Style: 8K IMAX. Photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Cinematography: Emmanuel Lubezki × Roger Deakins. Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze throughout. Key light from sky and windows only. Color: 60:30:10 — dominant / secondary / accent. Camera: Physical cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, asymmetric moles, capillary flush, pore-shadow matching on-set light. Acting: Hollywood — micro-pauses before reactions, precise eye-line, wet living eyes with catch-lights, visible breath and chest rise. Physics: Gravity and inertia respected — mass has real weight, correct contact shadows. No floating props. Composition: Rule of thirds + golden ratio. Continuity: Characters, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: environmental SFX + scripted dialogue only. No music. No subtitles. Context: the guarded first beat of a therapy session in a warm mid-century-modern room — a high canted establishing of the whole room, then a wide canted intimate single on each: the psychologist settles with her notebook and asks her question gently, and the footballer lifts his eyes and lets the worry surface. THREE SHOTS — static locked-off cameras, all canted Dutch angles, hard cuts at 6s and 10s. The 180° line stays fixed: @psychologist always screen-left, @santiago always screen-right. References: @santiago — 25, the footballer, reclined in a leather-and-wood lounge chair. 100% matches the reference. @psychologist — the psychologist, seated upright in a rust egg swivel chair, a small notebook and a pen in her lap. 100% matches the reference. @office — location reference (room look, materials, light, furniture and layout): warm mid-century-modern therapy room, floor-to-ceiling gridded windows with low sun and foliage outside, terracotta floor, brass arc and table lamps, jade plants, a small tree, a vintage radio on the floor. 100% matches the reference. [SHOT 1] 0–6s — high establishing, Dutch angle SUBJECT: @psychologist and @santiago, both fully in frame from the first frame. High overhead-leaning angle looking down into the room with a clear Dutch (canted) horizon. @psychologist sits in her rust egg chair in the lower-left third, turned screen-right toward @santiago. @santiago reclines in his lounge chair in the upper-right corner, ~4.5m across the room by the windows, turned screen-left toward @psychologist, eyes down on the floor, fingers interlaced in his lap. Warm terracotta floor and the striped runner read between them; bright gridded windows along the top edge. ACTION: throughout, @santiago is restless — interlaced fingers working against each other, thumbs rubbing; his right foot jitters a fast, frequent nervous beat, the forefoot lifting and dropping rapidly and repeatedly several times a second, heel planted, an almost constant bounce. beat 1 (0–2s) — @santiago fidgets, eyes down; @psychologist settles. beat 2 (2–4s) — @psychologist opens the small notebook on her lap and draws out the pen, holding it ready, weight and contact real. beat 3 (4–6s) — she lifts her gaze and settles it on @santiago, calm and attentive; the shot holds on her look, then cuts. CAMERA: static, locked off. High angle, canted Dutch tilt. WS 24mm, room legible to the edges. ⚠️At 6s, a clean HARD CUT to SHOT 2. [SHOT 2] 6–10s — wide canted intimate single on the psychologist (hard cut) SUBJECT: @psychologist alone, seated in her rust egg chair, notebook and pen in her lap, pushed hard to the lower-LEFT corner of the frame and looking screen-left off that near left edge — deliberately no looking room, a boxed-in, unsettled feel. The room reads clearly behind her — windows, plants, warm floor. ACTION: beat 1 (6–6.5s) — she draws one soft breath, a small settle. beat 2 (6.5–10s) — she speaks, voice soft, warm and caring, almost tender: "Tell me what you feel when you remember that moment." — eyeline and voice aimed screen-left. CAMERA: static, locked off. High angle looking down, strong Dutch tilt ~45° with the LEFT side of the frame dipped lower so @psychologist sits low in that low left corner, looking off the near edge. Wide 24mm (≈84° FOV) brought close to her — face present and intimate, the whole room legible to the edges behind, deep focus, no heavy bokeh, straight lines stay rectilinear (no fisheye), viewer inside the room. ⚠️At 10s, a clean HARD CUT to SHOT 3. [SHOT 3] 10–15s — wide canted intimate single on Santiago (hard cut) SUBJECT: @santiago alone, reclined in his lounge chair, pushed hard to the lower-RIGHT corner of the frame and looking screen-right off that near right edge — deliberately no looking room, a boxed-in, unsettled feel. The room and windows read clearly behind him. He stays restless — fingers interlaced and fidgeting, right foot tapping its fast nervous beat. ACTION (his eyes have lifted to her; he holds the look, then turns away — worry in the eyes, eyes clear and dry): beat 1 (10–11.5s) — he looks screen-right, a quiet unease in his eyes, a glassy searching look, pupils slightly unsettled. beat 2 (11.5–13s) — lips press gently together, lower lip tucking in; inner brows draw slightly together. beat 3 (13–14s) — he breaks the look, eyes drifting to the side as if the memory pulls them there; one slow swallow. beat 4 (14–15s) — a slow blink, brows still faintly knit, lips still pressed; he holds it in, eyes settled to the side. CAMERA: static, locked off. High angle matching SHOT 2, strong Dutch tilt ~45° with the RIGHT side of the frame dipped lower so @santiago sits low in that low right corner, looking off the near edge. Wide 24mm (≈84° FOV) brought close to him — face present and intimate, the room legible to the edges behind, deep focus, no heavy bokeh, straight lines stay rectilinear (no fisheye), viewer inside the room. Style (scene): late-afternoon low sun through the gridded windows as the only key, WB 4800K held across all three shots; contre-jour, room exposed for the bright windows, each face keeping a clear light pattern — one side window-lit, the other in soft warm shadow; warm bounce off the terracotta floor; thin interior haze, density ~10%, with visible sun shafts and floating dust. Dominant terracotta / secondary warm wood / accent the rust chair. Constraints: exactly two people, both seated in their own chairs throughout — @psychologist in the rust egg chair, @santiago reclined in the lounge chair; the 180° line holds (@psychologist screen-left, @santiago screen-right); in SHOT 1 @psychologist opens her notebook, draws the pen and looks up at @santiago before the cut; @santiago stays restless (fingers fidgeting, right foot tapping a fast frequent beat) in SHOT 1 and SHOT 3; @psychologist speaks her one gentle line in SHOT 2, @santiago stays silent and listening, lifting his eyes to her; his eyes carry the emotion and stay clear and dry; each character is pushed to the extreme edge they look toward, looking off the near edge (no looking room); all three cameras are static and locked off with canted Dutch angles — SHOT 1 high + Dutch (WS 24mm); SHOT 2 high + Dutch ~45° left-side-down, @psychologist low in the lower-left corner; SHOT 3 high + Dutch ~45° right-side-down, @santiago low in the lower-right corner (wide 24mm intimate single, deep focus, room legible behind); the notebook and pen carry real weight with correct contact; identity and wardrobe identical across the cuts; clean crisp image; exactly three shots joined by two hard cuts. Aspect 21:9. Sound: faint warm room tone throughout — low air hum, soft creak of the chairs, the click of the pen and the page of the notebook in SHOT 1, low birdsong through the glass; @psychologist's single line sits over it in SHOT 2, soft and caring; SHOTS 1 and 3 are room tone only under his quiet breath. Environmental SFX + that one line only.</prompt
Scene 2What it does: Animates the crowd close-up inside the flashback — a super-handheld documentary single of an elderly fan chanting Santiago's name. He appears once in the whole film, so there's no character sheet at all: if a character shows up only once, you can get away with prompting them from scratch. The scene itself opens on a match cut — we attached the last frame of Scene 1, Santiago closing his eyes, so the flashback starts from the same exact position.
<prompt url="/generate?videoModel=seedance_2_0&resolution=4k">Style: 8K IMAX. Photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Cinematography: Emmanuel Lubezki × Roger Deakins. Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze and a light low-lying fog throughout. Key light from sky and floodlights only. Optical floodlight flares — anamorphic streaks and soft circular blooms off the high floodlights through the lens whenever they sit in or near frame, organic and physically motivated, never overpowering the action. Color: 60:30:10 — dominant / secondary / accent. Camera: Physical cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, sweat sheen, capillary flush. Acting: Hollywood — micro-pauses, precise eye-line, visible breath and chest rise. Physics: Gravity and inertia respected — mass has real weight, correct contact shadows. No floating props. Composition: Rule of thirds + golden ratio. Continuity: Characters, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: environmental SFX only. No music. No subtitles.
Context: World Cup final — the decisive penalty that will settle the match and the whole tournament. The footballer places the ball, walks back, sets, and takes his run-up. A vast packed stadium roars around them — full stands, both teams' players waiting, the referee on the pitch. SIX SHOTS — a wide establish, then tight handheld documentary singles plus one broadcast shot, hard cuts at 2s, 5s, 8s, 10.5s and 12.5s.
References: @santiago-kit — 25, the same Santiago in full match kit, sweat-damp skin and hair, jaw set. 100% matches the reference. @goalkeeper — the goalkeeper, tall, in a green Brazil-style goalkeeper kit with gloves, athletic and focused. 100% matches the reference. @stadium — LOCATION REFERENCE ONLY, for the stadium's architecture, materials, scale and layout — NOT for crowd density and NOT a keyframe; do not copy its composition. CRITICAL: the stands are COMPLETELY FULL — every seat occupied, a dense continuous wall of tens of thousands of spectators across every tier, NO empty seats, NO bare concrete; if the location reference plate shows the stands empty or sparse, IGNORE that and fully populate the stands. The stadium: large night stadium, floodlit green pitch, fully packed stands, penalty spot and goal. Light falls from the high stadium floodlights from above and behind the players — hard contre-jour raking down onto the grass, rimming the silhouettes and throwing long shadows forward across the pitch; optical lens flares and soft blooms streak off the floodlights when they catch the lens; a light low fog drifts across the pitch; faces fall into shadow on the pitch, while the packed crowd in the stands is clearly visible — dense rim-lit silhouettes with thousands of phone-lights and camera flashes twinkling across the tiers, scattered floodlight spill catching scarves and banners, so the full house reads unmistakably. PROP: @match-ball — the match ball, plain white-and-black, matches input 100%; a white penalty spot painted on the grass; a referee in dark officials' kit.
Camera feel (all shots except the broadcast): handheld documentary, shoulder-mounted — a real operator's breath and a constant fine 1–2cm tremor, small organic weight-shift reframes, alive and immediate (a real operator, not digital jitter).
[SHOT 1] 0–2s — high wide establishing (positions)
SUBJECT: a high overhead-leaning wide near the goal that reads every position clearly. @goalkeeper, tall in his green Brazil-style kit and gloves, stands on the goal line, centered, ~50cm off one post. @santiago-kit stands ~13m out, @match-ball in his hands. The referee stands ~2m from @santiago-kit. Far behind them, the players of both teams stand in two straight, even lines. The packed stands hold a mixed crowd — some European-looking, some more Brazilian-looking — a dense continuous wall of spectators filling every tier to the top, NO empty seats, rim-lit silhouettes with phone-lights and camera flashes sparkling across the stands, unmistakably a full house. A light fog hangs over the pitch and floodlight flares streak the upper frame. This shot orients who is where.
CAMERA: handheld documentary, high angle, WS 24mm, the whole penalty geometry legible to the edges, gentle operator shake.
⚠️At 2s, a clean HARD CUT to SHOT 2.
[SHOT 2] 2–5s — close-up of his face, from his LEFT, pinned to the far-left edge (hard cut)
SUBJECT: @santiago-kit's face in close-up, camera on his LEFT side, 3/4 face angle. He is placed hard at the FAR-LEFT edge of the frame — his face almost touching the left edge — looking screen-left off that edge, so there is no space in the direction he looks. ALL the open space and the crowd sit to screen-RIGHT, behind him. He is NOT on the right side of the frame. The crowd — some in everyday clothes, some in the same kit as him, a few waving flags in their team colors — is a dense packed mass behind him, clearly thousands of people, dotted with phone-lights, soft in bokeh but unmistakably full, chanting; light fog drifts and floodlight flares catch the lens.
ACTION: beat 1 (2–3s) — his eyes are closed; he opens them. beat 2 (3–4s) — a deep inhale, chest rising, a held micro-pause. beat 3 (4–5s) — he takes one step forward.
CAMERA: handheld documentary, Dutch (canted) angle, CU 50mm (≈47° FOV), camera on his left; crowd in soft bokeh to screen-right. Floodlight from above and behind his head rims his hair and shoulder, face mostly in shadow, wet speculars; an optical flare streaks off the floodlight, light fog softens the depth.
⚠️At 5s, a clean HARD CUT to SHOT 3.
[SHOT 3] 5–8s — low at the spot, rack to the ball (hard cut)
SUBJECT: camera almost on the grass right beside the penalty spot, low and tight, pointing toward the goal. In the deep background @goalkeeper, tall in his green Brazil-style kit, warms up — stretches both arms overhead, jumps and slaps the crossbar, drops down into his ready stance (within ~2–3s).
ACTION + FOCUS: the focus sits on @goalkeeper through the warm-up, then racks forward to the white penalty spot ~20cm from the lens, where @santiago-kit's hand sets @match-ball down onto the spot.
CAMERA: handheld documentary, very low ground-level, tight; wide-ish 35mm pressed close so it reads as a tight detail; clear rack focus from @goalkeeper (far) to @match-ball (near), shake alive.
⚠️At 8s, a clean HARD CUT to SHOT 4.
[SHOT 4] 8–10.5s — SPORTS BROADCAST (hard cut)
SUBJECT: @santiago-kit, @match-ball now placed; he walks back the required distance and sets into his ready stance, eyes on the goal; the goal and @goalkeeper compressed behind him; the packed stands far behind, every seat filled — a dense glowing wall of people dotted with phone-lights — compressed and luminous through the haze and fog, floodlight flares blooming in the long lens.
CAMERA: sports broadcast — super-tele 8° FOV (~300–400mm), camera anchored far away on the touchline, a constant handheld 1–2cm tremor, operator behaviour "anchored at distance, finding the action." It does NOT approach the subject and does NOT cross the field — it only re-frames within its own vantage. Heavy compression, the air column flattened into a slab, only the action sharp; live match-relay feel.
⚠️At 10.5s, a clean HARD CUT to SHOT 5.
[SHOT 5] 10.5–12.5s — the keeper's face (hard cut)
SUBJECT: @goalkeeper's face in tight close-up, in his green Brazil-style kit, concentrated, predatory — eyes locked on @santiago-kit like a hunter, jaw set.
CAMERA: handheld documentary, CU 85mm (≈29° FOV), shallow, goal soft behind, shake alive.
⚠️At 12.5s, a clean HARD CUT to SHOT 6.
[SHOT 6] 12.5–15s — frontal close-up, the run-up, exit (hard cut)
SUBJECT: @santiago-kit's face in a tight FRONTAL close-up, camera directly in front of his face, his eyes toward the lens (toward the goal beyond camera), concentrated, breath steadying.
ACTION: beat 1 (12.5–14s) — held, locked forward, one steadying breath. beat 2 (14–15s) — he surges into his run-up straight toward camera and exits frame past the lens; the shot cuts as he leaves.
CAMERA: handheld documentary, frontal CU 50mm directly in front of his face; he accelerates toward and past the camera, motion blur weighted and real, shake alive.
Style (scene): floodlit night stadium, WB ~5000K; light comes only from the high floodlights above and behind the players — hard contre-jour rimming the silhouettes, faces falling into shadow, wet speculars on skin and grass, long shadows raking forward across the pitch; optical floodlight flares — anamorphic streaks and soft blooms off the high floodlights through the lens; a light low-lying fog drifting across the grass; fully packed stands — a dense wall of spectators in every tier, rim-lit and dotted with phone-lights and camera flashes, clearly a full house (NOT empty, NOT dark bare seating); thin atmospheric haze for depth. Dominant green pitch / secondary dark stands / accent @match-ball (white) and the white spot.
Constraints: @stadium is a location reference only (look/materials/scale/layout), not a keyframe — do not copy its composition; light always falls from the high floodlights above and behind the players (contre-jour), faces in shadow, silhouettes rimmed. SHOT 1 reads the geometry — @goalkeeper (green Brazil-style kit) centered ~50cm off a post, @santiago-kit ~13m out with @match-ball in hand, the referee ~2m from him, both teams' players in two even lines behind, a mixed European/Brazilian-looking crowd PACKING the stands — the stands must read as COMPLETELY FULL, a dense continuous crowd of tens of thousands in every tier with NO empty seats and NO bare concrete; if the location reference @stadium shows empty or sparse stands, OVERRIDE it and fully populate the crowd; the crowd is rim-lit and dotted with phone-lights so it reads clearly even in the dark; optical floodlight flares streak off the high floodlights through the lens and a light low fog drifts across the pitch; positions and identities stay consistent across every cut; in SHOT 2 @santiago-kit is pinned hard to the FAR-LEFT edge, looking screen-left off that edge with NO space toward his gaze, the crowd and open space to screen-right behind him — he is not placed on the right side; @santiago-kit holds @match-ball (SHOT 1–2), places it on the spot (SHOT 3), walks back and sets (SHOT 4), then runs up and exits (SHOT 6); SHOT 6 is a frontal close-up directly in front of his face, eyes toward the lens, and he runs up toward and past the camera; @goalkeeper warms up in SHOT 3 and is locked predatory in SHOT 5, staying tall and in his green kit and gloves; SHOT 1 is a wide establish, SHOTS 2/3/5/6 are tight handheld documentary close-ups with a real 1–2cm operator tremor, and SHOT 4 is the long-lens broadcast (8° super-tele, anchored on the touchline, finding the action, never approaching or crossing the field); lens per shot — WS 24mm / CU 50mm Dutch (camera on his left) / low 35mm with rack / 8° super-tele broadcast / CU 85mm / frontal CU 50mm; clean crisp image; exactly six shots joined by five hard cuts. Aspect 21:9.
Sound: a huge stadium presence — a packed crowd chanting "SANTIAGO, LET'S GO!" rising over the murmur, scattered drums and whistles, the referee's whistle, the scuff of boots on grass, the soft thud of @match-ball being placed on the spot, the slap of @goalkeeper's hand on the crossbar; no music. Environmental SFX only.
