Открыть промт целиком · 13 785 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.
@Image2 — location reference. Reproduce this place exactly: same architecture, same building geometry, same materials, same street layout. Do not invent or redesign the landmark. Only the time of day and lighting come from this prompt.
@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
A young woman walks down an empty street toward the camera at golden hour, the landmark from @Image2 behind her. She carries the object from @Image3 in one gloved hand and a takeaway coffee cup in the other, a small open bag on her shoulder. A man walking the other way clips her shoulder with his as he passes. The impact spins her sideways, she stumbles on her heel, and everything is knocked loose at once — the object flies from her, the cup flies from her other hand, and an old flip phone is thrown out of her swinging bag. Time slows and the camera drifts from one falling object to the next in one unbroken move: the hero object from @Image3 tumbles in a long close pass past the lens, hands the frame to the spilling coffee cup, which hands it to the tumbling flip phone. Time returns to normal as everything hits the asphalt and the coffee splashes across the road. She steadies herself and stands over the mess, arms raised, at a loss.
Wardrobe & setting
Fitted black short-sleeve turtleneck top, cream ivory high-waisted mini skirt, black patent knee-high heeled boots with pointed toes, long black leather opera gloves above the elbow. A small plain black leather shoulder bag with an open top, worn on her right shoulder, no logo and no branding on it. Long dark brown hair worn straight and loose. Slim tall build with slightly elongated legs, editorial-fashion proportions, realistic waist, no artificially cinched waist.
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 right hand is empty, and the impact throws the eyewear off her face;
— if @Image3 is a bag, then it is the shoulder bag she is wearing, her right hand is empty, and the impact tears the bag off her shoulder;
— in every other case she wears no eyewear at all and carries the object openly in her right gloved hand, and the impact knocks it out of her hand.
The object from @Image3 never simply appears in the frame from nowhere, and it is never duplicated.
She also carries an old early-2000s silver-grey Motorola-style clamshell flip phone, kept inside the shoulder bag and thrown out of it by the impact. Chunky rounded plastic-and-metal body, brushed silver finish, thick visible hinge, small secondary screen on the outer lid, and when open a small bright colour screen above a physical rubber keypad. Scuffed and slightly worn from age. No logo, no brand name and no printed text anywhere on its body or screen.
Location exactly as in @Image2, shot on a wide open road with the landmark lit warm on the left. Golden hour just after sunset: warm amber sky low on the horizon, cool blue at the top of the frame, warm practical lights already on. One passer-by, a man in an olive jacket, walking the opposite way toward the camera's back, later joined by a small black dog on a leash. Plain brown ribbed paper takeaway cup with a white plastic lid, no logo, no printed text on the cup.
Global setup / style
9:16 vertical, cinematic full-frame look, 35mm lens character, shallow depth of field, background softly out of focus throughout. Warm golden grade with deep contrast, subtle film grain, natural lens flare from the low sun. Handheld-smooth camera, no violent shake, no fisheye distortion. Realistic motion blur on the falling objects.
The falling objects hand the frame to each other seamlessly. At every handoff both objects are in the same frame at the same time: the outgoing object drifts toward the edge and goes soft while the incoming one drifts into its place and the focus racks onto it. The camera never cuts, never snaps and never jumps between them — it is one continuous drifting move through the whole falling section.
Timeline
0:00-0:02 — Camera almost at ground level, tilted up, framed on her boots and lower legs only. She walks toward the lens, the camera retreats backward at her walking speed so the distance between them stays constant. Heels strike the asphalt, patent leather catching the warm light.
0:02-0:04 — The camera rises smoothly from ground level to hip height, then to chest height, revealing the skirt, then the coffee cup in her left gloved hand, then her torso, the object from @Image3 held in her right gloved hand, and the small open bag hanging at her right side. The landmark is fully visible behind her, out of focus. She keeps walking. The framing change comes from the camera rising and retreating, not from her leaning or crouching.
0:04-0:05 — Medium shot, camera slightly below eye level, her full upper body and face in frame. Her face is bare and her eyes are visible, unless @Image3 is eyewear — in that case she is wearing it on her eyes, covering her eyes, never pushed up onto her forehead. She is distracted: she glances down at the object in her hand, then off to the side at something past the frame, wearing a light easy smile, relaxed and unbothered, not looking where she is going. Behind her right shoulder the man in the olive jacket walks toward her on a collision course, entering the frame from the right edge and closing the distance fast.
0:05-0:05.5 — The man's shoulder hits hers hard as he passes. Her upper body is knocked sideways and twists, her front heel catches the asphalt and skids, and she stumbles a step without going down. He keeps walking without stopping, already leaving the frame.
0:05.5-0:06 — The jolt tears everything loose at once: the object from @Image3 breaks free exactly as described in the Wardrobe section, the coffee cup is knocked out of her left hand, and the flip phone is flung out of the open shoulder bag as it swings. Motion begins to slow down. Her lips part in a startled gasp, her free arm swinging out to catch her balance.
0:06-0:07.3 — Slow motion. Close-up: the object from @Image3 tumbles end over end straight toward the lens, growing in the frame, its logo and surface detail sharp and fully readable. She is behind it, defocused, still recovering her footing.
0:07.3-0:08.4 — Slow motion continues. The object passes the lens at its closest point, filling most of the frame, warm sunlight raking across its surface and catching its edges and logo. The camera holds and lets it drift past, background reduced to soft warm bokeh of street lights and the landmark.
0:08.4-0:09.2 — The camera tilts and follows the object down as it keeps falling, staying in close-up on it, rotating slowly. Behind it, deep out of focus, the coffee cup enters the frame from above and starts falling into the same space.
0:09.2-0:10.1 — Handoff in one continuous move: the object from @Image3 drifts toward the bottom edge and goes soft as the focus racks onto the coffee cup, which settles into the center of the frame. Both are in frame together through the transition. The cup tumbles toward the camera, lid half detached, dark coffee arcing out of the opening in a rope of liquid, droplets suspended on the cup wall.
0:10.1-0:10.8 — The cup drifts out of the bottom of the frame and the flip phone floats into its place from the side, the focus racking onto it as it tumbles end over end with its lid flopped open, the little screen and brushed silver hinge catching the low sun. The camera begins to pull back while staying on it.
0:10.8-0:11.3 — Speed returns to normal. The pull-back accelerates straight through the flip phone, which slides out of focus in the foreground as the wide shot opens up behind it: she is straightening up in the middle of the road, catching her balance, both gloved hands raised palms-up. All the objects are still airborne a few centimeters above the asphalt.
0:11.3-0:12 — The objects land. The coffee bursts across the asphalt in a dark radial splash with flying droplets. She stares down at the mess, then glances back over her shoulder toward where the man went — eyebrows lifted, lips slightly parted, completely at a loss, not smiling. She is still breathing and shifting her weight. Behind her the man in the olive jacket walks away with a small black dog. Final frame holds wide with the landmark and a glowing street lamp in the background.
Sound
Quiet evening street ambience, distant traffic, faint birds. Sharp heel clicks on asphalt at normal speed. A dull heavy thud of shoulder against shoulder and a short scrape of a heel skidding on asphalt at the impact, then the sound drops into a low muffled slow-motion rumble. Soft overlapping air whooshes as each object passes the lens. Wet heavy splash as the coffee hits the road and the hard hollow clatter of a plastic flip phone bouncing on asphalt. Distant dog collar jingle at the end. No dialogue, no spoken lines, no voiceover, no music with lyrics.
Physics/continuity lock
One continuous shot with no cuts — every change of framing comes from camera movement and from objects passing close to the lens, never from an edit.
The transitions between the falling objects are seamless. At each handoff both objects are visible in the frame at the same time, one going soft as the other comes into focus. Never a hard cut, never a snap, never an object appearing out of nowhere in a fresh frame.
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.
She is never on a phone call and never holds a phone to her ear at any point in the video. The flip phone stays inside the shoulder bag from 0:00 until the impact and is never in her hand before then.
The flip phone carries no logo, no brand name and no readable text on its body or on its screen.
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 0:05 — never pushed up onto her forehead, never lifted, never taken off, never held in her hand — and it leaves her face only at 0:05.5, knocked off by the impact, never returning to her face afterwards.
Only the object from @Image3 gets a hero close-up. The flip phone falls too, but the camera never holds on it and it never competes with @Image3 for attention.
The man makes real physical contact — his shoulder actually strikes hers, it is never a near miss or a pass at a distance. She stumbles and staggers but never falls to the ground, never lands on her knees, never sits down. He never stops, never turns around, never reacts.
Everything leaves her hands as a result of the impact, never before it — she never simply lets go or opens her fingers on her own.
Her expression follows three phases and no others: a light easy smile while walking from 0:00 to 0:05, a startled open-mouthed reaction at the impact, and bewildered confusion in the final wide shot — blank, lost, eyebrows lifted. She never smiles in the final shot. She never frowns, never scowls, never looks angry, never plays exaggerated theatrical distress at any point.
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, gloves fit the hands naturally.
She is never static or frozen within a shot — continuous small natural motion throughout, including while the objects fall.
The framing changes come from the camera rising, retreating and pushing, not from her walking toward or away from it.
The object from @Image3 is reproduced exactly as in the reference image — same shape, colors, logo, text and materials, unaltered, never redesigned. It gets the longest and closest screen time of any falling object.
The location is reproduced exactly as in @Image2 — never substituted for a different landmark or invented architecture.
The coffee cup is plain and unbranded — no logo or printed text on the cup.
Slow motion applies only between 0:05.5 and 0:10.8; everything before and after runs at normal speed.
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 beyond the single passer-by and the dog, no crowds, no logos other than the one on @Image3 and none on the bag unless the bag itself is @Image3, no watermarks, no on-screen text, no subtitles, no duplicated character.
Style lock
High-end fashion campaign shot on a real street at golden hour: warm amber light, long shadows on asphalt, deep saturated blacks, creamy neutrals, soft grain. Effortless elegance interrupted — an expensive look undone in one second by a stranger's shoulder. Editorial, cinematic, unhurried.