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SEEDANCE — MASTER PROMPT: TV WATCHING — SINGLE CONTINUOUS 10-SECOND VIDEO

Generate ONE uninterrupted 10-second vertical 9:16 photorealistic handheld smartphone recording. Use exactly three uploaded image references. Maintain a realistic, spontaneous evening home-video atmosphere and a believable lively 1990s American television-drama scene inside the TV.

REFERENCE LOCK

@Image1 — Exact identity of Lead A, including face, facial proportions, hairstyle, outfit, natural skin texture, and overall appearance. Lead A may be a man or a woman. Lead A is the person filming the entire video with a smartphone. Preserve the exact appearance shown in the reference without inventing additional facial features, hairstyles or clothing. The phone itself is never visible because the viewer is seeing the footage recorded through its camera.

@Image2 — Exact identity of Lead B, including face, facial features, hairstyle, outfit, natural skin texture, and overall appearance. Lead B may be a man or a woman. Lead B sits in the corner of the sectional sofa, watches the television, and reacts to the flying object later in the scene. Preserve the exact appearance from the uploaded reference throughout the entire video.

@Image3 — Exact object identity. Preserve the object's original shape, dimensions, proportions, color, material, texture, construction, distinctive details, and recognizable silhouette. Treat the object as one compact handheld item that can physically be shown, grabbed, briefly pulled between two people, caught, and returned. Adapt hand placement to the actual object's shape rather than inventing handles or changing its design. This is ONE continuous physical object throughout the entire sequence.

ENVIRONMENT LOCK — REAL APARTMENT

The real-world setting is a cozy, elegant, modern apartment living room at dusk, with warm practical evening lighting and realistic natural shadows.

The room has light neutral walls and a comfortable, lived-in atmosphere. A large horizontal wall-mounted flat-screen television occupies the LEFT side of the main wall. Directly beneath the television is a long, low light-wood media console with a black soundbar.

Immediately to the RIGHT of the television stands a tall black speaker. Farther right are built-in illuminated shelves containing books, understated decorative objects, and hanging plants. A large leafy indoor plant and a warm standing floor lamp complete the right-hand side of the room.

A light-colored sectional sofa occupies the foreground, with its corner positioned so the viewer can see both the television and the person sitting on the sofa. A light patterned rug and a small dark rounded coffee table occupy the central floor area.

The interior is softly illuminated by warm standing lamps, illuminated shelves, and subtle television glow. It is early evening rather than bright daytime. Lighting is warm, soft, and believable, with realistic exposure and consistent shadows.

Preserve the exact same apartment geometry, furniture positions, television location, sofa position, lighting, colors, and spatial relationships throughout the entire video.

The recording originates from Lead A's seated position on the sectional sofa, looking across the room toward the television.

TELEVISION-SCENE LOCK

Inside the television is a lively American-style restaurant drama scene with the atmosphere of a believable 1990s television series.

Two stylish adult women sit across from each other at a small restaurant table in a warmly lit restaurant.

A curly-haired brunette sits on the LEFT side of the television scene. A red-haired woman wearing a green sweater sits on the RIGHT side and is the original owner of the object from @Image3.

The restaurant has warm tungsten lighting, realistic furniture, subdued background activity, and natural depth. The television image has the slightly different contrast, color response, and visual texture of an authentic American television drama.

Both women are active, expressive participants in a relaxed, natural conversation. Both speak, listen, gesture with their hands, change facial expressions, shift their posture, smile, and naturally react to each other.

Neither woman remains motionless or frozen while the other speaks.

The restaurant characters initially exist completely independently of the couple watching television. They do not acknowledge the real apartment until the object unexpectedly crosses the television screen.

CAMERA AND SPATIAL RULE

The entire video is recorded directly from the smartphone held by Lead A from @Image1.

THE VIEWER IS WATCHING THE FOOTAGE RECORDED BY LEAD A'S OWN SMARTPHONE CAMERA.

The smartphone is already in Lead A's filming hand, OUTSIDE THE CAMERA'S FIELD OF VIEW.

The smartphone and filming hand remain invisible throughout the recording. There is NO additional external camera, NO visible smartphone, NO second phone, and NO mirror reflection revealing the recording device.

At the beginning, Lead A's face appears because Lead A is recording a natural handheld selfie with an extended filming arm.

Lead A's OTHER HAND is completely free.

After the selfie, Lead A rotates the same recording smartphone away from the face and toward the television. From this moment onward, Lead A remains behind the camera, and ONLY the free hand and forearm can enter the frame to catch and return the object.

Maintain anatomically believable movements from the physical position of the person holding the recording camera.

During the main effect, the television is located on the LEFT side of the vertical composition and Lead B is seated on the RIGHT.

The object's flight destination is Lead B's FACE, NOT the smartphone lens.

Keep both the television and Lead B readable together in the same frame during the main action.

Preserve a clear diagonal physical trajectory from the television screen on the left toward Lead B's face on the right.

Lead A never reappears in the final frame.

EXACT TIMED ACTION

00:00–00:01.0 — SELFIE AND KISS.

Lead A films a natural selfie while sitting on the sectional sofa beside Lead B.

Both briefly look into the smartphone camera and smile naturally. The television is already visible in the background and is already playing the restaurant drama scene.

Lead A gives Lead B one quick, natural, affectionate kiss.

Their interaction feels casual, warm, spontaneous, and authentic, as though someone simply started recording an ordinary evening at home.

No visible smartphone or additional recording device.

00:01.0–00:01.5 — IMMEDIATE ATTENTION SHIFT.

IMMEDIATELY AFTER THE KISS, Lead B turns attention completely AWAY from the recording smartphone.

Lead B adjusts comfortably into the corner of the sectional sofa, rotates the upper body slightly, and turns the head fully toward the television.

Lead B's eyes remain FIXED ON THE TELEVISION. Lead B is genuinely interested in watching the restaurant series, not posing for the recording.

At the same time, Lead A smoothly rotates the SAME recording smartphone away from the selfie angle and toward the television.

Lead A's face leaves the frame completely.

The movement is one ordinary continuous handheld wrist rotation, with subtle realistic movement and natural smartphone exposure adjustment.

The camera settles into a realistic handheld composition with the large television clearly visible on the LEFT and Lead B sitting on the sofa on the RIGHT.

Lead B continues watching television and does not look back at the recording camera.

00:01.5–00:02.0 — AUTHENTIC TELEVISION CONVERSATION.

Lead B remains seated, looking toward the television.

Inside the television, BOTH restaurant women are engaged in a lively, natural two-way conversation.

The red-haired woman speaks and gestures. The curly-haired brunette actively responds with expressive hand movements, head movement, changing facial expressions, smiles, and natural conversational body language.

They naturally alternate speaking and listening. Neither woman remains motionless or frozen while the other talks.

Their behavior resembles a believable American television-drama conversation, with relaxed timing, ordinary dialogue, occasional smiles, and realistic interaction.

00:02.0–00:03.5 — THE OBJECT IS REVEALED.

While the conversation continues, the red-haired woman on the RIGHT reaches BELOW THE RESTAURANT TABLE and physically lifts the exact object from @Image3 into view.

The object clearly emerges FROM BELOW THE TABLE, not from nowhere.

She lifts it naturally, using an appropriate grip for the actual object's shape, and presents it to her curly-haired brunette friend.

She holds the object up with one hand when physically appropriate while gesturing toward its distinctive details with the other hand.

Her curly-haired friend leans forward slightly, smiles, gestures naturally with both hands when appropriate, and actively responds to the red-haired woman's demonstration.

Both women look at each other and at the object, behaving like two friends genuinely discussing an interesting item.

00:03.5–00:04.5 — NATURAL OBJECT TUG-OF-WAR AND PHYSICALLY CAUSAL RELEASE.

Inside the television, the red-haired woman on the RIGHT is holding up the object and enthusiastically showing it to her curly-haired brunette friend on the LEFT.

The brunette suddenly becomes very interested in the object. Her expression changes from surprise and admiration to playful jealousy and determination.

She reaches forward with both hands and grabs the SAME object, attempting to pull it toward herself.

The red-haired woman immediately resists. She firmly holds onto the object, refusing to let her friend take it.

SHOW BOTH WOMEN PHYSICALLY HOLDING THE SAME OBJECT AT THE SAME TIME.

The curly-haired brunette pulls the object toward the LEFT, while the red-haired woman simultaneously pulls it back toward the RIGHT.

Maintain a physically appropriate grip on the exact object shown in @Image3. If the item has handles, both women can grab appropriate handles. Otherwise, their hands hold opposite accessible parts of the object's body.

The object remains visibly under opposing pulling forces. Their arms move in opposite directions as they briefly struggle to maintain their grip.

The struggle is short, lively, and physically believable. Neither woman stands up or leaves her chair.

The brunette gives a slightly stronger tug toward herself. The red-haired woman instinctively responds with a quick opposing pull, attempting to reclaim the object.

During this sudden counter-pull, their hands unexpectedly slip.

SHOW THE PRECISE PHYSICAL MOMENT WHEN THEIR GRIP FAILS.

The brunette's fingers visibly slide away from the object. Almost simultaneously, the red-haired woman's grip loosens during the abrupt change in pulling force, and the object slips free.

The object is suddenly released from BOTH women's control while still carrying the momentum created by their brief struggle.

As a result of the sudden release, the object continues FORWARD above the restaurant table toward the television's picture plane.

THE OBJECT MUST NOT START MOVING INDEPENDENTLY.

Its flight must be the direct physical consequence of the women's struggle, the opposing pulling forces, the sudden counter-pull, and the visible loss of grip.

SHOW THE CLEAR CAUSAL SEQUENCE:

RED-HAIRED WOMAN SHOWS THE OBJECT → BRUNETTE GRABS IT → BOTH WOMEN PULL IN OPPOSITE DIRECTIONS → RED-HAIRED WOMAN COUNTER-PULLS → THEIR GRIP SUDDENLY SLIPS → THE OBJECT IS RELEASED AND CONTINUES FORWARD.

The release occurs quickly and naturally, without exaggerated violence or theatrical movements.

Both women react immediately to the unexpected loss of the object.

00:04.5–00:05.8 — THE OBJECT EXITS THE SCREEN AND IS CAUGHT IN FRONT OF LEAD B'S FACE.

The SAME object travels forward above the restaurant table and reaches the television picture plane.

It seamlessly passes THROUGH THE TELEVISION SCREEN into the real apartment while preserving its physical momentum, orientation, recognizable silhouette, and dimensions.

CRITICAL TRAJECTORY:

The object emerges from the television on the LEFT and flies DIAGONALLY RIGHT across the real room, heading DIRECTLY TOWARD LEAD B'S FACE.

It does NOT fly toward the viewer, the center of the recording lens, or the person holding the camera.

Maintain a clear physical separation between the object's flight path and the recording smartphone.

Lead B's gaze naturally follows the incoming object. Lead B suddenly realizes that it is flying straight toward the face.

At the last possible moment, Lead A's FREE HAND rapidly extends from the camera side toward Lead B.

Lead A's hand intercepts and physically CATCHES the object approximately 20–30 centimeters IN FRONT OF LEAD B'S FACE.

The object stops directly between the extended hand and Lead B's face, not close to the camera lens.

Show Lead A holding the object firmly, naturally, and in a way appropriate to its actual shape.

Lead B instinctively leans back slightly and opens the eyes wide in spontaneous surprise.

KEEP BOTH THE CAUGHT OBJECT AND LEAD B'S SURPRISED FACE VISIBLE TOGETHER IN THE SAME FRAME.

00:05.8–00:07.2 — BRIEF EMPHASIS AND RETURN THROW.

Lead A's outstretched free hand holds the object in front of Lead B's face for a brief, clearly readable moment.

The filming smartphone makes a SMALL NATURAL FORWARD ADJUSTMENT, just enough to emphasize the caught object without bringing it directly in front of the lens.

The viewer sees the object's exact appearance, material, silhouette, and distinctive details while also seeing Lead B's shocked expression behind and beside it.

This is a subtle emphasis, not an extreme close-up or a separate camera angle.

Lead A then draws the free hand back very slightly to prepare the throw and casually tosses the SAME object BACK TOWARD THE TELEVISION.

The throw is smooth and physically continuous. The object travels back across the real room, enters the SAME television picture plane, and returns to the original restaurant scene.

Inside the television, both women react with surprise to the impossible situation.

00:07.2–00:08.5 — THE OBJECT IS RETURNED.

The same red-haired woman on the RIGHT catches the returning object naturally with both hands.

She places it securely in front of herself on the restaurant table.

Looking outward through the television toward Lead A who returned it, she smiles warmly and clearly says in natural English: "Thank you."

The curly-haired brunette, who previously attempted to take the object, realizes that her friend has received it back.

She folds both arms across her chest and leans back slightly in her chair. Her expression becomes playfully offended and visibly disappointed, as though she is upset that the object was returned to its original owner rather than given to her.

Her reaction is humorous, subtle, and natural, without exaggerated acting.

The red-haired woman looks pleased and grateful, while the curly-haired brunette remains beside her with folded arms and a mildly sulky expression.

00:08.5–00:10.0 — FINAL REAL-WORLD REACTION.

Only AFTER the red-haired television actress finishes saying "Thank you," Lead A gently turns the SAME recording smartphone toward Lead B.

Lead A remains OFFSCREEN.

Lead B turns away from the television and looks directly into the smartphone camera FOR THE FIRST TIME SINCE THE OPENING SELFIE.

Lead B has a genuinely astonished, delighted facial expression.

Lead B naturally says in English: "Wow!" and then breaks into a spontaneous, slightly disbelieving giggle and broad smile.

End on this authentic amused reaction, with part of the television still visible in the background.

AUDIO

Natural apartment room ambience and quiet, distant television dialogue at the beginning.

The restaurant conversation becomes slightly clearer after the smartphone faces the television.

Both restaurant women contribute natural conversational voices with overlapping but intelligible background dialogue, without additional prominent scripted lines.

Include subtle realistic sounds of the women handling and briefly tugging the object, material friction during the struggle, the sudden release, the object's motion through the air, and the natural physical sound of the catch.

The red-haired television actress clearly lip-syncs: "Thank you."

After her dialogue finishes, Lead B clearly says: "Wow!" and laughs softly.

No music, narration, or exaggerated fantasy effects.

CONTINUITY AND QUALITY

One single uninterrupted 10-second smartphone recording. No cuts, no extra camera, and no visible filming device.

Preserve the exact identities, hairstyles, faces, outfits, and natural appearance of the two real-world characters from @Image1 and @Image2.

Lead A remains the camera operator throughout the entire recording.

Lead A's filming hand and smartphone remain outside the visible frame.

After the opening selfie, Lead A stays offscreen. Only Lead A's free hand and forearm can enter the frame to catch and return the object.

Lead B stops looking at the camera immediately after the opening kiss and watches the television throughout the entire main action.

Lead B returns the gaze to the smartphone lens ONLY during the final reaction.

Both television actresses remain active, expressive participants in their conversation.

The object's release must be the visible and direct result of the brief physical tug-of-war between the two television women.

Both women visibly grab the SAME object, pull in opposite directions, experience a sudden loss of grip, and accidentally release it.

The object follows ONE smooth continuous path from the television women's hands, out of the television, diagonally toward Lead B's face, into Lead A's intercepting hand, and back through the television.

Lead A catches the object IN FRONT OF LEAD B, not in front of the recording lens.

After the object is returned, the red-haired woman catches it and thanks Lead A.

The curly-haired brunette folds her arms and displays a natural, mildly disappointed expression.

The SAME object appears throughout, with no object duplication, identity changes, spatial inconsistencies, or unnatural floating.

Preserve realistic gravity, momentum, physical contact, subtle smartphone camera movement, natural skin texture, believable evening lighting, stable apartment geometry, and seamless physical interaction between the television scene and the real apartment.

Photorealistic UGC, natural colors, stable picture, rich details, sharp clarity, realistic textures, and authentic human behavior.