Nature Landscape için Video promptları

A young traveler hikes through a lush mountain forest, crosses a wooden bridge over a flowing stream, and reaches a stunning waterfall hidden among moss-covered rocks. Ultra-realistic travel documentary, authentic hiking movement, realistic environmental physics, natural English lip-sync, bright daytime lighting, immersive forest ambience, and seamless story continuity throughout.

Seamless loop. Static locked-off profile silhouette of a person against a soft, misty bone-white background. Double-exposure effect: inside the dark silhouette, a dense Pacific Northwest pine forest is visible, with layers of white mountain fog slowly drifting through

Main Subject: Young Korean woman, 24, natural everyday appearance, long dark-brown hair tied into a low messy ponytail with loose strands around her face, realistic skin texture, minimal makeup, relaxed and curious personality. Wearing a faded sage-green windbreaker over a white T-shirt, loose beige cargo pants, worn navy canvas sneakers, a dark baseball cap, and a small canvas backpack. Maintain consistent identity, clothing, hairstyle, and appearance throughout.\n\nLocation: Small working fishing harbor in Busan just after sunrise. Weathered fishing boats, tangled ropes, blue plastic crates, fishing nets, concrete docks, old warehouses, seagulls, calm seawater, distant hills, and a few local fishermen preparing their boats. No tourists or commercial attractions.\n\nVisual Style: Ultra-realistic documentary realism. Genuine candid behavior, natural body language, imperfect everyday moments, authentic coastal atmosphere.\n\nCamera Style: Early-2000s Sony MiniDV camcorder. Heavy handheld shake, imperfect framing, autofocus hunting between fishing equipment and her face, exposure pumping between bright sky and shaded docks, faded colors, soft contrast, slight motion blur, DV compression artifacts, mild sensor noise, no stabilization.\n\n00:00–00:03\nShe walks carefully along the concrete dock carrying a small fishing rod, stepping around coiled ropes. The camera briefly focuses on the ropes before finding her.\n\n00:03–00:06\nShe sits on the edge of the dock and prepares the fishing line, concentrating as a gentle sea breeze moves her ponytail.\n\n00:06–00:09\nShe casts the line into the calm water and waits quietly. A seagull lands nearby, making her turn and smile.\n\n00:09–00:12\nThe fishing rod suddenly moves slightly. She looks surprised and quickly grabs it with both hands, laughing when she realizes it was only the current.\n\n00:12–00:15\nShe looks toward the camera with an embarrassed smile, shrugs playfully, and returns her attention to the water. The operator pans toward the boats as the recording abruptly cuts to black.\n\nAudio: Natural ambience only—seagulls, gentle waves against concrete, ropes creaking, distant boat engines, fishermen talking, wind, footsteps, and water movement. No music. No narration.\n\nGoal: A forgotten MiniDV home video from 2004, capturing a quiet morning at an ordinary Busan fishing harbor—raw, peaceful, imperfect, nostalgic, and completely believable.

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.

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.

Create a 10-second photorealistic cinematic motorcycle commercial featuring a young 24-year-old male rider with an athletic, muscular physique, riding a Suzuki GS150SE along the Karakoram Highway in northern Pakistan at approximately 100+ km/h. The rider looks confident and energetic, wearing a premium black riding jacket with the sleeves fitted around his muscular arms, dark riding pants, gloves, riding boots, and a full-face helmet. Keep his appearance, clothing, helmet, and body proportions identical throughout the entire clip. The Suzuki GS150SE should remain accurately proportioned and visually consistent, with realistic suspension movement, wheel rotation, chain movement, engine vibration, brake components, exhaust, mirrors, and authentic motorcycle details. The highway winds dramatically through enormous snow-covered Karakoram mountains, with towering icy peaks visible in the distance. Cold mountain atmosphere, patches of snow beside the road, crisp blue sky, thin clouds, distant glaciers, and realistic high-altitude lighting. Cinematic Direction: Begin with a low front three-quarter tracking shot of the GS150SE approaching at speed. Transition into a side tracking shot showing the rider enjoying the mountain scenery while maintaining control of the motorcycle. Briefly show a helmet-level POV looking down the sweeping Karakoram Highway toward massive snow-covered peaks. Use realistic aerodynamic effects: subtle airflow flowing around the rider and motorcycle, jacket fabric reacting naturally to wind, slight suspension compression over road imperfections, realistic tire contact, and controlled motion blur. Finish with a dramatic rear three-quarter tracking shot as the motorcycle disappears along the winding highway, surrounded by enormous icy mountains. Visual style: photorealistic, premium motorcycle commercial, cinematic 4K, natural mountain lighting, realistic physics, detailed motorcycle textures, dynamic tracking camera, shallow depth of field where appropriate, subtle lens flare, realistic motion blur, immersive scale, epic Himalayan/Karakoram atmosphere. Important: No distorted motorcycle parts, no extra limbs or fingers, no changing rider appearance, no duplicated motorcycle components, no unrealistic wheel geometry, no floating motorcycle, no excessive CGI effects, and no text overlays unless specifically requested. Overall feeling: freedom, adventure, power, solitude, mountain exploration, and the thrill of riding through the Karakoram.

The camera is already flying through a sky filled with living mountains slowly migrating across the atmosphere of an alien world. Entire ecosystems exist on their backs while roots of stone and crystal trail behind them through the clouds. Two flight craft weave between these moving giants, diving through valleys and tunnels carved into the mountains themselves. The camera tracks tightly as colossal peaks drift past the lens. A transparent station attached to one of the mountains overlooks the migration. The craft climb above the herd to reveal thousands of living mountains stretching across the horizon like a moving continent.

Seamless loop, static wide-angle underwater view in a temperate kelp forest. Tall amber kelp fronds sway in slow, hypnotic ocean currents as dramatic god-rays of golden sunlight pierce down through the surface into the clear turquoise water.

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

Wide cinematic 16:9 shot of a lone astronaut standing on a high rocky outcrop at the edge of an unexplored world, looking out across a vast and silent alien terrain as a second sun begins to rise, Earth visible as a small distant sphere in the dark sky, their spacecraft resting far below in the middle ground, slow and steady camera retreat that gradually reveals the scale and emptiness of the new landscape, soft natural light, quiet hopeful atmosphere, photorealistic, filmic and emotional

Show me interpower between multi universes and ours cosmoreal colours golden sky blue white shinning pink glow and many solar systems nebulaes and galaxy gravitron waves use your fiction

Ultra-photorealistic full 3D cinematic wildlife sequence, 15 seconds, single continuous take with natural camera moves, absolute real-looking African animals, hyper-detailed fur, muscle, dust and light physics, zero CGI look, documentary quality. [0-4s]: Wide establishing shot of the African savanna at golden hour. A fully adult African lioness stands alert in the center foreground, dense golden-tan coat with every individual hair, subtle breathing and ear twitches visible. In the distance a massive horde of over 40 real black-backed and side-striped jackals begins charging toward her across cracked red earth, kicking up thick volumetric red dust clouds. Slow cinematic push-in begins. [4-9s]: Medium tracking shot following the charging jackal horde. The pack surges forward in chaotic realistic running gaits, lean bodies, open jaws with saliva flecks, pointed ears, frantic snarls. Dust particles catch the low sunlight. The lioness remains steady, watching them approach. Camera continues smooth push-in while slightly orbiting right for depth. [9-13s]: The lioness’s massive partner, a dominant African lion with thick dark wind-ruffled mane, emerges powerfully from directly behind her. He strides into the foreground, plants his huge paws in the dust, lowers his head and delivers a deep chest-vibrating roar that freezes the entire jackal pack mid-charge. Extreme detail on mane strands, wet nose, amber eye reflections, muscle ripples under skin. [13-15s]: Close-up reaction shot of the jackals skidding to a halt, some scattering slightly in fear while the lion holds his protective stance in front of the lioness. Camera settles on a powerful heroic medium shot of the lion and lioness together against the dusty savanna. Camera language: smooth cinematic push-in + subtle orbit, shallow depth of field, natural handheld micro-shake, anamorphic lens feel, volumetric god-rays and heat haze. Style: ultra-realistic 3D photorealism, ARRI Alexa 65 look, real animal fur physics, authentic African savanna lighting and atmosphere, 8K detail, original quality. Audio (native full stereo sound): (soft distant wind and savanna ambient bed) <jackal pack running feet on dry earth, growing louder snarls and yips, heavy dust whooshes> <deep powerful African lion roar that echoes across the plains, low chest rumble> <jackals skidding and whimpering in fear, sudden silence after the roar>

Seamless loop, static wide horizon shot across the flooded Bolivian salt flats. A thin layer of still water perfectly mirrors pastel pink and lavender sunrise clouds drifting imperceptibly across the sky. Vast negative space, ethereal minimalism.

Choose vortex in space add picture of the women . Ethereal affects . Sudden cosmic blast planets realigning . Goddess appears grabs the woman with black on ....

Create a 10-second ultra-realistic cinematic macro time-lapse video 🌱🎥, using the provided reference image as the exact visual starting point. Begin with the same tiny green seedling 🌱 emerging from dark, rich, slightly moist soil. Keep the camera completely locked and stationary 📷, preserving the same composition, camera angle, depth of field, warm natural sunlight ☀️, soft background bokeh, and realistic soil texture throughout the entire video. 0–2 seconds 🌱: The tiny seedling slowly pushes upward from beneath the soil. Small cracks and subtle soil movement appear naturally around its base as the plant emerges. The thin green stem gradually becomes taller while the two young leaves slowly unfold and expand 🍃. 2–4 seconds 🌿: The seedling continues growing into a young tomato plant. The stem becomes thicker and taller, while additional green leaves and small branches gradually emerge. Each leaf unfolds naturally with visible veins and realistic botanical detail 🍃✨. Gentle sunlight passes through the leaves ☀️, creating beautiful natural highlights. 4–6 seconds 🌼: The plant grows fuller and stronger. Small yellow tomato flowers 🌼 begin appearing on the branches. The flowers gradually develop and bloom one by one, with delicate petals opening naturally. The plant continues extending upward and outward in a smooth time-lapse 🌿. 6–8 seconds 🍅: After flowering 🌼, tiny green tomatoes 🍅 begin forming beneath the flowers. The fruits slowly enlarge from tiny green buds into recognizable round tomatoes. More tomatoes develop across the branches while fresh leaves continue growing around them 🌿🍃. 8–10 seconds 🍅❤️: The green tomatoes gradually mature and transform into large, ripe, vibrant red tomatoes 🍅❤️. End with a healthy, fully grown tomato plant 🌿 surrounded by several beautiful ripe tomatoes hanging naturally from its branches. Make the entire transformation smooth, continuous, organic, and biologically believable 🌱➡️🌿➡️🌼➡️🍅. Use photorealistic textures, realistic plant anatomy, detailed leaves and veins, natural soil particles, subtle wind movement 🍃, warm golden-hour sunlight ☀️, cinematic depth of field 🎥, soft background bokeh ✨, realistic shadows, macro photography quality, and highly detailed 4K visuals. Important: No cuts ❌, no transitions ❌, no camera movement ❌, no zoom ❌, no camera shake ❌, no text ❌, no people ❌, no hands ❌, and no artificial-looking morphing ❌. The plant must grow progressively from the exact location of the original seedling, with every stage naturally connected to the previous stage. The final result should look like a real professional botanical time-lapse 🌱🎥🍅, showing the complete journey from a tiny seedling to a mature tomato plant full of ripe red tomatoes. 🍅✨

A frustrated young male creator sits alone in a dark creative studio, staring at a completely blank computer monitor. He rests his hand on his forehead, looking stuck and out of ideas. The room is moody and cinematic, with soft monitor glow and deep shadows. The blank screen suddenly begins transforming into a vivid cinematic world. The camera smoothly pushes toward the monitor and transitions seamlessly inside it, revealing an enchanting fantasy forest filled with enormous ancient trees, glowing purple-pink foliage, exotic plants, soft mist, and a crystal-clear stream reflecting warm rays of sunlight. Magical particles float gently through the air as the camera slowly travels forward through the forest. The scene then dramatically transitions into a sleek futuristic black supercar speeding through a winding mountain road at dusk. The car accelerates aggressively around the curves, tires producing subtle smoke and sparks, glowing red taillights reflecting across the wet asphalt. Massive mountains surround the road with a bright full moon in the background. Ultra-cinematic commercial look, photorealistic details, dynamic camera movement, smooth transitions, volumetric lighting, atmospheric fog, realistic reflections, shallow depth of field, dramatic contrast, premium VFX, realistic motion blur, 4K quality. End with a powerful tracking shot behind the supercar as it disappears into the mountain road. Duration: 15 seconds. Aspect ratio: 16:9. No text, no logos, no watermark.

Imagine the parting of the Red Sea and the Israelites passing and the Egyptians chariots sinking

A good vibe, a storybook background, and a break from all the hustle and bustle.

Seamless loop, static top-down view of a clear garden pond in Studio Ghibli watercolor anime style. colorful koi fish slowly circling beneath floating lily pads. Gentle water ripples, dappled sunlight filtering through maple leaves, soft pastel colors, calm ambient motion.

The small things that go wrong on a crowded beach, shot like a European summer film — rich, warm, unhurried — so the first frame feels like a still from a beloved movie. TECHNICAL NOTES: Shot on 35mm film, fast spherical primes (Cooke-style, 40/50/85mm), T2.8 for a soft painterly falloff, a warm glow in the highlights. Delivered clean full-frame 16:9, no borders. Camera is elegant, intimate handheld — composed but breathing, close to the skin, unhurried. Light is hard Mediterranean noon softened by dappled shade and reflected sand-bounce, warm and enveloping. Grade: rich, saturated, romantic — golden sun-kissed skin, deep foliage and pine greens, terracotta and ochre, a saturated cobalt sea, creamy highlights that stay present rather than blowing out; gentle filmic contrast, a nostalgic warm bias. Cast: natural, effortlessly sun-tanned Mediterranean beachgoers. Costume: chic and timeless — high-waisted swim briefs, elegant one-pieces and simple bikinis in cream, rust, olive and gold; tortoiseshell sunglasses, fine gold chains, a wristwatch. SHOT 1 (00:00–00:02) — Hook - A close, sun-warmed face turns lazily toward the lens in dappled light, a cobalt sea burning bright and soft behind; the whole frame glows golden. - Slow intimate handheld drift-in, shallow, painterly. SHOT 2 (00:02–00:04) — Sand - Children run past a woman lying on her front; sand scatters warmly across her oiled, golden back and an open sandwich. - Low, close handheld, soft focus riding her skin. SHOT 3 (00:04–00:06) — Umbrella - A gust tugs a canvas umbrella loose; tanned figures rise unhurried to steady it, laughing. - Loose elegant handheld, saturated crowd soft behind. SHOT 4 (00:06–00:08) — Seagull - A gull snatches a tomato from a sandwich in a curly-haired man's hand; he startles, then grins. - Quick warm handheld reframe up to the bird against blue. SHOT 5 (00:08–00:10) — No Room - A family folds into a thin gap between sun-browned bodies, close and companionable. - Static, intimate, richly saturated. SHOT 6 (00:10–00:12) — Stray Ball - A ball rolls into a couple's shade and tips a glass bottle; the spill beads on warm sand. - Soft handheld settle on the spill. SHOT 7 (00:12–00:14) — To the Water - A tanned young man in high-waisted briefs wades into the cobalt shallows, sunlight scattering off the surface. - Handheld alongside, sea deep and saturated. SHOT 8 (00:14–00:15) — Wind - A woman gathers a towel that catches the breeze, fabric warm and luminous against the sea. - Close handheld, golden and soft.

[Style] Sci-fi Epic Live-Action, ARRI Alexa 35 body + Panavision Ultra Vintage Anamorphic lens, 2.39:1 widescreen aspect ratio, Tiffen Black Pro-Mist 1/4 filter, Kodak 250D film texture with fine visible grain, red-orange halation on highlight edges, natural motion blur with 180° shutter angle, shadow detail preserved, 8K ultra-clear, photorealistic, no anime or CG plastic feel. [Duration] 30 seconds [Scene] Continuous ascent from Earth's wasteland through thunderstorm clouds → stratosphere → low Earth orbit → moon → asteroid belt → sun's surface. [Character] Protagonist (same person throughout, clothing and appearance strictly following reference image). [00:00-00:02] Shot 1: Standing with hands behind back (85mm Telephoto / Slow Dolly In) Wide vista: Protagonist @Image1 standing with back to camera on yellowed grassland, hands behind back, motionless. A massive mammatus cloud fills the zenith; only a bright backlit band remains on the far horizon. Visual: Wind makes waves in the grass; backlighting creates a golden rim around grass edges. Camera: 85mm compression, slow forward push. [00:02-00:04] Shot 2: Takeoff Impact (40mm / Speed Ramp + Whip Tilt Up) 0.3s slow-motion: A circular shockwave spreads across the ground at protagonist's feet, flattening grass within tens of meters into a concentric circle; dust and debris rise vertically. Full speed: He suddenly ascends vertically, frame only showing legs exiting above. Camera whips upward to follow, shaken by the air blast (Camera Shake), piercing through dust into the clouds. [00:04-00:07] Shot 3: Thunderstorm Core (40mm) Protagonist @Image1 shrinks to a black speck ascending vertically within a cloud pillar, posture unchanged. Blue-white lightning bursts around him, illuminating clouds momentarily; his silhouette is pressed against the bright cloud screen. Camera: Follow ascent, clouds receding rapidly downward; anamorphic lens slightly stretches frame edges. [00:07-00:09] Shot 4: Breaking Cloud Top (50mm / Backlit Emergence) Protagonist @Image1 breaks out of golden clouds backlit, creating a funnel-like hole in the clouds; warm golden flare bursts from behind him. Visual: Strong backlighting burns a red-orange halation around his silhouette; highlights softened by the filter but not overexposed. [00:09-00:13] Shot 5: Stratospheric 360° Orbit (50mm / Full 360° Orbit) Visual: Protagonist @Image1 hovers motionless above the cloud sea, hands at sides, no turning. Top of sky is dark brown near-space; below is a sunset-dyed golden cloud sea. Camera (00:09-00:12): 50mm lens starts behind, orbiting him uniformly — side, front, other side, returning to back. Distance and subject size remain constant. Camera (00:12-00:13): Camera stops behind; he suddenly accelerates vertically, shrinking to a point and flying out of frame, leaving the empty golden cloud sea. Rhythm: Slow segment, the film's breather. [00:13-00:15] Shot 6: Earth Orbit Sprint (40mm / Side Tracking + Vapor Cone) Hard cut to extreme close-up: Protagonist @Image1 in dive-flight posture, body horizontal, arms forward, clothing violently deformed by airflow. Background shows Earth's curve and a typhoon vortex system. FX: A white sonic boom vapor cone bursts around him. Camera: Side-back track, wide angle curves Earth more; he flies off, shrinking in two seconds. [00:15-00:17] Shot 7: Moon Bound (40mm / Speed Trails + Star Streaks) Earth surface streaks past; cut to black space: Protagonist @Image1 trails speed lines towards the moon; stars stretch into lines. Moon grows rapidly; cold white moonlight creates a horizontal blue anamorphic streak. [00:17-00:19] Shot 8: Moon Surface Skimming (40mm / Low Skim) Protagonist @Image1 enters from left; right side is moon extreme close-up with sharp crater edges. He dives to skim the moon surface; ground recedes into radial motion blur, trailing a long dust track. [00:19-00:21] Shot 9: Moon Landing (50mm / Impact + Dust Settle) Protagonist @Image1 hits the moon surface, one-frame white flash; circular shockwave pushes moon dust into a disc; camera shakes. Dust settles slowly in low gravity; he stands in the crater center, motionless; a giant planet hangs in the sky. Light: Hard light without atmospheric scattering, single source, pure black shadows without fill. Camera: Slow zoom out and tilt down. [00:21-00:23] Shot 10: Lunar Takeoff (100mm Close-up → Wide / Low-gravity Launch) 100mm close-up: Protagonist @Image1's feet on cracked lunar soil, casting long hard shadows; shallow depth of field blurs distant crater walls. Soil texture clear. 0.3s slow-motion to full speed: Sudden takeoff, moon dust explodes into a vertical plume spreading slowly. Cut to space: silhouette against moon curve, shrinking to a point. [00:23-00:24] Shot 11: Passing Orange Planet (85mm / Wide Pass) Curve of an orange-yellow planet with a glowing atmospheric rim. Protagonist @Image1 streaks past as a tiny speck; telephoto compression makes planet look vast and the human barely visible. [00:24-00:27] Shot 12: Piercing Asteroid Belt (40mm / Behind-the-back Tracking) Visual: Protagonist @Image1's back locked in center, body leaning, arms back, weaving through dense asteroids. Some rocks shatter, debris flying. Camera: 3rd person back track, locked behind him. Asteroids fly past creating radial blur; anamorphic lens stretches edges; camera shakes with each impact. [00:27-00:29] Shot 13: Sun Appears (40mm / Anamorphic Flare + Crash Zoom) Breaks asteroid belt; a fire point appears in darkness; horizontal anamorphic flare spans frame. Camera: Rapid zoom; sun grows to fill frame in 2s; solar prominences curl out. [00:29-00:30] Shot 14: Arrival (85mm / Continuous Push In) Protagonist @Image1's small silhouette center against the solar disc, just a black outline. Light: Overexposed orange-white highlights bleed from edges, burning a red-orange halation; grain prominent in highlights. Camera: Continuous push until freeze. Audio: Wind in grass → muffled takeoff impact → thunderstorm roar → sonic boom → vacuum silence (low freq hum) → asteroid shattering → sun surface low freq rolling.

Add several colorful birds flying happily in the clear blue sky above the backyard scene. The birds look very joyful and cheerful, with bright expressions, wings spread, soaring playfully around the trees. Keep everything else exactly the same: the w...

0-10s: Extreme macro close-up. The camera is focused tight on a rugged, dirt-covered boot stepping heavily onto a cracked, red-rock surface. Slow-motion, sharp lighting, highly detailed textures. 10-20s: The camera abruptly whips upward and pulls backward rapidly, transitioning into a dynamic tracking shot. 20-30s: The shot reveals a massive, ancient desert canyon under a dramatic, cloudy sunset. The person is standing at the edge of an immense cliff. Epic cinematic scale, volumetric sunlight breaking through the clouds, breathtaking atmosphere.

[Video Specifications] 16:9, 1920×1080, 24fps, ultra-realistic wildlife macro cinematography. Bright tropical morning, natural sunlight passing through plants from the upper left, forming clear but soft golden sunrays. Small amount of real suspended dust and pollen particles in the air, visible only in sunlight. ARRI Alexa 35 film texture, professional ultra-macro probe lens, real shallow depth of field, natural bokeh, delicate motion blur, and slight film grain. The entire film is one continuous shot, no cuts, no resets, no morphing. No background music. [Reference Image and Consistency] The uploaded butterfly close-up must serve as the perfectly consistent first frame and the only reference for character and environment throughout the film. Do not add a second ending image. Maintain the same Blue Morpho throughout: identical head, compound eyes, black body fuzz, cobalt and cyan iridescent wings, dark wing edges, and subtle pink-purple textures. Always maintain four correctly connected wings, six long black legs, two antennae, and one curled proboscis. Do not change species, head size, wing patterns, or body proportions. The camera focus must consciously shift in sequence rather than the entire frame being clear throughout: Compound eyes → Stamens and pollen → Wing scales → Complete butterfly. Each focus transition is completed through a real lens rack focus, lasting approximately 0.4–0.7 seconds. Prohibit sudden blurring, random defocusing, or AI-style focus pumping. [0–4s | Compound Eyes and Natural Vitality] Start directly from the ultra-close-up compound eye in the reference image. The compound eye maintains sharpest focus, showing fine compound eye structures and tiny reflections of the tropical garden and sunlight. The camera is not static but moves in a very slow arc around the head by about 25 degrees, while sliding slightly forward. The butterfly maintains real micro-movements: one antenna slowly sweeps the foreground, the other oscillates slightly independently; head makes tiny adjustments; proboscis contracts slightly; the thorax and abdomen show very subtle fluctuations with breathing. Nearby petals are gently pushed by a breeze. Prohibit the butterfly from remaining completely motionless like a static model. Focus remains locked on the compound eye, foreground stamens naturally blurred. Finally, the camera slides slowly along the butterfly's line of sight toward the magenta stamens ahead, the compound eye beginning to softly defocus. [4–8s | Focus Shift to Flower and Pollen] Complete the first natural rack focus: compound eyes gradually blur, magenta stamens, dewdrops, and golden-yellow pollen enter sharp focus. The camera slides laterally close to the stamens, passing over the wet petal surface and transparent dewdrops. Dewdrops must realistically reflect the blue wings and surrounding greenery. One of the butterfly's forelegs moves forward and gently touches a stamen. Real contact must occur first, with the stamen bending and rebounding, then releasing a small amount of fine pollen. Pollen is not an explosion but dozens of different-sized particles slowly entering the sunlight, some close to the lens, creating natural foreground/background parallax. The curled proboscis slowly extends toward the flower center, motion continuous, soft, and physiologically accurate. The camera continues moving along the stamen toward the butterfly's body, focus briefly locking on a few golden pollen grains attached to the fine hairs of the foreleg. The butterfly in the background remains recognizable but softly blurred. [8–12s | Focus Shift to Wing Micro-texture] The camera slides up the foreleg to the thorax and wing base, completing the second rack focus: stamens gradually blur, wing base and tiny scales enter sharp focus. The butterfly begins to slowly open its wings. The camera moves in a parallel track a few centimeters from the wing surface, clearly showing millions of overlapping real micro-scales, fine wing veins, and dark wing edges. As the camera angle changes, structural color naturally shifts from deep blue to cobalt, cyan, and blue-violet; color changes come from light angles, not glowing or magic effects. Wings complete only one full and natural opening motion, not mechanical repetitive flapping. The weak airflow generated by the expansion pushes petals, dewdrops, and previously released pollen. A small amount of pollen spirals upward through the sunlight, forming a delicate airborne micro-pollen effect. Some tiny dewdrops are lifted by the airflow, but movement must follow weight, inertia, and gravity. The camera always stays on the outside of the wings, never passing through wings, body, or flowers. Wings can pass near the lens but must never completely cover the frame or cause shape distortion. [12–15s | Full Display and Short Takeoff] The camera pulls back quickly but smoothly and rises slightly, completing the third focus transition, transitioning from wing micro-texture to the whole butterfly. The butterfly's full body enters sharp focus, four wings correctly structured, six legs still naturally gripping the petals. The butterfly's body first dips slightly, wings powering upward; then leaves the flower with one strong downward wing beat. Causality must be clear: legs release petals first, petals bend downward due to reaction force, body gains upward and forward acceleration, then petals rebound. Prohibit direct floating, teleporting, or powerless shrinking. The butterfly performs only one short-distance natural takeoff, flying forward and upward in the direction of sunlight. Wings maintain fast but slightly irregular real flapping. Camera tracks and pulls back synchronously with a slight lateral tracking, keeping the butterfly clear in the air while allowing magenta flowers, floating pollen, and golden sunrays to form clear spatial layers. In the final second, the butterfly flies from the foreground to the midground, maintaining the same appearance and wing pattern. The camera stays in a dynamic tracking state, not landing on a second flower, not suddenly freezing, and not switching scenes. [Camera and Focus Principles] The camera continuously performs subtle arc movements, lateral slides, tracking along object surfaces, and a final steady pull-back throughout the entire sequence, never using stiff fixed shots. Movement must be delicate, stable, and have the spatial parallax of real macro photography. Focus changes must be clear and serve narrative purposes: Compound eyes sharpest, flowers blurred. Stamens, dewdrops, and pollen sharpest, butterfly softly blurred. Wing scales sharpest, flower blurred. Complete butterfly enters sharp focus upon final pull-back. Prohibit the entire sequence from being all sharp, and prohibit the subject from suddenly blurring without reason. Shallow depth of field must come from real optical distance, focus plane moving smoothly. [Physical and Environmental Details] Pollen and dust can only move due to foreleg contact, stamen rebound, or wing airflow; prohibit random appearance without cause.