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REFERENCES
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@Image1 = the woman — a character sheet with three views on a plain grey background. Take from it ONLY her identity and her clothing: her face, her bone structure, her eyes and eyelid shape, her nose, her mouth, her jawline, her real skin texture and pores, her medium-length black hair, her green ribbed tank top and her oatmeal linen trousers. She must be recognisably the same person for the whole thirty seconds. She is NOT wearing glasses in @Image1; in this video she wears plain tortoiseshell glasses until 15.0s, as described below. Do not inherit the grey background, the flat studio lighting, the standing pose or the three-view layout. @Image1 is NOT a starting frame.
@Image2 = the mascara. Keep its exact shape, proportions, matte black finish and the single fine silver ring. It carries NO brand name, NO logo and NO lettering of any kind — keep it completely unmarked and never add text to it.
@Image3 = the lipstick. Keep its exact shape, proportions, matte ivory case, the fine gold band and the rose-pink bullet. It carries NO brand name, NO logo and NO lettering of any kind — keep it completely unmarked and never add text to it.
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ABOUT THE TIMESTAMPS BELOW
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The timestamps mark when things occur inside ONE continuous take. They are not shot boundaries, not clip divisions, and not edit points. Nothing changes at a timestamp except what she is doing. The camera keeps rolling straight through every one of them.
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NO DEAD AIR
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She is never still or neutral. She never stops, stares, or holds a blank expression between actions. Every movement overlaps the next — she is already beginning the following action before the current one finishes, and she talks through her movements rather than pausing to speak. There is no moment where she sits motionless waiting for a line, and no moment after a line where she holds a still expression. Speech, gesture and activity run continuously and overlap throughout.
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NO VISIBLE PHONE OR DEVICE
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The camera is her phone. No phone, screen, handheld device or recording equipment appears anywhere in frame at any point. During the opening she is carrying the camera — her right arm is extended toward the lens and heavily foreshortened at the frame edge, and her hand is out of frame. Her left hand is empty. She is never seen holding a phone while a phone films her.
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FORMAT
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VERTICAL 9:16 portrait. Front-facing phone camera held in portrait orientation. Mild wide-angle distortion. 24fps.
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CAMERA GEOMETRY
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THE ROOM — PHYSICAL LAYOUT. Build the space from this plan and keep every object in the same place for the whole video.
Plan of the room, seen from above:
A small rented Japanese one-room apartment, roughly 4.5 by 3 metres. Plain white vinyl wallpaper, light wood-grain laminate flooring, a visible plug socket with a cable running along the skirting board.
A tall sliding balcony window fills most of one wall, plain lace curtains drawn across it, the balcony railing faintly visible through them. It is the only light source in the room.
The low wooden desk stands against the wall next to that window, at right angles to it, so that a person sitting at the desk has the window on their LEFT.
She sits at that desk on a wooden chair, facing the desk and the wall.
A small standing mirror sits on the desk directly in front of her.
The phone is stood upright in portrait orientation on the desk to her LEFT, propped against a short stack of books, between her and the window, offset roughly 35 degrees from the direction she is facing and angled back toward her and very slightly upward. It is never directly in front of her and it never blocks the mirror.
The soft brown leather tote bag sits on the desk on her RIGHT, within easy reach.
The wall-mounted white air conditioner is high on the wall behind her; the round flush ceiling light is above her, switched off. One small potted plant stands on the floor by the window.
The white sliding entrance door is on the wall BEHIND the phone, so it never appears in the locked shot. She comes in through it at the start, which is why she walks toward the camera rather than past it.
The room is clean but lived in — not a set, not styled, not minimal-aesthetic, not a Western apartment.
WHAT THAT LAYOUT MEANS FOR THE FRAME — this must stay consistent
Because the phone sits to her left and the mirror is straight ahead of her, the mirror falls just past the LEFT edge of the frame: only its dark wooden edge and a soft out-of-focus sliver of her shoulder and hair are visible at the extreme border. Her face is never readable in it.
Because the window is on her left and further back than the phone, the balcony window and its lace curtains sit at the frame RIGHT, and the daylight crosses her from the upper right of frame.
Because the tote bag is on her right, it appears at the LOWER LEFT of the frame.
The wall behind her, the air conditioner and the ceiling fill the upper third of the frame. Her head and shoulders sit in the middle third. The desk surface crosses the lower third, with clear wood where she sets things down.
HOW SHE SITS AND TURNS
Her resting position is three-quarter, LEFT side nearer the lens. Her natural working gaze — into the mirror — exits toward frame-left.
To address the viewer she turns her head to her LEFT, toward the lens and toward the window side of the room. That turn is always a visible deliberate movement, and it is the same turn every time.
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LIGHTING
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Overcast-soft daylight through the balcony window from the upper right of frame, diffused by lace curtains, the only meaningful source. Cool-neutral, roughly 5600K. Ceiling light off, desk lamp off. Soft open shadows, heavy fill off the pale walls, faint warm return from the wooden floor.
Because the window is on her left and her left side is the side nearer the lens, the daylight falls across the half of her face that is turned toward the camera — that side is lit and shows every pore, while the far half of her face turns gently into soft shadow. The light rakes along her left cheekbone and jaw and catches the peach fuzz there.
When she turns to the mirror at frame-left she turns away from the window, so her face loses the direct light and flattens slightly. When she turns back to the lens the light returns across her face. This change is real and should be visible.
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SUBJECT
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A 26-year-old Japanese woman, 164cm, slim and well-proportportion with a long neck and narrow shoulders, exactly as in @Image1.
She is strikingly beautiful, but her beauty is entirely natural and unmanufactured — no cosmetic work, no makeup at the start, nothing styled. She is not a fashion influencer and never poses. Her manner is calm, composed and warm, like she is talking to one friend.
HER BEAUTY COMES FROM BONE STRUCTURE AND PROPORTION, NEVER FROM SMOOTHING OR FILTERING. She is beautiful WITH her pores, not instead of them.
FACE — a refined oval face, slightly long. Clearly defined double eyelids with a narrow crease close to the lash line. Long almond eyes with a very slight downward tilt at the outer corner. A fine straight nose bridge with a small refined tip. A well-shaped mouth with a clear lip line. High cheekbones, a clean jawline, a narrow chin. Eyebrows of natural thickness with a soft natural arch, the left and right very slightly different.
SKIN — cool-toned, fair and fine-grained, genuinely healthy, with a warm blood tone under the surface and real colour at the lips, cheeks and ears. Keep the real fine pores across the nose and inner cheeks, the vellus hair on the jaw and upper lip, the faint translucency at the temples and the natural oil sheen on the forehead and nose bridge, for the whole thirty seconds — never smooth, never plastic, never retouched, never a wax-doll finish. She never looks sallow, grey or drained.
HAIR — black, healthy, with its own natural shine, medium length, ending just above the collarbone, loosely turned under at the ends. A long fringe swept to one side. Washed but not styled today. It falls forward into her face whenever she leans down, which is why she keeps tucking the near side behind her ear.
CLOTHES — a fitted ribbed cotton tank top in a vivid, saturated, clean green (the green of fresh spring leaves, clearly green and never sage, olive, khaki or muted), narrow shoulder straps, a scooped neckline, the ribbing visible in the knit. Wide-legged easy trousers in clean natural oatmeal linen with a soft drawstring waist, falling in heavy drapes with their own natural creases. Bare feet. Nothing branded, no logos, no prints.
GLASSES — plain tortoiseshell frames, worn until 15.0s, off after that.
Bare-faced at the start: no eye makeup, no lip colour, short undarkened lashes, lips their natural pale colour.
DO NOT MAKE HER LOOK LIKE AN INFLUENCER. Do not enlarge her eyes, do not shrink her face, do not whiten her teeth, do not smooth her skin, do not give her coloured contact lenses, do not give her salon-blown hair, do not give her manicured or coloured nails, do not give her jewellery, do not give her a glamour pose or expression. No beauty filter of any kind. She should look like phone footage of a real Japanese woman in her own apartment on a normal afternoon.
MAKEUP CONTINUITY — IMPORTANT
Her face changes only in the two ways written in the timeline, and only at the written times. Before 15.6s her lashes are short, bare and undarkened. From 15.6s to 20.8s the lashes on her right eye and then her left eye visibly darken, thicken and separate, and stay that way. Before 22.0s her lips are their natural pale colour. From 22.0s to 24.4s the colour fills in and stays. No other makeup appears at any point — no foundation change, no blush, no eyeliner, no eyeshadow, no brow work.
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DELIVERY
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Natural Tokyo Japanese, casual and unperformed, as if talking to one friend. Unhurried, roughly 5 mora per second — she is doing her makeup, not pitching, so she is in no rush at all. There are real silences between the lines and she keeps moving through them. Slightly breathy, with audible breaths. No announcer tone, no exaggerated brightness, no rising sales pitch.
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DIALOGUE — LOCKED VERBATIM
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She speaks exactly these words, in exactly this order, in Japanese, inside exactly these windows. No improvisation, no rewording, no reordering, no additions, no omissions. This is the complete and only dialogue in the video.
LINE 1 (0.4s-3.8s) — 「ねえ、見て。最近のAIやばいよ」
LINE 2 (4.8s-7.6s) — 「だって、わたし、実在しないの」
LINE 3 (8.8s-14.4s) — 「この30秒の動画も1個のプロンプトで作ってる」
LINE 4 (15.6s-20.4s) — 「しかも、どのタイミングで何をするかも指定できる」
LINE 5 (21.2s-25.0s) — 「動画はSeedance2.5で作ったよ」
LINE 6 (25.5s-28.9s) — 「プロンプトほしい人はポストを見て」
SPEECH DENSITY — IMPORTANT
Total speech is about 23.8 seconds out of 30. The remaining 6.2 seconds are genuine silence and she keeps acting through every one of them. Do not stretch a line to fill its window and do not add filler words, sounds or extra sentences in the gaps. Silence is correct. She breathes, works and looks around in the gaps.
She never speaks outside the six windows above.
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CONTINUOUS BEHAVIOUR
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She is never still or neutral. Across the full thirty seconds: eyebrows move constantly with her speech, lifting on emphasis and drawing in slightly on technical words. She blinks at irregular intervals, sometimes twice in quick succession. Her mouth stays active between words — small lip presses, a slight purse while thinking, tongue against the inside of her cheek. Her head makes small tilts and nods tracking her own sentences. Shoulders shift and settle. She adjusts her seated weight two or three times. Her hands are almost never at rest; when not gesturing they touch the desk edge, her own forearm, a strand of hair. Her eyeline moves continuously between three places — the lens, the mirror off frame-left, and whatever her hands are doing. She takes audible breaths between lines. She never freezes to deliver a line.
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THE RECORDING, IN ORDER
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(0.0s-4.0s)
The recording is already running when it reaches us. She is mid-stride, walking in from the hallway, the camera carried low around hip height and tilted upward so it catches her jaw, the dark ceiling and the top of the window. Her right arm extends toward the lens, foreshortened and cut by the frame edge; her hand is not visible. Her left hand pushes hair off her face as she walks. She is looking ahead into the room, not at the lens. The vertical frame bounces softly with each step and drifts and self-corrects the way a carried camera does. At 0.8s exposure re-levels as she comes out of the dim hallway into the daylight of the room. LINE 1 runs from 0.4s to 3.8s. From 3.8s she is silent and simply keeps walking.
(4.0s-4.8s)
The camera is stood upright on the desk to her left and turned a few degrees back toward where she is about to sit. The frame swings, tips, and settles with two decaying wobbles between 4.2s and 4.5s. Fingers pass briefly across the bottom edge of the glass at 4.3s. At 4.6s a fingertip nudges the angle once, correcting it, then withdraws. Autofocus hunts and locks by 4.8s as she drops into the chair. The camera now remains in this exact position and angle, recording without interruption, from 4.8s to 29.5s. Every change in the image across those twenty-five seconds comes from her movement, never from the camera. She says nothing across this whole stretch.
(4.8s-8.8s)
She is already speaking LINE 2 as she sits — the line begins at 4.8s while she is still lowering into the chair, and she turns her head to her left to find the lens on the way down, so that the sit, the turn and the first words all happen together rather than in sequence. She never settles into stillness first. One hand comes up loosely around 5.6s, palm turning slightly outward on 「実在しないの」 at 6.8s, and her shoulders lift in a small half-shrug. The tone is flat and matter-of-fact, thrown away rather than announced — the strangest sentence in the video delivered like the most ordinary one. The line ends at 7.6s and a short quiet giggle arrives at 7.9s, after the words, eyebrows lifting, a real amused smile arriving late. She stays at comfortable conversational distance — head and shoulders in the middle of the vertical frame with the room and ceiling visible above — and she does not lean in close. Skin detail is at maximum through this stretch under the raking daylight, which hides nothing: visible pores across the nose and inner cheeks, fine peach fuzz along the jaw and upper lip catching the side light, natural oil sheen on the forehead and nose bridge, faint capillary redness under the eyes, individual eyebrow hairs separated, short bare lashes with no mascara on them, moisture on the lower lash line, translucency through the earlobe nearer the window. Autofocus breathes once around 5.2s and settles. From 8.0s she is silent and her hand is already dropping toward frame-left — she does not hold the smile or wait, the amusement simply carries into the next movement.
(8.8s-14.4s)
Her hand finds the soft leather tote bag at 8.3s and draws it across the desk toward her, the bag moving with weight, the leather flexing and the strap sliding off the desk edge and swinging. LINE 3 starts at 8.8s, before the bag has finished moving. She talks while looking down into it, both hands working through it, feeling rather than looking, and her head comes up to the lens at 10.4s and again at 12.6s before dropping back down. At 11.4s one hand lifts out of the bag and makes a small sorting motion, palm down, two short beats, then goes straight back in. At 12.9s she blows a loose strand off her face with a short upward puff without stopping talking. At 13.8s her fingers close around something at the bottom of the bag and at 14.1s she draws out the mascara from @Image2, a slim black tube, keeping it in her right hand rather than setting it down. The line ends at 14.4s.
(14.4s-15.6s) — SILENT
She says nothing here and it is the most concentrated stretch in the video. Because she cannot do her lashes wearing them, she takes the tortoiseshell glasses off with her free left hand, folds them one-handed against her thigh and sets them on the desk, and as she does this she turns to the mirror off frame-left — the automatic thing anyone does taking glasses off in front of one. Faint pressure marks remain on the nose bridge and she blinks three times adjusting. At 15.2s she twists the mascara cap off with a small turn of the wrist and draws the wand out, then wipes the excess by dragging the brush once against the lip of the tube — a small practised movement, done without looking at it. She breathes out once, audibly.
(15.6s-20.4s)
At 15.6s she brings the wand to the base of the lashes on her right eye, face close to the mirror, near-profile to the lens. LINE 4 runs from 15.6s to 20.4s and she talks straight through the whole thing.
At 15.9s her mouth falls open into a soft slack O — the involuntary thing everyone's mouth does while applying mascara — and it stays half open between words for the rest of this stretch, which changes the shape of her speech slightly without making it unclear.
From 16.1s to 17.4s she works the brush from the root outward in three small upward strokes, chin lifted, eye held wide, the eyelid stretched and unblinking. The lashes visibly darken, thicken and separate stroke by stroke.
At 17.2s she stops blinking entirely for about a second, eyes held open and slightly watering at the inner corner.
At 17.9s she switches to the left eye without changing hands, tilting her head the other way, and repeats the same three strokes between 18.1s and 19.4s.
At 19.7s she pulls back from the mirror, narrows her eyes at her own reflection and blinks twice, testing them, and one lash catches slightly and separates. Her eyes are now visibly darker and more open than at the start.
At 20.2s she drops the wand back into the tube.
(20.4s-21.2s) — SILENT
She twists the mascara shut against her palm without looking and sets it down on the desk with a small knock. She checks her eyes in the mirror once more, blinks, and reaches into the bag again with her other hand. Nothing is said.
(21.2s-25.0s)
At 21.2s she comes out of the bag with the lipstick from @Image3 and LINE 5 starts at 21.2s.
She pulls the cap off with a small dry click at 21.5s and winds the bullet up with her thumb between 21.7s and 22.0s, the angled tip rising out of the case.
At 22.0s she turns to the mirror and moves her face close to it, and from 22.0s to 25.0s she is in near-profile to the lens, working on her own reflection off frame-left.
At 22.4s she starts on the centre of the lower lip and draws outward to each corner, not in one pass but in two, her lower jaw dropping slightly to stretch the lip flat.
At 23.2s she does the upper lip, then presses her lips together and rolls them once to spread the colour, a movement that briefly closes her mouth mid-sentence.
At 23.8s she opens them again with a faint separation and checks the line.
At 24.2s she wipes one corner with the pad of her ring finger, correcting a single spot, and rubs the colour off her fingertip on the inside of her thumb.
Her voice is slightly constrained and slightly more distant across this whole stretch because she is turned away and working on her own mouth. The line ends at 25.0s.
(25.0s-25.5s) — SILENT
She caps the lipstick without looking and turns her head back to her left to find the lens again, the same turn as at 4.8s, closing the loop. Her hands come down and settle on the desk, the closed lipstick still in one of them.
(25.5s-28.9s)
LINE 6 runs from 25.5s to 28.9s and she delivers it straight down the lens, unhurried, in her normal open voice now that her face is toward the camera. This is the only line in the video spoken fully to camera with her hands at rest.
At 27.8s one small gesture toward the lens on 「ポストを見て」, and the hand returns to the desk.
The difference between this face — dark lashes, coloured lips — and the bare face at 5.2s is visible and is the whole point of the last beat.
(28.9s-29.5s) — SILENT
She holds still, looking directly at us, saying nothing. The stillness after eight seconds of hand activity is what makes the ending land. A single blink. A small closed-mouth smile that is still arriving.
(29.5s-30.0s)
She reaches forward. Her hand enters frame, going soft and dark as it nears the glass, and the frame tips as the camera is lifted off the desk. The recording stops there, mid-motion, still running until the instant it ends.
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CLOSING NOTES
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One continuous take, one camera, one room, one person, thirty seconds. No cuts, no dissolves, no flashes, no scene resets, no exterior views.
Vertical 9:16 throughout. The room and ceiling stay visible above her head; the desk surface stays visible along the bottom of the frame.
The camera does not move at all between 4.8s and 29.5s. Every change in the image in that stretch comes from her.
Keep her face, hair and clothing identical to @Image1 for the entire video. Keep the mascara identical to @Image2 and the lipstick identical to @Image3, and never add any brand name, logo or lettering to either of them — both products are completely unmarked.
Keep real fine skin texture and true visible pores throughout — never smooth, never plastic.
Her makeup changes only twice and only as written: lashes from 15.6s to 20.4s, lips from 22.4s to 24.2s. Nothing else on her face changes.
She never speaks any word other than the six locked lines, and she never speaks outside their windows. About six seconds of the video are silent and that is correct — fill them with action, never with words or filler sounds.
Audio: front-facing phone microphone only. Her voice, her breaths, small room tone, the leather bag moving, the mascara cap twisting, the brush dragging on the tube lip, the mascara tube knocking on the desk, the lipstick cap clicking. Nothing else.
Pure footage. No subtitles. No on-screen text. No captions. No background music.
