AI 视频生成器

Vice City Duo

模型

提示词

SCENE CONTEXT
A 20-second GTA VI hype teaser across Vice City and the Leonida coast, played as a two-player co-op session by a man and a woman working as a crew, through eight unrelated highlights running from golden hour into neon night. No mission, no plot, no continuity of place or vehicle between shots. The unifying idea is partnership: both are on screen and physically working together in every shot.
ACTIVE REFERENCES
@MAN: adult male protagonist. Face, hair, body type, skin tone, apparent age and complete outfit exactly as supplied in his reference. 100% matches the reference in every shot.
@WOMAN: adult female protagonist. Face, hair, body type, skin tone, apparent age and complete outfit exactly as supplied in her reference. 100% matches the reference in every shot.
The references are the only source of truth for identity and wardrobe: do not beautify, redesign, age-shift, restyle hair, recolor clothing or swap either character for a generic protagonist. If a reference is a character sheet, rebuild one consistent character from it and never reproduce its grid, panels or background. Exactly two heroes exist, never duplicated, never gender-swapped. Identical face, hairstyle, body scale and outfit through all eight cuts.
FORMAT MODE
Controlled multi-shot sequence. Exactly eight shots of exactly 2.5 seconds each, real-time speed. Instantaneous HARD CUTS at 0:02.5, 0:05.0, 0:07.5, 0:10.0, 0:12.5, 0:15.0 and 0:17.5, then a HARD CUT to black at exactly 0:20.0. HARD CUTS only — no fades, dissolves, slow motion or speed ramps.

FIRST FRAME AND PAIR LOCK — all eight shots
Frame one of every shot already contains @MAN and @WOMAN in their stated positions, already inside the peak action, with the spatial relationship readable immediately. No empty establishing frame, no delayed reveal. They stay within 2 meters of each other, both faces sharp and recognizable, no helmets, no masks, no sunglasses. No third hero, no doubles.

VISUAL STANDARD
Direct real-time GTA VI gameplay captured inside the next-generation engine at maximum settings — photoreal to the edge of live-action yet readable as a game, decisively beyond GTA V: ray-traced global illumination and reflections, physically based materials, realistic skin, hair and fabric. Not cartoonish, not plastic CGI, not flat-lit, not live-action. Vice City reads through pastel Art Deco facades, royal palms, turquoise water and coastal haze; at dusk and night, genuine teal, flamingo-pink, peach and mint neon at physically correct intensity, doubling only on real wet surfaces. Skin tones accurate for both characters. No color wash, no oversaturation, no heavy bloom, no teal-orange grade. Dense living city in every shot: mixed traffic holding lanes, varied NPCs with staggered independent behavior, never obscuring either hero.

CAMERA AND HUD
Responsive third-person GTA gameplay cameras suited to each activity, with subtle controller corrections, short follow lag and damped operator-smooth movement. Each shot carries exactly one camera move as specified. In shots marked FRONTAL the camera reaches a fully frontal position so both faces are framed directly at the same time. GAMEPLAY shots carry one subtle co-op HUD fixed in screen space: circular minimap bottom-left, two stacked partner health bars beside it, white wanted stars fixed exclusively TOP-RIGHT only where stated. CINEMATIC shots carry no HUD or reticle.

SHOT LIST

0:00–0:02.5 — GAMEPLAY — ROOFTOP CAR PARK, LOW GOLDEN SUN.
Both already sprinting across the top deck toward a convertible. @WOMAN runs screen-left and vaults a low parapet with one planted hand; @MAN runs screen-right and slides hip-first across the hood into the driver's seat. Mid-slide he tosses the keys underhand across the car; she catches them one-handed as she drops into the passenger seat. Camera behind and above at 2.8 meters, 84° diagonal field of view, one eased crane down to bumper height as the engine catches, environment visible to the frame edges. Sun low from camera-left, hard shadows racing the deck. No stars. HARD CUT on the engine bark.

0:02.5–0:05.0 — CINEMATIC — FRONTAL — COASTAL BOULEVARD, GOLDEN HOUR.
Convertible already at cruising speed in light traffic, ocean gold on the left. Camera tracks backward directly ahead of the windshield at hood height, 47° diagonal field of view, both faces filling the middle band of frame and fully readable: @MAN driving screen-left with one wrist over the wheel, @WOMAN screen-right with one arm on the door, hair lifting in the airflow. She turns to him and laughs once; he glances across and half-smiles. Warm low sun frontal on both faces, palm shadows strobing across them. HARD CUT as a palm shadow crosses the lens.

0:05.0–0:07.5 — GAMEPLAY — SANDBAR CAUSEWAY, LATE AFTERNOON.
Two dirt bikes already running side by side down a narrow sand causeway, roost spraying behind both wheels. @WOMAN rides screen-left half a length ahead, @MAN screen-right, both standing on the pegs over a rise. At the crest she reaches across and slaps his glove — a rolling high-five at speed — then both bikes land, suspension compressing hard. Camera low parallel track at wheel height on the water side, 107° diagonal field of view, foreground looming large, deep edge-to-edge focus. Sun behind camera-right rim-lights both riders. No stars. HARD CUT on the landing thud.

0:07.5–0:10.0 — CINEMATIC — FRONTAL — ROOFTOP POOL BAR, VIVID DUSK.
Both already dancing close in a packed rooftop crowd, the strip's first neon alive behind them. @WOMAN spins out under @MAN's raised right hand and comes back in, her hand landing flat on his chest; he catches her waist and they settle, foreheads close, both laughing. Camera at chest height, 29° diagonal field of view, one eased half-orbit around the pair finishing fully frontal, close framing achieved through lens reach, background compressed to a soft neon bokeh wash while both faces stay razor-sharp. Warm lanterns and cool pool bounce model them from opposite sides. HARD CUT as her hand lands.

0:10.0–0:12.5 — GAMEPLAY — MANGROVE CHANNEL, BLUE HOUR.
An airboat already running flat out through a narrow mangrove channel, sawgrass whipping past both gunwales. @WOMAN stands at the raised helm screen-right steering with both hands; @MAN braces screen-left one step below her, one hand on the frame, the other sweeping a flashlight across the reeds as herons burst up in staggered groups. The boat slides wide through a bend, stern washing sideways. Camera behind and above the fan cage at 3 meters, 84° diagonal field of view, one steady parallel track. Violet sky above; flashlight and boat lamp are the only hard sources. No stars. HARD CUT as the beam sweeps the lens.

0:12.5–0:15.0 — CINEMATIC — FRONTAL — NIGHT STREET MARKET, FULL NEON.
Both already walking shoulder to shoulder through a crowded neon-and-steam market street. A delivery scooter cuts across their path from screen-left; @MAN's arm comes across @WOMAN's chest and pulls her back half a step, both stopping with real inertia as it clears; she looks up at him and grins, and they step off again together. Camera tracks backward ahead of them at eye level, 47° diagonal field of view, both faces filling the upper third, modeled by mixed teal and flamingo-pink sign light. HARD CUT as the scooter clears frame.

0:15.0–0:17.5 — GAMEPLAY — CAUSEWAY BRIDGE, DEEP NIGHT.
A sport motorcycle already splitting traffic at speed on a lit causeway, towers glittering screen-right. @WOMAN rides in front, low over the tank, threading a gap between a taxi and a truck with believable counter-steering; @MAN rides pillion, boots planted, one hand locked on the tank strap, torso twisted to look back over his left shoulder at distant blue-red strobes. Both heads bare, both faces catching sodium light under each lamp. Camera behind and above at 3.5 meters, 84° diagonal field of view, one smooth push-in as the bike opens the gap. Two wanted stars top-right. HARD CUT on a lamp flare.

0:17.5–0:20.0 — CINEMATIC — FRONTAL — BEACH BONFIRE, TRUE NIGHT.
Both already sitting side by side on the sand within 1 meter of a low bonfire, the neon skyline glittering far across the water. @WOMAN sits screen-left and leans her shoulder into @MAN's; he tilts his head toward her; both look out past the camera toward the city, one small shared smile, one slow blink each. Camera low at sand level directly in front of them, 29° diagonal field of view, one gentle final push-in ending on both faces together. Firelight keys from below frame with real falloff; cool skyline neon rims their shoulders. No flat front fill. HARD CUT to black at exactly 0:20.0.

PHYSICS
All bodies and vehicles obey gravity, mass, inertia, traction and follow-through at real magnitudes: true ground contact and weight transfer on every step, vault, slide and landing, suspension compressing and rebounding, sand and spray on real arcs. Hair and loose fabric lag behind acceleration, then settle. Hands make visible contact with wheels, bars and each other. Nothing floats or moves faster than reality allows.
AUDIO
One continuous driving synth-and-percussion teaser track under the full 20 seconds, hard cuts landing on its downbeats, ending in a hard music stop on the cut to black. Under it, diegetic game audio switches instantly at every cut, matched to each location's engines, crowd, water and traffic. No dialogue, narration, subtitles, title cards or watermark.
POSITIVE CONSTRAINTS
Both heroes stay visible in every frame of all eight shots, and both faces are clearly readable in the four FRONTAL shots. Identity, wardrobe and body scale hold identical across every cut. Lens character is fixed inside each shot. Lighting stays motivated by visible sources, never flat front fill. Sharp clarity, natural colors, stable picture, no blur or flicker.

9819 / 50000

参考图片（可选）

画面比例

时长

分辨率

生成音频2 倍积分Basic+

所需积分50

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