Prompt： Create a 30-second, 16:9 landscape travel vlog set on the streets of New York. All audible dialogue must be in English. Character and environment Use Image 2 as the reference for the adult female protagonist. Preserve her face, long wavy hair, black sunglasses, long black coat, black outfit, and tall black boots. The reference shows multiple views of the same person; only one protagonist appears in the video. The story takes place in Manhattan. Use Image 1 as a reference for the architecture, street depth, older building façades, and storefront awnings. Do not copy its elevated camera angle. Show contemporary New York in natural daylight, with yellow taxis, pedestrians, and street-level shops. A small film crew is shooting an action scene beside the sidewalk. Cameras, lighting stands, crew members, and a monitor occupy a designated curbside filming area. The protagonist initially overlooks this equipment. A crew member mistakes her for an actor wearing a black coat and directs her to a position on set. She assumes she is simply being asked to clear the walkway, cooperates, and accidentally enters the shot. Camera style The entire video consists of footage recorded by the protagonist using her phone’s front-facing camera. She holds the same phone horizontally in her right hand throughout, approximately an arm’s length from her face and slightly above chest height. Frame her from the head to the chest or waist, using a wide view that preserves the street and background action. Her right forearm occasionally enters the bottom of the frame; the phone itself remains outside the image. When addressing viewers, she looks into the phone lens. When speaking to crew members, she turns toward them before naturally looking back at the lens. Avoid an uninterrupted, mechanical stare into the camera. Maintain authentic handheld selfie footage: walking bounce, small framing changes from arm fatigue, a brief tilt when something unexpected happens, and deliberate corrections as she reframes herself. Keep the background recognizable without strong portrait-mode blur. Never switch to third-person coverage, aerial footage, or cinematic reverse angles. 0–5 seconds | Enjoying a New York morning The protagonist is already visible in the first selfie frame, walking lightly along a Manhattan sidewalk. Her hair and open coat move naturally with her steps. She looks into the lens with a small smile and says casually: “New York, no plans. Just enjoying the day.” She briefly glances toward a storefront, then returns her attention to the lens. Ordinary traffic and footsteps fill the background. 5–10 seconds | Mistaken for an actor A clear, businesslike crew member’s voice calls from offscreen left: “Black coat! Over here, please!” She turns toward the voice, slows down, and points to herself with her free left hand: “Me?” The crew member enters the left edge of the frame, wearing a headset and a crew badge. He points toward a position near the curb and nods. Assuming she is blocking the walkway, she politely takes two steps sideways. The phone rotates slightly with her body, revealing camera equipment and lighting stands behind her. She continues holding up her phone, still unaware that she has been mistaken for an actor. 10–16 seconds | Accidentally entering the action scene Hard cut forward a few seconds, maintaining the same selfie perspective. She now stands on the indicated spot, her face on the left side of the frame, with the filming area clearly visible to her right and behind her. Two adult stunt performers run past approximately three meters behind her. The leading performer stops and turns. The pursuer throws a staged punch with visible clearance; the other performer dodges sideways, followed by a brief arm grab and escape. Their movements have a rehearsed rhythm. Neither touches the protagonist. The sudden running footsteps make her shoulders flinch, interrupting her attempt to speak. She looks behind her, then back into the phone lens and says quietly, with genuine uncertainty: “Wait… am I in the movie?” Her phone-holding hand dips briefly, tilting the image. She then tries to fit both her face and the action behind her back into the frame. Her left hand rises halfway, as though she wants to ask where she should stand but does not know whom to ask. She neither screams nor joins the fight. 16–24 seconds | “Cut!” and the misunderstanding A loud male voice calls from offscreen: “Cut!” The two performers stop in succession, relax, and return toward their starting positions. Do not make everyone freeze simultaneously. An assistant director wearing a headset and carrying a folded call sheet approaches briskly from the right background. He stops approximately one meter beside her. She rotates her phone-holding arm to include both of them naturally in the same selfie frame. Looking mildly puzzled, he asks: “You’re our actor, right?” She turns toward him, gently shakes her head, and points toward her phone with her left hand: “No, just filming my vlog.” Realizing his mistake, the assistant director relaxes his shoulders, smiles apologetically, and gestures toward the clear sidewalk: “My mistake. Sorry!” Only after hearing the apology does she relax, nod, and let out a brief laugh. The exchange flows naturally, with small reaction pauses and no overlapping dialogue. 24–30 seconds | Leaving the set and sharing her reaction Hard cut to her walking along the same sidewalk again, having left the filming position. The crew remains visible behind her, resetting the scene. She exhales, looks into the lens with some lingering disbelief, then begins to laugh: “I came for a walk. Apparently, I’m an action star now.” Deliver the first sentence as an earnest recap. Let the self-deprecating amusement emerge during the second. Leave approximately one second at the end as she lightly shakes her head and keeps walking. End directly. Performance and sound Give the protagonist one consistent, natural, clear adult female English voice with a medium-low register and conversational delivery. She begins relaxed; after accidentally entering the scene, her speech becomes shorter and quieter. Once the misunderstanding is resolved, her delivery includes an exhale and spontaneous amusement. Avoid announcer-style delivery, continuous recitation, or forced comic acting. Her sunglasses remain on her face throughout. Express emotion through her mouth, chin, head turns, shoulders, and pauses rather than close-ups of eyes hidden behind the lenses. The crew member and assistant director have distinct adult male voices with natural American accents. Each line is spoken only by its assigned character. The offscreen “Cut!” must not be spoken by the protagonist. Add no other intelligible dialogue. Preserve New York traffic, footsteps, wind, clothing movement, running performers, and subdued crew ambience. Keep dialogue intelligible. No music, narration, subtitles, or text overlays. The chase and fight must remain recognizable as a staged film production: no weapons, blood, wounds, explosions, or actual injuries. The protagonist accidentally enters the shot and becomes involved in an identity mix-up; she is not attacked. Use real-time motion throughout and only the two specified hard cuts. Maintain continuity of identity, wardrobe, phone-holding hand, and street geography.

Prompt: Create a historical adventure film sequence in which a Nordic Viking ocean-going longship crosses a violent ocean storm. Captain Eirik stands on the raised platform at the bow, solely responsible for observing the sea, assessing danger, and commanding the rowing cadence. His daughter Ingrid remains on the starboard side of the central mast. After lightning ignites the mainsail control rope, she cuts the rope and helps the longship break through an enormous wave. From the first frame, all twelve people must already be aboard the ship and actively rowing. Do not begin with an empty ship or an unoccupied environmental establishing shot. All reference images are used only to maintain consistency in the characters, ship, costumes, and props. Do not use the full-ship blocking master. Do not use any reference image as the first frame, last frame, or an intermediate keyframe. [Reference Asset Responsibilities] @Image1 defines the large Viking ocean-going longship: its hull structure, high bow, high stern, broad deck, central mast, enormous square sail, five rowing benches, ten oar ports, dark oak construction, and coarse rope materials. @Image2 defines the appearance, clothing, and fixed group identity of the ten rowers. Do not use the original background or character positions from the image. @Image3 defines Eirik’s facial features, short ash-blond hair, dense greying beard, broad physique, black-brown fur mantle, and dark charcoal clothing. @Image4 defines Ingrid’s facial features, grey-green eyes, freckles, long auburn braid, dark oxblood cape, indigo coarse-wool clothing, and leather belt. @Image5 defines the size and design of Ingrid’s short-handled axe, including its short wooden handle and dark forged-iron head. The axe belongs only to Ingrid. [Fixed Spatial Layout and Crew Positions] There is exactly one large Viking longship and exactly twelve people throughout the sequence: Eirik, Ingrid, and ten rowers. Eirik always stands at the center of the raised command platform at the bow. He only observes the sea and commands the crew. He never touches the rudder, tiller, oars, or sail ropes, performs no steering action, and never leaves the bow platform. Ingrid always stands in the sail-control area on the starboard side of the central mast. At the beginning, she controls the starboard mainsail rope with both hands. The short-handled axe is secured at her right hip. Five transverse rowing benches remain fixed between the mast and the stern, arranged in sequence from the bench nearest the mast to the bench nearest the stern. Each bench holds exactly two rowers: one on the port side and one on the starboard side. Across all five benches, there are five port rowers and five starboard rowers. Each rower remains seated at the same position, faces the stern, and controls one specific wooden oar with both hands. No rower leaves their seat, changes sides, moves toward the bow, operates the rudder, or becomes an additional protagonist. Close-ups may show only some of the characters, but the number and spatial relationship of all twelve people must remain unchanged. Every return to a wide or medium-wide shot must clearly re-establish that the ship is crewed: Eirik is visible at the bow, Ingrid is visible beside the mast, and all ten rowers and ten moving oars are visible across the middle and rear sections of the deck. [Rowing Rhythm and Collective Shouts] The ten rowers continuously perform an organized rowing cycle: They inhale together while leaning forward during the recovery phase. They pause briefly as the oar blades enter the water. As they pull backward and the oars meet maximum water resistance, all ten rowers produce one low, brief, wordless exertion shout. As the oars leave the water and return forward, the shouting stops, leaving only rapid breathing. The collective shout must arise naturally from the physical effort of pulling the oars. It is not a random battle cry. The shout occurs on the same beat as the oar blades biting into the sea, the arms tightening, the torsos leaning backward, and the ship surging forward. The ten rowers reach the peak of their power and produce their exertion shouts at approximately the same moment, while their body movements retain slight natural timing differences to avoid mechanical duplication. The front row may enter the power phase a fraction earlier than the rear row, after which the entire ship settles into a unified cadence. After Eirik gives a clear command, all ten rowers immediately answer on their next power stroke with one louder, shorter, wordless collective roar. They then return to their regular breathing and exertion rhythm. [30-Second Shot and Story Rhythm] 0–4 seconds | Shot One: A Fully Crewed Longship in the Storm The opening frame immediately shows the complete longship sailing through the storm with all twelve people already aboard. Use a slightly elevated three-quarter medium-wide view from the port stern, positioned several metres above the sea. The camera can look down onto the deck and simultaneously show the bow, mast, five rowing benches, and oars on both sides. The longship occupies most of the frame, and the characters must not appear too small to recognize. Eirik is already standing on the bow platform. Ingrid is already positioned on the starboard side of the mast. The ten rowers are already seated across five benches and rowing continuously. Ten wooden oars extend from both sides of the hull, already engaged in either the power or recovery phase from the first frame. Dense blue-grey sea fog surrounds the lower hull and distant water, but the deck remains sufficiently clear. The fog must not completely conceal the characters. Heavy, rolling, lead-grey storm clouds completely cover the sky, while distant lightning moves within the cloud layers. During the first powerful pull, the rowers produce a low collective exertion roar. The bow crashes through the water, throwing spray toward the camera. Use the wave spray briefly obscuring the image as the transition point. 4–7 seconds | Shot Two: Close-Ups of Rowing Force Cut to a low-angle close-up of the oar blades striking the blue-black sea. Five port-side oars bite into the water in sequence, throwing spray backward along the side of the hull. Cut to a close-up of the rowers’ hands. Soaked fingers tighten around rough wooden oar shafts, veins rise across the backs of their hands, and leather bracers scrape against the wood. Cut to close-ups of two rowers’ faces. Rain runs down their foreheads and beards. At the moment their bodies lean backward and their chests and abdomens engage, they open their mouths and release a brief exertion shout. During recovery, they immediately close their mouths and inhale. End with a detail shot of boots braced against the wet deck. The ship rolls violently, and the soles slide briefly before finding support again. 7–11 seconds | Shot Three: Eirik Gives the Command Use a medium-wide deck shot from the port stern. The camera begins beside the fifth rowing bench and makes a short forward push with the rise and fall of the ship. It passes all five rows of continuously rowing crew members, then Ingrid beside the central mast, and finally reaches Eirik on the raised bow platform. The camera rolls to port with the deck, and the operator corrects the composition half a beat later. Rain and sea fog continuously move sideways through the frame. Only blurred wave walls and storm clouds are visible in the background. Eirik lowers his center of gravity. One hand grips the bow rail while the other presses downward with force in time with the oars. His gaze first scans the water ahead, then checks the mast, Ingrid, and all ten rowers. Eirik commands in English against the wind and waves: {Keep the stroke!} After the command, the ten rowers answer on their next power stroke with one louder, shorter, wordless collective roar. All ten oars enter the water more deeply, and the longship visibly surges forward. The rowers then return to their established rhythm: inhaling during recovery and producing a low shout during each power stroke. 11–14 seconds | Shot Four: Lightning Strikes the Sail Rope Use an extreme close-up of the starboard mainsail control rope. The wet, coarse fibres are pulled tight under enormous tension, while droplets roll along the vibrating rope. Lightning suddenly strikes the rope and the lower-right corner of the sail. Cold white electrical light cuts through the dense fog and briefly reveals the entire ship, the rain curtain, and the internal layers of the storm clouds. The lightning impact and hull vibration knock the camera abruptly sideways before it quickly finds the rope again. Orange sparks erupt across the rope. Fire spreads along the wet fibres. The lower-right corner of the sail begins to burn and thrash violently as the wind presses the ship into a dangerous starboard list. Cut to a tight close-up of Ingrid. The thunder makes her blink rapidly. Her gaze moves from the flames to the strained knot and then to the rising black wall of water ahead. Her breathing suddenly shortens, and her fingers tighten visibly around the rope. The ten rowers continue moving in the background. Their shouts are briefly swallowed by the thunder before becoming audible again. 14–18 seconds | Shot Five: Father-Daughter Conflict Use a deep telephoto composition from the port side. Ingrid stands in the foreground beside the mast. Eirik remains in the distant bow area. A black wall of water, higher than the bow, forms through the dense fog ahead. The burning sail corner remains visible above them. The ten rowers continue pulling in the background. Their collective exertion shouts alternate with the roar of the sea. After seeing the wave wall, Eirik’s commanding hand pauses for half a beat and his jaw tightens. He immediately extends one arm toward the burning rope. He does not leave the bow and does not move toward any steering equipment. Eirik commands in English: {Cut the line!} Before he finishes speaking, Ingrid is already looking toward the sail. She still wants to save it, and her grip on the rope does not release. Breathing rapidly, Ingrid replies in English: {We’ll lose the sail!} 18–21 seconds | Shot Six: The Decision Cut to a close-up of Eirik’s face under driving rain. The wind briefly tears open the fog behind him, revealing the approaching wall of water. Eirik’s eyes first scan the ten oars that are still pulling, then lock onto Ingrid. A brief flash of concern for his daughter and the entire crew appears in his gaze, but his body remains stable. Lowering his voice, Eirik replies in English: {We still have oars.} As the line ends, the ten rowers complete one heavy pull, and their collective exertion roar rises from behind him. Cut to a close-up of two oars biting into the sea simultaneously, then return to Ingrid. Her gaze moves from the oars to her father and finally to the burning rope. She releases the sail rope, takes one short breath, plants her feet firmly on the deck, and grips the axe handle at her right hip. Use an extreme close-up as she draws the short-handled axe and rainwater runs from the edge of the dark blade. 21–25 seconds | Shot Seven: Cutting the Rope with a Single Blow Use a low-angle medium close-up. Ingrid holds the rope below the burning section with her left hand while her body leans toward starboard with the ship. The camera tilts with her but keeps the axe blade and rope clearly visible. She delivers only one short, heavy, decisive horizontal strike. At the moment the axe hits the rope, the camera receives one brief physical jolt. Use a match cut to an extreme close-up of the rope fibres snapping, followed immediately by a medium-wide shot from the starboard side. The burning sail corner loses tension and whips violently over the starboard side into the sea. The dark orange flames are immediately extinguished on contact with the water, releasing white steam and a large burst of spray. At the same moment, a wave breaks over the gunwale and drenches Ingrid, the benches, and the rowers. Several rowers instinctively hunch their shoulders, but all remain seated and maintain the rowing cadence. The sail goes slack, and the longship begins to recover from its dangerous starboard list. The mast and hull remain intact. 25–28 seconds | Shot Eight: Breaking Over the Wave Wall Cut to an extreme exterior wide shot close to the sea surface. The large longship climbs directly up the enormous wall of water emerging from the dense fog. The bow rises high as all ten oars continue driving on both sides of the hull. Storm clouds extend from the horizon to the top of the frame. Cold white lightning repeatedly glows inside the heavy cloud layers. Dense rain falls continuously, while sea fog, rain curtains, and wind-driven spray merge into one violent atmosphere. During their most powerful stroke, all ten rowers release the strongest collective exertion roar of the sequence. Their voices combine with the impact of the oars and the groaning hull as the ship climbs toward the crest. The camera rises sharply with the bow, causing the horizon to slide downward and leave the frame. After crossing the crest, the camera experiences a brief moment of weightlessness before falling heavily with the hull. Water strikes the camera head-on, leaving several droplets briefly visible on the lens. 28–30 seconds | Shot Nine: Recognition Within the Storm Use a medium close-up from the port side of the bow. Eirik stands in the foreground in profile. Ingrid remains beside the mast in the midground, while the rowers and oars continue moving behind them. The sky remains covered by storm clouds, and heavy rain and dense fog continue surrounding the longship. No clear sky, sunlight, or warm sunset appears. Only after confirming that the longship has crossed the wave crest does Eirik turn toward Ingrid. He does not smile. Only the tension in his jaw softens slightly. Eirik says in English: {Next watch, you take the bow.} Ingrid does not move toward the bow. She looks down at the severed rope and then meets her father’s gaze. Her chest rises and falls rapidly from exertion and tension. She slowly exhales and answers with one restrained but unmistakable nod. The rowers continue pulling at the established cadence behind them, producing quieter collective exertion shouts at the peak of each stroke. End with the ship, characters, oars, driving rain, and waves still in motion. [Character Actions and Emotional Performance] Eirik’s objective is to keep the ten rowers on rhythm and force Ingrid to sacrifice the sail before the wave wall reaches them. His tension is visible through a lowered center of gravity, a tightening jaw, rapidly assessing eyes, and increasingly concise commands. He does not express it through exaggerated roaring. His eyes continuously scan the sea, mast, his daughter, and the rows of oars. His gaze always reaches a target half a beat before his head turns. When the fire and wave wall appear together, his commanding hand pauses for half a beat. This is the only visible fracture in his control. He then immediately resumes clear command. Ingrid’s state progresses from focused control of the sail rope, to refusing to lose the sail, to accepting the sacrifice and taking decisive action. Her hesitation is visible through the hand that refuses to release the rope, repeated glances toward the sail, and shortened breathing. When she hears, “We still have oars,” she first notices the continuously moving oars and then makes her decision. Once the decision is formed, her shoulders lower, her feet become firmly planted, and her gaze locks onto the rope’s point of tension. After cutting the rope, she continues resisting the ship’s movement and does not celebrate immediately. The ten rowers remain under sustained physical strain. Wet hair clings to their foreheads, jaws tighten, and neck and arm muscles engage with every pull. The regular shouts must arise naturally from chest and abdominal effort. During recovery, they inhale rapidly. When the thunder strikes, the rowers nearest the mast hunch their shoulders first, while the others look up a fraction later. No one stops rowing. All ten voices synchronize clearly only when responding to Eirik’s command and during the final push over the wave crest. [Immersive Ship and Camera Movement] Every camera aboard the ship moves in synchronization with the longship’s roll, pitch, vertical heave, and wave impacts. When the hull enters a trough, the camera falls heavily with the deck. When the bow climbs a wave, the camera tilts gradually upward. When a wave strikes the gunwale, the frame receives one weighty lateral impact. When the ship crosses a crest, the camera rises rapidly, experiences brief weightlessness, and then drops. The camera has realistic mass and inertia. When the ship tilts suddenly, the frame follows half a beat later. The camera operator then makes small opposing corrections through footwork and body weight. The horizon continuously tilts and recovers instead of remaining mechanically level. Medium deck shots use the strongest immersive movement. Character close-ups reduce the camera’s displacement and instead communicate ship movement through the characters’ shoulders, wet hair, the mast, and the moving horizon. The camera works to hold the characters’ faces but retains slight lag and visible reframing. Every camera movement must originate from waves, the hull, the operator’s footing, or a physical action impact. Maintain low-frequency, heavy, directional movement with believable physical weight. [Storm and Cinematic Image Quality] Heavy storm clouds cover the sky throughout the entire sequence. The cloud layers are lead grey, deep blue grey, and charcoal black, rising from the low sea fog to the top of the frame. No blue sky, clear weather, sunlight, or warm sunset appears. Dense sea fog persists throughout. Fog moves around the lower hull, sea surface, and distant wave walls, continuously torn apart and reshaped by the wind. Long-distance visibility is extremely poor, and the horizon remains hidden for most of the sequence. The deck and its characters remain readable, and the fog must never completely conceal the crew. Rain is dense, continuous, and driven in a clear direction. Water repeatedly strikes the characters’ faces, sail, and deck, running across fur, wool, leather, and wood. Waves frequently break over the gunwale and realistically drench the crew and camera position. Use a palette dominated by steel blue, lead grey, deep navy, wet charcoal black, and silver-grey highlights. Skin tones remain cool and desaturated while retaining natural blood circulation. The dark orange flames on the rope are the only prominent warm colour. Emulate 35mm motion-picture negative: natural fine grain, rich blacks that preserve texture, silver-grey highlights, subtle halation around lightning and fire, realistic motion blur, and slight lens breathing. The sequence has a rough, heavy, realistic historical adventure-film aesthetic. Wet wood, saturated wool, aged leather, coarse rope, forged iron, and sailcloth all possess credible texture and physical weight. [Sound and Dialogue] The environment includes continuous high wind, dense rain, roaring waves, water striking the hull, spray washing across the deck, wet timber groaning, sailcloth snapping, coarse ropes straining, ten oarlocks scraping, oar blades entering the sea, and the rowers’ heavy breathing. <During every major power stroke, all ten rowers produce one low, brief, wordless exertion shout.> <After Eirik gives a rowing command, all ten rowers respond during the next power stroke with one louder, shorter collective roar.> The exertion shouts must synchronize with the peak of each power stroke. During the recovery phase, the rowers do not continue shouting. Only inhalation, heavy breathing, and oarlock friction remain. Eirik speaks in English: {Keep the stroke!} {Cut the line!} {We still have oars.} {Next watch, you take the bow.} Ingrid speaks in English: {We’ll lose the sail!} Eirik has a low, rough, controlled baritone. His sentences are brief, and his voice becomes quieter as the pressure increases. Ingrid’s voice is clear and lower-pitched, with breathing affected by physical exertion and the storm. The rowers have no individual dialogue. They produce only wordless exertion shouts and collective responses. During spoken dialogue, the storm and rowing sounds remain present but become slightly quieter so that every line remains intelligible. Use low strings, sparse Nordic frame drums, and sustained low brass. The music must not overpower the storm, rowing, collective shouts, or dialogue. Display no subtitles, titles, or written text. [Consistency] The opening frame must show all twelve people aboard the ship and all ten oars in continuous motion. Do not generate an empty-ship opening. Keep exactly twelve people throughout. Do not add a helmsman, extra crew members, or duplicate characters. Eirik always remains at the bow and only commands. He never steers, rows, or uses the axe. Ingrid always remains in the starboard sail-control area beside the central mast. The short-handled axe belongs only to her, and she swings it only once. The ten rowers remain fixed across five benches: five on the port side and five on the starboard side. Each rower controls the same oar throughout. Keep the rowers’ exertion shouts synchronized with the peak of each power stroke. After Eirik gives a command, the rowers must produce one clearly audible collective response. Fire appears only on the starboard mainsail control rope and the lower-right corner of the sail. After the rope is severed, it remains severed, and seawater extinguishes the flames. The mast and hull remain intact. Dense fog, gloom, driving rain, heavy storm clouds, waves washing over the ship, and immersive camera movement synchronized with the longship remain present throughout. The sky does not clear before the end.

The workflow: Reference video → Depth map → New character image → A new scene guided by the same motion The depth map helps carry over: → movement → camera direction → spatial structure