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HomeAI Prompt LibraryAI Video PromptsPrehistoric Volcano Paper Disaster

Prehistoric Volcano Paper Disaster

MiniMax H3MiniMaxvideo

One prompt turns a peaceful paper world into a full volcanic disaster in just 15 seconds

Details

Type: AI Video Prompts
Aspect Ratio: 16:9
Duration: 0:15
Updated: Aug 21, 2026

Category

Surreal Dramatic Timelapse

How to use this prompt

1Copy the full prompt with the copy button above.
2Open MiniMax H3 by MiniMax, or your preferred AI video generator.
3Paste the prompt and keep the camera and motion terms — they steer the cinematography.
4Match the example's settings (16:9 · 0:15 · Surreal · Dramatic · Timelapse), then iterate — small wording changes shift the output a lot.

Frequently asked questions

Which AI model generated this video?

This clip was generated with MiniMax H3 by MiniMax. The prompt on this page is the exact text used to create it.

What settings does this prompt use?

The example was generated with MiniMax H3 using: 16:9 · 0:15 · Surreal · Dramatic · Timelapse. Reusing these settings gives the closest match.

How do I get similar results?

Copy the prompt as-is first, then change the subject while keeping the camera, motion, and lighting terms. Video models are sensitive to wording, so expect a few runs.

Can I modify this prompt?

Yes. Prompts work best as starting points — swap scenes, adjust pacing terms, or change the aspect ratio to fit your project.

More MiniMax H3 prompts

Prompt #MiniMaxH3 in Chinese: @image1 15s | 16:9 | 1440p | 24fps | SEAMLESS LOOP [LOCK] Render exactly as @image1. 完全按照该参考图呈现，不进行任何重新设计。Do not alter hair, bangs, eye color, coat silhouette, sash, hilt ornament, or blade proportion. [LOOP] A perfect cycle. The final frame must match frame one exactly — same composition, focal length, lighting, blade position and pose — so playback runs endlessly with no seam. The story is a blade breaking and unbreaking forever. [PALETTE] Background: smooth vertical gradient, luminous cyan-teal #2AA6B4 top into deep petrol #0F4A55 bottom — a graphic plane, no environment, no horizon, no props. Coat bright coral #FF9273. Inner garment #14454E. Hair true black with blue-white highlights. Metal and glass bright silver-white. Accents as refracted light ONLY, never flat fill: gold #FFD27A, cyan #6FE3F5, magenta #FF9ED8. Core palette always dominates. [STYLE] 2.5D anime, bright cinematic. High-key, generous bloom, crisp speculars, luminous not grim. Skin luminous with subsurface warmth at ears and fingertips. Coat as heavy matte cotton twill, deep folds. Hair in clumped strands with flyaways catching the rim. Glass with real thickness — edge refraction, internal fracture lines, micro-scratches. [EFFECTS] Escalating: time-echo ghosting trailing every fast move, each afterimage a different accent; liquid mercury flow as the blade sets; kaleidoscope fracture splitting the frame into mirror symmetry; shockwave refraction warping the background and bending the type; one-frame negative invert on hard impacts; glass-crack frame wipes; reverse-gravity debris; prismatic dispersion off every shard edge casting moving caustics across her face and coat. [CAMERA + LIGHT] Anamorphic — oval bokeh, blue streak flares, slight barrel distortion wide. 85mm close, 35mm wide, 24mm on moves. 180-degree shutter. Shallow focus on hero beats, deep on montage frames. Rack focus blade-to-eyes at 2.4s and 14.2s. Hard sun key from screen right, high and behind — bright rim on jaw, shoulder and blade edge. Broad cyan bounce fill off the background plane. Kicker thrown by the shards, hue shifting each beat. Shadows open, never crushed. Brightest at 10.4, back to the opening state by 15.0. [SIGNATURE] A fine engraved CIA0 sits on the blade's ricasso above the hilt, small letter-spaced capitals cut into steel, catching the key light as the camera races past in the opening shot. Part of the blade, not an overlay — present in frame one, in the final frame, and on the reforged blade at 14.4s. [SHARDS] Vary reflected content shard to shard: blue sky with cumulus, sunlit golden farmland, a low sun with lens flare, a fragment of her own face, pure white cloud. A few reflect a beat that has not happened yet. Never blank glass. [TYPE] Behind her on the gradient plane. Condensed sans for Latin, brush-weight for Japanese. Gradient fill, soft glow, hard offset shadow. Kinetic — slams, scrolls, shatters, warps under shockwaves. Never covers her face. Japanese runs VERTICAL in a side third; Latin STACKED, two lines max, cropped by frame edge for scale. 0.8s 「鏡」 coral into gold 2.2s "A BLADE THAT BREAKS" / "AND UNBREAKS FOREVER" pale cyan into white 5.0s "ONE IMAGE" / "FIFTEEN SECONDS" white into coral 7.2s 「反射」 diagonal prism sweep, cyan-white-magenta-gold 10.6s "NO CUT" gold into white, warping under the shockwave 13.2s title 「鏡落」 above "MIRRORFALL", silver into pale gold, coral glow — must fully dissolve before 15.0 [SHOTS] 0.0-1.6 LOOP POINT. Extreme close-up racing along the blade flat toward the hilt, clouds streaking on steel, flare sliding down the edge, the engraved mark passing through frame. Blade detonates. Glass-crack wipe. 1.6-3.2 BULLET-TIME ORBIT. Time freezes on the detonation; camera arcs 180 degrees through the suspended shard field, threading between fragments, debris hanging in reverse gravity. Motion resumes as the arc completes. @Image1 3.2-4.8 TOP-DOWN CRANE. Bird's eye directly above; shards lock edge-on into a ring around her, then the camera drops fast down the vertical axis into a low hero angle as the ring fires outward. 4.8-6.6 MIRROR PORTAL, one take, no cut. Camera pushes into the reflection inside a single shard, passes through, emerges behind her at a new angle. Time-echo ghosts trail her lunge. 6.6-8.4 SPIKE. Kaleidoscope fracture splits the frame into sixfold symmetry, resolves, and duplicates of her peel out of the shard surfaces, each trailing a different accent. Max two of her in frame. Extreme dutch angle. 8.4-10.4 SAKUGA MONTAGE. One exchange per frame: line-art on flat cyan, two-color coral-teal silhouette, heavy smear frame, one-frame negative invert, full render. Debris accumulates, never resets. 10.4-12.4 ESCALATION. Camera barrel-rolls a full 360 pushing in low. A shard catches an incoming strike, splits it into spectrum, fires it back doubled — the shockwave warps the background and bends the type. 12.4-15.0 REVERSAL. Literal time reversal in slow motion. Debris rises, cracks close, light retreats, shards spiral back along her arm and flow together as liquid mercury before setting into one unbroken blade, the engraved mark resolving last. Camera eases into the exact opening framing. Final frame matches frame one. [MOTION] Momentum over posing. Cloth, hair and coat lag every direction change. Wrist and grip rotate with the blade, weight carries through footwork. Speed ramp each beat — slow wind-up, fast snap, settle. 杜绝任何僵硬、停顿或不自然的关节角度。 [AUDIO] Every cue on the exact frame of its beat. The mix loops as cleanly as the picture. Bed: open air, bright wind, thin sustained glass resonance. 0.0-1.6 rising metallic ring, crystalline detonation on the break frame. 1.6-3.2 filtered vacuum for the frozen orbit, faint chimes and a low drone panning with the arc, rush as motion resumes. 3.2-4.8 hard glass snap on the lock frame, deep whoosh on the drop, wide fan of air as the ring fires. 4.8-6.6 pressure drop entering the shard, muffled interior tone, sharp release on the exit. 6.6-8.4 stuttering echo as the kaleidoscope splits, sub-bass swell, one chime per duplicate. 8.4-10.4 staccato impacts locked frame-for-frame to the cuts, glass cracking, blade screech, hard gate on the invert frame. 10.4-12.4 doppler roll following the barrel turn, spectral riser on the split, doubled bright impact out. 12.4-15.0 the mix runs in reverse — reversed chimes, glass reassembling, liquid metallic pour, resolving into the opening ring. Music: glass bells and plucks in at 3.2, strings rise at 6.6, choir swell peaks at 10.4, reversing from 12.4 back into its first note. No dialogue. [LIMITS] Max two figures. Accents as refracted light only. Effects accumulate until the reversal. All type carries its gradient. First and last frame identical, no floating type in either. Engraved mark reads CIA0, spelled exactly. No logos, watermarks, or extra subtitles. No environment. Never let the frame go dark or desaturated.

the fine shaved ice that falls off the far side lands as fresh snow on a tiny ski slope below

Man reference Woman reference Use the two supplied character references to preserve the exact identity and appearance of the red-haired woman and dark-haired man. EXACTLY TWO PEOPLE are present in this scene: ONE woman and ONE man. NEVER duplicate either character. Late at night inside an old, slightly worn roadside American diner during heavy rain. The woman is already sitting alone on ONE SIDE of a booth, beside a rain-covered window, holding a ceramic cup of coffee. The man arrives and sits DIRECTLY ACROSS THE TABLE FROM HER on the OPPOSITE bench. He NEVER sits beside her. Once seated, both characters remain on their respective opposite sides of the table for the entire scene. Maintain this exact spatial relationship through every camera cut. The visual treatment is moody, imperfect, atmospheric live-action feature-film photography, not pristine digital video. Slightly underexposed faces, deep soft shadows, low-key practical lighting, warm dim tungsten diner lamps mixed with cold blue-gray rainy window light, subdued colors, restrained saturation, gentle highlight bloom and halation around practical lights, subtle organic 35mm-style grain, slight lens softness, natural skin texture, atmospheric haze, imperfect shadow detail, soft optical depth of field and natural motion blur. Rain streaks distort distant neon and headlights outside into soft colored bokeh. Avoid clean clinical lighting, beauty lighting, glossy commercial imagery, HDR, razor-sharp edges, perfect digital clarity, plastic skin and polished AI aesthetics. It should look photographed through a real cinema lens in a dark location, with texture and imperfection. [00:00–00:02] Moody medium-wide shot from behind the man's shoulder as he approaches the booth. The woman is visible ALONE on the opposite side of the table, looking down sadly at her coffee. He slides into the empty bench directly across from her. CUT immediately once he is seated. [00:02–00:04] Tight close-up of the woman from the man's seated perspective. His shoulder may appear ONLY as a soft out-of-focus foreground edge. Do not show another man anywhere in frame. She raises her eyes toward him, disappointed, and quietly says: “You're late.” [00:04–00:06] Reverse tight close-up of the man from the woman's seated perspective. Her red hair may appear ONLY as a soft blurred foreground edge. He says quietly: “I'm sorry... but I had a good reason.” [00:06–00:08] CUT to a close tabletop insert. His hand places a small OPEN engagement-ring box beside her coffee. A beautiful engagement ring is clearly visible inside. Warm practical light catches the ring naturally. Only his hand enters the shot. [00:08–00:10] CUT directly to an extreme close-up of the woman's face. She freezes in disbelief. Her eyes widen and begin filling with tears; her lips part, then slowly form a stunned, emotional smile. Cold rainy-window bokeh glows softly behind her. She looks across the table toward him. End on her face. CRITICAL CONTINUITY: Exactly ONE woman and ONE man. Never clone, duplicate or create another version of either character. The woman remains on her original side of the booth. The man sits ONLY on the opposite side. He NEVER sits beside her. An over-the-shoulder foreground shoulder is part of the SAME person whose viewpoint the camera represents and must NEVER become another visible character. NO MUSIC. Only quiet rain, subdued diner ambience and dialogue.

A cinematic creation film follows one maker reconstructing the main subject shown in the referenced image completely from scratch. The referenced image defines the finished subject’s complete visible appearance, proportions, structure, materials, colors, clothing or surface details, and distinctive features; ignore its background, framing, lighting, and unrelated elements. Begin directly on an empty, clean virtual workbench. Use a stable front three-quarter overhead view that keeps the developing subject readable. There is one maker throughout, represented by the same consistent left and right hands and forearms. Show no more than two hands at once. From 0 to 14 seconds, the entire creation unfolds as a clearly accelerated timelapse with rapid, purposeful hand movement and restrained motion blur. Short jump cuts compress repetitive manual work only after each action has visibly completed. Every cut inherits the exact form and progress left by the previous action. 0-2 seconds: One hand enters already holding the first foundation material, armature, or base element appropriate to the referenced subject and places it at the center. The second hand steadies it as the maker establishes the initial supporting form. 2-8 seconds: The maker rapidly develops the subject’s major structure and volumes using one coherent creation method appropriate to what the referenced image depicts. A living subject is sculpted as one continuous, non-gory digital form from armature to anatomy; a vehicle or machine is built from chassis to functional structure; an object is formed or assembled from its supporting body outward. Each additional material or component enters from outside the frame while firmly held by one of the maker’s hands, is carried to its destination, and remains under hand control until attached or shaped. 8-12 seconds: The same hands develop the recognizable outer form and reference-specific features. The maker sculpts, fits, wraps, stitches, fastens, carves, or polishes only where appropriate to the subject. Facial features, hair, clothing, body panels, wheels, glass, surfaces, accessories, or equivalent defining elements emerge through visible hand and tool contact, never through spontaneous transformation. 12-14 seconds: The maker refines proportions, edges, joints, surface transitions, textures, colors, and distinctive details until the developing subject closely matches the referenced image. One hand stabilizes the form while the other performs each final adjustment with a hand-held tool. 14-15 seconds: The maker removes the last tool by hand and withdraws both hands. The timelapse returns to normal speed as the camera makes a restrained push toward the completed subject and holds on a clean final view. Materials and components do not need to be visible before use, but anything newly introduced must enter the frame already held by one of the maker’s hands. Nothing moves, assembles, appears, disappears, or changes material independently. Maintain one maker, one continuous subject, one creation position, and one category-appropriate construction method. No assistants, extra hands, detached anatomy, duplicated elements, magical morphing, drawing phase, software interface, cursor, menus, annotations, or text overlays.

# Basic Specifications Duration 20 seconds, 16:9 horizontal screen, Chinese dialogue, ultra-realistic live-action film quality. Genre: Urban life slice × Light relationship suspense × Autumn atmosphere × Natural dance movements × Unfinished story. The entire video should not pursue exaggerated spectacle. The core goal is: **Real, natural, good-looking, strong sense of relationship, making the audience want to know what happened between these two people before.** Core event: The female lead is at home alone, casually tidying up and getting ready to go out. Someone she knows very well suddenly sends a message from off-screen: **"I'm downstairs."** She clearly didn't expect him to actually come. Then all actions revolve around: Surprise → Instinctive happiness → Deliberately pretending to be calm → Quickly getting herself ready → Going to see him. Finally, through an old object belonging to their past, a suspense is left behind. --- # Character Lock @Image 1 is only responsible for locking the adult East Asian female lead: Facial features; Face shape; Eyes; Nose; Lips; Skin tone; Hair color; Age impression; Overall body proportions. Throughout the entire film it is always the same adult woman. Female lead fixed: S1. Off-screen adult male fixed: S2. S2 never shows his face throughout. Male voice is natural, young, familiar, not a CEO-type deep voice. The two speak like people who have truly known each other for a long time. No broadcast announcer tone. No exaggerated short-drama tone. --- # Overall Visuals Early autumn evening. A real small apartment with traces of life but not messy. Not a mansion. Not a photography studio. Not a tech space. The space has: Warm gray walls; Natural wood wardrobe; A magazine left open casually at the foot of the bed; A canvas bag; A half-open window; Curtains gently blown by the wind; On the tabletop are a phone, earphones, a hair clip, and a lip glaze. Outside the window is natural warm light close to sunset. No complex artificial lighting effects indoors. Overall color palette: Cream white; Smoky brown; Olive green; Deep denim blue; A small amount of dark red. Natural, relaxed, with the warmth of life. --- # Brand New Costume System Completely avoid the previous: Preppy style; Black suit; Formal gown; Functional uniform; Racing suit; Dance training outfit; Eastern haute couture. ## Opening Home State Female lead wears: Washed old gray-blue loose short-sleeve T-shirt; Cream white soft loungewear pants; Barefoot or light-colored short socks. Clothing has slight natural wrinkles. Like she has really been at home for half a day. No feeling of "specially dressed up for the camera." --- ## Going-Out Look A natural costume-change cut is completed through wardrobe occlusion. The female lead then wears: Cream white fitted square-neck knit top; Olive brown cropped suede jacket; Deep indigo high-waisted straight-leg jeans; Dark red-brown vintage thin-soled shoes; Small dark brown shoulder bag. No high heels. No stockings. No short skirt. No workplace queen vibe. Overall it is: **2026 autumn urban relaxed outfit + a touch of vintage feel.** --- # Makeup and Styling Opening: Close to natural bare-face state. Real skin texture. Natural eyebrows. Lips only with a faint natural color. Black long hair casually half-clipped up with a large matte hair clip. Loose strands near the ears. --- Going-out state: The character's identity remains completely unchanged. Only very natural quick tidying: Remove the hair clip; Black hair naturally falls; Then uses her hand to tuck one side of her hair behind her ear; Applies a layer of low-saturation brick rose lip glaze; Wears a pair of very small old gold earrings. No sudden transformation into refined heavy makeup. The key point is: **She just suddenly became a little more serious.** --- # Camera Principles The entire film has 3 shots. The shots have a sense of life, but cannot shake like discarded casual footage. A small amount of real handheld breathing is allowed. No commercial-ad-style large orbiting. No meaningless showing off of technique. ## Shot 1 35mm feel. Natural medium shot in the bedroom. Very slight handheld. Function: Establish the state of life and the first hook. ## Shot 2 32mm feel. Naturally enter a short lateral tracking from wardrobe occlusion. Function: Character tidying herself + a very natural small segment of body rhythm. ## Shot 3 40mm feel. Corridor follow shot → elevator stops. Function: Relationship suspense and the ending old object. --- # SHOT 1 ## 00:00－00:05.5 ### "Didn't you say you weren't coming?" At the opening, the character should not look at the camera. Female lead S1 sits half on the edge of the bed with her back to the camera. Phone placed beside her. Evening wind outside the window moves the thin white curtains. A light, slightly retro Chinese indie pop song plays in the background. She lowers her head and slowly clips her hair back up. Completely an ordinary action in life. The phone suddenly rings once. Not an exaggerated notification sound. A voice message plays automatically. S2 off-screen voice: [Chinese] I'm downstairs. The female lead's hand movement immediately stops. Stops for about 0.4 seconds. This is the first real point of tension. She slowly turns her head to look at the phone. Her expression is not shock. First it is disbelief. Then a bit of happiness that is clearly hard to hide appears in her eyes. But she quickly suppresses it. She picks up the phone. S1: [Chinese] ...Didn't you say you weren't coming? Tone: Surprised; A little reproachful; But more than anything, actually happy. No coquettish tone. S2 does not answer immediately. The female lead looks at the phone and waits half a second. Then from the phone comes: S2: [Chinese] I changed my mind at the last minute. After hearing it, she lightly presses her lips together. Trying not to smile. Fails. The corner of her mouth still rises a little. Immediately enter the next shot. --- # SHOT 2 ## 00:05.5－00:13.5 ### "Nothing in her words, but her movements give everything away" The female lead stands up and opens the natural wood wardrobe door. The wardrobe door passes through the camera foreground. The entire frame is naturally filled by the warm brown wooden door. Use this real occlusion to complete a smooth Match Cut. When the wardrobe door opens again: The female lead is already dressed in her going-out look. Same character. Same room. Only a few minutes seem to have passed. The camera is now positioned to the front side of the wardrobe. Begins a very slight tracking to the right. The background music re-enters with a slightly clearer rhythm. The female lead stands in front of the mirror applying lip glaze. Very seriously presses her lips together once. Then looks at herself in the mirror. As if thinking: "Is this too serious?" She immediately takes a tissue and gently blots off a bit of the color. This small action must feel real. The music enters a very pleasant little drumbeat. While putting on earrings, she unconsciously follows the rhythm: Left shoulder lightly taps once; Right shoulder follows once; Body naturally sways left and right for two beats; Takes a step back; Then follows through with a very small, very relaxed half-turn. This is not formal dancing. More like a person whose mood suddenly improved, and without realizing it, her body starts moving to the music. The suede jacket, hair, and jeans produce real inertia. When she turns back, she just happens to see herself in the mirror. She also realizes she was a little too happy just now. She immediately stops. Can't help but smile a little. From the phone again comes S2: [Chinese] Two more minutes. While picking up her shoulder bag, the female lead replies: S1: [Chinese] I know, what's the rush. Her words are annoyed. But her movements clearly speed up. The contrast here is the joke and the sense of relationship. --- # SHOT 3 ## 00:13.5－00:20.0 ### "What he brought" The female lead goes out from the apartment door. The camera naturally follows behind her at an angle. Not a stabilizer-ad feel. Maintain a slight real follow-shot feel. She quickens her pace for two steps. Then deliberately slows down a little. As if suddenly realizing: She was acting too eager. She casually tidies her hair. Pretends to be very natural. Ahead in the corridor, the elevator: "Ding." The doors open. The camera does not immediately rush in. The female lead stands outside the elevator doors. She originally had a bit of a smile. But after seeing inside, Her footsteps slow. Her smile also gently freezes. Not fear. It is being struck by the memory of something. S2 still does not show his face. The frame only shows his hand reaching out from inside the elevator. In his hand he is holding: **An old silver portable CD player with obvious signs of use.** There is a slight scratch on one corner of the casing. A very old small blue sticker is attached to the body. It can be seen that this object has been kept for many years. The female lead stares at the CD player. Her previous relaxed state suddenly quiets down. The background music also lowers very naturally here. Leave a little corridor ambient sound. S1 says very softly: [Chinese] ...Why do you still have this? Do not cry. Do not immediately become sentimental. The male voice does not answer. Pause for half a second. The camera only very lightly moves forward a little. S2: [Chinese] Come down first, then I'll tell you. The female lead looks at the person in the elevator. Stops. In her eyes there is: Surprise; Familiarity; A little complexity; And very obvious curiosity. The elevator doors begin to close slowly. Just as the doors are about to cover the space between the two: End directly. No black screen explanation. No "to be continued." Let the audience naturally wonder: **What exactly is this CD player?** **What happened between them before?** --- # Dance Element The dance in this film must never become a large performance. The core is: **After the feelings can no longer be hidden, the body gives it away first.** Only use 4 very natural rhythmic actions: Shoulders for two beats; Light body sway; One step back; Small half-turn. The movements are like a real young woman alone, hearing a song she likes, and after her mood suddenly improves, moving along with it herself. Do not: Professional stage-performance feel; Large waves; High-difficulty dance; Long periods of dancing; Sexy gyration; Fixed TikTok hand dance. The function of the dance is: To show that she is actually very much looking forward to seeing this person. --- # Dialogue Design The entire film has only 5 lines. S2: "I'm downstairs." S1: "...Didn't you say you weren't coming?" S2: "I changed my mind at the last minute." S2: "Two more minutes." S1: "I know, what's the rush." Ending: S1: "...Why do you still have this?" S2: "Come down first, then I'll tell you." All dialogue must sound like normal young people chatting. No punchlines. No "dialogue-y" tone. No explaining the relationship. The audience, through: Pauses; Expressions; Speed of movement; The old object; guesses the relationship between the two. --- # Sound Design Background music: Light; Warm; With a bit of retro guitar and soft drum machine; About 95－105 BPM. Keep the volume low in the first half. When the female lead naturally does her little dance steps, the music becomes slightly clearer. After the elevator doors open: The music gradually lowers. Leaving: Corridor ambient noise; Shoe sole sounds; Elevator mechanical sounds; Slight breathing. When the old CD player appears, do not add an exaggerated "suspense Boom." The more natural the better. --- # Performance Curve 00:00－00:02: Ordinary state of being alone. 00:02－00:05.5: Surprise; Wanting to smile but holding it back. 00:05.5－00:10: Mood clearly improves. Movements begin to become lighter. 00:10－00:13.5: After being rushed, she talks tough, but is obviously anxious. 00:13.5－00:16: Looking forward to meeting. 00:16－00:20: After seeing the old object, her emotions suddenly quiet down. Not great sorrow or great joy. Leave a real sense of story. --- # Continuity Hard Constraints Same adult female lead. Same face. Same skin tone. Same body proportions. Same going-out outfit. The spatial logic from apartment to corridor is clear. S2 never shows his face. No sudden appearance of a complete male character. No second female lead. No character face drift. No sudden appearance of heavy makeup. No mansion-ization. No cyberpunk. No future UI. No supernatural phenomena. No sudden slow motion. No random orbiting shots. No hard costume changes. Costume change is only completed through a natural Match Cut fully occluded by the wardrobe door. No exaggerated short-drama crying scenes. No female lead constantly performing for the camera. Most of the time she should seem like: **She does not know someone is filming her.** --- # H3 Execution Priority ## First Priority Stable character identity; The first hook of "I'm downstairs"; The female lead's real subtle emotional changes; Wardrobe-occluded costume change; Natural little dance steps; The old CD player in the elevator at the end; "Why do you still have this?" These must hold up. ## Second Priority Real clothing materials; Natural follow shot; Curtain wind; Elevator mechanical movement; Hair and fabric inertia. ## Third Priority Specific scratches on the CD player; Small blue sticker; Small room decorations. If H3 execution complexity comes into conflict: Prioritize deleting small prop details. Do not sacrifice the character relationship and the final old-object foreshadowing. The final effect should be like a real slice of life accidentally captured: The first half makes people feel sweet and relaxed; The middle has a cute little contrast; The ending suddenly opens up a past story. The most natural question the audience should have after watching should be: **"What exactly was the relationship between these two before?"** Not: "How was this AI effect made?"

tiny green trunks rising off the paper, branches spreading, moss filling in around the trunks

He found a black hole paper and the Human greed took over. 😭 He kept pulling out money until he decided to go inside himself. Big mistake.

Create a 15-second fast-paced character creation timelapse inside a professional digital drawing and character design interface. Use the provided character reference only @ Image1 as the final target for the character’s appearance, proportions, clothing, hairstyle, colors and distinctive features. The process must visibly start from a completely blank canvas and reconstruct the referenced character from scratch. Show a visible mouse cursor actively controlling the entire creation process. Every major visual change should feel caused by cursor interaction with the UI. 0:00-0:02 Start on a blank white or neutral canvas inside a clean professional drawing interface. The cursor quickly creates the first loose construction lines, head shape, body proportions and basic pose using rough sketch strokes. 0:02-0:05 Accelerate into detailed sketching. The cursor rapidly defines the face, hair, anatomy, clothing silhouette, accessories and characteristic features of the referenced character. Use believable drawing gestures, short strokes, selections, transforms and occasional undo corrections. 0:05-0:08 The rough sketch becomes clean line art. The cursor switches tools, adjusts brush size and cleans the silhouette. Unnecessary construction lines disappear while precise facial details, clothing folds and small design elements are added. 0:08-0:11 Rapid coloring phase. The cursor selects regions and fills the character with the correct colors from the reference. Show quick palette selections, color picking, layer changes, clipping masks and brush passes. Add shadows, highlights and material details in fast succession. 0:11-0:13 Rendering and polish. The cursor adds final lighting, hair detail, skin shading, fabric texture, reflections and small accent details. Briefly zoom into important areas such as the face or costume while refining them, then zoom back out. 0:13-0:15 The interface clears unnecessary guides and panels. The finished character is shown fully rendered and closely matching the provided reference. End with the cursor making one final small adjustment, then stop on a clean full-character presentation. STYLE: High-speed digital art timelapse, polished professional character-design workflow, believable drawing software UI, smooth cursor movement, rapid but readable actions, clean layers and tool changes, no random text, no fake dialogue, no unrelated popups. MOTION: The entire 15 seconds should feel continuously productive. Avoid long pauses. Compress several minutes or hours of drawing into an energetic timelapse while keeping the progression clearly readable: blank canvas → rough sketch → clean line art → flat colors → shading → polished final character. CAMERA: Primarily screen-recording style with subtle digital zooms and pans following the cursor and active drawing area. Keep the UI stable and readable. Do not use cinematic cuts outside the software interface. IMPORTANT: The character must not appear instantly or through a single magical transformation. Every stage should visibly build upon the previous one through cursor-driven drawing, editing, coloring and rendering actions.

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