1. BT-010 Full30 720p v3, Seedance 2.5 on Segmind (main footage) Generation goal: a 30 second 9:16 d

1. BT-010 Full30 720p v3, Seedance 2.5 on Segmind (main footage) Generation goal: a 30 second 9:16 documentary-style short, eleven staged beats, hand-drawn illustration throughout, one warm night inside a neighbourhood bar where three unreliable ways of picking a driver give way to one small device that gives a number. Cutting feel is clean hard cuts between every stage, no dissolves and no transitions of any kind. Reference roles. @Image 1 owns the visual style and the cast: hand-drawn editorial illustration, clearly and openly drawn, with visible ink linework around every form, flat and simplified shaded fills in a limited number of tonal steps, a slightly rough textured paper grain over the whole frame, warm skin tones and warm practical light against a deep navy night ground. Push the style further toward drawing and away from photography than @Image 1 itself sits. Every frame, every person, every face, every hand and every object in this piece is drawn in that one illustration style and reads instantly as an illustration rather than a photograph. No photographic rendering anywhere, on any character, including every background character. No photoreal skin pores, no photographic depth-of-field bokeh balls, no lens flare, no camera grain and no cinematic photographic realism. Faces are simplified and drawn, not rendered. @Image 1 does not own composition, it does not own staging, it does not own the screen reading, and it does not own the lighting fixtures: the black hanging pendant lamp visible in @Image 1 is not part of this piece and must not appear in any stage. @Image 2 owns the geometry of the small white breathalyser only: white casing proportions, rounded left edge, black front screen field, logo placement, blue mouthpiece at the upper right, side button, attachment loop, clasp and keyring. Take its shape, not its photographic rendering; redraw it in the illustration style of @Image 1 with drawn linework and flat fills, never as a photograph of a product. @Image 3 owns exactly how a person uses that device and must be matched literally in Stage 10: the person is seen in side profile, the device is held horizontally in one hand at mouth height, thumb and fingers pinching the white casing, the black screen turned outward to camera so the number is readable, the lips sealed on the near end of the device, and the keyring hanging loose below the hand. Not front on, not vertical, not the screen against the mouth. @Image 4 owns how large the device is in a hand: small, roughly the length of two finger joints, never a large handheld police unit and never a coin. Do not copy the faces, identities, hair or clothing of anyone in @Image 2, @Image 3 or @Image 4. None of these images is a required opening frame. Continuity. Six friends, three women and three men, late twenties to mid thirties, all drawn in the identical flat illustrated style of @Image 1 and identical to themselves in every stage they appear in. NORA is the woman with dark wavy shoulder-length hair in a black sleeveless top. KIRA is the woman with straight auburn hair tucked behind one ear in a mustard-yellow ribbed cardigan. PILAR is the woman with tight dark curls in a white short-sleeved blouse. DEAN is the man with short dark hair in a navy button-down shirt with the sleeves rolled. RUSS is the man with a close-cropped beard in a plain black crew-neck tee. TOBY is the man with sandy hair and round glasses in a grey-green flannel shirt. They sit at one circular curved booth table at the back of an ordinary neighbourhood bar. The night city is visible through a tall window behind them. Palette is warm and low: deep navy ground, mid-blue midtones, warm amber practical light, paper-white and warm skin as the light values, one sky-blue accent reserved for the device screen. Interior light is practical only: a small table candle in a holder on the table, wall sconces on the back wall, a floor lamp standing in the corner, and flush fixtures set flat into the ceiling. Every ceiling in this piece is flat, plain and bare. There are no pendant lights, no hanging lamps, no shades on cords, no chandeliers, no bulbs on wires and nothing at all suspended from any ceiling in any shot, including in any shot that resembles @Image 1. No real-world brand names, no real logos, no signage, no lettering, no writing and no numerals anywhere in this piece except the readings on the device screen where they are named below. Stage 1: an extreme close-up of KIRA's hand held up in the warm light of the bar, forearm and cardigan cuff in frame so the hand reads at true size. She counts people off: the thumb goes out, then the index finger, then the middle finger. Ends with three fingers held up and still. Anchor @Image 1 for style, not composition. Stage 2: a medium shot of TOBY at the booth, caught mid-shrug, both shoulders up and both palms turned out, an exaggerated goofy I-have-no-idea shrug, a half smile on his face. Ends with his shoulders dropping back down and his hands settling on the table. Anchor @Image 1 for style and cast, not composition. Stage 3: a point-of-view shot looking RUSS up and down as he stands beside the booth. The shot begins tight on his shoes on the bar floor and the camera tilts smoothly and steadily upward, past his jeans, past the black crew-neck tee, past his hands, and comes to rest on his face. He is not comic and not silly. He is heavily drunk and it looks dangerous: eyes half lidded and unfocused, mouth slack, his weight shifting so he sways slightly on his feet. Frame the shot openly with no dark border and no vignette. Ends held on his unfocused face. Anchor @Image 1 for style and cast, not composition. Stage 4: a high-angle shot looking straight down on the circular booth table. All six friends, NORA, KIRA, PILAR, DEAN, RUSS and TOBY, are seated around it and visible from above. Across the middle of the table a row of drinking glasses is lined up, some empty and some half empty. DEAN's hand reaches in and moves along the row, his index finger pointing at each glass in turn as he tallies them. Ends with his finger resting on the last glass in the row. Anchor @Image 1 for style and cast, not composition. Stage 5: a low-angle shot from table height looking up at DEAN in his navy button-down, NORA seated on his right and TOBY seated on his left, both of them smiling at him, the flat bare ceiling above them. DEAN is half joking as he finishes the count, a grin on his face that does not reach his eyes, and the grin fades into something uncomfortable. Ends on his uncomfortable look, the other two still smiling. Anchor @Image 1 for style and cast, not composition. Stage 6: DEAN's point of view across the table, the camera drifting gently up and down as though the person holding it is unsteady. Opposite him sits RUSS in the black crew-neck tee. RUSS raises one thumb straight up toward camera, an I-am-fine-to-drive thumbs up, and in his other hand he holds a set of car keys up into frame. His face contradicts the gesture entirely: eyes glazed and half closed, head lolling slightly, his whole upper body swaying. Ends with the thumb still up and his head tipping to one side. Anchor @Image 1 for style and cast, not composition. Stage 7: exterior night outside the bar, a point-of-view shot from inside the small group of friends standing on the pavement, the camera carried with heavy unsteady handheld movement because the person holding it is drunk. Ahead of them and filmed entirely from behind, RUSS in the plain black crew-neck tee walks away from camera toward a parked car at the kerb. His walk is steady, normal and completely unremarkable. He reaches the car, opens the driver's door and gets into the driver's seat. Street light is sodium orange and the city night is deep navy behind him. Frame the shot openly with no dark border and no vignette. Ends with the driver's door closing behind him. Anchor @Image 1 for style and cast, not composition. Stage 8: a high-angle close-up looking down on the table, NORA's open hand resting on the table surface with the small white keychain breathalyser lying in her palm, her wrist and forearm in frame so the device reads at true size. She is about to use it. The device is drawn exactly to @Image 2's geometry and sized against the hand exactly as in @Image 4: small, roughly the length of two finger joints. Its black screen reads 0.000 %BAC in glowing sky-blue numerals, completely steady with no flicker and no warping. Ends held still with the device flat in her palm. Anchor @Image 2 for the device, @Image 4 for the scale, @Image 1 for style. Stage 9: a very low-angle close-up at table height, tight on hands. NORA's hand holds the small white keychain device out to her right and places it into PILAR's waiting hand as it moves around the curve of the booth, both forearms and sleeves in frame so the hands and the device read at true size. Ends with the device fully in PILAR's hand and NORA's hand withdrawing. Anchor @Image 2 for the device, @Image 4 for the scale, @Image 1 for style. Stage 10: the camera follows that hand up and settles into a close side-profile shot of PILAR. She holds the small white keychain breathalyser horizontally in one hand at mouth height, thumb and fingers pinching the white casing, its black screen turned outward to camera so the number is readable, her lips sealed on the near end of the device, the keyring hanging loose below her hand, exactly as in @Image 3. She exhales steadily into it. This is a breathalyser test, not smoking and not vaping: no vapour, no smoke, no cloud of any kind. Ends with the screen resolving and holding at 0.01 %BAC in glowing sky-blue numerals, large enough to read, completely steady with no flicker and no warping. Anchor @Image 3 for the profile and the grip, @Image 2 for the device, @Image 1 for style and cast. Stage 11: a still close shot of the small white keychain device standing upright on the table beside a set of car keys, shot at table height with a shallow depth of field, the six friends still seated at the booth behind it and thrown soft and out of focus, the softness drawn as simplified loose shapes rather than as photographic lens blur. The candle, the wall sconces and the corner floor lamp are still lit and the ceiling stays flat and bare. The device is drawn exactly to @Image 2's geometry and its black screen reads 0.000 %BAC in glowing sky-blue numerals, held completely steady. Ends held still, with clean uncluttered dark space across the upper third of the frame and nothing in it. Anchor @Image 2 for the device, @Image 1 for style. Maintain: six friends throughout, NORA, KIRA, PILAR, DEAN, RUSS and TOBY, each in the garment described above and never swapping, every one of them drawn in the same flat illustration style with no photographic faces; RUSS in the plain black crew-neck tee in Stages 3, 4, 6, 7 and 9; DEAN in the navy button-down in Stages 4, 5 and 6; one circular curved booth table in one bar; one row of drinking glasses on the table in Stage 4; one set of car keys, in RUSS's hand in Stage 6, at the kerb car in Stage 7 and on the table in Stage 11; exactly one small white keychain breathalyser, appearing only in Stages 8, 9, 10 and 11, reading 0.000 %BAC in Stage 8, 0.01 %BAC in Stage 10 and 0.000 %BAC in Stage 11; one parked car at the kerb in Stage 7 only; no second device of any kind and no police unit anywhere; flat bare ceilings and practical lighting only, never a hanging or pendant lamp; no lettering, signage or numerals anywhere except those device readings. (low warm bar room tone, muffled conversation and a room of people talking at a distance, no music) <glassware clinking and a glass set down on wood, a chair creaking, a set of car keys jingling, the small plastic click of the device changing hands, a steady exhale into the mouthpiece, a single soft electronic beep as the reading lands, footsteps on pavement and a car door shutting> No spoken dialogue and no voiceover anywhere in this piece. No on-screen text, captions, titles, subtitles, supers or logos of any kind. Hard cut between every stage, no dissolves, no fades, no wipes. Camera locked off on every stage except the upward tilt in Stage 3, the unsteady drift in Stage 6, the heavy drunk handheld movement in Stage 7 and the follow up onto the face in Stage 10. No shake, no push, no zoom. No music. The entire piece is a drawing in motion, not photographed footage. 2. Insert "Took Their Word", Seedance 2.5 on Segmind 6s (~0:13.9-~0:17.5) Match @Image 1 and @Image 2: warm candlelit editorial illustration, hand-drawn ink contours, paper grain, navy shadows, amber light. Preserve the referenced friends and clothes. No captions, no new text, no music or speech. Vertical 9:16. Natural restrained movement, no exaggerated drunkenness. Single coherent dinner B-roll shot. The sandy-haired man with round glasses and grey-green flannel from @Image 1 sits with the same friends at the round restaurant table. He calmly reassures the group with a small confident nod and an open-hand gesture indicating he feels fine. The nearby friends accept his reassurance with relaxed nods. Communicate taking his word for it through glances and body language, not spoken dialogue. Candle and glasses on table, no ceiling pendant. Gentle eye-level camera drift. Do not show BAC readings or imply any person is objectively sober.