diff --git a/prompts/verified_first_frame/dv200-001-city-crossing/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-001-city-crossing/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..dffd18b7e4aa7bddfe85927115958a331e2ace53
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-001-city-crossing/follow/colored-obb/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a man in a dark suit walks down the center of a city street, flanked by two cars and three pedestrians standing on the sidewalks, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 human proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the passenger car), <Subject 4> (the passenger car); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with short brown hair, wearing a dark charcoal suit and black shoes, walking away from the camera down the center of the road; in <Video 1> the human proxy tagged #366ef7, whose white face is its front.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a wide urban street paved with asphalt and marked with white lane lines, flanked by sidewalks with moss-toned metal railings. Tall modern office buildings with glass windows line both sides of the street, receding into the distance. Green trees are planted along the sidewalks. The sky is a soft gradient of blue and white, suggesting a clear day; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the passenger car: in <Picture 1> a classic red sedan with a white license plate, positioned on the right side of the street facing away from the camera; in <Video 1> the object proxy tagged #f79e36, whose white face is its front.
+<Subject 4> is the passenger car: in <Picture 1> a classic black sedan with chrome bumpers and round headlights, positioned on the left side of the street facing the camera; in <Video 1> the object proxy tagged #6636f7, whose white face is its front.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a young man with dark hair, wearing a mustard hooded jacket, dark shorts, and white sneakers, standing on the left sidewalk facing the street; in <Video 1> the human proxy tagged #a7f736 that starts on the left of the frame, whose white face is its front.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a person with short blonde hair, wearing a maroon hoodie and blue jeans, standing on the right sidewalk facing the street; in <Video 1> the human proxy tagged #f736df that starts on the right of the frame, whose white face is its front.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a man with dark hair, wearing a white t-shirt under dark blue overalls and brown shoes, standing on the left sidewalk near the black car; in <Video 1> the human proxy tagged #36f7d6 that starts on the left of the frame, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> crossing a road as approaching vehicles brake and yield, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Anime-style rendering: a 2D anime look with hand-drawn character design and painted backgrounds over the full 3D world — modern digital anime: gradient shading, glossy highlights, clean thin contour lines, vivid high-contrast colours; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a wide urban street paved with asphalt and marked with white lane lines, flanked by sidewalks with moss-toned metal railings. Tall modern office buildings with glass windows line both sides of the street, receding into the distance. Green trees are planted along the sidewalks. The sky is a soft gradient of blue and white, suggesting a clear day, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with short brown hair, wearing a dark charcoal suit and black shoes, walking away from the camera down the center of the road, as seen in <Picture 1>. <Subject 3>, the passenger car, is a classic red sedan with a white license plate, positioned on the right side of the street facing away from the camera, as seen in <Picture 1>. <Subject 4>, the passenger car, is a classic black sedan with chrome bumpers and round headlights, positioned on the left side of the street facing the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a young man with dark hair, wearing a mustard hooded jacket, dark shorts, and white sneakers, standing on the left sidewalk facing the street, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a person with short blonde hair, wearing a maroon hoodie and blue jeans, standing on the right sidewalk facing the street, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a man with dark hair, wearing a white t-shirt under dark blue overalls and brown shoes, standing on the left sidewalk near the black car, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.667, the protagonist walks across the road while the approaching vehicles brake and yield; the protagonist moves about 10 metres along its route; independently moving adult participant 1 moves about 5 metres along its route; independently moving adult participant 2 moves about 4 metres along its route; independently moving adult participant 3 moves about 4 metres along its route; <Subject 3> moves about 9 metres along its route; <Subject 4> moves about 6 metres along its route. From 00:04.667 to 00:05.000, the protagonist reaches the far side of the road and keeps walking; independently moving adult participant 1 moves a short distance along its route; independently moving adult participant 2 moves a short distance along its route; independently moving adult participant 3 moves a short distance along its route; <Subject 3> moves about half a metre along its route; <Subject 4> moves a short distance along its route. <Subject 3> is one continuous object throughout and ends the clip about 7 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 5 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Ink and contour lines belong to the drawn characters and objects of the target style; they never trace a proxy box, proxy edge or proxy silhouette, and cel shading never reproduces the proxy's conditioning colours. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The ambient hum of a quiet city street with distant traffic noise and the rhythmic sound of footsteps on asphalt.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-001-city-crossing/follow/mixed/prompt.txt b/prompts/verified_first_frame/dv200-001-city-crossing/follow/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..5b8d6d077b9309df0fd7f3002dd5b15729e55b22
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-001-city-crossing/follow/mixed/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a man in a dark suit walks down the center of a city street, flanked by two cars and three pedestrians standing on the sidewalks, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 blue mannequin proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the passenger car), <Subject 4> (the passenger car); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with short brown hair, wearing a dark charcoal suit and black shoes, walking away from the camera down the center of the road; in <Video 1> the blue mannequin proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a wide urban street paved with asphalt and marked with white lane lines, flanked by sidewalks with moss-toned metal railings. Tall modern office buildings with glass windows line both sides of the street, receding into the distance. Green trees are planted along the sidewalks. The sky is a soft gradient of blue and white, suggesting a clear day; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the passenger car: in <Picture 1> a classic red sedan with a white license plate, positioned on the right side of the street facing away from the camera; in <Video 1> the red envelope proxy.
+<Subject 4> is the passenger car: in <Picture 1> a classic black sedan with chrome bumpers and round headlights, positioned on the left side of the street facing the camera; in <Video 1> the red envelope proxy.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a young man with dark hair, wearing a mustard hooded jacket, dark shorts, and white sneakers, standing on the left sidewalk facing the street; in <Video 1> the blue mannequin proxy that starts on the left of the frame.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a person with short blonde hair, wearing a maroon hoodie and blue jeans, standing on the right sidewalk facing the street; in <Video 1> the blue mannequin proxy that starts on the right of the frame.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a man with dark hair, wearing a white t-shirt under dark blue overalls and brown shoes, standing on the left sidewalk near the black car; in <Video 1> the blue mannequin proxy that starts on the left of the frame.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> crossing a road as approaching vehicles brake and yield, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Anime-style rendering: a 2D anime look with hand-drawn character design and painted backgrounds over the full 3D world — modern digital anime: gradient shading, glossy highlights, clean thin contour lines, vivid high-contrast colours; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a wide urban street paved with asphalt and marked with white lane lines, flanked by sidewalks with moss-toned metal railings. Tall modern office buildings with glass windows line both sides of the street, receding into the distance. Green trees are planted along the sidewalks. The sky is a soft gradient of blue and white, suggesting a clear day, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with short brown hair, wearing a dark charcoal suit and black shoes, walking away from the camera down the center of the road, as seen in <Picture 1>. <Subject 3>, the passenger car, is a classic red sedan with a white license plate, positioned on the right side of the street facing away from the camera, as seen in <Picture 1>. <Subject 4>, the passenger car, is a classic black sedan with chrome bumpers and round headlights, positioned on the left side of the street facing the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a young man with dark hair, wearing a mustard hooded jacket, dark shorts, and white sneakers, standing on the left sidewalk facing the street, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a person with short blonde hair, wearing a maroon hoodie and blue jeans, standing on the right sidewalk facing the street, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a man with dark hair, wearing a white t-shirt under dark blue overalls and brown shoes, standing on the left sidewalk near the black car, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.667, the protagonist walks across the road while the approaching vehicles brake and yield; the protagonist moves about 10 metres along its route; independently moving adult participant 1 moves about 5 metres along its route; independently moving adult participant 2 moves about 4 metres along its route; independently moving adult participant 3 moves about 4 metres along its route; <Subject 3> moves about 9 metres along its route; <Subject 4> moves about 6 metres along its route. From 00:04.667 to 00:05.000, the protagonist reaches the far side of the road and keeps walking; independently moving adult participant 1 moves a short distance along its route; independently moving adult participant 2 moves a short distance along its route; independently moving adult participant 3 moves a short distance along its route; <Subject 3> moves about half a metre along its route; <Subject 4> moves a short distance along its route. <Subject 3> is one continuous object throughout and ends the clip about 7 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 5 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Ink and contour lines belong to the drawn characters and objects of the target style; they never trace a proxy box, proxy edge or proxy silhouette, and cel shading never reproduces the proxy's conditioning colours. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The ambient hum of a quiet city street with distant traffic noise and the rhythmic sound of footsteps on asphalt.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-001-city-crossing/follow/white/prompt.txt b/prompts/verified_first_frame/dv200-001-city-crossing/follow/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..c586b080de870ccbc2b72976558e541511c53b16
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-001-city-crossing/follow/white/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a man in a dark suit walks down the center of a city street, flanked by two cars and three pedestrians standing on the sidewalks, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 grey block-figure proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the passenger car), <Subject 4> (the passenger car); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with short brown hair, wearing a dark charcoal suit and black shoes, walking away from the camera down the center of the road; in <Video 1> the grey block-figure proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a wide urban street paved with asphalt and marked with white lane lines, flanked by sidewalks with moss-toned metal railings. Tall modern office buildings with glass windows line both sides of the street, receding into the distance. Green trees are planted along the sidewalks. The sky is a soft gradient of blue and white, suggesting a clear day; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the passenger car: in <Picture 1> a classic red sedan with a white license plate, positioned on the right side of the street facing away from the camera; in <Video 1> the plain grey proxy solid.
+<Subject 4> is the passenger car: in <Picture 1> a classic black sedan with chrome bumpers and round headlights, positioned on the left side of the street facing the camera; in <Video 1> the plain grey proxy solid.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a young man with dark hair, wearing a mustard hooded jacket, dark shorts, and white sneakers, standing on the left sidewalk facing the street; in <Video 1> the grey block-figure proxy that starts on the left of the frame.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a person with short blonde hair, wearing a maroon hoodie and blue jeans, standing on the right sidewalk facing the street; in <Video 1> the grey block-figure proxy that starts on the right of the frame.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a man with dark hair, wearing a white t-shirt under dark blue overalls and brown shoes, standing on the left sidewalk near the black car; in <Video 1> the grey block-figure proxy that starts on the left of the frame.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> crossing a road as approaching vehicles brake and yield, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+
+detailed_description:
+Anime-style rendering: a 2D anime look with hand-drawn character design and painted backgrounds over the full 3D world — modern digital anime: gradient shading, glossy highlights, clean thin contour lines, vivid high-contrast colours; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a wide urban street paved with asphalt and marked with white lane lines, flanked by sidewalks with moss-toned metal railings. Tall modern office buildings with glass windows line both sides of the street, receding into the distance. Green trees are planted along the sidewalks. The sky is a soft gradient of blue and white, suggesting a clear day, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with short brown hair, wearing a dark charcoal suit and black shoes, walking away from the camera down the center of the road, as seen in <Picture 1>. <Subject 3>, the passenger car, is a classic red sedan with a white license plate, positioned on the right side of the street facing away from the camera, as seen in <Picture 1>. <Subject 4>, the passenger car, is a classic black sedan with chrome bumpers and round headlights, positioned on the left side of the street facing the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a young man with dark hair, wearing a mustard hooded jacket, dark shorts, and white sneakers, standing on the left sidewalk facing the street, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a person with short blonde hair, wearing a maroon hoodie and blue jeans, standing on the right sidewalk facing the street, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a man with dark hair, wearing a white t-shirt under dark blue overalls and brown shoes, standing on the left sidewalk near the black car, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.667, the protagonist walks across the road while the approaching vehicles brake and yield; the protagonist moves about 10 metres along its route; independently moving adult participant 1 moves about 5 metres along its route; independently moving adult participant 2 moves about 4 metres along its route; independently moving adult participant 3 moves about 4 metres along its route; <Subject 3> moves about 9 metres along its route; <Subject 4> moves about 6 metres along its route. From 00:04.667 to 00:05.000, the protagonist reaches the far side of the road and keeps walking; independently moving adult participant 1 moves a short distance along its route; independently moving adult participant 2 moves a short distance along its route; independently moving adult participant 3 moves a short distance along its route; <Subject 3> moves about half a metre along its route; <Subject 4> moves a short distance along its route. <Subject 3> is one continuous object throughout and ends the clip about 7 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 5 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Ink and contour lines belong to the drawn characters and objects of the target style; they never trace a proxy box, proxy edge or proxy silhouette, and cel shading never reproduces the proxy's conditioning colours. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The ambient hum of a quiet city street with distant traffic noise and the rhythmic sound of footsteps on asphalt.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-008-city-cart/first-person/mixed/prompt.txt b/prompts/verified_first_frame/dv200-008-city-cart/first-person/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..257e6470c2a7bc744a370b404776742addf965df
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-008-city-cart/first-person/mixed/prompt.txt
@@ -0,0 +1,48 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+Camera: this is a first-person take seen through the protagonist's own eyes. The camera path of <Video 1> is the protagonist's head motion; no proxy of the protagonist is drawn in <Video 1> and the protagonist is never shown as a figure. Only the protagonist's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timestamped text says they reach, hold, push or hand over something.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a view from the back of a wooden cart looking down a wet cobblestone street in a misty old town, where a man in an apron walks on the left, a woman pushes a cart in the center, and a man in a hat walks away on the right, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 3 blue mannequin proxies standing for <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the wheeled handcart), <Subject 4> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist, the camera wearer: this is a first-person shot seen through this person's own eyes, so the camera path of <Video 1> is this person's head motion; no box or figure of this person is drawn in <Video 1> and none is visible in <Picture 1>. Never draw this person as a figure in front of the camera; only this person's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timeline says they reach, hold, push or hand over something.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a narrow cobblestone street glistening with rain and puddles, flanked by grassy verges and large leafy trees. On the left, a wooden market stall with a flat roof stands near a stone wall. On the right, a black iron streetlamp stands near a large tree trunk. In the background, ochre and beige stone buildings with tiled roofs fade into a thick, cool-toned mist. The sky is a pale, overcast grey-blue; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the wheeled handcart: in <Picture 1> a wooden handcart with a slatted box bed and four spoked wheels, positioned in the immediate foreground, viewed from behind; in <Video 1> the black solid cart proxy shape.
+<Subject 4> is the wheeled handcart: in <Picture 1> a wooden handcart with a slatted box bed and spoked wheels, being pushed by the woman in the center of the street; in <Video 1> the black solid cart proxy shape.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a man with dark hair and a beard, wearing a sage green t-shirt, a tan apron, and tan trousers, walking forward on the left side of the street; in <Video 1> the blue mannequin proxy that starts on the left of the frame.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a man wearing a straw hat, a salmon pink patterned short-sleeved shirt, and beige shorts, walking away from the camera on the right side of the street; in <Video 1> the blue mannequin proxy.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a woman with dark hair, wearing a navy long-sleeved top and white trousers, pushing a wooden handcart in the center of the street; in <Video 1> the blue mannequin proxy.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous first-person shot in <Subject 2>, seen through the eyes of <Subject 1>, who is pushing a handcart forward around a gentle bend and releasing the handle, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (camera wearer, never in frame): partially_preserved - retain the camera path of <Video 1> as this person's own head motion and the interaction timing of the timeline; the body stays outside the frame for the whole shot.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a narrow cobblestone street glistening with rain and puddles, flanked by grassy verges and large leafy trees. On the left, a wooden market stall with a flat roof stands near a stone wall. On the right, a black iron streetlamp stands near a large tree trunk. In the background, ochre and beige stone buildings with tiled roofs fade into a thick, cool-toned mist. The sky is a pale, overcast grey-blue, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is the camera wearer and stays outside the frame: the whole shot is seen through this person's eyes, and whatever the timeline says this person does is experienced as camera motion, never shown as a figure. <Subject 3>, the wheeled handcart, is a wooden handcart with a slatted box bed and four spoked wheels, positioned in the immediate foreground, viewed from behind, as seen in <Picture 1>. <Subject 4>, the wheeled handcart, is a wooden handcart with a slatted box bed and spoked wheels, being pushed by the woman in the center of the street, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a man with dark hair and a beard, wearing a sage green t-shirt, a tan apron, and tan trousers, walking forward on the left side of the street, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a man wearing a straw hat, a salmon pink patterned short-sleeved shirt, and beige shorts, walking away from the camera on the right side of the street, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a woman with dark hair, wearing a navy long-sleeved top and white trousers, pushing a wooden handcart in the center of the street, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.967, the protagonist steps up to the handcart and takes hold of its handle; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about a metre along its route; <Subject 4> moves about a metre along its route. From 00:00.967 to 00:04.067, the protagonist pushes the handcart forward around the gentle bend; the protagonist moves about 5 metres along its route; <Subject 3> moves about 5 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 3 metres along its route; independently moving adult participant 3 moves about 3 metres along its route; <Subject 4> moves about 3 metres along its route. From 00:04.067 to 00:05.000, the protagonist lets go of the handle and the handcart stays where it stopped; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about a metre along its route; independently moving adult participant 3 moves about a metre along its route; <Subject 4> moves about a metre along its route. Recorded relations: the protagonist pushes <Subject 3> from 00:00.967 to 00:04.067. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 3 metres from the protagonist. Keep the reference's fixed 75-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The rhythmic clatter of wooden wheels on wet cobblestones and the soft squelch of footsteps in puddles, accompanied by the distant, muffled murmur of a waking town.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-014-city-push/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-014-city-push/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..7dbe93d99ffec42cd4f2b9e1d636766a4a73496d
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-014-city-push/follow/colored-obb/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a construction worker in a high-vis vest stands behind a wooden crate on a cracked concrete path in an industrial yard, while three other characters stand nearby and a utility truck is positioned ahead, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 human proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the parcel or cargo crate), <Subject 4> (the cargo utility truck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a male character viewed from behind, wearing a yellow hard hat, an amber high-visibility vest over a beige shirt, and tan trousers. He stands behind a wooden crate; in <Video 1> the human proxy tagged #366ef7, whose white face is its front.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a paved concrete road with visible cracks and tufts of grass growing through the seams, leading towards a large steel gantry frame. The background features industrial silos and factory structures in the distance. To the left and right are corrugated metal fences and green trees. The lighting suggests a clear day with soft shadows; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the parcel or cargo crate: in <Picture 1> a large, light-brown wooden shipping crate with visible wood grain and metal corner reinforcements; in <Video 1> the solid proxy shape.
+<Subject 4> is the cargo utility truck: in <Picture 1> a silver utility pickup truck with a flatbed, positioned on the right side of the path facing away from the camera; in <Video 1> the object proxy tagged #6636f7, whose white face is its front.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a male character standing on the left side of the path, wearing dark blue overalls over a white shirt and a red cap; in <Video 1> the human proxy tagged #f736df, whose white face is its front.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a male character standing on the right side of the path, wearing a light navy short-sleeved shirt and dark navy trousers, facing towards the center; in <Video 1> the human proxy tagged #36f7d6 that starts on the right of the frame, whose white face is its front.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a male character standing on the left side of the path, wearing a mustard jacket, a white shirt, and blue shorts; in <Video 1> the human proxy tagged #f79e36 that starts on the left of the frame, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> pushing a crate forward with both hands and releasing it, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Stylized 3D rendering: a complete, continuous 3D world that clearly departs from photorealism — chunky cartoon 3D: thick simplified forms, exaggerated proportions, bright saturated colours and soft clean lighting; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a paved concrete road with visible cracks and tufts of grass growing through the seams, leading towards a large steel gantry frame. The background features industrial silos and factory structures in the distance. To the left and right are corrugated metal fences and green trees. The lighting suggests a clear day with soft shadows, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a male character viewed from behind, wearing a yellow hard hat, an amber high-visibility vest over a beige shirt, and tan trousers. He stands behind a wooden crate, as seen in <Picture 1>. <Subject 3>, the parcel or cargo crate, is a large, light-brown wooden shipping crate with visible wood grain and metal corner reinforcements, as seen in <Picture 1>. <Subject 4>, the cargo utility truck, is a silver utility pickup truck with a flatbed, positioned on the right side of the path facing away from the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a male character standing on the left side of the path, wearing dark blue overalls over a white shirt and a red cap, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a male character standing on the right side of the path, wearing a light navy short-sleeved shirt and dark navy trousers, facing towards the center, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a male character standing on the left side of the path, wearing a mustard jacket, a white shirt, and blue shorts, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.967, the protagonist steps up to the crate and places both hands on it; independently moving adult participant 1 moves about a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about a metre along its route. From 00:00.967 to 00:04.067, the protagonist pushes the crate forward; the protagonist moves about 5 metres along its route; <Subject 3> moves about 5 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 2 metres along its route; independently moving adult participant 3 moves about 3 metres along its route; <Subject 4> moves about 5 metres along its route. From 00:04.067 to 00:05.000, the protagonist lets go of the crate and it stays where it stopped; the protagonist raises the head (head height 1.2 to 1.6 m), lowers the hands to the sides, straightens the legs; independently moving adult participant 1 moves about a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about a metre along its route; <Subject 4> moves about one and a half metres along its route. Recorded relations: the protagonist pushes <Subject 3> from 00:00.967 to 00:04.067. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 10 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Rounded cartoon shapes and smooth stylised surfaces belong to the target style; they are never the grey, flat-colour or wireframe proxy forms themselves. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The rhythmic thud of wooden crate runners on concrete, distant industrial machinery humming, and the rustle of wind in the trees.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-014-city-push/follow/mixed/prompt.txt b/prompts/verified_first_frame/dv200-014-city-push/follow/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..6ffe7d30c5f9660620349f3f7d5a3e1f263a7a45
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-014-city-push/follow/mixed/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a construction worker in a high-vis vest stands behind a wooden crate on a cracked concrete path in an industrial yard, while three other characters stand nearby and a utility truck is positioned ahead, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 blue mannequin proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the parcel or cargo crate), <Subject 4> (the cargo utility truck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a male character viewed from behind, wearing a yellow hard hat, an amber high-visibility vest over a beige shirt, and tan trousers. He stands behind a wooden crate; in <Video 1> the blue mannequin proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a paved concrete road with visible cracks and tufts of grass growing through the seams, leading towards a large steel gantry frame. The background features industrial silos and factory structures in the distance. To the left and right are corrugated metal fences and green trees. The lighting suggests a clear day with soft shadows; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the parcel or cargo crate: in <Picture 1> a large, light-brown wooden shipping crate with visible wood grain and metal corner reinforcements; in <Video 1> the red box proxy.
+<Subject 4> is the cargo utility truck: in <Picture 1> a silver utility pickup truck with a flatbed, positioned on the right side of the path facing away from the camera; in <Video 1> the red envelope proxy.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a male character standing on the left side of the path, wearing dark blue overalls over a white shirt and a red cap; in <Video 1> the blue mannequin proxy.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a male character standing on the right side of the path, wearing a light navy short-sleeved shirt and dark navy trousers, facing towards the center; in <Video 1> the blue mannequin proxy that starts on the right of the frame.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a male character standing on the left side of the path, wearing a mustard jacket, a white shirt, and blue shorts; in <Video 1> the blue mannequin proxy that starts on the left of the frame.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> pushing a crate forward with both hands and releasing it, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Stylized 3D rendering: a complete, continuous 3D world that clearly departs from photorealism — chunky cartoon 3D: thick simplified forms, exaggerated proportions, bright saturated colours and soft clean lighting; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a paved concrete road with visible cracks and tufts of grass growing through the seams, leading towards a large steel gantry frame. The background features industrial silos and factory structures in the distance. To the left and right are corrugated metal fences and green trees. The lighting suggests a clear day with soft shadows, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a male character viewed from behind, wearing a yellow hard hat, an amber high-visibility vest over a beige shirt, and tan trousers. He stands behind a wooden crate, as seen in <Picture 1>. <Subject 3>, the parcel or cargo crate, is a large, light-brown wooden shipping crate with visible wood grain and metal corner reinforcements, as seen in <Picture 1>. <Subject 4>, the cargo utility truck, is a silver utility pickup truck with a flatbed, positioned on the right side of the path facing away from the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a male character standing on the left side of the path, wearing dark blue overalls over a white shirt and a red cap, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a male character standing on the right side of the path, wearing a light navy short-sleeved shirt and dark navy trousers, facing towards the center, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a male character standing on the left side of the path, wearing a mustard jacket, a white shirt, and blue shorts, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.967, the protagonist steps up to the crate and places both hands on it; independently moving adult participant 1 moves about a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about a metre along its route. From 00:00.967 to 00:04.067, the protagonist pushes the crate forward; the protagonist moves about 5 metres along its route; <Subject 3> moves about 5 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 2 metres along its route; independently moving adult participant 3 moves about 3 metres along its route; <Subject 4> moves about 5 metres along its route. From 00:04.067 to 00:05.000, the protagonist lets go of the crate and it stays where it stopped; the protagonist raises the head (head height 1.2 to 1.6 m), lowers the hands to the sides, straightens the legs; independently moving adult participant 1 moves about a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about a metre along its route; <Subject 4> moves about one and a half metres along its route. Recorded relations: the protagonist pushes <Subject 3> from 00:00.967 to 00:04.067. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 10 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Rounded cartoon shapes and smooth stylised surfaces belong to the target style; they are never the grey, flat-colour or wireframe proxy forms themselves. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The rhythmic thud of wooden crate runners on concrete, distant industrial machinery humming, and the rustle of wind in the trees.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-014-city-push/follow/white/prompt.txt b/prompts/verified_first_frame/dv200-014-city-push/follow/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..223102be09c4478615c652e2dd8f8591184aeb51
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-014-city-push/follow/white/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a construction worker in a high-vis vest stands behind a wooden crate on a cracked concrete path in an industrial yard, while three other characters stand nearby and a utility truck is positioned ahead, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 grey block-figure proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the parcel or cargo crate), <Subject 4> (the cargo utility truck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a male character viewed from behind, wearing a yellow hard hat, an amber high-visibility vest over a beige shirt, and tan trousers. He stands behind a wooden crate; in <Video 1> the grey block-figure proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a paved concrete road with visible cracks and tufts of grass growing through the seams, leading towards a large steel gantry frame. The background features industrial silos and factory structures in the distance. To the left and right are corrugated metal fences and green trees. The lighting suggests a clear day with soft shadows; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the parcel or cargo crate: in <Picture 1> a large, light-brown wooden shipping crate with visible wood grain and metal corner reinforcements; in <Video 1> the plain grey proxy solid.
+<Subject 4> is the cargo utility truck: in <Picture 1> a silver utility pickup truck with a flatbed, positioned on the right side of the path facing away from the camera; in <Video 1> the plain grey proxy solid.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a male character standing on the left side of the path, wearing dark blue overalls over a white shirt and a red cap; in <Video 1> the grey block-figure proxy.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a male character standing on the right side of the path, wearing a light navy short-sleeved shirt and dark navy trousers, facing towards the center; in <Video 1> the grey block-figure proxy that starts on the right of the frame.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a male character standing on the left side of the path, wearing a mustard jacket, a white shirt, and blue shorts; in <Video 1> the grey block-figure proxy that starts on the left of the frame.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> pushing a crate forward with both hands and releasing it, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+
+detailed_description:
+Stylized 3D rendering: a complete, continuous 3D world that clearly departs from photorealism — chunky cartoon 3D: thick simplified forms, exaggerated proportions, bright saturated colours and soft clean lighting; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a paved concrete road with visible cracks and tufts of grass growing through the seams, leading towards a large steel gantry frame. The background features industrial silos and factory structures in the distance. To the left and right are corrugated metal fences and green trees. The lighting suggests a clear day with soft shadows, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a male character viewed from behind, wearing a yellow hard hat, an amber high-visibility vest over a beige shirt, and tan trousers. He stands behind a wooden crate, as seen in <Picture 1>. <Subject 3>, the parcel or cargo crate, is a large, light-brown wooden shipping crate with visible wood grain and metal corner reinforcements, as seen in <Picture 1>. <Subject 4>, the cargo utility truck, is a silver utility pickup truck with a flatbed, positioned on the right side of the path facing away from the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a male character standing on the left side of the path, wearing dark blue overalls over a white shirt and a red cap, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a male character standing on the right side of the path, wearing a light navy short-sleeved shirt and dark navy trousers, facing towards the center, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a male character standing on the left side of the path, wearing a mustard jacket, a white shirt, and blue shorts, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.967, the protagonist steps up to the crate and places both hands on it; independently moving adult participant 1 moves about a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about a metre along its route. From 00:00.967 to 00:04.067, the protagonist pushes the crate forward; the protagonist moves about 5 metres along its route; <Subject 3> moves about 5 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 2 metres along its route; independently moving adult participant 3 moves about 3 metres along its route; <Subject 4> moves about 5 metres along its route. From 00:04.067 to 00:05.000, the protagonist lets go of the crate and it stays where it stopped; the protagonist raises the head (head height 1.2 to 1.6 m), lowers the hands to the sides, straightens the legs; independently moving adult participant 1 moves about a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about a metre along its route; <Subject 4> moves about one and a half metres along its route. Recorded relations: the protagonist pushes <Subject 3> from 00:00.967 to 00:04.067. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 10 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Rounded cartoon shapes and smooth stylised surfaces belong to the target style; they are never the grey, flat-colour or wireframe proxy forms themselves. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The rhythmic thud of wooden crate runners on concrete, distant industrial machinery humming, and the rustle of wind in the trees.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..ff3d14ccb2725f345f9dfbebf5ca342455293c96
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/colored-obb/prompt.txt
@@ -0,0 +1,44 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a navy sweater walks away from the camera through a modern office corridor, passing a man in a white shirt and a woman pushing a cart, while another woman walks ahead in the distance, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 human proxies standing for <Subject 1> (the protagonist), <Subject 4> (independently moving adult participant 1), <Subject 5> (independently moving adult participant 2), <Subject 6> (independently moving adult participant 3) and 1 object proxy standing for <Subject 3> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with dark curly hair, seen from behind, wearing a navy blue sweater, grey trousers, and brown shoes, walking forward; in <Video 1> the human proxy tagged #366ef7, whose white face is its front.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a spacious, industrial-style office interior with polished concrete floors that reflect the overhead lighting. The space features large glass partitions with black frames, exposed concrete pillars, and a ceiling with visible ductwork and track lighting. Large windows on the left let in natural light. The room is decorated with large decorative rocks and potted trees, including a tall palm-like plant on the right and a leafy tree on the left; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the wheeled handcart: in <Picture 1> a silver metal utility cart with four wheels, being pushed by the woman in scrubs; in <Video 1> the object proxy tagged #f79e36, whose white face is its front.
+<Subject 4> is independently moving adult participant 1: in <Picture 1> a man with short brown hair, wearing a white button-down shirt, a dark purple tie, dark grey trousers, and brown shoes, standing and facing the camera; in <Video 1> the human proxy tagged #a7f736 that starts on the left of the frame, whose white face is its front.
+<Subject 5> is independently moving adult participant 2: in <Picture 1> a woman with blonde hair, seen from behind, wearing a maroon hoodie, blue jeans, and white sneakers, walking away; in <Video 1> the human proxy tagged #f736df, whose white face is its front.
+<Subject 6> is independently moving adult participant 3: in <Picture 1> a woman with dark hair tied back, wearing a light aqua scrub top and matching trousers, pushing a metal utility cart; in <Video 1> the human proxy tagged #36f7d6, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> advancing through independently moving pedestrians and a handcart, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a spacious, industrial-style office interior with polished concrete floors that reflect the overhead lighting. The space features large glass partitions with black frames, exposed concrete pillars, and a ceiling with visible ductwork and track lighting. Large windows on the left let in natural light. The room is decorated with large decorative rocks and potted trees, including a tall palm-like plant on the right and a leafy tree on the left, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with dark curly hair, seen from behind, wearing a navy blue sweater, grey trousers, and brown shoes, walking forward, as seen in <Picture 1>. <Subject 3>, the wheeled handcart, is a silver metal utility cart with four wheels, being pushed by the woman in scrubs, as seen in <Picture 1>. <Subject 4>, independently moving adult participant 1, is a man with short brown hair, wearing a white button-down shirt, a dark purple tie, dark grey trousers, and brown shoes, standing and facing the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 2, is a woman with blonde hair, seen from behind, wearing a maroon hoodie, blue jeans, and white sneakers, walking away, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 3, is a woman with dark hair tied back, wearing a light aqua scrub top and matching trousers, pushing a metal utility cart, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.767, the protagonist walks forward through the moving pedestrians while the handcart is pushed along nearby; the protagonist moves about 9 metres along its route; independently moving adult participant 1 moves about 3 metres along its route; independently moving adult participant 2 moves about 3 metres along its route; independently moving adult participant 3 moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.767 to 00:05.000, the protagonist comes to a stop and stands still while the others keep moving. <Subject 3> is one continuous object throughout and ends the clip about 5 metres from the protagonist. The solid wall or architectural structure in the foreground covers independently moving adult participant 2 from about 1.1 s to 1.3 s. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of footsteps echoing on the polished concrete floor, mixed with the low hum of office ventilation and the faint squeak of cart wheels.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/mixed/prompt.txt b/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..715c46a27542b3902d55184a463b7ca47a27f484
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/mixed/prompt.txt
@@ -0,0 +1,44 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a navy sweater walks away from the camera through a modern office corridor, passing a man in a white shirt and a woman pushing a cart, while another woman walks ahead in the distance, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 blue mannequin proxies standing for <Subject 1> (the protagonist), <Subject 4> (independently moving adult participant 1), <Subject 5> (independently moving adult participant 2), <Subject 6> (independently moving adult participant 3) and 1 object proxy standing for <Subject 3> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with dark curly hair, seen from behind, wearing a navy blue sweater, grey trousers, and brown shoes, walking forward; in <Video 1> the blue mannequin proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a spacious, industrial-style office interior with polished concrete floors that reflect the overhead lighting. The space features large glass partitions with black frames, exposed concrete pillars, and a ceiling with visible ductwork and track lighting. Large windows on the left let in natural light. The room is decorated with large decorative rocks and potted trees, including a tall palm-like plant on the right and a leafy tree on the left; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the wheeled handcart: in <Picture 1> a silver metal utility cart with four wheels, being pushed by the woman in scrubs; in <Video 1> the black solid cart proxy shape.
+<Subject 4> is independently moving adult participant 1: in <Picture 1> a man with short brown hair, wearing a white button-down shirt, a dark purple tie, dark grey trousers, and brown shoes, standing and facing the camera; in <Video 1> the blue mannequin proxy that starts on the left of the frame.
+<Subject 5> is independently moving adult participant 2: in <Picture 1> a woman with blonde hair, seen from behind, wearing a maroon hoodie, blue jeans, and white sneakers, walking away; in <Video 1> the blue mannequin proxy.
+<Subject 6> is independently moving adult participant 3: in <Picture 1> a woman with dark hair tied back, wearing a light aqua scrub top and matching trousers, pushing a metal utility cart; in <Video 1> the blue mannequin proxy.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> advancing through independently moving pedestrians and a handcart, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a spacious, industrial-style office interior with polished concrete floors that reflect the overhead lighting. The space features large glass partitions with black frames, exposed concrete pillars, and a ceiling with visible ductwork and track lighting. Large windows on the left let in natural light. The room is decorated with large decorative rocks and potted trees, including a tall palm-like plant on the right and a leafy tree on the left, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with dark curly hair, seen from behind, wearing a navy blue sweater, grey trousers, and brown shoes, walking forward, as seen in <Picture 1>. <Subject 3>, the wheeled handcart, is a silver metal utility cart with four wheels, being pushed by the woman in scrubs, as seen in <Picture 1>. <Subject 4>, independently moving adult participant 1, is a man with short brown hair, wearing a white button-down shirt, a dark purple tie, dark grey trousers, and brown shoes, standing and facing the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 2, is a woman with blonde hair, seen from behind, wearing a maroon hoodie, blue jeans, and white sneakers, walking away, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 3, is a woman with dark hair tied back, wearing a light aqua scrub top and matching trousers, pushing a metal utility cart, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.767, the protagonist walks forward through the moving pedestrians while the handcart is pushed along nearby; the protagonist moves about 9 metres along its route; independently moving adult participant 1 moves about 3 metres along its route; independently moving adult participant 2 moves about 3 metres along its route; independently moving adult participant 3 moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.767 to 00:05.000, the protagonist comes to a stop and stands still while the others keep moving. <Subject 3> is one continuous object throughout and ends the clip about 5 metres from the protagonist. The solid wall or architectural structure in the foreground covers independently moving adult participant 2 from about 1.1 s to 1.3 s. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of footsteps echoing on the polished concrete floor, mixed with the low hum of office ventilation and the faint squeak of cart wheels.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/white/prompt.txt b/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..05f24dd07cce80e8e2f716f31afe439369a324e5
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-028-indoor-crowd/follow/white/prompt.txt
@@ -0,0 +1,44 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a navy sweater walks away from the camera through a modern office corridor, passing a man in a white shirt and a woman pushing a cart, while another woman walks ahead in the distance, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 grey block-figure proxies standing for <Subject 1> (the protagonist), <Subject 4> (independently moving adult participant 1), <Subject 5> (independently moving adult participant 2), <Subject 6> (independently moving adult participant 3) and 1 object proxy standing for <Subject 3> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with dark curly hair, seen from behind, wearing a navy blue sweater, grey trousers, and brown shoes, walking forward; in <Video 1> the grey block-figure proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a spacious, industrial-style office interior with polished concrete floors that reflect the overhead lighting. The space features large glass partitions with black frames, exposed concrete pillars, and a ceiling with visible ductwork and track lighting. Large windows on the left let in natural light. The room is decorated with large decorative rocks and potted trees, including a tall palm-like plant on the right and a leafy tree on the left; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the wheeled handcart: in <Picture 1> a silver metal utility cart with four wheels, being pushed by the woman in scrubs; in <Video 1> the plain grey proxy solid.
+<Subject 4> is independently moving adult participant 1: in <Picture 1> a man with short brown hair, wearing a white button-down shirt, a dark purple tie, dark grey trousers, and brown shoes, standing and facing the camera; in <Video 1> the grey block-figure proxy that starts on the left of the frame.
+<Subject 5> is independently moving adult participant 2: in <Picture 1> a woman with blonde hair, seen from behind, wearing a maroon hoodie, blue jeans, and white sneakers, walking away; in <Video 1> the grey block-figure proxy.
+<Subject 6> is independently moving adult participant 3: in <Picture 1> a woman with dark hair tied back, wearing a light aqua scrub top and matching trousers, pushing a metal utility cart; in <Video 1> the grey block-figure proxy.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> advancing through independently moving pedestrians and a handcart, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a spacious, industrial-style office interior with polished concrete floors that reflect the overhead lighting. The space features large glass partitions with black frames, exposed concrete pillars, and a ceiling with visible ductwork and track lighting. Large windows on the left let in natural light. The room is decorated with large decorative rocks and potted trees, including a tall palm-like plant on the right and a leafy tree on the left, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with dark curly hair, seen from behind, wearing a navy blue sweater, grey trousers, and brown shoes, walking forward, as seen in <Picture 1>. <Subject 3>, the wheeled handcart, is a silver metal utility cart with four wheels, being pushed by the woman in scrubs, as seen in <Picture 1>. <Subject 4>, independently moving adult participant 1, is a man with short brown hair, wearing a white button-down shirt, a dark purple tie, dark grey trousers, and brown shoes, standing and facing the camera, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 2, is a woman with blonde hair, seen from behind, wearing a maroon hoodie, blue jeans, and white sneakers, walking away, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 3, is a woman with dark hair tied back, wearing a light aqua scrub top and matching trousers, pushing a metal utility cart, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.767, the protagonist walks forward through the moving pedestrians while the handcart is pushed along nearby; the protagonist moves about 9 metres along its route; independently moving adult participant 1 moves about 3 metres along its route; independently moving adult participant 2 moves about 3 metres along its route; independently moving adult participant 3 moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.767 to 00:05.000, the protagonist comes to a stop and stands still while the others keep moving. <Subject 3> is one continuous object throughout and ends the clip about 5 metres from the protagonist. The solid wall or architectural structure in the foreground covers independently moving adult participant 2 from about 1.1 s to 1.3 s. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of footsteps echoing on the polished concrete floor, mixed with the low hum of office ventilation and the faint squeak of cart wheels.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-030-indoor-cart/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-030-indoor-cart/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..a9f7fa1818b8e70245e4d4102f2078b31b03338c
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-030-indoor-cart/follow/colored-obb/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a woman with curly hair and a straw hat pushes a shopping cart down a brightly lit supermarket aisle, flanked by other shoppers and stocked shelves, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 human proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the wheeled handcart), <Subject 4> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a woman with voluminous curly reddish-brown hair, wearing a wide-brimmed straw hat, a salmon-pink floral short-sleeved blouse, beige shorts, and brown sandals. She is facing away from the camera, pushing a shopping cart; in <Video 1> the human proxy tagged #366ef7, whose white face is its front.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a modern supermarket interior with a highly polished, reflective grey floor. The walls are clad in white square tiles. A large indoor tree with dark green leaves is planted in a rock-lined bed in the right foreground. The background features aisles of shelves stocked with various products, illuminated by overhead fluorescent strip lighting; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the wheeled handcart: in <Picture 1> a standard metal wire shopping trolley with a red plastic handle grip and black wheels; in <Video 1> the object proxy tagged #a7f736, whose white face is its front.
+<Subject 4> is the wheeled handcart: in <Picture 1> a metal wire shopping trolley with a red handle, being pushed by the woman in maroon; in <Video 1> the object proxy tagged #6636f7, whose white face is its front.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a woman with dark hair tied back, wearing a sage short-sleeved top and matching trousers, walking towards the camera; in <Video 1> the human proxy tagged #f736df that starts on the left of the frame, whose white face is its front.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a man with dark skin, wearing a mustard jacket, light blue shorts, and white sneakers, walking away from the camera; in <Video 1> the human proxy tagged #36f7d6, whose white face is its front.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a woman with short grey hair, wearing a maroon long-sleeved top and dark trousers, pushing a shopping cart; in <Video 1> the human proxy tagged #f79e36, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> pushing a handcart forward around a gentle bend and releasing the handle, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a modern supermarket interior with a highly polished, reflective grey floor. The walls are clad in white square tiles. A large indoor tree with dark green leaves is planted in a rock-lined bed in the right foreground. The background features aisles of shelves stocked with various products, illuminated by overhead fluorescent strip lighting, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a woman with voluminous curly reddish-brown hair, wearing a wide-brimmed straw hat, a salmon-pink floral short-sleeved blouse, beige shorts, and brown sandals. She is facing away from the camera, pushing a shopping cart, as seen in <Picture 1>. <Subject 3>, the wheeled handcart, is a standard metal wire shopping trolley with a red plastic handle grip and black wheels, as seen in <Picture 1>. <Subject 4>, the wheeled handcart, is a metal wire shopping trolley with a red handle, being pushed by the woman in maroon, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a woman with dark hair tied back, wearing a sage short-sleeved top and matching trousers, walking towards the camera, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a man with dark skin, wearing a mustard jacket, light blue shorts, and white sneakers, walking away from the camera, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a woman with short grey hair, wearing a maroon long-sleeved top and dark trousers, pushing a shopping cart, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.967, the protagonist steps up to the handcart and takes hold of its handle; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:00.967 to 00:04.067, the protagonist pushes the handcart forward around the gentle bend; the protagonist moves about 5 metres along its route; <Subject 3> moves about 5 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 3 metres along its route; independently moving adult participant 3 moves about 2 metres along its route; <Subject 4> moves about 2 metres along its route. From 00:04.067 to 00:05.000, the protagonist lets go of the handle and the handcart stays where it stopped; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. Recorded relations: the protagonist pushes <Subject 3> from 00:00.967 to 00:04.067. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 4 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The low hum of refrigeration units and the rhythmic squeak of trolley wheels on the polished floor.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-030-indoor-cart/follow/mixed/prompt.txt b/prompts/verified_first_frame/dv200-030-indoor-cart/follow/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..3cc41a5ff860c9bcf502d70e1e5654178a0ecf62
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-030-indoor-cart/follow/mixed/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a woman with curly hair and a straw hat pushes a shopping cart down a brightly lit supermarket aisle, flanked by other shoppers and stocked shelves, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 blue mannequin proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the wheeled handcart), <Subject 4> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a woman with voluminous curly reddish-brown hair, wearing a wide-brimmed straw hat, a salmon-pink floral short-sleeved blouse, beige shorts, and brown sandals. She is facing away from the camera, pushing a shopping cart; in <Video 1> the blue mannequin proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a modern supermarket interior with a highly polished, reflective grey floor. The walls are clad in white square tiles. A large indoor tree with dark green leaves is planted in a rock-lined bed in the right foreground. The background features aisles of shelves stocked with various products, illuminated by overhead fluorescent strip lighting; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the wheeled handcart: in <Picture 1> a standard metal wire shopping trolley with a red plastic handle grip and black wheels; in <Video 1> the black solid cart proxy shape.
+<Subject 4> is the wheeled handcart: in <Picture 1> a metal wire shopping trolley with a red handle, being pushed by the woman in maroon; in <Video 1> the black solid cart proxy shape.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a woman with dark hair tied back, wearing a sage short-sleeved top and matching trousers, walking towards the camera; in <Video 1> the blue mannequin proxy that starts on the left of the frame.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a man with dark skin, wearing a mustard jacket, light blue shorts, and white sneakers, walking away from the camera; in <Video 1> the blue mannequin proxy.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a woman with short grey hair, wearing a maroon long-sleeved top and dark trousers, pushing a shopping cart; in <Video 1> the blue mannequin proxy.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> pushing a handcart forward around a gentle bend and releasing the handle, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a modern supermarket interior with a highly polished, reflective grey floor. The walls are clad in white square tiles. A large indoor tree with dark green leaves is planted in a rock-lined bed in the right foreground. The background features aisles of shelves stocked with various products, illuminated by overhead fluorescent strip lighting, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a woman with voluminous curly reddish-brown hair, wearing a wide-brimmed straw hat, a salmon-pink floral short-sleeved blouse, beige shorts, and brown sandals. She is facing away from the camera, pushing a shopping cart, as seen in <Picture 1>. <Subject 3>, the wheeled handcart, is a standard metal wire shopping trolley with a red plastic handle grip and black wheels, as seen in <Picture 1>. <Subject 4>, the wheeled handcart, is a metal wire shopping trolley with a red handle, being pushed by the woman in maroon, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a woman with dark hair tied back, wearing a sage short-sleeved top and matching trousers, walking towards the camera, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a man with dark skin, wearing a mustard jacket, light blue shorts, and white sneakers, walking away from the camera, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a woman with short grey hair, wearing a maroon long-sleeved top and dark trousers, pushing a shopping cart, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.967, the protagonist steps up to the handcart and takes hold of its handle; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:00.967 to 00:04.067, the protagonist pushes the handcart forward around the gentle bend; the protagonist moves about 5 metres along its route; <Subject 3> moves about 5 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 3 metres along its route; independently moving adult participant 3 moves about 2 metres along its route; <Subject 4> moves about 2 metres along its route. From 00:04.067 to 00:05.000, the protagonist lets go of the handle and the handcart stays where it stopped; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. Recorded relations: the protagonist pushes <Subject 3> from 00:00.967 to 00:04.067. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 4 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The low hum of refrigeration units and the rhythmic squeak of trolley wheels on the polished floor.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-030-indoor-cart/follow/white/prompt.txt b/prompts/verified_first_frame/dv200-030-indoor-cart/follow/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..2820c460629c08bcb1ed143b075ee11d595d89e3
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-030-indoor-cart/follow/white/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a woman with curly hair and a straw hat pushes a shopping cart down a brightly lit supermarket aisle, flanked by other shoppers and stocked shelves, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 grey block-figure proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the wheeled handcart), <Subject 4> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a woman with voluminous curly reddish-brown hair, wearing a wide-brimmed straw hat, a salmon-pink floral short-sleeved blouse, beige shorts, and brown sandals. She is facing away from the camera, pushing a shopping cart; in <Video 1> the grey block-figure proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a modern supermarket interior with a highly polished, reflective grey floor. The walls are clad in white square tiles. A large indoor tree with dark green leaves is planted in a rock-lined bed in the right foreground. The background features aisles of shelves stocked with various products, illuminated by overhead fluorescent strip lighting; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the wheeled handcart: in <Picture 1> a standard metal wire shopping trolley with a red plastic handle grip and black wheels; in <Video 1> the plain grey proxy solid.
+<Subject 4> is the wheeled handcart: in <Picture 1> a metal wire shopping trolley with a red handle, being pushed by the woman in maroon; in <Video 1> the plain grey proxy solid.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a woman with dark hair tied back, wearing a sage short-sleeved top and matching trousers, walking towards the camera; in <Video 1> the grey block-figure proxy that starts on the left of the frame.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a man with dark skin, wearing a mustard jacket, light blue shorts, and white sneakers, walking away from the camera; in <Video 1> the grey block-figure proxy.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a woman with short grey hair, wearing a maroon long-sleeved top and dark trousers, pushing a shopping cart; in <Video 1> the grey block-figure proxy.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> pushing a handcart forward around a gentle bend and releasing the handle, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a modern supermarket interior with a highly polished, reflective grey floor. The walls are clad in white square tiles. A large indoor tree with dark green leaves is planted in a rock-lined bed in the right foreground. The background features aisles of shelves stocked with various products, illuminated by overhead fluorescent strip lighting, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a woman with voluminous curly reddish-brown hair, wearing a wide-brimmed straw hat, a salmon-pink floral short-sleeved blouse, beige shorts, and brown sandals. She is facing away from the camera, pushing a shopping cart, as seen in <Picture 1>. <Subject 3>, the wheeled handcart, is a standard metal wire shopping trolley with a red plastic handle grip and black wheels, as seen in <Picture 1>. <Subject 4>, the wheeled handcart, is a metal wire shopping trolley with a red handle, being pushed by the woman in maroon, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a woman with dark hair tied back, wearing a sage short-sleeved top and matching trousers, walking towards the camera, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a man with dark skin, wearing a mustard jacket, light blue shorts, and white sneakers, walking away from the camera, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a woman with short grey hair, wearing a maroon long-sleeved top and dark trousers, pushing a shopping cart, as seen in <Picture 1>. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.967, the protagonist steps up to the handcart and takes hold of its handle; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:00.967 to 00:04.067, the protagonist pushes the handcart forward around the gentle bend; the protagonist moves about 5 metres along its route; <Subject 3> moves about 5 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 3 metres along its route; independently moving adult participant 3 moves about 2 metres along its route; <Subject 4> moves about 2 metres along its route. From 00:04.067 to 00:05.000, the protagonist lets go of the handle and the handcart stays where it stopped; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. Recorded relations: the protagonist pushes <Subject 3> from 00:00.967 to 00:04.067. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 4 metres from the protagonist. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The low hum of refrigeration units and the rhythmic squeak of trolley wheels on the polished floor.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-085-racing-racing/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-085-racing-racing/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..1c0dc5091c23ab7ed925a129dd4847ce23fbd5e6
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-085-racing-racing/follow/colored-obb/prompt.txt
@@ -0,0 +1,48 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a white racing sedan drives away from the camera through a glowing white and cyan archway on a winding forest road, with other vehicles ahead, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 3 human proxies standing for <Subject 1> (the protagonist), <Subject 7> (the seated driver of rival racing car 1), <Subject 8> (the seated driver of rival racing car 3) and 4 object proxies standing for <Subject 3> (the same start-and-finish gantry for the whole clip), <Subject 4> (the protagonist's racing sedan with a seated driver), <Subject 5> (the rival sedan with a seated driver), <Subject 6> (the rival sedan with a seated driver); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: appearance is not established by <Picture 1>; in <Video 1> the human proxy tagged #a7f736, whose white face is its front; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a paved asphalt road with white lane markings curves through a dense temperate forest of tall pine trees. The ground is covered in grass and fallen timber logs. A large, futuristic white gantry with glowing cyan light strips spans the road. The sky is a muted, overcast grey-blue, suggesting dusk or dawn; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the same start-and-finish gantry for the whole clip: in <Picture 1> a large, white, geometric archway structure spanning the road, featuring glowing cyan light strips along the vertical pillars and horizontal beams; in <Video 1> the solid proxy shape.
+<Subject 4> is the protagonist's racing sedan with a seated driver: in <Picture 1> a white sports sedan with a rear spoiler, red taillights, and cyan glowing accents on the rear bumper, driving away from the camera; in <Video 1> the object proxy tagged #f736df, whose white face is its front.
+<Subject 5> is the rival sedan with a seated driver: in <Picture 1> a white sedan driving ahead of the main car on the road; in <Video 1> the object proxy tagged #36f7d6, whose white face is its front.
+<Subject 6> is the rival sedan with a seated driver: in <Picture 1> a white sedan driving further ahead in the distance on the road; in <Video 1> the solid proxy shape.
+<Subject 7> is the seated driver of rival racing car 1: appearance is not established by <Picture 1>; in <Video 1> the human proxy tagged #3ef736, whose white face is its front; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 8> is the seated driver of rival racing car 3: appearance is not established by <Picture 1>; in <Video 1> the human proxy tagged #36aff7, whose white face is its front; preserve its recorded identity without inferring unseen clothing or materials from the image.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> racing a sedan along the track against two rival sedans, involving <Subject 3> to <Subject 8>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 7> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 8> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+
+detailed_description:
+Semi-realistic game rendering: the world, characters and objects keep real-world structure, layout and scale, but proportions, palette, materials and lighting are visibly art-directed — clean white-tech cyberpunk look: sterile white panels, thin cyan light strips, glass and brushed aluminium, minimalist fitted tech-wear, slightly idealised proportions; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a paved asphalt road with white lane markings curves through a dense temperate forest of tall pine trees. The ground is covered in grass and fallen timber logs. A large, futuristic white gantry with glowing cyan light strips spans the road. The sky is a muted, overcast grey-blue, suggesting dusk or dawn, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 3>, the same start-and-finish gantry for the whole clip, is a large, white, geometric archway structure spanning the road, featuring glowing cyan light strips along the vertical pillars and horizontal beams, as seen in <Picture 1>. <Subject 4>, the protagonist's racing sedan with a seated driver, is a white sports sedan with a rear spoiler, red taillights, and cyan glowing accents on the rear bumper, driving away from the camera, as seen in <Picture 1>. <Subject 5>, the rival sedan with a seated driver, is a white sedan driving ahead of the main car on the road, as seen in <Picture 1>. <Subject 6>, the rival sedan with a seated driver, is a white sedan driving further ahead in the distance on the road, as seen in <Picture 1>. <Subject 7>, the seated driver of rival racing car 1, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 8>, the seated driver of rival racing car 3, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:01.967, the protagonist's sedan follows the rival sedan ahead along the track, holding its line, while the other rival sedan keeps racing on its own line; the protagonist moves about 44 metres along its route; <Subject 4> moves about 44 metres along its route; <Subject 5> moves about 40 metres along its route; <Subject 6> moves about 43 metres along its route; the seated driver of rival racing car 1 moves about 40 metres along its route; the seated driver of rival racing car 3 moves about 43 metres along its route. From 00:01.967 to 00:02.200, the protagonist's sedan cruises along the track at steady speed while the two rival sedans keep racing on their own lines; the protagonist moves about 4 metres along its route; <Subject 4> moves about 4 metres along its route; <Subject 5> moves about 5 metres along its route; <Subject 6> moves about 4 metres along its route; the seated driver of rival racing car 1 moves about 5 metres along its route; the seated driver of rival racing car 3 moves about 4 metres along its route. From 00:02.200 to 00:04.900, the protagonist's sedan follows the rival sedan ahead along the track, holding its line, while the other rival sedan keeps racing on its own line; the protagonist moves about 49 metres along its route; <Subject 4> moves about 49 metres along its route; <Subject 5> moves about 52 metres along its route; <Subject 6> moves about 54 metres along its route; the seated driver of rival racing car 1 moves about 52 metres along its route; the seated driver of rival racing car 3 moves about 54 metres along its route. From 00:04.900 to 00:05.000, the protagonist's sedan cruises along the track at steady speed while the two rival sedans keep racing on their own lines; the protagonist moves about a metre along its route; <Subject 4> moves about a metre along its route; <Subject 5> moves about one and a half metres along its route; <Subject 6> moves about one and a half metres along its route; the seated driver of rival racing car 1 moves about one and a half metres along its route; the seated driver of rival racing car 3 moves about one and a half metres along its route. Recorded relations: the protagonist occupies <Subject 4> from 00:00.000 to 00:05.000; the seated driver of rival racing car 1 occupies <Subject 5> from 00:00.000 to 00:05.000; the seated driver of rival racing car 3 occupies <Subject 6> from 00:00.000 to 00:05.000; <Subject 4> follows <Subject 6> from 00:00.000 to 00:01.967; <Subject 4> follows <Subject 6> from 00:02.200 to 00:04.900. <Subject 4> is one continuous object throughout and ends the clip about half a metre from the protagonist. <Subject 5> is one continuous object throughout and ends the clip about 21 metres from the protagonist. <Subject 6> is one continuous object throughout and ends the clip about 49 metres from the protagonist. Keep the reference's recorded vertical field of view at every frame. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The high-pitched whine of electric motors and the hum of the glowing archway lights, accompanied by the sound of tires rolling on asphalt.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-085-racing-racing/follow/mixed/prompt.txt b/prompts/verified_first_frame/dv200-085-racing-racing/follow/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..8b613d8404d933ce144c6a9970a24393235a606d
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-085-racing-racing/follow/mixed/prompt.txt
@@ -0,0 +1,48 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a white racing sedan drives away from the camera through a glowing white and cyan archway on a winding forest road, with other vehicles ahead, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 3 blue mannequin proxies standing for <Subject 1> (the protagonist), <Subject 7> (the seated driver of rival racing car 1), <Subject 8> (the seated driver of rival racing car 3) and 4 object proxies standing for <Subject 3> (the same start-and-finish gantry for the whole clip), <Subject 4> (the protagonist's racing sedan with a seated driver), <Subject 5> (the rival sedan with a seated driver), <Subject 6> (the rival sedan with a seated driver); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: appearance is not established by <Picture 1>; in <Video 1> the blue mannequin proxy; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a paved asphalt road with white lane markings curves through a dense temperate forest of tall pine trees. The ground is covered in grass and fallen timber logs. A large, futuristic white gantry with glowing cyan light strips spans the road. The sky is a muted, overcast grey-blue, suggesting dusk or dawn; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the same start-and-finish gantry for the whole clip: in <Picture 1> a large, white, geometric archway structure spanning the road, featuring glowing cyan light strips along the vertical pillars and horizontal beams; in <Video 1> the black solid checkpoint proxy shape.
+<Subject 4> is the protagonist's racing sedan with a seated driver: in <Picture 1> a white sports sedan with a rear spoiler, red taillights, and cyan glowing accents on the rear bumper, driving away from the camera; in <Video 1> the red envelope proxy.
+<Subject 5> is the rival sedan with a seated driver: in <Picture 1> a white sedan driving ahead of the main car on the road; in <Video 1> the red envelope proxy.
+<Subject 6> is the rival sedan with a seated driver: in <Picture 1> a white sedan driving further ahead in the distance on the road; in <Video 1> the red envelope proxy.
+<Subject 7> is the seated driver of rival racing car 1: appearance is not established by <Picture 1>; in <Video 1> the blue mannequin proxy; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 8> is the seated driver of rival racing car 3: appearance is not established by <Picture 1>; in <Video 1> the blue mannequin proxy; preserve its recorded identity without inferring unseen clothing or materials from the image.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> racing a sedan along the track against two rival sedans, involving <Subject 3> to <Subject 8>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 7> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 8> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+
+detailed_description:
+Semi-realistic game rendering: the world, characters and objects keep real-world structure, layout and scale, but proportions, palette, materials and lighting are visibly art-directed — clean white-tech cyberpunk look: sterile white panels, thin cyan light strips, glass and brushed aluminium, minimalist fitted tech-wear, slightly idealised proportions; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a paved asphalt road with white lane markings curves through a dense temperate forest of tall pine trees. The ground is covered in grass and fallen timber logs. A large, futuristic white gantry with glowing cyan light strips spans the road. The sky is a muted, overcast grey-blue, suggesting dusk or dawn, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 3>, the same start-and-finish gantry for the whole clip, is a large, white, geometric archway structure spanning the road, featuring glowing cyan light strips along the vertical pillars and horizontal beams, as seen in <Picture 1>. <Subject 4>, the protagonist's racing sedan with a seated driver, is a white sports sedan with a rear spoiler, red taillights, and cyan glowing accents on the rear bumper, driving away from the camera, as seen in <Picture 1>. <Subject 5>, the rival sedan with a seated driver, is a white sedan driving ahead of the main car on the road, as seen in <Picture 1>. <Subject 6>, the rival sedan with a seated driver, is a white sedan driving further ahead in the distance on the road, as seen in <Picture 1>. <Subject 7>, the seated driver of rival racing car 1, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 8>, the seated driver of rival racing car 3, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:01.967, the protagonist's sedan follows the rival sedan ahead along the track, holding its line, while the other rival sedan keeps racing on its own line; the protagonist moves about 44 metres along its route; <Subject 4> moves about 44 metres along its route; <Subject 5> moves about 40 metres along its route; <Subject 6> moves about 43 metres along its route; the seated driver of rival racing car 1 moves about 40 metres along its route; the seated driver of rival racing car 3 moves about 43 metres along its route. From 00:01.967 to 00:02.200, the protagonist's sedan cruises along the track at steady speed while the two rival sedans keep racing on their own lines; the protagonist moves about 4 metres along its route; <Subject 4> moves about 4 metres along its route; <Subject 5> moves about 5 metres along its route; <Subject 6> moves about 4 metres along its route; the seated driver of rival racing car 1 moves about 5 metres along its route; the seated driver of rival racing car 3 moves about 4 metres along its route. From 00:02.200 to 00:04.900, the protagonist's sedan follows the rival sedan ahead along the track, holding its line, while the other rival sedan keeps racing on its own line; the protagonist moves about 49 metres along its route; <Subject 4> moves about 49 metres along its route; <Subject 5> moves about 52 metres along its route; <Subject 6> moves about 54 metres along its route; the seated driver of rival racing car 1 moves about 52 metres along its route; the seated driver of rival racing car 3 moves about 54 metres along its route. From 00:04.900 to 00:05.000, the protagonist's sedan cruises along the track at steady speed while the two rival sedans keep racing on their own lines; the protagonist moves about a metre along its route; <Subject 4> moves about a metre along its route; <Subject 5> moves about one and a half metres along its route; <Subject 6> moves about one and a half metres along its route; the seated driver of rival racing car 1 moves about one and a half metres along its route; the seated driver of rival racing car 3 moves about one and a half metres along its route. Recorded relations: the protagonist occupies <Subject 4> from 00:00.000 to 00:05.000; the seated driver of rival racing car 1 occupies <Subject 5> from 00:00.000 to 00:05.000; the seated driver of rival racing car 3 occupies <Subject 6> from 00:00.000 to 00:05.000; <Subject 4> follows <Subject 6> from 00:00.000 to 00:01.967; <Subject 4> follows <Subject 6> from 00:02.200 to 00:04.900. <Subject 4> is one continuous object throughout and ends the clip about half a metre from the protagonist. <Subject 5> is one continuous object throughout and ends the clip about 21 metres from the protagonist. <Subject 6> is one continuous object throughout and ends the clip about 49 metres from the protagonist. Keep the reference's recorded vertical field of view at every frame. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The high-pitched whine of electric motors and the hum of the glowing archway lights, accompanied by the sound of tires rolling on asphalt.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-085-racing-racing/follow/white/prompt.txt b/prompts/verified_first_frame/dv200-085-racing-racing/follow/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..4131eb6642fe1e5f1a7416c1edefb791ab98d921
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-085-racing-racing/follow/white/prompt.txt
@@ -0,0 +1,48 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a white racing sedan drives away from the camera through a glowing white and cyan archway on a winding forest road, with other vehicles ahead, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 3 grey block-figure proxies standing for <Subject 1> (the protagonist), <Subject 7> (the seated driver of rival racing car 1), <Subject 8> (the seated driver of rival racing car 3) and 4 object proxies standing for <Subject 3> (the same start-and-finish gantry for the whole clip), <Subject 4> (the protagonist's racing sedan with a seated driver), <Subject 5> (the rival sedan with a seated driver), <Subject 6> (the rival sedan with a seated driver); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: appearance is not established by <Picture 1>; in <Video 1> the grey block-figure proxy; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a paved asphalt road with white lane markings curves through a dense temperate forest of tall pine trees. The ground is covered in grass and fallen timber logs. A large, futuristic white gantry with glowing cyan light strips spans the road. The sky is a muted, overcast grey-blue, suggesting dusk or dawn; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the same start-and-finish gantry for the whole clip: in <Picture 1> a large, white, geometric archway structure spanning the road, featuring glowing cyan light strips along the vertical pillars and horizontal beams; in <Video 1> the plain grey proxy solid.
+<Subject 4> is the protagonist's racing sedan with a seated driver: in <Picture 1> a white sports sedan with a rear spoiler, red taillights, and cyan glowing accents on the rear bumper, driving away from the camera; in <Video 1> the plain grey proxy solid.
+<Subject 5> is the rival sedan with a seated driver: in <Picture 1> a white sedan driving ahead of the main car on the road; in <Video 1> the plain grey proxy solid.
+<Subject 6> is the rival sedan with a seated driver: in <Picture 1> a white sedan driving further ahead in the distance on the road; in <Video 1> the plain grey proxy solid.
+<Subject 7> is the seated driver of rival racing car 1: appearance is not established by <Picture 1>; in <Video 1> the grey block-figure proxy; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 8> is the seated driver of rival racing car 3: appearance is not established by <Picture 1>; in <Video 1> the grey block-figure proxy; preserve its recorded identity without inferring unseen clothing or materials from the image.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> racing a sedan along the track against two rival sedans, involving <Subject 3> to <Subject 8>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 7> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 8> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+
+detailed_description:
+Semi-realistic game rendering: the world, characters and objects keep real-world structure, layout and scale, but proportions, palette, materials and lighting are visibly art-directed — clean white-tech cyberpunk look: sterile white panels, thin cyan light strips, glass and brushed aluminium, minimalist fitted tech-wear, slightly idealised proportions; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a paved asphalt road with white lane markings curves through a dense temperate forest of tall pine trees. The ground is covered in grass and fallen timber logs. A large, futuristic white gantry with glowing cyan light strips spans the road. The sky is a muted, overcast grey-blue, suggesting dusk or dawn, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 3>, the same start-and-finish gantry for the whole clip, is a large, white, geometric archway structure spanning the road, featuring glowing cyan light strips along the vertical pillars and horizontal beams, as seen in <Picture 1>. <Subject 4>, the protagonist's racing sedan with a seated driver, is a white sports sedan with a rear spoiler, red taillights, and cyan glowing accents on the rear bumper, driving away from the camera, as seen in <Picture 1>. <Subject 5>, the rival sedan with a seated driver, is a white sedan driving ahead of the main car on the road, as seen in <Picture 1>. <Subject 6>, the rival sedan with a seated driver, is a white sedan driving further ahead in the distance on the road, as seen in <Picture 1>. <Subject 7>, the seated driver of rival racing car 1, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 8>, the seated driver of rival racing car 3, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:01.967, the protagonist's sedan follows the rival sedan ahead along the track, holding its line, while the other rival sedan keeps racing on its own line; the protagonist moves about 44 metres along its route; <Subject 4> moves about 44 metres along its route; <Subject 5> moves about 40 metres along its route; <Subject 6> moves about 43 metres along its route; the seated driver of rival racing car 1 moves about 40 metres along its route; the seated driver of rival racing car 3 moves about 43 metres along its route. From 00:01.967 to 00:02.200, the protagonist's sedan cruises along the track at steady speed while the two rival sedans keep racing on their own lines; the protagonist moves about 4 metres along its route; <Subject 4> moves about 4 metres along its route; <Subject 5> moves about 5 metres along its route; <Subject 6> moves about 4 metres along its route; the seated driver of rival racing car 1 moves about 5 metres along its route; the seated driver of rival racing car 3 moves about 4 metres along its route. From 00:02.200 to 00:04.900, the protagonist's sedan follows the rival sedan ahead along the track, holding its line, while the other rival sedan keeps racing on its own line; the protagonist moves about 49 metres along its route; <Subject 4> moves about 49 metres along its route; <Subject 5> moves about 52 metres along its route; <Subject 6> moves about 54 metres along its route; the seated driver of rival racing car 1 moves about 52 metres along its route; the seated driver of rival racing car 3 moves about 54 metres along its route. From 00:04.900 to 00:05.000, the protagonist's sedan cruises along the track at steady speed while the two rival sedans keep racing on their own lines; the protagonist moves about a metre along its route; <Subject 4> moves about a metre along its route; <Subject 5> moves about one and a half metres along its route; <Subject 6> moves about one and a half metres along its route; the seated driver of rival racing car 1 moves about one and a half metres along its route; the seated driver of rival racing car 3 moves about one and a half metres along its route. Recorded relations: the protagonist occupies <Subject 4> from 00:00.000 to 00:05.000; the seated driver of rival racing car 1 occupies <Subject 5> from 00:00.000 to 00:05.000; the seated driver of rival racing car 3 occupies <Subject 6> from 00:00.000 to 00:05.000; <Subject 4> follows <Subject 6> from 00:00.000 to 00:01.967; <Subject 4> follows <Subject 6> from 00:02.200 to 00:04.900. <Subject 4> is one continuous object throughout and ends the clip about half a metre from the protagonist. <Subject 5> is one continuous object throughout and ends the clip about 21 metres from the protagonist. <Subject 6> is one continuous object throughout and ends the clip about 49 metres from the protagonist. Keep the reference's recorded vertical field of view at every frame. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The high-pitched whine of electric motors and the hum of the glowing archway lights, accompanied by the sound of tires rolling on asphalt.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-107-city-stairsDown/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-107-city-stairsDown/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..7631d04f767c870e65b27344854de261f8807cf1
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-107-city-stairsDown/follow/colored-obb/prompt.txt
@@ -0,0 +1,34 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a person with shoulder-length hair walks away from the camera down a wet residential street towards a white house in the distance, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 1 human proxy standing for <Subject 1> (the protagonist); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a person with shoulder-length blonde hair, wearing a maroon hooded sweatshirt, blue denim jeans, and white sneakers, walking away from the camera; in <Video 1> the human proxy tagged #366ef7, whose white face is its front.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a suburban street scene with a wet, glossy asphalt road reflecting the sky. The foreground features a concrete ramp or driveway entrance flanked by low concrete walls. On the left, a tall, dense green hedge runs along the property line. In the background, there are residential houses, including a prominent white two-story house with a dark roof and a grey brick house to the left. Trees with green foliage are visible on the right and left sides. The sky is bright and hazy, suggesting early morning or late afternoon light; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> walking down stairs and reaching the lower landing. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a suburban street scene with a wet, glossy asphalt road reflecting the sky. The foreground features a concrete ramp or driveway entrance flanked by low concrete walls. On the left, a tall, dense green hedge runs along the property line. In the background, there are residential houses, including a prominent white two-story house with a dark roof and a grey brick house to the left. Trees with green foliage are visible on the right and left sides. The sky is bright and hazy, suggesting early morning or late afternoon light, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a person with shoulder-length blonde hair, wearing a maroon hooded sweatshirt, blue denim jeans, and white sneakers, walking away from the camera, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.667, the protagonist walks down the stairs step by step; the protagonist moves about 5 metres along its route, drops about a metre. From 00:04.667 to 00:05.000, the protagonist reaches the lower landing and walks on. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of footsteps on wet pavement and distant ambient street noise.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..60e23d2620bb27c7b19da377656c17367245c6e3
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/colored-obb/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a navy jacket walks away from the camera through a sunlit, columned hall, passing a man in a white shirt and a woman pushing a cart, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 human proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the movable chair), <Subject 4> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with dark curly hair, wearing a navy jacket, denim jeans, and brown shoes, walking away from the camera; in <Video 1> the human proxy tagged #366ef7, whose white face is its front.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a spacious, enclosed public hall with a polished stone floor that reflects the light. Tall, fluted columns line the space, creating a sense of grandeur. In the background, there are large trees or bushes, and a large rock sits on the floor to the right. The lighting is diffuse with shafts of sunlight cutting through the misty atmosphere; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the movable chair: appearance is not established by <Picture 1>; in <Video 1> the solid proxy shape; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 4> is the wheeled handcart: in <Picture 1> a metal handcart with wooden slats on the bottom, being pushed by the woman in the floral top; in <Video 1> the object proxy tagged #6636f7, whose white face is its front.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a man with short brown hair, wearing a white button-down shirt, a maroon tie, dark trousers, and black shoes, walking towards the camera; in <Video 1> the human proxy tagged #f736df that starts on the left of the frame, whose white face is its front.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a woman with blonde hair, wearing a maroon hoodie and blue jeans, walking away from the camera; in <Video 1> the human proxy tagged #36f7d6, whose white face is its front.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a woman wearing a straw hat, a floral patterned top, and light-coloured shorts, standing near a cart; in <Video 1> the human proxy tagged #f79e36, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> lifting a chair, carrying it forward and setting it down, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a spacious, enclosed public hall with a polished stone floor that reflects the light. Tall, fluted columns line the space, creating a sense of grandeur. In the background, there are large trees or bushes, and a large rock sits on the floor to the right. The lighting is diffuse with shafts of sunlight cutting through the misty atmosphere, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with dark curly hair, wearing a navy jacket, denim jeans, and brown shoes, walking away from the camera, as seen in <Picture 1>. <Subject 3>, the movable chair, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 4>, the wheeled handcart, is a metal handcart with wooden slats on the bottom, being pushed by the woman in the floral top, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a man with short brown hair, wearing a white button-down shirt, a maroon tie, dark trousers, and black shoes, walking towards the camera, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a woman with blonde hair, wearing a maroon hoodie and blue jeans, walking away from the camera, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a woman wearing a straw hat, a floral patterned top, and light-coloured shorts, standing near a cart, as seen in <Picture 1>.  All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.733, the protagonist bends toward the chair and takes hold of it; the protagonist raises the hands to chest height; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:00.733 to 00:01.467, the protagonist lifts the chair off the ground; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:01.467 to 00:03.967, the protagonist carries the chair forward; the protagonist moves about 3 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 2 metres along its route; independently moving adult participant 3 moves about 2 metres along its route; <Subject 4> moves about 2 metres along its route. From 00:03.967 to 00:04.567, the protagonist lowers the chair to the ground; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:04.567 to 00:05.000, the chair rests on the ground and the protagonist lets go of it; the protagonist lowers the hands; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. Recorded relations: the protagonist holds <Subject 3> from 00:00.733 to 00:04.567. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 2 metres from the protagonist. The solid wall or architectural structure in the foreground covers independently moving adult participant 2 from about 1.5 s to 1.9 s. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of footsteps echoing on the stone floor, mixed with the low hum of ambient air conditioning and the distant murmur of a crowd.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/mixed/prompt.txt b/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..0350b5b53ffbbb20f23b6c7f2c797a6f07cafae8
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/mixed/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a navy jacket walks away from the camera through a sunlit, columned hall, passing a man in a white shirt and a woman pushing a cart, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 blue mannequin proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the movable chair), <Subject 4> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with dark curly hair, wearing a navy jacket, denim jeans, and brown shoes, walking away from the camera; in <Video 1> the blue mannequin proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a spacious, enclosed public hall with a polished stone floor that reflects the light. Tall, fluted columns line the space, creating a sense of grandeur. In the background, there are large trees or bushes, and a large rock sits on the floor to the right. The lighting is diffuse with shafts of sunlight cutting through the misty atmosphere; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the movable chair: appearance is not established by <Picture 1>; in <Video 1> the black solid chair proxy shape; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 4> is the wheeled handcart: in <Picture 1> a metal handcart with wooden slats on the bottom, being pushed by the woman in the floral top; in <Video 1> the black solid cart proxy shape.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a man with short brown hair, wearing a white button-down shirt, a maroon tie, dark trousers, and black shoes, walking towards the camera; in <Video 1> the blue mannequin proxy that starts on the left of the frame.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a woman with blonde hair, wearing a maroon hoodie and blue jeans, walking away from the camera; in <Video 1> the blue mannequin proxy.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a woman wearing a straw hat, a floral patterned top, and light-coloured shorts, standing near a cart; in <Video 1> the blue mannequin proxy.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> lifting a chair, carrying it forward and setting it down, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a spacious, enclosed public hall with a polished stone floor that reflects the light. Tall, fluted columns line the space, creating a sense of grandeur. In the background, there are large trees or bushes, and a large rock sits on the floor to the right. The lighting is diffuse with shafts of sunlight cutting through the misty atmosphere, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with dark curly hair, wearing a navy jacket, denim jeans, and brown shoes, walking away from the camera, as seen in <Picture 1>. <Subject 3>, the movable chair, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 4>, the wheeled handcart, is a metal handcart with wooden slats on the bottom, being pushed by the woman in the floral top, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a man with short brown hair, wearing a white button-down shirt, a maroon tie, dark trousers, and black shoes, walking towards the camera, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a woman with blonde hair, wearing a maroon hoodie and blue jeans, walking away from the camera, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a woman wearing a straw hat, a floral patterned top, and light-coloured shorts, standing near a cart, as seen in <Picture 1>.  All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.733, the protagonist bends toward the chair and takes hold of it; the protagonist raises the hands to chest height; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:00.733 to 00:01.467, the protagonist lifts the chair off the ground; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:01.467 to 00:03.967, the protagonist carries the chair forward; the protagonist moves about 3 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 2 metres along its route; independently moving adult participant 3 moves about 2 metres along its route; <Subject 4> moves about 2 metres along its route. From 00:03.967 to 00:04.567, the protagonist lowers the chair to the ground; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:04.567 to 00:05.000, the chair rests on the ground and the protagonist lets go of it; the protagonist lowers the hands; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. Recorded relations: the protagonist holds <Subject 3> from 00:00.733 to 00:04.567. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 2 metres from the protagonist. The solid wall or architectural structure in the foreground covers independently moving adult participant 2 from about 1.5 s to 1.9 s. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of footsteps echoing on the stone floor, mixed with the low hum of ambient air conditioning and the distant murmur of a crowd.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/white/prompt.txt b/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..b163dd1535d5977d8e1a58fb685bb9a9e53cc30b
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-138-indoor-carryChair/follow/white/prompt.txt
@@ -0,0 +1,46 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Vehicle proxies in <Video 1> provide only framewise position, trajectory, body heading, rotation, and accurate overall length, width, height, and occupied scale; these anchors should be followed closely. They carry no information about vehicle appearance. Never reproduce a vehicle proxy as a wireframe vehicle, cage frame, tubular skeleton, exposed chassis, or low-poly proxy car. Vehicle identity, type, design details, materials, colors, and visual effects are defined by <Picture 1> and the text.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a navy jacket walks away from the camera through a sunlit, columned hall, passing a man in a white shirt and a woman pushing a cart, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 4 grey block-figure proxies standing for <Subject 1> (the protagonist), <Subject 5> (independently moving adult participant 1), <Subject 6> (independently moving adult participant 2), <Subject 7> (independently moving adult participant 3) and 2 object proxies standing for <Subject 3> (the movable chair), <Subject 4> (the wheeled handcart); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man with dark curly hair, wearing a navy jacket, denim jeans, and brown shoes, walking away from the camera; in <Video 1> the grey block-figure proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a spacious, enclosed public hall with a polished stone floor that reflects the light. Tall, fluted columns line the space, creating a sense of grandeur. In the background, there are large trees or bushes, and a large rock sits on the floor to the right. The lighting is diffuse with shafts of sunlight cutting through the misty atmosphere; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the movable chair: appearance is not established by <Picture 1>; in <Video 1> the plain grey proxy solid; preserve its recorded identity without inferring unseen clothing or materials from the image.
+<Subject 4> is the wheeled handcart: in <Picture 1> a metal handcart with wooden slats on the bottom, being pushed by the woman in the floral top; in <Video 1> the plain grey proxy solid.
+<Subject 5> is independently moving adult participant 1: in <Picture 1> a man with short brown hair, wearing a white button-down shirt, a maroon tie, dark trousers, and black shoes, walking towards the camera; in <Video 1> the grey block-figure proxy that starts on the left of the frame.
+<Subject 6> is independently moving adult participant 2: in <Picture 1> a woman with blonde hair, wearing a maroon hoodie and blue jeans, walking away from the camera; in <Video 1> the grey block-figure proxy.
+<Subject 7> is independently moving adult participant 3: in <Picture 1> a woman wearing a straw hat, a floral patterned top, and light-coloured shorts, standing near a cart; in <Video 1> the grey block-figure proxy.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> lifting a chair, carrying it forward and setting it down, involving <Subject 3> and <Subject 4> and <Subject 5> and <Subject 6> and <Subject 7>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (recorded in [Shot 1]): partially_preserved - retain identity, geometry, trajectory and interaction timing from <Video 1>; appearance is not established by <Picture 1>, so do not claim to preserve unseen details from that image.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 6> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 7> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a spacious, enclosed public hall with a polished stone floor that reflects the light. Tall, fluted columns line the space, creating a sense of grandeur. In the background, there are large trees or bushes, and a large rock sits on the floor to the right. The lighting is diffuse with shafts of sunlight cutting through the misty atmosphere, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man with dark curly hair, wearing a navy jacket, denim jeans, and brown shoes, walking away from the camera, as seen in <Picture 1>. <Subject 3>, the movable chair, has no discernible appearance in <Picture 1>; preserve its recorded identity and motion from <Video 1> without treating unspecified appearance as image evidence. <Subject 4>, the wheeled handcart, is a metal handcart with wooden slats on the bottom, being pushed by the woman in the floral top, as seen in <Picture 1>. <Subject 5>, independently moving adult participant 1, is a man with short brown hair, wearing a white button-down shirt, a maroon tie, dark trousers, and black shoes, walking towards the camera, as seen in <Picture 1>. <Subject 6>, independently moving adult participant 2, is a woman with blonde hair, wearing a maroon hoodie and blue jeans, walking away from the camera, as seen in <Picture 1>. <Subject 7>, independently moving adult participant 3, is a woman wearing a straw hat, a floral patterned top, and light-coloured shorts, standing near a cart, as seen in <Picture 1>.  All people keep the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:00.733, the protagonist bends toward the chair and takes hold of it; the protagonist raises the hands to chest height; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:00.733 to 00:01.467, the protagonist lifts the chair off the ground; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:01.467 to 00:03.967, the protagonist carries the chair forward; the protagonist moves about 3 metres along its route; independently moving adult participant 1 moves about 2 metres along its route; independently moving adult participant 2 moves about 2 metres along its route; independently moving adult participant 3 moves about 2 metres along its route; <Subject 4> moves about 2 metres along its route. From 00:03.967 to 00:04.567, the protagonist lowers the chair to the ground; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. From 00:04.567 to 00:05.000, the chair rests on the ground and the protagonist lets go of it; the protagonist lowers the hands; independently moving adult participant 1 moves about half a metre along its route; independently moving adult participant 2 moves about half a metre along its route; independently moving adult participant 3 moves about half a metre along its route; <Subject 4> moves about half a metre along its route. Recorded relations: the protagonist holds <Subject 3> from 00:00.733 to 00:04.567. <Subject 3> is one continuous object throughout and comes to rest about a metre from the protagonist. <Subject 4> is one continuous object throughout and ends the clip about 2 metres from the protagonist. The solid wall or architectural structure in the foreground covers independently moving adult participant 2 from about 1.5 s to 1.9 s. Keep the reference's fixed 53-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of footsteps echoing on the stone floor, mixed with the low hum of ambient air conditioning and the distant murmur of a crowd.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..d6aa39aa38e31e6ae3844ebef258853f23ff3a49
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/colored-obb/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+Camera: this is a first-person take seen through the protagonist's own eyes. The camera path of <Video 1> is the protagonist's head motion; no proxy of the protagonist is drawn in <Video 1> and the protagonist is never shown as a figure. Only the protagonist's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timestamped text says they reach, hold, push or hand over something.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a small fluffy dog with a curled tail stands on a snowy path in a winter forest, looking back over its shoulder, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains no human proxy and exactly 1 object proxy standing for <Subject 3> (the small dog); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist, the camera wearer: this is a first-person shot seen through this person's own eyes, so the camera path of <Video 1> is this person's head motion; no box or figure of this person is drawn in <Video 1> (the legend colour #366ef7 of this person therefore never appears) and none is visible in <Picture 1>. Never draw this person as a figure in front of the camera; only this person's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timeline says they reach, hold, push or hand over something.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a frozen landscape covered in deep white snow, featuring a packed, icy path with visible tracks running diagonally from the left. The background is filled with snow-laden coniferous trees and faceted ice formations, fading into a misty, bright horizon with a soft, hazy sky; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the small dog: in <Picture 1> a small, fluffy dog with a black and tan coat, featuring a bushy tail curled over its back and a purple collar, standing on the snow and looking back over its left shoulder; in <Video 1> the object proxy tagged #a7f736, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous first-person shot in <Subject 2>, seen through the eyes of <Subject 1>, who is walking along while small dogs trot alongside, turn and stop, involving <Subject 3>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (camera wearer, never in frame): partially_preserved - retain the camera path of <Video 1> as this person's own head motion and the interaction timing of the timeline; the body stays outside the frame for the whole shot.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Photorealistic rendering, clean high-detail CG surfaces with soft fur textures, shallow depth of field keeping the foreground subject sharp while blurring the background, diffuse low-angle sunlight creating long soft shadows and bright specular highlights on the snow, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, dry matte surfaces with subtle glossy reflections on the icy path, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a frozen landscape covered in deep white snow, featuring a packed, icy path with visible tracks running diagonally from the left. The background is filled with snow-laden coniferous trees and faceted ice formations, fading into a misty, bright horizon with a soft, hazy sky, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is the camera wearer and stays outside the frame: the whole shot is seen through this person's eyes, and whatever the timeline says this person does is experienced as camera motion, never shown as a figure. <Subject 3>, the small dog, is a small, fluffy dog with a black and tan coat, featuring a bushy tail curled over its back and a purple collar, standing on the snow and looking back over its left shoulder, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the dogs trot alongside and turn with it; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the dogs as they stop and look around. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 75-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The muffled silence of a snowy forest, with the faint crunch of snow underfoot and the distant, hollow sound of wind moving through the trees.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/mixed/prompt.txt b/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..a39810a90644938831cb748c21c4549bc388fd08
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/mixed/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+Camera: this is a first-person take seen through the protagonist's own eyes. The camera path of <Video 1> is the protagonist's head motion; no proxy of the protagonist is drawn in <Video 1> and the protagonist is never shown as a figure. Only the protagonist's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timestamped text says they reach, hold, push or hand over something.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a small fluffy dog with a curled tail stands on a snowy path in a winter forest, looking back over its shoulder, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains no human proxy and exactly 1 object proxy standing for <Subject 3> (the small dog); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist, the camera wearer: this is a first-person shot seen through this person's own eyes, so the camera path of <Video 1> is this person's head motion; no box or figure of this person is drawn in <Video 1> and none is visible in <Picture 1>. Never draw this person as a figure in front of the camera; only this person's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timeline says they reach, hold, push or hand over something.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a frozen landscape covered in deep white snow, featuring a packed, icy path with visible tracks running diagonally from the left. The background is filled with snow-laden coniferous trees and faceted ice formations, fading into a misty, bright horizon with a soft, hazy sky; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the small dog: in <Picture 1> a small, fluffy dog with a black and tan coat, featuring a bushy tail curled over its back and a purple collar, standing on the snow and looking back over its left shoulder; in <Video 1> the black solid dog proxy shape.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous first-person shot in <Subject 2>, seen through the eyes of <Subject 1>, who is walking along while small dogs trot alongside, turn and stop, involving <Subject 3>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (camera wearer, never in frame): partially_preserved - retain the camera path of <Video 1> as this person's own head motion and the interaction timing of the timeline; the body stays outside the frame for the whole shot.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Photorealistic rendering, clean high-detail CG surfaces with soft fur textures, shallow depth of field keeping the foreground subject sharp while blurring the background, diffuse low-angle sunlight creating long soft shadows and bright specular highlights on the snow, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, dry matte surfaces with subtle glossy reflections on the icy path, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a frozen landscape covered in deep white snow, featuring a packed, icy path with visible tracks running diagonally from the left. The background is filled with snow-laden coniferous trees and faceted ice formations, fading into a misty, bright horizon with a soft, hazy sky, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is the camera wearer and stays outside the frame: the whole shot is seen through this person's eyes, and whatever the timeline says this person does is experienced as camera motion, never shown as a figure. <Subject 3>, the small dog, is a small, fluffy dog with a black and tan coat, featuring a bushy tail curled over its back and a purple collar, standing on the snow and looking back over its left shoulder, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the dogs trot alongside and turn with it; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the dogs as they stop and look around. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 75-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The muffled silence of a snowy forest, with the faint crunch of snow underfoot and the distant, hollow sound of wind moving through the trees.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/white/prompt.txt b/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..3ff5b7f7d01aeaad3f16e471a8bb87d0d986ee18
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-150-nature-dog-encounter/first-person/white/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+Camera: this is a first-person take seen through the protagonist's own eyes. The camera path of <Video 1> is the protagonist's head motion; no proxy of the protagonist is drawn in <Video 1> and the protagonist is never shown as a figure. Only the protagonist's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timestamped text says they reach, hold, push or hand over something.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a small fluffy dog with a curled tail stands on a snowy path in a winter forest, looking back over its shoulder, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains no human proxy and exactly 1 object proxy standing for <Subject 3> (the small dog); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist, the camera wearer: this is a first-person shot seen through this person's own eyes, so the camera path of <Video 1> is this person's head motion; no box or figure of this person is drawn in <Video 1> and none is visible in <Picture 1>. Never draw this person as a figure in front of the camera; only this person's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timeline says they reach, hold, push or hand over something.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a frozen landscape covered in deep white snow, featuring a packed, icy path with visible tracks running diagonally from the left. The background is filled with snow-laden coniferous trees and faceted ice formations, fading into a misty, bright horizon with a soft, hazy sky; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the small dog: in <Picture 1> a small, fluffy dog with a black and tan coat, featuring a bushy tail curled over its back and a purple collar, standing on the snow and looking back over its left shoulder; in <Video 1> the plain grey proxy solid.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous first-person shot in <Subject 2>, seen through the eyes of <Subject 1>, who is walking along while small dogs trot alongside, turn and stop, involving <Subject 3>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (camera wearer, never in frame): partially_preserved - retain the camera path of <Video 1> as this person's own head motion and the interaction timing of the timeline; the body stays outside the frame for the whole shot.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Photorealistic rendering, clean high-detail CG surfaces with soft fur textures, shallow depth of field keeping the foreground subject sharp while blurring the background, diffuse low-angle sunlight creating long soft shadows and bright specular highlights on the snow, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, dry matte surfaces with subtle glossy reflections on the icy path, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a frozen landscape covered in deep white snow, featuring a packed, icy path with visible tracks running diagonally from the left. The background is filled with snow-laden coniferous trees and faceted ice formations, fading into a misty, bright horizon with a soft, hazy sky, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is the camera wearer and stays outside the frame: the whole shot is seen through this person's eyes, and whatever the timeline says this person does is experienced as camera motion, never shown as a figure. <Subject 3>, the small dog, is a small, fluffy dog with a black and tan coat, featuring a bushy tail curled over its back and a purple collar, standing on the snow and looking back over its left shoulder, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the dogs trot alongside and turn with it; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the dogs as they stop and look around. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 75-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The muffled silence of a snowy forest, with the faint crunch of snow underfoot and the distant, hollow sound of wind moving through the trees.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..f1aa8060b386be16d329e1bc9cb3c09296eb39d2
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/colored-obb/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a ranger uniform walks away from the camera down a wet, paved plaza in a misty park, flanked by two cats, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 1 human proxy standing for <Subject 1> (the protagonist) and 2 object proxies standing for <Subject 3> (the small cat), <Subject 4> (the small cat); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man seen from behind, wearing a wide-brimmed hat, an olive uniform shirt with shoulder epaulets, khaki trousers, and dark shoes. He is walking forward with a relaxed gait; in <Video 1> the human proxy tagged #366ef7, whose white face is its front.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a wide, paved public plaza with large grey stone tiles that are wet and reflective, mirroring the surroundings. The area is lined with manicured trees with rounded canopies and low stone retaining walls. In the background, the park extends into a misty haze with more trees, benches, and distant buildings visible through the fog. The lighting suggests early morning with a soft, diffuse glow; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the small cat: in <Picture 1> a bicolor cat with white and dark fur, walking on the right side of the path, facing away from the camera; in <Video 1> the object proxy tagged #a7f736, whose white face is its front.
+<Subject 4> is the small cat: in <Picture 1> a grey tabby cat walking on the left side of the path, facing away from the camera; in <Video 1> the object proxy tagged #f736df that starts on the left of the frame, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> walking along while cats weave across the route, look back and circle round, involving <Subject 3> and <Subject 4>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a wide, paved public plaza with large grey stone tiles that are wet and reflective, mirroring the surroundings. The area is lined with manicured trees with rounded canopies and low stone retaining walls. In the background, the park extends into a misty haze with more trees, benches, and distant buildings visible through the fog. The lighting suggests early morning with a soft, diffuse glow, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man seen from behind, wearing a wide-brimmed hat, an olive uniform shirt with shoulder epaulets, khaki trousers, and dark shoes. He is walking forward with a relaxed gait, as seen in <Picture 1>. <Subject 3>, the small cat, is a bicolor cat with white and dark fur, walking on the right side of the path, facing away from the camera, as seen in <Picture 1>. <Subject 4>, the small cat, is a grey tabby cat walking on the left side of the path, facing away from the camera, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the cats weave across it and circle round; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route; <Subject 4> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the cats as they pause and look back. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 4> from 00:00.000 to 00:05.000; <Subject 4> follows <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 3 metres from the protagonist. Keep the reference's fixed 60-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The soft, rhythmic sound of footsteps on wet stone, accompanied by the distant, muffled ambience of a quiet morning park.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/mixed/prompt.txt b/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..0cb765d462881a38643d972f8b0bad996d39e0e3
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/mixed/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a ranger uniform walks away from the camera down a wet, paved plaza in a misty park, flanked by two cats, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 1 blue mannequin proxy standing for <Subject 1> (the protagonist) and 2 object proxies standing for <Subject 3> (the small cat), <Subject 4> (the small cat); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man seen from behind, wearing a wide-brimmed hat, an olive uniform shirt with shoulder epaulets, khaki trousers, and dark shoes. He is walking forward with a relaxed gait; in <Video 1> the blue mannequin proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a wide, paved public plaza with large grey stone tiles that are wet and reflective, mirroring the surroundings. The area is lined with manicured trees with rounded canopies and low stone retaining walls. In the background, the park extends into a misty haze with more trees, benches, and distant buildings visible through the fog. The lighting suggests early morning with a soft, diffuse glow; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the small cat: in <Picture 1> a bicolor cat with white and dark fur, walking on the right side of the path, facing away from the camera; in <Video 1> the black solid cat proxy shape.
+<Subject 4> is the small cat: in <Picture 1> a grey tabby cat walking on the left side of the path, facing away from the camera; in <Video 1> the black solid cat proxy shape that starts on the left of the frame.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> walking along while cats weave across the route, look back and circle round, involving <Subject 3> and <Subject 4>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a wide, paved public plaza with large grey stone tiles that are wet and reflective, mirroring the surroundings. The area is lined with manicured trees with rounded canopies and low stone retaining walls. In the background, the park extends into a misty haze with more trees, benches, and distant buildings visible through the fog. The lighting suggests early morning with a soft, diffuse glow, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man seen from behind, wearing a wide-brimmed hat, an olive uniform shirt with shoulder epaulets, khaki trousers, and dark shoes. He is walking forward with a relaxed gait, as seen in <Picture 1>. <Subject 3>, the small cat, is a bicolor cat with white and dark fur, walking on the right side of the path, facing away from the camera, as seen in <Picture 1>. <Subject 4>, the small cat, is a grey tabby cat walking on the left side of the path, facing away from the camera, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the cats weave across it and circle round; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route; <Subject 4> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the cats as they pause and look back. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 4> from 00:00.000 to 00:05.000; <Subject 4> follows <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 3 metres from the protagonist. Keep the reference's fixed 60-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The soft, rhythmic sound of footsteps on wet stone, accompanied by the distant, muffled ambience of a quiet morning park.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/white/prompt.txt b/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..b606a383d962cbb2032520f5094ac1bdf0c61f04
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-153-city-cat-encounter/follow/white/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the photoreal opening frame of the target video, showing a man in a ranger uniform walks away from the camera down a wet, paved plaza in a misty park, flanked by two cats, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 1 grey block-figure proxy standing for <Subject 1> (the protagonist) and 2 object proxies standing for <Subject 3> (the small cat), <Subject 4> (the small cat); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man seen from behind, wearing a wide-brimmed hat, an olive uniform shirt with shoulder epaulets, khaki trousers, and dark shoes. He is walking forward with a relaxed gait; in <Video 1> the grey block-figure proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a wide, paved public plaza with large grey stone tiles that are wet and reflective, mirroring the surroundings. The area is lined with manicured trees with rounded canopies and low stone retaining walls. In the background, the park extends into a misty haze with more trees, benches, and distant buildings visible through the fog. The lighting suggests early morning with a soft, diffuse glow; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the small cat: in <Picture 1> a bicolor cat with white and dark fur, walking on the right side of the path, facing away from the camera; in <Video 1> the plain grey proxy solid.
+<Subject 4> is the small cat: in <Picture 1> a grey tabby cat walking on the left side of the path, facing away from the camera; in <Video 1> the plain grey proxy solid that starts on the left of the frame.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> walking along while cats weave across the route, look back and circle round, involving <Subject 3> and <Subject 4>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Photorealistic rendering with real-camera optics: shallow depth of field that separates the sharp near subject from a softly blurred background, diffuse low-contrast light with soft glowing specular highlights and lifted shadows, cool desaturated blue-grey grading with muted warm amber accents, misty atmospheric perspective softening the distance, wet or glossy reflective surfaces where the setting allows and finely textured matte materials elsewhere, natural human anatomy; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a wide, paved public plaza with large grey stone tiles that are wet and reflective, mirroring the surroundings. The area is lined with manicured trees with rounded canopies and low stone retaining walls. In the background, the park extends into a misty haze with more trees, benches, and distant buildings visible through the fog. The lighting suggests early morning with a soft, diffuse glow, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man seen from behind, wearing a wide-brimmed hat, an olive uniform shirt with shoulder epaulets, khaki trousers, and dark shoes. He is walking forward with a relaxed gait, as seen in <Picture 1>. <Subject 3>, the small cat, is a bicolor cat with white and dark fur, walking on the right side of the path, facing away from the camera, as seen in <Picture 1>. <Subject 4>, the small cat, is a grey tabby cat walking on the left side of the path, facing away from the camera, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the cats weave across it and circle round; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route; <Subject 4> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the cats as they pause and look back. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 4> from 00:00.000 to 00:05.000; <Subject 4> follows <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 3 metres from the protagonist. Keep the reference's fixed 60-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The soft, rhythmic sound of footsteps on wet stone, accompanied by the distant, muffled ambience of a quiet morning park.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..8c023afd6ca17f4b87a0d2eb977e4f7c90da8491
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/colored-obb/prompt.txt
@@ -0,0 +1,40 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a man in a mustard jacket walks down a wet suburban street accompanied by three ducks, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 1 human proxy standing for <Subject 1> (the protagonist) and 3 object proxies standing for <Subject 3> (the small duck), <Subject 4> (the small duck), <Subject 5> (the small duck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man seen from behind, wearing a mustard jacket, grey shorts, white socks, and white sneakers. He has short black hair and is walking forward; in <Video 1> the human proxy tagged #366ef7, whose white face is its front.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a residential street paved with dark, reflective asphalt that mirrors the figures and surroundings. The sky is overcast with grey clouds and rain is falling. On the left, there are houses with blue and purple siding, white window frames, and tall green hedges. On the right, a blue house with a front porch and steps sits behind a green lawn and trees. The scene is rendered with flat colors and clean lines; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the small duck: in <Picture 1> a white duck with orange feet, walking on the right side of the street; in <Video 1> the object proxy tagged #a7f736, whose white face is its front.
+<Subject 4> is the small duck: in <Picture 1> a duck with grey and white feathers and a green head, walking in the middle of the street; in <Video 1> the object proxy tagged #f736df, whose white face is its front.
+<Subject 5> is the small duck: in <Picture 1> a duck with black and white feathers, walking on the left side of the street; in <Video 1> the object proxy tagged #36f7d6 that starts on the left of the frame, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> walking along while ducks waddle nearby and turn together, involving <Subject 3> and <Subject 4> and <Subject 5>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation (the white face of the box is the front of the body), identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Graphic non-photorealistic rendering, flat vector cartoon look: crisp geometric shapes, flat colour fills with no gradients, bold simplified figures and minimal outlines, drawn over the full 3D world so every recorded shape stays readable; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a residential street paved with dark, reflective asphalt that mirrors the figures and surroundings. The sky is overcast with grey clouds and rain is falling. On the left, there are houses with blue and purple siding, white window frames, and tall green hedges. On the right, a blue house with a front porch and steps sits behind a green lawn and trees. The scene is rendered with flat colors and clean lines, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man seen from behind, wearing a mustard jacket, grey shorts, white socks, and white sneakers. He has short black hair and is walking forward, as seen in <Picture 1>. <Subject 3>, the small duck, is a white duck with orange feet, walking on the right side of the street, as seen in <Picture 1>. <Subject 4>, the small duck, is a duck with grey and white feathers and a green head, walking in the middle of the street, as seen in <Picture 1>. <Subject 5>, the small duck, is a duck with black and white feathers, walking on the left side of the street, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the ducks waddle alongside in a line; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route; <Subject 4> moves about 3 metres along its route; <Subject 5> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the ducks as they turn together and waddle on. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 4> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 5> from 00:00.000 to 00:05.000; <Subject 4> and <Subject 5> follow <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 3 metres from the protagonist. <Subject 5> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 60-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Ink and contour lines, flat fills and graphic shadow shapes belong to the drawn characters and objects of the target style; they never trace a proxy box, proxy edge or proxy silhouette and never reproduce the proxy's conditioning colours. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of steady rain falling and splashing on the wet pavement, accompanied by the soft squelching of footsteps and the quacking of ducks.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/mixed/prompt.txt b/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..5be385dcf320711b096097577f73fb8afd5a8838
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/mixed/prompt.txt
@@ -0,0 +1,40 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a man in a mustard jacket walks down a wet suburban street accompanied by three ducks, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 1 blue mannequin proxy standing for <Subject 1> (the protagonist) and 3 object proxies standing for <Subject 3> (the small duck), <Subject 4> (the small duck), <Subject 5> (the small duck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man seen from behind, wearing a mustard jacket, grey shorts, white socks, and white sneakers. He has short black hair and is walking forward; in <Video 1> the blue mannequin proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a residential street paved with dark, reflective asphalt that mirrors the figures and surroundings. The sky is overcast with grey clouds and rain is falling. On the left, there are houses with blue and purple siding, white window frames, and tall green hedges. On the right, a blue house with a front porch and steps sits behind a green lawn and trees. The scene is rendered with flat colors and clean lines; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the small duck: in <Picture 1> a white duck with orange feet, walking on the right side of the street; in <Video 1> the black solid duck proxy shape.
+<Subject 4> is the small duck: in <Picture 1> a duck with grey and white feathers and a green head, walking in the middle of the street; in <Video 1> the black solid duck proxy shape.
+<Subject 5> is the small duck: in <Picture 1> a duck with black and white feathers, walking on the left side of the street; in <Video 1> the black solid duck proxy shape that starts on the left of the frame.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> walking along while ducks waddle nearby and turn together, involving <Subject 3> and <Subject 4> and <Subject 5>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and its articulated motion from the timeline below.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Graphic non-photorealistic rendering, flat vector cartoon look: crisp geometric shapes, flat colour fills with no gradients, bold simplified figures and minimal outlines, drawn over the full 3D world so every recorded shape stays readable; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a residential street paved with dark, reflective asphalt that mirrors the figures and surroundings. The sky is overcast with grey clouds and rain is falling. On the left, there are houses with blue and purple siding, white window frames, and tall green hedges. On the right, a blue house with a front porch and steps sits behind a green lawn and trees. The scene is rendered with flat colors and clean lines, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man seen from behind, wearing a mustard jacket, grey shorts, white socks, and white sneakers. He has short black hair and is walking forward, as seen in <Picture 1>. <Subject 3>, the small duck, is a white duck with orange feet, walking on the right side of the street, as seen in <Picture 1>. <Subject 4>, the small duck, is a duck with grey and white feathers and a green head, walking in the middle of the street, as seen in <Picture 1>. <Subject 5>, the small duck, is a duck with black and white feathers, walking on the left side of the street, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the ducks waddle alongside in a line; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route; <Subject 4> moves about 3 metres along its route; <Subject 5> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the ducks as they turn together and waddle on. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 4> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 5> from 00:00.000 to 00:05.000; <Subject 4> and <Subject 5> follow <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 3 metres from the protagonist. <Subject 5> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 60-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Ink and contour lines, flat fills and graphic shadow shapes belong to the drawn characters and objects of the target style; they never trace a proxy box, proxy edge or proxy silhouette and never reproduce the proxy's conditioning colours. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of steady rain falling and splashing on the wet pavement, accompanied by the soft squelching of footsteps and the quacking of ducks.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/white/prompt.txt b/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..47b0b3a69c5250385c981333c51df43f2372f289
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-184-city-duck-encounter/follow/white/prompt.txt
@@ -0,0 +1,40 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a man in a mustard jacket walks down a wet suburban street accompanied by three ducks, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains exactly 1 grey block-figure proxy standing for <Subject 1> (the protagonist) and 3 object proxies standing for <Subject 3> (the small duck), <Subject 4> (the small duck), <Subject 5> (the small duck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist: in <Picture 1> a man seen from behind, wearing a mustard jacket, grey shorts, white socks, and white sneakers. He has short black hair and is walking forward; in <Video 1> the grey block-figure proxy.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> a residential street paved with dark, reflective asphalt that mirrors the figures and surroundings. The sky is overcast with grey clouds and rain is falling. On the left, there are houses with blue and purple siding, white window frames, and tall green hedges. On the right, a blue house with a front porch and steps sits behind a green lawn and trees. The scene is rendered with flat colors and clean lines; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the small duck: in <Picture 1> a white duck with orange feet, walking on the right side of the street; in <Video 1> the plain grey proxy solid.
+<Subject 4> is the small duck: in <Picture 1> a duck with grey and white feathers and a green head, walking in the middle of the street; in <Video 1> the plain grey proxy solid.
+<Subject 5> is the small duck: in <Picture 1> a duck with black and white feathers, walking on the left side of the street; in <Video 1> the plain grey proxy solid that starts on the left of the frame.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous shot in <Subject 2> of <Subject 1> walking along while ducks waddle nearby and turn together, involving <Subject 3> and <Subject 4> and <Subject 5>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (appears in [Shot 1]): partially_preserved - retain the proxy's framewise root position, occupied scale, root orientation, recorded limb motion, identity continuity and interaction timing from <Video 1>; reconstruct its appearance from <Picture 1> and render natural human articulation over the recorded block-figure motion.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 4> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+<Subject 5> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Graphic non-photorealistic rendering, flat vector cartoon look: crisp geometric shapes, flat colour fills with no gradients, bold simplified figures and minimal outlines, drawn over the full 3D world so every recorded shape stays readable; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is a residential street paved with dark, reflective asphalt that mirrors the figures and surroundings. The sky is overcast with grey clouds and rain is falling. On the left, there are houses with blue and purple siding, white window frames, and tall green hedges. On the right, a blue house with a front porch and steps sits behind a green lawn and trees. The scene is rendered with flat colors and clean lines, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is a man seen from behind, wearing a mustard jacket, grey shorts, white socks, and white sneakers. He has short black hair and is walking forward, as seen in <Picture 1>. <Subject 3>, the small duck, is a white duck with orange feet, walking on the right side of the street, as seen in <Picture 1>. <Subject 4>, the small duck, is a duck with grey and white feathers and a green head, walking in the middle of the street, as seen in <Picture 1>. <Subject 5>, the small duck, is a duck with black and white feathers, walking on the left side of the street, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the ducks waddle alongside in a line; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route; <Subject 4> moves about 3 metres along its route; <Subject 5> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the ducks as they turn together and waddle on. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 4> from 00:00.000 to 00:05.000; the protagonist observes and accompanies <Subject 5> from 00:00.000 to 00:05.000; <Subject 4> and <Subject 5> follow <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. <Subject 4> is one continuous object throughout and comes to rest about 3 metres from the protagonist. <Subject 5> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 60-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Ink and contour lines, flat fills and graphic shadow shapes belong to the drawn characters and objects of the target style; they never trace a proxy box, proxy edge or proxy silhouette and never reproduce the proxy's conditioning colours. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The sound of steady rain falling and splashing on the wet pavement, accompanied by the soft squelching of footsteps and the quacking of ducks.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/colored-obb/prompt.txt b/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/colored-obb/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..9d6cb885435bc66144fde4104d5fd365023aa4d5
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/colored-obb/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide only framewise root position, occupied scale (in this representation the box is the entity's exact extent), and whole-body root orientation, which are exact and must be followed precisely. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction. On every human, vehicle and animal proxy in <Video 1> the white face is the front of that entity's body: white there is a direction code, never an object, a material or a light, and it must not be painted. The hex colour tags used below only say which proxy stands for which subject: they are identity codes, never colours or materials of the result. Wherever <Video 1> shows a subject only as a flat single-colour shape, that shape is likewise only a placeholder for position, size and motion: draw the complete real person, animal or object the text names in its place.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+Camera: this is a first-person take seen through the protagonist's own eyes. The camera path of <Video 1> is the protagonist's head motion; no proxy of the protagonist is drawn in <Video 1> and the protagonist is never shown as a figure. Only the protagonist's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timestamped text says they reach, hold, push or hand over something.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a solitary mallard duck stands in a misty, grassy field at dusk, facing left, with a wooden barn and fence in the background, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains no human proxy and exactly 1 object proxy standing for <Subject 3> (the small duck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist, the camera wearer: this is a first-person shot seen through this person's own eyes, so the camera path of <Video 1> is this person's head motion; no box or figure of this person is drawn in <Video 1> (the legend colour #366ef7 of this person therefore never appears) and none is visible in <Picture 1>. Never draw this person as a figure in front of the camera; only this person's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timeline says they reach, hold, push or hand over something.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> the setting is a rural landscape at twilight, rendered in painterly grey washes. The ground is uneven grassland with tufts of dark grass and scattered grey stones. A wooden post-and-rail fence runs horizontally across the mid-ground. Behind the fence stands a weathered wooden barn with glowing yellow lights in the windows. The background features rolling hills fading into a misty, pale sky; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the small duck: in <Picture 1> a mallard duck with an emerald green head, a white neck ring, a chestnut-brown chest, and grey-brown wings with a blue speculum patch. It has a yellow beak and orange webbed feet, standing in profile facing left; in <Video 1> the object proxy tagged #a7f736, whose white face is its front.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous first-person shot in <Subject 2>, seen through the eyes of <Subject 1>, who is walking along while ducks waddle nearby and turn together, involving <Subject 3>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (camera wearer, never in frame): partially_preserved - retain the camera path of <Video 1> as this person's own head motion and the interaction timing of the timeline; the body stays outside the frame for the whole shot.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory, facing (the white face of its box is its front) and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Painterly rendering, long-scroll ink look: stacked receding planes of hills, water and mist, tiny figures scaled against a vast landscape, graded grey washes with a few dark accents, hand-drawn edges instead of standard 3D shading, keeping the full 3D world and every recorded shape readable; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is the setting is a rural landscape at twilight, rendered in painterly grey washes. The ground is uneven grassland with tufts of dark grass and scattered grey stones. A wooden post-and-rail fence runs horizontally across the mid-ground. Behind the fence stands a weathered wooden barn with glowing yellow lights in the windows. The background features rolling hills fading into a misty, pale sky, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is the camera wearer and stays outside the frame: the whole shot is seen through this person's eyes, and whatever the timeline says this person does is experienced as camera motion, never shown as a figure. <Subject 3>, the small duck, is a mallard duck with an emerald green head, a white neck ring, a chestnut-brown chest, and grey-brown wings with a blue speculum patch. It has a yellow beak and orange webbed feet, standing in profile facing left, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the ducks waddle alongside in a line; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the ducks as they turn together and waddle on. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 75-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Brushstrokes and painted edges belong to the target style; they never trace a proxy box, proxy edge or proxy silhouette. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The low hum of evening insects and the soft rustle of wind through the tall grass.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/mixed/prompt.txt b/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/mixed/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..3cd6d56572310ad2f8712ae8545353786df8d065
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/mixed/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide only framewise root position, coarse occupied scale, and whole-body root orientation, which should be followed closely. The proxy figure keeps ONE fixed upright pose for the whole clip: that pose is not an action and carries no information about sitting, crouching, riding, reaching or any limb articulation. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors, visual effects, anatomy, bones, joints, limb articulation, detailed posture, torso or head pose, hand pose, action phase, or physical contact. Reconstruct each character's appearance from <Picture 1> and the text, and reconstruct articulated motion from the timestamped text. Never reproduce a human proxy as a skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+Camera: this is a first-person take seen through the protagonist's own eyes. The camera path of <Video 1> is the protagonist's head motion; no proxy of the protagonist is drawn in <Video 1> and the protagonist is never shown as a figure. Only the protagonist's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timestamped text says they reach, hold, push or hand over something.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a solitary mallard duck stands in a misty, grassy field at dusk, facing left, with a wooden barn and fence in the background, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains no human proxy and exactly 1 object proxy standing for <Subject 3> (the small duck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist, the camera wearer: this is a first-person shot seen through this person's own eyes, so the camera path of <Video 1> is this person's head motion; no box or figure of this person is drawn in <Video 1> and none is visible in <Picture 1>. Never draw this person as a figure in front of the camera; only this person's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timeline says they reach, hold, push or hand over something.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> the setting is a rural landscape at twilight, rendered in painterly grey washes. The ground is uneven grassland with tufts of dark grass and scattered grey stones. A wooden post-and-rail fence runs horizontally across the mid-ground. Behind the fence stands a weathered wooden barn with glowing yellow lights in the windows. The background features rolling hills fading into a misty, pale sky; in <Video 1> the same environment layout is represented by flat semantic-colour proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials or conditioning colours.
+<Subject 3> is the small duck: in <Picture 1> a mallard duck with an emerald green head, a white neck ring, a chestnut-brown chest, and grey-brown wings with a blue speculum patch. It has a yellow beak and orange webbed feet, standing in profile facing left; in <Video 1> the black solid duck proxy shape.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous first-person shot in <Subject 2>, seen through the eyes of <Subject 1>, who is walking along while ducks waddle nearby and turn together, involving <Subject 3>. Use <Video 1> for layout, root motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, limb articulation, detailed posture and physical contact are not encoded in the proxy.
+<Subject 1> (camera wearer, never in frame): partially_preserved - retain the camera path of <Video 1> as this person's own head motion and the interaction timing of the timeline; the body stays outside the frame for the whole shot.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Painterly rendering, long-scroll ink look: stacked receding planes of hills, water and mist, tiny figures scaled against a vast landscape, graded grey washes with a few dark accents, hand-drawn edges instead of standard 3D shading, keeping the full 3D world and every recorded shape readable; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is the setting is a rural landscape at twilight, rendered in painterly grey washes. The ground is uneven grassland with tufts of dark grass and scattered grey stones. A wooden post-and-rail fence runs horizontally across the mid-ground. Behind the fence stands a weathered wooden barn with glowing yellow lights in the windows. The background features rolling hills fading into a misty, pale sky, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is the camera wearer and stays outside the frame: the whole shot is seen through this person's eyes, and whatever the timeline says this person does is experienced as camera motion, never shown as a figure. <Subject 3>, the small duck, is a mallard duck with an emerald green head, a white neck ring, a chestnut-brown chest, and grey-brown wings with a blue speculum patch. It has a yellow beak and orange webbed feet, standing in profile facing left, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the ducks waddle alongside in a line; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the ducks as they turn together and waddle on. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 75-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Brushstrokes and painted edges belong to the target style; they never trace a proxy box, proxy edge or proxy silhouette. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The low hum of evening insects and the soft rustle of wind through the tall grass.
+
+non_diegetic_music:
+N/A
diff --git a/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/white/prompt.txt b/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/white/prompt.txt
new file mode 100644
index 0000000000000000000000000000000000000000..64eb83db7127c32b374db32ce8c6b2d554cc2937
--- /dev/null
+++ b/prompts/verified_first_frame/dv200-187-nature-duck-encounter/first-person/white/prompt.txt
@@ -0,0 +1,38 @@
+AWM_PROXY_CONTROL. Two visual references accompany this text. <Video 1> is the conditioning proxy video: treat it as the exact spatiotemporal reference for where every subject is, how large it is and how it moves, but never as an appearance template or literal target geometry. <Picture 1> is the global RGB anchor image: it defines identity and appearance, never motion. <Picture 1> is the ABSOLUTE standard for the worldview, art direction and overall style of the entire take, and on worldview, art direction and style it outranks even the description below. It provides NOTHING about any later frame's camera, composition, motion or interactions. Each subject's position and motion come from <Video 1>. A subject's appearance follows <Picture 1> when that subject is visible in it; subjects not visible in <Picture 1> take their appearance from the text, rendered consistently in <Picture 1>'s worldview and art direction.
+
+Human and animal proxies in <Video 1> provide framewise root position, occupied scale, whole-body root orientation and COARSE limb articulation: the proxy figure's limbs move with the recorded joints, so follow the timing and direction of its limb motion closely, and take everything finer - hand pose, facial expression, grip and physical contact - from the timestamped text. They carry no information about character appearance and do not represent identity, face, hairstyle, clothing, materials, colors or visual effects. Reconstruct each character's appearance from <Picture 1> and the text. Never reproduce a human proxy as a block figure, skeleton, stick figure, mannequin, node-connected body, or exposed rig. Left and right refer to each person's own body unless explicitly stated as screen direction.
+
+Roads, terrain, buildings, relative depth, rough scale, and layout in <Video 1> provide denser but still approximate structural cues. Conditioning colors, proxy geometry, node markers, rigging structures, and other visualization artifacts must never appear in the final video.
+
+When sources conflict, resolve in this order: (1) geometry, camera, position and motion follow <Video 1>; (2) the worldview, art direction and overall style follow <Picture 1> absolutely - above the description below; identity, appearance and materials follow <Picture 1> for subjects visible in it, and follow the text for subjects not visible in it; (3) the timestamped text defines the concrete events, actions and rewrite targets within those constraints.
+
+Clip contract: this clip is the very beginning of the take - nothing precedes it. <Picture 1> is the global appearance anchor for the whole take, and the first frame of the target is locked to this exact image: the clip begins at precisely this visual state - identities, appearance, materials, art direction, lighting, camera framing and layout - and continues directly from it while performing the timestamped actions. Do not restart, redesign or re-interpret any identity.
+
+Camera: this is a first-person take seen through the protagonist's own eyes. The camera path of <Video 1> is the protagonist's head motion; no proxy of the protagonist is drawn in <Video 1> and the protagonist is never shown as a figure. Only the protagonist's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timestamped text says they reach, hold, push or hand over something.
+
+subject_definitions:
+<Picture 1> is the first frame of [Shot 1]: the opening frame of the target video, already rendered in the target art style of this take, showing a solitary mallard duck stands in a misty, grassy field at dusk, facing left, with a wooden barn and fence in the background, exactly as they must appear at 00:00.000.
+<Video 1> is the conditioning proxy video of the same 5-second shot (its role is fixed by the control block above). The clip contains no human proxy and exactly 1 object proxy standing for <Subject 3> (the small duck); nothing else in <Video 1> is a person or an interaction object.
+<Subject 1> is the protagonist, the camera wearer: this is a first-person shot seen through this person's own eyes, so the camera path of <Video 1> is this person's head motion; no box or figure of this person is drawn in <Video 1> and none is visible in <Picture 1>. Never draw this person as a figure in front of the camera; only this person's own hands, forearms or a hand-held item may enter the lower edge of the frame when the timeline says they reach, hold, push or hand over something.
+<Subject 2> is the environment and its fixed spatial arrangement: in <Picture 1> the setting is a rural landscape at twilight, rendered in painterly grey washes. The ground is uneven grassland with tufts of dark grass and scattered grey stones. A wooden post-and-rail fence runs horizontally across the mid-ground. Behind the fence stands a weathered wooden barn with glowing yellow lights in the windows. The background features rolling hills fading into a misty, pale sky; in <Video 1> the same environment layout is represented by untextured grey proxy geometry: approximate structural cues for layout, relative depth and rough scale, never target materials.
+<Subject 3> is the small duck: in <Picture 1> a mallard duck with an emerald green head, a white neck ring, a chestnut-brown chest, and grey-brown wings with a blue speculum patch. It has a yellow beak and orange webbed feet, standing in profile facing left; in <Video 1> the plain grey proxy solid.
+
+summary:
+[keyframe completion + reference generation] Starting exactly from <Picture 1> as the first frame of [Shot 1], generate a 5.00-second continuous first-person shot in <Subject 2>, seen through the eyes of <Subject 1>, who is walking along while ducks waddle nearby and turn together, involving <Subject 3>. Use <Video 1> for layout, root motion, limb motion, object trajectories, action timing and the camera path, and keep the appearance, materials and lighting established in <Picture 1>.
+
+retention_analysis:
+<Picture 1> ([Shot 1] first frame): fully_preserved - the first frame of the target video reproduces this image exactly, including every person's appearance, the objects, the scene layout, materials, lighting and framing; later frames evolve continuously from it.
+<Video 1> (whole-shot spatial and temporal structure): fully_preserved - geometry, camera, placement, root motion, recorded limb motion and object trajectories follow <Video 1> as a coarse spatiotemporal reference; appearance, materials and surface detail are not encoded in the proxy.
+<Subject 1> (camera wearer, never in frame): partially_preserved - retain the camera path of <Video 1> as this person's own head motion and the interaction timing of the timeline; the body stays outside the frame for the whole shot.
+<Subject 2> (appears in [Shot 1]): partially_preserved - retain terrain, object layout and architectural forms from <Video 1>; surfaces, materials and lighting come from <Picture 1>.
+<Subject 3> (appears in [Shot 1]): partially_preserved - retain position, scale, trajectory and interaction role from <Video 1>; realize the object as seen in <Picture 1>, one continuous object throughout.
+
+detailed_description:
+Painterly rendering, long-scroll ink look: stacked receding planes of hills, water and mist, tiny figures scaled against a vast landscape, graded grey washes with a few dark accents, hand-drawn edges instead of standard 3D shading, keeping the full 3D world and every recorded shape readable; no proxy colours, wireframes, block figures or game UI.
+[Shot 1] The shot opens exactly on <Picture 1> and evolves continuously from that frame. <Subject 2>, the setting, is the setting is a rural landscape at twilight, rendered in painterly grey washes. The ground is uneven grassland with tufts of dark grass and scattered grey stones. A wooden post-and-rail fence runs horizontally across the mid-ground. Behind the fence stands a weathered wooden barn with glowing yellow lights in the windows. The background features rolling hills fading into a misty, pale sky, keeping the spacing and sizes of <Video 1>. <Subject 1>, the protagonist, is the camera wearer and stays outside the frame: the whole shot is seen through this person's eyes, and whatever the timeline says this person does is experienced as camera motion, never shown as a figure. <Subject 3>, the small duck, is a mallard duck with an emerald green head, a white neck ring, a chestnut-brown chest, and grey-brown wings with a blue speculum patch. It has a yellow beak and orange webbed feet, standing in profile facing left, as seen in <Picture 1>. The person keeps the same face, build and clothing throughout, with clothing folds responding naturally to movement. The action follows <Video 1> according to this timeline: From 00:00.000 to 00:04.567, the protagonist walks along the route while the ducks waddle alongside in a line; the protagonist moves about 3 metres along its route; <Subject 3> moves about 3 metres along its route. From 00:04.567 to 00:05.000, the protagonist slows down and watches the ducks as they turn together and waddle on. Recorded relations: the protagonist observes and accompanies <Subject 3> from 00:00.000 to 00:05.000. <Subject 3> is one continuous object throughout and comes to rest about 2 metres from the protagonist. Keep the reference's fixed 75-degree vertical field of view. Preserve the single take and its pacing, without cuts or a new camera path. Keep world geometry, object identities and materials stable throughout the camera movement; reveal newly visible surfaces with the same layout and appearance; introduce no extra people or foreground obstacles. Brushstrokes and painted edges belong to the target style; they never trace a proxy box, proxy edge or proxy silhouette. No interface overlays, captions, watermarks, dialogue or music.
+
+overall_soundscape:
+The low hum of evening insects and the soft rustle of wind through the tall grass.
+
+non_diegetic_music:
+N/A
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