# Sample prompts — from Joey's OUR TURN pipeline (2.0 skills)

Hero prompts pulled straight from Joey's OUR TURN production, written by the updated 2.0 skills and used in the actual video. Source: his [upgrade video](https://youtu.be/4TXaAnittHs) and [Notion write-up](https://pyrite-mallow-3b0.notion.site/The-Claude-skills-that-run-my-AI-Cinema-workflow-got-an-UPGRADE-Here-s-Why-36d49da027d780ff928ef70a16148369). Paste them into Higgsfield, swap your references in, see how the structure works.

In Joey's words: read them once. Then read them again paying attention to what's **not** there.

No brand names — no Alexa, no Panavision, no Kodak. No fixture names. No character names. No song or lyric references. No real-world product labels. The model doesn't render those — it renders the behavior behind them, so the skill writes the behavior directly.

## What you'll see instead

- **Frame Map first, identity second.** Every prompt opens by anchoring subjects to screen positions, depth layers, contact points, and gaze. The model can't drift a character to the wrong side of the frame if the frame is locked before identity even shows up. This is the structural change that did more for multi-character consistency than anything else.
- **Subject Locks per character.** Each named subject gets a dedicated reference image slot and a Subject Lock block that pins pose, gaze, contact points, and state — without re-describing what the reference sheet already carries. Identity is anchored to the reference. The prompt only describes what changes shot to shot.
- **Lighting as physics.** Direction, quality, temperature, motivation. "Warm hard rim from camera-right above, cool ambient fill from behind, faint uplight catching the underside of the jaw." The model knows exactly what to render because it's described in terms the model actually understands.
- **Camera Capture as one closing line.** Body, lens, filter, movement, stock, grade, frame rate, runtime — all in a single trimmed paragraph at the end. Same look the brand-name stack used to chase, none of the jargon.
- **Diegetic audio only.** Footsteps, fabric, breath, room tone. No music, no lyrics, no dialogue cues tied to a song. Music lives in the Higgsfield UI, not the prompt.
- **Anti-plastic skin language.** Per-zone specular kill — zero shine on forehead, nose bridge, cheekbones, temples, chin. Real peach fuzz at the jaw and hairline. Subsurface scattering. Skin reads matte without going harsh.

## Real expectations (Joey's honesty section)

- **You will still regenerate.** Just less. On Hunters he was burning 8–10 takes per shot fighting the prompt. With the skills doing the prompt engineering it's more like 2–3 takes to pick from. Different problem. Cheaper problem. But not zero.
- **The skills don't write themselves.** Joey built these encoding his taste, his rules, his mistakes. If your taste is different, fork them and make them yours. Don't treat them as final.
- **Consistency across shots is still the hardest problem.** Locked character reference sheets help. Separating identity from styling helps. The skills enforce both. But you'll still get drift on long sequences. The fix is more reference passes and tighter wardrobe locks — there's no prompt that solves it for you.
- **Hit rate scales with prep.** The shots that worked first try in OUR TURN all had locked references, locked wardrobe, locked environment plates before the video prompt ever ran. The shots that took 6 tries were the ones where a step got skipped. Every time. The pipeline is what makes the prompt cheap.

> **Transcription note:** these prompts were recovered from a PDF export of the Notion page. A few inline reference tags (and one full prompt ending) didn't survive Notion's export — marked below where they occur. This sample also uses `@image_1`-style underscored tags; the skill's canonical format is `@image1`. Seedance reads both, but follow the skill's format for new work.

---

## Sample 1 — Seedance multi-shot sequence (cinema-worldbuilder 2.0, M1, 15s, 5 shots)

The hero cabin-banter sequence: two characters, a hero car, heavy rain, dialogue, and a one-wiper-sweep payoff. Note the Frame Map carrying per-shot framing, one Subject Lock per subject (including the car), the WIPERS-stay-off Cross-Frame rule, and per-beat timestamps in Movement.

```
Scene & Mood: Heavy rain dumping on a muddy cliffside turnout above a glowing Tokyo at pre-dawn — rain visibly impacting every surface in frame, splashing off the car body, rippling the standing puddles, rolling down the windshield in thick streams. A parked matte black widebody mid-engine sports car sits with warm pop-up headlights cutting forward through the rain, the windshield wet and beaded with continuous heavy rain accumulation, wipers OFF and still at rest throughout. Inside, two women parked together in the warm dome-lit cabin — one in the driver's seat bare-shouldered, the other in the passenger seat leaning forward into her visor mirror applying lip gloss. A light intimate banter beat between them, dry humor, smirks, a soft laugh, ending with one decisive wiper sweep clearing the glass clean. Warm, lived-in, unhurried.

Frame Map: Shot 1 — exterior wide on the F40 anchored to and @image_5, the car parked diagonally across midground on the wet muddy cliffside, pop-up headlights deployed and cutting twin warm volumetric cones forward through the heavy drizzle, red brake glow on the wet ground directly behind the car, tinted-window silhouettes faintly visible inside the cabin, wipers OFF and at rest at the bottom of the windshield, heavy rain visibly impacting every surface — drops hitting the matte black hood and roof and rolling down the body panels in continuous streams, drops splashing off the wet muddy ground in tiny upward bursts, standing puddles rippling outward in concentric circles from each new impact, raindrops cascading down the windshield in fine vertical streams, water running off the lower edge of the front fascia and dripping onto the mud below. Camera slowly pushes in toward the windshield. Shot 2 — interior cabin medium close-up anchored to [tag lost in export], the espresso-brown-hair woman @image_1 in the passenger seat leaning forward into the steering-wheel area to angle herself into the flipped-down visor mirror above her, the small lit visor mirror in the upper-left portion of frame showing her reflected face, the gloss wand in her right hand mid-application, the warm dome light overhead, Tokyo Tower glow soft bokeh through the wet windshield behind her with heavy rain visibly impacting and streaming down the glass, wipers still off at the base. The jet-black-bangs ponytail woman @image_2 off-frame screen-left. Shot 3 — tight handheld close-up on @image_2 in the driver's seat, bare shoulders and oxblood corset against the dark cabin and the wet side window behind her with rain visibly running down the exterior of the glass in streams, her right hand reaching across the cabin toward the off-frame passenger, her thumb and forefinger pinched on a small fold of the amber raincoat PVC visible at the screen-right edge of frame. Shot 4 — return to the same medium close-up framing as Shot 2 on @image_1, visor mirror upper-left, Tokyo Tower bokeh behind, dome light overhead, the windshield still wet with heavy rain visibly impacting and streaming down the glass, wipers still off. Shot 5 — tight handheld close-up back on @image_2 in the driver's seat, mirror of Shot 3 framing, her left hand visible on the steering column near the wiper stalk on the left side of the wheel.

Subject Lock — @image_1: Espresso-brown-haired woman in the passenger seat of the car interior, body leaned forward into the cabin toward the steering-wheel area so her face angles up into the flipped-down passenger sun visor's small lit vanity mirror above her, head tilted up and slightly to her left to find her own reflection in the small mirror. Her translucent burnt-orange amber PVC raincoat present and visible across her chest and shoulders, the cropped black scoop-neck ribbed thermal visible underneath through the amber tint. Her right hand holds a small gloss wand mid-application, raised at chest height in front of her body with the applicator tip glossy and freshly dipped, the silver ring stack and glossy red nails visible on her fingers. Long sleek straight espresso-brown hair falls smooth and polished down past her chest. Small dark beauty mark under her left eye, thin scar through her right brow. Soft natural makeup with the lip gloss freshly coating her lips in a clear shine. @image_1 keeps the same face, hair, identity markers, wardrobe, jewelry, and silhouette throughout.

Subject Lock — @image_2: Jet-black blunt-bangs high ponytail woman in the driver's seat of the car interior, body relaxed against the racing bucket seat, bare-shouldered in just the oxblood leather corset on top — no jacket — the oxblood flared leather pants below, her black neckband at her throat. Skin reading warm against the cool blue ambient of the cabin. @image_2 keeps the same face, hair, identity markers, jacket-removed wardrobe state, and silhouette throughout.

Subject Lock — @image_5: Matte black widebody mid-engine sports car parked diagonally on the cliffside turnout in Shot 1, pop-up headlight housings raised and deployed at the front of the hood with the headlight bulbs on casting twin warm volumetric cones forward, smaller lower lamps in the front fascia on as soft amber daytime running lights only at low intensity, rear brake lights glowing saturated deep red and spilling red onto the wet muddy ground directly behind the car, body wet and reflective from the heavy rain with continuous water beading and rolling down every matte black panel, dark grey NULL livery faintly visible on the visible flank, Ferrari shield on the front fender, oversized rear wing, five-spoke wheels matching the reference. Privacy-tinted windows with two faint human silhouettes visible inside. Wipers off and at rest. @image_5 keeps the same body, livery, wheels, wing, lighting state, and silhouette throughout Shot 1.

Cross-Frame Rules: @image_2 holds in the driver's seat across Shots 2 through 5 with her bare-shouldered jacket-removed state identical throughout. @image_1 holds in the passenger seat across Shots 2 through 5 with her amber raincoat state identical throughout. The cabin interior, dome light state, visor mirror state, and Tokyo skyline bokeh all hold identical across Shots 2 through 5. The cabin time of day, weather, and atmospheric register stay locked across the full sequence. Dome light overhead in cabin stays on as the dominant warm interior source across all interior shots. WIPERS STAY OFF AND AT REST across Shots 1 through 4 — windshield holds heavy rain accumulation across all four shots with the rain continuously impacting and streaming down the glass. ONLY in Shot 5 do the wipers activate, executing exactly ONE single clean sweep across the windshield. Heavy rain falls and visibly impacts every exterior surface continuously throughout the entire sequence — impact splashes on the car body and ground, puddle ripples on every standing water surface, water streaming down the windshield and side windows in continuous flowing streams.

Movement: Shot 1 (0–3s) — handheld with continuous operator breath, slow steady push-in toward the windshield of the parked car, the camera drifting slowly forward through the falling rain and atmospheric haze toward the cabin, heavy rain falling continuously and visibly impacting every surface — drops splashing off the matte black hood and roof in small visible bursts that ripple outward, water rolling down the body panels in continuous streams catching the cold blue ambient and warm headlight spill, the muddy ground in the foreground popping with hundreds of tiny impact splashes as each drop hits, standing puddles rippling outward in concentric circles from continuous impacts, the windshield with rain cascading down the glass in fine vertical flowing streams accumulating heavily, water running off the lower edge of the front fascia and dripping into the mud below, no wiper movement, red brake glow holding steady on the wet ground behind, foreground volumetric haze drifting between camera and car. Hard cut to Shot 2 (3–6s) — handheld medium close-up with natural operator breath and micro-sway, the espresso-brown-hair woman lifted into the visor mirror angle working the gloss wand at her lips with small steady application strokes, her gaze focused on her reflection in the small mirror above her, the gloss wand moving across her lower lip and upper lip, the small lit visor mirror surface holding her reflection clearly, heavy rain visibly impacting the windshield behind her and streaming down the glass in continuous flowing streams with new drops landing and joining the streams constantly, no wiper movement. Hard cut to Shot 3 (6–9s) — tight handheld dutch close-up with operator breath, the ponytail woman's right hand reaches across the cabin, her thumb and forefinger pinch a small fold of the amber raincoat PVC at the screen-right edge of frame and lift it slightly with mock disdain, her head turns toward the off-frame passenger, smirk pulling at the corner of her mouth, eyes locked sideways with dry amusement, lips move clearly through the spoken line, the side window behind her with rain streaming down the exterior of the glass in continuous flowing rivulets. Hard cut to Shot 4 (9–13s) — return to the medium close-up of the espresso-brown-hair woman, her eyes flick sideways toward the off-frame driver with a soft smirk, she rolls her eyes lightly, returns her gaze to her own reflection in the visor mirror, her reflected lips move clearly through the spoken line, her reflected face holds a soft suppressed laugh after the line as she silently smiles into the mirror, then she puckers her lips forward in a soft pucker to check the gloss in the mirror, holds the pucker briefly, releases into a soft satisfied closed-lip smile, the windshield behind her still heavy with rain visibly impacting and streaming down the glass continuously with no wiper movement. Hard cut to Shot 5 (13–15s) — tight handheld dutch close-up on the ponytail woman, her face holds a soft amused closed-lip laugh after watching the off-frame passenger, breath quiet, her left hand visible at the steering column reaches up to the wiper stalk on the left side of the steering wheel, her fingers wrap around the stalk and pull it firmly toward her body in one decisive motion, the wipers immediately activate and execute exactly ONE clean sweep across the windshield from one side to the other clearing the heavy rain accumulation off the glass in a single arc visible faintly through the windshield behind her, the windshield reading dramatically cleaner after the sweep with only fresh light rain beginning to re-accumulate and impact the freshly cleared glass, her eyes lift forward toward the now-cleared windshield.

Last Frame: Tight handheld dutch close-up on the jet-black-bangs ponytail woman in the driver's seat, soft amused closed-lip half-smile pulling the right corner of her mouth, her left hand just released from the wiper stalk on the steering column, her eyes lifted forward toward the windshield where the wipers have just completed their single clean sweep and rest at the opposite side of the glass, the windshield dramatically cleaner with the Tokyo Tower glow now reading sharper through the freshly cleared wet glass, fresh rain just beginning to impact and bead on the cleaned glass, the warm dome light overhead catching the top of her head and bare shoulders, cool blue ambient through the side window behind her, the wet cabin interior reading warm and dark around her. No on-screen text, no captions, no signage typography, no rendered text in the frame.

World Plate: Cliffside turnout above Tokyo carrying from @image_6 for Shot 1 exterior — wet packed mud and gravel ground churned with tire tracks, low metal guardrail running the cliff edge, fog rolled in thick across the valley below, Tokyo skyline glowing weakly through the haze with the warm orange-lit silhouette of Tokyo Tower visible center-distance, scattered city lights bleeding warm and red and amber, pre-dawn sky deep cool desaturated blue. Heavy drizzling rain falling continuously and visibly impacting every exterior surface — splashes off car body and roof, ripples in every standing puddle, streams cascading down every glass surface, water dripping off every edge. Volumetric atmospheric haze layered through three depth registers — foreground volumetric haze between camera and car giving the closest air real physical body, midground volumetric haze wrapping the car and the wet ground where the headlight cones cut through it most densely, deep-background volumetric haze and fog dissolving the deepest Tokyo skyline structures into atmospheric perspective. Cabin interior across Shots 2 through 5 anchored to [tag lost in export] — customized racing cabin with exposed dark carbon weave on dash and door cards, modern digital instrument cluster glowing faintly in warm white, matte black steering wheel with the prancing horse emblem, racing bucket seats, two sun visors flipped against the headliner with the passenger-side visor flipped down with its small rectangular vanity mirror and small warm tungsten light strip activated along the top edge of the mirror, single small circular warm tungsten dome light fixture in the headliner above the cabin switched on as the dominant warm interior source casting top-down warm light onto both women, cool ambient pre-dawn blue spilling through side windows and the wet windshield from the exterior, faint warm Tokyo Tower glow refracted through the wet windshield as soft warm bokeh in the deep background behind the passenger, wiper stalk visible on the left side of the steering column.

Sound Bed: Continuous heavy rain impact sounds — drops hitting the car body and roof in soft drumming, drops splashing on the muddy ground and puddles, water streaming down the windshield and side windows. Soft running idle of the car's mid-mounted engine throughout. Faint distant hum of Tokyo below. In Shot 3 the jet-black-bangs ponytail woman says "That's a lot of jacket." — dry, flat-toned, smirking, mock disdain pulling at the line. In Shot 4 the espresso-brown-hair woman says "And where's yours?" — light, dry, mock-annoyed, soft suppressed laugh just under the words. In Shot 5 a soft quiet laugh from the ponytail woman, then a small mechanical click of the wiper stalk pulling, then the rhythmic mechanical sweep of the wipers executing one single arc across the windshield. No music. No score.

Camera Capture: Shot 1 — 35mm anamorphic lens at wide aperture, soft diffusion in the highlights creating gentle bloom around the pop-up headlight beams and the saturated red brake glow, shallow depth of field with the car body in critical focus and the deep-background Tokyo skyline softening into atmospheric blur with oval bokeh on distant point lights, foreground volumetric haze between lens and car, handheld with natural operator breath and slow steady push-in toward the windshield. Shots 2 and 4 — 75mm anamorphic at wide aperture, matching the locked Mei interior plate composition with the small lit visor mirror in the upper-left of frame and Tokyo Tower glow soft bokeh through the windshield behind her, shallow depth of field with her face and the visor mirror in critical focus, soft diffusion in the highlights catching the warm dome light and the visor mirror light strip and the glossy lips, foreground volumetric haze layered between lens and subject, handheld with natural operator breath and dutch tilt right six degrees. Shots 3 and 5 — 75mm anamorphic at wide aperture, tight close-up on the driver, shallow depth of field with her face and bare shoulders in critical focus and the cabin interior softening into oval bokeh, foreground volumetric haze between lens and subject, handheld with natural operator breath and dutch tilt right five degrees. Cinematic teal-amber grade — warm amber spill from the dome light, visor mirror light, and pop-up headlights providing the warm anchors with cool desaturated blue from the exterior ambient and side windows holding the wider scene, shadows lifted gently into deep cool blue-grey never crushed, highlights rolled off softly never clipping. Theatrical film grain across the entire frame, natural cinema texture, anamorphic edge character. 24fps motion-blur register, 15 seconds total.
```

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## Sample 2 — Behind-the-scenes still, phone-capture register (banana-pro-director 2.0, Mode 3)

A deliberate register break: a photoreal "iPhone snapshot" of the production set itself. Note how the closing realism clause flips — it explicitly *removes* the cinema package ("no anamorphic squeeze, no film stock emulation") because the desired look is a consumer phone photo, not cinema. The register is a choice, not a default.

```
A photoreal wide-angle iPhone-style amateur capture of a film production set on a rocky cliffside at 4am pre-dawn, the camera positioned at chest height roughly fifteen feet from the parked car looking at the scene from a soft three-quarter angle, the frame catching a wide field of view with mild barrel distortion at the edges typical of a consumer phone wide lens. In the foreground midground of the frame, a gunmetal silver tuner coupe sits parked at a soft three-quarter angle facing camera-left, the driver door swung fully open toward camera, the body of the car a clean gunmetal silver with a black carbon fiber hood and aggressive widebody fender flares, vivid neon lime green geometric vector wrap graphics running across the door and rear quarter panel with bold black "CTRL" lettering integrated into the wrap on the driver door, additional small dark sponsor decals scattered across the lower body panels and rear quarter, deep-dish black six-spoke wheels with low-profile tires, no front or rear license plates anywhere on the vehicle. The headlights are switched on softly cutting a low warm-white cone of light forward and to the left, the front parking lights and side markers glowing dim amber, the open driver door's interior dome light on and casting a soft warm pool of amber light into the cabin interior and onto the seated figure in the open door. The engine is off and silent, the car reading as parked between takes. Seated sideways in the open driver door with both boots planted on the rocky cliffside ground outside the car, a young Korean woman in her mid-twenties with warm fair skin and a sharp sculpted face with defined cheekbones and a strong jawline, wearing a flat blunt bob with the left half white-platinum and the right half jet-black in a clean center part falling just past the jawline. She wears a grey mock-neck zip-front cropped long-sleeve top exposing a sliver of midriff, grey belted parachute cargo pants, grey chunky platform boots, lime green almond acrylic nails, layered silver chain necklaces at her throat. She sits with her knees together angled toward camera, one elbow leaning casually on the lower edge of the open door frame, the other hand holding a tall metal hot drink tumbler at her hip level, her body in a relaxed three-quarter pose toward camera with a soft neutral expression looking out across the scene, faint breath-fog visible at her mouth in the cold pre-dawn air. Suspended extremely high above the scene at roughly one hundred and fifty feet of altitude, a massive rectangular overhead soft-box panel hangs face-down pointing straight down toward the ground far below — at this distance the soft-box appears in the upper portion of the frame as a small bright glowing rectangle against the deep navy-black pre-dawn sky, the underside face emitting a cool white diffused light reading as a brilliant clean rectangle of luminance high overhead, the soft-box body itself appearing as a small black square shape with the glowing face visible from the angle of view below. The soft-box is suspended from a black professional film crane arm that enters the frame from beyond the upper right edge of the image — the crane arm a long matte black telescoping boom rising up and angling diagonally across and into the upper depth of the frame, the arm reading as thin black structural segments at this distance with barely-visible thin black rigging cables running down from the arm to the soft-box, the crane base and operator out of frame entirely far below and outside the right edge, only the upper arc of the arm and the suspended soft-box high above visible in the image. The pool of cool white diffuse light from the soft-box reaches all the way down to the cliffside scene below as a wide soft ambient wash falling on the rocky ground and the car and the seated woman, the light reading naturally as coming from a great height with the falloff appropriate to the distance, the soft-box itself a small but unmistakable bright rectangle of light high in the navy sky. In the deeper background of the frame, the rocky cliffside ground extends back toward the cliff edge with low scrub and exposed rock, the cliff dropping away into deep black distance beyond. The sky above is deep navy-black pre-dawn with a warm distant city-glow band sitting low on the far horizon at screen-left as a soft tungsten-amber wash bleeding into the dark sky, very faint atmospheric haze and cold dust suspended in the air. No production crew in frame, no other figures in frame, no other vehicles in frame, the scene reads as the moment between takes with only the talent settled in the open driver door waiting for the next setup. Captured on a consumer smartphone wide lens at roughly a 13mm equivalent ultrawide focal length, the wide perspective showing strong depth from the foreground rocky ground across the parked car and back to the cliff edge and distant horizon, mild barrel distortion bending the vertical edges of the frame slightly outward, sharp digital focus across the depth of field, flat clean digital color science with mixed color temperature reading naturally — the cool white diffuse spill from the distant overhead soft-box bathing the central scene from high above, the cool ambient pre-dawn navy-blue of the sky in the upper third, the warm amber spill from the open car dome light pooling in the cabin and onto the seated woman, the distant warm city-glow horizon at the far left background. No anamorphic squeeze, no film stock emulation, no Kodak grade, slight luminance noise in the deeper shadow areas, the overall image reading as a phone snapshot of a real night exterior shoot, photographed not generated, ultra-high resolution photorealism with consumer-phone image quality character.
```

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## Sample 3 — 6-panel character sheet on mid-gray (banana-pro-director 2.0, Mode 2)

The new sheet grammar in full: the 2.0 panel layout (front body / back body / both side-profile headshots / front face headshot / detail shot), mid-gray seamless across all six cells, the relight-from-scratch lean Rembrandt close, and the true-natural-tone clause that keeps skin and wardrobe from cool-shifting against the gray.

```
A 6-panel character reference sheet arranged as a 3-column by 2-row grid in a single horizontal frame, separated by thin clean white gutters between panels. Each panel shows the same single East Asian woman with a slim build and warm fair skin with natural warmth. Jet-black hair with blunt bangs straight across the forehead, pulled into a high sleek ponytail with long straight lengths and fine wispy face-framing pieces at the temples. Sharp neutral expression, fine winged liner, nude glossy lip. She wears a fitted white ringer-style baby tee with grey contrast trim at the collar and sleeve cuffs, the chest printed with pink text reading "momma didn't raise AI slop" in soft rounded lowercase, cropped just above the waist; layered necklaces — a gold chain and a silver chain stacked at the throat; small gold hoop earrings; several slim gold stacked rings; baggy grey cargo pants sitting low on the hips with utility pockets; chunky black platform shoes. Panel 1 (top-left): Full body front — cocked-hip model stance, weight shifted onto one hip, holding an open black umbrella above and behind her with the canopy filling the upper part of the cell, full styling readable from hair to platforms. Panel 2 (top-center): Side profile close headshot, left side — tight crop from the collarbone up, her left profile facing screen-right, the blunt bangs and high ponytail and face-framing pieces readable, ear with gold hoop and jaw and chin geometry clear, no umbrella in this cell. Panel 3 (top-right): Full body back — straight back view, holding the open black umbrella, showing the high ponytail fall from behind, the tee back and cargo drape and platform shoes from behind. Panel 4 (bottom-left): Side profile close headshot, right side — tight crop from the collarbone up, her right profile facing screen-left, mirror of Panel 2, no umbrella in this cell. Panel 5 (bottom-center): Front face close headshot — tight crop from the collarbone up, body squared to camera, face filling the frame, eyes to camera, no umbrella, clean unobstructed read on the face structure and the blunt bangs and ponytail and hairline, skin texture and winged liner readable. Panel 6 (bottom-right): Detail shot — one hand raised close to camera showing the slim gold stacked rings across the fingers and the layered gold and silver chains at the throat in the same frame, filling the panel cleanly. Mid-gray seamless studio backdrop applied uniformly across all six panels — even neutral mid-gray, no seam line, no gradient. Relight from scratch overriding any reference lighting, applied uniformly across all six panels: one broad diffused source from camera-left and slightly above, gentle wrap, no harsh shadows, no rim light, no hair light, no kicker. Skin and fabric read matte and velvety in a low-contrast milky look, rendering at their true natural skin tone and color against the neutral gray — the white tee crisp with the pink print clear and legible, the grey cargos and black platforms true, the gold and silver jewelry warm and cool — warmth preserved and natural, never cool-shifted or washed-out by the background. Sharp focus across every panel. Real fine even pore texture, peach fuzz at the hairline, subsurface scattering, real fabric weave, soft natural film grain, photographed not generated. Identical character identity locked across all six panels — same face, same skin, same hair with blunt bangs and high ponytail, same wardrobe, same accessories, same proportions in every cell.
```

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## Sample 4 — Environment plate, cinema-prose register (banana-pro-director 2.0, Mode 3B) — excerpt

The opening of the garage-lounge plate prompt, showing the cinema-prose register: no labeled blocks, references carrying the geometry, the moment narrated on top. *(The Notion PDF export cut this prompt off mid-sentence — see the [original post](https://pyrite-mallow-3b0.notion.site/The-Claude-skills-that-run-my-AI-Cinema-workflow-got-an-UPGRADE-Here-s-Why-36d49da027d780ff928ef70a16148369) for the full version.)*

```
A cinematic anamorphic still photograph captured handheld on a real cinema set — a medium-wide composition of an empty private garage studio lounge at night, the framing centered on a low modular seating arrangement with the camera positioned at couch-back height looking across the foreground coffee table toward the back wall, the composition holding a quiet observational stillness with no figures in the room, the air thick with the soft glow of practical light. The lounge area carries from the attached environment plate — two oversized deep brown distressed leather lounge couches angled in a soft L-shape facing the camera-opposite wall, a large eighty-five inch flat-screen wall-mounted television dominating the back wall as the dark focal point with the screen off and casting no light, a low matte black coffee table between the couches in the foreground carrying a minimal carefully arranged still-life — a single short cut-crystal tumbler of dark amber bourbon whiskey, two clear glass soju bottles with simple unbranded labels, and a single small clear glass shot glass set beside the bottles, nothing else on the table. A single folded designer hoodie tossed casually across the arm of the nearer couch. Smooth polished concrete floor catching warm reflected pools of practical light, exposed concrete back wall held in warm cool grey. In the deeper background behind the couches and the television wall, partially visible at the edge of the frame, the silhouette of a heavily modified Ferrari-style mid-engine sports car parked in the wider garage sp… [truncated in source export]
```