Открыть промт целиком · 14 807 символов
References
@image1 — face reference. Use for identity only: exact face, skin tone, eye shape, hair color and texture. No beautifying, no restyling of facial features. No elongating or stretching the head or face — natural facial proportions, head sized about 1/7-1/8 of total body height, never oversized or doll-like relative to shoulders and torso. Take nothing else from this image — not the clothing, not the background, not the pose.
@image2 — outfit reference. Reproduce the clothing in this image exactly: same garments, same cut and fit, same fabrics and textures, same colors, same footwear and accessories, same logos and prints if there are any. Do not restyle it, do not swap garments, do not change the colors, do not add or remove pieces. Take only the clothing from this image — not the face, not the background, not the pose.
@image3 — hero object reference. Reproduce exactly: same shape, same materials, same colors, same logo, labels and text, unaltered. Do not redesign it, do not invent branding, do not add or remove any element of the object.
Core scene
Night, a city street outside a hotel. A young woman comes out through a glass revolving door, walking toward the camera, the object from @image3 in her hand. The door keeps turning behind her and its trailing glass panel sweeps round and strikes her elbow from behind. The jolt drives her forward and the object is knocked out of her hand. Time slows and the camera stays with it in one unbroken move as it tumbles toward the lens, fills the frame and drifts past, the revolving door still spinning behind it and wiping bars of light across the shot. Time returns to normal as it lands flat and unharmed on the wet pavement in front of her. She reaches it, crouches down and picks it up.
Wardrobe & setting
She wears exactly the outfit from @image2 — same garments, same colors, same fit, same shoes and accessories, unchanged. Long hair worn loose. Realistic build and natural waist, never an artificially cinched waist. She carries nothing else in her hands and wears no bag.
Her eyes are bare — no sunglasses, no glasses, no eyewear or accessory of any kind on her face or on her head, unless the single exception below applies.
Where the object from @image3 comes from, choose the one case that matches it:
— if @image3 is eyewear, then and only then she wears that exact pair on her eyes from the first frame, her hands are empty, and the jolt throws the eyewear off her face;
— if @image3 is a bag, then it hangs on her shoulder from the first frame, her hands are empty, and the jolt tears the bag off her shoulder;
— in every other case she wears no eyewear and no bag at all and carries the object openly in her right hand, and the jolt knocks it out of her hand.
The object from @image3 never simply appears in the frame from nowhere, and it is never duplicated.
The entrance of a hotel at night. A four-panel glass revolving door in a brushed-metal frame, turning steadily, warm golden lobby light glowing through it from inside. Outside, a broad pavement of large dark stone slabs, wet and glossy after rain, holding the reflections of everything above it. Beyond the pavement a city street: shopfront neon in pink and cyan, headlights and tail lights, wet asphalt, a few blurred figures far in the background. Cold blue night air against the warm light spilling out of the lobby.
Global setup / style
Cinematic full-frame look, 35mm lens character, night lenses wide open, shallow depth of field, the neon behind rendering as soft round bokeh. Deep contrast between the warm gold of the lobby and the cold blue and neon of the street, subtle film grain. Handheld-smooth camera, no violent shake, no fisheye distortion. Realistic motion blur on the flying object.
The clip is cut, and the shot sizes deliberately alternate between wide and close: a medium wide on the turning door, a close inside the compartment with her, a ground-level shot of her heels on the wet stone, a medium as the panel catches her, a macro insert on her elbow, then the long close hero pass of the object, and a final low wide.
Everyone always travels the same way: she moves toward the camera for the whole clip, and the camera stays in front of her — retreating, cutting to a new position ahead of her, or lying low on the wet stone in her path. Her screen direction never flips and she is never seen from behind walking away.
The one section that is never cut is the flight of the object. From the moment it leaves her until it lands, the camera stays with it in one continuous drifting move — never cutting, never snapping, never jumping. Everything else is straight cuts, no dissolves.
Timeline (total 10 seconds)
0:00-0:01.2 — MEDIUM WIDE, camera outside on the wet pavement facing the hotel entrance. The revolving door turns steadily, warm lobby light pouring through the curved glass, the neon of the street sliding across the panels as reflections. She is inside one compartment, coming round toward the opening, her shape smeared and doubled by the moving glass. Real time.
0:01.2-0:02.4 — CLOSE, camera inside the compartment with her at chest height, moving round with it. Curved glass on both sides, warm lobby light behind her, the neon street swinging into view ahead. The object from @image3 is in her hand and she glances down at it with a small private smile.
0:02.4-0:03.2 — LOW, ground level on the wet stone, camera retreating in front of her. Her shoes step out of the door onto the glossy pavement, each footfall doubled by its own reflection, the rubber sweep of the door's edge passing behind her heels, neon smeared across the wet stone.
0:03.2-0:03.6 — MEDIUM on her, camera still ahead of her and retreating. She is fully out on the pavement, walking toward the lens, the revolving door turning behind her. The trailing glass panel comes round and reaches her. Real time, fast and sharp.
0:03.6-0:04.4 — MACRO INSERT on her elbow, and slow motion begins here. The frame is filled by the edge of the thick glass panel and her arm. The rubber seal along the panel's edge meets her sleeve and presses into it, the fabric denting and folding around the edge, the glass flexing a fraction, her whole arm driven forward and out from her body, her fingers springing open.
0:04.4-0:04.9 — CLOSE on her hand and torso, still slow motion. Her shoulder is pushed after her elbow, her body twisting forward, her front heel skidding on the wet stone. The object from @image3 breaks free exactly as described in the Wardrobe section. Her lips part in a startled gasp, her other arm swinging out to catch her balance.
0:04.9-0:06.4 — Slow motion, and from here the camera stays with the object in one unbroken move. CLOSE: the object tumbles end over end straight toward the lens, growing in the frame, its logo and surface detail sharp and fully readable. Behind it the revolving door keeps turning, its glass panels wiping alternating bars of warm gold lobby light and cold pink and cyan neon across the frame. She is behind it, defocused, still recovering.
0:06.4-0:07.9 — Slow motion continues. EXTREME CLOSE: the object reaches the lens and fills most of the frame, turning slowly, the warm lobby light and the cold neon raking across its surface in alternating sweeps as the door revolves behind it, catching every edge, every material and its logo. The camera holds and lets it drift past, the background reduced to soft round bokeh. Fine mist hangs in the air, lit from behind.
0:07.9-0:08.8 — Still slow motion. The camera tilts and follows the object down as it keeps falling, staying close on it, rotating slowly, the wet stone and its own mirrored reflection rising to meet it.
0:08.8-0:09.2 — Speed returns to normal. The object lands flat and face up on the wet stone in front of her, undamaged, throwing up a thin ring of water droplets, its mirror reflection directly beneath it. The camera pulls back off it and settles low on the pavement.
0:09.2-0:10 — LOW WIDE, camera down on the wet stone looking back toward the hotel. The object lies in the near foreground, sharp, ringed by reflected neon in the wet stone. Behind it she walks the last steps toward the camera, crouches down over the object and picks it up in both hands, breathing out a small relieved laugh. The revolving door is still turning behind her, the lobby glowing warm through it. Final frame holds low and wide on her crouched over the wet stone with the door and the neon street behind.
Sound
Night street ambience: distant traffic, tyres on wet asphalt, a far-off horn. The soft rubber sweep and low mechanical hum of the revolving door turning. Her heels on wet stone. A dull heavy thud as the glass panel meets her elbow, then the sound drops into a low muffled slow-motion rumble. A long soft air-rush as the object turns past the lens. A single clean clack as it lands on the stone, and the street sound rushes back. Her quiet exhaled laugh. No dialogue, no spoken lines, no voiceover, no music with lyrics.
Physics/continuity lock
The clip is cut, at the points named in the Timeline and nowhere else. Cuts change the camera position and the shot size only — never the wardrobe, the object, the light, the weather or the time of night. Straight cuts, no dissolves, no transitions.
From 0:04.9 to 0:08.8 there are no cuts at all: every change of framing comes from camera movement and from the object passing close to the lens. The object never leaves the frame and never appears out of nowhere in a fresh frame.
She moves toward the camera at every moment she moves, from the first frame to the last, and the camera is always in front of her or low on the ground in her path, never behind her. Her screen direction never reverses.
Only one thing flies: the object from @image3. Nothing else is dropped, spilled, thrown or scattered at any point, and she carries nothing else.
The object leaves her only because the glass panel strikes her elbow. The strike is visible on camera, and the object never comes loose before it or without it. She never throws it, never drops it on purpose and never lets go on her own.
The force travels visibly in order: the panel meets her sleeve, the sleeve compresses, the elbow is driven forward, the shoulder follows, the hand opens, and only then does the object leave her.
The revolving door turns at a constant, believable speed from the first frame to the last. Its panels stay solid glass in a metal frame: they pass behind the object, never through it, and never through her. The door never stops, never reverses and never speeds up.
The object flies forward in her direction of travel, toward the camera, and lands on the pavement ahead of her — never behind her. It lands flat and face up and is completely undamaged: no cracks, no scratches, no broken screen, no parts coming off, no water inside it.
She reaches the object on her own feet and picks it up in the final shot. She crouches down to it; she never dives, never falls to the ground, never lands on her knees and never sits down. She stumbles and staggers at the impact but stays on her feet.
The outfit is exactly the one in @image2 in every frame — same garments, same colors, same fit, same shoes and accessories. It is never restyled, never swapped, never recolored, and no garment is added or removed.
The object from @image3 originates exactly as described in the Wardrobe section — from her hand, from her face, or from her shoulder, according to what kind of object it is. It never materializes in mid-air and there is never a second copy of it anywhere in the frame, including in the reflections.
If @image3 is not eyewear, she wears nothing on her eyes and nothing on her head at any point — no sunglasses, no glasses, no goggles, no headband, no accessory on her face. Do not add eyewear that was not given as a reference.
If @image3 is eyewear, she wears it covering her eyes in every frame from 0:00 to 0:03.6 — never pushed up onto her forehead, never lifted, never taken off, never held in her hand — and it leaves her face only at 0:04.4, thrown off by the jolt, never returning to her face afterwards.
Her expression follows three phases and no others: a small private smile while walking out, a startled open-mouthed reaction at the impact, and quiet relief in the final shot as she picks the object up. She never frowns, never scowls, never looks angry, never plays exaggerated theatrical distress at any point.
Her face is exactly the one in @image1 and nothing else is taken from that image. Only body build is stylized, never the face. No elongating or stretching the head or face. Head-to-body proportion stays natural, never oversized.
Five fingers on each hand, correct hand anatomy, correct feet.
She is never static or frozen within a shot — continuous small natural motion throughout, including while the object falls.
The framing changes come from the camera retreating, tilting, pushing and cutting to a new position, not from her walking toward or away from it.
The macro insert on the elbow is a real close-up of a real arm and a real glass panel edge: correct anatomy, correct sleeve, fabric that folds and compresses under the edge. It is the same door and the same panel seen in every other shot.
The object from @image3 is reproduced exactly as in the reference image — same shape, colors, logo, text and materials, unaltered, never redesigned. It is the only hero of the shot and holds the frame for the whole slow-motion section.
It is one single hotel entrance from the first frame to the last — same door, same pavement, same neon, same wet ground and same light direction throughout. The ground stays wet in every shot; it never dries and it never starts raining.
Everything is solid and physically present and casts real reflections in the wet stone. Nothing fades, dissolves or is erased in place.
She never speaks. No words, no dialogue, no lip-sync, no mouth shapes forming speech.
Slow motion applies only between 0:03.6 and 0:08.8, beginning exactly on the macro insert of the elbow as the panel strikes; everything before and after runs at normal speed. The change of speed happens in the motion itself, not by cutting to a differently-timed clip.
Wind moves only her hair — clothing fabric never billows or moves from wind.
No fisheye distortion, no handheld shake, no whip pans.
No extra people close to camera, no crowds, no logos other than the one on @image3 and any on @image2, no hotel name or signage text anywhere, no watermarks, no on-screen text, no subtitles, no duplicated character, no duplicated object.
Style lock
An ordinary hotel doorway on an ordinary wet night, filmed plainly, with four seconds in the middle where one everyday object becomes the most beautiful thing on the street — and then she just picks it up and the night carries on.