مطالبات Seedance 2.5: 1,246+ مثالًا ودليلًا

SCENE CONTEXT A 20-year-old East Asian woman spends an autumn day moving through a big city — leaving her apartment, riding the subway, grabbing coffee from a cart, cutting through a park in falling leaves, browsing a bookstore, catching golden hour on a rooftop, and riding home at night — filmed as a candid, mixed-format day-in-the-city vlog, 30 seconds total. ACTIVE REFERENCES @image1: 20-year-old East Asian woman, soft round face, warm ivory skin, dark brown hair in a loose high bun with face-framing strands, natural dewy makeup, gentle expressive eyes, wearing a wine-burgundy ribbed knit off-shoulder sweater and a small silver flower pendant necklace. 100% matches the reference throughout every shot. FORMAT MODE Timed multishot. HARD CUTs only at the stated seconds; camera does not cut on its own between them. Mixed scene styles — not every shot has dialogue; some are silent candid b-roll. 0.0s–4.0s — HARD CUT 4.0s–8.0s — HARD CUT 8.0s–12.0s — HARD CUT 12.0s–17.0s — HARD CUT 17.0s–21.0s — HARD CUT 21.0s–26.0s — HARD CUT 26.0s–30.0s — end OPTICS Shot 1: 63° wide, POV-adjacent handheld. Shot 2: 47° neutral, static-ish lean. Shot 3: 29° portrait-compression, quick transactional. Shot 4: 18° natural-portrait, slow-mo detail. Shot 5: 29° portrait-compression, candid unaware angle. Shot 6: 47° neutral, two-shot-adjacent solo toast. Shot 7: 18° natural-portrait, close reflective. No drift mid-segment. CAMERA Handheld throughout with natural 1–2cm tremor. Shot 1: phone-height POV-style, walking at 4 km/h. Shot 2: camera rests low against a pole, minimal movement, observational. Shot 3: quick whip from hand to face and back. Shot 4: slowed to half real-time, camera drifts sideways at 1 km/h following falling leaves. Shot 5: camera appears to catch her off-guard, slight delay before she notices it. Shot 6: static-ish, propped, she moves into frame. Shot 7: static through car window glass, reflections passing over her face. ACTION 0.0s–4.0s: She steps out of an apartment building onto a leaf-scattered sidewalk, adjusting her bag strap, glancing at her phone, morning light low and warm through bare branches. She looks up at the camera briefly, half-smiles: "Okay — let's do this." 4.0s–8.0s: Inside a subway car, she leans against a pole, earbuds in, watching the platform lights blur past the window, city sounds muffled and rhythmic. No dialogue — just her quiet, unbothered expression, occasional sway with the train's motion. 8.0s–12.0s: At a small street coffee cart, steam rising from the machine, she hands over cash, receives a paper cup, wraps both hands around it immediately for warmth. Brief exchange, she says only: "Thanks, you're the best." 12.0s–17.0s: Slow-motion through a park path thick with falling amber leaves, she tips her head back mid-step and turns once, leaves catching in her hair and sweater, genuine unguarded laugh, no spoken line — just breath and laughter audible. 17.0s–21.0s: Inside a small bookstore, she runs a finger along a shelf, pulls a book halfway out, flips a few pages, unaware of the camera, soft window light across her face, ambient store quiet. No dialogue. 21.0s–26.0s: On a rooftop at golden hour, city skyline hazy behind her, she raises a takeaway coffee cup slightly toward the lens like a small toast, warm low sun rim-lighting her hair, says only: "To days like this." 26.0s–30.0s: Inside a taxi at night, warm amber streetlights sliding across the window glass and over her face in soft passing bands, she rests her head against the seat, tired contented smile, looks toward the lens and says: "Best day, hands down." PERFORMANCE Restrained, natural reactions — no performed excitement. Shots 2 and 5 specifically read as candid/unaware of the camera. Living eyes with catch-light in every close shot, visible breath in shot 1, natural skin and fabric texture throughout. PHYSICS Leaves fall and scatter with real weight and drift, catching briefly in hair and sweater fibers before falling away. Coffee steam rises and dissipates naturally. Streetlight bands move across her face and the window glass with correct parallax as the car moves. Train sway shifts her weight subtly and believably. LIGHTING Shot 1: low warm morning sun through bare branches, soft shadow lines. Shot 2: cool fluorescent subway light with warm practicals flickering past outside. Shot 3: overcast daylight, soft even key. Shot 4: dappled warm sun through park canopy, backlit leaf edges. Shot 5: soft window-diffused daylight, low contrast. Shot 6: warm low-angle golden hour key, strong rim light, soft haze. Shot 7: warm amber sodium streetlight passing bands only, otherwise dark interior. COLOR GRADE Warm autumn palette — amber, rust, and soft gold tones with muted city grays. Warm amber streetlight at night, never neon or saturated colored signage anywhere in frame. No cool-cyan or magenta tint. WARDROBE Wine-burgundy ribbed knit off-shoulder sweater and silver flower pendant necklace, unchanged and clearly visible in every shot. A loosely draped scarf or open coat may sit over it in the subway and taxi shots without covering it. AUDIO Shot 1: quiet street ambience, rustling leaves. Shot 2: muffled train rumble, distant announcement, no dialogue. Shot 3: espresso machine hiss, brief exchange. Shot 4: crunch of leaves, natural laughter, no line. Shot 5: quiet store ambience, page-turning, no dialogue. Shot 6: distant city hum, wind. Shot 7: engine hum, soft radio murmur under her line. STYLE Authentic day-in-the-life vlog cinematography, dreamy 35mm film aesthetic, fine natural grain, realistic autofocus hunting, mix of talking and silent candid shots for a lived-in, unscripted feel. OUTPUT SETTINGS 4K, 24fps, 35mm grain, real-time except shot 4 (half real-time slow motion), realistic handheld motion, no neon or saturated signage in the color palette anywhere. POSITIVE LOCKS Same woman's face and build in every shot, matching @image1 exactly. Wine-burgundy sweater and silver necklace stay visible in every shot. Hair stays in the same loose high bun throughout. Cuts only at stated seconds, camera does not cut on its own. Shots 2 and 5 stay dialogue-free and candid. Warm amber tones hold throughout — no neon, no cool-cyan tint anywhere.

Create a 30 second premium cinematic 3D animated short film titled The Tiny Tailor. Maintain perfect visual continuity from beginning to end, keeping the tiny tailor's face, body, clothing, proportions, colors and accessories identical in every shot, along with the sewing room, table, jacket, needle and thread staying consistent in size, shape, position and appearance. Use one continuous logical timeline with natural human like movement, physically believable object interaction, correct anatomy, and no artifacts, warping, morphing, or camera jumps. Visual style is high end cinematic 3D animation with realistic materials, detailed fabric, natural textures, physically based lighting, realistic shadows, subtle depth of field and polished feature film quality, avoiding plastic looking characters or cartoon physics. The story begins in an elegant tailor's workshop where a tiny tailor a few inches tall walks across a huge wooden table carrying a measuring tape, approaching a large dark blue jacket. He notices a tear, threads a needle almost as tall as himself with golden thread, and carefully repairs the tear with realistic stitching shown from multiple angles. He steps back to admire his work, then a gigantic human hand enters the frame and picks up the jacket. The final shot reveals a giant person wearing the repaired jacket, with the camera pulling back to show the tiny tailor sitting proudly inside the jacket's pocket holding his needle. Use smooth cinematic camera movements, stable framing and consistent perspective throughout, with no rapid cuts or impossible physics. Duration 30 seconds, aspect ratio 16 by 9, high detail cinematic 3D animation output.

Create a 30-second ultra-photorealistic live-action cinematic adventure video following a young woman crossing a shallow mountain river by carefully jumping between natural stepping stones. Show a realistic outdoor landscape with clear flowing water, moss-covered rocks, wet gravel, grass, trees, distant mountains and small rapids. Keep the woman, clothing, backpack, terrain and environment perfectly consistent throughout. Capture authentic human biomechanics, jumping, balance, momentum, center-of-mass shifts, foot placement, friction and realistic landing mechanics. Include a naturally unstable rock that shifts slightly under her weight, forcing her to regain balance before continuing across the river. Make the river behave with realistic fluid dynamics: continuous downstream flow, water splitting around rocks, small eddies, ripples, turbulence, droplets and proportional splashes. Wet rocks should have reduced traction, while gravel and soil respond naturally to her footsteps. Use modern cinematic adventure-documentary cinematography with handheld trail-following shots, rock-level close-ups, side tracking during jumps, realistic autofocus, natural camera inertia and a wide landscape reveal at the end. Natural diegetic audio only: rushing water, footsteps, gravel, shoe impacts, small splashes, wind, birds, breathing and clothing movement. No music, narration or subtitles. End with the woman safely reaching the opposite bank, adjusting her backpack and looking back across the river as the camera slowly pulls away to reveal the surrounding mountain landscape. No CGI, animation, fantasy, superhero movement, impossible jumps, floating objects, teleportation, exaggerated splashes, distorted anatomy, changing clothing, impossible camera movement, logos or watermark.

Create a 30-second vertical 9:16 full-color 3D animated short film about a chubby raccoon experiencing an automatic car wash for the first time. Use the reference character sheet and turnaround to preserve the same raccoon identity, proportions, round body, short legs, short paws, large striped tail, fur pattern, and expressions throughout. Use the prop sheet to preserve the same retro rounded mint-green car and car-wash equipment. Use the storyboard only for story order, shot composition, camera angles, acting, and action flow. Do not inherit sketch, grayscale, storyboard borders, numbers, captions, or paper texture. There is only ONE raccoon in the entire film. Style: polished, colorful, stylized 3D animated short, premium feature-film quality, soft cinematic lighting, detailed fluffy fur, appealing materials, readable mobile-first framing, exaggerated but believable comedy. Character: a very chubby fluffy raccoon with silver-gray and warm gray fur, dark charcoal mask markings, creamy muzzle/chest/belly, dark paws and ear tips, huge striped tail, glossy black nose, dark eyes. Personality: proud, overconfident, dramatic, secretly cowardly. Car: same small retro rounded car throughout, mint-green body, cream roof, chrome details, dark tires. Start muddy and dirty, end clean and glossy. Car wash: friendly automatic wash with warm-white structures, coral-orange accents, teal details, large teal/blue-green brushes, white foam with pastel pink/blue/lavender tones, bright daylight, blue sky, reflective wet pavement. Story beats: 0–3s: low-angle beside muddy car, raccoon peeks around it, disappointed, then looks up at the giant car wash and gets excited. 3–6s: wheel rolls onto track, then interior shot of raccoon confidently putting on sunglasses. 6–8s: outside windshield shot, water jets slam the glass, raccoon panics. 8–10s: low-angle exterior, giant brushes loom over the tiny car. 10–12s: raccoon POV as brush fills frame, then side-window close-up as he recoils. 12–15s: top-down shot, foam pours down and covers the car. 15–17s: foam on windshield forms a temporary funny face; raccoon recoils. 17–20s: dryers blast air through a slightly open side window; fur explodes outward; he struggles and closes the window. 20–22s: quiet beat, raccoon sits upright as a huge fluffy ball, blinking. 22–25s: clean mint-green car exits dramatically; raccoon proudly puts sunglasses back on. 25–27s: he wipes one last water mark from the hood and poses proudly. 27–28.5s: tilt up to reveal a tiny yellow bird above the car. 28.5–30s: bird dropping lands on the clean hood, raccoon freezes, looks up, bird flies away, raccoon angrily chases it. End in motion with a fast whip pan. No dialogue, no narration. Use playful light orchestral comedy music.

Create an ultra-realistic cinematic black-and-white fashion video using the uploaded images as exact visual references for the woman, the group of men, wardrobe, location, framing, and atmosphere. Use image 1 as the exact identity, face, hair, body, and outfit of the main woman: long wavy dark hair, white-framed sunglasses, sharp black tailored suit, white tie, black loafers. Use image 2 as the exact reference for the group: 15 different Black men standing on the stone stairs of Sacré-Cœur, all wearing white dress shirts, white trousers, black bartender aprons, and black Ray-Ban style sunglasses. Start with a medium shot of the woman alone on the wet cobblestones at the bottom of the stairs. She walks slowly and confidently toward the camera, calm, expressionless, powerful. Wind moves her hair. The Sacré-Cœur and the group of men are visible in the background but still slightly distant. She stops in the center foreground, faces directly into the camera, and becomes still. She does not smile. She stares into the lens. The entire group of men behind her remains completely frozen for a brief moment. Suddenly, all the men begin moving in perfect synchronization — sharp head turns, a collective bow forward, then snapping upright, followed by one unified step down the stairs. The movement should feel rhythmic, strange, powerful, and physically realistic, like a private crew obeying their leader. The woman does not move at all while the entire group moves behind her. Slowly push the camera closer to her face and upper body, keeping her sharply focused while the men on the stairs have subtle depth-of-field blur. Maintain the wet cobblestone reflections, dramatic stormy sky, and sun rays from the reference images. Black and white only. Dark, cold, mysterious fashion lighting with deep shadows, realistic skin, hair, fabric texture, and physically accurate human movement. Photorealistic live-action quality, cinematic composition; no color, no animation look, no CGI look, no duplicated woman, no distorted bodies, no extra people, no text, no subtitles, no logos.

SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [@Image1] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man.

CHARACTER IDENTITY LOCK Use the provided face reference as the ONLY identity reference for the human cook. The cook is a real photorealistic human. Preserve the reference identity consistently throughout the entire video: exact facial identity facial structure and proportions eyes, nose, mouth, jawline hairstyle and hairline skin tone age appearance natural body proportions Do not redesign, beautify, age, de-age, or reinterpret the person's identity. Keep the cook's appearance and clothing visually consistent throughout the shot. CAMERA — THIRD PERSON OBSERVER Strict third-person cinematic perspective. The viewer is watching the cook from outside the character's body. Camera positioned approximately 2–3 meters in front of the cook, slightly to one side, around chest height, with a moderate cinematic lens. Frame the scene as a natural cooking observation shot: cook's face clearly visible upper body visible wok clearly visible in foreground active hand clearly visible Fu Shu clearly visible beside the cook Use a subtle cinematic handheld camera with a very slow push-in and slight lateral movement. The camera should feel like a person naturally observing someone cooking. No first-person POV. No camera attached to the cook. No overhead shot. No rapid camera movement. No cuts. No transitions. Maintain one continuous shot for the entire 10 seconds. ENVIRONMENT Photorealistic home kitchen. White tiled wall, power outlet, cooking oil and soy sauce near the stove, sink in the rear-right, natural daylight entering from a side window. A black wok sits on the stove in front of the cook. Inside the wok is realistic Indonesian-style nasi goreng with fried rice grains, egg, chicken pieces, vegetables and green onion. Visible steam, sizzling oil and believable food movement. HUMAN COOK The cook naturally stands behind the stove and prepares the nasi goreng. The cook's face remains visible throughout the majority of the shot. Natural facial expressions and subtle reactions. The cook should feel like a real person being filmed while casually cooking. FU SHU Fu Shu is a completely flat 2D chibi anime sticker character sitting on a small wooden stool beside the wok. He has an oversized round head, tiny body, prominent belly, bald top with short black hair on the sides, small black dot eyes, bean-shaped nose, pink cheeks, thick handlebar mustache and mischievous grin. White sleeveless undershirt, mustard apron, teal knee shorts and brown slippers. Fu Shu must remain completely flat: 2D paper sticker dark outline white sticker border subtle paper/crayon grain No 3D volume. No realistic skin. No plastic. No clay.

Create a 17–18 second cinematic fantasy martial-arts action sequence in a vast barren desert landscape under a dramatic stormy sky. A powerful young warrior with long flowing silver-white hair wears an elegant ancient East Asian-inspired white martial-arts robe with layered flowing fabric, dark leather waist details and subtle metallic armor elements. He carries a long sword and moves with supernatural speed and precision. SHOT 1 — 0:00–0:02 Extreme close-up / atmospheric opening. The screen begins almost completely filled with swirling beige dust and bright warm sunlight. Dust particles rush rapidly toward the camera, creating a dramatic transition. Strong cinematic motion blur, volumetric light rays, shallow depth of field. SHOT 2 — 0:02–0:04 Reveal a huge empty desert plain with a tall dark rocky formation in the background. The warrior appears in the distance, moving rapidly across the sand. His white robes and long silver hair whip violently in the wind. Camera tracks his movement with a low, cinematic perspective. SHOT 3 — 0:04–0:06 The warrior launches into an extraordinary martial-arts movement. He swings his sword while rotating through the air. A brilliant blue-white energy trail follows the sword, while a warm orange-golden energy arc sweeps around him. The energy should look physical and luminous, illuminating the surrounding dust. SHOT 4 — 0:06–0:09 Dynamic overhead/three-quarter camera angle. The warrior spins rapidly across the desert surface. His robe creates large flowing circular shapes. A glowing orange energy ring forms around him while blue-white energy pulses from his sword. Sand rises dramatically beneath his feet and spirals outward. SHOT 5 — 0:09–0:12 The camera pulls back dramatically as a gigantic dust vortex begins forming around the warrior. Thousands of particles and chunks of earth rotate through the air. The warrior remains visible in the center, surrounded by swirling blue-white and golden energy. The scale should feel enormous and supernatural. SHOT 6 — 0:12–0:14 Wide establishing shot. A massive tornado-like column of sand rises from the desert floor into the dark clouds above. The warrior is partially visible inside the vortex. Several circular disturbances and footprints/craters appear across the sand. Strong contrast between the dark storm clouds and illuminated dust. SHOT 7 — 0:14–0:16 Fast cinematic push-in through the swirling dust toward the warrior. He emerges from the vortex, sword extended outward. Blue-white energy streams from the blade like a glowing wave. His long hair and robe flow naturally in the powerful wind. Small debris flies past the camera. SHOT 8 — 0:16–0:18 Final heroic close/medium shot. The warrior faces the camera with a calm, intense expression while holding the s

A cinematic photorealistic commercial shot on a golden hour beach A deep sea blue glass perfume bottle covered in micro water droplets rests on a wet rock, backlit by the setting sun glittering over gentle ocean waves Soft lens flare and warm golden reflections glimmer across the water The scene seamlessly cross dissolves to a stunning woman wearing a flowing white deep V dress standing on the sandy shore She sprays the fragrance onto her neck with her eyes closed in bliss surrounded by a fine mist catching the golden sunlight then looks directly into the camera with a gentle confident smile holding the bottle Photorealistic 8K resolution, dynamic lighting, high end luxury aesthetic shallow depth of field.

4K VISUAL IMPACT — MANDATORY: Photorealistic detail, natural skin pores, individual hair strands, fabric texture, realistic reflections, sunlight, physically accurate shadows, subtle motion blur, and lifelike movement. Keep the footage highly detailed but authentically handheld. LOCATION: Peaceful Korean residential neighborhood on a warm summer morning with narrow concrete lanes, small Korean homes, weathered walls, potted plants, bicycles, utility poles, laundry, gardens, scooters, and small storefronts. STYLE: Photorealistic Seedance 2.5 with a nostalgic early-2000s Korean MiniDV home-video look. Natural handheld shake, imperfect framing, autofocus hunting, exposure shifts, faded warm colors, digital noise, soft highlights, authentic lens behavior and natural depth. No stabilization, beauty filters, cinematic polish, or modern color grading. CHARACTER: Preserve the exact face, identity, skin tone, body proportions, hair, hairstyle, hair color, dress, and overall appearance from @pinflik.com__Beautiful_Hair.jpg in every shot. Korean woman speaking natural English with a noticeable Korean accent. Do not alter her appearance. 00:00–00:04: She slowly walks through the quiet neighborhood while filming herself. Morning sunlight highlights her hair and natural skin texture. She smiles and says, “This morning feels so beautiful.” 00:04–00:08: She notices colorful flowers beside an old wall, crouches, touches the petals, and brings one close to the camera. Capture detailed petals, leaves, sunlight, and shadows. 00:08–00:12: She walks toward a small Korean home with laundry moving in the breeze. She briefly touches the hanging fabric, smiles, and says, “I love these little moments.” 00:12–00:16: She finds an outdoor water tap and naturally turns it on. Water runs over her fingertips with realistic droplets, reflections, splashes, and wet skin. She laughs and says, “Ah, it's so cold!” 00:16–00:20: She shakes the water from her hands and continues walking. A bicycle passes behind her and leaves move in the breeze. Camera briefly loses focus, then naturally refocuses on her face. 00:20–00:24: She passes a small convenience store, looking through the window at colorful products and glass reflections. She gives someone nearby a friendly wave. 00:24–00:27: Under a tree, she looks upward as sunlight filters through the leaves, creating realistic highlights and moving shadows across her hair, face, and dress. 00:27–00:30: She walks backward while smiling, gives a playful wave, and says, “Okay, I'll see you again. Bye!” She turns away naturally while the handheld camera keeps recording briefly before ending. AUDIO: Natural ambience only: birds, footsteps, rustling leaves, distant Korean conversations, bicycle wheels, insects, storefront sounds, laundry, and water if the tap scene occurs. No music, subtitles, logos, or watermarks. FINAL PRIORITY: Ever

Berserker warrior vs cosmic leviathan underwater battle ✓ Seamless transitions (emergence → melee → core approach → finale) ✓ Blood-red + cosmic purple color contrast ✓ Tentacle combat choreography ✓ Berserker rage state fury ✓ Legendary axe glowing ✓ Dimensional rift collapse ✓ Creature dissolution 30 seconds of visceral epic cinematography.

SCENE CONTEXT A 20-second cinematic realistic 3D narrative action scene inside a war-damaged ground floor connected to a ruined street. Battle-worn Alin fights the feral zombie king Ston in fast close-quarters combat. Her counter briefly works, then Ston re-catches her, throws her into a weak brick wall, and advances for the finishing blow. Hia races in from an upper side passage and, only after Ston has fully committed to the kill, flashes in through a side-above opening and kills him with one solid straight sword slash carrying a tight blue laser edge. She immediately catches and supports Alin, then helps her leave while fire and war continue behind them. Only one brief slow-motion beat: after Hia suddenly enters frame and before the blade touches Ston. Impact and aftermath return to normal speed. ACTIVE REFERENCES Image 1: Alin, adult woman, blonde long hair with straight bangs, white sleeveless top, blue jeans, brown tall boots. Exact face, body, hair base, and outfit style. Start already heavily battle-worn, not clean. Image 2: Hia, adult swordswoman, black updo, gold hair ornaments, dark red ribbons, dark blue-black and dark red embroidered warrior outfit, shoulder armor, bracers, boots. Exact identity and costume. No weapon from this image. Image 3: Ston, zombie king, grey cracked skin, gaunt but sinewy body, long black hair, cloudy eyes, torn black clothing, round pendant, exact humanoid structure. No wings, no extra bone armor. Blood is thick opaque near-black liquid. Image 4: Hia’s only sword, rigid silver double-edged straight blade with engraved details, gold-bronze guard, black wrapped grip, metal pommel. Unsheathed only. Hia always holds it in her right hand. No scabbard, no weapon swap, no duplication, no stretching. Blue laser edge clings to the real metal blade, which always stays visible. LOCATION MAP The first frame already contains Alin and Ston mid-struggle. Alin is screen-left in front of a concrete pillar, Ston is to her right. About 2.5 meters behind Alin’s left is a damaged brick wall with cracked plaster, loose rubble at the base, and a gap opening to the street. Ston later throws Alin sideways into that exact weak wall section; she slides down to the rubble at its base. Ston advances along the ground in the same direction. Hia runs along an upper adjacent broken passage and reaches a natural floor gap above the near side of the battlefield. She kicks off the edge and drops forward-down through that opening. Debris, beams, and Ston’s body hide her final approach. When she clears the occlusion, the slash is already in motion. During the kill Alin is low against the wall, her head below Ston’s chest. Hia’s neck-height slash passes above Alin’s head. Hia lands beside Ston, within one step of Alin, never hovering. Ston collapses near his standing spot and does not block the rescue path. Final rescue position: Hia stands on Alin’s right, bearing her with left shoulder and left arm, sword low in Hia’s right hand pointing outward to empty ground. FIRST FRAME AND SPATIAL BLOCKING The first visible frame already contains the fight. No empty environment shot, no character intro shot. Main combat coverage stays on the same side of the action axis, shooting from the open street side toward the building interior. Hia’s rescue inserts show only fast fragments of eyes, partial side face, sword hand, and steps until after the kill. Her full stable reveal happens only during the rescue. FORMAT MODE Controlled multi-shot sequence. HARD CUTS only. Fast attack-defense rhythm, wall impact, exhaustion and pursuit, accelerating rescue inserts, sudden side-above entry, one brief pre-contact slow beat, immediate fast kill, normal-speed collapse, weighted rescue. Total finished runtime 20 seconds. OPTICS Main fight: 47° diagonal field of view, grounded natural combat coverage with full bodies, support feet, and landmarks readable. Rescue inserts: 29° diagonal field of view, tighter kinetic fragments without distortion. Kill shot: same natural-wide family, no lens drift. No bent architecture, no extreme wide distortion, no telephoto flattening. CAMERA Opening combat stays mostly in one lateral two-person medium shot with a short follow-in. Cut only when power balance or position changes clearly. Wall throw uses a fast lateral follow over the 2.5 meter displacement. Hia inserts are continuous motion fragments: eye pass, sword-hand pass, step pass, all entering and exiting frame in one direction. The kill happens in one short follow-then-stabilize shot, not a rapid multi-angle montage. The only slow-motion moment is the 0.3 second pre-contact approach after Hia enters frame. After blade contact everything immediately resumes normal speed. ACTION TIMING 0:00-0:01.2 Ston slams battle-worn Alin shoulder-back first into the pillar. Dust shakes loose at the contact point. He controls her upper body with one arm. Alin instantly braces with her arms, pushes back, and kicks at his knee. The kick bends his support leg, shifts his weight, loosens his grip, and lets her slip half a step sideways from the pillar. Camera stays close in a side two-shot and absorbs one impact jolt, then keeps following the escape attempt. 0:01.2-0:03.5 Ston recovers and lashes out with a wide grab. Alin ducks under it, steps in tight, and drives a short elbow into the side of his jaw. His head turns for real, hair and pendant lag, but before she can recover he already snaps his eyes back toward her, twists his jaw, lets out a short feral bark, seizes her exposed upper arm with one hand and her waist with the other, and crushes her space again. Alin twists and pulls to break free, but Ston wins the clinch by pressure and forward step. All at normal speed, continuous, no posing. 0:03.5-0:06.0 Ston uses a step, hip turn, and shoulder drive to throw Alin sideways into the damaged brick wall. She loses balance first, then leaves the ground, body rotating naturally with delayed limbs and hair. Camera tracks laterally to the wall. Her shoulder and back hit cracked plaster and loose brick seams; torso stops sharply, limbs and hair continue then rebound. Grey dust bursts from the contact, plaster chips spit out, several weak bricks fall from the existing cracked zone, forming an irregular hole. Damage stays local to the weak wall section. Camera lands on the impact and jolts once, then steadies. Alin slides down, knees and body hitting rubble with a second low heavy impact. Larger chunks bounce quickly, fine dust streams down the wall and spreads outward. Her face and hands remain visible. She briefly shuts her eyes, loses breath, then takes air again. A little fresh dark red blood appears beside the old dried blood at her mouth. New dust and abrasions add mainly to shoulder-back, upper arm, and left knee. Her hand starts searching for support. 0:06.0-0:08.5 Alin tries to push herself upright but her left knee cannot take weight. She leans against the broken wall, breathing shallow and broken, eyes searching for escape then snapping to Ston approaching. Fingers dig into grit. Ston closes fast, breathing rough, eyes locked on her. Cross-cut to Hia in motion: only her eyes and partial side face through passing broken columns, then Alin’s sliding support hand, then Hia’s sword hand in motion low at her side. Blue light activates from the guard along the blade edge to the tip while her stride never stops. Background and footsteps prove continuous forward travel. 0:08.5-0:10.0 Alin tries once more to rise and sinks lower. Ston steps into final striking distance, chest open, teeth bared, shoulders drawing back for the killing downward blow while roaring at full volume and still driving forward. Cut to Hia’s footwork: front foot crosses a broken sea

Use the reference image to preserve the woman’s exact identity, face, hairstyle, skin tone, body proportions, glasses, and natural appearance throughout. She wears a simple casual early-2000s outfit variation: loose cotton blouse with wide-leg trousers or a wrap skirt, flat sandals, no fashion styling. Create an EXTREMELY RAW early-2000s DV camcorder home video in a modest Southeast Asian or Korean residential neighborhood. Heavy handheld movement, natural shakes, imperfect reframing, frequent off-center framing, occasional partial cropping, autofocus hunting, lens breathing, exposure fluctuations, rolling shutter, natural motion blur, low contrast, faded desaturated colors, washed-out highlights, digital noise, mild compression artifacts. Casual friend-recorded documentary feeling only. No stabilization, no polished composition, no cinematic glamour, no modern color grading, no model posing, no added music. 45-second sequence: First, in a small backyard during warm golden hour, she hangs laundry on a clothesline, lightly shooes away a chicken, carries a basket to a wooden bench and folds clothes, then waters a small vegetable patch with a hose before walking toward the house and glancing back naturally at the camera. Include a weathered fence, potted plants, dirt path, faded laundry, modest house facade, trees, and a few chickens. Then transition to a quiet covered porch or carport at dusk. She sits beneath a bare warm bulb, casually adjusts a small portable radio with faint static, relaxes briefly, then stands and slowly wheels a bicycle toward the porch opening. Include stacked plastic chairs, cracked concrete, a bicycle, warm bulb bloom, and cool blue-grey dusk outside. Her expression remains relaxed, unposed, and natural. Audio: natural ambience only—birds, breeze, distant motorcycles, chickens, fabric rustling, water on leaves, footsteps, crickets, bicycle wheel squeak, and quiet radio static as a diegetic prop sound. No dialogue and no soundtrack.

Create a 30-second ultra-photorealistic live-action action-thriller at night during heavy rain. A young woman trapped inside an old industrial building discovers a partially open mechanical loading door and times her escape as two pursuers close in. She slides beneath the heavy door, struggles with realistic friction and backpack movement, rolls onto the rain-soaked pavement, and escapes into a dark service lane. Show realistic human biomechanics, inertia, momentum, gravity, friction, center-of-mass shifts, realistic loading-door mechanics, backpack physics, rain and water dynamics, wet-surface traction, vehicle spray, and physically accurate material interactions. Use handheld chase cinematography, low floor-level shots during the escape, close-ups of the mechanical door, exterior tracking shots, and a final static wide shot. Camera movement should have natural operator inertia and subtle handheld shake. Use only diegetic sound: heavy rain, breathing, footsteps, metal mechanisms, water splashes, distant traffic, echoes, and thunder. Natural nighttime lighting with realistic wet reflections, shadows, depth of field, and motion blur. End with the woman hidden behind a concrete wall as the pursuers run past, followed by an empty rain-soaked street and a cut to black. No CGI, animation, superhero abilities, impossible parkour, teleportation, weightless objects, exaggerated slow motion, unrealistic physics, distorted anatomy, duplicate characters, text, logos, or watermark.

Using the reference image as the exact final frame, create a 10-second stop-motion-inspired fluid CGI animation of a single thick red braided rope forming the word “Smiling” on a pure white seamless background. At the beginning, the rope is loose and unformed, scattered in soft loops across the frame, with 4–5 tiny clay-like miniature characters wearing simple rope-green overalls and no distinct facial features standing around it. They quickly grab the rope and work together, pulling, stretching, coiling, twisting, and tying it into shape. The rope progressively transforms into the cursive letters “S-m-i-l-i-n-g”, moving smoothly from left to right. Each letter must be created entirely from the same continuous rope, with realistic braided fibers, intricate knots, overlapping loops, natural crossings, and clean negative spaces matching the reference image. The characters playfully climb over and around the rope while shaping each letter, coordinating their movements as the word becomes recognizable. The camera remains completely static and top-down, with consistent soft studio lighting, subtle shadows beneath the rope, and no background elements. In the final 1–2 seconds, the characters finish the last knot on the “g,” step back and hop away, leaving the completed “Smiling” rope artwork clearly visible and matching the reference image. No cuts, no camera movement, no independently generated text, no extra objects. Smooth continuous motion, tactile rope physics, realistic fibers, playful miniature stop-motion aesthetic blended with polished CGI.

俯视镜头对准桌面上的一本白色水彩画册，纸张起初完全空白，侧上方照射着柔和自然光，桌面摆放铅笔、黑色代针笔、细水彩笔与调色盘。画面中仅出现一双女性纤细的手，无人脸出现。 前 2 秒，女性右手拿起铅笔以高节奏缩时画出轮廓：中央是粉红长发的国风少女，右手比出 V 字手势，左手持一把小团扇，身穿白色交领上衣搭配粉红马面裙，发间佩戴花簪，头顶有带缠枝莲纹的圆形彩窗光环；左侧描出中式牌楼轮廓，右侧勾出青瓦水榭与锦鲤池塘，远方浮现云雾缭绕的连绵青山，左右上角同步画出两朵如意形祥云，外围以中式圆拱花窗边框与海棠枝条环绕。 第 3 秒，手持黑色代针笔快速描绘，将所有轮廓收整成如彩色玻璃镶嵌般粗黑利落的分格线条，线条分割出头发、交领上衣、马面裙、团扇、光环、牌楼、水榭、池塘、远山、祥云与外框花朵等独立色块区域。 第 4 至 7 秒进入上色阶段，女性右手握着水彩笔进行跳跃式、不连续、多区域同时推进的分散上色：笔尖先落在中央少女的粉红头发涂抹渐层色块，随即跳至右上角祥云点上淡黄色；接着笔尖跳转到左侧牌楼刷上朱红，再跳至右下角池塘涂上湛蓝水色与橘白锦鲤；随后又跳回腰间系带染上金黄，跳至左上角祥云补色，再分散跳去外框海棠点上粉白，最后随机补上远山的灰蓝与天空的紫粉色洗色。整体上色过程刻意呈现东一块、西一块、无固定顺序的散点推进节奏，色彩在黑色分格线内自然晕染重叠。 最后 1 秒，女性的手在光环与花簪细节处点上金色亮部收尾，水彩笔放下并移出画面，镜头缓慢拉远，完整展示画册上精致完成、色彩斑斓、带有浓烈手绘温度的国风少女花窗玻璃水彩插画。人物位置、景物分布与画面层次参照参考图片，服饰、建筑、山景和装饰均以以上中国元素描述为准。

Generate a 30-second, 16:9, 24fps high-octane Eastern martial arts short film. High-budget cinematic live-action with AAA CG visual quality. No subtitles, no UI, no logos, no text, no voiceover, no background music—retain only realistic sound effects: roaring wind, sharp sandals skidding, silk whipping through air, katana blades slicing air, thunderous metal collisions, bamboo stalks snapping, heavy body impacts, whip pans, and fierce breathing. 【Visual Style & Characters】 Protagonist: A solitary female ronin in dark indigo-black traveling robes with crimson lining, hair tied back in a high messy ponytail, wearing silver forearm guards and carrying a dark steel katana. Cold, lethal, unyielding aura. Antagonists: Two distinct male dual-wielding shadow assassins in ash-gray and bone-white ninja cloaks with bamboo face masks. Gray Assassin A wields a heavy naginata (polearm) for long-range overhead sweeps and thrusts. Gray Assassin B wields twin kama (scythes) for rapid, ultra-close acrobatic slashes. Must remain two distinct individuals throughout. 【Combat Dynamics】 A relentless 2 vs 1 high-speed encirclement battle. Continuous hyper-speed ninja agility and swordplay from the very first frame—no stance-holding, no eye-contact pauses, no dramatic posing. Every 0.2–0.6 seconds features a dynamic transition in attack angle, elevation, or direction. Every jump, flip, slide, and rotation is seamlessly integrated directly into an attack, block, or parry. 【Camera Work】 Feral, intimate, hyper-dynamic handheld camera work dragged through the fight. Incorporates low worm's-eye views, dynamic side tracking, short rotating orbits, fast dolly-ins, violent recoil jerks on heavy weapon hits, Dutch angles (45°/85°), and foreground occlusions (snapped bamboo, flying leaves). Camera occasionally lags behind the action slightly before snapping back, conveying extreme momentum. 【Environment】 A misty, dense bamboo forest at twilight with falling autumn leaves and scattered mossy stone lanterns. The environment reacts heavily to the fight: bamboo stalks sheared in half, stone lanterns shattered by missed strikes, fallen leaves swirling violently in weapon draft currents, and dust trails kick-started by skidding feet. 【Action Timeline】 0–6s: Immediate dive into battle. Naginata lunges from foreground with a 0.1-second near-miss speed ramp skimming protagonist's cheek, while Scythe Assassin attacks from the rear flank. Protagonist low-slides beneath the naginata shaft, performs a one-handed ground spin to deflect the scythes, and parries the returning naginata thrust. 6–12s: Continuous high-low pressure. Protagonist vault-steps off Naginata's pole shaft into a mid-air twist slash, forcing Scythe Assassin back, lands into a cartwheel dodge, and side-flips through an attack gap with a low ankle-sweep cut. 12–18s: Midpoint chaos. Surrounded in a tight pinch. Camera fast dolly-in to an orbital whip-around as protagonist drops flat und

Create a 30-sec ultra-realistic 16:9 cinematic horror video. Same girl, same bedroom, same night dress, same face and perfect continuity throughout. She sleeps peacefully at night under warm lamp light and faint blue moonlight. The camera slowly pushes toward her face as she hears a soft scratching sound under the bed. She wakes up confused, looks around the room, then hears tapping and dragging sounds again. She picks up her phone, turns on the flashlight, and slowly looks under the bed. At first there is only darkness, dust and the wooden frame. Then one pale hand grips the bed frame, followed by a second hand. She recoils in fear and covers her mouth. In the final seconds, the flashlight reveals a shadowy ghost-like face hidden under the bed. Cut to her terrified reaction, then black screen. Add distant wind, clock ticking, scratching, wooden creaks, faint whispers, heartbeat, low bass, and a final knock. Photorealistic horror, natural acting, cinematic lighting, no blood, no gore, no extra characters, no face changes, no CGI look.

Cinematic photorealistic scene inside an indoor swimming pool. A young woman with short lavender-purple hair, wearing a light gray school-style blazer, white shirt with a blue bow tie, dark pleated skirt, white knee-high socks and black shoes, stands in the middle of a swimming pool surrounded by several young female swimmers wearing dark navy one-piece swimsuits. The scene begins with the lavender-haired girl standing face-to-face with a group of swimmers in a large indoor aquatic center, with tiled walls, industrial ceiling lights and a dramatic cool blue-gray color palette. Suddenly she moves through the shallow swimming pool as a massive wave of water crashes around her. She runs and jumps through the water with energetic, playful movement while the other swimmers react with surprise and excitement. Huge realistic water splashes, powerful waves, water droplets flying through the air, realistic wet surfaces, dynamic motion, cinematic slow-motion moments, natural human movement, detailed facial expressions, realistic skin and wet clothing, atmospheric mist and water spray. Wide-angle cinematic camera, low camera angle close to the water surface, smooth tracking shots, occasional slow motion, dramatic framing, shallow depth of field, realistic reflections on the pool water, volumetric indoor lighting, cool desaturated blue tones, high contrast, subtle film grain, professional movie cinematography, highly detailed, photorealistic, realistic physics, 4K, 24fps cinematic footage.

15-second ultra-realistic cinematic 3D video: A human breaks through Antarctic ice into freezing water and struggles to survive.

Create an ultra-realistic cinematic fashion/music video using the uploaded reference image as the exact visual reference for the woman, crowd, wardrobe, composition, lighting, and atmosphere. A young woman with a short sleek dark bob, realistic facial features, natural skin texture, and subtle makeup wears a fitted black turtleneck, black trousers, black shoes, and minimal jewelry. Keep her face, hairstyle, outfit, and proportions perfectly consistent. She walks slowly and confidently toward a large, tightly packed crowd, maintaining a calm and emotionless expression while the camera smoothly tracks backward and keeps her centered. She reaches the exact center of the crowd and stops completely, standing perfectly still with her arms naturally at her sides and looking directly into the camera. The crowd remains completely frozen for a brief moment. Then, without the woman moving, the people behind her slowly begin turning toward her. The head turns start subtly and spread through the entire crowd until everyone is facing and looking directly at her. The woman remains completely motionless and expressionless, never reacting to the crowd. The camera slowly pushes closer while the crowd stays turned toward her, creating an unsettling synchronized effect. Their final movement is one sharp, simultaneous turn toward her while she continues staring into the lens. Dark, mysterious, photorealistic live-action aesthetic, soft cinematic lighting, deep shadows, realistic skin, hair and clothing physics, shallow depth of field, natural human movement. No animation, anime, cartoon, CGI look, duplicate woman, distorted faces, morphing, random crowd movement, text, subtitles, logos, watermark, excessive camera movement, artificial fog, glow, or exaggerated effects.

15-second ultra-realistic hidden-camera style night video A real camping tent at night, filmed like authentic surveillance / wildlife night footage, not comedy, not cinematic. The tent zipper is slightly open. Inside, an attractive adult woman in her 20s is asleep in a sleeping bag the entire time. She has a soft feminine face and long hair, visible in low light, but she never wakes up. CAMERA: static hidden camera / night-vision security camera feel from inside the tent, fixed angle, no operator, no intentional cinematic movement. Slight digital noise, minor compression artifacts, realistic low-light grain, subtle exposure breathing, occasional autofocus hunting, natural imperfect framing. LOOK: monochrome or desaturated infrared-style night vision, dim realistic lighting, soft shadow falloff, slightly eerie but natural wildlife-cam mood. It should feel like a real accidental nighttime capture. SCENE: inside a tent at night. The sleeping woman lies in a sleeping bag on one side of the frame. The tent entrance is slightly unzipped, leaving a narrow dark opening. 00:00–00:04 The woman is already asleep and motionless except for subtle breathing. The tent flap is slightly open. A faint shape appears outside the opening. 00:04–00:07 An owl slowly peeks its head through the opening, then carefully steps inside. Its movements are cautious, natural, and realistic. The woman keeps sleeping. 00:07–00:11 The owl fully enters the tent and quietly walks closer, looking around with alert eyes. It climbs onto the bedding area near her upper body / arm area without touching her face. She remains asleep the whole time. 00:11–00:15 The owl settles comfortably inside the tent near her, calmly perched and watching the surroundings. The woman continues sleeping peacefully, unaware. End on a believable hidden-camera wildlife moment. IMPORTANT: Real owl enters tent; woman sleeps throughout. No comedy/attack/text. Night ambience, breathing.

Create a 30-second ultra-photorealistic cinematic alternate-history video imagining what modern Rome would look like if the Roman Empire had never fallen. 0–5s — The Eternal Capital Aerial sunrise over a vast modern Rome. The Colosseum, Roman forums, aqueducts, and monumental marble architecture remain perfectly preserved while seamlessly blending with modern skyscrapers and infrastructure. Slow cinematic descent toward the city. 5–10s — Modern Roman Streets Move smoothly to street level. Busy avenues filled with electric cars, buses, motorcycles, cafés, and realistic pedestrians. People wear contemporary clothing with subtle Roman-inspired details. Latin signage appears naturally throughout the city. 10–15s — Imperial Rome, Modernized Track past a gigantic government complex combining classical Roman columns with modern glass and stone architecture. A professional ceremonial Roman guard marches through the streets in realistic contemporary uniforms inspired by ancient Roman military design. 15–21s — The Living Colosseum Approach the Colosseum, now a fully functioning cultural landmark. Thousands of people enter through its illuminated arches while modern transportation and city life continue around it. Preserve its authentic ancient architecture while integrating subtle modern technology. 21–26s — Everyday Roman Life Pass through a magnificent Roman piazza filled with cafés, fountains, street vendors, commuters, families, and tourists. Capture small natural human interactions so the civilization feels genuinely lived-in. 26–30s — The Eternal Empire Rise into a spectacular sunset aerial shot. The ancient Roman skyline blends naturally into a massive modern metropolis as city lights begin illuminating the streets. End on a monumental Roman eagle insignia overlooking the city. STYLE: Ultra-photorealistic live-action cinematography, realistic humans and crowds, natural movement, physically accurate architecture, authentic marble and stone textures, realistic reflections, atmospheric haze, natural lighting, subtle motion blur, cinematic depth of field, believable traffic and environmental details. Make it feel like real documentary footage from a parallel universe, not CGI or concept art. No fantasy technology, flying cars, exaggerated futuristic buildings, costumes, distorted faces, plastic skin, warped architecture, subtitles, or watermark.

Cinematic wide shot of a massive Tyrannosaurus rex emerging from dense prehistoric rainforest mist, standing in the midground slightly right of center. The dinosaur is shown in three-quarter side profile, its head turned slightly toward camera, partially silhouetted by pale diffused light filtering through the fog. Its skin is dark, weathered, heavily textured and realistic, with powerful muscular proportions and a long tail extending behind it into the haze. The jungle is ancient, dense and overgrown, filled with towering moss-covered tree trunks, hanging vines, tangled branches, giant ferns and wet tropical foliage. The forest floor is dark, muddy and uneven, covered in moss, roots, puddles and scattered vegetation. Heavy atmospheric mist fills the background, creating deep layers of separation between the trees. Soft shafts of cool daylight break through the canopy from above and behind the T-Rex, creating subtle volumetric rays and rim light around its silhouette. Foreground trees and foliage frame both sides of the composition, creating strong depth and a slightly claustrophobic feeling. Photorealistic creature design, realistic scale and anatomy, wet skin and foliage, natural moisture, cinematic atmospheric perspective, moody teal-green palette, soft contrast, subtle film grain, high dynamic range, epic prehistoric realism, grounded blockbuster cinematography, 2.39:1 anamorphic composition, low eye-level camera, 35mm lens. Avoid cartoon styling, oversaturated greens, fantasy lighting, exaggerated anatomy, distorted limbs, extra limbs, oversized head, visible humans, buildings, modern objects, clean manicured vegetation, bright blue sky, shallow jungle density.