Video Prompts for Stop Motion

Claymation Capt. apathy drinking at a bar while villains destroy the world on tv.

JavaScriptだけでアニメーション動画を作って。 テーマは「Claude Codeって何？」。15秒・16:9、手描きの紙コラージュ風で、日本語ナレーション付き。 台本・素材・アニメーション・構成、全部任せます。 画像は gpt-image-2.5 、声は Gemini TTS

Scene Details: ​Action: The doll is cracking eggs into a dark grey knitted frying pan on a crocheted stove top. ​Objects: Knitted eggs with glossy yellow yarn yolks, crocheted salt and pepper shakers labeled "SALT" and "PEPPER", yarn jars with labels like "Made with Love", and a cozy wooden backdrop illuminated by soft morning sunlight streaming through a window. ​Style: Macro tilt-shift photography, tactile wool and cotton yarn textures, highly detailed stitch patterns, stop-motion animation aesthetic, warm cozy aesthetic, depth of field, 8k resolution. --ar 9:16 --v 6.0 Clip 1: Cracking Eggs (0:00 - 0:08) ​Prompt: A cute amigurumi yarn doll with a brown hair bun and a purple knitted outfit holds a crocheted egg shell and cracks raw eggs into a dark grey knitted frying pan on a cozy stove. Glossy yellow yarn yolks gently settle into the pan, soft morning sunlight streaming through the window, 3D stop-motion animation, tactile wool textures, macro camera angle. ​Clip 2: Seasoning Close-Up (0:08 - 0:15) ​Prompt: Extreme macro shot, stop-motion animation style. An amigurumi yarn girl holds miniature crocheted shakers labeled "SALT" and "PEPPER", sprinkling tiny black and white beads over three fried yarn eggs sizzling in a knitted pan. Tactile wool details, warm cozy lighting, shallow depth of field. ​Clip 3: Plating the Food (0:15 - 0:23) ​Prompt: Medium shot, stop-motion animation. The amigurumi girl uses a tiny wooden spatula to slide cooked yarn eggs from a dark grey crocheted pan onto a decorative knitted plate. Cozy kitchen backdrop filled with yarn jars and crocheted details, bright morning light, frame-by-frame tactile motion. ​Clip 4: Eating Breakfast (0:23 - 0:32) ​Prompt: Close-up stop-motion animation. The amigurumi doll sits at a small table, using a miniature metal fork and knife to slice into a fried yarn egg on a crocheted plate. Soft cozy lighting, detailed stitch patterns on her sweater and apron, tactile craft aesthetic.

Pop-up book paper craft animation, 15 seconds, 16:9. Masterpiece paper engineering. Multi-layered topographic paper design, intricate cut-paper landscapes, embossed details, gold foil map markings, moving paper mechanisms, handcrafted textures, cinematic warm lighting, shallow depth of field. Everything exists as physical paper emerging from an antique atlas. No voice. Audio: turning pages, rustling paper, subtle orchestral wonder. ACT 1 (0-4s) An ancient atlas opens. A magnificent paper map unfolds across both pages. Mountains rise in layered paper relief. Forests, rivers, bridges, cities, and ships emerge from hidden folds. Tiny paper clouds float above the landscape. Camera travels low across the terrain. ACT 2 (4-8s) A page turns. The map begins reorganizing itself. Rivers fold upward into roads. Mountains flatten and transform into oceans. Cities slide across hidden paper tracks. Entire regions rotate and lock into new positions like a giant mechanical puzzle. ACT 3 (8-12s) Another page turns. The map becomes increasingly impossible. New continents unfold from beneath existing continents. Bridges span across the sky. Floating islands emerge from layered mechanisms. Endless paper geography grows outward beyond the original map. ACT 4 (12-15s) Final page turn. The entire world folds inward through thousands of synchronized paper movements, transforming into a giant ornate compass made from landscapes, cities, oceans, and mountains. The compass expands and unfolds into an even larger impossible map extending beyond the book's edges. Freeze on the completed transformation.

Create a short, visually satisfying mixed-reality stop-motion video where [DRAWN OBJECT/SKETCH] seamlessly transforms into [REAL INGREDIENT/OBJECT]. A person uses a smartphone and colored pencil on a [SURFACE], sketching each item before it magically becomes real through smooth, seamless transformations. Show [INGREDIENTS] being added to [CONTAINER], then [COOKING/BLENDING/PREPARATION ACTION], followed by serving into [DISH]. Finish with the artist sketching [TOPPINGS/FINAL DETAILS], which instantly materialize into real food, creating a vibrant, aesthetically arranged [FINAL DISH]. Use realistic textures, natural hand movements, satisfying stop-motion timing, clean composition, soft lighting, and seamless transitions between pencil drawings and real objects.

clay crab trying to ride a bicycle on the beach, flopping dramatically, beach boardwalk made of plastilina 16:9

A short film of Thomas Hardy's Far From The Madding Crowd, but it's set on a space outpost under attack from an invasive plant, and the characters are paper cut-outs.

make an animated short that felt like Hedgehog in the Fog. I didn’t want to copy Yuri Norstein’s film, so we went with a new story. It runs for 6.5 minutes. All 9363 frames are drawn by JavaScript code written by Opus. No video or image generation models, just canvas. It follows a little mouse in a red scarf. Her grandfather, an old mole, is out fishing when fog rolls over the lake. She goes looking for him with a walnut-shell lantern and a sleeping firefly inside. They have a secret knock to help them find each other: short, short, long. It means "I’m here". Norstein used paper cutouts on layers of glass, filmed frame by frame. I wanted some of that paper texture to come through in code. So the scenes use different styles: torn-paper collage, chalk on black paper, tissue paper underwater. There’s even sand on a light table and a pop-up book. Opus wrote the music too. It found Steinway piano samples in my Logic library and used Python to compose the score around the rhythm of that knock.

Crie uma animação stop-motion cinematográfica vertical de 21 segundos no formato 9:16. Uma pequena figura humanoide feita inteiramente de pedras lisas de praia em formas naturais ganha vida em uma poça de maré rasa em uma costa rochosa. Cada parte do corpo é construída a partir de pedras individuais — uma pedra oval grande como cabeça, pedras arredondadas empilhadas para o tronco, pedras menores formando braços e pernas. A cena é filmada através de uma cerca de malha de arame ligeiramente desfocada, criando uma moldura natural em primeiro plano. Atrás da personagem, há uma linha costeira calma, água do mar rasa, rochas cobertas de cracas, algas marinhas e uma floresta suavemente desfocada sob um céu nublado. Texturas fotorrealistas, cores naturais atenuadas, profundidade de campo rasa, reflexos realistas na água. Animação: A figura de pedra se equilibra lentamente e começa a se mover como um pequeno humano brincalhão. Ela transfere o peso, levanta uma perna, dobra os joelhos, balança os braços de pedra e realiza uma dança peculiar e fofa enquanto mantém o equilíbrio com cuidado na superfície molhada. Pequenas ondulações se formam sob cada passo, e seu reflexo se move naturally na água. Os movimentos devem parecer stop-motion feito à mão, ligeiramente imperfeitos, mas críveis, com física realista de pedras e peso. Nos segundos finais, a figura perde o equilíbrio, tropeça e desaba naturalmente, com as pedras individuais se separando e rolando para o chão molhado raso. A personagem se desmonta completamente em pedras comuns. Termine com a câmera mantendo o foco nas pedras espalhadas e seus reflexos. Câmera: composição vertical fixa no estilo de smartphone, movimento sutil de câmera natural, plano médio-completo, ângulo baixo próximo ao nível da água, forte bokeh em primeiro plano da cerca, profundidade de campo cinematográfica. Iluminação: luz diurna suave e difusa, atmosfera costeira nublada, reflexos realistas e realces em pedras molhadas. Estilo: ambiente de ação ao vivo ultrarrealista + personagem stop-motion de pedra fotorrealista caprichosa, texturas táteis de pedra, movimento fisicamente crível, fotografia macro cinematográfica, sem superfícies com aparência de CGI, sem texto, sem humanos. Prompt negativo: cartoon, pedras com aparência plástica, traços faciais exagerados, personagem CGI suave, objetos flutuantes, física irrealista, membros extras, ambiente mutável, cortes de câmera, texto, marca d'água, cores supressaturadas.

Style & Aesthetics 3D stop-motion claymation style, plasticine texture with visible soft fingerprint smudges, warm soft-box lighting, cozy pastel brown, cream, and warm wooden tones. Miniature diorama scale, tilt-shift depth of field, playful frame-by-frame animation feel. ​Scene Sequence & Action ​Scene 1 (Base Construction): A minimalist clay base and street tile platform build themselves layer by layer on a beige studio backdrop. Streetlamps and small potted plants pop up around the corners. ​Scene 2 (Structure & Branding): A small cafe building forms with brown walls and a striped awning. A large clay Nutella jar drops smoothly onto the top, transforming into the main "Nutella" illuminated store logo and roof structure. ​Scene 3 (Interior Details): A close-up pan inside showing a miniature espresso machine, shelves lined with mini Nutella jars, and a counter featuring a stack of pancakes topped with chocolate spread, a croissant, and a coffee cup. ​Scene 4 (Character Animation): Cute, chibi-style clay characters enter. A young boy and girl sit outside at a tiny wooden table. The boy uses a small knife to spread smooth, glossy Nutella over a stack of fluffy pancakes. ​Scene 5 (Final Reveal): Camera zooms out to reveal the full animated diorama: a vibrant, bustling miniature Nutella cafe with outdoor seating, streetlamps glowing, and multiple adorable characters enjoying their treats. ​Technical Camera & Lighting Smooth isometric and eye-level camera transitions, macro lens perspective, warm interior glow mixed with soft ambient studio lighting, high-detail clay texture rendering, 4k resolution, 24fps stop-motion rhythm

Create a 30-second short film in the same handcrafted miniature papercraft style as the reference image: folded-paper characters, visible fibers, tiny imperfections, soft natural light, shallow depth of field, gentle stop-motion movement, and cozy miniature environments. Keep the pace calm, curious, and magical. Use dialogue sparingly. Let natural ambience carry most scenes, with a soft piano and glockenspiel theme appearing only during discoveries and emotional moments. 15 shots: Morning. The boy ties his shoes beside the front door while rain taps the window. His mother hands him a tiny paper umbrella. "Looks like rain." Outside, he notices a little red balloon caught in a tree. A handwritten tag hangs from it: "Please bring me home." Curious piano notes begin as he frees the balloon. He walks through a misty vegetable market, balloon floating behind him. An old fruit seller points uphill. "I saw one like that yesterday." The boy cycles toward a quiet hill, followin

ストップモーションのようなリズミカルな接近の後、顔の造形が変わることも厭わず、3DCG・実写・2000年代アニメ・ドット絵などの全く異なる次元（2D⇔3D）を激しく往復するグリッチ映像。最後はブラウザクラッシャー的な画面崩壊で終わる。映像コンセプト：滑らかなカメラ移動を完全に排除し、「パッ！パッ！パッ！」というリズムでカメラが段階的に顔へ接近（ジャンプカット）する。接近後、少女の顔は「元の顔立ち」を保つ必要はない。画面全体を巻き込んで、立体的な3DCG、生々しい実写、2000年代風のアニメ美少女、平面的なレトロドット絵といった「全く異なる絵柄と次元（2D⇔3D）」へと、ハードカットで何度も激しくすり替わり（往復し）続ける。カメラと編集方針：【超重要：滑らかな変化やズームインは絶対NG。コマ撮りのようなジャンプカットでの接近と、別次元の絵柄への「完全な切り替え」によって構成すること。】0.0〜3.0秒：【ストップモーション接近】1枚目の映像からスタート。カメラが滑らかに近づくのではなく、0.5秒間隔の一定のリズムで「パッ！パッ！パッ！パッ！」と段階的に顔へ向かってジャンプカットして迫っていく。各カットが切り替わる瞬間、強烈な色収差（RGBズレ）のノイズが走る。3.0〜8.0秒：【次元崩壊・絵柄の完全すり替え】顔のドアップ状態に到達。ここから、顔の造形が変わることも構わず、映像のレンダリングスタイル自体が0.5秒〜1秒単位でバチバチと切り替わり（往復し）続ける。「立体ポリゴン的な3DCG」→「超高精細な実写の人間」→「2000年代風のセル画アニメの美少女キャラクター（2D）」→「真っ平らなレトロドット絵（2D）」というように、3Dと2Dの次元を跨いだ全く別の絵柄へと、フラッシュを伴って強制的にすり替わる。8.0〜10.0秒：【ブラクラ的崩壊エンド】激しい絵柄の往復が処理限界を超え、映像が完全に崩壊する。顔の映像を下敷きにして、その上に「大量のエラーウィンドウ」「異なる映像表現の動画パネル」「極彩色のブロックノイズ」がブラクラ（ブラウザクラッシャー）のように多層レイヤーで無秩序にポップアップし続ける。画面全体がバグ動画コラージュで完全に埋め尽くされ、元の映像の形を一切留めないカオス的崩壊画面となる制約：中盤の絵柄の変化において、「元の顔のシルエットを保とうとする滑らかな変化」は絶対に不要。造形が変わってもよいので、「立体（3D）」と「平面（2D）」、そして「実写」「2000年代アニメ」という、次元の異なるレンダリングスタイルへの『完全なハードカット（すり替え）』を何度も激しく繰り返すこと。

用Claude Opus 5.5 做的小动画！故事叫《他的糖葫芦》⬇️ 读研的时候有位老师超级较真，改作业一点情面都不留，课上经常把我们说得下不来台。我还偷偷觉得他的翻译观念，太执着于“忠实”了，所以一直不太喜欢他哈哈。 结果有一天吃完饭出食堂，一抬头看见他就走在我们前面：高高的个子，头发稀稀的，背着个双肩包，手里居然举着一根糖葫芦！边走边吃，开心得不行 😂 我和同学当场就决定偷偷跟上去，一路憋笑憋到发抖。到现在还记得这一幕，非常可爱。 把这一幕做成了小动画，用了上次的“散步纸偶”风格 ↓

Using the reference image as the exact final frame, create a 10-second stop-motion-inspired fluid CGI animation of a single thick red braided rope forming the word “Smiling” on a pure white seamless background. At the beginning, the rope is loose and unformed, scattered in soft loops across the frame, with 4–5 tiny clay-like miniature characters wearing simple rope-green overalls and no distinct facial features standing around it. They quickly grab the rope and work together, pulling, stretching, coiling, twisting, and tying it into shape. The rope progressively transforms into the cursive letters “S-m-i-l-i-n-g”, moving smoothly from left to right. Each letter must be created entirely from the same continuous rope, with realistic braided fibers, intricate knots, overlapping loops, natural crossings, and clean negative spaces matching the reference image. The characters playfully climb over and around the rope while shaping each letter, coordinating their movements as the word becomes recognizable. The camera remains completely static and top-down, with consistent soft studio lighting, subtle shadows beneath the rope, and no background elements. In the final 1–2 seconds, the characters finish the last knot on the “g,” step back and hop away, leaving the completed “Smiling” rope artwork clearly visible and matching the reference image. No cuts, no camera movement, no independently generated text, no extra objects. Smooth continuous motion, tactile rope physics, realistic fibers, playful miniature stop-motion aesthetic blended with polished CGI.

Create a 21-second vertical 9:16 cinematic stop-motion animation. A tiny humanoid figure made entirely from naturally shaped smooth beach stones comes to life in a shallow tidal pool on a rocky seashore. Each body part is constructed from individual stones—large oval stone as the head, stacked rounded stones for the torso, smaller stones forming arms and legs. The scene is filmed through a slightly out-of-focus chain-link fence, creating a natural foreground frame. Behind the character is a calm shoreline, shallow seawater, barnacle-covered rocks, seaweed, and a softly blurred forest under an overcast sky. Photorealistic textures, natural muted colors, shallow depth of field, realistic water reflections. Animation: The stone figure slowly balances itself and begins moving like a playful little human. It shifts its weight, raises one leg, bends its knees, swings its stone arms, and performs a quirky little dance while carefully maintaining balance on the wet surface. Tiny ripples form beneath every footstep, and its reflection moves naturally in the water. The movements should feel hand-crafted stop-motion, slightly imperfect but believable, with realistic stone physics and weight. Toward the final seconds, the figure loses its balance, stumbles, and collapses naturally, with the individual stones separating and tumbling onto the shallow wet ground. The character completely disassembles into ordinary stones. End with the camera holding on the scattered stones and their reflections. Camera: locked-off smartphone-style vertical composition, subtle natural camera movement, medium-full shot, low angle close to water level, strong foreground bokeh from the fence, cinematic depth of field. Lighting: soft diffused daylight, overcast coastal atmosphere, realistic reflections and wet stone highlights. Style: ultra-realistic live-action environment + whimsical photorealistic stone stop-motion character, tactile stone textures, physically believable movement, cinematic macro photography, no CGI-looking surfaces, no text, no humans. Negative prompt: cartoon, plastic-looking stones, exaggerated facial features, smooth CGI character, floating objects, unrealistic physics, extra limbs, changing environment, camera cuts, text, watermark, oversaturated colors.

DURATION: 30 seconds ASPECT RATIO: 16:9 STYLE: Premium handcrafted fantasy / cinematic miniature film CAMERA: Macro cinema photography, 35mm / 50mm / 85mm FRAME RATE: 60 fps with gentle slow motion CONCEPT Inside a quiet artist's studio sits a completely handmade paper landscape. A tiny paper town rests beneath a folded paper moon. When the moon rises, the miniature world begins changing. The entire story is told through paper, light, shadows, and miniature movement. --- 00:00–00:05 — THE STUDIO Begin with a wide cinematic shot of a dark artist's studio at night. A large wooden table occupies the center. On it sits an elaborate miniature paper landscape. Paper mountains. Tiny houses. Small trees. A winding paper river. The room is illuminated only by soft moonlight from a nearby window. Camera slowly pushes toward the miniature world. --- 00:05–00:09 — THE MOON Cut to an 85mm macro shot. A small folded paper moon rests behind the miniature mountains. Its surface contains delicate hand-drawn patterns. A soft light gradually appears behind it. The moon begins rising slowly. Its light spreads across the paper landscape. --- 00:09–00:14 — THE TOWN Move into a 50mm tracking shot. As moonlight reaches the miniature town, tiny paper windows begin glowing one after another. The paper river catches the light. Small paper trees cast long shadows. Everything remains physically handcrafted. Visible paper fibers. Tiny folds. Natural imperfections. --- 00:14–00:19 — THE TRANSFORMATION The camera moves slowly overhead. The paper mountains gently unfold. They become taller. The river extends through newly revealed valleys. Paper bridges unfold across the landscape. The transformation should feel like stop-motion craftsmanship rather than digital magic. Keep every movement delicate and believable. --- 00:19–00:24 — THE SKY Transition into a 35mm upward-looking composition. The paper moon continues rising. Behind it, the studio ceiling gradually disappears into a miniature paper sky. Tiny folded stars unfold one by one. The miniature world now appears enormous. The boundaries between the table and the sky become impossible to distinguish. --- 00:24–00:27 — THE REVEAL Camera slowly pulls backward. The entire miniature landscape is now visible. The paper moon hangs above the completed world. A gentle paper cloud moves across the scene. Everything is calm. --- 00:27–00:30 — FINAL IMAGE Extreme wide shot. Reveal that the entire miniature landscape has folded itself into a single beautiful paper artwork. The paper moon becomes the center of the composition. The studio is visible around it. The moonlight slowly fades. One tiny paper star remains illuminated. CUT TO BLACK. No text. No logo. No characters. --- VISUAL LANGUAGE Handcrafted miniature cinematography. Real paper fibers. Visible folds. Natural cardboard edges. Subtle imperfections. Physical shadows.

[SCENE] A 30-second stylised 3D animated short. A handmade clay mug at the back of a kitchen cupboard waits to be chosen, while the perfect porcelain cups at the front are used every day. Warm, funny, quietly moving. 2.35:1.

A clay pirate captain duck with a tiny hat, wooden sword, eye patch and dramatic pose Sails across a bathtub ocean, battling giant soap waves and riding a sponge ship toward a rubber duck treasure island Bathroom fantasy world with bubbles, towels as cliffs and warm light reflecting on water 3D clay , Pixar-style playful adventure, soft clay textures, rounded props, dynamic camera glide over water, bright cheerful atmosphere, ending with the duck discovering a golden bath plug treasure.

Subject A miniature hand-drawn 2D animated girl with messy black hair, an orange shirt, teal shorts, striped socks, and a yellow backpack, riding a tiny orange skateboard across real-world office desk items. Style Mixed-reality hybrid animation combining 2D hand-drawn doodle character art with a realistic live-action desk environment. Features playful stop-motion physics, smooth line animations, and lighthearted background music layered with miniature skateboard rolling and grinding sound effects. Camera & Framing Close-up macro shots, dynamic low-angle tracking perspectives, and tilt-shift shallow depth-of-field focusing on the tiny skateboarder as she navigates large household objects. Audio & Scene Breakdown 00:00 - 00:02 Visual: Macro shot of the tiny 2D skateboarder balancing between two giant human fingertips on her miniature orange board before pushing off. 00:03 - 00:05 Visual: Low-angle tracking shot as she performs a kickflip off the edge and lands smoothly onto a wooden desk surface. 00:06 - 00:08 Visual: Side-profile shot grinding across the edge of an orange wooden ruler and launching up a curved piece of white paper like a halfpipe. 00:09 - 00:14 Visual: Dynamic camera angle as she drops into the rim of a ceramic mug filled with dark coffee, riding around the inner wall before launching back out. 00:15 - 00:20 Visual: Tracking shot following her as a human hand draws a green crayon path on notebook paper, grinding over a white eraser and hopping over spiral notebook rings. 00:21 - 00:24 Visual: Air shot as she jumps off an open notebook, performing a trick mid-air over a computer keyboard and desk surface. 00:25 - 00:30 Visual: Close-up as she launches into the air, does a 360 spin with her board, and lands precisely back onto the gap between the two giant human fingertips where she started.

15秒以内のSNSショート動画。 ※添付画像を冒頭に表示させないこと。 テーマは「# ハートアクション」。 1人の主人公が画面左から右へ進んでいく、横スクロール型ストーリー動画。 世界観は、折り紙・切り絵・ペーパークラフト・ミニチュアを組み合わせた温かくシンプルな紙の世界。

一句话总结：橡皮泥定格动画短片。深夜的小阁楼里，一个年轻的黏土创业者有了一个做app的点子，书桌上那个小小的银色黏土方盒（一台迷你电脑主机）的盖子像玩具箱一样打开，一群小机器人帮手爬出来，自动完成设计、写代码、画图标、测试和上线，让他只专注于最有趣的创意部分。app上线的那一刻，窗外整座黏土城市亮起来。30秒，多机位剪辑，无对白无旁白，全程拟音音效驱动，结尾出现黏土字幕。 核心概念（像给10岁孩子解释）：这个小方盒里住着一群小帮手。你有了一个点子，按一下按钮，它们就爬出来把所有麻烦的活儿自动干完。你只负责想出最酷的东西。 风格：真实手工定格动画质感，每秒12帧的分步运动，非平滑插值，角色表情靠眉毛和肩膀的微小变化传达。黏土表面可见指纹与接缝。微缩布景：毛毡、瓦楞纸、火柴棍家具、棉花云。浅景深移轴感，每个镜头一个明确的机位行为，机位变化时用硬切。禁止：真实照片质感、光滑3D CG、任何品牌标志、水印、除结尾指定字幕以外的任何文字。 角色与道具：创业者是一个瘦高的黏土青年，蓬乱的棕色头发、圆圆的大眼镜、灰色连帽衫、浓密会动的眉毛。主机是一个巴掌大的银色哑光黏土方盒，圆角，正面有一个小圆按钮，底部有一圈细缝。方盒旁边立着一台小小的黏土显示器。机器人帮手是拇指大小的白色黏土小机器人，圆脑袋、一只天线、两条细腿，每个手里拿着不同的小工具（画笔、迷你键盘、放大镜、小印章、小喇叭）。app的吉祥物是一颗带笑脸的橙色小彗星。 镜头1（0s-4s）设定。大远景，正面对称构图，深夜的微缩阁楼：斜屋顶、一扇小窗、窗外是黑蓝色的纸板城市轮廓。创业者坐在小书桌前，桌上堆着歪歪扭扭的黏土便利贴塔，银色方盒安静地立在显示器旁边。他盯着一张空白的黏土纸，眉毛拧成一团。<远处城市的轻微嗡鸣> <纸张摩擦声> 忽然，他头顶一步一步鼓出一颗黄色黏土灯泡，眉毛猛地扬起。<清脆的"叮"> 末状态：他看向银色方盒。 镜头2（4s-8s）触发。切到桌面高度的低角度镜头，银色方盒在前景占据画面下方，创业者在后景虚化。他的手指伸进画面，按下方盒正面的小圆按钮。<机械的"咔哒"> 方盒底部的细缝亮起一圈薄荷绿光，焦点从他的脸拉到方盒。方盒的顶盖像玩具箱一样一步一步掀开，<盖子弹开的"啪"> 一架火柴棍小梯子从里面伸出来搭在桌上，小机器人一个接一个顺着梯子爬出来，落在桌面上排成一排，齐刷刷举起工具。<梯子伸出的木头咯吱声> <细碎的爬梯脚步声> <小工具碰撞的叮当声> 末状态：六个机器人面向镜头站好，顶盖敞开着，创业者在后景眼镜反光。 镜头3（8s-12s）自动搭建。切到正上方的垂直俯拍镜头，桌面像一张棋盘。机器人以极快的分步节奏把一块块彩色黏土薄片拼成一排排整齐的app界面：按钮、列表、一个大大的空白圆圈留给图标。另一个机器人坐在方盒顶上用迷你键盘敲字，一条卷曲的黏土代码彩带从方盒的细缝里不断长出来，绕着桌面盘旋。<密集的键盘哒哒声> <薄片拼合的啪嗒声> 末状态：界面整齐铺满桌面，代码彩带绕了一圈。 镜头4（12s-16s）他做最有趣的部分。切到微距特写，浅景深。创业者的手拿着一小根黏土，慢慢捏出一颗橙色小彗星，再用指尖点出两只眼睛和一个笑脸。<黏土揉捏的柔软声> <两下轻点声> 一个拿画笔的机器人踮脚趴在他手边看，天线激动地颤抖。焦点从彗星拉到机器人的脸，再拉回来。末状态：彗星完成，创业者把它放进界面上那个空白圆圈里。<恰好嵌入的"咔"声> 镜头5（16s-20s）自动测试。切到侧面横移镜头，镜头缓慢分步向右平移，一次扫过三个工位：第一个机器人用放大镜检查显示器上的界面，发现一个歪掉的按钮，用手指推正；第二个机器人在一部迷你黏土手机上滑动，彗星在屏幕上跳来跳去；第三个机器人举起小印章，重重盖在一张黏土纸上。<放大镜的玻璃摩擦声> <推正按钮的"咔"> <滑动的轻微沙沙声> <印章落下的"咚"> 末状态：三个机器人同时向创业者竖起大拇指。 镜头6（20s-25s）上线。切回正面构图，创业者深吸一口气，肩膀抬起，然后用手掌拍下桌上一个大大的红色黏土按钮。<按钮按下的沉闷"咚"> 方盒底部的绿光猛地变亮，显示器闪一下白光。<一声上扬的"叮"> 镜头开始缓慢后拉，穿过小窗飞到阁楼外面：黑蓝色的纸板城市里，一扇接一扇的小窗户亮起橙色光，每扇窗里都有一块微型黏土屏幕上跳着那颗笑脸彗星，光点像涟漪一样从阁楼向外扩散到整座城市。<窗户逐个亮起的连续"啵"声，越来越密> <温暖的合唱般的嗡鸣渐强> 末状态：大远景，整座城市点亮，阁楼的小窗在正中央。 镜头7（25s-30s）结尾。切回阁楼桌面，机器人们向创业者挥手，一个接一个爬回梯子钻进方盒，梯子缩回去，顶盖一步一步合上。<倒放的爬梯脚步声> <盖子合上的轻柔"咔哒"> 创业者在后景虚化，双手抱头靠在椅背上，眉毛放松。镜头缓慢分步推近至银色方盒的英雄特写，暖色背光勾勒轮廓，底部绿光轻柔呼吸。方盒顶部的黏土字母像积木一样一个个从盖子上凸起成形，先是【meet the new Mac mini】，停顿一下，再在前方凸起一行较小的【made for builders】。<字母逐个凸起的软"啵"声> <一声温暖的余韵音，然后归于安静> 末状态：方盒居中，两行字幕清晰可读，定格保持1秒。 灯光：主光是书桌上一盏黏土台灯的暖黄光，从左上方打下，硬边阴影，在银色方盒的圆角上留下柔和高光。窗外冷蓝色月光作为逆光 and 补光。方盒亮起后，底部的薄荷绿光成为第三个光源，映在创业者的眼镜上。镜头6城市亮起时，橙色窗光逐渐盖过蓝色月光。轻微的定格式亮度闪烁。三层色彩：基底为深蓝夜色与炭灰纸板，主体为灰色连帽衫的创业者和银色哑光方盒，点缀色为薄荷绿底光和橙色彗星与窗光。 全程保持：每个镜头只有一种机位行为，镜头之间硬切。所有运动分步、无平滑过渡。创业者、银色方盒、机器人和彗星的外形、颜色、大小全程一致。音频全程只有拟音音效和轻微的环境底噪。无对白、无旁白、无人声、无背景音乐。除结尾两行黏土字幕外，无任何文字、无品牌标志、无水印。

{ "title": "Tiny Workers Repairing a Broken USB Drive", "duration": "15 seconds", "style": "cinematic miniature stop-motion, photorealistic", "prompt": "A macro cinematic scene of a damaged USB flash drive lying on a dark wooden desk. At the beginning, the USB drive is visibly cracked, dirty, and covered with small broken fragments. Dozens of tiny construction workers in colorful safety helmets and work uniforms gather around it, inspecting the damage and carrying miniature tools and equipment. They actively repair and rebuild the USB drive: some workers remove debris, others weld and assemble tiny components, while others carry pieces across the surface. As the repair progresses, the damaged brown exterior gradually transforms into a clean, sleek metallic silver USB drive. The workers continue polishing and inspecting the finished device. Maintain realistic miniature scale, detailed textures, believable shadows, cinematic depth of field, subtle camera movement, warm desk lighting, and highly detailed macro photography.", "camera": { "shot": "macro close-up", "movement": "slow cinematic push-in with subtle lateral movement", "focus": "shallow depth of field focused on the USB drive and miniature workers" }, "lighting": { "style": "soft cinematic practical lighting", "details": "warm highlights, realistic reflections on metal, natural shadows" }, "animation": { "workers": "continuous coordinated construction and repair activity", "transformation": "gradual visual transition from damaged brown USB casing to polished silver casing", "motion": "tiny tools moving, workers carrying parts, welding sparks, debris being cleared" }, "negative_prompt": "large humans, oversized workers, cartoon style, unrealistic proportions, floating objects, distorted USB drive, excessive camera shake, blurry details, text, logos, watermark" }

Use @Image 5 as storyboard to drive the whole animation. Use @Image 1 only for the boxer doll's final identity: chibi felt-and-paper doll, big pale wool afro with dark undercut, thick drawn eyebrows, round blush cheeks, tattooed

Style: STOP-MOTION ANIMATION — stepped, frame-by-frame motion brought to a HAND-PAINTED 2D look, a moving oil painting, NOT clay, NOT puppets, NOT 3D. True 12 frames per second, ANIMATED ON TWOS: 12 distinct hand-painted drawings per second, each pose held two frames then snapping to the next, never gliding. Constant painterly BOIL — brushstrokes and outlines subtly alive frame to frame. NO smooth interpolation, NO motion blur, NO morphing, real frame-by-frame animation not AI slop. Style from @[Image 1](image_1), ANA from @[Image 2](image_2), UMAI from @[Image 3](image_3), THE WOLVES from @[Image 4](image_4) — lean steppe wolves, coal-black with cold sheen, pale eyes, the snowy cliff from @[Image 5](image_5). THE INFANT is not a separate reference — render from description: a tightly swaddled baby wrapped in a thick DARK BLUE wool blanket, PRESSED AGAINST ANA'S CHEST in one arm as she clings to the cliff, only a small dark-blue bundle, face barely visible, stirring faintly; NOT a second active child. Heavy weather: drifting FOG, falling and blowing SNOW, gusting WIND. Atmospheric motion (fog, falling and blowing snow, wind-haze, breath-vapor) moves SMOOTHLY; figures, falling rock, wolves and drawn snow-spray step on twos. DIRECTOR'S NOTES: 1. THE SCENE — the catastrophe, the heart of the whole story, and it MUST READ through a precise CHAIN OF CAUSE AND EFFECT, with composition and camera telling the cruel story. As ANA climbs one-armed with her infant, her foot dislodges a rock slab; the slab falls toward little UMAI below; and a WOLF leaps and SHOVES UMAI clear WITH ITS BODY an instant before the slab hits — the wolf SAVES her. Then the pack streams in and carries UMAI away. The wolves do not attack — the first saves her, the pack takes her. This reversal is everything. 2. THE CAUSAL CHAIN — stage each link on screen, cause before effect, on twos: (a) ANA's foot comes down on a ledge high on the cliff, the ledge CRACKS and BREAKS under her weight; (b) a heavy SLAB breaks loose and FALLS straight down toward UMAI — the falling rock the through-line; (c) UMAI stands directly below, looking up; (d) from the side a WOLF LAUNCHES and SLAMS its shoulder and body into UMAI — NOT its jaws, NOT a bite — knocking her sideways clear; (e) the slab CRASHES into the snow exactly where she stood, a burst of powder snow on twos; (f) UMAI tumbles unhurt among the wolves. Every cause visible. 3. THE WOLF SAVES WITH ITS BODY — CRITICAL: the first wolf strikes UMAI with its shoulder/flank, a SHOVE, mouth NOT on her, no bite, no seize — a rescue read as a body-slam. For one instant it LOOKS like an attack — then the rock smashes the empty snow and we understand. Play the shock-reversal. 4. THE PACK TAKES HER — the pack pours in as a fast dark stream from @[Image 4](image_4), varied coats, and SWEEPS UMAI up among them, NOT tearing her, carrying her in the current as they stream away into fog and blizzard. She is small in the dark flowing mass, swept away into the white. The beginning of her life among them. 5. ANA ABOVE SEES AND SCREAMS — high on the cliff, helpless, clinging one-armed with her baby, she SEES and reaches out and SCREAMS her daughter's name. FACIAL ACTING: her held composure SHATTERS — her face breaks open, eyes blown wide in horror, mouth tearing open, all the controlled tenderness from before exploding into raw terror, on twos as snapping held poses of a face coming apart. 6. CAMERA LAW (angle and height tell the cruelty) — SHOT 1 high WITH ANA then a hard VERTIGO TILT DOWN following the falling rock — the height is the cruel mechanism, she is the unwitting cause from above. SHOT 2 LOW at UMAI's level or below — we share the child's helplessness, the rock and the wolf bearing down on us. SHOT 4 the BIG-VERSUS-SMALL angle — ANA tiny and powerless high on the vast cliff, the storm dwarfing her, never powerful, only helpless. Aggressive dynamic handheld throughout, the horizon reeling on the scream, never gimbal-smooth, never tripod-locked. 7. COMPOSITION LAW (the frame tells the story — RUPTURE, the opposite of the vow's affinity) — LINE: the cruel CROSS of forces in the save — the VERTICAL line of doom (the falling rock from above) intersected by the HORIZONTAL line of salvation (the wolf from the side); their crossing on the tiny child IS the story. The pack's flow a DIAGONAL line of dynamics sweeping her off. The vertical gap between mother above and child below now PERMANENT and vast. SHAPE: the angular rock and angular lunging wolf (both read as threat) converging on the small rounded child. TONE: dark masses (rock, wolf, pack) on pale snow and fog, the child the focal point. MOVEMENT: contrast and high intensity — fast violent vertical fall, horizontal slam, diagonal sweep, against the slow helpless reach. CONTRAST & AFFINITY: maximum CONTRAST and PEAK visual intensity — the rupture the vow's affinity has been saving for. SPACE: deep vertical, the cruel distance. 8. FRAMED INK STAGING (read as masses) — FRAME-TRAP the small child between the falling rock above and the lunging wolf from the side, two dark angular masses closing on her. CONCEAL: fog half-swallows the catastrophe, and swallows UMAI as the pack carries her into the white. CAMERA HEIGHT: low and helpless at the child; tiny and powerless at the mother. LARGE VS SMALL: the small child and small distant mother against the vast cliff, the storm, the dark flowing pack. 9. WEATHER — FOG, SNOW, WIND, all smooth: low drifting fog across ground and cliff base, thick snow blown sideways in gusts, gusting wind dragging fog and snow and tearing breath-vapor, the catastrophe half-veiled and swallowed by the storm. 10. SECONDARY ACTION on twos — ANA's and UMAI's clothes hair and breath-vapor whipping, the wolves' fur rippling, the dark-blue swaddled bundle shifting, snow bursting from the rock's impact and the wolves' running as drawn powder on twos; fog and blowing snow smooth. 11. LIGHT — cold grey stormlight in fog and snow, flat soft directionless, no sun, no rays, no beams, no god rays, faces readable. Correct neutral white balance, NOT a blue filter, muted desaturated, snow soft storm-grey white, fog pale grey; nearly BLOODLESS — a rescue not a mauling, any blood dark muted and minimal. SHOT 1 — ON THE CLIFF, ~50mm, aggressive handheld, high on the rock face in fog and blowing snow. COMPOSITION: ANA climbing one-armed in the UPPER frame, the dark-blue swaddled infant pressed to her chest, her boot reaching for a ledge — framed HIGH WITH HER so we feel the drop below. Her foot comes down — the ledge CRACKS and BREAKS away on twos, a SLAB breaking loose. Hard VERTIGO TILT DOWN following the slab as it FALLS down the cliff through the fog toward the tiny figure far below — the vertical line of doom, the height the cruel mechanism. Cut on the falling rock. HARD CUT to SHOT 2 — BELOW THE CLIFF, ~35mm, aggressive handheld, framed LOW at UMAI's level. COMPOSITION (the cross of forces): little UMAI small in frame looking up, fog and snow blowing past — the SLAB falling INTO frame from the TOP straight down at her (vertical line of doom) — and from the SIDE a WOLF LAUNCHES and SLAMS its shoulder and body into her (horizontal line of salvation), the two lines crossing on the tiny child, knocking her sideways clear (jaws NOT on her, a shove not a bite) — and the slab CRASHES into the snow exactly where she stood, a burst of powder on twos. For one beat the two dark angular masses closing on her read as ATTACK — then the empty crater shows the wolf saved her. UMAI tumbles unhurt among arriving wolves. Real weight and impact, all on twos. HARD CUT to SHOT 3 — BELOW, WIDE, ~35mm, aggressive handheld. COMPOSITION (the diagonal sweep): the pack pours