Вестерн в салуне с экшеном и юмором

Create a 30-second vertical cinematic western action-comedy video, 9:16, with 16 sequential edited shots following the timeline below. This is ONE continuous live-action film inside ONE coherent frontier saloon. Not a storyboard, collage, split screen, music-video insert, or video playing on a screen. REFERENCE ASSIGNMENTS @image1 = identity reference for Maslyamba, the adult male protagonist. @image2 = identity reference for the adult female protagonist. @video1 = a 10-second performance reference showing a bald adult man singing. Adapt the singer from @video1 into a supporting character seated at a neighboring table inside this same saloon. Preserve his recognizable appearance and performance gestures from the supplied reference while adapting his clothing, surroundings, lighting, and camera perspective to the western setting. He is NOT Maslyamba and NOT either protagonist. Do not transfer his face, bald head, gestures, or singing movements onto @image1 or @image2. The singer’s performance begins at 00:03 and ends at 00:13 of the main film. Use the reference performance at natural speed. These ten seconds are part of the main film timeline, not ten additional seconds. Show the singer in a dedicated shot at 00:03–00:05. During subsequent shots, his performance continues naturally offscreen or in the background. The camera does not need to show him continuously for all ten seconds. Use the supplied vocal performance as diegetic singing coming from his table. Keep his visible lip movements synchronized with the reference audio. Match the voice acoustically to the wooden room with subtle room reflections. When the camera cuts away, the voice retains a believable position and distance within the saloon. Reduce its mix level under the protagonists’ dialogue without changing the singer’s apparent delivery. Do not paste the original video into the frame. Do not import its original background, unrelated people, modern objects, captions, graphics, or editing. Do not reproduce any microphone unless it is absent from view; stage this as an unamplified saloon performance. No screens, projections, floating rectangles, or picture-in-picture. Do not add film titles or celebrity names. REFERENCE PRIORITY @image1 and @image2 control the protagonists’ identities. @video1 controls the separate singer’s appearance and singing performance. This prompt controls setting, costumes, story, camera coverage, and continuity. Reference labels must never appear on screen. MAIN CHARACTERS MASLYAMBA — @image1: Preserve his recognizable facial structure, receding light-brown hair, short beard, heavyset build, and natural proportions. Weathered charcoal western coat, dark shirt, worn leather revolver holster, battered brown cowboy hat. Grumpy, weary, unexpectedly competent under pressure. His hat stays on his head for the entire film. Do not make him bald, slim him down, or replace his face with the singer’s face. FEMALE PROTAGONIST — @image2: Preserve her recognizable face, strong features, long straight black hair, and black sunglasses. Black leather western jacket, fitted dark clothing, black boots, leather revolver holster. Confident, intimidating, economical movements, dry humor. Her sunglasses remain on. She arrives carrying a burlap sack. She never sings. SINGER — @video1: A distinct bald adult man, recognizable from the supplied video. Period-appropriate off-white shirt, dark waistcoat, dark trousers. Seated at a separate neighboring table on the right side of the saloon. Natural singing expression and restrained hand gestures drawn from the reference. No modern microphone, headphones, stage equipment, or contemporary branding. Keep his face, clothing, chair, and table consistent. He remains part of the room before, during, and after the gunfight. SUPPORTING CAST: An exhausted older bartender with rolled-up sleeves and a stained apron. Adult drinkers, card players, a laughing couple, and a piano player. Two pursuing outlaws: one in a tan coat, one with a dark-red neckerchief. Maintain consistent identities and costumes. VISUAL STYLE Photorealistic western cinematography, cinematic black comedy played straight. A lively frontier saloon: weathered timber, amber oil lamps, dusty daylight, atmospheric haze, realistic leather and glass. Muted brown, amber, charcoal, and warm cream. Subtle film grain, natural motion blur, controlled highlights. All footage, including the singer, shares the same lighting, lens character, texture, and color grade. Use energetic but readable editing: a short moving establishing shot, intimate character inserts, a singer cutaway, a dramatic entrance, lateral tracking, match-on-action, reactions, one motivated whip pan, and clear action coverage. No random spins, decorative transitions, or excessive slow motion. FIXED SALOON GEOGRAPHY Rear center: swinging entrance doors. Left wall: bar and bottle shelves. Foreground left: Maslyamba’s small square table beside the near end of the bar. Immediately right of his table: a thick wooden support post. Midground right: the singer’s separate rectangular table, several meters from Maslyamba. The singer sits on its far-right side, angled toward the room. Far-right wall: upright piano. Background right: other patrons’ tables. A clear central aisle connects the entrance to the foreground. Establish both tables in shot 1. The singer’s table and Maslyamba’s table are never merged or exchanged. The singer’s area remains outside the principal line of fire. Keep the camera on one consistent side of the entrance-to-protagonists action axis. No reversed room layout, impossible reflections, or unexplained position changes. PROP CONTINUITY — CRITICAL An oversized glass beer mug begins on the LEFT side of Maslyamba’s tabletop, nearest the bar. It remains there until he picks it up in shot 16. The woman carries a burlap sack containing an intact butcher-shop pig head. The pig head is a real animal head, not a mask, toy, or ceramic object. Present it as a brief grotesque black-comedy prop: minimal blood, no exposed internal anatomy, cut surface turned away, no graphic wound close-up. In shot 6: She tips the head from a short height onto the RIGHT side of Maslyamba’s table, nearest the support post. Its snout points toward the camera-facing edge. It settles once and remains in that exact position and orientation. She drops the empty sack onto the floor beside the post. After shot 6: - Pig head stays on the RIGHT. - Beer mug stays on the LEFT until the final shot. - Empty sack stays on the floor beside the post. - Table remains upright and stationary. - Nobody touches, shoots, covers, or moves the head. - No hat lands on the head. - Whenever the tabletop is visible, show the correct props. - When the table is offscreen, its contents remain in place. The singer’s separate table holds one small tin cup. Never transfer the pig head, sack, or oversized beer mug to his table. EXACT TIMELINE — 16 SHOTS, 30 SECONDS SHOT 1 | 00:00–00:02 | THE SALOON IS ALIVE A short moving wide shot establishes the room. Maslyamba sits at his foreground-left table, bored amid the celebration. His oversized beer mug is on the LEFT side. The exhausted bartender works behind the bar. At the neighboring table on the right, the bald singer from @video1 sits ready to perform, exchanging a small nod with a listening patron. He is not singing yet. Other patrons laugh and play cards. Establish the rear entrance and support post. Sound: conversation, glasses, a brief piano introduction. SHOT 2 | 00:02–00:03 | THE LONG SHIFT Medium close-up of the bartender polishing a glass. He gives the lively room an exhausted sideways glance. The piano introduction ends, leaving space for the singer. SHOT 3 | 00:03–00:05 | THE NEIGHBORING SINGER — @video1 The ten-second reference performance begins exactly at 00:03. Medium shot of the bald adult singer seated at his separate table. Recreate the opening two seconds of his reference performance with synchronized lips and natural gestures. A subtle lateral camera move reveals listening patrons. Keep the support post and Maslyamba’s table recognizable in the background-left. The singer belongs physically to the same room. No separate stage or spotlight. At the end of the shot, the entrance doors slam offscreen. The singer continues performing. SHOT 4 | 00:05–00:07 | TROUBLE ARRIVES Hard cut to a low-angle medium-wide view of the entrance. The woman from @image2 steps through the swinging doors carrying the sack in her left hand. Dusty backlight outlines her figure, but her face and sunglasses remain readable. Briefly reveal the same two outlaws approaching outside behind her. The doors swing back. The singer continues offscreen at the natural reference tempo. Conversation softens as nearby patrons notice the woman. SHOT 5 | 00:07–00:09 | ACROSS THE ROOM Lateral tracking medium shot follows @image2 through the central aisle toward Maslyamba. A patron pulls his chair inward to let her pass. The singer remains seated at his separate table in the background-right, continuing the same performance. No restart, duplicated singer, or change of costume. The woman reaches the RIGHT side of Maslyamba’s table beside the post. Cut on her lifting the sack. SHOT 6 | 00:09–00:11 | SPECIAL DELIVERY Match-on-action to a table-height medium two-shot. Using both hands, the woman tips the pig head out of the sack from a short height. It lands on the RIGHT side and settles, snout toward the camera-facing edge. A heavy wooden thud. The mug on the LEFT rattles; a little beer spills over its rim, but the mug remains upright in place. Maslyamba pulls his hand back, offended and startled. The woman drops the empty sack beside the support post. Keep the cut surface hidden and blood minimal. The singer continues offscreen, creating an absurdly cheerful contrast. SHOT 7 | 00:11–00:13 | THE QUESTION Medium close-up of @image2 with the pig head low in the foreground. She glances between the head and Maslyamba and asks in Russian: «Кто из вас Маслямба?» Her mouth remains visible. Lower the singer’s audio in the mix enough for the line to be clear. The last two seconds of the reference performance continue underneath. The ten-second singing segment ends at 00:13. SHOT 8 | 00:13–00:14 | THE SINGER SEES TROUBLE Brief cutaway to the same singer at the same neighboring table. His mouth closes after the final sung phrase; one raised hand settles. He notices the two outlaws pushing through the rear entrance. His expression changes from performance confidence to concern. He remains seated and begins leaning forward, ready to duck. The tin cup stays on his table. SHOT 9 | 00:14–00:16 | MASLYAMBA ANSWERS Medium close-up of Maslyamba, with the rear doorway readable in the background. He replies: «Я. А это кто?» His eyes lift toward the entrance. Behind him, the tan-coated outlaw raises his revolver toward the woman. The red-neckerchief outlaw occupies the other side of the doorway. The singer remains at his own table, now silent. SHOT 10 | 00:16–00:17 | THE FIRST SHOT Medium-long view of the entrance from the protagonists’ side. The tan-coated outlaw barks: «Стоять!» He fires once toward the woman. The bullet strikes the upper part of the support post beside her, producing a short burst of splinters. The outlaws clearly initiate the violence. No visible injury. SHOT 11 | 00:17–00:19 | DOWN One motivated whip pan follows the impact and settles immediately into a readable wide shot. Maslyamba says: «Вниз!» The woman ducks behind the support post and draws her revolver. Maslyamba pushes back from his chair and crouches behind the near end of the bar, drawing his revolver. In the same wide composition, the singer visibly slides off his chair into a crouch behind the far-right side of his own table. His movement is continuous and grounded, not a teleport. Nearby patrons duck where they already are. Maslyamba’s table remains untouched: head RIGHT, mug LEFT, sack beside post. SHOT 12 | 00:19–00:21 | HER RETURN FIRE Low medium shot beside the support post. The woman leans around cover and fires two controlled shots toward the rear doorway. Brief muzzle flashes, believable recoil, natural grip. Her sunglasses stay on. The tan-coated outlaw ducks behind his door jamb. Keep a recognizable edge of Maslyamba’s table and the stationary pig head in the foreground. No fire is directed toward the singer’s table. SHOT 13 | 00:21–00:23 | MASLYAMBA CAN SHOOT Medium shot at bar height. Maslyamba rises just enough to fire two measured shots toward the entrance. His expression is focused; his hat remains on. An incoming round breaks a bottle on the upper shelf behind the bar. Glass falls behind the counter. The bartender stays crouched below, holding his glass and cloth. No graphic injuries. No cartridge cases ejecting from revolvers. SHOT 14 | 00:23–00:25 | THE RETREAT Wide shot preserving the established geography. The protagonists remain near their original cover. A final return shot strikes the wooden doorframe. The red-neckerchief outlaw retreats outside; the tan-coated outlaw follows through the same doors. Both leave on their feet. The protagonists stop firing once they withdraw and lower their weapons. Both tables remain visible. Pig head and beer remain untouched on Maslyamba’s table. The singer remains crouched behind his separate table. Patrons have not disappeared. SHOT 15 | 00:25–00:27 | THE ROOM EXHALES Medium-wide shot behind the bar, echoing the bartender’s earlier composition. The bartender rises, surveys the broken bottle, sighs, and resumes polishing the same glass. In the background: Maslyamba holsters his revolver and sits in his original chair. The woman holsters hers beside the post. The singer cautiously lifts his head above his own tabletop, remaining crouched. He does not restart the song. Other patrons begin looking up. One hesitant piano note breaks the silence. SHOT 16 | 00:27–00:30 | THE PUNCHLINE Stable medium two-shot at Maslyamba’s original table. He is seated; the woman stands beside the support post. Both weapons are holstered. Pig head on the RIGHT in its established orientation. Beer mug on the LEFT. Sack on the floor. Maslyamba visibly picks up the mug with his right hand. Looking at the pig head, he says: «Ему не наливать.» He takes a small drink. The woman gives the faintest smile. The singer’s separate table remains softly recognizable in the background, with the bald singer cautiously peering over its edge. Keep focus on the protagonists and the pig head. End on a brief deadpan hold. SOUND AND EDITING Total runtime: exactly 30 seconds. Follow the 16-shot timeline. Use motivated hard cuts, one match-on-action, and the single specified whip pan. Singer timing: 00:00–00:03 — present in the room, not yet singing. 00:03–00:13 — the continuous ten-second reference performance. 00:13 onward — silent reactions and taking cover. No restarted verses, duplicated vocals, added lyrics, or singing during the gunfight. The singer is a live sound source within the saloon, not an external soundtrack. Keep consistent room ambience across cuts. Do not make the protagonists lip-sync to his voice. Russian dialogue with distinct voices and natural lip synchronization. Keep key dialogue separate from loud gunshots. Gunfight sound: sharp reports, wooden impacts, breaking bottle, hurried footsteps, crowd reactions. After the retreat: short silence, bartender’s sigh, one piano note, final line. No narration, subtitles, captions, or on-screen reference labels. CONTINUITY AND ARTIFACT PREVENTION Keep @image1, @image2, and the singer from @video1 visually distinct. No face blending, duplicated people, identity swaps, or changing hair. Maslyamba keeps his receding hair and hat; only the singer is bald. All characters remain in one consistent saloon. The singer never becomes a separate full-screen source-video insert. His chair, table, tin cup, clothing, and physical scale remain stable. Natural hands, grounded feet, believable sitting and crouching. No bodies intersecting tables, floating weapons, impossible grips, or teleporting movement. Maintain clear firing directions and consistent cover positions. The pig head never disappears, moves between tables, or acquires a hat. The beer mug remains stationary until the final pickup. The sack stays beside the support post. Patrons take cover instead of vanishing. Avoid graphic wounds, exposed anatomy, blood spray, or lingering gore. Prioritize character identity, readable cause and effect, stable props, and physical continuity over excessive simultaneous action. Deliver a lively cinematic western miniature: a crowded singing saloon, a dramatic arrival, an absurd pig-head delivery, a brief explosive gunfight, and a dry final joke.

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