Video-prompter for Cinematic Film Still

【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.

[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

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.

Create a single continuous 15 second live action shot in full 16:9 with no cuts. A young adult woman with platinum blonde hair, wispy straight bangs and two loose low side buns performs directly into an extreme fisheye camera inside a dim intimate bedroom. She wears dramatic black eyeliner, subtle pale makeup, a fitted black sleeveless crop top and several thin layered black necklaces with small pendants. Give her a confident alternative punk aesthetic without making the styling look like a costume. Place the camera completely still at approximately face height using an extremely wide fisheye lens. Preserve strong optical barrel distortion so the room bends naturally around the edges and her facial proportions change realistically whenever she approaches the glass. Fill the entire widescreen frame with real environmental detail rather than black side bars. Behind her are rough aged walls, small grid like architectural openings, muted blue bedding and miscellaneous lived in bedroom details disappearing into darkness. Lighting is very low and imperfect, dominated by cold cyan and green illumination from near the camera with faint ambient light in the room. Her pale face occasionally approaches mild highlight clipping while the background has deep crushed shadows. Maintain authentic high ISO sensor noise, subtle chromatic contamination, soft low resolution texture, slight motion smear, imperfect white balance and gentle exposure breathing. Avoid cinematic beauty lighting and avoid an artificially polished image. At the beginning her face is extremely close to the lens while she mouths a song with relaxed half closed eyes. During the first three seconds she gradually leans backward until her upper torso becomes visible, shoulders subtly moving to the rhythm. Around four seconds she lowers her chin and then leans toward the camera again. Between five and seven seconds she looks upward while continuing to mouth the vocal, slowly lifting her chin and exposing her neck. From seven to nine seconds she rolls her head sideways in one fluid natural movement, allowing her loose hair strands and necklaces to react independently. From nine to twelve seconds she returns toward center, dips her chin, gives a soft pout and briefly lowers her eyes. Keep tiny breathing motion in her chest and shoulders. From twelve to fourteen seconds she straightens and slowly approaches the camera again. During the final second she becomes noticeably more playful, moves extremely close to the fisheye glass and finishes with a wide spontaneous smile and teasing expression directly into the lens. All body motion must obey realistic inertia. Hair, necklaces, clothing and facial muscles move independently and consistently. Maintain stable identity, correct hands, natural teeth, realistic eyes, skin pores and believable blinking. No morphing, floating jewelry, duplicated features, frozen hair, beauty filter skin, artificial depth of field, camera cuts, text, logos or visual effects. Add a moody underground alternative pop soundtrack around 100 BPM with deep restrained bass, dry punchy drums, hazy electronic texture and an intimate female vocal hook. Synchronize her mouth movements and small shoulder pulses naturally to the vocal rhythm while keeping the audio slightly raw and bedroom recorded rather than studio perfect.

30-Second Cinematic Korean Mystery | "The Forgotten Letter" Style: Ultra-photorealistic live-action Korean drama, Netflix-quality cinematography, ARRI Alexa look, realistic lighting, authentic Seoul locations, smooth Steadicam and dolly shots, consistent protagonist, natural acting, realistic physics, HDR, 4K, no AI artifacts, no flickering, no identity drift. 0:00–0:05 Rainy evening in Seoul. A beautiful young Korean woman in a beige trench coat walks along a quiet street with a transparent umbrella. Warm café lights reflect on wet pavement. She notices a cozy independent bookstore, closes her umbrella, enters naturally, and a small bell rings. 0:05–0:10 Inside the warm bookstore, she slowly browses shelves. She picks up a hardcover book from a display. As she opens it, an elegant orange envelope slips onto the wooden floor. She picks it up and opens it. 0:10–0:16 Inside is a photograph of herself standing in this exact bookstore, wearing the same outfit and holding the same book, dated 10 years in the future. The camera slowly pushes toward her face as she quietly processes what she's seeing. 0:16–0:23 She looks up. Across the bookstore, an older version of herself sits reading by the window. Same face, subtle aging, elegant cream coat. Their eyes meet. The older woman smiles gently while customers continue browsing naturally around them. 0:23–0:30 The older woman closes her book, places another identical orange envelope on a nearby table, and calmly leaves the bookstore. The younger woman follows outside immediately, but the rainy street is completely normal and the older woman has vanished. She looks down at the second envelope as the camera slowly cranes upward over the rain-soaked Seoul street before fading to black. Direction: Maintain perfect facial consistency, realistic background extras, natural transitions, authentic bookstore interior, subtle orange accents only in the envelope and warm lighting. The atmosphere should feel emotional, mysterious, grounded, and completely believable, like the opening scene of a premium Korean mystery film.

30 seconds | 16:9 | live-action human drama Fictional dramatization. Documentary-style visual realism. SETTING A busy Indian city during a heavy monsoon evening. [flooded roadside / traffic intersection / narrow market street / rain-soaked urban roads / residential street / apartment entrance]. Time: evening. Heavy rainfall, strong wind, flooded streets, vehicle headlights reflecting across wet asphalt and realistic urban background activity. CHARACTERS An office worker returning home and an experienced auto-rickshaw driver. Maintain consistent clothing, umbrella, backpack, auto-rickshaw and character identities throughout the sequence. Human behaviour remains grounded and restrained. STORY 00–05s — ESTABLISHING Wide observational shot establishing a rain-soaked city during evening rush hour. Office workers hurry beneath umbrellas while motorcycles, buses, auto-rickshaws and cars slowly navigate flooded roads. One office worker stands beneath a small roadside shelter unsuccessfully trying to find transportation. Camera slowly advances from a believable documentary position. Heavy rain naturally strikes roads, rooftops, vehicles and umbrellas while water flows along the roadside. 05–10s — CONNECTION Cut to a closer handheld perspective following the office worker stepping into the rain and attempting to hail passing vehicles. Several occupied auto-rickshaws continue driving past before an older green-and-yellow auto-rickshaw gradually slows and stops. The driver quietly smiles and gestures for the passenger to get inside. Camera operator follows behind with natural footsteps, small framing corrections and realistic motion blur. Rainwater splashes naturally beneath footsteps and passing vehicles. 10–16s — JOURNEY The auto-rickshaw pulls away into slow-moving traffic. Heavy rain continues reducing visibility while windshield wipers, headlights and roadside reflections create realistic monsoon conditions. The driver carefully navigates through flooded intersections as stalled motorcycles, pedestrians beneath shop awnings and traffic congestion remain visible. Keep geography readable so the journey remains spatially consistent. Camera reacts naturally to changing road conditions rather than anticipating them. Avoid exaggerated driving or unrealistic weather effects. 16–21s — BREAKDOWN The auto-rickshaw enters a deeper flooded street where water reaches the lower body panels. The engine begins sputtering before suddenly losing power and coming to a stop in the submerged road. The driver calmly attempts to restart the engine several times while surrounding traffic slowly moves around them. Camera gradually closes the distance from a believable documentary position as rain continues falling across the stalled vehicle and flooded roadway. 21–26s — SHARED EFFORT The driver quietly steps into knee-deep floodwater and begins pushing the auto-rickshaw toward the roadside. Without hesitation, the passenger immediately steps out into the rain and joins the driver. Together they push the vehicle through the flooded street while passing motorists and pedestrians briefly watch before continuing on. After reaching shallower water, the driver makes one final attempt to restart the engine. The engine starts with a rough vibration before settling into a steady idle. 26–30s — AFTERMATH The auto-rickshaw arrives beside the apartment entrance. The passenger quietly pays the fare before discreetly leaving extra money in the driver's hand. The driver notices only after the passenger has already begun walking away through the rain. He briefly calls out but the passenger simply raises one hand without turning back. The driver smiles quietly, places the money safely inside the dashboard compartment and drives back into the rain as another waiting passenger raises a hand beside the roadside. End on quiet humanity rather than sentimentality. CAMERA Grounded observational-documentary cinematography. Mix: wide environmental coverage medium handheld following shots brief close reaction shots Natural handheld instability. Realistic operator movement. Plausible camera positions. No impossible drone transitions. No excessive slow motion. LIGHTING Lighting originates from the actual environment. Natural exposure changes when moving between streetlights, shop lighting, apartment lighting, vehicle headlights and darker flooded roads. Realistic highlight roll-off. Deep but detailed shadows. No artificial rim lighting around characters. PHYSICS Real gravity and momentum. Feet maintain contact with flooded terrain. The auto-rickshaw responds naturally to potholes, standing water and uneven road surfaces. Rainwater splashes realistically beneath moving feet and tires. Clothing responds naturally to wind and rainfall. Water flows naturally through drains and across road surfaces. Characters physically interact with the vehicle, seats, handles, doors and surrounding environment. HUMAN PERFORMANCE Restrained, believable behaviour under difficult weather conditions. Heavy breathing after running through rain and pushing the vehicle. Quick visual checks of surrounding traffic. Small posture adjustments while seated and while pushing. Natural hesitation, patience, kindness and quiet gratitude. No exaggerated emotional reactions. AUDIO Heavy rainfall. Vehicle engines. Auto-rickshaw engine vibration. Repeated engine restart attempts. Water splashing beneath tires and footsteps. Windshield wipers. Passing horns. Traffic ambience. Distant thunder. Quiet conversation between driver and passenger. Engine finally restarting. Rain gradually softening during the final moments. No oversized Hollywood trailer effects. VISUAL CHARACTER Photorealistic live-action footage. Observational documentary character. Natural skin texture. Realistic wet fabric and material response. Subtle sensor noise. Natural motion blur. Imperfect handheld framing. Avoid: video-game aesthetics CGI appearance excessive HDR oversaturated colors impossible flooding floating water perfectly choreographed movement beauty-filter faces CONTINUITY Maintain consistent character identity, clothing, umbrella, backpack, auto-rickshaw, flooded streets, rainfall intensity and lighting throughout the sequence. Preserve geographic orientation and screen direction. Every action begins from the physical state established by the previous shot, creating one continuous uninterrupted 30-second narrative from the office worker searching for transport to the quiet act of generosity before both characters continue their separate journeys.

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.

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

Scene & Mood: A Giallo-yellow V12 scissor-door hypercar is built as a holographic model on a desk, driven out of a white photo stage into London, folds in mid-air into a walking exosuit, outruns two camera helicopters down a snow pass, folds back into the car, and turns out to be footage playing on a tablet on that same desk. Frame Map: Beats 1-4 look down on the desk at 40 degrees, the hologram occupying the center third, one hand entering from the lower-right frame edge. Beats 5-8 hold the car dead center, occupying 45% of frame width. Beats 9-16 hold the exosuit centered and the helicopters in the right background third, x=75%, never crossing to screen-left. Title beat leaves the lower center third empty for typography. Subject Lock — the yellow hypercar: mid-engine wedge silhouette, Giallo-yellow bodywork with satin finish, black carbon splitter and diffuser, scissor doors, hexagonal Y-motif tail lamps, black forged wheels with yellow calipers. Bodywork, color, and silhouette identical from the hologram beat to the final aerial. Subject Lock — the exosuit: a heavy industrial walking exosuit built from large smooth monolithic armor volumes with very few panel lines, upright human proportion, square shoulders, a short thick neck with the head sunk between the shoulder blocks. Standing the height of three humans stacked. Giallo-yellow satin plating across the chest plastron, shoulder blocks, and upper thighs; matte graphite black on the head, forearms, lower legs, and every joint. The chest is one unbroken armored plastron with a single vertical cooling slot down its centerline. The car's front clamshell is folded flat across the upper back as a dorsal shell, the scissor doors stowed vertically along the spine, the hexagonal tail lamps sitting as two amber running lights on the shoulder blades. The head is a sealed graphite helmet with one continuous amber visor band running its full width, a smooth uninterrupted faceplate below it. Exposed hydraulic pistons run the length of the forearms and behind the knees. The plating carries no antenna horns, no separate eye lenses, no exposed gear clusters, and no shredded overlapping shard geometry — the surfaces read sealed and industrial. Proportion, color split, and helmet design identical across every beat it appears. Subject Lock — the hands: two bare hands, a beaded bracelet on the left wrist, forearm ink, entering from the lower frame edge, fingertips pinching and tapping the hologram, palms never covering the model. Subject Lock — the helicopters: two slate-grey camera helicopters flying in loose right-echelon formation, a gimbal camera ball mounted under each nose, landing lights on, holding station off the exosuit's right shoulder. Livery, formation, and screen side identical every time they appear. Cross-Frame Rules: the car and the exosuit are the same object in two states — the Giallo-yellow upper plating, the graphite black lower limbs, and the hexagonal amber lamps carry across every transformation. The helicopters hold the right background through every beat they appear. Movement: 0.0s -> 2.6s — floating glass spec cards hover above a dark desk mat, a hand pinches one, it unfolds into a miniature white cyclorama on the desk, a cyan loading ring climbs 93% to 100%, fingers tap three toggles that snap to checkmarks. 2.6s HARD CUT. 2.6s -> 5.0s — a bare chassis and drivetrain materialize on the turntable, a red scan ring sweeps outward across the floor, yellow body panels wrap onto the frame from the nose backward, the finished car settles, both hands pinch outward to scale it. 5.0s MATCH CUT on the car. 5.0s -> 6.9s — the camera dives into the hologram and lands at full scale inside a white seamless studio, one 180-degree orbit at 4 km/h, headlights snap on, push to a wheel macro. 6.9s SMASH CUT. 6.9s -> 7.7s — dusk London, the car crosses a stone bridge at 190 km/h, a Gothic riverside parliament silhouette and a lit clock tower streaking behind. 7.7s no cut. 7.7s -> 9.4s — the car hits a raised ramp and launches, then reconfigures in mid-air in one continuous mechanical motion: the body splits along its centerline and telescopes upward, the front clamshell rotates back over the shoulders on visible pivots, the doors fold flat against the spine, the wheels rotate inward into the hips, legs extend downward, arms unpack from the flanks along hydraulic rails. Every panel stays attached and rides a visible hinge, nothing scatters. 9.4s -> 10.0s the exosuit lands in a three-point crouch facing camera, the amber visor band ignites across the full width of the helmet, the clock tower behind at 200 meters. 10.0s WHIP CUT, 0.9s of motion blur. 10.0s -> 11.9s — snow pass at blue hour, the exosuit runs downhill at 90 km/h throwing snow, drops forward and folds back to car form, a wall of snow spray wipes the frame white. 11.9s HARD CUT. 11.9s -> 13.7s — a face macro, the single amber visor band filling the frame edge to edge, then the two camera helicopters swing in from the right rear at 220 km/h and hold formation, rotor downwash driving a 6-meter snow cloud across the road. 13.7s HARD CUT. 13.7s -> 15.8s — the exosuit plants both feet, snow spraying forward 4 meters, the right forearm unfolds into a telescoping thruster module that vents one orange pressure burst, the flare warming the snow for 0.2s and pushing a ring of powder outward across the road. 15.8s FLASH CUT to white. 15.8s -> 16.5s — a white card holds, a dark wordmark centered, one horizontal glitch bar crossing it. 16.5s HARD CUT. 16.5s -> 18.0s — the exosuit runs straight at the lens at 100 km/h, an orange course-marker flare burning on the ridge behind at x=15%, its black smoke column rising straight up in the still air. 18.0s -> 19.5s — still running toward camera, the exosuit folds down into the car mid-stride in one continuous hinged motion, the dorsal shell rotating forward over the nose and sealing first, and lands on four wheels at 140 km/h. 19.5s HARD CUT. 19.5s -> 21.0s — extreme aerial, the yellow car reading 3% of frame height on a serpentine road, then a rear three-quarter at 30 meters, full-width tail bar lit red. 21.0s -> 23.8s — three beauty passes: low front three-quarter, camera 40cm off the snow; a locked profile at 210 km/h; a drone chase carving one long left-hand curve. 23.8s HARD CUT. 23.8s -> 25.8s — extreme aerial wide of the whole pass, the car a yellow dot on the switchbacks, title typography fades up over the mountains. 25.8s MATCH CUT. 25.8s -> 27.0s — the same aerial is playing on a tablet standing on the dark desk from beat 1, the camera pulls back and lifts, the desk empty, the screen glow the only light. Micro-motion: snow granules stream off every panel edge, exhaust heat shimmer behind the car, hydraulic pistons breathing in and out along the exosuit's forearms, the desk hologram flickers 2% at its edges. Environmental motion: blowing snow at 40% density readable to 80 meters on the pass, London haze at 25% density readable to 60 meters, low cloud drifting across the ridge screen-left at 8 km/h. The camera adds no further cuts, edits happen only at the marks written above. Last Frame: the empty dark desk seen from 40 degrees above, the tablet centered in the lower third still glowing with the mountain aerial, keyboard and desk mat in shadow, the room black beyond the desk edge. The only typography rendered anywhere in the sequence is the title lockup over the mountains at 23.8s and the wordmark card at 15.8s; every other frame carries clean imagery with no captions and no signage. World Plate: three worlds — a black room with one dark wood desk lit only by the hologram; a white seamless cyclorama with even soft top light; a high alpine pass at blue hour, packed snow road, black rock spires, guardrail posts, overcast ceiling. Color lives on surfaces: Giallo yellow on the bodywork and the exosuit's upper plating carrying the warm values in the frame, amber only in the visor band and the shoulder running lights, cyan only in the desk hologram interface, everything else desaturated blue-grey snow and slate rock so the yellow is the only saturated body color on screen. Sound Bed: Diegetic only — V12 exhaust bark and downshift crackle, tyres compressing packed snow, hydraulic hiss and heavy panel latching through each reconfiguration, rotor wash and turbine spool from the helicopters, one deep pneumatic pressure burst with a rolling valley echo, wind across the pass, soft interface taps and a single confirmation chime on the desk. No music, no dialogue. Capture Realism: every plane sits inside real depth — suspended snow particulate and cold haze hang in the air between camera, the yellow car, and the rock spires, the far ridges rendering softer, desaturated, and lower-contrast than the foreground so the car sits inside the air instead of pasted on it. Snow melt on the bodywork mutes and deepens the yellow without a single specular hotspot, the paint reading satin rather than glossy. The hands on the desk read true cinematic matte — zero shine across the knuckles and forearm, real fine skin texture, light absorbed like subsurface scattering, warmth preserved, never plastic. Low-contrast curve, shadows lifted gently holding texture in the graphite plating, highlights rolled off softly with nothing clipping in the snow. Speculars removed from metal, paint, and glass, every pixel matte and diffuse. Slightly desaturated grade with the yellow held warm. Camera Capture: wide-latitude cinema capture, vintage 2x anamorphic character at a wide aperture — oval bokeh, soft edge falloff — light diffusion bloom, handheld and shaky throughout with no stabilized shots, color-negative film rendition with heavier low-light grain, blue-hour cool grade with dusty atmospheric haze, 24fps 180 degree shutter, 27s. Per-beat lens: 12 degrees (180mm) tele detail on the desk hologram, 84 degrees (24mm) architectural wide inside the white studio and on the London bridge run, 47 degrees (50mm) neutral through the reconfiguration and the pass run, 18 degrees (100mm) tight on the visor macro and the grille beauty pass, 8 degrees (300mm) extreme long lens on both aerials, returning to 12 degrees (180mm) on the closing desk. Intercut 96fps high-speed slow-motion at the mid-air reconfiguration and the pressure burst, holding 180 degree shutter.

Create a 15 second cinematic underground fashion film in 16:9 inside a real concrete multilevel parking garage at night. Two stylish adult women are the central subjects. One has long straight black hair with blunt bangs, narrow dark futuristic sunglasses, a distressed silver and black sleeveless graphic top, layered metallic necklaces, stacked bracelets, fingerless black gloves, loose dark trousers, chunky black footwear and a large worn black shoulder bag. The second has long pale blonde hair under a fitted black beanie, oversized rectangular black sunglasses, a fitted white top, oversized black jacket slipping casually from her shoulders, a short dark skirt, black thigh high socks, chunky shoes, silver jewelry and a large textured handbag. Use an extremely wide vintage fisheye lens with visible barrel distortion and strong perspective stretching. The camera should feel like a real person holding a small early digital camcorder at arm length. Preserve tiny framing mistakes, slight horizon drift, natural hand vibration, physical footsteps, unpredictable body proximity, realistic autofocus breathing and occasional motion blur. Never make movement perfectly stabilized or mechanically smooth. Open extremely close to both women crouching beside a black motorcycle, staring calmly into the lens while a fluorescent fixture blooms above them. Rapidly orbit and tilt around them as they adjust sunglasses, move their hair and casually interact with the camera. Cut to a dramatic floor level detail of the motorcycle engine, rear wheel, frame, dark metal and chrome reflecting harsh ceiling light. Show both women crouching over an open bag with believable personal objects scattered on the concrete. Insert a brief near black rhythmic cut. Return with an intimate overhead fisheye angle while they search through the bag. The blonde woman raises a tiny silver compact camera toward the lens. One woman stands and crosses the painted white pedestrian stripes while the other collects her bag. Follow them through the garage with loose handheld backward movement. Include concrete pillars, curved driving lanes, yellow curb paint, white directional markings, a black parked car and a white van deep in the background. Around the middle create one very brief three image editorial collage of the dark haired woman from different close perspectives, then immediately return to natural live action. Show her walking away carrying the heavy black bag before both women turn and confidently walk back toward the camera. As they approach, allow the fisheye perspective to enlarge their faces, hands and clothing naturally. Finish by returning to the motorcycle where they crouch close to the camera again, creating a seamless visual loop to the opening shot. Lighting must come almost entirely from practical cold fluorescent garage fixtures with slightly green white color, blown highlights around lamps, deep soft shadows under eyes and clothing, subdued concrete colors and imperfect exposure changes as the camera turns. Image texture should resemble compressed early digital video with mild grain, restrained sharpness, slight chromatic fringing, subtle sensor noise and realistic skin texture. Preserve individual fingers, jewelry, fabric folds, hair strands and physically correct contact with bags, clothing and motorcycle surfaces. Avoid glossy commercial perfection, beauty retouching, floating objects, warped hands, changing clothing, duplicated accessories or impossible architecture. Edit with fast confident cuts synchronized to an original approximately 150 BPM underground electro beat combining distorted kick drum, dry snare, gritty bass, metallic percussion, dark synth pulses and subtle parking garage ambience. Add faint footsteps, clothing movement, bag hardware rattles and motorcycle metal sounds beneath the music. No dialogue. No voiceover. No readable logos or titles.

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

CAMERA: Handheld DV 16mm daily vlog footage. The video MUST begin with her holding the camera at arm's length in selfie mode while stepping outside her apartment building with her dog. The first 20–30 seconds are entirely handheld. Later she occasionally places the camera on a park bench, low stone wall, picnic table, or the ground for wider shots. Keep subtle handheld shake, drifting composition, autofocus hunting, rushed reframing, uneven zooms, exposure breathing, brief accidental face cropping, and imperfect framing throughout. The camera itself is never visible. LOOK: Warm analog tape texture with gentle film grain, slightly softened sharpness, subtle halation around sunlight, realistic skin tones, low contrast, tiny exposure shifts, and natural motion blur. It should feel like authentic footage from someone's everyday life rather than a polished commercial. STYLE: A relaxed morning lifestyle vlog. Quiet, cozy, and spontaneous. She occasionally laughs at her dog, pauses to look around, adjusts the leash, brushes hair away from her face, and speaks naturally in short sentences with comfortable pauses. CHARACTER: EMMA — a beautiful white woman in her mid-20s. Long light brown hair in a messy ponytail, green eyes, minimal makeup, oversized gray hoodie, black biker shorts, white sneakers, and a small crossbody bag. She is walking a happy golden retriever. SETTING: A peaceful suburban neighborhood on a sunny morning. Tree-lined sidewalks, quiet residential streets, birds singing, a small park with benches, green grass, and soft golden morning light. Very few people are around. SCENES: The vlog opens in selfie mode. Emma holds the camera while leaving her apartment building with the golden retriever excitedly pulling on the leash. "Good morning." She smiles. "Someone couldn't wait." The dog eagerly sniffs everything as they walk down the sidewalk. She laughs quietly. "He has to inspect every single tree." Still holding the camera, she walks into a small neighborhood park. The dog suddenly stops and stares at a squirrel. "Oh... there we go." She smiles and gently shakes her head. She places the camera on a nearby bench for a wider angle while throwing a tennis ball. The dog happily chases after it. "Worth waking up early." She picks the camera back up. Walking slowly through the park, she looks up at the trees for a moment. "It's actually really peaceful out here." The dog returns with the ball but drops it halfway. She laughs. "Close enough." She sits on the bench while the dog lies beside her. She scratches behind his ears. "I think he's happier than I am." She stands up and continues walking. The camera stays in selfie mode as they head toward home. "Coffee is definitely next." She smiles into the lens. "See you later." She gives a small wave and ends the recording.

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.

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]

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

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

[STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over the NYC skyline. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic urban canyon physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush between buildings, near-miss whooshes, soft landing roll, street noise, final bite sounds. [IMAGE REFERENCES] Use the provided image as the single strict visual reference for the male character. Exact face, full dark beard, black North Face cap, black sunglasses, white “JUSTFORBALLERS” t-shirt. He wears a backpack at the start. Body proportions, posture and clothing locked from the reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Bearded man in white t-shirt, black cap, sunglasses and backpack stands on the edge of a NYC skyscraper rooftop. He looks straight into the camera with calm intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the roof. 3-5s: [Continuous freefall] He completes the somersault and falls head-first. At exactly 1.5 seconds into the fall he deploys his wingsuit with a sharp snap. The wingsuit inflates fully and he levels out. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed through the urban canyons of midtown Manhattan. He weaves tightly between skyscrapers, banking hard left and right, glass facades and windows streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above street level. He almost collides with a yellow taxi that suddenly turns the corner, banks hard to avoid it, then narrowly misses a delivery van. He dips under a traffic light and threads between two buses. 18-23s: [Street-level action] Still flying extremely low, he dodges a startled cat that bolts across the sidewalk, skims past a group of pedestrians who scatter, and banks sharply to avoid an open truck door. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the sidewalk and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the ground beside him. 26-28s: [Street level] He walks a few steps still wearing the backpack and stops right in front of a classic NYC hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit, impact, roll, near-misses), stable character from the reference, realistic urban reflections and wind, no artifacts, movie-level stability, pure single continuous take.

- Photorealistic cinematic modern American airport terminal, polished marble floors, floor-to-ceiling glass windows, distant departure boards glowing, chrome luggage carts, soft daylight mixed with warm overhead practicals, subtle handheld texture, rich lived-in travel-day detail, heavy film grain. Shot with modern realism and precise temporal control. Use the provided reference image as the exact character lock for the bald bearded man in black sunglasses and dark hoodie. Maintain perfect facial structure, beard, head shape, skin texture and clothing consistency at all times. 0-5s: [Medium Wide] The bald man walks briskly through the terminal. He turns sharply to check a gate sign and collides hard into a food-cart vendor carrying a full tray of coffee cups, pastries and a thermos. Impact is sudden and physical. 5-12s: [Dynamic Tracking into Super Slow-Motion] Collision detonates. Tray, coffee cups, pastries and thermos explode upward. Coffee erupts into long liquid ribbons and perfect suspended droplets. Camera orbits smoothly around the impact. Time locks completely at the peak of the spill. Every face freezes in pure shock. Only the bald man remains free to move. He freezes for one beat with a clear "I fucked up" expression, then quickly grabs a croissant and a floating coffee cup from the debris. 12-22s: [Tracking Shot] Still inside the frozen terminal, he walks toward the boarding gate while taking deliberate sips of coffee then bites of croissant. All passengers, the vendor and flying food stay perfectly suspended in mid-air. 22-27s: [Medium Shot] Just as he reaches the gate and is about to scan his boarding pass, time snaps back to normal speed. Everything that was floating crashes down at once — cups, pastries, tray and thermos slam onto the floor with a loud chaotic impact. The vendor and passengers react in sudden real-time shock. 27-30s: [Medium Close-Up] He pauses, turns slightly, raises his eyebrows and gives a small casual "it is what it is" shrug with a quiet half-smile of acceptance, still holding the remaining food. Photorealistic, ultra-detailed fluid and object physics, perfect volume and surface tension on liquids, sharp motion blur only on moving elements, stable character, cinematic lighting, heavy natural film grain, no artifacts, movie-level temporal coherence, high rewatch value.

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.

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.

Create a 12 second cinematic portrait video in 16:9, built as one continuous intimate shot. A young adult stands indoors very close to the camera, framed from upper chest to the top of the head. The camera feels like a fixed front facing phone or compact camera with only tiny natural handheld drift. The subject stays near center, occasionally leaning a few centimeters closer or farther, creating subtle changes in face size and perspective. Use an extreme photographic negative look throughout. Skin is rendered nearly black with delicate cyan and pale blue edge detail, while the hair and shirt become luminous icy white. The background is a soft cyan gray wall with faint texture and a dark vertical doorway or shadowed edge on the left. Keep the image intentionally low resolution and slightly compressed, with soft digital grain, minor sensor noise, gentle motion blur, and realistic exposure breathing. The negative effect must feel optical and coherent, never glossy or synthetic. At the opening, loose strands of hair fall across one side of the face. Both hands rise near the cheeks and jaw, fingers relaxed and naturally separated. The subject looks directly toward the lens with a calm, slightly uncanny expression. During seconds 1 to 3, the hands lower out of frame and the head slowly turns a little to one side, then returns toward center. Hair shifts naturally with the movement and briefly obscures one eye. During seconds 3 to 5, hold a centered close portrait. The eyes remain the brightest readable facial detail in the negative palette. Add tiny eye movements, one subtle blink, a small chin lift, and a restrained change in expression. During seconds 5 to 7, the head tilts gently, then rolls back toward center while the shoulders remain mostly still. Preserve believable neck movement and continuous hair physics. During seconds 7 to 9, both hands reenter near the lower edges of frame. Fingers float beside the jaw and neck in a loose expressive pose, then pause. Keep perfect hand anatomy, five fingers per hand, stable nails, no merging, no deformation. During seconds 9 to 10, the subject turns the face slightly to the side, showing a cleaner cheek profile while one long strand crosses the face. During seconds 10 to 12, the subject settles back to a centered pose, shoulders relaxing as the hands leave frame. End on a quiet direct gaze into the lens with minimal movement. Lighting is flat frontal indoor light transformed by the negative treatment, with no hard directional shadows. Maintain consistent face structure, hairstyle, clothing, room geometry, and color inversion for the entire shot. No cuts, no camera zoom, no text, no logos, no subtitles, no visual glitches. Music and sound: dark minimal electronic pulse around 128 BPM, muted kick, soft sub bass, airy reversed textures, faint digital hiss, and a restrained atmospheric swell toward the final second. No vocals. The music should feel hypnotic, eerie, intimate, and synchronized to the small head and hand gestures without overpowering the image.

Early-2000s consumer DV camcorder aesthetic / edited home video style with distinct hard cuts / slight handheld drift / candid framing. Cool grey-blue morning light with soft grain, faded contrast. Quiet early-morning hour inside a modest neighborhood gym, sunrise light streaming through high windows. Focused, disciplined, calm energy. Natural ambient sound only (spatial sound design, clanking weights, echoing footsteps, distant hum of gym equipment, no narration, no music). [IMAGE REFERENCES] [ref_image] = main character: exact face, full dark wavy hair slightly tousled, full thick beard, muscular broad build and height as shown, wearing a plain solid black tank top (strictly plain, no graphics or text), grey athletic shorts, simple black leather-strap analog wristwatch on left wrist, no cap. [TIMELINE SECOND BY SECOND] 0-4s: [Medium tracking shot] [ref_image] walks into the empty gym, sunrise light streaming across the floor, setting down a water bottle near a bench. Slight handheld drift + echoing footstep SFX + soft morning light flare. 4-8s: [HARD CUT TO: Medium shot] He grips a barbell, adjusts his stance, checks his wristwatch once before beginning a set. Focused breathing, quiet gym ambience. 8-12s: [HARD CUT TO: Close-up] He performs a slow, controlled lift, muscles visibly engaged, sweat beginning to form on his forehead. Clanking weight SFX. 12-16s: [HARD CUT TO: Wide shot] He racks the barbell, exhales, wipes his brow with the back of his hand, stepping back from the bench. 16-20s: [HARD CUT TO: Medium shot] He picks up the water bottle, takes a drink, glancing toward the sunrise-lit windows, calm and steady. 20-24s: [HARD CUT TO: Side profile] He stretches his arms overhead, rolling his shoulders, morning light casting long shadows across the gym floor. 24-28s: [Medium shot from behind] He walks toward the next station, shoulders relaxed, the empty gym stretching out around him. 28-30s: [Continuing medium from behind] He reaches for another set of weights. Recording cuts abruptly to black mid-motion. Fading echo of footsteps and clanking metal, abrupt silence at cut. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic cool morning lighting, perfect natural motion blur, high dynamic range, no artifacts, coherent physics. Ultra-realistic documentary realism, genuine candid behavior, accurate real-world muscle and sweat detail, natural body language, unscripted slice-of-life feeling. Strong environmental authenticity, rich real-world gym textures, believable human motion. Exact character consistency with [ref_image].

Montage, multi-shot candid observational footage. Do not use a single camera angle or continuous take. Handheld documentary style with the feeling of accidental real-life capture. Slightly imperfect framing, subtle handheld shake, tiny reframing adjustments, gentle exposure breathing, and autofocus that settles half a beat late. Realistic skin texture, soft indoor natural light, film grain, shallow depth of field. Relaxed breathing, natural blinking, restrained and authentic performance. Total of 7 shots. The woman from @ Image 1 is wearing a matching cotton pajama set consisting of a scoop-neck sleeveless top and loose shorts made from the same fabric and design. Barefoot, she lies on her stomach across a lived-in, slightly messy bed in her bedroom, browsing a mobile shopping page on a black smartphone. A house cat jumps onto the bed seeking attention, and she affectionately plays with it. Moments later, a friend calls. She answers, chats, and eventually bursts into laughter. The doorbell rings, so she ends the call and gets up to collect her dinner. Shot 1 (0–2s): She is already moving. One thumb scrolls through a shopping page while she frowns slightly, thinking. She quietly mutters in Korean: "아, 뭐 살랬더라…" ("Ah... what was I going to buy again?"). Lips synchronize naturally. Her bare feet gently sway behind her. A low handheld camera glides along the edge of the mattress, with soft bedding partially obscuring the foreground. Shot 2 (2–4s): The house cat jumps onto the bed, compressing the blanket as it walks toward her forearm and lets out a single meow. The camera gives a slight jolt from the impact, then quickly reframes from the phone to an over-the-shoulder view that includes her face, hands, phone, and cat. Shot 3 (4–6s): She turns warmly toward the cat, stroking it once from its forehead to its shoulders. In a gentle, affectionate tone she says: "우리 애기 왔어?" ("Did my baby come?"). Lip sync is clear and natural. The camera pushes in briefly through the cat's softly blurred foreground toward her face and hand. Shot 4 (6–8s): A friend's ringtone sounds. She glances down, confirms the caller, swipes to answer, and brings the phone to her ear. The camera moves in a loose semicircle from a slightly tilted overhead angle, capturing the entire answering motion. Shot 5 (8–11s): Her friend begins talking. She responds first with confusion, then disbelief: "어, 왜? 진짜 거짓말." ("Huh? Why? No way, you're kidding."). Immediately afterward she naturally bursts into laughter. The cat kneads the blanket beside her. A close handheld side angle keeps both her phone and profile within the same focal plane. Shot 6 (11–13s): A clear doorbell interrupts the laughter. Both she and the cat turn toward the bedroom door. She braces one hand on the mattress to get up. The camera reacts a fraction too late, briefly turning toward the door before naturally correcting back to her rising movement. Shot 7 (13–15s): Still on the phone, she hurriedly says: "어, 나 밥 왔다. 끊어." ("My food's here. I'll hang up."). She ends the call with her thumb, gets off the bed, and walks toward the door while the cat follows across the blankets. The camera slides low beneath her elbow and tilts upward as she stands in one continuous motion. Sound: No music. Only raw production sound: bedding rustling, quiet breathing, finger taps on the phone, the soft impact of the cat jumping onto the bed, one natural meow, faint purring, a single short incoming ringtone, call connection tone, the friend's voice through the phone, the woman's four Korean lines with accurate lip sync, a genuine brief laugh, one clear doorbell, the tap ending the call, and soft cat footsteps. No subtitles, no on-screen text, no logo, no watermark. Never render a reference sheet or duplicate the subject.

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