Prompts de Vídeo para Architecture Interior

[Scene] An ordinary living room on a cloudy day, very dark overall. A girl sits cross-legged on a woven fabric sofa; the background should not be overly tidy or look like a modern show home. [Composition] Side shot of the character, vertical medium shot, character sitting in the lower-left part of the frame, showing upper body and crossed legs at the start. No subtitles, no text, no watermark. [Duration] 15 seconds, 9:16 vertical, one-take, no transitions. [00:00-00:01.80] Quietly looking down: Girl sits cross-legged on the sofa, looking down and slowly pinching the edge of a knitted blanket with her fingers. Her expression is calm or even dazed, not looking at the camera; cold window light leaves her face in soft dark shadows. [00:01.80-00:03.30] Hesitantly noticing the camera: She slowly looks up, first glancing with peripheral vision, then pausing before looking directly. No immediate smile, just slightly confused and a bit uncomfortable; a strand of hair hangs beside her face. [00:03.30-00:04.55] A small smile, with an expression of being unwillingly caught on camera, like finally unable to help laughing, not a posed smile. [00:04.55-00:05.85] First hand covering the lens: With a playful resistive expression, she leans forward smiling, one palm slowly approaching the lens. The palm takes up the foreground and goes out of focus, then covers most of the lens; her squinting smiling face and bright window are briefly visible through finger gaps. Stays for less than half a second then retreats, exposure slowly recovers without sudden brightening. [00:05.85-00:07.30] Grabbing a pillow, playful attack: She looks down laughing and turns to her side, picking up a beige square pillow. First raises the pillow to her chest, then suddenly swings it from the left toward the lens; the pillow passes close to the foreground, creating a large area of soft fabric motion blur. The action is childish play, not hitting hard. [00:07.30-00:09.25] Lapping towards the camera: After the pillow passes, she laughs until her shoulders shake, then suddenly lunges toward the camera as if acting spoiled. White T-shirt, shoulders, and hair sweep past the lens in turn, the phone is bumped, frame clearly tilts, loses focus, and darkens; the character's body briefly covers most of the frame, leaving only blurred window light. [00:09.25-00:10.80] Laughing uncontrollably up close: She backs off slightly but remains very close to the camera. Wide angle naturally enlarges the face slightly; she laughs two or three times, then the laughter naturally fades, no fixed toothy grin. Eye wrinkles, breathing, and messy hair must be realistic. [00:10.80-00:13.15] Eye contact after quieting down: She slowly sits back a bit, the smile fading into a closed-mouth smirk. She gazes quietly at the camera, slightly tilting her head at about 12.5s; expression is gentle but restrained, no more big laughing. [00:13.15-00:14.35] Hiding face with pillow: She raises the same beige pillow below her nose, pinching two corners with both hands, only eyes visible. She peeks at the camera over the pillow edge with a shy smile in her eyes. [00:14.35-00:15.00] Second lens cover: Still holding the pillow, her other hand slowly approaches the lens. Palm goes from foreground blur to completely covering the frame, leaving only a tiny bit of eyes and window light between fingers; the screen naturally darkens to black due to lens obstruction, no hard cuts.

Create a 30-second cinematic biographical video. The entire process must be a completely seamless, coherent, and uninterrupted long shot. There should be no cuts, fades, dissolves, resets, or montage effects. The camera can orbit, track, dive, rise, rotate, and pass through foreground obstacles, or temporarily obscure the character, but the final result must always appear as an uninterrupted moving shot. **Core Concept** A man's entire life, from youth to old age, condensed into an uninterrupted long shot. This man is Su Shi, the greatest literatus of the Northern Song Dynasty. He remains the same person, a continuous presence throughout the film, but his age, face, physique, hairstyle, clothing, expression, and temperament must change fluidly as he progresses through life stages. Every change must occur within the frame, tied closely to his movement with physical causality. His evolution must be seamlessly connected: from a youth in Meishan to a scholar taking exams, then a talented young official entering the bureaucracy, followed by an outspoken official opposing reforms, then a prisoner in jail, a free-spirited poet in the fields of Huangzhou, an Academician returning to court, a local governor of Hangzhou, an old man exiled to Lingnan, and finally a wise man dying with a smile on his way back north. His face, body, beard, official robes or plain clothes, hats, and handheld objects must transition naturally with life stages. These changes must happen during motion and never as abrupt jumps. **Tone** Poetic, magnificent, soulful, open-minded, and filled with literary charm. The environment can be spectacular and dramatic, but the overall atmosphere always carries Su Shi's characteristic openness and warmth. Suitable for all ages, with no blood or violence. **Audio Design (Seedance 2.5 Voice Format Instructions)** This video uses Seedance 2.5 native audio generation, where visuals, voice, and sound effects are completed synchronously in one generation. The voice format rules are as follows: - **Voiceover Narration** (Classical male voice recitation): Enclosed in double quotes "...", preceded by "Narrator recites in a steady classical middle-aged male voice:" - **Environmental Sound Effects**: Marked with angle brackets <...>, e.g., <Wind rustling through bamboo forest> - **Background Music**: Marked with parentheses (...), e.g., (Distant guzheng melody, slow and deep) - **Mixing Priority**: Voiceover narration is clear and prominent, background music is lower than the voice, and environmental sound effects serve as the ambient layer. Due to the limited voice capacity within 30 seconds (about 40-50 Chinese characters), please select 6 of the most representative poems or famous lines as voiceovers, while the rest of the scenes use sound effects and music to carry emotion. **Narrative Timeline** The 6 lines not only fit the current scenes but also form a complete spiritual arc of life: 1. "Where can life be compared? It should be like a flying swan treading on snow and mud." → **Departure**: Life is like a flying swan, unknown destination. 2. "Picking all cold branches but unwilling to roost, lonely and cold on the sandbank." → **Fall**: Nowhere to stay, extreme loneliness. 3. "Bamboo cane and straw shoes are lighter than a horse. Who's afraid? A life of misty rain in a coir raincoat." → **Awakening**: Letting go of everything, no longer afraid. 4. "Comparing West Lake to Xi Shi, light makeup or heavy is always suitable." → **Settling**: Reconciling with the world, loving the present. 5. "Eating three hundred lychees a day, I wouldn't mind being a Lingnan man forever." → **Open-mindedness**: Living flavorfully no matter where. 6. "Where this heart finds peace is my hometown." → **Return**: Having traveled the world, peace of heart is home. Hearing them consecutively summarizes Su Shi's life spirit: Unknown destination → Nowhere to stay → No longer afraid → Loving the present → Living well anywhere → Peace is home. --- ## Opening: Meishan Youth (c. 1050, Su Shi aged 13-14) Opens with early morning in Meishan, Sichuan. A youth stands on a bamboo-shaded slope, overlooking the misty Minjiang Plain. Distant layered green mountains, nearby the eaves of his father's study. Morning light spills through bamboo leaves onto his face. He holds a scroll, eyes bright and curious. The youth has handsome features, wearing simple Sichuan student robes, hair tied in buns. The visual should immediately feel poetic and cinematic. He hears a distant horn sound (symbolizing the call of the imperial exams), looks up, eyes flashing. <Wind rustling bamboo forest, faint distant horn> The camera moves as he turns and starts running down the bamboo path. --- ## First Transition: Meishan Youth → Scholar Heading for Exams (1056, age 20) He runs through the bamboo forest, shadows sweeping over him. As the shadows pass, his face matures slightly, his stature grows, and the buns change into a young scholar's hairstyle. Simple student robes turn into a traveler's long robe. The scroll becomes a bundle. The bamboo forest dissolves behind him, the mountain path becomes a government road to Bianjing. City outlines appear. His pace is steady, with the high spirits of a youth leaving Sichuan for the first time. The figure of his brother Su Zhe appears beside him (blurred as a background element). Narrator recites in a steady classical middle-aged male voice: "Where can life be compared? It should be like a flying swan treading on snow and mud." <Horse hooves, wind on the government road> --- ## Second Transition: Scholar → Young Talent on the Golden List (1057, age 21) An imperial banner fluttering in the wind sweeps across the frame. As it passes his body, his traveler's robe turns into the blue official robe of a new jinshi. The bundle vanishes, replaced by a scroll of imperial decree. His gait becomes confident and high-spirited. The government road becomes the stone-paved main street of the Bianjing imperial city. Towering palace buildings, red walls, yellow tiles, and bustling crowds appear on both sides. He walks through the crowd with a triumphant smile. Sunlight hits his young face, full of spirit. <Crowd noise, distant celebratory music> --- ## Third Transition: Young Talent → Outspoken Official (1069-1071, age approx. 33) A vermilion palace pillar sweeps across the foreground, temporarily obscuring him. When he reappears from behind the pillar, his face is more mature, with a neatly trimmed short beard. The color and patterns of the official robe become deeper, and he wears a black official hat. His expression turns from triumphant to serious and grave. He is walking briskly through a court corridor, clutching a memorial. The environment becomes oppressive, the pillar's shadow elongating. Notices of Wang Anshi's reforms and arguing officials are faintly visible in the distance. His pace is urgent and steady, with the determination of one speaking truth to power. <Urgent footsteps echoing in the empty corridor> --- ## Fourth Transition: Outspoken Official → Prisoner in the Crow Terrace Poetry Affair (1079, age 42) The light in the corridor suddenly dims. The shadow of the pillar becomes the iron bars of a prison. His official robe loses color in the shadows, turning into a prisoner's coarse cloth. The black hat vanishes, hair becomes disheveled. The memorial in his hand turns into heavy chains. His face is haggard, short beard messy, eyes sunken. He stumbles through a dim cell, but his gaze still holds unyielding light. There are water stains and carvings on the walls. A weak beam of light shoots from a high window onto his face. Narrator recites in a steady classical middle-aged male voice: "Picking all cold branches but unwilling to roost, lonely and cold on the sandbank." <Heavy chains dragging on the ground, water dripping echoes> The camera rises with that beam of light. --- ## Fifth Transition: Prisoner → Open-minded Poet in Huangzhou (1080-1084, age approx. 45) That light expands and warms, becoming the moonlight at Chibi in Huangzhou. The prison walls shatter and dissolve, becoming the Chibi cliffs by the Yangtze River. The prison floor under his feet turns into riverbank rocks. The prison clothes turn into loose literary plain robes in the moonlight, a coarse belt tied at the waist. Chains vanish, a jug of wine appears in his hand. His hair is tied back again, but not in an official bun—instead a casual literati style with a Dongpo hat. His face relaxes, though thin, his eyes have a transcendent light. He stands under the Chibi cliffs, the river wind blowing his robes. A small boat is in the distance on the river. He looks up at the moon, lips moving slightly as if reciting "The Yangtze River flows east." The entire person is completely liberated from the oppression of imprisonment, exuding a transcendent air. Narrator recites in a steady classical middle-aged male voice: "Bamboo cane and straw shoes are lighter than a horse. Who's afraid? A life of misty rain in a coir raincoat." <River wind howling, waves hitting rocks> He turns and walks along the riverbank with a leisurely pace.

FORMAT 15 seconds | 16:9 | live-action fashion dress shoot footage Real outdoor fashion shoot in Taj Mahal, Agra. Raw professional camera footage, observational realism. No commercial-style fantasy treatment. REFERENCE CONTROL @Image1 = exact dress reference. The model wears the exact dress shown in the reference. Preserve the dress construction precisely: dusty rose-pink traditional outfit, intricate lace and embroidery, detailed floral embellishment, matching embroidered lower garment, sheer matching dupatta with detailed embroidered border, rich traditional textile detailing. Do not simplify or redesign the dress. Maintain the exact dress throughout every shot. SETTING Beautiful open-air fashion shoot at the Taj Mahal during sunset. Historic Mughal architecture, white marble façades, gardens, trees and symmetrical pathways surrounding the model. Soft warm sunset daylight. Real Taj Mahal atmosphere. MODEL Adult high-fashion model. Tall, slender proportions. Minimal makeup, understated hair. Natural relaxed expression. Controlled graceful movements. 00–02.5s — ENTRANCE Wide shot from the Taj Mahal. The camera holds on the Taj Mahal and surrounding garden. The model suddenly enters the frame from the left side wearing the exact referenced dress and smiling naturally. The dress begins moving naturally with her steps. The dupatta responds gently to the light breeze. 02.5–05s — WALK Medium rear three-quarter tracking shot. Camera moves behind her as she walks into the garden. Show the back of her body while revealing the details of the dress. The dress sways with realistic weight and delayed momentum. The embroidery catches subtle sunset daylight. 05–07s — DETAIL Extreme close-up of the dress. Show the dimensional lace, embroidery and layered construction. Camera moves naturally across the fabric. The intricate details catch subtle sunset daylight. 07–09s — FACE Close-up shot of her face. Show her eyes, lips and natural facial expression. She looks naturally toward camera before shifting her gaze toward the sunset. Natural skin texture and realistic facial detail. 09–12s — SUNSET Medium-wide shot. She sits gracefully in the garden and adjusts her clothes naturally. The fabric gathers and settles realistically around her. She looks toward the setting sun. Warm sunset light falls naturally across her face and dress. 12–15s — DRONE Distant drone shot. The camera rises and pulls backward away from her. Reveal the model seated in the garden with the Taj Mahal behind her. The frame expands to reveal the scale of the Taj Mahal and surrounding gardens. CAMERA Real professional fashion-shoot camera coverage. Wide, tracking, close-up and drone professional camera footage. Natural operator micro-movement. Minor reframing. Real autofocus adjustments. Natural motion blur and depth of field. No floating camera.

# Main Prompt - A: Clockwise Heart (Classroom Ver.) shot: type: r2v aspect_ratio: "9:16" camera: fixed, single continuous shot, no cuts framing: character occupies lower two-thirds of frame, medium shot from waist up character: reference: use attached reference image for full appearance (face, outfit, colors, proportions) art_style: preserve original character art style / cel-shading from reference, do not blend with background style motion: sequence: - beat_1_2: both arms raised, sweep in a slow clockwise circular motion like clock hands, starting from 12 o'clock position - beat_3: arms cross at chest height, hands open - beat_4: arms draw outward and down into a heart shape formed above the head, hold for half a beat - beat_5_6: small step-touch side to side (left-right), shoulders swaying gently in sync - loop: sequence repeats seamlessly from beat_1 tempo: moderate pop tempo, sharp but not rushed transitions motion_notes: no slow motion, no speed ramping, natural constant playback speed throughout setting: location: after-school classroom, empty of other students time_of_day: late afternoon / early evening, golden hour light through windows environment_details: rows of desks and chairs as soft silhouettes in the background, chalkboard faintly visible, window frames casting long soft shadows across the floor atmosphere: quiet, nostalgic, gentle contrast between the character's lively motion and the stillness of the empty room background: style: simple, uncluttered classroom silhouette, low detail so it doesn't compete with character motion rendering: keep visually separate from character line/shading style; desks/windows rendered with minimal linework, mostly shape and light, not full detail motion: static background, only ambient light shift (e.g. faint dust motes in the light beam), no moving elements lighting: warm golden-hour light streaming through windows from one side, soft rim light on character, gentle long shadows cast by desks expression: light, playful smile, eyes forward toward camera during heart pose

REFERENCE-FIRST SHOT CONTRACT. A 6-second clip in multimodal reference mode. A scribal chamber at dawn inside the Giza construction complex. First frame snaps to an extreme close-up of a limestone deadline shelf: one long freshly painted red vertical line drops like an alarm bar, and beneath it a shallow stone shelf holds exactly six pale bones in a clean countdown row, each casting a hard charcoal shadow. The framing widens to reveal Henu at his low stone desk, hunched over a single clean papyrus with exhausted dread, glancing from the shelf to his empty page. A spotted Egyptian mau is curled asleep across the papyrus, blocking the work surface. Through the far colonnade an unfinished pyramid wrapped in wooden scaffolds fills the horizon. Dawn light from the right, cool in the shade, pale gold on the floor. Limestone beige, dusty ocher, faded linen, charcoal shadow, and the isolated red deadline line dominate.

NEUROPROSTIR — ENTRANCE → THE WEIGHING → THE CASE → ONE CHORD → THE TWENTIETH → LOGO SHOT STRUCTURE: 11 shots, 30 seconds, 4:3, exactly as listed, no added shots REFS: @[Image 1](image_1) = location reference sheet. Controls the room itself only — architecture, layout, materials, window positions, bar position, fixtures, colour of the space. Every shot is staged inside this room. @[Video 1](video_1) = video reference of Vova's face. Controls facial geometry, features, skin and expression range INSIDE the hairline only: forehead, eyes, nose, mouth, jaw, complexion. It does not control hair, hairline, head shape above the hairline, or anything below the neck. @[Image 2](image_2) = character sheet. Controls Vova's hair length, parting, volume and fall, plus his build, height, wardrobe and silhouette. @[Image 3](image_3) = prop turnaround. Controls the guitar's shape, colour, wear and the logo on the lower bout only. @[Image 4](image_4) = character sheet. Controls El Patrón's face, hair, build and wardrobe. @[Image 5](image_5) = photo reference. Controls Anya's face, hair, glasses, earrings and jacket. @[Image 6](image_6) = brand reference. Controls the logo shape, its orange-to-violet gradient, the wordmark, the subscribe button and the server-room environment, for the final shot only. ACTIVE REFERENCES: @[Image 1](image_1) 95% · @[Video 1](video_1) 90% (face only) · @[Image 2](image_2) 95% (hair, build, wardrobe) · @[Image 3](image_3) 95% · @[Image 4](image_4) 90% · @[Image 5](image_5) 90% · @[Image 6](image_6) 100% (final shot only) LOCATION MAP — fixed for the entire piece, every shot is staged against these anchors: - The room runs roughly 12 metres east to west and 9 metres north to south. Terracotta tile floor, adobe plaster walls, exposed dark timber ceiling. - NORTH WALL: the bar, 6.2 metres long, brass rail, a spotted mirror and a full wall of bottles behind it. A single 2400K bulb hangs over the bar. - SOUTH WALL: the batwing doors, 1.4 metres wide, the only entrance. - WEST WALL: three shuttered windows. This is the only daylight source in the room. - EAST WALL: a jukebox, and one table beside it. - CENTRE: a slow ceiling fan, and scattered tables between the doors and the bar. FIXED POSITIONS — each character occupies exactly one position for the whole piece and never appears in two places: - <Bartender> behind the bar, centre, facing south into the room. - <Vova> enters through the south doors, walks north-west across the floor, and stops at the WEST END of the bar. He stands there from shot 3 onward and does not move again. - <El Patrón> is seated on a stool at the bar, about 2.5 metres EAST of where Vova stops, from the first frame to the last. He never stands and never leaves the stool. - <Anya> is seated alone at the EAST TABLE beside the jukebox, whisky and tablet in front of her, from the first frame to the last. She never moves to another table. - Six men at the scattered centre and south tables, seated, none of them at the bar. BAR AXIS: Vova and El Patrón stand and sit side by side along the bar, both facing north toward the bottles. They speak to each other through the spotted mirror, not face to face. The camera stays SOUTH of the bar for the entire piece and never goes behind it. GLOBAL STYLE NOTES: - look: late afternoon sun through the three west shutters as the single daylight source, hard-edged at 3000K, throwing long slatted bars across the tile and up the north wall, dust and cigarette smoke standing visible in the shafts; the 2400K bulb over the bar adds a small warm pool exactly where Vova stops, while El Patrón's stool sits in the gap between two shutter bars and reads darker without any separate lighting; the room falls to deep amber shadow away from the windows; 35mm film still, Kodak Vision3 500T pushed one stop, heavy grain, halation on the shutter slats, warm ochre grade with the shadows lifted to brown - setting: dry air at 34°C, thick with dust; a mariachi guitar playing low from the jukebox on the east wall, the fan motor, glass on wood, boots on tile, the doors knocking twice as they settle; room tone stays present under every quiet beat, never digital silence; ambience ducks under every spoken line and returns in the gap - characters: <Vova> face from @[Video 1](video_1), hair and everything else from @[Image 2](image_2). 190 cm, dark brown wavy hair falling to the shoulders, centre-parted, thick and slightly unruly, covering the tops of the ears — the hair is taken from @[Image 2](image_2) and is never redrawn from the video reference. Black cropped jacket with silver conchos down both fronts, black shirt open at the throat, silver chain, black jeans with silver buttons down the outer seam, worn black boots. He stands about 7 cm taller than El Patrón. Keep identical in every shot. <El Patrón> corresponds to @[Image 4](image_4). 183 cm, moustache, hair slicked back, white linen shirt with the sleeves rolled, gold chain, dark trousers, brown belt, brown boots, gold watch, rings. Keep identical in every shot. <Anya> corresponds to @[Image 5](image_5). Short blonde-grey hair, round glasses, silver hoop earrings, black blazer with white stitching. Keep identical in every shot. <Bartender> a thin older man, apron, towel over the shoulder. Keep identical in every shot. - acting — Vova: scene direction: keep it ordinary, let the room do the work, never sell anything fuel: he knows exactly what is in the case and quietly enjoys that they do not goal: make them ask instead of making them listen obstacle: the pull to explain himself; one sentence of pitch and the room owns him tactic: says nothing until asked twice, then answers a half-beat late and one word shorter than expected, checking the mirror after each answer to see whether the man is waiting for more, and giving him less each time channel: walking, then setting the case flat on the bar and working the latches without hurry gaze always engaged in the task, natural blink cadence - acting — El Patrón: scene direction: same, keep it ordinary, nothing here is worth standing up for fuel: three men came through those doors this year with a case and he is still the one sitting goal: get him out through the same doors without leaving the stool obstacle: curiosity, which he refuses to show and which leaks through every repeated question tactic: asks, then lets the pause run past comfortable to see whether the man fills it; the man never does, so he has to ask again, and each repeat costs him a little ground channel: turning a glass slowly on the bar top, never lifting it gaze always engaged in the task, natural blink cadence - acting — Anya: listener_task: she is checking whether the number on her tablet is final or still moving, and the bar is not part of that until it is CONTRAST AXIS: risk. Vova courts it, El Patrón holds ground against it. Both speak sparsely, both flat, both dry — the comedy lives in how alike they sound while wanting opposite things. Neither is a villain: two quiet men at a bar trading short sentences, and the older one loses ground only by having to ask twice. EYELINE GEOMETRY, anchored to the room and to each body, never to screen sides: (A) Vova and El Patrón face north at the bar — each looks at the other's REFLECTION in the spotted mirror, and their real heads stay turned toward the bottles; (B) Anya's table sits past El Patrón's OWN RIGHT shoulder — to reach her he rotates his head toward that shoulder and looks back over it; (C) the doors sit directly behind both of them to the south — glancing

FORMAT: 30-second photorealistic adventure mystery short film, 4K UHD, 24fps, realistic Chinese countryside, natural sunlight, physically accurate movement TIME: 3:40 PM–4:10 PM, clear autumn afternoon LOCATION: Rural mountain village in southern China, old stone house, bamboo forest, abandoned hillside temple, narrow underground passage CHARACTERS: Chinese boy, 16, faded blue jacket, small backpack, curious and energetic; grandfather, 70s, traditional countryside clothing STORY: A teenager discovers that an old stone wall near his grandfather's house hides a forgotten passage leading toward an abandoned hillside temple. ACTION FLOW: 00:00–00:04 → Boy helps his grandfather move old wooden boxes inside a stone storage room. One box falls, exposing an unusual stone pattern behind it. 00:04–00:08 → He pushes the stones and discovers a narrow opening. Dust falls from the ceiling. Grandfather immediately tells him to stop. 00:08–00:12 → Boy secretly returns with a flashlight and crawls through the passage beneath the house. 00:12–00:16 → Passage opens into a bamboo-covered hillside. He climbs out and discovers old stone steps disappearing into vegetation. 00:16–00:20 → He follows the steps, pushing bamboo branches aside. A weathered temple roof suddenly appears through the trees. 00:20–00:24 → He enters the abandoned courtyard and discovers an old bell covered in moss. Wind moves the rope. 00:24–00:27 → He touches the bell. It swings naturally and produces one deep sound across the valley. 00:27–00:30 → Cut back to grandfather standing at the tunnel entrance, silently watching him. He says, “I thought that place was gone forever.” CAMERA: Fast handheld exploration footage, 24mm wide lens inside the tunnel, quick focus pulls, natural camera shake while crawling and climbing, occasional branches crossing lens, rapid reveal of the temple. PHYSICS: Loose stones shift under pressure, dust falls from disturbed masonry, bamboo bends when pushed, footsteps displace dry leaves, bell swings from applied force and gradually loses momentum. LIGHTING: Warm afternoon sunlight outside, dark flashlight-lit tunnel, scattered sunbeams through bamboo, realistic exposure transition when exiting the passage. AUDIO: Wooden boxes scraping, stone movement, falling dust, footsteps, bamboo rustling, insects, distant birds, bell resonance, natural dialogue. REALISM: Historically plausible rural architecture, weathered stone, natural vegetation, realistic underground geometry and human movement. No magical tunnel, glowing objects or fantasy temple effects.

15-second high-octane Chinese martial arts 2D animated film, mature-oriented Guoman, 2D hand-drawn cel animation texture, realistic adult body proportions, clear outlines, Level 2-3 hard-edged shadows, cinematic lighting and shadows, partial integration of ink splash/streaks, high-speed brushes, smear frames, air blade cuts, and exaggerated yet logically consistent high-speed afterimages. Not Xianxia, not a game skill showcase, the core is a realistic martial arts chase under extreme speed differences. Setting: 'Duanyun Temple' at dusk just after heavy rain, a massive abandoned ancient temple nestled among mountains and cliffs. Features a three-story wooden main hall, giant dark brown wooden pillars, dark blue-black wet tiles, half-collapsed corridors, stone courtyards, a bell tower, broken railings, a stone bridge over a cliff, ancient pines, and tattered Buddhist banners. The western dark clouds split to reveal an orange-red sunset, with warm golden slanted light illuminating the cold bluish-gray temple. Wet stone slabs and tiles reflect characters and special effects. The air is filled with mist, dust, falling leaves, and broken tiles. Character A: 'Bai Jin', a white-haired thread-suspending guest, adult male, slender and lean, long silvery-white hair, black narrow-sleeved cross-collar martial arts attire, dark black short robe, dark red waist sash, black leg-binding pants with light martial arts boots. Small amount of dark purple vein-like patterns on the side of the neck and chest. Combat ability: extreme high-speed Qinggong 'Purple Lightning Wandering Dragon Steps', vein-severing palm techniques, and heavy leg strikes 'Cloud-Severing Mountain-Cleaver'. Purple effects represent high-speed movement only, not energy attacks. Character B: 'Shen Yan', a black-clad bladesman, adult male, messy mid-length black hair, ink black and dark gray narrow-sleeved martial arts outfit, gray-black short cloak, a long saber in a deep black scabbard at his waist. Skilled in hidden blade techniques and judgment-based tile-treading footwork, but significantly slower than Bai Jin. He remains suppressed throughout the first half. 0.0—1.0s: Fight starts immediately. 20mm ultra-wide low-angle shot, camera almost touching the wet bluestone ground. Bai Jin occupies the massive foreground, one black boot appearing huge due to perspective, body lowered almost to the ground. Shen Yan stands in the courtyard in front of the main hall dozens of meters away. Bai Jin suddenly explodes off the ground; the stone slab beneath him cracks like a spiderweb, standing water splashes backward in a fan-shaped curtain, his hair and clothing pull straight back. The camera follows closely, with wooden pillars, stone steps, banners, and eaves blurring into high-speed stripes along the direction of motion. Bai Jin enters 'Purple Lightning Wandering Dragon Steps', forming a continuous high-speed trail with a white-purple highlight core, deep purple body, magenta edges, and minimal cyan-green dispersion. 1.0—2.5s: Bai Jin cuts into the courtyard at high speed but doesn't attack immediately. He first flashes past Shen Yan's left, leaving a black human afterimage, a white air trail, and water cut by the airflow; an instant later, he circles a giant wooden pillar from the right rear. Shen Yan quickly turns his head to find the target, hand gripping the hilt but not swinging wildly. The camera zooms into Shen Yan's eye; the pupil darts left, then snaps right. In the next frame, Bai Jin has already cut in from the side-rear. Bai Jin uses two joined knuckles to quickly brush aside Shen Yan's raised scabbard, followed immediately by a palm strike exploding from a very short distance, slamming heavily into the side of Shen Yan's face. The contact must be clear: the cheek compresses first, the head is knocked aside, hair and rain spin in the other direction, a few drops of blood fly out, and the shoulders and waist follow. The arm can have a very brief 2D smear stretch, but the actual arm does not lengthen. 2.5—4.0s: Shen Yan is sent flying dozens of meters laterally by the palm strike, body tumbling irregularly. His feet first brush against a stone lamp, shattering the top half, then he crashes through the decayed wooden railing and wall of the main hall. A massive amount of wood chips, tiles, and dust scatter. The camera cuts to an ultra-wide shot to show the displacement. Shen Yan's shoulders and back hit the wooden floor of the hall first, his body continuing to roll, the long saber still gripped in his hand, the scabbard scraping the floor creating continuous wood shavings. Finally, Shen Yan kneels on one knee, one hand supporting the ground, not yet fully stable. 4.0—5.8s: A purple-white high-speed light trail flashes outside the main hall's wooden wall. Bai Jin bursts through the wood chips into the hall, first flashing past Shen Yan's front, creating two purple human afterimages, then a third afterimage appearing behind Shen Yan. The real Bai Jin finally stops steadily to the side. As Shen Yan turns, Bai Jin has already stepped forward, his supporting foot crushing the floorboards, his knee lifting quickly, waist and hips fully rotating, his leg extending horizontally to execute 'Cloud-Severing Mountain-Cleaver'. His sole strikes Shen Yan's chest and abdomen heavily. At the moment of contact, Shen Yan's torso folds, the sword hilt is pressed into his body, and then his feet leave the ground entirely. 5.8—7.1s: Shen Yan is blown out from the other side of the hall by the side kick, the decayed wall exploding into a giant hole. He flies through a storm of wood pieces and broken tiles toward the next roof level. Shen Yan's feet hit the wet blue tiles first, which shatter consecutively as his body slides down the slanted roof at high speed. He immediately stabs the scabbard into the tile gaps to slow down, carving a long mark across the roof. Bai Jin doesn't pause, entering 'Purple Lightning Wandering Dragon Steps' again, shooting out from the hall's opening, a purple-white high-speed trail streaking across the flying eaves. 7.1—9.0s: High-density 3D pursuit. Bai Jin sprints along the eaves, circles behind an ancient pine, then runs briefly horizontally along the side wall of the bell tower, using the force to change direction. The purple light band forms a continuous S-shaped path between temple buildings, accompanied by black humanoid afterimages and white ink-style air brushes. Shen Yan leaps from a roof toward another corridor. Bai Jin cuts in early from the ridge above, first slamming his shoulder into Shen Yan's sword arm to deflect his posture, then immediately spinning his body to deliver a lateral elbow strike to the side of Shen Yan's face. The elbow strike frame features a strong 2D smear, with hair, cuffs, and forearm briefly stretched. Shen Yan is knocked off the roof again. 9.0—10.0s: Shen Yan falls from a height of two stories. Bai Jin chases down from above as an almost vertical purple high-speed trail. Bai Jin is not firing energy but descending at high speed himself. He passes Shen Yan mid-air, presses his palm against Shen Yan's back, and uses his own descending momentum to slam him downward. Shen Yan's trajectory is forced vertically down, crashing face-first into the next courtyard. The wet stone slabs shatter instantly, with white-gray dust, water splashes, and rubble exploding simultaneously, forming a tall smoke pillar in the center and a ring of spreading water curtains. 10.0—11.8s: Before the dust clears, Shen Yan forces himself out, running along a massive colonnade. Bai Jin follows in 'Purple Lightning Wandering Dragon Steps'. High-speed horizontal tracking shot; the two weave between dozens of giant dark brown wooden pillars, characters briefly obscured by the columns. The purple trail must realistically circle the pillars and never pass through them. Bai Jin kicks off a pillar to turn, wood chips exploding from the surface as he launches in the opposite direction. Shen Yan uses his scabbard to vault over a wooden railing, landing on an outer stone terrace. As Bai Jin chases out, the high-speed wind pressure sweeps up a whole row of banners. 11.8—13.2s: Shen Yan judges that the next strike cannot be fully dodged. He turns immediately, keeping his long saber sheathed, gripping both the hilt and scabbard with both hands, holding the entire sword horizontally across his chest, lowering his center of gravity in a front-back bow stance to form 'River-Blocking Guard'. In the distance, Bai Jin charges along the stone terrace, exiting the purple high-speed state in the final meters, pulling both palms to his waist before thrusting forward simultaneously in the final step with 'Mountain-Shaking Palm'. Both palms slam into Shen Yan's horizontal scabbard. 13.2—14.1s: The collision must be depicted in layers. In the first instant, Shen Yan successfully blocks the attack; the scabbard bends inward, his arms are pressed back to his chest by the immense force, and his feet slide back along the wet stone slabs, soles kicking up water splashes as the stones begin to crack. But Bai Jin's force continues to surge in; in the next instant, Shen Yan's defense completely collapses, and he is blown away along with his sword. The camera follows Shen Yan with a 30-45 degree camera roll, with eaves, sunset, cliffs, and mountains rotating and tilting together. 14.1—15.0s: Shen Yan flies toward an ancient stone bridge connecting two cliff walls. One foot touches the wet bridge surface first, followed by the second. His body continues to slide back at high speed, water on the bridge spraying to both sides. Shen Yan almost falls off the edge of the bridge before finally stabbing the scabbard into a stone crack; rubble bursts out, and his body finally forces a stop. The final shot is static: Shen Yan kneels on one knee in the center of the cliff stone bridge, head slightly lowered, a trace of blood at the corner of his mouth, shoulders heaving, one hand still firmly gripping the hilt. In the distance, on the roof of Duanyun Temple, Bai Jin stands quietly. The sunset stretches a vast distance between the two. The scene ends as Shen Yan just begins to look up, connecting directly to the next segment. Special Effects Fixed Rules: Purple only represents Bai Jin's high-speed Qinggong; white-purple center, deep purple body, magenta outer edge, minimal green dispersion. High speed can produce 3-5 humanoid afterimages, but there is only one real person. Attacks are primarily actual fist, palm, and leg techniques; effects only show speed and impact. All knockbacks must involve real contact first, then body deformation, then displacement. No random teleporting, no static standing, no turn-based combat, no purple turning into lasers, no characters passing through pillars or walls, no characters flying away prematurely, no instant recovery to normal after landing.

Create a 15-second photorealistic cinematic office video featuring the same young professional woman with the provided reference face, wearing the same beige blazer and white shirt throughout. Wide office shot. She sits at her desk, reviewing a file while holding a pen. Laptop, papers, and tea are on the desk. Camera slowly moves closer. She flips through the file, reads carefully, and marks an important point with her pen. She puts down the pen, picks up her tea, takes a small sip, and returns the cup to the desk. She turns toward her laptop and starts typing. Side-angle shot focuses on her hands and laptop. Camera slowly pulls back, showing her focused on work in the modern office. Style: Photorealistic, cinematic, warm morning light, natural expressions and movements, realistic hands, smooth camera motion, shallow depth of field, professional corporate atmosphere, 4K, 16:9. Important: Keep the same face, hairstyle, beige blazer, white shirt, character appearance, and office environment consistent in every shot. No text, subtitles, logos, or sudden transitions.

Create a 13-second ultra-realistic cinematic luxury home video. Start with a wide exterior view of a grand luxury mansion, then smoothly move through the main entrance and showcase the luxurious foyer, living room, kitchen, dining area, and bedroom with seamless cinematic gimbal movement. Continue naturally toward the backyard and reveal a beautifully landscaped lawn with the luxury house in the background. End with the same girl sitting comfortably on the lawn, calmly drinking tea beside an elegant tea set. Premium architecture, warm evening lighting, realistic textures and reflections, cinematic depth of field, smooth camera movement, photorealistic 4K quality, natural atmosphere, no text, no watermark.

A precise 30-second single-take shot with no editing or cuts. Focus on @Image1: a young white woman with long, straight, silky light-platinum hair and neat, airy bangs; she has light gray, clear eyes and delicate, cool-toned features; Overall outfit: white, fitted, pleated, cropped V-neck spaghetti-strap tank top; blue, fitted denim pants; vintage brown leather belt with carved design and large silver buckle; dark brown leather knee-high boots. Realistic skin tones; same outfit throughout. Background: A mythical Aztec sun temple complex deep in the jungle—stepped pyramids, rainforest, vine-covered stone channels, jade-and-gold color scheme, and golden morning mist; do not copy the composition of the reference image. Pursued by fanatics, she escapes from the altar chamber through the jungle pyramid city to the summit of the Great Sun Pyramid. The camera follows closely like a high-speed FPV drone, tracking/diving/ skimming the ground/circling/barrel rolling/pulling up in rapid cuts; transitions are naturally driven by foreground obstructions (stone gates/vine curtains/waterfalls/flags/leaves/pollen). 00:00–04 Altar: Close-up of her holding a golden-jade sun disk as golden dust sweeps across the lens; she dashes past the camera, crouches on a snake-adorned platform, leaps into a narrow cave, and the vine curtain sweeps across the lens to fade out. -08 Cliff: Emerges from the wall in a wide shot, circling the pyramid, the massive city, and the waterfall as it vanishes into the mist; sprints down a drainage channel, runs along the wall, makes a long leap over the wall to cross the valley, with the camera diving close to her feet and rising sharply to her side. -12 Marketplace: Plunges onto a wooden platform in the marketplace, half-rolls along the ground, skims past a fruit stall, and darts through the bamboo floor; jump over a cart, flip over a jar, slide under a beam, spin open a curtain; feathered flags and pottery wheels pass by. -16 Rock Alley: Pushed into the scene through a yellow cloth-covered lens; she kicks off the wall, climbs high, grabs a vine, swings across the rapids, spins, and lands on a wooden sled; the FPV camera snakes through the scene, rolls through barrels, and water droplets splash against the lens. -20 Stone Axle: The wooden sled crashes into the stone machinery room, somersaulting and kicking off rotating gears; she supports herself with her hands, flips sideways, slides low to dodge falling rocks; the camera passes through the wheel hub, skims along the water’s surface, and glides under a low arch. -24 Hollow Banyan: She leaps from a slanted channel over three consecutive walls into the hollow of an ancient banyan tree; the camera spirals upward underwater around her; she grabs a vine to use its lift to control her spin and swing toward the canopy window; golden dust sweeps by. -27 Collapsed Bridge: She exits the tree, lands on the shattered bridge, dashes past the falling rocks, and leaps away; two leopard-faced pursuers in the distance do not抢焦; with lightness skills, she leaps across the chasm as the camera flies backward, loops forward, and rises. -30 Tower Top: She leaps over fluttering banners to the golden summit, lands on one knee, touches the sun motif, and rises; the camera pulls sharply over her shoulder and rises to reveal the entire city shrouded in green mist under the morning sun. Camera: A single traceable continuous path, maintaining high-speed FPV centering; includes one each of skimming the ground, diving and rapid ascent, serpentine flight through narrow passages, spiral ascent, and a wide pull-back; High-speed motion blur but sharp focus on face and body; no teleportation; speed changes driven by her acrobatics and the structure. Action: Ancient martial arts parkour; lightness skills rely on pushing off the ground, springy steps, and momentum—not levitation; seamless transitions from wall-running, leaping, side flips, low slides, swinging on vines, kicking off gears, and long leaps; landing with impact and fluttering robes; focused and panting, never looking at the camera. Foreground: Altar / vine curtain / waterfall / jar / yellow cloth / vines / gears / counterweights / water / banyan roots / gold dust / flag / leaves—appear in sequence at the very foreground, temporarily obscuring the view before reappearing instantly; the pyramid and jungle are interconnected. Visuals: Realistic, mythical ancient Mesoamerica, where massive stone pyramids merge with the jungle; limestone yellow / jade green / moss gray / obsidian / warm sun gold, with dark clothing setting off the gold; beams of light piercing through damp mist and foliage create a high-contrast cinematic feel; ancient, fiery, and awe-inspiring.

Define the character setting data in I1 as <A>. Even if I1 contains multiple perspectives, expressions, or clothing details of the same person, understand them all as design data for the same character. <A>'s face, hairstyle, body type, clothing structure, color scheme, and identity refer only to I1. Define the character setting data in I2 as <B>. (Same character consistency rule as above) <B>'s features refer only to I2. Define the character setting data in I3 as <C>. (Same character consistency rule as above) <C>'s features refer only to I3. <A>, <B>, and <C> must be three different people from start to finish. No face-swapping, no clothing changes, no mutual copying, and background crowds must not become copies of the three protagonists. The entire 30 seconds takes place in the central atrium of a large modern shopping mall; do not switch to a stage, street, studio, or other buildings. [Generation Goal] Generate a 30-second high-density shopping mall brand image commercial. The first 27 seconds play out as a high-spec Dance MV and public Flash Mob. At 27 seconds, the dance officially ends, and from 27-30 seconds, it abruptly transitions into a formal, bright, and overtly clean commercial outro. The core is not three isolated solos, but three protagonists completing a group choreography with clear roles that respond to each other, though rarely in unison. A: Flow / Orbit: Capoeira. Responsible for flow, circling, evasion, circular movement, and spatial connection. B: Center / Hook: Light modern Idol Dance as the base, adding Waacking arm lines and minimal Popping accents. Responsible for the readable hook, leading the crowd, and center guidance. C: Power / Punctuation: Breaking. Responsible for floor work, rotations, power moves, and punctuating musical phrases. The three collaborate via call and response, canon timing, and layered choreography. The audience must see they are dancing together, but not in a synchronized idol group style. Timeline: 0-9s: Establish character differences. 9s: First wave of Flash Mob starts. 15s+: Crowd size expands. 18s+: Escalators and 2nd-floor crowds join in. 24-27s: Peak climax. 27s+: All dancing stops; enter mall CM ending. [Space and Composition] Use wide horizontal space and architectural depth; don't crowd the three in the center for long. Initial Layout: A: Front-left area. B: Center-rear area. C: Front-right area. A uses left/mid-left zones with diagonal and circular paths. B stays as the visual anchor with full arm span space. C uses the right/mid-right floor area, ensuring enough radius for windmills, flares, and power moves. Background: Modern mall atrium with glass skylights, open galleries, escalators, stone floors, cafe areas, and plants. Bright, transparent, and realistic scale with natural reflections. Populate with shoppers, couples, families, and bystanders. [Detailed Movement Styles] - A (Capoeira): Movements must be based on a visible 'ginga' step. Not just acrobatic tricks, but a continuous rhythmic sway. Uses feints and circular kicks to create a 'dialogue' with the environment. - B (Idol/Waacking): Soft, approachable Idol dance for easy crowd imitation. Waacking expands the visual silhouette. Popping is used sparingly for beat hits. B provides the 'hook motif' that the flash mob eventually copies. - C (Breaking): Rotation-focused. Toprock and footwork serve as transitions into power moves (windmill, flare, backspin). Ends phrases with clear freezes. [Music and Sound] Style: Idol-friendly Brazilian breakbeat funk / dance-pop hybrid. Features bright dance-pop frame, funk bass, and Japanese female vocals. From 9s onwards, add human rhythmic layers like beatboxing, clapping, and a cappella harmonies as if generated by the crowd. [Camera Principles] Active but stable. Prioritize readability over flashy camera tricks. Show A's full leg arcs, B's arm gestures, and C's floor rotations clearly. Use cranes and orbits to capture the expanding crowd scale in the second half. [Shot Breakdown (1-10)] (Detailed descriptions of 10 shots covering the progression from intro to the 27-second climax, including specific dance moves for each character and the synchronized final accent at 27 seconds where the music stops for the commercial outro.)

Seedance 2.0 / 2.5 Direct Delivery Version 15-Second Chinese Xianxia Heavenly Palace Cinematic Short Film | 5-Shot Continuous Hard-Cut Edition Generation Goal: Generate a complete, continuous 15-second Chinese Xianxia heavenly palace cinematic short film. The entire film consists of 5 clear cinematic shots, each approximately 3 seconds, connected by clean, direct cinematic hard cuts. Strictly Use: @Image 1 @Image 2 @Image 3 @Image 4 @Image 5 as independent visual and spatial anchors for each of the 5 consecutive shots. I. Core Constraints 1) Rules for Using the Five Images - The 5 reference images have completed art design. - Each shot must strictly correspond to its respective reference image. - Within each shot, the following elements from the reference image must be maintained: building structure, number of characters, character clothing, trees, water systems, sea of clouds, bridges, railings, circular gates, dragon pillars, palace proportions, spatial perspective, light direction, and overall composition. - Do not redesign these scenes. - Do not merge the five images into the same scene. - No AI morph transitions. - No building deformation during shot switches. 2) Overall Worldview and Visual Quality Maintain a unified Eastern Xianxia civilization visual DNA: authentic Chinese ancient architectural structures (vermilion wood structures, dark tile roofs, dark gold carvings, stone foundations), high-altitude sea of clouds, authentic natural light (warm gold low-angle sunlight, deep shadows, aerial perspective), restrained film texture, grand but quiet, natural but continuously living, authentic cinematic photography feel. II. Five-Shot Storyboard Shot 1 | 0–3s | @Image 1 | Corridor Bridge and Ancient Pine - Shot Type: Long-focus distant cinematic shot, approx. 135mm telephoto compression. - Camera: Very slow, steady slight push forward along the central axis. - Spatial Relationships: Foreground eaves, pillars, and railings have slight parallax; middle-ground four characters maintain natural spatial relationships; distant giant ancient pine and sea of clouds move the least. - Character Requirements: Four characters must be living from the first frame. They maintain unsynchronized natural micro-behaviors: two on the left move a few steps slowly along the corridor, one slightly turns to look at the central ancient pine, the two on the right continue walking slowly or turn heads naturally while talking. Paces, breathing, shoulders, body weight, cuffs, hems, and a small amount of hair all change naturally. No collective synchronized movements or statue-like stillness. - Environmental Requirements: Constant high-altitude wind; ancient pine trunk is stable but twigs and needles sway continuously; sea of clouds is not a static background—it must have clouds at different depths drifting slowly, local expansion, dissipation, and reforming, with a few thin clouds slowly passing distant peaks. Shot 2 | 3–6s | @Image 2 | Heavenly Palace Over the City - Transition: Direct hard cut. - Shot Type: Distant long-focus establishing shot, 135–200mm cinematic telephoto observation. - Camera: Extremely slow zoom out. - Goal: Gradually complete the scale relationship between the ancient city below, walls, rock formations, and the giant heavenly palace. - Building: Giant main palace structure is absolutely stable with no deformation or drift. - City and Background Life: The city below cannot be a static texture; it must be alive: slow-flowing low-level mist and moisture between city parts, clouds passing through buildings, distant cloud silhouettes evolving slowly. - Birds and Characters: Existing cranes and birds fly naturally (unsynchronized, non-looping); bottom small characters have readable robe movement and natural body motion. Lighting on roofs and clouds changes continuously as clouds pass the sun. Shot 3 | 6–9s | @Image 3 | Waterfall Immortal Palace - Transition: Direct hard cut. - Shot Type: Restrained long-focus observation shot. - Camera: Nearly locked, only slight horizontal drift. - Dynamics: Water, wind, and clouds. Waterfalls must fall naturally with weight and speed variance, creating mist that blends with clouds. Water surface has small natural ripples. Reflections of characters and buildings must change subtly with water and light; reflections must not freeze. Weeping willow twigs sway naturally in the wind. Characters show authentic asynchronous behavior (adjusting posture, moving forward, looking at the waterfall). Shot 4 | 9–12s | @Image 4 | Dragon Pillar Corridor - Transition: Direct hard cut. - Shot Type: 135mm long-focus cinematic tracking shot. - Camera: Very slow horizontal right movement along the suspended corridor, synchronized with character movement. - Character Walking: Four characters walk naturally with realistic human gaits (slight variation in step length, unsynchronized, shifting center of gravity). Robes have weight, and hair sways in high-altitude wind. One person may briefly look at the sea of clouds. - Parallax: Foreground railings and pillars move fastest; characters and corridor have medium displacement; distant mountains and waterfalls move the least. - Limitation: The circular gate is a solid structure and must not become a glowing portal. Shot 5 | 12–15s | @Image 5 | Interior Circular Gate Final Shot - Transition: Direct hard cut. - Shot Type: Solemn long-focus liminal space observation, 135mm lens compression. - Camera: Very slow diagonal retreat within the giant hall, slightly moving left. - Parallax: Foreground dragon pillars and floor reflections produce most parallax; two characters in the middle ground; circular gate and distant palace move the least. - Ending: Two characters continue walking naturally (unsynchronized, realistic weight). Distant environment remains alive with drifting clouds and falling waterfalls. Camera continues quiet retreat at the same speed until a stable cinematic ending is formed. III. General Rules for Natural Movement - Core Principle: Characters and environment must simultaneously have continuous life. No frozen backgrounds or statue-like characters. - Character Rules: Natural breathing, walking, posture adjustment, gaze shifts, and hair/fabric movement. No mechanical synchronization. - Wind Rules: Same high-altitude wind affects hair, sleeves, pine needles, and mist differently based on material weight. - Clouds: Overall slow displacement, local shape evolution, and realistic occlusion of distant buildings.

**Main Subject:** Young Korean woman, from reference image, 24, naturally attractive, realistic skin, minimal makeup, long dark hair loosely tied back. Wearing a faded oversized mustard-yellow T-shirt, loose dark-gray sweatpants, white socks, and worn house slippers. Thin silver necklace. Preserve her exact identity, facial features, hairstyle, and appearance throughout. **Location:** Old Seoul apartment on a warm weekend afternoon during moving day. Narrow hallway, worn wooden doors, stacked cardboard boxes, plastic bags, old furniture, partially empty rooms, open windows, tangled cables, dusty corners, neighboring apartment buildings visible outside. Warm natural sunlight mixed with slightly dim interior shadows.\n\n**Style:** Ultra-realistic early-2000s Sony MiniDV home video. Candid family recording, imperfect and unstaged. Heavy handheld movement, awkward framing, autofocus hunting, exposure pumping between bright windows and dark rooms, faded colors, soft contrast, DV compression, slight motion blur and microphone noise. No stabilization or modern cinematic camera movement.\n\n**00:00–00:03:** She struggles through the apartment hallway carrying a large cardboard box that blocks most of her view. She nearly bumps into a doorframe, laughs, and sets it down.\n\n**00:03–00:06:** She opens the box and realizes several smaller items have fallen over inside. She kneels down and starts reorganizing them while someone off-camera tells her where the box should go.\n\n**00:06–00:09:** Two people attempt to carry an old wooden chair through the narrow doorway. They get stuck for a moment, laugh, rotate it awkwardly, and finally squeeze it through.\n\n**00:09–00:12:** She sits briefly on an unopened box, exhausted, drinking from a plastic bottle while looking around the half-empty room. Sunlight pours through the window behind her.\n\n**00:12–00:15:** Someone off-camera calls her name. She immediately gets up and grabs another box. As she walks past the camera, she notices it, gives a tired little smile, and keeps working. The camera follows her into the empty room before accidentally pointing toward the bright window and blowing out the exposure.\n\n**Audio:** Natural sound only—cardboard scraping, footsteps, furniture dragging, tape ripping, plastic bags rustling, distant traffic, muffled conversations, elevator sounds, doors closing and occasional laughter. No music, narration, or added sound effects.

Create a cinematic, photorealistic lifestyle video of a young East Asian woman in a cozy modern apartment by the sea. The video has a warm, natural morning atmosphere with soft daylight coming through large windows, realistic skin texture, subtle facial expressions, natural body movements, shallow depth of field, and smooth cinematic camera motion. Scene 1 — Bedroom: A young woman with long straight dark hair, wearing a light beige/pink satin pajama set, sits on the edge of her bed looking sleepy. She gently yawns and rubs her eyes. The bedroom is minimal and modern, with a neatly made bed, wooden furniture, soft curtains, and large windows letting in diffused natural light. Scene 2 — Bed: She pulls and adjusts the duvet, then sits and stretches slightly on the bed. Capture her natural sleepy morning routine with realistic movements and a calm atmosphere. Scene 3 — Leaving Bedroom: She stands up and slowly walks toward the bedroom doorway. The camera remains cinematic and slightly distant, showing the warm wooden interior and softly illuminated bedroom in the background. Scene 4 — Cooking: Cut to the kitchen. Close-up of a black electric sandwich/waffle-style press on the kitchen counter. The woman pours smooth light-brown batter into the heated mold. Use detailed macro shots of the batter flowing into the appliance. Scene 5 — Preparing Food: She operates the sandwich maker on the kitchen counter and carefully checks the food while cooking. Show realistic hand movements, steam/heat details, kitchen reflections, and natural daylight coming through the nearby window. Scene 6 — Eating: She opens the appliance and removes a freshly cooked golden-brown waffle/pastry. She holds it with both hands, takes a bite, then smiles naturally with a satisfied expression. Visual style: photorealistic, cinematic lifestyle commercial, natural morning lighting, warm neutral color palette, realistic Asian facial features, authentic skin texture, detailed hair strands, realistic fabric physics, soft shadows, subtle film grain, shallow depth of field, professional cinematography, smooth transitions, realistic handheld camera movement, 4K quality. Camera: combination of medium shots, close-ups, macro food shots, slow push-ins, gentle tracking shots, and shallow-depth-of-field portrait shots. Mood: cozy, peaceful, warm, relaxing morning routine, premium lifestyle advertisement. Aspect ratio: 16:9 Duration: approximately 20 seconds No text, no subtitles, no watermark, no logo, no distorted hands, no extra fingers, no unnatural facial movements, no cartoon/anime appearance.

Create a 30-second ultra-realistic cinematic time-journey as ONE completely seamless, continuous, unbroken camera shot. No cuts, fades, dissolves, montage, teleportation, or resets. A woman enters an ordinary old house and moves continuously through it while the same rooms transform through centuries. Begin at dusk. A modest old house stands alone in a quiet field. The woman enters through the front door. The camera follows directly behind her into a simple kitchen. As she passes through a doorway, the room transforms seamlessly into a Victorian interior: dark wood, brass, gaslight and period furniture. She continues through the hallway. The walls and staircase transform around her as she climbs. The Victorian house becomes a medieval stone hall with tapestries, candles and rough wooden furniture. She opens another door. The camera follows. The interior becomes an ancient stone dwelling surrounded by an ancient city visible through the windows. She keeps moving. The architecture rapidly evolves around her as she passes through connected rooms: ancient stone becomes medieval timber, timber becomes industrial brick and iron, industrial becomes twentieth-century modern, then contemporary glass and concrete. The woman changes naturally with each era: clothing, hairstyle, accessories and posture adapting while she remains the same continuous person. She reaches the final door. She opens it. The camera follows her into the future. The house has become an extraordinary futuristic residence integrated into a vast green city. Glass walls reveal vertical gardens, elevated transit and luminous architecture. She walks into one final room. It is completely empty except for a simple wooden chair. The camera slowly moves backward through the doorway. As it retreats, the futuristic room remains behind her while earlier versions of the house appear through successive doorways: modern, industrial, medieval, ancient. The camera reaches the original entrance. For the first time, we see the entire house from outside. It is no longer old. It is enormous and ancient-looking, surrounded by a completely transformed future landscape. The woman is still visible through the distant window. The house has remained through every age. End on the quiet realization that while civilizations changed completely, this one place remembered them all. Photorealistic cinematic realism, emotional, mysterious, elegant, awe-inspiring, family-friendly. The transformations must occur physically during camera movement, never as abrupt scene changes. Keep the woman continuously moving until the final moment.

FORMAT: 30-second realistic emotional mystery film, 4K UHD, 24fps, photorealistic European live action TIME: 6:40 AM–7:10 AM, winter morning, light snowfall LOCATION: Small Swiss mountain railway station, snow-covered platform, pine forest, distant mountains, old station building CHARACTER: Woman, 30, dark winter coat, small suitcase, traveling alone STORY: She arrives at an almost empty station and realizes the old man waiting beside her knows exactly why she came. SEQUENCE: 00:00–00:05 → Woman steps onto the snowy platform carrying a suitcase. A small local train departs behind her. 00:05–00:09 → She checks the station sign and realizes there are no other passengers. 00:09–00:13 → An elderly man sitting on a bench looks at her suitcase and says, “Your father carried the same one.” 00:13–00:17 → She stops and looks at him. He points toward an old station locker. 00:17–00:21 → She opens the locker using a small key from her pocket. Inside is an old envelope addressed to her. 00:21–00:25 → She opens it and reads silently while snow collects on her coat. 00:25–00:28 → She looks toward the bench again. The old man is gone. 00:28–00:30 → A train approaches through the snowy valley. She holds the letter tightly and steps toward the platform edge. CAMERA: Natural handheld European travel-documentary style, 35mm lens, controlled tracking, realistic depth, snow occasionally hitting lens, no slow motion. PHYSICS: Snow accumulates on surfaces, suitcase wheels struggle slightly through snow, train produces displaced air and loose snow movement as it approaches. AUDIO: Train brakes, snow crunching, wind, station announcement, paper unfolding, distant train horn. REALISM: Authentic Swiss railway environment, realistic mountain scale, natural snowfall, believable train movement and restrained emotional performance.

extremely fast-paced, cinematic, bright, photorealistic FPV flight through the ancient Byzantine Empire at its magnificent peak. Begin soaring high above Constantinople at golden sunrise, then dive rapidly toward the colossal Theodosian Walls, skim above bustling streets filled with Byzantine citizens, merchants, soldiers, horses, and colorful market stalls, race between monumental stone buildings and marble columns, sweep through the vast Hippodrome packed with spectators and chariot racers, fly past imperial guards in historically authentic armor, then accelerate toward the magnificent Hagia Sophia with its enormous dome gleaming in sunlight. Continue over grand imperial palaces, churches, courtyards, harbors crowded with wooden Byzantine ships, and the sparkling Bosporus before climbing dramatically above Constantinople to reveal the immense ancient city stretching toward the horizon. Historically authentic Byzantine architecture, clothing, ships, streets, and atmosphere, brilliant natural sunlight, vibrant colors, realistic materials, cinematic lighting, breathtaking scale, dynamic motion blur, extreme speed, immersive FPV perspective, ultra-detailed, photorealistic, visually spectacular, smooth stabilized camera movement. One continuous uninterrupted single-take shot from beginning to end, perfectly fluid movement, no cuts, no transitions, no scene changes, no teleportation, no modern objects, no text, no logos, no fantasy elements

# Main Prompt - Idol Full-Body Groove (Classroom Ver.) shot: type: r2v aspect_ratio: "9:16" camera: fixed, single continuous shot, no cuts framing: character occupies lower two-thirds of frame, medium shot from waist up, full arm extension should remain within frame character: reference: use attached reference image for full appearance (face, outfit, colors, proportions) art_style: preserve original character art style / cel-shading from reference, do not blend with background style motion: choreography_style: J-pop idol full-body groove - point dance hand accents combined with strong hip/chest movement, wide arm throws, and traveling footwork; energetic and dynamic, not restrained ground_rule: only beat_7 involves a brief hop; all other beats keep at least one foot grounded at all times, weight shifts through full leg and hip engagement rather than staying stiff sequence: - beat_1_2: wide step to the right with full weight transfer, both arms throw outward and up into a diagonal "V" shape, chest pops forward on the accent, hips follow the arm direction - beat_3: arms whip back down and across the body, torso twists with the motion, right hand ends in a sharp point toward the camera - beat_4: quick recover to center, small chest pop plus hip bump to the right on the offbeat - beat_5_6: mirror of beat_1_2 to the left - wide step, arms throw diagonally the other way, hips follow, chest pop - beat_7: energetic accent beat - one clean, controlled hop in place (both feet leave the floor briefly together, land together), arms pump downward on the landing for emphasis; this is the single high-energy peak of the sequence - beat_8: land, feet planted, body drops into a grounded groove - knees bent, torso rolls in a small body wave from chest to hips - beat_9_10: double point combo - right hand points forward with a step forward, immediately followed by left hand pointing forward with weight recovering back, hips keep swaying underneath - beat_11_12: full-body spin-out - a quick 180-degree turn using a pivot step (feet stay grounded, one foot pivots), arms sweep out during the turn, ending facing camera again with both arms opening into a wide "sparkle" gesture - loop: sequence repeats seamlessly from beat_1 tempo: upbeat, driving, high-energy idol-pop tempo; gestures are large and confident, transitions snap rather than drift motion_notes: no slow motion, no speed ramping, natural constant playback speed throughout; beat_7's hop must read as one clean controlled jump-and-land, not repeated bouncing; all other beats stay grounded with movement driven by hip/torso/arm amplitude rather than vertical lift setting: location: after-school classroom, empty of other students time_of_day: late afternoon / early evening, warm light through windows environment_details: rows of desks and chairs as soft silhouettes in the background, chalkboard

Main Subject: \n\nYoung Korean woman, 23, natural everyday appearance, shoulder-length black hair loosely tied with a simple fabric scrunchie, wispy bangs, realistic skin texture, minimal makeup, calm and slightly playful personality. Wearing a faded red zip-up hoodie over a white T-shirt, loose dark-blue jeans, white sneakers, and a small navy canvas shoulder bag. Maintain consistent identity, clothing, hairstyle, and appearance throughout.\n\nLocation: Small neighborhood laundromat on a rainy afternoon. Old front-loading washing machines, plastic laundry baskets, fluorescent ceiling lights, fogged windows covered with rain droplets, vending machine, folding table, faded Korean instruction stickers, and a quiet residential street visible outside.\n\nVisual Style: Ultra-realistic documentary realism. Ordinary, candid behavior with authentic early-2000s Korean neighborhood details.\n\nCamera Style: Early-2000s Sony MiniDV camcorder. Heavy handheld shake, imperfect framing, autofocus hunting between spinning washing machines and her face, fluorescent flicker, exposure pumping near the bright window, faded colors, soft contrast, slight motion blur, DV compression artifacts, mild digital noise, no stabilization.\n\n00:00–00:03\nShe enters carrying a blue laundry basket, shaking a few raindrops from her hoodie. The camera briefly focuses on the wet floor before finding her.\n\n00:03–00:06\nShe loads clothes into an old washing machine and pours detergent from a small plastic bottle. The machine door closes with a heavy click.\n\n00:06–00:09\nShe sits on a plastic chair watching the clothes spin through the round glass door. She rests her chin on one hand, looking slightly bored.\n\n00:09–00:12\nRain becomes heavier outside. She notices the camera and makes a small amused expression before pointing toward the spinning laundry.\n\n00:12–00:15\nThe washing machine suddenly finishes its cycle with a loud beep. She stands and opens the door as the camera moves closer, loses focus, and abruptly cuts to black.\n\nAudio: Natural ambience only—washing machines humming, water spinning, fluorescent buzzing, rain against windows, footsteps, plastic basket sounds, machine beeps, distant traffic. No music. No narration.\n\nGoal: A forgotten MiniDV home video from 2004, capturing a completely ordinary rainy afternoon at a small Seoul laundromat–mundane, intimate, imperfect, nostalgic, and convincingly real.

Duration: 15s. Format: 9:16 vertical. Style: Unprocessed iPhone handheld selfie perspective shot in a high-end cigar room. Automatic settings, first-person boyfriend perspective. No artificial lighting or grading. Slight handheld shaking for realism. Single take, no edits. Character: Mature female based on image reference, wearing glasses, black gloves, and high heels. Interaction principles: social distance (1.5-2m), full and upper body shots only, no extreme face-filling close-ups. Environmental details: Warm yellow lighting, cigar cabinets in background with soft golden bokeh. Scripted beats: 0-3s: Senior presents cigar tray, gives a restrained cold smile. 3-6s: Reaction to boyfriend's comment, turning cold and questioning. 6-9s: Suppressed laughter breaking through. 9-11s: Stop laughing when told there's ash on her lip. 11-13s: Self-check by using the camera as a mirror. 13-14s: Freezing for 1 second upon a soft comment. 14-15s: Dangerous narrowing of eyes transitioning back to cold restraint. No subtitles, filters, or background music.

[SUMMARY] 15 seconds, 16:9, 24fps. A Japanese emakimono picture scroll unrolls from right to left, the ukiyo-e woodblock city painted on it comes alive, and the film lands on Mount Fuji with a title on the blank paper. Animated woodblock-print style. One single slow leftward drift carries the entire film. [GLOBAL SETUP] Look and texture: 2D animated Japanese ukiyo-e woodblock print. Flat hand-printed color, visible woodgrain, washi paper fibre showing through every surface, thin sumi-ink outlines, gold-leaf cloud bands, Rinpa-school decorative flatness. Keep the ink lines slightly uneven, the way a hand-cut block prints. Palette: washi ivory, indigo ai-iro, vermilion shu-iro, gold kin-iro, golden-yellow yamabuki-iro, pine-green matsu-midori, sumi black. No other colors. The scroll as an object: the ivory washi paper of the scroll, with its dark wooden roller, stays visible at the top and bottom of the frame from 0 to 2.5s and again from 11.5 to 15.0s. Between 2.5 and 11.5s the camera is inside the painting and the paper edges are out of frame. Camera language: exactly one camera move per time slice, always small amplitude at slow speed. The overall direction of travel is leftward for the whole film. Never combine two camera moves in one slice. No handheld shake. Transitions: use zoom-in transition at 2.5s, ink-wash transition at 5.0s, matching-shape transition at 7.5s, and zoom-out transition at 12.5s. No hard cuts anywhere. Nothing appears out of empty space. Keep the camera's breathing in harmony with the length of each slice and leave enough time for each transition to complete. Forbidden throughout: no subtitles, no background music, no photorealism, no 3D rendering, no CG lighting, no video-game look, no modern buildings, no trains, no cars, no power lines, no neon, no Japanese kanji or kana characters anywhere in the frame, no watermark, no logo, no on-screen text at all before 12.5s, no mosaic, no tiling, no puzzle-piece assembly, no rapid cutting. [TIMELINE] 0-2.5s — The scroll opens Scene: A closed emakimono scroll with a dark wooden roller sits at the right edge of an ivory frame. Action: The scroll unrolls leftward and reveals a painted Nihonbashi Bridge. The painted crowd on the bridge starts to move and walks across it. A painted boat slides out from under the bridge and its flat ink outlines ripple into moving water. Camera: slow leftward drift, small amplitude, following the unrolling paper. Sound: paper rustling, a wooden roller turning, then a low market crowd fading in. Not in this slice: no text, no music, no camera shake. 2.5-5.0s — Into the painting: the food street Transition: zoom-in transition. The camera pushes into the painted surface until the paper edges leave the frame and the painting fills the whole screen. Scene: An open-air Edo food street under fluttering vermilion nobori banners. Action: A chef presses a piece of nigiri sushi between his hands and sets it down on a bare wooden board. Steam lifts from a soba pot as a cook draws noodles out of the water. A customer pulls a noren curtain aside and steps in under it. Camera: slow push in, small amplitude, stopping on the sushi board. Sound: a knife tapping wood, oil sizzling, a pot bubbling, cloth brushing. Not in this slice: no text, no music, no modern kitchen equipment. 5.0-7.5s — The river Transition: ink-wash transition. Sumi ink bleeds across the frame like ink dropped in water, and the river scene emerges out of the bleed. Scene: The Sumida River, an arched wooden bridge, rows of low wooden townhouses on the far bank under gold cloud bands. Action: A boatman pushes his pole and the boat glides forward past the bridge. Cherry blossom petals blow across the water from the right. A woman in a patterned kimono standing on the bridge turns her head and looks toward the camera. Camera: slow leftward tracking shot, small amplitude, keeping pace with the boat. Sound: an oar dipping, wood creaking, water lapping, wind through cherry branches. Not in this slice: no text, no music, no motorboats. 7.5-9.5s — Night, lanterns, kabuki Transition: matching-shape transition. A round pink cherry petal drifting in the previous slice matches into a round red paper lantern in this one. Scene: A night street of two-story wooden machiya townhouses under a deep indigo sky. Action: Red paper lanterns light up one after another down both sides of the street. A kabuki theater curtain sways open at the far end and an actor in bold red kumadori face paint strikes a still mie pose. Camera: slow tilt up, small amplitude, from the lanterns to the sky above the rooftops. Sound: wooden kabuki clappers striking twice, geta sandals on plank streets, a low crowd. Not in this slice: no text, no music, no electric light. 9.5-12.5s — Fireworks and the whole city Continuous from the previous slice, the tilt up carries straight into this one. Scene: Golden fireworks open in the indigo sky above the river. Action: Two fireworks bloom and fall in gold and vermilion. The view widens into one grand bird's-eye folding-screen painting of the whole city of Edo across the full width of the frame: dense wooden rooftops, winding canals, arched bridges, boat traffic, a vermilion torii gate, a temple complex, and the tiered white keep of Edo Castle, with gold-leaf cloud bands drifting between the districts. At 11.5s the ivory washi paper edges of the scroll slide back in at the top and bottom, revealing the whole city to be one continuous painting on one scroll. Camera: slow pull out, large amplitude, one single continuous move. Sound: fireworks booming and crackling far away, the crowd noise widening and thinning into open air. Not in this slice: no text, no music, no shattering or reassembling of the image. 12.5-15.0s — Mount Fuji and the title Transition: zoom-out transition completing into the far end of the scroll. Scene: Snow-capped Mount Fuji stands alone on the right against a gold sky. Wide empty ivory washi paper fills the left half of the frame. Action: Cherry blossom petals drift down across the empty paper. The single large word "EDO" fades in on that empty paper in clean pale sumi-black geometric sans-serif capitals. One beat later the smaller line "NOW CALLED TOKYO" fades in directly beneath it. Both lines are English Latin capitals, spelled exactly as written here, centered on the empty paper, sharp and perfectly legible, with no Japanese characters, no extra words and no misspellings. The two lines are static once they appear and are not re-rendered. Camera: the drift comes to rest and holds perfectly still for the last 1.5 seconds. Sound: a single distant temple bell ringing once, then quiet wind. Not in this slice: no music, no additional text, no camera movement after the title appears. [CLOSING CONSTRAINTS] Throughout the whole film: keep the flat ukiyo-e woodblock look, the washi paper fibre, the seven-color palette and the uneven hand-cut ink lines identical from the first frame to the last. Keep every camera move small in amplitude and slow in speed, and keep the overall direction of travel leftward. Keep all transitions soft, with no hard cuts and nothing appearing out of empty space. Throughout the whole film: no subtitles, no background music, no photorealism, no 3D rendering, no modern objects of any kind, no Japanese kanji or kana characters, no watermark and no logo. On-screen text appears only after 12.5s, only the two English lines specified above.

30-second ultra-cinematic immersive first-person battlefield flight through a fictional WWII-era battlefield. The viewer experiences the movement directly through an invisible camera viewpoint. The camera itself is completely unseen and physically nonexistent in the image: only the environment and action are visible. Photorealistic, extreme velocity, realistic inertia, wide-angle perspective, seamless continuous movement. 0–4s: Begin high inside smoke above the battlefield. Instantly plunge into a steep vertical dive, rotating 180° as the ground rapidly approaches. Trenches, armored vehicles and ruined buildings rush toward the viewer. 4–8s: Pull out just above muddy terrain at extreme speed. A WWII-era fighter aircraft tears across the sky overhead. Immediately bank hard around wreckage, perform a complete 360° aerial roll, then dive into a narrow trench. 8–12s: Race through the trench at incredible speed, weaving between wooden supports, sandbags and moving soldiers. Burst upward, skim directly over an armored vehicle, then dive underneath its raised chassis and emerge at full speed. 12–17s: Accelerate across cratered terrain. Hard left around wreckage, hard right around a military truck, then climb rapidly toward ruined buildings as another aircraft crosses overhead. 17–22s: Target a shattered second-floor window. Rapidly climb and pass directly through it at full speed, thread through ruined rooms, rotate 90° through a doorway, descend through a stairwell opening and burst through another window into daylight. 22–26s: Dive toward a massive crater, spiral tightly around its interior wall, recover at the last moment and race between two armored vehicles while dust, smoke and debris rush past. 26–30s: Maximum acceleration toward a ruined church tower. Spiral vertically around the tower, complete a fast 360° roll through dense smoke, then burst above the smoke into a gigantic aerial battlefield reveal and continue toward the horizon. The entire sequence is seen exclusively from an invisible first-person cinematic viewpoint. No physical camera equipment is ever visible. No object occupies the foreground as a filming device. The viewer simply experiences impossible aerial movement. Continuous momentum, realistic motion blur, strong environmental parallax, volumetric smoke, dust turbulence, mud particles, sparks, rapid exposure changes and physically coherent transitions. No conventional cuts.

American female playfully admiring the louvre at golden hour, bubbly and expressive like a popular idol, but show subtle environmental tension artistic and thought-provoking, consistent overall composition but with dynamic background response to her presence