Fighter Jet in Ring World Collision

An early-2000s multi-camera network sitcom, shot on 35mm film with a four-camera Panavision setup before a live studio audience, Kodak Vision2 500T stock, telecined to NTSC videotape for broadcast. Fine 35mm grain, gentle halation blooming around the practical lamps, slight interlaced video softness, flat high-key television lighting with no shadows, warm saturated early-2000s colour timing, 4:3 frame. SET: A three-wall apartment living room. Beige couch with a chenille throw, warm practical table lamps, a lava lamp, a beaded curtain over the kitchen doorway, a DVD tower, an inflatable chair in the corner, a cluttered desk with a chunky beige CRT monitor and a boxy tower, burned CDs in paper sleeves, front door stage right. SUBJECTS — identical in every shot: • Ginger tabby in an oversized grey zip-up hoodie over a striped orange rugby shirt and a puka shell necklace, sitting upright on a desk chair. • Grey longhair cat standing upright in a burgundy velour tracksuit with white piping, chunky silver flip phone clipped to the waistband, holding a chipped mug. Camera locked off, no camera movement, both cats angled slightly toward camera, camera never crosses into the fourth wall. SHOT ONE — 0–6s: Locked-off wide two shot. The ginger tabby taps the keyboard with his front paws, face lit by the CRT. The front door swings open and the grey longhair walks in holding the mug. The studio audience applauds. He looks at the desk and asks: “What are you doing?” HARD CUT. SHOT TWO — 6–11s: Medium close-up of the ginger tabby. Without looking away from the screen, he keeps tapping and says: “I'm teaching the computer to make funny dancing humans.” Studio audience laughs. HARD CUT. SHOT THREE — 11–16s: Medium close-up of the grey longhair. He lowers the mug, pauses, then says completely flat: “We have a human.” Another beat. “He's in the kitchen.” Studio audience laughs. HARD CUT. SHOT FOUR — 16–20s: Close-up of the ginger tabby. He stops typing, slowly turns toward the beaded curtain and calls out: “Mark.” Off-screen, a man immediately starts dancing, feet thumping on the floorboards and the beaded curtain swaying. The cat keeps staring off-screen as the audience laughs and applauds. Hold. Audio: Paw taps on keyboard, CRT whine, mug on wood, opening door, entrance applause, studio laughter after each punchline, beads clacking and off-screen footsteps at the end. No music or score. Constraints: Keep both cats identical throughout. Real cats in real clothes sitting upright. No human characters visible on screen, no camera movement, no extra cuts, no modern flat-screen monitors, no smartphones, no flat digital-video look.

【リファレンス】 [@リファレンス1] のYumanと多脚タンク8号（以下8号）。ロケーションは[@ロケーション1]と[@ロケーション2]を参照。【音声】 Yumanは英語。8号は可愛いロボット語。リアルなモーター音、ワイヤー音、回転ブラシ音、放水音。 BGMなし。【登場人物】 Yuman：透明感のある緑色のフロッグマン。8号の操縦者。身体能力が優れている。 8号は、黄色と黒の工事現場カラーをした高層ビル窓掃除用の多脚タンク。超高性能。ライド型操縦席あり、操縦者がいない時は操縦席およびハンドルは収納、自立型タンクとして行動する。 6本の機械脚、先端はローラーによる移動と壁面張り付き型に切り替え可能。射出口付き小型補助機械アーム2本（通常は収納）。補助アームで回転ブラシの柄を掴んだり、細かい作業が可能。補助アームの射出口からワイヤーを射出したり、放水できる。【スタイル】フォトリアルな近未来メカニカルSF映画。爽快でスタイリッシュ、アクロバティックで少しコミカル。素早い動きと印象的なスローモーションを切り替える、緩急のある映像。要所要所で2〜3の短いアップのカット割りを入れる。ダイナミックな追従カメラとメカの接写を使用する。【構成】 fpvによるダイナミックなオーバーハングアングルでスタート。以降、動きに合わせて、ダイナミックなカメラワーク。オーバーハングした高層ビルのガラス壁面に、8号が6本脚で張り付いている。 8号の操縦席にはYumanがライドオンして、両手で操縦桿を握る。 Yuman：「Here we go!」 8号は補助アーム2本をうれしそうに広げ、可愛いロボット語で返事をする。窓掃除を開始。6本脚とワイヤーでガラス壁面を軽快に横移動し、片方の補助アームに持った柄付き回転ブラシと、もう片方の補助アーム先端射出口からの放水で窓を洗う。途中8号が、柄付き回転ブラシを落としてしまう。 Yumanは8号から降りて、柄付き回転ブラシを空中アクロバットキャッチ。 8号は補助アームの射出口からYumanに向けて、ワイヤーを射出。Yumanは重力を感じさせない動きでワイヤーを使い、ビルの側面を走り、8号へライドオン。窓掃除が終わった2人は、ワイヤーを使って、別のビルのガラス側面に空中移動。エンド。

English A skilled hacker attempts to crack the enemy’s main system. The skilled hacker is a covert agent hired by the military’s higher-ups. She communicates with military operators using voice commands, often using technical jargon. She uses a keyboard and a holo-infographics display to carry out professional hacking. Style: Live-action sci-fi cyberpunk. Inspired by major cyberpunk works from the mid-1990s to the early 2000s. Extensive use of virtual systems. Extensive use of virtual systems. Main Character: A skilled female hacker with short black hair. She wears a communications headset and pitch-black VR goggles that display infographics. She wears a casual black hoodie and operates a green-glowing virtual UI system. Location: A dimly lit room in the hacker’s home. The room is filled with green-glowing displays and virtual UI systems. The displays and virtual UI systems move quickly in response to the hacker’s movements and commands, unfolding throughout the room. The virtual system is state-of-the-art, high-performance. Language: English (heavy use of technical, cyber-warfare, and military jargon, consistent with major cyberpunk works) Dialogue: The protagonist speaks extensively throughout the film. He also interacts with operators and gives voice commands to the system. Cuts: Approximately 25 cuts. Dynamic cuts are used to match the protagonist’s rapid cracking movements. As many lines as possible are included in the 15 seconds. Music: No BGM. Sound Effects: Futuristic system sound effects are used appropriately to match the protagonist’s movements. Sound Quality: Dolby Atmos Language: English Check 1: The footage must be 3D and use multiple cameras, such as drone perspectives, bird’s-eye views, and low-angle shots. ーーー【日本語】熟練のハッカーが、敵のメインシステムへの侵入を試みる。この熟練のハッカーは、軍の上層部から雇われた秘密工作員である。彼女は音声コマンドを用いて軍のオペレーターと通信し、その際、専門用語を多用することが多い。キーボードとホログラフィック・インフォグラフィックス・ディスプレイを駆使して、プロフェッショナルなハッキングを行う。スタイル：実写SFサイバーパンク。1990年代半ばから2000年代初頭にかけての主要なサイバーパンク作品に着想を得ている。仮想システムを多用。仮想システムが広く活用されている。主人公：黒髪のショートカットをした熟練の女性ハッカー。通信用ヘッドセットと、インフォグラフィックを表示する漆黒のVRゴーグルを装着している。カジュアルな黒のパーカーを身にまとい、緑色に光る仮想UIシステムを操作する。舞台：ハッカーの自宅にある薄暗い部屋。部屋は緑色に光るディスプレイと仮想UIシステムで埋め尽くされている。ディスプレイと仮想UIシステムは、ハッカーの動きや命令に応じて素早く反応し、部屋全体に広がっていく。この仮想システムは最先端かつ高性能である。言語：英語（主要なサイバーパンク作品と同様に、技術用語、サイバー戦争用語、軍事用語が多用される）台詞：主人公は映画全体を通じて多くを語る。また、オペレーターとやり取りをしたり、システムに音声コマンドを出したりする。カット数：約25カット。主人公の素早いクラッキング動作に合わせて、ダイナミックなカットが用いられる。15秒間に可能な限り多くのセリフを盛り込む。音楽： BGMなし。効果音：主人公の動きに合わせて、未来的なシステム効果音が適切に使用される。音質：ドルビーアトモス言語：英語要件1：映像は3Dであり、ドローン視点、鳥瞰図、ローアングルショットなど、複数のカメラアングルを使用していること。

统一画风，角色形象全程保持一致，场景无汉字、无东亚道具；台词使用原生英文，AI配音情绪跟随剧情，输出竖屏漫剧，每一集结尾预留悬念钩子

Use @Image1 as the character and ball reference, @Image2 as the court reference, and @Image3 as the choreography reference. Create a 10-second street basketball handles video with 16 counts, following the 16 moves from @Image3 in exact order. Every single move must look visually distinct from the previous one — different body position, different ball position, different footwork each time. Character: young athletic male matching @Image1 exactly — short coiled locs, facial patch on cheek, cross earring and ear cuff, toothpick in mouth, neck and arm tattoos (lion tattoo on forearm), wearing the black ‘DEVILS’ basketball jersey with red/white trim and number 23, black shorts with matching trim, white crew socks, and black-and-red high-top sneakers. Keep his identity, tattoos, jewelry, and outfit fully consistent throughout. Render in a semi-realistic cel-shaded illustrated animation style — clean flat-to-soft shading, defined linework, no photorealistic skin or fabric texture, matching the art style of @Image1. Do not render this as live-action or photoreal. The player must remain fully visible in full body at all times, from head to toe, with no cropped framing. Keep him centered in frame, mostly facing the camera, staying near the middle of the court from @Image2 (outdoor blacktop, chain-link fencing, graffiti-covered walls, worn backboard and rim). The camera should follow him smoothly while always keeping his entire body and the ball visible. Timeline / 16 counts / 10 seconds: 0.0–1.2s — 1 standing dribble right hand / 2 crossover left to right with low body 1.2–2.4s — 3 ball rolling between both legs / 4 ball swinging behind the back 2.4–3.6s — 5 frozen hesitation with ball held still at hip / 6 rapid double crossover with wide stance 3.6–4.8s — 7 full 360 body spin with ball / 8 ball pushed outside then pulled back in 4.8–6.0s — 9 long lateral euro step lunge / 10 explosive stop with ball low 6.0–7.2s — 11 stepping back with ball retreating / 12 figure eight weave around both legs 7.2–8.4s — 13 explosive burst forward low dribble / 14 high speed dribble sprint position 8.4–10.0s — 15 full speed drive toward basket / 16 final pose with ball raised high above head one handed Each move must transition cleanly into the next with no repetition. The routine should feel like one continuous elite handles combo, fast, fluid, and connected. Every move has a distinct shape and silhouette. Illustrated-style motion with natural ball physics and realistic body mechanics for the animation style, smooth transitions between every move. Camera: wide or medium-wide full-body framing, gentle handheld tracking, minimal reframing, no close-ups that crop the body, no extreme angles, always keep the full character and ball visible throughout the entire 10 seconds. Music: energetic NYC street hip-hop beat, heavy bass, sharp snare.

Use Image 1 as the only reference for Alin: adult woman, exact face, pale blonde straight long hair with blunt bangs, white pleated camisole top, blue jeans, brown engraved metal-buckle belt, dark brown knee-high boots, original body proportions and clothing structure unchanged. Add light battlefield dust, sweat sheen, fabric scuffs. Do not inherit short black hair or black leather armor. Use Image 2 only as zombie reference for the nearest infected: mix of a tall thin hoodie male, short heavy worker male, tall office woman, middle-aged apron woman, hunched old man, all scattered naturally into the horde. No copied faces, no repeated poses, no uniform marching. Different heights, outfits, gaits, densities. Some drag feet, some stumble-run, some detour around blocked bodies. Far layers fade into sand and dust. Use Image 3 only as the heavy cannon reference for closed form and fully deployed final form. Keep the black iron boxy main body, side circular mechanical cover, top optical unit, bottom rectangular support module, sliding rails, multi-barrel cluster, fixed muzzle layout with 8 large outer barrels and 4 smaller central holes. Mid transformation must use real hinges and telescoping rails. No floating parts, no magical morphing, no skipped steps. Scene: Alin stands alone in a dusty wasteland industrial ruin. Broken industrial towers surround the battlefield. The central tower is the firing-axis anchor. A burned, deformed abandoned sedan sits to the right of the attack axis in front of the central tower; this same car must be launched near the end and fly toward camera. Alin holds the heavy cannon with both hands: right hand on rear control grip, left hand supporting the lower front fixed body, hand safely away from moving rails. Do not change hand placement. 0.0-1.5s Large rear three-quarter wide shot. Alin stands in the left lower frame, cannon still closed in box form, aimed toward the central tower. A wide open sandy gap separates her from the nearest zombies. Dense horde advances from the tower direction through dust, ruins, and wrecks. Camera slowly pushes forward and slightly down. She plants one foot forward and raises the cannon into a stable firing stance. Hair and shirt hem move in the wind. 1.5-4.5s Front-side medium shot, one continuous uncut mechanical deployment. 1.5-2.0: Alin presses the control button with her right thumb, lowers her chin, sights along the cannon. Upper front cover lifts slightly, left and right covers hinge outward to reveal internal rails. Top optical unit stays fixed. Side circular cover stays intact and closed. 2.0-3.6: The muzzle frame slides forward along the weapon axis, pulling nested barrel sections out in stages. Primary rail extends first, then inner rail, then upper and lower link beams. Every section slides from a real parent sleeve with visible connections. Muzzle layout never rotates and never changes barrel count. Bottom extension beam advances with it. Bottom module stays under the main body, only small side cooling fins open slightly. Blue indicator lights turn on progressively as each connection reaches position. 3.6-4.5: The cannon reaches Image 3 deployed length and proportion. Rail ends brake, locks clamp in sequence, covers return and settle around the root while long exposed barrels and blue slots remain visible. Final heavy lock sound. Short sharp recoil-like settling vibration. Alin lowers her shoulders, bends deeper, leans slightly forward, keeps both hands fixed, and absorbs the weight shift. 4.5-6.0s Muzzle close shot then low-angle full-body charge-up. Keep muzzle layout readable: 8 large outer barrels, 4 small center holes. Blue-white internal charge travels from rear slots to the front. The 4 center holes light first, then the 8 outer barrels brighten together. A constrained bright core forms inside. Then low-angle full body: feet planted, knees bent, cannon tight to the body

Come up with a trailer with each single shot of the grid as a standalone shot.

Tom Cruise vs John Wick. rooftop fight. post-apocalyptic city. no camera crew.