Action Sequence Staging

Action sequence of top-tier fighter pilot doing airborne combat in modern fighter jets. Multiple shots of ultra-fast and intense aerial combat, switching to close-up profile shots of the pilots' reactions, their hands doing gear/switch changes, and then back to intense aerial shots. Wind whips from the fighter jets' wings, and the sounds are intensely loud, showcasing the incredibly intense and fast-paced action scene which also includes explosions and serious camera shakes along with fast-moving camera shots. Cinematic quality, 4k, crisp detail, and 24 FPS.

[STYLE + CAMERA + ATMOSPHERE] Ultra-photorealistic cinematic 15-second action sequence from a grounded rural survival thriller film. Nighttime in a remote forested area next to a cabin. Pine trees, dirt ground, old pickup truck. Moonlight mixed with warm light from the cabin windows. The visual language is tense, intimate and realistic with hyper-realistic practical destruction. Camera is handheld-dynamic with grounded moves. [IMAGE REFERENCES] No reference images provided. Generate a fully consistent lead character: a rugged male in his early 50s, short beard, intense protective expression. He wears a worn jacket, jeans and work boots. Maintain exact same appearance and clothing throughout the clip. [TIMELINE SECOND BY SECOND] 0-3s: [Dynamic handheld tracking shot from side-rear] The man runs toward an old pickup truck while being shot at. A propane tank next to the cabin explodes in a massive realistic blast. Fire, metal, wood and dirt are thrown violently in all directions. The camera tracks him urgently across the dirt as the explosion expands. 3-7s: [Slow continuous orbiting camera moving around the frozen explosion] At the peak of the explosion the entire blast and debris field suddenly freezes in perfect realistic physics. Thousands of metal fragments, wooden planks, dirt clods and burning debris hang motionless in the air with accurate weight and trajectories. The camera performs a smooth, continuous orbit around the frozen destruction, moving between large suspended metal pieces and passing close to sharp wooden fragments while the man remains visible. 7-15s: [Dynamic tracking shot as time resumes] At the 7-second mark time snaps back to forward motion with a slight realistic temporal residue. Some outer debris shows a very subtle reverse lag before continuing. The man has used the frozen moment to dive behind the pickup truck. When motion resumes, several large burning pieces miss the truck. He stays low and moves around the vehicle as debris finally crashes down around him. The camera tracks with him through the settling dust and fire. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, hyper-realistic rigid body destruction with correct material properties, perfect frozen mid-air physics, seamless transition from explosion to freeze to resume, natural fire, wood and dirt interaction, heavy cinematic motion blur on fast debris, stable character performance, movie-level practical destruction VFX quality.

図1の彼女のガンアクション。図2のモーションコンテに準じて。図3は位置関係。Aが彼女の動き、B、Cがギャングの動きです。①彼女が歩く。②敵(ギャング 2人)が彼女に気づくカット。銃を撃ち始める。③画面側から奥へ弾が飛んでいく。彼女は弾に当たらないよう、横の通路に隠れる。④隠れた通路で、彼女が体をこちらに向け、顔は横を向いている。けん銃を取り出している。奥から弾が飛んできたり、壁の角に当たっている。⑤彼女が隠れていた通路から飛び出して銃を発砲。真正面から。⑥敵のカット。敵は彼女の撃った弾で拳銃を弾かれる拳銃が手から少し離れ、クルッと回る。男たちは拳銃を持っていた手を少しすくめ、驚いた様子で視線を斜めにおとす。⑦彼女が画面へと勢いよく近づく⑧ギャングの顔に突き刺さる(もちろん比喩。実際は顔にめり込む)彼女の左拳(彼女は銃を右手に持っているため)⑨後に倒れ込む男(下半身のみ。上半身は画面からはみ出しているため)、もう一人のギャングの背中からの視点、彼女の回し蹴りがもう一人のギャングの顔へ。⑩倒れ込んでいるギャングに向け、彼女が拳銃をかまえている。下からの視点。

A fast, energetic cartoon action sequence of the cool cat driving through a sunny village road. Bright sky, palm trees, rice fields, flowers, animals, and colorful village details everywhere. Use fast camera movement, quick cuts, motion blur, speed ramps, whip pans, low-angle chase shots, car-mounted POV, and crash zooms. 0-2s: Start with a low front bumper shot of the blue car speeding down the village road, sunlight flashing on the cat’s glasses. Camera rushes backward in front of the car. 2-4s: Whip pan to chickens crossing the road like a marching band. The cat swerves smoothly, smiling, one paw on the wheel. 4-6s: Crash zoom to monkeys in palm trees dropping coconuts. The camera follows coconuts bouncing beside the car in slow motion, then speed ramps back to fast action. 6-8s: Side tracking shot as a goat jumps onto a hay cart and races beside the cat, dancing wildly. 8-10s: Drone-style overhead shot as ducks, chickens, pigs, and goats form a chaotic parade behind the car. 10-13s: Fast POV from inside the car as coconuts, flower petals, and hay fly past the windshield. The cat laughs and honks a musical horn. 13-15s: Climax: the car hits a soft hay ramp, launches gently over the animals, does a tiny cartoon bounce landing, and coconuts roll into the words “COOL CAT” while everyone cheers.

This is a street scene with a John Woo-style gunfight action sequence. Please base it on scene image 3, generate a fluid shot of the white-suited man from "image 1" in realistic effect clashing with the floral-shirted man from "image 2 realistic effect" in a confined space, incorporating split screens and different perspective switches to give the entire frame more rhythm and cinematic feel.

Cinematic 15-second multi-shot action sequence in a realistic modern subway carriage at night, dim fluorescent lighting with flickering overhead lights, cool blue and purple tones, high contrast shadows, subtle film grain, photorealistic style with dynamic camera work. Shot 1 (0-4s): Medium shot, slight handheld camera. A cute 18-year-old East Asian girl with long black hair in twin pigtails and bangs, wearing a casual white blouse and pleated skirt, sits calmly on a subway seat reading a small book. She looks peaceful and immersed. The empty subway car sways gently. Subway windows show dark tunnel lights passing by. Sudden chaos: A massive, terrifying monstrous creature (grotesque alien-like with sharp claws, tentacles, glowing red eyes, dark slimy skin, and jagged teeth) bursts violently into the carriage from the left, smashing seats and roaring aggressively. Debris flies, dramatic motion blur on the attack. Shot 2 (4-8s): Fast-paced action, dynamic camera tracking and quick cuts. The girl looks up startled for a split second, then her body glows with intense bright blue cyber energy. Epic transformation sequence: Her clothes dissolve into glowing blue cybernetic armor with futuristic metallic plates, neon blue accents, holographic elements, and sleek helmet. Energy particles and light trails swirl around her. She stands up powerfully. Shot 3 (8-12s): High-energy fight sequence, orbiting camera and low-angle heroic shots. The armored girl unleashes powers — blue energy blasts from her hands, summoned energy sword and weapons. She dodges the monster's attacks with agile movements, counters with powerful slashes, punches, and energy explosions that damage the monster and subway interior (sparks, broken seats, shattered windows). Intense motion, particle effects, glowing trails, dramatic lighting flashes. Shot 4 (12-15s): Calm resolution, smooth pull-back camera. The monster is defeated and dissipates. The girl’s armor glows and fades away, transforming back to her normal casual outfit and pigtails. She sits back down peacefully on the seat, picks up her book, and resumes reading calmly as if nothing happened. Subway continues moving smoothly. Peaceful atmosphere returns. Highly detailed, consistent character face and proportions throughout, smooth transitions between shots, strong motion control, cinematic lighting, realistic physics on debris and energy effects, no text, no watermark, 16:9 aspect ratio, 1080p or higher, fluid 24fps motion.37:[

A hyper-real cinematic action sequence set in an active construction site at dusk. Exposed rebar, scaffolding, unfinished concrete floors, and a tall tower crane dominate the scene. Dust hangs in the air. Sound design: heavy breathing, metallic clanks, distant machinery, and guttural alien screeches. The video starts mid-chase. A woman sprints across a half-built floor, leaping over gaps and dodging debris. Behind her, three aliens — slick, elongated, with pale skin and wet, sinewy movement — pursue aggressively, closing in. She spots a tower crane ladder and veers hard toward it, grabbing on and climbing fast. The camera stays tight, tracking her ascent as the creatures scale the structure with unnatural speed. One creature lunges upward and grabs her ankle. She kicks violently, freeing herself, scraping against metal. No pause — she climbs the last few rungs and pulls herself onto the crane cabin platform. She yanks the cabin door open, dives inside, and slams it shut. Immediate silence shift — muffled exterior sounds. She stumbles back, breathing hard. Seconds later, the creatures reach the cabin. Slimy hands and distorted faces press against the glass, leaving streaks. The cabin rattles under their weight. She watches, frozen, as they claw and slide across the windows. Close on her face — panic, controlled breathing. Exterior noise builds. No hard cut.

15-second cinematic action sequence on the chains of a colossal buried titan emerging from a volcanic canyon, molten rivers exploding upward, ash clouds consuming the horizon. 0.0–3.0s: Camera races through volcanic smoke as a fire-armored gladiator slides down a giant rusted chain suspended over lava. In the distance, the titan’s eye slowly opens. 3.0–6.0s: A rogue spearwoman launches from a collapsing cliffside onto the chain. The camera swings beneath them showing lava far below. 6.0–9.0s: Weapons collide, molten sparks erupting outward while the titan’s movement violently jerks the chains through the canyon. 9.0–12.0s: Mid-combat sprint along swinging chains as volcanic debris rains downward and massive stone hands emerge from beneath the earth. 12.0–15.0s: Wide cinematic pull-back revealing the titan rising from the canyon while the duel continues on its moving chains.

A glowing golden nunchaku spins rapidly in both hands, carving bright arcs against the dark background. Each swing leaves luminous gold trails that linger in the air. The nunchaku swings widen — golden arc trails stretch across the entire screen, overlapping and crisscrossing in every direction. The trails glow brighter with each pass, filling the dark space with streaking gold light. The nunchaku is hurled straight upward toward the camera. It grows larger as it approaches — the golden glow overwhelms the screen — total whiteout. The nunchaku reappears spinning midair, trailing golden arc-shaped afterimages. Orange sparks scatter around it. Low angle — a gloved hand reaches up to catch the descending chain. The camera orbits from overhead, sweeping past the back of the head, golden rim light tracing the hair's silhouette, then swings around to the front revealing the face with a confident expression. The character poses with the nunchaku held at shoulder height. Behind them, an orange explosion ignites and rapidly expands — god rays pour from above. The blast overwhelms the frame into blinding white. The camera slowly pulls back as the explosion subsides. The fireball fades from white-hot to orange to dark smoke forming a mushroom cloud shape. The character stands still, weapon at side — diamond-shaped sparkles appear around them. Debris and embers drift through the air. New scene. Extreme close-up of the character's face — a soft, satisfied smile. Golden bokeh particles float in the dark background.

A continuous cinematic fantasy action sequence of a young East Asian warrior woman. She is crawling on a cracked icy battlefield, desperately holding up a glowing teardrop-shaped red crystal amulet set in a gold crescent. Suddenly, a massive surge of fiery energy explodes from the crystal, instantly shattering the ice and turning the entire landscape into a volcanic crater filled with flowing magma and ruined stone pillars. The woman levitates high into the air as intense, swirling vortices of fire wrap around her body. In mid-air, the flames materialize into a highly detailed crimson and gold fantasy dress with metallic arm guards and a flowing cape. A blazing crown of pure fire forms on her forehead, and her eyes snap open, glowing with intense, fiery heart-shaped patterns. She raises her hand to summon an intricate, giant golden magical circle in front of her, unleashing a catastrophic, blinding explosion of fire that obliterates everything in sight. 8K ultra-realism, high-fidelity VFX, dynamic camera angles, cinematic lighting, and epic scale.

Create an 8K ultra-high-definition, cinematic wide-angle wallpaper with a rule-of-thirds composition, featuring two Jujutsu Kaisen characters facing each other in a tense final showdown. On the left, depict Satoru Gojo in a black high-collar uniform, either wearing his blindfold or revealing the Six Eyes, surrounded by brilliant blue-white cursed energy and spatial power, with a calm yet imposing expression. On the right, depict Ryomen Sukuna with his signature black curse markings and crimson eyes, surrounded by dark red and black cursed energy that conveys an ominous, destructive presence. Place both characters on opposite sides of the frame, with their heads and upper bodies as the primary focal points, staring at each other as if a battle is about to begin. Use a dark, rugged, hyper-realistic 3D rendering style with cinematic image quality, high-contrast color, volumetric lighting, global illumination, cinematic color grading, and rich atmospheric perspective. Set the background against a turbulent dark sky filled with heavy clouds, lightning, flying rubble, spatial rifts, cursed-energy effects, and floating dust to create an epic pre-battle atmosphere. Use shallow depth of field so the background is slightly blurred while the characters remain extremely sharp. Preserve detailed realistic textures in clothing, skin, curse markings, hair, and energy effects. The mood should be somber, oppressive, mysterious, and destructive, centered on the characters' intense confrontation. Finish with movie-poster-level visual impact, HDR, crisp focus, epic lighting, and a dramatic atmosphere. Add a small, understated white watermark at the bottom center reading: © Hazuki Asahi. ALL RIGHTS RESERVED. No other readable text or logos.

Task: Dreamina Seedance 2.5 — Omni ReferenceDuration: 30 secondsAspect ratio: 16:9Editorial target: 24fps, F000-F719 [Generation Goal]@Image1、@Image2、@Image3の三人だけによる、高速パルクール鬼ごっこ。 青いCharacter Cが鬼であり、同時に逃走する目標である。Character AとCharacter BがCharacter Cを追いかける。 Character CがCharacter AとCharacter Bを追跡する構図には絶対にしない。全編を通してCharacter Cが先頭を走り、Character AとCharacter Bが後方から追跡する。 格闘戦のような鋭い踏み込み、間合いの読み合い、挟み込み、フェイント、回避を使うが、殴る、蹴る、掴む、押す、投げる、体当たりするなどの攻撃は行わない。人物同士は一度も接触しない。 スローモーションを使用しない。フリーズフレーム、空中停止、長い溜め、静止した決めポーズを使用しない。全編を通常速度または高速で進行させる。 約0.2秒、5フレーム前後で完了する急加速と方向転換を要所に配置する。その前後も停止させず、走行、着地、次の踏み込みへ直結させる。 Character Cが地面を踏み締めると、脚、腰、肩の圧縮から伸展が連動し、直後にCharacter C自身が液体状の筆線群へ崩れて一瞬で移動する。踏み締めた地点だけに6～8フレーム以下の短いカメラシェイクを発生させる。 筋肉、関節、足、地面、力点は発光させない。身体内部を流れる光、光る筋肉、オーラ、電撃、魔法陣、光る足跡を生成しない。地面や設備を破壊しない。 [Material Roles]@Image1＝Character A。追跡側。黄色いボブヘア、猫耳、緑色の瞳、水色と白の服、黄色の縁取り、三角形のネクタイ装飾、ピンク色のランドセル、ピンク色のブーツ、淡い水色の尻尾、黄色い三角形の尻尾先端を維持する。身軽で大胆。Character Cの背中と着地点を見ながら追う。得意そうな笑み、驚き、集中、追いつきそうな高揚を変化させる。 @Image2＝Character B。追跡側。黄緑色の丸いボブ、葉のような二本の耳、金色の瞳、白いパフスリーブ、ピンク色の蝶ネクタイ、濃緑色のサスペンダー付きショートパンツ、緑色のブーツ、後頭部から続く長い黄緑色の房と丸い先端を維持する。Character Cの逃走経路を予測し、外側から回り込む。観察、発見、集中、驚き、楽しそうな競争心を表情に出す。 @Image3＝Character C。青い鬼であり逃走側。鮮やかな青い長髪とポニーテール、二本の白い角、尖った耳、金色の瞳、星形イヤリング、暗赤色の和装、黒いスカート、黒い帯と背中のリボン、黒いニーハイ、赤い下駄を維持する。常にAとBより前を走る。肩越しに追跡者を確認し、障害物を利用して逃げる。余裕のある笑み、追いつかれそうな驚き、逃げ切った得意そうな笑みを変化させる。 三方向図を分身として扱わない。人物は三人だけ。三人の顔、髪、衣装、耳、角、尻尾、後ろ髪、ランドセル、靴、配色を交換しない。武器を生成しない。 @Image4＝公園背景。公園の構造、設備、色調、奥行き、位置関係だけを使用する。人物は参照しない。 [Environment Layout]@Image4の公園を一つの連続した空間として維持する。 左手前に木製ベンチ。左側に大きな樹木、案内板、街灯。中央に分岐する遊歩道と緑色の屋根の東屋。中央右に木製の太鼓橋、池、岩、睡蓮、ロープ柵。右側にブランコ、滑り台付き遊具、案内板、枝垂れ柳。 走行経路を次の順序に固定する。 左手前のベンチ→大樹と案内板→街灯→中央の東屋→太鼓橋→池と飛び石→ブランコ→滑り台付き遊具→枝垂れ柳→方向転換→池の奥側→東屋前→左手前の遊歩道 この順序を変更しない。設備をカットごとに移動させない。人物を突然別の場所へ瞬間移動させない。各カットの終了位置を、次カットの開始位置としてそのまま引き継ぐ。 [Chase Direction Lock]F000～F440では三人全員が画面左から右へ進む。 Character Cが最も右側の先頭。Character AとCharacter BはCharacter Cより左側の後方。AとBは常にCの背中を見る。Cは肩越しに左後方のAとBを見る。 F441～F460でCharacter Cが枝垂れ柳を支点にヘアピンターンを行う。このカット内でのみ進行方向を反転させる。 F461～F719では三人全員が画面右から左へ進む。 方向転換後はCharacter Cが最も左側の先頭。Character AとCharacter Bは右側の後方。理由なく左右を反転させない。イマジナリィ・ラインを越えない。 [Continuous Action Rule]カット頭で人物を待機させない。前カットの動作途中から次カットを開始する。 着地した足は次の踏み込みへ直結する。環境へ置いた手は身体を押し出す動作へ直結する。視線を移した直後、その視線方向へ進路を変更する。接写を入れた場合も、次のカットで同じ足、手、視線の動作を継続する。 一つの障害物を越えている途中で、別の障害物へ突然切り替えない。人物の走行速度、左右位置、上下位置、身体の向きをカット間で継承する。 [Unstable Line Rule]映像全体を「連続して生成される線、水彩」で描く。 各フレームを毎回新しいラフスケッチとして描き直す。人物を囲う安定した一本のアウトラインを作らない。身体外周の30～60％を紙の白い欠落として残す。 線は細く途切れ、突然太くなり、震え、枝分かれし、消失する。水彩は輪郭内へ正確に収まらず、滲み、はみ出し、白い塗り残し、乾いた刷毛跡、版ずれを作る。 身体の運動が先行し、鉛筆線が約1～2フレーム遅れ、水彩の色面がさらに約1～2フレーム遅れて追随する。 弱い動作では人体の約60％を描く。中速では約30～40％だけを描く。高速では約10～20％だけを描く。最速の約0.2秒では、3～5本の筆線と2～3個の荒い水彩面だけで人物を表す。 Character Aの高速形態＝黄色、淡い水色、白、ピンク。Character Bの高速形態＝黄緑、濃緑、白、少量のピンク。Character Cの高速形態＝青、暗赤、黒、少量の金色。 完成した人体へ速度線を付けるだけの表現にしない。流体状の筆線群自体を移動中の人物として扱う。 [Cut 1 | 0.0–1.2s | F000–F028 | 追跡中から開始]Initial state:左手前のベンチ前。Character Cは画面中央を左から右へ走っている。Character AはCの左後方、Character Bはさらに外側の左後方から追う。 Primary event:カット開始直後から高速走行。Cがベンチの背を片手で押して身体を右へ送り、Aが座面を踏んで追従し、Bがベンチ外側を走る。三人の進行方向は同じ。Cが先頭であることをワイド内で明確に見せる。 End state:Cは大樹と案内板の手前。Aはベンチを越えた直後。Bはベンチ外側から大樹側へ入る。 [Cut 2 | 1.2–1.7s | F029–F040 | Cの視線と足場判断]Initial state:Cが大樹と案内板へ接近。AとBは左後方から追跡中。 Primary event:走行中のCの眼のECU。金色の瞳が右前方の街灯と東屋入口へ移動する。直接カットで赤い下駄へ切り替え、Cが右足の接地点を選ぶ。身体は停止しない。 End state:Cの右足が案内板横の遊歩道へ着地する直前。AとBは後方から接近。 [Cut 3 | 1.7–1.9s | F041–F045 | 0.2秒の流体加速]Initial state:Cの右下駄が地面へ接触する直前。 Primary event:Cが地面を強く踏み締め、脚、腰、肩を一度圧縮して即座に伸展する。踏み締め地点を中心に短いカメラシェイク。C自身が青、暗赤、黒、金色の筆線群へ崩れ、5フレームで案内板から街灯の先へ移動する。 End state:Cは街灯の右側で人体へ戻り始める。AとBは案内板の左側に残り、Cとの距離が広がる。地面は壊れない。発光しない。 [Cut 4 | 1.9–3.4s | F046–F081 | 大樹と街灯]Initial state:Cは街灯右側で右方向へ走行。AとBは案内板左側から追う。 Primary event:Aが大樹の根元を踏んで外側へ跳び、Bは案内板と街灯の間を最短距離で抜ける。Cは街灯の支柱へ左手を一瞬添え、身体を右へ振って東屋方向へ進路を修正する。AとBはCの背中を追う。 End state:Cは東屋左入口の直前。Aは中央遊歩道、Bは東屋外周の左側。三人とも右向き。 [Cut 5 | 3.4–4.7s | F082–F112 | 東屋への侵入]Initial state:Cが東屋左入口へ入る。Aは中央後方、Bは左外周後方。 Primary event:Cは入口の柱へ片手を置き、内側へ鋭く旋回する。Aは同じ入口から追う。Bは東屋外周を回り、右出口側へ先回りしようとする。ただしBはCより前へ出ず、Cの斜め後方を維持する。 End state:Cは東屋中央。Aは左入口。Bは東屋右外周。Cが先頭。 [Cut 6 | 4.7–6.2s | F113–F148 | 東屋内部]Initial state:Cは東屋中央を右方向へ走行。Aは左入口、Bは右外周後方。 Primary event:Cが腰掛けを一歩だけ踏み、梁の下を身体を低くして抜ける。Aは腰掛けを跳び越える。Bは右側の柱間から合流する。柱がカメラ前を高速で横切り、速度感を強調する。 End state:Cは東屋右出口から橋へ続く道へ出る。Aは出口直前。BはAの右後方。三人とも右向き。 [Cut 7 | 6.2–7.6s | F149–F181 | 第二の流体加速]Initial state:Cは東屋右出口。AとBは一～二歩後方。 Primary event:F149–F153でCが下駄を踏み締め、短いカメラシェイクと同時に流体状の筆線群へ変わる。Cは橋手前まで一気に移動する。AとBも人体を大きく崩して追うが、Cとの距離は詰まらない。 End state:Cは太鼓橋の左端。Aは橋へ続く道の中央。Bはロープ柵側。三人とも右向き。 [Cut 8 | 7.6–9.2s | F182–F220 | 太鼓橋への踏み込み]Initial state:Cが橋左端へ到達。AとBは後方。 Primary event:Cが橋の上を三歩で駆け上がる。三歩目で橋の手すりへ左手を置き、身体を内側へ倒して頂点を越える。AはCと同じ橋面を追う。Bは橋の右側へ寄り、Cの着地点を観察する。 End state:Cは橋の頂点を越えた直後。Aは上り坂中央。Bは橋入口右側。Cが最前方。 [Cut 9 | 9.2–10.8s | F221–F259 | 橋から池へ]Initial state:Cは橋頂点の右側。Aは橋上り、Bは橋入口。 Primary event:F221–F225でCが橋面を踏み、約0.2秒で青と暗赤の液体筆線へ変形して橋出口へ移動する。短いカメラシェイクは踏み締めた橋面周辺だけに限定する。Cは橋出口の手すりを越え、池際の岩へ着地する。Aは橋面を駆け下り、Bは手すりを使って歩幅を広げる。 End state:Cは池際の最初の岩。Aは橋出口。Bは橋の下り坂。全員右向き。 [Cut 10 | 10.8–12.3s | F260–F294 | 飛び石]Initial state:Cは池際の岩。Aは橋出口、Bは橋後方。 Primary event:Cが三つの岩を連続して跳ぶ。着地ごとに身体を完成させず、青い円弧、赤い袖の帯、黒い下駄の乾筆だけで移動を示す。Aは同じ岩を一つ遅れて追う。Bは岸のロープ柵沿いを走り、Cの右後方へ回る。 End state:Cは池右側の岸へ着地。Aは最後の岩。Bは岸の遊歩道。Cが先頭。 [Cut 11 | 12.3–13.8s | F295–F330 | ブランコ進入]Initial state:Cは池右岸からブランコへ向かう。Aは岩上、Bは岸の後方。 Primary event:Cが揺れている二つのブランコの間を走り抜ける。Aは座面へ片足を置き、反動で前方へ跳ぶ。Bは鎖の外側を低く潜る。三人の動作は連続し、遊具や人物同士を衝突させない。 End state:Cはブランコの右側を抜け、滑り台付き遊具の手前。Aはブランコ中央。Bはブランコ左後方。全員右向き。 [Cut 12 | 13.8–15.3s | F331–F366 | 遊具への急加速]Initial state:Cは遊具手前。AとBはブランコ後方。 Primary event:F331–F335でCが地面を踏み締め、短いカメラシェイクとともに液体状筆線へ変わり、遊具の階段下へ移動する。Cは手すりを掴み、階段を使わず外側の支柱を二歩で駆け上がる。Aは階段から追い、Bは地上の出口側へ回る。 End state:Cは遊具上部。Aは階段中央。Bは遊具出口の右後方。Cが先頭。 [Cut 13 | 15.3–16.8s | F367–F402 | 滑り台から柳へ]Initial state:Cは遊具上部。Aは階段、Bは出口側の地上。 Primary event:Cが滑り台の外縁へ片手を置き、身体を横へ振って滑り降りる。Aは上部柵を越えて追う。Bは滑り台下を回り込み、柳方向へ走る。BはCより先へ出ない。 End state:Cは滑り台下から枝垂れ柳へ接近。Aは滑り台中央。BはCの右後方。全員右向き。 [Cut 14 | 16.8–18.4s | F403–F440 | 枝垂れ柳]Initial state:Cが枝垂れ柳の枝の間へ入る。AとBは右後方から追う。 Primary event:Cが垂れ下がる枝を左手で押し分け、右足を幹の低い部分へ置く。AはCが開いた枝の隙間を追う。Bは柳の外側を回る。枝、髪、袖、水彩の色面が遅れて右方向へ流れる。 End state:Cは柳の幹の右側で右足を接地。Aは枝の内側、Bは柳の外側。三人はまだ右向き。 [Cut 15 | 18.4–19.2s | F441–F460 | ヘアピンターン]Initial state:Cは柳の右側。Aは枝の内側、Bは外側から接近。 Primary event:Cが右足を幹へ当て、腰と肩を左へ反転させる。青い髪と暗赤色の袖が右方向へ遅れて残る一方、胴体と視線は左へ切り返す。CがAとBの横ではなく、二人の手前側の空いた経路を左へ抜ける。AとBはCの反転を見て直ちに左へ向きを変える。 End state:Cは画面左へ走り始め、最も左側の先頭。AとBは右側の後方で左向き。ここでのみ方向が反転する。 [Cut 16 | 19.2–21.2s | F461–F508 | 池奥側の逆方向追跡]Initial state:Cが右から左へ池奥側の遊歩道を走る。AとBは右後方。 Primary event:Cがロープ柵へ片手を置いて外側へ跳び、着地から三歩で橋方向へ加速する。Aは同じ柵を跳び越える。Bは柵の下を低く潜って追う。カメラは同じ側から横トラッキングし、方向を逆転させない。 End state:Cは橋右端の手前。Aは池奥側中央。Bはロープ柵直後。三人とも左向き。 [Cut 17 | 21.2–23.2s | F509–F556 | 橋から東屋へ戻る]Initial state:Cは橋右端。AとBは右後方。 Primary event:Cは橋面へ上がらず、橋の手前で左へ曲がる遊歩道を選ぶ。AはCの真後ろ、Bは池側の外周から追う。東屋の柱が左前方へ近づき、橋と池は右後方へ流れる。 End state:Cは東屋右外周。Aは中央遊歩道。Bは池側の道。Cが最も左側の先頭。 [Cut 18 | 23.2–25.6s | F557–F613 | AとBの挟み込み]Initial state:Cは東屋右外周を左へ走る。Aは右後方の中央道、Bはさらに外側の池側。 Primary event:AとBが短く目を合わせる。Aは東屋内側、Bは外側へ分かれ、Cの後方左右から距離を詰める。Cは肩越しに二人を確認し、東屋の柱間へ進路を変更する。AとBはCの前方へ瞬間移動せず、後方から追いつく動線を維持する。 End state:Cは東屋左出口。Aは柱間の右後方。Bは東屋外周の右後方。三人とも左向き。 [Cut 19 | 25.6–27.8s | F614–F666 | 最終流体加速]Initial state:Cは東屋左出口。AとBが左右後方から距離を詰める。 Primary event:F614–F618でCが赤い下駄を地面へ強く踏み締める。脚、腰、肩の圧縮から伸展が連動し、短いカメラシェイクと同時にCが青、暗赤、黒、金色の3～5本の液体筆線へ変わる。 CはAとBの間へ向かわず、二人の前方にある左手前の遊歩道へ一気に逃げる。AとBもそれぞれ黄色系、黄緑系の筆線群へ崩れて追う。Cの筆線群が常に先頭を維持する。 End state:Cは左手前のベンチへ続く道。Aは中央後方。Bは外側後方。全員左向き。 [Cut 20 | 27.8–30.0s | F667–F719 | 未決着の高速終止]Initial state:Cが左手前の道を走る。AとBは後方から追う。 Primary event:Cはベンチの背へ片手を置いて低く跳び越える。Aは座面を踏んで追い、Bはベンチ外側から距離を詰める。Cが肩越しに二人を見て得意そうに笑い、さらに画面左奥へ加速する。 三人とも停止しない。決めポーズを取らない。速度を落とさない。 End state:Cが最も左側の先頭を維持したまま画面左奥へ走り続ける。AとBは数歩後方から追跡中。鬼ごっこは未決着で、次の動作へ継続できる動的なフレームで終了する。 [Camera Treatment]速度感は、低い横トラッキング、前景を横切る柱、柵、枝、ブランコの鎖、橋の手すりによって作る。 人物の正面だけを長時間追わない。横位置、斜め後方、低い追跡位置を中心にする。ワイドまたはフルショットで、常にCが先頭、AとBが後方であることを読める構図にする。 眼、足、手の接写は0.2～0.5秒の短い切り返しだけに限定する。接写の後は、同じ動作を継続するワイドへ直結する。無関係な角度へ切り替えない。 カメラシェイクはCが踏み締めて流体移動へ入る瞬間だけに使用する。長時間揺らさない。通常走行中は追跡対象が読める安定したトラッキングを維持する。 [Expression Direction]Character A：Cの背中を狙う集中した目線、距離が縮まったときの得意そうな笑み、Cに引き離された一瞬の驚き、再び追いつこうとする楽しそうな高揚。 Chara38:T1895,Task: Dreamina Seedance 2.5 — Omni ReferenceDuration: 30 secondsAspect ratio: 16:9Editorial target: 24fps, F000-F719 [Generation Goal] A high-speed parkour tag game featuring only three characters from @Image1, @Image2, and @Image3. Blue Character C is the 'it' and the target fleeing. Character A and Character B chase Character C. Never use a composition where C chases A and B. Throughout the entire video, C must lead while A and B chase from behind. Use sharp movements like martial arts positioning, feints, and evasion, but no physical attacks like punching, kicking, grabbing, or body slamming. Characters never make physical contact. No slow motion, freeze frames, long pauses, or static poses. Maintain normal or high speed throughout. Place rapid accelerations and direction changes (~0.2s / 5 frames) at key moments. Connect these directly to running, landing, and the next step without stopping. When C stomps, the compression to extension of legs, hips, and shoulders links up, and C immediately dissolves into a group of liquid brushstrokes to move instantly. Generate a short camera shake of 6-8 frames or less only at the stomp point. Do not make muscles, joints, feet, ground, or points of force glow. Do not generate internal light, glowing muscles, auras, electricity, magic circles, or glowing footprints. Do not destroy the ground or equipment. [Material Roles] @Image1 = Character A (Chaser). Maintains yellow bob hair, cat ears, green eyes, light blue/white clothes with yellow trim, triangle tie ornament, pink backpack, pink boots, light blue tail with yellow triangle tip. Agile and bold. Chases while watching C's back and landing points. Expressions: smug smile, surprise, focus, and excitement when catching up. @Image2 = Character B (Chaser). Maintains lime green round bob, two leaf-like ears, golden eyes, white puff sleeves, pink bowtie, dark green shorts with suspenders, green boots, and a long lime green tuft from the back of the head with a round tip. Predicts C's escape route and flanks from the outside. Expressions: observation, discovery, focus, surprise, and competitive fun. @Image3 = Character C (Blue 'It' / Escaper). Maintains vivid blue long hair in a ponytail, two white horns, pointed ears, golden eyes, star earrings, dark red Japanese attire, black skirt, black belt/back ribbon, black knee-highs, and red geta. Always runs ahead of A and B. Checks chasers over the shoulder and uses obstacles to escape. Expressions: relaxed smile, surprise when almost caught, and smug smile when escaping. Do not treat three-view diagrams as clones. Only three people total. Do not swap faces, hair, costumes, ears, horns, tails, backpacks, shoes, or color schemes. Do not generate weapons. @Image4 = Park background. Use only the structure, equipment, color tone, depth, and spatial relationships. Do not reference people. [Environment Layout] Maintain the @Image4 park as a single continuous space. Features: wooden bench at front-left; large tree, sign, and streetlight on left; gazebo with green roof and branching path in center; wooden arched bridge, pond, rocks, lilies, and rope fence at center-right; swings, slide playground set, sign, and weeping willow on right. Path order: Bench -> Tree/Sign -> Streetlight -> Gazebo -> Arched Bridge -> Pond/Stones -> Swings -> Slide set -> Weeping Willow -> U-turn -> Far side of pond -> Front of gazebo -> Front-left walkway. Do not change this order. Do not move equipment between cuts. Do not teleport characters. Carry over the end position of each cut as the start position for the next. [Chase Direction Lock] F000-F440: All three move from screen left to right. Character C leads at the far right. F441-F460: C performs a hairpin turn using the weeping willow as a pivot. Reverse direction only within this cut. F461-F719: All three move from screen right to left. Character C leads at the far left. Do not reverse left/right without reason. Do not cross the imaginary line. [Continuous Action Rule] Do not have characters waiting at the start of a cut. Start from the middle of the action from the previous cut. A landing foot connects to the next step. A hand placed on the environment connects to pushing the body off. Direction changes happen immediately after eye movement. Maintain these movements even in close-ups. Do not switch obstacles mid-action. Inherit running speed, horizontal/vertical positions, and body orientation between cuts. [Unstable Line Rule] Render the entire video as 'continuously generated lines and watercolor'. Redraw each frame as a new rough sketch. Do not create a stable outline. Leave 30-60% of the body perimeter as white paper gaps. Lines should be thin/broken, suddenly thicken, shake, branch out, or vanish. Watercolors should bleed outside outlines, leave white spots, show dry brush marks, or be misaligned. Body movement leads, pencil lines lag by ~1-2 frames, and watercolor surfaces lag further behind. In slow movement, draw ~60% of the body. At medium speed, draw ~30-40%. At high speed, draw ~10-20%. At max speed (~0.2s), represent characters with only 3-5 brushstrokes and 2-3 rough watercolor planes. Speed forms: A = Yellow/Light Blue/White/Pink; B = Lime/Dark Green/White/Pink; C = Blue/Dark Red/Black/Gold. Do not just add speed lines to a finished body; treat the liquid brushstroke groups themselves as the moving character. [Cuts 1-20] (Details the specific choreography through the park from Cut 1 starting at the bench through Cut 20 ending in a dynamic, unresolved high-speed chase in the front-left walkway, following the established environment sequence and fluid movement rules). [Camera Treatment] Create a sense of speed with low horizontal tracking and foreground objects (pillars, fences, branches, swing chains, bridge rails) passing the camera. Do not follow character fronts for long. Focus on side views, diagonal rears, and low tracking. Use wide or full shots to clearly show the C-in-lead / A/B-behind composition. Limit close-ups of eyes/feet/hands to 0.2-0.5s cutaways that connect directly back to the same action in wide shots. Camera shake only on C's acceleration stomps. [Expression Direction] Character A: Focused eyes targeting C's back, smug smile when close, surprise when C pulls away, high excitement. 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