Menge / Gruppe

My in universe anthropomorphic rock band "Velvet Garrote" playing live to a cheering crowd.

A stressed young corporate woman leaving work late encounters a confused Viking warrior who has somehow appeared in modern-day America, then becomes his reluctant guide to fast food, shot as a cinematic fish-out-of-water buddy comedy with realistic nighttime photography and energetic multi-angle camera work. 0-4 seconds: Smooth backward tracking shot on a rainy downtown sidewalk. A 26-year-old woman in a beige trench coat, office clothes and white sneakers walks toward camera carrying a laptop bag and coffee. Woman: "I swear, if one more thing happens tonight..." 4-7 seconds: Sudden whip-pan toward an alley as a violent blue-white flash erupts. Trash bags flutter outward from the shockwave. A huge Viking warrior with braided blond hair, fur cloak, leather armor and round wooden shield stumbles into the street coughing through smoke. Viking: "MIDGARD?!" 7-11 seconds: Medium handheld reaction shot. The woman freezes. The Viking raises his axe suspiciously, then spots her coffee cup. Woman: "Please tell me you're filming a commercial." Viking: "What potion is that?" 11-15 seconds: Tight insert shot. She cautiously hands him the coffee. He takes one heroic gulp, immediately recoils from the heat, spraying coffee sideways. Viking: "THE CUP ATTACKS!" Woman bursts out laughing. 15-19 seconds: Side-mounted tracking shot from outside her small car as the enormous Viking squeezes awkwardly into the passenger seat, shield wedged against the roof. Woman: "I'm taking you somewhere civilized." Viking: "To your king?" Woman: "Wendy's." 19-23 seconds: Drive-thru POV from inside the car. Viking leans toward the speaker box. Speaker: "Welcome, what can I get started for you?" Viking, terrified: "THE WALL SPEAKS!" 23-27 seconds: Fast dolly-in inside the restaurant. Viking stares reverently at an enormous cheeseburger, slowly lifts it with both hands, takes a bite and becomes emotional. Viking: "Your people possess great wisdom." 27-30 seconds: Exterior crane pull-back. They sit on the hood of the parked car beneath glowing restaurant signage, Viking drinking a giant soda through a straw while holding his axe. Woman: "So... where exactly are you staying?" Viking: "Your couch." Additional Notes: Keep the woman’s trench coat, office clothes and appearance identical throughout. Viking always retains braided blond hair, fur cloak, armor, shield and axe. Treat the Viking and props with realistic physical weight. Modern people react naturally in the background without turning the scene into chaos. Rain remains visible throughout exterior shots. Comedy comes from sincere performances rather than exaggerated cartoon acting. Photorealistic cinematic realism, believable skin, natural motion blur, realistic reflections and fabric physics. No subtitles.

Generate a 15-second ultra-realistic cinematic close-quarters combat video, strictly 16:9 landscape, native 4K, 24fps. The overall style is a gritty neo-noir action scene on the streets of Istanbul on a rainy night. The image must look like a real live-action shoot, not AI beauty, not a digital human, not game CG. [Material Binding] image1 = First person / Protagonist reference. image2 = Second person / Attacker reference. Use image1 for facial features, proportions, hairstyle, color, skin texture, body proportions, age, clothing logic, shoes, accessories, and overall temperament reference. Use image2 for the attacker's facial features, proportions, hairstyle, color, skin texture, body proportions, age, clothing logic, shoes, accessories, and overall temperament reference. Both are clearly adult female fighters. Maintain recognizable identities, but allow for natural live expressions, wet hair swaying, breathing rise and fall, muscle tension, pain reactions, and realistic movement deformation. Do not fix faces into stiff photos. Do not make character concept art, collages, storyboards, labels, text, borders, or panels. [Real Texture Requirements] Must avoid AI beauty look. Retain natural human skin texture, slight asymmetry, real pores, fine under-eye texture, wet stray hair, skin reflections after being wet by rain, natural blinking, jaw tension, unsteady breathing, muscle exertion, and real pain reactions. The face cannot look like a plastic doll, a digital avatar, overly airbrushed, or have glass eyes or overly perfect features. [Scene] Istanbul night street after rain. The entire fight takes place only on this street. The street is narrow and real, the ground slippery and shiny, with puddles, rubble, scattered trash, parked vehicles, old building walls, roadside railings, dim streetlights, distant neon glows, damp mist, and wet reflections. The atmosphere is gritty, dangerous, cold rainy night, with a neo-noir quality. A dark parked sedan appears fixed at the right side or back of the street from the start. It must maintain the same spatial position throughout the shot, eventually becoming the target the protagonist hits after being kicked flying. Do not let the car suddenly appear. [Core Action Principles] Real close-quarters combat, not dance, not martial arts, not superpowers. Every attack must have a clear causal chain: Charging -> Striking path -> Contact or grazing -> Body reaction -> Center of gravity change. Prohibit fake hitting, reacting across space, body clipping, falling without reason, or weightless flying. Actions must be fast, fierce, and clear, but not chaotic. Both must look like real trained combat actors. The attacker is more active and fierce; the protagonist starts calm, contemptuous, and precise, but is finally hit by a heavy blow and knocked back, in a losing state. [Photography] A continuous handheld long take, no cuts, no black screen transitions, no teleportation. The camera path must be clear: Protagonist's shoulder OTS opening -> Natural move to side profile close-up -> Close-quarters combat orbiting tracking -> Following the direction the protagonist is kicked -> Pushing into the protagonist's face on the damaged car. Handheld photography should be close, fluid, and immersive, but not so shaky that actions cannot be seen clearly. Use brief speed changes only at key close contact and final heavy impact moments; do not use slow motion for the entire segment. [Timeline] 0.0–2.5s Starts with an OTS shot behind the protagonist's shoulder. The protagonist stands in the foreground of the slippery street, back and shoulders occupying part of the frame. The distant attacker rushes quickly from the other end of the rainy night street, feet stepping through puddles, splashing water. The camera moves past the protagonist's shoulder, seeing the parked dark car at the right or back of the street. Sound of rain, footsteps, distant car sounds, and low ambient noise are present. The protagonist is not flustered, only slightly turning her head, eyes calm. 2.5–5.5s The camera naturally orbits to a side profile angle of the two. The attacker rushes to close range, throwing a fast jab or right punch at the protagonist's face. Use a very short speed change only at the moment the punch grazes the side of the face. The protagonist does not dodge significantly, does not lean back, does not retreat. She only does a minimal head retreat and jaw turn at the last moment. The fist must clearly graze a few centimeters in front of her cheek; the fist, cheek, and gap between them can be seen. The wind of the punch slightly moves her hair and collar. The protagonist's mouth shows a very slight contemptuous smile, as if thinking the opponent is too slow. The expression should be natural, not exaggerated. 5.5–8.5s Speed returns to normal. The attacker immediately continues to press, throwing a second blow and close-range combination. Sequence of actions clear: Attacker left hook -> Protagonist parries with forearm -> Attacker low knee or short kick -> Protagonist resolves with a small step back with the rear foot -> Protagonist counters with a short elbow or punch to the attacker's chest or shoulder line. Every movement must have a sense of contact. Blocking must actually change the attack path. The side hit must react according to the direction of force in shoulders, head, chest, and footsteps. Footsteps on wet ground will slip, but not lose control. 8.5–11.5s Close-quarters combat escalates. The attacker is more fierce, pressing continuously. The protagonist attempts to control the attacker's arm and throws a quick counter. Includes: Low angle seeing the attacker's preparation for a spin kick or strong side kick; Protagonist first dodges a dangerous close attack; Then the two briefly clash, with wrist control, shoulder bumps, and elbow parries. The camera orbits half a circle around them, keeping faces, hands, feet, and ground reactions clear. The protagonist still seems to have the advantage, but the attacker is not suppressed; she is waiting for a heavy blow opportunity. 11.5–13.0s The attacker suddenly explodes, throwing a powerful spinning back kick targeting the protagonist's chest or upper center. Use brief slow motion and an elongated low-frequency impact sound at this moment. The attacker's heel or sole clearly hits the protagonist's upper body, not a miss. The protagonist's body is driven by the impact starting from the chest, shoulders leaning back, feet leaving the wet ground, water and dust splashing from the floor. The impact must be realistically weighted, not like flying away weightlessly. 13.0–15.0s The protagonist is kicked flying toward the dark parked sedan that appeared at the start. The camera quickly follows her backward direction. Her back and shoulders hit the car body and front windshield area; the windshield shatters, glass fragments scatter, but not bloody. She falls heavily onto the car body or broken windshield, her body collapsing as if losing power. The attacker stands on the wet street, maintaining a strong fighting stance, looking at her coldly like a victor. In the last second, the camera no longer emphasizes the attacker but slowly pushes from the attacker's direction to the protagonist's face lying on the damaged car. The protagonist's face has rain, fatigue, pain, and resentment, still maintaining image1 identity features. The attacker remains slightly blurred in the background. The end should not cut to black, stopping on the protagonist's broken but conscious expression.

CN Medium-close-up. Single take, no cuts. For positioning and lighting, refer to Image1. The camera is positioned to the side, right next to Image2 and Image3—the entire venue is not visible; only a warm, blurred background is shown. They place the green beer bottles on the table—quickly, casually, barely glancing at them. Then Image2 immediately comes into her own—breaking into a huge smile, shouting as she moves, bright and completely unfiltered: “Yay—yay—yay! We finally won this war!” She’s already running and jumping forward—a playful, bouncy jog, light yet unstoppable, pure energy. Halfway through, she glances back at Image3. Image3 meets her gaze—a mature, slightly restrained smile, warm yet measured—and then they embrace each other warmly; they look incredibly happy. The camera follows them from the side throughout the sequence, with warm light softly falling on both their faces. Slight handheld drift. ARRI 35, anamorphic lens. Realistic style. No 3D animation. Real textures, real weight, real motion blur. SFX only. No music.

Soft smiles hold while a quiet shared breath lingers, closed eyes resting fully in the deepest forehead touch under the twin crescents. Paradox navy and freckles rest easy against the suit.

Photorealistic fixed surveillance camera (CCTV) footage. A traffic surveillance camera mounted on a high pole captures a wide-angle view looking down slightly at a two-lane road and the sidewalk beside it. Natural daylight, faint contrast characteristic of real security cameras, slight sensor noise and light wide-angle distortion, with a date and time timestamp in the corner of the screen. The camera remains completely fixed and stationary throughout. [0s-9s] A peaceful daily scene. A father is walking slowly on the sidewalk holding hands with a young child. Several cars pass by on the road at normal speeds. [9s-12s] A passenger car suddenly loses control, tires screeching as it crosses the lanes and charges straight toward the parent and child on the sidewalk. [12s-15s] At the final moment, the father snaps around and reflexively scoops up the child, jumping aside. The car plows through the exact spot where they stood, stopping in a cloud of dust. Style: Photorealistic quality of actual surveillance recordings. Fixed wide shot, no cinematic camerawork. Ambient sounds only.

Create a 30-second 16:9 chibi anime comedy short featuring two clearly adult male best friends, KAI and RYU, in a cozy apartment. No speech bubbles, no storyboard panels, no text overlays. Dialogue is spoken naturally with expressive voice acting, exaggerated facial expressions, physical comedy, and cinematic camera movement.\n\n0–5s — HOOK: Kai secretly sneaks behind Ryu while Ryu is confidently taking a selfie and whispers, “Bro… I just found your biggest weakness.” Ryu freezes dramatically: “My weakness?” Kai grins mischievously: “Your own confidence.” Quick comedic zoom.\n\n5–12s: Ryu challenges him, “Prove it.” Kai casually points toward Ryu’s phone. Ryu looks down and realizes the front camera has been recording him making ridiculous poses for the last five minutes. Kai bursts out laughing. Ryu tries to grab the phone: “DELETE THAT!” Kai runs away: “Never!”\n\n12–20s: Fast slapstick chase around the apartment. Ryu jumps over the sofa, Kai ducks under a table, cushions fly everywhere. Ryu finally corners Kai and mischievously says, “Got you.” Kai smirks: “Check your pocket.” Ryu looks down and discovers Kai secretly replaced his phone with a banana.\n\n20–26s: Ryu stares at the banana in complete disbelief. Kai is laughing uncontrollably. Ryu slowly raises the banana like a phone and says, completely serious, “Hello… Apple support?” Kai collapses laughing.\n\n26–30s — TWIST/PUNCHLINE: Ryu suddenly pulls out Kai’s REAL phone and reveals he secretly recorded the entire prank. Kai's smile disappears. Ryu grins: “Now we're even.” Both laugh and fist-bump as the camera rapidly zooms out.\n\nVisual style: polished colorful chibi anime, oversized expressive eyes, exaggerated reactions, playful body language, dynamic squash-and-stretch animation, detailed cozy apartment, cinematic depth of field, smooth character motion, energetic comedic timing.\n\nAudio: natural spoken dialogue, playful background music, footsteps, sofa impacts, phone notification sounds, exaggerated comedic SFX, short silence before punchlines, synchronized lip movement.\n\nPacing: extremely fast opening hook, escalating physical comedy, clear dialogue, three comedic reversals, strong final punchline. Keep everything wholesome, cheeky, mischievous, and genuinely funny.

Hollywood california , labor hall , labor ready, two young men one in 30s one early 20s are talking and another young man walks buy , he is limping and holding his ribs, he recognizes the man in his 20s and they talk, tge 20 yr old asks what happened

[Video Specs] 10 seconds, 16:9, 24fps, exactly two clean shots. Ends at exactly 10.0s. [Style] Cinematic realistic texture, action comedy rhythm, high-end commercial lighting, Hong Kong action film spatial relations. A 'Skill Swap' mechanic where a Sword Immortal and a Cyclist swap mounts. The comedy comes from 'habit → wrong transfer → reminder → correction → tacit understanding'. [Scene] Empty riverside plaza at dawn, golden sunlight, skyscrapers, brushed concrete, glass railings,天际线, morning mist. [Character ID A | Sword Immortal] From Image 1: 25-30 years old, East Asian, sharp brown eyes, long black hair, white silk Hanfu, silver sword. [Character ID B | Cyclist] From Image 2: 25-30 years old, East Asian, brown ponytail, yellow jacket, blue jeans, bicycle. [Shot 1 | 0-5s] Low-angle slow tracking shot. Characters stand face-to-face with the bike and floating sword between them. They point at each other's mount. Dialogue: 'Swap?' 'Swap.' They exchange positions seriously. [Shot 2 | 5-10s] Cowboy shot (medium-full) side tracking. They pass each other in opposite directions. The Cyclist (on the sword) instinctively tries to pedal the air due to bicycle muscle memory. The sword accelerates. The Sword Immortal (on the bike) tries to steer with sword-fingers, causing the wheel to wobble. They shout: 'Don't pedal the sword!' 'Hold the handles!' They instantly correct their posture and finish the shot riding smoothly in a parallel motion composition. Ends at 10.0s.

A structured 15-second high-intensity action duel with explicit hard cuts. [SHOT 1: 0s-4s] Dissolving smoke on the lantern-lit street reveals the dark warlord unharmed, standing tall as his eyes glow with fierce red energy, raising his black dragon staff. [HARD CUT TO SHOT 2: 4s-8s] Dynamic low-angle tracking shot of the beautiful white-robed female swordswoman sprinting forward at lightning speed across the stone cobblestones, her glowing silver sword leaving a trail of blue light, white silk dress fluttering. [HARD CUT TO SHOT 3: 8s-15s] Intense close-quarters martial arts collision! The female swordswoman leaps and strikes her silver sword violently against the warlord's dragon staff, unleashing a blinding explosion of bright sparks and shockwaves. They rapidly exchange three furious parries—a spin kick, a staff thrust, and a sword slash—ending in a fierce weapon lock-up with intense face-to-face eye contact under floating red lanterns.

Have Olaf the white standing next to Cherball MacDungail and Ivar the boneless with crutches.

A white-haired queen wearing battle armor stands atop the walls of a mountain citadel as a demonic army climbs the cliffs beneath a solar eclipse, colossal winged demons tear through defensive towers while soldiers fire flaming arrows into the darkness and magical barriers crack across the sky; the queen mounts a giant armored lion, charges down a collapsing staircase and cuts through demon ranks with a spear surrounded by white fire, then rides directly toward an enormous demon lord emerging from a black portal in front of the main gate; the lion leaps onto the creature’s chest, allowing the queen to climb its horns, raise the spear toward the eclipse and call down a pillar of divine light; open with a vast panoramic shot of the citadel surrounded by darkness, push into intimate close-ups of the queen and terrified defenders, follow the charge with a fast low-angle tracking shot, use huge scale contrasts, sweeping aerial movement and majestic slow motion before the final strike, pale eclipse light, red demonic fire, radiant white magic, storm clouds, ash and glowing feathers, apocalyptic yet sacred atmosphere, ending with the divine beam piercing the demon lord and closing the portal in a continent-shaking explosion while the queen and lion emerge through the fading light before the victorious army.

Cinematic anime short film clip, 15 seconds. Outdoor ninja warrior competition course, bright midday clear blue sky, large crowd of people standing on both sides of the course cheering, very festival and competition energy, vibrant and colorful atmosphere.

Task: Dreamina Seedance 2.5 — Omni ReferenceDuration: 30 secondsAspect ratio: 16:9Editorial target: 24fps, F000-F719 [Generation Goal]A high-speed combat battle involving only three characters: @Image1, @Image2, and @Image3. Develop offense and defense over 10 cuts. No weapons; use a combination of rushes, dodges, palm strikes, elbow strikes, kicks, throws, and aerial attacks. Do not fix the expressions of the three characters. Change them to alertness, surprise, irritation, concentration, provocation, exhilaration, and relief in response to the offense and defense. Express specifically through eyes, eyebrows, mouth, gaze, breathing, and head tilt. Return characters to a recognizable form only at moments of stopping, posing, contact, or landing. During high-speed movement, always break down the finished human body and replace it with a small number of liquid brushstrokes, rough watercolor planes, and short afterimages based on each character's color scheme. Do not simply add speed lines or motion blur to a finished figure. The flowing brushstrokes themselves are the character. [Material Roles]@Image1 = Character A. One and the same person. Uses yellow bob hair, cat ears, green eyes, light blue and white clothes, yellow trim, triangular tie decoration, pink backpack, pink boots, light blue tail with a yellow triangular tip as identifying information. @Image2 = Character B. One and the same person. Uses a yellow-green round bob, two leaf-like ears, golden eyes, white puff sleeves, pink bowtie, dark green shorts with suspenders, green boots, a long yellow-green tuft continuing from the back of the head with a round tip as identifying information. @Image3 = Character C. One and the same person. Uses vivid blue long hair and ponytail, two white horns, pointed ears, golden eyes, star-shaped earrings, dark red Japanese-style clothing, black skirt, black belt and back ribbon, black knee-highs, and red geta as identifying information. Do not treat three-view diagrams as clones. Do not swap the faces, hair, costumes, color schemes, ears, horns, tails, back hair, or decorations of the three. However, the expressions in the reference images are not fixed and should change according to the battle situation. Do not use white backgrounds or explanatory text. Do not generate weapons. Do not use the backpack, tail, back hair, horns, or geta as detached weapons. [Environment]A giant festival square based on a white paper surface. A giant vermilion pillar and watercolor stalls on the left, a sequence of vermilion torii gates in the center back, a red lantern shelf on the right, and light blue cubes and firework-like brushstrokes in the sky. Draw the background with translucent watercolors, broken ink lines, pencil composition lines, and wide white margins. Do not enclose the floor, pillars, torii, stalls, or lanterns with closed outlines. The background lines also tremble slightly, changing in density and position, but the amount of variation is weaker than that of the characters. Maintain the background layout in all cuts. Do not include combatants, crowds, or additional characters other than the three. [Unstable Line Rule]Draw the entire video with 'continuously generated lines and watercolors.' Do not clean up each frame from the previous one; redraw each frame as a new rough sketch. Do not create a single outline surrounding the person. Do not enclose the head, shoulders, arms, torso, or legs with continuous lines; always leave 30-60% of the body's outer circumference as white gaps in the paper. Recognize the character's form intermittently through short, broken pencil lines, irregular watercolor boundaries, dry brush marks, eraser marks, and doubled redraw lines. Do not maintain the same line in the same position for more than 3 frames. Lines change in position, thickness, density, length, pressure, and curvature every frame. They break in the middle, split into two, and parts disappear. Do not use a single uniform line width for the whole body. Do not keep line density constant. Irregularly alternate frames with extremely few lines, frames with dense redraw lines, and frames where most of the outer circumference disappears. Do not create a finished outer circumference for the face either. Do not draw both eyes, nose, mouth, jaw, and cheeks clearly at the same time. Leave only the minimum lines to read the expression, such as the outer side of one eye disappearing, the mouth cutting off midway, eyebrows becoming double, or cheek lines melting into watercolor. Do not fit the watercolor accurately inside the lines. Create bleeding, protrusion, white unpainted areas, uneven shading, and misregistration. [Line and Color Delay]Body movement takes the lead, pencil lines follow about 1-2 frames late, and watercolor color planes follow about another 1-2 frames late. Late lines and color planes do not completely overlap the body and remain as short afterimages torn in the direction of movement. Afterimages are not copies of the finished person but brushstrokes and color planes that indicate only the direction of the arms, legs, hair, tail, and costume. Even when stopped, do not return the lines to a clean-up state. The person's face, clothing, and posture become legible, but the gaps in the outer circumference, double lines, watercolor bleeding, and misregistration are maintained. [Mandatory Motion Deformation]Draw only about 60% of the human body for weak actions. Draw only about 30-40% for medium-speed actions. Draw only about 10-20% for high-speed actions. At maximum speed, represent the character with only 3-5 brushstrokes and 2-3 rough color planes. Character A high-speed action = yellow, light blue, white, and pink brushstroke group. Character B high-speed action = yellow-green, dark green, white, and a small amount of pink brushstroke group. Character C high-speed action = blue, dark red, black, and a small amount of golden brushstroke group. During high-speed action, do not connect the head, torso, arms, and legs with a correct human structure. Turn arms into long liquid brushstrokes, kicking legs into extremely elongated color planes, and rotating torsos into crushed arcs, triangles, or twisted watercolor surfaces. Temporarily disconnect limbs during jumps. Compress the torso in the direction of travel during sudden stops. Shift the hips and shoulders in different directions during turns. [Expression Direction]Character A: Starts with alertness, changes to a proud smile upon successful evasion, surprise when an attack is diverted, playful provocation during a melee, strong concentration in the late stages, and finally a satisfied, breathless smile. Character B: Starts with cautious observation, sharp concentration when interrupting, momentary surprise when an attack is dodged, a competitive smile during aerial attacks, a desperate expression in the final stages, and finally a soft, relieved expression. Character C: Starts with calm confidence, smiles slightly after dodging the first attack, furrows eyebrows during a pincer attack, sharp concentration while counterattacking, an exhilarated smile during the three-way melee, and finally a provocative one-sided smile. Do not finish the face during high-speed action. Indicate emotions with a single stroke of the eye, the tilt of an eyebrow, a short line of the mouth, or the direction of head brushstrokes. Make expressions legible only at moments when speed drops. [Cut 1 | 0.0-2.5s | F000-F059 | Triangular Confrontation]Initial state: Fixed wide. Character A is in the left foreground, Character B is in the right foreground, and Character C is in the center back. They form a triangle with each other in sight. Primary event: Show the appearance and positions of the three from F000-F023. A narrows eyes and is wary of C, B looks back and forth between A and C and breathes cautiously. C raises their chin slightly and shows composure with a one-sided smirk. From F024-F041, A lowers their hips, B opens half a step to the side, and C slides their geta to lower their center of gravity. From F042-F059, the three step out simultaneously. End state: The travel directions of the three converge in the center. The expressions and body circumferences are legible, but the lines are not closed and are redrawn every frame. [Cut 2 | 2.5-5.0s | F060-F119 | A vs C First Strike]Initial state: Low angle near the ground. A on the left, C in the center, B in the right back. Primary event: From F060-F075, A breaks down into yellow, light blue, and pink brushstrokes and rushes low from left to right. From F076-F087, A connects a leg sweep to a spinning kick. C breaks down into blue, dark red, and black brushstrokes, rotates, and evades the kick by a hair's breadth. Only just before contact from F088-F095 do A's eyes open wide and C smiles slightly. Do not draw the whole face, show only through fragments of eyes, eyebrows, and mouth. From F096-F119, A passes by C and slides to the right, leaving fragments of a surprised face. End state: A is in the right foreground, C is in the center, B is in the right back. C's composure increases, and A refocuses their expression. [Cut 3 | 5.0-8.0s | F120-F191 | B's Interruption]Initial state: Medium wide horizontal position. C in the center, A on the right, B in the right back. Primary event: From F120-F137, B lowers their eyebrows, breaks down into yellow-green and dark green brushstrokes, and enters from right to left. From F138-F153, B performs a spinning leg sweep passing under both of their feet. From F154-F167, A jumps vertically, and their legs and tail stretch into watercolor bands. The moment the evasion is successful, the corners of A's eyes droop and a smirk forms provocatively. C sinks low, folding their body to dodge B's kick. From F168-F179, B's eyes open wide for a moment, showing surprise at being dodged. From F180-F191, B furrows their eyebrows and concentrates on the next attack while sliding left. End state: B lands on the left, C in the center, and A in the center back. [Cut 4 | 8.0-11.0s | F192-F263 | C's Continuous Counterattack]Initial state: Low diagonal composition. B on the left, C in the center, A in the back. Primary event: From F192-F207, C's smile disappears and eyebrows drop sharply. C breaks down into 3-5 blue, dark red, and black brushstrokes and accelerates rapidly from left to right. From F208-F223, C performs a palm strike on B, an elbow strike on A, and a spinning back kick in one continuous motion. During the attack, C does not return to a finished body. Only a single golden stroke for the eye and a concentrated eyebrow line appear within the brushstroke group. From F224-F239, B evades backwards as a green arc, and A escapes sideways by splitting into short yellow and pink lines. From F240-F251, the arms and legs of the three cross for just a moment. A opens their mouth briefly in surprise, and B grits their teeth. From F252-F263, C passes to the right side and shows an exhilarated one-sided smile. End state: C is on the right, B on the left, A in the center back. All three are standing. [Cut 5 | 11.0-14.5s | F264-F347 | A and B Pincer Attack]Initial state: High diagonal overhead view. C on the right, A in the center back, B on the left. Primary event: From F264-F283, A and B exchange a short look. A shows a confident smile, B shows a focused face with lowered eyebrows. The two run towards C simultaneously; A performs a low flying kick and B performs a spinning kick. From F284-F303, C furrows their eyebrows and changes their body into thin blue, red, and black lines to slip through the gap between the two kicks. From F304-F323, A and B open their eyes wide just before colliding with each other, tuck their legs, and change direction in mid-air. From F324-F347, the three move apart in a circle. C gives a small smile for breaking the pincer attack, A furrows their eyebrows regretfully, and B exhales and gauges the next distance. End state: B on the left, C in the center, A on the right. [Cut 6 | 14.5-18.0s | F348-F431 | Sequence of Grabs and Throws]Initial state: Circling tracking shot. B on the left, C in the center, A on the right. Primary event: From F348-F367, A smiles provocatively and tries to jump onto C's shoulder. C changes to a focused, almost expressionless face, catches A's wrist to change their direction of motion, and throws them low. Make only the contact point briefly legible. From F368-F387, A becomes a group of yellow and pink brushstrokes and falls while rotating. Surprised eyes and an open mouth appear for a moment, then immediately break down into lines. From F388-F407, B throws a heel kick at C while passing in mid-air. B narrows their eyes and shows a competitive smile. From F408-F419, C catches it with their forearm and flows B's leg line outward. C's eyebrows rise slightly, showing surprise at the unexpected strength. From F420-F431, A regains posture just above the floor, clenches their mouth regretfully, and performs a three-point landing. End state: A is in the right foreground, B is in the left foreground, and C is in the center back. [Cut 7 | 18.0-21.5s | F432-F515 | 3D Offense and Defense Using the Background]Initial state: Wide shot showing the left vermilion pillar, center torii, and right lantern shelf simultaneously. Primary event: From F432-F451, B runs to the left pillar. Their expression changes to an exhilarated smile, and they step on the pillar once to bounce off diagonally. From F452-F471, A jumps to the right stall roof, kicks the roof, and reverses to the center. A shakes off the regret and narrows their eyes joyfully. From F472-F491, C anticipates the trajectories of the two and stays out of both attack lines with a low rotation while keeping a sharp gaze. During the high-speed section, the three become brushstroke groups with their own independent color schemes. From F492-F503, only the lanterns and stall cloths shake from the wind pressure. From F504-F515, the three land in the center and open their eyes wide at each other's unexpected movements. Immediately after, all three laugh. End state: The three form a narrow triangle in the central square. Exhilaration for the battle appears in the three. [Cut 8 | 21.5-25.0s | F516-F599 | Six-Beat Close-Quarters Melee]Initial state: Waist-high close-up wide. The whole bodies and feet of the three are visible. Primary event: From F516-F527, A starts from a joyful smile and enters a right roundhouse kick. From F528-F539, C lowers their eyebrows and flows it outward with their forearm. From F540-F551, B clenches their mouth and delivers a low leg sweep. From F552-F563, C opens their eyes in surprise, tucks their knees, and jumps. From F564-F575, A changes to focused eyes and drops a heel from mid-air. From F576-F587, B grits their teeth, pushes A's leg away, and changes the attack direction toward C. From F588-F599, C shows an exhilarated smile and slips behind the two. Replace characters with brushstroke groups for each high-speed action. Recombine only for 1-2 frames for attack blocks and expression changes. End state: A is on the left, B on the right, C in the center back. All three are out of breath, but their fighting spirit has grown stronger. [Cut 9 | 25.0-28.0s | F600-F671 | Simultaneous Three-Way Rush]Initial state: Frontal wide. A on the left, B on the right, C in the center back. Primary event: From F600-F611, the three sink down simultaneously. A removes their smile and looks at the landing point. B furrows their eyebrows strongly and holds their breath. C raises only one side of their mouth, provoking the two. From F612-F635, A (yellow, light blue, pink), B (yellow-green, dark green, white), and C (blue, dark red, black) become minimal brushstroke groups and rush toward the center. Do not show finished faces, hands, torsos, or costumes. From F636-F647, the three brushstroke groups cross in the center. Eyes, eyebrows, and mouths appear briefly as independent short lines, showing the concentration of the three. From F648-F659, opaque watercolors, ink splatters, and dry brush strokes that scrape the paper scatter radially. From F660-F671, the three pass through in the directions they crossed. End state: A, B, and C cross the center and decelerate while facing away from each other. [Cut 10 | 28.0-30.0s | F672-F719 | Recombination and Conclusion]Initial state: Fixed wide. The three are sliding in different directions from the center. Primary event: From F672-F687, brushstrokes shorten and characters return in the order of posture, hair, costume, and watercolor. The body's outer circumference does not close. From F688-F703, A stops on the right, B on the left, and C in the center foreground. A smiles satisfiedly while out of breath. B closes their eyes once, exhales, and smiles softly. C looks at the two over their shoulder and shows a provocative one-sided smile. From F704-F711, the three turn around simultaneously. From F712-F719, they change their expressions back to focused faces and take low combat stances. End state: No conclusion reached. All three can be identified as the same characters from the reference images by their color scheme, hair, and costume. However, line gaps, double lines, watercolor bleeding, and misregistration remain after stopping. [Visual Treatment]Hand-drawn 2D animation on bright white paper. Use ink, pencil, watercolor, dry brush, white unpainted areas, eraser marks, and redraw lines. Do not create a line that goes all the way around the person's outer circumference. Do not enclose the face, hair, clothes, arms, or legs as closed shapes. Lines within the screen change in thickness, density, length, position, pressure, curvature, and gap rate every frame. Do not correct high-speed action body collapse, line gaps, facial omissions, or color plane delays as generation defects. Do not return to smooth vector lines, uniform line width, closed outlines, symmetrical faces, fixed expressions, accurate coloring, 3D-like human interpolation, or processing that only adds effect lines to a finished character. [Audio]High-tempo percussion-based BGM. Character A has light boot sounds, B has soft landing sounds, C has hard geta sounds. Clothing wind noise, short hitting sounds, floor scraping sounds, sounds of kicking pillars and stalls, the sound of lanterns swaying, and breathing. No dialogue. [Maintain Consistency]Only three characters. Do not generate three-view diagrams as clones. Do not swap the color schemes, faces, hair, costumes, ears, horns, tails, back hair, backpacks, or shoes of the three. Do not fix expressions. Change eyes, eyebrows, mouth, gaze, and breathing in response to each attack, dodge, failure, success, surprise, and exhilaration. Do not stabilize lines. Do not make line width constant. Do not maintain the same line in the same position. Do not close the body's outer circumference. Do not fit watercolor accurately inside the lines. Always break down characters during high-speed action. Do not let them run, jump, or attack while maintaining a finished human body. Move the brushstroke groups themselves as the characters. Make them identifiable as the same person at the moment of stopping and contact, but do not return to a clean-up outline. Do not generate weapons. Do not generate additional people, clones, or human-shaped afterimages. Maintain background layout, character movement directions, and triangular positional relationships. Frame numbers are editorial goals; prioritize event order, expression changes, and the end state of each cut. pure video, no subtitles, no dialogue, no watermark.

30-second vertical short drama, 16:9, cinematic, luxurious style, cinematic lighting. Scene: Luxurious bathroom in a top five-star hotel or presidential suite, marble vanity, large mirror, warm golden lighting, and soft mist, creating an intimate and premium atmosphere. Characters: CEO <<<Image1>>>: 30s, tall and handsome, strong aura, wearing a dark suit jacket, white shirt, and tie. Female Secretary: 20s, young and beautiful, good figure, wearing professional attire (white shirt + pencil skirt), stubborn temperament. Style: Cinematic lighting, shallow depth of field, high-end fashion texture, contrast between warm gold and cold white, extreme detail, strong tension and ambiguity. Storyboard: 0-2s: In front of the luxury bathroom vanity, the CEO suddenly presses the secretary against the marble edge, dominantly kissing her. 2-4s: The secretary pushes his chest with both hands, body struggling, breathing heavily. 4-6s: The CEO gives her no chance to resist, lifts her in a princess carry, and steadily places her on the vanity. 6-8s: Continuous deep kissing, the secretary hurriedly reaches for a golden perfume bottle on the counter (black horse pattern on the bottle). 8-10s: She sprays forcefully towards the CEO's face and chest, perfume instantly wetting his shirt and body. 10-12s: The CEO steps back slightly, looking down at his wet shirt, a playful smile on his lips. 12-15s: He handsomely takes off his suit jacket, revealing his wet white shirt. 15-17s: The CEO drops his jacket, approaches the secretary again, faces almost touching. 17-19s: He whispers: 'Finished spraying? Now it's my turn.' 19-21s: The secretary's breathing is slightly irregular, but she looks directly into his eyes, whispering: 'CEO, what exactly do you want?' 21-23s: The CEO gently raises her chin, their gaze deepening. 23-25s: The CEO suddenly kisses her forcefully. The secretary finally softens, turning her face away, unable to resist laughing, whispering in his ear: 'Husband, keep acting, don't stop.' 25-30s: Foreheads touching, breathing intermingled, the secretary tightly hugs the CEO's waist, then kisses him passionately, camera slowly zooming in on profiles and the wet shirt, ambiguity and tension peaking, frame freezes.

Episode 1: SCENE CONTEXT A working fishing wharf on the Florida gulf coast, 1957, two hours before dawn. A night catch is being craned off a trawler in cargo nets. One net holds something that fights. The crew wrestle her into a wooden crate

Create a 10 second cinematic live action video in 16:9, one continuous unbroken shot at night. A quiet roadside parking lot sits beneath a deep navy star filled sky. In the lower left background is a small retro service station or convenience store with cool fluorescent interior light and a thin warm orange roof glow. Dark parked cars, utility poles, overhead wires and tree silhouettes remain stable in the distance. The asphalt is washed with dim amber and reddish streetlight, with natural shadow falloff and faint haze. Two young adults wear simple white oversized T shirts, loose gray trousers and white sneakers. One stands on the asphalt near the lower center of frame. The second person is suspended high above, connected only by one hand, creating a surreal low gravity moment. Keep both identities, clothing, body proportions and hand contact perfectly consistent for the entire shot. Camera is around waist height with a 28 mm full frame lens, slightly tilted upward so the sky dominates. Use restrained handheld micro movement, no obvious pan, no zoom, no artificial stabilization. Preserve realistic perspective, parallax and lens behavior. Exposure favors the night sky while warm light gently models skin, fabric folds and shoes. Use subtle highlight bloom, mild sensor grain, natural motion blur and realistic contrast. Avoid glossy commercial perfection. From 0 to 1.5 seconds, begin with the standing person planted beneath the floating person, arm stretched upward. The floating body is slightly curled, knees bent, torso angled diagonally, hair and shirt moving lightly in the night air. Their joined hands form the visual anchor. From 1.5 to 3 seconds, the floating person glides slowly upward and toward screen right as if carried by a gentle invisible current. The body lengthens from curled to almost horizontal. The standing person raises the shoulder, shifts weight through the hips and pivots one foot to maintain balance. From 3 to 5 seconds, continue the smooth lateral drift. The airborne person becomes nearly horizontal, legs extended behind, toes relaxed, free arm reaching outward. The standing person stays grounded and rotates slightly toward screen right. Their connected arms create a long diagonal line across the frame. From 5 to 7 seconds, let the floating body pass farther into the upper right. Show believable shoulder tension, wrist angle, finger grip, fabric drag and hair movement. The grounded person widens the stance and makes one small natural step, with a faint shoe scrape on asphalt. From 7 to 9 seconds, the airborne person approaches the far upper right edge while staying fully visible. The grounded person leans and follows with another subtle weight shift. Background geometry, stars, poles, wires and parked vehicles remain stable with no warping or flicker. From 9 to 10 seconds, ease the motion into a suspended final pose rather t

Majid from the photo running and fighting a strong evil man, full Jackie Chan style, 15 seconds