H3-STYLE ENGLISH PRODUCTION PROMPT reference_inputs: <Picture 1>: Clean reconstructed first frame. Initial composition, character appearance, wardrobe and photographic rendering anchor. <Picture 2>: Photorealistic 5-by-5 storyboard, read left-to-right and top-to-bottom. Panels01–25 are one-second action anchors, NOT25 independent equally cut shots. Never render the grid, numbers or captions. <Picture 3> (optional): Original sampled25-frame reference. Use for exact gesture direction, expression, shot scale and source fidelity. Ignore all original player controls. When a reconstructed panel simplifies a pose, prioritize the original reference and the detailed written choreography below. Keep identity stable rather than morphing between reference faces. subject_definitions: <Subject 1>: The same adult woman depicted in the references, with a softly oval face, dark almond eyes, dark gently arched brows, naturally pink lips, light natural skin. Dark brown-black hair tied low at the back with a near-center part and long loose strands beside the cheeks; not a short bob. Heather-gray fitted stretch top with a wide rounded neckline, sleeves near the elbows, natural horizontal gathers at the waist; blue jeans with visible waistband/button/pockets. A delicate silver chain with a pale four-lobed pendant and silver wrist jewelry. Preserve natural anatomy, same face, hair and clothes. summary: Recreate the original playful indoor dance-and-face-gesture montage in exactly25seconds, ending with a small black bowl and chopsticks. Original duration24.75247seconds is stretched by approximately1percent only; do not add new choreography. Follow the exact ordered sequence and expression changes. Use ordinary smartphone realism, not a glamorous advertisement. hard_constraints: Landscape16:9. Exactly25seconds. Same subject and wardrobe throughout. Main setting: plain warm beige wall, pale vertical trim at far right, soft indoor light. The principal wider viewpoint is fixed and slightly low, with black bowl/chopsticks in the extreme lower-right foreground. The very close face shot around9seconds has a brighter background and vertical edge: preserve this shot variation rather than pretending the whole video is one uncut take. Natural small movements, motion blur and fabric folds. Do not invent unseen footwork, furniture or other people. No wardrobe change. No grid, subtitles, UI, cursor, timer, watermark or freeze-frame labels. Audio not verified; no fabricated dialogue or exact lip-sync claim. one_second_action_timeline: 00–01 [panel01]: Start three-quarter side-on, shoulder line diagonal, waist gently twisting. Turn head back toward the camera with a broad tooth-showing smile and gaze near the lens. Both elbows remain bent; forearms cross loosely in front, one relaxed hand higher toward screen-left and the other arm angled lower left. Swing from the shoulders into the approaching forward bend; no wave or heart gesture. 01–02 [panel02]: Fold markedly forward and toward lower screen-left. Lower the head and tuck chin, letting loose front hair fall and swing. Arms descend toward the sides and lower frame; partially hidden hands stay naturally relaxed. Allow quick-motion softness, not facial distortion. Do not invent precise finger shapes where source is blurred. 02–03 [panel03]: Lift the torso toward a more frontal position. Raise the head and recover the visible smile while loose strands still cross the forehead. One forearm sweeps across the body and diagonally toward lower screen-left with an open relaxed hand; the other arm stays lower. Recover lightly from the bend and begin approaching the camera; no specified dance steps below frame. 03–04 [panel04]: Move physically closer, increasing upper-body scale. In the original the crown/face briefly moves partly above the upper edge; keep that natural approach rather than a camera zoom. Extend an arm forward and downward out of frame, without inventing a button press or phone pickup. Pendant hangs forward and shirt gathers deepen naturally. Reconstructed panel keeps more head visible as a planning simplification; source framing takes priority. 04–05 [panel05]: Bring the face back into the upper-middle frame, shoulders lowered, torso still leaning close. Arms extend below frame and hands remain unseen. Slight head angle toward screen-left, relaxed eyelids, direct gaze and a soft closed-mouth smile. Do not infer sitting or a table from the lowered arms. 05–06 [panel06]: Shift face closer toward the left half, with the near shoulder slightly raised and gray upper arm filling more screen-right. Look directly into the lens with subtly parted lips and a calm curious expression. Loose hair passes beside one eye and across cheek. Hands stay low before rising toward the chin. 06–07 [panel07]: Curl both hands loosely and place their knuckles beneath opposite sides of the chin. Shoulders slightly lifted, chin gently lowered and eyes looking up toward the lens. Lips close with a mild natural purse, not an exaggerated pout. Light support only; do not squeeze or distort cheeks. Show anatomically separate fingers and stable wrist jewelry. 07–08 [panel08]: Turn the face into a close three-quarter angle, nose slightly toward screen-left. Move hands from bilateral support into a loose gathered/overlapping position near the chin and screen-left shoulder. Fingers relax and lengthen a little rather than locking together. Keep gaze toward camera and lips subtly parted; a loose strand falls toward the mouth. Low tied hair remains visible toward screen-right. 08–09 [panel09]: Hold the close angled pose with very small motion. Lower chin slightly toward the gathered hands. Let lips close and mouth corners rise into a tiny smile while maintaining direct eye contact. Keep hair and skin natural. This is a gentle expression transition, not another big pose. 09–10 [panel10]: Very tight facial shot looking back from beside the near gray-clothed shoulder. Face nearly fills frame, eyes open and meeting lens, small smile. Preserve normal close-phone perspective. Loose hair at screen-left and a brighter background with a vertical edge distinguish this shot. Hands are not established. A simple source-like shot change is allowed; do not invent a continuous travel path between backgrounds. 10–11 [panel11]: Return to the wider beige-wall standing shot. Tilt head and torso toward screen-left while looking toward camera with a cheerful slightly open mouth. Open both arms loosely, one toward lower left and the other nearly horizontal to screen-right; fingers soft. Waist counterbalances the shoulder tilt. Do not force the large framing reset into an implausibly fast backward walk. 11–12 [panel12]: Straighten into frontal standing, head upright and shoulder line nearly level. Let both arms settle naturally alongside jeans, hands near seams or partly below frame. Direct gaze and faint closed-mouth smile rather than a big grin. Keep shirt folds, jeans waistband and centered pendant visible; no added hip thrust or deep knee bend. 12–13 [panel13]: Turn torso into a side-on stance with the near shoulder closer to camera and visible side seam of jeans. Arms hang naturally. Rotate head back toward camera with relaxed closed lips. Maintain an upright natural spine; no exaggerated back arch or body reshaping. 13–14 [panel14]: Turn back into a more frontal three-quarter angle and tilt upper body toward screen-right. Open arms to both sides: screen-left arm nearly horizontal, screen-right arm angled down. Smile lightly toward camera with slight possible lip opening. Let waist follow shoulders and cloth fold on the compressed side. Keep the following close-shot reset as a potential edit rather than inventing a missing run forward. 14–15 [panel15]: Lean rapidly into a closer composition, head toward screen-left, loose strands swinging left. Look toward lens, lips slightly open. Bring one relaxed spread hand across to upper shirt near pendant/neckline without pulling or changing clothing. Other hand is not clearly established. Pendant hangs away from fabric due to gravity. 15–16 [panel16]: Stay leaning forward. Keep one hand lightly on upper shirt while the other bends up beside the screen-right ear to move a loose strand back. Near forearm rises through the right side of frame. Tilt head slightly away to allow the small hair tuck. Direct gaze, lips subtly parted. One brief tuck only, not repetitive hair combing or pulling. 16–17 [panel17]: Bring face toward upper-left edge, the near gray shoulder prominent in the middle and torso sloping toward lower-right. Eyes meet lens, lips closed, expression calm. Some fingers of the upper-shirt hand remain visible. Hair-tucking hand no longer clearly visible; do not assign a fabricated destination. Pendant dangles toward lower-left. 17–18 [panel18]: Lift the head slightly and bring face marginally inward from the left edge. Show more side of face and low tied hair. Maintain eye contact; closed-mouth smile becomes warmer and eyelids narrow softly. Hand still lightly near the upper shirt. Allow source-like transition to wider standing composition next rather than prescribing hidden steps. 18–19 [panel19]: Reset to a wider three-quarter side standing view. Turn shoulder and head toward camera with a broad smile. Upper body leans back only slightly. Arms extend/swing forward and down, wrists loose; near arm forms diagonal toward lower-left. Jeans side/back pocket visible. Prepare to lift arms, no deep squat. 19–20 [panel20]: Turn closer to side profile facing screen-left. Lift both arms above the head, allowing hands/forearms to pass partly beyond top edge. Raise shoulders naturally; head and gaze follow left-forward. Lips may part slightly but no dialogue is implied. Clothing stretches with the arms while retaining real folds and normal joint ranges. 20–21 [panel21]: From above, sweep both arms forward and down across the body toward screen-left. Begin turning head back toward lens. Allow natural forearm/hand blur and relaxed hand shapes, not rigid pointing or invented fists. Shoulder and ribcage rotate lightly with the swing; no full-body spin. 21–22 [panel22]: Turn torso more toward front with diagonal shoulder line. Bend both elbows and swing arms toward screen-right, one forearm near horizontal and the other bent higher, loosely crossing. Look toward camera with a quieter slightly parted-lip expression. Preserve arm momentum. The next setup has utensils already in hand; permit a cut instead of inventing their pickup or morphing empty hands into props. 22–23 [panel23]: In a frontal medium-close setup, hold a small black bowl in the hand on screen-right, bottom angled slightly toward lens. In the hand on screen-left hold black chopsticks gripping a small pale bite. Raise both around shoulder height. Head mostly upright, eyes briefly relaxed/half-closed and lips a little open. Do not invent a food species or spoken line. Same clothing, necklace and hair. 23–24 [panel24]: Tilt head and upper body clearly toward screen-left, eyes toward camera and small closed-mouth smile. Keep black bowl higher on screen-right with its bottom ring visible, fingers securely around side. Chopsticks remain raised at screen-left, food still held a short distance beside face. Hair and pendant shift with the tilt. No utensil/food interpenetration. 24–25 [panel25]: Continue the same leftward lean and move closer so face grows across the left half. Bowl stays upper-right and may crop out slightly. Chopsticks angle up from lower-left toward chin/lips, pale bite still visible. Maintain playful direct gaze and lips closed or lightly relaxed. Finish before any confirmed bite: no invented chewing, swallowing, fade, caption or extra ending action. transition_rules: Interpolate natural shortest movements only within the same apparent source segment. Allow uncomplicated source-like edits at major framing/background/prop resets around9–10,13–14,17–18 and21–22seconds. Exact original cut frames are not verified by one-second sampling; do not claim frame-accurate cut timing. No crossfade face morphs, no teleporting bowl, no mechanical cut at every numbered second. Do not force an uninterrupted dance if source is a montage. negative_constraints: No fixed identical smile throughout. No identity drift, short bob, new makeup, changed clothes, extra limbs, fused fingers, distorted shoulders, floating pendant, chair rails replacing chopsticks, invented feet choreography, invented final bite, added dialogue or original-music claim. No grid or numbering in final video.
