ED sequence and next-episode preview: storyboard-only batches

1. @image1@image1: the storyboard for this batch (the only image)Save

@image1 is the storyboard: 3 panels, one per shot, in reading order (left to right, top to bottom). Follow it shot by shot for who is where, the blocking, the framing, the action beat and the light. Each panel is the frame the camera move lands on, not a still frame. Take only the pictures: never show panel borders, captions or the text bar, and put no text in the video. Cut exactly at the times below; all hard cuts. A cinematic ultra realistic film, grounded in real-world photography: physical lens behaviour, natural depth of field, motivated light only, natural slightly desaturated grade with soft contrast, fine film grain; photoreal live-action tokusatsu drama, anamorphic 21:9, never CGI. Pacing: the V1 action plays about 1.15x slower; strolls, laughter and stillness stay natural and unhurried.

CONTEXT: the ending song continues, a hard cut from Yura in amber haze; no motion carries. A warm memory of three friends laughing on a dusk street; then the present: two sit apart on a night bench, and the third, now thin Daus, stands alone on a rooftop with his sword, his right hand opening at the end. Next batch: a ramen shopfront at dusk. Nostalgic, then lonely.

CAST, as drawn in @image1
Daus, heavy-set (shot 1, the memory): very heavy Malay man in his 30s, round full face, soft double chin, short side-swept black hair, thin moustache, small chin goatee, thin silver squarish metal glasses with clear lenses; royal-blue short-sleeve shirt with a red and light-blue hibiscus print, untucked, dark jeans.
Fazil: lean Malaysian man, late 30s, tanned, thick dark hair swept back, moustache, short goatee, stubble, easy grin, no glasses; beige short-sleeve camp-collar shirt with a faded palm-tree print, olive cargo trousers.
Mastura: Malaysian woman, late 20s, fair oval face, dark straight brows, calm direct look, no glasses; black jersey hijab snug round the face and draped over the chest, long black belted double-breasted trench coat, black leather gloves.
Daus, thin (shot 3, the present): the same man much later and much thinner, hollow cheeks, wavy black shoulder-length hair, moustache and chin goatee, thin silver double-bridge aviator glasses; navy bomber open over a white tee, black slim jeans, white sneakers, black watch; a katana in a black lacquered saya at his LEFT hip; a spiked gunmetal buckle with a dark violet dome lens under the open bomber. The two Dauses are one man at two times: never merge them or show both.

PLACE AND LIGHT: shot 1, a quiet curving Japanese shopping street at warm dusk: a greengrocer with an indigo noren left, shutters and a blank vending machine with a bicycle right; warm 3200K windows, cool sky fill; amber memory grade, slightly lifted blacks, soft halation, 2:1. Shot 2, a ginkgo avenue at night, wooden bench on a yellow leaf carpet, a white kiosk trailer just off frame left. Shot 3, a hill rooftop at night, parapet, rusted water tank, a thin crescent moon top left, city bokeh below. Shots 2-3: cold blue moonlight from behind, 5-6:1.

CAMERA: a tokusatsu ending sequence shot on dolly, crane or Steadicam. Every shot moves as written below: motivated moves, pushes on realisations, drifts in long takes, a held frame only for a punchline, with real weight, never a floaty drift. No static tripod shot unless a hold is written. A move is 80% done at its landing time, then creeps to the cut; a push's % is how much the subject grows.

SHOT TIMING
0.00-10.03 s (panel 01, three-shot, 35 mm at eye level in the middle of the street aimed back at them; pans 3° right with them and pushes 6%, landing 3.44 s on the laugh): left to right Fazil, heavy-set Daus (leading, centre-left), Mastura (centre), all in the left two-thirds, the street curving away in the right third. 0.00-3.44 s they stroll slowly toward the lens, talking silently, Fazil looking frame right at Daus, Mastura looking frame left at Daus; 3.44 s Daus throws his head back in a big laugh at something Fazil said; laughter to 6.88 s, Mastura covering a smile with her gloved hand from 3.61 s; 6.88-10.03 s they slow to a stop about 3 m from the lens and the moment hangs, smiles fading to warmth.
10.03-20.06 s (panel 02, two-shot, 50 mm square-on to the bench at seated eye level; a 29% push drifting left, landing 14.04 s as their heads lift): Fazil and Mastura sit astride the bench at opposite ends, facing away from each other, about 85 cm of empty seat between their backs, heads down, each looking at the ground on their own side: Fazil on the left end facing frame left, Mastura at frame centre facing frame right; they never touch; right third empty and dark. Still to 13.47 s; 13.47-14.04 s both lift their heads slightly at the same moment, still facing away; held to 20.06 s. Three ginkgo leaves fall slowly: the first (from 10.72 s) settles on the empty seat between them at about 15.5 s, the others fall in front at about 14.39 and 16.45 s. They never look at each other; no tears.
20.06-30.00 s (panel 03, wide, low, 50 mm, lens 0.8 m high looking up, 7 m from him; a 29% push rising 35 cm, landing 27.60 s as his hand opens): thin Daus near the parapet in the left third, 3/4 to frame left, looking out over the city lights below, never at the lens; left hand on the sheathed katana at his left hip, right hand at his side; one small faint violet glow from the buckle, constant. Still to 27.52 s, only his jacket edge moving in the wind; at 27.60 s his right hand slowly opens and holds open to 30.00 s.

POST: the ending song and the staff credits are added in post, never generated; no dialogue, no music, quiet ambience only. ED rule for every shot: keep the right third of frame clear of any person; no extra people.

AVOID: text, credits, signs, labels or logos; panel borders or the storyboard's text bar; block figures; a different face, glasses or wardrobe than described; both Dauses at once; any contact between Fazil and Mastura; anyone in the right third; looks into the lens; tears.