Seedance 2.5 Prompts: 202+ Examples & Guide

Character Setting: Cool and elegant Korean high school girl, summer school uniform, natural skin texture, no filters, consistent facial features throughout. Quiet, avoids trouble, extremely patient but with strong boundaries. Emotional shift: Zen-like patience → thoroughly annoyed by repeated harassment → calm outburst → cold disdain. Post-fight: slightly messy hair, slight panting, realistic expressions. 00:00–00:06 | Malicious Harassment (Suppression): Quiet afternoon classroom, female lead by the window. Four bullies provoke her, bumping her desk, pushing her, throwing stationery. She avoids and stays silent, wanting peace. Wide-angle handheld camera with slight shake, oppressive atmosphere. 00:06–00:12 | Patience Exhausted (Turning Point): Slow zoom to facial close-up. Bullies escalate. Her patience vanishes, turning into cold annoyance. She stands up straight. Background blurs, silence except for her steady breathing, preparing to end the harassment. 00:12–00:19 | Clean Counterattack (Main Fight): Girls push her. She blocks calmly, dodges quickly. Elbow strikes, precise low kicks. Realistic, clean movements. 360° wrap-around tracking shot with camera shake and motion blur. Three bullies fall, desks slide, scene reverses. 00:19–00:24 | Mid-air Finisher (Climax Slow-mo): Last girl rushes. Ultra-low angle shot. Lead jumps, 35% slow motion. Uniform skirt and hair flow naturally. 360-degree mid-air roundhouse kick to the chest. Opponent hits the wall. Normal frame rate upon landing, clean and powerful. All four are down. 00:24–00:27 | Silent Aftermath: Classroom in mess. Lead stands in center, panting slightly, cold gaze, tired and detached, calm and restrained aura. 00:27–00:30 | Dialogue: Close-up. She looks at the camera, cold and annoyed tone. Korean line: "제발 귀찮게 하지 마." (Please stop bothering me.) Natural, realistic warning. No subtitles.

A fast paced cinematic fashion montage featuring a stylish young woman wearing a black leather jacket baggy light blue jeans a white crop top and dark sunglasses The video begins with a fast tracking shot of her running past metal shopping carts in a cool toned concrete parking garage The camera transitions rapidly using whip pans and barrel rolls An extreme low angle fisheye shot reveals her standing against a tall concrete building under a bright overcast sky This immediately cuts to a high angle drone shot looking straight down as she spins in an empty parking lot Digital glitch effects and visual warp distortions appear briefly between cuts The sequence features dynamic hand transitions where the subject reaches for the lens It concludes with a low angle tracking shot of her walking confidently forward The lighting shifts between dim fluorescent garage lights and bright overcast daylight Highly realistic motion blur cinematic color grading natural skin textures and authentic clothing physics Upbeat electronic music plays in the background aspect ratio 16 9 duration 12 seconds

Use the supplied image as the exact opening frame and primary visual reference. Preserve the man, the enormous creature, the blonde woman, the warehouse, the creature’s torn “2.5” clothing, facial identities, proportions, wardrobe details, and realistic natural lighting. Create a polished live-action action-comedy scene. The man continues wrestling the huge creature at close range, desperately holding its throat and shoulders as it growls, twists, shoves, and tries to overpower him. Their struggle must feel heavy, physical, and dangerous, with believable weight and stable anatomy. 0–5 seconds: The creature forces the man backward while he strains to contain it. Without looking away from the monster, the man urgently shouts in a strained American male voice: MAN: “Flamethrower girl, can you help me with 2.5 over here?” 5–14 seconds: In the background, the blonde woman remains surprisingly calm and distracted. She is testing reference outfits, briefly holding different jackets, accessories, and costume pieces against herself, comparing them and turning slightly as though deciding what looks best. Use clean, seamless wardrobe-reference transitions without changing her face, body, tattoos, or location. She answers in a natural 24-year-old American female voice, mildly annoyed: WOMAN: “Tim, you said I could demo references for this video!” Meanwhile, the foreground fight continues uninterrupted. The creature swings one huge arm, the man ducks and struggles to keep his grip. 14–20 seconds: The creature nearly throws the man aside. He braces himself, grimaces toward the woman for one instant, then screams with panicked frustration: MAN: “I CHANGED MY MIND!” The monster roars and surges forward as the man desperately wrestles it back. End during the active struggle. CAMERA: One coherent cinematic shot with subtle professional handheld movement and restrained natural shake from the impact. Keep the woman clearly visible in the background while prioritizing the foreground fight. No cuts to unrelated angles. SOUND: Natural warehouse ambience, boots scraping, fabric pulling, heavy impacts, strained breathing, creature growls and roars. Dialogue must be clean, correctly assigned, and fully completed. No music. QUALITY: Photorealistic live action, natural performances, realistic physical contact, stable faces, consistent character identity, accurate lip synchronization, believable motion blur, professional action choreography. No duplicated people, extra limbs, warped hands, body morphing, disappearing characters, costume contamination, subtitles, captions, logos, or added text.

ultra-realistic medieval market scene in daylight, filmed as one smooth continuous Steadicam shot. A confident medieval traveler wearing a rough brown wool tunic, leather belt and worn boots walks slowly through a small village market. Around him are simple wooden stalls, baskets of apples, bread, cloth awnings, two chickens and one calm donkey beside a cart. A few villagers move naturally in the background. After several seconds, the traveler makes a small hand gesture. The entire market suddenly becomes perfectly motionless, like a paused film. Villagers stop in place, the chickens become astill, the donkey stops moving, cloth awnings stop in the wind. The traveler remains the only moving person. He calmly walks through the paused market, takes one apple from a wooden basket, bites it, places a crooked loaf of bread upright, lifts a coin from a merchant’s table, examines it, then returns it exactly where it was. He gently rotates a hanging wooden sign so it faces forward, walks past the motionless donkey, and smiles at the strange frozen scene. The camera keeps moving backward in front of him, then slowly circles to his side and finishes with a close-up as he walks toward the lens, eating the apple. Natural medieval textures, realistic stone, wood, mud and fabric, stable anatomy, realistic animals, coherent background figures, subtle film grain, no dialogue, no logos, no readable text, no floating objects, no cuts.

Create a professional music video featuring the character from the reference image, maintaining her face, black ponytail hairstyle, and appearance throughout the video. She wears a fashionable black stage outfit with a gold belt, stylish boots, and silver earrings. The video is set in a premium modern music studio with a blue backdrop, neon lights, studio spotlights, and an electric guitar. The style is that of a modern energetic pop music video. Timeline of the video: 1. Close-up: The character looks at the camera with a confident smile. 2. Medium shot: She performs elegant hand gestures in sync with the upbeat tempo. 3. Wide shot: She performs beautiful dance choreography on the studio stage. 4. Tracking shot: The camera circles her as she sings with bright expression. 5. Action shot: She walks toward the electric guitar, picking it up and playing it rhythmically. 6. Side angle: She poses stylishly next to a blue wall, looking at the camera. 7. Cozy shot: She sits on a modern studio chair, nodding to the music beats. 8. Cinematic angle: Smooth camera movement captures her fluid dance moves with blue backlight. 9. Final scene: She stands in the center of the stage under the spotlights, ending with a beautiful and confident K-pop pose as the lights gently fade. The video has professional cinematography, smooth camera movement, wide-angle lens, premium studio lighting, and high-end fashion styling.

Mode: T2V. 15-second real-life short film. Protagonist: Adult East Asian female, black shoulder-length straight hair tied in a low ponytail, natural stray hairs on forehead; bright yellow short-sleeved knit Polo shirt, hem fully tucked into light blue high-waisted straight jeans, white low-top sneakers, light gray socks, small silver round stud earrings and a silver wristwatch. No jacket, no hat, no backpack, no handbag, no cell phone. Only prop: 20-inch turquoise hard-shell rolling suitcase, rounded rectangular prism, no logo, no stickers, black double-rod handle always fully extended. The opening shows her pulling the suitcase behind her to the right; when stopped, the case is vertical next to her right leg; when sliding away or being stopped, it remains vertical, not toppling, opening, or deforming; the end shows her holding the case with both hands in front of her chest and abdomen. Scene: A modern high-speed railway station waiting hall on a sunny day, bright and tidy, not an old station. Large glass curtain walls on the left let in sunlight, light gray stone floor, rows of light blue-gray waiting seats ahead, simple white light strips and blurry unreadable modern signage at the top. The flow of people in the waiting hall is only a blurry background in the distance, no other clear characters appear. The sunlight forms a soft bright area on the ground, creating a refreshing daily feel of a contemporary transportation hub. Cinematography: Early 2000s home MiniDV, a friend filming casually while walking behind her to the right. Natural handheld shaking, inaccurate composition, characters occasionally drifting out of frame; the camera follows half a beat late after events happen, autofocus twitches briefly between shoes, suitcase wheels, seats, ground, and face, and sunlight from the glass curtain wall causes slight exposure jumps. Low contrast, slight fading, soft details, digital noise, natural motion blur. The old DV only affects the filming texture, the station environment remains modern. No stabilizers, cinematic camera movements, polished vlogs, or commercial lighting; the photographer and DV camera must not be clearly in the frame. 00:00-00:03, she walks from the waiting hall aisle towards a row of empty seats, pulling the turquoise suitcase behind her on the right. The friend films while walking, the camera first low, catching the white sneakers and suitcase wheels, then raising half a beat late to find her. 00:03-00:06, she stops in front of the seat, places the suitcase vertically beside her right leg, lets go of the handle with her right hand, and prepares to turn and sit down. The suitcase slides forward slowly on its own due to a slight slope in the floor. She looks back and discovers it, eyebrows raised, quickly stretching out her left foot to block it, but misses, the suitcase continuing to slide past her toes. 00:06-00:09, she immediately chases two steps forward, body leaning forward significantly, arms extended; her right hand finally grabs the fully extended black handle. The friend was still filming the seats when it first slid away, hurriedly backing up to capture the scene upon hearing her urgent footsteps. 00:09-00:12, the suitcase still has momentum, the vertical case being pulled to the left by the handle, her right arm straightened, body jerking forward, right foot taking a large step back, left foot following, knees bent, appearing nearly losing balance but not falling. She immediately lets go of the handle, holds the upper part of the case with both hands, and tightly fixes the suitcase in front of her chest and abdomen, finally standing steady. The friend happens to capture her awkward posture holding the box with feet apart, and starts a short zoom-in late. 00:12-00:15, she slowly straightens up, still holding the suitcase with both hands, looking down to confirm it won't run again; hearing the friend's suppressed laughter, she looks up and glares at the camera, then can't help laughing herself. The camera pans down to the turquoise case held in her arms, white sneakers, and sunlit ground, suddenly going black like an accidental touch amidst the handheld shaking. Sound: Low hum of the waiting hall air conditioning, blurry announcements in the distance, the light sound of suitcase wheels rolling over stone ground, footsteps when she chases, the plastic clatter when the handle is grabbed, her short inhalation and the friend's suppressed laughter; very faint source music with unidentifiable lyrics from a distant shop. No narration, no subtitles, no post-production music, no exaggerated sound effects. Priority: Modern bright waiting hall, turquoise suitcase, and the two-stage conflict of the protagonist "walking to seat - letting go and sliding - failing to block with foot - chasing and grabbing handle - case turning causing imbalance - holding with both hands to stand steady" take priority. Reject suitcase toppling, opening, running out of control, characters actually falling, crowded people, character outfit changes, old station styles, and clear text.

Realistic fantasy short film. The female lead's face strictly refers to a close-up, and her body, hairstyle, and clothing strictly refer to {{Mixed 1}} full body. Throughout the film, she only wears the grey-blue trench coat, white crew-neck top, dark blue jeans, and black short boots from the reference image, with the silver round stud earring in her right ear always present. The transparent umbrella strictly refers to {{Mixed 2}} opened, with eight silver ribs, a 5mm black border, a silver center pole, and a black J-shaped handle that must not be changed. The intersection building positions, crosswalk direction, red traffic light, pink-purple window light, and wet ground reflections strictly refer to {{Mixed 3}}. Throughout the film, the female lead holds the umbrella in her left hand, always gripping the black J-shaped handle, while her right hand is only responsible for snapping fingers and touching the balloon. The camera is always located on the west side of the road and shoots towards the east, not crossing the central axis of the crosswalk and not jumping the axis. About 20 ordinary pedestrians and 6 cars are added to the scene, with pedestrian clothing in low-saturation gray, blue, and brown; they must not wear the same grey-blue trench coat as the female lead. There is only one red balloon, about 35 cm in diameter, tied with an 80 cm long white string. 0 to 6 seconds: Camera height 1.6 meters, 35mm lens, stabilizer tracking. The female lead enters from the bottom center of the frame, walks 4 meters east along the crosswalk at a speed of about 0.7 m/s. She holds the umbrella in her left hand, right arm swinging naturally. Background pedestrians and vehicles pass normally, no new raindrops on the ground, ambient sound of tires on wet road, footsteps, and distant traffic. 6 to 10 seconds: The female lead stops in the middle of the crosswalk, still facing east. The camera moves to about 2 meters in front of her right, changing to a 50mm medium shot. She raises her right hand and snaps her fingers once with her thumb and middle finger. At the same frame the sound appears, all background pedestrians, vehicle tires, clothing corners, and water ripples stop moving. A red balloon stops about 1 meter in front of her right, 1.6 meters off the ground. The female lead, her hair, and the hem of her trench coat can still move normally. 10 to 13 seconds: The camera pans right at a speed of 0.5 m/s, maintaining a medium shot from the waist up. She takes three steps towards the balloon, left hand continuing to hold the umbrella. At the end of 13 seconds, she stands to the left of the balloon, right index finger extended, fingertip about 5 cm from the balloon surface. 13 to 16 seconds: The camera continues to pan right, no cut. Her right index finger moves 5 cm forward and touches the balloon once. A transparent area about 3 cm in diameter first appears at the contact point, then the transparent area expands uniformly to the entire balloon within 1.5 seconds. The balloon's shape, diameter, and position remain unchanged, only the red rubber material turns into colorless transparent glass. After the change, a small golden fish about 8 cm long appears inside the balloon, facing the right of the frame and wagging its tail once. The white balloon string remains as is. 16 to 21 seconds: She withdraws her right hand, takes half a step back, and looks up at the transparent balloon. The camera stops panning, maintaining a 50mm medium shot. The positions of the transparent balloon, golden fish, female lead, and umbrella are continuous, background remains completely static. 21 to 25 seconds: She snaps her fingers again with her right hand. At the same frame the sound appears, background pedestrians and vehicles resume their original direction and speed. The transparent balloon rises vertically about 1.5 meters, and the golden fish inside turns into a golden light point 2 cm in diameter, exiting from the right side of the balloon. 25 to 30 seconds: The camera moves continuously to a height of 6 meters off the ground, tilting down about 35 degrees, still keeping the crosswalk center axis and the female lead in the center of the frame. She stands in place looking up, the transparent umbrella appears as a perfect circle from above. The golden light point flies out towards the upper right of the frame, extinguishing at 29 seconds. The 30th second stops at a high-angle full shot of her and the crosswalk, no black screen. The entire film maintains character continuity in face, earrings, hairstyle, clothing, height, umbrella structure, and hand distribution. Prohibit face-swapping, outfit changes, switching the hand holding the umbrella, changing umbrella rib count, duplicating red balloons, size changes of the transparent balloon, the goldfish appearing outside the balloon, character clipping, cars passing through characters, axis jumping, sudden cuts, subtitles, text, logos, and watermarks.

Create a 20-second cinematic fantasy action sequence in 16:9 with photorealistic live-action quality, bright natural daylight, sharp HDR detail, and one continuous handheld camera shot. A tall elven warrior princess with platinum-blonde hair, pale freckled skin, pointed ears, icy blue eyes, a delicate silver crown, and elegant silver battle armor fights her way through a ruined battlefield using a single longsword. Keep her appearance completely consistent from beginning to end. Around twenty-four individually designed green-skinned orc warriors attack her one after another from different parts of the environment, each carrying different weapons and wearing noticeably different armor so none of them feel duplicated. Instead of standing around waiting, every enemy should charge, defend, dodge, block, or attempt a counterattack. The princess moves between opponents through a magical blink ability: a brief silver-white burst surrounds her, she disappears completely, the camera keeps physically moving through the visible battlefield, and another small burst reveals her near the next attacker already positioned to strike. Never show her traveling between those points. Keep the camera close to the action, naturally following, circling, backing away, lowering, rising, and moving around rubble without cuts, sudden resets, whip pans, or impossible camera jumps. Her sword fighting should constantly change between powerful diagonal cuts, horizontal counters, rising slashes, overhead attacks, direct thrusts, reverse cuts, spinning finishes, parries, and quick evasive strikes, with no obvious repeated move back-to-back. Each exchange must involve only one opponent, with a clearly readable sword impact and that enemy falling before attention shifts to the next one; no single attack should defeat several enemies at once. Begin slightly wider as she enters the battlefield, gradually bring the camera closer as the pace increases, and make the final few seconds the fastest and most intense. The last opponent is a huge armored orc commander carrying a heavy cleaver. He swings aggressively, she narrowly avoids it and disappears in a bright silver flash, then reappears behind him and delivers one clean overhead finishing strike before he collapses. End with the princess standing among the defeated warriors as dust and loose fabric settle around her. Keep faces, armor, hair, sword edges, debris, particles, and environmental textures extremely crisp throughout with no motion blur. Use realistic sword sounds, armor impacts, footsteps, magical flash cracks, individual enemy reactions, battlefield ambience, and rising cinematic percussion, with no dialogue, captions, subtitles, duplicated characters, morphing anatomy, extra limbs, soft focus, hidden edits, camera teleportation, or night lighting.

{ "title": "Moon's Night Off", "style": "3D Pixar family animation. Night sky and ocean, cosmic and aquatic mix, bioluminescent colors, fast-paced visual chaos, surreal comedy.", "shots": [ {"time":"00:00-00:03","type":"WIDE","action":"The Moon, a glowing crescent with arms, hangs a 'GONE FISHING' sign on the night sky. He grabs a shooting star like a surfboard and leaves.","camera":"Wide cosmic shot.","dialogue":"Moon: 'Finally. Some me time.'"}, {"time":"00:03-00:06","type":"WIDE","action":"A temp worker anglerfish inflates into the sky, wobbling into position. His lure is blindingly bright.","camera":"Low angle from ocean looking up.","dialogue":"Anglerfish: 'Don't worry, boss! I got this!'"}, {"time":"00:06-00:09","type":"MEDIUM","action":"An owl puts on tiny sunglasses, annoyed. Worms pop out of ground thinking it's daytime. A rooster crows confusedly.","camera":"Rapid cuts.","dialogue":"Owl: 'Turn it down, Gary!'"}, {"time":"00:09-00:12","type":"WIDE","action":"Tides go sideways. Fish swim through the air. A lighthouse sees the anglerfish's bright lure and gets jealous.","camera":"Chaotic wide, tilting horizon.","dialogue":"Lighthouse: 'Am I a joke to you?'"}, {"time":"00:12-00:15","type":"CLOSE-UP","action":"The lighthouse starts spinning like a disco ball, casting colored beams across the ocean. Party music starts.","camera":"Close-up of lighthouse face.","dialogue":"Lighthouse: 'If you can't beat 'em, join 'em!'"}, {"time":"00:15-00:18","type":"TRACKING","action":"Moon surfs back on his shooting star, furious, leaving a streak across the sky.","camera":"Following shot, fast.","dialogue":"Moon: 'NOBODY. COVERS. MY. SHIFT.'"}, {"time":"00:18-00:22","type":"WIDE","action":"Moon grabs the anglerfish by the lure and yeets him back into the ocean. The anglerfish splashes, deflated.","camera":"Wide action shot.","dialogue":"Anglerfish: 'Worth it!'"}, {"time":"00:22-00:25","type":"WIDE","action":"Moon fixes the sky. Tides return to normal. Fish fall back into water. Lighthouse stops spinning, embarrassed.","camera":"Sweeping wide.","dialogue":"Moon: 'Amateurs.'"}, {"time":"00:25-00:28","type":"CLOSE-UP","action":"Moon settles back into position, pulls out a tiny fishing rod, and actually fishes from the sky. Catches a cloud.","camera":"Push-in.","dialogue":"Moon: 'Now THIS is a break.'"}, {"time":"00:28-00:30","type":"TITLE CARD","action":"Black screen. Title 'MOON'S NIGHT OFF' in glowing letters with a tiny fishing hook.","camera":"Static.","dialogue":"(soft splash)"} ] }

15-second vintage Western duel with exactly TWO cowboys, in ONE continuous location and ONE continuous timeline.\n\nCRITICAL SPATIAL AND CHARACTER CONTINUITY:\n\nCowboy A is the terrifying scar-faced cowboy. Cowboy B is the harmless, dim-witted cowboy. After they turn around, Cowboy A must remain on SCREEN LEFT, facing RIGHT. Cowboy B must remain on SCREEN RIGHT, facing LEFT. They stand approximately eight meters apart, directly facing each other from opposite sides of the street. They must NEVER stand side by side after the opening moment. They never cross positions. Maintain the same left-to-right duel axis and obey the 180-degree camera rule in every shot.\n\nEach cowboy owns exactly ONE revolver and exactly ONE hip holster. Cowboy A has one revolver in his right-side holster. Cowboy B has one revolver in his right-side holster. Neither cowboy has a second weapon, a second holster, a backup gun or a rifle. Their left hands remain empty. After a revolver is drawn, its original holster is visibly empty.\n\n0–4 SECONDS — ESTABLISH AND LOCK THE DUEL AXIS:\n\nOne symmetrical wide profile shot of an empty, dusty frontier street. The two cowboys begin back-to-back at the exact center of the street. Cowboy A walks three steps toward screen left. Cowboy B walks three steps toward screen right. They stop simultaneously and pivot inward to face each other.\n\nEnd this beat with Cowboy A firmly positioned on screen left looking right, and Cowboy B firmly positioned on screen right looking left. They are separated by eight meters of empty street. Do not place them beside each other.\n\n4–7 SECONDS — CONTROLLED TENSION INSERTS:\n\nUse only three short cuts while preserving the established orientation:\n\n1. Extreme close-up of Cowboy A’s scarred face on the left side of the composition, his eyes looking toward screen right.\n2. Extreme close-up of Cowboy B’s nervous, foolish face on the right side of the composition, his eyes looking toward screen left.\n3. Matching close-ups of their right hands hovering above their single holstered revolvers.\n\nThen show a clean vertical split-screen containing ONLY their faces. Cowboy A occupies the left half and looks inward toward the right. Cowboy B occupies the right half and looks inward toward the left. Their gazes meet across the center dividing line. No full bodies and no weapons appear during the split-screen shot.\n\n7–15 SECONDS — COMEDIC ENDING:\n\nCowboy B, still on screen right, panics and throws his ONE revolver from right to left toward Cowboy A. Cowboy B’s right hand becomes completely empty. The thrown revolver lands in the dirt one meter in front of Cowboy A; Cowboy A does NOT catch it and does NOT pick it up.\n\nCowboy B turns away and runs off toward the far right edge of the street, nearly losing his hat.

15 seconds, 16:9 aspect ratio, 24fps, continuous long take, extremely realistic mobile documentary video. The camera is always inside a moving car, shooting forward through the front windshield, with a small part of the dashboard visible at the bottom. Features realistic mobile phone auto-exposure, focus breathing, windshield reflections, slight dust, vehicle vibration, and video compression artifacts. The car is already moving forward on a tree-lined road in the first frame; the road and lane lines must move continuously toward the bottom of the frame, no starting from a standstill. The car is about to pass a side road intersection on the right. 0–2 seconds: While the car is driving normally, a blue-black BMW G 310 R motorcycle suddenly rushes out from the side road on the right, cutting diagonally from right to left across the front of the car at a very close distance. The motorcycle leans significantly during the turn, then quickly straightens up and merges into the same lane ahead of the car. The car slows down slightly, and the camera has natural forward tilt and jitter due to braking. The driver of the motorcycle is a photo-realistic adult German Shepherd, sitting upright and straddling the bike with both front paws on the handlebars; on the back seat is an adult calico cat with clear and stable orange, black, and white fur, tightly hugging the German Shepherd's back with both front paws. As they rush out, their bodies naturally lean to the side due to centrifugal force, and the cat hugs tighter due to the sudden acceleration. 2–5.5 seconds: The BMW motorcycle has just cut in front of the car and remains very close to the lens. The German Shepherd realizes it suddenly cut off the driver and immediately looks back through the windshield at the driver. Key focus: Depict the German Shepherd's 'very sorry, bowing and scraping' fawning state: ears turned slightly back, shoulders hunched, neck pulled in, chin quickly tucked to the chest then raised, performing three small consecutive bows. The action is like someone repeatedly apologizing to the driver after making a mistake. The dog temporarily stabilizes the handlebar with its left front paw, briefly raises its right front paw to its chest with the pad facing the driver in a 'sorry, excuse me' gesture; while looking back at the driver, it continuously bows with hunched shoulders, then quickly puts its right paw back on the handlebar. The bowing must be realistic and natural: shoulders sink first, followed by the head, with slight inertia in the ears and facial fur; no mechanical nodding or cartoonish acting. The cat, shaken by the motorcycle's movement, sways left and right, immediately tightening its grip and ears twitching nervously. 5.5–11 seconds: The motorcycle continues driving ahead, with the car following at a distance. The dog regains control of the handlebars with both paws, sitting upright, occasionally looking back at the camera with another slight apologetic bow. The cat remains clinging to the dog's back, its body and tail swaying with the bike. The motorcycle shows realistic side-to-side swaying; the BMW frame, wheels, suspension, brake discs, and tire structures are accurate; tires always correctly contact the road surface; animal fur is naturally blown by the wind. 11–12.5 seconds: The motorcycle slowly veers to the right side of the road, the front wheel hits the curb and rushes into the grass. The dog frantically corrects the handlebars, the cat hugs tight, but the BMW motorcycle still tips over at low speed onto the soft grass. 12.5–13.5 seconds: The dog and cat roll gently into the grass following inertia, uninjured. The dog quickly pushes itself up, and the cat also immediately flips and sits upright, with movements consistent with real animal skeletal structure, weight, and muscle exertion. 13.5–15 seconds: The car slowly stops beside them. The fallen BMW motorcycle is in the background; the German Shepherd and the calico cat sit nonchalantly side-by-side on the grassy curb. The dog's ears are up, tongue out panting, looking at the camera with an 'acting cute after a mistake' look, shoulders hunched, and finally gives one more quick bow to apologize. The cat calmly licks a front paw then looks up at the camera. Hold for one second, ending realistically, absurdly, and hilariously. Natural sound: car driving noise, slight braking sound, motorcycle engine sound, wind, tire friction, the muffled thud of the bike falling into the grass, and the dog's panting. No dialogue, no narration, no subtitles, no background music.

Photorealistic psychological crime drama set in a police interrogation room. A detective presents crime scene photographs to a suspect. When one photo accidentally flips upside down, the suspect instinctively turns it the right way, unknowingly revealing knowledge only the culprit would have. The detective quietly realizes she has caught him.

Generate a cinematic 26 second commercial in 16 9 aspect ratio featuring an upbeat pop music soundtrack A young woman wearing a green leaf pattern dress sits in a vibrant neon lit cafe looking annoyed A hand enters the frame offering a sleek white smartphone with a textured back She takes the phone and the scene abruptly shifts into a fast paced lively portrait photography montage She smiles brightly and poses playfully with a piece of cake and a glowing purple cocktail The lighting features cinematic pink and cyan accents highlighting her expressive joyful face The video transitions to crisp 3D product renders of the slim smartphone focusing on its smooth metallic edges and triple camera array Finally three elegant smartphones in white black and blue are displayed against a clean bright white background with professional studio lighting photorealistic ultra detailed cinematic lighting highly realistic

Table Tennis Olympic Final × Kung Fu Movie High-Speed Battle 【SUMMARY】 10 seconds, 16:9. The final point of an Olympic table tennis final, shot like a Hong Kong kung fu duel. Two players, one ball, a dark arena, one column of light on the table. Real time on every impact, deep slow motion between, one burst of pure hyper-speed. 【SET】 A packed arena, the crowd sunk into near-blackness — silhouettes and tiny out-of-focus highlights. A hard column of white light falls onto a dark blue table with crisp white lines. Fine dust drifts inside the beams. Extremely realistic physical texture: paddle rubber, sweat-soaked fabric, the matte ball. High contrast, deep shadow, hard rim light from above and behind, shallow depth of field around f/2.0. A physical LED scoreboard hangs in the darkness behind the table, orange digits reading 10 - 10, sharp and correctly formed, never changing. It is the only lettering in the film. 【PLAYERS — two people, never more】 RED: a 24-year-old East Asian man, lean, heavy shoulders and forearms. Cropped black hair soaked to his forehead. Sharp narrow eyes, high cheekbones, hard jaw. Cool-toned skin with real pores, wet with sweat. Plain solid red sleeveless shirt, plain black shorts, no logo or number. The aggressor. BLUE: a 26-year-old East Asian man, taller and rangier. Longer black hair pushed back, dripping. Thick brows, square jaw, steady unblinking stare. Warm-toned skin with real pores. Plain solid blue sleeveless shirt, plain black shorts, no logo or number. The counter-puncher. Neither shows fear: two masters at the end of a long duel, calm and spent. The violence is in the ball, not their faces. 【TIMELINE】 0.0-2.5s SERVE — deep slow motion. RED tosses the ball straight up. It climbs through the light, turning slowly, dust around it. He exhales, drops his shoulder, loads his arm. At 2.2s he strikes: real time snaps in and the ball tears out of frame. Camera: low angle just above the table surface, looking up past the net. Locked off. Audio: near silence — his breath, shoes creaking, a low hush. Then one sharp crack. 2.5-4.3s HYPER-SPEED RALLY — no slow motion at all, the fastest passage in the film. Fourteen exchanges in under two seconds, faster than any real rally. The ball stops reading as an object and becomes a white streak cutting a line through the dust. Paddle arms blur into afterimages, shoulders whip, feet smear. Sweat is thrown off both men in sheets. The table shudders. Camera: side-on at net height, one smooth horizontal slide along the table — the camera stays calm while everything inside the frame is violent. Audio: the cracks run together into a hard stutter like a drum roll, over squealing shoes and a rising crowd. 4.3-5.5s THE BREATH — the speed drops out. One exchange stretched into deep slow motion. RED drives the ball low across the net, sweat lifting off his forearm and floating, dust turning around the ball. BLUE's eyes track it. At 5.4s his paddle meets it and real time cracks back in. Camera: the same side-on slide, now crawling. Audio: everything falls to a muffled rumble and one long breath, then the crack. 5.5-8.0s THE ANSWER — the deepest slow motion in the film. BLUE pushes off the floor and leaps sideways, body fully extended, back arched, paddle arm cocked behind his head. He hangs there. Sweat droplets float around him. Dust turns in the beam. His eyes lock on the ball. At 7.8s the paddle connects and real time slams back with the loudest crack yet. Camera: low angle, looking steeply up at him against the black arena roof. Locked off. Audio: sound drops muffled and distant while he hangs, then the crack at full volume. 8.0-10.0s THE POINT — real time. The ball skips off the far corner and away into the dark. RED is caught frozen mid-reach, unable to follow it. BLUE lands hard, skids on one foot, and roars, head back, fists clenched. Behind them the crowd erupts, thousands of silhouettes rising at once. Camera: wide on the table and both men, pushing in 5% at most. Hold to the last frame. Audio: the crowd explodes, his roar cutting through it, the ball still bouncing underneath. 【RECAP — all 10 seconds】 Dark arena, one hard column of light on the dark blue table, drifting dust, a near-black crowd of silhouettes. Only two people in frame. Their faces, hair and clothing stay identical in every shot, every garment a single solid colour with no logo, number or pattern. One camera movement per shot, never two. Hard clean cuts on impact. The ball stays inside the frame at all times. Real time on every impact, deep slow motion between, switching instantly, with one sustained hyper-speed burst where the ball is a streak. The scoreboard reads 10 - 10 and never changes, and it is the only lettering. The sound is the ball, the shoes, the breathing and the crowd — keep the mix free of music and commentary.

A tiny ember drifts in darkness. It lands on dry grass and instantly ignites a chain reaction of fire that races across a field in real time. Flames morph mid-spread into molten glass, then into flowing lava rivers that carve canyons, then into rivers of liquid gold that solidify into ancient temples. The temples crack open under heat, releasing a swarm of phoenix-like firebirds that merge into one colossal bird. The bird dives into the ocean, turning the water into steam and then into a volcanic island that erupts, launching the camera into the stratosphere on a pillar of fire that becomes a rocket trail ending in a silent, glowing ember floating above Earth. Non-stop forward momentum, elemental morphing (fire → glass → lava → gold → birds → volcano), and constant camera chase.

A realistic handheld travel vlog filmed by a friend following the main character @Image1 throughout the day. Use the woman from the reference image @Image1 as the main subject. Maintain her exact facial identity, hairstyle, facial features, and body proportions throughout the entire video. The camera feels like a real personal vlog camera, not a commercial production. Natural handheld movement, casual framing, imperfect human camera motion, authentic everyday atmosphere. No scripted acting. The woman behaves naturally, interacting with the environment like a real travel vlog. 0-5s: Morning departure. The woman leaves a cozy apartment with a small backpack. She checks her phone, smiles at the camera, adjusts her hair, and starts walking outside. The camera follows her from behind, slightly shaky like a friend filming. Morning sunlight, quiet neighborhood streets, people starting their day. 5-12s: Exploring the city. The camera follows her walking through local streets. She visits a small cafe, buys a drink, briefly talks to the camera, laughs naturally. She walks through a street market, looks at small shops, takes casual photos. The camera stays close, capturing spontaneous moments. 12-20s: Arriving at the beach. She takes public transportation or walks toward the coast. The environment gradually changes from city streets to a seaside town. Ocean breeze moves her hair. She looks excited when she sees the ocean. The camera follows her walking along the beach. She picks up a seashell, watches waves, and interacts naturally with people nearby. 20-27s: Summer beach afternoon. She meets friends at the beach. Everyone chats, laughs, plays near the water. The camera moves naturally between people, capturing real candid moments. She looks back at the camera and smiles. 27-30s: Ending moment. Golden hour sunset. She sits near the ocean, holding a drink, watching the sunset. The camera slowly moves backward, revealing the beach, waves, and the peaceful evening. A feeling of a real personal travel memory. Visual style: Authentic travel vlog footage. Realistic smartphone or mirrorless camera look. Natural daylight. Casual handheld movement. Slight camera shake. Real human reactions. Documentary realism. No cinematic commercial look. No dramatic posing. No artificial transitions. No text overlays. No logos. No face changes. No identity changes.

Preserve the exact face, hairstyle, identity, skin tone, and body proportions from @ image1 throughout. Outfit: oversized terracotta linen shirt, dusty burgundy wide-leg trousers, brown leather sandals, small gold hoop earrings, loose natural wavy hair. Authentic Indonesian woman. Late-2000s personal vlog aesthetic. Extremely raw handheld flip-camera footage with heavy camera shake, natural reframing, partial face crops, focus hunting, exposure shifts, warm faded colors, mild digital noise, and authentic home-video imperfections. No posing, no cinematic glamour, no stabilization, no modern color grading. 00:00–00:04 Walking through a peaceful tropical village lined with coconut trees, smiling into the camera. "Today we're hunting for fresh coconuts!" 00:04–00:08 Stops at a small roadside coconut stall where a friendly local vendor expertly chops open a fresh green coconut. She watches with an excited reaction. 00:08–00:12 Takes her first sip of fresh coconut water, smiles brightly, and says, "This is so refreshing!" 00:12–00:16 Sits with local villagers on a wooden bench, chatting, laughing, and enjoying the relaxed atmosphere while holding the coconut. 00:16–00:20 Tries opening another coconut herself using simple tools, struggles playfully, laughs, and the locals cheer and laugh with her. 00:20–00:24 Scoops out the soft coconut flesh with a spoon, tastes it, and gives a happy thumbs-up to the camera. 00:24–00:27 Walks slowly through the village, waving to children and locals while carrying the empty coconut shell. 00:27–00:30 Stops beneath tall coconut trees, turns back toward the camera with a warm smile, waves, and says, "See you in my next adventure. Bye!" before naturally ending the recording. Natural ambience only: birds, palm leaves rustling, village conversations, coconut chopping sounds, footsteps, breeze, insects, and distant laughter. No background music, subtitles, logos, or watermarks. The footage should feel exactly like a genuine late-2000s handheld flip-camera vacation vlog with authentic human movement and realistic interactions.

[Seedance 2.5 / 30 seconds / 4:3 / Japanese Audio / 430p] Japanese TV anime style, cel-look, primarily flat colors. Clean outlines, organized color fields, natural and modest morning light. Not high-density beautiful illustration style or thick painting. A prestigious master's bedroom in a large Western-style mansion. Early morning. The room has a large canopy bed, heavy curtains, and tall double-hung windows. Only two characters. Image 1 is a beautiful, cold-tempered, sharp-tongued maid. Classical black long maid uniform, white apron, white maid cap. Good posture, efficient and elegant movements. Usually expressionless with little emotion. Voice is a calm young woman's voice, polite but cold. Image 2 is the master just waking up. Image 2 in pajamas. Vulnerable in bed, slightly spoiled personality. Voice is a sleepy young man's voice. Face, hairstyle, costume, physique, and color scheme of the characters are completely unified across all cuts. Conversation is natural Japanese. Mouth moves accurately according to the lines. No subtitles, text, speech bubbles, logos, or watermarks in the frame. [0-3s] Extreme close-up of heavy curtains and the hand of the maid from Image 1 grabbing them. Soft morning sunlight spreads through the gap, and the screen brightens. Sound of curtains sliding. Small birds in the distance. [3-6s] Close-up of Image 2's face sleeping in bed. Morning sun shining from the large floor-to-ceiling window hits Image 2's closed eyes. Brows furrowed in glare, grimacing. Eyes don't open yet. Trying to bury face slightly in the pillow. [6-9s] Master's POV. Subjective footage of eyelids opening slowly. The initially blurry vision gradually becomes clear. The full body of the Image 1 maid standing beside the bed looking down is seen from a low angle. Morning sun shines from behind the maid. Master groans sleepily. Master: "Ugh, hmmm..." [9-14s] Low-angle bust-up shot looking up at Image 1 maid from the bed. Maid talking to the camera. Image 1 maid has her back straight and is completely expressionless. Minimal blinking. Voice is polite but low-temperature and business-like. Image 1 maid: "Good morning, Master." Cut change. Diagonal side/upward close-up of Image 1 maid: "It is morning. Please wake up." [14-19s] Overhead shot looking straight down at the bed. Image 2 master acts spoiled with a sleepy smile, eyes closed. Pulls up the blanket during the dialogue and eventually dives in completely over his head. Master: "I'll wake up if you're kind to me~" Curling up inside the blanket with no intention of waking. Maid's shadow extends quietly over the bed. [19-22s] Close-up of Image 1 maid's face. The previously expressionless maid suddenly wears a beautiful, angelic smile full of affection. Narrows her eyes and tilts her head slightly. Background morning sun shines divinely with subtle sparkles. However, there is a somehow terrifying pressure in that smile. The voice alone is extremely gentle. Image 1 maid: "I suppose it can't be helped then." A short, ominous pause immediately after the line. [22-30s] Quick hard cut to a comical wide shot with a completely changed situation. Balcony outside the bedroom. Image 2 master is wrapped multiple times in a blanket from head to toe like a giant scroll. The blanket is tied with string in two places. Only Image 2 master's face is poking out. Body and limbs are completely wrapped, unable to move. Image 1 maid stands on the balcony, holding the blanket-wrapped master high above her head horizontally with ease. Holding the bundle firmly with both hands, in a posture just before throwing him out the window. Maid's posture is stable, with the same angelic smile. No hesitation in movement. Image 2 master's eyes are wide open, moving only his face desperately as he screams. Master: "It's a lie! I'm waking up!" The maid remains silent with a smile. She stays still while holding the master up and does not actually throw him. Ends with light comedy music and the master's panicked voice. The final second freezes on a composition showing the contrast between the smiling maid and the master pale with fear.

Generate a 30-second, 16:9, 4K, cinematic professional running shoe ad. 【Reference Material Mapping】 Materials 01–03 are product references for the same pair of silver-white professional running shoes. Material 01 is used to determine the front-left appearance of the running shoe; Material 02 is used to determine the rear-right appearance of the running shoe; Material 03 is used to determine the sole tread, sole thickness, and translucent cushioning structure. The full film must strictly maintain the following product features: Silver-white streamlined shoe upper, thin black line Logo, white woven laces, translucent cushioning sole, dark gray geometric anti-slip tread, fixed upper stitching structure. Material 04 is only used to determine the environment, lighting and color of the early morning modern city and neon rainy night. Material 05 is only used to determine the environment, lighting and color of the golden desert and blue glacier. Material 06 is only used to determine the environment, lighting and color of the white space station and black future arena. The scene images only control the environment and must not change the running shoe design. The gray studio background in the product images must not appear in the final footage. 【Global Camera Rules】 The full film adopts a one-shot shot with no visible editing cuts. The camera is always positioned about 20 cm above the ground, continuously following mainly from the low angle at the left rear of the running shoe. The runner always moves forward toward the depth of the frame. Except for the weightless phase, the motion axis, step frequency and forward direction must not change. The running movement must conform to the real human motion rules: Left and right feet land alternately; The sole produces real compression when contacting the ground; The sole naturally recovers when the foot lifts off the ground; Body weight, inertia, friction and landing impact must be credible. 【30-second Timeline】 0–4 seconds: Early Morning City The camera starts close to the left foot sole. An athlete wearing the silver-white running shoes shown in materials 01–03 keeps accelerating on the slightly wet asphalt road in the early morning modern city. The camera moves smoothly backward from the left foot sole to the left rear of both feet, clearly showing the shoe upper, laces, Logo and translucent sole during running. The athlete does not show their face, only the legs below the knees and running shoes appear in the frame. Near the 4th second, the right foot steps forward into a puddle. 4–8 seconds: Neon Rainy Night When the right foot lands, transparent water splashes fly toward the camera and briefly cover the entire frame. The camera keeps moving forward without stopping or cutting. After the water splash dissipates, the same road has continuously transformed into a neon rainy night street. Wet ground has reflections of red, cyan and yellow lights. The running shoes continue to run forward, the appearance remains silver-white, and must not be permanently dyed by neon lights. Near the 8th second, the left foot lands heavily, and water droplets fly upward from both sides of the sole. 8–12 seconds: Golden Desert The flying water droplets gradually turn into golden sand grains in the air. After the sand grains fall, the wet asphalt road naturally transforms into a golden desert track. The entire change occurs continuously without hard cuts or dissolves. The running shoes keep passing through low sand dunes. A small amount of real dust is generated every time the sole lands, but the upper structure and color remain unchanged. Near the 12th second, a cloud of dust rolls from the right side of the frame to the left, gradually covering the front of the camera. 12–16 seconds: Blue Glacier The sand grains covering the camera gradually condense into blue-white ice crystals in the air. After the ice crystals fall, they form a glacier track extending forward. The running shoes continue to maintain the same moving direction and step frequency. Slight sliding and ice chips are generated when the sole contacts the ice surface, then stable grip is restored. Near the 16th second, the right foot steps heavily on the ice surface. Radial cracks are generated on the ice surface from the landing point forward. 16–22 seconds: Weightless Space Station The ice cracks, the camera and the runner fall down together into the crack. The interior of the ice layer gradually transforms into a bright white space station passage. This process must show continuous change of spatial structure, no sudden background replacement. After entering the space station, gravity disappears briefly. The runner maintains forward body inertia and slowly rotates 180 degrees in the air. The camera rotates at the same speed and direction as the runner, the running shoes are always clearly visible. No extra legs, shoes or body deformation shall appear during the rotation. Near the 22nd second, gravity inside the space station is restored. The runner's feet face the track below. 22–27 seconds: Future Arena The running shoes land accurately on the black mirror arena track. When landing, the sole compresses first, then naturally recovers, then immediately enters the final high-speed sprint. Lights on both sides of the arena light up sequentially as the running shoes move forward. The ground reflection must correspond to the same pair of running shoes, no wrong mirror images or extra shoes are allowed. The camera gradually moves from the left rear to the direct side of the running shoe, but the movement direction remains continuous. 27–30 seconds: Product Freeze Frame Near the 27th second, the running shoe stops abruptly on the black mirror track. The sudden stop generates a small amount of water droplets, sand grains and ice crystals. These particles are suspended briefly around the running shoes, symbolizing the different worlds passed before. The camera smoothly orbits around the running shoe for about 90 degrees, finally stopping at the front-left 45-degree product perspective similar to material 01. The last frame clearly shows the shoe shape, Logo, laces and translucent sole. 【Visual Style】 High-budget commercial ad; Photorealistic cinematic photography; Real product materials; Controlled high-speed movement; High contrast but not over-saturated; Clear, stable, with real sense of weight. No voiceover, no subtitles, no extra brand copy generated. 【Prohibited Items】 Prohibit shoe shape change; Prohibit Logo deformation, disappearance or movement; Prohibit lace quantity and structure change; Prohibit the translucent sole from becoming a solid sole; Prohibit left and right foot confusion; Prohibit running shoe discoloration; Prohibit extra shoes or legs from appearing; Prohibit movement direction reversal; Prohibit sudden hard cuts; Prohibit environmental materials from permanently attaching to or altering the product design; Prohibit wrong mirror images, body deformation and unreadable text. ### Storyboard Design | Time Period | Scene | Core Action | Transition Trigger | |---|---|---|---| | 0–4 sec | Early Morning City | Low-angle follow and acceleration | Right foot steps into the puddle | | 4–8 sec | Neon Rainy Night | Continuous running on wet ground | Water droplets turn into sand grains | | 8–12 sec | Golden Desert | Pass through low sand dunes | Dust covers the camera | | 12–16 sec | Blue Glacier | Grip running, ice cracks | Step on and crack the ice surface | | 16–22 sec | White Space Station | Fall, weightless rotation | Gravity restoration | | 22–27 sec | Future Arena | Land and do the final spr

Photorealistic cinematic 1990s American diner, red vinyl booths, neon signs, chrome details, checkerboard floor, soft natural window light mixed with warm practicals, subtle handheld texture, rich lived-in period detail, heavy film grain. Shot with modern realism and precise temporal control. Use the provided reference image as the exact character lock for the bald bearded man in black sunglasses and dark hoodie. Maintain perfect facial structure, beard, head shape, skin texture and clothing consistency at all times. 0-5s: [Medium Wide] The bald man sits in a red vinyl booth. He stands up, turns, and collides hard into a waitress carrying a full breakfast tray (eggs, bacon, toast, coffee pot). Impact is sudden and physical. 5-12s: [Dynamic Tracking into Super Slow-Motion] Collision detonates. Tray, plate, eggs, bacon strips and coffee pot explode upward. Coffee erupts into long liquid ribbons and perfect suspended droplets. Camera orbits smoothly around the impact. Time locks completely at the peak of the spill. Every face freezes in pure shock. Only the bald man remains free to move. He freezes for one beat with a clear “I fucked up” expression, then quickly grabs two bacon strips and a fried egg from the floating debris. 12-22s: [Tracking Shot] Still inside the frozen diner, he walks toward the exit door while taking deliberate bites of bacon then egg. All patrons, waitress and flying food stay perfectly suspended in mid-air. 22-27s: [Medium Shot] Just as he reaches the door and is about to push it open, time snaps back to normal speed. Everything that was floating crashes down at once — plates, eggs, bacon, tray and coffee slam onto the floor with a loud chaotic impact. The waitress and patrons react in sudden real-time shock. 27-30s: [Medium Close-Up] He pauses, turns slightly, raises his eyebrows and gives a small casual “it is what it is” shrug with a quiet half-smile of acceptance, still holding the remaining food. Photorealistic, ultra-detailed fluid and object physics, perfect volume and surface tension on liquids, sharp motion blur only on moving elements, stable character, cinematic lighting, heavy natural film grain, no artifacts, movie-level temporal coherence, high rewatch value.

CHARACTER LOCK: Use the uploaded reference image as the exact character reference. Lock her facial identity, eye color, skin tone, hairstyle, makeup, body proportions, and overall appearance throughout the entire video. She has long black hair tied in a low ponytail, soft natural makeup, expressive grey-green eyes, and wears the same fitted white graphic baby tee, oversized denim shorts, white crew socks, chunky sneakers, silver hoop earrings, layered necklaces, rings, and an oversized black bomber jacket hanging loosely off her shoulders. Maintain perfect character consistency in every shot. SET: A high-end American hip-hop/rap music video inside a premium photography studio transformed into a modern urban performance space - blue cyclorama backdrop, minimalist graffiti walls, professional drum kit, vintage brown leather sofa, polished concrete floor, blue neon tube lights, industrial spotlights, subtle atmospheric haze, cinematic contrast. Mainstream Western rap aesthetic with luxury production value. SEQUENCE: Opens on an ultra-wide close-up, direct eye contact, confident expression, folded arms. Cut to a dramatic side silhouette - head lowers, then rises with relaxed hip-hop hand gestures. Full-body wide-angle reveals her grooving to the beat, shoulders bouncing, jacket shifting with realistic fabric movement. Handheld shoulder-mounted tracking circles her as she lip-syncs with expressive facial performance. She points at the lens, half-smiles, steps forward with swagger. Low-angle hero shot as she spreads her arms beneath the blue lights. She walks to the drum kit, sits, and plays energetically in rhythm. Fast cuts between overhead, side, and close-up - realistic stick movement, expressive reactions, synchronized performance. Transition to a blue roller shutter covered in graffiti. She squats, elbows on knees, holding eye contact while rapping. Slow push-in from the side, then cut to her lounging on the leather sofa, one arm along the backrest, nodding with the rhythm. Side silhouette sequence with haze and strong blue backlighting - smooth body movement, hand gestures, confident lip-sync, hair moving with subtle airflow, camera gliding on wide-angle lenses. Final sequence returns to full stage. Center, under spotlights, surrounded by drums, graffiti, neon. Camera pulls back as she delivers the last lines, ending on a confident pose as the lights fade. QUALITY: Professional rap music video cinematography, cinematic handheld movement, wide-angle lens distortion, premium studio lighting, realistic skin texture, natural eye reflections, detailed hair strands, physically accurate lighting and shadows, authentic lip-sync, expressive body language, smooth choreography, realistic fabric simulation, high-end fashion editorial styling, 16:9 widescreen, no subtitles, no logos, no watermarks, no on-screen text.

Korean cooking competition final, from stage entry to judging and decision. Broadcast show multicam, lighting with only pillars of light falling on a dark stage, vivid 4K broadcast quality, slight camera shake. A large, empty dark studio. Black floor and black walls. At the far end, there's a huge double door several times human height, and white light leaks from behind it. A flat floor without a threshold leads directly from the door to the front of the stage, and light pours only onto the long judging table at the front of the stage. The back is submerged in darkness. A light mist is present, making the light beams visible. Cooking: Soy sauce braised short ribs (Galbi-jjim) filling a large white ceramic plate. Three judges share this one plate. Half a dozen short-cut ribs are piled up with bones exposed, and thick meat is attached to the bones. Shiny dark brown sauce covers it, with whole chestnuts, jujubes, and diagonally sliced carrots embedded here and there. Steam continues to rise. Cart: A high-end stainless steel serving cart used to transport food in a cooking competition program. It has two shelves at waist height, and the top surface is polished like a mirror, with light sliding across it. A U-shaped handle is attached vertically at one end, and the chef holds and pushes it with both hands. Small black caster wheels at the four corners. A serving dish is placed in the center of the top shelf covered with a silver dome lid, and steam leaks through the gap in the lid. The bottom shelf is empty. Person: Use the attached character sheet as the only visual criteria for this woman. Keep the face, hair, and clothing exactly as in the photo and do not change them at all. A female chef in her late twenties, her expression is stiff. After placing the dish on the judging table, the chef just stands on the opposite side and watches, and does not touch the food. Only the three judges eat. The judges sit in a row from the left: a man in his fifties, a woman in her forties, and a man in his thirties, and the tasting order is also from the left. All three are dressed in dark suits. Initially expressionless, their faces come alive after taking a bite. Sound: A grand orchestra bursts forth at the entrance, then subsides into a low string drone to maintain tension. A single heavy drum beat at each time lock. The music stops abruptly just before the judging dialogue, then brass and timpani burst out the moment the dialogue ends. An orchestra with thick bass. 0-1.5s [Front Low Angle Wide] Look up at the door from near the floor. In the darkness, the huge double doors split open, and white light spreads vertically, creating a long beam of light on the floor. In the center stands the black silhouette of the chef holding the cart. 1.5-4s [Side Tracking to Front Low Angle] The camera follows closely at walking speed. A profile shot crossing the screen — two arms holding the cart handle, the edge of the silver lid gleaming, and the backlight tracing the outline in white. As the camera moves to the front, the cart enters the light at the front of the stage, and the light hits the face, revealing facial features. Stop the cart and look straight ahead. 4-8s [Medium Two-Shot] The chef picks up the dish from the cart, places it in the middle of the judging table, and lifts the silver lid. Steam billows into the light. Holding the lid, take a step back and stand on the opposite side. The three judges sit in a row and look down at the dish. The man in his fifties at the far left looks up at the chef. "Are you ready for the final challenge?" The chef briefly says "Yes." Quick cut to her stiff face. 8-13s [Low Angle + Rapid Cut] The male judge in his fifties on the left uses chopsticks to tear the meat along the grain. The moment the meat splits in two, it opens in slow motion — steam bursts out between the split grains, and the inner surface is shiny and soaked in sauce. Time locks at the widest point. The camera orbits around the split. Extreme close-up insert of him putting that piece in his mouth and starting to chew. The chef standing on the opposite side watches. The man says nothing. 13-17s [Dynamic Side Tracking] Time flows again. One side of the plate is already hollowed out where meat has been torn off. The female judge in her forties in the middle scoops up sauce with a spoon and tilts it over the plate. Slow motion — dark brown sauce flows thick and slow from the tip of the spoon and stops mid-drop. Rapid cut over the woman's shoulder. She uses chopsticks to pick up a piece of meat soaked in sauce, puts it in her mouth, and chews. While chewing, she raises her eyebrows and looks at the man in his fifties on the left. 17-21s [Handheld Close Action] The plate is already half empty and sauce is spread everywhere. The male judge in his thirties on the right places chopsticks next to a rib and pushes the meat aside. Slow motion — the meat slides smoothly off the bone, the grains splitting in layers and steam leaking out. Stop the moment the bone is revealed white. The camera pushes in and orbits the revealed bone. He picks up that piece, puts it in his mouth, and chews, his eyes slightly widening. 21-26s [Medium Close-up] Short extreme close-up scanning the edge of the plate — the sauce is boiled down black and stuck to the rim. Hard cut from the plate to the people. The man in his fifties on the left has already put his chopsticks down next to the plate, wipes his mouth with a napkin, and looks straight at the chef. To his right, the woman in her forties and the man in his thirties also look at her while sitting in their seats. The plate is still half empty, with the scraped rib bones and smeared sauce remaining. Tone is calm and professional. "The seasoning is a little heavy… but this dish, chef… it wins." Hard cut to the chef's face — a small, restrained smile leaking out as she tries to hold it back. 26-30s [Final Extreme Close-up Montage] Extreme close-up of the hollowed-out area where meat was torn off and the smeared sauce marks. Plate

[CAM] Rapid whip-pan left -> [STATE IN] Sleds sliding parallel at high speed -> [ACT] Arthur's neon disc catches a hidden sand lip, pitching him sideways -> [STATE OUT] Arthur begins to tip off-balance into the sand -> [AUDIO] Sudden thud, loud rustle of sliding fabric

100% photorealistic live-action. Handheld documentary realism captured on an iPhone, natural sunlight, slight breathing camera shake, realistic autofocus shifts, subtle lens dirt, grounded physics, authentic broadcast-quality tennis atmosphere. Everything feels like a real spectator recording from the stands. Character Reference Use Image1 as the exact tennis player reference. Preserve the identical face, body proportions, hairstyle, facial features, clothing, and overall identity throughout the sequence. Environment A luxury clay-court tennis stadium in Monaco during a packed afternoon match. Thousands of spectators sit quietly. Ball kids, line judges, photographers, and TV cameras surround the court. Soft wind carries clay dust across the baseline. 30-Second Continuous Sequence The player calmly prepares to serve while the stadium remains completely silent. The camera slowly pushes closer through the crowd as spectators hold their breath. A low rumble suddenly echoes beneath the court. The clay begins subtly vibrating. Water bottles shake. The umpire freezes. Tiny cracks spread across the red clay. Within seconds the entire court violently splits apart. An enormous stone crocodile titan erupts from beneath the stadium, carved from ancient rock and cracked emerald minerals. Clay explodes into the air as the creature climbs upward, towering above the stands. The titan lets out a deafening reptilian roar. Pieces of rock rain across the stadium. Spectators scream and rush for the exits. Broadcast cameras lose focus. Security staff scatter. The handheld camera stumbles backward before finding the player again. Despite the chaos... the player remains perfectly calm. They casually bounce a single tennis ball. Once. Twice. Three times. The Lacoste crocodile logo on the polo begins glowing with a subtle emerald light. The glow slowly spreads across the fabric. Elegant crocodile-scale armor organically forms over the shirt, shoulders, and forearms with realistic mechanical detail while still resembling premium sportswear. Green energy pulses beneath every movement. The wind around the player intensifies. Dust and loose clay spiral outward. Behind the player, a gigantic translucent crocodile spirit slowly rises from the court, mirroring every movement with ancient, powerful precision. Its glowing emerald eyes lock onto the titan. Epic orchestral music swells into a full choir. The player takes one deep breath... tosses the ball... and delivers an impossibly powerful serve. The tennis ball transforms into a blazing emerald comet, leaving behind a twisting trail of green light that slices across the stadium. The impact detonates against the crocodile titan's chest. A massive shockwave ripples through the arena. Stone fractures race across the creature. It explodes into thousands of shattered rock fragments, emerald crystals, and clouds of clay dust that r