Coca-Cola Bus Stop

[GOAL] A 15-second Coca-Cola television commercial as it would have been produced in 1990, composed for a square 1:1 frame, 1440x1440, 24fps. High-gloss, fast-cut, sound-design led. Everything must belong to 1990. [MEDIUM] 35mm, high saturation, hard specular highlights, punchy contrast, deep blacks. Glossy commercial cinematography — every surface either wet, frozen or gleaming. Crisp and overlit in the way premium commercials of the period were. [CAMERA] Fast and aggressive. Whip pans, one crash zoom, one fast dolly push, one locked macro. Cut hard on every beat. Nothing lingers. [SETTING] A city rooftop basketball court on a blazing summer afternoon, heat shimmer on the tarmac, a chain-link fence, a fire escape, hard blue sky. Young adults in 1990 sportswear — high-waisted shorts, block-colour vests, high-top trainers. [SEQUENCE] 0-2s Macro. Ice cubes crashing into a glass in slow motion, water exploding upward, backlit hard. 2-4s Whip pan to a player mid-game on the rooftop court, sweating, breathing hard, stopping. 4-6s Extreme close-up. A finger hooks the ring-pull of a chilled red Coca-Cola can. The tab cracks. Pressurised gas escapes in a visible burst of vapour. 6-8.5s The pour — Coca-Cola hitting ice in a glass in slow motion, foam climbing, the liquid backlit deep amber-red. 8.5-11s He drinks. Crash zoom in. He lowers the can and exhales hard with visible satisfaction. Condensation runs down the can in his hand. 11-13s Fast montage, three shots, half a second each: the ball through the hoop, water off a shaken head, the can set down hard on a metal bench. 13-15s Cut to the end card: a solid red field, the white Coca-Cola script above the white dynamic ribbon wave, and beneath it, in bold white type, "Can't Beat the Real Thing." Hold. [TYPOGRAPHY] The only text is the end card, set in a hard-edged bold sans-serif with the slightly over-sharp, high-contrast quality of a 1990 digital character generator — clean, a little clinical, sitting flat on top of the picture rather than integrated into it. [AUDIO] Bright, punchy, wide stereo with a modern-for-1990 digital sheen and heavy compression. Music: an energetic rock-funk bed — slap bass, a bright electric guitar riff, gated reverb on a live drum kit, brass stabs on the cuts. Sound design is the star and must sit forward in the mix, each effect exaggerated and hyper-real: ice cracking into glass, the metallic snap of a ring-pull, a sharp pressurised gas hiss, liquid hitting ice, carbonation fizzing loudly, a swallow, and a hard satisfied exhale at 10 seconds. Trainers squeaking on tarmac and a ball through a chain net. No voiceover of any kind. No spoken words at all. The tagline appears only as type. [NEGATIVE] No glass hobbleskirt bottles as the hero — 1990 leads with the can. No modern smartphones, no flat-screen displays, no modern sportswear branding, no modern haircuts. No handheld documentary style, no muted colour grade, no film grain heavy enough to read as vintage. No acoustic or folk music, no orchestral score. No captions, subtitles, hashtags, social media interface or watermarks. Do not use "Always Coca-Cola" — that tagline launched in 1993. No polar bears — they are 1993. No announcer, no dialogue.

[GOAL] A 15-second Coca-Cola television commercial as it would have been produced in 1970, composed for a square 1:1 frame, 1440x1440, 24fps. Everything must belong to 1970. [MEDIUM] 16mm colour reversal, visibly grainy, warm and slightly faded Eastmancolor with the reds pushed and the blacks lifted. Halation around the sun. Occasional dust and a hair in the gate. Shot into low golden-hour sunlight with heavy natural flare. [CAMERA] Loose and handheld, sitting on the operator's shoulder. Two period zoom-lens moves — a slow creeping zoom in and a faster snap zoom out — which are of their time and should look mechanical rather than smooth. Focus is hunted for rather than perfect. [SETTING] A grass hilltop at golden hour, open sky, distant countryside. A group of eight or nine young people in their late teens and early twenties, deliberately from a mix of backgrounds and nationalities, sitting and standing together on the grass. 1970 clothing: denim, corduroy, cheesecloth, headscarves, long hair, no logos. [SEQUENCE] 0-3s Tight handheld on two or three faces in the low sun, squinting and laughing, hair moving in the wind. Heavy lens flare. 3-6s Bottles of Coca-Cola passed hand to hand along a row of people. Several opened at once. A slow zoom in on one bottle changing hands. 6-10s The group begins to sing together, unison and slightly ragged, looking at each other rather than at camera. Handheld drifts across their faces. 10-12.5s Snap zoom out to a wide of the whole group on the hilltop against the sky, all singing, small in the frame. 12.5-15s Cut to the end card: a solid red field with the 1969 Arden Square logo — the white Coca-Cola script above the white dynamic ribbon wave, inside a red square. Beneath it, in white optically-printed type, "It's the Real Thing." Hold. [TYPOGRAPHY] The only text is the end card, set in a clean bold 1970 sans-serif and optically printed onto the film, so it carries the same grain and slight instability as the picture rather than sitting cleanly on top of it. [AUDIO] Warm analogue tape with soft saturation and limited high end. Narrow stereo. Music: a simple acoustic guitar figure, tambourine, and a group of young voices singing in unison — unpolished, slightly out of tune, recorded live with the wind audible on the microphone. Optimistic and folk-like, never slick. Sung line, repeated twice, 12 words total, nothing may be added: "It's the real thing — here, and now, and ours." Diegetic underneath: wind across an open hilltop, birds, bottle caps, laughter, feet on grass. [NEGATIVE] No modern clothing, trainers, sunglasses, phones or objects. No cans, no plastic bottles. No locked-off tripod shots, no digital sharpness, no stabilised footage, no drone shots. No modern pop production, no synthesisers, no drum machine, no heavy reverb, no autotune. No captions, subtitles, hashtags, social media interface or watermarks. Do not use the 1950s red disc button logo — 1970 uses the Arden Square. No spoken voiceover at all; the song carries it.

[GOAL] A 15-second Coca-Cola television commercial as it would have been produced in 1950, composed for a square 1:1 frame, 1440x1440, 24fps. Everything about it must belong to 1950 — the film stock, the lighting, the performances, the typography, the music and the voice. [MEDIUM] Three-strip Technicolor. Saturated but slightly soft, warm and high-key, rich reds and creams, gentle bloom in the highlights, fine period grain, a faint weave and gate flicker. Studio lighting with a hard key and generous fill — no shadows anywhere they weren't intended. [CAMERA] Formal and locked, mounted on a dolly. Two slow deliberate dolly moves and nothing else. No handheld, no zooms, no whip pans. Everything composed centrally and symmetrically. [SETTING] An American drugstore soda fountain. A long marble counter, chrome stools, a tiled floor, a wall of syrup pumps behind. A soda jerk in a white paper cap, white shirt and black bow tie. A young couple in their early twenties in 1950 clothing — she in a belted cotton dress, he in a shirt and tie with his sleeves rolled. [SEQUENCE] 0-3s Slow dolly in along the counter to the couple sitting side by side, mid- conversation, laughing at something we don't hear. 3-6s The soda jerk sets down two ice-cold 6.5oz Coca-Cola hobbleskirt contour glass bottles, beaded with condensation, and opens both with a wall-mounted opener. Two clean hisses. 6-9s She takes a drink, closes her eyes for a second, and sets the bottle down. Genuine, unforced pleasure. He watches her and smiles. 9-12s Wider two-shot. They clink the bottles together lightly. Neither says anything. Slow dolly out. 12-15s Cut to a hand-lettered end card: a solid red field, the Coca-Cola script logo in white inside a red disc button, and beneath it, hand-lettered in white, "The pause that refreshes." Completely still. Hold. [TYPOGRAPHY] The only text is on the end card, hand-lettered in the manner of 1950 commercial art — slightly irregular, painted rather than typeset. The Coca-Cola script must be the Spencerian wordmark and must be spelled correctly. [AUDIO] Mono, not stereo. A narrow, warm, slightly boxy optical soundtrack with a constant faint surface hiss and limited high end, as if played from a print. A light big-band orchestral bed with muted brass and brushed drums, cheerful and unhurried, ducking under the voice. Diegetic: the hiss of a soda fountain, ice in a metal scoop, two bottle caps coming off, glass set on marble, a light clink at 10 seconds. Announcer — a warm, plummy, mid-Atlantic American male voice, unhurried, close-miked and mono. Complete script, 15 words, nothing may be added: "Wherever you go, there's a place to pause. Ice-cold Coca-Cola. The pause that refreshes." [NEGATIVE] No modern clothing, hairstyles, glasses or objects. No plastic. No cans. No handheld camera, no zooms, no lens flare, no shallow depth of field, no colour grading toward teal. No stereo, no reverb-heavy modern mix, no synthesised instruments. No captions, subtitles, hashtags, social media interface, watermarks or logos other than the Coca-Cola script. The fishtail Arciform logo did not exist in 1950 — do not use it. No polar bears, no Santa Claus. Do not cut more than the four times listed.

SCENE CONTEXT RIMEBORN. In a frozen valley of an original ice-fantasy world, a mountain-sized titan of layered ice and stone tears itself free from a millennia-old glacier as an army of armored wardens scrambles across the frozen field below, a war-horn ripping across the plain. Timed multishot, five hard cuts across 10 seconds, one shared valley, one titan, one army throughout. ACTIVE REFERENCES @titan: mountain-sized ice-and-stone colossus, humanoid silhouette, body built of fractured basalt slabs seamed by ancient blue ice, ice-plated shoulders and back crusted a meter thick with hoarfrost, joints and eye-sockets and rib-seams glowing with pale-cyan runes carved deep into the stone. Original design. 100% matches the reference. @wardens: armored foot-soldiers in weathered dark steel plate over black padded gambesons, snow-crusted fur mantles at the shoulders, long spears and rimed shields, no faction crest or logo. Original design. 100% matches the reference. @warhorn: a curled black bone horn as long as a warden is tall, bound in leather and iron rings, held at chest height by a single horn-bearer. STYLE REFERENCE ONLY, not a fixed keyframe; model extends the world freely, never reproduced 1:1. LOCATION MAP Foreground: fractured glacier surface, blue-ice slabs shot through with dark grit, powder snow drifting sideways at 20 km/h. Midground: the wardens crossing the field 200 meters below the titan, tiny against the scale, spears and shields catching the flat light. Background: the glacier wall itself, kilometers of vertical ice cracking apart around the emerging titan, snow plumes rising several hundred meters into a leaden overcast sky. Camera moves along a chest-height and then rising line down the valley floor, always with the titan camera-right or dead-center. SCALE LOCK @titan stands as tall as roughly two hundred wardens stacked head to toe. A single warden reads as a fingernail against the titan's shin in the establishing wide. Ice slabs shearing off the titan's shoulder each read as wide as ten wardens laid head to toe. The size gap holds identical every frame. FIRST FRAME / BLOCKING Non-empty opening frame: @titan is already mid-tear-out, right arm already ripping free from the glacier wall with a sheet of ice already fracturing off the shoulder, @wardens already running across the ice below, the horn-bearer already lifting @warhorn. Nothing is frozen, everything is already in motion. Rule of thirds: the titan held on the right two-thirds vertical, the horizon line on the lower third, wardens on the lower left third. FORMAT MODE Timed multishot, exactly FOUR HARD CUTS at 2.5s, 4.5s, 6.5s, 8.0s. The camera does not cut on its own; cuts only at the specified points. 0.0s to 2.5s — CUT 1, real time 2.5s HARD CUT 2.5s to 4.5s — CUT 2, real time 4.5s HARD CUT 4.5s to 6.5s — CUT 3, real time 6.5s HARD CUT 6.5s to 8.0s — CUT 4, real time 8.0s HARD CUT 8.0s to 10.0s — CUT 5, real time OPTICS CUT 1: EWS at 84° FOV sweeping wide establishing the full valley and titan. CUT 2: MS at 29° FOV portrait compression on the titan's shoulder as ice sheets shear off. CUT 3: WS at 63° FOV low across the crevasse rim as wardens dive clear. CUT 4: MCU at 29° FOV on the horn-bearer, horn lifted to lips. CUT 5: EWS at 107° FOV super-wide rectilinear on the full glacier splintering with runes flaring. Rectilinear with anamorphic optical flares, 180° shutter motion blur, prime-lens character, no drift mid-segment. CAMERA Handheld throughout with 3 to 5 cm of shake, shake spiking hard on every cracking impact from the titan. CUT 1: chest-height sweep at 15 km/h left-to-right across the valley floor, catching the full scale. CUT 2: whip-in and hold at 20 meters from the shoulder, camera flinching as slabs shear past. CUT 3: low-angle at knee-height on the crevasse edge, wardens diving over the lens. CUT 4: tight on the horn-bearer, camera pressing in 30 cm as the horn sounds. CUT 5: pulled back and rising crane to 80 meters above the valley floor, wide vantage, gimbal weighty. Wide tonal latitude, soft highlight roll-off, whites hold detail without clipping. ACTION CUT 1 — Subject: @titan tears its right arm and shoulder free from the glacier wall, basalt-and-ice mass grinding against ice, a wall of powder snow erupting behind it hundreds of meters high; @wardens sprint across the frozen field in a scattered line, spears and shields flashing. Camera: sweeping wide dolly along the valley floor at 15 km/h, shake spiking as the titan's arm lands its first step-load. CUT 2 — Subject: massive sheets of blue ice shear off @titan's shoulder and back, tumbling in slabs the size of buildings, hoarfrost crust exploding into powder mid-fall, runes along the shoulder flaring pale-cyan as the plates shed. Camera: whip-in, holds on the shoulder as three slabs fall past the frame, shake hard. CUT 3 — Subject: @wardens dive clear as a crevasse collapses under them, two soldiers throwing themselves flat and rolling as the ice gives way, spears skittering across the surface, powder snow plumes rising vertical. Camera: low-angle handheld, wardens leaping over the lens, shake violent on the collapse. CUT 4 — Subject: the horn-bearer lifts @warhorn to their lips and blows one long note, chest visibly expanding, breath fogging in the cold, the sound carrying across the field as other wardens turn their heads toward it. Camera: tight handheld, presses in 30 cm as the note sounds. CUT 5 — Subject: @titan pulls its full torso free of the glacier wall, the whole glacier splintering apart around it in a cascade of fracturing ice, runes along both arms and the ribcage flaring bright cyan at once, snow erupting in vast vertical plumes across the entire valley. Camera: pulled back to a vast super-wide, rising crane, catching the primordial scale in one held frame, HARD CUT at 10.0s. PERFORMANCE @titan performs with geological slowness and crushing weight — every movement loaded before it lands, joints grinding stone on stone, no theatrical flourish. @wardens read as terrified working soldiers, not heroes: eyes wide, mouths open, breath fogging hard, one soldier stumbling and being pulled up by another mid-cut. The horn-bearer reads as steady and old, jaw set, eyes tracking the titan. Pore-level realism on the horn-bearer's face: vellus hair, asymmetric moles, capillary flush from the cold, wet living eyes with catch-lights, visible breath and chest rise. Restrained and human across the army, never cartoonish. Top-tier cinematic restraint. PHYSICS Mass and inertia carry through every movement of @titan — the arm loads before it tears free and drags the whole torso with it. Ice slabs fall with real weight, not lightweight fragments; they shatter on impact with the glacier floor, not float. Snow plumes obey the crosswind vector at 20 km/h and shear leftward across the valley. Wardens have real body weight — diving bodies land hard, not softly, and slide on the ice with correct friction. The horn's vibration reads faintly in loose snow at the horn-bearer's feet. Nothing floats. Correct contact shadows read clearly where titan meets glacier and warden meets ice. LIGHTING WB locked 6500K cold overcast daylight, flat and even, sun fully occluded by leaden cloud. Key is a broad diffuse top-light with no direct sun. The only emitted light in the world is the pale-cyan 5500K rune glow along @titan's joints, eye-sockets, and rib-seams, which spills onto the surrounding hoarfrost and briefly reflects in the wardens' plate on close cuts. Camera on the shadow side of the titan across all wide cuts. Faint atmospheric haze at 30% at the glacier wall, thickening into the snow plumes. COLOR GRADE Stark white in the snow and powder, frozen blue in the deep ice seams, near-black in the fractured basalt of the titan's core, leaden grey in the sky; every cold tone comes from real material and light bounce, not a filter. Rune cyan lives only in the carved channels — joints, eye-sockets, ribcage seams — and its spill onto immediate hoarfrost. Warden plate reads as dark weathered steel with cold reflections. Blacks stay open with detail in the basalt, highlights roll off in the snow. Color tied to source and surface, not a flat list. WARDROBE @wardens wear weathered dark steel plate over black padded gambesons, snow-crusted fur mantles at the shoulders, iron-rimmed shields, cold-numbed hands in gloves. Fur crusted with ice at the seams. No faction crest, no logo. The horn-bearer wears the same but with a heavier fur mantle and a leather baldric holding @warhorn. AUDIO NO MUSIC. SFX ONLY — diegetic sound and live audio throughout. No score, no soundtrack, no background music of any kind. CUT 1: sub-bass glacier groaning, ice cracking in long tearing sheets, wardens' plate rattling and boots crunching on ice, wind at 20 km/h. CUT 2: massive stone-on-ice grind, slabs shattering as they hit the glacier floor, rune flare with a low harmonic hum. CUT 3: sharp ice crack, powder snow whumphs, wardens' shouts and grunts, one spear clattering on ice. CUT 4: the horn's long low note, one held bass tone spreading across the valley, warden breath fogging audibly. CUT 5: a full-body glacier splintering roar, layered ice-shear, one titanic bass groan from @titan itself. No dialogue, no subtitles. STYLE 8K photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Naturalistic master cinematography, fine film grain, 35mm film character, crushing primordial-scale epic look, hyperdetailed ice, snow, hoarfrost, basalt, weathered steel. OUTPUT SETTINGS 10 seconds, five cuts, 16:9, 8K ultra-high-definition, 24 fps, real-time throughout, anamorphic flare character on rune spill. POSITIVE LOCKS One shared valley, one @titan, same @wardens and @warhorn across all five cuts, identical every frame, no morphing, no drift. @titan stays mountain-sized against the wardens throughout — the scale relationship holds exactly: 200 wardens tall in every wide, one warden a fingernail against the shin. Runes stay pale cyan and stay carved into the stone, they do not migrate. Handheld shake spikes on every titan movement and every ice collapse, never smooths out. Camera stays third-person outside the army throughout the 10 seconds. Warden eyes stay natural — no eye glow; the only emitted light in the world is @titan's runes. Contact shadows read clearly where titan meets glacier and warden meets ice. Ice slabs fall with mass, never floating. Snow travels on one consistent wind vector. Clean frame throughout — no logos, no UI, no text overlays, no subtitles, no watermark, no dragons or unrelated creatures in shot.

https://t.co/h5rPFQ0saY

[GOAL] A 15-second Kodak advertisement as it would have been produced in 2010, composed for a square 1:1 frame, 1440x1440, 24fps. Warm, contemporary, human. Built to be understood with the sound off. [MEDIUM] Clean early digital cinema — the DSLR-era look. Naturalistic colour, gentle contrast, shallow depth of field with soft background falloff. No grain, no filter, no stylisation. Available light. [CAMERA] Mostly locked. One gentle push, one small handheld reframe. Calm. [SETTING] A kitchen at a family gathering, late afternoon, warm natural light through a window. Three generations crowded around a table — a grandmother in her eighties, two adults in their forties, two teenagers. Contemporary 2010 clothing, no visible branding. [SEQUENCE] 0-3s The group arranging themselves for a photograph, laughing, someone shuffling a chair, nobody quite ready. 3-6s A teenager holds a small silver digital compact camera at arm's length in both hands and nothing else. She presses the shutter. A thin electronic beep and an artificial shutter click play from the camera's small speaker. 6-9s Immediately — no waiting at all — the whole group breaks the pose and crowds inward around the back of the camera to look at the little screen. Heads together, all of them lit faintly by it. 9-12s The teenager passes the camera into her grandmother's hands with both of hers, and lets go only once the older woman is holding it. The grandmother looks at the screen for a long moment, then looks up and past everyone, still holding it. Gentle push in on her face. 12-15s Cut to an end card: a clean white field with generous margins, the Kodak wordmark centred in red and yellow, and beneath it in simple grey sans-serif, "Kodak Moments." Completely still. [TYPOGRAPHY] Flat, modern, digitally composited, clean edges, generous safe margins. A single lower-third caption chip from 6 to 12 seconds, white with dark grey text: "nobody waits anymore." The end card carries the wordmark and line. [AUDIO] Clean modern stereo, uncompressed and natural, with real room ambience high in the mix. Music: sparse and warm — a plucked acoustic guitar and a hummed melody, entering at 6 seconds, staying quiet, never swelling. Diegetic: overlapping family chatter, chair legs on tile, a kettle somewhere, cutlery. At 5 seconds, the sound this whole four-part series has been building toward — a small plastic camera speaker playing a RECORDING of a mechanical shutter. It must sound unmistakably synthetic and thin, a tinny imitation of a real shutter rather than the real thing. Then, at 12 seconds, near silence: just the grandmother breathing and the room behind her. No voiceover, no announcer, nobody speaks a scripted line — only unintelligible overlapping family chatter. [NEGATIVE] No period styling of any kind — this is contemporary to 2010, not vintage. No film grain, no halation, no faded colour, no letterboxing. No film cameras, no prints, no slide projectors, no darkroom. No smartphones as the hero device — the camera is a dedicated digital compact. No modern flat social-media interface, no app screens, no hashtags, no handles, no watermarks. No fast cutting, no slow motion, no lens flare. Nobody speaks a scripted line.

[GOAL] A 15-second Kodak television commercial as it would have been produced in 1950, composed for a square 1:1 frame, 1440x1440, 24fps. Everything must belong to 1950 — film stock, lighting, performances, typography, music and voice. [MEDIUM] Kodachrome. Deeply saturated, warm, high-key, with rich reds and greens and slightly crushed blacks. Fine period grain, gentle highlight bloom, faint gate weave. This is a film company advertising film — the image must look like the best possible example of its own product. [CAMERA] Formal and locked on a tripod. One slow dolly in and nothing else. Centred, symmetrical compositions. [SETTING] A suburban back garden on a bright summer afternoon in 1950. A trimmed lawn, a rose border, a white-painted fence. A father in his thirties in shirtsleeves and high-waisted trousers. His daughter, about six, in a cotton print dress and white socks. [SEQUENCE] 0-3.5s The girl stands on the lawn, fidgeting, trying to hold still and not managing it. Bright sun. She squints and grins. 3.5-7s The father holds a Kodak Brownie box camera at waist height with both hands, looking DOWN into the waist-level viewfinder rather than holding it to his eye. He steadies himself. Both his hands are on the camera and he holds nothing else at any point. 7-10s He presses the shutter release. A single mechanical clunk. The girl breaks her pose instantly and laughs. He winds the film on with his thumb, still holding the camera in both hands. 10-12.5s She runs out of frame toward him. He lowers the camera and watches her go. 12.5-15s Cut to an end card: a solid deep red field with the Kodak wordmark in yellow, and beneath it in yellow hand-lettered type, "You press the button — we do the rest." Completely still. Hold. [TYPOGRAPHY] The only text is the end card, hand-lettered in the manner of 1950 commercial art. The Kodak wordmark is a bold sans-serif in yellow on red. Spell KODAK correctly. [AUDIO] Mono, narrow and slightly boxy, with constant faint optical-soundtrack hiss and limited high end. Music: a light orchestral bed, strings and woodwind, warm and domestic, ducking under the voice. Diegetic and forward in the mix: birdsong, a lawn underfoot, and at 7 seconds the sound the whole commercial is built around — the heavy mechanical CLUNK of a leaf shutter firing on a box camera, followed by the dry ratcheting click-click-click of the film being wound on by thumb. Both must be clearly audible and mechanical. Announcer — a warm, plummy, mid-Atlantic American male voice, mono, unhurried. Complete script, 17 words, nothing may be added: "She won't stand still for long. She doesn't have to. You press the button — we do the rest." [NEGATIVE] No modern clothing, hairstyles, spectacles or objects. No 35mm SLR, no camera held to the eye, no zoom lens, no flash unit, no light meter. No Kodak "K" symbol logo — that is 1971 and did not exist in 1950. No LCD screens, no instant prints, no colour Polaroids. No handheld camera, no zooms, no lens flare, no shallow depth of field, no teal grade. No stereo, no synthesised instruments, no modern reverb. No captions, subtitles, hashtags, social interface or watermarks. Do not cut more than four times.

Photorealistic cinematic medium shot, young woman with pink hair standing upright facing camera with direct eye contact, black ink dripping from both fists, ink-splattered clothes, defiant expression, dramatic backlight, ink mist settling around her feet, shallow depth of field, gritty atmosphere, Canon R5, 85mm f/1.4.