Prompts

Cinematic realistic single-take scene, one continuous unbroken 24-second shot, the same camera flowing from the first frame to the last. Vertical 9:16.

PATIENT. The person from @Image1, exactly as the sheet shows them: [AGE, HAIR, FACE, BUILD], strapped into a steel medical restraint chair in the centre of the set under a surgical lamp, thick leather wrist straps buckled over both forearms, ankle straps on, [OUTFIT, exactly as on the sheet], [PATIENT'S FIXED EXPRESSION, held even while chewing and even while transforming].

MONSTER. From 8.0s onward the patient is the figure from @Image2, exactly as the sheet shows them: the same person transformed, same face structure, [WHAT CHANGED: hair, skin colour, eyes, teeth, build, nails]. [THE SAME OUTFIT, and how it now fits the changed body]. Still strapped in the chair. [MONSTER'S FIXED EXPRESSION], held in every frame.

SCIENTIST. The person from @Image3, exactly as the sheet shows them: [HAIR, FACE, SKIN, EXPRESSION held in every frame, VOICE/LAUGH], wearing [GLASSES OR OTHER SIGNATURE ITEM], [COAT AND CLOTHES], a clipboard in the left hand, the torn-open [PRODUCT] bag in the right hand, the bag they have just been pouring into the monster's mouth. The [SIGNATURE ITEM] stays on their face for the whole film, through the hit, the fall and the landing, knocked crooked at the end.

PRODUCT. Exact bag from @Image4: [SHAPE: e.g. WIDE, FLAT, LANDSCAPE-FORMAT / tall upright], [COLOUR AND MATERIAL], [EVERY PIECE OF PRINTED ARTWORK AND LETTERING, named], every word upright, left to right, exactly as printed on the sheet. It is in the scientist's right hand, torn open at the top, still half full of [WHAT THE PRODUCT LOOKS LIKE LOOSE: size, colours, texture].

LOCATION. @Image5, environment reference: [THE SET IN ONE SENTENCE], the restraint chair bolted to a rubber mat in the centre under the surgical lamp, a steel instrument tray beside it, a [BENCH OR TABLE WITH A SOFT LANDING SURFACE: e.g. a bench heaped with dark soil] against the back wall, the scientist standing at the MONSTER'S RIGHT, a little behind the chair, half a step back from the armrest, between the chair and the bench, turned toward the monster with the clipboard raised, so the bench is directly behind them.

0.0s to 2.0s. EXTREME MACRO, the lens almost touching the patient's mouth: [EXPRESSION] while chewing, open-mouthed, slow and wet, teeth showing, bits of half-chewed [PRODUCT] from @Image4, [COLOURS], mashed between the teeth and caught [ON THE LIPS / IN THE BEARD], one piece stuck to a tooth. Loud wet chewing.

2.0s to 4.0s. The chin tilts up, the mouth opens wide, tongue out. From above, the scientist's hand tips the open @Image4 bag and a stream of [PRODUCT] pours in, pieces bouncing off the teeth and tongue. The lens rides the stream forward and INTO the mouth, past the teeth, over the tongue.

4.0s to 8.0s. THE THROAT. The lens follows the tumbling [PRODUCT] down the throat, which becomes [A FANTASTICAL INTERIOR IN THE BRAND'S WORLD: e.g. a glistening candy cave, walls of translucent gummy, stalactites of slime, drifts of sugar like snow, a river of syrup], the pieces cascading down it like a rockslide, everything lit from within in [BRAND COLOURS]. Wet, bright, absurd, alive. The pieces splash into the [RIVER / POOL] at the bottom and the whole cavern pulses once with light. The lens turns upward and rushes back up a [COLOUR]-lit tunnel toward a bright point.

8.0s to 9.5s. THE EXIT. The lens bursts OUT through the patient's RIGHT EYE: the pupil opening like an iris around the lens, the iris and the white flashing past the edges of frame, and in the same instant the lens is in the room air with the giant bulging eyeball filling the frame behind it, wet, veined, catch-light on the cornea. The lens pulls straight back: the left eye swings into frame beside it, then the mouth, then the [HAIR / FACE FEATURES], all of it already transformed: the patient is now the figure from @Image2. The pull-back keeps going to chest height a few feet back: the whole monster in frame, strapped in the chair, [EXPRESSION], the leather straps creaking over swollen forearms, the scientist at its right shoulder and a little behind, [LAUGHING / REACTING], the clipboard in one hand and the open bag in the other, the bench behind the scientist.

9.5s to 11.0s. THE BUST-OUT. Real speed. The monster rips both arms up: the leather wrist straps SNAP with a crack, buckles and torn strap ends flying. It LEAPS up out of the chair, the ankle straps tearing, and as it comes up its right shoulder and chest slam into the scientist's outstretched clipboard arm; the chair stays bolted to the floor behind it, rocking once. The scientist is knocked clean off their feet by the hulking monster, thrown UP AND BACK through the air with real weight and momentum, straight toward the bench behind them: heels leave the ground, body tips back with the hips leading, arms flung wide, head thrown back, [MOUTH / TONGUE / EXPRESSION AT THE MOMENT OF IMPACT], the clipboard leaving the left hand and the bag leaving the right, flung high into the air, flipping, a fan of [PRODUCT] leaving its torn top; the [SIGNATURE ITEM] stays on their face; the tray beside the chair stays put. The monster's mouth opens in a roar.

11.0s. TIME STOPS COMPLETELY.

11.0s to 19.0s. THIS IS A FROZEN STILL, A PHOTOGRAPH THE CAMERA FLIES THROUGH AT NORMAL SPEED. From 11.0s the entire room is a life-size sculpture. Every object is nailed rigidly in place in world space and holds that exact position for the full eight seconds: the scientist stays suspended mid-fall in the air, the bag and its fan of [PRODUCT] hang high above them, every strap end, hair, wisp of fog and droplet stays exactly where it was at 11.0s. Everything is razor-sharp, as sharp as a long-exposure photograph of a statue. THE CAMERA IS THE ONLY THING THAT MOVES, in slow, smooth, weighted arcs, coming to a complete stop and holding dead still on each hero.

11.0s to 16.5s. PRODUCT HERO. From the wide, the camera flies across the frozen room to the bag hanging high in the air above the scientist, the fan of [PRODUCT] fixed around it. The camera arcs around the bag until it is looking at the FRONT FACE, the printed side, from a slight three-quarter angle, and ROLLS so the bag's long edge runs diagonally from the lower-left to the upper-right of the vertical frame, the bag filling the frame corner to corner with the [PRODUCT] fan in the remaining corners, [MAIN LETTERING] fully readable along the diagonal. It ZOOMS IN until the bag fills the frame, comes to a complete stop, and holds still for three full seconds: a clean product shot hanging in the frozen air, [PACKAGING TEXTURE DETAILS], one piece of [PRODUCT] hanging in the foreground.

16.5s to 19.0s. TO THE LANDING SPOT. The camera leaves the bag and glides down and across the frozen room, passing the scientist frozen mid-fall in the air over the bench, tipped well back, [HAIR] streaming toward the floor, arms flung wide, coat mid-billow, clipboard hanging above them, [FROZEN EXPRESSION], [SIGNATURE ITEM] still on their face. The camera comes to rest low and close to the bench, level with where their back will land, framed TIGHT on the [LANDING SURFACE] and the wall behind it, the frozen scientist hanging in the top of the frame, and holds still there until 19.0s.

19.0s to 24.0s. Time resumes at full speed. The scientist drops the last few feet into the frame and lands on their back on the [LANDING SURFACE], [WHAT THE IMPACT KICKS UP], the clipboard landing on their chest, their head landing exactly where the camera was waiting for it, filling the frame. The impact knocks the [SIGNATURE ITEM] crooked, and they leave it there. A beat later the bag drops out of the air and lands flat right beside their head, front face up, the printed side to the lens, a few pieces of [PRODUCT] pattering down around it; it stays there in frame for the rest of the shot. The camera stays exactly where it stopped, tight on the scientist lying there with the bag beside their head, [LAUGHING], the monster out of frame. At 20.0s they turn to the lens and speak the whole line, clearly, every word: "[TAGLINE LINE]" The line runs from 20.0s to 23.0s, unhurried, the laugh pausing while they talk. At 21.5s, while they are mid-sentence, OFF-SCREEN to the right, heavy running footsteps and a deep crunching BOOM as the monster runs OUT through the right-hand wall, bursting from inside the room to the outside: the wall material blasts OUTWARD, away from the room, into the dark beyond, and a cloud of dust and a rain of loose debris fall back into the room from the right edge of frame and shower down over the scientist for the rest of the shot, dust rolling over them and settling in their hair. They keep [EXPRESSION] and keep talking through the dust, finishing the sentence at 23.0s, then one more [LAUGH] from 23.0s to the end.

RULES. Between 11.0s and 19.0s the world is a still photograph and the camera moves through it at normal speed; every object keeps the exact position it had at 11.0s, and the camera travels to each object. The [SIGNATURE ITEM] stays on the scientist's face in every frame, real size, one only. The bag is [SHAPE] in every frame, and [MAIN LETTERING] reads correctly, upright, left to right, exactly as printed on @Image4. The patient keeps [THE FEATURES THAT CARRY IDENTITY, e.g. hair and beard] from the first frame to the last; the transformation changes their colour and leaves their shape. The scientist and the monster hold their [EXPRESSIONS] in every frame. There is exactly one scientist in the film. From 19.0s on the frame holds on the scientist; the bag landing beside them and the falling dust and debris are the only things that enter it. Three things move at the bust-out: the straps, the scientist, and the bag and clipboard leaving their hands; the chair and the tray stay where they are. The film is one continuous shot at a single speed outside the freeze, and the frame carries picture only: the only lettering anywhere is on the bag and the walls of the set.

STYLE. Ultra-realistic cinema camera footage, ARRI-style colour, practical lighting only: [THE SET'S LIGHT SOURCES]. Pore-level skin, real fabric, real materials. Natural motion blur in the moving sections only. Extreme macro at the top and in the product hero; the throat section is the one place the palette goes fully saturated, everywhere else the colour comes from the practicals. Real physics, real weight.

AUDIO. Loud wet chewing at the top, the rattle of [PRODUCT] pouring, a wet rushing slide in the throat with pieces clattering, a rushing whoosh and a wet squelching pop bursting out of the eye, the creak of leather straps, the scientist's [LAUGH] under everything from 2.0s to 11.0s rising as the monster stands, the crack of straps snapping and buckles hitting the floor, a grunt, a roar, a whoosh as the scientist is launched. At 11.0s all ambience cuts to near silence: only a low sustained tone and faint camera air for the whole frozen section. Full sound snaps back at 19.0s: a body landing on [LANDING SURFACE], [IMPACT SOUNDS], the clipboard slap, the bag flopping down beside them, the scientist's [LAUGH] wheezing back to life. DIALOGUE, the scientist, on camera, 20.0s to 23.0s, [DELIVERY], the complete sentence spoken clearly with every word audible over the effects: "[TAGLINE LINE]" Under the second half of the line, off-screen, heavy running footsteps and a deep crunching BOOM as the wall gives way, debris thudding away outside, grit pattering down over them, dust hissing, the effects sitting below the voice so the words stay clear. Sound design and voice only; the soundtrack is the room, the bodies and the scientist.

Cinematic realistic single-take scene, one continuous 16-second shot, no cuts.

SUBJECT. A tall, broad-shouldered, muscular man with long wavy auburn-brown hair past his shoulders and a full reddish-brown beard. Exact outfit from @image1 and nothing else: white heavyweight cotton crewneck T-shirt with a centered chest graphic of a smiling teal cartoon dinosaur in a party hat on an orange skateboard over a mustard yellow circle; khaki tan chino shorts above the knee; brown leather belt with brass buckle; navy canvas low-top sneakers with white soles and white laces; steel watch on a brown leather strap, left wrist. Bare arms, bare legs.

SUNGLASSES. Exact pair from @image2: squared navigator aviators, glossy red acetate outer rims, polished silver double bridge, silver temples, red rubber temple tips. Lenses are red-to-purple tinted glass, only lightly mirrored - the street behind them and his eyes behind them are both clearly visible through them. A white "Ray-Ban" script logo in the upper outer corner of the LEFT lens. A small yellow Ferrari shield in the upper outer corner of the RIGHT lens, and a second yellow Ferrari shield on the silver temple arm.

PROPS. Exactly two, and they never touch each other at any point. Right hand: ONE clear plastic Chatime iced boba milk tea cup, domed lid, wide straw, black tapioca pearls in the bottom, with the Chatime wordmark and leaf mark printed clearly on the front of the cup facing the lens. Left hand: ONE McDonald's french fry carton - solid bright red card with the yellow Golden Arches "M" printed large on the front panel - packed with golden fries. Every logo in this film reads upright and left to right, correctly spelled, never mirrored, reversed or garbled.

LOCATION. @image3 Wide sunlit downtown plaza sidewalk, glass and stone buildings, stone planters with small trees, midday.

0.0s to 2.0s. Lens one inch above the pavement, looking forward. His navy sneakers stride toward the lens, white soles flexing, shadow sharp on the stone. The lens rises smoothly up his bare legs and torso to his face while drifting backward at his walking pace so he stays the same size in frame. Both props visible, both logos facing the lens.

2.0s to 3.5s. Lens at chest height, tracking backward ahead of him at walking speed. From the right edge a small remote-control buggy with oversized knobby tires and a bright green shell darts out from behind a planter toward his feet.

3.5s to 4.0s. Real speed. His right sneaker lands on the buggy. It shoots out from under him, his ankle rolls, his knee buckles, his body pitches forward and down, both hands fly open. The Chatime cup launches up and to his right, the McDonald's carton launches up and to his left, the sunglasses lift off his nose.

4.0s. TIME STOPS COMPLETELY.

4.0s to 12.0s. THIS IS A FROZEN STILL, NOT SLOW MOTION. From 4.0s the entire world is a life-size sculpture - a single photograph the camera is allowed to fly through. Every object is nailed rigidly in place in world space and holds that exact position for the full eight seconds. Nothing moves at all. The man does not fall. The cup does not tumble. The carton does not rotate. No fry leaves the carton, no pearl falls, no droplet travels, no hair blows, no pedestrian steps, no leaf stirs. There is zero motion blur on anything.

THE CAMERA IS THE ONLY THING THAT MOVES. All apparent movement in this section comes from the camera flying, orbiting and pushing in through the still scene. It moves in slow, smooth, weighted arcs, and it comes to a complete stop and holds dead still on each logo.

Frozen pose held for the whole section: tilted forty-five degrees toward the ground, left shoulder leading, hair swept out behind him, T-shirt taut across the dinosaur graphic, BOTH HANDS COMPLETELY EMPTY with fingers spread, eyes wide, mouth open, the buggy on its side under his foot with its tires stopped mid-spin. The fries that came out of the carton are already out and already fixed in the air in their final positions at the instant of the freeze.

4.0s to 6.0s. SUNGLASSES HERO. The camera flies from the wide shot to the sunglasses hanging motionless in midair and pushes in until they fill the frame edge to edge. It orbits slowly from the silver temple arm - the yellow Ferrari shield passing through frame in razor-sharp macro - across the double bridge, then comes to a complete stop square on the left lens and HOLDS STILL for a full second with the white Ray-Ban script logo dead center of frame, sharp and fully legible. Through the tinted glass of that lens the frozen buildings, the frozen pedestrians and his own frozen wide eye are clearly visible on the other side. Everything behind the glasses is soft creamy bokeh.

6.0s to 8.0s. McDONALD'S FRIES HERO. The camera leaves the glasses and flies across the frozen scene to the red McDonald's carton, hanging alone in the air with no cup anywhere near it and its loose fries fixed motionless in a fan around it. It pushes in until the carton fills the frame edge to edge, arcs around until the yellow Golden Arches "M" is upright and dead center against the bright red card, then comes to a complete stop and HOLDS STILL for a full second on that logo. Extreme macro: card fibre, the crisp print edge of the arches, salt crystals, the frozen edge of every suspended fry.

8.0s to 10.0s. CHATIME BOBA HERO. The camera leaves the carton and flies to the Chatime cup, hanging alone in the air with no fries anywhere near it, its lid lifted an inch off the rim and a sheet of milk tea and dozens of black tapioca pearls fixed motionless in the air above it. It circles the cup at label height until the Chatime wordmark is upright, unmirrored and dead center, pushes in until the cup fills the frame edge to edge, then comes to a complete stop and HOLDS STILL for a full second on that logo. Extreme macro: condensation beads, ice cubes, suspended droplets, the straw angled out of the lid, tapioca pearls frozen in the milk tea behind the printed logo.

10.0s to 12.0s. The camera drifts off the cup, across his empty open right hand, along his bare forearm, up to his frozen face, then cranes back and out to a wide view of the whole frozen tableau - the man mid-fall, the buggy, and all three objects still hanging exactly where they were at 4.0s.

12.0s to 16.0s. Time resumes at full speed. He drops the rest of the way, hits the pavement on his left forearm, then his shoulder and hip, head whipping to the side, hair spilling across the stone. He rolls once onto his back and ends flat, arms out, chest heaving, the dinosaur graphic facing the sky. The buggy skitters away on its side and stops beside a planter. Fries scatter, pearls roll, milk tea spreads in a puddle, the red McDonald's carton lands on its side, and the sunglasses land lens-up near his head. The camera settles low and locked off a few feet away, looking down the plaza at him lying still in the debris field. He lifts his head, looks at the buggy, and lets it drop back.

CONSISTENCY. Exact face, beard, hair, muscular build, body proportions and outfit from @image1 in every frame, including the exact T-shirt graphic. Exact frame shape, red rims, silver double bridge, lens tint and all three logos from @image2 in every frame. Environment reference for architecture, atmosphere and lighting only.

DO NOT. Do not use slow motion anywhere between 4.0s and 12.0s. Do not let any object drift, tumble, rotate, fall, pour or spill during the freeze. Do not let fries continue coming out of the carton. Do not move the objects toward the camera - move the camera toward the objects. Do not mirror, reverse, misspell or garble "Ray-Ban", "McDonald's" or "Chatime". Do not make the fry carton striped or white - it is solid red with yellow arches. Do not put the fries inside the cup. Do not show a second cup or a second carton. Do not put anything back in his hands after 4.0s. Do not dress him in a jacket, long sleeves or jeans. Do not make the lenses opaque or fully mirrored. Do not cut, whip-pan or speed-ramp.

STYLE. Ultra-realistic cinema camera footage, ARRI-style color, bright midday sunlight, soft shadows, realistic glass reflections. Natural motion blur in the moving sections only. Extreme macro and shallow depth of field in the three product heroes. Real physics, real weight.

AUDIO. Downtown ambience, footsteps, traffic, the high whine of the buggy motor and tires buzzing on stone, a plastic crunch and a grunt at 4.0s. At 4.0s all ambience cuts to near silence - only a low sustained tone and faint camera air for the whole frozen section. Full sound snaps back at 12.0s: the slap of a forearm, the thud of a body on stone, pearls scattering, the buggy clattering into the planter, a distant "oh no" from a kid. No music, no subtitles.

Photorealistic single continuous shot, 20 seconds, vertical 9:16. Locked-off camera looking straight down from the ceiling at a living-room floor: a cream Persian rug on dark herringbone parquet, with a burgundy velvet sofa along the left edge of the frame. A ceiling fan hangs just below the camera, so close to the lens that its dark wooden blades are huge, soft and out of focus. The fan turns slowly the whole time, and about every four seconds one blade sweeps across the frame and covers the person's whole body as it passes.

The person is the one in @image1, exactly as the sheet shows them: same face, hair and build. They lie on their back in the middle of the rug, arms down along their sides, looking up at the camera. They breathe, blink and smile a little. Their pose, the rug, the sofa and the light never change.

Each time a blade fully covers them, their outfit changes behind it, and they are revealed in the next look as the blade clears. Every garment and the shoes match the reference image exactly:
0 to 4s: [LOOK 1], exactly as in @image2.
4 to 8s: [LOOK 2], exactly as in @image3.
8 to 12s: [LOOK 3], exactly as in @image4.
12 to 16s: [LOOK 4], exactly as in @image5.
16 to 20s: back to look 1.

Only the clothes change. Face, hair, pose and the room stay exactly the same. Soft warm window light, natural skin texture. No text, no other people.

Recreate the scene in @Video1 as a new shot, 30 seconds, 16:9. @Video1 is the motion reference only: copy its choreography, timing, camera and framing. Do not copy any of its people.

MOTION (keep exactly as @Video1): the same single continuous take, the same camera move, lens, framing and focus pulls, the lead's walk path and stillness, and the crowd blocking. From about 21.5 seconds the whole crowd moves in sync on the same beats as @Video1: convulse, bow, heads snap back, look to the sky, repeat. No cuts.

LEAD: The lead is the person in @Image1, a completely different person from the man in @Video1. Use only @Image1's face and hair in every frame. There is only ONE of them and they never appear in the crowd. They wear the outfit in @Image2: [YOUR OUTFIT, ONE LINE]. They are the only saturated colour in the frame. Bare hands, no tattoos. In the opening close-up they smoke the cigarette from @Image2 exactly as the lead does in @Video1: the same drag and the same exhale of smoke, on the same timing. They keep the lead's poses, gaze and stillness throughout.

CROWD: Every other person is a new adult in their mid-20s to 30s; none of the faces from @Video1 appear. They all wear the outfit in @Image3: [CROWD OUTFIT, ONE LINE]. Varied ethnicities, hairstyles and beards, a mix of men and women. No school uniforms, ties, crests or blazers. The crowd is as dense, still and tightly packed as in @Video1.

PLACE: [YOUR LOCATION: e.g. a modern tech-campus plaza, concrete and floor-to-ceiling glass, a large arched glass entrance behind the crowd], overcast flat daylight. Same camera height and perspective as @Video1. Desaturated, cool, soft contrast, 35mm film texture.