原创科幻短片《风口》国产“爱死机”

保持参考 {{Image 1}} 的飞机造型、机身结构、人物外观、构图、飞行姿态、海岸原子朋克环境、明亮天空和整体气质不变，不要改飞机整体外形，不要改飞行员机器人，不要改背景，不要改飞机主配色和材质语言。 现在只修改飞机机身侧面的图形内容：将参考 {{Image 2}} 海报的核心视觉元素，转译并融合为飞机机身原有的复古喷绘 / 机身贴花 / nose art 风格图案，而不是生硬地整张贴一张完整海报。不要后期拼贴感，不要整块高饱和矩形海报硬贴在机身上。 保留海报核心识别元素： 70 MILLION VIEWS、ZOMBIE SCAVENGER、屏幕脸机器人、红裙女性、机械鸵鸟、BY MX-SHELL。 但这些内容要被重新整合为更适合飞机机身的视觉形式，可以是简化版竖向贴花、复古喷绘徽章、机身宣传标识、旧印刷 decal、服务标志风格图案。画面可以保留海报整体构图感，但必须融入机身漆面，像原厂就存在的机身图形，而不是一张完整海报直接贴上去。 重点要求： 海报图形与飞机漆面自然融合，饱和度明显压低，对比度更柔和，颜色受机身整体白红旧漆影响，略有日晒褪色感和轻微旧印刷质感。边缘自然，略带岁月感，但不要过度磨损，不要太脏，不要太废土，不要破烂。让图形像属于这架飞机世界观中的一部分，让它和机身金属、铆钉、旧漆、海风环境协调统一。 最终效果要像：一架复古海岸小飞机，本身就带有“Zombie Scavenger / 70 Million Views”主题的个性化机身涂装。飞机仍然是主角，海报元素只是自然融入机身的视觉识别。整体保持干净机、克制旧化、明亮海岸环境、轻复古原子朋克、真实摄影感与电影感。

{{Image 1}} 参考图为：海岸主场景母图。请重点参考它的世界观、建筑风格、沙滩质感、色调气质、海岸设施分布和整体电影感，但本次镜头不是延续原图看海方向，而是生成同一场景中“转向陆地”的反向空场景。 请生成一张 21:9 电影级环境空场景图，仍然属于“原子朋克美国海岸资本乐园”的同一片海滩区域。 镜头逻辑不是原地转身，而是： 摄影机先从原图的位置向海边方向前移一段距离，接近湿沙区附近，但不要贴到海浪边；然后镜头向左旋转约 90 度，改为朝陆地方向观看。由此得到一个新的反向视角场景。 画面构图要求： 前景与中前景： 大面积沙滩仍然是绝对主体，占画面大部分面积。前景基本上以空旷沙地为主，带有真实风吹沙纹、细小颗粒、轻微使用痕迹、局部小起伏和少量保留的沙滩设施痕迹。保留原场景中那种零散、低密度的海滩元素，例如：少量褪色遮阳伞、少量沙滩椅、少量简易木栈道、少量救生亭或轻度废弃的海边小设施，但都要非常稀疏，不能杂乱，不能喧宾夺主。 中景： 仍然以开阔沙滩为主，逐渐过渡到远处建筑区域。不要把海洋作为主体，海面可以完全不出现，或者只在画面极边缘隐约不明显地带一点点海岸方向的高光氛围，但主体必须是“背对海岸线、朝陆地方向”的空间关系。 远景： 远处只出现少量低矮的原子朋克海岸建筑和海岸娱乐设施，形成一条轻微展开的背景带。建筑位于海岸缓坡或轻微抬高的台地上，疏朗分布，不密集，不像城市天际线，也不要像现代新楼盘。可以看到少量奶油白色圆角流线建筑、低矮观景平台、灯塔轮廓、摩天轮轮廓、复古游乐设施、零散棕榈树和海滨步道，让人一眼能感到这是同一个世界观下的海岸资本乐园。 建筑风格： 1950年代原子时代未来主义 Atompunk， Palm Springs 海岸度假建筑， 夏威夷海岸现代主义， 美国西海岸富人海岸社区气质。 建筑特点： 奶油白主体， 圆角流线结构， 横向玻璃， 低矮层叠布局， 少量褪色橙红装饰线条， 轻微盐雾侵蚀， 少量旧化痕迹， 整体高级、昂贵、度假化，但带有轻微时间感和轻微衰败感。 天空： 天空只保留少量即可，不要占画面太多比例。画面重点不是天空，不是海，而是“沙滩前景 + 远处建筑背景”的空间关系。让天空只作为上沿环境氛围存在。 整体气质： 同一世界观下的海岸反向空场景， 阳光灿烂但克制， 晒白色调， 真实空气透视， 轻微热浪感， IMAX 70mm 胶片电影质感， 电影级现实主义环境设计。 色彩控制： 奶油白、晒旧白、褪色橙红、浅金属灰、金色沙滩、低饱和蓝天。 整体不要过饱和，不要 HDR，不要旅游宣传片感。 核心目的： 这是后续“狗狗币躺在沙滩里 / 小机器人捡起狗狗币”镜头的反向场景母图，所以画面必须提供正确的陆地朝向、沙滩透视关系和背景建筑方向。前景沙滩空间必须充足，远景建筑只做交代，不抢戏。 真实电影环境概念设计，21:9 宽银幕，超高细节。

{{Image 1}} 真实电影摄影级高清修复 保留自然胶片柔和感 不要HDR 不要锐化过度 不要边缘描边 不要CG感 不要塑料建筑 保持自然空气透视 保持热带海岸阳光层次

参考 {{Image 1}} 设置目前的大型机器人V4，严格保留图1中的整体外形方向，大猩猩式四足支撑和推进结构，低重心前倾姿态，前重后稳定比例，工业白色和褪色暗红色的颜色组合，头部突出标识设计，双前肢具有完整的机械手逻辑，头部顶部红色橙色工程警示灯，半淹没仅头部暴露识别方法，以及整体设置板布局逻辑。 这个任务不是重新设计角色，而是参考。 {{Image 1}} On the basis of material repair, surface texture optimization and setting board text streamlining. Role Orientation: This is a medium to large heavy-duty propulsion robot in an atomic punk wasteland seaside world. It is a large strong engineering unit in the robot group image society, responsible for heavy load handling, rough propulsion, beach patrol, shallow water area operations and strong opening in the crowd. It is not a towering giant, not a building-level mecha, not the ultimate BOSS, nor a combat-type killing machine. It relies on its low center of gravity, heavy mass, thick forelimbs, four-point support and rampaging propulsion force to knock, squeeze, push and knock down the small robots around it. Structural requirements: Retain the orangutan four-legged support propulsion structure. The forelimbs are extremely stout and are responsible for supporting the ground, advancing, clearing obstacles and colliding to open the way. The hind limbs are relatively more stable and closed, and are responsible for bearing and driving. Overall low center of gravity, body forward, shoulder thick, broad chest. The running and propulsion posture is like a large orangutan, with four-point support and rampage, but it is still the appearance of an industrial robot. It should not be animalistic, adamantine or monster. Head Requirements: Keep and reinforce the high recognition head in the reference figure 1. The head clearly protrudes above the front of the chest shoulder, cannot be flat, cannot be missing, and cannot be made into a cockpit, glass cockpit, submarine tower or man-carrying cabin. The front face of the head is composed of a heavy anti-collision frame, a narrow transverse observation seam, two asymmetrical mechanical observation lenses, and an old metal grid below, forming a cold and hard mechanical pseudo-face. A small red-orange engineering warning light is reserved on the top of the head, which is small and restrained, and the translucent old lampshade is slightly bright or slowly flashing to enhance the recognition of semi-submersible outcrops. Forelimb requirements: Both forelimbs must be complete heavy engineering mechanical forelimbs, retaining mechanical finger/forefoot support logic. Do not mistake the forelimb as an independent external push plate weapon. The correct direction is: the forearm shell is thick and heavy, like a combination of impact protection arm, engineering protection arm and load-bearing support arm; one side is more biased to crash, push, and sweep, and the other side is more biased to grab, push, and carry, But neither side is a weapon hand, and can fall to the ground to bear weight and participate in four-legged propulsion. Color scheme: Retain the old industrial red and white scheme of "fading industrial white fading dark red dark gray black mechanical structure. A large area of the main body is industrial white/faded dirty white old paint; the shoulder, head frame, forearm protective shell, chest identification area and local protective plate use faded dark red, rust red, brick red old paint; exposed joints, hydraulic rods, The mechanical structure is dark gray black old metal. The whole is suitable for sunny seaside, beach, shallow water, island and gold coin environment. It cannot be too dark or black. Material repair focus: The current version has a heavy sense of fine particles on the surface, full of old textures, and AI random dirty textures locally. Please focus on repairing the exterior material and let the robot change from "noisy old" to "complete industrial products to restrain coastal old". The shell should be closer to the large surface painted metal plate of the real engineering equipment, and the main paint surface should be more complete, more uniform, and thicker. There should be no fine particles, dense small rust spots, broken texture and meaningless small rivets everywhere. Old retention, but mainly concentrated in the edge, corners, corners, joints, stress area, friction area, local paint area, a small amount of rust and repair traces. Do not let rust spots, stains and scratches spread evenly over the entire surface. Decrease: Whole body uniform particle noise, Intensive small rust spots, Excessive rivet feeling, Granular sense of sandpaper, Smear feeling, AI random dirty texture sense, Scrap iron assembly feeling. Enhancements: Large complete industrial paint surface, Thick metal plate texture, clear shell hierarchy, True edge wear, traces of local use, Advanced industrial product completion, Film-level real material. Set board text reduction requirements: Please keep the professional setting board typesetting, but greatly reduce the text description, remove the fuzzy small print and dense parameter area. Don't generate a bunch of indistinct false words, paste words, garbled words. Focus on the robot body, rather than text typography. The following contents are output in the same setting board: 1. Full-body front view 2. Full-body side view 3. Full-body back view 4. Three-quarter anterior full-body view 5. Close-up of the head 6. Observe the lens/close-up of the front face 7. Heavy Forearm/Impact Arm Close-up 8. Grasping hand/gripper/engineering hand close-up 9. Close-up of the legs and broad feet 10. Four-legged support forward-leaning posture diagram, white or light gray bottom 11. Gorilla Propulsion/Collision Action Decomposition Reference 12. Semi-submersible only exposed state diagram, with red and orange warning lights on the top of the head slightly bright, with high recognition Text retention rules: Keep only a small amount of clear text, for example: Main title: Large robot V4.3/orangutan-type heavy-duty propulsion robot Number: R-27 or random old industrial number Panel No. 01/02/03/04 A few column titles: FRONT / SIDE / BACK / HEAD / ARM / HAND / LEG / POSE / HEAD ONLY Delete: Large paragraphs of explanatory text, dense parameter table, Fuzzy Chinese and English small print, complex design description, Unreadable false text, Too many label arrows, garbled industrial instructions. Overall Requirements: Real material, film feeling, slight film texture, clear logic of industrial product design, stable structure, clean and refreshing setting board, and clear role identification. Avoid cyberpunk neon, modern smooth high-tech armor, superhero mecha, military fighter armor, pure waste soil garbage wind, animalization, monster, giant disaster sense, excessive dirt, excessive particles, fuzzy text pollution.

{{Portrait 1}} 为当前飞行机器人与复古飞机最终形象参考。 保持参考图中的： - 飞机结构 - 双翼机比例 - 飞行机器人头部设计 - 海报涂装位置 - 复古海岸航空世界观 - 原子朋克气质 - 飞行器轮廓 - 配色方案 不变。 整体不重设计， 只做“高级复古航空轻清洁优化”。 减少： - 高密度小锈点 - 麻点状旧化 - 均匀脏污 - 废铁感 - scrapyard texture - 过量小划痕 强化： “被长期维护的旧时代复古飞机”气质。 机翼与机身表面： 保留大面积完整旧白漆， 仅保留少量边缘磨损、 轻微盐雾氧化、 少量自然划痕、 局部旧时代修补痕迹。 旧化必须： 克制、 舒服、 统一、 电影道具级。 不要脏成废铁。 整体更偏： 30年代复古航空广告、 红猪、 天空之城、 复古民航黄金时代、 原子朋克海岸航空世界。 强调： - 飞行浪漫感 - 旧时代冒险感 - 明亮海岸阳光感 - 商业电影海报感 - 高级复古航空美学 机器人保持： 有点社恐、 有点呆、 认真驾驶、 温和、 不冷酷AI。 不要： 赛博朋克、 军事战机、 废土战斗机、 高科技未来飞机。

以参考 {{Image 1}} 为核心基础进行精修升级，保持整体结构方向不变，优化头部识别度、前肢推进逻辑和设定板输出质量。21:9横版角色设定板，白底或浅灰底。 设计一个原子朋克废土海边世界中的中大型重载推进机器人，身高约为普通机器人的2.2倍到2.5倍，不是参天巨物，不是楼房级机甲，而是机器人群像中的大型工程推进单位。 核心方向：猩猩式四足支撑推进结构，低重心，强烈前倾，前肢极其粗壮，后肢稳固承重。跑动和冲撞像大型猩猩一样横冲直撞，但仍然是机器人外观，不动物化。它靠重量、惯性和粗壮前肢把小机器人撞开、挤开、拨开，不使用武器。 头部必须高识别度，明显突出于身体前上方，不能扁平，不能缺失，不能做成驾驶舱。头部为厚重工业机械头壳，前脸由窄横向观察缝、两枚不对称机械镜头、下方金属格栅组成。头顶加一个小型红橙色工程警示灯，微亮。 双前肢都保留完整机械手 / 前掌结构，不要独立外挂推板武器。一侧前臂偏撞击清障，另一侧偏抓取拨开，但都必须是完整重型工程机械手臂。 配色为退色脏白 + 褪色暗红 + 深灰黑机械结构，旧工业红白方案。材质是完整工业产品 + 克制海岸旧化，有掉漆、磨损、氧化、细锈、油污和修补痕迹，但不要过度破烂。 输出内容：正面、侧面、背面、3/4侧前方、头部特写、前脸特写、前臂特写、抓取手特写、腿脚特写、四足推进姿态图、推进动作分解图、半潜只露头状态图。 真实材质，电影感，轻微胶片质感，结构清楚，设定板专业干净。避免赛博朋克、避免超级英雄机甲、避免现代高科技光滑装甲、避免巨物灾难感。

第一张图 {{Image 1}} 作为场景结构与世界观参考。 严格保持海岸线、建筑布局、沙滩尺度、广告牌位置、原子朋克海岸城市设定不变。 第二张图 {{Image 2}} 作为整体影调、色彩、空气感与阳光氛围参考。 整体影调改为： 温暖夏日海岸光线， 真实热带海岸空气感， 金色但不过度饱和的沙滩， 清透蓝绿色海水， 自然鲜活的热带植被， 温暖阳光， 轻微海风空气透视。 不要灰白沙滩。 不要枯黄色植被。 不要废土黄雾。 不要脏旧末日感。 不要旅游宣传片HDR感。 不要高饱和糖水感。 整体感觉： 像一个被资本包装成天堂的未来海岸城市。 表面： 美丽、干净、昂贵、诱人。 细节里： 隐隐透出衰败感、 旧时代广告、 轻微盐雾侵蚀、 空旷感、 一种不真实的繁荣。 保持电影摄影感， IMAX 70mm胶片质感， 真实自然光， 柔和高光， 空气通透， 低对比度胶片层次， 不是AI概念图。 镜头感参考电影级外景摄影。

给 {{Image 1}} 中机器人头顶加入一个小型旧工程警示灯，但不要高柱状爆闪灯。警示灯应为低矮、扁平、半圆或半椭圆形旧式顶灯，贴附在头顶中轴位置，体积克制，高度较低。灯罩为旧半透明材质，带轻微磨损和旧化痕迹。发光颜色为低亮度的暗琥珀黄、灰黄暖光或旧暖橙黄，不要纯红强光，不要刺眼爆闪，不要现代警车灯感。可在灯座周围加入极简小型金属护圈或半包围防撞弧杆，但不要复杂粗重铁笼，整体应服务于头部识别，而不是抢夺主视觉。

21:9横版角色设定板，白底或浅灰底。 设计一个原子朋克废土海边世界中的小型开敞式飞行机器人载具。它不是运输船，不是大型飞艇，不是现代喷气机，也不是未来高科技飞船，而是一种旧工业风、低空掠行的小型螺旋桨飞行器，像废土海岛世界里的单人空中巡逻机、轻型侦察机或改装空中作业艇。 整体气质：旧、轻巧、灵活、粗糙但有趣，带一点旧时代航空器的浪漫感，也带一点废土工业改装感。不要超级科幻，不要蒸汽朋克铜管堆砌，不要太现代，不要赛博朋克。 飞行器结构： 整体尺寸较小，适合单人驾驶。采用开敞式或半开敞式驾驶舱，可以清楚看到里面的驾驶员机器人。机身短小，结构轻巧，带有两个小型机翼或短翼稳定结构，有老式螺旋桨飞机的影子，但整体更像机器人世界中的改装空中小艇。可采用前置螺旋桨、双侧螺旋桨或小型外露推进结构，但不要过于复杂，不要像大型货运机。 材质与外观： 机身为旧金属、薄钢板、铆钉结构、补丁焊接结构，表面有长期海风、日晒、盐雾侵蚀后的旧化痕迹：掉漆、边缘磨损、划痕、锈迹、氧化、油污、补漆痕迹。整体做旧，但不要脏成一团。要有旧时代海岛飞行器的感觉。 配色： 采用“退色脏白 / 旧灰金属 / 局部暗红或暗黄识别色”的旧工业配色。主体可以是退色脏白或旧灰，局部加入少量褪色暗红、砖红、锈红，或少量褪色暗黄识别块。颜色低饱和，避免鲜艳现代感。 驾驶员机器人： 飞行器内部有一个驾驶员机器人，清楚可见。驾驶员不是人类，而是机器人。头部优先设计为“工业小显示器头 / 小监视器头 / 老式小电视机头”，但不要直接照抄其他作品。头部外壳应厚重旧金属化，屏幕区域较小，可显示简单低分辨率点阵表情、符号、眼睛或扫描条，带一点致敬感，但不能是完全复制的像素笑脸角色。 驾驶员可以有轻量飞行员元素：旧护目镜、额前飞行镜、胸前固定带、简单安全带、旧工作围脖或旧帆布肩带。不要整套厚飞行夹克，不要过度拟人化，不要cosplay感。 功能与动作气质： 它是低空掠行的飞行单位，适合从机器人群像上方快速飞过，掠过海滩和人群。它不是战争飞机，不强调火力，而强调掠行、巡视、穿梭、侦察、看热闹和荒诞世界中的空中活动感。 编号与细节： 使用随机旧工业编号，例如 F-12、AIR-7、BX-3、R-08、FL-21 等。可以有小面积旧标识、旧贴纸、旧喷码，但不要过多文字。 请在同一张设定板中输出： 1. 飞行器正侧3/4整体视图 2. 飞行器侧面视图 3. 飞行器俯视或背面结构视图 4. 驾驶舱特写 5. 螺旋桨 / 翼面 / 推进结构特写 6. 驾驶员机器人全身或半身特写 7. 驾驶员头部特写 8. 驾驶员护目镜 / 飞行员元素特写 9. 低空掠行姿态图（白底或浅灰底，不要实景背景） 10. 从侧前方快速掠过的动态姿态图（白底或浅灰底，不要环境模拟） 整体要求：真实材质，电影感，轻微胶片质感，版式专业干净。不要大运输机，不要大飞艇，不要纯蒸汽朋克，不要未来战斗机，不要过度卡通。

16:9超写实电影级环境概念图，《风口》世界观场景。 空场景，无人物，无机器人，无车辆，无生物，无人群。 一个巨大的原子朋克美国西海岸热带海滩度假区，白天。 摄影机位于陆地侧，朝海洋方向观看。 机位略高于正常人视角，大约6-10米高度，带轻微俯视感。 让观众能清晰看到： 前景巨大沙滩、 中景海岸线与海洋、 远景天空与海平线。 画面重点： 沙滩必须极其宽阔、极其纵深、极其开放。 前景与中前景大面积都是空沙地，占据至少65%以上画面。 形成一个巨大的“冲锋舞台”，未来可以容纳数千机器人朝海洋奔跑。 沙滩必须有明显纵深感，而不是窄海滩。 海洋必须明显可见： 清晰海岸线、 浅水区域、 湿沙反光、 宽阔蓝色海面、 远处海平线。 不要出现： 狗狗币岛、 漂浮狗狗币、 任何远处岛屿、 任何科幻天体。 建筑设计： 不要让建筑贴着海边。 不要像一排海景房。 不要整齐排列。 建筑应该退到： 画面左右远处， 或者位于低矮海岸悬崖上方。 建筑风格为： 1950年代美国原子时代海岸度假建筑、 复古未来主义、 圆角白色混凝土结构、 弧形玻璃、 低矮富人度假建筑、 木质海边栈道、 旧海滩俱乐部、 公共海岸设施、 观景平台、 救生塔、 棕榈树。 整体像： Malibu海岸 + Hawaii热带海滩 + Fallout原子时代资本主义度假区。 建筑状态： 不要像全新房地产广告。 不要太现代。 不要整齐高级公寓感。 而是： 轻微盐雾腐蚀、 褪色油漆、 轻微锈迹、 被长期海风侵蚀、 曾经极度繁荣但开始空心化的资本主义度假天堂。 氛围： 阳光明亮、 蓝天、 温暖空气透视、 海边 haze、 美丽但隐隐不安、 像“资本主义天堂的幻觉”。 整体重点： 巨大空间感、 强烈纵深、 未来适合机器人群像运动、 适合大规模冲锋调度。 IMAX 70mm胶片摄影感， 真实电影摄影， 自然阳光， 实拍感， 大尺度环境叙事， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化。 不要： 赛博朋克、 黑暗末日、 巨大摩天楼、 密集城市、 森林覆盖、 奇幻城堡、 废土垃圾感、 人物、 机器人。

{{Portrait 1}} 为当前机械鸵鸟最终形象参考。 保持参考图中的整体轮廓、头身比例、脸型、脖子长度、身体结构、骑乘位设计、电子眼位置、脚掌结构、原子朋克海岸交通工具气质不变。 在此基础上进行“去麻子感”优化： 减少表面碎裂细节与高密度工业噪点。 不要： 大量小锈点 密集铆钉 密集螺丝 麻点状旧化 高密度机械碎细节 废铁堆质感 scrapyard texture 霉斑感 颗粒脏污 整体采用： “干净的旧工业交通工具”方向。 表面以： 大块完整旧白漆 大面积舒服留白 少量边缘磨损 轻微盐雾氧化 少量自然划痕 为主。 旧化必须克制、均匀、舒服。 不要脏乱， 不要废铁垃圾感， 不要恐怖机械感。 强化： 大形体轮廓 圆润外壳 亲和感 呆萌感 荒诞感 可靠感 头部保持略大， 眼睛保持蓝色低分辨率电子像素眼， 嘴部保持鸭嘴/鸵鸟嘴混合的笨拙微笑感。 整体气质更偏： Pixar机械IP、 WALL-E旧工业温暖感、 复古原子朋克海岸交通工具。 重点： 让它像一个长期被使用、被维护、有人情味的旧时代交通载具。 不是战争机器， 不是废土怪兽， 不是机械恐龙。 21:9横版角色设定板， 白底或浅灰底， 电影道具级工业设计， 真实材质， 高统一度， 高识别度IP设计。

21:9 widescreen character design sheet, clean white or pale gray background, atom-punk wasteland coastal small flying vehicle, open cockpit light aircraft, not a transport ship, not a large airship, not a jet, not a futuristic fighter. A small old-industrial low-altitude flying machine for patrol, scouting and quick flyby over beach crowds. Short compact fuselage, two small wings or stabilizer wings, open or semi-open cockpit with the pilot clearly visible, old propeller aircraft feeling, possibly front propeller or twin side propellers, low-altitude agile flight, old industrial island aircraft, rough but charming, slightly absurd, not heavy cargo, not bulky. Materials: old metal skin, rivets, patched plates, welded repairs, worn paint, chipped edges, scratches, rust, oxidation, salt corrosion, grease, sun-bleached weathering, clear readable structure, not muddy. Color scheme: faded dirty white and worn gray metal main body, with small faded dark red / brick red / rusty red accents, or small faded dirty yellow ID accents, low saturation, old industrial look, not bright modern paint. Pilot robot: visible inside the cockpit, not human. Head design should be a small industrial monitor head / old small display head / old CRT-like robot head, but not a direct copy of any famous character. Thick old metal casing, relatively small screen area, simple low-resolution dot-matrix eyes, symbols or scan lines, subtle homage feeling but original. Pilot may wear light aviator elements: goggles, forehead flight goggles, harness straps, seat belts, simple scarf or canvas shoulder strap. No full heavy pilot jacket, no cosplay styling, no overly human look. Function: low-altitude flying, quick pass over robot crowds, patrol, scouting, aerial movement in a sunny beach/island wasteland world. No heavy weapon focus. Add random worn industrial numbers like F-12, AIR-7, BX-3, R-08, FL-21. Include: 1 main 3/4 overall flying vehicle view 2 side view 3 top or rear structure view 4 cockpit close-up 5 propeller / wing / engine detail 6 pilot robot half-body or full-body detail 7 pilot head close-up 8 pilot goggles / aviator detail 9 low-altitude flyby pose on white or pale gray background only 10 dynamic passing pose from front-side angle on white or pale gray background only realistic materials, cinematic realism, subtle film texture, clean professional concept board, not a transport ship, not a large blimp, not a futuristic sci-fi aircraft, not over-steampunk, not cartoon --ar 21:9 --v 7 --stylize 120

保持参考图 {{Image 1}} 整体构图、海岸建筑、沙滩尺度、光线和电影质感不变。 只调整广告牌位置： 不要把广告牌放在沙滩中央。 将广告牌移动到画面左侧远处的海岸坡地上，靠近复古度假建筑和旧木栈道入口旁。 广告牌半嵌在低矮护坡和沙丘边缘，略微倾斜，像多年以前度假区留下的旧宣传设施。 广告牌不要挡住大面积沙滩。 保持沙滩中间开阔，作为未来机器人群冲向海面的运动路线。 广告牌只作为左侧环境前景信息，不抢主体。 广告牌内容保持旧海岸宣传海报： 残破褪色的狗狗币财富天堂宣传图， 局部撕裂、掉漆、盐雾腐蚀， 文字模糊残缺： FOLLOW THE COIN GOLDEN FUTURE AWAITS 整体真实电影摄影感，复古原子朋克海岸世界观。

atompunk coastal world capitalist mastermind character sheet, old financial oligarch, harbor consortium chairman, gold rush manipulator, Churchill-like body mass, old banker, wasteland capitalist godfather, gentle con man elderly overweight white-haired man, age 60-75, large belly, thick neck, heavy body mass, calm and confident presence, subtle smile, intelligent calculating eyes, realistic wrinkles, skin pores, slightly oily skin texture, cigar in mouth wearing dark vintage suit, white shirt, dark vest, tie, pocket watch chain, metal cufflinks, polished old leather shoes, cane, understated old-money wealth personality feels calm, charming, trustworthy on surface, secretly manipulative, powerful without showing aggression character turnaround sheet: front view, side view, back view, 3/4 view, seated pose, cigar pose, facial close-up, thinking expression, hand and pocket watch detail, cane and shoe detail cinematic realistic movie character design, IMAX 70mm film look, highly realistic skin texture, retro atompunk coastal aesthetic, elegant dangerous old-money energy clean white background, professional character design presentation board --ar 21:9 --stylize 120 --v 7

16:9电影级环境母图，纯场景，无任何角色、无机器人、无人物、无车辆、无船只、无警示牌、无文字、无海报、无事件动作。 画面是一个“原子朋克美国海岸资本乐园”的主场景空间。 这是后续大量机器人从沙滩后方冲向海里的第一幕主场景母图，所以画面核心不是展示建筑，而是展示一个巨大、开阔、可容纳成百上千机器人奔跑的沙滩运动空间。 镜头采用中高机位 / 半航拍斜俯视广角视角，不是贴地平视。 摄影机位于沙滩后方偏高位置，朝右侧远处海洋方向观看，形成清晰的空间纵深。 构图要求： 左侧远处是少量低矮的原子朋克海岸建筑群。 建筑位于轻微抬高的海岸台地、低矮悬崖或缓坡上，和沙滩有一点高低错落，但不是高悬崖。 建筑必须离海水较远，只作为边缘背景和世界观信息，不能占据画面中心，不能压缩沙滩空间。 画面中央是一大片极其宽阔、空旷、干净的金色沙滩，占画面主要面积。 沙滩要像一个巨大的冲刺舞台，未来可以容纳成百上千机器人从后方冲向海里。 沙滩必须足够宽、足够长、足够有纵深，不能像普通旅游海滩那么窄。 前景和中前景都应以空旷沙地为主，有真实风吹沙纹、轻微沙粒纹理、阳光下的热浪感和空气透视。 右侧是开阔的蔚蓝海洋。 中景能看到湿沙缓冲区、海浪线、浅水区域和海面反光。 远景是开阔海面与海平线。 这一张图里不要出现狗狗币小岛，不要出现巨大金币，不要出现近处岛屿。 目标是先锁定“沙滩主舞台”的空间关系。 建筑风格： 1950年代原子时代未来主义 Atompunk， Palm Springs 海岸度假建筑， 夏威夷海岸现代主义， 美国西海岸富人度假社区气质。 建筑特点： 奶油白色主体， 圆角流线结构， 横向玻璃窗， 低矮层叠布局， 少量褪色橙红装饰线条， 轻微盐雾侵蚀， 少量金属锈迹， 看起来曾经高级、昂贵、乐观、度假化， 但现在有一点点被海风侵蚀后的衰败感。 不要脏乱，不要垃圾堆，不要破败废墟。 场景可包含： 少量棕榈树， 热带海岸植物， 低矮海岸台地， 远处海滨步道， 远处观景平台， 低矮灯塔或码头轮廓， 但这些元素都必须退到画面边缘或远处，不能抢占中间沙滩空间。 整体气质： 阳光灿烂的美国西海岸 / 夏威夷复古未来主义海岸度假区， 表面是资本乐园和度假天堂， 但带有轻微文明衰败后的黑色幽默感。 不是末日废土，不是赛博朋克，不是未来都市。 光线： 强烈美国西海岸正午阳光， 蓝天白云， 海面刺眼高光， 轻微热浪蒸腾， 真实空气透视， 阳光晒白的低饱和色彩， 不要HDR感， 不要过度锐化， 不要旅游宣传片过饱和色彩。 色彩： 奶油白， 褪色橙红， 浅金属灰， 金色沙滩， 海水蓝， 阳光金。 整体颜色要克制、晒白、真实、电影感，不要太鲜艳。 画面必须满足： 左侧远处少量抬高建筑， 中间超大空旷沙滩， 右侧开阔海面。 沙滩是绝对主体。 建筑只是边缘世界观背景。 空间必须足够大，能想象后续有大量机器人群像从沙滩后方冲向海里。 不要出现： 机器人， 人物， 动物， 车辆， 船只， 警示牌， 广告牌， 文字， 海报， 狗狗币， 巨大金币， 近处岛屿， 密集建筑， 高楼城市， 赛博朋克霓虹， 科幻飞船， 垃圾堆， 脏乱废土， 密集森林， 现代新楼盘感。 真实电影环境概念设计，IMAX 70mm胶片电影质感，电影级构图，巨大空间尺度，世界观母图，超高细节。

{{Image 1}} 在图片红圈里加入一个广告牌 广告牌为： 复古美国海岸度假区风格的大型金属广告牌， 有些倾斜、生锈、被海风侵蚀， 表面掉漆、褪色、局部撕裂。 海报内容是： 一张曾经宣传“狗狗币财富天堂”的旧宣传海报， 海报中的巨大金色狗狗币已经残破， 边缘被撕裂， 只剩部分狗狗头像和金币轮廓。 不要现代赛博朋克。 不要霓虹灯。 不要夸张科幻感。 广告牌文案模糊残缺即可，例如： “FOLLOW THE COIN” “GOLDEN FUTURE” “PARADISE AWAITS” 文字不要太清晰， 像多年暴晒后即将废弃。 广告牌给人的感觉： 这里曾经疯狂宣传财富神话， 而现在已经逐渐变成被遗忘的资本废墟。 远处海岸建筑、摩天轮、灯塔、低矮复古未来主义建筑群保持不变。

为海岸世界观母版参考，只参考它的沙滩质感、蓝天、阳光、空气透视、原子朋克海岸娱乐设施风格、远处建筑质感和真实电影摄影感。 不要参考 的原始构图。 不要参考 的海岸线方向。 不要沿着海边看海。 不要让大海出现在前景或中景。 生成21:9超写实电影级环境概念图，《风口》沙滩主场景空镜。 镜头设定： 摄影机相对 的原始视角向左旋转约90度。 摄影机位置靠近海边，但镜头朝向沙滩内陆方向。 摄影机向后退，低机位，距离地面约80厘米到1.2米。 使用24mm电影镜头，轻微广角，但不要鱼眼畸变。 画面结构： 前景和中景主要是巨大、宽阔、空旷的沙滩，占画面70%以上。 沙滩要有很强纵深感，像未来大量机器人从远处冲向镜头或从镜头旁边掠过的主舞台。 前景不能出现海水。 中景不能出现海水。 只允许在画面极边缘或远处有一点点海岸光感，但不要看到明显海面。 远景： 远处是原子朋克美国海岸娱乐区建筑。 建筑位于画面远处，不要离镜头太近。 风格为1950年代美国原子时代海岸游乐园、复古赌场、圆形白色混凝土建筑、摩天轮、观景塔、广播塔、低矮海岸俱乐部、褪色广告牌、木质栈道、棕榈树。 建筑要零散分布，不要密集城市，不要现代公寓，不要住宅别墅。 沙滩细节： 沙纹、浅脚印、轮印、湿沙与干沙过渡、少量空沙滩椅、褪色遮阳伞、旧警示牌、木质栈道边角、零散金属零件。 细节不要过多，保持空旷。 氛围： 明亮美国西海岸白天， 蓝天、阳光、轻微海边 haze， 美丽但隐隐不安， 像资本主义度假区在灾难前一秒的空场。 用途： 这是后续机器人群体冲锋、巨型机器人入场、路牌被撞倒的主沙滩场景参考图。 必须留下足够宽阔的运动空间。 真实电影摄影感， IMAX 70mm胶片质感， 自然光， 大尺度环境叙事， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化， 不要游戏感， 不要插画感。

21:9横版角色设定板，白底或浅灰底，专业工业产品设定图排版。 参考方向： 整体视觉基于“完整工业产品感 + 克制海岸旧化 + 原子朋克工业世界”。 不要超级英雄机甲，不要高科技军武感，不要赛博朋克霓虹，不要参天巨物，不要怪兽感。 设计一个原子朋克废土海边世界中的“猩猩式重载推进机器人”。 它是机器人群像社会中的大型强势工程单位，负责： 重载搬运、粗暴推进、清障、区域巡查、沙滩和浅水环境开路。 它不是战斗机甲，不使用武器。 它靠： 重量、低重心、四足推进结构、巨大前臂、粗暴惯性， 把周围小机器人撞开、拨开、推开。 核心气质： 旧工业、沉重、冷硬、沉默、稳定、强势， 像一台被长期使用但仍然先进可靠的大型工业产品。 不是垃圾拼装机器人。 不是破烂废铁。 而是： “曾经先进、如今经历长期海岸环境使用后的工业重载设备”。 —————————————————— 【核心结构】 整体高度： 约为普通机器人2.2倍—2.5倍。 结构比例： 采用“猩猩式低重心四足推进结构”。 核心重点： 前肢巨大、后肢短粗、身体前倾。 前肢承担： 支撑、撞击、推进、拨障碍。 后肢负责： 爆发推进与稳定承重。 运动状态像： 大型猩猩、重型推土机械、 或者低重心重型工程机械冲撞前进。 但： 只能借鉴“力量运动逻辑”， 不能出现真正猩猩外形。 不要动物化。 不要金刚机器人。 不要生物肌肉结构。 仍然必须是： 工业机器人。 —————————————————— 【跑动与姿态】 重点强调： 四足支撑推进。 机器人高速推进时： 前臂先砸地支撑， 肩部向前顶出， 后腿粗暴蹬地， 整个身体像重型压路机一样向前冲。 它推进时： 会直接用前臂拨开障碍、 撞开小机器人、 粗暴顶过去。 动作感觉： 霸道、稳定、低重心、惯性巨大。 不是敏捷格斗。 不是跳跃机甲。 不是动作明星。 而是： “停不下来的重型工业机器”。 —————————————————— 【头部设计（最重要）】 头部必须强化识别度。 不要： 胸口灯、 平板脸、 玻璃驾驶舱、 潜艇观察窗、 屏幕表情、 emoji脸。 头部必须： 真实工业机械头壳。 结构： 宽厚、突出、立体， 从身体前部明显伸出。 不能太扁平。 即使身体沉入海里， 只露头部， 观众也能一眼认出来。 头部由： 厚重防撞框 多层机械护板 两枚不对称机械观察镜头 窄横向观察缝 下方工业格栅 辅助小型传感器 老式工业探照灯结构 组成。 形成一种： 冷硬机械“伪脸”。 头部需要： 具有工业压迫感。 —————————————————— 【材质与工业感】 机器人不是破铜烂铁。 主体材质： 先进工业白色装甲。 但长期经历： 海风、 盐雾、 沙尘、 暴晒、 海水腐蚀。 因此表面出现： 轻微掉漆 边缘磨损 海盐氧化 局部锈迹 工业划痕 修补痕迹 焊接痕迹 长期使用痕迹 旧化必须： 克制。 不要脏成一团。 不要垃圾场感。 整体仍然像： 能正常工作的高端工业设备。 —————————————————— 【配色方案】 采用： “工业白 + 褪色暗红 + 深灰机械结构”。 主体： 旧工业白。 局部： 褪色暗红、 锈红、 砖红。 用于： 肩部 前臂 头部边框 编号区 推撞结构 红色必须： 褪色、克制、海岸工业感。 不要鲜艳。 不要跑车红。 不要超级英雄红。 裸露机械结构： 深灰黑金属。 局部允许： 黄黑警示条 工业编号 老旧喷码 —————————————————— 【环境适配】 机器人必须适合： 晴天海边、 沙滩、 海岛、 海水、 金币世界。 整体色彩不能太阴暗。 必须能够融入： 类似《死亡岛2》 《辐射》 《丧尸清道夫》 那种： 阳光明媚、 带荒诞感、 但并不压抑的世界。 —————————————————— 【输出内容】 同一张设定板中输出： 正面全身 侧面全身 背面全身 3/4侧前方全身 头部特写 观察镜头/机械前脸特写 巨型推进前臂特写 抓取手/夹爪特写 宽大脚掌与腿部结构特写 四足推进姿态图（白底） 四足奔跑连续动作分解 半沉海水只露头部状态图 不要： 沙滩实景。 不要环境剧情图。 不要电影海报构图。 整体保持： 工业产品设定板风格。 —————————————————— 【画面要求】 真实材质， 电影级工业设计感， 轻微胶片质感， 结构稳定， 细节丰富， 专业概念设计排版， 真实摄影级工业金属质感。 避免： 超级英雄机甲 高科技未来军武 光滑纳米装甲 赛博朋克 巨型怪兽 动物化 纯废土垃圾拼装 蒸汽朋克铜管堆砌 日本动漫机甲风 高达感 变形金刚感 EVA感

elderly overweight capitalist tycoon, realistic old white male actor, Churchill-inspired body type, heavy face, white thinning hair, thick cheeks, subtle intelligent smile, cigar in mouth wearing dark vintage three-piece suit, old banker style, pocket watch chain, old money aesthetic, seated calmly in a leather chair looks warm and trustworthy on the surface, but secretly manipulative and powerful real human proportions, realistic skin pores, wrinkles, oily skin texture, heavy body weight, realistic hands cinematic live action film still, IMAX 70mm photography, realistic actor casting photo, practical costume design, ultra photorealistic, grounded realism soft cinematic lighting, natural lens compression, shallow depth of field NOT cartoon NOT concept art NOT character sheet NOT stylized illustration NOT Pixar NOT Disney NOT caricature --ar 16:9 --stylize 15 --v 7

16:9或21:9横版角色设定图 / 概念图，白底、浅灰底或干净明亮的海岸环境辅助展示。 设计一个原子朋克海边世界中的小型开放式飞行机器人 / 飞行器角色，作为短片《风口》中的空中彩蛋与低空掠过角色。整体方向不是重废土拼装物，不是破烂蒸汽朋克，不是军武战机，而是“干净机体、克制旧化、完整工业产品感、明亮海岸环境”方向下的复古海岸工业飞行器。 飞行器设定： 它是一种小型低空飞行器，具有老式螺旋桨飞机的开放式驾驶感，机体轻巧，结构清晰，具备双翼或短翼、尾翼、开放式驾驶舱、外露螺旋桨或侧置推进结构。不是封闭运输船，不是大型飞艇，不是厚重货运机，也不是复杂蒸汽锅炉飞船。整体更像旧时代海岛通勤机、海岸巡逻机、低空观测机、轻型服务飞行器。 造型气质： 复古、轻工业、原子朋克、海岛服务系统风格。轮廓简洁，机身线条清楚，局部有少量旧工业铆接和维护结构，但不要到处铜管、烟囱、锅炉、复杂管道。要有真实产品设计感，而不是拼装垃圾飞行器。 驾驶员机器人： 驾驶员清晰可见，坐在开放式驾驶舱内。驾驶员是一个小型机器人，头部采用老式小电视机 / 小显示器头设计，屏幕不是超大现代液晶，而是小而旧的显示面，带简洁像素化表情或极简电子表情，形成轻微致敬感，但不要直接照搬现成角色。身体是小型服务机器人结构，穿着可有极简飞行夹克或轻便飞行背心，带旧护目镜或飞行风镜，但配件要克制，不要喧宾夺主。 配色与材质： 整体采用干净的旧工业民用配色，建议“工业白 / 脏白 + 褪色暗红或褪色橙黄 + 深灰机械结构”组合，也可少量加入海岸蓝灰识别漆。机体表面有轻微旧化：边缘磨损、掉漆、轻微锈迹、盐雾痕迹、日晒老化、局部油污，但整体不能太脏、太破、太乱。要看起来像仍在使用中的旧机器，而不是报废残骸。 环境气质： 适合晴天海边、海岛、沙滩、码头、金币世界、明亮天空环境。整体画面明亮通透，有阳光感和海风感，不要阴冷废墟气氛，不要重阴天末日感。 补充设计： 机身上可以贴一张旧海报或宣传贴纸，作为彩蛋元素，但面积要小，像飞行器上的旧贴花，不要过大抢戏。飞行姿态应体现低空掠过、轻巧飞行、掠过人群机器人、从上空快速滑行的感觉。 整体要求： 真实材质，电影感，轻微胶片质感，结构稳定，完整工业产品设计，明亮海岸世界观，避免重废土、避免垃圾拼装、避免过度蒸汽朋克、避免军武战机、避免卡通玩具感。

21:9电影级开场镜头，使用全能参考生成。 {{Portrait 1}} 为场景母版参考，锁定海滩朝建筑方向的空间关系、沙滩质感、远处原子朋克海岸建筑、灯塔、摩天轮、游乐设施轮廓、整体晒白电影色调与空气感。 {{Portrait 2}} 为狗狗币道具参考，锁定狗狗币的造型、浮雕狗头、金属材质、厚度、边缘结构与黄金色泽。 生成一个强视觉钉、强钩子感的电影开场画面： 镜头为超低机位近景，摄影机几乎贴着沙地，离沙面很近，前景能清楚看到粗粝沙粒、细小贝壳碎屑和沙面纹理。画面主体是一枚黄金狗狗币，半埋在沙滩里，不是直直插着，也不是平躺，而是微微倾斜、轻轻翘起一点点，埋入沙中约三分之一到接近一半，埋得自然，像被海风和沙子半掩住。狗狗币表面不是崭新发亮，而是略有使用痕迹和轻微旧化，边缘有少量磨损、细小划痕、局部沙粒附着，但整体仍然贵重、诱人、闪着温暖金光。 构图重点是“狗狗币钉住观众视线”。狗狗币在画面中占据明确视觉主体地位，靠近镜头，具有压迫性的近大远小透视感。画面天空比例要少，只保留上方少量天空，不要大面积留空。背景不要看到海洋，背景必须是陆地方向。远处虚化可见原子朋克美国海岸资本乐园的轮廓：低矮海岸建筑、灯塔、摩天轮、海边游乐设施、棕榈树、少量沙滩椅和遮阳伞痕迹，全部退到远处，只作为环境信息，不要抢主体。 整体镜头气质参考电影级抓人开场：强视觉引子、强叙事悬念、像一部高概念短片的第一眼画面。不是普通产品摆拍，不是旅游海报，而是一个会让观众立刻好奇“为什么沙滩里会有一枚狗狗币”的电影叙事开场。画面需要具有轻微黑色幽默和荒诞财富诱惑感。 风格与质感： 原子朋克美国海岸资本乐园世界观， 美国西海岸 / 夏威夷阳光海岸氛围， 晒白、克制、真实的电影色调， 轻微热浪感， 真实空气透视， IMAX 70mm胶片电影质感， 高细节真实摄影感， 低机位广角近摄带来的强透视冲击。 画面只生成环境和狗狗币本体，不要让任何角色进入画面中心。重点是： 低机位近景沙地 + 半埋旧化金属狗狗币 + 朝建筑方向的虚化海岸背景 + 强视觉钩子感。

21:9横版角色设定板，白底或浅灰底。 设计一个原子朋克废土风格的小型机器人角色。它是海边环境中的底层小机器角色，像长期在海边拾荒、搬运或巡查的旧机器，不是英雄角色，不是战斗机甲，也不是高等级高科技机器人。 角色整体体型偏小，身形瘦，结构轻，略微前倾，站姿带一点轻微笨拙感和脆弱感。头部略大于身体但不过度夸张，身体窄小，四肢细长但结构清楚，腿部较细，脚部能够稳稳踩在沙地上。手部为灵活的小型机械手或机械夹爪，适合完成“捡起地面小物体”的动作。 材质以旧金属外壳为主，颜色偏灰铁、暗银、旧铝色，局部带少量旧铜或暗黄铜细节。表面可见磨损、轻微刮痕、边缘氧化和少量修补痕迹，关节处有少量裸露机械连接件与细小线缆，整体旧化程度中等，真实、克制，不要太脏乱。 头部为简洁机械头壳，脸部不是屏幕，也不是像素表情，而是双机械镜头眼结构，镜头外圈带轻微光圈或机械圈层结构，能够通过镜头朝向、光圈开合、头部偏转来表达轻微情绪。整体气质偏普通、可怜、安静、略显迟钝，但不是可爱卖萌路线。 请在同一张设定板中输出： 1. 正面全身 2. 侧面全身 3. 背面全身 4. 3/4侧前方角度 5. 头部特写 6. 眼部特写 7. 手部特写 8. 一个低头看地面的姿态 9. 一个半蹲、伸手准备捡起地面物体的姿态 整体要求真实材质，电影感，胶片感，结构清楚，细节稳定，不要Q版，不要玩具感，不要华丽机甲感，不要赛博霓虹风。

在图片红圈里加入一个广告牌 广告牌为： 复古美国海岸度假区风格的大型金属广告牌， 有些倾斜、生锈、被海风侵蚀， 表面掉漆、褪色、局部撕裂。 海报内容是： 一张曾经宣传“狗狗币财富天堂”的旧宣传海报， 海报中的巨大金色狗狗币已经残破， 边缘被撕裂， 只剩部分狗狗头像和金币轮廓。 不要现代赛博朋克。 不要霓虹灯。 不要夸张科幻感。 广告牌文案模糊残缺即可，例如： “FOLLOW THE COIN” “GOLDEN FUTURE” “PARADISE AWAITS” 文字不要太清晰， 像多年暴晒后即将废弃。 广告牌给人的感觉： 这里曾经疯狂宣传财富神话， 而现在已经逐渐变成被遗忘的资本废墟。 远处海岸建筑、摩天轮、灯塔、低矮复古未来主义建筑群保持不变。

21:9超写实电影级室内场景概念图，《风口》结尾幕后空间空场景。 不要人物。 不要胖老头。 不要机器人。 不要出现明确的大狗狗币标志。 不要让玻璃罩里只放一枚金币或单一货币标志。 场景设定： 原子朋克海岸资本世界里的幕后资本家办公室 / 港口财团主席室。 整体气质： 老钱、奢侈、阴暗、安静、优雅、控制感强。 不是现代科技实验室，不是赛博朋克，不是黑客矩阵阵列。 像旧时代金融寡头把不同世界当收藏品的私人办公室。 空间关系： 前景是一张厚重深色木质办公桌，占画面下方。 办公桌后方中景是一把空的深棕色高背皮质扶手椅，椅子正对观众，明显等待人物坐下。 椅子必须空着。 桌面和椅子之间保持清楚的空间关系。 桌面设计： 桌面上摆放多个大小不同的玻璃罩微缩小世界。 每个玻璃罩里都不是单个道具，而是一个完整的小型世界模型。 玻璃罩内容可以包括： 微缩海岸度假区、 空旷沙滩和海面、 金币堆积的小岛、 微型游乐园、 旧工业城市、 荒漠公路、 矿山、 港口码头、 消费广场、 金融建筑模型。 这些小世界要像富人收藏品、资本游戏沙盘、被操控的微型世界。 不要让任何一个玻璃罩里出现过大的单枚金币。 不要让狗狗币标志成为画面主角。 如果有金币元素，只作为小世界里的细节或堆积物，不要突出成大Logo。 桌面需要留出一块空位，方便后续放置手部动作、金币落点或特写镜头。 玻璃罩排列不要太整齐，要有自然收藏感和层次感。 背景： 深色木墙， 旧港口地图， 海岸开发规划图， 旧股票走势图， 黄铜壁灯， 复古保险柜， 木质书柜， 玻璃酒柜， 航海仪器， 金融奖章， 旧式电话， 怀表， 账本， 黄铜台灯。 灯光： 低照度暖光。 桌面黄铜台灯作为主要光源。 背景有柔和暗金色壁灯。 空气中有轻微雪茄烟雾。 整体色调为深棕色、暗金色、黑色皮革、黄铜、玻璃反光。 构图： 电影级宽画幅构图。 前景桌面建立“操控世界”的隐喻。 中景空皮椅是幕后资本家即将出现的位置。 背景墙面提供财富、港口、金融控制的世界观信息。 画面不要过满，保留呼吸感和神秘感。 画面重点： 不是豪宅炫富， 而是安静、冷酷、优雅的幕后操盘空间。 观众能感觉到： 外面所有疯狂追逐财富的世界，只是这张桌上的收藏模型。 真实电影摄影感， IMAX 70mm胶片质感， 高端电影美术， 真实木材、皮革、黄铜、玻璃材质， 自然景深， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化， 不要AI插画感。

16:9超写实电影级室内场景概念图，《风口》结尾幕后空间空场景。 不要人物。 不要胖老头。 不要机器人。 不要出现明确的大狗狗币标志。 不要让玻璃罩里只放一枚金币或单一货币标志。 场景设定： 原子朋克海岸资本世界里的幕后资本家办公室 / 港口财团主席室。 整体气质： 老钱、奢侈、阴暗、安静、优雅、控制感强。 不是现代科技实验室，不是赛博朋克，不是黑客矩阵阵列。 像旧时代金融寡头把不同世界当收藏品的私人办公室。 空间关系： 前景是一张厚重深色木质办公桌，占画面下方。 办公桌后方中景是一把空的深棕色高背皮质扶手椅，椅子正对观众，明显等待人物坐下。 椅子必须空着。 桌面和椅子之间保持清楚的空间关系。 桌面设计： 桌面上摆放多个大小不同的玻璃罩微缩小世界。 每个玻璃罩里都不是单个道具，而是一个完整的小型世界模型。 玻璃罩内容可以包括： 微缩海岸度假区、 空旷沙滩和海面、 金币堆积的小岛、 微型游乐园、 旧工业城市、 荒漠公路、 矿山、 港口码头、 消费广场、 金融建筑模型。 这些小世界要像富人收藏品、资本游戏沙盘、被操控的微型世界。 不要让任何一个玻璃罩里出现过大的单枚金币。 不要让狗狗币标志成为画面主角。 如果有金币元素，只作为小世界里的细节或堆积物，不要突出成大Logo。 桌面需要留出一块空位，方便后续放置手部动作、金币落点或特写镜头。 玻璃罩排列不要太整齐，要有自然收藏感和层次感。 背景： 深色木墙， 旧港口地图， 海岸开发规划图， 旧股票走势图， 黄铜壁灯， 复古保险柜， 木质书柜， 玻璃酒柜， 航海仪器， 金融奖章， 旧式电话， 怀表， 账本， 黄铜台灯。 灯光： 低照度暖光。 桌面黄铜台灯作为主要光源。 背景有柔和暗金色壁灯。 空气中有轻微雪茄烟雾。 整体色调为深棕色、暗金色、黑色皮革、黄铜、玻璃反光。 构图： 电影级宽画幅构图。 前景桌面建立“操控世界”的隐喻。 中景空皮椅是幕后资本家即将出现的位置。 背景墙面提供财富、港口、金融控制的世界观信息。 画面不要过满，保留呼吸感和神秘感。 画面重点： 不是豪宅炫富， 而是安静、冷酷、优雅的幕后操盘空间。 观众能感觉到： 外面所有疯狂追逐财富的世界，只是这张桌上的收藏模型。 真实电影摄影感， IMAX 70mm胶片质感， 高端电影美术， 真实木材、皮革、黄铜、玻璃材质， 自然景深， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化， 不要AI插画感。

16:9 ultra realistic cinematic environment concept art for the short film “Windfall”. Empty scene. A massive open tropical beach on the American west coast in an atomic-age capitalist world, daytime. Camera positioned from a moderately elevated cinematic viewpoint, about 10-18 meters above the beach, wide slightly downward perspective. The frame is dominated by a vast open sandy beach, occupying over 70% of the image. The beach must feel extremely wide, deep, and open, like a huge empty runway for a future robot stampede. Right side: wide blue ocean, shallow shoreline, wet reflective sand, long curved coastline. Left side and far distance: only sparse atomic-age coastal entertainment structures. Do not create a dense resort city. Architecture should be minimal, scattered, and symbolic: one distant retro casino tower, one faded seaside amusement pier, one small ferris wheel far away, one old broadcast tower, a few low public beach club buildings, wooden boardwalk fragments, old tourism signs. Add one strong capitalist landmark in the far left distance: a tall weathered atomic-age advertising tower or observation tower, with faded retro signage, like a forgotten financial paradise icon. The buildings should feel public and commercial, not residential. No villa rows. No modern luxury condos. Architecture style: 1950s American atomic-age modernism, weathered white concrete, rounded glass, faded orange-red accents, salt-air erosion, old coastal consumerism. Beach details: a few empty umbrellas, a few old beach chairs, a lifeguard tower, subtle sand ripples, wet sand texture, small scattered tourism remnants. Keep the beach spacious and uncluttered. Mood: beautiful, warm, bright, slightly uncanny, like a forgotten capitalist paradise waiting for something absurd to happen. Warm sunlight, coastal haze, natural cinematic lighting, IMAX 70mm film photography, large-scale environmental storytelling, subtle film grain, ultra realistic, clean image.

将 {{Portrait 1}} 作为基础场景参考图，严格保持参考图中的海岸构图、机位高度、透视关系、沙滩尺度、建筑布局、灯光氛围、色彩和世界观不变。 这是一个明亮但已经逐渐衰败的“资本海岸度假区”。 只在画面左侧海岸建筑区域新增一个大型旧广告牌。 广告牌不要居中，不要抢主体，只作为环境中的前景信息存在。 广告牌为： 复古美国海岸度假区风格的大型金属广告牌， 有些倾斜、生锈、被海风侵蚀， 表面掉漆、褪色、局部撕裂。 海报内容是： 一张曾经宣传“狗狗币财富天堂”的旧宣传海报， 海报中的巨大金色狗狗币已经残破， 边缘被撕裂， 只剩部分狗狗头像和金币轮廓。 不要现代赛博朋克。 不要霓虹灯。 不要夸张科幻感。 广告牌文案模糊残缺即可，例如： “FOLLOW THE COIN” “GOLDEN FUTURE” “PARADISE AWAITS” 文字不要太清晰， 像多年暴晒后即将废弃。 广告牌给人的感觉： 这里曾经疯狂宣传财富神话， 而现在已经逐渐变成被遗忘的资本废墟。 远处海岸建筑、摩天轮、灯塔、低矮复古未来主义建筑群保持不变。 整体仍然保持： 真实电影摄影、 IMAX 70mm胶片质感、 真实美国海岸光线、 轻微空气雾化、 黑色幽默、 资本寓言感。 不要新增人物。 不要新增车辆。 不要让广告牌变成主体。 不要破坏原本的空旷感和电影感。

21:9 电影级写实开场镜头，原子朋克美国海岸资本乐园世界观，强视觉钩子，短视频开场第一镜，纯场景道具镜头，无机器人、无人手、无人脸、无人形主体。 镜头内容： 一枚黄金狗狗币半躺在沙滩中，微微倾斜，浅浅埋入细沙，埋入深度自然真实，不是直直插进沙里，也不是完全平躺。狗狗币下缘和背面被沙子自然堆积包裹，一侧埋得更深，一侧露得更多，形成真实重量感和停留感，像被海风和沙粒长期吹打后停留在这里的诱饵。狗狗币是画面唯一绝对主体，强烈抓眼，具有财富诱惑感和异常感。 狗狗币状态： 金属黄金材质，真实厚重，表面不是全新奢侈品状态，也不是破烂废铁，而是略有旧化的贵重金币质感。边缘有轻微磕碰和磨损，浮雕细节略有磨圆，局部有细微暗沉氧化痕迹，缝隙中可见少量沙粒附着，高光厚重克制，整体仍然昂贵、诱人、醒目。 构图与机位： 超低机位，摄影机几乎贴近沙地，低位斜视近摄，不是俯拍，不是普通平视。采用 28mm 广角镜头的电影感近摄视角，强调近景冲击力和空间透视，让狗狗币具有强烈视觉钉子效果。画面重心集中在狗狗币上，狗狗币占据明显视觉主导地位。构图留出一侧空位，方便后续动作衔接和角色入画。整体画面具有爱死机式短片开场的异常吸引力和电影叙事钩子感。 空间关系： 镜头朝向陆地方向 / 建筑方向，而不是朝向海的深处。背景远处隐约可见原子朋克美国海岸度假世界的轮廓痕迹，但绝不喧宾夺主。远处只保留少量失焦的海岸建筑剪影、低矮塔状设施、轻微游乐设施轮廓、少量棕榈树线条，作为世界观背景提示。背景不能清晰抢戏，不能压过前景狗狗币主体。 场景氛围： 美国西海岸 / 夏威夷海岸阳光感，原子朋克海岸文明残影，表面是阳光灿烂的度假海岸，底层有轻微黑色幽默感和文明遗痕感。不是末日废土，不是赛博朋克，不是科幻都市。画面气质要像电影短片开场，而不是静物产品图，也不是普通旅游海滩照片。 沙滩状态： 细沙真实，颗粒清晰，有自然风吹沙纹和局部使用痕迹。狗狗币周围的沙地要有轻微起伏、压痕和自然埋覆关系。不要把沙滩做得过于平整干净，也不要脏乱成垃圾滩。 光线与色调： 强烈美国西海岸正午阳光，阳光晒白感，蓝天白云，空气通透，轻微热浪感。整体色调克制、真实、晒旧、电影感，不要过饱和，不要 HDR，不要过度锐化，不要奢侈品广告式假亮。高光应真实自然，金属反光要厚重，天空和远景保持略微褪色的电影色调。 画面关键词： 强视觉钉子，强钩子开场，财富诱饵感，异常发现感，低机位近摄，电影叙事开场，IMAX 70mm 胶片质感，真实摄影感，黑色幽默，原子朋克海岸世界观，超高细节，电影级构图。

以参考图人物为唯一角色形象基准。 保持参考图中的： - 脸型 - 五官比例 - 体型 - 年龄感 - 发际线 - 皮肤纹理 - 雪茄状态 - 微笑神态 - “笑面虎”气质 不要改变人物身份感。 生成： 21:9横版真人电影角色设定板，白底或浅灰底。 内容包括： 1. 正面站姿 2. 侧面站姿 3. 背面站姿 4. 3/4视图 5. 坐在皮质扶手椅上的姿态 6. 叼雪茄姿态 7. 微笑表情特写 8. 思考表情特写 9. 手部与怀表链特写 10. 手杖与皮鞋特写 人物设定： 原子朋克海岸世界里的幕后资本家 / 港口财团主席 / 风口操盘手。 核心气质： 温和、亲切、像老董事长， 但眼神里有精明、控制欲和长期掌控财富后的松弛感。 重点： 不是邪恶反派， 不是暴怒资本家， 不是疯狂金融巨鳄。 而是： “相信我，我是在帮你发财”的危险感。 表演状态： 轻微微笑， 像正在耐心说服别人， 眼神温和但带控制欲， 像永远比别人提前知道结局。 服装： 深色旧西装， 深色马甲， 白衬衫， 低调领结， 怀表链， 金属袖扣， 旧皮鞋， 黑色手杖。 高级老钱风， 克制， 旧时代金融寡头气质。 真实真人电影摄影， IMAX 70mm胶片质感， 真实皮肤纹理， 自然毛孔， 轻微油脂感， 低饱和高级电影色彩。 不要： 不要卡通， 不要插画， 不要Q版， 不要夸张恶人脸， 不要赌场老板， 不要海盗， 不要赛博朋克霓虹， 不要现代CEO感， 不要超级反派感， 不要表情夸张。 整体像： 电影里的幕后资本操盘者， 真正危险但看起来很可信的人。

16:9或21:9横版角色设定图 / 概念图，白底、浅灰底或明亮海岸环境辅助展示。 设计一个原子朋克海边世界中的机械鸵鸟角色，作为短片《风口》中的地面高速彩蛋角色。它不是丑怪搞笑鸟，不是破铜烂铁拼装物，不是纯骨架废品机器，也不是重废土怪物，而是“干净机体、克制旧化、明亮海岸环境、完整工业产品感”方向下的工业仿生机械生物。 角色定位： 它是一种仿生交通或服务型机械生物，具有鸵鸟的高识别轮廓，用于海岛、沙滩、港口、海边区域的快速奔跑、短途运输、巡查或观光服务。它是这个机器人社会里的轻快地面角色，带一点彩蛋感和趣味性，但不能低幼，不能卡通化过头。 整体轮廓： 保留鸵鸟最核心的识别结构：修长脖颈、小型头部、前倾身体、强劲长腿、善于奔跑的姿态。身体不能太胖，也不要做成怪兽化猛禽。整体应轻快、灵巧、流线型，有真实机械产品设计感。腿部结构应体现弹性、速度感和机械支撑逻辑，适合高速奔跑。 头部与表情： 头部小而明确，带有机械观察镜头或简洁的工业传感器结构，保持鸵鸟的方向感和识别感。不要做成可怕怪物脸，不要做成过度拟人表情，不要卡通玩具感。它的神态应偏机警、轻快、敏锐。 材质与风格： 整体机体要完整、清爽，结构清楚，不要垃圾拼装。可以有少量外露关节、连接杆、减震结构、护板和工业编号，但整体应该像量产过的海岛工业服务机器。旧化要克制：边缘掉漆、轻微磨损、局部锈迹、日晒褪色、盐雾痕迹、轻微污渍，但不要脏成报废品。 配色建议： 建议采用“工业白 / 脏白 + 局部褪色橙黄、褪色暗红或海岸蓝绿识别色 + 深灰机械结构”的配色。整体适合晴天海边、沙滩、海岛、金币环境。颜色应明快但克制，不能太艳，也不能太灰暗。 动作气质： 它跑起来要有轻快、快速、略带弹跳感的机械奔跑姿态，像一台高速仿生跑地机。不是滑稽跑法，不是恐龙怪物感，而是一种聪明、灵活、带一点幽默感但很帅的机械生物。 整体要求： 真实材质，电影感，轻微胶片质感，结构稳定，明亮海岸环境适配，完整工业设计感。避免重废土、避免纯破烂拼装、避免怪物化、避免卡通低幼、避免阴冷末日感。

{{Portrait 1}} 为沙滩朝建筑方向的场景参考，决定整体地貌、沙滩质感、远处原子朋克海岸建筑轮廓、灯塔、摩天轮、褪色海岸设施的气质与色调参考。 {{Portrait 2}} 为狗狗币造型与材质参考，决定金币的造型、厚度、金属质感、旧化程度、浮雕细节与颜色参考。 21:9 电影级开场镜头，真实摄影感，IMAX 70mm胶片质感，原子朋克美国海岸资本乐园世界观。 镜头内容： 开场是一个更神秘、更克制的近距离斜俯视广角镜头，镜头离地非常近，俯角约60°左右，视线集中在一片安静、空旷的沙地上。画面视觉中心埋着一枚半埋的金属狗狗币，但一开始不要让它完整显现，而是让它更像一个被沙子覆盖住的大型金属异物。它埋得更深，最初只露出部分弧形边缘、局部浮雕轮廓和一小片金属反光，让观众第一眼不能立刻完全确认那是什么。随后一阵风掠过，沙面细微滑动，沙粒被吹开，狗狗币才逐渐显露出更多正面轮廓和表情特征，形成“神秘异物被发现”的感觉。 构图必须极简、集中、强视觉钉。前景和主体几乎全部是沙地与半埋狗狗币。天空尽量不出现，海洋不要出现，后景不要完整交代，只允许在远处极虚的状态下轻微带出一点原子朋克海岸设施轮廓，例如模糊的灯塔、低矮海岸建筑或摩天轮，但必须弱到几乎只作为气氛提示。透视关系必须清晰：镜头面朝建筑方向，背对海岸线方向。 狗狗币状态： 狗狗币不是全新发亮的纪念币，而是经过海风、沙尘、时间侵蚀后的珍贵金属物件。表面有轻微旧化、细微磨痕、少量氧化感、边缘轻微损耗，局部沾附细沙，但整体仍有很强的黄金诱惑感、财富感和视觉吸引力。它要显得真实、厚重、值钱、有分量，不廉价，不塑料。 动作设计： 开场先静止，让观众观察这片沙地中的异样。随后海风吹过，沙粒滚动，狗狗币逐渐显露。紧接着，一道黑影慢慢从画面上方掠过地面，遮住部分光线，让气氛突然紧张起来。然后一只机械手从画外伸入，停顿半秒，像发现猎物一样，随后把狗狗币从沙里取出。镜头不急着完全展示机器人，而是先保持神秘和克制，优先让“发现”这件事成立。小机器人可以在镜头最后才被稍微带出，或者只带出局部机械臂与下肢，让观众保持好奇。 镜头风格： 这一版强调悬念、异物感、电影感，不强调快速信息交代。它要像一部高质量科幻黑色幽默短片的开端，先制造神秘，再发生动作，再引出角色。画面必须抓人，但不是靠夸张热闹，而是靠构图、材质、风、光、节奏和异物感。 环境与光线： 沙地是真实海滩细沙，带丰富颗粒质感、小贝壳碎屑、风吹痕迹和微小起伏。阳光是强烈的美国西海岸午后阳光，整体晒白、克制、偏复古，色彩统一为金色沙滩、褪色奶油白、轻微旧化金属感、真实海岸空气感。不要HDR，不要艳丽，不要网红滤镜感，要像真实电影摄影。 声音要求： 只要音效，不要背景音乐。开场主要是海风声、远处空旷海岸环境声、沙粒细微移动声。风吹过时沙粒滑动清晰可闻。黑影掠过时有轻微压迫感风切声。机械手进入时有非常轻的金属伺服声和关节摩擦声，抓取狗狗币时有金属触碰声与沙粒掉落声。 整体要求： 画面必须有神秘发现感、强视觉钉、电影叙事感。不要卡通，不要插画，不要单纯产品摆拍，不要旅游感。必须像一个真正能抓住观众停留的短片开场。

{{Image 1}} 作为机身贴纸海报内容参考，只参考它的海报内容、标题层级、复古彩色商业海报风格和画面元素。提炼其中的核心信息：大标题“70 MILLION VIEWS”，副标题“ZOMBIE SCAVENGER”，底部署名“BY MX-SHELL”，以及海报主体中的屏幕脸机器人、复古红裙女性、机械鸵鸟、原子海岸未来城市背景。不要手机截图界面，不要状态栏、评论区、二维码、账号信息和社交平台UI。海报在最终画面中只作为贴在飞机机身侧面的宣传贴纸，不作为整张画面的主体。 {{Image 2}} 作为机器人飞行员形象参考，只参考它的机器人飞行员造型、头部比例、屏幕脸、小电视机头、护目镜、开放式驾驶姿态、坐在驾驶舱里的状态，以及明亮海岸环境中的整体协调感。保留它自然成立的人物比例和角色气质。不要直接复制图2整张飞机和完整场景，只参考飞行员机器人本身。 {{Image 3}} 作为飞机外形和结构参考，只参考它的小型复古原子朋克飞机造型、机头设计、机身结构、机翼比例、尾翼比例、起落架和底部机械结构。保留它更强的设计感和功能型载具气质，但不要保留过强的概念笔触感，不要过度草图化，不要大面积蓝色主色。 请融合以上三张图，生成一张完整的最终成图： 一架复古原子朋克海岸小飞机在晴朗明亮的海边世界中飞行，整体是干净机、形体克制旧化、明亮海岸环境的方向，不要过度废土，不要脏乱破烂，不要太重末日感。飞机采用图3那种更有设计感的小型单人复古飞机结构，开放式座舱，可看见内部驾驶员。飞机主体配色采用退白、奶油白、褪色暗红、砖红、少量深灰机械结构的配色方案，表面有轻微海风、日晒、盐雾造成的克制旧化痕迹，但整体依然干净、完整、结构清晰，像保养尚可的老式功能型飞行器。 驾驶员是图2那种机器人飞行员：小电视机屏幕头，头顶飞行护目镜，坐在开放式驾驶舱里，比例自然，造型讨喜但不过度可爱，像这个世界中的常驻飞行员角色。机器人头部和上半身需要清楚可见。 在飞机机身侧面贴有一张竖版宣传海报贴纸，贴纸内容参考图1，但重新整理为更适合机身的小尺寸宣传贴纸。贴纸上清楚包含：70 MILLION VIEWS、ZOMBIE SCAVENGER、BY MX-SHELL，并保留黑色或蓝色屏幕脸机器人、红裙女性、机械鸵鸟、原子海岸未来背景等核心构图元素。贴纸看起来像真实印刷完成后贴在机身上的复古商业海报 decal，尺寸适中，清晰可辨，但不能大到压过飞机主体。 整体画面是电影感写实插画 / 高完成度影视概念图风格，阳光明亮，海岸城市与海面背景清新通透，色彩鲜明但克制，具有海岸原子朋克气质、复古商业设计感和角色载具世界观统一感。不要科幻军武感，不要现代战机感，不要赛博朋克，不要过度脏污，不要封闭舱盖，不要低完成度草图感。

16:9电影级环境母图，纯场景，无人物。 设计一个“原子朋克美国海岸资本乐园”的第一幕主场景。镜头采用中高机位、半航拍斜俯视广角视角，摄影机位于沙滩后方偏高位置，朝右前方海洋方向观看。 画面构图清晰明确： 左侧远处是少量低矮的海滨建筑与海岸休闲设施带，建筑位于轻微抬高的海岸台地或缓坡上，与沙滩有轻微高低错落，离海水较远，只作为边缘背景。建筑不要太多，不要形成密集建筑群，不要像未来海岸城市，不要像大型豪宅社区，不要像单纯酒店群。 画面中央是一大片极其宽阔、空旷、干净的金色沙滩，占据画面主要面积，是整个场景的绝对主体。沙滩要像一个可以容纳成百上千机器人奔跑冲向海里的巨大舞台，必须足够宽、足够长、足够有纵深。前景和中前景以大面积空沙地为主，具有真实风吹沙纹、轻微热浪感、空气透视和自然使用痕迹。 右侧是开阔海洋，可见湿沙缓冲区、海浪线、浅水区域与海面反光，远处是干净开阔的海平线。海平面保持简洁，不要出现海上建筑、海上平台、舰船感设施或任何抢戏元素。 左侧建筑区域的风格融合： 1950年代原子时代未来主义 Atompunk， Palm Springs 海岸度假建筑， 夏威夷海岸现代主义， 美国西海岸富人海岸社区气质。 建筑特点： 奶油白主体， 圆角流线结构， 横向玻璃窗， 低矮层叠布局， 少量褪色橙红装饰线条， 轻微盐雾侵蚀， 少量金属旧化痕迹， 整体高级、昂贵、度假化，但带有轻微时间感和轻微被海风侵蚀后的衰败感。 左侧边缘可少量点缀海岸休闲设施痕迹： 少量棕榈树， 热带海岸植物， 海滨步道， 观景平台， 极少量褪色遮阳伞， 极少量沙滩椅或躺椅， 点缀密度很低，只保留一点文明与度假痕迹，不能进入中央主沙滩空间，不能打破大面积空沙滩的主舞台感。 整体气质： 阳光灿烂的美国西海岸 / 夏威夷复古未来主义海岸度假区，表面是资本乐园与度假天堂，底层带有轻微文明衰败后的黑色幽默感。不是末日废土，不是赛博朋克，不是未来都市。 光线与色调： 强烈美国西海岸正午阳光， 蓝天白云， 海面自然高光反射， 轻微热浪蒸腾， 真实空气透视， 整体色调晒白、克制、真实、电影感， 建筑白色偏奶油白和晒旧白， 天空蓝自然略微褪色， 海水蓝真实通透， 不要过度鲜艳， 不要高饱和旅游宣传片感， 不要HDR感， 不要过度锐化。 色彩控制： 奶油白， 晒旧白， 褪色橙红， 浅金属灰， 金色沙滩， 真实海水蓝， 阳光金。 真实电影环境概念设计，IMAX 70mm胶片电影质感，电影级构图，巨大空间尺度，世界观母图，超高细节。

A clean concept art sheet or cinematic concept design of a small open-cockpit flying robot vehicle in an atom-punk coastal world. The design should feel like a retro coastal industrial aircraft, not a heavy wasteland junk machine, not a bulky transport ship, and not a weaponized military plane. The aircraft is a light low-altitude service flyer, inspired by vintage propeller planes and island commuter aircraft, with a visible open cockpit, compact wings or short double wings, a propeller-driven or side-thrust layout, clear tail structure, and a believable industrial design language. It should feel functional, product-like, and well designed, not like a pile of scrap parts. The pilot is visible inside the cockpit: a small robot with a vintage TV-head or small monitor-head design, showing a simple pixel-style expression or minimal electronic face, as a subtle homage without directly copying any known character. The pilot may wear a minimal old flight jacket, light aviator vest, or simple goggles, but the outfit must stay restrained and secondary to the robot design. Visual direction: clean machine body, restrained weathering, bright coastal setting, full industrial product feel. The aircraft should have a polished but aged civilian utility look, suitable for sunny beaches, islands, harbors, blue skies, and a bright whimsical robot society. Color palette: off-white / dirty white base, with faded dark red or faded orange-yellow accents, dark gray mechanical parts, optional subtle coastal blue-gray markings. Weathering should be restrained: edge wear, faded paint, mild rust specks, salt-air marks, sun bleaching, small grease traces. It should look used but still operational, not ruined. Bright coastal atmosphere, cinematic realism, slight film texture, realistic materials, clean silhouette, no extreme rust junk aesthetic, no heavy steampunk boiler clutter, no dark post-apocalyptic mood, no futuristic jet fighter look --ar 16:9 --stylize 150

以 {{Image 1}} 人物为唯一核心参考。 参考 {{Image 1}} 的： 胖老头体型、圆脸、白发稀疏、亲切微笑、抬手讲道理的姿态、幕后资本家气质、温暖但不可信的笑面虎感觉。 生成一张 21:9 横版真人电影角色设定板，白底或浅灰底。 目标： 把图1中模糊的人物高清化、真人化、电影定妆化，并扩展成完整角色多视图。 人物设定： 原子朋克海岸世界里的幕后资本家 / 港口财团主席 / 风口操盘手。 他不是凶狠反派，而是笑面虎式资本家。 看起来温和、亲切、像慈善家、导师、老董事长；但眼神里有精明、控制欲和长期掌控财富后的松弛感。 人物外形： 60-75岁欧美男性。 明显肥胖，大腹便便，肩颈厚重。 白发，发量稀疏但整理整齐。 厚脸颊，真实皱纹、毛孔、轻微油脂感。 眼睛不大但很精明。 脸上保持图1那种“我早就知道结局”的亲切微笑。 服装： 深色旧西装，白衬衫，深色马甲，领结或领带。 怀表链、金属袖扣、旧皮鞋、手杖。 可叼雪茄。 整体高级、克制、老钱风、旧时代金融资本气质。 输出内容： 1. 正面站姿 2. 侧面站姿 3. 背面站姿 4. 3/4视图 5. 坐在皮质扶手椅上的姿态 6. 叼雪茄姿态 7. 抬起一根手指温和讲道理的姿态 8. 微笑表情特写 9. 思考表情特写 10. 手部、怀表链、袖扣、戒指特写 11. 手杖与皮鞋特写 画面要求： 真实真人电影质感， IMAX 70mm胶片摄影感， 高清皮肤纹理， 真实毛孔、皱纹、皮肤松弛、轻微油脂感， 不要AI塑料皮肤， 不要磨皮， 不要插画， 不要卡通， 不要Q版， 不要夸张恶人脸， 不要现代科技CEO感， 不要超级反派感。 整体感觉： 像一个会温和地告诉别人“相信我，你会发财”的老资本操盘手。 第一眼亲切，第二眼不对劲。

保持参考 {{Image 1}} 的飞机造型、构图、机位、飞行状态、人物造型、海岸环境、光线氛围和整体画风不变，不要改飞机整体设计，不要改飞行员机器人外观，不要改背景城市和海边场景。 现在只做一个局部修改：把参考 {{Image 2}} 这张竖版海报内容，融合到飞机尾部外侧，作为一张真实存在的复古宣传贴花。海报不要整张生硬贴上去，不要像后期PS拼贴，不要过于鲜艳，不要抢主体。要将海报缩小，贴在飞机尾翼或尾部垂直尾翼外侧的合适位置，尺寸协调，服从飞机原本结构比例。 海报内容保留其核心识别信息： 70 MILLION VIEWS、ZOMBIE SCAVENGER、屏幕脸机器人、红裙女性、机械鸵鸟、BY MX-SHELL。 但必须进行“机身贴花化”处理：降低饱和度，降低对比度，轻微褪色，轻微旧化，颜色更克制，与飞机原本白红旧漆和明亮海岸环境统一。贴花边缘要自然，像真实印刷贴纸经过日晒、海风、盐雾后产生轻微磨损与褪色，但不要破得太厉害，不要废土感过重，不要做成破烂海报。 最终效果要像：这架飞机原本就贴着一张属于自己世界观里的纪念贴花，海报是飞机设计的一部分，而不是后加上去的外来物。主体仍然是飞机本身，海报只是尾部彩蛋。整体保持干净机、克制旧化、明亮海岸原子朋克气质，真实自然，画面完整，电影感，高级，和谐。

21:9电影级开场镜头。 {{Portrait 1}} 为海岸反向场景参考，锁定沙滩朝建筑方向的空间关系、远处灯塔、摩天轮、低矮海岸建筑、游乐设施轮廓与整体晒白电影色调。 {{Portrait 2}} 为狗狗币参考，锁定狗狗币的造型、浮雕细节、黄金金属材质与厚度结构。 镜头超低机位，摄影机几乎贴着沙地，近距离拍摄一枚半埋在沙滩中的黄金狗狗币。狗狗币微微倾斜，轻轻翘起一点点，埋入沙中约三分之一到接近一半，埋得自然，不是直插，不是平躺。表面略有旧化和细小磨损，附着少量沙粒，既有时间感又依然贵重诱人。狗狗币是画面绝对主体，近大远小，强透视，强视觉钩子。前景清楚可见粗粝沙粒和细小贝壳碎屑。背景不出现海洋，而是远处虚化的原子朋克海岸建筑、灯塔、摩天轮、棕榈树和极少量沙滩设施痕迹。天空比例很少，只留少量天空。整体像高概念短片的抓人开场，IMAX 70mm胶片电影感，真实摄影质感，晒白、克制、电影化。

character design sheet, 21:9 wide layout, white or very light gray background, a small atompunk coastal scavenger robot, low-status minor machine character, old, weak, ordinary, slightly unlucky, slightly serious, slightly pitiful but not cute, not chibi, not toy-like color direction: faded dirty white with local worn orange accents, the robot body is mostly covered in aged off-white industrial paint, sun-faded, salt-weathered, chipped and peeling, exposing metal underneath, with small areas of faded orange paint used on serial numbers, chest ID panel, shoulder details, back utility box and a few mechanical parts, the orange must feel old, oxidized and desaturated, like remnants of a former service robot color scheme, not bright or fresh body design: small machine body, slightly oversized rounded head, narrow torso, thin limbs, clear structure, subtle forward-leaning posture, awkward but readable stance, like a long-working scavenger unit, small stable feet suitable for sand, no heavy mech feeling head: rounded blunt metal head shell, slightly oversized, inspection cap and maintenance panel details, chipped off-white paint, dual mechanical camera eyes instead of a screen face, slightly asymmetric eyes, one lens older and darker, old camera aperture rings around the eyes, emotion expressed through lens direction, aperture opening and slight head tilt, giving a mildly slow, confused, unlucky but watchable personality materials: internal structure in gray iron, dark silver, old aluminum, with a few aged brass accents, medium wear, fine scratches, oxidized edges, minor repair marks, exposed joints, a few small cables, some faded service marks, serial numbers or old maintenance labels, suggesting a former civilian service robot that survived into a wasteland coastal environment signature detail: a small old utility storage box on the back, not a backpack, used like a scavenging tool compartment, painted in faded dirty white with worn orange patches, chipped, rusty and used; one hand is more dexterous for picking up tiny objects, the other slightly clumsier, giving a subtle asymmetry; distinctive silhouette but not overdesigned include in the same board: front view, side view, back view, 3/4 front view, head close-up, eye close-up, hand close-up, back utility box close-up, looking-down pose, half-squat reaching pose realistic material rendering, cinematic realism, subtle film texture, believable old industrial civilian robot, retro-futurist 1960s atompunk, coastal maintenance scavenger unit, readable design, not flashy, not cyberpunk neon, not luxurious mech armor, not overly complex --ar 21:9 --v 7 --stylize 150

21:9横版角色设定板，白底或浅灰底。 设计一个原子朋克废土风格的小型海边拾荒机器人。它是底层小机器角色，普通、旧、弱小，像长期在海边捡拾、搬运、巡查的旧机器。整体气质有一点可怜、一点认真、一点倒霉感，但不是卖萌路线，不要Q版，不要玩具感。 配色方向采用“退色脏白 + 局部橘黄”的旧工业民用色方案。机器人主体外壳以褪色脏白色旧漆为主，漆面经过长期海风、盐雾、日晒后明显老化，局部掉漆、起皮、露出底层金属。局部点缀退色橘黄色旧漆，用在编号、胸前识别区、肩部小结构、背后小收纳盒或部分零件位置，形成识别度，但不要大面积鲜艳橙色，要像旧时代服务机器人残留的工业喷漆颜色。 体型：小型机体，头部略大于身体但不过度夸张，身体窄小，四肢细长，结构清楚，整体略微前倾，站姿轻微笨拙，像长期干活的小机器。脚掌能稳稳踩在沙地上，但不要厚重，不要机甲重装感。 头部：圆钝旧金属头壳，略大，带轻微磨损和检修盖细节。头壳表面是褪色脏白旧漆，局部掉漆露金属。脸部不是屏幕，而是双机械镜头眼。两只眼睛大小和状态略有不对称，一只镜头更旧、更暗一点，镜头外圈有旧相机光圈结构。情绪通过镜头朝向、光圈开合和头部轻微偏转表达，呈现轻微迟钝、懵懂和有点倒霉的小角色感。 身体：旧金属外壳，主色为退色脏白，内部结构为灰铁、暗银、旧铝色，局部带少量暗黄铜细节。表面有中度磨损、细小划痕、边缘氧化、少量修补痕迹。胸腔窄小，腰部连接细，关节裸露但不杂乱，少量细线缆外露。机器人表面可保留少量旧编号、 faded service mark、残留旧标识，带一点“旧商业文明服务机器人残骸”的感觉。 记忆点：背后有一个很小的旧收纳盒或废料仓，像海边拾荒工具仓，不要像背包。收纳盒表面同样为退色脏白和局部橘黄色旧漆，并有掉漆和锈蚀痕迹。手部一只更灵巧，适合捡起小物体；另一只略笨拙，形成轻微不对称。整体轮廓比普通路人机器人更有辨识度，但不要复杂，不要夸张怪物感。 请在同一张设定板中输出： 1. 正面全身 2. 侧面全身 3. 背面全身 4. 3/4侧前方角度 5. 头部特写 6. 眼部特写 7. 手部特写 8. 背后小收纳盒特写 9. 低头看地面的姿态 10. 半蹲、伸手准备捡起地面小物体的姿态 整体要求真实材质，电影感，轻微胶片质感，结构清楚，细节稳定，像真实存在过的旧服务型海边小机器人。避免华丽机甲、赛博霓虹、高科技装甲、过度复杂零件、卡通玩具感。整体呈现“退色脏白 + 局部橘黄 + 海边旧工业服务机器人”的鲜明辨识度。

吧 {{Image 2}} 飞机上的飞行员替换到 {{Image 1}} 里

保持当前 {{Image 1}} 构图、机位和空间关系不变：左侧远处建筑，中间巨大空旷沙滩，右侧开阔海洋。 优化为更有电影感的原子朋克美国海岸资本乐园环境。 左侧建筑减少新酒店感，增加1950年代原子时代公共海滨浴场、海边俱乐部、复古休闲设施的气质；建筑为奶油白和晒旧白，带褪色橙红装饰线条、轻微盐雾侵蚀、少量金属旧化痕迹，保持高级但有时间感。 中央沙滩继续保持巨大、空旷、开阔，不要破坏群像冲刺空间。只在左侧边缘和远处少量加入褪色遮阳伞、少量沙滩椅、海滨步道、更衣亭或浴场设施痕迹，点缀密度很低，不能进入中央主沙滩。 整体色调降低旅游宣传片感，天空蓝更克制，建筑高光更柔和，沙滩颜色更自然晒白，海面高光真实但不过曝。增加轻微海盐空气感、热浪、胶片颗粒和IMAX 70mm电影质感。 纯场景，无人物，无机器人，无车辆，无船只，无文字，无警示牌，无海报。

{{Image 1}} 1排版改成21:9横版角色设定板，白底或浅灰底。身上的B-17换成A-315

给{{Image 1}} 中机器人头顶加一个小型红橙色工程警示灯，微亮。

{{Portrait 1}} 为海岸母版参考，只参考沙滩尺度、海面颜色、阳光方向、空气透视和电影质感。为金色狗狗币参考，只参考厚金币结构、纯金材质、狗头浮雕、边缘厚度和金属反光。 生成16:9超写实电影级环境概念图，《风口》核心目标揭示镜头。 纯空场景，无人物、无机器人、无车辆、无人群。 镜头： 低中机位广角视角，摄影机高度约3-5米，站在巨大沙滩后方朝大海拍摄。 使用18mm-24mm广角电影镜头。 画面需要明显广角透视：前景沙滩巨大，中景海浪快速收缩，远景孤岛很远。 不要中长焦压缩感，不要平铺海报感。 构图： 整体接近正面、稳定、庄重的水平构图。 沙滩、海浪、海平线形成清晰的横向层次。 不要露出左右两侧连续海岸线。 不要出现海湾感。 不要出现建筑、游乐设施或城市。 前景： 巨大空旷沙滩，占画面下方。 沙地要有轻微沙纹、湿沙反光和自然纵深透视。 沙滩要像未来可容纳大规模机器人冲锋的开阔战场。 中景： 大片开阔海面，海浪横向延展。 海水平静但有层次，带自然反光。 海面要有距离感和空气透视。 远景正中央： 海平线附近出现一座非常遥远的孤岛。 孤岛不是普通旅游岛，而像由大量金色狗狗币和金币堆积形成的“财富垃圾山 / 海上资本祭坛”。 岛体细节不要过分清晰，受海雾、热浪、空气透视影响，边缘略微柔化。 孤岛上方： 一个巨大的金色狗狗币悬浮在岛上空。 必须明显悬浮，和岛体之间有可见空气距离，不要插在岛上。 狗狗币尺寸要有压迫感，比上一版更大一些，但不要占满天空。 狗头浮雕只需要隐约可辨，不要过分清晰。 狗狗币边缘被海雾和阳光柔化，像远方资本神像、海市蜃楼、黄金幻象。 光效： 狗狗币和金币岛周围有轻微金色海雾、热浪扭曲和反射光。 海面中央有一道柔和金色反光路径，从远岛方向延伸到近处海面。 整体美丽、安静、诱人，但隐隐不安。 真实电影摄影感， IMAX 70mm胶片质感， 自然光， 温暖西海岸白天， 海岸薄雾， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化。

21:9横版角色设定板，白底或浅灰底，版式专业、清晰、干净。 参考方向： 设计一个原子朋克废土海边世界里的中大型重载推进机器人，作为机器人群像世界中的大型强势单位。它不是参天巨物，不是楼房级机甲，不是终极BOSS，也不是一脚踩死一片的灾难级怪物，而是比普通机器人高大约2.2倍到2.5倍左右的中大型工程推进机器人，属于同一机器人社会中的大型功能个体。 角色定位： 它负责重载搬运、粗暴推进、区域清障、海边滩涂巡查、浅水区域作业和在人群中强势开路。它不依赖武器，不是战斗机甲，不进行屠杀式踩踏，而是依靠低重心、厚重体量、粗壮前肢和横冲直撞的推进力量，把周围的小机器人撞开、挤开、拨开、推倒。 整体气质： 旧、重、笨、强势、沉默、压迫、低阶工业权力感，带一点海边工程机械的荒诞感。它不是现代高科技超级英雄机甲，不是军武战斗机甲，不是赛博朋克风，也不是纯废铁拼装垃圾感。它应该像一台仍在服役的旧时代大型海岸工程机器人：结构成熟、功能明确、依然强大，只是经历了海风、盐雾和长期使用后的克制旧化。 比例结构： 采用猩猩式重载推进结构。整体是低重心、前重后稳的体态，身体略向前俯，前肢极其有力，后肢相对更稳、更像支撑与驱动结构。它的运动逻辑接近猩猩或大型灵长类：平时可保持四点支撑姿态，前肢撑地，后肢稳固承重；推进、奔跑和撞开障碍时呈现明显的四足支撑式前冲姿势，前肢大幅承重并参与推进。它是“猩猩式推进机器人的结构逻辑”，不是动物造型，不要真的长成金刚机器人。 体型要求： 整体高度适中偏大，不要过高，不要巨神兵比例。躯干厚重宽大，肩部宽，胸腔厚，下盘稳。腿部不需要特别修长，后肢比前肢略短或视觉上更收束也可以，重点是强化前肢发力感和整体前压的推进姿态。前肢要非常粗壮，关节厚，前臂长而重，落地时有强烈承重感。脚掌和前掌宽大稳固，适合沙滩、浅水、滩涂环境。 头部设计： 头部必须强化识别度，不能扁平无记忆点，不能缺失，也不能只是胸口灯。头部要明显从躯干前上方突出，形成一个清晰、稳定、远距离也能被认出的轮廓。不要做成驾驶舱、玻璃座舱、潜水艇塔楼或载人舱。头部应为厚重、结实、工业化的机械头壳，嵌入胸肩结构前上方，但明显突出于身体。头部前脸由厚重防撞框、窄横向观察缝、两枚不对称机械观察镜头、下方旧金属格栅或护板组成，形成冷硬的机械“伪脸”。不要屏幕脸，不要emoji表情，不要卡通五官。 头部识别强化： 头顶增加一个小型工业警示灯，安装在头部上方偏后位置，红橙色旧工程信号灯，体积小而克制，半透明旧灯罩，略有磨损与旧化。它不是警车灯条，不是未来感灯带，不夸张，不赛博。这个小型警示灯在静止、推进和半潜露头时都可保持微亮或缓慢闪烁，用来增强远距离轮廓识别和海面露头时的角色辨识度。可以辅以一根短小天线或小型工程感附件，但不要复杂。 前肢与手部设计： 双前肢都必须保留完整的重型机械手 / 前掌结构，能够撑地、承重、推进、拨开障碍和粗暴清障。不要把前肢设计成独立外挂推板武器，不要出现单独“推板手”那种容易误导模型的结构。正确方向应该是：前臂本身非常厚重，外壳像撞击护臂或工程护臂，一侧前臂更偏重撞击、顶开、推开、扫开；另一侧前臂更偏重抓取、拨开、搬运、夹持。但两侧整体都仍然是“重型工程前肢”，带有清晰的机械手指 / 前掌支撑逻辑，而不是武器化前臂。手指粗壮，关节厚，像重型工程手，不是灵巧人手。 后肢设计： 后肢负责稳定支撑、推动身体前进和吸收冲击。结构厚重但略低调于前肢，不需要夸张长腿。膝关节、踝关节和足部要可靠扎实。整体给人感觉是：这台机器真正的力量来源在于前肢的推进和整个身体前压的重量，而不是依赖修长双腿走秀式移动。 配色方案： 采用“退色脏白 + 褪色暗红 + 深灰黑机械结构”的工业红白方案。主体大面积为退色脏白旧漆，作为主色。局部加入褪色暗红、锈红、砖红旧漆，用在肩部、头部局部边框、前臂外壳、胸前识别区、部分护板和局部结构边角。红色必须克制、旧、偏工业感，不要鲜艳，不要跑车红，不要超级英雄红。裸露机械结构、液压杆、关节内部、脚掌内侧和连接结构为深灰黑旧金属。 材质与旧化： 整体不是纯废铁垃圾拼装，而是“完整工业产品 + 克制海岸旧化”。机器人主体机型本身相对成熟、完整、结构稳定，有明确的工业设计感。表面呈现长期海风、盐雾、日晒、沙尘侵蚀后的老化痕迹：掉漆、轻微起皮、边缘磨损、细小锈点、氧化、油污、划痕、旧修补、焊接痕迹、局部补漆。旧化要真实克制，不要脏成一团，不要过度破烂。画面中仍要看得出这是一个功能明确、仍在服役的大型工程机器人。 编号： 使用随机旧工业编号，例如 R-27、B-09、K-12、T-06、MX-41 等，不要使用315或A-315。编号只作为工业喷码细节，位置可出现在胸前、肩部、前臂或背部，不要喧宾夺主。 环境适配： 角色设计必须适合晴天海边、海岛、沙滩、浅水、滩涂和金币世界环境。整体色彩不能太阴冷压抑，不能是纯黑重军武风。它需要在明亮海边环境里仍然成立，既和环境相容，又因为白色主体和暗红识别色而足够醒目。 同一张设定板中请输出以下内容： 1. 正面全身 2. 侧面全身 3. 背面全身 4. 3/4侧前方全身 5. 头部特写 6. 观察镜头 / 头部前脸特写 7. 重型前臂 / 撞击护臂特写 8. 抓取手 / 夹爪 / 工程手特写 9. 腿部与宽大脚掌特写 10. 猩猩式推进姿态图：四点支撑、前倾推进、低重心、粗壮前肢向前压迫推进，白底或浅灰底，不要实景环境 11. 猩猩式奔跑 / 冲撞动作分解参考：表现它像大型猩猩一样四足支撑推进、横冲直撞，但仍然是机器人外观，不动物化 12. 半潜只露头状态图：身体沉入海水或浅海中，只露出高识别头部，头顶小型红橙警示灯微亮，观众一眼就能认出它；画面只用于说明识别方式，不要复杂环境叙事 整体要求： 真实材质，电影感，轻微胶片质感，结构清楚，细节稳定，版式专业。避免赛博朋克霓虹、避免未来高科技光滑装甲、避免超级英雄机甲、避免军武战斗机甲、避免纯怪兽感、避免巨物灾难感、避免头部过于扁平、避免独立推板武器误导、避免把它做成驾驶舱潜艇头。

atom-punk wasteland heavy robot character design sheet, giant industrial service robot, large heavy-duty unit, oppressive and dangerous presence, old-world engineering machine aesthetic, massive torso, thick shoulders, stable heavy legs, strong load-bearing joints, wide heavy feet suitable for sand and shallow water, able to push through crowds of smaller robots, heavy momentum, collision force, not agile, not heroic, not a superhero mech small or medium-small head compared to body, simple industrial observation head, cold mechanical face, non-cute, non-emotional, old surveillance optics, functional design, rugged silhouette, clear big shapes, not overly complex main color scheme: faded blue-gray old industrial paint, secondary dirty white, rust, oxidized steel, worn bare metal, subtle warning marks, salt-air corrosion, peeling paint, scratches, welding marks, repairs, weathered surfaces, coastal decay, sea-wind damage, old heavy machinery realism random industrial serial markings only, such as K-47, BX-09, R-12, GR-8, M-71, worn stencil numbers, chipped paint, faded labeling, not personal branding, not “315” clean professional set sheet layout on white or pale gray background, includes front view, side view, back view, 3/4 front view, head close-up, optic close-up, chest/shoulder/joint detail, leg and foot detail, low-angle standing pose, forward-advancing walking pose, realistic materials, cinematic realism, subtle film grain, no cyberpunk neon, no cartoon, no chibi, no toy look, no sleek sci-fi armor --ar 21:9 --v 7

16:9，电影级现实主义镜头，IMAX 70mm胶片质感，超高细节。 一个隐藏在海岸资本度假帝国背后的幕后资本家办公室空场景。 画面中没有人物。 镜头采用电影级斜构图。 摄影机位于办公桌右前侧，贴近桌边，以45度角斜拍整个办公室空间。 不是正对构图。 空间具有明显纵深与视觉动线。 前景右侧是厚重深色胡桃木办公桌。 桌面只摆放少量玻璃罩，不要博物馆密集陈列感。 玻璃罩内部是不同的微观小世界： 海岸度假区、港口、游乐园、沙漠公路、工业城市、财富岛屿、小型资本主义乌托邦等。 IMPORTANT： 其中一个玻璃罩是空的。 玻璃罩底座残留轻微金色反光与灰尘痕迹，暗示某个“小世界”刚刚被取走。 中景偏右位置是一张深棕色复古真皮高背椅。 椅子并非正对镜头，而是略微朝向摄影机方向偏转约45度。 椅子为空。 仿佛主人刚刚离开。 左侧地面是巨大随意堆放的金币堆。 金币不是整齐金库。 而是像被玩腻后随手丢弃的财富垃圾。 金币堆高度接近椅子扶手一半。 部分金币从堆里滑落到地板。 有些滚到桌脚附近。 画面必须形成明确视觉关系： 桌上的微观世界 → 椅子 → 左侧金币堆。 办公室整体风格： 老钱资本主义权力空间。 包含： 深色木墙、黄铜台灯、复古地图、金融图表、保险柜、雪茄烟雾、老式电话、厚重木桌、酒柜。 氛围不是科幻实验室。 而是真实存在的世界顶级资本操控者办公室。 整个空间需要传递： “外面世界拼命争抢的财富，在这里早已失去意义。” 气质参考： 《继承之战》 《大空头》 《公民凯恩》 《银翼杀手2049》的权力空间 诺兰电影中的现实主义空间调度。 灯光： 暖色台灯与低照度环境光混合。 局部烟雾漂浮。 空气中有轻微尘埃。 真实摄影棚级布光。 不要： 赛博朋克、未来UI、实验室感、蒸汽朋克、博物馆陈列感、过多玻璃罩、夸张金币反光。 整体要求： 克制、真实、安静、危险。 像一个真正控制无数世界的人刚刚离开座位。

{{Image 1}} 为海岸母版参考，只参考沙滩尺度、海面颜色、阳光方向、空气透视和电影质感。为金色狗狗币参考，只参考厚金币结构、纯金材质、狗头浮雕、边缘厚度和金属反光。 生成16:9超写实电影级环境概念图，《风口》核心目标揭示镜头。 纯空场景，无人物、无机器人、无车辆、无人群。 镜头视角： 中高机位，轻微航拍感，摄影机高度约20-35米。 使用10mm-12mm超广角镜头。 画面要有明显广角空间拉伸感，不要中长焦压缩感。 让观众能清楚看到前景沙滩、中景大海、远景财富孤岛之间的空间关系。 构图： 整体接近正面、稳定、庄重的对称构图。 沙滩、海浪、海平线形成清晰横向层次。 海岸线带轻微弧度，不要完全平直。 不要露出左右两侧连续海岸城市或海湾。 前景： 巨大空旷沙滩，占画面下方。 沙滩宽阔、纵深强，像未来机器人群体冲向大海的巨大迁徙跑道。 沙地有轻微沙纹、湿沙反光和自然透视变化。 中景： 大片开阔海面，海面必须宽广，有距离感。 海浪横向延展，浅水区与深水区层次清晰。 海面中央有一道柔和金色反光路径，从远处孤岛方向延伸到近处。 远景正中央： 海平线附近出现一座很远的孤岛。 孤岛不是普通度假岛，而是由大量金币、狗狗币、宝箱、珠宝和金色废墟堆积形成的“海上财富祭坛”。 岛体要有强烈财富聚集感，但受海雾、热浪和空气透视影响，边缘略微柔化。 孤岛上方： 一个巨大的金色狗狗币悬浮在岛的上空。 狗狗币明显不接触岛体，中间有可见空气距离。 狗狗币比上一版更大，直径约为岛体高度的1.2到1.5倍，具有不合理的巨物压迫感。 狗狗币造型参考 ，但因为距离很远，狗头浮雕只需隐约可辨，不要过分清晰。 整体像远方的资本神像、黄金幻象、海市蜃楼。 光效与氛围： 狗狗币和财富岛周围有轻微金色海雾、热浪扭曲和反射光。 明亮美国西海岸白天，温暖阳光，海岸薄雾。 美丽、安静、诱人，但隐隐不安。 真实电影摄影感， IMAX 70mm胶片质感， 自然光， 大尺度环境叙事， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化。

{{Portrait 1}} 为海岸世界观风格参考，只参考蓝天、蓝海、沙滩质感、海岸空气感、光线和少量原子朋克设施质感。 不要参考 {{Portrait 1}} 的构图、海岸线方向、左侧建筑排列和镜头角度。 {{Portrait 2}} 为金色狗狗币参考，只参考厚金币结构、黄金材质、狗头浮雕和金属反光。 生成21:9超宽银幕电影级环境概念图，《风口》核心目标揭示镜头。 重点：重新设计构图，不要复制参考图构图。 镜头方向： 摄影机已经相对海岸线旋转约90度，正面朝向大海拍摄。 不是沿着海岸线斜向看远方。 不是左侧海岸线延伸构图。 不是海岸公路/建筑群视角。 画面结构： 前景是宽阔沙滩，占画面下方约35%-45%。 沙滩上可以有极少量空沙滩椅、褪色遮阳伞、木质栈道边角、警示牌或救生塔，作为尺度参考。 这些元素只占很小比例，不要抢主体。 中景是大片开阔蓝色海面，占画面中部。 海浪横向延展，形成稳定、宽阔、接近水平的海岸线。 海面有真实蓝色层次和自然阳光反射。 远景正中央是财富孤岛。 孤岛位于画面中心或略偏中心，远离海岸。 孤岛由大量金币、狗狗币、宝箱、珠宝、黄金残骸和被财富淹没的建筑碎片堆积形成，像海上财富祭坛，不是度假岛。 孤岛上方悬浮一个巨大的金色狗狗币。 狗狗币明显脱离岛体，中间有清晰空气距离。 狗狗币参考 {{Portrait 2}} 的厚金币结构和黄金材质，但远距离下边缘略微柔化，不要像清晰贴图。 画面左侧和右侧不要出现连续海岸线。 不要出现大片建筑群。 只允许画面最下方边缘或极远处有少量海岸设施痕迹，用来延续世界观。 整体色调接近 {{Portrait 1}}： 蓝天、蓝海、清爽美国西海岸白天、真实电影摄影感。 黄金光只集中在远方财富孤岛和狗狗币附近，不要污染整个画面。 氛围： 现实海岸世界中出现一个不真实的财富幻象。 美丽、安静、诱人，但隐隐不安。 像资本主义海市蜃楼、远方财富神像、机器人即将朝圣的目标。 IMAX 70mm胶片质感， 自然光， 大尺度环境叙事， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化， 不要游戏感， 不要插画感。

以 {{Portrait 1}} 作为已经确定的小机器人角色设计参考，严格继承图中机器人的整体外形、头身比例、结构关系、圆钝头壳、双镜头眼、窄小身体、细长四肢、背后小收纳盒、退色脏白 + 局部橘黄的配色方案，以及旧工业海边服务机器人的材质气质。 重要：这是在 {{Portrait 1}} 已定稿角色基础上的延展，不要重新设计主体，不要大幅改变外轮廓、比例、脸部结构、眼睛位置、收纳盒位置和整体识别度。保持同一个机器人角色，只是在同一张图中扩展更完整的多视图和局部细节说明。 输出为 21:9 横版角色设定板，白底或浅灰底，整体干净、专业、电影美术设定稿风格，像影视前期角色资产板，不要海报感，不要花哨排版。 设定板内容包含： 【主体多视图】 1. 正面全身 2. 左侧面全身 3. 背面全身 4. 3/4侧前方全身 要求四个主视图都严格保持与 {{Portrait 1}} 同一角色一致性，造型统一，材质统一，比例统一，编号和旧标识风格统一。 【局部细节特写】 5. 头部特写：展示圆钝旧金属头壳、表面掉漆、锈蚀、检修盖细节 6. 眼部特写：展示双机械镜头眼，一只略旧略暗，镜头外圈有旧相机光圈结构 7. 手部特写：展示一只更灵巧、一只略笨拙的不对称拾荒型机械手 8. 背后小收纳盒特写：展示旧收纳盒/废料仓结构、橘黄色旧漆、掉漆、锈蚀、连接方式 9. 脚部特写：展示适合踩沙地的小型机械脚掌结构，不厚重，不机甲化 10. 胸前编号与旧标识特写：展示 A-315、 faded service mark、旧工业喷漆痕迹 【补充动作姿态】 11. 低头看地面的姿态 12. 半蹲、伸手准备捡起地面小物体的姿态 材质要求： 真实 3D 写实质感，原子朋克废土风格，真实摄影级材质表现，轻微胶片质感。主体为退色脏白旧漆，局部橘黄色旧工业喷漆，长期海风、盐雾、日晒造成的老化、掉漆、起皮、锈蚀、露金属边缘、细小划痕、修补痕迹清晰可见。内部结构为灰铁、旧铝、暗银、少量暗黄铜细节。 版式要求： 主视图为画面主体，局部特写围绕主体有秩序排布，标注清楚，层次明确，画面简洁稳定。不要做成漫画，不要卡通玩具化，不要赛博霓虹，不要华丽机甲，不要过度复杂零件，不要重新发明另一个机器人。 核心要求： 这是一张“基于 {{Portrait 1}} 已确定角色造型的 21:9 角色设定板升级版”，不是全新设计稿。必须保留原角色识别度，只扩展视图和细节。

{{Portrait 1}} 为海岸世界观母版参考，重点参考它的蓝天、蓝海、真实西海岸白天色调、清爽空气感、沙滩尺度、建筑距离和电影摄影质感。 {{Portrait 2}} 为金色狗狗币参考，只参考金币厚度、黄金材质、狗头浮雕、边缘结构和金属反光。 生成16:9超写实电影级环境概念图，《风口》核心目标揭示镜头。 纯空场景，无人物、无机器人、无车辆、无船只、无人群。 整体色调必须接近 {{Portrait 1}}： 真实美国西海岸白天， 蓝天、蓝海、干净阳光、清爽空气透视。 不要把整张图做成金黄色神迹光效。 黄金光只存在于远方财富岛和狗狗币附近，不能污染整个海滩和天空。 镜头视角： 摄影机位于海岸后方上空，距离海边更远。 高度约45-70米，轻微航拍俯视。 使用14mm-16mm广角镜头。 要有开阔空间感，但不要鱼眼畸变，不要夸张V字漏斗透视。 画面结构： 前景是巨大、漫长、空旷的沙滩，占画面下方至少50%以上。 沙滩必须比上一版更长、更深，像未来机器人群体冲向大海的巨大跑道。 建筑和娱乐设施只在画面最下方或左侧远处少量出现，作为尺度参考，不要靠近海边，不要抢画面主体。 中景是宽阔蓝色海面。 海面保持真实蓝色，不要整体变金黄。 浅水区、浪线、湿沙反光层次清楚。 海面中央可以有一条很克制的金色反光路径，从远方财富岛方向延伸过来。 远景中央： 海平线附近出现一座很远的财富孤岛。 它不是普通热带岛，不是豪华度假岛，不是黄金城市。 它更像由无数金币、狗狗币、宝箱、珠宝、金块、黄金残骸、被财富淹没的建筑碎片堆积成的“资本主义财富垃圾山 / 海上财富祭坛”。 孤岛要有强烈财富密度： 能隐约看出金币堆、宝箱、珠宝反光和金色废墟轮廓。 但因为距离很远，细节不能过分清晰，要受到海雾、热浪和空气透视柔化。 孤岛上空： 一个巨大的金色狗狗币悬浮在空中。 狗狗币必须明显脱离岛体，中间有清晰空气距离，不要贴在岛上，不要像插在岛顶。 狗狗币尺寸有巨物感，但不要像近处贴图。 参考 {{Portrait 2}} 的金币结构和材质。 狗头浮雕只需隐约可辨，边缘略微被海雾、热浪和远距离空气吃掉，不要过锐，不要像CG贴图。 氛围： 现实世界是清爽、真实、明亮的西海岸白天； 远方财富岛才带有轻微不真实感、诱惑感、海市蜃楼感。 整体美丽、安静、诱人，但隐隐不安。 真实电影摄影， IMAX 70mm胶片质感， 自然光， 大尺度环境叙事， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化， 不要游戏UI感， 不要插画感。

{{Portrait 1}} 为当前开场小机器人形象参考。 保持参考图中的： 整体比例 头身关系 圆头结构 小体型 孤独感 旧工业机器人气质 不变。 在此基础上进行“IP化情感优化”。 减少： 高密度脏污 麻点状旧化 均匀锈迹 发霉感 废铁感 scrapyard texture 不要： 大量小锈点、 密集脏污、 病态旧化。 整体改为： “干净的旧机器人”方向。 表面以： 大面积完整旧白漆 少量边缘磨损 轻微海风氧化 少量自然划痕 为主。 旧化必须克制、舒服、统一。 强化角色情绪感： 眼睛更加： 温柔 呆 有好奇感 有一点无辜感 有轻微儿童感 不要： 战术机器人感、 侦察机器人感、 冷酷AI感。 眼睛建议： 更柔和的圆形镜头结构 更温暖的小光点反射 微弱注视感 有“陪伴机器人”气质 整体更偏： WALL-E、 Pixar机械角色、 旧时代陪伴机器人、 原子朋克海岸世界里的拾荒小工。 强调： 角色感 陪伴感 孤独感 轻微荒诞感 真实电影道具质感 不要恐怖， 不要废土怪物， 不要赛博朋克。

{{Image 1}} 红色圈起来的区域换成零散的废弃空旷的原子朋克风格的游乐场.

/imagine prompt: cinematic ultra realistic secret capitalist office interior, empty scene, no people, camera positioned from the right-front side of a massive dark wooden desk, dramatic 45-degree cinematic composition, strong spatial depth, IMAX 70mm film look, realistic Nolan-style production design, warm practical lighting, dusty air, subtle cigar smoke, old-money capitalist atmosphere foreground: heavy walnut office desk with only a few glass domes, not overcrowded, each dome containing different miniature worlds, tiny coastal resort cities, industrial districts, ports, amusement parks, desert highways, miniature capitalist utopias IMPORTANT: one glass dome is empty, subtle gold reflection and dust marks remain inside, implying a miniature world has just been removed midground: large vintage brown leather chair turned slightly toward camera at a 45-degree angle, chair empty, unsettling absence, feels like the owner just stood up moments ago left side of frame: massive careless pile of scattered gold coins beside the chair, coins treated like discarded garbage, pile reaching half the height of the chair armrest, some coins spilling onto the floor and rolling beneath the desk background: dark wood walls, vintage coastal maps, financial charts, brass desk lamps, old safe, liquor cabinet, antique telephone, subtle smoke haze mood: quiet, wealthy, manipulative, unsettling, the outside world’s obsession with wealth means nothing here not cyberpunk, not sci-fi laboratory, not steampunk, not museum display, not fantasy magic, not futuristic UI ultra realistic cinematic photography, natural lens behavior, subtle film grain, realistic reflections, practical lighting, deep shadows, high-end production design, Christopher Nolan realism, Succession, Citizen Kane, Blade Runner 2049 executive office atmosphere --ar 16:9 --stylize 120 --chaos 8 --v 7

把 {{Image 1}} 中机器人的像素脸换成微笑的蓝色像素脸

{{Portrait 1}} 为海岸世界观参考，只参考蓝天、蓝海、沙滩质感、清爽西海岸白天色调和电影摄影质感。 {{Portrait 2}} 为金色狗狗币参考，只参考厚金币结构、黄金材质、狗头浮雕和金属反光。 生成21:9超宽银幕电影级环境概念图，《风口》核心目标揭示镜头。 纯空场景，无人物、无机器人、无车辆、无船只、无人群。 镜头必须后撤到海岸内陆上空，不能贴近海边。 摄影机高度约60-90米，轻微航拍俯视。 使用14mm广角镜头，开阔但不要鱼眼畸变。 画面结构： 前景必须是大片巨大沙滩，占画面下方45%-55%。 沙滩要宽阔、纵深强，像未来大量机器人冲向大海的巨大跑道。 能清楚看到沙滩到海浪再到远方孤岛的完整空间关系。 中景是宽阔蓝色海面。 海岸线带轻微弧度，不要完全平直。 海浪横向延展，浅水区、湿沙、深水区层次清晰。 画面下方边缘可保留极少量海岸设施： 一小段木质栈桥、很小的救生塔、褪色遮阳伞、空沙滩椅或警示牌。 这些元素只作为尺度参考，不要抢主体。 远景中央是财富孤岛。 孤岛由大量金币、狗狗币、宝箱、珠宝、金块和黄金残骸堆积形成，像海上财富祭坛，不是度假岛。 孤岛上方悬浮一个巨大的金色狗狗币。 狗狗币必须明显离开岛体，中间有清晰空气距离。 边缘略受海雾和远距离空气透视柔化，不要像清晰贴图。 整体色调接近 {{Portrait 1}}： 蓝天、蓝海、真实西海岸白天、清爽空气。 黄金光只集中在远方财富岛和狗狗币附近，不要污染整张画面。 真实电影摄影感， IMAX 70mm胶片质感， 自然光， 大尺度环境叙事， 轻微胶片颗粒， 干净画面。

21:9横版角色设定板，白底或浅灰底。 设计一个原子朋克废土海边世界里的机械鸵鸟。它不是丑化版鸵鸟，不是破铜烂铁拼装怪，不是怪兽，也不是纯裸露零件机器，而是一种具有仿生优雅感的旧工业地面高速跑行机器人。它像一种旧时代海岛世界中的高机动巡查载具、信使载具或轻型快速坐骑，带一点荒诞感和黑色幽默，但整体必须漂亮、有节奏、有速度感。 整体气质： 轻快、优雅、敏捷、奇特、旧、功能性强。不要丑，不要脏乱，不要恐怖，不要怪兽感。它应该让人觉得“这东西真奇怪，但又真合理，而且跑起来会很好看”。 造型方向： 保留鸵鸟的核心仿生轮廓：长腿、长颈、小头、轻盈的躯干、向前前倾的奔跑姿态。但整体必须机械化、工业化，而不是做成真实鸟类。它更像机器人世界中的仿生机械跑行单位。 结构设计： 双腿细长但有力，腿部关节结构清楚，适合高速奔跑，带有机械弹性和节奏感。躯干要轻巧流畅，不要过于肥大。头部小巧，略带机械鸟头的影子，但不要太写实，不要尖嘴怪兽感。颈部可有优雅的机械连接节。身体外壳可有简洁流畅的旧工业板件，而不是一堆杂乱裸露零件。尾部或后侧可带少量平衡结构。可作为单人骑乘型或轻型无人高速单位，但这版先以角色本体为主，不一定要强调骑手。 材质与旧化： 材质是旧工业金属、旧漆、局部裸露机械结构。表面有日晒、海风、盐雾侵蚀后的磨损、掉漆、划痕、氧化、锈迹和旧修补痕迹，但整体仍然利落清晰，不要脏乱。 配色： 采用“退色脏白 / 旧灰金属 / 局部暗红或暗黄识别色”的旧工业配色。主体可以是退色脏白或浅灰旧金属，局部有少量褪色暗红、锈红、砖红，或少量暗黄识别块。颜色低饱和，做旧但不沉闷。整体要和海边、沙滩、晴天环境相适配。 功能气质： 这是高速奔跑型地面单位，擅长快速掠过、从人群边缘穿过、像一阵风一样跑过去。重点是速度感、节奏感和“优雅地怪”。 编号与细节： 可有随机旧工业编号，如 O-7、ST-3、R-18、AV-2、K-9 等，小面积喷码即可。不要太多文字。 请在同一张设定板中输出： 1. 正面全身 2. 侧面全身 3. 背面全身 4. 3/4侧前方全身 5. 头部特写 6. 颈部与机械连接结构特写 7. 腿部关节与脚爪结构特写 8. 身体躯干与外壳细节特写 9. 奔跑姿态图（白底或浅灰底，不要实景环境） 10. 高速掠过姿态图（白底或浅灰底，不要实景环境） 整体要求：真实材质，电影感，轻微胶片质感，结构清楚，版式专业干净。不要丑化，不要怪兽感，不要纯拼装废铁感，不要儿童卡通感。

16:9，道具设定图，白底或浅灰底。设计一枚原子朋克海岸世界里的黄金狗狗币，真实实体金币，象征财富、淘金热和诱惑。圆形厚金币，边缘厚实清晰。正面为一只 大比例狗头浮雕，占币面60%-70%，构图直接醒目。狗头为 半写实、半图腾化、概括化浮雕，不要毛发太细，不要过度写实，不要卡通。币面整体 极简设计，只保留少量边缘文字和极少量装饰，不要复杂齿轮、不要工业徽章、不要过多机械花纹。材质为真实黄金，昂贵、诱人、带自然金属反射和轻微磨痕。输出正面、侧面、3/4角度、狗头特写、边缘特写。真实电影道具感，干净专业，高识别度。

保持参考图的 {{Image 1}} 斜构图、椅子位置、桌面位置、左侧金币堆、暖色低照度灯光和办公室氛围不变。 优化成更真实的电影镜头： 金币堆不要太整齐。 让金币更散乱、更沉重、更自然地塌落在地板上。 部分金币滚到椅子脚边、桌脚附近和地毯边缘。 金币反光降低一点，不要像游戏道具或宝藏素材。 桌面玻璃罩减少整齐陈列感。 让玻璃罩大小、高低、前后关系更自然，有轻微遮挡。 其中一个玻璃罩为空，底座留下金粉、灰尘和被取走后的圆形痕迹。 微观世界要更精细真实：海岸、港口、游乐园、工业城市、荒漠公路等。 不要出现单个大金币或货币logo。 整体不要变成博物馆。 不要变成奇幻宝藏房。 不要新增人物。 保持真实电影摄影、老钱资本、安静危险、幕后操盘空间。

{{Portrait 1}} 为海岸母版参考，只参考沙滩尺度、海面颜色、阳光方向、空气透视和整体世界观。为金色狗狗币参考，只参考厚金币结构、纯金材质、狗头浮雕、边缘厚度和金属反光。 生成21:9超写实电影级环境概念图，《风口》核心目标揭示空间母版。 用途： 这不是最终成片近景镜头，而是给后续AI视频使用的空间关系参考图。 重点是交代沙滩、大海、远方金币孤岛、悬浮狗狗币之间的空间比例和方向关系。 纯空场景，无人物、无机器人、无车辆、无人群。 镜头： 中高机位超广角航拍感，摄影机高度约12-20米。 使用10mm-14mm超广角电影镜头。 轻微俯视，但不是垂直俯拍。 画面要有明显超广角空间透视：前景沙滩开阔，中景海面巨大，远景孤岛遥远。 海滩与海浪线不要完全笔直，要有轻微弧度，形成世界尺度感和空间纵深。 构图： 整体接近正面水平构图，远方孤岛位于画面中央偏远处。 不要露出左右连续海岸线。 不要出现海湾感。 不要出现建筑、城市或游乐设施。 画面重点是：沙滩、海、大海尽头的金币孤岛。 前景： 巨大空旷沙滩，占画面下方。 沙滩要宽阔、平整、带轻微沙纹和湿沙反光。 沙滩像未来可容纳大规模机器人冲锋的巨大空场。 沙滩与海水交界处形成轻微弧形，不要完全平行直线。 中景： 大片开阔海面，占据画面主要中部。 海面宽广、平静、有层次。 海浪横向延展，带轻微弧度。 海面有自然蓝色层次和远距离空气透视。 远景正中央： 海平线附近出现一座非常遥远的孤岛。 孤岛像由大量金色狗狗币和金币堆积形成的“财富垃圾山 / 海上资本祭坛”。 岛体可以比上一版略大一点，但仍然保持远景距离感。 岛边缘有金色反光、海雾、热浪和空气透视，细节不要过分清晰。 孤岛上方： 一个巨大的金色狗狗币悬浮在岛上空。 狗狗币必须明显悬浮，和岛体之间有可见空气距离。 狗狗币比上一版更大一些，更有巨物感和压迫感。 但狗头浮雕不要过分清晰，只需隐约可辨。 边缘被海雾、热浪和阳光柔化。 它像远方资本神像、海市蜃楼、黄金幻象，不像清晰贴图。 光效： 狗狗币和金币岛周围有轻微金色haze、海雾、热浪扭曲和反射光。 海面中央有一条柔和金色反光路径，从远岛方向延伸到近处湿沙。 不要过度科幻，不要强光爆炸。 氛围： 明亮美国西海岸白天， 温暖阳光， 大海安静， 空间巨大， 美丽、诱人、空旷，但隐隐不安。 像资本主义天堂尽头出现的黄金神迹。 真实电影摄影感， IMAX 70mm胶片质感， 自然光， 轻微胶片颗粒， 干净画面， 不要HDR过度锐化。

16:9电影级环境概念图，纯场景，无人物，无机器人。 设计一个“海上财富幻象孤岛”的超大全景。镜头核心不是展示整座岛，而是展示一枚压迫性的巨型悬浮狗狗币。狗狗币必须是画面的绝对主角。 摄影机极低机位，几乎贴近海面，广角镜头，明显仰视，静态构图。前景是近距离海面与波浪，画面带有强烈海面透视与被海包裹的空间感。中景是一座被海完全包围的礁石财富孤岛，岛在画面中不要过大，不要铺满画面，要明确被海包裹、被海托起。 岛的本体是黑色或灰褐色裸露礁石、岩体、陡坡、破碎岩面，局部被海浪拍打。整座岛大部分被海量财富覆盖：金币、金条、宝箱、珠宝、黄金器物层层堆积，像金色地貌、财富山体、金属滑坡一样覆盖礁石。财富不是点缀，而是形成整座岛的主要视觉表面。不要完整建筑群，不要度假岛感，不要社区感。只允许极少量被财富半埋的遗迹痕迹，例如残破石台、断裂台阶、极少量祭坛遗址。 岛上方悬浮着一枚极其巨大的黄金狗狗币，尺寸接近整座岛的核心尺度，甚至视觉上压过岛顶轮廓。狗狗币占据画面很大比例，必须具有绝对巨物感、统治感、诱惑感、财富神像感。狗狗币不要小，不要只是岛顶装饰物，而要像悬浮在海上的财富太阳。底部与岛顶拉开明显距离，无支撑结构，强烈悬浮感。狗狗币表面为真实厚重黄金金属，边缘清晰，浮雕立体，反光强烈，简洁有力，不需要复杂文字。 画面重点是： 前景海面， 中景被海包裹的财富礁石孤岛， 上方压迫性悬浮巨型狗狗币， 形成强烈仰视巨物电影感。 整体气质： 神秘、危险、诱惑、史诗感、黑色幽默资本神话感。像所有机器人疯狂追逐的财富终点。不是度假岛，不是奇幻主题乐园，不是普通藏宝岛，而是一个海上的财富幻象圣地。 光线： 强烈晴天阳光，天空宏大，云层清晰，金币与狗狗币形成耀眼金色反光，海面有真实高光。整体真实摄影感，IMAX 70mm胶片电影质感，超高细节，史诗级环境母图。

变形宽影幕电影级环境概念图，纯场景，无人物，无机器人。 设计一个“海上财富幻象孤岛”的超大全景。镜头核心不是展示整座岛，而是展示一枚压迫性的巨型悬浮狗狗币。狗狗币必须是画面的绝对主角。 摄影机极低机位，几乎贴近海面，广角镜头，明显仰视，静态构图。前景是近距离海面与波浪，画面带有强烈海面透视与被海包裹的空间感。中景是一座被海完全包围的礁石财富孤岛，岛在画面中不要过大，不要铺满画面，要明确被海包裹、被海托起。 岛的本体是黑色或灰褐色裸露礁石、岩体、陡坡、破碎岩面，局部被海浪拍打。整座岛大部分被海量财富覆盖：金币、金条、宝箱、珠宝、黄金器物层层堆积，像金色地貌、财富山体、金属滑坡一样覆盖礁石。财富不是点缀，而是形成整座岛的主要视觉表面。不要完整建筑群，不要度假岛感，不要社区感。只允许极少量被财富半埋的遗迹痕迹，例如残破石台、断裂台阶、极少量祭坛遗址。 岛上方悬浮着一枚极其巨大的黄金狗狗币，尺寸接近整座岛的核心尺度，甚至视觉上压过岛顶轮廓。狗狗币占据画面很大比例，必须具有绝对巨物感、统治感、诱惑感、财富神像感。狗狗币不要小，不要只是岛顶装饰物，而要像悬浮在海上的财富太阳。底部与岛顶拉开明显距离，无支撑结构，强烈悬浮感。狗狗币表面为真实厚重黄金金属，边缘清晰，浮雕立体，反光强烈，简洁有力，不需要复杂文字。 画面重点是： 前景海面， 中景被海包裹的财富礁石孤岛， 上方压迫性悬浮巨型狗狗币， 形成强烈仰视巨物电影感。 整体气质： 神秘、危险、诱惑、史诗感、黑色幽默资本神话感。像所有机器人疯狂追逐的财富终点。不是度假岛，不是奇幻主题乐园，不是普通藏宝岛，而是一个海上的财富幻象圣地。 光线： 强烈晴天阳光，天空宏大，云层清晰，金币与狗狗币形成耀眼金色反光，海面有真实高光。整体真实摄影感，IMAX 70mm胶片电影质感，超高细节，史诗级环境母图。

16:9画面，设计一枚原子朋克海岸废土世界中的旧化黄金狗狗币，作为短片开场被机器人或人物在海边发现、捡起的真实实体金币道具。它是一枚有诱惑力、有财富象征感的黄金狗狗币，但不是崭新神像版本，而是经历过流通、埋藏、风沙摩擦和海边环境侵蚀后的旧化版本。 金币核心要求： 以参考图 中的狗狗币正面构图为基础，保持狗头在币面中的比例、位置、朝向和整体构图关系基本一致。狗头为简洁清晰的立体浮雕，不要超精细毛发刻画，不要过分逼真的动物毛流细节，不要过多复杂背景纹章。狗头要像真实铸币上的大形体浮雕，轮廓明确、造型清楚、识别性强，整体略带钝感和岁月感。 材质要求： 金币材质为真实黄金，但不是镜面新金条，而是被长期触摸、摩擦、风沙打磨过的旧黄金币。表面有自然磨痕、浅划痕、边缘磕碰、局部黯哑、轻微软旧感、轻微氧化感，但仍然能看出它本身很值钱，仍有黄金本体的贵重感。不要做得像垃圾废铁，不要重度锈蚀，不要极脏。边缘可以带有非常弱、非常浅的老式压纹或低调弱锯齿，但不能太规整、太现代、太精密，要像被磨损过的老铸币边缘。整体仍然厚重、真实、可拿在手里。 图案与文字要求： 保留狗头为主视觉，外圈文字极简，不要复杂工业齿轮花纹，不要放射状机械纹理，不要复杂纪念章设计。整体更像一个世界观内真实存在的狗狗币实体道具，而不是复杂收藏币。可保留少量简洁文字或编号，但不要太抢戏。 场景要求： 适合用于海边拾取场景、沙滩废墟场景、机器人手里拿着观察、或落在海边沙地和废弃零件旁边。金币应看起来真实可触碰，具备道具属性，具有“发现宝物”的感觉。环境可带有海边沙粒、金属碎片、风沙痕迹、旧世界残骸，但整体不要过度脏乱。强调财富诱惑、拾荒、淘金、风口象征。 风格要求： 原子朋克海岸废土世界观，明亮环境下的真实摄影感，干净机世界，不是极脏极破废土，旧化克制，质感真实，细节清晰，电影级道具设定图感觉。

保持参考图 {{Image 1}} 的整体电影感、斜构图、暗金色灯光、金币堆位置、办公室氛围和桌面布局不变。 只做定向优化： 1. 皮椅略微向画面左边偏转，约15到25度，像主人刚刚起身离开，而不是正摆陈设。 2. 桌面前方的空玻璃罩更明确：罩内没有模型，只有底座上的淡淡金粉、灰尘圆痕、轻微刮痕和残留反光。 3. 桌面其他玻璃罩里的微观世界更真实、更像被困住的小型文明，不要像普通摆件。 4. 左侧金币堆增加少量滚落金币，金币自然散到地板和桌脚附近。 不要改变整体机位。 不要改变房间结构。 不要新增人物。 不要新增狗狗币logo。 不要增加过多玻璃罩。 保持克制、真实、黑暗、老钱资本办公室气质。

保持参考图 {{Image 1}} 的整体电影感、斜构图、暗金色灯光、金币堆位置、办公室氛围和桌面布局不变。 只做定向优化： 1. 皮椅略微向摄影机方向偏转一点，约15到25度，像主人刚刚起身离开，而不是正摆陈设。 2. 桌面前方的空玻璃罩更明确：罩内没有模型，只有底座上的淡淡金粉、灰尘圆痕、轻微刮痕和残留反光。 3. 桌面其他玻璃罩里的微观世界更真实、更像被困住的小型文明，不要像普通摆件。 4. 左侧金币堆增加少量滚落金币，金币自然散到地板和桌脚附近。 不要改变整体机位。 不要改变房间结构。 不要新增人物。 不要新增狗狗币logo。 不要增加过多玻璃罩。 保持克制、真实、黑暗、老钱资本办公室气质。

16:9画面，设计一枚原子朋克海岸废土世界中的巨型悬浮黄金狗狗币。整体为一枚真实存在的巨大金币图腾，漂浮或耸立在岛上，具有强烈的财富诱惑感、神像感、图腾感和黄金崇拜感。 金币核心要求： 以参考 图中的狗狗币正面构图为基础，保持狗头在圆形金币中的比例关系、位置关系、朝向关系、厚度关系基本一致。狗头为简洁明确的立体浮雕，不是超写实毛发雕刻，不要太多细碎毛发纹理，不要复杂工业齿轮纹章，不要繁琐装饰。狗头浮雕要更概括、更钝一点、更像高纯度黄金铸币上的大型浮雕图案。五官清楚，鼻子、眼睛、嘴角、耳朵轮廓明确，但整体细节克制，偏符号化、图腾化。 材质要求： 这是一枚高纯度黄金质感的巨型金币，表面干净、昂贵、通透、厚重，具有真实黄金反射、细腻金属光泽、轻微自然擦痕和轻微铸造痕迹，但整体应以崭新、贵重、强诱惑力为主，不要脏污，不要严重氧化，不要废铜烂铁感，不要过度做旧。金币边缘为厚实、光滑、偏无锯齿的纯金边缘，最多只有非常轻微的切削痕迹或自然磨痕，不要明显现代硬币齿纹。整体更像一块被神化的巨型纯金铸币。 图案与文字要求： 保留参考图中“狗头大面积占据币面中央”的视觉逻辑。币面外圈文字要极简，不要太多梗文字，不要复杂说明文字。可保留极少量外圈短句或编号，但整体以视觉简洁、图腾感强、识别直接为主。不要复杂工业花纹，不要放射齿轮，不要过多小符号。 场景要求： 这枚巨型黄金狗狗币出现在海岸原子朋克岛屿场景中，成为远处或中景中的核心视觉目标。它可以悬浮于空中，或矗立在岛上，体量巨大，给人一种“财富幻象”“淘金狂热”“所有人都被吸引”的感觉。环境为明亮白天、蓝天白云、海岸小岛、海风感、轻复古原子朋克建筑氛围。整体画面要有诱惑、神秘、财富、风口、崇拜物的感觉。 风格要求： 明亮海岸环境，干净机，克制旧化，原子朋克 + 海岸复古未来感，真实摄影级质感，电影感，细节清晰，构图稳定，画面干净，不要赛博朋克霓虹，不要过度废土脏乱，不要复杂机甲装饰，不要卡通玩具感。

21:9电影级环境概念图，纯场景，无人物，无机器人。 设计一个“海上财富终点孤岛”的超大型电影母图。画面核心是：一座被海完全包围、可以让人登陆与攀爬的财富孤岛，上方悬浮着一枚具有绝对压迫感的巨型黄金狗狗币。 摄影机机位极低，几乎贴近海面，使用广角镜头，明显仰视，镜头带有强烈海上逼近感与压迫感。前景保留较大面积真实海面与起伏波浪，海水贴近镜头，形成明显前景透视与包裹感。整体视角像从海上接近这座终点孤岛，并抬头仰望上方巨物。 画面中的岛不能太小，不能只是一个小礁石堆，也不能只是一个简单金币山。它应该是一座相对较大的小型孤岛，具有清晰的空间层次与人物可行动逻辑。 岛的结构分为三层： 第一层是岛的外围落脚区。岛边缘有不规则礁石、裸露岩面、局部浅滩和少量可供登岛者落脚的沙地或平缓岩岸，形成可以让后续少量机器人先登岛、站立、奔跑、攀爬的空间。这里必须具备“可落脚、可登陆、可停留”的感觉，而不是直接从海水连到金币堆。 第二层是岛中部的财富坡面。大量金币、金条、宝箱、珠宝、黄金器物像地貌一样覆盖在礁石和岩面上，形成大面积财富堆积感，像海盗宝库与资本神话的终点。财宝覆盖面积很大，但要建立在真实岩石地形上，不要变成纯金色土堆。财富有流淌、堆积、压满岛体的感觉，金光耀眼，充满诱惑感和疯狂吸引力。 第三层是岛顶核心区域。岛顶是最高处，但不要有成片建筑，不要有社区，不要有度假岛感。顶多只有极少量残破石台、断裂遗迹、被财富半埋的台阶痕迹，用来强化神秘感与终点感。岛顶上方悬浮一枚超巨大黄金狗狗币。 这枚狗狗币必须是画面的绝对主角。狗狗币要极其巨大，视觉上与岛相当，或者比岛更大，具有明确的“巨物压迫感”。它不是普通大雕塑，而是一枚像财富神迹一样悬浮在岛顶上方的超巨大黄金目标。狗狗币与岛顶之间必须有清晰悬浮距离，没有支撑结构，没有落地感。它要显得像漂浮在空气中，压迫整个孤岛，统治整片海域。画面中狗狗币占据极大视觉比重，甚至可以接近顶画面，让观众感到仰头都难以看全。 构图关系明确： 前景是近距离海面与波浪， 中景是被海包裹的较大财富孤岛， 上方是压迫性悬浮巨型黄金狗狗币。 画面重心应放在狗狗币与岛之间的巨大尺度反差，以及登岛者未来可活动空间的建立上。 整体气质： 神秘、危险、诱惑、史诗、黑色幽默资本神话感。像所有机器人疯狂追逐的最终财富圣地。不是度假小岛，不是奇幻插画，不是普通藏宝岛，而是一个让人靠近后会本能仰头、感到贪婪与敬畏的终点目标。 光线： 强烈晴天阳光，天空宏大，云层有体积感，海面有真实高光反射，空气通透。狗狗币边缘带有强烈逆光金边与耀眼高光，强化它的悬浮感和神迹感。整体为真实摄影感，IMAX 70mm胶片电影质感，超高细节，史诗级环境母图。

21:9横版角色设定板，白底或浅灰底。 设计一个原子朋克海岸废土世界中的“机械鸵鸟交通载具”。 它不是战斗机器，不是机械恐龙，不是迅猛龙，不是侦察兽，而是旧时代海岸世界里的民用骑乘机械，负责运输、代步、巡逻、载人移动。 整体气质： 荒诞、认真、旧、带一点笨拙感和滑稽感，像一个努力工作的老机械动物。 不要： - 恐怖感 - 捕食者气质 - 军用机甲感 - 机械龙感 - 赛博朋克感 - 战术机器人感 最重要： 整体轮廓必须一眼看出“鸵鸟”。 必须保留： - 大身体 - 小脑袋 - 长脖子 - 长腿 - 鸵鸟站姿 角色比例： 整体比例比真实鸵鸟更适合IP化。 头部比例： 头部比真实鸵鸟略大15%-25%，增强角色识别度和情绪感，但不要Q版，不要卡通大头。 头部轮廓： 圆润、偏钝、偏旧工业设备感。 不要： - 尖锐龙头 - 猛禽嘴型 - 恐龙轮廓 - 猎杀者结构 眼睛设计： 眼部为极简电子显示屏或低分辨率蓝色像素光点。 眼神需要： - 有一点呆感 - 有一点认真感 - 有一点观察世界的感觉 - 有一点“傻乎乎但可靠”的气质 不要： - 红色扫描器 - 狙击镜 - 战术目镜 - 高科技AI眼球 - 威胁感 表情气质： 像一个长期工作的旧交通工具。 让观众感觉： - 有点荒诞 - 有点可爱 - 有点笨 - 有点迟钝 - 但值得信赖 身体结构： 身体为圆润的大型旧工业机械舱体。 参考： - 老发动机壳 - 老锅炉 - 老摩托机械外壳 - 老式工业交通工具 身体体积明显大于头部。 整体重心稳定，具有真实承重感。 脖子： 机械分段脖颈。 比例略短于真实鸵鸟。 不要： - 蛇形脖子 - 恐龙脖子 - 生物肌肉感 结构偏： - 旧液压 - 工业连接结构 - 老机械传动感 腿部： 长腿但不要猎杀者结构。 腿部偏： - 工业液压支架 - 老机械关节 - 海岸交通工具支撑结构 脚掌： 保留鸵鸟脚轮廓，但更厚重、更工业化。 不要尖锐爪子。 骑乘结构： 背部明显可以骑乘，但当前阶段不要出现骑手。 只保留： - 小型旧皮革坐垫 - 简易扶手 - 行李挂钩 - 编号喷漆 - 工业警示贴 不要出现： - 骑乘机器人 - 人类 - 驾驶者 - 骑乘状态人物 当前阶段重点： 机械鸵鸟本体角色设计。 材质： 退色脏白旧漆 + 局部退色橘红编号。 表面具有： - 海风侵蚀 - 盐雾氧化 - 掉漆 - 轻微锈迹 - 长期磨损 但不要过度废土脏乱。 输出内容： 1. 正面 2. 侧面 3. 背面 4. 3/4视图 5. 头部特写 6. 电子眼特写 7. 身体结构特写 8. 腿部与脚掌特写 9. 自然行走动态姿势 10. 高速奔跑动态姿势 整体要求： 真实工业设计感，电影道具级细节，荒诞原子朋克气质，具有角色性和IP感。 重点方向： 像一个旧时代海岸世界里的“机械交通动物”。 不要： - 怪兽 - 机械龙 - 机甲恐龙 - 生化兽 - 战斗单位 - 恐怖机器人 - 科幻军武

Based strictly on the original A-315 {{Portrait 1}} robot design reference, generate a clean character design sheet showing only the RIGHT ARM AND RIGHT HAND of the robot. IMPORTANT: Do not redesign the hand. The hand must match the original A-315 robot exactly. Hand design requirements: - small vintage industrial robot hand - exactly FOUR fingers - no humanoid five-finger hand - compact mechanical palm - slender segmented fingers - simplified finger structure - exposed hinge joints and cylindrical mechanical connectors - slightly worn ivory-white paint - subtle rust, scratches, chipped paint - retro atompunk industrial style - low-tech, old scavenger robot feeling Show: 1. front view of the right arm and hand 2. side view 3. 3/4 view 4. slightly bent pose 5. open hand detail 6. pinching pose detail using two fingers 7. wrist joint close-up 8. finger joint close-up Clean white background, product-sheet layout, consistent with the original robot design language, ultra detailed, realistic mechanical design sheet, no extra fingers, no redesign, no futuristic humanoid hand.

{{Reference 1}} 为黄金狗狗币母版参考，只参考狗头比例、币面构图、金币厚度和整体简洁图形逻辑。保持狗狗币母版造型一致。 16:9，巨物比例示意图。此阶段重点不是最终背景设计，而是验证“巨型黄金狗狗币出现在岛上”的体量关系、视觉压迫感和远距离识别度。背景只作为简化比例参照，不作为最终世界观设计依据。 画面表现一枚巨型黄金狗狗币悬浮或矗立在简化海岛空间中。金币要像财富图腾、淘金狂热象征和巨大诱惑物。体量巨大，但要有清楚尺度参照：远处可以有极简小机器人、人群剪影、低矮建筑轮廓、海岸平台或岛屿边缘，用来说明金币尺度。不要把背景做复杂，不要设计完整城市，不要让建筑抢主体。 金币正面是大比例狗头浮雕，狗头占币面约60%到70%，远景中仍然一眼能认出是狗狗币。狗头为半写实、半图腾化、概括化浮雕，五官清楚，但不要超细毛发，不要宠物纪念币感，不要表情包感。币面外圈极简，文字少，装饰少，不要复杂工业纹样。 巨型版本为崭新纯金状态：高纯度黄金质感，干净、昂贵、厚重、诱人，真实金属反射，轻微自然擦痕，但整体是崭新、完整、贵重的状态。边缘为厚实光滑纯金边缘，不要明显现代硬币锯齿，最多保留轻微切削痕或自然铸造痕。 场景只是功能性示意：明亮蓝天、简化海面、简化岛屿平台、少量尺度参照即可。不要复杂背景，不要赛博朋克，不要玄幻法阵，不要游戏UI感。重点是巨型狗狗币和环境尺度关系。 整体要求：清晰、直接、干净、可判断比例，具有巨大、贵、诱人、荒诞、财富崇拜的感觉。

21:9横版角色设定板，白底或浅灰底。 设计一个“原子朋克海岸废土世界”的机械鸵鸟交通载具。 它不是战斗机器人， 不是机械恐龙， 不是迅猛龙， 不是军用侦察兽， 而是旧时代海岸世界里长期服役的民用机械交通动物。 它负责： 运输、代步、巡逻、载人移动。 整体气质： 荒诞、 认真、 有点傻、 有点滑稽、 像一个努力工作的旧机械动物。 观众看到它应该觉得： “这玩意儿有点蠢，但还挺讨喜。” 不要： 恐怖感、 猎食者感、 机械龙感、 冷酷AI感、 军用战术感、 赛博朋克感。 —————————————————— 【最重要核心】 整体轮廓必须一眼看出： “这是鸵鸟”。 必须保留： - 大身体 - 长脖子 - 长腿 - 小脑袋 - 鸵鸟站姿 但比例更适合IP化与情绪表达。 —————————————————— 【头部设计】 头部比真实鸵鸟略大15%-25%。 不要真实鸵鸟那种特别小的头。 头部轮廓偏圆润、 偏钝、 偏笨。 不要： 尖锐龙头、 捕食者嘴型、 恐龙嘴、 攻击性感。 嘴部： 略厚、 略松、 有一点“傻鸟感”。 嘴巴可以轻微微张， 像正在喘气， 像刚跑完还在努力工作。 不要张大嘴。 不要怪物口器。 —————————————————— 【眼睛设计】 重点！！！ 眼睛不要高级AI感。 不要： 红色扫描器、 战术镜头、 摄像头眼球、 机械瞄准系统。 改为： 低分辨率蓝色像素电子眼， 像老旧LED表情屏。 眼神要有： - 呆感 - 慢半拍 - 真诚感 - 观察感 像： “它正在努力理解这个世界。” 电子眼表情： - • • - ^ ^ - ⊙ ⊙ - 微笑像素眼 表情切换带一点迟钝感。 不要聪明。 不要高智商AI。 —————————————————— 【脖子设计】 脖子为机械分段结构。 像： 旧液压结构 + 老工业机械连接。 脖子不要太长。 略短于真实鸵鸟比例。 不要： 蛇形、 迅猛龙感、 攻击性探头感。 脖子动作应该有： 停顿感、 迟缓感、 轻微笨拙感。 —————————————————— 【身体设计】 身体是圆润的大型旧工业机械舱体。 像： 旧发动机壳、 旧锅炉、 老摩托机械外壳、 旧海岸交通设备。 身体明显大于头部。 整体重心稳定， 有真实承重感。 —————————————————— 【腿部设计】 长腿， 但不要猎杀者结构。 腿部偏： - 工业液压支架 - 老机械关节 - 民用交通工具支撑结构 脚掌保留鸵鸟轮廓。 但更厚重、 更工业化。 不要锋利爪子。 —————————————————— 【骑乘结构】 背部必须明显可骑乘。 加入： - 小型旧皮革坐垫 - 简易扶手 - 行李挂钩 - 编号喷漆 - 工业警示贴 - 小工具包 - 长期使用磨损痕迹 让它像真正长期服役的海岸交通工具。 —————————————————— 【材质】 退色脏白旧漆 + 局部退色橘红编号。 表面有： - 海风侵蚀 - 盐雾氧化 - 掉漆 - 轻微锈迹 - 长期磨损 但不要： 垃圾场感、 末日脏乱感。 整体仍然干净、 真实、 高级。 —————————————————— 【动态气质】 重点： 它不是帅。 不是猛。 不是酷。 而是： “认真工作的傻鸟”。 动作参考： - 停顿观察 - 伸脖子 - 歪头 - 慢半拍反应 - 高速奔跑时有一点笨拙滑稽感 像一个老旧但可靠的机械动物。 —————————————————— 输出内容： 1. 正面 2. 侧面 3. 背面 4. 3/4视图 5. 头部特写 6. 电子眼表情特写 7. 身体结构特写 8. 腿部与脚掌特写 9. 骑乘状态动态姿势（空载） 10. 高速奔跑动态姿势（空载） 不要在鸵鸟背上骑机器人。 不要人物。 只展示机械鸵鸟本体。 —————————————————— 整体要求： 真实工业设计感， 电影道具级细节， 原子朋克海岸废土气质， 带一点荒诞幽默， 具有强烈角色性和IP感。 重点是： 讨喜、 笨拙、 真诚、 荒诞。 不要： 恐怖、 怪兽、 机械龙、 赛博朋克、 高科技军武风。

{{Image 1}} 为黄金狗狗币母版参考，只参考狗头比例、币面构图、金币厚度和整体简洁图形逻辑。保持狗狗币母版造型一致。 16:9，功能性比例示意图。此阶段重点不是正式场景设计，而是验证“开场小机器人捡起狗狗币”的大小关系、手部比例和道具识别度。背景只作为简化示意，不作为最终世界观设计依据。 画面表现一枚旧化黄金狗狗币被小型拾荒机器人的机械手夹起、捏起，或从海边沙粒和废零件中刚刚捡起。金币尺寸要适合被小机器人手指夹住，不能太小到看不清，也不能大到像盾牌。金币直径约为小机器人手掌宽度的1.2到1.6倍，厚度清楚，有真实重量感。 金币正面仍然是大比例狗头浮雕，狗头占币面约60%到70%，即使在拾取镜头里也能清楚识别。狗头为简洁、概括化的立体浮雕，不要毛发太细，不要复杂工业纹样。外圈文字极少，装饰极简。 金币状态为开场旧化版：真实旧黄金质感，有自然磨痕、浅划痕、边缘磕碰、沙粒摩擦痕、轻微氧化和局部黯哑，但仍然值钱、诱人、有黄金贵重感。边缘可以有非常弱的老式压纹或浅锯齿，但已经被磨损，不要太规整，不要现代硬币感。 背景极简：海边沙地、少量贝壳、废金属小零件、锈蚀碎片即可。不要复杂城市背景，不要完整场景叙事，不要大面积建筑。重点是机器人手、金币、沙地三者的比例关系。 画面要求真实摄影感，电影道具特写感，清晰、简洁、可判断比例。不要过度废土脏乱，不要让背景抢走金币。

为黄金狗狗币母版参考，只参考狗头比例、币面构图、金币厚度、边缘处理和整体简洁图形逻辑。不要照搬多余文字，不要增加复杂工业纹样。 16:9，道具母版设定图，白底或浅灰底。此阶段重点不是场景设计，而是确定黄金狗狗币本体的比例、造型、厚度、边缘和浮雕语言。 设计一枚原子朋克海岸世界中的黄金狗狗币实体道具。它是财富、淘金热、风口和诱惑的象征。整体要简洁、直接、高识别度，不要做成复杂工业纪念章。 金币为圆形厚金币，边缘厚实，整体有重量感。正面主视觉是一只大比例狗头浮雕，狗头占币面约60%到70%，构图饱满、直接、醒目。狗头为半写实、半图腾化、概括化浮雕，五官清楚，耳朵、眼睛、鼻子、嘴角轮廓明确，但不要过度写实，不要毛发雕得太细，不要宠物纪念币感，不要表情包感。 币面外圈极简，只保留很少的边缘文字、短句或编号。不要复杂齿轮，不要工业徽章，不要放射状机械纹样，不要大量小字。整体像一个真正会反复出现在短片里的核心财富符号。 请在同一张设定板中输出： 1. 正面视图 2. 侧面厚度视图 3. 3/4角度视图 4. 狗头浮雕特写 5. 边缘厚度特写 6. 新币状态与轻旧化状态的小对照 材质为真实黄金，压铸浮雕质感，金属反射真实，细节清晰。母版状态整体干净，允许轻微自然磨痕，但不要重度旧化。版式专业、干净、清楚，方便后续延展为开场旧化拾取版和巨型悬浮纯金版。

以 {{Portrait 1}} 作为狗狗币外观参考，只参考金色狗狗币的形状、狗头浮雕、厚重金币边缘、真实金属材质和做旧纹理，不参考图1的白底排版。 生成21:9超写实电影级巨物感画面。 场景：辽阔海面中央，一座由无数金币、金块、破碎财富建筑和岩石堆积而成的财富孤岛。孤岛上方悬浮着一枚巨大的黄金狗狗币，像资本神像一样压在天空中。 构图必须具有强烈巨物感： 摄影机在海面极低机位，接近水面高度，仰视拍摄。 使用14mm-18mm超广角镜头，带明显广角透视冲击。 前景是近距离起伏海浪，海浪在镜头前形成巨大尺度参照。 中景是金币岛。 远景和天空中是悬浮的巨大黄金狗狗币。 狗狗币不是普通远景，不要太小。 狗狗币必须巨大，占据画面上方约35%-45%的视觉面积。 它悬浮在岛屿正上方，与岛屿之间有明显空气间隔。 不是插在岛上，不是贴在岛上。 狗狗币略微背光，边缘有真实太阳轮廓光和金色辉光。 金币表面有真实金属反射、浮雕细节、轻微磨损、厚重边缘。 狗头图案可以清楚辨认，但不要像干净图标，要像真实巨大金属造物。 岛屿本身要像一座财富圣山： 堆满密密麻麻的金币、金块、金色废墟、破碎金融建筑残片。 岛屿底部有岩石结构，避免像一堆平铺金币。 岛屿周围海浪拍打，水面反射金色光。 画面情绪参考： 诺兰式巨物压迫感， 《沙丘》的神性尺度， 《降临》的巨大未知物体压迫， 《独立日》天空遮蔽式巨物感， 但整体仍是现实电影摄影，不要科幻飞船感。 光线： 强烈自然阳光， 海面高光闪烁， 天空明亮但有压迫感， 云层有巨大尺度， 金色反光照亮水面。 整体感觉： 美丽、诱人、荒诞、危险， 像资本主义财富神像降临海面。 不要普通旅游海岛视角。 不要航拍远景。 不要平视安全构图。 不要让狗狗币太小。 不要让狗狗币贴在岛上。 不要卡通。 不要游戏CG。 不要赛博朋克。 不要奇幻城堡。 不要人物。 不要机器人。 IMAX 70mm胶片质感，真实电影摄影，超广角低机位，强透视，真实海浪，真实金属，强烈巨物压迫感。

保持参考图 {{Image 1}} 的整体构图、机位、办公室空间、皮椅位置、桌子位置、灯光氛围和背景陈设不变。 只优化画面左侧金币堆和桌面玻璃罩细节。 金币堆需要更自然、更像被随手丢弃的财富垃圾，而不是整齐财宝堆。 增加一些金币从主堆滑落到地板、地毯和桌脚附近的细节。 金币大小、反光、磨损要更真实，避免游戏金币感。 桌面玻璃罩数量保持少量。 玻璃罩内部不要出现单个大金币或明显货币logo。 每个玻璃罩里是完整微观小世界：海岸、港口、工业城、游乐园、沙漠公路等。 其中一个玻璃罩保持为空，底座残留轻微金粉、灰尘圆痕和玻璃罩取走后的痕迹。 不要改变椅子。 不要改变房间结构。 不要新增人物。 不要让画面变得更亮。 保持老钱、阴暗、危险、真实电影感。

{{Mixed 2}} 为沙滩陆地方向场景参考，主要参考沙滩朝陆地建筑方向的空间关系、远处低矮海岸建筑、灯塔、摩天轮、零散遮阳伞和躺椅，以及整体影调和光线。 {{Mixed 1}} 为狗狗币埋在沙中的近景状态参考，主要参考狗狗币半埋在沙中的构图、埋入深度、沙粒附着状态、贴地近景视角和整体质感。 {{Portrait 3}} 为小机器人形象参考，主要参考小机器人的体型比例、旧白色金属材质、圆头大眼、机械手结构、身体旧化痕迹和整体气质。 {{Portrait 4}} 为黄金狗狗币资产参考，主要参考狗狗币正面浮雕、厚度、边缘结构、金属材质和轻旧化质感。 21:9 电影级开场镜头，时长5到6秒，短视频平台强钩子开场，节奏直接，开场不要风吹铺垫，直接进入动作。 镜头内容： 开场直接是一个贴近沙地的低机位近景镜头，摄影机距离沙面很近，画面主体是一枚半埋在沙中的黄金狗狗币。狗狗币埋得较深，只露出主要正面浮雕，角度轻微倾斜，自然陷在沙里。前景和中景主要是粗细混合的沙粒、小贝壳颗粒和起伏沙面。背景只虚化带出少量陆地方向的建筑、灯塔、摩天轮和海岸设施轮廓，不要看到海面，天空只保留很少一部分。 关键尺寸要求： 这枚狗狗币必须是一枚“小金币”，不是大圆盘，不是纪念章，不是巴掌大的金属牌。金币直径要明显偏小，约等于小机器人手掌宽度的一半左右，约等于小机器人头部宽度的五分之一左右。被拿起后，金币只能占手部局部面积，应当能被小机器人用两三根机械手指自然夹住或托住，绝不能显得像一块大盘子或大徽章。金币在画面中的功能是“被发现的小型贵重物”，不是压过角色的大主体。 动作设计： 随后，小机器人进入画面，机械手直接伸向这枚半埋在沙中的小金币，没有停顿，没有犹豫，没有多余表演，像拾荒者顺手捡起有价值物品一样，动作自然、直接、利落。机械手抓住狗狗币并将它从沙中拔起，带起少量细沙滑落和轻微颗粒散落。摄影机顺着这个捡起动作自然被带起，轻微抬起并跟随手的运动，最终把小机器人的上半身和头部带入画面。镜头抬起后，小机器人手里拿着的是一枚清晰但尺寸不大的金币，金币只是一个小道具，角色本身仍然是主体。后方远处自然看到陆地方向较高地势的海岸建筑带、灯塔和游乐设施轮廓，形成清晰的空间关系：前景是沙滩，后方是陆地建筑带。 镜头调度要求： 整个镜头具有真实摄影机存在感，不是死板固定，也不是夸张乱甩。前半段锁定埋在沙中的金币，后半段顺着捡起动作轻微抬起并带出小机器人。重点是空间逻辑自然，捡起后的画面必须清楚传达：小机器人捡到的是一枚小金币，而不是一个大型金属圆盘。 画面风格： 诺兰式极度写实主义美学，电影级 IMAX 70mm 胶片质感，超写实，真实实景拍摄感，杜绝游戏CG感。使用 IMAX 胶片摄影机搭配 Panavision C 系列镜头，35mm左右的近景广角电影视角，适度动态模糊，真实浅景深。整体为60年代复古科幻原子朋克海岸世界观，色调为复古暖金沙色、海盐蓝、晒旧白，低饱和、自然高光、克制胶片颗粒、自然日光照明。 情绪重点： 这是整支片子的第一钩子镜头。观众第一眼先被半埋在沙中的黄金狗狗币吸住，随后小机器人像拾荒者一样迅速把这枚“小金币”捡起，镜头顺势带出角色和空间，立刻建立“发现财富线索”的叙事起点。 声音要求： 只要音效，不要背景音乐。音效包括轻微海边环境底噪、细沙摩擦声、机械手关节轻微动作声、金币从沙中被拔起时的细沙滑落声、轻微金属触碰声。

Use {{Image 1}} as the main composition reference for the half-buried coin: keep the coin partially covered by sand, naturally tilted, small-to-medium in frame, with real sand wrapping around the lower edge. Use {{Image 2}} as the coastal beach environment reference: the camera faces inland from the beach, with retro coastal buildings, palm trees, lighthouse-like structures and distant amusement architecture in the background. Use {{Portrait 3}} as the small robot character reference: keep the same worn white metal body, round black lens eyes, thin mechanical arms, old industrial toy-like proportions. Use {{Portrait 4}} as the gold dogecoin material reference: keep the embossed dog head, scratched aged gold metal, realistic coin thickness and dusty surface. 16:9 cinematic realistic AI short film shot, 6 to 8 seconds, single continuous shot. Nolan-inspired extreme realism, cinematic IMAX 70mm film texture, Panavision C-Series anamorphic lens, subtle film grain, natural daylight, retro-futuristic atompunk coastal world, warm faded orange and sea-salt blue color palette, low-saturation vintage film look, real location photography feeling. The first frame begins directly on a ground-level close-up of the half-buried gold dogecoin in the beach sand. The coin is already partially visible, naturally tilted at about 25 to 45 degrees, embedded in a small sand mound. Fine sand grains slide gently across the coin surface from coastal wind, creating a brief realistic metallic glint. A small worn mechanical hand enters from the right side of frame. The hand moves with hesitation and curiosity, pauses briefly near the coin, then carefully picks it up. The camera stays very low near the sand surface, then follows the mechanical hand upward in one smooth controlled tilt and slight push-in. As the hand lifts the coin, the focus naturally shifts from the coin to the small robot’s face. The small robot is revealed in close-up, staring at the coin with fragile excitement and disbelief. Its round lens eyes flicker softly. The distant retro coastal buildings remain softly blurred in the background. Camera language: ground-level macro close-up, shallow depth of field, low handheld micro-movement, controlled cinematic pacing, realistic camera weight, subtle low-shutter motion blur on the hand movement, no fast cuts. Sound effects only, no background music: short dry coastal wind, sand grains sliding over metal, soft coin scrape, subtle mechanical finger movement, faint servo sound.

{{Image 1}} 为黄金狗狗币母版参考，只参考狗头比例、币面构图、金币厚度和整体简洁图形逻辑。保持狗狗币母版造型一致。 16:9，巨物比例示意图。此阶段重点不是最终背景设计，而是验证“巨型黄金狗狗币出现在岛上”的体量关系、视觉压迫感和远距离识别度。背景只作为简化比例参照，不作为最终世界观设计依据。 画面表现一枚巨型黄金狗狗币悬浮或矗立在简化海岛空间中。金币要像财富图腾、淘金狂热象征和巨大诱惑物。体量巨大，但要有清楚尺度参照：远处可以有极简小机器人、人群剪影、低矮建筑轮廓、海岸平台或岛屿边缘，用来说明金币尺度。不要把背景做复杂，不要设计完整城市，不要让建筑抢主体。 金币正面是大比例狗头浮雕，狗头占币面约60%到70%，远景中仍然一眼能认出是狗狗币。狗头为半写实、半图腾化、概括化浮雕，五官清楚，但不要超细毛发，不要宠物纪念币感，不要表情包感。币面外圈极简，文字少，装饰少，不要复杂工业纹样。 巨型版本为崭新纯金状态：高纯度黄金质感，干净、昂贵、厚重、诱人，真实金属反射，轻微自然擦痕，但整体是崭新、完整、贵重的状态。边缘为厚实光滑纯金边缘，不要明显现代硬币锯齿，最多保留轻微切削痕或自然铸造痕。 场景只是功能性示意：明亮蓝天、简化海面、简化岛屿平台、少量尺度参照即可。不要复杂背景，不要赛博朋克，不要玄幻法阵，不要游戏UI感。重点是巨型狗狗币和环境尺度关系。 整体要求：清晰、直接、干净、可判断比例，具有巨大、贵、诱人、荒诞、财富崇拜的感觉。

{{Mixed 1}} 为开场镜头的近景构图参考，主要参考狗狗币埋在沙中的状态、镜头距离、画面压迫感、沙粒尺度和浅景深氛围。 {{Mixed 2}} 为场景环境参考，主要参考沙滩朝陆地方向的空间关系、远处海岸建筑、灯塔、摩天轮、沙滩上的零散遮阳伞和躺椅、整体光线与色调。 {{Portrait 3}} 为小机器人形象参考，主要参考小机器人的体型比例、旧白色金属材质、圆头大眼、机械手结构、身体旧化痕迹和整体气质。 {{Portrait 4}} 为黄金狗狗币资产参考，主要参考狗狗币的正面浮雕、厚度、金属材质、边缘结构和轻旧化质感。 21:9 电影级开场镜头，时长 4 秒，短视频平台强钩子开场，节奏快，直接进入事件，不要风吹露币的铺垫，不要慢慢揭示。 镜头设计： 开场直接是一个极近距离、贴地、低机位、广角近摄镜头，摄影机非常接近沙地，画面主体是一枚半埋在沙中的黄金狗狗币。狗狗币不是竖直插在沙里，而是以更自然的低角度浅埋在沙中，约有一半到三分之二埋入沙里，略微倾斜，露出清晰的狗头浮雕正面，币面带有细小磨损、沙粒附着、轻微旧化痕迹，但仍然有真实金属反光。前景和中景主要是粗细混合的沙粒与小贝壳颗粒，质感清晰，画面压得很近，天空尽量少，只留极少量虚化远景。远处背景是虚化的海岸建筑和游乐园设施轮廓，方向是朝陆地方向，不要看到海面，重点是让观众感觉这是一个被遗落在沙滩上的神秘金币。 镜头一开始就已经锁定狗狗币，观众第一眼就能被这个近景吸住。紧接着，一个小机器人的黑影快速压过金币和沙地，形成突然而明确的事件感。随后小机器人的机械手迅速进入画面，动作不是很慢的观察，而是带一点急切和好奇，快速伸向狗狗币，将狗狗币从沙里捡起。捡起的过程中，狗狗币轻微带起细沙，沙粒滑落。摄影机保持贴近金币和手的距离，随着金币被拿起，镜头顺势轻微上带，最后短暂带出小机器人的局部形象：旧白色小机器人出现在中近景中，只露出上半身和头部即可，它正低头看着刚捡起来的狗狗币，眼神充满好奇和一点惊喜。整个镜头是一气呵成的，重点是“发现—捡起—带出角色”，节奏紧凑，视觉信息直接。 画面风格： 诺兰式极度写实主义美学，电影级 IMAX 70mm 胶片质感，超写实，真实实景拍摄感，杜绝游戏CG感。使用 IMAX 胶片摄影机搭配 Panavision C 系列镜头，低机位广角近摄，适度动态模糊，真实浅景深。整体为 60 年代复古科幻原子朋克海岸世界观，色调为复古暖金沙色、海盐蓝、晒旧白，高光自然，低饱和，胶片颗粒克制，真实自然日光照明，海边空气感明显。 运镜要求： 不是固定死镜头，也不是夸张乱甩。镜头应有一种贴地观察、被事件带动的感觉。先稳稳钉住狗狗币，再随着黑影和机械手的进入形成节奏变化，最后顺势把金币被拿起的动作带起来，并轻微抬升带出小机器人。镜头动势自然、利落、抓人，不拖泥带水。 情绪与叙事重点： 这是整支片子的第一钩子，不是介绍环境，不是介绍世界观，而是用“神秘金币被捡起”立刻建立悬念。观众第一眼要先被金币吸引，第二拍被黑影和机械手吸引，第三拍意识到是一个小机器人捡到了它。开场就要有事件，不要慢节奏铺垫。 声音要求： 只要音效，不要背景音乐。音效包括轻微海边环境底噪、沙粒摩擦声、黑影压过的轻微掠影感、小机器人机械手关节运动声、金币从沙里被拔起时的细沙滑落声、金属轻碰声。

21:9白底角色资产设定图，生成一组“原子朋克美国海岸资本乐园”世界中的普通群众机器人参考，电影美术设定板风格，白底干净排版，清晰展示12到18个不同造型的普通群众机器人，用作后续海岸乐园、商业街、沙滩人潮、码头区域、围观人群和奔向海边的机器人群众资产参考。 群众机器人工业语言和时代审美，但在头型、身高、体型、胸腔结构、四肢比例、背部模块、手部结构上都要明显不同，不能像同一个模子换皮。 整体身高有高有矮的量产机器人尺度. 头部设计必须明显多样化，可包括方头、扁头、窄长头、半圆头、显示屏头、单镜头头、双目工业镜头头、潜望镜式头部、短脖结构、高肩无脖结构、小型感应头等。不要统一头型，不要统一脸感，每个机器人都应有明显轮廓差异。 身体结构要丰富，胸腔、肩膀、前臂、腿部、背包、工具仓、手掌模块都要有差异。部分可偏服务型，部分可偏搬运型，部分可偏巡逻型，部分可偏商业区工作型，部分可偏码头辅助型，但整体仍属于同一个沿海资本乐园社会体系中的普通群众机器人。 材质为真实工业量产机器人质感，轻到中度旧化，具有长期使用后的自然痕迹：轻微掉漆、边缘磨损、局部划痕、轻度氧化、海盐侵蚀、旧塑料面板、喷涂金属质感、关节积尘。不是废土破烂风，也不是全新无瑕疵高科技机器人。 配色要丰富但统一，采用米白、旧白、奶油白、白蓝双拼、白红双拼、白绿双拼、白灰双拼、浅卡其、浅黄色、浅海盐蓝、褪色橙红、浅工业绿、浅金属灰等组合。允许少量单色机器人，但大多数应有双拼或局部配色变化，形成真实的群众差异化，不要全部白色，也不要像玩具一样花哨。 画面排版像专业电影前期角色资产总览图，前后多排展示，清晰可见每个机器人个体，同时可加入少量局部细节框，展示几种典型头部、胸腔、手部、背包和配色差异。整体观感统一、克制、真实、高级。 风格要求：诺兰式极度写实主义美学，电影级 IMAX 70mm 胶片质感，Panavision C系列镜头质感，超写实，真实摄影感，杜绝游戏CG感。60年代复古科幻原子朋克工业语言，带有美国海岸商业度假世界观的量产机器人审美，低饱和、克制、统一。

{{Portrait 1}} 为机械鸵鸟IP轮廓与比例参考。 重点参考： 鸵鸟整体轮廓 圆润头部 偏呆的气质 长脖子与大身体比例 鸵鸟交通工具感 简洁友好的设计方向 {{Portrait 2}} 为工业材质与电影道具完成度参考。 重点参考： 旧工业机械质感 海风盐雾氧化 掉漆与旧白漆层 原子朋克工业细节 电子眼发光质感 真实电影道具级完成度 IMPORTANT： 最终生成结果必须以 {{Portrait 1}} 的整体造型为主体。 不要变成机械鸭。 不要变成机器人角色。 不要变成机械恐龙。 不要偏向战术机器人。 不要复杂化。 这是一个原子朋克海岸废土世界中的民用机械鸵鸟交通载具。 整体气质荒诞、认真、略蠢、可靠、讨喜。 像一个工作很多年的旧时代海岸交通工具。 核心要求： 一眼看出是鸵鸟 头部略大15%-20% 身体明显大于头 圆润钝感嘴型 不要尖锐捕食者结构 有一点“傻鸟感” 有一点喜剧感 有一点笨拙感 眼睛设计： 采用低分辨率蓝色电子像素眼。 不要红色扫描器。 不要高科技UI。 眼神带轻微迟钝感、观察感、呆感。 像一个不太聪明但很温顺的机械动物。 嘴部设计： 嘴略厚，略软。 带一点鸭嘴与鸵鸟嘴融合感。 不要尖嘴。 不要攻击性感。 允许轻微“张嘴发呆”的状态。 身体结构： 整体简洁。 不要复杂机械堆叠。 不要大量裸露齿轮。 不要复杂军工结构。 保持大圆形锅炉式身体。 骑乘结构： 背部有旧皮革坐垫、扶手、挂钩、编号喷漆。 明确能骑乘。 材质： 旧白色工业漆面。 海风腐蚀。 轻微锈迹。 盐雾氧化。 长期使用磨损。 但整体仍干净、可爱、统一。 输出为： 21:9横版角色设定板 白底或浅灰底 包含： 正面 侧面 背面 3/4视图 头部特写 电子眼表情 身体结构特写 腿部与脚掌特写 骑乘动态姿势（空载） 高速奔跑动态姿势（空载） 电影道具级工业设计感， 原子朋克海岸废土世界观， 真实但具有IP角色魅力。

Use {{Image 1}} as the half-buried dogecoin composition reference: keep the coin partially buried in sand, naturally tilted, with realistic small environmental scale. Use {{Image 2}} as the retro-futuristic coastal beach environment reference: keep distant retro coastal buildings softly blurred in the background. Use {{Portrait 3}} as the small scavenger robot reference: preserve the worn white metal body, round black lens eyes, thin mechanical limbs and fragile industrial toy-like proportions. Use {{Portrait 4}} as the gold dogecoin material reference: realistic scratched aged gold surface, embossed dog head, dusty metallic texture. 16:9 cinematic realistic AI short film shot, exactly 5 seconds, single continuous shot. Nolan-inspired extreme realism, IMAX 70mm film texture, Panavision C-Series anamorphic lens, subtle film grain, low-saturation retro film colors, warm dusty orange and faded sea-salt blue tones, natural sunlight, realistic handheld camera weight. The first frame begins directly on a ground-level close-up of a half-buried gold dogecoin in beach sand. The coin occupies only a small portion of the frame, maintaining realistic environmental scale. Fine sand grains slide lightly across the coin surface, creating subtle metallic reflections. A small scavenger robot enters frame from the LEFT side. Its worn mechanical hand quickly reaches into frame, grabs the coin, and lifts it from the sand. The camera stays extremely low near the sand surface, then follows the mechanical hand upward and slightly left in one smooth controlled movement. As the coin is lifted, focus shifts from the coin to the robot’s face. The small robot holds the coin close and studies it with fragile excitement and disbelief. Its large round lens eyes flicker softly while looking at the coin. The background remains softly out of focus with retro coastal architecture. Camera language: ground-level macro close-up, shallow depth of field, quick hand action, longer observation moment after the coin is lifted, subtle handheld drift, realistic cinematic camera weight, slight low-shutter motion blur only on the hand movement. Grounded, observational, realistic cinematic feeling. Sound effects only, no background music: dry wind, sand grains sliding over metal, soft coin scrape, mechanical finger movement, faint servo sound.

{{Portrait 1}} 为海岸环境母版参考，只参考蓝天、蓝海、沙滩质感、海岸光线、原子朋克海岸世界观和真实电影摄影质感。 {{Portrait 2}} 为警示牌道具参考，只参考牌子的造型、奶油白底、褪色橙红边框、黑色工业图标、英文排版、锈迹、盐雾腐蚀和真实道具质感。 生成21:9超写实电影级场景图，《风口》短片中的海边警示牌镜头。 画面主体是一块复古海边公共安全警示牌，插在空旷沙滩上。 警示牌位于前景偏右或偏左，不要完全居中。 背景是明亮美国西海岸海滩、蓝色海面、远处少量原子朋克海岸设施和棕榈树。 警示牌内容保持英文： NO SWIMMING DEEP WATER · CIRCUIT RISK ENTER AT YOUR OWN RISK 牌面上方有简洁警示图标： 一个小机器人掉进水里，旁边有闪电短路符号。 图标像真实公共警示标识，不要卡通表情。 警示牌材质： 奶油白旧金属板， 褪色橙红边框， 黑色工业字体， 轻微锈迹， 盐雾腐蚀， 沙粒磨损， 螺丝和边角做旧， 但整体仍然清晰可读。 环境： 空旷沙滩， 少量沙纹， 湿沙反光， 远处海浪， 自然阳光， 清爽蓝天， 轻微海边 haze。 整体感觉： 真实电影道具感， 复古美国海岸公共设施， 原子朋克世界观， 带一点黑色幽默。 IMAX 70mm胶片质感， 真实摄影， 自然光， 干净画面， 不要HDR过度锐化， 不要游戏感， 不要插画感。

{{Mixed 1}} is the close-up composition reference for the half-buried coin in sand. {{Mixed 2}} is the beach environment reference. {{Portrait 3}} is the small robot character reference. {{Portrait 4}} is the gold coin material and structure reference. 5-second cinematic shot, ultra-realistic atompunk coastal world, Nolan-style extreme realism, IMAX 70mm film texture, Panavision C-series lens look, realistic live-action cinematography, no CGI feeling. A gold dog coin is half buried in the sand on a beach, with distant seaside buildings softly blurred in the background. The coin should NOT be gigantic. It must feel like a realistically holdable coin, small enough to be pinched and lifted by the robot’s fingers. Keep the coin clearly smaller than the thickness and scale of the incoming fingers once the full action is revealed. The shot begins already on the coin, no wind reveal, no slow setup. The pacing should be immediate and fast for short-video platforms. A small robot enters from the right side of the frame. It uses its RIGHT hand, not left hand. The right hand reaches in from the right side and uses TWO fingers to pinch the coin, not three fingers. The two fingers should feel very large in the first moment of entry, dominating the foreground and creating a strong forced-perspective effect. The fingers should appear oversized at first because of the tight framing and lens compression. Important camera logic: this should feel like a long-lens shot, not a wide-angle shot. Strong telephoto compression, compressed background, shallow depth of field, cinematic focus falloff. As the robot pinches and lifts the coin, the camera continuously dollies backward while keeping the hand, coin, and robot framed. This backward camera movement gradually reveals the true scale: at first the coin appears visually large in frame, but as the camera retreats, the coin becomes proportionally smaller and more realistic, ending at a believable size in the robot’s fingers. Action rhythm: 0-1s: close on the half-buried coin, immediate movement, the robot’s right hand enters from the right side, two fingers large in foreground. 1-2s: the two fingers pinch the coin firmly and begin lifting it. 2-4s: as the coin rises, the camera keeps pulling backward in one continuous move, revealing more of the robot and correcting the apparent scale. 4-5s: medium close shot, the small robot holds the coin up and examines it with curiosity and excitement. The robot should feel like a scavenger, quick and instinctive, with no unnecessary pause before picking up the coin. Prioritize longer observation time after lifting rather than hesitation before grabbing. Visual style: retro 1960s atompunk mood, warm dusty sunlight, slightly desaturated vintage sci-fi color palette, subtle film grain, realistic sand texture, clean image, no over-sharpening, no HDR look, natural daylight only. Sound requirement: only sound effects, no background music. Subtle sand movement, light metal finger contact, soft mechanical movement. Avoid: wide-angle distortion, giant coin, wrong hand, left-hand pickup, three-finger grasp, slow build-up from empty frame, excessive environmental reveal, cartoon motion, game CG look.

飞机上的70换成100

{{Portrait 4}} 作为本镜头首帧。首帧必须严格参照 {{Portrait 4}} 帧：小机器人近景，手里拿着一枚尺寸合理的小型黄金狗狗币，金币只是小道具，不是大圆盘；小机器人面部、手部、金币位置、景别、光线和画面方向都要保持连贯。 使用上一镜落板图作为本镜头首帧。首帧延续上一镜最后一帧：小机器人中近景，手里拿着一枚尺寸合理的小型黄金狗狗币，金币只是小道具，不是大圆盘。小机器人面部、手部、金币位置、光线和影调保持连贯。 {{Portrait 1}} 为小机器人角色参考，保持小机器人的体型比例、旧白色金属材质、圆头大眼、机械手结构和轻微旧化痕迹。 {{Mixed 2}} 为海岸沙滩环境参考，参考沙滩质感、陆地方向远处建筑、灯塔、摩天轮、海岸设施和整体晒白复古色调。 {{Portrait 3}} 为普通群众机器人参考，参考群众机器人比小机器人更高、更成熟、头型和体型更丰富的差异化特征。 21:9电影级连续镜头，时长6到7秒，承接上一镜小机器人刚刚捡起金币的画面。 镜头开始： 第一秒从首帧自然延续，小机器人站在沙滩上，刚把小型黄金狗狗币拿到眼前。画面是小机器人身高附近的中近景，35mm到50mm电影镜头感，贴近角色。它手里的金币尺寸保持很小，只能被两三根机械手指自然夹住或托住。 运动方向： 普通群众机器人的运动方向必须是从小机器人身后、从背景深处往前方移动，像一股人流从它后面追上来并超过它。它们不是从镜头侧面横向路过，而是沿着同一方向朝前赶路，逐渐从小机器人身后挤到它身旁和前方。 第一次撞击： 一个普通群众机器人从小机器人身后快速追上，身体前倾，急促快步或小跑，像被远处某个目标吸引，顾不上看路。它经过小机器人身边时，用肩膀、胳膊肘或前臂外侧无意识地撞到小机器人的肩膀和身体侧面。撞击不是拳头打脸，不是攻击动作，而是人潮中被挤到的误撞。小机器人被撞得明显踉跄半步，身体失衡，手里的小金币差点脱手，它立刻把金币护住。 反应节拍： 撞击之后有一个很短的反应停顿，小机器人稳住身体，看向刚才撞它的机器人的方向，像没明白发生了什么。这个反应不要拖长，大约半秒到一秒即可。 人潮裹挟： 紧接着，更多普通群众机器人从小机器人身后接二连三地追上并超过它。它们有的急促快步，有的小跑，有的身体前倾，动作不整齐，像被同一个财富目标吸引后突然加速。它们从小机器人身后、两侧和前方挤过去，画面里出现机械腿、腰部、肩膀、前臂、背包边缘等局部不断擦过镜头，形成前景遮挡和压迫感。小机器人被迫跟着人流向前挪动，身体左右摇晃，始终护着手里的小金币。 镜头调度： 摄影机始终贴近小机器人，像被卷在人群里跟拍。第一次撞击时镜头产生一次短促晃动，之后镜头在机器人身体缝隙中跟随小机器人移动。画面不能太干净，应该有局部遮挡、擦肩而过、短暂失焦和轻微运动模糊，但小机器人仍是视觉中心。不要直接切大全景，不要变成俯视人群，这一镜重点是小机器人被比自己更高的群众机器人裹挟和压迫。 段落结尾： 小机器人被挤着向前移动，抬头左右看，像在确认到底发生了什么。此时画外传来更沉重、更低频的机械脚步声，从它侧后方逐渐逼近，为下一镜大型重型机器人入场做铺垫。 画面风格： 电影级 IMAX 70mm 胶片质感，Panavision C系列变形宽银幕镜头质感，60年代复古科幻原子朋克海岸世界观，低饱和晒白色调，自然日光照明，轻微胶片颗粒，真实摄影感。动作真实，有轻微运动模糊和碰撞感，不要游戏CG感，不要夸张卡通表演。 声音要求： 只要音效，不要背景音乐。音效包括急促机械脚步声、沙地摩擦声、机器人身体擦碰声、肩膀或胳膊肘撞到小机器人时的轻微金属碰撞声、小金币差点脱手时的细小金属响声、远处逐渐逼近的沉重低频脚步声。

{{Mixed 1}} is the A-315 right arm and right hand structure reference. {{Mixed 2}} is the buried gold coin close-up composition reference. {{Portrait 3}} is the gold coin design and thickness detail reference (optional). Create a 3-second cinematic ultra-realistic macro close-up shot. The shot begins on a gold coin half-buried in beach sand, matching the composition feeling of {{Mixed 2}} . The coin is not giant. Its size must feel believable in relation to the A-315 robot hand when picked up. A heavy metallic footstep is heard off screen, then the A-315 robot’s RIGHT hand enters the frame quickly from the right side. The hand must match {{Mixed 1}} exactly: small vintage industrial robot design language, old ivory paint, worn and scratched surface, simplified mechanical structure, and the same right-hand joint style. IMPORTANT: The hand must feel visually large because it is very close to the camera, not because the hand itself is oversized. Do not make the coin too large. Do not redesign the hand. Use a tight macro lens feeling with strong foreground presence and shallow depth of field. The robot uses TWO fingers to pinch the coin by its edge, then lifts it upward. As the coin is lifted, sand falls away naturally from the edge. During the lift, the camera subtly pulls back just a little so the coin scale becomes more believable in the hand. Style: Nolan-style extreme realism, IMAX 70mm film texture, ultra realistic live-action look, retro atompunk mood, Panavision C-series lens feeling, subtle film grain, natural daylight, realistic mechanical detail, shallow depth of field, strong cinematic compression, no CGI look, no game look. Sound requirement: only sound effects, no background music. Include a subtle heavy metallic footstep, slight sand movement, light metal finger contact, and soft sand falling sound.

根据参考图生成一张 21:9 超宽横版电影分镜线稿图，黑白灰草图风格，5格连续分镜，横向排列，干净清晰，像导演工作用的镜头设计板。不要竖屏，不要接近海报，不要漫画成片感，不要彩色，不要复杂背景，不要精细渲染，不要最终成片质感，只要清楚表达镜头顺序、景别、人物调度、运动方向和压迫关系。 参考图说明： {{Portrait 1}} 为上一镜尾帧参考。用于延续上一镜的构图逻辑、景别感觉、主角拿金币的状态、镜头轴线方向。第1格必须延续这张图的视觉逻辑，不要越轴，不要突然换成相反方向。 {{Portrait 2}} 为主角小机器人 A-315 角色参考。主角必须保持破旧白色圆头机器人形象，双圆形镜头眼，细瘦机械四肢，旧玩具般比例，胸口 A-315 标记，脆弱、敏感、略显呆愣的气质。 {{Portrait 3}} 为群众机器人 / 公共服务机器人群像参考。群众机器人和撞击机器人只能参考这张图的公共服务机器人风格：不同头部、不同身体比例、不同颜色与不同轮廓，旧化工业材质，海岸公共服务机器人气质。群众机器人不能长得像主角，不能出现白色圆头双镜头眼的主角复制体。 为环境空间参考图。用于统一场景空间气质、透视关系、地平线和镜头方向。如果没有此图，可以忽略，但整体空间仍应简洁稳定。 镜头语言统一要求： 全组采用 85mm 长焦压缩感，紧景别，局促构图，空间压迫，主角清晰，背景简化。不要大全景，不要完整海滩环境，不要大场面俯视，不要过宽松构图。群众机器人多数只以局部身体、侧背身、背身、掠过式残影、肩膀、手臂、躯干、机械腿、头部边缘出现在画面边缘和背景，不要整齐站满画面正面展示。 最重要的空间方向锁定： 主角 A-315 始终面朝画面右侧更深处。 镜头始终位于主角前方偏左或正前方，所以观众始终能看到主角的脸和手里的金币。 所有群众机器人都不是从主角前方迎面走来，也不是在主角前方围观主角。 正确关系是： 群众机器人从主角身后区域出现，从主角背后、背后右侧、背后左侧向前流动，掠过主角，超过主角，然后继续朝主角面朝的方向前进，也就是继续朝画面左侧同时面朝画面左侧更深处前进。 因此从第3格开始，背景中大部分群众机器人应表现为正面、1/4正面、已经超过主角后继续向前走的状态，不是正面朝镜头站立。 分镜内容设定： 第1格：延续 {{Portrait 1}} 的近景 21:9 超宽横构图，85mm close-up，延续上一镜尾帧的构图逻辑。 主角小机器人 A-315 刚刚捡起金币，金币拿在脸旁或胸前靠近镜头的位置，主角正在看金币，有一点短暂的小兴奋、小好奇、专注观察。 这一格后面不要出现明显群众机器人，不要出现拥挤人流，不要有多个机器人干扰。背景应基本干净，最多只有极少量模糊远景结构影子，但不能形成清晰机器人存在感。 重点是“主角和金币”的近景确认，以及与上一镜的轴线连续。 可加简短标题：21:9 / 85mm close-up / 延续尾帧 / 主角看金币 第2格：背后右侧单个擦撞掠过 仍然是 21:9 超宽横构图，85mm 长焦紧景别。 只有一个撞击机器人出现，必须是图2体系中的普通公共服务机器人，不要像主角。 撞击机器人从主角背后右侧快速冲上来，擦过主角右肩，然后超过主角，继续冲向主角面朝的方向，也就是画面左侧跑。 这个撞击机器人不是从主角前面过来，不是冲向金币，不是正面撞击主角，而是从主角身后右手边超越主角。 构图上应明确体现“从后方掠过并超过主角”的空间关系。 撞击机器人只露局部肩膀、手臂、躯干边缘、残影和速度感，不要完整正面展示。 主角被带歪一下，身体轻微失衡，但金币仍牢牢在手里，不掉。 可画一个简洁箭头标注：从主角背后右侧 → 超过主角 → 向画面左前方更深处继续前进 可加简短标题：背后右侧擦撞 / 只有一个撞击机器人 / 金币不掉 第3格：主角看向撞击者离开的方向，开始发现异常 21:9 超宽横构图，85mm 长焦，中近景。 主角稳住身体，依然基本停在原地，不要跟着人群跑。 主角不是回头看自己身后，而是看向刚刚撞击机器人冲走的前方方向，也就是主角面朝的方向，画面左侧。 这一格开始，背景里可以首次出现少量群众机器人，但重点是“已经超过主角、继续往前走的人流”. 数量不需要太多，只是让主角开始察觉前面不对劲。 主角表演不是人类式夸张表情，而是机器人式短暂停顿、头部轻微偏转、发愣、疑惑、像在分析情况。 可加简短标题：看向前方 / 不是回头 / 开始发现异常 第4格：裹挟开始，主角左右偏头环顾 21:9 超宽横构图，85mm 长焦压缩感，拥挤感开始增强。 更多群众机器人从主角背后、左右两侧不断往前挤过，并持续超过主角，继续朝画面左前方前进。 主角仍基本停在原地，不主动跟着人群跑，像被卡在流动的人群中间。 画面边缘出现更多机器人局部：肩膀、机械臂、躯干、背部、腿部、头部边缘，从左右和前景掠过。 主角手里仍握着金币。 这一格的表演重点是主角开始左右偏头、左右环顾，不是“人类眼神戏”，不是突然出现夸张情绪，而是机器人式的“左右扫描、纳闷、轻微不安”，像在发出低弱机械疑问音。 群众机器人都必须和主角不同，不能出现主角复制体。 可加简短标题：裹挟开始 / 主角左右偏头 / 群众局部掠过 第5格：压迫升级，为巨型机器人入场蓄势 21:9 超宽横构图，85mm 长焦紧景别，压迫感达到这一组分镜的高点。 群众机器人数量比第4格更多、更近、更堵，画面边缘被更大的前景局部遮挡，前景和两侧不断有不同群众机器人局部掠过，背景里也有更多已经超过主角并继续前行的人流。 注意，这些机器人依然都应主要表现为正面面、1/4正面面、维持“从主角身后涌上来，超过主角，继续向前”的统一流动关系。 主角被包在中间，依然基本停留原地，手里仍握金币，不掉。 主角做更明确的左右环顾、左右偏头，小幅不安，表现“怎么突然这么多机器人”，但仍是机器人式反应，不要画成人类化眼神特写，不要给第五格突然变成人类戏剧性面部特写。 这一格只负责把压迫感推高，并为下一镜巨型机器人强势入场蓄势。 这一格不要画出巨型机器人本体，只做气氛和调度铺垫。 可加简短标题：压迫升级 / 左右环顾 / 为巨型机器人入场蓄势 额外禁止项： 不要竖屏分镜。 不要把 21:9 画成窄长竖格。 不要让主角方向前后乱跳，不要越轴。 不要让第1格就出现很多机器人。 不要让第2格出现多个撞击机器人。 不要让机器人群体一开始就包围主角。 不要让主角跟着机器人群一起向前跑。 不要让金币掉落、换手、变大小、变造型。 不要让第5格变成人类式眼神戏。 不要让群众机器人正面整齐站着看镜头。 不要让群众机器人长得像 A-315。

根据参考图生成一张 21:9 超宽银幕电影分镜线稿图，黑白灰草图风格，5格连续分镜，横向排列，从左到右阅读。整张图必须是 21:9 横版电影构图，不要竖屏构图，不要方形构图，不要把每格画成竖向人物肖像。画面像导演工作用的镜头设计板，干净清晰，功能性强，不要漫画成片感，不要彩色，不要复杂背景，不要精细渲染，不要海报风。 {{Portrait 1}} 为上一镜尾帧参考：小机器人拿着金币的近景画面。第1格必须延续这个构图、轴线、景别、主角朝向、金币位置和手部关系。不要越轴，不要换成新的角度，不要改变主角看向方向，不要让金币换手，不要让金币变大。 {{Portrait 2}} 为主角小机器人 A-315 的角色参考。主角必须保持破旧白色圆头机器人形象，双圆形镜头眼，细瘦机械四肢，旧玩具般比例，胸口 A-315 标记，脆弱、敏感、略显呆愣的气质。 {{Portrait 3}} 为群众机器人 / 公共服务机器人群像参考。群众机器人和撞击机器人只能参考 {{Portrait 3}} 的公共服务机器人风格：不同头部、不同身体比例、不同颜色与不同轮廓，旧化工业材质，海岸公共服务机器人气质。群众机器人不能长得像主角，不能出现白色圆头双镜头眼的主角复制体。 整张分镜统一要求： 21:9 超宽银幕构图，85mm 长焦压缩感，紧景别，局促构图，主角始终清晰，背景虚化，群众机器人多以局部身体出现，例如肩膀、手臂、躯干、机械腿、头部边缘。不要大全景，不要展示完整环境，不要让主角主动跟着人群往前跑。主角基本停在原地，被别人从背后、左右两侧和前景挤压、裹挟。金币始终在主角手里，不能掉落。 整个群众运动方向必须统一： 群众机器人从主角背后、背后右侧、背后左侧不断向主角面朝的前方涌去。不是四面八方乱撞，不是冲向金币，不是正面撞主角。人流方向要像一股潮水，从主角身后越过主角，向前方涌动。 分镜排版： 21:9 横版，5格横向连续分镜，每格也是横向电影构图。每格下面可以有非常短的小标题，但不要出现大段文字。可以使用少量简单箭头标注运动方向，箭头必须简洁，不要污染画面。 第1格：延续尾帧，主角拿金币近景 严格参考 {{Portrait 1}} 的构图和轴线。主角小机器人拿着金币，金币在脸旁或胸前，主角上半身近景，眼睛看着金币，有一点短暂的小兴奋和好奇。背景虚化，不展示大环境。标注：21:9 / 85mm close-up / 延续尾帧 / 主角看金币。 第2格：背后右侧擦撞掠过 一个群众机器人从主角背后右侧快速冲过，运动方向是从主角背后右侧冲向主角面朝的前方。它不是冲向金币，也不是从画面正侧面横着撞过来。撞击机器人只露局部肩膀、手臂、躯干边缘和运动模糊，擦撞主角右肩。主角身体被带歪一下，金币还在手里。画一个清晰但简洁的运动箭头：rear-right behind protagonist → forward direction。标注：背后右侧擦撞 / 金币不掉。 第3格：主角机械式错愕反应 主角稳住身体，仍然站在原地，眼睛看向撞击机器人冲走的前方方向，不是回头看。它不是人类眼神戏，而是机器人式反应：圆形镜头眼轻微收缩或亮度变化，头部机械性偏转，身体僵住，像在处理异常信息。背景开始出现更多虚化的群众机器人局部快速掠过。标注：看向前方 / 不是回头 / 机器人式疑惑。 第4格：连续裹挟压迫 更多群众机器人从主角身后、左右两侧和前景不断挤过，整体方向都朝前方。主角被困在画面中央，基本停在原地，没有主动跟着人群跑。主角头部开始左右机械性偏转，像在寻找发生了什么。画面边缘充满机器人肩膀、手臂、躯干和机械腿局部，形成强烈拥挤感。群众机器人都要和主角外形不同。标注：被困中间 / 群众局部包围 / 主角左右偏头。 第5格：裹挟高峰，为大机器人入场蓄势 主角被更多机器人局部包围，画面比前一格更堵、更压迫。主角不是给人类眼神特写，而是机器人头部近景或中近景：它的头左右偏转，镜头眼微微变化，身体僵硬，手里仍然攥着金币。前景有更大的群众机器人局部遮挡，后景机器人更密，整体人流方向一致向前。画面暗示下一镜会有更大的力量出现，但这一格不要画出大机器人。标注：压迫升级 / 机器人左右环顾 / 为巨型机器人入场蓄势。 线稿要求： 线条清楚，黑白灰，电影分镜草图，不要最终成片质感，不要彩色，不要真实渲染，不要复杂阴影，不要精致插画。重点是21:9画幅、镜头顺序、轴线延续、景别控制、主角位置、撞击方向、群众包围关系和压迫感。

{{Mixed 1}} is the right arm and right hand structure reference. {{Mixed 2}} is the close-up scene composition reference. {{Portrait 3}} is the gold coin design and thickness reference. 3.5 seconds, single continuous shot, ultra realistic live-action cinematic image, retro atompunk coastal world, IMAX 70mm film texture, Panavision C-series lens feel, telephoto close-up, shallow depth of field, natural daylight, subtle film grain, clean image, only sound effects, no background music. The shot begins with a tight close-up of a half-buried gold dog coin in sand, matching the composition and framing feel of {{Mixed 2}} . The coin design, thickness, edge detail, and material must match {{Portrait 3}} . The coin is visually prominent in frame but physically still a small coin, not a large prop. A small robot’s RIGHT hand and forearm, matching the structure and mechanical design of {{Mixed 1}} , enters the frame from the upper right area, moving downward toward the coin. The motion is quick and direct, with no hesitation. The RIGHT hand uses only two fingers to pick up the coin: the thumb and index finger precisely pinch the outer edge of the coin. It must read clearly as a two-finger pinch, not a full-hand grab, not three-finger grabbing, not palm wrapping. The fingertips are very close to the camera, so they appear large in the foreground, but the coin must remain clearly smaller in physical scale and readable as a small object that can be easily pinched. The hand pinches the coin edge and immediately lifts it upward quickly. By around the third second, the coin is already being lifted out of the frame. The camera gives a very slight upward follow tilt, minimal and controlled, just enough to follow the lift. Slight sand movement occurs where the coin is picked up. Background remains softly blurred. Focus on correct right-hand structure, correct two-finger action, small coin scale, and a fast clean lift.

21:9电影级开场镜头，IMAX 70mm胶片质感，Panavision C系列变形宽银幕镜头质感，60年代复古科幻原子朋克海岸世界，低饱和晒白色调，自然日光，轻微胶片颗粒。 {{Mixed 1}} 作为场景参考， {{Portrait 2}} 作为狗狗币参考， {{Portrait 3}} 作为小机器人参考。镜头贴近沙地，低空广角俯视，画面大部分是粗粝沙地与细小贝壳颗粒，天空只保留很少一部分，远处虚化可见少量海岸建筑、灯塔、摩天轮和海岸设施轮廓，视角朝向陆地方向。前景中央偏下，一枚金色狗狗币半埋在沙中，埋得较多，只露出一大半，微微翘起，表面轻微旧化与附沙。开场一阵风吹过，细沙掠过并扫开部分覆盖沙粒，让金币更明显露出。随后一个黑影掠过画面，一只小型机械手从上方进入，抓住金币边缘，将金币从沙里拔起，镜头顺势轻微上扬，带出小机器人局部身体和头部，它低头看着刚捡到的金币，神秘、真实、克制、强钩子、强视觉吸引力。只要音效，不要背景音乐。

{{Mixed 1}} 为右臂与右手结构参考， {{Mixed 2}} 为近景场景构图参考， {{Portrait 3}} 为金币造型与厚度参考。 时长3.5秒，单镜头一镜到底，超写实真人实拍电影感，复古原子朋克海岸世界，IMAX 70mm胶片质感，Panavision C系列镜头气质，长焦近景特写，浅景深，自然日光照明，轻微胶片颗粒，画面干净，只要音效，不要背景音乐。 镜头从一个半埋在沙子里的金色狗狗币近景特写开始，整体构图和景别参考 {{Mixed 2}} 。金币的造型、厚度、边缘细节和材质参考 {{Portrait 3}} 。金币在画面中视觉上可以突出，但物理尺寸必须仍然是一枚小金币，不是大号道具。 一个小机器人、右手，结构和机械细节参考 {{Mixed 1}} ，从画面右上区域快速入画，向下伸向金币。动作直接，不要停顿，不要犹豫。右手只用两根手指拿金币：拇指和食指准确夹住金币的外边缘。必须明确表现为两指夹取，不是整手抓取，不是三指抓取，不是手掌包裹式抓握。 前景中的手指因为离镜头很近，所以视觉上可以显得较大，但金币本身的物理尺寸必须明显偏小，看起来是一枚可以被两根手指轻松夹起的小物件。夹住金币后立刻向上快速提起，大约第3秒时金币已经开始被提离画面。镜头仅做非常轻微、克制的向上跟摇，刚好跟随提起动作即可。金币被拿起时，周围沙子有轻微松动和扰动，背景保持柔和虚化。重点强调：正确的右手结构、明确的两指夹边动作、小尺寸金币、快速干净的提起。

21:9白底角色资产设定图，生成一组“原子朋克美国海岸资本乐园”世界中的普通群众机器人参考，电影美术设定板风格，白底干净排版，清晰展示12到18个不同造型的普通群众机器人，用作后续海岸乐园、商业街、沙滩人潮、码头区域、围观人群和奔向海边的机器人群众资产参考。 这些机器人与主角小机器人属于同一世界观，但绝不能长得像主角。主角小机器人在片中必须保持独一无二。群众机器人只能保留同一世界的工业语言和时代审美，但在头型、身高、体型、胸腔结构、四肢比例、背部模块、手部结构上都要明显不同，不能像同一个模子换皮。 整体身高设定为普通成年人形量产机器人尺度，大多数比主角小机器人更高，更成熟，整体约高一个头左右。体型可有高矮差异，但总体是标准群众机器人，不是主角那种偏矮小比例。 头部设计必须明显多样化，可包括方头、扁头、窄长头、半圆头、显示屏头、单镜头头、双目工业镜头头、潜望镜式头部、短脖结构、高肩无脖结构、小型感应头等。不要统一头型，不要统一脸感，每个机器人都应有明显轮廓差异。 身体结构要丰富，胸腔、肩膀、前臂、腿部、背包、工具仓、手掌模块都要有差异。部分可偏服务型，部分可偏搬运型，部分可偏巡逻型，部分可偏商业区工作型，部分可偏码头辅助型，但整体仍属于同一个沿海资本乐园社会体系中的普通群众机器人。 材质为真实工业量产机器人质感，轻到中度旧化，具有长期使用后的自然痕迹：轻微掉漆、边缘磨损、局部划痕、轻度氧化、海盐侵蚀、旧塑料面板、喷涂金属质感、关节积尘。不是废土破烂风，也不是全新无瑕疵高科技机器人。 配色要丰富但统一，采用米白、旧白、奶油白、白蓝双拼、白红双拼、白绿双拼、白灰双拼、浅卡其、浅黄色、浅海盐蓝、褪色橙红、浅工业绿、浅金属灰等组合。允许少量单色机器人，但大多数应有双拼或局部配色变化，形成真实的群众差异化，不要全部白色，也不要像玩具一样花哨。 画面排版像专业电影前期角色资产总览图，前后多排展示，清晰可见每个机器人个体，同时可加入少量局部细节框，展示几种典型头部、胸腔、手部、背包和配色差异。整体观感统一、克制、真实、高级。 风格要求：诺兰式极度写实主义美学，电影级 IMAX 70mm 胶片质感，Panavision C系列镜头质感，超写实，真实摄影感，杜绝游戏CG感。60年代复古科幻原子朋克工业语言，带有美国海岸商业度假世界观的量产机器人审美，低饱和、克制、统一。

请先上传3张参考图，并按以下顺序对应： {{Mixed 1}} 为开场沙滩陆地方向场景参考； {{Portrait 2}} 为金色狗狗币道具参考； {{Portrait 3}} 为小机器人形象参考。 21:9 电影级开场镜头，IMAX 70mm 胶片质感，Panavision C系列变形宽银幕镜头质感，诺兰式极度写实主义美学，60年代复古科幻原子朋克海岸世界，低饱和晒白色调，暖沙色与海盐蓝气质，自然日光照明，轻微胶片颗粒，真实摄影感，杜绝游戏CG感。 镜头内容： 摄影机超低机位贴近沙地，广角近摄，轻微俯视，画面绝大部分是粗粝真实的沙地与细小贝壳颗粒，天空只保留极少一部分。远处背景虚化，可隐约看到 {{Mixed 1}} 中的海岸建筑、灯塔、摩天轮和海岸设施轮廓，但背景不能过于清晰，重点始终在前景沙地。视角朝向陆地方向，不看海。 前景中央偏下位置，一枚参考 {{Portrait 2}} 的金色狗狗币半埋在沙中，埋得较多，只露出大半枚，角度微微翘起，但不要翘得太高，不是竖直插入，也不是完全平躺，而是像被风沙掩埋后刚刚露出。金币表面带有轻微旧化、轻微磨损、少量沙粒附着，仍保有真实黄金金属光泽和价值感。 开场先是一阵风吹过沙面，细沙掠过画面，把覆盖在金币上的部分沙粒轻轻扫开，让金币从埋得较深变成更明显露出。随后一个黑影从画面上方快速掠过沙地，形成短暂遮光和神秘感。接着一只参考 {{Portrait 3}} 的小型机械手从画面上方进入，谨慎而好奇地伸向金币，抓住金币边缘，把金币从沙里拔起。随着金币被提起，镜头轻微跟随上扬，顺势第一次带出小机器人局部身体与头部，让观众看清它是一个矮小、旧旧的、带一点笨拙感的小机器人。它低头看着刚捡到的金币，神情带一点惊喜、疑惑和被吸引的感觉。整个过程一气呵成，开场强钩子，强视觉吸引力。 画面要求： 前景沙地必须占绝对主体，背景只作为虚化环境信息。不要大面积天空，不要让海洋成为主体，不要拍成普通海边静物照。重点是“埋在沙里的狗狗币被发现的瞬间”。画面要有电影短片开场的神秘感、视觉钉感和叙事钩子。 声音要求： 只要音效，不要背景音乐。 海风吹沙声，细沙摩擦声，远处空旷海岸环境底噪，黑影掠过的轻微压风声，机械手接触金币的金属轻碰声，金币从沙中被拔起时的沙粒滑落声，小机器人轻微机械关节声。

{{Portrait 1}} 为上一镜尾帧参考，用于锁定本段第1格的构图连续性、主角位置、金币位置、镜头高度与画面轴线。 {{Portrait 2}} 为主角 A-315 三视图参考，用于锁定主角的头部造型、眼睛结构、身高比例、四肢结构、手部结构与整体造型。 {{Portrait 3}} 为普通群众机器人参考，用于锁定群众机器人的世界观风格、材质状态、头型差异、胸腔差异、配色差异和身高差异。群众机器人必须明显高于主角A-315，不能长得像A-315复制放大版，不能出现A-315编号泛滥，不能与主角同头型同身份。 {{Portrait 4}} 为沙滩环境参考，用于锁定沙滩空间关系、远处建筑带、海岸线环境气质和整体背景氛围。 请生成一张黑白铅笔线稿电影分镜故事板，导演预演草图风格，不要真实渲染，不要上色，不要成片质感。整张故事板为 4 格分镜，每一格内部严格采用 21:9 电影宽画幅比例。 本段剧情内容： 主角A-315刚捡起金币，独自看着手中金币。随后，一名更高的群众机器人从画面右后方快速切入，擦撞主角并继续向前冲去。主角抬头看向前方，接着越来越多更高大的群众机器人沿同一方向从画面右后方不断涌来，将主角逐渐裹挟在人流中。 这次必须严格锁死以下空间关系与运动关系： 1. 主角A-315面朝画面右前方。 2. 群众机器人的整体运动方向，必须与主角面朝方向一致。 3. 群众机器人从“画面右后方”切入，不是泛泛地从远方任何方向出现。 4. 摄影机位于主角左前侧，因此镜头里看到的群众机器人，应当主要是正面或3/4正面，而不是大面积后背。 5. 群众机器人并不是背对镜头离开，而是从画面右后方斜切进来，沿着与主角相同的前进方向继续冲向前方。 6. 第1格不要出现明显群众机器人，只保留主角独自看金币的状态。 7. 第4格必须明显增强裹挟感、压迫感和遮挡感。 分镜内容如下： 第1格（02）承接上一镜尾帧： 严格承接 {{Portrait 1}} 的构图连续性。A-315位于近景 / 中近景，手里举着刚捡起的小金币，金币在前景略虚，主角脸部清晰。主角独自看着手中金币，面朝画面右前方。背景为开阔沙滩与远处建筑带，背景干净、开阔，不出现明确群众机器人，不出现明显人潮。 第2格（03）第一次撞击： 一名比主角更高的普通群众机器人，从画面右后方快速切入，沿着与主角一致的前进方向冲来，在经过主角身边时，用肩膀或上臂擦撞主角。不是拳头打脸，不是正面攻击，不是横向路过。这个群众机器人必须呈现明显前冲姿态：重心前倾、步幅大、目标明确、速度快。摄影机位于主角左前侧，因此这一名撞过来的群众机器人应当主要呈现正面或3/4正面，而不是背面。撞到主角之后，它继续沿着主角面朝的方向往前冲去。 第3格（04）主角反应： A-315被撞得踉跄半步，但金币没有掉落，仍然握在手里。主角的第一反应不是回头，也不是护金币，而是顺着那名撞过自己的机器人前进方向，抬头看向自己前方，也就是画面右前方，像是在疑惑“发生了什么”。背景中开始出现更多群众机器人，它们同样从画面右后方切入，保持与主角一致的前进方向。镜头里应当能看到它们的正面或3/4正面朝向，而不是一排排后背。 第4格（05）人潮开始裹挟： 更多更高大的群众机器人从画面右后方接二连三快速涌入，整体朝着与主角相同的方向继续向前冲去。它们不断从主角身边掠过、超过主角，并把主角夹在中间。主角显得更矮、更弱、更局促。前景与两侧必须出现更强的机器人身体遮挡，例如大腿、手臂、肩膀、机械腿、背包、箱体等，但这些遮挡的机器人仍应体现“从画面右后方切入、朝主角前方冲去”的统一动势。重点表现主角被卷入一股朝同一方向奔涌的人流，被裹挟、被压迫、被吞没。 标记规则： 红色箭头 = 群众机器人运动方向（统一为：从画面右后方切入，沿着主角面朝方向继续前冲） 绿色箭头 = 主角视线方向（统一看向画面右前方） 蓝色箭头 = 摄影机轻微调整或跟随方向 黑色文字 = 分镜说明 输出要求： 输出一张清晰、干净、信息明确的 4 格 21:9 黑白线稿故事板。 重点保证： - 第1格无明显群众机器人 - 第2格撞击方向正确 - 群众机器人从画面右后方切入 - 群众机器人的朝向以正面或3/4正面为主 - 群众机器人的运动方向与主角面朝方向一致 - 第4格裹挟感、压迫感、遮挡感明显增强

Use {{Image 1}} as the coastal beach environment reference. Use {{Portrait 2}} as the golden dogecoin reference. Use {{Portrait 3}} as the small robot character reference. 16:9 cinematic realistic AI short film shot, 8 to 10 seconds, single continuous shot. Nolan-inspired extreme realism, IMAX 70mm film texture, Panavision C-Series anamorphic lens, subtle anamorphic breathing, natural daylight, 1960s retro-futuristic atompunk coastal world, warm faded orange and sea-salt blue color palette, low-saturation vintage film look, subtle film grain, real location photography feeling, no game CGI look. The camera starts at an extreme low ground-level macro close-up on a wide empty sandy beach. The sea is behind the camera, facing inland toward distant coastal buildings, palm trees, old amusement structures and retro-futuristic beach architecture. Fine sand covers the foreground. A dry sea wind blows across the sand surface. At first only moving sand is visible. Gradually, the wind uncovers the edge of a half-buried golden dogecoin. Sand slides away grain by grain, revealing more of the coin’s circular form and embossed dog head symbol. The coin is dusty, scratched, slightly aged, realistic metal, not too shiny. A small worn mechanical hand slowly enters the frame from the side. It hesitates for a brief moment, then gently picks up the coin. The camera follows the mechanical hand upward in one smooth controlled tilt and slight push-in, revealing the small worn-out robot in close-up. The robot stares at the coin with fragile excitement and disbelief. Its round eyes softly flicker, as if it has just found a rare opportunity. Camera language: extreme ground-level macro close-up, shallow depth of field, slow reveal through wind-blown sand, then follow the hand upward to the robot’s face. Realistic handheld micro-movement, controlled cinematic pacing, no fast cuts, no heroic pose, no cyberpunk neon, no anime style, no cartoon look. Sound effects only, no background music: dry wind blowing sand, tiny grains sliding over metal, soft coin scrape, subtle mechanical finger movement, faint servo sound.

{{Portrait 1}} 作为本镜头首帧参考，严格承接上一镜落板画面。 {{Portrait 2}} 为小机器人角色参考。 {{Mixed 3}} 为沙滩环境参考。 {{Portrait 4}} 为普通群众机器人参考。 21:9电影级镜头，时长3到4秒，承接小机器人刚捡起小型黄金狗狗币的画面。以图1作为首帧，保持小机器人、金币、光线和构图关系。金币始终在小机器人手里，不能掉落，不能飞出画面。 镜头开始，小机器人拿着小金币站在沙滩上，注意力还在金币上。一个普通群众机器人从小机器人背后方向快速追上，身体前倾，急促小跑，沿同一方向超过小机器人。它经过时用肩膀、胳膊肘或前臂外侧无意识撞到小机器人身体侧面。撞击是擦肩误撞，不是攻击，不是拳头打脸。小机器人被撞得踉跄半步，稳住后立刻顺着那个机器人跑去的方向看过去，像疑惑它为什么这么急。镜头保持中近景，第一次撞击时有短促晃动。只要音效，不要背景音乐。

{{Portrait 1}} 为本镜头首帧，必须严格延续图1开场，开始画面与图1几乎一致。 {{Mixed 2}} 统一环境方向与影调。 {{Portrait 3}} 只用于普通群众机器人差异化参考。 21:9画幅，时长2.5秒到3秒，IMAX 70mm胶片质感，Panavision C系列镜头质感，85mm长焦，真实摄影，复古原子朋克海岸世界，自然日光，低饱和晒白色调，轻微胶片颗粒。 这是一个主角被撞后的反应近景。画面中只有一个主角A-315，即图1中的小机器人。其他机器人不能长得像主角，不能重复主角头型，不能出现A-315编号，不能像主角的放大版。其他机器人整体比主角更高，外形和配色各不相同。 主角手中拿着一枚小型黄金狗狗币，尺寸与手掌匹配。一个普通群众机器人从主角身后方向快速跑过，用肩膀或上臂擦撞主角。主角轻微踉跄，但没有松手，随后立刻顺着对方前冲的方向抬头看过去，露出疑惑反应。 摄影机保持85mm长焦近景，只做极轻微跟随，不改变首帧基本景别和构图，不拉远，不主动展示群像，不大幅摇镜。 声音要求：只要音效，不要背景音乐。

、16:9电影级环境概念图，纯场景，无人物，无机器人。 设计一个“海上财富幻象孤岛”的超大全景。画面核心不是展示整座岛，而是展示一枚具有绝对压迫感和巨物感的悬浮黄金狗狗币。 摄影机机位极低，几乎贴近海面，广角镜头，明显仰视，镜头更靠近海面与孤岛，形成强烈的海上仰望感。前景保留较大面积的真实海面与起伏波浪，海水在镜头前形成近距离透视和包裹感。观众像是在海上抬头仰望目标。 画面中，下方是一座相对较小的礁石财富孤岛，岛不要太大，不要铺满画面，不要吃掉横向空间。孤岛应明确被海完全包围，四周留出足够海面。岛体由裸露黑色礁石、灰褐色岩体、破碎岩面构成，大部分表面被海量财富覆盖：金币、金条、宝箱、珠宝、黄金器物像山体地貌一样堆积在岩石上，形成金色财富坡面与财富堆山。不要建筑群，不要度假岛感，不要社区感，只保留极少量被财富半埋的残破石台、断裂遗迹、破碎台阶痕迹。 画面上方悬浮着一枚极其巨大的黄金狗狗币。狗狗币必须远远大于普通雕塑尺度，在视觉上压倒整座岛，成为画面的绝对主体。狗狗币在画面中占据极大比例，具有明确的巨物感、压迫感、统治感，像一个悬浮在海上的财富太阳。狗狗币与岛顶保持明显悬浮距离，没有任何支撑结构。狗狗币可以接近画面上沿，甚至略微有一点顶画面的感觉，但整体仍保持完整可读。它必须让观众第一眼先被巨物压住，然后才看到下方的财富孤岛。 构图关系明确： 前景是近距离海面， 中下部是被海包裹的较小财富礁石孤岛， 上方是压迫性悬浮巨型狗狗币。 主次关系必须清晰：狗狗币第一主角，海岛第二，财富细节第三。 整体气质： 神秘、危险、诱惑、史诗、黑色幽默资本神话感。不是度假岛，不是奇幻乐园，不是藏宝图插画，而是一个让所有机器人疯狂追逐的海上财富终点。 光线： 强烈晴天阳光，天空宏大，云层有体积感，狗狗币和财富堆形成耀眼金色反光，海面有真实高光闪烁与水体质感。整体为真实摄影感，IMAX 70mm胶片电影质感，超高细节，史诗级环境母图。

{{Portrait 1}} 为本镜头首帧，严格承接上一镜最后落板画面。 为主角A-315角色参考，用于补全主角全身结构、手臂、背包、比例和材质。图3为沙滩环境与建筑朝向参考，用于统一空间方向、陆地走势、光线与影调。 21:9变形宽银幕电影画幅，时长2.5秒到3秒，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，真实摄影，复古原子朋克海岸世界，自然日光照明，低饱和晒白色调，轻微胶片颗粒，轻微动态模糊。 镜头严格承接 {{Portrait 1}} 开场。主角A-315保持与 {{Portrait 1}} 一致的位置、头部方向、持币姿态和构图关系。主角手里拿着一枚小型黄金狗狗币，金币尺寸与主角手掌匹配，像一枚真实拾荒发现的小金币。 镜头开始时主角正看着手中的金币。随后，一个比主角高一头左右的普通群众机器人，从主角身后方向急促经过，身体前倾，带着明确目的性的小跑动势，从主角身边快速超过去，经过时肩膀或上臂擦撞到主角。主角被撞得轻微踉跄半步，身体晃动一下，但金币仍牢牢拿在手里。主角稳住后，立刻顺着那个机器人冲去的方向抬头看过去，露出明显疑惑和意外的反应。 摄影机保持贴近主角的中近景，景别比上一镜更紧一些，动作短促清晰。镜头重点表现“突然擦撞”和“主角抬头反应”，构图收得更紧，不要松散空旷。镜头在主角抬头反应的瞬间收住，为下一镜人潮裹挟做衔接。 声音要求：只要音效，不要背景音乐。音效包括轻微海风声、沙地脚步声、急促机械小跑声、擦撞金属闷响、主角踉跄时的机械关节轻响。

{{Portrait 1}} floating Dogecoin reference, treasure island reference, extreme high-angle ultra-wide cinematic shot, camera positioned higher than the floating Dogecoin and higher than the island, looking downward, gigantic Dogecoin in the near foreground from above, overwhelming foreground mass, strong perspective distortion, below it a rocky island covered with dense gold treasure and coins, around and below the island many tiny distant robots still swimming toward the island through the ocean, ant-like scale, scattered migration groups, partially submerged heads and shoulders, tiny splashes, a massive unseen shadow begins covering the foreground Dogecoin first, then the island, then spreading over the surrounding ocean and the tiny robots, black humor, dystopian satire, oppressive composition, cinematic realism, IMAX 70mm film look, realistic ocean water, dramatic sky, strong depth, production concept art, ultra detailed --ar 21:9 --stylize 150 --quality 1

{{Portrait 1}} 为首帧锁定图，必须严格延续该画面的构图、主角位置、金币位置关系、画幅比例、光线和落板状态。 {{Portrait 2}} 为主角小机器人形象参考，用于锁定A-315的外形、矮小体型、旧白色材质、圆头大眼、掉漆质感和神态。 {{Mixed 3}} 为海岸沙滩环境参考，只用于保持沙滩、远处海岸建筑、灯塔、摩天轮和复古海岸影调。 {{Portrait 4}} 为普通群众机器人类型参考，用于生成比主角更高、头型不同、胸腔结构不同、配色不同的群众机器人。群众机器人不能长得像主角，不能复刻主角圆头大眼。 21:9画幅，时长5到6秒，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，超写实真实摄影，60年代复古科幻原子朋克海岸世界，自然日光，低饱和晒白色调，轻微胶片颗粒，真实光学景深，轻微动态模糊。 镜头焦段与景别： 使用85mm中长焦近景 / 中近景压缩空间，摄影机贴近主角小机器人肩部高度。主角始终是画面视觉中心，脸部和上半身占据主要画面比例。镜头不要拉成大全景，不要变成群像展示，不要把大量机器人完整露出来。群众机器人主要以近景和中景的身体局部出现，形成压迫感和遮挡感。 镜头内容： 镜头开始严格承接 {{Portrait 1}} 首帧，主角小机器人手里拿着小尺寸黄金狗狗币。金币始终在手里，不掉落，不飞出，不成为新的动作线。第一秒主角仍处在刚捡到金币后的状态。 随后，一个比主角高一头左右的普通群众机器人从主角身后方向快速向前涌过，身体前倾，急促快步或小跑。它不是从正面攻击，也不是挥拳打脸，而是在前冲经过时，用肩膀、手臂外侧或肘部无意擦撞到主角身体侧面。这个撞击者的头型、胸腔和体型必须明显不同于主角，不要像主角的复制体。 主角被撞后身体轻微踉跄一下，短暂愣住，顺着撞击者前冲离开的方向看过去，像是不明白对方为什么这么急。主角第一反应不是护金币，而是困惑、被打断、突然意识到前方有什么东西吸引了别人。 紧接着，更多普通群众机器人从主角身后保持同一方向向前涌动。它们不是慢慢散步，不是整齐排队，而是急促快步、局部小跑、身体前倾、目标感很强地往前赶。后半段画面必须越来越拥挤：更高的群众机器人肩膀、背部、胸腔、前臂、背包、机械腿从镜头前和主角身边不断擦过，保持同方向跑动形成连续前景遮挡和空间压缩。主角被夹在人流缝隙中，显得矮小、被动、局促，左右张望，但始终没有离开画面中心。 镜头调度： 整条镜头保持连续近距离跟拍，不硬切，不跳景别。第一次擦撞时镜头产生短促真实晃动；主角顺着对方离开的方向看去时，镜头轻微跟随它的视线偏移；后半段镜头被人群身体局部反复遮挡，在遮挡缝隙中重新找到主角。画面要有被人潮包住、空间越来越窄的感觉，不要让背景空出来。 声音要求： 只要音效，不要背景音乐。音效包括海边轻微环境声、沙地脚步声、急促机械快步声、机器人擦身而过的金属摩擦声、第一次撞击的轻微金属闷响、主角踉跄时的关节声，以及后半段越来越密集的机械人流脚步声。

Image 1 is the visual reference for the floating Dogecoin. Image 2 is the visual reference for the rocky treasure island covered with gold and treasure. Create a 21:9 cinematic first-frame key image for a black-humor dystopian ocean gold-rush short film. This is a high-angle extreme-perspective shot, but the spatial logic must be clear. Camera position: The camera is positioned high above the ocean, higher than the island and slightly higher than the floating Dogecoin. The camera looks downward at a steep angle, like a dramatic aerial ultra-wide shot. The composition should feel oppressive, grand, and visually extreme. Most important spatial rule: The Dogecoin must be a giant vertical coin standing upright in the air above the island. It is not lying flat. It is not tilted like a horizontal disk. It is not a flat circular plate cutting across the foreground. It must clearly read as a vertical, upright, floating golden coin, like a huge monument or sun hovering above the treasure island. Dogecoin composition: The giant Dogecoin is placed in the near foreground / upper foreground area, very large and close to the camera, but still readable as a complete vertical coin. Show enough of the circular outline so the audience understands it is a full upright coin. The embossed dog face is visible on the front surface. The coin has real gold material, thick edge depth, metallic scratches, embossed relief, luminous rim light, and heavy scale. It should feel massive, sacred, absurd, and oppressive. Island: Below and behind the Dogecoin is a rocky treasure island covered with dense gold, coins, metallic treasure, and glimmering wealth. The island is clearly underneath the floating coin. The island should feel like the destination of desire, not a flat pile. Gold surfaces catch sunlight, but part of the island is being swallowed by shadow. Ocean and robots: Around the island, many tiny robots are still in the ocean, swimming toward the island in dense scattered groups. They must appear extremely small, ant-like, desperate, and insignificant compared with the giant Dogecoin and the island. They are not on the island yet. They are still in the water, approaching from the outer ocean. Show them as small partially submerged heads, shoulders, arms, tiny wakes, and swimming silhouettes. Their movement should feel like a mass gold-rush migration. Shadow event: A huge dark shadow from an unseen giant hand or unseen giant presence begins to fall across the scene. The hand itself is not visible yet. Only the shadow is visible. The shadow first covers part of the giant Dogecoin, then spreads over the golden island, and begins reaching toward the surrounding ocean and the swimming robots. The shadow should create strong tension and a sense that something enormous is about to take the prize away. Visual style: cinematic realism, satirical dystopian tone, black humor, extreme spatial hierarchy, oppressive visual storytelling, ultra-wide lens feeling, IMAX 70mm film look, subtle film grain, realistic sky and clouds, realistic ocean water, golden island glow contrasted with incoming darkness, strong depth, production-level concept frame. Composition requirements: 21:9 widescreen. Use extreme aerial perspective, but keep the vertical upright Dogecoin readable. The Dogecoin should not become a flat horizontal foreground disk. The island must remain clearly below the Dogecoin. The tiny robots must remain much smaller than both the coin and the island.

{{Portrait 1}} 为起始首帧参考：小白机器人拿着金币的近景，保持相同紧景别、脸部位置、手部和金币位置。 {{Portrait 2}} 为主角结构参考：主角必须保持这个破旧白色圆头机器人形象，双圆形镜头眼、细瘦脆弱四肢、旧玩具般比例。 {{Portrait 3}} 为公共服务机器人群像参考：只用于生成撞击主角的路人机器人和背景拥挤机器人，不用于主角。路人机器人和群众机器人必须和主角有不同外轮廓、不同颜色、不同头部结构。避免出现任何和主角相似的白色圆头双镜头机器人。 时长8秒，16:9电影级现实主义AI短片。前2.4秒是一个连续的85mm长焦近景镜头；2.4秒之后进入紧景别快速硬切蒙太奇。超写实真人实拍质感，IMAX 70mm胶片质感，Panavision C系列镜头气质，浅景深，背景压缩，自然日光，轻微真实手持摄影机运动，只要音效，不要背景音乐。 第一部分 — 0到2.4秒： 镜头从 {{Portrait 1}} 的近景构图开始。主角刚刚捡起金币，把金币拿在脸旁。金币在手指间保持正常小尺寸。它的圆形镜头眼睛短暂露出一点脆弱的小兴奋。 突然，一个完全不同的公共服务机器人从主角拿金币的那一侧高速掠过，非常贴近画面边缘，朝着和人群一致的前进方向冲去。这个撞击机器人必须和主角明显不同：更深色工业面板，脏绿色、褪色红色、蓝灰色、沙黄色或枪灰色机体部件，方形服务机器人头部或矩形传感器头部，不是白色圆头，也不是和主角一样的双圆形镜头眼。 只展示撞击机器人的局部身体信息：肩膀、手臂、躯干边缘、侧面头部轮廓和运动模糊。它用肩膀重重擦撞主角肩膀。撞击瞬间摄影机产生一次轻微真实手持震动。主角身体向侧面踉跄，手里的金币晃动，但金币不能掉。主角本能地把金币攥紧。 撞击之后，主角的眼神立刻顺着那个机器人冲走的方向看过去，而不是回头看。它的表情从刚才的小兴奋变成懵住和不解。 第二部分 — 2.4到8秒： 硬切进入一组紧景别、长焦压缩的快速人群裹挟蒙太奇。所有镜头都保持近、挤、压缩、局促。不要变成大全景。 镜头A：一个不同外形的机器人肩膀和手臂从画面一侧猛地挤进来，把主角向侧面压偏。 镜头B：主角正面近景，被困在画面中央，左右两侧都是虚化掠过的机器人躯干、手臂和头部。 镜头C：主角手部近景，它仍然紧紧抓着那枚小金币，另一个机器人身体撞过，带得它手臂一晃。 镜头D：低机位紧景别，金属脚和机械腿在主角周围快速冲过，沙子被踢起，主角短暂失去平衡。 镜头E：回到主角脸部近景，画面边缘被快速掠过的机器人局部包围，主角眼神从困惑变成被裹挟的慌乱。 群众机器人风格参考 {{Portrait 3}}：公共服务机器人群像，不同头部、不同颜色、不同身体形状。不要生成主角复制体。不要出现真人头部或真人群。主角始终保持 {{Portrait 1}} 和 {{Portrait 2}} 的一致形象。画面边缘要有拥挤的机器人肩膀、手臂、躯干和运动模糊掠过。主角正在被人群吞没，但手里仍然攥着金币。这一段要为下一镜更大力量的出现持续加压。 只要音效，不要背景音乐：风声、快速金属擦碰声、密集机械脚步声、伺服电机声、沙子被踢起的声音、金币轻微震响、人群机械噪音逐渐增强。

{{Portrait 1}} is the visual reference for the floating Dogecoin.is the visual reference for the treasure island made of rocky landforms covered with gold and treasure. Create a 21:9 cinematic first-frame key image for a black-humor dystopian ocean gold-rush short film. This is a high-angle extreme-perspective shot. The camera is positioned higher than both the floating Dogecoin and the island, looking downward in a dramatic ultra-wide view. The composition must feel powerful, oppressive, and visually extreme. Foreground: A gigantic floating Dogecoin dominates the near foreground, seen from above and slightly behind or above its upper edge, so it becomes an overwhelming foreground mass and silhouette-like shape. The Dogecoin should not just sit neatly in the center like a standard establishing shot. It should feel very close to the camera, huge, and perspective-distorted by the ultra-wide lens. Its gold material, embossed dog face, scale, and luminous rim light should match the reference. Middle ground: Below the Dogecoin is a rocky treasure island covered with dense gold, coins, metallic treasure, and glimmering wealth. The island should feel like a destination and object of desire, not a flat pile. The island is viewed from above, clearly below the giant Dogecoin in the frame. Background / lower sea area: In the ocean around and below the island, many tiny robots are still some distance away from the island, swimming toward it in dense scattered groups. They must appear extremely small, ant-like, and desperate compared with the gigantic foreground Dogecoin and the island. They are not yet on the island. They are still in the sea, approaching from the outer water. They should be visible as many tiny moving or swimming silhouettes, partially submerged heads and shoulders, small splashes, and little wakes. Shadow event: A massive shadow from an unseen giant hand or unseen giant presence is beginning to fall across the scene. The shadow first covers part of the huge Dogecoin in the foreground, then darkens the island below, and begins extending outward toward the surrounding ocean and the robots swimming toward the island. This shadow is the dramatic event of the frame. The hand itself is not visible yet. Only the moving shadow is visible. Mood and style: cinematic realism, satirical dystopian tone, black humor, extreme spatial hierarchy, oppressive visual storytelling, ultra-wide lens feeling, IMAX 70mm film look, subtle film grain, realistic sky and clouds, realistic ocean water, golden island glow contrasted against the incoming shadow, strong visual depth, production-level concept frame. Important: Do not use a sea-level point of view. Do not make it a simple front-facing island shot. Do not place the robots on the island. Do not make the robots large. The main emphasis is the extreme top-down perspective, the giant Dogecoin as overwhelming foreground, the island below it, and the tiny robot crowd still swimming toward the island while the shadow begins to consume the whole scene.

{{Portrait 1}} 为主角小机器人 A-315 角色参考， {{Portrait 2}} 为群众机器人 / 公共服务机器人外观风格参考， {{Mixed 3}} 为上一镜尾帧连续性参考。 生成一条 左右裹挟补镜 的短视频镜头，2秒左右，横版宽银幕构图，优先 21:9，若模型只支持常规横版则按宽银幕电影感构图执行。整体为 电影级现实主义机械世界影像，85mm 长焦压缩感，紧景别，局促构图，真实摄影感，不要松散大全景。 镜头目标 这是接在“小机器人捡起金币、看金币”之后的一个 补充快镜头。 重点不是讲完整事件，而是快速表现：主角被左右两侧掠过的机器人局部短暂裹挟和挤压，产生一点黑色幽默感和机械性的懵住反应，为后面大机器人出场蓄势。 主角要求 主角必须严格保持 {{Portrait 1}} 的形象： 破旧白色圆头小机器人，双圆形镜头眼，细瘦机械四肢，旧玩具般比例，胸口 A-315 标记，气质脆弱、敏感、略显呆愣。 主角手里始终拿着那枚金币，金币不能掉。 主角基本停在原地，不主动跟着人群跑。 群众机器人要求 所有掠过和裹挟主角的机器人，只能参考 {{Portrait 2}} 的公共服务机器人体系： 不同头型、不同身体比例、不同颜色、不同轮廓、旧化工业材质。 它们必须和主角明显不同，不能出现主角同款白色圆头双镜头眼复制体。 镜头动作设计 镜头保持 85mm 长焦近景，主角以胸口以上为主，始终清晰处在画面中心或略偏中间位置。 一开始承接 {{Mixed 3}} 的状态，主角右手拿着金币，刚从看金币的状态抬起一点视线。 紧接着，左侧前景先有一个群众机器人局部快速掠过，只是露出肩膀、手臂或躯干边缘，从主角身边擦过去，造成轻微挤压感。 主角身体被轻轻带歪一下，但金币还稳稳拿在手里。 随后，右侧前景再有另一个不同外形的群众机器人局部快速掠过，形成第二次挤压。 注意这是 左右两侧接连裹挟，不是正面冲撞，也不是把主角撞飞。 主角在这两次裹挟之间，头部做出 机械性左右偏头 的反应，像是在困惑地确认：“怎么突然这么多机器人？” 这种反应要偏机器人式，不要像真人夸张表演。 镜头最后停在主角被左右局部遮挡、空间变得更挤的状态，形成一种“下一秒会有更大动静发生”的蓄势感。 构图重点 整条镜头都要保持 长焦压缩感，前景有机器人局部快速掠过形成遮挡，背景也开始出现更多群众机器人，但都以虚化、局部、边缘方式出现。 不要一开始就有满画面的机器人海洋。 镜头开始时，画面里除了主角，其他机器人应该很少；随着左右两次掠过，压迫感才逐渐建立。 不要大全景，不要空旷环境展示，不要把镜头做成走位展示。 表演重点 主角的情绪节奏： 先是刚看完金币，带一点小兴奋和专注； 被第一次掠过擦压后，轻微一懵； 被第二次掠过后，机械性左右偏头，出现短暂错愕和不解； 但依然紧紧拿着金币，不放手。 声音要求 只要音效，不要背景音乐。 保留金属擦过、机械躯体掠过、轻微摩擦、局部拥挤的声音。 主角可带一点轻微机械式懵住的小反应音，但不要夸张卡通化。 关键限制 不要大全景，不要松景别，不要让主角跟着人群一起往前跑。 不要把这段做成很多机器人完整列队经过。 不要让其他机器人长得像主角。 不要把裹挟做成正面猛烈撞飞。 不要掉金币。 不要夸张搞笑卡通感，要保持电影感和一点黑色幽默。

{{Portrait 1}} 为首帧锁定图，必须严格延续该画面的构图、主角位置、金币位置关系、画幅比例、光线和落板状态。 {{Portrait 2}} 为主角小机器人形象参考，用于锁定A-315的外形、矮小体型、旧白色材质、圆头大眼、掉漆质感和神态。 {{Mixed 3}} 为海岸沙滩环境参考，只用于保持沙滩、远处海岸建筑、灯塔、摩天轮和复古海岸影调。 {{Portrait 4}} 为普通群众机器人类型参考，用于生成比主角更高、头型不同、胸腔结构不同、配色不同的群众机器人。群众机器人不能长得像主角，不能复刻主角圆头大眼。 21:9画幅，时长5到6秒，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，超写实真实摄影，60年代复古科幻原子朋克海岸世界，自然日光，低饱和晒白色调，轻微胶片颗粒，真实光学景深，轻微动态模糊。 镜头焦段与景别： 使用85mm中长焦近景 / 中近景压缩空间，摄影机贴近主角小机器人肩部高度。主角始终是画面视觉中心，脸部和上半身占据主要画面比例。镜头不要拉成大全景，不要变成群像展示，不要把大量机器人完整露出来。群众机器人主要以近景和中景的身体局部出现，形成压迫感和遮挡感。 镜头内容： 镜头开始严格承接 {{Portrait 1}} 首帧，主角小机器人手里拿着小尺寸黄金狗狗币。金币始终在手里，不掉落，不飞出，不成为新的动作线。第一秒主角仍处在刚捡到金币后的状态。 随后，一个比主角高一头左右的普通群众机器人从主角身后方向快速向前涌过，身体前倾，急促快步或小跑。它不是从正面攻击，也不是挥拳打脸，而是在前冲经过时，用肩膀、手臂外侧或肘部无意擦撞到主角身体侧面。这个撞击者的头型、胸腔和体型必须明显不同于主角，不要像主角的复制体。 主角被撞后身体轻微踉跄一下，短暂愣住，顺着撞击者前冲离开的方向看过去，像是不明白对方为什么这么急。主角第一反应不是护金币，而是困惑、被打断、突然意识到前方有什么东西吸引了别人。 紧接着，更多普通群众机器人从主角身后保持同一方向向前涌动。急促小跑、身体前倾、目标感很强地往前赶。后半段画面必须越来越拥挤：更高的群众机器人肩膀、背部、胸腔、前臂、背包、机械腿从镜头前和主角身边不断擦过，保持同方向跑动形成连续前景遮挡和空间压缩。主角被夹在人流缝隙中，显得矮小、被动、局促，左右张望，但始终没有离开画面中心。 镜头调度： 整条镜头保持连续近距离跟拍，不硬切，不跳景别。第一次擦撞时镜头产生短促真实晃动；主角顺着对方离开的方向看去时，镜头轻微跟随它的视线偏移；后半段镜头被人群身体局部反复遮挡，在遮挡缝隙中重新找到主角。画面要有被人潮包住、空间越来越窄的感觉，不要让背景空出来。 声音要求： 只要音效，不要背景音乐。音效包括海边轻微环境声、沙地脚步声、急促机械快步声、机器人擦身而过的金属摩擦声、第一次撞击的轻微金属闷响、主角踉跄时的关节声，以及后半段越来越密集的机械人流脚步声。

{{Portrait 1}} 为首帧锁定图，必须严格延续该画面的构图、机位高度、主角位置、金币位置关系、背景透视、画幅比例和整体落板状态。 {{Portrait 2}} 为主角小机器人形象参考，用于锁定主角的外形、矮小体型、旧白色材质、圆头双眼、掉漆质感和神态。 {{Mixed 3}} 为海岸沙滩环境参考，用于保持沙滩空间、远处海岸建筑、灯塔、摩天轮和复古海岸影调。 {{Portrait 4}} 为普通群众机器人类型参考，用于生成比主角更高、造型明显不同的群众机器人。群众机器人以方头、显示屏头、长头、工业镜头头、窄头、扁头等不同头型为主，胸腔、背包、手臂、配色都应与主角不同，不要复制主角的圆头双眼比例。 21:9画幅，时长5到6秒，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，超写实真实摄影，60年代复古科幻原子朋克海岸世界，自然日光，低饱和晒白色调，轻微胶片颗粒，真实光学景深，轻微动态模糊。 镜头焦段与景别： 使用85mm中长焦近景 / 中近景压缩空间 镜头内容： 镜头开始严格承接 {{Portrait 1}} 首帧构图。主角小机器人手里拿着小尺寸黄金狗狗币 第一秒，主角仍处在刚捡到金币后的状态。随后，一个比主角高一头左右的普通群众机器人从主角身后方向快速向前掠过，身体前倾，急促快步或小跑。它在前冲经过时，用肩膀、手臂外侧或肘部无意识擦撞到主角身体侧面。撞击不是正面攻击，不是挥拳打脸，而是快速前进中的粗暴擦撞。这个撞击者的头型和胸腔必须明显不同于主角，不要像主角的复制体。 主角被撞后身体轻微踉跄一下，短暂愣住，顺着撞击者前冲离开的方向看过去，像是不明白对方为什么这么急。主角第一反应不是低头护金币，而是被突然打断后的困惑。 紧接着，更多普通群众机器人从主角身后和两侧不断向前涌动。它们不是慢慢走，不是散步，不是整齐排队，而是急促快步、局部小跑、身体前倾、目标感很强地往前赶。后半段画面必须越来越拥挤：更高的群众机器人肩膀、背部、胸腔、前臂、背包、机械腿从镜头前和主角身边不断擦过，形成连续前景遮挡和空间压缩。主角被夹在人流缝隙中，显得矮小、被动、局促，左右张望，但始终没有离开画面中心。 镜头调度： 整条镜头保持连续近距离跟拍，不硬切，不跳景别。第一次擦撞时镜头产生短促真实晃动；主角顺着对方离开的方向看去时，镜头轻微跟随它的视线偏移；后半段镜头被群众机器人的肩膀、腿、背包、躯干反复遮挡，在遮挡缝隙中重新找到主角。画面要有被人潮包住、空间越来越窄的感觉，不要让背景空出来，不要让镜头越拉越远。 声音要求： 只要音效，不要背景音乐。音效包括海边轻微环境声、沙地脚步声、急促机械快步声、局部小跑声、机器人擦身而过的金属摩擦声、第一次撞击的轻微金属闷响、主角踉跄时的关节声，以及后半段越来越密集的机械人流脚步声。

{{Portrait 1}} 为首帧锁定图，必须严格延续该画面的构图、主角位置、金币位置关系、画幅比例、光线和落板状态。 {{Portrait 2}} 为主角小机器人形象参考，用于锁定A-315的外形、矮小体型、旧白色材质、圆头大眼、掉漆质感和神态。 {{Mixed 3}} 为海岸沙滩环境参考，只用于保持沙滩、远处海岸建筑、灯塔、摩天轮和复古海岸影调。 {{Portrait 4}} 为普通群众机器人类型参考，用于生成比主角更高、头型不同、胸腔结构不同、配色不同的群众机器人。群众机器人不能长得像主角，不能复刻主角圆头大眼。 21:9画幅，时长5到6秒，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，超写实真实摄影，60年代复古科幻原子朋克海岸世界，自然日光，低饱和晒白色调，轻微胶片颗粒，真实光学景深，轻微动态模糊。 镜头焦段与景别： 使用85mm中长焦近景 / 中近景压缩空间，摄影机贴近主角小机器人肩部高度。主角始终是画面视觉中心，脸部和上半身占据主要画面比例。镜头不要拉成大全景，不要变成群像展示，不要把大量机器人完整露出来。群众机器人主要以近景和中景的身体局部出现，形成压迫感和遮挡感。 镜头内容： 镜头开始严格承接 {{Portrait 1}} 首帧，主角小机器人手里拿着小尺寸黄金狗狗币。金币始终在手里，不掉落，不飞出，不成为新的动作线。第一秒主角仍处在刚捡到金币后的状态。 随后，一个比主角高一头左右的普通群众机器人从主角身后方向快速向前涌过，身体前倾，急促快步或小跑。它不是从正面攻击，也不是挥拳打脸，而是在前冲经过时，用肩膀、手臂外侧或肘部无意擦撞到主角身体侧面。这个撞击者的头型、胸腔和体型必须明显不同于主角，不要像主角的复制体。 主角被撞后身体轻微踉跄一下，短暂愣住，顺着撞击者前冲离开的方向看过去，像是不明白对方为什么这么急。主角第一反应不是护金币，而是困惑、被打断、突然意识到前方有什么东西吸引了别人。 紧接着，更多普通群众机器人从主角身后和两侧不断向前涌动。它们不是慢慢散步，不是整齐排队，而是急促快步、局部小跑、身体前倾、目标感很强地往前赶。后半段画面必须越来越拥挤：更高的群众机器人肩膀、背部、胸腔、前臂、背包、机械腿从镜头前和主角身边不断擦过，形成连续前景遮挡和空间压缩。主角被夹在人流缝隙中，显得矮小、被动、局促，左右张望，但始终没有离开画面中心。 镜头调度： 整条镜头保持连续近距离跟拍，不硬切，不跳景别。第一次擦撞时镜头产生短促真实晃动；主角顺着对方离开的方向看去时，镜头轻微跟随它的视线偏移；后半段镜头被人群身体局部反复遮挡，在遮挡缝隙中重新找到主角。画面要有被人潮包住、空间越来越窄的感觉，不要让背景空出来。 声音要求： 只要音效，不要背景音乐。音效包括海边轻微环境声、沙地脚步声、急促机械快步声、机器人擦身而过的金属摩擦声、第一次撞击的轻微金属闷响、主角踉跄时的关节声，以及后半段越来越密集的机械人流脚步声。

{{Portrait 1}} 为首帧锁定图，必须严格延续该画面的构图、机位高度、主角位置、主角手中金币的位置关系、背景透视关系、画幅比例和整体落板状态。 {{Portrait 2}} 为主角小机器人形象参考，用于锁定主角A-315的外形、比例、材质、面部结构、眼睛细节、掉漆质感和整体气质。 {{Mixed 3}} 为海岸沙滩环境参考，用于保持原子朋克海岸城市的沙滩空间、远处建筑、灯塔、摩天轮、海岸线氛围和整体色彩影调。 {{Portrait 4}} 为普通群众机器人类型参考，用于生成大量与主角不同的普通群众机器人，要求这些群众机器人整体比主角略高，高一个头左右，外形差异明显，头型、胸腔结构、手臂结构、配色和局部模块可以不同，整体属于同一原子朋克海岸机器人世界。 21:9画幅，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，超写实，真实实景摄影感，60年代复古科幻原子朋克海岸美学，自然日光照明，海盐蓝天空与复古暖沙色调，轻微胶片颗粒，真实光学景深，轻微动态模糊。 镜头时长5到6秒，作为一个连续镜头完成。镜头开始必须严格承接 {{Portrait 1}} 的首帧画面：主角小机器人已经拿着一枚小尺寸金币，金币是可单手握持的小物件，大小接近主角手掌可握住的尺寸，不是巨大的盘状金币。主角刚刚看向前方或仍在看着手中的金币，一个比主角略高的普通群众机器人从主角身后快速向前掠过，在向前赶路的过程中，用肩膀、手臂外侧或肘部无意擦撞到主角。这个动作是快速前行中的蹭撞，不是正面挥拳打击，不是攻击动作。 主角被撞之后，身体轻微踉跄一下，但金币始终牢牢抓在手里，没有掉落。主角第一反应不是低头护金币，而是短暂愣住，顺着撞击者前冲离开的方向看过去，眼神中带着突然被打断后的困惑和不解。紧接着，更多普通群众机器人开始从主角身后和两侧不断快速向前涌动，整体状态是快步疾行、局部小跑、明显前冲感，像一股越来越密集的人流从主角周围掠过。后半段重点表现主角被裹挟进人流的拥挤压迫感：大量更高的普通机器人从近景和中景不断穿过，主角被夹在人流缝隙中，显得更矮小、更被动、更局促，但始终拿着金币。 镜头语言要求：整体保持连续观察式近中景调度，重点跟随主角被撞后的受冲击感。镜头不要突然拉成大全景，不要跳景别，不要把重点放到空旷背景上。被撞瞬间镜头随主角身体产生轻微受力晃动，主角抬头看向前方时，镜头轻微顺着他的视线带一下，然后在后半段被不断向前涌动的人流包围，形成越来越强的裹挟感和压迫感。整条镜头核心节奏是：拿着金币——被撞一下——愣住——顺着前方看过去——突然发现越来越多机器人向前涌动——自己被夹进人流里。 声音要求：只要音效，不要背景音乐。保留海边轻微环境声、风声、远处海岸底噪、金属脚步声、机器人快速前冲的机械声、擦撞声、主角踉跄时的机械碰撞声，以及后半段越来越密集的机器人人流声。

{{Portrait 1}} 为首帧锁定图，必须严格延续该画面的构图、机位高度、主角位置、金币位置关系、背景透视、画幅比例和整体落板状态。 {{Portrait 2}} 为主角小机器人形象参考，用于锁定主角的外形、矮小体型、旧白色材质、圆头双眼、掉漆质感和神态。 {{Mixed 3}} 为海岸沙滩环境参考，用于保持沙滩空间、远处海岸建筑、灯塔、摩天轮和复古海岸影调。 {{Portrait 4}} 为普通群众机器人类型参考，用于生成比主角更高、造型明显不同的群众机器人。群众机器人以方头、显示屏头、长头、工业镜头头、窄头、扁头等不同头型为主，胸腔、背包、手臂、配色都应与主角不同，不要复制主角的圆头双眼比例。 21:9画幅，时长5到6秒，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，超写实真实摄影，60年代复古科幻原子朋克海岸世界，自然日光，低饱和晒白色调，轻微胶片颗粒，真实光学景深，轻微动态模糊。 镜头焦段与景别： 使用85mm中长焦近景 / 中近景压缩空间，摄影机贴近主角小机器人胸口到肩部高度。主角始终是画面视觉中心，脸部和上半身占据主要画面比例。镜头不要拉成大全景，不要变成群像展示，不要让大量机器人完整站成一排。群众机器人主要以近景和中景的身体局部出现，形成遮挡、擦肩、压迫和空间压缩。 镜头内容： 镜头开始严格承接 {{Portrait 1}} 首帧。主角小机器人手里拿着小尺寸黄金狗狗币，金币始终在手里，不掉落，不飞出，不成为新的动作线。 第一秒，主角仍处在刚捡到金币后的状态。随后，一个比主角高一头左右的普通群众机器人从主角身后方向快速向前掠过，身体前倾，急促快步或小跑。它在前冲经过时，用肩膀、手臂外侧或肘部无意识擦撞到主角身体侧面。撞击不是正面攻击，不是挥拳打脸，而是快速前进中的粗暴擦撞。这个撞击者的头型和胸腔必须明显不同于主角，不要像主角的复制体。 主角被撞后身体轻微踉跄一下，短暂愣住，顺着撞击者前冲离开的方向看过去，像是不明白对方为什么这么急。主角第一反应不是低头护金币，而是被突然打断后的困惑。 紧接着，更多普通群众机器人从主角身后和两侧不断向前涌动。它们不是慢慢走，不是散步，不是整齐排队，而是急促快步、局部小跑、身体前倾、目标感很强地往前赶。后半段画面必须越来越拥挤：更高的群众机器人肩膀、背部、胸腔、前臂、背包、机械腿从镜头前和主角身边不断擦过，形成连续前景遮挡和空间压缩。主角被夹在人流缝隙中，显得矮小、被动、局促，左右张望，但始终没有离开画面中心。 镜头调度： 整条镜头保持连续近距离跟拍，不硬切，不跳景别。第一次擦撞时镜头产生短促真实晃动；主角顺着对方离开的方向看去时，镜头轻微跟随它的视线偏移；后半段镜头被群众机器人的肩膀、腿、背包、躯干反复遮挡，在遮挡缝隙中重新找到主角。画面要有被人潮包住、空间越来越窄的感觉，不要让背景空出来，不要让镜头越拉越远。 声音要求： 只要音效，不要背景音乐。音效包括海边轻微环境声、沙地脚步声、急促机械快步声、局部小跑声、机器人擦身而过的金属摩擦声、第一次撞击的轻微金属闷响、主角踉跄时的关节声，以及后半段越来越密集的机械人流脚步声。

cinematic photorealistic 21:9 still frame, dramatic oblique ultra-high-angle wide shot, camera above the floating Dogecoin and above the island, looking downward with strong exaggerated perspective, BEFORE the shadow falls, bright natural daylight, no large shadow covering the island yet, a gigantic floating Dogecoin very close to camera as a looming foreground mass, NOT frontal product-shot view, NOT full face visible, seen from upper-back or upper-side angle, partial rim, visible thickness, partially cropped by frame, colossal suspended object, below it a treasure island surrounded by deep blue and cyan ocean, island covered with dense gold, treasure, coin piles, rocky terrain, glowing in sunlight, around the island many tiny robots swimming toward the island in unified migration flow, desperate crowd feeling, tiny scale, small white wakes behind them, all in water, none standing on the sea, oppressive, absurd, black humor, dystopian greed, strong giant-vs-tiny contrast, IMAX 70mm realism, ultra detailed, clean image, strong depth --ar 21:9 --stylize 150 --v 7

{{Portrait 1}} 为上一镜结尾参考，小机器人已经被卷入普通机器人群中，手里仍拿着小尺寸黄金狗狗币。 {{Portrait 2}} 为主角小机器人形象参考，用于锁定主角外形、矮小体型、旧白色材质、圆头双眼、掉漆质感和神态。 {{Portrait 3}} 为普通群众机器人类型参考，用于生成比主角更高、头型和胸腔明显不同的群众机器人。 21:9画幅，时长2到3秒，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，超写实真实摄影，60年代复古科幻原子朋克海岸世界，自然日光，低饱和晒白色调，轻微胶片颗粒，真实光学景深，轻微动态模糊。 镜头使用85mm到100mm中长焦近景压缩空间，摄影机贴近主角小机器人胸口到头部高度。主角始终在画面中心偏低位置，脸部和上半身是视觉中心。不要拉成大全景，不要展示完整群像，群众机器人主要以身体局部、肩膀、胸腔、手臂、背包、腿部从前景和两侧擦过，形成拥挤压迫感。 镜头内容： 主角小机器人被夹在机器人群中，手里还拿着那枚小金币，但此刻它不再低头看金币，而是被周围突然加密的人流弄懵。左侧一个比它高的普通群众机器人从近前擦过，肩膀或背包把主角挤得身体轻微偏向右边；紧接着右侧又一个更高的群众机器人快速擦过，把主角又挤回左边。主角身体被左右夹击，短暂失衡，眼睛左右看，像是在困惑“怎么突然这么多机器人”。 群众机器人的运动状态是急促快步、局部小跑、身体前倾、目标感强地往前涌，不是慢悠悠散步。画面必须越来越拥挤，前景遮挡频繁出现，但不要完全挡住主角。主角显得矮小、被动、局促，被夹在人缝中动弹不得。 镜头调度： 摄影机像被挤在人群里一样贴身跟拍，有轻微手持晃动。左右两侧机器人擦过时，镜头产生短促遮挡和轻微受力晃动。镜头不切大全景，不跳景别，只在近距离里表现主角被左右裹挟的荒诞和压迫。最后一刻，主角突然停住左右张望，远处传来沉重低频机械脚步声，为下一镜大机器人强势冲入做铺垫。 声音要求： 只要音效，不要背景音乐。音效包括密集机械脚步声、沙地摩擦声、机器人身体擦过的金属摩擦声、主角被左右挤压时的轻微金属碰撞声、主角机械关节晃动声，以及结尾远处传来的沉重低频脚步声。

Create a 21:9 cinematic photorealistic still frame for a black-humor dystopian ocean gold-rush short film. This is the moment BEFORE the giant shadow falls. The camera is positioned very high in the sky, clearly above the floating Dogecoin and above the island, looking downward in a dramatic oblique ultra-wide shot with strong exaggerated perspective. IMPORTANT COMPOSITION: A gigantic floating Dogecoin acts as a looming foreground mass very close to the camera, but it must NOT face the camera frontally like a product shot. Do NOT present the full coin face clearly. Instead, show the coin from an upper-back / upper-side / partial-rim angle, so it works mainly as a huge foreground object with visible thickness, curved edge, and only partial relief details. It should be partially cropped by the frame, occupying a large portion of the upper foreground, creating pressure and scale. It should feel like a colossal suspended object hanging over the world. Below it is a treasure island in the midground, surrounded by deep blue and cyan ocean water. The island is covered with dense gold, treasure, coins, and rocky terrain, glowing in sunlight. The island should feel seductive, absurd, and mythic. Around the island, still some distance away from shore, a large crowd of tiny robots are swimming toward the island in a unified migration flow. They are extremely small compared to the island and the giant Dogecoin. They should feel desperate and numerous. They are in the water, paddling / swimming / drifting forward, leaving small white wakes behind them. They must not stand on the water. Lighting: Bright natural daylight, clear sunlight, dramatic sky with clouds, no giant shadow covering the island yet. This is the moment just before the darkness arrives. The image should feel tense and ominous, but still sunlit. Mood: oppressive, absurd, prophetic, black humor, dystopian greed, cinematic realism, IMAX 70mm realism, ultra detailed, clean image, strong spatial hierarchy, giant foreground vs tiny crowd contrast.

{{Mixed 1}} 为上一镜结尾参考，小机器人已经被卷入普通机器人群中，手里仍拿着小尺寸黄金狗狗币。 {{Portrait 2}} 为主角小机器人形象参考，用于锁定主角外形、矮小体型、旧白色材质、圆头双眼、掉漆质感和神态。 {{Portrait 3}} 为普通群众机器人类型参考，用于生成比主角更高、头型和胸腔明显不同的群众机器人。 21:9画幅，时长2到3秒，电影级IMAX 70mm胶片质感，Panavision C系列镜头质感，超写实真实摄影，60年代复古科幻原子朋克海岸世界，自然日光，低饱和晒白色调，轻微胶片颗粒，真实光学景深，轻微动态模糊。 镜头使用85mm到100mm中长焦近景压缩空间，摄影机贴近主角小机器人胸口到头部高度。主角始终在画面中心偏低位置，脸部和上半身是视觉中心。不要拉成大全景，不要展示完整群像，群众机器人主要以身体局部、肩膀、胸腔、手臂、背包、腿部从前景和两侧擦过，形成拥挤压迫感。 镜头内容： 主角小机器人被夹在机器人群中，手里还拿着那枚小金币，但此刻它不再低头看金币，而是被周围突然加密的人流弄懵。左侧一个比它高的普通群众机器人从近前擦过，肩膀或背包把主角挤得身体轻微偏向右边；紧接着右侧又一个更高的群众机器人快速擦过，把主角又挤回左边。主角身体被左右夹击，短暂失衡，眼睛左右看，像是在困惑“怎么突然这么多机器人”。 群众机器人的运动状态是急促快步、局部小跑、身体前倾、目标感强地往前涌，不是慢悠悠散步。画面必须越来越拥挤，前景遮挡频繁出现，但不要完全挡住主角。主角显得矮小、被动、局促，被夹在人缝中动弹不得。 镜头调度： 摄影机像被挤在人群里一样贴身跟拍，有轻微手持晃动。左右两侧机器人擦过时，镜头产生短促遮挡和轻微受力晃动。镜头不切大全景，不跳景别，只在近距离里表现主角被左右裹挟的荒诞和压迫。最后一刻，主角突然停住左右张望，远处传来沉重低频机械脚步声，为下一镜大机器人强势冲入做铺垫。 声音要求： 只要音效，不要背景音乐。音效包括密集机械脚步声、沙地摩擦声、机器人身体擦过的金属摩擦声、主角被左右挤压时的轻微金属碰撞声、主角机械关节晃动声，以及结尾远处传来的沉重低频脚步声。

第一张图 {{Image 1}} 作为场景结构与世界观参考。 严格保持海岸线、建筑布局、沙滩尺度、广告牌位置、原子朋克海岸城市设定不变。 第二张图 {{Image 2}} 作为整体影调、色彩、空气感与阳光氛围参考。 整体影调改为： 温暖夏日海岸光线， 真实热带海岸空气感， 金色但不过度饱和的沙滩， 自然鲜活的热带墨绿色植被， 温暖阳光， 轻微海风空气透视。 不要灰白沙滩。 不要枯黄色植被。 不要废土黄雾。 不要脏旧末日感。 不要旅游宣传片HDR感。 不要高饱和糖水感。 不要海水 整体感觉： 像一个被资本包装成天堂的未来海岸城市。 表面： 美丽、干净、昂贵、诱人。 细节里： 隐隐透出衰败感、 旧时代广告、 轻微盐雾侵蚀、 空旷感、 一种不真实的繁荣。 保持电影摄影感， IMAX 70mm胶片质感， 真实自然光， 柔和高光， 空气通透， 低对比度胶片层次， 不是AI概念图。 镜头感参考电影级外景摄影。

{{Portrait 1}} is the starting-frame reference: the small white robot holding the gold coin in close-up, same tight framing, same face position, same hand and coin position. {{Portrait 2}} is the protagonist structure reference: keep the protagonist as this worn white round-headed robot with two circular lens eyes, slim fragile limbs and old toy-like proportions. {{Portrait 3}} is the public service robot crowd reference: use it only for passing robots and crowd robots, not for the protagonist. Passing robots and crowd robots must have different silhouettes and colors from the protagonist. Avoid any white round-headed two-lens robot similar to the main character. 8 seconds, 16:9 cinematic realistic AI short film. The first 2.4 seconds are a single continuous 85mm telephoto close-up. After 2.4 seconds, the video becomes a fast hard-cut montage of tight crowd-pressure shots. Ultra realistic live-action feeling, IMAX 70mm film texture, Panavision C-series lens feel, shallow depth of field, compressed background, natural daylight, subtle handheld camera movement, only sound effects, no background music. PART 1 — 0 to 2.4 seconds: Start from the close-up composition of {{Portrait 1}}. The protagonist has just picked up the gold coin and holds it near its face. The coin remains small and normal-sized in its fingers. Its round lens eyes show a brief fragile excitement. Suddenly, a different public service robot rushes past from the protagonist’s coin-hand side, very close to the frame edge, moving fast toward the same forward direction as the crowd. This passing robot has a clearly different design from the protagonist: darker industrial panels, dirty green, faded red, blue-gray, sand-yellow or gunmetal body parts, boxy service-robot head or rectangular sensor head, not a round white head, not the same two circular lens eyes. Only partial body information of the passing robot is visible: shoulder, arm, torso edge, side head shape, and motion blur. Its shoulder scrapes hard against the protagonist’s shoulder. The camera reacts with a small realistic handheld jolt. The protagonist stumbles sideways, the coin wobbles in its hand, but the coin does not fall. The protagonist instinctively tightens its grip. Immediately after the hit, the protagonist’s eyes follow the direction where the passing robot rushed away, not looking backward. Its expression changes from brief excitement to confused disbelief. PART 2 — 2.4 to 8 seconds: Hard cut into a fast montage of tight telephoto crowd-pressure shots. All shots remain close, compressed and claustrophobic. Do not open into a wide shot. Shot A: a different robot shoulder and arm slam into the frame from one side, squeezing the protagonist sideways. Shot B: front close-up of the protagonist trapped in the center while blurred robot torsos, arms and heads rush past both sides of the frame. Shot C: close-up of the protagonist’s hand still gripping the small gold coin tightly while another robot body bumps past and shakes the arm. Shot D: low tight shot of metal feet and legs rushing around the protagonist, sand kicking up, the protagonist losing balance for a moment. Shot E: return to the protagonist’s face, now boxed in by passing robot parts at the frame edges, eyes confused and overwhelmed. The crowd robots should come from {{Portrait 3}} style: varied public service robots, different heads, different colors, different body shapes. No cloned protagonist robots. No human heads or human crowd. Keep the protagonist visually consistent from {{Portrait 1}} and {{Portrait 2}}. The frame edges should feel crowded with robot shoulders, arms, torsos and motion blur. The protagonist is being swallowed by the crowd, but still holding the coin. Build pressure toward the arrival of a much larger force in the next shot. Sound effects only, no background music: wind, quick metal scrapes, crowded mechanical footsteps, servo movements, sand kicks, small coin rattles, increasing mechanical crowd noise.

生成一张 21:9 电影感首帧关键画面，用于黑色幽默反乌托邦海上淘金短片。 这是巨手阴影出现之前的干净首帧。 重要：画面里不要出现巨手阴影，不要出现手的轮廓，也不要出现已经压到岛上的黑影。 这一帧应该是“危险即将到来之前”的状态，而不是危险已经发生。 摄影机与构图： 使用比普通航拍更陡、更接近垂直俯视的机位。 摄影机位于非常高的位置，但同时又非常贴近巨大悬浮狗狗币的上边缘 / 外轮廓。 镜头像是几乎贴着狗狗币边缘，向下猛烈俯看整个场景。 透视必须极端、有压迫感、有视觉冲击力，不能平稳普通，不能像常规航拍。 狗狗币要形成巨大的前景压迫感，它的边缘和部分上表面离镜头非常近，形成戏剧化的超广角透视。 狗狗币： 一个巨大的、竖立的、悬浮的狗狗币漂浮在宝藏岛上方。 它必须是垂直立着的，像纪念碑一样巨大，明确是漂浮在空中。 不能看起来像平躺在地面，也不能像一个小物件。 由于镜头贴得很近，狗狗币可以只露出一部分，但观众仍然必须清楚感受到它是一个巨大、竖立、悬浮的金币。 真实黄金材质，狗头浮雕，厚实边缘，发光轮廓高光，带一点细微磨损，整体尺度极其巨大。 岛屿： 狗狗币下方是一座岩石宝藏岛，岛上覆盖大量黄金、金币、金属财宝和闪烁的财富。 岛屿必须有一种强烈的“欲望目标”感。 它必须明确位于悬浮狗狗币的下方，并从上方俯视看到。 岛屿不要占满整个画面，要留出足够的周边海域，用来交代正在逼近的机器人群。 海中的机器人： 大量微小机器人距离岛屿还有一段距离。 它们还没有接近岸边。 它们还没有快登岛。 它们仍然分散在外围海域，成群结队朝岛屿游去。 它们与岛屿之间的距离，要比普通建立镜头里更远。 把它们表现成非常小、像蚂蚁一样的剪影，半露出水面的头部和肩部，小小的水花，以及细长的尾迹。 它们要显得贪婪、急切、数量众多。 它们必须足够小，从而衬托狗狗币和岛屿的巨大尺度。 画面中的运动逻辑： 所有小机器人都在朝岛屿方向运动。 它们的尾迹和游动方向要明确指向宝藏岛。 整张图要让人一眼看出：这是一场大规模朝财富奔涌的迁徙 / 淘金潮。 色彩与光线： 海水回到浓郁的青蓝色 / 蓝绿色，而不是灰色海水。 海面要显得清透、鲜亮、被阳光照亮，有漂亮的蓝绿色深度感。 天空应明亮通透，带有电影感云层。 岛屿和狗狗币要带有浓郁的暖金色反光与辉光。 整体色彩对比为：冷色海洋 + 暖色黄金财富。 不要让整体色调发灰、发闷、或者去饱和。 情绪与风格： 电影级写实，讽刺性反乌托邦气质，黑色幽默，极端空间等级，压迫性视觉叙事，IMAX 70mm 胶片质感，超广角透视，轻微胶片颗粒，制作级概念帧，强尺度反差，强纵深。 重要限制： 此时不要有手的阴影。 不要出现巨手本体。 不要出现沙滩。 不要出现海岸线。 不要让机器人登上岛。 不要让机器人离岛太近。 不要做成平淡的常规无人机航拍构图。 不要弱透视，不要平视感。 机位要更陡、更接近垂直、更极端。 狗狗币边缘要更贴近镜头。 机器人群要离岛更远。

cinematic ultra realistic first frame, 21:9, dramatic high aerial oblique top-down ultra wide shot, camera clearly higher than the gigantic floating Dogecoin and higher than the treasure island, looking downward with strong oppressive perspective, clean bright daylight, BEFORE the shadow falls, no shadow covering the island yet, a colossal floating golden Dogecoin extremely close to camera occupying the upper foreground, showing mostly its massive underside, rim thickness and bottom relief, giant looming foreground object, not product-shot composition, below it a rocky treasure island covered with dense gold, coins and treasure, surrounded by clear deep blue and cyan ocean, many tiny robots swimming toward the island from all directions in unified migration flow, leaving white wakes, but still clearly some distance away from shore, not yet reaching the island, visible ocean buffer space between the robot crowd and the coastline, strong scale contrast, oppressive, absurd, dystopian greed, black humor, IMAX 70mm realism, clean image, sharp spatial hierarchy, photorealistic --ar 21:9 --v 7 --stylize 120

{{Mixed 1}} as the direct continuation reference for composition, shot continuity, and the small robot’s current state. {{Mixed 2}} as the environment reference for the retro-futuristic coastal resort beach district. {{Portrait 3}} as the character design reference for the protagonist robot A-315. Create a 3-second cinematic realistic shot, 21:9 aspect ratio, live-action film feel, not animation, not stylized illustration. This shot directly continues from the previous coin-holding moment. The protagonist A-315 remains the same small worn white round-headed robot with twin circular lens eyes, thin mechanical limbs, old toy-like proportions, chest marking A-315, fragile and slightly confused temperament. Opening composition: A-315 is positioned on the right side of frame, holding the coin steadily in one hand near the chest. Do not add any extra small motion to the coin. The coin does not shake and does not drop. At the beginning, there are only a few ordinary service robots moving fast in the background and foreground, all moving in the same general forward direction. Do not fill the whole frame with too many robots at the start. Action: A-315 is already feeling confused by the growing crowd around him. Then suddenly he hears a heavier distant mechanical impact sound from behind him. His reaction must be clear and readable: he turns his head noticeably and quickly toward the sound source behind him, not a tiny glance, not a subtle eye movement. It is a definite head turn. Camera: The camera must not stay static. It should follow A-315’s head turn with a smooth reactive camera move: a slight curved follow plus pan toward the direction of the sound, as if the camera is being pulled by his attention. Do not use digital zoom, do not use push-pull zoom, do not use focus hunting. The camera movement should feel like a natural cinematic follow movement, not flashy. Crowd behavior: The ordinary robots are moving faster now, with a greedy, goal-driven momentum, all generally moving toward the same destination. They do not scatter in panic. They continue pushing forward with urgency. As the camera pans with A-315’s head turn, more ordinary robots begin to appear deeper in frame, and far in the background there is a subtle sense that the crowd is being disturbed or parted by something stronger approaching from behind. Important staging rules: The big robot is not yet fully revealed in this shot. Only hint that something heavy and powerful is approaching from farther behind, along the same flow direction as the crowd. Do not show the open sea. Do not cut to a wide beach overview. Keep the environment compressed and cinematic. Maintain realistic motion blur and physical camera behavior. Visual tone: cinematic realism, IMAX 70mm feel, physical lens behavior, grounded mechanical world, high detail, clean image, subtle film grain, no cartoon style, no exaggerated sci-fi glow.

放大图中悬浮在岛上的金币,在画面中指出现1/2.

{{Mixed 1}} is the continuity start frame reference. {{Mixed 2}} is the environment reference. {{Portrait 3}} is the large robot reference. {{Portrait 4}} is the protagonist A-315 appearance reference. Create a 6-second cinematic live-action shot, 21:9, realistic photography, atomic coastal wasteland atmosphere, IMAX 70mm film texture, clean image, subtle film grain, no HDR, no over-sharpening. Begin as a direct continuation of {{Mixed 1}} . A-315 is still holding the coin and standing near the right side of frame. At first he is focused on the coin, then hears distant heavy metallic thuds from behind and farther away. He slowly turns toward the sound. At this point only a few ordinary public-service robots are visible in the distance. Do not start crowded. Then the disturbance escalates: ordinary robots in the background begin parting and stumbling aside. The large orangutan-type heavy engineering robot from {{Portrait 3}} bursts through the crowd, low to the ground, massive, powerful, pushing a path open rather than behaving like an agile action mech. It rapidly charges closer and passes extremely close beside A-315, forcefully shoving other robots out of the way. Avoid excessive flying limbs; use scattered tool boxes, dust, small loose mechanical parts, and impact motion instead. As the big robot rushes past, A-315 instinctively turns his head to follow it, still holding the coin. The camera then pans left with his gaze and follows the big robot’s movement, ending with a clear direction of motion and enough visual space to naturally prepare for the next airplane entrance shot. Use low-angle dynamic cinematic perspective once the big robot appears, around 32mm to 40mm equivalent, to emphasize scale and speed. Keep the protagonist readable at the start and let the large robot dominate once it enters. Sound: distant heavy thuds building closer, mechanical crowd movement, heavy scraping and impact, dust and debris movement, A-315 servo head turn, only sound effects, no background music.

生成一张 21:9 电影级超写实首帧画面。 这是一个极端高机位、极端透视的黑色幽默反乌托邦海上淘金场景。画面此时仍然是明亮自然日光状态，不要出现任何阴影压下来的效果，不要出现手的阴影，不要让岛屿被遮住。阴影要留给后续视频里再逐渐出现。 最重要的构图要求： 摄影机必须位于巨大悬浮狗狗币的正上方或接近正上方，机位比狗狗币更高，并且镜头要强烈向下俯拍。不是普通的高空航拍海岛，不是常规无人机看海平线的视角，不是横向展开的海景全景。整个画面必须读起来像摄影机在高空向下压看，下方的海面和岛屿是“被向下俯视”的空间平面，而不是平视海平面的风景。 前景上方是一个极其巨大的悬浮金色狗狗币，离镜头非常近，占据画面上方大面积前景。主要看到狗狗币巨大的底部、下沿、边缘厚度和底部浮雕结构。狗狗币是前景压迫性巨物，透视极端，视觉上像一个悬停在镜头下方的大天花板。狗狗币的角度要自然、稳定、合理，不能歪斜得奇怪。 下方远处、在同一条纵深轴线下，是一座被海水包围的黄金岛。岛屿和周围海面必须明显处在狗狗币正下方的空间里，视觉上要像“从上往下看见的岛”，而不是远方地平线上的普通岛。海平线要非常弱，尽量推高到画面边缘甚至接近消失，让画面主要读成向下俯视的空间，而不是向前看的风景。 黄金岛由 rocky treasure island 构成，岛上覆盖密集黄金、金币、宝物和闪耀财富，整体是一个诱人但荒诞的欲望目标。 大量渺小机器人正在海里朝黄金岛方向游去，数量非常多，形成密集迁徙感和白色尾迹。机器人都非常小，距离岛屿还有明显距离，它们尚未靠岸，岛屿四周与机器人群之间要保留足够海水距离，便于后续视频继续向岛靠近。它们都在水中游动，不是站在海面上。 海水颜色为清澈通透的深蓝到青蓝渐变，色调漂亮、干净、电影感强，不要偏灰。天空晴朗，有自然白云，但不要让天空和海平线成为主角。重点是“极端前景巨物 + 下方被俯视的岛屿 + 密密麻麻正在逼近的渺小机器人群”。 整体气质： 极端透视、俯压感强、尺度反差巨大、黑色幽默、贪欲感、反乌托邦、电影级真实摄影感、IMAX 70mm 质感、空间清晰、构图压迫。

保持 {{Image 1}} 构图不变,移除图中影子并把 风格迁移到 {{Image 1}} .

Keep the original composition, camera angle, and perspective relationship of the reference image unchanged. Repair and enhance this image into a cleaner, sharper, more cinematic production-quality frame. Main requirements: The giant floating Dogecoin remains the dominant foreground subject, upright and hovering above the treasure island, close to the island but not touching it. Preserve the current overall framing and spatial relationship between the Dogecoin and the island. Fixes: Remove the large dark shadow falling across the ocean and island. This frame should be clean, bright, and without any giant hand shadow. Improve the overall color palette: restore a vivid cyan-blue to turquoise ocean, with rich warm golden highlights on the Dogecoin and the treasure island. Strong cool-warm contrast, not muddy, not gray, not dull. Sharpen and restore the island details: the treasure island should have clear rocky structure, exposed dark rocks, layered gold coverage, scattered coins, metallic treasure surfaces, and readable texture detail. Avoid blurry mushy surfaces. Sharpen and restore the Dogecoin details: clear embossed dog face, crisp rim edge, readable gold surface texture, subtle metallic wear, clean reflective highlights, high detail. The robots in the surrounding ocean should be farther away from the island, leaving a clearer open-water buffer around the island. They should feel smaller, more distant, and more numerous, still swimming toward the island from the outer sea. Keep the robots tiny and ant-like, shown as small partially submerged swimming silhouettes, tiny splashes, and thin wakes. The island should not look fully covered by random jewelry. Gold and coins should dominate, with some exposed rock and a few shallow pale landing patches around the edge. Visual style: cinematic realism, IMAX 70mm film look, high detail, sharp texture, clean image, realistic ocean water, bright daylight, subtle film grain, strong depth, black-humor dystopian tone, elegant oppressive composition, production concept art quality. Important: Do not change the main composition. Do not flatten the Dogecoin. Do not move the Dogecoin far away from the island. Do not let the robots get too close to the island. Keep the shot high-angle and cinematic, with the same general framing as the reference image.

保持 {{Image 1}} 构图内容透视关系不变,把 {{Image 1}} 中巨大的狗狗币换成 {{Image 2}} 中的材质和细节

{{Mixed 1}} is the direct continuity start frame reference: A-315 holding the coin among moving robots. {{Mixed 2}} is the environment reference: retro-futuristic coastal resort beach district. {{Portrait 3}} is the large orangutan-type heavy engineering robot reference. {{Portrait 4}} is the protagonist A-315 appearance reference. Create one continuous 7-second cinematic realistic shot, 21:9 aspect ratio, live-action film feel, grounded mechanical world, IMAX 70mm film texture, clean image, subtle film grain, realistic motion blur, no HDR, no over-sharpening, no cartoon style. The shot must begin as a direct continuation of {{Mixed 1}} . A-315 remains the same small worn white round-headed robot from {{Portrait 4}} , twin circular lens eyes, thin mechanical limbs, old toy-like proportions, chest marking A-315, holding the gold coin in one hand. The coin stays in his hand. Do not add extra coin shaking or coin movement. Core scene logic: A-315 is already confused by the growing crowd around him. Ordinary public-service robots around him are NOT strolling slowly. They are moving fast, urgent, goal-driven, almost mechanically jogging, all pushing toward the same destination. They move like a greedy crowd chasing the same goal. They do not scatter in fear. Action timing: 0–1.5 seconds: A-315 stands near the right side of frame, holding the coin, looking confused as fast-moving ordinary robots pass around him. The crowd flow is already quick and urgent, not slow walking. 1.5–2.5 seconds: A heavier mechanical impact sound appears from behind A-315, deeper in the same crowd flow. A-315 clearly reacts. He makes a noticeable, readable head turn toward the sound source behind him. This must be an obvious head turn, not a subtle glance. Camera movement: The camera must not stay static. As A-315 turns his head, the camera follows with a smooth reactive half-orbit plus pan, moving with his attention toward the sound direction. The camera movement should feel physical and cinematic, not digital zoom, not push-pull zoom, not focus hunting. 2.5–4.5 seconds: The large orangutan-type heavy engineering robot from {{Portrait 3}} appears from farther behind A-315, within the same moving robot stream. It must approach from behind A-315, in the same overall direction as the crowd flow, catching up from the rear, overtaking ordinary robots. It must NOT enter diagonally from an unrelated direction. It must NOT attack sideways. It must NOT come from the front. It must NOT cross the frame as a random monster attack. It is a stronger, heavier machine emerging from within the same greedy forward-moving crowd. The ordinary robots do not run away in panic. They keep trying to move forward toward the same destination, but the large robot forcefully pushes through them, shoves them aside, knocks some off balance, parts the crowd, and plows a path open. Use scattered bags, small metal parts, dust, and sand movement, but do not show excessive flying limbs or cartoon destruction. 4.5–5.5 seconds: The large robot rushes very close beside A-315, passing near him with heavy momentum. A-315 is not hit directly, but he is dwarfed by the huge body passing by. He turns his head to follow the large robot’s movement. As the large robot gets close, the camera should feel lower and slightly upward-looking, emphasizing giant scale, weight, and speed. Do not keep the whole shot flat and eye-level. 5.5–7 seconds: After the large robot passes A-315, the camera continues panning with A-315’s gaze and follows the large robot’s back as it keeps charging forward. Keep at least 1.5 seconds of follow-through on the large robot’s back and the torn-open crowd flow. This ending must not cut immediately after the pass. Leave motion direction and visual momentum for the next flying-machine / ostrich scene. Framing: A-315 should start on the right third or right foreground. The large robot should come from deeper behind him and pass close beside him. Use layered foreground robots and crowd compression, but keep the direction clear. Do not reveal the open sea. Do not cut to a scenic wide beach view. Do not end on the ocean. End on the large robot’s back, dust, moving crowd, and forward direction. Crowd behavior: Ordinary robots are fast, urgent, and goal-driven throughout. They are not casually walking. They are not calmly strolling. They are not scattering away from the big robot. They continue forward, only being shoved aside or thrown off balance by the large robot. Visual tone: cinematic realism, heavy physical camera, believable mechanical action, low-angle scale when the big robot gets close, realistic motion blur, dust, sand, metal scraping, grounded retro-futuristic coastal wasteland atmosphere. Sound: only sound effects, no background music. Fast mechanical crowd footsteps, heavy approaching metallic thuds, scraping metal, sand impacts, crowd compression noise, A-315 small servo head-turn sound, large robot heavy pounding footsteps.

{{Mixed 1}} is the direct continuity start frame reference: A-315 holding the coin among moving robots. {{Mixed 2}} is the environment reference: retro-futuristic coastal resort beach district. {{Portrait 3}} is the large orangutan-type heavy engineering robot reference. {{Portrait 4}} is the protagonist A-315 appearance reference. Create one continuous 7-second cinematic realistic shot, 21:9 aspect ratio, live-action film feel, grounded mechanical world, IMAX 70mm film texture, clean image, subtle film grain, realistic motion blur, no HDR, no over-sharpening, no cartoon style. The shot must begin as a direct continuation of {{Mixed 1}} . A-315 remains the same small worn white round-headed robot from {{Portrait 4}} , twin circular lens eyes, thin mechanical limbs, old toy-like proportions, chest marking A-315, holding the gold coin in one hand. The coin stays in his hand. Do not add extra coin shaking or unnecessary coin movement. Core scene logic: A-315 is already confused by the growing crowd around him. The ordinary public-service robots around him are not walking and not strolling. They are moving in a fast half-running mechanical crowd flow: short rapid steps, urgent body momentum, pushing forward with greedy goal-driven energy, all moving toward the same destination. They do not scatter in fear. Crowd density: The foreground and midground must feel denser than before. Add layered foreground obstruction: mechanical shoulders, arms, backs, torsos, legs, bags, and tools sweeping past the lens. The crowd should feel like a compressed moving machine tide around A-315. Do not make the space feel open or relaxed. Action timing: 0–1.5 seconds: A-315 stands near the right side of frame, holding the coin, confused by the fast crowd around him. Ordinary robots rush past him in a half-running mechanical flow, not slow walking. Their movement is urgent and continuous. 1.5–2.5 seconds: A heavier mechanical impact sound appears from behind A-315, deeper in the same crowd flow. A-315 clearly reacts and makes a noticeable, readable head turn toward the sound source behind him. This must be an obvious head turn, not a subtle glance. Camera movement: The camera must not stay static. As A-315 turns his head, the camera follows with a smooth reactive half-orbit plus pan, moving with his attention toward the sound direction. The camera movement should feel physical and cinematic, not digital zoom, not push-pull zoom, not focus hunting. 2.5–4.5 seconds: The large orangutan-type heavy engineering robot from {{Portrait 3}} appears from farther behind A-315, within the same fast-moving robot stream. It must approach from behind A-315, in the same overall direction as the crowd flow, catching up from the rear and overtaking ordinary robots. It must NOT enter diagonally from an unrelated direction. It must NOT attack sideways. It must NOT come from the front. It must NOT cross the frame as a random monster attack. It is a stronger, heavier machine emerging from within the same greedy forward-moving crowd. Impact behavior: The ordinary robots do not run away in panic. They keep trying to move forward toward the same destination, but the large robot forcefully plows through them. The large robot must visibly shove robots sideways, shoulder through them, knock some off balance, spin one or two aside, and knock one or two down into the sand. It forces the crowd open like a brutal industrial pusher. Use scattered bags, tool boxes, small metal parts, dust, sand spray, and scraping impacts. Do not show excessive flying limbs or cartoon destruction. The impact should feel heavy, physical, and believable. 4.5–5.5 seconds: The large robot rushes very close beside A-315 with heavy momentum. A-315 is not hit directly, but he is dwarfed by the giant body passing by. He turns his head to follow the large robot’s movement. As the large robot gets close, the camera should feel lower and slightly upward-looking, emphasizing giant scale, weight, and speed. Do not keep the whole shot flat and eye-level. The close pass should feel dangerous and massive, with strong parallax and foreground motion. 5.5–7 seconds: After the large robot passes A-315, the camera continues panning with A-315’s gaze and follows the large robot’s back as it keeps charging forward. Keep at least 1.5 seconds of follow-through on the large robot’s back, the torn-open crowd flow, dust, and moving robots trying to continue forward. This ending must not cut immediately after the pass. Leave motion direction and visual momentum for the next flying-machine / ostrich scene. Framing: A-315 should start on the right third or right foreground. The large robot should come from deeper behind him and pass close beside him. Use layered foreground robots and crowd compression, but keep the direction clear. Do not reveal the open sea. Do not cut to a scenic wide beach view. Do not end on the ocean. End on the large robot’s back, dust, moving crowd, and forward direction. Crowd behavior: Ordinary robots are fast, urgent, and goal-driven throughout. They are not casually walking. They are not calmly strolling. They are not scattering away from the big robot. They continue forward, only being shoved aside, knocked off balance, or knocked down by the large robot. Visual tone: cinematic realism, heavy physical camera, believable mechanical action, low-angle scale when the big robot gets close, realistic motion blur, dust, sand, metal scraping, grounded retro-futuristic coastal wasteland atmosphere. Sound: only sound effects, no background music. Fast half-running mechanical crowd footsteps, heavy approaching metallic thuds, scraping metal, sand impacts, robots being shoved aside, one or two robots hitting the sand, crowd compression noise, A-315 small servo head-turn sound, large robot heavy pounding footsteps.

{{Mixed 1}} is the direct continuity start frame reference: A-315 holding the coin among moving robots. {{Mixed 2}} is the environment reference: retro-futuristic coastal resort beach district. {{Portrait 3}} is the large orangutan-type heavy engineering robot reference. {{Portrait 4}} is the protagonist A-315 appearance reference. Create one continuous 7-second cinematic realistic shot, 21:9 aspect ratio, live-action film feel, grounded mechanical world, IMAX 70mm film texture, clean image, subtle film grain, realistic motion blur, no HDR, no over-sharpening, no cartoon style. The shot must begin as a direct continuation of {{Mixed 1}} . A-315 remains the same small worn white round-headed robot from {{Portrait 4}} , twin circular lens eyes, thin mechanical limbs, old toy-like proportions, chest marking A-315, holding the gold coin in one hand. The coin stays in his hand. Do not add extra coin shaking or unnecessary coin movement. Core scene logic: A-315 is already confused by the growing crowd around him. The ordinary public-service robots around him are running and squeezing forward with urgency. They move with fast short steps, pushing and rushing toward the same destination with greedy goal-driven energy. They pass rapidly around A-315 from foreground and background, forming a dense moving robot tide around him. Crowd density: The foreground and midground must feel denser than before. Add layered foreground obstruction: mechanical shoulders, arms, backs, torsos, legs, bags, and tools sweeping past the lens. The crowd should feel like a compressed moving machine tide around A-315. Action timing: 0–1.5 seconds: A-315 stands near the right side of frame, holding the coin, confused by the crowd around him. Ordinary robots are already running, squeezing, and rushing past him in the same forward direction. Their movement is urgent and continuous. 1.5–2.5 seconds: A heavier mechanical impact sound appears from behind A-315, deeper in the same crowd flow. A-315 clearly reacts and makes a noticeable, readable head turn toward the sound source behind him. This must be an obvious head turn, not a subtle glance. Camera movement: The camera must not stay static. As A-315 turns his head, the camera follows with a smooth reactive half-orbit plus pan, moving with his attention toward the sound direction. The camera movement should feel physical and cinematic, not digital zoom, not push-pull zoom, not focus hunting. 2.5–4.5 seconds: The large orangutan-type heavy engineering robot from {{Portrait 3}} appears from farther behind A-315, within the same fast-moving robot stream. It must approach from behind A-315, in the same overall direction as the crowd flow, catching up from the rear and overtaking ordinary robots. It must NOT enter diagonally from an unrelated direction. It must NOT attack sideways. It must NOT come from the front. It must NOT cross the frame as a random monster attack. It is a stronger, heavier machine emerging from within the same greedy forward-moving crowd. Impact behavior: The ordinary robots keep trying to rush forward toward the same destination, but the large robot forcefully plows through them. The large robot must visibly shove robots sideways, shoulder through them, knock some off balance, spin one or two aside, and knock one or two down into the sand. It forces the crowd open like a brutal industrial pusher. Use scattered bags, tool boxes, small metal parts, dust, sand spray, and scraping impacts. Do not show excessive flying limbs or cartoon destruction. The impact should feel heavy, physical, and believable. 4.5–5.5 seconds: The large robot rushes very close beside A-315 with heavy momentum. A-315 is not hit directly, but he is dwarfed by the giant body passing by. He turns his head to follow the large robot’s movement. As the large robot gets close, the camera should feel lower and slightly upward-looking, emphasizing giant scale, weight, and speed. The close pass should feel dangerous and massive, with strong parallax and foreground motion. 5.5–7 seconds: After the large robot passes A-315, the camera continues panning with A-315’s gaze and follows the large robot’s back as it keeps charging forward. Keep at least 1.5 seconds of follow-through on the large robot’s back, the torn-open crowd flow, dust, and moving robots still trying to continue forward. This ending must not cut immediately after the pass. Leave motion direction and visual momentum for the next flying-machine / ostrich scene. Framing: A-315 should start on the right third or right foreground. The large robot should come from deeper behind him and pass close beside him. Use layered foreground robots and crowd compression, but keep the direction clear. Do not reveal the open sea. Do not cut to a scenic wide beach view. Do not end on the ocean. End on the large robot’s back, dust, moving crowd, and forward direction. Visual tone: cinematic realism, heavy physical camera, believable mechanical action, low-angle scale when the big robot gets close, realistic motion blur, dust, sand, metal scraping, grounded retro-futuristic coastal wasteland atmosphere. Sound: only sound effects, no background music. Fast running mechanical crowd footsteps, crowd squeezing and rushing sounds, heavy approaching metallic thuds, scraping metal, sand impacts, robots being shoved aside, one or two robots hitting the sand, crowd compression noise, A-315 small servo head-turn sound, large robot heavy pounding footsteps.

Keep the exact composition and perspective of the reference image. Cleanly restore this frame: remove the large shadow, restore a vivid cyan-blue to turquoise ocean, restore warm rich gold color on the Dogecoin and treasure island, sharpen the Dogecoin surface texture and embossed face, sharpen the treasure island details with exposed rocks, dense gold, scattered coins, and metallic texture, move the tiny swimming robots farther away from the island so a clear open-water gap remains around the island, keep the Dogecoin upright and floating close above the island, keep the robots tiny and distant, cinematic realism, IMAX 70mm film look, high detail, clean image, bright daylight, strong cool-warm contrast.

去掉 {{Portrait 1}} 中的背景.并且生成图中主体的三视图

保持 {{Image 1}} 构图内容透视关系不变,把 {{Image 1}} 中巨大的岛屿换成 {{Image 2}} 中黄金岛屿纹理和细节.

{{Mixed 1}} 为上一镜尾帧守帧参考，保持上一镜结尾的主体关系、镜头方向、人物位置关系与整体空间连续性。 {{Mixed 2}} 为海滩场景环境参考，保持原子朋克海滨度假区氛围、沙滩尺度、远处建筑群、灯塔、棕榈树、摩天轮等空间气质。 {{Portrait 3}} 为大机器人造型参考，保持其重型、低重心、猩猩式前掌着地推进、粗壮前臂、压迫感极强的体型结构。 {{Portrait 4}} 为小机器人主角参考，保持它的体型、头部比例、眼睛结构、掉漆旧化质感和弱小感。 21:9画幅，电影级IMAX 70mm胶片质感，诺兰式极度写实主义，真实摄影感，Panavision C系列镜头质感，轻微动态模糊，真实低机位运动摄影，原子朋克海滨世界，复古暖橙与海盐蓝色调，胶片颗粒细腻，自然日光照明，超写实，杜绝游戏CG感。 这是一个承接上一镜的连续镜头，时长约7秒。 镜头一开始承接上一镜尾帧：小机器人站在人群中，手里仍然握着那枚小尺寸金币，金币不要掉落，金币尺寸保持正确，应明显小于机器人手掌，像一枚真正能被手指捏住的小金币，而不是巴掌大的大圆盘。 周围群众机器人正在从小机器人的身后向前方持续前进，整体状态不是散步，也不是排队上班，而是被某种目标吸引后的快步、小跑、半失序推进，彼此不会刻意避让，具有轻微裹挟感。 镜头一开始不是纯低机位，而是一个略低于小机器人头部高度的中近景机位，靠近小机器人右后侧或右侧后方，先看到它察觉到后方传来的沉重脚步声与地面震动。 小机器人先停顿，头部迅速朝后方声音来源转过去，身体不需要完全转正，主要是头和上半身带动反应。 摄影机不是原地死摇，而是随着小机器人转头，做一个顺势的左后方弧线跟随运动，轻微环绕、轻微摇移结合，像被它的视线带着一起转过去。 随着镜头转过去，画面逐渐揭示后方人流正在加速向前涌动，几个普通机器人被后方更强的冲击力挤得失去平衡，有人被迫侧移，有机器人踉跄一步，有手提物晃动，但不要夸张表演，不要闹剧化。 紧接着，大机器人真正出场。 它不是被人群礼貌让路，而是凭借强大体积和力量，硬生生从人群中挤开一条路冲出来。 它的运动状态要像重型猩猩式冲刺：低重心、前掌先着地、粗壮前臂强力推进、速度快、压迫感极强、重量感明显。 它冲过来时，周围普通机器人被迫向两侧挤开，个别机器人被撞歪、被擦得失衡、被强行顶开，形成局部混乱。 不要把普通机器人表现成主动让路，而是来不及反应、被动被挤开。 可以有轻微扬沙和细小杂物被带起，但重点是体积压迫和速度感，不靠夸张爆炸。 随着大机器人逼近，机位在运动中略微降低一点，并形成轻微仰视感，使它经过小机器人身边时拥有明显巨物冲击力。 小机器人在画面右侧或右前侧位置，保持弱小、被压迫、被震慑的感觉。 大机器人从小机器人身边极近距离掠过，带着强烈的压迫感和风压感冲向前方。 小机器人本能地追着它看，镜头也继续顺着小机器人的视线运动方向摇过去，持续跟随大机器人往前冲。 镜头最后停在大机器人继续向前推进的背影或侧后背影方向，保留前方空间，为下一镜飞机出场做承接。 结尾不要收成大远景，不要把景别拉松，整体保持中近景到中景之间的电影化紧张距离感。 整条镜头重点是： 主角视线驱动镜头调度； 群众机器人从后往前持续涌动； 大机器人强行冲开人群、从主角身边掠过； 镜头最终跟到大机器人背影，为后续飞行器和鸵鸟机器人出场留出方向性与空间逻辑。 声音氛围建议：只要音效，不要背景音乐。 前段是密集脚步、金属摩擦、提物晃动、沙地踩踏声； 中段逐渐叠加强烈沉重“咚、咚、咚”的重型冲击脚步； 大机器人掠过时带有明显压迫性的机械冲撞、金属摩擦、沙地震动与擦身风压声。

去掉 {{Portrait 1}} 中的背景.并且生成图中主体的多视图

{{Image 1}} 转会成线稿

第一张图 {{Image 1}} 作为场景结构与世界观参考。 严格保持海岸线、建筑布局、沙滩尺度、广告牌位置、原子朋克海岸城市设定不变。 第二张图 {{Image 2}} 作为整体影调、色彩、空气感与阳光氛围参考。 整体影调改为： 温暖夏日海岸光线， 真实热带海岸空气感， 金色但不过度饱和的沙滩， 自然鲜活的热带植被， 温暖阳光， 轻微海风空气透视。 不要灰白沙滩。 不要枯黄色植被。 不要废土黄雾。 不要脏旧末日感。 不要旅游宣传片HDR感。 不要高饱和糖水感。 不要海水 整体感觉： 像一个被资本包装成天堂的未来海岸城市。 表面： 美丽、干净、昂贵、诱人。 细节里： 隐隐透出衰败感、 旧时代广告、 轻微盐雾侵蚀、 空旷感、 一种不真实的繁荣。 保持电影摄影感， IMAX 70mm胶片质感， 真实自然光， 柔和高光， 空气通透， 低对比度胶片层次， 不是AI概念图。 镜头感参考电影级外景摄影。

{{Mixed 1}} 作为首帧锁定，严格承接上一镜尾帧的画面状态与构图连续性。 {{Mixed 2}} 作为海岸场景环境参考。 {{Portrait 3}} 作为大机器人外观与动作参考。 {{Portrait 4}} 作为小机器人外观参考。 21:9画幅，电影级超写实影像，诺兰式极度写实主义美学，IMAX 70mm胶片质感，Panavision C系列镜头质感，自然日光照明，复古原子朋克海岸世界，真实摄影，不要游戏CG感。 这是一个承接上一镜的人群中连续镜头，不要重新开一个新景别，不要突然跳切。镜头从图1的尾帧状态自然开始：小机器人仍处在人群中，手里拿着金币，周围有普通机器人不断从前景和中景快速经过，画面保持一定遮挡感与拥挤感。 随后远处传来沉重、低频、越来越近的脚步声。小机器人察觉异样，朝声音来源方向转头查看，镜头跟随它的反应轻微摇转。人群前方开始出现异常挤动，几个普通机器人被强势顶开，个别机器人失去平衡踉跄，手提箱、托盘或松动小零件被撞落，带起少量沙尘，但不要夸张爆炸，不要满天残肢乱飞。 然后大机器人从人群深处猛然冲出，保持图3中的重型压迫感与低重心前掌着地推进姿态，像重型猩猩式机体高速冲入人群。它不是卡通式乱撞，而是以强势挤开为主，个别普通机器人被撞翻为辅，硬生生在人群中挤出一条通路，具有极强体量感、速度感和压迫感。 镜头保持中近景到中景之间的连续揭示关系，小机器人处于画面前景右侧或右三分之一附近，观众能清楚看到它的头部、肩膀和反应。大机器人由远及近逼近后，擦着小机器人身边强势冲过，周围普通机器人被挤得七零八落，但画面要清楚、可读、层次分明，不要乱，不要景别突然松掉，不要最后变成大全景。 大机器人冲过后，小机器人本能地转头跟随它的离去方向，镜头顺着小机器人的视线继续跟过去，为下一镜飞机出场预留空间与方向。整体重点是：声音逼近、主角反应、人群异动、重型单位闯入、压迫性掠过、视线跟随。节奏紧凑，前半段快速建立压迫，后半段完成出场冲击，具有强钩子与强视觉冲击力。

{{Image 1}} 中沙滩的靠近建筑区域加上一堆看似白色机器人的小黑点,有大有小,但是比例都和小黑点一样.一种从城市冲出来一大片往海上跑涌的感觉.机器人只占沙滩一半区域距离海边还有一段距离

{{Mixed 1}} 为第一段大远景海岸环境参考， {{Mixed 2}} 为第二段正面远景海岸环境参考。 生成一条 6.5 秒、16:9 的电影级现实主义大场面镜头，分成两个景别，画面内部完成两段内容，并且在中间明确硬切，不是一镜到底。整体气质参考《霍比特人：五军之战》《复仇者联盟》《头号玩家》《进击的巨人》那种大场面群体冲锋感，但保持真实摄影感、真实镜头语言、真实空间关系，不要游戏感，不要卡通感，不要动画感。 世界观是原子朋克海岸废土乐园。整片沙滩上密密麻麻全是机器人群体，像人潮一样一起向前冲，目标明确地朝着远处海上的金币岛方向奔跑。注意：此时所有机器人还没有冲进海里，距离海浪线还有一段距离，主要占据的是大面积沙滩区域。画面重点是“人潮般的机器人集体奔向财富幻象”。 机器人设计不要统一脸型，不要都长得一样。机器人类型丰富，头型、胸腔、四肢、背包、工具模块都可以不同，有圆头、扁头、长头、方头、单目、双目、横向电子眼等不同结构。整体材质统一在同一世界观内：旧工业感、掉漆、磨损、轻微锈蚀、真实使用痕迹。颜色以白色或米白色为基底，但每个机器人可以搭配不同混合色或双拼色点缀，例如白蓝、白红、白绿、白黄、白灰，不要只有单一白色。群体里大多数是普通民用机器人，另外夹杂少量更高大的重型机器人，比普通机器人高三到四个身位，体型更厚重、更有压迫感，但数量不要太多，只作为人潮中的巨型层次点缀。 天空中不止一架飞行器，可以有数架不同类型的低空飞行器掠过，包括轻型复古飞机、悬浮飞行器、飞行装置等，它们也朝着同样的目标方向前进，形成地面与空中的双重“奔向财富”运动趋势。但它们只是点缀，不要抢掉画面主体。 第一段 0-3.2 秒： 参考 {{Mixed 1}} 的空间关系和海岸透视，做一个斜向的大远景。镜头不是固定机位，而是缓慢向前飞、轻微推进，像空中稳定器轻轻往前滑行。前景、中景、远景都布满大量机器人，沙滩几乎被机器人潮填满，机器人像潮水一样一起朝远处海上的金币岛方向奔跑。画面要有真正的大场面密度，不是零散几排，而是成百上千的机器人铺满沙滩。远处海面上能看到发光的金币岛轮廓和上方悬浮的巨大狗狗币符号，但第一段主要是建立“海岸线 + 人潮前冲 + 目标在远方”的大关系。运动感要明确，所有机器人都在向前冲，不是散步，不是闲逛，不是慢慢走。 在这一段里，少量高大的重型机器人夹杂在群众中，形成尺度反差。画面要有史诗感、压迫感和群体欲望感。机器人奔跑时带起轻微沙尘和脚下扰动，但不要夸张成沙暴。真实阳光、真实海风、真实沙滩空间。镜头轻微前推即可，不要大幅炫技运镜。 第二段 3.2-6.5 秒： 在 3.2 秒处明确硬切到第二个景别。参考 {{Mixed 2}} 的更正、更正面的大远景构图，直接锁定远处海上的金币岛和上方巨大的狗狗币。镜头继续缓慢向前推进，气势比第一段更集中、更宿命。画面前景和中景依然有海量机器人不断从沙滩向前奔跑，像真正的人潮向目标聚集。重点强调“所有机器人都被远处金币岛吸引”，形成一种财富乌托邦幻象。地面上的机器人潮继续向前压过去，但仍然不要让机器人进入海里，海浪线前保留一点缓冲距离，说明他们正要冲向海边但还没真正下海。 这一段要让远处的金币岛更清晰、更有吸引力，海面反光和金币岛发光在视觉上形成一个强引导中心。机器人群体密度依然要高，不能后段 suddenly 变少。天空中仍然可以有少量飞行器掠过，作为次级动势。整段结尾保持史诗大场面氛围，像揭示终极目标的“财富彼岸”。 整体要求： 真实摄影，电影级写实，IMAX 70mm 胶片质感，宏大场面，纵深清楚，空间关系明确，沙滩面积足够大，海岸线清楚，海浪自然，天空通透，阳光真实。画面节奏有推进感，但不是乱晃。不要做成概念插画感，不要太CG，不要太整齐编队，不要像阅兵，不要像游戏宣传片，要像真正拍摄的大规模群体运动镜头。重点是：密密麻麻的机器人潮、奔向财富目标、沙滩尚未入海、两段景别硬切、缓慢前推、史诗级群像冲锋。 声音要求：只要同期声音效，不要背景音乐。要有密集机器人奔跑声、金属脚步声、沙地踩踏声、远处海浪声、低空飞行器掠过的风切声与引擎声，但不要配乐。

把 中红色圈圈里在漂浮的狗狗币的堆满金币的岛屿移动到紫色圈的位置

{{Mixed 1}} 为首帧守帧，严格承接上一镜尾帧的构图、机位高度、人物位置关系和视线方向连续性。 {{Mixed 2}} 为海滩环境参考，保持原子朋克海滨度假区氛围、沙滩地貌、远处灯塔、圆形建筑、摩天轮、棕榈树等空间气质。 {{Portrait 3}} 为大机器人参考，保持其重型、低重心、猩猩式前掌着地推进、粗壮前臂、极强压迫感与重量感。 {{Portrait 4}} 为小机器人主角参考，保持它的头部比例、圆眼结构、掉漆旧化质感、弱小体型和A-315主角形象。 21:9画幅，电影级IMAX 70mm胶片质感，诺兰式极度写实主义，Panavision C系列镜头质感，真实摄影机运动，轻微动态模糊，细腻胶片颗粒，自然日光，复古暖橙与海盐蓝色调，超写实，杜绝游戏CG感。 这是一个承接上一镜的连续镜头，时长约6秒到7秒。 镜头开始严格承接首帧：小机器人站在人流中，手里仍紧紧握着那枚小尺寸金币，金币不要掉落，金币尺寸保持正确，明显小于手掌，只是被手指握住的小金币。 从镜头一开始，周围群众机器人就已经处于持续向前推进的状态，不是散步，不是慢悠悠行走，而是被某种目标吸引后的快步、小跑、半失序前冲。它们整体的运动方向统一：从小机器人的身后区域往前冲，持续经过小机器人身边，朝前方海边方向推进。画面中始终保持高密度机器人流动感。 摄影机一开始位于小机器人后侧偏右位置，略低机位，中近景，先看到小机器人察觉到后方越来越强的沉重脚步声和地面震动。 小机器人先微微一怔，然后迅速回头，头部率先转向后方，身体只轻微带动，不完全转身。 镜头不是原地死摇，而是随着它的回头动作做一个顺势的弧线跟随运动，从它的后侧轻微环绕到侧后方，镜头边跟边转，形成明确的“主角视线带动摄影机”的调度。 在小机器人回头的过程中，周围群众机器人仍持续快速从它身边掠过，画面前景、中景、背景都必须有人流，不能空。 前景不断有半身、肩膀、手臂、腿部从镜头前快速擦过，形成遮挡和压迫感； 中景是小机器人被夹在流动机器人之间； 背景还有更多机器人持续向前推进。 任何时候，小机器人周围都不应该出现突然变空的状态。 随后，大机器人真正出场。 它的出现方向必须明确：从小机器人身后右侧、画面右侧区域冲入，朝画面左侧前方高速掠过。 它不是从正前方出现，也不是从中轴线慢慢露出，而是带着强烈惯性和明确横向冲击路线，从右往左、从后往前掠过。 它的运动方式像重型猩猩式冲刺：低重心、前掌先着地、粗壮前臂交替推进、步幅大、速度快、重量极重。 它冲入人群时，周围普通机器人不是主动让路，而是被硬生生挤开、撞歪、擦得失衡、向两侧踉跄侧移。 局部可以有机器人手里的小箱子晃动、身体偏斜、脚步乱掉、被迫失去节奏，但不要夸张搞笑，不要爆炸式散架，重点是压迫性挤开和撞开。 随着大机器人逼近并掠过，机位在跟随中略微下沉一点，形成更明显的低角度和轻微仰视，使它从小机器人身边冲过时拥有更强巨物冲击力。 小机器人位于画面右侧或右下侧，被更高大的群众机器人和大机器人包围，显得弱小而被裹挟。 大机器人从它身边极近距离掠过时，小机器人本能地追着它看，镜头也继续顺着小机器人的视线往左摇，持续跟到大机器人冲过去的方向。 结尾停在大机器人继续朝前冲的侧后背影或背影方向，保留它前方的空间，为下一镜飞机与鸵鸟机器人出场做承接。 结尾不要拉成大远景，不要让景别松掉，整体始终保持中近景到中景之间的紧张距离感。 重点要求： 大机器人的路线必须明确是从右后侧冲向左前侧； 群众机器人从一开始就处于快步、小跑、半失序前冲状态； 小机器人周围始终是密密麻麻的人流，不允许大机器人靠近时周围突然变空； 普通机器人对大机器人不是主动避让，而是被动被撞开、挤开、擦歪； 摄影机必须跟随小机器人回头形成弧线运动，并在后段继续跟随大机器人运动方向左摇； 整条镜头要有压迫感、速度感、裹挟感和明确空间逻辑。 声音要求：只要音效，不要背景音乐。 前段是密集而加快的金属脚步、沙地踩踏、机器人肢体碰撞、提物晃动声； 中段逐渐叠加更重的“咚、咚、咚”震地脚步； 大机器人掠过时有强烈的机械冲撞、擦碰、震地、风压掠过声。

{{Mixed 1}} 为首帧守帧，严格承接上一镜尾帧的构图、机位高度、人物位置关系和视线连续性。 {{Mixed 2}} 为海滩环境参考，保持原子朋克海滨度假区的沙滩地貌、灯塔、圆形建筑、摩天轮、棕榈树和复古海滨空间气质。 {{Portrait 3}} 为大机器人参考，保持其重型、低重心、猩猩式前掌着地推进、粗壮前臂、极强压迫感与重量感。 {{Portrait 4}} 为小机器人主角参考，保持它的头部比例、圆眼结构、掉漆旧化质感、弱小体型和A-315主角形象。 21:9画幅，电影级IMAX 70mm胶片质感，诺兰式极度写实主义，Panavision C系列镜头质感，真实摄影机运动，轻微动态模糊，细腻胶片颗粒，自然日光，复古暖橙与海盐蓝色调，超写实，真实摄影感，杜绝游戏CG感。 这是一个承接上一镜的连续镜头，时长约6.5秒到7秒。 镜头开始严格承接首帧：小机器人仍处于人流之中，手里握着那枚小尺寸金币，金币尺寸保持正确，明显小于手掌，只是被手指握住的小金币，不掉落。 从镜头一开始，周围群众机器人就已经处于持续快速奔跑状态，整体朝前方海边方向冲跑，形成明显的人潮流动。 它们不是慢速移动，而是被某种目标吸引后的快跑、急跑、持续向前冲，画面前景、中景、背景都始终有机器人快速从小机器人身边掠过，形成持续的人潮裹挟感。 摄影机起始位于小机器人后侧偏右位置，略低机位，中近景。 小机器人先听到后方越来越重的震地脚步声，立刻警觉，迅速回头。 镜头随着它的回头动作做一个顺势跟随的弧线运动，不是死摇，而是伴随它的头部转动和视线变化轻微环绕过去，迅速带出后方空间。 前段节奏直接一些，不拖沓，大机器人更早进入画面，不要把“听到声音、察觉异常、转头”拉得太长。 在小机器人回头的同时，周围群众机器人持续快速奔跑，画面前景不断有机器人腿部、肩部、手臂、身体快速掠过，形成压迫性的遮挡； 中景是小机器人被夹在人潮之中； 背景是更多机器人继续向前冲跑。 小机器人周围始终保持高密度机器人流动感，不出现空地，不出现突然变稀疏的状态。 随后，大机器人强势出场。 它从小机器人身后右侧、画面右后侧高速冲出，朝画面左侧前方猛烈掠过去。 它的运动方式是重型猩猩式高速冲刺，低重心、前掌先着地、粗壮前臂交替推进、步幅巨大、惯性强、重量极重。 它不是在空地里跑，而是从密集奔跑的人潮之中硬生生冲开一条路。 周围普通机器人被它推开、撞歪、擦得失去平衡、被迫侧移，局部机器人身体倾斜、步伐乱掉、手里物件晃动，形成明显的人潮被强势破开的感觉。 画面前景必须始终有群众机器人存在，大机器人经过时仍然要看到近处机器人被挤开、被推开、被撞乱，而不是它周围突然空掉。 随着大机器人逼近并从小机器人身边冲过，镜头机位略微压低并带一点轻微仰视，增强它从身边掠过时的巨物冲击力。 小机器人位于画面右侧或右下侧，被更高大的奔跑机器人包围，显得弱小、局促、被裹挟。 大机器人从它身边高速掠过后，小机器人本能地追着它看，头部和视线跟着大机器人的运动方向转过去。 摄影机继续顺着小机器人的视线向左跟摇，持续跟到大机器人继续往前冲的方向。 结尾不要收得太快，要让大机器人再往前冲一小段，给出更完整的侧后背影或背影推进状态，保留前方空间和节奏缓冲，为下一镜飞机出场做好接力。 结尾整体仍保持中景或偏紧的中景，不要突然松成大远景。 重点要求： 群众机器人从一开始就快速奔跑，始终形成前中后景持续的人潮冲跑状态； 大机器人更早出现； 大机器人从右后侧冲向左前侧； 它是从密集人潮中强行挤开一条路，不是在空地里跑； 它掠过时近处仍然有大量群众机器人，被挤开、撞乱、推歪； 镜头整体前段更利落，后段多留一点缓冲，为下一镜飞机出场做准备； 整条镜头突出压迫感、速度感、裹挟感、巨物冲击力和连续调度感。 声音要求：只要音效，不要背景音乐。 全程为密集奔跑脚步、金属关节急速运动、沙地踩踏、人潮擦碰声； 中后段逐步叠加强烈震地重步声； 大机器人掠过时强化机械冲撞、擦碰、震地、风压掠过的声音。

{{Image 1}} Keep the original composition, camera position, coastline direction, horizon height, and the position and size relationship of the distant coin island exactly the same as the reference image. Do not change the wide coastal composition. This is a very wide coastal establishing shot. Far out on the sea there is a coin island, with a giant golden Dogecoin floating above it, creating a strong wealth totem. The focus of the image is the spatial relationship between the beach, the coastline, the crowd movement, and the distant coin island. Add a crowd of robots running toward the coin island, but do not fill the entire beach. The robot crowd should only occupy part of the left and mid-left beach area, forming a loose irregular wedge-shaped mass moving from the left side of the beach toward the middle coastal direction. The right side of the beach, the area near the waves, and the central foreground must remain visibly open and spacious. The normal robots must be very small within this grand wide shot. Most of them should read only as tiny white figures or soft silhouettes, without clear individual details. Do not make the normal robots too large. Do not make them look like close-up characters. The crowd should be moderately dense, but not overcrowded, not arranged like a military formation, not evenly spaced, and not in neat rows. It should have natural spacing, varied running poses, depth, and irregular density. Within the crowd, include only a few taller robots as visual anchors, about 4 to 6 in total. These larger robots must not appear in the extreme foreground and must not become the main subject. They should only be about 1.5 to 2 times taller than the normal robots, like slightly taller heavy units inside the crowd, not giant monsters. Scatter them naturally among the crowd. All robots are running toward the distant coin island and the sea, showing a collective, desire-driven rush toward the target. The crowd has not reached the shoreline yet. Leave a clearly visible empty strip of sand between the front edge of the crowd and the ocean waves. You may add 2 to 3 very small flying robots in the sky as distant accents, but they must remain tiny and secondary. The overall image should remain a wide, open, restrained, realistic establishing shot. Do not turn the robots into large foreground characters. The key idea is: a small robot tide on a vast beach, being pulled toward the enormous coin island in the distance. Cinematic realism, IMAX 70mm film texture, natural sunlight, vast sea and sky, clean image, realistic scale, dark fable atmosphere, and a strong sense of wealth temptation.

保持 {{Image 1}} 构图内容关系透视不变，把 {{Image 1}} 中巨大的狗狗币换成 {{Image 3}} 中的材质和细节，把 {{Image 1}} 中的堆满黄金金币的岛屿换成 {{Image 2}} 中的岛的外观和细节。

{{Image 1}} Strictly preserve the original composition, camera position, coastline direction, horizon height, and the position and scale relationship of the distant coin island in the reference image. This must remain a very wide coastal establishing shot. Do not reframe and do not move the camera closer. Add a moderately dense crowd of robots across the left to mid-left beach area. Do not fill the entire beach, do not place them too close to the camera, and do not completely cover the shoreline. The crowd should mainly occupy the left to mid-left portion of the beach, forming a mass movement that pushes from the far-left inland beach area toward the shoreline. Slightly denser in the far-left background, layered through the mid-ground, and gradually thinning out near the waves. Leave a clearly visible open strip of sand near the shoreline and on the right side. Most important: all robots must face the sea. Each robot should orient its body toward the nearest shoreline waterline based on its own position, and run along the shortest path from inland sand toward the beach water edge. Do not make the robots all converge toward one distant single point. Do not let them run sideways, do not let them face inland, and do not let them face the camera. Most robots should be seen from the back or three-quarter back view, creating one strong collective forward surge toward the sea. The normal robots should remain relatively small in this very wide shot. Many of them should read only as small white figures or simplified silhouettes. They must not be too large or too close. Keep them mostly white and light gray-white, but not identical. Add subtle variation: different head shapes, shoulder widths, backpack modules, weathering levels, and small accents of pale blue, orange, beige, or dark gray. Avoid any copy-paste look. Add 4 to 5 larger robots as visual anchors within the crowd. These larger robots must clearly differ from the normal robots and should not look like simple scaled-up copies. They should be wider, bulkier, heavier, like industrial load-bearing robots or old public service robots, with mostly white armor and small orange or blue-gray industrial details. Their height should be about 1.8 to 2 times that of the normal robots. Do not make them gigantic, exaggerated, or too close to the camera. These larger robots must also follow the same directional rule: their bodies must face the nearest shoreline waterline, charging heavily toward the sea. Keep the distant coin island and floating golden coin clearly visible as the overall desire target of the image, but do not require each robot to directly aim at the coin itself. The coin island remains far offshore, with a giant floating golden coin above it. A natural, clear golden reflection path should stretch across the sea, visually pulling the whole composition toward the distance. If flying units are included, keep only 1 or 2 low-altitude flying robots or small flying craft at most. Their altitude should be roughly near the height of the seaside tower, moving low along the coastline and generally toward the coin island area. Do not place flying units high in the sky and do not let them distract from the main crowd. Overall mood: countless robots, seduced by wealth, recklessly rushing toward the sea, preparing to head for the distant coin island. Cinematic realism, IMAX 70mm film texture, believable coastal geography, clean image, natural light, with black-humor and dark-fable undertones, strong desire-driven energy, crowd frenzy, and visual impact.

Strictly preserve the original composition, camera position, coastline direction, horizon height, and the position and scale relationship of the distant coin island and floating golden coin. This must remain a very wide coastal establishing shot. Do not reframe and do not move the camera closer. Add a crowd of robots running toward the sea across the left to mid-left beach area. Do not cover the entire beach and do not fill the right side. The crowd should mainly occupy the far-left to mid-left area, moving like a tidal surge toward the shoreline. Slightly denser in the far-left background, layered through the mid-ground, and gradually thinning out closer to the waves. Leave clear open sand and breathing space in the foreground and on the right side. Most important: all robots must face the sea. Each robot should orient its body toward the nearest shoreline waterline based on its own position, running along the shortest path from inland sand toward the beach edge. Do not let them face the camera, face inland, run sideways, or have confused directions. Most robots should be seen from the back or three-quarter back, creating a unified forward push toward the sea. The normal crowd robots must be smaller and lighter in this very wide shot. Many of the mid-ground and background robots should read only as small white-gray figures or simplified silhouettes. They must not be too large or too close, and they should not all be equally readable. Keep them mostly white and light gray-white, with small accents of pale blue, beige, dark gray, or orange. Add subtle design variation: different head shapes, arm thickness, backpack modules, and weathering levels. Avoid a copy-paste appearance. Add 5 to 7 slightly larger robots as visual anchors scattered through the crowd. Important: these are not giant robots and must not be exaggerated. They should only be about 20% to 40% taller than the normal robots, just slightly taller, bulkier, and heavier. Give them wider shoulders, thicker torsos, and heavier movement, like industrial load-bearing robots or old public service robots, while keeping the same white-based world-building and material language. Do not make them look like hero mechs, and do not place them too close to the camera. Keep the distant coin island and floating golden coin clearly visible as the overall desire target of the image. Preserve a natural golden reflection path across the sea to pull the eye toward the distance. Do not change the size relationship between island and coin. Reduce flying units as much as possible. Keep at most 0 to 1 low-altitude flying craft. Its altitude should be roughly near the distant tower height, moving low along the coastline. It must not fly too high, must not draw attention away, and must not break the unified crowd momentum toward the sea. Overall mood: countless robots, seduced by wealth, running desperately toward the sea, preparing to head for the distant coin island. Cinematic realism, IMAX 70mm film texture, believable coastal geography, clean natural image, restrained but striking, with black humor, dark-fable undertones, crowd frenzy, and strong visual attraction.

保持 {{Image 1}} 构图透视不变,吧 {{Image 2}} 颜色风格,岛屿金币环境质感复制给 {{Image 1}}

{{Image 1}} 中沙滩的靠近地图左边加上一堆看似白色机器人的小黑点,有大有小,但是比例都和小黑点一样.一种从城市冲出来一大片往海上跑涌的感觉.中间有些间隔不要堆在一起.机器人外形参考 {{Image 2}} 但是在沙滩上看着很小

{{Image 1}} 中沙滩的靠近建筑区域加上一堆看似白色机器人的小黑点,有大有小,但是比例都和小黑点一样.一种从城市冲出来一大片往海上跑涌的感觉.机器人只占沙滩一小半区域距离海边还有一大段距离.要求图中机器人外形都不一样.但是比例都和小黑点一样.一种从城市冲出来一大片往海上跑涌的感觉.机器人外形参考 {{Image 2}} 但是在沙滩上看着很小

保持参考 {{Image 1}} 图的海岸线构图、远处金币岛位置、海平面关系、天空关系、沙滩透视关系和整体大远景机位不变。 在这张海岸大远景中加入一股正在奔向远处金币岛的机器人潮，但机器人必须作为远景尺度中的小型群体出现，不要变成近景角色展示。 画面重点是地理关系和群体趋势：远处海上的金币岛与悬浮巨大金币是视觉目标，沙滩上的机器人只是被这个财富目标吸引、正在向海边奔跑的人潮。 机器人分布要求： 机器人主要分布在画面左下前景到中左部、中部偏下的沙滩区域，形成一条自然的扇形奔跑流线，朝远处金币岛方向推进。不要铺满整片沙滩，沙滩底色必须大量保留。机器人群体距离海浪线仍然有明显空沙滩缓冲带，还没有真正冲到海水边。 机器人密度要求： 整体数量要多，但不要密到像复制粘贴的军团。前景数量较少，中景形成主要人潮，远处逐渐压缩成更小、更密的点状群体。机器人之间要有自然间距和透视变化，不能整齐排队，不能像军事方阵。 机器人比例要求： 普通机器人在这个超大景中应非常小，大多数只需要看出是白色奔跑的小身影，不需要清楚看到完整五官和细节。前景少数机器人可以略微清楚，中远景大部分机器人接近小白点或小型轮廓。不要让普通机器人太大，不要出现大量清晰近景机器人。 大型机器人要求： 人潮中可以零散出现少量较高大的重型机器人，大约 5 到 7 个即可。它们只比普通机器人高约 1.5 到 2 倍，体型略厚重，作为尺度层级点缀，不是主角，不要巨大化，不要像机甲怪兽，不要抢走金币岛和大场景的视觉中心。 机器人外观： 整体为白色或奶白色为主的机器人体系，少量蓝灰、红灰、深灰结构色点缀。造型写实、工业、略复古未来感，机身有轻微使用痕迹，但整体型号较新、干净，不是破烂废土机器人。不同机器人可以有轻微造型差异，但在远景中不需要展示太多细节。 动作状态： 所有机器人都在朝金币岛方向奔跑、快速前冲，形成被财富吸引的群体奔赴感。动作方向统一但姿态自然，有的略偏左，有的略偏右，有的被人潮挤歪，整体像一股流动的人潮，而不是整齐军队。 天空： 天空中只点缀少量飞行机器人或小型飞行器，2 到 4 个即可，体积很小，作为远景世界观点缀，不要抢画面中心。 整体画面气质： 电影级现实主义，IMAX 70mm胶片质感，真实摄影感，阳光明亮，海面通透，沙滩空间开阔，远处金币岛保持强视觉吸引力。画面要有黑色幽默和荒诞寓言感：巨大的财富图腾在远方吸引无数渺小机器人奔跑，但镜头仍然是宏观地理关系，不是机器人特写展示。 只要音效，不要背景音乐。

保持参考 {{Image 1}} 图的海岸线构图、远处金币岛位置、海平面关系、天空关系、沙滩透视关系和整体大远景机位不变。 在这张海岸大远景中加入一股正在奔向远处金币岛的机器人潮，但机器人必须作为远景尺度中的小型群体出现，不要变成近景角色展示。 画面重点是地理关系和群体趋势：远处海上的金币岛与悬浮巨大金币是视觉目标，沙滩上的机器人面朝大海、正在向海边奔跑的人潮。 机器人分布要求： 机器人主要分布在画面左下前景到中左部、中部偏下的沙滩区域，形成一条自然的扇形奔跑流线，朝远处金币岛方向推进。不要铺满整片沙滩，沙滩底色必须大量保留。机器人群体距离海浪线仍然有明显空沙滩缓冲带，还没有真正冲到海水边。 机器人密度要求： 整体数量要多，但不要密到像复制粘贴的军团。前景数量较少，中景形成主要人潮，远处逐渐压缩成更小、更密的点状群体。机器人之间要有自然间距和透视变化，不能整齐排队，不能像军事方阵。 机器人比例要求： 普通机器人在这个超大景中应非常小，大多数只需要看出是白色奔跑的小身影，不需要清楚看到完整五官和细节。前景少数机器人可以略微清楚，中远景大部分机器人接近小白点或小型轮廓。不要让普通机器人太大，不要出现大量清晰近景机器人。 大型机器人要求： 人潮中可以零散出现少量较高大的重型机器人，大约 5 到 7 个即可。它们只比普通机器人高约 1.5 到 2 倍，体型略厚重，作为尺度层级点缀，不是主角，不要巨大化，不要像机甲怪兽，不要抢走金币岛和大场景的视觉中心。 机器人外观： 整体为白色或奶白色为主的机器人体系，少量蓝灰、红灰、深灰结构色点缀。造型写实、工业、略复古未来感，机身有轻微使用痕迹，但整体型号较新、干净，不是破烂废土机器人。不同机器人可以有轻微造型差异，但在远景中不需要展示太多细节。 动作状态： 所有机器人都在朝海边方向奔跑、快速前冲，形成被大海吸引的群体奔赴感。动作方向统一但姿态自然，有的略偏左，有的略偏右，有的被人潮挤歪，整体像一股流动的人潮，而不是整齐军队。 天空： 沙滩上空20米左右高度点缀少量飞行机器人或小型飞行器，23到 4 个即可，体积很小，作为远景世界观点缀，不要抢画面中心。 整体画面气质： 电影级现实主义，IMAX 70mm胶片质感，真实摄影感，阳光明亮，海面通透，沙滩空间开阔，远处金币岛保持强视觉吸引力。画面要有黑色幽默和荒诞寓言感：巨大的财富图腾在远方吸引无数渺小机器人奔跑，但镜头仍然是宏观地理关系，不是机器人特写展示。 只要音效，不要背景音乐。

保持参考 {{Image 1}} 图的海岸线构图、远处金币岛位置、海平面关系、天空关系、沙滩透视关系和整体大远景机位不变。 在这张海岸大远景中加入一股正在奔向远处金币岛的机器人潮，但机器人必须作为远景尺度中的小型群体出现，不要变成近景角色展示。 画面重点是地理关系和群体趋势：以大海为视觉目标，沙滩上的机器人面朝大海、正在向海边奔跑的人潮。 机器人分布要求： 机器人主要分布在画面左下前景到中左部、中部偏下的沙滩区域，形成一条自然的扇形奔跑流线，朝远处金币岛方向推进。不要铺满整片沙滩，沙滩底色必须大量保留。机器人群体距离海浪线仍然有明显空沙滩缓冲带，还没有真正冲到海水边。 机器人密度要求： 整体数量要多，但不要密到像复制粘贴的军团。前景数量较少，中景形成主要人潮，远处逐渐压缩成更小、更密的点状群体。机器人之间要有自然间距和透视变化，不能整齐排队，不能像军事方阵。 机器人比例要求： 普通机器人在这个超大景中应非常小，大多数只需要看出是白色奔跑的小身影，不需要清楚看到完整五官和细节。前景少数机器人可以略微清楚，中远景大部分机器人接近小白点或小型轮廓。不要让普通机器人太大，不要出现大量清晰近景机器人。 大型机器人要求： 人潮中可以零散出现少量较高大的重型机器人，大约 5 到 7 个即可。它们只比普通机器人高约 1.5 到 2 倍，体型略厚重，作为尺度层级点缀，不是主角，不要巨大化，不要像机甲怪兽，不要抢走金币岛和大场景的视觉中心。 机器人外观： 整体为白色或奶白色为主的机器人体系，少量蓝灰、红灰、深灰结构色点缀。造型写实、工业、略复古未来感，机身有轻微使用痕迹，但整体型号较新、干净，不是破烂废土机器人。不同机器人可以有轻微造型差异，但在远景中不需要展示太多细节。 动作状态： 所有机器人都在朝海边方向奔跑、快速前冲，形成被大海吸引的群体奔赴感。动作方向统一但姿态自然，有的略偏左，有的略偏右，有的被人潮挤歪，整体像一股流动的人潮，而不是整齐军队。 天空： 沙滩上空20米左右高度点缀少量飞行机器人或小型飞行器，23到 4 个即可，体积很小，作为远景世界观点缀，不要抢画面中心。 整体画面气质： 电影级现实主义，IMAX 70mm胶片质感，真实摄影感，阳光明亮，海面通透，沙滩空间开阔，远处金币岛保持强视觉吸引力。画面要有黑色幽默和荒诞寓言感：巨大的财富图腾在远方吸引无数渺小机器人奔跑，但镜头仍然是宏观地理关系，不是机器人特写展示。 只要音效，不要背景音乐。

{{Image 1}} Keep the original composition, camera position, coastline direction, horizon height, and the position and size relationship of the distant coin island exactly the same as the reference image. This must remain a very wide coastal establishing shot. Do not reframe the image and do not move the camera closer. Keep a large crowd of running robots in the left to mid-left area of the beach, with a density similar to the reference image, but not denser. The robot crowd should form a natural, loose human-like flow, moving from the left side of the beach toward the distant sea and the coin island. All robots must run toward the same target direction: facing the distant coin island and the ocean, mostly seen from the back or three-quarter back view, forming one collective desire-driven movement. Do not make the robots run in random directions, do not make them spread sideways, and do not arrange them like a military formation. The normal robots should remain small within this grand wide shot. Most of them should read as small white figures or simplified silhouettes, not close-up characters. The normal robots should be mostly white or light gray-white, but they must not look identical. Give them natural variation: different head shapes, different shoulder widths, different arm proportions, different backpacks or tool packs, subtle aging marks, small accents of pale blue, orange, beige, or dark gray, different small numbers and markings. The design language should feel unified, but they must not look like copy-pasted clone robots. Add only a few large robots within the crowd, about 4 to 6 in total. The large robots must look clearly different from the normal robots, not just enlarged versions of them. They should feel like heavy public-service robots or industrial load-bearing units: wider bodies, heavier torsos, larger shoulders, thicker legs, more massive mechanical structure, mostly white armor with small orange, blue-gray, or dark worn components. Their height should be about 1.8 to 2.2 times taller than the normal robots. Do not make them gigantic, and do not place them close to the camera as main subjects. Scatter them naturally inside the crowd, also moving or pushing forward toward the coin island. Do not place flying objects high in the sky. Only add 3 to 4 low-altitude flying units, flying about 20 to 30 meters above the beach, roughly near the height of the distant tower or seaside buildings. They should skim above the beach and coastline direction, also moving toward the coin island, as part of the same mass rush. The flying units may vary: one small vintage propeller aircraft, one steampunk flying robot, one simple glider or jetpack robot. They must stay small and secondary. Do not put them high among the clouds, and do not let them steal attention from the coin island and the robot crowd. The robot crowd has not reached the waterline yet. Leave a clear empty strip of sand between the front edge of the crowd and the ocean waves. Keep the right side of the beach and the area near the waves open and spacious. Do not fill the entire beach. The overall image should show countless varied robots being pulled toward the giant coin island and the floating Dogecoin in the distance, like an absurd crowd rushing toward a wealth totem. The image should feel epic, crowded, desire-driven, and like a dark visual fable. Cinematic realism, IMAX 70mm film texture, natural sunlight, vast sea and sky, realistic scale, clean image, crisp detail, no cartoon look, no video-game look, no military formation, no copy-paste crowd. Most important: the robots must feel varied but unified in style; the large robots must not be enlarged copies of normal robots; all flying units must fly low and move toward the coin island; every character’s movement direction must clearly point toward the distant coin island.

{{Mixed 1}} 为机器人群像手帧参考，主要参考机器人数量感、分布范围、大小层级和群体奔跑状态。 {{Mixed 2}} 为海岸环境和金币岛参考，主要参考海岸大远景构图、沙滩空间、海面、天空、金币岛细节和海面金色反光路径。 生成 5 秒、16:9 视频。 无人机高位略俯视视角，镜头缓慢向前推进。 广阔海岸大远景，远处海上有金币岛，上方悬浮巨大金色狗狗币，海面中央有明显金色反光。 沙滩左侧到中部区域出现大规模机器人人潮，尚未下海，离海边还有一段距离，右侧近海仍保留空沙滩。 所有机器人统一面朝海边、朝金币岛方向奔跑，整体像被财富吸引的人潮向前涌动。 机器人以白色为主，带少量灰蓝和少量红色点缀，大多数为正常体型，少量重型机器人仅比普通机器人高 1.5 到 2 倍，零散点缀在群体中，不要太大。 画面重点是空间关系、财富诱惑感和群体涌动感，不展示单个机器人特写。 电影级现实主义，IMAX 70mm 胶片质感，明亮海岸阳光，真实摄影感。 只要同期声音效，不要背景音乐。

{{Portrait 1}} is the direct continuity frame from the previous shot: the large robot has just rushed past and is moving away, while A-315 is still watching its direction. {{Portrait 2}} is the protagonist A-315 appearance reference. Create a 3-second cinematic realistic shot, 21:9 aspect ratio, live-action film feel, retro-futuristic coastal wasteland atmosphere, IMAX 70mm film texture, clean image, subtle film grain, realistic motion blur, no HDR, no over-sharpening. This shot must directly continue from {{Portrait 1}} . A-315 remains the same small worn white round-headed robot from {{Portrait 2}} , twin circular lens eyes, thin mechanical limbs, old toy-like proportions, chest marking A-315, still holding the gold coin in one hand. Opening: The large robot is already moving away in the distance or partially out of frame. It should not return, attack again, or become the main subject. A-315 stays nearly in place, still looking toward the direction where the large robot has gone. Crowd: Ordinary robots continue rushing and squeezing forward around A-315, moving in the same direction with urgency. They should feel like a fast robot tide passing through the lower frame. They do not stop to watch, do not scatter away, and do not calmly walk. Action: A loud old propeller airplane engine sound suddenly appears from above and behind, getting closer quickly. A-315 is interrupted again. He clearly reacts, pauses for a brief beat, then raises his head upward toward the sound source. The head movement must be readable and obvious, confused and alert, like “what is coming now?” Camera: Keep a third-person cinematic camera. Do not switch to first-person POV. Do not use a 180-degree spin. Do not use digital zoom or focus hunting. The camera first holds the forward direction briefly, then follows A-315’s upward gaze with a motivated fast upward pan / slight whip tilt toward the low sky direction. The shot should end looking upward toward the low-air path, ready to connect to the next airplane flyby shot. Important: Do not show the airplane body in this shot. Only use sound and maybe a fast shadow passing over the crowd. Do not reveal a wide open ocean view. Do not cut to a scenic beach wide shot. Do not add extra coin shaking. Do not make A-315 run forward. Do not bring the large robot back as a new action subject. Sound: Only sound effects, no background music. Fast robot crowd footsteps, metal friction, distant heavy robot impacts fading away, A-315 small servo head movement, old propeller airplane engine approaching from above.

{{Portrait 1}} 为当前大型机器人最终形象参考。 保持参考图中的： - 猩猩式四足推进姿态 - 大型重载工程机器人比例 - 头部识别结构 - 顶部琥珀色警示灯 - 粗壮前臂 - 宽大手掌 - 半潜水只露头的设计逻辑 - 退色脏白 + 褪色暗红 + 深灰机械结构配色 整体造型不要重做，只做“材质轻美化与去麻子感优化”。 减少： - 高密度小锈点 - 麻点状脏污 - 密集小铆钉 - 密集螺丝 - 碎裂划痕 - 废铁堆质感 - scrapyard texture 表面改为： 干净的旧工业工程机械质感。 外壳以大块完整旧白漆为主， 保留少量边缘磨损、局部掉漆、轻微盐雾氧化、自然划痕和少量旧修补痕迹。 旧化要克制、统一、舒服。 不要脏成一团。 不要废土垃圾感。 不要恐怖怪物感。 强化： - 大形体清晰 - 重量感 - 工业产品感 - 被长期维护的旧工程设备感 - 海岸作业机器人气质 - 压迫感但不邪恶 顶部警示灯保持低矮半椭圆形， 琥珀黄光， 不要太高， 不要刺眼爆亮， 不要红色警报灯。 整体更偏： 复古原子朋克工程机械， 电影道具级工业设计， 干净机， 克制旧化， 明亮海岸世界观。 21:9横版角色设定板， 白底或浅灰底， 保持原设定板结构， 包含正面、侧面、背面、3/4视图、头部特写、手臂特写、手掌特写、脚部特写、猩猩式推进姿态、半潜水只露头状态。 不要变成现代机甲， 不要变成战斗机器人， 不要变成超级英雄机甲， 不要增加武器。

{{Portrait 1}} is the first-frame continuity reference. The first frame must stay very close to {{Portrait 1}} in composition, camera angle, perspective, character placement, and screen direction. Do not change the angle or break the axis. {{Portrait 2}} is the appearance reference for the protagonist A-315. A-315 must remain a worn white round-headed robot with twin circular lens eyes, thin mechanical limbs, old toy-like proportions, an A-315 mark on the chest, holding a gold coin. {{Portrait 3}} is the appearance reference for the large robot. The large robot must remain a heavy, low-center-of-gravity, highly imposing machine. At the opening, the large robot must continue the motion posture from the first frame: body leaning forward, center of gravity low, driving forward with its forelimbs / front feet, close to a gorilla-like quadrupedal charge. Do not change it into upright biped walking, jumping, frog-hopping, or changing direction. Create a 4-second horizontal cinematic realistic shot with a live-action photographic feel, retro-futuristic coastal wasteland atmosphere, IMAX 70mm film texture, clean image, subtle film grain, and realistic motion blur. Sound effects only, no background music. At the start, strictly continue from {{Portrait 1}}. A-315 stands in the foreground, basically staying in place and not running with the crowd. The large robot has already rushed past A-315 and continues moving away in the same direction, no longer the main subject. The timing must be clear: 0–0.8s: A-315 first looks forward. The large robot keeps moving away. Crowd robots run quickly past both sides and through the background. 0.8–1.0s: A-315 is attracted by a new disturbance from behind and briefly freezes. 1.0–2.0s: A-315 clearly half-turns to look behind. Only the head and upper body turn. Do not let the whole body move away, do not let A-315 run forward, and do not fully turn into a front-facing pose. 2.0–4.0s: A-315 has finished the half-turn and holds the look-back position, leaving a stable ending hold for the next cut. The surrounding crowd robots must clearly be running. They all surge quickly toward the same forward goal, bodies leaning forward, urgent step rhythm, constantly running past A-315 from both sides, from behind, and through the background, pushing and squeezing while running, creating a dense robot tide. Foreground robots should create slight motion blur as they pass the camera. Do not make them walk slowly, wander, line up neatly, or look copy-pasted. The camera stays in a third-person view from behind and slightly to the right of A-315. As A-315 half-turns back, the camera makes a small curved push-in with a slight upward rise, simple and realistic, gradually moving closer to A-315’s reaction. End with a stable hold on A-315 half-turned and looking behind. Sound effects: dense metallic running footsteps from the crowd robots, mechanical friction, sand being kicked up, the heavy vibration of the large robot moving away, A-315’s small servo head-turn sound, and a new disturbance from behind gradually approaching. Sound effects only, no background music.

为机器人群像手帧参考，主要参考机器人数量感、分布范围、大小层级和群体奔跑状态。 {{Mixed 2}} 为海岸环境和金币岛参考，主要参考海岸大远景构图、沙滩空间、海面、天空、金币岛细节和海面金色反光路径。 生成 5 秒、16:9 视频。 无人机高位略俯视视角，镜头缓慢向前推进。 广阔海岸大远景，远处海上有金币岛，上方悬浮巨大金色狗狗币，海面中央有明显金色反光。 沙滩左侧到中部区域出现大规模机器人人潮，尚未下海，离海边还有一段距离，右侧近海仍保留空沙滩。 所有机器人统一面朝海边、朝金币岛方向奔跑，整体像被财富吸引的人潮向前涌动。 机器人以白色为主，带少量灰蓝和少量红色点缀，大多数为正常体型，少量重型机器人仅比普通机器人高 1.5 到 2 倍，零散点缀在群体中，不要太大。 画面重点是空间关系、财富诱惑感和群体涌动感，不展示单个机器人特写。 电影级现实主义，IMAX 70mm 胶片质感，明亮海岸阳光，真实摄影感。 只要同期声音效，不要背景音乐。

{{Image 1}} 中沙滩的靠近建筑区域加上一堆看似白色机器人的小黑点,有大有小,但是比例都和小黑点一样.一种从城市冲出来一大片往海上跑涌的感觉.机器人外形参考 {{Image 2}} 但是在沙滩上看着很小.距离沙滩上空20米左右的空中还有朝着海边飞的5个飞行器

{{Image 1}} Keep the original composition, camera position, coastline direction, horizon height, and the position and size relationship of the distant coin island exactly the same as the reference image. This must remain a very wide coastal establishing shot. Do not reframe the image and do not move the camera closer. Refine the robot crowd in the image. Keep the overall number and density moderate; do not add more robots and do not fill the entire beach. The robot crowd should mainly occupy the left to mid-left area of the beach, forming a diagonal flow of movement from the far-left background toward the middle coastal direction. The far-left area should feel denser, the middle area should have layered depth, and the front edge should gradually become looser. Leave a clearly visible empty strip of sand near the waves. Do not distribute the robots evenly, do not arrange them in neat rows, and do not make them look like a military formation. All robots must run toward the distant coin island, mostly seen from the back or three-quarter back view, creating one strong unified movement direction. Their poses should feel more urgent and dynamic: leaning forward, swinging arms, wide running steps, a few robots stumbling or being pushed off balance. The crowd should feel collectively out of control and desperate to rush toward the sea because of the wealth temptation. Do not make them look like they are walking or calmly commuting. The normal robots should remain small within this grand wide shot. Most of them should read as small white figures or simplified silhouettes, but they must not look identical. Keep them mostly white or light gray-white, with small accents of pale blue, orange, beige, or dark gray. Give them varied head shapes, shoulder widths, backpacks, numbers, and subtle worn details. The design language should be unified, but they must not look copy-pasted. Add only a few larger robots as visual anchors inside the crowd, about 4 to 5 in total. The large robots must look clearly different from the normal robots, not just enlarged versions of them. They should feel like heavy public-service robots or industrial load-bearing robots, with wider bodies, heavier torsos, larger shoulders, thicker legs, and bulky mechanical structures. Mostly white armor, with small orange or blue-gray industrial components. Their height should be about 1.8 to 2 times taller than normal robots. Do not make them gigantic, do not place them close to the camera, and do not make them the main subject. Scatter them naturally within the crowd, also running or pushing forward toward the coin island. The distant coin island and the floating Dogecoin must become the clear visual center. Keep the giant golden Dogecoin far away above the island, but make its glow slightly more attractive. Create a clear yet natural golden reflection path across the ocean surface, as if it is pulling the robot crowd toward it. Do not make the coin too close or like a pasted object, but give it a strong wealth totem feeling. Keep only 1 to 2 low-altitude flying units in the sky at most, flying roughly near the height of seaside buildings or the tower, moving along the coastline toward the coin island. Do not add high-altitude scattered flying objects. Do not let them steal attention. The overall image should feel like an absurd wealth pilgrimage: countless varied robots being pulled toward the distant coin island, rushing toward the sea like an uncontrolled tide. Cinematic realism, IMAX 70mm film texture, natural sunlight, vast sea and sky, realistic scale, clean image, dark visual fable atmosphere, strong desire-driven energy, and powerful visual impact. Most important: do not distribute the robots evenly; create a diagonal crowd flow rushing from the far-left background toward the coin island; the robots must feel more urgent and running; the coin island must become the visual center of desire.

{{Portrait 1}} 为上一镜尾帧参考，用于承接上一镜大机器人跑远后的运动方向、地面空间关系、小机器人所在位置和镜头势能。 {{Portrait 2}} 为小机器人主角多视图参考，用于锁定它的外形、头部比例、圆眼结构、身体比例、掉漆旧化质感，以及回头、抬头时的角色一致性。为海岸环境主参考，用于保持沙滩尺度、海岸建筑、灯塔、摩天轮、棕榈树、自然日光和海盐蓝暖沙色调。为飞行机器人飞机参考，只参考飞行机器人不参考图中背景,飞机用于锁定复古螺旋桨飞机造型、驾驶机器人、机身涂装以及机身侧面的“100 MILLION VIEWS / ZOMBIE SCAVENGER”彩蛋文字与图案。 21:9画幅，电影级现实主义影像，极度写实主义美学，IMAX 70mm胶片质感，真实摄影感，杜绝游戏CG感。原子朋克海岸世界，复古暖橙与海盐蓝色调，自然日光照明，轻微胶片颗粒，真实镜头呼吸，轻微动态模糊，Panavision C系列镜头质感。 镜头时长约5到6秒。 这是承接上一镜大机器人跑远之后的飞机入场镜头。开场不是空镜，而是直接从上一镜动作延续。小机器人位于画面前景或中前景，仍站在沙滩上的机器人群体边缘，手里还拿着那枚小尺寸金币。大机器人已经从它身边强势冲过去并继续向前跑远。周围普通机器人仍在向前奔跑，整体方向统一，画面保留上一镜的地面动势。 第1阶段：前1到1.5秒。 远处突然传来越来越近的复古螺旋桨飞机轰鸣声。小机器人被声音吸引，先出现一个明确的听觉反应：头部微微停顿，眼睛轻微转动，随后迅速回头并抬头朝天空方向看。它的身体只轻微跟随，不需要整个身体大幅转身。这个动作要自然、清楚，像它突然意识到头顶有东西正在靠近。 第2阶段：中间约2秒。 镜头随着小机器人的回头与抬头动作产生明确的摄影机调度。摄影机先保持第三人称视角，随后顺着小机器人的视线快速但流畅地抬摇，从沙滩、人群、远处建筑带抬到天空。镜头不要僵硬固定，不要夸张环绕，不要炫技旋转，而是清晰、直接、利落地跟随小机器人的视线往天上寻找声音来源。画面中先看到天空与海岸线，再看到一架低空掠来的老式双翼飞机式飞行机器人正在接近。 第3阶段：后2到2.5秒。 一架复古原子朋克螺旋桨飞机从画面侧上方高速低空掠入，贴着下方奔跑的机器人群体上方飞过，飞行高度很低，具有强烈压迫感和风压感。飞机保持 的造型：复古双翼螺旋桨、旧化白红机身、驾驶舱里的机器人飞行员、机身侧面带有清楚可见的“100 MILLION VIEWS / ZOMBIE SCAVENGER”彩蛋涂装。 飞机不要一闪而过，机身侧面需要给观众短暂但清晰的读取时间，能够看见彩蛋图案和文字，但不要停下来像平面广告展示。飞机应该是在真实高速飞掠中被镜头捕捉到，螺旋桨有真实运动模糊，机身主体尽量保持清晰可读。 飞机掠过时，下方机器人群体被风压影响，部分机器人抬头、晃动、继续向前奔跑，沙地扬起轻微尘雾。镜头可以轻微追随飞机运动方向，让飞机侧面在画面中停留一瞬，然后让它继续飞向前方，为下一镜鸵鸟机器人出场保留运动方向。 构图要求： 前半段以小机器人反应为引子，中段迅速打开视野，后半段以飞机低空飞掠形成视觉高潮。画面必须有明确的镜头调度和视线运动轨迹，不要平铺直叙。飞机出现时要有抓眼球的强钩子效果。海岸环境必须保持 中的真实空间逻辑，不要变成陌生海滩。小机器人只承担视线引导，不要抢走飞机镜头的重点。 动作要求： 小机器人回头、抬头、看天的动作要明确自然。 飞机必须高速、低空、强势掠过。 周围普通机器人整体仍处在向前奔跑的状态，但不要抢戏，不要过度突出单个群众机器人。 声音要求： 只要同期声和环境音效，不要背景音乐，不要配乐，不要旋律，不要鼓点。声音只包括：海边环境底噪、机器人奔跑脚步声、金属摩擦声、沙地踩踏声、小机器人轻微机械转头声、远处逐渐逼近的复古螺旋桨飞机轰鸣声、飞机低空掠过时的强烈风压声、机身破风声、下方机器人被风压扫过的细碎机械晃动声。

参考 {{Image 1}} 影调和风格,生产21:9，电影级现实主义海边画面，atomic punk coastal resort 世界观，白天晴朗，蓝天白云，阳光自然，海面清澈有层次，小浪拍岸，真实摄影感，轻微胶片质感。 生成一张“空镜视角参考图”，重点是锁定机位、构图和空间关系，不要人物，不要机器人，不要任何主角动作。 镜头机位位于海边浅水一侧或非常靠近海边的位置，朝着沙滩和岸上方向反打拍摄，不是从岸上朝海拍。镜头为60°到70°斜俯视角度，不要正俯拍，不要90度顶视。构图为明显斜构图，海岸线从画面一侧斜向延伸到远处，海面与沙滩的比例清晰，空间纵深明确。 前景是浅海与湿沙交界，中景是大面积沙滩，远景是岸上的度假区、海边建筑、塔楼、摩天轮等海岸设施，但背景信息量要适中，不要太满，不要太杂，不要抢画面重心。整体重点是建立“从海往岸看”的反打视角和空间关系。 真实摄影逻辑，构图干净，透视准确，层次清楚，适合作为后续加入机器人群像和大机器人入水调度的基础视角参考图。

{{Portrait 1}} 为本镜头首帧参考图，用于严格锁定开场第一帧的构图、机位高度、画面方向、人物相对位置、沙滩空间关系和周围群众机器人正在向前奔跑的状态。必须以这张图作为本镜头起始画面基准。 {{Portrait 2}} 为小机器人主角角色参考图，用于锁定主角小机器人的头部造型、圆眼结构、身体比例、掉漆旧化质感、A-315主角外观一致性。 {{Image 3}} 为海岸环境参考图，用于锁定原子朋克海滨度假区的沙滩、海岸线、远处建筑、灯塔、摩天轮、棕榈树、自然日光和整体世界观气质。 21:9画幅，电影级现实主义影像，IMAX 70mm胶片质感，Panavision C系列镜头质感，真实摄影感，原子朋克海岸世界，自然日光照明，轻微胶片颗粒，轻微动态模糊，复古暖沙色与海盐蓝色调。 镜头时长控制在2.5秒到3秒。 本镜头必须严格承接首帧参考图开始。开场第一帧就是首帧图中的构图关系：小机器人位于画面中，手中仍握着金币，周围比它更高的群众机器人继续从它身边向前奔跑，整体人流方向保持一致，所有群众机器人都在持续向前快跑，不是散步，不是慢慢走，是被财富目标驱动的持续奔跑状态。 镜头内容：小机器人先保持短暂愣住的状态，随后听到远处天空传来的复古螺旋桨飞机轰鸣声。它立刻被声音吸引，先微微回头，接着抬头看向上方。动作要干脆、利落、自然，不要夸张表演，不要卖萌，不要停顿过长。它的身体可以不完全转过去，以头部转动和视线变化为主。 摄影机机位保持在小机器人附近的第三人称视角，略低机位，中近景，镜头跟随小机器人转头与抬头动作做轻微运镜：先轻微横摇，再轻微上摇。运镜幅度克制，不要大幅环绕，不要突然切远景，不要突然切天空，不要硬切。镜头重点是完成“听到声音—回头—抬头”的反应过程，并保留周围机器人继续奔跑的压迫感和流动感。 画面中周围群众机器人要继续快速向前奔跑，保持一定密度，从前景、中景、背景持续掠过，形成裹挟感和前进势能，但不要遮挡主角表情太久。前景可以偶尔有机器人快速跑过形成短暂遮挡，加强现场感。小机器人始终拿着金币，金币不要掉落，不要被撞飞。 不要出现飞机实体，不要提前切成飞机镜头，不要把飞机参考图做进来，不要突然变成大景群像展示，不要把镜头做成静态摆拍。整条镜头的任务只是承接上一镜，并完成主角被空中声音吸引后的反应。 声音要求：只要同期声音效，不要背景音乐，不要配乐。 声音包括：沙滩环境底噪、远处海浪声、大量机器人奔跑脚步声、金属关节运动声、从远到近逐渐逼近的复古螺旋桨飞机轰鸣声、小机器人轻微机械转头和抬头的细小机械声。

{{Portrait 1}} is the first-frame continuity reference. The first frame must stay very close to {{Portrait 1}} in composition, camera angle, perspective, character placement, and screen direction. Do not change the angle or break the axis. {{Portrait 2}} is the appearance reference for the protagonist A-315. A-315 must remain a worn white round-headed robot with twin circular lens eyes, thin mechanical limbs, old toy-like proportions, an A-315 mark on the chest, holding a gold coin. {{Portrait 3}} is the appearance reference for the large robot. The large robot is only the fading background momentum of something that has already rushed past. It keeps moving away with a low center of gravity, forward-leaning body, and forelimb / front-foot driven quadrupedal charge. Do not change it into upright biped walking, jumping, or a new main subject. Create a 4-second horizontal cinematic realistic shot with a live-action photographic feel, retro-futuristic coastal wasteland atmosphere, IMAX 70mm film texture, clean image, subtle film grain, and realistic motion blur. Sound effects only, no background music. At the start, strictly continue from {{Portrait 1}}. A-315 stands in the foreground, basically staying in place, holding the gold coin. Surrounding crowd robots keep charging quickly toward the same forward goal, bodies leaning forward, urgent step rhythm, running past A-315 from both sides, from behind, and through the background, pushing and squeezing while moving, forming a dense robot tide. Do not make the crowd walk slowly, wander, line up neatly, or look copy-pasted. The timing must be strict: 0–0.2s: only a very short first-frame continuation. The large robot keeps moving away. The crowd robots rush forward. 0.2–0.5s: A-315 is immediately attracted by a new disturbance from behind, briefly freezes, and prepares to turn. 0.5–1.2s: A-315 clearly half-turns to look behind. The head turns first, with a slight follow-through from the shoulders and upper body. Do not let A-315 walk forward, move with the crowd, or fully turn into a front-facing pose. 1.2–4.0s: A-315 has already completed the half-turn and holds the look-back position, leaving a long stable ending hold for the next cut. The camera movement must start early. Keep a third-person view from behind and slightly to the right of A-315. As A-315 starts turning back, the camera performs a small curved push-in with a slight upward rise, gradually moving closer to A-315’s head and upper body. By 1.2 seconds, the main camera movement is already complete. From 1.2s to 4.0s, hold a stable ending composition. Do not start the camera turn at the last second. A-315’s reaction should feel confused, alert, and hesitant, as if he has suddenly noticed something new behind him. The action must be early, clear, and clean, not delayed until the final second. Sound effects: dense metallic running footsteps from the crowd robots, mechanical friction, sand being kicked up, the heavy vibration of the large robot moving away, A-315’s small servo head-turn sound, and a new disturbance from behind gradually approaching. Sound effects only, no background music.

基于 {{Image 1}} 的构图画面比例,黄色是沙滩蓝色还是海水.生成21:9电影感海岸空镜。 70到80度高角度斜俯视，镜头向下拍摄。焦段80mm 画面拍摄干沙滩与浅海水之间的边界。 画面里只包含沙滩、湿沙、浅蓝绿色海水、自然浪花线、小海浪、湿沙反光。 构图： 海岸线斜向切割画面，形成清晰的沙滩与海水分界。 画面大约一半是沙滩，一半是海水。 这条斜向边界要有轻微不稳定感和戏剧性。 镜头感觉： 冷静观察式电影镜头，高角度俯视，但不是平面地图感。 中等电影镜头压缩感，真实透视。 光线： 明亮平静的白天，自然夏日海滩氛围，轻微空气 haze，真实水面高光，湿沙反光，轻微胶片颗粒。 情绪： 美丽但空旷，安静，带一点不安，像某种非理性事件发生前的平静瞬间。 不要角色，不要机器人，不要人，不要建筑，不要城市天际线，不要牌子，不要交通工具。 只要沙滩、海岸线和海水。

{{Mixed 1}} 为海岸环境参考，用于保持原子朋克海滨度假区的沙滩尺度、远处建筑、灯塔、棕榈树、摩天轮、自然日光、海盐蓝暖沙色调和整体空间关系。 {{Mixed 2}} 为飞行机器人飞机参考，用于锁定复古双翼螺旋桨飞机造型、旧化白红机身、驾驶舱机器人、机身侧面“100 MILLION VIEWS / ZOMBIE SCAVENGER”彩蛋涂装。 {{Portrait 3}} 为群演机器人参考，如使用，仅用于地面下方机器人群体的类型和密度，不主导构图。 21:9画幅，电影级现实主义影像，IMAX 70mm胶片质感，Panavision C系列镜头质感，真实摄影感，原子朋克海岸世界，自然日光，轻微胶片颗粒，真实运动模糊，复古暖橙与海盐蓝色调。 镜头时长约3到4秒。 这是接在小机器人抬头反应之后的飞机低空掠过镜头。镜头从小机器人视线方向切到天空与海岸上方，不再拍小机器人正脸。画面中可以看到沙滩、海岸建筑和下方奔跑的机器人群体，随后一架复古双翼螺旋桨飞机从画面侧上方高速掠入，贴着机器人群体上方低空飞过。 飞机必须是运动中的真实飞掠，不是静态展示图，不是参考图落幅。镜头采用侧前方到侧面的动态跟拍角度，飞机从画面一侧掠入，短暂露出机身侧面，让观众能看到“100 MILLION VIEWS / ZOMBIE SCAVENGER”彩蛋涂装，但不要停下来像广告牌展示。机身主体尽量清晰，螺旋桨有真实高速运动模糊，背景和下方机器人产生速度感。 飞机飞行高度很低，掠过下方机器人群体头顶，带来强烈风压。下方机器人群体继续向前奔跑，部分机器人被风压影响轻微晃动，沙地扬起细小尘雾。镜头可以轻微跟随飞机运动方向，让飞机侧面停留一瞬，然后继续飞向前方，为下一镜鸵鸟机器人冲跑做衔接。 重点要求：飞机是低空高速飞掠，不是飞机参考图静态展示；彩蛋涂装在运动中短暂可读；不要硬切成飞机资产展示画面；不要让飞机构图完全复制参考图；不要让飞机在画面中停住摆拍。 声音要求：只要同期声和环境音效，不要背景音乐，不要配乐，不要旋律，不要鼓点。声音包括复古螺旋桨飞机轰鸣声、机身破风声、低空掠过风压声、下方机器人奔跑脚步声、金属摩擦声、沙地踩踏声、沙尘被风压扫过的声音。

{{Mixed 1}} 为机器人群像手帧参考，主要参考机器人数量感、分布范围、大小层级和群体奔跑状态。 {{Mixed 2}} 为海岸环境和金币岛参考，主要参考海岸大远景构图、沙滩空间、海面、天空、金币岛细节和海面金色反光路径。 生成 5 秒、16:9 视频。 无人机高位略俯视视角，镜头缓慢向前推进。 广阔海岸大远景，远处海上有金币岛，上方悬浮巨大金色狗狗币，海面中央有明显金色反光。 沙滩左侧到中部区域出现大规模机器人人潮，尚未下海，离海边还有一段距离，右侧近海仍保留空沙滩。 所有机器人统一面朝海边、朝金币岛方向奔跑，整体像被财富吸引的人潮向前涌动。 机器人以白色为主，带少量灰蓝和少量红色点缀，大多数为正常体型，少量重型机器人仅比普通机器人高 1.5 到 2 倍，零散点缀在群体中，不要太大。 画面重点是空间关系、财富诱惑感和群体涌动感，不展示单个机器人特写。 电影级现实主义，IMAX 70mm 胶片质感，明亮海岸阳光，真实摄影感。 只要同期声音效，不要背景音乐。

Keep the original composition, camera angle, island position, giant floating Dogecoin, robot crowd layout, and overall framing unchanged. Seamlessly repair and blend all visible collage seams and stitched areas across the image. Unify the entire sky atmosphere, cloud density, sunlight direction, ocean reflections, color temperature, contrast, and cinematic lighting consistency. The sky must feel like one continuous natural photographed sky, not multiple stitched sky images. Cloud scale, softness, brightness, perspective depth, and atmospheric haze must transition naturally across the entire frame. Repair all hard edges, mismatched lighting, tonal discontinuities, perspective inconsistencies, and visible compositing artifacts. Blend the ocean horizon naturally. Unify wave texture, ocean color, brightness, reflections, and grain structure. Maintain realistic cinematic depth and large-scale environmental continuity. The giant floating gold Dogecoin should remain massive and dominant, with realistic sunlight interaction and atmospheric perspective. Keep the robots grounded realistically in the environment with consistent shadow softness and lighting direction. Ultra realistic cinematic photography, IMAX 70mm film texture, natural atmospheric depth, physically correct lighting, seamless photobash cleanup, high-end VFX integration, realistic environmental continuity. NO collage feeling, NO visible stitching, NO AI-generated patch artifacts, NO inconsistent clouds, NO duplicated cloud patterns, NO HDR oversharpening, NO excessive contrast, NO surreal lighting.

移除 {{Image 1}} 中的牌子

{{Portrait 1}} is the first-frame continuity reference. The generated video must strictly begin from the composition, camera position, perspective, character placement, screen direction, and spatial relationship shown in {{Portrait 1}}. The first frame should stay very close to {{Portrait 1}}. Do not change the camera axis, do not jump to a different angle, and do not redesign the composition. {{Portrait 2}} is the appearance reference for the protagonist A-315. A-315 must remain a worn white round-headed robot with twin circular lens eyes, thin mechanical limbs, old toy-like proportions, the A-315 marking on the chest, holding the gold coin. {{Portrait 3}} is the appearance reference for the large robot. The large robot must remain a heavy, low-center-of-gravity, highly imposing machine. Most importantly: at the opening of this shot, the large robot must strictly continue the motion posture already established in the first frame — body leaning forward, center of gravity low, driving forward with its forelimbs / front feet, moving in a gorilla-like or quadrupedal forward charge. It must NOT switch into upright biped walking, must NOT become hopping, frog-like jumping, or bouncing, must NOT suddenly slow down, and must NOT turn back or re-enter as a new subject. It is only the continuation of its previous action after rushing past the small robot, continuing away into the distance, and should not become the acting subject of this shot. Create a 4-second horizontal cinematic realistic shot, live-action photographic feeling, retro-futuristic coastal wasteland atmosphere, IMAX 70mm film texture, clean image, realistic motion blur, subtle film grain. Sound effects only, no background music. At the beginning, strictly continue from {{Portrait 1}}. A-315 stands in the foreground, first looking forward, staying almost planted in place and not moving with the crowd. The large robot seen in the first frame has already rushed past and continues charging away in the same direction, with consistent posture. The ordinary crowd robots around A-315 must clearly be running, not walking slowly, not strolling, not wandering, and not merely swaying. They all surge quickly toward the same forward goal, with urgent step frequency and bodies leaning forward. They keep running past A-315 from both sides, from behind, and through the background, pushing and squeezing while running, creating a strong robot tide. Foreground crowd robots should produce slight motion blur when passing the camera, giving pressure and speed. The crowd must feel numerous and dense in depth. Their arrangement must be irregular, not lined up, not copy-pasted, and not identical clones. Action focus: A-315 remains in place and pauses briefly, as if momentarily caught by the chaos ahead, then becomes attracted by a new disturbance from behind and clearly half-turns to look back. Only the head and upper body turn; the whole body should not leave the spot, should not move forward with the crowd, and should not fully turn into a front-facing display pose. The reaction should feel confused, alert, and hesitant, as if A-315 has sensed that something new is happening behind. The camera stays in a third-person view from behind and slightly to the right of A-315. As A-315 half-turns back, the camera performs a small curved push-in with a slight upward rise. The movement should be simple, realistic, and physical, not a dramatic camera move and not a complicated orbit. End with A-315 already half-turned, looking behind, ready for a hard cut into the next shot. Sound design: dense metallic running footsteps from the crowd robots, mechanical friction, sand being kicked up, the heavy vibration of the large robot charging away gradually fading, the small servo sound of A-315 turning its head, and a new disturbance beginning to emerge from behind. Sound effects only, no background music.

{{Portrait 1}} is the first-frame reference. The generated video must strictly begin from the composition, camera position, perspective, character placement, screen direction, and spatial relationship shown in {{Portrait 1}} . The first frame should stay very close to {{Portrait 1}} . {{Portrait 2}} is the appearance reference for the protagonist A-315. A-315 must remain a worn white round-headed robot with twin circular lens eyes, thin mechanical limbs, old toy-like proportions, the A-315 marking on the chest, holding the gold coin. Create a 4-second horizontal cinematic realistic shot, live-action photographic feeling, retro-futuristic coastal wasteland atmosphere, IMAX 70mm film texture, clean image, realistic motion blur, subtle film grain. Sound effects only, no background music. At the beginning, strictly continue from {{Portrait 1}} . A-315 stands in the foreground, first looking forward, staying almost planted in place and not moving with the crowd. The huge robot ahead exists only as the fading aftermath of something that has already passed; it keeps moving away and should not become the action subject of this shot again. Around A-315, ordinary robots continuously surge past him and through the background, all pushing in the same forward direction. Their steps are urgent, their bodies lean forward, they squeeze against each other, and foreground robots create slight motion blur as they pass the lens, forming a fast-moving robot tide. Crowd robots should have varied silhouettes, layered overlap, and irregular spacing. Do not make them line up neatly or look like duplicated copies in a row. Action focus: A-315 is suddenly attracted by an unexpected disturbance from behind. He pauses briefly, then clearly half-turns back to look behind him. Only his head and upper body turn back; he should not walk away, should not move forward with the crowd, and should not fully turn into a front-facing character display pose. His reaction is confused, alert, and hesitant, as if he has just realized something new is approaching from behind. Camera movement: keep a third-person camera from behind and slightly to the right of A-315. As he half-turns back, the camera performs a small curved push-in with a slight upward rise. The movement should be simple, realistic, and physical, not a large camera move. End with A-315 already half-turned, looking behind him, ready for a hard cut to the billboard and flying vehicle entrance in the next shot. Sound: dense metallic footsteps from the fast robot tide, mechanical friction, sand being kicked up, the distant heavy movement of the huge robot fading away, A-315’s small servo head-turn sound, and an undefined disturbance from behind growing from far to near.

基于 {{Image 1}} 的构图画面比例,黄色是沙滩蓝色还是海水.生成21:9电影感海岸空镜。 0度高角度斜俯视，镜头向下拍摄。焦段80mm 画面拍摄干沙滩与浅海水之间的边界。 画面里只包含沙滩、湿沙、浅蓝绿色海水、自然浪花线、小海浪、湿沙反光。 构图： 海岸线斜向切割画面，形成清晰的沙滩与海水分界。 画面大约一半是沙滩，一半是海水。 这条斜向边界要有轻微不稳定感和戏剧性。 镜头感觉： 冷静观察式电影镜头，高角度俯视，但不是平面地图感。 中等电影镜头压缩感，真实透视。 光线： 明亮平静的白天，自然夏日海滩氛围，轻微空气 haze，真实水面高光，湿沙反光，轻微胶片颗粒。 情绪： 美丽但空旷，安静，带一点不安，像某种非理性事件发生前的平静瞬间。 不要角色，不要机器人，不要人，不要建筑，不要城市天际线，不要牌子，不要交通工具。 只要沙滩、海岸线和海水。

{{Portrait 1}} is the first-frame reference. The generated video must strictly begin from the composition, camera position, perspective, character placement, screen direction, and spatial relationship shown in {{Portrait 1}}. The first frame should stay very close to {{Portrait 1}}. {{Portrait 2}} is the appearance reference for the protagonist A-315. A-315 must remain a worn white round-headed robot with twin circular lens eyes, thin mechanical limbs, old toy-like proportions, the A-315 marking on the chest, holding the gold coin. Create a 4-second horizontal cinematic realistic shot, live-action photographic feeling, retro-futuristic coastal wasteland atmosphere, IMAX 70mm film texture, clean image, realistic motion blur, subtle film grain. Sound effects only, no background music. At the beginning, strictly continue from {{Portrait 1}}. A-315 stands in the foreground, first looking forward, staying almost planted in place and not moving with the crowd. The huge robot ahead exists only as the fading aftermath of something that has already passed; it keeps moving away and should not become the action subject of this shot again. Around A-315, ordinary robots continuously surge past him and through the background, all pushing in the same forward direction. Their steps are urgent, their bodies lean forward, they squeeze against each other, and foreground robots create slight motion blur as they pass the lens, forming a fast-moving robot tide. Crowd robots should have varied silhouettes, layered overlap, and irregular spacing. Do not make them line up neatly or look like duplicated copies in a row. Action focus: A-315 is suddenly attracted by an unexpected disturbance from behind. He pauses briefly, then clearly half-turns back to look behind him. Only his head and upper body turn back; he should not walk away, should not move forward with the crowd, and should not fully turn into a front-facing character display pose. His reaction is confused, alert, and hesitant, as if he has just realized something new is approaching from behind. Camera movement: keep a third-person camera from behind and slightly to the right of A-315. As he half-turns back, the camera performs a small curved push-in with a slight upward rise. The movement should be simple, realistic, and physical, not a large camera move. End with A-315 already half-turned, looking behind him, ready for a hard cut to the billboard and flying vehicle entrance in the next shot. Sound: dense metallic footsteps from the fast robot tide, mechanical friction, sand being kicked up, the distant heavy movement of the huge robot fading away, A-315’s small servo head-turn sound, and an undefined disturbance from behind growing from far to near.

消除图中高光反光

{{Portrait 1}} 为本镜头首帧参考图，用于严格锁定开场第一帧的构图、机位、人物位置关系、群众机器人奔跑方向和整体空间关系。必须以这张图作为本镜头第一帧起始画面。 {{Portrait 2}} 为小机器人主角参考图，用于锁定主角小机器人的头部造型、眼睛结构、身体比例、旧化掉漆质感和整体外观一致性。为群演机器人参考，如使用，仅用于地面下方机器人群体的类型，不主导构图。 {{Mixed 3}} 为海岸环境参考图，用于锁定原子朋克海滨度假区沙滩、远处建筑、灯塔、摩天轮、棕榈树和自然日光气质。 {{Portrait 4}} 为群演机器人参考，如使用，仅用于地面下方机器人群体的类型，不主导构图。 21:9画幅，电影级现实主义影像，IMAX 70mm胶片质感，Panavision C系列镜头质感，真实摄影感，自然日光，轻微胶片颗粒，轻微动态模糊，复古暖沙色与海盐蓝色调。 镜头时长2秒到2.5秒。 本镜头必须严格承接首帧 {{Portrait 1}} 参考图开始。开场第一帧就是 {{Portrait 1}} 首帧图中的画面：小机器人站在群众机器人奔跑的人流中，手里仍握着金币，周围比它更高的群众机器人持续向前快跑，整体人流密度较高，所有群众机器人都朝同一个目标方向持续奔跑，不是散步，不是慢走，是明确的小跑和持续奔跑状态。 镜头内容：小机器人似乎被什么声音吸引，短暂一愣，然后迅速回头，朝声音来源方向看去。它的身体不需要完全转过去，动作以头部回转和视线变化为主，反应要干脆自然，不要夸张，不要卖萌，不要长时间停顿。 镜头保持稳定第三人称观察视角，不做复杂运镜，不做环绕，不突然拉远，不突然切天空。画面重点是小机器人在奔跑人流中突然被空中声音吸引并回头的反应。周围群众机器人继续从它身边快速掠过，形成持续的人潮压迫感和奔跑动势。金币不要掉落。 声音要求：只要同期声音效，不要背景音乐，不要配乐。包含：沙滩环境底噪、远处海浪声、密集机器人奔跑脚步声与金属关节声、由远到近接近的复古螺旋桨飞机轰鸣声,只出现飞机声音不要出现飞机。

slight lens softness on far edge areas, subtle atmospheric falloff, natural edge diffusion, cinematic lens behavior

16:9，电影级现实主义画面，atomic punk coastal world，海边度假区沙滩，白天晴朗，阳光真实自然，蓝天白云，海面有层次清晰的小浪，画面具有真实摄影感，轻微胶片感，细节清晰但不过度锐化。 镜头机位在海边浅水一侧，朝岸上和沙滩方向反打拍摄，不是从岸上往海拍。镜头为60°–70°斜俯视，斜构图，不要正拍，不要90度顶俯。画面主要看见机器人群从沙滩进入海里，镜头视角能看到它们的正面或三分之二正面，而不是背面。 前景和中景是浅海与入水区域，海水已经没过部分普通机器人腰部或胸口，岸边和浅水区有大量群众机器人正在继续往前。群众机器人参考“公共服务机器人”风格：白色为主、旧化、统一设计语言、体型中小、数量多但不要太密，保持清楚的疏密关系。 画面中有一个大型重型机器人，参考“LARGE ROBOT V4.3”风格，体型明显比普通机器人大很多，出现在中景偏左或偏中位置，不要占满画面，不是全景主角，而是小远景中的视觉重点。大机器人已经迈入海中，海水没过它的膝盖到大腿中段，仍然沉重地持续向前涉水。它周围分布5到8个普通机器人，形成比例对比。 动作状态：普通机器人整体不是冲刺跑，而是被后方人潮裹挟着加快前进、机械地往海里走，有的已经开始扑腾或游动。画面中有1到2个普通机器人接连短路倒下，一个刚刚在水里失去平衡下沉，另一个身上冒出细小电火花后倾倒，动作有时间差，不要同时整齐倒下。整体要有荒诞、黑色幽默、群体失控的感觉。 远处沙滩还能看到更多机器人从岸上继续往海边涌来，形成前中后景层次。背景可见海岸线、岸上建筑和游乐设施，但都作为次要背景，不要喧宾夺主。 真实电影摄影，IMAX 70mm质感，构图稳定，空间关系清楚，机器人比例准确，海水深浅关系合理，画面具有明显叙事性和导演感。

{{Portrait 1}} 为警示牌图形与材质参考， {{Portrait 2}} 只是为海边环境与空间气质参考。 生成一个电影级现实主义海边警示牌镜头，16:9 横版，采用 50mm–65mm 中焦镜头语言，不要超广角，不要极端长焦。 画面右侧前景是一块立在沙滩上的旧金属警示牌，牌子是主要视觉主体，但不要占满画面。牌子位置位于画面右侧三分之一附近，距离镜头较近。 警示牌严格参考 {{Portrait 1}} 的图形设计与文字内容：NO SWIMMING / DEEP WATER · CIRCUIT RISK / ENTER AT YOUR OWN RISK，红色禁止符号，机器人落水图示，旧金属材质，边缘锈蚀、掉漆、海风侵蚀痕迹明显，真实做旧质感。 一只真实自然的海鸥站在牌子顶部边缘，位置自然，不刻意，不要居中，轻微歪头，像真实海边环境中的自然停留。 整体画面气质安静、克制、真实，像灾难发生前几秒钟的平静瞬间。空气中有非常轻微的远处沙尘与海边雾感，暗示远方正在有什么大规模事物靠近，但不要直接出现机器人。 自然阳光，真实摄影感，电影级现实主义，黑色幽默气质，荒诞感，IMAX 70mm 胶片质感，画面干净，稳定，可直接作为后续“机器人冲入撞翻警示牌”视频的首帧。

{{Portrait 1}} 为镜头构图与景别参考，重点参考当前画面的机位高度、透视关系、牌子在画面右侧前三分之一的位置、海岸线延伸方向、左侧背景空间、沙滩与海面的比例关系、整体景别与画面留白结构。 {{Portrait 2}} 为警示牌图案与材质参考，重点参考牌面的图形设计、机器人溺水图标、红色禁止符号、文字排版、锈蚀边框、旧金属材质、牌面污渍和老旧感。牌子文案保持为： NO SWIMMING DEEP WATER • CIRCUIT RISK ENTER AT YOUR OWN RISK 生成一张 16:9 横版、电影级现实主义静帧 画面内容： 海边沙滩上一块老旧的禁止下水警示牌立在前景偏右位置，牌子占据明确视觉重点，位于画面右侧前三分之一区域，大小适中偏大，清晰醒目，但不要大到塞满画面。机位为自然人眼略低的高度，透视真实，不要超广角夸张变形。背景是阳光下的海滩、海浪和远处海滨建筑，左侧保留较大的开放空间，方便后续机器人从左后方和中后方入画。海岸线从左侧远方自然延伸至右侧海边，空间关系清晰。 构图要求： 整体构图参考 {{Portrait 1}} ，但比当前画面更适合后续叙事。牌子必须是前景绝对主体，背景清楚但不要喧宾夺主。左侧和中左区域需要留出大面积沙滩空间，作为后续机器人群体奔跑入画的区域。不要太广，不要空，不要旅游宣传片感。不要把牌子放得太靠边，也不要居中。地平线稳定，画面干净，叙事导向明确。 镜头语言： 35mm 左右真实摄影视角，中近景偏广构图，真实电影摄影感，轻微景深，牌子清晰锐利，背景略柔但仍可辨认海边建筑、瞭望塔、远处摩天轮和海岸环境。整体是“安静但带有即将出事的预感”的镜头，不是风景照。 视觉气质： IMAX 70mm 胶片质感，真实海边自然光，阳光明亮但不过曝，天空通透，海面反光自然，沙滩细节真实，旧金属牌子材质扎实，边缘锈迹、污渍、螺丝和木桩细节清楚。整体真实、克制、黑色幽默、带一点寓言感。 重要限制： 不要超广角畸变 不要把背景拍得太满太乱 不要把牌子做得太小 不要做成海报感 不要做成旅游风景宣传图 不要出现机器人 不要出现撞击动作 不要出现太多鸟 不要出现多余道具 这是一个干净、稳定、可作为后续视频首帧的叙事型构图静帧

{{Portrait 1}} 为镜头构图与景别参考，重点参考当前画面的机位高度、透视关系、牌子在画面右侧前三分之一的位置、海岸线延伸方向、左侧背景空间、沙滩与海面的比例关系、整体景别与画面留白结构。 {{Portrait 2}} 为警示牌图案与材质参考，重点参考牌面的图形设计、机器人溺水图标、红色禁止符号、文字排版、锈蚀边框、旧金属材质、牌面污渍和老旧感。牌子文案保持为： NO SWIMMING DEEP WATER • CIRCUIT RISK ENTER AT YOUR OWN RISK 生成一张 21:9 横版、电影级现实主义静帧 画面内容： 海边沙滩上一块老旧的禁止下水警示牌立在前景偏右位置，牌子占据明确视觉重点，位于画面右侧前三分之一区域，大小适中偏大，清晰醒目，但不要大到塞满画面。机位为自然人眼略低的高度，透视真实，不要超广角夸张变形。背景是阳光下的海滩、海浪和远处海滨建筑，左侧保留较大的开放空间，方便后续机器人从左后方和中后方入画。海岸线从左侧远方自然延伸至右侧海边，空间关系清晰。 构图要求： 整体构图参考 {{Portrait 1}} ，但比当前画面更适合后续叙事。牌子必须是前景绝对主体，背景清楚但不要喧宾夺主。左侧和中左区域需要留出大面积沙滩空间，作为后续机器人群体奔跑入画的区域。不要太广，不要空，不要旅游宣传片感。不要把牌子放得太靠边，也不要居中。地平线稳定，画面干净，叙事导向明确。 镜头语言： 50mm real cinematic lens, medium telephoto feel, natural perspective compression, the warning sign is the clear foreground subject, background beach and coastline remain readable but slightly compressed, more focused and narrative-driven than a wide establishing shot.。 视觉气质： IMAX 70mm 胶片质感，真实海边自然光，阳光明亮但不过曝，天空通透，海面反光自然，沙滩细节真实，旧金属牌子材质扎实，边缘锈迹、污渍、螺丝和木桩细节清楚。整体真实、克制、黑色幽默、带一点寓言感。 重要限制： 不要超广角畸变 不要把背景拍得太满太乱 不要把牌子做得太小 不要做成海报感 不要做成旅游风景宣传图 不要出现机器人 不要出现撞击动作 不要出现太多鸟 不要出现多余道具 这是一个干净、稳定、可作为后续视频首帧的叙事型构图静帧

{{Portrait 1}} 为海边警示牌镜头构图参考，{{Portrait 2}} 为警示牌图形、文字内容、材质参考。生成一个 16:9 横版电影级现实主义海边镜头，采用中长焦镜头语言，约 75mm–85mm 等效焦段，中低机位，画面右侧前景是一块立在沙滩上的旧金属警示牌，牌子为绝对视觉主体，位置稳定，比例明确，清晰聚焦。左侧和后方保留适量海岸线与远处海边建筑、塔、圆顶建筑、摩天轮，但背景经过中长焦轻微压缩处理，存在感降低，不喧宾夺主。将 {{Portrait 2}} 中警示牌的图形和内容准确迁移到当前牌子上：NO SWIMMING / DEEP WATER · CIRCUIT RISK / ENTER AT YOUR OWN RISK，红色边框，机器人落水禁止图示，旧金属、锈蚀、磨损、风吹日晒质感，清晰可读。整体气质不是旅游照，不是产品照，而是电影剧情中的危险警告镜头，安静、克制、带黑色幽默和荒诞讽刺预感，真实自然日光，真实摄影感，画面干净稳定，方便后续生成机器人冲入并撞翻警示牌的动作镜头。

消除部分图中海水的反光感,和高光反光.有种imax电影感,荒凉感.不要这么明亮

16:9，电影级现实主义海边空镜，诺兰式极度写实主义美学，IMAX 70mm 胶片质感，Panavision C 系列镜头质感，超写实，真实实景拍摄感，轻微胶片颗粒，低饱和，复古暖金沙色、海盐蓝、晒旧白色调，自然日光照明，明调画面，克制、不花哨，不要游客照感。 生成一张空镜视角参考图。 镜头机位位于海边浅水一侧，朝沙滩方向反打拍摄。机位为70度到80度斜俯视，接近俯视，但不是90度顶视。构图为明显斜构图，海水与沙滩形成清晰、明确的分界线。画面中海水与沙滩各占大约一半，边界线斜向穿过画面，空间关系清楚，图形感明确。 画面只表现海水、湿沙、沙滩这三层关系。前景是浅海与湿沙交界，中景是沙滩与海面交错的边界区域，整体视角强调从海往岸看的空间方向。画面干净，透视准确，层次清楚。

消除 {{Image 1}} 图中海水的反光感,和高光反光.有种imax电影感,荒凉感.不要这么明亮

消除部分图中海水的反光感,和高光反光.有种imax电影感,

21:9，真实电影摄影，海边白天， {{Portrait 1}} 为警示牌本体参考，准确保留牌子的图案、文字、红色禁止符号、机器人落水图标、锈蚀边框、旧金属质感、立柱结构与旧化磨损细节。 {{Portrait 2}} 为海边环境参考，只参考沙滩、海浪、海岸线走向、天空与整体光线氛围，不参考原图过长焦的压缩感，不参考过多背景信息。 画面为一个更聚焦的叙事镜头，使用 **50mm 焦段**，不要广角夸张透视，也不要长焦压缩太强。机位接近平视，略微偏低一点点，让警示牌更有存在感。警示牌位于画面右侧三分之一位置，是画面绝对主体，尺寸明确，清晰醒目。 牌子顶部边缘站着 **一只海鸥**，体积不大，姿态自然，轻微偏头，安静停驻，像是在观察周围。海鸥不要飞起，不要夸张动作，只要自然站立即可，为后续受惊飞走做铺垫。 整体气质不是旅游宣传照，而是电影里一个“危险警告即将被无视”的前置镜头。画面安静、干净、带一点不安感，主体突出，构图克制，叙事感强，真实摄影质感，自然阳光，轻微空气透视，细节清晰。 不要广角大透视，不要背景过满，不要牌子太小，不要把牌子贴边，不要海鸥太大，不要多只鸟，不要杂乱游客，不要风景照感过强。

把 中所有背对镜头跑的机器人换成面朝画面右侧的方向跑的机器人.机器人正面形象参考 {{Portrait 1}} 中的大小不一的机器人

21:9，真实电影摄影，海边白天，镜头2首帧画面。 {{Portrait 1}} 为警示牌本体参考，准确保留牌子的图案、文字、红色禁止符号、机器人落水图标、锈蚀边框、旧金属质感、立柱结构与旧化磨损细节。 {{Portrait 2}} 为海边环境参考，只参考沙滩、海浪、海岸线走向、天空与整体光线氛围，不参考原图过长焦的压缩感，不参考过多背景信息。 画面为一个更聚焦的叙事镜头，使用 **35mm 焦段**，不要广角夸张透视，也不要长焦压缩太强。机位接近平视，略微偏低一点点，让警示牌更有存在感。警示牌位于画面右侧三分之一位置，是画面绝对主体，尺寸明确，清晰醒目。 牌子顶部边缘站着 **一只海鸥**，体积不大，姿态自然，轻微偏头，安静停驻，像是在观察周围。海鸥不要飞起，不要夸张动作，只要自然站立即可，为后续受惊飞走做铺垫。 左侧保留较大面积干净沙滩纵深，用于后续机器人从左侧或左后方入画撞翻牌子。右后方是海浪与海面，背景只保留少量海边地标，例如远处模糊的灯塔、救生亭或摩天轮中的一两个，其他背景尽量简化，避免画面信息过满。背景要适度虚化，但仍能看出这是一个真实海边环境。 整体气质不是旅游宣传照，而是电影里一个“危险警告即将被无视”的前置镜头。画面安静、干净、带一点不安感，主体突出，构图克制，叙事感强，真实摄影质感，自然阳光，轻微空气透视，细节清晰。 不要广角大透视，不要背景过满，不要牌子太小，不要把牌子贴边，不要海鸥太大，不要多只鸟，不要杂乱游客，不要风景照感过强。

移除 {{Image 1}} 图中的机器人,只保留环境

中沙滩的靠近建筑区域加上一堆看似混色机器人的小黑点,有大有小,但是比例都和小黑点一样.一种从城市冲出来一大片往海上跑涌的感觉.机器人只占沙滩一小半区域距离海边还有一大段距离.要求图中机器人外形都不一样.但是比例都和小黑点一样.一种从城市冲出来一大片往海上跑涌的感觉.机器人外形参考 {{Image 2}} 但是在沙滩上看着很小.

{{Portrait 1}} 为首帧警示牌构图参考， {{Portrait 2}} 为公共服务机器人外形参考。 21:9 超宽银幕画幅，8秒，电影级现实主义，黑色幽默，真实海边白天，同一片海滩、同一块警示牌、同一组日光，内部一次硬切。只要音效，不要背景音乐。 整体镜头语言参考： 《Children of Men》纪录片式真实运动摄影 +《机器人总动员》荒废工业感 + 黑色幽默群像气质。 不要MV感，不要广告感运镜，不要夸张特效。 【镜头1｜0.0s-4.2s｜65mm中长焦，中低机位，轻微前推】 保持 {{Portrait 1}} 的核心构图逻辑，但适配21:9。 警示牌位于画面最右侧三分之一，海鸥站在牌子顶部。左侧留出巨大宽阔沙滩空间和海岸线纵深，让画面有“等待某件事发生”的压迫留白。背景城市和海边设施轻微虚化，信息量减少，不要过于复杂。 0.0s-1.0s： 海边平静。 只有海浪声、轻微风声。 海鸥自然站立，轻微歪头、整理羽毛。 1.0s-1.6s： 远处开始传来模糊金属奔跑声、沙地震动声。 声音越来越近。 海鸥警觉抬头。 1.6s-2.0s： 海鸥突然振翅飞离画面。 翅膀掠过镜头上方。 2.0s-3.4s： 第一批公共服务机器人从画面左后方快速冲入。 注意： 运动方向统一为： 从左后方沙滩 → 冲向右前方海边。 不是横向路过。 不是朝镜头冲。 不是散步。 机器人要有明显“被什么东西吸引后失控奔跑”的状态： 身体前倾， 步频快， 摆臂急， 脚下扬沙， 动作略慌乱。 机器人高度： 主撞牌机器人高度约为警示牌总高度的1.3倍左右。 牌子顶部大约到机器人胸口偏下位置。 不要巨大机甲感。 机器人参考 {{Portrait 2}} ： 公共服务机器人世界观， 白色旧化金属， 不同头型、不同背包模块、不同手臂结构， 存在3-5种变化， 但属于统一工业体系。 不要完全复制粘贴。 3.4s-4.2s： 为首机器人小跑往前过程中， 直接用身体侧面、肩膀或机械臂擦撞警示牌。 重点： 机器人不会停。 不会看牌子。 不会故意踢。 而是“完全无视规则”的状态下顺势撞翻。 撞击后： 牌子向镜头右下方倒下， 木桩松动， 湿沙炸开， 金属牌震动。 镜头保持真实摄影惯性， 允许轻微晃动和低快门拖影。 【硬切｜4.2s】 在牌子刚倒地、动作惯性还没停时直接硬切。 不要任何转场特效。 【镜头2｜4.2s-8.0s｜28mm超低机位，贴地摄影】 同一片海滩、同一块刚倒下的警示牌。 21:9宽画幅里， 倒地牌子横躺在前景， 占据画面下部。 远处仍能看到机器人群继续朝海边冲。 镜头极低， 几乎贴着沙地。 4.2s-5.0s： 第一个机器人脚掌高速踩中牌子边缘。 金属瞬间变形。 沙粒炸开。 5.0s-7.5s： 连续大量机器人脚步快速踩踏经过。 只露机械腿、轮式底盘、脚掌和下半身。 不要完整上半身。 脚步节奏越来越急。 形成真正“群体失控奔跑”的感觉。 不同机器人脚型存在差异： 细腿、 厚重工业腿、 轮式底盘、 小型维修机器人腿部等。 但全部属于 {{Portrait 2}} 的统一世界观。 7.5s-8.0s： 最后几只脚高速掠过。 牌子逐渐被踩进湿沙。 远处机器人奔跑声继续朝海边远去。 整体要求： 真实、 冷静、 荒诞、 黑色幽默。 核心表达： 规则被无视， 警告被踩进沙里， 群体被财富欲望驱动着冲向大海。 不要： 超级英雄感、 赛博朋克霓虹、 动作片打斗、 故意耍帅、 夸张爆炸、 卡通表演、 AI炫技镜头。

{{Portrait 1}} 为警示牌画面与构图气质参考，{{Portrait 2}} 为机器人外形、材质与世界观参考。 16:9，8秒，电影级现实主义，黑色幽默，真实摄影感，海边白天，统一空间，统一光线，统一时间段。必须明确表现为同一片海滩、同一块警示牌、同一批机器人、同一组日光方向，不要生成成两个无关空间。 整体设定： 海边沙滩，天气晴朗，自然日光，天空干净，海浪平稳，画面真实克制，不要夸张特效，不要卡通感，不要MV感，不要背景音乐，只要音效。警示牌造型、图案、锈迹、文字内容严格参考 {{Portrait 1}}，保持 “NO SWIMMING / DEEP WATER • CIRCUIT RISK / ENTER AT YOUR OWN RISK” 的同类视觉设计与旧化质感。机器人外形与材质风格参考 {{Portrait 2}}，属于同一世界观下的公共服务机器人，白色为主，辅以少量蓝、绿、红、米黄等旧漆点缀，轻微磨损和旧化，真实金属结构。机器人不要完全长得一模一样，允许3到5种头部和身体差异，但整体要像同一批次产品。 【镜头1｜0.0s - 4.8s】 镜头类型：中长焦中景，约 50mm 到 65mm，轻微轨道前推，不是固定死机位。 构图：警示牌位于画面右侧偏中位置，占画面明显比例，牌子顶部站着一只真实海鸥。左侧和后方保留适量沙滩、海岸线和少量模糊背景建筑，背景信息量克制，不要太杂，不要太广。背景可见远处海边塔楼、圆顶建筑、摩天轮，但都只是轻微虚化的远景陪衬，不能抢主体。 动作节奏： 0.0s - 1.5s：画面平静，海鸥站在牌子顶端，有轻微自然动作，比如微微转头、抖一下羽毛。只有海浪、风声和远处很轻微的金属震动声。 1.5s - 2.8s：远处金属奔跑声和震动声逐渐靠近，海鸥明显警觉，抬头、偏头，短暂停顿。 2.8s - 3.4s：海鸥突然受惊，迅速振翅飞离画面。 3.4s - 4.8s：几台机器人从画面左后侧快速奔入，整体朝海边和右前方冲去，为首机器人直接无视警示牌，猛地撞上牌子，将警示牌撞倒。撞击动作干脆有力，牌子被撞得从原本竖立状态向画面右下或右后方向倒下，木桩与铁牌一起失稳，扬起少量沙子。主撞牌机器人高度比牌子高一截，牌子顶部大约到机器人上胸口或肩膀以下，机器人整体高度约为牌子总高度的 1.3 倍，不要巨大机甲感。机器人奔跑方向、撞击方向、牌子倒下方向必须清晰，为后一个镜头做承接。 【硬切点｜4.8s】 必须在牌子刚被撞倒、动作还在延续的节奏上，直接硬切，不要溶解，不要转场特效。 【镜头2｜4.8s - 8.0s】 镜头类型：超低机位近景特写，约 24mm 到 28mm，镜头贴近沙地。 空间承接要求：仍然是同一片海滩、同一组光线、同一块刚被撞倒的警示牌。牌子在沙地中的朝向要延续上一个镜头的倒地方向，不能像突然换了一块牌子或换了空间。 构图：倒下的警示牌占据近景主体，部分牌面和字样清楚可见，边缘压进沙地。镜头重点盯住地上的牌子和经过的机械脚，不再大幅交代远景。 动作节奏： 4.8s - 5.5s：牌子刚倒在地上，惯性还没完全停住，一只较重的机器人脚掌先踩中牌子边缘，牌子轻微下陷或变形，沙粒弹起。 5.5s - 7.2s：连续几台机器人快速从画面中踩踏经过，脚掌、小腿、轮式底盘或步足连续碾过牌子，动作方向保持一致，朝海边冲去。脚型允许有少量型号差异，但全部属于同一套机器人体系。重点强调“规则被踩在脚下”的荒诞感。 7.2s - 8.0s：最后一两只脚踩过，牌子部分埋进沙地，画面留下一点海浪和继续远去的奔跑声，不要拖太久。 声音要求： 只要音效，不要背景音乐。前段是海浪、海风、远处渐近的金属奔跑震动声；然后海鸥受惊振翅飞走；接着是机器人奔跑的金属脚步声、撞击牌子的闷响、木桩和铁牌倒地声；第二镜头中重点突出机械脚踩压铁牌的咣当声、金属摩擦声、沙地踩踏声。 画面原则： 不要把两个镜头生得像两个不同地方。必须是同一海滩、同一牌子、同一光线、同一机器人体系、同一运动逻辑。整体风格是冷静、真实、带讽刺意味的黑色幽默，不是动作片，不是灾难片，不是超级英雄片。

Image 1 is the first-frame reference. Strictly preserve the current wide coastal composition, coastline direction, beach-to-ocean ratio, distant amusement structures, and sky-cloud relationship. Generate a 4-second cinematic realistic wide establishing shot, IMAX 70mm film texture, realistic drone cinematography. A large crowd of robots occupies the left to mid-left beach area. All robots face the nearest shoreline waterline and run toward the sea, like a crowd being pulled by a distant wealth target. Robots must not run toward the camera, must not run sideways, and must not stand still. Keep the crowd moderately dense, not covering the entire beach. Leave the right side and the area near the waves open and spacious. Camera movement: Start from the current high wide aerial view. The drone slowly flies forward along the beach and coastline direction, with a very subtle descent and a slight drift to the right, revealing the coastline depth and the robot tide pushing toward the sea. The movement should be stable, restrained, cinematic, and realistic. No large orbit, no 180-degree rotation, no fast whip pan, no aggressive dive, no sudden zoom-in. The focus is the vast coastline, the dense but not overcrowded robot tide, and the collective loss of control as all robots run toward the sea. Natural waves, realistic sunlight, clean sky, wide epic feeling. Sound effects only, no background music: ocean wind, waves, distant dense metallic robot footsteps, low mechanical rumble.

{{Mixed 1}} is the first-frame reference. Strictly preserve the current wide coastal composition, coastline direction, beach-to-ocean ratio, distant amusement structures, and sky-cloud relationship. Generate a 4-second cinematic realistic wide establishing shot, IMAX 70mm film texture, realistic drone cinematography. A large crowd of robots occupies the left to mid-left beach area. All robots face the nearest shoreline waterline and run toward the sea, like a crowd being pulled by a distant wealth target. Robots must not run toward the camera, must not run sideways, and must not stand still. Keep the crowd moderately dense, not covering the entire beach. Leave the right side and the area near the waves open and spacious. Camera movement: Start from the current high wide aerial view. The drone slowly flies forward along the beach and coastline direction, with a very subtle descent and a slight drift to the right, revealing the coastline depth and the robot tide pushing toward the sea. The movement should be stable, restrained, cinematic, and realistic. No large orbit, no 180-degree rotation, no fast whip pan, no aggressive dive, no sudden zoom-in. The focus is the vast coastline, the dense but not overcrowded robot tide, and the collective loss of control as all robots run toward the sea. Natural waves, realistic sunlight, clean sky, wide epic feeling. Sound effects only, no background music: ocean wind, waves, distant dense metallic robot footsteps, low mechanical rumble.

21:9 cinematic video, about 12 seconds, internal hard cuts, sound effects only, no background music. Reference setup: {{Portrait 1}} is the large robot reference: a heavy orangutan-type engineering pusher robot, extremely bulky, low center of gravity, moving on four limbs, massive forearms, weathered off-white metal body, faded rust-red industrial panels, strong mechanical weight. {{Portrait 2}} is the public service robot crowd reference: smaller worn coastal service robots, retro utility design, off-white aged metal shells, subtle variation in head shapes, chest panels, backpacks, arm shapes and small faded color markings. They must share the same world design but must not look identical. {{Mixed 3}} is the shoreline environment reference: diagonal boundary between sandy beach and ocean water. Visual style: cinematic IMAX 70mm film texture, real photographed feeling, Panavision C-series anamorphic widescreen character, 1960s retro-futurist atomic-punk coastal aesthetic, sun-bleached faded seaside tones, warm sand colors and sea-salt blues, low saturation, restrained and realistic, natural daylight, subtle film grain, clear atmospheric perspective, clean image, not over-sharpened, avoid obvious game-CG look, avoid digital HDR look. Core spatial rule: All robots must move from the sandy beach side toward the ocean water side. Their bodies, heads, feet and movement direction must clearly face the nearest ocean boundary. Never let the large robot face away from the ocean. Never let any key robot walk back toward the beach. Maintain one clear screen direction: from sand to water, from safety to danger. Core action rhythm: This scene must not begin with robots calmly standing or slowly walking. At the beginning, the front wave of robots rushes into frame from the sand side, still carrying momentum from the previous mass-running scene. They run toward the shoreline, reach the wet sand, brake suddenly, hesitate for a short beat, then continue into the water. The first three seconds must clearly show: running momentum, sudden braking at the waterline, brief hesitation, then decision to enter the sea. Crowd continuity: This is not an empty beach and not a small team. The camera focuses on one large robot and several key smaller robots, but the background must still contain many more robots as soft out-of-focus figures, partial silhouettes, scattered moving shapes, and distant robot crowd movement. The beach must still feel connected to a much larger robot rush from the previous scene. Do not leave large empty areas around the key robots. Scale rule: The large robot must be clearly dominant, approximately 2.8 to 3 times the height of a normal public service robot and about 3 times the overall mass. In the same water area, the large robot is only knee-deep, while nearby smaller robots are already chest-deep or almost shoulder-deep. This water-depth contrast is essential. Shot A, 0.0–2.0 seconds: Hard cut to a tighter oblique high-angle shot, not a distant empty overhead view. The shoreline cuts diagonally through the frame. Robots rush in from the sand side toward the water side. The large robot enters with heavy momentum, leading the front group. Around it, 12 to 18 smaller robots run or stumble forward. Behind them, more robots continue arriving as soft background crowd continuity. At the end of this shot, the front robots hit the wet sand and begin to brake. Shot B, 2.0–3.6 seconds: Hard cut to a medium-wide shot closer to the waterline. Several smaller robots skid slightly on wet sand, slow down, hesitate for a short beat, and look toward the ocean. The large robot does not hesitate; it keeps pushing forward. Use a subtle pan or reframing movement to follow the large robot from sand into the first wave. The background still contains more robots moving toward the water, slightly defocused. Shot C, 3.6–5.5 seconds: Hard cut to a low-to-medium shoreline angle. The large robot steps into the surf with heavy mechanical force. The large robot is only knee-deep. Several smaller robots around it are already chest-deep. The crowd behind them must remain visible as moving background presence. The large robot must face the sea and move deeper into the water, never turning back toward the beach. Shot D, 5.5–7.0 seconds: Hard cut or motivated reframe from the large robot’s leg to a smaller robot beside it. This smaller robot is chest-deep, trying to continue forward. Its eye lights flicker, body twitches, one arm jerks, tiny sparks appear at the joints. Build the short-circuit before the fall. Use a slight push-in or pan to isolate this failing robot while the large robot’s massive leg remains nearby as scale reference. Shot E, 7.0–8.6 seconds: The smaller robot loses balance and collapses sideways into the water. The camera follows the fall downward, dropping with the robot instead of staying above the surface. This must feel like a physically tracked fall into the water, not a random cut. Shot F, 8.6–10.0 seconds: Underwater shot. The failed smaller robot sinks awkwardly with bubbles, residual sparks, drifting limbs, and disturbed murky water. Very close nearby, one massive lower limb of the large robot passes through the frame, continuing forward without stopping. This creates a strong contrast between the giant robot’s dominance and the smaller robot’s helpless failure. Shot G, 10.0–12.0 seconds: Hard cut back above water. The large robot continues advancing relentlessly into deeper water. One or two smaller robots struggle nearby; one hesitates, another almost shorts out. Background robots continue entering the water as soft moving shapes, keeping the mass-event feeling alive. End with the feeling that everyone knows the water is dangerous, but the rush toward the distant reward continues. Important restrictions: do not start with an empty beach, do not start with robots already calmly standing at the waterline, do not make the robots slowly stroll into the sea, do not make the large robot face the wrong direction, do not let key robots walk back toward the beach, do not make all public robots identical, do not make the background empty, do not make the large robot only slightly taller than the smaller robots, do not lose the running-to-braking-to-hesitation action beat, do not make it look like a small isolated squad.

21:9电影画幅，约12秒，内部硬切，只要音效，不要背景音乐。 参考设置： {{Portrait 1}} 为大机器人参考：重型猩猩式工程推进机器人，体量巨大，低重心，四肢着地行进，前臂极其粗壮，旧白色金属机身，带褪色锈红工业色块，机械重量感强。 {{Portrait 2}} 为群众机器人参考：较小型磨损海岸服务机器人，复古实用设计，旧白色老化金属外壳，头型、胸腔面板、背包、手臂形状、小面积褪色标记都有细微变化。它们要属于同一个世界观，但不能长得一模一样。 {{Mixed 3}} 为海岸环境参考：沙滩与海水之间有明显的斜向分界线。 影像风格： 电影级IMAX 70mm胶片质感，真实实拍感，Panavision C系列变形宽银幕镜头气质，60年代复古未来主义原子朋克海岸美学，晒白褪色的海岸色调，暖沙色与海盐蓝为主，低饱和、克制、真实，自然日光照明，轻微胶片颗粒，空气透视清晰，画面干净，不过度锐化，避免明显游戏CG感，避免数码HDR感。 核心空间规则： 所有机器人都必须从沙滩一侧冲向海水一侧。 它们的身体、头部、脚步和运动方向，都必须明确朝向最近的海水边界。 不要让大机器人背对海。 不要让关键机器人往沙滩方向走回去。 保持统一的屏幕运动方向：从沙滩到海水，从安全区进入危险区。 核心动作节奏： 这场戏不能从机器人平静站着或慢慢走开始。 开头时，前排机器人必须带着上一场大群体奔跑的惯性，从沙滩一侧冲入画面。 它们冲向海岸线，到达湿沙和水线处，突然刹住，短暂迟疑，然后继续进入海水。 前三秒必须清楚表现：奔跑惯性、到水边急刹、短暂犹豫、决定下水。 群像连续性： 这不是空海滩，也不是一个小队。 镜头虽然聚焦一台大机器人和几台关键小机器人，但背景里仍必须有大量机器人作为虚化人物、局部剪影、零散移动形体、远处机器人潮流存在。 海滩必须感觉仍然连接着上一场大规模机器人狂奔。 不要让关键机器人周围出现大面积空白。 比例规则： 大机器人必须明显有统治感，约为普通群众机器人高度的2.8到3倍，整体体量约3倍。 在同一片水域里，大机器人只到膝盖深，而附近小机器人已经胸口深，甚至接近肩膀深。 这个水位反差非常重要。 镜头A，0.0–2.0秒： 硬切到更紧的高位斜俯视镜头，不要是遥远空旷的俯拍。 海岸线斜向切过画面。 机器人从沙滩侧冲向海水侧。 大机器人带着沉重惯性进入画面，领在前排。 它周围有12到18台小机器人奔跑或踉跄向前。 后方还有更多机器人作为柔和的背景群像继续赶来。 镜头结尾，前排机器人冲到湿沙和水线处，开始急刹。 镜头B，2.0–3.6秒： 硬切到更靠近水线的中远景。 几台小机器人在湿沙上轻微打滑、慢下来，短暂迟疑，看向海水。 大机器人完全不犹豫，继续向前推进。 镜头可以轻微横摇或重新构图，跟随大机器人从沙滩进入第一层海浪。 背景里仍有更多机器人朝水边移动，但略微失焦。 镜头C，3.6–5.5秒： 硬切到低到中机位的海岸线角度。 大机器人以沉重机械力量踏入海浪。 大机器人只到膝盖深。 周围几台小机器人已经胸口深。 后方群像仍要可见，作为移动的背景存在。 大机器人必须面朝海水，继续往更深处走，不能回头朝沙滩方向。 镜头D，5.5–7.0秒： 硬切，或有动机地从大机器人腿部带到旁边一台小机器人。 这台小机器人胸口深，还在努力往前。 它的眼灯开始闪烁，身体抽搐，一只手臂卡顿，关节处冒出小火花。 先建立短路前兆，再让它倒下。 使用轻微推进或横摇，把这台失控机器人单独拎出来，同时让大机器人的巨大腿部留在附近作为比例参照。 镜头E，7.0–8.6秒： 小机器人失去平衡，向侧面倒进水里。 镜头跟着它一起往下坠，而不是停在水面上看。 这必须像摄影机物理跟随它一起沉入水里，不是随机切换。 镜头F，8.6–10.0秒： 水下镜头。 故障小机器人笨拙地下沉，周围有气泡、残余电火花、漂动的肢体和被扰动的浑浊水体。 非常近的位置，大机器人的巨大下肢从画面旁边或上方经过，继续向前，完全不停。 形成巨型机器人压迫感与小机器人无助失败之间的强烈对照。 镜头G，10.0–12.0秒： 硬切回到水面上方。 大机器人继续无情地往更深的水里推进。 旁边一两台小机器人挣扎前进，一台迟疑，另一台几乎也要短路。 背景里仍有机器人持续下水，作为柔和移动形体保留群像事件感。 结尾要让人感觉：所有人都知道水危险，但依然继续冲向远处的诱惑。 重要限制： 不要从空海滩开始， 不要从机器人已经平静站在水边开始， 不要让机器人慢悠悠走进海里， 不要让大机器人朝错方向， 不要让关键机器人往沙滩方向走回去， 不要让所有群众机器人长得一模一样， 不要让背景变空， 不要让大机器人只比小机器人高一点， 不要丢掉“奔跑—急刹—犹豫—下水”的动作节拍， 不要拍成一个孤立小队。

21:9 cinematic video, about 12 seconds, internal hard-cut sequence, sound effects only, no background music. Reference setup: {{Portrait 1}} is the large robot reference: a heavy orangutan-type engineering pusher robot, extremely bulky, low center of gravity, moving on four limbs, massive forearms, weathered off-white metal body, faded rust-red industrial panels, strong mechanical weight. {{Portrait 2}} is the public service robot reference: smaller worn coastal service robots, retro utility design, off-white aged metal shells, subtle design variation, realistic old service robots. {{Mixed 3}} is the environment reference: oblique high-angle shoreline composition, only beach, surf, wet sand, and ocean water, with a strong diagonal boundary between sand and sea. Visual style: cinematic IMAX 70mm film texture, real photographed feeling, Panavision C-series anamorphic widescreen character, 1960s retro-futurist atomic-punk coastal aesthetic, sun-bleached faded seaside tones, warm sand colors and sea-salt blues, low saturation, restrained and realistic, natural daylight, subtle film grain, clear atmospheric perspective, clean image, not over-sharpened, avoid obvious game-CG look, avoid digital HDR look. Create one continuous 12-second sequence with clear internal hard cuts, not a fake one-take shot. The sequence must feel like part of a much larger ongoing mass movement of robots rushing toward the sea. Even when the camera focuses on a few key robots, the background must still suggest many more robots continuing to arrive or move into the water. Important crowd logic: this is not an empty beach. This scene happens after a large crowd of robots has already rushed toward the shoreline. Foreground and midground focus on the large robot and several key smaller robots, but background continuity must still show more robots as soft presence, out-of-focus figures, partial silhouettes, or scattered moving shapes. The beach and shoreline must never feel empty. Important scale logic: the large robot must feel clearly dominant, approximately 2.5 to 3 times the height of a normal public robot and about 3 times the overall mass. Its head should feel large enough that later it could plausibly compare in scale to a drifting smaller robot. In the same water zone, the large robot is only knee-deep while nearby smaller robots are already chest-deep or nearly shoulder-deep. Shot A, 0.0–1.5 seconds: High oblique overhead establishing shot, around 70 to 80 degrees downward. The shoreline forms a dangerous diagonal boundary between sand and sea. The front wave of robots reaches the boundary. The large robot is already prominent in the front portion of the frame. Around it, 8 to 12 smaller robots occupy the foreground and midground. Farther back, more robots continue to fill the beach and approach the shoreline as softer crowd continuity. Do not make the frame feel empty. Shot B, 1.5–3.0 seconds: Hard cut to a tighter medium-wide shot with stronger pressure. A few smaller robots hit the waterline, brake slightly, hesitate for a beat, glance toward the sea, then continue. The large robot does not hesitate and keeps advancing. Use subtle camera language inside the shot: a slight pan, reframing drift, or controlled lens adjustment. The background still contains more arriving robots, but less sharply focused. Shot C, 3.0–4.8 seconds: Hard cut to the large robot entering the surf as the dominant subject. It drives forward on all four limbs with heavy mechanical force. The large robot is only knee-deep. Nearby smaller robots in the same area are already chest-deep or close to shoulder-deep. Retain additional background robots so the scene still feels like a mass event, not a small isolated group. Shot D, 4.8–6.3 seconds: Hard cut or motivated reframe from the large robot toward a smaller robot beside one of the large robot’s legs. This smaller robot is chest-deep and still trying to move forward. Short-circuit signs begin: flickering eye lights, unstable posture, twitching arm, tiny sparks, brief electrical stutter. Use a slight pan, reframing move, or subtle push-in to redirect attention from the giant robot to the failing smaller robot. Shot E, 6.3–8.2 seconds: The smaller robot loses balance and collapses sideways into the water. The camera follows the fall downward instead of staying above. This is an important visual hook. The motion should feel physically tracked, as if the camera drops with the robot into the water. Shot F, 8.2–9.6 seconds: Underwater shot. The failed smaller robot sinks awkwardly with bubbles, residual sparks, drifting limbs, and murky disturbed water. Very close by, one massive leg or lower limb of the large robot passes through the frame overhead or beside camera, continuing forward without stopping. This creates a strong contrast between giant mechanical dominance and the helpless smaller failure. Shot G, 9.6–12.0 seconds: Hard cut back above water. The large robot continues advancing relentlessly. One or two smaller robots still struggle nearby, one hesitates, another almost shorts out. Background robot presence must still remain visible as soft continuity so the crowd scale does not collapse. End on the feeling that the large robot keeps moving forward no matter what happens to the others. Performance and dramatic logic: This scene is not about swimming yet. It is about crossing the danger boundary into the sea. The emotional rhythm should be: mass arrival, brief hesitation, the large robot leads, smaller robots follow, water becomes dangerous, one smaller robot fails and falls, the large robot ignores the failure and keeps moving. Cinematography: Each shot should contain internal camera design. Use controlled pans, selective reframing, subtle push-ins, focus emphasis, and a strong sense of shot-to-shot variation. Do not rely on static composition alone. Do not turn the whole scene into one drifting pseudo-one-take. Important restrictions: do not make the large robot too small, do not make the crowd density too sparse, do not make the beach feel empty, do not lose the background crowd continuity, do not flatten the scale relationship, do not break the water-depth logic, do not introduce unrelated elements.

21:9 cinematic video, 10–12 seconds, internal hard-cut sequence, realistic live-action feeling, sound effects only, no background music. Reference image instructions: {{Portrait 1}} is the large robot reference: a heavy orangutan-type engineering pusher robot, bulky and low, moving on four limbs, huge forearms, strong mechanical weight, weathered off-white metal, faded industrial accents, realistic engineering structure. {{Portrait 2}} is the public service robot reference: smaller coastal public robots, off-white worn metal shells, simple functional bodies, subtle variation in heads and proportions, realistic retro utility design. {{Mixed 3}} is the environment and composition reference: oblique high-angle shoreline view, diagonal division between sand and ocean water, no buildings needed in frame, only beach, surf, waterline and wet sand. Visual style: cinematic IMAX 70mm film texture, real photographed feeling, vintage Panavision C-series anamorphic widescreen character, 1960s retro-futurist atomic-punk coastal aesthetic, sun-bleached faded seaside palette, warm sand tones and sea-salt blues, low saturation, restrained and realistic, natural daylight, subtle film grain, clean image, clear atmospheric depth, not over-sharpened, avoid obvious game-CG look, avoid digital HDR look. Generate one continuous video with internal hard cuts, not a fake one-take shot. The whole sequence should feel like a deliberately edited scene with consistent space, light, scale, and action continuity. Shot 1, 0.0–1.0 seconds: A high oblique top-down shoreline establishing shot, around 70 to 80 degrees downward. The frame shows only the diagonal dividing line between ocean water and wet sand. Water occupies the lower-right half, sand occupies the upper-left half. The shoreline feels like a dangerous boundary. Small waves roll in naturally. After a brief empty beat, a few small public robots rush into frame from the sand side. Shot 2, 1.0–2.4 seconds: Hard cut. A tighter oblique medium-wide shot. The large robot enters frame with 5 to 8 smaller public robots. They approach the waterline fast, then briefly hesitate. The hesitation is small but readable: quick head turns, a small pause in body rhythm, then they keep moving. The camera has a slight tracking drift and a controlled pan, not static. Shot 3, 2.4–4.4 seconds: Hard cut. A stronger hero shot of the large robot leading the group into the water. The large robot is moving on all four limbs, heavy forearms pressing into wet sand and surf. The water rises above its knees. Because of their smaller size, nearby public robots are already in chest-deep water. Start by emphasizing the large robot’s weight and forward pressure, then subtly pan or shift focus toward one smaller robot beside it. Shot 4, 4.4–6.4 seconds: Hard cut. Medium shot on a smaller public robot struggling in chest-deep water. It still tries to push forward, but a short-circuit begins: small electrical sparks, twitching body, unstable posture, head misalignment, one arm jerking. The camera gently pushes in or reframes upward from chest to head. The robot loses balance and collapses sideways into the shallow surf with a splash and a flicker of electricity. Shot 5, 6.4–8.8 seconds: Hard cut. Start on the fallen small robot in the water, then pan or shift to the large robot continuing deeper without reacting. Several other small robots still follow behind. One hesitates, another begins to spark, but the movement continues. The scene should feel absurd, ominous, and darkly humorous. Shot 6, 8.8–10.8 seconds: Hard cut. A tighter shot showing the contrast in scale and danger: the large robot still advancing with relentless weight, while the surrounding smaller robots are clearly more vulnerable in the same water. One small robot struggles to stay upright. Hold a brief sense of irrational commitment and collective madness before the shot ends. Action logic: This scene is about crossing the boundary into danger, not swimming yet. The important dramatic beats are: shoreline as threshold, robots rushing in, brief hesitation, the large robot enters first, smaller robots follow, one smaller robot short-circuits and falls, the large robot ignores the failure and keeps going. Cinematography: Each shot should contain internal camera language, not just static coverage. Use subtle pan, slight reframing, selective emphasis, and occasional gentle push-in where appropriate. Hard cuts should create changes in shot size and information density. Keep the visual storytelling dynamic and director-driven, not flat or generic. Important: Keep the frame clean and readable. Do not overcrowd the image. The large robot must feel about 2.5 to 3 times the scale and mass of a normal public robot. Maintain realistic spatial continuity and consistent water depth logic. The large robot moves from sand into sea on four limbs, heavy and deliberate, never upright like a human, never hopping, never floating.

图1为首帧参考，严格保持当前海岸线构图、海平面高度、金币岛位置、巨大狗狗币比例、镜头方向和整体空间关系不变。 生成3.5秒电影级现实主义镜头，IMAX 70mm胶片质感，低机位真实摄影感。 镜头位于机器人群后方，贴近沙滩地面，摄影机被机器人浪潮裹挟着缓慢向前推进。大量机器人从镜头前方、左右两侧不断奔跑掠过，形成强烈的人潮流动感，但不要遮挡远处金币岛太久。 所有机器人统一朝向大海，朝最近海边方向奔跑，目标明确地冲向远处巨大狗狗币。绝对不要有机器人回头、横向乱跑、朝镜头跑。整体像一场失控的财富朝圣。 机器人分层明确： 前景只有少量较大的重型机器人，高度约普通机器人的2倍左右，体型厚重、旧工业感、更像资本机器。 中远景主要是大量普通小型机器人，尺寸更小、更密集，很多只能看出是白色移动小点，不强调细节。 不同机器人外观略有区别，不要全部长得一样。 镜头运动： 前2秒保持低机位稳定前推，镜头像被机器人群推动着前进。 后1秒镜头非常轻微向上仰拍，让远处巨大狗狗币慢慢压住天空，形成财富神像般的压迫感。 不要环绕，不要大幅摇镜，不要炫技运镜，不要快速甩镜。 海浪正常推进，阳光真实，金币岛保持神圣遥远感。整体氛围要有一种： “所有人正在被财富吸引，集体失控冲向海洋”的黑色寓言感。 声音要求： 只要环境音和音效，不要背景音乐。 机器人奔跑脚步声、金属关节声、海风、海浪声、远处机械轰鸣声。

{{Portrait 1}} 为本镜头首帧与场面调度参考， {{Mixed 2}} 为飞行飞机造型与机身彩蛋参考， {{Mixed 3}} 为海岸世界观环境参考。 21:9画幅，时长6秒，诺兰式极度写实主义美学，电影级IMAX 70mm胶片质感，超写实，真实摄影，不要游戏CG感。60年代复古科幻原子朋克海岸世界，真实自然日光，低饱和复古胶片色调，细腻胶片颗粒，画面干净，只有同期声音效，不要背景音乐。 镜头从 {{Portrait 1}} 首帧状态开始。低机位，镜头处在机器人奔跑人群内部，广告牌位于画面左侧，构图略微倾斜，视角略仰，不要板正展示。大量群众机器人密密麻麻地沿着首帧既定方向持续向画面右前方奔跑，形成强烈的人潮与财富追逐感，前景、中景、远景都要有奔跑机器人，地面扬起沙尘。镜头不是静止观察，而是贴着人群一边向后移动一边穿行，前景不断有机器人身体、手臂、腿部高速掠过，形成真实前景遮挡和运动模糊，镜头像被卷入人潮之中，有明显冲击力和穿插感。 前半段先听到飞机引擎声，随后一架复古小型单引擎飞机按照图2造型，从广告牌右侧掠出，不是直直飞出，而是带一个自然流畅的小弧线切入画面。飞机整体飞行方向与奔跑机器人群保持一致，顺着人潮方向向画面右侧飞去。飞机切入后，镜头速度加快，与飞机形成短暂的低空平行伴飞关系，机位略低于飞机，既能清楚看到飞机侧面机身，也能看到下方奔跑的人潮。这个阶段飞机机身侧面必须清楚可见，图2中的彩蛋海报在机身侧面停留约2秒，具有明确视觉锚点，可以被观众看清。伴飞阶段前景机器人继续高速掠过，形成强烈速度感和空间层次。最后飞机继续向画面右侧加速掠过，并略微抬升，从画面右侧完全飞出。整条镜头保持空间方向统一，机器人奔跑方向统一，飞机飞行方向统一，不能出现另一拨朝相反方向运动的机器人，不能出现海边空场，不能让镜头一直只是远远跟拍，必须有低机位、人群内部穿行、短暂平行伴飞、清晰露出机身彩蛋的效果。

{{Portrait 1}} 为首帧构图与警示牌参考。 {{Portrait 2}} 为公共服务机器人外形参考。 生成一条 8 秒 16:9 视频，两个镜头，中间明确硬切。整条视频发生在同一片海滩、同一块警示牌、同一时间光线下。只要同期声音效，不要背景音乐。 镜头1｜0.0-4.2秒｜35mm，中近景，略低机位 画面右侧前景是一块老旧生锈的 NO SWIMMING 警示牌，顶部站着一只海鸥。前 0.5 秒保持安静，只听海浪和风声。0.5 秒后，画外左侧传来急促的金属奔跑声，由远到近快速逼近。海鸥先警觉偏头，立刻振翅飞走。 1.2 秒开始，一台公共服务机器人从画面左侧快速奔入，方向明确：从左后方冲向右前方海边。机器人不是散步，不是慢走，而是急着冲向海边，身体前倾，机械腿快速交替，脚下扬起沙尘。机器人高度明显高于警示牌，牌子顶端约到机器人胸口偏下或下肩位置。 2.4-3.2 秒，机器人不减速，肩膀或身体侧面直接撞上警示牌立柱和牌面，形成明确物理撞击。牌子先剧烈晃动，再被撞倒，木桩松动，金属牌翻向沙地，沙子飞起。撞击必须清楚、干脆、有重量，不要像自动倒下，不要像轻轻擦过。 镜头2｜4.2-8.0秒｜硬切｜65mm，低机位近景特写 硬切到同一块倒地警示牌的地面近景。牌子刚倒在沙地上，NO SWIMMING 字样和禁止机器人下水图标仍可见。多台同风格机器人从左后方向右前方、朝海边快速奔跑经过，脚步密集、急促、有压迫感。它们不停止、不看牌子，直接踩过。 5.0-6.5 秒，一只金属脚掌重重踩在 NO SWIMMING 字样上，牌面下陷、震动、刮擦，沙粒飞溅。随后两三只机器人脚连续踏过，节奏越来越急。结尾保留机器人继续向海边冲去的方向感。 统一要求： 两个镜头必须像同一空间的连续动作。机器人运动必须是奔跑、急促、被财富吸引往海边冲，不要像巡逻或排队走路。撞击动作必须明确：机器人身体撞牌子，牌子因撞击倒下。脚踩特写要有重量、沙粒、金属摩擦和群体无视警告的讽刺感。真实电影摄影，黑色幽默，物理运动可信，不要夸张特效，不要卡通，不要背景音乐。

以 {{Portrait 1}} 为首帧构图、警示牌造型与海边空间参考，以 {{Portrait 2}} 为机器人外形、比例、材质与运动状态参考。 16:9，8秒，电影级现实主义影像，真实摄影感，黑色幽默气质，海边晴天自然光，统一空间连续动作。整条视频必须发生在同一片海滩、同一块警示牌、同一时间、同一光线方向、同一海岸线环境中。两个镜头之间不是换场景，而是同地连续动作，中间做一次硬切。 只要音效，不要背景音乐。 镜头1｜0.0s - 4.8s 35mm镜头，中近景，略低于人视高度，轻微稳定的手持推近感，真实摄影透视，不要超广角。 画面右侧前景是一块老旧生锈的海边警示牌，牌子上清晰写着 NO SWIMMING / DEEP WATER / CIRCUIT RISK / ENTER AT YOUR OWN RISK，并带有“禁止机器人下水”的图形符号。牌子顶部站着一只海鸥。背景信息量适中，不要太满，只保留简洁的海岸线、潮线、少量远处海边建筑轮廓与海面，整体空间与 {{Portrait 1}} 一致。 前1秒画面先保持安静，只听海浪与风声。随后从画外左侧逐渐传来金属机器人奔跑声，声音由远到近快速逼近。海鸥先察觉异响，轻微偏头，身体警觉，随后突然振翅飞走。就在海鸥飞起后，一台与 {{Portrait 2}} 一致风格的公共服务机器人从画面左侧快速冲入，完全无视警示牌，径直朝海边方向奔跑。它的高度明显高于牌子，牌子顶部大约到机器人胸口偏下或下肩位置。机器人运动真实，有奔跑惯性和沙地受力反馈，不要机甲感，不要战争机器人感。机器人冲入后不减速，肩部或机身侧面直接撞上牌子，将牌子粗暴撞倒在沙地上，伴随木桩松动、金属碰撞、沙土飞散。动作一气呵成，保持真实物理感。 硬切｜4.8s 直接从撞倒动作硬切到低机位特写，不转场，不淡化，不闪白。 镜头2｜4.8s - 8.0s 65mm镜头，低机位近景特写，镜头位置与上一镜头保持同一空间逻辑，只是压低并贴近地面，距离倒下的牌子约1到2米。 倒下的警示牌 леж在沙地上，部分埋进沙里，牌面仍能清楚看见 NO SWIMMING 字样和“禁止机器人下水”的图形符号，方向与上一镜头一致，说明是同一块刚被撞倒的牌子。多个与 {{Portrait 2}} 一致风格的机器人下肢和脚部从画面左后方向右前方、朝海边方向持续经过，重点表现一只金属脚掌重重踩上牌面，压住“NO SWIMMING”字样或机器人图形，再狠狠碾过去，随后另外几只脚连续从牌子上踏过。动作要有重量感、金属质感和沙地摩擦感，牌子被踩弯、震动、刮擦、轻微陷入沙中。背景可以略虚，只保留模糊海边地面与继续奔向海边的机器人群下肢，强调这是同一空间内的连续踩踏动作，而不是新场景。结尾保持机器人继续朝海边冲去的趋势。 全片统一要求 同一片海滩，同一块牌子，同一时间，同一阳光方向，同一海浪状态，同一机器人设计语言。 机器人都是公共服务机器人，不是战争机甲，不要太大，不要夸张未来感。 动作方向统一：都朝海边跑。 镜头1重在“静 → 异响 → 海鸥惊飞 → 撞倒牌子”，镜头2重在“硬切后立即强化讽刺：脚踩警示牌继续前冲”。 真实电影摄影，真实空间连续性，黑色幽默，不要卡通，不要游戏感，不要夸张VFX。 只要音效，不要背景音乐。 音效重点：海浪声、风声、由远到近的金属奔跑声、海鸥扑翅声、撞牌子的金属碰撞声、沙土摩擦声、脚掌踩踏金属牌面的重击与碾压声。

图1为本镜头首帧与场面调度参考，图2为飞行飞机造型与机身彩蛋参考，图3为海岸世界观环境参考。 21:9画幅，时长6秒，诺兰式极度写实主义美学，电影级IMAX 70mm胶片质感，超写实，真实摄影，不要游戏CG感。60年代复古科幻原子朋克海岸世界，真实自然日光，低饱和复古胶片色调，细腻胶片颗粒，画面干净，只有同期声音效，不要背景音乐。 镜头从图1首帧状态开始。低机位，镜头处在机器人奔跑人群内部，广告牌位于画面左侧，构图略微倾斜，视角略仰，不要板正展示。大量群众机器人密密麻麻地沿着首帧既定方向持续向画面右前方奔跑，形成强烈的人潮与财富追逐感，前景、中景、远景都要有奔跑机器人，地面扬起沙尘。镜头不是静止观察，而是贴着人群一边向后移动一边穿行，前景不断有机器人身体、手臂、腿部高速掠过，形成真实前景遮挡和运动模糊，镜头像被卷入人潮之中，有明显冲击力和穿插感。 前半段先听到飞机引擎声，随后一架复古小型单引擎飞机按照图2造型，从广告牌右侧掠出，不是直直飞出，而是带一个自然流畅的小弧线切入画面。飞机整体飞行方向与奔跑机器人群保持一致，顺着人潮方向向画面右侧飞去。飞机切入后，镜头速度加快，与飞机形成短暂的低空平行伴飞关系，机位略低于飞机，既能清楚看到飞机侧面机身，也能看到下方奔跑的人潮。这个阶段飞机机身侧面必须清楚可见，图2中的彩蛋海报在机身侧面停留约1秒，具有明确视觉锚点，可以被观众看清。伴飞阶段前景机器人继续高速掠过，形成强烈速度感和空间层次。最后飞机继续向画面右侧加速掠过，并略微抬升，从画面右侧飞出。整条镜头保持空间方向统一，机器人奔跑方向统一，飞机飞行方向统一，不能出现另一拨朝相反方向运动的机器人，不能出现海边空场，不能让镜头一直只是远远跟拍，必须有低机位、人群内部穿行、短暂平行伴飞、清晰露出机身彩蛋的效果。

21:9电影画幅，约12秒，内部硬切，只要音效，不要背景音乐。 参考设置： {{Portrait 1}} 为大机器人参考：重型猩猩式工程推进机器人，体量巨大，低重心，四肢着地行进，前臂极其粗壮，旧白色金属机身，带褪色锈红工业色块，机械重量感强。 {{Portrait 2}} 为群众机器人参考：较小型磨损海岸服务机器人，复古实用设计，旧白色老化金属外壳，头型、胸腔面板、背包、手臂形状、小面积褪色标记都有细微变化。它们要属于同一个世界观，但不能长得一模一样。 {{Mixed 3}}和{{Mixed 4}} 为海岸环境参考：沙滩与海水之间有明显的斜向分界线。 影像风格： 电影级IMAX 70mm胶片质感，真实实拍感，Panavision C系列变形宽银幕镜头气质，60年代复古未来主义原子朋克海岸美学，晒白褪色的海岸色调，暖沙色与海盐蓝为主，低饱和、克制、真实，自然日光照明，轻微胶片颗粒，空气透视清晰，画面干净，不过度锐化，避免明显游戏CG感，避免数码HDR感。 核心空间规则： 所有机器人都必须从沙滩一侧冲向海水一侧。 它们的身体、头部、脚步和运动方向，都必须明确朝向最近的海水边界。 不要让大机器人背对海。 不要让关键机器人往沙滩方向走回去。 保持统一的屏幕运动方向：从沙滩到海水，从安全区进入危险区。 核心动作节奏： 这场戏不能从机器人平静站着或慢慢走开始。 开头时，前排机器人必须带着上一场大群体奔跑的惯性，从沙滩一侧冲入画面。 它们冲向海岸线，到达湿沙和水线处，突然刹住，短暂迟疑，然后继续进入海水。 前三秒必须清楚表现：奔跑惯性、到水边急刹、短暂犹豫、决定下水。 群像连续性： 这不是空海滩，也不是一个小队。 镜头虽然聚焦一台大机器人和几台关键小机器人，但背景里仍必须有大量机器人作为虚化人物、局部剪影、零散移动形体、远处机器人潮流存在。 海滩必须感觉仍然连接着上一场大规模机器人狂奔。 不要让关键机器人周围出现大面积空白。 比例规则： 大机器人必须明显有统治感，约为普通群众机器人高度的2.8到3倍，整体体量约3倍。 在同一片水域里，大机器人只到膝盖深，而附近小机器人已经胸口深，甚至接近肩膀深。 这个水位反差非常重要。 镜头A，0.0–2.0秒： 硬切到更紧的高位斜俯视镜头，不要是遥远空旷的俯拍。 海岸线斜向切过画面。 机器人从沙滩侧冲向海水侧。 大机器人带着沉重惯性进入画面，领在前排。 它周围有12到18台小机器人奔跑或踉跄向前。 后方还有更多机器人作为柔和的背景群像继续赶来。 镜头结尾，前排机器人冲到湿沙和水线处，开始急刹。 镜头B，2.0–3.6秒： 硬切到更靠近水线的中远景。 几台小机器人在湿沙上轻微打滑、慢下来，短暂迟疑，看向海水。 大机器人完全不犹豫，继续向前推进。 镜头可以轻微横摇或重新构图，跟随大机器人从沙滩进入第一层海浪。 背景里仍有更多机器人朝水边移动，但略微失焦。 镜头C，3.6–5.5秒： 硬切到低到中机位的海岸线角度。 大机器人以沉重机械力量踏入海浪。 大机器人只到膝盖深。 周围几台小机器人已经胸口深。 后方群像仍要可见，作为移动的背景存在。 大机器人必须面朝海水，继续往更深处走，不能回头朝沙滩方向。 镜头D，5.5–7.0秒： 硬切，或有动机地从大机器人腿部带到旁边一台小机器人。 这台小机器人胸口深，还在努力往前。 它的眼灯开始闪烁，身体抽搐，一只手臂卡顿，关节处冒出小火花。 先建立短路前兆，再让它倒下。 使用轻微推进或横摇，把这台失控机器人单独拎出来，同时让大机器人的巨大腿部留在附近作为比例参照。 镜头E，7.0–8.6秒： 小机器人失去平衡，向侧面倒进水里。 镜头跟着它一起往下坠，而不是停在水面上看。 这必须像摄影机物理跟随它一起沉入水里，不是随机切换。 镜头F，8.6–10.0秒： 水下镜头。 故障小机器人笨拙地下沉，周围有气泡、残余电火花、漂动的肢体和被扰动的浑浊水体。 非常近的位置，大机器人的巨大下肢从画面旁边或上方经过，继续向前，完全不停。 形成巨型机器人压迫感与小机器人无助失败之间的强烈对照。 镜头G，10.0–12.0秒： 硬切回到水面上方。 大机器人继续无情地往更深的水里推进。 旁边一两台小机器人挣扎前进，一台迟疑，另一台几乎也要短路。 背景里仍有机器人持续下水，作为柔和移动形体保留群像事件感。 结尾要让人感觉：所有人都知道水危险，但依然继续冲向远处的诱惑。 重要限制： 不要从空海滩开始， 不要从机器人已经平静站在水边开始， 不要让机器人慢悠悠走进海里， 不要让大机器人朝错方向， 不要让关键机器人往沙滩方向走回去， 不要让所有群众机器人长得一模一样， 不要让背景变空， 不要让大机器人只比小机器人高一点， 不要丢掉“奔跑—急刹—犹豫—下水”的动作节拍， 不要拍成一个孤立小队。

21:9 ultra-wide cinematic video, 12 seconds, realistic live-action IMAX 70mm film texture, Nolan-style grounded realism, Panavision C-series anamorphic lens language, subtle film grain, restrained color, natural daylight, warm sand-gold, sea-salt blue, sun-faded off-white, slightly desaturated, realistic highlights, physical motion blur. Sound effects only, no background music. 1960s retro-futurist atompunk coastal world. A dense crowd of public service robots rushes toward the shoreline, reaches the waterline, hesitates for a brief moment, then is forced forward by crowd pressure into the sea. One normal robot short-circuits in the water and collapses. The camera follows that collapse down into the water, while a massive heavy robot continues forward beside it with indifferent pressure. Reference rules: {{Portrait 1}} is the main large heavy engineering robot, ape-like R-27. There is only one clear R-27 in this sequence. It is about 2.5 to 3 times taller and much heavier than a normal public service robot. {{Portrait 2}} is the public service robot crowd reference. Use varied robot shapes, silhouettes, colors, and models. Mostly weathered off-white bodies mixed with faded blue, red, green, yellow, cream, and worn metal details. {{Mixed 3}} is the shoreline and seawater reference. Scene design: The beach must feel populated and pressured, not empty. Even when the camera focuses on a few main robots, many more robots remain visible in the background and at the frame edges in softer focus, still moving toward the sea. The large R-27 must feel clearly dominant in scale. In the same water area, the R-27 is only knee-deep while nearby normal robots are already chest-deep. This height and water-depth contrast is visually important. Shot 1, 0.0s–2.0s: A tighter high oblique wide shot. A dense stream of robots runs urgently toward the diagonal shoreline. The frame contains many robots in foreground, midground, and background. The single R-27 is visible among them, clearly larger, moving with heavy momentum. Camera drifts slightly forward with the running flow. Shot 2, 2.0s–3.5s: Hard cut. Low waterline medium-telephoto shot, around 65mm to 85mm. Several normal robots arrive at the edge of the sea, feet hitting wet sand and shallow wash. Their movement slows. One or two hesitate for a brief beat, glancing down or forward. Behind them, more robots continue arriving, creating pressure from the rear. Shot 3, 3.5s–5.2s: Hard cut. Low side-back angle. The R-27 advances from behind the hesitant robots. Its mass and relentless forward movement force the smaller robots ahead into the water. The smaller robots are not fighting; they are simply being crowded forward. Camera pans from the hesitant smaller robots to the looming R-27, then back toward the waterline. Shot 4, 5.2s–7.2s: Hard cut. Side water-level medium-telephoto shot. Show the contrast clearly: the R-27 moves through knee-deep water, while several nearby normal robots are already chest-deep. The frame includes five to eight smaller robots around the large one. One smaller robot in the group begins to show strain and instability as the water rises against its torso. Shot 5, 7.2s–9.4s: Hard cut. Medium close shot of the struggling normal robot in chest-deep water. Its eye lights flicker, its chest and neck emit small electrical sparks, its movement becomes uneven and twitching, and it starts to fail under the water pressure. The R-27’s massive legs remain nearby, continuing forward. Shot 6, 9.4s–12.0s: Hard cut. The malfunctioning normal robot suddenly collapses sideways into the water. The camera follows the robot as it falls, tilts with the body, and sinks partially underwater. Water splashes across the lens. The image becomes half-submerged and muffled. As the fallen robot drops into the water, one huge R-27 leg passes close beside the camera with strong scale and pressure, continuing forward without stopping. End with the short-circuited robot fading downward in the water while the giant leg moves past. Camera language: Distinct hard-cut shots with strong changes in angle, scale, and staging. Each shot should have its own clear visual purpose. Use real cinematic camera design inside each shot: slight drift, pan, reframing, focus shift, and follow-through movement. Avoid repetitive same-angle zooms. Keep the motion physical and believable. Performance and action: The robot crowd first rushes to the shoreline, then briefly slows and hesitates at the water’s edge, then gets pushed onward by the crowd and the pressure of the R-27. The emotional rhythm is: urgency, hesitation, pressure, forced entry, failure. Sound design: Sound effects only. Dense running footsteps on sand, wet sand impacts, waves, splashes, heavy R-27 mechanical footsteps, servo motors, crowd movement, electrical crackles, short-circuit sparks, water hitting the lens, muffled underwater sound.

保持 {{Image 1}}机位场景换成大海的海面,给人一种深海的感觉

21:9 ultra-wide cinematic sequence, 12.5 seconds, realistic live-action IMAX 70mm film look, Nolan-style grounded realism, Panavision C-series anamorphic lens language, subtle film grain, restrained color, sun-faded sand-gold, sea-salt blue, weathered off-white, realistic natural daylight, slight real motion blur, sound effects only, no background music. 1960s retro-futurist atompunk coastal world. A massive crowd of public service robots is being collectively drawn into the ocean. The scene is absurd, oppressive, darkly humorous, and satirical, not heroic, not sci-fi action spectacle. Reference rules: {{Portrait 1}} is the giant heavy engineering robot, ape-like R-27. It must be clearly huge, about 2.5 times the height of a normal robot and around 3 times the body mass. Low center of gravity, heavy mechanical limbs, oppressive but grounded. {{Portrait 2}} is the crowd robot reference. Use varied robot types, colors, and silhouettes, not identical clones. Mix faded white, blue, green, red, yellow, and worn metal details. {{Mixed 3}} is the shoreline and water reference. Important dramatic logic: The robots are not fighting each other. The large R-27 does not punch or attack. Its size and relentless forward movement create pressure, forcing the smaller robots to keep moving into the sea. The scene is about crowd obsession, danger, and absurd escalation. Shot 1, 0.0s–1.4s: High oblique overhead wide shot. The shoreline cuts diagonally across the frame like a dangerous boundary. The foreground and midground show a main group of robots rushing toward the water, while the background and frame edges still contain many more robots moving toward the sea, slightly blurred, preserving the sense of a large crowd. The giant R-27 is among them. Slight forward camera drift. Shot 2, 1.4s–3.2s: Hard cut. Low waterline medium-telephoto shot, around 50mm–85mm. A normal robot reaches the edge and steps into the water. Waves wash around its feet. It hesitates briefly, looking down. Behind it, many other robots keep moving forward, and the pressure of the crowd remains visible. The camera starts at the feet and tilts up to the robot’s torso and head. Shot 3, 3.2s–5.2s: Hard cut. Side water-level shot, medium telephoto. Show the giant scale contrast very clearly. The huge R-27 is only knee-deep in the water, while nearby normal robots in the same area are already chest-deep. The camera starts on the R-27’s massive legs moving through the water, then pans or shifts focus to the smaller robots struggling nearby, emphasizing the water-level difference. Shot 4, 5.2s–7.4s: Hard cut. Medium shot of one normal robot chest-deep in the water, still trying to move forward. It begins to malfunction: eye lights flicker, small sparks appear around the chest or neck, body twitches mechanically, arms lose coordination, movement becomes unstable. The giant R-27 is still moving nearby in the background or edge of frame. Shot 5, 7.4s–9.9s: Hard cut. The malfunctioning robot suddenly short-circuits and collapses sideways into the water. The camera follows the robot as it falls, tilting and dropping with it, then partially plunging underwater. Water splashes across the lens. The image becomes half-submerged and suffocating. In this underwater or half-underwater moment, a huge mechanical leg of the R-27 passes very close beside the camera, creating a strong giant-object pressure contrast. This is the main visual hook of the sequence. Shot 6, 9.9s–12.5s: Hard cut. Water-level medium shot farther out. The giant R-27 is now much deeper, mostly submerged, with only the head and upper structure still above water. A much smaller normal robot awkwardly floats or paddles past on a crude broken wooden board or makeshift float, creating a darkly comic contrast. The tone is absurd and tragicomic, not cute. The ocean around them remains realistic and physical. Camera language: Not a one-take. Hard cuts between shots, but each shot contains its own internal movement: slight drift, tilt, pan, focus shift, collapse-follow, partial underwater transition. Strong variation of shot size and angle. Avoid repeated same-angle zoom-ins. Visual priorities: Do not make the beach empty. Keep the sense of many robots behind the main action. Do not make all robots identical. Keep the giant R-27 clearly 2.5 times larger than normal robots. Emphasize the difference in water depth: R-27 knee-deep, smaller robots chest-deep. The collapse-follow-underwater moment is the main cinematic highlight. Sound: Only sound effects, no music. Running footsteps on sand, splashing water, heavy mechanical footsteps, servos, crowd movement, crackling sparks, muffled underwater sound, wave noise, metal scraping, floating debris.

21:9 cinematic widescreen, anamorphic-style composition, Nolan-style extreme realism, IMAX 70mm film texture, Panavision C-series lens language, ultra realistic live-action feeling, no game CG look, restrained film grain, subtle motion blur, realistic shallow depth of field, natural daylight, no background music, sound effects only. 1960s retro-futuristic atompunk coastal world, sunlit beach and seawater boundary, faded warm sand, sea-salt blue water, aged cream-white tones, low saturation, realistic natural highlights, clean but slightly weathered visual tone. This is a 10-second sequence with hard cuts inside one clip. Strong visual storytelling, clear shot progression, cinematic staging, black-humor undertone. Shot 1, 0.0s–1.2s: High oblique overhead wide shot, 21:9. A diagonal composition showing the dangerous boundary between sand and seawater. Several ordinary robots rush toward the shoreline from the beach. One large heavy robot is among them, taller than the others by about 2 to 3 times. The crowd is moving forward with urgency, not walking casually. The shoreline feels like a clear dividing line between safety and danger. Shot 2, 1.2s–2.6s: Hard cut. Water-level low camera angle, medium telephoto lens, around 65mm to 85mm. An ordinary robot’s feet enter shallow water from the sand. Water washes around the ankles. The camera starts from the feet and tilts gently upward to the robot’s torso and head. The robot hesitates for a brief moment, looking down at the water, showing a subtle reaction of uncertainty. Shot 3, 2.6s–4.0s: Hard cut. Low-angle side-back shot. The large heavy robot pushes into frame from behind, creating pressure. Smaller robots around it are forced forward. The big robot feels powerful, heavy, and unstoppable, aggressively pushing through the crowd rather than politely passing. The crowd is compressed and pressured to continue moving into the water. Shot 4, 4.0s–5.8s: Hard cut. Medium telephoto side shot. Show the difference in water level between robot sizes. The large robot is already knee-deep in water, while several ordinary robots nearby are already chest-deep. The camera shifts focus or gently pans from the big robot’s submerged legs to the smaller robots struggling in deeper water. Clear visual contrast, strong irony. Shot 5, 5.8s–7.6s: Hard cut. Medium close shot of one ordinary robot in the water. Its body begins to malfunction. Small electric sparks flicker from the torso and neck area. Its movement stutters. Eye lights flicker. The robot loses balance and collapses into the water in a sudden short-circuit failure. Shot 6, 7.6s–10.0s: Hard cut. Slightly wider side-back shot. The short-circuited robot remains collapsed in the foreground water, still giving off tiny sparks. Behind it, the large robot and other ordinary robots continue pressing forward into deeper water without stopping or looking back. The group remains obsessed with moving forward toward wealth. Sound design: Only sync sound effects, no background music. Running footsteps on sand, splashing water, metallic body movement, distant crowd movement, electric crackling, short-circuit sparks, subtle mechanical stress sounds, sea waves. Overall tone: Dark humor, satirical social allegory, cinematic realism, large-scale visual storytelling, not sentimental, not heroic, not sci-fi flashy, not cyberpunk.

{{Portrait 1}} 为本镜头首帧与场面调度参考， {{Mixed 2}} 为飞行飞机造型与机身彩蛋参考， {{Mixed 3}} 为海岸世界观环境参考。 21:9画幅，时长6秒，单个连续镜头，一镜到底，不要硬切，不要中途切换景别，不要突然换场景。诺兰式极度写实主义美学，电影级IMAX 70mm胶片质感，超写实，真实摄影，不要游戏CG感。60年代复古科幻原子朋克海岸世界，真实自然日光，低饱和复古胶片色调，细腻胶片颗粒，画面干净。只要同期声音效，不要背景音乐。 0.0—1.5秒： 镜头从图1首帧状态开始。低机位，摄影机处在机器人奔跑人群内部，广告牌位于画面左侧或左前方，构图略微倾斜，视角略仰，不要板正展示。大量群众机器人沿着图1首帧既定方向，持续向画面右前方奔跑，形成强烈人潮与财富追逐感。前景、中景、远景都要有奔跑机器人，地面扬起沙尘。摄影机贴着人群向后移动，前景不断有机器人身体、手臂、腿部高速掠过，形成真实遮挡和运动模糊，镜头像被卷入人潮之中。 1.5—2.3秒： 远处飞机引擎声迅速逼近。一架复古小型单引擎飞机按照图2造型，从广告牌右侧或广告牌侧后方突然掠出，带一个自然流畅的小弧线切入画面。飞机不要直直平飞，不要从错误方向逆着人潮飞。飞机整体飞行方向必须与奔跑机器人群保持一致，顺着人潮方向向画面右侧或右前方飞去。 2.3—4.5秒： 摄影机速度加快，与飞机形成短暂的低空平行伴飞关系。镜头和飞机同向运动，机位位于飞机侧面略低处，既能清楚看到飞机机身侧面，也能看到下方密集奔跑的人潮。这个阶段是本镜头最重要的彩蛋读取段：图2中的机身侧面彩蛋海报需要在画面中相对稳定停留约0.8到1秒，具有明确视觉锚点，观众能看清，但不要让飞机停住摆拍。螺旋桨高速旋转，机身主体保持相对清晰，前景机器人继续高速掠过，形成强烈速度感和空间层次。 4.5—6.0秒： 飞机继续顺着人潮方向向画面右侧或右前方加速掠过，轻微抬升，从画面右侧飞出。镜头不要突然硬切，不要切到海面大全景，不要变成飞机参考图展示。结尾保留机器人群体继续奔跑的地面动势，为下一镜鸵鸟机器人冲跑做衔接。 整条镜头必须是一个连续运动镜头，不能中途硬切，不能突然换景别。空间方向必须统一：群众机器人奔跑方向统一，飞机飞行方向与人潮方向统一，镜头运动方向与飞机伴飞阶段统一。不能出现另一拨朝相反方向运动的机器人，不能让飞机只露机底，必须在伴飞阶段看到飞机侧面和彩蛋贴图。不要把飞机拍得过大，它是小型复古宣传飞机，不是巨大主机。 声音要求：只要同期声音效，不要背景音乐，不要配乐，不要旋律，不要鼓点。声音包括密集群众机器人奔跑脚步声、金属关节高速运动声、近距离身体擦碰声、沙尘声、螺旋桨由远到近迅速逼近的轰鸣声、飞机低空掠过的破风声。

{{Portrait 1}} 为本镜头首帧与场面调度参考， {{Mixed 2}} 为飞行飞机造型与机身彩蛋参考， {{Mixed 3}} 为海岸世界观环境参考。 21:9画幅，时长6秒，单个连续镜头，一镜到底，不要硬切，不要中途切换景别，不要突然换场景。诺兰式极度写实主义美学，电影级IMAX 70mm胶片质感，超写实，真实摄影，不要游戏CG感。60年代复古科幻原子朋克海岸世界，真实自然日光，低饱和复古胶片色调，细腻胶片颗粒，画面干净。只要同期声音效，不要背景音乐。 0.0—1.5秒： 镜头从 {{Portrait 1}} 首帧状态开始。低机位，摄影机处在机器人奔跑人群内部，广告牌位于画面左侧或左前方，构图略微倾斜，视角略仰，不要板正展示。大量群众机器人沿着 {{Portrait 1}} 首帧既定方向，持续向画面右前方奔跑，形成强烈人潮与财富追逐感。前景、中景、远景都要有奔跑机器人，地面扬起沙尘。摄影机贴着人群向后移动，前景不断有机器人身体、手臂、腿部高速掠过，形成真实遮挡和运动模糊，镜头像被卷入人潮之中。 1.5—2.3秒： 远处飞机引擎声迅速逼近。一架复古小型单引擎飞机按照 {{Mixed 2}} 造型，从广告牌右侧或广告牌侧后方突然掠出，带一个自然流畅的小弧线切入画面。飞机不要直直平飞，不要从错误方向逆着人潮飞。飞机整体飞行方向必须与奔跑机器人群保持一致，顺着人潮方向向画面右侧或右前方飞去。 2.3—5.5秒： 摄影机速度加快，与飞机形成短暂的低空平行伴飞关系。镜头和飞机同向运动，机位位于飞机侧面略低处，既能清楚看到飞机机身侧面，也能看到下方密集奔跑的人潮。这个阶段是本镜头最重要的彩蛋读取段： {{Mixed 2}} 中的机身侧面彩蛋海报需要在画面中相对稳定停留约1.5到2秒，具有明确视觉锚点，观众能看清，但不要让飞机停住摆拍。螺旋桨高速旋转，机身主体保持相对清晰，前景机器人继续高速掠过，形成强烈速度感和空间层次。 5.5—6.5秒： 飞机继续顺着人潮方向向画面右侧或右前方加速掠过，轻微抬升，飞机完全从画面右侧飞出。镜头不要突然硬切，不要切到海面大全景。结尾保留机器人群体继续奔跑的地面动势. 整条镜头必须是一个连续运动镜头，不能中途硬切，不能突然换景别。空间方向必须统一：群众机器人奔跑方向统一，飞机飞行方向与人潮方向统一，镜头运动方向与飞机伴飞阶段统一。不能出现另一拨朝相反方向运动的机器人，不能让飞机只露机底，必须在伴飞阶段看到飞机侧面和彩蛋贴图。不要把飞机拍得过大，它是小型复古宣传飞机，不是巨大主机。 声音要求：只要同期声音效，不要背景音乐，不要配乐，不要旋律，不要鼓点。声音包括密集群众机器人奔跑脚步声、金属关节高速运动声、近距离身体擦碰声、沙尘声、螺旋桨由远到近迅速逼近的轰鸣声、飞机低空掠过的破风声。

太阳在图片右下角的位置.重塑一下光影变化

{{Portrait 1}} is the first-frame continuity reference. The first frame must stay very close to {{Portrait 1}} in composition, camera angle, perspective, character placement, character direction, and spatial relationship. Do not change the angle, break the axis, or redesign the shot. {{Portrait 2}} is the appearance reference for the protagonist A-315. A-315 remains a worn white round-headed robot with twin circular lens eyes, thin mechanical limbs, old toy-like proportions, an A-315 mark on the chest, holding a gold coin. {{Portrait 3}} is the appearance reference for the large robot. The large robot remains a heavy, low-centered, highly imposing machine, body leaning forward, driving with its forelimbs / front feet, close to a gorilla-like quadrupedal charge. Create a 4-second horizontal cinematic realistic shot with a live-action photographic feel, retro-futuristic coastal wasteland atmosphere, IMAX 70mm film texture, clean image, subtle film grain, and realistic motion blur. Sound effects only, no background music. At the start, strictly continue from {{Portrait 1}}. The large robot has already rushed past A-315. It is not entering again. It must continue moving away from the camera in the same direction as the previous shot, charging toward the depth of the frame, with its back or rear three-quarter side facing the camera, gradually becoming smaller. It must not run toward the camera, must not move backward, must not turn sideways, and must not charge back toward A-315. As the large robot moves away from the camera, it continuously shoves, pushes, knocks off balance, and clears the crowd robots that are on its path into the depth of the frame. The impacted robots stumble, tilt sideways, lose balance, or get forced out of the path. This is path-clearing while moving away, not repeated close-up smashing in place. The large robot must keep a low center of gravity, forward-leaning body, and forelimb / front-foot driven quadrupedal charge, like a heavy gorilla charging into the depth of the frame. Do not turn it into upright biped walking, jumping, frog-hopping, or suddenly turning around. The surrounding crowd robots must all rush quickly toward the same deep-frame destination, in the same general direction as the large robot moving away. They lean forward, move with urgent step rhythm, running and squeezing past both sides of A-315 and through the background, forming a dense robot tide. Do not make them walk slowly, wander, stop to watch, line up neatly, or look copy-pasted. A-315 stays in the foreground or mid-foreground, basically planted in place, holding the gold coin, not running with the crowd. He first looks toward the direction where the large robot is moving away, then is quickly attracted by a new disturbance from behind. Timing: 0–0.3s: only a very short first-frame continuation. The large robot keeps moving away from the camera. Crowd robots rush quickly toward the depth of the frame. 0.3–0.6s: A-315 is immediately attracted by a disturbance from behind and briefly freezes. 0.6–1.3s: A-315 clearly half-turns to look behind. Only the head and upper body turn. Do not let the whole body move away or fully turn into a front-facing pose. 1.3–4.0s: A-315 has completed the half-turn and holds the look-back position, leaving a stable ending hold for the next cut. The camera stays in a third-person view from behind and slightly to the right of A-315. As A-315 half-turns back, the camera makes a small curved push-in with a slight upward rise. The camera movement starts around 0.6s and completes the main move around 1.3s, then holds a stable ending composition. Do not chase the large robot, and do not let the large robot become the close-up subject again. Sound effects: dense metallic running footsteps from the crowd robots, mechanical friction, sand being kicked up, the heavy vibration of the large robot moving away from the camera, continuous collision impacts as it clears the crowd, A-315’s small servo head-turn sound, and a new disturbance beginning from behind. Sound effects only, no background music.

{{Portrait 1}} 为本镜头首帧与场面调度参考， {{Mixed 2}} 为复古小型螺旋桨飞机造型与机身彩蛋参考， {{Mixed 3}} 为海岸世界观环境参考。 21:9画幅，时长6秒，单个连续镜头，一镜到底，不要硬切，不要中途换景。电影级IMAX 70mm胶片质感，诺兰式极度写实主义，真实摄影感，Panavision C系列镜头质感，60年代复古科幻原子朋克海岸世界，自然日光，低饱和复古胶片色调，细腻胶片颗粒，轻微动态模糊。只要同期声音效，不要背景音乐，不要配乐。 0.0—1.2秒： 镜头从图1首帧状态开始。低机位，摄影机处在奔跑机器人群体内部，接近机器人胸口到头部之间的高度，略微仰拍。广告牌位于画面左侧或左前方，略微倾斜进入构图，不要板正展示。大量群众机器人沿着图1首帧既定方向持续向画面右前方奔跑，前景、中景、远景都布满奔跑机器人，地面扬起沙尘。摄影机不是站在外面看，而是被人潮裹挟着向后移动，前景不断有机器人肩膀、手臂、腿部从镜头前快速擦过，形成强烈遮挡和运动模糊。 1.2—2.0秒： 远处复古螺旋桨飞机轰鸣声迅速逼近。飞机按照图2造型，从广告牌右侧或广告牌侧后方突然斜切出来，不是慢慢飘出来，而是带着明显速度和突然闯入感。飞机轨迹不是直线平飞，而是一个轻微俯冲的小弧线，从稍高处压低，顺着机器人奔跑方向向画面右前方切入。 2.0—5秒： 镜头速度提高，与飞机形成短暂低空平行伴飞。摄影机和飞机同向运动，机位位于飞机侧面略低处，不要只看到机底，必须清楚看到飞机机身侧面。飞机贴着奔跑机器人群体头顶低空掠过，和镜头的距离逐渐接近，产生强烈压迫感和风压感。 {{Mixed 2}} 中的机身侧面彩蛋贴图需要在画面中形成约1到1.5秒的清晰视觉锚点，观众能看清，但飞机不要停住摆拍。螺旋桨高速旋转，机身主体相对清晰，前景机器人高速掠过形成强烈速度层次。 5—6.0秒： 飞机继续顺着人潮方向向画面右前方加速，轻微抬升，飞机从画面右侧完全侧飞出画面。飞机飞出时要有完整的掠过动作，不要仓促结束。镜头保留下方密集奔跑的人潮和沙尘，形成下一镜鸵鸟机器人出场的动势衔接。不要让人群方向混乱，不要让飞机逆着人潮飞，不要让飞机只是远远经过。 整条镜头核心：低机位置身人群、广告牌左侧建立、飞机从广告牌右侧突然斜切出、短暂平行伴飞看清机身侧面彩蛋、飞机贴着机器人头顶飞过并飞出画面。画面要有冲击力、速度感、突然性和低空危险距离。

{{Portrait 1}} 为本镜头首帧与场面调度参考， {{Mixed 2}} 为复古双翼螺旋桨飞机造型与机身彩蛋参考， {{Mixed 3}} 为海岸世界观环境参考。 21:9画幅，时长6秒，单个连续镜头，一镜到底，不要硬切，不要中途换景。电影级IMAX 70mm胶片质感，诺兰式极度写实主义，真实摄影感，Panavision C系列镜头质感，60年代复古科幻原子朋克海岸世界，自然日光，低饱和复古胶片色调，细腻胶片颗粒，轻微动态模糊。只要同期声音效，不要背景音乐，不要配乐。 镜头从 {{Portrait 1}} 首帧状态开始。摄影机处在奔跑机器人群体内部，低机位，略微仰拍，像贴着机器人胸口和头部之间高度向后移动。画面中前景、中景、远景都有密密麻麻持续向前奔跑的群众机器人，前景不断有机器人肩膀、手臂、头部、腿部高速擦过镜头，形成强烈遮挡与运动模糊。广告牌位于画面左侧或左前方，略微倾斜进入构图，不要板正展示。 远处复古双翼螺旋桨飞机轰鸣声迅速逼近。飞机按照图2造型，从广告牌右侧或广告牌侧后方突然斜切出来，不是慢慢飘出，而是带一点俯冲弧线，低空快速压向镜头，并顺着机器人奔跑方向向画面右前方掠过。 飞机逼近后，摄影机不要远远观看，而是迅速贴近飞机，和飞机形成极近距离、低空、同方向的平行伴飞。镜头位置略低于机身侧面，不要只看到机底，必须清楚看到飞机机身侧面。镜头在伴飞过程中几乎冲入双翼之间的空间边缘，贴着机身与翼撑附近险些擦过，形成近乎穿过双翼之间开口区域的掠过感，但不要真正穿模，不要钻进飞机内部。要让观众感到镜头几乎从双翼之间擦过去，距离极近，压迫感很强。 在这段极近距离平行伴飞过程中，图2中的机身侧面彩蛋贴图必须形成约1到1.5秒的清晰可读视觉窗口。飞机主体相对清楚，螺旋桨高速旋转，前景与下方奔跑机器人高速掠过，形成强烈速度层次和风压感。 最后飞机继续顺着人潮方向向画面右前方加速，轻微抬升，从画面右侧完整飞出画面。镜头保留下方继续奔跑的密集机器人群体与沙尘，为下一镜做衔接。不要让飞机逆着人潮飞，不要让飞机只是远远经过，不要让飞机只露出机腹，必须让机身侧面可见，必须有近乎穿翼的极近距离掠过感。 整条镜头核心：低机位置身奔跑人群、广告牌左侧建立、飞机从广告牌右侧突然斜切入场、与镜头极近距离低空平行伴飞、镜头几乎从双翼之间的空间边缘擦过、短暂看清机身侧面彩蛋、然后飞机加速飞出画面。画面要有冲击力、危险距离、速度感和抓眼球的高潮。

{{Portrait 1}} 为首帧连续参考。生成视频第一帧必须严格贴近 {{Portrait 1}} 的构图、机位、透视、角色位置、角色朝向和空间关系，不换角度，不改轴线，不重新设计画面。 {{Portrait 2}} 为主角小机器人 A-315 外观参考。A-315 保持破旧白色圆头机器人形象，双圆形镜头眼，细瘦机械四肢，旧玩具般比例，胸口 A-315 标记，手里拿着金币。 {{Portrait 3}} 为大机器人外观参考。大机器人保持厚重、低重心、强压迫感的重型机体，身体前倾，以前肢/前脚掌发力，接近猩猩式四肢前冲姿态。 生成一个 4 秒横版电影级写实镜头，真实摄影感，复古未来海岸废土氛围，IMAX 70mm 胶片感，画面干净，轻微胶片颗粒，真实运动模糊。只要音效，不要背景音乐。 开场严格接住 {{Portrait 1}}。大机器人已经从 A-315 身边冲过去，不是重新入场。它必须继续沿着上一镜的方向远离摄像机、冲向画面深处，背部或侧后背朝向镜头，体积逐渐变小。它不要朝镜头跑来，不要倒退，不要横向折返，不要重新冲向 A-315。 大机器人在远离镜头的过程中，持续把自己远去路径上的群众机器人撞歪、顶开、推开、挤开。被撞的机器人发生踉跄、侧歪、失衡、被迫让开路线。注意：这是大机器人一边远去一边开路，不是在近景原地反复撞，不是在镜头前停留表演。 大机器人必须保持低重心、身体前倾、以前肢/前脚掌发力的四肢前冲姿态，像重型猩猩一样向画面深处冲走。不要变成双脚直立走路，不要跳跃，不要蛙跳，不要突然转身。 周围群众机器人必须整体朝同一个画面深处目标快速前冲，方向与大机器人远去方向一致。它们身体前倾，步频急促，边跑边挤，从 A-315 两侧和背景快速掠过，形成密集机器人潮。不要慢走，不要闲逛，不要停下围观，不要整齐列队，不要复制粘贴。 A-315 站在前景或中前景，基本停在原地，手里拿着金币，不跟着人群往前跑。它先看着大机器人远去的方向，然后很快被身后新的动静吸引。 时间节奏： 0–0.3秒：只保留极短首帧延续，大机器人继续远离镜头，群众机器人快速朝画面深处前冲。 0.3–0.6秒：A-315 立刻被身后动静吸引，身体微微僵住。 0.6–1.3秒：A-315 明显半回头看向身后，只转头和上半身，不要整个人走开，不要完全正面对镜头。 1.3–4.0秒：A-315 已经完成半回头，保持看向身后的状态，给出稳定落幅，方便下一镜剪接。 摄影机从 A-315 右后侧第三人称观察，随着 A-315 半回头，做一个小幅弧形推近并轻微上抬。镜头运动要从 0.6 秒左右就开始，1.3 秒左右完成主要运动，后面保持稳定落幅。镜头不要追着大机器人跑，不要让大机器人重新成为近景主体。 音效：密集机器人快速奔跑的金属脚步声、机械摩擦声、沙地扬尘声、大机器人远离镜头时的沉重震动和连续撞开人群的撞击声、A-315 头部转动的细小伺服声、身后新的动静逐渐出现。只要音效，不要背景音乐。

Reference setup: {{Mixed 1}} = open sea surface reference {{Mixed 2}} = golden island reference {{Portrait 3}} = public service crowd robot reference Prompt: Use {{Mixed 1}} as the open sea surface and wave texture reference, {{Mixed 2}} as the golden island target reference, and {{Portrait 3}} as the crowd robot design reference. Create an approximately 8.5-second cinematic sequence with hard-cut internal shot changes, not a fake one-take. Aspect ratio 21:9. This sequence must contain three clearly separated shot blocks with different framings and internal edits. Overall visual style: film-grade IMAX 70mm realism, real live-action feel, subtle Panavision C-series anamorphic vintage texture, 1960s retro-futurist atomic-punk coastal mood, sun-bleached faded seaside palette, warm sand tones and sea-salt blue, low saturation, restrained and realistic, natural daylight, light film grain, clean image, clear atmospheric depth, no obvious game-CG look, no glossy digital HDR look. Important story logic: This sequence happens fully on the open sea, after the robots have already left the beach. The only destination is the golden island. Do not show the shoreline or coast in this sequence. The robots are swimming from upper left toward lower right, moving toward the direction of the golden island. The crowd must feel like a desperate chaotic rush toward wealth, not a tidy formation. The crowd robots must strongly vary in head shape, body type, height, paint color, weathering, proportions, and swimming style. They must not look like cloned copies. Some swim faster, some slower, some kick harder, some struggle, some push forward aggressively, some collide, some climb over others, some momentarily lose rhythm. The group must feel messy, competitive, uneven, crowded, greedy, urgent, and survival-driven. Avoid synchronized movement. Avoid identical strokes. Avoid neat rows. Shot block 1 — 0.0s to 2.8s A medium-wide to wide open sea establishing shot. The frame is filled with ocean surface and a large number of crowd robots swimming diagonally from upper left to lower right. This must feel like a rushing swarm, not a line of swimmers. Some robots are partially occluded by others. Some are ahead, some lag behind. Some cut across each other. Layer the crowd in foreground, midground, and background, creating strong density and depth. The camera is slightly elevated, looking down at the moving crowd with cinematic clarity. Within this block, use one internal hard cut: 0.0s–1.5s: medium-wide overhead-diagonal group shot showing a dense field of varied robots surging forward across the sea surface. 1.5s–2.8s: slightly tighter shot, still on the open sea, emphasizing disorder and competition, with several robots overtaking or bumping past each other. The golden island should not yet be clearly shown here, only implied as the forward destination. Shot block 2 — 2.8s to 5.3s Focus on a smaller cluster within the crowd. Show a struggling interaction where one robot grabs onto or pushes against another while trying to keep moving forward. This is not a clean duel — it is part of the crowd chaos. The background must still contain many other swimming robots, softly layered and partially blurred, so the scene never feels empty or isolated. Within this block, use two hard-cut sub-shots: 2.8s–4.0s: medium shot of two or three robots in the water, jostling and interfering with each other while trying to advance. 4.0s–5.3s: tighter close shot focusing on the physical struggle — hands, shoulders, splashing, a robot pushing another’s head or body down while continuing forward. The emotional tone is cold, competitive, indifferent. No heroic feeling. No sentimental rescue. This should feel like desperate self-interest inside a swarm. Shot block 3 — 5.3s to 8.5s Now isolate one failing robot from the crowd. This robot is exhausted and struggling to stay afloat. It begins to sink. This is the emotional core of the sequence. This block must be broken into three clear hard-cut sub-shots: 5.3s–6.4s: medium shot of the failing robot struggling in the water, body unstable, movements weakening, trying to stay up while the crowd continues past in the background. 6.4s–7.4s: closer shot — the robot’s eye lights go dim and then switch off. Its left arm remains raised upward in a fixed calling-for-help gesture. The arm must stay lifted even as the body starts sinking. 7.4s–8.5s: poetic final shot. The robot’s body has sunk lower. Only the raised arm and then the forearm remain above the water for a moment. The water slowly rises past the elbow and toward the hand. In the distant background, softly and partially visible, the golden island appears as an unreachable goal, not too large, slightly soft, like success that was almost within reach but never attained. This final image must clearly express: the robot was close to wealth, close to success, but still failed and disappeared into the mass of losers. Do not add the final underwater reverse shot from the seabed. End the sequence on the sinking arm and distant island relationship. Sound feeling only: sea movement, splashes, mechanical struggle, subtle electrical failure, no background music.

21:9 cinematic widescreen, about 12 seconds, hard-cut montage with clearly separated sub-shots, cinematic realism, IMAX 70mm film texture, Panavision C-series anamorphic vintage feel, 1960s retro sci-fi atomic-punk coastal aesthetic, sun-bleached coastal colors, warm sand tones and sea-salt blue, low saturation, restrained and realistic, natural daylight, subtle film grain, clear atmospheric depth, clean image, slightly faded, grounded and absurd social satire. Sound requirement: sound effects only, no background music. Reference assignment: {{Mixed 1}} = ocean surface and sea composition reference {{Mixed 2}} = golden island destination reference {{Portrait 4}} = public-service crowd robot design reference Reference logic: Use {{Mixed 1}} to control the sea surface texture, wave rhythm, overhead sea angle, and general ocean-space feeling. Use {{Mixed 2}} only as the destination reference for the golden island. It should appear as a visual goal, sometimes partial, sometimes soft or distant, not always fully shown. Use {{Portrait 4}} to control the crowd robot appearance, proportions, design language, and group variation. Overall sequence structure: The robots are already in the sea and moving toward the golden destination. The crowd must feel abundant and layered in foreground, midground, and background. This is not a sparse scene. The sea should feel filled with many swimming robots. SHOT 1 — 0:00 to 2:80 High oblique overhead sea shot based on {{Mixed 1}} . Many public-service robots are swimming diagonally from upper left toward lower right, moving toward the destination direction. The sea surface fills most of the frame, but the frame must be populated with a large number of robots, not just a few. Foreground, midground, and distant background all contain moving swimming robots. Some move fast, some struggle, some bump into each other, forming a crowded migration pattern. The camera glides gently above the sea, observing the group flow. SHOT 2 — 2:80 to 6:20 Hard cut to water-level medium shot inside the crowd. Focus on a conflict between robots in the sea. One crowd robot grabs, pushes, or presses another robot down in order to gain advantage and continue moving forward. This shot should include internal cutting: 2:80 to 4:40 = medium shot, crowd conflict visible, many other robots remain in soft background layers. 4:40 to 5:20 = tighter shot or close detail of the pushing / pressing action, with splashing water and physical struggle. 5:20 to 6:20 = reverse shot or angled shot that briefly reorients the space, with the coast visible in the background using {{Portrait 3}} . The coast must feel continuous with the established world, not random. Even in the tighter shots, the world should still feel crowded, with many out-of-focus robots passing behind. SHOT 3 — 6:20 to 12:00 Hard cut to the tragic failure beat, treated as a multi-part scene with internal shot changes. This is the emotional core. 6:20 to 7:60 Water-level medium shot. An exhausted crowd robot is struggling to stay afloat. Its movement is weaker than the others. It begins to lose strength while the surrounding robots continue moving past it. 7:60 to 8:60 Closer shot. The robot’s eye lights dim and then go out. Its left arm stays raised upward in a fixed calling-for-help gesture. The pose of the arm remains held as the body starts sinking. 8:60 to 9:80 Continue the sinking action. The robot descends slowly. The sea water gradually rises over the body: first around the head and shoulders, then over the elbow, then finally over the raised hand and forearm. The left arm remains extended upward the whole time, like a frozen final plea. 9:80 to 10:60 A brief reverse shot or emotional cutaway. As the robot is close to disappearing, show a soft distant partial glimpse of the golden island from {{Mixed 2}} , out of focus or partially visible. This should create the feeling that success or wealth was very close, yet still unreachable. 10:60 to 12:00 Wide underwater shot from below looking upward toward the sea surface. The sinking robot descends into darker water. Above, silhouettes of other robots continue swimming across the surface toward the goal. The underwater frame is slightly wider and more spacious, emphasizing loneliness, pressure, and depth. A few robot remains, broken limbs, or earlier failed bodies are faintly visible on the seabed or in the water, suggesting many others have already failed before. The final feeling is lonely, darkly comic, and socially ironic. Visual tone: Realistic, restrained, cinematic, slightly faded, absurd but grounded, retro-futurist coastal dystopian satire. The crowd energy, social competition, and failure contrast should all be clear.

21:9 cinematic widescreen, about 12 seconds, hard-cut montage with clearly separated sub-shots, cinematic realism, IMAX 70mm film texture, Panavision C-series anamorphic vintage feel, 1960s retro sci-fi atomic-punk coastal aesthetic, sun-bleached coastal colors, warm sand tones and sea-salt blue, low saturation, restrained and realistic, natural daylight, subtle film grain, clear atmospheric depth, clean image, slightly faded, grounded and absurd social satire. Sound requirement: sound effects only, no background music. Reference assignment: {{Mixed 1}} = ocean surface and sea composition reference {{Mixed 2}} = golden island destination reference {{Portrait 3}} = reverse-shot coastal background reference {{Portrait 4}} = public-service crowd robot design reference Reference logic: Use {{Mixed 1}} to control the sea surface texture, wave rhythm, overhead sea angle, and general ocean-space feeling. Use {{Mixed 2}} only as the destination reference for the golden island. It should appear as a visual goal, sometimes partial, sometimes soft or distant, not always fully shown. Use {{Portrait 3}} as the only main reverse-shot coastal background reference whenever the camera turns back toward the shore. This must define the coastline, sandy beach, and retro coastal district world. Use {{Portrait 4}} to control the crowd robot appearance, proportions, design language, and group variation. Overall sequence structure: The robots are already in the sea and moving toward the golden destination. The crowd must feel abundant and layered in foreground, midground, and background. This is not a sparse scene. The sea should feel filled with many swimming robots. SHOT 1 — 0:00 to 2:80 High oblique overhead sea shot based on {{Mixed 1}} . Many public-service robots are swimming diagonally from upper left toward lower right, moving toward the destination direction. The sea surface fills most of the frame, but the frame must be populated with a large number of robots, not just a few. Foreground, midground, and distant background all contain moving swimming robots. Some move fast, some struggle, some bump into each other, forming a crowded migration pattern. The camera glides gently above the sea, observing the group flow. SHOT 2 — 2:80 to 6:20 Hard cut to water-level medium shot inside the crowd. Focus on a conflict between robots in the sea. One crowd robot grabs, pushes, or presses another robot down in order to gain advantage and continue moving forward. This shot should include internal cutting: 2:80 to 4:40 = medium shot, crowd conflict visible, many other robots remain in soft background layers. 4:40 to 5:20 = tighter shot or close detail of the pushing / pressing action, with splashing water and physical struggle. 5:20 to 6:20 = reverse shot or angled shot that briefly reorients the space, with the coast visible in the background using {{Portrait 3}} . The coast must feel continuous with the established world, not random. Even in the tighter shots, the world should still feel crowded, with many out-of-focus robots passing behind. SHOT 3 — 6:20 to 12:00 Hard cut to the tragic failure beat, treated as a multi-part scene with internal shot changes. This is the emotional core. 6:20 to 7:60 Water-level medium shot. An exhausted crowd robot is struggling to stay afloat. Its movement is weaker than the others. It begins to lose strength while the surrounding robots continue moving past it. 7:60 to 8:60 Closer shot. The robot’s eye lights dim and then go out. Its left arm stays raised upward in a fixed calling-for-help gesture. The pose of the arm remains held as the body starts sinking. 8:60 to 9:80 Continue the sinking action. The robot descends slowly. The sea water gradually rises over the body: first around the head and shoulders, then over the elbow, then finally over the raised hand and forearm. The left arm remains extended upward the whole time, like a frozen final plea. 9:80 to 10:60 A brief reverse shot or emotional cutaway. As the robot is close to disappearing, show a soft distant partial glimpse of the golden island from {{Mixed 2}} , out of focus or partially visible. This should create the feeling that success or wealth was very close, yet still unreachable. 10:60 to 12:00 Wide underwater shot from below looking upward toward the sea surface. The sinking robot descends into darker water. Above, silhouettes of other robots continue swimming across the surface toward the goal. The underwater frame is slightly wider and more spacious, emphasizing loneliness, pressure, and depth. A few robot remains, broken limbs, or earlier failed bodies are faintly visible on the seabed or in the water, suggesting many others have already failed before. The final feeling is lonely, darkly comic, and socially ironic. Visual tone: Realistic, restrained, cinematic, slightly faded, absurd but grounded, retro-futurist coastal dystopian satire. The crowd energy, social competition, and failure contrast should all be clear.

{{Portrait 1}} is the open ocean surface reference. {{Portrait 2}} is the crowd robot design reference. 21:9 ultra wide cinematic frame, Nolan-style extreme realism, IMAX 70mm film texture, Panavision C-series lens character, atomic-punk retro-futurist world, open ocean only, no coastline visible, daylight, deep sea-salt blue water, restrained film grain, realistic sunlight, realistic water texture. A wide oblique overhead ocean shot filled with many different public-service robots swimming diagonally across the frame toward one shared destination. The crowd is dense but irregular, not organized, not synchronized. Every robot is different in silhouette, height, body proportion, head shape, paint wear, and color accent. Some are round-headed, some boxy, some thin, some bulky, some taller, some shorter. Their swimming rhythms are all different: some swim fast, some struggle, some lean sideways, some splash hard, some drift, some collide lightly, some are half-submerged. The movement feels greedy, urgent, competitive, and chaotic, like a desperate rush toward wealth. The overall motion direction is unified: the crowd flows diagonally from the upper-left area toward the lower-right area. The frame must feel dynamic and pressured, with clear foreground, midground, and background layering. The camera angle is high oblique but still cinematic, not flat top-down. The mood is ironic and tense.

Use {{Mixed 1}} as the main reference for open ocean surface texture, water color, wave detail, and cinematic sea atmosphere. Use {{Mixed 2}} only as a weak distant destination reference: a golden island / wealth symbol far ahead. Do not make it a full clean hero shot. Use {{Portrait 3}} as the main crowd robot design reference: many different public-service robot models, mixed silhouettes, mixed heights, mixed proportions, mixed color accents, varied old and new machines, not identical clones. 21:9 widescreen, cinematic hyper-realism, Nolan-style extreme realism, IMAX 70mm film texture, Panavision C-series lens character, atomic-punk retro-futurist coastal world, sea-salt blue ocean, warm distant sunlight, weathered off-white and mixed-color service robots, restrained film grain, natural daylight, realistic water splashes, realistic motion blur, no game-CG look, sound effects only, no background music. Generate a hard-cut multi-shot ocean sequence, total duration about 13.5 seconds. This sequence takes place in open sea after a large robot crowd has already rushed into the water. Do not show the beach or coastline in this sequence. The space should feel like open ocean, with only the distant golden destination ahead. The robots are not swimming in a neat formation. They are not synchronized. They are not arranged in straight rows. They are a chaotic crowd driven by greed and panic, all trying to reach the same golden destination. Their swimming speeds, body angles, gestures, and rhythms must be different. Some robots swim fast, some struggle, some are half-submerged, some bump into others, some splash aggressively, some drift off balance, some only show heads, arms, or backs above the water. The overall movement direction is unified but messy: the crowd moves from the lower-left / near foreground area toward the upper-right / distant golden destination. The golden destination should appear only as a soft, partial, distant golden shape or reflected glow in the upper-right direction, never as a full centered hero reveal. Shot 1 — 0.0s to 3.0s 0.0s to 1.5s: A wide oblique overhead ocean shot. Open sea fills the frame. Many varied robots are swimming diagonally from lower-left foreground toward upper-right distance. The crowd is dense but uneven, with irregular spacing and different body motions. No straight rows, no synchronized swimming, no identical repeated models. The camera drifts slightly with the crowd, creating urgency and flow. 1.5s to 3.0s: Hard cut to a slightly tighter medium-wide ocean shot. The camera is closer to the chaotic swimmers. Individual differences become clearer: different robot heads, bodies, colors, sizes, and swimming styles. Some robots overtake others. Some splash. Some collide lightly. The group still moves toward the same distant golden direction. Shot 2 — 3.0s to 6.0s 3.0s to 4.5s: Hard cut to a medium shot near water level. Two or three ordinary robots struggle in the water. One robot grabs another robot’s shoulder or pushes down its head to move forward. The action feels selfish, desperate, and darkly comic. Behind them, many other robots continue swimming toward the same direction, blurred but visible. 4.5s to 6.0s: Hard cut tighter into a close medium insert. Emphasize hands grabbing metal shoulders, water splashing against robot faces, chaotic mechanical limbs, and uneven desperate movement. The camera slightly pans or reframes between the aggressor and the struggling robot. Background swimmers remain visible as blurred moving shapes. Shot 3 — 6.0s to 13.5s 6.0s to 7.8s: Hard cut to one exhausted ordinary robot isolated inside the crowd flow. It is slower than the others and struggling to stay afloat. It raises its left arm upward in a helpless calling-for-help gesture. Around and behind it, other robots continue swimming past, ignoring it. 7.8s to 9.2s: The exhausted robot continues struggling. Its eye lights dim and then completely go dark. Its left arm remains raised in the same helpless pose. The body begins to lose strength. The surrounding crowd continues moving forward without stopping. 9.2s to 10.8s: The robot slowly sinks vertically. Its head goes down first while the raised left arm stays above the water. The waterline gradually covers the neck, face, shoulder, elbow, and then most of the arm. This moment must be slow, painful, and emotionally clear. 10.8s to 12.0s: Hard cut to a telephoto emotional angle. The raised arm is disappearing into the water in the foreground or midground. Far in the upper-right distance, the golden destination from {{Mixed 2}} appears only as a soft blurred partial glow, suggesting that success and wealth were close but unreachable. Keep it subtle and ironic, not a clean hero reveal. 12.0s to 13.5s: Hard cut underwater. A wide underwater upward-looking shot follows the failed robot sinking into dim blue water. Above the distorted surface, silhouettes of other robots continue swimming toward the golden direction. In the water or near the darker depth, a few subtle remains of previous failed robots are visible, not too many. The mood is lonely, oppressive, ironic, and haunting. Important: Open ocean only for this sequence. No beach, no coastline, no shore background. The golden destination is the only directional anchor. The crowd must feel chaotic, varied, and competitive. No neat lines, no synchronized swimming, no identical clone robots. Robots must vary in model, size, silhouette, color accents, and swimming behavior. Keep strong crowd pressure even when focusing on one robot. The emotional center is the failed robot sinking while others continue toward the dream.

把 {{Image 1}} 的肉眼可见的机器人换成 {{Image 2}} 里的机器人在水里往一个方向游的画面.保持 {{Image 1}} 视觉比例大小不变.让每个机器人游泳姿势都有区别.机器人在画面里肉眼可见的很小

{{Portrait 1}} is the open ocean surface reference. {{Portrait 2}} is the crowd robot design reference. 21:9 cinematic realism, IMAX 70mm film look, open sea, daylight, emotional medium shot. An ordinary public-service robot is exhausted and falling behind in the ocean crowd. It struggles to stay afloat while raising its left arm upward in a helpless calling-for-help gesture. Its movement is weak and uneven. Around it and behind it, other robots continue swimming past in the same overall direction, ignoring it completely. The scene should feel lonely even within a crowd. Keep the robot as the emotional center, but maintain enough other robots in the background and midground to show that this is not isolation in empty water — it is abandonment inside a mass pursuit.

Use the uploaded image as the main composition reference. Duration: 1 second. A cinematic high aerial top-down opening shot over a vast deep-blue sea, showing a huge swarm of small retro-futurist public service robots swimming across the ocean surface in the same overall direction. The main goal of this shot is scale, density, and momentum. Keep the existing composition language of the reference image: extremely wide, high-angle, large-scale ocean surface, many tiny robot figures spread across the water. Maintain the current quantity level, density, spacing variation, and directional flow of the robots. Do not reduce the crowd. Do not turn them into neat rows or synchronized formation. They must feel like a chaotic mass movement, with subtle differences in speed, spacing, and swimming rhythm. Motion: The camera is almost locked off, with only a very subtle smooth drift in the same travel direction, as if a helicopter or drone is gently gliding. No orbit. No dramatic camera move. No sudden push-in. Let the motion mainly come from the robots swimming and the shimmering ocean surface. Robot behavior: All robots are swimming toward the same target direction, but not in a perfectly uniform way. Some are slightly faster, some slower, some a little off-line, creating a natural crowd flow. Tiny splashes and wake trails appear behind many swimmers. The crowd should feel driven, urgent, and goal-oriented. Visual style: cinematic IMAX 70mm film look, real live-action feel, Panavision C-series anamorphic vintage texture, 1960s retro sci-fi atomic-punk coastal mood, sun-faded coastal palette, sea-salt blue and muted warm highlights, natural daylight, subtle film grain, clean image, realistic water, no game-like CGI, no digital HDR look, restrained contrast. Important: Preserve the grand group scale. Preserve the overall diagonal flow across the water. Do not make the robots too large in frame. Do not thin out the background swimmers.

Use the uploaded image as the main composition reference. Duration: 3 seconds. A cinematic medium-wide aerial-oblique shot over the ocean, showing a large crowd of retro-futurist public service robots swimming toward the same goal across the sea. This shot should transition from abstract crowd scale into readable individual group behavior. Keep the composition logic of the reference image: a dense ocean crowd, many robots visible at medium-small size, with enough detail to read their body differences, swimming actions, and splashing. Maintain the existing amount of robots and the crowded feeling. Do not simplify the group. Do not make them look like identical clones. Keep visible variation in head shapes, body proportions, and small color accents. Motion: The camera gently follows the group in the same overall direction with a stable, smooth, slightly elevated tracking move. No orbit. No flashy movement. No wide circular move. A restrained, diagonal same-direction follow is preferred, so the viewer feels the group pressing forward together. Robot behavior: The robots are urgently swimming toward the target direction. They are not synchronized. Different swimmers move at different speeds. Some overtake others. Some are slightly drifting across lanes. Some struggle more. The crowd should feel competitive and desperate, not calm, not orderly. Water splashes, foam trails, and small wake lines should be visible. The movement should feel like a swarm rushing toward fortune. Visual style: cinematic IMAX 70mm film look, real live-action feel, Panavision C-series anamorphic vintage texture, 1960s retro sci-fi atomic-punk coastal mood, sun-faded coastal palette, sea-salt blue, muted warm sand reflections, natural daylight, subtle film grain, realistic ocean texture, clean but not over-sharpened, no obvious CGI. Important: Keep a strong sense of crowd pressure. Background swimmers must remain numerous and readable as a mass. Do not turn the image into only a few robots in empty water. Do not make the swimming too neat or rhythmic.

去掉 {{Portrait 1}} 中的背景.并且生成图中主体机器人全身多角度和一张手部细节特写的多视图.

Use {{Portrait 1}} as the sea surface reference, {{Portrait 2}} as the golden island direction reference, and {{Portrait 3}} as the crowd robot reference. Create a cinematic 21:9 still frame of a single struggling public service robot in the open sea. Medium shot. The robot is losing strength, barely staying afloat, body unstable and slightly sinking, while raising one arm upward in a helpless calling-for-help gesture. Its movement feels weaker than the others. Around and behind it, other robots continue swimming forward toward the same destination, mostly ignoring it. They remain visible in the background as scattered moving figures, enough to suggest that the crowd keeps going and nobody stops. The emotional tone must emphasize isolation inside a crowd. The robot is not alone in the world, but it is alone in its failure. The golden island is not yet clearly shown here, only implied as the common destination. Film-grade IMAX 70mm realism, real live-action feel, Panavision C-series anamorphic vintage texture, 1960s retro-futurist atomic-punk coastal world, low saturation, sun-faded palette, natural daylight, subtle film grain, clean image, restrained realism.

移除 {{Image 1}} 中的机器人 把前景的沙滩变成海面

{{Portrait 1}} is the open ocean surface reference. {{Portrait 2}} is the crowd robot design reference. 21:9 cinematic realism, IMAX 70mm film look, atomic-punk retro-futurist open sea, daylight, realistic water splashes, natural sunlight, medium telephoto feeling. A medium shot at water level. Two or three ordinary public-service robots are struggling in the ocean while moving in the same overall direction as the crowd. One robot is selfishly pressing another robot down by the shoulder or the head in order to move ahead. The scene feels desperate, ugly, darkly comic, and socially ironic. Their bodies are partly submerged, water splashes around them, and their movements are awkward and mechanical. In the blurred background and midground, many more robots are still swimming forward in the same direction, so the scene clearly feels part of a larger mass migration, not an isolated fight. Keep the crowd pressure visible behind them.

21:9 widescreen cinematic realism, IMAX 70mm film texture, Nolan-style extreme realism, atomic punk coastal world, realistic daylight over deep blue sea, restrained film grain, natural highlights, no CGI feeling. Use the reference frame as the main composition lock. Keep the existing camera angle, keep the high oblique overhead view, keep the current robot distribution, scale, spacing, and swimming direction. Do not redesign the scene. Do not add new major subjects. Do not rearrange the crowd into neat rows. This shot is a large establishing sea-surface crowd shot. A massive swarm of public service robots is swimming across the open ocean toward the same destination. Their movement direction remains consistent with the reference frame. The robots must feel like a chaotic crowd driven by desire, not a synchronized formation. Their swimming speeds must vary. Their body motions must vary. Some are faster, some slower, some struggle more, some drift slightly off rhythm. Their silhouettes and model types should feel mixed and varied, not cloned, not uniform. Camera movement should be minimal and controlled: mostly locked high-angle composition with only a very subtle aerial drift or a very slight forward pressure, almost imperceptible. No orbit. No large camera move. No dramatic tilt. No sweeping crane feel. Let the motion come mainly from the crowd and water. The sea surface should feel broad, deep, and slightly heavy, with many small moving wakes and glints of light. Preserve the sense of scale, direction, and visual spectacle. The purpose of the shot is to establish a huge mass of robots all swimming toward the same goal. Sound requirement: sound effects only, no background music.

把 {{Image 1}} 中背景里外形不同的机器人的方向掉转成面朝镜头游的方向.每个人游泳的姿态都不一样.外形参考 {{Image 2}} 中不同的机器人的外形

{{Portrait 1}} is the open ocean surface reference. {{Portrait 2}} is the crowd robot design reference. 21:9 cinematic realism, IMAX 70mm film texture, close medium shot, intense detail, realistic water, natural daylight. A tighter close medium shot focused on the violent interaction between two ordinary robots in the ocean. Mechanical fingers press down on a wet metal head or grab a shoulder plate aggressively. Water splashes across their faces and upper bodies. One robot is trying to rise while the other forces it downward to gain advantage. The moment should feel mean, desperate, and human in a darkly comic way. The framing is tighter than the previous shot, emphasizing hands, faces, water spray, panic, and struggle. In the soft background, the suggestion of many more swimming robots remains visible as moving blurred shapes.

Use {{Portrait 1}} as sea reference, {{Portrait 2}} as golden island reference, and {{Portrait 3}} as public service robot reference. Create a cinematic 21:9 poetic final still frame on the open sea. In the foreground, only the last raised arm and partial forearm of a sinking public service robot remain above the water surface. Most of the body has already disappeared below the sea. The arm is still held upward in a helpless fixed gesture. In the distant background, softly visible and slightly atmospheric, the golden island appears as an almost reachable but unattainable destination. The island should not dominate the frame; it should feel present but emotionally distant. A few tiny or softly blurred swimming robots may still be visible farther away on the sea surface, continuing toward the island. The overall feeling is tragic irony: the robot was close to wealth, close to success, yet still failed and vanished. Film-grade IMAX 70mm realism, real live-action feel, Panavision C-series anamorphic vintage texture, 1960s retro-futurist atomic-punk coastal mood, low saturation, natural daylight, subtle film grain, clean image, restrained poetic realism.

把 {{Image 1}} 中除了保持前进求救的机器人不变把背景里外形不同的机器人的方向掉转成面朝镜头游的方向.每个人游泳的姿态都不一样.外形参考 {{Image 2}} 中不同的机器人的外形

把 {{Image 1}} 远景里的黄金岛上加入 {{Image 2}} 悬浮在中岛上黄金的狗狗币.焦点在前景手臂上,远景的黄金狗狗币自然虚化.

保持 {{Image 1}} 当前画面的构图、机位、透视关系、角色数量、机器人造型、动作状态、海面波浪、景深关系和整体光线氛围不变，不要改动画面内容，不要新增或删除任何元素。 仅对机器人眼睛做细微调整：将前景主角机器人的双眼改为轻微亮起的LED激活状态，亮度克制，呈现柔和、微弱、真实的电子发光感，能够看出机器人仍然处于被激活、尚未完全熄灭的状态，但不要过亮，不要形成刺眼高光点，不要像强手电或霓虹灯，不要破坏写实感。 同时在后景和中景中，仅选择少数几个机器人做非常轻微的眼睛点亮处理，作为稀疏点缀，不要让所有机器人眼睛都发亮，不要形成整齐一致的大面积灯光效果。整体效果应自然、克制、真实，像海水环境中仍在勉强运作的机器人视觉状态。 保持机器人机身材质、污渍、磨损、金属反射、水花质感、海面真实摄影感不变。整体仍然是电影级现实主义画面，21:9横版宽银幕，真实摄影质感，微妙而可信的电子眼激活状态。

Use the input image as the only main reference. Keep the same world, same ocean surface, same two foreground robots, same rough material quality, same wet and dirty texture, same realistic daylight, same crowd-robot background atmosphere. Generate a short 21:9 cinematic sequence with internal HARD CUTS. This is not one continuous floating shot. It is a mini-scene with 3 beats built around the reference image. The input image represents the MIDDLE beat of the action. Overall tone: desperate struggle, ugly survival instinct, darkly comic social competition, realistic cinematic photography, IMAX 70mm film feel, atomic retro-futurist public-service robots, realistic seawater, no sci-fi glow, no cartoon feeling, no music, sound effects only. Sequence design: Beat 1 / first shot / before the reference moment: Start slightly wider than the reference image, medium close shot at low water level. The two foreground robots are moving in the same direction as the crowd, fighting for position in the sea. The red-white robot is crowding and overtaking the blue-white robot from behind/side. It has not fully pushed the other one down yet. It is grabbing, climbing over, and beginning to force the other robot off balance. Water splashes hard around them. Background robots remain numerous but softly blurred, all moving in the same general direction, with varied swimming speeds and gestures, not identical. HARD CUT. Beat 2 / second shot / the reference moment: Cut into a tighter, more intense shot very close to the reference image composition. The red-white robot’s hand is now pressing firmly on the blue-white robot’s head shell. The blue-white robot is choking, panicking, and being forced lower into the water. Make the struggle feel immediate and violent. Strong splashes, droplets, wet metal, close body contact. Keep the background crowded but out of focus. HARD CUT. Beat 3 / third shot / aftermath: Cut to a new angle, either a slightly tighter side angle or a low front-side angle. The blue-white robot is now losing the fight, sinking lower, with its head and shoulders dropping into the seawater, arms briefly flailing for balance. The red-white robot releases pressure just enough to keep pushing forward through the water, leaving the weaker robot behind. This is the ending beat. Background robots still continue toward the same direction, showing that the crowd does not care and keeps moving. Important requirements: - Do not redesign the robots too much between shots. - Keep continuity of material, scale, water level, and lighting. - Do not make the background empty. - Do not make all background robots identical. - Do not turn this into a smooth one-take shot. - The cuts must feel like deliberate cinematic hard cuts with clear shot progression. - The motion should feel grounded and physically plausible. - Keep the action readable and emotionally clear. Camera language: Shot 1: slightly wider medium close shot, low water-level lens, tense and unstable. Shot 2: tight close shot, aggressive and compressed, very physical. Shot 3: new angle for aftermath, still low to the water, showing the loser dropping lower and the winner continuing forward. Sound requirement: sound effects only, no background music.

{{Portrait 1}} is the open ocean surface reference. {{Portrait 2}} is the crowd robot design reference. 21:9 cinematic realism, IMAX 70mm film texture, close emotional shot, realistic wet metal surface, natural daylight. A close emotional shot of the exhausted robot in the water. The waterline is high around its neck and shoulders. Its left arm remains raised in the same helpless gesture. Its eye lights are dimming and almost dead, fading toward darkness. The face should feel drained, hopeless, and frighteningly calm. Small splashes and wave movement continue around it. This image must clearly communicate the exact moment before total failure: the robot is still reaching upward, but its life is visibly shutting down.

保持 {{Image 1}} 当前画面的构图、机位、透视关系、景别和整体叙事重点不变。前景仍然是一只伸出海面的机器人手臂，远处仍然是黄金岛与悬浮狗狗币，主视觉依然聚焦在“失败者最后伸出的手”和远方目标之间的讽刺关系。 在远处海面上加入极少量机器人，只需要零散分布的少数几个远景机器人即可，不要把海面铺满，不要形成大规模群像，不要让它们抢画面。它们应当非常小，位于中远景和远景海面上，作为极轻的叙事点缀，暗示仍有少量机器人继续朝黄金岛方向前进。 这些远处机器人必须外形各不相同，头部轮廓、身体比例、上半身结构、手臂形态都要有变化，不要重复，不要整齐排列，不要像复制粘贴。游泳动作也要各不相同：有的双臂前伸，有的单臂划水，有的半沉半浮，有的只露头部和肩部，有的略微侧身前进，有的姿态吃力，有的动作更快一些。它们的朝向要统一为朝黄金岛方向前进，但个体速度感、姿态和节奏各不一样。 整体仍保持电影级 IMAX 70mm 胶片质感，真实实拍感，Panavision C 系列变形宽银幕镜头的复古质感，60年代复古科幻原子朋克美学，晒白褪色的海岸色调，暖云层与海盐蓝为主，低饱和、克制、真实，自然日光照明，轻微胶片颗粒，画面干净，不要过度锐化。远处机器人一定要弱化处理，尺寸很小，细节简化，不能影响前景手臂与远方黄金岛的视觉中心。

保持 {{Image 1}} 画面构图、角色、海面、景深和所有内容不变。仅微调前景主角机器人的双眼：在 {{Image 1}} 当前效果基础上，让双眼中心略微更亮一点，呈现非常克制的暖白色弱LED激活感，像玻璃镜片后方微弱通电的光，不要霓虹感，不要刺眼高光，不要改变眼睛形状。整体仍然保持虚弱、惊恐、快要失去电力的状态。

将 {{Image 1}} 镜头前景主角机器人的双眼改为轻微亮起的LED激活状态，亮度克制，呈现柔和真实的绿色电子发光感，能够看出机器人仍然处于被激活.

Use {{Portrait 1}} as sea reference and {{Portrait 3}} as robot reference. Create a cinematic 21:9 underwater still frame looking upward from the seabed toward the sea surface. In the underwater foreground and midground, a failing public service robot is sinking downward into the dim blue water. Around the seabed or suspended in the water, a few broken robot limbs, abandoned parts, or silhouettes of earlier failed robots are visible, suggesting that many have already failed here before. Above, on the bright sea surface, several distant swimming robots continue moving forward, seen as distorted silhouettes from below. The mood is dark, quiet, oppressive, lonely, and tragic. The image should feel spacious and haunting, with strong depth and underwater atmosphere. Film-grade IMAX 70mm realism, Panavision C-series anamorphic vintage texture, 1960s retro-futurist atomic-punk tone, low saturation, underwater blue darkness, restrained realism, subtle film grain, clean image.

Create a 21:9 cinematic environmental keyframe for a black-humor dystopian ocean gold-rush short film. This shot is an empty environmental plate for later character compositing. Camera position: The camera is placed on the treasure island itself, near the island’s outer edge, looking diagonally across a side area of the island. This is not a top-down view. This is not a full establishing shot. It feels like the viewer has just arrived on the island and is standing or moving near the landing area. Composition: Show a partial section of the island, not the whole island. Foreground and midground contain uneven rocky ground, scattered loose gold coins, small piles of coins, bits of gold debris, partially buried treasure, and rough terrain that feels walkable for small robots. Include some exposed dark rocks between the gold so the image does not become a flat carpet of gold. Leave enough open staging space in the foreground and midground for several small robots to be added later. In the background, include a small visible area of ocean beyond the island edge, so the audience can still feel the island is surrounded by sea. The shot should feel like a side-area of the island where robots have just climbed ashore and begun picking up loose treasure. Environment details: The island surface is rugged and rocky, covered with dense gold coins and metallic treasure fragments, but not overly decorative. Some areas have loose scattered coins, some areas have thicker coin accumulation, and some rock surfaces remain exposed. Near the island edge, include a slightly flatter landing-like area or a short rough sandy-rocky transition strip where robots could have just come up from the water. The ocean in the background should be blue-cyan, bright, and clean, consistent with the previously established turquoise sea tone. Lighting and mood: Bright natural daylight. The scene is still before the giant hand fully appears. Only normal sunlight atmosphere. No dramatic shadow event yet. The tone is seductive but uneasy: a false paradise of wealth before disruption. Cinematic realism, IMAX 70mm film look, subtle film grain, realistic texture detail, believable rocky surfaces, believable gold reflections, grounded visual style. Lens and framing: Use a cinematic medium-wide lens, around 28mm to 35mm. The frame should feel immersive and practical, suitable for later inserting small robots in different poses. Perspective should feel natural, not overly distorted. Visual style: ultra realistic, cinematic, production design quality, black humor dystopian world, grounded retro-futurist tone, rich detail, clear texture, strong depth, realistic ocean light, high-end film still. Aspect ratio: 21:9 widescreen.

A cinematic environmental plate on the edge of a treasure island, viewed from a position on the island near the shoreline, as if just after landing. The shot is a medium-wide island-side view, not a high aerial view. The camera is placed slightly above eye level, looking diagonally across a coastal section of the island. The foreground and midground contain uneven dark rocks, wet stone surfaces, scattered gold coins, a few loose gold bars, small patches of treasure caught between rocks, and short walkable areas where small robots could move and gather treasure later. The island should feel like a rocky gold-covered landing zone, not a clean beach and not a full mountain overview. Some rock surfaces remain exposed, with treasure spread naturally across the terrain rather than completely covering everything. Include a little short sandy edge or shallow landing area near the waterline. In the background or side background, a portion of the sea is visible, with clear blue-cyan ocean water and subtle waves hitting the rocks. Lighting is bright natural daylight before any shadow arrives. The mood is calm but slightly ominous, like a quiet moment just before something happens. The composition should leave open staging space for 3 to 5 small robots to appear later in the shot. Realistic cinematic detail, grounded physical textures, sharp spatial clarity, subtle filmic atmosphere, atom-punk coastal dystopian world, 21:9 widescreen.

{{Portrait 1}} 为小机器人形象参考。 保持参考图中的： 整体比例 头身关系 圆头结构 小体型 孤独感 旧工业机器人气质 不变。 在此基础上进行“IP化情感优化”。 减少： 高密度脏污 麻点状旧化 均匀锈迹 发霉感 废铁感 scrapyard texture 不要： 大量小锈点、 密集脏污、 病态旧化。 整体改为： “干净的旧机器人”方向。 表面以： 大面积完整旧白漆 少量边缘磨损 轻微海风氧化 少量自然划痕 为主。 旧化必须克制、舒服、统一。 强化角色情绪感： 眼睛更加： 温柔 呆 有好奇感 有一点无辜感 有轻微儿童感 不要： 战术机器人感、 侦察机器人感、 冷酷AI感。 眼睛建议： 更柔和的圆形镜头结构 更温暖的小光点反射 微弱注视感 有“陪伴机器人”气质 整体更偏： WALL-E、 Pixar机械角色、 旧时代陪伴机器人、 原子朋克海岸世界里的拾荒小工。 强调： 角色感 陪伴感 孤独感 轻微荒诞感 真实电影道具质感 不要恐怖， 不要废土怪物， 不要赛博朋克。

{{Image 1}} Keep the current composition, camera angle, perspective, coastline placement, rock formations, island-edge environment, ocean color, and overall lighting mood unchanged. Based on the current image, refine the scale and distribution of the gold coins: Make the vast majority of the coins noticeably smaller, more delicate, and more believable. Avoid the current oversized medallion-like or large token-like feeling. Reduce the size of most individual coins by about 40% to 60% compared with the current image. The treasure should mainly consist of small mint-scale gold coins that feel suitable for dense scattering and accumulation. Most coins should be compact and small. A smaller number can be medium-sized coins, and only a very few slightly larger metallic fragments or gold pieces may remain as accents, but oversized coins should not dominate the frame. Keep the existing distribution logic mostly unchanged, but enhance the sense of clustered accumulation and layering: some areas should have a thin scattered spread of coins, some areas should have natural small piles of coins gathered along rock edges, slope bases, and shallow depressions, some coins should sit in cracks between rocks and sand, creating a more natural relationship between scattered coins and clustered deposits. Do not turn the ground into a perfectly uniform carpet of gold, and do not let individual coins appear too large. Preserve exposed rocks, sandy ground, and walkable terrain so later robot compositing feels more believable and properly scaled. Maintain cinematic realism, 21:9 widescreen, IMAX 70mm film look, subtle film grain, realistic treasure-island landing zone atmosphere, and a black-humor dystopian ocean gold-rush tone.

{{Portrait 1}} is the open ocean surface reference. {{Portrait 2}} is the crowd robot design reference. {{Portrait 3}} is the golden island reference. 21:9 cinematic realism, IMAX 70mm film look, telephoto emotional composition, open ocean, daylight. A tragic telephoto shot of the failed robot beginning to sink. Its head is already dropping below the surface while its left arm still remains above the water in a final helpless raised gesture. The waterline is slowly swallowing the body. In the far distance, soft and blurred, a partial golden island or golden wealth glow is visible, subtle and out of focus, suggesting that the destination was close but unreachable. The image should feel ironic and heartbreaking. The focus is on the sinking gesture, not on the island. The island is only a distant emotional symbol.

{{Image 1}}Keep the current composition, camera position, perspective, shoreline placement, rock distribution, sandy ground shape, ocean color, lighting mood, and overall environmental atmosphere unchanged. This is an environmental shot on the edge of a treasure island: blue-cyan ocean and shallow shoreline on the left, dark rocks, cliff surfaces, and treasure-covered ground on the right. Preserve the realistic cinematic look, natural daylight, and atom-punk worldbuilding tone. Main adjustment: refine the size and distribution of the gold coins. Make all the coins noticeably smaller and more reasonable in scale. Avoid the current oversized look. The coins should not read like large medallions, giant tokens, or oversized prop coins. Most of the coins should feel like small objects, visually reading as dense, fine, glittering metallic scatter rather than a few dominant large discs. The overall read of the coins should be: small, dense, fine, and pileable. Most coins should be clearly smaller, and a single coin should not dominate the ground visually. The gold should feel like collectible treasure that characters could pick up, gather, and hold, rather than oversized display pieces. Change the distribution logic into a more natural mix of “small piles + scattered spread”: some coins accumulated in rock crevices, terrain dips, and near the cliff base; some scattered loosely across sand and stone surfaces; some areas with denser clusters of small coins, other areas with only light scatter; preserve exposed ground so the entire surface is not completely carpeted in gold. The overall result should feel like a believable landing zone where multiple characters could arrive, bend down, gather treasure, and move through the space. Keep a few gold bars and a few small metallic treasure props as accents, but do not make them too large or visually dominant. The focus should remain: rocky shoreline + smaller dense gold coins + a playable landing area for later character action. The final image should feel realistic, detailed, cinematic, physically grounded, with refined gold material, proper scale, clear spatial depth, and suitable as an environmental base plate for later adding multiple robots gathering treasure.

21:9 anamorphic widescreen, cinematic IMAX 70mm film texture, realistic live-action photography, Panavision C-series vintage anamorphic feeling, retro 1960s atomic-punk sci-fi atmosphere, faded coastal palette, sea-salt blue water, restrained contrast, natural daylight, light film grain, clean image, no digital HDR look. Use {{Mixed 1}} as the main visual reference for Shot Group A. Use {{Portrait 2}} as the main visual reference for Shot Group B. If is provided, use it only as reference for varied public service robot body designs, not for composition. This sequence is NOT a one-take. It is built from multiple clearly separated shots with hard cuts. SHOT GROUP A — based on {{Mixed 1}} Duration: 4.6 seconds total. 0.0–1.2s: A struggling robot is swimming toward the camera in the foreground, naturally mixed into a larger crowd of robots also swimming toward the camera. This is a pre-collapse transitional moment. The foreground robot’s LED eyes are still brighter and active at first. Background robots must all face toward camera and swim in the same general direction, but with varied speed, varied spacing, varied swimming rhythm, varied silhouettes, different head shapes, different body proportions, different arm motions and different swimming postures. Some are slower, some are desperate, some are half-submerged, some create more splashes. They must feel like a chaotic crowd, not synchronized, not neatly arranged, not copied. 1.2–2.4s: The foreground robot begins malfunctioning while swimming. Its LED eyes flicker irregularly, dimming and flashing weakly. It raises one hand to call for help while the other arm struggles in the water. Surrounding robots ignore it and keep swimming toward camera. The emotion is lonely, pathetic, tragicomic, and absurd. Hard cut at 2.4s. 2.4–3.1s: A new close-up camera setup, tighter focal length and different framing, not a digital zoom-in. Focus on the robot’s face and upper body. Its LED eyes flicker several times, then completely die out. The last bit of life disappears from the eyes. Water splashes around the face and shoulders. Hard cut at 3.1s. 3.1–4.6s: A new medium-close camera setup. The robot starts sinking. Its body drops lower into the sea, the head begins to disappear under the surface, but one raised arm remains above water. The sinking should feel heavy, slow and helpless. By the end of this shot, the water level reaches around the elbow area, preparing a clean transition into Shot Group B. SHOT GROUP B — based on {{Portrait 2}} Duration: 2.9 seconds total. 4.6–5.8s: Reverse-angle shot. Foreground: only the raised robot arm remains above the ocean surface, matching the tragic continuation from Shot Group A. Mid-distance and far distance: only a very small number of robots are visible, scattered loosely across the water, continuing to swim toward the golden island in the background. Do not fill the frame with a crowd here. Keep only a few distant robots, small in scale, sparse and understated. Their silhouettes, head shapes and swimming gestures should all differ. They must clearly move toward the golden island, not toward camera. The golden island and floating dog coin remain in the background as a distant ironic goal. Hard cut at 5.8s. 5.8–7.5s: Stay within the same reverse-direction logic. The raised arm slowly sinks deeper, from forearm level to wrist level, then fully disappears beneath the water. The sinking should be slow, helpless, and emotionally cold. The distant robots continue forward and do not react. The golden island remains softly visible in the distance, carrying strong irony: success is still there, still visible, still close enough to be seen, yet unreachable for this failed robot. End on the full disappearance of the hand beneath the water. Important directional logic: In Shot Group A, all visible robots in the background are swimming toward the camera. In Shot Group B, the distant robots are swimming away from camera, toward the golden island. Do not let the golden island appear in Shot Group A. Do not let the dense crowd from Shot Group A appear in Shot Group B. The close-up shot must be a new lens and framing setup, not a blown-up crop. The entire sequence should feel cinematic, ironic, lonely, absurd and observational. Only sound effects, no background music.

移除 {{Image 1}} 中的机器人和后面的岛屿还有岛上的悬浮的大金币

保持当前这版小机器人角色设定方向不变：袖珍、低配、旧旧的、写实世界观中的底层海岸清污/拾荒小机器人，头略大，身体小，四肢细，带一点傻萌和黑色幽默感。 重点优化以下内容： 1. 木板不要再明显翘起，不要冲浪板姿态。木板应当像一块正常漂浮在海水中的破旧木板 / 破门板 / 废弃建筑板，基本平着漂在水面，只带轻微受力起伏。这样更像临时捡来的逃生板，而不是正式载具。 2. 木板表面强化“海岛废弃设施”属性。板面加入一些褪色旧广告、旧编号、半残涂鸦、旧警示标识、廉价海岛旅游区风格的残留贴纸或喷字，让人感觉这块板是从海边破旧棚屋、破招牌、废弃海岛建筑上掰下来的。边缘开裂、磨损、掉皮、钉孔要更明显，但不要做得太夸张。 3. 小机器人站在木板后半段，双脚一前一后，姿态略微不稳，身体微微前倾，重心是在努力压住后坐力，而不是轻松站立。它是“勉强控制住设备”的感觉，不是帅气驾驶。 4. 小机器人双手扶着一根粗的工业软管，姿势像现实生活中拿着吸尘器/清洁喷管工作那样。软管连接到背后的旧清污箱。喷嘴朝向木板后下方或斜下方海水，利用喷水/喷气形成低配推进效果。 5. 喷流不要太高科技，不要像科幻推进器火焰。喷流要更像粗糙的清污设备喷出的强力水流/气流混合推进，带水花、乱溅、略显笨拙，但确实能推动木板前进。可以有一点不那么稳定的感觉，增强黑色幽默感。 6. 背后的箱体增强“职业身份感”：像海岸清污设备、便携式旧吸污机、旧保洁装置。加一点褪色部门标识、旧编号、维护标签、廉价警示条，体现它原本是公共服务或清洁用途，不是专门交通工具。 7. 小机器人整体不要太破烂，不要比主世界观机器人破太多。材质要保持旧、穷、低配，但仍然统一于《风口 / 淘金者》的写实机器人体系。表面有轻微掉漆、擦伤、旧污渍、局部锈迹即可。 最终效果：一个生活在原子朋克海岸废土世界里的袖珍底层小机器人，站在一块正常漂浮的破旧海岛木板上，用背负式清污设备和手持喷管把自己往前推进。画面既有求生感，又有寒酸、机灵、黑色幽默的气质。

为当前开场小机器人形象参考,zhuan 保持参考图中的： 整体比例 头身关系 圆头结构 小体型 孤独感 旧工业机器人气质 不变。 在此基础上进行“IP化情感优化”。 减少： 高密度脏污 麻点状旧化 均匀锈迹 发霉感 废铁感 scrapyard texture 不要： 大量小锈点、 密集脏污、 病态旧化。 整体改为： “干净的旧机器人”方向。 表面以： 大面积完整旧白漆 少量边缘磨损 轻微海风氧化 少量自然划痕 为主。 旧化必须克制、舒服、统一。 强化角色情绪感： 眼睛更加： 温柔 呆 有好奇感 有一点无辜感 有轻微儿童感 不要： 战术机器人感、 侦察机器人感、 冷酷AI感。 眼睛建议： 更柔和的圆形镜头结构 更温暖的小光点反射 微弱注视感 有“陪伴机器人”气质 整体更偏： WALL-E、 Pixar机械角色、 旧时代陪伴机器人、 原子朋克海岸世界里的拾荒小工。 强调： 角色感 陪伴感 孤独感 轻微荒诞感 真实电影道具质感 不要恐怖， 不要废土怪物， 不要赛博朋克。

{{Mixed 1}} = reference image for Part A, the struggling rescue scene in the ocean crowd {{Portrait 2}} = reference image for Part B, the reverse shot with the raised arm and the distant coin island 21:9 anamorphic widescreen, cinematic realism, dark satirical tone, realistic ocean surface, distressed retro-futurist service robots, natural daylight, subtle film texture, sound effects only, no background music. Create a multi-shot sequence with HARD CUTS. The sequence is divided into TWO CLEAR PARTS. Use {{Mixed 1}} only as the visual reference for Part A. Use {{Portrait 2}} only as the visual reference for Part B. Do not mix the coin island into Part A. Do not let Part B contaminate Part A. Keep the swimming directions logically correct. ================================================== PART A — based on {{Mixed 1}} Duration: about 6.5 seconds total Narrative meaning: The robot is still inside the crowd, swimming toward camera, then starts malfunctioning, calls for help, loses power, and begins to sink. Shot A1 — 0.0s to 1.4s Medium-wide water-level shot. A large group of many different robots is swimming toward camera. They must not look identical. Different body types, different head designs, different swim rhythms, different speeds, slightly chaotic, competitive, desperate. The main robot is still among the crowd. Its eye LEDs are on, slightly brighter than in the reference image, but still subtle and realistic. Camera movement should be very slight, observational, with gentle forward pressure or small drifting motion. Do not use a static dead frame. Do not fake a digital zoom. Hard cut. Shot A2 — 1.4s to 2.9s Medium shot / medium close shot. The main robot starts to fail while swimming. Its eye LEDs flicker irregularly. Add subtle malfunction signs, such as unstable light or faint electrical sputter, but keep it realistic. It raises one hand and starts calling for help, splashing, panicking, losing rhythm. Background robots keep swimming toward camera and do not help. Keep many background robots visible, soft but numerous. Hard cut. Shot A3 — 2.9s to 4.0s A true close-up from a different lens and composition, not a crop enlargement. Focus on the main robot’s face. Its eye LEDs flicker weaker and weaker, then fully go dark. This is the emotional beat: fear, helplessness, power fading out. No exaggerated sci-fi sparks. Hard cut. Shot A4 — 4.0s to 6.5s Medium close shot from a new angle. After the eyes go dark, the robot’s body starts sinking slowly. Its raised hand remains above the water as a final survival gesture. Its torso sinks lower, then neck and head begin to disappear. The arm becomes the last expressive shape. Background robots are still swimming toward camera. Do not show the coin island. End Part A when the robot has sunk enough that the raised arm and upper forearm are the dominant visible shapes. ================================================== PART B — based on {{Portrait 2}} Duration: about 4.5 seconds total Narrative meaning: Ironic reverse shot. The drowning robot is now reduced to a raised arm in the foreground while the distant coin island sits ahead. Other surviving robots keep swimming toward the island and ignore this failure. IMPORTANT: In Part B, the midground and background robots must be swimming AWAY from camera, toward the distant coin island. The coin island belongs only to Part B. Shot B1 — 6.5s to 7.9s Reverse shot, medium-wide composition, based on {{Portrait 2}} . Foreground: only the raised robotic arm and a little remaining upper forearm above water. Background: a few scattered robots continue swimming away from camera toward the distant coin island. The coin island and dog coin are visible in the distance, slightly soft, clearly readable, ironic but not over-emphasized. The tone is tragic and satirical. Hard cut. Shot B2 — 7.9s to 9.4s Tighter shot or slightly longer lens on the raised arm. The arm continues to sink slowly, from upper forearm level down toward elbow and wrist level. Water keeps swallowing it little by little. The distant island remains in the background, soft and unreachable. Other robots continue forward and ignore this failure. Hard cut. Shot B3 — 9.4s to 11.0s Final shot. The arm keeps sinking until only the hand remains visible. Then the hand disappears beneath the surface. The sea closes over it. The distant coin island remains ahead. A few small robots still move toward it in the background. End on a bleak, quiet, ironic note. ================================================== General requirements: Use hard cuts only. Each shot must have a clear change of lens, framing, or viewpoint. Do not present everything as one pseudo one-take shot. Do not simply enlarge the same frame. Keep realistic ocean motion and water interaction. Keep the crowd logic clear. Part A = robots swim toward camera. Part B = robots swim away from camera toward the coin island. No extra comedy props. No wooden planks. No lifebuoys. No giant robot in this sequence. Sound effects only, no background music.

{{Mixed 1}} = reference image for Part A, the struggling rescue scene in the ocean crowd {{Portrait 2}} = reference image for Part B, the reverse shot with the raised arm and the distant coin island 21:9 anamorphic widescreen, cinematic realism, dark satirical tone, realistic ocean surface, distressed retro-futurist service robots, natural daylight, subtle film texture, sound effects only, no background music. Create a multi-shot sequence with HARD CUTS. The sequence is divided into TWO CLEAR PARTS. Use {{Mixed 1}} only as the visual reference for Part A. Use {{Portrait 2}} only as the visual reference for Part B. Do not mix the coin island into Part A. Do not let Part B contaminate Part A. Keep the swimming directions logically correct. ================================================== PART A — based on {{Mixed 1}} Duration: about 6.5 seconds total Narrative meaning: The robot is still inside the crowd, swimming toward camera, then starts malfunctioning, calls for help, loses power, and begins to sink. Shot A1 — 0.0s to 1.4s Medium-wide water-level shot. A large group of many different robots is swimming toward camera. They must not look identical. Different body types, different head designs, different swim rhythms, different speeds, slightly chaotic, competitive, desperate. The main robot is still among the crowd. Its eye LEDs are on, slightly brighter than in the reference image, but still subtle and realistic. Camera movement should be very slight, observational, with gentle forward pressure or small drifting motion. Do not use a static dead frame. Do not fake a digital zoom. Hard cut. Shot A2 — 1.4s to 2.9s Medium shot / medium close shot. The main robot starts to fail while swimming. Its eye LEDs flicker irregularly. Add subtle malfunction signs, such as unstable light or faint electrical sputter, but keep it realistic. It raises one hand and starts calling for help, splashing, panicking, losing rhythm. Background robots keep swimming toward camera and do not help. Keep many background robots visible, soft but numerous. Hard cut. Shot A3 — 2.9s to 4.0s A true close-up from a different lens and composition, not a crop enlargement. Focus on the main robot’s face. Its eye LEDs flicker weaker and weaker, then fully go dark. This is the emotional beat: fear, helplessness, power fading out. No exaggerated sci-fi sparks. Hard cut. Shot A4 — 4.0s to 6.5s Medium close shot from a new angle. After the eyes go dark, the robot’s body starts sinking slowly. Its raised hand remains above the water as a final survival gesture. Its torso sinks lower, then neck and head begin to disappear. The arm becomes the last expressive shape. Background robots are still swimming toward camera. Do not show the coin island. End Part A when the robot has sunk enough that the raised arm and upper forearm are the dominant visible shapes. ================================================== PART B — based on {{Portrait 2}} Duration: about 4.5 seconds total Narrative meaning: Ironic reverse shot. The drowning robot is now reduced to a raised arm in the foreground while the distant coin island sits ahead. Other surviving robots keep swimming toward the island and ignore this failure. IMPORTANT: In Part B, the midground and background robots must be swimming AWAY from camera, toward the distant coin island. The coin island belongs only to Part B. Shot B1 — 6.5s to 7.9s Reverse shot, medium-wide composition, based on {{Portrait 2}} . Foreground: only the raised robotic arm and a little remaining upper forearm above water. Background: a few scattered robots continue swimming away from camera toward the distant coin island. The coin island and dog coin are visible in the distance, slightly soft, clearly readable, ironic but not over-emphasized. The tone is tragic and satirical. Hard cut. Shot B2 — 7.9s to 9.4s Tighter shot or slightly longer lens on the raised arm. The arm continues to sink slowly, from upper forearm level down toward elbow and wrist level. Water keeps swallowing it little by little. The distant island remains in the background, soft and unreachable. Other robots continue forward and ignore this failure. Hard cut. Shot B3 — 9.4s to 11.0s Final shot. The arm keeps sinking until only the hand remains visible. Then the hand disappears beneath the surface. The sea closes over it. The distant coin island remains ahead. A few small robots still move toward it in the background. End on a bleak, quiet, ironic note. ================================================== General requirements: Use hard cuts only. Each shot must have a clear change of lens, framing, or viewpoint. Do not present everything as one pseudo one-take shot. Do not simply enlarge the same frame. Keep realistic ocean motion and water interaction. Keep the crowd logic clear. Part A = robots swim toward camera. Part B = robots swim away from camera toward the coin island. No extra comedy props. No wooden planks. No lifebuoys. No giant robot in this sequence. Sound effects only, no background music.

去掉 {{Portrait 1}} 中的背景.并且生成图中主体机器人全身多角度和手部细节的白底多视图

Use {{Portrait 1}} as the island-edge environment reference and {{Portrait 2}} as the robot style reference. Create a 14–15 second cinematic hard-cut sequence set in one continuous island-edge treasure location. Keep the same rocky shoreline, exposed sand patches, scattered small gold coins, clustered treasure piles, and a little visible sea in the background. Maintain strong spatial continuity across all shots, but vary the camera position, focal length, and shot size for cinematic coverage. Important character rule: Use 4 different robots, all visually distinct from each other, chosen as different types from the crowd robot reference style. They must not look like four copies of the same model. Give them different silhouettes, head shapes, torso proportions, paint wear, and small accessory differences, while keeping them all in the same retro-futurist public-service robot world. Character staging: - one robot has just climbed onto the island from the shoreline and is walking toward the treasure - one robot is crouching down, about to pick up coins - one robot is already holding a small cluster of gold coins in both hands - one robot is half-rising after picking up treasure Treasure scale: The coins must be relatively small and believable. Most gold should appear as small scattered coins, small clustered piles, and a few small pieces, not oversized giant medallions. The gold should feel graspable and plentiful, but not absurdly large. Sequence structure: Shot 1 — 2.5 seconds: A medium-wide island-edge shot from a slightly low side angle, around 28mm lens. Show the rocky treasure slope on one side, scattered small gold coins across the ground, and a little turquoise sea in the background. The 4 different robots are all visible in different action states: walking in, crouching, holding coins, half-rising. Calm natural daylight, grounded realism. Shot 2 — 2.5 seconds: Hard cut to a slightly tighter shot, around 35mm lens, same area from a slightly shifted angle. A broad soft shadow begins slowly passing over the island like sunlight being blocked by an enormous object high above. The shadow should be gradual, with soft transitions and visible light falloff. First the bright reflections on the gold dim slightly, then the island surface darkens, and the darkening slowly spreads. The robots gradually slow and stop, noticing something is wrong. Their reactions are staggered, not perfectly synchronized. Shot 3 — 2.5 seconds: Hard cut to a medium shot, around 50mm lens, focusing on 2 or 3 of the robots. One robot holding coins looks upward first. Another robot, still crouched or half-crouched, pauses and slowly lifts its head. A third robot also turns its attention upward. Their acting should be restrained, uneasy, and curious, not exaggerated. Shot 4 — 3.5 to 4 seconds: Hard cut to a layered shot with shallow depth of field, around 65mm or 75mm lens. Start with focus on a background robot holding a small cluster of coins in its arms. The coins begin dissolving into fine golden particles that drift upward. Then perform a slow rack focus to a foreground crouching robot that has just picked up a few small coins or fragments. As focus shifts forward, the coins in its hand also begin dissolving into floating golden dust. At the same time, some of the small coins scattered on the ground immediately around that foreground robot also begin dissolving and rising upward. This is the key reveal shot. Keep the upward drifting particles elegant, eerie, and visually clear. Shot 5 — 2.5 to 3 seconds: Hard cut to a reaction shot, around 40mm or 50mm lens. One robot instinctively reaches upward toward the disappearing gold dust. Another looks down at its now-empty hands in confusion. Another slightly raises its arms or body as if trying to stop the treasure from leaving. The golden particles continue floating upward out of frame. End the sequence with a strong feeling that the treasure is being drawn away toward something above, setting up the next scene. Visual style: cinematic realism, hard-cut montage, 21:9 widescreen, IMAX 70mm film look, turquoise-blue sea, rocky treasure island edge, realistic daylight, subtle film grain, dry black humor, dystopian tone, grounded physical acting, strong continuity, no cartoony exaggeration. The whole sequence must feel like one continuous event in the same island-edge space, covered with multiple purposeful cinematic shot sizes and angles.

{{Image 1}} 21:9 widescreen character design sheet, pure white background, no environment, no scene, no background clutter. Design a tiny opportunistic scavenger robot for a dystopian atompunk coastal gold-rush world. Use the overall design direction of a small chibi-like service robot: oversized rounded head, compact torso, short lightweight body, very small scale, memorable silhouette, slightly cute but not cartoon mascot, sly and opportunistic personality. Core character concept: This is a tiny low-level coastal service / cleaning robot that has improvised its equipment for survival. It should feel crafty, slippery, resourceful, cheap, slightly ridiculous, and darkly funny. Not a hero, not powerful, not elegant, not a sleek sci-fi robot. Body design: small miniature body, oversized rounded head, big optical lens eyes, compact torso, slim mechanical limbs, small feet, lightweight structure, slightly awkward but agile proportions. The robot should feel much smaller than a standard service robot. Off-white painted shell with subtle salt-weathering, light scratches, mild grime, slightly used coastal wear, but not excessively broken or ruined. Grounded industrial design, believable mechanical joints, real metal parts, clean readable silhouette. Face and expression: large lens-like eyes, alert and crafty expression, slightly innocent outer appearance but opportunistic personality. Eyes should feel observant, sly, quick-thinking. Do not make it overly cute or childish. Back equipment: add a compact backpack-like utility box mounted on the back, resembling a hybrid of a vacuum cleaner tank, cleaning canister, or portable maintenance unit. This back unit is the robot’s improvised propulsion system. It should look like an old coastal public-service cleaning device repurposed for survival. Include hose connection ports, clamps, worn labels, industrial utility details. Propulsion tool: the robot holds a thick hose-like spray nozzle / cleaning tube connected to the back unit. The tool should look like a hybrid of a vacuum cleaner wand, industrial blower nozzle, and maintenance spray gun. It should plausibly be able to suck or blow, but here it is being used in blow / jet mode. The nozzle is aimed diagonally downward toward the water to create forward thrust. The grip should feel natural, like someone holding a vacuum cleaner or cleaning hose. Wooden plank: include a small broken wooden plank used as a makeshift flotation board. Not a boat, not a surfboard, not a formal raft. It should look like a found piece of coastal scrap wood, broken board, old signboard, or weathered island plank. Rough edges, worn texture, partially damaged, shabby and improvised. Add faded island-style paint marks, old advertising fragments, worn doodles, or weathered tropical signage traces on the board surface, suggesting it came from a coastal island structure. Action pose: show one key action pose of the robot riding the plank. The robot stands or half-crouches near the rear part of the broken plank, balancing with a slightly forward-leaning posture. One hand or arm helps stabilize balance, while the other hand controls the thick spray hose. The hose nozzle points diagonally downward toward the sea surface as it blasts water / air downward to propel the plank forward. The pose should feel clever, improvised, funny, and believable. This is not surfing confidently — it is a shabby, opportunistic, barely-stable survival glide. Sheet layout: full body front view full body side view full body back view full body 3/4 view head close-up eye close-up hand close-up back utility box detail spray hose / nozzle detail wooden plank prop shown separately one action pose riding the broken plank with the propulsion hose Style requirements: pure white background no ocean no scenery no other robots highly detailed clean presentation cinematic concept art quality production-ready character asset sheet ultra detailed, realistic, consistent design atompunk coastal dystopian industrial design dark humor tone

Use {{Portrait 1}} as the island-edge treasure environment reference. Use {{Portrait 2}} as the crowd robot style reference. Create a 14–15 second cinematic hard-cut video sequence in 21:9 widescreen. This sequence takes place on the edge of a rocky treasure island. The ground is covered with many small scattered gold coins, small gold fragments, dark rocks, sand patches, and rough coastal debris. A little turquoise ocean may be visible in the far background, but the main focus is the island ground, the robots, and the treasure. Important lighting rule: A large soft shadow passes over the scene, but the camera must never reveal the object causing the shadow. The sky must remain clean and natural whenever it is visible. The shadow should only be shown through changes in light on the island surface: gold highlights dim, rocks lose sunlight, robot bodies become darker, and the color temperature becomes slightly cooler. The shadow must have a soft gradual edge, like sunlight being blocked far above the scene. Do not explain the shadow source visually. Keep the mystery. Character rule: Use 4 different robots from the crowd robot reference style. They must all have different silhouettes, head shapes, body proportions, paint wear, and small accessory details. They should not look like copies of the same robot. Robot actions: One robot has just climbed up from the shoreline and is walking toward the gold. One robot is crouching down and searching through coins. One robot is holding a small cluster of gold coins in both hands. One robot is half-rising after picking up treasure. Their actions should feel greedy, busy, and unaware at first. Shot structure: Shot 1 — 2.5 seconds: Medium-wide 28mm shot from a slightly low side angle near the island ground. Show the rocky treasure slope, small scattered coins, sand patches, and a little ocean in the background. The 4 different robots are busy collecting treasure. The composition should not feel like a lineup. Each robot has a different action and distance from camera. Shot 2 — 2.5 seconds: Hard cut to a 35mm shot from a slightly different angle, closer to the ground. The soft shadow begins to pass across the island surface. First the bright reflections on the gold coins dim, then the rocks and robot bodies darken. Do not show the source of the shadow. One robot pauses first. Another still reaches for coins. Another slowly lifts its head. Reactions are staggered and natural. Shot 3 — 2.5 seconds: Hard cut to a 50mm medium reaction shot focusing on 2 or 3 robots. One robot holding coins looks upward. A crouching robot freezes halfway through picking up coins and slowly raises its head. Another robot turns slightly, confused. Keep the acting restrained and believable, not exaggerated. Shot 4 — 4 seconds: Hard cut to a layered 65mm or 75mm shallow-depth-of-field shot. Start focused on a background robot holding a small pile of gold coins. The coins in its hands begin dissolving from the edges into fine golden dust drifting upward. Then perform a slow rack focus to a foreground crouching robot. As the focus arrives on the foreground robot, the small coins in its hand also begin dissolving into golden particles. Some nearby coins on the ground also break into golden dust and rise upward. The gold dust must clearly come from the coins and treasure, not from the robot’s body. The particles should drift upward elegantly and eerily. Shot 5 — 2.5 to 3 seconds: Hard cut to a medium reaction shot. One robot reaches upward trying to catch the floating gold dust. Another looks down at its empty hands. Another remains frozen, staring upward. The golden particles continue rising out of frame. End with a feeling that the treasure is being drawn away by an unseen force above. Camera and composition: Use purposeful hard cuts, not random zooms. Vary shot size and focal length between shots. Keep spatial continuity: same island-edge location, same robots, same treasure area. Use cinematic realism, grounded robot acting, dry black humor, and oppressive atmosphere. Visual style: 21:9 widescreen, cinematic realism, IMAX 70mm film look, realistic daylight, subtle film grain, turquoise-blue ocean, dark volcanic rocks, small gold coins, dirty off-white retro-futurist robots, chipped paint, salt stains, practical industrial detail, restrained black humor.

{{Portrait 1}} 为主角机器人外形设定参考，用来锁定主角机器人的身份一致性：头部形状、胸口蓝色三角标识、白蓝旧化涂装、手臂比例、手掌机械结构、整体破旧公共服务机器人质感。主角必须保持与 {{Portrait 1}} 一致。 {{Portrait 2}} 为群像机器人外形多样性参考，用来控制其他机器人不要和主角长得一样。海面上方远处继续游动的机器人、周围更深处若隐若现的沉没机器人轮廓、零散失败者残影，都要参考 {{Portrait 2}} 的不同型号与不同头型，形成明显的外形差异。不要把所有机器人都做成和主角同一个型号。 生成一张 21:9 变形宽银幕电影级关键帧，真实水下摄影质感，IMAX 70mm 胶片现实主义风格，24mm 或 35mm 广角镜头视角，冷蓝色深海氛围，压抑、孤独、绝望、带一点黑色讽刺意味。 镜头位于较深的水下，摄影机从下方向上拍向海面。画面重点是“深不见底”和“无力回天”的感觉。海面在画面上方，透出遥远、发白、模糊的自然天光，带有真实的体积光束、水体散射和轻微漂浮颗粒。水体空间要非常深，画面下方和四周大量留出深蓝到近黑的空旷水体，形成强烈负空间和压迫感。 不要出现清晰可见的完整海床，不要出现明显铺开的地面结构，不要让画面变成海底场景展示图。只允许在画面更深处、边缘或暗部极少量点缀若隐若现的残骸轮廓、断肢、报废机器人局部结构，弱化处理，只作为失败者痕迹，不抢主体。 主角机器人正在向下坠落，姿态必须自然失控，不要直立。它应该是“身体向下、头和一只手本能朝上海面方向伸出”的下沉姿态，像落水之后失去力量不断坠落。腿和身体往下沉，手和头朝上，整体有轻微倾斜和漂浮失重感。不要把主角放在画面正中心，放在偏下方或偏右下、偏左下都可以，总之保留大面积空旷水体，让孤独感更强。 主角的那只朝上伸出的手，要成为画面中非常重要的情绪点，表达最后一次徒劳求生。主角面部不需要正对镜头，不一定要看清五官，但头部轮廓和身体结构必须清楚可辨。主角眼部灯光应非常微弱，接近熄灭状态，整体生命感正在流失。 在上方靠近海面的区域，只出现少量远处机器人轮廓。它们不是主角同款，要参考 {{Portrait 2}} 的不同外形，头型不同、身体比例不同、游泳姿态不同。数量不要多，不要铺满，只需零散几只，在海面附近继续朝远方游动，形成“别人还在往前，而它正在下沉”的冷漠对照。 这些远处机器人不要围着主角，也不要救它，不要形成戏剧表演感。它们只是远远地继续前行，像冷漠的大部队。可以有个别更远的轮廓几乎只剩黑影。 整体画面强调： 1. 深不见底的海水空间； 2. 主角机器人自然失控地下坠； 3. 上方仍有少量不同型号机器人继续游走； 4. 空间大、负空间大、压抑感强； 5. 真实摄影感，不要插画感，不要概念设定板感，不要居中纪念照构图。 画面构图要高级、克制、电影化，情绪压抑，带有失败者被大部队抛下的残酷感。

{{Portrait 1}} is the large heavy robot reference. {{Mixed 2}} is the ocean surface and sea texture reference. {{Mixed 3}} is the tiny scavenger robot with broken plank and improvised spray-propulsion device reference. Create a 21:9 cinematic sequence, realistic live-action style, dystopian atompunk coastal gold-rush world, IMAX 70mm film texture, grounded visual realism, only sound effects, no background music. This is a short multi-shot sequence, around 10–15 seconds total, built with 4 hard-cut shots. The overall story: a large heavy robot is still struggling forward in the sea, while a tiny opportunistic scavenger robot glides past it on a broken wooden plank using a crude spray-propulsion device. Many other robots are also moving in the same direction across the sea. IMPORTANT WORLD LOGIC: all background robots are part of a larger crowd migrating in the same direction. Their movement direction must be unified. They are moving away from the coastline, away from the beach, and toward distant open sea. Do not show robots moving toward shore. Do not show robots moving parallel to shore. Do not isolate the two robots alone in the ocean. Even in blurred or distant areas, there must be many robots visible on the sea surface, all traveling in the same offshore direction. IMPORTANT VISUAL RESTRICTIONS: do not show beach, sand, coastline, or shore in the frame. Do not include island in this sequence. Do not contaminate this scene with landward direction. This sequence is about offshore movement only. Shot 1 — medium-wide establishing sea shot, 2.5 to 3 seconds: the large robot from {{Portrait 1}} is semi-submerged, only its head clearly above the water, while its massive submerged body silhouette is faintly visible under the sea surface, suggesting it is still walking or pushing forward beneath the water. The robot is slow, heavy, and exhausted. The sea surface matches {{Mixed 2}} . In the background, many other robots are swimming across the water in the same direction, away from shore, toward distant open sea. The shot should establish that this is a crowd movement, not just two isolated characters. Shot 2 — medium shot, 2 to 3 seconds: the tiny scavenger robot from {{Mixed 3}} enters frame and passes by the large robot. It rides a broken wooden plank and uses a hose-like spray nozzle connected to a backpack utility tank. The robot stands or half-crouches near the rear part of the plank, balancing while holding the thick spray tube like a vacuum cleaner hose. The nozzle points diagonally downward into the sea, blasting water / air downward to propel the plank forward. As it reaches roughly parallel to the large robot’s head, the propulsion device briefly sputters or stalls. The little robot taps or knocks the device once, glances toward the large robot for a beat, then the spray resumes and it glides forward again. Keep this gag short and efficient, not overplayed. Background robots still continue moving in the same offshore direction. Shot 3 — closer shot on the large robot, 2 to 3 seconds: cut to a closer view of the large robot’s head and upper submerged mass. Waterline is high. The large robot remains heavy, slow, and emotionally blank, but its presence feels tragic and abandoned. It has no exaggerated facial expression, only a subtle sense that it notices the smaller robot passing by. The mood turns colder and sadder. In the soft background, other robots are still visible moving in the same offshore direction. Shot 4 — wider sea shot, 3 to 5 seconds: cut wider again to show the broader migration flow. A larger number of robots are spread across the sea surface, all clearly traveling in one unified direction toward distant open sea. The large robot is slower and more burdened. The tiny scavenger robot has already moved ahead or is leaving frame after overtaking it. The scene should feel ironic and slightly cruel: a massive heavy unit struggles behind, while a tiny sly opportunist slips ahead with improvised equipment. Cinematography: realistic sea-level shooting, restrained cinematic camera movement, natural lens behavior, slight telephoto compression for some shots and moderate wider sea-level framing for others, no exaggerated drone language. Maintain continuity of water direction, movement direction, and crowd flow. The large robot must remain visually consistent with {{Portrait 1}} . The small robot must remain visually consistent with {{Mixed 3}} . The ocean surface, lighting behavior, and wave texture should stay consistent with {{Mixed 2}} . Tone: black humor, quiet cruelty, absurdity, social satire, grounded realism. Only sound effects, no background music.

Reference notes: {{Portrait 1}} is the island shoreline environment reference. Use it only for the dark rocks, shallow sand, scattered gold, local seaside environment, and natural daylight mood. {{Portrait 2}} is the robot crowd design reference, used to extract different old service robot models. Generate a 21:9 cinematic widescreen video, around 15 seconds long, edited with hard cuts. Realistic cinema look, atom-punk dystopian mood, subtle film grain, natural daylight, restrained dark humor, understated acting. The scene takes place on a local section of the golden island shoreline. The camera must only show the island ground, dark rocks, shallow sand, scattered coins, small gold chunks, robots, and a little bit of ocean in the background. Do not tilt up to the sky. Do not show any sky change. Do not show any visible object above. This segment should only suggest something enormous passing above through lighting changes on the ground, coins, and robots. Environment: Dark rocks, shallow sandy ground, scattered small coin piles, small gold coins, small gold chunks, and a bit of cyan-blue ocean in the background. The gold should be small, dense, fragmented, and collectible in scale, like small coins and small chunks scattered across sand and rock cracks. Keep exposed sand and black rocks visible. Do not cover the whole ground with gold. Characters: There are 4 main robots in the shot, all selected as different models from the robot crowd system in {{Portrait 2}}. The 4 robots must be clearly different and must not look duplicated. They must differ in head shape, height proportion, torso width, arm structure, leg structure, and weathering details. Character actions: 1) one robot has just come ashore from the sea, with wet marks on its body, walking toward the gold area; 2) one robot is crouching to pick up coins; 3) one robot already holds several coins and small gold chunks in its arms; 4) one robot is half-standing and still searching the ground. Lighting change design: Do not show the sky. Do not show clouds. Do not show a giant hand. Do not show a hand-shaped shadow. Do not show any dark object above the scene. Only show ground-level brightness changes. The bright highlights on the gold fade first, then the brightness on the sand and rocks slowly lowers from foreground to background, then the dimming passes across the robots and toward the seaside background. This should feel like natural daylight being temporarily blocked by something enormous above, but the object itself must never be visible in the frame. The dimming transition must be natural and gradual. It must not look like a solid black object, smoke, cloud, or wall. Shot 01 | 0–3.5s | 35mm | medium-wide relationship shot Camera is positioned from a side angle inside the island shoreline, slightly low, looking across the gold-scattered coastal ground, with a little ocean in the background. The 4 different robots are distributed in the same space: one just came ashore and walks forward; one crouches to pick up gold; one already holds gold; one is half-standing and still searching. Their actions feel natural, urgent, and absurdly greedy in a low-class way. The camera may have a very subtle forward move or slight horizontal drift, keeping a realistic photography feel. Hard cut. Shot 02 | 3.5–6.5s | 50mm | medium observation shot Cut to a tighter relationship angle while keeping the 4 robots in the same general area. The ground-level light begins to change: the shiny highlights on the gold dim first; then the brightness on sand, rocks, and robot bodies gradually lowers. This change happens only on the ground and characters. The camera must not show the sky. The robots gradually stop what they are doing, not all at once: the crouching one pauses first; the one holding gold reacts a beat later; the robot that just came ashore looks up next; the half-standing robot notices last. This is a gradual shared realization, not exaggerated panic. Hard cut. Shot 03 | 6.5–9.5s | 65mm | medium close reaction shot Focus on 2 to 3 robots, with blurred silhouettes of the others and the shoreline environment still visible in the background. The robots slowly look upward, toward something outside the frame. Their timing is slightly different. One robot still holds gold in its arms; one robot pinches a few coins in its hand; another has just risen from a crouch. Their reaction is hesitant, confused, and increasingly aware that something is wrong. Do not make it cartoonish or overly dramatic. The light on the ground and robot bodies continues to dim, but no visible object appears above. Hard cut. Shot 04 | 9.5–15s | 75mm | layered rack-focus shot At the start, focus is on the background robot holding gold in its arms, while a crouching or half-crouching robot in the foreground remains soft and out of focus. The coins and small gold chunks held by the background robot begin to change first: their edges loosen, then slowly dissolve into fine golden metallic dust and float upward, pulled away by an invisible force. The background robot first looks down, then looks up, then instinctively reaches out as if trying to keep the floating dust. Then perform a clear but restrained rack focus from the background robot to the foreground crouching robot. Once the foreground becomes sharp, the few coins in its hand and the nearby coins on the ground also begin dissolving into fine golden dust and drifting upward. The foreground robot freezes, looks at its hand, then instinctively tries to grab the dust, but fails. A few golden dust particles continue drifting upward in the background, keeping the same space and time continuity. End on the empty mechanical hand and the upward-floating golden dust. Overall requirements: Hard-cut editing. Each shot must have a different angle, focal length, and staging relationship, not just zooming from the same camera position. All 4 robots must be different models. Performance is restrained and dryly humorous, not exaggerated. The gold disappearance should look like fine metallic dust being pulled upward by an invisible force, not a magical explosion. The camera must never show the sky, clouds, dark objects, or visible overhead obstruction. Only show brightness changes on the ground and characters. Sound effects only, no background music: ocean waves, metal scraping, light coin impacts, the ambience becoming slightly muffled as the light dims, and fine metallic granular sounds as the gold dissolves.

21:9 cinematic video, about 15s, hard cuts, realistic atom-punk dystopian shoreline, natural daylight, subtle film texture, restrained dark humor. Use {{Portrait 1}} as the local island shoreline environment reference. Use {{Portrait 2}} as robot crowd design reference. Camera only shows ground-level shoreline space: dark rocks, shallow sand, scattered small gold coins, small gold chunks, robots, and a little cyan-blue ocean in the background. Do not show the sky. Do not show clouds. Do not show any visible object above. Only show lighting changes on the ground, coins, and robots. 4 main robots appear in the same scene, all different models selected from {{Portrait 2}}. No duplicated robots. Different head shapes, body proportions, arms, legs, and weathering. One robot just came ashore, one crouches to pick up gold, one holds gold in its arms, one half-stands while searching. Lighting change: Gold highlights fade first. Then the brightness on sand, rocks, and robot bodies gradually lowers from foreground to background, then toward the seaside background. The source is never shown. Shot 1, 35mm, 0–3.5s: medium-wide side angle, 4 different robots collecting gold on the shoreline. Shot 2, 50mm, 3.5–6.5s: tighter medium shot, ground-level brightness starts to dim. Robots stop one by one and look upward, not synchronized. Shot 3, 65mm, 6.5–9.5s: medium close reaction shot of 2–3 robots looking upward outside the frame, hesitant and confused. Shot 4, 75mm, 9.5–15s: layered rack-focus shot. Focus starts on a background robot holding gold. The gold in its arms dissolves into fine golden metallic dust and floats upward. The robot looks down, then up, and reaches for the dust. Rack focus to a foreground crouching robot. The coins in its hand and nearby ground coins also dissolve into golden dust drifting upward. End on empty mechanical hand and upward-floating golden dust. Hard cuts only. Different camera angles and focal lengths. No sky, no clouds, no visible overhead object, no giant hand in this segment. Sound effects only, no background music.

{{Portrait 1}} 为主角机器人多视图参考，仅继承主角机器人的头部造型、双圆镜头眼结构、白蓝旧化金属材质、胸口三角标识、手掌机械结构、背部蓝色模块、身体比例和整体轮廓。不要继承白底、排版、产品展示感、设定图感、棚拍质感。 生成一张 21:9 横版宽银幕、电影级现实主义水下镜头。镜头为 24mm 或 35mm 广角水下摄影机视角，摄像机位于海中较深处，仰拍海面方向。整体空间深蓝、巨大、压抑、深不见底，重点表现无尽深水带来的孤独和绝望感。 不要出现清晰海床，不要出现明确海底边界，不要让海底占据画面主体。画面下方和远处应逐渐沉入深蓝黑色负空间，形成看不到尽头的深海深度感。可以在下方和远处极少量点缀模糊机械残骸、零散沉没部件、很少量若隐若现的沉没机器人黑影，但必须克制，不要杂乱，不要把海底做实。 主角机器人为 {{Portrait 1}} 中的同一机器人。它不是直立悬浮，也不是站着往下掉，而是处于自然失衡的自由下沉状态：身体主体已经更深，四肢因水阻略微向上拖拽，整体呈轻微倾斜、失去平衡的下坠姿态。一只手仍然下意识朝海面方向伸出，带有最后的求生反应。主体不要放在正中心，可放在画面右下偏中或左下偏中，给出大面积压迫性的深海负空间。 海面附近可以看到少量其他机器人模糊轮廓，它们只是远处继续漂浮、游动或朝别处前进，不回头、不围观、不救援。注意：其他机器人不能与主角机器人长得一样，不能大面积复制主角造型。其他机器人只作为远处模糊群像存在，头型、体型、比例、颜色应有差异，呈现不同型号、不同类型的服务机器人剪影，但细节不要过多，不要抢主角。 海面透下冷白自然光与体积光束，水中可有少量细小气泡。整体气质真实、冷静、悲凉、孤独、有黑色幽默中的失败者坠落感。构图高级克制，镜头语言沉稳，真实水下摄影感，不要赛博朋克，不要卡通，不要过度科幻，不要白底设定图感。

Reference notes: {{Portrait 1}} is the island shoreline environment reference. Use it only for the dark rocks, shallow sand, scattered gold, local seaside environment, and natural daylight mood. {{Portrait 2}} is the robot crowd design reference, used to extract different old service robot models. Generate a 21:9 cinematic widescreen video, around 15 seconds long, edited with hard cuts. Realistic cinema look, atom-punk dystopian mood, subtle film grain, natural daylight, restrained dark humor, understated acting. The scene takes place on a local section of the golden island shoreline. The camera must only show the island ground, dark rocks, shallow sand, scattered coins, small gold chunks, robots, and a little bit of ocean in the background. Do not tilt up to the sky. Do not show any sky change. Do not show any visible object above. This segment should only suggest something enormous passing above through lighting changes on the ground, coins, and robots. Environment: Dark rocks, shallow sandy ground, scattered small coin piles, small gold coins, small gold chunks, and a bit of cyan-blue ocean in the background. The gold should be small, dense, fragmented, and collectible in scale, like small coins and small chunks scattered across sand and rock cracks. Keep exposed sand and black rocks visible. Do not cover the whole ground with gold. Characters: There are 4 main robots in the shot, all selected as different models from the robot crowd system in {{Portrait 2}} . The 4 robots must be clearly different and must not look duplicated. They must differ in head shape, height proportion, torso width, arm structure, leg structure, and weathering details. Character actions: 1) one robot has just come ashore from the sea, with wet marks on its body, walking toward the gold area; 2) one robot is crouching to pick up coins; 3) one robot already holds several coins and small gold chunks in its arms; 4) one robot is half-standing and still searching the ground. Lighting change design: Do not show the sky. Do not show clouds. Do not show a giant hand. Do not show a hand-shaped shadow. Do not show any dark object above the scene. Only show ground-level brightness changes. The bright highlights on the gold fade first, then the brightness on the sand and rocks slowly lowers from foreground to background, then the dimming passes across the robots and toward the seaside background. This should feel like natural daylight being temporarily blocked by something enormous above, but the object itself must never be visible in the frame. The dimming transition must be natural and gradual. It must not look like a solid black object, smoke, cloud, or wall. Shot 01 | 0–3.5s | 35mm | medium-wide relationship shot Camera is positioned from a side angle inside the island shoreline, slightly low, looking across the gold-scattered coastal ground, with a little ocean in the background. The 4 different robots are distributed in the same space: one just came ashore and walks forward; one crouches to pick up gold; one already holds gold; one is half-standing and still searching. Their actions feel natural, urgent, and absurdly greedy in a low-class way. The camera may have a very subtle forward move or slight horizontal drift, keeping a realistic photography feel. Hard cut. Shot 02 | 3.5–6.5s | 50mm | medium observation shot Cut to a tighter relationship angle while keeping the 4 robots in the same general area. The ground-level light begins to change: the shiny highlights on the gold dim first; then the brightness on sand, rocks, and robot bodies gradually lowers. This change happens only on the ground and characters. The camera must not show the sky. The robots gradually stop what they are doing, not all at once: the crouching one pauses first; the one holding gold reacts a beat later; the robot that just came ashore looks up next; the half-standing robot notices last. This is a gradual shared realization, not exaggerated panic. Hard cut. Shot 03 | 6.5–9.5s | 65mm | medium close reaction shot Focus on 2 to 3 robots, with blurred silhouettes of the others and the shoreline environment still visible in the background. The robots slowly look upward, toward something outside the frame. Their timing is slightly different. One robot still holds gold in its arms; one robot pinches a few coins in its hand; another has just risen from a crouch. Their reaction is hesitant, confused, and increasingly aware that something is wrong. Do not make it cartoonish or overly dramatic. The light on the ground and robot bodies continues to dim, but no visible object appears above. Hard cut. Shot 04 | 9.5–15s | 75mm | layered rack-focus shot At the start, focus is on the background robot holding gold in its arms, while a crouching or half-crouching robot in the foreground remains soft and out of focus. The coins and small gold chunks held by the background robot begin to change first: their edges loosen, then slowly dissolve into fine golden metallic dust and float upward, pulled away by an invisible force. The background robot first looks down, then looks up, then instinctively reaches out as if trying to keep the floating dust. Then perform a clear but restrained rack focus from the background robot to the foreground crouching robot. Once the foreground becomes sharp, the few coins in its hand and the nearby coins on the ground also begin dissolving into fine golden dust and drifting upward. The foreground robot freezes, looks at its hand, then instinctively tries to grab the dust, but fails. A few golden dust particles continue drifting upward in the background, keeping the same space and time continuity. End on the empty mechanical hand and the upward-floating golden dust. Overall requirements: Hard-cut editing. Each shot must have a different angle, focal length, and staging relationship, not just zooming from the same camera position. All 4 robots must be different models. Performance is restrained and dryly humorous, not exaggerated. The gold disappearance should look like fine metallic dust being pulled upward by an invisible force, not a magical explosion. The camera must never show the sky, clouds, dark objects, or visible overhead obstruction. Only show brightness changes on the ground and characters. Sound effects only, no background music: ocean waves, metal scraping, light coin impacts, the ambience becoming slightly muffled as the light dims, and fine metallic granular sounds as the gold dissolves.

21:9 cinematic realistic shot, black humor tone, atom-punk coastal dystopia, realistic sea surface, natural daylight, subtle film grain, sound effects only, no background music. Reference usage: {{Portrait 1}} = large semi-submerged robot reference {{Mixed 2}} = sea surface / water texture reference {{Mixed 3}} = tiny small robot with broken plank and hose-propulsion device reference {{Portrait 4}} = background crowd robot reference for variety and unified movement direction Important scene logic: This entire beat happens in one continuous ocean space. The large robot and the tiny robot must remain spatially related in the same scene, even when shot size or lens changes. Do not isolate the tiny robot into a separate hero shot for too long. The large robot is a slow heavy spatial anchor; the tiny robot passes beside it. Important movement direction: The overall travel direction of the tiny robot and the background robot crowd is from the left side / left-back side of frame toward the right side / right-front side of frame. The background crowd robots must all move in this same direction. Do not let any background robot swim toward camera, toward the left side, or in random opposite directions. Important propulsion physics: The wooden plank does NOT move by itself. The tiny robot is using its hose device as the actual propulsion source. The tiny robot stands or half-crouches near the rear half of the plank, facing generally toward the forward travel direction. Both hands control a thick hose nozzle connected to the backpack cleaning tank. The nozzle points diagonally backward and downward into the seawater, toward the rear of the plank. The hose sprays water / air backward into the sea. The reaction force pushes the plank forward in the opposite direction. The spray direction and the plank movement direction must be opposite. The plank moves forward because of the backward spray thrust, not because it swims by itself. Shot structure: Shot 1, relationship establishing shot, 2.5–3 seconds: A large heavy robot is semi-submerged in the sea. Only its head and a small upper part are visible above water, with a faint massive body silhouette below the surface. A tiny robot on a broken wooden plank moves beside it from left to right / right-front. The large robot head should remain clearly visible as a huge scale reference. The tiny robot and plank should be much smaller. The background contains many varied robots moving in the same direction. Shot 2, closer wide relationship shot, 2–3 seconds: The tiny robot passes near the large robot head. Use a near wide lens feeling, around 32mm–40mm, so the frame still includes the plank, the tiny robot, the hose nozzle, water spray, and the large robot head in the side or background. The hose nozzle points backward and downward, spraying water behind the plank. The plank is pushed forward by the spray thrust. The plank stays mostly flat on the water, not tilted like a surfboard. The small robot’s stance is awkward and low, resisting the recoil from the hose. Shot 3, malfunction beat, 2–3 seconds: When the tiny robot is roughly level with the large robot head, the hose propulsion sputters. The backward spray weakens and becomes unstable. The plank slows slightly. The tiny robot taps or shakes the nozzle / hose device once, glances briefly toward the large robot, then restarts the device. Keep the humor understated and deadpan, not cartoonish. Shot 4, restart and continue, 2.5–4 seconds: The hose device restarts. A rough backward water spray returns. The plank moves forward again, away from the large robot, continuing toward the right-front side of frame. The large robot remains behind, semi-submerged and slow. Background crowd robots continue in the same unified direction. Visual requirements: The tiny robot is much smaller than normal robots, low-class, shabby but not destroyed, slightly cute, resourceful, and black-humor in tone. The wooden plank is a flat salvaged board, like a broken coastal shack board or old seaside sign board, with faded island-style markings, cracks, nail holes, worn edges and water damage. The propulsion device looks like a repurposed coastal cleaning / vacuum / spray tool, not a sci-fi engine. Realistic water spray, realistic wake, believable physical thrust, no neon, no fantasy, no clean futuristic vehicle design.

{{Portrait 1}} 为主角机器人多视图参考，仅继承主角机器人的头部造型、双圆镜头眼结构、白蓝旧化金属材质、胸口三角标识、手掌机械结构、背部蓝色模块、身体比例和整体轮廓。不要继承白底、排版、产品展示感、设定图感、棚拍质感。 {{Portrait 2}} 为群众机器人类型参考，仅继承“群众机器人应为不同型号、不同头型、不同体型、不同配色、不同结构的服务机器人群像”这一原则。不要照搬整张设定板，不要生成排队展示感，不要让群众机器人全部清晰可辨，不要让群众机器人抢主角。 生成一张 21:9 横版宽银幕、电影级现实主义水下镜头。镜头为 24mm 或 35mm 广角水下摄影机视角，摄像机位于海中较深处，仰拍海面方向。整体空间深蓝、巨大、压抑、深不见底，重点表现无尽深水带来的孤独和绝望感。 不要出现清晰海床，不要出现明确海底边界，不要让海底占据画面主体。画面下方和远处应逐渐沉入深蓝黑色负空间。可以在下方和远处极少量点缀模糊机械残骸、零散沉没部件、少量若隐若现的沉没机器人黑影，但要克制，不要杂乱。 主角机器人为 {{Portrait 1}} 中的同一机器人。它不是直立悬浮，而是自然失衡地下沉：身体主体更深，四肢因水阻略向上拖拽，整体轻微倾斜，一只手仍朝海面方向伸出，像最后的求生反应。主体不要放在画面正中心，可偏左下或偏右下。 海面附近可见少量其他机器人轮廓，这些机器人应参考 {{Portrait 2}} 呈现为不同型号、不同剪影、不同大小和不同头型的群像，只保留远处模糊轮廓，不需要清晰细节，不围观，不救援，只是在海面附近继续移动或远离。绝不能把其他机器人做成与主角同款的大量复制。 海面透下冷白自然光和体积光束，水中有少量细小气泡。整体真实、悲凉、孤独、压抑，有黑色幽默中的失败者坠落感，真实水下摄影感，不要设定图感，不要过度科幻。

{{Portrait 1}} is the reference for the main robot. Only inherit the main robot’s head shape, dual circular lens-eyes, worn white-and-blue metal body, mechanical hand structure, and proportions. Do not inherit the white background or character-sheet look. Create a 21:9 cinematic realist underwater image, ultra wide-angle 18mm–24mm, camera deep underwater looking upward toward the sea surface. In the foreground, a single arm and hand of the main robot reaches upward in a final desperate survival gesture, while the rest of the body has already sunk deeper below. In the midground, include 3 to 4 scattered sunken robot remains and a few detached mechanical limbs and fragments. No clear seabed, no shallow-water feeling, and the lower frame should fade into deep blue-black negative space to create a bottomless oppressive atmosphere. Near the surface above, show a group of distant blurred robots, all swimming in the same direction toward the far distance, unified direction only, no turning back, no rescue, no pause, and they must not all look identical to the main robot. Cold daylight beams penetrate the water, with subtle bubbles and suspended particles. Overall tone: cold blue, lonely, oppressive, hopeless, realistic, restrained, cinematic.

把{{Image 1}}

高清修复一下 {{Image 1}} 的清晰度和细节

把 {{Image 1}} 中悬浮在岛上的狗狗金币,放大到红色圈圈这么大.狗狗金币不用展现完整.狗狗金币可以出画,但是要始终保持悬浮在岛上的感觉.金币和岛隔了一段距离

{{Portrait 1}} is the reference for the main robot. Only inherit the main robot’s head shape, dual circular lens-eyes, worn white-and-blue metal material, chest emblem, mechanical hand structure, and overall body proportions. Do not inherit the white background, character sheet layout, or design-board presentation. Create a 21:9 cinematic realist underwater image. Use an ultra wide-angle underwater camera, about 18mm–24mm, positioned fairly deep underwater and looking upward toward the sea surface. The image must feel oppressive, lonely, hopeless, tragic, and emotionally suffocating, with a strong sense of a failed figure sinking into an endless deep ocean. The key visual focus is one arm and hand of the main robot in the foreground. The hand rises from the lower-left or lower-right foreground, reaching upward toward the surface in a final desperate survival gesture. The arm should feel weak and sinking, with emotional helplessness. The hand must be close enough to create strong foreground tension, but should not block the whole frame. The robot’s full body does not need to be fully visible; only partial body or broken torso elements may remain deeper below, so it feels as if the main robot has already sunk farther down and only this hand is still reaching toward the light. In the midground, include 3 to 4 sunken robot remains, scattered loosely, not lined up and not symmetrical. Also add a small number of detached mechanical limbs, severed arms, broken leg parts, and damaged machine fragments drifting or resting deeper in the water. Keep these restrained and sparse, not cluttered. Do not show a clear seabed. Do not show readable ocean floor texture. Do not make it look like shallow water. The lower frame and deep background should gradually disappear into dark blue-black negative space, creating a truly bottomless feeling. Near the sea surface above, show a group of other robots only as distant blurred silhouettes. They can be moderately numerous, but only as faraway group shapes. Critical requirement: all of these surface robots must be swimming in the same direction, all moving consistently toward one distant direction, the same far direction beyond the reaching hand. No conflicting swim directions. No random movement. They keep swimming away toward the same distant goal. They do not turn back, do not stop, do not rescue, and do not pay attention to the sinking robot. These surface robots should appear as varied service robot silhouettes with different head shapes, body types, sizes, and proportions. They must not all look identical to the main robot, and must not look copy-pasted. Cold natural white light beams and volumetric shafts come down through the sea surface. Include small bubbles and suspended particles in the water. The overall color palette is cold blue, quiet, oppressive, hopeless, and cinematic. Keep it realistic and restrained. No cyberpunk, no cartoon, no exaggerated sci-fi, no video game look, no concept-sheet feel, no overly bright image, no overly busy composition. The emotional core is: one desperate hand reaching up from the deep sea, while the larger crowd above continues swimming away in one unified direction, creating a cruel contrast and a stronger feeling of despair. 生成一张 21:9 横版宽银幕、电影级现实主义水下镜头。镜头为 24mm 或 35mm 广角水下摄影机视角，摄像机位于海中较深处，仰拍海面方向。整体空间深蓝、巨大、压抑、深不见底，重点表现无尽深水带来的孤独和绝望感。 不要出现清晰海床，不要出现明确海底边界，不要让海底占据画面主体。画面下方和远处应逐渐沉入深蓝黑色负空间，形成看不到尽头的深海深度感。可以在下方和远处极少量点缀模糊机械残骸、零散沉没部件、很少量若隐若现的沉没机器人黑影，但必须克制，不要杂乱，不要把海底做实。 主角机器人为 {{Portrait 1}} 中的同一机器人。它不是直立悬浮，也不是站着往下掉，而是处于自然失衡的自由下沉状态：身体主体已经更深，四肢因水阻略微向上拖拽，整体呈轻微倾斜、失去平衡的下坠姿态。一只手仍然下意识朝海面方向伸出，带有最后的求生反应。主体不要放在正中心，可放在画面右下偏中或左下偏中，给出大面积压迫性的深海负空间。 海面附近可以看到少量其他机器人模糊轮廓，它们只是远处继续漂浮、游动或朝别处前进，不回头、不围观、不救援。注意：其他机器人不能与主角机器人长得一样，不能大面积复制主角造型。其他机器人只作为远处模糊群像存在，头型、体型、比例、颜色应有差异，呈现不同型号、不同类型的服务机器人剪影，但细节不要过多，不要抢主角。 海面透下冷白自然光与体积光束，水中可有少量细小气泡。整体气质真实、冷静、悲凉、孤独、有黑色幽默中的失败者坠落感。构图高级克制，镜头语言沉稳，真实水下摄影感，不要赛博朋克，不要卡通，不要过度科幻，不要白底设定图感。

{{Portrait 1}} is the gold Dogecoin detail reference. {{Portrait 2}} is the public-service robot crowd design reference. Create a single cinematic image in 21:9. A dramatic reverse-angle giant-object shot at sea level, low camera close to the water, strong ultra-wide perspective, 18mm to 21mm lens feeling, slight dutch angle. Foreground: several small robots floating and partially swimming in the sea, close to the camera, seen from a low angle. They are all different robot models selected from {{Portrait 2}}, with different silhouettes, head shapes, torso proportions, limb structures, and postures. Use about 4 to 7 readable foreground robots, with a few more smaller robots scattered farther behind them. They have stopped or slowed down and are looking upward. Their reactions are quiet, frozen, confused, and overwhelmed, not exaggerated. Midground: darkened ocean surface with realistic small waves. The sea surface is already under a large moving shadow, so the water reflections are muted and subdued. Background: a distant rocky treasure island, relatively small in the frame. The island has dark exposed rocks, scattered gold coins, small gold fragments, and a few shallow landing edges near the shoreline. The island is already covered by shadow, so there are almost no strong golden highlights. Main giant object: a colossal floating gold Dogecoin above the island. The coin is the dominant visual mass in the frame. Its diameter should be roughly 60% to 80% of the visible island width, almost as wide as the island’s main rocky body. The coin is suspended close above the island, leaving only a clear but not huge gap between the coin and the island surface. The coin should occupy about 35% to 45% of the image width, creating strong scale pressure. Its size must feel enormous compared with the small robots in the foreground. The Dogecoin shape, thickness, engraved dog face, rim detail, aged gold texture, and metallic surface quality should follow {{Portrait 1}}. Giant hand reveal: from the top edge or upper right edge of the frame, only part of an enormous realistic human hand enters the shot. Show only 2 or 3 huge fingers, or a partial palm edge, slowly approaching the gold coin. The hand is not fully revealed yet. The fingers should feel calm, massive, and oppressive. Composition: the foreground robots are very small, the distant island is smaller, and the floating coin is huge. Use strong scale contrast between small robots, distant island, giant coin, and partial giant hand. The island should not dominate the frame. The giant coin and the partial hand should create the main pressure. The composition can be slightly diagonal, around 7 to 12 degrees, to create unease. Lighting and atmosphere: natural daylight, but the island and ocean are already under shadow. Muted reflections, controlled highlights, realistic ocean color, cinematic contrast, subtle film texture. The atmosphere is oppressive, surreal, darkly humorous, and fatalistic. Style: ultra realistic, cinematic, atompunk coastal dystopia, believable materials, clean image, realistic scale, no cartoon look, no anime look.

把 {{Image 1}} 中悬浮在岛上的狗狗金币,放大到红色圈圈这么大.狗狗金币不用展现完整.狗狗金币可以出画,但是要始终保持悬浮在岛上的感觉.

{{Portrait 1}} is the reference for the main robot. Only inherit the main robot’s head shape, dual circular lens-eyes, worn white-and-blue metal material, chest emblem, mechanical hand structure, and overall body proportions. Do not inherit the white background, character sheet layout, or design-board presentation. Create a 21:9 cinematic realist underwater image. Use an ultra wide-angle underwater camera, about 18mm–24mm, positioned fairly deep underwater and looking upward toward the sea surface. The image must feel oppressive, lonely, hopeless, tragic, and emotionally suffocating, with a strong sense of a failed figure sinking into an endless deep ocean. The key visual focus is one arm and hand of the main robot in the foreground. The hand rises from the lower-left or lower-right foreground, reaching upward toward the surface in a final desperate survival gesture. The arm should feel weak and sinking, with emotional helplessness. The hand must be close enough to create strong foreground tension, but should not block the whole frame. The robot’s full body does not need to be fully visible; only partial body or broken torso elements may remain deeper below, so it feels as if the main robot has already sunk farther down and only this hand is still reaching toward the light. In the midground, include 3 to 4 sunken robot remains, scattered loosely, not lined up and not symmetrical. Also add a small number of detached mechanical limbs, severed arms, broken leg parts, and damaged machine fragments drifting or resting deeper in the water. Keep these restrained and sparse, not cluttered. Do not show a clear seabed. Do not show readable ocean floor texture. Do not make it look like shallow water. The lower frame and deep background should gradually disappear into dark blue-black negative space, creating a truly bottomless feeling. Near the sea surface above, show a group of other robots only as distant blurred silhouettes. They can be moderately numerous, but only as faraway group shapes. Critical requirement: all of these surface robots must be swimming in the same direction, all moving consistently toward one distant direction, the same far direction beyond the reaching hand. No conflicting swim directions. No random movement. They keep swimming away toward the same distant goal. They do not turn back, do not stop, do not rescue, and do not pay attention to the sinking robot. These surface robots should appear as varied service robot silhouettes with different head shapes, body types, sizes, and proportions. They must not all look identical to the main robot, and must not look copy-pasted. Cold natural white light beams and volumetric shafts come down through the sea surface. Include small bubbles and suspended particles in the water. The overall color palette is cold blue, quiet, oppressive, hopeless, and cinematic. Keep it realistic and restrained. No cyberpunk, no cartoon, no exaggerated sci-fi, no video game look, no concept-sheet feel, no overly bright image, no overly busy composition. The emotional core is: one desperate hand reaching up from the deep sea, while the larger crowd above continues swimming away in one unified direction, creating a cruel contrast and a stronger feeling of despair.

{{Portrait 1}} 为黄金狗狗币细节参考。 {{Portrait 2}} 为公共服务机器人群像设计参考。 生成一张 21:9 电影宽银幕单帧画面。 这是一个海面低机位的反打巨物镜头，摄影机贴近水面，强超广角透视，焦段感觉约为 18mm 到 21mm，画面带轻微斜构图。 前景： 海面上有几个靠近镜头的小机器人，部分漂浮、部分浸在水中，从低角度看到它们。 它们全部从 {{Portrait 2}} 中选择不同型号，轮廓、头型、躯干比例、肢体结构、姿态都要不同。 前景可读机器人约 4 到 7 个，中后景还可以有少量更小、更远的机器人。 它们已经减速或停下，正在往上抬头看。 反应是安静凝住、困惑、被压迫感打断，不要夸张惊恐。 中景： 真实海面质感和细小波浪。 海面已经处于一大片移动阴影下，所以水面反光被压住，整体反射更弱。 后景： 远处是一座较小的岩石宝藏岛。 岛上有深色裸露岩石、散落金币、小块黄金碎片，岸边有少量浅浅的登陆边缘。 整座岛已经被阴影覆盖，几乎没有强烈黄金高光。 主体巨物： 岛上方悬浮着一个巨大的黄金狗狗币。 这个金币是画面里最主要的视觉体量。 金币直径约等于画面中可见岛屿宽度的 60% 到 80%，接近岛屿主山体的宽度。 金币悬浮在岛上方，距离岛面很近，但不接触岛面，中间留出明确但不夸张的空隙。 金币在画面中占据约 35% 到 45% 的画面宽度，形成强烈压迫感。 它相对于前景小机器人必须显得极其巨大。 狗狗币的造型、厚度、狗头浮雕、边缘细节、轻微旧化黄金材质和金属质感参考 {{Portrait 1}}。 巨手揭示： 从画面上边缘或右上边缘，只露出一部分巨大的真实人手进入画面。 只出现 2 到 3 根巨大的手指，或者部分手掌边缘，正在慢慢逼近金币。 不要完整露出整只手。 手指要显得冷静、巨大、有压迫感。 构图： 前景机器人很小，远处岛屿相对较小，悬浮金币非常巨大。 用小机器人、远处岛屿、巨大金币和局部巨手形成强烈比例反差。 岛不要成为画面里最大的主体。 金币和局部巨手才是压迫感来源。 画面可以有 7 到 12 度左右的轻微斜构图，增加不安感。 光线与氛围： 自然日光，但岛和海面已经被阴影覆盖。 反光收住，高光克制，海水颜色真实，电影级反差，轻微胶片感。 整体氛围压迫、荒诞、黑色幽默、宿命感。 风格： 超写实，电影感，原子朋克海岸反乌托邦，材质可信，画面干净，比例真实，不要卡通，不要动漫。

保持 {{Image 1}} 中手臂和水中机器人残骸不变,改变海面上游的机器人游的方向,脚对着镜头身子向远处游.

让 {{Image 1}} 中的金币悬浮在岛上

设计一个袖珍小型旧机器人的白底角色设定板。它是《风口 / 淘金者》世界里的底层小机器人，体型只有普通服务机器人身高的50%–60%，瘦小、寒酸、低配、旧旧的，带一点傻萌和黑色幽默感。整体不是Q版，不是玩具风，而是写实世界里的小型民用/拾荒型机器人。头部略大，双眼简单呆萌，四肢细，结构轻，背部可有简陋电池包，表面有轻微掉漆、擦伤、锈迹，配色以米白、旧白、浅灰、淡黄旧标记为主。设定板包含：正面、侧面、背面、3/4视角、头部特写、手部特写，以及最重要的一张动作姿态：小机器人胸口趴在一块破旧木板上滑行/漂行求生，一只手抱住木板，一只手划水，双腿在后方轻轻扑腾，姿态狼狈但有效，形成“很穷很破但努力活着”的感觉。 木板像捡来的破门板/废旧木板碎片，边缘磨损开裂，不是正式冲浪板。整体做成白底/浅灰底、无背景干扰、干净清晰的影视角色资产参考图，高细节，真实材质，电影级美术设定风格。

让 {{Image 1}} 图中悬浮在岛上的狗狗金币的底部悬浮在红线的位置,

{{Image 1}} is the master layout reference and must override all default staging guesses. {{Image 1}} defines the exact spatial relationship, facing direction, movement direction, and overall composition. {{Image 2}} is the large heavy robot design reference. {{Image 3}} is the tiny scavenger robot design reference. {{Image 5}} is the open ocean surface and water texture reference. Create one single 21:9 widescreen cinematic storyboard keyframe, not a full storyboard sheet, not multiple panels. This image must faithfully convert the rough sketch in Image 1 into a realistic cinematic ocean scene. The scene takes place in deep ocean water, not shallow water. The large heavy robot is on the right side of the frame, mostly submerged underwater. Only its head and a very small part of the upper shoulder structure are visible above the water surface. The visible front face of the large robot must face the same direction shown in Image 1. The large robot is not looking away and not turned backward. Its massive body is faintly visible under the water as a dark, heavy silhouette. The tiny scavenger robot is on the left side of the frame, standing on a broken wooden plank. The tiny robot is beside the large robot, roughly parallel to the large robot’s head. It is not in front of the large robot. It has not already passed the large robot. It is stopped near the side of the large robot’s head because its propulsion tool is malfunctioning. The large robot and the tiny robot are both moving in the same overall direction. Their movement direction must follow the direction indicated in Image 1. The water wake and splash trails must stay behind them. The wake direction must support the same forward movement logic. The tiny robot stands sideways on the broken wooden plank. It holds a hose-like water jet tool with both hands, like a practical cleaning tool. The hose nozzle must point backward and slightly downward into the water, opposite to the travel direction. The water jet is malfunctioning, so it should produce a weak sputtering spray, unstable broken bursts, dripping water, and small irregular splashes. The plank must not look like it moves by itself. The plank is pushed forward by the backward water jet. The tiny robot should feel shabby, opportunistic, nervous, and slightly funny, but not cartoonish. Its body should remain small and lightweight compared with the huge robot. Many background crowd robots are visible across the ocean surface. All background robots must be swimming, floating, or partially submerged in the water. They must never stand upright on the sea surface. They appear as distant heads, shoulders, arms, partial torsos, splashes, and swimming silhouettes. They are all moving in the same general direction. They should not look like identical clones. Cinematic realism, IMAX 70mm film look, realistic ocean water, natural daylight, subtle film grain, grounded retro-futurist atompunk robot design, black humor, dirty off-white metal, chipped paint, rust stains, salt-weathered surfaces, practical industrial details, believable water interaction, dry absurd tragicomic tone. Single 21:9 cinematic keyframe, production design quality, realistic colored frame, not comic art, not line sketch. No text. No English words. No labels. No numbers. No captions. No title. No logo. No watermark. No storyboard panel border. No UI elements. Avoid: tiny robot in front of the large robot, tiny robot already far past the large robot, wrong movement direction, wrong splash direction, nozzle pointing in the same direction as travel, plank moving by itself, standing robots on water, walking robots on the sea surface, shallow-water feeling, cute mascot style, superhero mech, cyberpunk neon, fantasy magic, dogecoin island, gold coin, beach, shoreline, multiple panels, full storyboard sheet.

{{Image 1}} 为基础 按照和 {{Image 1}} 一样的 {{Image 2}} 所标注的修改.绿色箭头是海面的机器人游的方向.红色是要添加的机器人的头橙色是躯干和四肢,因为水中重力浮力浮力的关系四肢在躯干上,躯干腰部主导下沉.

Use {{Image 1}} as a loose spatial and composition reference for the reverse-angle shot of the island and floating Dogecoin. Use {{Image 2}} as the material and detail reference for the Dogecoin. Use {{Image 3}} as the crowd robot design reference. Create a 21:9 cinematic reverse-angle keyframe for a black-humor dystopian ocean gold-rush short film. This is a low sea-level ultra-wide shot looking toward the treasure island. The camera is very low near the water surface, with a dramatic wide lens feeling around 18mm to 21mm, slight dutch angle, strong scale contrast, and oppressive giant-object perspective. Foreground: Many small robots float in the ocean foreground and lower midground, partially submerged in deep water. They are not standing. The water reaches chest, shoulders, or neck level. Some only show head and shoulders above the water. They are all looking upward, but not in the exact same pose or timing. Use different robot models from the reference sheet, with different silhouettes, head shapes, body proportions, and paint wear. The robots must feel like a crowd, not a neat lineup. Some are closer and larger in foreground, some farther and smaller, with layered depth. Midground / background: The treasure island is farther away and slightly smaller. The island is still covered with visible gold coins, gold piles, metallic treasure, and rocky surfaces. Gold is still clearly readable on the island. There are still many scattered golden elements and treasure details on the island surface. The island is not a dark bare rock mountain. A little bit of sandy landing edge can still be visible near the shoreline. Dogecoin: The giant Dogecoin is much larger than in the previous island wide shot. It remains vertically floating above the island, clearly suspended in the air. It must not touch the island. It must not be mounted, planted, inserted, or stuck onto the island. There must be a clearly readable visible air gap between the lower rim of the Dogecoin and the island peak, wide enough to read instantly. Sky and air should be visibly seen in that gap. Use the gold material, engraved dog face, thickness, rim detail, and surface texture from Image 2. Hand: A colossal human hand is now partially visible from the top of frame. This is a giant Caucasian older slightly overweight male hand, with thick fleshy fingers, pale skin, subtle age texture, slight oiliness, and soft realistic flesh. The hand feels greedy, powerful, and invasive. Add one chunky gold signet ring or thick gold ring on one finger, subtle but clearly visible. Do not overload with jewelry. Only part of the hand is visible, not necessarily the entire hand. The hand is descending toward the Dogecoin. Lighting and shadow: The overall sky remains bright and consistent with the previous scene. Keep the previous color tone: bright daylight, blue sky, thin scattered clouds, clear atmosphere, ocean in cyan-blue tones. Do not turn the sky into storm weather. The shadow comes from the giant hand blocking sunlight, not from dark weather. The island and Dogecoin are partially covered by a soft directional shadow cast by the hand. The shadow is already falling across part of the Dogecoin and part of the island, reducing highlights, but not destroying the overall daylight atmosphere. The sea and sky should still feel bright and sunlit overall. The shadow should feel like a moving hand-shadow crossing the scene, not like a global weather change. Color and mood: Keep the previous bright blue-and-gold color palette. Ocean is vivid cyan-blue. Sky is bright with thin clouds. Island remains warm gold and dark rock. The mood is tense and oppressive, but still visually continuous with the earlier bright scenes. Style: cinematic realism, black humor, dystopian absurdity, giant-object terror, IMAX 70mm film look, subtle film grain, strong scale hierarchy, production-level concept frame. Sound note for later video generation: sound effects only, no background music.

{{Image 1}} is the master layout reference and must override all default staging guesses. {{Image 1}} defines the exact spatial relationship, facing direction, movement direction, and overall composition. {{Image 2}} is the large heavy robot design reference. {{Image 3}} is the tiny scavenger robot design reference. {{Portrait 4}} is the background crowd robot reference. {{Image 5}} is the open ocean surface and water texture reference. Create one single 21:9 widescreen cinematic storyboard keyframe, not a full storyboard sheet, not multiple panels. This image must faithfully convert the rough sketch in Image 1 into a realistic cinematic ocean scene. The scene takes place in deep ocean water, not shallow water. The large heavy robot is on the right side of the frame, mostly submerged underwater. Only its head and a very small part of the upper shoulder structure are visible above the water surface. The visible front face of the large robot must face the same direction shown in Image 1. The large robot is not looking away and not turned backward. Its massive body is faintly visible under the water as a dark, heavy silhouette. The tiny scavenger robot is on the left side of the frame, standing on a broken wooden plank. The tiny robot is beside the large robot, roughly parallel to the large robot’s head. It is not in front of the large robot. It has not already passed the large robot. It is stopped near the side of the large robot’s head because its propulsion tool is malfunctioning. The large robot and the tiny robot are both moving in the same overall direction. Their movement direction must follow the direction indicated in Image 1. The water wake and splash trails must stay behind them. The wake direction must support the same forward movement logic. The tiny robot stands sideways on the broken wooden plank. It holds a hose-like water jet tool with both hands, like a practical cleaning tool. The hose nozzle must point backward and slightly downward into the water, opposite to the travel direction. The water jet is malfunctioning, so it should produce a weak sputtering spray, unstable broken bursts, dripping water, and small irregular splashes. The plank must not look like it moves by itself. The plank is pushed forward by the backward water jet. The tiny robot should feel shabby, opportunistic, nervous, and slightly funny, but not cartoonish. Its body should remain small and lightweight compared with the huge robot. Many background crowd robots are visible across the ocean surface. All background robots must be swimming, floating, or partially submerged in the water. They must never stand upright on the sea surface. They appear as distant heads, shoulders, arms, partial torsos, splashes, and swimming silhouettes. They are all moving in the same general direction. They should not look like identical clones. Cinematic realism, IMAX 70mm film look, realistic ocean water, natural daylight, subtle film grain, grounded retro-futurist atompunk robot design, black humor, dirty off-white metal, chipped paint, rust stains, salt-weathered surfaces, practical industrial details, believable water interaction, dry absurd tragicomic tone. Single 21:9 cinematic keyframe, production design quality, realistic colored frame, not comic art, not line sketch. No text. No English words. No labels. No numbers. No captions. No title. No logo. No watermark. No storyboard panel border. No UI elements. Avoid: tiny robot in front of the large robot, tiny robot already far past the large robot, wrong movement direction, wrong splash direction, nozzle pointing in the same direction as travel, plank moving by itself, standing robots on water, walking robots on the sea surface, shallow-water feeling, cute mascot style, superhero mech, cyberpunk neon, fantasy magic, dogecoin island, gold coin, beach, shoreline, multiple panels, full storyboard sheet.

把 {{Image 1}} 中的站在木板上的小机器人换成 {{Image 2}} 小机器人. {{Image 2}} 小机器和水管背对镜头

{{Portrait 1}} 为岛屿与悬浮巨型狗狗币的构图和比例参考。 {{Portrait 2}} 为黄金狗狗币材质与细节参考。 {{Portrait 3}} 为公共服务机器人群像设计参考。 生成一张 21:9 的超写实电影感单帧画面。 这是一个海面超低机位的反打巨物镜头，摄影机几乎贴着海面，从下往上看。焦段感觉为 18mm 到 21mm，略广但仍然真实可信，画面带轻微斜构图，制造不安感。 前景： 海面上有 5 到 8 个小机器人漂浮、半浸在水里、正在往前游或刚减速停下。它们相对于岛和金币显得非常小。机器人全部从 {{Portrait 3}} 中选取不同型号，轮廓、头型、躯干结构、四肢比例、游动姿势都要明显不同。它们的状态是日晒褪色、轻微磨损、少量掉漆，但不是重度锈蚀。它们正在抬头往上看，反应是安静、发愣、略有压迫感，不夸张。更远一点的后景还可以有少量更小的机器人，形成虚化的海上群像氛围。 中景： 真实海面，蓝绿清透的海水，轻微波浪，明亮的日光反射仍然存在，但靠近岛和金币下方的水面开始失去部分高光，因为上方巨物正在投下大面积但边缘柔和的阴影。天空本身仍保持明亮清透。 后景： 远处是一座宝藏岛，画面中的体量比之前略小。岛上有深色裸露岩石、散落金币、小块黄金碎片，岸边可见浅浅的登陆边沿与短短的小沙滩。岛上仍然明显是“满地黄金”的状态，只是岛上方区域已经被一部分阴影覆盖，所以黄金反光被压住，而不是强烈发亮。 主体巨物： 一枚巨大的黄金狗狗币悬浮在岛上方，不接触岛面。金币和岛之间必须保留清晰可见的空气间隙。金币直径接近岛屿主体可见宽度的 70% 到 90%，形成极强压迫感。金币要比之前尝试里更大，占据画面上方很大面积。金币的细节、厚度、狗头浮雕、边缘结构、旧化黄金材质和金属真实感参考 {{Portrait 2}}。 巨手： 只露出 2 到 3 根极其巨大的手指，从画面上边缘或者右上边缘进入画面，不要完整露出手掌。手指来自一个肤色偏白、略微肉感、略油腻、年长男性的人手。可以有一根手指戴着厚重的金戒指或 signet ring。手指正在向悬浮金币逼近，像是准备夹起它。手指必须显得比之前版本更粗、更大、更有“造物主式”的压迫感。 光线与天空： 整体仍然是明亮日光、蓝天、薄云，色调延续前面岛屿镜头的影调，不要变成阴郁天气。阴影来自上方巨手和金币遮挡阳光，因此只有岛、金币和附近海面逐渐进入阴影，天空依然明亮开阔。 构图： 前景机器人很小，远处岛屿偏小，悬浮金币巨大，而进入画面的手指更具压迫性。强调“小机器人—远处岛屿—巨型悬浮金币—更巨大的手指”这四层比例关系。整体仰视压迫感强，轻微斜构图，低地平线，突出电影级巨物写实感。 风格： 超写实，IMAX 70mm 电影质感，诺兰式巨物尺度张力，原子朋克海岸反乌托邦，带黑色幽默气质，材质可信，画面干净，高级细节，光线真实。

{{Portrait 1}} is the composition and spatial relationship reference. {{Portrait 2}} is the large robot design reference. {{Portrait 3}} is the small robot, plank, and hose-jet device design reference. {{Portrait 4}} is the crowd robot variation reference. Create a single realistic cinematic keyframe / storyboard reference frame, 21:9 wide composition, based on the exact relationship shown in {{Portrait 1}}. This is a mid-scene ocean migration moment in the same atom-punk dystopian world. Camera: slightly elevated oblique angle, looking down at the ocean surface, not top-down, a clear relationship shot, cinematic production storyboard realism, not sketch, not line art, not cartoon. Main composition and blocking: A huge large robot head is on the right side of the frame, occupying a strong visual weight. Only the head is visible above the water surface, the rest of its massive body is fully submerged. Its front face must match the orientation indicated in {{Portrait 1}}. The large robot is moving in the same direction as the small robot. A tiny small robot is on the left side of the frame, standing on a small broken wooden plank raft. The small robot has just arrived beside the large robot and is still slightly behind it, not ahead of it yet. This is the exact story beat where the propulsion device suddenly fails and the small robot briefly stops beside the giant head. Movement direction: The large robot head, the small robot on the plank, and all background migrating robots must share the same overall movement direction. For this oblique shot, the unified movement direction is from upper left toward lower right. Do not reverse any character orientation. Do not let the small robot move in the opposite direction. Do not let the large robot face the wrong way. Small robot pose: The small robot stands in a side-standing or half-side-standing pose on the plank. It holds the hose-jet tool with both hands like holding a vacuum cleaner spray wand. The nozzle points backward and slightly downward into the seawater, opposite to the forward travel direction. The propulsion logic must be physically correct: when working, the backward water jet pushes the plank forward. But in this frame, the device has just malfunctioned, so the spray is weak, sputtering, intermittent, or temporarily absent. The small robot is paused, slightly awkward, mildly confused, with subtle dry humor, not exaggerated slapstick. Water and motion logic: There should be realistic wake trails and disturbed water behind the moving direction. The water disturbance behind the plank and behind the large robot head must support the same movement direction. The plank must not look self-propelled. The water splash direction must never contradict the nozzle direction. The large robot head creates a slow heavy drift in the water. Background crowd robots: Include several background robots in the sea, but all of them must be swimming / floating / partially submerged. They must NOT stand upright on the sea surface. Their bodies should be horizontal or semi-horizontal in the water, with swimming or drifting poses, visible wake lines, and motion-consistent ripples. Use {{Portrait 4}} to vary their silhouettes, head shapes, torso proportions, limb lengths, and poses, so they do not look duplicated. All background robots move in the same direction from upper left to lower right. Environment and mood: Open ocean surface, realistic blue-green seawater, natural daylight, mild wind, subtle wave texture, believable highlights on water, light film texture, cinematic realism. Tone is lonely, slightly sad, quietly absurd, with restrained black humor. Clear scale contrast between the giant large robot head and the tiny small robot. This frame should feel like a usable live-action previs keyframe for a film scene. Important negative constraints: do not show the full body of the large robot, do not place the small robot in front of the large robot yet, do not let the small robot already pass the giant head, do not make the background robots stand on the sea, do not reverse the propulsion direction, do not make the plank swim by itself, do not isolate the two robots into separate spaces, do not turn this into a cute cartoon, do not use comic style, do not use anime style.

把木板上的机器人人和木板缩小

{{Portrait 1}} is the composition and spatial relationship reference. {{Portrait 2}} is the large robot design reference. {{Portrait 3}} is the small robot, plank, and hose-jet device design reference. {{Portrait 4}} is the crowd robot variation reference. Create a single realistic cinematic keyframe / storyboard reference frame, 21:9 wide composition, based on the exact relationship shown in {{Portrait 1}} . This is a mid-scene ocean migration moment in the same atom-punk dystopian world. Camera: slightly elevated oblique angle, looking down at the ocean surface, not top-down, a clear relationship shot, cinematic production storyboard realism, not sketch, not line art, not cartoon. Main composition and blocking: A huge large robot head is on the right side of the frame, occupying a strong visual weight. Only the head is visible above the water surface, the rest of its massive body is fully submerged. Its front face must match the orientation indicated in {{Portrait 1}} . The large robot is moving in the same direction as the small robot. A tiny small robot is on the left side of the frame, standing on a small broken wooden plank raft. The small robot has just arrived beside the large robot and is still slightly behind it, not ahead of it yet. This is the exact story beat where the propulsion device suddenly fails and the small robot briefly stops beside the giant head. Movement direction: The large robot head, the small robot on the plank, and all background migrating robots must share the same overall movement direction. For this oblique shot, the unified movement direction is from upper left toward lower right. Do not reverse any character orientation. Do not let the small robot move in the opposite direction. Do not let the large robot face the wrong way. Small robot pose: The small robot stands in a side-standing or half-side-standing pose on the plank. It holds the hose-jet tool with both hands like holding a vacuum cleaner spray wand. The nozzle points backward and slightly downward into the seawater, opposite to the forward travel direction. The propulsion logic must be physically correct: when working, the backward water jet pushes the plank forward. But in this frame, the device has just malfunctioned, so the spray is weak, sputtering, intermittent, or temporarily absent. The small robot is paused, slightly awkward, mildly confused, with subtle dry humor, not exaggerated slapstick. Water and motion logic: There should be realistic wake trails and disturbed water behind the moving direction. The water disturbance behind the plank and behind the large robot head must support the same movement direction. The plank must not look self-propelled. The water splash direction must never contradict the nozzle direction. The large robot head creates a slow heavy drift in the water. Background crowd robots: Include several background robots in the sea, but all of them must be swimming / floating / partially submerged. They must NOT stand upright on the sea surface. Their bodies should be horizontal or semi-horizontal in the water, with swimming or drifting poses, visible wake lines, and motion-consistent ripples. Use {{Portrait 4}} to vary their silhouettes, head shapes, torso proportions, limb lengths, and poses, so they do not look duplicated. All background robots move in the same direction from upper left to lower right. Environment and mood: Open ocean surface, realistic blue-green seawater, natural daylight, mild wind, subtle wave texture, believable highlights on water, light film texture, cinematic realism. Tone is lonely, slightly sad, quietly absurd, with restrained black humor. Clear scale contrast between the giant large robot head and the tiny small robot. This frame should feel like a usable live-action previs keyframe for a film scene. Important negative constraints: do not show the full body of the large robot, do not place the small robot in front of the large robot yet, do not let the small robot already pass the giant head, do not make the background robots stand on the sea, do not reverse the propulsion direction, do not make the plank swim by itself, do not isolate the two robots into separate spaces, do not turn this into a cute cartoon, do not use comic style, do not use anime style.

{{Portrait 1}} 为主画面构图与氛围主参考，{{Portrait 2}} 为方向与姿态修正参考。 保持 {{Portrait 1}} 的整体构图、镜头机位、超广角水下仰拍视角、前景机械手、压抑氛围、海面亮部、深海暗部、体积光、深蓝色水体质感不变。 根据 {{Portrait 2}} 的标注修正画面内容，但不要生成任何绿色箭头、红色涂鸦、橙色涂鸦、标记线条或手绘痕迹。 重点修改如下： 海面上方的机器人游动方向统一 海面上方所有仍在游动的机器人，整体运动方向要按照 {{Portrait 2}} 中绿色箭头所示，形成统一的大部队远去感。它们应该朝着远处持续游走，方向一致，不要朝前景这只手游来，不要朝镜头游来，不要朝角色聚拢。画面要有明显“驶离、远去、抛下主角”的感觉。 新增几个正在下沉的机器人 在画面左右中下区域，按 {{Portrait 2}} 红色和橙色标记的位置关系，新增几具正在下沉的机器人。 这些机器人不是直挺挺站立下沉，而是符合水下浮力与重力逻辑： 头部、手臂、四肢因浮力略微上扬 躯干和腰部更重，主导整体向下坠落 整体姿态呈“腰部先下沉、四肢稍上浮、姿态松散失重”的状态 身体可以略微倾斜、旋转、漂浮，不要整齐，不要对称 这些新增机器人应作为中景和远景的点缀，增强“失败者一同沉没”的感觉 保留前景手的绝望感 前景主角机器人的机械手仍然保持强透视伸向海面，作为绝望求生的核心视觉焦点。手势不要变成挥手，要像最后一次试图抓住什么。前景手保持清晰、沉重、真实。 保持深海压抑感 海底不要清晰出现完整海床，整体仍然要有深不见底的感觉。中下部空间保持幽暗空旷，只有少量沉下去的机器人和机械残骸点缀。可保留少量气泡和漂浮颗粒。整体画面情绪强调：孤独、绝望、被抛下、无人回头。 电影级现实主义，IMAX 70mm 胶片感，超广角 24mm，真实水下摄影质感，克制、冷峻、压抑、深不见底。

Use {{Image 1}} as the spatial reference for the island and the overall reverse-angle relationship. Use {{Image 2}} as the Dogecoin material and detail reference. Use {{Image 3}} as the crowd robot design reference. Create a 21:9 cinematic reverse-angle giant-object keyframe for a black-humor dystopian ocean gold-rush short film. This shot must feel much more oppressive, more gigantic, and more cinematic than a normal wide shot. Camera: very low sea-level camera, almost touching the water surface, ultra-wide lens feeling around 14mm to 18mm, strong upward angle, slight dutch angle, foreground exaggerated by perspective, the shot should feel tighter, lower, and more oppressive. Composition: The treasure island is farther away and slightly smaller. The floating Dogecoin is much larger and dominates the upper center of frame. The Dogecoin should feel extremely huge, hanging over the island and pressing toward camera. Do not present the coin in a neat comfortable centered way. Let the coin feel oversized and invasive. It can be partially cropped by the top edge of frame. The giant hand should not show the palm. Only two or three colossal fingers enter from the top edge of frame, extremely close to camera, with extreme perspective distortion. The fingers must feel thicker, larger, and more overwhelming than before. They should feel like gigantic fleshy pillars descending toward the coin. Dogecoin: The Dogecoin remains vertically floating above the island. It must clearly hover in the air. It must not touch the island. It must not be mounted, planted, attached, or resting on the island. There must be a clearly readable air gap between the lower rim of the coin and the island peak, with visible sky/air in that gap. The coin should be larger than in the previous shot, and visually lower in frame, creating more pressure. Hand / fingers: Only partial fingers are visible, no full hand, no palm. The fingers belong to a giant older Caucasian slightly overweight male. Thick fleshy fingers, pale skin, subtle age texture, slightly oily realism. Add one chunky gold ring or signet ring on one finger. The fingers must feel enormous and close to the lens, like a creator or predator intruding into the world. Island: The island is still covered with gold coins, gold piles, and treasure, with dark rock structure still visible. Do not remove the gold from the island. Keep visible treasure detail and golden highlights, but allow a soft partial shadow to pass over parts of the island. The island should still have some rocky surfaces exposed and a little sandy landing edge near the shoreline. Foreground robots: Many small robots float in the ocean foreground and midground. Use different robot designs from the reference sheet, not repeated identical models. They are not heavily rusty. They have light wear, subtle paint chipping, soft weathering, and mild age, but not severe corrosion. The nearest foreground robots should appear small compared to the coin and fingers. Only heads, shoulders, or upper torso rise above the water. They are all looking upward, but with slight timing differences and varied poses. Do not arrange them in a neat row. Create natural layered spacing. Background robots: More robots are scattered across the water behind them, smaller and softer, adding crowd depth. They should still feel like a swarm in the ocean, not an empty sea. Lighting: Keep the same bright daylight world as previous shots. Blue sky, thin scattered clouds, clean atmosphere, cyan-blue ocean. Do not turn the weather stormy. The shadow comes from the giant fingers blocking sunlight, not from dark clouds. The island and part of the coin are already slightly under the hand-shadow. The shadow should be soft, directional, and realistic, gently suppressing some highlights, while the overall sky remains bright. Style: cinematic realism, giant-object terror, black humor, dystopian absurdity, strong scale hierarchy, IMAX 70mm film look, subtle film grain, production-level concept frame. Sound note for future video generation: sound effects only, no background music.

{{Portrait 1}} is the composition and scale reference for the island and the floating giant Dogecoin. {{Portrait 2}} is the gold Dogecoin material and detail reference. {{Portrait 3}} is the public-service robot crowd design reference. Create a single ultra-realistic cinematic image in 21:9. A dramatic reverse-angle giant-object shot from a very low sea-level camera, almost touching the ocean surface, with a strong upward-looking perspective. Use a 18mm to 21mm lens feeling, slightly wider than normal but still believable, with a subtle dutch angle for unease. Foreground: 5 to 8 small robots floating and partially swimming in the sea, very small in scale compared with the island and coin. They are all different models selected from {{Portrait 3}}, with clearly different silhouettes, head shapes, torso structures, limb proportions, and swimming poses. Their paint is sun-faded with light wear and mild chipping, but not heavily rusted. They are looking upward, paused or slowing in the water, reacting quietly and uneasily. A few more tiny robots can appear farther back as soft background crowd presence. Midground: realistic ocean surface, clear blue-green water, gentle waves, bright daylight reflections in the water, but the sea near the island and beneath the coin begins to lose some highlights because a giant object above is casting a broad soft-edged shadow across the surface. The sky itself remains bright and clear. Background: a treasure island in the distance, slightly smaller in frame than before, with dark exposed rocks, scattered gold coins, small gold fragments, visible shallow landing edges and short sandy patches near the shore. The island still clearly contains gold everywhere, but the upper part of the island is already under a partial shadow, so the gold reflections are reduced instead of glowing strongly. Main giant object: a colossal floating gold Dogecoin suspended above the island, not touching the island. A clear visible air gap remains between the coin and the island surface. The coin diameter should feel close to the main visible width of the island, around 70% to 90% of the island’s visible width, creating overwhelming scale pressure. The coin occupies a very large part of the upper frame and feels much larger than in previous attempts. Use the refined aged gold detail, engraved dog face, thick rim, and metallic realism from {{Portrait 2}}. Giant hand: only 2 or 3 enormous fingers of a pale white slightly fleshy older male human hand enter from the top of frame, or top-right of frame. Do not reveal the full palm. The fingers are thick, heavy, and oppressive, with subtle fatness and an oily capitalist feeling. One finger may wear a heavy gold signet ring. The fingers are descending toward the floating coin, as if about to pinch and lift it. The fingers must feel gigantic, much larger and more dominant than in previous versions. Lighting and sky: bright daylight, blue sky, thin soft clouds, same overall color mood as the earlier island shots. The sky remains bright and open, not stormy, not gloomy. The shadow is caused by the giant fingers and coin overhead, so only the island, coin, and nearby water receive a soft expanding shadow. Keep the sky bright. Composition: foreground robots are tiny, the island is smaller in the distance, the floating coin is huge, and the entering fingers are even more oppressive. Emphasize the hierarchy of scale: tiny robots, distant island, giant suspended coin, colossal fingers. Strong upward pressure. Slight dutch angle, low horizon, cinematic giant-object realism. Style: ultra realistic, IMAX 70mm cinematic realism, Nolan-like giant scale tension, atompunk coastal dystopia, dark humor, believable materials, clean image, high-end detail, physically grounded lighting.

把 {{Image 1}} 中小机人的喷头掉转朝身后

{{Portrait 1}} is the composition reference for the island, floating Dogecoin, and reverse-angle camera position. {{Portrait 2}} is the gold Dogecoin detail and material reference. {{Portrait 3}} is the public-service robot crowd design reference. Create a single ultra-realistic cinematic image in 21:9. A dramatic reverse-angle giant-object shot from an extremely low sea-level camera, almost touching the ocean surface, looking upward with strong giant-scale pressure. Use a very low angle with a 16mm to 18mm lens feeling, wide but still believable, with subtle cinematic tension. Foreground: several small robots floating in the sea, seen from behind and in partial side angles, very small in scale. Use 6 to 10 robots in the foreground and mid-foreground water. They are all different models selected from {{Portrait 3}}, with clearly different silhouettes, head shapes, torso structures, and proportions. They are not heavily rusted, only lightly aged with sun-faded paint, mild wear, and subtle chipping. All of them are looking upward toward the giant coin and hand. Their heads are tilted up, their bodies partially submerged, quietly frozen in awe. A few more tiny robots can appear farther back in soft focus, keeping the sea populated. Midground: real ocean surface, blue-green water, gentle waves, low camera close to the waterline. The water reflections remain bright in the foreground, while the area closer to the island is partially dimmed by a broad soft shadow crossing the island and nearby sea surface. Background: a treasure island in the distance, smaller in frame than before, with rocky dark surfaces, exposed stone, scattered gold coins, gold fragments, and shallow sandy landing edges. The island still clearly contains gold details and treasure texture. The upper area of the island is already in partial shadow, so the gold no longer shines strongly there. Keep the island readable and detailed. Main suspended object: a colossal floating gold Dogecoin hovering above the island, not touching the island. A clear visible air gap remains between the bottom of the coin and the island peak. The coin should feel extremely large, roughly around half to two-thirds of the island’s visible main width, and much more imposing than before. Use the refined metallic detail and dog face sculpture from {{Portrait 2}}. Giant hand: show only two enormous fingers from a single hand: the thumb and the index finger. They descend vertically from the top center of the frame, aimed directly at the upper left and upper right edge of the floating coin, clearly about to pinch and lift it. Do not show the full hand or palm. The fingers are extremely thick, pale white, fleshy, slightly soft, belonging to an older overweight white male capitalist figure. The skin is pale Caucasian, not yellow-toned. The fingers feel huge, oppressive, and godlike. Their scale should feel much larger and more dominant than before, with the fingertips clearly closer to the coin than to the camera plane, creating a believable grasping relationship. Lighting: bright daylight, blue sky, thin scattered clouds, same overall color mood as the earlier island shots. The sky remains clear and bright. The shadow is caused by the giant fingers and giant suspended coin blocking sunlight. The shadow softly covers part of the island, part of the coin, and a band of nearby sea surface, but the sky itself stays bright. Composition: the tiny robots occupy the lower foreground, the island sits smaller in the mid-distance, the giant floating coin dominates the upper center, and the two giant fingers descend from above. Emphasize the scale hierarchy: tiny robots, distant island, huge suspended coin, even more overwhelming fingers. Strong upward pressure, giant-object realism, cinematic menace. Style: ultra realistic, IMAX 70mm cinematic realism, Nolan-like giant scale tension, atompunk coastal dystopia, dark humor, believable materials, clean image, physically grounded lighting, strong visual storytelling.

把 {{Image 1}} 中的手和岛屿还有悬浮在岛上的狗狗金币都放大.

把 {{Image 1}} 中喷头掉转180度

Use {{Image 1}} as the reverse-angle spatial reference for the island and floating coin. Use {{Image 2}} as the Dogecoin material and detail reference. Use {{Image 3}} as the crowd robot design reference. Create a 21:9 cinematic reverse-angle giant-object frame for a black-humor dystopian ocean gold-rush short film. This shot must feel oppressive, gigantic, and action-oriented. The giant hand must no longer feel like random foreground decoration. It must clearly feel like it is about to pinch and take the floating Dogecoin. Camera: very low sea-level camera, almost touching the water surface, ultra-wide lens feeling around 14mm to 18mm, strong upward angle, slight dutch angle, closer, tighter, more oppressive than before. Composition: The island is farther away and slightly smaller. The floating Dogecoin is larger than before and hangs clearly above the island. The Dogecoin must remain vertically floating in the air, not touching the island. There must be a clearly visible air gap between the lower edge of the coin and the island peak. Hand design: Only two fingers are visible: thumb and index finger. Do not show the palm. Do not show the other fingers. Do not show the full hand. Do not add any rings or jewelry. The fingers belong to a giant older Caucasian slightly overweight male. The fingers must be thick, fleshy, heavy, pale, and realistic, with subtle age texture. The fingers should feel shorter, thicker, and more massive, not elegant or slender. Hand action: The thumb enters from the upper-left area of frame. The index finger enters from the upper-right area of frame. Both fingers angle inward toward the coin’s rim. They must clearly read as one hand preparing to pinch the coin from two sides. The fingertips are extremely close to the coin, almost touching the rim, with only a tiny air gap left. This must feel like an imminent pinch action. The hand must feel gigantic and threatening, not like foreground decoration. Dogecoin: The Dogecoin should feel larger and lower in frame, creating more pressure. It should dominate the upper-middle area of the shot. Part of the coin can be cropped slightly by the top edge if needed. The coin must feel like a huge floating object being targeted by the giant fingers. Island: The island is still covered with dense gold coins and treasure, with rocky structure still visible. Do not remove the gold details. Keep visible golden highlights, exposed rocks, and a small sandy landing edge. The island is already under a soft partial shadow caused by the hand blocking sunlight. Do not turn the whole island dark. Foreground robots: Many small robots float in the ocean foreground and midground. Use different robot models from the reference sheet. Do not repeat identical designs. They are lightly weathered with subtle paint wear, but not heavily rusty or corroded. The nearest robots should only show heads, shoulders, or upper torso above water. They must feel tiny compared to the fingers and coin. They are all looking upward, with varied timing and slightly different poses. Do not arrange them in a straight row. Background robots: More smaller robots are scattered across the water behind them, adding density and depth. Lighting: Keep the same bright daylight tone as the previous shots. Blue sky, thin scattered clouds, clean atmosphere, cyan-blue ocean. Do not make the sky stormy. The shadow comes from the giant fingers blocking sunlight, not from dark clouds. The shadow should softly suppress highlights on the coin and island without changing the whole world into a gloomy scene. Style: cinematic realism, giant-object terror, black humor, absurd dystopian scale, IMAX 70mm film look, subtle film grain, production-level concept frame.

把 {{Image 1}} 中喷头掉转朝身后

{{Portrait 1}} is the main mid-scene relationship frame reference. Use it as the master reference for scale, movement direction, spatial relationship, and composition logic. {{Portrait 2}} is the large robot design reference. {{Portrait 3}} is the small robot, plank, and hose-propulsion device design reference. {{Portrait 4}} is the background crowd robot variation reference. Create a 4-panel cinematic storyboard sequence, clean white or light gray presentation board, colored rough storyboard / cinematic previs style, realistic design, not comic, not cartoon, not anime. Each panel is a 21:9 cinematic frame. The sequence takes place on the same ocean surface, same scene continuity, same atom-punk dystopian migration world. Important master continuity rules: - Keep the scale relationship between the large robot head and the small robot consistent with {{Portrait 1}}. - Keep the overall movement direction consistent with {{Portrait 1}}. - The large robot, small robot, and background crowd robots all migrate in the same direction. - Background robots must all be swimming / floating / partially submerged in the water, never standing on the ocean surface. - The seawater tone should be cleaner cyan-blue / teal-blue, less gray, more blue-green, with natural daylight and realistic ocean texture. - The small robot propulsion logic must be correct: the nozzle points backward and slightly downward into the water, spray goes backward, the reaction force pushes the plank forward. - The small robot is on the left side of the large robot at the malfunction moment, and has not fully passed the large robot yet. Panel 01: Oblique elevated relationship shot, medium-wide. Use the composition logic of {{Portrait 1}}. The giant large robot head is on the right side, only head visible above water. The small robot on the plank is on the left side, near the large robot, having just arrived beside it. This is the malfunction moment: the propulsion device suddenly weakens or stops, and the small robot pauses. Background crowd robots continue swimming in the same direction. Panel 02: Insert close-up of the propulsion nozzle and water surface. The spray is sputtering, weak, intermittent, or absent. Show that the device is failing. Keep the color and ocean continuity from the master frame. Panel 03: Medium close relationship shot. The small robot remains beside the giant head, still in the same scene. The small robot checks the nozzle, taps it or shakes it slightly, trying to fix it. The mood is restrained dry humor. The giant head is still visible in the background or side of frame, so the scene continuity remains clear. Panel 04: Wider relationship shot or long-lens medium-wide. The propulsion system works again. Backward spray becomes stable. The plank is pushed forward. The small robot accelerates, passes the large robot, and continues out toward the same migration direction. Background crowd robots keep moving in the same direction across the ocean. Visual mood: cinematic realism, lonely but darkly humorous, atom-punk ocean migration, subtle film texture, clear water movement logic, clear size contrast, believable ocean surface, strong scene continuity. Negative constraints: no standing robots on water, no duplicated crowd robots, no reversed direction, no wrong nozzle logic, no self-swimming plank, no isolated disconnected shots, no gray muddy water, no cartoon style.

Use {{Image 2}} as the main composition and mood direction. Use {{Image 1}} as a secondary reference for clearer spatial structure and island readability. Use the Dogecoin reference image for coin material and detail. Use the robot lineup reference only for robot design variety. Create a 21:9 cinematic reverse-angle giant-object frame for a black-humor dystopian ocean gold-rush short film. This shot should keep the strong giant-object pressure and foreground invasion feeling of image 2, but improve the hand structure, spatial clarity, and overall realism. Camera: very low sea-level camera, almost touching the water, ultra-wide lens feeling around 16mm, strong upward angle, slight dutch angle, closer and more oppressive. Composition: The treasure island sits in the distance at center frame. The floating Dogecoin is very large and hangs above the island, clearly suspended in the air. The Dogecoin should be larger than before and lower in frame, creating stronger pressure. Keep a visible air gap between the coin and the island peak. Hand: A gigantic right hand of an older slightly overweight Caucasian male reaches down from above. Do not include jewelry or rings. Do not emphasize the palm. Only show the front portions of three main fingers entering from the top area: thumb, index finger, and middle finger. The three fingers must clearly belong to the same hand and have correct anatomical relationship. The fingers should be thick, fleshy, heavy, pale, realistic, and slightly aged. The hand should feel massive and godlike. Hand gesture: The fingers are spread open and descending toward the coin, preparing to grasp it. Do not make the fingers look like random foreground objects. Do not make them already fully pinching the coin. This is the tense moment just before grabbing. The fingertips are very close to the coin, closing in from above and slightly from both sides. Important: The hand must feel like it is about to take the coin away, not just floating in the foreground. Robots: Many small service robots float in the ocean foreground and midground. Use varied robot designs from the reference sheet. Do not repeat the same model. Robots should have light wear, subtle paint fading, and mild environmental aging, but not heavy rust or severe corrosion. The nearest robots in the foreground are much smaller than the hand and coin and act as scale reference. They are all looking up at the giant hand and coin. Island: The island is still covered with gold coins and treasure with exposed rock structure. Do not remove the gold details. Keep visible gold highlights and treasure texture across the island. The island is only partially darkened by the hand’s shadow. Do not turn the sky stormy or gloomy. Lighting: Keep the bright daylight tone from the previous scenes. Blue sky, thin scattered clouds, clean atmosphere. The shadow comes only from the hand blocking sunlight, not from dark weather. Mood: oppressive, giant-object terror, absurd capitalism allegory, black humor, cinematic realism, IMAX 70mm film look, subtle film grain, production-level concept art.

21:9 widescreen character design sheet, pure white background, no scene, no environment, no background clutter. Design a tiny miniature robot for a dystopian coastal gold-rush world. This robot is a small opportunistic scavenger-type robot, much smaller than a normal service robot, only about half to two-thirds the height of a standard robot. It should feel lightweight, shabby, sly, clever, cheap, and slightly ridiculous, with strong black-humor potential. Core concept This is not a hero robot, not a high-tech elite machine, and not a cute mascot. It is a low-cost, worn-out, opportunistic little robot that looks like it survives by improvisation, shortcuts, and luck. It should feel like a coastal scrap-world drifter that joined the gold rush with almost no proper equipment. Body design very small miniature body slim limbs, lightweight structure slightly awkward proportions, but not toy-like small or slightly flattened head not bulky, not powerful, not heroic looks like a cheap civilian / service / scavenger robot agile, slippery, and resourceful Style retro-futurist / atompunk wasteland aesthetic off-white or dirty white painted body subtle chipped paint, scratches, rust stains, grime, salt-weathered surfaces real metal panels and visible mechanical joints grounded, industrial, used, believable no cyberpunk neon no sleek sci-fi armor no superhero mech styling Face and eyes eyes should not be overly cute optical lens eyes or small glowing visual sensors expression should feel slightly sly, alert, crafty, and opportunistic a little funny, but not cartoonish Hands and movement logic simple but flexible hands, suitable for paddling water and grabbing a board thin legs and lightweight stance movement language should suggest: quick, nimble, opportunistic, slippery Wooden board prop Include a small broken wooden plank: not a boat not a surfboard not a formal flotation device looks like a found piece of scrap wood, an old plank, door panel, or broken board rough edges, worn texture, slightly damaged just large enough for the robot to lie on or crouch on should feel improvised, shabby, and barely functional Sheet layout Create a clean white-background character reference sheet including: full body front view full body side view full body back view full body 3/4 view one action pose lying on the broken wooden plank, gliding forward one action pose crouching on the broken wooden plank, balancing while moving head detail close-up eye detail close-up hand detail close-up wooden plank prop shown separately Image requirements pure white background no ocean, no environment, no scenery no other robots clean presentation highly detailed sharp industrial design language cinematic concept art quality production-ready character asset reference sheet ultra detailed, realistic, clean, consistent design

{{Portrait 1}} is the composition and island reference. {{Portrait 2}} is the gold Dogecoin detail reference. {{Portrait 3}} is the public-service robot crowd reference. Create a single ultra-realistic cinematic image in 21:9. A dramatic reverse-angle giant-object shot from an extremely low sea-level camera, almost touching the ocean surface, looking upward with strong oppressive scale. The composition should preserve the strongest giant-scale feeling from the previous version, but improve the finger relationship and grasping logic. Foreground: many small robots floating in the sea, seen from behind and partial side angles, spread across the lower foreground and midground water. They are very small compared with the coin and fingers. Use different robot designs selected from {{Portrait 3}}, clearly varied silhouettes and body types, not identical clones. Their wear is light to moderate only, with faded paint and mild chipping, not heavy rust. All of them are looking upward toward the coin and the descending fingers. Midground: a treasure island in the distance, centered in frame, with dark rocky surfaces, exposed stone, scattered gold coins, gold fragments, and visible treasure details. The island must still clearly contain gold on the surface. The island is already partially in shadow, so the gold reflections are reduced but still visible. Keep the sky bright and clear. Main object: a giant floating gold Dogecoin hovering above the island, clearly separated from the island with a visible air gap. The coin is large and imposing, roughly around half to two-thirds of the island’s visible main width. Use the refined gold material, thickness, and dog-face relief from {{Portrait 2}}. Giant fingers: show only two enormous fingers from a single hand: the thumb and the index finger. No other fingers, no palm, no ring. The two fingers descend from the top center of the frame, vertically downward, clearly aligned to pinch the upper left and upper right edge of the floating coin. They must feel like one coherent hand, with correct perspective, believable finger spacing, and unified anatomy. The fingers are pale Caucasian, from an older overweight white male, fleshy, thick, slightly soft, with subtle wrinkles and heavy finger pads. The fingers must feel much larger and more oppressive than before, like a godlike capitalist hand entering this world. They are not merely hanging in front of the camera — they are actively about to grasp the coin. Lighting: bright daylight, blue sky, thin scattered clouds, consistent with the earlier island scenes. Do not make the sky gloomy or overcast. The shadow comes from the giant fingers and coin blocking sunlight, so only the island and nearby sea surface are partially dimmed. The sky remains bright. Composition: keep the camera low and upward-looking. The robots occupy the lower foreground, the island remains smaller in the distance, the coin dominates the upper center, and the two giant fingers descend toward it. Emphasize giant scale, pressure, and threat. The image should feel cinematic, tense, and physically believable. Style: ultra realistic, IMAX 70mm realism, Nolan-like giant-object tension, dark humor, atompunk coastal dystopia, clean image, believable scale, grounded lighting, strong cinematic storytelling.

设计一张白底/浅灰底的高细节影视角色设定板，角色为《风口 / 淘金者》世界中的“袖珍底层小机器人”。 整体设定： 这是一个原子朋克废土海岸世界中的小型底层后勤/拾荒/浅滩维护机器人。它的体型只有普通服务机器人高度的 50%–60%，明显比常规机器人更小、更轻、更寒酸。它不是Q版玩具，也不是卡通吉祥物，而是写实世界里真实存在的小型民用/维护型机器人，但带一点傻萌、古灵精怪和黑色幽默感。 外形要求： 头部要明显更大，头身比夸张一些，比普通机器人更有记忆点。头壳圆钝，眼睛简单、呆萌、有一点无辜和傻气。身体瘦小，胸腔窄，四肢细长轻巧，脚小，整体给人一种低配、廉价、努力活着的感觉。背部可以带一个简陋旧电池包或维护工具罐。它不是报废残骸，不要做得太烂太脏，不要做成完全破损；而是“旧但还能用”，带有轻微掉漆、擦伤、边缘磨损、少量锈迹、旧编号、旧标签、简陋补丁等使用痕迹。配色以米白、旧白、浅灰、淡黄旧标记为主，局部可有褪色蓝灰或暗黄工业标识。 角色身份暗示： 它原本是一个海岸景区/浅滩维护/浮标检修/清洁杂工型小机器人，因此身上应带有一点后勤维护机器人的气质，比如简单工具接口、小罐体、小喷嘴、小挂件、小维修包等，但不要太复杂。 设定板内容： 请排版为干净清晰的影视角色资产参考图，包括： 正面 侧面 背面 3/4视角 头部特写 手部特写 背部工具/电池包特写 最重要的一张动作姿态图 动作姿态图要求： 这张动作图不是普通站姿，而是这个小机器人正在“靠一块破木板逃命”。木板不是正式冲浪板，而是从海岛景区某个破旧广告牌/告示牌/廉价度假装饰木牌上掰下来的旧木板，边缘开裂、磨损、泡水、钉孔明显。木板表面要有褪色的热带海岛风格图案或广告痕迹，比如残缺的棕榈树图案、廉价度假村涂鸦、褪色的 BEACH / PARADISE / GOLDEN BAY / LUCKY ISLAND 一类字样、半脱落贴纸、海岛宣传风的廉价图形，让人一眼看出这是从海岛设施上拆下来的木板。 小机器人不要简单趴平用手划水。它应当是“半个胸口和腹部压在木板上”，木板前端略微翘起，一只手死死抱住木板前缘，另一只手或侧后方正在控制一个旧式小型维护喷射器/排水喷口/吹扫工具。这个工具原本是它工作时使用的维护设备，现在被它临时拿来当推进器使用。喷射器朝后喷出水流或气流，形成简陋但有效的推进感，像一个寒酸的舷外小马达。它的两条小腿在后面狼狈地扑腾，水花四溅，整个姿态非常努力、很穷、很破、很认真地活着，既可怜又好笑，带有黑色幽默和迪士尼式小机灵，但整体仍然保持写实电影美术风格，不要卡通化过头。 画面要求： 白底或浅灰底，无背景干扰，干净清晰，角色资产板排版明确，高细节，真实材质，电影级概念设定图风格，适合作为后续影视分镜、角色统一和生成参考。

{{Mixed 1}} is the main reference for the final hand-and-coin composition, the giant hand scale, the floating golden Dogecoin, and the ending frame feeling. {{Portrait 2}} is the reference for the treasure island, ocean surface, distant robot crowd, horizon line, and lower spatial relationship. Create a 21:9 cinematic video, about 7.5 seconds, with hard cinematic cuts inside the shot sequence. This is the key spectacle moment of a black-humor dystopian ocean gold-rush short film. Overall visual direction: large-format cinematic spectacle, grounded realism, monumental scale, IMAX 70mm feeling, practical epic visual logic, oppressive giant-object perspective, bright blue daylight sky, realistic ocean, golden treasure island, tiny robots in the sea, dark satirical mythic tone. The floating Dogecoin should feel alive and suspended in the air, not fixed like a flat sign. It should have a very subtle slow yaw, slight tilt, and tiny floating drift, catching sunlight along its rim and embossed dog face. The Dogecoin remains vertically floating above the island, but with small natural suspended movement. Shot 1, 0 to 2 seconds: Begin with a medium-wide view of the sky area directly above the floating Dogecoin. The Dogecoin is only partially suggested near the lower edge of the frame, slightly out of focus or partly cropped. A localized storm rupture gathers in the sky only above the coin. The rest of the sky remains bright blue daylight with thin white clouds. The rupture forms through swirling cloud pressure, gold dust particles, air distortion, electric arcs, and brief flashes inside the cloud. The feeling is not ordinary weather, but a tear opening in reality. Shot 2, 2 to 3.5 seconds: Hard cut to an extreme close-up near the cloud rupture. A gigantic human finger breaks through the cloud from above, passing very close to the camera. The camera feels almost brushed by the massive finger. Cloud vapor, torn mist, tiny electric sparks, golden dust, and turbulent air slide around the skin surface. The skin is realistic, slightly aged, heavy, fleshy, with visible pores and subtle wrinkles. The movement is forceful at first, then becomes slow and controlled after breaking through. Shot 3, 3.5 to 6 seconds: Hard cut back to the wide ocean-and-island view. The giant hand descends from the sky toward the floating Dogecoin. The hand is much larger than the Dogecoin, with only the necessary fingers visible to create scale. The fingers approach the coin from above and both sides, slowly closing around it. The Dogecoin reacts with a slight suspended tilt and tiny vibration as the fingers make contact. Below, the treasure island remains covered with glowing gold, and many tiny robots in the ocean look extremely small, reinforcing the scale. Shot 4, 6 to 7.5 seconds: The giant fingers firmly grip the Dogecoin and begin lifting it upward. The coin rises only a short distance, enough to show that it is being taken away. The island below trembles slightly from the scale of the action. The ocean surface ripples outward. Small golden particles begin to loosen from the island’s surface and drift upward toward the coin. End with the Dogecoin already being lifted, creating a clear transition into the next scene. Camera language: use hard cuts between shots, not one continuous tilt. Shot 1 is atmospheric and ominous. Shot 2 is an extreme close-up with giant scale and cloud rupture impact. Shot 3 is the main wide spectacle shot. Shot 4 is the beginning of the extraction movement. The camera movement should feel heavy, controlled, and cinematic, not fast or flashy. Sound requirement: sound effects only, no background music. Use deep cloud rumble, air pressure tearing, electric crackle, huge low-frequency movement, ocean reaction, and distant mechanical crowd ambience.

Use {{Image 1}} as the spatial reference for the island and the overall reverse-angle relationship. Use {{Image 2}} as the Dogecoin material and detail reference. Use {{Image 3}} as the crowd robot design reference. Create a 21:9 cinematic reverse-angle giant-object keyframe for a black-humor dystopian ocean gold-rush short film. This shot must feel much more oppressive, more gigantic, and more cinematic than a normal wide shot. Camera: very low sea-level camera, almost touching the water surface, ultra-wide lens feeling around 14mm to 18mm, strong upward angle, slight dutch angle, foreground exaggerated by perspective, the shot should feel tighter, lower, and more oppressive. Composition: The treasure island is farther away and slightly smaller. The floating Dogecoin is much larger and dominates the upper center of frame. The Dogecoin should feel extremely huge, hanging over the island and pressing toward camera. Do not present the coin in a neat comfortable centered way. Let the coin feel oversized and invasive. It can be partially cropped by the top edge of frame. The giant hand should not show the palm. Only two or three colossal fingers enter from the top edge of frame, extremely close to camera, with extreme perspective distortion. The fingers must feel thicker, larger, and more overwhelming than before. They should feel like gigantic fleshy pillars descending toward the coin. Dogecoin: The Dogecoin remains vertically floating above the island. It must clearly hover in the air. It must not touch the island. It must not be mounted, planted, attached, or resting on the island. There must be a clearly readable air gap between the lower rim of the coin and the island peak, with visible sky/air in that gap. The coin should be larger than in the previous shot, and visually lower in frame, creating more pressure. Hand / fingers: Only partial fingers are visible, no full hand, no palm. The fingers belong to a giant older Caucasian slightly overweight male. Thick fleshy fingers, pale skin, subtle age texture, slightly oily realism. Add one chunky gold ring or signet ring on one finger. The fingers must feel enormous and close to the lens, like a creator or predator intruding into the world. Island: The island is still covered with gold coins, gold piles, and treasure, with dark rock structure still visible. Do not remove the gold from the island. Keep visible treasure detail and golden highlights, but allow a soft partial shadow to pass over parts of the island. The island should still have some rocky surfaces exposed and a little sandy landing edge near the shoreline. Foreground robots: Many small robots float in the ocean foreground and midground. Use different robot designs from the reference sheet, not repeated identical models. They are not heavily rusty. They have light wear, subtle paint chipping, soft weathering, and mild age, but not severe corrosion. The nearest foreground robots should appear small compared to the coin and fingers. Only heads, shoulders, or upper torso rise above the water. They are all looking upward, but with slight timing differences and varied poses. Do not arrange them in a neat row. Create natural layered spacing. Background robots: More robots are scattered across the water behind them, smaller and softer, adding crowd depth. They should still feel like a swarm in the ocean, not an empty sea. Lighting: Keep the same bright daylight world as previous shots. Blue sky, thin scattered clouds, clean atmosphere, cyan-blue ocean. Do not turn the weather stormy. The shadow comes from the giant fingers blocking sunlight, not from dark clouds. The island and part of the coin are already slightly under the hand-shadow. The shadow should be soft, directional, and realistic, gently suppressing some highlights, while the overall sky remains bright. The fingers should feel so close to camera that they almost behave like foreground architecture. The coin should feel like it is trapped between the sky and the descending fingers. The foreground robots should feel tiny and powerless, like insects facing gods. Style: cinematic realism, giant-object terror, black humor, dystopian absurdity, strong scale hierarchy, IMAX 70mm film look, subtle film grain, production-level concept frame. Sound note for future video generation: sound effects only, no background music.

21:9 widescreen character design sheet, pure white background, no scene, no environment, no background clutter. Design a tiny miniature opportunistic robot for a dystopian coastal gold-rush world. This robot is a small low-cost coastal scavenger / maintenance / cleanup robot, much smaller than a standard service robot, only about half to two-thirds the height of a normal public-service robot. It should feel lightweight, sly, crafty, scrappy, clever, cheap, and slightly ridiculous, with strong black-humor charm. Core concept: This is not a hero robot, not a powerful machine, not a cute mascot. It is a low-level coastal working robot that joined the gold rush by improvising with junk, shortcuts, and survival instinct. It should feel like a shabby but resourceful little drifter from a retro-futurist atompunk coastal wasteland. It survives by being clever, opportunistic, and slightly shameless. Design direction: make the head slightly larger relative to the body for a stronger silhouette and more memorable character appeal small flattened or slightly oversized head compact torso thin lightweight limbs small feet agile, slippery, nimble body language not bulky, not heroic, not militaristic the design should feel distinctive and memorable, not just a smaller version of a normal service robot Style: retro-futurist / atompunk wasteland aesthetic off-white or dirty-white painted body subtle faded blue or faded red accent markings light salt-weathering, scratches, chipped paint, grime, and mild rust stains used but not destroyed believable industrial metal construction real panel seams, joints, screws, and maintenance details do not make it too broken or too miserable it should feel poor and improvised, but still functional and lively Face and eyes: optical lens eyes or compact glowing sensor eyes eyes should feel alert, sly, opportunistic, and slightly funny not overly cute, not cartoonish the facial impression should suggest intelligence, shameless cleverness, and survival instinct Hands and movement logic: simple flexible hands suitable for grabbing, balancing, and quick manipulation thin legs and lightweight stance movement language should suggest quick, nimble, opportunistic, slippery motion Improvised propulsion tool: include one asymmetrical side-mounted improvised propulsion tool integrated into the robot design this is the robot’s key signature feature the propulsion tool should feel like an old maintenance or cleanup tool repurposed into a crude water-driving device it may resemble a small rotary paddle, mechanical propeller tool, crude water-thruster, or improvised motorized pushing device it should be mounted on one side of the body or arm, not centered it should feel low-cost, practical, clever, funny, shabby, and believable not high-tech, not sleek, not military it should clearly help push a broken wooden plank forward across the water Wooden plank prop: include a small broken wooden plank used as a makeshift flotation / gliding board not a boat not a surfboard not a clean designed prop it should look like a found coastal scrap object: an old signboard, damaged dock plank, torn beachside panel, or weathered door board rough edges, worn texture, cracked wood, slightly warped add faint faded tropical-island-style graffiti, worn beach graphics, old signage paint, small stickers, or fragments of advertisements the board should feel scavenged from a coastal tourist or dockside environment it must feel improvised, shabby, and full of story Action poses: one action pose showing the robot half-floating and half-leaning on the broken wooden plank, with the plank slightly tilted upward, using the side-mounted improvised propulsion tool to push itself forward one action pose showing the robot crouching or balancing on the broken wooden plank while the propulsion tool is engaged the action should feel clever, opportunistic, unstable, slightly comedic, and full of black-humor personality do not show the robot simply paddling with both hands like a normal swimmer Sheet layout: full body front view full body side view full body back view full body 3/4 view one action pose half-floating on the plank using the improvised propulsion tool one action pose balancing / crouching on the plank while moving head detail close-up eye detail close-up hand detail close-up improvised propulsion tool detail wooden plank prop shown separately Image requirements: pure white background no ocean, no environment, no scenery no other robots clean presentation highly detailed sharp industrial design language cinematic concept art quality production-ready character asset reference sheet ultra detailed, realistic, clean, consistent design

移除手指上的戒指

{{Mixed 1}} as the primary reference, used to control the final composition relationship between the giant hand and the gold Dogecoin, the scale of the colossal hand, the floating golden Dogecoin, and the oppressive impact of the ending frame. {{Portrait 2}} as the secondary reference, used to control the treasure island, the ocean surface, the distant swarm of robots, the horizon line, and the lower spatial relationship of the frame. Cinematic 21:9 giant-object sequence, IMAX 70mm spectacle, Nolan-style monumental visual impact. The scene begins with a bright daylight sky and ocean. A localized storm rupture forms high above the treasure island. Dark clouds gather only around the upper sky area where the hand will emerge, while the rest of the sky remains bright blue with scattered clouds. Electric turbulence, swirling cloud residue, dimensional rupture energy, and faint lightning build inside the storm opening. A colossal human hand breaks through the storm clouds from above, descending vertically from the sky. The arm itself remains hidden by the storm rupture and cloud mass. The hand feels godlike, overwhelming, and mythic. It tears through the cloud layer with force, leaving turbulent vapor, air distortion, and electric residual arcs around the fingers. The giant floating golden Dogecoin remains suspended above the treasure island. The hand reaches toward it, closes in, and grabs it with heavy, controlled motion. The gold coin should feel relatively small inside the grip of the gigantic hand, emphasizing extreme scale contrast. Below, the treasure island is covered with gold fragments and treasure details. The ocean is filled with many small public-service robots floating in the water, looking upward. Keep the lower frame spatial relationship consistent with the secondary reference. The island, sea, and distant robot swarm must feel spatially grounded and cinematic. As the hand grips the Dogecoin and begins to lift it upward, the treasure island reacts violently. The sea surface churns, the floating robots sway in the water, and the island’s gold begins to disintegrate into glowing golden particles that rise upward toward the lifted coin. The island gradually loses its golden richness and starts becoming a barren rocky island. The ending frame should match the oppressive composition of the primary reference: giant hand holding the Dogecoin high above the island, overwhelming scale, mythic pressure, and strong cinematic awe. Camera language: start from a more open establishing view, then emphasize the descent and capture of the coin with heavy, controlled motion, preserving giant-object scale and oppressive perspective. Avoid casual movement. The shot should feel deliberate, monumental, and cinematic. Sound requirement: sound effects only, no background music.

{{Mixed 1}} is the final-frame composition reference: the giant hand gripping the hovering coin, the hand-to-coin scale, and the divine storm-rupture atmosphere. {{Portrait 2}} is the reference for the golden island, ocean, sky, lighting mood, and spatial relationship. Create a 7-second, 21:9 ultra-realistic cinematic video, grounded photographic logic, IMAX 70mm feel, Nolan-style colossal scale and visual pressure, sound effects only, no background music. This is a three-part sequence with hard cuts, not one continuous single-camera tilt. Part 1, 0–2 seconds: A low-angle shot looking up toward the sky above the hovering coin. At the beginning, the hand is not fully visible. Only a localized area of clouds above the hovering coin starts to gather abnormally in the bright blue sky. The coin is only partially visible as a foreground edge or lower-frame silhouette, with a subtle 8–12 degree tilt, showing its thickness and side reflections, making it feel truly suspended in space. A dimensional rupture forms in the local cloud area: upper-air turbulence, vortex rotation, tiny electric arcs, cloud wisps tearing outward, as if space is being opened from the outside by a massive force. The rest of the sky remains bright and clear; the abnormal storm exists only above the coin. Part 2, 2–4 seconds: Hard cut to an extreme close-up of a finger breaking through the cloud rupture. The camera feels positioned at the edge of the torn cloud opening. A gigantic finger of an older white male hand passes very close to the lens and pushes downward through the cloud layer. The finger is enormous, with thick fleshy pads, pale Caucasian skin, subtle aged wrinkles, pores, and realistic texture. As it pierces the cloud, it carries torn vapor, pressure distortion, tiny electric arcs, golden particles, and air turbulence. The motion should not feel like an ordinary hand movement; it should feel like something crossing dimensions. The first breakthrough is slightly fast and impactful, creating extreme foreground distortion and pressure as the finger almost brushes the camera; then the motion slows down, becoming heavy, calm, and unstoppable. Part 3, 4–7 seconds: Hard cut back to a low-angle ultra-wide relationship shot, close to the composition of reference image 1. The giant hand has fully emerged from the sky rupture. The fingers descend and close toward the hovering coin. The coin remains suspended above the island, with a slight tilt and slow subtle wobble, not a stiff front-facing disc. When the hand grips the coin, the coin trembles slightly, then becomes firmly held. The finger relationship is clear, and the action feels like a giant entity effortlessly picking up a small object. After gripping, hold for half a beat, then lift the coin slightly upward, creating a clear motivation for the next shot. During this part, the camera subtly pulls back and tilts downward, gradually revealing the golden island below, still glowing with treasure reflections. As the hand approaches and grips the coin, the lighting and shadows on the island and ocean surface respond to the hand’s position. The rupture area keeps torn cloud wisps, electric arcs, and pressure trails, but the whole sky should not become overcast. The overall sky remains a bright sunny island sky. The feeling should be awe-inspiring, sacred, absurd, and oppressive — like a high-budget cinematic god-hand descending, later revealed to be the hand of a capitalist.

{{Image 1}} = master composition reference: current ocean shot with the large robot head and tiny robot on wooden plank. {{Portrait 2}} = large heavy robot design reference. {{Image 3}} = tiny scavenger robot design reference. {{Portrait 4}} = background crowd robot reference. Create a 21:9 widescreen cinematic video, 12 seconds total, with multiple hard cuts inside one continuous ocean scene. Use {{Image 1}} as the highest-priority reference for composition, spatial relationship, scale relationship, movement direction, and ocean staging. Use {{Portrait 2}} only for the large robot design. Use {{Image 3}} only for the tiny scavenger robot design, backpack tank, hose nozzle, and broken wooden plank. Use {{Portrait 4}} only for background crowd robot variety. Core scene: A huge heavy robot is mostly submerged in deep ocean water. Only its head and a small part of its upper shoulder structure are visible above the water. Its massive body is faintly visible below the surface as a dark underwater silhouette. A tiny scavenger robot rides a broken wooden plank beside the huge robot’s head. The tiny robot is much smaller than the large robot. The size contrast must always be clear. The tiny robot uses a handheld hose-like water jet tool connected to a backpack tank. It stands sideways on the plank and grips the hose nozzle with both hands. Movement and propulsion logic: The tiny robot, the large robot, and the distant background robots all move in the same general direction. The tiny robot moves forward past the large robot. The hose nozzle points backward and slightly downward into the water. The water jet sprays backward. The wooden plank moves forward because of the backward water spray. The wake and foam trail stay behind the plank. Background: Many distant background robots are swimming or floating in the ocean. They appear as partially submerged heads, shoulders, arms, swimming silhouettes, splashes, and partial bodies. They are varied in shape and size, not identical. They move in the same general direction as the main action. Keep them slightly blurred and secondary. All shots must feel like the same continuous event in the same ocean area. Even when the camera angle changes, the tiny robot must stay beside the large robot before finally passing it. Internal shot structure: 0.0s–2.5s — Shot 1, medium-wide relationship shot: Follow the composition and scale logic of {{Image 1}} . Slightly elevated 35mm–50mm cinematic shot over the ocean surface. The large robot head is on the right side of the frame, huge and slow. The tiny robot on the broken plank is on the left side, moving beside the large robot, not already past it. The water jet is working at first, leaving a small white wake behind the plank. Distant background robots swim in the same direction. Ocean color should be cleaner cyan-blue / blue-green, with realistic natural daylight. Hard cut. 2.5s–4.5s — Shot 2, water-level side relationship shot: Low camera near the water surface, 50mm lens feel. The tiny robot is closer to camera, standing sideways on the plank with both hands holding the hose nozzle. The large robot head remains visible behind and to the side, keeping the scale relationship clear. The hose suddenly sputters. The water jet weakens, breaks into irregular bursts, then almost stops. The plank slows down beside the large robot. Small water splashes hit the plank. The tiny robot reacts with nervous hesitation. Hard cut. 4.5s–6.5s — Shot 3, malfunction close-up: Tighter cinematic close-up, 35mm–50mm feel. Focus on the tiny robot, hose nozzle, backpack tank, and unstable water spray. The nozzle coughs, drips, and sprays weakly. The tiny robot taps or shakes the nozzle with one hand while trying to balance on the plank. It briefly glances toward the huge robot beside it. The large robot’s head or dark form remains as a blurred background presence. Hard cut. 6.5s–8.0s — Shot 4, scale reaction beat: Slightly wider low water-level shot. The tiny robot is almost stuck parallel beside the huge robot’s head. For a brief moment, both are in the same frame, emphasizing the absurd scale contrast. The large robot stays blank, slow, silent, and indifferent. The tiny robot freezes for a beat, then quickly adjusts the hose grip. Background robots continue swimming past. Hard cut. 8.0s–12.0s — Shot 5, restart and escape: Dynamic low water-level tracking shot with slight motion blur. The hose suddenly restarts with force. The nozzle sprays backward strongly into the water. The plank accelerates forward. The tiny robot leans forward, struggling to keep balance but gaining speed. A white wake expands behind the plank. The tiny robot passes the large robot’s head from beside it and exits toward the forward direction of travel. The large robot is left behind, still only showing its head above the water. Visual style: cinematic realism, IMAX 70mm film look, 21:9 widescreen, realistic ocean water, natural daylight, subtle film grain, grounded retro-futurist atompunk robot design, dirty off-white metal, chipped paint, salt stains, practical industrial details, believable water interaction, dry black humor, clean cyan-blue / blue-green ocean tone. Camera and editing: Hard cuts between shots. Each shot uses a different camera distance and angle. Do not make every shot look like the same frame zoomed in. Use clear shot variation: medium-wide relationship shot, water-level side shot, malfunction close-up, scale reaction shot, dynamic escape shot. Maintain spatial continuity across all cuts. Sound: only practical sound effects, no background music. Ocean waves, water splashes, small mechanical motor whine, sputtering hose, weak coughing water jet, sudden restart burst, plank scraping water, distant robot movement.

{{Portrait 1}} as the main reference, used to control the overall composition of this shot, the spatial relationship between the giant hand and the golden Dogecoin, the island scale, the ocean surface, the robot crowd in the water, and the final frame balance. {{Mixed 2}} as a secondary reference, used only to control the upper-hand structure, the volume of the wrist and back of the hand, the feeling that the hand extends downward from a ruptured upper-sky zone, and the energetic atmospheric tearing around the upper hand area. Do not inherit the close-up framing of {{Mixed 2}} . Only absorb the hand anatomy and upper-space relationship. Cinematic 21:9 giant-object extraction shot, starting from a composition very close to {{Portrait 1}} . At the beginning, the giant human hand is already gripping the golden Dogecoin above the treasure island. Keep the same overall spatial relationship: giant hand above, giant Dogecoin below the hand, treasure island beneath, ocean in the foreground, and many small robots floating in the sea facing the island. The camera must not stay completely static. Use a subtle slow push-in combined with a very slight upward tilt during the shot. The movement should feel controlled and cinematic, not aggressive, just enough to add life and pressure while still keeping the island clearly visible throughout the shot. The giant hand and Dogecoin slowly rise upward together. The lift must feel heavy, deliberate, and powerful. Do not make the Dogecoin look stiff or mechanically sliding straight up. It should feel naturally carried upward by the hand. As the hand lifts the Dogecoin, the gold-covered areas on the island begin to gradually break down into fine glowing golden particles. These particles originate only from the island’s visible gold: coins, gold dust, treasure deposits, golden surfaces embedded across the island. As the particles appear, the original gold on the island naturally disappears, revealing bare rocky terrain underneath. The particle behavior should feel elegant and high-end: the island’s gold begins to emit fine golden particles, the particles drift upward into the air, and they show a loose upward attraction toward the rising hand and Dogecoin, but do not create a direct visible particle trail attached to the Dogecoin. Do not make the Dogecoin itself emit a tail. The particles come from the island, rise upward, and gradually disperse as they are drawn skyward. During the lift, the island undergoes a transformation from a gold-covered treasure island into a stripped barren rocky island. This change must feel gradual and readable, not abrupt. The environment reacts to the extraction: subtle ground-rumble feeling, slight ocean disturbance, small water movement around the floating robots, the robots gently wobble in the sea as if affected by a powerful unseen force. Overall feeling: divine extraction, overwhelming scale, sacred and surreal, giant oppressive force, Nolan-like giant-object awe, cinematic realism, refined VFX logic. Duration: 4–5 seconds. Sound requirement: deep rumble, subtle ocean disturbance, gold particle shimmer, no background music.

{{Portrait 1}} is the giant robot reference. {{Mixed 2}} is the small robot reference. {{Portrait 3}} is the crowd robot reference. {{Mixed 4}} is the main composition and spatial relationship reference. 21:9 cinematic widescreen, ultra realistic live-action feel, IMAX 70mm film texture, Panavision C-series anamorphic lens feeling, atompunk retro-futurist coastal world, faded warm sand and sea-salt blue palette, low saturation, natural daylight, subtle film grain, clean image, no CGI look, no HDR look. Generate a 12–15 second cinematic shot sequence with hard cuts inside one continuous scene on the ocean surface. Core scene logic: A massive giant robot is moving forward in the sea. Its body, legs, and feet are completely underwater, walking slowly on the seabed. Only its huge head and a very small upper structure are visible above the water. It must NOT feel like it is floating. It must feel extremely heavy, like a submerged giant walking underwater. Around its head, the sea surface shows slow heavy water displacement, circular ripples, and delayed low-frequency swells caused by its underwater steps. A faint dark underwater body silhouette can be subtly visible below the surface. A small robot on a broken wooden board enters the frame from off-screen, moving fast toward the giant robot’s side. The small robot stands or half-stands sideways on the board, holding a vacuum-like water jet device with both hands. The nozzle points backward and slightly downward into the sea. The water jet sprays backward, creating propulsion that pushes the board forward. The propulsion logic must be physically correct: spray backward, board moves forward. The board does not move by itself. Background crowd robots are all in swimming or struggling-in-water poses, never standing on the sea surface. They are partially submerged, moving in the same overall direction as the giant robot. Their movement direction is unified, but their speed, pose, and timing are different. Some swim faster, some slower, some are half-horizontal, some only show head and one arm, some tilt slightly, some create larger splashes, some smaller splashes. They must not feel synchronized or duplicated. Their silhouettes, head shapes, body proportions, and arm lengths must vary clearly according to {{Portrait 3}} . Shot design: 0.0–2.5s: Opening composition follows {{Mixed 4}} . The frame begins with only the giant robot head and surrounding swimming crowd robots already in motion. The small robot is NOT in frame yet. The giant robot moves slowly and heavily forward through the sea, clearly walking underwater, not floating. Crowd robots in the background are actively swimming, not drifting. 2.5–5.0s: The small robot enters from off-screen and rides in quickly on the broken wooden board, approaching the side of the giant robot head. It is fast, slightly clumsy, and visually much smaller than the giant robot. Maintain correct scale contrast. 5.0–7.5s: The propulsion device suddenly malfunctions just as the small robot reaches the giant robot’s side. The board slows and briefly stalls beside the giant robot head. Cut to a closer angle: the small robot checks the nozzle, shakes it, taps it, or looks at it in confusion. Cold black-humor tone, not exaggerated slapstick. 7.5–10.5s: Cut to a detail shot of the device or nozzle failing, with weak sputtering spray or almost no spray. Keep the giant robot head or part of it present in the same spatial scene whenever possible, so the relationship between the two characters stays clear. 10.5–12.5s: The device suddenly works again. Strong backward spray returns. The board accelerates forward. The small robot moves past the giant robot head and begins to overtake it. 12.5–15.0s: Wider closing shot. The small robot rides forward and exits toward the forward direction, while the giant robot continues its slow heavy underwater walk. Background crowd robots continue swimming in the same direction with varied poses and varied speeds. The giant robot remains a heavy underwater walker, not a floating object. Motion rules: The giant robot head movement is slow, stable, heavy, and deliberate. The crowd robots are always swimming, paddling, struggling, or splashing, never standing. The crowd robots must not move with identical speed or identical animation. The small robot is the fastest moving subject in the scene. Water behavior must have three layers: 1. giant robot = heavy low-frequency water displacement, 2. crowd robots = irregular swimming splashes, 3. small robot jet device = narrow fast spray and wake. Sound design: only sound effects, no background music. Use ocean surface movement, splashing, mechanical movement, underwater heaviness, jet sputter malfunction, tapping on the device, and propulsion spray restart.

{{Portrait 1}} as the main reference, used to control the starting frame, composition, giant hand holding the golden Dogecoin, island scale, ocean foreground, and small robot crowd in the water. {{Mixed 2}} as a secondary reference, used only for the upper structure of the giant hand, hand volume, wrist direction, and the feeling of a massive hand extending from above. Keep the main framing based on {{Portrait 1}} . Cinematic 21:9 giant-object extraction shot, starting from the composition of {{Portrait 1}} . At the beginning, the giant human hand is already gripping the golden Dogecoin above the treasure island. The island is still covered with visible gold. The ocean and small robots remain in the foreground. The camera must have subtle movement: a slow controlled push-in combined with a very slight upward tilt. The movement should feel like a restrained cinematic camera response to a massive impossible event. Keep the island visible during the entire shot. Precise timing: 0.0–0.5s: Hold the starting composition. The hand tightens slightly. A deep low-frequency rumble begins. The island and ocean surface tremble subtly. 0.5–1.2s: The hand begins lifting the golden Dogecoin upward with heavy, deliberate force. At the same time, the first fine golden particles begin rising from several gold-covered areas on the island. 1.2–2.2s: More gold-covered areas across the island start dissolving into fine golden particles. The particles rise upward from the island surface, loosely drifting toward the rising hand and Dogecoin, but not forming a direct tail attached to the Dogecoin. 2.2–3.2s: The island’s visible gold rapidly decreases. Large areas of bare dark rock are revealed. The transformation from treasure island to barren rocky island must be clearly readable during this second. 3.2–5.0s: The hand continues lifting the Dogecoin higher. Most of the island gold is gone. Only a small amount of golden dust remains drifting upward and fading into the air. The island now looks stripped, dry, and barren. Particle logic: The golden particles come from the island’s gold-covered areas only. The Dogecoin itself keeps a clean solid outline. The particles rise from the island, drift upward, loosely gather toward the upper center, and gradually disperse before reaching the coin. The effect should feel like the wealth of the entire island is being extracted upward, not like a local explosion. The island should visibly change from gold-covered to bare rock by around 3 seconds. Environmental reaction: subtle island vibration, small debris and dust sliding down the rocks, ocean surface disturbed, small robots in the water wobble slightly from the force. Visual feeling: Nolan-like giant-object awe, divine extraction, massive scale, sacred but absurd, cinematic realism, controlled VFX, IMAX 70mm film look. Duration: 5 seconds. Sound requirement: deep rumble, island vibration, ocean disturbance, fine golden particle shimmer, sound effects only, no background music.

{{Portrait 1}} = giant robot reference {{Mixed 2}} = small robot reference {{Portrait 3}} = crowd robot reference {{Mixed 4}} = main composition and spatial relationship reference 21:9 cinematic anamorphic frame, ultra realistic live-action feel, IMAX 70mm film texture, Panavision C-series anamorphic look, retro atompunk coastal world, faded sand and sea-salt blue palette, low saturation, natural daylight, subtle film grain, clean image. Create a 12–15 second video with internal hard cuts, all happening in one continuous ocean-surface scene. Opening follows {{Mixed 4}} composition. At first only the giant robot head is visible above the sea. Its body is fully underwater, walking slowly and heavily on the seabed, never floating. Around it, background crowd robots are already moving in the water, all in swimming or struggling poses, partially submerged, never standing on the sea surface. Their silhouettes, head shapes, body proportions, and swimming motions are all different. They move in the same overall direction as the giant robot, but with varied speeds and varied poses. The small robot is not in the opening frame. It enters later from off-screen, riding a broken wooden board fast toward the giant robot’s side. The small robot stands or half-stands sideways on the board, holding a water-jet propulsion device with both hands. The nozzle points backward and slightly downward into the sea. The spray shoots backward, pushing the board forward. Shot flow: 0.0–2.5s: giant robot head and moving swimming crowd robots only, establish scale and migration. 2.5–5.0s: small robot rides in quickly from off-screen and reaches the giant robot’s side. 5.0–7.5s: the propulsion device suddenly malfunctions beside the giant robot head, board slows and stalls. 7.5–10.5s: closer shots of the small robot checking, shaking, or tapping the device, cold black-humor tone. 10.5–12.5s: the propulsion device restarts, strong spray returns, board accelerates again. 12.5–15.0s: the small robot overtakes the giant robot and rides forward out of frame, while the giant robot continues its slow heavy underwater walk. Important motion logic: The giant robot must feel extremely heavy and submerged, only the head visible above water. The small robot is the fastest subject. The wooden board only moves because of the propulsion spray. Background crowd robots must all be swimming, paddling, splashing, or struggling, with varied timing and varied speed, never identical, never synchronized. Water behavior must have three clear layers: 1. giant robot = heavy low-frequency water displacement 2. crowd robots = irregular swimming splashes 3. small robot = narrow fast propulsion spray and wake Only sound effects, no background music.

{{Image 1}} = master composition reference. This image is NOT the first frame. Treat it as a middle keyframe around 3 seconds, showing the correct scale relationship, ocean staging, and relative position between the tiny robot and the large robot. {{Portrait 2}} = large heavy robot design reference. {{Image 3}} = tiny scavenger robot design reference. {{Portrait 4}} = background crowd robot variety reference. Create a 21:9 widescreen cinematic video, 12 seconds total, with hard cuts inside one continuous ocean scene. Use {{Image 1}} as the main reference for scale, spatial relationship, ocean height, and the position where the tiny robot eventually stops beside the large robot. Important: the video must NOT start exactly like {{Image 1}} . The beginning must happen before this reference frame. Scene logic: A huge heavy robot is walking slowly underwater in deep ocean. Its feet and body are far below the surface, planted and heavy, not floating. Only its head and a small part of the upper shoulder structure are visible above the water. The head should keep a stable waterline, with heavy water displacement around it. The massive body is faintly visible below the surface as a dark underwater shape. A tiny scavenger robot rides a broken wooden plank. It uses a handheld hose-like water jet tool connected to a backpack tank as propulsion. The tiny robot is much smaller than the large robot. Propulsion logic: The tiny robot moves forward toward the right side of the frame. The hose nozzle points backward and slightly downward into the water. The water jet sprays backward. The wooden plank moves forward because of the backward spray. The wake and foam trail always stay behind the plank. Background crowd logic: Many background robots are in the ocean, all moving toward the same general direction. They are not synchronized. Each robot has different speed and swimming rhythm. Some are paddling with arms, some are half-submerged, some only show heads and shoulders, some create small splashes, some lag behind. They should look like a chaotic crowd rushing toward the same distant goal, not a neat row, not identical copies. Keep them secondary and slightly blurred. Shot structure: 0.0s–2.5s — Shot 1, pre-reference entry shot: Start before the master reference position. A slightly high-angle 35mm–50mm ocean shot. The large robot head is already visible on the right side, huge, slow, and steady in the water. The tiny robot is not yet beside it at the first frame. The tiny robot enters from the upper-left / left-upper area of the frame on the broken plank, moving diagonally toward the large robot’s side. Its hose is working at first, spraying backward and leaving a small wake behind the plank. The shot ends with the tiny robot reaching the side of the large robot, close to the composition of {{Image 1}} . Hard cut. 2.5s–4.5s — Shot 2, relationship side shot: Low water-level camera, around 50mm lens. The tiny robot is now beside the large robot’s head, not in front of it and not already past it. Both must remain in the same frame. The tiny robot stands sideways on the plank, gripping the hose nozzle with both hands. The large robot head stays behind or to the side as a huge silent object. The water jet begins to sputter and lose power. The plank slows down near the large robot’s head. Hard cut. 4.5s–6.5s — Shot 3, malfunction close-up: Tighter 35mm–50mm close-up. Focus on the tiny robot, the hose nozzle, the backpack tank, and the broken wooden plank. The hose coughs, drips, and sprays weakly. The tiny robot taps or shakes the hose nozzle while trying to keep balance. Keep part of the large robot’s head or body edge visible as a blurred background shape, so the scale relationship is not lost. Hard cut. 6.5s–8.5s — Shot 4, awkward pause beside the giant: Medium close shot from water level. The tiny robot and the large robot are parallel in the same frame. The tiny robot is stuck beside the huge robot’s head. The large robot continues moving slowly underwater, indifferent and heavy. The tiny robot glances toward the giant for a brief awkward beat, then quickly regrips the hose nozzle. Hard cut. 8.5s–12.0s — Shot 5, restart and escape: Dynamic low water-level tracking shot. The hose suddenly restarts with force. The nozzle sprays strongly backward into the water. The plank accelerates forward. The tiny robot leans into the acceleration and shoots past the large robot’s head. A white wake expands behind the plank. The tiny robot exits toward the right-forward direction. The large robot is left behind, still only showing its head above the water, moving slowly and heavily. Camera and editing: Hard cuts between shots. Each shot must use a different camera distance or angle. Do not make the sequence look like the same frame simply zooming in and out. Maintain clear spatial continuity: the tiny robot approaches, stops beside the large robot, fixes the hose, restarts, then passes it. Visual style: cinematic realism, IMAX 70mm film look, 21:9 widescreen, realistic ocean surface, clean cyan-blue / blue-green water tone, natural daylight, subtle film grain, grounded retro-futurist atompunk robots, dirty off-white metal, chipped paint, salt stains, practical industrial details, believable water interaction, dry black humor. Sound: only practical sound effects, no background music. Ocean waves, splashes, distant robot movement, small mechanical motor whine, hose sputtering, weak water jet coughing, metal tapping, sudden restart burst, plank scraping across water.

Use {{Portrait 1}} as the primary reference for the overall finished poster quality, cinematic tone, premium design, and golden-dark visual atmosphere. Use {{Portrait 2}} as the main layout reference for the revised 3:4 vertical poster structure: the title FENGKOU should sit behind the island and the floating coin, the sea surface should divide the image into an upper world and a lower underwater world, and the background capitalist should be partially hidden behind the title. Use {{Portrait 3}} as a CRUCIAL primary reference for the lower half of the poster: this image defines the underwater section, the sinking robot, the tragic emotional tone, the blue depth, and the feeling of being swallowed by the frenzy. This underwater robot must appear in the lower section of the poster as a major storytelling element, not as a tiny decorative detail. Use {{Portrait 4}} as the hidden capitalist reference: a powerful old capitalist sitting in a leather chair, smoking, partially concealed in shadow, looming in the background like a manipulator. Use {{Portrait 5}} as an auxiliary reference for the capitalist holding a gold coin between his fingers. Use {{Portrait 6}} as the crowd reference for many small worn robots moving toward the island. Use {{Portrait 7}} as an auxiliary sea-surface transition reference for robots in the water moving toward the island. Use {{Portrait 8}} as an optional weak background reference for the FOLLOW THE COIN billboard and frenzy-world symbolism. Create a highly designed cinematic 3:4 vertical movie poster for a dark satirical sci-fi short film. Title: FENGKOU Subtitle: EVERY GOLD RUSH NEEDS A CROWD WILLING TO RUSH IN. Optional top line: SOME GET RICH. THE REST GET PROGRAMMED. Core composition: The poster should be designed as a strong two-layer world. UPPER WORLD: A giant floating golden Dogecoin hovers above a treasure island. Many small retro worn robots rush through shallow seawater toward the island in a blind gold-rush frenzy. The island is glowing with seductive golden temptation. The title FENGKOU is very large and placed behind the island and behind the floating coin, integrated into the composition rather than placed only at the bottom. The title should also partially cover the background capitalist so he is not too obvious at first glance. BACKGROUND UPPER AREA: A capitalist figure sits in shadow, smoking, calm and powerful, partially obscured, like the hidden manipulator behind the frenzy. He must not dominate the poster. He should feel like a ghostly presence behind the event. LOWER WORLD / UNDERWATER SECTION: Below the sea surface, include a clearly visible underwater section. A sinking robot is descending in blue water, reaching upward toward the light and the surface. Other distant underwater robot silhouettes can appear around it, submerged, drifting, or sinking. This underwater section is very important: it represents the cost, the victims, and the hidden tragedy beneath the gold rush. It should not feel pasted in. It must feel naturally fused into the lower part of the poster. Visual storytelling: Upper half = temptation, frenzy, gold rush, blind pursuit. Lower half = failure, drowning, collapse, and those swallowed by the system. Mood: black humor, social allegory, satirical, haunting, layered, visually powerful, premium movie poster design. Lighting: Upper world is warm golden, seductive, radiant. Lower underwater world is cold blue, tragic, deep, melancholic. Smooth but dramatic transition between the two. Atmosphere: add mist, haze, sea spray, thin smoke, drifting particles, and volumetric atmosphere. Do not make it look like a simple collage. It must look like one unified, polished theatrical poster. Design notes: The floating coin remains the main focal point. The island is the second anchor. The robot crowd creates movement and frenzy. The underwater sinking robot is the emotional knife in the lower section. The capitalist is hidden but readable. The FOLLOW THE COIN billboard, if present, should be subtle and secondary. The overall poster must feel elegant, symbolic, layered, cinematic, and highly designed. Ultra detailed, realistic, premium theatrical one-sheet quality.

Use {{Portrait 1}} as the primary reference for the overall finished poster quality, cinematic tone, premium design, and golden-dark visual atmosphere. Use {{Portrait 2}} as the main layout reference for the revised 3:4 vertical poster structure: the title FENGKOU should sit behind the island and the floating coin, the sea surface should divide the image into an upper world and a lower underwater world, and the background capitalist should be partially hidden behind the title. Use {{Portrait 3}} as a CRUCIAL primary reference for the lower half of the poster: this image defines the underwater section, the sinking robot, the tragic emotional tone, the blue depth, and the feeling of being swallowed by the frenzy. This underwater robot must appear in the lower section of the poster as a major storytelling element, not as a tiny decorative detail. Use {{Portrait 4}} as the hidden capitalist reference: a powerful old capitalist sitting in a leather chair, smoking, partially concealed in shadow, looming in the background like a manipulator. Use {{Portrait 5}} as an auxiliary reference for the capitalist holding a gold coin between his fingers. Use {{Portrait 6}} as the crowd reference for many small worn robots moving toward the island. Use {{Portrait 7}} as an auxiliary sea-surface transition reference for robots in the water moving toward the island. Create a highly designed cinematic 3:4 vertical movie poster for a dark satirical sci-fi short film. Title: FENGKOU Subtitle: EVERY GOLD RUSH NEEDS A CROWD WILLING TO RUSH IN. Optional top line: SOME GET RICH. THE REST GET PROGRAMMED. Core composition: The poster should be designed as a strong two-layer world. UPPER WORLD: A giant floating golden Dogecoin hovers above a treasure island. Many small retro worn robots rush through shallow seawater toward the island in a blind gold-rush frenzy. The island is glowing with seductive golden temptation. The title FENGKOU is very large and placed behind the island and behind the floating coin, integrated into the composition rather than placed only at the bottom. The title should also partially cover the background capitalist so he is not too obvious at first glance. BACKGROUND UPPER AREA: A capitalist figure sits in shadow, smoking, calm and powerful, partially obscured, like the hidden manipulator behind the frenzy. He must not dominate the poster. He should feel like a ghostly presence behind the event. LOWER WORLD / UNDERWATER SECTION: Below the sea surface, include a clearly visible underwater section. A sinking robot is descending in blue water, reaching upward toward the light and the surface. Other distant underwater robot silhouettes can appear around it, submerged, drifting, or sinking. This underwater section is very important: it represents the cost, the victims, and the hidden tragedy beneath the gold rush. It should not feel pasted in. It must feel naturally fused into the lower part of the poster. Visual storytelling: Upper half = temptation, frenzy, gold rush, blind pursuit. Lower half = failure, drowning, collapse, and those swallowed by the system. Mood: black humor, social allegory, satirical, haunting, layered, visually powerful, premium movie poster design. Lighting: Upper world is warm golden, seductive, radiant. Lower underwater world is cold blue, tragic, deep, melancholic. Smooth but dramatic transition between the two. Atmosphere: add mist, haze, sea spray, thin smoke, drifting particles, and volumetric atmosphere. Do not make it look like a simple collage. It must look like one unified, polished theatrical poster. Design notes: The floating coin remains the main focal point. The island is the second anchor. The robot crowd creates movement and frenzy. The underwater sinking robot is the emotional knife in the lower section. The capitalist is hidden but readable. The FOLLOW THE COIN billboard, if present, should be subtle and secondary. The overall poster must feel elegant, symbolic, layered, cinematic, and highly designed. Ultra detailed, realistic, premium theatrical one-sheet quality.

Use {{Portrait 1}} as the main layout reference for the revised 3:4 vertical poster structure: the title FENGKOU should sit behind the island and the floating coin, the sea surface should divide the image into an upper world and a lower underwater world, and the background capitalist should be partially hidden behind the title. Use {{Portrait 2}} as a CRUCIAL primary reference for the lower half of the poster: this image defines the underwater section, the sinking robot, the tragic emotional tone, the blue depth, and the feeling of being swallowed by the frenzy. This underwater robot must appear in the lower section of the poster as a major storytelling element, not as a tiny decorative detail. Use {{Portrait 3}} as the hidden capitalist reference: a powerful old capitalist sitting in a leather chair, smoking, partially concealed in shadow, looming in the background like a manipulator. Use {{Portrait 4}} as an auxiliary reference for the capitalist holding a gold coin between his fingers. Use {{Portrait 5}} as the crowd reference for many small worn robots moving toward the island. Use {{Portrait 6}} as an auxiliary sea-surface transition reference for robots in the water moving toward the island. Create a highly designed cinematic 3:4 vertical movie poster for a dark satirical sci-fi short film. Title: FENGKOU Subtitle: EVERY GOLD RUSH NEEDS A CROWD WILLING TO RUSH IN. Optional top line: SOME GET RICH. THE REST GET PROGRAMMED. Core composition: The poster should be designed as a strong two-layer world. UPPER WORLD: A giant floating golden Dogecoin hovers above a treasure island. Many small retro worn robots rush through shallow seawater toward the island in a blind gold-rush frenzy. The island is glowing with seductive golden temptation. The title FENGKOU is very large and placed behind the island and behind the floating coin, integrated into the composition rather than placed only at the bottom. The title should also partially cover the background capitalist so he is not too obvious at first glance. BACKGROUND UPPER AREA: A capitalist figure sits in shadow, smoking, calm and powerful, partially obscured, like the hidden manipulator behind the frenzy. He must not dominate the poster. He should feel like a ghostly presence behind the event. LOWER WORLD / UNDERWATER SECTION: Below the sea surface, include a clearly visible underwater section. A sinking robot is descending in blue water, reaching upward toward the light and the surface. Other distant underwater robot silhouettes can appear around it, submerged, drifting, or sinking. This underwater section is very important: it represents the cost, the victims, and the hidden tragedy beneath the gold rush. It should not feel pasted in. It must feel naturally fused into the lower part of the poster. Visual storytelling: Upper half = temptation, frenzy, gold rush, blind pursuit. Lower half = failure, drowning, collapse, and those swallowed by the system. Mood: black humor, social allegory, satirical, haunting, layered, visually powerful, premium movie poster design. Lighting: Upper world is warm golden, seductive, radiant. Lower underwater world is cold blue, tragic, deep, melancholic. Smooth but dramatic transition between the two. Atmosphere: add mist, haze, sea spray, thin smoke, drifting particles, and volumetric atmosphere. Do not make it look like a simple collage. It must look like one unified, polished theatrical poster. Design notes: The floating coin remains the main focal point. The island is the second anchor. The robot crowd creates movement and frenzy. The underwater sinking robot is the emotional knife in the lower section. The capitalist is hidden but readable. The FOLLOW THE COIN billboard, if present, should be subtle and secondary. The overall poster must feel elegant, symbolic, layered, cinematic, and highly designed. Ultra detailed, realistic, premium theatrical one-sheet quality.

{{Portrait 1}} as the main reference, used to control the overall composition of this shot, the spatial relationship between the giant hand and the golden Dogecoin, the island scale, the ocean surface, the robot crowd in the water, and the final frame balance. {{Image 2}} as a secondary reference, used only to control the upper-hand structure, the volume of the wrist and back of the hand, the feeling that the hand extends downward from a ruptured upper-sky zone, and the energetic atmospheric tearing around the upper hand area. Do not inherit the close-up framing of {{Image 2}} . Only absorb the hand anatomy and upper-space relationship. Cinematic 21:9 giant-object extraction shot, starting from a composition very close to {{Portrait 1}} . At the beginning, the giant human hand is already gripping the golden Dogecoin above the treasure island. Keep the same overall spatial relationship: giant hand above, giant Dogecoin below the hand, treasure island beneath, ocean in the foreground, and many small robots floating in the sea facing the island. The camera must not stay completely static. Use a subtle slow push-in combined with a very slight upward tilt during the shot. The movement should feel controlled and cinematic, not aggressive, just enough to add life and pressure while still keeping the island clearly visible throughout the shot. The giant hand and Dogecoin slowly rise upward together. The lift must feel heavy, deliberate, and powerful. Do not make the Dogecoin look stiff or mechanically sliding straight up. It should feel naturally carried upward by the hand. As the hand lifts the Dogecoin, the gold-covered areas on the island begin to gradually break down into fine glowing golden particles. These particles originate only from the island’s visible gold: coins, gold dust, treasure deposits, golden surfaces embedded across the island. As the particles appear, the original gold on the island naturally disappears, revealing bare rocky terrain underneath. The particle behavior should feel elegant and high-end: the island’s gold begins to emit fine golden particles, the particles drift upward into the air, and they show a loose upward attraction toward the rising hand and Dogecoin, but do not create a direct visible particle trail attached to the Dogecoin. Do not make the Dogecoin itself emit a tail. The particles come from the island, rise upward, and gradually disperse as they are drawn skyward. During the lift, the island undergoes a transformation from a gold-covered treasure island into a stripped barren rocky island. This change must feel gradual and readable, not abrupt. The environment reacts to the extraction: subtle ground-rumble feeling, slight ocean disturbance, small water movement around the floating robots, the robots gently wobble in the sea as if affected by a powerful unseen force. Overall feeling: divine extraction, overwhelming scale, sacred and surreal, giant oppressive force, Nolan-like giant-object awe, cinematic realism, refined VFX logic. Duration: 4–5 seconds. Sound requirement: deep rumble, subtle ocean disturbance, gold particle shimmer, no background music.

Create an original satirical advertisement song for a 90-second dark comedy sci-fi short film. Concept: A fake cheerful commercial for a golden opportunity called “FENGKOU”. The song should sound like it is selling hope, wealth, success, and destiny, while secretly mocking mass greed and blind speculation. Style: Vintage 1950s TV commercial jingle, cheerful old radio pop, light swing jazz, corporate optimism, absurd capitalism. Catchy, sunny, smiling, but disturbing underneath. Mood: Happy, ironic, manipulative, seductive, absurd. The music should feel like a beautiful lie. Vocals: Old male advertising voice or charming vintage male singer. Slightly raspy, elegant, persuasive, smiling. He sounds trustworthy, but there is something wrong behind the smile. Lyrics: Keep lyrics simple and repetitive, like a commercial slogan. Lyrics: Step right in, the future’s bright. Gold above, and dreams in sight. Don’t look down, don’t ask why. Fortune waits beyond the tide. Step right in, before it’s gone. Everybody runs when the wind is strong. Almost there, almost won. Next one. Arrangement: Start playful and small. Build into a catchy jingle during the robot crowd rush. Add darker chords during underwater scenes but keep the song cheerful. End with a classy old-money jazz tag and a cruel little pause before “Next one.”

Voice style: Aged male narrator, deep and velvety, with a faint cigar-smoked rasp. He sounds like an old treasure hunter mixed with a wealthy capitalist salesman. Calm, intimate, seductive, slightly amused. Warm on the surface, predatory underneath. He is not warning the audience — he is tempting them. Performance direction for this segment: Speak like an old treasure hunter opening an ancient map. Slow, intimate, seductive. Pause after “tide” and “fortune”. Say “Only hunger” much lower and slower, like revealing the true key to the treasure. No heroic tone, no documentary tone, no trailer voice. Narration: Beyond the tide… lies a fortune old enough to become a legend. No chart can lead you there. Only hunger.

{{Mixed 1}} 为豪华办公室环境主参考：整体房间布局、皮质扶手椅、书桌、玻璃罩、保险柜、酒柜、壁灯、散落金币，以及整体温暖、昏暗、复古的原子朋克老钱风氛围。 {{Portrait 2}} 为资本家人物参考：一个肥胖年老的白人资本家，富有且掌控一切，穿着昂贵的深色细条纹西装，带有老钱气质、油腻的自信感、冷静傲慢感，坐在豪华皮椅上。 {{Portrait 3}} 为黄金狗狗币参考：金币的造型、厚度、狗头浮雕、金属起伏、边缘纹理，以及整体高级黄金材质质感。 {{Mixed 4}} 为“手与金币关系”的动作参考：只参考粗厚手指夹住金币的动作关系，重点参考手指如何捏住金币、手与金币的相对关系。不要参考它的背景和环境。 生成一段14秒、21:9、超写实电影感视频，遵循真实摄影逻辑，场景设定在一个豪华的原子朋克老钱风资本家办公室内。只要音效，不要背景音乐。整段视频发生在同一个办公室空间中，但内部要有明确的硬切镜头，同时保持运动方向连续、道具关系连续、空间关系连续。 整段画面要有一种优雅、残酷、荒诞、黑色讽刺的气质，像是这个资本家把整个世界当成自己的收藏物件一样随意对待。 镜头1，0–4秒： 长焦特写，85mm–100mm 电影镜头。直接从资本家厚实的手指夹着黄金狗狗币开始，夹持动作尽量贴近 {{Mixed 4}} 。焦点放在手和金币上，豪华办公室背景柔焦虚化。资本家以一种很随意、不着急的方式把金币抬到眼前，像是在看一件普通战利品，而不是珍视什么宝物。金币在他指间有轻微的转动，展示其厚度和金属边缘，并带一点自然偏转和轻微自转，让它不要显得僵硬。镜头轻轻跟随这个动作，运镜平稳克制，背景带柔和运动模糊。 镜头2，4–6秒： 硬切到中近景。资本家半身坐在皮质扶手椅中，神情得意、懒散、满足、居高临下。他看一眼金币，并在手里随意把玩。表情里可以有一点淡淡的坏笑、一声轻微的鼻哼，或者一种冷冷的满足感。画面里带到桌上的几个玻璃罩，每个玻璃罩里都有一个微缩小世界，并带有非常轻微的内部微光，暗示这些世界仍然“活着”。其中一个空玻璃罩要显得更暗、更安静，像是在等待下一个世界被放进去。 镜头3，6–8秒： 硬切到更近的手部特写。资本家用拇指很随意地把狗狗币弹出去。动作不是暴力的，而是一种像弹普通筹码、赌场代币一样的轻描淡写、冷漠、毫不在意。金币离手时要有明确加速感和方向感。 镜头4，8–10秒： 硬切到动感跟拍镜头。摄像机像跟拍篮球那样跟随飞出去的金币，让金币始终接近画面中心。金币在办公室空间中飞行并自转，背景中的书桌边缘、台灯高光、玻璃罩、深色木墙、椅子轮廓全部拉出明显的运动模糊。整体运动要有电影感、时尚感、动势感，不要卡通化。 镜头5，10–11.5秒： 硬切到落点镜头。金币自然掉入地面上的一堆金币里。周围金币受到撞击后，产生可信的小范围金属弹跳、滑动和链式反应。撞击感要清脆、真实、爽。这个镜头要短促、有力、干净。 镜头6，11.5–14秒： 硬切回办公室主构图，中大全景。资本家懒洋洋地靠在皮椅上，手里夹着烟，轻轻吐出一缕烟雾。画面中书桌和房间里清晰带到多个玻璃罩，玻璃罩里依旧有带微弱内发光的微缩世界，而那个空玻璃罩则保持更暗、更安静。然后资本家直视镜头，打破第四面墙，用英文以一种随意、轻蔑、像发号施令一样的语气说一句：“Next one.” 说完后保持一种得意、冰冷、优越的表情。结尾要让人觉得荒诞、黑色幽默、讽刺锋利，像一个把世界当收藏品的人。 整体视觉风格： 超写实电影摄影，暖色钨丝实景光源，深色抛光木质空间，丰富皮革质感，优雅老钱风办公室，空气里有轻微烟雾，镜头语言克制，道具细节强，制作设计高级，黑色幽默，讽刺感，奢靡冷酷，镜头节奏清晰，视觉叙事明确，连续性强，并带一点诺兰式“大尺度情绪重量”被转译进一个私密室内权力空间的感觉。

{{Mixed 1}} is the main luxury office environment reference, and also the desktop reference. Use it to control: overall room layout, desk, leather chair, coin pile, glass domes / glass bottles, miniature world objects, lighting mood, tabletop arrangement, and the spatial relationship of the whole office. {{Portrait 2}} is the capitalist character reference. Use it to control: the slightly overweight elderly white capitalist, his face, body type, hairstyle, suit, old-money aura, seated posture, smoking behavior, and overall character presence. {{Portrait 3}} is the gold Dogecoin detail reference. Use it to control: the Dogecoin relief, thickness, edge structure, material, gold reflections, and surface detail. {{Mixed 4}} is the hand-holding-the-coin pose reference. Use it to control: the right-hand finger-to-coin grip relationship, the gesture of picking up the coin, and the motion-matching relationship between the hand and the coin. Use it only for the action, not for the background. Create a 15-second, 21:9 ultra-realistic cinematic video set inside a luxurious vintage atompunk old-money capitalist office. The whole sequence happens in one continuous space, but is structured with natural internal hard cuts. Sound effects only, no background music, and no dialogue. Important spatial rule: The capitalist should stay on the right side or right-center of the frame. The capitalist must hold the coin with his right hand. The coin should be lifted toward the left side or left-center of the frame by his right hand. Maintain the visual relationship: the capitalist on the right controls the coin on the left. Do not switch the coin to the left hand. Do not move the capitalist to the left side of the frame. Keep the spatial relationship between the right hand, the coin, and the capitalist’s face consistent. Shot 1 (0.0–2.5s): A telephoto medium close-up / close-up hybrid. The capitalist is positioned on the right side of the frame, body slightly angled toward the left. His right hand extends from the right side and holds the gold Dogecoin, lifting it toward the left-center of the frame. The shot should include both part of the capitalist’s facial expression and the right-hand coin action. The finger-to-coin grip follows {{Mixed 4}} , and the coin’s detail follows {{Portrait 3}} . The background is the luxury office from {{Mixed 1}} , softly blurred with shallow depth of field. The action should feel like a continuation from the previous giant-hand coin-grab scene: he brings the coin up to examine it casually. Restrained, casual, dominant motion. Hard cut. Shot 2 (2.5–4.5s): A medium close shot. The capitalist remains on the right side of the frame, seated in the luxurious leather chair. His right hand holds the coin toward the left-center of the frame near his eyeline. He lightly turns his wrist and casually examines the coin. His expression is calm, dismissive, contemptuous, and superior. No exaggerated smile, no looking into camera, no dialogue. The character follows {{Portrait 2}} , and the office atmosphere continues from {{Mixed 1}} . Hard cut. Shot 3 (4.5–6.0s): A close-up of the right hand. The capitalist casually flicks the coin away with his thumb. The action is precise, effortless, and lightly contemptuous, as if discarding something trivial. Keep it as a right-hand action. The coin’s appearance remains consistent with {{Portrait 3}} . Hard cut. Shot 4 (6.0–7.3s): The camera briefly follows the spinning coin. The coin rotates naturally near the center of the frame with cinematic motion blur. The background streaks with movement. The coin lands naturally into the coin pile on the desk or floor area from {{Mixed 1}} , with a subtle bounce and realistic metallic impact. Hard cut. Shot 5 (7.3–10.0s): A tabletop insert shot. The camera glides slowly across the desktop area from {{Mixed 1}} , passing several glass domes / glass bottles / miniature contained worlds. Some domes feel like sealed little worlds with subtle mysterious internal atmosphere, while others appear empty and dim. Use shallow depth of field. In the softly blurred background, the capitalist sits on the right side and smokes. Shot 6 (10.0–15.0s): The tabletop insert naturally transitions into a wider office reveal. Use a subtle arc move combined with a slight pullback, not a simple straight pullback. Reveal the full desk, glass domes, coin pile, leather chair, liquor cabinet, maps, charts, telephone, lamp, and the entire office environment. The capitalist remains on the right side or right-center of the frame, calmly sitting in the chair. He takes a drag from his cigarette and exhales smoke. He does not look into camera and does not speak. His gaze rests casually toward the desk objects or the coin pile. The final image clearly establishes this office as a hidden luxurious control room where a greedy capitalist collects, controls, and plays with worlds. Overall style: ultra-realistic, true photographic feel, cinematic lighting, old-money luxury, vintage capitalist office, atompunk detail, rich tabletop props, elegant restrained composition, clear lens language, accurate action logic, continuous right-hand coin action, stable prop continuity, natural understated performance. Sound design: coin handling sounds, lifting the coin, thumb flick, coin landing into pile, subtle leather movement, glass ambient presence, cigarette inhale and exhale, quiet room tone. Sound effects only, no background music, no dialogue.

{{Mixed 1}} is the main composition and spatial relationship reference. Use it as the master frame for the scale, placement, movement direction, and scene continuity between the giant robot head and the small robot on the wooden plank. {{Portrait 2}} is the giant robot design reference. {{Mixed 3}} is the small robot, wooden plank, backpack tank, hose, and propulsion nozzle design reference. {{Portrait 4}} is the background crowd robot variation reference. Create a 12 to 15 second cinematic video with hard cuts between shots. Aspect ratio 21:9. The whole sequence happens in the same ocean area and keeps strong spatial continuity. The giant robot is extremely large and mostly submerged, with only its head and a very small part of its upper structure visible above the water. The small robot is tiny by comparison, standing sideways or half-sideways on a broken wooden plank, holding a hose-like propulsion nozzle connected to a worn backpack tank. The small robot uses the nozzle as thrust: the nozzle points backward and slightly downward into the seawater, the water jet sprays backward, and the reaction force pushes the plank forward. Use {{Mixed 1}} as the key relationship frame: the giant robot head is on the right side of frame, the small robot on the plank is on the left side, both are traveling in the same direction, the small robot reaches the side of the giant robot, the propulsion suddenly fails, the small robot pauses beside the giant robot, then fixes or shakes the nozzle, the propulsion works again, the plank accelerates, the small robot passes the giant robot and exits forward. All movement directions must stay consistent with the master frame. In this sequence, the robots travel from left to right in sea-level shots. Their wakes, spray direction, and body orientation all follow the same travel logic. The background crowd robots are partially submerged and swimming or floating in the same direction. Use {{Portrait 4}} to create variation in the background robots: different head shapes, body proportions, limb lengths, silhouettes, and swimming poses, while keeping the same group movement flow. Visual tone: cinematic realistic atom-punk ocean world, IMAX 70mm realism, subtle anamorphic cinematic texture, clean cyan-blue and teal-blue seawater, natural daylight, slightly desaturated tones, subtle film grain, clear underwater weight and believable water interaction, melancholic but dryly humorous mood. Shot structure: Shot 1, 0.0s–2.5s: oblique elevated medium-wide relationship shot, around 35mm. Based on {{Mixed 1}} . The giant robot head dominates the right side of frame. The small robot on the broken wooden plank is on the left side, moving toward the giant robot. Background robots continue migrating in the same direction. The propulsion is still working, with a backward water jet and a small wake behind the plank. Hard cut. Shot 2, 2.5s–4.5s: medium relationship shot, around 50mm. The small robot reaches the side of the giant robot head. The propulsion weakens and sputters. The plank slows down and nearly stops beside the giant robot. The giant robot continues moving very slowly, heavy and indifferent. Keep both robots in the same frame to emphasize their size contrast. Hard cut. Shot 3, 4.5s–6.5s: close insert shot, around 35mm. A closer view of the nozzle, the small robot’s hands, part of the wooden plank, and the water surface. The nozzle coughs out weak broken sprays and then nearly stops. The direction of the water jet clearly shows the propulsion logic: spray backward, move forward. Hard cut. Shot 4, 6.5s–9.0s: medium-close relationship shot, around 40mm. The small robot is still beside the giant robot head. It shakes, taps, or adjusts the nozzle while balancing on the plank. A restrained dry-comedy beat: the small robot briefly glances toward the giant robot. The giant robot remains slow and unresponsive. Background crowd robots continue swimming in the same direction. Hard cut. Shot 5, 9.0s–12.5s or 15.0s: wider relationship shot moving into a medium-long lens feeling, around 50mm to 85mm. The propulsion suddenly works again. A stable backward water jet appears. The plank accelerates. The small robot passes the giant robot head and continues forward, gradually moving out of frame. The giant robot remains behind, huge and slow. Background crowd robots continue migrating across the ocean in the same direction. End on a lonely, absurd, slightly darkly humorous feeling. Sound design: only sound effects, no background music. Ocean surface movement, splashes, small mechanical sputtering, weak spray, metallic tapping, propulsion restarting, water rushing behind the plank.

移除图一{{Image 1}} 中背景,给个 {{Image 1}} 中手拿金币的多视图.保持 {{Image 1}} 中手拿金币的姿势不变.金币外形参考 {{Portrait 2}}

把 {{Mixed 1}} 里的人物替换成 {{Portrait 1}} 里的人物

{{Mixed 1}} is the main luxury office environment reference and also the desktop reference. Use it to control the office space, desk, leather chair, coin pile, glass domes / glass bottles, miniature world objects, lighting mood, tabletop arrangement, and overall room layout. {{Portrait 2}} is the capitalist character reference. Use it to control the slightly overweight elderly white capitalist, his face, body type, hairstyle, suit, old-money aura, seated posture, smoking behavior, and overall character presence. {{Portrait 3}} is the gold Dogecoin detail reference. Use it to control the Dogecoin relief, thickness, edge structure, metallic gold material, reflections, and surface details. {{Mixed 4}} is the hand-holding-the-coin pose reference. Use it only to control the right-hand grip, the finger-to-coin relationship, and the motion-matching gesture of picking up the coin. Do not use its background. Create a 15-second, 21:9 ultra-realistic cinematic video set inside a luxurious vintage atompunk old-money capitalist office. The sequence uses natural hard cuts while maintaining continuity within the same office space. Sound effects only, no background music, no dialogue. Important action and spatial rules: The capitalist uses his right hand to hold the coin. The right-hand coin grip follows {{Mixed 4}} . The coin detail follows {{Portrait 3}} . The capitalist character follows {{Portrait 2}} . The office, desk, coin pile, glass domes, and miniature world objects follow {{Mixed 1}} . In the final wide shot, the capitalist must still be seated in the leather chair. The chair must not be empty. Shot 1 (0.0–2.2s): Extreme close-up, 85mm telephoto macro feeling, shallow depth of field. Focus only on the capitalist’s right hand and the gold Dogecoin. Do not reveal the full character yet. The right hand enters from the right side or lower-right side of frame, holding the coin and slowly lifting it upward from a lower position, as if bringing it toward his eyes. The coin dominates the frame. Finger skin texture, coin edge, relief, gold reflections, and surface detail are clear. The background is a luxurious office rendered as soft dark-gold bokeh and tabletop reflections. The motion is restrained, stable, and dominant. Do not switch to the left hand. Hard cut. Shot 2 (2.2–4.2s): Medium close shot, 70mm telephoto. The capitalist appears on the right side or right-center of frame, seated in the leather chair. His right hand holds the coin toward the left-center of frame near his eyeline. He glances at the coin and lightly turns his wrist, casually examining it. His expression is dismissive, bored, cold, with a faint contemptuous sneer. Not a big smile, not theatrical villain acting. A slight frown, a small tightening of the mouth, as if the object is beneath him. He does not look into camera and does not speak. Hard cut. Shot 3 (4.2–5.7s): Close-up of the right hand and coin, 100mm telephoto, shallow depth of field. The capitalist holds the coin at his fingertips, pauses for half a second, then casually flicks it away with his thumb. The action is slow, effortless, and contemptuous, like discarding a trivial object. Include a brief pause before the flick so the contempt reads clearly. The coin leaves his fingers and flies out of frame. No exaggerated arm swing. Hard cut. Shot 4 (5.7–7.2s): Brief coin-following shot, 50mm dynamic tracking. The spinning coin stays near the center of the frame with cinematic motion blur. The office lights, walls, and tabletop objects blur in the background. The coin lands into the coin pile from {{Mixed 1}} , creating a crisp metallic impact and a small natural bounce. Nearby coins lightly shift from the impact. Hard cut. Shot 5 (7.2–10.2s): Tabletop glass-dome insert shot, 35mm close focus, f2.8 shallow depth of field. The camera glides slowly across the desk from one glass dome to another. Some glass domes feel like sealed miniature worlds with faint internal light and tiny landscapes, while others feel empty and dim. Foreground glass reflections, wood grain, dust, metal bases, and glass edges are realistic. In the softly blurred background, the capitalist remains seated in the leather chair, smoking. This shot suggests that he collects worlds as objects. Hard cut. Shot 6 (10.2–15.0s): Wide office reveal, 24mm, slow lateral move with a subtle arc, not a simple straight pullback. The camera begins with tabletop glass domes and coin pile in the foreground, then slowly moves sideways and reveals the full office. The frame must include: glass domes, coin pile, luxury wooden desk, leather chair, liquor cabinet, maps, charts, old telephone, warm desk lamp, and smoke in the air. The capitalist must remain seated in the leather chair on the right side or right-center of frame. He must not disappear. The chair must not become empty. He takes a drag from his cigarette and slowly exhales smoke. His gaze rests toward the desk objects or the coin pile. He does not look into camera and does not speak. The final image clearly establishes a hidden luxury office where a greedy capitalist sits among his collections and wealth, calmly playing with and discarding a world. Overall style: ultra-realistic photographic feel, cinematic lighting, dark-gold old-money luxury office, vintage capitalist atmosphere, atompunk details, shallow depth of field, realistic skin texture, realistic gold reflections, realistic glass reflections, restrained acting, black humor, cold satire. Sound design: small metallic sound of picking up the coin, finger rubbing against metal, subtle fabric movement, thumb flick, faint air movement of the spinning coin, crisp coin impact into the pile, subtle glass ambience, leather chair creak, cigarette inhale and exhale, quiet office room tone. Sound effects only, no background music, no dialogue.

{{Mixed 1}} 为豪华办公室环境与空间氛围参考，控制深色木质办公室、皮椅、桌面、金币堆、玻璃罩小世界、老式灯具、复古电话、酒瓶、金融图表、整体空间陈设与调性。 {{Portrait 2}} 为幕后资本家人物形象参考，控制人物年龄、体型、服装、气质、脸型、发型、老钱资本家的感觉。 {{Portrait 3}} 为黄金狗狗币细节参考，控制金币造型、厚度、材质、浮雕细节、黄金反射质感。 {{Mixed 4}} 为右手拿金币的动作与手部姿势参考，控制资本家必须使用右手拿起金币，拿取姿势、夹持关系、镜头中的动作逻辑与动势参考此图。 生成一段 15 秒、21:9、电影级写实风格的视频。整体采用高完成度电影镜头语言，不要一镜到底式乱漂移，而是在同一空间内做明确的分镜式段落，镜头之间硬切，但人物、空间、动作和方向保持连贯。整体是豪华、腐败、压迫、老钱、幕后操控者气质。只要音效，不要背景音乐。 整体布光风格非常重要： 采用低调、强反差、电影化布光，结合《教父》式低调布光与伦勃朗布光风格。绝对不要电视剧式平光，不要正面大面积柔光把人物打平。主光从侧前方大角度切入，约与镜头形成接近 90 度夹角，在脸部形成明显明暗分区。再加入轻微顶部偏侧切光，用来打到右手、金币、雪茄烟雾、人物脸部局部、颧骨、额头局部和西装肩部局部。人物大部分身体和脸部保持在半阴影或阴影中。可以比《教父》更夸张一点，但仍要真实。室内空气中有一层非常轻微的薄雾与雪茄烟雾，空气不能太干净，烟雾要帮助光线在空气中显形，让空间更有层次和电影感。不是浓雾，只是一层乌烟瘴气但克制的烟雾质感。 人物表演要求： 资本家是一个肥胖、年长、白人男性，穿昂贵深色西装，气质老钱、傲慢、克制、冷漠、轻蔑、不屑，表演不要夸张，不要笑得太明显，不要做戏过头。他对这个金币的态度像对一件无足轻重的小玩意，只是随手把玩、轻轻一瞥、带一点若有若无的不屑。不要说台词，不要看镜头说话。嘴里可以叼雪茄，后面有轻微抽烟动作和吐烟动作。 镜头结构如下： 0.0s - 2.5s 镜头1，特写，85mm 长焦微压缩镜头，浅景深。 开场直接从右手拿金币特写开始，不要先交代人物全身。资本家的右手从画面下方或桌面附近把黄金狗狗币拿起，镜头跟随右手轻微上移，把金币带到他眼前附近。画面重点是右手与金币的特写，背景虚化，只隐约感到后方办公室环境和人物脸部轮廓。人物在画面右侧的空间关系成立，但不要把他完整框进来，避免开场景别太松。布光重点打在右手与金币上，金币高光细腻，人物脸部大部分仍在阴影中，只能隐约看到嘴边雪茄、下巴轮廓或局部面部结构。镜头运动克制，轻微跟随上移，稳定，电影感强。 2.5s - 5.0s 镜头2，中近景，65mm 镜头。 硬切到资本家胸像附近的中近景，资本家坐在画面右侧，右手把金币拿在面前，轻轻翻看或轻微摆弄一下，动作非常随意，非常轻蔑，像在检视一个无关紧要的玩具。可以有一个极轻微的“哼”式鼻息感，但不要明显笑，不要夸张表演。人物不要正对镜头表演，视线主要落在金币上，随后不屑地扫一眼桌面或前方金币堆。此镜头强调人物神态、气质与光影。脸部只露出局部受光，不能全亮。烟雾在光里轻轻飘动。 5.0s - 6.5s 镜头3，手部近景，85mm 长焦。 硬切到右手特写。资本家用右手拇指轻轻一弹，把金币朝旁边弹出去。动作不要夸张发力，而是轻蔑、随意、轻松，像处理一件不值钱的小玩意。这里要看清金币从手指间被弹出的瞬间，手的动作方向清楚。金币飞出的初始动势明确。 6.5s - 8.0s 镜头4，跟拍金币，100mm 长焦跟拍，强浅景深，背景运动模糊。 镜头跟随飞出去的金币，金币保持在画面相对中心区域，有明显自转，带少量真实运动模糊，但不能糊成一团。背景是办公室内部与桌边区域的快速虚化运动。这个镜头像“投篮跟球”的感觉，但更高级、更克制。金币最终落入画面左侧或前方的金币堆中，产生自然的碰撞、反弹与金币连锁轻响。运动轨迹自然，不做夸张拖尾特效。 8.0s - 10.0s 镜头5，桌面玻璃罩近景，50mm 微距感近景，浅景深，轻微小运镜。 硬切到桌面玻璃罩小世界的近景。前景是玻璃罩与桌面细节，镜头可以轻微横移或轻微推移，掠过几个玻璃罩，展示里面不同的微缩小世界。可以从一个内部有内容的玻璃罩轻微移到旁边一个空的玻璃罩，形成“有世界 / 空世界”的对照。背景中资本家坐在皮椅上，处于虚焦状态，只能看到他在背景里轻轻抽一口雪茄或缓慢吐出一缕烟。重点是桌面细节、玻璃反射、烟雾层次和空间质感。 10.0s - 15.0s 镜头6，大全景 / 宽中景，35mm 广角，轻微环绕或轻微后撤式揭示镜头。 硬切到最终揭示镜头，构图参考办公室大景。资本家必须坐在皮椅上，不能消失，不能空椅子穿帮。他坐在画面中后部或偏右位置，姿态放松，靠在椅子上，手中或嘴边带雪茄，轻轻抽烟。画面前景或侧前景能看到桌面和部分玻璃罩，中景可见金币堆，后景是整个办公室空间。镜头做轻微的环绕式小运镜或非常克制的后撤揭示，不能太飘，不能太大幅摇镜。目的是把桌面、玻璃罩、金币堆、皮椅、资本家、木墙、金融图表、灯具、酒瓶等完整交代出来。人物仍然保持在低调光影中，不是全亮。空气中有轻微烟雾，能看到一点光的方向感。最终停留在一个很有压迫感、很有支配感的空间画面上。 整体摄影要求： 真实电影摄影，质感高级，细节扎实，强调空间层次、光影关系、烟雾质感、老钱腐败氛围、控制感。不要夸张 AI 质感，不要卡通，不要科幻霓虹，不要廉价特效。人物、手、金币、桌面、玻璃罩、金币堆、办公室空间必须连续可信。每个镜头的景别变化要明确：特写 -> 中近景 -> 手部近景 -> 跟拍金币 -> 桌面近景 -> 最终大全景揭示。动作衔接清楚，方向逻辑清楚。 声音要求： 只要音效，不要背景音乐。保留细微环境音、皮椅轻响、手拿金币摩擦声、金币轻碰声、金币堆碰撞声、雪茄轻微燃烧声、人物轻微呼吸、玻璃罩轻微共振、室内轻微空气声。

{{Mixed 1}} as the main environment reference, used to control the luxurious dark office, wooden desk, glass dome display objects, leather chair, gold coin pile, warm practical lights, and the overall room layout. {{Portrait 2}} as the character reference, used to control the harbor capitalist: overweight older white man, silver hair, heavy face, expensive dark suit, vest, tie, polished shoes, cold upper-class capitalist temperament. {{Portrait 3}} as the staging reference, used to control the seated position, smoking posture, relationship between the capitalist and the office, and the overall dark smoky mood. Create a cinematic 21:9 video sequence, total duration about 7 seconds, with 2 shots and one clear hard cut. Overall visual style: dark luxurious capitalist office, Godfather-style low-key lighting, high contrast, warm tungsten practical lights, strong light-shadow separation, subtle Rembrandt feeling on the face, thin ambient haze in the room, stronger volumetric smoke around the man’s face and upper body. The air should feel smoky, stale, expensive, layered, and oppressive. The smoke should reveal the light path and create depth. Keep the image cinematic, dark, rich, and textured. Shot 1 — 0.0s to 3.6s — wide office shot: Shot size: wide shot, not too distant. Lens: 35mm to 40mm full-frame equivalent. Camera movement: start near the desk foreground, with glass domes close to camera. Perform a very slow restrained arc, slight upward drift, and gentle push-in. The glass domes and wooden desk occupy the foreground. The gold coin pile is visible on the left side of the frame. The capitalist sits deeper in the room in the leather chair, partly hidden in shadow. He calmly smokes, relaxed and powerful. He takes a slow drag and exhales. The exhaled smoke drifts into the room and mixes with the thin haze. The glass domes feel like miniature controlled worlds on the desk, strange and elegant. He does not look at camera in this shot. His presence should feel quiet, rich, rotten, and controlling. Hard cut at 3.6s. Shot 2 — 3.6s to 7.0s — low-angle medium close-up: Shot size: medium close-up, chest-up. Lens: 85mm full-frame equivalent. Camera angle: slightly low angle, about 15 to 25 degrees below his eye level. Camera position: placed about 45 degrees off his face direction, not directly in front of him at the beginning. Camera movement: very subtle push-in. At the first frame of this shot, he is not looking at the camera. He sits in a slight side angle, head turned away from the lens, cigar or cigarette near his mouth. He exhales smoke upward and slightly sideways. The smoke passes through the warm backlight and partially hides his face. His face is mostly in shadow, with a warm rim light on his hair, shoulder, and hand. One side of his face has faint detail, not flat light. After the exhale, he pauses for a short beat. Then he slowly lowers his chin, turns his head toward the camera, and leans forward slightly through the smoke. His eyes gradually appear through the smoke and lock onto the camera. This should feel like he is breaking the third-person scene and directly noticing the viewer. His expression is calm, contemptuous, superior, amused, and dismissive. No broad smile. No theatrical villain acting. He says only one word: “Next.” Dialogue performance: He says “Next” in a low, controlled, quiet voice. The word is short, casual, almost bored. There is a tiny pause before speaking, as if the viewer has just become the next target. The ending falls downward, cold and final. His mouth barely moves, but the eyes carry the threat. After saying the word, he holds eye contact for a brief moment. Lighting details: Keep the background dark and warm. Use a strong warm top-back light and side rim light. Let the smoke and haze catch the light. The face should not be evenly lit. As he turns toward camera, one eye and part of the face become readable, while the other side remains in shadow. Sound requirement: sound effects only, no background music. Include quiet room tone, faint leather chair creak, subtle glass and wood ambience, cigarette or cigar inhale, soft exhale, drifting smoke atmosphere, and the final spoken line “Next.”

{{Mixed 1}} as the main environment reference, used to control the luxurious dark office, the wooden desk, the leather chair, the pile of gold coins on the floor, the glass dome display objects on the desk, and the overall room layout and atmosphere. {{Portrait 2}} as the character reference, used to control the harbor capitalist: an overweight older white man, silver hair, expensive dark suit, vest, tie, polished shoes, heavy face, powerful upper-class presence, cold and cynical temperament. {{Portrait 3}} as the composition and staging reference, used to control the relationship between the seated capitalist and the office environment, and the general mood of the scene. Create a cinematic 21:9 sequence, total duration about 7 seconds, split into 2 shots with one clear hard cut. Overall style: dark luxurious office, oppressive capitalist atmosphere, cinematic low-key lighting, Godfather-style mood, high contrast, strong light-shadow separation, warm tungsten practical lights, rich shadow areas, visible smoke atmosphere, subtle ambient haze in the room, and more visible volumetric smoke around the man’s face and upper body. The air should feel smoky, stale, layered, and expensive, not clean and transparent. The smoke and haze should help reveal the light path and create depth. Shot 1 — 0.0s to 3.8s — wide shot: Shot size: wide shot. Lens: 35mm to 40mm full-frame equivalent. Camera move: start slightly near the desk foreground, with a very subtle slow arc, slight upward drift, and a gentle push-in. The desk with glass domes occupies the foreground-right area, the coin pile is visible on the left side, and the capitalist sits deeper in the room in the leather chair. He is seated in shadow, smoking calmly. He takes a drag, then exhales slowly. There should be thin haze across the whole room, plus more visible drifting cigarette smoke volume in front of him and around his face. The glass domes should read as miniature private worlds on the desk, elegant and strange. Some domes can be slightly brighter, some darker, but all remain subtle and believable. The man does not look at the camera yet. He sits with calm authority, relaxed, arrogant, and fully in control. The lighting should be dramatic and cinematic, not flat, not evenly lit. His face should not be fully bright; he should remain partly hidden in shadow. Hard cut at 3.8s. Shot 2 — 3.8s to 7.0s — medium close shot: Shot size: medium close-up, chest-up framing. Lens: 75mm to 100mm full-frame equivalent. Camera move: subtle push-in only. The man is still seated in the same chair and directionally consistent with the previous shot. He is surrounded by drifting smoke. At first he is in a slight side angle, holding a cigar or cigarette near his mouth. Then he exhales smoke, slowly turns his head toward the camera, and leans slightly forward through the smoke. As he leans forward, part of his face enters a controlled patch of light, while the rest of the face still keeps strong shadow shape. The lighting here should still feel Godfather-like, but with a subtle Rembrandt feeling so that one eye and part of the face become more readable when he turns into the light. His eyes must have strong acting presence. His expression is calm, contemptuous, amused, dismissive, superior, and chilling — not smiling broadly, not theatrical. He locks eyes with the camera and says one word only: “Next.” The delivery should feel low, controlled, effortless, dismissive, and powerful. The smoke continues drifting between him and the camera, making the shot feel thicker and more atmospheric. Important rules: This is a 2-shot sequence with a clear hard cut between shot 1 and shot 2. Do not make the first shot too wide or too distant. Do not make the second shot a pure extreme close-up; it should stay medium close-up so the face, shoulders, hand with cigarette, and smoke relationship remain readable. Do not use flat lighting. Do not overuse haze so much that the image becomes washed out. Keep subtle ambient haze, stronger local volumetric smoke. Keep the room rich, dark, cinematic, layered, and smoky. Sound requirement: sound effects only, no background music. Include subtle room tone, faint chair leather creaks, quiet smoking sounds, soft exhale, and the final spoken line.

{{Mixed 1}} is the main reference for the luxury old-money office environment: dark wood office, heavy desk, leather chair, gold coin pile, glass domes containing miniature worlds, warm practical lamps, safe, liquor cabinet, and smoky atompunk capitalist atmosphere. {{Portrait 2}} is the reference for the capitalist character: overweight elderly white male capitalist, expensive dark suit, old-money aura, calm arrogance, detached superiority, seated in the leather chair, smoking. Create a 6-second, 21:9 ultra-realistic cinematic video. Sound effects only, no background music. The sequence contains TWO SHOTS with one clear hard cut. Overall visual style: dark old-money capitalist office, cinematic low-key lighting, warm practical lamps, rich dark wood, leather, gold, glass domes, subtle atmospheric haze, visible cigarette smoke, strong light-shadow separation, elegant but oppressive atmosphere, dark satire. The air should not feel clean or transparent. There is faint smoky haze throughout the room, and slightly denser cigarette smoke drifting in front of the capitalist’s face and upper body. The smoke softly catches the warm light and gives the space visible depth. Shot 1 — 0.0s to 2.8s Shot size: medium-wide office shot. Lens: 35mm–40mm cinematic lens. Camera movement: very slow subtle arc and slight push-in from the desk and glass domes toward the seated capitalist. Composition: desk and glass domes in the foreground, gold coin pile visible in the room, capitalist seated in the leather chair on the right side of the frame. Action: the capitalist sits relaxed in profile or three-quarter profile, smoking. He finishes a drag and exhales smoke slowly into the hazy office air. He does not look into the camera yet. He remains inside his own world, calm, wealthy, and fully in control. Performance: cold, lazy, effortless, superior. No exaggerated smile. No theatrical acting. Hard cut at 2.8s. Shot 2 — 2.8s to 6.0s Shot size: medium close-up, chest-up framing. Lens: 75mm–85mm cinematic lens. Camera angle: slightly below eye level, with a 25–35 degree angle from the direction his head is initially facing. Camera movement: very subtle slow push-in only. Lighting: cinematic low-key lighting. His face begins partially hidden in shadow and smoke. Warm side-back light outlines his head, cheek edge, shoulder, and drifting smoke. As he slowly turns and leans forward, more of his face becomes visible, but the lighting remains moody and directional, not flat frontal lighting. Opening action of shot 2: At the first frame of shot 2, he is still not looking into the camera. He has just finished exhaling smoke. His head is slightly turned away from the lens, in profile or three-quarter profile. Action order: A tiny silent beat after the smoke leaves his mouth. His eyes move toward the lens first. Then his head slowly follows. His chin lowers only slightly, not a dramatic downward bow. His body leans forward just a little, as if emerging from smoke and shadow. Then he looks into the camera and says in English: “Next one.” Dialogue performance for “Next one.”: He must not sound like a dramatic villain, a voice actor, or a theatrical speaker. He speaks like a wealthy man who is completely used to ordering the destruction and collection of worlds. This is routine to him. Voice: soft, low, dry, lazy, slightly smoky from the cigarette, with calm control. Not loud. Not aggressive. Not robotic. Emotion source: He is not angry. He is bored, satisfied, and mildly amused because the previous world has already been dealt with. Subtext: “One world is done. Bring me another.” Rhythm: Say it slowly and casually: “Next… one.” The pause before “one” is very short, just a tiny beat. Tail: The word “one” falls gently downward and stops cleanly, confident and cold. Expression: No big smile. No exaggerated evil face. Only a tiny trace of contempt at the corner of the mouth, slightly narrowed eyes, and a lazy superior gaze. Micro-action: As he says the line, he leans forward only a little, like giving a casual order across the desk. After the line, he holds eye contact for half a second without moving. End feeling: darkly funny, cold, arrogant, absurd, satirical, like a collector casually demanding the next world.

{{Mixed 1}} office environment reference: dark old-money atompunk office, leather chair, heavy wooden desk, glass domes, vault, liquor cabinet, warm tungsten lamps, scattered gold coins, smoky vintage atmosphere. {{Portrait 2}} capitalist character reference: overweight elderly white male capitalist, dark pinstripe suit, calm arrogance, cold indifference, seated in the leather chair. {{Portrait 3}} gold dogecoin reference: coin design, thickness, embossed dog face, gold relief, edge texture. {{Mixed 4}} right-hand coin grip reference only: thick right hand holding the coin between thumb, index finger and middle finger. Create a 15-second 21:9 ultra-realistic cinematic video. Sound effects only, no background music. The whole scene takes place inside the same office. Use internal hard cuts, but keep object continuity, right-hand continuity, and spatial continuity. Lighting and atmosphere: Low-key cinematic lighting, old-money dark office mood, inspired by The Godfather lighting logic. No flat frontal TV lighting. Warm tungsten practical lights in the background. A controlled top light cuts across the right hand, the gold coin, the desk, and glass domes. The capitalist is often partially hidden in shadow, with only shaped side light or Rembrandt-like structure on part of his face. Add thin suspended atmospheric haze and faint lingering cigar smoke. The haze should gently reveal the light direction and make the air feel rich, stale, smoky, and slightly polluted, while keeping the coin, hand, glass domes and shadows clear. Shot 1, 0–3s: Extreme close-up, 100mm macro, shallow depth of field. Start directly on the capitalist’s thick right hand holding the gold dogecoin. The frame is dominated by hand and coin. His face is mostly hidden or not clearly visible. The right hand lifts the coin upward from lower frame toward eye level. A narrow top light hits the fingers and coin edge, showing gold texture, skin texture, coin thickness, and warm highlights. Background is dark, soft, smoky office bokeh. Shot 2, 3–5.5s: Hard cut to medium close-up, 70mm–85mm. The capitalist sits on the right side of frame in the leather chair. His right hand holds the coin in front of his face, slightly left of his body. He looks at it with bored superiority: half-lowered eyelids, slight downward mouth corner, faint nasal scoff, calm contempt. He slowly rolls the coin once between his fingers. One side of his face is shaped by side light, the other side stays in shadow. No theatrical smile, just cold dismissive arrogance. Shot 3, 5.5–7s: Hard cut to tight right-hand close-up, 100mm macro. The right thumb presses the lower edge of the coin, index and middle finger loosen slightly, then the thumb gives a short precise flick. The coin snaps away with clear acceleration. The gesture feels effortless, cold, and insulting. Shot 4, 7–9.5s: Hard cut to dynamic tracking shot, 70mm telephoto. Follow the flying coin like a basketball follow shot. Keep the spinning coin near the center of frame. Office background streaks with controlled motion blur: desk edge, warm lamp glow, glass domes, dark wood, leather chair silhouette, maps and shelves. The coin flies toward the gold coin pile on the floor beside the desk. Shot 5, 9.5–11s: Hard cut to low close-up, 50mm. The coin lands into the gold coin pile. Nearby coins bounce, slide, and settle with realistic metallic chain reaction. Sharp gold impact sound, controlled and elegant. Shot 6, 11–13s: Hard cut to tabletop insert, 35mm–50mm close focus, f2.8–f4 look. Start on a glass dome containing a tiny glowing miniature world. Camera makes a subtle lateral slide and small arc move across the desk. Rack focus from the glowing occupied dome to a darker empty glass dome nearby. In the background, softly out of focus but clearly present, the capitalist remains seated in the leather chair and casually smokes. Smoke drifts through the thin haze. Shot 7, 13–15s: Continue the tabletop movement into a wider office reveal, 35mm. Camera gently slides and slightly arcs around the desk, opening the frame to reveal the full power layout: glass domes on the desk, one empty dome, gold coin pile on the floor, heavy wooden desk, warm lamps, vault, liquor cabinet, and the capitalist still seated in the leather chair. He lazily exhales smoke, partially hidden in shadow, not looking at camera. End with the feeling of a collector’s room full of captured worlds. Overall style: ultra-real cinematic photography, dark polished wood, warm tungsten light, strong contrast, visible light direction through thin haze, subtle cigar smoke, rich leather texture, premium gold reflections, shallow depth of field, controlled motion blur, restrained performance, black humor, cruel luxury, collector-of-worlds atmosphere.

{{Mixed 1}} is the main reference for the luxury office environment: dark old-money atompunk office, heavy wooden desk, leather chair, glass domes, tiny world specimens, vault, liquor cabinet, warm tungsten lamps, scattered gold coins, and rich vintage capitalist atmosphere. {{Portrait 2}} is the reference for the capitalist character: an overweight elderly white male capitalist in an expensive dark pinstripe suit, old-money aura, heavy body language, calm arrogance, cold indifference, seated in a luxurious leather chair. {{Portrait 3}} is the reference for the gold dogecoin: coin design, thickness, embossed dog face, metallic relief, edge texture, and premium gold material. {{Mixed 4}} is the action reference only for the right-hand grip on the coin: use it only for the thick right-hand fingers pinching and holding the coin, not for the background. Create a 15-second, 21:9 ultra-realistic cinematic video set entirely inside the same luxurious atompunk old-money capitalist office. Sound effects only, no background music. This is a silent action sequence with internal hard cuts. Preserve object continuity, right-hand continuity, spatial continuity, and screen direction. Core action logic: The capitalist always handles the dogecoin with his right hand. The first shot should be a tight close-up of the right hand holding the coin, not a loose medium shot. The capitalist is calm, bored, dismissive, and slightly contemptuous. He never treats the coin as precious. Shot 1, 0–3s: Extreme telephoto close-up, 100mm macro / close-focus lens, shallow depth of field. Start directly on the capitalist’s thick old white male right hand holding the gold dogecoin between thumb, index finger, and middle finger, matching the grip relationship of {{Mixed 4}} . The frame is dominated by the hand and coin. The capitalist’s face is not clearly shown yet. The blurred office background only appears as warm dark shapes and highlights. The right hand lifts the coin upward with a smooth motion, as if bringing it from below frame toward his eye level. The coin tilts slightly, catching warm highlights along its edge and showing its thickness. Shot 2, 3–5.5s: Hard cut to a medium close-up, 70mm–85mm. The capitalist sits on the right side of frame in the leather chair. His right hand holds the coin in front of his face, slightly to the left side of his body. He looks at the coin with bored superiority. His expression is not a smile: half-lowered eyelids, slight downward mouth corner, a faint nasal scoff, subtle disgust, calm arrogance. He slowly rolls the coin once between his thick right-hand fingers, like checking a cheap casino chip. Shot 3, 5.5–7s: Hard cut to a tight right-hand close-up, 100mm macro. The right thumb presses against the lower edge of the coin. Index finger and middle finger release slightly. The thumb gives a short, precise flick. The coin snaps away from the hand with clear acceleration. The gesture feels cold, effortless, and insulting. Shot 4, 7–9.5s: Hard cut to a dynamic tracking shot, 70mm telephoto. Follow the flying coin like a basketball follow shot. Keep the coin near the center of frame as it spins rapidly through the office air. The background streaks with controlled motion blur: desk edge, glass domes, warm lamp glow, leather chair silhouette, dark wood panels, maps and shelves. The coin travels toward the gold coin pile on the floor beside the desk. Shot 5, 9.5–11s: Hard cut to a low close-up landing shot, 50mm. The coin drops into the gold coin pile on the floor. Nearby coins bounce, slide, and settle with a realistic metallic chain reaction. The impact is crisp, heavy, and satisfying, but still restrained. Shot 6, 11–13s: Hard cut to a tabletop insert shot, 35mm–50mm close focus, aperture around f2.8–f4. Start close on a glass dome containing a tiny glowing miniature world. The camera performs a subtle lateral slide and tiny arc movement across the desk surface. Rack focus from the occupied glowing glass dome to a darker empty glass dome nearby. In the background, out of focus but clearly present, the capitalist remains seated in the leather chair and casually smokes. His body should stay visible as a blurred power silhouette behind the glass domes. Shot 7, 13–15s: Continue from the glass dome area into a wider office reveal, 35mm lens. The camera gently slides and slightly arcs around the desk, opening the composition to show the full power layout: glass domes on the desk, empty dome, gold coin pile on the floor, heavy wooden desk, warm lamps, vault, liquor cabinet, and the capitalist still seated in the leather chair in the background. He lazily exhales smoke and does not look at the camera. End with him present in the chair, surrounded by the room of collected worlds. Overall style: ultra-real cinematic photography, dark polished wood, warm tungsten practical lighting, rich leather texture, shallow depth of field in close-ups, controlled motion blur during coin flight, subtle smoke in the room, old-money luxury, black humor, cruel indifference, clear internal hard cuts, precise shot scale changes, coherent right-hand continuity, premium cinematic satire.

{{Mixed 1}} is the main reference for the luxury office environment: dark old-money atompunk office, heavy wooden desk, leather chair, glass domes, vault, liquor cabinet, warm lamps, scattered gold coins, and a rich vintage capitalist atmosphere. {{Portrait 2}} is the reference for the capitalist character: an overweight elderly white male capitalist in an expensive dark pinstripe suit, old-money aura, heavy body language, calm arrogance, cold indifference, seated in a luxurious leather chair. {{Portrait 3}} is the reference for the gold dogecoin: coin design, thickness, embossed dog face, metallic relief, edge texture, and gold material. {{Mixed 4}} is the action reference for the finger grip only: use it only for the right-hand grip on the coin and the hand-to-coin relationship, not for the background. Create a 15-second, 21:9 ultra-realistic cinematic video set entirely inside the same luxurious atompunk old-money capitalist office. Sound effects only, no background music. The scene contains clear internal hard cuts but must preserve strong spatial continuity, object continuity, and screen direction. Important spatial continuity: The capitalist should remain on the right side of the frame whenever possible. He always holds the coin with his right hand. When he lifts the coin to inspect it, the coin should appear in front of him and slightly to the left side of his body, so the audience clearly understands the relationship between the capitalist, his right hand, and the coin. Shot 1, 0–3s: Medium close-up from a right-side power composition, not a pure over-the-shoulder shot. The capitalist is seated on the right side of frame. He raises the dogecoin with his right hand toward eye level. The coin sits in front of him and slightly left of his torso. The shot must clearly show the capitalist’s face, his right hand, and the coin in one composition. The movement is calm and controlled, as if he has just brought the coin into the office space after taking it. Background softly blurred. Shot 2, 3–5s: Cut slightly tighter. The capitalist looks at the coin with bored superiority, not delight. He slowly turns the coin once between his thick right-hand fingers. His expression is restrained, dismissive, mildly tired, and superior. No smile, no exaggerated performance. He behaves as if this coin is just another trivial object. Shot 3, 5–6.5s: Hand close-up. The same right hand casually flicks the coin away with the thumb. The gesture is precise, cold, effortless, and almost insulting in its indifference. The coin leaves the hand with clean acceleration. Shot 4, 6.5–8.5s: Tracking shot following the flying coin through the office. Keep the coin near the center of frame while it spins naturally. Background elements streak into motion blur: desk edge, lamp, chair, wood panels, shelves, office décor. The movement should feel elegant and cinematic, not cartoonish. Shot 5, 8.5–9.5s: The coin lands into a pile of gold coins on the floor beside the desk. Nearby coins bounce, slide, and settle with realistic small metallic reactions. Crisp impact, controlled energy. Shot 6, 9.5–12s: Insert shot for the glass domes on the desk. Use a close lens with shallow depth of field, around 35mm to 50mm close focus, cinematic aperture around f2.8 to f4. Start on one glass dome containing a tiny glowing world specimen. The camera performs a subtle tabletop slide or tiny arc move, and the focus gradually shifts from that occupied glowing dome to a nearby empty darker glass dome. In the background, softly out of focus, the capitalist sits in the chair and casually smokes, his gesture visible but not sharp. This shot should reveal that these domes are not decoration but collected miniature worlds. Shot 7, 12–15s: Without breaking the visual flow too harshly, continue the motion from the glass dome area into a wider office reveal. The camera gently arcs or slides and slightly opens the frame, revealing the desk, multiple glass domes, the empty dome, the capitalist in the leather chair, the gold coin pile on the floor, and more of the office environment. The capitalist remains in the background or mid-background, lazily smoking, not looking at the camera. The ending should feel like the revelation of a collector’s room full of captured worlds. Overall visual style: dark polished wood, warm tungsten lighting, elegant old-money luxury, restrained camera language, clear satire, ultra-real cinematic photography, rich leather textures, soft smoke in the air, shallow depth of field for inserts, strong object continuity, premium worldbuilding, black humor, cruel indifference, collector-of-worlds atmosphere.

{{Mixed 1}} is the main reference for the luxury old-money office environment: dark wooden office, leather chair, heavy desk, glass domes, gold coin pile, warm practical lamps, safe, liquor cabinet, smoky atompunk capitalist atmosphere. {{Portrait 2}} is the reference for the capitalist character: overweight elderly white male capitalist, expensive dark suit, calm arrogance, cold superiority, seated in the leather chair, smoking. Create a 7-second, 21:9 ultra-realistic cinematic video. Sound effects only, no background music. The sequence contains TWO SHOTS with one clear hard cut. Keep the same office space, same seated character, same smoky atmosphere, and continuous emotional logic. Overall atmosphere: High contrast low-key cinematic lighting, dark old-money office, warm tungsten practical lights, rich dark wood, leather, gold, glass domes, and faint atmospheric haze. The air is smoky and slightly dirty, with visible cigarette smoke drifting in front of the capitalist. The smoke should catch the light and create depth. Shot 1 — 0.0s to 3.5s Shot size: medium-wide office master shot Lens: 35mm–40mm cinematic lens Camera movement: slow subtle lateral arc from the desk and glass domes toward the seated capitalist, with a slight push-in. Composition: glass domes and desk in foreground, gold coin pile on the left side, capitalist seated on the right side in the leather chair. Action: the capitalist sits relaxed, smoking, facing slightly sideways. He takes a slow drag and exhales smoke into the hazy office air. He does not look into the camera yet. The room feels quiet, rich, oppressive, and controlled. Hard cut at 3.5s. Shot 2 — 3.5s to 7.0s Shot size: medium close-up, chest-up framing Lens: 75mm–85mm cinematic lens Camera angle: low angle, about 20–35 cm below eye level. The camera is placed 35–45 degrees off from the direction his head is initially facing. Camera movement: very slow push-in, almost imperceptible, adding pressure. Opening of shot 2: he is not looking into the camera at the first frame. His head is slightly turned away from the lens, smoking in profile or three-quarter profile. His gaze is off-camera. Lighting: warm top-back light and side light outline his head, shoulder, cigar smoke, and cheek edge. His face is partially in shadow. As he lowers his head toward the camera, one eye catches a small controlled highlight through the smoke. Keep strong light-shadow separation, not flat frontal lighting. Action: he exhales the last part of the smoke, slightly tilting his head up or sideways. A short beat of silence. Then his eyes move toward the lens first. After the eyes move, his head slowly turns toward camera. He lowers his chin slightly, leans forward through the smoke, and looks down into the lens with calm dominance. Dialogue: He says in English: “Next one.” Dialogue performance: Scene situation: he is seated in his private office, surrounded by wealth and captured miniature worlds, after casually discarding one world as if it were a coin. Psychological state: calm, bored, superior, emotionally detached. Speaking motive: he is not asking; he is ordering the next target. Subtext: one world is finished, and to him this is routine. Voice: low, dry, steady, slightly breathy from smoking. Rhythm: slow and controlled. Put a tiny pause between “Next” and “one”. Tail: the word “one” falls downward, cold and final. Eyes: narrow slightly, looking down toward the camera as if looking at something beneath him. Face: no broad smile; only faint contempt and lazy amusement. Micro-action: slight forward lean during the line, cigar or cigarette still near his hand, smoke drifting across part of his face. End feeling: darkly funny, oppressive, arrogant, absurd, like a collector casually asking for the next world.

{{Portrait 1}} is the character reference for the speaker: an overweight elderly white male capitalist, old-money aura, expensive dark suit, calm arrogance, cold superiority, slightly greasy confidence. {{Audio 1}} is the voice identity reference only. Use it to match the elderly male voice, low dry tone, smoky breath, calm superiority, lazy contempt, and old-money arrogance. For the final line “Next one,” stay especially close to the tone of {{Audio 1}}: cold, lazy, commanding, with a tiny pause between “Next” and “one.” Create a 15-second ultra-realistic cinematic talking shot or voice performance. Sound effects and voice only, no background music. Voice style: elderly male, low, dry, smoky, calm, superior, faintly amused, emotionally detached. This is the closing verdict. Performance: The first lines sound like an old proverb. The final line is no longer a mythic narration; it becomes a direct order from the capitalist himself. Dialogue timing: 0.0s–3.0s: “Every age has its ocean.” Pause. 3.8s–6.8s: “Every ocean has its believers.” Pause. 7.6s–10.2s: “And every FENGKOU…” Pause. 10.8s–13.2s: “needs a crowd willing to rush in.” Short pause. 13.8s–15.0s: “Next… one.” Delivery notes: “FENGKOU” should be pronounced clearly as “Feng-kou,” slightly emphasized, like the name of a doctrine. “needs a crowd willing to rush in” should sound cold and final. “Next one” should be low, lazy, dismissive, and commanding. Tiny pause between “Next” and “one.” The word “one” falls downward.

{{Portrait 1}} is the character reference for the speaker: an overweight elderly white male capitalist, old-money aura, expensive dark suit, calm arrogance, cold superiority, slightly greasy confidence. {{Audio 1}} is the voice identity reference only. Use it to match the elderly male voice, low dry tone, smoky breath, calm superiority, lazy contempt, and old-money arrogance. Do not mechanically copy the exact rhythm of the words “Next one.” Follow the timing and pauses written below. Create a 15-second ultra-realistic cinematic talking shot or voice performance. Sound effects and voice only, no background music. Voice style: elderly male, low, smoky, quiet, seductive, old pirate legend mixed with capitalist temptation. Not theatrical, not excited, not documentary narration. Performance: This section is the core temptation. Speak as if revealing a secret. The tone should be soft, dangerous, and intimate, like the speaker is leaning closer. Dialogue timing: 0.0s–3.0s: “But listen carefully…” Long pause. 4.3s–8.2s: “Treasure never calls the cautious.” Pause. 9.0s–13.5s: “It calls the ones willing to lose everything…” Hold the final word slightly. 13.5s–15.0s: brief breath and silence. Delivery notes: “But listen carefully” should pull the audience in. “Treasure never calls the cautious” should sound like a law of nature. “lose everything” should be slow, low, and tempting, not tragic.

{{Portrait 1}} is the character reference for the speaker: an overweight elderly white male capitalist, old-money aura, expensive dark suit, calm arrogance, cold superiority, slightly greasy confidence. {{Audio 1}} is the voice identity reference only. Use it to match the elderly male voice, low dry tone, smoky breath, calm superiority, lazy contempt, and old-money arrogance. Do not mechanically copy the exact rhythm of the words “Next one.” Follow the timing and pauses written below. Create a 15-second ultra-realistic cinematic talking shot or voice performance. Sound effects and voice only, no background music. Voice style: low, dry, elderly male voice, calm and superior. The tone now turns colder, shifting from temptation to revelation. Performance: The speaker reveals the hidden mechanism. No anger, no surprise. He speaks as if this is simply how the world works. Dialogue timing: 0.0s–3.2s: “for the chance to touch it once.” Pause. 4.0s–8.0s: “And when the crowd has done its part…” Pause. 9.0s–13.2s: “the fortune finds its owner.” 13.2s–15.0s: short silence, let the sentence hang. Delivery notes: “touch it once” should feel intimate and poisonous. “the crowd has done its part” should be calm and cruel. “owner” should land slowly, with quiet certainty.

{{Portrait 1}} is the character reference for the speaker: an overweight elderly white male capitalist, old-money aura, expensive dark suit, calm arrogance, cold superiority, slightly greasy confidence, like a private collector of worlds. {{Audio 1}} is the voice identity reference only. Use it to match the elderly male voice, low dry tone, smoky breath, calm superiority, lazy contempt, and old-money arrogance. Do not mechanically copy the exact rhythm of the words “Next one.” Follow the timing and pauses written below. Create a 15-second ultra-realistic cinematic talking shot or voice performance. Sound effects and voice only, no background music. Voice style: elderly male, low register, dry and slightly gravelly, breathy from smoking, calm, seductive, dangerous, not loud, not heroic, not trailer voice. He speaks like an old pirate-map storyteller mixed with an old-money capitalist quietly inviting people into a trap. Performance: slow, controlled, with deliberate pauses. Each sentence feels like a promise hiding cruelty underneath. Keep the delivery intimate, elegant, manipulative, and ominous. Dialogue timing: 0.0s–3.8s: “Beyond the tide…” Pause. 4.2s–10.5s: “lies the kind of fortune men build legends around.” Pause. 11.0s–13.2s: “No map will take you there.” Pause. 13.8s–15.0s: “Only hunger.” Delivery notes: “Beyond the tide” should feel like opening an old treasure map. “fortune” should be slightly lower and more tempting. “Only hunger” should be very quiet, cold, and sharp.

{{Portrait 1}} is the character reference for the speaker: an overweight elderly white male capitalist, old-money aura, expensive dark suit, calm arrogance, cold superiority, slightly greasy confidence. {{Audio 1}} is the voice identity reference only. Use it to match the elderly male voice, low dry tone, smoky breath, calm superiority, lazy contempt, and old-money arrogance. Do not mechanically copy the exact rhythm of the words “Next one.” Follow the timing and pauses written below. Create a 15-second ultra-realistic cinematic talking shot or voice performance. Sound effects and voice only, no background music. Voice style: low, dry, elderly male voice, restrained, manipulative, quietly amused. The tone should sound like an ancient rule of the game, not a motivational speech. Performance: calm and precise. The speaker sounds like he has watched this happen many times before. No pity, no excitement, only detached certainty. Dialogue timing: 0.0s–3.4s: “The first ones are called mad.” Pause. 4.0s–7.2s: “The last ones are called late.” Pause. 8.0s–11.0s: “Some will sink with empty hands.” Pause. 11.8s–15.0s: “Some will sink reaching.” Delivery notes: “The first ones” and “The last ones” should feel like a cold proverb. “mad” and “late” should land cleanly. “sink reaching” should be slower and darker, with the final word falling downward.

{{Mixed 1}} is the main reference for the office environment: overall room layout, desk position, leather chair placement, glass domes on the desk, pile of gold coins on the floor, warm desk lamp, safe, liquor cabinet, and the overall dark old-money atompunk office atmosphere. {{Portrait 2}} is the reference for the capitalist character: an overweight elderly white male capitalist in an expensive dark suit, seated in the leather chair, with an old-money aura, calm arrogance, and a cigar or cigarette in hand. Create a 7-second, 21:9 ultra-realistic cinematic video with grounded photographic logic. Sound effects only, no background music. The sequence contains TWO SHOTS with ONE CLEAR HARD CUT. Overall visual style: dark old-money capitalist office, warm practical lighting, rich dark wood, leather, gold, glass domes, subtle cigarette haze in the room, slightly denser smoke in front of the character, high-contrast low-key lighting, cinematic atmosphere, elegant but oppressive, dark satire. Important atmosphere: Use subtle volumetric cigarette smoke and faint atmospheric haze. The room should not feel clean or overly transparent. The air should have slight smoky density. Smoke is especially visible in front of the capitalist’s face and upper body so the light can catch it softly. Lighting approach: High contrast, low-key, Godfather-style cinematic lighting. Stronger separation of light and shadow, not flat TV lighting. In the second shot, the man should begin more hidden in shadow and then lean slightly forward into a controlled side light, revealing part of his face through the smoke. Keep the mood rich, dark, and expensive. Shot 1 — 0.0s to 4.2s Shot size: medium-wide / wide master shot Lens: 32mm–40mm cinematic lens Camera: Start from the desk area with the glass domes in the foreground and midground, then perform a slow subtle arc combined with a gentle push-in and a slight rise. The movement should be elegant and controlled, not flashy. Composition: The capitalist is seated on the right side of the frame in the leather chair. The desk and glass domes occupy the foreground. The gold coin pile is visible on the left side of the frame. The office space is clearly established. Action: The capitalist sits in a relaxed side-facing posture, smoking calmly. He takes a drag and exhales a visible plume of smoke. Smoke drifts and curls in front of him, adding layered volume to the air. He remains mostly relaxed and does not address the camera yet. Performance: Cold, lazy, powerful, superior, effortless. No exaggerated smile. No obvious performance flourish. Hard cut at 4.2s Shot 2 — 4.2s to 7.0s Shot size: medium close-up, chest-up framing Lens: 75mm–85mm cinematic lens Camera: A restrained slow push-in, very subtle, with almost no lateral drift. The camera should feel more intimate and pressurized than the first shot. Composition: The capitalist is now framed from the chest up. He is still seated, emerging from the smoke. Keep the background softer and less dominant than in shot 1. Action: He finishes the smoking gesture, then slowly turns his head toward the camera. He leans slightly forward through the haze and smoke, as if coming out of shadow. His face becomes more readable as he enters the light. Then he looks toward the camera and says in English: “Next one.” Dialogue performance: He is not performing loudly. He speaks casually, quietly, and dismissively. Scene context: he is in complete control, seated in his private office, surrounded by wealth and captured worlds. Psychological state: calm, amused, superior, emotionally detached. Subtext: this is routine to him; one world is gone, and he is already asking for the next. Voice: low, steady, slightly breathy from smoking. Tone and rhythm: slow, controlled, with a tiny pause before “one”. Tail: let the line fall slightly at the end, confident and cold. Facial expression: restrained smugness, faint contempt, slight narrowing of the eyes. Micro-action: he slightly leans in as he speaks, as if talking directly to the viewer. End feeling: darkly funny, arrogant, absurd, controlled, memorable.