Plantilla y prompt de Te He Perdido Entre La Gente con IA

Create a 15-second vertical 9:16 cinematic video using the two supplied human reference identities. The result must contain EXACTLY THREE SEPARATE EDITED SHOTS and EXACTLY TWO INSTANT HARD CUTS. This is an edited three-shot sequence, not a continuous one-take camera journey.

REFERENCE IMAGE 1 = CHARACTER A, the person watching from the upper balcony.
REFERENCE IMAGE 2 = CHARACTER B, the person moving on the dance floor.
Preserve each person's face, hairstyle, clothing, age, and body proportions. Never merge, swap, or morph A and B.

VENUE CONTINUITY — ALL THREE SHOTS.
The setting is one large, upscale, two-level nightclub or formal ballroom during a crowded evening event: an upper mezzanine with a dark metal railing, a lower dance floor packed with guests in evening clothes, warm amber wall sconces and table lamps, and narrow cool-blue beams through atmospheric haze. This is a public entertainment venue, NOT a bedroom, apartment, house, hotel room, domestic living room, empty lounge, studio, or private interior. Keep the same balcony, dance floor, guests, lighting, and spatial geography in all three shots.

SHOT 1 — 00:00.000 to 00:05.000 — A WATCHES THE DANCE FLOOR, NEVER THE LENS.
Begin with a stable medium-long to medium shot of CHARACTER A at the upper-balcony railing, framed approximately from the waist upward, with both hands or forearms resting naturally on the railing. The camera is across from A at a slight front-oblique angle, but A's attention is always directed past and below the camera toward the lower dance floor. A never looks into the lens and never performs for the viewer.

At the beginning A has a faint, genuine, closed-mouth smile while watching the dancers. During a restrained slow push-in, A's eyes move lower and slightly across the floor as if recognizing one particular person in the crowd. The smile gradually disappears. By the end, the lips are relaxed and closed and the expression is quiet, serious, and absorbed. Keep this subtle: no crying, shock, sudden sadness, or exaggerated acting. Do not show B in this shot.

AT 00:05.000, CUT INSTANTLY ON A SINGLE FRAME to Shot 2. Zero dissolve frames, zero crossfade, zero morphing, zero double exposure, and no transition effect.

SHOT 2 — 00:05.000 to 00:10.300 — OVER A, HIGH-ANGLE REVEAL OF A DENSE, ACTIVE DANCE FLOOR.
The first frame after the cut is a tight over-the-shoulder rear view from directly behind and slightly above A's head. Show the back of A's head and only a thin sliver of one shoulder along the lower-left edge; do not fill the frame with A's back, torso, arms, or railing. From the already-high balcony position, the camera makes one restrained forward reveal over A's head and quickly clears A into a wide, steep high-angle view of the lower dance floor. The camera remains at balcony height and never descends into the crowd.

The dance floor is genuinely dense and busy from foreground to background. Guests stand and move almost shoulder-to-shoulder with only small, irregular walking gaps. Couples dance, embrace, turn, and change hand positions; other guests talk in small groups, gesture, hold drinks, shift weight to the rhythm, or cross between groups. Their movements, timing, and facing directions are independent and unsynchronized. Several guests pass partly in front of and behind B. Nobody freezes, forms a ring, creates a semicircle, or turns together to watch B.

CHARACTER B is readable near the center because of a narrow blue-white beam and costume contrast, NOT because the floor has been cleared. There must be no large white spotlight disk and no empty circular gap around B. Nearby dancers remain within roughly one arm's length or one body width of B on every side. A momentary partial occlusion by moving guests is welcome as long as B remains identifiable.

CRITICAL B MOTION: from the first frame in which B becomes visible in the wide shot, B is ALREADY MOVING and never stands still. B performs compact, quick, continuous in-place rhythmic motion: both knees repeatedly soften and recover, the torso makes small forward-and-up pulses, the shoulders and hips follow the rhythm naturally, and the body shifts weight subtly left and right without walking away. This is active human movement at normal party tempo, about one complete body pulse every 0.6 to 0.9 seconds, not slow motion and not a static pose. B's hands stay low and naturally travel with the body near the front or outer thighs. B begins with the chin near level and the eyes scanning horizontally across nearby people, not with the head hanging down and not already staring upward.

AT 00:10.300, CUT INSTANTLY ON A SINGLE FRAME to Shot 3. The last frame of Shot 2 is the wide overhead crowd view. The immediately following frame is already a steep high-angle knee-up view of B in the middle of the same continuing movement. No intermediate zoom frames, camera dive, dissolve, crossfade, double exposure, morph, fade, or visual transition.

SHOT 3 — 00:10.300 to 00:15.000 — B KEEPS MOVING, SCANS THE CROWD, THEN LOOKS UP.
Cut directly to a steep high-angle KNEE-UP MEDIUM SHOT of CHARACTER B from the balcony's downward viewing direction. Keep B's head, torso, both hands, upper legs, and knees visible together throughout. Do not crop to the waist, chest, or face. The moving crowd remains close and visible immediately behind and at the edges of B; the shot must not resemble an isolated portrait on an empty stage.

The cut catches B in the middle of the same motion already visible in Shot 2. On the very first frame B is not motionless: the knees are flexed, the torso is slightly forward, the shoulders are in motion, and both hands are already brushing, sliding, or hovering naturally along the front or outer thighs. B continues a compact rhythmic sequence without a single pause: quick knee flex and recovery, small forward-and-up torso pulses, subtle alternating weight shifts, and natural shoulder follow-through. Keep the tempo clearly alive and human, about 1.3 to 1.7 pulses per second. This is not one long slow squat and it never settles into a statue-like hold.

During the first quarter of Shot 3, while the body keeps pulsing, B's chin stays close to level and B looks horizontally through nearby dancers, first across one side and then toward the other, as if searching the room. The eyes are not fixed on the floor; B is neither fully bowed nor completely upright.

During the second quarter of Shot 3, without interrupting the knee, torso, shoulder, and hand movement, B notices A above: the eyes move upward first, followed promptly by the chin and head. Complete this upward gaze change within roughly 0.7 to 1.0 seconds; do not stretch it into a long slow-motion lift.

For the remainder of Shot 3, B keeps looking toward A while the same compact rhythmic body motion continues. B must still complete repeated knee-and-torso pulses, subtle weight shifts, and small hand movement along the thighs until the final frame. There is no freeze, no static hold, and no pose for the camera. B's mouth stays neutral and the expression is serious, emotionally exposed, and intent; do not force a smile. The surrounding dancers also keep moving independently for the entire shot.

GLOBAL CAMERA RULES: exactly three shots only; hard cuts at approximately 5.0 seconds and 10.3 seconds; no fourth shot; stable vertical framing; same two-level public nightclub or ballroom throughout; coherent balcony-to-floor sightline; A never looks into the lens; camera remains at balcony height for Shots 2 and 3; no continuous flight; no camera descent; no movement through the crowd; no drone dive; no orbit; no whip pan; no speed ramp; no transition effect; no crossfade; no dissolve; no double exposure; no morphing; no final face rush.

Generate silent video. No dialogue, lip-sync, subtitles, captions, text, logos, or watermark.

Negative constraints — avoid:
bedroom, apartment, house, hotel room, domestic living room, private interior, empty lounge, studio backdrop, A looking at the viewer, A looking into the lens, direct eye contact with camera, presenter pose, selfie pose, A expressionless from the beginning, A smiling for the entire shot, open-mouth grin, sudden exaggerated sadness, crying, shock, full upper back at the start of Shot 2, visible torso or railing filling Shot 2, sparse crowd, empty dance floor, large gaps between guests, empty spotlight circle, white spotlight disk on empty floor, cleared ring around B, crowd forming a semicircle, crowd facing B together, frozen crowd, static spectators, synchronized crowd movement, B standing still when first revealed, B waiting before moving, B starting from a static upright pose, B fully bowing the head, B staring at the floor, B looking upward on the first frame, one long slow squat, very slow motion, statue-like hold, freezing after looking up, motion stopping before the final frame, exaggerated hip dance, walking away, large steps, knee lifts, jumping, spinning, theatrical arm choreography, forced smile, exaggerated grin, both palms unnaturally glued to thighs, hands outside the frame, crop above B's knees, waist-up shot, chest-up shot, single continuous take, continuous camera journey, camera descending from balcony, flying into the crowd, walking through the crowd, drone dive, orbit shot, spiral camera, tracking around the subject, ground-level reveal, eye-level reveal, extreme close-up, fast zoom, speed ramp, whip pan, morph transition, dissolve transition, crossfade, double exposure, ghost image, overlap transition, fade to black, teleporting camera, extra cuts, fourth shot, early close-up of B, A and B merged, identity swap, face morphing, changing clothes, changing hairstyle, duplicate subject, distorted anatomy, dialogue, lip-sync, text, subtitles, logo, watermark