Prompts by Deniz Akkabak

FORMAT: 30s / 9:16 vertical / luxury fashion film into automotive ASMR drive / fast-cut opening, then long takes / no music STYLE: Hollywood live-action realism, ARRI Alexa LF, anamorphic, fine 35mm grain, warm low late-afternoon sun, long soft shadows, natural light only, shallow depth of field on the man, editorial fashion grading in cream, sand, caramel and white. One visual identity, no style mixing. REFERENCES: @Image 1 is a six-panel sheet of ONE white wide-body sports coupe and ONE location. It defines only: the car (white body, wide arches, large white swan-neck rear wing, white multi-spoke wheels, full-width red rear light bar, cream and caramel leather interior, caramel steering wheel) and the environment (white curved architecture, facade lettering exactly as shown, horizontal red light strip, two white arched hangar entrances, sand-colored concrete plaza, warm sky). Ignore the grid layout. The panels are NOT keyframes, shot order or angles to copy. Exactly one car, no collage. @Image 2 defines the hero's face and identity ONLY: dark brown tight curly medium-length hair, black square-framed sunglasses, short mustache and light beard, warm skin tone, relaxed half-smile. Do not inherit his grey t-shirt, food or restaurant background. WARDROBE (fixed): cream heavyweight boxy tee; open chocolate-brown suede overshirt, cuffs pushed up; cream wide-leg pleated wool trousers; cream-and-brown suede New Balance 9060 sneakers with a chunky layered sole; matte black square sunglasses never removed. VIDEO PROMPT: [Stage 1 — approx 0–5s] FASHION CUT. Six hard cuts of about 0.8s, no transitions, each a different lens, all on the plaza, white car in the far background. Cut 1: ground-level macro, a sneaker lands on concrete, trouser hem swings. Cut 2: 100mm close-up of the suede sleeve, hand pushing the cuff up. Cut 3: tight profile of the sunglasses, the white car reflected in the lens. Cut 4: 35mm handheld from behind, curls catching sun, car soft ahead. Cut 5: waist-level tracking of the trousers. Cut 6: high oblique drone at about 45 degrees, the man a small figure crossing toward the car, long shadow leading him. End state: man mid-plaza, walking left to right toward the driver door, car about 15 meters away. [Stage 2 — approx 5–11s] Continue from mid-plaza. Camera: one continuous drone shot, diagonal top-down at about 45 degrees, descending and drifting to hold man and car in one frame. He walks at a steady unhurried pace, hands relaxed. At 9s the drone is about 3 meters off the ground behind him as he reaches the driver door. End state: he stands at the driver door, right hand on the handle, sunglasses on. [Stage 3 — approx 11–18s] ASMR INTERIOR. Continue from hand on handle. Camera: restrained handheld, breath-level micro movement only, no gimbal smoothness. Shot A: close-up of the handle, the door unlatches and swings open. Shot B: from the passenger seat, he lowers into the cream seat, door pulls shut with one solid close. Shot C: macro of his hands settling on the caramel wheel, thumbs on the stitching. Shot D: macro of the seatbelt buckle clicking home. Shot E: macro of fingers on the ignition, one press at 17s; the dashboard wakes. End state: engine at idle, both hands on the wheel, sunglasses on, door closed. [Stage 4 — approx 18–26s] DRIVE. Continue from idle. Shot A: low static ground-level shot beside the rear wheel, the car pulls out of the plaza left to right, rear wing and red light bar crossing frame. Shot B: drone chase from a high oblique 45-degree angle behind, the car leaving the plaza onto a long empty two-lane asphalt road through pale sand terrain, the drone descending as the car accelerates; speed shown by road markings streaming past. Shot C: interior over-the-shoulder from the passenger headrest, his hand shifting, road unrolling through the windshield, sunlight sliding across the sunglasses. End state: car at speed on the empty road, no other vehicles. [Stage 5 — approx 26–30s] CLOSING. One continuous drone shot: from a rear-following position the drone rises and slows while the car continues away, becoming small on the straight road with its long shadow, the architecture faint on the horizon. Hold the final frame for the last second, car still moving. Final state: one white car receding on an empty road, no text. AUDIO: No music at any point. Diegetic sound only, close-miked, ASMR clarity. Stage 1: <crisp sneaker steps on concrete, suede rustle, light dry wind, each cut lands on a footstep>. Stage 2: <footsteps growing closer, soft wind>. Stage 3: <door latch, leather creak as he sits, one deep solid door close, hands on stitched leather, seatbelt click, at 17s a single ignition press then a raw naturally aspirated flat-six cold start bark settling into a textured idle with low-frequency pressure>. Stage 4: <tires on asphalt, engine climbing the rev range, one clean upshift, exhaust echoing off the architecture then opening into wide space, wind rising>. Stage 5: <engine fading into distance, wind takes over, final second near silent>. No voiceover. CONSISTENCY: Exactly one man, the hero from @Image 2. Exactly one car, the white coupe from @Image 1. Keep face, curly hair, black square sunglasses, wardrobe, car color, white wheels, rear wing, red light bar and interior unchanged in every shot. Sunglasses stay on for all 30 seconds, including inside the car. Man walks left to right; car exits left to right, then away from camera. Sun low from the left throughout. No other people, vehicles or graphics. NEGATIVE PROMPT: no music, no voiceover, no subtitles, no on-screen text, no watermarks, no split-screen, no grid, no panel borders, no collage, no second car, no duplicate man, no face distortion, no identity change, no sunglasses removed, no wardrobe change, no grey t-shirt, no hat, no warped wheels, no morphing car body, no extra rear wings, no cartoon, no cheap CGI, no plastic skin, no flat lighting, no smooth gimbal in Stage 3, no night, no crowd.

Continuous single-take handheld vertical smartphone video, 12 seconds, no cuts. Scene lock from the start frame: dim humid reptile enclosure under a corrugated shade roof, algae-streaked concrete wall above a shallow murky green pool, a keeper in a dark green polo kneeling on the wet ledge leaning down with his bare forearm holding a dead rat over the water, a very large green anaconda coiled half-submerged below with one coil tensed, railing bars and a child's hand at the bottom of the frame, visitors' sneakers at the top edge. Keep the start frame's lighting, colors, framing and the keeper's face unchanged. 0-3s: The keeper dangles the rat, tapping it on the surface, the anaconda's head drifts closer, tongue flicking, coils shifting slowly under the water. The keeper glances up and says something to the visitors, then looks back down. 3-5s: The snake strikes upward in a blur, bites the keeper's forearm, and in the same motion a thick coil whips up over the wall edge and wraps his arm, yanking him forward so his chest slams onto the concrete lip, head and shoulders hanging over the pool. The rat drops into the water. 5-9s: The keeper braces his free hand against the wall and shouts, his legs kicking on the ledge. A second keeper in the same green polo sprints into frame from the right, grabs him by the belt and waist, and both pull backwards while the snake's body tightens and drags the trapped arm toward the water, the wet coil sliding on the concrete. A third pair of hands grabs the first keeper's shoulder. 9-12s: With a sudden lurch they all fall backwards onto the ledge in a pile, the anaconda releases and drops back into the pool with a heavy splash, its body sliding away under the green water. The camera stumbles back as the visitor retreats, framing tilting to the railing and back, finding the first keeper sitting up clutching his forearm, the second keeper on his knees, a child crying somewhere behind the phone. Camera shakes hard at the strike, framing slips and recovers, autofocus hunting between the railing bars and the keepers, rolling shutter wobble, slight exposure flicker under the shade roof. Ambient audio: echoing enclosure acoustics, a splash, men shouting "pull, pull", the metal railing rattling, a child screaming, a woman saying "oh my god" repeatedly. No music. No text, no overlay, no logo, no slow motion, no cinematic camera moves, no cuts.

SEEDANCE 2.5 · VIDEO PROMPT · 15S · 9:16 FORMAT: 15s / 9:16 vertical / viral handheld comedy / one continuous shot, no cuts, no zoom STYLE: Ultra realistic smartphone handheld footage, natural overcast daylight, real world physics, slight handheld shake from a friend filming, no cinematic grading, no slow motion, documentary authenticity. REFERENCES: @Image 1 defines the environment, camera vantage and wardrobe ONLY: a tall old brick and stone wall on a cliff edge above a hazy canyon, a thick natural fiber rope hanging over the top edge, and two outfits. Outfit A (man on top of the wall): blue satin varsity jacket with orange-and-white striped cuffs and embroidered patches, dark navy baseball cap. Outfit B (climbing man): burgundy wool varsity jacket with cream striped trim and chenille letter patches, dark denim jeans, grey suede sneakers, black baseball cap. Use its framing, wall texture, rope, cliff and haze exactly. Do NOT use its faces. VIDEO PROMPT: [Stage 1 — approx 0–4s] Initial state: the handheld phone camera holds the same vantage as @Image 1, slightly below the top of the wall, looking at the brick face and the canyon haze behind it. Only ONE man is visible: the blue-jacket man leans over the top edge of the wall gripping the rope with both hands. The rope runs taut straight down the wall and exits the bottom of frame. Nobody else is in frame. Event: he pulls hand over hand with visible effort; his shoulders strain, his cap tilts, small dry dust falls from the bricks where the rope rubs. Camera: restrained handheld, small breathing shake, no pan. End state: the blue-jacket man is still on top gripping the rope, the rope is taut, the lower half of the wall is empty. [Stage 2 — approx 4–9s] Continue from that state. Event: the burgundy-jacket man rises slowly into frame from the bottom edge, climbing the rope, his grey sneakers planted flat against the bricks, body leaning back away from the wall, cap visible, sunglasses on, face tilted up toward the top. He gains roughly one brick row per pull, slow and effortful, nothing sudden. Camera: same handheld hold, follows nothing, keeps both men in frame. End state: the burgundy-jacket man is about one arm length below the top edge, both hands on the rope, feet on the wall; the blue-jacket man still holds the rope from above. [Stage 3 — approx 9–12s] Continue from that state, everything at normal real-time speed. At 9s the blue-jacket man releases the rope with his right hand and reaches down toward the climbing man with an open palm, keeping his left hand on the rope. The burgundy-jacket man glances up, lets go of the rope with his right hand and snaps his hand up to the offered palm in one quick natural motion; the grip lands immediately, no pause, no stretched moment, the frame rate and motion speed stay exactly as in the previous stages. Right after the grip the burgundy-jacket man's feet scrape and slip off the bricks. End state: right hands locked together, the blue-jacket man bent far over the edge, the burgundy-jacket man hanging from that grip with feet off the wall. [Stage 4 — approx 12–14s] Continue from that state. Event: the added weight pulls the blue-jacket man forward; his chest slides over the top edge of the wall and he tips over it, still holding the other man's hand. Both men drop together straight down along the wall face and exit the bottom edge of frame within one second, the rope whipping after them. The camera does NOT tilt down to follow them. End state: no people in frame. [Stage 5 — approx 14–15s] Hold the empty composition: only the brick wall, the loose rope end swinging against the bricks, dust drifting down, canyon haze behind. Hard stop on the empty frame. AUDIO: <light wind across the cliff, distant canyon ambience, rope fibers creaking under load, grit and small stones scraping on brick, strained breathing and effort grunts from the blue-jacket man, sneaker rubber scuffing brick as the second man climbs, a short surprised shout from both men as they tip, then only wind and the rope tapping the wall> No music, no voiceover, no dialogue. CONSISTENCY: Exactly two men, both with the identical face from @Image 2. Outfit A stays on the man on top, Outfit B stays on the climbing man; no wardrobe swap. Sunglasses and caps stay on both men in every stage. One single rope. Camera vantage, wall, cliff and haze unchanged from @Image 1. Camera never pans, tilts or zooms. Constant real-time playback speed from first frame to last; the hand grab plays at the same speed as the climbing. The burgundy-jacket man is absent until Stage 2. Both men exit the bottom of frame together in Stage 4 and never reappear. NEGATIVE PROMPT: no third person, no duplicate hands, no merged hands, no face change between the two men, no different faces, no wardrobe change, no camera pan or tilt, no slow motion, no time ramp, no speed change at the hand grab, no cuts, no cinematic color grade, no floating, no impact shown, no landing shown, no on-screen text, no captions, no watermark, no music.

Handheld shaky camera moves forward. As the woman sews the T-shirt, the man whose head is sticking out of the T-shirt turns to her and jokingly says in English, "I'm the best T-shirt you've ever sewn, aren't I?" Add cinematic vibe. Add real-time motion.

Style: photoreal live-action, filmed on a spectator's handheld smartphone from a huge daytime crowd at an open-air theater (matching @Image1) — raised phones in the foreground, distant city; bright sun-drenched daytime; realistic, weighty, effective fantasy combat with GRAND black-energy VFX; stylized magic, no blood, no gore. CAMERA: a FIXED camera position, NO zoom, NO push-in, NO dolly — only small pans and tilts to keep the fight in frame; stay wide, no face close-ups. @Image2 = the hero archer with his giant obsidian bow; he teleports in bursts of black dust-energy to deliberate flanking positions, aiming his arrows purposefully. @Image3 = the giant rival, about twice the hero's height, who actively FIGHTS BACK throughout — charging and hurling ripped-up stones. ONE continuous shot, no cuts, FIXED camera, minimal pan/tilt only: 0-4s: the giant rips a slab of stone from the ground and HURLS it at the archer; the archer teleports in black dust to dodge, lands at a flanking spot to the giant's LEFT and looses an arrow that opens a swirling BLACK HOLE right there beside the giant — a deliberate mark. 4-8s: the giant tears up another stone and throws again, then swings a heavy arm; the archer teleports to dodge and repositions to the giant's RIGHT, loosing another arrow that opens a second black hole deliberately beside him — a real back-and-forth exchange. 8-11s: the giant charges and swings hard; the archer teleports behind him and looses a big obsidian arrow that strikes the GIANT square in the chest and stays embedded there, glowing. 11-15s: the two flanking black holes ignite and PULL the giant from both sides at once; he is dragged apart into great streams of black dust shot through with swirling dark-blue energy and sucked into the vortexes; the holes collapse and vanish; the crowd erupts. Audio: roaring crowd; stone tearing and heavy thrown-rock impacts, teleport dust whooshes, taut bow draws and sharp arrow releases, vortex hums as black holes open, a heavy thunk as the arrow embeds, a building gravitational roar then a suck-and-collapse boom, scattering dust, crowd erupts on the final frame. Preserve: ONE continuous shot, no cuts; FIXED camera, pan/tilt only, NO zoom, stay wide, no face close-ups; the hero (@Image2) with obsidian bow, the giant (@Image3) ~2x height actively fighting back with stone throws; purposeful black-hole placement beside the giant; photoreal live-action; black dust-energy, obsidian arrows, swirling black holes, dark-blue energy within the black dust; distant huge stage, crowd and city from @Image1; foreground spectators with raised phones; stylized fantasy, no blood or gore; no on-screen text.

FORMAT: 20s / 9:16 vertical / viral comedy, candid iPhone beach footage / one continuous handheld take, no cuts STYLE: Realistic smartphone video look, natural overcast daylight, handheld shake from the filmer, real world physics, no cinematic grading. REFERENCES: @Image 1 defines the hero: curly dark wet hair, short beard, black square framed sunglasses that stay ON in every frame, shirtless, grey laptop, paper coffee cup. Identity and props only. @Image 2 defines the same single man's face and hair only; ignore its clothing, food and background. VIDEO PROMPT: [Stage 1 — approx 0–2s] Initial state: handheld phone view from a sandy beach, choppy sea, a few ordinary swimmers near the shore, one man visible very far out. Event: the unseen woman filming notices him. Camera: quick punch zoom toward him at 2s. End state: the man fills the frame in a long lens look. [Stage 2 — approx 2–8s] Continue from the zoomed view. The man stands chest deep in rolling waves, typing on the open laptop on one hand, lifting it above each incoming wave at the last second, sipping coffee between waves. A dark dorsal fin slowly circles him. Camera: handheld zoomed follow, micro shake. End state: the fin passes close in front of him; he freezes mid sip. [Stage 3 — approx 8–15s] Continue. He downs the last coffee, the empty cup drifts away, he snaps the laptop shut and holds it like a paddle. Each time the shark lunges near the surface he swats its snout once with the flat closed laptop while wading toward shore. The shark keeps following. Camera: the filmer tracks him along the waterline, frame bouncing with her steps. End state: he is waist deep, shark beside him. [Stage 4 — approx 15–20s] Continue. One final firm swat; the shark goes limp and dazed at the surface, unharmed. He tucks the limp shark under his right arm, closed laptop in his left hand, and walks out of the surf toward camera, deadpan, sunglasses on, water streaming off him. Camera: slow zoom out. Final state: held frame as he passes the camera, shark under his arm. AUDIO: <realistic beach ambience: rolling waves, light wind over the phone mic, distant kids, seagulls> No music. English, natural American accent, woman filming, amused, off camera: at 1s {Oh my god you guys look at this.} at 5s {Is he literally working out there?} at 9s, alarmed then laughing {There is a shark. There is an actual shark!} Male bystander, American accent, off camera at 13s {He is fighting it with the laptop bro!} Woman at 18s, laughing {No way. He is taking it home.} CONSISTENCY: Exactly one man in focus, one shark, one laptop, one cup. Sunglasses remain on in every frame. Keep face, hair and props unchanged. Camera never enters the water. No other swimmer interacts with him. NEGATIVE PROMPT: no face distortion, no identity change, no sunglasses removal, no injuries, no bite contact, no cartoon shark, no cheap CGI, no cinematic grading, no captions, no on screen text, no music, no extra sharks, no duplicate man.