Video-prompts til Crowd Group

Generate a 20-second, 16:9 widescreen, 720p, highly realistic live-action quality urban street chase action short film. Use tense, fast but spatially clear action movie editing. A rainy evening old commercial street, entering the blue hour. Most shops are closed; metal roll-up doors, old brick walls, narrow alleys, external fire escapes, and scattered warm yellow shop lights form a real urban environment. Wet asphalt road reflects streetlights and neon signs, but no recognizable brands or garbled text. [Protagonist Character Design] Female, 22-year-old East Asian, approx 168cm, slender and toned with an athletic physique from running. Agile but not a professional spy or superhero. Warm natural skin tone with real pores, fine texture, and natural asymmetry. Narrow oval face, clear brow bone, straight thick eyebrows, sharp gaze, straight nose, clean jawline, a faint small scar on the right eyebrow tail, full chest with clear contours. Black collarbone-length hair tied in a loose low ponytail. The ponytail, stray hairs, and clothing hem swing continuously with speed and turns; with exertion, stray hairs stick to forehead and face. Fixed clothing: Matte dark green lightweight windbreaker, dark gray U-neck tight T-shirt, black straight-leg cargo pants, dark gray non-slip running shoes, black nylon crossbody bag with a burgundy strap crossing from right shoulder to left waist. Protagonist maintains the same face, physique, hair, clothing, and bag throughout. The bag stays with her, never transferred to pursuers. Performance core: Initial alertness → tense acceleration when confirmed chased → rapid judgment facing obstacles → brief panic in a dead end → re-focusing finding the fire escape → nearly caught → temporary escape but still wary. Express tension through backward glances, rapid breathing, scanning the environment, shifts in center of gravity, and gripping actions; no exaggerated bulging eyes, screaming, or emoji-like terror. [Three Pursuers] Fixed as 3 adult males, unarmed: Pursuer A: Tall, charcoal gray hoodie, black pants, black sneakers, always leading. Pursuer B: Burly, dark blue denim jacket, dark yellow T-shirt, dark pants, usually left behind A. Pursuer C: Thin, brown old work jacket, gray beanie, dark gray pants, usually right behind. Identities, faces, physiques, and clothing are non-interchangeable. Count always 3, no duplicating, merging, disappearing, or adding new ones. [00:00–00:02.5 | Establishing Wide | Spotting Pursuers] Fixed wide angle from the side of the street, establishing the wet street, intersection, alley entrance on the right, and distant fire escape. Protagonist bursts from an alley on the far left, enters the main street and instinctively looks back. Pursuer A appears immediately, B and C follow within half a second. Clear chase formation. Protagonist accelerates right, breathing tightening, leaning forward. Pursuers follow. Music starts with low pulses; sounds of shoes hitting wet ground and splashing water, followed by three sets of approaching footsteps. [00:02.5–00:06 | Side Orbit Follow | Closing Distance] Medium-long shot high-speed orbit track from the side, parallel to protagonist moving right. All 4 visible. Protagonist accelerates arm swing; bag and strap bounce. One quick backward glance to confirm Pursuer A is closing in, then eyes back front. Pursuers maintain positions: A first, B left-back, C right-back. Protagonist passes a puddle, right foot splashing water backwards; no slipping, continues running. B pauses slightly stepping in the puddle, falling half a pace behind. Music adds fast low drums and short electronic beats. [00:06–00:09.5 | Low-Angle Front Follow | Overlapping Fallen Bicycle] Low-angle wide-front follow, camera moving backward. Protagonist visible from knees up; obstacle ahead clear. A fallen delivery bike blocks the path. Protagonist sees it, checks height, adjusts stride. Left foot plants on wet ground, knee bends, center of gravity drops; then jumps over the lowest part of the frame. Vertical rise happens after takeoff. Lands on right foot, knee absorbing impact, upper body briefly dipping, then re-accelerates. Short side-back medium shot: A vaults over handlebars, B dodges left, C vaults the wheel. Distinct but continuous actions, no clipping or merging. [00:09.5–00:13.5 | Telephoto Compression | Entering Dead End] Frontal telephoto shot from deep inside a narrow side alley. Protagonist turns right into the alley; long lens compresses space making pursuers look closer. Right foot plants to turn, body leaning inward, shoes kicking up water droplets. Runs a few paces, realizes the alley ends in a brick wall. Speed drops, sprint turns to two rapid braking steps. Doesn't stop early or appear at the wall instantly. Panic when seeing the wall; scans left/up, finds a metal toolbox and a fire escape bar 2m high. Sounds of approaching footsteps and a short shout (no dialogue). Music adds rising high-freq strings and electronic noise. [00:13.5–00:17 | Low-Angle Medium | Leaping to Fire Escape] Side low-angle medium shot from below the fire escape, showing lead, toolbox, bar, and alley entry. She rushes the toolbox. Right foot plants on the edge with a metallic thud; pushes up. Reaches up with both hands. Hands grip the bar after rising. Fingers close fully, arms take weight, body swings slightly. Tucks abs, feet against wall, right knee up, pulling to the platform. Pursuer A lunges for her right foot. Hand misses by 20cm after she pulls up. No contact. Shoes pass above A's palm. A overshoots, stabilizing without falling. [00:17–00:20 | Low-Angle Wide | Temporary Escape] Fixed low-angle wide from alley floor. Using arm pull and wall kick, she rolls onto the first platform. Chest, abs, and knees cross the edge sequentially. Pursuers A, B, and C arrive below. Count stays 3, looking up for a way to follow. She stands quickly, grabbing the upper railing to climb higher. Looks down once: not victory, but panting, tension, and wary of stopping. Camera tilts up slightly following her out of frame top. Last shot shows the swaying metal fire escape, pursuers below, and wet brick walls. Loud metallic vibration sounds. Music ends on a strong beat at 20s, leaving suspense. [Music & Sound FX] Instrumental urban action thriller score: low-freq heartbeat pulses, fast electronic beats, low drums, rising strings, and a final heavy hit. Music builds from 0s, adds beats at 2.5s, peaks during the climb, and stops at 20s. Must not drown out real sounds: four sets of footsteps, lead's rapid breathing, splashes, bike vibration, metallic toolbox thud, bar friction, and fire escape vibration.

The small things that go wrong on a crowded beach, shot like a European summer film — rich, warm, unhurried — so the first frame feels like a still from a beloved movie. TECHNICAL NOTES: Shot on 35mm film, fast spherical primes (Cooke-style, 40/50/85mm), T2.8 for a soft painterly falloff, a warm glow in the highlights. Delivered clean full-frame 16:9, no borders. Camera is elegant, intimate handheld — composed but breathing, close to the skin, unhurried. Light is hard Mediterranean noon softened by dappled shade and reflected sand-bounce, warm and enveloping. Grade: rich, saturated, romantic — golden sun-kissed skin, deep foliage and pine greens, terracotta and ochre, a saturated cobalt sea, creamy highlights that stay present rather than blowing out; gentle filmic contrast, a nostalgic warm bias. Cast: natural, effortlessly sun-tanned Mediterranean beachgoers. Costume: chic and timeless — high-waisted swim briefs, elegant one-pieces and simple bikinis in cream, rust, olive and gold; tortoiseshell sunglasses, fine gold chains, a wristwatch. SHOT 1 (00:00–00:02) — Hook - A close, sun-warmed face turns lazily toward the lens in dappled light, a cobalt sea burning bright and soft behind; the whole frame glows golden. - Slow intimate handheld drift-in, shallow, painterly. SHOT 2 (00:02–00:04) — Sand - Children run past a woman lying on her front; sand scatters warmly across her oiled, golden back and an open sandwich. - Low, close handheld, soft focus riding her skin. SHOT 3 (00:04–00:06) — Umbrella - A gust tugs a canvas umbrella loose; tanned figures rise unhurried to steady it, laughing. - Loose elegant handheld, saturated crowd soft behind. SHOT 4 (00:06–00:08) — Seagull - A gull snatches a tomato from a sandwich in a curly-haired man's hand; he startles, then grins. - Quick warm handheld reframe up to the bird against blue. SHOT 5 (00:08–00:10) — No Room - A family folds into a thin gap between sun-browned bodies, close and companionable. - Static, intimate, richly saturated. SHOT 6 (00:10–00:12) — Stray Ball - A ball rolls into a couple's shade and tips a glass bottle; the spill beads on warm sand. - Soft handheld settle on the spill. SHOT 7 (00:12–00:14) — To the Water - A tanned young man in high-waisted briefs wades into the cobalt shallows, sunlight scattering off the surface. - Handheld alongside, sea deep and saturated. SHOT 8 (00:14–00:15) — Wind - A woman gathers a towel that catches the breeze, fabric warm and luminous against the sea. - Close handheld, golden and soft.

[Generation Goal] Cinematic realistic texture, pure ancient Chinese Xianxia aesthetic. A collision between the solemnity of traditional martial arts epics and a deadpan "sect chore" style comedy, featuring: Restrained deadpan performance Three-beat progressive structure Clear setup and payoff Arri Alexa cinematic texture Clear and stable facial micro-details Fine film grain Natural volumetric lighting The core comedy must be understandable at first glance: Expert challenges -> Two true experts pass the chore to each other -> Master announces a 10% monthly allowance increase -> Both instantly fight to take the challenge -> Enemy starts to feel afraid. All comedy stems only from the characters' own choices, attitudes, dialogues, and reactions. The environment must never create accidents, trigger laughs, or change the plot. [Reference Responsibilities] @Image 1: Strictly lock Character ID A | Sword Fairy Senior Sister. @Image 2: Strictly lock Character ID B | Junior Sister. The set of background and location reference images uploaded this round collectively determine the environment's DNA. Before formal composition, silently integrate: Real terrain Architectural language Spatial scale Material age Vegetation Water bodies Weather Movement of clouds and mountain mist Main light direction Reflective relationships Atmospheric depth Realistic character walking routes Replan into a unique, complete, and unified new space for this round, rather than mechanically copying a single reference image. Background elements like water, mist, vegetation, banners, clouds, distant ordinary disciples, and ambient sound continue to function naturally but remain narratively neutral. [Character Settings] Character ID A | Sword Fairy Senior Sister | @Image 1 25–30 year old East Asian female, oval face, dark almond eyes, fair natural skin tone, long black hair partially tied up with a white jade hairpin, tall and slender figure. Fixed Appearance: White embroidered silk Hanfu, translucent layered wide sleeves, silver waistband, jade pendant, white cloth boots, a unique silver longsword. Performance Core: Dignified, calm, deadpan. Truly does not want to take this "chore" in the first half; instantly enters a true master state after hearing about the allowance increase in the second half. Character ID B | Junior Sister | @Image 2 20–25 year old East Asian female, rounded and lively face shape, black hair braided, petite build. Fixed Appearance: Blue-green linen Hanfu, dark belt, wooden hairpin, black cloth shoes, a unique dark steel sword. Performance Core: Quick reflexes, sharp-tongued, highly synchronized with Senior Sister; state changes must be almost simultaneous with Senior Sister. Enemy Swordsman One male. Extremely imposing aura, seriously here to challenge. Initially thinks he is about to face a legendary duel, then gradually realizes these two treat him like an unwanted sect chore. Elderly Master One male. Always several steps behind the two women, sitting or standing naturally. Calm, authoritative, unfazed. Only responsible for changing the rules and delivering the final verbal blow. [Shot Design] Shot 1 | 0–5s | Full Shot / Long Shot Adaptive choice of the most logical courtyard, platform, or open area based on the real space of the reference images. The enemy swordsman strides into the frame with great momentum, shouting loudly: "Who is the strongest here? Come out and fight!" The elderly master, a few steps behind the two women, replies extremely calmly: "Either of them will do." The enemy looks back and forth between the Senior Sister and Junior Sister: "Who goes first?" A complete pause. The same white-clad sword fairy and the same green-clad junior sister simultaneously look away at the exact same moment, as if neither heard a thing. Action Points: Enemy entry must have a true master's challenge momentum. Master's reply must be extremely flat. The two women looking away simultaneously is the first visual punchline. No exaggerated facial expressions; they just need to naturally pretend they didn't hear. Shot 2 | 5–10s | Medium Shot / Cowboy Shot Maintain the same characters, clothing, swords, enemy, master, and identical geographic space. Senior Sister says calmly: "I'm off duty today." Junior Sister immediately follows: "I guarded the gate last night." The master slowly raises his eyes and asks seriously: "When did the sect have shifts?" A half-beat pause. Senior Sister says without changing expression: "Just now." Junior Sister nods extremely seriously in total agreement. The enemy's originally majestic expression finally collapses: "I am here to challenge you, not to watch you push chores around!" Action and Performance Points: Senior and Junior Sisters must act like they are seriously discussing work schedules. "Just now" must be delivered very naturally. Junior Sister's nod is the second layer of the punchline. The enemy's breakdown comes from his epic challenge being downgraded to a "chore nobody wants." Background continues natural movement but does not intervene in the plot. Shot 3 | 10–15s | Close-up → Extreme Close-up The master sighs softly, as if used to this, and says casually: "Whoever fights gets a 10% increase in this month's allowance." Absolute silence for a half-beat. In the next instant— The same Senior Sister and Junior Sister completely change their state: Simultaneously step forward Simultaneously place hands on their respective sword hilts Eyes sharpen simultaneously Body postures instantly enter true master combat mode They say in unison: "I'll do it." But they don't look at the enemy first; they immediately turn to look at each other. Junior Sister: "Me first." Senior Sister (deadpan): "Weren't you tired?" Junior Sister (without blinking): "Suddenly energized." Extreme Close-up: The previously aggressive enemy starts to retreat very slowly, tentatively raising a hand: "Maybe... I'll come back another day?" The Senior Sister and Junior Sister snap their gaze toward him at the exact same moment, shouting in unison: "Stay put." Focus shifts to the master in the back. He shows no surprise, just calmly takes a sip of tea, as if he knew all along that a 10% raise would have this effect. Precise cut to black. [Comedy Rhythm Constraints] Three phases must be very clear: Beat 1 | Pushing the chore: True masters don't want the challenge. Beat 2 | Rule change: Master only adds a "10% allowance." Beat 3 | Identity reversal: The two go from dodging to fighting over it; the enemy goes from challenger to the one who wants to leave most. The point isn't "greedy exaggeration," but rather: The change in attitude is too professional, too synchronized, and too matter-of-fact. [Consistency and Action Requirements] Stable character identities throughout (face, hair, clothing). Stable ownership of the silver sword and dark steel sword. Stable positions for the Master and Enemy. Synchronized actions of the two female leads must be clear and readable (looking away, stepping forward, gripping hilts, speaking in unison). Synchronized nodes must be precise but not mechanically stiff. [Environment Requirements] The environment is a functioning real world (flowing water, moving mist, swaying banners, moving clouds). The environment must NOT react to the punchlines (e.g., no sudden wind after the allowance reveal, no dramatic lighting changes at the punchline, no synchronized background crowd reactions). [Technical Specifications] Strict total duration: 15 seconds. 16:9 widescreen. Three continuous clear shots. Native synchronized Mandarin dialogue with precise lip-sync and clear comedy pauses. Arri Alexa cinematic texture. Clear facial details. Realistic silk fabric and hair movement. Natural parallax between foreground, midground, and background. Real spatial ambient sound. No subtitles. [Negative] blurry, bad quality, low quality, low resolution, noisy, jpeg artifacts, watermark, text, subtitles, error; deformed, mutated, bad anatomy, poorly drawn hands, bad composition, out of frame, disfigured; inconsistent character, changing clothes, face morphing, hairstyle change, background shift, architecture mutation, lighting jump, glitching cuts, disappearing props, duplicated swords, changing sword ownership, extra foreground characters, exaggerated slapstick acting, exaggerated greed reaction, cartoon comedy, environment triggering joke, sudden wind at punchline, dramatic lighting change at salary reveal, synchronized background crowd reaction, unstable enemy position, unstable master position, broken eyelines, broken geography, random camera jump.

A man and a woman sitting in a cave formed by an avalanche lit by a small open flame propane camping burner. They jokingly discuss how they think they were about to fall in love before the avalanche as the shadows play on the glacial blue ice walls surrounding them. They are joking to hide that they actually mean it. Insert some pauses to make it seem more natural. Cinematic, prestige level quality directing and cinematography. Establishing shot, Tight close-ups and handheld camera work for emotional resonance. No wide shots. No music. Micro-expressions in their faces sell the theme more than the volume of their voices.

I. Core Positioning Cinematic realistic texture, pure ancient Chinese xianxia aesthetics. Styled as an elegant martial arts duel with deadpan reactions, spatial visual comedy, and dry logic. Features Arri Alexa film look, micro-facial details, fine grain, and natural volumetric lighting. Comedy structure: Misleading -> Escalation -> Reversal. The humor stems from the Senior Sister promising 'not to intervene' and physically keeping her hands off while providing non-stop verbal guidance. II. Reference Control Character Anchors: @Image 1 for Senior Sister (Role A). @Image 2 for Junior Sister (Role B). Environment: Shared DNA across three shots with consistent geography, terrain, and weather. III-IV. Characters and Environment Senior Sister (Role A): 25-30 years old, tall, fair skin, white silk hanfu, silver sword. Calm, serious, and logically dry. Junior Sister (Role B): 20-25 years old, petite, celadon hanfu, dark steel sword. Accustomed to her sister's style. Enemy Swordsman: A 'normal person' who becomes increasingly frustrated. Master: An authoritative figure watching from afar. V. Core Narrative Logic 1st Beat (Misleading): Enemy demands a one-on-one. Sister retires and promises not to intervene. 2nd Beat (Escalation): During the duel, Sister keeps her hands behind her back but gives precise instructions ('Shoulders down', 'Left side'). 3rd Beat (Reversal): Enemy snaps, 'This is not intervention?' Sister replies, 'Hands didn't move.' Master confirms, 'By the rules, hands stayed still.' Junior Sister adds, 'She mainly uses her mouth.' VI. Storyboard Script 0-5s | Wide Shot: Enemy shouts 'One at a time!' Senior Sister sheaths her sword and backs away: 'Fine, I won't intervene.' Junior Sister steps forward. 5-10s | Medium Shot: Duel starts. Senior Sister stands aside with hands behind her back, coaching: 'Settle your shoulders... Steady feet... Left side.' Junior Sister yells: 'Sister, I got this!' Enemy stops and shouts at the Sister: 'Is this not intervention?' Sister looks at her hands: 'Hands didn't move.' 10-15s | Close-up: Enemy looks to the Master for justice. Master nods solemnly: 'By the rules, indeed no hands were used.' Enemy is speechless. Junior Sister adds: 'She mainly moves her mouth.' Senior Sister starts to correct her, but Junior Sister points a finger: 'Don't guide this line.' Sister freezes with a tiny eyebrow twitch. Enemy drops his sword in defeat. VII-VIII. Performance & Action Senior Sister must remain serious; the humor comes from her complete lack of irony. Junior Sister is利落 and familiar with the routine. Enemy is the audience surrogate for disbelief. Master provides the absurdly serious ruling. Actions must be clean and readable, especially the hands-behind-back pose and the three sword exchanges.

Cinematic action sequence in a brutalist concrete multi-story courtyard. A young Asian male hero wearing a varsity denim-and-red jacket, hoodie with a "T" logo, and cargo pants surrounded by a circle of multiple agile female assassins in elaborate dark red and black outfits with white fox masks, wielding katanas. Dynamic martial arts choreography, fast-paced camera movement, dust kicked up from the concrete floor, high-tension cinematic lighting, hyper-realistic, 4k resolution, 60fps action cinematography.

Use exactly 2 uploaded image assets: @ image1 female lead identity reference, @ image2 male lead identity reference; preserve their faces, hairstyles, body proportions, skin tones, clothing, school uniforms, and accessories exactly. Create a 30-second, 16:9, 4K, 24fps ultra-realistic Korean romantic comedy on a modern city bus in warm afternoon light, with realistic skin, natural motion blur, authentic bus physics, suspension, braking, and cinematic handheld camera movement. All characters are clearly adults aged 20+. At 0–4s, the petite female lead stands holding a bus strap while the tall male lead sits beside her; the bus suddenly brakes hard with a realistic “끼이이익——!”, causing the entire bus, passengers, hanging straps, her bag, hair, and camera to jolt forward simultaneously. She immediately loses balance and falls toward him while the bus is still moving and shaking; at 8–12s, he quickly rises from his seat and catches her naturally around the waist and back, both staggering slightly from the remaining inertia before stabilizing. At 12–17s, they remain close, exchange shy eye contact, blush, and nearby adult passengers react naturally with “뭐야, 뭐야?”, “헐, 봤어?”, “대박…”. At 17–19s, she shyly tries to step away but he gently stops her by holding her hand. From 19–24s, he gently pulls her closer, they share a soft romantic Korean-drama-style kiss lasting about 3–4 seconds with a stable close two-shot and slow push-in, no exaggerated movement. At 24–26s, they separate shyly while passengers react “헐…”, “진짜 했어?”, “미쳤다…”. At 26–28s, the bus stops, doors open with a realistic “칙—”, and they naturally exit one after another with no teleporting. At 28–30s, she waits outside, looks up at him, stands on tiptoe and gives him a brief playful cheek kiss; the camera naturally pushes in without cutting, then she smiles and walks away while he follows, and they eventually hold hands as the bus leaves in the background. Keep all action physically believable and cinematic. No underage appearance, identity drift, altered uniforms, forced contact, deep kissing, lip kiss at the ending, teleportation, excessive slow motion, extreme camera shake, AI skin, CGI/anime style, extra characters, subtitles, logos, or watermarks.

Create a cinematic 3D animation of a young couple revisiting their life journey through a glowing scrapbook—proposal at a Ferris wheel, wedding, new home, Italy road trip, and growing family with two children and a golden retriever. Return to the present as they close the album with the text “самые важные главы жизни еще впереди,” ending with a loving forehead kiss and warm smile. Use emotional storytelling, soft lighting, and seamless transitions.

Dora’s calling for help and team umizoomi going to save her from the evil villain

I. Core Positioning Cinematic realistic texture, pure ancient style Chinese Xianxia aesthetics. The overall tone is a restrained and mature emotional scene, featuring: High-end Wuxia character blocking Arri Alexa cinematic look Clear and stable facial micro-details Fine film grain Natural volumetric light The core reversal of this segment centers on: Identity, Trust, and Dignity The outside world attempts to define a person with a bloodline label. What the Sword Immortal Senior Sister truly does is refuse to let that label decide for her Junior Sister who she is. II. Reference Control 1. Character Identity Anchors @Image 1 strictly locks Character ID A: Sword Immortal Senior Sister @Image 2 strictly locks Character ID B: Junior Sister 2. Environment Reference All background and location reference images uploaded in this round together determine a single set of environment DNA. Before formal composition, silently deduce compatible: Real terrain Architectural language Spatial scale Material era Vegetation Water bodies Weather Clouds Mountain mist Main light direction Reflection relationships Overall color Aerial depth Real traffic flow lines Re-plan into a unique, unified new space for this round. Requirements: Cannot mechanically copy a single reference image Must maintain identity within the same world Three shots share a consistent geographic relationship Spatial logic is clear The visual world is vivid, credible, and continuous III. Environment Principles The background must remain vivid throughout but maintain absolute neutrality in the narrative. If the following elements exist in the reference images, they should run naturally: Water flows continuously Mountain mist moves according to terrain Vegetation responds to natural wind Clouds change slowly Reflections change with light and camera position Distant spatial ambient sounds exist naturally Hard requirements: The background does not create the plot The background does not drive reversals The background does not solve character conflicts The background only provides a sense of real spatial presence IV. Character Settings Character ID A | Sword Immortal Senior Sister The same @Image 1 Sword Immortal Senior Sister. 25–30 year old East Asian female, oval face, fair skin, dark almond eyes, black long hair half-up, fixed with a white jade hairpin, tall and slender. Fixed styling: White embroidered silk Hanfu Silver waist seal Jade pendant White cloth boots A single silver longsword Character temperament: Calm Restrained Very measured Speaks concisely Emotional expression is subtle Respects the other party's right to choose while protecting them Character ID B | Junior Sister The same @Image 2 Junior Sister. 20–25 year old East Asian female, round and agile face, black braided hair, small stature. Fixed styling: Cyan-green linen Hanfu Dark belt Wooden hairpin Black cloth shoes A single dark steel sword Character temperament: Intelligent Sensitive Self-respecting Instinctively retreats when identity is revealed Truly needs respect, trust, and to be seen as herself, not someone deciding for her Supporting Character 1 | Enemy Swordsman One male Already defeated Kneeling opposite the two Responsible for external evaluation and pressure Uses the 'demon lineage' label to try and define the Junior Sister Supporting Character 2 | Elderly Master One male Serves only as a minor witness Silent throughout Finally expresses attitude only by stepping aside Supporting Character 3 | Two Disciples Two people Serve only as distant witnesses Keep depth of field blurred Cannot steal the scene V. Core Narrative Logic Act One Enemy reveals the foreign tribe mark on the Junior Sister's wrist. The outside world tries to define her by bloodline. Junior Sister instinctively retreats half a step. Act Two Senior Sister draws her sword. Looks like she's about to question, judge, or take a stand. Instead, she stands directly on the Junior Sister's side. Act Three She says: 'I protect her, not her bloodline.' Then she doesn't decide for the Junior Sister; She only gives the choice back to her. Finally, the Junior Sister walks back to her Senior Sister's side on her own, completing the confirmation of identity and trust through action. VI. Storyboard Script 0–5s | Full Shot or Long Shot According to this round's reference image real space, select the most reasonable public confrontation area. Absolutely cannot be forced into a location not in the reference images. Character ID A is always the same @Image 1 Sword Immortal Senior Sister. Character ID B is always the same @Image 2 Junior Sister. One defeated enemy swordsman kneels opposite the two. An elderly master and two disciples exist only as minor witnesses. The enemy points to a very faint foreign tribe mark on the Junior Sister's wrist and says: 'She carries a demon lineage, you still acknowledge her?' The same Junior Sister subconsciously retreats half a step to the side. The same white-clad sword immortal slowly draws her sword. Camera Requirements Establish a clear and stable confrontation relationship Make the mark information clearly established Junior Sister's half-step retreat must be readable Senior Sister drawing the sword must have a sense of weight and judgment The audience cannot be certain which side she will take at this point 5–10s | Medium Shot or Cowboy Shot Maintain same characters, same clothing, same longsword, and identical geographic space. Senior Sister doesn't turn to face the Junior Sister, but instead walks directly past her, plunging the same silver longsword tip-down into the ground between the enemy and the Junior Sister, then stands back beside the same cyan-clothed girl. She says calmly: 'I already knew.' The enemy asks further: 'Knew and still protect her?' Senior Sister answers: 'I protect her, not her bloodline.' The Master remains silent. Other witnesses remain blurred in depth of field. The same vivid world continues to run naturally but is completely uninvolved in the plot. Camera Requirements The action of the sword plunging into the ground must become a clear stance expression Senior Sister's movement path is clear She doesn't stand in front of the Junior Sister in an exaggerated protective pose She is calm, firm, standing back by her side This dialogue must be steady, not melodramatic, no slogans 10–15s | Close-up or Extreme Close-up The same Junior Sister asks in a low voice: 'You don't ask me why I hid it from you?' The same Sword Immortal Senior Sister truly makes eye contact with her and only answers: 'Ask.' Maintain an emotional weighted half-beat silence. Then adds a sentence: 'But I'll wait until you want to say.' She doesn't grab the Junior Sister, nor does she make any decision for her; she only uses an open hand to naturally gesture towards the path beside her, saying calmly: 'Whether to go back or not, choose for yourself.' Junior Sister first looks at the distant Master and disciples, then looks back at her Senior Sister, then actively takes a step, choosing for herself to stand back beside her Senior Sister, answering: 'Then I'm going back.' Extreme Close-up: The Sword Immortal Senior Sister's consistently restrained expression finally shows a very small, clearly relieved smile, and she sheaths the same longsword again. Behind the shallow depth of field, the same Master doesn't say a word, only calmly steps aside, leaving the path back open. Camera Requirements 'Ask' this one sentence must be short, steady, and weighted 'But I'll wait until you want to say' is the true trust anchor of the entire segment What the Senior Sister gives is space and the right to choose Junior Sister's action of returning must be an active choice The Master's final step aside is only a social level of acquiescence and witnessing The ending must land on the fact that 'she decided to go back herself'

I. Project Positioning Movie-grade realistic texture, pure ancient style Chinese Xianxia aesthetics. The overall style focuses on restrained and mature wuxia emotional scenes, emphasizing: Measured subtext in character relationships Elegant and clear martial arts blocking Arri Alexa cinematic texture Clear and stable facial micro-details Fine film grain Natural volumetric light The core reversal of this segment centers on "trust": Initially, everyone interprets the Sword Immortal Senior Sister's inaction as coldness. Finally, it is discovered that her true protection is not preventing the Junior Sister from getting hurt, but preserving her right to choose, to bear, and to prove herself. Narrative Principles: The emotional center always belongs only to the two women in @Image1 and @Image2 Supporting characters are only responsible for creating external pressure and social evaluation Supporting characters cannot replace the two protagonists as the emotional center The environment must be vivid but absolutely neutral in the narrative II. Reference Control 1. Character Identity Anchors @Image1 strictly serves as the identity anchor for Character ID A, Sword Immortal Senior Sister @Image2 strictly serves as the identity anchor for Character ID B, Junior Sister 2. Environment Reference All background and location reference images uploaded in this round together determine a single set of environment DNA. Before formal composition, silently deduce compatible elements: Real terrain Architectural language Spatial scale Material era Vegetation ecology Water system direction Weather Clouds Mountain mist Main light direction Reflective relations Overall color Aerial depth Real traffic flow lines Then replan into a unique, unified new space for this round. Requirements: Cannot mechanically copy any single reference image Maintain identity within the same world Three shots share a consistent geographical logic Clear layers of foreground, middle ground, and background The world continues to run naturally, but plot progression can only come from characters III. Environment Principles The background is always vivid but maintains absolute neutrality in the narrative. If the reference images contain the following elements, they should run naturally: Water flows continuously Mountain mist drifts naturally according to terrain Vegetation responds to natural wind Clouds move slowly Reflections change continuously Distant spatial ambient sounds truly exist Hard requirements: The environment cannot create plot events The environment cannot solve character problems The environment cannot change character goals The environment cannot create setups for jokes The environment only provides a sense of existence in the real world IV. Technical Orientation Organized overall according to Seedance 2.0 capabilities, focusing on: Continuity of character identity through image reference Native synchronization of audio and lip-sync Clearly readable martial arts movements Stable positioning of supporting characters Stable geographical space Director-level control over performance and camera 15-second high-quality multi-shot audio/video output capability V. Character Settings Character ID A | Sword Immortal Senior Sister The same @Image1 Sword Immortal Senior Sister. 25–30 year old East Asian female, oval face, fair skin, dark almond eyes, long black hair half-up, fixed with a white jade hairpin, tall and slender. Fixed styling: White embroidered silk Hanfu Translucent wide sleeves Silver waist seal Jade pendant White cloth boots A single silver longsword Character temperament: Calm Mature Measured Rarely explains herself The true way of protection is not acting on behalf, but respecting the other party as a swordsman completing their choice independently Character ID B | Junior Sister The same @Image2 Junior Sister. 20–25 year old East Asian female, round and agile face, black braided hair, small stature. Fixed styling: Cyan-green linen Hanfu Dark belt Wooden hairpin Black cloth shoes A single dark steel sword Character temperament: Intelligent Resilient Not fragile Will briefly misunderstand between external pressure and the senior sister's silence But when truly trusted, can immediately stand firm Supporting Character Setup Elderly Master One person Distant secondary witness Represents the sect elder's perspective Has concerns about the Junior Sister's injuries and risks Doesn't steal the scene, only provides social pressure Sect Disciples Two people Distant secondary witnesses Exist only as secondary figures in the environment Do not participate in the main emotional line Enemy Swordsman One person Fights with the Junior Sister Only responsible for creating external pressure and the evaluation of the "cold-hearted senior sister" Does not become the true emotional center VI. Core Narrative Structure The core of this segment is not "who is strong or weak", but "what true trust looks like". The three-beat structure is as follows: First Beat The outside world misinterprets the senior sister's coldness. The master asks why she doesn't stop it; the small enemy calls her heartless. Second Beat The Junior Sister challenges on her own and completes the outcome. The senior sister never acts on her behalf, only uses minimal action to prevent others from intervening. Third Beat The senior sister admits she is "afraid," but what she fears more is the Junior Sister waiting for others to decide every step for her from then on. A single sentence redefines the true meaning of "not acting." VII. Storyboard Script 0–5s | Full Shot or Long Shot In the sect sword-testing area replanned according to this round's reference images, the same cyan-clothed Junior Sister is facing an enemy swordsman. An elderly master and two sect disciples exist only as distant secondary witnesses. Character ID A is always the same @Image1 Sword Immortal Senior Sister. Character ID B is always the same @Image2 Junior Sister. The master lowers his voice and asks the same white-clad Sword Immortal: "Her injury isn't healed yet, you really won't stop her?" The Sword Immortal Senior Sister answers calmly: "It's her own choice." The enemy swordsman sneers: "What a heartless senior sister." Camera requirements: Clearly establish the sword-testing space and character positioning The Senior Sister never steals the focus; she is an observer and judge The Junior Sister is at the front of the combat line The master and disciples are distant but distinguishable The environment continues its natural movement but never interferes with the plot 5–10s | Medium Shot or Cowboy Shot Maintain the same cyan-clothed Junior Sister, the same enemy swordsman, the same white-clad Sword Immortal, and an identical geographical space. The enemy completes only one clear downward sword strike. The Junior Sister raises her sword to block, her body pressed back a step, but she doesn't wait for anyone to rescue her; she instead actively readjusts her foot positioning and uses a clean counter-attack to parry the enemy's blade away. The master subconsciously takes half a step forward. The same Sword Immortal Senior Sister only calmly raises one hand to stop the master, yet never draws her own longsword from start to finish. The Junior Sister sees this in her peripheral vision, stabilizes her breathing again, and then parries the enemy's weapon through a precise wrist-rotating sword movement. Camera requirements: The fight must be simple, clear, real, and readable The focus is not on flashy techniques but on the Junior Sister completing this trial herself The senior sister's movement to stop the master should be light but very definite Her not acting does not mean she is not present After the Junior Sister sees this, her breath and confidence stabilize again 10–15s | Close-up or Extreme Close-up The defeated enemy remains in the background in a shallow depth of field, blurred. The same Junior Sister's breathing is slightly rapid; she turns to look at the same Sword Immortal Senior Sister and asks: "Are you really not afraid of me losing?" The same white-clad woman answers without hesitation: "Afraid." Maintain an emotional weighted half-beat silence. Then she steps closer and personally readjusts the Junior Sister's slightly tilted sword-grip posture, calmly adding a sentence: "But I'm more afraid of you waiting for others to decide every step for you from now on." The Junior Sister's originally tense gaze gradually softens, and she asks again: "So do I count as having won now?" The Senior Sister looks down at the longsword lying at the Junior Sister's feet and answers expressionlessly: "Pick up your sword first." Extreme Close-up: The Junior Sister lets out a soft laugh with suppressed emotion Behind her, in the shallow depth of field, the master gives a barely perceptible nod of approval Camera requirements: The word "Afraid" should be short, true, and defenseless Readjusting the sword-grip posture is one of the most critical physical actions of this segment This is not comfort, but evidence of trust landing in action "Pick up your sword first" is responsible for pulling the emotion back from weight to deadpan humor The ending must be warm but never saccharine

I. Project Positioning Film-level realistic quality, pure ancient-style Chinese Xianxia aesthetics. The overall temperament is centered on restrained emotional relationship drama, with a very light touch of cold-faced warmth. Style requirements: Elegant classical character blocking Arri Alexa cinema camera texture Clear and stable facial micro-details Natural volumetric light Tangible silk and weathered textures Restrained, quiet, and weighty emotional progression Core reversal: A sentence that initially sounds like 'pushing someone away' gradually reveals another layer of meaning as the character's real actions unfold. It is not alienation, but allowing the other person to truly leave one's shadow and grow into herself. Hard limits: Magic failure is not allowed. Do not rely on misunderstanding tropes. Environmental accidents are not allowed. All reversals must come from dialogue, character actions, and emotions that are not directly spoken by the two people. II. Narrative Core The true theme of this scene is not 'sending off,' but letting go. On the surface: Junior sister is going down the mountain. Senior sister says 'not stopping her.' It sounds cold, indifferent, like she doesn't care. In fact: Senior sister doesn't not want her. Senior sister is acknowledging that she should go her own way. What she gives is not a shackle, but protection from a step back. The emotional change to be completed in the whole scene: Beat 1: A cold sentence creates a slight sting. Beat 2: A small but real caring action overturns the surface understanding. Beat 3: A sentence that truly points out the relationship turns 'letting go' into 'fulfillment.' III. Reference Control 1. Character Identity Anchors @Image 1 strictly as character ID A, Senior Sword Immortal identity anchor. @Image 2 strictly as character ID B, Junior Sister identity anchor. 2. Environment Reference All newly uploaded background and location reference images in this round are jointly regarded as the same environment DNA. Before formal composition, silently execute a round of environmental planning, comprehensively deducing compatible: Real terrain Architectural language Spatial scale Material era Vegetation ecology Water system direction Weather Clouds Mountain fog movement Main light direction Reflective surfaces Overall color system Air depth Real walkable paths for characters Then recombine into a unique, complete, unified new space for this round that has never appeared before. Requirements: Do not mechanically copy a single reference image. Maintain the same world identity. Three shots share the same set of geographical logic. Vivid environment but absolutely neutral narrative. IV. Character Settings Character ID A | Senior Sword Immortal Same as @Image 1. 25–30 year old East Asian female, oval face, fair natural skin tone, deep apricot eyes, black long hair half-up, fixed with a white jade hairpin, tall and slender. Fixed styling: White embroidered silk Hanfu Semi-transparent layered wide sleeves Silver waist sash Jade pendant White cloth boots Unique silver longsword Character temperament: Restrained Quiet Short speech Emotions hidden in actions Truly important parts rely on handling details rather than confession Character ID B | Junior Sister Same as @Image 2. 20–25 year old East Asian female, round and nimble face, black hair braided, petite stature. Fixed styling: Green linen Hanfu Dark waist belt Wooden hairpin Black cloth shoes Unique dark steel sword A small bag fitting the pure ancient world Character temperament: Sensitive but not fragile Understands senior sister but will be stung by her words Soft inside, tries to remain restrained on the outside This segment should move from 'disappointment' to 'truly understanding.' V. Environment Principles The environment must always be vivid but stay absolutely neutral in narrative. Sustainably existing environment life includes: Wind Water flow Mountain fog drifting Clouds slowly changing Vegetation responding to natural wind Reflections changing with camera angle Distant fine activities Spatial environment sound continuously exists But must satisfy: Never trigger the plot. Never solve problems. Never interrupt dialogue. Never express emotions for characters. Never create punchlines. The environment is only responsible for: Providing a sense of real existence. Providing a sense of time flow. Providing spatial layers. Providing cinematic breathing. VI. Core Prop Continuity Core props in this segment: Junior sister's small bag Junior sister's dark steel sword A single small jade whistle given to her by senior sister Requirements: The bag is prepared from the start. The sword is always the same one. The jade whistle must be clearly visible, becoming the emotional anchor for the second and third beats. The continuity must be stable from the jade whistle being handed over to being gripped at the end. All hand movements must be clear, legible, real, and restrained. VII. Storyboard Script 0–5s | Full Shot or Wide Shot In a departure space naturally selected according to the real geographical structure of the reference images, the junior sister has already packed her bags and is ready to set off. The same junior sister looks at the senior sister and asks softly: 'Senior sister, I'm going down the mountain this time, you really won't stop me?' The same white-clad sword immortal answers without hesitation: 'Not stopping you. Go far away.' The junior sister's eyes clearly darken a bit. Camera Requirements: Two people fully visible from shoes to head. The space should be quiet, open, with a sense of 'leaving.' The first beat must be established. 'Go far away' should sound like pushing away, cold, and not wanting someone to stay. The junior sister's sense of being hurt is only reflected through a very slight change in her eyes. The environment runs normally but does not participate in the emotional drop of this beat at all. 5–10s | Medium Shot or Cowboy Shot Maintain the same two women, same clothing, and exactly the same geographical space. The same junior sister turns to leave. Just as she hasn't even taken her second step, the same senior sister actively reaches out: Adjusts the loose shoulder strap for her Reshortens the knot on the sword Then puts the single small jade whistle into her palm While saying calmly: 'Blow it if you get lost, don't push yourself if you're hurt.' The junior sister looks down at the same jade whistle and looks back up at the senior sister. Camera Requirements: The second beat must be clearly established. The senior sister's actions are more important than the dialogue. Adjusting the shoulder strap, tightening the knot, and putting down the jade whistle are all quiet but very specific acts of care. These movements shouldn't be rushed; they should look like she thought of them long ago. The camera should make the hand interaction and the movement of the jade whistle into the palm clearly visible. The background remains vivid but narrative-neutral. 10–15s | Close-up or Extreme Close-up The same junior sister asks softly: 'Didn't you tell me to go far away?' The same white-clad senior sister truly locks eyes with her this time and answers calmly: 'Going far is for you to see your own path.' Preserve a half-beat pause with emotional weight. Then she adds a sentence: 'It's not to make you unable to find your way back.' Extreme close-up continues to advance: Very light moisture appears in the junior sister's eyes But she finally smiles Slowly grips the same jade whistle in her palm She asks again: 'And when I come back?' The same white-clad senior sister has a very slight smile at the corner of her mouth: 'Bring some of your own stories back.' The junior sister nods seriously, then turns and walks forward, not looking back this time. The senior sister stands calmly in place watching her walk away, her expression not of loss, but of a very restrained sense of relief. Camera Requirements: The third beat must truly land. 'See your own path' is the theme sentence. 'Not to make you unable to find your way back' is the relationship redefinition sentence. 'Bring some of your own stories back' is the closing sentence, must be gentle but restrained. The ending is not a final goodbye, but an acknowledgment of growth. The senior sister's relief shouldn't be made too large, just enough for the audience to feel that she is truly letting go.

15 second 16x9 photoreal survival drama 13 hard cut shots real time physics CAST ASHA female 31 South Asian warm brown skin dark wavy shoulder length hair thick brows tiny crescent scar beside the left brow ARJUN male 34 South Asian short dark textured hair trimmed beard faces ages and builds stay identical in every shot wardrobe changes only across a hard cut into a memory PRESENT storm gorge in the Himalaya old plank and cable bridge one cable snapped gray blue river far below cold rain low cloud steel blue palette ASHA rust orange shell jacket charcoal thermal olive climbing trousers harness one torn glove dark red scarf soaked hair ARJUN navy mountaineering jacket black thermal tan trousers harness brown boots rain and grit on his face 1 tilted handheld extreme close up of Asha hanging from a wet plank shouting "Arjun stay back" 2 vertical overhead extreme wide both tiny above the raging river as Arjun crawls out on broken planks saying "Look at me" 3 tight profile Arjun flat on the bridge his reaching hand filling the foreground whispering "Just me" then a cable snaps 4 match cut on the hand to a night monsoon city street Asha in teal trench coat Arjun in charcoal suit laughing in rain she backs away saying "You always say that" 5 golden hour courtyard wedding Asha in ivory and gold lehenga with emerald dupatta Arjun in cream sherwani petals crossing frame he says "You never listen" 6 coastal highway late afternoon Asha in black leather and red scarf two steps ahead of Arjun in brown leather beside a stopped motorcycle she looks back and says "Catch me" 7 sunset beach Asha in coral linen Arjun in white linen their hands meet he says "Always" then a violent cut back to the storm 8 extreme wide side of the collapsing bridge a rope tears Asha drops a meter and catches the plank screaming "I am slipping" 9 tight handheld Arjun fear turning to resolve he lets go of his own cable and throws himself forward "Give me your hand" 10 top down both arms stretch to center fingertips miss she slips lower and cries "Arjun" 11 macro on hands his palm slaps around her wrist her hand locks on his forearm wet sleeves tight tendons real skin compression 12 low side angle he drags her up as more bridge falls behind them straining out "Always" 13 wide he hauls her onto the platform they collapse breathing hard she gives a tiny exhausted smile and whispers "Idiot" camera pulls back into the storm and cuts to black at fifteen seconds CAMERA unstable handheld dutch tilts and fast push ins in the present smoother controlled moves inside memories instability snapping back on every cut real motion blur believable body weight AUDIO English dialogue in natural lip sync wind rain cable groan cracking wood river roar breathing gasps hand impact falling debris city rain surf cooling engine and nothing else no music no score no risers no booms no narration no subtitles NEGATIVE no tex

Duration: 20 seconds Format: 3rd person realistic emotional scene, multi-camera editing Scene: Downstairs of an apartment in the evening Conflict: The male thinks the breakup is due to one absence at the hospital; the real reason is that the female no longer instinctively relies on him. His final question "Who is it?" proves he still doesn't understand. [Character and Performance Base] Female {{Mixed 2}} and Male {{Mixed 3}} strictly reference the corresponding people in the couple photo, maintaining facial features, face shape, hair, physique, height, clothing, and aura. The female has repeatedly considered breaking up. She isn't here to fight or expecting to be held back. Surface is calm; true emotions are hidden in pauses, breathing, swallowing, and looking away. The male initially thinks this is a normal argument. He's urgent to find a specific wrong to explain, not realizing the problem is long-term emotional alienation. [Scene Setting] Downstairs of apartment at dusk {{Mixed 1}}. Outside is cold natural dusk light; inside the lobby glass door is warm yellow light. Female stands below steps with a small suitcase, one hand on the handle. Background only has slight wind in leaves, distant cars, door opening/closing, and suitcase wheel sounds. No subtitles, no sentimental music, no slow motion. [Cinematography Rules] Use standard TV drama shot-reverse-shot narrative. - Female always faces left. - Male always faces right. - Eye lines and directions correctly matched. - Camera stays on one side of the 180-degree axis. - Start with wide shot to establish environment and suitcase. - Normal dialogue uses medium close-ups from chest up. - Tension increases lead to close-ups from shoulders up. - Retain brief reactions after key lines, no immediate cutting after speech ends. - No exaggerated pushes, rotations, handheld selfies, or idol drama soft lighting. --- [00:00–00:02.2 | Shot 1: Environment Wide] Fixed wide shot. Only female in frame. Apartment, steps, glass door, and full body visible. She stands alone, checking the suitcase handle—quiet and definite. She's not pacing or anxious on her phone, indicating she's decided to leave. Sound of glass door opening behind. Male voice from off-screen behind her: "You're really leaving?" She pauses tidying the handle but doesn't look back immediately. [00:02.2–00:05 | Shot 2: Male Medium Close-up] Chest up medium close-up. Male at 3/4 profile facing right. He just ran out, breathing slightly fast. First looks at the off-screen suitcase, then at her. Brows slightly furrowed, speed faster than normal: "Just because I didn't go to the hospital that day?" He's already in explanation mode. Lips stay slightly parted after speaking. Brief pause on his face waiting for an answer. [00:05–00:08 | Shot 3: Female Medium Close-up] Waist up medium close-up, then very slow approach. Female at 3/4 front facing left. She has turned to face him. Looks at him first without speaking. No anger, just fatigue of "so that's how you understood it." Answers softly: "No. I know you couldn't leave for your mom's surgery." Not sarcastic. She means it. Then looks away at the ground between them. Fingers tighten on the handle. [00:08–00:10.2 | Shot 4: Male Close-up] Shoulders up close-up. Male facing right. Brows stay furrowed, more confused. Explanation failed. Moves half-step closer, voice with suppressed irritability: "Then what exactly are you blaming me for?" Stress on "blame". Stares at her waiting for a solvable error. No shouting or bulging eyes; focus on urgency for a specific answer. [00:10.2–00:15.5 | Shot 5: Female Emotional Close-up] Shoulders up close-up. Near front, but eyes look at the male to the left. Most important shot. No immediate speech. One inhale, then exhale. Looks at his face judging if truth is worth it. Says: "I'm not blaming you." Pause. Male about to speak, she continues: "It's just that day when I felt worst..." Lowers gaze briefly. Not crying, just needing time to finish. Swallows, looks up: "The first person I thought of wasn't you anymore." Last words soft but clear. Doesn't look away, waiting for him to understand. Eyes slightly wet but no tears. No trembling mouth. Semi-second pause after line. No relief or revenge in expression, just quiet fatigue. [00:15.5–00:16.8 | Shot 6: Male Reaction Close-up] Face close-up, including head top/shoulders. Male facing right. Doesn't understand immediately. Brows relax slightly but eyes freeze. Lips move as if a specific person flashes in mind. Subconsciously asks: "...Who is it?" Low tone, not angry but afraid of the answer. Stares at her, not realizing he asked the wrong thing. [00:16.8–00:19.3 | Shot 7: Female Final Close-up] Shoulders up close-up. Same position/light as Shot 5. Slight change in eyes after "Who is it". Not shock or anger. Remaining expectation vanishes. Short exhale from nose, looks away then back: "See... you still don't understand." Calm tone. Doesn't wait for answer. Looks away, turns right, and exits the composition. Camera doesn't follow. [00:19.3–00:20 | Shot 8: Male Ending Close-up] Shoulders up close-up. Only male in frame. Sound of suitcase wheels rolling. Subconsciously raises one hand to call her, stops at chest. Mouth open, no sound. Eyes follow her off-screen movement. Ends on his face realizing the issue wasn't "another person". Sound fades, screen naturally ends. [Authenticity Constraints] Maintain eye lines, lighting, and axis in shot-reverse-shots. Female not sad from start, no sudden tears. Male no exaggerated shock/rage. No mechanical "one line per expression". Characters listen first, then react via pauses/breathing. Allow slight slurring/swallowing in speech, no broadcast-style clarity. No shot of her walking away at the end.

A man and a woman jokingly discuss how they think they were about to fall in love before they were separated. They are joking to hide that they actually mean it. Insert some pauses to make it seem more natural. Cinematic, prestige level quality directing and cinematography. Establishing shot, Tight close-ups and handheld camera work for emotional resonance. No wide shots. No music. Micro-expressions in their faces sell the theme more than the volume of their voices. Cinematic, prestige level quality directing and cinematography. Tight close-ups and handheld camera work for emotional resonance. No wide shots. No music. Micro-expressions in their faces sell the theme more than the volume of their voices. The woman's eyes search for the man's response in the silence for two beats. The man then says he'd like that and they continue to discuss how falling in love might better than fighting all the time about whose fault it was that they're not together.

Create a 15-second ultra-photorealistic live-action medieval war sequence set during the 12th-century Crusades, depicting a fictionalized battlefield confrontation between Crusader forces and the army of Salahuddin (Saladin). The entire scene must feel grounded, documentary-like, raw, and physically realistic, as if authentic historical footage had somehow been captured with a primitive period camera. Environment: A medieval settlement and battlefield in the Levant during the Crusades, with weathered stone buildings, fortified walls, dirt roads, wooden structures, tents, farmland, horses, carts, siege equipment, scattered shields and weapons, drifting smoke, dust in the air, damaged structures, and a tense wartime atmosphere. Harsh overcast afternoon light mixed with dusty sunlight, natural atmospheric haze, and realistic environmental wear. Characters: Crusader soldiers wearing historically inspired 12th-century mail armor, surcoats, helmets, shields, boots, and period-accurate equipment. Salahuddin’s soldiers wear historically inspired Ayyubid-era Middle Eastern military clothing, chainmail, helmets, shields, and period-accurate equipment. Natural faces, realistic skin texture, sweat, dirt, fatigue, fear, and believable body movements. Horses and animals must move according to realistic biomechanics. 0–3s — Establishing Shot: Wide handheld shot of a dusty medieval settlement suddenly filled with smoke and confusion. Crusader soldiers and Salahuddin’s forces move rapidly between stone buildings and defensive positions. Horses pull wooden carts while civilians rush toward safer areas. Dust and smoke drift naturally through the battlefield. 3–6s — Tension: Camera moves through the battlefield at shoulder height, following several Crusader soldiers as distant battle cries, horns, arrows, and metal impacts are heard. They immediately react and take cover behind a stone wall and overturned wooden cart. Across the battlefield, Salahuddin’s soldiers advance cautiously through the dust. 6–10s — Combat: Fast handheld tracking shot as Crusader and Ayyubid soldiers clash between cover. Shields absorb impacts, swords collide with realistic weight and momentum, arrows strike wooden structures and shields, and small pieces of stone, wood, dust, and debris fall naturally from nearby impacts. Weapon movement, armor weight, recoil from physical impacts, momentum, balance, and body weight must be physically accurate. Keep the violence realistic and restrained. 10–13s — Human Moment: Camera briefly focuses on a wounded soldier being helped behind cover by another soldier. Their breathing, facial expressions, fear, exhaustion, body language, armor weight, and movement should feel natural and unscripted. In the background, the battle continues through smoke and dust. 13–15s — Final Shot: Camera pulls back into a wide shot of the medieval battlefield as smoke slowly moves through the settlement. Crusader forces

Seedance Prompt | Being Seen I. Project Positioning Cinematic realistic quality, pure ancient Chinese Xianxia aesthetics. The core is a restrained, mature emotional relationship drama. Using: High-level martial arts character blocking, Arri Alexa cinematic texture, clear and stable facial micro-details, fine film grain, and natural volumetric light. The core reversal revolves around "being seen": Everyone remembers the one who swings the final sword, but the person who truly determines the outcome might be the one who found the first breakthrough point but went unnoticed for a long time. Narrative Principles: The emotional center belongs strictly to the two women in @image1 and @image2. Supporting characters provide external evaluation, social pressure, and witness the reversal, but cannot replace the leads as the emotional center. The environment remains vivid but neutral in narration. II. Reference Controls 1. Character Identity Anchors: @image1 strictly serves as the identity anchor for Character ID A (Sword Immortal Senior Sister). @image2 strictly serves as the identity anchor for Character ID B (Junior Sister). 2. Environment Reference: All newly uploaded background and location reference images together determine the environmental DNA. Requirements: Do not mechanically copy any single reference image, maintain a consistent world identity, and three shots must share consistent geographical logic. III. Environmental Principles The background is always vivid but neutral. Elements like water flow, mist, and vegetation must move naturally without triggering plot developments. IV. Technical Direction Organized according to Seedance 2.0 Fast capabilities, emphasizing: character consistency from image references, native lip-sync, stable gaze and character positions, and directorial control over performance, lighting, and camera movement. V. Character Settings Character ID A | Sword Immortal Senior Sister (@image1): 25-30 years old, East Asian, oval face, fair skin, black hair with white jade hairpin. Cold, stable, direct, and values truth. Character ID B | Junior Sister (@image2): 20-25 years old, East Asian, round lively face, braided hair, petite. Smart, restrained, used to putting herself in a secondary position. VI. Core Narrative Structure Three beats: 1. External credit given to Senior Sister. 2. Senior Sister immediately corrects it, pointing to Junior Sister's breakthrough. 3. Junior Sister says "No one saw it then," Senior Sister replies "I saw it," followed by a repositioning action to let Junior Sister stand in front. VII. Storyboard Script (0-15s) 0-5s | Wide/Long Shot: Battle aftermath. Senior Sister and Junior Sister stand apart. Master says "The credit for breaking the formation goes to you." Senior Sister replies "Wrong." 5-10s | Medium/Cowboy Shot: Enemy argues "The final sword was clearly yours." Senior Sister ignores him, looks at Junior Sister: "She found the first eye of the formation." Junior Sister is surprised. 10-15s | Close-up/ECU: Junior Sister: "But... no one saw it then." Senior Sister: "I saw it." Followed by: "The first step is often harder than the last sword." Senior Sister steps back, letting Junior Sister stand in front. VIII. Performance Requirements Senior Sister: Calm, stable. Junior Sister: From restrained to touched, standing tall. Master: Restrained approval. IX. Actions and Blocking...

A man and a woman talking in a coffee shop having a discussion about the value of bravery in a world that rewards cowardice. Cinematic, prestige level quality directing and cinematography. Tight close-ups and handheld camera work for emotional resonance. No wide shots. No music. Micro-expressions in their faces sell the theme more than the volume of their voices.

Ultra-realistic cinematic frozen-time drama in bright daylight. One seamless 30-second continuous shot. Smooth Steadicam tracking, subtle push-ins, one elegant orbit and a final hero close-up. Warm summer light, soft breeze, lush green park, premium live-action realism, tasteful blockbuster emotion, no cartoon look. Main character: use (image_1) as the strict identity of the adult man, preserving his face, hair, beard, black jacket and body proportions. He wears fitted blue jeans and red, white and black high-top sneakers. Secondary character: one attractive adult woman jogging in stylish athletic wear. Background: a few park visitors, one dog, and birds in flight. Large city park in daytime with tree-lined paths, benches, grass, soft sunlight, joggers, a dog crossing the path and birds flying overhead. Photorealistic frozen-time illusion, stable identity, elegant body movement, coherent suspended birds and dog, realistic park atmosphere, seamless camera continuity, emotional heroic payoff, natural anatomy, no readable text, normal proportions without stretch 0-8s: Medium tracking shot moving backward - The man walks calmly toward camera through the park. Sunlight filters through the trees. A woman jogs into frame behind him from the side, moving fast along the path. Birds cross overhead and a dog runs nearby. 8-12s: Push-in to close-up - The jogging woman catches her foot and begins to lose balance, starting to fall forward. At the exact same moment, the man turns, raises one hand and snaps his fingers. Instantly everything stops. The woman freezes mid-fall, birds hang motionless in the air, the dog freezes mid-run, nearby people stop in place. 12-22s: Slow orbit around the man - He remains the only moving person. He walks calmly through the frozen park, steps between the motionless birds and people, reaches the woman, gently supports her and places her into a safe upright balanced posture as if stabilizing the moment itself. 22-30s: Low-angle dolly backward into hero close-up - He returns to his path and snaps again. Time resumes naturally. The woman regains her footing smoothly and continues without crashing, briefly confused but unharmed. Birds fly again, the dog keeps running, and the man walks forward with a subtle satisfied smile.

# Seedance 2.5 — 30-second Korean Bus Romantic Comedy / Sudden Brake Catch / Romantic Long Kiss / Bus Exit Cheek Kiss Use exactly 2 uploaded image assets. image1 = The sole and highest priority reference for the adult female lead's identity, face, hairstyle, body type, school uniform, and accessories. Strictly maintain the recognizable face, skin tone, light blue short hair, white cloud hair clip, blue fish hair clip, petite proportions, and the exquisite deep blue school uniform, white shirt, bow, plaid skirt, socks, and shoes from the reference image. image2 = The sole and highest priority reference for the adult male lead's identity, face, hairstyle, body type, school uniform, and accessories. Strictly maintain the recognizable face, black hairstyle, tall and slender proportions, and the Korean-style male school uniform from the reference image. All main characters and recognizable background passengers are clearly depicted as adult actors over 20 years old, using only school-style uniforms and school bus themes. Generate a 30-second, 16:9 widescreen, 4K, 24fps, hyper-realistic live-action Korean romantic short film. Warm afternoon natural light, realistic skin, realistic human inertia, realistic bus suspension and braking physics, delicate eye contact and breathing, natural motion blur, slight film grain. The overall look must be like a real Korean romantic film, not a music video, animation, game CG, or plastic AI skin feel. [Characters and Scene] The female lead is about 156cm, distinctly petite; the male lead is about 180cm, with a natural and obvious height difference when standing together. At the start, the female lead stands in the bus aisle holding a hand strap; the male lead is clearly seated in the aisle seat next to her. The bus is moderately crowded with adult student actors of different faces, hairstyles, and poses. Warm afternoon sunlight shines outside the window. [0–4s | Peaceful After-School Atmosphere] A 35mm aisle wide shot establishes the bus interior, with the camera slowly pushing toward the two leads. The female lead holds a strap with one hand and a school bag with the other; the male lead sits quietly beside her. Outside objects move naturally, and the bus has subtle road vibrations. People around are looking at phones or chatting, overall relaxed and natural. [4–8s | Sudden Brake and Loss of Balance Must Occur Simultaneously] The driver suddenly slams on the brakes. First, clearly hear the sharp, realistic sound of brake friction: “Kkiii-ik——!” At the same instant the braking starts, the entire bus immediately generates strong forward inertia, the front dips, and the vehicle vibrates significantly. All physical reactions must happen at once: Hand straps swing violently forward; Bags, clothing edges, and hair all sway forward; Seated passengers' upper bodies jerk forward instantly; Someone instinctively grabs a handrail; The camera is also jolted forward by inertia with a slight recoil, creating a realistic handheld jolt. The female lead must also immediately lose her balance at the same instant the braking starts. The arm holding the strap is suddenly pulled straight, her center of gravity instantly shoots out of her foot support range, and her feet are forced to take several frantic, messy corrective steps forward. The action must be a continuous physical chain: Braking starts → Body simultaneously leans forward violently → Feet take quick corrective steps → Upper body is still carried by inertia → Fingers slip from the strap → The person naturally falls toward the male lead. Do not show the female lead suddenly losing balance after the bus has already stopped, and do not let her regain her footing midway. [8–12s | Male Lead Catches Her While Vehicle is Still Shaking] Use a 3/4 medium shot from the female lead's front-right, clearly showing the male lead's seat and the female lead's path of falling. The female lead is already in the process of falling, and the bus still has obvious braking inertia, not yet fully stabilized. The male lead is clearly seated at the very beginning. Upon seeing her fall toward him, he reacts immediately: Hips leave the seat → Legs quickly straighten → Takes a half-step into the aisle → Reaches out both hands to her waist and back. Just as the female lead is actually about to fall, the male lead catches her in time. The female lead actually crashes into his arms due to forward inertia, rather than being in a pre-arranged embrace pose. The two are carried by the remaining vehicle inertia, wobbling for a half-step; the male lead must also adjust his feet and center of gravity before finally steadying them both. The female lead instinctively grabs the front of the male lead's uniform or shoulders. The correct causality must be clear: Braking → Female lead simultaneously loses balance → Falling → Male lead rises → Catch → Both continue to wobble together → Finally stabilize gradually. [12–15s | First Heartbeat] The bus and camera gradually recover from shaking to stability. A medium two-shot slowly pushes in to a close two-shot. The male lead still supports the female lead's waist and back, and she still grips his clothes. The two realize their faces are only a few centimeters apart. The female lead is startled first, then her breathing becomes slightly erratic, her gaze shifts away then can't help but return, her cheeks gradually flushing. The male lead first checks if she is hurt, then his gaze slowly turns tender. The female lead tilts her head up slightly, and the male lead naturally tilts his head down. Maintain realistic eye contact, do not kiss immediately. [15–17s | Surrounding Students Become Excited] Nearby students notice their pose; some cover their mouths, nudge friends, peek, or open their eyes wide. The speech must sound like someone truly seeing a heart-fluttering scene and unable to hold back excitement, not like reading a script: Slightly fast speech, lowered voice, natural rising intonation at the end of sentences, with laughter and breathy tones; multiple voices can slightly overlap. “What's this, what's this?” (in Korean) The second one is higher-pitched. “Heol, did you see that?” (in Korean) “Heol” is short like a gasp, “Did you see that?” rises excitedly. “Daebak…” (in Korean) Whispered giggling, in disbelief. No announcer-style delivery, no mechanical one-word-at-a-time. [17–19s | Female Lead Shyly Tries to Back Away] The female lead realizes everyone is watching and tries to back out of the male lead's arms shyly, hugging her bag tightly and not daring to look around. The male lead does not sit back down. Just as she tries to turn and hide, the male lead gently grabs her hand or forearm, making her stop. The female lead turns back in surprise. [19–24s | Embrace + Romantic Kiss] The male lead takes the opportunity to gently bring her a half-step closer, one hand naturally encircling her lower back. The female lead freezes for a second, then does not continue to back away, her hands lightly grabbing the male lead's lapels. The camera very slowly pushes in from a 30° side-angle close two-shot. The two first maintain about 0.5 seconds of eye confirmation. The male lead naturally tilts his head down, and the female lead slightly tilts hers up. Then complete a clear, gentle Korean drama-style kiss lasting about 3–4 seconds. Do not just touch and separate. A gentle initial touch, then both bodies naturally relax into an embrace. The female lead gradually relaxes from initial tension, and the male lead's movements remain restrained and gentle. No exaggerated deep kissing, no intense movements. Try to maintain a stable continuous shot, only allowing a very slight arc movement. Warm light by the window naturally outlines their faces, hair strands, and uniform silhouettes. [24–26s | After the Kiss / Arrival at Stop] The two naturally separate but remain very close. The female lead lowers her head shyly, realizes she's still holding the male lead's clothes, lets go slightly, but can't help but reveal a small smile. The male lead also smiles tenderly. Nearby students lower their voices even more excitedly: “Heol…” “Did they really do it?” “Crazy…” (in Korean) Must be excited, laughing, incredulous youth slang tone. “Crazy…” is not anger, but an exclamation after seeing a heart-fluttering scene. Simultaneously, the bus begins to decelerate normally and gently toward the stop. [26–28s | Natural Exit] The bus door opens with a realistic “chick—” air pressure sound, and warm afternoon light enters the cabin. The female lead walks toward the door first, with the male lead following closely behind. The camera tracks from a 3/4 rear-side angle following them. Must clearly see sequentially: Bus stops steady → Door opens → Female lead steps down → Male lead follows off the bus. Do not teleport directly from inside the bus to the street. [28–30s | Female Lead's Active Cheek Kiss / Ending] After getting off the bus, the female lead doesn't leave immediately but turns at the door to wait for the male lead. Just as the male lead steps off the last step, the female lead looks up at him. Her expression changes from shy to a bit playful and brave. Due to the obvious height difference, the female lead naturally stands on her tiptoes, leans in gently, and gives a short, clear kiss on the male lead's cheek. This is clearly a light kiss on the cheek, not mouth-to-mouth. Do not suddenly cut to a close-up. The camera originally maintains a medium two-shot, naturally and softly pushing in as the female lead stands on tiptoes and leans in, clearly showing: Standing on tiptoes → Active approach → Cheek kiss → Male lead's surprised expression → Female lead's shy yet happy smile. The female lead drops back to her heels, face slightly flushed, smiles, and turns to walk forward. The male lead is stunned for a beat before truly smiling and immediately catches up to her. Finally, the camera does a slight 3/4 tracking from behind: The two walk naturally side-by-side on the warm afternoon street, shoulders getting closer, the male lead reaches out, and the female lead naturally takes his hand. The bus slowly departs in the background. The two walk and laugh together. CUT TO BLACK. [Cinematography Core] 0–4s: Stable wide

Basic Sword Formation I. Core Positioning Cinematic realistic texture, pure ancient Chinese Xianxia aesthetics. Overall style: High-end deadpan comedy Elegant and clear Wuxia character blocking Visual misdirection Escalating absurdity of rules Internet comedy logic naturally translated through the ancient world Visual quality requirements: Arri Alexa cinematic look Clear and stable facial micro-details Fine film grain Natural volumetric lighting The comedy structure of this segment must strictly follow: Serious challenge → Absurd shortcut → Semantic counter-kill → Final blow by the authority figure II. Reference Control 1. Character Identity Anchors @Image 1 Strictly lock Character ID A: Sword Immortal Senior Sister @Image 2 Strictly lock Character ID B: Junior Sister 2. Environmental Reference All background and location reference images uploaded in this round collectively determine the same environmental DNA. Before formal composition, silently deduce mutually compatible: Real terrain Architectural language Spatial scale Materials Vegetation Water bodies Weather Clouds Mountain mist Main light direction Reflection relationships Realistic walkable paths for characters Then reorganize these elements into a new, unique, and unified space for this round. Requirements: Do not mechanically copy a single reference image Do not collage unreasonable scenes Must maintain a unified identity of the same world The three shots share a clear and stable spatial relationship The background must be vivid, credible, and continuous III. Environmental Principles The background remains constantly vivid but is absolutely neutral in narrative. If the following elements exist in the reference images, they should continue to operate naturally: Water flows continuously Mountain mist moves according to terrain Vegetation responds to natural wind Clouds and light change slowly Reflective surfaces have random position changes Ambient sounds of the distant space naturally exist Hard requirements: The background cannot create plot points The background cannot drive plot twists The background cannot help characters solve problems The background cannot act as a setup for jokes The background is only responsible for providing a sense of real spatial existence and continuous vitality IV. Character Settings Character ID A | Sword Immortal Senior Sister The same @Image 1 Sword Immortal Senior Sister. East Asian female, 25–30 years old, oval face, fair skin, dark almond eyes, long black hair half-tied, secured with a white jade hairpin, tall and slender. Fixed styling: White embroidered silk Hanfu Translucent layered wide sleeves Silver waist sash Jade pendant White cloth boots A single silver longsword Character personality: Calm Restrained Dignified Rational Has a sense of humor but won't show it The more serious the reaction, the funnier it is Character ID B | Junior Sister The same @Image 2 Junior Sister. East Asian female, 20–25 years old, round and lively face, black hair in braids, petite figure. Fixed styling: Blue-green linen Hanfu Dark waist belt Wooden hairpin Black cloth shoes A single dark steel sword Character personality: Smart Serious Jumping logic but dead serious Absurd behavior must be done very naturally The sense of comedy comes from her saying absurd things as if they were serious business Supporting Character 1 | Enemy Array Master One male Proud, confident, follows rules Standing behind a movable circular sword formation Comedy function is to take on the perspective of a "normal person gradually collapsing" Supporting Character 2 | Elderly Master One male Watching quietly from a further distance Restrained throughout Finally responsible for the "authoritative final blow" Must not steal the show, but one line of judgment must stand V. Core Narrative Logic Beat 1: Serious Challenge The enemy array master proposes the rules very formally: "This is our sect's basic sword formation. Only by breaking it are you worthy of facing me." This should be filmed like a true master's trial. Beat 2: Absurd Shortcut The junior sister does not break the formation; instead, she walks directly around the outer edge of the sword formation and stands next to the enemy. She is not sneaking away in a desperate or cheating manner. She walks around in a dignified manner and asks seriously: "What if I don't break it and just face you directly?" Beat 3: Semantic Counter-kill The enemy loses control and yells at her: "You... you are an evil cultivator!" The junior sister nods very solemnly: "Thank you for the recognition." Beat 4: Authoritative Final Blow Finally, the Master explains the rule loophole dead seriously: "He only said you must break the formation; he didn't say you couldn't not fight." Then the junior sister follows the lead and sheathes her sword: "Then I won't fight." The authoritative serious attitude completely drives the enemy crazy. VI. Storyboard Script 0–5s | Long Shot or Wide Shot Character ID A is always the same @Image 1 Sword Immortal Senior Sister. Character ID B is always the same @Image 2 Junior Sister. An enemy array master stands proudly behind a movable circular sword formation. The same elderly master watches quietly from a distance. The enemy says with extreme formal momentum: "This is our sect's basic sword formation. Only by breaking it are you worthy of facing me." The same junior sister observes the sword formation for a beat and asks: "Must break?" The enemy answers proudly: "Naturally." Camera Requirements Establish a clear and stable spatial relationship The sword formation must be clearly visible with a sense of "rules" The confrontation atmosphere must feel like the start of a real grand scene Junior sister should look serious while observing the formation, not smirking Master is only a witness in the long shot, not taking the lead 5–10s | Medium Shot or Cowboy Shot Maintain the same two women, same clothing, same enemy, same sword formation, and identical geographical space. The same junior sister does not enter the sword formation; instead, she naturally walks around the outer edge of the formation to the stunned enemy and asks seriously: "What if I don't break it and just face you directly?" The enemy did not expect this at all and stammers: "You... you are an evil cultivator!" The same junior sister actually nods very solemnly: "Thank you for the recognition." The same white-clad sword immortal slowly turns her face away, forcing back a smile that has appeared. Camera Requirements The junior sister's movement around the array must be clean, clear, and not at all sneaky She isn't sneaking through a loophole but "walking over" with self-consistent logic The enemy's shock must be readable The senior sister's hidden smile must be very restrained, using minimal facial reactions Background continues natural movement but does not coordinate with the joke 10–15s | Close-up or Extreme Close-up The same enemy points to the completely intact sword formation and protests in collapse: "No righteous path walks like this!" The same junior sister replies without changing expression: "You call me an evil cultivator, yet you care if I walk the righteous path?" Retain a precise comedy half-beat. The same sword immortal sister turns to the distant master and asks seriously: "Master, does this count as a foul?" The camera focus shifts to the same elderly master. The master thinks solemnly for a half-beat and answers: "He only said you must break the formation; he didn't say you couldn't not fight." Another pause for a beat. The same junior sister immediately sheathes her dark steel sword: "Then I won't fight." Extreme close-up of the enemy's completely broken and incomprehensible expression. The same sword immortal sister looks at his sword formation and adds slowly: "Basic sword formation. The 'basic' part is the sword; the non-basic part is the rules." In the final shallow depth of field in the background, the same master slowly turns around, deliberately hiding a smile he can no longer suppress, precision cut to black. Camera Requirements Comedy rhythm must be built on pauses and a serious tone The master's judgment should be as solemn as a real sect rule ruling Junior sister's "Then I won't fight" should be very natural, as if following new rules immediately Senior sister's final line is the finishing blow; the tone should be slow, steady, and light Master's hidden smile must be extremely restrained, no exaggerated loss of composure VII. Character Performance Requirements Sword Immortal Senior Sister Restrained throughout Almost never actively creates jokes Sense of comedy comes from her taking the absurd logic too seriously After seeing the junior sister walk around, can only use minimal reactions to hide a smile Final summary sounds like a martial arts critique, not a witty remark Junior Sister Absurd logic, but extremely serious attitude Completely unashamed while walking around the array "Thank you for the recognition" must be said like a formal thank-you "Then I won't fight" should be very natural, as if completely reasonable Enemy Array Master Must have a strong aura at the start Gradually loses control in the middle Completely unable to understand the current situation by the end Collapse comes from rules being exploited by the opponent, not incompetence Master Dead serious Judgment must have authority His humor lies in being too serious Finally, the hidden smile can only be a tiny bit, not stealing from the protagonists VIII. Action and Staging Requirements Key actions must be clear, simple, and readable: Enemy stands behind the circular sword formation and formally issues the challenge Junior sister observes the sword formation seriously Junior sister walks around the edge of the formation Junior sister stands next to the enemy and asks the question Enemy stammers accusations Junior sister nods solemnly in thanks Senior sister turns her face to hide a smile Enemy collapses and points to the sword formation Master makes a solemn judgment Junior sister sheathes her sword on the spot Senior sister adds the finishing blow slowly Master turns to hide a smile and cuts to black Action Principles: Logic must be clear Character positioning must be stable No chaotic running around Comedy must come from staging and logic, not from wild facial expressions IX. Cinematography Requirements 16:9 Landscape Three continuous clear shots Arri Alexa cinematic look Composition is stable and restrained Camera movement is clear but not overly flashy Wide shot responsible for establishing rules Medium shot responsible for the absurdity of the behavior Close-up responsible for the logical counter-kill and final blow Facial micro-details clearly readable Maintain fine film grain and natural volumetric lighting Continuous natural parallax in the background Geographical relationship remains stable throughout X. Sound and Rhythm Requirements Native synchronized Mandarin dialogue Precise lip-sync Comedy pauses must be clear Ambient sounds naturally exist Music is restrained, not forcing the jokes Key dialogue rhythm anchors: "This is our sect's basic sword formation. Only by breaking it are you worthy of facing me." "Must break?" "Naturally." "What if I don't break it and just face you directly?" "You... you are an evil cultivator!" "Thank you for the recognition." "No righteous path walks like this!" "You call me an evil cultivator, yet you care if I walk the righteous path?" "Master, does this count as a foul?" "He only said you must break the formation; he didn't say you couldn't not fight." "Then I won't fight." "Basic sword formation. The 'basic' part is the sword; the non-basic part is the rules." XI. Technical Specifications Total duration: 15 seconds Aspect ratio: 16:9 Landscape Three continuous clear shots Character identities, clothing, longswords, sword formation, and geographical relationships remain stable throughout Supporting character positioning remains continuous Body movements are clear and easy to read Native synchronized Mandarin dialogue Precise lip-sync and comedy pauses Realistic physical effects for silk fabrics and hair Background has continuous natural parallax and realistic spatial ambient sound Do not generate subtitles XII. Negative blurry, bad quality, low quality, low resolution, noisy, jpeg artifacts, watermark, text, error; deformed, mutated, bad anatomy, poorly drawn hands, bad composition, out of frame, disfigured; inconsistent character, changing clothes, face morphing, background shift, glitching cuts, disappearing props

The final frozen formal group portrait after the photo is taken, bright flash residual, everyone holding the perfect Qajar court pose with slight smiles or serious faces, the photographer still behind the camera but the focus is the group. Same scene...

Seedance Prompt | Weakness and Harbor I. Project Positioning Cinematic realistic quality, pure ancient Chinese Xianxia aesthetics. The overall focus is on restrained emotional relationship scenes, with a slight touch of cool temperature. Style Requirements: High-level three-layer character blocking (foreground, middle, background) Arri Alexa cinematic quality Clear and stable facial micro-details Delicate film grain Natural volumetric light Restrained, quiet, and clear progression of character relationships Core Twist: Redefining the traditional meaning of "weakness." A truly important person does not make a master weaker; instead, she makes her realize for the first time why she must return alive. Narrative Principles: The main emotional thread belongs only to the two women (Image 1 and Image 2). Enemies are only responsible for external judgment and pressure. Masters and disciples exist only as distant witnesses. Supporting characters must not steal the plot. The environment is always vivid but completely neutral in narration. II. Reference Control 1. Character Identity Anchors: Image 1 strictly serves as Character ID A (Sword Immortal Senior Sister). Image 2 strictly serves as Character ID B (Junior Sister). 2. Environment Reference: All newly uploaded background and location reference images are treated as the same environmental DNA. Before formal composition, silently deduce compatible: real terrain, architectural language, spatial scale, materials, vegetation, water bodies, weather, clouds, mountain mist, main light direction, reflection relationships, overall color, atmospheric depth, and reasonable movement lines. Recombine these into a unique, unified new space for this round. Requirements: Do not mechanically copy a single reference image; maintain identity in the same world; three shots share the same geographical logic; clear layers of foreground, middle, and background; the environment exists vividly, but the plot is driven only by characters. III. Character Settings Character ID A | Sword Immortal Senior Sister Same Image 1 Senior Sister. 25–30 year old East Asian female, oval face, fair natural skin tone, dark almond eyes, long black hair partially tied up with a white jade hairpin, tall and slender. Fixed styling: White embroidered silk Hanfu, translucent layered wide sleeves, silver waistband, jade pendant, white cloth boots, a single silver long sword. Character temperament: Calm, direct, concise, emotions not exposed; the truly important weight is placed in the last sentence. Character ID B | Junior Sister Same Image 2 Junior Sister. 20–25 year old East Asian female, rounded and lively face, black hair braided, petite figure. Fixed styling: Cyan-green linen Hanfu, dark belt, wooden hairpin, black cloth shoes, a single dark steel sword. Character temperament: Smart, sensitive, restrained; does not over-show weakness; when touched, will use a gentle comeback to protect herself. Supporting Characters: Only as world witnesses, must not steal the scene. Enemy Swordsman: One, defeated, kneeling several steps in front of the two. Elderly Master: One, small volume in the background. Sect Disciples: Two, small volume in the background. Requirements: Supporting characters always submit to the main narrative, do not steal the spotlight, do not speak, do not create new plots, only provide scene pressure and social witness. IV. Environmental Principles The environment must remain vivid but neutral in narration. If elements exist in reference images, they should continue naturally: water flows, mountain mist drifts, vegetation responds to wind, clouds move slowly, reflections change with camera angles. Ambient sounds exist naturally. Hard Requirements: The environment must not trigger the plot, change character goals, create plot devices, or "over-act" for emotional beats. All transitions must come from character dialogue, actions, choices, and gaze relationships. V. Three-layer Blocking Principles Foreground: Facial details, hands, silk fabric, hair strands, long sword. Ensure stable facial details and readable micro-expressions. Middle Ground: Spatial relationship between the two leads and the kneeling enemy. Focus on the change in side-by-side positioning. This layer handles core relationship blocking. Background: Elderly master and two sect disciples. Exist only as silent witnesses, blurrier and smaller. Only provide world presence and social relationship pressure. VI. Narrative Core The true proposition is: "Are you my weakness?" The answer is completed in three beats: Beat 1: The enemy makes a traditional judgment: having someone you care about means having a weakness. Beat 2: The Senior Sister does not deny "caring," but redefines "weakness." She doesn't stand in front of the Junior Sister; she stands beside her. Beat 3: "Weakness" is rewritten as "Harbor (Home)." It's not a burden, but the reason to return alive. VII. Storyboard Script 0–5s | Wide or Long Shot: In the main confrontation area naturally selected from the spatial relationships of the reference images, two women stand side-by-side from head to toe, with a minimal distance between them. A few steps in front of them, only one defeated enemy swordsman is kneeling. An elderly master and two disciples exist as small-volume, silent background figures. The enemy looks up at the white-clad sword immortal and sneers: "With her, you have a weakness." The Senior Sister glares slightly at the Junior Sister and simply replies: "Yes." The Junior Sister's expression visibly tightens. Shot Requirements: Foreground, middle, and background must be clear. The two leads are the absolute visual center. The enemy is in the mid-foreground. Background master/disciples must exist but not distract. The first beat must hold; the "Yes" should be short, steady, and weighty. Junior Sister's reaction is shown only through eyes and slight facial tension. 5–10s | Medium or Cowboy Shot: Maintain the same white silk Hanfu woman, green linen Junior Sister, enemy, and identical geographic space. The Senior Sister does not take a traditional protective stance. She takes a tiny step to the side until they are truly side-by-side on the same line. She looks at the enemy and says calmly: "Before, I only thought about how to win." A full half-beat pause, then: "Now, I also have to think about how to come back together." The mockery on the enemy's face fades. The Junior Sister doesn't turn her head, only slowly looks at the sister beside her. Shot Requirements: The second beat is achieved through "blocking change." The core is not protection, but standing together. The step must be small but meaningful. "How to come back together" is the second core sentence. Junior Sister's emotion is shown through her eyes turning slowly toward her. Background continues natural movement with zero causal impact. 10–15s | Close-up or Extreme Close-up: The Junior Sister finally asks softly: "So, am I really your weakness?" The Senior Sister truly looks at her this time and replies: "No." A weighty half-beat pause, then: "You are the harbor (home)." The Junior Sister immediately looks away, trying to hide her reaction, muttering: "Who has a harbor with you?" The Senior Sister replies without changing expression: "Then stand further away." The Junior Sister doesn't hesitate; instead, she immediately moves half a step closer to her, saying: "The wind is strong, I can't hear you." Extreme Close-up: A tiny smile finally appears on the Senior Sister's restrained face. The Junior Sister also tries to press down the corners of her mouth. They look forward together again. The kneeling enemy in the back remains blurred (shallow depth of field), and the background figures are even blurrier. Shot Requirements: The third beat must land on "Harbor." "You are the harbor" is the most important line. Junior Sister's reaction should be internal, like trying to act fine after being struck. "Wind is strong, can't hear" is a light comedic touch. Moving half a step closer must be clear and natural. The ending is not a heated reconciliation, but a quiet confirmation of their stance. VIII. Performance Requirements Senior Sister: Stable external emotions, important info said in shortest words, power comes from restraint, "Yes" sounds like an undeniable fact, "Harbor" must have weight, final smile must be tiny. Junior Sister: Tightens up at "weakness," moved by "coming back together," truly touched by "harbor." Protects herself with a gentle comeback, then moves closer. Enemy: Only external judgment, no scene-stealing. IX. Action and Positioning: Side-by-side with minimal distance, enemy kneeling in front, Senior Sister glares at Junior, Senior Sister steps to side, Junior Sister looks with eyes, Junior Sister moves half-step closer. Principles: Minimal action, maximum meaning, no exaggeration. X. Cinematography: 16:9, three continuous clear shots, Arri Alexa look, stable/observational, natural volumetric light, film grain, facial details, shallow depth of field for extras. XI. Sound: Native Mandarin dialogue, precise lip-sync, ambient environmental sound, restrained music, significant pauses between core lines. XII. Technical Specs: 15s total, 16:9, Seedance 2.0 Fast, character/identity consistency, physical realism, no subtitles. XIII. Negative: blurry, bad quality, low quality, low resolution, noisy, jpeg artifacts, watermark, text, error; deformed, mutated, bad anatomy, poorly drawn hands, bad composition, out of frame, disfigured; inconsistent character, changing clothes, face morphing, background shift, glitching cuts, disappearing props

Nostalgic vintage European countryside footage, warm sunlight, faded tones, soft grain, imperfect handheld camera, natural movement, intimate documentary realism. 0–3s: A young French woman walks beside a quiet village canal carrying a wicker basket. A small paper boat suddenly drifts toward her. She picks it up and discovers a tiny handwritten drawing inside. 3–7s: She follows the canal through the village, passing a bakery, old bicycles, flower-filled windows, and a sleepy dog resting in the sun. A bicycle bell rings behind her and she instinctively turns. 7–11s: She reaches a stone bridge where a little boy is searching for his paper boat. She holds it up. His face lights up, and he runs toward her. His mother smiles from a nearby doorway. 11–15s: The woman places the boat back into the water. The boy gently pushes it forward. Suddenly, several paper boats appear around the corner, floating together down the canal. She watches them disappear into the golden sunlight, smiles softly, and walks away. Natural human reactions, subtle camera shake, realistic wind and reflections, organic focus changes, authentic village details, nostalgic atmosphere, completely unstaged, no modern cinematic effects, no text, no watermark