Одежда меняется внутри оборота — и всегда в цвет телефона

Use case: identity-preserve
Asset type: photorealistic three-panel character sheet (identity + wardrobe reference for AI video generation)

INPUT IMAGES. Image 1 — the young man himself, frontal, neutral expression, indoor daylight: the PRIMARY identity reference — take his exact face from it: a lean oval face with a defined jawline and a straight chin, straight thick dark-blond brows, grey-blue eyes with slightly hooded lids, a straight narrow nose, fair skin, clean-shaven; his hair is short dark blond, cut close at the sides and back with a soft fade and left longer on top, swept to one side with a natural side part. Image 2 — the same man in strict side profile: use it for the exact line of his nose, jaw, chin and hairline seen from the side. Take from both photos only his features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim athletic build, 180 cm, long legs, shoulders broad for his frame.

SCENE. Pure white seamless studio background, soft diffused even studio lighting, neutral white-balanced colour grading, natural skin texture, clean sharp image, a soft grey contact shadow under his shoes.

WARDROBE — identical in every panel: a tonal warm-ivory outfit, everything in the same #F2EBDF undertone with no colour break between the layers. A fine-gauge merino wool turtleneck in warm ivory, close to the body, the ribbed collar sitting low on the neck so the throat and jawline stay visible. Over it — a double-breasted overcoat in warm ivory brushed wool-cashmere with a matte low-nap finish, peak lapels, the buttoning row set low on the torso, a natural un-padded shoulder line, worn fully open and unbelted so the front panels hang free; the coat ends at mid-calf. Straight-leg wool trousers in the same ivory tone, flat front with one crisp crease, breaking softly once on the shoe. Chelsea boots in smooth matte bone-cream leather with a low block heel. A thin silver mechanical watch on a leather strap; no belt, no scarf, no gloves, no other jewellery. Every surface matte and dry — nothing glossy, nothing satin, nothing plastic-looking.

COMPOSITION — horizontal 16:9 sheet, three vertical panels of equal height side by side with thin white gaps between them.
LEFT PANEL — full-body outfit shot STRICTLY WITHOUT HEAD: the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the top edge of the panel, body standing straight and facing the camera, arms relaxed at his sides so the open coat hangs in one long vertical line, both feet and shoes fully visible inside the panel.
CENTER PANEL — tight frontal face close-up, head and shoulders, looking straight into the camera, a calm neutral expression with the faintest closed-lip smile, the short side-parted hair clearly readable, the collar of the outfit visible at the bottom.
RIGHT PANEL — tight face close-up in strict 90-degree side profile, exactly one side of the face visible, one eye, the straight nose and the jaw line against the white background, the ear and the faded sides of the haircut visible, lips relaxed.

SKIN AND REALISM: no make-up, natural matte skin; visible fine pores on the nose and cheeks, real skin texture on the jaw and neck, a few individual hairs out of place at the hairline, natural asymmetric catchlights in the eyes; clear even complexion — healthy skin with NO acne, NO pimples, NO blemishes, NO spots, NO scars and no patchy redness; the realism comes from texture — pores, fine hairs, fabric weave — and never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter; his face keeps its youthful proportions, not aged, not widened, not slimmed. Photographed as if on a full-frame mirrorless camera with an 85 mm lens at f/5.6.

NEGATIVE: no acne, no pimples, no blemishes, no skin spots, no red blotches, no uneven skin, no noise, no film grain, no haze, no text, no letters, no labels, no numbers, no logos, no watermark, no frame borders, no other people, no duplicate figures, no props, no phone, no bag, no hat, no cap, no sunglasses, no hood; the left panel is headless, cropped at the neck; exactly one and the same person in every panel, the same face in the centre and right panels; the ivory outfit must never merge into the white background — keep a crisp silhouette and clear shading in the wool folds and the coat's lapels.

INPUT IMAGES. Image 1 — the young woman herself, three-quarter view in warm evening daylight, holding a bouquet: the PRIMARY identity reference — take her exact face from it: narrow oval face with a softly pointed chin, high cheekbones, wide-set warm brown eyes, defined arched brows, a slim straight nose, the natural closed-lip smile with small dimples, fair skin with a light natural flush, her hairline and her hair — long, wavy, chestnut-brown, worn HALF-UP with the top section gathered at the back of the head and the rest falling loose over the shoulders; small pearl drop earrings. Image 2 — the same woman, close-up selfie in soft daylight: use it for the resting shape of her face, her brows, nose and lips. Take from both photos only her features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim build, narrow shoulders, long legs, 168 cm.

SKIN: light natural everyday make-up; visible fine pores, soft peach fuzz along the cheekbone, a few loose stray hair strands, natural asymmetric catchlights in the eyes; clear even complexion — healthy smooth skin with NO acne, NO pimples, NO blemishes, NO spots and no patchy redness; realism comes from texture, never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter.

WARDROBE AND COMPOSITION. Three-panel character sheet on a pure white seamless studio background. The woman is the exact same person as in Image 1 and Image 2 — copy her face, facial features, skin tone, hair colour, hair length and half-up hairstyle exactly from those photos without any changes, on all panels, exactly one person. She wears exactly the outfit from — same garments, same ivory cream colors, same fabrics and silhouette: the ivory fitted satin waistcoat vest with pointed asymmetric hem and small buttons, the enormous voluminous sheer-organza bishop sleeves gathered into narrow white cuffs, the ivory heavy silk satin wide-leg palazzo trousers floor-length with a wide banded cuff hem, the multi-strand pearl choker. The ONLY change: no cleavage — the vest is buttoned fully up to the neck, chest completely covered, and a white opaque top is worn under the sheer sleeves. LEFT PANEL: full-body outfit shot STRICTLY WITHOUT HEAD — the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the panel edge, body standing straight facing camera, hands on hips, both feet fully visible. CENTER PANEL: tight frontal face close-up of the same woman, head and shoulders, looking straight at camera. RIGHT PANEL: tight face close-up in strict 90-degree side profile. Neutral white-balanced color grading, soft diffused even studio lighting, natural skin texture, clean sharp image. No noise, no film grain, no haze, no text, no watermark, no logos, no frame borders, no other people, no duplicate figures, no props, left panel headless cropped at the neck.

Use case: identity-preserve
Asset type: photorealistic three-panel character sheet (identity + wardrobe reference for AI video generation)

INPUT IMAGES. Image 1 — the young man himself, frontal, neutral expression, indoor daylight: the PRIMARY identity reference — take his exact face from it: a lean oval face with a defined jawline and a straight chin, straight thick dark-blond brows, grey-blue eyes with slightly hooded lids, a straight narrow nose, fair skin, clean-shaven; his hair is short dark blond, cut close at the sides and back with a soft fade and left longer on top, swept to one side with a natural side part. Image 2 — the same man in strict side profile: use it for the exact line of his nose, jaw, chin and hairline seen from the side. Take from both photos only his features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim athletic build, 180 cm, long legs, shoulders broad for his frame.

SCENE. Pure white seamless studio background, soft diffused even studio lighting, neutral white-balanced colour grading, natural skin texture, clean sharp image, a soft grey contact shadow under his shoes.

WARDROBE — identical in every panel: a graphite-black outfit, everything in the same #2A2C2E deep matte graphite. A fine cotton long-sleeve turtleneck in graphite, tucked in, the collar sitting below the jaw so the chin stays clear. Over it — a cropped zip-front blouson in graphite wool-blend twill with a visible fine twill weave, a stand collar left unzipped a few centimetres at the throat, a straight un-padded shoulder, ribbed knit trim at the cuffs and hem, the jacket ending exactly at the natural waist. Below — high-waisted wide-leg trousers in heavy graphite wool flannel with two pressed forward pleats per side, the leg falling straight and full from hip to ankle with no taper, pooling softly over the shoe. Chunky-soled leather loafers in matte black with a visible lug sole. No scarf, no visible jewellery beyond a plain watch.

COMPOSITION — horizontal 16:9 sheet, three vertical panels of equal height side by side with thin white gaps between them.
LEFT PANEL — full-body outfit shot STRICTLY WITHOUT HEAD: the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the top edge of the panel, body standing straight and facing the camera, weight settled on one hip, hands loose at his sides, so the wide pleated trousers show their full drape, both feet and shoes fully visible inside the panel.
CENTER PANEL — tight frontal face close-up, head and shoulders, looking straight into the camera, a calm neutral expression with the faintest closed-lip smile, the short side-parted hair clearly readable, the collar of the outfit visible at the bottom.
RIGHT PANEL — tight face close-up in strict 90-degree side profile, exactly one side of the face visible, one eye, the straight nose and the jaw line against the white background, the ear and the faded sides of the haircut visible, lips relaxed.

SKIN AND REALISM: no make-up, natural matte skin; visible fine pores on the nose and cheeks, real skin texture on the jaw and neck, a few individual hairs out of place at the hairline, natural asymmetric catchlights in the eyes; clear even complexion — healthy skin with NO acne, NO pimples, NO blemishes, NO spots, NO scars and no patchy redness; the realism comes from texture — pores, fine hairs, fabric weave — and never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter; his face keeps its youthful proportions, not aged, not widened, not slimmed. Photographed as if on a full-frame mirrorless camera with an 85 mm lens at f/5.6.

NEGATIVE: no acne, no pimples, no blemishes, no skin spots, no red blotches, no uneven skin, no noise, no film grain, no haze, no text, no letters, no labels, no numbers, no logos, no watermark, no frame borders, no other people, no duplicate figures, no props, no phone, no bag, no hat, no cap, no sunglasses, no hood; the left panel is headless, cropped at the neck; exactly one and the same person in every panel, the same face in the centre and right panels; the black clothes keep visible folds and shading, never a flat black silhouette; the trousers stay wide and structured, never jogger-like.

INPUT IMAGES. Image 1 — the young woman herself, three-quarter view in warm evening daylight, holding a bouquet: the PRIMARY identity reference — take her exact face from it: narrow oval face with a softly pointed chin, high cheekbones, wide-set warm brown eyes, defined arched brows, a slim straight nose, the natural closed-lip smile with small dimples, fair skin with a light natural flush, her hairline and her hair — long, wavy, chestnut-brown, worn HALF-UP with the top section gathered at the back of the head and the rest falling loose over the shoulders; small pearl drop earrings. Image 2 — the same woman, close-up selfie in soft daylight: use it for the resting shape of her face, her brows, nose and lips. Take from both photos only her features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim build, narrow shoulders, long legs, 168 cm.

SKIN: light natural everyday make-up; visible fine pores, soft peach fuzz along the cheekbone, a few loose stray hair strands, natural asymmetric catchlights in the eyes; clear even complexion — healthy smooth skin with NO acne, NO pimples, NO blemishes, NO spots and no patchy redness; realism comes from texture, never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter.

WARDROBE AND COMPOSITION. Three-panel character sheet on a pure white seamless studio background. The woman is the exact same person as in Image 1 (frontal) and Image 2 (close-up) — copy her face, facial features, skin tone, hair colour, hair length and half-up hairstyle exactly from these photos without any changes, on all panels, exactly one person; her face is fully visible, the collar sits below the chin and does not cover the mouth.  She wears exactly the outfit from — same garments, same all-black color, same fabrics and silhouette: the cropped structured black leather bomber jacket with a tall padded funnel collar, sharp exaggerated squared padded shoulders with epaulette tabs, panelled chest with horizontal seam details, hidden front zip, full sleeves, elastic hem at the waist, hands tucked in the front pockets; the long floor-length black skirt combining a knife-pleated panel on one side with a smooth flared A-line panel on the other, asymmetric layered hem to the ankles; black pointed-toe heeled boots. No bag, no jewelry. Modest look, no exposed shoulders, midriff or knees. LEFT PANEL: full-body outfit shot STRICTLY WITHOUT HEAD — the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the panel edge, body standing straight facing camera, both boots fully visible. CENTER PANEL: tight frontal face close-up of the same woman, head and shoulders with the tall leather collar below the chin, looking straight at camera. RIGHT PANEL: tight face close-up in strict 90-degree side profile. Neutral fair skin tone, neutral white-balanced color grading, soft diffused even studio lighting, natural skin texture, clean sharp image. No noise, no film grain, no haze, no text, no watermark, no logos, no frame borders, no other people, no duplicate figures, no props, left panel headless cropped at the neck.

Use case: identity-preserve
Asset type: photorealistic three-panel character sheet (identity + wardrobe reference for AI video generation)

INPUT IMAGES. Image 1 — the young man himself, frontal, neutral expression, indoor daylight: the PRIMARY identity reference — take his exact face from it: a lean oval face with a defined jawline and a straight chin, straight thick dark-blond brows, grey-blue eyes with slightly hooded lids, a straight narrow nose, fair skin, clean-shaven; his hair is short dark blond, cut close at the sides and back with a soft fade and left longer on top, swept to one side with a natural side part. Image 2 — the same man in strict side profile: use it for the exact line of his nose, jaw, chin and hairline seen from the side. Take from both photos only his features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim athletic build, 180 cm, long legs, shoulders broad for his frame.

SCENE. Pure white seamless studio background, soft diffused even studio lighting, neutral white-balanced colour grading, natural skin texture, clean sharp image, a soft grey contact shadow under his shoes.

WARDROBE — identical in every panel: a powder steel-blue outfit built around one statement coat, the exact shade of the phone (≈ #8FAFD2, a muted greyed-down powder blue — never bright cyan, never navy). A shearling coat ending at mid-thigh, dyed powder blue throughout: suede-backed exterior with a soft matte nap, a shawl collar, real shearling curls visible along the collar edge and the front opening, the shoulder seam sitting exactly on his natural shoulder point so the coat does not swallow his frame, worn open. Underneath — a fine ribbed mock-neck top in pale ice grey, visible at the throat and the cuffs, the collar below the jaw. Straight non-tapered wool trousers in pale ice-grey, clean flat front, full length. Heavy lace-up boots in dark grey-brown leather with a deep lugged sole. No scarf, no gloves, no bag.

COMPOSITION — horizontal 16:9 sheet, three vertical panels of equal height side by side with thin white gaps between them.
LEFT PANEL — full-body outfit shot STRICTLY WITHOUT HEAD: the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the top edge of the panel, body standing straight and facing the camera, standing square with his chest lifted and arms at his sides so the full volume of the shearling coat reads clearly, both feet and shoes fully visible inside the panel.
CENTER PANEL — tight frontal face close-up, head and shoulders, looking straight into the camera, a calm neutral expression with the faintest closed-lip smile, the short side-parted hair clearly readable, the collar of the outfit visible at the bottom.
RIGHT PANEL — tight face close-up in strict 90-degree side profile, exactly one side of the face visible, one eye, the straight nose and the jaw line against the white background, the ear and the faded sides of the haircut visible, lips relaxed.

SKIN AND REALISM: no make-up, natural matte skin; visible fine pores on the nose and cheeks, real skin texture on the jaw and neck, a few individual hairs out of place at the hairline, natural asymmetric catchlights in the eyes; clear even complexion — healthy skin with NO acne, NO pimples, NO blemishes, NO spots, NO scars and no patchy redness; the realism comes from texture — pores, fine hairs, fabric weave — and never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter; his face keeps its youthful proportions, not aged, not widened, not slimmed. Photographed as if on a full-frame mirrorless camera with an 85 mm lens at f/5.6.

NEGATIVE: no acne, no pimples, no blemishes, no skin spots, no red blotches, no uneven skin, no noise, no film grain, no haze, no text, no letters, no labels, no numbers, no logos, no watermark, no frame borders, no other people, no duplicate figures, no props, no phone, no bag, no hat, no cap, no sunglasses, no hood; the left panel is headless, cropped at the neck; exactly one and the same person in every panel, the same face in the centre and right panels; the shearling must read as real fur — distinct individual curls with depth and shadow, matte suede backing, never glossy CG fur, never a flattened felted mass; the blue stays a muted powder blue, not cyan and not lilac.

INPUT IMAGES. Image 1 — the young woman herself, three-quarter view in warm evening daylight, holding a bouquet: the PRIMARY identity reference — take her exact face from it: narrow oval face with a softly pointed chin, high cheekbones, wide-set warm brown eyes, defined arched brows, a slim straight nose, the natural closed-lip smile with small dimples, fair skin with a light natural flush, her hairline and her hair — long, wavy, chestnut-brown, worn HALF-UP with the top section gathered at the back of the head and the rest falling loose over the shoulders; small pearl drop earrings. Image 2 — the same woman, close-up selfie in soft daylight: use it for the resting shape of her face, her brows, nose and lips. Take from both photos only her features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim build, narrow shoulders, long legs, 168 cm.

SKIN: light natural everyday make-up; visible fine pores, soft peach fuzz along the cheekbone, a few loose stray hair strands, natural asymmetric catchlights in the eyes; clear even complexion — healthy smooth skin with NO acne, NO pimples, NO blemishes, NO spots and no patchy redness; realism comes from texture, never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter.

WARDROBE AND COMPOSITION. Three-panel character sheet on a pure white seamless studio background. The woman is the exact same person as the same woman (frontal) and the same woman (profile) — copy her face, facial features, skin tone, hair color, hair length and hairstyle exactly from these photos without any changes, on all panels, exactly one person. She wears exactly the outfit from — same garments, same fabric and silhouette, but the denim color is shifted lighter: a soft light powder steel blue, exactly a soft light powder steel blue (≈ #8FAFD2), with subtle pale wash. The sculpted denim blazer with vertical paneled seams and contrast stitching, strong padded shoulders, sharply cinched waist and dramatic flared peplum hem, over a crisp white cotton shirt buttoned up to the collar with the collar standing high, no cleavage; matched with a long ankle-length skirt in the same vertically paneled light powder blue denim, fitted through the hips and thighs and then flaring out dramatically toward the hem in a sculpted trumpet / mermaid shape that mirrors the flared peplum of the blazer, the vertical panel seams fanning open at the bottom; classic pointed-toe pumps on a slim high heel in matching light powder blue suede. No bag, no jewelry. Modest look, no exposed shoulders, midriff or knees. LEFT PANEL: full-body outfit shot STRICTLY WITHOUT HEAD — the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the panel edge, body standing straight facing camera, hands in blazer pockets, both feet and shoes fully visible. CENTER PANEL: tight frontal face close-up of the same woman, head and shoulders, looking straight at camera. RIGHT PANEL: tight face close-up in strict 90-degree side profile. Neutral fair skin tone, neutral white-balanced color grading, soft diffused even studio lighting, natural skin texture, clean sharp image. No phone in the image. No noise, no film grain, no haze, no text, no watermark, no logos, no frame borders, no other people, no duplicate figures, no props, left panel headless cropped at the neck.

Use case: identity-preserve
Asset type: photorealistic three-panel character sheet (identity + wardrobe reference for AI video generation)

INPUT IMAGES. Image 1 — the young man himself, frontal, neutral expression, indoor daylight: the PRIMARY identity reference — take his exact face from it: a lean oval face with a defined jawline and a straight chin, straight thick dark-blond brows, grey-blue eyes with slightly hooded lids, a straight narrow nose, fair skin, clean-shaven; his hair is short dark blond, cut close at the sides and back with a soft fade and left longer on top, swept to one side with a natural side part. Image 2 — the same man in strict side profile: use it for the exact line of his nose, jaw, chin and hairline seen from the side. Take from both photos only his features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim athletic build, 180 cm, long legs, shoulders broad for his frame.

SCENE. Pure white seamless studio background, soft diffused even studio lighting, neutral white-balanced colour grading, natural skin texture, clean sharp image, a soft grey contact shadow under his shoes.

WARDROBE — identical in every panel: a warm titanium-greige outfit, the exact shade of the phone (≈ #A9A8A3, warm greige with a faint silver cast — never cold chrome, never white). A fine merino turtleneck in warm greige, collar sitting below the jaw. Over it — a LONG SLEEVELESS WOOL GILET in the same greige nubby bouclé: structured shoulders, deep armholes, worn open down the whole front, straight vertical hem ending exactly at the knee, holding its own shape like tailoring rather than draping like a robe. Below — high-waisted wide-leg trousers in matching greige wool with a single crisp crease, the leg falling full and straight to a soft break. Leather derbies with a slightly elongated round toe in warm taupe. A thin silver watch; no scarf, no gloves, no bag, no belt visible.

COMPOSITION — horizontal 16:9 sheet, three vertical panels of equal height side by side with thin white gaps between them.
LEFT PANEL — full-body outfit shot STRICTLY WITHOUT HEAD: the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the top edge of the panel, body standing straight and facing the camera, one hand slipped into the trouser pocket, the other relaxed, the open gilet hanging straight so its long vertical edges frame the body, both feet and shoes fully visible inside the panel.
CENTER PANEL — tight frontal face close-up, head and shoulders, looking straight into the camera, a calm neutral expression with the faintest closed-lip smile, the short side-parted hair clearly readable, the collar of the outfit visible at the bottom.
RIGHT PANEL — tight face close-up in strict 90-degree side profile, exactly one side of the face visible, one eye, the straight nose and the jaw line against the white background, the ear and the faded sides of the haircut visible, lips relaxed.

SKIN AND REALISM: no make-up, natural matte skin; visible fine pores on the nose and cheeks, real skin texture on the jaw and neck, a few individual hairs out of place at the hairline, natural asymmetric catchlights in the eyes; clear even complexion — healthy skin with NO acne, NO pimples, NO blemishes, NO spots, NO scars and no patchy redness; the realism comes from texture — pores, fine hairs, fabric weave — and never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter; his face keeps its youthful proportions, not aged, not widened, not slimmed. Photographed as if on a full-frame mirrorless camera with an 85 mm lens at f/5.6.

NEGATIVE: no acne, no pimples, no blemishes, no skin spots, no red blotches, no uneven skin, no noise, no film grain, no haze, no text, no letters, no labels, no numbers, no logos, no watermark, no frame borders, no other people, no duplicate figures, no props, no phone, no bag, no hat, no cap, no sunglasses, no hood; the left panel is headless, cropped at the neck; exactly one and the same person in every panel, the same face in the centre and right panels; the gilet is strictly sleeveless and knee-length, never floor-length, never a cape, never a cloak, never hooded; the greige stays warm, never cold silver or white.

INPUT IMAGES. Image 1 — the young woman herself, three-quarter view in warm evening daylight, holding a bouquet: the PRIMARY identity reference — take her exact face from it: narrow oval face with a softly pointed chin, high cheekbones, wide-set warm brown eyes, defined arched brows, a slim straight nose, the natural closed-lip smile with small dimples, fair skin with a light natural flush, her hairline and her hair — long, wavy, chestnut-brown, worn HALF-UP with the top section gathered at the back of the head and the rest falling loose over the shoulders; small pearl drop earrings. Image 2 — the same woman, close-up selfie in soft daylight: use it for the resting shape of her face, her brows, nose and lips. Take from both photos only her features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim build, narrow shoulders, long legs, 168 cm.

SKIN: light natural everyday make-up; visible fine pores, soft peach fuzz along the cheekbone, a few loose stray hair strands, natural asymmetric catchlights in the eyes; clear even complexion — healthy smooth skin with NO acne, NO pimples, NO blemishes, NO spots and no patchy redness; realism comes from texture, never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter.

WARDROBE AND COMPOSITION. Three-panel character sheet on a pure white seamless studio background. The woman is the exact same person as in Image 1 (frontal) and Image 2 (close-up) — copy her face, facial features, skin tone, hair colour, hair length and half-up hairstyle exactly from these photos without any changes, on all panels, exactly one person.  She wears exactly the outfit from — same garments, same colors, same fabrics and silhouette: the cropped jacket with oversized grey snow-leopard spotted faux-fur collar, front panels and wide fur cuffs, with black-and-silver metallic tweed knit sleeves; underneath, instead of a bra, a crisp white cotton shirt buttoned up to the neck with the collar visible, chest fully covered; the black studded leather belt with long dark brown fringe tassels; the long asymmetric high-low maxi skirt in mottled grey washed faux-suede with raw panels, ties and a grey satin underlayer, hem to the ankles; pointed-toe heeled boots in grey-taupe metallic leather; layered thin silver chain necklaces; no bag. Modest look, no cleavage, no exposed shoulders, midriff or knees. LEFT PANEL: full-body outfit shot STRICTLY WITHOUT HEAD — the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the panel edge, body standing straight facing camera, arms relaxed, both boots fully visible. CENTER PANEL: tight frontal face close-up of the same woman, head and shoulders, looking straight at camera. RIGHT PANEL: tight face close-up in strict 90-degree side profile. Neutral fair skin tone, neutral white-balanced color grading, soft diffused even studio lighting, natural skin texture, clean sharp image. No noise, no film grain, no haze, no text, no watermark, no logos, no frame borders, no other people, no duplicate figures, no props, left panel headless cropped at the neck.

Use case: identity-preserve
Asset type: photorealistic three-panel character sheet (identity + wardrobe reference for AI video generation)

INPUT IMAGES. Image 1 — the young man himself, frontal, neutral expression, indoor daylight: the PRIMARY identity reference — take his exact face from it: a lean oval face with a defined jawline and a straight chin, straight thick dark-blond brows, grey-blue eyes with slightly hooded lids, a straight narrow nose, fair skin, clean-shaven; his hair is short dark blond, cut close at the sides and back with a soft fade and left longer on top, swept to one side with a natural side part. Image 2 — the same man in strict side profile: use it for the exact line of his nose, jaw, chin and hairline seen from the side. Take from both photos only his features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim athletic build, 180 cm, long legs, shoulders broad for his frame.

SCENE. Pure white seamless studio background, soft diffused even studio lighting, neutral white-balanced colour grading, natural skin texture, clean sharp image, a soft grey contact shadow under his shoes.

WARDROBE — identical in every panel: a deep wine-magenta outfit, the exact shade of the phone (≈ #9B2E5C, rich wine-raspberry — never neon pink, never scarlet, never violet). A chunky cable-knit turtleneck in wine-magenta wool with a clearly visible cable pattern across the chest, the ribbed collar below the jaw, the cuffs showing past the jacket sleeves. Over it — a cropped suede bomber ending exactly at hip level, the body in matte wine-magenta suede, with shearling trim ONLY at the collar and cuffs in a slightly lighter dusty-rose tone, snap front worn open, fitted through the shoulders and chest rather than oversized. Below — high-waisted wide-leg wool trousers in plain charcoal grey, flat front, straight full leg with a soft break. Rugged leather boots with a deep lug sole in dark brown. A plain watch; no scarf, no bag, no other jewellery.

COMPOSITION — horizontal 16:9 sheet, three vertical panels of equal height side by side with thin white gaps between them.
LEFT PANEL — full-body outfit shot STRICTLY WITHOUT HEAD: the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the top edge of the panel, body standing straight and facing the camera, feet planted a little wider than usual, one shoulder slightly dropped, hands relaxed, the open bomber showing the cable knit underneath, both feet and shoes fully visible inside the panel.
CENTER PANEL — tight frontal face close-up, head and shoulders, looking straight into the camera, a calm neutral expression with the faintest closed-lip smile, the short side-parted hair clearly readable, the collar of the outfit visible at the bottom.
RIGHT PANEL — tight face close-up in strict 90-degree side profile, exactly one side of the face visible, one eye, the straight nose and the jaw line against the white background, the ear and the faded sides of the haircut visible, lips relaxed.

SKIN AND REALISM: no make-up, natural matte skin; visible fine pores on the nose and cheeks, real skin texture on the jaw and neck, a few individual hairs out of place at the hairline, natural asymmetric catchlights in the eyes; clear even complexion — healthy skin with NO acne, NO pimples, NO blemishes, NO spots, NO scars and no patchy redness; the realism comes from texture — pores, fine hairs, fabric weave — and never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter; his face keeps its youthful proportions, not aged, not widened, not slimmed. Photographed as if on a full-frame mirrorless camera with an 85 mm lens at f/5.6.

NEGATIVE: no acne, no pimples, no blemishes, no skin spots, no red blotches, no uneven skin, no noise, no film grain, no haze, no text, no letters, no labels, no numbers, no logos, no watermark, no frame borders, no other people, no duplicate figures, no props, no phone, no bag, no hat, no cap, no sunglasses, no hood; the left panel is headless, cropped at the neck; exactly one and the same person in every panel, the same face in the centre and right panels; the suede stays matte and dry, the shearling trim shows individual curls and never becomes a full fluffy body, the cable knit keeps real dimensional stitches; the magenta stays a deep wine-raspberry, never pink.

INPUT IMAGES. Image 1 — the young woman herself, three-quarter view in warm evening daylight, holding a bouquet: the PRIMARY identity reference — take her exact face from it: narrow oval face with a softly pointed chin, high cheekbones, wide-set warm brown eyes, defined arched brows, a slim straight nose, the natural closed-lip smile with small dimples, fair skin with a light natural flush, her hairline and her hair — long, wavy, chestnut-brown, worn HALF-UP with the top section gathered at the back of the head and the rest falling loose over the shoulders; small pearl drop earrings. Image 2 — the same woman, close-up selfie in soft daylight: use it for the resting shape of her face, her brows, nose and lips. Take from both photos only her features, never any temporary skin marks — the photos may show spots or breakouts, and none of them appear on the sheet. Both photos are one and the same person; ignore their backgrounds, poses, clothing and framing. Early twenties, slim build, narrow shoulders, long legs, 168 cm.

SKIN: light natural everyday make-up; visible fine pores, soft peach fuzz along the cheekbone, a few loose stray hair strands, natural asymmetric catchlights in the eyes; clear even complexion — healthy smooth skin with NO acne, NO pimples, NO blemishes, NO spots and no patchy redness; realism comes from texture, never from skin flaws; not airbrushed into plastic, not waxy, no beauty filter.

WARDROBE AND COMPOSITION. Three-panel character sheet on a pure white seamless studio background. The woman is the exact same person as in Image 1 and Image 2 — copy her face, facial features, skin tone, hair colour, hair length and half-up hairstyle exactly from those photos without any changes, on all panels, exactly one person. She wears exactly the outfit — same garments, same fabrics and silhouette, with the following exact colors: the oversized blouson shirt in deep raspberry magenta wine, brick red and white tartan plaid with high asymmetric funnel collar and long voluminous sleeves — the dominant plaid color is a rich deep raspberry magenta wine, not blue, not violet, not purple; the wide corset waistband in the same deep raspberry magenta wine with small buttons; the black voluminous bubble skirt falling below the knee with white lace petticoat peeking out at the hem; the white ribbed knee-high socks; the black patent Mary Jane flats. No blue, violet or lavender tones anywhere in the outfit. LEFT PANEL: full-body outfit shot STRICTLY WITHOUT HEAD — the figure is cropped at the neckline, head, face and hair entirely outside the frame, cut off at the neck by the panel edge, body standing straight facing camera, arms relaxed, both feet fully visible. CENTER PANEL: tight frontal face close-up of the same woman, head and shoulders, looking straight at camera. RIGHT PANEL: tight face close-up in strict 90-degree side profile. Neutral white-balanced color grading, soft diffused even studio lighting, natural skin texture, clean sharp image. No noise, no film grain, no haze, no text, no watermark, no logos, no frame borders, no other people, no duplicate figures, no props, left panel headless cropped at the neck.

INPUT ROLES — TEN REFERENCES, EACH WITH A STRICT SCOPE:

@Image 1  — LOOK 1, THE INTRO, AND THE IDENTITY MASTER. The man's face, hair and body come from here and are the identity for the WHOLE film: an early-twenties Eastern European man, slim athletic build, long-limbed, 180 cm, shoulders broad for his frame, a lean oval face with a defined jawline and a straight chin, straight thick dark-blond brows, grey-blue eyes with slightly hooded lids, a straight narrow nose, fair clean-shaven skin, no make-up, short dark-blond hair cut close at the sides and back with a soft fade and left longer on top, swept to one side with a natural side part; a thin silver watch on a leather strap. LOOK 1 WARDROBE: a warm-ivory double-breasted brushed wool-cashmere overcoat to mid-calf with peak lapels, worn fully open and unbelted, over a fine warm-ivory merino turtleneck; straight-leg ivory wool trousers with one crisp crease; matte bone-cream leather Chelsea boots. Take the person and this outfit; take NOTHING of the sheet layout, the panel divisions or the studio lighting.
@Image 2 — LOOK 2 WARDROBE, same man: a cropped GRAPHITE-BLACK ZIP-FRONT BLOUSON in wool twill with a stand collar, straight un-padded shoulders and ribbed knit cuffs and hem, ending at the natural waist, over a graphite cotton turtleneck; high-waisted WIDE-LEG GRAPHITE FLANNEL TROUSERS with two forward pleats per side, falling straight and full to the shoe; chunky lug-sole black leather loafers. Clothes only; his face and hair stay as in @Image 1 .
@Image 8 — THE DEVICE FOR LOOK 2, IN DEEP MATTE BLACK. THIS IS A HARDWARE REFERENCE: the giant phone behind him IS THIS EXACT DEVICE, scaled up to human height. Take its silhouette, proportions, rounded corners, metal side frame with button reliefs and antenna lines, raised square camera plateau with three circular lenses, flash and microphone dot, its emblem and its finish EXACTLY as photographed here. Take nothing of the four-panel layout or the white sweep.
@Image 3 — LOOK 3 WARDROBE, same man: a POWDER STEEL-BLUE SHEARLING COAT to mid-thigh, suede outside with a soft matte nap and a shawl collar of visible shearling curls along the collar and the front opening, worn open; a pale ice-grey fine ribbed mock-neck top beneath; straight pale ice-grey wool trousers; dark grey-brown lace-up boots with a deep lugged sole. Clothes only.
@Image 6 — THE DEVICE FOR LOOK 3, IN CLEAN LIGHT STEEL-BLUE. Same hardware reference role as @Image 8.
@Image 4 — LOOK 4 WARDROBE, same man: a LONG SLEEVELESS KNEE-LENGTH GILET in warm greige nubby bouclé wool with structured shoulders and deep armholes, worn open down the whole front, over a warm greige merino turtleneck; high-waisted wide-leg greige wool trousers with a single crease; warm taupe leather derbies; a thin silver watch. Clothes only.
@Image 9 — THE DEVICE FOR LOOK 4, IN NATURAL SILVER-GREY TITANIUM. Same hardware reference role.
@Image 5 — LOOK 5 WARDROBE, same man: a cropped WINE-MAGENTA SUEDE BOMBER ending at the hip, snap front worn open, with dusty-rose shearling trim only at the collar and cuffs, over a chunky wine-magenta CABLE-KNIT TURTLENECK; high-waisted wide-leg charcoal-grey wool trousers; dark brown lug-sole leather boots. Clothes only.
@Image 7 — THE DEVICE FOR LOOK 5, IN VIVID METALLIC MAGENTA-RASPBERRY. Same hardware reference role.
@Image 10 — THE SWATCH FAN, AS A CONSTRUCTION EXAMPLE ONLY. Take from it exactly how the cards are BUILT and SPREAD: square cards, a white label band along the top edge of each, a fabric colour field with a fine pinked zigzag edge, laid out flat and low in a wide overlapping fan like a dealt hand. THIS IMAGE IS ONLY AN EXAMPLE OF THE SHAPE AND LAYOUT — ITS COLOURS ARE NOT USED. In the film the colours of the fan are DIFFERENT IN EVERY LOOK and are set by the colour logic below, and every individual card within the fan carries ITS OWN DISTINCT SHADE. Take no colour, no crop and no lighting from this image.

FROM EVERY REFERENCE TAKE ONLY THE PERSON, THE DEVICE OR THE CARD CONSTRUCTION — never the sheet layout, never the panel splits, never the studio lighting, never the backdrop. THE FACE IS THE SAME IN ALL FIVE LOOKS, taken from @Image 1 : identity locked, no drift, no ageing, no change of hairstyle.

THE ATTACHED VIDEO @Video 1 IS THE MASTER MOTION AND TIMING REFERENCE. Take from it: the locked-off full-length framing on a white cyclorama, the subject's constant position and scale, the swatch fan along the bottom edge, THE FULL-REVOLUTION SPIN TRANSITION WITH THE ENTIRE FRAME DROPPING TO BLACK AND WHITE DURING THE SPIN AND COLOUR SNAPPING BACK ON THE WAY OUT, the rhythm of roughly two seconds per look, the opening beat where the figure stands with its back to camera before revealing, and THE PERFORMANCE ENERGY — the heavy slow-motion deceleration into an almost motionless hold. TAKE NOTHING ELSE: not the woman in it, not her face, not her hair, not her body, not any of her outfits, not her colour palette — the subject of this film is the man from @Image 1.

FORMAT: ONE SINGLE CONTINUOUS TAKE, 11 seconds, NO CUTS. ASPECT RATIO 9:16 vertical. NO MUSIC ANYWHERE — real recorded sound only.

THE SHOT — LOCKED OFF: a full-length wide shot on a seamless pure-white studio cyclorama, lens at chest height, level horizon, dead-centre symmetrical. THE CAMERA NEVER MOVES for the entire 11 seconds. He stays on the same mark at the same scale in every look, feet on the white floor with a soft contact shadow, always fully inside frame from the top of his head to his shoes.

HIS PERFORMANCE — GLAMBOT SLOW MOTION, ALMOST MOTIONLESS:
Shot and played like an awards-show glambot: everything he does is in HEAVY SLOW MOTION with real high-speed-camera weight. Out of each spin he DECELERATES SMOOTHLY INTO HIS POSE and comes almost completely to rest, and then HE BARELY MOVES AT ALL for the rest of the look — no second pose, no gesture, no repositioning. The only things still alive in the hold are the slow trailing settle of the fabric, a slow blink, and the faintest continuing drift of his weight. He is deliberately, luxuriously still. The stillness is the point.
ONE POSE PER LOOK, LANDED SLOWLY AND HELD. The spin is the only fast movement in the film, and even the spin carries slow-motion weight and inertia rather than snapping.

THE POSES ARE FIXED AND MUST NOT BE SWAPPED — one per look, no others:
LOOK 1, THE COAT: standing tall and square to camera, both hands slipped into the trouser pockets beneath the open coat so its front panels hang in one long vertical line, chin lifted, weight on one leg, gaze straight into the lens.
LOOK 2, THE COLLAR: chin lifted high and clear of the blouson's stand collar, one hand raised to the zip pull at the throat, the other arm behind his back, feet close together, shoulders squared, a cool level stare into the lens.
LOOK 3, THE SILHOUETTE: a three-quarter turn away from camera, both hands gripping the front edges of the shearling coat and holding it open wide so the fur collar and the coat's volume read against the white, shoulders back, looking back over his shoulder into the lens.
LOOK 4, TEXTURE: one hand gripping the gilet's front edge and drawing it across his chest, the other hand slipped into the trouser pocket beneath the gilet, one derby pushed forward, head tipped down with his eyes coming up to the lens.
LOOK 5, RELAXED: feet planted a little wider than his shoulders, one shoulder dropped, both hands pushed into the bomber's front pockets, head tilted slightly to one side, a small closed-mouth smile, eyes into the lens.
No pose is ever repeated; no two looks share the same arms, hips and head angle. He never stands with his arms hanging limp.

THE TRANSITIONS — THE FRAME MUST GO FULLY BLACK AND WHITE, THIS IS A PRIORITY FIX:
At each transition HE SPINS one full revolution on the spot. AT THE EXACT FRAME THE SPIN BEGINS, THE ENTIRE IMAGE BECOMES PURE MONOCHROME — one hundred percent desaturated, true black and white, ZERO colour anywhere: his skin, his hair, his clothes, the giant phone, the swatch fan, the floor, everything. It is an instant hard flip to greyscale, not a fade, not a ramp, not a partial wash, not a tint, not a cool grade — the colour is simply gone.
THE WHOLE SPIN PLAYS OUT IN BLACK AND WHITE. During it the phone slides up and out through the top of frame while the next rises in from below, and the swatch cards reshuffle.
AT THE EXACT FRAME THE SPIN ENDS, FULL COLOUR SNAPS BACK instantly, and he is already in the next outfit, decelerating into the new pose. Again an instant hard flip, never a fade.
Every single transition works this way, all four of them, identically.
The clothes change entirely inside the monochrome spin — never a dissolve, never a morph, never a fade, never a half-changed outfit.

THE BACKGROUND — EXACTLY ONE GIANT SMARTPHONE AT A TIME:
Behind him stands ONE enormous smartphone and only one. It is THE SAME DEVICE AS IN THE HARDWARE REFERENCE FOR THAT LOOK, enlarged to human height: a real phone with real metal and real glass, its BACK PANEL turned to camera, standing PERFECTLY UPRIGHT and DEAD CENTRE of frame, its whole body visible from top to bottom, tall enough to stand behind him from above his head down to below his knees. A real device — not a slab, not a card, not a poster, not a panel, not a tablet, not a screen.
IT MUST CARRY THE DEVICE'S REAL FEATURES exactly as in the reference: the RAISED SQUARE CAMERA PLATEAU in its upper-left corner, with THREE clearly separate CIRCULAR LENSES in a triangle inside it — each with dark glass, a visible inner barrel and a slim polished metal ring — plus one small round flash and a tiny microphone dot; the polished metal SIDE FRAME with its flat chamfer, thin antenna lines and button reliefs; and the fine brushed metallic finish of the back panel with one soft highlight rolling across it. THE CAMERA PLATEAU AND ALL THREE LENSES STAY FULLY VISIBLE AND UNOBSTRUCTED above and beside him at all times.

IT FACES THE CAMERA SQUARE AND STANDS STRAIGHT: parallel to the camera sensor, ZERO tilt into depth, ZERO foreshortening, ZERO rotation — perfectly vertical and level, its edges parallel to the edges of frame. No lean, no wedge shape, no trapezoid, no narrowing toward one end, no compression, no stretch, no bending. It stands clearly BEHIND him, never in front, never touching him.

THE VERTICAL SLIDE: each new phone RISES INTO FRAME FROM BELOW THE BOTTOM EDGE, sliding smoothly straight up until fully in view and centred behind him, decelerating into place; it then HOLDS COMPLETELY STILL for the whole of his hold; on the spin it SLIDES ON UPWARD and out through the top edge while the next is already rising in from below, so the frame is never without a phone. Always straight vertical motion, always upward, never downward, never sideways, never diagonal, never tumbling or rotating.

THE SWATCH FAN ALONG THE BOTTOM: built exactly as in @Image 10 — square cards with a blank white label band along the top edge and a fabric colour field with a fine pinked zigzag edge, spread flat and low in a wide overlapping fan across the full width of frame, cropped by the bottom edge, taking up only the bottom strip. Present in EVERY frame, never empty. EVERY CARD IN THE FAN IS A DIFFERENT SHADE, running as a graded sequence from palest to deepest within that look's colour family. On each transition the cards reshuffle in monochrome and settle flat again in the new family as the new phone lands. Never a rosette, never a pleated paper fan, never standing on end.

COLOUR LOGIC: HIS OUTFIT, THE GIANT PHONE AND THE SWATCH FAN ARE ALWAYS THE SAME COLOUR FAMILY. Black with black, blue with blue, silver-grey with silver-grey, magenta with magenta. The white cyclorama and his skin are the only neutrals in frame.

OPENING BEAT — 0.0–0.6s: he stands with HIS BACK TO CAMERA, head slightly lowered, only the long ivory coat and his short dark-blond hair readable, the first phone already rising into place behind him. At 0.6s he turns slowly to face front and decelerates into the Look 1 pose.

LOOK 1 — 0.6–2.2s | THE COLOUR STORM. The ivory coat look from @Image 1 , held almost motionless in the coat pose. The giant phone behind him CYCLES RAPIDLY THROUGH EVERY COLOUR — green, orange, purple, yellow, silver, pink, teal, black, one after another every few frames, never settling — and the fan below flickers through the same riot, each card a different hue. The device never changes shape while its colour changes.

2.2s — TRANSITION ONE: the spin, in full black and white, as specified above.

LOOK 2 — 2.2–4.4s | BLACK. The graphite blouson and wide pleated trousers from @Image 2 in the collar pose, held. Behind him the deep matte black device from @Image 8 — BLACK like his clothes, not the blue one; the fan a graded run of charcoals, graphites and near-blacks, every card different.

4.4s — TRANSITION TWO: the spin, in full black and white.

LOOK 3 — 4.4–6.6s | STEEL BLUE. The powder-blue shearling coat look from @Image 3 in the silhouette pose, held. Behind him the light steel-blue device from @Image 6 — BLUE like his coat, not the black one; the fan a graded run of pale blues and steel greys, every card different.

6.6s — TRANSITION THREE: the spin, in full black and white.

LOOK 4 — 6.6–8.8s | SILVER GREY. The greige long gilet look from @Image 4 in the texture pose, held. Behind him the natural silver-grey titanium device from @Image 9; the fan a graded run of pale silvers, warm greys and pewter, every card different.

8.8s — TRANSITION FOUR: the spin, in full black and white.

LOOK 5 — 8.8–11.0s | MAGENTA. The wine-magenta suede bomber and cable-knit look from @Image 5 in the relaxed pose, held. Behind him the magenta-raspberry device from @Image 7; the fan a graded run of magenta, raspberry and cream, every card different. The shot ends on the held pose with the phone standing centred behind him.

PHYSICS — SLOW AND HEAVY:
HAIR: his hair is short and stays in place through every spin; at most a few strands on top lift and settle. No long hair, no hair swinging, no hair taken from the reference video.
CLOTHES, each behaving like its own material and all settling in slow motion after the spin: the open ivory overcoat's front panels swing out wide with centrifugal force and settle slowest of all while the trouser creases sway; the stiff graphite blouson holds its shape while the heavy flannel pleated trousers swing with real weight; the shearling coat's dense pile shifts and its open front edges flare out and fall back heavily; the long bouclé gilet's front edges lift and swing like two weighted panels before settling straight; the suede bomber holds its shape while the shearling trim ruffles and the chunky cable knit keeps its volume.
THE GIANT PHONE: a heavy rigid object — it slides up with real mass and decelerates smoothly into its stop, never bending, flexing, wobbling or rotating.
THE SWATCH CARDS: light card stock with a fabric face — they slide over one another with a papery snap and settle flat, never curling, never standing on end.

ANATOMY — CRITICAL AT FULL LENGTH AND IN EVERY POSE: exactly two arms, two legs, two feet, five correct fingers per hand with natural knuckles and nails, correct through every spin and every pose. Feet sit properly inside the shoes and boots with correct ankles. Correct shoulder, elbow and wrist joints. No melting, no fusing, no extra digits, no backwards joints, no floating feet, no arms passing through his body.

LOOK 1 SEPARATION: the ivory outfit must never merge into the white cyclorama — keep a crisp silhouette, a soft grey contact shadow at his feet, and clear shading in the wool folds, the coat's lapels and the ribbed turtleneck.

CONTINUITY: exactly one man in frame at all times, alone, no other people, no reflections of anyone. Same face, same hair, same height, same mark, same scale, same lighting in all five looks. Exactly one giant phone visible at any moment, centred and upright. Five outfits, five poses and four device colours in the stated order, each appearing exactly once.

LIGHTING: clean even high-key studio light on a white cyclorama — broad soft frontal light with a gentle top fill, one soft contact shadow at his feet and a soft shadow behind the standing phone. Identical in all five looks. Matte natural skin, no hot speculars, no coloured spill from the phone.

STYLE AND FINISH: high-end fashion lookbook — crisp, bright, clean, editorial. True-to-life skin tones, accurate saturated garment colours, real product-photography quality on the phone. No grain, no filter, no bloom.

NEGATIVE: no transition staying in colour, no partial desaturation, no tint instead of true black and white, no gradual fade to greyscale, no colour returning early or late, no fade in or out of monochrome, no colour surviving anywhere during the spin; no second pose inside a look, no gesture during the hold, no repositioning, no walking, no dancing, no fidgeting, no fast movement outside the spin, no normal-speed motion anywhere, no speed ramping; no arms hanging limp, no repeated pose, no neutral standing between looks, no pose hiding the camera plateau, no pose taking him off his mark or cropping his head or feet, no comedy mugging; no card without a pinked zigzag edge, no straight-cut swatch edge, no card without a white label band, no text, codes, numbers or gibberish writing on the cards, no tall thin cards, no colours copied from @Image 10, no fan where all cards are the same shade, no curled or rosette fan, no pleated paper fan, no cards standing on end, no empty bottom edge, no fan in the wrong colour family; no phone in a colour different from the outfit of that look; no more than one giant phone at a time, no group or stack of phones, no small phones in the background; no phone entering from the top, the side or diagonally, no phone moving downward, no phone tumbling as it travels, no phone sliding during the hold, no phone missing from frame; no leaning or rotated phone, no tilt into depth, no perspective, no foreshortening, no wedge or trapezoid shape, no bending device, no phone wider than tall, no squashed, stretched or compressed device; no tablet, no iPad, no slab, no flat coloured panel, no poster, no printed image of a phone, no screen; no missing camera plateau, no module in the wrong corner, no scattered dark dots instead of lenses, no smeared or merged lenses, no more or fewer than three lenses, no square lenses, no missing lens rings, no missing flash; no camera movement, no pan, no tilt, no zoom, no dolly, no handheld drift; no cuts, no fades, no dissolves, no wipes, no flash frames; no dissolve or morph between outfits, no clothes changing outside the spin, no half-changed outfit, no wrong outfit order; no long hair, no hair swinging, no weightless fabric; no face changing between looks, no different man, no identity drift, no ageing, no beard, no stubble, no woman, no face or hair or body or outfit from the reference video, no feminine garment, no skirt, no dress, no heels; no second person, no duplicate of him; no phone in his hands, no phone touching him; no coloured or gradient background, no location, no set dressing; no ivory look merging into the white background, no lost silhouette; no readable text or lettering anywhere in frame, no brand names, no logos other than the apple emblem, no captions, no subtitles, no watermarks; no hat, no cap, no sunglasses, no hood, no scarf, no bag; no melted or fused hands, no extra fingers or limbs, no deformed feet, no missing contact shadow; no music, no score, no soundtrack, no beat, no dialogue, no voice; no plastic or waxy skin, no beauty filter, no AI-smooth face; no grain, no HDR, no CG-render look, no style drift.

AUDIO: NO MUSIC AT ALL — real recorded sound only, time-stretched with the slow motion: quiet studio room tone; a smooth low mechanical slide and a soft settle as each giant phone rises into place, then silence while it stands; a slowed papery flick as the swatch cards reshuffle; a long low rush of fabric on each spin. No voices, no dialogue, no beat.

INPUT ROLES — TEN REFERENCES, EACH WITH A STRICT SCOPE:

@Image 1  — LOOK 1, THE INTRO, AND THE IDENTITY MASTER. The woman's face, hair and body come from here and are the identity for the WHOLE film: an early-twenties Eastern European woman, slim and long-limbed, narrow shoulders, 168 cm, a narrow oval face with a softly pointed chin, high cheekbones, wide-set warm brown eyes, defined arched brows, a slim straight nose, fair skin with a light natural flush, light everyday make-up, long wavy chestnut-brown hair worn HALF-UP — the top section gathered at the back of the head, the rest falling loose over her shoulders — and small pearl drop earrings. LOOK 1 WARDROBE: sheer ivory organza balloon sleeves with buttoned cuffs, an ivory satin tailored waistcoat with a pointed hem over a white scoop-neck tank, a triple-strand pearl choker, wide-leg ivory satin trousers with turned-up cuffs, pale pointed shoes. Take the person and this outfit; take NOTHING of the sheet layout, the panel divisions or the studio lighting.
@Image 2 — LOOK 2 WARDROBE, same woman: a BLACK LEATHER BOMBER with a very tall stiff stand-up collar worn up around the neck, epaulette tabs, panelled seams and an elasticated waist; a long BLACK PLEATED MAXI SKIRT with a knife-pleated panel and an asymmetric hem; black pointed stiletto ankle boots. Clothes only; her face and hair stay as in @Image 1 .
@Image 8 — THE DEVICE FOR LOOK 2, IN DEEP MATTE BLACK. THIS IS A HARDWARE REFERENCE: the giant phone behind her IS THIS EXACT DEVICE, scaled up to human height. Take its silhouette, proportions, rounded corners, metal side frame with button reliefs and antenna lines, raised square camera plateau with three circular lenses, flash and microphone dot, its emblem and its finish EXACTLY as photographed here. Take nothing of the four-panel layout or the white sweep.
@Image 3 — LOOK 3 WARDROBE, same woman: a light-blue washed denim corseted jacket with topstitched panel seams, a nipped waist and a peplum flare, over a white collared shirt; a matching panelled denim mermaid maxi skirt flaring wide at the hem; light-blue denim pointed pumps. Clothes only.
@Image 6 — THE DEVICE FOR LOOK 3, IN CLEAN LIGHT STEEL-BLUE. Same hardware reference role as @Image 8.
@Image 4 — LOOK 4 WARDROBE, same woman: a GREY LEOPARD-PRINT FAUX-FUR GILET with a wide shawl collar over a dark grey tweed knit with matching leopard-fur cuffs, a white collared shirt beneath, a silver chain necklace; a studded black belt with long dark leather tie-ends; a GREY DISTRESSED SUEDE ASYMMETRIC MAXI SKIRT with lacing and a handkerchief hem; slouchy metallic pewter knee boots. Clothes only.
@Image 9 — THE DEVICE FOR LOOK 4, IN NATURAL SILVER-GREY TITANIUM. Same hardware reference role.
@Image 5 — LOOK 5 WARDROBE, same woman: a burgundy, cream and red PLAID BLOUSE with a high draped stand collar and full balloon sleeves; a wide metallic-pink belt; a black bubble-hem skirt with a white lace petticoat showing beneath; white ribbed knee socks; black patent Mary Jane flats. Clothes only.
@Image 7 — THE DEVICE FOR LOOK 5, IN VIVID METALLIC MAGENTA-RASPBERRY. Same hardware reference role.
@Image 10 — THE SWATCH FAN, AS A CONSTRUCTION EXAMPLE ONLY. Take from it exactly how the cards are BUILT and SPREAD: square cards, a white label band along the top edge of each, a fabric colour field with a fine pinked zigzag edge, laid out flat and low in a wide overlapping fan like a dealt hand. THIS IMAGE IS ONLY AN EXAMPLE OF THE SHAPE AND LAYOUT — ITS COLOURS ARE NOT USED. In the film the colours of the fan are DIFFERENT IN EVERY LOOK and are set by the colour logic below, and every individual card within the fan carries ITS OWN DISTINCT SHADE. Take no colour, no crop and no lighting from this image.

FROM EVERY REFERENCE TAKE ONLY THE PERSON, THE DEVICE OR THE CARD CONSTRUCTION — never the sheet layout, never the panel splits, never the studio lighting, never the backdrop. THE FACE IS THE SAME IN ALL FIVE LOOKS, taken from @Image 1 : identity locked, no drift, no ageing, no change of hairstyle.

THE ATTACHED VIDEO @Video 1 IS THE MASTER MOTION AND TIMING REFERENCE. Take from it: the locked-off full-length framing on a white cyclorama, the subject's constant position and scale, the swatch fan along the bottom edge, THE FULL-REVOLUTION SPIN TRANSITION WITH THE ENTIRE FRAME DROPPING TO BLACK AND WHITE DURING THE SPIN AND COLOUR SNAPPING BACK ON THE WAY OUT, the rhythm of roughly two seconds per look, the opening beat where the figure stands with her back to camera before revealing, and HER PERFORMANCE ENERGY — the heavy slow-motion deceleration into an almost motionless hold. TAKE NOTHING ELSE: not the woman, not her face, not her hair, not any of her outfits, not her colour palette.

FORMAT: ONE SINGLE CONTINUOUS TAKE, 11 seconds, NO CUTS. ASPECT RATIO 9:16 vertical. NO MUSIC ANYWHERE — real recorded sound only.

THE SHOT — LOCKED OFF: a full-length wide shot on a seamless pure-white studio cyclorama, lens at chest height, level horizon, dead-centre symmetrical. THE CAMERA NEVER MOVES for the entire 11 seconds. She stays on the same mark at the same scale in every look, feet on the white floor with a soft contact shadow, always fully inside frame from the top of her head to her shoes.

HER PERFORMANCE — GLAMBOT SLOW MOTION, ALMOST MOTIONLESS:
Shot and played like an awards-show glambot: everything she does is in HEAVY SLOW MOTION with real high-speed-camera weight. Out of each spin she DECELERATES SMOOTHLY INTO HER POSE and comes almost completely to rest, and then SHE BARELY MOVES AT ALL for the rest of the look — no second pose, no gesture, no repositioning. The only things still alive in the hold are the slow trailing settle of her hair and fabric, a slow blink, and the faintest continuing drift of her weight. She is deliberately, luxuriously still. The stillness is the point.
ONE POSE PER LOOK, LANDED SLOWLY AND HELD. The spin is the only fast movement in the film, and even the spin carries slow-motion weight and inertia rather than snapping.

THE POSES ARE FIXED AND MUST NOT BE SWAPPED — one per look, no others:
LOOK 1, THE SLEEVES: both arms opened out wide to the sides at chest height so the enormous sheer organza sleeves spread and catch the light, chin lifted, weight on one leg, gaze straight into the lens.
LOOK 2, THE COLLAR: chin lifted high and clear of the tall standing leather collar, one hand raised to the collar's edge at her jaw, the other arm behind her back, feet close together, shoulders squared, a cool level stare into the lens.
LOOK 3, THE SILHOUETTE: a three-quarter turn away from camera, both hands closed on the corseted waist, one hip pushed back so the mermaid hem flares wide across the floor, shoulders squared, looking back over her shoulder into the lens.
LOOK 4, TEXTURE: one hand gripping the fur lapel and pulling it across her chest, the other set on the studded belt at her hip, one metallic boot pushed forward, head tipped down with her eyes coming up to the lens.
LOOK 5, PLAYFUL: knees together with toes turned slightly inward, both hands clasped in front over the metallic belt, one shoulder shrugged and her head tilted onto it, a small closed-mouth smile, eyes into the lens.
No pose is ever repeated; no two looks share the same arms, hips and head angle. She never stands with her arms hanging limp.

THE TRANSITIONS — THE FRAME MUST GO FULLY BLACK AND WHITE, THIS IS A PRIORITY FIX:
At each transition SHE SPINS one full revolution on the spot. AT THE EXACT FRAME THE SPIN BEGINS, THE ENTIRE IMAGE BECOMES PURE MONOCHROME — one hundred percent desaturated, true black and white, ZERO colour anywhere: her skin, her hair, her clothes, the giant phone, the swatch fan, the floor, everything. It is an instant hard flip to greyscale, not a fade, not a ramp, not a partial wash, not a tint, not a cool grade — the colour is simply gone.
THE WHOLE SPIN PLAYS OUT IN BLACK AND WHITE. During it the phone slides up and out through the top of frame while the next rises in from below, and the swatch cards reshuffle.
AT THE EXACT FRAME THE SPIN ENDS, FULL COLOUR SNAPS BACK instantly, and she is already in the next outfit, decelerating into the new pose. Again an instant hard flip, never a fade.
Every single transition works this way, all four of them, identically.
The clothes change entirely inside the monochrome spin — never a dissolve, never a morph, never a fade, never a half-changed outfit.

THE BACKGROUND — EXACTLY ONE GIANT SMARTPHONE AT A TIME:
Behind her stands ONE enormous smartphone and only one. It is THE SAME DEVICE AS IN THE HARDWARE REFERENCE FOR THAT LOOK, enlarged to human height: a real phone with real metal and real glass, its BACK PANEL turned to camera, standing PERFECTLY UPRIGHT and DEAD CENTRE of frame, its whole body visible from top to bottom, tall enough to stand behind her from above her head down to below her knees. A real device — not a slab, not a card, not a poster, not a panel, not a tablet, not a screen.
IT MUST CARRY THE DEVICE'S REAL FEATURES exactly as in the reference: the RAISED SQUARE CAMERA PLATEAU in its upper-left corner, with THREE clearly separate CIRCULAR LENSES in a triangle inside it — each with dark glass, a visible inner barrel and a slim polished metal ring — plus one small round flash and a tiny microphone dot; the polished metal SIDE FRAME with its flat chamfer, thin antenna lines and button reliefs; and the fine brushed metallic finish of the back panel with one soft highlight rolling across it. THE CAMERA PLATEAU AND ALL THREE LENSES STAY FULLY VISIBLE AND UNOBSTRUCTED above and beside her at all times.

IT FACES THE CAMERA SQUARE AND STANDS STRAIGHT: parallel to the camera sensor, ZERO tilt into depth, ZERO foreshortening, ZERO rotation — perfectly vertical and level, its edges parallel to the edges of frame. No lean, no wedge shape, no trapezoid, no narrowing toward one end, no compression, no stretch, no bending. It stands clearly BEHIND her, never in front, never touching her.

THE VERTICAL SLIDE: each new phone RISES INTO FRAME FROM BELOW THE BOTTOM EDGE, sliding smoothly straight up until fully in view and centred behind her, decelerating into place; it then HOLDS COMPLETELY STILL for the whole of her hold; on the spin it SLIDES ON UPWARD and out through the top edge while the next is already rising in from below, so the frame is never without a phone. Always straight vertical motion, always upward, never downward, never sideways, never diagonal, never tumbling or rotating.

THE SWATCH FAN ALONG THE BOTTOM: built exactly as in @Image 10 — square cards with a blank white label band along the top edge and a fabric colour field with a fine pinked zigzag edge, spread flat and low in a wide overlapping fan across the full width of frame, cropped by the bottom edge, taking up only the bottom strip. Present in EVERY frame, never empty. EVERY CARD IN THE FAN IS A DIFFERENT SHADE, running as a graded sequence from palest to deepest within that look's colour family. On each transition the cards reshuffle in monochrome and settle flat again in the new family as the new phone lands. Never a rosette, never a pleated paper fan, never standing on end.

COLOUR LOGIC: HER OUTFIT, THE GIANT PHONE AND THE SWATCH FAN ARE ALWAYS THE SAME COLOUR FAMILY. Black with black, blue with blue, silver-grey with silver-grey, magenta with magenta. The white cyclorama and her skin are the only neutrals in frame.

OPENING BEAT — 0.0–0.6s: she stands with HER BACK TO CAMERA, head slightly lowered, only the ivory outfit and her dark hair readable, the first phone already rising into place behind her. At 0.6s she turns slowly to face front and decelerates into the Look 1 pose.

LOOK 1 — 0.6–2.2s | THE COLOUR STORM. The ivory satin look from @Image 1 , held almost motionless in the sleeve pose. The giant phone behind her CYCLES RAPIDLY THROUGH EVERY COLOUR — green, orange, purple, yellow, silver, pink, teal, black, one after another every few frames, never settling — and the fan below flickers through the same riot, each card a different hue. The device never changes shape while its colour changes.

2.2s — TRANSITION ONE: the spin, in full black and white, as specified above.

LOOK 2 — 2.2–4.4s | BLACK. The black leather bomber and pleated skirt from @Image 2 in the collar pose, held. Behind her the deep matte black device from @Image 8; the fan a graded run of charcoals, graphites and near-blacks, every card different.

4.4s — TRANSITION TWO: the spin, in full black and white.

LOOK 3 — 4.4–6.6s | STEEL BLUE. The denim corset look from @Image 3 in the silhouette pose, held. Behind her the light steel-blue device from @Image 6; the fan a graded run of pale blues and steel greys, every card different.

6.6s — TRANSITION THREE: the spin, in full black and white.

LOOK 4 — 6.6–8.8s | SILVER GREY. The grey leopard-fur and suede look from @Image 4 in the texture pose, held. Behind her the natural silver-grey titanium device from @Image 9; the fan a graded run of pale silvers, warm greys and pewter, every card different.

8.8s — TRANSITION FOUR: the spin, in full black and white.

LOOK 5 — 8.8–11.0s | MAGENTA. The plaid blouse and black bubble skirt from @Image 5 in the playful pose, held. Behind her the magenta-raspberry device from @Image 7; the fan a graded run of magenta, raspberry and cream, every card different. The shot ends on the held pose with the phone standing centred behind her.

PHYSICS — SLOW AND HEAVY:
HAIR: on every spin her long hair lifts and swings out wide with centrifugal force, whips across her shoulders, and then falls and settles SLOWLY, still drifting after she has stopped. It never stays glued to her head and never moves as one solid block.
CLOTHES, each behaving like its own material and all settling in slow motion after the spin: the sheer ivory organza sleeves balloon and float, lagging behind her arms and settling slowest of all; the wide satin trouser legs swing and ripple; the stiff leather bomber holds its shape while the knife-pleated black skirt fans open and closes with real pleat weight; the stiff denim peplum flicks out and the mermaid hem flares wide and snaps back; the faux-fur pile ruffles, the shawl collar shifts, the suede handkerchief hem swings heavily and the belt tails fly; the bubble skirt bounces and holds its volume while the lace petticoat flutters underneath.
THE GIANT PHONE: a heavy rigid object — it slides up with real mass and decelerates smoothly into its stop, never bending, flexing, wobbling or rotating.
THE SWATCH CARDS: light card stock with a fabric face — they slide over one another with a papery snap and settle flat, never curling, never standing on end.

ANATOMY — CRITICAL AT FULL LENGTH AND IN EVERY POSE: exactly two arms, two legs, two feet, five correct fingers per hand with natural knuckles and nails, correct through every spin and every pose. Feet sit properly inside the shoes and boots with correct ankles. Correct shoulder, elbow and wrist joints. No melting, no fusing, no extra digits, no backwards joints, no floating feet, no arms passing through her body.

LOOK 1 SEPARATION: the ivory outfit must never merge into the white cyclorama — keep a crisp silhouette, a soft grey contact shadow at her feet, and clear shading in the satin folds and the sheer organza.

CONTINUITY: exactly one woman in frame at all times, alone, no other people, no reflections of anyone. Same face, same hair, same height, same mark, same scale, same lighting in all five looks. Exactly one giant phone visible at any moment, centred and upright. Five outfits, five poses and four device colours in the stated order, each appearing exactly once.

LIGHTING: clean even high-key studio light on a white cyclorama — broad soft frontal light with a gentle top fill, one soft contact shadow at her feet and a soft shadow behind the standing phone. Identical in all five looks. Matte natural skin, no hot speculars, no coloured spill from the phone.

STYLE AND FINISH: high-end fashion lookbook — crisp, bright, clean, editorial. True-to-life skin tones, accurate saturated garment colours, real product-photography quality on the phone. No grain, no filter, no bloom.

NEGATIVE: no transition staying in colour, no partial desaturation, no tint instead of true black and white, no gradual fade to greyscale, no colour returning early or late, no fade in or out of monochrome, no colour surviving anywhere during the spin; no second pose inside a look, no gesture during the hold, no repositioning, no walking, no dancing, no fidgeting, no fast movement outside the spin, no normal-speed motion anywhere, no speed ramping; no arms hanging limp, no repeated pose, no neutral standing between looks, no pose hiding the camera plateau, no pose taking her off her mark or cropping her head or feet, no comedy mugging; no card without a pinked zigzag edge, no straight-cut swatch edge, no card without a white label band, no text, codes, numbers or gibberish writing on the cards, no tall thin cards, no colours copied from @Image 10, no fan where all cards are the same shade, no curled or rosette fan, no pleated paper fan, no cards standing on end, no empty bottom edge, no fan in the wrong colour family; no more than one giant phone at a time, no group or stack of phones, no small phones in the background; no phone entering from the top, the side or diagonally, no phone moving downward, no phone tumbling as it travels, no phone sliding during the hold, no phone missing from frame; no leaning or rotated phone, no tilt into depth, no perspective, no foreshortening, no wedge or trapezoid shape, no bending device, no phone wider than tall, no squashed, stretched or compressed device; no tablet, no iPad, no slab, no flat coloured panel, no poster, no printed image of a phone, no screen; no missing camera plateau, no module in the wrong corner, no scattered dark dots instead of lenses, no smeared or merged lenses, no more or fewer than three lenses, no square lenses, no missing lens rings, no missing flash; no camera movement, no pan, no tilt, no zoom, no dolly, no handheld drift; no cuts, no fades, no dissolves, no wipes, no flash frames; no dissolve or morph between outfits, no clothes changing outside the spin, no half-changed outfit, no wrong outfit order; no stiff frozen hair, no hair moving as one solid block, no weightless fabric; no face changing between looks, no different woman, no identity drift, no woman or face or hair or outfit from the reference video; no second person, no duplicate of her; no phone in her hands, no phone touching her; no coloured or gradient background, no location, no set dressing; no ivory look merging into the white background, no lost silhouette; no readable text or lettering anywhere in frame, no brand names, no logos other than the apple emblem, no captions, no subtitles, no watermarks; no melted or fused hands, no extra fingers or limbs, no deformed feet, no missing contact shadow; no music, no score, no soundtrack, no beat, no dialogue, no voice; no plastic or waxy skin, no beauty filter, no AI-smooth face; no grain, no HDR, no CG-render look, no style drift.

AUDIO: NO MUSIC AT ALL — real recorded sound only, time-stretched with the slow motion: quiet studio room tone; a smooth low mechanical slide and a soft settle as each giant phone rises into place, then silence while it stands; a slowed papery flick as the swatch cards reshuffle; a long low rush of fabric and hair on each spin. No voices, no dialogue, no beat.