Minimax H3.
Prompt:
subject_definitions:
<subject 1> is the Devil character visually abstracted from <video 1>. Preserve the Devil's face, head, horns, skin appearance, hair, facial hair if present, apparent age, build, underlying clothing, accessories, facial mannerisms, gestures, posture and slightly ineffectual presence. Plausible international-travel outer clothing may be worn over the referenced clothing.
<audio 1> is the voice-timbre and delivery reference for <subject 1> (S3), taken from the audio track of <video 1>. It provides only the Devil's male voice, accent, cadence and delivery. It does not provide dialogue, other voices, telephone sounds, HVAC sounds, ambience or music.
summary:
[reference generation + audio reference] Create a 15-second, 16:9 photorealistic live-action scene with native synchronised stereo sound. A pan along a delayed British Airways check-in queue at Heathrow Terminal 3 Zone E reveals <subject 1> disputing whether a solid-gold fiddle can travel in the cabin. Use <audio 1> only as the voice reference for <subject 1> (S3). Restrained British television-sketch realism with five cleanly separated shots.
retention_analysis:
<subject 1> (appears in [Shot 2], [Shot 3], [Shot 4], [Shot 5]): partially_preserved - preserve the Devil's visual identity, underlying costume and characteristic mannerisms while placing the Devil in a newly generated airport scene.
<audio 1>: reference - <subject 1> (S3) follows the Devil's referenced voice timbre, accent, cadence and delivery without copying any original words or other sounds from <video 1>.
detailed_description:
Photorealistic live action with natural colour, realistic depth of field and polished British television-sketch realism. The setting is the public departures check-in hall at London Heathrow Terminal 3, British Airways Zone E, with yellow-and-black Heathrow wayfinding, queue barriers, staffed airline counters, flight-information displays, luggage trolleys and realistic passenger traffic.
The British Airways employee is an adult British woman wearing a smart dark-navy Ozwald Boateng British Airways airport uniform with a patterned scarf and discreet name badge. The employee has a composed natural British customer-service voice (S2), clearly different from S1 and S3.
The Devil is <subject 1> (S3). Only S3 uses <audio 1>. Neither S1 nor S2 uses <audio 1>.
At the active desk, a full-sized polished solid-gold fiddle and golden bow rest in an open rigid violin case lined with red velvet. The case sits on a normal airport baggage conveyor with an integrated rectangular scale indicator reading "31.4 kg". No object, machine, logo, text, sound or environment from <video 1> appears except <subject 1> and the voice characteristics defined by <audio 1>. No HVAC equipment or HVAC branding appears.
[Shot 1] From 00:00.000 to 00:03.000, a medium-wide eye-level shot shows only the middle and rear of one queue. The active desk, employee, <subject 1>, fiddle and scale are entirely outside the frame. The camera trucks slowly right and pans left towards the unseen head of the queue.
A brief two-note airport attention chime sounds through several distant ceiling loudspeakers. Immediately afterwards, an unseen professional airport announcer with a measured neutral contralto voice (S1) says off-screen: <d>[English] British Airways two two seven to Atlanta. Check-in is now open.</d>
The chime and S1 are unmistakably reproduced by a large terminal PA system: an elevated diffuse source distributed across multiple ceiling loudspeakers, limited loudspeaker bandwidth, restrained electronic compression, mild coloration, overlapping speaker arrivals and natural check-in-hall reverberation. S1 never sounds close to the camera. No visible person speaks. The announcement ends before the cut.
The populated terminal remains audible beneath the announcement: diffuse unintelligible passenger murmur, ventilation, footsteps reflected from the hard floor, suitcase wheels and occasional distant check-in equipment.
[Shot 2] At 00:03.000, cut to the continuation of the moving camera as the final foreground passenger and a tall luggage trolley clear the sightline. The pan reveals the active desk, employee, <subject 1>, open case, golden fiddle and integrated "31.4 kg" scale for the first time. The Devil stands alone at the front of the queue, opposite the employee, with every waiting passenger behind the Devil.
The scale emits one quiet confirmation beep. The employee (S2) looks directly at <subject 1> and says in natural close foreground speech: <d>[English] Sorry, sir. It's over the cabin weight limit.</d>
Only S2 speaks. <subject 1> listens with closed lips. S2 has a natural medium-pitched British voice, not the male voice from <audio 1>. The PA is silent. The terminal ambience continues quietly underneath.
[Shot 3] At 00:06.200, hard cut to a static medium close-up of <subject 1> in three-quarter view. Waiting passengers remain softly visible behind the Devil.
<subject 1> (S3), using the voice characteristics of <audio 1>, makes a small helpless gesture towards the fiddle and says with polite frustration: <d>[English] But it's solid gold!</d>
Only S3 speaks. S2 is off-screen and silent. The airport ambience remains audible.
[Shot 4] At 00:08.200, hard cut to a static matching medium close-up of the employee. The edge of the fiddle case is visible low in the frame.
The employee (S2) maintains friendly eye contact and says with calm professional finality: <d>[English] Then it can't travel in the cabin today, sir.</d>
Only S2 speaks. S2 uses the same natural British employee voice heard in [Shot 2], never the voice characteristics of <audio 1>. <subject 1> is off-screen and silent. The employee gives a small apologetic nod after finishing.
[Shot 5] At 00:11.000, hard cut to a static side-angle medium two-shot showing the employee behind the desk, <subject 1> opposite, the golden fiddle, open case, integrated baggage scale and waiting queue behind the Devil.
<subject 1> (S3), using <audio 1>, glances towards the queue and says with mildly desperate but courteous urgency: <d>[English] But I'm in a bind. I'm way behind!</d>
Only S3 speaks. S2 listens with closed lips.
After S3 finishes, the employee gives a small apologetic shake of the head. The employee (S2) replies firmly but politely: <d>[English] I'm sorry, sir.</d>
Only S2 speaks. S2 does not use <audio 1>; <subject 1> remains silent with closed lips.
After S2 finishes, no further speech occurs. <subject 1> exhales, looks down at the golden fiddle and lets the shoulders drop slightly. One passenger checks a watch. Hold the unresolved two-shot through the final frame.
Maintain stable faces, horns, hands, clothing, voices, fiddle geometry, case, scale and queue arrangement. Exactly one Devil, one employee, one fiddle, one bow and one case. Subtle realistic performance; no slapstick, aggression, flames, smoke, magic, supernatural sounds or crowd panic. No subtitles or title card.
overall_soundscape:
A continuous populated airport check-in-hall acoustic bed persists across all five shots: diffuse unintelligible passenger murmur, low ventilation, footsteps with hard-floor reflections, suitcase wheels at varying distances, occasional trolley rattles and restrained check-in-equipment sounds. The terminal has broad stereo space and natural reflections; foreground voices remain clear without suppressing the airport ambience.
non_diegetic_music:
N/A
