======================= BALLS ========================

subject_definitions:
<Video 1> is the primary live-action source: a woman pouring from a glass jug into a glass cup, single continuous take, her face out of frame. It fixes her hands and clothing, both glass vessels, the framing, and the lighting. The liquid is entirely removed and the pouring gesture is regenerated.
<Subject 1> is the woman in <Video 1>, seen without her face; her hands, skin tone, and clothing are preserved from the source, but her pouring arm and hand are free to move differently to match the pour.
<Subject 2> is the glass cup in <Video 1>, transparent, unchanged in shape and position; it holds only bouncy balls and no liquid.
<Subject 3> is the glass jug in <Video 1>, transparent; its shape and appearance are preserved, it is dry inside and holds only bouncy balls, and its tilt is free to move more than in the source.
<Subject 4> is a mass of small colourful rubber bouncy balls that entirely replaces the water: glossy, solid, brightly coloured balls — red, blue, green, yellow, orange, pink — that pour from the jug and bounce energetically off every surface with high rebound. They are the only thing that pours; there is no water.
<Audio 1> is the synchronized audio track of <Video 1>.

summary:
[video editing + audio reuse] An edited version of <Video 1> in which the water is entirely replaced — not accompanied — by <Subject 4>, a heavy flow of small colourful bouncy balls. The jug <Subject 3> is dry inside and pours only balls; no water pours or collects. The woman's hands and clothing <Subject 1>, the cup <Subject 2>, the jug's appearance, the framing, and the light are kept from <Video 1>. The jug tips decisively and the balls pour out in quantity, ricocheting off the cup, the surface, and each other, bouncing high and scattering everywhere across the scene and out of frame. The woman's face is never shown.

retention_analysis:
<Subject 1> (appears in [Shot 1]): partially_preserved - hands, skin tone, sleeves, and clothing keep the exact appearance of <Video 1>; the pouring arm and wrist may move differently from the source to drive the jug. Face is out of frame throughout and is never introduced.
<Subject 2> (appears in [Shot 1]): fully_preserved - the glass cup keeps its transparency, shape, and screen position; balls fall into it and bounce out of it, but it does not move.
<Subject 3> (appears in [Shot 1]): partially_preserved - the jug keeps its exact glass shape and appearance but is dry inside, holding only bouncy balls; its tilt and motion are regenerated to a fuller, faster pour.
<Subject 4> (appears in [Shot 1]): attribute_transfer - the poured material is fully converted to small colourful bouncy balls with high elastic rebound; each keeps its size and colour while falling, bouncing repeatedly, and ricocheting off surfaces and each other. This candy-bright mass is the entire poured content — no water is present.
<Video 1>: partially_preserved - appearance, vessels, framing, and lighting are kept; the water is entirely removed and does not appear in the jug, the stream, or the cup; the pouring motion of the arm and jug is regenerated as a fuller, faster pour of balls only.
<Audio 1>: partially_copy - room tone retained as a background layer; all water and pouring-liquid sounds are removed and replaced with the light hollow bouncing of rubber balls, continuing after the pour as they keep bouncing.

detailed_description:
[Shot 1] One continuous take with the framing, lighting, and set of <Video 1>. The woman's hands and sleeves <Subject 1> keep the source's exact appearance, but she pours with a full, committed motion, tipping the jug <Subject 3> well over so the balls fall fast and in quantity. <Subject 4> pours from the spout in a heavy, continuous rush of small glossy bouncy balls in bright solid colours — red, blue, green, yellow, orange, pink — many in the air at once, each a distinct saturated colour, tumbling as they fall. The instant they hit the cup <Subject 2> and the surface they rebound high and lively — balls ricocheting off the rim and inner glass, bouncing back up, glancing off one another mid-air and shooting off at wild angles, scattering across the surface below and springing away in every direction, some bouncing right out of frame. A few settle briefly in the cup only to be knocked loose by the next balls raining in. The whole scene fills with bright balls in chaotic energetic motion, bouncing and re-bouncing, colour everywhere. The flow from the jug stays heavy while it is tipped and stops once it returns upright, while the balls already loose keep bouncing and rolling, their motion gradually settling. The hands stay in their source position and appearance; only the pouring motion is fuller.

overall_soundscape:
Retain the ambient room tone from <Video 1>. Remove every water and liquid sound entirely — no splashing, trickling, or pouring-liquid noise. In its place, the light, hollow, rubbery knock of bouncy balls — a lively clatter of many balls ricocheting off glass and hard surface, quick high-pitched taps and boings overlapping at uneven timing, some sharp off the glass and some duller off the surface. The bouncing swells with the pour and continues busily afterward, the taps growing sparser as the balls gradually lose energy and come to rest. Uneven, playful timing throughout.

non_diegetic_music:
N/A


================================== GUMMY =================================

subject_definitions:
<Video 1> is the primary live-action source: a woman pouring from a glass jug into a glass cup, single continuous take, her face out of frame. It fixes her hands and clothing, both glass vessels, the framing, and the lighting. The liquid is entirely removed and the pouring gesture is regenerated.
<Subject 1> is the woman in <Video 1>, seen without her face; her hands, skin tone, and clothing are preserved from the source, but her pouring arm and hand are free to move differently to match the pour.
<Subject 2> is the glass cup in <Video 1>, transparent, unchanged in shape and position; it holds only gummy bears and no liquid.
<Subject 3> is the glass jug in <Video 1>, transparent; its shape and appearance are preserved, it is dry inside and holds only gummy bears, and its tilt is free to move more than in the source.
<Subject 4> is a mass of small gummy bears that entirely replaces the water: identical soft translucent bear-shaped candies in assorted bright colours — red, green, yellow, orange, and clear — glossy and jelly-like, pouring out in a heavy fast flow. They are the only thing that pours; there is no water. Each gummy bear keeps its shape and colour, squishing on impact and springing partly back.
<Audio 1> is the synchronized audio track of <Video 1>.

summary:
[video editing + audio reuse] An edited version of <Video 1> in which the water is entirely replaced — not accompanied — by <Subject 4>, a heavy fast flow of small gummy bears. The jug <Subject 3> is dry inside and pours only candy; no water pours and none collects in the cup. The woman's hands and clothing <Subject 1>, the cup <Subject 2>, the jug's appearance, the framing, and the light are kept from <Video 1>. The jug tips decisively, gummy bears pour out in quantity, bounce softly, fill the cup <Subject 2> until it overflows, and spill over the rim onto the surface below. The woman's face is never shown.

retention_analysis:
<Subject 1> (appears in [Shot 1]): partially_preserved - hands, skin tone, sleeves, and clothing keep the exact appearance of <Video 1>; the pouring arm and wrist may move differently from the source to drive the jug. Face is out of frame throughout and is never introduced.
<Subject 2> (appears in [Shot 1]): fully_preserved - the glass cup keeps its transparency, shape, and screen position; it fills with gummy bears only, holds no liquid, and then overflows but does not move.
<Subject 3> (appears in [Shot 1]): partially_preserved - the jug keeps its exact glass shape and appearance but is dry inside, containing only gummy bears; its tilt and motion are regenerated to a fuller, faster pour.
<Subject 4> (appears in [Shot 1]): attribute_transfer - the poured material is fully converted to gummy bears; every bear shares the same bear shape, differing only in colour, and each keeps its shape and colour while falling, squishing on impact, bouncing, overflowing, and at rest. This candy is the entire poured content — no water is present.
<Video 1>: partially_preserved - appearance, vessels, framing, and lighting are kept; the water is entirely removed and does not appear in the jug, the stream, or the cup; the pouring motion of the arm and jug is regenerated as a fuller, faster pour of candy only.
<Audio 1>: partially_copy - room tone retained as a background layer; all water and pouring-liquid sounds are removed and replaced with the soft rubbery patter of gummy bears, present only when candies are moving.

detailed_description:
[Shot 1] One continuous take with the framing, lighting, and set of <Video 1>. The woman's hands and sleeves <Subject 1> keep the source's exact appearance, but she pours with a full, committed motion, tipping the jug <Subject 3> well over. The jug is dry inside — no water, no liquid of any kind — and from the spout comes only <Subject 4>: a heavy, continuous rush of tumbling gummy bears, glossy and translucent in mixed bright colours, light passing through their jelly bodies, many in the air at once, each the same little bear shape, tumbling and rotating independently and softly nudging one another. The stream is entirely solid candy with no water mixed in. They drop into the cup <Subject 2> with a soft landing, each bear squashing slightly and springing partly back in a low rubbery bounce. The cup fills with dry candy only, no liquid pooling; once full, new bears heap above the rim, then slide and tumble over the sides, spilling out and scattering across the surface below, a few bouncing softly and settling on their backs. Each gummy bear keeps its shape and colour throughout. The flow stays heavy while the jug is tipped and stops once it returns upright. The hands stay in their source position and appearance; only the pouring motion is fuller.

overall_soundscape:
Retain the ambient room tone from <Video 1>. Remove every water and liquid sound entirely — no splashing, trickling, or pouring-liquid noise. In its place, the soft, light patter of gummy bears: muted rubbery taps and pats as the candies tumble from the jug and land against the glass and each other, a gentle sticky bounce with almost no ring, and the soft scatter of bears spilling over the rim onto the surface below. Present only while candies are moving, swelling with the pour and falling quiet once the jug is upright; uneven natural timing throughout.

non_diegetic_music:
N/A


======================================== MINIPEOPLE ===============================================


subject_definitions:
<Video 1> is the primary live-action source: a woman pouring from a glass jug into a glass cup, single continuous take, her face out of frame. It fixes her hands and clothing, both glass vessels, the framing, and the lighting. The liquid is entirely removed and the pouring gesture is regenerated.
<Subject 1> is the woman in <Video 1>, seen without her face; her hands, skin tone, and clothing are preserved from the source, but her pouring arm and hand are free to move differently to match the pour.
<Subject 2> is the glass cup in <Video 1>, transparent, unchanged in shape and position; it holds only the tiny people and no liquid.
<Subject 3> is the glass jug in <Video 1>, transparent; its shape and appearance are preserved, it is dry inside and holds only a mass of tiny living people, and its tilt is free to move more than in the source.
<Subject 4> is a mass of tiny Lilliput-sized human figures that entirely replaces the water: living, animate miniature people, fully clothed and human-shaped, who are in constant frantic motion — struggling, climbing, escaping, and, once they reach the surface below, getting up and running away. They are poured from the jug as a writhing living mass and never go still or limp like dolls. They are the only thing that pours; there is no water.<Audio 1> is the synchronized audio track of <Video 1>.

summary:
[video editing + audio reuse] A surreal edited version of <Video 1> in which the water is entirely replaced — not accompanied — by <Subject 4>, a mass of tiny living Lilliput-sized people who struggle frantically for their lives. The jug <Subject 3> is dry inside and pours only writhing miniature people; no water pours or collects. The woman's hands and clothing <Subject 1>, the cup <Subject 2>, the jug's appearance, the framing, and the light are kept from <Video 1>. The jug tips decisively, the tiny people tumble out in quantity into the cup <Subject 2>, and all of them fight to climb toward the rim and escape — those at the rim succeed and flee, those in the middle claw upward but are held back by the crush, those at the bottom keep straining and reaching even as the weight overwhelms them. Every figure is moving; none is inert. The woman's face is never shown.

retention_analysis:
<Subject 1> (appears in [Shot 1]): partially_preserved - hands, skin tone, sleeves, and clothing keep the exact appearance of <Video 1>; the pouring arm and wrist may move differently from the source to drive the jug. Face is out of frame throughout and is never introduced.
<Subject 2> (appears in [Shot 1]): fully_preserved - the glass cup keeps its transparency, shape, and screen position; it fills with tiny people only, holds no liquid, they climb its inner wall, but it does not move.
<Subject 3> (appears in [Shot 1]): partially_preserved - the jug keeps its exact glass shape and appearance but is dry inside, holding only a mass of tiny living people; its tilt and motion are regenerated to a fuller, faster pour.
<Subject 4> (appears in [Shot 1]): attribute_transfer - the poured material is fully converted to a mass of tiny living human figures rendered as a collective in constant motion; every figure actively struggles, and those that reach the rim climb out, drop to the surface, recover, and flee. They are animate and self-propelled at all times, never static dolls. This mass is the entire poured content — no water is present.
<Video 1>: partially_preserved - appearance, vessels, framing, and lighting are kept; the water is entirely removed and does not appear in the jug, the stream, or the cup; the pouring motion of the arm and jug is regenerated as a fuller, faster pour of tiny living people only.
<Audio 1>: partially_copy - room tone retained as a background layer; all water and pouring-liquid sounds are removed and replaced with a collective chorus of tiny high-pitched cries, frantic and unbroken, loudest at the rim.

detailed_description:
[Shot 1] One continuous take with the framing, lighting, and set of <Video 1>. The woman's hands and sleeves <Subject 1> keep the source's exact appearance, but she pours with a full, committed motion, tipping the jug <Subject 3> well over. The jug is dry inside — no water, no liquid of any kind — and from the spout tumble only <Subject 4>: dozens of tiny living human figures, clothed and human-shaped, falling in a dense mass with their arms and legs kicking and flailing wildly the whole way down, twisting to right themselves in the air. The stream is entirely tiny people with no water mixed in. The instant they land in the cup <Subject 2> they are in frantic motion — every figure alive and struggling, scrambling to their feet, grabbing at one another, hauling and clambering upward. Their fight to survive forms a vertical gradient: at the top near the rim, figures climb over the shoulders of those below and pull themselves onto the glass edge; in the crowded middle, figures claw and kick upward, gaining a little then slipping back, constantly writhing against the press of bodies; at the crushed bottom, figures are pinned under the accumulating weight yet still twitch and strain, arms and hands reaching up through the pile. The figures that make it over the rim tumble down the outside of the glass and drop onto the surface below — and the moment they hit the ground they recover: landing in a crouch or rolling as they fall, then scrambling to their feet, steadying themselves, and running away across the surface, sprinting off in all directions and out of frame to escape. A steady trickle of little survivors keeps reaching the ground, getting up, and fleeing. Every figure keeps moving — climbing, kicking, reaching, falling, or running — and none lies limp or doll-like. New figures keep pouring in, adding to the crush and driving the struggling mass downward. The flow from the jug stays heavy while it is tipped and stops once it returns upright, while the mass in the cup keeps churning and survivors keep escaping across the surface. The hands stay in their source position and appearance; only the pouring motion is fuller.

overall_soundscape:
Retain the ambient room tone from <Video 1>. Remove every water and liquid sound entirely — no splashing, trickling, or pouring-liquid noise. In its place, a collective chorus of tiny high-pitched human cries — a swarm of faint, shrill little screams and shouts, frantic, overlapping and unbroken, no single voice intelligible. The cries are loudest near the rim and continue urgently from the churning middle and bottom, never dying down while the figures move. Under it, the faint skittering patter of tiny feet as survivors land and sprint away across the surface, little footfalls scattering outward. The chorus rises with the pour and continues, still frantic, after the jug is upright.
non_diegetic_music:
N/A


=========================================================== pistols ==========================================

subject_definitions:
<Video 1> is the primary live-action source: a woman pouring from a glass jug into a glass cup, single continuous take, her face out of frame. It fixes her hands and clothing, both glass vessels, the framing, and the lighting. The liquid is removed from the pour and the pouring gesture is regenerated.
<Subject 1> is the woman in <Video 1>, seen without her face; her hands, skin tone, and clothing are preserved from the source, but her pouring arm and hand are free to move differently to match the pour.
<Subject 2> is the glass cup in <Video 1>, transparent, unchanged in shape and position; it holds only the toy pistols.
<Subject 3> is the glass jug in <Video 1>, transparent; its shape and appearance are preserved, it is dry inside and holds only small toy pistols, and its tilt is free to move more than in the source.
<Subject 4> is a mass of small metallic toy pistols that replaces the poured water: miniature chrome and gunmetal toy guns, glossy and reflective, that tumble from the jug and, at the instant each one lands, squirt a small jet of water from its muzzle. They are the only thing that pours from the jug; the jug itself pours no water.
<Audio 1> is the synchronized audio track of <Video 1>.

summary:
[video editing + audio reuse] An edited version of <Video 1> in which the poured water is replaced by <Subject 4>, a heavy flow of small metallic toy pistols. The jug <Subject 3> is dry inside and pours only toy guns — no water pours from the jug. The woman's hands and clothing <Subject 1>, the cup <Subject 2>, the jug's appearance, the framing, and the light are kept from <Video 1>. The jug tips decisively and the shiny pistols tumble out in quantity; as each one lands it fires a small squirt of water from its muzzle, so the cup and surface fill with clattering metal toys and little criss-crossing water jets. The woman's face is never shown.

retention_analysis:
<Subject 1> (appears in [Shot 1]): partially_preserved - hands, skin tone, sleeves, and clothing keep the exact appearance of <Video 1>; the pouring arm and wrist may move differently from the source to drive the jug. Face is out of frame throughout and is never introduced.
<Subject 2> (appears in [Shot 1]): fully_preserved - the glass cup keeps its transparency, shape, and screen position; toy pistols fall into it and squirt water, but it does not move.
<Subject 3> (appears in [Shot 1]): partially_preserved - the jug keeps its exact glass shape and appearance but is dry inside, holding only toy pistols; its tilt and motion are regenerated to a fuller, faster pour. No water pours from the jug.
<Subject 4> (appears in [Shot 1]): attribute_transfer - the poured material is fully converted to small metallic toy pistols; each keeps its size and chrome/gunmetal appearance while falling, landing, and scattering, and each fires a small water jet from its muzzle at the moment it lands. The toy guns are the entire content poured from the jug; water appears only as these per-pistol muzzle squirts.
<Video 1>: partially_preserved - appearance, vessels, framing, and lighting are kept; no water pours from the jug or the stream; the pouring motion of the arm and jug is regenerated as a fuller, faster pour of toy pistols only.
<Audio 1>: partially_copy - room tone retained as a background layer; the water-pouring sound is removed and replaced with the metallic clatter of falling toy guns and small squirt sounds as they fire.

detailed_description:
[Shot 1] One continuous take with the framing, lighting, and set of <Video 1>. The woman's hands and sleeves <Subject 1> keep the source's exact appearance, but she pours with a full, committed motion, tipping the jug <Subject 3> well over so the toys fall fast and in quantity. The jug is dry inside — no water pours from it — and from the spout tumble only <Subject 4>: many small metallic toy pistols, chrome and gunmetal, glossy and reflective, catching sharp glints of light as they spin and tumble through the air, each a distinct little gun shape. The instant each pistol lands — striking the rim of the cup <Subject 2>, the pile, or the surface below — it fires a quick thin jet of water from its muzzle, a small arcing squirt shooting off in whatever direction the gun happens to point, so dozens of little water spurts criss-cross the scene at random angles as more pistols keep landing. The toys clatter into the cup and bounce and scatter across the surface, some ricocheting off the rim and skittering away, piling up as bright metal while their muzzle-squirts spray in every direction. New pistols keep pouring in, each adding its own squirt on impact. The flow from the jug stays heavy while it is tipped and stops once it returns upright, while the fallen pistols keep settling and the last squirts trail off. The hands stay in their source position and appearance; only the pouring motion is fuller.

overall_soundscape:
Retain the ambient room tone from <Video 1>. Remove the water-pouring sound from the jug — no trickling or pouring-liquid noise from the spout. In its place, the hard metallic clatter of small toy guns tumbling and striking glass and surface — bright tinny clacks and clinks, heavier for the ones that land flat — layered with quick little squirt and spray sounds as each pistol fires its jet on impact, the wet hiss and spatter of many small water spurts. The clatter and squirts swell with the pour and thin out afterward as the last toys settle. Uneven, playful timing throughout.

non_diegetic_music:
N/A


====================================== SNAKES ============================================

subject_definitions:
<Video 1> is the primary live-action source: a woman pouring from a glass jug into a glass cup, single continuous take, her face out of frame. It fixes her hands and clothing, both glass vessels, the framing, and the lighting. The liquid is entirely removed and the pouring gesture is regenerated.
<Subject 1> is the woman in <Video 1>, seen without her face; her hands, skin tone, and clothing are preserved from the source, but her pouring arm and hand are free to move differently to match the pour.
<Subject 2> is the glass cup in <Video 1>, transparent, unchanged in shape and position; it holds only snakes and no liquid.
<Subject 3> is the glass jug in <Video 1>, transparent; its shape and appearance are preserved, it is dry inside and holds only a few live snakes, and its tilt is free to move more than in the source.
<Subject 4> is a small number of individual live snakes — roughly six to eight — that entirely replace the water: slender snakes in natural browns and greens with distinct patterns, each a separate, whole, clearly-bounded body that stays distinct from the others at all times, never merging, fusing, or splitting. They slither with a smooth undulating motion and keep visible space between them. They are the only thing that pours; there is no water.
<Audio 1> is the synchronized audio track of <Video 1>.

summary:
[video editing + audio reuse] A surreal edited version of <Video 1> in which the water is entirely replaced — not accompanied — by <Subject 4>, a few individual live snakes. The jug <Subject 3> is dry inside and drops only a small number of separate snakes, one or two at a time; no water pours or collects. The woman's hands and clothing <Subject 1>, the cup <Subject 2>, the jug's appearance, the framing, and the light are kept from <Video 1>. The jug tips and the snakes slither out one by one as distinct whole bodies with space between them, landing in and around the cup <Subject 2> and slithering away separately across the surface. Each snake stays a single continuous body throughout. The woman's face is never shown.

retention_analysis:
<Subject 1> (appears in [Shot 1]): partially_preserved - hands, skin tone, sleeves, and clothing keep the exact appearance of <Video 1>; the pouring arm and wrist may move differently from the source to drive the jug. Face is out of frame throughout and is never introduced.
<Subject 2> (appears in [Shot 1]): fully_preserved - the glass cup keeps its transparency, shape, and screen position; a few snakes rest in and climb it, holds no liquid, but it does not move.
<Subject 3> (appears in [Shot 1]): partially_preserved - the jug keeps its exact glass shape and appearance but is dry inside, holding only a few live snakes; its tilt and motion are regenerated to a gentle, gradual pour that releases snakes one or two at a time.
<Subject 4> (appears in [Shot 1]): attribute_transfer - the poured material is a small number of individual live snakes, each a separate whole body that stays distinct at all times. They slither and keep clear space between them; they do NOT coil into a tangle, and no snake merges into, fuses with, or splits from another. This is the entire poured content — no water is present.
<Video 1>: partially_preserved - appearance, vessels, framing, and lighting are kept; the water is entirely removed and does not appear in the jug, the stream, or the cup; the pouring motion of the arm and jug is regenerated as a gentle pour releasing a few snakes.
<Audio 1>: partially_copy - room tone retained as a background layer; all water and pouring-liquid sounds are removed and replaced with the dry slither and soft hiss of a few snakes.

detailed_description:
[Shot 1] One continuous take with the framing, lighting, and set of <Video 1>. The woman's hands and sleeves <Subject 1> keep the source's exact appearance as she tips the jug <Subject 3>. The jug is dry inside — no water, no liquid of any kind — and from the spout emerge only <Subject 4>: a few slender live snakes, six to eight in all, in natural browns and greens with distinct patterns, sliding out one or two at a time rather than in a mass. Each snake is a separate, whole body with clear empty space around it, undulating in a smooth S-curve as it falls. The snakes land in and around the cup <Subject 2> and slither in separate directions — each keeping to its own path, well spaced from the others, gliding across the surface with clear gaps between their bodies. They do not pile together or coil into a knot; each stays a single continuous snake from head to tail, distinct from every other, never overlapping into a tangled mass. One or two climb the glass and slip over the rim, moving away individually across the surface below. Throughout, each snake remains one clearly-bounded body — none merges into another, none splits apart, none appears out of another's body. The hands stay in their source position and appearance; only the pouring motion is regenerated.

overall_soundscape:
Retain the ambient room tone from <Video 1>. Remove every water and liquid sound entirely — no splashing, trickling, or pouring-liquid noise. In its place, a dry, sparse, sinuous sound: the soft papery slither of a few scaled bodies sliding over glass and surface, with an occasional faint hiss, quiet and uncrowded. The sound rises gently as the snakes emerge and continues softly as they move away.

non_diegetic_music:
N/A