Generate a two-shot action video that hard-cuts on a kick from a bedroom to a night street.

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Generate a 1960s fashion campaign film on a coastal cliff road.

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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, 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. A 12-second photoreal 1:1 luxury FANTASY editorial. No on-screen text, no logos, no brand names, no other people. @image1 is the rider: black-haired European woman. Preserve her face exactly. @image2 is the coat. Lock it: cropped burgundy faux-fur jacket, plush pile, wide collar. She WEARS this coat. No readable label. She rides a large BLACK panther — wet black fur, muscular, gold-green eyes. CRITICAL BODY: she has TWO VISIBLE LEGS the entire time. She sits astride the panther — thighs, knees, calves and black boots clearly in frame. Never a missing-leg crop. Never a floating torso. CRITICAL GAZE: both the woman AND the panther look INTO THE CAMERA. Confident, powerful, unapologetic. Not looking away at the volcano as the main beat. SETTING: volcanic jungle. Snow on tropical leaves. Distant active volcano, red-orange sky. Fantasy editorial. AUDIO: low wind, distant rumble, panther breath. No dialogue. [0-4s] WIDE full bodies: woman in the burgundy fur astride the black panther, BOTH LEGS visible in boots, BOTH looking straight at camera. Volcano behind. Slow track. [4-8s] They walk toward camera through iced ferns. Legs still visible. Direct eye contact, power. [8-12s] Halt. Full-body three-quarter. She and the panther stare down the lens. Hold. End. NEGATIVE: missing legs, a stump, looking away the whole time, extra people, on-screen text, studio headshot as frame 1, split-screen, snow leopard.

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Generate a commercial like video of your avatar in your outfit of choice.

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subject_definitions: @image_1 is the performer. Gender, face, hair, skin and body proportions come entirely from @image_1 and not from this text. @image_1 defines identity only - its clothing, pose, framing, background and lighting are ignored. Every person who appears in this film is an adult. summary: [reference generation] A 15-second 16:9 photorealistic live-action horror scene in which @image_1 is shopping alone in a small night-time convenience store when a stranger walks in, turns on the shop worker, and then hunts @image_1 down the aisles using a voice @image_1 knows. retention_analysis: @image_1 (appears in [Shot 1], [Shot 2], [Shot 4], [Shot 5], [Shot 6], [Shot 7]): fully_preserved - gender, face, hair, skin and body proportions stay exactly as in @image_1 in every shot. detailed_description: Photorealistic live-action with premium theatrical cinematography: real skin texture, believable body mechanics, accurate clothing physics, natural motion blur and real depth of field. One small neighbourhood convenience store at night, keeping the same layout, shelves and stock in every shot. Practical cool-white fluorescent light from the ceiling only, with realistic falloff and hard reflections on refrigerator glass and polished floor. @image_1 wears a mustard-yellow hooded sweatshirt, dark jeans and a small backpack, fixed in cut and colour, only its drape adapting to the body. The stranger stays human-looking and ordinary throughout - a person behaving wrongly, never a monster. Every hand in frame has five separate fingers. [Shot 1] The film opens close on the face of @image_1, lit from the side by a refrigerator door, then the camera pulls back with large amplitude at medium speed to reveal the aisle, the red basket, the worker at the counter and the dark glass doors. [Shot 2] At 00:02.000, a medium shot facing the entrance: the doors slide open and a stranger steps in unsteadily, one hand on the frame. The worker looks up. The camera pushes in with small amplitude at slow speed. [Shot 3] At 00:04.000, a close shot of the stranger. The swaying stops. The eyes focus. One small wrong twitch of the head. The camera holds a static shot. [Shot 4] At 00:06.000, a fast medium-wide shot: the stranger drives at the counter, the worker is slammed back, stock goes on the floor, @image_1 drops the basket and runs. The camera whips right with large amplitude at fast speed. [Shot 5] At 00:08.000, a low camera in an aisle at the eye level of @image_1: @image_1 drops behind the shelf, one hand hard over their own mouth, watching through a gap between packets. The camera holds a static shot. [Shot 6] At 00:10.000, from behind the shelf: the stranger walks into the aisle, looks left, then right, then stops facing the hiding place. The camera pushes in with small amplitude at slow speed. [Shot 7] At 00:12.500, an extreme close shot of @image_1's face, hand over mouth, one tear. The stranger is a blurred shape beyond the shelf. The stranger (S1), speaking from off screen in a warm, familiar, mid-range voice at an unhurried pace, says <d>[English] Sweetheart. Come out. I'm right here.</d> Then <d>[English] Come to me.</d> @image_1 does not move. The camera pushes in with small amplitude at slow speed and holds to the end. overall_soundscape: Refrigerator compressors, a fluorescent buzz, the two-note door chime, footsteps on polished floor, stock hitting the ground, and the tight held breathing of @image_1. After the counter the room tone thins out, so footsteps and breathing carry the last third alone. non_diegetic_music: A single sustained low drone with one slow rising note under it, entering only after the counter. It stays at one even, moderate level and never swells into a stinger.

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ASSET MAP: @image_1 is the first frame of this film and the only reference. The person in @image_1 is the reader and the city path in @image_1 is the only location. Identity: the reader in every second is exactly the person in @image_1 - face, skin tone, hairline, hair length, texture and colour, build and gender presentation unchanged, never masculinized or feminized, never restyled, and long hair is never added to a short haircut. No action, gesture, camera note or lighting note anywhere in this text may imply hair that the person does not have: nothing is pushed, tucked, swept or spilled over an edge, and nothing is rimmed or backlit through hair. Only one person is in this film. The black t-shirt, the rust-orange trousers, the bare feet, the rope hammock, the two cast-iron lamp posts, the concrete path, the grass, the sprinkler, the newspaper and the city skyline all come from @image_1 and stay unchanged. THE NEWSPAPER AND THE HEAD NEVER SHARE SPACE - HIGHEST PRIORITY: the newspaper lies open low across the lap and thighs for the whole film, exactly where @image_1 has it, and its top edge stays below the collarbone in every single frame. The newspaper is never lifted to the chest, never lifted to the face and never raised in front of the head. The face stays entirely clear of the paper with the street and the sky behind it: the face never overlaps the paper, is never drawn on the paper, is never seen through the paper, and no part of the face or the hair is ever printed inside the newsprint. THE FORM - THIS IS THE WHOLE FILM: one locked-off camera. The camera never pans, never tilts, never tracks, never zooms and never cuts - the frame of @image_1 holds from the first second to the last, and everything that changes happens inside it. Style: ultra-photorealistic live-action, warm cinematic city light, shallow depth of field on the skyline, fine natural grain, no gloss and no stylisation. Natural colors. 0-4 seconds: the film starts exactly on @image_1 and moves at once. The hammock rocks once under a shift of weight and steadies, and the crossed bare feet settle against each other. The reader turns one page of the newspaper flat on the lap, both hands staying low, and smooths it down; the sheets crackle. Behind, the sprinkler arc sweeps across the grass and two pigeons drop down onto the path and begin walking along it. The warm low sun holds on the face. 4-8 seconds: the light begins to go. The amber on the path cools and drains, the sky behind the skyline deepens from gold to blue, the shadows lengthen and go soft at the edges, and the windows of the towers start to pick up small lights. The reader reads on with the chin slightly lowered toward the paper on the lap, blinking slowly. Both lamp heads are still dark. 8-11 seconds: dusk. The street lamps strike on with a short warm buzz. The two lamp heads that hold the hammock are above the top edge of the frame, so the light arrives from directly overhead and drops a clean warm pool straight down onto the hammock, the newspaper and the reader, leaving the rest of the street dark around it; a second later the lamp standing further down the avenue lights too, small and warm in the distance. The reader lifts the chin and looks straight up into the light overhead, face fully lit from above, hands resting flat on the newspaper on the lap. 11-15 seconds: the two pigeons flutter up and land on the foot end of the hammock, settling by the crossed bare feet. The reader turns the head slowly from the lamp toward the lens and looks straight into the camera with a small, unbothered half-smile, holds that look, and one hand smooths the newspaper flat on the lap as the frame settles still on the final second. Continuity: one person throughout, five fingers on every hand, both hammock ropes taut and attached to the lamp posts at each end, the newspaper solid and opaque, the pigeons landing with real bird weight, and one continuous natural light change from low sun to lamp-lit dusk with no jump and no re-grade. Nothing in this film passes through anything else and nothing is ever printed onto another surface. Every surface stays free of readable lettering, signage and logos. Audio: distant traffic, the tick and hiss of the lawn sprinkler, newspaper rustling, pigeon wings and soft cooing, the short electrical buzz as the lamp strikes on, and a light breeze. Nobody speaks. No subtitles.

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ASSET MAP: @avatar_1 is the performer, and the only person in this film whose face, hair, skin tone, build and age come from a reference. Nothing in this text describes any of those things. ATTACHED REFERENCES ARE MANDATORY AND FINAL: the reference attached as @avatar_1 outranks every sentence below it. Where a word here and the reference disagree about what this person looks like, the reference wins and the word is ignored. IDENTITY LOCK - HIGHEST PRIORITY: the person on screen is exactly the person in @avatar_1. Preserve their facial identity and facial structure, eye shape, spacing and colour, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions - identically, from the first frame to the last. 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, and no second performer. The same person is on screen in the first second and in the thirtieth. THE HAIR COMES FROM THE REFERENCE, NOT FROM THIS TEXT: whatever hair @avatar_1 has is the hair in the film - the same length, the same colour, the same texture. If it is short it stays short, if it is long it stays long, if it is tied up it stays tied up, if there is none there is none. Movement and wind may throw it about, but they never change what kind of hair it is. Never add length, never add a ponytail or loose strands the reference does not have, never add a clip, a band, a ribbon or any other ornament to the head, and never restyle it to suit the dance. UNIFORM BOTTOMS: chequered school trousers COLLAR PIECE: a chequered necktie These two lines are the only place the uniform is decided. Change either one - to a chequered pleated skirt, to a ribbon bow tied at the collar - and the film follows it. No sentence below ever repeats or overrides the value. WARDROBE LOCK: a white button-down shirt worn loose with the sleeves pushed up the forearm, THE COLLAR PIECE at the collar, THE UNIFORM BOTTOMS in the same chequered pattern as the collar piece, white socks and plain white low-top trainers. The reference shows their face and build, not this outfit - put the outfit on them. Fit each garment to their body naturally without altering its design, cut, proportions or colour: the garment is fixed, only its drape adapts, and it is cut the same way whatever their build or gender presentation. Nothing in this outfit is chosen to suit one kind of body over another, and nothing about it is changed, softened or restyled because of who the reference turns out to be. The same clothing from the first frame to the last, never changed, never removed, never swapped mid-move. No jewellery, no badge, no lettering and no logo anywhere on it. This list is clothing only and says nothing whatsoever about hair. ONE SHOT, NO CUTS: the whole thirty seconds is a single unbroken handheld take. There is no cut, no dissolve, no jump, no flash frame and no black frame anywhere in it. One camera, one operator, one continuous move. What changes across the film is only how close the operator is standing and what passes in front of the lens. THE PLACE: a wide paved square outside a modern glass-fronted building at the end of a clear evening. Young trees in planters, a low kerb, shopfronts with awnings down one side, the sun already low and out of frame behind the far side of the square. A small black portable loudspeaker stands on the paving at the edge of the open ground; it is the only equipment in the scene. THE RING: a crowd stands in a closed ring around the open ground, two and three people deep, every one of them turned inward. They are ordinary onlookers of every sort, a whole mixture of them, standing shoulder to shoulder. Many hold phones up at chest and head height, filming. They clap along, they laugh, they shout, they lean into each other. They never step into the open ground, they never cross in front of the performer's body, and not one of them dances a routine - exactly one person is performing and the ring only watches. THE FRONT ROW WIPES THE LENS: the camera stands among the front row for most of the film, so shoulders, backs of heads, loose hair and raised arms slide across the near foreground, thrown completely out of focus by the long lens, sometimes filling the frame for half a second before sliding clear again. These passes are never cuts - the camera keeps rolling behind them and the performer is there again on the other side, one step further into the move. THE CAMERA, SECOND BY SECOND: 0-3 s: the film is already moving in its first frame - no fade, no black, no still frame, no establishing pause. The performer is on screen and mid-step from frame one, centre of the open ground, dancing hard, and for the first second nothing stands between them and the lens. The lens is at chest height among the front row, never lower, and the legs and hips are never the subject of a frame: from the second second onward a dark out-of-focus body drifts in from the right and sways across the frame twice, and the performer keeps dancing past it. Legs, trainers and the far ring of onlookers fill the bottom of the frame. 3-9 s: the operator steps clear of the front row and lifts the lens to chest height. The performer is now full-figure and centre frame, the ring of onlookers and the glass building behind, low sun flaring in from the far side. 9-11 s: the operator walks straight in through the front row. Heads and loose hair sweep the lens three times in a row, the ground steadies between each, and each time the frame clears the performer is nearer. 11-15 s: waist-up now, the camera weaving slowly sideways inside the ring, keeping the performer centred while faces slide past both edges of the frame. 15-16 s: the operator takes one step back and the performer is briefly full-figure again against the packed ring, travelling sideways across the open ground. 16-20 s: the camera holds that width for a beat, then closes again as the performer spins and plays straight down the lens. 20-26 s: a close shot - the face fills most of the frame, the crowd behind reduced to blurred colour, the performer holding the lens with a direct look and mouthing the words right at it. 26-28 s: the camera swings fast around the performer in one blurred arc, a whipped half circle in which the whole background smears into streaks of gold, and comes out of it at chest height. 28-30 s: it settles at waist-up with the black loudspeaker on the ground behind, the crowd standing and clapping in a row across the back of the frame. The performer keeps dancing straight into the last frame - no pose held, no freeze, no slow-down, the film simply ends mid-move. THE PERFORMANCE: a fast, sharp, front-facing routine danced in place and travelling only a step or two at a time - quick footwork on the beat, arms cutting clean straight lines, shoulder pops, hands framing the face on the accents, a full spin on the heavier beats. Every accent in the body lands on a beat that can be heard on the track. The face is doing as much work as the body: wide eyes, grins, a raised eyebrow at the lens, a mouthed word thrown at whoever is filming. Whenever the track is singing, the mouth moves with the words - real syllables, real breaths, the jaw and lips shaped by the sound. When the singing stops and only the instrument plays, the mouth stops with it and the dancing carries on without a break. MUSIC: one track carries the whole film and it is the loudest thing in it, playing out of the loudspeaker on the paving from the very first frame - a fast, bright, driving pop record with a hard four-beat kick, a clapping layer on the offbeat and a sung vocal line over it. It runs at full level through the first fifteen seconds. At fifteen seconds everything drops away for one beat, the kick and the vocal both gone, only a thin held note left hanging. At sixteen seconds the chorus lands hard, louder than anything before it, and on that exact hit every onlooker in the ring throws both arms straight up into the air and shouts; from that hit the track stays at its loudest, unbroken, all the way into the final frame. The crowd is audible underneath it - clapping, cheering, the shout at sixteen seconds - but always clearly quieter than the music, never level with it and never on top of it. No speech, no narration, no voice-over, no dialogue. LIGHT: low evening sun coming across the square from behind the ring, hitting the performer from behind and edging the shoulders and the outline of the head in hot gold. Long soft shadows across the paving, warm haze in the air, the glass of the building throwing the light back in pale sheets, a little flare across the lens whenever the sun clips the frame. Warm, rich, slightly hazy colour - the whole film shot in the last half hour of light. HANDS: five fingers on every hand, every time a hand comes near the face or is thrown up in the air - no extra finger, no missing finger, no fused or bent-back joint, no hand that changes shape between one move and the next. The same goes for every raised hand in the crowd. NOTHING READABLE: no readable words anywhere in the frame - no signage, no shop name, no logo, no brand mark, no writing on the loudspeaker, no printed text on anyone's clothing or bag. Surfaces that would normally carry lettering are plain. NEGATIVES: No subtitles. No on-screen text. No captions.

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