Orange-and-white ferry sailing toward the open sea AI Image Prompt

1. First-Frame Lock (Style & Identity Lock) Use the reference image as the sole first frame, and strictly carry through the original film's style for the entire duration: epic hand-drawn American-comic / cel-animation texture — crisp, firm line-art contours, large flat color blocks, highly saturated three-tone light and shadow (no gradient noise), graphic cotton-ball cumulus clouds, hand-drawn water ripples and coral texture, presenting an overall animated-feature-grade illustration feel. Must remain unchanged: the orange-and-white sightseeing ferry's hull shape (hull lines, upper wheelhouse, mast antenna, railings, rows of portholes and the silhouettes of passengers inside); the shapes of the rocks and tree canopies on the small island at left; the position and contours of the cloud clumps in the sky; the position and constant brightness of the single oblate yellow sun directly overhead; the distribution of the shallow-sea coral reef and the color-step boundaries between deep and shallow water (teal → lake blue → deep blue). Do not add new boats, people, birds, buildings, or any new elements. Aspect ratio: 21:9 (2.35:1) | Duration: 10 seconds | Frame rate: 24fps, cinematic animation feel | Tone: departure on a long voyage, clear and serene, the vastness of youth 2. Storyboard Script (4 continuous narrative segments) Storyboard 1 | 0.0–2.5s [Awakening of the Clear Sea] The image starts exactly from the first frame. The entire shallow sea begins to "come alive": hand-drawn water ripples undulate slowly in looping brushstrokes, the coral reef deforms slightly underwater with refraction, the white light-patch patterns in the shallow water drift slowly in a hand-drawn manner (natural refraction texture, not a light effect); the ferry glides toward the front right at extremely low speed, leaving a short, soft wake on the water; the cotton-ball cumulus clouds drift laterally very slowly and expand slightly; the tree canopy on the left island sways gently in the sea breeze. Camera: extremely slow dolly in, pressing closer toward the ferry, with a very slight handheld breathing feel. Storyboard 2 | 2.5–5.0s [Following the Ship] The camera slowly trucks right to follow the ferry; the foreground coral reef sweeps past the lower edge of the frame with strong parallax, and the boundary line between deep and shallow water slowly shifts with the viewing angle. The hull tilts very slightly; the silhouettes of passengers in the portholes sway minutely, and passengers on the upper deck gently turn their heads to look around; the mast antenna and the small flag on the roof tremble slightly in the moving airflow; the wake ripples spread backward into two soft forks. Camera: slow right truck plus slight push in, even speed with no acceleration. Storyboard 3 | 5.0–7.5s [Low Angle Close to the Water] The camera slowly lowers close to the water surface (crane down); foreground waves take up more of the lower edge and the hand-drawn ripples become clearer; coral shadows can be seen sweeping past beneath the hull. The ferry grows larger in frame, revealing more hull detail (railings, lifebuoy, bow lines); the sky's cumulus clouds are compressed into a line at the top edge of the frame, and the yellow sun stays fixed in place. Camera: slow descent plus continuous slight push in, seamlessly continuing in the same direction as the previous segment. Storyboard 4 | 7.5–10.0s [Sailing Toward the Open Ocean] The camera continues pushing in close to the water and tilts up extremely slowly; the ferry's bow clearly points toward the deep-blue sea in the distance at right, and the wake stretches long at the lower edge of the frame; the deep-blue open sea and the horizon rise within the frame, the cotton-ball cumulus layers unfold fully, and the sky returns as the main subject. Passenger figures shrink with distance but remain discernible. The image settles into a steady freeze as it pushes in. Camera: continuous push in + tilt up until the end; no pull-back, no retreat, no orbit at the ending. 3. Unified Camera and Atmosphere Requirements Use only three kinds of camera moves throughout: extremely slow push in, slow truck, and low-water descent + slight tilt up; the four segments connect seamlessly in the same direction and at the same speed, with no whip pan, no fast cuts, no zoom jumps, no orbiting. Lighting follows the first frame's clear noon condition throughout; brightness, color temperature, and the light/dark relationships of the color blocks stay constant; the sun's position is fixed and its brightness constant, with no glow or brightness breathing. Motion sources are limited to: hand-drawn looping water ripples, underwater refraction deformation, hull gliding and wake, slow cloud drift and expansion, gentle swaying of the tree canopy and small flag, subtle passenger movements. Strictly maintain the cel flat-color texture and consistent line weight; do not turn to photorealistic rendering; no real seawater physics simulation or 3D texture. No dialogue, no voice-over, no subtitles, no comic speech bubbles or onomatopoeia, no text elements of any kind. 4. Negative Prompt Particle effects, light effects, volumetric light, lens flare, flickering light spots, blown-out water highlights, rainbow mist, smoke effects, slow-motion trails, comic speech bubbles, onomatopoeia, any subtitles / watermarks / LOGOs / speaking mouth shapes, new boats / birds / people / buildings, the sun moving or brightening, cloud clumps jumping position, pull-back at the ending, camera retreat, drone orbit, fast transitions, frame flicker, abrupt color shifts, style drift (to photorealistic / to 3D / to oil painting), inconsistent line weight, dirty color-block edges, hull deformation, broken perspective, change in passenger count, low resolution, blur, noise, excessive shake