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Copy this back workout -RDL 4x6. (Always start with a heavier compound movement) -Rows 4x10 -Pull-ups 4xAMRAP 30 second rest (weighted if needed) -Machine/cable rows 4x10 -Pullovers supersetted with face pulls 4x10
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 private bedroom in daylight; clean, modern, intimate, naturally lived-in. Large curtain several meters behind Sharon, simple desk/console farther behind, minimal personal objects and subtle decoration. Enough depth for subject separation. Background softly out of focus; Sharon remains sharp and readable. CAMERA / LIGHTING Eye-level handheld, medium-wide/full-body framing with room for lateral movement and shoe actions, moderate shallow depth of field. Soft natural daylight, natural skin tones, soft highlights, gentle realistic shadows, warm clean atmosphere. Camera is operated physically with Sharon: lateral tracking, short push-in, reactive pull-back, quick pans, tilts and reframing. Never perfectly smooth or automated; movement is quick, light, imperfect and physically motivated by her actions. ACTION + CAMERA 0.0–1.1s — Sharon enters from RIGHT holding TWO SHOES, one in each hand, and walks toward center. Camera: handheld lateral tracking LEFT, physically stepping sideways while keeping medium-wide framing. 1.1–1.8s — Sharon @[Image 1](image_1) stops near center, raises one shoe toward camera as if showing it, then brings it toward her nose. Camera: short handheld push-in; keep face and shoe sharp. 1.8–2.4s — Sharon smells the shoe, immediately recoils with surprised disgust, pulls her face away and gives a short head shake. Camera: small reactive pull-back, then immediately settle toward her face. 2.4–3.0s — Sharon casually throws the first shoe toward the side of the room. Camera: quick reactive pan following the shoe briefly, then fast pan back to Sinta; believable handheld imperfection. 3.0–3.8s — Sharon shifts sideways, focuses on the second shoe, and throws it vertically upward. Camera: tilt up following the shoe; as it reaches the top of its trajectory, quickly tilt back down toward Sinta while keeping awareness of her and the descending shoe. 3.8–4.4s — Sharon tracks the descending shoe with her eyes, adjusts footing, rotates slightly sideways and prepares a high side kick. Camera: short lateral handheld adjustment keeping body and falling shoe in frame; subtle natural Dutch tilt may develop. 4.4–5.0s — Shoe descends into kicking range. Sharon performs a fast, precise HIGH SIDE KICK: leg extends sharply sideways, torso rotates slightly, supporting leg grounded, arms naturally counterbalance, eyes locked on the shoe. Full real-time. Camera: quick handheld lateral reposition and reactive pan following the kick; frame momentarily shifts with the force. EXACT MATCH CUT — 5.0s Hard cut at the exact moment Sharons extended foot contacts the airborne shoe. The kick is still at full speed and the cut happens DURING the action. Outdoor shot continues the same body direction, leg extension, torso rotation and momentum. SHOT 2 — NIGHT / QUIET CITY STREET | 5.0–10.0s ENVIRONMENT Relatively quiet modern urban street at night with broad paved roadway, streetlights, scattered storefronts, illuminated windows, trees, signage and distant buildings creating layered practical lighting. Sparse distant traffic. Spacious, cinematic, quiet. A WHITE SPORT MOTORCYCLE is behind Sinta and slightly toward one SIDE of frame, not centered directly behind her. Open street creates a clear diagonal path from Sharon to the motorcycle. LIGHTING / OUTFIT Naturalistic night lighting: warm streetlights mixed with cooler ambient city illumination, realistic highlights on black riding outfit, natural reflections on white motorcycle and asphalt, cinematic contrast with realistic exposure. Sharon wears a coordinated black-and-white motorcycle riding set: fitted black racing jacket with clean white shoulder/sleeve panels; fitted black short riding pants with subtle white detailing; compact black knee/shin protection; black motorcycle gloves with small white accents; clean white low-top sport sneakers; white crew socks to mid-calf; loose natural hair; no helmet. Motorcycle: white sport motorcycle. CAMERA Handheld kinetic cinematography. Operator physically follows Sharon using diagonal tracking, short arc movement, reactive panning, slight push-in and quick reframing. Never a perfectly programmed path; camera reacts to her changing body direction. ACTION + CAMERA 5.0–5.5s — HARD CUT. Sharon appears outdoors continuing the indoor side kick: kicking leg extended, torso rotated, momentum continuing. White sport motorcycle partially visible behind her toward one side. Camera immediately reacts. Camera: quick handheld pan/reframe catching the continuing kick trajectory. 5.5–6.3s — Sharon lowers her kicking leg naturally and does not stop. She moves DIAGONALLY across frame toward the motorcycle, forward-diagonal rather than straight backward/sideways, gradually turning torso and hips toward it while moving. Camera: handheld diagonal tracking with slight forward tracking plus lateral shift; keep Sharon dominant while motorcycle remains visible near the side. 6.3–7.2s — Sharon continues diagonally; body progressively rotates toward motorcycle. This is a traveling diagonal turn, NOT a stationary turn-in-place. Feet keep carrying her forward while torso rotates. Camera: short handheld arc around Sharon while continuing diagonal tracking; slight angle change and subtle pan to keep her centered; motorcycle remains partially visible at the side. 7.2–8.0s — SLOW MOTION BEGINS. Sharon is already mid-diagonal movement toward motorcycle. Body continues diagonal rotation; loose hair swings naturally; jacket moves with rotation; movement becomes elegant and cinematic. Camera: slightly smoother handheld character, subtle handheld push-in combined with short arc; stay physically close; motorcycle remains visible toward the side. 8.0–8.4s — Gradually return to normal speed. Sharon completes diagonal rotation and now faces motorcycle more directly. Camera: normal handheld movement; quick reframing keeps Sharon and motorcycle visually connected. 8.4–10.0s — Sharon moves confidently toward the white sport motorcycle, purposeful and energetic. Motorcycle stays slightly off-center. Camera: handheld forward tracking, maintaining medium-wide framing, subtle push-in, then small reactive pan toward motorcycle as Sharon reaches it. End with Sharon immediately beside the motorcycle. SPEED PRIORITY 0.0–5.0s: full real-time; shoe throw and high side kick are fast; match cut at full-speed impact. 5.0–7.2s: full real-time immediately after cut. 7.2–8.0s: subtle slow motion only during diagonal body rotation toward motorcycle. 8.0–10.0s: normal real-time. MATCH CUT PRIORITY Cut exactly on impact. Preserve across the cut: leg extension, torso rotation, body orientation, movement direction, screen position and continuous physical momentum. Location, time of day, lighting, wardrobe and motorcycle may change entirely through the hard cut. The transition must feel instantaneous, physical, stylish and seamless. #DomoAI #DomoAICPP](https://image.24vids.com/tw-2099332819768291755/amplify_video_thumb/2099332274944958465/img/iQvn_ieT_tihYCyo.jpg)
![john wick seedance text to video prompt： [STYLE / CINEMATIC SETUP] A 10.5-second, 16:9 photorealistic AAA action-game cinematic rendered at real-time speed with no slow motion. The setting is a cramped, cluttered late-night Asian restaurant connected to a rain-soaked street. Cyan-green fluorescent light, red neon and warm practical lamps create a high-contrast mixed-light environment, with reflections across wet floors and pavement. Shoot with a 35mm spherical lens, shallow-to-moderate depth of field and cinematic motion blur appropriate to the actual speed of movement. Use close shoulder-mounted and handheld coverage, connecting seven short close-combat shots with fast hard cuts. The camera instinctively pans, retreats or drops with each block, takedown and collision while keeping the action and contact points readable. No dialogue, no subtitles and no BGM. Generate only synchronized rain, appliance hum, urgent footsteps, fabric movement, body impacts, gunshots, metal contact and breaking glass. [IMAGE REFERENCES] No external still-image reference. Follow the written character and environment descriptions consistently. If the platform supports reference video, use the supplied video only as a reference for editing rhythm, camera distance, action direction and lighting atmosphere, not for copying a specific actor’s identity. The protagonist remains the same lean, agile man in his early forties throughout the sequence: neck-length black hair swept back, a short beard, a tired but focused face, a slightly wrinkled black suit, white shirt and narrow black tie, all carrying faint rain and wear marks. Preserve his face, hairstyle, body proportions, clothing and screen direction across all seven shots. Keep every opponent visually distinct: a man in a blue work uniform, a bald man in a navy jacket, a heavy man in a black jacket, a bald counter attacker, a red-headband attacker, a red-jacketed armed attacker and a heavy man in a dark green coat outside. [TIMELINE SECOND BY SECOND] 0–1.9s: [Shoulder-height medium close-up, tight lateral handheld tracking, real-time speed] The protagonist stands on screen left, pinning the blue-uniformed attacker against a glass refrigerator with his left forearm and palm. He delivers two compact, weighted elbow and palm-heel strikes. Each impact drives the attacker’s head into the refrigerator door, loosening his white headband and leaving a small blood trace on the glass; the attacker finishes sliding down the door while the protagonist remains standing. 1.9–4.3s: [Medium shot transitioning into a high-angle overhead, shoulder-mounted drop, real-time speed] Hard cut near the restaurant’s rear entrance. The bald attacker in a navy jacket locks the protagonist from behind. The protagonist lowers his center of gravity, traps the attacker’s arm and rotates his hips, throwing him heavily over the shoulder onto the wet floor. The camera drops with them into an overhead view. Kneeling across the attacker’s torso, the protagonist draws a compact black pistol and fires one downward shot; recoil travels through his wrist and the attacker jolts once before becoming still. 4.3–5.9s: [Tight medium shot, lateral handheld follow, real-time speed] Hard cut with both men already upright. A heavy attacker in a black jacket swings from screen right. The protagonist slips outside the punch, allowing it to pass close to his face, circles behind the attacker and locks his shoulder and neck off balance. He presses the pistol close to the side of the attacker’s head and fires. The muzzle flash briefly illuminates both faces; the attacker’s head and shoulders snap backward and his body begins to collapse. 5.9–7.9s: [Counter-height medium close-up, subtle handheld push-in, real-time speed] Hard cut to the restaurant counter. Another bald attacker bends forward and clamps around the protagonist’s waist. The protagonist pins the attacker’s head and neck under his left arm while grabbing a short, rigid pointed utensil from the counter. He drives two compact downward thrusts into the upper shoulder and side of the neck. Each contact bends the attacker’s knees further; a restrained amount of blood marks the shirt and counter edge before the attacker hangs helplessly beneath the protagonist’s controlling arm. 7.9–9.0s: [Two-person medium close-up, fast pan with a short retreat, real-time speed] Hard cut as the red-headband attacker rushes into close range. He throws a wide hook from screen right. The protagonist raises his forearm to block, catches the wrist and pulls it outward, then drives a palm heel and forearm into the attacker’s face. The camera retreats with the impact as the attacker loses his balance and staggers toward the rear right of the frame. 9.0–9.9s: [Low-angle wide shot, slight arc around the action, real-time speed] Hard cut to a wider section of the restaurant. The red-jacketed armed attacker advances from screen left. Holding a long black firearm with both hands, the protagonist uses it as a blunt weapon and swings horizontally from right to left. The weapon strikes the attacker’s upper chest and shoulder, rotating his torso, crossing his feet and sending him off balance toward screen left. 9.9–10.5s: [Exterior rainy-street medium shot, fast parallel tracking, real-time speed] Hard cut outside the restaurant. The protagonist already controls a heavy attacker in a dark green coat and uses his forward momentum to drive the man’s head and upper body into the side window of a parked black station wagon. The glass bursts inward at the contact point, scattering both large and fine fragments. The attacker folds through the broken window while the protagonist regains stable footing beside the car, ending with glass fragments still falling. [STYLE & QUALITY BOOSTERS] Maintain the protagonist’s face, black suit, white shirt, tie, hairstyle and body proportions through every hard cut. The pistol, pointed utensil, injuries and blood marks must appear only in their designated shots and must never morph or change ownership. Throws, recoil, strike reactions, loss of balance and window breakage must show believable weight, inertia and precise contact. Apply motion blur only to rapidly moving arms, weapons, glass fragments and camera-relative backgrounds. No sudden face or costume changes; no extra fingers, fused limbs or inverted joints; no morphing weapons, utensils or vehicles; no foot sliding or rubber-like collision reactions; no blood, bullet damage or glass fragments appearing before physical contact.](https://image.24vids.com/tw-2086349180948345309/amplify_video_thumb/2086348909522378752/img/Rj8L9yLglxtuCEcl.jpg)
