Cold open and the series OP: storyboard-only batches

1. @image1@image1: the storyboard for this batch (the only image)Save
2. WAV@audio1upload as @audio1: Jiji voice reference for D01 'まさか…' (as V1 GEN02)Save

@image1 is the storyboard: six 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; the moves below replace any "locked off" in its notes. Cut exactly at the times below; all hard cuts. Real actors, anamorphic, fine film grain, photoreal live-action tokusatsu. Every action plays about 1.45x slower than real time at normal frame rate, never a slow-motion look, never extra action.

CONTEXT: the episode's cold open; nothing carries in. Jiji rides back alone to the dead festival ground, finds something pulsing violet under a fallen speaker cabinet and hides it in his jacket. It ends held on him, zipped, head snapped frame left; hard cut to the opening titles. Mood: mourning and dread, not swagger.

CAST, as drawn in @image1
Jiji, alone: lean man about 30, black shaggy soft mullet with a long side fringe, thin moustache, stubble; black wayfarer sunglasses with no logo; yellow leather moto jacket (stand collar, a black stripe down each sleeve, a small red hexagonal interlocking-G emblem on the left chest, no lettering), matching yellow leather trousers with a black side stripe, white sneakers with red heel and toe, muddy.
His bike: a black-and-gold sport bike, two long black antenna stalks, twin yellow headlights, an empty gold hex badge.
The banner: torn yellow polyester printed edge to edge with Jiji's singing face, a diagonal rip in one corner, three grommets, mud, no lettering.

PLACE AND LIGHT: a dead festival ground of wet grey mud: a half-collapsed truss stage frame right with a torn blank roundel, flattened tents and stalls only left of the stage, string-light poles, and exactly ONE black speaker cabinet face-down at the stage's left corner. Overcast 6000-6500K sky, soft key from frame left at 2:1, no hard shadows.

CAMERA: a tokusatsu drama scene shot on dolly, crane or Steadicam. Every shot moves as written below: motivated moves, pushes on realisations, with real weight; each lands on its beat and settles, never a floaty drift. No static tripod shot unless a hold is written.

SHOT TIMING
0.00–4.35 s (panel 01, extreme wide, 24 mm, eye level; follow pan: the camera turns 14 degrees left onto him with a 1.2 m creep in, easing out, landing at 3.19 s as he brakes): the bike noses in at the frame-left edge, front wheel ploughing mud, travelling left to right, and brakes on the left third at 3.19 s; seated, both boots down at 3.33 s; engine idling, canvas flapping. He looks frame right to the stage.
4.35–9.43 s (panel 02, over his right shoulder, 35 mm; a brisk push-in a fifth tighter with a 15 cm drift right, 80% done at 5.80 s on the klang, then creeping on): his shoulder and head soft at frame left (real OTS size), the stage frame right. 4.93 s his right hand kills the engine; 5.80 s a metal klang behind the stage and he freezes, hand on the switch; 6.23-7.11 s only his head turns, up to frame right toward the truss. Rack focus from his shoulder to the stage over 6.67-8.12 s.
9.43–13.05 s (panel 03, medium wide, 35 mm; the camera trucks 2.3 m left to right at his walking speed, easing to a stop by 11.89 s): he walks fast and low left to right toward the sound, eyes on the cabinet; 11.60 s he squats at its left end, hooks its near-left corner at 11.89 s and yanks once 12.11-12.54 s: it scrapes through the mud, pivoting on its right end, its left end swinging toward the lens; what lay under it stays hidden. 12.54-12.83 s he rises to stand bent 30 degrees at the waist over the gap, dead still to the cut (panel 04 opens on this pose). No violet light in panels 01-03.
13.05–18.85 s (panel 04, close-up, 85 mm, slightly low; a push-in of 1 m, about 30% tighter, 80% done at 16.24 s as the glasses come down, then creeping on): bent over the hole, face three-quarter to frame right and down, the violet pulse in both lenses. 16.17 s his right index finger hooks the bridge; 16.24-16.56 s he draws the sunglasses down to his nose tip, bare eyes wide and still on the hole, never at the lens. 16.96-17.98 s he says 'まさか…' (D01) quietly, in Japanese, to the thing, lips in sync with @audio1's voice. 18.27 s a pulse peak lights his bare eyes.
18.85–22.48 s (panel 05, high-angle insert, 100 mm, 60 degrees down; a push-in about 28% tighter, 80% done at 21.46 s on the yank, then creeping on): no face; his muddy hands come in from frame top, lay the banner over the glowing thing, fold the left edge at 19.72 s, the right at 20.59 s, and yank the bundle tight at 21.46 s; violet bleeds through on each pulse.
22.48–26.10 s (panel 06, medium, 50 mm, waist-up, centred; a push-in a fifth tighter with a 15 cm drift left, 80% done at 23.93 s as the zip starts, settling at 26.10 s): he slides the bundle inside his jacket at 23.05 s, zips waist to collar 23.93-24.80 s and flattens his palm on it; the pulse glows only at the zip seam. 25.23 s a quick head-and-eye snap to frame left toward the bike, held: checking he is alone. Hold the final frame still until 30.00 s (no new action).

Violet pulse (panels 04-06 only): a soft glow from below, its source never seen; one slow heartbeat swell about every 1.6 s, peaks at 13.49, 15.08, 16.68, 18.27, 19.87, 21.46, 23.06 and 24.65 s, phase continuous across the cuts; one soft swell at a time, no flashing.

AUDIO: @audio1 is Jiji's voice reference, for his only line 'まさか…' (D01) at 16.96-17.98 s in panel 04: quiet Japanese, lips in sync with @audio1's voice. Diegetic sound only, no music: engine, the klang, wind.

AVOID: text, logos or subtitles; a second speaker cabinet; violet light before 13.05 s or a visible violet source; text or panel borders from the storyboard; block figures; a different face, glasses or wardrobe than described.

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

@image1 is the storyboard: nine 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 add no text to 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, real sensor noise in the shadows. It must look like footage from a real location shoot for a Japanese TV drama, never CGI, never a music-video filter. No dialogue, no music (the opening song is laid in post); quiet room tone only.

CONTEXT: the first shots of the series opening, at night in a disused operating theatre: under a surgical light that wakes ring by ring, Qays lies on a steel table, a swirl core lights in his chest, he wakes, and Rider Chaos stands where the table was. Panel 09 comes later, before the night ride. Cold, clinical, ominous: a rebirth, never horror.

CAST, as drawn in @image1
Qays: Malay man in his early 30s, short black hair, dark half-rim rectangular glasses, short beard, black two-piece suit, white shirt, black tie.
Rider Chaos: black and silver armoured suit, tall V horn-blades, green compound eyes, the green "3" on his left chest, the round swirl belt; a real practical suit with scuffs and dust in the seams.
The Chaos core: the belt's round silver buckle with a six-bladed emerald pinwheel core.

PLACE AND LIGHT: a disused operating theatre: matte-black walls, scuffed grey floor, a stainless surgical table, a round surgical light with rings of small LED bulbs on a ceiling arm, steel swing doors, three frosted cylindrical tanks. The surgical light is the only key - hard, cold, white, straight down - one pool on the floor, thin haze in the cone, the rest near black; faces get hard top light with dark eye sockets, no fill, rim or beauty light; the tanks give only a faint grey bounce.

CAMERA: a tokusatsu opening shot on dolly, crane, Steadicam, camera car or handheld. Every shot moves as written below: fast, decisive moves that accelerate into the beat, land on it and settle, with real motion blur and weight, never a floaty drift. No static tripod shot unless a hold is written. No dead shot: a locked shot stays dead still and the action or light named in its line carries it.

SHOT TIMING
0.0-3.5 s (panel 01, straight up into the surgical light: a 40% push up toward the hub with a 10-degree roll, accelerating all the way, fastest as the ring flickers on at 2.0 s): the outer ring of bulbs is lit, the inner rings dark; haze drifts through the beam; at 2.0 s the next ring flickers on.
3.5-6.5 s (panel 02, top-down from the lamp hub: starts tight on his face and cranes straight up fast to the whole table, braking at 5.4 s; hold): Qays lies on his back on the steel table, hands at his sides, eyes shut, still except one slow breath; head frame left. Non-graphic: suit on, no blood, no wounds, no straps, no instruments.
6.5-10.0 s (panel 03, extreme close-up top-down on his face, 100 mm, locked dead still, the light carries it; focus racks from his eyelids to the reflection at 8.5 s): eyes shut; the lamp's rings reflected in both lenses of his glasses; at 8.5 s the centre ring lights in the reflection; his eyelids flicker faintly.
10.0-13.0 s (panel 04, macro up into the light, hub centred: the camera rolls 90 degrees against the spin, accelerating, so it reads twice as fast): the lit bulbs begin to turn round the dark hub, slow, then faster, smearing into motion blur.
13.0-16.5 s (panel 05, macro top-down on his chest, locked, the core dead centre; its spin and glow carry it): under his white shirt, just below the sternum, the six-bladed emerald core glows through the cotton and starts to spin, its light diffused by the fabric; the tie slipped aside; one breath lifts his chest.
16.5-19.5 s (panel 06, crash zoom: on his whole face, the lens snaps in to his eyes in four frames exactly at 17.0 s as they open, then creeps on 10%): at 17.0 s his eyes snap open; a green faceted glint, the shape of Chaos's compound eyes, flares on the glass of his lenses - his own eyes stay human and dark brown.
19.5-23.0 s (panel 07, top-down from the hub, wide, locked: he rises into the lens, his face growing from a quarter of the frame to nearly filling it by 22.5 s): he sits up off the table toward the lens, palms pressing on the steel, the jacket swinging; the light flares white at 22.5 s.
23.0-26.5 s (panel 08, low full shot, 28 mm, a fast low 90-degree arc from his left side to square on, rising from floor to waist, easing out as the halo locks behind his head at 25.0 s): Rider Chaos stands where the table was, feet planted, arms at his sides, the surgical light right behind his head like a halo, the steel doors behind right; at 25.0 s his compound eyes brighten a step. No table in this shot.
26.5-30.0 s (panel 09, low medium, 35 mm, Steadicam leading him backward at two-thirds his pace, the tanks sliding past both frame edges; he closes to chest-up by 27.8 s): Qays walks toward the lens past the frosted tanks without looking at them; behind the frost, two dark backlit creature silhouettes shift - shapes only, no detail; the surgical light glows top-left; his face half in shadow.

AVOID: text, numbers, logos or letters anywhere; sheet labels; blood, incisions or medical gore; glossy CGI armour; studio fill on faces; saturated colours; HDR look; extra people; the armour on Qays before panel 08; his eyes turning green; any change to his glasses, beard or suit between shots; text or panel borders from the storyboard; block figures; a different face, glasses or wardrobe than described.

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

@image1 is the storyboard: five 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 or action lands on, not a still frame. Take only the pictures: never show panel borders, captions or the text bar, and add no text to 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, real sensor noise in the shadows. It must look like a real location shoot for a Japanese TV drama: five friends from the series, each caught being exactly themselves. No dialogue, no music (the opening song is laid in post); only festival ambience.

CONTEXT: the cast cards of the series opening, right after Rider Chaos first stands in the operating theatre. Each friend gets one in-character moment in the series' own places: the Good Vibes outdoor music festival from the last episode and, for Daus alone, a ginkgo avenue. Warm, funny and everyday; only thin Daus is cold, a hint of what he is becoming. The watcher and the Rider roster come next.

CAST, as drawn in @image1 (each person keeps exactly this face, age, build, glasses and clothes)
Jiji: lean Malay man about 30, long narrow face, hollow cheeks, shaggy black hair with a long fringe, thin moustache and short goatee, black wayfarer sunglasses that never come off, yellow track jacket with black stripes and his red hexagon GG emblem on the left chest; a warm showman idol.
Farida: Malay woman about 32, soft round face, powder-blue chiffon hijab closed round the face, large round thin wire glasses, navy outfit with a white and cyan line print; a giddy fan.
Daus (thin): lean man, wavy black hair to the jaw, thin silver double-bridge aviator glasses, thin moustache and small goatee, open navy bomber over a white tee, black slim jeans.
Fazil: man in his 30s, tousled swept-back hair, moustache and short goatee with stubble, no glasses, beige palm-print shirt; the hype guy.
Mastura: Malay woman in her 20s, black jersey hijab closed round the face, long black trench coat, black gloves; deadpan.
Tok Wan: elderly Malay man, white beard and moustache, royal-blue bandana, white tee; no cane.
Qays (panel 02, soft at the frame edge): Malay man in his early 30s, short black hair, dark half-rim rectangular glasses, short beard, black suit, white shirt, black tie; his bike is a gunmetal-grey sport-tourer with no lettering.

PLACE AND LIGHT: the Good Vibes festival on an overcast afternoon - the truss main stage with its patterned canopy and a crowd barricade, the entrance arch with banners and string lights, the lane through the blue-and-white tent field, the lawn by the stage - and a ginkgo avenue in the morning: a paved path under yellow ginkgo canopies, a carpet of fallen leaves. Soft overcast daylight and its bounce off grass and tents, a little coloured stage light only near the stage; no fill light, no rim light, no beauty light; a pale grey-white sky, never blue. Panel 03 only: low morning sun through haze, filtered by the yellow canopy.

CAMERA: a tokusatsu opening shot on dolly, crane, Steadicam, camera car or handheld. Every shot moves as written below: fast, decisive moves that accelerate into the beat, land on it and settle, with real motion blur and weight, never a floaty drift. No static tripod shot unless a hold is written. These are cast cards, 50 mm, soft background, ONE action per card landing early in the shot. Moving and locked cards alternate: each move is fast, sized and lands hard on the action, then holds; each locked card is carried by the action named in its line. No dead shot and no slow drift anywhere.

SHOT TIMING
0.0-5.5 s (panel 01, MS, 50 mm, low from the crowd behind the barricade; a fast 15% push-in that lands at 1.5 s on the sunglasses, then holds): on the festival main stage Jiji points to the sky, then at 1.5 s settles his sunglasses with his fingertips and grins down at the lens, the showman; fans' raised phones soft in the foreground.
5.5-12.0 s (panel 02, locked MCU, 50 mm; carried by her reaction): under the festival entrance arch Farida sits on the pillion of the parked grey bike, phone at her ear; at 6.5 s she rolls her eyes at the lens and breaks into a giddy grin; Qays, the suited rider in front of her, soft at the frame edge.
12.0-18.0 s (panel 03, MS, 50 mm; a fast tilt up from the leaves at his shoes to his face, easing out at 13.0 s exactly as his eyes lift, then still): on the ginkgo avenue thin Daus stands still, chin down; at 12.3 s a gust swirls yellow leaves past him and the lens, and his half-lidded eyes lift to the lens, cold; hold.
18.0-24.5 s (panel 04, locked two-shot, 50 mm, down the lane between the festival tents; carried by the gesture): Fazil (frame-left) pumps his fist at 18.5 s; Mastura (frame-right) stays deadpan; at 19.5 s they trade a conspiratorial side-eye in sync, then both look to the lens; a clear gap between them, never touching.
24.5-30.0 s (panel 05, MCU, 50 mm, on the lawn by the stage; a comic snap zoom-in of 15% in 4 frames on the chest tap at 25.0 s, then still): Tok Wan taps his chest with his fist - number one fan - then tugs his royal-blue bandana knot and grins at the lens.

AVOID: readable text or logos anywhere except Jiji's GG emblem and the festival's own GOOD VIBES signs; Jiji without his sunglasses; any touch between Fazil and Mastura; extra cast; studio fill; beauty retouching; saturated colours; HDR; glossy CGI; any change to anyone's glasses, hijab, beard or clothes; text or panel borders from the storyboard; block figures; a different face, glasses or wardrobe than described.

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

@image1 is the storyboard: eight 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 add no text to 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, real sensor noise in the shadows. It must look like footage from a real tokusatsu studio shoot: four real performers in real worn practical suits - scuffs, dust in the seams, fingerprints on visors, fabric that creases - never glossy CGI. Suit LEDs glow like real LEDs. No dialogue, no music (the opening song is laid in post).

CONTEXT: the Rider roster of the series opening: in the theatre's dark gallery, the winner Riders appear one glass case at a time; these are the first four. Panels 05-08 are their signature moves, cut later into the second chorus. A proud, electric showcase.

CAST, as drawn in @image1 (each matches exactly in every detail and colour)
Rider Piero: a jester Rider: striped jester hat with star bells, black mask with blue and pink star eyes and a white grinning mouth plate, white frilled ruff, magenta-blue-purple harlequin diamonds and polka dots, gold star trims, frilled cuffs, curled jester shoes; juggling pins.
Rider System Q: black armour with violet and copper chevrons, crown spikes, hexagonal cyan eyes, blue LED lines, a long cape covered in tiny LED dots, a speaker-module belt; two speaker towers (one blue-lit, one pink-lit).
Rider Seroja: a female Rider: burgundy and gold armour with a crown and a veil-hood, a lotus flower chest plate with an emerald gem, a long patterned burgundy veil-cape, heeled boots, a red-glowing blade.
Rider Slasher: black studded leather Rider with a guitar-headstock helmet (antennae with tuning pegs), violet compound eyes and violet mouth bars, a long black coat, a guitar-axe with glowing violet strings; seen from the front only.

PLACE AND LIGHT: panels 01-04 - the dark gallery: a wall of tall glass display cases with frosted white backlit back panels and black steel frames, on a black reflective floor; each Rider stands inside one case, lit only by its back panel: a strong backlit silhouette with rim light and the suit's own LEDs; neighbouring cases stay dark. Panels 05-08 - a black void with one hard cold top light, dark shadows below and a little haze.

CAMERA: a tokusatsu opening shot on dolly, crane, Steadicam, camera car or handheld. Every shot moves as written below: fast, decisive moves that accelerate into the beat, land on it and settle, with real motion blur and weight, never a floaty drift. No static tripod shot unless a hold is written. No dead shot: a hold stays dead still and the action or light named in its line carries it.

SHOT TIMING
0.0-4.0 s (panel 01, full shot, 35 mm, eye level: starts on dark glass and whip-pans right in four frames, landing square on his case at 0.6 s as it flickers on and the pin goes up; hold): the case flickers on; Piero stands inside facing the lens, tosses one juggling pin straight up and catches it; his grin mask tilts.
4.0-7.5 s (panel 02, full shot, 35 mm: from his reflection in the black floor the camera cranes up fast to his eye line in 0.5 s, landing at 4.6 s as his eyes brighten; hold): the next case lights; System Q stands inside facing the lens; his cyan eyes brighten and scan side to side; his LED-dot cape ripples.
7.5-11.0 s (panel 03, full shot, 35 mm: a fast 30-degree arc from her left three-quarter to square on, glass reflections sliding, landing at 8.1 s as the gem pulses; hold): the next case lights; Seroja stands inside, one hand on her hip, the red blade point-down at her side; her veil-cape stirs; her emerald chest gem pulses once.
11.0-15.0 s (panel 04, full shot, 35 mm: starts wide on three dark cases and crash-zooms in to his case in four frames at 11.6 s as the arcs flare, with one jolt; hold level and square on; he keeps facing the lens): the next case lights; Slasher stands inside facing the lens, the guitar-axe planted at his right side; thin violet electric arcs crawl over its strings and blade.
15.0-19.0 s (panel 05, medium shot, 50 mm, black void: a fast 40-degree arc from his left three-quarter to square on, landing at 15.6 s as a pin spins at the lens): Piero juggles three pins under the top light; one pin spins past the lens, big and motion-blurred.
19.0-22.5 s (panel 06, medium shot, 50 mm, handheld, square on to him: shoves in 20% as he strums and jolts with a 10-degree roll as the arc cracks at 19.6 s): Slasher strums the guitar-axe hard at his hip; a violet electric arc cracks off the blade to frame left, lighting the haze.
22.5-26.0 s (panel 07, medium shot, 50 mm: the camera whip-pans left with the sweep in four frames at 22.9 s, motion-blurred, and settles on her at 23.1 s): Seroja draws her red-glowing blade up and out to frame left in one sweep; the veil-cape swings behind her shoulder.
26.0-30.0 s (panel 08, slightly high medium shot, 50 mm: the crane drops fast from a high wide onto him in 0.5 s, landing on the first pulse at 26.6 s, and shudders on each pulse after): System Q stands arms out between his two speaker towers; they pulse and the shock wave shivers rings through a thin film of water and dust on the floor.

AVOID: text, numbers, logos or letters anywhere; sheet labels; glossy CGI armour; cartoon lightning or magic sparkles; extra people; any change to a Rider's design or colours between shots; Slasher turning his back to the camera; text or panel borders from the storyboard; block figures; a different face, glasses, wardrobe or suit than described.

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

@image1 is the storyboard: eight 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 add no text to 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, real sensor noise in the shadows. It must look like footage from a real tokusatsu studio and location shoot: real performers in real worn practical suits - scuffs, dust in the seams, fingerprints on visors - never glossy CGI. Suit LEDs glow like real LEDs. No dialogue, no music (the opening song is laid in post).

CONTEXT: the watcher and the rest of the Rider roster in the series opening, in the theatre's dark gallery: a faceless old man's ringed hand rises to the glass, then cases light on four winner Riders. Panels 06-08 are cut later into the choruses. Ominous and cool.

CAST, as drawn in @image1 (exact in every detail and colour)
The old man: elderly, dark fedora, long dark coat, brown leather gloves, a silver signet ring on his right hand; face never seen.
Rider Dice (Kairos): black and silver armour covered in white dice plates with black pips, spiked shoulders, a crested helmet with large white eyes and a violet crest, a tattered black cape with a violet hem, a white die on the belt.
Rider Umbra: grey-green and black armour with bone-white rib stripes, a skull mouthplate, bony antlers, round red eyes, purple chest crystals, a moss-grey shredded cape.
Rider X3: black, dark-green and red armour, tall red antennae, green compound eyes, a long black leather coat with a red lining, a round belt core that glows red, then green.
The X3 Striker: X3's white, blue, red and gold sport bike; six exhaust pipes swing down and fire for a vertical boost; a shield emblem with a stag head, no lettering.
Rider Rafflesia: crimson warty petal armour, flared petal pauldrons, a flower-shaped chest with a toothed open centre, red eyes.

PLACE AND LIGHT: panels 01-05 - the dark gallery: tall glass cases with frosted backlit back panels and black steel frames on a black reflective floor; the back panel is each case's only light: backlit silhouettes with rim light and the suits' own LEDs; neighbouring cases stay dark. Panel 06 - sodium street lamps plus the blue exhaust flames. Panels 07-08 - a black void, one hard cold top light and a little haze.

CAMERA: a tokusatsu opening shot on dolly, crane, Steadicam, camera car or handheld. Every shot moves as written below: fast, decisive moves that accelerate into the beat, land on it and settle, with real motion blur and weight, never a floaty drift. No static tripod shot unless a hold is written. No dead shot: a hold stays dead still and the action or light named in its line carries it.

SHOT TIMING
0.0-4.0 s (panel 01, close-up, 85 mm, dark gallery; a 20% push-in on his hand, accelerating as it rises, stopping dead with it at 3.0 s; never tilt to his face): the old man in profile, the fedora brim down over his face; his gloved right hand with the silver signet ring rises into a thin sliver of cold light and stops a breath from the dark glass. His face stays hidden.
4.0-7.5 s (panel 02, full shot, 35 mm, eye level; fast truck right past two dark cases, steel frames wiping the lens, braking square on his case as he flicks the die at 4.6 s; hold): a case flickers on; Dice stands inside, a backlit silhouette, and flicks a white die off his knuckles; it tumbles up above his raised fist; faint violet glints.
7.5-11.0 s (panel 03, full shot, 35 mm; fast crane drop from above the case top in 0.6 s, rolling out of a 10-degree Dutch, landing square on as his eyes ignite at 8.2 s; hold): the next case lights; Umbra stands inside, arms down, claws open; his red eyes ignite under the antlers; the shredded cape lifts.
11.0-15.0 s (panel 04, full shot, 35 mm; fast 30-degree arc from his right three-quarter to square on, glass reflections sliding, landing as the core turns green at 11.7 s; hold): the next case lights; X3 stands inside in his long coat; his belt core shifts from red to green; his eyes glow green.
15.0-19.0 s (panel 05, 35 mm; starts tight on his chest flower, pulls back fast to full shot in 0.7 s, landing square on as his eyes flare at 15.7 s; hold): the last case lights; Rafflesia stands inside; his red eyes flare and the chest flower breathes out a slow puff of red spores.
19.0-22.5 s (panel 06, low wide, 28 mm, the night road with sodium street lamps; fast pan with the bike, tilting up 20 degrees with a 10-degree roll as it lifts at 20.8 s): X3 on the X3 Striker races in from frame left; the six pipes swing down and fire blue-white flame onto the asphalt; the bike lifts nose-up, kicking up dust and sparks; real heat shimmer.
22.5-26.0 s (panel 07, insert, 100 mm, black void, one hard top light, haze; tilts down with the falling die and snaps in 30% in four frames as it lands at 24.5 s): Dice's gloved fist flicks a white die; it tumbles in slow motion and lands showing three pips to the lens.
26.0-30.0 s (panel 08, medium close-up, 85 mm, black void; handheld: shoves in 15% at the gaping flower; the burst hits the lens at 27.3 s with a jolt and an 8-degree roll): Rafflesia's chest flower gapes open and a cloud of red spores bursts at the lens; his red eyes flare.

AVOID: text, numbers, logos or letters anywhere (no lettering on the bike or its emblem); the old man's face; glossy CGI suits; cartoon effects; extra people; any change to a Rider's design or colours; text or panel borders from the storyboard; block figures; a different face, glasses, wardrobe or suit than described.

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

@image1 is the storyboard: nine 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 add no text to 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, real sensor noise in the shadows. It must look like footage from a real tokusatsu studio shoot: real performers in real worn practical suits - scuffs, dust in the seams, fingerprints on visors - never glossy CGI. Light effects look like real practical light: light painting, real sparks, a little bloom on the lens - never cartoon energy. No dialogue, no music (the opening song is laid in post).

CONTEXT: the rival and the specimens in the series opening, in the operating theatre: Umbrazor, Chaos's rival, is first only a reflection, then an inch of steel and igniting eyes; captive kaijin stir as shadows behind frosted tanks. Panels 07-09 are the strikes in a black void after the first chorus. Menace building into hits.

CAST, as drawn in @image1 (each matches exactly)
Rider Umbrazor: black and dark-gunmetal crystal-shard armour with violet veins, a spike crown, narrow violet winged eyes, a shard coat with a chain, a spiked violet-lens driver, one katana in a black lacquered scabbard on his left hip.
The Winged Brute (shadow only): a horned kaijin with ram horns and large bat wings.
The Centaur Knight (shadow only): an armoured kaijin with a beaked crest, goggle eyes and a serrated sword.
The Skull Crawler (shadow only): a hunched skull-headed kaijin with long claws.
Rider Chaos: black and silver suit, tall V horn-blades, emerald compound eyes, a green "3" on his left chest, the emerald swirl belt; his blade is aqua-cyan.
Rider GG: matte black with gold-yellow trim, beetle shoulder shells, yellow honeycomb oval eyes, a red-orange brow gem, embossed gold "GG" chest letters, a gold swirl belt.

PLACE AND LIGHT: panels 01-06 - the near-black operating theatre: scratched brushed-steel wall panels between tall frosted specimen tanks with black caps, each tank backlit grey-green; only a sliver of top light reaches the steel. Panels 07-09 - a black void with one hard cold top light and a little haze.

CAMERA: a tokusatsu opening shot on dolly, crane, Steadicam, camera car or handheld. Every shot moves as written below: fast, decisive moves that accelerate into the beat, land on it and settle, with real motion blur and weight, never a floaty drift. No static tripod shot unless a hold is written. No dead shot: a hold stays dead still and the action or light named in its line carries it.

SHOT TIMING
0.0-3.5 s (panel 01, medium shot, 50 mm: a fast truck left along the steel, his smeared reflection sliding in from frame right, braking at 0.6 s with his eyes on the centre line; hold): Umbrazor is seen ONLY as a reflection in a scratched brushed-steel wall panel between the tanks; the brushing smears him; he stands still; his violet eyes are the brightest point.
3.5-6.5 s (panel 02, insert, 100 mm: a whip-tilt down from his chest to the hip in 0.3 s, landing at 4.1 s as the steel slides out; hold): at his left hip his gloved hand thumbs the guard and an inch of steel slides out of the black lacquered scabbard, catching a sliver of top light; it stops there.
6.5-10.0 s (panel 03, extreme close-up, 10-degree Dutch: a 30% push-in from the whole helmet to the eyes, accelerating, stopping dead at 8.0 s as they ignite; hold): inside the dark shard helmet his narrow violet eyes ignite like real LEDs.
10.0-13.5 s (panel 04, medium shot: the camera trucks fast right along the tank wall, frosted glass wiping the lens, braking square to the first tank at 10.6 s as the shadow rears): behind the frost of the first tank the Winged Brute rears up as a shadow, ram horns raised, arms high, wings snapping open inside the glass.
13.5-16.5 s (panel 05, medium shot, the second tank: a fast crane drop from above the tank top to mid-tank in 0.6 s, landing at 14.3 s as the sword rises): the Centaur Knight's shadow raises its serrated sword behind the frost.
16.5-20.0 s (panel 06, medium shot, the third tank, locked square on: the claws slamming at the lens carry it; the camera jolts once with the slam at 17.2 s, then holds): the Skull Crawler slams its clawed hands against the glass; the frost cracks into real spider-web cracks around the claws.
20.0-23.5 s (panel 07, medium shot, black void, one hard top light, haze, locked: the blade's light trail sweeping across the frame at 20.4 s carries it): Chaos ends a sweep to frame left; his aqua-cyan blade leaves a light-painting trail that breaks up across the frame; his eyes and belt glow emerald.
23.5-26.5 s (panel 08, medium shot, black void: the camera drops with him, tilting down and rolling 20 degrees into the kick, fastest at 24.0 s): GG drops into frame in a diving kick to frame right, wrapped in three rings of gold light, shedding real sparks.
26.5-30.0 s (panel 09, medium shot, black void, crash zoom out: from his chest the lens snaps back 25% in six frames at 26.9 s as the crescent arcs, revealing all of it; hold): Umbrazor follows through to frame right; his violet crescent slash arcs over him from lower left to upper right and fades.

AVOID: text, numbers, logos or letters anywhere except GG's own embossed chest letters; the kaijin shown clearly (they stay shapes behind the frost); a second sword on Umbrazor; Chaos's blade in any colour but aqua-cyan; glossy CGI; cartoon effects; extra people; text or panel borders from the storyboard; block figures; a different face, glasses, wardrobe or suit than described.

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

@image1 is the storyboard: nine 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 add no text to 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, real sensor noise in the shadows. It must look like footage from a real night location shoot for a Japanese TV drama: camera-car tracking, real motion blur, real speed. Suits are real worn practical suits, never glossy CGI. No dialogue, no music (the opening song is laid in post); engine and wind only.

CONTEXT: the henshin ride of the series opening: at night Qays races his motorcycle down an approach road and transforms while riding, until Rider Chaos stands against an emerald glow. Then the full moon starts to eclipse; panel 09, later in the opening, is Qays walking out of the dark theatre. Speed and resolve.

CAST, as drawn in @image1 (one man through panels 01-07: Qays becomes the half-form, then Chaos, while riding)
Qays: Malay man in his early 30s, short black hair, dark half-rim rectangular glasses, short beard, black two-piece suit, white shirt, black tie.
The Chaos belt: a round silver buckle with two side lamps and a six-bladed emerald pinwheel core.
The Chaos half-form: a green glowing wireframe over a black under-suit, a silver left pauldron and right bracer, black under-suit gloves with an emerald ring at the cuff.
Rider Chaos: the complete black and silver suit, tall V horn-blades, emerald compound eyes, the green "3" on his left chest.
His motorcycle: a gunmetal-grey sport-tourer; no lettering or logos anywhere.

PLACE AND LIGHT: panels 01-07 - the night approach road: guardrail, concrete wall, shuttered shops, sodium street lamps; he always travels left to right, the camera on the bike's right side; lit by the sodium lamps, the bike's own lights and the emerald glow of belt and wings. Panel 08 - a full moon rising over the city skyline, seen through a long lens.

CAMERA: a tokusatsu opening shot on dolly, crane, Steadicam, camera car or handheld. Every shot moves as written below: fast, decisive moves that accelerate into the beat, land on it and settle, with real motion blur and weight, never a floaty drift. No static tripod shot unless a hold is written. No dead shot: a hold stays dead still and the action or light named in its line carries it.

SHOT TIMING
0.0-3.5 s (panel 01, medium tracking, 50 mm, a camera car on the bike's right closing fast from wide to medium in 1.0 s, braking at 1.1 s, then matching his speed): Qays rides the bike hard left to right, tucked low over the tank, eyes on the road; sodium lamps streak past behind.
3.5-6.5 s (panel 02, close-up tracking, 85 mm, from his right: the camera car swings 40 degrees forward round him, profile to three-quarter front, landing at 5.0 s as his eyes narrow): his face in three-quarter profile behind his glasses; the wind flattens his hair and flaps his jacket; at 5.0 s his eyes narrow.
6.5-10.0 s (panel 03, bike-mounted extreme close-up, 100 mm, the rig shaking with the road: a snap push-in of 20% in four frames at 8.5 s as the blades hit full glow): the Chaos belt at his waist; its dark core spins up and its six emerald blades reach full glow at 8.5 s; the road streaks behind.
10.0-13.0 s (panel 04, insert, 100 mm, bike-mounted: the rig rolls 15 degrees into the twist at 11.0 s and swings back): his right hand, now in the black under-suit glove of the half-form, twists the throttle hard at 11.0 s.
13.0-16.5 s (panel 05, wide, 24 mm, at road level, locked: he charges the lens as the wings snap open at 14.0 s; only as he roars past does the camera whip-pan right after him): the half-form rides toward and past the camera; at 14.0 s two vast mirrored wings of green light snap open flat on the asphalt either side of the bike - glowing feather outlines, no symbols - and he rides through on them.
16.5-20.0 s (panel 06, close-up tracking, 85 mm, at his speed: a 15% creep in toward the eye as the faceplate seals, landing on it at 18.7 s): the helmet closes over his head and the faceplate slides down and seals over his face (17.0-18.5 s); the emerald compound eyes of Chaos catch the street light.
20.0-23.0 s (panel 07, wide, 35 mm: a fast crane up from road level to his waist height, his silhouette rising across the glow, braking at 20.7 s; he stays still): Chaos stands still in profile facing frame right, a black silhouette against an emerald glow rising beyond the road.
23.0-26.5 s (panel 08, extreme wide, 85 mm: a fast telephoto push-in with a tilt up, the moon growing from a sixth to a third of frame height, landing at 24.0 s; then a 2%-per-second creep): the full moon over the city; a thin dark shadow begins to bite into its left edge - the first moment of an eclipse.
26.5-30.0 s (panel 09, medium shot, 50 mm, low: a fast 25% push-in as he steps through the doors, landing at 27.1 s as the glint crosses his glasses; then the camera holds and he walks into a close-up): Qays steps out through the open steel swing doors of a dark building toward the lens, into cold moonlight from behind; a glint crosses his glasses; his face half in shadow.

AVOID: text, numbers, logos or letters anywhere (nothing on the bike, the buckle or the doors); Qays wearing a helmet before panel 06; the belt core in any colour but emerald; glossy CGI; cartoon light effects; extra people; any change to his glasses, beard or suit before the henshin; text or panel borders from the storyboard; block figures; a different face, glasses or wardrobe than described.

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

@image1 is the storyboard: thirteen 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 add no text to the video. Cut exactly at the times below; all hard cuts, fast and on the beat. 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, real sensor noise in the shadows. It must look like footage from a real tokusatsu night shoot: real stunt performers in real worn practical suits - scuffs, dust, water beading on the armour - real bikes, real rain, never glossy CGI. Light effects look like real practical light and sparks, never cartoon energy. No dialogue, no music (the opening song is laid in post); engines, rain and impacts only.

CONTEXT: the two choruses of the series opening: Chaos and GG ride a night tunnel of lights, then fight Umbrazor in a rain-soaked back street; panel 13 is the line-up before the logo. Speed, rain, power.

CAST, as drawn in @image1 (each matches exactly)
Rider Chaos: black and silver suit, tall V horn-blades, emerald compound eyes, the green "3" on his left chest, the emerald swirl belt; an aqua-cyan crystal blade. His bike: polished silver, slanted emerald headlights, emerald pinwheel discs.
Rider GG: matte black with gold-yellow trim, beetle shoulder shells, yellow honeycomb oval eyes, a red-orange brow gem, embossed gold "GG" chest letters, a gold swirl belt. His bike: gloss black with gold accents, twin yellow headlights, a gold tail spike, red tail light.
Rider Umbrazor: black and dark-gunmetal crystal-shard armour with violet veins, a spike crown, narrow violet eyes, a shard coat, a steel katana.

PLACE AND LIGHT: panels 01-04 - a road tunnel of lights: arched tiled walls, rows of amber and white lamps, curving gently right; bikes travel left to right. Panels 05-13 - a back street in heavy rain: wet asphalt, one street lamp backlighting the rain, sodium spill, cyan and red-orange neon tubes on the right wall, parked cars on the left; Chaos and GG keep frame left, Umbrazor frame right.

CAMERA: a tokusatsu opening shot on dolly, crane, Steadicam, camera car or handheld. Every shot moves as written below: fast, decisive moves that accelerate into the beat, land on it and settle, with real motion blur and weight, never a floaty drift. No static tripod shot unless a hold is written. No dead shot: a hold stays dead still and the action or light named in its line carries it.

SHOT TIMING
0.0-2.5 s (panel 01, 85 mm head-on from a camera car ahead that loses ground: they grow from a third to two-thirds of the frame by 2.3 s): Chaos (frame left) and GG (frame right) ride abreast straight at the lens through the tunnel; two headlight pairs; the lamps smear past.
2.5-4.5 s (panel 02, low insert, 100 mm, rig on the bike sliding forward to the disc, landing at 3.2 s): Chaos's emerald pinwheel disc and front rim spin past, the road blurred below.
4.5-6.5 s (panel 03, low insert, 100 mm, rig on the bike dropping from the tail spike to the exhaust tip, landing at 5.0 s): GG's rear wheel, exhaust and gold tail spike, red tail light, heat shimmer.
6.5-8.5 s (panel 04, side tracking, 50 mm, matched speed, then easing off so they draw a fifth of the frame ahead as they lean in at 7.5 s): Chaos near, GG beyond, both in profile riding frame right, leaning into the bend together.
8.5-10.5 s (panel 05, medium, back street: whip-pans right with the blade in four frames at 8.9 s, settling at 9.1 s): Chaos's aqua-cyan blade sweeps level to frame right, bursting the rain into spray.
10.5-12.5 s (panel 06, wide, 24 mm, locked: his dive, rings and sparks carry it; one shudder as he passes): GG drops from the upper left in a flying kick toward frame right, three gold light rings around him, real sparks.
12.5-14.5 s (panel 07, medium, 50 mm: trucks left with his cut, a fifth of the frame, braking at 13.0 s as the violet line hangs): Umbrazor finishes a cut toward frame left, his katana low; a thin violet line hangs in the rain and fades.
14.5-16.5 s (panel 08, medium two-shot, crash zoom: as the blades lock at 14.6 s the lens snaps in 25% in four frames, shudders, holds): the aqua-cyan blade and Umbrazor's katana cross and lock; sparks hiss, steam rises.
16.5-18.5 s (panel 09, close-up, 85 mm, a fast 30-degree arc against his turn, landing square on at 17.2 s): Umbrazor turns his helmet into the lens; his violet eyes glow through the rain.
18.5-21.5 s (panel 10, wide, 35 mm, a crane up from puddle level, rising 1 m, easing out at 20.5 s, Chaos kept left and Umbrazor right): the face-off across the wet street, blades low, rain between them; both still.
21.5-23.5 s (panel 11, extreme close-up, 100 mm: slides right along his forearm to the fist, braking at 22.0 s as it clenches): Chaos's gloved fist clenches, rainwater squeezed out between the fingers.
23.5-25.5 s (panel 12, ground-level insert, 24 mm: tilts down fast with the falling boots, stopping hard as they land at 24.0 s, then one bounce): GG's boots land in the puddle beside Chaos's with one splash.
25.5-30.0 s (panel 13, low full shot, 28 mm, a fast 60-degree low orbit to the right rising knee to chest, easing out square on at 28.5 s, then dead still to the end): Chaos and GG stand back to back in the rain, still; the far end of the street stays dark and empty.

AVOID: text, numbers, logos or letters anywhere except Chaos's "3" and GG's chest letters; lettering on the bikes; Chaos's blade in any colour but aqua-cyan; any change to a suit's design or colours; glossy CGI; cartoon effects; extra people; text or panel borders from the storyboard; block figures; a different suit or bike than described.

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

@image1 is the storyboard: five 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 or action lands on, not a still frame. Take only the pictures: never show panel borders, captions or the text bar, and add no text to 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, real sensor noise in the shadows. It must look like a real location shoot for a Japanese TV drama: the friends' day at the Good Vibes festival, quick and joyful, a run of comic moments. No dialogue, no music (the opening song is laid in post); only festival ambience.

CONTEXT: late in the second chorus of the series opening, right after Qays walks out of the dark theatre into the night, the cut jumps to the friends' warm afternoon at the Good Vibes outdoor music festival from the last episode: the poster slam at Jiji's signing table, the roar at the barricade, the gust in the tent lane, the group selfie, then Qays and Farida arriving on his bike. Joyful, silly, on the beat; the Riders' line-up and the logo come next.

CAST, as drawn in @image1 (each person keeps exactly this face, age, build, glasses and clothes)
Qays: Malay man in his early 30s, short black hair, dark half-rim rectangular glasses, short beard, black two-piece suit, white shirt, black tie; his bike is a gunmetal-grey sport-tourer with no lettering.
Farida: Malay woman about 32, soft round face, powder-blue chiffon hijab closed round the face, large round thin wire glasses, navy outfit with a white and cyan line print.
Jiji: lean Malay man about 30, long narrow face, hollow cheeks, shaggy black hair with a long fringe, thin moustache and short goatee, black wayfarer sunglasses that never come off, yellow track jacket with black stripes and his red hexagon GG emblem on the left chest; the warm showman idol.
Daus: heavy-set young Malay man, round face, thin silver squarish glasses, blue hibiscus-print shirt, dark jeans; the loudest superfan - the joke is his enthusiasm, never his body.
Fazil: man in his 30s, tousled swept-back hair, moustache and short goatee with stubble, no glasses, beige palm-print shirt; the hype guy.
Mastura: Malay woman in her 20s, black jersey hijab closed round the face, long black trench coat, black gloves; cool and deadpan.
Tok Wan: elderly Malay man, white beard and moustache, royal-blue bandana, white tee; no cane.

PLACE AND LIGHT: the Good Vibes outdoor music festival on an overcast afternoon: the white signing tent and its table, the truss main stage with its patterned canopy and the metal crowd barricade in front, the lane through the blue-and-white tent field with bunting, the entrance arch with banners and string lights. Soft overcast afternoon daylight and its bounce off grass and tents, a little coloured stage light only near the stage; no fill light, no rim light, no beauty light; a pale grey-white sky, never blue.

CAMERA: a tokusatsu opening shot on dolly, crane, Steadicam, camera car or handheld. Every shot moves as written below: fast, decisive moves that accelerate into the beat, land on it and settle, with real motion blur and weight, never a floaty drift. No static tripod shot unless a hold is written. This is a gag run: wild angles, hard cuts, no eases; every gag lands in the first second of its shot and the shot stays alive after it, so no shot is ever dead. Each line names its angle and what carries it.

SHOT TIMING
0.0-6.0 s (panel 01, top-down insert straight down over the signing table, 28 mm, locked; carried by the slam, the frame jolting 3 frames on impact): at 0.6 s Daus's big hands slam a huge poster onto the table - bigger! - and it bounces flat; Jiji, seated, recoils with his marker frozen in mid-air, sunglasses on, laughing.
6.0-12.0 s (panel 02, worm's-eye from the stage side of the barricade, 16 mm, handheld with a 10-degree roll, a fast tilt up at 6.4 s): the six friends lean over the barrier roaring at the stage - Daus films high over his head with his mouth wide open, Tok Wan pumps both fists, Fazil roars, Farida squeals, Qays laughs, Mastura films calmly.
12.0-18.0 s (panel 03, locked wide down the tent lane, 24 mm; carried by the gust): at 12.5 s a sudden gust tears through the lane; Daus, clinging to a tent pole, is swung right round it, feet off the ground, yelling, while Fazil and Tok Wan stand braced like wrestlers; flaps snap, bunting whips, dust flies.
18.0-24.0 s (panel 04, Farida's phone at arm's length, 14 mm, handheld wobble; carried by the flash): the group selfie at the barricade - Farida front centre, Qays at her shoulder, Daus laughing, Mastura at the frame-left edge a full step clear of everyone, Tok Wan leaning in, Fazil two thumbs up at the frame-right edge; high behind them Jiji leans down from the stage into their selfie with a peace sign; at 18.8 s the phone flash fires and blows the frame white for 4 frames.
24.0-30.0 s (panel 05, wide from inside the festival, 28 mm, a fast push-in landing at 25.0 s): Qays rides his grey bike in under the entrance arch, grinning, Farida on the pillion still on the phone to her mum; festival-goers step aside.

AVOID: readable text or logos anywhere except Jiji's GG emblem and the festival's own GOOD VIBES signs; Jiji without his sunglasses; any touch between Fazil and Mastura; extra cast; studio fill; beauty retouching; saturated colours; HDR; glossy CGI; any change to anyone's glasses, hijab, beard or clothes; text or panel borders from the storyboard; block figures; a different face, glasses or wardrobe than described.