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r.domoai.app/Roadster
30 seconds, 16:9, live-action horror, night setting, multi-angle montage, high-speed motion. Image 1 establishes the adult female protagonist: dark brown curly hair, a colorful cardigan, a striped shirt, an orange tie, an off-white skirt, white socks, and pink canvas sneakers. Image 2 features a car; the layout and text in the reference board are for context only and will not appear in the final footage.
Setting: An eight-story parking garage (approx. 24 meters high). A continuous curved surface connects the floor to the ceiling on the right side; the ceiling extends toward an open edge, which is covered by a large, blank curtain. Across a 12-meter-wide street lies an open-air parking deck, one level lower, connected to a downward-sloping ramp. The ground is wet from recent rain; the night sky is a deep blue. An exterior wide shot reveals the eight-story facade and the street far below. The primary direction of escape is from right to left.
0–6 seconds: A low-angle tracking shot follows the pink sneakers as the protagonist runs, pursued by zombies. She dives into a white car; as a zombie’s hand gets caught in the door gap, she yanks the door shut, pulling her hand back just in time. The seatbelt clicks into place. Through the windshield, the downward ramp is blocked by a horde of zombies; one lunges onto the hood.
6–13 seconds: She glances up at the curtain covering the curved surface, then abruptly reverses, throwing the zombie off the hood before accelerating. The white car splashes through puddles. A side-angle wide shot shows the vehicle—driven by momentum and some form of adhesion—speeding up the continuous curve onto the wall and ceiling, moving upside down. Overhead lights streak past at high speed, leaving the zombies far behind.
13–23 seconds: A powerful blast of cold air erupts from the rear of the vehicle, propelling the inverted car forward to crash through the curtain. A fixed side-view shot from outside the building captures the car streaking past, sending shreds of fabric flying and revealing the deep, open space above the street below. A pursuing zombie plunges off the edge of the building, while the car continues its trajectory, soaring across the street. Inside the vehicle, the female protagonist is secured by a seatbelt; her curly hair hangs toward the roof as the city outside spins by. Cut to a low-angle, upward-facing shot from the street level: the white vehicle streaks through the sky between two buildings. Thrusters positioned around the craft pulse, causing it to roll half a rotation along its longitudinal axis; the jets then adjust to halt the spin, orienting the wheels downward as it continues to approach a lower-level platform on the opposite side at high speed. This sequence must clearly convey the full distance of the leap, the height of the buildings, and the actual speed—no slow motion.
23–30 seconds: Zombies on the opposite platform look up. The vehicle descends, braking via downward-facing thrusters; standing water blasts outward in a ring, and the resulting shockwave knocks back nearby zombies. The vehicle touches down on all four wheels, its suspension compressing, before immediately accelerating. A fixed, ground-level camera captures the vehicle rushing forward and brushing past, kicking up a spray of water. The final long shot shows the taillights receding rapidly along a downward ramp connected to the platform, while a torn curtain continues to flutter in the background.
Audio: Rapid footsteps, heavy breathing, doors being struck, the click of a seatbelt buckle, a sharp surge in motor noise, tires screeching, the explosive burst of thrusters, the sound of tearing fabric, the whistling of wind in mid-air, the impact of landing, and the fading hum of the motor. The thrusters emit cold air, not flames. No dialogue, on-screen text, or graphic dismemberment. The focus is on the rapid movement of the vehicle past objects in the foreground and its swift displacement within a fixed frame—speed is conveyed through motion, not camera shake. The vehicle does not deform, pass through walls, or right itself before exiting the space between the buildings.