Ink-wash boat crossing toward ancient pagoda between sun and moon AI Image Prompt

I. First-frame lock (Image-to-Video baseline) Use the reference image as the sole first frame; strictly preserve the original composition, brush-and-ink texture, colors, and all scenery forms unchanged: an ink-wash misty deep ravine river surface; in the lower left foreground, a narrow wooden boat; on the boat, a boatman wearing a blue-gray long gown, a wide-brimmed bamboo hat, and a long braid, with his back to the camera, holding a long oar braced horizontally; the river surface is mirror-like, reflections clear yet slightly trembling, with scattered red leaves drifting on the water; on both sides are several giant vertical hanging ink-wash cliffs, cliff walls with dripping brushstrokes and layers of entwining mist; in the center of the cliff gap stands a five-story ancient pagoda with black tiles and upturned eaves; behind the pagoda is a low-hanging orange-red setting sun; in the left cliff gap simultaneously hangs a pale white full moon; on the right bank slope two ochre-red maple trees grow at a slant, with gnarled branches; in the background are silhouettes of several old withered trees. II. Overall style anchoring (unchanged throughout the film) Chinese ink-wash freehand × cinematic Eastern aesthetics / epic mood / stream-of-consciousness slow narrative; main colors are ink black—gray cyan—snow-white mist—ochre-red maple—sunset orange; the only light sources are natural sunset and moonlight (maintain the form and brightness of the sun and moon in the original painting; do not add halos, light beams, or glowing effects); xuan paper texture, ink diffusion, breathing negative space, mist as real volumetric water vapor; camera stable, extremely slow, restrained, like a scroll slowly unfolding; throughout the film: no special-effect lighting, no particles, no lens flares, no inscriptions, seals, text, subtitles, no dialogue lip-sync. III. Storyboard script (4 segments, continuous story: a boat crossing toward the ancient pagoda between sun and moon) Shot 1 | 0.0–2.5s | Still water (subtle first-frame motion) From the first frame, the camera begins an extremely slow push-in; river mist slowly drifts horizontally from the water surface, water ripples rise and fall very slightly, reflections softly waver accordingly; the boatman's gown hem and the edge of his bamboo hat are gently lifted by a breeze; a few red leaves drift slowly with the water; mist bands on the cliffs slowly surge upward; sun and moon remain still. Shot 2 | 2.5–5.0s | Poling the oar The camera sinks close to the water surface and slowly tracks from the side-rear of the boat; the boatman sinks his shoulder and pushes the long oar into the water, bringing up tiny splashes and vortices; ripples spread outward in concentric circles, disturbing the entire reflection; the boat slowly glides deeper into the frame; the mist curtain ahead is pushed open by the boat, revealing a gap; the pagoda outline becomes clear layer by layer. Shot 3 | 5.0–7.5s | Pagoda and maples The camera slowly tilts up from the water surface, passing over the ochre-red maple trees on the right bank slope; branches and leaves sway gently as a whole in the wind; several red leaves detach and spiral down, touching the water one after another and opening small ripples; the view then moves to the ancient pagoda in the cliff gap; upturned eaves and tile ridge textures are clear; mist slowly climbs along the cliff walls and sweeps horizontally past the front of the pagoda; the setting sun and pale moon remain in place, unmoving. Shot 4 | 7.5–10.0s | Crossing (ending) The camera falls back to the main axis of the river surface; the boat continues silently forward between the cliff gap and the ancient pagoda; the boatman's head turns very slightly to look toward the pagoda shadow (always from behind, never showing his face), then he lowers the oar again, shoulders and back rising once; mist gradually closes in; water ripples and red leaves still flow slowly; the camera keeps slowly pushing forward along the water surface to conclude—no pull-out, no rise, no cut to black. IV. Consistency and technical requirements Maintain ink-wash freehand style and unified brushstrokes throughout; do not convert to realistic photography, 3D, or change color tone or season. Scenery positions and counts consistent: cliffs, ancient pagoda, maple trees, withered trees, boat, sun and moon positions unchanged; do not add or remove scenery or characters. Boatman's clothing, bamboo hat, braid, and posture consistent; always back-facing or rear-side to camera; no front face, no costume change. Sun and moon keep original painting form and brightness; no movement, no enlargement, no halos or light beams. Mist flow direction and wind direction unified throughout the film (flowing from the left side toward the right-rear of the frame); red leaf falling direction consistent. Segments connected by continuous camera movement or natural slow cuts; camera position span no more than 30°; no jump cuts, flash cuts, or clipping. 24fps cinematic feel, 9:16 vertical, 4K xuan paper and ink-rhythm details, slight film grain. Sound effects (optional, no voice): water sounds, oar entering water, wooden boat creaking, valley wind, a distant temple bell. V. Negative Prompt Light effects, halos, light beams, lens flares, glowing particles, flying light specks, magic effects, realistic photo style, 3D rendering, CG plastic feel, inscriptions, seals, text, subtitles, watermarks, logos, dialogue and lip-sync, front-face close-ups, added characters or boats, sun/moon movement, enlargement, or dual light sources, sudden weather changes, rain, snow, sudden color tone shifts, distorted cliff and pagoda structures, misaligned reflections, mirror distortion on water surface, flickering or shaking image, fast camera movement and rotation, ending pull-out/zoom-out/rise, style drift.