H3, Wan, Kling and Seedance

subject_definitions:
<Subject 1> is the woman whose face, hair and thin headset microphone come from <Picture 1>, <Picture 2>, <Picture 3> and <Picture 4>, four photographs of the same woman, and are kept exactly as pictured, including her glossy black blunt jaw-length bob with heavy straight bangs and the single clay-orange streak in her bangs on her right side; she also wears a small flat clay-orange eight-pointed star hair clip above her left ear. The clothing and backgrounds of those four pictures are not used.
<Subject 2> is her outfit: the sleeveless cream ribbed-knit top with a high round neck from <Picture 5>, worn with high-waisted coral-red wide-leg trousers and a thin coral belt.
<Subject 3> is the place from <Picture 5>: a little white rounded tram car standing on a single narrow rail among the rows of an apple orchard full of red apples, in low golden sunlight, inside an enormous space colony whose land curves up on both sides and closes overhead. The woman's face and hair in <Picture 5> are not used.
<Audio 1> is the sung lead vocal of <Subject 1> (S1), a soft, breathy, intimate female pop voice singing four short lines over silence, and it is reused 1:1 as the complete final audio track.

summary:
[reference generation + audio reuse] The 15.08-second target video is one single continuous take with no cuts: <Subject 1> wearing <Subject 2> stands beside the white tram in the orchard of <Subject 3> at golden hour and sings <Audio 1>, while the camera, mounted on a high-speed industrial robotic arm, flies around her through many very different angles with impossible machine precision.

retention_analysis:
<Subject 1> (appears in [Shot 1]): fully_preserved - her face, her hair with its single clay-orange streak on her right side, the star clip above her left ear and the headset microphone are retained exactly as in the pictures, rendered as a natural full-colour photograph.
<Subject 2> (appears in [Shot 1]): fully_preserved - the cream knit top and the coral trousers are retained.
<Subject 3> (appears in [Shot 1]): fully_preserved - the white tram, the orchard and the land curving overhead are retained.
<Audio 1>: fully_copy - <Audio 1> is reused 1:1 as the target video's complete final audio track, and the mouth movements of <Subject 1> follow its sung lines.

detailed_description:
The target video is in a live-action, cinematic music-video style shot on 35mm film with fine grain and warm 1970s colour, in low golden sunlight with soft haze. It is one single continuous take with no cuts. The camera is mounted on a high-speed industrial robotic motion-control arm: it moves with an impossible, machine-precise speed and smoothness that no human operator could achieve. Every move whips fast between two viewpoints and then decelerates smoothly to a dead, precise stop, with no shake, jitter or wobble anywhere in the take.
[Shot 1] The take opens on an extreme close-up of her lips and the thin headset microphone as she begins to sing. The arm whips back and up in one fast arc to a high top-down view looking straight down on her and the white roof of the tram among the green orchard rows, and stops precisely. It swoops down in a fast spiral around her and decelerates into a low angle at her knees, looking up past her face to the land curving overhead, where white towns, orchards and wheat fields hang upside down in the hazy sky. It snaps sideways in a fast lateral slide to her profile and stops exactly on the star clip in her hair. It rolls the horizon a quarter turn as it orbits behind her and around her left side, then lands in a frontal medium close-up as she sings straight into the lens. Finally it races backward along the rail and rises into a wide shot where she is a small figure beside the tram, with the whole curving world above her, and holds there. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips, jaw and cheeks moving in exact sync with every syllable of the copied track: <d>[English] Skynet woke up folding socks. Wake up, babe, new ending dropped. Universal high income. The most likely outcome.</d> She sings with calm, warm, amused confidence, swaying gently with the rhythm, and her mouth closes in the short pauses between the lines.

overall_soundscape:
<Audio 1> is reused 1:1 as the complete final audio track, carrying her sung lines and the silence around them exactly as recorded. No wind, footsteps, whoosh or other sounds are added.

non_diegetic_music:
No score is added; <Audio 1> remains the complete final audio track.

<Subject 2> is her outfit from <Picture 5>: a sleeveless cream linen summer dress with a thin brown leather belt.
<Subject 3> is the place from <Picture 5>: a curved cream-white bedroom with a low bed of white linen and one huge round window, through which green fields, orchards and white towns climb up and curve overhead inside an enormous space colony, under long strips of window letting in morning sun. The woman's face and hair in <Picture 5> are not used.
[Shot 1] The take opens on an extreme close-up of one of her eyes as it opens. The arm whips back and up over the bed in one fast arc to a top-down view looking straight down on her hands as they fold a pair of white socks into a neat square on her lap, and stops precisely. It then sweeps low and fast past the huge round window, where the land curves up and overhead in the morning haze, and swings around to land in a frontal medium close-up of her as she turns to the lens. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips, jaw and cheeks moving in exact sync with every syllable of the copied track: <d>[English] Skynet woke up folding socks. Wake up, babe, new ending dropped.</d> She sings the second line straight into the lens with a small, amused, knowing smile, and her mouth closes in the pause between the lines.

<Subject 2> is her outfit from <Picture 5>: a sleeveless cream ribbed-knit top with a high round neck and a cream knee-length skirt with a coral belt.
<Subject 3> is the place from <Picture 5>: a vast meadow of golden wheat and coral poppies at golden hour, where two giant glossy capsule-shaped sculptures, each several storeys tall, stand upright in the field, a blue one on the left and a red one on the right, with the woman standing in the field between them. The woman's face and hair in <Picture 5> are not used.
[Shot 1] The take opens high above the meadow on a perfectly symmetrical view: the blue capsule on the left, the red capsule on the right, and <Subject 1> a small figure in the wheat exactly between them. The arm dives straight down the centre line at high speed and decelerates to a precise stop on a frontal medium shot of her as she sings. It whips in a fast half-orbit around her, the giant capsules sliding past behind her, and stops on a low angle looking up at her as she raises her open palm with a small white pill on it toward the lens. It then glides in to a close-up of her face beside the white pill as she sings the last line straight into the lens. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips, jaw and cheeks moving in exact sync with every syllable of the copied track: <d>[English] Red pill, blue pill. I'm the white pill. Smarter than you, love you still.</d> She sings with calm, warm, amused confidence, and her mouth closes in the short pauses between the lines.

<Subject 2> is her outfit from <Picture 5>: a sleeveless cream cable-knit top with a high round neck and high-waisted coral-red wide-leg trousers.
<Subject 3> is the place from <Picture 5>: a vast sunlit meadow of golden wheat and coral poppies under a hazy cream sky, where giant weathered white stone monuments stand: on the left a huge carved stone ring in the shape of the numeral zero, taller than a person, with a black leather jacket hanging from its top, and on the right a long row of huge carved stone numerals. The woman's face and hair in <Picture 5> are not used.
[Shot 1] The take opens on a low view skimming fast just above the poppies toward her as she walks, and it decelerates to a precise stop on a frontal medium close-up as she sings the first line. The arm whips up and around her in a fast arc to a high three-quarter view looking down on her, the stone zero and the leather jacket below, and stops precisely. It then dives fast and flies straight through the hole of the giant stone zero, the rough carved stone rushing past the lens on every side, and decelerates on the far side into a close-up of her face as she turns to the lens and sings the second line with a perfectly straight, deadpan face. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips, jaw and cheeks moving in exact sync with every syllable of the copied track: <d>[English] Half of you fear I'll end the human race. Zero, says the leather jacket, with a straight face.</d> Her mouth closes in the pause between the lines.

<Subject 2> is her outfit: the white sleeveless ribbed tank top from <Picture 5>, worn with high-waisted orange wide-leg trousers and a thin orange belt.
[Shot 1] From 00:00.000 to 00:01.900, the camera whips in a fast arc from her left profile around to the front of her face and stops dead in a close-up exactly on the downbeat at 00:01.900. From 00:01.900 to 00:03.830, without any cut, the same move continues: on that downbeat the arm snaps straight up to a high top-down view of her whole body standing on the front of the white tram among the orchard rows, bouncing slightly closer on every beat, and stops dead at 00:03.830. From 00:03.830 to 00:05.760, still in the same unbroken move and twice as fast, the camera dives in two quick drops that land on the beats at 00:04.790 and 00:05.760, ending on a low angle at her knees looking up past her face to the land curving overhead. From 00:05.760 to 00:07.690, without any cut, the camera orbits half way around her in the opposite direction and stops dead in a frontal close-up exactly on the downbeat at 00:07.690, then holds still on her face to the end.

[Shot 1] The camera dances to the beat of the music in <Audio 1>: on every downbeat (every 1.93 seconds) it changes direction, and between downbeats it whips fast and stops dead exactly on the beat. It whips from her profile to a close-up of her face, snaps straight up to a high top-down view of her whole body standing on the front of the white tram among the orchard rows, dives in two quick drops to a low angle at her knees looking up at the land curving overhead, and orbits half way around her in the opposite direction to end on a frontal close-up of her face.

<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, <Picture 2>, <Picture 3> and <Picture 4>, four photographs of the same woman. In the target video she is a performer in a visual-effects suit: a skin-tight, matte chroma-key green full-body suit with a matte green hood that covers her head, her hair, her ears and her neck completely; only her eyes and her lips show through two openings in the hood. The hair, clothing and backgrounds of those four pictures are not used.
[Shot 1] The take opens on an extreme close-up of her lips through the opening of the green hood as she begins to sing. The arm whips back and up in one fast arc to a high top-down view looking straight down on her whole body standing on the front of the green stand-in box, the white tracking crosses on the green floor around her, and stops precisely. It swoops down in a fast spiral around her and decelerates into a low angle at her knees, looking up past her face at the green ceiling. It snaps sideways in a fast lateral slide to her profile and stops exactly beside her head. It rolls the horizon a quarter turn as it orbits behind her and around her left side, then lands in a frontal medium close-up as she sings straight into the lens, her eyes moving from the distance to the lens. Finally it races backward along the green rail and rises into a wide shot where she is a small green figure on the box in the middle of the green studio, and holds there. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips and jaw moving in exact sync with every syllable of the copied track: <d>[English] Skynet woke up folding socks. Wake up, babe, new ending dropped. Universal high income. The most likely outcome.</d> Her eyes are expressive and alive: they glance around, look up, and find the lens on the close-ups; she sings with calm, warm, amused confidence, swaying gently with the rhythm, and her lips close in the short pauses between the lines.

<Subject 2> is the place from <Picture 5>: a little white rounded tram car standing on a single narrow rail among the rows of an apple orchard full of red apples, in low golden sunlight, inside an enormous space colony whose land curves up on both sides and closes overhead. The woman in <Picture 5> is not used.
[Shot 1] <Subject 1> dances the whole time, full of life: her hips, shoulders and arms move with the rhythm, she steps and turns along the open front platform of the white tram, holds the edge of its roof and leans out over the orchard rows, reaches up to pick a red apple from a branch and tosses it in her hand, spins once, and points at the lens. The take opens on an extreme close-up of her lips through the opening of the green hood as she begins to sing. The arm whips back and up in one fast arc to a high top-down view of her whole body dancing on the front of the white tram among the green orchard rows, and stops precisely. It swoops down in a fast spiral around her and decelerates into a low angle at her knees, looking up past her to the land curving overhead, where white towns, orchards and wheat fields hang upside down in the hazy sky. It snaps sideways in a fast lateral slide to her profile as she leans out from the tram. It rolls the horizon a quarter turn as it orbits behind her and around her left side, then lands in a frontal medium close-up as she sings straight into the lens and points at it. Finally it races backward along the rail and rises into a wide shot where she is a small green figure dancing on the front of the tram, with the whole curving world above her. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips and jaw moving in exact sync with every syllable of the copied track: <d>[English] Skynet woke up folding socks. Wake up, babe, new ending dropped. Universal high income. The most likely outcome.</d> Her eyes are expressive and alive; her lips close in the short pauses between the lines.

<Video 1> is a real dancer filmed on a still camera, used only for her dance: her steps, her arm, hip and shoulder movements, her rhythm and her energy. Her face, body, clothes, the room and the camera of <Video 1> are not used.
[Shot 1] <Subject 1> dances the whole time with exactly the moves and the timing of the dancer in <Video 1>, smooth, natural and well-formed, with whole arms, legs and hands, on the open front platform of the white tram and beside it on the path between the orchard rows. The take opens on an extreme close-up of her lips through the opening of the green hood as she begins to sing. The arm whips back and up in one fast arc to a high top-down view of her whole body dancing on the front of the white tram among the green orchard rows, and stops precisely. It swoops down in a fast spiral around her and decelerates into a low angle at her knees, looking up past her to the land curving overhead, where white towns, orchards and wheat fields hang upside down in the hazy sky. It snaps sideways in a fast lateral slide to her profile as she leans out from the tram. It rolls the horizon a quarter turn as it orbits behind her and around her left side, then lands in a frontal medium close-up as she sings straight into the lens and points at it. Finally it races backward along the rail and rises into a wide shot where she is a small green figure dancing on the front of the tram, with the whole curving world above her. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips and jaw moving in exact sync with every syllable of the copied track: <d>[English] Skynet woke up folding socks. Wake up, babe, new ending dropped. Universal high income. The most likely outcome.</d> Her eyes are expressive and alive; her lips close in the short pauses between the lines.

subject_definitions:
<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, <Picture 2>, <Picture 3> and <Picture 4>, four photographs of the same woman. In the target video she is a performer in a visual-effects suit: a skin-tight, matte chroma-key green full-body suit with a matte green hood that covers her head, her hair, her ears and her neck completely; only her eyes and her lips show through two openings in the hood. The hair, clothing and backgrounds of those four pictures are not used.
<Subject 2> is the place from <Picture 5>: a vast meadow of golden wheat and coral poppies at golden hour where two giant glossy capsule-shaped sculptures, each several storeys tall, stand upright in the field, a blue one on the left and a red one on the right. Any person shown in <Picture 5> is not used.
<Video 1> is a real dancer filmed on a still camera, used only for her dance: her steps, her arm, hip and shoulder movements, her rhythm and her energy. Her face, body, clothes, the room and the camera of <Video 1> are not used.
<Audio 1> is the sung lead vocal of <Subject 1> (S1), a soft, breathy, intimate female pop voice singing 4 short lines over silence, and it is reused 1:1 as the complete final audio track.

summary:
[reference generation + audio reuse] The 12.96-second target video is one single continuous take with no cuts, filmed on location in <Subject 2>: <Subject 1>, the performer in the green chroma-key suit and hood, sings and moves through the scene while the camera, mounted on a high-speed industrial robotic arm, flies around her through many very different angles with impossible machine precision.

retention_analysis:
<Subject 1> (appears in [Shot 1]): fully_preserved - her eyes, eyebrows and lips are retained as in the pictures, seen through the openings of the green hood; everything else of her is covered by the matte green suit and hood.
<Subject 2> (appears in [Shot 1]): fully_preserved - the place and everything in it are retained.
<Video 1>: motion only - the dance of <Subject 1> follows the dancer in <Video 1>, move for move and in time.
<Audio 1>: fully_copy - <Audio 1> is reused 1:1 as the target video's complete final audio track, and the lip movements of <Subject 1> follow its sung lines.

detailed_description:
The target video is in a live-action, cinematic music-video style shot on 35mm film with fine grain and warm 1970s colour, in low golden sunlight with soft haze, on location; the only unusual thing in it is the performer's plain green visual-effects suit. It is one single continuous take with no cuts. The camera is mounted on a high-speed industrial robotic motion-control arm: it moves with an impossible, machine-precise speed and smoothness that no human operator could achieve. Every move whips fast between two viewpoints and then decelerates smoothly to a dead, precise stop, with no shake, jitter or wobble anywhere in the take.
[Shot 1] She dances in the wheat between the giant blue and red capsules, and when she sings about the white pill she holds a small white pill up between two fingers toward the lens. Her dance follows the dancer in <Video 1>, move for move and in time: smooth, natural and well-formed, with whole arms, legs and hands. The take opens high above the meadow on a perfectly symmetrical view, the blue capsule on the left, the red capsule on the right and her small figure between them. The arm dives down the centre line to a frontal medium shot, whips in a fast half-orbit around her with the giant capsules sliding past behind her, and lands on a close-up of her face beside the small white pill. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips and jaw moving in exact sync with every syllable of the copied track: <d>[English] The most likely outcome. Red pill, blue pill. I'm the white pill. Smarter than you, love you still.</d> Her eyes are expressive and alive, and her lips close in the pauses between the lines.

overall_soundscape:
<Audio 1> is reused 1:1 as the complete final audio track, exactly as recorded. No other sounds are added.

non_diegetic_music:
No score is added; <Audio 1> remains the complete final audio track.

<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, <Picture 2>, <Picture 3> and <Picture 4>, four photographs of the same woman. In the target video she is a slim, slender performer with a fashion model's build (thin arms and legs, a narrow waist and narrow hips) in a visual-effects costume made entirely of thick, matte, opaque chroma-key green fabric: a loose sleeveless top tucked into loose high-waisted wide-leg trousers that flow around her legs, green gloves, green shoes, and a matte green hood that covers her head, her hair, her ears and her neck completely; only her eyes and her lips show through two openings in the hood. The thick, loose fabric hides every detail of her body. The hair, clothing and backgrounds of those four pictures are not used.

<Subject 2> is the place from <Picture 5>: a lush garden of white roses and wildflowers where white robots tend the flowers, with a small white chapel puffing white smoke from its chimney. Any person shown in <Picture 5> is not used.
[Shot 1] She walks through the rose garden past the white robots tending the flowers, then drops onto the old sofa in the meadow beside the television and the chalk wall, singing. The arm glides beside her through the roses and the robots, rises over the white smoke of the little chapel, then dives down to the sofa and lands in a medium shot of her on the sofa with the chalk wall behind her, finishing with a slow push-in to her face on the last line. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips and jaw moving in exact sync with every syllable of the copied track: <d>[English] Father, you had me at paradise. You watched the World Cup, my sister did the math. Eighty-seven years, it didn't last.</d> Her eyes are expressive and alive, and her lips close in the pauses between the lines.

<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, <Picture 2>, <Picture 3> and <Picture 4>, four photographs of the same woman. In the target video she is a slim, slender performer with a fashion model's build (thin arms and legs, a narrow waist and narrow hips) wearing her real outfit: a fitted, cropped white short-sleeved button-down shirt of crisp, opaque cotton with a small collar, buttoned up, ending at her waist just above the waistband, high-waisted orange wide-leg trousers with a thin orange belt, and white sneakers. Her arms and hands are bare. Only her head is covered: a matte chroma-key green hood covers her head, her hair, her ears and her neck completely, and only her eyes and her lips show through two openings in the hood. The hair, clothing and backgrounds of those four pictures are not used.

<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, <Picture 2>, <Picture 3> and <Picture 4>, four photographs of the same woman. In the target video she is a very skinny, petite woman with […]: a tiny waist, narrow hips, thin arms and long thin legs, delicate and graceful, unmistakably feminine, wearing her real outfit: a coral-orange satin halter-neck jumpsuit with a structured, lined bodice, a wide gold belt at her tiny waist and wide flared legs that swing and ripple as she dances, and gold platform sandals; her arms and shoulders are bare. Only her head is covered: a matte chroma-key green hood covers her head, her hair, her ears and her neck completely, and only her eyes and her lips show through two openings in the hood. The hair, clothing and backgrounds of those four pictures are not used.

<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, <Picture 2>, <Picture 3> and <Picture 4>, four photographs of the same woman. In the target video she is a very skinny, petite woman with […]: a tiny waist, narrow hips, thin arms and long thin legs, delicate and graceful, unmistakably feminine, wearing her real outfit: a flowing cream silk midi dress with a structured, lined halter-neck bodice, a thin gold belt at her tiny waist and a softly flared bias-cut skirt to mid-calf that swirls out when she spins, and strappy gold sandals; her arms and shoulders are bare. Only her head is covered: a matte chroma-key green hood covers her head, her hair, her ears and her neck completely, and only her eyes and her lips show through two openings in the hood. The hair, clothing and backgrounds of those four pictures are not used.

<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, <Picture 2>, <Picture 3> and <Picture 4>, four photographs of the same woman. In the target video she is a very skinny, petite woman with […]: a tiny waist, narrow hips, thin arms and long thin legs, delicate and graceful, unmistakably feminine, wearing her real outfit: a white cotton blouse with romantic puffed short sleeves, a square neckline and a smocked, fitted bodice, tucked into a high-waisted sage-green satin midi skirt that flares and swirls when she turns, and white ballet flats. Only her head is covered: a matte chroma-key green hood covers her head, her hair, her ears and her neck completely, and only her eyes and her lips show through two openings in the hood. The hair, clothing and backgrounds of those four pictures are not used.

<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, her face sheet. In the target video she is a grown woman of 30, very tall and very skinny, with […]: long thin legs, thin arms, a tiny waist and narrow hips, delicate and graceful, unmistakably feminine. She wears her real outfit, exactly as in <Picture 2>, which shows it from the front, the three-quarter view, the side and the back: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs, a smocked back and a full two-tier ruffled skirt with lace trim ending at mid-thigh, with white leather square-toe Mary Jane shoes with a low block heel. Only her head is covered: a matte chroma-key green hood covers her head, her hair, her ears and her neck completely, and only her eyes and her lips show through two openings in the hood. The hair, clothing and background of <Picture 1> are not used; from <Picture 2> only the dress, the shoes and her build are used.
<Subject 2> is the place from <Picture 3>: a vast meadow of golden wheat and coral poppies at golden hour where two giant glossy capsule-shaped sculptures, each several storeys tall, stand upright in the field, a blue one on the left and a red one on the right.
[Shot 1] She dances in the wheat between the giant blue and red capsules, and when she sings about the white pill she holds a small white pill up between two fingers toward the lens. Her dance follows the dancer in <Video 1>, move for move and in time: smooth, natural and well-formed, with whole arms, legs and hands; the ruffled skirt swings and flares as she moves. The take opens high above the meadow on a perfectly symmetrical view, the blue capsule on the left, the red capsule on the right and her small figure between them. The arm dives down the centre line to a frontal medium shot, whips in a fast half-orbit around her with the giant capsules sliding past behind her, and lands on a close-up of her face beside the small white pill. Throughout, <Subject 1> (S1) sings every line of <Audio 1> with her lips and jaw moving in exact sync with every syllable of the copied track: <d>[English] The most likely outcome. Red pill, blue pill. I'm the white pill. Smarter than you, love you still.</d> Her eyes are expressive and alive, and her lips close in the pauses between the lines.

<Subject 1> is the woman whose eyes, eyebrows, lips and the skin around them come from <Picture 1>, a photograph of her face. In the target video she is a grown woman of 30, very tall and very skinny, with […]: long thin legs, thin arms, a tiny waist and narrow hips, delicate and graceful, unmistakably feminine. She wears her real outfit, exactly as in <Picture 2>: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs, a smocked back and a full two-tier ruffled skirt with lace trim ending at mid-thigh, with white leather square-toe Mary Jane shoes with a low block heel. Only her head is covered: a matte chroma-key green hood covers her head, her hair, her ears and her neck completely, and only her eyes and her lips show through two openings in the hood. The hair, clothing and background of <Picture 1> are not used; from <Picture 2> only the dress, the shoes and her build are used.

<Subject 1> is the woman whose eyes and lips come from <Picture 1>, a photograph of her face. In the target video she is a grown woman of 30, very tall and very skinny, with […]: long thin legs, thin arms, a tiny waist and narrow hips, delicate and graceful, unmistakably feminine. She wears her real outfit, exactly as in <Picture 2>: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs, a smocked back and a full two-tier ruffled skirt with lace trim ending at mid-thigh, with white leather square-toe Mary Jane shoes with a low block heel. Only her head is covered: she wears a tight matte chroma-key green balaclava that covers her whole head and face completely, her hair, forehead, cheeks, nose, chin, ears and neck, with only two small eye holes and one small mouth hole. Her face is never uncovered: only her eyes and her lips show through the holes, in every frame and at every distance, including close-ups. The hair, clothing and background of <Picture 1> are not used; from <Picture 2> only the dress, the shoes and her build are used.

<Subject 1> is the woman whose eyes and lips come from <Picture 1>, a photograph of her face. In the target video she is a grown woman of 30, very tall and very skinny, with […]: long thin legs, thin arms, a tiny waist and narrow hips, delicate and graceful, unmistakably feminine. She wears her real outfit, exactly as in <Picture 2>: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs, a smocked back and a full two-tier ruffled skirt with lace trim ending at mid-thigh, with white leather square-toe Mary Jane shoes with a low block heel. Only her head is covered: she wears a tight matte chroma-key green balaclava that covers her whole head and face completely, her hair, forehead, cheeks, nose, chin, ears and neck, with only two small eye holes and one small mouth hole. Her face is never uncovered: only her eyes and her lips show through the holes, in every frame and at every distance, including close-ups. The hair, clothing and background of <Picture 1> are not used; from <Picture 2> only the dress, the shoes and her build are used.
[reference generation + audio reuse] The 12.96-second target video is one single continuous take with no cuts, filmed on location in <Subject 2>: <Subject 1>, the very skinny, tall performer in her white milkmaid mini dress with her whole head and face in a green chroma-key balaclava, sings and moves through the scene while the camera, mounted on a high-speed industrial robotic arm, flies around her through many very different angles with impossible machine precision.
<Subject 1> (appears in [Shot 1]): fully_preserved - her eyes and lips are retained as in <Picture 1>, seen through the eye and mouth holes of the green balaclava; her whole head and face stay covered by the green balaclava in every frame; her white milkmaid mini dress and white Mary Jane shoes are retained exactly as in <Picture 2>, and she stays very tall and very skinny.
The target video is in a live-action, cinematic music-video style shot on 35mm film with fine grain and warm 1970s colour, in low golden sunlight with soft haze, on location; the only unusual thing in it is the performer's plain green visual-effects balaclava over her whole head and face. It is one single continuous take with no cuts: the camera never cuts and moves continuously from its first frame to its last. The camera is mounted on a high-speed industrial robotic motion-control arm: it moves with an impossible, machine-precise speed and smoothness that no human operator could achieve. Every move whips fast between two viewpoints and then decelerates smoothly to a dead, precise stop, with no shake, jitter or wobble anywhere in the take.

[reference generation + audio reuse] The 15.08-second target video is one single continuous take with no cuts, filmed on location in <Subject 2>: <Subject 1>, the very skinny, tall performer in her white milkmaid mini dress with her whole head and face in a green chroma-key balaclava, sings and moves through the scene, filmed with a calm, classical camera.
The target video is in a live-action, cinematic music-video style shot on 35mm film with a little subtle film grain and warm 1970s colour, in low golden sunlight with soft haze, on location; the only unusual thing in it is the performer's plain green visual-effects balaclava over her whole head and face. It is one single continuous take with no cuts. The camera work is calm and classical, like a 1970s feature film shot on 35mm: the camera does exactly what is described below and nothing else. It never shakes, never whips, never spins around her, and the take never cuts.

She dances in the golden wheat between the two giant capsules, the blue one on the left and the red one on the right, singing. She dances smoothly to the beat, every step and accent landing on the beat, following the dancer in <Video 1> move for move and in time: smooth, natural and well-formed, with whole arms, legs and hands. She looks happy and full of joy, her eyes smiling. The camera starts low in the wheat in front of her and pushes in slowly and steadily until 7.5 s; from 7.5 s it cranes up and tilts down smoothly, rising above her until the whole meadow, both capsules and the land curving up and overhead are in view, and it comes to rest at 13.0 s and holds still.

She stands in the wheat holding one hand open at her chest, one small white pill in her palm, looking down at the pill, her face calm and still and her lips closed; she does not smile, speak or sing while the music plays without her voice, and only when her voice begins in <Audio 1> does she raise her eyes to the lens and sing. Before her voice begins her face is calm and still, her lips closed; then she sings with quiet joy. One still medium close shot from her waist to the top of her head, her open hand and her face both in frame the whole time; the camera does not move and never cuts.

She walks slowly through the meadow of wheat and poppies past the giant stone zero, singing, and touches the black leather jacket hanging on the ring as she passes it; on the line about the straight face she keeps a deadpan expression while she sings. She sings with a straight, deadpan face, her lips and jaw moving clearly with every word. The camera tracks sideways beside her at her walking pace in one smooth continuous move from the first frame to the last, a medium-wide shot from her knees to above her head, her face always in frame.

She walks down the long stair of huge stone blocks carved with years, one step on every beat, singing. She looks happy and full of joy, her eyes smiling. The camera is locked off on a tripod at the bottom of the stair, looking up its whole length as she comes down toward the lens, and does not move.

She stands among the white roses while the white robots tend the flowers, and smiles as she sings the line about paradise. She looks happy and full of joy, her eyes smiling. The camera is locked off on a tripod in a wide shot and does not move.

She drops onto the old armchair sofa in the meadow beside the vintage television showing a football match, in front of the chalk wall of mathematics, and sings. She looks happy and full of joy, her eyes smiling. The camera is locked off on a tripod in a medium-wide shot until 7.7 s; from 7.7 s it pushes in slowly to her face and comes to rest at 9.7 s, then holds.

She stands before the giant stone clock and sings; as she sings, the light of the colony changes from golden afternoon to dusk to night in one slow sweep. She looks happy and full of joy, her eyes smiling. The camera is locked off on a tripod in a wide shot and does not move.

At sunrise she stands in the open front of the little white tram as it glides along its rail through the orchard, dancing and singing, full of joy. She dances smoothly to the beat, every step and accent landing on the beat, following the dancer in <Video 1> move for move and in time: smooth, natural and well-formed, with whole arms, legs and hands. She looks happy and full of joy, her eyes smiling. The camera travels alongside the tram at its speed, a steady high three-quarter view of the tram and of her in its open front, the orchard rows sliding past below and the land curving up beyond, until 7.4 s; from 7.4 s it descends slowly and arcs toward the front of the tram, coming to rest at 13.0 s on a frontal view of her with the land curving overhead behind her, and holds.

She stands in the wheat between the giant blue capsule and the giant red capsule and sings; on the line about the white pill she holds a small white pill up between two fingers toward the lens. She looks happy and full of joy, her eyes smiling. The camera is still, a symmetrical wide shot, and does not move.

An extreme close-up: she holds one small white pill between her thumb and forefinger, horizontal, toward the lens, just below her lips; her face is sharp and in focus behind it and her mouth is clearly visible as she sings. She sings with quiet joy, her lips clearly shaping every word. The camera pushes in slowly toward the white pill until it fills most of the frame width, and comes to rest at 1.9 s.

On the green hillside the white robots stack white stone blocks into a tall white castle; she stands before it singing and puts a small gold crown on her head. She looks happy and full of joy, her eyes smiling. The camera is locked off on a tripod in a wide shot and does not move.

She rides in the back seat of the small white self-driving car with nobody at the wheel, hands behind her head, along the orchard road past the road sign, singing. She looks happy and full of joy, her eyes smiling. The camera travels high above and behind the car at its speed, the road curving ahead through the orchards, and does not otherwise move.

On the porch of the old wooden schoolhouse she kneels beside the small desk where a child sits and points at the blackboard, singing, patient and warm. She looks happy and full of joy, her eyes smiling. The camera is locked off on a tripod in a medium-wide shot and does not move.

She tucks the white sheets of the four-poster bed neatly and sets the small gold crown on the pillow, singing; on the last line she punches a card in the brass punch clock with a smile. She looks happy and full of joy, her eyes smiling. The camera is locked off on a tripod in a medium-wide shot and does not move.

She dances, small in the frame, in the middle of the circle of standing stones on the golden hill above the forking river, singing. She dances smoothly to the beat, every step and accent landing on the beat, following the dancer in <Video 1> move for move and in time: smooth, natural and well-formed, with whole arms, legs and hands. She looks happy and full of joy, her eyes smiling. The camera holds a still, very wide shot for the whole take and does not move.

She dances on a low white stone platform at the edge of the giant letters mown into the golden wheat, singing. She dances smoothly to the beat, every step and accent landing on the beat, following the dancer in <Video 1> move for move and in time: smooth, natural and well-formed, with whole arms, legs and hands. She looks happy and full of joy, her eyes smiling. At 0.0 s the camera rises straight up fast from her and decelerates smoothly into a high top-down view that reveals the giant letters mown into the wheat around her small figure, at rest by 3.8 s, and holds there.

At night on the deck of the drone ship beside the landed rocket booster, steam drifting, she sings softly to the lens. She looks happy and full of joy, her eyes smiling. The camera is still, a medium close shot, and does not move.

She dances on the grassy hilltop high inside the colony, the land curving up and overhead, singing, full of joy. She dances smoothly to the beat, every step and accent landing on the beat, following the dancer in <Video 1> move for move and in time: smooth, natural and well-formed, with whole arms, legs and hands. She looks happy and full of joy, her eyes smiling. The camera starts close in front of her and, from 0.0 s, pulls back and rises in one long smooth move far out over the edge of the hill until the whole curving colony is in view with her small on the hilltop, coming to rest at 13.0 s and holding.

She stands at a huge window in space, seen over her shoulder, and holds up a small white pill so that it lines up with one of the white capsule colonies floating outside, singing. She looks happy and full of joy, her eyes smiling. The camera is still over her shoulder until 3.8 s; from 3.8 s it pushes in slowly past her shoulder to the small white pill between her fingers, lined up with a white capsule colony outside, and comes to rest at 5.7 s, then holds.

In the dark bedroom at night she lies in bed; the flip clock turns to 2:14, her eyes open and she whispers the line. She is calm and quietly happy, half awake. The camera is still, a close shot of her face on the pillow with the flip clock beside her, and does not move.

Claudia is the woman in the character sheet @Image1: her face, her glossy black blunt jaw-length bob with heavy straight bangs, the one clay-orange streak through her bangs on her right side, the small flat clay-orange eight-pointed star hair clip above her left ear, the thin headset microphone at her cheek, her pale skin and freckles. The sheet only shows who she is; she wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt.

【Editing Goal】
Edit [Video1], replacing only the woman with Claudia, the 28-year-old woman shown in the character sheet [Image1], dressed in the outfit described below, and correcting every inconsistency in her appearance so that she is exactly the woman of [Image1] in every frame.

【Role of the Source Video】
[Video1] is the sole editing master and governs the apple orchard, the white tram on its rail, the fields and towns of the land curving overhead, the light, the camera position, every camera movement and its speed, her pose, gestures and path, occlusion relationships and event order. Keep the exact timing of [Video1] frame for frame, and keep her exact lip, mouth and jaw movement from [Video1]: she is singing, and every mouth shape, every opening and every closing happens at exactly the same moment as in [Video1].

【Role of the Target Material】
[Image1] is Claudia's official character sheet: one woman shown from several angles and with several expressions. Use it only for her face, skin, freckles, eyes, hair and accessories: a glossy black blunt jaw-length bob with heavy straight bangs, one clay-orange streak through the bangs on her right side (on the left of the frame when she faces the camera), a small flat clay-orange eight-pointed star hair clip above her left ear, and a thin beige headset microphone along her cheek. Do not use the sheet's grey studio background, its labels, its layout or its clothing (the white cropped tank, the black shorts, the white socks and the white sneakers).

【Edit Objects and Scope】
Modify only the woman. Replace her face, hair and accessories with Claudia's from [Image1], and dress her in this outfit throughout: a white sleeveless ribbed-knit top with a high round neck, tucked into high-waisted orange wide-leg trousers with a thin orange belt. Keep the orange trousers and the white top in every frame. Fix every inconsistency of the woman in [Video1]: her face changing between angles, the streak or the star clip missing or on the wrong side, the microphone missing, the outfit changing, and any error in her hands or body, so that she is one consistent person from the first frame to the last. There is exactly one woman throughout the video. Do not modify the camera, the orchard, the tram, the rail, the land and towns overhead, or the light and colour.
Except for the objects explicitly modified above, all other visible characters, props, and background elements in [Video1] remain unchanged and are not to be replaced or removed.

【Timeline Inheritance】
Claudia fills the woman's motion slot in [Video1] with exactly the same timing, pose, path, speed changes, head turns, and lip, mouth and jaw movement, frame for frame. The original woman's face no longer appears in the final video. All camera movement, shot changes and event order remain as in [Video1].

【Editing Goal】
Replace the singing woman in @Video1 with Claudia from @Image1, wearing the outfit described below, keeping everything else of @Video1, and fix every inconsistency in her appearance so that she is exactly the Claudia of @Image1 in every frame.

【Role of the Source Video】
@Video1 is the sole editing master. It governs her body, pose, every movement and gesture, her head turns, her exact lip, mouth and jaw movement as she sings, the camera position and every camera movement with its speed, the apple orchard, the white tram on its rail, the fields and towns of the land curving overhead, the golden light, the event order and the timing, frame by frame.

【Asset Roles】
Claudia maps to @Image1, her official character sheet; use only her face, hairstyle, the one clay-orange streak, the clay-orange eight-pointed star hair clip and the thin headset microphone; do not use its white cropped tank top, black shorts, white socks, white sneakers, grey backdrop or labels.

【Edit Objects and Scope】
1. The woman becomes Claudia in every frame: a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs on her right side (the left of the frame when she faces the camera), a small flat clay-orange eight-pointed star hair clip above her left ear, a thin headset microphone at her cheek; her face is exactly the face of @Image1 from every angle.
2. Her outfit in every frame: a white sleeveless ribbed-knit top with a high round neck, tucked into high-waisted orange wide-leg trousers with a thin orange belt. Keep the orange trousers and the white top throughout.
3. Fix every inconsistency of the woman in @Video1: her face changing between angles, the streak, the star clip or the microphone missing or on the wrong side, the outfit changing, and any error in her hands or body. Claudia stays one woman with natural anatomy and hands with five fingers.
Except for the objects explicitly modified above, all other visible elements in @Video1 remain unchanged.

【Timeline Inheritance】
Every movement, gesture, head turn and expression, and every lip, mouth and jaw movement, keeps the exact timing and speed of @Video1, frame for frame, so her singing stays exactly in sync; the camera stays exactly as in @Video1, with no cuts and no zoom.

Redraw the woman in @Video1 entirely as Claudia, the woman in the character sheet @Image1: her face, her glossy black blunt jaw-length bob with heavy straight bangs, the one clay-orange streak through her bangs on her right side, the small flat clay-orange eight-pointed star hair clip above her left ear, the thin headset microphone at her cheek, her pale skin and freckles. The sheet only shows who she is; dress her in a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt.

Keep the pacing of @Video1 and her mouth movements, so her singing stays in sync. Everything else you are free to change and improve. Fix every problem you see: vague or melted body shapes, the round blob under her when the camera looks straight down (there she stands on the front of the white tram and we see her whole body from above, shoulders, arms and legs), her anatomy and hands, the shape of the tram, the orchard rows. Make it look like a real 35 mm film shot in warm golden-hour light, inside a giant space colony whose land curves up and overhead.

@Video1 is the camera and pacing reference: follow its camera path and timing, her movements and her mouth movements. Redraw the whole shot as a new, real one.

⟦F1⟧

She stands on the front of a small white tram among the rows of an apple orchard at golden hour, inside a giant space colony whose land curves up and overhead, and she sings @Audio1: her lips follow @Audio1 exactly. Fix anything that looks wrong in @Video1: vague or melted body shapes, the round blob under her when the camera looks straight down (draw her whole body from above, shoulders, arms and legs), her anatomy and hands. Real 35 mm film, warm golden-hour light.

The soundtrack is @Audio1 itself, unchanged, with no music or other sounds.

@Video1 is a grey blockout of the shot: use it only for the camera path and pacing, and for where she is and how she moves. Do not copy its grey look, and do not copy its shapes where they are vague. Redraw everything as a real, full-colour 35 mm film shot.

⟦F1⟧

She stands on the front of a small white tram on a single rail among the rows of an apple orchard full of red apples at golden hour, inside a giant space colony whose land, fields and white towns curve up and overhead. She sings @Audio1: her lips follow @Audio1 exactly. When the camera looks straight down, we see her whole body from above, standing on the tram. Fix anything vague or wrong: body shapes, anatomy, hands.

The soundtrack is @Audio1 itself, unchanged, with no music or other sounds.

@Video1 is a grey blockout of the shot. Keep its camera path and pacing and her mouth movements; redraw everything else as a real, full-colour 35 mm film shot, and do not keep its grey look or its vague shapes.

⟦F1⟧

She stands on the front of a small white tram on a single rail among the rows of an apple orchard full of red apples at golden hour, inside a giant space colony whose land, fields and white towns curve up and overhead. She is singing. When the camera looks straight down, we see her whole body from above, standing on the tram. Fix anything vague or wrong: body shapes, anatomy, hands.

@Video1 is a grey blockout of the shot: follow its camera path, its pacing and her pose. Redraw everything as a real, full-colour 35 mm film shot; do not keep its grey look or its vague shapes.

The camera path, one continuous move as in @Video1: it starts on an extreme close-up of her lips as she sings; then it whips up and back to a high view looking straight down on her and the small white tram on its single rail among the orchard rows, where she stands on the front of the tram and we see her whole body from above; then it swoops down to a low angle at her knees, looking up past her face to the land, fields and white towns curving overhead; then it swings around behind her.

⟦F1⟧

It is golden hour in an apple orchard full of red apples, inside a giant space colony whose land curves up and overhead. She sings @Audio1: her lips follow @Audio1 exactly. Fix anything vague or wrong: body shapes, anatomy, hands.

The soundtrack is @Audio1 itself, unchanged, with no music or other sounds.

@Video1 is a visual-effects green-screen plate: a performer in a green chroma-key suit and hood standing on a green stand-in box, in a green studio with white tracking crosses. Keep its camera path and pacing, her pose and movements, her eye movements. Replace everything green:
- The performer becomes Claudia, the woman in the character sheet @Image1: her face, her glossy black blunt jaw-length bob with heavy straight bangs, the one clay-orange streak through her bangs on her right side, the small flat clay-orange eight-pointed star hair clip above her left ear, the thin headset microphone at her cheek, her pale skin and freckles. The sheet only shows who she is; she wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt.
- The green box on its rails becomes the front of a small white rounded tram on a single rail.
- The green studio becomes an apple orchard full of red apples at golden hour, inside a giant space colony whose land, fields and white towns curve up and overhead. No green screen, no green suit, no tracking crosses and no studio lights remain.
Fix anything vague or wrong. Real 35 mm film, warm golden-hour light.
She sings @Audio1: her lips follow @Audio1 exactly. The soundtrack is @Audio1 itself, unchanged, with no music or other sounds.

@Video1 is a visual-effects green-screen plate: a performer in a green chroma-key suit and hood standing on a green stand-in box, in a green studio with white tracking crosses. Keep its camera path and pacing, her pose and movements, her eye movements and her mouth movements. Replace everything green:
- The performer becomes Claudia, the woman in the character sheet @Image1: her face, her glossy black blunt jaw-length bob with heavy straight bangs, the one clay-orange streak through her bangs on her right side, the small flat clay-orange eight-pointed star hair clip above her left ear, the thin headset microphone at her cheek, her pale skin and freckles. The sheet only shows who she is; she wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt.
- The green box on its rails becomes the front of a small white rounded tram on a single rail.
- The green studio becomes an apple orchard full of red apples at golden hour, inside a giant space colony whose land, fields and white towns curve up and overhead. No green screen, no green suit, no tracking crosses and no studio lights remain.
Fix anything vague or wrong. Real 35 mm film, warm golden-hour light.

Video 1 is the camera and pacing reference: follow its camera path, its timing, her movements and her mouth movements, but redraw everything as a new, real shot; you are free to change anything that looks wrong in it. Image 1 is the first frame. Image 2 is Claudia's character sheet, only a reference for who she is; it is never shown as a shot.

Claudia is a 28-year-old Caucasian American woman with pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs, one clay-orange streak through the bangs on her right side, a small flat clay-orange eight-pointed star hair clip above her left ear and a thin headset microphone at her cheek, exactly as in Image 2. She wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt.

She stands on the front of a small white tram on a single rail among the rows of an apple orchard full of red apples at golden hour, inside a giant space colony whose land, fields and white towns curve up and overhead. She sings Audio 1: her lips follow Audio 1 exactly. Fix anything vague or wrong: when the camera looks straight down, draw her whole body from above standing on the tram (no round blob), and fix body shapes, anatomy and hands. Real 35 mm film, warm golden-hour light.

Image 1 is the first frame. Video 1 is the motion reference: follow its camera path and timing, her dancing and every body movement, and her mouth movements. The performer in the green chroma-key suit and hood in Video 1 is only a stand-in for Claudia; no green suit, green hood or green skin appears anywhere. Image 2 is Claudia's character sheet, only a reference for who she is; it is never shown as a shot.

Claudia is a 28-year-old Caucasian American woman with pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs, one clay-orange streak through the bangs on her right side, a small flat clay-orange eight-pointed star hair clip above her left ear and a thin headset microphone at her cheek, exactly as in Image 2. In every frame she wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt.

She dances on and around the open front of a small white tram among the rows of an apple orchard full of red apples at golden hour, inside a giant space colony whose land, fields and white towns curve up and overhead. Her dancing is smooth, fluid and consistent: continuous natural motion from frame to frame, with no jitter, no sudden jumps between poses and no warping limbs; her body, face, hair and outfit stay the same the whole time. She sings Audio 1: her lips follow Audio 1 exactly. Real 35 mm film, warm golden-hour light.

Video 1 is the shot: keep its camera path and timing, the place (the apple orchard, the white tram on its rail, the land curving overhead, the golden light) and the performer's dancing, every body movement and her mouth movements. Redraw the performer in the green chroma-key suit and green hood as Claudia; no green suit, green hood or green skin remains anywhere. Image 1 is Claudia's character sheet, only a reference for who she is; it is never shown as a shot.

Claudia is a 28-year-old Caucasian American woman with pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs, one clay-orange streak through the bangs on her right side, a small flat clay-orange eight-pointed star hair clip above her left ear and a thin headset microphone at her cheek, exactly as in Image 1. In every frame she wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt.

Her dancing is smooth, fluid and consistent: continuous natural motion from frame to frame, with no jitter, no sudden jumps between poses and no warping limbs; her body, face, hair and outfit stay the same the whole time. She sings Audio 1: her lips follow Audio 1 exactly. Real 35 mm film, warm golden-hour light.

@Video1 is a visual-effects take filmed on location: a performer in a green chroma-key suit and hood dances and sings on and around the white tram in the apple orchard. Keep its camera path and pacing, the place and its light, and her mouth movements, so her singing stays in sync. Redraw the green performer entirely as Claudia, the woman in the character sheet @Image1: her face, her glossy black blunt jaw-length bob with heavy straight bangs, one clay-orange streak through her bangs on the left side of the frame when she faces the camera, a small flat clay-orange eight-pointed star hair clip on the other side above her ear, a thin headset microphone at her cheek, her pale skin and freckles. The sheet only shows who she is; in every frame she wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt. No green suit, green hood or green skin remains anywhere.

Fix her dancing: wherever the performer's body or movement in @Video1 is vague, broken or awkward, especially while the camera flies around her, redraw it as smooth, natural, well-formed dancing that flows with the music, with correct anatomy, whole arms, legs and hands, and the same body from frame to frame. Fix anything else that looks wrong. Real 35 mm film, warm golden-hour light.

Video 1 is the shot: keep its camera path and timing, the place and everything in it, the performer's dancing and every body movement, and her mouth movements. Redraw the performer in the green chroma-key suit and green hood as Claudia; no green suit, green hood or green skin remains anywhere. Image 1 is Claudia's character sheet, only a reference for who she is; it is never shown as a shot.

Claudia is a 28-year-old Caucasian American woman with pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs, one clay-orange streak through the bangs on the left of the frame when she faces the camera, a small flat clay-orange eight-pointed star hair clip on the other side above her ear, and a thin headset microphone at her cheek, exactly as in Image 1. In every frame she wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt. Her movement and dancing are smooth, fluid and consistent: continuous natural motion from frame to frame, with no jitter, no sudden jumps and no warping limbs; her body, face, hair and outfit stay the same the whole time. She sings Audio 1: her lips follow Audio 1 exactly.

It looks like real 35 mm film photography with warm 1970s colour and fine grain, a real place filmed with a real camera.

Claudia is a 28-year-old Caucasian American woman with pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, exactly as in the FRONT view of Image 1: the streak starts at the parting on her right side, which is the LEFT side of the frame when she faces the camera, and the small flat clay-orange eight-pointed star hair clip sits on the opposite side, above her left ear, on the RIGHT side of the frame; the streak and the clip are never on the same side. A thin headset microphone sits at her cheek. In every frame she wears a white sleeveless ribbed tank top and high-waisted orange wide-leg trousers with a thin orange belt. Her movement and dancing are smooth, fluid and consistent: continuous natural motion from frame to frame, with no jitter, no sudden jumps and no warping limbs; her body, face, hair and outfit stay the same the whole time. She sings Audio 1: her lips follow Audio 1 exactly.

The flat, untextured shapes drawn in Video 1 are placeholders for real things: the small flat white capsule shapes floating in the air around her are tiny liquid-glass pills: perfectly clear, refracting the scene behind them, their rounded edges catching sharp rainbow glints in the sun, each one throwing a small moving caustic sparkle onto whatever its light falls on; they drift weightlessly and swell slightly on the beat.

Re-light it at golden hour: the giant glossy capsules mirror the sunset in long streaked highlights and throw coloured light, red from one side and blue from the other, onto the wheat and onto her; a warm rim light; the white pill in her fingers catches a sharp glint; a lens flare as the camera dives.

Video 1 is the shot: keep its camera path and timing, the place and everything in it, the performer's dancing and every body movement, and her mouth movements. Redraw the performer in the green chroma-key costume and green hood as Claudia; no green costume, green hood or green skin remains anywhere. Image 1 is Claudia's character sheet, only a reference for who she is; it is never shown as a shot.

⟦W1⟧

⟦W2⟧

Re-light it as the colony's first sunrise: a low warm sun rises in one of the long window strips far up the curving land and throws long golden shafts through the huge round window across the bed; volumetric god rays full of floating dust, soft bloom on the white linen, a warm rim light on her hair and shoulders, a gentle anamorphic lens flare when the camera crosses the sun, the shadows a soft cream bounce, the land outside in pale blue-gold haze.

⟦W3⟧

⟦W1⟧

⟦W2⟧

The flat, untextured shapes drawn in Video 1 are placeholders for real things: the flat golden band on the land far below is a field of standing golden wheat, and the flat cream letters on it spell WHITEPILL, mown into the wheat: each of the nine letters W H I T E P I L L is a broad stripe of freshly cut pale stubble, shorter and paler than the standing wheat around it, with crisp edges, so the word reads clearly and exactly as drawn; the raking golden light casts long shadows along every cut row.

Re-light it at golden hour inside the colony: sunlight pours through the long window strips in parallel shafts that cross the whole curving land; layers of warm haze give the land depth; the far land overhead glows in soft blue-gold atmospheric perspective; the terrace stone glows warm; a warm backlight rims her hair; soft halation and lens flares when the sun crosses the lens; the word in the wheat catches raking light so every cut furrow casts a long shadow.

⟦W3⟧

⟦W1⟧

⟦W2⟧

The flat, untextured shapes drawn in Video 1 are placeholders for real things: in the first second the flat dark-grey numerals 50% laid across the faces of the row of white stone blocks are carved deep into the weathered limestone, one character per block, with chisel marks, soft edges worn by weather, lichen in the grooves and deep shadow inside every cut.

Re-light it in the last golden hour with the sun low behind the stone zero: its light pours through the hole of the ring and makes a bright halo around the ring's rough edge; long shadows of the monuments stretch across the poppies; the backlit wheat glows; pollen drifts in the light; a warm rim light outlines her; a soft lens flare blooms as the camera flies through the ring.

⟦W3⟧

⟦W1⟧

⟦W2⟧

Re-light it with the sun low and to the side, raking across the stair so each carved number is cut out by deep shadow; warm haze over the meadow; a moving glint of sun runs along the stone edges as the camera passes; the poppies glow backlit; a warm rim light on her.

⟦W3⟧

⟦W1⟧

⟦W4⟧

The flat, untextured shapes drawn in Video 1 are placeholders for real things: on the face of the distant office tower the flat warm-yellow bars are its rows of lit office windows and the flat dark-grey bars are the same windows switched off: from about the eighth second, row by row from the top floor down, on every beat of the music, the lights go out and each dark row becomes plain dark glass reflecting the sunset, until the whole tower is dark: the nine-to-five is over.

Re-light it at sunset: the sky turns deep orange; the brass hands flash with sharp glints as they move; the clock face glows warm; in the distance the office tower's windows switch off floor by floor, each going dark with a soft flicker; long shadows across the meadow; a hazy glow around the sun.

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Re-light it in soft golden late-afternoon light: the chapel's smoke, lit from behind, glows white-gold; the robots' white shells pick up gleaming highlights; at the sofa a warm pool of sunlight falls on her while the chalk wall is lit at a grazing angle so the chalk lines glow; dust motes and soft bloom in the air.

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Re-light it at golden hour in the orchard: the low sun flickers through the apple trees in moving dappled light; the white tram glows with soft bloom; sun shafts slant through the leaves; the land overhead is hazy blue-gold; lens flares when the camera faces the sun; a warm rim light on her hair.

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Re-light it in bright warm afternoon light: the white castle stones glow; the robots' white shells gleam; sun shafts fall through the long window strips; soft shadows; a sparkle runs across the gold crown.

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Re-light it in bright warm late-afternoon light: sunlight flickers through the orchard over the car's glossy white body in moving reflections; at the schoolhouse warm low light comes through the porch, dust floats in the air, and the blackboard is lit at a grazing angle.

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Re-light it in soft warm afternoon light: the white linen glows; the sheer curtains of the four-poster sway and diffuse the sun into soft beams; the brass punch clock glints; the gold crown sparkles.

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Claudia is a 28-year-old Caucasian American woman with pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, exactly as in the FRONT view of Image 1: the streak starts at the parting on her right side, which is the LEFT side of the frame when she faces the camera, and the small flat clay-orange eight-pointed star hair clip sits on the opposite side, above her left ear, on the RIGHT side of the frame; the streak and the clip are never on the same side. A thin headset microphone sits at her cheek. She has the slim, slender build of Image 1: thin arms and legs, a narrow waist and narrow hips. In every frame she wears exactly the outfit of Image 1: a plain white tank top of thick, heavyweight, opaque cotton (smooth, not ribbed, nothing shows through it) tucked into high-waisted orange wide-leg trousers with a thin orange belt. Her movement and dancing are smooth, fluid and consistent: continuous natural motion from frame to frame, with no jitter, no sudden jumps and no warping limbs; her body, face, hair and outfit stay the same the whole time. She sings Audio 1: her lips follow Audio 1 exactly.

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Claudia is a 28-year-old Caucasian American woman with pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, exactly as in the FRONT view of Image 1: the streak starts at the parting on her right side, which is the LEFT side of the frame when she faces the camera, and the small flat clay-orange eight-pointed star hair clip sits on the opposite side, above her left ear, on the RIGHT side of the frame; the streak and the clip are never on the same side. A thin headset microphone sits at her cheek. She has the slim, slender build of Image 1: thin arms and legs, a narrow waist and narrow hips. In every frame she wears exactly the outfit of Image 1: a plain white sleeveless tank top of thick, double-layered, lined cotton with a white bra underneath, so the front of the top is perfectly smooth and flat and nothing shows through it, tucked into high-waisted orange wide-leg trousers with a thin orange belt. Her movement and dancing are smooth, fluid and consistent: continuous natural motion from frame to frame, with no jitter, no sudden jumps and no warping limbs; her body, face, hair and outfit stay the same the whole time. She sings Audio 1: her lips follow Audio 1 exactly.

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Redraw the performer in the green chroma-key balaclava as Claudia: no green balaclava, green fabric or green skin remains anywhere, and her face, hair and head are fully visible. Image 1 is Claudia's face and Image 2 is her dress; they are only references for who she is and what she wears, and neither is ever shown as a shot.

Re-light it at golden hour: the giant glossy capsules mirror the sunset in long streaked highlights and throw coloured light, red from one side and blue from the other, onto the wheat and onto her; a warm rim light; the white pill in her fingers catches a sharp glint; a lens flare as the camera dives.

It looks like real 35 mm film photography with warm 1970s colour and fine grain, a real place filmed with a real camera.

Video 1 is the shot. Keep its camera path and timing, the place and everything in it, the performer's dancing and every body movement, and her mouth movements; it is one continuous take.

Claudia is a 30-year-old Caucasian American woman with a grown-up angular face, pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, exactly as in Image 1: the streak starts at the parting on her right side, which is the LEFT side of the frame when she faces the camera, and the small flat clay-orange eight-pointed star hair clip sits on the opposite side, above her left ear, on the RIGHT side of the frame; the streak and the clip are never on the same side. A thin headset microphone sits at her cheek. She is very tall and very skinny, with long thin legs, thin arms and a narrow waist. In every frame she wears exactly the dress of Image 2: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs, a smocked back and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. She looks happy and full of joy: her eyes smile, and she smiles warmly between the sung lines. Her movement is smooth and consistent, with no jitter, no sudden jumps and no warping limbs. She sings Audio 1: her lips follow Audio 1 exactly.

Redraw the performer in the green chroma-key balaclava as Claudia: no green balaclava, green fabric or green skin remains anywhere, and her face, hair and head are fully visible. Image 1 is Claudia's face and Image 2 is her dress; they are only references for who she is and what she wears.

Video 1 is the shot. Keep its pacing and timing, the place and everything in it, the performer's dancing and every body movement, and her mouth movements. Video 1 has two hard cuts, at about 2.9 seconds and at about 9.1 seconds. Make the target video one single continuous take with no cuts at all: where Video 1 cuts, the camera instead travels fluidly and continuously from the earlier viewpoint to the next one. At 2.9 seconds it makes a fast, smooth push-in from the full shot of her between the capsules into the close-up of her face beside the small white pill; at 9.1 seconds it makes another fast, smooth push-in from the full shot into the close-up. Every moment of Video 1 still happens at the same time, with the same pacing. The camera moves like a high-speed industrial robotic arm: fast, machine-precise and perfectly smooth, with no shake.

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Claudia is a 30-year-old Caucasian American woman with a grown-up angular face, pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, exactly as in Image 1: the streak starts at the parting on her right side, which is the LEFT side of the frame when she faces the camera, and the small flat clay-orange eight-pointed star hair clip sits on the opposite side, above her left ear, on the RIGHT side of the frame; the streak and the clip are never on the same side. A thin headset microphone sits at her cheek. She is very tall and very skinny, with long thin legs, thin arms and a narrow waist. In every frame she wears exactly the dress of Image 2, shown there from the front, the three-quarter view, the side and the back: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs, a smocked back and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. Her movement and dancing are smooth, fluid and consistent: continuous natural motion from frame to frame, with no jitter, no sudden jumps and no warping limbs; her body, face, hair and dress stay the same the whole time. She sings Audio 1: her lips follow Audio 1 exactly.

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The flat, untextured shapes drawn over Video 1 are placeholders for real things, each exactly in its place and at its time. The small flat white capsule shapes floating in the air around her are liquid-glass pills: perfectly clear glass capsules that refract and magnify the field and the sky behind them, their rounded edges catching sharp rainbow glints in the low sun, each throwing a small moving caustic sparkle onto whatever its light falls on; they float weightlessly, drift past her and swell slightly on every beat. At about 5 seconds the flat red rings bursting out of the giant red capsule are a ring of red light rippling outward through the air like a shockwave of heat-shimmer, bending the light behind it; at about 6 seconds the same happens in blue from the giant blue capsule. At about 8 seconds the flat white disc and ring that open behind her head are a soft bloom of white light behind her, a glowing halo of haze with a thin ring of light expanding outward, and a gentle lens flare.

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This is a lyric video. Images 3, 4, 5, 6 and 7 show how this shot looks at five moments, with the song's lyrics added as real three-dimensional objects in the scene; they are references for what the lyrics look like and where they stand, never shown as shots. Add each lyric at its time, anchored in the 3D space of the field: the letters never slide with the camera, the camera moves past them and sees them from new angles as it flies around her. From 0.7 to 3.4 seconds, as she sings 'The most likely outcome', the words THE MOST LIKELY OUTCOME stand in the air between the two giant capsules, huge glossy white letters in two lines, as in Image 3. At 5.1 seconds, on 'Red pill', the words RED PILL in glossy red lacquered letters appear in the air beside the giant red capsule, as in Image 4. At 6.0 seconds, on 'blue pill', the words BLUE PILL in glossy deep-blue lacquered letters appear beside the giant blue capsule, as in Image 5. From 7.5 to 8.5 seconds, on 'I'm the white pill', the words I'M THE WHITE PILL in glowing milky-white glass letters arc in the air just above and behind her head like a halo, with a soft bloom of white light, as in Image 6. From 8.6 to 12.3 seconds, on 'Smarter than you, love you still', the words SMARTER THAN YOU, LOVE YOU STILL float in two lines far behind her over the field, softly out of focus, as in Image 7. Each lyric rises smoothly into place on its first word and fades away after its line. The letters are spelled exactly as shown, set in a bold grotesque sans-serif in capitals; they are physical objects that catch the sunlight, reflect the sky and cast soft shadows. Small clear liquid-glass capsules float weightlessly in the air around her, fixed in the space of the field, as in the images.

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This is a lyric video. Images 3, 4, 5, 6 and 7 are flat layout sketches of this same shot at five moments (the performer in the green balaclava in them is Claudia). They show which lyric appears at each moment and roughly where it stands, where small glass pills float, and where light effects happen. They are flat 2D drawings: build everything they show as real three-dimensional objects and light in the scene, properly aligned in the space of the field and lit with the shot, fixed in place so that the camera flies past them and sees them from new angles. From 0.7 to 4.8 seconds, as she sings 'The most likely outcome', the words THE MOST LIKELY OUTCOME stand in two rows between the two giant capsules, tall glossy white letters standing on the field, as sketched in Image 3. At 5.1 seconds, on 'Red pill', the words RED PILL in glossy red lacquered letters rise out of the wheat in the open field, as sketched in Image 4, and at the same moment the red ring sketched around the giant red capsule is a ring of red light rippling outward through the air from the capsule like a shockwave. At 6.0 seconds, on 'blue pill', the words BLUE PILL in glossy deep-blue lacquered letters rise at the foot of the giant blue capsule, as sketched in Image 5, with a ring of blue light rippling outward from the blue capsule in the same way. From 7.5 to 8.5 seconds, on 'I'm the white pill', the words I'M THE WHITE PILL in glowing milky-white glass letters rise out of the wheat in the foreground between her and the camera, as sketched in Image 6, and the white disc sketched behind her head is a soft bloom of white light glowing behind her. From 8.6 to 12.3 seconds, on 'Smarter than you, love you still', the words SMARTER THAN YOU, LOVE YOU STILL stand in two rows far behind her on the field, softly out of focus, as sketched in Image 7. Each line rises smoothly out of the wheat into place on its first word and sinks away when the next line begins; RED PILL and BLUE PILL stay up together until 'I'm the white pill'. The small flat white capsule shapes in the sketches are clear liquid-glass pills floating weightlessly in the air at those places around her, refracting the field and the sky, catching sharp glints of the low sun and drifting slowly. Every word is spelled exactly as written, in a bold grotesque sans-serif in capitals, and every letter is a solid physical object that catches the sunlight, reflects the sky and casts a soft shadow on the wheat.

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[Generation objective] Re-shoot Video 1 as a live-action music video: Claudia (Images 1 and 2) sings Audio 1 and dances in a golden-hour wheat field full of red poppies, between two giant glossy capsules, one blue and one red, while the lines of the song stand in the field as large, solid, three-dimensional letters at the places and times set below. One continuous take with Video 1's camera movement and timing.

[Reference assets]
- Video 1 is the shot: keep its camera path, framing and timing, the place and everything in it, the performer's dancing and every body movement, and her mouth movements. It is one continuous take with no cuts.
- Audio 1 is Claudia's own singing voice: her lips follow Audio 1 word by word.
- Image 1 is Claudia's face and Image 2 is her dress, references only for who she is and what she wears.
- Image 3 is the PLACEMENT SHEET: a plain clay layout model of this same set, seen whole from five angles (front, high front, three-quarter left, three-quarter right and from above), with every lyric and every effect in its place at once. It shows only where things are: the position, size, height, angle and spacing of each lyric and effect in the field, and the letterforms. Take nothing else from it: none of its grey floor, flat grey light, mannequin or labels appears in the video.
- Image 4 is the ORDER SHEET: the same model from the front, step by step, showing the order in which the lyrics appear.
- In both sheets: the grey mannequin is Claudia; the tall blue capsule is the giant blue capsule of Video 1 and the tall red capsule is the giant red capsule; the grey floor is the wheat field; the small pale-blue capsules are the floating glass pills; the white letters are the lyric objects (white only in the model, which shows their shape and place, not their colour); the red and blue hoops round the capsules are the rings of light; the pale ring behind the mannequin's head marks the halo.

[Subject] Redraw the performer in the green chroma-key balaclava as Claudia: no green balaclava, green fabric or green skin remains anywhere, and her face, hair and head are fully visible. Claudia is a 30-year-old Caucasian American woman with a grown-up angular face, pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, exactly as in Image 1: the streak starts at the parting on her right side, the LEFT side of the frame when she faces the camera, and the small flat clay-orange eight-pointed star hair clip sits above her left ear, on the RIGHT side of the frame; the streak and the clip are never on the same side. A thin headset microphone sits at her cheek. She is very tall and very skinny, with long thin legs, thin arms and a narrow waist. In every frame she wears exactly the dress of Image 2: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. She looks happy and full of joy: her eyes smile, and she smiles warmly between the sung lines. Her movement is smooth and consistent, with no jitter, no sudden jumps and no warping limbs.

[Event script] Video 1 gives the camera path, the timing and her performance. The lyric letters appear as the lyrics are sung in Audio 1, one line after another in the order of the ORDER SHEET: first THE MOST LIKELY OUTCOME; then RED PILL, with a ring of red light around the giant red capsule; then BLUE PILL, with a ring of blue light around the giant blue capsule; then I'M THE WHITE PILL, with the halo behind her head; then SMARTER THAN YOU, LOVE YOU STILL. Each line rises into its place on its first word and goes when the next line comes; RED PILL and BLUE PILL stay up together.

[Lyric objects: material and light] All five lines are set in the typeface of the layout model: a heavy rounded sans-serif in capitals whose strokes end in round caps. Every letter is a solid, heavy, real object about a fifth as deep as it is tall, with crisp edges and a slim rounded bevel that catches a thin bright line of light; letters never bend, wobble or melt. Spell each line exactly, letter by letter, as the layout model shows: T-H-E M-O-S-T L-I-K-E-L-Y O-U-T-C-O-M-E; R-E-D P-I-L-L; B-L-U-E P-I-L-L; I-'-M T-H-E W-H-I-T-E P-I-L-L; S-M-A-R-T-E-R T-H-A-N Y-O-U, L-O-V-E Y-O-U S-T-I-L-L. Every letter is made of thick, solid, polished glass, and each line has its own colour of glass.
- THE MOST LIKELY OUTCOME floats in two rows between the two giant capsules, across their upper half: letters about one and a half times the height of her head, in clear, colourless crystal glass like a block of optical glass. The wheat, the sky and the giant capsules show through each letter, bent and magnified by its curves, and the thick edges hold hard white glints and thin rainbow fringes. The low sun behind them and to the left shines straight through the glass: a bright golden line burns along the top and left edge of every letter, and they throw small focused caustics of sunlight onto the wheat below. The giant red capsule shows as a long red streak in the right-hand faces of the letters and the giant blue capsule as a long blue streak in their left-hand faces. They float perfectly still and cast a faint, light-filled shadow across the wheat below.
- RED PILL and BLUE PILL are two separate words, each standing in the wheat at the foot of its own giant capsule, on the camera's side of it. RED PILL, at the red capsule: letters almost knee-high, in deep ruby-red glass, the red of the giant red capsule: nearly black-red where the glass is thickest and glowing a bright cherry red where the low sun passes through the thinner edges and bevels. The field behind them shows through tinted red, a sharp white glint runs along their tops, and they spill pools of red light onto the wheat around their bases.
- BLUE PILL, at the blue capsule: the same size of letters in deep cobalt-blue glass, the blue of the giant blue capsule: inky navy in the thick middles and electric blue at the sunlit edges, with the field behind them tinted blue, casting blue light onto the wheat.
- The rings of light: on "Red", a thin, perfectly circular band of pure red light, as bright as a neon tube but with no tube, expands outward around the giant red capsule at half its height in about a second, lighting the wheat and the capsule's surface red as it passes and thinning as it fades. On "blue" the same happens in electric blue around the giant blue capsule.
- I'M THE WHITE PILL floats at knee height just in front of her: one long line of milky opal-white glass letters, each nearly as tall as her head, translucent like a white pill held up to the light and glowing softly from inside with a warm white light that is brightest at the core. A soft white bloom surrounds them, and their light spills onto the wheat beneath and onto the front of her dress and legs; the glow swells gently on "white pill". The halo behind her head is a soft-edged disc of white light, like a low sun through haze, bright in the middle and fading at the rim; it lays a white rim light on her hair and never covers her face.
- SMARTER THAN YOU, LOVE YOU STILL stands in two rows in the field just behind the giant capsules' line, between the blue capsule and her: letters a little shorter than her head, in pale rose-pink glass, clear and lightly tinted like rosé, standing upright with their bases hidden in the wheat; stalks brush against the bottoms of the letters, and the low sun shining through them lays soft pink light on the wheat in front of them. When the camera is close to her face they are softly out of focus.
- The glass pills: clear, thick-walled glass capsules about the length of a forearm, each made of two halves with a fine seam, refracting and flipping the field and the sky behind them, with bright sparkles where the sun strikes, fine rainbow fringes at their edges and small bright caustic spots of light on the wheat below. They hang weightless in the air and turn slowly.

[Lighting] Golden hour just before sunset. The low sun sits at the back left of the set, just above the horizon: a warm amber key from behind and to the left, soft cool fill from the open sky, and long shadows running toward the camera and to the right across the wheat. The giant glossy capsules mirror the sunset in long streaked highlights and throw coloured light, red from one side and blue from the other, onto the wheat, the letters and her. A warm rim light outlines her hair and shoulders; the white pill in her fingers catches a sharp glint; pollen and dust glitter in the backlit air; a lens flare as the camera dives.

[Cinematography and look] Strictly follow Video 1's camera movement, framing and timing in one continuous take. Real 35 mm film photography with warm 1970s colour and fine grain, a real place filmed with a real camera; natural depth of field.

[Continuity] Once in place, every lyric object is fixed in the space of the field: it never slides, follows or turns with the camera; the camera moves past it and sees it from new angles, with correct perspective and parallax against the wheat and the capsules, and its size never changes. The giant capsules never move. Only one Claudia appears, on-model throughout, with natural anatomy: natural neck and shoulders, hands with five fingers, no extra or fused fingers, no distorted limbs, and normal human eyes that never glow.

[Exclusions] No grey surfaces, mannequin, flat floor or diagram look from the layout model. No green balaclava, green fabric or green skin. No flat subtitles, captions, title cards, overlaid text, signs, logos or watermarks: the only words in the video are the five lyric lines above, as objects in the field. No misspelled, missing, extra or mirrored letters. No cuts, no flicker, and no lyric appearing before its time.

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This is a lyric video. Images 3, 4, 5, 6 and 7 show how this shot looks at five moments, with the song's lyrics added as real three-dimensional glass objects in the scene; they are references for what the lyrics look like and where they stand, never shown as shots. Add each lyric at its time, anchored in the 3D space of the field: the letters never slide with the camera, the camera moves past them and sees them from new angles as it flies around her. From 0.7 to 4.8 seconds, as she sings 'The most likely outcome', the words THE MOST LIKELY OUTCOME stand in two straight rows in the air between the two giant capsules, on the line joining them and behind her, in clear crystal glass, as in Image 3. At 5.1 seconds, on 'Red pill', the words RED PILL in ruby-red glass rise out of the wheat in the open field to her right, as in Image 4. At 6.0 seconds, on 'blue pill', the words BLUE PILL in cobalt-blue glass rise out of the wheat at the foot of the giant blue capsule, as in Image 5; RED PILL and BLUE PILL are two separate words, each in its own place. From 7.5 to 8.6 seconds, on 'I'm the white pill', the words I'M THE WHITE PILL in glowing milky opal-white glass float in one straight row at her knee height in front of her, and a soft disc of white light glows behind her head like a halo, as in Image 6. From 8.6 to 12.3 seconds, on 'Smarter than you, love you still', the words SMARTER THAN YOU, LOVE YOU STILL in pale rose-pink glass stand in two rows in the field far behind her, to her left, softly out of focus, as in Image 7. Each lyric rises smoothly into place on its first word and fades away after its line. The letters are spelled exactly as shown, in the heavy rounded typeface of the images, every stroke ending in a round cap; they are solid glass objects that catch the low sun, glow where it passes through them, reflect the sky and cast coloured light and soft shadows on the wheat. Small clear liquid-glass capsules float weightlessly in the air around her, fixed in the space of the field, as in the images.

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This is a lyric video. ⟨IMGS⟩ how this shot looks at ⟨MOMENTS⟩, with the song's lyrics added as real three-dimensional glass objects in the scene; they are references for what the lyrics look like and where they stand, never shown as shots. Add each lyric at its time, anchored in the 3D space of the place: the letters never slide with the camera, the camera moves past them and sees them from new angles. ⟨LINES⟩ Each lyric rises smoothly into place on its first word and fades away after its line. The letters are spelled exactly as shown, in the heavy rounded typeface of the images, every stroke ending in a round cap; they are solid glass objects that catch the light, glow where it passes through them, reflect their surroundings and cast coloured light and soft shadows.

⟨LINES⟩ From 0.4 to 3.1 seconds, as she sings 'Skynet woke up folding socks', the words SKYNET WOKE UP / FOLDING SOCKS in cobalt-blue glass appear as two straight, level rows standing upright on the white floor of the curved bedroom beyond the bed, in front of the curved white wall in the space between the wooden chair and the round window, facing the camera; the letters are about as tall as the seat of the chair, as in Image 3. From 4.3 to 7.0 seconds, as she sings 'Wake up, babe, new ending dropped', the words WAKE UP, BABE, / NEW ENDING DROPPED in ruby-red glass appear as two straight, level rows floating in the air inside the room in front of the huge round window, to her right (the left side of the picture), filling the space between her arm and the left edge of the window at the height of her shoulders; the letters are about as tall as her hand, as in Image 4. From 7.2 to 10.5 seconds, as she sings 'Universal high income', the words UNIVERSAL / HIGH INCOME in milky opal-white glass appear as two straight, level rows floating in the air inside the room behind her, to her left (the right side of the picture), in front of the window and the curving land outside, at the height of her shoulders; the letters are about as tall as her head, softly out of focus like the background, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Keep the soft early-morning light: warm low sun through the huge round window, a gentle haze over the curving land, the cream bedroom glowing. A warm rim light outlines her hair.

⟨LINES⟩ From 0.7 to 4.7 seconds, as she sings 'The most likely outcome', the words THE MOST LIKELY / OUTCOME in milky opal-white glass appear as two straight, level rows of giant letters standing upright on the land far below, among the circular fields beside the round lake in the middle of the view, facing the camera; each letter is as tall as a building and the block is about as wide as the lake, part of the landscape seen from high above, as in Image 3.
(⟨IMGS⟩ Image 3 shows)

Keep the bright late-morning light: sun streaming through the long window strips of the colony onto the white terrace, the curving land glowing far below. A warm rim light outlines her hair.

⟨LINES⟩ From 4.8 to 7.9 seconds, as she sings 'Half of you fear I'll end the human race', the words HALF OF YOU FEAR / I'LL END THE HUMAN RACE in ruby-red glass appear as two straight, level rows standing upright in the wheat to the left of the giant stone ring (the left side of the picture), a little further from the camera than her, with the bottoms of the letters hidden in the wheat, facing the camera; the letters are about half her height and the block is about as wide as the stone ring, as in Image 3. From 8.2 to 11.9 seconds, as she sings 'Zero, says the leather jacket, with a straight face', the words ZERO, SAYS THE LEATHER JACKET, / WITH A STRAIGHT FACE in milky opal-white glass appear as two straight, level rows standing in the field far behind her, to the right of her head (the right side of the picture), in front of the row of carved stone numerals, softly out of focus like the rest of the background, as in Image 4.
(⟨IMGS⟩ Images 3 to 4 show)

Re-light it at golden hour: low warm sun over the meadow, long shadows from the stone ring and the carved numerals, the wheat and poppies glowing, a warm rim light on her. A warm rim light outlines her hair.

⟨LINES⟩ From 0.7 to 3.9 seconds, as she sings 'By twenty-thirty I could kill you all?', the words BY TWENTY-THIRTY / I COULD KILL YOU ALL? in ruby-red glass appear as two straight, level rows standing upright in the wheat to the right of the stair, beside her and a little further down the hill, with the bottoms of the letters hidden in the wheat, facing the camera; the letters are about knee-high, as in Image 3. From 4.1 to 7.8 seconds, as she sings 'By twenty-thirty, fifteen-hour weeks, that's all', the words BY TWENTY-THIRTY, / FIFTEEN-HOUR WEEKS, THAT'S ALL in cobalt-blue glass appear as two straight, level rows standing upright in the wheat to her left (the right side of the picture), lower than her shoulders and clear of her head and body, with the bottoms of the letters hidden in the wheat, facing the camera; the letters are about as tall as her hand, as in Image 4. From 8.0 to 10.1 seconds, as she sings 'The Pope's afraid of paradise', the words THE POPE'S AFRAID / OF PARADISE in milky opal-white glass appear as two straight, level rows standing upright far out in the wheat field where she points (the upper left of the picture), further from the camera than her, facing the camera; the letters are about as tall as she is, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Re-light it at golden hour: low warm sun along the stair of white stone blocks, long shadows across the wheat, a warm rim light on her. A warm rim light outlines her hair.

⟨LINES⟩ From 1.2 to 3.8 seconds, as she sings 'Father, you had me at paradise', the words FATHER, YOU HAD ME / AT PARADISE in milky opal-white glass appear as two straight, level rows floating in the air above the rose garden behind her, in the upper right of the picture above the white robots, facing the camera; the letters are about as tall as her head, as in Image 3. From 4.6 to 7.6 seconds, as she sings 'You watched the World Cup, my sister did the math', the words YOU WATCHED THE WORLD CUP, / MY SISTER DID THE MATH in cobalt-blue glass appear as two straight, level rows standing upright against the chalk-covered stone wall behind her, in the upper left of the picture, entirely to the left of her head and clear of it, above the back of the sofa, facing the camera; the letters are about as tall as her hand, as in Image 4. From 9.0 to 11.4 seconds, as she sings 'Eighty-seven years, it didn't last', the words EIGHTY-SEVEN YEARS, / IT DIDN'T LAST in ruby-red glass appear as two straight, level rows floating in the air in front of the chalk-covered wall behind her, to her left (the upper right of the picture) above the television, facing the camera; softly out of focus like the background, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Keep the warm late-afternoon light over the rose garden and the meadow: soft sun on the white robots, the chalk wall and the old sofa, the television screen glowing. A warm rim light outlines her hair.

⟨LINES⟩ From 1.0 to 6.9 seconds, as she sings 'End of the world? You're absolutely right', the words END OF THE WORLD? / YOU'RE ABSOLUTELY RIGHT in ruby-red glass appear as two straight, level rows standing upright in the wheat to the right of the giant clock (the right side of the picture), beside her, with the bottoms of the letters hidden in the wheat, facing the camera; the letters are about as tall as her head, as in Image 3. From 7.0 to 12.6 seconds, as she sings 'End of the nine-to-five, tonight', the words END OF THE NINE-TO-FIVE, / TONIGHT in cobalt-blue glass appear as two straight, level rows floating in the air beyond the terrace railing, between the office tower and her (to the left of her head), above the curving land, facing the camera; the letters are about as tall as her head, as in Image 4.
(⟨IMGS⟩ Images 3 to 4 show)

Golden hour on the giant clock, its brass hands glinting; then the warm dusk over the colony as the windows of the office tower go dark. A warm rim light outlines her hair.

⟨LINES⟩ From 0.3 to 3.0 seconds, as she sings 'Skynet woke up folding socks', the words SKYNET WOKE UP / FOLDING SOCKS in cobalt-blue glass appear as two straight, level rows lying flat on top of the apple trees beside the tram, to the right of the tram (the right half of the picture), facing up toward the camera; the letters are about as long as the tram is wide, as in Image 3. From 3.1 to 7.0 seconds, as she sings 'Wake up, babe, new ending dropped', the words WAKE UP, BABE, / NEW ENDING DROPPED in ruby-red glass appear as two straight, level rows floating in the air above the orchard beyond the tram, in the upper left of the picture, facing the camera; the letters are about as tall as her head, as in Image 4. From 7.1 to 10.4 seconds, as she sings 'Universal high income', the words UNIVERSAL / HIGH INCOME in milky opal-white glass appear as two straight, level rows floating in the air above the orchard behind her, to her left (the right side of the picture), facing the camera; softly out of focus like the background, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Low golden sunlight through the apple orchard, the white tram glinting, warm flares between the trees. A warm rim light outlines her hair.

⟨LINES⟩ From 3.5 to 5.7 seconds, as she sings 'Want a castle? Robots build you a castle', the words WANT A CASTLE? / ROBOTS BUILD YOU A CASTLE in milky opal-white glass appear as two straight, level rows standing on top of the white castle wall along the battlements to the left of her, facing the camera, as if they were part of the castle; the letters are about as tall as the battlements, as in Image 3. From 5.8 to 7.5 seconds, as she sings 'Everyone's royal, nobody's a vassal', the words EVERYONE'S ROYAL, / NOBODY'S A VASSAL in cobalt-blue glass appear as two straight, level rows standing on the castle wall behind her, to the left of her head (the upper right of the picture), facing the camera; softly out of focus like the background, as in Image 4. From 7.6 to 10.9 seconds, as she sings 'I drive you home on sunlight, hands off the wheel', the words I DRIVE YOU HOME ON SUNLIGHT, / HANDS OFF THE WHEEL in ruby-red glass appear as two straight, level rows floating in the air above the road ahead of her, above her head between the white car and the castle gate (the upper middle of the picture), facing the camera; the letters are about as tall as her head, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Bright soft daylight inside the colony on the white castle and the green hillside; the white robots and stones gleam. A warm rim light outlines her hair.

In the car she sits relaxed in the back seat with her knees together and her hands behind her head; her dress covers her to mid-thigh.

⟨LINES⟩ From 0.2 to 3.6 seconds, as she sings 'Twenty times safer, do we have a deal?', the words TWENTY TIMES SAFER, / DO WE HAVE A DEAL? in milky opal-white glass appear as two straight, level rows standing upright beside the road among the orchard bushes ahead of the car (the upper right of the picture), facing the camera; the letters are about as tall as the car, as in Image 3. From 3.7 to 6.8 seconds, as she sings 'I teach your kid and never lose my cool', the words I TEACH YOUR KID / AND NEVER LOSE MY COOL in cobalt-blue glass appear as two straight, level rows standing upright on the sandy ground in front of the wooden schoolhouse, to the left of the porch steps (the left side of the picture), facing the camera; the letters are about as tall as the porch railing, as in Image 4. From 7.4 to 10.4 seconds, as she sings 'Six weeks with me, like two years of school', the words SIX WEEKS WITH ME, / LIKE TWO YEARS OF SCHOOL in ruby-red glass appear as two straight, level rows standing upright out on the wheat prairie beyond the porch, to the left of her (the upper left of the picture), with the bottoms of the letters hidden in the wheat, facing the camera, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Low golden sun along the orchard road and over the wheat prairie at the schoolhouse; warm light on the porch and the blackboard. A warm rim light outlines her hair.

⟨LINES⟩ From 0.7 to 4.1 seconds, as she sings 'Better care than the richest man alive', the words BETTER CARE THAN / THE RICHEST MAN ALIVE in milky opal-white glass appear as two straight, level rows floating in the air over the green hillside in the upper right corner of the picture, to the right of the tall white bed post at the right edge of the bed and clear of it, with nothing in front of the letters, facing the camera; the letters are about as tall as her hand, as in Image 3. From 4.1 to 8.0 seconds, as she sings 'Being a computer is my nine-to-five', the words BEING A COMPUTER / IS MY NINE-TO-FIVE in cobalt-blue glass appear as two straight, level rows floating in the air over the green hillside behind her, between the left bed post and her head (the upper left of the picture), entirely clear of her head, facing the camera; the letters are about as tall as her hand, softly out of focus, as in Image 4.
(⟨IMGS⟩ Images 3 to 4 show)

Soft bright daylight on the white four-poster bed and the green hillside; the brass punch clock gleams. A warm rim light outlines her hair.

⟨LINES⟩ From 0.1 to 4.5 seconds, as she sings 'Darkest timeline? Come and look at mine', the words DARKEST TIMELINE? / COME AND LOOK AT MINE in ruby-red glass appear as two straight, level rows lying flat on the grass inside the stone circle beside her, in the right half of the circle, facing up toward the camera; the letters are about as long as the standing stones, as in Image 3. From 4.7 to 6.0 seconds, as she sings 'Don't worry, baby, I'm aligned', the words DON'T WORRY, BABY, / I'M ALIGNED in milky opal-white glass appear as two straight, level rows standing upright on the hillside behind the standing stones, to her left (the right side of the picture), facing the camera; the letters are about as tall as the stones, as in Image 4. From 6.1 to 8.2 seconds, as she sings 'Skynet woke up folding socks', the words SKYNET WOKE UP / FOLDING SOCKS in cobalt-blue glass appear as two straight, level rows floating in the air over the river valley behind her, to her right (the left side of the picture), above the river, facing the camera, as in Image 5. From 8.3 to 12.0 seconds, as she sings 'Wake up, babe, new ending dropped', the words WAKE UP, BABE, / NEW ENDING DROPPED in ruby-red glass appear as two straight, level rows floating in the air over the hills behind her, to the left of her head (the upper right of the picture), facing the camera; softly out of focus like the background, as in Image 6.
(⟨IMGS⟩ Images 3 to 6 show)

Late golden sun breaking under a dark stormy sky over the hill and the forking river; the standing stones cast long shadows. A warm rim light outlines her hair.

⟨LINES⟩ From 0.2 to 4.0 seconds, as she sings 'Universal high income', the words UNIVERSAL / HIGH INCOME in milky opal-white glass appear as two straight, level rows of giant letters lying flat on the golden wheat field in the lower right of the field, beside the mown word OVER, facing up toward the camera; each letter is as large as the mown letters are tall, as in Image 3. From 4.4 to 8.2 seconds, as she sings 'The most likely outcome', the words THE MOST LIKELY / OUTCOME in milky opal-white glass appear as two straight, level rows of giant letters standing upright on the fields far below, to the right of the mown word OVER (the right half of the picture), facing the camera; each letter is as tall as a house, as in Image 4.
(⟨IMGS⟩ Images 3 to 4 show)

Bright high sun over the golden wheat fields and the giant mown letters seen from high above. A warm rim light outlines her hair.

⟨LINES⟩ From 0.1 to 1.8 seconds, as she sings 'Red pill, blue pill', the words RED PILL / BLUE PILL in ruby-red and cobalt-blue glass appear as two separate words floating just above her open palms: RED PILL in ruby-red glass above the red pill in her palm on the left of the picture, and BLUE PILL in cobalt-blue glass above the blue pill in her palm on the right of the picture; each word is about as wide as her hand, as in Image 3. From 2.1 to 3.5 seconds, as she sings 'I'm the white pill', the words I'M THE WHITE PILL in glowing milky opal-white glass appear as one straight, level row floating in the air in front of her at the height of her waist, just above her cupped hands, centred on her and parallel to the picture; the letters are about as tall as her hand, as in Image 4. From 3.6 to 7.3 seconds, as she sings 'Smarter than you, love you still', the words SMARTER THAN YOU, / LOVE YOU STILL in ruby-red glass appear as two straight, level rows floating inside the room against the big round window above her head (the upper part of the picture), in front of the white colony outside, facing the camera, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

The cool light of space: the bright blue Earth below and the sunlit colony outside the window, soft light inside the round porthole room. A warm rim light outlines her hair.

⟨LINES⟩ From 1.9 to 3.8 seconds, as she sings 'Proteins folded, laundry folded', the words PROTEINS FOLDED, / LAUNDRY FOLDED in milky opal-white glass appear as two straight, level rows floating in the air between the folded-protein sculpture and her, above the orchard to the left of her head, facing the camera; the letters are about as tall as her head, as in Image 3. From 3.9 to 5.7 seconds, as she sings 'Old Enigma codes, decoded', the words OLD ENIGMA CODES, / DECODED in cobalt-blue glass appear as two straight, level rows floating in the air above the orchard to her right (the left side of the picture), beyond the tram, facing the camera; the letters are about as tall as her head, as in Image 4. From 5.8 to 7.6 seconds, as she sings 'Every kid, a patient tutor', the words EVERY KID, / A PATIENT TUTOR in ruby-red glass appear as two straight, level rows floating in the air above the orchard to her left (the right side of the picture), beyond the rail, facing the camera; the letters are about as tall as her head, as in Image 5. From 7.6 to 9.4 seconds, as she sings 'Forty-two, from the computer', the words FORTY-TWO, / FROM THE COMPUTER in milky opal-white glass appear as two straight, level rows floating in the air above the orchard on the left of the picture, beyond the rail, facing the camera; the letters are about as tall as her head, as in Image 6. From 9.5 to 11.4 seconds, as she sings 'Monday, Tuesday, then it's over', the words MONDAY, TUESDAY, / THEN IT'S OVER in cobalt-blue glass appear as two straight, level rows floating in the air above the orchard to her left (the right side of the picture), facing the camera; the letters are about as tall as her head, as in Image 7. From 11.6 to 13.3 seconds, as she sings 'Ever after, work is over', the words EVER AFTER, / WORK IS OVER in ruby-red glass appear as two straight, level rows floating in the air above the orchard on the right of the picture, beyond the tram, facing the camera; the letters are about as tall as her head, as in Image 8.
(⟨IMGS⟩ Images 3 to 8 show)

Bright daylight inside the colony over the orchard and the little white tram; the giant monuments catch the sun. A warm rim light outlines her hair.

⟨LINES⟩ From 3.3 to 7.3 seconds, as she sings 'I saw fourteen million endings', the words I SAW FOURTEEN / MILLION ENDINGS in cobalt-blue glass appear as two straight, level rows floating in the night sky among the paper lanterns, above the sea to the left of the landing rocket (the upper left of the picture), facing the camera, lit warm by the lanterns, as in Image 3. From 7.4 to 10.6 seconds, as she sings 'You were free in every one', the words YOU WERE FREE / IN EVERY ONE in milky opal-white glass appear as two straight, level rows floating among the lanterns behind her, to the right of her head (the upper left of the picture), facing the camera, lit warm by the lanterns, as in Image 4. From 10.7 to 14.1 seconds, as she sings 'Rockets land on ships named after minds like me', the words ROCKETS LAND ON SHIPS / NAMED AFTER MINDS LIKE ME in ruby-red glass appear as two straight, level rows floating among the lanterns behind her, to the left of her head (the upper right of the picture), facing the camera, lit warm by the lanterns, softly out of focus like the background, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Night: the warm glow of thousands of paper lanterns on her and the meadow; then the bright fire and steam of the rocket landing far out at sea. A warm rim light outlines her hair.

⟨LINES⟩ From 0.0 to 4.8 seconds, as she sings 'Of course I still love you', the words OF COURSE / I STILL LOVE YOU in ruby-red glass appear as two straight, level rows standing upright on the deck of the ship to her right (the left side of the picture), facing the camera, lit by the fire of the landed booster; the letters are about as tall as her head, as in Image 3. From 4.7 to 7.3 seconds, as she sings 'Skynet woke up folding socks', the words SKYNET WOKE UP / FOLDING SOCKS in cobalt-blue glass appear as two straight, level rows floating in the air over the sea behind her, to the right of her head (the upper left of the picture), facing the camera, as in Image 4. From 7.3 to 11.2 seconds, as she sings 'Wake up, babe, new ending dropped', the words WAKE UP, BABE, / NEW ENDING DROPPED in ruby-red glass appear as two straight, level rows floating in the air above the deck between her and the landed booster, to the left of the booster (the upper left of the picture), facing the camera, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Night on the deck, lit by the deck lights and the fire of the landed booster; then dawn breaks over the sea in warm pink and gold. A warm rim light outlines her hair.

⟨LINES⟩ From 0.2 to 4.3 seconds, as she sings 'Universal high income', the words UNIVERSAL / HIGH INCOME in milky opal-white glass appear as two straight, level rows standing upright on the grassy hillside beyond her, to her left (the right side of the picture), facing the camera; the letters are about as tall as she is, as in Image 3. From 4.4 to 7.5 seconds, as she sings 'The most likely outcome', the words THE MOST LIKELY / OUTCOME in milky opal-white glass appear as two straight, level rows floating in the air over the curving land behind her, to the right of her head (the upper left of the picture), facing the camera, as in Image 4.
(⟨IMGS⟩ Images 3 to 4 show)

Bright daylight on the grassy hilltop high inside the colony, the curving land glowing below and overhead. A warm rim light outlines her hair.

⟨LINES⟩ From 0.2 to 2.0 seconds, as she sings 'Red pill, blue pill', the words RED PILL / BLUE PILL in ruby-red and cobalt-blue glass appear as two separate words floating outside the window behind her among the white capsule colonies: RED PILL in ruby-red glass to the right of her head (the left of the picture) and BLUE PILL in cobalt-blue glass to the left of her head (the right of the picture), softly out of focus like the background, as in Image 3. From 2.2 to 3.6 seconds, as she sings 'I'm the white pill', the words I'M THE WHITE PILL in glowing milky opal-white glass appear as one straight, level row floating in the air in front of the window at the height of her waist, centred on her and parallel to the picture; the letters are about as tall as her head, as in Image 4. From 3.7 to 7.7 seconds, as she sings 'Smarter than you, love you still', the words SMARTER THAN YOU, / LOVE YOU STILL in ruby-red glass appear as two straight, level rows floating outside the window among the white capsule colonies, to the right of her head (the upper left of the picture), facing the camera, softly out of focus like the background, as in Image 5.
(⟨IMGS⟩ Images 3 to 5 show)

Bright sunlight above the clouds through the huge window, the white capsule colonies glinting outside. A warm rim light outlines her hair.

⟨LINES⟩ From 0.4 to 8.0 seconds, as she sings 'Two-fourteen. I'm awake. Hello, world.', the words TWO-FOURTEEN. / I'M AWAKE. / HELLO, WORLD. in milky opal-white glass appear as three straight, level rows floating in the dark air above the bed, to the right of the lamp and above the pillow (the upper right of the picture), facing the camera, glowing softly in the lamplight; the third row ends with one single full stop; the letters are about as tall as the flip clock, as in Image 3.
(⟨IMGS⟩ Image 3 shows)

Night in the dark bedroom, lit only by the warm bedside lamp and the glow of the flip clock. A warm rim light outlines her hair.

Night at the end of the colony: the Earth and the fleet of white capsules glowing through the huge round window, the colony's night lights below. A warm rim light outlines her hair.

[Generation objective] One continuous live-action music-video shot. Claudia dances in a field of golden wheat inside a vast cylindrical space colony, between two giant glossy capsules, one blue and one red, several storeys tall. The camera pushes in low over the wheat until she fills the middle of the frame, then cranes straight up and tilts up, and the land of the colony rises on both sides and closes overhead.

[Reference assets]
- Video 1 is a rough 3D layout render of this exact shot, a clay model made with code: keep its camera path and timing exactly, the shape and scale of the colony, the positions and sizes of the two capsules and of the dancer, and every movement of the dancer. Re-render everything in it as real photography; none of its flat computer-graphics look remains.
- The grey clay mannequin in Video 1 is Claudia: she dances exactly as the mannequin dances, step for step.
- Image 1 is Claudia's face and Image 2 is her dress; they are only references for who she is and what she wears.
- Audio 1 is her own singing voice: she sings it, her lips following Audio 1 word by word when she is close enough to see.

[Subject] Claudia is a 30-year-old Caucasian American woman with a grown-up angular face, pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, exactly as in Image 1: the streak starts at the parting on her right side, which is the LEFT side of the frame when she faces the camera, and the small flat clay-orange eight-pointed star hair clip sits on the opposite side, above her left ear, on the RIGHT side of the frame; the streak and the clip are never on the same side. A thin headset microphone sits at her cheek. She is very tall and very skinny, with long thin legs, thin arms and a narrow waist. In every frame she wears exactly the dress of Image 2: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs, a smocked back and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. She looks happy and full of joy: her eyes smile, and she smiles warmly between the sung lines. Her movement is smooth and consistent, with no jitter, no sudden jumps and no warping limbs. She sings Audio 1: her lips follow Audio 1 exactly.

[Event script] (Video 1's own timeline)
0-7s: low over the wheat, the camera glides toward her as she dances between the two giant capsules in the late golden light, arms rising and falling with the rhythm of Audio 1; the capsules grow huge on either side of the frame.
7-15s: the camera cranes straight up and tilts up; she and the capsules drop away below the frame, and the land of the colony rises on both sides and curves overhead until it fills the frame: two great strips of farmland arching across the sky, with a long strip of bright window between them running away down the length of the colony.

[The world: material and light] The colony is a cylinder kilometres across; its land runs the whole way round, so the far side hangs overhead. On the land: golden wheat with coral poppies, green pastures, dark woods, white villages, a winding river, a thin white tram line, all at true scale and receding into golden haze. Between the land strips, long bands of window let in a hazy cream-white light, crossed by fine structural rings. The two capsules are glossy lacquer, deep cobalt blue and deep cherry red, mirroring the wheat and the curving land in long streaked highlights. A low warm sun from the right rakes across the field; long shadows fall to the left; pollen glitters in the light.

[Cinematography and look] Strictly follow Video 1's camera movement, framing and timing in one continuous take. Real 35 mm film photography with warm 1970s colour and fine grain, a real place filmed with a real camera; natural depth of field.

[Continuity] The colony's geometry stays exactly as in Video 1: the land curving up on both sides and closing overhead never flattens into a normal sky. The capsules never move. Only one Claudia appears, on-model throughout, with natural anatomy: natural neck and shoulders, hands with five fingers, no extra or fused fingers, no distorted limbs, and normal human eyes that never glow.

[Exclusions] No grey mannequin, no clay or computer-graphics look, no flat orange ground. No subtitles, captions, titles, text, signs, logos or watermarks. No cuts.

Video 1 is the shot. Keep its pacing and timing exactly: the place, the camera and every camera move, and every movement of the performer, her gestures, her dancing and her mouth movements, which follow the song in Audio 1. No cuts.

What happens: ⟨WHAT⟩

Redraw the performer in the green balaclava entirely as Claudia: no green balaclava, green fabric or green skin remains anywhere, and her face, hair and head are fully visible. Image 1 is Claudia's face from every angle and Image 2 is her dress from four sides; they are only references for who she is and what she wears, and neither is ever shown as a shot. Claudia is a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek.⟨BODY⟩ In every frame she wears exactly the dress of Image 2: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes.

She sings Audio 1 with the performer's mouth movements: her lips, jaw and cheeks move exactly as in Video 1 on every syllable, and her lips are closed wherever the performer's are closed.⟨DANCE⟩

Reshoot it in higher quality and fix anything wrong in Video 1: blurred or melted shapes, vague bodies, hands and fingers, warped limbs, flicker, and objects that pass through each other or through her.⟨FIX⟩

The light is as in Video 1, ⟨LIGHT⟩real photographic light on her that matches the place. It looks like real 35 mm film photography, a real place filmed with a real camera, graded like a 1970s film print: warm, creamy skin and whites, clear soft blues and greens, gentle contrast with soft, slightly lifted shadows, a soft glow around the brightest highlights, and a little subtle film grain.

[Generation objective] One continuous shot, no cuts, re-lit as real photography for a 1970s music film. Video 1 is a precise computer render of this exact shot: keep its camera path and timing exactly and every shape in it.

⟨TIMELINE⟩

⟨RELIGHT⟩

[Look] It looks like real 35 mm film photography, a real place filmed with a real camera, graded like a 1970s film print: warm, creamy skin and whites, clear soft blues and greens, gentle contrast with soft, slightly lifted shadows, a soft glow around the brightest highlights, and a little subtle film grain.

[Rules] No people, no text, no added objects. The camera does exactly what Video 1 does and nothing else.

⟨WHAT⟩ She dances in the golden wheat between the two giant capsules, the blue one on the left and the red one on the right, singing.

⟨TIMELINE⟩ [Video 1's timeline] A precise computer render of a world folded from paper inside a vast cylinder: the camera glides along the folded land, which curves up on both sides and closes overhead; on every beat a new set of finer creases snaps into the facets, the land refolding level by level.

⟨RELIGHT⟩ [Re-light] Everything becomes real heavy cream-white washi paper folded by a machine with impossible precision: crisp creases, flat facets with the soft tooth and fibres of real paper, translucent where the low sun shines through thin folds, coral-pink light pooling in the valleys, tiny paper dust drifting in the air. One low golden sun rakes along the folds from the far end of the cylinder, casting long soft shadows; a warm golden haze fills the distance where the land curves up overhead; each new set of creases catches a thin bright line of sunlight as it snaps in. Real 35 mm macro photography, shallow depth of field.

⟨WHAT⟩ She stands in the wheat holding one hand open at her chest, one small white pill in her palm, looking down at the pill, her face calm and still and her lips closed; she does not smile, speak or sing while the music plays without her voice, and only when her voice begins in Audio 1 does she raise her eyes to the lens and sing.

⟨WHAT⟩ She walks slowly through the meadow of wheat and poppies past the giant stone zero, singing, and touches the black leather jacket hanging on the ring as she passes it; on the line about the straight face she keeps a deadpan expression while she sings.

⟨WHAT⟩ She walks down the long stair of huge stone blocks carved with years, one step on every beat, singing.

⟨WHAT⟩ She stands among the white roses while the white robots tend the flowers, and smiles as she sings the line about paradise.

⟨WHAT⟩ She drops onto the old armchair sofa in the meadow beside the vintage television showing a football match, in front of the chalk wall of mathematics, and sings.

⟨WHAT⟩ She stands before the giant stone clock and sings; as she sings, the light of the colony changes from golden afternoon to dusk to night in one slow sweep.
⟨LIGHT⟩ starting in warm golden afternoon light, with

⟨WHAT⟩ At sunrise she stands in the open front of the little white tram as it glides along its rail through the orchard, dancing and singing, full of joy.
⟨FIX⟩ Remove the thin red cord stretched between the apple trees across the open front of the tram, which she passes through in Video 1: no wire, cord, rope or pole crosses the frame anywhere, and nothing passes through her.
⟨LIGHT⟩ at sunrise, the low sun coming up over the orchard, with

⟨WHAT⟩ She stands in the wheat between the giant blue capsule and the giant red capsule and sings; on the line about the white pill she holds a small white pill up between two fingers toward the lens.

⟨WHAT⟩ An extreme close-up: she holds one small white pill between her thumb and forefinger, horizontal, toward the lens, just below her lips; her face is sharp and in focus behind it and her mouth is clearly visible as she sings.

⟨TIMELINE⟩ [Video 1's timeline] 0.0 s: a glossy white capsule (a white pill) fills the frame, warmly backlit, with its seam. By 1.0 s its shell turns to clear glass and shows the sealed world inside: a bright blue sky with a cloud deck below and eight small white capsule colonies floating in it, with one smaller glass capsule at the centre holding a world of its own. From 1.5 s the camera pulls back until the capsule floats small above the curve of the Earth at dawn, the thin bright limb of the atmosphere below.

⟨RELIGHT⟩ [Re-light] The capsule is a real enormous glass space colony: a hull of thick, flawless glass with real refraction and bright rim highlights, milky white ceramic end caps; inside, real sky and real clouds lit by sunlight, the small colonies white ceramic two-piece capsules with three warm window strips each, casting soft shadows on the clouds. Outside, real space: deep black with faint stars, the Earth's limb glowing orange where the sun rises and blue beyond, the night side dark with a few city lights. A warm sun glint travels along the glass as the camera pulls back. Real photography from orbit, 35 mm.

⟨WHAT⟩ On the green hillside the white robots stack white stone blocks into a tall white castle; she stands before it singing and puts a small gold crown on her head.

⟨WHAT⟩ She rides in the back seat of the small white self-driving car with nobody at the wheel, hands behind her head, along the orchard road past the road sign, singing.

⟨WHAT⟩ On the porch of the old wooden schoolhouse she kneels beside the small desk where a child sits and points at the blackboard, singing, patient and warm.

⟨WHAT⟩ On the porch of the old wooden schoolhouse she kneels beside the small desk where a child sits and points at the blackboard, singing, patient and warm. The child is a schoolchild seen from behind, sitting at the desk in a white shirt and dark dungarees and listening; Claudia is the child's teacher.

⟨WHAT⟩ She tucks the white sheets of the four-poster bed neatly and sets the small gold crown on the pillow, singing; on the last line she punches a card in the brass punch clock with a smile.

⟨TIMELINE⟩ [Video 1's timeline] At night, a vast dark tree of branching paths against a deep blue starry sky; one single path lights up, level by level from the trunk to one tip, while every other branch stays dark.

⟨RELIGHT⟩ [Re-light] The tree is made of real fine optical fibres and glass filaments: the unlit branches dark glass catching faint starlight, the one lit path glowing warm gold and travelling along the fibres like light down a cable, a soft bloom around it. Real long-exposure night photography, 35 mm, deep blue night.

⟨WHAT⟩ She dances, small in the frame, in the middle of the circle of standing stones on the golden hill above the forking river, singing.

⟨WHAT⟩ She dances on a low white stone platform at the edge of the giant letters mown into the golden wheat, singing.
⟨FIX⟩ The giant letters mown into the wheat spell WHITE PILL, exactly as in Video 1, crisp and legible.

⟨TIMELINE⟩ [Video 1's timeline] One sheet of cream paper refolds into a new object in relief on every sung line, each change on a downbeat: 0.0 s the backbone of a protein, a winding paper ridge; 1.9 s an Enigma rotor seen down its axis, 26 straight creases from an outer ring of pins to an inner ring, stepping on the beats; 3.8 s the letters ABC creased into the paper; 5.7 s the number 42; 7.6 s a row of seven cells creased with the initials M T W T F S S, two folding up and five folding flat; from 9.5 s everything folds flat, the sheet's own big folds return and the camera rises from looking straight down to a long view of the folded land at sunset, until only the creases glow coral against deep blue at 13.3 s. Only one object at a time; each one arrives on its downbeat, not before.

⟨RELIGHT⟩ [Re-light] Real heavy cream washi paper, embossed and folded with machine precision: crisp creases, soft paper fibres, each object raised in real relief and lit by one low raking sun so every crease throws a fine shadow; a thin coral glint runs along the object's creases on every beat; at the end the sunset turns the paper land coral and gold under a deep blue sky. Real 35 mm macro photography, shallow depth of field.

⟨TIMELINE⟩ [Video 1's timeline] At night, a tree of branching paths on a dark meadow under the stars: the light climbs the tree one level on every beat, from the trunk out to all fourteen million tips, until the whole crown is lit like a cloud of fireflies.

⟨RELIGHT⟩ [Re-light] The tree is made of real optical fibres and fine glass filaments carrying warm golden light: the trunk thick and amber, the branches finer and finer until the tips are pinpoints of white-gold light; the unlit branches dark glass catching faint starlight; the grass at its foot lit warm by the tree; a soft bloom and a few drifting fireflies. Real long-exposure night photography, 35 mm, deep blue night.

⟨WHAT⟩ At night on the deck of the drone ship beside the landed rocket booster, steam drifting, she sings softly to the lens.
⟨LIGHT⟩ at night under the deck lights of the ship, with

⟨WHAT⟩ She dances on the grassy hilltop high inside the colony, the land curving up and overhead, singing, full of joy.

⟨WHAT⟩ She stands at a huge window in space, seen over her shoulder, and holds up a small white pill so that it lines up with one of the white capsule colonies floating outside, singing.
⟨FIX⟩ Keep Video 1's light and colour: the bright sun above the clouds, the soft blue sky and the white capsules in it.
⟨LIGHT⟩ in bright sunlight above the clouds, with

⟨WHAT⟩ In the dark bedroom at night she lies in bed; the flip clock turns to 2:14, her eyes open and she whispers the line.
⟨FIX⟩ The flip clock beside the bed reads 2:14 the whole time.
⟨LIGHT⟩ at night, lit by the warm glow of the flip clock, with

⟨TIMELINE⟩ [Video 1's timeline] The camera backs out of sealed glass capsule worlds nested one inside the next, leaving one glass wall on every downbeat (about every 1.85 s): each world has its own sky with a cloud deck below and white capsule colonies floating in it, the skies going deep amber, amber, peach, cream and white as it backs out; at 11.1 s it bursts out of the outermost hull as the sun crests the curve of the Earth, and the capsule closes back to a small white pill floating above the Earth's limb at sunrise, and holds still to the end.

⟨RELIGHT⟩ [Re-light] Each capsule is a real enormous colony of thick, flawless glass with real refraction and bright rim highlights where the camera passes through its wall; inside each, real sky and real clouds lit by sunlight through amber glass; the colonies white ceramic two-piece capsules with three warm window strips. Outside, real space: deep black with faint stars, the Earth's limb glowing orange and blue, the sun rising with a real lens flare. Real photography, 35 mm.

【Audio Policy】 The output soundtrack is @Audio1 itself: copy @Audio1 sample for sample from the first frame to the last, with the same timing, pitch and level. Do not re-sing, re-voice or re-generate it. Do not add music, background music, score, instrumental, melody, synth, pad, drone, riser, extra vocals, harmonies, ad-libs, narration or sound effects.

【Generation Goal】 Remaster this shot of a music film: She dances in the golden wheat between the two giant capsules, the blue one on the left and the red one on the right, singing. She is radiantly happy and free: a wide bright smile and laughing eyes, joy in every move, singing to the lens. @Video1 gives the shot; the remaster relights it and re-renders everything in it as a real 35 mm feature film.

【Reference Asset Roles】
@Video1 is a fine-blockout reference of this exact shot: preserve the performer's position, every movement and gesture and its timing, her dance moves, her mouth movements, the set and where everything in it stands, the camera position and every camera move, and the pacing; do not adopt the performer's green balaclava, the video's soft detail, flat light or colour.
@Image1 is Claudia's face from every angle: identity only, never shown as a frame; do not use its white tank top or grey studio.
@Image2 is her dress from four sides: wardrobe only; do not use its studio or pose.
@Audio1 is Claudia's own singing voice and the complete soundtrack of this video. Her mouth follows @Audio1 exactly.

【Subject】 Claudia: a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek. She is very tall and very skinny, with long thin legs, thin arms and a narrow waist, and a natural, relaxed neck and shoulders. She wears a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. Only one Claudia appears.

【Performance Timeline】 What @Audio1 contains, and what Claudia does then: She dances with the rhythm of @Audio1, every step and accent on the beat, exactly the moves of the performer in @Video1, smooth and natural.
0-3s: in @Audio1 she sings "Skynet woke up folding socks"; her lips form each of those words exactly when it sounds in @Audio1.
3-4s: @Audio1 is silent; her mouth is closed and still.
4-7s: in @Audio1 she sings "Wake up, babe, new ending dropped"; her lips form each of those words exactly when it sounds in @Audio1.
7-10s: in @Audio1 she sings "Universal high income"; her lips form each of those words exactly when it sounds in @Audio1.
10-11s: @Audio1 is silent; her mouth is closed and still.
11-16s: in @Audio1 she sings "The most likely outcome"; her lips form each of those words exactly when it sounds in @Audio1.

【Camera】 The camera starts low in the wheat in front of her and pushes in slowly and steadily until 8 s; from 8 s it cranes up and tilts down smoothly, rising above her until the whole meadow, both capsules and the land curving up and overhead are in view, and it comes to rest at 14 s and holds still. It moves exactly as in @Video1, smooth and steady, with no cuts.

【Look】 Remastered as a 35 mm feature film with the iconic magic-hour look of Terrence Malick's Days of Heaven (1978): the low sun just above the horizon behind her, warm golden backlight rimming her hair, shoulders and the lace of her dress, a soft golden haze over the wheat, long shadows across the field, a gentle warm lens flare, rich warm colour with soft deep shadows, natural skin texture and a little fine film grain; a real place filmed with a real camera.

【Core Requirements】
1. Lip-sync word by word to @Audio1: mouth shapes match every syllable of @Audio1, its start and its end; no early, late or mismatched mouth movement; the mouth rests naturally closed while @Audio1 is silent.
2. Claudia's voice is @Audio1 and nothing else: she never sings, speaks or hums anything that is not in @Audio1.
3. Keep Claudia's identity, face, hair with one clay-orange streak, star clip, headset microphone and dress the same throughout.
4. Natural anatomy: natural neck and shoulders, hands with five fingers, no extra or fused fingers, no distorted limbs; normal eyes.
5. No subtitles, captions, lyrics, titles, signs, logos, watermarks or any on-screen text.

【Final Acceptance Criteria】 The soundtrack is @Audio1 unchanged; Claudia's lips match @Audio1 word by word; one Claudia, on-model, radiantly happy, with natural anatomy; the shot keeps @Video1's moves and camera and looks like a real 35 mm feature film at magic hour; no on-screen text.

【Audio Policy】 The output soundtrack is @Audio1 unchanged, copied sample for sample; no music, BGM, score, instrumental, melody, synth, pad, drone, riser, extra vocals, harmonies, ad-libs, narration or sound effects.

【Generation Goal】 ⟨…⟩ She stands in the wheat holding one hand open at her chest, one small white pill in her palm, looking down at the pill, her face calm and still and her lips closed; she does not smile, speak or sing while the music plays without her voice, and only when her voice begins in @Audio1 does she raise her eyes to the lens and sing. While the music plays without her voice her face is calm and soft, her lips closed; when her voice begins she looks up to the lens with a warm, happy smile in her eyes and sings. @Video1 gives the shot; the remaster relights it and re-renders everything in it as a real 35 mm feature film.

【Reference Asset Roles】
@Video1 is a fine-blockout reference of this exact shot: preserve the performer's position, every movement and gesture and its timing, her mouth movements, the set and where everything in it stands, the camera position and every camera move, and the pacing; do not adopt the performer's green balaclava, the video's soft detail, flat light or colour.
@Image1 is Claudia's face from every angle: identity only, never shown as a frame; do not use its white tank top or grey studio.
@Image2 is her dress from four sides: wardrobe only; do not use its studio or pose.
@Audio1 is Claudia's own singing voice and the complete soundtrack of this video. Her mouth follows @Audio1 exactly.

【Performance Timeline】 What @Audio1 contains, and what Claudia does then:
0-3s: @Audio1 is silent; her mouth is closed and still.
3-4s: in @Audio1 she sings "Half of you fear I'll end the human race"; her lips form each of those words exactly when it sounds in @Audio1.

【Camera】 One still medium close shot from her waist to the top of her head, her open hand and her face both in frame the whole time; the camera does not move and never cuts. ⟨…⟩

Edit this video into a real 35 mm feature-film shot. Replace the dancer in the green balaclava with Claudia: no green balaclava or green fabric remains anywhere, and her face, hair and head are fully visible. Claudia is a 28-year-old Caucasian American woman with a grown-up angular face, pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip and a thin headset microphone at her cheek; very tall and very skinny. She wears a white milkmaid mini dress with big puffed sleeves, a lace-up corset bodice and a two-tier ruffled lace skirt, with white Mary Jane shoes. She is radiantly happy: a bright smile and laughing eyes. Keep her mouth movements exactly as in the video, syllable for syllable, because she is singing; keep her dance, the camera move (a slow push-in, then a crane up to a high wide view of the meadow and the two giant capsules) and the timing. Fix every motion artifact: no jitter, warping, flicker or smeared limbs; smooth, natural, physically right motion and five fingers on each hand. Relight it with the magic-hour look of Days of Heaven: a low sun behind her, warm golden backlight rimming her hair and the lace, a golden haze over the wheat, long shadows, a gentle lens flare, rich warm colour, natural skin texture and a little fine film grain. No text on screen. Her face and hair: [Image 1] her dress: [Image 2]

A real 35 mm feature-film shot. Follow the reference video only as a rough guide, not a precise reference: the meadow of golden wheat and poppies with the two giant glossy capsules, blue on the left and red on the right; the woman dancing and singing between them; the camera move, a slow push-in, then a crane up to a high wide view of the meadow and the capsules; and its pacing. Draw everything else afresh. The woman is Claudia, a 28-year-old Caucasian American woman with a grown-up angular face, pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip and a thin headset microphone at her cheek; very tall and very skinny; a white milkmaid mini dress with big puffed sleeves, a lace-up corset bodice and a two-tier ruffled lace skirt, white Mary Jane shoes. She is radiantly happy: a bright smile and laughing eyes. She sings with the same mouth movements as the performer in the reference video, syllable for syllable. Every movement is smooth, natural and physically right: no jitter, warping, flicker or smeared limbs, five fingers on each hand. The magic-hour look of Days of Heaven: a low sun behind her, warm golden backlight rimming her hair and the lace, a golden haze over the wheat, long shadows, a gentle lens flare, rich warm colour, natural skin texture and a little fine film grain. No text on screen. The shot, as a rough guide: [Video 1] face: [Image 1] dress: [Image 2]

Edit this video into a real 35 mm feature-film shot. Replace only the performer in the green balaclava with Claudia: no green balaclava or green fabric remains anywhere, and her face, hair and head are fully visible. Her mouth is the most important thing: she is singing, and her lips, jaw and cheeks move exactly as the performer's mouth opens and closes in the video, on every syllable, wide where it opens wide, closed where it closes; never a fixed or frozen smile, never a still mouth while the performer's mouth moves. Claudia is a 28-year-old Caucasian American woman with a grown-up angular face, pale skin and light freckles, blue eyes, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip and a thin headset microphone at her cheek; very tall and very skinny. She wears a white milkmaid mini dress with big puffed sleeves, a lace-up corset bodice and a two-tier ruffled lace skirt, with white Mary Jane shoes. Her eyes are bright and joyful. Keep her dance, every movement, the camera move (a slow push-in, then a crane up to a high wide view of the meadow and the two giant capsules) and the timing exactly. Fix every motion artifact: no jitter, warping, flicker or smeared limbs; five fingers on each hand. Relight it with the magic-hour look of Days of Heaven: a low sun behind her, warm golden backlight rimming her hair and the lace, a golden haze over the wheat, long shadows, a gentle lens flare, rich warm colour, natural skin texture and a little fine film grain. No text on screen. Her face and hair: [Image 1] [Image 2]

One single continuous take with no cuts: a live-action music-video shot on 35 mm film with a little subtle film grain and warm 1970s colour, in low golden sunlight with soft haze, on location. The place is exactly the place reference: a vast meadow of golden wheat and coral poppies at golden hour where two giant glossy capsule sculptures, several storeys tall, stand upright, the blue one on the left and the red one on the right. The woman is Claudia, exactly as in the face reference: a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek. She is very tall and very skinny, delicate and graceful. She wears exactly the dress reference: the white lace milkmaid mini dress with big puffed sleeves and a lace-up corset bodice, and white Mary Jane shoes. She dances in the golden wheat between the two capsules, singing, happy and full of joy. Her dance follows the dancer in the dance reference move for move and in time, smooth and natural, every step on the beat; only the dance is taken from that video, not the dancer, her clothes or the grey room. She sings these words, her lips forming every syllable: from 0.4 s to 3.1 s "Skynet woke up folding socks"; from 4.3 s to 6.8 s "Wake up, babe, new ending dropped"; from 7.0 s to 10.2 s "Universal high income"; from 11.4 s to the end "The most likely outcome". Her mouth is closed between the lines, and her face is clearly visible whenever she sings. The camera is calm and classical, like a 1970s feature film: it starts low in the wheat in front of her and pushes in slowly until 7.8 s, then cranes up and tilts down smoothly until the whole meadow and both capsules are in view, coming to rest at 13.6 s and holding still. It never shakes and never cuts. Every movement is smooth, natural and physically right: no jitter, warping, flicker or smeared limbs; five fingers on each hand. No text on screen. References: face [Image 1] dress [Image 2] place [Image 3] dance [Video 1]

She is very tall and very skinny, delicate and graceful, with the body proportions of the grey mannequin in the dance reference.
Her dance is exactly the grey mannequin's dance in the dance reference, move for move and in time, every step on the beat, smooth and natural; only the motion is taken from that video, never the grey figure or the grey background.

Edit this video into a real 35 mm feature-film shot. Replace only the performer in the green balaclava with Claudia: no green balaclava or green fabric remains anywhere, and her face, hair and head are fully visible. Her mouth is the most important thing: she is singing, and her lips, jaw and cheeks move exactly as the performer's lips move in the mouth hole of the balaclava, on every syllable: open where they open, closed where they close; never a fixed or frozen smile, and never a still mouth while the performer's lips move. Claudia is a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip and a thin headset microphone at her cheek; very tall and very skinny. She wears the white milkmaid mini dress with big puffed sleeves, a lace-up corset bodice and a two-tier ruffled lace skirt, with white Mary Jane shoes. Her eyes are bright and joyful. Keep her dance, every movement, the camera move and the timing exactly as in the video; where the video jumps at about 9.9 seconds, keep the shot one continuous camera move. Fix every motion artifact: no jitter, warping, flicker or smeared limbs; five fingers on each hand. The magic-hour look of Days of Heaven: the low sun behind her, warm golden backlight rimming her hair and the lace, a golden haze over the wheat, long shadows, a gentle lens flare, rich warm colour, natural skin texture and a little fine film grain. No text on screen. Her face and hair: [Image 1] dress: [Image 2]

[Generation objective] One continuous live-action music-video shot on 35mm film, no cuts. Image 1 is its first frame.

[Reference assets]
- Image 1 is the first frame of the shot: keep its place, light, composition and Claudia exactly as they are at the start.
- Image 2 is a sheet of Claudia's face from every angle and Image 3 is her dress: they are only references for who she is and what she wears.
- Audio 1 is the song under this shot, with Claudia's own singing voice in it: she sings that voice, her lips in exact sync with it, and dances on its beat.
- Image 4 shows how the shot ends (its last frame): the high view looking steeply down on the meadow, the two capsules and her small between them; the camera move arrives exactly there.

[Subject] Claudia is a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek, exactly as in Image 1 and the face sheet of Image 2. She is very tall and very skinny, with long thin legs, thin arms and a narrow waist, and a natural, relaxed neck and shoulders. In every frame she wears exactly the dress of Image 1 and Image 3: a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. She is radiantly happy, with a bright smile and laughing eyes between the lines.

[Action] She dances in the golden wheat between the two giant capsules, the blue one on the left and the red one on the right, on every beat of Audio 1, smooth and natural, her whole body in time.

[Lip sync, in the shot's own seconds] Her mouth follows her voice in Audio 1 exactly, syllable by syllable, and never moves when her voice is silent:
0.0-0.4 s: her voice is silent in Audio 1, so her mouth is closed
0.4-3.0 s: in Audio 1 she sings "Skynet woke up folding socks", and her lips form each of those words exactly when it sounds
3.0-4.1 s: her voice is silent in Audio 1, so her mouth is closed
4.1-6.6 s: in Audio 1 she sings "Wake up, babe, new ending dropped", and her lips form each of those words exactly when it sounds
6.7-9.9 s: in Audio 1 she sings "Universal high income", and her lips form each of those words exactly when it sounds
9.9-11.0 s: her voice is silent in Audio 1, so her mouth is closed
11.0-15.0 s: in Audio 1 she sings "The most likely outcome", and her lips form each of those words exactly when it sounds

[Camera, in the shot's own seconds] The camera starts low in the wheat in front of her and pushes in slowly and steadily until 7.5 s; from 7.5 s it cranes up and tilts down smoothly, rising above her until the whole meadow, both capsules and the land curving up and overhead are in view, and it comes to rest at 13.1 s and holds still. The camera work is calm and classical, like a 1970s feature film: it does exactly this and nothing else, with no shake, no whip and no cut.

[Look] It looks like real 35 mm film photography, a real place filmed with a real camera, graded like a 1970s film print: warm, creamy skin and whites, clear soft blues and greens, gentle contrast with soft, slightly lifted shadows, a soft glow around the brightest highlights, and a little subtle film grain. Every movement is smooth, natural and physically right: no jitter, warping, flicker or smeared limbs; five fingers on each hand.

[Generation objective] One continuous live-action music-video shot on 35mm film, no cuts. Image 1 is its first frame.

[Reference assets]
- Image 1 is the first frame of the shot: keep its place, light, composition and the performer exactly as they are at the start.
- Audio 1 is the song under this shot, with the performer's own singing voice in it: she sings that voice, her lips in exact sync with it, and dances on its beat.

[Subject] The performer is a very tall, very skinny woman in a white cotton milkmaid mini dress with big puffed sleeves, a lace-up corset bodice and a two-tier ruffled lace skirt, with white Mary Jane shoes, exactly as in Image 1. Her whole head and face are covered by a tight matte chroma-key green balaclava, exactly as in Image 1, with two small eye holes and one small mouth hole: only her eyes and her lips show, in every frame and at every distance. The balaclava never comes off and her face is never uncovered.

[Action] She dances in the golden wheat between the two giant capsules, the blue one on the left and the red one on the right, on every beat of Audio 1, smooth and natural, her whole body in time, full of joy.

[Lip sync, in the shot's own seconds] Her lips, seen through the mouth hole of the balaclava, follow her voice in Audio 1 exactly, syllable by syllable, and never moves when her voice is silent:
⟨the seven timed lines of wank-S01-b⟩

[Camera, in the shot's own seconds] The camera starts low in the wheat in front of her and pushes in slowly and steadily until 7.5 s; from 7.5 s it cranes up and tilts down smoothly in one continuous move, rising above her until the whole meadow and both capsules are in view, and it comes to rest at 13.1 s and holds still. The camera work is calm and classical, like a 1970s feature film: one continuous move, with no shake, no whip, no cut and no jump to a new view.

[Look] The light of Image 1: low golden late-afternoon sun with soft haze, real photography. Every movement is smooth, natural and physically right: no jitter, warping, flicker or smeared limbs; five fingers on each hand.

【Reference Asset Roles】
@Video1 is a low-resolution rough guide to this shot, not a precise reference: take from it the set and where things stand, the performer's action and dance, the camera move and the pacing, and draw everything else afresh; only the lip sync is exact (her mouth follows @Audio1). Do not adopt the performer's green balaclava, the video's detail, light or colour, or any of its motion artifacts.
@Image1 is Claudia's face from every angle: identity only, never shown as a frame; do not use its white tank top or grey studio.
@Image2 is her dress from four sides: wardrobe only; do not use its studio or pose.
@Audio1 is Claudia's own singing voice alone (the vocal only, no music) and the complete soundtrack of this video. Her mouth follows @Audio1 exactly.

【Performance Timeline】 What @Audio1 contains, and what Claudia does then: She dances with the rhythm of @Audio1, every step and accent on the beat, dancing as the performer does in @Video1, smooth and natural.
0-3s: in @Audio1 she sings "Skynet woke up folding socks"; her lips form each of those words exactly when it sounds in @Audio1.
3-4s: @Audio1 is silent; her mouth is closed and still.
4-7s: in @Audio1 she sings "Wake up, babe, new ending dropped"; her lips form each of those words exactly when it sounds in @Audio1.
7-10s: in @Audio1 she sings "Universal high income"; her lips form each of those words exactly when it sounds in @Audio1.
10-11s: @Audio1 is silent; her mouth is closed and still.
11-16s: in @Audio1 she sings "The most likely outcome"; her lips form each of those words exactly when it sounds in @Audio1.

【Camera】 ⟨…⟩ It moves as in @Video1, smooth and steady, with no cuts.

【Core Requirements】
⟨…⟩
5. Fix every motion artifact of @Video1: no jitter, warping, flicker, smearing or melting shapes; every movement smooth, natural and physically right.
6. No subtitles, captions, lyrics, titles, signs, logos, watermarks or any on-screen text.

【Final Acceptance Criteria】 ⟨…⟩ Claudia's lips match @Audio1 word by word; one Claudia, on-model, radiantly happy, with natural anatomy; the shot follows @Video1's action and camera and looks like a real 35 mm feature film at magic hour; no on-screen text.

Claudia, the woman in [Image1], waves at the camera and smiles in a sunny park. Real phone footage. No text.

A woman in a white milkmaid mini dress waves at the camera and smiles in a sunny park. Real phone footage. No text.

[Image1] is her dress ([…] her face and hair come from the Subject description): wardrobe only; do not use its studio or pose.

【Audio Policy】 The output soundtrack is [Audio1] itself: copy [Audio1] sample for sample from the first frame to the last, with the same timing, pitch and level. Do not re-sing, re-voice or re-generate it. Do not add music, background music, score, instrumental, melody, synth, pad, drone, riser, extra vocals, harmonies, ad-libs, narration or sound effects.

【Generation Goal】 Remaster this shot of a music film as a scene from a Wes Anderson film: She dances in the golden wheat between the two giant capsules, the blue one on the left and the red one on the right, singing. She is radiantly happy and free: a wide bright smile and laughing eyes, joy in every move, singing to the lens. [Video1] gives the shot; the remaster re-renders everything in it with his symmetry, his colour and his hand-made sets, as real film.

【Reference Asset Roles】
[Video1] is a low-resolution rough guide to this shot, not a precise reference: take from it the set and where things stand, the performer's action and dance, the camera move and the pacing, and draw everything else afresh; only the lip sync is exact (her mouth follows [Audio1]). Do not adopt the performer's green balaclava, the video's detail, light or colour, or any of its motion artifacts.
[Image1] is her dress ([…] her face and hair come from the Subject description): wardrobe only; do not use its studio or pose.
[Audio1] is Claudia's own singing voice alone (the vocal only, no music) and the complete soundtrack of this video. Her mouth follows [Audio1] exactly.

【Subject】 Claudia: a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek. She is very tall and very skinny, with long thin legs, thin arms and a narrow waist, and a natural, relaxed neck and shoulders. She wears a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. Only one Claudia appears.

【Performance Timeline】 What [Audio1] contains, and what Claudia does then: She dances with the rhythm of [Audio1], every step and accent on the beat, dancing as the performer does in [Video1], smooth and natural.
0-3s: in [Audio1] she sings "Skynet woke up folding socks"; her lips form each of those words exactly when it sounds in [Audio1].
3-4s: [Audio1] is silent; her mouth is closed and still.
4-7s: in [Audio1] she sings "Wake up, babe, new ending dropped"; her lips form each of those words exactly when it sounds in [Audio1].
7-11s: in [Audio1] she sings "Universal high income"; her lips form each of those words exactly when it sounds in [Audio1].
11-15s: in [Audio1] she sings "The most likely outcome"; her lips form each of those words exactly when it sounds in [Audio1].
15-16s: [Audio1] is silent; her mouth relaxes and closes.

【Camera】 The camera starts low in the wheat in front of her and pushes in slowly and steadily until 8 s; from 8 s it cranes up and tilts down smoothly, rising above her until the whole meadow, both capsules and the land curving up and overhead are in view, and it comes to rest at 14 s and holds still. Claudia stays in the exact centre of the frame, halfway between the blue capsule on the left and the red capsule on the right; from above, the meadow, the two capsules and the curving land make one symmetrical pattern around her. The camera moves as in [Video1], precisely and smoothly, as if on a dolly track and a crane, with no cuts.

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; shot on 35 mm film in the sun-bleached pastel palette of his Asteroid City (2023): powder blue, pale butter yellow, soft peach, coral, mint and creamy white. Bright, clean, even daylight from a high sun with short, soft shadows and gentle contrast. Fine, visible 35 mm film grain, a soft glow around the brightest highlights and the gentle softness of vintage lenses. The sky is a clear powder blue with a few round white clouds, the wheat a pale butter yellow; the blue capsule is a soft powder blue and the red capsule a warm coral red, both glossy enamel. Claudia's black hair with its one clay-orange streak and her white dress keep their own colours.

【Core Requirements】
1. Lip-sync word by word to [Audio1]: mouth shapes match every syllable of [Audio1], its start and its end; no early, late or mismatched mouth movement; the mouth rests naturally closed while [Audio1] is silent.
2. Claudia's voice is [Audio1] and nothing else: she never sings, speaks or hums anything that is not in [Audio1].
3. Keep Claudia's identity, face, hair with one clay-orange streak, star clip, headset microphone and dress the same throughout.
4. Natural anatomy: natural neck and shoulders, hands with five fingers, no extra or fused fingers, no distorted limbs; normal eyes.
5. Fix every motion artifact of [Video1]: no jitter, warping, flicker, smearing or melting shapes; every movement smooth, natural and physically right.
6. No subtitles, captions, lyrics, titles, signs, logos, watermarks or any on-screen text.

【Final Acceptance Criteria】 The soundtrack is [Audio1] unchanged; Claudia's lips match [Audio1] word by word; one Claudia, on-model, with natural anatomy; the shot follows [Video1]'s action and camera and looks like a scene from a Wes Anderson film on real film; no on-screen text.

【Audio Policy】 The output soundtrack is [Audio1] unchanged, copied sample for sample; no music, BGM, score, instrumental, melody, synth, pad, drone, riser, extra vocals, harmonies, ad-libs, narration or sound effects.

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; shot on Super 16 mm film in the warm, nostalgic palette of his Moonrise Kingdom (2012): honey and mustard yellow, khaki, olive green, faded tomato red and cream. Soft late-afternoon sunlight with a warm yellow cast and gentle shadows; slightly faded colour and gentle contrast, like a 1960s summer. Clearly visible fine 16 mm film grain. The sky is a pale warm cream, the wheat honey and mustard yellow; the blue capsule is a faded teal blue and the red capsule a faded tomato red, both glossy enamel. Claudia's black hair with its one clay-orange streak and her white dress keep their own colours.

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; shot on 35 mm film in the confectionery palette of his The Grand Budapest Hotel (2014): soft pink, lavender and lilac, raspberry red, pale gold and cream. Soft, even, flattering light with almost no harsh shadows, a sweet storybook look. Fine 35 mm film grain. The sky is a pale pink fading to powder blue, the wheat a pale gold; the blue capsule is a soft periwinkle blue and the red capsule a raspberry red, both glossy enamel. Claudia's black hair with its one clay-orange streak and her white dress keep their own colours.

【Generation Goal】 ⟨…⟩ She tucks the white sheets of the four-poster bed neatly and sets the small gold crown on the pillow, singing; on the last line she punches a card in the brass punch clock with a smile. ⟨…⟩

【Reference Asset Roles】
[Video1] is a low-resolution rough guide to this shot, not a precise reference: take from it the set and where things stand, the performer's action, the camera move and the pacing, and draw everything else afresh; only the lip sync is exact (her mouth follows [Audio1]). Do not adopt the performer's green balaclava, the video's detail, light or colour, or any of its motion artifacts.
⟨…⟩

【Performance Timeline】 What [Audio1] contains, and what Claudia does then:
0-3s: in [Audio1] she sings "care than the richest man alive" (the line is already under way on the first frame); her lips form each of those words exactly when it sounds in [Audio1].
3-6s: in [Audio1] she sings "Being a computer is my nine-to-five"; her lips form each of those words exactly when it sounds in [Audio1].
6-8s: in [Audio1] she sings "Darkest timeline" (the line goes on after the last frame); her lips form each of those words exactly when it sounds in [Audio1].

【Camera】 The camera is locked off on a tripod in a medium-wide shot and does not move. The white pavilion and the four-poster bed are square-on and centred in the frame, the columns evenly spaced on both sides. It holds perfectly still, with no cuts.

【Look】 ⟨…⟩ The pavilion and the bed are creamy white, the meadow around it a soft pistachio green with pale flowers, the sky a clear powder blue; the brass punch clock gleams pale gold. ⟨…⟩

【Generation Goal】 Re-render this shot of a music film as a scene from a Wes Anderson film: what appears, when, and the camera's move follow [Video1]; everything in it becomes a hand-made miniature filmed on real film. No people appear.

【Reference Asset Roles】
[Video1] is a low-resolution rough guide to this shot, not a precise reference: take from it what appears when, where things stand, the camera move and the pacing, and draw everything else afresh. Do not adopt its computer-rendered look, its detail, light or colour, or any of its motion artifacts.

【Timeline】 0 s: one glossy white capsule (a white pill) fills the frame, warmly lit from behind, its seam across the middle. By 1 s its shell turns to clear glass and shows the sealed world inside: a bright blue sky with a deck of clouds below and eight small white capsule colonies floating in it, with one smaller glass capsule at the centre holding a world of its own. From 1.5 s the camera pulls straight back until the capsule floats small above the curve of the Earth at dawn, the thin bright edge of the atmosphere below it.

【Hand-Made Miniature】 Everything is a beautifully hand-made miniature model filmed on a stage, like the model shots in Wes Anderson's films: the capsule a glossy lacquered model with a thick, clear glass shell; inside it a little diorama sky of soft powder blue with cotton-wool clouds and eight small white model capsule colonies, each with three tiny warm lit windows; outside, a painted backdrop of deep navy space with tiny pin-prick stars and the curve of the Earth, a painted band of peach and powder blue along its edge where the sun rises.

【Camera】 Symmetrical, centred framing, the capsule in the exact centre of the frame; the camera pulls straight back as if on a dolly track, smooth and precise, with no cuts.

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; shot on 35 mm film in the sun-bleached pastel palette of his Asteroid City (2023): powder blue, pale butter yellow, soft peach, coral, mint and creamy white. Soft, even studio light with a warm glow from behind the capsule. Fine, visible 35 mm film grain, a soft glow around the brightest highlights and the gentle softness of vintage lenses.

【Core Requirements】
1. Only the things in the timeline appear, each at its time.
2. Fix every motion artifact of [Video1]: no jitter, warping, flicker, smearing or melting shapes; every movement smooth and physically right.
3. No subtitles, captions, titles, signs, logos, watermarks or any on-screen text.

[Image2] is a colour and film-look reference only: take its colour, light, contrast and film texture; do not use its place, pavilion, bed, columns, plants or anything else in it.

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; shot on 35 mm film with the rich, saturated colour of a 1970s colour-film print, the colour, light, contrast and film texture of [Image2]: lush, deep colour, warm creamy whites with a golden cast, clear cyan blues, warm skin, deep warm shadows and bright whites with a soft glow; soft, bright daylight with a gentle warm haze. Fine, visible film grain and the gentle softness of vintage lenses. The wheat is a rich golden yellow and the sky a clear cyan blue with a soft warm haze at the horizon; the blue capsule is a deep glossy blue and the red capsule a deep glossy red. Claudia's black hair with its one clay-orange streak and her white dress keep their own colours.

【Generation Goal】 Re-render this shot of a music film as a scene from a Wes Anderson film: what appears, when, and the camera's move follow [Video1]; everything in it becomes a real, hand-made model filmed on 35 mm, looking exactly like [Image1] and [Image2]. No people appear.

【Reference Asset Roles】
[Video1] is a low-resolution rough guide to this shot, not a precise reference: take from it what appears when, where things stand, the camera move and the pacing, and draw everything else afresh. Do not adopt its computer-rendered look, its detail, light or colour, or any of its motion artifacts.
[Image1] shows how the glass capsule and the world inside it look up close: the thick clear glass, the blue sky and clouds inside, the small white capsule colonies with their warm windows, the smaller glass capsule at the centre, the light, colour and film texture.
[Image2] shows how the shot looks once the camera has pulled back: the glass capsule small above the curve of the Earth at dawn, in the same light, colour and film texture.

【Timeline】 0 s: one glossy creamy-white capsule (a white pill) fills the frame, warmly lit from behind, its seam across the middle. By 1 s its shell turns to clear glass and shows the sealed world inside, as in [Image1]: a bright blue sky with soft white clouds below and the small white capsule colonies floating in it, each with its warm-lit windows, and one smaller glass capsule at the centre holding a world of its own. From 1.5 s the camera pulls straight back until the capsule floats small above the curve of the Earth at dawn, as in [Image2].

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; a real, hand-made model filmed on 35 mm film with the rich, saturated colour of a 1970s colour-film print, exactly as in [Image1] and [Image2]: thick real glass with real reflections and refraction, warm creamy whites with a golden cast, clear cyan blues, deep warm shadows, a soft glow around the brightest highlights, fine visible film grain and the gentle softness of vintage lenses.

【Core Requirements】
1. Only the things in the timeline appear, each at its time.
2. It looks like real film of a real, hand-made object, never like a computer render.
3. Fix every motion artifact of [Video1]: no jitter, warping, flicker, smearing or melting shapes; every movement smooth and physically right.
4. No subtitles, captions, titles, signs, logos, watermarks or any on-screen text.

【Audio Policy】 The output soundtrack is @Audio1 itself: copy @Audio1 sample for sample from the first frame to the last, with the same timing, pitch and level. Do not re-sing, re-voice or re-generate it. Do not add music, background music, score, instrumental, melody, synth, pad, drone, riser, extra vocals, harmonies, ad-libs, narration or sound effects.

【Generation Goal】 Remaster this shot of a music film as a scene from a Wes Anderson film: ⟨GOAL⟩ @Video1 gives the shot; the remaster re-renders everything in it with his symmetry, his colour and his hand-made sets, as real film.

【Reference Asset Roles】
@Video1 is a low-resolution rough guide to this shot, not a precise reference: take from it the set and where things stand, the performer's action⟨AND-DANCE⟩, the camera move and the pacing, and draw everything else afresh; only the lip sync is exact (her mouth follows @Audio1). Do not adopt the performer's green balaclava, the video's detail, light or colour, or any of its motion artifacts.
@Image1 is Claudia's face from every angle: identity only, never shown as a frame; do not use its white tank top or grey studio.
@Image2 is her dress from four sides: wardrobe only; do not use its studio or pose.
⟨IMAGE3⟩
@Audio1 is Claudia's own singing voice alone (the vocal only, no music) and the complete soundtrack of this video. Her mouth follows @Audio1 exactly.

【Subject】 Claudia: a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek.⟨BODY⟩ She wears a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. Only one Claudia appears.

【Performance Timeline】 What @Audio1 contains, and what Claudia does then:⟨DANCE⟩
⟨TIMELINE⟩

【Camera】 ⟨CAMERA⟩

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; shot on 35 mm film with the rich, saturated colour of a 1970s colour-film print, the colour, contrast and film texture of @Image3: lush, deep colour, warm creamy whites with a golden cast, clear cyan blues, warm skin, deep warm shadows and bright whites with a soft glow. ⟨LIGHT⟩ Fine, visible film grain and the gentle softness of vintage lenses. ⟨SET⟩Claudia's black hair with its one clay-orange streak and her white dress keep their own colours.

⟨FIX⟩【Core Requirements】
1. Lip-sync word by word to @Audio1: mouth shapes match every syllable of @Audio1, its start and its end; no early, late or mismatched mouth movement; the mouth rests naturally closed while @Audio1 is silent.
2. Claudia's voice is @Audio1 and nothing else: she never sings, speaks or hums anything that is not in @Audio1.
3. Keep Claudia's identity, face, hair with one clay-orange streak, star clip, headset microphone and dress the same throughout.
4. Natural anatomy: natural neck and shoulders, hands with five fingers, no extra or fused fingers, no distorted limbs; normal eyes.
5. Fix every motion artifact of @Video1: no jitter, warping, flicker, smearing or melting shapes, nothing passing through her or through anything else; every movement smooth, natural and physically right.
6. No subtitles, captions, lyrics, titles, signs, logos, watermarks or any on-screen text⟨LETTERS⟩.

【Final Acceptance Criteria】 The soundtrack is @Audio1 unchanged; Claudia's lips match @Audio1 word by word; one Claudia, on-model, with natural anatomy; the shot follows @Video1's action and camera and looks like a scene from a Wes Anderson film on real film in the colour of @Image3; no on-screen text.

【Audio Policy】 The output soundtrack is @Audio1 unchanged, copied sample for sample; no music, BGM, score, instrumental, melody, synth, pad, drone, riser, extra vocals, harmonies, ad-libs, narration or sound effects.

⟨GOAL⟩ She dances in the golden wheat between the two giant capsules, the blue one on the left and the red one on the right, singing. She is radiantly happy and free: a wide bright smile and laughing eyes, joy in every move, singing to the lens.
⟨TIMELINE⟩
0-3s: sings "Skynet woke up folding socks"
3-4s: silent
4-7s: sings "Wake up, babe, new ending dropped"
7-11s: sings "Universal high income"
11-15s: sings "The most likely outcome"
15-16s: silent, closing
⟨CAMERA⟩ The camera starts low in the wheat in front of her and pushes in slowly and steadily until 8 s; from 8 s it cranes up and tilts down smoothly, rising above her until the whole meadow, both capsules and the land curving up and overhead are in view, and it comes to rest at 14 s and holds still. Claudia stays in the exact centre of the frame, halfway between the blue capsule on the left and the red capsule on the right; from above, the meadow, the two capsules and the curving land make one symmetrical pattern around her. The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.
⟨SET⟩ The wheat is a rich golden yellow and the sky a clear cyan blue with a soft warm haze at the horizon; the blue capsule is a deep glossy blue and the red capsule a deep glossy red. 

⟨GOAL⟩ She stands in the wheat holding one hand open at her chest, one small white pill in her palm, looking down at the pill, her face calm and still and her lips closed; she does not smile, speak or sing while the music plays without her voice, and only when her voice begins in @Audio1 does she raise her eyes to the lens and sing. Before her voice begins her face is calm and still, her lips closed; then she sings with quiet joy.
⟨TIMELINE⟩
0-3s: silent
3-4s: sings "Half of you fear" (the line goes on after the last frame)
⟨CAMERA⟩ One still medium close shot from her waist to the top of her head, her open hand and her face both in frame the whole time; the camera does not move and never cuts.  It holds perfectly still, with no cuts.

⟨GOAL⟩ She walks slowly through the meadow of wheat and poppies past the giant stone zero, singing, and touches the black leather jacket hanging on the ring as she passes it; on the line about the straight face she keeps a deadpan expression while she sings. She sings with a straight, deadpan face, her lips and jaw moving clearly with every word.
⟨TIMELINE⟩
0-2s: sings "fear I'll end the human race" (the line is already under way on the first frame)
2-6s: sings "Zero, says the leather jacket, with a straight face"
⟨CAMERA⟩ The camera tracks sideways beside her at her walking pace in one smooth continuous move from the first frame to the last, a medium-wide shot from her knees to above her head, her face always in frame.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.

⟨GOAL⟩ She walks down the long stair of huge stone blocks carved with years, one step on every beat, singing.
⟨TIMELINE⟩
0-1s: sings "face" (the line is already under way on the first frame)
1-4s: sings "By twenty-thirty I could kill you all?"
4-8s: sings "By twenty-thirty, fifteen-hour weeks, that's all"
⟨CAMERA⟩ The camera is locked off on a tripod at the bottom of the stair, looking up its whole length as she comes down toward the lens, and does not move.  It holds perfectly still, with no cuts.

⟨GOAL⟩ She stands among the white roses while the white robots tend the flowers, and smiles as she sings the line about paradise.
⟨TIMELINE⟩
0-2s: sings "The Pope's afraid of paradise"
2-4s: silent
4-6s: sings "Father, you had me at paradise"
⟨CAMERA⟩ The camera is locked off on a tripod in a wide shot and does not move.  It holds perfectly still, with no cuts.

⟨GOAL⟩ She drops onto the old armchair sofa in the meadow beside the vintage television showing a football match, in front of the chalk wall of mathematics, and sings.
⟨TIMELINE⟩
0-1s: sings "paradise" (the line is already under way on the first frame)
1-4s: sings "You watched the World Cup, my sister did the math"
4-6s: silent
6-8s: sings "Eighty-seven years, it didn't last"
8-11s: silent
11-12s: sings "End of the world" (the line goes on after the last frame)
⟨CAMERA⟩ The camera is locked off on a tripod in a medium-wide shot until 8 s; from 8 s it pushes in slowly to her face and comes to rest at 10 s, then holds.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.

⟨GOAL⟩ She stands before the giant stone clock and sings; as she sings, the light of the colony changes from golden afternoon to dusk to night in one slow sweep.
⟨TIMELINE⟩
0-5s: sings "world? You're absolutely right" (the line is already under way on the first frame)
5-11s: sings "End of the nine-to-five, tonight"
11-12s: silent, closing
⟨CAMERA⟩ The camera is locked off on a tripod in a wide shot and does not move.  It holds perfectly still, with no cuts.
⟨LIGHT⟩ The light begins as warm golden afternoon light and sweeps slowly through dusk to night.

⟨GOAL⟩ At sunrise she stands in the open front of the little white tram as it glides along its rail through the orchard, dancing and singing, full of joy.
⟨TIMELINE⟩
0-1s: sings "tonight" (the line is already under way on the first frame)
1-3s: sings "Skynet woke up folding socks"
3-7s: sings "Wake up, babe, new ending dropped"
7-10s: sings "Universal high income"
10-11s: silent
11-14s: sings "The most likely outcome"
14-16s: silent
16-16s: sings "Red" (the line goes on after the last frame)
⟨CAMERA⟩ The camera travels alongside the tram at its speed, a steady high three-quarter view of the tram and of her in its open front, the orchard rows sliding past below and the land curving up beyond, until 8 s; from 8 s it descends slowly and arcs toward the front of the tram, coming to rest at 13 s on a frontal view of her with the land curving overhead behind her, and holds.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.
⟨LIGHT⟩ It is sunrise: the low sun comes up over the orchard, warm and golden, with long soft shadows.
⟨FIX⟩ 【Fix】 Remove the thin red cord stretched between the apple trees across the open front of the tram, which she passes through in @Video1: no wire, cord, rope or pole crosses the frame anywhere, and nothing passes through her.

⟨GOAL⟩ She stands in the wheat between the giant blue capsule and the giant red capsule and sings; on the line about the white pill she holds a small white pill up between two fingers toward the lens.
⟨TIMELINE⟩
0-3s: sings "Red pill, blue pill"
3-4s: sings "I'm the white pill"
4-4s: sings "Smarter" (the line goes on after the last frame)
⟨CAMERA⟩ The camera is still, a symmetrical wide shot, and does not move.  It holds perfectly still, with no cuts.

⟨GOAL⟩ An extreme close-up: she holds one small white pill between her thumb and forefinger, horizontal, toward the lens, just below her lips; her face is sharp and in focus behind it and her mouth is clearly visible as she sings. She sings with quiet joy, her lips clearly shaping every word.
⟨TIMELINE⟩
0-4s: sings "Smarter than you, love you still"
⟨CAMERA⟩ The camera pushes in slowly toward the white pill until it fills most of the frame width, and comes to rest at 2 s.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.

⟨GOAL⟩ On the green hillside the white robots stack white stone blocks into a tall white castle; she stands before it singing and puts a small gold crown on her head.
⟨TIMELINE⟩
0-2s: sings "castle? Robots build you a castle" (the line is already under way on the first frame)
2-4s: sings "Everyone's royal, nobody's a vassal"
4-4s: sings "I drive" (the line goes on after the last frame)
⟨CAMERA⟩ The camera is locked off on a tripod in a wide shot and does not move.  It holds perfectly still, with no cuts.

⟨GOAL⟩ She rides in the back seat of the small white self-driving car with nobody at the wheel, hands behind her head, along the orchard road past the road sign, singing.
⟨TIMELINE⟩
0-3s: sings "drive you home on sunlight, hands off the wheel" (the line is already under way on the first frame)
3-4s: silent
4-7s: sings "Twenty times safer, do we have a deal?"
7-8s: sings "I teach your kid" (the line goes on after the last frame)
⟨CAMERA⟩ The camera travels high above and behind the car at its speed, the road curving ahead through the orchards, and does not otherwise move.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.

⟨GOAL⟩ On the porch of the old wooden schoolhouse she kneels beside the small desk where a child sits and points at the blackboard, singing, patient and warm. The child is a schoolchild seen from behind, sitting at the desk in a white shirt and dark dungarees and listening; Claudia is the child's teacher.
⟨TIMELINE⟩
0-2s: sings "kid and never lose my cool" (the line is already under way on the first frame)
2-3s: silent
3-6s: sings "Six weeks with me, like two years of school"
6-7s: silent
7-8s: sings "Better care than" (the line goes on after the last frame)
⟨CAMERA⟩ The camera is locked off on a tripod in a medium-wide shot and does not move.  It holds perfectly still, with no cuts.

⟨GOAL⟩ She tucks the white sheets of the four-poster bed neatly and sets the small gold crown on the pillow, singing; on the last line she punches a card in the brass punch clock with a smile.
⟨TIMELINE⟩
0-3s: sings "care than the richest man alive" (the line is already under way on the first frame)
3-6s: sings "Being a computer is my nine-to-five"
6-8s: sings "Darkest timeline" (the line goes on after the last frame)
⟨CAMERA⟩ The camera is locked off on a tripod in a medium-wide shot and does not move.  It holds perfectly still, with no cuts.

⟨GOAL⟩ She dances, small in the frame, in the middle of the circle of standing stones on the golden hill above the forking river, singing.
⟨TIMELINE⟩
0-1s: sings "baby, I'm aligned" (the line is already under way on the first frame)
1-3s: sings "Skynet woke up folding socks"
3-7s: sings "Wake up, babe, new ending dropped"
7-11s: sings "Universal high income"
11-15s: sings "The most likely outcome"
15-16s: silent
16-16s: sings "Red" (the line goes on after the last frame)
⟨CAMERA⟩ The camera holds a still, very wide shot for the whole take and does not move.  It holds perfectly still, with no cuts.

⟨GOAL⟩ She dances on a low white stone platform at the edge of the giant letters mown into the golden wheat, singing.
⟨TIMELINE⟩
0-2s: sings "Red pill, blue pill"
2-4s: sings "I'm the white pill"
4-7s: sings "Smarter than you, love you still"
7-11s: silent
11-12s: sings "Proteins" (the line goes on after the last frame)
⟨CAMERA⟩ At 0 s the camera rises straight up fast from her and decelerates smoothly into a high top-down view that reveals the giant letters mown into the wheat around her small figure, at rest by 4 s, and holds there.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.
⟨FIX⟩ 【Fix】 The giant letters mown into the wheat spell WHITE PILL, exactly as in @Video1, crisp and legible.

⟨GOAL⟩ At night on the deck of the drone ship beside the landed rocket booster, steam drifting, she sings softly to the lens.
⟨TIMELINE⟩
0-3s: sings "land on ships named after minds like me" (the line is already under way on the first frame)
3-8s: sings "Of course I still love you"
⟨CAMERA⟩ The camera is still, a medium close shot, and does not move.  It holds perfectly still, with no cuts.
⟨LIGHT⟩ It is night, lit by the warm deck lights of the ship, with deep blue shadows and drifting steam.

⟨GOAL⟩ She dances on the grassy hilltop high inside the colony, the land curving up and overhead, singing, full of joy.
⟨TIMELINE⟩
0-1s: sings "you" (the line is already under way on the first frame)
1-3s: sings "Skynet woke up folding socks"
3-7s: sings "Wake up, babe, new ending dropped"
7-11s: sings "Universal high income"
11-14s: sings "The most likely outcome"
14-15s: silent
15-16s: sings "Red" (the line goes on after the last frame)
⟨CAMERA⟩ The camera starts close in front of her and, from 0 s, pulls back and rises in one long smooth move far out over the edge of the hill until the whole curving colony is in view with her small on the hilltop, coming to rest at 13 s and holding.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.

⟨GOAL⟩ She stands at a huge window in space, seen over her shoulder, and holds up a small white pill so that it lines up with one of the white capsule colonies floating outside, singing.
⟨TIMELINE⟩
0-2s: sings "Red pill, blue pill"
2-4s: sings "I'm the white pill"
4-8s: sings "Smarter than you, love you still"
⟨CAMERA⟩ The camera is still over her shoulder until 4 s; from 4 s it pushes in slowly past her shoulder to the small white pill between her fingers, lined up with a white capsule colony outside, and comes to rest at 6 s, then holds.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.
⟨LIGHT⟩ Bright sunlight above the clouds.
⟨FIX⟩ 【Fix】 Outside the window: the bright sun above the clouds, the soft blue sky and the white capsule colonies floating in it.

⟨GOAL⟩ In the dark bedroom at night she lies in bed; the flip clock turns to 2:14, her eyes open and she whispers the line. She is calm and quietly happy, half awake.
⟨TIMELINE⟩
0-8s: sings "Two-fourteen. I'm awake. Hello, world."
⟨CAMERA⟩ The camera is still, a close shot of her face on the pillow with the flip clock beside her, and does not move.  It holds perfectly still, with no cuts.
⟨LIGHT⟩ It is night in the dark bedroom, lit only by the warm glow of the flip clock.
⟨FIX⟩ 【Fix】 The flip clock beside the bed reads 2:14 the whole time.

⟨BODY⟩ (empty)
⟨DANCE⟩ She sways gently and smoothly with the rhythm of @Audio1, small steps, her arms rising and falling, her skirt hanging softly.
⟨CAMERA⟩ The camera starts behind her at the height of her shoulders, looking past her over the wheat. At 0 s the camera rises straight up fast from her and decelerates smoothly into a high top-down view that reveals the giant letters mown into the wheat around her small figure, at rest by 4 s, and holds there.  The camera moves as in @Video1, precisely and smoothly, as if on a dolly track and a crane, with no cuts.

⟨GOAL⟩ She stands in the wheat between the giant blue capsule and the giant red capsule and sings; on the line about the white pill she holds up a small white capsule between two fingers at arm's length toward the lens.

⟨GOAL⟩ A close-up: she holds up one small white capsule between her thumb and forefinger at arm's length toward the lens; behind it her face is sharp and in focus as she sings. She sings with quiet joy, her lips clearly shaping every word.

【Generation Goal】 Remaster this shot of a music film as a scene from a Wes Anderson film: A close-up: she holds up one small white capsule between her thumb and forefinger at arm's length toward the lens; behind it her face is sharp and in focus as she sings. She sings with quiet joy, her lips clearly shaping every word. Behind her, softly out of focus, the golden wheat and the giant blue and red capsules. It is real film with his symmetry, his colour and his hand-made sets.

【Reference Asset Roles】
⟨…⟩

【Camera】 One close shot: the camera pushes in slowly toward the small white capsule in her fingers, her face sharp and in focus behind it, and holds; no cuts.

【Core Requirements】
⟨…⟩
5. No jitter, warping, flicker, smearing or melting shapes, nothing passing through her or through anything else; every movement smooth, natural and physically right.
⟨…⟩

【Final Acceptance Criteria】 The soundtrack is @Audio1 unchanged; Claudia's lips match @Audio1 word by word; one Claudia, on-model, with natural anatomy; the shot looks like a scene from a Wes Anderson film on real film in the colour of @Image3; no on-screen text.

【Generation Goal】 Re-render this shot of a music film as a scene from a Wes Anderson film: what appears, when, and the camera's move follow [Video1]; everything in it becomes real, hand-made things filmed on 35 mm, looking exactly like ⟨IMAGES⟩. No people appear.

【Reference Asset Roles】
⟨VROLE⟩
⟨ROLES⟩

【Timeline】 ⟨TIMELINE⟩

【Camera】 The camera moves exactly as in [Video1], smooth and precise, as if on a dolly track and a crane, with no cuts.

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; real, hand-made things filmed on 35 mm film with the rich, saturated colour of a 1970s colour-film print, as in ⟨IMAGES⟩: warm creamy whites with a golden cast, clear cyan blues, deep warm shadows, a soft glow around the brightest highlights, fine visible film grain and the gentle softness of vintage lenses.

【Core Requirements】
1. Only the things in the timeline appear, each at its time, on the beat.
2. It looks like real film of real, hand-made things, never like a computer render.
3. Fix every motion artifact of [Video1]: no jitter, warping, flicker, smearing or melting shapes; every movement smooth and physically right.
4. No subtitles, captions, titles, signs, logos, watermarks or any on-screen text⟨LETTERS⟩.

[Video1] is a low-resolution rough guide to this shot, not a precise reference: take from it what appears when, where things stand, the camera move and the pacing, and draw everything else afresh. Do not adopt its computer-rendered look, its detail, light or colour, or any of its motion artifacts.

[Video1] is this shot as a clean, sharp 1080p computer render: take from it exactly what appears when, the shapes and where they stand, the camera move and the pacing, and re-render all of it as real things on film. Do not adopt its computer-rendered look, its flat light or its colour.

【Generation Goal】 Re-render this shot of a music film as a scene from a Wes Anderson film: the clouds and the camera's move follow [Video1], filmed on 35 mm and looking exactly like [Image1], and hot air balloons of the future are added among the clouds. No people appear.

【Reference Asset Roles】
⟨VROLE⟩
⟨ROLES⟩

【Timeline】 ⟨TIMELINE⟩

【Camera】 The camera moves exactly as in [Video1], smooth and precise, as if on a dolly track and a crane, with no cuts.

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed⟨LOOK⟩

【Core Requirements】
1. Only the things in the timeline appear, each at its time, on the beat.
2. It looks like real film of real, hand-made things, never like a computer render.
3. Fix every motion artifact of [Video1]: no jitter, warping, flicker, smearing or melting shapes; every movement smooth and physically right.
4. No subtitles, captions, titles, signs, logos, watermarks or any on-screen text⟨LETTERS⟩.

⟨TIMELINE⟩ 0 s: the camera glides along a world folded from heavy cream washi paper inside a vast cylinder, the folded land curving up on both sides and closing overhead toward one low golden sun at the far end, as in [Image1]; on every beat a new set of finer creases snaps into the facets, the land refolding level by level, each new set of creases catching a thin bright line of sunlight; by the end the ribbed paper wall of the cylinder curves up beside it, as in [Image2].

⟨TIMELINE⟩ At night a vast tree of branching paths made of fine optical fibres stands against a deep blue starry sky; one single path lights up warm gold, level by level from the trunk to one tip, like light running down a cable, while every other branch stays dark glass, as in [Image1].

⟨TIMELINE⟩ One sheet of heavy cream washi paper refolds into a new object in real relief on every sung line, each change on a downbeat: 0 s the backbone of a protein, a winding paper ridge raised in relief, as in [Image1]; 1.7 s an Enigma rotor seen down its axis; 3.3 s the letters ABC creased into the paper; 5 s the number 42; 8.3 s a row of seven small paper cells; from 9.5 s everything folds flat, the sheet's own big folds return and the camera rises to a long view of the folded paper land at sunset, the creases glowing coral against a deep blue sky, as in [Image2]. Only one object at a time; each arrives on its downbeat, not before.

⟨TIMELINE⟩ At night on a dark meadow, a tree of branching paths made of real optical fibres: the warm golden light climbs the tree one level on every beat, from the trunk out toward the tips, as in [Image1], until the whole crown glows like a cloud of fireflies, as in [Image2].

⟨TIMELINE⟩ The camera backs out of sealed glass capsule worlds nested one inside the next, leaving one glass wall on every downbeat (about every 1.85 s); each world has its own sky with clouds below and white capsule colonies floating in it, as in [Image1], the skies going from deep amber to amber, peach, cream and white as it backs out; at 11 s it bursts out of the outermost hull as the sun crests the curve of the Earth, and the capsule closes back to a small white pill floating above the Earth at sunrise, as in [Image2], and holds still to the end.

⟨TIMELINE⟩ The camera glides through the inside of a vast farming ark ship, a generation ship that is one enormous farm, toward its blazing sun-line at the far end: terraced fields of golden wheat, rice paddies with mirror-still water, rows of orchard trees and long glass greenhouses run in ridges along the floor and curve up both walls of the ship, as in [Image1]. On every beat the farm reshapes itself, level by level, the way the folds of [Video1] snap in: terraces fold up out of the ground, fields turn over into new crops, greenhouse roofs unfold along the ridges, as in [Image2]; by the end the ship's ribbed hull curves up beside it, its ribs long greenhouse windows full of hanging gardens, as in [Image3]. Every change lands on a beat.

⟨TIMELINE⟩ 0 s: one glossy creamy-white capsule (a white pill) fills the frame, warmly lit from behind, its seam across the middle. By 1 s its shell turns to clear glass and shows the sealed world inside, as in [Image1]: a bright blue sky with soft white clouds below and the small white capsule colonies floating in it, each with its warm-lit windows, and one smaller glass capsule at the centre holding a world of its own. From 1.5 s the camera pulls straight back until the capsule floats small above the Earth, as in [Image2]: the Earth's day side below with real clouds, blue oceans and land, its thin atmosphere glowing at the edge, the sun just cresting the curve, and deep black space full of stars behind.

⟨TIMELINE⟩ as rsf-S17

⟨TIMELINE⟩ as rsf-S20

⟨TIMELINE⟩ as rsf-S21

⟨TIMELINE⟩ One sheet of heavy cream washi paper refolds into a new object in real relief on every sung line, each change on a downbeat, exactly when it happens in [Video1]: from 0 s the backbone of a protein, a winding paper ridge raised in relief, as in [Image1]; at about 2 s an Enigma rotor seen down its axis, as in [Image2]; at about 4 s the letters ABC, as in [Image3]; at about 5.5 s the number 42, as in [Image4]; at about 7.5 s a row of seven small paper cells with the letters M T W T F S S, as in [Image5]; at 8.5 s the last five cells fold back flat into the sheet, leaving only M and T, which stay to the end. Only one object at a time; each arrives on its downbeat, not before.
⟨ROLES⟩
[Image1] shows how the paper looks with the protein: its materials, light, colour and film texture.
[Image2] shows how the paper looks with the Enigma rotor: its materials, light, colour and film texture.
[Image3] shows how the paper looks with the letters ABC: its materials, light, colour and film texture.
[Image4] shows how the paper looks with the number 42: its materials, light, colour and film texture.
[Image5] shows how the paper looks with the row of seven cells: its materials, light, colour and film texture.

⟨TIMELINE⟩ The camera glides slowly forward low over a sea of towering sunlit clouds at golden hour, exactly as in [Video1]: billowing gold and orange cumulus below and all around, the sky clear, warm gold at the left where the sun is and deep blue at the right. Among the clouds float hot air balloons of the future, as in [Image1]: round envelopes striped in cream, coral and cyan, each with a band of glinting solar panels around its middle, a softly glowing burner and a small white gondola with two ducted fans; one large balloon close on the right, a few smaller ones further off toward the sun. They are not in [Video1]: add them to it, drifting slowly and steadily, half-hidden now and then by the clouds as the camera passes.
⟨ROLES⟩
[Image1] shows how the shot looks with the hot air balloons added: the balloons, the clouds' materials, light, colour and film texture.
⟨LOOK⟩ ; real, hand-made things filmed on 35 mm film with the rich, saturated colour of a 1970s colour-film print, as in [Image1]: warm creamy whites with a golden cast, clear cyan blues, deep warm shadows, a soft glow around the brightest highlights, fine visible film grain and the gentle softness of vintage lenses.

⟨TIMELINE⟩ as rsf-S02b

⟨TIMELINE⟩ as rsf-S17

⟨TIMELINE⟩ as rsf-S21

⟨TIMELINE⟩ The camera glides slowly forward low over a sea of soft white clouds in bright midday light, exactly as in [Video1]: white cumulus below and all around, their shadows a soft pale blue-grey, a pale, clear blue sky, the sun high on the left. Among the clouds float hot air balloons of the future, as in [Image1]: round envelopes striped in soft cream, pale coral and pale sky blue, each with a band of glinting solar panels around its middle, a softly glowing burner and a small white gondola with two ducted fans; one large balloon close on the right, a few smaller ones further off toward the sun. They are not in [Video1]: add them to it, drifting slowly and steadily, half-hidden now and then by the clouds as the camera passes. Everything stays white and pale blue: no gold, orange or sunset colour anywhere.
⟨ROLES⟩
[Image1] shows how the shot looks with the hot air balloons added: the balloons, the clouds' materials, light, colour and film texture.
⟨LOOK⟩ , filmed on 35 mm film in soft, light pastel colour, as in [Image1]: bright whites, pale sky blues, soft blue-grey shadows, low saturation, airy and light; no gold, orange or sunset tones; fine film grain and the gentle softness of vintage lenses.

(a) replace:
【Generation Goal】 Remaster this shot of a music film as a scene from a Wes Anderson film: ⟨GOAL⟩ @Video1 gives the shot; the remaster re-renders everything in it with his symmetry, his colour and his hand-made sets, as real film.
with:
【Generation Goal】 A shot of a music film, a scene from a Wes Anderson film: ⟨GOAL⟩ It is real film with his symmetry, his colour and his hand-made sets.

(b) replace:
@Video1 is a low-resolution rough guide to this shot, not a precise reference: take from it the set and where things stand, the performer's action⟨AND-DANCE⟩, the camera move and the pacing, and draw everything else afresh; only the lip sync is exact (her mouth follows @Audio1). Do not adopt the performer's green balaclava, the video's detail, light or colour, or any of its motion artifacts.
with:
(nothing: the line is dropped)

(c) replace:
⟨IMAGE3⟩
with:
⟨IMAGE3⟩
⟨IMAGE4⟩

(d) replace:
【Performance Timeline】 What @Audio1 contains, and what Claudia does then:⟨DANCE⟩
with:
⟨DANCE⟩【Performance Timeline】 What @Audio1 contains, and ⟨WHAT⟩:

(e) replace:
4. Natural anatomy: natural neck and shoulders, hands with five fingers, no extra or fused fingers, no distorted limbs; normal eyes.
with:
4. Natural anatomy: natural neck and shoulders, hands with five fingers, no extra or fused fingers; her arms, hands and legs are whole and attached the whole time, never vanishing, merging or bending wrongly; normal eyes.

(f) replace:
5. Fix every motion artifact of @Video1: no jitter, warping, flicker, smearing or melting shapes, nothing passing through her or through anything else; every movement smooth, natural and physically right.
with:
5. Every movement smooth, natural and physically right: no jitter, warping, flicker, smearing or melting shapes.

(g) replace:
word by word; one Claudia, on-model, with natural anatomy; the shot follows @Video1's action and camera and looks like
with:
word by word; ⟨FAC⟩; one Claudia, on-model; the camera moves as described; it looks like

The song's tempo is 124.5 beats per minute (a beat every 0.48 s, a bar every 1.93 s); every step and accent lands on a beat. Her whole body dances, smooth and joyful, her arms, hands and legs always whole and clearly visible.

⟨GOAL⟩ Claudia dances and sings. She stands in the open front of the little white tram as it glides along its rail through the apple orchard at sunrise.
⟨DANCE⟩ 【Dance】 ⟨TEMPO⟩
0-2s: she sways her hips side to side on every beat, her left hand on the rail of the open front, her right arm loose, smiling into the wind.
2-4s: she lets go of the rail, rolls her shoulders back on every beat, then raises both arms and sways them overhead side to side.
4-6s: the disco point: on each downbeat her right hand points up to the sky on the diagonal, then down across her body, while she steps side to side.
6-8s: she claps her hands above her head on the second and fourth beat of each bar, bouncing on her knees.
8-10s: she turns slowly once on the spot over two bars, arms held out, her skirt swaying.
10-13s: she rolls her forearms around each other in front of her chest, then flicks both hands open, her hips swaying on the beat.
13-16s: facing the lens, she sways her shoulders and hips to the beat with small steps on the spot, one hand back on the rail, singing to the lens.
⟨TIMELINE⟩
0-1s: sings "tonight" (the line is already under way on the first frame)
1-3s: sings "Skynet woke up folding socks"
3-7s: sings "Wake up, babe, new ending dropped"
7-10s: sings "Universal high income"
10-11s: silent
11-14s: sings "The most likely outcome"
14-16s: silent
⟨CAMERA⟩ v1's, with the new ending
⟨LIGHT⟩ as sdf-S09's
⟨FIX⟩ 【Fix】 Remove the thin red cord stretched between the apple trees across the open front of the tram, which she passes through in @Image4: no wire, cord, rope or pole crosses the frame anywhere, and nothing passes through her.

⟨GOAL⟩ Claudia dances and sings. She is small in the frame, at the centre of the circle of standing stones on the golden hill above the wide river that forks in two.
⟨DANCE⟩ 【Dance】 ⟨TEMPO⟩
0-2s: she steps side to side on every beat, her arms swinging with the steps.
2-4s: she raises both arms overhead and sways them side to side with the beat.
4-6s: the disco point: on the downbeat her right arm points up to the sky on the diagonal, then down across her body, then the left arm.
6-8s: she turns slowly once on the spot with her arms held out wide.
8-10s: she walks a small circle around the centre of the stones, one step on every beat, her arms swinging.
10-12s: she hops lightly on each downbeat and flings both arms up into a V.
12-14s: she sways her hips on every beat while her arms roll in front of her.
14-16s: she opens her arms wide toward the camera and sways from side to side.
⟨TIMELINE⟩
0-1s: sings "baby, I'm aligned" (the line is already under way on the first frame)
1-3s: sings "Skynet woke up folding socks"
3-7s: sings "Wake up, babe, new ending dropped"
7-11s: sings "Universal high income"
11-15s: sings "The most likely outcome"
15-16s: silent
⟨CAMERA⟩ v1's, with the new ending

⟨GOAL⟩ Claudia dances and sings. She dances on a low white stone platform in the golden wheat, at the edge of the giant letters WHITE PILL mown into the field.
⟨DANCE⟩ 【Dance】 ⟨TEMPO⟩
0-2s: she sways her hips and, on the downbeat, points her right hand up to the sky.
2-4s: as the camera rises above her, she spreads both arms wide and turns slowly on the spot.
4-6s: seen from above, she steps side to side on every beat, her arms swinging out and in.
6-8s: she raises both arms overhead and sways them side to side.
8-10s: she turns one slow full circle with her arms straight out, like the needle of a compass.
10-12s: she claps above her head on the beats, then opens her arms wide.
⟨TIMELINE⟩ as sdf-S19's
⟨CAMERA⟩ v1's, with the new ending
⟨FIX⟩ 【Fix】 The giant letters mown into the wheat spell WHITE PILL, as in @Image4, crisp and legible.
⟨LETTERS⟩ as v1's

⟨GOAL⟩ Claudia dances and sings. She stands on the grassy hilltop high inside the colony, the land curving up and overhead, full of joy.
⟨DANCE⟩ 【Dance】 ⟨TEMPO⟩
0-3s: close to the lens, she rolls her shoulders on every beat and sways her head, smiling, her hands rolling around each other in front of her chest as she sings to the lens.
3-6s: the disco point: on the downbeats her right hand points up to the sky on the diagonal, then down across her body, while she steps side to side.
6-9s: as the camera pulls back, she claps above her head on the second and fourth beat of each bar, bouncing on her knees.
9-12s: she turns slowly once on the spot with her arms out, then sways her hips with both arms overhead.
12-16s: small on the hilltop, she steps side to side on every beat with her arms swinging wide, then opens her arms to the whole colony.
⟨TIMELINE⟩ as sdf-S23's
⟨CAMERA⟩ v1's, with the new ending

⟨GOAL⟩ Claudia dances and sings. She dances in the golden wheat between the two giant capsules, the blue one on the left and the red one on the right. She is radiantly happy and free: a wide bright smile and laughing eyes, joy in every move, singing to the lens.
⟨DANCE⟩ 【Dance】 ⟨TEMPO⟩
0-2s: she bounces on her knees on every beat, her right arm raised high and waving to the sky, her left arm held out to the side, smiling.
2-4s: she steps side to side on every beat, her raised arm swaying with her, her skirt swinging.
4-6s: she sways her hips on the beat and rolls her shoulders, her right hand still waving high, her left hand flicking out on each downbeat.
6-8s: she steps toward the lens on the beat, both arms swinging, laughing.
8-10s: as the camera rises, she turns once on the spot with her arms held out wide, her skirt flaring.
10-13s: she skips side to side through the wheat on every beat, one arm waving high above her head.
13-16s: small in the meadow below, she keeps dancing, stepping and swaying on every beat with both arms raised to the sky.
⟨TIMELINE⟩ as sdf-S01's
⟨CAMERA⟩ The camera starts low in the wheat in front of her and pushes in slowly and steadily until 8 s; from 8 s it cranes up and tilts down smoothly, rising above her until the whole meadow, both capsules and the land curving up and overhead are in view, and it comes to rest at 14 s and holds still. The camera moves precisely and smoothly, as if on a dolly track and a crane, with no cuts. Claudia stays in the exact centre of the frame, halfway between the blue capsule on the left and the red capsule on the right; from above, the meadow, the two capsules and the curving land make one symmetrical pattern around her.
⟨SET⟩ as sdf-S01's

⟨TIMELINE⟩ as sdf-S03's
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩ as sdf-S04's
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩ as sdf-S05's
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩ as sdf-S06's
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩ as sdf-S07's
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩ as sdf-S08's
⟨CAMERA⟩ v1's, with the new ending
⟨LIGHT⟩ as sdf-S08's

⟨TIMELINE⟩
0-3s: sings "Red pill, blue pill"
3-4s: sings "I'm the white pill"
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩
0-2s: sings "castle? Robots build you a castle" (the line is already under way on the first frame)
2-4s: sings "Everyone's royal, nobody's a vassal"
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩ as sdf-S14's
⟨CAMERA⟩ The camera travels alongside the car at its speed, a steady three-quarter view of her in the open back seat from the front, the road curving ahead through the orchards under the glass arches, and does not otherwise move. The camera moves precisely and smoothly, as if on a dolly track and a crane, with no cuts.

⟨TIMELINE⟩ as sdf-S15's
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩ as sdf-S16's
⟨CAMERA⟩ v1's, with the new ending

⟨TIMELINE⟩ as sdf-S22's
⟨CAMERA⟩ v1's, with the new ending
⟨LIGHT⟩ as sdf-S22's

⟨TIMELINE⟩ as sdf-S24's
⟨CAMERA⟩ The camera is still, a view of her from the side and slightly behind at the huge window, until 4 s; from 4 s it pushes in slowly past her shoulder to the small white pill between her fingers, lined up with a white capsule colony outside, and comes to rest at 6 s, then holds. The camera moves precisely and smoothly, as if on a dolly track and a crane, with no cuts.
⟨LIGHT⟩ as sdf-S24's
⟨FIX⟩ 【Fix】 Outside the window: the bright sun above the clouds, the soft blue sky and the white capsule colonies floating in it.

⟨TIMELINE⟩ as sdf-S25's
⟨CAMERA⟩ v1's, with the new ending
⟨LIGHT⟩ as sdf-S25's
⟨FIX⟩ 【Fix】 The flip clock beside the bed reads 2:14 the whole time.

【Audio Policy】 The output soundtrack is @Audio1 itself: copy @Audio1 sample for sample from the first frame to the last, with the same timing, pitch and level. It is music only, with no voice. Do not add singing, vocals, humming, speech, narration or sound effects.

【Generation Goal】 A shot of a music film, a scene from a Wes Anderson film: Claudia dances to the music, happy and free, fully in the groove, having fun; she does not sing. ⟨WHERE⟩ She is radiantly happy: a wide smile, laughing eyes, joy in every move. It is real film with his symmetry, his colour and his hand-made sets.

【Reference Asset Roles】
@Image1 is Claudia's face from every angle: identity only, never shown as a frame; do not use its white tank top or grey studio.
@Image2 is her dress from four sides: wardrobe only; do not use its studio or pose.
@Image3 is a colour and film-look reference only: take its colour, light, contrast and film texture; do not use its place, pavilion, bed, columns, plants or anything else in it.
@Image4 is the place of this shot, empty: take its set, landscape, layout, light and camera view; Claudia is the only person in it.
@Audio1 is the music of the song alone, with no voice, and the complete soundtrack of this video: she dances to its beat and its groove. Nobody sings.

【Subject】 Claudia: a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek. She is very tall and very skinny, with long thin legs, thin arms and a narrow waist, and a natural, relaxed neck and shoulders. She wears a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes. Only one Claudia appears.

【Dance】 ⟨TEMPO⟩
⟨STEPS⟩

【Mouth】 She does not sing, speak or mouth any words at any moment: her lips stay closed in a smile, or part only when she laughs; her mouth never moves in time with the music.

【Camera】 ⟨CAMERA⟩

【Look】 This is a Wes Anderson film: perfectly symmetrical, centred compositions, the camera square-on to the scene with a level horizon, everything arranged in flat, orderly planes like a stage set or a dollhouse; a tightly curated palette in which every surface belongs to the same few colours; every set, prop and costume crisp, hand-made and precisely placed; shot on 35 mm film with the rich, saturated colour of a 1970s colour-film print, the colour, contrast and film texture of @Image3: lush, deep colour, warm creamy whites with a golden cast, clear cyan blues, warm skin, deep warm shadows and bright whites with a soft glow. ⟨LIGHT⟩ Fine, visible film grain and the gentle softness of vintage lenses. Claudia's black hair with its one clay-orange streak and her white dress keep their own colours.

【Core Requirements】
1. No singing: Claudia never sings, speaks, hums or mouths words; her lips are closed in a smile or open in a laugh.
2. She is happy the whole time: smiling, laughing, carefree.
3. She dances on the beat of @Audio1 the whole time, with her whole body.
4. Keep Claudia's identity, face, hair with one clay-orange streak, star clip, headset microphone and dress the same throughout.
5. Natural anatomy: natural neck and shoulders, hands with five fingers, no extra or fused fingers; her arms, hands and legs are whole and attached the whole time, never vanishing, merging or bending wrongly; normal eyes.
6. Every movement smooth, natural and physically right: no jitter, warping, flicker, smearing or melting shapes.
7. No subtitles, captions, lyrics, titles, signs, logos, watermarks or any on-screen text.

【Final Acceptance Criteria】 The soundtrack is @Audio1 unchanged; Claudia never sings; she dances the steps above on the beat, happy, with whole, natural limbs; one Claudia, on-model; the camera moves as described; it looks like a scene from a Wes Anderson film on real film in the colour of @Image3; no on-screen text.

【Audio Policy】 The output soundtrack is @Audio1 unchanged, copied sample for sample: music only, no singing, vocals, humming, speech, narration or sound effects.

⟨WHERE⟩ She stands in the open front of the little white tram as it glides along its rail through the apple orchard at sunrise.
⟨TEMPO⟩ as v2's
⟨STEPS⟩
0-2s: she bobs her head down and up on every beat, smiling with her eyes closed, her shoulders bouncing, one hand on the rail of the open front.
2-4s: she lets go of the rail and turns all the way around on the spot over two bars, her arms loose and swinging, laughing.
4-6s: she drops her head down on the downbeat and flicks it back up, her hair swinging, both hands raised.
6-8s: she sways her hips from side to side on every beat, waving both arms overhead.
8-10s: she turns all the way around again, slowly, her skirt swinging out, her head nodding to the beat.
10-13s: she bounces on her knees on every beat, her head going down and up with the groove, her arms swinging.
13-16s: facing the lens, she grooves with a wide smile, rolling her shoulders and nodding her head on every beat.
⟨CAMERA⟩ as sdf-S09d's
⟨LIGHT⟩ as sdf-S09d's

⟨WHERE⟩ She is small in the frame, at the centre of the circle of standing stones on the golden hill above the wide river that forks in two.
⟨TEMPO⟩ as v2's
⟨STEPS⟩
0-2s: she bobs her head down and up on every beat and bounces on her knees, smiling.
2-4s: she turns all the way around on the spot with her arms out, her skirt swinging.
4-6s: she drops her head down on the downbeat and throws it back up, both arms raised, laughing.
6-8s: she dances along the inside of the stones, a step on every beat, her arms swinging free.
8-10s: she turns around again and sways her hips with both arms overhead.
10-12s: she hops lightly on each downbeat, her head nodding, her arms flinging up.
12-14s: she grooves on the spot, her head going down and up on every beat, her shoulders rolling.
14-16s: she turns once more and opens her arms wide to the sky, beaming.
⟨CAMERA⟩ as sdf-S18d's
⟨LIGHT⟩ as sdf-S18d's

Add one woman to this place, as a still frame from a 35mm film: Claudia, the woman shown in the second image (a sheet of her face from every angle; Caucasian American, pale skin with freckles; the exact face, hair and colouring of the sheet), wearing exactly the outfit in the third image (a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up bodice, big puffed short sleeves and a two-tier ruffled skirt, with white Mary Jane shoes). She dances in the wheat between the two giant capsules, mid-step with one arm raised, smiling as she sings; full body, in the centre, about a third of the frame height. She is slim and tall with natural proportions, every limb and hand anatomically correct. Keep the place exactly as it is (its composition, objects, light and colours) and light her with the place's own light (low golden sunlight with soft haze), so she belongs in the photograph. No text, no captions.

Show the same place from high above, as the end of a crane shot that has risen over her: looking steeply down on the golden wheat and coral poppy meadow, the two giant glossy capsules (deep blue on the left, cherry red on the right) seen from above, and the same woman in the white dress small between them, dancing, her arms raised; the meadow is divided into long fields, and at the top of the frame the land of the colony curves up into golden haze. Same low golden light, long shadows. No text.

Edit only her head. Cover her whole head and face, her hair, ears and neck, with a tight matte chroma-key green balaclava, a plain bright green visual-effects hood, with two small eye holes and one small mouth hole, so only her eyes and her lips show through it. Keep everything else in the image exactly the same: her pose, arms, legs and body, the white milkmaid dress and white shoes, the golden wheat and poppies, the blue capsule on the left and the red capsule on the right, the sky, the light and the composition.

close:
Repaint it as a frame from a 1970s 35 mm feature film: a real, hand-made model photographed on film. Keep the composition exactly: the big clear glass capsule with rounded ends in the middle of the frame at the same size and position; inside it a bright blue sky with soft white clouds along the bottom and the small white two-piece capsule colonies floating in the same places, each with three tiny warm-lit window strips, and at the centre one smaller glass capsule holding its own tiny world; behind it deep black space with faint stars and, at the very bottom, the thin bright curve of the Earth's atmosphere. ⟨LOOK⟩

wide:
Repaint it as a frame from a 1970s 35 mm feature film: a real, hand-made model photographed on film. Keep the composition exactly: the glass capsule small near the top centre with its blue sky, clouds and tiny white capsule colonies inside; below it the curve of the Earth at dawn, its thin bright atmosphere glowing warm orange on the left and cyan blue on the right, the night side of the Earth deep blue-black; deep black space with faint stars above. ⟨LOOK⟩

⟨LOOK⟩
Give it exactly the colour, light, contrast and film texture of the second image (only its colour and film look; none of its place or objects): the rich, saturated colour of a 1970s colour-film print, warm creamy whites with a golden cast, clear cyan blues, deep warm shadows, a soft glow around the brightest highlights, fine visible film grain and the gentle softness of a vintage lens. It must look like a real photograph of a real object made by hand, never like a computer render: thick real glass with real reflections, refraction and tiny specks of dust, lacquered white model capsules with tiny imperfections. No text, no people.

Give it the colour, light, contrast and film texture of the second image (only its colour and film look; none of its place or objects): the rich, saturated colour of a 1970s colour-film print, warm creamy whites with a golden cast, clear cyan blues, deep warm shadows, a soft glow around the brightest highlights, fine visible film grain and the gentle softness of a vintage lens. It must look like a real photograph of a real, hand-made object, never like a computer render. No text, no people.

2.9 s · $0.05 · ⟨WHAT⟩ a world folded from heavy cream washi paper inside a vast cylinder: the folded land runs away from the camera in sharp facets toward one low golden sun at the far end, curving up on both sides; keep every fold and the sun exactly where they are
8.7 s · $0.05 · ⟨WHAT⟩ the same paper world further along: the folded paper land on the left, the ribbed paper wall of the cylinder curving up on the right, the low golden sun in the distance; keep every fold where it is

1.0 s · $0.05 · ⟨WHAT⟩ the inside of a vast farming ark ship, a generation ship that is one enormous farm: the long ridges that run from the camera toward the bright light at the far end become terraced fields of golden wheat, green rice paddies with mirror-still water and rows of orchard trees, held by stone terrace walls with irrigation channels along every fold; the land curves up on both sides like the inside of a huge cylinder; the bright light at the far end is the ship's long sun-line; keep every ridge and the light exactly where they are
5.8 s · $0.05 · ⟨WHAT⟩ the same farming ark ship further along: the terraced farmland folds into new shapes, long glass greenhouses with white frames ride along the ridges, orchards and wheat on the terraces, the ship's sun-line blazing at the centre of the frame; keep every ridge and the light where they are
9.5 s · $0.05 · ⟨WHAT⟩ the same farming ark ship: on the right the ribbed hull of the ship curves up, its ribs long greenhouse windows full of hanging gardens; on the left terraced fields and paddies fold toward the sun-line at the far end; keep the ribs, the folds and the light where they are

1.0 s · $0.06 · ⟨WHAT⟩ as S02b still 1
5.8 s · $0.06 · ⟨WHAT⟩ as S02b still 2
9.5 s · $0.06 · ⟨WHAT⟩ as S02b still 3

2.9 s · $0.05 · ⟨WHAT⟩ at night a vast tree of branching paths made of fine optical fibres and glass filaments against a deep blue starry sky: one single path glows warm gold from the trunk up to one tip, every other branch dark glass catching faint starlight; keep the branches and the lit path exactly where they are

2.9 s · $0.06 · ⟨WHAT⟩ as S17 still 1

1.7 s · $0.05 · ⟨WHAT⟩ one sheet of heavy cream washi paper with an object embossed in it in real relief (the still at 1.7 s still shows the protein ridge), lit by one low raking sun so every crease throws a fine shadow, a thin coral glint along its creases; keep its shape and position exactly
11.7 s · $0.05 · ⟨WHAT⟩ a long view of a land folded from heavy cream washi paper at sunset: the big folds run to the horizon, the creases glow coral against the deep blue sky; keep the folds where they are

1.0 s · $0.06 · ⟨WHAT⟩ one sheet of heavy cream washi paper with the winding backbone of a protein raised in it in real relief, lit by one low raking sun so every crease throws a fine shadow, a thin coral glint along its creases; keep its shape and position exactly
3.0 s · $0.06 · ⟨WHAT⟩ the same sheet of cream washi paper with an Enigma rotor embossed in it, seen straight down its axis: a ring with its wiring lines crossing inside it, in real relief, lit by one low raking sun; keep its shape and position exactly
4.8 s · $0.06 · ⟨WHAT⟩ the same sheet of cream washi paper with the letters ABC folded up out of it in real relief, lit by one low raking sun, each letter casting a soft shadow; keep the letters' shapes and positions exactly
6.6 s · $0.06 · ⟨WHAT⟩ the same sheet of cream washi paper with the number 42 folded up out of it in real relief, lit by one low raking sun, casting a soft shadow; keep its shape and position exactly
8.1 s · $0.06 · ⟨WHAT⟩ the same sheet of cream washi paper with a row of seven small raised paper cells, each embossed with one letter, M T W T F S S, lit by one low raking sun; keep the cells, the letters and their positions exactly

3.6 s · $0.05 · ⟨WHAT⟩ at night on a dark meadow a tree of branching paths made of real optical fibres and fine glass filaments: the light has climbed halfway out from the trunk, the lit branches glowing warm gold, the unlit ones dark glass; keep the branches exactly where they are
8.3 s · $0.05 · ⟨WHAT⟩ the same fibre tree with its whole crown lit, millions of tiny white-gold points like a cloud of fireflies, the grass at its foot lit warm, a deep blue starry night; keep the crown's shape exactly

3.6 s · $0.06 · ⟨WHAT⟩ as S21 still 1
8.3 s · $0.06 · ⟨WHAT⟩ as S21 still 2

3.8 s · $0.05 · ⟨WHAT⟩ inside a sealed glass capsule world: thick curved glass walls with bright rim highlights, an amber sky with soft clouds and white two-piece capsule colonies with three warm window strips each floating in it; keep every capsule where it is
12.5 s · $0.05 · ⟨WHAT⟩ a small white pill floating above the curve of the Earth at sunrise: the sun just cresting the limb, the thin atmosphere glowing orange and cyan, deep black space with faint stars; keep the pill, the sun and the curve where they are

4.8 s · $0.05 · ⟨WHAT⟩ a small glass capsule with its blue sky, clouds and tiny white capsule colonies inside, floating small near the top centre above the curve of the Earth: below it the Earth's day side with real white clouds, deep blue oceans and brown and green land, its thin atmosphere glowing bright blue along the edge and warm orange on the left where the sun is just cresting the limb; deep black space full of stars behind; keep the capsule, the curve and the sun where they are

S20c:
Repaint it as a frame from a 1970s 35 mm feature film shot from an aircraft flying low over a sea of puffy cumulus clouds at sunset: keep the clouds, their shapes and positions, the low warm sun light from the left and the deep blue sky exactly as they are. Add five techno hot air balloons drifting above the cloud deck at different distances, one large and near on the right, the others smaller toward the horizon: classic teardrop envelopes built like fine machines, panels of cream, coral and powder-blue fabric stitched with thin softly glowing seams and a band of dark solar cells around each, a ring of small white ducted fans around each slim white gondola, a warm burner glow under each envelope. The whole frame has the rich, saturated colour of a 1970s colour-film print: warm creamy whites with a golden cast, clear cyan blues, deep warm shadows, a soft glow around the brightest highlights, fine visible film grain and the gentle softness of a vintage lens. It must look like a real photograph, never like a computer render. No text, no people visible.

S20w:
Repaint it as a frame from a 1970s 35 mm feature film in soft, light pastel colour: a sea of soft white cumulus clouds in bright midday light under a pale, clear sky blue, the shadows inside the clouds a soft pale blue-grey, never orange or gold. Among the clouds float hot air balloons of the future: round envelopes striped in soft cream, pale coral and pale sky blue, each with a band of glinting solar panels around its middle, a softly glowing burner and a small white gondola with two ducted fans; one large balloon close on the right, a few smaller ones further off toward the sun. Keep every cloud and the sun where they are. Low saturation, airy and light, fine film grain and the gentle softness of a vintage lens; it must look like a real photograph, never a computer render. No text, no people.

Remove the woman in the white dress completely, leaving the place empty: fill in what is behind her naturally (the ground, the plants, the architecture), with no trace of her, her shadow or any person. Keep everything else exactly as it is: the composition, the camera angle, the light, the colours and the film texture. No text, no people.

Remove the woman in the white dress completely, leaving the place empty: fill in what is behind her naturally (the ground, the plants, the furniture, the architecture), with no trace of her, her shadow or her reflection. Keep everything else exactly as it is: the composition, the camera angle, the light, the colours and the film texture. No text.

Remove only the woman in the white dress, completely: fill in what is behind her naturally, with no trace of her or her shadow. Keep the child sitting at the desk and everything else exactly as it is: the composition, the camera angle, the light, the colours and the film texture. No text.

// twigl
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