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MASTER PROMPT — REELS CREATOR / THE COLLISION 20 SECONDS · 9:16 VERTICAL · 7 REFERENCES ULTRA-PHOTOREALISTIC LIVE-ACTION CINEMATIC COMMERCIAL 1. REFERENCE MAP @Image1 = PRIMARY CHARACTER REFERENCE — WOMAN. Use @Image1 as the exact protagonist identity and wardrobe reference. Preserve exactly: • facial identity • facial structure and proportions • eyes • eyebrows • nose • lips • jawline • natural skin texture • blonde hair, exact colour, length and styling • body proportions • height proportions • beige asymmetric flowing cape-style top • white wide-leg tailored trousers • neutral pointed shoes • delicate necklace and jewellery The face must remain visually identical throughout the entire film. No facial regeneration. No face morphing. No beauty-filter smoothing. No hairstyle reset. IMPORTANT: Ignore the white studio background from @Image1. The beige handbag visible in @Image1 must NOT be independently regenerated. Use @Image4 as the exact handbag reference. @Image2 = SECONDARY CHARACTER REFERENCE — MAN. Preserve exactly: • facial identity • dark curly hair • facial hair • skin tone • athletic muscular build • beige knitted short-sleeve polo • cream trousers • wristwatch • masculine body proportions • sunglasses visible in his reference He must remain identical throughout the entire film. HEIGHT LOCK: The man is clearly taller than the protagonist. His shoulder line is above hers. His eyeline is above hers. His physical size and weight make the collision believable. He must never suddenly become her height or shorter. @Image3 = WOMAN'S SUNGLASSES. Exact black Chanel cat-eye sunglasses. Preserve: • angular cat-eye silhouette • glossy black acetate • dark lenses • white CC temple logo • exact frame thickness • proportions • material The woman wears these sunglasses BEFORE the collision. During the impact they physically separate from her face. Exactly ONE pair exists. @Image4 = HANDBAG. Exact beige quilted Chanel flap bag. Preserve: • beige leather • diamond quilting • gold CC clasp • gold chain interwoven with beige leather • exact rectangular proportions • leather grain • stitching • hardware Exactly ONE handbag exists. Before the collision the protagonist carries it naturally in one hand. During the collision it leaves her hand and becomes a suspended BULLET-TIME OBJECT. @Image5 = PRIMARY HERO ADVERTISING OBJECT. A REAL PHYSICAL PRINTED PAPER SHEET. This is the MOST IMPORTANT OBJECT in the entire advertisement. Preserve the exact design and exact visible Lithuanian text from @Image5: "Reels Creator MONTAVIMO MOKYMAI LIKO 3D. ĮSIGYTI UŽ 99€" The visual hierarchy, typography and black-on-white design must remain recognisable. CRITICAL: THIS IS REAL PAPER. NOT cardboard. NOT a rigid sign. NOT a digital graphic. NOT a screen. NOT an overlay. The paper must have realistic lightweight paper physics. It must naturally: • flex • curve • flutter • bend slightly at the corners • react to air resistance • react to the gust created by the collision THE PAPER MUST NEVER FLOAT PERFECTLY FLAT. During bullet time it should have a beautiful subtle aerodynamic curve, as though a gust of wind caught it at the exact moment time almost stopped. One side may sit slightly closer to camera. One upper corner may curl backward. The lower edge may have a subtle wave. BUT: The deformation must NEVER destroy readability. When the camera travels around the paper and reaches its printed front, the central printed surface must become clearly visible. The following information receives absolute visual priority: REELS CREATOR LIKO 3D. 99€ The typography must remain sharp enough to read. No mirrored text. No scrambled letters. No invented letters. No changing numbers. No changing price. @Image6 = DOG REFERENCE. Exactly ONE black Doberman. Preserve: • black coat • muscular athletic anatomy • long upright cropped ears • dark eyes • elegant silhouette • collar Exactly ONE leash. The dog belongs to the man. @Image7 = ENVIRONMENT REFERENCE ONLY — NEW YORK CITY. Use @Image7 ONLY for: • New York Manhattan architecture • tall dense skyscrapers • long straight avenue perspective • Chrysler Building visual presence • warm golden-hour light • amber reflections on buildings • dark asphalt • yellow New York taxis • sidewalks • street lamps • urban scale • cinematic atmosphere DO NOT reproduce the exact aerial/high viewpoint of @Image7. REBUILD THE LOCATION AT STREET LEVEL. The characters must be walking naturally on a wide Manhattan sidewalk. The camera is approximately human / cinematic street height. The avenue runs alongside them. Yellow taxis and normal vehicles remain on the ROAD. Pedestrians remain on SIDEWALKS. The Chrysler Building remains visible in the distant urban composition when perspective allows. Create enough clear sidewalk depth for both characters, the Doberman, the collision, the floating objects and the moving bullet-time camera. The environment must feel unmistakably like Manhattan, New York. Warm late-afternoon / golden-hour sunlight. Real city atmosphere. Do NOT place the characters in the middle of moving traffic. 2. MASTER SCENE Continuous 20-second, 9:16 vertical, ultra-photorealistic LIVE-ACTION advertising film. A premium luxury-fashion visual unexpectedly transforms into a cinematic advertisement for REELS CREATOR editing training. The central device is a dramatic BULLET-TIME COLLISION. STRUCTURE: WOMAN WALKS THROUGH MANHATTAN → SHE SPEAKS → MAN + DOBERMAN APPROACH → HARD SHOULDER COLLISION → HER BELONGINGS BURST INTO THE AIR → TIME ALMOST FREEZES → CAMERA CONTINUES MOVING → CAMERA PHYSICALLY TRAVELS BETWEEN OBJECTS → SUNGLASSES → HANDBAG → REELS CREATOR PAPER → PAPER BECOMES THE HERO → CAMERA ORBITS PAPER → ADVERTISEMENT BECOMES CLEAR → CAMERA PULLS BACK → TIME RETURNS. The transition from collision into bullet time must be POWERFUL and immediately cinematic. Never feel like separate generated clips stitched together. It must feel like ONE PHYSICAL EVENT occurring in ONE CONTINUOUS SPACE. 3. EXACT CAST AND PROP INVENTORY ONE protagonist — @Image1. ONE man — @Image2. ONE pair protagonist sunglasses — @Image3. ONE handbag — @Image4. ONE Reels Creator advertising sheet — @Image5. ONE Doberman — @Image6. ONE leash. NO DUPLICATES. BEFORE COLLISION: The woman wears @Image3 sunglasses. She carries @Image4 handbag naturally. She also carries @Image5 advertising paper loosely in her other hand. The paper is already reacting subtly to the Manhattan breeze. It is NOT perfectly straight. Her beige cape also reacts gently to the wind. AFTER COLLISION: Sunglasses leave her face. Handbag leaves her hand. Advertising paper leaves her hand. BOTH HANDS BECOME EMPTY. All three objects follow independent physical trajectories. Nothing teleports. Nothing duplicates. Nothing returns to her hands. 4. BEAT TIMELINE 0.0–3.0s — MANHATTAN REVEAL Open at STREET LEVEL. Extreme low cinematic close-up of the protagonist walking confidently along the Manhattan sidewalk. Her shoes move through warm golden-hour light. One continuous camera move: LOW ANGLE → TRACK BACKWARD → CRANE UP. Reveal progressively: shoes → white wide-leg trousers → flowing beige cape → Chanel handbag → advertising sheet → sunglasses → face → near-full-body protagonist. Tall Manhattan buildings rise behind her. Yellow taxis move naturally along the avenue. Warm sunlight reflects from windows. The Chrysler Building may appear in the distant axis of the street. Her cape and blonde hair react subtly to the breeze. The advertising sheet moves naturally in her hand. Its edges are NOT perfectly straight. 3.0–6.8s — WALK AND LINE Smooth frontal tracking. Camera retreats at exactly her walking pace. She walks confidently toward camera. Natural elegant fashion-commercial body language. She delivers ONE spoken line: "Yes, only three days left until the offer ends." VOICE: attractive adult female voice, natural American English, warm, confident, slightly husky, calm, premium, self-assured, subtly playful. Not announcer-like. Not cheerful advertising. Not robotic. Not synthetic. Not exaggerated. Natural lip, jaw and cheek articulation. Relaxed delivery. Slight deliberate emphasis on: "three days" and "offer ends." Her expression remains confident. Small almost-amused smile at the end. The advertising sheet remains naturally held and slightly wind-bent. DO NOT artificially position it toward camera yet. The main advertisement reveal comes during bullet time. 6.8–8.4s — THE APPROACH From the opposite direction: the Doberman enters first. Real canine movement. The leash is slightly taut. The dog walks quickly. A fraction of a second later the man enters. He is walking FAST. He is clearly taller and physically broader than the woman. His shoulder line is above hers. He is momentarily looking sideways / away from her. She continues forward. Neither notices the other early enough. Their trajectories visibly converge. DO NOT immediately cut to collision. Allow the audience to anticipate impact. 8.4–9.2s — THE IMPACT STRONG PHYSICAL SHOULDER COLLISION. The man is moving quickly. His shoulder hits her shoulder HARD. This must NOT look like a weak bump. Real body weight. Real inertia. Real clothing response. Real recoil. Her upper body twists suddenly from the impact. Her beige cape reacts sharply. Her hair moves. Her expression changes immediately to genuine surprise. THE OBJECT RELEASE IS SUDDEN AND DRAMATIC. Within the same impact moment: @Image3 SUNGLASSES lift away from her face with a short upward-outward impulse. @Image4 HANDBAG is knocked free and moves outward with real mass while its gold chain follows with delayed inertia. @Image5 REELS CREATOR PAPER escapes from her hand and is immediately caught by the surrounding air. The paper bends from the sudden airflow. THE COLLISION MUST CREATE THE VISUAL TRANSITION. Do NOT cut from the woman directly to an isolated product shot. The camera stays inside the physical event. 9.2–10.1s — BULLET-TIME TABLEAU TIME RAPIDLY DECELERATES TO APPROXIMATELY 2–3% NORMAL SPEED. First: HOLD A CLEAR MEDIUM-WIDE VIEW. Do not immediately zoom into an object. Establish the complete accident: woman reacting centre-frame, both hands empty, man passing beside her, Doberman mid-stride, sunglasses suspended, handbag suspended, paper suspended. The objects occupy DIFFERENT POSITIONS AND DEPTHS. They must look naturally scattered by impact. NOT arranged like products in a catalogue. WORLD SPACE IS NOW ALMOST FROZEN. Their positions become WORLD-SPACE ANCHORS. The camera remains free to move. 10.1–11.4s — SUNGLASSES INSPECTION THE CAMERA MOVES. THE SUNGLASSES DO NOT MOVE TOWARD CAMERA. Camera physically glides from the tableau toward @Image3. Smooth cinematic approach. The sunglasses become larger ONLY because camera-to-object distance decreases. Perform a restrained orbital move around them. Approximately 20–30 degrees. Show: black acetate, dark glass, white CC logo, real reflections of Manhattan architecture, warm sunlight, real material thickness. Extremely shallow depth of field. The protagonist remains softly visible behind them. NO CUT. The camera then glides PAST the sunglasses. 11.4–12.9s — HANDBAG INSPECTION One continuous camera flight. Camera travels through the frozen accident toward @Image4. No jump. No teleport. No abrupt change of perspective. The handbag remains at its own world-space anchor. The chain hangs and curves according to its momentum. Camera moves close. Reveal: beige quilted leather, gold hardware, CC clasp, stitching, chain, real leather texture. Small cinematic orbital parallax. Then camera continues PAST the handbag. DO NOT STOP THE CAMERA ROUTE. The viewer must physically feel that the camera is travelling from object to object. 12.9–16.4s — REELS CREATOR HERO REVEAL THIS IS THE MOST IMPORTANT PART OF THE ENTIRE FILM. Camera now visibly travels through open three-dimensional space toward @Image5. DO NOT CUT. DO NOT TELEPORT. The advertising sheet is suspended ahead. Initially show the paper from a SIDE / THREE-QUARTER ANGLE. This is important. The audience must first understand that this is a REAL PIECE OF PAPER suspended in air. Its shape is imperfect. Wind and collision momentum create: a subtle broad curve through the centre, one slightly lifted corner, one edge bending backward, very slow residual flutter, tiny realistic edge vibrations. THE PAPER IS NOT FLAT. THE PAPER IS NOT RIGID. THE PAPER DOES NOT TURN TO FOLLOW CAMERA. Instead: THE CAMERA ORBITS AROUND THE PAPER. Perform a beautiful smooth cinematic arc around the suspended sheet. As camera travels around it, the printed front gradually becomes visible. The transition must feel like a real camera physically circling a real sheet of paper suspended in space. As camera reaches the front: RACK FOCUS DIRECTLY ONTO THE PRINT. HOLD. THE ADVERTISEMENT MUST NOW BECOME CLEARLY READABLE. Exact visible text: "Reels Creator" "MONTAVIMO MOKYMAI" "LIKO 3D." "ĮSIGYTI UŽ 99€" CRITICAL PRIORITY: REELS CREATOR 3D. 99€ must be extremely clear. Hold the front-facing advertising view long enough for a viewer to READ and UNDERSTAND it. The paper remains subtly curved even during this hero shot. Do NOT suddenly flatten it. Instead the central area naturally faces the camera while the outer edges curve gently away. Real paper texture. Real fibre. Real shadows. Real ink. Natural golden Manhattan light across the surface. The background becomes beautifully shallow-focus: woman, man, Doberman, Manhattan buildings, warm street lights. THIS IS THE ADVERTISING PAYOFF. Fashion brought the viewer into the scene. THE PAPER DELIVERS THE MESSAGE. 16.4–17.1s — FULL TABLEAU RETURN Without cutting: camera begins a FAST BUT SMOOTH cinematic dolly backward. Leave the paper at its anchor. Reveal the spatial relationship again: paper, handbag, sunglasses, woman, man, dog, Manhattan environment. Nothing has moved or reset during camera inspection. One coherent three-dimensional accident. Then— TIME SNAPS BACK. 17.1–19.0s — TIME RETURNS All suspended momentum resumes AT THE SAME MOMENT. Gravity returns. Sunglasses continue downward from their exact suspended position. Handbag continues downward with real weight. The chain reacts naturally. Paper resumes its trajectory. Because it is lightweight, it falls differently from the other objects. The paper catches a Manhattan wind gust. It bends gently. It glides. It rotates slowly. It flutters downward rather than dropping like cardboard. The protagonist regains balance and turns in surprise. The man immediately realizes what happened and turns back. The Doberman turns with him. Natural human reaction. No exaggerated acting. 19.0–20.0s — FINAL ADVERTISING IMAGE The paper continues descending naturally. For one final instant its printed face becomes visible again. REELS CREATOR 3D. 99€ remain identifiable. Behind it: the protagonist, the man, the Doberman, golden Manhattan architecture. Low cinematic street perspective. Beautiful depth. Hard cut. 5. NON-NEGOTIABLE CAMERA RULE BULLET TIME MEANS: ALMOST-FROZEN WORLD + MOVING CAMERA. THE OBJECTS DO NOT FLY TO CAMERA. THE CAMERA FLIES TO THE OBJECTS. Object size changes in frame ONLY because camera distance changes. No fake digital zoom. No teleporting. No object resets. No isolated product shots. MANDATORY CAMERA ROUTE: FULL COLLISION TABLEAU → PHYSICAL DOLLY TO SUNGLASSES → ORBIT SUNGLASSES → PASS SUNGLASSES → CONTINUOUS TRAVEL THROUGH SPACE → PHYSICAL DOLLY TO HANDBAG → ORBIT HANDBAG → PASS HANDBAG → CONTINUOUS TRAVEL TOWARD PAPER → APPROACH PAPER FROM SIDE → ORBIT AROUND PAPER → GRADUALLY REVEAL PRINTED FRONT → RACK FOCUS TO TEXT → HOLD REELS CREATOR ADVERTISEMENT → SMOOTH DOLLY BACK → REVEAL COMPLETE TABLEAU → TIME RETURNS. The viewer must be able to mentally understand WHERE every object exists in the same physical environment. 6. PAPER PHYSICS LOCK — EXTREMELY IMPORTANT @Image5 behaves according to REAL LIGHTWEIGHT PAPER PHYSICS. During collision: paper receives momentum from her hand. The hand releases it. Air catches the large surface. Paper flexes. Its centre curves. Edges lag behind. One corner responds more strongly than another. During bullet time: movement becomes extremely slow but NOT mathematically zero. Tiny residual flutter remains. Natural asymmetry remains. The sheet is NEVER geometrically perfect. The paper should look like it was filmed at extremely high frame rate during a real gust of wind. BUT READABILITY HAS PRIORITY. During the hero front view: do not fold the central text area. Keep the main central surface readable. Allow curvature primarily around the outer areas and corners. PRINT IS PHYSICALLY ATTACHED TO PAPER. The text follows the paper surface perspective. No floating text. No overlay. No graphic suddenly appearing over the film. 7. IMPACT PHYSICS LOCK The collision is a MAJOR visual beat. The woman and man walk toward one another at believable human speed. The man moves slightly faster. His greater physical size makes the shoulder contact visually strong. Impact creates: instant torso rotation, cape movement, hair movement, hand opening, bag release, paper release, sunglasses release. The objects do NOT wait before leaving her. Release happens immediately from the SAME physical impulse. Her reaction begins during the collision itself. No delayed reaction. No weak bump. No characters passing through each other. No body intersection. 8. CONTINUITY LOCK Exactly: ONE WOMAN. ONE MAN. ONE DOBERMAN. ONE LEASH. ONE WOMAN'S PAIR OF CHANEL SUNGLASSES. ONE CHANEL HANDBAG. ONE REELS CREATOR PAPER. The man's own sunglasses remain on HIS face and are NOT part of the flying objects. The woman's @Image3 sunglasses are the ONLY flying sunglasses. After collision: her hands remain empty. No handbag reappears in hand. No paper reappears in hand. No sunglasses reappear on her face. Every flying object has ONE CONTINUOUS TRAJECTORY: RELEASE → DECELERATION → WORLD-SPACE ANCHOR → CAMERA INSPECTION → TIME RETURN → CONTINUED TRAJECTORY. 9. ENVIRONMENT LOGIC @Image7 defines the environment. MANHATTAN, NEW YORK CITY. Street-level recreation. Tall buildings create a deep urban canyon. Warm late-afternoon sun enters between buildings. Golden reflections on glass and stone. Yellow taxis move naturally along the road. Some parked vehicles. Street lamps. Crosswalks may appear in distance. Background pedestrians are sparse and natural. IMPORTANT: DO NOT recreate the reference's high aerial camera position. The film takes place on the sidewalk at human scale. The environment must remain spatially consistent during the entire bullet-time orbit. Buildings must NOT warp as the camera moves. Street perspective must remain physically correct. Vehicles must not enter the sidewalk. No huge crowd. Background supports the advertisement rather than competing with it. 10. AUDIO Natural Manhattan street ambience: distant engines, taxis, soft horns far away, pedestrian ambience, footsteps on pavement, fabric movement. Woman says clearly: "Yes, only three days left until the offer ends." Natural synchronized female speech. As the man approaches: Doberman gives one short bark. IMPACT: deep realistic shoulder impact, fabric movement, chain sound, short surprised breath. AT BULLET-TIME TRANSITION: city sound rapidly stretches and drops away. Replace with: deep cinematic sub-bass pressure, muted atmospheric hum, isolated object micro-details, subtle acetate movement, soft metal-chain tension, extremely delicate paper flutter. During REELS CREATOR paper hero shot: reduce almost everything. Let the visual message breathe. TIME RETURN: Manhattan ambience snaps back. Objects resume movement. Natural material impacts. One dog bark. No music. 11. VISUAL STANDARD ULTRA-PHOTOREALISTIC LIVE ACTION. Not AI-looking. Not CGI-looking. Premium international fashion-commercial photography. ARRI Alexa 35 character. High-end cinema prime lenses. Real high-speed photography aesthetics. 4K. Real human anatomy. Real facial pores. Natural eyes. Individual hair strands. Natural hair motion. Real fabric weight. Real cape movement. Real leather. Real gold reflections. Real acetate. Real paper fibres. Real-world inertia. Real gravity. Real aerodynamics. Realistic shadows. Golden-hour Manhattan daylight. Warm controlled highlights. Natural skin tones. Elegant luxury editorial grade. Subtle 35mm grain. Shallow depth of field ONLY where cinematographically appropriate. Maximum facial identity stability. Maximum object identity stability. Maximum typography stability. Maximum environmental continuity. 12. ADVERTISING HIERARCHY THIS IS NOT PRIMARILY A CHANEL COMMERCIAL. The fashion objects create visual interest. The actual advertisement is: REELS CREATOR MONTAVIMO MOKYMAI. VISUAL PRIORITY: #1 — @Image5 REELS CREATOR PAPER HIGHEST PRIORITY. LONGEST INSPECTION. CLEAREST FOCUS. #2 — @Image4 HANDBAG SHORT LUXURY DETAIL. #3 — @Image3 SUNGLASSES SHORT LUXURY DETAIL. The audience must understand by the end: REELS CREATOR MONTAVIMO MOKYMAI LIKO 3D. 99€ 13. EXCLUSIONS — DO NOT GENERATE No duplicate woman. No duplicate man. No duplicate dog. No second leash. No duplicate handbag. No duplicate Reels Creator sheet. No duplicate protagonist sunglasses. No phone. No coffee cup. No random flying objects. No handbag staying in her hand after impact. No paper staying in her hand after impact. No protagonist sunglasses staying on her face after impact. No object flying toward camera. No sunglasses flying into lens. No handbag flying into lens. No paper flying into lens. No teleporting between objects. No hard cuts during bullet-time inspections. No camera jumping from sunglasses to handbag. No camera jumping from handbag to paper. No artificial object enlargement. No object following camera. No object changing its anchor while camera circles it. No perfectly flat paper. No rigid cardboard behaviour. No poster-board behaviour. No violently crumpled paper. No excessive paper folding. No unreadable central text. No mirrored text. No gibberish. No typography regeneration. No changing Lithuanian wording. No changing "3D." No changing "99€". No digital text overlays. No captions. No additional advertisement. No face morphing. No identity drift. No skin smoothing. No changing hairstyle. No changing clothing. No changing man's clothing. No changing dog. No changing bag colour. No changing sunglasses shape. No warped architecture. No bending skyscrapers. No impossible Manhattan geometry. No taxis on sidewalk. No giant crowd. No floating feet. No extra limbs. No broken fingers. No plastic CGI skin. No cartoon physics. No weak collision. No delayed object release. No abrupt transition from collision to products. No separate catalogue-style product shots. FINAL PRIORITY: THE COLLISION MUST FEEL STRONG. THE OBJECT RELEASE MUST FEEL SUDDEN. THE TRANSITION INTO BULLET TIME MUST FEEL CINEMATIC. THE CAMERA MUST PHYSICALLY TRAVEL FROM OBJECT TO OBJECT. THE CAMERA MUST ORBIT THE OBJECTS. THE OBJECTS MUST REMAIN IN WORLD SPACE. THE REELS CREATOR PAPER MUST BE REAL, LIGHTWEIGHT AND NATURALLY WIND-BENT. THE CAMERA MUST ARRIVE AT THE FRONT OF THE PAPER. THE TEXT MUST BECOME CLEAR. "REELS CREATOR" "LIKO 3D." "99€" IS THE MAIN ADVERTISING PAYOFF.