Prompts by Deniz Akkabak

FORMAT: 16:9, 15 seconds, one continuous handheld shot, no cuts, real-time. REFERENCES: @Image 1 = reference only, NOT the first frame: use it for the misty rocky valley with the stream, the cave mouth, the small campfire with blue smoke, the long-haired caveman in fur pushing the round stone wheel with a hole in the middle, the tribe in furs around the fire (the old grey-bearded elder, the man with the spear, the women, the small child), the rough rocks framing the view in the foreground, the flat misty light. The video does not open on this image and does not copy its framing; there is NO car anywhere in the valley at the start, and it starts a little earlier, with the caveman still rolling the wheel toward the tribe. @Image 2, @Image 3, @Image 4, @Image 5, @Image 6 = the car only (ignore studio backgrounds, night road and desert): a low pearl-white wedge-shaped electric sports car, sharp faceted panels, dark bronze-tinted glass roof, thin full-width light bar at the front, red full-width light bar at the rear, black six-spoke wheels, rear wing. @Image 7 = flight mechanism only (ignore the night stage and crowd): four pressurized air jets under the car near each wheel, firing as dense white vapor columns that lift the car. TIMELINE: 0-4s: someone hiding behind the rocks films through the gap between them: the caveman rolls the stone wheel the last few meters, stops it, slaps it proudly with both hands and points at it, grunting to the tribe; they stare at it, the child points too. No car in sight, the valley is empty. 4-8s: the tribe erupts: primal whoops, they rush in, lift the caveman up onto their shoulders and bounce him up and down, spears and fists raised, the child jumping around the wheel, the elder clapping. 8-11s: in the middle of the celebration, the white car comes flying low out of the misty valley on its air jets, dust trailing, sweeps from left to right right in front of the tribe, does one fast sideways roll around its own long axis as it passes, nose always pointing the way it is flying, and shoots off out of frame to the right. A wave of dust and smoke washes over everyone; the tribe freezes mid-cheer, the caveman still up on their shoulders. 11-15s: a sudden jerky digital zoom pushes in very close on the caveman's face: wide eyes, mouth hanging open, staring after the car, then slowly looking down at his stone wheel. The zoom is soft, grainy and slightly pixelated, autofocus hunting on his face, small shakes. Ends on his stunned face. CAMERA: filmed on an iPhone by someone hidden behind the rocks holding the phone in the gap: the action stays small to medium in the frame until the final beat, which is a very close but soft, grainy digital zoom on the caveman's face; shaky handheld drift, sudden jerky 2x to 3x digital zooms in and out with zoom softness, autofocus hunting between the foreground rocks and the tribe, auto-exposure pumping against the bright misty sky, rolling-shutter wobble on fast moves, the out-of-focus rocks framing and partly blocking the view, reacting a beat late. No fingers, hands or phone of the operator ever visible. STYLE: raw everyday iPhone video: over-sharpened, compressed, noisy, Smart HDR, white balance a little off. Not cinematic. MOTION: true real-time speed, real physics: the stone wheel is heavy, the car has weight, the jets kick up real dust and push the campfire smoke, the roll is one continuous rotation around the car's long axis only. The car is one rigid object: front always at the front, rear always at the rear. AUDIO: wind through the valley, the stream trickling, the campfire crackling, the heavy stone wheel grinding over gravel, grunts, primal whoops and stomping, a rising electric whine, a loud pressurized air hiss and roar sweeping past from left to right, gravel and dust pattering down, then sudden silence and the wind. No music, no clear words. NEGATIVE PROMPT: slow motion, starting on the reference image, car visible at the start, sharp clean close-up, cinematic camera move, dolly, crane, gimbal, stabilization, cinematic color grade, shallow depth of field, cuts, music, fingers or hands of the operator, camera interface, text overlays, readable text, logos, rocket exhaust, wings, propellers, explosion, crash, the car hitting anyone, injuries, front and rear swapping, the car turning around, end-over-end flip, drone, CGI look, morphing, car shape changing, the caveman's face changing, the stone wheel changing shape, extra limbs, people appearing from nowhere.

SEEDANCE 2.5 · REFERENCE TO VIDEO · 30 S FORMAT: 30-second cinematic multi-shot sequence, 4:3, 1080p, native dialogue and sound. Hard cuts between shots, real-time action, no slow motion. STYLE: A real night scene filmed on an iPhone, with the texture of an ARRI Alexa and ARRI Signature Prime lenses: low contrast, lifted blacks, soft highlight roll-off, creamy background falloff, muted desaturated grade, fine sensor grain. Handheld operator with natural micro-shake and small breathing drift, no smooth gimbal. Warm amber light from the canopy lanterns and downlights, cool blue-hour sky ambient, wet stone pavement with soft reflections. The penlight is a small hard cool-white source. REFERENCES: @Image 1: LOCATION, BLOCKING AND GRADE ONLY. The hotel entrance under the coffered canopy with hanging brass lanterns, the brass stanchions with black velvet ropes, the round brushed-steel hatch set flush into the wet pavement, the queue receding along the facade, the guard standing to the right of the hatch. Not a first frame: the woman starts one step behind the hatch, not on it. @Image 2: THE WOMAN. Character sheet: face, black layered hair with wispy bangs, septum ring, freckles, oversized white Racing 90 tee over sheer black lace sleeves, black satin slip skirt, red bead necklace, red patent shoulder bag, black Mary Jane flats. Ignore the grid, labels and studio background. @Image 3: THE YOUNG MAN. Character sheet: face, messy black fringe, thin round silver wire glasses, stud earrings, black leather jacket, white shirt, red tie, black wide trousers with a silver chain, chunky black shoes. Ignore the grid, labels and studio background. @Image 4: THE CURLY-HAIRED MAN. Character sheet: face, short dense curly dark brown hair, moustache and goatee with stubble, brown eyes, glossy crinkled burgundy leather bomber jacket worn open, white button-up shirt, cream straight-leg jeans, burgundy suede running sneakers, black square sunglasses. Ignore the grid, labels and studio background. @Image 5: THE GUARD. Character sheet: face, swept-back dark hair, stubble, stern eyes, black button-up shirt, black trousers, black belt, clear coiled earpiece, small black aluminium penlight. Ignore the grid, labels and studio background. @Image 6: THE BOOK. A black linen hardcover; use the front cover design exactly as shown. Use every character sheet to restore each face precisely: same bone structure, skin texture, hair and proportions in every shot. VIDEO PROMPT: 0.0 to 3.0s. Over-the-shoulder from behind the guard, his right shoulder and the back of his head large in the right of frame, earpiece coil visible, exactly the diagonal of @Image 1. The woman stands at the front of the queue, one step behind the steel hatch. She steps forward and plants both feet on the centre of the hatch. The guard lifts the penlight to her eye level, clicks it on and holds the beam on her face. She squints and tilts her head away. The guard speaks, flat and dry. {Are you a real person?} 3.0 to 5.0s. Reverse medium close-up on the woman, eye level, the guard's black shoulder soft in the left foreground. The cool beam hits her eyes and cheek, the rest of her face in warm canopy light. She answers with an offended little smile. {Of course.} 5.0 to 6.5s. Close-up on the guard, slightly low angle, the penlight glare blooming in the lower foreground. He does not blink. {AI.} 6.5 to 9.0s. Close-up on the woman, she leans in, mouth open in outrage, hand flicking at the light, bag strap sliding on her shoulder. {Oh my God, are you kidding me? I am real.} 9.0 to 10.0s. Close-up on the guard, deadpan, one small shake of the head. {Nope.} 10.0 to 11.5s. Top-down shot straight above the hatch. The two steel half-doors split along the centre seam and swing down with a heavy mechanical clunk. The woman drops straight down out of view into darkness, unhurt, her bag following. 11.5 to 13.5s. Camera inside the dark shaft looking straight up through the open round hatch: a bright circle of canopy light, lantern glow and wet rim. The young man from @Image 3 leans over the edge and peers down, glasses catching the light, faces of the queue behind him. The guard's voice comes from above. {Next.} The half-doors swing up and slam shut, frame to black. 13.5 to 16.0s. Over-the-shoulder behind the guard again, same diagonal as the opening. The young man steps onto the hatch, pushes his glasses up, chin raised, cool. The beam hits his face and reflects as two small dots in his lenses. {I am real, man.} 16.0 to 18.0s. Close-up on the guard, flat. {Nope.} Cut wide: the half-doors drop, the young man vanishes straight down, tie flicking upward, the doors snap shut. Behind the rope the curly-haired man, sunglasses on, tilts his chin slightly, unbothered. 18.0 to 20.0s. Medium shot from the guard's side. The curly-haired man from @Image 4 strolls forward wearing the black sunglasses. As his foot lands on the hatch he takes the sunglasses off with his right hand in one smooth unhurried move and folds them, a small half-smile. The guard raises the penlight to his bare eyes. He answers calmly. {Real as it gets.} 20.0 to 22.0s. Extreme macro close-up of the curly-haired man's right eye filling the frame: brown iris fibres, wet tear film, individual lashes, fine skin texture at the edge. The penlight beam enters and the pupil visibly constricts in a quick smooth reflex, the bright point reflecting on the cornea. The beam slides away and the pupil slowly widens back. Fine skin texture, real moisture. 22.0 to 23.5s. Medium close-up on the guard. He clicks the light off, gives one short nod and unhooks the velvet rope with his free hand. {All right. You are in.} 23.5 to 26.5s. Tracking from behind, low shoulder height: the curly-haired man walks past the guard toward the glass doors, easy rolling stride, burgundy leather catching the lantern light, folded sunglasses in his right hand. Over his right shoulder we look down at his left hand: he carries the black hardcover book from @Image 6, cover facing up, swinging gently with each step. Lantern light slides across the cloth. 26.5 to 30.0s. Close-up on the book in his hand as he walks, camera matching his pace, then he slows and the cover holds steady and sharp to the end. The cover reads exactly, in large white condensed letters: ULTIMATE CINEMATIC REALISM BLUEPRINT, with the arcads logo underneath and the film strip of four portraits below, exactly as on @Image 6. Final 1.5 seconds hold on the cover. AUDIO: Diegetic only, no music. City night ambience under everything: distant traffic, soft crowd murmur from the queue, a faint drip from the canopy edge, footsteps on wet stone. <penlight click> at 1.5s and again at 22.0s. <heavy steel latch clunk and hydraulic hiss> at 10.0s and 16.5s. A short surprised yelp from each falling character fading downward. <hatch slam echoing in the shaft> at 13.0s. <velvet rope hook unclipping> at 22.8s. Soft cloth rustle of the book against his hand from 24.0s. VOICES: GUARD: male, mid forties, low flat American English voice, dry, clipped, quiet authority, never shouting. WOMAN: female, early twenties, American English, slightly husky alt-girl voice, offended and rising into disbelief. YOUNG MAN: male, about twenty, soft light tenor, American English with a subtle Korean accent, cool and a little mumbled. CURLY-HAIRED MAN: male, mid-thirties, natural American English accent, smooth warm baritone with a slight husky grain, relaxed and effortlessly confident, a subtle smile in the voice, clear articulation, never shouting. Each line is spoken once, by its own character, in the shot where it appears. CONSISTENCY: Every face matches its character sheet exactly in every shot. The guard keeps the earpiece and the black penlight in his right hand for the whole video; the penlight never leaves his hand. The young man never removes his round wire glasses. The curly-haired man wears the sunglasses until he stands on the hatch, removes them there and never puts them back on. The woman keeps the red bag on her shoulder until she drops. Queue order never changes: woman, young man, curly-haired man, then strangers. The hatch is the same round steel hatch in every shot. Location, lanterns and low-contrast grade stay identical. The book cover is identical to @Image 6. NEGATIVE PROMPT: cars, high contrast, crushed blacks, oversaturated color, smooth gimbal, slow motion, character sheet grids or labels, subtitles, captions, extra spoken words, narration of the prompt, garbled book title, changed faces, young man's glasses removed, teal cap, tattoos on the curly-haired man, sunglasses back on after removal, extra people on the hatch, injury, blood, watermark

VIDEO BRIEF · SEND IN THE SAME CLAUDE CHAT create a funny influencer video of this character getting into funny, ridiculous situations in real life and then edit the video in the invideo Editor.

SEEDANCE 2.5 · @IMAGE 1 = THE STILL ABOVE · 10S · 1080P · AUDIO OFF FORMAT: 16:9, one continuous 10 second take, no cuts, real-time speed. REFERENCE: @Image 1 is the EXACT FIRST FRAME. Start on it with no change: same muddy lane, turf-roofed houses, Viking woman in the doorway, dented parcel in the mud, neighbour with the broom, chickens, light and texture. TIMELINE: 0-2s: the flying mud settles around the parcel; the woman steps down from her doorway, wiping her hands on her apron. 2-4s: she picks the box up out of the mud, shakes it off, and gives a small satisfied nod up toward the sky in the direction it came from. 4-7s: she slits the tape with a small knife from her belt, pulls the flaps open, pushes the paper aside and lifts out a sleek modern hair styling wand: a long slim cylinder in deep fuchsia and polished copper, with a set of matching curling barrel attachments in a fitted case inside the box. The bystander zooms in shakily on it, focus hunting. 7-10s: she admires it, clicks a curling barrel onto the end and immediately wraps the end of her long braid around it, its power cord dangling with nowhere to plug it in; across the lane the neighbour stops sweeping and stares with open envy. Zoom out, image shaking. CAMERA: real-time footage filmed on a smartphone held by an ordinary bystander standing in the lane, like a real viral phone clip. Natural hand shake and breathing sway, small jerky digital zooms with no fingers, hands or phone of the operator ever visible in frame, autofocus briefly drifting and snapping back, auto-exposure shifts, natural motion blur, the person reacting a beat late. Modest, believable real-world physics; no slow motion. STYLE: same texture, grain and color as @Image 1 for the whole take. Deadpan. Nobody looks at the camera. CONSISTENCY: the woman's face, braids and clothes, the houses, the neighbour and the parcel stay identical to @Image 1. NEGATIVE PROMPT: no brand names, no logos, no readable text on the box or the product, no fingers or hands of the camera operator in frame, no camera interface, no cinematic camera move, no gimbal, no stabilization, no static tripod frame, no slow motion, no cuts, no CGI look, no AI sheen, no morphing, no warping hands, no extra fingers, no extra limbs, no people appearing from nowhere, no horned helmets, no one looking into the lens.

SEEDANCE 2.5 · @IMAGE 1 = THE STILL ABOVE · 10S · 1080P · AUDIO OFF FORMAT: 16:9, one continuous 10 second take, no cuts, real-time speed. REFERENCE: @Image 1 is the EXACT FIRST FRAME. Start on it with no change: same Pharaoh, craftsmen, sarcophagus, tape measure, workshop, light and texture. TIMELINE: 0-3s: the craftsman pulls the yellow tape measure from the Pharaoh's head down to his feet inside the open sarcophagus, reads it, and lets it snap back into the case with a jerk; the Pharaoh flinches slightly. 3-5s: the craftsman shows the number to the one writing on the wax tablet; they both nod and the writer scratches a note. 5-7s: the craftsman holding the heavy lid starts to tilt it down over the sarcophagus to test the fit. 7-10s: the Pharaoh's hand shoots up from inside to stop the lid; everyone freezes; the lid holder slowly lifts it back up; the Pharaoh sits up halfway, uneasy; the bystander zooms in on his face. CAMERA: real-time footage filmed on a smartphone held by an ordinary bystander in the workshop, like a real viral phone clip. Natural hand shake and breathing sway, small jerky digital zooms with no fingers, hands or phone of the operator ever visible in frame, autofocus briefly drifting and snapping back, auto-exposure shifts, natural motion blur, the person reacting a beat late. Modest, believable real-world physics; no slow motion. STYLE: same texture, grain and color as @Image 1 for the whole take. Nobody looks at the camera. CONSISTENCY: faces, costumes, the sarcophagus and the tape measure stay identical to @Image 1. NEGATIVE PROMPT: no fingers or hands of the camera operator in frame, no camera interface, no text overlays, no cinematic camera move, no gimbal, no stabilization, no static tripod frame, no slow motion, no cuts, no CGI look, no AI sheen, no morphing, no warping hands, no extra fingers, no extra limbs, no people appearing from nowhere, no logos, no one looking into the lens.

INVIDEO EDITOR BRIEF Shape flicker transition At every cut (or marker), add a short burst of 4-5 solid white rectangles on their own layer above the video. Set them to Difference blend, overlapping with staggered edges, each blinking rapidly on and off (1-2 frames) out of phase with the others. At the peak, right on the cut, they should cover about 90% of the frame, leaving only slivers of picture. Coverage builds a few frames before the cut and falls away a few frames after, about a third of a second total. Every cut gets a different arrangement and blink pattern. For vertical video, use tall slabs and wide bands across the narrow width. Don't split or trim clips, and leave audio untouched.

INVIDEO EDITOR BRIEF Edit my uploaded video at every timeline marker. Apply a different GPT Image 2.5 mixed-media treatment to each frame from 10 frames before to 10 frames after each marker, inclusive. Give every marker a distinct style that fits its scene, and add a subtle matching sound effect. Keep the original frame order, cuts, dialogue, music, runtime, and all unmarked footage unchanged. Place everything on the timeline and export the finished video.

X-Ray Hit Effect Brief Create a dynamic, frame-by-frame X-ray effect for every moment a person is struck by the ray gun in the supplied video. Identify each impact section precisely. For every frame in each section, extract that exact source frame and create a separate GPT Image 2.5 Sunburst edit. Preserve the person’s pose, face, camera framing, background and existing motion from that frame. Add evolving cyan electrical sparks and bright bone details, keeping the X-ray aligned with the person as they move. Do not reuse one image across multiple frames. Place each edited image over its matching video frame on an upper video track, at exactly one frame long. Every frame of every impact section must be covered, with no gaps. Keep the original footage and audio underneath, and end the effect as soon as the impact ends. Do not replace this with occasional flash frames or a held image. Export at the source frame rate and aspect ratio. Before delivery, inspect the rendered video frame by frame to confirm that every impact frame contains its matching edit, the faces and backgrounds remain consistent, and the original audio is uninterrupted.

SEEDANCE 2.5 · IMAGE TO VIDEO · @IMAGE 1 FORMAT: 15s / 9:16 vertical / one continuous handheld shot, no cuts / natural sync sound, no music STYLE: raw candid smartphone video shot from across the street, looks like a bystander filmed it and posted it. Photorealistic, low contrast, muted desaturated colors, flat overcast daylight, real concrete and asphalt texture, phone sensor noise, slight rolling-shutter wobble on fast moves, focus hunting, digital zoom softness when zoomed in. Handheld level 2 to 3: the camera is a phone held in someone's hands, it bounces with the operator's breathing and small steps, reframing lags behind the action, no smooth gimbal, no stabilization. Everything is real animals with accurate anatomy, size and feather/fur texture. No CGI feel, no cinematic grading. REFERENCES: @Image 1 is the exact FIRST frame, start with no change. Lock everything in it: the grey feral pigeon standing upright on the cracked sidewalk, the small black Wayfarer sunglasses on its face, the small black pistol held in its right wing, the grey concrete wall, the curb, the litter, the cigarette butt, the white lane line, the passerby's legs in dark shorts and black clogs at the right edge. The pigeon is the only hero. The passerby simply finishes walking out of frame to the right. VIDEO PROMPT: 0.0s to 2.0s: Open on the exact frame of @Image 1. The passerby's legs step out of frame right. The pigeon turns its head, then starts walking, upright on two feet with a slow, unbothered swagger, pistol still in its right wing hanging at its side, barrel down. It steps off the curb onto the asphalt. The phone camera drifts slightly and reframes late, a small bounce from the operator shifting weight. 2.0s to 4.0s: The camera performs a shaky digital zoom in on the pigeon as it walks along the road toward the camera side of the street, slight focus hunt, the image gets a bit softer and noisier as the zoom tightens. Sunglasses stay on. 4.0s to 6.0s: The camera pulls the zoom back a little and pans left, revealing the middle of the street ahead of the pigeon: a scruffy tabby street cat crouched on the asphalt with a real small grey mouse held in its mouth, and two more street cats, one black and one orange, sitting close on either side of it, all three looking down at the mouse. The pigeon keeps walking straight at them. Distant traffic passes in the background. 6.0s to 8.5s: The pigeon stops about two meters from the cats, plants its feet, raises the pistol straight up over its head with its wing, pointed only at the empty sky, and fires two short blank shots upward, then a third. Small sharp muzzle flash, a puff of smoke, the wing kicks slightly with each recoil. The phone camera jolts hard with each crack, the operator flinches, the frame jumps and over-rotates, then corrects back onto the pigeon. Nothing and no one is hit. 8.5s to 11.0s: All three cats startle at the first crack. The tabby drops the mouse. The cats bolt with real cat physics, low bodies, scrambling paws, tails puffed: the tabby sprints far down the road and shrinks into the distance, the black cat darts left under a parked car, the orange cat leaps sideways to the right and vanishes behind the curb. The freed mouse scurries fast across the asphalt and squeezes into a storm drain opening in the curb near the camera. The camera whips toward the fleeing cats, lags, then finds the pigeon again. 11.0s to 15.0s: The pigeon lowers the pistol back to its side, barrel down, and continues its walk straight toward the camera across the road with the same slow gangster swagger, head bobbing, feet clicking on the asphalt. The camera performs a second shaky digital zoom in, slowly tightening on the pigeon's head and black sunglasses as it walks, focus breathing, sensor noise rising. The pigeon fills the lower frame, sunglasses on, pistol hanging at its side, and walks past the lens at the last moment. End on the pigeon close and slightly out of focus, camera still handheld and unsteady. AUDIO: Natural street ambience only: distant traffic hum, a car passing, wind on the phone microphone, the passerby's clogs slapping away, the pigeon's claws ticking on concrete then asphalt, <three short sharp pistol cracks echoing off the concrete wall, a fraction apart>, a muffled phone-mic clip and the operator's small startled breath on the first crack, cats hissing and yowling once, the scramble of paws on asphalt, a tiny mouse squeak and a scrape at the drain, then the ambience settles back to traffic and the pigeon's steady footsteps growing closer to the microphone. No music, no narration, no spoken words. CONSISTENCY: The pigeon is the same bird from @Image 1 for the entire shot, identical feather markings and size. The black Wayfarer sunglasses stay on its face for the whole video and are never removed, never slip. The pistol never leaves its right wing. The pigeon stays upright on two feet, real pigeon anatomy, walks like a small person. The cats are real street cats, the mouse is a real small mouse. The location is the same street, same grey wall and curb, from the same across-the-street viewpoint. One continuous shot from one phone. NEGATIVE PROMPT: no cuts, no scene change, no smooth gimbal movement, no stabilization, no cinematic color grading, no cartoon, no CGI look, no plastic or toy look, no extra pigeons, no extra people in the foreground, no camera or phone visible, no drone, no sunglasses removed, no pistol dropped, no pistol pointed at any animal or person, no injuries, no blood, no cats hit, no mouse hurt, no floating objects, no teleporting cats, no morphing, no warping, no text, no captions, no watermark, no music, no narration.

FORMAT: 30s / 9:16 vertical / luxury beauty influencer commercial / staged scene with motivated cuts STYLE: Photographic realism, ARRI Alexa 35 look, 35mm primes, hard midday Los Angeles sun with deep clean shadows, real skin with visible pores, freckles and micro sheen, no beauty smoothing, shallow depth of field, light 35mm grain, warm neutral grade, one consistent visual identity. REFERENCES: @Image 1 defines the woman ONLY: face, green eyes, freckles, messy high bun with loose strands, gold hoops, layered gold chains with padlock pendant, gold chain belt, bracelet and stacked rings, snake and dagger tattoos on left forearm, small cross on right wrist, cream ribbed knit halter maxi dress with open back, terracotta phone case with matching terracotta lip gloss tube clipped to it. Ignore the grid layout and wall backgrounds. @Image 2 defines the man ONLY: salt-and-pepper swept-back hair, grey stubble, tanned, white linen shirt open at collar, sleeves rolled, steel bracelet watch, seated in the driver seat of the cream vintage sedan with chrome trim and cream leather interior. @Image 3 defines the exterior composition for Stage 3 ONLY: high over-the-shoulder angle from behind the woman, her reflection in the dark tinted glass. @Image 4 defines the interior camera position for Stages 1, 4 and 5 ONLY: camera inside the car, passenger side, shooting out through the closed side window at the woman leaning toward the glass; and defines the handwritten lowercase word in glossy terracotta lip gloss on the glass, reproduced with these exact letter shapes, reading correctly from inside the car. VIDEO PROMPT: [Stage 1 - approx 0-6s]​ Initial state: inside the cream sedan, camera at passenger seat height matching @Image 4, looking out through the closed window at a sunlit street with brick warehouse and palms. Event: the woman walks in from the right, stops at the window, bends down and uses the dark glass as a mirror. Her eyes stay on her reflection, never into the car. She unclips the gloss tube from the phone case, uncaps it and applies gloss to her lower lip in one slow unhurried stroke. Camera: locked with faint handheld breathing, no zoom. End state: wand touching her lower lip, phone in left hand, glass closed between her and camera. [Stage 2 - approx 6-10s]​ Cut to exterior. Extreme close-up of her face in direct sun, eyebrows to chin, as she continues applying. Real skin: pores, freckles, sun-lit fine facial hair, gloss catching the sun as a wet highlight, individual lashes, loose strands in a light breeze. Event: she finishes the stroke, presses her lips together once, lifts her eyes to check the reflection. Camera: macro, very shallow focus, slow rack from lips to eyes. End state: eyes open, wand a few centimeters from her mouth, lips glossy. [Stage 3 - approx 10-16s]​ Cut to exterior, exact composition of @Image 3. The tinted glass reads as a mirror; the interior stays dark and unreadable so the man is not visible. Event: she recaps the gloss, tilts her head left then right admiring her lips, touches the corner of her mouth with a fingertip. Camera: slow push toward the reflection, restrained handheld, no gimbal smoothness. End state: gloss in right hand, phone in left, smiling at her reflection, unaware of anyone inside. [Stage 4 - approx 16-21s]​ Cut back to the interior position of @Image 4. Event: she uncaps the gloss and, with a playful half smile, writes on the outside of the glass with the applicator in slow flowing lowercase: arcads, matching the letter shapes of @Image 4, strokes wet and glossy with small drips at letter tails, reading correctly from inside. She leans back a few centimeters and looks at the word, pleased. Camera: locked, faint breathing. End state: complete word on the glass, applicator lifted, her face behind the letters, gloss and phone in her hands. [Stage 5 - approx 21-26s]​ Continue from the unchanged word. Event: at 21s a man's hand with a steel watch enters the lower frame from the driver side and turns the manual window crank. The glass slides down slowly and steadily; the word travels down with the glass at the same speed and disappears into the door seal, revealing her face with no glass between. Her smile stops as she registers movement; eyes widen, mouth opens slightly, she straightens a few centimeters, then presses both palms together at her chest in an apologetic gesture with a small wince. Restrained, no exaggerated acting. Camera: locked, faint breathing. End state: window fully down, word gone, hands pressed together at chest height, gloss tube clasped between them. [Stage 6 - approx 26-30s]​ Cut to medium close-up of the man in the driver seat, sun from the open window on his face. Event: he looks at her, brows drawn together, jaw set, lips pressed flat, one slow unimpressed blink. He does not speak. Camera: static. Final state: held frame on his stern face, then hard stop. AUDIO: <Quiet LA street tone: distant traffic, palm rustle.> <Cap click; wet squeak of applicator on glass in Stage 4.> <At 21s: metallic rotary crank, glass sliding in its rubber channel, soft thud as it seats.> English, natural American accent, soft and embarrassed, spoken by the woman at approximately 24s: {Oh my god, I am so sorry.} No music. CONSISTENCY: Exactly one woman and one man. Keep her face, bun, jewelry, tattoos, cream halter dress and terracotta phone case with attached gloss unchanged in every shot. The gloss tube never leaves her hands. The man stays seated, same shirt and watch. Same car, street and sun direction throughout. Window fully closed until 21s, lowers only once. NEGATIVE PROMPT: no extra people, no second car, no duplicate woman, no face distortion, no identity change, no wardrobe change, no plastic skin, no beauty filter, no cartoon, no cheap CGI, no floating objects, no open window before 21s, no other on-screen text, no captions, no subtitles, no watermarks, no music, no smooth gimbal glide, no zoom.

SEEDANCE 2.5 · 30S · 9:16 · EIGHT-STAGE MAGIC SHOW FORMAT: 30 seconds / 9:16 vertical / one continuous handheld shot, no cuts / comedic magic-show performance STYLE: Photorealistic smartphone footage, bright cream living room, soft daylight from the window on the left, natural color, shallow depth of field, true handheld iPhone feel with breathing sway and small reframes, no smooth gimbal. A real puppet filmed at home, not CGI. REFERENCES: @Image 1 defines the puppet (plush peach terry-cloth skin, dark curly hair, black square sunglasses, drawn-on mustache and goatee, cream cable-knit sweater, grey trousers, plush mitten hands), the room, and the brown suede and cream chunky sneaker used in Stage 4. Ignore that the sneaker is already in hand. @Image 2 defines the black smartphone: size relative to the puppet hands, rounded frame, one-hand grip. Do not inherit its screen content. @Image 3 defines the exact phone screen content for Stage 7: dark-mode social profile page. Reproduce faithfully. Ignore the status bar time. VIDEO PROMPT: The subject is one hand puppet, the puppet from @Image 1, seated at the front edge of the travertine coffee table facing camera, eye-level medium shot from hair to trousers. The puppeteer is hidden below frame; only the puppet's two plush hands touch the props. The puppet moves like a real hand puppet: head bobs, shoulder wiggles, quick tilts, proud showman attitude. [Stage 1 — approximately 0 to 4s] Initial state: the puppet holds a black felt top hat upside down in its left hand, open crown up, brim at chest height. A real live budgerigar, sky-blue body, white face, fine black wing barring, perches calmly on the puppet's right shoulder. The puppet gives the camera a confident nod and raises its right hand. End state: hat in left hand, bird on right shoulder, right hand raised. [Stage 2 — approximately 4 to 8s] Continue. The right hand gently cups the budgerigar, lifts it off the shoulder and lowers it into the open hat until it disappears below the brim. The puppet pats the hat once. End state: hat upright in left hand, right hand on the brim, shoulder empty. [Stage 3 — approximately 8 to 11s] Continue. The puppet tips the hat so the open crown faces the camera and fills the lower third of frame. The interior is completely empty: smooth black satin lining, no bird, no feathers. The puppet shrugs and tilts its head. Camera pushes slightly toward the opening. End state: empty hat opening facing camera, in the left hand. [Stage 4 — approximately 11 to 15s] Continue. The puppet turns the hat crown-up, plunges its right hand deep inside past where the bottom should be, then pulls straight up. The sneaker from @Image 1 rises out toe first, full size, laces swinging, clearly larger than the hat opening. The puppet lifts it beside its face, side profile to camera. Camera tilts up to follow. End state: sneaker high in the right hand, hat in the left hand. [Stage 5 — approximately 15 to 19s] Continue. The puppet lowers the sneaker to chest height in its right hand. With the left hand it pinches the edge of the hat brim with two fingers and lifts; as it lifts, the stiff hat instantly softens and collapses into one square black silk handkerchief hanging from its fingers, edges rippling, no hat remains. The puppet drapes the handkerchief fully over the sneaker so the shape is covered. End state: right hand holds a cloth-covered object, left hand holds the top corner of the handkerchief. [Stage 6 — approximately 19 to 23s] Continue. The puppet whips the handkerchief away upward with the left hand. Under it the sneaker is gone; the right hand now holds the black smartphone from @Image 2, screen facing camera, still dark. The handkerchief falls out of frame below and is never seen again. The puppet does a proud shoulder wiggle. Camera gives a small jolt, then steadies. End state: dark phone in right hand at chest height, left hand free. [Stage 7 — approximately 23 to 27s] Continue. The puppet extends the phone toward the lens until it fills most of the frame width; the screen lights up showing the exact profile page from @Image 3, sharp and readable. Camera racks focus to the screen. End state: phone screen dominating frame with the profile displayed. [Stage 8 — approximately 27 to 30s] Continue. The left plush hand enters from above and taps the top edge of the screen once. On that tap the profile vanishes and the screen turns solid black with exactly two lines of clean white centered sans-serif text: the upper line reads Comment and the lower line reads "Prompt" with straight double quotation marks around the word Prompt. No other text, icons or logos. The puppet peeks over the phone and nods. Camera holds steady on this final frame to the end. AUDIO: <Quiet room tone.> <Budgerigar chirp at the start, a tiny flutter as it enters the hat.> <Felt rustle when the hat tips.> <Soft thud as the sneaker emerges.> <Silk swish on the transformation and the whip-away.> <Phone wake tone at 23s, one soft tap at 27s.> (Playful lo-fi jazz, brushed drums and upright bass, quiet throughout, a cymbal hit on each reveal, clean bass note on the final frame.) No dialogue. CONSISTENCY: Exactly one puppet, one bird, one hat, one sneaker, one handkerchief, one smartphone. Keep the puppet's face, sunglasses, hair, sweater and trousers identical to @Image 1; the sunglasses never come off. Room, lighting and camera position unchanged. Hat in left hand until it becomes the handkerchief; sneaker and smartphone only in the right hand. Once an object vanishes it does not reappear. The puppeteer stays hidden below frame. NEGATIVE PROMPT: no human hands or arms, no second puppet, no duplicate sneaker or phone, no bird reappearing, no feathers in the hat, no hat after the transformation, no extra text or watermark, no misspelled words, no morphing on the puppet face, no sunglasses removal, no CGI glow or particles, no smooth gimbal, no cuts, no lighting or room change.

SEEDANCE 2.5 · START FRAME → 12 S SINGLE TAKE · STEP 02 OF 02 Continuous single-take handheld vertical smartphone video, 12 seconds, no cuts. Scene lock from the start frame: harsh midday sun, orange sandstone cliff edge, young woman in a black swimsuit on the lip, black climbing net stretched across the canyon far below, blonde friend sitting behind her. Keep the start frame's lighting, colors, framing and her face unchanged. 0-3s: She rocks on her toes, exhales, glances back at the friend who says "you're actually doing it". Wind moves her ponytail. The camera creeps closer to the edge, tilting down to show the drop. 3-5s: She drops off the edge feet-first, arms up, falling straight down past the rock face, the camera tilting down to follow. She hits the net dead center, the net sinking deep in a V, the anchor ropes creaking taut. 5-9s: The net snaps back and launches her upward, higher than she fell, her body straightening, arms reaching, rising up the rock face toward the camera in one clean arc. The friend screams. The camera jerks back as she rises into frame. 9-12s: At the top of the arc she grabs the exact lip of rock she jumped from with both hands, hangs for half a second with her feet against the wall, then pulls up and swings a knee over the edge, sitting down on the rock next to the friend, breathing hard, wiping chalk on her thigh. The friend grabs her arm, laughing and shouting. The net still swaying below. Camera behavior: tilt down to follow the fall, tilt back up fast, framing lost and recovered, rolling shutter wobble, sun flare at the top of the arc, autofocus hunting on the net far below. Ambient audio: desert wind, a gasp, the net creaking and thudding, the friend screaming then laughing, her breathing hard at the end. No music. No text, no overlay, no logo, no slow motion, no drone angle, no cinematic camera moves, no cuts.

Five stages inside one continuous shot, each closing with an explicit End state. Paste it as written.

SEEDANCE 2.0 · 9:16 · 15S · ONE CONTINUOUS HANDHELD TAKE FORMAT: 15s / 9:16 vertical / extreme 4DX cinema illusion / single continuous handheld take STYLE: Raw documentary phone-in-the-theatre aesthetic, amateur smartphone capture, natural handheld sway with hard startled jolts at the blast, rolling shutter wobble, phone auto-exposure locked on the bright screen so the room reads dark, exposure blooming as the wave passes, autofocus hunting, no cinematic grading, sharp phone sensor detail. REFERENCES: Match Reference 1 exactly - the dark auditorium, the crowd holding glowing phones, the grey 4DX wall signs, and the film on screen: a live-action fantasy movie, a man with spiky white hair in a blue outfit crouched in a rocky storm-lit canyon, charging a glowing blue sphere of swirling wind and energy between his hands. Preserve his face, hair and screen image style. VIDEO PROMPT: 0-4s: Normal screening filmed from a middle-row seat. On screen the man strains against the growing sphere, arms trembling, blue lightning crackling, the screen light pulsing over the rows. 4-6s: He drags the sphere back beside his hip, body coiling for momentum, the rumble deepens, seats tremble. 6-9s: He thrusts both hands forward - a visible glowing blue energy wavefront bursts off the screen, crosses the screen plane and physically travels through the auditorium air from the screen toward the back rows, a churning wall of light, wind and dust moving above the seats, occluding the front rows as it passes over them, casting racing shadows across the walls and 4DX signs. Small rocks, branches and leaves from the canyon tumble inside the wave over the audience. 9-12s: The wavefront sweeps row by row toward the camera and past it - people duck low in sequence as it reaches them, caps and popcorn ripped backward, hair and jackets whipped flat, debris and leaves raining between the seats, screams, the camera jolts hard as the wave passes overhead and continues to the back wall, dust swirling in the screen light. 12-15s: The wave dies against the back wall. The camera whips around 180 degrees to the row behind: a middle-aged man sits frozen in stunned silence, eyes wide, mouth open, his glasses knocked crooked across his face, leaves in his hair - he holds the deadpan shocked stare for a beat, then snaps out of it and yells "Dude, that was AWESOME!". Hard stop, no fade. SOUND: Diegetic film audio - crackling energy and a deep charging hum escalating; at the thrust a massive WHOOMP, then a roaring wind wave audibly traveling front-to-back through the room with low-frequency pressure, debris clattering off seats, screams in sequence as it passes; sudden near-silence with dust settling, ringing ears ambience, then the stunned man's clear voice: "Dude, that was AWESOME!", no music, no voiceover. NEGATIVE PROMPT: no cuts, no zoom, no gimbal smoothness, no cinematic grading, no cartoon, no anime style, no distorted faces or hands, no injuries, no screen tearing, no fire, no caption overlays, no subtitles, no watermarks.

SEEDANCE 2.5 · IMAGE TO VIDEO · 30S · 9:16 · 2 REFERENCES FORMAT: 30s / 9:16 vertical / influencer travel vlog ad / fast-cut montage opening, then one continuous handheld selfie take STYLE: Authentic phone-shot influencer vlog realism, natural golden-hour Mediterranean light, warm color, slight handheld micro-shake from her arm, shallow phone-camera depth, no cinematic grading, one consistent visual identity. REFERENCES: @Image 1 defines the influencer: her face, freckles, wavy sun-bleached blonde hair, black bikini, sheer orange-and-white striped kimono, layered gold chain necklaces with a small coin pendant, gold rings, AND the balcony location with white railing, string lights, terracotta floor and the open sea view with cliffside village. Preserve identity and wardrobe exactly in every cut. @Image 2 defines ONLY the white wordmark logo that appears on the black parachute canopy in Stage 5. Treat the black background of @Image 2 as the canopy surface itself. The logo appears nowhere else in the video. VIDEO PROMPT: [Stage 1 — approx 0-2s] Quick vlog cut: the same woman in the same kimono outfit walks toward camera down a narrow sunlit Italian cliffside village lane with lemon trees and pastel walls, smiling, hair moving in the breeze. Camera: handheld phone tracking backward at chest height. End state: she is mid-stride, relaxed. [Stage 2 — approx 2-4s] Quick vlog cut: outdoor cafe table, she bites into a slice of pizza, eyes closing briefly with pleasure, silent delighted reaction. Camera: handheld close-up across the table. End state: slice lowered, she chews happily. [Stage 3 — approx 4-7s] Quick vlog cut: she stands at the edge of the lane as a young dark-haired Italian man rides past on a vintage scooter and turns his head to look at her. She glances at the camera with raised eyebrows. English, natural American accent, playful teasing influencer tone: {Italian men...} End state: scooter exits frame right, she smirks at the lens. [Stage 4 — approx 7-12s] Hard cut to the balcony from @Image 1, matching its framing: selfie-style front camera held in her extended arm, sea and cliffs behind her, boats crossing the water. She talks straight into the lens with real influencer energy. English, natural American accent, confident casual delivery: {I was made with AI. My hair is not real.} She lifts a strand of hair toward the lens; the camera pushes in close so individual hair strands catch the light. End state: camera close on hair, her face partly visible behind it. [Stage 5 — approx 12-16s] Continue from the close hair shot. She lets the hair fall and lifts the coin pendant with two fingers. English, natural American accent, same delivery: {Neither is this necklace.} Camera pushes to a near-macro on the gold chain and pendant, tiny natural handheld drift. End state: pendant resting back on her chest. [Stage 6 — approx 16-23s] English, natural American accent, same delivery: {Nor is this Amalfi vacation.} She swings the phone camera away from herself toward the open sea: boats leaving white wakes, two seagulls flying past close to the lens. At approx 19s a single paraglider crosses the frame from the cliff side gliding toward the sea: pitch-black canopy and harness, the white wordmark from @Image 2 large and clean on the canopy, one distant joyful male scream: {Woohoo!} End state: paraglider small over the water, camera still on the view. [Stage 7 — approx 23-30s] She swings the camera back to her face, wind in her hair, golden light on her skin. English, natural American accent, slower, teasing, dropping to a knowing tone: {So... how was I created?} She gives a silent knowing smile directly into the lens. Final state: held selfie frame on her smile, sea behind her, no camera movement. AUDIO: <Coastal wind, soft waves below, seagull calls, fabric flutter of the kimono. Stage 1: distant village ambience and footsteps. Stage 2: cafe chatter, plate clink, one soft bite. Stage 3: scooter engine approaching and passing. Stage 5-6: wind rises slightly on the open view, faint canopy flutter as the paraglider passes.> All dialogue lines as written per stage, recorded like a real phone vlog: close, present, slightly windy. No music. CONSISTENCY: Exactly one woman, the SAME woman from @Image 1 in every cut: same face, freckles, blonde wavy hair, black bikini, striped kimono, gold necklaces and rings, unchanged across all locations. Exactly one scooter rider, visible only in Stage 3. Exactly one paraglider, visible only in Stage 6, logo only on its canopy. Balcony layout, railing, lighting direction and sea view match @Image 1. NEGATIVE PROMPT: no identity change, no face distortion, no wardrobe change, no extra people on the balcony, no second woman, no duplicate paraglider, no logo anywhere except the canopy, no logo distortion, no on-screen text, no captions, no subtitles, no watermark, no music, no cartoon look, no cinematic color grading, no plastic skin, no warped hands, no unnatural camera stabilization.

SEEDANCE 2.0 · 9:16 · 15S · ONE CONTINUOUS HANDHELD TAKE MASTER PROMPT — "Istanbul Bosphorus Tsunami Wave Tank BTS" (15s, vertical 9:16, handheld) ACTIVE REFERENCE Reference 1 is the exact design authority for the miniature set. Recreate its two hero structures at 1:24 scale, preserving proportions, materials and colour exactly: (a) the mid-channel island tower — low white stone curtain wall with crenellations on a rocky islet, an attached red-tiled roof block, a whitewashed half-timbered upper storey with dark timber framing and small dormer windows, a grey lead-covered dome with a small lantern and a green finial, and a tall white flag mast with a red flag; a small red-and-white striped light beacon on the rocks at its left, a low wooden pier with two moored white passenger ferries alongside. (b) the background suspension bridge — twin tall grey steel portal towers, sweeping main cables with vertical hangers, a slim road deck crossing the strait high above the shoreline. Also from Reference 1: the far shore — a domed waterside mosque with two slender minarets sitting under the bridge foot, dense cream, ochre and pale-yellow apartment blocks with red-tiled roofs climbing a green wooded hillside, a long low coastal viaduct running along the waterline, tiny ferries on the water. Use Reference 1 for architecture, colour and layout only — the footage itself is behind-the-scenes studio footage, not a location shot. GLOBAL LOOK Hyper-realistic behind-the-scenes smartphone footage, vertical 9:16, handheld with natural micro-shake, slight rolling-shutter wobble, phone autoexposure — must look like real leaked set footage, no cinematic grade. A colossal film soundstage: an Olympic-sized indoor wave tank filled with deep blue-green water standing in for the strait. The island tower sits on its rock islet in the centre of the tank, close to the near edge; the suspension bridge spans the far half; the mosque, viaduct and hillside townscape line the far bank. Background: enormous bluescreen wall with a grid of red tracking markers; overhead truss with panel lights; a large techno-crane with a stabilized camera head reaching over the tank. In the foreground, effects crew in black "EFFECTS CREW" t-shirts kneel along the concrete tank edge with cinema cameras on dolly track; monitors, tripods and cable runs on the studio floor. SHOT 1 (00:00–00:03) — Calm strait, tower reveal EFFECT: handheld observational hold + slow drift Elevated operator's POV over the crew's shoulders: flat calm water, the island tower and its red flag mirrored in it, the moored ferries idle at the pier, the bridge and minarets small behind, dolly rails in foreground, crew silhouettes against the bluescreen Phone exposure balancing bright water vs dark rigging Continuous take — the entire video is ONE unbroken handheld shot SHOT 2 (00:03–00:05) — Wave generation EFFECT: practical swell formation + slow camera tilt A massive smooth swell rises across the full width of the tank at the far end and rolls down the strait toward the bridge, glassy face catching the studio lights, already taller than the bridge deck The far-shore mosque disappears behind the rising face; crew lean into their eyepieces; handheld drift follows the swell SHOT 3 (00:05–00:08) — The bridge goes EFFECT: miniature-scale breaking wave + span collapse The wave breaks against the bridge: whitewater climbs both grey towers, the deck is buried, main cables snap on the near tower with a whipping recoil, and a whole deck section tears free and folds into the churn in slow heavy miniature physics, tiny cars spilling off it The surge shears the coastal viaduct off its piers and rips the mosque's near minaret away at its base Camera pans down-frame tracking the front as it closes on the tower SHOT 4 (00:08–00:12) — The tower falls, crew scramble EFFECT: hero miniature collapse + water breaching the tank wall The wall of foam slams the islet: the moored ferries are lifted and thrown over the pier, the light beacon snaps off its rock, water bursts through the crenellated stone wall and the red-tiled block is stripped away The half-timbered storey shudders, the lead dome tips, and the whole upper structure leans and topples sideways into the churn, the flag mast whipping down last — heavy, slow miniature physics Water crests the concrete tank edge and cascades onto the studio floor; crew grab gear and stumble backward off the dolly track. Handheld shake intensifies, quick reframes between the drowning tower and the fleeing crew. This is the SIGNATURE VISUAL EFFECT: the icon coming down practically, in-camera, in a studio tank SHOT 5 (00:12–00:15) — Overflow aftermath EFFECT: waterfall over tank edge + wide destruction tableau Sheets of water pour over the tank wall; in the foam float the lead dome with its green finial, the red flag still on its snapped mast, capsized white ferries, roof tiles and the twisted bridge deck; the bare stone islet wall stands broken above the churn, the crane arm silhouetted above Crew stand ankle-deep on the flooded floor, still filming; spray droplets visible on the phone lens Ends on this wide hold — no fade, hard stop MASTER EFFECTS INVENTORY Continuous handheld one-take (whole video) — micro-shake, imperfect reframes Practical wave-tank swell and break (shots 2–3) Suspension bridge collapse (shot 3) — cable snap, deck tear and fold Viaduct shear + minaret snap (shot 3) — background destruction layer Island tower collapse (shot 4) — wall breach, dome tip, sideways topple, flag mast last Ferry toss + beacon snap (shot 4) — small-scale impact beats Water breaching containment (shots 4–5) — cascades onto real studio floor Floating debris tableau (shot 5) — dome, flag, ferries, twisted deck Lens droplets + exposure shifts (shots 1, 5) — realism cues EFFECTS DENSITY MAP 00:00–00:05 = LOW (calm hold, swell rise — 2 effects) 00:05–00:12 = HIGH (wave break, bridge collapse, viaduct and minaret, tower fall, wall breach, crew scramble — 6 stacked) 00:12–00:15 = MEDIUM (overflow waterfall, debris tableau — 2 effects) ENERGY ARC Act 1 (0–5s): mirrored calm — tower, flag, ferries on still water; sells the "real shoot" premise Act 2 (5–12s): the wave takes the bridge, then the tower, then breaks the fourth wall by breaching the tank Act 3 (12–15s): flooded-floor aftermath, the red flag drifting past — hard stop AUDIO: raw on-set production audio only, no music — a loud "Action!", the hydraulic thump of the dump tank, a building roar of moving water, snapping scale cables, groaning steel, cracking timber miniatures, water slapping the stage floor, crew shouting off camera "Hold on! Keep rolling! Camera two, stay on the tower!" Negative prompt: no CGI-looking water, no color grading, no lens flares, no smooth gimbal motion, no cuts, no text overlays, no watermarks, no logos, no distorted hands or faces, no ocean horizon, no drone or aerial angle — the bluescreen and studio must stay visible; do not change the tower's proportions, dome shape or flag.

FORMAT: 30s / 9:16 vertical / handcrafted stop-motion romance short / staged continuous scenes with one clean cut STYLE: Authentic fabric stop-motion on a miniature kraft-paper set, 12 frames per second stepped motion with subtle frame-to-frame jitter, visible fibers, stitching and fabric weave, warm tungsten key light, soft shadows, tilt-shift miniature depth of field. REFERENCES: @Image 1 defines Ivy, a girl character formed entirely of clothes with no visible body: green fleece zip jacket, cream ribbed top, cream pleated skirt, cream socks with green stripes, cream-green-orange sneakers, green cap; her props: cream tote bag, tennis ball, green scrunchie. Preserve garments and colors exactly; ignore layout and text. @Image 2 defines Ace, a boy character formed entirely of clothes with no visible body: navy varsity jacket with cream leather sleeves and red trim, cream tee, relaxed blue denim, white socks with red stripes, cream-navy-red sneakers, red corduroy cap; his props: vintage camera on a woven strap, folded newspaper. Preserve garments and colors exactly; ignore layout and text. @Image 3 defines ONLY the closing composition: a dense vertical block of folded garments on kraft paper, the four-letter logo carved as negative space across its middle band, exactly as shown. Use it solely for the final frame; do not show this arrangement earlier. VIDEO PROMPT: [Stage 1 - approx 0-6s] Initial state: Ivy's miniature kraft-paper bedroom, morning light. Her outfit stands upright in human shape, hollow at collar and cuffs. Event: her sleeves lift the green cap above the empty collar, the scrunchie snaps around one cuff, and she hops as the tote lands on her shoulder with the tennis ball inside. At 3s, one clean cut to Ace's bedroom: his varsity jacket shrugs itself square, the camera strap swings across his chest, the newspaper tucks under his arm. Camera: locked-off medium shots. End state: both fully dressed, Ivy holding the tote, Ace holding the newspaper. [Stage 2 - approx 6-12s] Continue. Two miniature front doors creak open onto one street: Ivy walks left-to-right on the near sidewalk, Ace walks right-to-left on the far sidewalk, in stepped strides. Behind them, paper-cutout street objects glide past on parallax layers: lampposts, a cardboard bus, a fire hydrant, potted plants. At 9s Ivy kneels and strokes a small cat built from folded cream knit socks with a green scrunchie tail; the cat arches. Ace pats a puppy stitched from grey denim scraps; its sock tail wags frame by frame. Camera: parallel tracking with each character. End state: pets scamper off, both resume walking toward the same intersection. [Stage 3 - approx 12-17s] Continue. Both reach one miniature cardboard traffic light glowing with a red felt disc and wait on opposite corners, idly bobbing frame to frame, her skirt pleats swaying. At 15s the light flips to a green felt disc. Event: they step into the crossing distracted, Ivy digging inside the tote, Ace reading the newspaper, and gently bump into each other mid-crosswalk with a soft comedic fabric thump; nobody is hurt. Her tote tips and the tennis ball rolls out; his newspaper flutters to the ground. Camera: static wide on the crossing. End state: both frozen one beat, props lying on the crosswalk between them. [Stage 4 - approx 17-23s] Continue. Both kneel at the same moment reaching for the fallen items; his cream leather sleeve and her fleece cuff touch on the tennis ball. They tilt their caps up toward each other and hold still for two beats. A small red felt heart pops up above them with a springy bounce and hovers. He returns her tote; she returns his newspaper. Camera: slow dolly in to a two-shot. End state: both standing, facing each other, sleeve linked in sleeve. [Stage 5 - approx 23-30s] Continue. Sleeve in sleeve, they walk away from camera up the kraft-paper street. Event: from every edge of frame, hoodies, tees, joggers, jeans, beanies, socks and sneakers slide in and fold themselves flat onto the ground in stepped motion, assembling into the exact garment arrangement of @Image 3 with its negative space forming the four-letter logo, the tiny couple standing at its center. Camera: slow crane up into a top-down view filling the vertical frame. Final state: completed @Image 3 logo layout held as a still frame for the last beat. AUDIO: (Playful pizzicato and glockenspiel score, swelling when the heart appears and resolving on the final held frame.) <Handmade stop-motion foley synced to the stepped motion: soft felt footsteps, fabric rustle, a zipper zip, door creaks, paper flutter, the tennis ball rolling on paper, a gentle fabric thump at the bump, a springy boing as the heart pops, a whoosh of sliding garments in the finale.> Reactive puppet-like vocalizations timed to events. Light female voice, playful: {Oh!} as the tote lands in Stage 1. Warm male voice, a soft amused hum at the puppy. Both voices together, surprised: {Oh!} at the bump. Female voice, a small gasp then a shy giggle at the sleeve touch. Male voice, gentle and low: {Oh.} as the heart appears. No other dialogue, no narration. CONSISTENCY: Both characters remain clothes-only with no visible skin, face, hair or body in every stage. Keep garments, colors, caps and prop ownership unchanged; tote and tennis ball belong to Ivy, camera and newspaper to Ace, exchanged only during the pickup. Exactly two characters, one cat, one dog, one traffic light. Same kraft-paper set, lighting and stepped 12fps cadence in all stages. Screen direction preserved: they approach from opposite sides and exit away from camera together. NEGATIVE PROMPT: no visible humans, no skin, no faces, no hair, no mannequins, no smooth 24fps motion, no motion blur, no glossy CGI look, no 2D cartoon rendering, no style mixing, no extra characters, no duplicate props, no loose garments in the street before the final stage, no invented lettering, no captions, no subtitles, no watermarks, no split screen, no panel grid.

SEEDANCE 2.0 · 15S · 3-ACT MINI FILM · DYNAMIC CUTS FORMAT: 15s / 9:16 vertical / comedic stop-motion claymation epic / dynamic cuts, 3-act mini film STYLE: Handmade claymation stop-motion, visible fingerprints and tool marks in the clay, subtle frame-to-frame jitter at a 12fps stop-motion cadence, miniature set with shallow depth of field, warm tungsten kitchen light, sculpted cotton-wool flame clouds backlit orange behind the set, rich practical texture, charming imperfect animation, cinematic epic-trailer framing played completely straight for comedy. REFERENCES: Reference 1 = the full scene: the tiny clay warrior with bronze helmet, blue mohawk crest, knitted oven-mitt fists, quilted potholder armor and two spatulas, plus the food-monster army - the giant red oven-faced boss with glowing mouth, the pizza monsters, sausage and green veggie monsters. Preserve every character design, color and material exactly. VIDEO PROMPT: 0-3s (SETUP): Slow heroic push-in on the tiny warrior standing alone before the towering food-monster army, the oven boss glowing behind them. He raises both spatulas and screams a squeaky battle cry: DINNERTIME! The monsters roar back, clay jaws wobbling. 3-8s (BATTLE): He charges. He vaults off a rolling meatball, and in speed-ramped slow motion flips the big pepperoni pizza monster high into the air with one spatula - it spins, flattens, and lands as an ordinary harmless pizza, its angry face gone. He parries a lunging sausage monster, then bops the green veggie monster on the head; it wobbles and topples backward into a bowl of dip with a thick splat. 8-12s (CLIMAX): The oven boss opens its glowing door-mouth wide and inhales, pulling crumbs and small monsters sliding toward it. The warrior sprints along the counter, leaps, and slams the door shut with both spatulas. A beat of silence - then the oven timer on its forehead rings a bright DING. 12-15s (PAYOFF): At the ding, every remaining monster instantly freezes and shrinks down into cute, steaming, ordinary dishes. The warrior calmly plants one spatula upright in a mound of mashed potatoes, tears a tiny slice from the defeated pizza, takes a bite, and gives a slow approving nod straight to camera. Hard stop, no fade. PHYSICS: Clay has soft weight - bodies squash and stretch on impact, the flipped pizza follows a real gravity arc, the dip splashes in thick clay droplets, crumbs scatter and settle, stop-motion motion blur absent, movement slightly stepped. SOUND: Overblown epic trailer drums and choir that cut out comically at the ding, squeaky tiny battle cry DINNERTIME, clay squishes and boings, a whoosh and slap on the pizza flip, thick splat, oven inhale rumble, bright oven DING, gentle sizzle, one small crunch on the final bite, no on-screen text. NEGATIVE PROMPT: no realistic humans, no smooth CGI interpolation, no glossy 3D render look, no identity change, no design change on any character, no melting faces, no on-screen text, no captions, no watermarks.