Seedance 2.0 Showcase
Blader door succesvolle openbare generaties van de gemeenschap en open elk item om de prompt, instellingen en output te bekijken.
SETTING: Small Midwest church vestibule, early Sunday morning. Warm wooden interior with stained glass light filterin...
SETTING: Small Midwest church vestibule, early Sunday morning. Warm wooden interior with stained glass light filtering through. Single overhead light fixture casting dramatic shadows. CHARACTERS: - PASTOR SAMUEL (65): Silver-haired, wearing simple black clergy shirt, weathered hands, gentle but firm expression, slight build - NELSON (45): Well-dressed in expensive dark suit, nervous energy, avoiding eye contact, taller than his father - MASON (16): Teenager in casual Sunday clothes, protective stance near grandfather, clear moral conviction in young face SECONDS 0-2 (THE HOOK): Close-up: Nelson's manicured hands spreading bank statements across wooden table. Camera push-in reveals highlighted discrepancies in red ink. His fingers tremble slightly. SECONDS 2-4: Cut to: Samuel's weathered hands opening small wooden box. Extreme close-up of dozens of unopened donation envelopes. Camera pulls back to reveal his shocked expression. SECONDS 4-6: Over-the-shoulder shot: Mason looking between his father and grandfather. His young face processes the betrayal. Camera focuses on his eyes widening with understanding. SECONDS 6-8: Medium shot: Nelson's face as he realizes he's caught. Sweat beads on his forehead. His expensive suit suddenly looks like a costume. Camera holds on his guilty expression. SECONDS 8-10: Wide shot: Samuel placing protective hand on Mason's shoulder while staring directly at Nelson. The generational divide is clear - integrity versus corruption. Hold on Samuel's disappointed but resolute expression. DIALOGUE VARIATIONS: SAMUEL (disappointed but firm): "Nelson, show me the original donation envelopes from last month." "Nelson, I need to see those donation envelopes from last month." "Son, where are the donation envelopes from last month?" "Nelson, bring me the original envelopes from last month." "I want to see those donation envelopes, Nelson." NELSON (defensive, nervous): "I don't keep those. Standard practice is to record and dispose of them." "Those get thrown away after recording. That's normal procedure." "We don't save those. I recorded everything and disposed of them." "Standard protocol is to record and discard donation envelopes." "I followed proper procedure - record the amount, dispose of the envelope." MASON (protective, moral clarity): "Grandpa, these are from the past six months. That's when Dad took over." "These donations are from when Dad started managing the money." "Grandpa, look at the dates. Dad's been handling finances for six months." "These are all from after Dad took over the church accounts." "The timing matches exactly when Dad became treasurer." ACTING DIRECTION: - Samuel: Gentle disappointment masking deep hurt, maintains pastoral composure despite personal betrayal - Nelson: Increasing desperation, fidgeting with papers, avoiding direct eye contact, voice pitch rising - Mason: Protective instincts toward grandfather, moral clarity of youth, standing straighter as truth emerges LIGHTING: Morning light through stained glass creates colored shadows across the wooden table and documents, highlighting the contrast between sacred space and secular corruption.
SETTING: Small Midwest church vestibule, early Sunday morning. Warm wooden interior with stained glass light filterin...
SETTING: Small Midwest church vestibule, early Sunday morning. Warm wooden interior with stained glass light filtering through. Single overhead light fixture casting dramatic shadows. CHARACTERS: - PASTOR SAMUEL (65): Silver-haired, wearing simple black clergy shirt, weathered hands, gentle but firm expression, slight build - NELSON (45): Well-dressed in expensive dark suit, nervous energy, avoiding eye contact, taller than his father - MASON (16): Teenager in casual Sunday clothes, protective stance near grandfather, clear moral conviction in young face SECONDS 0-2 (THE HOOK): Close-up: Nelson's manicured hands spreading bank statements across wooden table. Camera push-in reveals highlighted discrepancies in red ink. His fingers tremble slightly. SECONDS 2-4: Cut to: Samuel's weathered hands opening small wooden box. Extreme close-up of dozens of unopened donation envelopes. Camera pulls back to reveal his shocked expression. SECONDS 4-6: Over-the-shoulder shot: Mason looking between his father and grandfather. His young face processes the betrayal. Camera focuses on his eyes widening with understanding. SECONDS 6-8: Medium shot: Nelson's face as he realizes he's caught. Sweat beads on his forehead. His expensive suit suddenly looks like a costume. Camera holds on his guilty expression. SECONDS 8-10: Wide shot: Samuel placing protective hand on Mason's shoulder while staring directly at Nelson. The generational divide is clear - integrity versus corruption. Hold on Samuel's disappointed but resolute expression. DIALOGUE VARIATIONS: SAMUEL (disappointed but firm): "Nelson, show me the original donation envelopes from last month." "Nelson, I need to see those donation envelopes from last month." "Son, where are the donation envelopes from last month?" "Nelson, bring me the original envelopes from last month." "I want to see those donation envelopes, Nelson." NELSON (defensive, nervous): "I don't keep those. Standard practice is to record and dispose of them." "Those get thrown away after recording. That's normal procedure." "We don't save those. I recorded everything and disposed of them." "Standard protocol is to record and discard donation envelopes." "I followed proper procedure - record the amount, dispose of the envelope." MASON (protective, moral clarity): "Grandpa, these are from the past six months. That's when Dad took over." "These donations are from when Dad started managing the money." "Grandpa, look at the dates. Dad's been handling finances for six months." "These are all from after Dad took over the church accounts." "The timing matches exactly when Dad became treasurer." ACTING DIRECTION: - Samuel: Gentle disappointment masking deep hurt, maintains pastoral composure despite personal betrayal - Nelson: Increasing desperation, fidgeting with papers, avoiding direct eye contact, voice pitch rising - Mason: Protective instincts toward grandfather, moral clarity of youth, standing straighter as truth emerges LIGHTING: Morning light through stained glass creates colored shadows across the wooden table and documents, highlighting the contrast between sacred space and secular corruption.
A movie trailer about these characters eating popcorn and looking directly at the screen in amusement. Cinematic scen...
A movie trailer about these characters eating popcorn and looking directly at the screen in amusement. Cinematic scene. Movie film. Movie lens. Wide angle
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skylin...
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skyline through floor-to-ceiling windows. The large conference room is packed with white American professionals in business attire, champagne glasses in hand, holiday music playing softly in the background. Wide shot: The crowd parts as Marcusâa white American man in his early 40s, expensive tailored suit, slicked-back hairâstrides toward Maria. She's a white American woman in her late 60s, gray hair pulled back, wearing a simple cleaning uniform with an apron, standing beside her cleaning cart. Close-up: Marcus stops in front of Maria, looking down at her with contempt. The conversations around them die. Two hundred white American employees turn to watch, faces frozen in shock. Some hold champagne flutes mid-air. Marcus says loudly, projecting to the room: "You're fired. Effective immediately." He pauses, then adds with a smirk: "Dead weight. We're cutting costs, starting with unnecessary positions." Medium shot: Maria straightens her posture slightly, hands clasped in front of her apron. Her face is calm, dignified. She asks quietly: "May I ask why I'm unnecessary?" Close-up: Marcus's faceâa condescending smile spreads across it. He says: "Because I can hire someone half your age for half the cost. You're slow, you're old, and franklyâ" he gestures dismissively at her uniform "âyou're depressing to look at." Reaction shots: White American employees in the crowdâSarah from accounting gasps, hand over mouth. Tom from legal steps forward, face reddening with anger. A young woman in the back starts crying. An older man shakes his head in disgust. Everyone is silent, horrified. Close-up: Maria's weathered hands, trembling slightly. She reaches into her apron pocketânot for tissues, but pulls out an iPhone. Medium shot: Marcus laughs, throwing his head back. The crowd remains frozen, watching. Close-up: Maria's faceâno longer the quiet janitor. Her eyes are sharp, focused, powerful. The camera holds on her expression as the light shifts, catching the determination in her gaze. Slow zoom out: The entire room bathed in golden holiday light, two hundred white American faces watching this moment of injustice, the tension thick and crackling. Maria stands completely still, phone in hand, while Marcus towers over her, oblivious to what's coming. No logos, no brand names, no watermarks, no text overlays. Cinematic, grounded realism, tension-filled silence between dialogue, emphasis on facial expressions and body language.
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skylin...
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skyline through floor-to-ceiling windows. The large conference room is packed with white American professionals in business attire, champagne glasses in hand, holiday music playing softly in the background. Wide shot: The crowd parts as Marcusâa white American man in his early 40s, expensive tailored suit, slicked-back hairâstrides toward Maria. She's a white American woman in her late 60s, gray hair pulled back, wearing a simple cleaning uniform with an apron, standing beside her cleaning cart. Close-up: Marcus stops in front of Maria, looking down at her with contempt. The conversations around them die. Two hundred white American employees turn to watch, faces frozen in shock. Some hold champagne flutes mid-air. Marcus says loudly, projecting to the room: "You're fired. Effective immediately." He pauses, then adds with a smirk: "Dead weight. We're cutting costs, starting with unnecessary positions." Medium shot: Maria straightens her posture slightly, hands clasped in front of her apron. Her face is calm, dignified. She asks quietly: "May I ask why I'm unnecessary?" Close-up: Marcus's faceâa condescending smile spreads across it. He says: "Because I can hire someone half your age for half the cost. You're slow, you're old, and franklyâ" he gestures dismissively at her uniform "âyou're depressing to look at." Reaction shots: White American employees in the crowdâSarah from accounting gasps, hand over mouth. Tom from legal steps forward, face reddening with anger. A young woman in the back starts crying. An older man shakes his head in disgust. Everyone is silent, horrified. Close-up: Maria's weathered hands, trembling slightly. She reaches into her apron pocketânot for tissues, but pulls out an iPhone. Medium shot: Marcus laughs, throwing his head back. The crowd remains frozen, watching. Close-up: Maria's faceâno longer the quiet janitor. Her eyes are sharp, focused, powerful. The camera holds on her expression as the light shifts, catching the determination in her gaze. Slow zoom out: The entire room bathed in golden holiday light, two hundred white American faces watching this moment of injustice, the tension thick and crackling. Maria stands completely still, phone in hand, while Marcus towers over her, oblivious to what's coming. No logos, no brand names, no watermarks, no text overlays. Cinematic, grounded realism, tension-filled silence between dialogue, emphasis on facial expressions and body language.
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skylin...
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skyline through floor-to-ceiling windows. The large conference room is packed with white American professionals in business attire, champagne glasses in hand, holiday music playing softly in the background. Wide shot: The crowd parts as Marcusâa white American man in his early 40s, expensive tailored suit, slicked-back hairâstrides toward Maria. She's a white American woman in her late 60s, gray hair pulled back, wearing a simple cleaning uniform with an apron, standing beside her cleaning cart. Close-up: Marcus stops in front of Maria, looking down at her with contempt. The conversations around them die. Two hundred white American employees turn to watch, faces frozen in shock. Some hold champagne flutes mid-air. Marcus says loudly, projecting to the room: "You're fired. Effective immediately." He pauses, then adds with a smirk: "Dead weight. We're cutting costs, starting with unnecessary positions." Medium shot: Maria straightens her posture slightly, hands clasped in front of her apron. Her face is calm, dignified. She asks quietly: "May I ask why I'm unnecessary?" Close-up: Marcus's faceâa condescending smile spreads across it. He says: "Because I can hire someone half your age for half the cost. You're slow, you're old, and franklyâ" he gestures dismissively at her uniform "âyou're depressing to look at." Reaction shots: White American employees in the crowdâSarah from accounting gasps, hand over mouth. Tom from legal steps forward, face reddening with anger. A young woman in the back starts crying. An older man shakes his head in disgust. Everyone is silent, horrified. Close-up: Maria's weathered hands, trembling slightly. She reaches into her apron pocketânot for tissues, but pulls out an iPhone. Medium shot: Marcus laughs, throwing his head back. The crowd remains frozen, watching. Close-up: Maria's faceâno longer the quiet janitor. Her eyes are sharp, focused, powerful. The camera holds on her expression as the light shifts, catching the determination in her gaze. Slow zoom out: The entire room bathed in golden holiday light, two hundred white American faces watching this moment of injustice, the tension thick and crackling. Maria stands completely still, phone in hand, while Marcus towers over her, oblivious to what's coming. No logos, no brand names, no watermarks, no text overlays. Cinematic, grounded realism, tension-filled silence between dialogue, emphasis on facial expressions and body language.
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skylin...
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skyline through floor-to-ceiling windows. The large conference room is packed with white American professionals in business attire, champagne glasses in hand, holiday music playing softly in the background. Wide shot: The crowd parts as Marcusâa white American man in his early 40s, expensive tailored suit, slicked-back hairâstrides toward Maria. She's a white American woman in her late 60s, gray hair pulled back, wearing a simple cleaning uniform with an apron, standing beside her cleaning cart. Close-up: Marcus stops in front of Maria, looking down at her with contempt. The conversations around them die. Two hundred white American employees turn to watch, faces frozen in shock. Some hold champagne flutes mid-air. Marcus says loudly, projecting to the room: "You're fired. Effective immediately." He pauses, then adds with a smirk: "Dead weight. We're cutting costs, starting with unnecessary positions." Medium shot: Maria straightens her posture slightly, hands clasped in front of her apron. Her face is calm, dignified. She asks quietly: "May I ask why I'm unnecessary?" Close-up: Marcus's faceâa condescending smile spreads across it. He says: "Because I can hire someone half your age for half the cost. You're slow, you're old, and franklyâ" he gestures dismissively at her uniform "âyou're depressing to look at." Reaction shots: White American employees in the crowdâSarah from accounting gasps, hand over mouth. Tom from legal steps forward, face reddening with anger. A young woman in the back starts crying. An older man shakes his head in disgust. Everyone is silent, horrified. Close-up: Maria's weathered hands, trembling slightly. She reaches into her apron pocketânot for tissues, but pulls out an iPhone. Medium shot: Marcus laughs, throwing his head back. The crowd remains frozen, watching. Close-up: Maria's faceâno longer the quiet janitor. Her eyes are sharp, focused, powerful. The camera holds on her expression as the light shifts, catching the determination in her gaze. Slow zoom out: The entire room bathed in golden holiday light, two hundred white American faces watching this moment of injustice, the tension thick and crackling. Maria stands completely still, phone in hand, while Marcus towers over her, oblivious to what's coming. No logos, no brand names, no watermarks, no text overlays. Cinematic, grounded realism, tension-filled silence between dialogue, emphasis on facial expressions and body language.
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skylin...
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skyline through floor-to-ceiling windows. The large conference room is packed with white American professionals in business attire, champagne glasses in hand, holiday music playing softly in the background. Wide shot: The crowd parts as Marcusâa white American man in his early 40s, expensive tailored suit, slicked-back hairâstrides toward Maria. She's a white American woman in her late 60s, gray hair pulled back, wearing a simple cleaning uniform with an apron, standing beside her cleaning cart. Close-up: Marcus stops in front of Maria, looking down at her with contempt. The conversations around them die. Two hundred white American employees turn to watch, faces frozen in shock. Some hold champagne flutes mid-air. Marcus says loudly, projecting to the room: "You're fired. Effective immediately." He pauses, then adds with a smirk: "Dead weight. We're cutting costs, starting with unnecessary positions." Medium shot: Maria straightens her posture slightly, hands clasped in front of her apron. Her face is calm, dignified. She asks quietly: "May I ask why I'm unnecessary?" Close-up: Marcus's faceâa condescending smile spreads across it. He says: "Because I can hire someone half your age for half the cost. You're slow, you're old, and franklyâ" he gestures dismissively at her uniform "âyou're depressing to look at." Reaction shots: White American employees in the crowdâSarah from accounting gasps, hand over mouth. Tom from legal steps forward, face reddening with anger. A young woman in the back starts crying. An older man shakes his head in disgust. Everyone is silent, horrified. Close-up: Maria's weathered hands, trembling slightly. She reaches into her apron pocketânot for tissues, but pulls out an iPhone. Medium shot: Marcus laughs, throwing his head back. The crowd remains frozen, watching. Close-up: Maria's faceâno longer the quiet janitor. Her eyes are sharp, focused, powerful. The camera holds on her expression as the light shifts, catching the determination in her gaze. Slow zoom out: The entire room bathed in golden holiday light, two hundred white American faces watching this moment of injustice, the tension thick and crackling. Maria stands completely still, phone in hand, while Marcus towers over her, oblivious to what's coming. No logos, no brand names, no watermarks, no text overlays. Cinematic, grounded realism, tension-filled silence between dialogue, emphasis on facial expressions and body language.
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skylin...
A Manhattan corporate Christmas party, evening, warm amber chandelier lighting mixed with the glow of the city skyline through floor-to-ceiling windows. The large conference room is packed with white American professionals in business attire, champagne glasses in hand, holiday music playing softly in the background. Wide shot: The crowd parts as Marcusâa white American man in his early 40s, expensive tailored suit, slicked-back hairâstrides toward Maria. She's a white American woman in her late 60s, gray hair pulled back, wearing a simple cleaning uniform with an apron, standing beside her cleaning cart. Close-up: Marcus stops in front of Maria, looking down at her with contempt. The conversations around them die. Two hundred white American employees turn to watch, faces frozen in shock. Some hold champagne flutes mid-air. Marcus says loudly, projecting to the room: "You're fired. Effective immediately." He pauses, then adds with a smirk: "Dead weight. We're cutting costs, starting with unnecessary positions." Medium shot: Maria straightens her posture slightly, hands clasped in front of her apron. Her face is calm, dignified. She asks quietly: "May I ask why I'm unnecessary?" Close-up: Marcus's faceâa condescending smile spreads across it. He says: "Because I can hire someone half your age for half the cost. You're slow, you're old, and franklyâ" he gestures dismissively at her uniform "âyou're depressing to look at." Reaction shots: White American employees in the crowdâSarah from accounting gasps, hand over mouth. Tom from legal steps forward, face reddening with anger. A young woman in the back starts crying. An older man shakes his head in disgust. Everyone is silent, horrified. Close-up: Maria's weathered hands, trembling slightly. She reaches into her apron pocketânot for tissues, but pulls out an iPhone. Medium shot: Marcus laughs, throwing his head back. The crowd remains frozen, watching. Close-up: Maria's faceâno longer the quiet janitor. Her eyes are sharp, focused, powerful. The camera holds on her expression as the light shifts, catching the determination in her gaze. Slow zoom out: The entire room bathed in golden holiday light, two hundred white American faces watching this moment of injustice, the tension thick and crackling. Maria stands completely still, phone in hand, while Marcus towers over her, oblivious to what's coming. No logos, no brand names, no watermarks, no text overlays. Cinematic, grounded realism, tension-filled silence between dialogue, emphasis on facial expressions and body language.
A movie trailer about these characters eating popcorn looking directly at the camera in amusement. Cinematic scene. M...
A movie trailer about these characters eating popcorn looking directly at the camera in amusement. Cinematic scene. Movie film. Movie lens. Wide angle
A movie trailer about these characters eating popcorn looking directly at the camera in amusement. Cinematic scene. M...
A movie trailer about these characters eating popcorn looking directly at the camera in amusement. Cinematic scene. Movie film. Movie lens. Wide angle
۷ۧÙŰš ŰčÙ Ű§ÙÙ Ù Ù Ű§ÙÙ Ű±ŰÙŰ© ۧÙ۫ۧÙÙŰ© (ŰčÙ Ű±Ù ŰšÙÙ 12â14 ŰłÙŰ©) Ù Ù Ù ŰŻŰ±ŰłŰ© ŰšÙŰŹ ŰšÙ ŰčÙۚ۩ ۧÙÙ۱ۧÙÙŰŻÙŰ ÙÙÙ ŰšŰ«ÙŰ© ÙÙŰŻÙŰĄ ÙÙÙ۞۱ Ù ŰšŰ§ŰŽŰ±Ű© Ű„ÙÙ Ű§Ù...
۷ۧÙŰš ŰčÙ Ű§ÙÙ Ù Ù Ű§ÙÙ Ű±ŰÙŰ© ۧÙ۫ۧÙÙŰ© (ŰčÙ Ű±Ù ŰšÙÙ 12â14 ŰłÙŰ©) Ù Ù Ù ŰŻŰ±ŰłŰ© ŰšÙŰŹ ŰšÙ ŰčÙۚ۩ ۧÙÙ۱ۧÙÙŰŻÙŰ ÙÙÙ ŰšŰ«ÙŰ© ÙÙŰŻÙŰĄ ÙÙÙ۞۱ Ù ŰšŰ§ŰŽŰ±Ű© Ű„ÙÙ Ű§ÙÙŰ§Ù Ù۱ۧ ۚۧۚŰȘŰłŰ§Ù Ű© ÙŰ·ÙÙŰ© ÙÙ Ùۧ۳ۚ۩ ÙŰŁŰŹÙۧۥ ŰŽÙ۱ Ű±Ù Ű¶Ű§Ù. Ù۱ŰȘŰŻÙ ŰŻŰŽŰŻŰ§ŰŽŰ© ŰčÙ Ű§ÙÙŰ© ŰšÙ۶ۧۥ ÙŰžÙÙŰ© Ù Ù ÙÙ Ű§ŰŽ ÙŰ·ÙÙ ŰźÙÙÙ Ù Űč Ű·ÙۧŰȘ Ű·ŰšÙŰčÙŰ© ÙۧÙŰčÙŰ©Ű ÙÙ۱ŰȘŰŻÙ ÙÙ Ű© ŰčÙ Ű§ÙÙŰ© Ù Ű·Ű±ŰČŰ© ŰȘ۷۱ÙŰČÙۧ ŰȘÙÙÙŰŻÙÙۧ ŰŻÙÙÙÙۧ ۣۚÙÙŰ§Ù Ùۧۯۊ۩ (ŰŁŰšÙ۶ ÙÙ۱ÙÙ Ù). Ù ÙŰ§Ù ŰÙ Ű·ÙÙÙÙŰ© ۚ۱ÙŰŠŰ©Ű ŰšŰŽŰ±ŰȘÙ Ű·ŰšÙŰčÙŰ©Ű ŰȘŰčۧۚÙ۱ ÙŰŹÙ Ùۧ۶ŰŰ© ÙÙ Ùۧ۳ۚ۩ ÙŰȘ۳ۏÙÙ ÙÙŰŻÙÙ ŰȘÙÙŰŠŰ©. ۧÙŰźÙÙÙŰ©: ۳ۧŰŰ© Ù ŰŻŰ±ŰłÙŰ© ÙŰžÙÙŰ© Ù Űč ŰžÙÙ۱ Ù ŰšÙÙ Ù ŰŻŰ±ŰłŰ© ŰšÙŰŹ ŰšÙ ŰčÙۚ۩ ۧÙÙ۱ۧÙÙŰŻÙ ŰšŰŽÙÙ ŰșÙ۱ Ù ŰšŰ§ŰŽŰ± ÙÙ Ű§ÙŰźÙÙÙŰ©Ű Ù Űč ŰČÙÙŰ© Ű±Ù Ű¶Ű§ÙÙŰ© ŰźÙÙÙŰ© (ÙÙۧÙÙŰł Ű°ÙŰšÙŰ©Ű ÙÙŰ§Ù Ù Ű¶ÙŰĄŰ Ű„Ű¶Ű§ŰĄŰ© ۯۧÙŰŠŰ© ÙۧŰčÙ Ű©). ۧÙۄ۶ۧۥ۩: ۄ۶ۧۥ۩ Ű°ÙŰšÙŰ© ۯۧÙŰŠŰ© ÙÙŰȘ ۧÙŰș۱ÙŰš (Golden Hour)Ű ŰłÙÙÙ Ű§ŰŠÙŰ©Ű soft lightingŰ ŰȘÙۧ۔ÙÙ ŰčۧÙÙŰ© ŰŹŰŻÙŰ§Ű realistic skin texture. ۧÙŰŁŰłÙÙŰš: ŰȘŰ”ÙÙ۱ ÙÙŰȘÙŰș۱ۧÙÙ ÙۧÙŰčÙ ŰŹŰŻÙŰ§Ű 4K, ultra realistic, cinematic portrait, shallow depth of field, professional camera shot, natural colors, no exaggeration, modest appearance, respectful cultural representation. ۧÙÙ۶ŰčÙŰ©: ÙۧÙÙ ŰšŰŽÙÙ Ù ŰłŰȘÙÙÙ Ű Ű§ÙÙŰŻŰ§Ù ŰŁÙ Ű§Ù Ù ŰšŰŽÙÙ Ű·ŰšÙŰčÙŰ ŰŹŰ§ÙŰČ ÙÙŰȘŰŰŻŰ« ŰŁÙ Ű§Ù Ű§ÙÙŰ§Ù Ù۱ۧ (neutral speaking pose). ۧÙ۷ۧÙŰš ÙÙÙÙ "ۧÙŰłÙŰ§Ù ŰčÙÙÙÙ Ù۱ŰÙ Ű© ۧÙÙÙ Ùۚ۱ÙۧŰȘÙŰ ŰŁÙۧ ۧÙ۷ۧÙŰš ŰŁŰÙ ŰŻ Ù Ù Ù ŰŻŰ±ŰłŰ© ŰšÙÙÙŰŹÙ ŰšÙÙÙ ŰčÙÙÙŰšÙŰ©Ù Ű§ÙÙÙÙ۱ÙۧÙÙÙŰŻÙÙÙÙŰ ŰŁÙÙŰŠÙÙ ŰŹÙ ÙŰčÙۧ ŰšŰÙÙÙ ŰŽÙ۱ Ű±Ù Ű¶Ű§Ù Ű§ÙÙ ŰšŰ§Ű±ÙŰ ŰłŰ§ŰŠÙÙۧ ۧÙÙÙ ŰŁÙ ÙŰŹŰčÙÙ ŰŽÙ۱ ŰźÙŰ±Ù Ùۚ۱ÙŰ©Ű ÙŰŁÙ ÙŰčÙŰŻÙ ŰčÙÙÙۧ ÙŰčÙÙ ÙŰ·ÙÙۧ ۧÙŰșۧÙÙ ŰšŰ§ÙÙÙ Ù ÙۧÙŰ„ÙÙ Ű§Ù. ÙÙ ŰčŰ§Ù ÙŰŁÙŰȘÙ ŰšŰźÙŰ±Ű ÙŰ±Ù Ű¶Ű§Ù Ù ŰšŰ§Ű±Ù ŰčÙÙÙÙ ."
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