Anime

Create a cinematic anime battle sequence, 16:9, with premium hand-drawn cel animation and ultra-fluid sakuga-style movement. At a ruined ancient Japanese torii gate during a blazing crimson sunset, a white-haired swordsman in a torn white haori stands facing a towering shadow-black demonic warrior with glowing red eyes and smoky tendrils. 0–2s: Wide dramatic shot. Both warriors face each other beneath the giant torii gate, dust and debris floating through the air, huge orange sun directly behind them. 2–4s: Fast cinematic push-in to the white-haired swordsman’s face. His eyes glow intense red as he tightly grips his black katana. Wind moves his hair and clothing. 4–7s: He suddenly launches forward at extreme speed and clashes swords with the demon. Explosive white-blue lightning, sparks, shockwaves and a brilliant curved energy slash tear across the frame. Dynamic anime camera movement and strong motion lines. 7–8s: The swordsman completes one clean finishing slash. The demon breaks apart into swirling black smoke, glowing red embers and particles. 8–10s: Final wide rear shot: the swordsman stands completely still with his katana lowered, facing the enormous setting sun beneath the torii gate while the remaining dark particles disappear into the sky. Visual lock: dramatic red-orange sunset palette, deep black shadows, sharp anime linework, cinematic contrast, fluid 2D animation, consistent character design throughout, realistic cloth and hair motion, powerful impact frames, no extra characters, no character duplication, no text, no subtitles, no watermark.

Create a 15-second cinematic 2D anime sequence in a warm, nostalgic late-90s/early-2000s anime aesthetic. A loving family of three sits together in a cozy living room at night: a muscular bearded father with messy dark hair in a loose black shirt, a gentle mother with shoulder-length dark hair wearing a cream sweater, and their adorable young daughter with brown hair in two pigtails tied with pink ribbons, wearing a pink heart-print pajama top. Shot 1 — 0–4s: Wide establishing shot of the family relaxing together on a brown sofa in a warmly lit living room. The father sits comfortably with the little girl beside him while the mother sits close on the other side. Soft orange lamp light, natural shadows, cozy home interior. The child looks around curiously while the parents exchange subtle affectionate expressions. Shot 2 — 4–7s: Medium close-up of the father and daughter. The little girl shifts closer against her father while looking up at him with a playful, slightly stubborn expression. The father gently adjusts his arm around her. Subtle facial animation, natural blinking, small head movements and believable anime body motion. Shot 3 — 7–10s: Cut to the mother and daughter. The mother looks toward the child and speaks gently, raising one hand in a casual conversational gesture. The daughter looks up at her mother, listening attentively. Warm interior lighting gradually transitions toward cooler nighttime tones. Shot 4 — 10–12s: Transition to the bedroom at night. The same family is now lying together comfortably in a large bed under a blue-gray blanket. The father is on one side, mother on the other, and the little girl sleeps peacefully between them. Moonlight enters through the window, creating soft blue illumination. Shot 5 — 12–15s: Slow intimate close-up of the sleeping child, peacefully nestled against her father. Then gently shift focus toward the mother lying awake beside them. She gazes upward thoughtfully with a quiet emotional expression as the curtains move slightly from a soft nighttime breeze. Visual style: high-quality hand-drawn Japanese anime, expressive eyes, detailed hair strands, clean linework, subtle cel shading, cinematic composition, natural character animation, soft film grain, beautiful warm-to-cool lighting transition, atmospheric nighttime ambience, emotionally intimate family scene, consistent character designs throughout, smooth camera movements, shallow depth-of-field where appropriate. Negative prompt: photorealistic, 3D CGI, live action, plastic skin, distorted anatomy, extra fingers, extra limbs, inconsistent faces, changing hairstyles, changing clothing, character duplication, flickering, jittery animation, warped backgrounds, text, subtitles, watermark, oversaturated colors, excessive motion blur.

Create a 30-sec hand-painted 2D anime cooking film in the peaceful Korean countryside. Warm storybook lighting, soft watercolor textures, delicate backgrounds, gentle cel shading, natural hand-drawn motion, cozy cinematic atmosphere, appetizing food close-ups and steam. STYLE/SETTING: Authentic Korean world: hanok homes, gray giwa roofs, stone walls, onggi jars, wooden fences, changhoji lattice windows, rice fields and green hills. No Japanese architecture, torii, tatami-focused interiors, Japanese text, CGI, logos, watermarks, UI, titles, captions, subtitles, or any on-screen text. FOOD: Authentic Japchae (잡채): sweet-potato glass noodles, beef, carrot, onion, red pepper, spinach, shiitake, egg strips, soy-garlic sauce, sesame oil/seeds. Serve with white rice and kimchi. Keep the same home, hands, food design, lighting and visual style throughout. 0–3s: Hands carry a bamboo basket of fresh spinach, carrot, red pepper and shiitake through a Korean garden; hanok and onggi jars behind, warm sunlight, breeze, birds. 3–6s: Hands soak dangmyeon in a wooden bowl inside a traditional Korean kitchen. 6–9s: Close-up slicing carrot, onion and red pepper into thin strips. 9–12s: Slice shiitake, spinach, beef and thin egg omelette ribbons. 12–15s: Boil dangmyeon, rinse in cold water and drain; steam and translucent chewy noodles. 15–18s: Stir-fry beef with soy sauce, then carrot, pepper, mushrooms and spinach; sizzling steam. 18–22s: Mix soy-garlic sauce. Toss noodles, vegetables, beef and egg until glossy; add sesame oil and sesame seeds. 22–26s: Plate steaming Japchae on Korean ceramicware; colorful noodles, vegetables, beef and egg. 26–30s: Wide hanok interior: Japchae, white rice and kimchi on a low wooden table. Changhoji window reveals Korean hills, rice fields and distant hanok rooftops. Warm afternoon light, slow pull-back, hold final frame. CAMERA: Mostly static illustrated close-ups, clean short cuts, gentle push-ins/pull-backs, minimal shake, no rapid cuts. AUDIO: Birds, breeze, leaves, water, chopping, boiling and sizzling. No voiceover or dialogue. Optional very soft distant gayageum. MOOD: Peaceful, nostalgic, intimate Korean countryside cooking memory. Consistent hand-painted 2D anime style from start to finish.

[MOTION STYLE] Emphasize snappy animation with lively energy, strong anticipation, overshoot, squash and stretch, and follow-through on hair and jacket. Give the movement a distinctive rhythm with variation in pacing: sharp compressions, sudden acceleration, delayed settle on hair and fabric. Physics are slightly exaggerated beyond reality, but the rider's footing and center of gravity don't break. Use motion blur, short afterimages and dramatic smear frames sparingly. ONE-SHOT (15s, 9:16) — one rider, one bike, flat-out speed, loop-ready. SCENE CONTEXT — EXACTLY 1 CHARACTER, 1 BIKE. NO DUPLICATES. No other people or bikes anywhere in the field. ACTIVE REFERENCES [Image 1] is the first frame. It defines the opening composition and <Hyo>'s appearance — a young woman with black hair in two low buns, burgundy windbreaker, olive mountain-bike shorts over grey leggings, orange gloves, seen from behind and already airborne and ALREADY FALLING off the dirt lip. The video starts exactly from this frame. Do not restage it, do not re-rise. GEO SPATIAL LAYOUT (locked): a harvested golden stubble field. A packed dirt track runs STRAIGHT AWAY from camera into the distance. The take-off mound is behind her at frame start; a landing ramp sits immediately ahead; a second smaller dirt lip sits further down the same straight track; the main take-off mound reappears at the far end of the same line. Three round straw bales stand beside the track frame-LEFT; a red barn and hedgerow close the horizon frame-RIGHT. Crisp bright autumn noon, luminous clear blue sky, stubble blazing gold. SPEED (mandatory): she rides FLAT-OUT the whole way, roughly 35 km/h. Ground, stubble, bales and track texture rush past the wheels and out of the bottom of frame fast. Her legs turn a fast continuous cadence; chain and spokes blur. Real-time speed or faster at every moment. [Stage 1] 0.0–1.5s — LANDING Initial state: <Hyo> is already descending, bike level, straw dust trailing behind. Primary event: she presses the bike down and both wheels slam the landing ramp almost together; suspension compresses deep, a burst of dust fires out sideways. End state: both wheels planted, suspension at full compression, her body squashed low over the bars. [Stage 2] 1.5–4.5s — REBOUND AND ACCELERATE Continue from the previous stage: same rider, same bike, camera still behind her. Primary event: the suspension springs back and she stands on the pedals, hammering a fast cadence straight down the dirt track, dust tail streaming behind her. End state: fully upright on the pedals at full speed, track running dead straight ahead of her. [Stage 3] 4.5–8.5s — FLAT-OUT RUN Primary event: she rips past the line of straw bales on her left; the bales, the stubble edge and the track texture streak past and out of frame; her buns and the hem of her windbreaker snap in the wind, settling a beat after her body. End state: the second dirt lip is now filling the lower frame ahead of her. [Stage 4] 8.5–11.5s — QUICK HOP Primary event: she pops the second lip, gets a short sharp half-second of air with the bike tucked, and lands both wheels immediately, a hard crunch and rebound without losing any speed. End state: back on the track at full speed, still accelerating. [Stage 5] 11.5–15.0s — RUN-IN AND LAUNCH Primary event: she drives at the main take-off mound, gloves tight on the bars, body loading as the lip rushes up under her front wheel, then the front wheel leaves the lip and she rises into the air. End state (loop-ready): the exact composition of [Image 1] — seen from behind, low angle, airborne off the lip, bike level, gold field below her wheels. CAMERA — one continuous chase shot. The camera rides roughly 3m behind her rear wheel at about 80cm height, matching her speed so she stays the same size in frame while the ground rushes underneath. Her BACK stays to the lens for all 15 seconds. No cuts, no zoom. The camera never orbits ahead of her, never swings to her side or front, never shows her face, never reverses. PHYSICS — true parabolas, honest suspension compression and rebound, dust and straw lifting and settling at their own weight. AUDIO — ASMR ambient/diegetic only: wind roaring past her ears, tyres crunching and drumming on packed dirt, suspension hissing through its stroke, fast freehub buzz and chain whir, stubble rattling the frame. No narration, no voiceover, no dialogue, no music. NEGATIVE / FAILED TAKE CONDITIONS — No slow motion, no hovering, no floating, no hang time longer than 1.5 seconds; any drifting or slow-motion feel = failed take. No front view, no side view, no face visible, no camera orbit = failed take. A second person or a second bike = failed take. A crash or a foot down = failed take. No summer clothing. No dark, dusk, foggy, sunset or night grading = failed take. No on-screen text, captions, logos or watermarks. No photoreal or 3D CG rendering. STYLE (locked): hand-drawn 2D anime, soft cel shading, lush painterly gouache backgrounds, crisp bright autumn noon, high-key daylight, luminous clear blue sky, warm radiant sunshine, glowing gold stubble, soft lens bloom, soft film grain, nostalgic hand-painted anime film look. Every frame bright, airy, well-exposed.

Create a 30-second fast-paced cinematic Japanese anime cooking video showing the preparation of authentic katsudon, entirely from the text description below. IMPORTANT: Do not display, recreate, trace, reference, or imitate any storyboard, sketch, reference image, panel, annotation, or source material. Generate only original anime-style animation. STYLE High-quality Japanese anime film style, cinematic summer lighting, ultra-detailed food textures, realistic cooking physics, visible steam and moisture, shallow depth of field, macro close-ups, smooth camera movement, warm Japanese kitchen atmosphere. Fast rhythmic editing with natural match cuts based on movement, shape, texture, and composition. TIMELINE 0–2.5s — Prepare Pork Close-up of hands pounding a thick pork loin with a wooden mallet on a cutting board. The meat gradually flattens and its fibers loosen. Sprinkle salt and pepper evenly. Crisp rhythmic impacts. 2.5–5s — Bread the Pork Quick match cuts: press the pork into flour, dip into beaten egg, then firmly coat with coarse panko breadcrumbs. Show realistic egg dripping and breadcrumbs adhering to the surface. 5–7.5s — Fry Lower the breaded pork into hot golden oil. Intense bubbling surrounds the cutlet as the crust turns golden brown and crispy. Warm cinematic lighting and detailed oil movement. 7.5–9.5s — Slice Place the fried tonkatsu on a wooden board. A sharp knife cuts it into even strips. The crispy crust cracks naturally, revealing juicy white pork with gentle steam escaping. 9.5–12s — Simmer Dashi & Onion Thinly sliced onions gently simmer in amber dashi inside a shallow pan. Small bubbles rise while the onions become translucent. Chopsticks gently move them through the broth. 12–14s — Add Tonkatsu Place the sliced tonkatsu carefully over the simmering onions using chopsticks. The broth begins soaking into the crispy edges while steam rises. 14–16.5s — Pour Egg Slowly pour beaten golden egg over the tonkatsu and onions. The egg spreads naturally through the gaps and begins setting around the hot edges. 16.5–19s — Set the Egg Close-up of the egg gently coagulating over low heat. Edges become soft and golden while the center remains glossy, slightly runny, and trembling. No stirring. 19–21s — Prepare Rice A white ceramic donburi bowl receives a generous mound of steaming Japanese short-grain rice. The rice looks fluffy and slightly glossy. 21–24s — Assemble Carefully slide the egg-and-tonkatsu mixture from the pan onto the rice. The egg settles naturally in a soft wave while dashi lightly absorbs into the rice. 24–26s — Final Close-Up The finished katsudon rests on the counter. Glossy egg slowly settles over the tonkatsu and rice, gently trembling. Slow cinematic push-in. 26–30s — Hero Reveal Present the finished katsudon in a traditional blue-and-white ceramic bowl on a wooden surface. Golden egg cover

Created a dramatic top-down shot of a pink-haired anime-style girl falling through a futuristic glass skyscraper at night, surrounded by reflections, lights, and intense motion blur. The camera rapidly rotates and follows her descent, then cut to a dark close-up where she looks calm and mysterious. Show detailed shots of her pink outfit, clenched hand, and flowing hair. Build tension with cinematic lighting and deep shadows, then transition into a powerful final shot where she flies forward toward the camera with glowing golden eyes, wind blowing through her hair, bright warm light and wings-like energy behind her. Ultra-detailed 3D anime cinematic style, realistic motion, smooth camera movement, dramatic depth of field, high-quality lighting, dynamic action, consistent character design, epic cinematic atmosphere.

[Image 1] is the first frame. It defines the opening composition: a boy flying horizontally just above a flower field, facing screen left, with a strongly tilted horizon and large white cosmos flowers in the low foreground. <Boy> corresponds to [Image 1]. Use his face, messy dark brown hair, white short-sleeve shirt, body proportions, and the hand-painted 2D anime art style. <Flower Field> references [Image 1]. Use its rolling hills with bands of white cosmos, pink and yellow flowers, the distant green valley, and the bright blue summer sky with towering cumulus clouds. <Paper Plane> is a single small white folded paper airplane. There is only one paper plane in the entire video. [Generation Goal] Generate a 30-second cinematic anime short with a story. <Boy> flies low over <Flower Field> at more than 100 km/h, chasing <Paper Plane>. The world flips upside down during the chase. When he finally catches the plane, time freezes, and the camera pulls back to reveal the whole flight was a crayon drawing in a sketchbook on the desk of a boy napping in a 1990s Korean classroom on a summer afternoon. [Stage 1 | 0-4 seconds | The chase begins] Initial state: exactly the composition of [Image 1]. Primary event: far ahead of <Boy>, <Paper Plane> glides toward screen left, catching the sunlight. <Boy> sees it, laughs, and accelerates. A burst of petals tears loose beneath him and streams past the camera. End state: <Boy> is racing toward screen left just above the flowers, <Paper Plane> ahead of him. [Stage 2 | 4-11 seconds | Skimming the flowers] Primary event: the camera swings in front of <Boy> and races backward just above the flower heads like an FPV drone. <Paper Plane> dips and loops playfully just out of reach. <Boy> stretches out his hand, his fingertips brushing the tops of the cosmos. Speed cues: in his wake the flowers bend flat in a rippling wave line and spring back up; foreground flowers streak into motion blur while the distant hills drift slowly; his hair and shirt are pressed flat by the wind. End state: <Paper Plane> climbs away upward. <Boy> follows it. [Stage 3 | 11-17 seconds | The world flips] Primary event: <Boy> performs a slow barrel roll while chasing <Paper Plane>. In one continuous take, the camera rolls 180 degrees with him. The world turns upside down: <Flower Field> now hangs overhead like a ceiling of blossoms, and the sea of cumulus clouds spreads below. Petals fall upward toward the flowers. <Boy> flies inverted, reaching for the plane, his hair floating. End state: the camera completes the roll back to upright. <Boy> is right behind <Paper Plane>, just above the flowers again. [Stage 4 | 17-21 seconds | The catch] Primary event: <Boy> lunges forward and his fingers close around <Paper Plane>. At the moment of contact, time slows to a near stop: petals freeze in midair, the flowers stop swaying, and his wide eyes reflect the sunlight. Bounce speed ramp into extreme slow motion. End state: <Boy> holds <Paper Plane> in his hand, suspended above the frozen flower field. [Stage 5 | 21-30 seconds | Waking up] Primary event: the camera pulls back rapidly in one continuous move. The entire frozen scene flattens and becomes a crayon and colored-pencil drawing on a sketchbook page, the same flower field, sky, and flying boy now drawn in a child's hand. The camera keeps pulling back to reveal the sketchbook lying on a worn wooden school desk in a sunlit 1990s Korean classroom: green chalkboard, white curtains billowing in the breeze through an open window, a slowly turning ceiling fan. <Boy>, wearing the same white short-sleeve shirt, is asleep with his cheek resting on his folded arms beside the sketchbook, smiling slightly. End state: in <Boy>'s loosely open hand on the desk rests the same white <Paper Plane>. A single real white cosmos petal drifts in through the window and lands softly on the drawing. The curtain settles. [Visual Style] Hand-painted 2D anime art with painterly cumulus clouds, crisp character linework, saturated summer blues and greens, strong warm sunlight. The classroom has soft golden afternoon light and dust motes floating in the air. Nostalgic, euphoric summer mood. [Audio] Stage 1-3: (Uplifting orchestral strings and piano building steadily, swelling during the world flip) <Roaring wind rushing past, rising with speed> <Soft whoosh of brushed flowers>. <Boy> laughs breathlessly once. No spoken dialogue. Stage 4: all music and wind cut out instantly. Only a single soft heartbeat and a thin high whistle of air. Stage 5: <Cicadas singing outside the window> <Curtains fluttering> <Ceiling fan humming> <A distant school bell> (A single gentle piano melody returns softly at the very end). [Maintain Consistency] Keep exactly one boy throughout, with the same face, hair, and white short-sleeve shirt, both flying and asleep. Keep exactly one <Paper Plane>. Keep his hands anatomically stable with five fingers. Keep the direction of flight mostly toward screen left. Do not add other characters in the field or in the classroom.

High-octane keyframe sakuga 2D anime sequence inspired by rough storyboard layouts, featuring blueprint grid lines, technical aspect ratio frame guides, and explosive hand-drawn linework. Scene 1 (The Trigger): Maki Zen'in stands in a sharp three-quarter profile inside an unshaded production frame. A single close-up catches the cold glare in her scarred face as she raises her hand, snapping her fingers. Instantly, an electric flash of cursed energy sparks across her silhouette, shattering the serene sketch into jagged, charcoal-textured debris. The background splits open into skewed perspective lines of ruined Japanese shrine pillars and concrete slabs. Scene 2 (The Release & Charge): The camera plunges into an extreme worm’s-eye view. Maki kicks off the ground with monstrous physical force, creating a crater-like shockwave depicted in raw, hand-sketched black-and-crimson impact frames. Her short dark hair whips backward in high frame-rate motion blur as she unsheathes the Split Soul Katana. Stylized 3D Kanji sound effects burst out from behind her footsteps, vibrating with distortion to match a heavy, syncopated bass hit. Scene 3 (The Kinetic Climax): In one continuous, sweeping fisheye cut, Maki leaps directly toward the viewer, blade held reverse-grip overhead. Geometric debris and slashed kinetic speedlines trail her motion. As her blade cuts the screen diagonally, the rough pencil linework abruptly snaps into rich, fully saturated flat cel colors—sharp crimson blood spatters, glaring metallic steel reflections, and deep purples—before freezing on a breathless, sharp-focus landing pose atop shattered stone. Visual Style & Technical Specs: Genga-style rough animation, dynamic perspective warping, raw loose keyframes shifting into polished cel shading, dramatic camera tracking, high kinetic impact frames synced to abrasive electronic beats.

Restyle this entire image into classic 1980s anime style. Use traditional 80s anime cel animation look: bold black outlines, flat cel-shading with soft gradients, vibrant yet slightly muted color palette typical of 80s dark fantasy anime, highly deta...

Restyle this photo completely into classic 1980s anime style. Transform the woman into a beautiful 80s anime heroine with large expressive emerald-green eyes, detailed flowing wet black hair with individual strands and highlights, soft cel-shaded ski...

Transform this photo into adorable chibi style: the man has a hugely oversized head with big expressive eyes, tiny body, cute exaggerated features, soft anime shading, big round head, short limbs, preserving his exact face likeness, short gray hair,...

A silhouetted figure in dynamic pose against cliffs and starry space in retro futurism anime style. Keep reaching never give up!

【Global · Art Style Setting】 Top-tier 2D hand-drawn Chinese style animation, exquisite character standing illustration level texture (referencing high-precision game illustrations). Clear and sharp lines, full and transparent colors, rich light and shadow layers, retaining the silky high-frame smoothness and exaggerated deformation tension of 2D animation. Grand floating sea cliff divine war ruins, giant cliffs suspended over raging waves, black clouds pressing down, cyan lightning tearing the sky, wild winds rolling up thousands of waves and water mist, broken walls and shattered stone pillars faintly visible in wind and rain. Chainable destruction: Sea cliff cracks → Stone pillars collapse → Divine light explodes → Seawater shoots to the sky, destruction traces permanently retained. 【Global · Characters and Opponent】 Protagonist: 2D exquisite standing illustration style. Ink-black long hair dancing wildly, eyes cold and arrogant, a touch of dark blue water drop divine pattern on the forehead, wearing a dark gray-blue-white battle-damaged long robe, carrying a sword on the back, clothes fluttering violently with movements. Action characteristics: Extremely flexible like a monkey, using all four limbs for bouncing, aerial rolls, wall-clinging leverage, elusive footwork, full-speed movement turning into cyan-gold-red 2D flowing light afterimages. Opponent (Giant Nine-Headed Serpent): 2D hand-drawn behemoth. Snake body as thick as mountains, dark black scales flashing with ghostly green toxic light, nine huge snake heads slender like dragon necks, crimson vertical pupils. Injury system: Being hit splashes dark green and dark red blood, scales crack, blood gushes from severed heads, corpses permanently retained on the sea cliff, finally collapsing after total annihilation, smashing the sea cliff. 【Global · Core Rules and Iron Laws】 60fps high frame, 2D hand-drawn animation, fast-paced throughout, no slow motion/freezes/bullet time. Action density: High-speed combo sections 8-12 actions/sec, SSS-level immortal technique sections 14-18 actions/sec. Impact feel = Brightness surge + Camera push-in + Shockwave expansion + Hit target flying violently. Pseudo one-shot (WHIP/PUSH/DOLLY). Scene destruction permanently retained. Both sides counterattack violently in every shot. Pure action flow. 【Storyboard · 30 Seconds · Protagonist 2 Skills + Opponent 2 Skills · Ultimate Flexible Monkey-style Footwork · Bleeding on Injury · Corpse Retention】 Shot 1 (t0-1s) MS + Ground-hugging tracking long shot: 0-frame start, protagonist jumps down from the left side of the floating sea cliff hanging upside down, bouncing frantically on the cliff wall using all four limbs like an ape, sliding on the ground through the first wave of bites by the nine-headed serpent and leveraging off a pillar, slashing horizontally across the snake's neck with a reverse hand strike causing dark green blood to splash, low-angle upward shot combined with ground-hugging tracking shot, camera shakes violently upon landing. Shot 2 (t1-3s) MS + High-speed lateral tracking shot: Protagonist continuously rolls in the air like an ape, using all four limbs to bounce pendulum-style between the nine heads of the serpent, dodging bites to the left and thrusting upward to slash the snake's neck to the right, creating cyan-gold-red 2D afterimages and ink burst effects, the nine-headed serpent spits ghostly green poison breath and sweeps its tail, high-speed lateral tracking shot follows closely. Shot 3 (t3-5s) MCU + Extreme speed whip pan: The nine-headed serpent activates Skill 1 [Nine Heads Poison Prison], all nine heads simultaneously spit ghostly green poison breath and black magic thunder forming a poison-thunder field covering the entire scene, the protagonist climbs the wall, rolls extremely to dodge within the gaps of the poison-thunder field like a spirit monkey, then strikes with a reverse chop, elbow strike, spin kick, and side kick in a four-hit combo consecutively hitting the snake heads, each hit exploding with cyan-gold-red 2D ink dots and dark green blood mist, extreme speed whip pan from left to right. Shot 4 (t5-8s) MS + 2D Orbit Shot: Protagonist spins and forms a seal to activate Skill 1 [Cyan-Gold-Red · Spirit Ape Treading Void Slash], transforming into cyan-gold-red 2D afterimages shuttling frantically back and forth among the nine heads of the serpent, leaving ape-like figure afterimages with each turn while synchronously swinging the sword to strangle, snake necks spurting dark green ink-blood, the nine-headed serpent frantically shaking its head and biting back, 2D orbit shot continuously following the extreme speed afterimage trajectory. Shot 5 (t8-10s) FS 0.5s → MS: The range of Spirit Ape Treading Void Slash expands to the extreme, full-screen cyan-gold-red 2D sword qi bursts out simultaneously sweeping most of the screen, two heads of the nine-headed serpent are chopped off, wounds spurting large amounts of dark green blood, the beast roars at the sky in grief, wide shot 0.5s then extreme speed whip pan back to MS. Shot 6 (t10-12s) MS + FPV Back-tracking: Zero gap transition between segments, protagonist transforms into cyan-gold-red 2D flowing light teleporting through the group to behind the nine-headed serpent, landing and sweeping horizontally, impact point exploding with ring-shaped 2D shockwaves and cyan-gold-red splash ink waves, remaining seven heads of the nine-headed serpent simultaneously counterattack spitting black thunder and poison breath, FPV back-tracking follows, protagonist immediately reverses direction and charges in. Shot 7 (t12-15s) MCU + Extreme Speed Push In: The nine-headed serpent activates Skill 2 [Ten Thousand Snakes Devour Heaven Bite], seven snake heads simultaneously transform into huge black shadows frantically biting and encircling, the protagonist bounces off snake heads for leverage, rolls in the air, spinning and forming a seal to activate Skill 2 [Cyan-Gold-Red · Thousand Mechanisms Breaking Wave Array], waving the long sword to condense massive cyan-gold-red lightning sword qi, thrusting frantically back and forth between snake heads, sword qi piercing through snake necks along the path like wild cursive calligraphy causing chain explosions, snake heads splashing dark green blood, extreme speed push in locking onto the penetration center. Shot 8 (t15-18s) FPV + Ground-hugging Tracking: Thousand Mechanisms Breaking Wave Array continues to expand, protagonist slides on the ground in lightning afterimages to dodge the tail sweep, leaps up and slashes down, charging in from three directions, cyan-gold-red lightning and 2D ink dots explode and sea cliff ground cracks are permanently retained, the nine-headed serpent dives from mid-air to bite, ground-hugging tracking + extreme speed whip pan. Shot 9 (t18-20s) FS 0.5s → MS: Thousand Mechanisms Breaking Wave Array engulfs most of the screen, the nine-headed serpent has three more heads chopped off, wounds spurting blood like rain, the beast's massive body is pierced by lightning and knocked back, wide shot 0.5s then whip pan back to close-up. Shot 10 (t20-22s) MCU Low Angle Upward Pan: Zero gap transition between segments, protagonist leaps into the air and forms a seal, remaining four heads of the nine-headed serpent roar at the sky in dying counterattack, spitting black thunder and poison breath trying to kill, protagonist shuttles extremely fast between heaven and earth, MCU low angle upward pan. Shot 11 (t22-26s) FS Full Screen Overhead Rotation: Protagonist's dual skill combo explosion, full-screen cyan-gold-red 2D divine swords and lightning bombard the nine-headed serpent's entire body like heavy rain, covering the whole screen, each falling sword light explodes with 2D mushroom clouds, protagonist shuttles extremely fast harvesting between sword rains like a spirit monkey, the nine-headed serpent's massive body is nailed to the sea cliff by divine swords struggling frantically, remaining heads chopped off one by one, blood spurting, full screen overhead rotation. Shot 12 (t26-28s) MS + FPV: In the aftermath, protagonist uses extreme sword shuttle followed by spin slash to clear remnants, cyan-gold-red 2D dust surges to the sky and three-color ink threads densely packed, the nine-headed serpent's dying counterattack is instantly shattered by cutting off the last head, FPV back-tracking. Shot 13 (t28-29s) MCU + Extreme Speed Whip Pan: Protagonist dashes left and right pendulum turns, slashes left and thrusts right, bringing out cyan-gold-red 2D afterimages and ink burst effects with sword shadows forming sheets, the headless body of the nine-headed serpent collapses crashing into the sea cliff, corpse heavily landing on the ruins, extreme speed whip pan. Shot 14 (t29-30s) CU End Frame Total Annihilation of Beast: Protagonist stands atop the sea cliff sheathing the sword horizontally in front, full-screen cyan-gold-red 2D light explosion completely evaporates the nine-headed serpent's remains into sky-wide 2D particles and dark green debris, the massive corpse of the nine-headed serpent is permanently retained on the collapsed sea cliff ruins, dark green blood continues to flow from the severed neck, no living beasts remain in the picture, protagonist slightly raises head with arrogant gaze, CU extreme speed push in + freeze 0.3-0.5s, declaring total annihilation. 【Complete Negative Prompt】 Forbidden: 3D rendering, UE5, Lumen, realistic style, photorealistic, Western cartoon, Pixar style, plastic feel, monochrome effects, text, watermark, UI, subtitles, LOGO, stiff jump cuts, static, face-to-face staring, move collision stalemate, uncontrolled blood spray, limb dismemberment, internal organs, wound close-ups, skin tearing, limb distortion, joint hyperextension, extra fingers, eye deformation, character facial breakdown, effects blocking face, camera glitches, perspective errors, proportion imbalance, character overlapping clipping, sluggish actions, frozen actions, interrupted combos, stationary output, charging standoff, posing, sheathing sword, end-of-battle feeling, panting/resting, same speed throughout, slow motion, slow shots, freezes, pauses, frame freezing, hit-stop, bullet time, time stagnation, long wind-up, post-attack pause, beast stops counterattacking, beast standing still getting beaten, one-sided absolute crushing without counterattack, one-sided damage reception, empty areas in picture, beast static, beast not shuttling to fill positions, half-hearted beast counterattacks, human injury, human bleeding, physical cutting, penetration, piercing, extreme wide shot EWS, zooming out, distant view, wide shot fighting, motion blur, 2D effects too thin, lack of sense of speed, hits without explosive feel, weak attack feedback, no reaction from hit target, effects not filling screen, skills not covering most of the screen, large blank areas in picture at release moment, effects concentrated only on protagonist instead of engulfing the screen, wrong skill names, non-combat segments, too much dialogue, end frame does not show total annihilation of beast, elite monsters, demon generals, BOSS, small mobs, humanoid demons, snake clipping, Wu Shan Five Elements.

A cinematic anime-style scene of a young female traveler skateboarding downhill through a colorful coastal hillside town. She rides smoothly down a winding residential road, carrying a green backpack and orange shoulder bag, while the camera follows behind her in a dynamic tracking shot. Below, a breathtaking turquoise ocean stretches along a curved sandy coastline with white waves crashing against the shore. Colorful houses, utility poles, lush greenery, distant mountains, and enormous fluffy clouds fill the landscape. Strong summer sunlight, vivid blue sky, detailed hand-painted anime aesthetic, subtle wind moving her hair and clothes, realistic skateboard motion, smooth camera movement, atmospheric depth, highly detailed background, adventurous peaceful travel mood, cinematic composition, 9:16 vertical, seamless natural motion.

Cinematic anime short film clip, 15 seconds. Traditional martial arts dojo, wooden floor, mirrored walls, training equipment, warm interior lighting, clean and spacious. CHARACTER 1 — LEE: Lean athletic Asian male, short dark hair, calm focused expression.

Ultra-realistic cinematic street VFX sequence in bright daytime. One seamless 20-second continuous shot. Smooth Steadicam tracking backward, natural handheld micro-movements, subtle push-in, clean daylight, soft shadows, realistic reflections on glass, premium live-action texture. Stylized VFX only around the main woman. No full environment transformation. One young adult woman with long dark hair, oversized charcoal hooded jacket, confident expression, precise hand choreography, walking directly toward camera. Subtle adult pedestrians remain in the background only. Modern city street in daytime with glass storefronts, pale stone pavement, light traffic in the distance and soft urban reflections. 0-5s: Medium tracking shot The woman walks calmly toward camera in daylight. She raises both hands and forms a clean triangle in front of her face. A thin glowing holographic triangle appears exactly between her fingers, perfectly synchronized. 5-10s: Slow push-in She changes the triangle into a rectangle. Inside the glowing frame only, parts of her face and jacket begin shifting into a refined manga style: cleaner linework, larger expressive eyes, cel-shaded highlights, illustrated hair strands. The street stays fully real. 10-15s: Gentle side orbit She forms a circle with both hands. The circular outline scans across her body. Wherever the circle passes, her body transforms further into a stylized manga version. Real skin and fabric become illustrated shading and crisp ink lines. Background remains live-action. 15-20s: Hero close-up She creates one final small frame around her eyes. The holographic outline flashes once. Her full body finishes transforming into an elegant manga version while she keeps walking naturally toward camera. A few glowing particles fade in the daylight as she gives a final confident pose. Photorealistic live-action base, progressive manga transformation on the woman only, precise hand-to-hologram synchronization, stable identity, clean cel-shading, crisp ink-line detail, coherent lighting, smooth camera continuity, no text, no logos, no full-scene morphing.

Cinematic anime clip, 15 seconds. Dark foggy Victorian London alley, wet glistening cobblestones, warm orange gas lamp glow, tall dark brick buildings either side. One location throughout. SHERLOCK: Lean angular white male, sharp dark eyes, light stubble,

[Material Role Definition] @Image1 defines the facial features, hairstyle, hair color, and clothing of the <Owner>. The background, props, composition, and pose of the image are not used. [General Settings] Character definition: The owner is the only person shown on screen. Do not show customers, passersby, other people's hands, faces, or shoulders. The customer side of the stall remains vacant throughout, and the wooden round stools are empty. The owner always stands behind the counter and does not move to the front. Motion definition: All objects are moved by the owner's hands. Ingredients, bowls, ladles, tongs, and chopsticks do not move on their own, fall from outside the frame, or appear suspended in mid-air. When adding something to the bowl, the owner's hand must bring it into the frame, carry it directly above the bowl, and then release it. The hand remains in the frame until the object is released. Camera Line: In principle, the camera is on the outside, the street side of the counter. The only exception is Stage 4, where the camera is placed inside through an opening at the side of the stall near the floor, capturing the owner from behind. In other stages, the camera does not go inside the stall; when showing the owner's back or neck, the camera does not circle around, but the owner turns back toward the stockpot. Follow this line, and within that range, significantly vary the angle, height, and lens in each stage so as not to create a similar shot twice. Actively use top-down views, low-angle shots near the floor, macro close-ups, and front medium shots. Foreground Bokeh Definition: In every stage, place something at the position closest to the camera and blur it significantly. Only use these 7 items for foreground bokeh, and do not add new items: streaks of steam, bundles of dried noodles and vinyl strips hanging from the eaves, bokeh from hanging light globes, the front edge of the counter, streaks of raindrops falling from the eaves, small condiment dishes, the arc of the bowl's rim. Place the foreground bokeh at the edges or bottom half of the screen, not covering the subject. Focus is always on the middle-ground owner and their hands; foreground bokeh is blurred until it loses its outline. Parallax Definition: The foreground, middle ground, and background move at different speeds. The foreground steam and hanging objects flow and sway most quickly and slowly, the middle-ground owner and stall do not change position, and the background city lights hardly move. In stages where the camera moves, the foreground flows quickly across the screen, the middle ground shifts slightly due to parallax, and the background appears stationary. Environment: A small pho stall facing an alley in a downtown area of Southeast Asia on a near-future night. Light rain continues to fall, and the road surface reflects the light. Prioritize the realistic portrayal of steam, water droplets, the sheen of oil in the soup, fine scratches on stainless steel, and old stains on the wooden counter. The stall is an old handmade structure of wood and metal, with one side open without a wall, allowing a view down to the owner's feet. Bundles of dried noodles and faded vinyl strips hang from the eaves, with new technology crudely grafted on later. Style: Japanese full-color theatrical anime. Cinematic high-quality drawing. Extremely shallow depth of field equivalent to a full-frame 35mm F1.4, with subtle film grain. Two-color color grading with cold teal for the city night and amber for the stall. Shadows are not crushed to black but sink into a bluish-gray. Only the stall's amber and the background's artificial lights have saturation. Layout: The floating stockpot is on the left of the screen, the stainless steel tray with stewed beef slices is in the center, and the white deep bowl and small condiment dishes are on the right. The work moves from left to right. Maintain this left-right relationship. However, only in Stage 4, because the camera is behind the owner, the left and right on the screen are reversed: the stockpot appears on the right and the deep bowl on the left. This is correct; in all stages except Stage 4, the stockpot is on the left and the deep bowl is on the right. Light: The main light source is a warm amber light globe hanging from the eaves. It has no filament; a fist-sized sphere floats and glows at the end of a support. The auxiliary light is the cold blue of the city night. Keep the lighting and time of day consistent throughout. Near-future elements: Only the following 6 items; all other tools, ingredients, and actions are the same manual labor as modern stalls. 1. Rain breaks into a fine mist at an invisible boundary outside the eaves, flowing sideways instead of falling. The boundary's outline bleeds into iridescent colors, and the inside of the stall stays dry. 2. A line of maglev vehicles passes silently overhead, and a strip of white light licks the counter from back to front and disappears. 3. The stockpot floats a few centimeters off the stand, with a thin layer of blue light between it and the base. 4. Steam is sucked into a thin slit behind the eaves, swirling just before it. 5. Thin matte-black exoskeleton frames on both of the owner's forearms. From the wrists down are bare hands, with human skin on fingers and palms. 6. A small connection terminal is embedded at the owner's hairline at the nape of the neck, blinking a faint blue in time with her breathing. Food: Only one bowl of beef pho. All beef is cooked through after long stewing, appearing a calm brownish-tan with a white band of fat at the edges. Never show raw red meat, the color of blood, or ingredients that change color during cooking. The bowl contains white flat noodles, thin slices of stewed beef, round beef meatballs, clear amber soup, chopped green onions, sliced onions, and cilantro. Small dishes have bean sprouts, Thai basil, lime wedges, and red chili rings. All ingredients are already cut and cooked, arranged on trays and small dishes. The bowl is old white porcelain with chips and crazing; only one is shown until the end. [Character Design] <Owner> A Southeast Asian woman in her late 20s. Strictly refer to @Image1 for facial features, hairstyle, hair color, and clothing; the following are added for elements not shown in the image. Skin is a warm honey color, with a fine film of sweat appearing on the neck and collarbone from the heat of the pot, glowing slightly in the light. Maintain real pores and skin texture. A few strands of stray hair stick to the hairline on the forehead and nape due to humidity. Thin fabric follows the skin due to heat and humidity, quietly tracing the natural lines of the body with every movement. A cotton apron at the waist. A slender and supple skeletal structure. Eyes are always down at the hands and never look at the camera; the expression hardly changes, a slightly listless gaze. Vulnerable actions during business, not conscious of being seen by others. [Acting Core] Tell the story through fingertips, the backs of hands, wrists, neck, nape, collarbone, chest line, shoulder blades, thigh line, profile, and back, rather than the whole face. In stages showing a body part, zoom in as a close-up of that part, depicting even the physics of the cloth following, swaying, leaving, and returning to the skin. Show the contrast between human skin and the black frames on the forearms. All movements are slow, not omitting intermediate steps. [Stage 1] 0-3 seconds Empty Stall. Camera: Wide shot, low position near the road surface. Slowly dolly into the stall while maintaining hand-held micro-vibrations. Foreground bokeh is the wet road surface occupying the bottom third of the screen, where reflected rings of light flow quickly toward the left. The middle-ground stall slowly grows larger, and the background city lights are stationary. The owner stands behind the counter in the center-back, looking at the stockpot. The face is small, and the expression is unreadable. Main events: Light rain begins, raindrops break into mist at an invisible boundary outside the eaves, creating an iridescent shimmering outline that flows sideways and disappears. A line of vehicles passes overhead, and a strip of white light licks the counter from back to front once and disappears. Ending state: The camera stops in front of the counter. The owner is in the center-back, stockpot on the left, tray in the center, bowl on the right. All three wooden round stools are empty. The rain continues from this point on. Sound: Light rain, the dry, fine sound of raindrops breaking at the boundary, low electromagnetic hum, the pot simmering. [Stage 2] 3-7 seconds Wiping the Counter. Camera: Top-down view, fixed. The four corners are dark, and only the center counter is lit in amber. Foreground bokeh is a hanging light globe largely in the upper right corner, becoming a blurry golden orb swaying slightly. The owner's face is not in the frame. Main events: The owner leans forward and slowly wipes the wooden counter with a wet cloth in her right hand. Thin fabric follows her back, and shoulder blades alternately rise under the cloth. Through the gaps in the stray hair sticking to the nape, the faint blue of the embedded terminal can be seen blinking in time with her breathing. The black frame on the forearm slides slightly over the skin. Ending state: The front half of the counter is wet and reflects light. The owner folds the cloth with her right hand, places it on the right end of the counter, straightens up, and turns back to the stockpot on the left. Sound: The low sound of a damp cloth rubbing old wood, the pot simmering, rain. [Stage 3] 7-12 seconds Checking the Soup's Aroma. Camera: Zooming in three steps. First, an extreme close-up of the stockpot from diagonally below. A thin layer of blue light fills the gap between the bottom of the pot and the stand at the bottom of the screen; above it, the amber soup simmers quietly, star anise and charred ginger swirl slowly, and tiny stars of oil sparkle on the surface. Foreground bokeh is a streak of steam crossing the front. Next, the camera drops to the level of the pot's rim and tilts up diagonally. The bottom third of the screen is filled with rising steam. Above that steam, in the center of the screen, the line from the owner's neck to the collarbone and chest is visible through the steam. The thin fabric hangs slightly away from the body in the leaning posture and returns to follow the sweat-dampened skin. The film of sweat glows slightly in the light. The face is seen blurred at the top edge of the frame through the steam. Finally, a bust shot, returning to a slight low angle from across the counter, with the owner's face in the center of the upper half of the screen. Main events: The owner slowly leans over the stockpot, bringing her face close to the rising steam to check the aroma. She narrows her eyes and inhales quietly. Then she straightens up, takes a ladle with her right hand, scoops up the soup, raises her arm high, and pours it back into the pot in a thin arc. The liquid glows in the steam. Next, the owner touches the rim of the ladle to her lips, takes one sip of the soup, her throat moves slowly, she closes her eyes, and nods slightly. At that moment, a line of vehicles passes overhead, and a strip of white light momentarily outlines the hollow of her collarbone and jawline before disappearing. Ending state: The owner hangs the ladle on the rim of the stockpot with her right hand. Her body is upright, her eyes are open, and her gaze is back at her hands. Sound: The sound of liquid falling, the pot simmering, quiet breathing, the low wind-cutting sound of the vehicle line. [Stage 4] 12-17 seconds Blanching the Noodles. Camera: Only for this stage, place the camera inside through the opening at the side of the stall, set at a height of 30 cm from the floor. A close-up composition capturing the owner from diagonally behind. The camera stays close to the owner, pointing at her back, and rises straight up about 60 cm to waist height over five seconds, with the angle of the tilt-up becoming shallower as it rises. The ascent is one continuous shot. At the start of the ascent, the wet floor and the heels of the sandals are at the bottom of the screen, the line of the thighs from the hem of the apron to above the knees is in the center, and steam is at the top. As the camera rises, the screen moves to the knot of the apron and the line of the hips rising from the waist, finally stopping just above the waist. Foreground bokeh is steam crawling along the floor, softly covering the bottom edge of the screen. Backlit steam outlines the body in white, and city lights from the background peek through the side of the body as small bokeh circles. The owner's face and the back of her head are not in the frame. Main events: The owner stands with her legs slightly apart facing the noodle pot at the back of the stall, with her back to the camera. Her foot position and waist height do not change at all from beginning to end; only her arms, upper body, and the camera move. The owner holds a metal noodle strainer with white flat noodles in both hands, slowly submerges it in the boiling water, and quietly shakes it twice or thrice. The apron strings at the back of the waist sway slowly with the movement of her arms, and the thin cloth moves along the lines of her body. Steam rises vigorously, blurring the top of the screen, and swirls just before being sucked into the slit of the eaves. Then she lifts the strainer with both hands, drains the water, carries it directly over the deep bowl on the right side of her body, and tilts the strainer to slide the noodles into the bottom of the bowl. Ending state: Only white noodles are in the bottom of the deep bowl. The owner stands in the same position at the same height with her back turned, placing the empty strainer next to the hot water. The camera has stopped just above the waist. Sound: The boiling water, the sound of the strainer hitting the surface, falling water droplets, the sound of a thin air current. [Stage 5] 17-21 seconds Arranging the Meat. Camera: Medium close-up from diagonally above across the counter, capturing from the owner's chest to the bowl. The owner's face is cut off at the top edge of the frame and is not on screen. During this stage only, the camera moves horizontally about 30 cm to the right very slowly. Foreground bokeh consists of bundles of dried noodles and faded vinyl strips hanging from the eaves, occupying the left edge of the screen and flowing quickly to the left. The owner and the bowl in the middle ground shift only slightly due to parallax, while the background city lights appear stationary. Main events: The owner takes metal tongs in her right hand and picks up a thin slice of stewed brownish-tan beef from the center tray. Her left hand holds the rim of the bowl. The right hand carries the slice directly above the bowl, places it quietly on the noodles, and opens the tongs. Repeat the same action three times, with the meat overlapping slightly in a fan shape. Next, the right hand places the tongs on the edge of the tray, takes a large slotted ladle instead, scoops up three round beef meatballs, carries them directly above the bowl, and tilts the ladle to gently roll the meatballs in. Ending state: White noodles in the bowl, topped with fan-shaped overlapping brownish-tan meat, and three round meatballs in front. The owner's right hand is in the frame holding the slotted ladle. Her left hand is still holding the rim of the bowl. The horizontal camera movement stops here. Sound: The hard sound of tongs touching the metal tray, the damp sound of meat touching the noodles, the dull sound of meatballs touching the bottom of the bowl. [Stage 6] 21-26 seconds Pouring with Back Turned, Releasing Heat. Camera: Dropping in two steps. First, a medium close-up across the counter at a standing eye level, fixed. Foreground bokeh is streaks of steam constantly flowing in front, softly covering the bottom half of the screen. Next, the camera drops to the level of the bowl's rim and tilts up diagonally from right next to the bowl. Foreground bokeh is the arc of the bowl's rim and thick steam rising directly above it. Through that steam, in the upper half of the screen, is the line from the owner's neck to the collarbone and chest as she leans over the bowl. Thin fabric hangs slightly away from the body in the leaning posture. The face is cut off at the top edge of the frame and is not on screen. Main events: The owner turns back toward the stockpot on the left of the screen, showing her back and left shoulder to the camera. A damp lock of hair sticks to her nape, the terminal's blue blinks in time with her breathing in the gap, and the lines of her shoulder blades alternately rise through the thin fabric. The owner scoops soup into the ladle with her right hand, slowly returns her body to lean over the bowl, lowers the ladle straight to the height of the bowl's rim, and tilts it to pour the hot amber soup. Steam rises particularly thick. When finished pouring, the right hand returns the ladle to the rim of the stockpot, and the free left hand gently pinches the collar, slowly pulling the fabric away from the skin. Heat escapes from the neck, disrupting the steam, and when the fingers release, the fabric quietly returns to follow the damp skin. Next, the left hand lifts a small stainless steel container with chopped green onions and sliced onions, carrying it directly above the bowl. The container is always on screen. The fingers of the right hand pinch the onions and green onions from the container, quietly dropping them onto the soup in the bowl, and finally place two cilantro leaves the same way with the fingers. The left hand returns the container to the counter. Ending state: The bowl is filled with soup, with brownish-tan meat, round meatballs, and green leaves floating in it. The ladle is on the rim of the stockpot, the container is in the center of the counter. The owner straightens up to face the front of the counter, with both hands on either side of the bowl. Sound: The sound of soup falling into the bowl, the faint sound of leaves touching the soup surface, the sound of the container touching the wood, rain. [Stage 7] 26-30 seconds Placing and Tucking Hair. Camera: Medium shot from across the counter facing the owner. Camera height is at a seated person's eye level. The owner's upper body from the waist up is in the frame, and her face is in the center of the upper half of the screen. Foreground bokeh is the small condiment dish in the lower right corner and streaks of steam rising in front. The front edge of the counter crosses the bottom edge of the screen; the other side is empty, with only the back of a wooden round stool visible slightly in the corner. Main events: The owner lifts the bowl with both hands, carries it straight across her front to the front edge of the counter, and places it down slowly. She takes her hands off the bowl, takes a pair of chopsticks with her right hand, and places them horizontally in front of the bowl on the right. Then she stands with her back straight, raises her right hand, and slowly tucks a damp lock of stray hair that had fallen on her cheek behind her ear. Just as the neck is exposed, a line of vehicles passes overhead, and a strip of white light slides from the neck to the collarbone and disappears. The owner lowers her gaze and takes a step back. Ending state: The bowl is at the front edge of the counter, a streak of steam rising and being sucked into the slit of the eaves. Chopsticks are horizontal in front of the bowl to the right. The owner stands behind the counter, hands down at her sides. The customer seats remain empty until the end. Sound: The low sound of the bowl touching the old wood, the light sound of the chopsticks touching, the work sounds settle into silence, leaving only the sound of rain and mist breaking. [Prohibitions] Do not show anyone other than the owner on screen. No customers, passersby, other people's hands, faces, shoulders, or shadows. Keep the customer stools empty until the end. Ingredients and tools should not fall from outside the frame, float in the air, or move on their own. When something moves, the owner's hand must be holding it. Never show raw red meat, the color of blood, or ingredients that change color during cooking. Beef must be brownish-tan and stewed from beginning to end. Never depict the action of cutting ingredients. Do not show knives, cutting boards, or blades on screen. Do not show the moment an ingredient splits into two. Except for Stage 4, do not let the camera circle around to the inside of the counter. Do not move the viewpoint to the kitchen side to take a shot of the owner from behind except in Stage 4. Do not let the owner's face and body intrude into close-ups of the hands. Do not show the face in stages where it is specified not to be in frame. Do not place anything other than the 7 specified items in the foreground bokeh. Do not completely hide the subject with foreground bokeh. Do not focus on the foreground bokeh. The owner should not strike poses. Do not take a posture to show the body to the camera. All movements should flow naturally as cooking procedures. The owner should not squat. Do not bend knees to lower the waist. Do not do squats or move the body up and down. The owner's foot position and waist height are constant throughout. The leaning forward movement should be done only once in each stage; do not move the upper body up and down repeatedly. Do not generate BGM, music, dialogue, narration, subtitles, or text overlays. Do not display characters, numbers, logos, or sign text on screen. Blur signs and holograms as blocks of color without text. The only things that glow are the floating light globes, the blue layer at the bottom of the stockpot, the joints of the forearm frame, the terminal on the nape, and the passing vehicle line. Do not add other glows or light outlines. Do not break the number of fingers or joints. Do not make the owner a full cyborg. Face, neck, shoulders, legs, and fingers remain human skin. The owner should not smile and show teeth. Do not look at the camera. Do not use fades or dissolves. Do not draw creatures in the soup. Do not put out unsolicited ingredients or extra bowls. Robot ar.