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.

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@avatar is the lone warrior. @avatar defines IDENTITY ONLY - face, hair and skin. Gender, face, hair and skin come entirely from @avatar and never from this text; the clothing, pose, background and lighting of @avatar are ignored completely. Wardrobe (comes from this text, never from @avatar): a heavy dark grey hooded coat with a long torn cloak over one shoulder, dark wrapped forearms and dark boots, all of it scorched and ash-dusted, unisex cut, no logos or lettering. The same in every shot. Stylized cinematic CG dark-fantasy, 30 seconds, one continuous firestorm over a scorched black ash plain with industrial towers and wind turbines far off in the smoke and heat haze. Long lens, handheld weight, low angles and straight overheads, real motion blur, embers and ash crossing the lens. The world and every enemy burn in deep ember orange, and the light from @avatar's blade is the only white-hot light in the film. 0-5 seconds - A horde of burning beast-riders, their bodies cracked black rock with fire running in the seams, charges in from the horizon. @avatar slides low across the ash crust toward them, the long sword held back, its edge cutting a thin white-hot line through the embers. 5-9 seconds - @avatar plants both feet and raises the sword overhead in both hands; the blade ignites into a long horizontal bar of white-hot light. Straight overhead: the bar comes down into the ash and opens a wide crater ringed with burning embers, the horde curving around the rim into concentric rings. 9-15 seconds - @avatar drops into the centre of the crater and a radial shockwave throws the nearest ranks outward, then dashes low across the plain, the sword dragging one continuous white-hot line that blasts a whole row of burning beasts into cinders and smoke. 15-21 seconds - A wave of white-hot energy sweeps an entire flank and bodies lift off the ground into a rising column of fire and ash, and the column takes shape as a long dragon of flame and embers uncoiling up out of the firestorm. 21-27 seconds - A molten colossus heaves up out of the ash behind @avatar, lava glowing in every seam of its cracked black crust, and swings one huge arm across the frame. @avatar slides flat under the arm and drives the glowing blade up under its jaw; the giant goes over and slides across the crust, throwing up a bank of cinders. 27-30 seconds - The fire dragon collapses back into falling embers. Final wide: @avatar walks away, small in the frame, two tracks in the ash, the plain burning dark orange behind. Sound: the low roar of fire throughout, ash crunching under the boots, blade impacts, beast roars, a deep low hit on each energy release, and a restrained low orchestral score. No subtitles.

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WHAT YOU CHANGE: TWO PHOTOS OF PEOPLE, ONE PRODUCT PHOTO, AND FOUR SLOTS IN THE VIDEO PROMPT ([PRODUCT], [BEFORE], [USE], [AFTER]). NOTHING ELSE. Upload a photo of two people (anyone, one photo each) and one clean photo of @product, all at least 300 px on each side. Steps 1 and 2 turn the two photos into character sheets that hold the faces, step 3 turns the product photo into a three-view product map, step 4 renders the film with both character sheets, the product map and the original photo attached as references. Before firing, answer four questions and paste the answers into the four [SLOTS] of the video prompt (each slot explains itself and carries a mascara example): 1) PRODUCT: what is it, in three words? 2) BEFORE: what does the close-up show before anyone uses it? 3) USE: what does the person do with it, in one sentence? 4) AFTER: what has visibly changed? The same BEFORE answer also goes into the two character sheet prompts, so the characters start in the before state. Everything else stays as written. Two rules: never describe an effect that leaves a face (flash, gust, glow), Seedance renders it as mist; and keep six stages, more than that in 15 seconds collapses into a calm two-shot.

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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.

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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, no other people in the film. 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): a loose cream-and-navy striped knit sweater, straight-leg blue jeans, worn trail sneakers and a small dark backpack, 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 second of the film. Ultra-realistic cinematic outdoor cinematography, 30 seconds, one continuous immersive handheld follow with no cuts anywhere. @avatar runs without ever breaking stride while the ground transforms under the feet, each new world spreading outward from where a foot lands. The stride, speed and direction never change. Hands stay correct in every frame: five fingers per hand, natural running arm swing. 0-5 seconds - GREEN. The film opens already at full speed: @avatar mid-stride, running hard across a high alpine meadow at golden hour, grass whipping past the lens, burning meteors already streaking down the sky behind. No fade in and no still opening frame. The camera runs behind at shoulder height. 5-10 seconds - LAVA. Mid-stride the grass darkens and splits into black volcanic rock veined with molten orange, heat shimmer and drifting ash. The camera swings around into a front-on lead shot. 10-15 seconds - ICE. The molten crust freezes over into blue glacier ice with wind-driven snow streaming across it. Breath fogs. @avatar runs straight at the camera as it leads backwards, close enough that the face is fully readable. 15-20 seconds - DESERT. The ice turns to sand: red-gold dunes, hard flat light, sand smoking off the crests. The camera drops to ground level beside the feet, then rises back behind @avatar. 20-25 seconds - JUNGLE. The sand greens over into dense wet jungle, huge leaves and shafts of light through the canopy, leaves brushing past the lens. 25-30 seconds - GREEN AGAIN. The jungle thins back into the same golden meadow. @avatar slows, stops and turns to look straight into the lens, face fully readable, then out at the way the world has come. Final wide, clouds below the ridge. Light travels with the terrain: warm golden hour, hot orange bounce, cold blue, hard flat sun, green filtered light, then golden hour again. Sound: breathing and footfalls all the way through plus the sound of each world in turn, and a restrained low score. No subtitles.

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