Complex Multi-Shot Cinematic Scene Workflow
A highly detailed multi-shot production prompt incorporating character sheets, location mapping, and specific facial geometry references for a professional narrative sequence.
Komut
NEUROPROSTIR — ENTRANCE → THE WEIGHING → THE CASE → ONE CHORD → THE TWENTIETH → LOGO SHOT STRUCTURE: 11 shots, 30 seconds, 4:3, exactly as listed, no added shots REFS: @[Image 1](image_1) = location reference sheet. Controls the room itself only — architecture, layout, materials, window positions, bar position, fixtures, colour of the space. Every shot is staged inside this room. @[Video 1](video_1) = video reference of Vova's face. Controls facial geometry, features, skin and expression range INSIDE the hairline only: forehead, eyes, nose, mouth, jaw, complexion. It does not control hair, hairline, head shape above the hairline, or anything below the neck. @[Image 2](image_2) = character sheet. Controls Vova's hair length, parting, volume and fall, plus his build, height, wardrobe and silhouette. @[Image 3](image_3) = prop turnaround. Controls the guitar's shape, colour, wear and the logo on the lower bout only. @[Image 4](image_4) = character sheet. Controls El Patrón's face, hair, build and wardrobe. @[Image 5](image_5) = photo reference. Controls Anya's face, hair, glasses, earrings and jacket. @[Image 6](image_6) = brand reference. Controls the logo shape, its orange-to-violet gradient, the wordmark, the subscribe button and the server-room environment, for the final shot only. ACTIVE REFERENCES: @[Image 1](image_1) 95% · @[Video 1](video_1) 90% (face only) · @[Image 2](image_2) 95% (hair, build, wardrobe) · @[Image 3](image_3) 95% · @[Image 4](image_4) 90% · @[Image 5](image_5) 90% · @[Image 6](image_6) 100% (final shot only) LOCATION MAP — fixed for the entire piece, every shot is staged against these anchors: - The room runs roughly 12 metres east to west and 9 metres north to south. Terracotta tile floor, adobe plaster walls, exposed dark timber ceiling. - NORTH WALL: the bar, 6.2 metres long, brass rail, a spotted mirror and a full wall of bottles behind it. A single 2400K bulb hangs over the bar. - SOUTH WALL: the batwing doors, 1.4 metres wide, the only entrance. - WEST WALL: three shuttered windows. This is the only daylight source in the room. - EAST WALL: a jukebox, and one table beside it. - CENTRE: a slow ceiling fan, and scattered tables between the doors and the bar. FIXED POSITIONS — each character occupies exactly one position for the whole piece and never appears in two places: - <Bartender> behind the bar, centre, facing south into the room. - <Vova> enters through the south doors, walks north-west across the floor, and stops at the WEST END of the bar. He stands there from shot 3 onward and does not move again. - <El Patrón> is seated on a stool at the bar, about 2.5 metres EAST of where Vova stops, from the first frame to the last. He never stands and never leaves the stool. - <Anya> is seated alone at the EAST TABLE beside the jukebox, whisky and tablet in front of her, from the first frame to the last. She never moves to another table. - Six men at the scattered centre and south tables, seated, none of them at the bar. BAR AXIS: Vova and El Patrón stand and sit side by side along the bar, both facing north toward the bottles. They speak to each other through the spotted mirror, not face to face. The camera stays SOUTH of the bar for the entire piece and never goes behind it. GLOBAL STYLE NOTES: - look: late afternoon sun through the three west shutters as the single daylight source, hard-edged at 3000K, throwing long slatted bars across the tile and up the north wall, dust and cigarette smoke standing visible in the shafts; the 2400K bulb over the bar adds a small warm pool exactly where Vova stops, while El Patrón's stool sits in the gap between two shutter bars and reads darker without any separate lighting; the room falls to deep amber shadow away from the windows; 35mm film still, Kodak Vision3 500T pushed one stop, heavy grain, halation on the shutter slats, warm ochre grade with the shadows lifted to brown - setting: dry air at 34°C, thick with dust; a mariachi guitar playing low from the jukebox on the east wall, the fan motor, glass on wood, boots on tile, the doors knocking twice as they settle; room tone stays present under every quiet beat, never digital silence; ambience ducks under every spoken line and returns in the gap - characters: <Vova> face from @[Video 1](video_1), hair and everything else from @[Image 2](image_2). 190 cm, dark brown wavy hair falling to the shoulders, centre-parted, thick and slightly unruly, covering the tops of the ears — the hair is taken from @[Image 2](image_2) and is never redrawn from the video reference. Black cropped jacket with silver conchos down both fronts, black shirt open at the throat, silver chain, black jeans with silver buttons down the outer seam, worn black boots. He stands about 7 cm taller than El Patrón. Keep identical in every shot. <El Patrón> corresponds to @[Image 4](image_4). 183 cm, moustache, hair slicked back, white linen shirt with the sleeves rolled, gold chain, dark trousers, brown belt, brown boots, gold watch, rings. Keep identical in every shot. <Anya> corresponds to @[Image 5](image_5). Short blonde-grey hair, round glasses, silver hoop earrings, black blazer with white stitching. Keep identical in every shot. <Bartender> a thin older man, apron, towel over the shoulder. Keep identical in every shot. - acting — Vova: scene direction: keep it ordinary, let the room do the work, never sell anything fuel: he knows exactly what is in the case and quietly enjoys that they do not goal: make them ask instead of making them listen obstacle: the pull to explain himself; one sentence of pitch and the room owns him tactic: says nothing until asked twice, then answers a half-beat late and one word shorter than expected, checking the mirror after each answer to see whether the man is waiting for more, and giving him less each time channel: walking, then setting the case flat on the bar and working the latches without hurry gaze always engaged in the task, natural blink cadence - acting — El Patrón: scene direction: same, keep it ordinary, nothing here is worth standing up for fuel: three men came through those doors this year with a case and he is still the one sitting goal: get him out through the same doors without leaving the stool obstacle: curiosity, which he refuses to show and which leaks through every repeated question tactic: asks, then lets the pause run past comfortable to see whether the man fills it; the man never does, so he has to ask again, and each repeat costs him a little ground channel: turning a glass slowly on the bar top, never lifting it gaze always engaged in the task, natural blink cadence - acting — Anya: listener_task: she is checking whether the number on her tablet is final or still moving, and the bar is not part of that until it is CONTRAST AXIS: risk. Vova courts it, El Patrón holds ground against it. Both speak sparsely, both flat, both dry — the comedy lives in how alike they sound while wanting opposite things. Neither is a villain: two quiet men at a bar trading short sentences, and the older one loses ground only by having to ask twice. EYELINE GEOMETRY, anchored to the room and to each body, never to screen sides: (A) Vova and El Patrón face north at the bar — each looks at the other's REFLECTION in the spotted mirror, and their real heads stay turned toward the bottles; (B) Anya's table sits past El Patrón's OWN RIGHT shoulder — to reach her he rotates his head toward that shoulder and looks back over it; (C) the doors sit directly behind both of them to the south — glancing
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