0-3s): Extreme close-up of the character’s frightened face — the person exactly as in @image1 — wet eyes, realistic skin texture, dramatic dusk lighting, intense emotional expression. SHOT 2 (3-7s): Cut to a high aerial drone shot flying between dense skyscrapers, looking down at a busy city street with cars, pedestrians, traffic markings and realistic urban detail. The camera moves rapidly forward between the buildings with cinematic motion blur. SHOT 3 (7-12s): Cut to a dynamic POV shot from inside a moving dark sedan, focusing on the side-view mirror. In the mirror reflection, a heavily armored futuristic black tactical vehicle drives aggressively alongside the car, with a tactical soldier visible inside — described only by role and action, never named or identified. Keep the mirror reflection realistic and sharply detailed while the surrounding city moves with natural motion blur. SHOT 4 (12-16s): Fast-paced aerial and street-level shots showing the armored vehicle chasing the sedan through the downtown streets, including a brief stretch through an underpass tunnel lit by sodium lights. Realistic smoke, dust, damaged vehicles and cinematic atmosphere. SHOT 5 (16-20s): End with a dramatic top-down aerial shot looking directly at a city intersection as the sedan moves through traffic and a powerful explosion suddenly erupts nearby, producing a bright orange fireball, thick gray smoke, sparks and debris. STYLE: Ultra-realistic physics, realistic vehicle movement, cinematic camera transitions, natural lighting, shallow depth of field, high detail, realistic motion blur, blockbuster Hollywood action-movie cinematography, photorealistic, HDR, anamorphic lens, dramatic color grading, intense suspenseful atmosphere. AUDIO (native, synced, no BGM, no voiceover, no narration): engine roar and tire screech, wind rushing past the drone shots, the tactical vehicle’s engine snarling alongside, distant sirens, the explosion’s deep boom with debris scattering, and the character’s frightened breathing in the close-up. No on-screen text, no subtitles, no watermark, no logos. Vertical 9:16. Exactly 20 seconds.

@image1 is the opening frame of this film and @image2 is the closing frame. The film travels from one to the other as a single unbroken take. @image3 is the storyboard and sets the order in which the change arrives. Absolute continuity lock: the room's shell never changes across the whole take. The ceiling line, the wall positions, the floor plane and every window and door opening hold exactly where they begin, at the same size and in the same place, from the first frame to the last. Nothing about the structure moves, widens, closes, vanishes or is added. Camera: it holds its position for the entire take. No pan, no tilt, no zoom, no push in or pull back, no orbit, no handheld swing, no reframing of any kind. Allow only the faintest living breath in the frame so the picture never reads as a frozen still. Everything that changes does so in place — materialising, healing and settling within the frame — rather than being carried in or out from offscreen. There are no cuts, no dissolves between shots and no transitions; the whole film is one continuous piece of time. The change arrives in this order, each stage taking about as long as the last: The scattered debris and the broken rubble lift away from the floor, and the ruined furnishings thin out and are gone, leaving the floor clear. The damaged wall surfaces heal, the blotched and peeling patches closing over into smooth sound plaster, and the floor settles into one clean continuous surface. The rug unrolls itself into the centre of the floor and the wide framed picture resolves onto the far wall above where the bed will stand. The bed builds itself in place against the far wall, headboard first, then the frame, then the bedding and pillows, with the bench settling at its foot. The bedside tables arrive on either side and their lamps come on warm, the smaller pictures resolve beside the wide one, and plants and baskets settle into the corners. A soft vertical wipe of light crosses from left to right, daylight blooms through the far opening, and the whole image warms into its final grade. The film settles on the finished room and holds there, breathing, to the last frame. Photorealistic throughout, matching the two pinned frames exactly in material, colour and light. Do not include any people, animals, text, captions, logos or watermarks.

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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 (the driver). Photocopy @image1 for face, hair, skin, identity, and the wardrobe on the still (burgundy long-sleeve V-neck satin dress, layered gold chain with a gold snake pendant, thin gold bangle). Do not restyle hair. Do not invent a different dress or jewellery. Ignore any beige pad around the still — that pad is not a set. If any other person appears (the tactical soldier), they are never named, aged or gendered in the text — described only by their role and what they do. Only @image1's face is locked as an identity. Extra people in this story are beats, not copies of @image1. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. Create a cinematic photorealistic action-thriller sequence set in a modern downtown city at night, surrounded by tall skyscrapers, told as one clear cause-and-effect chain — not disconnected spectacle shots. SHOT 1 (0-4s): Close-up on the character driving, exactly as in @image1, one hand on the wheel, the other resting protectively on a small sealed metal case on the passenger seat. They glance anxiously into the rearview mirror, already uneasy — establishing that they are carrying something valuable and already suspect they’re being followed. Realistic skin texture, dramatic night lighting, tense expression. SHOT 2 (4-7s): Cut to a high aerial drone shot flying between the skyscrapers, following the character’s car through the busy night street below, then pulling back to reveal a heavily armored black tactical vehicle several cars behind, closing the distance with clear intent. The camera moves rapidly forward with cinematic motion blur, establishing that this vehicle is specifically hunting the character’s car. SHOT 3 (7-11s): Cut to a POV shot from inside the character’s car, focused on the rearview mirror. In the reflection, the tactical vehicle pulls up alongside, a tactical soldier visible inside, gesturing for them to stop. The character grips the case tighter and accelerates instead, confirming they won’t give it up. Keep the mirror reflection sharply detailed while the city blurs past. SHOT 4 (11-15s): Fast-paced aerial and street-level shots of the chase through downtown — the character weaving through traffic to shake the tactical vehicle, which rams a parked delivery truck while trying to cut them off, spilling cargo and forcing its own path toward a roadside fuel tanker idling at a loading zone. Realistic smoke, dust, and cinematic atmosphere. SHOT 5 (15-20s): The tactical vehicle, still trying to close the gap, clips the fuel tanker at speed. A powerful explosion erupts behind the character’s car — a bright orange fireball, thick gray smoke, sparks and debris — visibly caused by that collision, not appearing at random. The character’s car speeds clear of the blast radius; a final shot through the rearview mirror shows the fireball and stalled tactical vehicle receding into the distance as the character exhales, adrenaline still high but visibly safe. STYLE: Ultra-realistic physics, realistic vehicle movement, cinematic camera transitions, natural night lighting, shallow depth of field, high detail, realistic motion blur, blockbuster Hollywood action-movie cinematography, photorealistic, HDR, anamorphic lens, dramatic color grading, intense suspenseful atmosphere. AUDIO (native, synced, no BGM, no voiceover, no narration): engine roar and tire screech, wind rushing past the drone shots, the tactical vehicle’s engine snarling alongside, the crash into the truck, the tanker’s explosion with a deep boom and scattering debris, and the character’s tense breathing settling into relief in the final shot. No on-screen text, no subtitles, no watermark, no logos. Vertical 9:16. Exactly 20 seconds.

FLOWER MORPH — Petal Explosion Reveal @image1 claps and bursts into a huge cloud of colourful petals that fill the frame — then the petals rush back and reassemble them in a stunning floral gown for a confident final pose. Punchy, magical, cinematic 15s. Swap in ANY avatar.

SEEDANCE 2.5 | TEXT TO VIDEO | SINGLE CONTINUOUS TAKE | 22s | 1080x1920 | 9:16 | 30fps | 1080p SCENE AND LOCATION A hidden desert oasis slot canyon deep in a red sandstone plateau on a bright midday. A narrow, deep gorge with steep, very high walls of warm red-orange sandstone, wind-carved into smooth ripples and streaked with dark desert varnish, with hardy green shrubs and small palms clinging to ledges. At the bottom is a crystal-clear natural oasis pool. The shallow edges glow bright turquoise and aqua, fading to deep sapphire blue in the center. The water is so transparent that the bottom is fully visible: pale sandy floor, smooth boulders, and two long sun-bleached driftwood logs lying diagonally across the bottom. One spring-fed waterfall pours from a crack high on the canyon wall into the pool, making white foam where it hits the water. Tall date palms and desert scrub line the canyon rim. Above is a vivid clear blue desert sky with a few small white clouds. Hard, bright midday sunlight with strong contrast, heat-shimmer in the far distance, and sun sparkles on the water. THE JUMPER A person seen only from their own first-person view. Tanned bare feet and athletic shins, and loose terracotta-orange swim shorts with a simple cream geometric pattern and white drawstrings. No shirt, no shoes, no gloves. Their hands and forearms appear naturally in frame when they move. CAMERA AND REALISM First-person POV from a GoPro strapped to the forehead. It looks like real action-cam footage, not a cinematic camera. 16mm-equivalent ultra-wide lens with slight barrel distortion, and saturated but natural color. Use real action-cam behavior throughout: small head bob and micro-jitter from breathing and body weight, rolling-shutter wobble on fast moves, quick auto-exposure shifts between bright sky and the shaded canyon, a small sun flare on upward tilts, light sensor noise in the shadows, and wind buffeting that shakes the frame during the fall. The cliff is about 35 meters high. Gravity, body motion and water physics are fully realistic. 0-2s | THE EDGE (real time) POV looking straight down from the top of the sandstone cliff. Bare feet stand on the rough, warm rock ledge at the bottom of frame, with the shorts visible at the lower edge. Both hands hover forward at the sides of frame. The turquoise pool, the driftwood logs and the waterfall are far, far below. Toes curl over the edge and small grit crumbles off. A hand tosses an orange-and-white striped inflatable tube out over the drop; it tumbles down and lands as a tiny speck on the water far below. Wind, distant waterfall roar, upbeat chill electronic music starts. 2-4s | THE COUNTDOWN (real time) A quick nervous tilt down at the drop, a sharp exhale, then two fast steps back from the edge, with the ledge bouncing in frame. A hyped voice: “Three, two, one!” 4-7s | THE TAKEOFF (natural slow motion, about 50% speed) Two running steps forward, then the last foot pushes off the ledge in slow motion. Rock grit kicks up and floats in the sunlight, the cliff edge slides away underfoot, arms swing forward and out wide, and the whole turquoise oasis opens up below. The slow motion looks like a real high-frame-rate action-cam clip, not a frozen hang. Deep bass swell, stretched wind. 7-13s | THE FALL (real time, fast and continuous) The speed ramps smoothly back to normal and the stomach drops. 7-9s: The frame dips and wobbles, arms flail slightly for balance at the edges of frame, feet kick at the bottom of frame. A loud yell: “Woooooo!” 9-11s: The sandstone wall, its ripples and streaks, and clinging desert shrubs streak upward past the lens, and the waterfall rushes by with spray catching the sun. Wind roars louder and the frame shakes from air buffeting. 11-13s: The glowing turquoise water rushes up and fills the frame, and the orange tube and driftwood logs grow fast. Arms snap tight to the body and legs lock straight for a feet-first pencil dive. The music builds to the drop. 13-14s | IMPACT A hard feet-first hit into the water and a white explosion of bubbles swallows the lens. Loud plunge splash, deep impact whoosh, and the music goes heavily muffled underwater. 14-17s | UNDERWATER (short, energetic, real time) A violent swirl of silver bubbles clears to reveal crystal-clear blue water, bright sun shafts cutting down from the surface, the sun-bleached driftwood and pale sandy bottom below, and small fish darting away. Hands push into frame for one strong breaststroke pull, then fast kicks straight up toward the bright glowing surface, with bubbles streaming past the lens. No slow sinking. 17-19s | SURFACE BREAK The camera bursts through the surface, water droplets sliding across the lens, and bright sunlight floods in. The music snaps back to full clarity on the beat drop. A hand grabs the orange-and-white tube floating right beside it. 19-22s | THE REWARD POV bobbing on the turquoise water holding the tube, then a sharp tilt up revealing the towering sandstone cliff, the tiny ledge jumped from far above, the palm trees on the rim and the vivid blue sky, with the waterfall splashing to one side. An out-of-breath, triumphant voice: “Yeah, that was insane!” Faint distant cheering. Music plays clean to the final frame. AUDIO Continuous upbeat chill electronic track: a bass swell on takeoff, a fast build through the fall, muffled underwater, then a clean drop on surfacing. Real ambient layers: wind that grows with speed, fabric flapping, heavy breathing, waterfall roar, splash, bubbles. Dialogue clear over the music. KEEP One continuous take, first-person only. The same shorts, feet and hands throughout, and the same canyon layout with one waterfall, turquoise pool and submerged logs. The slow motion lasts only 3 seconds at takeoff. The fall is fast, real time and builds speed without pausing. Every beat is quick and punchy. AVOID Extra slow motion beyond the takeoff, hovering or floating mid-air, smooth cinematic gimbal movement, cuts to third person, showing the jumper’s face, extra people, distorted hands or extra fingers, morphing cliffs, changing water color, text, subtitles, watermarks.