ED sequence and next-episode preview: 30-second generation batches

1. @image1@image1: L1 location plate (ED1)Save
2. @image2@image2: C1 Yura (outfit C) (CH18C)Save
3. @image3@image3: C2 Yura (CH18)Save

@video1 controls only the camera path, camera speed, lens feel, the blocking and the timing of every shot; keep every cut exactly where @video1 cuts. Do not transfer anything else from @video1: no block figures, flat colours, eye dots, mouth blocks, primitive shapes, grey set, burn-ins or markers; every block becomes the real person, prop or place named below.
Pacing: this 30 s is the V1 action played about 1.36x slower; every walk is slower, deliberate and unhurried, never slow-motion jitter.
REFERENCE MAP:
@image1 is a single location plate, L1: the wet night road in fog with the horizon light row and the moon behind cloud (environment, light, road surface).
@image2 is a single sheet, C1: Yura in outfit C (charcoal calf-length greatcoat open over the black sigil bomber, purple pleated skirt, long plum knitted scarf, black tights, lace-up boots); it controls her costume.
@image3 is a single sheet, C2: Yura's identity (face, soft wolf cut with purple ends). C1 and C2 are the SAME woman: one Yura, never two people.
SHOT TIMING (hard cuts; one continuous walk on one axis):
0.00-6.25 s SH213 (extreme wide): 300 mm lens, locked off on the road centre line looking down the road. Moon through drifting cloud upper left; L1 road and a low bank of rolling fog. Yura (C1/C2) tiny and far, left of centre, walks out of the fog bank straight toward the lens, hands in her coat pockets; her silhouette resolves from the fog at 1.36 s; slower, deliberate stride. She looks ahead down the road toward the lens. Moon and horizon light row behind, moon-blue backlight 3:1.
6.25-18.13 s SH214 (wide): same position and 300 mm lens, locked off. Yura full figure on the left third line, about half frame height, walks steadily straight at the lens (no lateral move), coat swinging, scarf ends lifting, fog rolling across behind her; same slow, unhurried stride. She looks ahead past the lens, slightly down. No singing on screen. Moon-blue backlight 3:1, wet asphalt sheen.
18.13-30.00 s SH215 (medium wide): 400 mm lens, locked off on the road centre line, aimed at her chest. Yura left of centre keeps walking toward the lens, framing growing from knees-up to thigh-up, coat and scarf moving in the breeze, fog layers behind; moon off frame upper left. At 25.63-26.99 s she slowly lifts her face up and toward frame left, to the moon off frame, without breaking stride, then walks on with her face lifted to 30.00 s. No lip-sync. Moon-blue backlight 3:1.
Prompt-only details: wet asphalt sheen with the horizon light row reflected, rolling low fog, the moon-blue backlight rimming coat and hair. ED rule for every shot: keep the right third of frame clear of any subject (staff credits go there in post); no extra people unless named.
Look: photoreal live-action ending-credits sequence, night, moon-blue backlight, long-lens compression, anamorphic 21:9, fine grain.
Keep every face, costume and prop identical to its labelled reference throughout; photoreal live-action tokusatsu, 21:9, no text, logos or subtitles.

1. @image1@image1: L1 location plate (ED1)Save
2. @image2@image2: composite of C1 Qays, C2 Yura (outfit A)Save
3. @image3@image3: C3 Yura (CH18)Save
4. @image4@image4: P1 Qays's gunmetal bike (P14)Save
5. WAV@audio1upload as @audio1 (lip-sync): 30.00 s sync track: silence to 20.00 s, then the sung chorus line slowed x1.1429 to match SH219's generated timingSave

@video1 controls only the camera path, camera speed, lens feel, the blocking and the timing of every shot; keep every cut exactly where @video1 cuts. Do not transfer anything else from @video1: no block figures, flat colours, eye dots, mouth blocks, primitive shapes, grey set, burn-ins or markers; every block becomes the real person, prop or place named below.
Pacing: the V1 action plays about 1.14x slower; stillness and breathing stay slow and deliberate.
REFERENCE MAP:
@image1 is a single location plate, L1: the ED night road (gravel verge, one streetlamp in fog/haze, wet asphalt); it controls the set and light for every shot.
@image2 is a labelled composite: panel C1 is Qays (face, half-rim glasses, black suit, white shirt, black tie); panel C2 is Yura in outfit A (black velvet high-collared frock coat, plum satin underskirt, silver crescent pendant). Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
@image3 is a single sheet, C3: Yura's identity (face, soft wolf cut with purple ends); C2 and C3 are the same woman.
@image4 is a single sheet, P1: Qays's gunmetal bike (no badges, no numerals).
SHOT TIMING (hard cuts):
0.00-10.00 s SH216 (wide): 135 mm, locked off from across the road. Qays (C1) sits astride the parked bike (P1) on the gravel verge of L1, bike nose pointing frame left, side-on; bike and Qays on the left third line, the one streetlamp head at the top edge behind him, road and fog fill the rest. He holds a plain dark full-face helmet (no logos) in his right hand resting on his right thigh; his open left hand lies on the tank, black watch on the left wrist. Head bowed, looking down at the tank; only his breathing moves. 3.43 s fog drifts slowly across the lamp; 6.86 s a long slow exhale drops his shoulders. He is still damp from the rain. One streetlamp in fog, moon blue 4:1.
10.00-14.95 s SH217 (wide, ground level): 50 mm at ground level, locked off behind the bike looking down the road. Only wet asphalt, a faint emerald wing of light lying flat on the wet road from lower centre into the left half (glowing feather outlines, no symbols or text), the bike's rear wheel soft at the top-left edge with only his boots visible. 10.00-11.71 s the wing glows faintly; 11.71-14.00 s it slowly fades to nothing; 14.00-14.95 s empty wet asphalt with the streetlamp's reflection streak in the puddles. One streetlamp, moon blue 4:1.
14.95-20.00 s SH218 (insert): 100 mm, locked off on the bike's left side at tank height. His open left hand rests palm down on the gunmetal tank (P1), black watch on the wrist, fairing and smoked screen soft behind, hand centre-left. At 17.81 s one raindrop runs slowly down the tank past his still fingers. Near silence; nothing else moves. Moon blue 4:1.
20.00-25.01 s SH219 (medium close-up): hard cut to Yura on the same night road. 85 mm, locked off, camera south of her looking up the dark road. Yura (C2/C3) face on the left third, turned 3/4 toward frame left, backlit by the streetlamp (out of frame upper right) in thick haze. She sings the chorus line quietly, lip-synced to @audio1 (the sung line in @audio1 starts at 20.00 s and ends at about 25.0 s; it is silent before 20.00 s, so no one sings earlier), small breaths, almost no head movement; she looks off lens frame left and slightly down into the haze, never into the lens. Streetlamp backlight in haze, 3-4:1.
25.01-30.00 s SH220 (medium): 50 mm, a slow push-in with soft ease-in and ease-out. Yura left-centre, half-turned to frame left; the lamp's halo glows in thick haze top right. She has stopped singing (mouth closed). She holds her eyes on the haze, then at 27.29-28.21 s slowly lowers her eyes to the road; at 28.58 s her coat hem lifts once in a breath of wind. An amber memory wash begins to warm the haze toward 30.00 s.
Prompt-only details: fog drift over the lamp, wet sheen, the emerald wing-light fade, the raindrop, the amber warming at the end. ED rule for every shot: keep the right third of frame clear of any subject (staff credits go there in post); no extra people unless named.
Look: photoreal live-action ending-credits sequence, night, moon-blue backlight, long-lens compression, anamorphic 21:9, fine grain.
Keep every face, costume and prop identical to its labelled reference throughout; photoreal live-action tokusatsu, 21:9, no text, logos or subtitles.

1. @image1@image1: composite of L1 shopping street, L2 LOC06 ginkgo avenue location plate, L3 ED3 hill rooftop with a crescent moon location plateSave
2. @image2@image2: composite of C1 Daus (fat), C2 FazilSave
3. @image3@image3: composite of C3 Mastura, C4 Daus (thin, bomber)Save
4. @image4@image4: composite of P1 P05 katana in its black lacquered , P2 P03 buckle/beltSave

@video1 controls only the camera path, camera speed, lens feel, the blocking and the timing of every shot; keep every cut exactly where @video1 cuts. Do not transfer anything else from @video1: no block figures, flat colours, eye dots, mouth blocks, primitive shapes, grey set, burn-ins or markers; every block becomes the real person, prop or place named below.
Pacing: the V1 action plays about 1.15x slower; strolls, laughter and stillness stay natural and unhurried.
REFERENCE MAP:
@image1 is a labelled composite of locations: panel L1 is the quiet Japanese shopping street (SH221, warm dusk); panel L2 is the ginkgo avenue with its bench and yellow leaf carpet (SH222, now at night); panel L3 is the hill rooftop with parapet, rusted water tank and a crescent moon (SH223). Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
@image2 is a labelled composite: panel C1 is Daus, heavy-set (blue hibiscus shirt, dark jeans, thin silver squarish glasses); panel C2 is Fazil, lean (beige palm-print shirt, olive cargos). Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
@image3 is a labelled composite: panel C3 is Mastura (black jersey hijab, long black belted trench, black leather gloves); panel C4 is Daus, thin, in the present (navy bomber over white tee, black slim jeans, white sneakers, black watch, silver aviator glasses). C1 and C4 are the same man at two times: never merge them or show both. Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
@image4 is a labelled composite of props: panel P1 is Daus's katana sheathed in its black lacquered scabbard; panel P2 is his belt buckle. Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
SHOT TIMING (hard cuts; each shot is a new place):
0.00-10.03 s SH221 (three-shot, memory): L1 street at warm dusk. 35 mm, eye level, static locked-off, camera in the middle of the street aimed back at them. Left to right: Fazil (C2), Daus heavy-set (C1, leading, centre-left), Mastura (C3, centre), all in the left two-thirds; right third the soft street curving away right. 0.00-3.44 s they stroll slowly toward the lens, talking silently, Fazil looking frame right at Daus, Mastura looking frame left at Daus. 3.44 s Daus throws his head back in a big laugh at something Fazil said; 3.44-6.88 s laughter, Mastura covers a smile with her gloved hand from 3.61 s. 6.88-10.03 s they slow to a stop about 3 m from the lens and the moment hangs, smiles fading to warmth. Amber memory grade: warm, slightly lifted blacks, soft halation, 2:1.
10.03-20.06 s SH222 (two-shot, present): L2 ginkgo avenue at night. 50 mm, locked off, square-on to the bench at seated eye level. Fazil (C2) and Mastura (C3) sit astride the wooden bench back to back, heads down, each looking at the ground on their own side: Fazil on the left facing frame left, Mastura at frame centre facing frame right; bench across the left two-thirds, right third empty and dark. 10.03-13.47 s still; 13.47-14.04 s Mastura's shoulder presses lightly back into Fazil's and he answers the same; then held to 20.06 s. Three ginkgo leaves fall slowly through frame at about 10.72, 14.39 and 16.45 s. They never look at each other; no tears. Cold blue moonlight from behind, 5-6:1.
20.06-30.00 s SH223 (wide, low angle): L3 hill rooftop at night. 50 mm, lens 0.8 m high looking up, locked off, 7 m from him. Thin Daus (C4) stands near the parapet in the left third, 3/4 turned to frame left, looking out over the city lights below, never at the lens. Left hand rests on the sheathed katana (P1) at his left hip; right hand hangs at his side; one small faint violet glow from the buckle (P2) under the open bomber. 20.06-27.52 s still, only the edge of his jacket moving in the wind; 27.60 s his right hand slowly opens at his side and holds open to 30.00 s. Rusted water tank soft centre-right, a thin crescent moon placed as in @video1, city bokeh below. Cold blue moonlight from behind, 5-6:1.
Plate notes: L1 greengrocer with persimmons, cabbages and plain indigo noren on the left; shutters, a blank vending machine with a parked bicycle beside it and a dark awning over a shuttered shop on the right; warm 3200K windows, cool sky fill, natural skin with pores. L2 the white kiosk trailer just off frame left. ED rule for every shot: keep the right third of frame clear of any subject (staff credits go there in post); no extra people unless named.
Look: photoreal live-action tokusatsu drama, anamorphic 21:9, fine film grain.
Keep every face, costume and prop identical to its labelled reference throughout; photoreal live-action tokusatsu, 21:9, no text, logos or subtitles.

1. @image1@image1: composite of L1 ramen shopfront plate, L2 shopping street at duskSave
2. @image2@image2: composite of L3 location plate, L4 location plate LOC08bSave
3. @image3@image3: composite of C1 Qays, C2 Farida, C3 Yui, C4 Yura (outfit C)Save
4. @image4@image4: composite of P1 Yui's dented paper lantern, P2 Qays's gunmetal bikeSave

@video1 controls only the camera path, camera speed, lens feel, the blocking and the timing of every shot; keep every cut exactly where @video1 cuts. Do not transfer anything else from @video1: no block figures, flat colours, eye dots, mouth blocks, primitive shapes, grey set, burn-ins or markers; every block becomes the real person, prop or place named below.
Pacing: the V1 action plays about 0.91x, very slightly brisker; keep every move natural, never hurried.
REFERENCE MAP:
@image1 is a labelled composite of locations: panel L1 is the ramen shopfront at dusk (SH224); panel L2 is the quiet shopping street at dusk (SH225). Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
@image2 is a labelled composite of locations: panel L3 is the pale reclaimed flat with a dirt track, one lattice pylon and heat haze (SH226-SH227); panel L4 is the festival street and shrine steps at dawn, the morning after (SH228). Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
@image3 is a labelled composite: panel C1 is Qays (black suit, white shirt, black tie, half-rim glasses); panel C2 is Farida (powder-blue chiffon hijab with long front tail, round wire glasses, navy dress, burgundy sash); panel C3 is Yui, a small girl (high ponytail with clip, white happi coat with red blossoms, red-white yukata); panel C4 is Yura in outfit C (charcoal greatcoat, long plum scarf). Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
@image4 is a labelled composite of props: panel P1 is Yui's dented paper lantern (crushed side, bent ribs, torn red panel); panel P2 is Qays's gunmetal bike (no badges). Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
SHOT TIMING (hard cuts; each scene change is a new location):
0.00-7.89 s SH224 (medium): L1 ramen shopfront, warm dusk. 50 mm, one static locked-off shot from the street. Qays (C1) at the left edge, back 3/4 to camera, soft; Farida (C2) on the tiled step in the doorway under the white noren, centre-left, facing him. 0.00-2.72 s arms folded, she studies him with a searching look; 2.72-4.53 s suspicion softens to worry, her arms drop; 4.98 s she reaches out her left hand; 5.62 s her fingertips rest on his right sleeve (the one contact point, both hands clearly framed) and Qays looks down at her hand; hold to 7.89 s, nobody speaks. Inside through the window: two diners at the counter, backs to the street, eating and slurping, and two ramen chefs in white behind the counter in steam, ladling, wiping, shaking a tebo; nobody looks out. Shop 3200K spill behind her, amber-blue sky, red chochin glowing right of the door, 2-3:1.
7.89-15.85 s SH225 (medium wide to medium): hard cut to L2 shopping street at warm dusk, first warm windows. 50 mm, eye level, static. Yui's mother (adult extra, no reference: Malay woman in her thirties, dusty-rose baju kurung, cream tudung, tired and gentle) walks slowly toward the lens from 7 m to 3.5 m, centre-left, carrying Yui (C3) asleep on her right hip, one arm under her; Yui's cheek on her mother's right shoulder, face to the lens, eyes closed, calm. The unlit dented lantern (P1) hangs from the mother's left hand at hip height, swinging slightly. She looks ahead past the lens; at 11.96 s she glances down at Yui once, tenderly, then walks on looking ahead. Nothing frightening in frame. Warm 3200K windows, cool sky fill.
15.85-21.77 s SH226 (wide): hard cut to L3, bleached daylight. 400 mm, locked off on the track centre line. 15.85-16.75 s the frame opens from a white-out to bleached sky; Qays (C1) in a plain dark full-face helmet rides the bike (P2) straight down the dirt track at the lens through heat shimmer, left of centre, decelerating, and stops at 20.38 s about half frame height, putting his LEFT foot down; he stays seated, looking toward the lens; held in the haze to 21.77 s. Pylon right of centre far behind; right third bleached sky.
21.77-25.70 s SH227 (wide): L3, 135 mm, locked off. Yura (C4) full figure on the left third, still, turned 3/4 to frame left, looking to the far horizon off frame left, never at the lens; pylon soft right of centre behind; wind left to right; at 22.68 s a strong gust lifts her scarf and coat toward frame right. No lip-sync. Bleached sky, low sun haze behind, 2:1.
25.70-30.00 s SH228 (medium): hard cut to L4 at dawn. 50 mm, locked off, slightly up. The dented lantern (P1), now relit from inside by a candle, hangs centre-left from a short bamboo post at the side of the shrine steps, steps rising into a soft cool dawn sky. 25.70-27.51 s the flame flickers and the lantern turns slightly on its cord; 27.51-28.42 s the flame steadies; 28.42-30.00 s held still. Empty street, broken unlit lantern strings, scorched stalls, ash; no people. Lantern 2700K, cool dawn sky, 2:1.
Prompt-only details: kitchen steam, chochin glow, heat shimmer, the white-out, candle flicker. Noren lettering and signs stay soft and unreadable. ED rule for every shot: keep the right third of frame clear of any subject (staff credits go there in post); no extra people unless named.
Look: photoreal live-action tokusatsu drama, cinema camera, anamorphic 21:9, natural skin texture, fine film grain, motivated practical light.
Keep every face, costume and prop identical to its labelled reference throughout; photoreal live-action tokusatsu, 21:9, no text, logos or subtitles.

1. @image1@image1: L1 ramen shopfront plate (LOC04b)Save
2. @image2@image2: L2 location plate (PRV1)Save
3. @image3@image3: composite of C1 Farida, C2 The man (Rafflesia)Save
4. @image4@image4: C3 Kamen Rider Rafflesia (CH19)Save
5. WAV@audio1upload as @audio1 (voice reference; Seedance speaks the line on face, route A): Farida voice reference for her on-face line D48 'カイス。話があるの。'Save

@video1 controls only the camera path, camera speed, lens feel, the blocking and the timing of every shot; keep every cut exactly where @video1 cuts. Do not transfer anything else from @video1: no block figures, flat colours, eye dots, mouth blocks, primitive shapes, grey set, burn-ins or markers; every block becomes the real person, prop or place named below.
Pacing: the V1 action plays 1.45x slower, deliberate and weighty; after SH234 the last frame is held still with only the environment moving.
REFERENCE MAP:
@image1 is a single location plate, L1: the ramen shopfront (graded darker, dim doorway) for SH229.
@image2 is a single location plate, L2: the rainforest floor after rain with ONE giant red rafflesia-like flower, for SH230-SH234.
@image3 is a labelled composite: panel C1 is Farida (powder-blue chiffon hijab with long front tail, round wire glasses, navy dress, burgundy sash); panel C2 is the man (early 20s, long wet black hair past the shoulders, light stubble, silver hoop in the left ear, oversized black tee, two thin silver chains). Use each panel only for that subject; never copy any panel layout, label, caption or grey background into the video.
@image4 is a single sheet, C3: Kamen Rider Rafflesia (crimson warty petal armour, flared petal pauldrons, open flower-cavity chest, red eyes, red-lens belt). C2 and C3 are the same person before and after the change.
SHOT TIMING (hard cuts):
0.00-4.35 s SH229 (medium): L1 doorway, dusk going dark. 50 mm, locked off, square-on. Farida (C1) centred in the doorway between the posts, both lattice leaves slid open, the noren hem just above her head; hands together in front of her sash. 0.00-2.18 s she stands still, look just frame left of the lens, no fidgeting. 2.18-3.77 s she says firmly and quietly in Japanese 'カイス。話があるの。' (Qays. We need to talk.), voice as @audio1, a small pause after the name, unhurried. 3.77-4.35 s her eyes stay on him, steady. Deep inside, soft: one chef behind the lit counter ladling and wiping, never looking up, and two diners. Dim doorway practical, counter lit inside, red chochin soft at the right edge, 3-6:1.
4.35-6.53 s SH230 (wide): hard cut to L2 dripping rainforest. 35 mm, locked off. The giant red flower left-centre; the man (C2) kneels on one knee right of it, in profile facing frame left toward the flower, one hand on a root, perfectly still, watching it; at 5.08 s a drip splashes near the flower.
6.53-8.70 s SH231 (low medium): locked off. The man centre-left, 3/4 from behind, still watching the flower, unaware; behind his right shoulder (frame right) a long bone-white claw rises slowly out of the roots (6.96-8.41 s) and hangs over his shoulder. Nobody looks at it.
8.70-10.51 s SH232 (insert): 100 mm. The flower's cavity centre frame, petals at the edges; 8.70-9.14 s the petals tremble; at 9.14 s it bursts a cloud of red spores up and toward the lens, billowing to 10.51 s. No lens-flare flash.
10.51-13.05 s SH233 (low medium): smooth tilt up from his waist to his head (10.80-12.98 s), no dolly. The man faces the lens 3/4 frame left, rising from the kneel, looking down at his own body as rotting red petal-armour plates curl up from the ground and close over his waist (10.51 s), chest (11.67 s), shoulders (12.11 s) and finally his head (12.54 s); spores drift through frame.
13.05-15.95 s SH234 (low full shot): 24 mm, locked off. Kamen Rider Rafflesia (C3) rises from the kneel to full height centre frame, upright at 14.50 s, facing the lens, arms opening slightly, red eyes lit, spores swirling off the petal pauldrons; the flower frame left behind him. Hold the final frame of SH234 still until 30.00 s (environmental hold, no new action): from 15.95 s Rafflesia stays motionless in the same pose and the camera stays locked; only the environment moves, red spores drifting slowly, mist creeping low, drips falling from the canopy, leaves trembling. No new creature, claw, burst, transformation, cut, camera move or light change.
Light: SH230-SH234 canopy grey-green 3-6:1, wet foliage, mist, red spores. No extra people.
Look: photoreal live-action tokusatsu next-episode preview, anamorphic 21:9, fine grain.
Keep every face, costume and prop identical to its labelled reference throughout; photoreal live-action tokusatsu, 21:9, no text, logos or subtitles.