3d Cartoon影片提示詞

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

Create a seamless 9-second surreal animation blending Tokyo with giant desserts: a massive silver fork plunges into a miniature Tokyo street and lifts a strawberry shortcake slice with whipped cream, strawberries, and red glaze; cut to street level where a giant chocolate slab sits in the pavement as thick caramel pours over it and pedestrians pass by; show a bustling skyscraper avenue decorated with strawberries and whipped-cream rooftops; finally, zoom out to reveal the entire city district sitting on a giant decorated cake on a white plate as a huge fork carves out and lifts a slice of the city-cake, seamlessly returning to the aerial Tokyo view.

Create a 30-second cinematic animated short featuring two original fantasy characters: a young female Taoist warrior and her gigantic reluctant giant partner. Visual style: high-end Western animated feature film, stylized realism, expressive characters, cinematic lighting, detailed environments, polished 3D animation, natural physics, expressive facial animation, comedic timing, dynamic cinematic camera movement. Keep the character designs completely consistent throughout the entire video. Scene 1, 0-5s: The New Target Begin with a quiet atmospheric mountain landscape. A gentle mountain breeze passes through the frame. The camera slowly tilts downward, revealing the top of a large woven bamboo conical hat [from the reference image] The girl's long dark hair moves naturally in the wind beneath the hat. The camera continues slowly downward until her face [from the reference image] is revealed. She looks completely calm and slightly annoyed. She picks up the phone and says in a casual, matter-of-fact voice: "He's the new target? Got it." She rolls her eyes. Subtle wind, distant birds, soft mountain ambience, cinematic silence before the dialogue. Scene 2, 5-11s: The Reluctant Partner Cut to a dramatic wide shot. The female Taoist stands on the edge of a huge mountain cliff [from the reference image]. Vast mountains, mist and clouds stretch into the distance. Behind her, the gigantic blue-gray stone-skinned giant [from the reference image] is crouching on the ground, taking a rest. His enormous body towers over the landscape. She casually turns toward him and says: "Time to work." The giant slowly raises his head with an exhausted expression. He looks deeply annoyed. "I haven't rested enough yet!" His voice is deep and powerful, but his expression should feel more like an exhausted coworker complaining about overtime than an angry monster. The Taoist remains completely unfazed. Scene 3, 11-23s: The Car Argument Cut to the Taoist walking confidently toward a rugged vintage open-top convertible [from the reference image] parked nearby. She gets into the driver's seat, starts the engine and casually says: "Come on, come on. Let's go." The giant stands behind the vehicle, looking at the tiny car with disbelief. He complains: "Why do YOU get to drive while I have to run again?" The Taoist looks back at him without sympathy. "Then build a car big enough for you." She immediately turns forward and drives away. The giant stands frozen for a beat. The vehicle disappears down the mountain road, leaving a small cloud of exhaust and dust drifting directly into his face. He slowly wipes the dust from his face with an irritated expression. Comedic timing, exaggerated facial animation, but grounded physical movement.

Create a cinematic 20-second 3D animated short with completely original characters and a heartwarming story. 0–4 sec — Hook: A tiny, adorable brown ant walks through a beautiful forest floor carrying a tiny red berry. Suddenly, a huge raindrop crashes beside him. He looks up in shock as heavy rain begins falling. 4–8 sec — Discovery: The ant notices a small green caterpillar curled up beneath a broken leaf, trembling as rainwater slowly floods around him. The ant drops his berry and rushes toward him. 8–13 sec — Problem solving: The ant struggles to drag the large leaf over the caterpillar. He slips several times, but refuses to give up. Finally, he manages to pull the leaf into place, creating a tiny umbrella over the caterpillar. 13–17 sec — Friendship: The rain stops. Sunlight breaks through the clouds. The caterpillar looks at the exhausted ant with huge grateful eyes and gently touches his tiny hand. 17–20 sec — Emotional payoff: The caterpillar suddenly climbs onto the ant’s back and they walk together through the sparkling forest. The ant smiles proudly. Camera slowly pulls back to reveal the two tiny friends walking beneath a giant glowing mushroom. Animation: expressive facial reactions, adorable body language, subtle comedy, cinematic camera movement, realistic rain droplets, soft fur/skin textures, detailed forest environment, beautiful volumetric lighting, shallow depth of field, polished high-end 3D animation, smooth natural movement, emotional storytelling. Audio: gentle rain, tiny footsteps, soft forest ambience, subtle emotional music that becomes warm and uplifting at the ending. Important: original non-IP characters, no recognizable copyrighted characters, no logos, no text, no watermark.

A glossy 3D fairy performs emotional expressions in high-speed sequence. Speaks in Japanese with a cute voice. Use the composition and dialogue of the attached stamp images as a reference, but convert the quality to high-definition, clear, and high-quality anime.

[Speech rule — read first] The woman speaks JAPANESE ONLY. She never speaks Chinese, English, or any other language. She speaks almost continuously for the whole clip. She says exactly this one sentence, broken into four phrases, in this order and nothing else: 「Seedance 2.5なら」 「黒板に日本語の文字を」 「書くことができます。」 「とても便利ですね」 She delivers it at the unhurried pace of a teacher writing on a board: her voice slows to the speed of her own chalk, so each phrase is spoken while her hand is forming that same phrase. Voice and chalk advance together. Only a short natural breath separates one phrase from the next — no long pause anywhere. Total speech fills roughly 13 of the 15 seconds. The only silence is the final 0.8 seconds, where she has finished writing and simply smiles and nods. Forbidden at all times: ad-libbed dialogue, filler words, repeating a phrase, reading the sentence twice, humming, laughing, sighing, and every wordless vocalisation such as "んっ" "うん" "ふふ" "ah" "mm" "hm". She says the four phrases once each and nothing more. Pronounce "Seedance 2.5" as English "seedance two point five". [Reference] @Image1 = the keyframe: a woman in a white coat standing beside a completely empty green chalkboard, holding a slim wooden pointer at her side. Strictly preserve @Image1's face, hair, glasses, white coat, the chalkboard's position and size, the easel, the background shelves, and the framing. Nothing moves in the frame except her arm, her upper body, her face, and the chalk marks she draws. [One-line summary] 15 seconds. A cheerful presenter gives a short lecture, writing four lines of Japanese on a green chalkboard with the tip of a wooden pointer while speaking the same words aloud. Pixar-style 3D animation. Locked-off static camera. [Global setup] Environment: warm indoor study room, soft warm ceiling light, shallow depth of field, background shelves stay blurred. Highly realistic physical texture on the chalk dust and the wood of the easel. Visual style: Pixar-style 3D animation, warm color grade, soft shadows. Camera language: medium shot, eye level, straight-on. The camera is completely locked off — no pan, no tilt, no zoom, no push-in, no handheld shake. One camera behavior only: none. Character: as in @Image1. Keep the glasses, the hair silhouette, and the coat identical. Keep believable skin shading and fine surface detail — do not make her look plastic. Acting core: a warm, confident teacher who enjoys showing something off. *** WRITING RULE — SHE IS THE ONE WRITING, AND SHE WRITES AS SHE SPEAKS. *** Every chalk mark is produced by her own hand movement, in time with her voice. For each phrase: 1. Her shoulder and elbow carry the pointer tip to the start of the line. Her torso turns slightly toward the board and her eyes go to that point first. 2. The tip presses lightly to the board and travels along the path of each stroke. The chalk line appears directly behind the moving tip, following it exactly, never running ahead of it, never appearing anywhere the tip has not touched. 3. Characters are formed one stroke at a time, in correct Japanese stroke order, left to right. Faint chalk dust puffs at the tip and a soft scraping sound follows it. 4. Between strokes the tip lifts a few centimetres, then sets down at the start of the next. 5. The syllables she speaks land together with the characters she is forming — when her voice reaches a word, her hand is writing that word. Voice and chalk stay in step. 6. At the end of each line she lowers the pointer slightly, takes one small breath, glances at the camera, then moves to the line below. Her arm leads and the mark follows — the timing of the arm and the timing of the mark must match frame for frame. Marks NEVER fade in as a whole word. Marks NEVER appear while her arm is at rest or while the tip is away from the board. No invisible hand. No magic writing. The arm motion is fluid and human: the wrist flexes, the elbow opens and closes, the shoulder carries the reach across the board, her body weight shifts slightly as she reaches. Once a line is finished it stays on the board unchanged for the rest of the shot. Japanese script rule (important): Render every kanji with its correct stroke structure and correct number of strokes — 黒 板 日 本 語 文 字 書 便 利. They must be legible as real Japanese characters, not invented or Chinese-simplified lookalikes. Write them at a generous size so the strokes stay separated. "Seedance 2.5" is written in Latin letters and digits exactly as spelled: S-e-e-d-a-n-c-e, space, 2, period, 5. Chalk colors — only two, never any other: YELLOW chalk for "Seedance 2.5" only. WHITE chalk for everything else. Layout rule (important): Four lines, left-aligned to a common left margin, stacked evenly down the board from top to bottom, filling the board by the end. Large, cheerful hand-lettered chalk style with slightly uneven strokes. Exact content, top to bottom: Seedance 2.5なら 黒板に日本語の文字を 書くことができます。 とても便利ですね Never centre a line. Never write small. Each line is written as large as it can be while still fitting: a completed line spans almost the full writable width of the board, from the left margin nearly to the right edge of the board, and the four lines together fill the board from top to bottom. Characters are wide and generously spaced so that dense kanji such as 黒 板 語 書 便 利 keep their strokes separated and legible. If a line would not fit, make the characters narrower rather than shorter in height — never shrink a line so that it occupies only part of the board's width. Do not add any other word, symbol, arrow, underline or drawing. Forbidden: no subtitles, no captions, no on-screen UI, no watermark, no background music, no camera movement, no cutting to another shot, no extra people, no second hand entering the frame, no stick of chalk held in her free hand, no distortion of lines already written. [Timestamp storyboard] 0.0-3.6s LINE 1 Action: she raises the pointer to the upper-left of the empty board and writes "Seedance 2.5なら" in YELLOW chalk — first the Latin letters and digits, then the kana なら — the marks trailing the moving tip. Speech (in step with the writing): 「Seedance 2.5なら」 Intent: a small proud lift in her eyebrows on the brand name. This is the thing she is showing off. Camera: locked. No subtitles. No BGM. Japanese only. 3.6-7.2s LINE 2 Action: she drops to the next line and writes "黒板に日本語の文字を" in WHITE chalk, stroke by stroke. Her eyes follow her own tip. Speech (in step with the writing): 「黒板に日本語の文字を」 Intent: matter-of-fact, the setup half of the sentence. Keep the arm steady and even. Camera: locked. No subtitles. No BGM. Japanese only. 7.2-11.0s LINE 3 Action: she drops to the third line and writes "書くことができます。" in WHITE chalk, stroke by stroke, ending with a firm dot for the 。 Speech (in step with the writing): 「書くことができます。」 Intent: this is the payoff of the sentence — her voice firms up slightly on ます, and the final dot is pressed with a small decisive tap. Camera: locked. No subtitles. No BGM. Japanese only. 11.0-15.0s LINE 4 — the close Action: she writes "とても便利ですね" in WHITE chalk on the bottom line, then lowers the pointer to her side, turns her face fully to the camera, breaks into an open warm smile and gives one clear nod. She holds that pose for the final 0.8 seconds in silence. Speech (in step with the writing, finishing by 14.2s): 「とても便利ですね」 Intent: the nod is the close. Warm, a little playful, as if sharing a good discovery. Camera: locked. No subtitles. No BGM. Japanese only. [Closing constraints — restated for the whole clip]

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

Desert Chase Action / Dual Pistol Prompt. High-quality anime video. 3D toon/cel-shaded chase action. The setting is a bright desert, and the protagonist holds two pistols, one in each hand. Maintain character consistency, sand-board chase, a giant white snake dragon, direction of travel, camera intent, and a conclusion where the chase continues after firing. [Referential Role and Priority of Images] Image1 is for face/identity reference. Prioritize face shape, eyes, iris, eyelashes, cheeks, jaw, nose, mouth, bangs, and hair around the face. Image2 is for full-body/outfit reference. Reference overall hair, twin-tails, flower ornaments, costume structure, gloves, shoes, body type, silhouette, and specific color scheme. Image1 and Image2 represent the same protagonist. In case of conflict, prioritize Image1 for facial features and Image2 for hair, ornaments, clothing, and body type. Do not copy indoor backgrounds, text, logos, character sheets, UI, lines, white backgrounds, multiple panels, or static poses from reference images. [Fixing Protagonist Identity] Soft small oval face, pale skin, large irises glowing purple to lavender, delicate thick upper eyelashes, small nose and mouth, focused gaze. Hair is long twin-tails in light coral pink to milky pink. Maintain purple flower ornaments, tassels, earrings, and black ear studs in the same position and count. Outfit is black/lavender/purple streetwear idol/hacker style: short lavender jacket, black top, chest straps, patches, belt/harness, layered pleated skirt, fingerless gloves, and platform boots. No facial averaging, becoming a different person, hair color drift, costume swap, or clones. [Fixed Art Style: 3D Toon / Cel-look] High-density 3D toon/cel-look. Thin dark blue to blue-gray outlines, 2-3 tier cell shading, soft mid-tones, translucent ambient light. Multilayered pink/lavender/white highlights on hair. Purple multilayered irises with small catchlights. Distinct textures for sand, rock, scales, metal, cloth, and leather. Avoid thick black outlines, flat shading, generic 3D faces, smooth plastic CG, realism, live-action, low-density backgrounds, or mixed styles. [Fixed Desert, Enemy, and Equipment] Setting: Golden dunes, red sandstone canyons, dry cracks, crumbled ledges, distant sandstorms, blue sky. Enemy: A single giant white snake dragon with a long articulated body, white armored scales, black understructure, cyan glowing lines, translucent cyan dorsal fin, red eyes, and orange mouth interior. Board: One sand hoverboard. Weapons: Exactly two pistols, one in each hand. Identical black-purple compact handguns with integrated barrel, slide, and grip. Protagonist holds one in each hand, pointing both forward. Do not duplicate, separate, or transform weapons. [Common Motion Contract] Connect board-to-sand contact, jump, aerial movement, dual aiming, simultaneous firing, recoil, and the next glide as a single continuous trajectory. Each contact follows the sequence: gap before contact -> clear contact point -> local reaction -> continuation. Use sand spray and the dragon's body as foreground wipes; do not show the dragon alone for long periods. Cut 1: Extreme eye close-up to chase. Start with an extreme close-up of one eye (Image1) reflecting dunes and dragon armor. Camera pulls back to reveal face, ornaments, body, and board contact. Sand spray leads to the next dune. Cut 2: Lateral chase. Side-follow from low 3/4 angle. Protagonist glides at high speed, keeping low posture and edging the board. Sand spray leads to the red canyon. Keep dragon in frame to show distance and speed. Cut 3: Wall-run axis reversal. Camera rises and rolls, making the canyon wall the vanishing axis. Board remains in continuous contact with the sandstone slope. Show leg bracing, dust, and reaction. Continue to the rim for the next jump. Cut 4: Firing under dragon's belly. Show protagonist, board, dual pistols, and dragon belly armor. Jump off the rim, passing through the air. Maintain space before firing. Both pistols fire once simultaneously, hitting the same armor zone. Show sparks, dust, and recoil traveling through the body. Continue to next glide; no aerial freeze. Cut 5: Return to dunes. Side-follow from rear diagonal. Return recoil to body, re-engaging board with sand for a turn. Proceed to the next wall. Jump immediately after contact. Cut 6: Overview of cracks and ledges. High diagonal overview. Cross dry cracks and ledges. Show sequence: gap -> contact on ledge -> knee sink -> reaction -> continuation. Keep dragon and protagonist in frame. Cut 7: Evading dragon's mouth. High front diagonal. Show giant mouth, fangs, protagonist, and landing point. Fangs do not touch protagonist. Low posture, board edges away from the mouth by a hair's breadth. Sand spray leads to parallel run. Cut 8: Parallel head-run. Low wide side-shot. Protagonist in foreground, dragon head in background. Maintain low posture; show contact, spray, and dual handling. Sand spray serves as a wipe. Cut 9: Face, pistols, and hit reaction. 3/4 close-up over the shoulder. Show dual pistols, eyes, bangs, ornaments, and dragon cheek armor. Space between muzzles and cheek before firing. Simultaneous shot hits the same spot. Synchronize muzzle flashes, metallic sounds, and sparks. Dragon's head jerks; recoil returns to protagonist. Continue running. End on the moment of impact. No victory poses or holstering. [Sound] Synchronize board scraping, contact, falling pebbles, wind, mechanical/firing sounds of dual handguns, dragon armor reactions, and roars. No dialogue, narration, or singing. [Important Guards] Only one protagonist, one white dragon, one board, and two pistols. No extra people, clones, or swaps. No slow motion, aerial freeze, protagonist disappearing, dragon destruction, or UI/watermarks.

intense epic 3d artwork, a mech cyber panda warrior character clenching her fist, pink, white, and black colors, neon glowing eyes, kinetic chromatic burst motion blur background intense epic 3d artwork, a mech cyber panda warrior character clenching her fist, pink, white, and black colors, neon glowing eyes, kinetic chromatic burst motion blur background, epic, cinematic, multi-shot, no glitches, amazing vfx

Ultra-epic cinematic 3D CGI fantasy realm, pure original imagination, hyper-detailed photorealistic 3D render, Unreal Engine 5 + Octane quality, volumetric god rays, intricate crystalline geometry, living magic energy, 8K resolution, seamless continuous camera movement, 30 seconds. Sequence: 0-7 seconds: Colossal establishing shot of an impossible world suspended in the void. A single ancient World-Tree the size of a continent grows upside-down from a shattered floating continent, its roots forming living bridges of glowing amber crystal that stretch across the sky. Rivers of liquid starlight cascade upward into the heavens instead of falling. Slow majestic orbital camera movement as twin eclipsed suns cast dramatic dual-colored light (deep gold and electric violet). 7-15 seconds: Camera dives dramatically through the glowing roots into the heart of the World-Tree. Inside, vast hollow chambers filled with floating luminous orbs that contain entire miniature galaxies. Massive ethereal titans made of living stone and constellation patterns slowly awaken and walk along the inner walls. Energy storms of pure magic swirl in slow motion. Intense volumetric lighting and particle systems. 15-23 seconds: Camera explodes outward from the tree into open sky. A colossal sky-whale made of translucent crystal and nebula gas glides past, its body containing storms and lightning. Below, an entire civilization of spiraling crystal cities grows organically from the floating landmasses like living organisms. Giant rune-covered monoliths rise and rotate in the air, releasing waves of golden energy. Epic wide tracking shot with extreme depth and scale. 23-30 seconds: Final powerful pull-back into deep space revealing the entire original fantasy cosmos: the World-Tree at the center, surrounded by orbiting islands, sky-whales, and rivers of starlight forming a living mandala. The dual suns fully align, unleashing a massive wave of pure magical light that washes across the entire scene. Cinematic slow-motion ending on the glowing silhouette of the World-Tree against the cosmic void. Style: Pure 3D imagination only, no 2D, hyper-realistic materials, extreme scale contrast, dramatic lighting, rich atmospheric haze, intricate original designs never seen before, epic and awe-inspiring mood, seamless one-shot feeling.

[Global Setting] Cozy cluttered apartment at morning light, mismatched furniture, cat toys everywhere, sunny windowsills, warm nostalgic atmosphere. 3D stylized animation with rounded appealing characters, exaggerated expressive proportions, playful physical comedy, sincere warmth. [Character 1 : The Eccentric Old Man] Age 75+, round belly, wispy white hair, faded cardigan, slippers with holes, spectacles sliding down nose. Speaks rarely, mostly actions and facial expressions. Same worn cardigan throughout. [Character 2 : The Sarcastic Cat] Rotund orange tabby with unimpressed expression. Occasional meows with personality. Mostly silent, expressive face. No subtitles. [Opening, 0–4s] Wide shot. Old man sits in armchair holding tiny spoon, facing cat on coffee table. He says warmly: "Breakfast time?" Cat meows dismissively, turns head away. Old man sighs, looks at spoon sadly. [Chaos Attempt 1, 4–10s] Old man chases cat around apartment with tiny spoon. Cat leaps onto bookshelf, knocking books everywhere. Old man stumbles, glasses fall, catches himself on couch. Cat looks down smugly, meows once (sarcastic). Old man points accusingly at cat, shakes head. [Chaos Attempt 2, 10–18s] Old man sits on floor, eats applesauce himself, makes exaggerated yummy faces. Cat walks over slowly, sniffs spoon, takes ONE tiny lick. Old man freezes, eyes wide with hope. Cat walks away dismissively. Old man celebrates silently fist pump, wipes happy tear. [Sweet Moment, 18–24s] Old man lies on floor exhausted. Cat reluctantly curls on his chest, purring softly. Old man gently strokes the cat. Quiet peaceful moment. Cat closes eyes, comfortable. Old man's face shows pure love. No words. [Closing, 24–30s] Both dozing in warm golden sunlight. Old man snores softly. Cat opens one eye with tiny satisfied smirk. Nuzzles closer affectionately. Camera pulls back revealing messy apartment knocked plants, toys, scattered meals. Two best friends at peace, bathed in warm light. [CONSISTENCY] One old man (cardigan, spectacles), one orange tabby. Same apartment, toys, window light. All emotion through faces and body language. Minimal dialogue. Cat speaks only 2-3 times max. Old man speaks only 1-2 times. Rest is visual storytelling. Audio: Warm domestic ambience, spoon clinking gently, rare meows (brief), rare old man voice (brief), footsteps, books tumbling, couch creaking, cat purring, soft nostalgic strings on tenderness, old man's soft snores, gentle piano fading to silence.

Create a 30-second high-quality 3D cinematic animated short about a young newspaper delivery girl trying to complete her morning route, but the entire city seems determined to make her late. She wears a bright yellow delivery jacket, dark pants, sneakers, and a delivery backpack filled with newspapers. Expressive face, charming animated-film aesthetic, detailed environments, realistic 3D animation. Sunrise over a busy city. The girl wakes up, checks her watch, gasps, grabs a stack of newspapers and rushes outside with her bicycle. She jumps onto the bicycle and races through the streets, delivering newspapers to houses while checking the growing pile in her backpack. A huge traffic jam blocks the road. She looks frustrated, quickly turns around, and squeezes through a narrow side street. A city bus suddenly blocks her path. She brakes hard, jumps off the bicycle, runs around the bus, then hops back on and speeds away. She reaches a crowded intersection. Pedestrians cross everywhere, a dog runs across her path, and a delivery truck blocks another route. She dodges everything with quick, comedic movements. She spots a shortcut through a lively market. She races between stalls, narrowly avoiding boxes and carts while newspapers fly slightly from her backpack. She arrives at the final apartment building, jumps off the bicycle, grabs the last newspaper, and races up the stairs two steps at a time. She delivers the final newspaper, checks her watch, exhales with relief, and smiles proudly. Outside the window, the chaotic city continues rushing by as she gives the camera a playful “Made it!” expression. Dynamic cinematic camera, fast tracking shots, low-angle bicycle shots, overhead city shots, whip pans, comedic timing, realistic motion blur, detailed city traffic, expressive character animation, warm sunrise lighting, cinematic depth of field, polished AAA animated-film quality, 4K, 24fps, 16:9. Negative Prompt: No subtitles, no on-screen text, no logos, no watermarks, no duplicate characters, no distorted anatomy, no flickering, no unnatural motion, no low-detail environments.

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

[Style] Live-action funny short video of a pet dancing, featuring realistic fur, paw pads, and indoor lighting; local use of high-quality 3D facial transformation special effects. Not a static pose, not stop-motion, not 2D stickers: the cat continuously twists, bounces, swings its paws, and turns following the rhythm from beginning to end, with expression effects embedded in the dance movements. [Duration] 8.08 seconds, 24fps, 9:16 vertical screen, fixed low-angle one-shot from start to finish, no editing, no zooming. [Scene] A warm home bedroom. The cat stands on pink bedding/mattress, shot from a low angle slightly upwards; on the left of the background are grey-green curtains, in the middle a grey folding chair and cushion, and on the right a warm brown wooden cabinet door. Warm yellow indoor light, the frame is slightly tilted, the background remains fixed throughout. [Character] A cat based on the realistic fluffy reference image. The cat stands upright on its hind legs to dance, its upper body continuously sways left and right, and its front paws constantly perform dance gestures; the movements are exaggerated, but the cat's fur, legs, paws, tail, and lighting must be realistic. Only one cat in the entire film, no human hands, no text, no watermark. [Pace and Rhythm] The cat does not stop to make expressions; instead, every movement has a sense of rhythm: the body bounces up and down twice with the beat, the shoulders and head sway left and right, and the paws have continuous trajectories; facial changes occur while the dance steps are ongoing. Quickly bounce back after each transformation, immediately followed by the next dance gesture. [00:00-00:00.50] Dance Opening The cat stands upright, its body first swaying slightly left and right and bouncing up and down. Its paws alternate lifting from the chest, and finally both are placed near the cheeks and corners of the mouth, with eyes staring directly at the camera, like a cute opening pose before dancing. [00:00.50-00:01.12] Mouth-Pulling Dance Step The cat continues to twist its waist slightly, with each paw grabbing the left and right corners of the mouth, pulling them open to the sides at the same time. The mouth is pulled into an ultra-wide horizontal shape, with the tongue slightly visible from the center; eyes narrowed. Key point: the cat pulls open its own mouth with its own paws while dancing, the mouth does not transform on its own. [00:01.12-00:01.92] Head-Holding Sway The cat releases its paws, and the mouth quickly bounces back to normal. Both paws follow a circular trajectory to both sides of the top of the head, as if holding the head; the body sways left and right, first closing eyes to hit a beat, then opening wide eyes, with both paws always in motion rather than suspended. [00:01.92-00:02.50] Face-Cradling Side Sway The cat's paws slide down to both sides of the chin and cheeks, the body tilts to the left of the frame, then bounces back to the middle; performing two small side-sway dance steps. Eyes round, mouth closed, showing an innocent and spoiled expression. [00:02.50-00:03.00] Head-Holding Power Jump The cat quickly bounces up from the face-cradling pose, its paws move back to both sides of the head, and its body hops up once; eyes wide open, gathering power for the next beat's special effect. [00:03.00-00:03.55] Vertically Stretched Scare Dance The cat keeps holding its head with both paws and bounces upward in place. The cat's head, neck, and upper body are suddenly stretched very long vertically, forming a slender elastic rubber cat; eyes turn into two giant white vertical elliptical scared eyes, pupils are small black dots, and the mouth opens into an 'O' shape. It is not stretched while standing still, but is still slightly bouncing up and down while being stretched. [00:03.55-00:04.30] Full 360-Degree Turn in Place The cat quickly bounces back to normal proportions, its paws bent and tucked in front of its chest, entering a dance turning motion: the body twists toward the right side of the screen, showing the side profile first, then fully revealing the tabby back and the swinging tail, continuing to rotate past the other side, and finally facing the camera again. The turn is continuous throughout, like a 360-degree dance rotation in place; do not just turn the head, do not omit the back view. [00:04.30-00:04.75] Single Paw Raised on the Beat Immediately after the turn, continue with dance steps. The cat's body leans back slightly, the front paw on the left side of the frame is raised straight over the head, clearly showing the paw pad; the other paw is bent in front of the chest, and there is still a slight twist in the waist. [00:04.75-00:05.30] Head-Holding Grievance Sway The raised paw circles back to the top of the head, both paws forming a head-holding arc again. The cat shakes its head left and right, shrugs slightly, its eyes turn into drooping aggrieved eyes, and its mouth is slightly closed, as if dancing a 'pitiful' dance step. [00:05.30-00:06.10] Face-Pointing Smile Dance The cat's paws drop from the top of its head to the sides of its cheeks, the tips of its paws pointing inward at itself; the body sways its hips left and right while the cheeks gradually bulge outward. The eyes change from half-drooping to narrowed, and the corners of the mouth slowly pull out an exaggerated satisfied smile. [00:06.10-00:06.75] Paw-Opening Laugh On a strong beat, the cat opens both paws toward the camera simultaneously, showing two pink paw pads; the body bounces up. The cheeks are stretched horizontally, and the mouth splits into an exaggerated laugh, showing small fangs and a pink tongue. Held for less than a second, during which both paws have slight tremors, like a 'paw-exploding' dance move. [00:06.75-00:07.35] Ending Hip Twist The laughing face quickly returns to normal. The cat's paws alternate falling in front of the chest, like crossing hands left and right while dancing; the body continues to twist left and right, with eyes returning to a calm look at the camera. [00:07.35-00:07.70] Rose Dance Step The cat first extends one paw to the left side of the screen and the other paw outward for balance. At this moment, a real deep red rose quickly enters from the bottom left of the screen, and the cat accurately grabs the green flower stem with its front paw on the left side while swaying; the rose does not float out of nowhere. [00:07.70-00:08.08] Rose Presentation Dance Finale The cat holds the vertical rose, its body tilting toward the right side of the screen, continuing to sway slightly. It closes its eyes tight, opens its mouth to stick out its pink tongue, making a drunken and funny laughing expression as if singing; the other paw is bent in front of the chest. Finally stops on the frame of 'dancing cat holding a red rose, eyes closed and tongue out'. [Special Effect Restrictions] The mouth is only pulled when both paws grab the corners; vertical stretching only occurs when both paws hold the head; the turn must fully show the back and tail; the rose must be caught by the cat after entering from the bottom left. Continuous dancing throughout the film, no section is allowed to become a static pose.

Create a 30-second cinematic animated short featuring two original fantasy characters: a young female Taoist warrior and her gigantic reluctant giant partner. Visual style:high-end Western animated feature film,stylized,realism,expressive characters,cinematic,lighting,detailed environments,polished 3D animation,natural physics,expressive facial animation,comedic timing,dynamic cinematic camera movement. Keep the character designs completely consistent throughout entire video. Scene 1,0-5s:The New Target Begin with a quiet atmospheric mountain landscape. A gentle mountain breeze passes through the frame.The camera slowly tilts downward, revealing top of a large woven bamboo conical hat [from reference image] The girl's long dark hair moves naturally in the wind beneath the hat.The camera continues slowly downward until her face [from reference image] is revealed. She looks completely calm and slightly annoyed. She picks up the phone and says in a casual,matter-of-fact voice:He's the new target? Got it. She rolls her eyes. Subtle wind,distant birds,soft mountain ambience,cinematic silence before the dialogue. Scene 2,5-11s:The Reluctant Partner Cut to a dramatic wide shot. The female Taoist stands on edge of a huge mountain cliff [from reference image].Vast mountains,mist and clouds stretch into distance. Behind her,the gigantic blue-gray stone-skinned giant [from reference image] is crouching on ground,taking a rest.His enormous body towers over landscape. She casually turns toward him and says: Time to work. The giant slowly raises his head with an exhausted expression. He looks deeply annoyed. I haven't rested enough yet! His voice is deep and powerful, but his expression should feel more like an exhausted coworker complaining about overtime than an angry monster. The Taoist remains completely unfazed. Scene 3,11-23s:The Car Argument Cut to Taoist walking confidently toward a rugged vintage open-top convertible parked nearby. She gets into driver's seat,starts the engine and casually says: Come on,come on.Let's go. The giant stands behind the vehicle,looking at tiny car with disbelief. He complains: Why do YOU get to drive while I have to run again? The Taoist looks back at him without sympathy. Then build a car big enough for you. She immediately turns forward and drives away. The giant stands frozen for a beat. The vehicle disappears down the mountain road,leaving a small cloud of exhaust and dust drifting directly into his face. He slowly wipes dust from his face with an irritated expression. Comedic timing,exaggerated facial animation,but grounded physical movement. Scene 4,23-30s:The Road Trip Cut to a beautiful cinematic mountain highway. The Taoist drives tiny open-top convertible through the winding road.

[Global Setting] Cozy old apartment balcony in warm golden morning light, colorful flower pots, wooden chair, hanging laundry, small table with bird seeds. 3D stylized animation with rounded appealing characters, expressive faces, playful physical comedy and sincere warmth. [Character 1: The Eccentric Old Man] Age 75+, round belly, wispy white hair, faded cardigan, loose trousers, worn slippers, spectacles sliding down his nose. Speaks rarely, mostly communicates through facial expressions and body language. Same appearance and cardigan throughout. [Character 2: The Mischievous Pigeon] One plump gray pigeon with shiny feathers, curious expressive eyes and a smug personality. Mostly silent, communicates through head movements, expressions and body language. [Opening, 0–6s] Old man sits on his balcony chair and places a small pile of sunflower seeds on his palm. He smiles at the pigeon and warmly says: “Come on, little friend.” The pigeon slowly approaches and stares at him suspiciously. [Funny Moment, 6–14s] The pigeon suddenly grabs the seed and jumps onto the old man's head. The old man freezes completely, eyes wide. He slowly looks upward while the pigeon casually looks down at him with a smug expression. The old man sighs and shakes his head. [Sweet Moment, 14–23s] The old man carefully lifts the pigeon from his head and holds it gently against his chest. The pigeon relaxes and nuzzles into him. The old man smiles and softly says: “You win, little friend.” He gently strokes its feathers. [Closing, 23–30s] The old man sits peacefully in the golden sunlight with the pigeon resting beside him. The pigeon closes its eyes comfortably. The old man smiles, closes his eyes and quietly laughs. Camera slowly pulls back, revealing the cozy balcony. [CONSISTENCY] One old man, one gray pigeon, same clothing, same balcony and same lighting throughout. No cuts, no scene changes, no character duplication. No subtitles or text. [Voice & Audio] Warm natural elderly male voice, gentle and slightly humorous. Only 2 short dialogue lines. Natural pigeon coos, soft wing flaps, morning birds, gentle wind, subtle comedic music during the funny moment, warm nostalgic during the ending.

3D Pixar-style animation, 8K resolution, vertical portrait orientation, 3:4 aspect ratio. A cozy, luxurious salon ASMR hair treatment session sequence. A cute young animated woman with long, silky black hair wearing a plush white bathrobe is reclining comfortably at a sleek white shampoo bowl. A cheerful stylist with a neat messy bun and apron gently washes, shampoos, and massages her hair. The clip features close-up details of water pouring from a golden faucet, rich white foam lathering, a wooden scalp massage brush working through soft foam, drops of hair oil being massaged into the scalp, smooth wooden combing, and drying with a white towel. Ending with the woman sitting up, smiling brightly at the camera, showcasing super shiny, voluminous, soft hair. Cozy aesthetic with warm glowing candles, marble countertops, white orchids, and golden accents. Cinematic lighting, soft depth of field, ultra-smooth camera movement, realistic fluid physics, relaxing and soothing atmosphere. --ar 3:4

Create a charming 30-second animated cinematic story told as one continuous uninterrupted shot, with no cuts or transitions. A tiny fluffy golden puppy discovers a small orange-and-white kitten sitting alone beside a flower-covered garden fence. The puppy gently approaches and offers the kitten a tiny red flower. The kitten becomes curious, smiles, and follows the puppy into a magical backyard filled with oversized flowers, glowing fireflies, colorful butterflies, and floating soap bubbles. They playfully chase the bubbles together, jumping and tumbling through soft grass. The puppy suddenly notices a small wooden bridge over a sparkling stream and runs across it, with the kitten happily chasing behind. Halfway across, the kitten pauses nervously, so the puppy turns back and gently encourages the kitten forward. They cross together and reach a beautiful hill overlooking the glowing garden at sunset. The puppy and kitten sit side by side as dozens of fireflies illuminate the scene around them. The kitten rests its head against the puppy while the puppy gently leans toward it. End with the camera slowly rising above them, revealing the entire magical garden glowing beneath the warm evening sky. Adorable stylized 3D animation, expressive faces, soft fur, playful body language, whimsical environments, smooth character animation, cinematic depth of field, warm lighting, consistent character design, detailed environment, emotional storytelling, seamless camera movement, no dialogue, no text, no cuts.

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

A 4-view character reference sheet of a stylish 20-year-old girl with long wavy black hair, trendy sunglasses pushed up on her head, wearing a yellow crop top and high-waist jeans, holding a smartphone. 3D animated cartoon style, CGI animated feature film quality, NOT photorealistic. Views: FULL BODY FRONT, FULL BODY REAR, FRONT CLOSE-UP, PROFILE CLOSE-UP. Neutral grey background, clean studio lighting, no text or watermarks. High quality, 4K, 16:9 ratio. A 4-view character reference sheet of a fluffy reddish-brown squirrel with a huge bushy tail, big expressive eyes, mischievous grin. 3D animated cartoon style, CGI animated feature film quality, NOT photorealistic. Views: FULL BODY FRONT, FULL BODY REAR, FRONT CLOSE-UP, PROFILE CLOSE-UP. Neutral grey background, clean studio lighting, no text or watermarks. High quality, 4K, 16:9 ratio. A cinematic animated short film with feature-film-quality 3D animation, expressive stylized characters, a scenic golden-hour mountain viewpoint with soft clouds and rolling hills in the background, warm sunset light, fast dynamic cinematic camera cuts with playful zoom-ins, upbeat comedic orchestral score with plucky rhythm, polished CGI animated feature film quality rendering, NOT photorealistic, exaggerated expressive facial animation, kinetic comedic timing. SET LAYOUT: Girl remains fixed center-frame holding her phone up for selfies throughout. Squirrel appears and disappears from a fixed tree branch to her left edge of frame. A stylish 20-year-old girl with long wavy black hair holds up her phone, adjusting her angle, practicing a perfect smile against the scenic mountain backdrop. Girl (to herself, confident): "Okay... perfect lighting..." She snaps the photo. A fluffy reddish-brown squirrel leaps into frame at the last second, pulling a ridiculous cross-eyed face right next to her head. Girl (checking phone, annoyed): "Ugh—again?! She resets, retries her pose with an exaggerated forced smile, clearly getting frustrated. Girl (through gritted teeth): "One good picture. That's all I need." Continue seamlessly from the previous scene. Maintain the exact same characters, clothing, facial features, lighting, mountain environment, and CGI animated feature film quality 3D animation style, NOT photorealistic. SET LAYOUT: Girl remains fixed center-frame. Squirrel's photobombs escalate in speed and silliness, still entering from the same fixed branch area, ending seated calmly on her shoulder for the final shot. She snaps again — this time the squirrel photobombs with an even more exaggerated pose, tongue out, tail puffed dramatically. Girl (exasperated shout): "SERIOUSLY?!" Rapid montage of three quick snap attempts in fast succession, each interrupted by an increasingly ridiculous squirrel face — cross-eyed, mid-jump, cheeks stuffed with an acorn. The girl finally throws her hands up, defeated, sitting down on a rock with a sigh. Girl (muttering): "Fine. You win." The squirrel calmly hops up and settles onto her shoulder, striking a proud little pose. She glances at it, surprised, then can't help but smile genuinely. She holds up the phone one last time — girl and squirrel both grinning naturally at the camera — and snaps the photo. It's clearly the best shot yet. Girl (delighted, laughing): "...Okay, THIS one's perfect." Camera quick zoom into the phone screen showing the adorable photo. Cut to black.

The Concept: Jetpack Chameleon's Toybox Heist Visual Style: High-end 3D cartoon animation (Pixar/Spider-Verse hybrid style), vibrant neon and brass colors, volumetric lighting, motion blur for speed, and hyper-dynamic camera angles. The Animation Prompt (15-Second Breakdown) [0:00 - 0:03] The Explosive Escape Action: No hesitation. The scene opens mid-action. A bright turquoise chameleon wearing a clunky, spark-spitting steampunk jetpack bursts upward out of a giant, glowing jack-in-the-box. He clutches a glowing, levitating crystal key in his tail. Camera: The camera is positioned low, pointing up, then instantly snaps back to track him from over-the-shoulder as he rockets forward, leaving a trail of purple smoke. [0:03 - 0:07] The Obstacle Course Action: The chameleon dives into a chaotic, towering cityscape made of stacked board games and tumbling dominoes. He barrel-rolls through a looping, neon-orange racetrack, narrowly dodging a barrage of glowing bouncy balls that crash around him like meteors. Camera: Fast-paced tracking shot. The camera corkscrews along with the chameleon, maintaining high speed. A sudden "whip-pan" to the right reveals the threat. [0:07 - 0:11] The Pursuer Strikes Action: A massive, robotic origami dragon with glowing red LED eyes bursts through a tower of playing cards right behind him. It snaps its jagged paper jaws, barely missing the chameleon’s tail. The chameleon looks back, grins, and hits a red button on his jetpack. Camera: Extreme close-up on the chameleon's wide, crazy eye, reflecting the glowing red dragon. A rapid zoom out as his jetpack violently backfires a burst of confetti directly into the dragon's face. [0:11 - 0:15] The Slingshot Finale Action: Blinded, the dragon crashes. The chameleon shoots a grappling hook from his wrist onto a spinning desk globe. He uses the momentum to swing a full 360 degrees around the globe, slingshotting himself forward at warp speed. He shatters through a giant stained-glass window, exploding out into a vibrant, sunlit sky amidst a shower of colorful, glittering glass shards. Camera: The camera follows him around the globe, then stops dead as he launches toward the window. Slow-motion for exactly one second as the glass shatters, then snaps back to real-time as he vanishes into the clouds.

High-quality anime footage. Near-future Gothic fantasy. Cinematic theatrical anime battle footage. High-density 3D Toon/Cel look only. Maintain theatrical-class key animation, high-quality compositing, smooth continuous motion with readable center of gravity, transparent lighting, and high-density background art. [Animation Direction] Explosive and sharp action. Sharp timing. Minimal anticipatory movements. Instant acceleration. Large, clear full-body movements. Strong contact recoil. Clearly leave inertia after contact. Dynamic camera integrated with movement. High kinetic energy. No waiting, long stances, long charging, slow recovery, or slow motion. [Role and Priority of References] <<<Image1>>> is the highest priority reference for face and character identity. Refer to facial features, age, eyes, iris, eyelashes, cheeks, jaw, bangs, horns, and drawings around the face. <<<Image2>>> is for costume, full-body design, and weapon reference. Refer to the same person's costume, decorations, body type, full-body silhouette, shoes, single long spear, and specific color scheme as in <<<Image1>>>. 3 is for tail reference. Refer to the connection position to the back of the waist, obsidian purple scales, a single tail naturally tapering from the base to the thin tip, and the purple light at the tip of the tail, same as the person in <<<Image1>>> and <<<Image2>>>. If there are differences between references, prioritize <<<Image1>>> for face, eyes, iris, jaw, age, bangs, and horns; <<<Image2>>> for costume, decorations, body type, and long spear; and <<<Image3>>> for tail connection position, scales, thickness, and tip shape. Do not copy backgrounds, text, frames, multiple panels, explanatory diagrams, or UI from reference images into the footage. [Fixed Protagonist] The protagonist is the same single dragon girl throughout. Maintain <<<Image1>>>'s small, delicate oval face, thin jaw, pale skin, small nose and mouth, large purple to amethyst eyes with multi-layered sparkle, delicate upper eyelashes, dark purple-black short bob with blue-purple highlights at the ends, and two curved black-purple horns on both sides in all cuts. Maintain <<<Image2>>>'s slender and well-proportioned body, black to deep purple high-collared Gothic costume, white chest cloth, thin gold edges and chain decorations, purple-black cape and wide sleeves, dark tights, black shoes, and single long spear. Maintain <<<Image3>>>'s single organic scaled tail connected continuously to the back of the waist, from obsidian purple scales to the thin glowing tip. Do not de-identify or simplify even in distant views or high-speed movements. In close-ups, return to the eye spacing, iris pattern, thin jaw, bangs, and horn positions of <<<Image1>>>. Maintain the same face, hair, horns, costume, body type, spear, tail, and color scheme; only facial expressions, gaze, breathing, combat stance, and natural delay of hair/cloth/tail may change. [Fixed Enemy] The enemy is a single, giant organic Yokai-Oni. Approximately twice the size of the protagonist, with soot-colored dark gray-purple rough skin, two ivory-colored horns extending backward, dark red glowing eyes, an ogre face with fangs, long messy black hair, a torn black-purple haori, and a single dark red glowing curse mark in the center of the front. Maintain the same design in all cuts; do not change into crystalline or crystal statues. Do not mix the face, eyes, hair, horns, costume, physique, or color scheme of the protagonist and the Oni. Avoid face averaging, costume swapping, cloning, or extra characters. [Shared Art Style] Line art is thin and delicate, line color is dark blue to blue-purple. Clear two-to-three-stage cel shading and pale intermediate shadows on face, hair, costume, horns, tail, and Oni. Shadows are centered on blue-purple and dark blue, not crushed to black. During movement, cel shadow boundaries should follow the 3D volume, with no flickering or irrelevant flipping. Color scheme is black, deep purple, amethyst, subtle gold, and soft white. Eyes and tail tip have multi-layered purple light, hair has thin blue-purple silk-like highlights, and skin is a clean matte anime style. Place incandescent areas only in narrow ranges at the center of contact, leaving high-saturation amethyst and black-purple around them to prevent whiteout. Distinguish cloth, metal, horns, scales, and glass with different reflections. Use directional motion blur only for high-speed parts; faces, eyes, hands, spearheads, and butts must be clearly readable. Soft cool white key light + weak warm fill on the protagonist's face. Background is low-saturation blue-gray and white-gray. Do not use thick black outlines, simplified TV anime style, flat coloring, generic 3D bishoujo faces, plastic CG, semi-realistic, realistic, live-action, or mixed art styles. [Temporal Continuity & Physics] Move stride, breathing, and tail sway from the start of the footage; no explanatory stills. The beginning of each cut inherits the end pose, speed, rotation direction, and screen progression direction of the previous cut; no re-posing, standing idle, or teleporting to starting positions. Supporting legs are fixed to the floor; do not slide soles at stepping, landing, or rotation pivots. Landing is sole contact -> knee compression -> waist sinking -> upper body follow-through. Spear reaction force is not absorbed by wrists alone; flow from elbow -> shoulder -> waist -> supporting leg to the next movement. Hair, sleeves, chains, capes, chest cloths, and tails are not integrated; they have different delays in the order of body -> hair/sleeves -> chains/cape -> tail tip. Hands maintain positions on the shaft; regripping is one hand at a time. Do not fuse fingers, wrists, and shaft; maintain front-back relationships of horns, hair, arms, spear, and tail. [Stage & Lighting] A near-future combat atrium with a giant glass ceiling and a two-level corridor. Thick white-gray structural beams, reinforced glass showing a pale blue sky, deep corridors, low-saturation mechanical equipment, and a polished light-gray reinforced glass floor. The floor softly reflects the girl, Oni, spear, and purple light. Clear parallax with three levels of depth: foreground beams, middle corridors, and distant glass walls. After falling, maintain the beam direction, light source, and vertical relationship of openings as the lower level of the same building. No readable characters, signs, advertisements, or logos. Uniform the direction of the cool white key light in all cuts. Blue-purple rim on the girl, Oni's dark red light reflects on the Oni and surrounding floor, and the girl's amethyst light reflects only on the girl, spear, tail, and nearby glass. No sudden exposure changes after large flashes. Do not hide faces, hands, spear structure, or Oni's curse mark with smoke or bloom. Use camera shake briefly only for strong contact and floor breakage. [Weapon & Tail] Only one long spear. Only the girl is the owner. Black long shaft, subtle gold decorations, one amethyst glowing spearhead, and one butt. Spearhead, shaft, and butt are always connected in a single straight line, maintaining the same total length, thickness, and decoration positions. No shrinking, bending, duplication, or deformation. Hands release only during throwing; order: empty hands -> same single spear in flight -> return -> grabbing the same shaft with both hands. During rotation, the entire spear revolves largely around the body as a single rigid body. Do not rotate only the spearhead; no transformation into propellers, windmills, or multiple blades. Only one tail. Continuously connected from the back of the waist; force is transmitted in the order of waist rotation -> base -> middle -> tail tip. No branching, duplication, or transformation into another creature. [Contact Causality] All contact must strictly follow the sequence: trajectory/gap/undamaged state before contact -> contact at specified position -> local light/crack/cloth displacement/gravity shift after contact. Do not generate magic waves, crystals, sparks, or glass cracks before contact. [Cut 1 | Approach] Rear diagonal mid-distant view near the floor. Start from the girl's back, camera moves forward as if catching up with the girl toward the Oni at the end of the corridor. The girl steps deep while keeping a single spear tilted diagonally backward and swaying a single tail low. Weight shift from heel -> sole -> toe. Cape and tail delay by half a beat. Shift axis over the Oni's shoulder, spear shaft crosses in front of the lens in foreground occlusion to a short close-up of the same face as <<<Image1>>>. Purple eyes catch the Oni, eyebrows slightly down, upper eyelids narrowed, mouth closed. Sink supporting leg and pass that momentum to the next rotation. Do not show the face static. [Cut 2 | Barrier Contact and Full Spear Rotation] Oni blocks the path with a dark red curse barrier. The girl doesn't stop, coordinates waist, shoulders, and hands to swing the single long spear largely around the body, continuous sweep from low diagonal to high diagonal. Hair, cape, and tail delay by half a beat. Camera moves diagonally around the outside of the shaft from waist-high mid-view, showing supporting leg, hands, full spear length, and contact point in the same motion. Thin gap between spear and barrier before contact. Short hit-stop only at the moment of contact. Thin amethyst circular wave is born only after contact, Oni's haori and messy hair flow backward. Connect reaction force to the next release. [Cut 3 | Throw, Return, Catch, Jump] Girl releases the shaft at the furthest point of rotation. Only the same single spear maintains a straight line, pulling a thin amethyst trajectory and flying toward the barrier. Oni tilts the barrier to parry, changing the spear's trajectory into a large return arc. Briefly show empty hands and the single spear in flight; girl grabs near the center of the returned shaft with both hands. Catch inertia transmits to upper body -> center of gravity. Kick the floor with that reaction force and jump over the Oni. Low close-up camera also rises along the spear's arc, changing from mid-view to full-body diagonal top view. Show throwing -> same spear return -> regrabbing -> rising in one sequence. Align spear with body centerline in mid-air, then turn to descent. [Cut 4 | Descent Contact, Crystal, Landing Rotation, Kick] Space between Oni's curse mark and spear tip before descent. Short hit-stop and narrow incandescent core only at the moment the spearhead contacts the curse mark. Only after contact, giant crystal ridges of obsidian purple -> high-saturation amethyst -> pale lavender rise in a fan shape. Crystals have three layers: thick main ridges, branching thin sub-ridges, and fine fragments. Translucent magic crystals of the protagonist's unique color, not bluish ice. Oni itself does not crystallize. Girl changes reaction force into a landing rotation, swinging the entire spear once diagonally. High mid-view camera also moves around the crystal in the foreground to the opposite side, flipping the axis from ceiling direction to floor direction. Briefly ground the same spearhead on the empty floor away from the Oni, rotate the body at a low center of gravity using the single spear as a pivot, and kick the Oni away. Small star-shaped cracks and purple light fragments on the floor only after contact. Oni's haori is displaced and full-body center of gravity retreats. Girl immediately pulls the spear and enters a dash. [Cut 5 | Upper Level Pursuit and Glass Breakage] Oni retreats to the upper glass walkway, turns to provoke with one hand, and blocks the retreat with dark red curse light. Girl kicks the floor without pause and dashes between beams, keeping the spear low. Eye-level mid-distant camera moves forward from behind the girl's shoulder toward the Oni's retreat path, showing the escape direction, the gap between the two, and the vertical relationship of floors. Briefly occlude with a beam and emerge on the direction-of-travel side. Glass floor is transparent and undamaged before breakage. After the Oni's step and the girl's spear butt apply pressure, it breaks from the action point in order: thin radial cracks -> polygonal planes -> large and small plate-like fragments that lost support. No liquid, ice, or snow-like pulverization. Floor breaks, Oni and girl fall to the lower level maintaining their vertical relationship. Thick rotating glass fragments reflect the girl's purple light and pale sky blue, connecting to the lower level with foreground occlusion where one fragment covers the screen. [Cut 6 | Lower Level Landing, Curse Bullets, Spear Defense, Barrier Breakthrough] Oni lands heavily on the lower level and fires dark red bullet-like curse rounds in a fan shape. Girl changes falling momentum into a landing rotation, continuously revolving the single long spear largely in front of her body with both hands. Spearhead, shaft, and butt move at the same angular velocity in a straight line, hands passing the shaft in turn. Camera rises from near-floor to waist-height, moving from outside as if passing under and over the spear, broadening from foot-level close-up to full-body mid-view. Purple and dark red light fragments only at the moment curse bullets contact the spear shaft or spearhead's path. Trajectories deflect to empty floor or beams only after contact. Do not let curse bullets adsorb or orbit the spear tip. Receive the final reaction force in the waist, change without stopping into a large diagonal sweep to push open the Oni's barrier, and pass that momentum to the tail strike. [Cut 7 | Tail-Only Contact] Contact-specific close-up. Oni's torso about 70% of the screen. No return to protagonist's face; spear is off-screen. From the left edge, a single tail same as <<<Image3>>> enters in a low horizontal arc, showing multiple scale segments leading to the body. Initially, a gap between the thin tail tip and the dark red curse mark. The tail is the only object contacting in this cut. Short hit-stop only at the moment the tail tip contacts the curse mark. Purple ring-shaped shockwave and thin light cracks only after contact. Haori -> curse mark -> messy hair react in order; Oni's full-body center of gravity moves backward, upper body pushed off-screen. Do not detach tail tip; maintain scale segments leading to the screen edge; the single tail returns naturally with elasticity. [Cut 8 | Collapse and Final Grounding] Receive the movement pushed out in Cut 7 with a low mid-view. Oni collapses quickly in order: one knee -> one hand -> upper body, remaining on the floor. Do not follow the falling process for long; only one bounce after grounding. Girl swings the single spear vertically down with the convergence of remaining momentum. Clearly leave undamaged floor surface between the fallen Oni and the spear tip before grounding. Amethyst spearhead contacts the empty floor in front, away from the Oni's outline. Purple and orange light fragments, small star-shaped cracks, and amethyst circular light waves only after contact. Do not collapse the entire floor. Final screen is a super low-angle close-up near the floor. In the foreground, the fallen Oni's hand and haori; in the center, a single vertical spear with spearhead, shaft, and butt connected in a straight line; in the back, the girl's bent knee and grounded black shoe. Leave a gap of empty floor between the fallen Oni and the spear tip. The specific moment the spearhead enters the floor is the final frame; cut immediately without holding maximum glow. No return to face close-up, chest-up composition, or static victory pose. [Audio] Synchronize low wind-cutting sound with the trajectory of the entire single spear. Hard spear sound + short magic resonance only at barrier contact. Leather creak + small high-pitched sound only at the moment of grabbing the returning shaft. Crystals: main ridge = low magic resonance, sub-ridge = glass-like cracking sound, fine fragments = high-pitched glass sound, synchronized to the order of generation. Upper glass: initial crack = sharp glass sound, plane detaching = low creak, fragments rubbing = thin high-pitched sound, falling = wind cutting. Curse bullets: short magic sound at firing, hard sound only at the moment of deflection by spear. Tail strike: air cutting + scale friction + dry cloth sound of haori + clear resonance of curse mark. Oni collapse: one floor impact + cloth sound of haori. End: synchronize hard spear sound, glass crack sound, and purple magic resonance only at the moment the spearhead enters the floor, cutting video and audio at that moment. No dialogue, conversation, narration, or singing. [Important Guards] Only one protagonist, one Yokai-Oni, one long spear, and one tail. No extra people/Oni, spear duplication, tail branching, or weapon transformation. The spear is a single continuous rigid body throughout. Do not duplicate even during throwing; grab the same shaft after return. During rotation, the entire spear moves; no high-speed self-rotation of the spearhead, helicopter-like rotation, propeller-ification, or windmill-ification. The tail is a single organic scaled tail connected to the back of the waist. Maintain connection position, multiple scale segments, and thin tip even during tail strike. Magic crystals are obsidian purple, amethyst, and lavender. Do not change into bluish icebergs; the Oni's body does not crystallize. The final spearhead grounds on the empty floor away from the Oni's outline, leaving a floor gap between the fallen Oni and the grounding point. No blood, dismemberment, exposed wounds, or cruel expressions. No text, subtitles, logos, watermarks, or UI.

High-quality anime video. A silver train speeding through a red canyon at sunset. From 0.0 seconds, the protagonist is sprinting at full speed on the roof, with no introductory still shots or poses. All movement is in real-time. Fast footwork, shifts in center of gravity, weapon contact, reaction force, and subsequent movements connect seamlessly without interruption. [Reference / Character Consistency] image1 is the face/identity reference, the standard for facial and character identity. Maintain the same person across all cuts, featuring the same slender chin, blue eyes (shape and iris color), long moon-silver hair, bangs, blue rose and butterfly hair ornaments, and their fixed placement. image2 is the outfit/full-body reference. Fixed elements include a black high-neck top, black lace sleeves, deep navy short cape, blue jewel brooch, fine gold and silver decorations, navy pleated midi skirt, black lace-up boots, moon-patterned bag, and a slender silhouette. The bag is snug against the right hip. Priority if references conflict: image1 for face, eyes, and hair; image2 for everything below the neck (outfit, decorations, body type). Final facial expression sequence: eyes soften -> brows lower slightly -> eyelids narrow once -> mouth stays closed -> gaze returns forward. Only expressions, gaze, breathing, combat stances, and natural hair/fabric movement are allowed. No character changes, facial averaging, outfit swaps, horizontal flips, clones, or additional protagonists. [Equipment Consistency] Owner / ownership count: The protagonist alone carries one slender blue-silver single-edged sword; the Skeleton King alone carries one black iron greatsword. Total swords in the video are fixed at two. One dark navy scabbard is belted to the protagonist's left hip. At the start, the sword is drawn in the right hand, the scabbard is empty, and the left hand is free. The single-edged sword and greatsword both maintain a unified single-structure length with connected blade, hilt, and guard. The protagonist grips the hilt with her right hand, while the King grips his with both. In rotations and parries, the entire weapon moves as a single unit, not just the tip. No duplication or swapping of weapons, hilts, guards, or scabbards. [Enemy Consistency] Exactly three generic skeletons. As skeleton/undead, they have skulls, exposed ribs, spine, pelvis, long phalanges, blue orbital light, and torn black cloth. They have no weapons and lunge simultaneously. Exactly one Skeleton King. As skeleton/undead, he has a skull and ribs twice as large, a black iron crown fixed to the skull, thick black iron armor, a torn dark navy cloak, intense blue orbital flames, and a black iron greatsword. No shield. He appears only after the three generic soldiers are defeated. All enemies maintain solid bone, cloth, and iron materials until defeat; do not replace them with crystals or light figures. No mixing of generic and King features, and no duplication of enemies. [Rendering Consistency] Use only 3D toon/cel-look. Centered on image1 and image2, featuring thin blue-gray outlines, two-to-three layers of toon shading with soft gradients, clear moon-silver, deep navy, and royal blue. Sharp fine highlights on silver hair, with high-density material expression distinguishing velvet, lace, metal, gemstones, and glass. Character-first/character-specific palette: Prioritize the protagonist's royal blue as the character-specific key light and deep navy as the character-specific shadow. Background uses a low-saturation palette, with cyan used only as auxiliary for contact light. High density includes exterior ribs, window frames, seats, hand straps, railings, connection doors, and floor reflections. No thick outlines. No single-layer flat cel painting. No generic 3D anime faces. No smooth plastic CG materials. No low-density backgrounds. No live-action or semi-realistic styles. No dull colors. Do not mix art styles. [Common Axis of Motion and Cinematography] Combat follows one continuous trajectory. The same line of motion is passed through the rooftop advance, falling into the window, breaking into the car, being pushed outward by the King's greatsword, pivoting inward, passing behind, the return slash, and the sheathing. The trajectory deforms upon contact but does not stop to reset. Camera systems switch based on purpose: low rear-three-quarter attacker tracking, diagonal exterior view, over-the-shoulder counter, short orbit/axis change, diagonal impact push-in, and side medium close-up. Low angle heights: 0.4m for roof/floor action, 1.2m for over-the-shoulder, 1.35m for sheathing. Allow brief foreground occlusion by seats or window frames; parts of the body may exit the frame during speed sequences. The background vanishing axis always flows toward the front of the train. Cut transitions are linked by foot grounding, window impacts, weapon contact, and the direction of body passage. [Speed and Sound] Full-body movements are real-time. Hit-stop on contact is maximum 1 frame. No long charging times, slow motion, mid-air freezing, or repetitive poses. Tense strings and low percussion around 150 BPM. Synchronize visible events with footsteps on metal roof, wind pressure, glass shattering, dry bone thuds on the floor, sword collisions, armor cracking, and the final sheathing sound. No dialogue, subtitles, logos, UI, or watermarks. Cut 1: 0.0–2.0s | Sprinting on the roof Low 3/4 rear view. The protagonist sprints four steps along the roof ribs; with every boot contact, the supporting leg, pelvis, shoulders, and sword move along the same axis of propulsion. Roof ribs and the canyon recede at high speed; hair and cape flow sharply backward. Using the reaction force of the fourth step, she jumps from the right edge of the roof to the side of the car. At 2.0s, her head, shoulders, waist, and both legs are all outside the intact window glass; no part of her body has entered the window frame yet. Cut 2: 2.0–5.0s | Breaking through the window from outside, entering the car 2.0–3.15s: Diagonal front camera outside the train. Lens and protagonist are outside the window, showing the silver car exterior, window frame edges, and empty interior through glass. She approaches the window from outside, maintaining a vector from outside -> glass surface -> inside. At 2.0s, she is fully outside; the window is intact. At 2.7s, she swings the entire single-edged sword in a short horizontal arc; the blade near the tip hits the center of the outer glass surface. Radial cracks appear only after impact at 2.8s; glass shards fly inward, away from the camera. At 3.1s, her head and right shoulder cross the frame into the car; waist and legs remain outside. Using flying glass shards as brief foreground occlusion, switch to an interior diagonal front view at 3.15s. Leaving the broken window behind her, the waist, knees, and boots pass through the frame by 3.7s. At 4.2s, her entire body is inside, landing low on the aisle floor. By 5.0s, her waist and ribcage cross two floor seams as she runs two steps forward into the next encirclement. Cut 3: 5.0–6.0s | Confirming enemy placement instantly The camera recedes from a front-left diagonal position at a chest height of 1.2m, placing the protagonist on the right side of the screen at knee-up size. Using the front connecting door as the vanishing axis, show the three generic skeletons closing in from the sides and front, her path, and the open central gap in the same frame. Her waist and ribcage cross one floor seam; by 6.0s, she steps between the edge of the left seat and the first skeletal arm. As the long phalanges of the front-left skeleton cross the lens, use that arm as a natural occlusion to switch to the next viewpoint. Cut 4: 6.0–7.2s | Entering the encirclement and beginning the pivot As the occlusion clears, the camera moves behind her right shoulder at a waist height of 0.8m, capturing her full body, supporting leg, single sword, and the three sets of ribs in close depth. The background vanishing axis shifts from the front door to the diagonal row of windows on the back left. She catches the floor with her right sole, briefly compresses her knee, and passes her pelvis over the right foot into a low clockwise pivot. The entire sword draws a single arc at waist height; by 7.2s, her body passes through the center of the triangle formed by the three enemies. The camera does not rotate faster than the sword, showing the kick of the supporting leg and the passage of the blade simultaneously. Cut 5: 7.2–8.5s | Crossing the axis in the direction of the blade, leaving the collapse behind Triggered by the blade crossing from right to left, the camera briefly orbits from behind the right shoulder to a low left-front diagonal, dropping height from 0.8m to 0.45m and pulling back from knee-up to full body. The background vanishing axis returns from the diagonal windows to the front door. The three do not wait their turn; they simultaneously begin collapsing into bone piles behind her passage line. By 8.0s, she is completely out of the encirclement; by 8.5s, she crosses two more floor seams. She does not look back, handing the moment of her next right-foot grounding to the King's appearance. Cut 6: 8.5–11.5s | Linking the King's appearance directly to a descending arc The pressure of a black iron greatsword pushes open the connecting door, and the Skeleton King enters the aisle in one step. Without pausing the appearance pose, he carries that step directly into a vertical descending arc with the entire greatsword. The protagonist, maintaining forward momentum, brings her sword up in front of her body. At 11.5s, they enter the contact line with a clear gap remaining between the two blades, passing the speed of the descending arc to the next cut. Cut 7: 11.5–14.2s | Receiving downward pressure for an instant, then immediate disengagement From behind her left shoulder at 1.2m height, capture both weapons, the pre-contact gap, and her supporting leg in the same frame. At 11.5s, the King's greatsword is descending, with a clear gap between blades. Maintaining forward momentum, she moves her right foot to the next floor panel and aligns the hilt area of her sword with the descending line. At 14.1s, the base of the greatsword and the hilt area of the single-edged sword hit at a single point. Place a hit-stop of max 1 frame only at the moment of contact, with bluish-white sparks scattering from the impact. From the next frame, reaction force passes through her wrist, elbow, shoulder, ribcage, waist, and right foot as she kicks off the floor. At 14.2s, the blades are already moving apart; do not hold the crossed contact pose, passing the disengagement to the next cut. Cut 8: 14.2–16.0s | Passing through the inside, swapping positions within 1.8s With a short orbital wrap around the contact point, the camera moves to her right side at 0.75m height, showing both full bodies, both weapons, and floor seams. While sparks are still falling at 14.2s, her waist and ribcage move clockwise, and her sword moves away from the greatsword. The King's greatsword continues through its descending line. At 14.6s, the blades are more than one blade-width apart; her right shoulder and waist pass inside the greatsword. At 15.2s, she is completely past the King, and her waist crosses the next floor seam. By 15.5s, their front/back positions are fully swapped. The King is not left behind, tracking her with his upper body and greatsword. At 15.8s, he converts the remaining body rotation from the descending arc into a horizontal return arc. At 16.0s, the greatsword has already begun horizontal movement; she is half-way through a step toward the outside of the aisle, continuing the motion into the next cut. Cut 9: 16.0–18.5s | Carrying the return arc into the next contact The camera recedes along the attack line from a front-right diagonal at 1.0m height, capturing the King's full body, the greatsword, and her supporting leg. From 16.0s, the King continues swinging the greatsword in a horizontal arc; by 16.8s, the tip crosses the aisle center line. She does not retreat, placing her left foot half-way onto another floor panel outside the aisle and bringing the middle of her blade into the path of the greatsword. The King returns reaction force from the floor through his soles, moving shoulders and waist in the same direction as the horizontal arc. She matches that force with her blade, carrying that momentum until just before the next attack contact. At 17.6s, both waist positions cross different floor seams, with a gap still between blades. At 18.5s, pass the non-static moment where the return arc and parry trajectory are nearly touching to the next cut. Cut 10: 18.5–26.8s | Resolving from the return contact with the same rotation Low diagonal view with seats in the foreground. At 18.5s, there is still a finger-width gap between blades. At 18.8s, the middle of the greatsword and the middle of her sword hit. Hit-stop is max 1 frame. At 18.9s, blades separate, her supporting leg converts lateral pressure into forward speed, and she passes the King. The clockwise rotation remaining from the passage closes into a single sword trajectory returning diagonally upward, crossing the front of the undamaged black iron armor. Only after that passage do thin blue cracks run through the armor and the orbital flames extinguish. The King collapses to the floor in the order of legs, torso, and greatsword; the greatsword stops lying flat. She takes two steps in the same direction and half-turns with the fallen King behind her. Cut 11: 26.8–30.0s | Finalizing with sword sheathing Close-up side-diagonal view capturing face, hands, and the scabbard mouth at the left hip. Left hand supports the scabbard, right hand rotates the sword to align the tip with the actual scabbard mouth. After the tip enters, the blade is sheathed continuously to the end. At 29.7s, the guard meets the scabbard mouth, synchronized with a dry metallic 'click' sound. The bones of the three skeletons, the fallen King, and the horizontal greatsword are static in the background. Simultaneously with the 29.7s sheathing, perform the short facial expression change mentioned above. At 30.0s, cut the scene in the finalized state just before the right hand leaves the hilt.

Video game of macrophages seeking out and ingesting needle-like fibers, then breaking them down to harmless components. Level 2 -GI tract