클립 1 / 2
생성 프롬프트 · 11764자
defines exactly ONE woman, MIO: her face, hairstyle, floral hair ribbon, yellow collared shirt, white trousers, belt, jewelry and shoes. Keep this same identity and outfit throughout. All views on the sheet depict one person. Do not copy its studio background, poses, lighting, panel layout or framing. Her eyes are uncovered. The floral hair accessory stays attached at its reference location beside her low tied hair.
A live-action amusement-park comedy: a mischievous physical editing cursor first gives MIO treats, then overdoes its helpful tricks until she catches it, only to suffer one final harmless prank. MIO is curious, expressive and quick to react: delighted anticipation turns into annoyance and finally an incredulous look. Render natural skin, real ice cream, tactile plush and painted carousel surfaces.
Five timed sequences with cuts on action. Keep each tool, its target, and the visible consequence readable together. Natural-speed performance. The tools are tangible matte-white objects with thin dark edges, perspective, occlusion and soft shadows, integrated into the same sunlight as MIO.
TOOL SHAPES: The same single cursor has exactly three distinct silhouettes. Its default is a classic computer arrow pointing diagonally toward the upper left, with a triangular pointed head and a short straight stem, matte-white with a thin black outline. It is forearm-length until MIO shrinks it. Its paint-bucket form is a small white pail tilted about 45 degrees, with a curved carrying handle and an open oval rim facing downward toward the target. Its eraser form is one solid white rectangular rubber block, with visible thickness and a broad rubbing face. Each tool change is a crisp instantaneous snap of the entire object, not a hand operating another icon. There is never a hand-shaped, pointing-finger or glove cursor. Every click is a short forward dip of the active tool itself, synchronized to a distinct click sound.
SELECTION AND TRANSFORM DETAILS: A selection is a complete closed rectangular outline of alternating black and white dashes, with the dashes visibly marching around all four sides. A transform frame has four connected thin edges and exactly eight white square handles: four corners and four edge midpoints. Keep the whole outline and its target readable against the scene, with perspective, occlusion and a faint local shadow. These are two distinct controls, not interchangeable corner brackets. The outline encloses only the intended object and stays visible through its operation. After an operation, its frame disappears; the changed object stays changed. All controls are pictorial shapes only.
SETTING
Bright, gentle sunlight from upper camera-left. An ice-cream counter adjoins a wooden plush-toy stall; an idle carousel and a freestanding painted photo wall are nearby along the park walkway. The wall has a visible side edge and space behind it for MIO to hide. Keep movements along the walkway toward screen-right through the first four sequences. Cameras remain on the public walkway side of the stalls and wall. Background visitors move independently and do not interact with the tools. MIO and the cursor attend to one another or the edited objects rather than looking into the lens.
0-5s | TOO MUCH ICE CREAM
Open immediately on MIO holding a single-scoop vanilla cone in her right hand, ready for a bite; her face, cone and hovering cursor share a medium close frame. Before duplication starts, the arrow closes a small rectangular selection around the original scoop only. Show all four sides of the moving black-and-white dashed outline clearly beside the scoop, keeping its cone and MIO's face outside. The arrow tip hovers beside this selection and dips forward for four distinct clicks. The dashed selection remains around the original source scoop while the copies appear above it; it is not hidden behind the ice cream. Identical scoops stack directly on top of it, touching one another, until the cone holds a precarious tower of five. The selection releases. MIO first smiles broadly, then follows the rising tower with her eyes. As it leans, she cups her left hand around the cone below her right hand and adjusts both hands under the leaning weight. Her smile tightens into concentration.
End state: MIO has the intact tall cone supported in both hands; the arrow hovers beside her.
<Distinct clicks, soft duplication pops, a small surprised breath and park air.>
Nobody speaks in this sequence.
5-11s | TOO MUCH TEDDY BEAR
Cut wider at the adjacent toy counter. MIO sets the cone upright into the cone holder already on the counter, then points to one small cream teddy bear sitting at the counter's front edge. A complete transform frame with four connected edges and eight white square handles forms around that bear only. The classic arrow tip meets one corner handle and visibly drags it diagonally outward; the opposite corner anchors the resize. The frame and its square handles expand with the bear and release when the enlargement ends. The teddy grows uniformly until its broad plush body is taller than MIO and tips forward off the counter toward her. She opens both arms to catch it, but its soft weight folds her into a crouch and settles over her with a harmless fluffy thump. Her head appears around its side; she wriggles out toward screen-right. Keep the bear's fixed bead eyes and stitched mouth unchanged. It is an inert stuffed toy, moved only by gravity and MIO's contact, never a living creature.
Camera: show MIO on screen-right facing the bear on screen-left, her torso and feet directed toward the counter while receiving it; track her exit after she pivots away.
End state: large cream plush rests on the ground, ice cream remains in its holder, MIO is free with empty hands.
<Stretching squeak, plush thump, fabric rustle.>
Nobody speaks in this sequence.
11-17s | MAKE UP YOUR MIND
Cut to MIO approaching a stationary white carousel horse from its near side, holding its support pole with her left hand and preparing to mount. The horse remains an inanimate ride on its fixed vertical pole. Before she climbs, show the entire arrow snap into the white PAINT BUCKET: tilted pail, curved handle, visible oval opening facing downward. Let this complete bucket silhouette register beside the still-white horse before any color starts changing. The arrow silhouette has fully disappeared. In the same medium side view, the bucket's lower rim dips to touch the horse's painted flank and clicks. That visible bucket contact triggers the fill. Strawberry-milk pink spreads cleanly across only the horse's painted body, leaving its saddle, pole, MIO and platform unchanged. MIO admires the color and begins raising one foot toward the mounting step. The same tilted paint bucket remains clearly visible beside the horse through MIO's mounting reaction. Its lower rim dips and clicks a second time, filling the same horse body pale mint. Keep the bucket form through both color fills. She stops mid-mount, lowers her foot and turns her eyes and head toward the bucket with a questioning raised eyebrow. It returns to an arrow and hovers just beyond her reach. She releases the pole and moves away toward screen-right.
Camera: medium side view including MIO, horse and clearly silhouetted bucket. Keep the two fills sequential and recognizable.
End state: horse is pale mint, MIO has not mounted it, cursor is arrow-shaped again.
<Tool-change snap, two clicks with short fill sounds, foot touching the platform.>
Nobody speaks in this sequence.
17-23s | EVEN THE WALL IS EDITABLE
MIO hurries screen-right to the painted photo wall and ducks behind its side edge, turning her chest and hips into the space behind it. The camera stays on the walkway side and sees the solid painted face of the wall and its edge. The approaching arrow snaps entirely into the solid white rectangular eraser block, with its broad rubbing face turned toward the wall. The eraser itself makes one broad sideways stroke in contact with the painted surface; there is no separate cursor hand or handle operating it. The checkerboard is revealed directly along the contact path as the eraser advances, leaving a crisp flat gray-and-white transparency checkerboard occupying that surface, with the wall's perspective and daylight. The checkerboard is the edited wall surface, not a window or an opening into another world. MIO peeks around the edge, sees the eraser and the altered wall, then slips out at the side and moves away. The eraser returns to an arrow and follows. Her body, clothing and hair remain untouched.
Camera: a medium-wide view shows the eraser contacting the wall, the patch forming and MIO reappearing at its edge; pan with her exit.
End state: checkerboard patch remains on the wall, MIO and the arrow are beside it in the walkway.
<Quick footsteps, a dry eraser scrape, tool-change snap.>
Nobody speaks in this sequence.
23-30s | ONE LAST CLICK
MIO abruptly turns her torso toward the following arrow and catches its edge with both hands. A complete four-sided transform frame with eight white square handles appears around the arrow itself, enclosing only the arrow and not MIO's face or hands. She grasps two opposite corner handles, one in each hand, and pinches them inward. The frame and arrow contract together; the arrow keeps its triangular head and short stem throughout the resize. The arrow shrinks to finger length; she releases the handles and holds it lightly between her right thumb and index finger, smiling with relief. The tiny arrow twists its pointed tip toward the flower decoration on her hair accessory and makes one visible click. Only the flower enlarges from its existing attachment point, expanding into a broad soft blossom larger than her face. Its flexible petals spread forward around her near cheek and across her sightline. Her hair knot, face, skull and body keep their original size and position. The flower is still fastened to the same ribbon, not a separate floating object or a new hat.
Finish in a three-quarter close view from the hair-accessory side: MIO parts two obstructing petals with her free left hand and peeks between them toward the tiny cursor in her right hand, eyebrows lowered, lips pressed together, then gives a short exasperated breath. Hold long enough to read that look.
End state: MIO with the oversized attached flower, tiny captured arrow still in her hand; the prank has visibly backfired on her.
<Pinching squeak, tiny click, soft blossom pop, petal rustle and a short sigh.>
Nobody speaks in this sequence.
PRESERVE
Exactly one MIO and one continuous cursor. Ice-cream duplication affects scoops only. Bear enlargement affects one inert cream teddy only. Paint fills affect the carousel horse's body only. Erasing affects the wall face only. Shrinking affects the cursor only. The final enlargement affects the existing flower decoration only. Every operation has a visible tool action, localized change and release of the selection or transform frame. Keep completed changes and prop ownership across cuts. Show firm ground contact, compressing plush, supported objects and separate hands. All mishaps are soft and harmless.
AUDIO AND IMAGE
Keep park air, distant birds, physical footsteps, fabric and synchronized editing-tool sounds. MIO may breathe or gasp without words. No dialogue, narration or reading of instructions. No background music. No subtitles, on-screen text, Chinese characters, letters, numbers, logo or watermark. No written buttons or text menus. Use the specified pictorial tools and outlines only. No undo button is part of this story. One full-frame camera view at a time, no split screen or reference-sheet layout.