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References
@Image1 — face and hair reference for the hero. The hero's face is the face in @Image1 — the same person. @Image1 is the complete and only source of the hero's facial identity and hair: copy the face exactly as that image shows it, and copy the hair exactly as it is worn there — the same style, the same length, the same cut, the same parting, the same colour, the same texture, and the same way it is worn, loose or tied or braided or pinned, staying that way for the whole video. Keep natural human proportions: head about 1/7-1/8 of full body height, normal shoulders and waist. Take only the face and the hair from this image; the clothing, the background, the pose and the framing come from this prompt.
@Image2 — the store. This is the shop the hero walks out of, and the complete source of the location: the same storefront and glass front, the same doors, the same signage and lettering, the same entrance, the same surroundings, the same materials and colours, the same floor surface in front of it. Whatever kind of place @Image2 shows — a street-facing shop or a unit inside a shopping centre — that is the place, and the whole video happens in the open space directly in front of that entrance. Read the architecture, the surface underfoot and the surroundings off the image itself and keep them identical in every shot.
@Image3, @Image4, @Image5 — the phone, shown from different angles and in both of its states. These images together are the absolute source of truth for the device: the same shape, the same proportions, the same thickness, the same body colour and finish, the same hinge, the same camera module in the same place, the same buttons, the same bezels, the same screen shape and the same interface on the screen, both when the phone is folded shut and when it is open flat. Copy it one to one from whichever angle the shot shows, and keep it recognisably this exact device in every frame. It is a folding smartphone: one slim rectangle when shut, which opens on a hinge along its long edge into a single wide flat screen roughly twice the width.
Core scene
The open space in front of the store from @Image2. The hero steps out of the doors with the brand-new folding phone from @Image3-@Image5 in one hand, shut, and a small shopping bag in the other — happy, glowing, just bought it. Two steps out, the leading foot slips out from under the hero on the smooth flat floor. The legs shoot forward, the hero goes down and the phone is flung up out of the hand — and time drops into slow motion. The phone spins up through the air and the hinge swings open almost at once, the wide screen lit and working, seen from several angles as it turns. Then it comes down and hits the hard floor face first, and the screen cracks across in a spreading web. Normal speed returns. The hero, sitting on the floor, pulls the phone in and sees the cracks. Final shot: a wide frame — the hero sitting over the broken phone, and a crowd of passers-by stopped all around, everyone looking at it.
Wardrobe & setting
The hero: ordinary everyday clothes — a plain casual jacket over a plain t-shirt, plain dark trousers, plain trainers. A small shopping bag in the other hand, carried by its handles. The head, the face and the hands stay bare and clear. The hair is exactly the hair from @Image1, worn exactly as it is worn there.
The location: exactly the store from @Image2 and the open space in front of it, in the bright even light that place has. The floor is completely flat and level — hard smooth tiles or polished stone, the same surface all the way across, with no step, no slope and nothing lying on it. It is a clean polished surface with a faint sheen, the kind that is slippery underfoot. Around the hero, the ordinary everyday life of the place: other people walking past, other shopfronts, movement in the background, all of it matching @Image2. Everything plain and real, nothing staged.
Camera language
The video is a cut sequence of seven different angles, exactly like a real edited clip: a wide shot of the entrance, a low shot at the feet for the slip, three slow-motion shots of the phone in the air from different sides and heights, a low shot at floor level for the impact, a close shot of the hero on the floor, and a final wide shot of the whole space. Straight cuts only. Every shot is handheld-steady and photoreal, lit only by the light of the place itself, shallow-ish depth of field on the close shots, natural colour.
The slow-motion block runs from the moment the phone leaves the hand to the moment after it lands. Inside that block the phone is the subject and stays large and sharp in frame, the camera moving smoothly with it, the background falling away soft. Normal speed before it and normal speed after it, cut cleanly at both ends.
Timeline (total 8 seconds, seven shots)
0:00-0:01.5 — Wide shot facing the entrance of the store from @Image2, the storefront filling the frame behind. The hero pushes through the door and steps out onto the smooth floor, shopping bag in one hand, the folded phone held up in the other, glancing down at it. The face is lit up — a wide open smile, eyebrows up, the walk quick and light.
0:01.5-0:02.5 — Cut to a low shot at floor level on the feet, the polished floor sharp in the foreground. The leading trainer lands and skids straight out forward across the smooth surface. The leg shoots away, the hips drop, the other foot leaves the floor, and the hero goes down backwards. The arms fly up, the hand snaps open and the phone is flung upward out of the fingers. The shopping bag drops.
0:02.5-0:04 — Cut to slow motion, and it stays slow motion to 0:06.5. Low shot looking steeply up at the phone against the bright space overhead, the hero's opened hand falling away below it. The phone spins upward end over end, and the hinge swings open right away as it turns — the two halves parting and opening out into one wide flat screen, the screen already on and bright, its light thrown across the phone's own body.
0:04-0:05.2 — Cut to a side shot travelling with the phone at the top of its arc, the phone fully open, large and sharp in the middle of the frame, the storefront soft behind. The open face comes round to the camera: the working interface from @Image3-@Image5, icons and colour, running normally. It turns on past and the back of it comes round — the camera module, the hinge, the body colour, all exactly as in @Image3-@Image5.
0:05.2-0:06 — Cut to a close overhead shot looking down at the open phone as it falls, the floor soft far below it. The whole lit screen faces straight up into the camera, filling the frame, still working, still bright, dropping away from the lens.
0:06-0:06.5 — Cut to a low shot at floor level, the camera almost on the ground, the phone coming down fast into frame. Still in slow motion, the open phone hits the hard floor screen first with a flat slap, bounces once and settles face up. Cracks shoot out from the point of impact across the whole open screen in a spreading web, the picture on it breaking into torn bands of colour and going dark in patches. A chip of glass skips away across the floor.
0:06.5-0:07.2 — Back to normal speed. Cut to a close shot at floor level, over the phone towards the hero. The hero is sitting on the floor where the fall ended, one hand still flat on the tiles, and reaches out and lifts the phone in both hands. The smile is gone; the mouth opens slightly, the eyes drop, the eyebrows go up and in. The hero holds the broken screen up towards the light and just looks at it, still.
0:07.2-0:08 — Cut to a wide shot of the whole space from a distance, the store from @Image2 behind. The hero sits on the floor in the middle of the frame with the broken phone in both hands, small in the wide open space, the dropped shopping bag lying nearby. All around, a crowd of passers-by has stopped and turned — people standing in a loose ring, some a few steps away, some further back, a few with hands to their mouths, every one of them looking at the hero and the phone. Nobody moves. The final frame holds on the hero sitting ringed by the watching crowd.
Sound
The ordinary ambient sound of the place from @Image2: footsteps on hard flooring, distant voices, a shop door swinging, the low hum of a busy public space. The hero's quick light steps, then the long rubber squeak of a shoe skidding on polished floor and a sharp involuntary intake of breath. As the slow motion starts, the ambient sound drops away into a low muffled hush, thick and distant, with a faint high ring over it; inside the hush, the soft rush of the phone turning in the air and the smooth mechanical click of the hinge swinging open. Then the impact, back at full volume: a hard flat crack of glass on stone, a short bounce, a chip skittering away. Then the room sound again, and closer: the hero's breathing, the shopping bag settling, footsteps stopping around, a low murmur running through the crowd. Ambient sound only, carried by the place itself.
Physics & continuity lock
One phone rule: there is exactly one phone in the video and it is the device from @Image3-@Image5 in every frame. It is shut from 0:00 to 0:02.5, opening in the first moment of flight, fully open from 0:03 to the end. It is never in the hero's hand between 0:02.5 and 0:06.5.
Screen rule: the screen is on, lit and working for the whole flight — from the moment the hinge opens until the instant it hits the floor at 0:06. It shows the working interface from @Image3-@Image5, bright and readable, with the picture on it continuing normally through the fall. It breaks only on impact.
The phone flies on a plain ballistic arc under gravity: up out of the hand, over the top, down to the floor, turning steadily the whole way. It stays a solid, rigid object with real weight — no floating, no hovering, no change of direction in mid-air. The hinge opens once, smoothly, early in the flight, and does not close again.
Damage rule: the screen is perfectly clean and undamaged in every frame before 0:06, with no cracks and no marks anywhere on the device. The cracks appear only at the moment of impact and spread outward from the point of contact. From 0:06 to the end the same crack pattern stays exactly as it formed, identical in every later shot. The body of the phone keeps its shape; it stays in one piece, open, with the screen broken.
Slow motion runs only from 0:02.5 to 0:06.5 and applies to everything in frame at once — the phone, the falling hero, the background. Before and after, everything is at normal speed. The two changes of speed happen exactly on the cuts.
Slip rule: the hero slips, does not trip. The floor is flat and level and there is nothing on it and nothing to catch a foot on: the foot simply loses grip on the smooth surface and slides forward. The leading leg shoots out ahead, the hero drops backwards and lands sitting on the floor, catching the fall with the hands behind. The hero stays sitting on the floor from 0:02.5 to the end and never gets up. The fall is ordinary and unhurt — no injury, no blood, no torn clothes.
The hero's face is exactly the face in @Image1 in every shot, and the hair is exactly the hairstyle in @Image1 — same style, length, cut, parting, colour and texture — in every shot. The hair moves only with the body and the head. The clothing stays the same in every shot.
The hero is referred to and rendered as one single person and appears exactly once in every frame. Five fingers on each hand, correct hand anatomy, correct joint directions.
The crowd appears only at 0:07.2. Before that the place holds ordinary passers-by walking normally past, not watching. At 0:07.2 the people around have stopped and turned towards the hero and stay still and silent to the end of the video. They stand back and none of them approaches, touches the hero or enters the middle of the frame.
Everything is solid and physically present in the space, casting real shadows and soft reflections on the polished floor in the light of the place. The hero, the phone and the bag stay on the floor in front of the store from @Image2 for the whole video.
The store, the surroundings, the light and the floor stay identical in every shot. Cuts change the camera angle only.
The hero stays silent for the whole video, lips closed or softly parted and the mouth still throughout.
Photoreal in natural colour, straight cuts only: plain natural light, an ordinary lens, one clean continuous look from the first frame to the last. The frame stays clean live-action photography edge to edge, carrying picture only — no text, no captions, no interface overlay, no logos added anywhere beyond what the reference images themselves show.
Style lock
A second and a half of pure joy, one slip on a polished floor, and a beautiful expensive thing turning open in the air with its screen still lit. Filmed plainly, cut like real footage, ending on a crowd standing still and watching.