raullinaitis

Refer only to the man's actions, their order and their timing in @Video 1. @Video 1 is a guide for choreography, not footage: every frame is newly filmed on a cinema camera with normal 35mm and 50mm lenses, straight verticals and a full clean frame, with no doorbell angle, no fisheye bend, no vignette and no security-camera look. A grounded dramatic short film, played completely straight: an ordinary sunny afternoon turns into panic when a man stepping out of his brick house is attacked by a wasp he can barely see. The camera tells the story: calm, shock, chaos, a false calm, a second attack, the retreat. The wasp is heard, never clearly seen. Shot 1 — target 00:00-00:01. Steadicam glides behind him at shoulder height as he steps off the porch into bright sun; a sharp buzz cuts in and both his hands fly up to his head. Shot 2 — target 00:01-00:03. Low medium shot, the camera dollies backward in front of him as he spins and hops down the step, bent forward, sun flaring across the lens. Shot 3 — target 00:03-00:05. Slow half-orbit at waist height around him beside the white SUV as he bends double, shaking his dreadlocks and slapping at his hair. Shot 4 — target 00:05-00:08. Slow push-in from a medium shot to a medium close-up as he straightens, pats his head and catches his breath, almost relieved; the street goes quiet. Shot 5 — target 00:08-00:11. Handheld: the camera jolts as the buzz returns and tilts down with him as he folds over again, slapping frantically at his head. Shot 6 — target 00:11-00:14. Crane shot rising and pulling away as he straightens and walks past the white SUV toward the street, looking down at his arms, ending on a wide of the quiet sunny street. Hard high summer sun, deep contrasty shadows, rich saturated colour, 35mm film grain, 24fps motion blur. Normal speed, no slow motion. No subtitles, no text. Audio: NO MUSIC, NO SCORE, NO PIANO, NO ACOUSTIC GUITAR, NO STRINGS. Shot 1 birds and footsteps, then a sharp close buzz; Shot 2 a gasp, sneakers skidding on concrete; Shot 3 slaps on hair, ragged breathing, the buzz circling; Shot 4 breathing fading to near silence, cicadas; Shot 5 the buzz roaring back, frantic slaps, a shout; Shot 6 footsteps, cicadas, distant traffic.

Generate a slightly messy kitchen still of a matte ceramic coffee mug on a worn oak table beside a folded linen napkin, late morning window light from camera-left, crumbs and a faint coffee ring, shot on a Canon R5 with a 50mm f/1.8 lens, natural wood grain, unmarked mug, empty of people.

Generate a tight portrait of a man in his late twenties with dark curly hair and a short beard, wearing a black t-shirt, standing still and looking just off camera. Dark navy studio backdrop, soft key from camera-left, faint rim on the hair. Shot on a Hasselblad X2D 100C with a 90mm f/2.8 lens, natural skin texture and flyaway hair. Clean unmarked clothing, no extra people.

Replace the object in the hands with a small matte-black 3D-printed figurine. Keep original perspective, lighting angle, and color grade. Match the contact shadows. Do not change the person or the background.

A man in a black t-shirt stands in a dark navy studio and looks into camera. He slowly turns his head a few degrees to the right, then back, breathing quietly. Locked camera, medium close-up, soft key from camera-left. Keep it subtitle-free, avoid generating any text or subtitles, do not generate a logo or watermark.

Keep the person, wardrobe, and room exactly as in the image. He blinks once and the fabric on the shoulder shifts slightly with a breath. Locked camera. Keep it subtitle-free, avoid generating any text or subtitles, do not generate a logo or watermark.

Image 1 is the first frame. Image 2 is the last frame. The person stays in the same spot and slowly turns their head from the first pose into the last pose. Locked camera, no extra people, lighting stays the same. Keep it subtitle-free, avoid generating any text or subtitles, do not generate a logo or watermark.

Generate a medium close-up of an adult hand holding a small matte-black 3D-printed figurine toward camera in a cluttered apartment kitchen, window light from the side, the figurine sharp and the sink softly out of focus, shot on a Canon R5 at 35mm, natural skin texture, unmarked figurine, no extra people.

Keep the hand, figurine, and kitchen exactly as in the image. The fingers tighten a little on the figurine, then ease, and the person takes one quiet breath. Locked camera. Keep it subtitle-free, avoid generating any text or subtitles, do not generate a logo or watermark.

Edit the person in this photo. Keep the face, pose, outfit, and original light direction unchanged. Place them in a quiet night street with wet asphalt and a deep navy wash on the walls. Match contact shadows under the feet and keep hair edges clean. Do not change anything else.

Edit the person in this photo. Keep the face, hair, pose, and original light direction unchanged. Change only the top to a heavy-knit charcoal sweater with a visible weave. Match folds to the existing body and keep the background the same.

Keep the face, wardrobe, and room exactly as in the image. The person blinks once and the corners of the mouth ease a little. Locked camera. Keep it subtitle-free, avoid generating any text or subtitles, do not generate a logo or watermark.

@Image 1 is the man's face reference: the man has exactly this face and hair. Ignore its background. @Image 2 is the car reference: the car is exactly this bright emerald-green Fiat Multipla, same shape, two-tier front and silver hubcaps, with no badges and no number plates. One single continuous static shot for the whole video, no cuts, no camera movement. The camera stands low, almost at ground level, with a long telephoto lens that strongly compresses distance, so things far behind the man look as if they are right behind him. The man sits exactly in the centre of the frame, full body, on a white plastic garden chair in the middle of a big, empty supermarket car park. He wears a plain black t-shirt, dark jeans and white sneakers, and holds a paper coffee cup. Bright sunny summer afternoon, deep blue sky with a few white clouds, strong warm sunlight, crisp shadows, vivid saturated colours. Fresh black tarmac, bright white parking lines running straight away from the camera, red shopping trolleys in a trolley bay, tall lamp posts, a low supermarket building far behind with no readable signs. A short distance behind his chair, on the exact centre line, stands a cheap homemade ramp: one long sheet of raw plywood propped on a stack of red, blue and yellow plastic bread crates, rising toward the camera. Shot 1 — target 00:00-00:06. The car from Image 2 appears small, far away near the supermarket, on the exact centre line, and races straight toward the camera, headlights on, growing larger. The man sits still and completely calm, looks straight into the lens and slowly lifts his coffee. Shot 2 — target 00:06-00:07. The car hits the plywood ramp at full speed; the crates shudder and the car launches into the air, nose slightly up. Shot 3 — target 00:07-00:11. Slow motion: the car hangs in the air, huge in the frame, right above and behind the man's head, all four wheels spinning, the soft suspension hanging fully extended, a little grit falling from the tyres. The man does not flinch. He takes one slow sip of coffee and keeps looking into the lens. Shot 4 — target 00:11-00:15. Back to normal speed: the car passes over the man's head and flies straight into the camera. The green front bumper fills the whole frame and hits the lens; the lens glass cracks into a spider web across the picture and the image shakes and tilts as the camera falls over onto the tarmac, sky and tarmac sliding past. Sound: NO MUSIC, NO SCORE, NO PIANO, NO ACOUSTIC GUITAR, NO STRINGS. Shot 1: a small car engine revving harder and harder, tyres on tarmac, light wind. Shot 2: a loud wooden clunk and rattling crates. Shot 3: a deep slowed-down whoosh of air and a muffled engine. Shot 4: a sudden heavy crunch of plastic and breaking glass, then a metal clatter as the camera hits the ground, then quiet wind. No speech, no subtitles, no text, no logos.

@Image 1 is the woman's reference — her face, freckles, wavy auburn-brown hair, silver hoops and build, and exactly this mustard-yellow cable-knit sweater, blue jeans and white sneakers, come only from @Image 1. @Image 2 is the man's reference — his face, short dark hair, stubble and build, and exactly this charcoal waffle-knit henley and dark jeans, come only from @Image 2. @Image 3 is the first location reference — shots 1 to 8 are in exactly this meadow at night, matching its grass, tree line and star-filled sky, with one normal-size full Moon added in the sky. @Image 4 is the second location reference — shots 9 to 11 are in exactly this place on the surface of the Moon, matching its grey dust, rocks, horizon and black sky. Wherever a reference covers something, follow it exactly. On Earth a red-and-cream tartan wool blanket lies on the grass; she lies on his left. On the Moon she wears no spacesuit and no helmet. Shot 1 — target 00:00-00:02. From behind and just above their heads at grass level, the camera slides in slowly. The backs of their two heads rest together on the blanket at the bottom of the frame; a soft cool moonlight rim outlines both heads and their hair, so two separate heads read clearly. Above them the night sky full of stars with the small Moon. No faces. Shot 2 — target 00:02-00:06. Cut to a close two-shot of both faces from above, heads close, turned toward each other, eyes open, hands interlocked at the lower edge, a faint warm glow on their faces. She smiles at him and says quietly, like the end of a long talk: "...it's always been you." He smiles back with a teasing grin: "You'd really do anything for me?" Shot 3 — target 00:06-00:08. Cut to her face in close-up from straight above, lying exactly as before, her eyes still turned sideways to him, never up to the sky. The camera pushes in slowly. She smiles and begins, her voice rising and open, the sentence clearly not finished: "I would..." Shot 4 — target 00:08-00:09. Cut to an extreme close-up of her lips, slow motion. They slowly form "...go to the moon..." Shot 5 — target 00:09-00:10. Cut to the night sky full of stars, slow motion. A shooting star appears high in the sky and begins to fall, its trail just starting to stretch. Shots 5 and 7 are one continuous take of this same falling star, split in two by shot 6. Shot 6 — target 00:10-00:11. Cut back to her lips, slow motion: "...for you." A small smile. Shot 7 — target 00:11-00:12. Cut back to the same sky with the same framing, slow motion, picking up the same shooting star exactly where shot 5 left it, further along its fall. It finishes its fall, flares and burns out into fading sparks. Shot 8 — target 00:12-00:16. Cut to one locked shot straight down from above the blanket. They lie exactly as in shot 2: eyes open, heads turned toward each other, looking at each other, hands interlocked. Fine grey dust and glittering blue-white particles begin to lift and swirl around her body only, spinning faster into a swirling vortex. He sees it and pulls up in shock, mouth open, his hand torn from hers. The vortex spins her away into dust and glittering particles; she is gone, and only the pressed shape of her body stays in the wool. Shot 9 — target 00:16-00:19. Cut to the Moon: a locked shot straight down from right above, only grey Moon dust in the frame, no sky. The same swirling vortex of grey dust and glittering particles spins up on the dust, and she forms inside it, lying on her back. The dust settles. Her eyes open. Shot 10 — target 00:19-00:22. Cut to a low shot from behind her head. Weak and heavy, she pushes herself up to sitting, and as she rises the black sky and the large blue Earth from @Image 4 come into view in front of her. She starts to reach one hand toward Earth. Shot 11 — target 00:22-00:28. Cut to her face in close-up from the front, her hand still reaching toward the camera, only black empty space behind her head, no Earth. Hard sun from the left, crisp black shadows. She chokes for air, a young woman's strained gasps. Frost spreads over her skin, her face shrivels and grows thin and tight as it freezes, thin dark veins spread beneath the frosted skin, her lips turn grey, and her eyes glaze over to a milky white. She goes completely still. The camera zooms slowly into her frozen milky white eyes until they fill the frame, and holds. Eerie soft horror, no blood, no wounds. Realistic live-action film look, large-format cinema camera, shallow depth of field, real skin and fabric texture, smooth camera, no handheld shake, no lightning, no text or logos anywhere. Sound: shots 1-3 fade in from silence with crickets, soft wind and their quiet voices; shots 4-7 her voice slowed and deep with a soft whoosh under the star; shot 8 a rising rush of wind and swirling dust and his gasp, then crickets; shot 9 the same rush of swirling dust, then sudden total silence; shot 10 a muffled heartbeat; shot 11 her female choking gasps with no words, a fine crackle of frost, the heartbeat slowing and stopping, then silence. NO MUSIC, NO SCORE, NO PIANO, NO ACOUSTIC GUITAR, NO STRINGS.

@Image 1 is the woman's reference at the lake — her face, cherry-red hair, bold artistic makeup, gold hoops and build, and exactly this dark red swimsuit, come only from @Image 1. @Image 2 is the same woman in her colourful outfit; it appears only as the photo on the phone screen in shot 1. @Image 3 is the same woman after she turns into a deep-sea creature; she looks like @Image 3 only in shots 8 and 9, never before. @Image 4 is the young white man on the couch — his face, light-brown hair and build, and exactly this grey sweatshirt and joggers, come only from @Image 4. @Image 5 is the same man at the lake in exactly these navy swim shorts. @Image 6 is his friend in exactly this dark green hoodie. @Image 7 is his other friend in exactly this cream T-shirt and open black overshirt. @Image 8 is the first location reference — shots 1 to 3 are in exactly this living room at night, matching its couch, lamp, coffee table and walls. @Image 9 is the second location reference — shots 4 to 9 are in exactly this forest lake, matching its water, trees, reeds and jetty. Wherever a reference covers something, follow it exactly. At the lake she stays on the left of him. Shot 1 — target 00:00-00:03. Close over his right shoulder, the camera pushes slowly toward the phone in his hand. The phone shows a swipe-card dating app: one single photo card of the woman from @Image 2 fills the whole screen edge to edge, with rounded corners, nothing else on the screen — no feed, no profile line, no icon row. His thumb drags the card off to the right, and the whole screen flashes bright green with one big white heart in the middle and the single word "MATCH" under it. The green light spills over his hand. No other words, no app name, no logo. Shot 2 — target 00:03-00:06. Cut to a frontal, slightly high wide shot of the three young men on the couch, him in the middle with the phone, the friend from @Image 6 on the left and the friend from @Image 7 on the right. Both friends lean in to look at the screen. The friend from @Image 6 leans back, eyebrows high, with a slow amused grin: "Damn... she's colorful." The friend from @Image 7 presses his fist to his mouth, shoulders shaking, holding back a laugh. Shot 3 — target 00:06-00:09. Cut to his face in a medium close-up as the camera pushes in. He leans back with a cocky smirk and says, a laugh under the words: "Guess I'm taking her swimming on the first date." Both friends burst out laughing and the friend from @Image 6 slaps his shoulder. The picture slowly fades to black. Shot 4 — target 00:09-00:12. Slow fade in from black onto the lake on a sunny late afternoon: a wide shot from behind them on the shore, low among the reeds. The man in his swim shorts and the woman from @Image 1 walk away from the camera, backs to us, side by side into the water, wading out to waist depth, laughing. Warm golden low sun, sparkling water ahead of them. Shot 5 — target 00:12-00:14. Cut to a side two-shot at water level, floating slowly. They swim close together, heads and shoulders above the water, smiling and flirting. Her red hair and makeup are perfect. Golden rim light on their hair. Shot 6 — target 00:14-00:17. Cut to a close two-shot over his shoulder. Grinning, he sweeps his palm across the surface and splashes water into her face. She turns her face away and lifts a hand, half-laughing, annoyed: "Hey — stop it!" He splashes her again, harder. Shot 7 — target 00:17-00:24. Cut to one continuous low side shot at water level, with no cut until the end of this shot; only dark water and the dark treeline are behind them, no sky. They stand chest-deep, face to face; she looks him straight in the eyes, serious and firm: "I said stop." Suddenly he grabs her shoulders hard and, straightening his arms, shoves her straight down under the water in one rough, forceful push while his own head stays up — not a hug, not a lean-in. Her gasp is cut off and she is gone under at once in a hard splash. He stays exactly where he is, alone, laughing; a few bubbles rise in front of him, then stop. The water goes flat and still. In the same unbroken shot, the warm golden light slowly drains away into flat, cold grey-blue light, a stop darker, like an overcast horror film, and his laugh fades into a puzzled, uneasy frown. Shot 8 — target 00:24-00:27. Cut to his point of view as the camera pushes in slowly, in the same cold grey-blue light. Right in front of him, she rises slowly and straight up out of the still water, her soaked red hair first, water streaming off her, and she is now the creature from @Image 3: slimy grey-blue peeling skin, huge black eyes, black makeup streaks, a wide closed mouth. She stares at him, completely still. The dark treeline is behind her head, no sky. Eerie, no blood. Shot 9 — target 00:27-00:29. Cut to her face in close-up. Her mouth stretches open far too wide, showing rows of long thin needle teeth, and with a low wet hiss she lunges straight at the camera. Hard cut to black. Sound and music: shots 1 to 3, an upbeat laid-back hip-hop beat with a heavy bass line plays from a speaker in the room under the friends' chatter and laughter, with a swipe sound and a bright match chime in shot 1; the beat fades out with the picture at the end of shot 3. Shots 4 to 6, bright, cheerful summer pop music with acoustic guitar and light drums, water lapping, splashes and laughter. Shot 7, a hard splash and her cut-off gasp, the music stops dead, his laugh, a few bubbles, complete silence, then a low dark horror drone creeps in as the light turns. Shot 8, the horror drone rises, water streaming, a wet creature breath. Shot 9, her low wet hiss and a sharp horror hit on the lunge, then instant silence on black. No voice-over. Realistic live-action film look, large-format cinema camera, shallow depth of field, natural skin and real water. Smooth camera, no handheld shake. Soft horror, no blood, no wounds. The only text anywhere is the word "MATCH" on the phone in shot 1.