Trendy fall is coming ⚡️ @ertgulicouture Made with @yesand_ai #yesaifashion
Prompt
Generate one continuous cinematic multi-shot video, 10 seconds, vertical 9:16, 720 × 1280 HD.
1. REFERENCE AUTHORITY — STRICT ROLE SEPARATION
@Image1 = LEAD CHARACTER IDENTITY ONLY.
Use exactly the person shown in @Image1 as the lead character throughout the entire video.
Preserve the same recognizable identity: same facial proportions, same eyes, same nose, same lips, same skin tone, same facial structure, same hairstyle, same hair color, same overall recognizable appearance.
Do not beautify, replace, reinterpret or alter her identity.
Do NOT use @Image2 or @Image3 to create or alter the lead character's identity.
@Image2 = FEATURED OBJECT / PRODUCT ONLY.
Use exactly the object shown in @Image2.
Preserve its exact: shape, proportions, scale, construction, materials, colors, surface texture, graphics, labels, logos, hardware, and distinctive visual details.
Do not redesign, reinterpret, simplify, deform or replace the object.
From its first appearance until the final frame, it remains the SAME physically unchanged object.
@Image3 = WARDROBE ONLY.
Dress the lead character from @Image1 in the exact outfit shown in @Image3 throughout the entire video.
Preserve: silhouette, garment types, layers, colors, materials, patterns, styling, and key outfit details.
Adapt the clothing naturally to the body of @Image1 without changing the outfit itself.
@Image3 does NOT control identity.
All three references control ONLY their assigned roles.
The environment, subway design, time period, lighting, color treatment, cinematography, background passengers and overall visual world are generated entirely from this prompt.
2. VERTICAL FORMAT — ABSOLUTE RULE
The entire film is designed NATIVELY for a vertical 9:16 frame.
Do NOT compose horizontally and crop into vertical.
All blocking, camera positions, character placement, crowd composition and product framing must specifically exploit the vertical frame.
Use depth along the subway carriage rather than excessive horizontal staging.
In wide carriage shots, emphasize: deep aisle perspective, vertical handrails, overhead rails, layered passengers at different depths, and the long perspective of the train interior.
Keep the lead character and @Image2 clearly readable at all important moments.
Never accidentally crop: the lead character's face, her hands during the snap, her hand during product pickup, or @Image2.
The final hero composition must clearly show the woman, @Image2 in her hands, and the subway behind her within one elegant vertical composition.
3. WORLD AND VISUAL STYLE — LOCKED FOR THE ENTIRE VIDEO
All events take place in a major American city in the 1990s.
The entire video must look like a genuinely photographed cinematic fragment from a premium American television drama from the 1990s, shot on film.
Do NOT make it look like modern digital footage with a retro filter.
Strictly preserve this visual style regardless of the visual style, lighting, background or quality of @Image1, @Image2 or @Image3.
The uploaded references NEVER influence the time period or cinematographic treatment.
VISUAL FOUNDATION:
35mm film-origin image.
Super 35 character.
Period 1990s spherical lens feel.
Cinematic American television-drama photography.
Period telecine character.
Clearly visible fine organic film grain.
Soft film micro-contrast.
Subtle optical softness.
Soft highlight halation.
Slightly lifted black level.
Restrained saturation.
Natural skin tones.
Warm amber-brown midtones.
Warm tungsten light mixed with slightly green fluorescent subway practicals.
Soft practical-light bloom.
Natural motion blur.
Realistic metallic reflections.
Rich analog texture.
The same grain, color response, softness, contrast, halation and telecine character remain consistent in EVERY shot:
close-ups, wide crowd shots, product shots, time-freeze shots, platform shots, and final hero shot.
The image NEVER shifts into clean contemporary digital-commercial cinematography.
Product compositions and the final hero shot may use elegant fashion-commercial framing while retaining exactly the same 1990s photochemical television-drama image treatment.
4. SUBWAY CARRIAGE AND CROWD — FIXED WORLD
Use the SAME American 1990s subway carriage throughout the entire video.
It is a long passenger carriage with:
aged silver metal surfaces, longitudinal passenger benches along the long side walls, vertical and overhead metal handrails, fluorescent ceiling fixtures, worn urban textures, realistic metallic reflections.
IMPORTANT SUBWAY GEOMETRY:
PASSENGER ENTRY DOORS EXIST ONLY ALONG THE TWO LONG LATERAL SIDE WALLS OF THE CARRIAGE.
There are NO passenger entry doors at the front or rear ends of the carriage.
The front and rear ends are NEVER used by the lead character for entry or exit.
The lead character enters and exits ONLY through normal side passenger doors located in the long lateral wall of the carriage, directly between the carriage interior and station platform.
The physical geometry of the carriage remains consistent throughout the video.
5. CROWD
The carriage is densely populated and constantly alive.
Approximately 35–50 passengers of different ages and genders are distributed across foreground, middle distance and deep background.
Use natural overlap and partial occlusion to create believable crowd density.
People are independently occupied with different activities:
talking, actively gesturing, arguing, laughing, reading newspapers, drinking coffee, listening to music through wired headphones, walking through the aisle, shifting position, holding rails, interacting with one another.
Their movements are independent, varied, natural and UNSYNCHRONIZED.
The carriage feels noisy, crowded, busy and constantly in motion.
Keep several clearly readable visual action anchors:
— one passenger actively gestures during a conversation, — one passenger reads an open newspaper, — one passenger raises a coffee cup toward the mouth.
All passengers and background styling clearly belong to 1990s America.
NO modern smartphones. NO wireless earbuds. NO modern digital displays. NO contemporary background fashion.
6. SECOND-BY-SECOND STORYBOARD
0.00–1.10 — ENTRY THROUGH SIDE WALL DOOR
Camera is inside the carriage near the middle section.
Use a vertical composition looking slightly diagonally along the interior length of the carriage.
The long aisle, vertical handrails, longitudinal bench seating and long side wall are clearly readable.
A normal passenger doorway is open in the LONG LATERAL SIDE WALL.
The station platform is directly visible outside through this doorway.
The composition must make it visually unmistakable that this doorway is located in the LONG SIDE WALL of the carriage — NOT at the front or rear end.
@Image1 wearing @Image3 appears from the station platform.
She enters naturally through the lateral passenger doorway.
She takes two calm, confident steps into the carriage.
Camera smoothly adjusts to follow her and settles into a natural vertical medium / chest-up framing.
Her movement is calm, physically continuous, confident and unhurried.
1.10–1.85 — SHE NOTICES THE OBJECT
After entering, the lead character naturally scans the carriage.
Her gaze clearly locks onto @Image2 resting on a nearby side passenger bench seat.
FIRST: only her eyes move toward @Image2.
THEN: after a small natural delay, her head follows in the same direction.
It must be visually clear that she has noticed one specific object.
She gives a restrained reaction:
slight squint, subtle eyebrow movement, quiet visual “wow.”
NO dialogue.
Camera performs a gentle cinematic push-in toward her face.
1.85–2.85 — LIVING CARRIAGE → PRODUCT REVEAL
Following the EXACT direction of her established gaze, camera performs a fast but smooth motivated transition into a deeper vertical view of the SAME carriage.
The busy, densely populated subway interior is clearly visible.
Use the vertical frame to layer passengers from foreground into deep background.
The crowd remains continuously alive:
people talk, gesture, laugh, argue, read newspapers, drink coffee, walk through the aisle, and continue their individual actions.
Each passenger moves independently.
On ONE EMPTY PASSENGER SEAT along the side wall rests the exact @Image2 object.
It sits DIRECTLY ON THE SEATING SURFACE where a passenger would normally sit.
It is NOT on the floor.
NOT underneath the seat.
NOT in the aisle.
Briefly hold the wider living carriage so both the active crowd and @Image2 can be read together.
Then perform one noticeable, fast but controlled cinematic push-in toward @Image2.
Stop close enough for its exact structure, shape, materials, graphics and visual identity to remain clearly readable.
2.85–3.50 — DECISION AND FINGER SNAP
Camera quickly but smoothly returns to the lead character.
Vertical chest-up framing.
She continues evaluating @Image2.
Small assessing squint.
She calmly raises ONE hand into frame.
Her hand and fingers remain clearly visible.
She performs ONE clear finger snap.
The finger snap causes TIME TO STOP.
3.50–4.45 — HARD TIME FREEZE
Cut to a deeper vertical view of the same active carriage.
For only a brief fraction of a second, passengers continue the exact natural actions already in progress.
THEN ALL HUMAN MOVEMENT STOPS INSTANTLY.
This is NOT a physical impact.
NO forward jerk.
NO recoil.
NO collective body shift.
NO shockwave.
NO collision.
Nobody changes position in order to freeze.
Each person simply stops moving EXACTLY inside the natural phase of the action they were already performing.
A gesturing hand stops in mid-air.
The open newspaper remains suspended in the reader's hands.
The raised coffee cup remains in place.
Walking passengers stop inside an unfinished step.
After the stop, the freeze becomes ABSOLUTE AND HARD.
Every passenger and every held object becomes completely motionless.
ONLY the lead character and camera may continue moving.
Camera performs a short, subtle smooth glide through the frozen tableau so the time-stop effect is unmistakable.
Carriage sound drops into quiet suspended ambience.
4.45–6.20 — LOW-ANGLE APPROACH AND PICKUP
Use a sharp but logically motivated cut.
The new camera is positioned very close to @Image2 beside the passenger bench.
Beautiful LOW ANGLE near seat height or slightly below.
Use a subtle controlled Dutch angle.
Compose specifically for vertical 9:16.
@Image2 remains on the SAME empty passenger seat.
Completely frozen passengers remain visible at different depths around it.
The lead character naturally enters from the previously established direction and WALKS toward the object.
She must NOT suddenly appear beside it.
The approach must be visibly continuous.
Her face is not the main visual priority here.
Clearly show the entire physical action:
APPROACH → REACH → HAND CONTACT → NATURAL GRIP → OBJECT SEPARATES FROM SEAT → COMPLETE LIFT.
Her hand visibly makes contact with @Image2.
She grips it naturally according to its REAL physical geometry.
The object clearly separates from the seat.
She completely lifts it into her hands.
Preserve the exact geometry and structure of @Image2 throughout contact and pickup.
CRITICAL CONTINUITY RULE:
FROM THE MOMENT @IMAGE2 FULLY LEAVES THE SEAT, IT REMAINS CONTINUOUSLY IN THE LEAD CHARACTER'S HANDS UNTIL THE FINAL FRAME.
She NEVER puts it down.
She NEVER releases it.
It NEVER disappears.
It NEVER teleports.
It NEVER changes shape.
6.20–7.05 — EXIT WITH THE PRODUCT
Camera is now on the station platform approximately 4–5 meters away from the LONG LATERAL SIDE WALL of the SAME carriage.
Vertical composition.
The frame clearly shows:
the long side surface of the train, side windows, and a normal lateral passenger doorway.
This is NOT the front or rear end of the carriage.
The lead character exits onto the platform specifically through this SIDE-WALL passenger doorway.
@Image2 is ALREADY in her hands and clearly visible.
She calmly steps out while continuously holding the product.
All passengers inside remain COMPLETELY frozen.
7.05–7.45 — DOORS CLOSE
The lead character is already standing on the platform.
She continues holding @Image2.
The two panels of the lateral passenger door close symmetrically toward each other.
At the EXACT MOMENT when the two door edges fully meet:
TIME INSIDE THE CARRIAGE RESUMES.
7.45–8.35 — TIME RETURNS / PASSENGERS REACT
Immediately after the doors fully meet, passengers return to life.
FIRST:
they naturally continue their interrupted actions from the exact frozen positions.
THEN:
they begin realizing what happened.
Several passengers move toward the windows and door glass.
They look directly toward the lead character standing outside on the platform.
Some press their hands against the glass.
Their expressions show natural:
surprise, shock, confusion, disbelief.
The reaction feels spontaneous and human.
NOT theatrical.
Throughout this entire moment, the lead character remains outside continuously holding @Image2.
8.35–10.00 — FINAL HERO SHOT
The lead character stands in the foreground on the platform.
Use an elegant VERTICAL hero composition.
Frame her approximately from the WAIST UP.
She holds the exact @Image2 WITH BOTH HANDS in front of her torso, approximately between waist and lower-chest height.
@Image2 remains FULLY VISIBLE and CLEARLY RECOGNIZABLE throughout the entire final shot.
Her hands remain physically connected to the object.
The product NEVER disappears.
It NEVER drops below the bottom of the vertical frame.
It NEVER becomes hidden behind her body.
FIRST:
she calmly lowers her eyes and looks directly at @Image2 in her hands.
She evaluates it briefly.
THEN:
while keeping @Image2 in exactly the same visible position, she raises ONLY her gaze.
She looks directly into the camera.
A small confident, slightly mischievous smirk appears.
NO exaggerated expression.
Behind her, the subway train begins moving LATERALLY away.
Show ONLY the beginning of departure.
Do NOT let the train completely leave the frame.
Through the moving windows, surprised passengers remain visible watching her.
The starting movement of the train creates a soft natural airflow.
Her hair moves gently.
Small parts of @Image3 respond naturally to the airflow.
Throughout the final shot, camera performs a VERY SLOW, SUBTLE, ELEGANT cinematic push-in toward the lead character.
The push-in is smooth and continuous.
Do NOT rush.
Do NOT lose @Image2 from frame.
FINAL FRAME MUST CLEARLY CONTAIN ALL THREE:
the recognizable @Image1 character,
the exact @Image3 wardrobe,
AND
the exact @Image2 object still physically held WITH BOTH HANDS and fully visible.
7. AUDIO
Natural diegetic sound ONLY.
Subway carriage rumble.
Platform ambience.
Passenger conversations.
Footsteps.
Fabric movement.
Newspaper rustle.
Coffee cup sounds.
Train doors opening and closing.
ONE clear finger snap.
Immediately after the snap: sound drops dramatically into quiet suspended ambience.
When the doors fully close and time resumes: natural carriage sound immediately returns.
At the end: train movement and acceleration.
NO music.
NO soundtrack.
8. ABSOLUTE CONTINUITY PRIORITY
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Preserve the recognizable @Image1 identity exactly.
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Preserve the exact unchanged structure, geometry, materials, graphics and visual identity of @Image2.
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Preserve the exact @Image3 outfit.
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Entry and exit happen ONLY through passenger doors in the LONG LATERAL SIDE WALL of the carriage.
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After pickup, @Image2 remains continuously and physically in the lead character's hands until the FINAL FRAME.
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The freeze happens WITHOUT body jerk, impact or displacement. Existing motion simply stops.
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The carriage remains densely populated, alive and naturally active before the freeze.
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Maintain exactly the same cinematic 1990s American television-drama film look in EVERY shot.
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All lead-character actions remain natural, calm, readable and physically continuous.
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Fast cuts are allowed ONLY when they logically continue the previous gaze direction, movement direction or completed action.
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Never sacrifice product accuracy for dramatic motion.
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Never crop @Image2 during important product moments.
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No teleportation.
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No object duplication.
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No disappearing object.
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No face morphing.
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No wardrobe changes.
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No modern technology.
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No continuity-breaking changes to the subway interior.
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Compose EVERY shot specifically for vertical 9:16.
FINAL TECHNICAL SPECIFICATION
10 seconds.
Vertical 9:16.
720 × 1280 HD.
Photorealistic.
Stable picture.
Smooth natural motion.
Cinematic 35mm texture.
Period Super 35 character.
Fine organic film grain.
Soft highlight halation.
Natural colors.
Consistent analog image treatment.
NO modern digital-commercial aesthetic.
NO horizontal composition cropped into vertical.