Free workflows

HERE'S THE LINK: https://drive.google.com/file/d/1XH-nYhNw4uCUL7hGSbs9AxRpkAXmhBdW/view?usp=sharing

FORMATVertical 9:16, 13 seconds, one continuous take, no cuts. Photorealistic live-action capture, natural real-time speed except where slow motion is specified.


REFERENCE ROLES
The main character is
 , their face, hair and identity unchanged. Do not alter their features. Do not copy the pose, background or lighting from that reference.
The environment is inspired by

Every object must originate from the character's body or hands and separate visibly during the collision. None may appear spontaneously.


STARTING STATE
The character
  walks toward camera through the urban environment, centred in frame. The camera begins low at pavement level, framed on their feet mid-stride.
   is held against one ear.
   is held in the other hand.
   is worn naturally on the body. A second pedestrian carrying folders and loose papers approaches from behind camera, unseen.


TIMELINE
0.0–2.5s: The camera tilts smoothly up the body from the feet to a front-on close-up, holding the character centred. They walk at a natural pace, talking into
 , unaware.


2.5–4.0s: The oncoming pedestrian enters frame from the near foreground and clips the character's shoulder. Contact is brief and partially outside the frame. Folders burst open and loose paper scatters upward. The character's expression breaks into surprise, their weight goes backward, and they begin to fall.
 ,
 and
each separate from the body at the moment of impact and travel outward on distinct, physically believable arcs — different speeds, different directions, no two moving alike.


4.0–5.0s: Time decelerates smoothly into bullet time. The character continues falling in extreme slow motion. Paper and objects slow with them until everything is nearly suspended, still holding a trace of drift rather than freezing dead.


5.0–6.2s: The camera travels through the suspended scene to
  , which hangs almost motionless in the air. Shallow depth of field holds it sharp with the falling character soft behind. Its most recognisable face is turned toward the lens.


6.2–7.4s: The camera continues past floating paper to
  , clearly separated from the character, holding its exact appearance and turning its most recognisable side to the lens.


7.4–8.8s: The camera moves to
  . In extreme slow motion any moving parts, contents, straps or loose elements respond to the impact according to how that object is actually built, with believable gravity, inertia and material behaviour.


8.8–10.2s: The camera pulls back through the suspended paper to reveal the whole frozen scene — the character
 mid-fall, the three objects holding their positions in space, paper filling the air around them.


10.2–11.2s: Time snaps back to normal speed in a single instant. Gravity and momentum resume simultaneously for everything at once. The character and all three objects drop from exactly where they were suspended and strike the pavement.


11.2–13.0s: The character lies on the ground for a beat, winded. Paper settles around them. Nearby pedestrians turn and look. The shot ends on that.


CAMERA
One unbroken handheld move with real operator weight throughout. Tilt up from the feet, hold on the character through the collision, then travel through the frozen scene from object to object, then pull back and settle. The camera never crosses to the other side of the character during the fall. Shallow depth of field on every object close-up. The camera never passes through paper or objects.


CONTINUITY
Each of the three objects keeps its exact design, colour, materials and markings from first frame to last. One of each, no duplicates. No object appears before the collision releases it, and none teleports between positions. The falling character stays in the same part of the frame during bullet time. Paper drifts but never resets. The oncoming pedestrian is soft, unresolved, has no readable face, and exits frame after the impact. All background pedestrians stay out of focus with no readable faces.


AUDIO
Diegetic only. Street ambience, traffic, footsteps on pavement. A muffled voice from the earpiece before impact, indistinct with no distinguishable words. The physical impact of the collision, paper bursting into the air. As bullet time engages, all sound drops away to a low sustained tone and one slow breath. On the snap back, the full soundscape returns at once with the body and objects hitting the pavement. Ambient street noise and distant surprised murmurs to the end. No music, no soundtrack, no dialogue, nobody speaks a word.


ENDING STATE
The character on the pavement on their back, paper settled across the ground around them, all three objects resting on the pavement nearby, pedestrians turned toward them. Camera low, holding still.


CONSTRAINTS
No cuts. No duplicated objects or people. No object flies into or touches the lens. No object appears without separating from the character first. No teleportation or repositioning during the freeze. No text, letters, numbers, signage or logos legible anywhere in frame at any point. No on-screen captions. No music.


Premium fashion film cinematography. Natural available light, real material behaviour, real surface texture, shallow depth of field, coarse film grain, practical high-speed photography feel. Photographed, not rendered.

FORMAT30 seconds, 9:16 vertical, one continuous take, single fixed camera position, real time, no cuts.


REFERENCE ROLES
@Image1 controls only the woman's face, hair, body and wardrobe - the exact woman in @Image1, unchanged, in the same red zip-neck top, red leggings and white trainers. Do not copy its backdrop, lighting or pose.
@Image2 controls only the aircraft: blue and silver paintwork, wing, upward-opening right door, cream interior. Do not copy its backdrop or parked position.


CAMERA - FIXED
A phone wedged in one position in the right rear of the cabin, pointing forward and out through the right-hand door. It does not pan, tilt, track, zoom, follow her or reframe at any point; the framing at 30s is identical to 0s. The only frame movement is the whole aircraft shaking, which moves everything in shot together. The frame holds the right front seat in the lower-left foreground, the doorway filling the centre, and the right wing running out through it to the upper right, sky above and city far below. She stays visible in this frame continuously from 0s to 30s, never off screen, never a cut.


STARTING STATE
The aircraft from @Image2 is in level flight low over a modern skyline of glass towers, highways and a lagoon crossed by bridges, late afternoon, sun low behind it. The woman from @Image1 is in the right front seat at the lower-left of frame. The right door is shut and the cabin is quiet.


TIMELINE
0-4s: She unlatches the right door and pushes it up. It swings open and the airstream floods the cabin, her braids snapping back to hold horizontal. Gripping the frame with both hands throughout, she turns her back to camera, lowers one foot then the other onto the wing root and crouches there, still holding on, fully in shot. An unseen man behind the camera says in English, Nigerian accent: "Oh no, she's really gonna do it."


4-11s: She releases the frame one hand at a time and straightens only halfway, knees bent, weight low, arms stretched wide like a tightrope walker, wrists rolling constantly to correct. She never lifts a foot clear of the metal - she slides each shoe forward, feels for the surface, then lets her weight follow. She watches her own feet, not the horizon. Twice the wing drops under her and she freezes mid-step, sinks lower and waits before moving again. She gets smaller in frame as she goes. The man says in English: "Oh shit, she's really gonna do it."


11-15s: She reaches the outer third of the wing and turns to face camera in small shuffling steps. She sets her feet apart, drops her arms and rocks back to load - then stops, stands straight up out of it and throws her arms wide to catch her balance. She shakes out both hands and sets a second time.


15-21s: She launches backward off the wing and rotates once with her knees tucked. Her feet slam back down onto the metal, she overbalances forward, and her right hand slaps flat onto the wing to catch herself. She stays down on that hand as the aircraft lurches and drops. The man shouts in English: "Yooooo, you're crazy, Koyin, what the fuck!"


21-27s: She does not stand up. She stays crouched and comes back low, one hand brushing the wing surface, taking short shuffling steps and stopping dead each time the wing dips. She grows in frame as she nears. At the doorway she grips the frame with both hands before trusting any weight to it, then hauls herself in, drops into the right front seat and pulls the door shut. The wind noise cuts away the instant it seals.


27-30s: Still in the lower-left she twists to camera, eyes wide, pulls a wild open-mouthed face with her tongue out, and says in English: "Yessss." Behind her through the closed door glass the towers swing up as the aircraft banks and descends. The man says in English, laughing: "Oh my God, I got all that on camera."


CONTINUITY
She only uses the right door and only stands on the right wing. The propeller is a spinning blur whenever in frame.


AUDIO
Exactly five spoken lines occur, all in English, at the times above. Four are by the unseen man behind the camera, deep voice, Nigerian accent, clean and clearly audible. One is by the woman at 28s. No other speech occurs. Everything else is what the scene makes: muffled cabin and engine drone before the door opens, steady wind from 1s to 26s, the door catching shut, the slap of her hand on the wing. The wind drops back to muffled cabin noise the moment it seals. No music, no radio, no background voices, no other people speaking. No distortion, clipping or crackle on any voice.


CONSTRAINTS
No cuts and no jump in time - the 30 seconds are unbroken, she is on screen for every frame. No slow motion, no music. The camera does not move. She never walks upright or casually on the wing. No text, letters or numbers anywhere. No other people, no pilot, no second aircraft. No harness, rope or parachute on her. Nothing is perfectly sharp, exposed or composed: the sky clips white, the frame is grainy, the lens shows flare and vignetting.

FORMAT30 seconds, vertical, one continuous piece with hard cuts between shots, natural real-time speed. Late afternoon, sun almost down.


REFERENCE ROLES
@Image1 controls only the man — his face, long locs, identity, and his exact outfit: distressed off-white oversized graphic t-shirt, baggy forest camouflage cargo trousers, chunky suede and mesh trainers.
@Image2 controls only the woman — her face, long dark hair, identity, and her exact outfit: washed black oversized graphic t-shirt, camouflage bucket hat, camouflage micro shorts, olive suede trainers.
@Image3 controls only the car — a classic 1970s yellow two-door convertible with the top down, its exact shape, paint, chrome, wheels and cream leather interior. No licence plate.
Do not copy the studio backdrop or standing poses from any reference.


STARTING STATE
@Image1 drives @Image3 along a narrow forest road, @Image2 in the passenger seat, top down. Tall trees crowd both sides. The sun sits very low behind the treeline ahead.


TIMELINE
0-3s: Point of view from inside the car looking forward over the bonnet, road unspooling between the trees, low sun flaring hard between the trunks, yellow bonnet filling the lower frame.
3-6s: @Image2 in the passenger seat, chest-up from the driver's side, hair whipping in the airstream, one hand holding the hat brim, sunlight strobing across her face. She turns to him and laughs.
6-10s: @Image1 driving, framed from the passenger side, both hands on the wheel then one dropping to the gearstick, locs moving in the wind, glancing sideways at her with a slow smile before looking back at the road.
10-14s: Hard cut to wide. The car parked in a clearing at the treeline, low sun directly behind it flaring into the lens. @Image2 sits up on the bonnet, @Image1 stands in front of her, both small in frame. The camera pushes in slowly.
14-18s: Medium two-shot. @Image2 on the bonnet at screen-right, legs hanging down, @Image1 standing at screen-left facing her, close but not touching. He says something inaudible and she throws her head back laughing, the hat tipping.
18-20s: Hard cut to a close insert — her camouflage shorts and the low hem of her oversized t-shirt as she shifts her weight on the warm bonnet, yellow paint bright beneath her, hands braced either side.
20-24s: Hard cut back. @Image1 steps between her knees, both hands settling at her waist. She hooks her ankles behind him and pulls him in. Foreheads together, then they kiss, camera behind and slightly above his shoulder so his locs partly screen the contact.
24-26s: Hard cut to a close insert — her hand pushing up into his locs, fingers closing in his hair, both faces out of frame.
26-30s: Hard cut back to the wide. The two of them against the car, sun dropping below the treeline, yellow paint catching the last light. Neither moves much. The shot holds as the light fades.


CAMERA
Handheld throughout with real operator weight and constant small corrections. The first three shots are from inside the moving car with real vibration. Shot four pushes in slowly. Inserts are static holds on a longer lens with shallow focus. The final wide holds still. Once they are outside, @Image2 stays screen-right and @Image1 screen-left, and the camera never crosses between them.


CONTINUITY
Same two people and same car throughout. Both outfits exactly as referenced — same graphics, camouflage, hat and shoes, no change at any point. Nobody else and no other vehicle appears.


AUDIO
No dialogue anywhere in this film. Nobody speaks an intelligible word at any point. Diegetic only: engine and exhaust, tyres on tarmac, wind rushing past the open cabin, birds, footsteps, weight shifting on the bonnet, fabric moving. Both talk and laugh throughout the exterior section but their voices are muffled and swallowed by wind and distance with no distinguishable words. No music, no soundtrack, no narration.


ENDING STATE
Wide. @Image2 on the bonnet, @Image1 standing between her knees, the yellow car centred, sun gone behind the treeline, warm light dying across the clearing.


CAPTURE
Shot on 35mm colour negative film. Coarse grain heaviest in the shadows, soft corners, gentle vignetting, mild chromatic fringing at the frame edges. Heavy warm flare whenever the low sun is in frame. Real motion blur on passing trees and fast movement. Skin with real texture and natural specular where the low sun catches it, matte elsewhere, no retouching. Real fabric weave and the weight of oversized cotton moving in wind. Real paint with soft rolling reflections. The sky clips at its brightest. Framing slightly off-centre, horizons not quite level. Nothing perfectly sharp, exposed or composed.


CONSTRAINTS
No cuts other than those specified. No slow motion. No duplicates. No text, letters, numbers, signage or licence plates anywhere in frame other than the artwork printed on the two garments. No captions. No music. Not a render, not CGI, no digital polish.