プロンプト
Close on the face of a Japanese man of twenty in relaxed casual loungewear sitting on a rooftop bench at night, lighting a cigarette, an embarrassed half-smile coming through the first of the smoke. The flame of a lighter lifts his face out of the dark for a moment.
He is properly SEATED ON THE BENCH, upright, his weight on the slatted seat and his feet flat on the deck. He is not crouching, not sitting on the floor, not perched on the arm or the back of the bench and not leaning against the parapet.
THE GEOGRAPHY OF THIS ROOF IS FIXED AND MUST BE IDENTICAL IN EVERY SHOT.
The parapet with its steel handrail runs along the FAR edge of the deck, with the city beyond it. The boxy stair-house and the water tank stand at the NEAR edge, opposite the parapet. Between them, on the open deck three or four paces back from the parapet, stands ONE bench, and its seat FACES THE PARAPET AND THE CITY. The bench is a plain weathered wooden bench -- seat and low back both of horizontal wooden slats gone grey, on a rusting painted steel frame with a diagonal cross-brace underneath, long enough for two. It is not a chair, not a folding seat, not a park bench with armrests, not a concrete ledge, and there is never a second seat of any kind in the frame. It is free-standing with walkable deck in front of it and behind it, and is not attached to the parapet.
The two of them sit on that one bench, side by side, BOTH FACING THE SAME WAY -- out toward the parapet and the city. The man sits on the bench's right half as the bench itself faces; the woman on its left half. This never changes.
ONE SEAT, NOT TWO. Both of them have their weight on the SAME CONTINUOUS SLATTED SEAT: the run of slats passes unbroken from under one of them, across the gap between them, to under the other, and that unbroken run must be visible in the frame. They sit only about half a metre apart -- close enough that one bench obviously holds them both, not touching. There are NEVER two seats, two benches, a bench plus a chair, or two people on separate furniture, and they never face each other.
CAMERA POSITION -- FRONT. The camera stands on the deck BETWEEN the bench and the parapet, at the height of a seated person, with its back to the city, looking back at them. From here the WOMAN is on the LEFT of the frame and the MAN on the RIGHT. Behind them the frame shows the roof deck, the stair-house and the water tank, and beyond the roof's far edges the lit windows of the neighbouring buildings going to soft round bokeh -- this roof has lit buildings on every side at nearly eye level. For this shot the camera is offset toward the MAN's side, so he is centred and the woman is only a soft out-of-focus shoulder entering at the LEFT edge of the frame.
There is nobody else on this roof: no third figure, no extra silhouette and no bystander anywhere, including far back, in shadow and out of focus. Early summer night, humid, warm and still. Locked off.
Photorealistic cinematic film still, 16:9, muted film-like colour grading. Keep every face, hairstyle and outfit exactly consistent with the character reference images, and the bench and the railing exactly consistent with the location reference image. No text, no logos, no watermark.