ASSET MAP — every reference is bound here and cited by tag below: @avatar — the model. This is the person; gender, face, hair, skin and body proportions come entirely from @avatar and not from this text. Its clothing, pose, framing, background and lighting are ignored completely. @product — the sunglasses. Frame shape, frame colour and finish, lens shape and lens tint come entirely from @product and not from this text. ATTACHED IMAGES ARE MANDATORY AND FINAL: @avatar is the person in every shot and @product are the only sunglasses in the film. The attached images outrank every word written below them: wherever an image and this text disagree, follow the image. CHARACTER LOCK: @avatar keeps the same facial identity, facial structure and proportions, eye shape and spacing, eyebrows, nose, mouth, jawline, exact skin tone and skin texture, hairline, hairstyle, hair length, texture and colour, distinctive marks, apparent age, build and body proportions in every shot, from the first frame to the last. The gender presentation of @avatar stays exactly as shown in that reference; do not masculinize, feminize or otherwise reinterpret it. Do not redesign, beautify, slim, age or de-age @avatar. PRODUCT LOCK: the two lenses of @product are not the same shape as each other, and that difference is preserved in every shot — never regularised into a matching pair. The frame surface of @product is smooth and unmarked, and the inner face of the temple never comes into frame. Every letter visible on @product is a letter that exists in its reference. WARDROBE (from THIS TEXT, never from @avatar): @avatar wears the same outfit in every shot — a colour-blocked nylon windbreaker in white, cyan and magenta panels worn open over a plain white cotton tee, high-waisted acid-wash straight-leg jeans, white canvas high-tops with slouched white socks. Every garment is cut unisex and keeps that same cut whoever appears in @avatar: the tee is a plain crew-neck whose hem reaches below the waistband of the jeans, and the jeans are straight and reach the ankle. Each garment keeps its design, cut, proportions and colour; only its drape adapts to the body. ONE-SENTENCE SUMMARY @avatar models @product against a flat scarlet paper backdrop in a fast-cut 1987 sunglasses campaign film, with ice cream, bubble gum and a cold drink between editorial poses and macro passes over the frames. DETAILED PLOT — nine shots, fast hard cuts, roughly one and a half seconds each Held through every shot: one flat scarlet paper backdrop with a hot-spot where the hard key lands; the same outfit; @product worn on the face except where a shot says otherwise. The cutting is fast but the motion inside each shot stays small and coherent — no lunging, no whipping, no sudden turns. Shot 1 opens already in motion on a readable face, never on an empty frame or a fade from black. Shot 1: Fixed camera, close-up. @avatar takes a small bite from a vanilla ice cream cone while wearing @product and smiles into the lens. The hard key from the left lays a crisp shadow of the frames on the cheek and a cyan rim traces the jaw. <the crisp bite of the cone> Shot 2: Cut to a fixed camera, full-body wide. @avatar walks four steps toward the lens on the red paper in the white crew-neck tee and the full-length acid-wash jeans, the colour-blocked windbreaker swinging open, and settles into an editorial stance. <soft footsteps on paper> Shot 3: Cut to a fixed camera, medium close-up shot at a hard ninety-degree side angle, so only the profile of the face is seen and the edge of one lens and the temple of @product read as a clean silhouette against the red. <room tone> Shot 4: Cut to a fixed camera, close-up masked into a soft-edged circle like a 1980s television ident. @avatar blows a pink bubble-gum bubble until it fills the circle, then pops it and laughs. <the snap of the bubble> Shot 5: Cut to an extreme macro that tracks slowly across @product worn on the face, from the bridge along the browline to the edge of one lens, specular glints running over the tint. <room tone> Shot 6: Cut to a fixed camera, medium close-up. @avatar holds @product flat on one open palm, raised toward the lens and filling the middle of the frame, with the face soft behind it. <fabric shifting> Shot 7: Cut to a fixed camera, side view. @avatar lifts a plain glass bottle of dark cola, takes a sip, lowers it and grins at the lens, @product still on, wearing the white crew-neck tee and the acid-wash jeans. The bottle is smooth unmarked glass with straight parallel sides and a short plain neck, the drink inside a deep cola brown, with no label, no foil, no cap and no fluting or embossing anywhere on the glass. <the fizz of the drink> Shot 8: Cut to a fixed camera, close product shot with no person in frame: @product stands on a small off-white card laid on the red paper, rotating slowly through three quarters. A white bounce card shields the frame from the red paper so the colour of @product reads as it does in its reference, and the hard key lays a crisp shadow beside it. <room tone> Shot 9: Cut to a slow macro close-up of @product on the face of @avatar, the tint catching the scarlet of the backdrop, held to the final frame. <room tone> LIGHT AND STYLE Shot on 35 mm for a 1987 fashion campaign: saturated primaries, a dense scarlet backdrop, high contrast with clean blacks, warm halation around the brightest highlights, visible fine film grain and a faint gate weave. Period studio light, not modern beauty light — one hard tungsten key with crisp shadow edges, a cyan gelled rim from behind, a magenta bounce opening the shadow side, hard specular sparkle on glossy surfaces. Skin keeps real texture with visible pores and fine hair. Punchy period grade, dense reds, no teal-orange. CAMERA Fixed shots and slow push-ins only, one movement per shot. Hard cuts between shots, no dissolves and no speed ramps. HANDS AND PROPS Hands stay anatomically correct with five fingers on each hand wherever a hand is visible. The cone, the gum and the bottle stay separate objects in the grip. The ice cream stays a plain pale scoop, and the bottle stays smooth unmarked glass with straight parallel sides and a deep cola-brown drink inside — no label and no printed or embossed mark of any kind. AUDIO (a 1980s synth-pop groove at about 112 BPM — gated snare, drum machine kick, analog synth bass, bright bell stabs and tambourine, with thin tape hiss under it) CONSTRAINTS Keep it subtitle-free. Do not generate a logo, a brand name or a product label on any prop, garment or surface. Do not generate a watermark. Throughout the video, characters with completely identical appearance, clothing and accessories are prohibited; do not generate duplicate avatars or a twin effect, and keep only a single corresponding character in the same frame. The face of @avatar remains stable without deformation; movements are natural and smooth, with no stutter or flicker.

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Generate a twenty-second vertical ultra-realistic cinematic aerial stunt film from the provided first frame. ASSET MAP - every reference is bound here and cited below: @image_1 - the first frame of this video. It is the exact opening image, and the person in it is the athlete for the whole film. CHARACTER LOCK - HIGHEST PRIORITY: the athlete in every segment is exactly the person in @image_1. Preserve the facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions - identically, segment to segment. Preserve the 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. One single athlete appears in this film. ATTACHED IMAGE IS MANDATORY AND FINAL FOR THE OPENING AND THE IDENTITY: start from @image_1 as the exact first frame, and wherever @image_1 and this text disagree about a face, hair, skin tone, body, age, the jumpsuit, the harness or the helicopter interior, follow @image_1. The camera path, the timing and everything that happens after the first frame come from this text. WARDROBE LOCK: the athlete wears the matte black aerodynamic jumpsuit with dark red panels, the compact safety harness and parachute pack, black gloves, lightweight boots, clear goggles and the small helmet-mounted camera exactly as established in @image_1, unchanged from the first frame to the last. No visible logos, brand marks, printed words or numbers on any garment or on the equipment. Nothing is ever strapped to the feet of the athlete - no board, no ski and no equipment of any kind, at any point in the film. Both hands keep five fingers in every segment. Summary: a professionally supervised fictional stunt - the athlete exits a helicopter above Paris at golden hour, free-falls the full height of a vast wrought-iron lattice tower, passes it within metres, stabilises, deploys a guided parachute with a hard snap, and lands on marked open ground at the far end of the esplanade, well clear of the tower. Visual style: ultra-realistic vertical sports footage with the grit of real helmet-cam and chase-cam material - hard low golden light on grey zinc rooftops and cream stone, heavy motion blur, rolling horizon, lens vibration, fine grain, deep readable shadows. Cinematic but never glossy or staged. SPEED RULE - this is what sells the fall: the camera never travels at the same speed as the athlete during free fall. In every falling segment something must rush past inside the frame - the tower's ironwork, a platform edge, a cloud layer, the rooftops - so the speed is visible against a moving foreground rather than a still one. The horizon rolls, the frame vibrates, and the body is thrown by the airflow. 0-2 seconds: the film starts exactly on @image_1 and immediately moves. The camera pushes in fast from the doorway framing to a tight shot of the face of @image_1, wind hammering the jumpsuit and tearing at the hair, the rotor beat shaking the lens. The goggles come down over the eyes, the jaw sets, and the crew member deeper in the cabin slaps the shoulder of the athlete once. <rotor beat, hard wind at the open door, a single hand slap on fabric> （a low tense drone, one slow pulse） 2-4 seconds: one continuous shot from inside the door, camera locked to the doorframe. The athlete pushes off hard with both hands and falls away from the camera, shrinking fast against the rooftops in under a second while the doorframe stays in frame in the foreground for scale. Then the camera whips down after the athlete with full motion blur. The exit is fully visible - the body leaves the frame downward, never by a cut. <a hard push off metal, the wind opening into a roar, the rotor snapping away above> （the pulse cuts to silence） 4-7 seconds: helmet-camera point of view from the athlete looking down along the body - the boots against the rooftops far below, the iron tower rushing up toward the lens from the bottom of the frame, the city rotating slowly around the edges. The frame vibrates hard. <a solid wall of rushing air, the suit drumming, breathing inside the helmet> （a rising low string swell） 7-10 seconds: the camera drops to a chase position beside the athlete as they pass the tower within metres, belly-down and arms spread. The lattice ironwork rips past the frame at speed, one platform edge ticking by close to the lens, the golden light strobing through the girders. <ironwork wind roar, a hard flutter of fabric> （the swell keeps climbing） 10-12 seconds: a tight close-up on the face of @image_1 in free fall, filling the frame - the cheeks pulled back by the airflow, the goggles pressed against the skin, loose hair hammering across the temple, the eyes locked forward and calm. Brief slow motion, then back to real time. The face, hair and skin tone stay exactly as in @image_1. <the roar going slightly muffled, then full> （the swell thins to a single held note） 12-14 seconds: the hand of @image_1 finds the deployment handle and pulls it hard. The pack cracks open, the suspension lines rip out and snap taut, and a compact red-and-white canopy slams open above the athlete. The harness takes the weight with a hard jolt that throws the legs forward and the descent breaks sharply. Slow motion across the snap, then real time. <the pack cracking, lines snapping tight, a deep canopy boom, the harness creaking under load> （the held note breaks into a wide warm chord） 14-17 seconds: the camera settles behind and slightly above the athlete, hanging in the harness with both arms spread wide, the long formal lawns, gravel paths and clipped tree rows of the esplanade sliding beneath and a gilded dome standing in the distance ahead. The canopy breathes in the air above. <calm air, fabric luffing, distant city> （the chord opens up） 17-20 seconds: a low camera at grass height as the ground rushes up - the lawn filling the frame, then the boots slam down and take two hard running steps, the canopy collapsing forward onto the grass behind. Ground crew in high-visibility vests stand well back beside coloured markers. The camera rises and settles locked off on the face of @image_1, who straightens up facing the lens, still breathing hard, the dome and the grey Paris rooftops glowing behind. The composition holds still to the final frame. <ground rush, boots hitting grass, fabric collapsing, hard breathing, wind dropping away> （the chord holds and fades） Continuity and physics: one single athlete throughout, always the person in @image_1, in the same jumpsuit, harness and goggles from the first frame to the last. Every falling segment is the same uninterrupted fall, and the athlete is lower and closer to the ground in each one. Real air resistance and real mass: the body accelerates for the first seconds, the fabric flutters and snaps under load, the canopy inflates in stages and takes the weight before the descent slows, the lines stay attached and visible, and the landing carries forward momentum into two steps. The iron tower, the esplanade and the city stay background geography and are never touched, never landed on and never damaged; the landing ground is open, marked and well away from the tower. The jump is a supervised fictional stunt: the harness, the crew and the marked landing ground are visible, the canopy deploys cleanly, and the athlete lands safely on both feet. Constraints: no subtitles and no on-screen text of any kind anywhere in the film. Do not generate a watermark. Do not generate a logo.

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A fifteen-second candid handheld home video in a modern kitchen on a dark rainy morning. @image_1 fights a tightly sealed glass jar in three escalating attempts - bare hands, then a tea towel wrapped around the lid, then the whole body braced against the worktop - and when the lid finally pops, dips a fingertip in to taste it and turns to the camera with a small proud smile. Natural location sound only, no music.

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A fifteen-second premium 3D animated fantasy short. @image1 plays with a small white feathered dragon hatchling on a floating island above a sea of clouds, an enormous green-and-gold dragon comes up over the rim, and after a run and a hiding place in the rock the giant turns out to be no threat at all - the film ends with the hatchling settling on @image1's shoulder at the island rim, both dragons and the whole cloud sea behind.

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@avatar is the person walking - it defines face and identity only. Preserve their facial identity, skin tone, hairline, hair, apparent age, build and gender presentation exactly as shown, in every frame; never invent a different face. The attached image outranks this text wherever they disagree. Wardrobe comes from this text, never from @avatar: a sharp all-black tailored suit - single-breasted jacket with narrow lapels worn closed, straight-leg trousers, a plain black shirt buttoned to the collar with no tie, polished black shoes, one thin gold chain. Monochromatic, unbranded, no lettering. Fit each garment to their body naturally without changing its design or cut - the garment is fixed, only its drape adapts. Same outfit in every second. 10-second hyper-realistic red-carpet arrival, vertical 9:16, one unbroken shot, late at night. @avatar walks straight toward the camera down a deep red carpet holding direct eye contact with the lens, framed head to toe. A press line runs along both sides behind a low barrier: photographers shoulder to shoulder, long lenses up, firing out of sync. THE LOOK IS HARD DIRECT FLASH. Harsh on-camera flash dominates every frame - bright speculars on skin and black fabric, deep contrast, a crisp hard shadow on the carpet behind @avatar, and fast falloff into black past them. Side flashes rake in at different intensities with overlapping shadows and occasional lens flare; between bursts the scene drops to dim tungsten and the carpet reads deep and saturated. Each burst freezes @avatar razor-sharp mid-stride while the crowd behind smears. Eye level, 35mm, flash at the camera - aggressive tabloid arrival, not soft editorial. High-ISO grain, real skin texture, five fingers, correct legs and feet. The clip opens on the peak of a flash burst with @avatar already mid-stride - no fade from black. @avatar walks at an even confident rhythm, arms swinging subtly, shoulders relaxed, never an exaggerated runway pose. Midway a volley hits from the left, then the right, lighting their face from both sides at once as the framing tightens toward three-quarter. In the last beat @avatar arrives close to the lens, still walking and still holding eye contact, one final burst fills the frame, and the clip ends on that motion. Diegetic sound only: dense overlapping shutter clicks and flash recycle whine, steps on carpet, photographers calling over each other, a low crowd murmur behind the barrier. No BGM; generate only environmental sounds and action sounds. No subtitles.

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Create a first-person POV viral video showing the magic of architectural design coming to life. Real hands in black leather gloves hold up an architectural blueprint of a sleek modern villa, then pull it away to reveal the villa magically assembling in real-time. Concrete walls, steel frames, and glass panels rapidly materialize with cinematic effects, dust clouds billowing as construction happens at impossible speeds. The blueprint elements transform into real structural components. Set on a bright sunny construction site with clear blue skies.

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