PixVerse

[Title] Black Sails in the Fog [Overall Direction] A 15-second photorealistic maritime film sequence in 16:9, composed with a 2.39:1 widescreen sensibility and natural 24fps motion. The sequence contains four distinct shots. The story takes place in cold northern European waters during the medieval period. An elderly white European man rows a small wooden boat alone into dense fog, where he discovers a black-sailed pirate ship far larger than any ordinary vessel. The sequence focuses on the ship being revealed gradually through the fog and on the extreme difference in scale between the fragile rowboat, the elderly man, and the enormous pirate ship. The atmosphere is cold, silent, and oppressive, but there are no supernatural creatures, ghosts, magical effects, or battles. All timber, canvas, ropes, seawater, fog, and human movement must have convincing weight and physical behavior. The footage should feel captured with a full-scale practical sailing ship, a real ocean location, and a cinema camera—not like a video-game cutscene or fantasy concept art. [Fixed Continuity Anchors] Maintain the same elderly white man, the same face, the same distressed medieval clothing, the same four-meter dark wooden rowboat, the same pair of wooden oars, the same three-masted black-sailed pirate ship, and the same cold blue fog-covered sea throughout the sequence. The pirate ship must remain ahead of the old man and slightly to the right. Its bow faces the rowboat at a slight angle. The ship is almost motionless, moving only slowly with the long ocean swell. The rowboat continues moving toward the pirate ship. Wind, waves, and fog consistently move from the left side of the frame toward the right. Cold morning light always comes from the upper left. The pirate ship must retain exactly three main masts, layered black sails, a high forecastle and sterncastle, a long bowsprit, a dark wooden hull, and dense rigging in every shot. Its design must not change between cuts. [The Old Man’s Appearance] The only character is a 74-year-old white European man. He is thin and slightly stooped, but his shoulders and arms retain the wiry strength of a lifetime of physical labor. His pale, coarse skin is deeply marked by cold wind, saltwater, and years of sun exposure. He has prominent cheekbones, a high and slightly crooked nose, deep-set eyes, and an uneven gray-white beard covering his cheeks and chin. His eyes are gray-blue, naturally moist, with small living catchlights. His forehead, eye corners, and mouth carry authentic age lines. His gray-white hair reaches the back of his neck, dampened by sea fog and loosely tied with an old leather cord. Several wet strands cling to his temples and ears. His skin must retain pores, age spots, and wrinkles. Do not beautify, smooth, or artificially dirty his face. [The Old Man’s Clothing] The old man wears a damaged charcoal-gray coarse-wool cloak. Its edges are frayed and repaired with a few simple hand-sewn patches. Moisture from the sea fog has darkened the fabric. Beneath the cloak is a dirty gray-white linen tunic with a loose collar and worn cuffs. A weathered dark-brown leather belt secures the clothing at his waist. He wears dark gray-brown woven trousers and cracked old leather boots. A short length of faded dark reddish-brown wool is tied around his neck. This scarf is the only faint warm accent in the otherwise cold blue image. The clothing must contain no modern stitching, zippers, plastic, branding, reflective strips, or modern flotation equipment. [Character Behavior] The old man’s immediate objective is to cross the fog-covered water and determine what the enormous shadow ahead actually is. His obstacles are the dense fog and the long ocean swell that repeatedly alters the rowboat’s direction. He rows with the practiced economy of an aging seaman. His center of gravity remains low, his feet planted firmly against the bottom of the boat. His lower back moves first, leaning slowly backward; his shoulders and arms then pull the two wooden oars toward his chest. The strength of his left and right arms differs slightly. Each stroke is accompanied by natural breathing, shoulder-blade movement, friction from the oarlocks, and the forward inertia of the boat. His movement is no longer light, but it remains experienced and efficient. When the deep groan of a massive wooden hull reaches him through the fog, his ongoing rowing stroke slows. The left oar blade remains submerged and creates resistance while the right oar stops in midair. Seawater drips continuously from its edge. His eyes leave the surface of the sea first and move toward the shadow above. He gives one slow blink. Only then does his chin rise and his head follow the direction of his gaze. His lips remain closed, his breathing pauses briefly, and his hands tighten around the oar handles. He does not shout or flee. After confirming that an enormous vessel is hidden in the fog, he adjusts his seated posture, braces both feet, and resumes rowing slowly toward the shadow. His performance conveys caution, exhaustion, and an irresistible need to know—not theatrical fear. [The Rowboat] A medieval wooden rowboat approximately 4.2 meters long, constructed from dark, aged oak. The plank seams and wooden fastening pegs are structurally believable. Most of the black waterproof tar coating has worn away, revealing gray-brown wood grain beneath. The gunwales show wear from years of use. The interior remains sparse, containing only one coil of old hemp rope. Do not add fishing nets, lanterns, barrels, crates, or decorative objects. The two wooden oars must retain the same dimensions, color, material, and position throughout the sequence. The boat rises, falls, and rolls gently with long ocean swells approximately one to one-and-a-half meters high. It must have convincing weight and inertia. Its bow creates a small amount of dark spray as it cuts through the water. It must not float or bounce like a lightweight toy. [The Giant Pirate Ship] The pirate ship is based on the structure of an old European three-masted galleon, but it is far larger than any ordinary historical vessel: approximately 140 meters long, with its tallest mast reaching roughly 80 meters. Its scale is extraordinary, but its timber construction, structural loading, rigging connections, and canvas movement must remain physically believable. The hull is built from almost black, heavily weathered oak. Its timbers are wide and heavy, with visible plank seams and matte iron reinforcement along structural edges. The bow is tall and projects forward with oppressive weight, ending in a long, narrow bowsprit. The stern rises into a multi-level sterncastle. Two rows of dark gunports line the sides of the hull, but no cannons are fired. Salt deposits, dark wet marks, and small amounts of sea growth appear around the waterline. The ship is not rotten and does not glow. Three tall main masts carry multiple levels of square black sails. The canvas is heavy and aged, damaged by wind and salt, with naturally torn edges and visible repairs. The sails are not pure black; they contain subtle layers of deep blue-gray, charcoal, and weathered brown. Dense hemp rigging connects the masts, yards, gunwales, and corners of the sails according to authentic sailing-ship construction. A small faded black flag flies from the highest mast. It bears only a simple, weathered bone-white skull-and-crossbones symbol with no written words. No crew members, torches, or artificial lights are visible on deck. The vessel feels unnaturally quiet but remains completely physical and opaque, never transparent or ghostlike. [Ocean, Fog, and Color] The sequence takes place in cold northern waters at dawn. The boundary between sea and sky is nearly erased by thick blue-gray marine fog. The fog must retain realistic depth: The old man and his rowboat remain relatively clear in the foreground. Water several dozen meters away loses contrast. Only portions of the pirate ship are visible in the middle distance. The upper masts and corners of the sails disappear back into the fog. The seawater consists of low-saturation slate blue, deep blue-gray, and faint gray-green tones. Wave crests do not produce unnaturally bright white foam. The sky is pale cold blue mixed with pearl gray. The pirate ship is near-black wood with deep blue-gray sails. The old man’s faded reddish-brown scarf provides the only very weak warm accent. Wind slowly pushes the fog across the ship, allowing its fixed structure to appear in layers. The fog changes what is visible; the vessel itself never changes shape. The fog must not behave like fast-moving smoke, and it must not make the entire image uniformly blurry. [Shot One | 0–3.5 Seconds | Side Close-Up of the Old Man] A 65mm cinema lens. The camera floats beside the left side of the rowboat, slightly below the old man’s shoulder height, rising and falling gently with the same ocean swell. The old man’s side profile occupies the left half of the frame. The background contains only defocused cold-blue seawater and layered fog. The pirate ship must not appear yet. The old man is already midway through a rowing stroke. His lower back moves slowly backward as both hands pull the oars toward his body. Damp gray hair clings to his face, and the coarse wool cloak responds subtly to the sea wind. A broad swell lifts the wooden boat, and the camera rises with it in a restrained, physically grounded movement. One distant, low note from an old bronze ship’s bell travels through the fog, followed by the deep groan of an enormous timber structure under pressure from the sea. The old man’s rowing motion gradually stops. One oar blade remains submerged while the other pauses in midair. Water drips from the edge of the blade. His eyes move toward the upper-right side of the frame first. He gives one slow blink, then gradually raises his head. Cut directly before the head movement is fully completed. Do not reveal what he sees in this shot. [Shot Two | 3.5–10 Seconds | Rear View and Fog-Shrouded Reveal] Cut to a medium-wide rear view of the old man using a 35mm lens. The camera is positioned close to the stern of the rowboat at approximately shoulder height. Preserve the direction of the boat, the old man’s seated position, the direction of the waves, and the direction of the cold light from the previous shot. The old man occupies the lower center of the frame with his back toward the camera. An enormous dark shape rises inside the fog ahead. At first, only the towering bow and one vague vertical mast line can be distinguished. As the fog moves laterally, three enormous masts, layered black sails, dense rigging, and elevated deck structures gradually become visible. The tops of the masts remain hidden. The pirate ship must not appear completely in a single instant. Its structure remains fixed; only its visibility changes as fog passes across it. After a short pause, the old man resumes rowing. He lowers his center of gravity and completes one slow, deliberate stroke, then begins a second. The rowboat moves forward with the swell. Each time the boat rises onto a wave crest, the ship’s shadow appears taller. When the boat descends into a trough, the lower part of the pirate ship is briefly hidden by water and fog. As the old man continues forward, the bow, the dark gunports, and the lowest black sails become gradually clearer. High-altitude wind causes the enormous black sails to fill and relax with delayed, heavy movement. The rigging tightens and loosens slightly. It must not swing wildly. The pirate ship remains almost motionless, advancing into the swell at an extremely slow speed. [Shot Three | 10–12.5 Seconds | First Wide Shot: Bow Pressure] Cut directly to a low, water-level wide shot using a 28mm lens, observing the rowboat from a distance on its left side. A defocused dark-blue wave crest occupies the foreground. The old man and rowboat sit in the middle ground. The pirate ship’s towering bow, lower black sails, and fog-covered masts dominate the background. The rowboat occupies only about 2% of the frame width. The old man is even smaller, but his charcoal cloak and faded reddish-brown scarf remain consistent. The pirate ship’s bow rises from the sea like a dark timber cliff. Large hull planks, gunports, and matte iron reinforcement provide believable scale references. The foreground wave briefly hides the lower half of the rowboat. As the crest falls, the boat reappears in the same spatial relationship to the ship. The vessel’s position, size, and structure remain stable. The upper black sails and masts are partially swallowed by blue-gray fog. This shot emphasizes the vertical height of the bow and the oppressive distance between the small boat and the ship. [Shot Four | 12.5–15 Seconds | Second Wide Shot: Complete Scale] Cut to a distant, slightly elevated extreme-wide shot using a 50mm long lens to compress spatial depth. The camera remains stable without a fast aerial dive, orbit, or rotation. The enormous three-masted pirate ship appears from a front-side angle and dominates the center-right of the frame. Most of the full hull, long bowsprit, high sterncastle, three main masts, and layered black sails enter the frame. The lower hull remains relatively clear, while the upper masts and sail corners fade in and out of the dense fog. The black pirate flag moves slowly at the top of the highest mast. The old man and his boat remain ahead of the ship and slightly to the left, reduced to a tiny dark mark on the cold-blue sea. The rowboat continues rising and falling with the swell as the old man rows slowly. The pirate ship remains heavy, silent, and almost immovable. Maintain a safe distance between both vessels. No collision occurs. Large areas of cold-blue water and empty fog surround the subjects. There is no land, no other vessel, and no modern structure on the horizon. Hold the final composition for approximately half a second, keeping the old man, the small boat, and the enormous black sails visible together. [Editing Logic] The sequence contains four shots and three direct cuts. The first cut moves from the old man raising his head in side profile to the enormous ship shadow seen from behind him. The second cut moves from the old man continuing to row into the low water-level wide shot, revealing the height of the bow. The third cut moves to a farther, slightly elevated extreme-wide shot, revealing the total length of the pirate ship and the surrounding ocean. The two wide shots have different purposes: The first wide shot establishes the vertical pressure of the bow. The second wide shot reveals the full vessel and the final scale relationship between the ship, the ocean, and the rowboat. Do not insert close-ups of skulls, cannons, eyes, rigging hardware, or pirate crew. [Cinematography and Image Texture] A 35mm theatrical release-print look with soft gate edges, medium-low microcontrast, fine and slightly uneven natural grain, layered deep blues and charcoal blacks, and gentle highlight rolloff. Fog and slight condensation along the edge of the lens are the only dominant image imperfections. Do not simultaneously add rain, dust, smoke, sparks, or strong lens flares. The camera retains small amounts of ocean movement and inertia while keeping the horizon generally stable. Close shots use restrained depth of field. Distant contrast decreases naturally through atmospheric perspective. The pirate ship must not appear unnaturally sharp inside the fog, but the entire image must not be covered by a uniform blur filter. [Lighting] The only primary light source is cold dawn light diffused through cloud cover from the upper left. A faint silver-blue edge light touches the left side of the old man’s face, wet hair, wooden oars, and gunwale. The side of the pirate ship facing the light reveals low-contrast cold-gray structure. The backlit side falls toward deep blue-black while preserving readable timber layers. Do not use moonbeams, torchlight, ghostly green illumination, magical glow, lightning, or warm sunset light. [Sound] No dialogue, narration, or musical score. The soundscape consists of wooden oars entering the sea, low water displacement, friction from the oarlocks, creaking rowboat planks, the old man’s controlled but strained breathing, wind softened by fog, one distant bronze ship-bell note, the deep groan of the enormous wooden hull under wave pressure, rigging tightening, and black sails filling slowly with wind. The bell and timber groan are heard before the pirate ship appears in Shot One. Low wooden resonance expands when the ship is revealed in Shot Two. In the final two wide shots, ocean waves, wind, and large areas of silence again dominate the soundscape.Avoid changes to the old man’s face, age, skin tone, beard length, hairstyle, cloak color, scarf, or clothing between shots. Do not make him suddenly younger. Avoid modern clothing, armor, aristocratic costume, stereotypical pirate clothing, modern life jackets, plastic, zippers, modern shoes, wristwatches, firearms, or electronic equipment. Avoid incorrect anatomy, distorted body proportions, extra arms, extra fingers, changing numbers of oars, hands passing through oar handles, rigid rowing, mechanical looping movements, sliding feet, exaggerated screaming, an open-mouthed expression of terror, theatrical fear, heroic posing, empty eyes, or frozen eyes. Avoid changes to the rowboat’s dimensions, color, design, or material. Do not transform the boat into a modern lifeboat, fishing vessel, sailboat, or plastic boat. Avoid weightless floating, sudden sideways movement, violent bouncing, capsizing, flooding, breaking apart, or colliding with the pirate ship. Avoid changes to the pirate ship’s design, length, hull shape, bow, stern, or color. Maintain exactly three main masts. Do not allow masts to appear or disappear. Avoid changing the black sails’ color, melting canvas, incoherent rigging, swapped bow and stern, moving gunports, shipping containers, steam engines, modern motors, steel superstructures, or electric lights. Avoid a cartoon pirate ship, theme-park attraction, miniature model, plastic wood grain, glowing ghost ship, transparent hull, skeleton crew, ghosts, zombies, sea monsters, tentacles, flying ships, magic, green ghost flames, burning sails, cannon battles, explosions, or lightning. Avoid fog disappearing suddenly between cuts or changing color. Do not make the fog behave like fast-moving smoke. The pirate ship must not deform as fog passes over it. Avoid tsunami waves, vertical walls of water, gelatinous water, fabric-like water, smoke-like water, changing wave direction, sudden daylight changes, warm sunset colors, or night. Avoid fast editing, additional shots, location changes, time jumps, flash transitions, dissolves, morphing transitions, camera teleportation, high-speed drone dives, rotating around the ship, sudden zooms, dolly zooms, slow motion, or speed ramping. Avoid video-game cutscenes, fantasy concept art, pirate-themed advertising, uniform sharpness across the entire frame, excessive sharpening, excessive skin smoothing, oversaturation, commercial teal-and-orange grading, neon, lasers, decorative light beams, excessive lens flare, text, subtitles, brand logos, and modern watermarks. Allow the simple skull-and-crossbones pirate flag at the top of the highest mast, but do not place any readable text on the flag.

Get in here → app.pixverse.ai/challenge/ha… #PixVerseHalloween #PixVerseMV

Create a 30-second, 16:9 photorealistic crime-action thriller inside a New York basketball arena. Use Image 1 for the man, Image 2 for the corridor, Image 3 for the game, and Image 4 for the escalator lobby. Preserve his identity, black suit, tie, and sunglasses. Connect courtside seating, corridor, descending escalator, lobby, and exterior roadway. **0–5s** Medium shot: the man suddenly rises, scans his surroundings, and moves toward the exit. Follow from behind. Cut close to a security guard checking a wanted photograph, then confirming the man and radioing: “That’s the wanted suspect. Cover the exits.” **5–9s** Wide corridor shot: hearing shouts, the man looks back at two pursuing guards and starts running. Track low beside pounding shoes and swinging coat tails. Crowd noise fades behind sharp footsteps and radio chatter. **9–14s** High-angle wide shot establishes the descending escalator and lobby exit. He races down the moving steps, briefly gripping the handrail. Cut sideways to show guards several steps behind. He clears the bottom and charges into the lobby. **14–20s** Two guards intercept him. He deflects a grabbing arm; another seizes his shoulder. They struggle, pushing and twisting until one guard stumbles into another. He forcibly breaks their grip and escapes toward the glass doors. Guards immediately pursue. Use a readable wide shot and one brief close-up. Preserve his loosened tie and rumpled suit. **20–25s** Exterior lateral wide shot includes the doors and roadway. He runs outside into the path of an approaching police car. The driver brakes too late. Show one continuous impact: the car strikes his legs and hips, tipping him onto the hood edge before he falls beside it. His sunglasses fly off. Realistic weight, no exaggerated flight or gore. **25–30s** Ground-level medium shot: he curls in pain, rolls, and unsuccessfully tries to rise. Officers exit the stopped car and approach. Two control his arms and shoulders, turn him prone

Explore the Blood Revenge production workflow: app.pixverse.ai/canvas/proje… Explore PixVerse Originals: pixverse.ai/en/blog/pixverse…

Create a 30-second video in the style of a Japanese private MiniDV footage from the early 2000s. [Refer to the provided pictures] The characters are strictly based on the character pictures. Picture 1 The entire scene focuses on the face of a young girl, brown short-layered hair, bangs, blue star-shaped hair clips, orange-white hair clips, skin color, body proportions, purple and light purple striped long-sleeved top, dark denim skirt, brown belt, long necklace, purple pointed high heels. The scene strictly follows the provided Japanese street and store scene pictures. Picture 2. The external structure of the scene, the location of the store, the awning, the entrance, the wall, the street, and the relationship of nearby buildings are all kept consistent. The store interior must logically connect to the store in the reference picture. ━━━━━━━━━━━━━━━━━ 【Highest priority shooting rules】 ━━━━━━━━━━━━━━━━━━ This is the most important requirement for the entire video. The picture is always: "Another traveling companion holds a home MiniDV and follows the main character very closely for filming." The photographer and the main character almost always move together. The photographer is not standing in the distance waiting for the main character to come. The photographer is not setting up the camera to shoot. The photographer is not using a stabilizer for follow-up. The distance between the photographer and the main character always remains: about 0.5 - 1.2 meters. The distance inside the store is closer: about 0.4 - 0.8 meters. The camera always revolves around: the main character's face; above the chest; shoulders; hands; drinks; local movements. [It is strictly forbidden to use full panorama, long shot, or full body shots throughout the entire video.] It is forbidden to film the main character in full body. It is forbidden to make the main character become a small figure in the background. It is forbidden to pull the camera away to show the environment. If the environment needs to be shown: it must be done through the main character's side of the shoulder, the back of the head, quick sweeping of the lens, and close-over shoulder composition. In most shots: the main character's face above the chest occupies about 55% - 80% of the screen height. The picture is always "close to the person". ━━━━━━━━━━━━━━━━━ 【Handheld shooting feel | Highest priority】 ━━━━━━━━━━━━━━━━━━ The camera must have a very obvious real handheld feel. It is not random digital vibration. It is generated by the photographer's body: walking up and down; foot impact; slight left and right shaking; slight Roll tilt; quickly re-arranging the composition; turning around with the camera half a beat later; the camera occasionally briefly cutting off half of the main character's hair or shoulder; the photographer stops and the camera still has a little inertia; occasionally slightly over-head when approaching the person and then correcting. The camera must never be completely stable for more than about 1 second. When the main character is walking: the camera must continuously generate obvious step-up and step-down movements. When the main character suddenly turns around: the camera needs to quickly follow. When entering the store: the camera follows her into the store, generating obvious shaking and exposure changes. When the person looks at the camera: the camera may have a very small re-arrangement due to the photographer's reaction. The overall must be like: a friend holding a MiniDV and walking while filming. Not a TV drama. Not an advertisement. Not a stabilizer. ━━━━━━━━━━━━━━━━━ 【Editing rules】 ━━━━━━━━━━━━━━━━━━ Use about 10 - 12 shots within 30 seconds. Each shot is approximately 1.5 - 3 seconds. The rhythm is significantly faster than the previous version. A lot of: HARD CUT. It is forbidden to use fade-in and fade-out. It is forbidden to use slow dissolve. It is forbidden to have a long stable shot. There can be slight jump cuts between shots. Like the video has been quickly edited. ━━━━━━━━━━━━━━━━━ Shot 01 | 0:00 - 0:03 Walking side by side in the rain Don't shoot the main character walking towards the camera from a distance. The photographer and the main character: They are walking side by side forward on a rainy Japanese street. The photographer is positioned about half a meter to one meter to the left or right of the main character's body. The camera is very close. The shot: A close-up of the main character's upper body. The upper part of the transparent umbrella enters the top of the frame. The umbrella edge is occasionally cut off by the composition. The main character is walking while holding the transparent plastic umbrella. Raindrops are densely hitting the umbrella surface. The background of the Japanese street scene keeps shifting due to the movement of the camera: shops; electric poles; wet walls; awning; Bicycle; Signboard; The wet road reflects the light. But the background is always just the environment behind the main character. Do not shoot the environment independently. The camera and the main character move together. Clearly there are: up and down steps fluctuations; slight left and right shaking; occasionally the horizontal line is tilted a little. The main character slightly shrinks her shoulders when she is cold. She turns her head to look at the photographer beside her. She naturally smiles. While walking, she says in Japanese: "It's cold. I'll shelter from the rain inside for a while." The tone is casual. It's like chatting with a friend. After saying this, she continues walking. Do not stop to face the camera and speak. ━━━━━━━━━━━━━━━━━━━ Shot 02 | 0:03 - 0:05 See the store ━━━━━━━━━━━━━━━━━━ HARD CUT. The camera is still close to the main character. A close-up of the chest image from the side. The main character has walked near the store in the reference scene. She looks at the store. The camera quickly shifts its focus towards the store following her gaze, and can only briefly see: the awning; the entrance; a partial signboard; warm indoor lighting. Do not show the complete panoramic view of the building. The camera immediately returns to the main character's face. She takes two steps forward and enters the eaves. The camera also follows her into the house. There is a clear up and down vibration in the picture. ━━━━━━━━━━━━━━━━━━━ Shot 03 | 0:05 - 0:07 Quickly fold the umbrella ━━━━━━━━━━━━━━━━━━ HARD CUT to close-up from the side. The main character comes under the awning. The main part of the picture is: the chest; the face; the transparent umbrella; both hands. She quickly closes the transparent umbrella. The movement is natural and smooth. The umbrella surface: snaps closed. Raindrops drip from the transparent plastic umbrella surface. Because the camera is very close to her: it first follows her face down to her hands and the umbrella, then slightly slows down and raises it up again. Then CUT to a very short close-up of the hand: she directly puts the folded transparent umbrella into the umbrella rack at the door / leans it at a designated position next to the door. The umbrella must be realistically left there. It is forbidden for the umbrella to suddenly disappear. ━━━━━━━━━━━━━━━━━━━ Shot 04 | 0:07 - 0:09 Enter the store ━━━━━━━━━━━━━━━━━━ HARD CUT. The camera is almost positioned behind the female protagonist's shoulder. The protagonist pushes open the glass door. The photographer follows her into the room. The doorbell: Ding-ding. The camera, having entered from the outside into the interior, suddenly brightens the exposure a little; then automatically adjusts; the focus briefly searches. The picture should not be stable. After entering, the protagonist turns around half a body position and naturally says to the boss inside: "Hello-er." CUT to a very short close-up shoulder-over shoulder shot: The boss is standing inside the counter. The boss is an ordinary Japanese middle-aged or slightly older man, wearing a simple shirt and a dark work apron. The boss simply responds: "Come in." Do not shoot the boss for a long time. Immediately CUT back to the protagonist. ━━━━━━━━━━━━━━━━━━━ Shot 05 | 0:09 - 0:11 Heading towards the beverage section ━━━━━━━━━━━━━━━━━━ The camera is repositioned to the side front of the protagonist. It closely follows her as she passes through the narrow shelves. The main shot remains: chest view / above the shoulders. The shelves quickly pass by in front of the camera. Occasionally, they shade the protagonist's half body. The camera is shooting while backing away, as the space is narrow: the camera has obvious slight up and down shaking and left and right corrections. Do not have a shot of her walking from behind at a long distance. Do not allow stable backtracking of the back. ━━━━━━━━━━━━━━━━━━━ 【Interior of the store】 ━━━━━━━━━━━━━━━━━━ This is an old-fashioned Japanese neighborhood grocery store, not a modern convenience store. The space is narrow. Realistic, with a sense of life, slightly crowded. Including: old-fashioned metal shelves; old-fashioned freezers; glass-door beverage cabinets; Japanese snacks; bottled green tea; canned coffee; juice; soda; sports drinks; Pozzi soda; milk beverages; instant noodles; rice crackers; candies; potato chips; cookies; sauce and seasonings; plastic baskets; paper boxes; a small amount of fruits and vegetables; old-fashioned fluorescent lights; simple paper price tags; handwritten Japanese labels. Do not have a modern large convenience store. Do not have modern LED light strips. Do not have high-end decoration. ━━━━━━━━━━━━━━━━━━━ Shot 06 | 0:11 - 0:13 Looking at the beverages ━━━━━━━━━━━━━━━━━━ HARD CUT. Close-up of the protagonist's side face. The camera is near her right or left shoulder. She opens the beverage freezer. The freezer lights illuminate her face. She quickly scans the beverages. The camera moves from her face: quickly shakes to the beverage bottle, then shakes back to her face. With a little unprofessional DV operation feeling. Do not slowly display the products. ━━━━━━━━━━━━━━━━━━━ Shot 07 | 0:13 - 0:16 The protagonist and the photographer talking ━━━━━━━━━━━━━━━━━━ CUT to a close-up above the shoulders. The camera is about 0.6 meters away from the protagonist. The protagonist has already picked up a bottle of beverage. She looks at the bottle body. Then suddenly looks at the camera. She naturally smiles. She says to her friend holding the camera: "Maybe I should drink. My throat is a little dry." During the conversation: The camera has continuous very light handheld shaking. Do not completely lock her face. After she finishes speaking, she immediately looks away and continues to look at the shelves. Do not act like an advertising host. Do not keep staring at the camera. ━━━━━━━━━━━━━━━━━━━ Shot 08 | 0:16 - 0:18 Selecting the beverage ━━━━━━━━━━━━━━━━━━ HARD CUT to a very close hand and half-body composition. The protagonist compares two bottles of beverages. The movement is fast. She picks up one bottle. The other bottle is put back in place. Only one simple selection is allowed. Do not have the bottles suddenly change. Do not have any extra beverages in the hand. Then the camera quickly tilts up to her face. The heroine gave a very relaxed little smile. She said, "Let's do this." CUT. ━━━━━━━━━━━━━━━━━━━ Shot 09 | 0:18 - 0:21 Arrived at the cashier counter ━━━━━━━━━━━━━━━━━━ Close-up shots of the heroine walking towards the cashier counter. Still no panoramic shots. Use: Close-up of the heroine's shoulder over the shoulder. The boss is behind the front counter. The heroine always holds the same bottle of drink she just selected with her left hand. [This is very important] From this moment on, the drink belongs exclusively to the heroine. The boss must not touch the drink. The heroine must not hand the drink to the boss. The boss must not take the drink from the heroine's hand. No beverage exchange is allowed between the two. ━━━━━━━━━━━━━━━━━━━ Shot 10 | 0:21 - 0:23.5 Payment | Minimalistic action ━━━━━━━━━━━━━━━━━━ This is the highest priority continuity requirement. CUT to a close-up of the hand. The heroine: Her left hand is always holding the drink and placing it on one side of her body. Her left hand is not involved in the transaction at all. Her right hand takes out a single bill directly from her wallet: [One bill.] Only one. She extends her right hand. Directly hands this bill to the boss. The boss makes only one movement: extends one hand and catches this bill. The movement ends. Do not continue to show the change. Do not show the boss returning the money. Do not give a plastic bag. Do not give a receipt. Do not scan the drink. Do not allow the boss's other hand to touch the drink. Do not allow the heroine to hold the drink, money, change, and bag at the same time. The entire payment action is only: the heroine's right hand extends a single bill. → The boss caught the banknote in his hand. → CUT. The contact time between the two hands was very short. Complex finger interactions are prohibited. Pulling of banknotes is forbidden. Two people holding the drink together is also prohibited. ━━━━━━━━━━━━━━━━━━━ Shot 11 | 0:23.5 - 0:25 Thank you, boss. ━━━━━━━━━━━━━━━━━━ Immediately CUT back to a close-up of the main character's chest. She is still holding the same bottle of drink in her hand. The main character nods slightly. She says naturally, "Thank you." The boss responds off-screen or in the background: "Thank you." Do not pull away to shoot the boss. The camera remains by the main character. After she finishes speaking, she turns around and walks towards the exit. The camera immediately follows. ━━━━━━━━━━━━━━━━━━━ Shot 12 | 0:25 - 0:27 Escaping through the door ━━━━━━━━━━━━━━━━━━ Follow the main character closely to the door. The camera is positioned beside her shoulder. She pushes the door open. The doorbell rings. The rain outside suddenly becomes louder. The exposure changes briefly as it goes from indoors to outdoors. The photographer follows her under the eaves. The entire process: The camera shakes noticeably; the character is occasionally cut off a little bit of her shoulder; the photographer quickly recovers the composition. The transparent umbrella placed earlier at the door: It remains in the same position. ━━━━━━━━━━━━━━━━━━━ Shot 13 | 0:27 - 0:30 Ending under the eaves ━━━━━━━━━━━━━━━━━━ The last shot is still: a close-up of the main character's chest. Do not cut to a full shot. The photographer stands at a distance of about 0.6 - 0.8 meters from the main character. The main character is standing under the eaves. One hand holds the drink she just bought. The transparent umbrella is beside the door at the entrance, and it doesn't need to be reopened. The background can be seen through her shoulder: continuous falling rain; Wet Japanese streets; Blurred bicycles; Shop awnings; Water surface reflections. The main character first looks outside at the rain. Then turns back. She realizes the photographer is still filming her. She suddenly smiles naturally. Do not exaggerate with a big laugh. Like friends: "Why are you still filming?" She can briefly let out a little breathy laugh. The camera is very close: there is a small re-focusing. The face briefly becomes blurry, then immediately becomes clear again. She continues to smile and look at the camera for about 0.5 seconds. The recording suddenly stops. Like a real home DV being directly pressed to STOP. ━━━━━━━━━━━━━━━━━━━ 【Main Character's Performance】 ━━━━━━━━━━━━━━━━━━ Character traits: lively; lovely; natural; very familiar with the photographer; not an actor-like performance. She likes to occasionally look at the camera. But she cannot keep looking at it. It is recommended to only show about 4 - 5 clear looks at the camera throughout the 30 seconds: once while walking and talking at the beginning; once when choosing a drink in the store; once when getting the drink; once after payment; once under the eaves at the end. Her smile should vary: a slight upward curve of the corner of the mouth; a short moment of smiling eyes; a very soft and quiet laugh; finally a slightly more obvious natural smile. Do not have the same big laugh in every shot. Do not fake laugh. Do not have exaggerated cute expressions. Do not frequently tilt the head to be cute. ━━━━━━━━━━━━━━━━━━━ 【MiniDV Visual Characteristics】 ━━━━━━━━━━━━━━━━━━ The goal is not: high-definition modern video + retro filter. The goal is: a real video recorded by a consumer-level MiniDV by friends in the early 2000s. Picture: soft DV details; limited dynamic range; clear CCD highlight overflow; slightly blue tint in the rainy outdoor scene; slightly yellow-green tint in the fluorescent indoor light; inaccurate automatic white balance; slight digital compression; slightly soft edges; occasional automatic exposure breathing; occasional automatic focusing search; slight motion blur. But the picture should not be deliberately made very messy. Do not: VHS snow; VHS tracking lines; film scratches; 35mm grain; modern HDR; film-level color grading; super shallow depth of field.

What would your Halloween horror story look like? Create it with PixVerse Canvas: app.pixverse.ai/canvas?utm_s…