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CinePixel

Sarah

@AIwithSarah_

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SCENE CONTEXT Open sea, bright day, mid-chase — Eduardo's pale-sailed galleon fleeing the black-sailed pirate galleon astern. Three cuts: the two men at the wheel on the raised stern deck under near-miss spray, Eduardo commanding "HARD A-PORT!"; the camera flying with a fired cannonball toward the ship's tall stern; the slow-motion hits below the deck that hurl Eduardo through the air toward the camera. ACTIVE REFERENCES <<<d0ae923b-03a5-4f69-9046-5fce5e0d62c6>>> — lean pirate captain, dark curly hair under a dusty mustard-yellow bandana with a small white shark tooth pinned at the front, thin moustache, gold hoop earrings, cream linen shirt, worn brown leather waistcoat, sash and belts. He commands with his voice and arms; his hands never touch the wheel. 100% matches the reference; sheet layout NOT inherited. <<<5d1fc1a0-ed92-48a8-8f2e-be6217145943>>> — heavyset bald pirate, thick reddish-brown beard, loose cream shirt, dark sash, leather cross-straps. The only man touching the wheel. 100% matches the reference. <<<3c03a667-0057-42b3-bcb4-6282799f4312>>> — scarlet macaw, red with blue-and-yellow wings, small leather harness, riding Eduardo's left shoulder. 100% matches the reference. <<<9470010f-91ae-4b0f-b10d-9f3f29f55e3e>>> — Eduardo's galleon: large ship, pale square sails, tall carved sterncastle. 100% matches the reference; controls hull, decks, masts, wheel. <<<c83e499e-f22f-42aa-b0e4-e28d8124e15b>>> — enemy galleon: black sails, acid-green skull-and-crossed-swords mainsail, dark hull. 100% matches the reference. On camera only in CUT 2. <<<b8be82fe-7b85-4450-a301-7599579a53e1>>> — round black iron cannonball, rough pitted surface. 100% matches the reference. @[island_location] — lush green island, steep cliffs, white beach, turquoise shallows. On camera only in CUT 2, far on the horizon at the left edge of frame. <<<673b2d64-5cc7-4653-9320-86c1a404fd7b>>> — calm bright sea, glittering sun path, hazy horizon. Water and sky atmosphere only. STAGE — THE RAISED STERN DECK (serves CUTS 1 and 3) The stern of <<<9470010f-91ae-4b0f-b10d-9f3f29f55e3e>>>, seen from the main deck looking AFT and slightly UP. The raised poop deck sits high atop the carved sterncastle bulkhead — a wooden wall with an ornate cabin door and brass lanterns — with two matching staircases climbing it, one on each side of frame. Across the forward edge of that raised deck runs a carved wooden BALUSTRADE with turned balusters and a polished handrail. Behind the balustrade, at the center of the deck, stands the GREAT WHEEL, and directly behind the wheel the mizzen mast rises out of frame; a pale square sail is spread high above the scene, rigging and shroud lines framing the left and right edges. On BOTH sides of the raised deck, past the rigging, open sea and the low hazy horizon — the water surface far below deck level, the horizon running at the height of the men's chests. <<<5d1fc1a0-ed92-48a8-8f2e-be6217145943>>> stands AT the wheel on the RIGHT side of frame, hands on the spokes; <<<d0ae923b-03a5-4f69-9046-5fce5e0d62c6>>> stands LEFT of the wheel, a full stride from it, macaw on his left shoulder — both men visible from head to boots above the balustrade line, open deck air around them. Sun high screen-left; camera on the shadow side. FIRST FRAME / BLOCKING First frame: MS, 47°, the stage exactly as described — camera at the sterncastle, looking aft and slightly up at the two men on the raised deck. The frame is a MEDIUM SHOT: the two men and the great wheel dominate the center, the balustrade handrail cutting across the lower frame, the twin staircase tops entering at the lower corners, sea and sky flanking both sides, the mast and the spread sail above closing the top of frame. The helmsman's hands are on the spokes; Eduardo is turning to shout, macaw gripping his shoulder. A near-miss water column is already collapsing beside the ship, spray falling across both men in bright backlit drops. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — MS, 47°, the framing defined above, real time: a near-miss round erupts a tall white water column off the LEFT side of frame — it climbs from the sea far below deck level, overtops the raised deck, hangs, and its spray RAINS DOWN over both men: water streaming off the helmsman's bald head and beard, off Eduardo's bandana, drops flying off the wheel spokes and the balustrade handrail. A second column bursts off the RIGHT side of frame mid-cut. The ship holds full speed, hull unmarked — only water touches her. Eduardo, both hands free, pivots and roars "HARD A-PORT!", arm slashing screen-left; the macaw screams it back in a harsh parrot voice: "HARD A-PORT! HARD A-PORT!", wings half-flaring. The helmsman alone answers: spins the wheel hand-over-hand to the left of frame, fast full-force cranks, water flying off the spinning spokes. The deck heels; both men lean into the tilt. CUT 2 — PROJECTILE-FOLLOW, 63°, real time: opens on the enemy deck of <<<c83e499e-f22f-42aa-b0e4-e28d8124e15b>>> — black iron cannons on wooden carriages already run out, trained toward screen-left where the pale-sailed galleon rides in the distance. The nearest cannon FIRES instantly — white-hot muzzle flash, carriage slamming back against its rope tackle — and the camera whips onto the <<<b8be82fe-7b85-4450-a301-7599579a53e1>>> and FLIES WITH IT: rigid chase mount beside the round, low over the water, sea streaking below in heavy motion blur. @[island_location] holds the far horizon at the LEFT edge of frame the whole flight, hazy green in the distance. Dead ahead the target grows: the back wall of Eduardo's ship — a tall carved wooden cliff rising from the waterline to the railed deck at its top — swelling from silhouette to a wall filling the frame, the flight aimed at its upper half. CUT 3 — HARD CUT into SLOW MOTION, MS, 47°, back on the stage, the SAME framing as CUT 1: camera at the sterncastle looking aft and slightly up — helmsman gripping the wheel frame-right, Eduardo a stride left of it, macaw on his shoulder, both soaked and dripping, the balustrade across the lower frame, sea flanking both sides. The <<<b8be82fe-7b85-4450-a301-7599579a53e1>>> strikes the ship's stern BELOW and BEHIND the raised deck, out of view — and the eruption bursts UP from behind the men, beyond the far edge of their deck: planks, long tumbling splinters and smoke fountaining into the sky at their backs. A second and a third hit pound the same stern wall in sequence, each throwing a fresh fountain up behind them. The nearest blast hurls EDUARDO OFF HIS FEET — STRAIGHT TOWARD THE CAMERA. Flight direction, unambiguous: the explosion is BEHIND him, so his body is thrown TOWARD the lens — with every frame Eduardo grows LARGER, flying at the camera over the balustrade handrail, arms thrown straight out ahead of him, while the wheel, the mast and the debris fountains RECEDE behind him. His face is a comic mask of shock: mouth blown wide, eyes perfectly round, cheeks rippling in the shockwave; the macaw is blown off his shoulder in a burst of red feathers, flapping beside him. The helmsman hunches over the wheel, planted. The cut ends MID-FLIGHT — Eduardo airborne, filling the frame toward the camera. OPTICS 47° for the deck cuts, 63° for the projectile-follow. No drift mid-segment. CUTS 1–2 real time; CUT 3 slow motion start to finish — speed changes only on the hard cut. CAMERA CUT 1 handheld, 2–3 cm shake, spray drops on the lens for a frame at each column collapse. CUT 2 rigid chase mount beside the round, horizon tearing past, buffeting vibration. CUT 3 near-static slow-motion frame letting debris and Eduardo cross it, one deep shudder rolling through on each hit. ACTION & PHYSICS The wheel work is the helmsman's alone — hand-over-hand, spokes blurring, his mass in every crank; Eduardo's hands stay in the air, pointing and commanding. Ships displace real tonnage: heels slow and heavy. Water columns have real mass — climb, hang, collapse; spray soaks cloth so it clings and darkens. The <<<b8be82fe-7b85-4450-a301-7599579a53e1>>> flies a flat fast arc, spinning slowly, kicking spray off wave crests. In slow motion every splinter flies ballistically — heavy chunks fall first, fine fragments hang; struck timbers open outward; the deck shudders underfoot; the parrot compensates with wingbeats. Eduardo's launch is a real ballistic throw: feet leaving the deck, body arcing toward the lens, arms outstretched ahead. The shot ends before he lands. PERFORMANCE Eduardo's shout comes from the chest, veins at the neck, spray flying off his lips. The helmsman: no words, teeth bared in the beard, knuckles white on wet spokes. In the slow-motion flight every muscle of Eduardo's shock-mask face is readable. Pore-level skin realism, water beading through grime, sun catch-lights. LIGHTING High sun, 5600K, hard key from screen-left, sea-bounce fill. Falling spray hangs backlit — every drop a bright streak. Muzzle flash a white-hot pop. Powder smoke 20% on the enemy deck, 40% by CUT 3. AUDIO CUT 1: heavy water eruptions, spray slapping deck and men, wind, rigging, wheel ratchet — Eduardo's roar "HARD A-PORT!" echoed instantly by the macaw's harsh screech "HARD A-PORT! HARD A-PORT!". CUT 2: one beat of wind-silence, the concussive BOOM, then a roaring wind-shear whoosh riding with the ball. CUT 3: three deep stretched cracks of oak in sequence, groaning timber, debris in long doppler arcs, the macaw's scream drawn out over a bass rumble. STYLE Photoreal live-action, bright maritime daylight with powder haze, fine film grain, crisp highlights, 8K master. POSITIVE LOCKS Only two ships exist. STAGE LOCK: in CUTS 1 and 3 the composition holds exactly — camera looking aft and slightly up at the raised stern deck: carved balustrade across the lower frame, twin staircase tops at the lower corners, the great wheel center with the mizzen mast rising behind it, the pale sail closing the top of frame, open sea and low horizon flanking BOTH sides, water surface far below deck level. The helmsman stays at the wheel frame-RIGHT; Eduardo stays frame-LEFT of the wheel, a stride clear of the spokes. HANDS LOCK: only the helmsman touches the wheel, turning it to the LEFT of frame and holding it over; Eduardo's hands stay in the air, commanding. FLIGHT LOCK: in CUT 3 the blast is BEHIND Eduardo and throws him TOWARD THE CAMERA — he grows larger every frame, clearing the balustrade toward the lens, the wheel and eruptions receding behind him. <<<c83e499e-f22f-42aa-b0e4-e28d8124e15b>>> and @[island_location] appear only in CUT 2 — the island far on the horizon at frame-left, the enemy keeping black sails and the green skull mainsail. Only ONE cannon fires on camera; all THREE impacts in CUT 3 land below and behind the raised deck, every eruption rising behind the men. Eduardo: mustard-yellow bandana, shark tooth at the front, hair loose. The macaw rides his left shoulder until the CUT 3 blast. Same sun, sea and wardrobe across all cuts. Cuts only at the specified points.

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Task type: Text To Video
Dimensions: 1920 × 824
Aspect ratio: 240:103

Model: seedance-2

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Prompt details: SCENE CONTEXT Open sea, bright day, mid-chase — Eduardo's pale-sailed galleon fleeing the black-

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