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

Cinematic 8K stylized 3D continuous shot. A young man in a blue bandana uses a holographic smartwatch to deploy mechanical arms that wash his muddy Mazda RX-7. The car upgrades, surging with blue electricity and turning from white to glossy black with glowing purple energy. The black car speeds through a rain-slicked neon cyberpunk city at night. A windshield HUD activates, and the car leaps, transforming mid-air into a giant bipedal mech with the driver visible in the glowing chest cockpit. The mech lands heavily on the street, then uses blue jet thrusters to fly up and stand heroically on a skyscraper roof.

【Style】Authentic Cycling Vlog, action cam + phone front camera + tracking shots, 4K Photorealistic, overcast soft light, sweaty skin with real pores, no beauty filters, vertical 9:16. 【Duration】30 seconds 【Scene】Winding mountain road after rain, wet asphalt with a shiny sheen, metal guardrails on the side, moving clouds and mist over distant mountains, water droplets on roadside plants. 【Character】Female cyclist, white road helmet, blue mirrored cycling glasses, dark grey short-sleeve cycling jersey (cityscape print on chest, full zipper, black action cam remote clipped below collar), burgundy cycling shorts (two white stitches on side seams), pink sports watch, black carbon fiber road bike, black deep-rim wheels. 【Glasses Rule】Glasses are worn only during full-speed riding shots (Shot 2, Shot 5, Shot 6); for parking and selfie shots (Shot 1, Shot 3, Shot 4, Shot 7, Shot 8), glasses must be perched on the helmet forehead, leaving the face and eyes fully exposed. 【Global Constraints】Same cycling kit and helmet throughout, no outfit changes; sweat volume increases over time, no regression; hands must always be on the handlebars or phone while moving, no 'third hand'; no other cyclists in the frame. [00:00-00:04] Shot 1: Ground-level Low Angle Start Extremely low angle near the ground, wet asphalt at the bottom edge. She is stopped by the roadside with one foot down, glasses on her helmet, face fully visible, looking down at the camera with a smile. Action: She raises both hands to pull the glasses down over her eyes, then hands return to the bars, foot clips into the pedal with a 'click', crank turns, chain engages, front wheel rolls through a small puddle, splashing water to the sides. The camera follows the wheel slightly. SFX: Pedal clipping, chain engaging, tire splashing. [00:04-00:08] Shot 2: Car-to-car Side Tracking Side tracking shot moving at the same speed, full body in frame. She lowers her torso, hands on the drops, back flat, knees pumping, blue mirrored glasses on. Background guardrails and misty mountains blur past. Detail: First layer of sweat on temples, a small dark sweat patch appearing on the back seam of the jersey. [00:08-00:12] Shot 3: Roadside Selfie (Front Camera Selfie POV) Phone front camera perspective, slight wide-angle distortion. She is stopped, one foot down, pushes glasses back to the helmet first, then holds the phone. Action: She grins at the camera, panting, says something, shoulders rising with breath. She turns the phone to show the curve and misty mountains, then back to her face. Detail: Sweat sheen on forehead and nose, eyes clearly visible, hair stuck to face by sweat. Realistic handheld shake and wind noise. [00:12-00:16] Shot 4: 360 Action Cam / Invisible Selfie Stick 360 action cam effect, slight fisheye, selfie stick invisible. She is still stopped, glasses on helmet. Camera orbits her and the bike 360 degrees. Visuals: Face/helmet top -> wet road/guardrail -> bike rear -> misty valley -> back to face. Action: She looks at the camera and makes a 'let's go' gesture. Detail: Fine sweat beads on arms, sweat stain inside the watch strap. [00:16-00:20] Shot 5: Uphill Breathing Close-up (Handheld Close-up / Uphill) Side close-up of face and shoulders. Steep incline, glasses back on, pedaling slow and heavy. Action: She stands up to climb (dancing on pedals), gripping bars tight, torso swaying, mouth open for air, neck veins visible. A drop of sweat slides from temple to jaw and is blown away. Detail: Jersey front and back soaked dark, helmet straps wet, slight fogging on the lower edge of the glasses. [00:20-00:23] Shot 6: Downhill POV (Handlebar POV / First-person) Handlebar-mounted camera. Shows black bars, tape, computer screen, and her hands. Action: Descending fast into a curve, leaning left, guardrails and trees flying by, splashing through a puddle. Fingers pull the brake levers, then release. SFX: Loud wind noise, high-speed vibration. [00:23-00:27] Shot 7: Wiping Sweat at Finish (Static Medium Shot) Static medium shot. She leans the bike on the guardrail, dismounts, takes off the helmet (glasses attached), and wipes her sweaty bangs back. Action: She drinks deeply from a water bottle, water spills from the corner of her mouth, she wipes her chin with the back of her hand and exhales deeply. Detail: Helmet hair, flushed face, pressure marks from glasses around eyes, sweat lines on neck and collarbone. [00:27-00:30] Shot 8: Ending Peace Sign (Low Angle Pull-back) Low angle looking up, helmet back on, glasses on forehead. She stands by the bike, one hand on the saddle, the other giving a peace sign, smiling while still panting. Misty valley behind her. Action: Camera slowly pulls back and down, she and the bike shrink into the lower third of the frame as mist rises behind her. SFX: Chain sounds, heavy breathing, wind noise, no music, ending with just wind and breath.

OPERATION: Officer responds first to a small roadside brush fire before firefighters arrive, secures the area, and assists with evacuation of nearby pedestrians. RESPONDING OFFICER: Male, late 30s. Standard patrol uniform. Chest-mounted body camera. Calm under pressure. Clear verbal commands. RECORDING WINDOW: 7:10 PM. Warm evening. Streetlights beginning to illuminate. SCENE LOCATION: Roadside walking trail beside suburban homes. Dry grass. Small trees. Parked vehicles. Fire hydrant nearby. BODYCAM CHARACTERISTICS: Ultra-wide chest-mounted bodycam. Faster walking and occasional short jog. Noticeable breathing. Frequent head turns scanning surroundings. Hands visible directing pedestrians. No cinematic framing. INCIDENT FLOW (≈30 Seconds) Arrival (0–5s) Officer arrives to find a small patch of dry grass burning with light smoke drifting across the sidewalk. Safety Response (5–12s) Officer quickly guides pedestrians away from the smoke, blocks access using patrol vehicle lights, and radios fire department updates. Activity (12–20s) Officer checks nearby bushes for fire spread while a resident uses a garden hose to slow the flames from a safe distance. Fire Department Arrival (20–27s) Fire engine arrives. Firefighters immediately deploy a hose line and extinguish the remaining flames within seconds. Departure (27–30s) Officer confirms the area is secure, thanks nearby residents for staying clear, and returns to patrol duties. SOUND PROFILE: Radio dispatch, crackling fire, footsteps, distant traffic, sirens approaching, firefighters communicating, hose spraying water. AUTHENTICITY PROTOCOL: Realistic emergency response. No explosions. No exaggerated heroics. Continuous chest-mounted bodycam perspective with natural movement and authentic scene progression.

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

Create a 15 second cinematic street culture montage in 16:9, filmed at 30 fps with the imperfect immediacy of real handheld nightlife footage. The mood is an early 2000s underground car meet shot on a compact digital camera. Use natural motion blur, slight focus breathing, modest sensor grain, mixed white balance, clipped brake light highlights, realistic skin texture, accurate reflections, and occasional direct flash. Keep faces, clothing, hands, wheels, and vehicle geometry consistent. 0 to 1 second. At blue hour outside a plain commercial building, frame an adult woman with long black hair, a white cropped tank, loose black overshirt, dark trousers, metal chain belt and narrow sunglasses. Start medium close, then snap cut to her leaning against the rear of a dark sports coupe. Red circular taillights glow strongly. Handheld camera with tiny human corrections. 1 to 2 seconds. Rapid details of the glossy trunk, an abstract graphic decal, a polished alloy wheel, then three adult men in loose dark streetwear near the building. Cut to the coupe pulling away at night, filmed from a following car. Let the taillights bloom and streak naturally. 2 to 3 seconds. Return to the woman beside the car and concrete wall. Chest height medium shot, then closer as she lifts one hand into her hair. Dim dusk light mixes with red brake light spill. Calm, detached expression. 3 to 4 seconds. Tight candid shot beside the car. A second adult woman in a white top sits nearby while the first raises a cigarette toward her lips. Direct flash creates hard shadows and flattened highlights. Cut to a high angle over the glowing twin taillights as she looks upward. 4 to 6 seconds. Rear tracking view of the coupe accelerating along a dark multi lane road. Camera shakes slightly inside a moving vehicle. Alternate with the woman leaning beside the taillight, cigarette held loosely, red light washing across black clothing. Add one fast whip pan with smeared lights, ending in a sudden overexposed flash. 6 to 7 seconds. Show a brief inverted photographic flash for only a few frames, then an adult man in oversized black streetwear standing in front of a vivid blue sports car under harsh direct flash. Snap back to the woman beside the dark coupe, framed waist up. 7 to 8 seconds. Push into a profile closeup. Preserve fine hair, eyeliner, skin pores and reflected road lights. A shoulder level camera pass creates real foreground blur, then cut to the coupe driving ahead on the highway. 8 to 9 seconds. Follow the car from behind at night with surrounding traffic and distant lamps. Hard cut to the woman lowering narrow black sunglasses and looking directly into lens. Flash lit face, dark background, silver jewelry, cool restrained attitude. 9 to 10 seconds. Cut to an adult man sitting near the car, face and jacket saturated by red taillight glow, then a close view of the circular taillamp lens with believable LED structure and reflections. Transition into daylight at a curb. 10 to 13 seconds. In soft overcast daylight, three adult men in charcoal and black streetwear walk past the parked coupe along a simple stucco building. One wears dark sunglasses. Track them loosely from the side with imperfect framing, occasional obstruction from the car roof, natural walking weight, fabric movement and realistic shadows. Finish with a brief analog video glitch and hard cut to black. Audio. Original dark bass driven urban instrumental around 92 BPM, deep kick, muted snare, low sub bass, sparse atmospheric synth, subtle tape texture and distant city ambience. Sync major cuts, flash frames and taillight shots to the beat. No vocals, dialogue, captions, readable brand names or logos. Keep everything raw, fashionable, cinematic and convincingly human filmed.

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.

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

Create a 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.

A breathtaking 35-second, single continuous cinematic shot of an elite hypercar racing at maximum speed around a massive international Formula-style race circuit during a violent nighttime thunderstorm. No cuts, no scene transitions, no camera breaks, no teleporting, and no frame skips. The entire video must feel like one perfectly stabilized, uninterrupted real-world take captured by an advanced FPV drone combined with a Hollywood cinema camera. The race track is soaked from relentless heavy rain, with standing water, reflective asphalt, flooded curbs, illuminated pit buildings, giant grandstands, glowing LED advertisements, safety barriers, catch fencing, and distant city lights shimmering through dense rain and mist. Every surface should display physically accurate reflections, puddle ripples, water displacement, and realistic wet materials. A futuristic matte-black carbon fiber hypercar with aggressive aerodynamics, active rear wing, glowing red LED taillights, razor-sharp headlights, exposed carbon details, and rain tires launches down the main straight. Water sprays violently behind the tires, creating long rooster tails. Raindrops continuously strike the camera lens with realistic droplets that naturally slide away due to airflow without blocking the action. The camera begins inches above the wet asphalt, rapidly accelerating behind the car before smoothly orbiting around it while maintaining constant motion. It performs seamless FPV-style movements: low tracking shots, dramatic side passes, overhead dives, close wheel tracking, and elegant banking turns without ever losing sight of the vehicle. As the car approaches Turn 1 at extreme speed, it performs a perfectly controlled high-speed drift across standing water. Massive sprays explode outward while the rear steps sideways. Counter-steering is precise, tires maintain believable grip, suspension compresses naturally over curbs, and the chassis reacts with authentic body movement. The camera flies through the drifting water cloud, emerges beside the driver's window, then rotates toward the front bumper as lightning flashes across the stormy sky. Thunder briefly illuminates every raindrop with dramatic volumetric lighting. The vehicle exits the corner at full throttle, rapidly accelerating onto a fast section of the circuit. Water vapor trails behind it while reflections of floodlights streak across the glossy wet bodywork. The camera dives underneath an overhead bridge, skims only centimeters above the flooded racing line, then rises smoothly as the hypercar approaches a sweeping high-speed corner. The driver initiates another breathtaking drift, clipping the apex perfectly before transitioning into an aggressive Scandinavian flick through an S-curve. Tire spray forms enormous cinematic arcs while the camera rotates 360 degrees around the moving car without shaking or losing focus. Halfway through the sequence, another exotic race car briefly appears. The main car executes an incredibly close overtake through heavy rain with only centimeters of clearance. No collision occurs. Sparks briefly fly as the diffuser lightly kisses the wet track over a crest. The camera swings ahead of the car and flies backward while maintaining perfect framing. Rain intensifies. Lightning flashes repeatedly. Thick fog hugs the circuit edges while illuminated grandstands blur beautifully through motion. Entering the final section, the hypercar launches over a subtle elevation change. The suspension unloads realistically before compressing smoothly on landing. Water erupts beneath all four tires without losing traction. The entire 35 seconds must feel like one uninterrupted, adrenaline-filled cinematic masterpiece with flawless realism.

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 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.

Hyper-detailed cinematic 30-second luxury car commercial. Clean modern white minimalist garage: seamless white walls, polished light-gray concrete floor with soft reflections, large grid of bright square LED ceiling panels giving even high-key studio lighting and clean specular highlights. Pure controlled environment, commercial-grade polish. Character lock: A young handsome man in @/image1, mid-20s, dark messy hair, well groomed beard wearing stylish sunglasses, calm confident expression that softens into quiet pride. Crisp off-white short-sleeve button-up shirt (collar slightly open), beige chinos, black-and-white Nike Dunk-style sneakers, black smartwatch on left wrist. Natural skin and fabric texture. Car lock: Exact Rosso Corsa red Ferrari Portofino convertible. Glossy mirror paint, black soft-top, dual central chrome exhausts, yellow calipers, multi-spoke alloys, prancing-horse badges, black grille, red mirrors. Dubai plate “DUBAI EE 67554”. Large elegant purple satin gift bow with long ribbons centered on the hood (appears after initial reveal). Perfect ceiling-grid reflections on every panel. Shot-by-shot timeline: 0.0–2.5s Wide slightly low-angle establishing. The red Ferrari sits fully under a black car wrap/cover on the left side of the empty white garage. Man enters from the right, back to camera, walks slowly and confidently toward the car. As he approaches, the black wrap begins to slide and peel off the car in a slow, elegant motion, gradually revealing the glossy red body underneath. Soft footsteps. Camera dollies forward and tracks left with him. Ceiling lights create geometric floor reflections. 2.5–5.0s Medium tracking. He reaches driver’s side, turns, looks at the car with a subtle almost-smile, places right hand gently on roof/A-pillar and slides it along the body. Low-angle close-up of face and hand on glossy red paint. Soft overhead key + gentle rim light. 5.0–7.5s Medium-wide. Purple satin bow now perfectly on hood. Man walks around the front from right to left, hands in pockets, stops at driver’s door and opens it smoothly. Camera slowly orbits front three-quarter as door opens. 7.5–12.5s Intimate interior sequence. Low angle from passenger side as he steps in. Settles into red leather driver’s seat, grips red Ferrari steering wheel with both hands, adjusts slightly, looks down then forward with quiet intensity. Realistic body weight shift. Red interior, black soft-top above, ceiling grid visible through windshield. Camera stays inside, gentle push-in toward face and hands. 12.5–15.5s Dramatic low front close-up of aggressive fascia, headlights and purple bow. Slow subtle push-in. Perfect light reflections on paint. 15.5–17.5s Low rear three-quarter tracking of dual exhausts and circular taillights. Camera slowly rises and orbits left, revealing more side profile. 17.5–20.5s Elevated wide shot. Man outside again, leaning forward carefully wiping front hood badge with his finger. Stands, walks around front toward passenger side, hands in pockets, calm and proud. Smooth cinematic orbit following him. 20.5–23.0s Medium of him beside open driver’s door looking at the car, then clean close-up of Ferrari prancing-horse badge on front fender with glossy red paint and ceiling reflections. 23.0–26.0s Wide side profile. Black soft-top retracts automatically — rear deck opens, roof folds and disappears into rear compartment. Man already seated inside looking toward camera. Camera slowly arcs around driver’s side as top fully opens. 26.0–28.0s Intimate medium close-up through open driver’s side. Man sits in red leather seat, one hand on wheel, looks directly at camera with composed, slightly proud expression. Soft light on face, red body framing him. 28.0–30.0s Final hero wide. Man stands casually leaning against driver’s side of fully open-top Ferrari, left hand in pocket, looking toward camera with quiet confidence. Purple bow still on hood. Perfect composition in bright white garage. Slow gentle push-in. Hold final beat. Style & technical: Photorealistic cinematic commercial, 24fps filmic motion, shallow-to-medium DOF, ultra-clean high-end grade (rich reds, pure whites, soft neutrals). Perfect material response: mirror paint, soft satin bow, realistic leather and cotton. Smooth professional moves only (dollies, orbits, gentle push-ins). Exact character and car consistency every shot. Emotional tone: quiet luxury, personal achievement, understated joy of a dream gift. Negative: blurry faces, deformed hands, extra people, text, watermarks, low quality, cartoon proportions, oversaturated colors, dark lighting, shaky cam.