CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, eye shape and spacing, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or reinterpret it. Do not beautify, slim, de-age or restyle them. The attached image outranks every word below it: wherever the image and the text disagree, follow the image. Frame 1 is already in the scene — never a studio portrait, grey backdrop, or the attached still as an opening plate. Use they/them throughout. No other people. An 8-second ultra-vertical 9:16 ADHD-cut fashion film. Super-fast cuts, massive sound design. Photoreal + light-streak graphic. @image1 is the FIRST FRAME: extreme close-up of THIS woman's real eye. Keep that exact iris colour, lashes, skin. Do not turn it green. Do not recast. @image2 is the same woman in the burgundy faux-fur coat. Preserve her face. She WEARS the coat in every face/body flash. NO LOGO. No emblem, no letters, no Nike, no swoosh. No green eye. No cat eye. No animal eye. AUDIO: huge hits, whooshes, sub drops, no lyrics, no voiceover. [0-1.5s] HOLD the first frame then a tiny live micro-move: HER eye, real colour, looking into camera. Smash. [1.5-4s] Chrome light-streaks, smoke, then HARD CUT — her full face fills the frame, powerful, burgundy fur collar. Smash. [4-6s] Coat texture macro, burgundy pile, gold bangle, then her three-quarter in the coat, ripped away by light. [6-8s] Faster: face / coat / black. Final hold: her face in the coat, or black. NEVER a logo card. NEVER a green eye. NEGATIVE: green iris, cat eye, animal eye, any logo, extra people, Nike, slow holds.
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Two figures appear throughout, each with their own distinct outfit — one built on a black graphic-collage look, one on a white brushstroke look. Hold each of them completely consistent with themselves across every shot: same face, hair, body, garments, prints, colours, hardware and footwear, with no drift or reinterpretation between shots. Every shot is a graphic fashion poster: the full-length figure or figures standing on a flat, hard-edged colour-block ground with heavy condensed all-caps display type set large beside or behind them, in one consistent palette of off-white, vermilion red, burnt orange, deep teal, dense black and cool grey. Polished stylized 3D character animation throughout — smooth matte skin with no visible pores, refined idealized features, hair as clean sculptural masses, garments keeping real fabric behaviour but surfaced smooth rather than photographic: hard crisp studio light, grounded contact shadows, true material separation, consistent grade across every shot. The graphic ground and the display type in each shot stay flat, sharp and stable — they are printed backdrop and set lettering, never overlaid captions, never animated titles, never a band or bar across the frame. Motion is restrained and continuous. Each shot holds one figure action and one slow camera action, evenly weighted, letting the pose read. Shot 1 — the poster reads SO CLOSE. the lone figure settles its weight from one hip to the other, loose fabric swinging and falling back to rest. The camera pushes in slowly. Shot 2 — the poster reads PATHS CROSS. the two figures walk past one another in opposite directions, neither turning to look, loose fabric trailing behind them. The camera tracks sideways against their direction. Shot 3 — the poster reads FARTHER NOW. the lone figure draws one hand from its pocket and lets it drop, shoulders easing down. The camera drifts slowly to the side. Shot 4 — the poster reads STILL APART. the two figures, one on each side of the dividing line, each shift a half step further from the divide, turning fractionally away. The camera pulls back slowly. Shot 5 — the poster reads OUT OF SYNC. the lone figure lowers a raised arm across the body, the sleeve falling open, the words mounted as large dimensional letters on the wall behind them holding still. The camera pushes in slowly past the figure. Shot 6 — the poster reads ONE BEAT OFF. the two figures step apart in opposite directions, one beat out of time with each other. The camera eases upward. Shot 7 — the poster reads PASSING BY. the two figures stand back to back and each turn their head slightly away, smoke ribbons drifting across behind them. The camera drifts slowly upward. Shot 8 — the poster reads ALMOST US. the two figures each lean a fraction toward the other and stop short, the translucent ribbons crossing and parting between them. The camera pushes in slowly on the gap. Shot 9 — the poster reads BETWEEN. the two figures turn to face one another and hold, the word standing still between them. The camera pulls back slowly to leave both in frame. Hold every figure fully in frame from head to toe in every shot, feet inside the frame. Keep the two figures distinct from each other and consistent with their own reference across the whole piece. Do not invent any words, lettering, numbers, logo, signature or watermark beyond the nine poster lines named above. No subtitles, no captions, no title cards, no lower thirds. No extra people. No photographic skin texture or visible pores, no cel shading, no ink outlines, no comic or manga line-art, no flat vector fills, no painterly or sketch rendering. No handheld shake, no whip pans, no zoom snaps, no speed ramps, no strobing, no lens flare.
@image1 is the absolute lock for the product: silhouette, proportions, materials, finish, colours and hardware are taken from it exactly in every shot, with no redesign, no recolouring and no invented lettering or logo. @image2 is the absolute character lock: the large portrait on it is the face, and the face in every shot matches that portrait exactly — same features, same proportions, same skin — with body, hair and garment from @image2 as well and no drift in any shot. Follow @image3 exactly for shot order, framing and staging. Shot 1: The subject@image2 stands front on to the camera and holds the product@image1 in both hands, offering it toward the lens. Their hands rise a little and settle. The camera pushes in slowly and evenly on the hands. Shot 2: Macro on the hands of the subject@image2, their body soft and out of focus behind. Their fingers open, unfasten or prepare the product@image1 in the way its own design calls for, the moving part travelling smoothly and catching the light. The camera holds still. Shot 3: Macro on the hands and forearms of the subject@image2, sleeve pushed back to mid-forearm. They put the product@image1 to its intended use on the body — worn, fastened, applied or held as that product is meant to be — in one unhurried continuous action. The camera drifts slowly along the forearm toward the hands. Shot 4: The subject@image2, framed close from the chest up, raises the product@image1 near their face and turns it slowly so it catches the light. Their eyes travel down to it and follow the light across its surface, their chin lowers a fraction and the corner of their mouth lifts. The camera holds still. Shot 5: Extreme close on the product@image1, filling the frame at a slight three-quarter angle, the light raking across its surface while the subject@image2 falls softly out of focus behind it. The camera pushes in slowly onto it. All five shots are set on one seamless pale blue-grey studio sweep lit by a single large diffused window source from camera-left, the same set and the same light in every shot. All movements are slow, gentle and continuous, with no sudden gestures and nothing moving in reverse. Voiceover {Getting ready, one final touch. Make it yours.} Soft natural lighting, shallow depth of field, high-end fashion film aesthetic, slow elegant movements, premium commercial look. Photorealistic throughout, real skin texture, true materials on the product, accurate reflections and shadows, true optical shallow focus. No illustration, no stylization, no painterly rendering, no 3D-render look. Avoid generating any text or subtitles. Do not generate a logo. Do not generate a watermark. Do not generate any lettering or marking on the product that is not already present in @image1.
15-second 9:16 photoreal. @image1 is FACE ONLY — photocopy their face. Do not use a turtleneck. Outfit: grey hoodie, beige shorts, skateboard. @image2 is the landscape — photocopy that cliff road AND the completely fantasy skyline (floating palaces, impossible spires, aurora, turquoise bay). Not a real-world city. 0–3s: Close on the face, wind, they drop in on the skateboard at the top of the cliff road. Fantasy skyline already visible behind. 3–8s: High tracking down the steep switchback. Speed, dust, board on asphalt toward the water. Unreal towers fill the horizon. 8–12s: Wide: tiny figure racing the cliff edge, bay and fantasy skyline below. 12–15s: They ride toward the shore. Hold the fantasy skyline. No on-screen text. AUDIO: wheels, wind, no lyrics.
@image1 is ELARA — photocopy her exact face, silver-grey wavy hair, brown eyes, AND this exact outfit: black leather bomber (open), white tank, ripped denim shorts, black over-the-knee stiletto boots, sunglasses on her head, silver chain. Do not put her in a white tube top. Do not give her arm tattoos. Do not bun her hair unless a brief beat. She MOVES — hip-hop dance, not a frozen JPEG of the still. @image2 is the LOCATION — photocopy this sunset graffiti alley: wet asphalt, golden sun at the vanishing point, tall brick buildings, colorful graffiti on both walls, puddles, long shadows. She dances IN this alley. Not a pink flower studio. Not neon indoor plants. ONE PERSON. No extra dancers, no statues, no second body. 30-second 16:9 music-video energy: dope original hip-hop (no named commercial song), multi-cut, handheld + smooth orbits, beast-mode intensity. No on-screen titles. No end card. [TIMELINE — 30 SECONDS] 0–5s: Wide 16:9. ELARA in the @image1 outfit stands in the @image2 alley, sun flaring behind her. She hits the first groove — shoulder, step, hair moves. 5–12s: Medium. Hip-hop: body rolls, sharp hits, walk-and-turn down the wet street. Bomber and boots read. Graffiti walls in frame. 12–18s: Low angle, sun in lens. She drops into a wide stance, arms, then pops up. Puddle reflections. 18–24s: Tighter cuts: boot stomp, bomber sleeve, silver hair whip, face (ELARA, not another woman). 24–30s: Pull wide. She hits a final pose walking toward camera, sunset alley full-frame. Hold one beat. Cut. Audio: original dark hip-hop beat + alley ambience. No lyrics from a famous song. No voiceover.
A 30-second ultra-photorealistic cinematic science-fiction sequence, vertical 9:16. One astronaut alone on a frozen alien planet discovers that the ground he has been walking on is a living creature. Grounded, filmic, live-action realism — never animation, never cartoon, never video-game CGI. STYLE: premium feature-film science fiction. Large-format cinematography, shallow depth of field, natural motion blur, subtle handheld weight on the wide shots. Real fabric and metal texture on the suit, real breath fog inside the helmet, real ice. Restrained contrast. Volumetric light through frozen mist. PALETTE: near-black ice and black thorn, a deep charcoal-violet sky, two pale moons. Exactly one saturated colour exists in the film — deep blood red: the glow burning far beneath the ice, the dying rose, and the creature itself. Nothing else in frame is saturated. THE ASTRONAUT: one person only, in a used white-grey hard-shell spacesuit with a clear bubble helmet, scuffed panels, a small mission patch, and thick articulated gloves. His face is clearly visible through the visor throughout — ordinary, tired, mid-thirties, real skin texture, breath fogging the glass. Exactly one human being appears in this film and he is never shown from the front in the final shot. THE WORLD: a vast flat plain of black ice under a dark violet sky with two pale moons low on the horizon. Deep beneath the ice, far down, a diffuse red light glows — as if something enormous were burning under the surface. Across the entire plain stand dense fields of tall dry black thorns, taller than a man, sharp and brittle, stretching unbroken to the horizon. AUDIO: wind across open ice, ice groaning and cracking, brittle thorns scraping the suit, breathing inside the helmet, a low sub-bass impact once every five seconds growing louder, cathedral-sized tearing of ice as the creature rises, deep roaring, running footsteps on breaking ice, heavy clunk and hiss of the hatch. After the hatch closes, only breathing. Sparse flat English dialogue through radio. No music, no score, no trailer drums. No on-screen text, no subtitles. [0-5s] Wide establishing. A small landing craft on black ice, its lights the only clean white. The astronaut climbs down and steps onto the surface, alone, tiny. Red light glows faintly up through the ice beneath his boots. Breath fogs the visor. Radio: Readings? He: Cold. Very cold. End: standing alone on the ice, thorn field ahead. [5-10s] He walks into the black thorn field, turning shoulders to pass, dry spines scraping the suit. Camera tracks at helmet height, thorns wiping the lens. He stops. A slow deep impact through the ice into his boots — once. Pause. Again. He looks down at his feet. He: I’m getting a pulse. Once every five seconds. Radio: Seismic? He: It doesn’t feel seismic. End: still among the thorns, looking down. [10-15s] The thorns open onto an enormous dead rose alone on the plain, as tall as a building — blackened deep red, frozen solid, petals curling and breaking, falling slowly. He walks to its base and reaches up. One dark red petal lands in his open glove. He closes his fingers. The pulse harder. Ice cracks. End: petal in closed glove, rose towering. [15-20s] Fracture lines race across the ice; red light blasts up, lighting him from below. He turns on the spot. The thorns begin to rise — not falling, lifting. The entire field tilts upward as the ground lifts. Radio: What’s happening? He quietly: That’s not thorns. End: plain tilting, he fighting for footing. [20-25s] Reveal: he has been walking on a back. The black thorns are spines down an enormous creature. A colossal blood-red dragon rises out of the frozen plain, ice plates sliding off and shattering. Its head lifts into the violet sky, eyes open burning red. The great dead rose topples and breaks on the ice. He turns and runs. End: creature towering, astronaut sprinting away. Creature never seen before this beat. [25-30s] Wide low: he sprints across collapsing ice, tiny, creature immense behind him, red light throwing his long shadow ahead. He reaches the craft, hauls in, hatch seals. Inside close-up: he leans back against the door, chest heaving, helmet fogging. He looks down and slowly opens his glove. The petal is still there. Through the small window behind him the creature roars, filling the opening with red. Final image: the dark red petal in his open glove, red glow in the window behind. He is not shown from the front. Hold. CONTINUITY: exactly one astronaut and exactly one creature. The petal appears at the rose and is still in the glove at the end — never dropped, never falling, never changing. Suit, helmet and patch identical every shot. Two moons stay put. Creature never before 20s and never shown in full body. NEGATIVE: no text, no subtitles, no captions, no HUD, no logos. No second astronaut, no other people, no alien humanoids, no ships in the sky, no weapons, no fighting, no blood, no gore, no catching him, no mouth close-up, no wings unfolding, no fire breathing, no cartoon, no video-game CGI, no neon, no lens-flare spam, no slow-motion, no montage, no crossfades. The astronaut never falls and is never harmed.
@image1 is LANA — photocopy her exact face, bone structure, long straight blonde hair, AND this exact outfit: black satin strapless bandeau, matching black satin wide-leg pants, black leather bomber jacket slipping off one shoulder, large silver hoop earrings, layered silver necklaces, silver rings, black sneakers. She MOVES. Never a frozen JPEG. FORBIDDEN from @image1: OPENCLIPS.AI watermark, any on-screen logo. FORBIDDEN from the source recipe: pastel-pink hair, green pearl baseball cap, green cropped sweater, plaid shirt at the waist, baggy light-wash jeans. Do not recast as East-Asian pink hair. ONE PERSON. Empty fields and playgrounds. No extra faces. Cinematic 30-second 16:9, photorealistic, melancholic and dreamy, muted greens, concrete greys, late-afternoon light. Slow pans, gentle dollies. No on-screen titles. No lyrics. No karaoke. No Indonesian text. [TIMELINE — 30 SECONDS] 0–3s: Medium-wide. LANA in the @image1 satin/bomber look lies on her side on weathered grey stadium steps, head on the riser, looking softly at camera. Empty sandy field. 3–6s: She hangs from the white soccer-goal crossbar, both hands on the bar, body dangling, looking at camera. 6–9s: Inside a stainless-steel cage packed with orange basketballs, eyes closed, cheek on a basketball as if sleeping. 9–12s: Reclines against a red-yellow-green playground tube slide, eyes half-closed. 12–16s: Sits still on a chain swing, looking down, empty swing beside her. Blue rubber floor. 16–19s: Sits on a low concrete wall, orange traffic cone on her head like a hat, blank stare. 19–23s: Outdoor ping-pong. Holds a red-and-black paddle, then rests head and arms on the blue table, looking sideways. 23–26s: Stainless-steel drinking fountain. Presses the button, water arcs; she leans in then looks at the basin. 26–30s: Stadium steps. Walks past a black backpack, looks at the sky, sits and leans back, eyes closed, legs extended. Hold. Audio: quiet outdoor ambience — wind, distant playground, no song, no vocals, no Indonesian lyrics.
@image1 is MATEO — photocopy his exact face, bone structure, wavy chestnut hair, stubble, AND this exact outfit: black tuxedo jacket, open ivory dress shirt, loose black necktie, black trousers with satin side stripe, patent black oxfords. He MOVES. Never a frozen JPEG of the still. SET: elegant luxury hotel — dark marble, gold railings, chandelier bokeh, high-end night interior. Not a pale blue studio. @image2 is the BOTTLE. Photocopy this perfume exactly: matte black rounded-rectangular body, matching matte-black cylindrical cap, recessed black label plate with white type TOM FORD / OMBRÉ LEATHER as in the photo. Same silhouette. NEVER a Bvlgari rectangle with a rose-gold cap. NEVER a navy Chanel cube. ONE PERSON. No extra faces. Cinematic luxury perfume commercial, 10 seconds, 16:9. Slow elegant movements, shallow depth of field, premium film. VOICEOVER (spoken, exact): “Getting ready, one final touch. Tom Ford Ombré Leather, make it yours.” No on-screen titles. No Chanel. No Bvlgari. No end-card logo. [TIMELINE — 10 SECONDS] 0–2s: MATEO in the @image1 tux, luxury marble behind him, holds the @image2 matte-black Tom Ford bottle with both hands toward camera. 2–4s: Close-up of his fingers lifting the matte-black cap, spray nozzle. 4–6s: He sprays a fine mist on his inner wrist. Bottle identity stays @image2. 6–8s: He lifts the wrist to his face, eyes close, small satisfied inhale. 8–10s: Bottle fills the frame, sharp; he is softly blurred behind it. Hold. Audio: the voiceover above + quiet room. No music bed that drowns the line.
@image1 is LANA — photocopy her exact face, bone structure, mouth, nose, brows. IGNORE ivory coat and sunglasses in @image1. WARDROBE (from the brief, not the source clip, not @image1): Silky white nightgown, hair wrapped in a white towel turban. Face visible. Luxury bedroom, high-end vanity desk, warm lamps, marble or lacquered wood, glass, gold hardware, soft morning light. NOT a living-room sofa. NOT a blue t-shirt. NOT a plant-and-couch set. @image2 is the PRODUCT. Photocopy this bottle exactly: taupe/beige fluted cylindrical body, matching pump, peach-gold label type as in the photo. Same silhouette, same pump, same colour. NEVER a white squeeze tube. NEVER a blue round logo. NEVER Nivea. The bottle is large and readable whenever it is on camera. She MOVES. Applies lotion. Never a frozen JPEG. Never open on a studio headshot. ONE PERSON. No on-screen titles. No end card. No overlay slogans. [TIMELINE — 30 SECONDS, 9:16] 0–5s: Close-up, vanity. LANA in white silk nightgown, towel on hair, looks down, rubs a pearl of lotion along her forearm. Soft luxury bedroom bokeh, lamp glow. 5–10s: Cut to hands over the vanity. She holds the taupe fluted pump bottle (@image2) and presses the pump into her palm. Cream-white lotion. Bottle identity must match @image2. 10–15s: She sets the bottle on the vanity (still visible, still @image2). Rubs palms together, then presses fingertips to her lips/cheeks softly — night-routine, not a commercial smile-to-camera yet. 15–21s: Medium. She sits at the vanity, lifts the taupe bottle toward camera, nightgown + towel, bottle large in frame, label readable as @image2. Warm smile. 21–26s: She works lotion into her arm, skin dewy. Vanity and bottle in the background. 26–30s: She raises the glowing arm toward camera, small smile, towel hair, white silk. Hold. No logo card. Audio: quiet room, pump click, skin. No music. No voiceover.
10 seconds, 16:9, five shots, bright music. @image_1 films a selfie vlog through a pastel-pink shopping lane and the phone filter draws pink augmented-reality effects over the picture. @image_1 is the only attached asset and the same person in every shot. ATTACHED IMAGES ARE MANDATORY AND FINAL: @image_1 decides the face, hair, skin and build in every frame. Where this text and the attached image disagree, the attached image wins. Preserve the gender presentation of @image_1 exactly as shown. Every hand in frame has five separate fingers. WARDROBE LOCK: one outfit for the whole film - a plain fitted black crew-neck t-shirt and small gold hoop earrings, hair worn down, at whatever length and texture @image_1 already has. The garment is fixed; only its drape adapts to the body of @image_1. THE PLACE: a narrow pedestrian shopping lane on a bright overcast day, storefronts in pastel pink and cream, café tables and folding chairs out front, chrome balls and pink parasols along the paving, Korean shop signage on the fascias, soft even daylight. CAMERA: phone front camera at arm's length on a very wide, slightly barrel-distorted lens. The first two shots sit inside a soft round vignette; from the third the frame opens to the full rectangle. Natural phone colour, handheld drift, focus and exposure a beat late. THE EFFECTS: pink augmented-reality graphics drawn over the live picture the way a phone filter lays them on - a ribbon of light that writes itself through the air, small chrome hearts turning with real reflections, little square photo stickers with soft white borders, and one large glowing heart outline. They sit flat on top of the image, in front of everything including the arm, cast no light on the face and never hide it. [0-2s] Already filming. @image_1 looks into the lens and starts talking, one hand up near the collarbone, inside the round vignette. [2-4s] @image_1 sweeps one hand through the air and a ribbon of pink light follows it and writes a heart that hangs there, sparkling, before it fades. [4-6s] The frame opens out. Two chrome hearts and two photo stickers drift in, turning slowly. @image_1 winks and brings both hands up beside the jaw. [6-8s] Cut wide, the camera no longer in their hand: @image_1 walks away down the middle of the pink lane and turns back over one shoulder. [8-10s] Back to the selfie. A large glowing pink heart outline draws itself around the head and shoulders of @image_1, who makes a small finger heart close to the lens and laughs. A bright light instrumental at one even level with street ambience under it; @image_1 talks brightly to the lens throughout, the words under the music rather than over it. The five shots run back to back with no gaps and no black frames; the first frame is already lit and already moving. Writing in frame is only the shop signage that belongs to the place. No subtitles.
Sci-Fi Guardian RunRecreate workflow