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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@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.

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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.

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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.

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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.