Woman and Business Cat

Use @[image1] only as the director-approved storyboard reference for visible panel order, staging, action, character placement, prop/effect states, and spatial cues. Follow panel order exactly; do not invent alternate coverage or extra story. Do not render the storyboard sheet, transfer its sketch medium, or inherit proxy faces, proportions, wardrobe, colors, drawing shapes, or anatomy. Recreate the filmed sequence. Use @[image2] as the sole authority for C1 final appearance, face, body, wardrobe, proportions, materials, and likeness, and @[image3] as the sole authority for C2 final appearance, face, body, wardrobe, proportions, materials, and likeness; translate both into the same stylized 3D character-animation look, and treat storyboard characters as blocking proxies only. VISUAL STYLE: Stylized 3D martial-arts animation in the spirit of classic Hong Kong action cinema, high-end cinematic character rendering, formal open-platform staging, clean medium-wide geography, tight hand and wrist close-ups, short impact push-ins, grounded body mechanics, crisp footwork, no acrobatics, restrained brutality, tactile cloth and contact. AUDIO: No background music or score. Use only diegetic platform ambience, cloth snaps, foot pivots, breath, wrist grabs, forearm blocks, chest hits, palm impacts, kick jams, body recoil, and final silence. ENVIRONMENT: Open raised fighting platform with a plain formal boundary, hard floor surface, empty hostile space around the duel, and steady overhead light. EMOTIONAL GUIDANCE: The duel opens already in motion; C1 stays relaxed and centered as C2 escalates from rigid force to frustration, ending with C1 calm and C2 structurally broken. BEATS: P01: 24mm wide action opener; C2 drives in from screen right with a hard straight punch combination toward C1 screen left, establishing the platform centerline through impact motion; SFX foot stomp, sleeve snap, breath burst. P02: 35mm side; C1 slips slightly off-line inside the lead arm, catches the wrist, and lets C2's second punch pass narrow without meeting force; SFX foot slide, forearm skim, wrist catch. P03: 50mm push-in; with the lead arm trapped, C1 fires short chest and face punches, making C2 recoil one step while C1 stays compact; SFX tight thuds, clipped breath, heel scrape. P04: 35mm medium; C2 snaps a sharp block and steps back into the line as C1 releases calmly at center-left, resetting under pressure without breaking geography; SFX hard block, breath reset, cloth rustle. P05: 35mm side low; C2 whips a high kick from screen right, C1 steps in early to jam hip and shin before the kick extends, stalling C2's force; SFX kick rush, shin jam, platform tap. P06: 50mm push-in; C2 follows with a heavy body punch, C1 rotates narrowly, catches the arm, and counters with a fast palm strike to the chest line; SFX forearm catch, palm hit, body recoil. P07: 24mm medium-wide; C2 surges with wide linear attacks while C1 closes distance and pins both fighters near center as karate angles crowd themselves; SFX rapid steps, block cracks, sleeve snaps. P08: Macro hand insert; C1 controls C2's wrist, checks the elbow, and opens a narrow lane through the guard as rigid karate structure bends; SFX wrist clamp, elbow check, breath strain. P09: 35mm impact-to-wide pullback; C1 drives rapid chain punches along C2's centerline until C2 collapses backward, leaving C1 still while C2 falls defeated; SFX final impacts, sliding shoes, body fall, sudden silence.

Refer to the facial features of the model in @image 1. The model, wearing the outfits in the@image 2@image 3@image 4@image 5@image 6, gets close to the camera and poses playfully, coolly, cutely, in surprise, and handsomely, with each pose wearing a different outfit. Each time the outfit is changed, the screen will cut, referring to the fisheye lens effect and the ghosting and flickering dazzling visual effects in the reference video.

Use @[storyboard ref] only as visual anchor for panel order, camera angle/scale/framing, pose, blocking, screen direction, composition, prop/effect state, and spatial continuity. Follow panel camera/framing/poses/positions exactly; do not render the sheet, copy sketch style/anatomy, or add events absent from storyboard/prompt. Recreate final stylized anime video. Use @[character ref] as the sole authority for C1 final appearance, face, body, wardrobe, proportions, materials, and likeness; storyboard silhouettes are staging references only. VISUAL STYLE: Stylized anime ASMR ritual: warm barista shrine counter, cream mask, red apron, blue hoodie, amber rim light, soft steam, precise mechanical hands, glossy ceramic, clear coffee, elastic white web filament. AUDIO: No music. Close ASMR foley: servo purrs, relay clicks, ceramic ticks, filter hiss, kettle stream, bloom bubbles, robot chirps, web thwip, cup scrape, coffee pour. ENVIRONMENT: Compact coffee counter: centered V60, kettle left, grinder/scale rear, visible front service shelf at viewer edge holding empty cup, warm task lamp, steam. EMOTIONAL GUIDANCE: C1 stays quiet and observant; precise mechanical ceremony builds to a playful direct offering. BEATS: P01 / low altar wide / station wakes: low front wide across counter; C1 centered behind V60, kettle left, grinder/scale rear, cup visible on front shelf right; both hands rise and station lights wake with tiny servo clicks. P02 / top-down close / paper moon: top-down close over dripper; C1's white mechanical fingers set paper filter in centered V60, kettle waits left; fingertips press cone flat as paper whispers. P03 / side macro / rinse breath: side macro at rim height; C1 tilts kettle from screen left, thin water thread darkens filter, steam curls up, droplets collect below; soft hiss, wrist ticks. P04 / three-quarter medium / grounds offering: three-quarter medium from front-right; C1 tips grounds bowl into rinsed filter, one hand steadies dripper, other taps bowl; centered mound lands with granular ticks. P05 / overhead detail / first bloom: overhead detail; C1 pours slow spiral onto grounds, bloom domes open inside V60, steam ring expands as C1's mask leans in; bubbling and servo hum. P06 / profile medium / ritual orbit: profile medium from screen left; C1 holds kettle high, draws controlled circular pour, elbow locked, apron still, coffee drops gather in server; metronome water pulse. P07 / low service-shelf wide / visible web hit: low wide from viewer-side service shelf, cup large in foreground right, C1 behind counter; C1 sets kettle down, snaps one wrist in spider-hero pose, white filament shoots from wrist across frame and sticks to visible cup rim; thwip, servos peak. P08 / front track medium / airborne cup catch: front medium same axis; C1 snaps the same wrist back hard with one hand only, other hand away from web, taut filament yanks cup off foreground shelf into a short air arc, and the same web hand catches it cleanly above table center; scrape, twang, ceramic clack. P09 / close three-quarter / caught cup fill: close three-quarter on cup/server; C1 sets the caught cup onto the saucer with the same hand, lifts server with the other, and pours amber coffee, slack web beside saucer; round liquid pour. P10 / POV close / offered cup: POV close from viewer seat; C1 offers filled cup with both hands, mask tilted in tiny bow, V60 station behind, web line gone; ceramic stop, soft robot chirp, warm steam.

REFERENCES ref_1 the woman: her face, long dark wavy hair and the flowing emerald-green silk gown; do not use its grey studio background. One woman only. ref_2 the animal: a sleek black panther with green eyes, a glossy coat and warm rim light; do not use its background. ref_3 the location: a lush humid tropical jungle — misty clearings with god-rays through the canopy, a stream over dark wet rocks, a mossy log among giant leaves, dripping wet foliage; deep emerald green and warm gold, humid air; do not use its grid layout or dividers. ref_4 the perfume: Maison Francis Kurkdjian — Oud Velvet Mood bottle (square dark glass with gold cap and visible label). SCENE A fast, powerful luxury perfume ad: a woman in an emerald silk gown and a black panther move as two forces through a misty jungle, cut fast to a driving orchestral score, the dark gold perfume bottle flashing through the film again and again. GLOBAL SETTINGS Photoreal cinema, ARRI Alexa 35 look, anamorphic lens, shallow DOF, fine grain. Humid tropical light, deep emerald foliage, warm gold god-rays. FAST editing: hard cuts, constant change of scale and angle — wide, macro, panther, product, face — high energy and dense. Camera moves are quick and confident: fast push-ins, whip pans, snap tilts. Music: (A powerful dramatic orchestral score builds through the film — soaring violins and deep cellos, rhythmic staccato strings, rising to a full crescendo at the end, cinematic and intense, conveying the strength of the woman, the panther and the perfume.) Framing rule: keep the woman in medium and close framing so her face stays sharp. Exclude: no on-screen text except the two title beats, no subtitles, no dialogue, no cross dissolves, no fade to black, no limb deformation. SHOT SCRIPT (CU = close-up, ECU = extreme close-up) 1 (0.0-2.2) Wide slow drift: a misty jungle clearing, god-rays cutting through the canopy to a mossy floor, the woman a small emerald figure deep among the trees. Slow forward drift. 2 (0.8–1.5) The panther’s green eyes fill the entire frame in shadow. Intense, almost hypnotic gaze. Tight shot only on the eyes. 3 (1.5-2.2) CU three-quarter of the woman's face in a shaft of light, magnetic gaze lifting to camera. Fast push in. 4 (2.2-2.9) ECU: the dark faceted gold-capped perfume bottle flashes in a beam of gold light on wet moss. Quick snap tilt up the bottle. 5 (2.9-3.6) Fragment of the panther: black shoulder and paw powering over wet stream rocks. Fast low track. 6 (3.6-4.3) ECU macro: a droplet bursting off a broad wet leaf in gold light. Fast rack focus. 7 (4.3-5.0) Low whip-pan tracking the woman's silk gown trailing through ferns as she strides. Whip pan. 8 (5.0-5.7) CU of the panther's face turning sharply toward camera, eyes bright. Snap push in. 9 (5.7-6.4) ECU: the woman's hand sliding across wet carved-looking stone, gold light raking. Fast slide. 10 (6.4-7.1) Top-down view looking straight down onto the gold cap of the dark perfume bottle, gold light glinting off the flat square top, emerald reflections around it on the wet moss. Fast push in from above. 11 (7.1-7.8) CU of the woman's eyes over her shoulder, hair whipping, intense. Snap push in. 12 (7.8-8.5) The panther leaps across a gap between mossy rocks in a powerful arc. Fast track with the leap. 13 (8.5-9.2) Low angle: the woman strides forward through god-rays, gown billowing, the panther pacing into frame beside her. Fast push in. 14 (9.2-9.9) ECU macro: gold light glinting along the embroidered edge of the emerald gown. Fast slide. 15 (9.9-10.6) CU two-shot: the woman and the panther side by side, both turning toward camera as one. Fast push in. 16 (10.6-11.3) ECU: the panther's bared profile and whiskers, breath in the humid air. Snap push. 17 (11.3-12.0) CU of the woman's face fully to camera, powerful and still, god-rays behind. Fast push in. 18 (12.0–12.9) Front view of the square perfume bottle standing on a mossy rock, label with the logo clearly visible and facing the camera. The bottle is in a full blaze of gold light, the woman and panther in soft focus behind it. Smooth push-in on the bottle. 19 (12.9-13.8) ECU of the gold cap and dark glass, a last glint of light crossing it. Slow-fast push in. 20 (13.8-15.0) The bottle centered in gold light, woman and panther as two silhouettes flanking it in the god-rays; elegant title: 【OUD VELVET MOOD. Hold as the music hits its final crescendo, frame lit.

TITLE: THE CITY BETWEEN SECONDS FORMAT Exactly 15 seconds, 16:9 widescreen, ultra-photorealistic cinematic urban fantasy for Seedance 2.5, realistic human behavior, physically coherent time-freeze effect, synchronized English dialogue and environmental sound. SETTING An entirely original fictional coastal metropolis during evening rush hour. A broad multi-level intersection is surrounded by curved glass towers, pale stone buildings, elevated pedestrian gardens and slender illuminated transit bridges. Generic silver electric cars, dark-blue city buses, delivery bicycles, pedestrians, small food stalls, abstract light panels, traffic signals, ventilation grilles and rain-soaked pavement fill the scene. The architecture, street layout, vehicles, signs and skyline must be newly designed and must not resemble any identifiable real city, film, television series, game or existing artwork. No recognizable landmarks, branded colors, commercial logos or readable advertisements. PROTAGONIST A stylish woman around thirty wearing a long camel coat, dark trousers and black ankle boots, carrying a small unbranded coffee cup. Preserve her exact identity, clothing, hairstyle, cup and position. She is the only person who moves while time is frozen. TIMELINE 0–3s — Low street-level tracking backward through a crowded crosswalk. A cyclist passes close to the lens, a generic silver electric car brakes, a pedestrian drops a folded paper map and a food-stall worker accidentally knocks over a paper cup. At 2.2 seconds, movement and city sound stop instantly. The cyclist freezes mid-pedal, the electric car remains suspended during braking, the map hangs open in the air, liquid droplets float above the pavement and pedestrians freeze in natural walking poses. Only the protagonist moves. 3–7s — She stops and realizes the entire city is frozen. A smooth 180-degree orbit reveals the original intersection, elevated gardens and transit bridges from several angles. She walks between suspended droplets and gently touches one corner of the floating paper map. It bends slightly beneath her finger while everything else remains motionless. Vapor above a ventilation grille forms a frozen sculptural column and a small flock of ordinary city birds hangs motionless between the original curved towers. 7–11s — Medium close-up in the center of the intersection. She takes a slow sip, exhales and looks up. Gentle push toward her face through suspended rain. She softly says with precise natural lip synchronization: “I just needed a moment.” 11–15s — A traffic signal flickers. The suspended droplets tremble, the paper map ripples and the birds twitch. She smiles and steps toward the sidewalk. Time snaps back: the generic traffic continues, the cyclist completes the pedal stroke, the spilled drink hits the pavement, the map flies forward and the birds resume their flight. Use a brief 360-degree orbit followed by a crane rise that reveals the completely original skyline as she continues walking and everyone remains unaware. CAMERA Low street tracking, smooth 180-degree freeze orbit, intimate medium close-up, gentle facial push-in, brief 360-degree resume orbit and final crane rise. Frozen people, vehicles, birds, liquids, clothing and steam remain in exactly the same positions from every viewpoint. VISUAL STYLE Ultra-photorealistic premium urban cinematography. Realistic wet asphalt, natural skin and fabric, physically accurate reflections, atmospheric haze, subtle grain and controlled motion blur. Cool evening shadows, warm streetlights and restrained neon reflections. SOUND Native synchronized stereo sound. Before and after the freeze: engines, horns, bicycle bell, brakes, footsteps, conversations, pigeons and ventilation. During the freeze, remove all normal city sound; retain only her breathing, footsteps, coat, sip and a subtle suspended-air resonance. No music. CONTINUITY Maintain the protagonist, cup, fictional intersection, original architecture, generic vehicles, pedestrians, cyclist, paper map, droplets, birds, lighting and geography. Nothing except the protagonist moves between 3 and 11 seconds. Every frozen element resumes simultaneously. ORIGINALITY AND NEGATIVE CONSTRAINTS Create an entirely original city, scene and visual identity. Do not imitate or reference New York, Manhattan, Times Square, any recognizable landmark, any existing movie, television series, comic, game, advertisement, artist or copyrighted visual composition. No yellow taxi iconography, famous building silhouettes, branded vehicles or recognizable signage. No moving background during the freeze, changing poses, falling droplets, animated vapor, duplicated people or vehicles, disappearing objects, teleportation, magical particles, glowing protagonist, superhero costume, accidents, injuries, readable advertising, corporate logos, subtitles, captions, watermarks or on-screen text.

Use @[storyboard2 ref] as the authoritative director-approved storyboard blueprint for the sequence. Treat every storyboard panel as a consecutive shot within a single cinematic sequence. Follow panel order exactly and do not invent alternative coverage. Do not render the storyboard sheet itself. Preserve camera placement, framing, lens intent, shot scale, character staging, screen direction, environmental geography, prop placement, action choreography, continuity and emotional escalation shown by the storyboard. The storyboard is the primary source of truth for visual storytelling. Recreate the filmed sequence implied by the panels rather than the physical storyboard artwork. Use @[characters ref] as the authoritative C1, C2, and single black cat C3 reference, and @[zombee ref] as the human-sized zombie-bee C4 reference. ENVIRONMENT: Continue after the daylight bazooka miss. In P01 the target building is completely outside the left frame and invisible; P02 reveals it for the first time. A rooftop route, stairs, alley, and round storm drain extend right. The swarm pursues left to right. The drain is dark with daylight at its grate. EMOTIONAL GUIDANCE: Valence: dry calm -> alarm -> relief. Arousal: stillness -> eruption -> sustained peak -> held breath. Keep C3 close to C2 throughout the escape. VISUAL STYLE: Polished cinematic anime matching @[characters], crisp cel shading, tactile ruins, and hundreds of human-sized undead bees matching @[zombee] flying continuously with beating wings and suspended legs. Never show bees running, walking, crawling, or grounded in pursuit. AUDIO: No background music or score. Use wind, distant city, first wing scratches, a rapidly multiplying diseased buzz, window debris, dropped metal, running feet, rattling stairs, swarm rush, grate scrape, tunnel drips, muffled buzzing, and silence. No dialogue, subtitles, or on-screen text. PANEL BEATS: P01: Locked 35mm rooftop group shot. C3, the single black cat from @[characters], sits beside C1 and C2. The target building is fully beyond the left edge and invisible. Offscreen wings turn both heads and C3's ears left. SFX: scratching wings. P02: Reverse telephoto reveal. The building first appears as hundreds of human-sized zombie bees fly from its windows on beating wings and surge right. SFX: explosive buzz, glass. P03: 85mm threat close-up. Three flying leaders fill frame: corpse-pale faces, huge dead eyes, antennae, ragged cloth, bandaged limbs, and torn wings match @[zombee]; hundreds remain behind. Each is human-sized, not insect-sized or kaiju-sized. SFX: diseased wing buzz. P04: 35mm medium. C1 drops the bazooka as C2 scoops C3; both run while the airborne swarm flies across the rooftop gap. SFX: clatter, wing roar. P05: Fast 24mm side track. They sprint right with C3 secure; the swarm flies above the roof behind them. SFX: boots, buzz. P06: High-angle 28mm. They race down metal stairs as the swarm flies downward through the open stairwell. SFX: stair rattle, wings. P07: Low 35mm alley track. All three race toward the drain while the flying swarm dives through the alley air behind. SFX: footfalls, rubble. P08: Low 24mm wide. C2 enters carrying C3, C1 follows, and they pull the grate partly shut. SFX: scrape, rushing buzz. P09: Locked 50mm inside. C1 and C2 crouch with C3 safely between them; bees hover and search outside without seeing them. SFX: drips, muffled buzz, silence.

Use the attached BARRY VS THE BBQ character sheet throughout. Barry: Pixar 3D man, mid 40s, large soft build, floral beach shirt, khaki shorts, white socks with sandals, sunscreen stripe on nose. No realistic humans. THE BACKYARD: Bright green grass, deep blue sky, wooden fence. Large black barrel BBQ center frame. Perfect summer day. No dark frames. Sound design only until 0:08, then score. 0:00–0:02 — Wide. Barry strides out, tongs in one hand, lighter fluid in the other. Confident nod at the BBQ. SOUND: Screen door. Birds. 0:02–0:05 — Fast cuts. Meat on grill. Barry steps back, arms crossed, small clean flame, satisfied smile. SOUND: Ignition click. Sizzle. 0:05–0:08 — Flames grow. Barry waves a hand. Grows more. Full column of fire. Embers drifting. Wife at window, mouth open. SOUND: Roar. Wife: “BARRY!!” 0:08–0:10 — Close. Barry’s face. Fire raging behind him. Eyes wide, body tense, visibly panicking — but forcing a strained smile. Voice cracking. SOUND: 🎵 SCORE PEAKS. Barry: “I’ve got it under — I’ve got it. It’s fine.” 0:10 — DIRECT CUT. SILENCE. 0:10–0:15 — Medium. Road just outside the gate. House burned behind him, still smoking, not far away. Two firefighters close by, notepads ready. Arms at his sides. “So sir — what happened?” Barry scratches head. Long pause. “…Uhhh.” One writes it down anyway. Hold. SOUND: Silence. Pen on paper. Distant creak. Fade out. Camera: wide backyard, fast cuts, wide chaos, close face, direct cut to medium road shot, medium Barry and firefighters. Warm golden Pixar lighting throughout.”

Use the attached RON VS THE TENNIS BALL MACHINE character sheet as the exact visual reference throughout. Ron is a Pixar 3D man, mid 40s, slightly soft build, white tennis polo, navy shorts, white wristbands, visor, tennis racket. Full Pixar 3D render. No realistic humans. THE COURT: Bright outdoor tennis court. Vivid green surface, white lines, blue sky, golden sunlight, trees and fence in background. Neon yellow balls scattered and increasing throughout. No dark frames. THE MACHINE: Bright yellow hopper, dark grey body, wheels at base, fixed launch tube. Stationary at all times. Never moves. No expressions. It simply fires. MUSIC: Casual upbeat music at start. Explodes into chaotic comedy horns the moment first ball hits Ron at 0:02. Cuts to complete silence at 0:10. One massive horn blast at 0:14. 0:00–0:02 — Full body wide shot. Ron cranks speed dial to maximum, gives the machine a satisfied nod, turns and walks casually to the baseline. SOUND: Dial clicking. Casual music. 0:02–0:03 — Back fully turned. Machine fires. Ball hits him square in the back. Ron stumbles forward. SOUND: Comedy horns explode. Loud thud. 0:03–0:05 — Ron spins around. Ball hits his chest. Third ball launching. Ron raises racket desperately as a shield. SOUND: Rapid thuds. Horns accelerating. 0:05–0:08 — Wide tracking shot. Ron sprinting across court, racket held up as shield. Balls hitting his shoulder, knocking visor sideways, one wristband flying off mid-sprint. Neon yellow balls bouncing everywhere. SOUND: Rapid thuds. Ron yelling. Full chaos. 0:08–0:10 — Ron dives behind net post, visor backwards, racket clutched to chest. Peeks one eye around post. Ball flies past his nose. He yanks back. SOUND: Whoosh. Sharp inhale. 0:10–0:12 — Machine fires last ball. Hopper empty. Complete silence. Court covered in balls. Ron frozen behind post not moving. SOUND: Final click. Music dead. Wind only. 0:12–0:14 — Ron steps out cautiously, scans the silent machine, exhales with relief, walks toward it guard completely down. SOUND: Slow footsteps. Distant birdsong. 0:14–0:15 — One stuck ball launches directly into his face. Ron falls. Fade to black. SOUND: Massive horn blast. Thud. Silence. Camera: full body wide, close back hit, medium chest hit, wide sprint chaos, close net post peek, wide silent court, medium walk to machine, close final launch, wide fall. Bright vivid Pixar colors throughout.