Dramatic Prompts

30 seconds | 16:9 | live-action supernatural horror drama Fictional dramatization. Documentary-style visual realism. SETTING An isolated old farmhouse surrounded by dense forest and fields. Time: late afternoon transitioning into night. Weather: overcast, cold and slightly windy. Aged wooden exterior, neglected rooms, narrow staircase, old family photographs, dusty furniture, dim corridors and a locked basement door. Natural environmental activity, distant wind, creaking wood and subtle household sounds. CHARACTERS A young couple in their early 30s and their 8-year-old daughter. Maintain consistent faces, clothing, hairstyle, physical appearance and character identities throughout the sequence. Human behaviour remains grounded and restrained. STORY 00–04s — ARRIVAL Wide observational shot establishing the isolated farmhouse. The family carries boxes from their vehicle toward the front door. The daughter stops and looks toward an upstairs window. The parents continue walking, unaware. Natural wind moves the trees and clothing. 04–08s — THE HOUSE Handheld perspective follows the family through the dusty interior. The father explores the living room while the mother opens curtains. The daughter quietly looks toward the staircase. A faint creaking sound comes from upstairs. She asks, "Is someone up there?" Her parents dismiss it as the old house settling. 08–12s — THE FIRST SIGN The family moves through the hallway. The daughter suddenly stops. At the far end of the corridor, a bedroom door slowly moves open by itself. The parents turn toward it. The camera operator hesitates and slowly approaches. The room appears completely empty. Avoid exaggerated supernatural movement. 12–16s — NIGHT Cut to the farmhouse after dark. The family is preparing for bed. The daughter suddenly looks toward the hallway. A faint silhouette appears at the far end for only a moment before disappearing when the mother looks. The daughter quietly says, "She's there again." The parents exchange an uneasy glance. 16–20s — THE FOOTSTEPS Handheld camera follows the father through the dark hallway. Slow footsteps can be heard above him. He looks toward the staircase. The footsteps stop. He cautiously climbs the stairs. The camera follows behind with natural handheld movement. A bedroom door at the end of the hallway is slightly open. 20–24s — THE LOCKED ROOM The father discovers the daughter standing outside a locked basement door. She is completely still. She quietly says, "She told me not to open it." The father looks at the door. The handle slowly moves from the other side. The camera operator instinctively steps backward. 24–28s — THE BASEMENT The door suddenly opens slightly. Cold darkness fills the doorway. The mother grabs her daughter and pulls her backward. A faint female voice comes from inside the basement. The camera struggles to maintain focus in the darkness. No visible monster. No graphic violence. 28–30s — FINAL REVEAL Camera remains in the hallway. The family backs away from the basement. The daughter suddenly looks past her parents toward the upstairs landing. A pale female figure is standing silently at the top of the stairs. Nobody notices her. The camera slowly turns toward the figure. The image abruptly cuts to black. CAMERA Grounded supernatural-documentary cinematography. Mix: wide environmental coverage medium handheld following shots brief close reaction shots slow observational hallway perspectives Natural handheld instability. Realistic operator movement. Plausible camera positions. Autofocus hunting in darkness. Small framing corrections. Natural motion blur. No impossible camera movement. No floating camera. No excessive slow motion. No polished Hollywood horror cinematography. LIGHTING Lighting originates from practical and environmental sources. Natural overcast daylight during arrival. Warm household lamps and weak practical lighting after dark. Natural exposure changes when moving between illuminated rooms and dark hallways. Deep but detailed shadows. Realistic highlight roll-off. No artificial rim lighting. No supernatural glow. PHYSICS Real gravity and momentum. Feet maintain contact with floors and stairs. Furniture has believable weight. Doors move through physical hinges. Curtains respond to airflow. Dust reacts naturally to footsteps. Clothing responds to movement and wind. Wood, doors and floorboards behave realistically. No floating objects. No impossible movement. No exaggerated supernatural physics. HUMAN PERFORMANCE Restrained, believable fear. Quiet breathing. Small eye movements. Hesitation before entering dark spaces. Natural glances toward unexplained sounds. Parents instinctively protect their daughter. The daughter behaves frightened but not theatrically possessed. No screaming without cause. No exaggerated facial expressions. No heroic behavior. No theatrical horror acting. AUDIO Natural farmhouse ambience. Wind through trees. Distant insects. Wood creaking. Footsteps on wooden floors. Floorboards reacting under weight. Quiet household sounds. Distant birds during daylight. Low nighttime ambience. Soft breathing. Subtle door movement. Faint footsteps upstairs. A barely audible female voice from the basement. No music. No jump-scare sound effects. No oversized Hollywood trailer effects. No artificial bass drops. VISUAL CHARACTER Photorealistic live-action footage. Observational supernatural-documentary character. Natural skin texture. Realistic fabric and materials. Authentic old farmhouse textures. Subtle sensor noise. Natural motion blur. Imperfect handheld framing. Practical lighting. Atmospheric darkness. The supernatural presence should feel physically present within an otherwise completely realistic environment. Avoid: video-game aesthetics CGI appearance excessive HDR oversaturated colors floating ghosts

Ultra cinematic wide shot: A vast field of burning embers stretches into darkness. Suddenly, an enormous wall of fire races across the ground, sending billions of glowing sparks into the air. The flames twist into a gigantic rotating fire vortex hundreds of feet high. Molten embers, smoke, and liquid fire spiral together, naturally forging the word "IGNITE" from blazing flames. The letters burn brighter and brighter before erupting into a colossal shockwave that fills the screen with fire and incandescent particles. Hollywood fire simulation, ultra-realistic VFX, blockbuster title reveal.

PART 1 (0–15 SECONDS) LOCATION DETAIL: Gritty urban street at golden hour dusk. Wet concrete ground reflecting golden-orange light. Industrial concrete pillars and brick walls frame both sides. Metal railings visible. Golden-orange sky in background. Blue shadows cast across street creating high-contrast cinematic look. Volumetric dust particles floating in air catching light. CAMERA ANGLES & CINEMATOGRAPHY: 0-1s: WIDE ESTABLISHING SHOT, camera positioned at street level, tilted slightly Dutch angle to show desperation. Slow dolly-in toward the fighter 1-3s: LOW-ANGLE CLOSE-UP on beaten fighter's face as goons surround him. Camera slightly beneath eye-level looking upward at aggressive goons (makes them look menacing, him vulnerable) 3-5s: OVERHEAD SHOT as golden-blue energy beam descends. Camera positioned directly above, looking down at the beam engulfing him 5-7s: FAST 360-DEGREE ORBITAL CAMERA ROTATION around fighter during energy explosion. Energy aura visible radiating outward. Multiple angles showing transformation from all sides 7-8s: EXTREME CLOSE-UP on fighter's face as eyes glow. Camera inches from face, eyes filling 60% of frame. Electricity crackling visible around eyes 8-9s: LOW-ANGLE UPWARD SHOT as fighter stands fully transformed. Camera positioned beneath him looking up he now TOWERS over everyone. Shows dominance shift 9-12s: DYNAMIC WHIP-PAN following first goon's charge. Camera pans rapidly to track movement, then HARD CUT to: 12-14s: SLOW-MOTION SIDE PROFILE SHOT of devastating punch. Camera positioned at exact side angle to catch punch trajectory. Slow-motion impact shockwave visible in air, goon's body reacting to force 14-15s: TRACKING SHOT following goon flying backward. Camera moves with the goon's body trajectory, then IMPACT SHOT from goon's POV as he crashes into wall (camera shakes violently on impact) STORY BEATS: A beaten-down fighter in torn shirt, bruises covering his face, blood dripping, is VICIOUSLY surrounded by three aggressive goons on a wet industrial street at golden hour. He's backed against a brick wall, barely defending himself as punches rain down. He's on the verge of collapse. SUDDENLY a massive golden-blue energy beam EXPLODES down from the sky with CATACLYSMIC force. The beam engulfs him in blinding light. Massive ENERGY EXPLOSION the entire street SHAKES, dust clouds ERUPT, volumetric fog fills the air. When the light clears, he stands COMPLETELY TRANSFORMED — eyes BLAZING with godly golden-blue power, energy aura RAGING violently around his entire body with visible electricity tendrils crackling, muscles VISIBLY ENHANCED and defined, face twisted in COLD RAGE and predatory intensity. He breathes heavily, stares at the goons with KILLING INTENT. The goons freeze in ABSOLUTE TERROR. First goon CHARGES desperately forward. The fighter EXPLODES into motion with IMPOSSIBLE SUPERHUMAN VELOCITY. DEVASTATING PUNCH fist CRACKS through air with SONIC intensity. SLOW-MOTION IMPACT shockwave visible, goon's face CONTORTS in agony, blood SPRAYS, body LAUNCHES like ragdoll 20 feet backward, CRASHES through brick wall with BONE-CRUSHING force, debris ERUPTS everywhere. PART 2 - LOCATION DETAIL (Escalated): Same urban street, now a DEMOLITION ZONE. Concrete cracked and breaking. Brick wall partially destroyed from first impact. Metal railings BENT and snapping. Wooden crates and boxes SPLINTERED. Pillars showing cracks spreading. Golden hour light now more dramatic with darker blue shadows. Heavy dust and debris particles in air. Total DEVASTATION visible. CAMERA ANGLES & CINEMATOGRAPHY: 15-17s: WIDE SHOT showing street arena. Camera pulls back to show scale of destruction and two remaining enemies. High-angle shot showing ground cracks 17-19s: RAPID MULTI-ANGLE FIGHT EXCHANGE alternating extreme close-ups and medium shots. Fast cutting every 0.3-0.5 seconds matching fight tempo: Close-up on second goon's face as he launches kicks (intensity capture) Low-angle shot of fighter's parries High-angle overhead shot of exchange Side profile close-up on impact moments 19-21s: MID-AIR GRAB SHOT from side angle as fighter lifts goon. Camera positioned at exact moment of lift showing superhuman strength 21-22s: VIOLENT SLAM SHOT camera positioned ground-level looking upward as goon is SLAMMED onto concrete. IMPACT slow-motion, cracks SPREAD like spiderwebs across ground, dust ERUPTS upward 22-24s: THROW SEQUENCE camera tracks throw trajectory. Goon FLIES through wooden crates, structures BEND and SHATTER, camera follows impact (tracking shot from side) 24-26s: INTENSE FINAL FIGHT EXCHANGE with scarred leader. Rapid multi-angle cuts showing: Low-angle shot of fighter's punch High-angle overhead of counter-attack Close-up on scarred goon's face showing desperation Metal railings BENDING in background from force 26-27s: EXTREME CLOSE-UP on fighter's fist as it CHARGES energy. Golden-blue glow INTENSIFIES, electricity CRACKLING violently around fist. Camera macro-level, glow filling entire frame 27-28s: SLOW-MOTION FINAL PUNCH setup. Camera positioned LOW-ANGLE BEHIND punch trajectory. Fist PULLS BACK with godly force visible (air distorting around fist) 28-29s: CATACLYSMIC IMPACT SLOW-MOTION. Camera positioned to capture scarred goon's face as punch connects. Eyes go WIDE in SHOCK, body CONTORTS from impact force, entire body LAUNCHED backward with EARTH-SHATTERING velocity 29-30s: PILLAR DESTRUCTION SHOT camera positioned wide to show goon CRASHES through concrete pillar like PAPER, pillar EXPLODES into massive chunks, structure COLLAPSES, debris MUSHROOMS into air, dust cloud engulfs entire area. Final frame: TIGHT CLOSE-UP on fighter's face from straight-on angle. Eyes still BLAZING with power. Breathing HEAVILY, chest HEAVING. Energy aura SLOWLY FADES. Cold MERCILESS confidence in stare. Fade to black. STORY BEATS: Second goon attempts RAPID KICK COMBO fighter PARRIES with BLINDING speed. Each block CRASHES with SONIC booms. GRAB he SLAMS goon down VIOLENTLY onto concrete, CRACKS spread like spiderwebs. THROW goon FLIES through wooden boxes, metal structures BEND and SHATTER from impact force. Third goon scarred leader, last hope steps forward DESPERATELY. This is BRUTAL WARFARE. EXPLOSIVE hand-to-hand combat: PUNCH blocked, COUNTERATTACK devastating, SPINNING KICK with BONE-BREAKING force, GRAPPLE with SUPERHUMAN pressure. Ground SHATTERS beneath them. Metal railings BEND and SNAP. Every collision sends SHOCKWAVES across street. FINAL MOMENT fighter CHARGES energy into fist. Fist GLOWS BLINDING GOLD-BLUE. Pulls back with GODLY FORCE. Unleashes CATACLYSMIC POWERED PUNCH. SLOW-MOTION IMPACT scarred goon's body CONTORTS, eyes WIDE in SHOCK, LAUNCHED backward with EARTH-SHATTERING velocity, CRASHES THROUGH concrete pillar like PAPER, pillar EXPLODES into massive chunks, entire structure COLLAPSES, dust MUSHROOMS into air. Fighter stands alone in TOTAL DEVASTATION. Breathing HEAVILY, chest HEAVING, eyes still BLAZING. Energy aura SLOWLY FADES. Stares DIRECTLY at camera with COLD MERCILESS confidence.

Two characters arguing in English. Make the emotion feel very realistic angry, tense, the friction between them should be palpable. Shaky handheld camera. No music.

Open ocean, storm-lit sky, two massive wooden galleons broadside to broadside, cannons blazing, sails torn and smoking. LOCATION: towering waves, rain-slicked decks, splintering wood, the ships as looming wooden fortresses dwarfing the men fighting on them. Grey-green storm light, cannon smoke rolling across the water like fog. ACTORS: two pirate crews — one crew in ragged dark coats and bandanas led by a scarred captain wielding a cutlass and flintlock; the other crew in stolen naval coats, more disciplined but outnumbered. Dozens of background fighters clashing across both decks. MOVEMENT: heavy, physical combat — swinging on rigging ropes across the gap between ships, cutlass clashes with real weight and follow-through, men thrown by cannon blasts, boots slipping on wet planks. INTERACTION: the two captains as the emotional throughline — circling each other through the chaos, their duel the spine of the sequence while the crews fight around them. CINEMATOGRAPHY (Kubrick-style): open with a long, wide, almost painterly establishing shot of the two ships closing in through the storm — hold it, let the dread build before the first cannon fires. Use symmetry in the initial approach (ships mirrored on either side of frame), then shatter that order completely once battle erupts. Favor a few extended tracking shots through the melee (a single unbroken move weaving across the deck) rather than only quick cuts, so the audience feels physically present in the chaos, punctuated by hard cuts at moments of violence. CUTS: 1. Wide establishing shot: the two galleons converging through rain and swell, lightning flashing behind torn sails, ominous and silent but for wind and creaking timber. Hold long. 2. Close-up: the pirate captain's face, rain streaming down a scarred cheek, eyes narrowing, hand tightening on his cutlass hilt. 3. Wide shot: cannons fire in unison from both ships — deafening flash and smoke, the hulls shuddering, wood splintering on impact, rigging snapping and crashing to the deck. 4. Grappling hooks fly across the gap, biting into the enemy ship's rail; ships lurch together with a groan of timber as the gap closes. 5. Long tracking shot: pirates swing across on ropes into the fray, landing mid-swing into combat — camera follows one pirate's full arc from rail to rail without cutting, weapons clashing all around as he lands and immediately engages. 6. Fast cuts through the melee: cutlass parries, a pistol shot at close range, a man thrown overboard by a cannon's recoil, barrels rolling loose across the tilting deck. 7. Medium shot: the two captains spot each other across the chaos, a beat of stillness in the middle of battle, then they cut a path toward one another through the fighting. 8. Close-up duel: blades clash in tight, brutal exchanges, rain and sweat, snarled dialogue, one captain slammed back against the mast. 9. Wide shot: a mast cracks and begins to fall, crew scattering, fire catching on torn sailcloth, chaos peaking as both crews scramble. 10. Final close combat: the rival captain disarmed, blade at his throat — beat of hesitation, thunder cracks, and the scene holds on the standoff rather than resolving cleanly, smoke and rain swirling around them both. Camera: mostly handheld-feel tracking shots through the melee for immersion, hard cuts on cannon fire and key hits, a still symmetrical wide shot to open

Minimax H3 Prompt A dramatic sports sequence begins on a lush, windswept coastal cliff during a violent rainstorm. A golfer in bright yellow rain gear stands on the tee box, gripping a driver. His stance is planted firmly, eyes locked on a distant green across a churning ocean cove. As he swings, the clubhead connects with a resounding crack, launching the dimpled white ball into the stormy sky. The camera immediately accelerates and locks onto the golf ball mid-flight. The camera tracks directly behind the spinning sphere, maintaining perfect alignment as it cuts through the driving rain. The ocean waves and dark clouds become a streaking motion blur while the ball remains sharp and centered. The howling wind roars as the projectile travels straight and true. The manicured green grows rapidly larger. In the final seconds, the camera closes in tightly as the ball strikes the turf. End on an extreme close-up of the ball ripping through the wet grass, throwing up a spray of dirt before dropping perfectly into the cup.

The shot opens tight on a beautiful woman face, wind tearing at her coat as she stands on a jagged cliff. The camera eases over her shoulder and tilts down, following her line of sight. We descend past the crumbling lip into the void, the frame widening to reveal cliffs dropping away. The ocean roars into view, violent surf detonating against rock. The move continues into a high overhead, locking into an aerial top-down that frames the lone figure at the precipice as waves explode below.

15 seconds | 16:9 | photoreal live-action war thriller Fictional Sahelian city at blue-hour dawn. Urgent, human, suspenseful, non-graphic. REFERENCE CONTROL Image 1 = locked AMINA identity and wardrobe. Preserve face, close-cropped hair, deep-brown skin, navy field jacket, silver earpiece, canvas satchel, analogue radio, boots and determined expression. Image 2 = locked environment. Preserve concrete bridge, dry riverbed, dense low-rise city, rooftop antennae, dusty atmosphere, cool-blue shadows and restrained amber dawn. No real countries, flags, organizations or landmarks. STORY Amina is the last radio operator keeping an evacuation bridge open. Communications fail during a distant attack. She must activate the backup relay and transmit clearance before automatic controls close the bridge. 00–02s — CHANNEL OFFLINE Extreme close-up inside a dark concrete communications room. Amina grips the analogue radio as red emergency lights pulse. Dust trembles, cables quiver, broken static fills the room. Automated voice: “Emergency channel offline.” She looks up and immediately moves. 02–04s — BRIDGE CLOSING Wide aerial-oblique rooftop view. Civilians cross the bridge through windblown dust. Checkpoint signal flickers green → red as shutdown begins. A distant shockwave moves through city haze. No visible casualties. 04–06.5s — RUN Low handheld tracking behind Amina running through a damaged service corridor. Emergency lights flash, dust falls, cables briefly spark, boots hit wet concrete. She pushes through a heavy metal door into blowing dust. 06.5–09s — FLASHBACK Two minutes earlier. Medium side-profile on rooftop. Amina sees the unstable bridge signal, manually rotates the antenna and connects her radio to backup power. Slow camera push. Wind moves her satchel strap as first amber sunlight reaches her jacket. 09–12.5s — TRANSMISSION Rapid cross-cut montage: frequency dial locks → antenna aligns → bridge cables vibrate → red signal flashes → Amina speaks into radio: “Channel Seven, keep the bridge open.” Overhead shot: civilians continue crossing. Sharp hard cuts, brief black frames, natural motion blur. 12.5–15s — SIGNAL RESTORED Sound suddenly drops. Amina listens on the rooftop. Clear radio tone. Checkpoint signal changes red → steady green. Evacuation continues. Amina exhales and watches the bridge as dawn reaches the city. Slow push toward her face. Cut to black. CAMERA Large-format live-action realism. Precise nonlinear cross-cutting. Handheld tracking, aerial-oblique coverage, restrained push-ins and close details. Natural motion blur, fine film grain, subtle gate weave. No impossible camera movement. ENVIRONMENT + PHYSICS Cool-blue shadows against muted amber sunrise. Deep blacks, dusty atmosphere, weathered concrete. Wind realistically affects dust, clothing, cables and antenna equipment. All movement and interactions remain physically believable. AUDIO Stereo radio static, electrical hum, wind, boots, antenna creaks, distant low artillery and helicopter rotors. Restrained suspenseful sub-bass builds through the montage. VISUAL Photoreal cinematic war-thriller footage. Immense scale contrasted with one determined operator. Grounded, tense and human. No subtitles, text, logos, watermarks, political messaging, flags or military insignia. CONTINUITY Same Amina identity, wardrobe, radio and satchel throughout. Same bridge, city, atmosphere and dawn lighting. Maintain geographic and temporal continuity across all shots.

Style: (don't reproduce the image, use it only as aesthetic reference) Edit: Comedy, fast paced, mixing close ups, medium shots and wide shots from uncanny and tilted angles. Super-imposed texts with doodles identify ingredients as they appear and add comic remarks. Scene: In Porto, Portugal a crazy chef explains how to do a Francesinha in Portuguese from Portugal with Porto accent.

Grounded photorealistic live-action relationship drama, natural 24fps motion. FORMAT Two connected 15-second clips, 16:9, grounded photorealistic live-action relationship drama, natural 24fps motion. SHARED STYLE A small living room at night. One warm floor lamp mixes with cold blue streetlight through the curtains. A framed wedding photograph hangs behind the couple. Restrained handheld camera, realistic skin and fabric, tense silence, no melodramatic shouting. CONTINUITY The husband remains frame left beside the coffee table, holding his wife’s unlocked phone containing the evidence. The wife remains frame right near the window. Preserve their faces, clothes, positions and screen direction across every cut. CLIP 1 — THE CONFESSION 0.0–5.0 Camera: Slow 35mm push toward both characters. Action: The husband stares at the phone, then raises his eyes toward her. HUSBAND: “How long has this been going on?” 5.0–8.0 Camera: Cut to a restrained 50mm close-up of the wife. Action: She cannot meet his eyes. After a short pause: WIFE: “Six months.” 8.0–15.0 Camera: Close on the husband. His grip tightens around the phone, but he controls his voice. HUSBAND: “Six months? I gave you twelve years. Why?” Final frame: The wife finally looks directly at him, preparing to answer. CLIP 2 — THE REASON Begin from the exact positions and expressions inherited from Clip 1. 0.0–6.5 Camera: Slow push toward the wife as she folds her arms defensively. WIFE: “Because I’m tired of being broke. Every dream with you becomes ‘maybe one day.’” 6.5–10.0 Camera: Cut to the husband. His anger gives way to disbelief. HUSBAND: “So you chose him for his money?” 10.0–15.0 Camera: Return to the wife. She holds his gaze without apologizing. WIFE: “I chose someone who can give me the life I want.” Final frame: Hold on the husband as the meaning lands. His hand lowers, and the phone slips onto the sofa.

Epic desert sci-fi, harsh golden-hour light, volumetric sand haze, anamorphic lens flares, subtle handheld drift, heavy atmospheric particles, 35mm film texture. Use the provided 3x3 grid as the only visual reference. Lock the exact same woman (face, scars, green eyes, headscarf, desert armor, cape) and environments from every panel. Do not invent new outfits or faces. [TIMELINE] 0-1.7s: [Wide establishing] Lone figure walking across endless dunes toward twin massive suns. Heat shimmer, long shadow stretching behind her. 1.7-3.4s: [Extreme close-up] Her scarred face fills the frame. Eyes locked on camera, wind tugging the dirty headscarf, grit on skin, unblinking intensity. 3.4-5.1s: [Tight detail insert] Gloved hand grips the rusted multi-tool weapon. Metal catches the orange light, cable dangling, fingers adjusting the grip with quiet precision. 5.1-6.8s: [Low wide silhouette] The towering industrial structure rises against the giant sun. Dust storms swirl at its base, scale feeling ancient and oppressive. 6.8-8.5s: [Medium tracking] She advances through thick sandstorm, lower face wrapped, cape and scarf whipping hard. Eyes visible above the cloth, determined stride. 8.5-10.2s: [Hero wide] She stands alone on the rocky outcrop, cape flowing, surveying the empty desert below. Wind howls, silhouette sharp against the hazy sky. 10.2-11.9s: [Dynamic tracking + low angle] She charges down the steep dune face, boots kicking up thick clouds of sand, body leaning forward with full momentum. 11.9-13.6s: [Macro atmospheric] Golden sand particles explode and float in extreme slow motion, backlit by the blazing sun, pure texture and light. 13.6-15s: [Intimate close-up] Inside the dark cave, shafts of light cut through. She sits against the rock, armor dusted, breathing controlled, eyes sharp and watching the entrance. Photorealistic, ultra-detailed skin and fabric textures, perfect sand physics, coherent character identity across every cut, cinematic color grade, heavy film grain, no artifacts, movie-level continuity.

SCENE CONTEXT A middle-aged man stands in the middle of a dirt road in open desert and holds a pistol level at the person filming him. He gives an instruction, is answered by name, and warns them not to say it again. Nothing is fired. TIMELINE 0.0–3.0s — he is already aimed and steady; his first line lands. 3.0–6.0s — the off-frame reply uses his name; his jaw sets and the muzzle does not drop. 6.0–9.0s — his second line; he takes half a step forward and re-sights. 9.0–11.0s — the off-frame voice starts his name again and stops. 11.0–15.0s — his last line; wind lifts dust across the road behind him; he holds the aim. Hold to black-free end. ACTIVE REFERENCES No image or video references are active in this shot. Build the man from description only. Man, fifties, white, average build, standing, thinning brown hair, a brown moustache, thin-rimmed prescription glasses; light green long-sleeved button-down shirt with the sleeves buttoned at the wrist, dark work trousers; stern, brow furrowed, sweat starting at the hairline; frightened underneath and controlling it; speaking voice flat, plain, mid-western American, no theatricality. Second speaker: the unseen person the pistol is aimed at, occupying the camera position, never entering frame and never seen. Voice only — male, forties, close to the lens, low and careful. LOCATION MAP Camera on the dirt road 3.5 m from him at his chest height, facing him square-on so the muzzle is aligned with the lens axis. FG: rutted dirt and loose gravel across the lower frame. MG: the man alone, centre frame. BG: the dirt road receding to a vanishing point at x 50%, y 44%, low scrub and dry brush from x 0% to x 30% and x 70% to x 100%, a distant fence line at x 62%, y 48%, flat desert horizon at y 46%, overcast sky filling the upper half with one pale blue break low at x 24%, y 36%. He occupies x 50%, y 50%, body frontal, both feet planted, right arm extended toward camera with the silver pistol at x 50%, y 56%, held at the very front of the depth plane. His eyeline is straight down the lens. The first visible frame already has him aimed and in position — no empty establishing frame, no walk-in, no delayed reveal, and he remains the only figure in frame for the entire take. FORMAT MODE Single continuous take, no internal cuts, no transitions, no fades. Real-time motion. His lines are on camera; the second voice is an intentional off-frame speaker at the camera position. No other voices, no narration, no subtitles, no score. CAMERA 47° diagonal field of view, camera 3.5 m from him at chest height, natural human-eye perspective, no distortion, natural face and body proportions, the road and horizon readable behind him, comfortable depth of field with the pistol slightly forward of his focal plane. Handheld, shoulder-mounted mass, operator breath and small involuntary settling — the camera is being held by the person he is aiming at, so it flinches minutely rather than gliding. Total travel under 20 cm, no push-in, no zoom, no focus rack. Focus holds his eyes behind the glasses; the pistol stays just soft. ACTION TIMING He is already sighted along the barrel as the shot opens and speaks without lowering it. The off-frame voice answers with his name; his jaw sets and the muzzle does not waver. He speaks his second line and takes half a step forward on the dirt, re-sighting as his weight lands. The off-frame voice begins his name again and stops. He delivers his last line, and wind lifts a curtain of dust across the road behind him. He holds the aim to the end without firing and without lowering the weapon. PHYSICS The pistol carries real weight — his wrist and forearm show the load and micro-correct continuously; the muzzle drifts a few millimetres and is pulled back on line. His half step lands heel-first in soft dirt with visible weight transfer and a small dust puff that drifts and thins. Shirt fabric pulls across the extended shoulder and creases at the elbow. Wind moves the loose dust and the dry scrub in the same direction and at the same time. Thinning hair lifts and settles with the gust. Sweat beads at his temple and does not run. LIGHTING Primary source is the full overcast sky acting as one enormous soft toplight, giving even illumination with minimal harsh shadow — a soft shadow under the brow and the nose only, no hard edges anywhere. Secondary is dry ground bounce filling under the chin and lifting the shadow side of the pistol. Both lenses of his glasses carry a broad soft reflection of the sky, and his eyes stay readable behind them. Exposure is set for his face; the sky sits bright but not clipped. No sun shaft, no lens flare, no added key, no light change during the take. AUDIO Dry wind across open ground, loose grit moving on the road, dry brush ticking, one distant bird, his own breathing close and unsteady. Ambient ducks under the voices. Exactly this exchange, flat and plain, no shouting — 25 words total: HIM: "Put it on the ground. Slowly." OFF-FRAME: "You're not going to shoot me, Ray." HIM: "I've been wrong about myself before." OFF-FRAME: "Ray—" HIM: "Don't say my name again." His first line opens the shot. The off-frame reply lands as his jaw sets. His second line comes as he takes the half step. The off-frame "Ray—" is cut off by his last line, which is quieter than everything before it. His lips move only for his own lines; there is no dialogue in the pauses and no muttering between beats. POSITIVE LOCKS Exactly one visible person is in frame for the whole take — nobody enters at any edge, no second figure appears on the road, at the fence line or in the reflections on his glasses, and the off-frame speaker is never seen. The pistol stays in his right hand, stays aimed at the lens, and is never fired, never lowered and never re-holstered; no muzzle flash, no recoil, no gunshot. He stays on the road and never turns away from camera. Naturalistic muted palette of dry greens and browns against pale overcast grey. Live-action photoreal footage shot on ARRI Alexa 35, tense neutral mood, natural film grain. SCENE CONTEXT In a frosted country-house conservatory on a grey morning, an older woman tells a younger one that the letter will not be answered. The younger woman holds her composure and loses it only in her hands. FORMAT MODE Controlled three-segment sequence, one HARD CUT and one INSERT CUT. Real-time motion. LOCATION MAP Camera inside a glazed conservatory, 3 m from the two women, facing them with the steamed glass wall behind them. FG: potted fern fronds at the frame edge. MG: older woman screen-left, younger woman screen-right, 80 cm apart. BG: glass panes, frost-white winter garden, a cast-iron bench, one low oil lamp. Soft light comes from the whole glass wall behind and above them. FIRST FRAME AND SPATIAL BLOCKING Both women are in frame from the first visible frame. Older woman at x 32%, y 46%, three-quarter profile facing screen-right, gloved hands folded at her waist. Younger woman at x 68%, y 44%, torso squared to her, gaze locked on her face, a folded letter held in both hands at x 62%, y 76%. No empty establishing frame. OPTICS LENS LOCK SEGMENT 1 = 47°, camera 3 m out, natural proportions, both faces and the conservatory geography readable. LENS LOCK SEGMENT 2 = 18°, camera 6.5 m back down the conservatory aisle, strong compression, glass panes and ferns stacking behind the younger woman, razor-thin focus on her eyes. LENS LOCK SEGMENT 3 = 29°, camera 4 m out and lower, close on her hands by lens reach, the room dissolving to creamy bokeh behind. CAMERA Segment 1 locked-off at eye height. Segment 2 long lens with the faintest human drift. Segment 3 handheld, settling downward toward the letter. ACTION TIMING BEAT 1 — The older woman speaks her line, chin level, hands unmoving. The younger woman does not react in her face. HARD CUT BEAT 2 — Long-lens hold on the younger woman. A long beat. Her eyelids redden; she blinks once and keeps her eyes forward, refusing to look down. INSERT CUT BEAT 3 — Tight on her hands. Her thumbs press and slowly crush the folded letter's edge until the paper buckles, then stop. Hold on the buckled paper. PHYSICS Paper buckles progressively under thumb pressure and holds its new shape. Glove leather stretches over her knuckles. Condensation runs down glass panes in slow irregular tracks. Silk and wool hold real weight; her skirts do not float. Breath fogs faintly in the cold air. LIGHTING Primary source is vast soft north daylight through the steamed glass wall behind and above them, motivated, wrapping both faces. Secondary: cold blue bounce off the frost outside, and one warm low oil lamp deep in frame. Soft shadow rolloff with clearly readable eyes and catchlights — restrained low contrast, not silhouette. AUDIO Rain ticking on glass, a distant door, the faint hiss of the oil lamp, a bird outside. Ambient ducks under the voice. The older woman speaks exactly this line as the shot opens: "There will be no reply, and you will not ask again." No other dialogue, no score. The younger woman's lips stay still. POSITIVE LOCKS Exactly two women appear and no servant or third figure enters. Both hold their positions across all segments. Costume, gloves, the folded letter and the frost state remain identical across the cuts. Cinematic photorealistic footage shot on ARRI Alexa 35, pearl-grey and soft-green grade, low contrast, natural film grain. SCENE CONTEXT A weathered man rests against a timber rail in blistering noon heat while something is brought up the street toward him. A voice across the street offers him a way out and he declines it. TIMELINE 0.0–3.0s — the off-frame line; a gust lifts dust across frame. 3.0–6.0s — his answer; he turns his face out of the dust and works his jaw once. 6.0–9.5s — the second off-frame line; his eyes track slowly screen-left to screen-right. 9.5–12.5s — his last line, flat and final. 12.5–15.0s — he pushes off the rail with one shoulder and straightens out of the top of frame; dust closes behind him. ACTIVE REFERENCES 📷Image1 is the reference and the exact first visible frame — source of truth for his face, hat, wardrobe and the light. Man, fifties, leaning against a timber rail, pale wide-brim hat pushed back with a visible pale forehead line, dust-caked collarless shirt torn at one shoulder, deep sun creases, broken capillaries, grit in the stubble; long past being surprised; speaking voice dry, laconic, low volume. 100% matches the reference. Second speaker: an unseen man across the street, off-frame screen-left at the same level, never entering frame. Voice only — male, middle-aged, flat, carrying across distance. LOCATION MAP Camera on the street 4.5 m from him at his eye height. FG: nothing between camera and subject except airborne dust. MG: the man against grey weathered timber spanning x 0% to x 55%. BG: a blurred wagon at x 76%, y 30% and two standing figures at x 84%, y 34% and x 92%, y 36%, dissolved in heat shimmer, pale sky at the top edge. He occupies x 34%, y 50%, chest-up, torso angled to screen-right, eyes to screen-left. The first visible frame already contains him in exactly this position. He is the only sharp figure and remains so. FORMAT MODE Single continuous take, no internal cuts, no transitions. Real-time motion. His lines are on camera; the second voice is an intentional off-frame reply. No other voices, no narration, no subtitles, no music. CAMERA 29° diagonal field of view, camera 4.5 m out at his eye height, close framing achieved through lens reach, his face razor-sharp, the wagon and the two figures compressed flat behind him and melting into bokeh, visible heat shimmer between camera and background. Locked off with the faintest human drift; no push-in, no focus rack. ACTION TIMING He squints harder as a gust lifts dust across the frame, and turns his face a few degrees out of it as he answers. He works his jaw once. His eyes track slowly from screen-left to screen-right, following something crossing behind camera. A long beat. He delivers his last line, then pushes off the rail with one shoulder and straightens, rising out of the top edge of frame as the dust closes behind him. PHYSICS Airborne dust crosses in real gusts, catches the light and settles on his shoulders. The torn shirt fabric lifts at the shoulder and falls. The timber rail does not move when he pushes off it, and his weight transfers audibly into his boots. Sweat and grit sit on the skin without running. LIGHTING Inherit 📷Image1 exactly and do not relight. Primary: hard vertical noon sun. Secondary: brilliant bounce off pale caliche dust filling the shadows from below. Deep shadow under the hat brim across the bridge of his nose. Highlights on the timber and sky sit near clipping. No fill added, no light change during the take. AUDIO Dry wind against timber, distant wagon wheels and harness, a fly, boot grit. Ambient ducks under the voices. Exactly this exchange, laconic and flat, spoken across distance without echo effects — 22 words total: OFF-FRAME MAN: "They're bringing him up now." HIM: "I can see the dust." OFF-FRAME MAN: "You want to be somewhere else?" HIM: "I've been somewhere else. Didn't help." The off-frame line opens the shot. He answers into the gust. The second off-frame line comes while his eyes track across. His last line lands as he pushes off the rail. His lips move only for his own lines. POSITIVE LOCKS Exactly one sharp figure is in frame; the two background figures stay unresolved in the heat haze and never become characters or come into focus, and no one crosses between camera and subject. Hat, torn shirt, dust layer and the timber rail stay exactly as in 📷Image1. Cinematic photorealistic footage shot on ARRI Alexa 35, natural film grain. SCENE CONTEXT On a narrow Naples balcony at blue hour, a woman tells a man she has already taken the job. He does not argue, which is worse. FORMAT MODE Controlled three-segment sequence, two HARD CUTs. Real-time motion. Restrained camera throughout. LOCATION MAP Camera on the balcony, 2 m from the couple, facing them with the lit kitchen doorway behind them screen-centre-left. FG: iron rail and two espresso cups. MG: woman and man standing 60 cm apart. BG: alley canyon, drying laundry, a lit window opposite, string lights. Warm light comes from behind them through the doorway; cool dusk fills from camera side. FIRST FRAME AND SPATIAL BLOCKING Both are in frame from the first visible frame. Woman at x 34%, y 46%, torso facing screen-right, one hand on the iron rail. Man at x 68%, y 44%, three-quarter profile facing her, hands at his sides. Their eyelines meet at x 50%. The two espresso cups sit on the rail at x 52%, y 74%. OPTICS LENS LOCK SEGMENT 1 = 47°, camera 2.2 m out, natural proportions, both faces and the alley depth readable. LENS LOCK SEGMENT 2 = 29°, camera 4.5 m back along the balcony, close on the woman by lens reach, alley lights compressing into soft round bokeh behind her. LENS LOCK SEGMENT 3 = 84°, camera 1 m from the man, foreground rail presence, the whole balcony and doorway visible to the edges. CAMERA Segment 1 handheld with almost no travel, operator breath only. Segment 2 locked-off. Segment 3 handheld, a slow 20 cm settle downward as he lowers his head. Camera stays on the dusk side of both faces. ACTION TIMING BEAT 1 — She speaks her line, then looks at her own hand on the rail rather than at him. He does not move. HARD CUT BEAT 2 — Held on her. A long beat. Her mouth begins a word and abandons it; she swallows and lifts her eyes back to him. HARD CUT BEAT 3 — On him. He nods once, small, and picks up one of the espresso cups without drinking from it. The shot holds on his hand around the cup as the string lights flicker once. PHYSICS Cool air moves the drying laundry in the background on real cloth delay. Her knit sleeve compresses where her forearm presses the rail. The cup has weight; the saucer chatters faintly when lifted. Loose hair moves independently of her head turn. LIGHTING Primary source is the warm kitchen bulb behind them through the doorway, motivated, giving both a warm hair and shoulder rim. Fill is cool ambient dusk from camera side. Soft shadow rolloff, not crushed silhouettes — eyes stay readable with visible catchlights. Practical string lights and one lit window across the alley sit in the background. AUDIO Distant scooter, a television two floors down, pigeons, faint street voices. Ambient ducks under the voice. She speaks exactly this line as the shot opens: "I signed it on Tuesday." No other dialogue, no score. His lips stay still. POSITIVE LOCKS Exactly two people are on the balcony and no one appears in the doorway behind them. Their positions, wardrobe, the two cups and the laundry arrangement remain identical across the cuts. Cinematic photorealistic footage shot on ARRI Alexa 35, warm-amber against slate-blue grade, low contrast, natural film grain. SCENE CONTEXT In a shelled Normandy farmhouse at night, a colonel orders a captain to take the lane at first light. The captain accepts the order knowing what it costs. FORMAT MODE Controlled three-segment sequence, one HARD CUT and one REVERSE CUT. Real-time motion. LOCATION MAP Camera inside a roofless farmhouse room, 2.5 m from a map table. FG: table edge, tin mug, field telephone. MG: colonel standing screen-left of the table, captain standing screen-right. BG: pinned maps on plaster, splintered beams, a hole in the roof. Primary light is a hurricane lamp on the table between them. FIRST FRAME AND SPATIAL BLOCKING Both officers are already at the table in the first visible frame. Colonel at x 30%, y 44%, three-quarter profile facing screen-right, index finger planted on the map at x 46%, y 76%. Captain at x 70%, y 42%, torso squared to the colonel, gaze down on the finger, not the face. Lamp at x 50%, y 66%. No empty establishing frame. OPTICS LENS LOCK SEGMENT 1 = 47°, camera 2.5 m from the table, natural proportions, both officers and the map geography readable. LENS LOCK SEGMENT 2 = 29°, camera 4 m back, close on the captain by lens reach, the pinned map wall compressed soft behind him. LENS LOCK SEGMENT 3 = 84°, camera 1.1 m above the map surface angled up past the lamp, foreground lamp glass looming, both men and the broken roof visible to the edges. CAMERA Segment 1 locked-off at chest height. Segment 2 handheld with operator breath, camera on the lamp's shadow side. Segment 3 handheld low, slow rise past the lamp flame. ACTION TIMING BEAT 1 — The colonel speaks his line, finger pressing hard enough to crease the map. Plaster dust drifts through the lamp beam. REVERSE CUT BEAT 2 — On the captain. A distant artillery flash strobes blue across his face. A muscle jumps in his cheek; he nods once and looks up. HARD CUT BEAT 3 — Low wide past the lamp. The captain squares his cap, turns and walks out of frame screen-right. The colonel stays, hand flattening the creased map, and the lamp flame leans in the draught of the door. PHYSICS Paper creases and holds the crease under finger pressure. The lamp flame bends and recovers when air moves; its light level dips accordingly. Plaster dust falls with real settling drift. Boots find rubble with uneven weight transfer and grit sound. Wool uniform holds damp weight and does not billow. LIGHTING Primary source is the hurricane lamp on the table, motivated, hard and warm, underlighting both faces and leaving eye sockets in shadow. Secondary: cold moonlight through the roof hole rimming shoulders, plus intermittent distant artillery flash on the back wall. Exposure is set for the lamp; shadows are allowed to crush. No added frontal fill. AUDIO Distant shellfire, a field telephone hum, wind through the broken roof, drip of water. Ambient ducks under the voice. The colonel speaks exactly this line as the shot opens: "You take the lane at first light, with what you have." No other dialogue, no score. The captain's lips stay still. POSITIVE LOCKS Exactly two officers are in the room and no other figures enter. Both stay on their own side of the table until the captain exits in the final beat. Uniform state, mud, plaster dust and the lamp position remain identical across the cuts. Cinematic photorealistic footage shot on ARRI Alexa 35, desaturated olive-and-amber grade, natural film grain.

fire dragon and his rider of living flame, rising over a scorched world, cutting through smoke and sunset.

Buddhist monastery courtyard at dawn, mist drifting between stone pillars. Wide shot, shallow depth of field: a row of Shaolin priests kneeling in prayer, hands pressed together, saffron and grey robes, heads bowed. Soft ambient temple bells. Background monastery architecture slightly defocused, foreground priest sharply in focus. Sudden thunderclap. A bolt of lightning crashes down center-frame — the Lightning God lands in a crouch, white kimono and white wide-brimmed hat, faint electricity crackling off the fabric. He rises slowly. Close-up: his eyes ignite, glowing white-blue lightning, no pupils, just arcing current. He explodes into motion. Fast tracking shot as he closes distance on the first priest, palm strike trailing a lightning arc — priest is zapped, muscles seizing, thrown backward in a shower of sparks. Quick cut: side angle, second priest lunges with a staff; the god sidesteps in a blur, lightning crackling along his arm, backhands the staff aside and zaps the priest's chest — priest crumples, smoke rising off his robes. Quick cut: low angle, third priest sweeps a leg; god leaps straight up, hovers a beat with lightning rippling off his kimono hem, then drops down zapping the priest's shoulder. Fast intercut: downed priests groaning, hands pressing into the ground, pushing themselves back up one by one, robes scorched but eyes determined — they re-engage together, converging on the god from three sides. Wide shot, all four in frame: priests strike in unison, god pivots between them in a continuous whirl, every block and counter sparking with lightning, his white hat never falling. Camera whip-pans following the fastest exchanges, strobing light flashes matching each hit. Final beat: god stands center, lightning arcing off him in all directions, breathing storm-light, priests circling back to their feet around him, ready to strike again — freeze on his glowing eyes, thunder rumbling. Camera: mix of fixed depth-of-field opening shot, fast tracki

A catastrophic collision between two massive space stations in low Earth orbit. Metal shears apart in slow motion as the stations grind into each other, sending a hailstorm of debris spiraling outward. Entire modules crumple like tin cans. Pressurized compartments blow out in violent bursts of crystallizing atmosphere. Solar panels shatter and cartwheel into the void. The camera tumbles through the wreckage as an isolated astronaut in a white EVA suit ragdolls past, arms flailing helplessly. Explosions ripple down the station’s spine. Earth looms enormous in the background, serene and indifferent. Hyper-realistic, catastrophic scale, orbital debris field, 8k, Gravity collision sequence energy.

A tight medium shot of two eccentric adults in typical, everyday clothing—one in a slightly oversized trench coat, the other in a weathered denim jacket—deep in a heated, animated conversation on a rainy West Village street corner. The one in the trench coat gestures wildly, the words “SOURDOUGH PRETZEL” appearing in pulsating electric blue: “It’s not just a pretzel, Arthur! It’s a sourdough pretzel!” The second guy says ‘Who cares. A pretzel’s a pretzel!’

A close-up of a jazz pianist’s hands flying across the keys of a grand piano in a smoky nightclub. Each keystroke produces a visible ripple of warm amber light across the piano’s lacquered surface. The camera slowly pulls back to reveal the full band — upright bass, drums with brushes, a tenor saxophone. The musicians nod to each other, trading solos. Cigarette smoke curls through a single spotlight beam. Hyper-realistic, intimate jazz club atmosphere, 8k, the crisp attack of piano keys, walking bassline, brushed snare, breathy saxophone melody.

[0-4s]: Wide establishing shot, static camera, a neon-drenched Tokyo alley at night, rain pouring, reflections pooling on wet asphalt, the distant murmur of city traffic and rain hitting metal awnings. [4-8s]: Medium shot, slow dolly forward, a figure in a black trench coat walks toward camera under a red paper umbrella, neon signs flickering on their face. [8-12s]: Seamless morph into close-up tracking shot, the figure’s hand drops the umbrella, rain hits their face, they look up at the sky, the sound of rain intensifies. [12-15s]: Hard cut to extreme close-up of raindrops hitting a neon puddle in slow motion, each drop exploding into rings of reflected color, bass rumble fading to silence. Hyper-realistic, 8k, Blade Runner 2049 cinematography, Roger Deakins lighting.

[0-4s]: Wide shot, static tripod, a lone astronaut stands on a red Martian plain at dusk, dust swirling at their boots, the low hum of wind across the desert. [4-8s]: Slow push-in to medium shot, the astronaut kneels and places a gloved hand on the soil, visor reflecting the sunset, breathing audible inside the helmet. [8-12s]: Hard cut to close-up of the gloved hand lifting a handful of red dust, grains falling in low gravity slow motion, each particle catching the fading light. [12-15s]: Extreme close-up on the visor reflection showing Earth as a tiny blue dot, static hold, a single heartbeat, then silence. Hyper-realistic, 8k, Gravity cinematography, Interstellar sound design.

A dramatic horseback chase through a canyon at golden hour. A rider on a black stallion gallops at full speed along a narrow ledge, red dust billowing behind them. The canyon walls tower on both sides, glowing amber in the low sun. The horse leaps over a gap in the trail, all four hooves off the ground, mane and tail streaming. The camera tracks alongside from a parallel ridge. Rocks crumble from the ledge edge. The rider looks back over their shoulder. Hyper-realistic, epic Western cinematography, 8k, thundering hooves echoing off canyon walls.

A massive tidal wave crashes into a coastal city. Buildings crumble as the wall of water surges through the streets. Cars are swept up and tumble through the flood. The camera captures the destruction from a rooftop as the wave passes below, water exploding against skyscrapers. Debris and foam churn in every direction. The sky is dark with storm clouds. Hyper-realistic, catastrophic scale, 8k, Roland Emmerich disaster movie, the deafening roar of a million tons of water.

A fighter jet launches from an aircraft carrier at sunset. The catapult fires and the jet accelerates from zero to 170mph in two seconds, afterburners blazing blue-white. Steam erupts from the catapult track. The camera follows from the deck as the jet clears the bow and drops slightly before climbing steeply into the orange sky, leaving twin contrails. Deck crew brace against the jet blast. The ocean stretches to the horizon. Hyper-realistic, Top Gun cinematography, 8k, the screaming roar of twin turbofan engines and the metallic slam of the catapult.

A massive dinosaur stampede through a dense jungle. Dozens of brachiosaurus and parasaurolophus crash through the tree line, their enormous bodies snapping trunks like twigs. The camera is at ground level, shaking with each thundering footstep. Dust and debris fill the air. A flock of pterodactyls bursts from the canopy overhead. The stampede parts around a fallen tree, the camera narrowly avoiding being trampled. Hyper-realistic, jungle foliage flying everywhere, Jurassic Park energy, 8k, Spielberg cinematography.

A high-speed car chase on a rain-drenched highway at night. Two muscle cars weave through heavy traffic at 140mph, headlights slicing through the downpour. One car clips a semi-truck sending sparks showering across six lanes. The camera is mounted on the hood of the lead car, rain hammering the lens. Neon highway signs blur overhead. The pursuing car fishtails through a gap between two buses. Tires hydroplane on standing water. Hyper-realistic, motion blur, reflections on wet asphalt, 8k, Michael Mann cinematography.

【Style】Popular Chinese rich-tycoon (爽剧/Satisfying Drama) (Viral CEO Drama), vertical composition (Portrait Mode), high saturation filter, extreme facial close-ups, dramatic emotional range. 【Duration】15 seconds 【Characters】Humiliated groom (wearing cheap suit, eyes showing suppressed anger) VS disdainful mother-in-law (covered in jewelry, looking disgusted). [00:00-00:05] Shot 1: Extreme humiliation (Humiliation). Luxurious wedding venue. The mother-in-law slams a "divorce paper" onto the male lead's chest in front of everyone, surrounding guests burst into laughter. 【Action】Mother-in-law pokes her finger at the male lead's forehead. 【Dialogue lip-sync guidance】"Want to marry my daughter without a car or house? Take this hundred bucks and scram!" [00:05-00:10] Shot 2: Sudden reversal (The Turn). Male lead suddenly smirks and tears the divorce paper. At this moment, a massive helicopter sound (audio effect) drowns out the entire venue, the wind wildly messes up the mother-in-law's hair. 【Action】Male lead adjusts his collar, his aura instantly becomes domineering. 【Dialogue lip-sync guidance】"This marriage is what you want to cancel." [00:10-00:15] Shot 3: Rich tycoon reveal (The Reveal). The main door is kicked open, two rows of black-clad bodyguards rush in, kneeling on one knee to roll out a red carpet. An elderly butler tremblingly holds up a yellow robe (or ultimate black card) and runs to deeply bow in front of the male lead. The mother-in-law is so scared she collapses to the ground, her pupils shaking. 【Dialogue lip-sync guidance】The butler shouts: "Welcome back, Dragon King (Young Master)! Family assets have been unfrozen!"

【Style】Popular Chinese web drama style (Mini-Drama Style), extreme fast-cut rhythm, high attractiveness filter, emotional outburst, romantic and heart-wrenching rainy night. 【Duration】15 seconds 【Characters】Deeply affectionate tycoon male lead (black coat, wet hair, red-rimmed eyes) VS stubbornly broken-hearted female lead (white dress, face full of tears). [00:00-00:05] Shot 1: Rapid cut combination (Rapid Cuts). Rainy street. Female lead decisively turns to leave (back view). Male lead rushes up and grabs her wrist (close-up). Female lead suddenly turns back, eyes showing pain filled with love and hate. 【Dialogue lip-sync guidance】Female lead cries out: "Let go! We're done!" [00:05-00:10] Shot 2: Truth explosion (Intense Close-ups). Male lead refuses to let go, rainwater streaming down both their faces. Male lead urgently pulls out a ring (or a document) from his chest, raises it in front of her, fingers trembling. 【Dialogue lip-sync guidance】Male lead shouts: "Look carefully! I never deceived you!" [00:10-00:15] Shot 3: Emotional dam burst (Climax). At the moment the female lead sees the object in her hand, her pupils shake (extreme close-up), covers her mouth, defenses collapse. The next second, the male lead suddenly pulls her into his arms and holds her tightly, as if trying to merge her into his bones. The camera quickly rotates and circles around the two embracing. 【Dialogue lip-sync guidance】Female lead sobs with her head down (silent/whimpering).

10 second Chinese New Year Gala style stage performance: "Zhen Huan & Hu Fei Talk Show" 0–2 seconds: Medium two-shot. Stage overall is "living room sketch" setting, but surrounded by grandiose New Year red-gold LED screens. Zhen Huan (left) and Hu Fei (right) sit side-by-side on a modern talk show sofa. Key historical accuracy requirement: Both are dressed in magnificent, clearly distinct Qing Dynasty court robes with standing collars, intricate embroidery; hairstyles are authentic "big pull horns" or "dot heads" with tassel decorations. Hu Fei appears casual, holding a pickled cucumber to bite, fingers wearing long golden nail guards (finger guards). 2–4 seconds: Shot switches to over-the-shoulder (OTS), perspective on Hu Fei. Hu Fei exaggerates eye-rolling (classic "eye roll" expression). She holds a pickle with her long nail guards while pointing and gesturing, speaking with an arrogant tone (lip-sync): "This year's KPI is beating these little devils again, what aesthetic does that old man emperor know?" 4–6 seconds: Quickly switch to Zhen Huan's over-the-shoulder shot (OTS). Contrasting detail: Zhen Huan wears a modern white Bluetooth earphone on one ear (strong contrast with ancient jewelry), holding a thin tablet computer sliding with her hand. She responds calmly, professionally (lip-sync): "Sister don't be angry, this is called workplace involution. I'm thinking of quitting to sell 'Truth Serum' (healing balm)." 6–8 seconds: Close-up shot on the coffee table between the two. A modern plastic pearl milk tea cup with "One Red Stripe" (a famous punishment from the drama) printed on it sits next to a traditional porcelain vase. Lens quickly swings back to the two. 8–10 seconds: Full stage panorama. Audience laughter effect (presented through lighting changes/gap lights). Hu Fei poses for the final freeze: leg crossed, chin lifted, eye-rolling again. Zhen Huan smiles professionally toward the camera like a news anchor. Golden confetti falls from the air. Festival red atmosphere reaches its peak. Style and atmosphere: **Visuals:** High saturation New Year red and gold tones **Costumes:** Museum-grade Qing Dynasty court attire (silk, fine embroidery, heavy headwear) **Core contrast:** Formal Qing court protocol × Relaxing workplace/sketch performer attitude **Cinematography:** Sharp rhythm, clear comedy points, sketch-style editing **Aspect ratio:** 16:9

A massive cosmic arena forms in a blinding void, Tournament-of-Power scale. Crowds from countless universes roar. At the center stands the narrator: Gintoki Sakata, relaxed, wooden sword on his shoulder, bored eyes, sharp tongue. He announces the rules casually, almost mocking fate: "This tournament decides the strongest. Winner gets a harem." Beat. The crowd explodes. Gintoki sighs. "Yeah, yeah. Don't look at me like that. I didn't write the rules." The camera glides to elevated platforms revealing the women of legend, all clearly unimpressed in different ways: Bulma adjusts her device, already annoyed. Android 18 crosses her arms, deadpan. Hinata watches quietly, composed. Sakura cracks her knuckles. Nami smiles like she's already planning something. Boa Hancock looks away, offended by existence itself. Mikasa doesn't react. At all. Erza stands like a judge. Nico Robin smiles politely—dangerously. Rukia tilts her head, curious. Gintoki points. "First match. Try not to destroy the universe before lunch." Two tunnels ignite. From the left: Saitama walks out slowly, hands in pockets, face empty. He looks around. "Huh. This again." From the right: Goku steps forward, serious, focused, sensing something deeply wrong. "You're strong… but you look like you don't care." Close-ups alternate. Dust rises. Energy crackles. Gintoki stands between them. "Alright. Bald guy who's bored versus spiky guy who lives for this." Lights drop. Power surges. Comedy and catastrophe collide.

【Style】Mockumentary (Vlog Style), hyperrealism, fixed-camera real-shot feel, natural lighting, with a slight suspenseful comedy tone. 【Duration】15 seconds 【Main Character】An ordinary young beautiful woman, in front of the bathroom sink at home. [00:00-00:06] Shot 1: Daily setup (Normalcy). Scene: In front of a regular bathroom mirror. Action: The protagonist is brushing her teeth, mouth full of foam. She makes various funny faces (squinting, eyebrow-wiggling) at the mirror while brushing her teeth. Key detail: At this point, the reflection in the mirror is completely normal, movements synchronized. [00:06-00:11] Shot 2: BUG appears (The Glitch). Action: After brushing teeth, the protagonist lowers her head to spit out foam, then turns around to leave the bathroom. High-impact moment (core climax): Just as the protagonist's real body has turned and left the mirror frame, the "reflection" in the mirror **doesn't move**! That "reflection" still maintains the tooth-brushing pose, even mischievously raising eyebrows at the camera with a bad smile, staying for a full 2 seconds, before suddenly panicking and "fast-forwarding" to catch up with the original body's movements before disappearing. Director's note: Must create an extremely realistic "network delay" feel, as if the reflection has independent consciousness. [00:11-00:15] Shot 3: Comedic callback (The Punchline). Action: The protagonist, who has already walked to the door, seems to sense something is wrong, suddenly turning back to look at the mirror. Result: The mirror has now completely returned to normal, completely empty, only reflecting the opposite wall. The protagonist scratches her head in confusion, showing a life-questioning expression toward the camera. The frame freezes on the protagonist's confused face (comedy effect).

【Style】Mockumentary, mobile Vlog perspective, hyperrealistic CG combined with real scenes, 8K quality, perfect fur physics simulation. 【Duration】15 seconds 【Scene】Hongya Cave in Chongqing or a busy overpass intersection (with magical 8D city feel). [00:00-00:05] Shot 1: Visual spectacle (The Reveal). The scene shows a bustling city street. The camera lifts up to reveal a **Gozilla-sized orange tabby cat** stuck between two skyscrapers. Action: The giant cat is stuck because it's too fat, waving its huge paws with a pitiful expression, trying to pull itself out. Detail: Cat fur is clearly visible in the sunlight, huge paw pads pressing against glass curtain walls, deforming the glass. [00:05-00:10] Shot 2: Absurd interaction (The Interaction). The camera switches to ground-level perspective. Traffic flows on the street, traffic lights flashing. The giant cat lowers its head, bringing its huge cat face close to the ground, curiously sniffing a bus waiting at a red light. Action: The bus driver calmly reaches out and pets the giant cat's nose. The cat sneezes, instantly blowing away roadside leaves and pedestrians' hats (wind effect). [00:10-00:15] Shot 3: Memetic ending (The Punchline). The giant cat finally squeezes past the buildings and sits down on a cross-river bridge, causing the bridge deck to sink slightly (physical feedback). Narrative sense: It lazily lies down and starts grooming itself, blocking the entire evening rush hour traffic. The camera finally freezes on its innocent big eyes.