@Image 1 = PRIMARY CHARACTER REFERENCE. Use @Image 1 for the exact identity, facial structure, natural eyes, hairstyle, body proportions, clothing, footwear, jewelry and accessories of the main character. Preserve the SAME character throughout the entire video. Do not copy the original background from @Image 1. @Image 2 = ENVIRONMENT REFERENCE ONLY. Use only for the visual language, architecture, atmosphere, lighting direction, materials and environmental character of the location. Do NOT reproduce its exact composition, exact street layout or original camera angle. Create a new believable cinematic space inspired by @Image 2 with enough PEDESTRIAN SPACE for the protagonist to walk naturally and for the collision to happen. Respect real-world spatial logic: pedestrians remain in pedestrian areas; vehicles remain in vehicle areas; architecture maintains realistic scale and perspective. @Image 3 = HERO OBJECT REFERENCE. Use @Image 3 as the exact visual reference for the primary wearable/removable object featured in the bullet-time sequence. Preserve its recognizable shape, proportions, materials, construction, colours, surface details, and important design features.

The SAME @Image 3 object must remain recognizable when worn by the protagonist, when released, during macro inspection, and after landing. The HERO OBJECT begins naturally worn by or attached to the protagonist and can physically separate during the collision. MASTER VISUAL CONCEPT Generate one continuous 12-second, 9:16, ultra-photorealistic LIVE-ACTION luxury fashion film. The result feels like a high-budget international fashion campaign or premium cinematic music video photographed with real actors, practical physical props, premium cinema lenses and real high-speed photography. The central visual concept is a dramatic BULLET-TIME accident. At the collision, physical objects receive short realistic release impulses. Then time slows to approximately 2-3% of normal speed. he objects become almost stationary in three-dimensional WORLD SPACE while the CAMERA remains free to move through the frozen event and inspect them.

The objects DO NOT fly toward the camera to create close-ups. The CAMERA physically approaches the objects. REAL-WORLD PHYSICS, CAUSALITY AND SPATIAL CONTINUITY ARE CRITICAL. ONE UNBROKEN TAKE – NON-NEGOTIABLE The entire 12 seconds is ONE SINGLE CONTINUOUS SHOT.

There is not a single cut, edit point, hard cut, jump cut, match cut, dissolve, fade, wipe, whip-pan transition, flash frame, black frame or shot change anywhere in the video.
The camera never teleports to a new position between frames. Every change of framing – wide to medium, medium to macro, macro back to wide – is achieved ONLY by the physical camera travelling continuously through the space at a visible speed. The audience must be able to follow the camera’s unbroken path through the frozen scene at every instant. Treat this as one uninterrupted motion-control camera move recorded in a single take, exactly as a real oner would be shot on set. If any moment would require an edit to work, redesign the camera path instead – never cut. EXACT OBJECT COUNT Exactly ONE protagonist. Exactly ONE secondary passing person. Exactly ONE Labrador.

Exactly ONE leash. Exactly ONE @Image 3 HERO OBJECT. Exactly ONE takeaway coffee cup. THE PROMPT @HESAMIOUS THE PROMPT · CONTINUED Exactly ONE plastic drinking lid. Exactly ONE silver-grey OPEN CLAMSHELL FLIP PHONE. No duplicate props appear at any point. PERSISTENT PHONE PROP – CRITICAL There is exactly ONE phone in the entire video. It is a compact early-2000s silver-grey OPEN CLAMSHELL FLIP PHONE with two rectangular hinged halves. IT IS NOT A SMARTPHONE.

Absolutely forbidden at every moment of the video, including the very first frame: a flat single-piece rectangular slab, a full-face glass touchscreen, a modern bar-shaped handset, thin rounded-corner smartphone geometry, a camera bump, any device without a visible central hinge. If the silhouette could be mistaken for a smartphone, it is wrong.

CLAMSHELL SILHOUETTE – MUST READ FROM THE FIRST FRAME: The phone is already OPEN before the video begins and stays open. The two halves form a clear angled L-shaped profile with an obvious break at the central hinge. The overall body is thick and chunky, not thin. Upper half: small illuminated display, speaker above the display.

Lower half: physical numeric keypad, navigation buttons, microphone.
A visible central mechanical hinge connects both halves. LOCK its physical appearance throughout the entire sequence: same silver-grey colour, same chunky dimensions, same thickness, same hinge, same display, same keypad, same buttons, same materials, same open clamshell angle. The phone remains the SAME physical prop during: wide walking shot, collision, release from the hand, bullet-time suspension, macro inspection, return to wide shot, final fall, ground impact. Wide shot -> medium shot -> macro shot = THE SAME PHONE VIEWED FROM DIFFERENT CAMERA DISTANCES.

The phone is a clamshell in the wide shot exactly as much as in the macro shot. Do not reinterpret or redesign the phone when camera distance changes. PERSISTENT COFFEE PROP – CRITICAL

There is exactly ONE takeaway coffee cup. It is a real medium-sized disposable PAPER coffee cup with a lightweight plastic drinking lid. LOCK throughout: same cup, same size, same paper material, same proportions, same plastic lid, same amount of dark coffee. Before collision the lid is properly attached. The coffee remains physically inside the cup. The liquid cannot pass through solid plastic.

HAND OWNERSHIP Before collision: RIGHT HAND = ONE OPEN FLIP PHONE. This exact phone – the one physically held against her right ear during the conversation – is the SAME phone that leaves her right hand at the collision, the SAME phone that hangs suspended in bullet time, the SAME phone the camera later zooms in on, and the SAME phone that hits the ground. One single continuous object identity from the first frame to the last. The phone the camera inspects in macro is not a new phone, not a second phone and not a redesigned phone – it is the identical physical prop the audience already watched her speak into.

LEFT HAND = ONE COFFEE CUP. @Image 3 HERO OBJECT = naturally worn/attached to the protagonist. At release: the fingers physically release the props. Immediately afterward: RIGHT HAND = COMPLETELY EMPTY. LEFT HAND = COMPLETELY EMPTY. The empty hands remain anatomically normal. Nothing replaces the phone. Nothing replaces the cup. Nothing remains attached to either palm. No new prop appears in either hand for the remainder of the video. 0.0-2.0s – CINEMATIC CHARACTER REVEAL

Begin with an extreme low close-up of the protagonist’s footwear walking naturally through the @Image 2-inspired pedestrian environment. The camera performs one elegant continuous movement: smooth crane upward + gentle backward tracking. Reveal progressively: footwear -> legs -> clothing -> torso -> jewelry/accessories -> face -> nearly
full-body composition Give the audience enough time to clearly recognize @Image 1 as the protagonist. The protagonist naturally wears the SAME @Image 3 HERO OBJECT.

The protagonist holds the SAME OPEN silver-grey clamshell flip phone against the RIGHT ear. Because the phone is open, its lower keypad half angles away from her cheek and down toward her mouth, so the two hinged halves and the central hinge are clearly readable in silhouette against her jaw from the very first moment the phone enters frame. THE PROMPT @HESAMIOUS THE PROMPT · CONTINUED Her fingers wrap the thick lower half; the upper display half rests against her ear. The chunky two-part clamshell shape must be unmistakable in this wide shot – not a flat slab held flush to the cheek. The protagonist carries the SAME realistic paper coffee cup in the LEFT hand. The protagonist is actively having a phone conversation. Show subtle but clearly visible natural speech articulation: realistic lip movement, subtle jaw movement, natural mouth opening and closing, relaxed facial muscles. Maintain exact @Image 1 facial identity. Premium live-action fashion cinematography.

2.0-3.7s – WALK THROUGH THE ENVIRONMENT Maintain the smooth frontal tracking composition. The protagonist continues walking naturally through the pedestrian area. Respect @Image 2 only as environmental inspiration. The protagonist remains the visual focus. Exactly ONE secondary person approaches from the opposite direction. That person holds the leash of exactly ONE Labrador. The Labrador walks slightly ahead and gently pulls the secondary person forward. No additional dogs. No additional handlers.
The secondary person and Labrador remain supporting elements rather than new protagonists. Maintain: stable @Image 1 identity, stable facial anatomy, stable hairstyle, stable clothing, stable @Image 3 geometry, same open clamshell flip phone still visibly two-part with the lower half angled toward her mouth and still not a smartphone, same coffee cup.

3.7-4.4s – ACCIDENTAL COLLISION SPEED GATE – CRITICAL TIMING

Everything from 0.0s until the exact instant of the elbow contact plays at completely NORMAL real-time speed. No slow motion, no speed ramp, no deceleration, no time distortion of any kind before the impact. The walk, the phone conversation, the approaching secondary person and the Labrador all move at ordinary
natural speed. The elbow contact is the ONE trigger. Only from the frame of physical contact onward does time begin to decelerate. The deceleration starts AT the impact, never in anticipation of it. As the two people pass, the secondary person’s ELBOW accidentally clips the protagonist’s arm/upper torso. The contact is small, accidental and physically believable. The protagonist naturally recoils backward. Three physical release events happen because of this SAME collision. HERO OBJECT

The @Image 3 HERO OBJECT receives ONE short physical outward impulse. It separates naturally from the protagonist. It travels only a short realistic distance away from its original position. It does NOT launch toward the camera. COFFEE The SAME coffee cup leaves the LEFT hand. The cup receives one short outward/downward rotational impulse. The cup begins to tilt and rotate. Because of the sudden rotation and internal liquid inertia, ONE EDGE of the lightweight plastic lid partially pops loose from the rim. The lid does NOT instantly disappear. The lid does NOT explode away. A physical gap forms between the cup rim and the partially lifted edge of the lid. ONLY THEN does the dark coffee begin escaping through this real physical opening. The first liquid movement is small and restrained.

PHONE The SAME OPEN clamshell flip phone leaves the RIGHT hand.
It receives one short outward/upward impulse. It preserves exactly the SAME phone design and SAME open clamshell geometry. The instant the phone physically separates from the fingers: RIGHT HAND = EMPTY. The instant the cup physically separates: LEFT HAND = EMPTY. FACE / HAIR CONTINUITY DURING RELEASE Preserve @Image 1 identity continuously through the collision. If @Image 3 is worn on the face or head, the protagonist’s anatomically complete face already exists underneath it. THE PROMPT @HESAMIOUS THE PROMPT · CONTINUED The face does NOT regenerate after the object separates. If eyewear is used: the natural eyes already exist behind the lenses before separation. When the glasses leave, reveal the same normal human eyes with stable pupils, natural eyelids, correct gaze direction, facial symmetry, stable brow, stable nose, stable cheekbones. Maintain realistic hairstyle structure and volume throughout the collision. Hair responds only with subtle physically plausible inertia. The hairstyle does not suddenly reshape when @Image 3 separates. 4.4-5.2s – ESTABLISH THE FROZEN WORLD Time decelerates dramatically to approximately 2-3% of normal speed.

DO NOT immediately move to a macro object close-up. FIRST HOLD a clear medium-wide view of the complete physical accident. The audience must understand the spatial geometry before the object inspections begin. The protagonist is beginning to fall backward.
BOTH HANDS ARE EMPTY. The @Image 3 HERO OBJECT is suspended a short physically plausible distance from its original release point. The coffee cup is suspended lower and toward the side corresponding to the LEFT-hand release position. The partially detached lid remains physically connected to or immediately beside the cup.
A restrained amount of coffee is beginning to escape through the opened gap.
The OPEN flip phone is suspended toward the opposite side near its RIGHT-hand release position. These positions now become FIXED WORLD-SPACE ANCHORS.
The objects move only microscopically. They do NOT continue travelling toward the camera. They do NOT artificially grow in frame. THE CAMERA IS THE PRIMARY MOVING ELEMENT. 5.2-6.8s – HERO OBJECT INSPECTION The @Image 3 HERO OBJECT remains almost stationary at its world-space anchor. THE CAMERA performs a controlled cinematic dolly toward it. The object becomes larger in frame ONLY because the CAMERA physically reduces camera-to-object distance. Once close: slow the camera dramatically.

HOLD. Give the audience enough time to study the object. Perform a restrained approximately 20-30 degree orbital/parallax CAMERA movement around the almost-stationary @Image 3 object. Reveal: physical construction, real material thickness, surface texture, reflections, edges, small manufacturing details, recognizable @Image 3 design. Use shallow photographic depth of field. The protagonist and environment remain softly recognizable behind the object. The object still clearly exists inside the SAME physical scene.

It looks like a real manufactured product photographed practically with a macro cinema lens. The object does NOT behave like CGI product animation. Complete the inspection before moving to the next object. 6.8-8.3s – COFFEE / LIQUID INSPECTION Only after completing the @Image 3 inspection, the CAMERA leaves the hero object behind at its existing world-space position. The CAMERA travels diagonally through the frozen scene toward the SAME coffee cup. THE CUP DOES NOT APPROACH THE CAMERA. The camera physically approaches the cup’s existing location. HOLD a photographic macro close-up. Show the SAME realistic paper takeaway cup. Its lightweight plastic lid is partially detached along ONE EDGE. The opening between lid and rim is clearly physically understandable. Coffee escapes ONLY through this opening. Show restrained real liquid behavior: a thin irregular stream, an imperfect liquid sheet, several differently sized droplets, realistic surface tension, realistic liquid volume, subtle natural reflections. The coffee does NOT explode. The liquid does NOT form a perfect decorative CGI splash. The coffee advances only microscopically during bullet time. Perform a small restrained lateral/parallax CAMERA move around the cup, lid and suspended droplets. HOLD. Give the audience enough time to observe: paper texture, plastic lid, physical opening, liquid thickness, individual droplets, real-world material reflections. Complete the coffee inspection before leaving. 8.3-9.8s – FLIP PHONE INSPECTION Only after completing the coffee inspection, the CAMERA moves away. The cup, lid and coffee remain behind at their existing world-space anchors.

THE PROMPT @HESAMIOUS THE PROMPT · CONTINUED The CAMERA travels through the same frozen three-dimensional scene toward the SINGLE suspended OPEN CLAMSHELL FLIP PHONE. THE PHONE DOES NOT APPROACH THE CAMERA. The phone remains near the physical position where it left the RIGHT hand. The CAMERA physically closes the distance. First show enough of the phone to establish continuity. It is unmistakably the SAME OPEN FLIP PHONE seen earlier: same silver-grey housing, same upper display half, same lower keypad half, same central hinge, same clamshell angle. HOLD briefly on the complete phone silhouette. Then the CAMERA moves closer to the existing upper display. Extreme photographic macro close-up. The illuminated incoming-call display reads: BOSS with one small realistic phone number underneath. HOLD on the screen. Show: real plastic/metal housing, physical hinge, keypad texture, tiny scratches, surface wear, realistic screen reflections. The phone does NOT transform to reveal its screen. The phone does NOT become another phone model. The CAMERA simply approaches the SAME screen that has existed on the SAME phone since the beginning. Exactly ONE phone exists. The protagonist’s RIGHT HAND remains completely EMPTY in the background. 9.8-10.4s –

RECONSTRUCT THE COMPLETE FROZEN TABLEAU After the phone inspection, the CAMERA performs a fast but perfectly smooth dolly backward. The phone itself remains at its established world-space position.
The coffee remains at its established world-space position.
The @Image 3 HERO OBJECT remains at its established world-space position.
Reveal the complete accident again. Same @Image 1 protagonist still falling backward. Both hands empty. Same @Image 3 HERO OBJECT. Same coffee cup. Same partially detached lid. Same suspended coffee droplets. Same OPEN flip phone. Exactly one secondary person. Exactly one Labrador. All objects occupy positions spatially consistent with their original release points and trajectories. No object has followed the camera. No object has teleported. No prop has been regenerated. HOLD the complete frozen tableau briefly. 10.4-12.0s – TIME RETURNS / PHYSICAL PAYOFF Time suddenly snaps back to normal speed. Gravity and existing momentum resume simultaneously. Every object continues FROM ITS OWN EXISTING WORLD-SPACE POSITION. The protagonist completes the backward fall naturally. The @Image 3 HERO OBJECT continues from its suspended position and lands where its existing momentum and gravity physically lead it. The coffee cup continues from its own separate suspended position. The cup impacts the ground. The partially detached lid reacts naturally to impact. The remaining real coffee spills irregularly from the actual cup opening and impact point. The open flip phone continues from its own separate suspended position. It strikes the ground and makes one small physically believable bounce. The objects land at DIFFERENT physically plausible locations. They do NOT suddenly converge beside the protagonist. The CAMERA rapidly tilts/drops toward ground level to follow the final physical impact. Finish with a cinematic low-angle composition connecting the fallen protagonist and scattered objects inside the same believable environment. The take ends here, on this final low-angle composition, still unbroken. NON-NEGOTIABLE BULLET-TIME CAMERA RULE BULLET TIME = ALMOST-FROZEN PHYSICAL WORLD + FREELY MOVING CAMERA. During bullet time: OBJECTS STAY IN WORLD SPACE. CAMERA MOVES THROUGH WORLD SPACE. Close-up is created by REDUCING CAMERA-TO-OBJECT DISTANCE. Never create a close-up by moving the object toward the lens. Never enlarge the object artificially. Never teleport an object to the camera. STRICT CAMERA ROUTE:FULL FROZEN TABLEAU -> CAMERA DOLLIES TO @Image 3 HERO OBJECT -> HOLD -> SMALL 20-30 degree CAMERA ORBIT -> CAMERA TRAVELS TO COFFEE -> HOLD -> SMALL CAMERA PARALLAX -> CAMERA TRAVELS TO OPEN FLIP PHONE -> ESTABLISH COMPLETE PHONE -> MOVE CLOSER TO DISPLAY -> HOLD -> CAMERA DOLLIES BACK TO COMPLETE TABLEAU -> TIME RETURNS. This entire route is travelled continuously, without a single cut. THE PROMPT @HESAMIOUSTHE PROMPT · CONTINUED PERSISTENT PROP CONTINUITY – CRITICAL The macro camera NEVER receives newly generated versions of the objects. It visits the SAME objects that were physically released earlier. Wide shot -> medium shot -> macro shot = SAME PHYSICAL OBJECT viewed from different distances. @Image 3: same object, same design, same trajectory, same world-space identity. COFFEE: same cup, same lid, same coffee, same rotation, same world-space identity. PHONE: same open clamshell phone, same housing, same hinge, same keypad, same display, same open angle, same world-space identity. Changing camera distance must NOT change object design. PHYSICAL CAUSALITY RULE Every visible change requires a physical cause. The protagonist recoils because of the elbow contact. The HERO OBJECT moves because collision momentum separates it. The phone changes position because the fingers release it. The cup moves because the hand releases it and collision momentum gives it rotation. The lid partially opens because cup rotation and internal liquid inertia apply force to the lightweight lid. Coffee escapes because a REAL PHYSICAL GAP now exists. Objects become larger in frame because the CAMERA approaches them. Objects fall because normal gravity resumes. Nothing transforms simply because the camera gets closer. Treat the entire sequence as ONE real practical-effects event photographed continuously with a motion-control cinema camera. OBJECT OWNERSHIP LOCK ONE protagonist. ONE secondary person. ONE Labrador. ONE leash. ONE @Image 3 HERO OBJECT. ONE coffee cup. ONE lid. ONE open clamshell phone. Before collision: RIGHT HAND = phone. LEFT HAND = coffee. After collision: RIGHT HAND = EMPTY. LEFT HAND = EMPTY. No second phone. No second cup. No second HERO OBJECT. No additional dog. No prop appearing inside an empty hand. No prop duplication during macro shots. No object teleportation. No unexplained object-scale changes. IDENTITY PRIORITY Maintain @Image 1 identity throughout, especially during collision and @Image 3 separation. Prioritize: 1. stable facial identity; 2. anatomically correct natural eyes; 3. stable hairstyle silhouette and realistic hair texture; 4. stable body proportions; 5. stable clothing; 6. accurate @Image 3 geometry; 7. stable persistent phone geometry; 8. empty hands after release; 9. continuous object trajectories. PHOTOGRAPHIC REALISM Ultra-photorealistic LIVE-ACTION photography. Premium international luxury fashion campaign. High-budget cinematic music-video realism. Real human anatomy. Real skin pores and natural facial micro-expressions. Anatomically correct eyes. Detailed realistic hair. Real practical physical props. Real manufactured @Image 3 object. Real paper coffee cup. Real plastic lid. Real liquid coffee. Real open clamshell flip phone. Real object mass. Real inertia. Real gravity. Real surface tension. Realistic momentum. ARRI Alexa 35 cinematic character. Premium cinema optics. Motivated natural environmental lighting. Controlled highlights. Natural skin tones. Realistic optical depth of field. Shallow macro depth of field during object inspections. Subtle 35mm film texture. Restrained luxury editorial colour grade. One continuous unbroken take from first frame to last. The bullet-time sequence feels like a real practical high-speed shoot using a motion-control cinema camera, NOT CGI product animation. 4K, Ultra HD, maximum facial detail, maximum hair detail, maximum material fidelity, rich photographic detail, sharp optical clarity, cinematic texture, natural colours, stable identity, stable geometry, stable prop continuity. THE PROMPT @HESAMIOUS Make it yours Swap the three references and the same prompt builds a completely different film. The structure does not care what the product is — a bag, a watch, a bottle, a sneaker. Anything that can be worn or held, released in a collision, and inspected in macro. Where it drifts, and what to do Face changes after the object separates Your image 1 is too small or the face is partly covered. Use a closer, unobstructed shot. Two of the same prop appear Usually means the macro inspection generated a fresh copy. Re-run; if it repeats, cut one prop from the object list. The whole clip is in slow motion The speed gate was removed or reworded. Put it back at the top of the collision block. A prop looks like a different product each shotGive it a reference image. Words alone will not hold a specific object across 12 seconds.