Studio Demos

integrated_multimodal_description: [Shot 1] Live-action, cinematic, shot on a digital cinema camera with a fast shutter, so faces, hands, fabric and water droplets stay crisp and sharply detailed in every frame; a cold blue night grade cut by the orange of a single sodium streetlamp. A medium-wide two-shot frames two men from head to knees in a narrow service alley behind closed shops: rolled-down corrugated metal shutters along the left, a chain-link fence along the right, wet black asphalt between them shining with puddles. On the left of frame is a lean man in his thirties with short dark hair and stubble, in a light grey hooded sweatshirt, dark jeans and white sneakers; on the right is a heavyset bald man with a thick black beard, in a black leather jacket over a white T-shirt, black trousers and boots. They face each other side-on, one stride apart, fists raised. The camera tracks the two men, trucking left with small amplitude, and shakes slightly on each impact. For the first 0.50 seconds, both men shuffle half a step, and the man in the leather jacket drops his weight onto his front foot. From 0.50 to 1.05 seconds into the shot, he throws a heavy looping right hook, rotating his hips and right shoulder through the punch; the man in grey clamps his left forearm against the side of his head and the hook smashes into the forearm with a dull thud, driving the forearm into his own temple, his head jolting sideways and his whole body sliding half a step to his right. From 1.05 to 1.65 seconds into the shot, without resetting, the man in the leather jacket digs a short left uppercut into his stomach just under the ribs; the man in grey folds forward around the fist, his mouth opening as the air is forced out, his heels lifting off the asphalt. From 1.65 to 2.45 seconds into the shot, the man in the leather jacket grabs the grey hood behind his neck with his left hand, yanks his head down and drives his right knee upward; the man in grey gets both forearms across his face and the knee slams into them, snapping his head back upright. From 2.45 to 3.40 seconds into the shot, the heavier man shoves him in the chest with both hands; the man in grey stumbles backward three steps, his sneakers splashing through a puddle, and his back crashes into the metal shutter, which booms and shudders along its whole length. [Shot 2] At 00:03.400, the camera cuts to a medium two-shot from the side at chest height, both men in profile against the corrugated shutter, the man in grey on the left with his back to the metal. The camera holds close with handheld movement and shakes strongly as the fist hits the shutter. For the first 0.60 seconds, the man in the leather jacket throws a straight right at his face; the man in grey drops his head down and to his left, the fist skims the top of his hair and crashes into the shutter, the metal denting inward with a loud clang, and the heavier man jerks his hand back, his face twisting in pain. From 0.60 to 1.30 seconds into the shot, from the crouch, the man in grey pivots on his left foot and drives a left hook into the heavier man's right side above the belt; the fist sinks into the leather, the jacket creasing around it, and the heavier man's elbow clamps down as he bends sideways with a grunt. From 1.30 to 2.00 seconds into the shot, the man in grey follows with a right hook that lands flush on the bearded jaw; the heavier man's head turns sharply to his left, his cheek and beard rippling with the impact, sweat flicking off his scalp, his knees dipping. From 2.00 to 2.75 seconds into the shot, the heavier man lunges in and wraps both arms around the waist of the man in grey, driving him sideways along the shutter, the grey sweatshirt dragging across the metal with a long rattling scrape. From 2.75 to 3.40 seconds into the shot, the man in grey wedges his right forearm under the heavier man's chin, shoves his head back and breaks the grip, and the two men separate one stride into the middle of the alley, both breathing hard, guards up. [Shot 3] At 00:06.800, the camera cuts to a wide shot from the side at a low angle, showing the whole width of the alley from the shutters on the left to the chain-link fence on the right, the sodium lamp glowing above them. The camera holds a static shot, then shakes slightly as the body hits the fence. For the first 0.75 seconds, the man in the leather jacket charges in with a wild right overhand; the man in grey steps forward inside it, the heavier man's forearm bouncing off his left shoulder, and grabs the leather collar with both hands. From 0.75 to 1.55 seconds into the shot, the man in grey turns his hips and heaves the heavier man across his right hip toward the fence; the heavier man's boots leave the ground and his back slams into the chain-link, which bows outward, the wire rattling and the steel posts shaking. From 1.55 to 2.30 seconds into the shot, the heavier man rebounds off the fence and the man in grey meets him with a short right elbow to the cheekbone; his head snaps sideways, his body spins a quarter turn and his hands drop. From 2.30 to 3.33 seconds into the shot, the heavier man's legs buckle and he drops onto both knees in a puddle, water splashing up around him, then catches himself on one hand with his head hanging; the man in grey steps back two paces with his fists still raised, his chest heaving and his breath steaming, while the fence behind them still sways.
Fight direction: the exchange runs at real-time speed with no slow motion and no ramping. Each strike carries body weight through the hips and shoulders and lands on a short dry impact sound with the breath forced out of the body it hits; feet scuff and clothing snaps with the movement. Contact visibly moves the body it lands on, and the recovery between beats is short and off-balance rather than reset and clean.

overall_soundscape: Every punch lands with a dull wet smack of knuckles on skin or a heavy thud into forearms and ribs, exactly on contact. The metal shutter booms and clangs, the chain-link fence rattles and creaks, and sneakers and boots splash and squeak on the wet asphalt. Both men grunt, gasp and breathe hard through every exchange over the low electrical hum of the streetlamp and a distant road.

non_diegetic_music: N/A

integrated_multimodal_description: [Shot 1] Live-action, cinematic, shot on a digital cinema camera with a fast shutter, so faces, hands and fabric stay crisp and sharply detailed in every frame; clear warm morning sunlight through paper screens lies in bright bars across a worn wooden plank floor. A wide two-shot frames two barefoot fighters head to foot in a wooden training hall, a thick wooden support pillar on the right. On the left is a lean woman in her fifties with grey hair pulled into a tight bun, in an indigo cotton jacket with cloth frog buttons and black trousers; on the right is a young man in his twenties with short black hair, in a plain white cotton training uniform. They face each other side-on, two strides apart, hands raised. The camera holds a static shot at waist height. For the first 0.60 seconds, the young man steps in and snaps a left jab at her face; she slaps his wrist aside with her right palm with a sharp smack, knocking his fist off line past her left ear. From 0.60 to 1.20 seconds into the shot, he immediately throws a right cross; she meets his forearm with her left forearm in a small circular deflection, the forearms colliding with a hard knock, and his punch slides off to the side, turning his shoulders with it. From 1.20 to 2.20 seconds into the shot, he pivots on his left foot and whips a right roundhouse kick at her ribs; she lifts her left knee and blocks with her shin and elbow together, the kick slapping into her raised leg with a loud smack that rocks her half a step sideways on her standing foot. From 2.20 to 3.40 seconds into the shot, she traps his kicking leg against her side with her left arm, steps forward and drives her right palm into the centre of his chest; the strike lands with a deep thump, his white jacket rippling, and he hops backward three times on his standing leg, arms flailing for balance, until she lets the leg go. [Shot 2] At 00:03.400, the camera cuts to a medium-wide shot from the side at a low angle, the planks running away from the lens and the two fighters filling the frame. The camera shakes slightly as he hits the floor. For the first 0.70 seconds, the young man regains his balance and rushes back in with a fast left-right pair of punches; she rolls her forearms in two quick circles, each punch knocking against her arm with a crisp clack and sliding away. From 0.70 to 1.40 seconds into the shot, she catches his right wrist in her left hand, pulls him forward off balance and hooks the inside of her right foot behind his front ankle. From 1.40 to 2.30 seconds into the shot, she sweeps the ankle; his feet go out from under him and he falls sideways and slams flat onto his back on the planks with a heavy slap, dust jumping off the boards and the breath knocked out of him with a grunt. From 2.30 to 3.40 seconds into the shot, he rolls backward over his right shoulder, comes up onto one knee and then onto his feet, wiping his mouth with the back of his wrist, hands raised again. [Shot 3] At 00:06.800, the camera cuts to a medium two-shot from the front three-quarter at chest height, favouring the woman, the young man on the right of frame. The camera pushes in with small amplitude at slow speed. For the first 0.80 seconds, he feints with his shoulder and throws a fast front kick at her stomach; she turns her hips and sweeps her forearm down, slapping his shin aside so the kick glances off her hip with a thud that rocks her a little. From 0.80 to 1.60 seconds into the shot, she steps in behind the deflected leg and folds her right elbow into his ribs with a short thump; he doubles over around it, exhaling sharply through his teeth. From 1.60 to 2.40 seconds into the shot, she plants both palms on his chest and pushes from her legs; he stumbles backward three steps and sits down hard on the floor. From 2.40 to 3.33 seconds into the shot, he looks up at her breathing hard, half laughing; she steps forward, offers her right hand, and pulls him back up onto his feet in one smooth heave.
Fight direction: the exchange runs at real-time speed with no slow motion and no ramping. Each strike carries body weight through the hips and shoulders and lands on a short dry impact sound with the breath forced out of the body it hits; feet scuff and clothing snaps with the movement. Contact visibly moves the body it lands on, and the recovery between beats is short and off-balance rather than reset and clean.

overall_soundscape: Palms slap on wrists and forearms knock on forearms with crisp, dry contact sounds exactly as each block lands, a kick smacks into a raised shin, and a palm thumps into a chest. Bare feet squeak and thump on the wooden boards, a body hits the floor with a heavy slap, and both fighters exhale sharply on every strike. The quiet hall returns a soft wooden echo, with birdsong faint outside the paper screens.

non_diegetic_music: N/A

integrated_multimodal_description: [Shot 1] BUNNY, Live-action, cinematic, shot on a digital cinema camera with a fast shutter, so faces, armour, fur, weapons and falling snow stay crisp and sharply detailed in every frame; a cold blue dusk grade with warm firelight from torches and an iron brazier. A wide shot from the side at a low angle frames two fighters head to foot in a snow-covered stone courtyard between two dark towers, an iron-bound wooden gate under the left tower and a brazier of burning coals beside the right tower. On the left is a woman warrior with braided dark hair, in a dented steel breastplate over chainmail sleeves and a long red wool cloak, a round wooden shield with an iron rim and boss on her left arm and a one-handed steel sword in her right hand; on the right is a hulking horned brute over two metres tall with curved ram horns, matted brown furs, bare scarred arms with iron bracers, gripping a long two-handed battle axe with a wide crescent blade. Each fighter keeps a firm continuous grip on the weapon, and the complete sword, shield and axe stay clearly visible with stable length, shape and alignment. The camera tracks the fighters, trucking left with large amplitude at fast speed. For the first 0.80 seconds, the brute raises the axe over his right shoulder, steps forward with his left foot and chops it down diagonally at her head; she lifts the shield and the axe blade bites into the iron rim with a loud crack, splinters bursting off the wood, the impact driving her shield arm down and buckling her knees. From 0.80 to 1.60 seconds into the shot, he wrenches the axe back with both hands; for an instant it drags her shield and her whole body toward him until the blade tears loose, and she staggers half a step forward. From 1.60 to 2.50 seconds into the shot, he swings again in a flat horizontal arc at her waist; she drops the shield low and takes the blow on its face, the force shoving her sideways two sliding steps through the snow, snow spraying up from her boots. From 2.50 to 3.40 seconds into the shot, she cuts at his forearm under the haft and her sword rings off his iron bracer with a burst of sparks; he rams the axe haft forward into her shield and drives her backward until her shoulders slam into the iron-bound gate with a heavy boom, snow sliding off the top of the gate. [Shot 2] At 00:03.400, the camera cuts to a medium two-shot from the front three-quarter at a slightly low angle, favouring the woman with the gate behind her and the brute towering on the right. The camera holds close with handheld movement and shakes strongly on the shield charge. For the first 0.80 seconds, the brute lifts the axe high above his head for an overhead blow; she pushes off the gate and charges into him behind her shield before it falls, the iron boss slamming into his chest with a deep thud, the breath bursting out of him and his overhead swing collapsing. From 0.80 to 1.60 seconds into the shot, the axe haft comes down across the top edge of her shield; she hooks the haft with the shield rim and twists the shield outward, pinning the axe out to her left. From 1.60 to 2.40 seconds into the shot, with the axe pinned, she drives a short thrust into his thigh; the sword point cuts through the fur, he roars, his leg buckles, and he stumbles back a step. From 2.40 to 3.40 seconds into the shot, he swings the axe one-handed in a wild backhand at her head; she ducks under it, and the blade chops deep into the wooden gate post behind her with a heavy thunk, wood chips flying; he yanks at the stuck haft. [Shot 3] At 00:06.800, the camera cuts to a wide shot from the side at a low angle, the gate on the left with the axe embedded in its post and the glowing brazier on the right. The camera moves in an arc shot with small amplitude at slow speed around the two fighters. For the first 0.80 seconds, while he wrenches at the axe stuck in the post, she spins behind him, her red cloak flaring out in a wide circle, and slams the iron rim of her shield into the side of his horned head. From 0.80 to 1.70 seconds into the shot, his head snaps sideways, his grip tears off the haft, and he stumbles three heavy steps through the snow and crashes down onto his hands and knees, snow bursting up around him. From 1.70 to 2.50 seconds into the shot, he pushes himself up and twists toward her; she plants her boot against his shoulder and kicks him back down onto his side in the snow. From 2.50 to 3.33 seconds into the shot, she stands over him with her sword point levelled at his throat, chest heaving, breath clouding in the cold, her cloak swinging and settling as snow keeps blowing past; behind them the axe still quivers in the gate post.
Fight direction: the exchange runs at real-time speed with no slow motion and no ramping. Each strike carries body weight through the hips and shoulders and lands on a short dry impact sound with the breath forced out of the body it hits; feet scuff and clothing snaps with the movement. Contact visibly moves the body it lands on, and the recovery between beats is short and off-balance rather than reset and clean.

overall_soundscape: The axe whooshes heavily through the air and lands with a deep wooden crack and splintering on the shield, steel rings and scrapes on iron with a short metallic shriek, the shield boss thuds into his chest, and the axe chops into the gate post with a solid thunk. Boots crunch, skid and stamp in deep snow, the brute roars and grunts, and the woman breathes in short forced bursts. Wind gusts across the courtyard and the torches and brazier roar and crackle.

non_diegetic_music: N/A

integrated_multimodal_description: Photographic live-action look, golden hour. [Shot 1] A barista in a small cafe pours steamed milk into a cup, forming a leaf pattern, then looks up and smiles. [Shot 2] At 00:03.000, she slides the cup across the counter toward the camera.

overall_soundscape: Espresso machine hiss, clinking cups, soft chatter.

non_diegetic_music: N/A

integrated_multimodal_description: Photographic live-action look, golden hour. [Shot 1] Continuing directly from the previous clip, the barista lifts the cup of latte from the counter and hands it to a customer whose hand enters from the right of frame.

overall_soundscape: Espresso machine hiss, clinking cups, soft chatter.

non_diegetic_music: N/A

integrated_multimodal_description: Photographic live-action look, soft window light. [Shot 1] A close-up of a young man with short brown hair sitting at a kitchen table, looking into the camera.
Performance: The eyes squeeze into crinkled slits, the mouth opens wide showing teeth, the head drops forward and tips back, and the shoulders bounce with each breath. The laugh is out loud and open-throated, audible gasps breaking between breaths, and it settles into a wide lingering grin.

overall_soundscape: Quiet kitchen room tone.

non_diegetic_music: N/A

integrated_multimodal_description: Photographic live-action look, bright daylight. [Shot 1] A red vintage car is parked on an empty cobblestone street lined with small shops and hanging flower baskets; nothing in the scene moves.
Camera motion: perform a fast FPV drone orbit clockwise.

overall_soundscape: Quiet street ambience with distant birds.

non_diegetic_music: N/A