Wan 3.0 프롬프트: 예시 105+개와 가이드

Global Parameters: Character: Young woman, dark hair with white headband, white acrobatic bodysuit with a trailing sheer skirt/cape. Camera Style: Continuous, fast-paced 3rd-person tracking shots (mostly trailing from behind). Seamless match-cut transitions between environments. Color Palette: High-contrast fantasy hues, leaning heavily into pastel pinks, purples, and warm sunset golds. Audio: Fast-paced, whimsical orchestral score (Alice in Wonderland style). Heavy use of wind swooshes, light magical chimes, and rapid footsteps. Timestamped Sequence Breakdown 00:00 - 00:04 | The Palace & Spires Action: Close-up of character's face with elaborate makeup and jeweled nails. She turns and sprints through a gilded, chandelier-lit palace room. She leaps through stained-glass doors. Transition: Match cut mid-leap to her jumping between two massive gothic cathedral spires adorned with giant pink bows. Lighting: Warm, hazy sunset. 00:04 - 00:08 | Cathedral Descent Action: Trailing tracking shot. Character sprints rapidly down the steep, dark slate roof of the cathedral and leaps into the abyss. Audio: Loud wind rushing sound. 00:08 - 00:13 | The Victorian Carnival Action: Character lands seamlessly in a pastel, 18th-century street fair. She parkours over a moving horse-drawn carriage and weaves through a crowd of people in period dress and animal-headed characters (white rabbits). Camera: Low-angle tracking shot, highly kinetic. 00:13 - 00:16 | The Watch Garden Action: Character leaps through an archway framed by giant pocket watches draped in pink ribbons. She sprints through a dense, vibrant field of pink and yellow tulips. Camera: Camera pushes aggressively through the flower petals, staying close behind her. 00:16 - 00:20 | The Water Dungeon Action: Seamless transition into a dark, stone aquatic dungeon. She runs along a massive metal pipe and leaps onto a swinging, boat-like chandelier structure. Lighting: Dark, cool teal shadows with warm lantern highlights. 00:20 - 00:24 | The Cloud Walkway Action: She vaults out of a dark window, landing on a stone bridge high in the clouds. She sprints past giant, surreal rabbit/clockwork guards and leaps toward a massive clock tower decorated with a pink bow. Camera: Tracking forward, floating above the clouds. 00:24 - 00:30 | The Fantasy Kingdom Action: She parkours up the edge of the clock tower's blue roof. Camera: Dramatic, rapid pull-back to a sweeping wide aerial shot. Environment: A magical kingdom at sunset with a winding river, pastel-colored Victorian buildings, hot air balloons, airships, and a central glowing castle.

Generate a 15–20 second, 9:16 vertical, strictly one-shot hyper-realistic cinematic video. A single continuous aerial follow shot throughout, no edits, transitions, jump cuts, teleportation, or lens resets. [Reference Image Roles] Image 1: Action and close-up composition reference when landing on a car roof. Image 2: Action reference for the character parkouring and leaping between moving car roofs. Image 3: Reference for the sunset sky, New York red brick neighborhood, web swinging, and final wide-angle atmosphere. Image 4: Reference for the first frame, character identity, face, hairstyle, clothing, and bedroom environment. [Character Consistency] Always the same young Asian woman from Image 4: same features, black medium-length straight hair with bangs, same off-white short-sleeved knit top, off-white high-waisted shorts, and white sneakers. No face-swapping, no outfit changes, no Spider-Man suit, no mask; body proportions remain natural and stable. [Continuous Shot & Action Timeline] 0–3s: The shot begins inside a cluttered, warm New York bedroom. The girl sits cross-legged on a wide windowsill like in Image 4, surrounded by bedding, books, photos, and daily items. Golden sunset light streams in. She looks calmly at the camera, makes brief eye contact, then naturally turns to look at the city outside. The camera slowly approaches her, then flows past her side out the window, maintaining continuity. 3–5s: She quickly uncrosses her legs, plants her feet firmly on the sill, and stands up with a clear center of gravity. She raises her right hand and shoots a thin but visible white spider web from her wrist toward the upper exterior. The web adheres to a fixed point on the opposite red brick building and tightens instantly. She pushes off the sill and leaps out. The camera follows her through the window without cutting. 5–8s: She swings down toward the street in an arc. Gravity, inertia, and speed changes are realistic: accelerating downward, then swinging forward as the web tightens; hair and clothes flutter in the wind. The camera follows from a side-rear angle, descending with a slight Dutch angle. She releases the web and lands on the roof of a slowly moving black car. Solid contact between soles and metal; the roof dips slightly; she absorbs the impact by bending her knees and swinging her arms—no floating. 8–12s: She immediately sprints across car roofs on the residential street. The camera follows low-altitude side-rear. She completes three clear parkour moves: running on the first car; pushing off the edge to leap a realistic distance to the second; landing with knee cushioning; then leaping to the third. Each step has clear takeoff, push-off, airtime, landing, and impact feedback. Cars move steadily; perspective is stable; no slipping or ragdoll physics. The camera tilts with a controlled Dutch angle. 12–15s: Near the end of the street, she leaps from the last car, shooting another web upward. The web adheres to a high point on a red brick apartment. The line starts slightly slack, then stretches and rebounds naturally under her weight. She swings in a pendulum arc from one building with black fire escapes to another. 15–20s: The camera seamlessly follows the second low-altitude swing, staying between the street and rooftops. The shot smoothly pulls back into an ultra-wide angle, revealing the full New York red brick townhouses, fire escapes, street traffic, and layered roofs. She swings toward the sunset, becoming small in the center of the massive city frame. Ends with a stable Dutch angle. [Physics & Cinematography] Realistic gravity, inertia, centrifugal force, landing impact, and parkour mechanics. Webs connect wrists to fixed anchors; length is stable; natural tension and rebound. No straight-line flying. Camera moves like a high-mobility FPV drone: continuous window passage, diving, street chasing, rising, and retreating. Smooth motion blur, no jitter. [Environment & Style] Low-rise NYC residential area, red brick townhouses, fire escapes, narrow streets, real traffic. Golden hour, warm orange/pink sky, dramatic clouds, volumetric light, rim lighting, glass reflections. Hyper-realistic cinematic texture, real skin/hair/fabric, wide dynamic range, cinematic grading, fine film grain, 8K look. [Strictly Avoid] Edits, transitions, jump cuts, time jumps, scene changes, teleportation; character changes, masks, or superhero suits; extra people; distorted limbs; ragdoll physics, floating, sliding; feet missing car roofs; webs appearing from palms or without anchors; skyscraper flying; cartoon/CG look, flickering.

A cookie split apart at center frame explodes into flying halves as thick chocolate filling stretches between them in a taut glossy strand, camera whip-zooming out on impact with crumb debris blasting past the lens [00:00–00:01]; cut to the two halves flying apart and shattering into smaller pieces that scatter and tumble through a deep purple gradient void streaked with warm motion-blur light trails [00:01–00:02]; cut to a whole cookie rocketing toward camera trailing molten chocolate that whips and chases behind it like a ribbon [00:02–00:03]; cut to two cookie halves colliding head-on at center frame, chocolate filling smashing and fusing between them in a thick glossy bridge, crumbs flung outward on impact [00:03–00:04]; cut to a torn cookie snapping apart again in extreme close-up, filling stretching into thin threads before snapping free in slow motion [00:04–00:05]; hard cut to a whole cookie held suspended and slowly rotating inside a warm-lit vortex, crumbs and light streaks spiraling around it [00:05–00:06]; cut to a thick rope of chocolate drizzling downward in slow motion toward a bed of chocolate crumbs, a single droplet falling beside it [00:06–00:07]; cut to the chocolate strand landing and splashing across the crumb surface, sending a crown-shaped chocolate splash upward with fine droplets suspended at peak [00:07–00:08]; cut to the packaging orbiting into frame beside a whole cookie and a cracked half, both circling slowly inside a swirling motion-blur ring on a dark surface [00:08–00:09]; cut to a push-in on the packaging tilted beside a cookie half revealing the glossy filling, warm rim light catching the foil edges [00:09–00:10]; cut to the packaging tumbling into frame with cookies and loose crumbs scattering around it in an arc, settling at a dynamic

POV motocross sequence on an erupting volcano. The entire scene is from the rider’s perspective, with helmet-camera realism, natural head movement, violent suspension shake, dust on the lens, heat haze, flying ash and intense engine sound. The rider never drives on lava. He stays strictly on rocky volcanic paths, ash-covered trails, loose black gravel and narrow ridges while avoiding lava flows and glowing cracks. 0-5s: POV accelerating downhill on a steep black volcanic trail. Gloved hands, handlebars and front fender visible. Lava flows are visible nearby on both sides at a distance, but the bike remains on solid rocky ground. Small rocks bounce across the trail, smoke rises in the background. 5-10s: The rider weaves through falling debris and sharp turns on a narrow ash-covered path. A fresh lava stream cuts across the route ahead, so he sharply turns onto a higher rocky side trail, avoiding the lava completely. 10-15s: The path narrows along a ridge. The rider jumps over a glowing crack in the ground, clearing it cleanly without touching the molten area below, lands hard on solid volcanic rock, and keeps control while larger stones tumble behind him. 15-20s: A dense wave of ash rolls down the slope. The rider threads between two collapsing boulders, descends a final rocky path, and bursts onto a safer lower ridge far from the lava. He briefly looks back toward the erupting crater while still riding away at speed. Photorealistic motocross physics, realistic suspension movement, coherent volcanic terrain, practical disaster realism, no third-person shots, no fantasy look, stable bike geometry, intense POV immersion.

Create a 30-second ultra-realistic multi-shot candid observational video of a young Korean woman relaxing naturally in her bedroom. Use multiple distinct shots and camera angles, not a single continuous take. The footage should feel like an accidentally captured real-life moment. STYLE: Handheld documentary realism, imperfect framing, subtle camera shake, gentle exposure breathing, autofocus settling slightly late, realistic skin texture, soft natural indoor light and shallow depth of field. Natural blinking, breathing, body movement and restrained authentic expressions. No posing, glossy commercial look or cinematic perfection. SUBJECT: A naturally beautiful young Korean woman in her early 20s with long dark hair. She wears a matching cotton pajama set: scoop-neck sleeveless top and loose shorts. Barefoot, minimal makeup, realistic skin texture. SETTING: A lived-in, slightly messy bedroom with an unmade bed, soft bedding and everyday personal belongings. She relaxes on her stomach across the bed while browsing a shopping page on a black smartphone. A house cat interacts naturally with her. SHOT 1 — 0–4s: She lies on her stomach, casually scrolling through a shopping page. She frowns slightly, then mutters in Korean: "아, 뭐 살랬더라..." ("Ah... what was I going to buy again?"). Natural Korean lip sync. Her bare feet gently sway behind her. A low handheld camera glides beside the mattress. SHOT 2 — 4–8s: A house cat jumps onto the bed, compressing the blanket and walking toward her arm. It gives one natural meow. The camera reacts with a tiny jolt, then reframes toward her face, hands and cat. SHOT 3 — 8–12s: She turns toward the cat and gently strokes it from forehead to shoulders. She affectionately says: "우리 애기 왔어?" ("Did my baby come?"). Accurate lip sync. The camera pushes closer through the cat's softly blurred foreground. SHOT 4 — 12–16s: Her friend's ringtone sounds. She looks down, checks the caller, swipes to answer and brings the phone to her ear. The camera makes a loose semicircular movement from a slightly tilted overhead angle. SHOT 5 — 16–21s: Her friend talks. She listens with a confused expression, then reacts: "어, 왜? 진짜 거짓말!" ("Huh? Why? No way, you're kidding."). She immediately bursts into genuine laughter. The cat kneads the blanket beside her. A close handheld side angle captures her profile and phone. SHOT 6 — 21–25s: A clear doorbell interrupts her laughter. She and the cat turn toward the bedroom door. She pauses, realizing her food has arrived, braces one hand on the mattress and begins getting up. The camera reacts slightly late before correcting back to her movement. SHOT 7 — 25–30s: Still holding the phone, she says in Korean: "어, 나 밥 왔다. 끊어." ("Oh, my food's here. I'll hang up."). She ends the call, gets off the bed and walks toward the door. The cat follows across the blankets. The camera tilts upward as she stands, ending with a natural handheld follow toward the doorway. AUDIO: No music. Raw realistic production sound: quiet breathing, bedding rustling, finger taps, cat movement, meow, faint purring, ringtone, call connection tone, muffled friend voice, accurate Korean dialogue and lip sync, genuine laughter, doorbell and call-ending tap. IMPORTANT: No subtitles, captions, logos, watermark or on-screen text. No duplicated subjects, slow motion, exaggerated acting or perfect stabilization. Keep movements spontaneous and observational. Maintain the same woman, outfit, hairstyle, bedroom and cat throughout. DURATION: 30 SECONDS ASPECT RATIO: 16:9 TOTAL SHOTS: 7

30s | 16:9 | 9 cuts Style: Authentic 16mm DV camcorder, handheld POV by CHASE. Real documentary/home-video realism: natural shake, imperfect framing, autofocus hunting, subtle tape grain, soft highlights, mild exposure flicker, muted colors and realistic motion blur. Natural lighting and location sound. Normal human pacing — not slow, not rushed. Physically believable actions and equipment. No flashy transitions or impossible camera movements. Character: CHASE, Korean woman in her 20s, long black hair, glass skin, natural makeup. Same face, hair and body throughout. Outfit: morning loungewear → modest director outfit with simple jacket and trousers → evening loungewear. Locations: Apartment → small film set → outdoor location → apartment. VOICEOVER: Natural conversational female voice, medium speed, relaxed pauses. Never rushed or unnaturally slow. Match each line to the action. 1. MORNING — 0:00–0:03 CHASE wakes up, checks the time, gets dressed, ties her hair, grabs her phone and production notebook, then leaves. VO: "Filming days usually start a little earlier than I want." 2. BREAKFAST — 0:03–0:06 In the kitchen, she grabs coffee and a quick breakfast while checking her shot list on her phone. She picks up her notebook and leaves. VO: "I check the plan, grab some coffee, and get moving." 3. ARRIVE ON SET — 0:06–0:09 CHASE arrives at a realistic small film set. A camera operator sets up a camera and tripod while another crew member adjusts a light. She checks the setup and talks briefly with the crew. VO: "Once I get to set, everything starts moving pretty fast." 4. FINAL SETUP — 0:09–0:12 CHASE checks the camera monitor, looks at the scene, adjusts a small prop and discusses framing with the camera operator. Crew makes practical adjustments. VO: "We make a few last-minute changes before rolling." 5. ACTION — 0:12–0:16 CHASE stands behind the camera and says, "Action." The actor performs the scene while the camera operator films. No voiceover. Natural set ambience only. 6. REVIEW — 0:16–0:19 The take ends. CHASE watches it on the camera monitor with the operator, points out one small issue and asks for another take. VO: "Sometimes the shot looks right... until you see it back." 7. SECOND TAKE — 0:19–0:23 The crew resets and films the scene again. CHASE watches the monitor and gives a subtle satisfied nod afterward. VO: "One more take usually makes the difference." 8. WRAP — 0:23–0:27 Evening. CHASE leaves the location carrying her notebook and phone while the crew packs cameras, tripods and lights into cases behind her. VO: "And then suddenly, the whole day is gone." 9. NIGHT — 0:27–0:30 Back home, CHASE watches a short clip from the day's footage on her laptop. She leans back tired but satisfied, closes the laptop and turns off the desk lamp. VO: "Long day... but we got the shot." CONTINUITY: One logical day: apartment → set → filming → wrap → home. Same woman and consistent clothing, props and equipment. Realistic film set with believable camera, tripod, lights and monitor. Natural human movement and expressions. No teleportation, floating equipment, duplicated people, distorted hands, random props, futuristic technology or unrealistic Hollywood production.

Ultra-cinematic daylight martial-arts fantasy sequence. An original Shaolin monk with a shaved head, athletic build and weathered saffron robes stands inside a vast ruined mountain temple courtyard. Four towering original creatures with stone armor, elongated limbs and glowing eyes surround him. 0–4s: extreme close-up on the monk’s closed eyes. Dust floats in sunlight. His eyes open sharply; blue-white electricity crawls across his skin. Slow dolly-out reveals the creatures charging from every direction. 4–9s: time slows dramatically. Macro close-ups of a creature’s claw passing millimeters from his cheek, robe fabric bending through the air, individual dust particles frozen around them. The camera performs a fast 180-degree orbit while the monk arches backward in an impossible but anatomically controlled dodge. 9–14s: sudden return to full speed. Aggressive handheld tracking as the monk delivers rapid palm contacts, elbows and spinning kicks. Each impact cuts to an epic close-up: clenched fist, foot twisting against stone, creature’s face recoiling, electrical arcs bursting outward. 14–20s: ultra-slow-motion side profile. The monk jumps between two creatures while the camera circles 360 degrees around his suspended body. He redirects one creature into the other, rotates horizontally, then lands on one hand as a circular pressure wave scatters dust and debris. 20–26s: low-angle close pursuit. A colossal creature charges. The monk sprints directly toward it, runs vertically up its torso, flips above its head. Extreme close-up on his palms gathering blue-white energy, followed by a powerful downward contact that bends the air and cracks the courtyard in concentric rings. 26–30s: silent slow-motion climax. Close-up on the monk’s face as lightning reflects in his eyes. He lands in a deep stance; the camera rapidly pulls back to an extreme-wide hero shot as all four creatures coming around him. Photorealistic martial-arts blockbuster, anamorphic cinematography, high-contrast sunlight, dramatic speed ramps, epic close-ups, readable choreography, realistic momentum, stable anatomy, normal proportions without stretch, heavy physical impact sounds, stone cracks, cloth snaps, electrical thunder.

Ultra-realistic amateur forest creature sighting footage. Cheap handheld camera effect, low-quality visuals, unstable zoom, autofocus failure, heavy digital noise, compression artifacts, shaky framing, heavy breathing captured by the microphone, accidental overexposure between trees, raw mockumentary style. No polished cinematic quality. Only one invisible cameraman, a terrified hiker breathing heavily behind the lens. A massive Bigfoot-style woodland creature: tall and burly, covered in dark hair, human-like posture, heavy natural movements, never cartoonish. Dense forest daytime scene, uneven ground, wet fallen leaves, tree trunks, misty depth, broken branches, natural deep shadows. Authentic low-end camera texture, believable forest sound effects, realistic creature anatomy, limited but clear exposure, unstable autofocus, strong viral effect, natural motion, horror realism, no comedy, no digital polish. 0-5s: Shaky handheld POV - camera moves through the forest, loud breathing, branches hitting the lens. The cameraman whispers in French: "Attends… attends… c'est quoi ça là-bas?" The image struggles to focus between trees. 5-10s: Chaotic zoom - through the trees, a massive hairy creature looms in the distance, half-hidden behind a trunk. The cameraman mutters: "Non… non… c'est pas possible…" The creature slowly steps into a small patch of light. 10-15s: Unstable advance and panicked reframing - the Bigfoot creature turns toward the camera. Only one second of clear footage: massive shoulders, long arms, wet dark fur, heavy breathing. The cameraman gasps: "Oh mon Dieu…" 15-20s: Violent shaking, partial frame loss - the creature suddenly lets out a deep roar and takes two quick steps toward the camera. The cameraman panics, stumbles backward, and the camera falls toward the ground. The final frame captures the creature rushing through the woods before cutting to black.

Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, makeup, skin tone, body proportions, white sleeveless fitted top, light blue wide-leg jeans, pearl choker, rings, and bracelets consistently throughout the video. Use the uploaded luxury watch and its packaging as locked product references. Maintain perfect product consistency, including the watch face, hands, dial details, case shape, crown, bracelet, materials, colors, proportions, and reflections. Create an ultra-realistic UGC luxury watch review filmed inside a modern luxury bedroom with warm golden-hour sunlight, soft natural shadows, and a premium lifestyle aesthetic. The camera feels like a handheld smartphone with subtle natural movement while maintaining cinematic commercial quality. The video begins with the woman sitting on the bed beside the watch box. She smiles at the camera and says, "I honestly didn't expect to love this watch this much." She picks up the box, opens it naturally, and reveals the watch. She gently lifts it from the packaging and brings it closer to the camera, saying, "The packaging already feels so premium." She rotates the watch between her fingers, showing the dial, bracelet, crown, and polished details as warm sunlight creates realistic reflections across the metal. She says, "Look at those details... it feels incredibly well made." She puts the watch on her wrist and adjusts the bracelet naturally. Cut to a close-up of her wrist as she moves it through the sunlight, showcasing the watch from different angles. She walks toward a full-length mirror, checks the watch with a confident smile, adjusts her sleeve, and poses naturally while looking at her reflection. She returns to the bed, picks up the watch box, then holds her wrist beside her face for a final lifestyle shot. Looking directly into the camera, she smiles and says, "Definitely one of my favorite accessories." Finish with a cinematic macro push-in on the watch as it rests on the luxury packaging, with warm reflections across the dial and bracelet. Ultra-realistic UGC fashion content, authentic creator review, cinematic handheld smartphone movement, luxury bedroom, macro watch cinematography, realistic metal reflections, detailed dial textures, expressive facial animation, perfect lip sync, shallow depth of field, premium color grading, 4K HDR, 16:9, no subtitles, no watermarks, no on-screen text, no unnecessary logos.

Create a 30 second vertical 9:16 photorealistic lifestyle vlog, filmed entirely as if a young woman is recording her own afternoon using an iPhone Ultra. The video must feel like a genuine social media vlog, not a commercial or traditional cinematic film. CHARACTER CONTINUITY One stylish young woman in her early 20s. Natural expressive face, warm personality, subtle makeup, realistic skin texture, slightly wavy dark-brown hair worn loose. She wears the same outfit throughout the entire video: oversized cream linen shirt over a fitted white top, relaxed blue jeans, small gold hoop earrings, thin necklace, simple shoulder bag. Maintain exactly the same face, hairstyle, outfit, accessories, body proportions and voice throughout every shot. She is confident but casual, speaking naturally to her phone like she is talking directly to her followers. VISUAL STYLE Authentic premium iPhone vlog photography. Natural HDR smartphone exposure, realistic skin tones, subtle computational photography, crisp foreground detail, realistic highlight roll-off, natural depth of field. Slight handheld micro-shake, tiny framing imperfections, natural autofocus shifts and exposure adaptation. Do NOT make the footage look like it was filmed on a cinema camera or stabilized gimbal. Natural late-afternoon golden-hour color palette throughout. Fast but smooth social-media editing. Every cut should happen naturally on a movement, gesture, camera turn or change of location. SHOT 1 — 0:00–0:04 BEDROOM — MIRROR VLOG She stands in front of a full-length bedroom mirror holding the iPhone Ultra in one hand. Medium mirror selfie framing. She quickly fixes one strand of hair, grabs her shoulder bag and smiles at herself through the phone. Slight handheld movement. Warm sunlight enters through the bedroom window. She speaks directly while moving toward the door: GIRL: "Okay, I have thirty minutes to rescue this boring afternoon." Natural playful delivery. CUT as she swings the phone away from the mirror. SHOT 2 — 0:04–0:09 ELEVATOR / HALLWAY — WALKING SELFIE Front-camera handheld selfie. She walks toward the elevator while holding the phone slightly below eye level. The frame gently bounces with her footsteps. Elevator doors open behind her. She looks into the lens and says: GIRL: "First mission: coffee. Because apparently water isn't enough for my personality." She gives a tiny amused smile after saying "personality." Real hallway ambience, footsteps and elevator ding. CUT as she steps inside the elevator. SHOT 3 — 0:09–0:14 CITY STREET — GOLDEN HOUR Jump cut to outdoors. She walks along a stylish city sidewalk. Front-facing wide smartphone camera. Pedestrians and traffic move naturally behind her. Warm golden sunlight hits the side of her face. She briefly turns the phone toward the glowing street, then immediately brings it back toward herself. While walking she says: GIRL: "Look at this light. Why does everything suddenly look expensive at golden hour?" She laughs softly at her own comment. Natural traffic, footsteps and distant city ambience. CUT during the camera turn. SHOT 4 — 0:14–0:19 COFFEE SHOP — ORDER ARRIVES Close handheld rear-camera shot of a beautiful oversized iced coffee being placed on the counter. Camera quickly tilts from the drink back toward her face. She raises her eyebrows when she sees how large the cup is. She says: GIRL: "I said small. They heard emotional-support size." She laughs naturally and takes the cup. Realistic coffee-shop ambience: espresso machine hiss, cups touching, quiet conversations. CUT while she lifts the drink toward the camera. SHOT 5 — 0:19–0:25 CAFÉ WINDOW — PERSONAL MOMENT She sits beside a large café window. The iPhone is now positioned naturally against something on the table, creating a casual static vlog frame. Medium close-up. Warm sunlight falls across her face. She takes a sip, looks outside for half a second, then looks directly back toward the phone. Her energy becomes slightly softer and more sincere. She says: GIRL: "You know what? This might actually be the best part of my day." Small genuine smile. She reaches forward and picks up the phone. CUT naturally as her hand covers part of the lens. SHOT 6 — 0:25–0:30 OUTSIDE CAFÉ — WALKING ENDING Immediate handheld selfie shot outside the café. She walks down the sidewalk holding her coffee. Golden-hour city background. Natural movement and slight lens flare. She looks directly into the camera while walking and says: GIRL: "Tiny plan, good coffee, better mood. I'll take it. See you tomorrow." She smiles, moves the phone slightly closer to her face and casually covers the lens with her hand. END. AUDIO DIRECTION Generate native synchronized dialogue audio. Same female voice throughout all six shots. Voice should sound close to an actual iPhone microphone: clean but not studio-recorded. Perfect natural lip synchronization. Conversational English delivery with small pauses, breaths, tiny laughs and realistic vocal imperfections. Dialogue must never sound like narration or advertising. Every spoken line comes directly from the woman visible in that shot. Maintain realistic spatial ambience for each location: bedroom room tone, footsteps and elevator ding, city traffic, coffee-shop ambience, cups and espresso-machine sounds. No voice-over. No narrator. No background music. Dialogue and environmental sound only. IMPORTANT CONTINUITY RULES Maintain one identical woman throughout the entire 30 seconds. No facial changes between cuts. No hairstyle changes. No outfit changes. No unexplained objects appearing or disappearing. Keep the same late-afternoon time of day and warm visual palette. Preserve spatially realistic body motion and hand anatomy. Keep smartphone-style framing throughout. Use genuine vlog editing rather than cinematic montage editing. All six scenes belong to one continuous afternoon. DO NOT GENERATE No subtitles. No captions. No floating text. No logos or watermarks. No beauty-filter skin. No exaggerated cinematic bokeh. No impossible camera movement. No drone shots. No third-person cinematic shots. No random music. No additional speakers. No duplicated character. No dialogue assigned to the wrong shot. No dialogue continuing across a cut unless naturally motivated. Final result should feel like a real 30-second iPhone Ultra vlog casually filmed and edited by the woman herself, with believable dialogue, imperfect handheld framing, natural reactions, strong character continuity and seamless multi-shot storytelling.

Create a 30-second ultra-photorealistic early-1980s French countryside documentary, shot on vintage Kodak 16mm. It must look like genuinely forgotten archival footage discovered decades later—not modern footage with a vintage filter. STYLE: Faded warm Kodak colors, organic 16mm grain, subtle light leaks, soft highlight bloom, slight gate weave, exposure fluctuations, natural motion blur, imperfect focus, realistic skin texture and period-authentic optical imperfections. Warm golden afternoon sunlight. No digital sharpness, AI smoothness, glossy cinematic grading or commercial polish. CAMERA: Shoulder-mounted handheld 16mm documentary camera operated by a real human. Subtle shake, imperfect framing, focus hunting, natural camera lag, occasional reframing and slight exposure breathing. Observational and spontaneous. Nobody acknowledges the camera. 0–5s: A slim, naturally beautiful blonde European woman in her early 20s walks through a quiet cobblestone street in a small French village. She wears a simple beige linen midi dress and brown leather sandals, carrying a woven basket filled with flowers and bread. Her hair is loosely tied with flyaway strands. No makeup, no posing. She trails her fingers along old stone walls while glancing at flower-filled windows. Close handheld tracking shot. 5–10s: The camera falls slightly behind as she enters a cozy village square. A baker carries fresh baguettes, an elderly couple chats on a bench, colorful bicycles lean against ivy-covered buildings, and a small golden retriever crosses the camera path. The camera instinctively shifts to avoid the dog, creating an authentic human reaction. She continues walking naturally. 10–15s: Outside a tiny flower shop, a little girl accidentally drops a bouquet of wildflowers. The woman gently kneels, gathers the flowers and returns them with a soft spontaneous smile. The child smiles shyly and runs toward her mother. Completely unstaged; nobody looks at the camera. 15–20s: She continues through rustic stone streets with wooden shutters, laundry, flower boxes and small market stalls. A breeze moves her dress and hair. She pauses briefly at a bakery window, looking at fresh bread. The handheld camera drifts and corrects naturally. 20–25s: She leaves the village and walks toward a quiet overlook. The camera follows from behind as the scene opens into rolling green vineyards and distant hills beneath golden afternoon light. Birds cross the sky. 25–30s: At an old iron railing, she rests both hands and watches birds over the valley. Wind moves loose hair across her face; she tucks it behind her ear and smiles subtly. She walks away. The camera pauses, lets her become smaller in frame, then gently follows. CONTINUITY: Same woman, blonde hair, beige linen dress, basket and natural appearance throughout. Authentic early-1980s environment with no modern objects, clothing, cars or architecture. FINAL LOOK: True archival 16mm documentary realism, Kodak film grain, faded colors, realistic skin pores, organic exposure, subtle flicker, light leaks, gate weave, imperfect focus and authentic handheld motion. No AI beauty smoothing, plastic skin, excessive depth of field, slow motion or modern cinematic polish. ASPECT RATIO: 16:9

Prompt: [00:00~00:05S] Seamless parkour action shot. Female warrior runs horizontally across a high dark brick wall in ancient Chang'an. She forcefully kicks off the wall surface, transitioning into a graceful high mid-air backflip above the rooftop. Camera tilts up smoothly, floating red lanterns in the background blur with motion, fluttering silk clothes, wire-fu kung fu aesthetics. [00:06~00:10S] Explosive power transition. Female warrior gathers glowing golden energy while in a low crouching stance. She suddenly thrusts her sword forward, releasing a powerful golden energy blast that violently blows back the black-masked assassin, smashing him through wooden pagoda railings. Flying wooden debris, smoke, camera shake, cinematic impact. [00:11~00:15S] Cinematic closing shot. Female warrior slowly sheathes her glowing blade into the scabbard until it clicks shut. Golden sunset breeze gently blows her long ponytail and white dress. The camera smoothly zooms out into a grand panoramic wide shot, revealing the majestic ancient Chang'an city skyline under glowing orange sunset sky, high atmospheric depth.

Create an exactly 12 second photorealistic nighttime social video in 16:9. The scene takes place in an outdoor parking lot beside the rear corner of a glossy vivid hot pink customized sports car. A stylish young woman with long straight black hair, dramatic eyelashes, natural warm skin texture, a loose light beige graphic shirt and long decorated manicure stands beside the rear taillight. Use one continuous energetic handheld camera take with an extremely wide perspective similar to a small action camera held very close to the subject. Preserve genuine human camera imperfections, tiny shakes, imperfect reframing, natural motion blur, focus breathing, realistic lens distortion and slight exposure changes. From 0 to 3 seconds begin with a close three quarter view of the woman beside the pink rear body panel. She smiles, turns toward the lens and points at her lower lip and shiny decorative dental jewelry. The camera impulsively moves closer until her face becomes an extreme wide angle close up. Her finger gently points toward the dental detail while she smiles. Maintain anatomically correct hands, teeth, lips, eyelashes and facial proportions even under strong lens distortion. From 3 to 8 seconds pull away from her face and naturally tilt down toward the custom taillight. Reveal a dark smoked taillight housing containing bright violet and pink LED artwork, a cute original cartoon inspired emblem surrounded by tiny decorative sparkles followed by several glowing heart shapes of progressively smaller size. Do not use copyrighted logos or readable text. The LED pattern must remain perfectly consistent in every frame. Her manicured hand enters naturally and glides over the pink painted panel beneath the light. Show authentic reflections from her fingers, the LEDs and nearby lights moving across glossy automotive paint. Keep tiny fingerprints, subtle surface texture and realistic panel seams. From 8 to 12 seconds swing the handheld camera back toward the woman. Her long hair briefly crosses the lens during the movement. She turns toward camera, casually brushes her hair away from her face and gives a confident relaxed expression while standing beside the glowing taillight. Finish on a slightly wider composition showing her, the pink rear corner of the car and several softly out of focus people standing farther back in the parking lot. Lighting is primarily a strong compact camera light positioned near the lens, producing bright frontal illumination, slightly hot highlights on skin and paint, deep nighttime shadows and authentic falloff. Add violet light spill from the taillight. Distant white parking lot lamps create natural star shaped lens flares against a nearly black sky. Background trees and parked vehicles remain dim and indistinct. Avoid cinematic studio lighting. The footage should feel like a genuine spontaneous car meet video captured by a real person. Use realistic 30 frame per second motion, natural skin pores, individual hair strands, physically accurate reflections, consistent clothing, consistent jewelry, correct finger count, stable car geometry and believable interaction between hands and surfaces. No morphing, floating objects, plastic skin, face changes, temporal flicker, impossible reflections or artificial smoothing. Music should be a stylish modern bass driven nightlife instrumental with a playful feminine attitude, deep clean sub bass, crisp percussion, subtle electronic sparkle and a memorable beat. Begin understated during the facial close up, let the beat become stronger when the illuminated taillight is revealed, then finish with a clean confident musical accent during the final wider shot. Blend faint authentic parking lot ambience underneath the music.

A cinematic 30-second ultra-realistic eurpeon lifestyle influencer vlog following a young creator from leaving her apartment to enjoying a relaxing morning at a cozy specialty café. She walks through a charming neighborhood, orders an iced vanilla latte and a fresh butter croissant, captures the coffee-making process, shares an honest first-taste review, and ends the vlog strolling back through the lively streets. Documentary-style storytelling, natural smartphone camera movement, cinematic B-roll, fluent English lip-sync, realistic food textures, authentic café atmosphere, warm morning light, premium color grading, seamless scene continuity, Seedance 2.5-quality realism, no text, no logos.

Ultra-realistic cinematic vertical video, 10 seconds. A beautiful young Korean woman spending a peaceful late-night skincare routine in her cozy bedroom. She is wearing the same oversized cream-white T-shirt throughout the entire video. Warm bedside lamp light mixes naturally with soft cool moonlight coming through the window. The room has a cozy Korean bedroom aesthetic with a full-length mirror, soft bedding, subtle fairy lights, and a small bedside table. The entire video is filmed as authentic handheld smartphone selfies, like a personal nighttime vlog. Natural movements, realistic facial expressions, subtle breathing, natural blinking, lifelike hair movement, realistic skin texture, no overly posed movements. Shot 1 (0–2s): Front handheld selfie in front of the full-length mirror. She gently moves her hair behind her shoulders, looks at herself briefly, then turns her eyes toward the phone camera and gives a soft natural smile. The phone has subtle realistic handheld movement. Shot 2 (2–4s): Slightly high-angle selfie while she sits comfortably on the edge of the bed. She picks up a small skincare cream, applies a little to her face naturally with her fingertips, then gives a playful subtle expression toward the camera. Shot 3 (4–6s): Mirror selfie. She stands close to the mirror and gently fixes a few loose strands of hair while looking at her reflection. After a moment, she looks directly at the phone screen and smiles naturally. Shot 4 (6–8s): Side-profile handheld selfie near the bedside table. She reaches for a clear water bottle, takes a small natural sip, lowers it, and looks toward the camera with a soft relaxed smile. Her hair moves naturally as she turns. Shot 5 (8–10s): Front close-up selfie. She comfortably lies back against the pillows under a soft blanket, looks directly into the camera, makes a tiny finger-heart gesture close to the lens, then finishes with a warm genuine smile as the camera gently moves backward. Style: Ultra-photorealistic Korean beauty, authentic smartphone camera quality, natural handheld selfie movement, realistic skin pores and texture, natural blinking and breathing, lifelike hair simulation, realistic hand and finger movements, soft warm bedside lighting mixed with cool moonlight, subtle bedroom shadows, cinematic shallow depth of field, natural lens behavior, premium film color grading, intimate cozy nighttime atmosphere, 24fps, 8K, vertical 9:16. No text, no subtitles, no logos, no unnatural body movements, no excessive beauty filter.

FIFTEEN SHOTS IN A ROW AND NOT ONE OF THEM IS A PLAIN CUT An alarm goes off, a woman rushes through her whole morning, and the day ends where it started, collapsing back onto the same bed. What makes it hold together isn’t the shots. It’s that every single transition is named. Most people write a sequence as a list of things that happen. This one specifies how each shot connects to the last: cut on action, match cut, whip pan, smash cut, sound bridge, object pass. That’s the difference between fifteen clips and one continuous morning. Here’s the prompt. Every shot carries a lens, a camera move, a transition type, and its own SFX: SHOT 1: ECU, 85mm push-in / on the phone screen as it shakes on rumpled sheets / SFX: alarm, sheet rustle. SHOT 2: WS, 35mm handheld jolt / Rhythmic cut into her jolting upright through side light, throwing the blanket aside, planting her feet in one rushed motion / SFX: mattress bounce, blanket whip, sharp breath. SHOT 3: MCU, 50mm slide / Cut on action into face wash at the sink, droplets catching the top light / SFX: faucet rush, water slap. SHOT 4: Insert, 85mm lens focus / Match cut into the toothbrush, mint foam and mirror eye / SFX: bristle scrape, sink drip. SHOT 5: Interior fridge view, 24mm wide / Object pass into the camera inside the fridge looking out as the door snaps open, blue light framing a hurried grab / SFX: fridge hum, bottle clink, shelf scrape. SHOT 6: Insert, 50mm handheld / Rhythmic cut into egg and toast hitting the pan under warm practical light / SFX: butter sizzle, chop tap. SHOT 7: MCU, centered 50mm push-in / Match cut into one rushed bite, a clock glance, an immediate rise / SFX: crunch, ceramic clink, chair scrape. SHOT 8: Bird’s-eye, 35mm overhead / Match cut on action as the sleep tee disappears under a fitted top and jacket; keys, transit card, and bag scooped in one grab / SFX: fabric whip, key jingle, zipper pull. SHOT 9: MS, 35mm pan / Camera slips into the rushed outfit change / SFX: fabric whip, key jingle, bag rustle. SHOT 10: Insert, 50mm overhead / Match cut into lace-up shoes slamming on, laces yanked tight in one impatient pull / SFX: sole thump, lace tug, short breath. SHOT 11: WS, 24mm parallel / Whip pan transition into her rushing through the corridor into bright light without breaking stride / SFX: latch click, rapid footsteps, hallway air. SHOT 12: MS to CU, 35mm glide into 85mm push-in / Sound bridge into the metro as she grips the pole and slips through the closing doors, chrome streaking, city blurring / SFX: train rattle, door chime, light breath. SHOT 13: Insert to MCU, 50mm snap zoom / Smash cut to the office entrance, access card on the reader, glass door unlocking, dropping into her chair / SFX: badge beep, door click, laptop chime. SHOT 14: OTS, 35mm handheld / Rhythmic cut into fingers racing across the keyboard, blue monitor light on her face / SFX: keyboard clicks, notifications, mouse click. SHOT 15: WS, 24mm pull-out / Match cut back to the bedroom composition from the opening shot as she collapses onto the bed / SFX: body drop, fabric rustle, heavy exhale. A few things worth noticing about why it’s built this way: Every shot names its transition in. Not “then this happens” but cut on action, match cut, object pass, sound bridge. The connection is specified, so the sequence has rhythm instead of just order. Shot 15 deliberately matches Shot 2’s composition. Same bedroom, same framing, opposite energy. That bookend is what turns a montage into a day. The SFX line is separate on every shot and never repeats. Bristle scrape, shelf scrape, lace tug. Audio detail at that resolution is what makes fifteen fast cuts feel like one continuous space. And the lens changes carry meaning, not variety. 85mm for the intimate inserts, 24mm for the wides, a snap zoom for the smash cut. Focal length is doing narrative work.

Generate a [Total Duration] second, [Aspect Ratio] [Location/Theme] travel Vlog, with a total of [Number of Shots] shots, featuring the same [Character] throughout. Character Locking: [Face, Hairstyle, Body Type, Skin Tone, Makeup] consistent throughout. Fixed Styling: [Clothing, Shoes, Bags, Accessories]. Conditional Props: [Props] only appear in [Specified Scenes]. Unified Texture: [Lighting, Color, Phone/Camera Texture, Realism]. Editing Rhythm: Fast cuts, each shot completes one main action and one natural reaction. [Shot 01 | Start Time – End Time | Shot Purpose] Scene: [Location and Necessary Environment] Action: [One Main Action → One Natural Reaction] Camera: [Shot Size, Camera Position, Single Camera Movement] End State: [Character Position, Orientation, Props in Hand, and Emotion] [Continue subsequent shots in the same format] Sound: [Ambient Sound, Action Sound, and Music for each scene] Prohibited: [Face-swapping, outfit changes, extra characters, props disappearing without reason, excessive skin smoothing, studio feel, CGI feel] Final Frame: [Character action, expression, props, and background of the last frame]

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.

【Style】Eastern Fantasy Wuxia Epic, Hollywood Live-Action Blockbuster, IMAX quality, 8K Ultra HD, Photorealistic, High Frame Rate, DaVinci Resolve color grading, Unreal Engine 5 level realistic VFX rendering, no anime feel, no cartoon lines. 【Duration】30 seconds 【Aspect Ratio】16:9 Widescreen Cinematic 【Core Visual Contrast】Dragon Slaying Saber = Golden physical dragon (scales, volume, weight, warm gold, roaring charge); Heaven Sword = Cyan-blue water dragon (composed of high-pressure water flow, transparent, surging, splashing, cold blue, winding movement). Warm Gold vs. Cold Blue, Solid Scales vs. Liquid Water. 【Scene】Open cliff platform at the peak of a snow mountain: black bare rocks covered by thick snow, broken stone steps and fallen wooden stakes half-buried in snow, blizzard sweeping across, sea of clouds surging below the cliff, pale sky light. 【Characters】(Only 2 people) Female Knight: Around 30 years old, cold and sharp noble swordsman temperament—long hair tied high in a ponytail flying in the blizzard, cold face, tight jawline, plain white martial arts attire covered with a dark blue cloak, tall and light figure, sword strikes are fast, accurate, and ruthless. The long sword in hand is thin and straight, glowing with cold cyan-blue light. Male Hero: Around 40 years old, wild and violent bandit temperament—messy beard with ice crystals, half-loose hair, damaged and scorched black leather armor, broad shoulders and back, bulging muscles, fierce and untamed eyes, wide and heavy movements. The heavy saber in hand is thick and heavy, dark blade with faint golden patterns. [00:00-00:04] Shot 1: Opening Climax · Rapid Combat (Shaky Handheld / Rapid Cuts) Camera: Close-up handheld shaky tracking, the camera vibrates violently with each weapon clash. Action: Fast editing, non-stop moves. The female knight stabs at the throat, the sword tip so fast it's a blur; the male hero blocks with his heavy saber, friction sparks a long string of orange-red fire. She instantly withdraws, rotates her wrist and stabs seven times, all hitting the same spot on the saber; he roars and swings the saber, she slides under the blade, counter-slashing his calf; he steps back, slams the saber down, the blade smashing into the snow and exploding a deep pit; she leaps off the saber's back, stabbing in mid-air; he leans back and holds the saber up, both are blown back by the impact. VFX: Sparks and cold blue qi blade fragments explode at the collision point, snow is sliced into two fan-shaped walls. [00:04-00:08] Shot 2: Cliffside Struggle (Rapid Cuts / Impact FX) Camera: Low-angle tracking around the bodies, following them to the edge of the cliff, the camera peeks over the edge into the surging clouds. Action: The female knight's sword is light and agile, blocking with ten-plus stabs and slashes, pushing the male hero to the edge; he doesn't dodge, relying on the saber's weight to smash down, one missed strike hits the cliff wall, collapsing large rocks into the clouds. He swings back, she blocks and is nearly thrown off the cliff, hanging only by her sword tip in a rock crack, then swings back and kicks him in the chest, both rolling and fighting in the snow, weapons never leaving their hands. VFX: Saber impact creates circular snow waves; sword edge leaves fine water mist. [00:08-00:11] Shot 3: Slow-mo Pass · Instant Counter (Super Slow-mo → Speed Recovery) Camera: Side-view horizontal tracking, speed drops to extreme slow motion as they pass each other, then snaps back to normal. Action: Slow-mo—both rush at each other, shoulders brushing. Her sword grazes his ear, cutting a few frozen beard hairs that float in the air; his saber grazes her cloak, tearing the blue fabric, her ponytail lifted by the wind. Their pupils contract, eyes meeting for one frame. Speed snaps back—both stop and turn, he moves first, slamming his shoulder into her chest, she flies back into the snow, landing and stabilizing with her sword, looking up with colder eyes. VFX: The blizzard between them is compressed into a straight vortex channel during the pass. [00:11-00:14] Shot 4: Pulling Distance (Rapid Pullback) Camera: Extreme rapid pullback to ultra-wide angle, from close-up to full view of the cliff and clouds. Action: Another heavy clash, shockwave explodes, both slide back dozens of meters, plowing deep trenches in the thick snow. They stand at opposite ends of the platform. [00:14-00:18] Shot 5: Charging · Dual Close-up Cuts (Rapid Cuts / Macro) Macro A: Male hero raises saber overhead, veins bulging, golden patterns light up from hilt to tip, air distorts from heat, faint dragon roar, snow cracks underfoot. [Dialogue] Male hero roars: "Dragon Slaying!" (Mandarin, clear lip-sync, heavy voice) Macro B: Female knight holds sword vertically, cold blue light rises, blizzard melts into water drops around the blade, water vapor gathers, eyes fixed forward. [Dialogue] Female knight coldly shouts: "Heavenly Cleansing!" (Mandarin, clear lip-sync) [00:18-00:24] Shot 6: Gold Dragon vs. Water Dragon · Ultimate Clash (Epic Wide Shot) Camera: Epic ultra-wide panorama, side view, characters at far left and right. All VFX happen in the middle. Camera stays distant. Action (Simultaneous): Male hero slashes—with a heaven-shaking roar, a bright golden physical dragon roars out from the blade, scales and whiskers detailed, body burning with gold flames, sweeping from left to right, plowing the snow. Female knight swings—a massive cyan-blue water dragon shoots from the sword tip, body made of high-pressure surging water, transparent with internal vortices, splashing water, winding from right to left. VFX Collision: The dragons crash in the center, gold fire and blue water kill each other, steam creates a white wall, a 100-meter shock ring sweeps the mountain, clearing the clouds below. [00:24-00:26] Shot 7: Dragon Head Combat (Orbit Shot / Macro FX) Camera: Orbiting close-up around the collision core. Visual: Gold dragon's mouth bites the water dragon, steam rising; water dragon wraps around the gold dragon's neck, high-pressure water stripping gold scales. Neither retreats. [00:26-00:28] Shot 8: Mutual Defeat (Impact Shot / Super Slow-mo) Camera: Side medium shot, camera shakes from shockwave. Visual: The core explodes, gold dragon turns to light points, water dragon turns to a downpour. Super slow-mo: both are pushed back into the air by the shockwave, cloaks fluttering, weapons still held tight. Freeze before they hit the ground. [00:28-00:30] Shot 9: Final Still (Hard Cut / Freeze Frame) Camera: Hard cut to a still shot, extremely slow zoom in, no cuts. Visual: Female knight kneels in snow, sword propping her up, white clothes torn and wet, hair messy, looking forward; male hero stands tall, saber buried in rock, breathing steam, eyes fierce. The snow between them is gone, revealing scorched rock. Gold light and water drops fall slowly. 【Audio Design】High-frequency metal friction, heavy saber wind, crisp weapon impact, low-frequency dragon roar, rushing water sound, hissing steam, infrasound shockwave, ending with sudden silence except for blizzard and dripping water. 【Prohibitions】16:9 aspect ratio. No anime feel, no manga effect lines, no cartoon lightning, no glowing eyes, no blade reflections, no text subtitles, no slow-mo throughout (only shots 3 and 8), no full fall-to-ground process, no detailed finger grip movements, dragons must be much larger than humans, camera stays distant for the clash, VFX should not obscure characters, dialogue only in shot 5.

[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.

30s One-Shot · Bamboo Forest Mechanical Temple Adventure [Reference Roles Locked] Character R1@6d127e1b-e58e-4a0b-8054-ab04cf09dd27: Follow the adult female character from the previous round, strictly maintaining the same face, deep brown long curly hair, red lipstick, bronze disc earrings, and mature temperament. Clothing R2@be683d06-0c2b-4fe0-b7ac-708c4b3b28d9: Add purple pointed high heels. This round @96b54c2a-268d-4f86-90e8-4733e5487589 serves only as scene reference: lock bamboo forest, shallow pool, traditional wooden temple, mossy stones, huge yellow industrial machinery, satellite antennas, exposed pipelines, cables, mechanical platforms, and natural morning mist. Prohibit extracting characters, text content, or fixed wide-angle compositions from @1. Character R1, Clothing R2, and Scene @1 must be integrated into the same real space, without appearing as character cutouts, green screen composites, or studio shoot effects. [Global Settings] **Film Goal:** 30-second, real-time speed, no-cut one-shot adventure film. A female explorer in white accidentally enters an ancient temple symbiotic with giant yellow machinery deep in a bamboo forest. She awakens a sleeping white mechanical guardian beast, and under its guidance, traverses the automatically activated ruins, eventually being actively chosen by the guardian beast to receive a golden mechanical seed. **Environment:** Fully reference the ecological mechanical ancient temple of @1. Giant yellow industrial facilities span over the traditional wooden temple; mottled mechanical shells are covered by vines, moss, and bamboo leaves; satellite antennas, thick cables, hydraulic joints, and old wooden eaves are cross-connected. The foreground features a shallow pool reflecting the sky, wet stones, stone lanterns, and a row of white animal guardian statues. Morning mist passes through the bamboo forest, and sunlight forms pale gold-green volumetric light. All machinery has realistic weight, rust, oil stains, and slow-running inertia. **Cinematography Style:** Realistic cinematic live-action texture, fusion of ecological sci-fi and ancient temple adventure. Soft morning light, shallow depth of field, restrained film grain, natural highlight bloom, humid air, and realistic motion blur. The yellow machinery, cyan-green bamboo forest, and the female protagonist's white clothing form a clear color relationship. **Camera Rules:** A complete, continuous, real-time Steadicam long take. The character always moves from the left side of the screen to the right, positioned at the left/right third, with guiding space reserved in front. The camera must transition through real movement between 3/4 rear, water-level side shot, mechanical corridor side shot, low-angle chase, and final 3/4 front medium-close-up. Hidden cuts are prohibited. **Characters and Props:** Character R1 wears full clothing R2, slinging the same small worn brown leather adventure bag. No torches, as the scene is illuminated by natural morning light. The veil, waist knot, earrings, long hair, adventure bag, and high heels must produce realistic inertia. Water stains, moss marks, and dust on the clothing accumulate progressively and cannot automatically restore. **Mechanical Guardian Beast:** A white ceramic mechanical fox about the size of a house cat, derived from the white guardian statues around the pool in @1. The body consists of worn white porcelain armor plates, brass joints, and tiny gears, with eyes emitting a very faint warm golden light. Size, material, and structure are consistent throughout, and it must not turn into a real fox, cartoon pet, or giant monster. [Timestamp Storyboard] 0—5s | Sleeping Guardian Awakens The shot starts from the 3/4 rear of Character R1. Wearing full clothing R2, she enters the bamboo forest mechanical temple in @1 along a stone walkway in the shallow pool, positioned at the right third of the frame. The translucent veil lightly sweeps the wet stone surface, and white high heels cautiously avoid moss. On her second step, she steps on a circular brass pressure plate embedded in the stone path. A clear "click" sounds as the heel presses down, and a row of white animal guardian statues by the pool vibrate slightly. She immediately stops, lowers her center of gravity, holds the adventure bag with her right hand, and turns her head alertly to observe. The white mechanical fox closest to her slowly turns its head, porcelain eyelids open, and eyes light up with faint golden light. It doesn't attack but leaps lightly from the stone base, its four brass claws making small metallic sounds upon landing. The mechanical fox looks back at her once, then runs right along the pool. **End State:** The female protagonist stands at the right third of the frame, surprised but alert; the mechanical fox stops on the stone steps ahead, looking back at her, clearly signaling her to follow. 5—11s | Water Surface Mechanical Stepping Disks Continuing from the mechanical fox looking back. It turns and leaps into the shallow water area, and six moss-covered circular mechanical stepping disks immediately rise in sequence from underwater. The camera lowers from behind the protagonist along a continuous arc to water level, becoming a parallel side tracking shot. She is at the left third of the frame, with space reserved in front for the stepping disks and the mechanical fox's movement. The mechanical fox steps on the first disk, and the internal gears of the disk make a short rotating sound; as it jumps to the next, the previous one slowly sinks back into the water. The protagonist quickly understands the pattern, first locking her gaze on the next disk before moving her body. She uses low-height, short-distance jumps: the forefoot of the white pointed shoe first lands on the dry center of the disk, knees bending to absorb impact, and only after confirming stability does she push off to the next. Each time a disk receives force, the water pushes out realistic ripples, and the end of the veil sweeps across the water, leaving a gradually expanding wet mark. The mechanical fox always stays one disk ahead, occasionally looking back to confirm her position. **End State:** She lands both feet on a mixed wood-stone platform on the opposite bank, her left hand gripping a rusty railing to regain balance; the last stepping disk sinks into the water behind her, and the mechanical fox has already entered the narrow mechanical corridor ahead. 11—17s | Rotating Cable Corridor The camera continues to slide right along the railing, rounding a yellow mechanical pillar and moving close to the side wall of the corridor. The giant facility is awakened by the pressure plate, and the satellite antenna above begins to turn slowly, with the long-dormant motor emitting layers of low-frequency humming. As the mechanical fox passes through the corridor, three sets of hanging cable loops are driven in sequence by the linkage shaft, sweeping across the narrow passage like giant rope rings. It ducks under the first set of cables. The protagonist pauses for half a beat to observe the cycle of the three sets of cables, then follows in a "stop-dash-stop" manner. As the first set of cables rises, she lowers her shoulders and dashes through; the second set sweeps from the foreground, and she immediately presses against a yellow mechanical pillar, her veil and long hair blown to one side by the airflow; the third set of cables suddenly swings back at waist height, she brakes with her back forefoot, bends her knees, and quickly leans her upper body back, letting the thick cable graze past her chest. The wind pressure from the cable flutters the lace collar, earrings, and veil, but does not touch her body. **End State:** She stands upright again and rushes out of the corridor, where the mechanical fox is waiting on an elevated wooden hanging gallery ahead; the three sets of cables behind continue to swing back and forth in a fixed cycle. 17—24s | Folding Gallery Chase The mechanical fox's front paw steps on a circular mechanical seal in the center of the hanging gallery. The seal lights up with a faint golden ring, and the entire wooden hanging gallery immediately begins to fold back into the yellow mechanical main body from the rear end, with wooden boards, metal supports, and railings emitting continuous "clack, boom" mechanical closing sounds. The camera seamlessly circles to a low-angle 3/4 rear view of the protagonist. She is at the right third of the frame, with the left side filled by folding and falling wooden boards and mechanical supports. The mechanical fox runs fast ahead, and she immediately follows in a sprint. High heels land on the center of the wooden boards with short forefoot steps, avoiding the heels getting stuck in gaps. Once, a mechanical support suddenly folds inward, and her sole slips slightly, her body tilting left; she immediately grabs the right railing, using arm pull and core strength to pull her body back onto the path. The adventure bag hits her waist, the wet veil rises behind her, and the folding line closely pursues her heels. At the end of the gallery, only a closing circular mechanical door remains. The mechanical fox first slips through the door gap. The protagonist pushes off the last wooden board with her right forefoot, leaps at a low height into the door, and performs a side shoulder roll upon landing to dissipate force. The circular door closes heavily behind her. **End State:** She stops on one knee in the core courtyard of the mechanical ancient temple, the original path completely sealed; the mechanical fox sits quietly on a central stone platform ahead. 24—30s | Choice of the Guardian Beast The camera rises steadily as the protagonist stands up and moves from behind her shoulder along a short arc to the 3/4 front side. The core courtyard has no modern lighting, only gold-green light beams falling from the damaged roof and bamboo leaves. Yellow mechanical pipes wrap around an ancient stone platform like tree roots. The mechanical fox does not flee. It looks down at its chest, and the white porcelain armor unfolds along precise seams to both sides; inside is not flesh and blood, but a set of slowly rotating brass gears. In the center of the gears sits an almond-sized golden mechanical seed, its surface covered with extremely fine leaf-vein-like engravings. The protagonist does not directly snatch it. She first relaxes her shoulders, slowly unbuckles the adventure bag, then steadily extends her left hand wearing a white long glove toward the mechanical fox. The mechanical fox gazes at her for a moment, actively lowers its head, and uses its front paw to push the golden mechanical seed into her palm. The moment the seed touches the glove, it emits a slight mechanical heartbeat. The entire ruin awakens accordingly: the giant satellite antenna overhead slowly turns toward the sky, warm amber lights light up in sequence inside the yellow mechanical structure, vines entangling the building quiver slightly, and the sound of interlocking gears starting up comes from deep in the bamboo forest. Other white guardian statues in the pool simultaneously turn their heads to look at her, but do not approach. The camera stops at a 3/4 side medium-close-up of the protagonist, positioned at the left third of the frame. She looks down at the mechanical seed in her palm, first holding her breath, then looking up at the mechanical fox with a restrained smile of mixed surprise, alertness, and gentle joy. The mechanical fox remains sitting on the stone platform, its porcelain armor slowly closing. **End State:** The golden mechanical seed is uniquely located in the protagonist's left palm; the mechanical fox sits on the stone platform to her right rear; the entire bamboo forest mechanical temple is awakening layer by layer. [Consistency Maintenance] Maintain the same female protagonist, same face, same hairstyle, makeup, earrings, and body proportions throughout. Full clothing R2 must not be changed, simplified, or turned into an adventure uniform; the lower edge of the veil starts to have water stains after 5s, and dust is added after 17s, with states accumulating continuously. The brown adventure bag is always slung on the same side of the body and must not disappear without reason. The mechanical fox remains house-cat-sized, with white porcelain armor, brass joints, and faint golden eyes throughout. The golden mechanical seed can only be inside the mechanical fox's chest before 24s, then uniquely transfers to the protagonist's left palm; copying or premature appearance is prohibited. The environment always follows the logic of @1's bamboo forest, wooden temple structure, yellow machinery, satellite antennas, moss, pool, and morning mist. The protagonist always moves from left to right, finally stopping at the left third of the frame. All mechanical activations must occur along the causal chain of pressure plate—guardian beast—stepping disks—cables—hanging gallery—core seed. [Audio] Use only live environmental sounds and mechanical sound effects: bamboo leaves rustling, flowing water, birds chirping, soles contacting wet stone, fabric and veil friction, mechanical fox claw sounds, old gears turning, motor humming, cables cutting the wind, wooden boards folding, rapid breathing, and the low heartbeat of the mechanical seed. No BGM, no narration, no character dialogue. [Strictly Prohibited] Prohibit any cuts, montages, hidden transitions, time jumps, slow motion, camera teleportation, wall-clipping, or axis-jumping; prohibit using bamboo, mechanical pillars, closing circular doors, veil sweeping the lens, darkness, or fast whip pans to hide cuts. Prohibit this round @1 from changing the protagonist's appearance or clothing; prohibit copying architectural styles, text, animal statues, or colors from the scene onto the character's body; prohibit white studio backgrounds and marble clothing reference backgrounds from mixing into the scene. Prohibit character centering drift, face-swapping, outfit-swapping, automatic clothing cleaning, veil disappearance, high heels turning into boots, jewelry disappearance, or adventure bag switching sides. Prohibit the mechanical fox from turning into a real animal, plush toy, cartoon character, humanoid robot, or giant monster; prohibit the mechanical seed from turning into jewelry, perfume, magic crystal, flame, or floating light ball. Prohibit weightless jumping, joint distortion, body clipping, cables passing through the body, heels merging with the stone surface, veil passing through railings, or mechanical structures exploding without cause. Prohibit subtitles, readable text, logos, watermarks, UI, neon, studio lighting, advertising product shots, audiences, hosts, other humans, combat armies, blood, and gore.

[REF] @Image 1 defines only the rain-soaked ancient bronze arena: giant suspended bell, flooded stone lane, furnaces, cranes, timber-and-bronze architecture, orange firelight, storm light, and deep scale. No background people. @Image 2 defines only the hooded fighter's face, black bob haircut, eye covering, rust-brown layered clothing, wraps, pendant, belt gear, proportions, and footwear. Exclude the white background and static pose. @Image 3 defines only the teal-haired fighter's face, black-and-teal bob haircut, distressed teal-and-black clothing, belt gear, gloves, boots, and single hip blade. Exclude the white background and static pose. [LOCK] Exactly two fighters and one blade. Do not swap faces, hair, clothes, dialogue, weapons, or effects. The hooded fighter begins by the furnace tower and uses rust-red spatial seals plus an original hand-seal teleportation jutsu. The teal-haired fighter begins beneath the bell and uses cyan blade energy. Preserve the axis between those landmarks. Every teleport shows departure, briefly empty space, then one arrival; the previous position fully disappears. No clones or persistent afterimages. [STYLE] High-end stylized anime action-RPG duel. Fast, tactical, forceful combat with rapid hard cuts, explosive acceleration, readable silhouettes, sharp impact endpoints, and immediate environmental damage. Both fighters attack, evade, intercept, and counter. No slow motion or prolonged power-up. [SEQUENCE] Shot 1: Extreme wide down the flooded lane; rain lashes sideways, furnaces flare, and the bell sways over both fighters. Push quickly into paired medium shots. In English, cool and challenging, the teal-haired fighter says, {Take off the blindfold.} The hooded fighter listens with mouth closed, then replies in English, calm and amused, {Make me stay long enough.} The teal-haired fighter keeps their mouth closed. Shot 2: Low lateral tracking. Before the reply fades, the teal-haired fighter explodes forward, the first step blasting w

[Style] Luxury Car Delivery Vlog, professional camera + handheld selfie POV mix, 4K Photorealistic, natural skin texture with visible pores, no filter plastic look, vertical 9:16. [Duration] 30 seconds. [Scene] Supercar delivery showroom (cement gray floor, black walls, top strip spotlights) → Showroom entrance ramp → Evening city elevated highway. [Characters] Owner @Image 1 (long hair, black with burgundy gradient waves, thin metal frame clear glasses, gray knit camisole dress); two staff members in black suits (background functional characters, no faces shown). [Vehicle] Bright yellow Lamborghini Urus (Super SUV), four-door high-chassis body, hexagonal headlights with Y-shaped DRLs, sharp side lines, wide wheel arches, 23-inch black rims, quad exhaust, rear integrated spoiler. [Global Constraints] Black cloth only appears in Shot 1, piles on the ground after sliding off; flowers/ribbons only exist in showroom layout (Shots 1-7), Shot 8 car body must be clean. [00:00-00:05] Shot 1: Crane Up / Reveal. Low angle, matte black cloth covering the car. Owner walks in, cloth is pulled back to reveal the yellow Urus. [00:05-00:09] Shot 2: Orbit 360. Ground-level 360-degree rotation around the car. Owner stands by the door. [00:13-00:16] Shot 4: Handheld Close-up. Owner clinks a champagne glass against the lens. [00:16-00:19] Shot 5: Slow-mo Confetti Burst. Confetti explodes as owner laughs. [00:19-00:22] Shot 6: Handheld Selfie POV. Owner sits in driver's seat, makes a peace sign. [00:25-00:30] Shot 8: Launch + Drone Pull-back. Car drives out of the showroom onto the highway at sunset. Drone pulls back to show the city skyline.

Create a 30-second photorealistic vintage 16mm documentary set in rural Umbria, Italy, summer 1982. Make it feel like a beautiful forgotten family film shot on Kodak 16mm: warm sun-faded colors, fine analog grain, subtle film flicker, dust, tiny scratches, gentle light leaks, soft halation, slight gate weave, organic focus breathing and imperfect handheld camera movement. 4:3 aspect ratio, no modern cinematic polish. Main character: A naturally beautiful Italian woman, early 20s, slender, warm olive-fair skin, hazel-brown eyes and long dark honey-brown hair loosely tied with a cream ribbon, soft flyaway strands. She wears an elegant ivory linen midi dress with tiny muted terracotta and dusty-blue floral prints, fitted waist, soft puff sleeves, square neckline and fabric-covered buttons, a thin vintage leather belt, tan ankle-strap sandals, tiny pearl earrings and a delicate gold necklace. Natural makeup, no modern accessories. She carries a woven wicker basket with bread, peaches, figs, basil and white wildflowers. 0–6s: She walks through a picturesque medieval Umbrian village lane, touching ivy-covered stone walls. Terracotta roofs, green shutters, red geraniums, ceramic pots and an old Fiat 126 surround her. Her floral dress and hair move gently in the afternoon breeze. 6–12s: She enters a small village piazza. An elderly baker carries fresh bread, women sit outside a bakery, a boy rides an old bicycle and a cream Vespa rests beside a stone wall. The baker smiles and gives her a small loaf. She laughs softly. The handheld camera briefly loses focus before finding her again. 12–17s: A little girl drops wildflowers. The woman kneels gracefully, gathers them and returns the bouquet with a warm smile. The child smiles shyly. Nobody acknowledges the camera. 17–23s: She leaves the village along a path bordered by olive trees, golden grass, poppies and ancient stone walls. The camera moves beside her as her ivory floral dress flows naturally. Birds suddenly rise from a nearby field. 23–28s: She reaches an overlook above beautiful Umbrian hills: vineyards, olive groves, golden fields, stone farmhouses and distant medieval hill towns in warm summer haze. She rests against an old wooden railing, watches the valley and gently tucks windblown hair behind her ear. 28–30s: She picks up her basket and walks away through the olive trees. The camera stops naturally and holds on the empty golden landscape. A subtle film flicker ends the footage. Overall aesthetic: romantic Italian summer, elegant vintage fashion, authentic 1982 village life, beautiful natural woman, warm golden sunlight, realistic skin and fabric texture, documentary realism, imperfect human camera movement, genuine Kodak 16mm archival texture. No modern objects, no digital look, no AI-smooth skin, no posing.