Carl vs. The Treadmill Animated Short

Reference Images (STRICT DESIGN LOCK) Image 1 Zombie Character Reference Sheet (1)_3397 = Zombie Character Reference Sheet - Zombie A: Gaunt decayed worker wearing a torn brutalist-industrial jumpsuit, exposed ribcage, grey-green necrotic skin, hollow eyes, permanently snarling mouth, one arm hanging unnaturally. - Zombie B: Heavy riot/security zombie wearing damaged armored gear with cracked helmet visor, carrying the same battered riot shield, exposed muscle and bone, powerful aggressive posture. - Zombie C: Lean feral runner with tattered civilian clothing, elongated claw-like fingers, stretched skin over skull, distended jaw, athletic predator stance. Image 2 = Hero Character Reference Sheet - Zeke Marlow. - Young biomechanical operative. - Short faded haircut. - Confident playful smirk. - Bright orange-and-cyan futuristic hoodie. - Holographic trim. - Tactical chest harness with utility pouches. - Sport cargo pants. - Chunky tactical boots. - One biomechanical forearm with exposed white plating and glowing cyan light strips beneath the rolled-up sleeve. ABSOLUTE CONSISTENCY RULES Never redesign or alter any character. Maintain identical proportions, facial features, clothing colors, armor, biomechanical details, zombie anatomy, and accessories exactly as shown in the reference sheets. No wardrobe changes. No color shifts. No hairstyle changes. No anatomy drift. No extra equipment. The biomechanical arm and all three zombie designs must remain perfectly identical throughout every frame. STYLE Premium cinematic anime rendering. Feature-film quality. Ultra-detailed. High-end Japanese animation aesthetic. Sharp linework. Physically believable movement. Movie-poster level lighting and texturing. Smooth continuous animation. Natural motion blur. No frame skipping. No visual flickering. No morphing. No duplicate limbs. No deformation. VIDEO Duration: 15 seconds Aspect Ratio: 16:9 Single continuous shot sequence. No hard cuts. No fade transitions. Every camera move flows naturally into the next like one uninterrupted chase filmed by a professional action cinematographer. ENVIRONMENT A massive abandoned brutalist megastructure. Towering raw concrete walls. Gigantic cantilever slabs. Deep alley canyons. Exposed rebar. Broken staircases. Collapsed walkways. Dust. Fog. Floating debris. Scattered rubble. Abandoned industrial lighting. Broken illuminated warning signs flickering in the distance. Cold overcast sky. Muted concrete palette. CAMERA STYLE Persistent handheld chase-camera. Continuous subtle handheld movement. Natural body sway. Micro vibrations while running. Lens breathing. Occasional focus breathing. Fast whip pans. Slight rolling shutter. Impact jolts during collisions. Natural motion blur. Dust occasionally strikes the lens. Tiny autofocus corrections. Feels like a real camera operator sprinting beside the action. SEQUENCE 00:00–00:03 Zeke explodes into frame at full sprint through a narrow brutalist corridor. The Riot Zombie and Feral Zombie aggressively pursue him only a few meters behind. The Decayed Worker Zombie emerges farther back. Camera: Low rear tracking shot. Slightly below waist height. Handheld. Running pace synchronized perfectly with Zeke. Continuous camera shake from footsteps. 00:03–00:05 The feral zombie launches forward with an extended claw attack. Without slowing, Zeke performs a full-speed baseball slide beneath a rusted concrete service pipe. The claws narrowly scrape over his hood. Camera: Ground-level Dutch angle. Fast side tracking. Lens nearly touching the ground. Fast debris kick-up. Aggressive motion blur during the slide. 00:05–00:07 Immediately after recovering, Zeke plants one foot onto the concrete wall. He transitions into a fluid wall run. The Riot Zombie performs a powerful shield bash exactly where Zeke had been running moments before. Concrete fragments explode outward. Camera: Rapid whip pan. Over-the-shoulder perspective from directly behind the Riot Zombie. Camera briefly adopts the zombie's pursuit viewpoint before swinging back around to Zeke. 00:07–00:09 Zeke vaults a collapsed concrete slab. Instantly the Decayed Worker Zombie bursts through a shattered doorway attempting an interception. Zeke twists midair and clears the obstacle by centimeters. Camera: Fast crash zoom. Transitions into a front-facing running shot. Camera operator moves backward ahead of Zeke. His focused expression fills the foreground while the zombie trio converges behind him. 00:09–00:11 The Feral Zombie swipes toward Zeke's head. He instantly drops into a combat roll. His biomechanical arm absorbs the landing impact. The cyan light strips brighten from increased power output. Camera: Ground-level. Violent handheld impact shake on landing. Quick tilt upward following his recovery back into full sprint. 00:11–00:13 Zeke grabs a protruding rebar beam using his biomechanical forearm. He performs a powerful one-arm swing around a blind concrete corner. All three zombies overshoot the turn and crash violently into each other. Concrete dust erupts. Camera: Smooth transition into a sweeping crane/drone movement. Camera rises overhead. Pulls backward to reveal the immense brutalist architecture and the pileup beneath. 00:13–00:15 Final escape. Zeke sprints toward a broken gap between two colossal towers. He commits to a full-speed leap. He barely reaches the opposite ledge. Heavy landing. Forward combat roll. He immediately regains speed and disappears into thick fog. The zombie horde reaches the ledge seconds too late, piling into each other, unable to cross. Camera: Wide cinematic low angle. Large landing impact shake. Camera stabilizes gradually as it continues tracking behind Zeke while he disappears into the fog. LIGHTING Cold overcast daylight. Soft diffused shadows. Muted concrete greys. Desaturated blues. Zeke's vivid orange-and-cyan clothing remains the dominant visual focal point. Biomechanical cyan light strips pulse brighter during exertion. Zombie palette consists of sickly grey-greens, weathered armor, dried blood, rust, and decayed organic textures. MOOD Relentless pursuit. Constant momentum. Precision parkour. Athletic evasive movement. Narrow escapes. Claustrophobic architecture. Escalating tension. Cinematic realism. Clean heroic escape. QUALITY TAGS Masterpiece. Ultra-detailed. Feature-film quality. AAA cinematic animation. Anime action. Dynamic camera choreography. Perfect character consistency. Perfect anatomy. Fluid parkour. Stable identities. High temporal consistency. No flicker. No morphing. No duplicate characters. No extra limbs. No costume drift. No text. No watermark.

Create a cinematic luxury sunglasses ad using the provided image as reference. A stylish young adult wears the exact same black sunglasses by a dramatic coast at golden hour. Close-up, slow push-in, subtle lens reflections. Medium three-quarter shot, smooth camera orbit as they turn toward camera. Pull back to a wide coastal sunset shot. Photorealistic, premium fashion campaign, cinematic golden-hour lighting, realistic reflections, natural movement, shallow depth of field, smooth professional camera motion. Keep the sunglasses identical in shape, color, proportions, and details throughout. No text, extra people, accessories, distortion, warped face, or sudden movements.

Use the attached GERALD VS KEVIN character sheet as the exact visual reference for both characters throughout. Create a 15-second 16:9 Pixar 3D animated comedy sequence. Bright vivid colors throughout — lush green fairway, bright blue sky, Gerald’s yellow polo, Kevin’s jet black and white, vivid orange beak. NO dark frames. Every shot bright, clean, and saturated. Rules: •Use Gerald and Kevin exactly as shown in the character sheet •One escalating conflict, no dialogue, no text on screen •Comedy told entirely through action and expression •Gerald loses. Kevin wins. That is non-negotiable. Shot sequence: 0:00–0:03 — The Setup. Wide bright establishing shot of the 18th green. Perfect sunny day, vivid green grass, blue sky. Gerald lines up his putt, putter resting on shoulder, completely confident. Course is empty and peaceful. He places the ball, takes his stance, tongue slightly out in concentration. Total silence. Perfect moment. 0:03–0:05 — Kevin Arrives. Kevin waddles onto the green from the left. Slow, deliberate, zero urgency. Walks directly into Gerald’s eyeline and stops on the putting line. Stands there. Stares. Gerald looks up. Their eyes meet. Gerald forces a polite smile. Kevin does not blink. 0:05–0:07 — The Shoo. Gerald waves Kevin away with one hand, still smiling, still holding the putter. Kevin takes one step forward. Gerald waves harder, both arms now. Kevin takes another step forward. Gerald’s smile disappears completely. Kevin stops directly on top of the ball. 0:07–0:09 — Escalation. Gerald lunges forward to grab Kevin. Kevin explodes — full wings spread, violent hiss, neck stretched, orange beak wide open. Gerald stumbles backwards onto the grass. Gets up. Charges again with putter raised. Kevin sidesteps effortlessly. Gerald’s putter smacks the green, taking out a chunk of turf. 0:09–0:11 — Full Chase. Wide tracking shot — Gerald sprinting across the green chasing Kevin, visor flying off, one shoe coming loose, putter waving above his head. Kevin running just fast enough to stay ahead, looking back occasionally with complete contempt. Other golfers on adjacent holes stop and stare. 0:11–0:13 — The Hole. Kevin stops at the 18th hole, looks down, looks back at Gerald, looks down again. Climbs in. Sits down. Only his head visible. Stares up at Gerald with total satisfaction. 0:13–0:15 — The Payoff. Wide static shot. Gerald stands over the hole, putter raised, completely disheveled — visor gone, shirt untucked, grass stains, one shoe missing. Kevin stares up from inside the hole, unmoved. Gerald looks up at the camera. Looks back down at Kevin. Lowers the putter slowly. Walks off frame. Kevin closes his eyes contentedly. Fade out on Kevin alone in the hole. Camera: •Wide establishing for the green arrival •Low angle on Kevin’s entrance — make him look massive •Tight on both faces for the eye contact standoff •Wide tracking for the full chase across the green •Overhead close-up on Kevin sitting in the hole •Wide static locked for the final payoff beat Sound design: Peaceful birdsong and light breeze opening. Silence when Kevin appears. Gerald’s forced polite cough. Kevin’s slow footsteps on grass. Gerald’s increasingly frantic arm-waving sounds. Explosive goose hiss — loud. Gerald stumbling, grunting. Putter hitting turf. Full sprint — footsteps, heavy breathing, one shoe flopping. Sudden silence when Kevin climbs into the hole. Gerald’s long defeated exhale. Gentle birdsong returns. Fade out. Style: Pixar 3D vivid animation. Bright saturated greens, blues, yellows throughout. Gerald’s expressions pushed to maximum Pixar exaggeration — every emotion ten times bigger than real life. Kevin completely deadpan in contrast. That contrast is the joke. Keep it bright, keep it clean, keep it physical.​​​​​​​​​​​​​​​​

Real iPhone 15 Pro Max, 9:16 vertical, one continuous static shot - camera on the ground, no movement, zoom, cuts or grade, real grain, daylight. POV: the camera IS the phone on the ground - never visible: not in hand, in shot, or as a reflection. Warehouse: rusted beams 15m up, god rays in dusty air, graffiti walls, cracked concrete. THREAD: each time she opens a palm and a white semitransparent strand SHOOTS from it to the beam, then she grabs and swings - never pre-attached; fired threads stay hanging. She walks in, crouches, hand to the ground, stands, exits left. Runs back - palm to upper RIGHT beam, thread shoots, connects, swings up; at the peak a slow balletic somersault, pointe shoes pointed. Airborne, the other palm fires to upper LEFT beam, swings to the LEFT wall, pushes off both feet, a clean backward somersault, lands in a low crouch. She walks to us, crouches, hands reach for the lens, face above - light smile. auiet exhale. Hold. Cut.

Use the attached BARRY VS THE SEAGULL character sheet as the exact visual reference for Barry and the seagull throughout. Barry is a Pixar 3D man, mid 40s, large soft build, floral beach shirt, khaki shorts, white socks with sandals, sunscreen on nose, sunglasses on forehead. Every character — Barry, seagulls, background figures — full Pixar 3D render. No realistic humans or animals. THE BEACH: Bright white sand, clear deep blue ocean, vivid blue sky, golden sunlight. One wooden bench facing the ocean. A few beach umbrellas and sunbathers in the far background. Maximum brightness and color throughout. No dark frames. THE SANDWICH: Plain white bread, visible filling. In Barry’s hands until 0:10 when it flies into the air and disappears forever. THE SEAGULL: White feathers, yellow beak, small black emotionless eyes. Zero expression. Zero remorse. The one seagull at the start is the exact same one on the bench at the end. MUSIC: Peaceful gentle acoustic guitar and soft waves at the start. The moment forty seagulls appear at 0:07 music explodes into full chaotic percussion and horns. Cuts to complete silence the instant Barry hits the sand at 0:10. 0:00–0:02 — Medium shot. Barry on the bench facing the ocean. Unwraps his sandwich. Takes one slow happy bite. Completely at peace. Perfect day. SOUND: Gentle waves. Soft acoustic guitar. 0:02–0:04 — One seagull lands on the bench directly beside him. Barry notices. They make full eye contact. Neither moves. Complete silence. SOUND: Music fades. One ambient seagull cry. Wind. 0:04–0:06 — Barry grabs a piece of bread and throws it far down the beach. Both watch it land. Seagull looks at the bread. Looks back at Barry. Does not move. Barry slowly looks up at the sky. Empty blue. He exhales with relief. Takes one bite. SOUND: Silence. Barry chewing. One ominous low note. 0:06–0:07 — Wide shot. The sky turns white. Forty seagulls drop from directly above in a screaming diving formation. SOUND: One beat of silence then music EXPLODES — full chaos, horns, percussion. 0:07–0:10 — Wide tracking shot. Barry sprints full speed down the beach, sandwich held above his head with both arms, mouth open screaming. Seagulls swarming everywhere — diving at the sandwich, one on his head, one on each shoulder. Pure chaos. One sandal flies off mid-sprint. SOUND: Chaos music full volume. Seagulls screaming. Barry screaming. 0:10–0:12 — Barry trips. Falls face first into the sand in slow motion. Sandwich launches upward into the air. Every seagull vanishes instantly. Complete silence. SOUND: Slow motion whoosh. Heavy thud. Music cuts dead. 0:12–0:15 — Wide shot. Barry face down in the sand. Silence. He slowly lifts his head and looks back at the bench. The original seagull is sitting exactly where it started. Perfectly still. Staring at him. Barry puts his face back in the sand. Fade to black. SOUND: Soft acoustic guitar returns. Gentle waves. Fade to silence. Camera: medium bench shot, medium two-shot Barry and seagull, medium bread throw, wide sky shot for the descent, wide tracking shot during sprint, slow motion fall, wide final bench shot.

Use the attached DAVE VS THE SHELF character sheet throughout. Dave: Pixar 3D man, grey t-shirt, dark jeans, white trainers, reading glasses on forehead. Pixar 3D render. No realistic humans. THE ROOM: White walls, cool natural daylight, light wooden floor. No dark frames. THE SHELF: Large complex asymmetric shelf unit — natural wood color. Tower sections, mixed compartments, cabinet doors, drawers, built-in desk. Held together by one missing screw. No music. Sound design only throughout. 0:00–0:02 — Wide. Dave opens a plain flat pack box. Pulls out instructions. Places them face down. Rolls up his sleeves. SOUND: Cardboard. Silence. 0:02–0:06 — Fast cuts. Dave building — screwdriver turning, panels fitting, drawers sliding in, tower sections rising. Sweat on forehead. SOUND: Screwdriver. Wood clicking. 0:06–0:08 — Dave steps back, hands on hips, looks at the finished shelf. Satisfied nod. SOUND: Silence. 0:08–0:09 — Dave opens his right hand. Overhead shot directly above — one small silver screw centered in his palm. Nothing else in frame. SOUND: Silence. 0:09–0:10 — Dave looks up at the shelf. Expression shifts. A faint wooden creak from inside. SOUND: One wooden creak. Silence. 0:10–0:12 — The left tower section begins to lean. Slowly. Inevitably. A deep wooden groan. The next section follows. Dave cannot stop this. SOUND: Deep wooden groaning. 0:12–0:14 — Full natural collapse. Tower sections leaning and dropping one by one, drawers sliding out, cabinet doors swinging open, desk dropping last. Heavy impacts one at a time. Dave watching. Screw still in his hand. SOUND: Heavy wooden impacts one by one. Final thud. Silence. 0:14–0:15 — Wide. Dave in the wreckage. White wall bare behind him. Looks at the screw. Does not move. Fade out. SOUND: One exhale. Fade out. Camera: wide box, fast builds, wide reveal, overhead palm, medium Dave and shelf, wide collapse, wide wreckage. Cool natural Pixar lighting.

Use the attached ZARA VS THE HURDLES character sheet as visual reference throughout. Create a 15-second 16:9 Pixar 3D animated 100m hurdles race. Bright vivid stadium — deep red synthetic track, white lane markings, white hurdles, packed blurred crowd in background. Full stadium lighting throughout, no dark frames. Character — ZARA: Pixar 3D athletic young woman, early 20s, lean powerful sprinter build, dark hair pulled back tight, fierce focused eyes. Vivid yellow Jamaican sprint vest with black side panel, yellow shorts, yellow and black spikes, small Jamaican flag on chest. Same uniform every single shot. Competitors: Two female sprinters always visible beside Zara — one vivid blue, one vivid red. Always slightly behind. Always present. Never threatening. They clear every hurdle at the same time as Zara — slightly less cleanly. Shot sequence: •0:00–0:02: Low angle wide front shot. Zara coiled in the blocks, competitors on both sides, starter raises gun. Complete silence. Gun fires. •0:02–0:04: Wide side tracking shot. Full explosive acceleration from blocks, spikes hammering the track, first hurdle approaching fast. •0:04–0:06: Wide tracking continues. First and second hurdles cleared — clean, precise, fast. Zara pulling slightly ahead with every clearance. •0:06–0:09: SLOW MOTION. Third hurdle hero frame. Lead leg snapping forward perfectly straight, trail leg tucking through low and tight, body fully horizontal over the bar, arms balanced, face locked on the finish line only. Peak drama. Maximum detail. •0:09–0:11: Normal speed snaps back instantly. Final drive to the finish line — arms pumping, knees driving, crowd erupting, tape visible ahead. •0:11–0:13: Wide front static. Zara breaks the tape — chest forward, arms spreading wide, eyes closing one split second. Competitors crossing slightly behind. •0:13–0:15: Wide static pulling back. Both arms raised, chin up, eyes open, chest heaving. Yellow uniform under stadium lights. Slow fade out. Camera: Always track level — low, fast, wide. No cutaways, no new locations. Front wide for blocks and finish, side tracking for the sprint and hurdles, slow motion wide tracking for the hero clearance. Sound: Crowd silence before the gun — one full held breath — then gun fires. Spikes on track accelerating. Music starts fast and driving at 0:02. Slow motion crowd noise stretched at 0:06. Normal speed snaps back at 0:09 — crowd erupting. Tape snap at 0:11 — loudest moment. Warm resolved music fades out on the final pose. Goal: A 15-second Olympic final feeling — explosive, precise, vivid, and completely earned.​​​​​​​​​​​​​​​​

Use the attached STEVE VS THE CHARGER character sheet as the exact visual reference for Steve throughout. Steve is a Pixar 3D animated man, late 30s, medium brown messy hair, grey t-shirt, dark jogger pants. Warm bedroom setting, soft lamp light, clean and readable throughout. NO dark frames. The phone is a modern slim black smartphone with a USB-C port on the bottom edge. The charger is a thin white USB-C cable with a small rectangular connector end — slim, flat, modern. NOT thick. NOT a lightning cable. NOT a micro USB. A thin white USB-C cable. The connector is small and flat. It inserts into the bottom of the phone. Only one phone exists in this entire video. It never changes. It never disappears. The same phone is in Steve's hand from the first frame to the last frame. One location only. Steve sitting on the edge of a bed. Warm lamp on the nightstand beside him. He does not move from this spot. No camera cuts to different rooms. No new objects appear. Shot sequence: 0:00–0:03 — Medium shot from the front. Steve sitting on the edge of the bed, slightly slouched. He holds the phone in his left hand, screen facing him. Screen clearly shows a red battery icon and the number 2% in white text. He picks up the white USB-C cable from the nightstand with his right hand. He looks relaxed. Casual. This will take one second. 0:03–0:06 — Close-up on his hands only. The phone port is clearly visible on the bottom edge of the phone. Steve brings the small flat USB-C connector toward the port. It does not go in. He tries again. Slightly different angle. Does not go in. He flips the connector 180 degrees. Tries again. Still does not go in. His fingers adjust the angle slightly left. Slightly right. Nothing. 0:06–0:09 — Same close-up on hands. Steve is now holding the connector with both thumbs and index fingers, applying gentle pressure at slightly different angles one after another. The connector repeatedly fails to seat into the port. No sparks. No bending. No breaking. Just quietly, stubbornly not going in. His hands are starting to tremble very slightly. 0:09–0:12 — Medium shot pulls back to show Steve's face and hands together. His expression has changed — brow deeply furrowed, one eye twitching slightly, jaw tight. He is staring directly at the port with total focused intensity. He brings the connector in slowly and deliberately like he is defusing a bomb. It almost goes in. The tiniest flicker of a charging symbol appears on screen. Then disappears. Steve's eye twitches harder. 0:12–0:15 — Wide shot. Steve is now holding the phone and the cable at a very specific awkward angle — wrists bent, elbows out, cable curved slightly — the exact position that seems to be working. He is completely frozen. Afraid to move even one millimeter. His face is blank. Empty. The face of a man who has accepted his situation. The charging symbol is visible on screen. Glowing. Stable. Steve does not celebrate. He just stares forward. Holds the angle. Holds the angle. Fade out." Camera: three shots only — medium front, close-up on hands, medium pulling back to show face. No extra angles. No cutaways. No new locations. Sound: quiet bedroom. Soft repeated small click of the connector attempting the port. Slight frustrated exhale around 0:06. Near silence during the frozen final sequence. Faint charging chime at 0:13. Nothing else. Style: Pixar 3D. Warm lamp light. One man. One phone. One cable. That is everything.”