Готовый шаблон промта: романтическая встреча на улице Нью‑Йорка в стиле 90‑х для генерации видео в ИИ

Create an exactly 20-second cinematic short film in 4:3 aspect ratio. REFERENCE ASSIGNMENT @image1 defines the complete identity and physical appearance of the man. @image2 defines the complete identity and physical appearance of the first woman, the woman carrying books. @image3 defines the complete identity and physical appearance of the second woman, the woman who later exits the boutique. Use @image1, @image2, and @image3 only for the characters’ identities: face, facial structure, age, skin tone, eye color, hair color, hairstyle, makeup, body type, and recognizable appearance. The man must always remain the person from @image1. The woman carrying books must always remain the person from @image2. The woman exiting the boutique must always remain the person from @image3. Do not mix faces, hair, makeup, age, body type, or identity traits between the three reference images. The clothing, location, visual era, camera work, and story are defined by this prompt. VISUAL STYLE Visual style: Emulate the cinematic language of 1990s romantic dramas and television series — soft, diffused natural lighting with a slight warm glow, muted color grading (desaturated reds and browns, cool grays and blacks), film grain texture overlay, shallow depth of field with creamy bokeh in background elements, handheld camera with organic micro-movements and subtle sway, 4:3 aspect ratio letterboxing to evoke the era. New York City autumn atmosphere: wet pavement reflecting streetlights, steam from manhole covers, yellow taxi cabs in soft focus, red brick building facades, black iron fire escapes, pedestrians in neutral coats passing by as ambient life. Camera work: combination of medium shots, close-ups, and extreme close-ups; slow, deliberate pacing; natural transitions with no hard cuts. Lighting: overcast daylight softened by cloud cover, warm practicals from storefronts, gentle rim light on hair and shoulders to separate subjects from background. Warm, slightly saturated CCD tones, strong bloom and halation around bright boutique doorway edges and storefront lights, subtle minor digital noise, gentle highlight clipping. Candid amateur, Y2K editorial, unpolished but stylized. The result must feel emotionally cinematic, warm, imperfect, lived-in, and authentic to a late-1990s / early-2000s New York romantic drama. Do not create clean modern digital footage, smartphone footage, a contemporary fashion commercial, a modern music video, futuristic elements, or overly polished advertising imagery. SETTING The story takes place on a crowded ordinary Manhattan sidewalk in autumn, during late afternoon moving into early evening. This is a normal active New York sidewalk, not a waterfront, pier, boardwalk, park path, plaza, empty promenade, or open square. The sidewalk is dense with continuous pedestrian traffic. At least eight to ten pedestrians are visible across the foreground and background during the opening shot. Pedestrians in neutral late-1990s coats walk naturally in both directions, passing close to the main characters. Include wet pavement, reflections from warm storefront lights, steam rising from a manhole cover, red brick facades, black iron fire escapes, softly blurred yellow taxi cabs in the street, older American sedans, boutique windows, and pedestrians moving naturally as ambient city life. WARDROBE The man from @image1 wears elegant late-1990s American city clothing: a dark sharply tailored suit jacket, an open-collar white shirt, dark trousers, and polished dark leather shoes. His style is restrained, sophisticated, and period-appropriate. The woman carrying books from @image2 wears a late-1990s American autumn city outfit: a textured brown-toned tweed or houndstooth blazer, layered over a soft knit top, with dark trousers or a dark skirt and classic leather boots. Her outfit has the silhouette, fabrics, proportions, and styling of a romantic American drama from the late 1990s. Important: her face, hair, makeup, age, body type, and identity must come only from @image2. The woman exiting the boutique from @image3 must wear this exact outfit throughout the whole video: A glossy black leather trench-style coat with a fitted, structured, feminine silhouette. The leather coat has wide dramatic biker-style lapels, a large structured collar, visible silver metal snap details around the lapels and shoulders, dark front buttons, and a polished reflective black-leather surface. The coat is cinched tightly at the waist with a matching black leather belt, creating a defined hourglass silhouette. The coat is partly open at the chest, revealing a fitted black top underneath with a straight, low, strapless-style neckline. She wears a small black shoulder bag with a thin gold chain strap resting over one shoulder. She carries several elegant boutique shopping bags. Complete the outfit with refined black heeled boots or sleek black heeled shoes. Her wardrobe must feel glamorous, expensive, confident, and unmistakably late-1990s / early-2000s New York fashion: shiny black leather, wide lapels, metal details, waist belt, exposed black neckline, gold chain-bag detail, polished evening styling. Important: the woman exiting the boutique must retain only the face, hair, makeup, age, body type, and identity from @image3. Do not change her identity to resemble anyone else. CAMERA AND EDITING Use an organic handheld film-camera feel with subtle operator sway, gentle reframing, natural focus adjustments, slight focus breathing, shallow depth of field, creamy background bokeh, and restrained realistic movement. Use medium shots, medium close-ups, close-ups, extreme close-ups, side tracking shots, three-quarter angles, over-the-shoulder reverse shots, and intimate two-shots. Do not use one static camera position. Do not stage the characters facing front like a commercial. Use soft motivated cuts based on walking movement, the shoulder bump, falling books, hands, eye-lines, the boutique door opening, the second woman appearing behind the man, the business card, and the trash bin. Do not use flashy modern transitions, rapid music-video editing, random montage, or disconnected scenes. Show many different books and magazines scattered across the pavement. Never repeat the same book in several shots. The man and the first woman touch fingers only once: when they both reach for the final remaining book. STORY A woman carrying books walks along a crowded Manhattan sidewalk. A man walking in the opposite direction lightly brushes her shoulder as he passes. Her books fall onto the wet pavement. They kneel and collect the scattered books together. On the final book, their fingers touch once. They slowly look at one another and share an intimate, romantic moment. The man gently moves a loose strand of hair away from her face and asks if she is okay. She says yes. He starts to say something more. At that exact moment, a glamorous woman exits the boutique behind him. She is his partner. He becomes nervous, discreetly slides a plain white business card between the first woman’s books, then leaves with his partner. The first woman finds the card, understands the situation, and drops it into a nearby street trash bin. TIMELINE 00:00–00:03.2 — CROWDED SIDEWALK WALK AND SHOULDER BUMP Start immediately with the woman from @image2 already relatively close to the camera. Use a medium front three-quarter tracking shot. The camera moves backward in front of her while she walks naturally toward the camera along the length of the sidewalk. She is positioned slightly right of center in the frame. She walks parallel to the sidewalk, in the normal direction of pedestrian traffic. She is not walking perpendicular to the sidewalk, not crossing the pavement sideways, and not walking toward a pier, waterfront, plaza, or empty open space. She holds a tall, slightly unstable stack of several different hardcover books and magazines against her chest. The sidewalk is crowded. Multiple pedestrians in autumn coats pass in front of, behind, and beside her. The city feels active and dense, not empty. The man from @image1 walks in the opposite direction on screen-right. He passes close beside her through the pedestrian traffic. As they pass, his shoulder lightly brushes her shoulder in a casual, believable, accidental bump. The books slip from her arms and scatter onto the wet sidewalk. Use a natural camera pan and tilt downward to follow the falling books. The bump is gentle and realistic, not violent. 00:03.2–00:06.1 — COLLECTING THE BOOKS The man immediately stops, turns back, and kneels with the woman from @image2 to help collect the books. Show many different books and magazines spread across the wet pavement. Their covers vary in size and color, but there is no readable text and no visible logos. Use: - a low medium two-shot of both characters kneeling; - a close-up of the first woman picking up one book; - a close-up of the man picking up a different book; - a side angle as they gradually move closer while collecting books; - a medium shot showing several books already gathered back into a stack. Do not show the same book repeatedly. At the end, only one final book remains between them. They both reach toward that final book at the same time. Their fingers lightly touch once on the cover of the final book. Hold this brief emotional moment. There must be no earlier finger touch and no repeated hand-touching. 00:06.1–00:10.5 — EXTENDED EYE CONTACT AND ROMANTIC MOMENT After their fingers touch, both slowly raise their eyes. First show a tight close-up of the man from @image1 from a slight three-quarter angle. He looks directly at the woman with surprise, warmth, and immediate attraction. Then show a reverse over-the-shoulder shot from behind the man. His shoulder and the back-right side of his head are softly visible in the foreground. The woman from @image2 is clearly framed on the right side of the image, looking directly at him. Cut back to a close-up of the man’s eyes and a restrained warm smile. Then show a close-up of the first woman’s face. Her expression is shy surprise, warmth, and emotional interest. Use a very slow subtle push-in. The pedestrians, wet sidewalk, taxis, and storefront lights are softly blurred into creamy bokeh. The man gently lifts his hand and moves a loose strand of the woman’s hair away from her face. The hair gesture is slow, tender, realistic, and emotionally restrained. He quietly asks: “Are you okay?” She softly answers: “Yes.” He smiles and begins to say something else while looking at her. Do not rush this section. The eye contact, reverse-shot composition, hair gesture, and short dialogue are the emotional center of the film. 00:10.5–00:13.4 — INTERRUPTION AND BUSINESS CARD While the man begins his next sentence, slowly widen the composition behind him. The woman from @image3 exits the boutique behind him, carrying elegant shopping bags and wearing the exact glossy black leather outfit defined in the wardrobe section. She first appears in the glowing boutique doorway in the background, then comes closer into the frame. The man does not notice her immediately. She gives him a short familiar greeting or calls a generic fictional name. The man suddenly realizes that she is behind him. His expression changes from warm romantic interest to nervous guilt. Use: - a close-up of the man’s startled reaction; - an over-the-shoulder shot that reveals the second woman behind him; - a brief medium three-shot with all three characters; - a close-up of the first woman’s confused reaction. The man quickly gives the remaining books back to the woman from @image2. In one fast, subtle movement, he slides a plain white business card between the books. Keep the card handoff brief. The card has no readable writing, no phone number, no logo, no company name, and no brand. 00:13.4–00:16.0 — THE COUPLE LEAVES The man immediately turns toward the woman from @image3. She takes his arm. He places an arm around her. Their body language clearly establishes that they are a couple. They walk away together through the crowded wet sidewalk. Use only a short medium side-tracking shot, followed by a brief rear three-quarter view. Do not prolong the departure. The woman from @image2 stays alone holding the recovered books. Almost immediately, she notices the white card between the pages. 00:16.0–00:20.0 — CARD AND TRASH BIN Use a close-up of the woman from @image2 pulling the plain white business card from between the books. She looks at it, but no writing is visible. Show her expression shifting from curiosity to understanding, disappointment, and quiet self-respect. A nearby metal street trash bin is already visible and close to her. She takes only a few steps toward it and decisively drops the business card inside. Use an extreme close-up of the card falling into the trash bin. End immediately after the card disappears into the bin, or on a final close-up of the woman’s quiet, restrained disappointed expression. Do not show a final wide shot of her walking away. PERFORMANCE AND CONTINUITY The man begins elegant, attentive, and sincerely attracted to the woman with books. When his partner appears, he becomes visibly nervous and guilty but tries to remain composed. The woman with books begins hurried and distracted, then becomes surprised, romantically interested, confused, disappointed, and finally calm and decisive. The woman exiting the boutique remains composed, glamorous, confident, and unaware of the secret business-card handoff. All performances must be subtle, realistic, and emotionally restrained like a serious late-1990s romantic drama. Maintain consistent faces, hairstyles, makeup, wardrobe, books, business card, boutique entrance, trash bin, lighting direction, sidewalk geography, and screen direction throughout the whole video. No identity mixing, no face changes, no waterfront, no empty promenade, no readable text, no logos, no subtitles, no watermark.