Привет! 👋 Спасибо за поддержку – здесь все промпты к ролику: листы персонажей, локации и два видеопромпта 🎞️
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character reference sheet, @image1 @image2 triptych of three panels side by side on a seamless pure white studio background, left panel: close-up front portrait, eyes into camera, soft closed-mouth smile; middle panel: full-body standing shot framed from the neck down to the shoes, face out of frame, relaxed natural pose, arms at sides; right panel: close-up side profile at 90 degrees, ear fully visible, pigtail seen from the side; same child, same outfit and lighting in all three panels. Take the face, facial proportions, eye colour and hair only from @image1, do not change her identity. Take the outfit only from @image2, ignore the face and hair of the girl in @image2. A 7-year-old girl with a soft round face and full cheeks, long chestnut-brown hair with a centre parting gathered into two high pigtails tied with small thin hair elastics matching the hair colour, no bows, no hair accessories, loose wavy strands falling over the shoulders, a few baby hairs at the hairline. Light grey-blue eyes, straight soft brows, small straight nose, gentle closed-lip smile, fair light skin with a warm peachy tone. She wears a cropped off-white cotton peasant blouse with a gathered round neckline, short flutter sleeves, thin blue scalloped trim along the neckline, sleeve edges and hem, vertical blue pin-stitched lines down the front with embroidered small blue five-petal flowers and yellow leaf motifs between them; wide-leg cropped trousers in blue and white gingham check with two rounded patch pockets at the front edged with thin piping, turned-up cuffs at the ankles; white woven ankle-strap espadrille sandals with jute soles; a thin peach beaded bracelet on the left wrist. Ultra-realistic: visible skin pores, fine vellus hair on the cheeks, natural subsurface scattering, slight natural flush on the cheeks, individual hair strands with flyaways and natural sheen, real cotton texture with visible embroidery thread and stitching, crisp woven gingham, braided jute texture on the sandal soles. Soft even studio light with subtle shadow, shot on ARRI Alexa 35 with a 65mm macro-sharp lens, high detail, no print texture, no retouching, no text, no labels, no watermark
Colour-accurate catalogue character reference photo, neutral 5500K daylight white balance, colour-calibrated, true-to-life skin tones and fabric colours, pure white seamless background (RGB 255,255,255), no colour grading, no tint, no stylisation.
Character design sheet, three views side by side: LEFT — full-body front view standing, framed from the shoulders down to the boots, the head completely out of frame; MIDDLE — large close-up portrait, head and shoulders, straight-on; RIGHT — close-up side profile at 90 degrees, ear fully visible. Same character in all three views, identical details. Photorealistic, film-still skin texture, soft even studio light from above, no cast shadows on the background, no text, no labels.
CHARACTER: a man who looks about 28, European features, about 183 cm, slim lean athletic build — a tall slender frame with well-proportioned shoulders, a lean toned chest and arms, a narrow waist and slim hips, long legs, no excess weight, the physique of a runner or swimmer, not bulky, not skinny; fully clothed, the slim fit shape clearly readable through the clothes.
FACE: a lean, angular face with high defined cheekbones, slightly hollow cheeks, a strong straight jawline and a squared chin, a straight narrow nose, straight dark brows set low over the eyes, slightly deep-set eyes, medium-full lips with a defined cupid's bow. Clean-shaven, smooth jaw. A serious, quiet face, handsome in a severe, restrained way.
HAIR: short dark-brown hair, slightly longer on top and pushed back from the forehead with natural texture, short neat sides, a natural hairline, a few loose strands.
VAMPIRE LOOK: strikingly pale porcelain-white skin with a light warm ivory undertone, clearly much paler than any normal person, almost chalk-white on the forehead, cheeks and neck, yet still real skin with visible fine pores and a faint pink only at the inner ears and lips, no makeup. Soft dusky shadows under the eyes, as if he never sleeps. Vivid light golden-amber eyes, clearly golden at first glance, warm saturated amber irises with a darker ring around them, natural, not glowing. Calm, still, controlled expression. No fangs, no blood, no red eyes, no veins, no gothic makeup.
CLOTHING: a hip-length dark charcoal-black waxed-cotton field jacket with a dark brown corduroy collar and brass snaps, worn open, slim-fit and sitting neatly on the shoulders; underneath, a medium slate-coloured wool henley with all buttons done up to the collar, close-fitting on the slim torso and arms; dark indigo slim-straight selvedge denim jeans; dark chocolate-brown leather lace-up work boots, slightly worn. A plain steel wristwatch on the left wrist. No exposed skin except face, neck and hands. No jewelry, no hat, no weapons, no logos.
POSE — full body: standing still and upright, weight evenly on both feet, arms relaxed at sides, unnaturally composed. POSE — close-up: straight-on, calm, eyes on the viewer, mouth closed. POSE — profile: neutral, chin level.
STYLE: photorealistic, tactile, natural accurate colours, film-costume realism — real everyday clothes, lived-in fabric, not cosplay, not a costume.
Colour-accurate catalogue creature reference photo, neutral 5500K daylight white balance, colour-calibrated, true-to-life fur colours, pure white seamless background (RGB 255,255,255), no colour grading, no tint, no stylisation.
Creature design sheet, three views side by side: LEFT — full-body side view standing on all four legs, whole animal from nose to tail tip in frame; MIDDLE — large close-up of the head, straight-on, eyes into camera; RIGHT — close-up of the head in side profile at 90 degrees, ear and muzzle line fully visible. Same animal in all three views, identical fur pattern and markings. Photorealistic, wildlife-photography detail, soft even studio light from above, no cast shadows on the background, no text, no labels.
CREATURE: an enormous real wolf, natural Canis lupus anatomy scaled up to the size of a grown man — standing on all four legs the top of its head is about 175 cm from the ground, shoulder height about 140 cm, body length about 2.5 m without the tail. Heavy, powerful and lean at the same time: deep chest, long strong legs, huge wide paws with dark claws, thick neck, long bushy tail hanging low. The scale reads through the anatomy — massive paws, thick bones, heavy muscles moving under the fur.
FUR: dense, thick, slightly shaggy coat, deep russet-brown with darker brown along the spine and shoulders, lighter warm-grey and cream on the chest, belly, inner legs and around the muzzle, natural wild variation in tone, individual guard hairs visible, a slightly ruffled thick ruff around the neck. A little dried mud on the paws and lower legs, a few bits of forest debris caught in the fur. Real animal fur, not plush, not CGI-smooth.
HEAD: long strong wolf muzzle, black wet nose, black lips, upright pointed ears with lighter fur inside. Deep dark brown eyes with an intelligent, almost human look, natural, not glowing. Mouth closed, calm.
POSE — full body: standing still, square on all four legs, head level, tail relaxed, looking forward. POSE — close-up: straight-on, calm, eyes on the viewer. POSE — profile: neutral, head level.
STYLE: photorealistic, tactile, natural accurate colours, documentary wildlife realism — a real living animal, not a werewolf, not standing on two legs, not a dog, not a bear, not cartoonish, not CGI.
Референсы, на которые опирается видео. Можно взять эти или заменить своими – например, поставить свой продукт вместо банки 🥤
Основной ролик на 20 секунд: вампир и волк бегут наперегонки к банке, а девочка успевает первой 😏
Hyper-realistic live-action comedic soft-drink commercial, 20 seconds, cold teal-green overcast grade, 35mm colour-negative film look, a frantic fast-cut forest chase intercut with a calm scene, a tense orchestral score that cuts out dead and turns into deadpan comic plucks, ending in stillness.
[References]
THE FOREST corresponds to @Image 1 — partial-preserve: the giant moss-covered trunks, the open corridor between them, the ferns, the fallen logs, the mist and the cold teal-green grade. Use it only in the forest shots; do not keep the image's framing.
THE CLEARING corresponds to @Image 2 — partial-preserve: the forest edge, the old faded brick-red 1950s pickup truck with its lowered tailgate and the pale-blue steel cooler in the truck bed. Use it only in the clearing shots; do not keep the image's framing.
THE GIRL corresponds to @Image 3 — full-preserve: face, hair and clothing. Do not take the grey backdrop, the panel borders or the multi-view layout.
THE PALE MAN corresponds to @Image 4 — full-preserve: face, hair and clothing. Do not take the grey backdrop, the panel borders or the multi-view layout.
THE WOLF corresponds to @Image 5 — full-preserve: size, russet fur, markings and eye colour. Do not take the background of the image.
THE CAN corresponds to @Image 6 — full-preserve: the exact shape, orange colour, design and logo of the can. Do not take the background or any other product in the image. There is exactly one can in the whole video and it belongs only to the girl.
Do not interchange the characters' appearances, clothing or positions.
[Story]
A pale man and a giant russet wolf race each other at inhuman speed through a misty forest toward the clearing at its edge. Meanwhile, at an old pickup truck near a family bonfire, a little girl stands on tiptoe and lifts the only can out of a cooler of melting ice. The two burst out of the trees and skid to a stop just as she cracks the can open. She drinks it to the last drop, completely unimpressed by them, while they stand at the edge of the trees watching the can, their chins rising with every tilt of it. She puts the empty can on the tailgate and trots back toward the fire. The wolf noses the can, and it falls over with a hollow clink: empty. The man closes his eyes.
MAIN SUBJECTS
THE GIRL — a little girl, small enough that the tailgate is at her chest; a round freckled face, retaining real fine pores and skin texture, calm grey-brown eyes, straight dark-brown hair in a short bob with a fringe. She wears a dark olive rain jacket with the hood down, plaid trousers and navy rubber boots. Unhurried, matter-of-fact, completely unbothered.
THE PALE MAN — tall and lean, an unnaturally pale complexion with faint grey-violet shadows under the eyes, retaining real fine pores and skin texture; sharp cheekbones, straight dark brows, tousled bronze-brown hair swept up and back; face, eyes and clothing exactly as in @Image 4. He runs with inhuman smoothness, head and shoulders perfectly level, mouth closed; when he stops, his body stays still and only his eyes and head move.
THE WOLF — a wolf the size of a horse, thick shaggy russet-brown fur darkened by rain, a darker muzzle, amber-brown eyes, huge padded paws, breath steaming in the cold air.
THE CAN — one cold orange aluminium soda can beaded with condensation, exactly as in @Image 6.
SETTING — two places of the same rainforest on the same overcast afternoon, with fine drizzle in the air. THE FOREST: giant trunks wrapped in rain-soaked moss, knee-high sword ferns, fallen mossy logs, needles and dark mud, mist between the far trunks; ahead of the runners the forest grows brighter where it ends. THE CLEARING: a wide forest edge with flattened brown grass and puddles in front of the trees; a family bonfire burns about 20 metres behind the truck, with a few adults sitting around it, soft and out of focus in the right background of the wide shots.
LOOK: hyper-realistic live-action cinematography, photographic, with real skin, fur and fabric texture; overcast sky, soft diffuse light from above; cold teal-green palette, low saturation, lifted matte blacks, soft low contrast, fine 35mm colour-negative grain. In the forest the camera moves at the runners' speed: strong motion blur on the trunks and ferns streaking past, the runners themselves readable. The warm accents are the bonfire glow, the orange can and the faded red of the truck.
GEOGRAPHY AND BLOCKING (one direction for the whole video): the man and the wolf always run from frame left to frame right, about three metres apart, the man on the side nearer the camera and the wolf on the far side; in shots from behind, the man is on frame right and the wolf on frame left. In the clearing wide shots the camera looks across the clearing: the tree line runs down the left side of the frame; the truck stands side-on at the right side of the frame with its lowered tailgate facing frame left, the cooler in the bed at the tailgate; the girl stands just in front of the tailgate in profile, facing frame left toward the trees; the man and the wolf come out of the trees on the left, about 5 metres from her, and stop at the forest edge in profile facing frame right, the man nearer the camera and the wolf one step behind him toward frame left, so both are fully visible. They look at the can, never at the girl.
=== SHOTS (0:00–0:20) ===
0:00–0:03.5 — FOREST, a frantic burst of fast hard cuts, about half a second each, every cut landing on a heavy paw impact: ground-level shot as the wolf's huge paw slams into the mud right in front of the lens and sprays it; sideways tracking shot at full speed, dark trunks whipping across the foreground in motion blur, THE PALE MAN — bronze hair, pale face — running from frame left to frame right with his head perfectly level and his clothes snapping behind him; tight handheld close-up of the man's face, hair whipping, dark eyes fixed ahead while the forest streaks behind him; tight handheld close-up of THE WOLF — russet giant — in profile, tongue out, breath steaming, eyes fixed ahead on the bright edge of the forest; knee-height rush through the ferns just behind them, fronds slapping the lens. End state: the two run neck and neck at full speed.
0:03.5–0:06 — HARD CUT to THE CLEARING, sudden calm. Medium shot at the tailgate, the camera pushing in slowly: THE GIRL — dark bob, olive rain jacket — stands on tiptoe, reaches into the cooler's ice water and lifts out THE CAN, leaving only ice behind. End state: she holds the cold can in both hands at chest height.
0:06–0:08 — HARD CUT back to THE FOREST, an even faster burst of hard cuts: the wolf mid-leap over a fallen mossy log, mud flying from its paws; the man's feet hitting the forest floor in a blur; a low camera chasing them from behind, the wolf on frame left and the man on frame right, as they tear through a wall of ferns toward the bright gap where the trees end, water spraying off the fronds. End state: the two silhouettes reach the bright edge of the forest.
0:08–0:10.5 — HARD CUT to THE CLEARING. Locked wide shot across the clearing: the man and the wolf burst out of the trees on the left and skid to a stop the moment they clear the trees, at the very edge of the forest, wet needles and mud spraying from their feet and paws; as they stop, on the right the girl cracks the can open and lifts it toward her mouth, and a fine burst of mist rises from it. End state: the two stand at the edge of the trees in profile, the wolf's breath steaming, both staring at the raised can with the stunned, crestfallen faces of someone who arrived one second too late.
0:10.5–0:14.5 — The same locked wide framing: the wolf sits down on its haunches like a dog waiting for food; the girl drinks in long gulps, tipping the can higher and higher, and on the left the man and the wolf follow the rising bottom of the can, both lifting their chins in perfect sync; she glances at them once, unimpressed, and keeps drinking until the can is upside down at her lips. End state: she lowers the empty can and lets out a small satisfied exhale.
0:14.5–0:17.5 — HARD CUT, a few seconds later. Low static close shot across the edge of the tailgate toward the trees: the empty can stands alone in sharp focus, its front design toward the camera, where the girl has left it; the wolf, now at the truck, lowers its huge russet muzzle into focus behind the can, sniffs it and nudges it; the can tips over toward the camera with a hollow tin clink and lies on its side; the wolf lets out a thin whine. End state: the can lies on its side on the tailgate, the wolf's muzzle above it, breath steaming.
0:17.5–0:20 — Close-up of THE PALE MAN at the edge of the trees in profile, the camera static, drizzle beading on his shoulders and hair: his dark eyes look toward frame right and slightly down at the fallen can, his jaw tightens once, and he slowly closes his eyes. End state, held to the last frame: the man with his eyes closed, drizzle falling in front of him.
AUDIO DESIGN: one continuous diegetic track with a hard contrast between the two places. Forest: loud and rhythmic — the wolf's heavy panting, paws pounding the ground on every cut, branches cracking, ferns whipping, a whoosh of air at each passing trunk; the man makes no sound. Clearing: sudden quiet — bonfire crackle and muffled adult voices off to the right, drizzle ticking on the truck's metal, ice rattling at 0:04. At 0:08 the skid of feet and paws in wet needles, then the sharp hiss of the can at 0:09.5, then silence; slow audible gulps from 0:10.5 and a small satisfied exhale; the hollow clink of the can and the wolf's thin whine at 0:16; at the end only drizzle and the distant fire.
MUSIC: an original instrumental score, always mixed under the sound effects and never covering the hiss, the gulps, the clink or the whine. 0:00–0:03.5 tense and driving — a fast low staccato string ostinato, deep drum hits landing on the paw impacts, brass swelling underneath; 0:03.5–0:06 it drops to one quiet, low, held string note under the calm; 0:06–0:08 it comes back louder and climbs to a peak; the instant the two skid to a stop it cuts off dead — no fade, no tail — and the hiss of the can lands in silence; 0:10.5–0:14.5 single soft pizzicato plucks, one on each tilt of the can, each a step higher, rising with their chins; at 0:16 one muted trombone slides down a single long deflated note with the wolf's whine; the moment the man's eyes close, one last soft low pizzicato pluck, then nothing. No vocals, no lyrics, no dialogue, no subtitles.
MOOD: the chase is fast, physical and dead serious; the clearing is dry, deadpan comedy played completely straight — a small girl calmly enjoying her drink, the man hiding everything behind a still body, the wolf showing everything the man hides; two big, proud creatures reduced to two disappointed dogs by a small girl with a soda. The music takes the chase completely seriously, so its sudden death at the tree line is the first laugh. Nothing in the clearing is threatening: the man and the wolf want only the drink.
[Rules]
Exactly one can in the whole video. The girl never offers the can and never speaks. The man keeps his mouth closed, stays at the edge of the trees once he stops and keeps his eyes on the can. The wolf never comes near the girl; it reaches the truck only after she has gone back to the bonfire. The wolf stays a wolf; the man stays a man. Every movement in the clearing is small, realistic and played straight. The can's design and logo stay identical in every shot.
[Maintain Consistency]
Keep the girl's face, hair and olive rain jacket, the man's face, bronze hair and clothing from @Image 4, the wolf's size and russet fur, the single orange can, the truck, the cooler, the overcast light, the teal-green grade and the left-to-right direction identical in every shot.
Финальный пэкшот на 5 секунд: из льда всплывает новая банка, и рука вампира с лапой волка снова тянутся к ней одновременно 🐾
Hyper-realistic live-action soft-drink packshot, 5 seconds, cold teal-green overcast grade, 35mm colour-negative film look, one continuous close shot: a fresh orange can surfaces from the ice of a pale-blue cooler, and two rivals reach for it at the same instant.
[References]
THE CAN corresponds to @Image 1 — full-preserve: the exact shape, orange colour, design and logo of the can. Do not take the background or any other product in the image.
THE COOLER corresponds to @Image 2 — partial-preserve: the faded pale-blue steel picnic cooler with its stainless bands, the crushed ice and meltwater inside it, the edge of the old brick-red truck bed it stands in and the cold teal-green grade. Do not keep the image's framing.
THE PALE HAND corresponds to @Image 3 — partial-preserve: only the man's hand, his unnaturally pale skin and the cuff of his sleeve. His face and the rest of his body stay out of frame. Do not take the grey backdrop, the panel borders or the multi-view layout.
THE PAW corresponds to @Image 4 — partial-preserve: only the wolf's front paw and lower leg, its russet-brown fur and dark pads. The wolf's head and body stay out of frame. Do not take the background of the image.
[Story]
The race is lost, but the cooler is not empty. The ice shifts, and a new cold can rises up through it and settles upright, logo to the camera. The instant it settles, a pale hand darts in from the left and a huge russet wolf paw from the right — both stop dead a centimetre from the can and from each other. The race starts again.
MAIN SUBJECTS
THE CAN — one fresh, sealed, cold orange aluminium soda can, exactly as in @Image 1, the ring tab closed, beaded with condensation, drops running down its sides; the only warm, saturated object in the frame.
THE PALE HAND — a man's long-fingered hand, unnaturally pale with faint grey-violet veins, retaining real fine pores and skin texture, the cuff of his dark sleeve exactly as in @Image 3; it enters from frame left.
THE PAW — a wolf's front paw the size of a dinner plate, thick wet russet-brown fur clumped by rain, dark leathery pads and dark claws, exactly as in @Image 4; it enters from frame right, lifting and reaching like a big dog pawing for a treat.
SETTING — the open pale-blue cooler in the bed of the old faded brick-red truck at the edge of a misty rainforest, overcast afternoon, fine drizzle in the air. Inside the cooler: crushed ice and cold meltwater, drizzle dimpling the water. Behind the cooler, far out of focus: the dark mossy forest wall and the small warm bokeh of a bonfire.
LOOK: hyper-realistic live-action product cinematography, photographic, with real metal, water, skin and fur texture; overcast sky, soft diffuse light from above, one long soft highlight running down the can from the grey sky; cold teal-green palette, low saturation, lifted matte blacks, soft low contrast, fine 35mm colour-negative grain. The can is razor sharp, the ice soft at the edges of the frame. The warm accents are the orange can and the bonfire bokeh; everything else stays cool.
=== SHOT (0:00–0:05) ===
0:00–0:05 — ONE continuous static close shot, no cuts: the camera just above the rim of the open cooler, looking down into it at about 45 degrees, long-lens compression, shallow depth of field; the frame holds the cooler's ice in the lower two thirds and the soft forest and bonfire bokeh in the upper third.
0:00–0:02.5 — The crushed ice trembles and shifts with a clink, the meltwater ripples, and THE CAN rises up through the ice as if surfacing, water and ice chips sliding off its sides; it settles upright in the centre of the frame, front design and logo turned to the camera, condensation running down. End state: the can stands still in the ice, sharp and glistening.
0:02.5–0:04 — The instant it settles, THE PALE HAND darts in from frame left and THE PAW from frame right at the same moment, both reaching for the can; they stop dead a centimetre from it and from each other, the can untouched between them. End state: the hand and the paw hang frozen on either side of the can, fingers and claws almost touching it, both trembling very slightly.
0:04–0:05 — Hold: nobody moves, the can stands between them, a drop of condensation runs down its side. End state, held to the last frame: the can upright in the ice in the centre, the pale hand on the left and the russet paw on the right, both a centimetre away.
AUDIO DESIGN: close, crisp diegetic sound — drizzle ticking on the cooler lid, the clink and crunch of shifting ice, a soft watery slosh as the can surfaces, a tiny tap of metal on ice as it settles; then the sharp rush of air as the hand and the paw dart in, and complete silence on the freeze, only the drizzle.
MUSIC: an original instrumental score: silence at the start; as the can settles, one warm rising string swell; at 0:02.5, the instant the hand and the paw dart in, the fast low staccato chase ostinato and a deep drum hit slam back in for a single bar — and cut off dead on the freeze, no fade, no tail. No vocals, no lyrics, no dialogue, no subtitles.
MOOD: a polished, appetising product shot that turns into a punchline — the cold can is the treasure, and the rivalry is back on. Played completely straight.
[Rules]
Exactly one can, sealed, standing upright; nobody touches it. The hand and the paw never touch each other. Only the hand and the paw of the two rivals are in frame — no faces, no other people. No text, no titles, no logos other than the design on the can; leave the upper third calm for a title added in editing. The can's design and logo stay identical to @Image 1 and stay sharp and readable.
[Maintain Consistency]
Keep the can's shape, orange colour and logo from @Image 1, the pale-blue cooler and ice from @Image 2, the pale hand and sleeve from @Image 3, the russet paw from @Image 4, the overcast light and the teal-green grade identical through the whole shot.