Create a 30-second, horizontal 16:9, 1080p, 24fps photorealistic live-action gothic action-horror sh

Create a 30-second, horizontal 16:9, 1080p, 24fps photorealistic live-action gothic action-horror short set inside a contemporary research laboratory in Irkutsk, Russia. A masked hunter enters the laboratory and fights through a crowd of infected staff using a long scythe and an antique-looking pistol. The opening is three quick images: his beaked mask, the Russian laboratory sign, then the door opening into the occupied room. The first confrontation begins within three seconds. Use fast, coherent editing and forceful physical performances. The images look photographed on a real set with tangible costumes, practical lighting and human weight. Tell the story through action alone. Audio contains environmental and action sounds only; every character remains wordless. THE HUNTER One tall, athletic man whose face stays covered by the same weathered grey-beige plague mask. It has a long, narrow beak tapering to a pointed, slightly downturned tip, a worn matte surface, two small recessed dark eye openings shaded by the low hat brim, and dark leather straps. Preserve this mask's silhouette and proportions from every angle. He wears a battered black hunter's hat with a low brim, a short layered black-feather mantle, a high-collared dark leather coat with long split tails, a faded burgundy waist sash, fitted dark trousers, black leather gloves and heavy worn boots. The silhouette is gothic and severe. Leather has creases and rubbed edges; feathers overlap irregularly; cloth and coat tails move with his body and settle with gravity. His movements are decisive and economical: he advances, meets attacks and keeps moving. His head follows actual threats. His shoulders and footwork lead the weapon movements. WEAPONS AND HANDS ONE long scythe with a straight dark wooden shaft, approximately 1.7 metres long, and a broad curved steel blade approximately 65 centimetres long. The blade is rigidly attached to the upper end. Its shape and size stay fixed throughout. ONE compact antique-looking six-shot revolver with a dark steel finish and a worn wooden grip. This is the hunter's pistol. Its holster is on his LEFT hip. He fires exactly THREE shots during the middle of the sequence and has no need to reload. He enters carrying the scythe upright in his RIGHT hand. His LEFT hand operates the door and then joins the shaft for the first two-handed fight. During the shooting passage, his RIGHT hand retains the scythe while his LEFT hand draws and fires the pistol. He returns the pistol to its LEFT holster before using the scythe with both hands again. Keep each weapon visibly supported by the correct hand or holster through every transition. LABORATORY AND GEOGRAPHY A short institutional corridor leads through one broad, single-leaf metal door into a spacious laboratory hall. Beside the door is a physical wall plaque bearing two readable lines: ИРКУТСК ЛАБОРАТОРИЯ The broad door opens inward against the laboratory wall, leaving the threshold clear. It is tall and wide enough for the upright scythe and its blade to pass through. The hunter pushes it open with his left hand and releases the handle after crossing. The door stays open behind him for the rest of the video. Inside are long stainless-steel workbenches, worn pale walls, grey floor tiles, glass-fronted storage cabinets, blue drawer units and ordinary laboratory instruments. The central aisle is broad enough for the scythe's lateral swing. Benches stand outside that swing space. Keep the fight in this open aisle, several steps beyond the entrance. At the far end, a floor-to-ceiling glass partition separates another occupied laboratory bay. An open connecting passage is visible at the far right of the partition. This deeper bay supplies the final reveal. Preserve the entrance behind the hunter, the workbenches along the sides and the glass partition ahead. His overall progress is from the entrance into the building, predominantly left to right in side views. THE INFECTED A crowd of infected laboratory staff occupies the hall and the deeper bay. Men and women have distinct faces, ordinary builds and varied white lab coats or blue scrubs. Pallid skin, cloudy eyes, disordered hair, faint dark facial veins and stained, rumpled work clothes make their condition visible. They move with aggressive forward momentum, uneven balance and recognizable human anatomy. Background figures close the distance while nearer attackers reach him. Each close encounter has a readable attacker, target and contact. Those who fall remain where they land; arriving opponents come from visible deeper parts of the room. LIGHT AND PHOTOGRAPHIC TEXTURE Bright overcast daytime outside. Tall side windows cast broad, soft daylight across the laboratory. Existing cool-white ceiling panels light the aisle and corridor. Faces, mask details, hands, weapons and foot contacts remain readable, including inside the dark costume. Retain directional shadows, natural differences in exposure, worn materials, skin texture and restrained reflections on glass and steel. Use modest contrast, subdued colour, soft highlight roll-off, subtle grain and ordinary motion blur. Reflected window light catches the blade briefly as its angle changes. Pistol flashes are small and momentary. The gothic atmosphere comes from the hunter's costume and the situation. The laboratory retains believable everyday illumination, visible depth and a practical working layout. CAMERA AND EDITING Use brisk hard cuts, generally every one to two seconds during the fight. Intercut a few clear medium-wide views with closer views of completed actions. Keep enough width to see weapon travel and its target together at the important impacts. The camera has handheld weight, small irregular movement, slight framing corrections and brief reactive jolts. Follow movement from plausible floor-level positions. Keep the same side of the fight axis across adjacent shots so the hunter's direction remains clear. Show a swing beginning, making contact and clearing its target within the same shot. Cut on the resulting movement or fall. Shooting views show the aimed pistol and the corresponding target in a readable spatial relationship. Impacts cause reactions; anticipation comes from seeing an approaching attack. Everything plays at normal speed. Preserve quick footwork, short recovery movements and continuous forward pressure. Use editing to maintain pace without stopping for posed portraits during combat. ACTION AND TIMING 00:00–00:00.8 — THE MASK Extreme close three-quarter view of the beaked mask in the corridor. Soft window light grazes the worn surface of the long, narrow beak as the hunter turns sharply toward the laboratory door. The small dark eye openings remain shaded beneath the hat brim. The feather mantle and edge of his hat are visible. Begin in motion. 00:00.8–00:01.6 — IRKUTSK Hard cut to the wall plaque beside the closed door: ИРКУТСК above ЛАБОРАТОРИЯ. His LEFT gloved hand enters the lower part of this same composition, depresses the lever handle and starts pushing the door inward. 00:01.6–00:03 — ENTRY Cut inside the hall facing the entrance. Continue the same door-opening movement. He strides through, scythe upright in his RIGHT hand, releases the handle and brings his LEFT hand onto the shaft. The open hall and several infected people are visible around and behind the nearest attacker. That attacker turns and rushes him immediately. The hunter steps forward into the clear aisle to meet the charge, leaving the doorway behind. 00:03–00:08 — FIRST SCYTHE EXCHANGE In a medium-wide side view, the hunter plants his lead foot and drives one powerful two-handed scythe sweep across the first attacker's torso. The blade meets its target, the coat pulls with the contact, and the attacker turns off balance and falls to the side of the aisle. The scythe completes its arc and clears the falling body. Cut with that fall to the second infected person closing from ahead. The hunter recovers the shaft across his body and drives its lower end into the second attacker's chest. The contact forces the attacker backward, feet scrambling before the fall. The hunter advances past the two fallen opponents. Further infected staff are already approaching between the benches. Keep the weapon movement forceful and the body reactions grounded. 00:08–00:09 — DRAW A short medium view shows the hunter releasing his LEFT hand from the shaft and drawing the revolver from his LEFT hip. His RIGHT hand keeps the scythe upright beside him, with the blade clear of his head and the surrounding benches. 00:09–00:14 — THREE SHOTS He moves diagonally through the open aisle and fires three distinct shots at three approaching infected people, one target per shot. The LEFT arm raises toward each target. Each shot produces a brief muzzle flash and a small, sharp recoil of the pistol and wrist. The targeted body reacts after the shot and collapses with its existing momentum. Other infected people keep advancing in the background. Use two or three clean angles that preserve his direction and the targets' positions. Keep the RIGHT-hand scythe visible in the wider views. The shooting passage flows directly onward as an infected woman in blue scrubs reaches close range. 00:14–00:15 — BACK TO THE SCYTHE Still moving, he lowers the revolver and seats it fully in the LEFT hip holster. His now-empty LEFT hand visibly returns to the shaft. The approaching woman is still ahead of him, closing the gap. 00:15–00:25 — THE CROWD CLOSES She lunges. He shifts one step off her path and delivers a fast two-handed scythe strike across her body. Her forward movement carries into the impact; she loses her footing and falls clear of his next step. A larger infected man in a white coat charges from the space between the benches. Cut to a wider side angle showing both bodies and the open floor. The hunter braces the shaft across the incoming arms, redirects the charge sideways and immediately follows with a full scythe swing as the attacker turns back toward him. Show the contact and resulting fall together. A final attacker cuts across his route. The hunter pivots into a short returning sweep, strikes the attacker and continues forward as the body falls to the side. Cut with his advance rather than holding on the fallen opponent. His coat tails follow the turn. The scythe stays in both hands and the pistol stays holstered. Previously fallen opponents remain behind him. 00:25–00:30 — MORE BEHIND THE GLASS Track beside the hunter as he reaches the far end of the hall. His movement reveals the adjoining bay beyond the glass partition: a much larger crowd of infected laboratory staff is gathered inside. They notice him and begin converging toward the open connecting passage at the far right. Show the glass boundary and that route together so their movement has a clear destination. Cut briefly to the hunter's mask turning toward them, then return to a wider moving view as he strides toward the connecting passage and brings the scythe across his body in a ready position. Finish while both sides are still moving toward the next confrontation. The deeper crowd, glass partition and hunter remain clearly readable. End at 30 seconds without an end card. SOUND AND FINAL CONTINUITY Use natural synchronized location sound only, with unarticulated breathing and exertion. The entire video is wordless: no dialogue, vocal phrases, narration, announcements or music. Keep one hunter, one unchanged costume, one scythe and one revolver throughout. The pistol starts holstered, is drawn once, fires three times, returns to the holster and stays there. The scythe stays physically in his hand or hands throughout. The entrance opens once and stays open. Fighting takes place in the wide laboratory aisle. Background staff move through the actual aisles and connecting passage. The glass partition remains intact. Every fall follows a visible cause, and fallen opponents remain down. Show force through body movement, clothing tension, impacts and falls. Keep the violence non-graphic. Deliver live-action photographic realism with clean full-frame footage: no slow motion, game interface, animated weapon trails, glowing eyes, subtitles, overlay text, logos or watermarks. The Russian wall plaque is part of the physical location.