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ASSETS GENERATION "MOST IMPORTANT"

Use the reference image @이미지 1 only for its layout, camera angle and objects, and turn the screen into a real three-dimensional place you could stand inside. Remove the entire software interface: every toolbar, panel, menu, timeline, icon and text label is gone, the image fills the whole frame edge to edge.

High three-quarter wide shot looking diagonally down at the scene, same angle as the reference. A vast physical ground plane of matte charcoal-grey surface stretches endlessly to a soft distant horizon, its grid of thin pale-grey lines engraved into the floor, receding with true perspective and gradually fading into haze far away. A thin glowing red line runs diagonally from top-left to bottom-right across the floor and a thin glowing olive-green line crosses it from bottom-left to the right, both slightly emitting light onto the ground around them.

At the crossing point stands a solid grey cube about three meters tall, smooth matte clay-like material with crisp edges, real weight, a soft contact shadow and ambient occlusion where it meets the floor, a tiny orange-red ring marker floating on its front face. To the left, a large wireframe camera sculpture made of thin black metal rods in a pyramid shape, with a solid black triangle on top, resting on the floor and casting thin shadows. Above and to the right floats a small glowing warm-orange orb inside a dashed ring, a single thin black line dropping vertically from it to the floor.

Above the horizon, a seamless flat dark-grey void sky, empty and still. Soft even sourceless ambient light with a faint warm glow from the orb. Palette of 70% charcoal grey, 20% pale grid grey, 10% red, green and orange accents. Photorealistic, clean modern digital cinematic capture, crisp detail, real depth and scale, rule of thirds, surreal calm.

Use the reference image @이미지 1 only for its layout, camera angle and objects, and turn the screen into a real three-dimensional place you could stand inside. Remove the entire software interface: every toolbar, panel, menu, timeline, icon and text label is gone, the image fills the whole frame edge to edge.

High three-quarter wide shot looking diagonally down at the scene, same angle as the reference. A vast physical ground plane of matte charcoal-grey surface stretches endlessly to a soft distant horizon, its grid of thin pale-grey lines engraved into the floor, receding with true perspective and gradually fading into haze far away. A thin glowing red line runs diagonally from top-left to bottom-right across the floor and a thin glowing olive-green line crosses it from bottom-left to the right, both slightly emitting light onto the ground around them.

At the crossing point stands a solid grey cube about three meters tall, smooth matte clay-like material with crisp edges, real weight, a soft contact shadow and ambient occlusion where it meets the floor, a tiny orange-red ring marker floating on its front face. To the left, a large wireframe camera sculpture made of thin black metal rods in a pyramid shape, with a solid black triangle on top, resting on the floor and casting thin shadows. Above and to the right floats a small glowing warm-orange orb inside a dashed ring, a single thin black line dropping vertically from it to the floor.

Above the horizon, a seamless flat dark-grey void sky, empty and still. Soft even sourceless ambient light with a faint warm glow from the orb. Palette of 70% charcoal grey, 20% pale grid grey, 10% red, green and orange accents. Photorealistic, clean modern digital cinematic capture, crisp detail, real depth and scale, rule of thirds, surreal calm.

Turn the three reference interface tabs into real physical floating objects. Three separate upright rounded-rectangle panels float in one straight horizontal row, evenly spaced, at chest height above an endless matte charcoal-grey floor with a thin engraved pale-grey grid fading into soft haze, a flat seamless dark-grey background. Straight frontal view, all three panels facing camera.

Each panel is the size of a door laid sideways, about 2.5 meters wide and 1 meter tall, 10 centimeters thick, made of smooth matte dark charcoal material with softly rounded corners and a thin lighter-grey beveled border, the border emitting a faint soft glow. Clean light-grey sans-serif lettering centered on each panel, crisp and perfectly legible. Left panel reads "Layout" and has a slightly lighter grey fill, as the active tab. Middle panel reads "Sculpting". Right panel reads "Geometry Nodes".

Soft even neutral grey ambient light, gentle cool top fill, faint soft shadows of the panels on the floor below. Photorealistic, clean modern digital capture, crisp detail.

Turn the reference monkey head into a real physical sculpture and show it as a clean prop sheet: two views side by side on an endless matte charcoal-grey floor with a thin engraved pale-grey grid fading into soft haze, a flat seamless dark-grey background. Left view straight front, right view three-quarter from the left, the same object in both, same scale and lighting.

The monkey head keeps the exact shape of the reference @이미지 1: a smooth rounded skull, a heavy brow ridge dipping into a V shape between the eyes, two round button eyes set inside soft oval sockets with a thin dark groove around each socket, a small heart-shaped nose, a long rounded muzzle narrowing toward the chin, a small open smiling mouth near the bottom of the muzzle, and two large rounded ears sticking straight out to the sides with deep inner bowls. A head only, sitting on its chin on the floor.

Smooth matte light-grey sculpting clay with a subtle real surface texture and soft subsurface warmth, solid and heavy, about six meters tall. Soft even neutral grey ambient light with a gentle cool top fill, soft ambient occlusion in the eye grooves, ear bowls and mouth, soft contact shadow on the floor. Photorealistic, clean modern digital capture, crisp detail.

Turn the two reference armature bones @이미지 1 into real physical props and show them as a clean prop sheet, lying side by side on a seamless flat dark charcoal-grey floor that fades invisibly into a dark-grey background, three-quarter overhead view. Each bone is a long slender four-sided pyramid tapering from a wide square base near one end to a sharp point at the other, with a smooth sphere at each end: a larger sphere at the base end and a smaller sphere at the pointed end. Each bone is about 35 centimeters long, made of smooth matte light-grey solid material with crisp flat faces and sharp edges, the spheres smooth and slightly glossy. Both bones identical. Soft even neutral grey studio light from above, soft contact shadows under each bone. Photorealistic, clean modern digital capture, crisp detail.

A real physical interface button lying flat on a seamless flat dark charcoal-grey floor that fades invisibly into a dark-grey background, three-quarter overhead view. A flat rounded-rectangle button like a giant keyboard key, about 1 meter wide and 40 centimeters deep, smooth matte dark charcoal with a thin softly glowing lighter-grey border and clean light-grey sans-serif text reading "Soft Body", crisp, correctly spelled and perfectly legible. Soft even neutral grey studio light, a faint soft shadow under the button. Photorealistic, clean modern digital capture, crisp detail.

CHARACTER SHEET

Character reference sheet, two panels side by side on pure grey background: left panel tight face close-up, right panel full body front view without head. Late-20s Egyptian man @Seif Hussam, light olive-tan skin with natural texture. Long, narrow oval face with defined cheekbones and a sharp jawline. Almond-shaped light brown eyes, slightly heavy upper eyelids giving a calm, half-lidded, confident look. Thick, dark, well-groomed, nearly straight eyebrows with a soft arch. Long straight nose with a prominent bridge and a slightly wide tip. Medium lips, fuller lower lip. Thick dark mustache extending to the corners of the mouth, short trimmed beard, denser on the chin and jawline, lighter on the cheeks, clean cheek line. Dark brown to black hair: short tapered sides, longer textured slightly wavy top pushed up and back in a messy way, slightly high hairline at the temples. Medium ears that stick out slightly. Slim neck and slim build. Calm, confident expression with a subtle half-smile.

Relaxed casual home-studio outfit. An oversized heavyweight hoodie in washed charcoal grey cotton fleece, dropped shoulders, ribbed cuffs and hem, soft hood resting on the back, slightly wrinkled as if worn for hours. Plain white crew-neck t-shirt visible at the neckline. Black relaxed-fit cotton joggers with elastic cuffs gathered at the ankles. Clean white low-top leather sneakers with white soles. Simple, lived-in, comfortable creator look, plain unbranded fabrics, no accessories.

Arms relaxed at his sides, calm deadpan expression, looking directly into camera, identical lighting and outfit in both panels, soft even studio light, photorealistic, 35mm, no text, no logos

VIDEO GENERATING

SCENE CONTEXT

Seif falls fast from the sky screaming, through a cloud of spinning pink donuts, smacks face-first into one mid-air, and slams into an endless grey grid world scattered with donuts. He lifts his head with a donut stuck in his mouth and pink glaze smeared on his face, spits it out, and stares around in total confusion at the giant grey cube, the wireframe camera sculpture and the glowing orange orb. Told in fast cinematic coverage from many angles.

ACTIVE REFERENCES

@이미지 1: early-30s slim Egyptian man, messy dark wavy hair, thick mustache and short trimmed beard, light olive skin, washed charcoal oversized hoodie over a white t-shirt, black joggers, white sneakers. Face identity is the top priority: same face, same beard, same eyes, same nose in every shot, glaze smears never change his features. 100% matches the reference.

@이미지 3: real glazed donut, golden-brown fluffy dough, thick glossy bubblegum-pink icing dripping over the edges, scattered rainbow sprinkles. Every donut in the shot is an identical copy of this donut, same real size. 100% matches the reference.

@이미지 2: endless matte charcoal-grey floor with an engraved pale-grey square grid fading into haze, a glowing red line and a glowing green line crossing at the center, a smooth light-grey cube at the crossing, a black wireframe pyramid camera sculpture with a black triangle on top to the left of the cube, a glowing warm-orange orb in a dashed ring floating high to the right of the cube with a thin black wire to the floor. Use for geography, materials and lighting. 100% matches the reference.

LOCATION MAP

Seif lands on open grid floor 4 meters in front of the cube. About thirty @이미지 3 copies lie scattered on the grid around his landing spot and around the cube, some flat, some on their sides. Camera sculpture on the floor to the left of the cube, light orb high to the right. In the air above, dozens of donuts tumble and spin slowly in the void.

FORMAT MODE

Controlled multi-shot sequence, eight shots, HARD CUTS only, no fades, no dissolves. Real-time motion. Every shot opens with Seif already in frame. Same face, wardrobe, glaze state, lighting direction and world geography across all cuts.

SHOT A, 0:00 to 1:00, LOW ANGLE FROM BELOW

Camera on the grid floor pointing straight up into the dark-grey void sky, 84° diagonal field of view. Seif already in frame high above, plunging straight down toward camera through a field of spinning pink donuts, limbs flailing, growing larger fast. Out-of-focus donuts tumble past the lens as soft pink bokeh shapes.

SHOT B, 1:00 to 2:20, SCREAMING CLOSE-UP IN THE AIR

29° diagonal field of view, short telephoto portrait, camera falling with him at the same speed, three-quarter angle. Tight on Seif's face screaming "Aaaaaah!", mouth wide open, eyes wide, messy hair whipping wildly upward, hood flapping against his neck. Spinning donuts pass behind him as soft pink and gold bokeh. Face sharp and fully readable, 100% matches the reference.

SHOT C, 2:20 to 3:20, DONUT HIT, SIDE ANGLE

47° diagonal field of view, camera beside him in the air. A spinning donut flies into his path and smacks straight into his face mid-scream, the soft dough squashing against his mouth and cheek, pink glaze splattering in thick droplets across his cheek, mustache and beard. His head snaps back from the hit.

SHOT D, 3:20 to 4:20, TOP VIEW

Camera high above looking straight down at 90 degrees, 47° field of view. Seif falls away from camera toward the grid floor, arms and legs spread, the floor below scattered with dozens of donuts around the red and green crossing lines, the cube top and the orb's warm glow visible.

SHOT E, 4:20 to 5:20, IMPACT AT FLOOR LEVEL

Camera lens 20 centimeters above the floor, side angle, 84° field of view. Seif slams face-down onto the grid among the scattered donuts with full body weight, nearby donuts bounce up and roll away, a ring of soft grey dust bursts outward, the camera jolts hard, his body settles heavy.

SHOT F, 5:20 to 7:20, DONUT IN MOUTH CLOSE-UP

18° diagonal field of view, classic telephoto, camera 6 meters away at floor level, frontal three-quarter. Seif slowly lifts his head off the floor. A whole donut is clamped in his mouth, bitten into, his teeth sunk into the dough. Thick pink glaze is smeared across his cheek, mustache, beard and the tip of his nose, rainbow sprinkles stuck to his skin. He freezes, blinks twice slowly, eyes darting side to side, completely confused. Background compressed into creamy bokeh: blurred donuts on the floor, soft red and green glow streaks and a large warm-orange bokeh disc from the orb. Face sharp, every feature 100% matches the reference beneath the glaze.

SHOT G, 7:20 to 8:30, SPIT

Same 18° telephoto lens, slightly wider framing. Seif spits the donut out with a sharp puff of his cheeks, the donut flies forward out of frame, a few crumbs and sprinkles fly with it. He stays on his hands and knees, glaze still on his face, mouth hanging open, staring.

SHOT H, 8:30 to 11:00, OVER-THE-SHOULDER REVEAL

29° diagonal field of view, camera behind Seif's screen-right shoulder at kneeling eye level. His glaze-smeared profile and messy hair soft in the foreground, the giant cube sharp in the midground with donuts scattered on the floor around it. He turns his head screen-left toward the wireframe camera sculpture, then up screen-right to the glowing orb, then back to the cube, brow furrowed in disbelief. Focus racks from his profile to the cube.

PHYSICS

Real gravity and mass: accelerating fall, air rush lifting hair and fabric. Airborne donuts tumble and rotate slowly with real weight. The donut hit squashes the soft dough and throws glaze droplets in parabolic arcs. Glaze is thick, glossy and sticky: it clings to skin and beard, stretches, and does not run off. Heavy body impact with weight through chest and shoulders, donuts on the floor bounce and roll with friction. The spat donut flies in a short arc and rolls on landing.

LIGHTING

Low-key cinematic lighting. The warm-orange orb is the key light from high screen-right, a strong warm rim on Seif's hair, ear and shoulder, the shadow side of his face in soft darkness. Glossy speculars shine on the pink glaze on his face and on every donut. Cool soft top fill from the void. Red and green floor lines cast faint colored bounce on his hoodie and jaw. Shallow depth of field in every close shot, donuts and glowing elements turning into large soft bokeh. No flat front light.

AUDIO

Seif screams "Aaaaaah!" through Shots A and B, cut short by a wet soft smack when the donut hits his face. Air whoosh during the fall. One deep heavy thud and low rumble on impact, light rubbery bounces of donuts. Then near silence with a faint electric hum, a muffled confused "mmh?" through the donut, a sharp spitting "ptoo", and his heavy breathing. No other words, no music, no subtitles.

POSITIVE CONSTRAINTS

Only Seif in the world, one person, no duplicates. All donuts identical to the donut reference, normal real-world size. Seif's face stays identical to the reference in every shot, the glaze sits on top of his features without changing them. Glaze smears stay in the same places from Shot C to Shot H. Cube, camera sculpture and light orb keep their positions. Photoreal grounded film texture, sharp clarity, stable picture, no ghosting, no flickering.

SCENE CONTEXT

Seif drops out of thin air onto an open stretch of the endless grey grid world. A giant glowing sculpting brush ring grabs his body like soft clay and stretches his arm, both legs and his head far beyond normal length while he screams. He collapses in a broken, rubbery sprawl. He spots two bones on the floor, pushes them into his stretched arm with his good hand, and the arm snaps back into shape and moves again. Then he finds a "Subdivision" button on the floor, presses it, types "9999" into the levels field and hits Enter. His body subdivides out of control, turning ultra-smooth and swelling, until the whole image overloads and shatters. Told in fast cinematic coverage from many angles.

ACTIVE REFERENCES

@이미지 1: early-30s slim Egyptian man, messy dark wavy hair, thick mustache and short trimmed beard, light olive skin, washed charcoal-grey oversized hoodie with a cool neutral tone over a white t-shirt, black joggers, white sneakers. Face identity is the top priority: same face, same beard, same eyes, same nose in every shot. 100% matches the reference.

@이미지 2: endless matte charcoal-grey floor with an engraved pale-grey square grid fading into haze, a glowing red line and a glowing green line crossing on the floor, a flat dark-grey void sky. Use for the floor, grid, materials, colors and lighting only. This part of the world is open empty grid: no cube, no camera sculpture, no orb in view. 100% matches the reference.

@이미지 3: two identical long slender four-sided pyramids with a sphere at each end, smooth matte light-grey, about 35 centimeters long. 100% matches the reference.

@이미지 4: a flat floor button reading "Subdivision", and a floating panel titled "Subdivision" with a "Levels" number field and an "Enter" key, all smooth matte dark charcoal with a softly glowing lighter-grey border and light-grey text. 100% matches the reference.

LOCATION MAP

Open empty stretch of the @이미지 2 grid floor, the grid receding into haze in every direction, the red line and the green line crossing on the floor 3 meters behind Seif's head. Seif lies on his back in the center of the frame on the grid. The brush is a giant thin glowing white ring, about 2 meters wide, with a small bright dot at its center, floating like a hologram, moving to whichever body part it grabs. The two @이미지 3 lie on the grid 1 meter to Seif's left, beside his left hand. The "Subdivision" button lies flat on the grid 1 meter beyond his left shoulder.

BODY STATE LOCK: the brush stretches his right arm, left leg, right leg and head. His left arm and left hand are never touched and stay completely normal; he uses only his left hand to grab the bones and press the button.

FORMAT MODE

Controlled multi-shot sequence, seventeen shots, HARD CUTS only, no fades, no dissolves. Real-time motion. Every shot opens with its subject already in frame. Same face, wardrobe, lighting, world geography and stretch state across all cuts: once a body part is stretched, it stays stretched in every following shot until it is fixed.

SHOT 1, 0:00 to 1:20, THE DROP

47° diagonal field of view, camera low on the grid floor, wide. A small point of white light flashes in the dark-grey air and Seif drops out of it, falling 3 meters and slamming flat onto his back on the grid with a heavy thud, a soft grey dust ring spreading out over the grid lines.

SHOT 2, 1:20 to 2:30, DAZED CLOSE-UP

29° diagonal field of view, camera above his face looking down, the grid soft behind his head. Seif lies on his back blinking, dazed. A white glow grows across his face from above and his eyes go wide as he looks straight up. Face 100% matches the reference.

SHOT 3, 2:30 to 3:40, THE BRUSH DESCENDS

84° diagonal field of view, camera on the grid floor beside his head looking straight up. The giant glowing white ring descends from the dark-grey void toward him, humming, its center dot locked on his body.

SHOT 4, 3:40 to 5:20, ARM STRETCH

47° diagonal field of view, camera at floor level, side angle, Seif head to toe on the grid. The ring snaps onto his right hand and drags it sideways across the grid. His right arm stretches like soft rubber clay to three times its length, the sleeve stretching with it. Seif screams "Aaah!".

SHOT 5, 5:20 to 6:40, LEG STRETCH

29° diagonal field of view, camera at his feet looking up his body. The ring snaps onto his left ankle and yanks it away. His left leg stretches long like pulled taffy across the grid, the jogger fabric stretching. He yells "Ow ow ow!".

SHOT 6, 6:40 to 8:00, SECOND LEG, TOP VIEW

Camera high above looking straight down, 47° field of view, the grid squares and the red and green lines clearly visible around him. The ring drags his right ankle the opposite way. Seif lies spread like a stretched star across the grid: long right arm, long left leg, long right leg, normal left arm, torso small in the center.

SHOT 7, 8:00 to 9:40, HEAD STRETCH

29° diagonal field of view, camera beside his shoulder at floor level. The ring snaps onto the top of his head and pulls upward. His neck and head stretch tall like soft clay, the face elongating but clearly his own, eyes squeezed shut, groaning "Aaaaugh!".

SHOT 8, 9:40 to 11:40, BROKEN SPRAWL

84° diagonal field of view, camera low on the grid floor, wide. The ring lets go and fades away. Seif collapses limp: his long rubbery arm, legs and neck flop onto the grid bent at strange angles like a broken stretched toy, his head back to normal proportions. He lies twisted and floppy, wincing "Ugh...", stretched fingers twitching.

SHOT 9, 11:40 to 13:20, THE BONES

29° diagonal field of view, camera on the floor behind his head, looking past his face toward his left side. Seif rolls his head to the left. The two @이미지 3 lie on the grid right beside his normal left hand, sharp in focus, his face soft in the foreground. His eyes narrow, getting an idea.

SHOT 10, 13:20 to 15:20, FIRST BONE

47° diagonal field of view, camera at floor level beside his stretched right arm. With his normal left hand, Seif grabs the first bone and pushes it pointed end first into his long rubbery right forearm. The bone sinks inside the arm with a soft glow, and the forearm firms up and tightens around it, shrinking back to normal forearm length.

SHOT 11, 15:20 to 17:00, SECOND BONE

Same 47° lens, closer on his right shoulder. He grabs the second bone and pushes it into his upper arm at the shoulder. It sinks in with a soft glow and the whole right arm snaps back to its normal length and shape with an elastic thwack.

SHOT 12, 17:00 to 18:30, IT WORKS

29° diagonal field of view, frontal on Seif lying on the grid. He lifts his fixed right arm, bends it at the elbow, opens and closes his fingers, staring at it in amazement, a small surprised grin. Face 100% matches the reference.

SHOT 13, 18:30 to 20:00, THE BUTTON

29° diagonal field of view, camera behind his left shoulder at floor level. He looks to his left: the @이미지 4 floor button lies flat on the grid beside him, its text "Subdivision" sharp and glowing softly. His legs still lie long and rubbery across the grid behind him.

SHOT 14, 20:00 to 21:40, PRESS AND POP-UP

47° diagonal field of view, camera side angle at floor level. Seif presses the "Subdivision" button with his left hand, it clicks down and flashes. Instantly the @이미지 4 panel pops up out of thin air in front of his face with a springy scale-up, floating at his eye level, its "Levels" field reading "1".

SHOT 15, 21:40 to 23:40, TYPING 9999

18° diagonal field of view, camera beside the panel, the panel sharp in the foreground and his face soft behind it. His index finger taps the "Levels" field and types four digits one by one: "9", "9", "9", "9", the field now reading "9999". His face comes into focus behind the panel with a mischievous grin. He taps "Enter".

SHOT 16, 23:40 to 27:00, OVER-SUBDIVIDED

47° diagonal field of view, camera at floor level, Seif in frame head to toe on the grid. Dense glowing white wireframe lines flash across his whole body, multiplying rapidly into finer and finer mesh. His body turns ultra-smooth and soft like polished clay, every edge rounding off, his stretched legs, hoodie, hands and face swelling into puffy rounded shapes, his face still recognizable as he looks down at himself in horror. The grid floor starts to tremble and the image shakes harder and harder.

SHOT 17, 27:00 to 30:00, CRASH

29° diagonal field of view, frontal on Seif's swollen ultra-smooth body. Blinding white light pours out of him, the whole image starts to stutter and freeze, then the entire frame cracks like a glass screen from the center outward and shatters into flying shards that blow toward the camera, revealing pure black.

PHYSICS

Seif's body behaves like soft elastic clay only where the ring pulls: the stretch starts at the grabbed point and thins smoothly toward the body, with an elastic wobble when the pull stops. Clothes stretch with the limbs. The bones have real weight in his hand and slide into the arm smoothly. The fixed arm snaps back with an elastic recoil. The subdivision swelling grows steadily and smoothly. The shattering frame breaks into sharp glass shards with real momentum.

LIGHTING

Same neutral grey look as @이미지 2 in every shot. Soft even neutral grey ambient light with a gentle cool top fill and soft contact shadows under his body. The background stays flat dark-grey void above the grid, no colored haze, no warm glow. Red and green floor lines glow thinly. The brush ring, the bones as they sink in, the button and the panel glow clean white. The subdivision wireframe glows white and the final light burst blows out to pure white before the shatter. Shallow depth of field in every close shot, the grid lines softening into blur behind him. Neutral grey palette.

AUDIO

A sharp pop as he appears, a heavy thud on landing. A low electric hum as the ring descends, a magnetic snap on each grab, rubbery creaking stretch sounds. Seif screams "Aaah!", "Ow ow ow!", a long "Aaaaugh!", and a weak "Ugh...". Soft clicks as each bone slides in, an elastic thwack as the arm snaps back. A button click, a springy pop as the panel appears, four soft beeps as he types, a final click on Enter. A rising electric whine and rumble as his body subdivides, louder and louder, a stuttering digital freeze, then a loud glass shatter and dead silence. No other words, no music, no subtitles.

POSITIVE CONSTRAINTS

Only Seif, no other characters, no hands holding the brush. No cube, camera sculpture or orb in this part of the world. His left arm stays normal the whole time and does all the grabbing and pressing. Stretched parts stay stretched until fixed; after Shot 11 his right arm is normal. Text reads exactly "Subdivision", "Levels", "9999", "Enter". Seif's face stays identical to the reference in every shot except during the head stretch and the final swelling, and even then it is clearly his face. Photoreal grounded film texture, comedic cartoon stretch physics on a realistic human, sharp clarity, stable picture, no ghosting, no flickering.