2d Animation için Video promptları

15-second high-octane Chinese martial arts 2D animated film, mature-oriented Guoman, 2D hand-drawn cel animation texture, realistic adult body proportions, clear outlines, Level 2-3 hard-edged shadows, cinematic lighting and shadows, partial integration of ink splash/streaks, high-speed brushes, smear frames, air blade cuts, and exaggerated yet logically consistent high-speed afterimages. Not Xianxia, not a game skill showcase, the core is a realistic martial arts chase under extreme speed differences. Setting: 'Duanyun Temple' at dusk just after heavy rain, a massive abandoned ancient temple nestled among mountains and cliffs. Features a three-story wooden main hall, giant dark brown wooden pillars, dark blue-black wet tiles, half-collapsed corridors, stone courtyards, a bell tower, broken railings, a stone bridge over a cliff, ancient pines, and tattered Buddhist banners. The western dark clouds split to reveal an orange-red sunset, with warm golden slanted light illuminating the cold bluish-gray temple. Wet stone slabs and tiles reflect characters and special effects. The air is filled with mist, dust, falling leaves, and broken tiles. Character A: 'Bai Jin', a white-haired thread-suspending guest, adult male, slender and lean, long silvery-white hair, black narrow-sleeved cross-collar martial arts attire, dark black short robe, dark red waist sash, black leg-binding pants with light martial arts boots. Small amount of dark purple vein-like patterns on the side of the neck and chest. Combat ability: extreme high-speed Qinggong 'Purple Lightning Wandering Dragon Steps', vein-severing palm techniques, and heavy leg strikes 'Cloud-Severing Mountain-Cleaver'. Purple effects represent high-speed movement only, not energy attacks. Character B: 'Shen Yan', a black-clad bladesman, adult male, messy mid-length black hair, ink black and dark gray narrow-sleeved martial arts outfit, gray-black short cloak, a long saber in a deep black scabbard at his waist. Skilled in hidden blade techniques and judgment-based tile-treading footwork, but significantly slower than Bai Jin. He remains suppressed throughout the first half. 0.0—1.0s: Fight starts immediately. 20mm ultra-wide low-angle shot, camera almost touching the wet bluestone ground. Bai Jin occupies the massive foreground, one black boot appearing huge due to perspective, body lowered almost to the ground. Shen Yan stands in the courtyard in front of the main hall dozens of meters away. Bai Jin suddenly explodes off the ground; the stone slab beneath him cracks like a spiderweb, standing water splashes backward in a fan-shaped curtain, his hair and clothing pull straight back. The camera follows closely, with wooden pillars, stone steps, banners, and eaves blurring into high-speed stripes along the direction of motion. Bai Jin enters 'Purple Lightning Wandering Dragon Steps', forming a continuous high-speed trail with a white-purple highlight core, deep purple body, magenta edges, and minimal cyan-green dispersion. 1.0—2.5s: Bai Jin cuts into the courtyard at high speed but doesn't attack immediately. He first flashes past Shen Yan's left, leaving a black human afterimage, a white air trail, and water cut by the airflow; an instant later, he circles a giant wooden pillar from the right rear. Shen Yan quickly turns his head to find the target, hand gripping the hilt but not swinging wildly. The camera zooms into Shen Yan's eye; the pupil darts left, then snaps right. In the next frame, Bai Jin has already cut in from the side-rear. Bai Jin uses two joined knuckles to quickly brush aside Shen Yan's raised scabbard, followed immediately by a palm strike exploding from a very short distance, slamming heavily into the side of Shen Yan's face. The contact must be clear: the cheek compresses first, the head is knocked aside, hair and rain spin in the other direction, a few drops of blood fly out, and the shoulders and waist follow. The arm can have a very brief 2D smear stretch, but the actual arm does not lengthen. 2.5—4.0s: Shen Yan is sent flying dozens of meters laterally by the palm strike, body tumbling irregularly. His feet first brush against a stone lamp, shattering the top half, then he crashes through the decayed wooden railing and wall of the main hall. A massive amount of wood chips, tiles, and dust scatter. The camera cuts to an ultra-wide shot to show the displacement. Shen Yan's shoulders and back hit the wooden floor of the hall first, his body continuing to roll, the long saber still gripped in his hand, the scabbard scraping the floor creating continuous wood shavings. Finally, Shen Yan kneels on one knee, one hand supporting the ground, not yet fully stable. 4.0—5.8s: A purple-white high-speed light trail flashes outside the main hall's wooden wall. Bai Jin bursts through the wood chips into the hall, first flashing past Shen Yan's front, creating two purple human afterimages, then a third afterimage appearing behind Shen Yan. The real Bai Jin finally stops steadily to the side. As Shen Yan turns, Bai Jin has already stepped forward, his supporting foot crushing the floorboards, his knee lifting quickly, waist and hips fully rotating, his leg extending horizontally to execute 'Cloud-Severing Mountain-Cleaver'. His sole strikes Shen Yan's chest and abdomen heavily. At the moment of contact, Shen Yan's torso folds, the sword hilt is pressed into his body, and then his feet leave the ground entirely. 5.8—7.1s: Shen Yan is blown out from the other side of the hall by the side kick, the decayed wall exploding into a giant hole. He flies through a storm of wood pieces and broken tiles toward the next roof level. Shen Yan's feet hit the wet blue tiles first, which shatter consecutively as his body slides down the slanted roof at high speed. He immediately stabs the scabbard into the tile gaps to slow down, carving a long mark across the roof. Bai Jin doesn't pause, entering 'Purple Lightning Wandering Dragon Steps' again, shooting out from the hall's opening, a purple-white high-speed trail streaking across the flying eaves. 7.1—9.0s: High-density 3D pursuit. Bai Jin sprints along the eaves, circles behind an ancient pine, then runs briefly horizontally along the side wall of the bell tower, using the force to change direction. The purple light band forms a continuous S-shaped path between temple buildings, accompanied by black humanoid afterimages and white ink-style air brushes. Shen Yan leaps from a roof toward another corridor. Bai Jin cuts in early from the ridge above, first slamming his shoulder into Shen Yan's sword arm to deflect his posture, then immediately spinning his body to deliver a lateral elbow strike to the side of Shen Yan's face. The elbow strike frame features a strong 2D smear, with hair, cuffs, and forearm briefly stretched. Shen Yan is knocked off the roof again. 9.0—10.0s: Shen Yan falls from a height of two stories. Bai Jin chases down from above as an almost vertical purple high-speed trail. Bai Jin is not firing energy but descending at high speed himself. He passes Shen Yan mid-air, presses his palm against Shen Yan's back, and uses his own descending momentum to slam him downward. Shen Yan's trajectory is forced vertically down, crashing face-first into the next courtyard. The wet stone slabs shatter instantly, with white-gray dust, water splashes, and rubble exploding simultaneously, forming a tall smoke pillar in the center and a ring of spreading water curtains. 10.0—11.8s: Before the dust clears, Shen Yan forces himself out, running along a massive colonnade. Bai Jin follows in 'Purple Lightning Wandering Dragon Steps'. High-speed horizontal tracking shot; the two weave between dozens of giant dark brown wooden pillars, characters briefly obscured by the columns. The purple trail must realistically circle the pillars and never pass through them. Bai Jin kicks off a pillar to turn, wood chips exploding from the surface as he launches in the opposite direction. Shen Yan uses his scabbard to vault over a wooden railing, landing on an outer stone terrace. As Bai Jin chases out, the high-speed wind pressure sweeps up a whole row of banners. 11.8—13.2s: Shen Yan judges that the next strike cannot be fully dodged. He turns immediately, keeping his long saber sheathed, gripping both the hilt and scabbard with both hands, holding the entire sword horizontally across his chest, lowering his center of gravity in a front-back bow stance to form 'River-Blocking Guard'. In the distance, Bai Jin charges along the stone terrace, exiting the purple high-speed state in the final meters, pulling both palms to his waist before thrusting forward simultaneously in the final step with 'Mountain-Shaking Palm'. Both palms slam into Shen Yan's horizontal scabbard. 13.2—14.1s: The collision must be depicted in layers. In the first instant, Shen Yan successfully blocks the attack; the scabbard bends inward, his arms are pressed back to his chest by the immense force, and his feet slide back along the wet stone slabs, soles kicking up water splashes as the stones begin to crack. But Bai Jin's force continues to surge in; in the next instant, Shen Yan's defense completely collapses, and he is blown away along with his sword. The camera follows Shen Yan with a 30-45 degree camera roll, with eaves, sunset, cliffs, and mountains rotating and tilting together. 14.1—15.0s: Shen Yan flies toward an ancient stone bridge connecting two cliff walls. One foot touches the wet bridge surface first, followed by the second. His body continues to slide back at high speed, water on the bridge spraying to both sides. Shen Yan almost falls off the edge of the bridge before finally stabbing the scabbard into a stone crack; rubble bursts out, and his body finally forces a stop. The final shot is static: Shen Yan kneels on one knee in the center of the cliff stone bridge, head slightly lowered, a trace of blood at the corner of his mouth, shoulders heaving, one hand still firmly gripping the hilt. In the distance, on the roof of Duanyun Temple, Bai Jin stands quietly. The sunset stretches a vast distance between the two. The scene ends as Shen Yan just begins to look up, connecting directly to the next segment. Special Effects Fixed Rules: Purple only represents Bai Jin's high-speed Qinggong; white-purple center, deep purple body, magenta outer edge, minimal green dispersion. High speed can produce 3-5 humanoid afterimages, but there is only one real person. Attacks are primarily actual fist, palm, and leg techniques; effects only show speed and impact. All knockbacks must involve real contact first, then body deformation, then displacement. No random teleporting, no static standing, no turn-based combat, no purple turning into lasers, no characters passing through pillars or walls, no characters flying away prematurely, no instant recovery to normal after landing.

An emotionally charged, avant-garde Japanese anime opening sequence with playful, surreal, graphic visual direction. A cute anime girl moves through an endlessly transforming visual world. Multiple variations of the same girl appear, disappear, overlap, split apart, and replace one another, as if different versions of her personality and identity are competing inside the same opening sequence. Full-color Japanese 2D animation, expressive hand-drawn character animation, clean cel shading, highly polished sakuga, 24fps. [Core Visual Goal] Prioritize flatness, graphic design, symbolic clarity, and emotional coherence. The sequence should feel like a moving 2D graphic-design composition rather than a cinematic world. Every visual element must relate directly to the girl, her emotions, her body, her memories, or the story's central symbolic ideas. Do not introduce random decorative motifs or unrelated objects. Do not use imagery just because it looks stylish. Every repeated shape, symbol, prop, or visual metaphor must feel meaningfully connected to the same character and emotional theme. [Overall Visual Direction] Pop, surreal, stylish, cute, strange, slightly unsettling. Very flat visual design. Strong 2D composition over three-dimensional realism. Large areas of flat color. Minimal depth. Minimal volumetric lighting. Minimal environmental realism. Graphic staging over cinematic staging. The screen behaves like a moving poster, a motion-graphics illustration, or a transforming printed design. Backgrounds are simplified into flat planes, cutout-like layers, symbolic spaces, and graphic fields. When depth appears, it should be stylized and brief, used only for emphasis. Flat images may suddenly bend, stretch, fold, rotate, or transform, but they should still feel fundamentally graphic and planar. [Motif Control] Use only motifs directly derived from the main character and her emotional world. Allowed motifs should come from: her eyes, hair, hands, mouth, silhouette, clothing, accessories, shadows, reflections, mirrors, frames, ribbons, simple body fragments, personal symbolic objects, and abstract shapes that clearly evolve from these elements. Motifs may also come from a small number of central emotional symbols, but only if they are consistently repeated and clearly connected to the girl's identity. Avoid unrelated decorative symbols such as random stars, random flowers, random animals, random cosmic imagery, random surreal props, or arbitrary visual clutter unless they are specifically established as core motifs. Limit the motif vocabulary. Reuse the same small symbolic set across the entire sequence. The world should feel unified by recurring, meaningful visual symbols. [Character Direction] A cute

Cinematic 2.5D animation: fully painterly rendering, characters and environments look like gouache concept-art paintings in motion, visible brush texture on skin, cloth and buildings, flat posterized color blocks with hard-edged light shapes, matte finish,

Concept: A creative mixed-media video blending live-action culinary footage with dynamic 2D line-art animations using a stylus interaction. Scene Breakdown 00:00 - 00:01 | The Prep Visual: A hand taps a light-blue stylus onto a slice of bread soaking in egg mixture. Effect: The real-life scene instantly transforms into a stylized black-and-yellow 2D cartoon sketch. 00:01 - 00:04 | The Cook Visual: Top-down view of the cartoon bread cooking in a cast-iron skillet with melting butter. Effect: A stylus tap converts the animated toast into golden-brown, real-life French toast sizzling in the pan. 00:04 - 00:08 | The Plating Visual: Cartoon-drawn French toast on a dark plate, accented with animated steam and powdered sugar sifted overhead. Effect: A final stylus touch morphs the animated plate into a gourmet dish complete with powdered sugar, fresh berries, mint leaves, and maple syrup pouring from a boat.

Left side woman: Cold Tide barrier master, blue-white long robe, water-element mage. Uses cold water, barriers, water walls, water rings, water-flow traction, and ink-wash tidal waves in combat. She must maintain distance and must never allow the man to stably close in. Right side man: Crimson-black long robe red-blade swordsman, solid red large blade, black cloak, crimson fire-ink, black ink waves, golden shattered ink. Fighting style is strong assault, breaking formations, charging in, horizontal slashes, aerial heavy chops. He must constantly attempt to close the distance and break through the water walls. Generate a 15-second 16:9 landscape 720P high-definition 2D ink-wash wuxia combat video. Overall high-energy 2D ink-wash combat aesthetic: fierce, fast, explosive actions, strong ink-follow, large-area splash-ink explosions, characters high-definition and clear. No 3D, no live-action, no CG feel, no sketch style, no static illustration. Combat arena: rainy aftermath of shattered water-courtyard ruins, large areas of shallow water covering a green-stone plaza, surrounded by broken bridges, residual pillars, collapsed water pavilions, broken tiles, stone steps, distant ink clouds. The ground must have large water surfaces; character movement produces water splashes, ripples, reflections, and ink-wash ripples. During combat the water surface is split by blade energy, water walls are shattered, residual pillars are broken by water waves, green stone is cleaved by the red blade, broken tiles are swept up by water flow and shockwaves. Core combat relationship: The woman is a mid-to-long-range water mage who actively controls the field and suppresses. The man is a close-range red-blade fighter who must constantly charge to break distance. The woman always uses the water surface, barriers, water walls, and spatial displacement to keep 3–8 meters distance. The man constantly uses ground-hugging dashes, diagonal charges, aerial downward chops, and spinning horizontal slashes to forcibly close the gap. Every time the man is about to get close, the woman must use water walls, water rings, surging waves, mirror-position swaps, sliding-water retreats, or barrier rebounds to interrupt. She cannot stand still to cast; she must cast while sliding, spinning, retreating, or leaping on water. Absolute real-time high-speed combat. No slow motion, no variable frame rates, no speed ramps, no static charging, no one-move-one-stop, no idle time after collision. From the first frame to the last frame continuously. At least 3 effective offense-defense exchanges per second: water-wall blocking, red-blade breaking walls, water-wave counter-push, charge dodging, barrier rebound, pursuit avoidance happening continuously. Ink-wash special effects must be extremely strong. All of the woman’s actions carry cyan-blue ink, water splashes, cold white flying white, water-ripple barriers, transparent water walls, vortex water rings. All of the man’s actions carry crimson fire-ink, large red blade arcs, black cloak ink waves, golden shattered ink. Water and fire-ink must contrast sharply: cyan-blue tides suppress red-black blade waves; when the red blade splits a water wall, red-blue colliding splash-ink explodes. Ordinary exchanges occupy one-third of the frame with ink effects, heavy strikes occupy half the frame, final explosion is full-screen ink-wash detonation. 0–3 s: Low camera close to the water surface rapid tracking. Woman slides backward on water, sleeves roll out three cyan-blue water rings, semi-transparent water wall rises from the surface. Man charges violently from the distance hugging the ground, red blade dragging and splitting the water surface, crimson fire-ink and water splashes exploding simultaneously. Man horizontal-slashes the first water wall; woman sideways slides on water to change position; second water wall rolls up from his side and deflects his slash momentum. Camera stays low on the water surface chasing, water splashes hitting the lens. 3–6 s: Medium-close rapid cuts. Man consecutive three-stage strong assault: diagonal charge horizontal slash, spinning upward lift, aerial downward chop. Woman retreats while casting without pause: water sleeves flick to form an arc water shield, foot vortex shifts her body sideways three meters, both hands form seals to raise two water walls for pincer attack. Red blade shatters the water shield, shattered water turns into cyan-blue splash-ink rain; woman uses the water wave to push herself sliding to the side of the broken bridge, maintaining distance. 6–9 s: Large-scale spatial displacement. Man stomps and shatters green stone, leaps across the water channel, black cloak trailing red-black ink waves, red blade chopping down from above. Woman does not hard-block; she leaps on water, water column underfoot lifts her into a side flip, circular water-ripple barrier appears behind her. Blade energy chops into the barrier, water surface explodes into a ring-shaped giant wave, man is forced half a step back by water pressure. Woman lands on top of a residual pillar on the opposite side and immediately flings three water blades from different angles to seal the man’s pursuit path. 9–12 s: Pursuit and counter-suppression. Man forcibly breaks through the water blades, ground-hugging rapid charge, red blade continuously splitting the water surface forming three crimson blade scars. Woman high-speed retreats along the water surface, both sleeves trailing long cyan-blue ink tails, spins and summons a row of water walls pushing forward like a tidal wave. Man uses the large blade to continuously break the walls; his body is repeatedly shocked back, slides, then forcibly charges forward again; water surface underfoot is stomped and explodes, red-blue splash-ink continuously detonating. Camera rapidly switches between weapon close-ups, water-wall shattering close-ups, and full-body chase shots; cuts never interrupt the action. 12–15 s: Final high-intensity explosion. Man finally charges into close range, aerial heavy chop, red blade carrying a crimson fire-ink giant wave pressing down. Woman instantly slides back on water and spins; large area of water underfoot rises into a ring-shaped water tornado, three layers of transparent water walls stack continuously. Man shatters the first layer with one chop, spins horizontal slash to tear open the second layer, lands dragging the blade upward to crash into the third layer. Woman pushes both hands forward; the water tornado contracts into a huge cyan-blue ink-wash shockwave. Man’s red blade hard-blocks; red-black blade wave and cyan-blue tide collide head-on, full-screen splash-ink, water flowers, flying white, shattered ink, golden shattered ink explode. After the explosion the man is blasted sliding backward several meters, blade tip plowing the water surface; woman slides back on water to a distance, water rings still rotating behind her; both remain in residual combat momentum, not a static pose. Camera requirements: Tsui Hark-style rapid camera work combined with high-energy 2D ink-wash combat. 70% medium-close and water-surface tracking shots, 20% full-body medium shots showing large displacements, a small amount of long shots showing the water-courtyard ruins and large water surface. Must include low water-surface camera, blade-splitting water-wall close-ups, water-splash explosion shots, woman’s water-sliding side-move tracking, man’s charging whip-pan, overhead water-ring barrier shots, low-angle aerial downward chop shots, final frontal explosion collision. Cuts must continue the same movement direction—no breaking of moves, no stuttering. Character force feedback must be strong. Every time the man shatters a water wall he must be counter-shocked by water pressure: shoulders lean back, feet slide, cloak explodes open. Every time the woman is forced clos

A Japanese anime-style 2D animated close-up video. Hand-drawn anime hands press vibrant green pandan rice flour dough through a traditional press into a bowl of liquid nitrogen, creating a whimsical cloud of cold steam and sparkling vapor

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

pixel art style, looping aesthetic, relatively still camera. I can no longer test the tires and heart I changed for you.

Goal: Generate a viral-potential short dance video featuring the protagonist from the reference video. The subject is a single girl. The main event is a 30-second cute dance performance switching between 5 camera angles (front, top, left, right, rear) every 2 seconds, maintaining constant eye contact with the lens. Reference: Dance video - Inherit: face, hairstyle, hair color, eyes, physique, age, outfit, accessories, bright classroom background, 2D crayon effect texture/colors, and the bright idol-pop atmosphere. Do not inherit: the original 15s cut sequence and timing (prioritize this prompt's timeline). Style and Music: High-quality 24fps animation with many frames. Simple, pop, and refreshing classroom setting where the character is always the focus. Synchronized 2D flat animation effects appear with the dance, featuring a hand-drawn crayon or oil pastel texture. Motifs include circles, stars, hearts, flowers, notes, arrows, ribbons, crowns, sparkles, waves, swirls, speech bubbles, checks, diagonal lines, and halftone dots. Palette: Pink, light blue, yellow, white, lavender, mint green. (Original bright/cute Japanese idol pop song. Upbeat tempo syncing with 2-second cuts. The character sings along while dancing.) Camera Config: 5 cameras switching every 2s. The protagonist always looks at the lens. For the rear camera, she looks back over her shoulder. Cameras are not static; they perform intentional cute shakes, bounces, and slight pans synced to the beat. Timeline (2s per camera): [0-2s] Front: Rhythmic steps in classroom center, making hand-hearts. Crayon hearts/stars appear around the face. Light vertical bounce. [2-4s] Top: High angle look-up. Quick poses: cheek-peace sign, one-hand heart, pointing. Crown/flower effects. [4-6s] Left: Body turned left, eyes on lens. Hip sway, hand on cheek, waving. Ribbon lines and notes follow hand movement. Horizontal camera sway. [6-8s] Right: Shrugging shoulders, stepping out. Flowers and halftone dots pop at feet/shoulders. Short punch-in on beat. [8-10s] Rear: Starts from back, spins to look over shoulder. Finger point to heart. Swirls and ribbons appear with hair movement. [10-12s] Front: 1st Chorus. Arms wide to chest, bouncing. Large hearts/stars on screen edges. Short shakes on accents. [12-14s] Top: Looking up, opening hands near face, hand-heart. Crayon frames and checks spread in background. [14-16s] Right: Finger-hearts towards lens, playful tilt/smile. Halftone dots and mini-hearts ripple out. Sound-synced punch-in. [16-18s] Left: Bouncing rhythm, 'cat hands' swinging like a metronome. Notes and wave lines jump. [18-20s] Rear: Full turn to front, blowing a kiss over shoulder. Crayon hearts fly out with swirls. [20-22s] Top: Looking up, making a big heart over head. Flowers bloom, sparkles fall like confetti. [22-24s] Right: Two claps to finger point, stepping side-to-side. Arrows and bubbles pop on claps. [24-26s] Front: Final Chorus. Small jumps, wide arms to heart. Max density effects on screen edges. Strongest but viewable camera shake. [26-28s] Left: Fast spin, cheek-heart pose. Ribbon lines frame the character. [28-30s] Hero Shot: Close-up step forward, smile to wink. Four-pointed stars, hearts, and ribbons burst from eyes. Ends on short punch-in freeze pose. Continuity/Constraints: Only one person. Maintain facial features, hair, and outfit from reference throughout. Effects must be 2D crayon-style; no realistic fire/explosions or heavy glitch. Do not obscure the face too much. No text, logos, or watermarks.

High-quality anime footage. High-quality anime, 2D hand-drawn. Facial expression changes proceed in the order of eyes -> eyebrows -> eyelids -> mouth -> gaze. [Character Fixation] Maintain the character from Image1 as the same person throughout. Image1 is the only person appearing on screen. Maintain small, delicate round facial features, large purple to lilac jewel-like eyes with multiple white catchlights, thick upper eyelashes, faint cheek redness, long pastel pink hair tied in two bunches on the sides, loose curls on the forehead, purple flower ornaments, and dark blue ribbons. The white short-sleeved sailor-collared top, dark blue and gold trim, lavender pleated skirt, dark blue ruffled hem, and purple jewel belt do not change. Only expressions, gaze, natural mouth movements, posture, breathing, and the swaying of hair and skirt in the wind may change. No change to a different person, face averaging, hairstyle change, costume swap, clones, mirror images, reflections, other people, hands, shadows, or silhouettes. The conversation partner does not appear on screen; her gaze to the diagonal left front represents the presence of a date. The camera is always from an objective third-party perspective. [Art Style Fixation] Maintain the delicate hand-drawn line art of Image1 with faint purplish line colors, transparent multi-layered shadows, soft gradients, milky pink and lavender, dark blue and gold accents, fine hair texture, jewel-like sparkle in the eyes, elegant highlights, and the information density of skirt pleats and flower ornaments. The summer city, cafe, riverside, fireworks, and sky are all drawn as high-density 2D hand-drawn background art. Avoid thick lines, heavy outlines, simplified TV anime, flat cell shading, low-density backgrounds, smooth CG/3D conversion, photo-like textures, dull colors, expressionless faces, or mixed art styles. The reference image is only for appearance and style; do not reproduce the stone corridor, castle, pose, composition, or camera distance of the original image. All cuts represent new summer urban date scenes. [Prop and Sound Fixation] There is only one transparent iced tea cup, owned only by Image1. At the beginning of Cut 1, Image1 holds it in both hands in front of her chest, takes a sip, and at the end of Cut 1, Image1 herself quietly places it on the cafe table with her right hand. The cup remains on that table and does not appear on screen from Cut 2 onwards. Fresh romance game-style instrumental BGM without vocals. Use soft electric piano, clean guitar, subtle shaker, and faint synth pads to naturally build tension from evening to night. Synchronize the small sound of ice touching inside the cup, distant ambient city sounds, the rustle of clothes, footsteps, and the sound of fireworks launching with visible actions. Lower the BGM slightly just before and during speech, allowing Image1's own Japanese voice to be heard clearly. Do not include songs, narration, the other person's response, or other voices. Cut 1: 0.0–3.6s | Corner cafe at dusk. Camera position is three-quarters to the left front of Image1, at eye level, figure size is chest up, background vanishing axis extends from the back of the table to the right back of the street hit by the sunset. The goal is to simultaneously read the sip of iced tea and the first flicker of excitement in Image1's eyes. Image1 holds the transparent cup of iced tea with both hands and takes a sip while smiling. The ice makes a clear sound once, and the setting sun faintly illuminates the rim of the cup and the outer edge of her hair. Image1 firmly places the cup on the table with her right hand, lifts her gaze to the diagonal left front, and her eyes and the corners of her mouth brighten slightly. The camera slides briefly sideways at the same height, a shadow of the cafe awning crosses in front of the lens for a moment to connect to the next street. Cut 2: 3.6–7.2s | Shopping street at sunset. Camera position is three-quarters to the left front of Image1, slightly higher than the waist, figure size is medium shot, background vanishing axis continues to the left back of the shopping street in her direction of travel. The goal is to read the excitement in her walk and words from her face. Image1 naturally takes a step forward. As a short preparatory action before speaking, her eyes brighten slightly, her eyebrows rise just a bit, her eyelids narrow softly, the corners of her mouth relax, and finally she looks to the diagonal left front. Image1 herself naturally says "Today is really fun" once. Completely synchronize lip movement, breath, expression, and voice. During speech, keep the BGM low to bring the voice forward, and the clean guitar and shaker return in the brief resonance at the end of the sentence. A foreground blur of street tree leaves crosses the lens briefly, switching to the night riverside. Cut 3: 7.2–11.0s | Riverside walking path changed to purple-blue night. Camera position is the right profile of Image1, at eye level, figure size is a medium shot where the profile can be read, background vanishing axis extends from the riverside promenade to the distant firework sky. The goal is to show the moment the change in the night sky reaches Image1's surprise and excitement. Image1 looks up at the sky once. The moment the hair bunches and skirt hem sway late in the night breeze, a large purple, pink, and gold firework bursts in the distant night sky. The firework light does not overlap as dots or lines on the face, but is returned only as soft surface light on the outer edge of the hair and the edges of the costume. The moment the firework bursts, add warm synth pads and thin strings to the BGM to expand it one level. The camera pulls in slightly from the right side, maintaining a distance where the eyes and smile changing from surprise to excitement can be read. Cut 4: 11.0–15.0s | Afterglow of fireworks and title. Camera position is three-quarters to the left front of Image1, at eye level, figure size is chest up, background vanishing axis opens to the back of the night sky on the right. The goal is to let both Image1's face and the title be read as a single lingering effect without interfering with each other. Keep Image1 in the left third of the screen at chest size, opening only the right night sky as white space for the title. Image1 blinks slowly once while looking at the fireworks, returns her expression slightly diagonally forward from her profile, and continues to breathe naturally without stopping with a clear smile. On the right side of the night sky, display a clean two-line title treatment sufficiently away from the face, eyes, mouth, and hair ornaments. In small milky white characters "This summer, my encounter with you turns into excitement", and below that in large deep indigo with faint lavender rim light "Midsummer Night". Display as a work title rather than subtitles, and do not show other readable text, logos, or watermarks. The camera pulls back just a little bit without making Image1 too small. At exactly 15.0 seconds, both Image1's face and the title are completely readable, and just before the last firework tail disappears in the night sky, cut with a short piano resonance.

In classic comic book animation style with bold outlines and vibrant colors, the muscular superhero flies powerfully forward and upward away from the collapsing bridge, his red cape billowing dramatically in the wind. Debris, concrete chunks, and spa...

[REFERENCE CONTROL] Use the uploaded storyboard image as the primary visual reference for story structure, character design, costume design, environment, emotional progression, and shot order.

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

Please generate a high-quality video with a good tempo and a high frame rate of 60 frames per second.\n\nShot and action direction:\n\n0-2s: Wide shot of the hallway, Image 2 (Tora) and Image 3 (Maru) shout simultaneously as they start; their bodies stretch forward at the beginning of the voice, and their rears catch up a beat later. The camera is at a low position, accelerating rapidly forward and pulling along.\n\n2-6s: Running wildly in a zigzag down the hallway; legs become circular rotating afterimages, and long tails of paper and cotton are dragged behind. The camera follows, cutting left and right.\n\n6-9s: Medium shot at a corner; only Image 3 (Maru) is flattened against the wall; the dog's shape is shown from the front becoming a paper-thin silhouette for a moment.\n\n9-10s: In the same composition, a single beat captures the moment it pops back to normal, immediately returning to the run.\n\n10-14s: Pursuit just above the floor; Image 2 (Tora) slides under a bed, thinning out like a liquid; the camera also drops its height and enters the gap.\n\n14-18s: Image 3 (Maru) plunges in head-first but stops at the waist; the body compresses like an accordion; the camera zooms in from the side to exaggerate the contraction and expansion.\n\n18-21s: Pops out once from the recoil and plunges in again; repeats the same movement rhythmically; finally, only the upper body enters, leaving the rear and curled tail outside.\n\n21-24s: Subjective close-up in the darkness under the bed; Image 2's (Tora) front paw stretches out from the dark and desperately pulls Image 3's (Maru) head; despite the fur being pulled, it doesn't move a millimeter.\n\n24-27s: Medium shot from Image 3's (Maru) rear side; the rear and tail left outside tremble slightly, and the cotton and paper on the floor rub and move.\n\n27-30s: Close-up from deep in the darkness showing only the eyes of the two animals; the eyes freeze, losing focus; the pulling force relaxes, and it cuts at the moment of 'stalemate'.\n\nCharacters must speak the lines listed in storyboardDialogue exactly word for word, with no changes, additions, or creations.\n\nstoryboardDialogue:\n0-2s: [Tora & Maru]: 'RUN FOR IT!!!'\nstoryboardAudioDescription:\n0-6s: Sound of explosive running overlapping with screams, continuous sounds of paper and cotton rubbing the floor.\n6-10s: A 'thud' of being pressed against the wall, followed immediately by a small 'pop' sound of returning.\n10-24s: Scuffing sound of sliding under the bed, the 'gyu' of Maru's body clogging between fabric and floor, and pulling friction.\n24-30s: Moving toward silence as motion stops, ending with just a small breath at the end.

Create a fast-paced cinematic 15-second vertical 9:16 superhero edit blending photorealistic live action with an original comic-book animation aesthetic. 0–4 SEC — CITY RUN A young woman with long brown hair, oversized light-pink shirt, white tank top, light-blue jeans, and white sneakers runs through a modern European-inspired city. She films herself with a pink smartphone, smiling at the camera. Smooth tracking shot suddenly transitions into bold comic-book linework, halftone textures, vibrant colors, and speed lines. 4–8 SEC — HERO ACTION She jumps between rooftops as two completely original masked web-slinging heroes appear. One wears a white, charcoal, and teal suit; the other wears crimson and midnight blue. No recognizable existing superhero designs. Energy webs shoot from their gloves as they swing between skyscrapers. 8–12 SEC — COMIC CHAOS First-person web-swinging POV through a futuristic city at golden hour. Neon signs, floating debris, graphic panels, motion blur, and an original “WHOOSH!” graphic create explosive comic energy. She lands dramatically on a rooftop. 12–15 SEC — FINAL HERO SHOT She crouches on a rooftop with her hair blowing in the wind as the camera pulls back to reveal a vast fictional city skyline glowing pink and orange. Final text: WEBRUNNER RISE. SWING. RUN. STYLE: Premium cinematic live action, original graphic-novel animation, bold outlines, halftone textures, vibrant colors, realistic hair and fabric physics, dynamic camera movement, dramatic lighting, seamless transitions, photorealistic detail, 4K, vertical 9:16. AVOID: Existing superhero characters, recognizable costumes, logos, franchise imagery, real-world landmarks, copied animation styles, distorted faces, warped hands, inconsistent characters, random text, cheap CGI.

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

High-quality anime footage. Theatrical-class high-density 2D hand-drawn action animation. High-speed melee combat. Set in a dark near-future giant corridor, the protagonist breaks through multiple enemies continuously without stopping. The most important elements are overwhelming speed, grounding, reaction force chains, clear contact, extreme camera distance changes, brief 'face rewards' (close-ups), and momentary graphic impacts in red, black, and white in the second half. No static repositioning phases. Each attack's reaction force must be used as the propulsion for the next movement or attack. [Character Consistency] Maintain the protagonist from the source reference image as the same person across all cuts. Do not change face shape, age, eye size/spacing, iris color, jaw, bangs, hairstyle, hair color, outfit, body type, or specific color scheme. Do not allow the character to look like someone else, appear more adult, or be simplified even during high-speed movement, distant shots, or backlit explosions. Accurately restore the face, eyes, and hair to match the source image the moment the camera returns to a close-up. The protagonist's weapon is a single slender single-edged sword. Maintain the blade, guard, and hilt as a single continuous structure. Do not multiply, split, or exchange weapons. One or both hands must always grip only the hilt; do not overlap the blade and hands in front of the face. [Enemy Consistency] 4 humanoid enemy soldiers wearing black near-future armor. Maintain the same armor design for all 4; do not mix face, hair, outfit, or weapons with the protagonist. Enemies maintain humanoid bodies, black armor, and limbs during combat. Do not transform into crystals, abstract objects, or light masses after being hit. [Art Style Consistency] 2D hand-drawn animation throughout. Thin delicate line art, dark but not overly black outlines, 2-3 layers of anime shading, transparent mid-tones, multi-layered highlights on hair and eyes, high-density background art, exaggerated key animation for theatrical action. Use short smear frames with boldly stretched shapes for high-speed motion where necessary, but return the face to clarity during close-up frames. No thick black outlines, simplified TV animation, low-density backgrounds, flat single-layer cel shading, smooth 3DCG, live-action, semi-realistic styles, dull colors, or mixed art styles. [Setting/Color/Light] The setting is a dark, massive near-future corridor. Maintain the same location throughout. Background colors: black, dark navy, dark teal. Thin red linear lights on walls, floors, and ceilings pointing toward the vanishing point to emphasize speed and depth. Fixed color roles: Cyan-Blue = protagonist's acceleration and electrical afterglow; Lime-Yellow-Green = sword attack trails; Orange-Yellow = sparks and explosions after contact; Red-Black-White = graphic impacts for maximum shock only in the second half. Do not swap color roles between cuts. Stabilize skin tones and protagonist colors; no random white balance changes. [Common Movement Rules] Do not process running as a parallel slide. Sequence: grounded foot fixed to floor -> pelvis moves past grounded foot -> opposite knee moves forward -> toe of grounded foot kicks off -> short aerial phase -> opposite foot lands forward -> knee compression -> next kick. Pelvis and thorax must move forward past floor joints. Movement in world coordinates must not be erased even if the camera follows. Landings must pass through: foot contact -> knee compression -> hip sink -> upper body follow-through. Sword reaction force flows from sword -> wrist -> elbow -> shoulder -> thorax -> hips -> grounded leg to propel the next move. Hair and clothing follow the body with a slight delay. [Contact Rules] All key attacks follow: clear gap before contact -> contact at specified position -> very short hit-stop at contact -> sparks, armor displacement, and explosion only after contact. Do not blow back enemies or generate explosions before contact. No static screens showing only effects; continue character movement during sparks/explosions. [10 Cuts Sequence] Cut 1: Floor Ignition. Low-angle close-up at feet. Lead foot grounds strongly, toe-kick generates lime-green sparks. Cut 2: Corridor Acceleration. High-speed strides toward vanishing point. Wide-angle perspective. Cut 3: Face Reward to Strike. Quick camera approach to face. Diagonal upward slash with hit-stop and lime trail. Cut 4: Explosion & Axis Change. Enemy hits equipment causing explosion. Protagonist steps around smoke to find next enemy. Cut 5: Continuous Melee. Parry then horizontal slash on second enemy. Move past to third. Cut 6: Spatial Opening. Jump over third enemy's attack. Wide long shot to show the massive corridor scale. Cut 7: Landing to Re-acceleration. Grounding sequence, cyan afterglow, and quick face reward during next dash. Cut 8: Third Contact & Max Pressure. Torso slash on third enemy. Extreme close-up on eye leading to graphic insert. Cut 9: Graphic Impact Intercut. Flash of red/black/white 2D graphic frame to emphasize impact. Immediate return to reality. Cut 10: Final Impact. Approach fourth enemy without stopping. Diagonal slash with strongest hit-stop and red/black/white graphic frames. End on the motion of the next step; no victory pose or static shots. [Sound] High speed but varying volume. Sync breaths and metallic sounds with action. No long screams. [Important Guards] No neutral resets; every force becomes propulsion. Move character relative to floor, not just the camera. Vary camera distance/angle/size between cuts while maintaining movement vector. No text, logos, clones, or sudden enemy additions. No long slow-motion, stalemates, or final victory pull-away shots.

use the attached storyboard <<<image_1>>> & A warm, wholesome 15-second animated short in cozy storybook watercolor style with soft ink linework, painterly textures, and gentle film grain.

[SUMMARY] 15 seconds, 16:9, 24fps. A Japanese emakimono picture scroll unrolls from right to left, the ukiyo-e woodblock city painted on it comes alive, and the film lands on Mount Fuji with a title on the blank paper. Animated woodblock-print style. One single slow leftward drift carries the entire film. [GLOBAL SETUP] Look and texture: 2D animated Japanese ukiyo-e woodblock print. Flat hand-printed color, visible woodgrain, washi paper fibre showing through every surface, thin sumi-ink outlines, gold-leaf cloud bands, Rinpa-school decorative flatness. Keep the ink lines slightly uneven, the way a hand-cut block prints. Palette: washi ivory, indigo ai-iro, vermilion shu-iro, gold kin-iro, golden-yellow yamabuki-iro, pine-green matsu-midori, sumi black. No other colors. The scroll as an object: the ivory washi paper of the scroll, with its dark wooden roller, stays visible at the top and bottom of the frame from 0 to 2.5s and again from 11.5 to 15.0s. Between 2.5 and 11.5s the camera is inside the painting and the paper edges are out of frame. Camera language: exactly one camera move per time slice, always small amplitude at slow speed. The overall direction of travel is leftward for the whole film. Never combine two camera moves in one slice. No handheld shake. Transitions: use zoom-in transition at 2.5s, ink-wash transition at 5.0s, matching-shape transition at 7.5s, and zoom-out transition at 12.5s. No hard cuts anywhere. Nothing appears out of empty space. Keep the camera's breathing in harmony with the length of each slice and leave enough time for each transition to complete. Forbidden throughout: no subtitles, no background music, no photorealism, no 3D rendering, no CG lighting, no video-game look, no modern buildings, no trains, no cars, no power lines, no neon, no Japanese kanji or kana characters anywhere in the frame, no watermark, no logo, no on-screen text at all before 12.5s, no mosaic, no tiling, no puzzle-piece assembly, no rapid cutting. [TIMELINE] 0-2.5s — The scroll opens Scene: A closed emakimono scroll with a dark wooden roller sits at the right edge of an ivory frame. Action: The scroll unrolls leftward and reveals a painted Nihonbashi Bridge. The painted crowd on the bridge starts to move and walks across it. A painted boat slides out from under the bridge and its flat ink outlines ripple into moving water. Camera: slow leftward drift, small amplitude, following the unrolling paper. Sound: paper rustling, a wooden roller turning, then a low market crowd fading in. Not in this slice: no text, no music, no camera shake. 2.5-5.0s — Into the painting: the food street Transition: zoom-in transition. The camera pushes into the painted surface until the paper edges leave the frame and the painting fills the whole screen. Scene: An open-air Edo food street under fluttering vermilion nobori banners. Action: A chef presses a piece of nigiri sushi between his hands and sets it down on a bare wooden board. Steam lifts from a soba pot as a cook draws noodles out of the water. A customer pulls a noren curtain aside and steps in under it. Camera: slow push in, small amplitude, stopping on the sushi board. Sound: a knife tapping wood, oil sizzling, a pot bubbling, cloth brushing. Not in this slice: no text, no music, no modern kitchen equipment. 5.0-7.5s — The river Transition: ink-wash transition. Sumi ink bleeds across the frame like ink dropped in water, and the river scene emerges out of the bleed. Scene: The Sumida River, an arched wooden bridge, rows of low wooden townhouses on the far bank under gold cloud bands. Action: A boatman pushes his pole and the boat glides forward past the bridge. Cherry blossom petals blow across the water from the right. A woman in a patterned kimono standing on the bridge turns her head and looks toward the camera. Camera: slow leftward tracking shot, small amplitude, keeping pace with the boat. Sound: an oar dipping, wood creaking, water lapping, wind through cherry branches. Not in this slice: no text, no music, no motorboats. 7.5-9.5s — Night, lanterns, kabuki Transition: matching-shape transition. A round pink cherry petal drifting in the previous slice matches into a round red paper lantern in this one. Scene: A night street of two-story wooden machiya townhouses under a deep indigo sky. Action: Red paper lanterns light up one after another down both sides of the street. A kabuki theater curtain sways open at the far end and an actor in bold red kumadori face paint strikes a still mie pose. Camera: slow tilt up, small amplitude, from the lanterns to the sky above the rooftops. Sound: wooden kabuki clappers striking twice, geta sandals on plank streets, a low crowd. Not in this slice: no text, no music, no electric light. 9.5-12.5s — Fireworks and the whole city Continuous from the previous slice, the tilt up carries straight into this one. Scene: Golden fireworks open in the indigo sky above the river. Action: Two fireworks bloom and fall in gold and vermilion. The view widens into one grand bird's-eye folding-screen painting of the whole city of Edo across the full width of the frame: dense wooden rooftops, winding canals, arched bridges, boat traffic, a vermilion torii gate, a temple complex, and the tiered white keep of Edo Castle, with gold-leaf cloud bands drifting between the districts. At 11.5s the ivory washi paper edges of the scroll slide back in at the top and bottom, revealing the whole city to be one continuous painting on one scroll. Camera: slow pull out, large amplitude, one single continuous move. Sound: fireworks booming and crackling far away, the crowd noise widening and thinning into open air. Not in this slice: no text, no music, no shattering or reassembling of the image. 12.5-15.0s — Mount Fuji and the title Transition: zoom-out transition completing into the far end of the scroll. Scene: Snow-capped Mount Fuji stands alone on the right against a gold sky. Wide empty ivory washi paper fills the left half of the frame. Action: Cherry blossom petals drift down across the empty paper. The single large word "EDO" fades in on that empty paper in clean pale sumi-black geometric sans-serif capitals. One beat later the smaller line "NOW CALLED TOKYO" fades in directly beneath it. Both lines are English Latin capitals, spelled exactly as written here, centered on the empty paper, sharp and perfectly legible, with no Japanese characters, no extra words and no misspellings. The two lines are static once they appear and are not re-rendered. Camera: the drift comes to rest and holds perfectly still for the last 1.5 seconds. Sound: a single distant temple bell ringing once, then quiet wind. Not in this slice: no music, no additional text, no camera movement after the title appears. [CLOSING CONSTRAINTS] Throughout the whole film: keep the flat ukiyo-e woodblock look, the washi paper fibre, the seven-color palette and the uneven hand-cut ink lines identical from the first frame to the last. Keep every camera move small in amplitude and slow in speed, and keep the overall direction of travel leftward. Keep all transitions soft, with no hard cuts and nothing appearing out of empty space. Throughout the whole film: no subtitles, no background music, no photorealism, no 3D rendering, no modern objects of any kind, no Japanese kanji or kana characters, no watermark and no logo. On-screen text appears only after 12.5s, only the two English lines specified above.

Please make it comic book style with a wizard hat and cloak with arms raised and lightning from hands and all around

Mio uses the glass-attached version in the first half -> virtual form in the second half (hair tips glow cherry-colored, no glasses), Yoru uses the glowing form. The appearing characters are drawn in exactly the same appearance and color scheme as the attached reference materials. A 10-second scene from a Ghibli/Summer Wars-style hand-drawn 2D cell anime theatrical movie. Soft outlines, pale watercolor background art, cell-style 2-stage shading, and rich volumetric light. Starts from the continuation of the glass rim lighting up in the previous scene. [Most Important] Start with a faint blue light from the glasses at 0 seconds, and within 2 seconds, the blue-gray reality dissolves into shards of glowing glass, beginning the fall into a richly colored virtual world. This visual transition is the highlight of the work. 0.0–1.0s: Super close-up of the girl's eyes. Girl Mio, 14 years old. Short black bob, bangs cut straight above the eyebrows, star-shaped silver hairpin on the right temple. Large amber eyes, light freckles on cheeks. White short-sleeved sailor dress, navy blue lines on the collar, navy blue ribbon at the chest, knee-length skirt, red sneakers. A ring of light runs through the smart glass lens, and the rich colors are reflected in her eyes. 1.0–2.0s: The world ripples like the surface of water, and the blue-gray shopping district quietly dissolves into countless shards of glowing glass. Depict it as transformation rather than destruction. Mio's body is softly lifted into the air. 2.0–4.0s: Mio falls through a pure white infinite space. Colorful rivers of light spiral around her. A tail of light appears in front to lead the way. Virtual world Yoru's outline is bordered by amber light particles, the tail pulls a meteor-like band of light, and the bell lights up in amber. 4.0–6.0s: The fall turns into flight. A full view of the virtual world below: groups of white floating islands, colorful rivers of light, and countless colorful avatars. The camera follows Mio from behind at super high speed. The virtual world Mio has the same appearance, but the tips of her hair glow pale cherry color, and the smart glasses have disappeared. 6.0–8.0s: Piercing through the river of light alongside Yoru. Colorful bands of light pass by at high speed on both sides, and Mio's hair and skirt flutter in the wind. 8.0–10.0s: Rapidly rising toward the giant white tower towering in the center, and the moment she crosses the top, a super wide-angle shot opens up the entire virtual world below. Mio laughs aloud. Ends with a sense of liberation. Audio: Startup sound at 0s, clear sound of glass shards at 1s, and three-dimensional sounds of wind and light particles during the fall. The music features a rising harp glissando, strings rapidly rising at 2s, full orchestra at 6s, and open chords at 9s. Do not use destruction/collapse expressions for the real world (depict it as a transformation into light). No text or subtitles. Live-action, photorealistic, and 3DCG are prohibited.

Task: Dreamina Seedance 2.5 — Omni ReferenceDuration: 30 secondsAspect ratio: 16:9Editorial target: 24fps, F000-F719 [Generation Goal]A high-speed combat battle involving only three characters: @Image1, @Image2, and @Image3. Develop offense and defense over 10 cuts. No weapons; use a combination of rushes, dodges, palm strikes, elbow strikes, kicks, throws, and aerial attacks. Do not fix the expressions of the three characters. Change them to alertness, surprise, irritation, concentration, provocation, exhilaration, and relief in response to the offense and defense. Express specifically through eyes, eyebrows, mouth, gaze, breathing, and head tilt. Return characters to a recognizable form only at moments of stopping, posing, contact, or landing. During high-speed movement, always break down the finished human body and replace it with a small number of liquid brushstrokes, rough watercolor planes, and short afterimages based on each character's color scheme. Do not simply add speed lines or motion blur to a finished figure. The flowing brushstrokes themselves are the character. [Material Roles]@Image1 = Character A. One and the same person. Uses yellow bob hair, cat ears, green eyes, light blue and white clothes, yellow trim, triangular tie decoration, pink backpack, pink boots, light blue tail with a yellow triangular tip as identifying information. @Image2 = Character B. One and the same person. Uses a yellow-green round bob, two leaf-like ears, golden eyes, white puff sleeves, pink bowtie, dark green shorts with suspenders, green boots, a long yellow-green tuft continuing from the back of the head with a round tip as identifying information. @Image3 = Character C. One and the same person. Uses vivid blue long hair and ponytail, two white horns, pointed ears, golden eyes, star-shaped earrings, dark red Japanese-style clothing, black skirt, black belt and back ribbon, black knee-highs, and red geta as identifying information. Do not treat three-view diagrams as clones. Do not swap the faces, hair, costumes, color schemes, ears, horns, tails, back hair, or decorations of the three. However, the expressions in the reference images are not fixed and should change according to the battle situation. Do not use white backgrounds or explanatory text. Do not generate weapons. Do not use the backpack, tail, back hair, horns, or geta as detached weapons. [Environment]A giant festival square based on a white paper surface. A giant vermilion pillar and watercolor stalls on the left, a sequence of vermilion torii gates in the center back, a red lantern shelf on the right, and light blue cubes and firework-like brushstrokes in the sky. Draw the background with translucent watercolors, broken ink lines, pencil composition lines, and wide white margins. Do not enclose the floor, pillars, torii, stalls, or lanterns with closed outlines. The background lines also tremble slightly, changing in density and position, but the amount of variation is weaker than that of the characters. Maintain the background layout in all cuts. Do not include combatants, crowds, or additional characters other than the three. [Unstable Line Rule]Draw the entire video with 'continuously generated lines and watercolors.' Do not clean up each frame from the previous one; redraw each frame as a new rough sketch. Do not create a single outline surrounding the person. Do not enclose the head, shoulders, arms, torso, or legs with continuous lines; always leave 30-60% of the body's outer circumference as white gaps in the paper. Recognize the character's form intermittently through short, broken pencil lines, irregular watercolor boundaries, dry brush marks, eraser marks, and doubled redraw lines. Do not maintain the same line in the same position for more than 3 frames. Lines change in position, thickness, density, length, pressure, and curvature every frame. They break in the middle, split into two, and parts disappear. Do not use a single uniform line width for the whole body. Do not keep line density constant. Irregularly alternate frames with extremely few lines, frames with dense redraw lines, and frames where most of the outer circumference disappears. Do not create a finished outer circumference for the face either. Do not draw both eyes, nose, mouth, jaw, and cheeks clearly at the same time. Leave only the minimum lines to read the expression, such as the outer side of one eye disappearing, the mouth cutting off midway, eyebrows becoming double, or cheek lines melting into watercolor. Do not fit the watercolor accurately inside the lines. Create bleeding, protrusion, white unpainted areas, uneven shading, and misregistration. [Line and Color Delay]Body movement takes the lead, pencil lines follow about 1-2 frames late, and watercolor color planes follow about another 1-2 frames late. Late lines and color planes do not completely overlap the body and remain as short afterimages torn in the direction of movement. Afterimages are not copies of the finished person but brushstrokes and color planes that indicate only the direction of the arms, legs, hair, tail, and costume. Even when stopped, do not return the lines to a clean-up state. The person's face, clothing, and posture become legible, but the gaps in the outer circumference, double lines, watercolor bleeding, and misregistration are maintained. [Mandatory Motion Deformation]Draw only about 60% of the human body for weak actions. Draw only about 30-40% for medium-speed actions. Draw only about 10-20% for high-speed actions. At maximum speed, represent the character with only 3-5 brushstrokes and 2-3 rough color planes. Character A high-speed action = yellow, light blue, white, and pink brushstroke group. Character B high-speed action = yellow-green, dark green, white, and a small amount of pink brushstroke group. Character C high-speed action = blue, dark red, black, and a small amount of golden brushstroke group. During high-speed action, do not connect the head, torso, arms, and legs with a correct human structure. Turn arms into long liquid brushstrokes, kicking legs into extremely elongated color planes, and rotating torsos into crushed arcs, triangles, or twisted watercolor surfaces. Temporarily disconnect limbs during jumps. Compress the torso in the direction of travel during sudden stops. Shift the hips and shoulders in different directions during turns. [Expression Direction]Character A: Starts with alertness, changes to a proud smile upon successful evasion, surprise when an attack is diverted, playful provocation during a melee, strong concentration in the late stages, and finally a satisfied, breathless smile. Character B: Starts with cautious observation, sharp concentration when interrupting, momentary surprise when an attack is dodged, a competitive smile during aerial attacks, a desperate expression in the final stages, and finally a soft, relieved expression. Character C: Starts with calm confidence, smiles slightly after dodging the first attack, furrows eyebrows during a pincer attack, sharp concentration while counterattacking, an exhilarated smile during the three-way melee, and finally a provocative one-sided smile. Do not finish the face during high-speed action. Indicate emotions with a single stroke of the eye, the tilt of an eyebrow, a short line of the mouth, or the direction of head brushstrokes. Make expressions legible only at moments when speed drops. [Cut 1 | 0.0-2.5s | F000-F059 | Triangular Confrontation]Initial state: Fixed wide. Character A is in the left foreground, Character B is in the right foreground, and Character C is in the center back. They form a triangle with each other in sight. Primary event: Show the appearance and positions of the three from F000-F023. A narrows eyes and is wary of C, B looks back and forth between A and C and breathes cautiously. C raises their chin slightly and shows composure with a one-sided smirk. From F024-F041, A lowers their hips, B opens half a step to the side, and C slides their geta to lower their center of gravity. From F042-F059, the three step out simultaneously. End state: The travel directions of the three converge in the center. The expressions and body circumferences are legible, but the lines are not closed and are redrawn every frame. [Cut 2 | 2.5-5.0s | F060-F119 | A vs C First Strike]Initial state: Low angle near the ground. A on the left, C in the center, B in the right back. Primary event: From F060-F075, A breaks down into yellow, light blue, and pink brushstrokes and rushes low from left to right. From F076-F087, A connects a leg sweep to a spinning kick. C breaks down into blue, dark red, and black brushstrokes, rotates, and evades the kick by a hair's breadth. Only just before contact from F088-F095 do A's eyes open wide and C smiles slightly. Do not draw the whole face, show only through fragments of eyes, eyebrows, and mouth. From F096-F119, A passes by C and slides to the right, leaving fragments of a surprised face. End state: A is in the right foreground, C is in the center, B is in the right back. C's composure increases, and A refocuses their expression. [Cut 3 | 5.0-8.0s | F120-F191 | B's Interruption]Initial state: Medium wide horizontal position. C in the center, A on the right, B in the right back. Primary event: From F120-F137, B lowers their eyebrows, breaks down into yellow-green and dark green brushstrokes, and enters from right to left. From F138-F153, B performs a spinning leg sweep passing under both of their feet. From F154-F167, A jumps vertically, and their legs and tail stretch into watercolor bands. The moment the evasion is successful, the corners of A's eyes droop and a smirk forms provocatively. C sinks low, folding their body to dodge B's kick. From F168-F179, B's eyes open wide for a moment, showing surprise at being dodged. From F180-F191, B furrows their eyebrows and concentrates on the next attack while sliding left. End state: B lands on the left, C in the center, and A in the center back. [Cut 4 | 8.0-11.0s | F192-F263 | C's Continuous Counterattack]Initial state: Low diagonal composition. B on the left, C in the center, A in the back. Primary event: From F192-F207, C's smile disappears and eyebrows drop sharply. C breaks down into 3-5 blue, dark red, and black brushstrokes and accelerates rapidly from left to right. From F208-F223, C performs a palm strike on B, an elbow strike on A, and a spinning back kick in one continuous motion. During the attack, C does not return to a finished body. Only a single golden stroke for the eye and a concentrated eyebrow line appear within the brushstroke group. From F224-F239, B evades backwards as a green arc, and A escapes sideways by splitting into short yellow and pink lines. From F240-F251, the arms and legs of the three cross for just a moment. A opens their mouth briefly in surprise, and B grits their teeth. From F252-F263, C passes to the right side and shows an exhilarated one-sided smile. End state: C is on the right, B on the left, A in the center back. All three are standing. [Cut 5 | 11.0-14.5s | F264-F347 | A and B Pincer Attack]Initial state: High diagonal overhead view. C on the right, A in the center back, B on the left. Primary event: From F264-F283, A and B exchange a short look. A shows a confident smile, B shows a focused face with lowered eyebrows. The two run towards C simultaneously; A performs a low flying kick and B performs a spinning kick. From F284-F303, C furrows their eyebrows and changes their body into thin blue, red, and black lines to slip through the gap between the two kicks. From F304-F323, A and B open their eyes wide just before colliding with each other, tuck their legs, and change direction in mid-air. From F324-F347, the three move apart in a circle. C gives a small smile for breaking the pincer attack, A furrows their eyebrows regretfully, and B exhales and gauges the next distance. End state: B on the left, C in the center, A on the right. [Cut 6 | 14.5-18.0s | F348-F431 | Sequence of Grabs and Throws]Initial state: Circling tracking shot. B on the left, C in the center, A on the right. Primary event: From F348-F367, A smiles provocatively and tries to jump onto C's shoulder. C changes to a focused, almost expressionless face, catches A's wrist to change their direction of motion, and throws them low. Make only the contact point briefly legible. From F368-F387, A becomes a group of yellow and pink brushstrokes and falls while rotating. Surprised eyes and an open mouth appear for a moment, then immediately break down into lines. From F388-F407, B throws a heel kick at C while passing in mid-air. B narrows their eyes and shows a competitive smile. From F408-F419, C catches it with their forearm and flows B's leg line outward. C's eyebrows rise slightly, showing surprise at the unexpected strength. From F420-F431, A regains posture just above the floor, clenches their mouth regretfully, and performs a three-point landing. End state: A is in the right foreground, B is in the left foreground, and C is in the center back. [Cut 7 | 18.0-21.5s | F432-F515 | 3D Offense and Defense Using the Background]Initial state: Wide shot showing the left vermilion pillar, center torii, and right lantern shelf simultaneously. Primary event: From F432-F451, B runs to the left pillar. Their expression changes to an exhilarated smile, and they step on the pillar once to bounce off diagonally. From F452-F471, A jumps to the right stall roof, kicks the roof, and reverses to the center. A shakes off the regret and narrows their eyes joyfully. From F472-F491, C anticipates the trajectories of the two and stays out of both attack lines with a low rotation while keeping a sharp gaze. During the high-speed section, the three become brushstroke groups with their own independent color schemes. From F492-F503, only the lanterns and stall cloths shake from the wind pressure. From F504-F515, the three land in the center and open their eyes wide at each other's unexpected movements. Immediately after, all three laugh. End state: The three form a narrow triangle in the central square. Exhilaration for the battle appears in the three. [Cut 8 | 21.5-25.0s | F516-F599 | Six-Beat Close-Quarters Melee]Initial state: Waist-high close-up wide. The whole bodies and feet of the three are visible. Primary event: From F516-F527, A starts from a joyful smile and enters a right roundhouse kick. From F528-F539, C lowers their eyebrows and flows it outward with their forearm. From F540-F551, B clenches their mouth and delivers a low leg sweep. From F552-F563, C opens their eyes in surprise, tucks their knees, and jumps. From F564-F575, A changes to focused eyes and drops a heel from mid-air. From F576-F587, B grits their teeth, pushes A's leg away, and changes the attack direction toward C. From F588-F599, C shows an exhilarated smile and slips behind the two. Replace characters with brushstroke groups for each high-speed action. Recombine only for 1-2 frames for attack blocks and expression changes. End state: A is on the left, B on the right, C in the center back. All three are out of breath, but their fighting spirit has grown stronger. [Cut 9 | 25.0-28.0s | F600-F671 | Simultaneous Three-Way Rush]Initial state: Frontal wide. A on the left, B on the right, C in the center back. Primary event: From F600-F611, the three sink down simultaneously. A removes their smile and looks at the landing point. B furrows their eyebrows strongly and holds their breath. C raises only one side of their mouth, provoking the two. From F612-F635, A (yellow, light blue, pink), B (yellow-green, dark green, white), and C (blue, dark red, black) become minimal brushstroke groups and rush toward the center. Do not show finished faces, hands, torsos, or costumes. From F636-F647, the three brushstroke groups cross in the center. Eyes, eyebrows, and mouths appear briefly as independent short lines, showing the concentration of the three. From F648-F659, opaque watercolors, ink splatters, and dry brush strokes that scrape the paper scatter radially. From F660-F671, the three pass through in the directions they crossed. End state: A, B, and C cross the center and decelerate while facing away from each other. [Cut 10 | 28.0-30.0s | F672-F719 | Recombination and Conclusion]Initial state: Fixed wide. The three are sliding in different directions from the center. Primary event: From F672-F687, brushstrokes shorten and characters return in the order of posture, hair, costume, and watercolor. The body's outer circumference does not close. From F688-F703, A stops on the right, B on the left, and C in the center foreground. A smiles satisfiedly while out of breath. B closes their eyes once, exhales, and smiles softly. C looks at the two over their shoulder and shows a provocative one-sided smile. From F704-F711, the three turn around simultaneously. From F712-F719, they change their expressions back to focused faces and take low combat stances. End state: No conclusion reached. All three can be identified as the same characters from the reference images by their color scheme, hair, and costume. However, line gaps, double lines, watercolor bleeding, and misregistration remain after stopping. [Visual Treatment]Hand-drawn 2D animation on bright white paper. Use ink, pencil, watercolor, dry brush, white unpainted areas, eraser marks, and redraw lines. Do not create a line that goes all the way around the person's outer circumference. Do not enclose the face, hair, clothes, arms, or legs as closed shapes. Lines within the screen change in thickness, density, length, position, pressure, curvature, and gap rate every frame. Do not correct high-speed action body collapse, line gaps, facial omissions, or color plane delays as generation defects. Do not return to smooth vector lines, uniform line width, closed outlines, symmetrical faces, fixed expressions, accurate coloring, 3D-like human interpolation, or processing that only adds effect lines to a finished character. [Audio]High-tempo percussion-based BGM. Character A has light boot sounds, B has soft landing sounds, C has hard geta sounds. Clothing wind noise, short hitting sounds, floor scraping sounds, sounds of kicking pillars and stalls, the sound of lanterns swaying, and breathing. No dialogue. [Maintain Consistency]Only three characters. Do not generate three-view diagrams as clones. Do not swap the color schemes, faces, hair, costumes, ears, horns, tails, back hair, backpacks, or shoes of the three. Do not fix expressions. Change eyes, eyebrows, mouth, gaze, and breathing in response to each attack, dodge, failure, success, surprise, and exhilaration. Do not stabilize lines. Do not make line width constant. Do not maintain the same line in the same position. Do not close the body's outer circumference. Do not fit watercolor accurately inside the lines. Always break down characters during high-speed action. Do not let them run, jump, or attack while maintaining a finished human body. Move the brushstroke groups themselves as the characters. Make them identifiable as the same person at the moment of stopping and contact, but do not return to a clean-up outline. Do not generate weapons. Do not generate additional people, clones, or human-shaped afterimages. Maintain background layout, character movement directions, and triangular positional relationships. Frame numbers are editorial goals; prioritize event order, expression changes, and the end state of each cut. pure video, no subtitles, no dialogue, no watermark.

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

15 seconds, 16:9 landscape video. Blend live-action footage of a dim interior with rough, glowing hand-drawn frame animation. The overall vibe is cute, absurd, lighthearted, and healing, depicting a computer cursor suddenly deciding to leave work early and completing an exaggerated 'commute' in a real room. The scene is a slightly messy, lived-in bedroom/workspace. On the desk are a real laptop, mouse, charging cable, ceramic mug, sticky notes, and pens; in the background, a door, wall, and bed are visible. The room is lit only by a warm desk lamp, computer screen, and small decorative lights. The entire video uses a first-person POV, showing only real hands and forearms. The footage looks like it was shot spontaneously with a smartphone, retaining handheld shake, slight focus hesitation, low-light noise, auto-exposure fluctuations, and natural motion blur from fast tracking. It shouldn't look like a designed ad, but like a worker accidentally capturing an absurd event. 0–3s: POV close-up of the laptop and mouse. The white arrow cursor stops responding, stretches, and crawls onto the user's finger, turning into a hand-drawn office worker with a yellow bag. It jumps onto the keyboard, turning into a suitcase with legs. 3–6s: The suitcase runs across keys, turns into a mini subway on a charging cable, then a paper plane flying off a mug handle. 6–10s: The plane hits a wall, turns into a bird, then a bicycle with the cursor riding it. 10–13s: The bike wheel turns into a clock on the door, then a sun, then a chubby orange cat. 13–15s: The cat jumps on the bed, grows into a giant glowing outline of a sleeping cat covering the room, which closes the laptop. The cursor curls up to sleep. Hand-drawn animation must be rough frame-by-frame style with crayon/chalk textures. No smooth CG; use line-breaking transformations. Colors: white, yellow, light blue, pink, and orange. Hand-drawn characters must interact accurately with real objects. Camera follows with a slight delay. No horror or smooth gimbal shots. Sound: ambient room noise, mouse clicks, and whimsical hand-drawn sound effects.