Одна фраза.
Шесть сцен.
Целая история.

SCENE CONTEXT
SROK, episode 4 "Things", opening scene. Start directly on the confrontation, already inside the family entrance hall, with no establishing shot, title or arrival prelude. The visibly heavily pregnant wife tells her husband that his younger lover Vika is nine weeks pregnant. The husband has just come home and is still wearing his open dark-blue jacket. He was about to put his keys into their usual tray. Exactly ONE spoken passage in RUSSIAN, spoken only by the wife: "У Вики девять недель." The husband remains silent. The child and Vika are absent.
THE DEVICE — AN INTERRUPTED EVERYDAY ACTION: the wife's matter-of-fact line lands immediately; a cut reveals that the husband has failed to finish putting down his keys; his listening portrait reveals him testing whether any ordinary explanation can still work; the final shared frame holds the distance between them. Four shots joined by exactly THREE HARD CUTS at 2.6, 4.0 and 7.0 seconds. Twelve seconds total. Real time throughout, no slow motion, no speed ramps.
ACTING — shared direction: keep this exchange at an ordinary indoor volume, without letting the child in another room hear a confrontation. The event ends when both have to wait in the same silence, unable to resume an ordinary homecoming.
WIFE: she wants him to acknowledge the fact without making her interrogate him. Her obstacle is his habit of evading an answer. She delivers one plain factual sentence to him, then gives him the space to answer. Her attention actively tests whether he will meet the fact or try to pass it off; she does not help him with a second question. Physical channel: she stays at the doorway, facing him, hands relaxed beside her belly rather than reaching to greet him.
HUSBAND: he wants her to allow the familiar homecoming to continue. Her exact knowledge makes his usual explanation unusable. Through the interrupted key gesture he tries to buy a moment to work out how much she knows. He searches her response for permission to say something ordinary, finds none, and stays with her gaze instead of inventing an answer. His mouth remains closed. Safety: both are mentally engaged with their partner, with natural breathing and natural blinking, never a glassy unfocused stare. Restrained feature-film acting; no tears, yelling, comic shock or theatrical recoil.

ACTIVE REFERENCES
@image1 — THE WIFE. Preserve her identity and proportions exactly: long narrow oval face, hooded hazel-olive eyes, straight brown brows, freckles and left-cheek beauty mark, brown hair pinned up with a charcoal claw clip and loose temple strands, small gold stud earrings. Preserve her large 28-week pregnancy belly, camel ribbed knit top and matching wide trousers, white socks. Take ONLY her character design and wardrobe from the sheet, never the sheet layout, grey background, expression or studio light.
@image2 — THE HUSBAND IN HIS JACKET. Preserve his tall lean proportions, sandy light-brown swept forelock, grey-blue eyes, long nose, freckles and light stubble. Same open dark ink-blue jacket over grey crewneck sweater, dark jeans, white sneakers and wedding ring. Take ONLY his character design and wardrobe, never the sheet layout, grey background or studio light. His expression is driven by listening to his wife, not by the card's smile.
@image3 — THE FAMILY ENTRANCE HALL. Preserve its narrow layout: closed greige entrance door at the far end, pale oak flooring and right-side rounded pale-wood console, shallow ceramic key tray on the console, oval brass mirror on the right wall, warm linen pendant, left-side doorway, sage runner, coat and mustard child's jacket on the right hooks. The wife stands by the existing LEFT doorway; the husband stands beside the existing RIGHT console. This is one room throughout. Reset only the small keys in the reference: the tray is initially empty and the husband holds one keyring with two plain metal keys. Remove loose duplicate keys from the console.
Keep the original tactile stylized 3D art-toy world: matte flocked skin, soft felted hair, ribbed knit and woven cloth, rounded sculpted forms, pale wood and restrained brass. The same materials receive the location's light and cast contact shadows. Dimensional 3D forms, no flat paper-painting treatment, no glitter, no photoreal skin, no glossy plastic.

LOCATION MAP
View from the inner end of the hall toward the closed entrance door. Wife occupies the LEFT side beside the existing doorway, turned three-quarter toward her husband at screen-right. Husband occupies the RIGHT side beside the console, facing her across approximately 1.2 metres of clear hall. His RIGHT hand holds the keys just above the tray; his LEFT arm rests at his side. Maintain this screen direction in every shot; stay on the same side of their axis. The closed entrance door stays in the depth behind him. Frame the mirror outside the portraits; any visible mirror sliver reflects only the wall or ceiling, never an additional person. Nobody walks through the scene.

FIRST FRAME
A close medium view of the wife from head to below her pregnant belly, at the left third, with her husband's soft dark-blue shoulder forming a narrow foreground edge at far right. Her face and mouth are unobstructed and her pregnancy is unmistakable. She is already looking at him. The line starts within the first 0.2 seconds.

FORMAT MODE
Native vertical 9:16. One image fills the frame in every shot. No split screen or reference-sheet layout.

OPTICS
Shot 1: FOV 47 degrees, f/4, wife and belly clearly readable, husband's near shoulder soft.
Shot 2: FOV 29 degrees, f/5.6, tight insert of the husband's right hand, keys and tray, all in focus.
Shot 3: FOV 29 degrees, f/4, husband's listening face sharp, a narrow soft edge of the wife's shoulder at far left.
Shot 4: FOV 63 degrees, f/5.6, a medium-wide shared frame with both characters readable and space between them. Camera position remains on the same side of the axis.

CAMERA
0.0–2.6: locked close medium of wife, already framed for the line.
2.6–4.0: HARD CUT to the keys insert at console height.
4.0–7.0: HARD CUT to the husband's close-up.
7.0–12.0: HARD CUT to the shared frame, wife left and husband right. Hold without travelling, zooming or reframing. Only imperceptible operator weight. All transitions are instantaneous hard cuts; no dissolve or morph.

ACTION SEQUENCE
0.0–2.6 — SHOT 1. At 0.15 the wife says quietly and evenly in Russian: "У Вики девять недель." Natural adult female voice, clear ordinary conversational diction, no theatrical accent or sarcasm. Complete the line by about 2.2. Her mouth is visible and accurately synchronized for the whole line. Her hands remain low; she does not stroke or point at her belly. She stays looking at the husband, leaving the next turn to him.
HARD CUT at 2.6.
2.6–4.0 — SHOT 2. His right thumb and forefinger still grip the keyring. The two attached keys hang only 3–5 centimetres above the ceramic tray. His attempt to lower them has stopped. A tiny remaining swing settles under gravity with one very light metallic tick between the two keys. He neither releases nor drops them. No other action.
HARD CUT at 4.0.
4.0–7.0 — SHOT 3. The husband looks toward his wife at screen-left, actively checking whether she is waiting for an explanation or already knows it. He finds no way to begin. His mouth stays closed and he does not nod, shrug or smile. The key-holding hand remains below the frame in the same position.
HARD CUT at 7.0.
7.0–12.0 — SHOT 4. Both remain where they were. She waits for him to answer. He waits for her to say what else she knows. At 9.0–10.0 he finishes the small interrupted action: lowers the same keys fully into the tray and releases the ring only after the keys touch it. One quiet ceramic-and-metal contact. His hand withdraws a few centimetres and rests beside the tray. The wife does not rescue the silence. Hold their unanswered exchange until the cut at the end. Nobody leaves or removes clothing yet.

ANIMATION STYLE
Tactile stylized 3D feature animation, restrained poses animated on twos within a 24 fps output. Smooth stable camera. Small natural breathing, weight in planted feet, slight cloth and loose-hair secondary motion. Character volume and dimensional light stay stable. The keys are the only emphatic physical action; eye-work belongs to listening and testing the partner's response.

PHYSICS
Each adult has exactly two arms, two hands and ten fingers. One keyring with exactly two keys belongs to the husband's RIGHT hand throughout, then rests in the single tray. Keys stay attached to the ring; they swing and settle with gravity. The hand never changes sides and objects never multiply, float or pass through the tray. The wife keeps her full pregnancy volume. Clothing, walls, console and all contact shadows retain their shape across cuts.

LIGHTING
Evening. Use the established warm linen pendant as the motivated 3000K key from upper camera-right, shaping the faces and casting soft shadows on their far sides. A much weaker neutral-cool 5000K ambient bounce comes from the inner apartment at camera-left. Preserve cream and camel skin/cloth colours; dark ink-blue jacket supplies the contrast. Keep background exposure about half a stop below the faces and contact shadows readable, with soft falloff into the far hall. No flat frontal studio lighting, theatrical coloured spotlights or change of time of day. All four shots share the same lighting direction.

AUDIO
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING.
Exactly ONE spoken passage, entirely in Russian, spoken by the wife during shot 1: "У Вики девять недель." No voice-over, added words, male reply, sigh, gasp, child's voice or second repetition. The rest is very quiet domestic room tone, a distant refrigerator hum, the small key-against-key tick in shot 2 and one quiet key-tray contact in shot 4. Her line is close and intelligible above the room tone. No artificial impact sound or dramatic whoosh.

QUALITY
Stable original identities, delicate tactile microtexture, sculpted three-dimensional faces, clear Russian lip-sync, natural restrained film grain and gentle bloom only at the lamp. Clean silhouette separation without a glowing outline. No text, letters, numbers, symbols, captions, logos or UI anywhere. Preserve the same hall across every shot.

TECHNICAL PARAMETERS
Seedance 2.5 via direct BytePlus/ByteDance. 480p, vertical 9:16, 24 fps output. Exactly 12 seconds, four shots, three hard cuts. Real time throughout, no slow motion, no speed ramps. Generate synchronized scene audio.

POSITIVE LOCKS
Exactly two adults share the same entrance hall: wife left, husband right.
The wife's established identity, camel outfit and 28-week pregnancy match @image1.
The husband's established identity and open dark-blue jacket outfit match @image2.
The architecture and materials match @image3.
Each adult has exactly two arms, two hands and ten fingers.
One right hand holds one ring with two keys until they are placed into one tray in shot 4.
Four shots are joined by exactly three hard cuts at 2.6, 4.0 and 7.0 seconds.
The wife's mouth is visible for the single exact Russian line in shot 1; the husband listens with his mouth closed.
The soundtrack contains only her one line and restrained domestic sounds.
Every visible surface and object is unlettered and unbranded.
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No music of any kind.

SCENE CONTEXT
SROK episode 4, scene 2. Immediately after his pregnant wife said that Vika is nine weeks pregnant, the husband quietly packs a travel bag in their bedroom. His jacket has been removed between scenes; here he wears his established grey sweater. The wife arrives at the bedroom threshold. He interrupts his packing to see whether she will ask him to stay. She stays in the doorway without offering that invitation. He resumes packing. No spoken words, no captions, no music. The child and Vika are absent.
THE DEVICE — A VIEW FROM INSIDE THE BAG, FOLLOWED BY A LATERAL DOORWAY REVEAL. Three shots, exactly TWO hard cuts at 3.0 and 8.0 seconds, 12 seconds total. This scene starts from a low object viewpoint, then uses one short physical sideways camera move. It is not another succession of static face portraits. Real time throughout, no slow motion or speed ramps.
ACTING TASK, shared direction: complete the practical task quietly enough to keep the child outside this confrontation. Husband's motive is to make leaving possible without asking his wife for permission; his goal is to get the bag packed. Her presence forces him to check whether she will stop him. His hands suspend their work while his attention searches her for an invitation to stay; when none comes, he returns to the shirt. Wife's motive is to stop carrying his decisions for him; her goal is to make him face the fact that she is watching him choose. Her tactic is to remain at the threshold and give him no instruction, while actively registering whether he will put the shirt down or pack it. Physical channels: his interrupted packing, her one step to the threshold followed by staying there. End event: both see that he has resumed the packing himself. Safety: engaged attention on each other and the task, natural blinking and breathing, never frozen glassy eyes. Quiet restrained acting; no tears, big sighs, accusation gestures, comic shock or pantomime.

ACTIVE REFERENCES
@image1 — THE HUSBAND. Match his established tall lean body, sandy light-brown swept hair, grey-blue eyes, long nose, freckles and light stubble. Exactly the reference's grey crewneck knit sweater with sleeves pushed to the forearms, dark jeans, white sneakers and wedding ring. Take ONLY identity, design and clothing from the character sheet, never its background, panel layout, smile or studio lighting. He is without the blue jacket for the whole scene.
@image2 — THE WIFE. Match her long narrow oval face, hooded hazel-olive eyes, freckles and left-cheek beauty mark, mid-brown hair pinned with a dark claw clip and loose temple strands, small gold studs. Same camel ribbed knit top and wide trousers, white socks, full 28-week pregnancy belly. Take ONLY her design and wardrobe, never the reference's background, panel layout or lighting. She watches her husband, not the camera.
@image3 — THE BEDROOM. Keep the pale oak wardrobe in the rear with its left compartment already open, the open doorway on the LEFT leading to the family hall, the cream upholstered bed with sage blanket on the RIGHT, the right-side window and warm bedside lamp. The bed, wardrobe and doorway remain in the same places across cuts. Use this as a location reference, not as a mandatory distant framing: compose close enough to read hands, face and the doorway.
@image4 — ONE TRAVEL BAG SHOWN TWICE FOR REFERENCE. Use the open lower view for shape: medium slate-blue canvas weekender, charcoal short handles, brass zipper, flat front pocket, grey lining. The top and bottom views depict ONE prop, never two bags. Deliberate initial-state change: the bag is EMPTY at the start; the folded shirts from the card will be placed in it during this scene. The bag remains fully unzipped throughout. Handles lie outside the opening against the bag sides.
Render all references in the same tactile stylized 3D art-toy world: matte softly flocked skin, felted hair, soft knit and woven fabric, rounded sculpted forms, pale wood and restrained brass. Dimensional shapes lit by this room, with contact shadows and soft light falloff. No flat painted-paper treatment, glitter, glossy plastic or photoreal skin.

LOCATION MAP
The bag rests on the sage blanket near the foot of the bed, stable and fully open. Its long axis lies across the bed. The husband stands beside the accessible left side of the bed, beyond the bag from the initial camera viewpoint; his torso reads near centre-right. The doorway is visible in the rear-left behind and to the left of him. A folded navy T-shirt lies on the blanket immediately beside the bag within easy reach. He initially holds one folded light-grey T-shirt in both hands. These are the only two shirts being handled. The wife begins just outside the bedroom, arriving at its LEFT threshold in shot 2. Her pregnancy silhouette stays clear of the door frame. She stays at that threshold through shot 3.

FIRST FRAME
The camera is physically just INSIDE the open bag against its near inner wall, looking upward over its low far rim at the husband's face and the light-grey folded T-shirt in his hands. A soft narrow arc of grey lining and brass zipper frames the bottom and corners, not most of the picture. His face is readable above the opening. It is a camera viewpoint from a bag, not a miniature man inside a giant bag.

FORMAT MODE
Native vertical 9:16, one full-frame view per shot. No split screen, panels or reference-sheet layouts.

OPTICS
Shot 1: FOV 63 degrees, f/5.6, mild upward angle from the bag interior; his hands, shirt and face are readable, near lining softly blurred. Natural proportions, no fisheye.
Shot 2: FOV 47 degrees, f/5.6, waist-height three-quarter medium from beside the foot of the bed. Husband, bag and rear-left doorway readable together. No focus rack.
Shot 3: FOV 47 degrees, f/5.6, low exterior view just above mattress height beside the bag. Hands and bag dominate the foreground, with the wife readable in the LEFT doorway behind. Keep enough depth of field to preserve her silhouette and presence.

CAMERA
0.0–3.0: stationary camera inside the near edge of the open bag. The bag itself is stationary. No travelling through cloth or zipper.
HARD CUT at 3.0 to an EXTERIOR viewpoint beside the foot of the bed.
3.0–4.5: physically slide the camera 25 centimetres to camera-right at constant waist height, producing parallax past the near bed edge and opening a clearer view of the LEFT doorway. Keep the husband near frame-right. This is a lateral move, not a zoom, push-in or orbit.
4.5–8.0: stop and hold the resulting medium composition, the two characters separated in depth.
HARD CUT at 8.0 to the low exterior hands-and-bag composition.
8.0–12.0: hold that composition. Stay on one side of the action axis throughout; the doorway always reads screen-left. Exactly three shots and two hard cuts.

ACTION SEQUENCE
0.0–3.0 — SHOT 1. The husband lowers the one folded light-grey T-shirt with both hands through the open mouth and places it flat in the FAR HALF of the bag, away from the near-wall camera. He releases it only after contact with the lining. Both hands withdraw through the same opening. The cloth and his arms never cover the whole lens or pass through the camera. The near half remains empty.
HARD CUT at 3.0.
3.0–4.5 — SHOT 2. During the short lateral camera move, he picks up the folded NAVY T-shirt from the blanket beside the bag with both hands. At the same time the wife takes one quiet step to the LEFT bedroom threshold and stops there, looking at him. She carries nothing. This movement gives him a reason to notice her.
4.5–8.0. He interrupts packing with the navy shirt supported in both hands just above the bag. He turns his attention to her to find out whether she will stop him. She remains at the threshold, watching what he chooses to do. No nod, beckoning hand, reply, hug or movement toward him. Neither performs sadness; they attend to each other. The grey shirt remains inside the bag and the navy shirt remains in his hands.
HARD CUT at 8.0.
8.0–10.5 — SHOT 3. With his wife still visible in the rear-left doorway, he returns to the bag and lowers the SAME navy shirt flat ON TOP OF the grey shirt in the far half. His hands release the cloth after contact, then withdraw. Two folded shirts are now inside; the near half remains empty for a later scene.
10.5–12.0. His hands rest at the open rim. He leaves the bag exactly where it is and fully open. She stays in the doorway. Hold the result without a new task. No zipping, lifting the bag, putting on a jacket or leaving the room.

ANIMATION STYLE
Tactile stylized 3D feature animation, restrained poses on twos within a 24 fps output, smooth camera motion. Natural body weight, tiny cloth settling after each placement, loose hair and sleeves with restrained secondary motion. A purposeful pause in the husband's task creates the beat; it is not a frozen video frame. The wife keeps natural breathing and active attention.

PHYSICS
Exactly two adults, each with two arms, two hands and ten fingers. The husband uses both of his own hands for each shirt. Exactly one bag on the bed, one grey shirt and one navy shirt. The empty bag gains the grey shirt first, then the navy shirt on top; neither shirt disappears or changes colour. Hands and cloth pass through the open mouth, never through the bag walls. Canvas yields slightly under contact while the bag stays in place; the mattress and blanket support its weight. The bag opening stays broad, unzipped and uncovered; the near half remains unfilled. The wife stays on the floor at the doorway with her full pregnancy volume.

LIGHTING
Established evening bedroom lighting: soft 3000K bedside lamp from the right and warm hall light behind the doorway, balanced by weaker blue-hour window fill around 6500K from the right-rear. Warm cloth highlights, cooler quiet shadows, clear contact shadows in the bag and under the arms. Keep faces readable inside the bag viewpoint; the bag rim provides a dark foreground framing layer, not a black tunnel. Preserve depth with foreground rim, working man and distant doorway. No frontal studio light or lighting changes across cuts.

AUDIO
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No speech in any language, narration, sighs, gasps, humming or child's voice. Diegetic sound only: two soft cloth placements, subtle knit and canvas rustle, one quiet socked step at the threshold, low domestic room tone and distant refrigerator hum. No zipper sound because the bag stays open. No cut whoosh or dramatic impact.

QUALITY
Stable original identities and room geometry; clear fingertips and cloth contacts; tactile matte microtexture; gentle natural film grain. No crawling texture or object duplication. No text, letters, numbers, symbols, captions, logos or UI anywhere. The camera viewpoint is close and cinematic, never the wide empty location-card composition.

TECHNICAL PARAMETERS
Seedance 2.5, direct BytePlus/ByteDance, 480p, vertical 9:16, 24 fps output, exactly 12 seconds. Three shots, two hard cuts at 3.0 and 8.0. Real time throughout, no slow motion or speed ramps. Generate only synchronized diegetic audio.

POSITIVE LOCKS
Exactly one husband and one visibly pregnant wife, each with exactly two arms, two hands and ten fingers.
The husband wears the grey sweater and dark jeans from @image1 throughout.
The wife wears the same camel outfit and keeps the pregnancy volume from @image2 throughout.
The room layout matches @image3, with the doorway always screen-left.
One open canvas bag matches @image4; the two reference views depict that one prop.
The first grey shirt enters the empty bag, then the navy shirt rests on top of it; the near half stays empty.
The bag remains on the bed, fully unzipped and open at the end.
The wife arrives at the threshold in shot 2 and stays there through shot 3.
The camera starts inside the bag, cuts to a short lateral exterior slide, then cuts to a low exterior packing view.
All sounds are physical room, cloth and footstep sounds; all characters stay silent.
All visible surfaces remain plain and unlettered.
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No music of any kind.

SCENE CONTEXT
An eight-second scene from SROK, a tactile stylized 3D domestic animated film. Animate the TWO supplied shot-composition references in the given order, joined by ONE hard cut at 3.5 seconds. A woman prepares a second place for an absent guest, then sits opposite that empty place and waits. She is Vika, not the other pregnant woman. No spoken words. Real-time movement within each shot, no slow motion or speed ramp. The cut omits the short walk and sitting; never morph one viewpoint into the other.
THE DEVICE — OVERHEAD PLATE PLACEMENT, THEN WAITING ACROSS AN EMPTY PLACE. Shot 1 matches the exact straight-down camera in @image1. Shot 2 matches the close table-level camera in @image2. Both are still. The foreground plate is the same physical plate placed in shot 1. It must stay visibly on the near placemat for EVERY FRAME of shot 2. Both plates must remain visible in both shots.
ACTING TASK — VIKA: make the promised visit feel like an ordinary welcoming evening. She finishes his place, then checks whether the silent phone has brought news of him. Finding none, she keeps the place ready and waits for him. Her goal is to welcome him, her obstacle is no confirmation of arrival, her tactic is to let the completed table stand as an invitation. Purposeful attention to the plate, phone and unoccupied chair; natural breathing and blinking. No vacant stare, villainous smile, crying or exaggerated anxious gestures. Her mouth remains closed throughout.

ACTIVE REFERENCES
@image1 — EXACT COMPOSITION AND INITIAL STATE FOR SHOT 1. Copy this overhead camera, framing, table orientation, lighting, two chairs, two rose placemats, two water glasses, smartphone position and Vika's two hands holding the lower plate. The upper plate is already on the table. Animate only the held lower plate being set down and her hands withdrawing. The tabletop stays a true rectangle seen straight down. Do not substitute an oblique view or crop to just one place.
@image2 — EXACT COMPOSITION AND STATE FOR SHOT 2. Copy this camera and close framing, Vika seated at the far place, her established face and clothes, both visible plates, both glasses, the dark phone and the room. The large plate in the LOWER FOREGROUND belongs to the EMPTY guest chair. Keep that foreground plate on its placemat for the whole shot. Vika's own plate stays in front of her. Do not simplify to a one-plate table or a distant whole-room view.
@image3 — VIKA IDENTITY CHECK ONLY. Same honey-blonde straight hair, pale sage-grey eyes, small left cheek mole, small gold hoops, dusty-rose cardigan, white tee and cream trousers. Use her face and outfit only. At home she has NO shoulder bag or strap. Keep her ordinary slim waist, no large pregnancy belly. Do not copy the reference sheet layout, grey background, pose or studio light.
Both scene reference images show ONE consistent apartment and ONE woman. Render in their same dimensional matte tactile 3D style: softly flocked skin, felted hair, knit, warm wood, soft shadows and restrained brass. Preserve the reference images instead of reinventing their layouts.

LOCATION MAP
In both shots, the FAR/UPPER place is Vika's; the NEAR/LOWER place is for the absent guest. The phone is LEFT of the far/upper place in both images. In shot 1 Vika stands at the right side of the table and only her hands, sleeves and top of her hair enter from the right. After the hard cut she is seated in the FAR chair as in @image2. The NEAR chair stays empty. Nothing on the table changes position across the cut. Exactly two cream plates, two water glasses and one dark phone.

FIRST FRAME
Reproduce @image1 as closely as possible, including its complete table view, perpendicular 90-degree downward angle and two place settings. Her two hands hold the near plate a few centimetres above its rose placemat. The far plate already lies flat. Both plate circles are visible. No lamp or wall enters this overhead composition.

FORMAT MODE
Vertical 9:16. One full-frame image per shot. No split screen or panels.

OPTICS
Shot 1 uses the same straight-down 90-degree optical axis and full-table framing as @image1, FOV 63 degrees, f/8. Keep the table rectangle and plate circles undistorted.
Shot 2 uses the same near-chair table-level composition as @image2, FOV 47 degrees, f/5.6, with Vika's face and BOTH plates readable. Keep her face large in the upper half and the unused plate prominent in the lower foreground.

CAMERA
0.0–3.5: stationary exact overhead view from @image1. No tilt or pan.
At 3.5: ONE instantaneous HARD CUT directly to @image2's viewpoint with Vika already seated. No dissolve, morph or animated camera flight. This edit skips her moving to the chair.
3.5–8.0: stationary exact close table-level composition from @image2. No camera travel, zoom, pullback or extra cut.

ACTION SEQUENCE
0.0–1.5: starting from @image1, Vika lowers the near plate by a few centimetres until it rests flat on the near rose placemat. Both hands release its rim only after contact.
1.5–2.5: her two hands withdraw to the right and leave the frame. The newly placed plate stays on the NEAR placemat. The original plate stays on the FAR placemat. Both glasses and phone stay still.
2.5–3.5: hold the complete overhead table for two, including BOTH plates and the two empty chairs.
HARD CUT at 3.5.
3.5–5.5: match @image2 exactly, with Vika seated at her far place and both hands resting beside her own plate. She glances toward the dark phone at screen-left, to her right, checking whether he has sent any sign of arrival. The phone stays flat and dark; she never picks it up or touches it.
5.5–8.0: she returns attention to the unoccupied place opposite and waits. Keep both hands beside her own far plate. The big near guest plate remains clearly visible and untouched throughout. Nobody arrives. End on unresolved waiting.

ANIMATION STYLE
Restrained stylized 3D feature animation on twos within 24 fps output. Subtle breathing, small natural attention shifts, cardigan and hair settling. Only hands and held plate move in shot 1; only Vika's attention and natural breathing move in shot 2. The room and tableware remain stable.

PHYSICS
Exactly one woman with two arms, two hands and ten fingers. Both hands support one held plate, lower it onto cloth and release after contact. Exactly TWO plates remain on their own placemats after placement and across the cut. Exactly TWO glasses and ONE phone remain unchanged. No extra objects and no disappearing foreground plate. No hand/object intersection, floating or contact with the camera.

LIGHTING
Keep both keyframe references' warm 3000K pendant lighting and gentle cooler window fill. Preserve tactile surface texture, contact shadows under the plates and face modelling. No lighting change, flat frontal studio light, glitter or glossy skin.

AUDIO
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No speech, narration, singing, humming, sigh, gasp, phone sound or additional voice. Quiet diegetic apartment room tone and ONE soft plate-on-placemat contact, with a little sleeve rustle. The phone stays silent. No dramatic impact or transition whoosh.

QUALITY
Maintain shot-reference fidelity: exact two-plate continuity, same Vika identity, same room, clean restrained movement. No text, letters, numbers, labels, subtitles, logos or interface anywhere. The phone remains dark. Fine natural film grain and dimensional tactile materials, matching the keyframes.

TECHNICAL PARAMETERS
Seedance 2.5, direct BytePlus/ByteDance. 480p, vertical 9:16, 24 fps output, 8 seconds total. Two stationary shots, ONE hard cut at 3.5. Real-time movement within each shot. Diegetic audio only.

POSITIVE LOCKS
Shot 1 matches @image1's strict overhead view and two-place layout.
Shot 2 matches @image2's close waiting view, with BOTH plates visible for the entire shot.
The plate placed at the near setting in shot 1 remains the prominent untouched foreground plate in shot 2.
Vika is the only person and matches the references, with two arms, two hands and ten fingers, rose cardigan and no shoulder bag.
Exactly two plates, two glasses, two placemats, two chairs and one dark phone remain consistent.
The near chair stays empty and Vika sits in the far chair after the cut.
All characters stay silent with mouths closed.
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No music of any kind.

SCENE CONTEXT
SROK episode 4, scene 3. A parallel scene in Vika's separate apartment on the same evening. While the married man packs at his family home, Vika prepares a second place at her small dining table and waits for him. She is nine weeks pregnant with her usual slim waist, without a visible late-pregnancy belly. Exactly one person, Vika, is present. No dialogue or narration. Two shots, exactly ONE hard cut at 3.5 seconds, 8 seconds total. Real time within each shot; a brief natural editorial ellipsis across the cut lets her move to her own chair and sit. Never show teleportation within a shot. No slow motion, speed ramp or dissolve.
THE DEVICE — EXACTLY VERTICAL TABLETOP VIEW, THEN THE ABSENT GUEST'S PLACE. Shot 1 is a perfect bird's-eye view at exactly 90 degrees straight down. The rectangular tabletop reads as a true rectangle and the plates and glasses as circles, with parallel table edges; only the tops of hands and perhaps the top of her hair appear at the side. No walls or horizon. Shot 2 observes Vika from just behind the empty guest chair, with the newly set place in the foreground. Both cameras are still. No inside-object viewpoint, sideways travel, face close-up sequence or repeated camera device from the preceding scene.
ACTING TASK — VIKA. Shared scene direction: prepare an ordinary welcoming evening for two. Motive: she wants his promised visit to feel like the beginning of a shared home. Goal: have his place ready so there is nothing awkward when he arrives. Obstacle: she has no new confirmation that he is on his way. Tactic: make the waiting into an ordinary practical task, then check whether the phone has brought him any closer. The absent man's place is her partner in the task: she makes room for him, measures the silence against the readiness of that place, and keeps the invitation open. Physical channel: gently setting down his plate, then leaving the opposite chair empty while she sits at her own place. After checking the phone, she returns attention to the place she has prepared, as if keeping it ready can help him arrive. Do not play a villain, celebrate the affair, cry or enact exaggerated anxiety. Safety: naturally engaged attention, breathing and blinking, never a vacant frozen stare.

ACTIVE REFERENCES
@image1 — VIKA. Exact established design: young adult woman with long straight honey-blonde hair, pale sage-grey eyes, softly curved brows, small beauty mark low on her left cheek near the mouth, small gold hoop earrings. Same dusty-rose open knit cardigan, white T-shirt, cream trousers and white sneakers. ONE deliberate wardrobe difference for this home scene: the tan shoulder bag AND its strap are absent. Preserve her ordinary slim waist and natural body proportions; no enlarged pregnancy belly. Take ONLY identity, design and clothing from the sheet, never the sheet layout, pose, grey background or studio lighting.
@image2 — VIKA'S EVENING DINING AREA. Preserve the small rectangular walnut table with rounded corners, exactly two dusty-rose upholstered chairs facing one another, exactly two rose placemats, greige kitchen cabinets with brass handles, left window and sink, right sideboard, warm linen pendant and evening colour palette. Use the reference as architecture and material guidance, not as a fixed shot size.
Initial prop state: the FAR place already has one cream plate and its cutlery. One clear glass is beside that far plate at screen-left. The NEAR placemat has no plate yet; its one glass stands on screen-right. Vika is already holding the second cream plate above the near placemat. The right sideboard is now bare where that plate was: do not leave a duplicate there. One plain dark phone lies face-up on the table at the LEFT of Vika's FAR place. Exactly two plates total, two glasses total, one phone and two chairs. Add one plain fork and knife beside the near placemat before the first frame so both places are laid; she does not need to handle cutlery in this brief scene. No food, candles, flowers, bottles, pregnancy test or extra tableware.
Render in the SAME tactile stylized 3D art-toy world as the references and previous SROK scenes: matte softly flocked skin, felted hair, tactile knit and woven cloth, rounded sculpted forms, pale warm wood and restrained brass. Dimensional forms with contact shadows and soft light falloff. No flat painted-paper style, glitter, glossy plastic or photoreal skin.

LOCATION MAP
Maintain the reference's orientation: window at room-left, sideboard at room-right, kitchen behind the FAR chair. Vika's own chair and already-laid place are FAR from the reference camera; the guest's empty chair and rose placemat are NEAR. Shot 1 views the same table directly downward with far place toward the top and near place toward the bottom. Vika stands beside the RIGHT table edge, near the guest's place, so her hands reach it naturally without leaning across the whole table. Shot 2 is from just behind the NEAR empty chair toward Vika now seated in the FAR chair. The phone remains to HER RIGHT, which is screen-left from this camera, beside her far place. The near guest chair remains empty throughout.

FIRST FRAME
Perfect 90-degree overhead view of the rectangular tabletop, both rose placemats and exactly two glasses. One cream plate is on the far placemat; Vika's two hands enter from the right holding the other cream plate horizontally 5 centimetres above the empty near placemat. The ceiling pendant is outside and above the camera; it does not obstruct the table. No face, walls, horizon or tilted perspective.

FORMAT MODE
Native vertical 9:16; one full-frame view per shot, no panels or reference-sheet layout.

OPTICS
Shot 1: FOV 63 degrees, f/8, optical axis exactly perpendicular to the tabletop, deep focus across the two places. Plates and glass rims read as circles. No oblique angle, fisheye or cinematic tilt.
Shot 2: FOV 47 degrees, f/5.6, camera just above tabletop height behind and slightly to the left of the empty near chair, aimed toward Vika. Her face and the near empty place both remain readable, with only a narrow edge of the chair softly blurred at the very bottom. Vika sits slightly right of centre; the empty plate occupies the lower foreground. Her face is large enough to read, not a distant full-room view.

CAMERA
0.0–3.5: completely fixed overhead camera at exactly 90 degrees down. No rotation, descent or travel.
HARD CUT at 3.5 to the guest-chair viewpoint. The cut omits her short walk to the far chair and sitting down.
3.5–8.0: fixed view across the unused guest setting toward seated Vika. No camera slide, zoom, push-in, orbit, focus pull or additional cut.

ACTION SEQUENCE
0.0–1.8 — SHOT 1. Using both hands, Vika lowers the second cream plate onto the centre of the near rose placemat. The plate stays horizontal, touches the fabric and rests. She releases its rim after contact.
1.8–3.5. She withdraws both hands to the right and out of view. Hold on the now-complete table for two: exactly two cream plates, two glasses, two places, two empty chairs. Nothing else is placed or removed. The phone stays by the far place, dark and silent.
HARD CUT at 3.5.
3.5–5.5 — SHOT 2. Vika is now seated at her own far place, her hands resting beside her plate on the table. She checks the phone lying to her right by looking toward it. She does not lift it, tap it, type, call or speak; it stays dark and silent, without visible messages or interface. Her attention is checking for a sign that he is on his way.
5.5–8.0. Finding no new indication, she returns attention to the empty place opposite and remains ready to receive him. The unused guest plate and near chair stay in the foreground. Let the waiting remain unresolved. Her hands stay on the table beside her own plate; no belly touch, smile for the camera, tears or new action. End while she is still waiting, without anyone arriving.

ANIMATION STYLE
Tactile stylized 3D feature animation, restrained poses animated on twos within 24 fps output. Precise small hand contacts, soft cardigan settling and natural breathing. An ordinary careful plate placement, followed by active waiting. Stable character volume and kitchen geometry. No exaggerated mime, mechanical freeze or floating hands.

PHYSICS
Exactly one woman, two arms, two hands and ten fingers. Her hands support opposite sides of one plate and release only after it is supported by the placemat. One cream plate was already at the far place; the single new plate settles at the near place. The sideboard stays without a third plate. Exactly two glasses remain in their original positions. Table, chairs and phone are stationary. Hair and cardigan move only with small natural secondary motion. The phone lies flat on the table throughout.

LIGHTING
Same evening as the family scenes. Soft warm 3000K linen-pendant light over the table and quiet under-cabinet lighting, balanced by weaker blue-hour window fill around 6500K from frame-left. Preserve dusty-rose fabric, warm walnut, neutral cream plates and natural skin colour. Clear plate-on-mat contact shadow, gentle modelling of her face, background slightly dimmer than Vika. The overhead camera sits below the pendant, which stays outside the framing. Keep source direction consistent after the cut. No flat frontal studio light, dramatic coloured spotlight or sudden lighting change.

AUDIO
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No speech, narration, humming, sigh, gasp or voice from another room. Quiet diegetic sounds only: a soft ceramic contact on the fabric placemat, subtle cardigan rustle and low apartment room tone. No phone ring, vibration, notification, keypad or screen sound. No cut whoosh or dramatic impact.

QUALITY
Stable Vika identity, matte tactile microtexture, gentle natural film grain. Clean two-hand contact and object permanence across the cut. Top-down geometry must be visibly exact, not a high diagonal angle. No text, letters, numbers, symbols, subtitles, logos or UI anywhere, including phone and appliance panels. Unlettered plain dishes and surfaces.

TECHNICAL PARAMETERS
Seedance 2.5 via direct BytePlus/ByteDance. 480p, vertical 9:16, 24 fps output, exactly 8 seconds. Two shots with exactly one hard cut at 3.5 seconds. Real-time actions within each shot with a brief editorial ellipsis across the cut. Generate only synchronized diegetic audio.

POSITIVE LOCKS
Exactly one visible person: Vika, matching @image1, in dusty-rose cardigan and white T-shirt with her ordinary slim waist.
Her shoulders and torso are free of any bag or bag strap.
She has exactly two arms, two hands and ten fingers.
The separate apartment and furniture match @image2.
Exactly two plates, two glasses, two rose placemats, two chairs and one dark phone remain consistent.
The near guest place receives the second plate and stays unoccupied.
Vika sits at the far place in shot 2, with the phone to her right, screen-left.
Shot 1 is a perfect overhead 90-degree view; shot 2 is from the empty guest chair toward Vika.
Two stationary shots are joined by one hard cut, with sitting omitted by that cut.
The recording contains quiet physical room sounds only and all characters are silent.
All surfaces and the dark phone are plain, unlettered and without interface.
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No music of any kind.

SCENE CONTEXT
SROK episode 4, scene 4, returning from Vika's apartment to the family bedroom. The father has packed a grey T-shirt and a navy T-shirt into an open travel bag on the bed. Misha, his preschool son, returns from the hallway already carrying his favourite plush rabbit; fetching it happened off screen. Misha puts the rabbit on the father's clothes so the father will have company at night, then says exactly one line in Russian: "Пусть с тобой поспит." The father stops trying to close the bag and steadies the toy instead. The heavily pregnant mother watches nearby. No adult replies. Exactly three people, one bag and one rabbit.
THE DEVICE — THE WORLD AT THE CHILD'S HEIGHT. The first shot stays at Misha's eye height, making the adults physically larger at the edges. A short backward camera move accompanies his last two steps to the bed. The camera then stops for placing the rabbit and the spoken line. A single hard cut AFTER his line reveals the father's response over the child's shoulder, with the toy and the father's face in the same composition. Fourteen seconds, TWO shots and exactly ONE hard cut at 9.0 seconds. Real time throughout, no slow motion or speed ramp. Never use an inside-bag viewpoint, overhead table view or a repeat of the previous packing-hands insert.
ACTING — shared direction: make the father's bedtime away feel manageable to the child without turning this moment into a confrontation. Misha wants his father to accept the comfort he himself uses; the open travel bag tells him that Dad is going away. His tactic is to offer the rabbit as a practical solution, then look up to see whether Dad will take care of it. He is a child helping, not an adult delivering a tragic speech. The father wants to receive his son's gift without making a promise he cannot keep; the gift interrupts his ability to make leaving a simple packing task. He stops managing the zipper and supports the rabbit, letting his son see that he has accepted it. The mother wants her son to be heard without making him responsible for the adults' decision. She stays nearby and watches whether the father receives the gift; she does not answer for him or urge the child onward. All three attend to the same small exchange. Restrained acting, no tears, sobs, gasps or exaggerated reaction. Safety: active attention to partner and objects, natural breathing and blinking, never a frozen vacant stare.

ACTIVE REFERENCES
@image1 — MISHA IN PAJAMAS. Preserve the preschool boy's exact face and age: tousled sandy-brown felted hair and forelock, large brown eyes, freckles, pink nose, soft round cheeks and small-child proportions. Pale butter-yellow long-sleeved pajama top, grey-blue pajama trousers without holes, white socks, no shoes. Take ONLY his identity, design and wardrobe from the card, never the panels, grey background, pose or studio lighting. Match the same boy, not an older taller child.
@image2 — THE FATHER. Exact existing tall lean body, sandy light-brown swept forelock, grey-blue eyes, long nose, freckles and light stubble. Grey crewneck sweater with sleeves pushed up to the forearms, dark jeans, white sneakers, wedding ring. No blue jacket in this scene. Take only identity and wardrobe, not the reference's smile, background or panel layout.
@image3 — THE MOTHER. Exact long narrow oval face, hooded hazel-olive eyes, brown brows, freckles and left-cheek beauty mark, brown hair pinned with a charcoal claw clip and loose temple hair, gold stud earrings. Same camel ribbed knit top, matching wide trousers, white socks and full 28-week pregnancy belly. Only character design and wardrobe, not sheet layout or light.
@image4 — THE BEDROOM. Same room as the packing scene: bed on the right with cream linen and a sage blanket, pale oak wardrobe at the back with the left compartment open, doorway at rear-left, warm bedside lamp and cool evening window light. Preserve the furniture and doorway. The open travel bag is near the accessible left edge of the bed, within easy reach of the child; it does not move during the clip.
@image5 — ONE CANVAS TRAVEL BAG. The two views show one prop. Use the open shape: slate-blue canvas, charcoal short handles folded outside, brass zipper and grey lining. The bag starts fully open and already contains TWO folded T-shirts, grey underneath and navy on top, as at the end of scene 2. It stays open through the end of this scene. There is room for the small rabbit on top of the folded shirts.
@image6 — ONE SMALL PLUSH RABBIT. Match the oatmeal-beige plush, cream belly and inner ears, brown embroidered eyes and nose, simple stitched mouth, softly bent anatomical left ear and subtler repaired seam on its left forepaw. Body plus head about 24 centimetres; soft ears add height and can fold. This is a child's small inanimate toy, not a living rabbit, not a large teddy. Exactly one toy transfers from the child's hands into the bag and stays there.
All characters and objects belong to the same tactile stylized 3D world: softly flocked matte skin, felted hair, knit, woven fabric, sculpted dimensional forms, pale wood and restrained brass. Natural contact shadows and light falloff; no flat paper painting, glitter, live-action skin or glossy plastic.

LOCATION MAP
The father stands on the far side of the open bag, centre-right. Misha approaches along the clear floor aisle on the LEFT of the bed, holding the rabbit against his chest with both hands. The mother stands just inside the rear-left doorway, a short distance behind Misha, watching them. She remains there throughout; no overlapping hands or three-way embrace.
The camera starts in that clear floor aisle in front of and slightly to the LEFT of Misha, looking toward him and the doorway, with the bed and bag visible at frame-right. It backs up only 40 centimetres along the aisle during his two small steps, never travelling through the bed. It stays at his eye level, about 85–90 centimetres above the floor. He stops beside the bag and turns slightly toward his father, so his face stays three-quarter to camera and his mouth remains visible.
The bag is within 10 centimetres of the accessible mattress edge. Its rim is LOWER than Misha's shoulders; he can place the toy using both hands while both feet stay on the floor. He neither climbs nor stretches across the bed. Maintain Misha screen-left and father screen-right across the cut.

FIRST FRAME
A child-height medium view of Misha entering the bedroom aisle with one beige plush rabbit held at his chest. His face is visible above the toy. The open bag and the grey-sweater father's lower torso are at frame-right; the mother is in the rear-left doorway. The room is already established; no distant empty-room opening.

FORMAT MODE
Native vertical 9:16, one full-frame view per shot. No reference-sheet layout, split screen or text.

OPTICS
Shot 1: FOV 47 degrees, f/5.6, at Misha's eye height. Keep his face, rabbit and near bag rim readable together. Adults may extend above the top edge in this child-oriented composition; do not enlarge Misha to match them.
Shot 2: FOV 47 degrees, f/5.6, external three-quarter view just behind Misha's LEFT shoulder, slightly above his head, toward the father and bag. His shoulder is a narrow soft foreground edge at frame-left. The father's attentive face occupies upper-right and his right hand supporting the rabbit remains visible below. This is a relationship shot containing face AND hand, not a macro insert of the bag. The mother may remain softly visible in the rear-left doorway.

CAMERA
0.0–2.5: a short physical backward dolly of about 40 centimetres along the floor aisle, at constant child-eye height, accompanying Misha's two small steps toward the bag. No sideways slide or rising camera.
2.5–9.0: stop the camera and hold the child's three-quarter face and toy transfer. Keep his mouth unobstructed through the entire line.
At 9.0: one HARD CUT over Misha's left shoulder toward the father, toy and supporting hand.
9.0–14.0: hold that composition, no push-in, camera lift, zoom, orbit or extra cut. The father leans slightly toward the child as part of receiving the gift; he does not squat or leave the frame.

ACTION SEQUENCE
0.0–2.5 — SHOT 1. Misha takes two small socked steps along the aisle, holding the rabbit with both hands, and stops beside the accessible bag edge. He notices the packed clothes and looks from the bag toward his father. The father's right fingertips are near the zipper pull but the zipper has not moved; the bag is still fully open.
2.5–5.5. Misha raises the ONE rabbit a little and gently lowers it feet-first through the open bag mouth onto the navy folded shirt. The body settles on the clothes, with its head and soft ears visible above the rim. Both of Misha's hands support its body until contact; then both hands release and withdraw to his sides. The father leaves the opening clear. The rabbit is supported by the clothes, not floating.
5.5–8.1. With the rabbit now resting in the bag and his own mouth fully visible, Misha looks up at his father and says quietly and simply in Russian: "Пусть с тобой поспит." Natural young boy's voice, clear ordinary diction, gentle practical intention, no adult voice, theatrical emphasis or crying. Accurate Russian lip-sync. The parents remain silent.
8.1–9.0. Misha waits for his father to accept the gift. His hands remain free. The rabbit stays where he put it.
HARD CUT at 9.0.
9.0–11.0 — SHOT 2. The father's RIGHT hand leaves the zipper pull and gently cups the side/back of the SAME rabbit to keep it steady on the clothes. His LEFT hand stays on the outside bag rim. He does not lift or take the rabbit out. He leans a little toward Misha, attending to his son's offer instead of continuing to close the bag.
11.0–14.0. He keeps the rabbit steady and looks at his son, accepting the gift without inventing a verbal promise. Misha remains at the bedside and the mother watches from nearby. Hold the unanswered moment. The bag remains fully open. Nobody speaks again, walks away, hugs or puts on a jacket.

ANIMATION STYLE
Restrained tactile stylized 3D feature animation on twos within a 24 fps output, smooth camera dolly. Child-sized gait and balance, soft sock contact with the floor, slight ear flop from gravity while the toy is moved, tiny fabric settling. Precise purposeful hands and active listening, no frozen frame or broad pantomime. The plush rabbit never moves by itself.

PHYSICS
Exactly THREE people; each has two arms, two hands and ten fingers. Child hands handle the toy first, release after it rests on the clothes; only afterward does the father's right hand support it. The mother's hands stay by her own body. Exactly ONE rabbit, ONE open bag and TWO folded shirts. Grey shirt under navy shirt, rabbit on top. Soft toy ears may fold naturally; its body does not deform into a different species. Every transfer passes through the open bag mouth, never through canvas. All characters keep feet on the floor. The bed and bag remain in place. No zipper closure or zipper sound.

LIGHTING
Same bedroom evening as scene 2: warm 3000K bedside lamp and doorway light, weaker cool blue-hour window fill around 6500K. Model Misha's cheeks and the toy with soft shaped light, keep the pale-yellow pajamas distinct from the camel mother's outfit. Clear contact shadows under the toy and hands, dimensional face modelling and tactile material detail. Preserve the sources and direction across the cut; no flat studio relighting or dramatic coloured spotlight.

AUDIO
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING.
Exactly ONE spoken passage, entirely in Russian, spoken ONLY by Misha during shot 1: "Пусть с тобой поспит." Natural preschool boy's voice, quiet and matter-of-fact, without tears or adult narration. No parent's reply, extra words, gasp, sigh, crying, singing or other voice. Otherwise diegetic sounds only: two soft socked steps, pajama and plush rustle, one soft toy-on-shirt contact, very quiet apartment room tone. No zipper sound and no emotional sound effect.

QUALITY
Stable identities, child age and body proportions, full maternal pregnancy, consistent bed and bag placement. Readable Russian lip-sync on Misha with an unobstructed mouth. Toy transfer remains physically clear. No duplicate rabbit, hands or clothes. Fine natural film grain and tactile matte surface detail. No text, letters, numbers, captions, logos or UI anywhere.

TECHNICAL PARAMETERS
Seedance 2.5, direct BytePlus/ByteDance, 480p, vertical 9:16, 24 fps output, exactly14 seconds. TWO shots and ONE hard cut at9.0seconds. Real time throughout, no slow motion or speed ramps. Generate synchronized Russian line and quiet diegetic audio.

POSITIVE LOCKS
Exactly three people: preschool Misha, his father and his heavily pregnant mother, matching their three separate identity references.
Each person has exactly two arms, two hands and ten fingers.
Misha wears yellow-grey pajamas and white socks; father wears grey sweater without jacket; mother wears camel knit.
Exactly one plush rabbit moves from Misha's two hands onto the navy shirt in one open bag.
The father supports that rabbit with his right hand after the boy releases it; the rabbit stays inside the bag.
The bag remains fully unzipped, on the same bed and within the child's easy reach.
Misha's mouth stays visible for the one exact Russian sentence in shot1; both adults stay silent.
The first shot stays at child-eye height with one small backward dolly; the second includes father's face and supporting hand over the child's shoulder.
Two shots, one hard cut, all action in real time.
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No music of any kind.

SCENE CONTEXT
SROK episode 4, scene 5. Fifteen seconds, ONE CONTINUOUS SHOT, ZERO CUTS. The father is already crouching in an embrace with preschool Misha. He already wears his blue jacket; the single travel bag beside him is zipped shut, rabbit inside. Dressing and packing happened between scenes.
THE DEVICE — RISE WITH THE FATHER, REMAIN WITH THE FAMILY. A modest camera rise accompanies him standing; the camera then stays inside with mother and son while he leaves.
Misha wants more time with Dad and a simple answer about tomorrow. Father receives the embrace without making a promise. Mother answers honestly and offers physical reassurance. Restrained ordinary behaviour, active attention, no tears or invented farewell words.

ACTIVE REFERENCES
@image1 — FATHER IN JACKET. Preserve his tall lean build, sandy swept forelock, grey-blue eyes, long nose, freckles and light stubble. Open navy zip jacket over grey crewneck sweater, dark jeans, white sneakers, wedding ring. Use identity and clothes, not the fixed smile, card pose, grey field or panels.
@image2 — MISHA. Same small preschool boy, tousled sandy-brown felted hair, brown eyes, freckles, pink nose and round cheeks. Butter-yellow long-sleeve pajamas, grey-blue trousers, white socks. Keep child-sized body and hands.
@image3 — MOTHER. Same narrow oval face, hooded hazel-olive eyes, freckles and left-cheek beauty mark, brown hair in charcoal claw clip, temple strands and gold studs. Camel ribbed top and matching wide trousers, white socks, FULL 28-WEEK PREGNANCY BELLY.
@image4 — HALL. Preserve pale timber floor, sage runner, left interior doorway/shoe bench, right pale-wood console, warm pendant and cream front door. From inside: handle LEFT, hinges RIGHT. One starting-state change: the door is already open inward toward the right wall.
@image5 — ONE BAG. Use only the CLOSED UPPER VIEW: slate-blue canvas, two charcoal handles, brass zipper fully shut. Rabbit and clothes are packed inside and invisible; the lower open view never appears.
All figures share the established tactile stylized 3D finish: flocked matte skin, felted hair, knit, woven canvas, wood and dimensional light falloff. Reference sheets supply designs only, never panels or studio backgrounds.

LOCATION MAP
Camera stays inside, slightly left of the hall centreline, looking toward the front door. Mother stands beside the left interior doorway; Misha stands a small step to her right on the runner. Father crouches just beyond him, centre-right, three-quarter to camera so both embracing faces read. Bag is beside father's anatomical LEFT foot, clear of the boy.
Door starts about 60 degrees open, hinged at screen-right and held toward the right wall. Mother and child stay LEFT of its swing. Father crosses the clear central doorway with bag in LEFT hand; RIGHT hand controls the door.
Crop the mirror's reflective surface out of the composition. Door hardware, console and furniture stay fixed.

FIRST FRAME
At about 85 centimetres camera height, father and son are already in a quiet close embrace, both physically supported on the floor. Misha's cheek is near his father's shoulder, with his face partly visible in profile. Mother is nearby on the left, her pregnancy clear. The single closed bag rests beside the father's left foot; the open front doorway is behind him.

FORMAT MODE
Native vertical 9:16, one full-frame image, no split screen, captions or borders.

OPTICS
Fixed FOV 47 degrees, approximately f/5.6. Choose the starting distance to contain the crouched father and small child together, with mother nearby. After the modest camera rise, keep BOTH mother's face and Misha's face visible at useful scale, as well as her belly. The final composition is an adult-and-child group, not an adult-height portrait. Child height and head size remain natural. No focal-length change or digital zoom.

CAMERA
0.0–3.0: hold at child height for the embrace and release.
3.0–5.0: ONE gentle physical rise, about 30 centimetres from 85 to 115 centimetres, with slight compensating tilt as father stands. Do not rise to adult eye height; the lower frame continues to contain Misha.
5.0–15.0: camera settled inside. Father leaves through the doorway; camera stays with mother and son, keeping both faces and the final handhold readable. No hidden cut, zoom, orbit or later reframing.

ACTION SEQUENCE
0.0–1.6: the embrace is already happening. Misha holds both arms around Dad's shoulders. Father supports his upper back without lifting him. Mother waits nearby.
1.6–3.0: Misha slowly loosens his arms. Father releases in response, briefly settles his hands at the boy's upper arms, then withdraws. Their hands separate before he stands.
3.0–5.0: father rises naturally; camera makes its single small rise. Misha stays on both feet and follows him with his eyes.
5.0–6.0: father bends enough to grip BOTH short bag handles together in his LEFT hand and lifts the CLOSED bag once. It hangs with weight at his left thigh.
6.0–9.0: two ordinary steps through the already-open doorway. Bag stays left, right hand free. While crossing the threshold he takes the door's free latch edge from the landing side with his RIGHT hand. His body and bag clear the threshold before the leaf swings across it. This is his only exit.
9.0–10.0: from outside he gently pulls the SAME door shut. Right hand withdraws behind the leaf before the gap closes; the fixed right-side hinges remain unchanged. Soft latch. Father and bag stay outside and out of view. Misha watches.
10.0–10.2: Misha turns his head slightly up toward mother, showing his mouth in readable three-quarter profile.
10.2–12.0: MISHA says quietly and simply in Russian: "Папа завтра придёт?" Natural preschool voice, asking a real question. Mother listens with closed mouth.
12.0–12.3: natural pause. Mother looks down toward him; her mouth stays visible.
12.3–13.5: MOTHER says quietly and evenly in Russian: "Не знаю." Plain honest uncertainty. Misha listens with closed mouth.
13.5–15.0: mother's LEFT hand takes Misha's RIGHT hand. They begin a small turn toward the interior doorway at frame-left. Their continued walk happens after this clip. Hold joined hands and readable faces; no further speech.

ANIMATION STYLE
Restrained tactile stylized 3D character animation on twos within a 24 fps output, with a smoothly weighted physical camera rise. Natural child-sized balance, measured release of the embrace, believable standing and two walking steps. Small cloth settling follows body motion. Quiet listening stays alive through breath and an occasional blink; no idle swaying or broad pantomime.

PHYSICS
Exactly three people initially, each with two arms, two hands and ten fingers. Misha stays on the floor during the hug. One closed bag, lifted once and carried continuously in father's LEFT hand; RIGHT hand closes the door. Father and bag clear the threshold before its single right-hinged closing swing. Mother and son remain clear of the leaf. Rabbit stays invisible inside the bag. At the end exactly two people remain visible, mother's LEFT hand holding child's RIGHT. All contacts are physical, without intersecting bodies, door or fabric.

LIGHTING
Match the hallway's ordinary warm evening light: soft pendant around 3000K, gentle warm spill from the left interior room and weaker neutral landing light through the open doorway. Closing the door removes only that small landing contribution. Mother's face, the boy's mouth and the pregnancy remain readable under the existing hall light; no dramatic exposure change. Soft dimensional face modelling, grounded contact shadows and matte tactile surfaces.

AUDIO
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING.
Exactly TWO non-overlapping Russian passages, once each: MISHA, "Папа завтра придёт?"; then MOTHER, "Не знаю." Accurate visible lip-sync only on the current speaker. Father never speaks. Otherwise only quiet room tone, soft jacket/pajama rustle, two sneaker steps, canvas handles taking weight and a gentle door latch. No invented goodbye, crying, gasp, ringtone or dramatic impact.

QUALITY
Stable faces, small-child scale and full maternal pregnancy throughout the continuous move. Preserve navy jacket, yellow-grey pajamas, camel knit and closed slate-blue bag. Legible mouth shapes during both lines, coherent hand release and handholding, natural door geometry. Fine natural film grain, tactile matte materials. No text, logos, numbers, subtitles, UI or reflected duplicate people.

TECHNICAL PARAMETERS
Seedance 2.5, direct BytePlus/ByteDance, 480p, vertical 9:16, 24 fps output. Exactly 15.0 seconds, ONE continuous shot and ZERO cuts. One small camera rise during 3.0–5.0 seconds, then a settled camera. Real time, no slow motion or speed ramp. Generate synchronized Russian dialogue and quiet diegetic sound.

POSITIVE LOCKS
Father already wears navy jacket; one bag is already closed, rabbit entirely inside.
Embrace and release receive three seconds before he stands.
Camera rises only 30 centimetres and retains mother AND preschool son.
Father carries bag left, exits once, closes the door right-handed from outside, and stays outside.
Door's inside handle is left, hinges right; family remains clear of its swing.
After closure only mother and Misha remain visible.
Child asks first, mother answers after a pause; only the speaker's lips articulate.
Mother's left hand takes child's right hand.
ONE continuous shot, ZERO cuts, fifteen seconds.
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No music of any kind.

SCENE CONTEXT
SROK episode 4, scene 5, OPTICS REVISION V2. Same story and continuous-take timing, with a narrower perspective and tighter subject framing. Fifteen seconds, ONE CONTINUOUS SHOT, ZERO CUTS. The father is already crouching in an embrace with preschool Misha. He already wears his blue jacket; the single travel bag beside him is zipped shut, rabbit inside. Dressing and packing happened between scenes.
THE DEVICE — RISE WITH THE FATHER, REMAIN WITH THE FAMILY. A modest camera rise accompanies him standing; the camera then stays inside with mother and son while he leaves.
Misha wants more time with Dad and a simple answer about tomorrow. Father receives the embrace without making a promise. Mother answers honestly and offers physical reassurance. Restrained ordinary behaviour, active attention, no tears or invented farewell words.

ACTIVE REFERENCES
@image1 — FATHER IN JACKET. Preserve his tall lean build, sandy swept forelock, grey-blue eyes, long nose, freckles and light stubble. Open navy zip jacket over grey crewneck sweater, dark jeans, white sneakers, wedding ring. Use identity and clothes, not the fixed smile, card pose, grey field or panels.
@image2 — MISHA. Same small preschool boy, tousled sandy-brown felted hair, brown eyes, freckles, pink nose and round cheeks. Butter-yellow long-sleeve pajamas, grey-blue trousers, white socks. Keep child-sized body and hands.
@image3 — MOTHER. Same narrow oval face, hooded hazel-olive eyes, freckles and left-cheek beauty mark, brown hair in charcoal claw clip, temple strands and gold studs. Camel ribbed top and matching wide trousers, white socks, FULL 28-WEEK PREGNANCY BELLY.
@image4 — HALL. Preserve pale timber floor, sage runner, left interior doorway/shoe bench, right pale-wood console, warm pendant and cream front door. From inside: handle LEFT, hinges RIGHT. One starting-state change: the door is already open inward toward the right wall.
@image5 — ONE BAG. Use only the CLOSED UPPER VIEW: slate-blue canvas, two charcoal handles, brass zipper fully shut. Rabbit and clothes are packed inside and invisible; the lower open view never appears.
All figures share the established tactile stylized 3D finish: flocked matte skin, felted hair, knit, woven canvas, wood and dimensional light falloff. Reference sheets supply designs only, never panels or studio backgrounds.

LOCATION MAP
Camera stays inside, slightly left of the hall centreline, looking toward the front door. Mother stands beside the left interior doorway; Misha stands a small step to her right on the runner. Father crouches just beyond him, centre-right, three-quarter to camera so both embracing faces read. Bag is beside father's anatomical LEFT foot, clear of the boy.
Door starts about 60 degrees open, hinged at screen-right and held toward the right wall. Mother and child stay LEFT of its swing. Father crosses the clear central doorway with bag in LEFT hand; RIGHT hand controls the door.
Crop the mirror's reflective surface out of the composition. Door hardware, console and furniture stay fixed.

FIRST FRAME
A TIGHT MEDIUM of father and Misha in their embrace, composed around their heads, shoulders and the child's torso. Camera at about 85 centimetres, standing farther away with a 29-degree field of view. The mother is only partly visible at the left edge initially. The father's feet, whole bag, full door and ceiling are NOT simultaneous framing requirements: they remain in their established positions outside the crop or at its edges. No large empty room around the figures. Child and adult faces retain natural proportions, without enlargement from proximity to the lens.

FORMAT MODE
Native vertical 9:16, one full-frame image, no split screen, captions or borders.

OPTICS
Fixed FOV 29 degrees, approximately f/4, with the camera farther from the family, roughly 3.0-3.6 metres from the initial embrace. Set distance to obtain a tight medium grouping, never move the lens close to the nearest face to fill the frame. Foreground hands and heads have restrained size; background perspective feels calmer and the corridor falls softly out of focus.
The opening prioritizes the embrace. The ending prioritizes the mother's face and Misha's face together in a compact two-person medium, the top of frame just above her head and the lower boundary around his upper thighs. Full feet, complete bag, entire door leaf, console and mirror may stay outside the crop. Keep continuity offscreen instead of widening to prove every object exists. There is no full-room establishing shot. No zoom, lens swap or wide-angle distortion.

CAMERA
0.0-3.0: hold the tight embrace from child height and the farther camera position. Mother may be partly cropped at the side; the faces participating in the hug are the subject.
3.0-5.0: one gentle physical rise of about 30 centimetres, from 85 to 115 centimetres, as father stands. A slight continuous compensating tilt allows his rise, then settles on mother and son. Do not rise to adult eye height, pull back, or widen the lens. The same 29-degree perspective remains throughout.
5.0-15.0: hold a compact mother-and-child composition at the inner end of the hallway. Father moves through the background doorway or the right edge and exits once; his bag pickup may occur partly below the framing, and the door closure can finish at the rear edge. We hear the latch and see father absent, without reframing to demonstrate the entire leaf. Mother's face, Misha's face and the final handhold remain readable. No hidden cut, zoom, orbit or further camera move.

ACTION SEQUENCE
0.0–1.6: the embrace is already happening. Misha holds both arms around Dad's shoulders. Father supports his upper back without lifting him. Mother waits nearby.
1.6–3.0: Misha slowly loosens his arms. Father releases in response, briefly settles his hands at the boy's upper arms, then withdraws. Their hands separate before he stands.
3.0–5.0: father rises naturally; camera makes its single small rise. Misha stays on both feet and follows him with his eyes.
5.0–6.0: father bends enough to grip BOTH short bag handles together in his LEFT hand and lifts the CLOSED bag once. It hangs with weight at his left thigh.
6.0–9.0: two ordinary steps through the already-open doorway. Bag stays left, right hand free. While crossing the threshold he takes the door's free latch edge from the landing side with his RIGHT hand. His body and bag clear the threshold before the leaf swings across it. This is his only exit.
9.0–10.0: from outside he gently pulls the SAME door shut. Right hand withdraws behind the leaf before the gap closes; the fixed right-side hinges remain unchanged. Soft latch. Father and bag stay outside and out of view. Misha watches.
10.0–10.2: Misha turns his head slightly up toward mother, showing his mouth in readable three-quarter profile.
10.2–12.0: MISHA says quietly and simply in Russian: "Папа завтра придёт?" Natural preschool voice, asking a real question. Mother listens with closed mouth.
12.0–12.3: natural pause. Mother looks down toward him; her mouth stays visible.
12.3–13.5: MOTHER says quietly and evenly in Russian: "Не знаю." Plain honest uncertainty. Misha listens with closed mouth.
13.5–15.0: mother's LEFT hand takes Misha's RIGHT hand. They begin a small turn toward the interior doorway at frame-left. Their continued walk happens after this clip. Hold joined hands and readable faces; no further speech.

ANIMATION STYLE
Restrained tactile stylized 3D character animation on twos within a 24 fps output, with a smoothly weighted physical camera rise. Natural child-sized balance, measured release of the embrace, believable standing and two walking steps. Small cloth settling follows body motion. Quiet listening stays alive through breath and an occasional blink; no idle swaying or broad pantomime.

PHYSICS
Exactly three people initially, each with two arms, two hands and ten fingers. Misha stays on the floor during the hug. One closed bag, lifted once and carried continuously in father's LEFT hand; RIGHT hand closes the door. Father and bag clear the threshold before its single right-hinged closing swing. Mother and son remain clear of the leaf. Rabbit stays invisible inside the bag. At the end exactly two people remain visible, mother's LEFT hand holding child's RIGHT. All contacts are physical, without intersecting bodies, door or fabric.

LIGHTING
Match the hallway's ordinary warm evening light: soft pendant around 3000K, gentle warm spill from the left interior room and weaker neutral landing light through the open doorway. Closing the door removes only that small landing contribution. Mother's face, the boy's mouth and the pregnancy remain readable under the existing hall light; no dramatic exposure change. Soft dimensional face modelling, grounded contact shadows and matte tactile surfaces.

AUDIO
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING.
Exactly TWO non-overlapping Russian passages, once each: MISHA, "Папа завтра придёт?"; then MOTHER, "Не знаю." Accurate visible lip-sync only on the current speaker. Father never speaks. Otherwise only quiet room tone, soft jacket/pajama rustle, two sneaker steps, canvas handles taking weight and a gentle door latch. No invented goodbye, crying, gasp, ringtone or dramatic impact.

QUALITY
Stable faces, small-child scale and full maternal pregnancy throughout the continuous move. Preserve navy jacket, yellow-grey pajamas, camel knit and closed slate-blue bag. Legible mouth shapes during both lines, coherent hand release and handholding, natural door geometry. Fine natural film grain, tactile matte materials. No text, logos, numbers, subtitles, UI or reflected duplicate people.

TECHNICAL PARAMETERS
Seedance 2.5, direct BytePlus/ByteDance, 480p, vertical 9:16, 24 fps output. Exactly 15.0 seconds, fixed 29-degree perspective, ONE continuous shot and ZERO cuts. One small camera rise during 3.0–5.0 seconds, then a settled camera. Real time, no slow motion or speed ramp. Generate synchronized Russian dialogue and quiet diegetic sound.

POSITIVE LOCKS
Father already wears navy jacket; one bag is already closed, rabbit entirely inside.
Embrace and release receive three seconds before he stands.
Camera stays farther away with a fixed 29-degree field of view, rises only 30 centimetres, and retains mother AND preschool son in a compact frame.
Faces and the embrace dominate; the whole room and every prop are never required simultaneously.
Father carries bag left, exits once, closes the door right-handed from outside, and stays outside.
Door's inside handle is left, hinges right; family remains clear of its swing.
After closure only mother and Misha remain visible.
Child asks first, mother answers after a pause; only the speaker's lips articulate.
Mother's left hand takes child's right hand.
ONE continuous shot, ZERO cuts, fifteen seconds.
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No music of any kind.

SCENE CONTEXT
SROK episode 4, FINAL SCENE. The father has left his wife and preschool son inside their home, but he has not walked away from the closed apartment door. Outside on the landing, his phone receives Vika's call. He looks at the screen, then at the closed door. The phone stops vibrating on its own. He remains where he is. One continuous ten-second shot, ZERO CUTS, ZERO CAMERA MOVEMENT, no dialogue and no moral title. This is unresolved waiting: he neither returns inside nor walks toward Vika, and he does not accept or decline the call.
SHOT SIZE FIRST — A TIGHT MEDIUM: his complete head, shoulders and torso down to the lower ribs, plus the phone held near the bottom of the frame. The closed door appears only as a narrow contextual section at frame-left. The full door, floor, ceiling, shoes and travel bag are deliberately outside this framing. Do not widen the shot to prove they exist.
THE DEVICE — THE CAMERA STAYS AFTER THE SOUND STOPS. A completely stationary, restrained long-perspective composition holds the man and a small piece of the closed door. The last 2.5 seconds contain his continuing attention to the door after the call ends. No push-in, pullback, reveal, rise, lateral slide, focus pull or inside-object view. Real time throughout, no slow motion or speed ramps.
ACTING TASK — FATHER. Shared direction: remain quiet outside the sleeping family's home. His motive is to avoid making the next decision irreversible. His goal is to find some permission to move, from the phone or from the people behind the door. His obstacle is that neither gives him a reassuring answer. Tactic: check the caller, then measure whether he can turn his back on the closed door; keep listening rather than acting. His stillness is an unfinished decision, not a blank face or a pose of regret. He gives the phone no answer and makes no gesture to the handle. Safety: mentally engaged eyes, natural small breaths and occasional blinking, no glassy freeze. No tears, clenched fists, wall leaning, theatrical sigh, smile or dramatic facial choreography.

ACTIVE REFERENCES
@image1 — THE FATHER IN HIS BLUE JACKET. Preserve his established tall lean build, sandy light-brown swept forelock, grey-blue eyes, long nose, freckles and short stubble. Same open dark ink-blue jacket over grey crewneck sweater, dark jeans, white sneakers and wedding ring. Only his identity, wardrobe and tactile design come from the sheet, not its smile, grey background, pose, panels or studio lighting. Full clothing description defines continuity, not full-body framing.
@image2 — THE LANDING OUTSIDE THE FAMILY DOOR. Preserve the greige wall and closed warm light-grey door with its plain rectangular inset border, brass handle on the RIGHT and hinges on the LEFT when viewed from outside. Soft warm ceiling illumination. Use the location's surfaces and light, NOT its wide framing. Only a narrow part of the closed door and adjacent wall need appear; the ceiling fixture, entire doorway and tiled floor stay out of shot.
Continuity outside frame: the same zipped slate-blue canvas bag is standing at his feet, with the rabbit and two shirts inside. It stays there, below the frame. Do not introduce a second visible bag or widen the camera to include it. His phone is one plain dark slim smartphone with rounded corners; no brand or readable interface. Its screen produces a faint soft glow during the incoming call. Caller identification will be added in editing, so generate no text, name, number or call buttons.
Keep the established tactile stylized 3D finish: softly flocked matte skin, felted hair, knit and woven jacket, rounded sculpted forms, restrained brass and matte plaster. Dimensional face modelling, soft contact shadows and subtle natural grain. No paper-painting treatment, glossy plastic, glitter or photoreal pores.

LOCATION MAP
The man stands to the RIGHT of the closed door, close enough that a small turn toward frame-left brings the door into his attention. His feet stay planted at the same spot throughout. His face is initially three-quarter toward the camera, large in the right two-thirds. The door's right jamb and a strip of its panel occupy the left edge; the rest of the background is soft greige wall. His RIGHT hand holds the phone at lower-sternum level with the screen toward his eyes and slightly oblique to camera. His LEFT arm rests naturally below the crop. The bag stays on the floor, outside the crop. No other person or reflection appears.

FIRST FRAME
Tight medium portrait, crown to lower ribs, the father at frame-right and a narrow closed-door strip at frame-left. His complete face is clear, with little headroom; no ceiling or large empty hall. He already holds one dark phone low in his right hand, visible at the bottom of the composition. No walking or pocket retrieval is required.

FORMAT MODE
Native vertical 9:16, one full-frame continuous shot. No panels, split screen, border or generated typography.

OPTICS
Fixed FOV 29 degrees, approximately f/4. A longer-perspective tight medium from a respectful camera distance, not a wide lens close to his face or hands. Choose working distance to hold the crown-to-lower-ribs crop with natural face and phone proportions. The phone is close to his body, not thrust toward the camera. The face is the primary focus; the nearby phone and door strip remain intelligible, background gently soft. Fix lens and focus throughout. No enlarged nose, foreground hand or converging corridor perspective.

CAMERA
0.0–10.0: perfectly still camera at roughly his upper-chest to eye level, with a slight three-quarter viewing angle. Fixed tight-medium composition. No zoom, dolly, pan, tilt, orbit, reframing or hidden transition. No widening to show his legs, bag or entire door. One uninterrupted held shot.

ACTION SEQUENCE
0.0–0.4: he is already standing outside the closed door, phone in his right hand near his lower sternum. Quiet room tone.
0.4–2.5: the incoming phone call begins as restrained rhythmic haptic buzzing. Its screen glows faintly without any legible content. He looks down at the screen to identify who is trying to reach him. His thumb rests along the side, away from the display; he neither taps nor swipes.
2.5–4.5: leaving the phone in exactly the same hand and position, he turns his attention and head a little toward the closed door at frame-left. Keep his face readable in three-quarter profile; he does not turn his back to camera. He checks the silence from inside as if it might tell him what to do. The phone continues vibrating softly.
4.5–7.5: he stays there with the phone low in his hand, attention on the closed door. No reach toward the handle, knock, step, call acceptance or rejection.
7.5: the haptic buzzing stops ON ITS OWN; the screen loses its soft call glow. His thumb and fingers have not touched the screen. No beep or call-ending button animation.
7.5–10.0: hold him after the call has ended. He keeps looking toward the closed door, still in exactly the same position. Natural breathing and alive listening, no new action. End unresolved, before any decision to go or return. No fade, caption, moral or door opening.

ANIMATION STYLE
Restrained tactile stylized 3D feature animation, poses on twos within a 24 fps output, with minimal organic secondary motion in jacket and hair. Weight stays planted; only small natural attention changes and breathing. Phone movement is no larger than a subtle haptic tremor. The final stillness remains acted, not a frozen frame.

PHYSICS
Exactly one man with two arms, two hands and ten fingers, maintaining natural anatomy even when cropped. One right hand supports one phone continuously. No extra hand, phone or reflection. Thumb stays off the screen. The door stays shut; handle and wall remain fixed. The bag remains on the floor outside the frame; he neither lifts nor kicks it. No leaning or floating.

LIGHTING
Soft warm landing light around 3000K shapes the forehead, cheek and blue jacket from upper-left. Gentle neutral wall bounce keeps the shadow-side eye readable. A small amount of phone glow affects only his lower fingers during the call, not his entire face. Keep the door and background quieter than the face; no flat studio illumination, dramatic rim glow or lighting change beyond the phone screen gently dimming at 7.5 seconds.

AUDIO
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No speech, narration, crying, sigh, gasp, melody or voices behind the door. Quiet diegetic landing ambience only, with restrained repeated smartphone haptic buzzing from 0.4 to 7.5 seconds. Buzzing stops by itself at 7.5, followed by 2.5 seconds of low natural room tone. No loud notification ping, rejection tone, dramatic impact or door sound.

QUALITY
Stable character identity, dimensional facial texture and natural quiet acting. Tightly controlled image scale: face and phone matter, architecture stays partial. Soft natural grain, clear eyes without forced catchlights. No text, letters, numbers, logos, subtitles, symbols or interface anywhere. Keep enough uncluttered lower-left background for a small caller graphic added in editing; do not widen or shift the subject to make a large blank area.

TECHNICAL PARAMETERS
Seedance 2.5, direct BytePlus/ByteDance, 480p, vertical 9:16, 24 fps output, exactly 10 seconds. One stationary continuous shot, ZERO cuts, fixed FOV 29 degrees. Real time throughout, no slow motion or speed ramps. Generate only synchronized haptic buzzing and quiet room tone.

POSITIVE LOCKS
One visible father, same face and navy-jacket outfit as @image1, two arms and two hands with ten fingers.
The door matches @image2 and remains closed at frame-left; the rest of the landing stays outside the tight crop.
Framing stays crown-to-lower-ribs, with natural face and hand proportions and fixed29-degree perspective.
One phone stays in his right hand near his body; thumb stays off its screen.
The incoming call stops by itself, while he continues looking at the closed door.
The last2.5seconds hold the same unresolved position without a new action.
The travel bag remains below the frame at his feet.
One continuous shot, zero cuts, zero camera movement.
The soundtrack contains only room tone and phone vibration; everyone is silent.
All visible surfaces and the phone are unlettered; caller text is reserved for editing.
NO BACKGROUND MUSIC, NO SCORE, NO MUSICAL STING. No music of any kind.