Viral Dances

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. The person in every shot is exactly the person in @image1 — face, bone structure, skin, blonde hair, age, body. The photo is identity only, not wardrobe. Do not keep the ivory blazer, camel skirt, boots or bag from the photo. Do not give them black hair. WARDROBE (from the source film): butter-yellow cropped t-shirt with a silver rhinestone star, black neck trim, beaded fringe at the hem; distressed blue denim shorts; thin black belt; layered silver necklaces; white crew socks with stripes; chunky silver-white sneakers. Same outfit for the full 15 seconds. SETTING: charcoal-grey seamless studio, dry floor with a faint reflection. No furniture, no crowd, no props. Soft white key from front-left, pale blue-violet rim from behind. One person only. No on-screen text. MUSIC: 128 BPM four-on-the-floor k-pop dance track already in the chorus. Heavy kick, bouncing bass, sharp claps. No intro, no fade-out, no ending hit. The clip is a mid-routine slice — they are already dancing in frame 1 and still moving in the last frame. CHOREOGRAPHY — one continuous 15s routine in four phrases. Never freeze. Never a start pose or a finish pose. Phrase 1 (0–3.75s): already weighting the left leg as arms return to the chest. Step hard right, uncross the arms out and open the chest. Weight back left, arms circle down. Two small forward steps, a sharp chest hit on the clap. Open the right foot, drop the knees, arms to the hips into a hip figure-eight. Phrase 2 (3.75–7.5s): low hip figure-eight, weight right-left-centre. Wave up from pelvis through belly to chest. Uncoil the arms as the right foot crosses in front, glance at the lens with a brief smile without stopping. Phrase 3 (7.5–11.25s): smooth stepping turn, hair lagging the spin. Land into a right side lunge, left arm high, long diagonal. Push back to centre, wave down the torso. Phrase 4 (11.25–15s): two strong hip accents. Two quick steps to centre, load the arms. Open the right foot wide, big arm unfold — not a finish, a send-off. Circle the arms down, take weight on the left, right foot already starting the next cross-step. Last frame still travelling. CAMERA (cut on the body, never reset the step): 0–3.75s full body, slight three-quarter, short lateral slide. 3.75–5.625s waist-up, hip figure-eight, locked frame. 5.625–7.5s face and shoulders, 85mm, the wave hitting the collarbone. 7.5–11.25s full body for the turn and lunge. 11.25–13.125s head to mid-thigh. 13.125–15s full body, short lateral move, no zoom-in to end. Photoreal skin, light sweat, motion blur on hair and hands. No slow-mo, no logos, no extra limbs.

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Photoreal cinematic vertical dance clip, authentic handheld phone footage energy, natural daylight, realistic skin and hair — a synchronized trio dance trend, three real people side by side in a covered open-air concrete walkway with green foliage and a chain-link fence behind, upbeat and playful. THREE DANCERS — IDENTITY LOCK: three real, distinct people in a row facing camera. @image1 CENTER — exactly the person in @image1 (face, hair, identity, own outfit from the reference). @image2 LEFT — exactly the person in @image2. @image3 RIGHT — exactly the person in @image3. Preserve each one's identity, features, skin tone, hairline, hairstyle and build identically in every frame; never blend, swap or morph the three faces into each other; the attached images outrank any words. No fourth person. They/them throughout. HAND LOCK: each dancer has exactly two hands with five well-formed fingers per hand; hands stay clean and correct through every move; the three move in tight SYNC, mirroring the same choreography at the same time. BEATS (feet always planted cleanly on the ground): 0-2s three in a row, small bounce to the beat, then in unison raise both hands up near their faces. 2-4s hands sweep out to the sides as shoulders sway left then right, a light step-touch. 4-6s cross forearms in front of the chest, flick both hands open together, a small unison step to the right. 6-8s hands playfully frame the face, heads tilt in sync, a bounce. 8-10s arms pump up in rhythm, hips sway, all three mirrored exactly. 10-12s a smooth quarter turn in unison and back to face the camera, hands rolling, smiling. 12-15s big synchronized final pose together (hands up, then one hand on the hip), hold it, laughing, confident, looking to lens. CAMERA: a single steady handheld phone shot framing the three from head to mid-thigh, slight natural micro-movement, vertical, no cuts, no zoom, no impossible move; everyone stays clearly in frame. Realistic body physics, natural weight and balance, believable synchronized movement; ONE continuous take, no abrupt cut to another scene. SOUND: an upbeat contemporary dance-trend music bed driving the rhythm plus light outdoor ambience; no spoken dialogue, no invented language. NEGATIVE: any of the three faces changing, blending, swapping or morphing into another; a fourth person appearing; a third hand, extra arm, fused or morphing hands, extra or missing fingers; feet sliding, skating or not touching the ground, warped or morphing legs, gait or limb glitching during the dance; the dancers falling out of sync into jittery glitching; describing or changing their outfits away from the references; on-screen text, captions, numbers or watermark; plastic or beauty-filtered skin; a scene cutting off mid-action or jumping to an unrelated scene; any dancer vanishing, dissolving, fading or teleporting — everyone stays physically in frame.

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Animate this ink painting. 15 seconds, one continuous shot, no cuts, the camera never moves. Real-time speed, no slow motion. @image1 is the first frame - figure, garment, pose and style are already set. Continue directly from it. She is already dancing and never stops - turning, arms sweeping wide, hair whipping, the painted fabric flaring. Fast and fluid throughout. THE GARMENT KEEPS ITS OWN COLOUR. It is never recoloured or repainted. Ink follows her. Brushstroke ribbons fly off her sleeves and hem in wide arcs and dissolve. Wet spatter flicks onto the paper and pools where her feet land. Colour builds in three ways. First in the air: the trailing ribbons turn crimson, then gold, then violet and blue. Then on the fabric: blooms of those same colours soak into the garment in irregular patches, bleeding at the edges, never covering it evenly. Finally downward: in the last seconds long coloured drips run from the hem onto the paper. By five seconds the paper is already stained with layers of brushwork. Hand-painted throughout - wet ink, soft bleeding edges, visible paper grain. Never photoreal, never 3D. Audio: soft slow instrumental music, a single stringed instrument. No voices.

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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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