A 版画面提示词
subject_definitions:
<Subject 1> is the actual final frame of the previous unit, supplied as image 1. Use it only for the existing characters' opening state and prop positions.
<Subject 2> is Hou Longtao, a twenty-three-year-old man seated in the right-hand window seat of the first-class cabin. Follow the appearance, hairstyle and wardrobe given in <Subject 2>; do not invent any additional physical or clothing detail.
<Subject 3> is Zhang Yuqian, a young woman seated in the adjacent left-hand seat. Follow the appearance, hairstyle and wardrobe given in <Subject 3>; the only features stated by the source are shoulder-length golden-blonde hair, a short top that leaves her navel exposed, a white short skirt, high-heeled sandals, and a personal bag resting on the floor by her feet.
<Subject 4> is the black-rimmed eyeglasses worn by <Subject 2>. Follow the appearance given in <Subject 4>; they stay on his face for the entire unit.
<Subject 5> is the first-class cabin of flight CA984. Follow the layout, seating arrangement and lighting given in <Subject 5>.
summary:
[keyframe completion + reference generation] Hou Longtao studies the young woman beside him from the corner of his eye, then turns his body toward her and lifts his hand in preparation to speak. The fifteen-second unit opens from <Subject 1>, uses <Subject 2>, <Subject 3>, <Subject 4> and <Subject 5> as reference content, and ends on a held, ready-to-speak pose. No one speaks at any point in this video.
retention_analysis:
<Subject 1> ([Shot 1] opening state): fully_preserved - the seated positions, head orientations, hand placement and prop locations of the existing characters continue directly from this frame without alteration.
<Subject 2> (appears in [Shot 1], [Shot 2], [Shot 3]): fully_preserved - his face, hairstyle and clothing follow the reference exactly; no additional wardrobe or physical traits are introduced.
<Subject 3> (appears in [Shot 1], [Shot 3]): fully_preserved - her face, hairstyle and clothing follow the reference exactly; the source-stated golden-blonde hair, navel-baring top, white short skirt and high-heeled sandals are retained.
<Subject 4> (appears in [Shot 1], [Shot 2], [Shot 3]): fully_preserved - the black-rimmed eyeglasses remain on his face throughout and are never touched or removed.
<Subject 5> (appears in [Shot 1], [Shot 2], [Shot 3]): fully_preserved - the cabin layout, seat arrangement and lighting follow the reference; bright high-altitude daylight comes through the window and cool white overhead light falls from above.
detailed_description:
The target video is live-action and cinematic, with cool white cabin lighting and bright, flat daylight outside the window. Neither character speaks; no mouth movement for speech occurs at any point.
[Shot 1] A medium-close two-shot from the aisle side at seat height, angled slightly toward <Subject 2>. <Subject 3> occupies the left of the frame in near-profile, <Subject 2> occupies the right, and the seat gap between them stays visible. The camera holds a static shot. For the first 0.3 seconds the pose from <Subject 1> is preserved exactly: <Subject 2> has his head turned left with the remains of a smile at his mouth and both hands on the armrests, while <Subject 3> still has her face angled slightly to her right. At 00:00.500 <Subject 3> turns her face back to the front and lets both hands settle onto her knees, withdrawing her gaze. As she turns away, the smile loosens from his mouth but his eyes behind the black-rimmed glasses do not follow it back; they stay on her side of the frame. From 00:01.200 his gaze travels down from the golden-blonde ends of her hair along the side of her neck, past her collarbone, and comes to rest on the exposed line of her waist and navel; only his eyes move while his head stays still. From 00:02.800 his gaze continues slowly downward past the hem of the white skirt while his lips stay completely closed. By 00:04.400 his eyes have reached the bare knee and the high-heeled sandal, and a flicker of appraisal passes behind the lenses; his head has still not turned.
[Shot 2] At 00:04.600 the shot cuts to a close shot of <Subject 2> alone, framed from the chest up, placed on the right of the frame with looking room toward the empty left side. The camera is at eye level and about forty-five degrees off his front, keeping his mouth away from a flat frontal read. The shoulder line of <Subject 3> sits at the left edge as a soft defocused shape, and the overhead light leaves a narrow strip of reflection on his lenses. At 00:04.800 his eyes come back to center and leave her, landing on the empty seatback ahead. At 00:05.300 he presses his lips together very slightly and lifts one eyebrow a fraction, the regret converting into interested appraisal. At 00:06.200 he pushes a breath silently out through his nose, his jaw loosening, the look sliding from judgement toward calculation. From 00:07.000 he holds completely still with his lips closed and his eyes fixed on the same spot; by 00:09.000 the calculation has settled into a decision, and he still does not move, holding that stillness to the end of the shot.
[Shot 3] At 00:09.800, on that settled look, the shot cuts back to the same static medium-close two-shot as [Shot 1]. At 00:10.000 his right shoulder leaves the seatback and his upper body rotates left by roughly half an inch, carrying his head around toward the neighbouring seat. At 00:11.200 his gaze lifts from the front, crosses the seat gap, and comes to rest on the profile of <Subject 3>. At 00:12.000 his right hand lifts off the armrest by about two fingers' width, the wrist not yet fully raised, a natural preparatory movement before speaking. At 00:13.000 his lips part by a narrow gap without opening, and his chest rises on a shallow intake, but no sound is produced. <Subject 3> does not change at all: she stays facing forward with her hands on her knees, giving no response to his turn. For the final 1.2 seconds everything stops and holds - his body angled slightly left, right shoulder off the seatback, eyes on her face, lips about to open, right hand suspended just above the armrest.
overall_soundscape:
A steady low bed of first-class cabin air-conditioning and the low-frequency hum of the aircraft in cruise runs beneath the whole video at an even, quiet level. A very faint rustle of hair against fabric accompanies the woman turning her face forward at 00:00.500. A soft creak of leather upholstery marks the man's shoulder leaving the seatback and his torso rotating at 00:10.000. A shallow, clearly audible intake of breath precedes his lips parting at 00:13.000. There is no human voice of any kind in this video - no dialogue, no off-screen speech - only the ambient and movement sounds described above.
non_diegetic_music:
N/A
B 版独白提示词
subject_definitions:
<Subject 1> is the actual final frame of the previous unit, supplied as image 1. Use it only for the existing characters' opening state and prop positions.
<Subject 2> is Hou Longtao, a twenty-three-year-old man seated in the right-hand window seat of the first-class cabin. Follow the appearance, hairstyle and wardrobe given in <Subject 2>; do not invent any additional physical or clothing detail.
<Subject 3> is Zhang Yuqian, a young woman seated in the adjacent left-hand seat. Follow the appearance, hairstyle and wardrobe given in <Subject 3>; the only features stated by the source are shoulder-length golden-blonde hair, a short top that leaves her navel exposed, a white short skirt, high-heeled sandals, and a personal bag resting on the floor by her feet.
<Subject 4> is the black-rimmed eyeglasses worn by <Subject 2>. Follow the appearance given in <Subject 4>; they stay on his face for the entire unit.
<Subject 5> is the first-class cabin of flight CA984. Follow the layout, seating arrangement and lighting given in <Subject 5>.
summary:
[keyframe completion + reference generation] Hou Longtao studies the young woman beside him from the corner of his eye while two lines of interior monologue play as off-screen voice-over, then turns his body toward her and lifts his hand in preparation to speak. The fifteen-second unit opens from <Subject 1>, uses <Subject 2>, <Subject 3>, <Subject 4> and <Subject 5> as reference content, and ends on a held, ready-to-speak pose.
retention_analysis:
<Subject 1> ([Shot 1] opening state): fully_preserved - the seated positions, head orientations, hand placement and prop locations of the existing characters continue directly from this frame without alteration.
<Subject 2> (appears in [Shot 1], [Shot 2], [Shot 3]): fully_preserved - his face, hairstyle and clothing follow the reference exactly; no additional wardrobe or physical traits are introduced.
<Subject 3> (appears in [Shot 1], [Shot 3]): fully_preserved - her face, hairstyle and clothing follow the reference exactly; the source-stated golden-blonde hair, navel-baring top, white short skirt and high-heeled sandals are retained.
<Subject 4> (appears in [Shot 1], [Shot 2], [Shot 3]): fully_preserved - the black-rimmed eyeglasses remain on his face throughout and are never touched or removed.
<Subject 5> (appears in [Shot 1], [Shot 2], [Shot 3]): fully_preserved - the cabin layout, seat arrangement and lighting follow the reference; bright high-altitude daylight comes through the window and cool white overhead light falls from above.
detailed_description:
The target video is live-action and cinematic, with cool white cabin lighting and bright, flat daylight outside the window.
[Shot 1] A medium-close two-shot from the aisle side at seat height, angled slightly toward <Subject 2>. <Subject 3> occupies the left of the frame in near-profile, <Subject 2> occupies the right, and the seat gap between them stays visible. The camera holds a static shot. For the first 0.3 seconds the pose from <Subject 1> is preserved exactly: <Subject 2> has his head turned left with the remains of a smile at his mouth and both hands on the armrests, while <Subject 3> still has her face angled slightly to her right. At 00:00.500 <Subject 3> turns her face back to the front and lets both hands settle onto her knees, withdrawing her gaze. As she turns away, the smile loosens from his mouth but his eyes behind the black-rimmed glasses do not follow it back; they stay on her side of the frame. From 00:01.200 his gaze travels down from the golden-blonde ends of her hair along the side of her neck, past her collarbone, and comes to rest on the exposed line of her waist and navel; only his eyes move while his head stays still. At 00:02.800, synchronized with that gaze, <Subject 2> (S1) says in an off-screen voiceover, in a low-mid Beijing male voice with solid chest resonance and a thin trace of huskiness, at a medium-slow pace and a quiet, talking-to-himself volume, opening with a barely audible nasal sigh, the first half genuinely regretful before his breath sinks and his pitch drops on the word of regret: <d>[Chinese] 哎，多好的女孩儿啊，可惜被美国的文化给毁了。</d> while his lips remain completely closed. The line ends at 00:04.400 with the tail falling loose. By then his eyes have reached the bare knee below the white skirt and the high-heeled sandal, and a flicker of appraisal passes behind the lenses.
[Shot 2] At 00:04.600, on the last syllable of the previous line, the shot cuts to a close shot of <Subject 2> alone, framed from the chest up, placed on the right of the frame with looking room toward the empty left side. The camera is at eye level and about forty-five degrees off his front, keeping his mouth away from a flat frontal read. The shoulder line of <Subject 3> sits at the left edge as a soft defocused shape, and the overhead light leaves a narrow strip of reflection on his lenses. At 00:04.800 his eyes come back to center and leave her, landing on the empty seatback ahead. At 00:05.300 he presses his lips together very slightly and lifts one eyebrow a fraction, the regret converting into interested appraisal. At 00:06.200 he pushes a breath silently out through his nose, his jaw loosening, the look sliding from judgement toward calculation. At 00:07.000 <Subject 2> (S1) says in an off-screen voiceover, in the same voice, slightly quicker than the previous line, still at a quiet self-addressed volume, the tone shifting from regret to easy self-persuasion with a trace of amusement arriving as the breath loosens before the pitch lifts: <d>[Chinese] 反正要飞十几小时，不如和美女聊聊打发时间。</d> while his lips remain completely closed. The line ends at 00:09.000. He does not move afterward; his eyes stay where they are, the decision already made.
[Shot 3] At 00:09.800, on that settled look, the shot cuts back to the same static medium-close two-shot as [Shot 1]. At 00:10.000 his right shoulder leaves the seatback and his upper body rotates left by roughly half an inch, carrying his head around toward the neighbouring seat. At 00:11.200 his gaze lifts from the front, crosses the seat gap, and comes to rest on the profile of <Subject 3>. At 00:12.000 his right hand lifts off the armrest by about two fingers' width, the wrist not yet fully raised, a natural preparatory movement before speaking. At 00:13.000 his lips part by a narrow gap without opening, and his chest rises on a shallow intake. <Subject 3> does not change at all: she stays facing forward with her hands on her knees, giving no response to his turn. For the final 1.2 seconds everything stops and holds — his body angled slightly left, right shoulder off the seatback, eyes on her face, lips about to open, right hand suspended just above the armrest.
overall_soundscape:
A steady low bed of first-class cabin air-conditioning and the low-frequency hum of the aircraft in cruise runs beneath the whole video at an even, quiet level. A very faint rustle of hair against fabric accompanies the woman turning her face forward at 00:00.500. A soft creak of leather upholstery marks the man's shoulder leaving the seatback and his torso rotating at 00:10.000. A shallow, clearly audible intake of breath precedes his lips parting at 00:13.000. No on-screen human voice is produced at any point.
non_diegetic_music:
N/A
