Moon's Night Off Animation

3D Pixar-style animation, romantic comedy vibe, highly detailed. A handsome man with wavy dark hair, wearing a sleek black tuxedo, and a beautiful woman with long brown hair, wearing a vibrant sleeveless yellow dress, are dancing enthusiastically down a modern hallway. They are grooving, laughing, and gesturing playfully toward each other with expressive, joyful faces. The hallway has light grey walls, polished floors reflecting the warm lighting, and a red glowing 'EXIT' sign in the background. The animation style is ultra-smooth, featuring warm, romantic, and dreamy lighting with cinematic depth of field. Soft colors, highly expressive character designs, capturing a sweet and affectionate connection between a loving couple. 8k resolution, masterpiece.

A beautifully rendered 3D animated scene in a cozy, sun-drenched apartment kitchen, Pixar style. A young woman with brown hair tied in a messy high bun, wearing a white tank top and white denim shorts, is enjoying her morning. Warm morning sunlight streams through a large window, creating soft lens flares and a golden glow. She is holding a white coffee mug, smiling happily, and lightly dancing or swaying to music. The kitchen features modern countertops, an espresso machine pouring coffee, wooden cutting boards, and subtle kitchen decor. High-quality 3D animation, Disney aesthetics, smooth character movement, vibrant colors, warm lighting, architectural details, 4k resolution. Bright golden hour sunlight coming through the window, cozy interior design, cinematic lighting, ultra-smooth motion.

Cute 3D animated comedy short, ultra-detailed Pixar-style visuals, vibrant colors, warm cinematic lighting, smooth 24fps animation, expressive cartoon physics, emotional and humorous atmosphere. Scene set inside a cozy modern apartment dining area and kitchen. Main characters: a 30-year-old Chinese daughter with messy bun, casual t-shirt and apron, and her 60-year-old Chinese mother with short permed graying hair, cardigan, and glasses. SHOT 1 (0–1s): Wide establishing shot, slow push-in. Daughter nervously serves homemade food to her mother at the dining table. SHOT 2 (1–2s): Close-up of the plated homemade dish — seared fish, vegetables, and rice, slightly imperfect but heartfelt. SHOT 3 (2–3s): Extreme close-up on mother tasting the food. Her eyes widen with delight before giving a playful knowing side-eye and soft smirk. SHOT 4 (3–4s): Close-up on daughter. Her proud smile instantly turns into shocked surprise. SHOT 5 (4–5s): Mother lowers her chopsticks with a cheeky loving grin, eyes sparkling mischievously. SHOT 6 (5–6s): Wide kitchen shot. Mother now confidently wears a colorful oversized apron beside the stove while daughter watches in surprise. SHOT 7 (6–7s): Flames burst dramatically from the wok as the mother cooks with intense energy. SHOT 8 (7–8s): Dynamic low-angle close-up. Mother raises a large kitchen knife dramatically while vegetables and beef slices fly through the air. SHOT 9 (8–9s): Fast-paced macro close-ups of garlic, ginger, green onions, bok choy, tomatoes, and chilies being sliced in cinematic slow motion. SHOT 10 (9–10s): Medium close-up of mother expertly stir-frying in a sizzling wok with rising steam and strong flames. SHOT 11 (10–11s): Elegant plating close-up. Perfect glossy stir-fried beef and colorful vegetables arranged beautifully. SHOT 12 (11–12s): Medium two-shot at dining table. Daughter tastes the food and reacts with overwhelming delight. SHOT 13 (12–13s): Close-up two-shot. Mother leans forward proudly with a loving “See?” gesture. SHOT 14 (13–14s): Close-up on daughter crying exaggerated happy cartoon tears. FINAL SHOT: Wide cinematic pull-back. Mother stands triumphantly while daughter emotionally says, “Mom, you are the best.” Ultra-detailed animation, cinematic camera work, emotional storytelling, stylized facial expressions, cozy family atmosphere, vibrant food textures, cinematic depth of field, high-quality 3D rendering, 8K.

Create a clean, professional Pixar-style 3D character sheet of a 6-year-old girl, highly detailed, vibrant colors, polished family-friendly animation style. Character Description: Adorable 6-year-old girl with soft dark wavy hair tied in a cute high ponytail with a small pink bow. Big sparkling brown eyes, round expressive face, rosy cheeks, small button nose, and a warm friendly smile. She has a healthy, energetic child body type suitable for a 6-year-old. Outfit: Bright yellow t-shirt, light pink shorts, white ankle socks, and colorful small sneakers (blue and pink accents). Character Sheet Layout: A single clean vertical character sheet with multiple views of the same girl arranged neatly: Top Left: Full-body front view, standing naturally with hands on hips, smiling confidently. Top Right: Full-body 3/4 angle view, showing depth and personality. Middle Left: Full-body side profile view (facing right). Middle Right: Full-body back view. Bottom Center: Large close-up of her face showing 4 different expressions in small circles — Happy smile, Surprised, Shy/embarrassed, and Excited/grinning. Bottom Right: Small extra details — close-up of her ponytail with bow, shoe details, and hand poses. Style & Quality: Beautiful 3D Pixar animation style, smooth rounded shapes, expressive eyes, soft realistic textures, vibrant yet soft lighting, clean white background with subtle light shadows, highly polished, professional character design sheet, perfect proportions, studio quality, sharp details, warm and wholesome feel. 16:9 aspect ratio, ultra-detailed, cinematic lighting.37:[

A detailed, 3D Pixar-style animation featuring an exaggerated, baby-faced caricature of football star Erling Haaland with a prominent blonde mullet and chubby, rosy cheeks. Wearing a bright red Norway national team jersey with white and blue trim, he confidently strides out of a dark stadium tunnel onto a vibrant, sunlit pitch. Surrounded by a roaring crowd and flashing cameras from press photographers, he looks directly into the lens, making comical, dramatic pouty faces and flashing a two-finger peace sign. The scene cuts to a high-energy match where he dynamically sprints down the field in shiny golden cleats, tightly controlling a star-patterned soccer ball while swiftly dodging defenders under bright stadium floodlights amidst falling confetti.

Turn this photo into a full 3D scene — premium studio quality. Keep the same framing + faces, but restyle everything as playful CGI with glossy eyes, sculpted hair, warm golden light, vibrant colors, and a charming, cohesive animated world.

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.

14-second cute 3D style animated comedy short, ultra-detailed, vibrant warm Caribbean colors, golden cinematic lighting, smooth 24fps

现代中国3D动画。威猛的豺狼神阿努比斯，臂环环绕，头戴神器，被囚禁在地牢中，背靠墙壁，双臂被锁链高举过头。一个喽啰站在他面前，逼问阿努比斯的秘密。阿努比斯漫不经心地看着他，一副百无聊赖的样子，根本没把他当回事。他只是微微移开视线，低沉的声音说道，这纯粹是浪费时间。喽啰咧嘴一笑，双手伸进阿努比斯裸露的腋窝，用手指挠他的痒痒。手指刚一触碰到阿努比斯的腋窝，阿努比斯就咧嘴一笑，闭上眼睛，低沉的声音里传来一阵闷闷的笑声。喽啰继续挠他的腋窝，他的上半身也跟着扭动，他几乎忍不住要大笑出声，发出一阵阵闷闷的笑声，努力克制着自己，却还是忍不住笑出声来，显得有些滑稽。小喽啰不停地挠阿努比斯的腋窝，阿努比斯终于大笑起来。小喽啰继续挠阿努比斯的腋窝，阿努比斯笑着说他特别怕痒，已经受不了了。

[LOOK] Security-camera footage from a single fixed CCTV dome, tall vertical composition, one continuous unbroken recording. The unit is bolted high in the corner where two walls of a large Korean hypermarket meet, about three and a half metres up, tilted only about twenty-five degrees down and rotated about forty-five degrees off the axis of the aisle, so that it looks obliquely across the shop floor and never straight along it. Because of that rotation the aisle does not run away from the camera toward a vanishing point: it crosses the frame on a diagonal and its far end is never in shot. But the tilt is deliberately shallow so that height stays in the picture — the watermelon display stands dead centre of the frame, its full height visible from the base of the bottom tier to the top tier near the ceiling, and anything coming off it reads as falling a long way down toward the camera. Floor fills the lower half of the frame. The near corner of the floor is directly beneath the lens at the bottom edge, stretched and bowed. Two wall planes are visible meeting at a vertical corner line, and the ceiling is only a narrow band across the very top of the picture, cutting across at an angle, with one ceiling fitting and the top of that wall corner intruding into that edge. The camera is bolted in place and never moves, never pans, never tilts and never zooms for the entire clip. Very wide angle with heavy barrel distortion that bows the ceiling line, the shelf runs and the floor edges outward toward the frame corners, and stretches anything near the edge of frame. Low-resolution surveillance image: soft detail, heavy compression blocking in the flat floor areas, smeared edges on anything that moves fast, luminance noise in the shadows, and highlights from the ceiling fluorescents clipping out to flat white. Colour is slightly cold and green under the fluorescent tubes, with no grading of any kind. Motion has the faint stutter of a low-framerate recorder rather than clean cinematic blur. The picture is completely clean of any overlay — nothing is burned into any corner of the frame. Everything holds its shape across the whole recording — no flicker, no morphing, no warping of the shelving or the ceiling around the moving mass. [EXCLUDE] No cuts, no cutaways, no transitions, no second angle, no camera movement of any kind. No cinematic grading, no colour styling, no slow motion, no speed ramp, no shallow depth of field. No captions, no subtitles, no timecode, no date stamp, no clock, no camera label, no watermark and no text, numbers or graphics of any kind anywhere in the picture at any time — the frame is pure image, edge to edge. No BGM and no musical score at any point — only the sound the camera’s own microphone would pick up. [REFERENCES] @Image1 — the location. Use its aisle layout, shelving, refrigerated cases, floor, ceiling structure, lighting fixtures and signage placement exactly. Do not use its people, its wardrobe, its framing or its camera position. [PREMISE] Fixed corner-mounted security-camera footage from a Korean hypermarket in summer: a shopper lifts one watermelon out of the bottom tier of a colossal stepped watermelon display, walks away without looking back, and a few seconds later the whole stack lets go — hundreds of watermelons rolling down tier by tier and bursting across the aisle — until a member of staff walks in, puts his hands on his head, and radios it in. [BEATS] 0-2s: Oblique corner view across the shop floor. The aisle crosses the picture on a diagonal and its far end is out of frame; a long bank of glass-door refrigerated cases runs along the left, seen from above and at an angle so the tops of the cabinets show. Behind and above, two wall planes meet at a vertical corner with large Korean category signs on them that the low-resolution camera cannot resolve clearly. Standing dead centre of the frame, filling it from the floor almost to the ceiling and turned at an angle to the camera so two of its faces are visible at once, is a colossal stepped display of watermelons — tier on tier of low wooden platforms, each tier packed edge to edge with dark green watermelons striped in pale green, each tier held in by a low wooden lip at its front, the whole thing narrowing as it rises until the top tier is level with the ceiling fittings. It is high summer: the two shoppers moving slowly at the far end are in short sleeves, one carrying a folded paper fan. A man in a short-sleeved T-shirt, light cotton shorts and trainers leaves his loaded trolley beside him, crouches at the very bottom tier and lifts one watermelon out of the lowest row with both arms, taking its weight against his chest. <thin roomy mono surveillance sound: the hum of the refrigerated cases, an air-conditioning rush from the ceiling, a trolley wheel somewhere off, the dull knock of one melon against its neighbours as it comes free>. A distant, muffled, over-compressed store announcement plays through ceiling speakers, a bright recorded female voice in standard Korean: {고객 여러분께 안내 말씀 드립니다. 오늘 하루 수박 전 품목 특가 행사를 진행하고 있습니다.} 2-3s: He straightens up, drops the melon into his trolley, takes the handle and walks off down the aisle away from the camera at an unhurried pace. He does not look back at the display even once. The stack stands completely still behind him and nothing about it looks wrong. <trolley wheels on hard floor, unhurried footsteps, the fridge hum, the announcement continuing underneath>. 3-4s: The melon beside the gap rolls forward into the empty space, tips over the wooden lip and drops to the floor, where it bursts open — dark green rind splitting apart, bright red flesh and juice thrown out across the tiles. For a moment nothing else happens. Then the wooden lip of that tier tilts under the load above it, and two more melons roll out and burst. The man keeps walking and does not turn around. <one heavy wet burst, then a beat of nothing, then wood creaking and melons knocking together as the tier shifts>. 4-6s: The whole display lets go. The bottom lip gives way and tier after tier collapses into the one below it, hundreds of watermelons coming off the top tiers and falling the full height of the display straight down into frame, bursting as they land — almost every one of them splits wide open on impact and throws red pulp and juice out in every direction. The bursts come faster than they can be counted and the red spreads out from the base in all directions at once. A few unbroken melons survive the drop and roll fast across the floor toward the camera, bouncing off the base of the refrigerated cases. <a continuous heavy rumble of hundreds of melons rolling on wood and tile, punctuated by dull wet bursts, timber cracking, and rind and pulp slapping the floor>. 6-8s: The aisle is taken. So many have burst that the juice has joined up into one continuous sheet of red liquid running out across the tiles from wall to wall, deep enough to move like water, carrying broken green rind and pulp along on top of it and finding the grout lines. The ceiling fluorescents reflect off its surface. The sheet reaches the base of the refrigerated cases and starts climbing the kick plate. Melons are still coming off what is left of the stack and bursting into it, each one throwing a splash. A few unbroken ones roll through the red, leaving wakes. The man in the T-shirt is still walking away with his trolley and never once turns his head. <the bursting thins out into individual heavy wet impacts, melons rolling and knocking, juice spreading>. 8-10s: The last melons come down and the noise falls away. The stripped wooden display frame stands almost bare dead centre of frame, and around it the entire visible floor has become a shallow lake of red juice — an unbroken reflective sheet from one side of the picture to the other, still spreading outward at its edges, with split rind and a scatter of whole melons sitting in it. One last whole melon rolls slowly through the red and stops. The two shoppers further off have stopped and are standing at the edge of the spreading red, one of them with a hand over her mouth. <a few last wet drips and the creak of settling timber, the wide flat sound of juice spreading, the fridge hum coming back through>. 10-12s: A supermarket shop worker in his forties walks in from the right, straight into the red, his shoes going in over the sole and throwing a splash with each step — a bright yellow high-visibility work vest worn open over a plain light grey short-sleeved polo shirt, dark work trousers, a name tag clipped to the vest and a small radio on the chest strap. The yellow vest is the largest and brightest thing he is wearing. He stops dead. His knees bend slightly, both of his hands come up and clamp onto the back of his head, and he lets out a long deflated groan in standard Korean, tired rather than shocked: {아이고...} He stands there looking at it. Then he lowers one hand, lifts the radio and speaks into it in standard Korean in a flat worn-out voice with a sigh in it, the voice of a man at the end of a long shift, never shouting: {하아... 청과 쪽에 사람 좀 보내주세요.} He looks at the floor again and adds, quieter and more resigned: {...많이요.} Over the top of him the same bright recorded female voice comes back on the store PA in standard Korean, completely unchanged in tone: {오늘 하루 수박 전 품목 특가 행사를 진행하고 있습니다.} [CONSISTENCY] One unbroken recording from 0s to 12s from a single fixed corner-mounted camera: no cuts, no transitions, no cutaways, no second angle, and the camera never moves, pans, tilts or zooms at any point. The oblique corner viewpoint never changes and never becomes a frontal or head-on view: the aisle always crosses the frame on a diagonal from lower right to upper left and its far end is never visible, the camera always looks down onto the tops of the displays rather than at their faces, floor always fills the lower two thirds of the picture, the ceiling is never more than a narrow angled band at the very top, and the barrel distortion always bows the same lines the same way. At no point does the aisle recede symmetrically toward a vanishing point in the centre of frame. Nothing is ever burned into the picture. No timecode, no date, no clock, no camera label, no watermark, no text and no graphics appear in any corner of the frame at any point in the clip. The image stays clean edge to edge from 0s to 12s. The chain of events is fixed and no link is skipped or reordered: one watermelon is lifted out of the bottom tier → the man walks away → the melon beside the gap rolls out and bursts → the wooden lip of that tier tilts → the whole display collapses tier by tier → pulp and rind cover the aisle → a member of staff arrives, puts his hands on his head, and radios it in. The collapse starts only after the man has walked away, never while he is still crouching and never while he is still beside the display. He never turns around, never reacts, and never comes back into the aisle. Every melon is the same dark green watermelon striped in pale green, the same size, heavy enough to need two arms. They roll rather than slide, they burst open on impact rather than shattering, and what comes out of them is bright red flesh and juice. The great majority of them burst — only a handful survive whole — and from 6s onward the juice has joined into one continuous reflective sheet of red liquid that covers the whole visible floor, moves like shallow water, and is still spreading at its edges in the final shot. The stripped display frame stays dead centre of the frame for the whole clip and is still standing there at the end. The display frame stays in the same spot on the floor for the whole clip and is still standing, stripped, at the end. Everyone in frame is dressed for summer in short sleeves throughout. The refrigerated cases, the shelving, the produce section, the ceiling fittings and the light fixtures all stay exactly where they are and never bend, float or deform. The Korean signage on the walls stays soft and unreadable at all times because of the camera’s resolution, and is never rendered as sharp legible lettering. The staff member reads unmistakably as a supermarket shop worker and never as a police officer, a soldier or a security guard: the bright yellow high-visibility vest is the largest and brightest thing he wears, and he has no cap, no epaulettes, no rank insignia, no duty belt and no dark buttoned uniform tunic. Every spoken line is in standard Korean with no regional accent. The staff member is the only person who speaks on camera; the shopper and the two other shoppers never speak. Nobody is hurt, nobody slips or falls, and there is no blood — the only red in the film is watermelon flesh.

画像 1 = 3人のキャラクター参照。顔、髪型、服装、雰囲気を全編で一貫して維持すること。 画像 2 = 絵コンテ参照。パネル順、テンポ感、表情変化、立ち位置の奪い合い、コメディ演出の流れを参照すること。 添付された画像 1と画像 2をもとに、15秒の横型16:9のプリクラ機コメディシーン動画を作成してください。 テーマ プリクラ機の中で、3人がシャッターのたびにセンター争奪戦を繰り広げる、ハイテンポで可愛くて騒がしいコメディシーン。 シーン設定 舞台はプリクラ機の内部。 カメラは固定されたプリクラ機のレンズ視点であり、カメラ本体や外側から見たショットは出さないこと。 画面は常に、プリクラ機の撮影画面に映る3人を中心に見せる。 3人は画像 1のキャラクターそのままで、 左の黒髪男性 中央の女の子 右の金髪男性 の関係性・見た目・表情の魅力を維持すること。 動画の基本コンセプト 3人が「自分が一番盛れる位置＝画面の中心」を奪い合う。 シャッターが切られる直前になるたびに、誰かが急に前へ出たり、横から割り込んだり、押しのけたり、顔を突っ込んだりして、センターを奪い合う。 コミカルで大げさなリアクション、可愛いポーズ、変顔寸前の焦り、嫉妬、驚き、ぶりっこ、強引な割り込みなどを盛り込み、プリクラらしい“盛れたい欲”のバトルとして描く。 最終的には3人ともフレームに収まり、仲良く可愛く決まるオチにする。 流れ（15秒構成） 0.0秒〜2.0秒 3人が最初のポーズに入る。 中央の女の子がかわいくポーズを決め、左右の2人がそれぞれ「自分も写りたい」と身を乗り出す。 まだ平和だが、すでにセンターの奪い合いの気配がある。 表情は、黒髪男性はクールに狙っている感じ、金髪男性は大げさでテンション高め、女の子は少し戸惑いながらも可愛く決めている。 2.0秒〜4.0秒 最初のシャッター直前、右の金髪男性が勢いよくセンターへ顔を突っ込む。 顔が大きく前に来て、他の2人が押しのけられそうになる。 女の子はびっくり、黒髪男性は不満げに睨む。 “誰かが急に前に出てくる”面白さを強く出す。 4.0秒〜6.0秒 次のシャッター前、今度は左の黒髪男性が素早く前へ入り、クールにキメ顔でセンターを奪う。 金髪男性は「えっ！？」というオーバーリアクション、女の子は2人に挟まれて困り顔。 顔の寄り、視線のぶつかり、微妙な押し合いで笑いを作る。 6.0秒〜8.0秒 女の子が「ちょっと！」という感じで2人を押し返し、自分でセンターを取り返す。 かわいいウインク、ほっぺを手で包むポーズ、ぶりっこポーズなど、プリクラらしい盛れる仕草を決める。 左右の2人は奥や端に追いやられて悔しがる。 8.0秒〜10.0秒 シャッター音のタイミングに合わせて、3人が一斉にセンターへ雪崩れ込む。 顔同士が近づきすぎる、肩がぶつかる、片方が顔を押し込む、もう片方が横から入り込むなど、わちゃわちゃした密度の高いコメディにする。 ここはテンポ最速。 それぞれの表情は、焦り、ムキ、驚き、笑い、必死さが入り混じる。 10.0秒〜12.5秒 一瞬バランスを崩しかけるが、3人ともなんとかフレーム内に収まろうと調整する。 押し合いから、徐々に「せーの」でまとまる空気に変化。 女の子が中央、黒髪男性が左、金髪男性が右に入り、3人の顔が綺麗に見える位置へ収束していく。 12.5秒〜15.0秒 ラストシャッター。 3人が同時にベストポーズを決める。 女の子はかわいく、黒髪男性は少しクールに微笑み、金髪男性は元気に明るく笑う。 最後は仲良し感のある、盛れたプリクラの決めカットで締める。 ラストに向かって空気が喧嘩ではなく、可愛いカオスから仲良しオチへ変わること。 スタイル 超高品質・超高精細・フォトリアル寄りの実写風映像。 ただし空気感はプリクラらしいポップで可愛い世界観。 全体として、 明るく柔らかい高キー照明 美肌感 ほんのりピンク、ラベンダー、水色系の可愛い色調 キラキラ感 ポップでラブリーな雰囲気 若者向けのテンション感 を持たせること。 平成〜令和の可愛いプリクラ文化のノリを感じる、ハイテンポで盛れるビジュアル。 演出 カメラは原則固定されたプリクラ機のレンズ視点 ただし、完成映像として気持ちよく見えるように、軽微なデジタルパンチイン、微細な揺れ、勢いを感じる前後運動感、顔の寄り引き感は可 外から見た引きショットは禁止 カメラ本体が画面に映る構図は禁止 面白さは、被写体側の動き、顔の出入り、押し合い、割り込み、表情芝居で作ること シャッターのタイミングごとに、一瞬“決めポーズ”になりそうで崩れる→誰かが割り込むという流れを明快にすること 編集 リズム感のある高速展開、寄りカット感、超接写感、勢いのある前後運動、表情の切り替えを重視してください。 実際のカメラ位置は固定でも、被写体がレンズへ近づいたり離れたり、左右から割り込んだりすることで、映像に大きな変化を作ってください。 テンポの良いシャッタータイミング、可愛い間、コミカルな詰め合い、ぴたっと決まるラストを意識してください。 静止画のスライドショーにはしないでください。 3人の顔、髪、服、アクセサリー、年齢感、雰囲気を保ったまま、自然で豊かなアニメーションとして動かしてください。 感情トーン 可愛い コメディ わちゃわちゃ ちょっと恋愛っぽい空気 軽い嫉妬 全員が自分を一番可愛く／かっこよく写したい必死さ 最後は仲良し 重要 カメラ本体を画面に出さないこと ショットはプリクラ機のレンズ視点で統一すること 画像 1の3人の顔、髪型、服装、キャラクター性を全編で一貫して維持すること 画像 2の絵コンテのテンポ感、立ち位置の奪い合い、コメディ性を踏襲すること 静止画のスライドショー禁止 文字、字幕、ロゴ、透かしは入れないこと 過度な人数追加禁止 別人化禁止 ラストは3人がしっかり盛れて、可愛くまとまること

【风格】搞笑Vlog/手持自拍短剧（Handheld Selfie Vlog），真实手机前置镜头质感，抖音爆款，1人出镜 【时长】10秒 【场景】中国南方农村土坯房前的晒谷场，背景是老旧红砖墙、晾晒的衣服、几只散养的鸡在地上啄食，阳光强烈 【角色】Marco@图片1（一个卷发圆框眼镜的白人男性，皮肤被晒得微红，穿着一件洗得发白的蓝色老头衫/跨栏背心，下身军绿色宽松大裤衩，脚踩一双塑料拖鞋，脖子上搭着一条白毛巾，满头汗珠） [00:00-00:04] 镜头1：土味撩人（Handheld Selfie, Front Camera） 手持自拍视角，前置镜头怼脸，Marco一只手举着手机，镜头轻微晃动（Shaky Cam），背景是农村土坯房和晾衣绳。他对着镜头咧嘴笑，露出一口白牙，用极其蹩脚的中文腔调，眉毛上挑，眼神放电，嘴型夸张地说："宝～吃饭了没有？"说"宝"的时候故意拖长音，空出来的那只手还朝镜头比了个心，额头上汗珠清晰可见。 [00:04-00:07] 镜头2：画风突变（Quick Zoom-in） 手持镜头突然拉近怼脸（Jump Cut），Marco表情瞬间从深情变成凶狠搞怪，眯起眼睛，嘴角上扬，用蹩脚中文凶巴巴地说："没吃的话——吃我两拳！"说"两拳"的时候举起拳头对着镜头比划，圆框眼镜因为动作太大歪到鼻梁一侧，背后一只鸡被吓得扑棱翅膀跑过。 [00:07-00:10] 镜头3：邦邦两拳收尾（Shaky Cam + Freeze Frame） 手持自拍剧烈晃动，Marco对着镜头连出两拳（拳头怼向镜头方向），嘴里喊："邦！邦！两拳！"每出一拳镜头跟着震一下，表情极度认真又极度滑稽，汗珠被甩出去，最后一拳定格（Freeze Frame），他歪着眼镜对着镜头龇牙坏笑，背景晒谷场的鸡群四散奔逃。