Group Couple向け動画プロンプト

[Style] Japanese TV Game Show, Live-Action Broadcast, dual-character comedy competition, multi-camera real-time broadcast, 4K Photorealistic, high-saturation summer colors, no slow motion throughout. [Duration] 30 seconds [Aspect Ratio] 16:9. [Scene] Sunny outdoor large leisure pool, the entire course strictly advances from the left side of the screen to the right. Two starting platforms of the same height are set side by side at the far left: the foreground red track belongs to Character A, and the background blue track belongs to Character B. The two parallel tracks have the same structure: the first section is a high-altitude pulley track sliding from left to right, with a hand-held bar and a circular soft foot pedal suspended below the pulley; the second section is a small circular disk with a diameter of 2.2 meters that rotates at a constant speed; the third section is three soft hexagonal floating blocks that rise and fall and tilt left and right; the fourth section is a short and slippery curved slide. The two slides connect side-by-side at the far right to a huge red and yellow disk with a diameter of 6 meters, with a low soft divider between the entrances to prevent collisions. The final large disk is mounted on an underwater motor shaft, rotating steadily clockwise throughout, with a yellow sumo circle, a red outer ring, and a thin water film on the surface, no railings at the edges, surrounded by a clear swimming pool. Background includes palm trees, large water slides, light stands, commentary booths, and temporary stands full of spectators. [Characters] Character A @Image 1, Character B @Image 2; maintain the face, hairstyle, body type, and sports variety show competition clothing from their respective reference images throughout the film. Character A has a red soft sumo pad fixed at the waist, and Character B has a blue soft sumo pad fixed at the waist; the pads exist from the opening until falling into the water. [Fixed Items] Character A and Character B always advance from the left side of the screen to the right at the same time. Character A is fixed on the foreground red track, and Character B is fixed on the background blue track; lane changes, crossing, head-on sliding, or collisions are prohibited before reaching the final large disk. The head orientation, sliding direction, jumping direction, and camera advancement direction of the two characters are all kept from left to right. The position, number, color, size, and connection relationship of the two tracks remain unchanged throughout the film. The two small disks and the final large disk rotate clockwise continuously in all shots, and cannot suddenly stop or reverse. At the start, both people's hair and clothes are dry; Character B only gets naturally soaked after being pushed out of the large disk by Character A; Character A remains on the disk at the end, only allowed to be splashed with a small amount of water droplets. The final result is fixed as Character A winning and Character B falling into the water. [00:00-00:03] Shot 1: Side-by-side start (Front Side Master Wide, ENG Camera). The camera is located at the front side of the pool, capturing the two side-by-side starting platforms on the left, the two parallel tracks, and the large rotating disk on the far right in a side-front wide shot. Character A stands on the foreground red platform, Character B stands on the background blue platform, both facing the right side of the screen. Character A grabs the red pulley bar and leans forward shouting: "Zettai katsu!" (I will definitely win!). Character B grabs the blue pulley bar, turns her head to look at A and responds: "Makenai yo!" (I won't lose!). The two-way buzzer sounds simultaneously, and the two push off the platform to the right in sync. Commentary: "Futari douji sutaato! Heisou koosu no saki wa kaiten dohyou desu!" (Both start at the same time! At the end of the parallel tracks is the rotating arena!). Sound effects: Start buzzer, audience countdown, and crowd cheering. [00:03-00:07] Shot 2: Parallel sliding (Side Dolly Track L→R). The dolly camera moves to the right at the same speed as the two from the side; the two pulley tracks remain parallel; Character A is in the foreground, Character B is in the background, both holding the bars with both hands and stepping on the soft foot pedals. Character A starts slightly faster, her body pulled into a backward-leaning straight line by the speed; Character B's foot pedal shakes left and right, she tightens her legs with bent knees, pointing at A ahead while sliding. Character B shouts: "Matte!" (Wait for me!). Character A looks back and laughs: "Hayaku!" (Hurry up!). Approaching the landing area, Character B catches up by half a body length by swinging her body back and forth; the two arrive almost side-by-side, but always maintain two independent tracks without crossing or colliding. Sound effects: High-speed pulley sliding, wind, character shouts, and audience laughter. [00:07-00:11] Shot 3: Parallel rotating small disks (Fixed Side Two-shot). A fixed side medium-long shot captures both the red and blue small disks, clearly showing them rotating clockwise, with the final large disk rotating in the distance on the right. Character A lets go first and lands on the foreground red small disk, her soles being pulled backward by the disk surface; she spreads her arms and takes continuous small steps in the opposite direction, standing firm after turning a quarter circle. Character B slips when landing on the background blue small disk, sitting directly on the wet disk surface, and is carried halfway around in a sitting position; she supports herself with her hands and pushes off with her feet, springing back up to a standing position following the rotation speed. Character B laughs and shouts: "Suichatta!" (I sat down!). Commentary: "A wa antei! B wa suwatta mama isshuu shisou da!" (A is stable! B looks like she'll go a full circle sitting down!). Sound effects: Low-frequency motor hum, sole friction, soft disk thuds, and audience laughter. [00:11-00:15] Shot 4: Parallel floating block jumps and slide entry (Side Tracking L→R). The side dolly camera continues to follow from left to right, the foreground red blocks and background blue blocks remain parallel, and the two characters always advance in the same direction. Character A continuously crosses three red and yellow floating blocks: the first with one foot, the second with both feet, and the third tilting to the right; her upper body leans sideways, using her right hand to tap the water surface for leverage, then immediately steps onto the red slide. When Character B crosses the three blue and yellow blocks, the second one suddenly sinks, her left foot steps into shallow water, and her arms circle wildly; she doesn't fall in, instead kneeling onto the third block, then pushing herself up with both hands to lunge onto the blue slide. Character A lies on the foreground slide sliding to the right with arms extended; Character B sits on the background slide sliding to the right with feet first and hands waving. The two slide onto the final large disk from two side-by-side entrances simultaneously, with the soft divider ensuring they don't collide. Character A lands in the front half of the disk, Character B in the back half; both are carried sideways by the clockwise rotating disk, then step back to the yellow sumo circle. Dialogue: Character A: "Saki ni tsuita!" (I arrived first!). Character B: "Hobo douji!" (It was almost simultaneous!). Sound effects: Blocks entering water, splashes, slide friction, and continuous audience gasps. [00:15-00:18] Shot 5: Rotating disk sumo start (High Front 3/4 Wide). A front-diagonal high-angle wide shot captures the final large disk, yellow sumo circle, red outer ring, and surrounding pool; the disk rotates clockwise continuously, the thin water film reflecting in the sun. Character A and Character B each get up during the rotation, being carried two steps sideways to the right by the disk, then taking small steps in the opposite direction back to the yellow circle. The two face each other with low centers of gravity, feet apart, hands holding each other's shoulder and waist soft pads. Character A shouts: "Shoubu!" (The showdown!). Character B responds: "Kakatte koi!" (Bring it on!). Commentary: "Saigo wa kaiten dohyou de suijou zumou!" (Finally, it's water sumo on the rotating arena!). Sound effects: Match gong, disk motor sound, and rhythmic audience clapping. [00:18-00:23] Shot 6: Three rounds of hilarious pushing (Broadcast Rapid Cuts, Real-time). Round 1 uses a fixed camera at the side of the disk: Character A pushes forward first, Character B sidesteps following the disk's rotation; Character A overshoots, taking three steps on the red outer ring to stop, arms windmilling. Hard cut to a central front medium shot: Character B takes the opportunity to push Character A with her blue waist pad, Character A is pushed into a sitting position on the wet disk but uses her feet to slide back to the yellow circle without falling in. Hard cut to a top-down view of the disk: the two grab each other's shoulder pads again, rotating half a circle together with the disk; Character B's right foot suddenly slips, and Character A is dragged into a rotation with her, the two spinning in place like they are connected, then letting go simultaneously and staggering a few steps in opposite directions. Character A laughs while panting: "Me ga mawaru!" (My head is spinning!). Character B replies: "Mada mada!" (Not yet!). Commentary: "Oshite iru no ka, mawasarete iru no ka wakarimasen!" (I can't tell if they're pushing or being spun by the disk!). Sound effects: Wet shoe friction, thuds of soft pads colliding, and audience laughter; real-time throughout, no slow motion, no replays. [00:23-00:27] Shot 7: Character A's feint pushes Character B into the water (Front Side Master Shot). A fixed side-front wide shot captures both people, the disk edge, and the water surface below, with the large disk rotating clockwise. Character B lowers her body and charges straight at Character A; Character A pretends to slip and retreats, letting Character B continue to accelerate. Approaching the red outer ring, Character A suddenly takes a step to the side following the disk's direction, Character B misses, her body turning sideways to the disk edge. Character A immediately pushes Character B's blue waist pad with both hands, shoulder pressed against the pad, taking two steps forward; only contacting the soft pad and shoulders, no touching the head or neck, no hitting. Character B's feet retreat quickly on the wet disk, the first step hitting the red outer ring, the second heel sliding off the disk; her hands grab at the air, and her body falls backward into the pool following gravity, creating a large splash. Character B shouts as she falls: "Uwaaaa—!" (Waaaah—!). Commentary: "A no feinto seikou! B ga ochita—!" (A's feint succeeded! B fell in!). Sound effects: Rapid sole friction, soft pad thud, water entry sound, and a burst of cheering from the crowd. [00:27-00:30] Shot 8: Water reaction and winning wrap-up (Water-level Two-shot → Wide Pull-back). A water-level two-shot: Character B emerges from the water, hair and clothes naturally soaked, wiping water off her face, looking up at Character A still on the disk. Character A stands in the center of the disk raising her arms in celebration: "Yattaa!" (I won!). The disk is still rotating, she slips while celebrating; she immediately kneels and supports herself with one hand, narrowly staying on the disk without falling in. Character B laughs and splashes water upward, the water only hitting Character A's arms and face, shouting: "Tsugi wa makenai!" (I won't lose next time!). The camera slowly pulls back to a wide shot: Character A is kneeling and laughing on the continuously rotating large disk, Character B is splashing in the water, and the audience stands up to clap. Commentary: "Shousha wa A! Saigo made yudan dekimasen!" (The winner is A! You can't let your guard down until the very end!). Sound effects: Loud cheering, applause, laughter, and a closing gong. [Audio] Fast-paced game show style BGM typical of large Japanese variety specials is layered throughout. Audience cheering, laughter, applause, buzzers, pulley sounds, disk motors, sole friction, blocks entering water, slide friction, pad collisions, and water entry sounds are strictly synchronized. Character A, Character B, and the commentary use natural and clear Japanese, with dialogue synced to lip movements; BGM and audience sounds are automatically lowered during dialogue, no other character dialogue is added, no subtitles are generated. [Camera & Editing] Natural multi-camera TV broadcast style, using only hard cuts, real-time throughout with no slow motion, no replays, no freeze frames. A 180-degree axis from left to right is maintained throughout: Character A is fixed in the foreground red track, Character B is fixed in the background blue track; sliding, jumping, block, and slide shots all follow to the right from the side, reverse shots that make characters look like they are going back are prohibited. After reaching the final disk, the relative positions of the disk edge, water surface, and the two people are kept consistent across cuts. All disk shots must clearly show clockwise rotation. [Prohibitions] Starting in opposite directions, head-on sliding, crossing left and right tracks, lane changes, character swaps, a third challenger, multi-person duplication, teleportation, moving backward in position, static in mid-air, body deformation, adding or subtracting limbs, penetrating props, grabbing the head or neck, hitting, and dangerous collisions. The two tracks and the final large disk must not change position, number, color, or size; the small disks and the final large disk must not stop, reverse, or change speed abruptly. Character B cannot be fully soaked before falling into the water; Character A cannot fall into the water, and can only be splashed with a small amount of water at the end. The final result must be Character A pushing Character B off the disk edge into the water. Clothing does not fall off, break, become transparent, or shift excessively. No real program names, TV station names, company names, sponsors, trademarks, subtitles, program logos, station logos, watermarks, meaningless text, or garbled code.

Create a 10 second photorealistic nighttime fashion and automotive film in 16:9 at 24 fps, set outside a small independently owned convenience store in a suburban parking lot after midnight. Use an extreme wide angle lens around 14mm with subtle fisheye barrel distortion and a handheld camera held near chest and eye level. The visual language should feel like genuine spontaneous footage captured by a talented friend at an underground car meet, never polished like a commercial studio shoot. Two young adult women are the central subjects. The first has long platinum silver hair and wears an oversized charcoal black hooded jacket with the hood covering part of her forehead. She has a calm confident expression and repeatedly looks directly into the camera while casually holding and adjusting her hood. The second woman has thick natural dark curls and wears a warm brown oversized top. She is energetic and playful, moving close to the lens, touching her lips briefly, turning toward her friend, and running both hands through her curls so individual strands bounce naturally. Behind them are two realistically modified street coupes, one metallic silver and one dark graphite gray, both sitting low with tasteful wheels and authentic reflections. Keep vehicle geometry, wheel placement, glass, reflections, doors, headlights and body panels completely consistent. Several casually dressed people linger naturally near the store entrance in the deep background. Begin with the silver haired woman extremely close to camera while the curly haired woman stands behind her. Cut on the musical rhythm to a wider view showing both women and the silver coupe. Jump into an extreme close portrait of the curly haired woman as she approaches the lens. Briefly cut to a dark clothed figure casually standing beside the graphite car. Return to the silver haired woman adjusting her hood, then show both women moving freely around the front of the silver car. Cut close as the curly haired woman throws both hands into her hair, creating authentic hair movement and natural motion blur. Continue alternating intimate portraits, loose medium shots and wide automotive compositions every few beats. Near 7.5 seconds use a single intense electric blue flash frame, then cut to pure black for the remaining ending, leaving clean empty central space suitable for adding event typography later in editing. Do not generate readable text, logos or fake lettering. Lighting comes only from believable practical sources. Bright fluorescent convenience store windows create warm cream and yellow highlights on faces and cars, mixed with cooler parking lot lamps. Allow slightly clipped storefront highlights, deep imperfect shadows, realistic skin pores, subtle facial shine, fabric texture, asphalt grain and reflections. Preserve natural exposure fluctuations as subjects approach the camera. Avoid beauty lighting, artificial rim lights and perfect cinematic symmetry. Camera motion must contain tiny human hand tremors, subtle lateral sway, occasional imperfect reframing, realistic focus breathing and slight rolling shutter during fast movement. Faces, hands, fingers, hair and clothing must remain anatomically stable between cuts. No morphing, floating objects, warped cars, duplicated people, plastic skin or impossible reflections. Use a gritty photographic digital look with restrained grain, slight low light noise, mild compression texture, rich blacks and warm highlights. Keep the performers relaxed rather than choreographed. Music should be an original approximately 96 BPM underground hip hop instrumental with deep controlled bass, dry punchy drums, sparse atmospheric synth texture and a nocturnal street fashion mood. Synchronize the major visual cuts and blue flash to the beat. No vocals. Let the instrumental continue across the black ending for a confident finish.

Create a premium 30-second cinematic pop music video in 16:9 landscape with blockbuster production quality. The video features one female pop superstar and one male pop singer with youthful, attractive faces, expressive eyes, natural skin texture, confident stage presence, and authentic chemistry. Both artists remain visually consistent throughout every shot. The female artist wears a crystal-embellished blush corset, oversized pastel pink faux-fur jacket, glossy satin cargo pants, platform sneakers, layered diamond jewelry, shimmering body chains, glamorous editorial makeup, luminous skin, glossy lips, and flowing textured hair. The male artist wears an oversized powder-blue embellished trench coat, shimmering silver knit top, relaxed ivory trousers, crystal sneakers, tinted luxury sunglasses, layered silver chains, rings, bracelets, and premium pop-star accessories. Their outfits naturally react to wind and movement. Both artists actively perform the song with perfect lip synchronization, realistic mouth movements, expressive facial expressions, confident body language, and emotional delivery. They frequently sing directly into the camera. During instrumental moments they naturally interact with each other through elegant movement and subtle choreography. Reserve full choreography only for the chorus with professional backup dancers. Blend luxury pop music, Vogue fashion editorials, beauty campaigns, Y2K magazine aesthetics, and world-tour concert visuals. Every frame should resemble a global luxury fashion campaign while remaining fully photorealistic. Use oversized editorial typography throughout the video with bold condensed fonts, magazine layouts, barcode graphics, registration marks, index numbers, halftone textures, paper overlays, handwritten notes, star icons, heart graphics, sparkles, waveform graphics, glossy gradients, and premium motion graphics. Typography should naturally integrate into architecture, LED screens, mirrors, glass, streets, reflections, and stage environments. Use uplifting pop phrases such as "FEEL THE LOVE", "STAY GOLDEN", "FOREVER YOUNG", "POP VIBES", "HEARTBEAT", "LIVE THE MOMENT", and "SHINE BRIGHT". Do not repeat the same layout twice. Visual quality should resemble ARRI Alexa 65 with Cooke Anamorphic lenses, IMAX-quality cinematography, HDR color science, cinematic lens flares, volumetric haze, premium beauty lighting, elegant camera movement, shallow depth of field, ultra-realistic skin texture, blockbuster VFX, and luxury commercial production. Scene 1 (0–5s) Inside a luxurious pastel studio featuring giant LED walls, glossy reflective floors, sculptural lighting, mirrors, floating curtains, soft haze, and elegant fashion set design. The female artist opens the song singing directly into the camera while the male artist joins naturally. Oversized kinetic typography and editorial graphics animate around them. Scene 2 (5–10s) Golden-hour rooftop overlooking a modern skyline with reflective glass architecture, designer furniture, and warm sunlight. The artists walk together while singing confidently. Editorial typography wraps around the skyline and architecture. Scene 3 (10–15s) Blue-hour luxury shopping district filled with designer boutiques, giant LED billboards, luxury cars, colorful signs, and cinematic reflections. The artists perform naturally while the camera circles around them. Typography integrates into billboards and digital displays. Scene 4 (15–20s) A spectacular sold-out concert arena featuring massive LED screens, lasers, pyrotechnics, confetti, smoke, moving spotlights, synchronized lighting, professional dancers, and thousands of cheering fans. The artists perform the chorus with energetic choreography and perfect lip-sync. Scene 5 (20–25s) A luxury penthouse at night overlooking a breathtaking skyline with floor-to-ceiling windows, infinity pool reflections, crystal chandeliers, designer interiors, modern art, and elegant ambient lighting. The artists perform together in an intimate yet glamorous atmosphere while editorial graphics subtly float around them. Scene 6 (25–30s) A surreal luxury stage floating above golden clouds at sunrise with mirror floors, cinematic fog, shimmering particles, elegant architecture, and breathtaking golden light. The artists perform the emotional final chorus as dramatic close-ups alternate with cinematic hero shots. Massive elegant typography, fireworks, editorial graphics, lens flares, and premium motion design create an unforgettable blockbuster finale before fading to black.

Photorealistic cinematic daytime amusement park roller coaster, bright hard sunlight, strong wind, realistic motion blur on tracks and background, subtle handheld camera energy, rich skin detail, heavy natural film grain. 0-5s: [Medium Shot] A young woman in her early 20s sits in the front seat of a moving roller coaster car, calm and slightly bored, hair whipping in the wind. Beside her sits a middle-aged man wearing what looks like a normal full head of hair. Behind them, another car with a woman is visible. The coaster drops and banks hard. 5-9s: [Dynamic Tracking] The force of the turn rips the man’s wig free. It peels off his bald head in a chaotic upward arc, spinning and flying backward through the air. The wig lands messily on the head of the woman in the car behind. Everyone’s faces freeze in pure shock and confusion at the peak of the chaos. Time locks completely. Only the young woman in the front keeps moving. 9-15s: [Slow Orbital + Detail] Camera slowly orbits the frozen cars. The wig hangs mid-air in a twisted shape with individual hairs suspended. The bald man’s scalp is fully exposed, mouth open. The woman behind is frozen mid-scream with the wig draped over her face. The young woman looks sideways, rolls her eyes and mouths “joder, otra vez”. She reaches into her pocket, pulls out a stick of chewing gum, unwraps it and calmly puts it in her mouth, starting to chew while the entire frozen scene (except her) begins a precise reverse. 15-20s: [Medium Close-up] The rewind is controlled and elegant: the wig lifts off the woman behind, flies backward through the air in reverse, and returns exactly to the moment it is only beginning to peel off the bald man’s head. Time freezes again at that precise instant — the front edge of the wig just lifting, a few strands already loose. 20-26s: [Tight Medium] Still frozen for everyone else, the young woman takes the chewed gum out of her mouth, reaches over and firmly presses it onto the center of the bald man’s scalp, right under the lifting wig. With the same hand she smooths and presses the wig back down into perfect place, locking it with the gum. She sits back, looks straight ahead with a tiny private smile, completely unbothered. 26-30s: [Medium Shot] Time suddenly resumes at full real-time speed. The coaster continues its drop. The man touches his head, feels the wig still firmly in place, looks confused for a second, then breaks into a relieved, happy smile. The young woman stares forward, already chewing a new piece of gum, expression of quiet satisfaction. Photorealistic, ultra-detailed wind and hair physics, perfect motion blur only on moving elements, stable characters, cinematic lighting, heavy natural film grain, no artifacts, movie-level temporal coherence, high rewatch value.

Create a 10 second cinematic live action video in 16:9, one continuous unbroken shot at night. A quiet roadside parking lot sits beneath a deep navy star filled sky. In the lower left background is a small retro service station or convenience store with cool fluorescent interior light and a thin warm orange roof glow. Dark parked cars, utility poles, overhead wires and tree silhouettes remain stable in the distance. The asphalt is washed with dim amber and reddish streetlight, with natural shadow falloff and faint haze. Two young adults wear simple white oversized T shirts, loose gray trousers and white sneakers. One stands on the asphalt near the lower center of frame. The second person is suspended high above, connected only by one hand, creating a surreal low gravity moment. Keep both identities, clothing, body proportions and hand contact perfectly consistent for the entire shot. Camera is around waist height with a 28 mm full frame lens, slightly tilted upward so the sky dominates. Use restrained handheld micro movement, no obvious pan, no zoom, no artificial stabilization. Preserve realistic perspective, parallax and lens behavior. Exposure favors the night sky while warm light gently models skin, fabric folds and shoes. Use subtle highlight bloom, mild sensor grain, natural motion blur and realistic contrast. Avoid glossy commercial perfection. From 0 to 1.5 seconds, begin with the standing person planted beneath the floating person, arm stretched upward. The floating body is slightly curled, knees bent, torso angled diagonally, hair and shirt moving lightly in the night air. Their joined hands form the visual anchor. From 1.5 to 3 seconds, the floating person glides slowly upward and toward screen right as if carried by a gentle invisible current. The body lengthens from curled to almost horizontal. The standing person raises the shoulder, shifts weight through the hips and pivots one foot to maintain balance. From 3 to 5 seconds, continue the smooth lateral drift. The airborne person becomes nearly horizontal, legs extended behind, toes relaxed, free arm reaching outward. The standing person stays grounded and rotates slightly toward screen right. Their connected arms create a long diagonal line across the frame. From 5 to 7 seconds, let the floating body pass farther into the upper right. Show believable shoulder tension, wrist angle, finger grip, fabric drag and hair movement. The grounded person widens the stance and makes one small natural step, with a faint shoe scrape on asphalt. From 7 to 9 seconds, the airborne person approaches the far upper right edge while staying fully visible. The grounded person leans and follows with another subtle weight shift. Background geometry, stars, poles, wires and parked vehicles remain stable with no warping or flicker. From 9 to 10 seconds, ease the motion into a suspended final pose rather than stopping abruptly. Add tiny breathing movement, cloth flutter and natural body sway. End on the stretched hand connection against the large starry sky. Physics should feel strange but visually credible. Maintain correct anatomy, five fingers, stable faces, natural joints, realistic cloth simulation and coherent lighting. No morphing, no duplicated limbs, no sudden speed changes, no camera jumps, no text, no subtitles, no visible logos. Music should be a dreamy nostalgic instrumental around 116 BPM with soft analog synth pads, a gentle low bass pulse, delicate bell like tones and restrained percussion. No vocals. Let the music lift with the floating motion, swell subtly around 6 seconds, then resolve softly in the final pose. Blend in faint night ambience, distant electrical hum and light wind.

Duration: 30 seconds Aspect Ratio: 16:9 Language: Natural American English Audio: Original actor voices, precise lip-sync; no narration, no subtitles, no background music Visuals: High-end Western realistic romance film quality, restrained, cold, shallow depth of field, realistic skin texture, minimal camera movement Characters are original fictional characters, no reference to any actors, celebrities, or film works. [Character Settings] NOAH: 28, handsome, tall, dark brown short hair, white shirt with rolled-up sleeves. He suspects his girlfriend is in love with a wealthier man. Outwardly angry, inwardly afraid of being unlovable. CLAIRE: 26, beautiful, calm temperament, golden-brown long hair, simple black dress. She was indeed attracted to another man, but what truly shook her was long-term neglect, not money. Maintain consistency in faces, hair, clothing, voices, and spatial positions throughout. [Core Emotional Curve] Suppressed suspicion → Sarcastic defense → Direct questioning → Brief confession → Man hurt → Woman reveals the truth that the relationship ended long ago. The peak occurs when she says: "No. But I wanted to." and the final blow: "We just kept calling it love." ━━━━━━━━━━━━━━━━━━ [Scene 1 | 0.0—7.0s] Medium-close shot of both. NOAH stands in the foreground, CLAIRE a few steps away. Camera slowly moves closer. 0.0—2.4s: NOAH's goal: Force her to admit it. He stares in silence for half a second, lips pressed, jaw tight. Brows down, eyelids tight, but volume restrained. He says slowly: "Tell me the truth. Is it him?" Stress "truth"; look up at her on "him". 2.4—4.4s: CLAIRE's goal: Block shame with sarcasm. Short exhale, bitter smile for less than a second, looks at his shirt then back to eyes. She asks softly: "You mean the man with the car?" No boasting, just hitting his insecurity. Smile vanishes immediately. 4.4—7.0s: NOAH hit, brow pressure increases, half step forward. Voice raises: "Don’t make this a joke. I saw you leave with him." Stress "saw"; lower voice on "him". CLAIRE listens without eye-rolling or interrupting. ━━━━━━━━━━━━━━━━━━ [Scene 2 | 7.0—20.0s] Over-the-shoulder shot of NOAH, transitioning to alternating close-ups. 7.0—9.3s: CLAIRE's goal: Explain leaving isn't betrayal. She says calmly: "And I came home." Slow pace, low volume. "home" is soft. 9.3—12.0s: NOAH's anger fails. Lips part, no sound for half a second. Eyes move from her eyes to lips and back. Controlled deep breath. He asks: "Did you kiss him?" No shouting, voice unstable. 12.0—16.0s: CLAIRE maintains eye contact for a second. She answers: "No." Pause 0.8s. Eyes drop, jaw tightens; looks up, aggression gone. Then: "But I wanted to." Soft voice, slight breath break at the end. NOAH reacts: eyelids lift, jaw drops, half step back. 16.0—20.0s: NOAH tries to use money to protect pride. Sharp inhale, brows tight, voice raises: "Because he can give you everything?" Highest volume here, then drops. Waiting for a saving denial. ━━━━━━━━━━━━━━━━━━ [Scene 3 | 20.0—30.0s] CLAIRE close-up, then slight focus shift to NOAH. Restrained camera. 20.0—23.2s: CLAIRE reveals the reason. Inner brows lift, eyes moisten (no tears falling). Tight jaw. She says: "Because he listened when I spoke." Stress "listened"; "spoke" is a whisper. 23.2—25.0s: NOAH's aggression gone. Shoulders drop, looks away. Low voice: "So that’s it?" 25.0—30.0s: CLAIRE shakes head once. "No." Pause 0.6s. Then: "It ended months ago. We just kept calling it love." Calm on "ended"; voice breaks on "love". She stares for 1s after. Tears stay on lower lid. She looks away. NOAH stands out of focus. End with 1s of stillness. [Performance Constraints] - No shouting or crying from the start. - CLAIRE's eyes shouldn't be wet before 20s; no continuous tears. - NOAH's core is insecurity/fear, not just rage. - All pauses must have psychological action. - Restrained gestures; no physical conflict. - Keep accurate English dialogue and lip-sync. NEGATIVE: subtitles, captions, logos, watermarks, background music, theatrical overacting, constant shouting, premature tears, instant emotional switch, random gestures, physical violence, frozen listener, robotic delivery, lip-sync drift, double mouth, warped face, extra fingers, identity drift, wardrobe drift, abrupt camera movement

Ultra-realistic found-footage paranormal home video aesthetic. Static bedroom surveillance camera mounted high in the corner, slight fisheye distortion, infrared night vision, compressed digital texture, low-light noise, subtle timestamp feel, realistic darkness, quiet room tone, no modern cinematic polish. Authentic paranormal home-video realism, believable sleep behavior, subtle supernatural motion, clean dialogue, stable continuity, unnerving pacing, realistic night-vision texture, viral horror payoff, no gore, no graphic harm. Two sleeping parents in bed. One young child, small silhouette, pale pajamas, quiet, expression unreadable, calm but unsettling. No injury, no gore, only eerie paranormal tension. Ordinary parents’ bedroom at night: double bed, hallway door slightly open, closet, dresser, baby monitor, weak moonlight bleeding through curtains. 0-4s: Locked-off wide surveillance angle - The parents sleep motionless. The room is silent except for a faint fan hum. The bedroom door slowly creaks wider on its own. 4-8s: The child appears silently in the doorway, perfectly still, staring into the room. One parent shifts in sleep but does not wake. A subtle distortion flickers across the frame. 8-12s: The mother wakes slightly and whispers: “Sweetie… what are you doing awake?” The child answers softly, without emotion: “He told me not to wake you.” 12-16s: A visible depression slowly forms on the empty side of the mattress as if someone unseen just sat down. The father jolts awake. The closet door eases open by itself. The child remains frozen in the doorway. 16-20s: The mother turns toward the child, terrified, and asks: “Who told you that?” The child tilts their head and says quietly: “The man behind you.” At that exact moment the camera glitches hard for one second, the parents spin around, and when the image stabilizes the doorway is empty.

Use <<<image_1>>> as the SOLE appearance reference for the FEMALE LEAD and <<<image_2>>>as the SOLE appearance reference for the MALE LEAD. Preserve their exact facial identity, facial structure, hairstyle, hair color, body proportions, outfits, shoes, accessories, and clothing colors in every frame. Do NOT redesign, recolor, replace, modify, simplify, or add anything to their clothing or accessories. The two leads must remain unmistakably the same people throughout the entire video. No face morphing, identity drift, hairstyle changes, body changes, wardrobe changes, or age changes. EXTRAS: Exactly 10–14 ensemble dancers. They must have completely different faces from both leads. Do not make any extra resemble either lead. Diverse ages and ethnicities. Wardrobe: colorful pastel summer clothing — sunflower yellow, sky blue, coral, mint, soft pink, cream — including flowing summer dresses, light shirts, trousers, and tailored suits. Their styling should feel like a vibrant modern interpretation of a classic Hollywood musical. Natural fabric movement, realistic hair movement, and varied individual body language. Extras must never look duplicated or cloned. === FORMAT === Premium 30-second cinematic romantic musical film. 16:9 landscape. Fully photorealistic. ONE continuous flowing cinematic take with NO visible cuts. The entire video must feel alive, energetic, romantic, spontaneous, and human. There must be NO dull moments, no empty stretches, no static compositions, no performer standing motionless, and no long shots where nothing meaningful happens. Something should always be evolving through character movement, camera movement, background action, facial expression, choreography, environment, or music. Native 16:9 composition. No letterboxing. No black bars. No artificial AI-video aesthetic. The final result should feel like a real premium musical scene filmed on location with professional actors, dancers, cinematographers, and musicians. === LOCATION / ENVIRONMENT === Set the entire scene on a beautiful Mediterranean-style seaside promenade during a pleasant summer morning. A wide elegant pedestrian promenade runs alongside a sparkling blue sea. Warm cream-colored stone buildings line one side of the promenade. Small stylish cafés with outdoor tables and umbrellas open onto the walkway. Palm trees and Mediterranean plants move gently in the sea breeze. A low stone sea wall runs along the waterfront. Small sailboats and distant boats are visible on the horizon. A few colorful awnings, flower planters, bicycles, and café chairs create natural environmental detail. The location should feel upscale, cinematic, lived-in, and authentic rather than touristy or artificial. The sea provides bright atmospheric depth behind the performers. The promenade should have enough space for the leads and dancers to move naturally without feeling crowded. The environment itself should constantly provide subtle visual movement: palm leaves moving in the breeze, distant boats drifting, pedestrians walking, café activity, fabric moving, dancers crossing the promenade, and sunlight reflecting softly from the water. Do not make the background chaotic. The leads remain the visual focus. === MUSIC — 30-SECOND ROMANTIC ENERGY ARC === Create an ORIGINAL romantic cinematic pop song at approximately 108 BPM. Major key. Warm, joyful, playful, flirtatious, uplifting, and emotionally sincere. The song should feel romantic without becoming slow, sad, overly sentimental, or theatrical. It should have the infectious energy of a joyful cinematic musical number while remaining modern and natural. Instrumentation: 0–7s: Rhythmic acoustic guitar, warm piano, grooving bass, light live drums, subtle hand percussion. 7–14s: Drums become more energetic, warm strings enter, bass becomes more rhythmic, subtle melodic accents increase momentum. 14–21s: Full romantic chorus — energetic live drums, acoustic guitar, piano, warm bass, bright strings, tasteful brass or melodic accents. 21–25s: Briefly pull the arrangement back but KEEP the rhythmic pulse alive with piano, bass, acoustic guitar, and soft percussion. 25–30s: Full instrumental emotional lift returns with strings, piano, guitar, bass and drums, ending on a warm satisfying major chord. The music must continuously evolve. Never allow the soundtrack to feel empty or repetitive. VOCALS: Original English lyrics only. Female lead sings the opening verse. Male lead naturally answers. Both join for the chorus. Their voices should sound like real human singers: expressive, warm, slightly imperfect, conversational, emotional, and natural. Avoid robotic vocals, excessive vocal processing, perfect artificial phrasing, theatrical belting, or exaggerated musical-theater delivery. The lyrics should communicate a simple romantic idea: two people notice each other, gradually become drawn toward each other, enjoy being together, and choose to stay in the moment. Keep lyrics concise enough to fit naturally within the first 25 seconds. VOCALS END EXACTLY at 25 seconds. The final 5 seconds are instrumental only. === PERFORMANCE ENERGY === THE VIDEO MUST NEVER FEEL DULL. The leads should feel genuinely alive, playful, spontaneous, and emotionally connected. They are professional musical performers, but they should NOT look like robots following a choreography spreadsheet. Movement should have natural variation. Allow slightly different step lengths, natural timing variations, spontaneous smiles, small reactions, changing eye contact, subtle improvisation, natural breathing, realistic weight shifts, and imperfect human gestures. Do NOT force perfect symmetry. Do NOT make every movement mechanically synchronized. The leads should naturally react to each other's presence. Their chemistry should feel effortless and playful rather than staged. Energy progression: 0–7s: Charming, confident, immediately engaging. 7–14s: More playful and energetic as the male lead joins. 14–21s: Biggest burst of joyful musical energy. 21–25s: Romantic and intimate but still physically active. 25–30s: Beautiful emotional payoff with a strong visual finale. Even during quieter musical moments, the camera and performers continue moving. === SOUND DESIGN === Natural seaside diegetic sound underneath the music: Soft footsteps on stone. Subtle shoe contact. Light ocean breeze. Gentle waves against the seawall. Distant seabirds. Very subtle café ambience. Fabric movement. Natural outdoor reverb on vocals. Do not add random conversations, distracting chatter, unrelated music, or artificial sound effects. Music and vocals remain clearly dominant. === LIP-SYNC — CRITICAL === Frame-accurate lip synchronization whenever either lead sings. Every English syllable must correspond naturally with the mouth movement. Natural consonant closures. Natural vowel shapes. Realistic jaw movement. Natural tongue movement where visible. Natural breath intake before phrases. Subtle throat and chest movement during sustained notes. Facial expressions must correspond naturally to the lyrics. Singing should never look pasted onto the face. No dubbing mismatch. No delayed mouth movement. No mumbling. No frozen lips. No exaggerated mouth shapes. No dead-eyed singing. When either lead is singing, keep their face clearly visible whenever practical. During singing, avoid fast spins or movements that hide the singer's face. === CHOREOGRAPHY === Elegant romantic musical choreography with genuine energy. Never acrobatic. Never stiff. Never robotic. Never perfectly repetitive. The performers should keep moving naturally throughout the entire scene. Lead movement vocabulary can include: - Rhythmic walking along the waterfront - Playful step-touch movements - Traveling side steps - Gentle heel pivots - Natural turns - One slow underarm turn - One shared clasped-hand spin - Hand-over-heart gesture - Playful shoulder movement - Brief synchronized walking - Holding hands - Promenade movement - Natural eye contact - One final slow half-turn into a shallow elegant dip Do not force every move to happen at an unnaturally precise beat. Let transitions flow organically between movements. The choreography should look like humans dancing with the music rather than a computer executing commands. BACKGROUND DANCERS: The extras continuously create visual life along the seaside promenade. They should: - Cross the promenade in different directions - Walk naturally beside cafés - Perform small partner steps - Move around outdoor tables - Create moving layers of depth - Perform occasional synchronized arm movements - Create loose formations along the waterfront - Form a graceful circular formation around the leads during the finale Not every dancer should perform identical movements at exactly the same time. Allow natural individual variation. Some dancers can briefly interact with the environment while continuing their choreography. Background movement must NEVER completely stop. However, extras must never steal focus from the leads. === CINEMATOGRAPHY === ONE continuous flowing Steadicam take. No cuts. No hidden cuts. No teleportation. No sudden camera jumps. The camera should feel like a real operator is physically moving along the promenade with the performers. Camera movement must constantly evolve. 0–7s: Approximately 50mm lens. Camera retreats smoothly ahead of the female lead as she walks along the waterfront. The sea remains visible behind her. Begin immediately with movement and visual interest. Do not start with a static establishing shot. 7–14s: Camera smoothly arcs laterally toward the male lead as he emerges from a café-lined section of the promenade. The camera movement should feel motivated by his arrival. 14–21s: Camera widens toward approximately 35mm and moves backward with both leads during the energetic chorus. Reveal the sea, cafés, palm trees, and moving dancers. 21–25s: Camera moves closer toward approximately 65mm for an intimate two-shot while continuing to retreat with the leads. The ocean remains softly visible behind them. 25–30s: Camera gradually rises into a graceful crane movement, revealing the waterfront promenade and ensemble surrounding the leads. Never let the camera remain completely static. Use subtle parallax between foreground dancers, performers, cafés, palm trees, sea wall, and ocean. Keep the camera physically believable. No impossible camera movement. No excessive motion blur. No extreme wide-angle distortion. No fisheye effect. === LIGHTING === SOFT, DIFFUSED NATURAL MORNING LIGHT. Pleasant coastal morning atmosphere. The sun is present but softened by thin atmospheric haze and subtle natural cloud diffusion. Avoid harsh direct sunlight. Avoid blown highlights. Avoid deep black shadows. Avoid extreme contrast. Avoid orange or overly golden lighting. Faces must remain naturally and evenly exposed even when the performers turn. Use soft bounced light from cream-colored buildings and pavement. The ocean should reflect soft natural daylight rather than appearing excessively bright. Natural skin texture. Natural skin tones. Gentle cinematic contrast. Soft highlight rolloff. Realistic shadow softness. The scene should feel bright, fresh, airy, and beautiful without looking overlit. The sunlight should feel pleasant on the skin rather than harsh. The environment should look like a real location captured with a high-end cinema camera. The sun remains physically consistent throughout the scene. Shadows remain consistent with the sun position. ONE extremely subtle lens flare may occur naturally when the camera briefly crosses the sun. No repeated lens flares. No artificial glowing skin. No excessive bloom. No glowing outlines around people. === TIMELINE === 0–7 SECONDS — FEMALE LEAD / OPENING: Start immediately with the female lead already walking toward the camera along the seaside promenade. The camera is already moving backward. The ocean glitters softly behind her. Palm leaves move gently in the breeze. Café umbrellas and awnings move subtly. She sings the opening line with a confident natural smile. Her steps have a gentle musical bounce. She passes an outdoor café and briefly gestures naturally toward the sea. Several colorful dancers cross behind her. Another pair performs small synchronized steps near the seawall. A cyclist or pedestrian can naturally pass in the distant background. The environment feels alive from the first second. The female lead performs a playful step-touch movement during a musical phrase. She looks toward camera, then naturally glances toward the direction from which the male lead will appear. Her expression subtly changes as if she has noticed someone. Keep the moment romantic but energetic. NO DEAD FRAME. 7–14 SECONDS — MALE LEAD ARRIVES: On a musical downbeat, the male lead naturally enters from a café-lined section of the promenade. He catches her attention. The camera smoothly shifts toward him without cutting. He begins singing his response while walking toward her. He performs a relaxed heel pivot and playful gesture. The female lead reacts naturally with a smile. They move toward each other while maintaining visible faces. They perform a loose mirrored traveling pattern along the waterfront. He gives a subtle hand-over-heart gesture. She responds with a playful shoulder movement. Their expressions communicate genuine chemistry. Behind them, dancers continue moving in different directions. Palm trees move gently. The sea remains visible. The camera never stops moving. By the end of this section, they naturally fall into synchronized walking toward the center of the promenade. 14–21 SECONDS — BIG ROMANTIC CHORUS: The music opens into its most energetic section. Camera widens to approximately 35mm. Both leads sing together. They travel along the waterfront with lively side steps and natural rhythmic movement. The background becomes more visually active. Several dancers cross behind them. Other dancers form loose pairs. A small group performs synchronized arm movements. One pair turns near the café tables. Another pair moves closer to the seawall. The leads remain the visual focus. During a short instrumental fill, the male lead reaches for her hand. She takes it naturally. He guides her through ONE slow underarm turn. Her clothing and hair respond naturally to the coastal breeze and movement. They immediately reconnect. They perform ONE shared clasped-hand spin during another instrumental accent. The camera moves slightly around them while maintaining the continuous take. The ocean, palm trees, dancers, and architecture create constantly changing layers behind them. The moment should feel joyful, romantic, spontaneous, and cinematic. NO STATIC HOLD. 21–25 SECONDS — ROMANTIC BRIDGE: The arrangement becomes slightly more intimate but does NOT become dull. The leads continue walking together beside the sea. They move shoulder-to-shoulder. They exchange a brief natural glance and smile. Both sing a softer harmonized phrase. The camera moves closer to an approximately 65mm two-shot. They hold hands. They begin a slow promenade toward a brighter section of the waterfront. The background remains alive with softly moving dancers. Some dancers cross through foreground and background at different distances, creating natural depth. Palm leaves continue moving. The sea remains gently active. The leads remain clearly visible. Their movement remains continuous. At exactly 25 seconds, vocals stop. 25–30 SECONDS — BIG VISUAL FINALE: The instrumental arrangement immediately builds again. The leads continue moving rather than freezing. The male lead gently guides the female lead through ONE slow half-turn. She transitions naturally into a shallow elegant dip. The movement should feel romantic and graceful, NOT theatrical. They rise together. She keeps her hand in his. They exchange one final natural smile. The camera begins a smooth crane upward. The full ensemble moves into a wide circular formation along the promenade. The dancers perform ONE synchronized sweeping arm movement. They then settle naturally. The camera rises higher. Reveal the full seaside promenade. Reveal the colorful dancers. Reveal the ocean and boats. Reveal the cafés, palm trees, and architecture. Reveal the two leads at the center. The final image should feel like the payoff to the entire musical sequence. Hold only briefly. The final chord decays naturally. Fade gently to white. === CONTINUITY & PHYSICAL REALISM === Both leads remain identical to <<<image_1>>> and <<<image_2>>> throughout. Exact facial identity. Exact hairstyle. Exact body proportions. Exact wardrobe. Exact shoes. Exact accessories. Exact colors. No wardrobe transformation. No face changes. No identity drift. No body deformation. No age changes. Natural skin texture. Natural hair physics. Natural cloth physics. Natural walking mechanics. Natural foot contact. Natural hand interaction. Natural eye movement. Natural breathing. Physically believable shadows. Physically believable reflections. Consistent environment. Consistent lighting. Consistent camera movement. No duplicated dancers. No cloned faces. No floating objects. No floating feet. No sliding feet. No hands passing through bodies. No impossible joint movement. No rubbery limbs. No unnatural facial expressions. No frozen performers. No static background. No repeated choreography loops. No sudden scene changes. No random props. No invented wardrobe. No text. No subtitles. No logos. No watermarks. No black bars. No letterboxing. No cartoon appearance. No CGI appearance. No plastic skin. No artificial beauty filter. No excessive sharpening. No excessive motion blur. No harsh sunlight. No blown highlights. No crushed shadows. No excessive lens flare. No artificial glow. No camera cuts. No jump cuts. No teleportation. No identity morphing. No lip-sync mismatch. No vocals after 25 seconds. === FINAL CREATIVE DIRECTION === The finished video should feel like a REAL romantic musical scene captured during one beautiful coastal morning. It should be colorful, energetic, playful, romantic, cinematic, emotionally engaging, and visually alive from beginning to end. There must be NO dull moment. Keep the energy alive through continuous camera movement, evolving choreography, expressive performances, moving background dancers, ocean movement, palm trees, café activity, environmental depth, changing compositions, and musical progression. Do NOT make it look like an AI-generated showcase. Do NOT make it overly perfect. Do NOT make it sterile. Do NOT make it slow. Do NOT make it empty. Do NOT make the sunlight harsh. Make it feel human, spontaneous, joyful, romantic, and alive.

Ultra-realistic low-quality tabloid footage from a staged paparazzi-style scene. Old handheld consumer camera with cheap long zoom, heavy compression, unstable autofocus, rolling shutter, blown highlights, digital noise, accidental reframing and muffled wind audio. Bright humid Miami afternoon. Raw amateur look, no cinematic polish. Authentic low-grade tabloid texture, fictional adults, staged consent, imperfect focus, realistic sunlight and water reflections, natural body proportions, no nudity, no logos, no readable text. One fictional adult female celebrity, glamorous, wearing an elegant swim outfit and sunglasses. One fictional adult man in an open linen shirt and swim shorts. Both are consenting performers in a staged scene, with no resemblance to real public figures. Luxury Miami villa terrace with infinity pool, palm trees, white stone, glass walls and ocean skyline. Camera hidden behind leaves and a distant balcony railing. 0-5s: Shaky extreme long shot - The camera searches through palm leaves, loses focus, then catches the woman walking barefoot beside the pool. The operator whispers: “Wait… is that her?” 5-10s: Unstable digital zoom - The man approaches. They laugh, stand close and exchange a brief romantic kiss. Autofocus pulses between leaves and their faces. 10-15s: Crash zoom + bad reframing - She suddenly looks directly toward the lens. The operator lowers the camera in panic, showing only the railing, pool reflections and part of the terrace. 15-20s: Messy handheld recovery - The camera rises again. Both performers are now staring straight at the lens. The woman smiles, waves and says: “You really thought this was leaked?” Abrupt cut to black.

Create one 30-second 9:16 photorealistic live-action dramatic scene with five deliberate shots and native synchronized dialogue. Original characters: LENA: a 38-year-old South Asian woman, tired expressive eyes, dark wavy hair in a loose low bun, charcoal coat over a cream blouse. MOTHER: a 72-year-old South Asian woman with delicate features, silver hair in a loose braid and a pale-blue knitted cardigan. She has early dementia but remains emotionally perceptive. Setting: a quiet memory-care bedroom on a winter morning. Soft gray daylight enters from frame left; a warm bedside lamp provides gentle fill. Two chairs face each other beside the window. Subtle radiator ticks and distant corridor room tone. No music. Shot 1 — 0–6 seconds: Stable medium two-shot, natural 50mm perspective. Mother studies Lena politely without recognition and says warmly, “You’re very kind, nurse.” Lena hides the pain behind a small reassuring smile and answers, “I’m not a nurse, Mum. It’s Lena.” Shot 2 — 6–13 seconds: Cut to Mother’s close-up. Her eyes brighten at the memory of a child, not the woman before her. She says, “My Lena is eleven. She hates peas and lies badly.” Lena answers softly from offscreen, “She still does.” Mother’s smile disappears. She asks, genuinely wounded, “Then why doesn’t she come?” Shot 3 — 13–20 seconds: Cut to Lena’s close-up. Hold the frame. Her practiced smile fails; her lower lip tightens and her eyes begin filling, but she does not sob. After one difficult breath she says, “I come every Sunday. You just… keep losing me.” Shot 4 — 20–25 seconds: Cut back to Mother. She becomes briefly lucid. Her eyes remain fixed on Lena; one tear gathers without falling. In a quiet, fragile voice she says, “I don’t forget you. I just can’t find the way back.” Shot 5 — 25–30 seconds: Tighter two-shot. Lena leans slightly closer without touching her. Crying silently now, she smiles and says, “Then I’ll keep coming to find you.” Mother searches Lena’s face. Recognition slowly arrives through the eyes rather than a large expression. She takes a tiny breath and whispers, “Lena?” Hold their eye contact in complete silence for the final half-second. Performance: restrained natural acting. Begin emotionally guarded and let the pain accumulate. Tears must develop gradually, never appear at the beginning. Use breath catches, small eye movements, tightening facial muscles and pauses. No theatrical sobbing, head bobbing, repeated nodding or generic hand gestures. Only the assigned speaker’s lips move. The listener keeps their mouth closed and reacts through breathing, blinking and gaze. Preserve both identities, wardrobe, positions, eyelines, lighting and tear progression across every cut. Clear dry dialogue with realistic room perspective. No narration, subtitles, text, music, extra people, beauty filtering or skin smoothing.

30-second ultra-realistic live-action Japanese youth romance, pure first love, restrained heart-fluttering tension. Real human actors, natural human faces and skin, realistic hair and clothing, cinematic Japanese drama aesthetic. NOT anime, NOT animation, NOT manga, NOT illustration, NOT CGI. Warm golden afternoon sunlight through classroom blinds, empty classroom, old wooden desks, floating dust particles, soft summer breeze, shallow depth of field, creamy bokeh, subtle film grain, cinematic 8K detail. Keep faces, hairstyles, uniforms, proportions and identity perfectly consistent throughout with no morphing, flicker or deformation. 0–7s: Extremely slow push-in toward a girl and boy sitting side-by-side at wooden desks. The girl in a summer school uniform quietly writes notes, long black hair and loose strands near her ears gently moving in the breeze. Natural eyelashes, soft skin texture, tiny unconscious smile and subtle breathing. The boy sits beside her, pretending to focus on his notes. 7–14s: Close-up of the boy secretly watching her. His collar is slightly loose, elbow on the desk, eyes filled with gentle restrained affection. His pupils subtly widen and Adam’s apple moves naturally. Her pen suddenly pauses; he quickly looks away and pretends to read. His ears become slightly red, fingertips subtly tremble around the pen, breathing becomes nervous as he steals another glance beneath his bangs. 14–20s: Close-up of the girl realizing he was watching. Her pen remains still. She subtly looks toward him, suppresses a tiny smile, then slowly turns her head. Camera follows into an intimate shared close-up. Their eyes almost meet. Hold the silence with only distant summer cicadas, faint pen sounds and natural breathing. 20–25s: Their eyes suddenly meet. The girl freezes, shyly lowers her gaze, gently bites her lower lip, cheeks and earlobes becoming softly pink, then looks back at him. She whispers: “...What are you looking at?” The boy freezes, pupils widening, then nervously whispers: “N-nothing...” 25–30s: She gives a tiny knowing smile and whispers: “...Liar.” He pauses, looks directly at her and softly replies: “...Just looking at you.” He gives a shy crooked smile. She becomes subtly embarrassed and happy. Their eyes remain locked as the camera slowly pushes closer, the classroom melting into warm golden bokeh and floating dust. Natural precise lip-sync, subtle mouth movement, realistic breathing and micro-expressions, 200–400ms emotional pauses. Sound: distant cicadas, pen scratching paper, faint classroom ambience, soft breathing and airy piano entering near the ending. English subtitles: Add perfectly synchronized English subtitles for every spoken line at the bottom of the frame, elegant white text with a subtle dark outline, accurately matching the dialogue. Avoid: anime, animation, manga, illustration, cartoon, CGI, 3D render, oversized eyes, plastic skin, stylized faces, exaggerated expressions, face deformation, identity drift, flickering, robotic movement, Japanese subtitles, incorrect text, watermark or logo.

Use [Character Reference_01] as a character reference for SHELBY Use [Character Reference_02] as a character reference for CALEB Use [Location Reference] as a location reference Thirty-second continuous scene, one location, multiple angles, with synchronized dialogue. Late afternoon in a small corner cafe, almost empty, big windows, overcast light, rain starting outside. CALEB and SHELBY sit at a hit-top table by the window. Two plates of food between them, both untouched. SHELBY has not taken her coat off. 00:00–00:04 — Wide two-shot from across the room. Neither speaks. CALEB rearranges his cutlery. SHELBY watches him do it. Rain and room tone only. 00:04–00:10 — Slow push to a medium on him. CALEB looks up. Nervous, rehearsed, trying to sound casual and failing. CALEB SAYS: "I've been trying to figure out how to say this since Thursday." 00:10–00:13 — Cut to CALEB'S hands on the table, one thumb working at a knuckle. SHELBY'S voice begins over this shot, before we see her. SHELBY SAYS SOFTLY (off-screen): "I know." 00:13–00:17 — Cut to a close-up on SHELBY. Completely level. No anger in it, which is worse. SHELBY says: "I've known since March." 00:17–00:21 — Cut to close on CALEB. This is the turn: the relief CALEB was already starting to feel drains out of his face in real time and something much worse replaces it. CALEB tries to speak and doesn't manage it on the first attempt. CALEB says in a cracked voice: "…March?" (pause) "Why didn't you—" 00:21–00:25 — Cut to close on SHELBY. She cuts him off. Her voice stays steady but her eyes do not. SHELBY says annoyed: "Because I kept thinking you'd tell me." 00:25–00:29 — Cut to close on CALEB, looking out the window instead of at SHELBY. Quiet, and he knows it isn't true as he says it. CALEB says quietly but defensively: "I was going to." 00:29–00:30 — Cut to close on SHELBY. She nods once. She does not believe him. Hold on her face as the frame ends. Photoreal, 35mm, handheld, natural window light only, muted palette, rain and room tone under the entire scene, no music.

Single unbroken handheld boyfriend vlog take throughout, 30 seconds total. A realistic personal travel vlog filmed by a boyfriend following his girlfriend during a normal day in Tokyo. Use the woman from the reference image as the main character. Maintain her exact facial identity, hairstyle, facial features, body proportions, and overall appearance throughout the entire video. She must remain the same person in every shot. The camera feels like a real boyfriend holding a small mirrorless camera or phone, not a professional production. Natural handheld movement, imperfect framing, occasional camera shake, spontaneous reactions, authentic everyday moments. The woman does not pose for the camera. She behaves naturally, sometimes forgetting the camera is there. 0-5s: Morning at a small Tokyo apartment. The camera starts recording as the boyfriend casually walks into the room. Soft morning sunlight enters through the window. The woman is sitting near the bed, fixing her hair and preparing for the day. She notices the camera, smiles naturally, laughs, and playfully tells him to stop filming. The camera stays close, slightly shaky, capturing a private everyday moment. 5-10s: Walking through Tokyo neighborhood streets. The boyfriend follows behind her as they leave the apartment. She walks through a quiet Tokyo street, carrying a small bag. Morning shops are opening, bicycles pass by, locals walk along the street. She stops at a convenience store. The camera follows her inside. She looks at different drinks and snacks, turns around and asks the person behind the camera which one she should choose. Natural interaction, casual conversation, realistic body language. 10-18s: Local food experience. The camera follows her through a small Tokyo alley to a cozy local restaurant. She sits down and tries a bowl of ramen or a local dish. The camera captures close handheld moments: her picking up chopsticks, tasting the food, reacting naturally, laughing when the food is hotter than expected. The boyfriend laughs behind the camera. The moment feels unplanned and authentic. 18-25s: Tokyo afternoon exploration. The couple walks through a lively neighborhood. She browses small shops, looks at interesting objects, takes photos, and occasionally looks back at the camera. The camera moves naturally between her face, her hands, the street atmosphere, and small details of daily life. Crowds pass naturally around them. The city feels alive and real. 25-30s: Tokyo night ending. Night falls. The camera follows her through illuminated Tokyo streets. She walks slightly ahead, then turns back and smiles at the camera. They ride a train home. She sits beside the window, watching city lights pass outside. The camera slowly moves closer as she rests quietly, ending like a real personal memory. Visual style: Authentic boyfriend travel vlog footage. Realistic handheld camera movement. Natural lighting. Casual documentary realism. Unplanned everyday moments. Real human expressions and interactions. Slight motion blur, natural exposure changes, realistic camera autofocus adjustments. No commercial advertisement style. No dramatic posing. No perfect cinematic composition. No text overlays. No logos. No face changes. No identity changes. No artificial transitions. No CGI feeling. Stable character consistency throughout.