พรอมต์วิดีโอสำหรับ Short Film

Generate a 20-second, 16:9 widescreen, 720p, highly realistic live-action quality urban street chase action short film. Use tense, fast but spatially clear action movie editing. A rainy evening old commercial street, entering the blue hour. Most shops are closed; metal roll-up doors, old brick walls, narrow alleys, external fire escapes, and scattered warm yellow shop lights form a real urban environment. Wet asphalt road reflects streetlights and neon signs, but no recognizable brands or garbled text. [Protagonist Character Design] Female, 22-year-old East Asian, approx 168cm, slender and toned with an athletic physique from running. Agile but not a professional spy or superhero. Warm natural skin tone with real pores, fine texture, and natural asymmetry. Narrow oval face, clear brow bone, straight thick eyebrows, sharp gaze, straight nose, clean jawline, a faint small scar on the right eyebrow tail, full chest with clear contours. Black collarbone-length hair tied in a loose low ponytail. The ponytail, stray hairs, and clothing hem swing continuously with speed and turns; with exertion, stray hairs stick to forehead and face. Fixed clothing: Matte dark green lightweight windbreaker, dark gray U-neck tight T-shirt, black straight-leg cargo pants, dark gray non-slip running shoes, black nylon crossbody bag with a burgundy strap crossing from right shoulder to left waist. Protagonist maintains the same face, physique, hair, clothing, and bag throughout. The bag stays with her, never transferred to pursuers. Performance core: Initial alertness → tense acceleration when confirmed chased → rapid judgment facing obstacles → brief panic in a dead end → re-focusing finding the fire escape → nearly caught → temporary escape but still wary. Express tension through backward glances, rapid breathing, scanning the environment, shifts in center of gravity, and gripping actions; no exaggerated bulging eyes, screaming, or emoji-like terror. [Three Pursuers] Fixed as 3 adult males, unarmed: Pursuer A: Tall, charcoal gray hoodie, black pants, black sneakers, always leading. Pursuer B: Burly, dark blue denim jacket, dark yellow T-shirt, dark pants, usually left behind A. Pursuer C: Thin, brown old work jacket, gray beanie, dark gray pants, usually right behind. Identities, faces, physiques, and clothing are non-interchangeable. Count always 3, no duplicating, merging, disappearing, or adding new ones. [00:00–00:02.5 | Establishing Wide | Spotting Pursuers] Fixed wide angle from the side of the street, establishing the wet street, intersection, alley entrance on the right, and distant fire escape. Protagonist bursts from an alley on the far left, enters the main street and instinctively looks back. Pursuer A appears immediately, B and C follow within half a second. Clear chase formation. Protagonist accelerates right, breathing tightening, leaning forward. Pursuers follow. Music starts with low pulses; sounds of shoes hitting wet ground and splashing water, followed by three sets of approaching footsteps. [00:02.5–00:06 | Side Orbit Follow | Closing Distance] Medium-long shot high-speed orbit track from the side, parallel to protagonist moving right. All 4 visible. Protagonist accelerates arm swing; bag and strap bounce. One quick backward glance to confirm Pursuer A is closing in, then eyes back front. Pursuers maintain positions: A first, B left-back, C right-back. Protagonist passes a puddle, right foot splashing water backwards; no slipping, continues running. B pauses slightly stepping in the puddle, falling half a pace behind. Music adds fast low drums and short electronic beats. [00:06–00:09.5 | Low-Angle Front Follow | Overlapping Fallen Bicycle] Low-angle wide-front follow, camera moving backward. Protagonist visible from knees up; obstacle ahead clear. A fallen delivery bike blocks the path. Protagonist sees it, checks height, adjusts stride. Left foot plants on wet ground, knee bends, center of gravity drops; then jumps over the lowest part of the frame. Vertical rise happens after takeoff. Lands on right foot, knee absorbing impact, upper body briefly dipping, then re-accelerates. Short side-back medium shot: A vaults over handlebars, B dodges left, C vaults the wheel. Distinct but continuous actions, no clipping or merging. [00:09.5–00:13.5 | Telephoto Compression | Entering Dead End] Frontal telephoto shot from deep inside a narrow side alley. Protagonist turns right into the alley; long lens compresses space making pursuers look closer. Right foot plants to turn, body leaning inward, shoes kicking up water droplets. Runs a few paces, realizes the alley ends in a brick wall. Speed drops, sprint turns to two rapid braking steps. Doesn't stop early or appear at the wall instantly. Panic when seeing the wall; scans left/up, finds a metal toolbox and a fire escape bar 2m high. Sounds of approaching footsteps and a short shout (no dialogue). Music adds rising high-freq strings and electronic noise. [00:13.5–00:17 | Low-Angle Medium | Leaping to Fire Escape] Side low-angle medium shot from below the fire escape, showing lead, toolbox, bar, and alley entry. She rushes the toolbox. Right foot plants on the edge with a metallic thud; pushes up. Reaches up with both hands. Hands grip the bar after rising. Fingers close fully, arms take weight, body swings slightly. Tucks abs, feet against wall, right knee up, pulling to the platform. Pursuer A lunges for her right foot. Hand misses by 20cm after she pulls up. No contact. Shoes pass above A's palm. A overshoots, stabilizing without falling. [00:17–00:20 | Low-Angle Wide | Temporary Escape] Fixed low-angle wide from alley floor. Using arm pull and wall kick, she rolls onto the first platform. Chest, abs, and knees cross the edge sequentially. Pursuers A, B, and C arrive below. Count stays 3, looking up for a way to follow. She stands quickly, grabbing the upper railing to climb higher. Looks down once: not victory, but panting, tension, and wary of stopping. Camera tilts up slightly following her out of frame top. Last shot shows the swaying metal fire escape, pursuers below, and wet brick walls. Loud metallic vibration sounds. Music ends on a strong beat at 20s, leaving suspense. [Music & Sound FX] Instrumental urban action thriller score: low-freq heartbeat pulses, fast electronic beats, low drums, rising strings, and a final heavy hit. Music builds from 0s, adds beats at 2.5s, peaks during the climb, and stops at 20s. Must not drown out real sounds: four sets of footsteps, lead's rapid breathing, splashes, bike vibration, metallic toolbox thud, bar friction, and fire escape vibration.

FORMAT: 30-second photorealistic adventure mystery short film, 4K UHD, 24fps, realistic Chinese countryside, natural sunlight, physically accurate movement TIME: 3:40 PM–4:10 PM, clear autumn afternoon LOCATION: Rural mountain village in southern China, old stone house, bamboo forest, abandoned hillside temple, narrow underground passage CHARACTERS: Chinese boy, 16, faded blue jacket, small backpack, curious and energetic; grandfather, 70s, traditional countryside clothing STORY: A teenager discovers that an old stone wall near his grandfather's house hides a forgotten passage leading toward an abandoned hillside temple. ACTION FLOW: 00:00–00:04 → Boy helps his grandfather move old wooden boxes inside a stone storage room. One box falls, exposing an unusual stone pattern behind it. 00:04–00:08 → He pushes the stones and discovers a narrow opening. Dust falls from the ceiling. Grandfather immediately tells him to stop. 00:08–00:12 → Boy secretly returns with a flashlight and crawls through the passage beneath the house. 00:12–00:16 → Passage opens into a bamboo-covered hillside. He climbs out and discovers old stone steps disappearing into vegetation. 00:16–00:20 → He follows the steps, pushing bamboo branches aside. A weathered temple roof suddenly appears through the trees. 00:20–00:24 → He enters the abandoned courtyard and discovers an old bell covered in moss. Wind moves the rope. 00:24–00:27 → He touches the bell. It swings naturally and produces one deep sound across the valley. 00:27–00:30 → Cut back to grandfather standing at the tunnel entrance, silently watching him. He says, “I thought that place was gone forever.” CAMERA: Fast handheld exploration footage, 24mm wide lens inside the tunnel, quick focus pulls, natural camera shake while crawling and climbing, occasional branches crossing lens, rapid reveal of the temple. PHYSICS: Loose stones shift under pressure, dust falls from disturbed masonry, bamboo bends when pushed, footsteps displace dry leaves, bell swings from applied force and gradually loses momentum. LIGHTING: Warm afternoon sunlight outside, dark flashlight-lit tunnel, scattered sunbeams through bamboo, realistic exposure transition when exiting the passage. AUDIO: Wooden boxes scraping, stone movement, falling dust, footsteps, bamboo rustling, insects, distant birds, bell resonance, natural dialogue. REALISM: Historically plausible rural architecture, weathered stone, natural vegetation, realistic underground geometry and human movement. No magical tunnel, glowing objects or fantasy temple effects.

3D animated comedy. In a cozy living room at night, one fluffy house cat is deeply asleep on the couch in a completely innocent pose while a digital clock on a side table reads 02:59. The moment the clock flips to 03:00, the cat’s eyes pop open and it instantly transforms into a tiny maniac. It blasts off the couch, sprints across the room at absurd speed, bounces off the sofa, skids across the table, races up the wall, runs upside down across the ceiling, then rockets back down, knocking a pillow, a sock, and a blanket flying in every direction. The whole burst should feel fast, wild, and ridiculous, like pure 3 a.m. cat madness. Then the noise wakes the owner, who stumbles in half asleep, messy and confused, trying to understand the chaos. Final payoff: the owner turns toward the couch and sees the cat already back in the exact same spot, curled up fast asleep like a perfect angel, while the room around it is a total mess. The cat must look completely innocent, as if the owner imagined everything. Bright polished 3D animation, exaggerated facial expressions, strong physical comedy, fast readable timing, playful cinematic camera, clear cause-and-effect, one cat, one living room, one short burst of chaos, funny and crystal clear. No text, no logos, no famous celebrity faces, no recognizable actors, no public-figure likenesses.

# Seedance 2.5 — 30-second Korean Bus Romantic Comedy / Sudden Brake Catch / Romantic Long Kiss / Bus Exit Cheek Kiss Use exactly 2 uploaded image assets. image1 = The sole and highest priority reference for the adult female lead's identity, face, hairstyle, body type, school uniform, and accessories. Strictly maintain the recognizable face, skin tone, light blue short hair, white cloud hair clip, blue fish hair clip, petite proportions, and the exquisite deep blue school uniform, white shirt, bow, plaid skirt, socks, and shoes from the reference image. image2 = The sole and highest priority reference for the adult male lead's identity, face, hairstyle, body type, school uniform, and accessories. Strictly maintain the recognizable face, black hairstyle, tall and slender proportions, and the Korean-style male school uniform from the reference image. All main characters and recognizable background passengers are clearly depicted as adult actors over 20 years old, using only school-style uniforms and school bus themes. Generate a 30-second, 16:9 widescreen, 4K, 24fps, hyper-realistic live-action Korean romantic short film. Warm afternoon natural light, realistic skin, realistic human inertia, realistic bus suspension and braking physics, delicate eye contact and breathing, natural motion blur, slight film grain. The overall look must be like a real Korean romantic film, not a music video, animation, game CG, or plastic AI skin feel. [Characters and Scene] The female lead is about 156cm, distinctly petite; the male lead is about 180cm, with a natural and obvious height difference when standing together. At the start, the female lead stands in the bus aisle holding a hand strap; the male lead is clearly seated in the aisle seat next to her. The bus is moderately crowded with adult student actors of different faces, hairstyles, and poses. Warm afternoon sunlight shines outside the window. [0–4s | Peaceful After-School Atmosphere] A 35mm aisle wide shot establishes the bus interior, with the camera slowly pushing toward the two leads. The female lead holds a strap with one hand and a school bag with the other; the male lead sits quietly beside her. Outside objects move naturally, and the bus has subtle road vibrations. People around are looking at phones or chatting, overall relaxed and natural. [4–8s | Sudden Brake and Loss of Balance Must Occur Simultaneously] The driver suddenly slams on the brakes. First, clearly hear the sharp, realistic sound of brake friction: “Kkiii-ik——!” At the same instant the braking starts, the entire bus immediately generates strong forward inertia, the front dips, and the vehicle vibrates significantly. All physical reactions must happen at once: Hand straps swing violently forward; Bags, clothing edges, and hair all sway forward; Seated passengers' upper bodies jerk forward instantly; Someone instinctively grabs a handrail; The camera is also jolted forward by inertia with a slight recoil, creating a realistic handheld jolt. The female lead must also immediately lose her balance at the same instant the braking starts. The arm holding the strap is suddenly pulled straight, her center of gravity instantly shoots out of her foot support range, and her feet are forced to take several frantic, messy corrective steps forward. The action must be a continuous physical chain: Braking starts → Body simultaneously leans forward violently → Feet take quick corrective steps → Upper body is still carried by inertia → Fingers slip from the strap → The person naturally falls toward the male lead. Do not show the female lead suddenly losing balance after the bus has already stopped, and do not let her regain her footing midway. [8–12s | Male Lead Catches Her While Vehicle is Still Shaking] Use a 3/4 medium shot from the female lead's front-right, clearly showing the male lead's seat and the female lead's path of falling. The female lead is already in the process of falling, and the bus still has obvious braking inertia, not yet fully stabilized. The male lead is clearly seated at the very beginning. Upon seeing her fall toward him, he reacts immediately: Hips leave the seat → Legs quickly straighten → Takes a half-step into the aisle → Reaches out both hands to her waist and back. Just as the female lead is actually about to fall, the male lead catches her in time. The female lead actually crashes into his arms due to forward inertia, rather than being in a pre-arranged embrace pose. The two are carried by the remaining vehicle inertia, wobbling for a half-step; the male lead must also adjust his feet and center of gravity before finally steadying them both. The female lead instinctively grabs the front of the male lead's uniform or shoulders. The correct causality must be clear: Braking → Female lead simultaneously loses balance → Falling → Male lead rises → Catch → Both continue to wobble together → Finally stabilize gradually. [12–15s | First Heartbeat] The bus and camera gradually recover from shaking to stability. A medium two-shot slowly pushes in to a close two-shot. The male lead still supports the female lead's waist and back, and she still grips his clothes. The two realize their faces are only a few centimeters apart. The female lead is startled first, then her breathing becomes slightly erratic, her gaze shifts away then can't help but return, her cheeks gradually flushing. The male lead first checks if she is hurt, then his gaze slowly turns tender. The female lead tilts her head up slightly, and the male lead naturally tilts his head down. Maintain realistic eye contact, do not kiss immediately. [15–17s | Surrounding Students Become Excited] Nearby students notice their pose; some cover their mouths, nudge friends, peek, or open their eyes wide. The speech must sound like someone truly seeing a heart-fluttering scene and unable to hold back excitement, not like reading a script: Slightly fast speech, lowered voice, natural rising intonation at the end of sentences, with laughter and breathy tones; multiple voices can slightly overlap. “What's this, what's this?” (in Korean) The second one is higher-pitched. “Heol, did you see that?” (in Korean) “Heol” is short like a gasp, “Did you see that?” rises excitedly. “Daebak…” (in Korean) Whispered giggling, in disbelief. No announcer-style delivery, no mechanical one-word-at-a-time. [17–19s | Female Lead Shyly Tries to Back Away] The female lead realizes everyone is watching and tries to back out of the male lead's arms shyly, hugging her bag tightly and not daring to look around. The male lead does not sit back down. Just as she tries to turn and hide, the male lead gently grabs her hand or forearm, making her stop. The female lead turns back in surprise. [19–24s | Embrace + Romantic Kiss] The male lead takes the opportunity to gently bring her a half-step closer, one hand naturally encircling her lower back. The female lead freezes for a second, then does not continue to back away, her hands lightly grabbing the male lead's lapels. The camera very slowly pushes in from a 30° side-angle close two-shot. The two first maintain about 0.5 seconds of eye confirmation. The male lead naturally tilts his head down, and the female lead slightly tilts hers up. Then complete a clear, gentle Korean drama-style kiss lasting about 3–4 seconds. Do not just touch and separate. A gentle initial touch, then both bodies naturally relax into an embrace. The female lead gradually relaxes from initial tension, and the male lead's movements remain restrained and gentle. No exaggerated deep kissing, no intense movements. Try to maintain a stable continuous shot, only allowing a very slight arc movement. Warm light by the window naturally outlines their faces, hair strands, and uniform silhouettes. [24–26s | After the Kiss / Arrival at Stop] The two naturally separate but remain very close. The female lead lowers her head shyly, realizes she's still holding the male lead's clothes, lets go slightly, but can't help but reveal a small smile. The male lead also smiles tenderly. Nearby students lower their voices even more excitedly: “Heol…” “Did they really do it?” “Crazy…” (in Korean) Must be excited, laughing, incredulous youth slang tone. “Crazy…” is not anger, but an exclamation after seeing a heart-fluttering scene. Simultaneously, the bus begins to decelerate normally and gently toward the stop. [26–28s | Natural Exit] The bus door opens with a realistic “chick—” air pressure sound, and warm afternoon light enters the cabin. The female lead walks toward the door first, with the male lead following closely behind. The camera tracks from a 3/4 rear-side angle following them. Must clearly see sequentially: Bus stops steady → Door opens → Female lead steps down → Male lead follows off the bus. Do not teleport directly from inside the bus to the street. [28–30s | Female Lead's Active Cheek Kiss / Ending] After getting off the bus, the female lead doesn't leave immediately but turns at the door to wait for the male lead. Just as the male lead steps off the last step, the female lead looks up at him. Her expression changes from shy to a bit playful and brave. Due to the obvious height difference, the female lead naturally stands on her tiptoes, leans in gently, and gives a short, clear kiss on the male lead's cheek. This is clearly a light kiss on the cheek, not mouth-to-mouth. Do not suddenly cut to a close-up. The camera originally maintains a medium two-shot, naturally and softly pushing in as the female lead stands on tiptoes and leans in, clearly showing: Standing on tiptoes → Active approach → Cheek kiss → Male lead's surprised expression → Female lead's shy yet happy smile. The female lead drops back to her heels, face slightly flushed, smiles, and turns to walk forward. The male lead is stunned for a beat before truly smiling and immediately catches up to her. Finally, the camera does a slight 3/4 tracking from behind: The two walk naturally side-by-side on the warm afternoon street, shoulders getting closer, the male lead reaches out, and the female lead naturally takes his hand. The bus slowly departs in the background. The two walk and laugh together. CUT TO BLACK. [Cinematography Core] 0–4s: Stable wide

Hostage Reversal I. Core Positioning Cinematic realism texture, pure ancient Chinese Xianxia aesthetic. Style: High-level "hostage identity reversal" comedy. Silent film reaction rhythm, British-style deadpan logic, restrained Hong Kong-style action-comedy tempo, three-beat progressive structure. Arri Alexa cinematic texture, clear and stable facial micro-details, fine film grain, natural volumetric light. Core joke comes from a misjudgment of power relations: The enemy thinks they successfully captured the Junior Sister. The audience briefly accepts this situation. As reactions unfold, it becomes clear the one in danger is the enemy. No exaggerated performances. Jokes must come from: character confidence level, pauses, eye contact, real martial power gap, the enemy's gradual realization. II. Reference Control 1. Character Anchors: @Image 1 locked to Character ID A: Sword Immortal Senior Sister; @Image 2 locked to Character ID B: Junior Sister. 2. Environment: All uploaded background/location images determine environment DNA. Integrate: terrain, architecture, spatial scale, materials, vegetation, water, weather, mist, clouds, lighting, reflections, depth, walkable paths. Replan into a unique, unified, spatially reasonable, physically continuous new space. 3. Principles: Background remains vivid but neutral. Elements include: wind, vegetation, water, mist, reflections, distant figures, ambient sound. Strictly follow: background cannot trigger plot, create jokes, help escape, or interrupt rhythm. III. Character Settings Character ID A | Senior Sister: Same as @Image 1. 25–30 year old East Asian female, tall and slender, oval face, dark almond eyes, black long hair with white jade hairpin. Look: white embroidered silk Hanfu, semi-transparent wide sleeves, silver waistband, jade pendant, white cloth boots, silver longsword. Temperament: calm, dignified, extreme control. Key requirements: sheathes sword immediately upon "drop the sword"; sheathing is not compromise but confidence. "Loosen your hand, she doesn't like people touching her hair" must be a serious reminder. Character ID B | Junior Sister: Same as @Image 2. 20–25 year old East Asian female, petite, rounded face, black braided hair. Look: teal linen Hanfu, dark belt, wooden hairpin, black shoes, dark steel sword. Temperament: clever, steady, not flustered, truly powerful. More annoyed by hair being touched than being held hostage. Key requirements: don't play as panicked; first emotion is "annoyance." Asking "how many breaths?" must be calm. Reverse movements must be fast/clean. Sub-character 1 | Enemy: Confident then confused then lost judgment. Requirements: real opening threat. Show "it's working" pride when sword is sheathed. Confused by "two breaths." Sub-character 2 | Master: Final punchline. Requirements: "Three taels of silver" as casual bookkeeping. IV. Core Props: Silver sword (Senior Sister), Steel sword (Junior Sister), Wooden hairpin (Junior Sister). V. Comedy Structure: 1. Enemy thinks they're in control. Senior Sister sheathes sword and gives "hair" warning. 2. Audience sees the real danger. Junior Sister asks "How many breaths?" Senior Sister: "Two breaths, don't delay dinner." Junior Sister counters in two breaths. 3. Semantic reversal. Enemy: "Wasn't she your hostage?" Senior Sister: "Yes... so I was just saving you." Ends with hairpin price punchline. VI. Action Design: Simple, clear, physical logic, non-bloody, non-supernatural. Sequence: wrist twist, shoulder turn, elbow control, low sweep, disarm. VII. Storyboard Script: 0-5s: Wide shot. Enemy captures Junior Sister, "Drop the sword!" Senior Sister sheathes sword. 5-10s: Medium shot. Junior Sister asks "How many breaths?" Senior Sister: "Two breaths." Junior Sister counter-attacks. 10-15s: Close-up. Enemy: "Wasn't she your hostage?" Senior Sister: "Yes... so I was saving you." Master: "Three taels of silver." VIII. Performance: Senior Sister too calm, Junior Sister annoyed by hair, Enemy confused, Master deadpan. IX. Camera: 16:9, Arri Alexa look, stable micro-details. X. Sound: Mandarin dialogue, sync lip movements, realistic environment sounds. XI. Technical Specs: 15s, 16:9, three shots, Mandarin, consistent characters/props. XII. Negative: blurry, bad quality, low quality, low resolution, noisy, jpeg artifacts, watermark, text, error; deformed, mutated, bad anatomy, poorly drawn hands, bad composition, out of frame, disfigured; inconsistent character, changing clothes, face morphing, background shift, glitching cuts, disappearing props

A man and a woman jokingly discuss how they think they were about to fall in love before they were separated. They are joking to hide that they actually mean it. Insert some pauses to make it seem more natural. Cinematic, prestige level quality directing and cinematography. Establishing shot, Tight close-ups and handheld camera work for emotional resonance. No wide shots. No music. Micro-expressions in their faces sell the theme more than the volume of their voices. Cinematic, prestige level quality directing and cinematography. Tight close-ups and handheld camera work for emotional resonance. No wide shots. No music. Micro-expressions in their faces sell the theme more than the volume of their voices. The woman's eyes search for the man's response in the silence for two beats. The man then says he'd like that and they continue to discuss how falling in love might better than fighting all the time about whose fault it was that they're not together.

Reference Character: Use the first image as the protagonist — a skilled infiltrator. Maintain identical face, hairstyle, tactical outfit, and identity throughout all shots. Reference Location: Use the second image as the city skyline/rooftop complex. Maintain identical architecture, neon signage, and lighting throughout every scene. Style: Ultra realistic cinematic heist thriller, night city lighting, handheld and drone-style blend, photorealistic, neon-blue and amber contrast, rain-slicked reflective surfaces, shallow depth of field, 35mm anamorphic, physically accurate motion blur, HDR, sharp cinematic color grading. Audio: No music. Only wind, rain, distant traffic hum, footsteps on metal/concrete, fabric movement, radio static burst, breathing, heartbeat under tension. 0–3s Wide drone-style shot. City skyline at night, rain falling in sheets, neon signs reflecting off wet rooftops. Protagonist crouches at the edge of one building, scanning the target tower. 3–6s Close-up. Gloved hand pulls a grappling device from a harness, checking the tension with a practiced motion. Rain drips off the visor. 6–9s Wide tracking shot. Protagonist sprints across the rooftop and leaps the gap between buildings, body suspended mid-air for a beat, rain streaking past. 9–12s Handheld shot, landing roll absorbed smoothly. Protagonist moves low and fast toward a maintenance hatch, checking over one shoulder. 12–15s Close-up on hands working quickly at a control panel — wires, a small device blinking red then green. A soft click as the hatch unlocks. 15–18s Medium shot, descending through the hatch into a dim service corridor. Flashlight beam cuts through steam venting from overhead pipes. 18–21s Wide shot. A security beam sweeps across the corridor. Protagonist flattens against the wall, perfectly still, timing the gap between sweeps. 21–24s Handheld shot, fast movement. Protagonist slips past the beam at the exact moment, rolling underneath and continuing forward without breaking stride. 24–27s Close-up. Reaching the target vault door, hand pressing a device against the lock. A tense beat as lights blink rapidly, then turn solid green. 27–30s Final wide shot. Vault door slides open, soft light spilling out onto the protagonist's face — calm, focused, already moving inside. Hard cut to black. Quality Tags: ultra realistic, cinematic heist masterpiece, physically based rendering, realistic rain and reflection simulation, HDR, 8K, authentic fabric and metal texture, consistent character identity, no music, no text, no logo, no watermark.

polished 3D animated comedy. Inside a busy cartoon pizzeria kitchen, one expressive chef confidently spins a large pizza dough disc and tosses it high into the air. He waits underneath with both hands ready, but the dough never comes back down. He slowly looks up, confused. Suddenly the dough swoops back into frame like a giant floppy bird, flapping wildly through the kitchen. It smacks the chef flat across the face, completely covering his head for one beat. He yanks it off in panic, but the dough whips around again, snatches his tall chef hat clean off his head, then flies toward the open kitchen window with the hat stuck proudly on top of it. The chef lunges after it and misses, crashing chest-first into the counter as the dough escapes outside. End on the chef staring through the window in stunned disbelief while the dough disappears into the distance wearing his hat. Bright high-quality 3D animation, exaggerated squash-and-stretch, fast readable physical comedy, expressive body language, clean cause-and-effect, energetic camera movement, one chef, one kitchen, no extra characters, no text, no logos, no famous celebrity faces, no recognizable actors, no movie-star resemblance, no public-figure likenesses.

Create an exactly 15 second cinematic live action survival drama in 16 by 9 with photorealistic quality and about 13 hard cut shots Asha age 30 to 32 and Arjun age 33 to 35 are South Asian Keep the same faces age skin tone in every shot Asha has dark wavy hair dark eyes and a small crescent scar beside her left eyebrow Arjun has short dark hair and the same trimmed beard A violent rainstorm hits a broken suspension bridge above a huge Himalayan gorge Asha hangs below in a rust orange jacket harness boots scarf and torn glove Arjun crawls above her in a deep navy jacket tan trousers harness and boots Open tight on Asha gripping one wet plank screaming Arjun stay back Cut overhead to reveal lethal height and Arjun crawling toward her saying Look at me Tight on Arjun reaching down saying Just me as a cable snaps Hard match cut through four brief memories with identical faces Rainy city with Asha in teal and Arjun in charcoal Wedding courtyard with Asha in ivory gold and emerald and Arjun in cream Motorcycle stop with Asha in black leather and red scarf saying Catch me Sunset beach where their hands meet and Arjun says Always Crash back to the storm A rope tears and Asha drops shouting I am slipping Arjun lunges yelling Give me your hand Their fingertips miss once Then he grabs her wrist with realistic wrist grip He pulls her upward as the bridge collapses and says Always Finally he drags her onto the bridge They collapse together Asha whispers Idiot and Arjun gives a relieved laugh Cut to black exactly at 15 seconds Present day camera is unstable handheld with realistic gravity and body weight Memories are smooth warm and controlled Use only wind rain river rope wood breath hand impact city rain engine beach surf and dialogue No music no subtitles no captions no logos no watermark no text no extra limbs no deformed hands no duplicate people no face changes no outfit morphing no superhero physics no excessive slow motion no dream transitions no cartoon style

"Create a 10-second photorealistic cinematic sci-fi thriller. A young scientist stands inside a dark futuristic laboratory beside a glowing experimental time machine. He activates it and sees exactly 10 seconds into the future. At first, he smiles in amazement as the machine shows the laboratory still intact. Suddenly, the future image changes. The same laboratory is now completely destroyed—glass shattered, machines burning, sparks flying, smoke everywhere. The scientist looks around in panic. A countdown appears on the machine: 10... 9... 8... 7... He notices the machine's glowing energy core rapidly overheating. 3... 2... 1... He realizes the machine is about to explode. The screen instantly cuts to black as a massive white flash fills the laboratory. Ultra-photorealistic, cinematic sci-fi thriller, realistic futuristic laboratory, dramatic lighting, realistic fire and sparks, intense suspense, fast pacing, believable technology, realistic physics, cinematic camera movement, premium Hollywood VFX, subtle film grain, highly detailed, 4K. No subtitles, no logos, no watermark, no cartoon style."

Dora’s calling for help and team umizoomi going to save her from the evil villain

Basic Sword Formation I. Core Positioning Cinematic realistic texture, pure ancient Chinese Xianxia aesthetics. Overall style: High-end deadpan comedy Elegant and clear Wuxia character blocking Visual misdirection Escalating absurdity of rules Internet comedy logic naturally translated through the ancient world Visual quality requirements: Arri Alexa cinematic look Clear and stable facial micro-details Fine film grain Natural volumetric lighting The comedy structure of this segment must strictly follow: Serious challenge → Absurd shortcut → Semantic counter-kill → Final blow by the authority figure II. Reference Control 1. Character Identity Anchors @Image 1 Strictly lock Character ID A: Sword Immortal Senior Sister @Image 2 Strictly lock Character ID B: Junior Sister 2. Environmental Reference All background and location reference images uploaded in this round collectively determine the same environmental DNA. Before formal composition, silently deduce mutually compatible: Real terrain Architectural language Spatial scale Materials Vegetation Water bodies Weather Clouds Mountain mist Main light direction Reflection relationships Realistic walkable paths for characters Then reorganize these elements into a new, unique, and unified space for this round. Requirements: Do not mechanically copy a single reference image Do not collage unreasonable scenes Must maintain a unified identity of the same world The three shots share a clear and stable spatial relationship The background must be vivid, credible, and continuous III. Environmental Principles The background remains constantly vivid but is absolutely neutral in narrative. If the following elements exist in the reference images, they should continue to operate naturally: Water flows continuously Mountain mist moves according to terrain Vegetation responds to natural wind Clouds and light change slowly Reflective surfaces have random position changes Ambient sounds of the distant space naturally exist Hard requirements: The background cannot create plot points The background cannot drive plot twists The background cannot help characters solve problems The background cannot act as a setup for jokes The background is only responsible for providing a sense of real spatial existence and continuous vitality IV. Character Settings Character ID A | Sword Immortal Senior Sister The same @Image 1 Sword Immortal Senior Sister. East Asian female, 25–30 years old, oval face, fair skin, dark almond eyes, long black hair half-tied, secured with a white jade hairpin, tall and slender. Fixed styling: White embroidered silk Hanfu Translucent layered wide sleeves Silver waist sash Jade pendant White cloth boots A single silver longsword Character personality: Calm Restrained Dignified Rational Has a sense of humor but won't show it The more serious the reaction, the funnier it is Character ID B | Junior Sister The same @Image 2 Junior Sister. East Asian female, 20–25 years old, round and lively face, black hair in braids, petite figure. Fixed styling: Blue-green linen Hanfu Dark waist belt Wooden hairpin Black cloth shoes A single dark steel sword Character personality: Smart Serious Jumping logic but dead serious Absurd behavior must be done very naturally The sense of comedy comes from her saying absurd things as if they were serious business Supporting Character 1 | Enemy Array Master One male Proud, confident, follows rules Standing behind a movable circular sword formation Comedy function is to take on the perspective of a "normal person gradually collapsing" Supporting Character 2 | Elderly Master One male Watching quietly from a further distance Restrained throughout Finally responsible for the "authoritative final blow" Must not steal the show, but one line of judgment must stand V. Core Narrative Logic Beat 1: Serious Challenge The enemy array master proposes the rules very formally: "This is our sect's basic sword formation. Only by breaking it are you worthy of facing me." This should be filmed like a true master's trial. Beat 2: Absurd Shortcut The junior sister does not break the formation; instead, she walks directly around the outer edge of the sword formation and stands next to the enemy. She is not sneaking away in a desperate or cheating manner. She walks around in a dignified manner and asks seriously: "What if I don't break it and just face you directly?" Beat 3: Semantic Counter-kill The enemy loses control and yells at her: "You... you are an evil cultivator!" The junior sister nods very solemnly: "Thank you for the recognition." Beat 4: Authoritative Final Blow Finally, the Master explains the rule loophole dead seriously: "He only said you must break the formation; he didn't say you couldn't not fight." Then the junior sister follows the lead and sheathes her sword: "Then I won't fight." The authoritative serious attitude completely drives the enemy crazy. VI. Storyboard Script 0–5s | Long Shot or Wide Shot Character ID A is always the same @Image 1 Sword Immortal Senior Sister. Character ID B is always the same @Image 2 Junior Sister. An enemy array master stands proudly behind a movable circular sword formation. The same elderly master watches quietly from a distance. The enemy says with extreme formal momentum: "This is our sect's basic sword formation. Only by breaking it are you worthy of facing me." The same junior sister observes the sword formation for a beat and asks: "Must break?" The enemy answers proudly: "Naturally." Camera Requirements Establish a clear and stable spatial relationship The sword formation must be clearly visible with a sense of "rules" The confrontation atmosphere must feel like the start of a real grand scene Junior sister should look serious while observing the formation, not smirking Master is only a witness in the long shot, not taking the lead 5–10s | Medium Shot or Cowboy Shot Maintain the same two women, same clothing, same enemy, same sword formation, and identical geographical space. The same junior sister does not enter the sword formation; instead, she naturally walks around the outer edge of the formation to the stunned enemy and asks seriously: "What if I don't break it and just face you directly?" The enemy did not expect this at all and stammers: "You... you are an evil cultivator!" The same junior sister actually nods very solemnly: "Thank you for the recognition." The same white-clad sword immortal slowly turns her face away, forcing back a smile that has appeared. Camera Requirements The junior sister's movement around the array must be clean, clear, and not at all sneaky She isn't sneaking through a loophole but "walking over" with self-consistent logic The enemy's shock must be readable The senior sister's hidden smile must be very restrained, using minimal facial reactions Background continues natural movement but does not coordinate with the joke 10–15s | Close-up or Extreme Close-up The same enemy points to the completely intact sword formation and protests in collapse: "No righteous path walks like this!" The same junior sister replies without changing expression: "You call me an evil cultivator, yet you care if I walk the righteous path?" Retain a precise comedy half-beat. The same sword immortal sister turns to the distant master and asks seriously: "Master, does this count as a foul?" The camera focus shifts to the same elderly master. The master thinks solemnly for a half-beat and answers: "He only said you must break the formation; he didn't say you couldn't not fight." Another pause for a beat. The same junior sister immediately sheathes her dark steel sword: "Then I won't fight." Extreme close-up of the enemy's completely broken and incomprehensible expression. The same sword immortal sister looks at his sword formation and adds slowly: "Basic sword formation. The 'basic' part is the sword; the non-basic part is the rules." In the final shallow depth of field in the background, the same master slowly turns around, deliberately hiding a smile he can no longer suppress, precision cut to black. Camera Requirements Comedy rhythm must be built on pauses and a serious tone The master's judgment should be as solemn as a real sect rule ruling Junior sister's "Then I won't fight" should be very natural, as if following new rules immediately Senior sister's final line is the finishing blow; the tone should be slow, steady, and light Master's hidden smile must be extremely restrained, no exaggerated loss of composure VII. Character Performance Requirements Sword Immortal Senior Sister Restrained throughout Almost never actively creates jokes Sense of comedy comes from her taking the absurd logic too seriously After seeing the junior sister walk around, can only use minimal reactions to hide a smile Final summary sounds like a martial arts critique, not a witty remark Junior Sister Absurd logic, but extremely serious attitude Completely unashamed while walking around the array "Thank you for the recognition" must be said like a formal thank-you "Then I won't fight" should be very natural, as if completely reasonable Enemy Array Master Must have a strong aura at the start Gradually loses control in the middle Completely unable to understand the current situation by the end Collapse comes from rules being exploited by the opponent, not incompetence Master Dead serious Judgment must have authority His humor lies in being too serious Finally, the hidden smile can only be a tiny bit, not stealing from the protagonists VIII. Action and Staging Requirements Key actions must be clear, simple, and readable: Enemy stands behind the circular sword formation and formally issues the challenge Junior sister observes the sword formation seriously Junior sister walks around the edge of the formation Junior sister stands next to the enemy and asks the question Enemy stammers accusations Junior sister nods solemnly in thanks Senior sister turns her face to hide a smile Enemy collapses and points to the sword formation Master makes a solemn judgment Junior sister sheathes her sword on the spot Senior sister adds the finishing blow slowly Master turns to hide a smile and cuts to black Action Principles: Logic must be clear Character positioning must be stable No chaotic running around Comedy must come from staging and logic, not from wild facial expressions IX. Cinematography Requirements 16:9 Landscape Three continuous clear shots Arri Alexa cinematic look Composition is stable and restrained Camera movement is clear but not overly flashy Wide shot responsible for establishing rules Medium shot responsible for the absurdity of the behavior Close-up responsible for the logical counter-kill and final blow Facial micro-details clearly readable Maintain fine film grain and natural volumetric lighting Continuous natural parallax in the background Geographical relationship remains stable throughout X. Sound and Rhythm Requirements Native synchronized Mandarin dialogue Precise lip-sync Comedy pauses must be clear Ambient sounds naturally exist Music is restrained, not forcing the jokes Key dialogue rhythm anchors: "This is our sect's basic sword formation. Only by breaking it are you worthy of facing me." "Must break?" "Naturally." "What if I don't break it and just face you directly?" "You... you are an evil cultivator!" "Thank you for the recognition." "No righteous path walks like this!" "You call me an evil cultivator, yet you care if I walk the righteous path?" "Master, does this count as a foul?" "He only said you must break the formation; he didn't say you couldn't not fight." "Then I won't fight." "Basic sword formation. The 'basic' part is the sword; the non-basic part is the rules." XI. Technical Specifications Total duration: 15 seconds Aspect ratio: 16:9 Landscape Three continuous clear shots Character identities, clothing, longswords, sword formation, and geographical relationships remain stable throughout Supporting character positioning remains continuous Body movements are clear and easy to read Native synchronized Mandarin dialogue Precise lip-sync and comedy pauses Realistic physical effects for silk fabrics and hair Background has continuous natural parallax and realistic spatial ambient sound Do not generate subtitles XII. Negative blurry, bad quality, low quality, low resolution, noisy, jpeg artifacts, watermark, text, error; deformed, mutated, bad anatomy, poorly drawn hands, bad composition, out of frame, disfigured; inconsistent character, changing clothes, face morphing, background shift, glitching cuts, disappearing props

Create a 30-second, full-realism fantasy dragon flight in 2 shots, vertical 9:16, using the references strictly: 100% face/character, armor, dragon, world and scale consistency. Only ONE dragon exists. SHOT A — 0:00–0:06: Frontal handheld close-up of SHARON, nervous first-time rider in white-silver armor, seated on a colossal 60m white-grey opalescent dragon at a cliff edge. Slow zoom out reveals her and the dragon’s horned head facing camera, valley behind. She nervously says: “Okay, buddy… ready? Just—no games, alright? It’s my first flight aaand—” Frequent blinks, wandering gaze, shaky breathing. Dragon snorts a tiny flame, crests flare, then suddenly charges toward the cliff. HARD CUT at launch. SHOT B — 0:06–0:30: Strict first-person rider POV from Sharon’s eyes, never third-person. Her armored hands and reins remain visible throughout, constantly clenching during fear and relaxing during calm moments. Exact route: plunge off cliff → skim through village → full flock of sheep rushes into view and splits left/right in panic → brush outer willow leaves with wingtip → hard 45° waterfall bank through spray → climb past floating islands → 360° barrel roll → dragon glances back → reveal colossal Gothic castle → spiral upward → dragon’s own claws seize the tallest empty spire and coil around it → final panoramic valley vista. No other dragons or creatures on the spire. Dragon must look like a living animal: thousands of individually layered opalescent scales with keratin texture, micro-wear and dirt seams; moving aqua/lilac/rose-gold/pearl reflections; neck scales rippling in wind; crests folding according to speed; translucent veined wings flexing naturally; realistic muscle, inertia, tail ruddering and wingbeats. No plastic, chrome or CG sheen. Maintain believable collisions: never pass through buildings, trees, rocks or water; only outer leaves are brushed. Sheep escape unharmed. Realistic reins, saddle movement, wind, G-forces and camera shake. Warm natural daylight, deep focus, cinematic anamorphic optics, realistic spray droplets, subtle edge distortion and chromatic aberration. No music, subtitles, text, logos, watermarks, lens flares or stylization. Full photorealism.

15 second 16x9 photoreal survival drama 13 hard cut shots real time physics CAST ASHA female 31 South Asian warm brown skin dark wavy shoulder length hair thick brows tiny crescent scar beside the left brow ARJUN male 34 South Asian short dark textured hair trimmed beard faces ages and builds stay identical in every shot wardrobe changes only across a hard cut into a memory PRESENT storm gorge in the Himalaya old plank and cable bridge one cable snapped gray blue river far below cold rain low cloud steel blue palette ASHA rust orange shell jacket charcoal thermal olive climbing trousers harness one torn glove dark red scarf soaked hair ARJUN navy mountaineering jacket black thermal tan trousers harness brown boots rain and grit on his face 1 tilted handheld extreme close up of Asha hanging from a wet plank shouting "Arjun stay back" 2 vertical overhead extreme wide both tiny above the raging river as Arjun crawls out on broken planks saying "Look at me" 3 tight profile Arjun flat on the bridge his reaching hand filling the foreground whispering "Just me" then a cable snaps 4 match cut on the hand to a night monsoon city street Asha in teal trench coat Arjun in charcoal suit laughing in rain she backs away saying "You always say that" 5 golden hour courtyard wedding Asha in ivory and gold lehenga with emerald dupatta Arjun in cream sherwani petals crossing frame he says "You never listen" 6 coastal highway late afternoon Asha in black leather and red scarf two steps ahead of Arjun in brown leather beside a stopped motorcycle she looks back and says "Catch me" 7 sunset beach Asha in coral linen Arjun in white linen their hands meet he says "Always" then a violent cut back to the storm 8 extreme wide side of the collapsing bridge a rope tears Asha drops a meter and catches the plank screaming "I am slipping" 9 tight handheld Arjun fear turning to resolve he lets go of his own cable and throws himself forward "Give me your hand" 10 top down both arms stretch to center fingertips miss she slips lower and cries "Arjun" 11 macro on hands his palm slaps around her wrist her hand locks on his forearm wet sleeves tight tendons real skin compression 12 low side angle he drags her up as more bridge falls behind them straining out "Always" 13 wide he hauls her onto the platform they collapse breathing hard she gives a tiny exhausted smile and whispers "Idiot" camera pulls back into the storm and cuts to black at fifteen seconds CAMERA unstable handheld dutch tilts and fast push ins in the present smoother controlled moves inside memories instability snapping back on every cut real motion blur believable body weight AUDIO English dialogue in natural lip sync wind rain cable groan cracking wood river roar breathing gasps hand impact falling debris city rain surf cooling engine and nothing else no music no score no risers no booms no narration no subtitles NEGATIVE no tex

Duration: 20 seconds Format: 3rd person realistic emotional scene, multi-camera editing Scene: Downstairs of an apartment in the evening Conflict: The male thinks the breakup is due to one absence at the hospital; the real reason is that the female no longer instinctively relies on him. His final question "Who is it?" proves he still doesn't understand. [Character and Performance Base] Female {{Mixed 2}} and Male {{Mixed 3}} strictly reference the corresponding people in the couple photo, maintaining facial features, face shape, hair, physique, height, clothing, and aura. The female has repeatedly considered breaking up. She isn't here to fight or expecting to be held back. Surface is calm; true emotions are hidden in pauses, breathing, swallowing, and looking away. The male initially thinks this is a normal argument. He's urgent to find a specific wrong to explain, not realizing the problem is long-term emotional alienation. [Scene Setting] Downstairs of apartment at dusk {{Mixed 1}}. Outside is cold natural dusk light; inside the lobby glass door is warm yellow light. Female stands below steps with a small suitcase, one hand on the handle. Background only has slight wind in leaves, distant cars, door opening/closing, and suitcase wheel sounds. No subtitles, no sentimental music, no slow motion. [Cinematography Rules] Use standard TV drama shot-reverse-shot narrative. - Female always faces left. - Male always faces right. - Eye lines and directions correctly matched. - Camera stays on one side of the 180-degree axis. - Start with wide shot to establish environment and suitcase. - Normal dialogue uses medium close-ups from chest up. - Tension increases lead to close-ups from shoulders up. - Retain brief reactions after key lines, no immediate cutting after speech ends. - No exaggerated pushes, rotations, handheld selfies, or idol drama soft lighting. --- [00:00–00:02.2 | Shot 1: Environment Wide] Fixed wide shot. Only female in frame. Apartment, steps, glass door, and full body visible. She stands alone, checking the suitcase handle—quiet and definite. She's not pacing or anxious on her phone, indicating she's decided to leave. Sound of glass door opening behind. Male voice from off-screen behind her: "You're really leaving?" She pauses tidying the handle but doesn't look back immediately. [00:02.2–00:05 | Shot 2: Male Medium Close-up] Chest up medium close-up. Male at 3/4 profile facing right. He just ran out, breathing slightly fast. First looks at the off-screen suitcase, then at her. Brows slightly furrowed, speed faster than normal: "Just because I didn't go to the hospital that day?" He's already in explanation mode. Lips stay slightly parted after speaking. Brief pause on his face waiting for an answer. [00:05–00:08 | Shot 3: Female Medium Close-up] Waist up medium close-up, then very slow approach. Female at 3/4 front facing left. She has turned to face him. Looks at him first without speaking. No anger, just fatigue of "so that's how you understood it." Answers softly: "No. I know you couldn't leave for your mom's surgery." Not sarcastic. She means it. Then looks away at the ground between them. Fingers tighten on the handle. [00:08–00:10.2 | Shot 4: Male Close-up] Shoulders up close-up. Male facing right. Brows stay furrowed, more confused. Explanation failed. Moves half-step closer, voice with suppressed irritability: "Then what exactly are you blaming me for?" Stress on "blame". Stares at her waiting for a solvable error. No shouting or bulging eyes; focus on urgency for a specific answer. [00:10.2–00:15.5 | Shot 5: Female Emotional Close-up] Shoulders up close-up. Near front, but eyes look at the male to the left. Most important shot. No immediate speech. One inhale, then exhale. Looks at his face judging if truth is worth it. Says: "I'm not blaming you." Pause. Male about to speak, she continues: "It's just that day when I felt worst..." Lowers gaze briefly. Not crying, just needing time to finish. Swallows, looks up: "The first person I thought of wasn't you anymore." Last words soft but clear. Doesn't look away, waiting for him to understand. Eyes slightly wet but no tears. No trembling mouth. Semi-second pause after line. No relief or revenge in expression, just quiet fatigue. [00:15.5–00:16.8 | Shot 6: Male Reaction Close-up] Face close-up, including head top/shoulders. Male facing right. Doesn't understand immediately. Brows relax slightly but eyes freeze. Lips move as if a specific person flashes in mind. Subconsciously asks: "...Who is it?" Low tone, not angry but afraid of the answer. Stares at her, not realizing he asked the wrong thing. [00:16.8–00:19.3 | Shot 7: Female Final Close-up] Shoulders up close-up. Same position/light as Shot 5. Slight change in eyes after "Who is it". Not shock or anger. Remaining expectation vanishes. Short exhale from nose, looks away then back: "See... you still don't understand." Calm tone. Doesn't wait for answer. Looks away, turns right, and exits the composition. Camera doesn't follow. [00:19.3–00:20 | Shot 8: Male Ending Close-up] Shoulders up close-up. Only male in frame. Sound of suitcase wheels rolling. Subconsciously raises one hand to call her, stops at chest. Mouth open, no sound. Eyes follow her off-screen movement. Ends on his face realizing the issue wasn't "another person". Sound fades, screen naturally ends. [Authenticity Constraints] Maintain eye lines, lighting, and axis in shot-reverse-shots. Female not sad from start, no sudden tears. Male no exaggerated shock/rage. No mechanical "one line per expression". Characters listen first, then react via pauses/breathing. Allow slight slurring/swallowing in speech, no broadcast-style clarity. No shot of her walking away at the end.

Create a 30-second cinematic biographical video. The entire process must be a completely seamless, coherent, and uninterrupted long shot. There should be no cuts, fades, dissolves, resets, or montage effects. The camera can orbit, track, dive, rise, rotate, and pass through foreground obstacles, or temporarily obscure the character, but the final result must always appear as an uninterrupted moving shot. **Core Concept** A man's entire life, from youth to old age, condensed into an uninterrupted long shot. This man is Su Shi, the greatest literatus of the Northern Song Dynasty. He remains the same person, a continuous presence throughout the film, but his age, face, physique, hairstyle, clothing, expression, and temperament must change fluidly as he progresses through life stages. Every change must occur within the frame, tied closely to his movement with physical causality. His evolution must be seamlessly connected: from a youth in Meishan to a scholar taking exams, then a talented young official entering the bureaucracy, followed by an outspoken official opposing reforms, then a prisoner in jail, a free-spirited poet in the fields of Huangzhou, an Academician returning to court, a local governor of Hangzhou, an old man exiled to Lingnan, and finally a wise man dying with a smile on his way back north. His face, body, beard, official robes or plain clothes, hats, and handheld objects must transition naturally with life stages. These changes must happen during motion and never as abrupt jumps. **Tone** Poetic, magnificent, soulful, open-minded, and filled with literary charm. The environment can be spectacular and dramatic, but the overall atmosphere always carries Su Shi's characteristic openness and warmth. Suitable for all ages, with no blood or violence. **Audio Design (Seedance 2.5 Voice Format Instructions)** This video uses Seedance 2.5 native audio generation, where visuals, voice, and sound effects are completed synchronously in one generation. The voice format rules are as follows: - **Voiceover Narration** (Classical male voice recitation): Enclosed in double quotes "...", preceded by "Narrator recites in a steady classical middle-aged male voice:" - **Environmental Sound Effects**: Marked with angle brackets <...>, e.g., <Wind rustling through bamboo forest> - **Background Music**: Marked with parentheses (...), e.g., (Distant guzheng melody, slow and deep) - **Mixing Priority**: Voiceover narration is clear and prominent, background music is lower than the voice, and environmental sound effects serve as the ambient layer. Due to the limited voice capacity within 30 seconds (about 40-50 Chinese characters), please select 6 of the most representative poems or famous lines as voiceovers, while the rest of the scenes use sound effects and music to carry emotion. **Narrative Timeline** The 6 lines not only fit the current scenes but also form a complete spiritual arc of life: 1. "Where can life be compared? It should be like a flying swan treading on snow and mud." → **Departure**: Life is like a flying swan, unknown destination. 2. "Picking all cold branches but unwilling to roost, lonely and cold on the sandbank." → **Fall**: Nowhere to stay, extreme loneliness. 3. "Bamboo cane and straw shoes are lighter than a horse. Who's afraid? A life of misty rain in a coir raincoat." → **Awakening**: Letting go of everything, no longer afraid. 4. "Comparing West Lake to Xi Shi, light makeup or heavy is always suitable." → **Settling**: Reconciling with the world, loving the present. 5. "Eating three hundred lychees a day, I wouldn't mind being a Lingnan man forever." → **Open-mindedness**: Living flavorfully no matter where. 6. "Where this heart finds peace is my hometown." → **Return**: Having traveled the world, peace of heart is home. Hearing them consecutively summarizes Su Shi's life spirit: Unknown destination → Nowhere to stay → No longer afraid → Loving the present → Living well anywhere → Peace is home. --- ## Opening: Meishan Youth (c. 1050, Su Shi aged 13-14) Opens with early morning in Meishan, Sichuan. A youth stands on a bamboo-shaded slope, overlooking the misty Minjiang Plain. Distant layered green mountains, nearby the eaves of his father's study. Morning light spills through bamboo leaves onto his face. He holds a scroll, eyes bright and curious. The youth has handsome features, wearing simple Sichuan student robes, hair tied in buns. The visual should immediately feel poetic and cinematic. He hears a distant horn sound (symbolizing the call of the imperial exams), looks up, eyes flashing. <Wind rustling bamboo forest, faint distant horn> The camera moves as he turns and starts running down the bamboo path. --- ## First Transition: Meishan Youth → Scholar Heading for Exams (1056, age 20) He runs through the bamboo forest, shadows sweeping over him. As the shadows pass, his face matures slightly, his stature grows, and the buns change into a young scholar's hairstyle. Simple student robes turn into a traveler's long robe. The scroll becomes a bundle. The bamboo forest dissolves behind him, the mountain path becomes a government road to Bianjing. City outlines appear. His pace is steady, with the high spirits of a youth leaving Sichuan for the first time. The figure of his brother Su Zhe appears beside him (blurred as a background element). Narrator recites in a steady classical middle-aged male voice: "Where can life be compared? It should be like a flying swan treading on snow and mud." <Horse hooves, wind on the government road> --- ## Second Transition: Scholar → Young Talent on the Golden List (1057, age 21) An imperial banner fluttering in the wind sweeps across the frame. As it passes his body, his traveler's robe turns into the blue official robe of a new jinshi. The bundle vanishes, replaced by a scroll of imperial decree. His gait becomes confident and high-spirited. The government road becomes the stone-paved main street of the Bianjing imperial city. Towering palace buildings, red walls, yellow tiles, and bustling crowds appear on both sides. He walks through the crowd with a triumphant smile. Sunlight hits his young face, full of spirit. <Crowd noise, distant celebratory music> --- ## Third Transition: Young Talent → Outspoken Official (1069-1071, age approx. 33) A vermilion palace pillar sweeps across the foreground, temporarily obscuring him. When he reappears from behind the pillar, his face is more mature, with a neatly trimmed short beard. The color and patterns of the official robe become deeper, and he wears a black official hat. His expression turns from triumphant to serious and grave. He is walking briskly through a court corridor, clutching a memorial. The environment becomes oppressive, the pillar's shadow elongating. Notices of Wang Anshi's reforms and arguing officials are faintly visible in the distance. His pace is urgent and steady, with the determination of one speaking truth to power. <Urgent footsteps echoing in the empty corridor> --- ## Fourth Transition: Outspoken Official → Prisoner in the Crow Terrace Poetry Affair (1079, age 42) The light in the corridor suddenly dims. The shadow of the pillar becomes the iron bars of a prison. His official robe loses color in the shadows, turning into a prisoner's coarse cloth. The black hat vanishes, hair becomes disheveled. The memorial in his hand turns into heavy chains. His face is haggard, short beard messy, eyes sunken. He stumbles through a dim cell, but his gaze still holds unyielding light. There are water stains and carvings on the walls. A weak beam of light shoots from a high window onto his face. Narrator recites in a steady classical middle-aged male voice: "Picking all cold branches but unwilling to roost, lonely and cold on the sandbank." <Heavy chains dragging on the ground, water dripping echoes> The camera rises with that beam of light. --- ## Fifth Transition: Prisoner → Open-minded Poet in Huangzhou (1080-1084, age approx. 45) That light expands and warms, becoming the moonlight at Chibi in Huangzhou. The prison walls shatter and dissolve, becoming the Chibi cliffs by the Yangtze River. The prison floor under his feet turns into riverbank rocks. The prison clothes turn into loose literary plain robes in the moonlight, a coarse belt tied at the waist. Chains vanish, a jug of wine appears in his hand. His hair is tied back again, but not in an official bun—instead a casual literati style with a Dongpo hat. His face relaxes, though thin, his eyes have a transcendent light. He stands under the Chibi cliffs, the river wind blowing his robes. A small boat is in the distance on the river. He looks up at the moon, lips moving slightly as if reciting "The Yangtze River flows east." The entire person is completely liberated from the oppression of imprisonment, exuding a transcendent air. Narrator recites in a steady classical middle-aged male voice: "Bamboo cane and straw shoes are lighter than a horse. Who's afraid? A life of misty rain in a coir raincoat." <River wind howling, waves hitting rocks> He turns and walks along the riverbank with a leisurely pace.

Hello kitty steals the candy from the store: her mom said don’t steal the candy your in big trouble: he cries he call the police and take kitty to jail

A man and a woman sitting in a cave formed by an avalanche lit by a small open flame propane camping burner. They jokingly discuss how they think they were about to fall in love before the avalanche as the shadows play on the glacial blue ice walls surrounding them. They are joking to hide that they actually mean it. Insert some pauses to make it seem more natural. Cinematic, prestige level quality directing and cinematography. Establishing shot, Tight close-ups and handheld camera work for emotional resonance. No wide shots. No music. Micro-expressions in their faces sell the theme more than the volume of their voices.

Use exactly 2 uploaded image assets: @ image1 female lead identity reference, @ image2 male lead identity reference; preserve their faces, hairstyles, body proportions, skin tones, clothing, school uniforms, and accessories exactly. Create a 30-second, 16:9, 4K, 24fps ultra-realistic Korean romantic comedy on a modern city bus in warm afternoon light, with realistic skin, natural motion blur, authentic bus physics, suspension, braking, and cinematic handheld camera movement. All characters are clearly adults aged 20+. At 0–4s, the petite female lead stands holding a bus strap while the tall male lead sits beside her; the bus suddenly brakes hard with a realistic “끼이이익——!”, causing the entire bus, passengers, hanging straps, her bag, hair, and camera to jolt forward simultaneously. She immediately loses balance and falls toward him while the bus is still moving and shaking; at 8–12s, he quickly rises from his seat and catches her naturally around the waist and back, both staggering slightly from the remaining inertia before stabilizing. At 12–17s, they remain close, exchange shy eye contact, blush, and nearby adult passengers react naturally with “뭐야, 뭐야?”, “헐, 봤어?”, “대박…”. At 17–19s, she shyly tries to step away but he gently stops her by holding her hand. From 19–24s, he gently pulls her closer, they share a soft romantic Korean-drama-style kiss lasting about 3–4 seconds with a stable close two-shot and slow push-in, no exaggerated movement. At 24–26s, they separate shyly while passengers react “헐…”, “진짜 했어?”, “미쳤다…”. At 26–28s, the bus stops, doors open with a realistic “칙—”, and they naturally exit one after another with no teleporting. At 28–30s, she waits outside, looks up at him, stands on tiptoe and gives him a brief playful cheek kiss; the camera naturally pushes in without cutting, then she smiles and walks away while he follows, and they eventually hold hands as the bus leaves in the background. Keep all action physically believable and cinematic. No underage appearance, identity drift, altered uniforms, forced contact, deep kissing, lip kiss at the ending, teleportation, excessive slow motion, extreme camera shake, AI skin, CGI/anime style, extra characters, subtitles, logos, or watermarks.

Create a cinematic 3D animation of a young couple revisiting their life journey through a glowing scrapbook—proposal at a Ferris wheel, wedding, new home, Italy road trip, and growing family with two children and a golden retriever. Return to the present as they close the album with the text “самые важные главы жизни еще впереди,” ending with a loving forehead kiss and warm smile. Use emotional storytelling, soft lighting, and seamless transitions.

Seedance 2.0 / 2.5 Direct Delivery Version 15-Second Chinese Xianxia Heavenly Palace Cinematic Short Film | 5-Shot Continuous Hard-Cut Edition Generation Goal: Generate a complete, continuous 15-second Chinese Xianxia heavenly palace cinematic short film. The entire film consists of 5 clear cinematic shots, each approximately 3 seconds, connected by clean, direct cinematic hard cuts. Strictly Use: @Image 1 @Image 2 @Image 3 @Image 4 @Image 5 as independent visual and spatial anchors for each of the 5 consecutive shots. I. Core Constraints 1) Rules for Using the Five Images - The 5 reference images have completed art design. - Each shot must strictly correspond to its respective reference image. - Within each shot, the following elements from the reference image must be maintained: building structure, number of characters, character clothing, trees, water systems, sea of clouds, bridges, railings, circular gates, dragon pillars, palace proportions, spatial perspective, light direction, and overall composition. - Do not redesign these scenes. - Do not merge the five images into the same scene. - No AI morph transitions. - No building deformation during shot switches. 2) Overall Worldview and Visual Quality Maintain a unified Eastern Xianxia civilization visual DNA: authentic Chinese ancient architectural structures (vermilion wood structures, dark tile roofs, dark gold carvings, stone foundations), high-altitude sea of clouds, authentic natural light (warm gold low-angle sunlight, deep shadows, aerial perspective), restrained film texture, grand but quiet, natural but continuously living, authentic cinematic photography feel. II. Five-Shot Storyboard Shot 1 | 0–3s | @Image 1 | Corridor Bridge and Ancient Pine - Shot Type: Long-focus distant cinematic shot, approx. 135mm telephoto compression. - Camera: Very slow, steady slight push forward along the central axis. - Spatial Relationships: Foreground eaves, pillars, and railings have slight parallax; middle-ground four characters maintain natural spatial relationships; distant giant ancient pine and sea of clouds move the least. - Character Requirements: Four characters must be living from the first frame. They maintain unsynchronized natural micro-behaviors: two on the left move a few steps slowly along the corridor, one slightly turns to look at the central ancient pine, the two on the right continue walking slowly or turn heads naturally while talking. Paces, breathing, shoulders, body weight, cuffs, hems, and a small amount of hair all change naturally. No collective synchronized movements or statue-like stillness. - Environmental Requirements: Constant high-altitude wind; ancient pine trunk is stable but twigs and needles sway continuously; sea of clouds is not a static background—it must have clouds at different depths drifting slowly, local expansion, dissipation, and reforming, with a few thin clouds slowly passing distant peaks. Shot 2 | 3–6s | @Image 2 | Heavenly Palace Over the City - Transition: Direct hard cut. - Shot Type: Distant long-focus establishing shot, 135–200mm cinematic telephoto observation. - Camera: Extremely slow zoom out. - Goal: Gradually complete the scale relationship between the ancient city below, walls, rock formations, and the giant heavenly palace. - Building: Giant main palace structure is absolutely stable with no deformation or drift. - City and Background Life: The city below cannot be a static texture; it must be alive: slow-flowing low-level mist and moisture between city parts, clouds passing through buildings, distant cloud silhouettes evolving slowly. - Birds and Characters: Existing cranes and birds fly naturally (unsynchronized, non-looping); bottom small characters have readable robe movement and natural body motion. Lighting on roofs and clouds changes continuously as clouds pass the sun. Shot 3 | 6–9s | @Image 3 | Waterfall Immortal Palace - Transition: Direct hard cut. - Shot Type: Restrained long-focus observation shot. - Camera: Nearly locked, only slight horizontal drift. - Dynamics: Water, wind, and clouds. Waterfalls must fall naturally with weight and speed variance, creating mist that blends with clouds. Water surface has small natural ripples. Reflections of characters and buildings must change subtly with water and light; reflections must not freeze. Weeping willow twigs sway naturally in the wind. Characters show authentic asynchronous behavior (adjusting posture, moving forward, looking at the waterfall). Shot 4 | 9–12s | @Image 4 | Dragon Pillar Corridor - Transition: Direct hard cut. - Shot Type: 135mm long-focus cinematic tracking shot. - Camera: Very slow horizontal right movement along the suspended corridor, synchronized with character movement. - Character Walking: Four characters walk naturally with realistic human gaits (slight variation in step length, unsynchronized, shifting center of gravity). Robes have weight, and hair sways in high-altitude wind. One person may briefly look at the sea of clouds. - Parallax: Foreground railings and pillars move fastest; characters and corridor have medium displacement; distant mountains and waterfalls move the least. - Limitation: The circular gate is a solid structure and must not become a glowing portal. Shot 5 | 12–15s | @Image 5 | Interior Circular Gate Final Shot - Transition: Direct hard cut. - Shot Type: Solemn long-focus liminal space observation, 135mm lens compression. - Camera: Very slow diagonal retreat within the giant hall, slightly moving left. - Parallax: Foreground dragon pillars and floor reflections produce most parallax; two characters in the middle ground; circular gate and distant palace move the least. - Ending: Two characters continue walking naturally (unsynchronized, realistic weight). Distant environment remains alive with drifting clouds and falling waterfalls. Camera continues quiet retreat at the same speed until a stable cinematic ending is formed. III. General Rules for Natural Movement - Core Principle: Characters and environment must simultaneously have continuous life. No frozen backgrounds or statue-like characters. - Character Rules: Natural breathing, walking, posture adjustment, gaze shifts, and hair/fabric movement. No mechanical synchronization. - Wind Rules: Same high-altitude wind affects hair, sleeves, pine needles, and mist differently based on material weight. - Clouds: Overall slow displacement, local shape evolution, and realistic occlusion of distant buildings.

[Generation Goal] Cinematic realistic texture, pure ancient Chinese Xianxia aesthetic. A collision between the solemnity of traditional martial arts epics and a deadpan "sect chore" style comedy, featuring: Restrained deadpan performance Three-beat progressive structure Clear setup and payoff Arri Alexa cinematic texture Clear and stable facial micro-details Fine film grain Natural volumetric lighting The core comedy must be understandable at first glance: Expert challenges -> Two true experts pass the chore to each other -> Master announces a 10% monthly allowance increase -> Both instantly fight to take the challenge -> Enemy starts to feel afraid. All comedy stems only from the characters' own choices, attitudes, dialogues, and reactions. The environment must never create accidents, trigger laughs, or change the plot. [Reference Responsibilities] @Image 1: Strictly lock Character ID A | Sword Fairy Senior Sister. @Image 2: Strictly lock Character ID B | Junior Sister. The set of background and location reference images uploaded this round collectively determine the environment's DNA. Before formal composition, silently integrate: Real terrain Architectural language Spatial scale Material age Vegetation Water bodies Weather Movement of clouds and mountain mist Main light direction Reflective relationships Atmospheric depth Realistic character walking routes Replan into a unique, complete, and unified new space for this round, rather than mechanically copying a single reference image. Background elements like water, mist, vegetation, banners, clouds, distant ordinary disciples, and ambient sound continue to function naturally but remain narratively neutral. [Character Settings] Character ID A | Sword Fairy Senior Sister | @Image 1 25–30 year old East Asian female, oval face, dark almond eyes, fair natural skin tone, long black hair partially tied up with a white jade hairpin, tall and slender figure. Fixed Appearance: White embroidered silk Hanfu, translucent layered wide sleeves, silver waistband, jade pendant, white cloth boots, a unique silver longsword. Performance Core: Dignified, calm, deadpan. Truly does not want to take this "chore" in the first half; instantly enters a true master state after hearing about the allowance increase in the second half. Character ID B | Junior Sister | @Image 2 20–25 year old East Asian female, rounded and lively face shape, black hair braided, petite build. Fixed Appearance: Blue-green linen Hanfu, dark belt, wooden hairpin, black cloth shoes, a unique dark steel sword. Performance Core: Quick reflexes, sharp-tongued, highly synchronized with Senior Sister; state changes must be almost simultaneous with Senior Sister. Enemy Swordsman One male. Extremely imposing aura, seriously here to challenge. Initially thinks he is about to face a legendary duel, then gradually realizes these two treat him like an unwanted sect chore. Elderly Master One male. Always several steps behind the two women, sitting or standing naturally. Calm, authoritative, unfazed. Only responsible for changing the rules and delivering the final verbal blow. [Shot Design] Shot 1 | 0–5s | Full Shot / Long Shot Adaptive choice of the most logical courtyard, platform, or open area based on the real space of the reference images. The enemy swordsman strides into the frame with great momentum, shouting loudly: "Who is the strongest here? Come out and fight!" The elderly master, a few steps behind the two women, replies extremely calmly: "Either of them will do." The enemy looks back and forth between the Senior Sister and Junior Sister: "Who goes first?" A complete pause. The same white-clad sword fairy and the same green-clad junior sister simultaneously look away at the exact same moment, as if neither heard a thing. Action Points: Enemy entry must have a true master's challenge momentum. Master's reply must be extremely flat. The two women looking away simultaneously is the first visual punchline. No exaggerated facial expressions; they just need to naturally pretend they didn't hear. Shot 2 | 5–10s | Medium Shot / Cowboy Shot Maintain the same characters, clothing, swords, enemy, master, and identical geographic space. Senior Sister says calmly: "I'm off duty today." Junior Sister immediately follows: "I guarded the gate last night." The master slowly raises his eyes and asks seriously: "When did the sect have shifts?" A half-beat pause. Senior Sister says without changing expression: "Just now." Junior Sister nods extremely seriously in total agreement. The enemy's originally majestic expression finally collapses: "I am here to challenge you, not to watch you push chores around!" Action and Performance Points: Senior and Junior Sisters must act like they are seriously discussing work schedules. "Just now" must be delivered very naturally. Junior Sister's nod is the second layer of the punchline. The enemy's breakdown comes from his epic challenge being downgraded to a "chore nobody wants." Background continues natural movement but does not intervene in the plot. Shot 3 | 10–15s | Close-up → Extreme Close-up The master sighs softly, as if used to this, and says casually: "Whoever fights gets a 10% increase in this month's allowance." Absolute silence for a half-beat. In the next instant— The same Senior Sister and Junior Sister completely change their state: Simultaneously step forward Simultaneously place hands on their respective sword hilts Eyes sharpen simultaneously Body postures instantly enter true master combat mode They say in unison: "I'll do it." But they don't look at the enemy first; they immediately turn to look at each other. Junior Sister: "Me first." Senior Sister (deadpan): "Weren't you tired?" Junior Sister (without blinking): "Suddenly energized." Extreme Close-up: The previously aggressive enemy starts to retreat very slowly, tentatively raising a hand: "Maybe... I'll come back another day?" The Senior Sister and Junior Sister snap their gaze toward him at the exact same moment, shouting in unison: "Stay put." Focus shifts to the master in the back. He shows no surprise, just calmly takes a sip of tea, as if he knew all along that a 10% raise would have this effect. Precise cut to black. [Comedy Rhythm Constraints] Three phases must be very clear: Beat 1 | Pushing the chore: True masters don't want the challenge. Beat 2 | Rule change: Master only adds a "10% allowance." Beat 3 | Identity reversal: The two go from dodging to fighting over it; the enemy goes from challenger to the one who wants to leave most. The point isn't "greedy exaggeration," but rather: The change in attitude is too professional, too synchronized, and too matter-of-fact. [Consistency and Action Requirements] Stable character identities throughout (face, hair, clothing). Stable ownership of the silver sword and dark steel sword. Stable positions for the Master and Enemy. Synchronized actions of the two female leads must be clear and readable (looking away, stepping forward, gripping hilts, speaking in unison). Synchronized nodes must be precise but not mechanically stiff. [Environment Requirements] The environment is a functioning real world (flowing water, moving mist, swaying banners, moving clouds). The environment must NOT react to the punchlines (e.g., no sudden wind after the allowance reveal, no dramatic lighting changes at the punchline, no synchronized background crowd reactions). [Technical Specifications] Strict total duration: 15 seconds. 16:9 widescreen. Three continuous clear shots. Native synchronized Mandarin dialogue with precise lip-sync and clear comedy pauses. Arri Alexa cinematic texture. Clear facial details. Realistic silk fabric and hair movement. Natural parallax between foreground, midground, and background. Real spatial ambient sound. No subtitles. [Negative] blurry, bad quality, low quality, low resolution, noisy, jpeg artifacts, watermark, text, subtitles, error; deformed, mutated, bad anatomy, poorly drawn hands, bad composition, out of frame, disfigured; inconsistent character, changing clothes, face morphing, hairstyle change, background shift, architecture mutation, lighting jump, glitching cuts, disappearing props, duplicated swords, changing sword ownership, extra foreground characters, exaggerated slapstick acting, exaggerated greed reaction, cartoon comedy, environment triggering joke, sudden wind at punchline, dramatic lighting change at salary reveal, synchronized background crowd reaction, unstable enemy position, unstable master position, broken eyelines, broken geography, random camera jump.

Animal made of emerald with silver trim, wolf, realistic gemstone shine, edge enhancement, as lifelike as possible, looking as if it is about to move, food is raw emerald, gnawing, overflowing with raw gemstones, emerald wolf cub gnawing, parent wolf's affectionate gaze, eyes appearing gentle, a charming wild scene with the emerald wolf cub's mouth wide open, ending with a sleep fade-out, howling heard in the distance.

I. Core Positioning Cinematic realistic texture, pure ancient style Chinese Xianxia aesthetics. The overall tone is a restrained and mature emotional scene, featuring: High-end Wuxia character blocking Arri Alexa cinematic look Clear and stable facial micro-details Fine film grain Natural volumetric light The core reversal of this segment centers on: Identity, Trust, and Dignity The outside world attempts to define a person with a bloodline label. What the Sword Immortal Senior Sister truly does is refuse to let that label decide for her Junior Sister who she is. II. Reference Control 1. Character Identity Anchors @Image 1 strictly locks Character ID A: Sword Immortal Senior Sister @Image 2 strictly locks Character ID B: Junior Sister 2. Environment Reference All background and location reference images uploaded in this round together determine a single set of environment DNA. Before formal composition, silently deduce compatible: Real terrain Architectural language Spatial scale Material era Vegetation Water bodies Weather Clouds Mountain mist Main light direction Reflection relationships Overall color Aerial depth Real traffic flow lines Re-plan into a unique, unified new space for this round. Requirements: Cannot mechanically copy a single reference image Must maintain identity within the same world Three shots share a consistent geographic relationship Spatial logic is clear The visual world is vivid, credible, and continuous III. Environment Principles The background must remain vivid throughout but maintain absolute neutrality in the narrative. If the following elements exist in the reference images, they should run naturally: Water flows continuously Mountain mist moves according to terrain Vegetation responds to natural wind Clouds change slowly Reflections change with light and camera position Distant spatial ambient sounds exist naturally Hard requirements: The background does not create the plot The background does not drive reversals The background does not solve character conflicts The background only provides a sense of real spatial presence IV. Character Settings Character ID A | Sword Immortal Senior Sister The same @Image 1 Sword Immortal Senior Sister. 25–30 year old East Asian female, oval face, fair skin, dark almond eyes, black long hair half-up, fixed with a white jade hairpin, tall and slender. Fixed styling: White embroidered silk Hanfu Silver waist seal Jade pendant White cloth boots A single silver longsword Character temperament: Calm Restrained Very measured Speaks concisely Emotional expression is subtle Respects the other party's right to choose while protecting them Character ID B | Junior Sister The same @Image 2 Junior Sister. 20–25 year old East Asian female, round and agile face, black braided hair, small stature. Fixed styling: Cyan-green linen Hanfu Dark belt Wooden hairpin Black cloth shoes A single dark steel sword Character temperament: Intelligent Sensitive Self-respecting Instinctively retreats when identity is revealed Truly needs respect, trust, and to be seen as herself, not someone deciding for her Supporting Character 1 | Enemy Swordsman One male Already defeated Kneeling opposite the two Responsible for external evaluation and pressure Uses the 'demon lineage' label to try and define the Junior Sister Supporting Character 2 | Elderly Master One male Serves only as a minor witness Silent throughout Finally expresses attitude only by stepping aside Supporting Character 3 | Two Disciples Two people Serve only as distant witnesses Keep depth of field blurred Cannot steal the scene V. Core Narrative Logic Act One Enemy reveals the foreign tribe mark on the Junior Sister's wrist. The outside world tries to define her by bloodline. Junior Sister instinctively retreats half a step. Act Two Senior Sister draws her sword. Looks like she's about to question, judge, or take a stand. Instead, she stands directly on the Junior Sister's side. Act Three She says: 'I protect her, not her bloodline.' Then she doesn't decide for the Junior Sister; She only gives the choice back to her. Finally, the Junior Sister walks back to her Senior Sister's side on her own, completing the confirmation of identity and trust through action. VI. Storyboard Script 0–5s | Full Shot or Long Shot According to this round's reference image real space, select the most reasonable public confrontation area. Absolutely cannot be forced into a location not in the reference images. Character ID A is always the same @Image 1 Sword Immortal Senior Sister. Character ID B is always the same @Image 2 Junior Sister. One defeated enemy swordsman kneels opposite the two. An elderly master and two disciples exist only as minor witnesses. The enemy points to a very faint foreign tribe mark on the Junior Sister's wrist and says: 'She carries a demon lineage, you still acknowledge her?' The same Junior Sister subconsciously retreats half a step to the side. The same white-clad sword immortal slowly draws her sword. Camera Requirements Establish a clear and stable confrontation relationship Make the mark information clearly established Junior Sister's half-step retreat must be readable Senior Sister drawing the sword must have a sense of weight and judgment The audience cannot be certain which side she will take at this point 5–10s | Medium Shot or Cowboy Shot Maintain same characters, same clothing, same longsword, and identical geographic space. Senior Sister doesn't turn to face the Junior Sister, but instead walks directly past her, plunging the same silver longsword tip-down into the ground between the enemy and the Junior Sister, then stands back beside the same cyan-clothed girl. She says calmly: 'I already knew.' The enemy asks further: 'Knew and still protect her?' Senior Sister answers: 'I protect her, not her bloodline.' The Master remains silent. Other witnesses remain blurred in depth of field. The same vivid world continues to run naturally but is completely uninvolved in the plot. Camera Requirements The action of the sword plunging into the ground must become a clear stance expression Senior Sister's movement path is clear She doesn't stand in front of the Junior Sister in an exaggerated protective pose She is calm, firm, standing back by her side This dialogue must be steady, not melodramatic, no slogans 10–15s | Close-up or Extreme Close-up The same Junior Sister asks in a low voice: 'You don't ask me why I hid it from you?' The same Sword Immortal Senior Sister truly makes eye contact with her and only answers: 'Ask.' Maintain an emotional weighted half-beat silence. Then adds a sentence: 'But I'll wait until you want to say.' She doesn't grab the Junior Sister, nor does she make any decision for her; she only uses an open hand to naturally gesture towards the path beside her, saying calmly: 'Whether to go back or not, choose for yourself.' Junior Sister first looks at the distant Master and disciples, then looks back at her Senior Sister, then actively takes a step, choosing for herself to stand back beside her Senior Sister, answering: 'Then I'm going back.' Extreme Close-up: The Sword Immortal Senior Sister's consistently restrained expression finally shows a very small, clearly relieved smile, and she sheaths the same longsword again. Behind the shallow depth of field, the same Master doesn't say a word, only calmly steps aside, leaving the path back open. Camera Requirements 'Ask' this one sentence must be short, steady, and weighted 'But I'll wait until you want to say' is the true trust anchor of the entire segment What the Senior Sister gives is space and the right to choose Junior Sister's action of returning must be an active choice The Master's final step aside is only a social level of acquiescence and witnessing The ending must land on the fact that 'she decided to go back herself'