Raptor Gate Run

The set is a paddock corridor on a soundstage: packed dirt scattered with straw, one long wall

of matte blue screen panels with white cross tracking markers, the opposite wall of galvanized

steel fence panels with yellow warning tape, an overhead lighting grid, and at the near end a

freestanding steel gate unit: two riveted pillars, a guillotine slab with a small mesh window

raised in its tracks, chain drive and hydraulic ram, an orange beacon on top, and a gate

operator at a red-lever control pedestal. The handler stands mid-corridor, palm out; the three

raptors fan across the corridor twenty meters past him. The gate is his escape route and it is

BEHIND him, which is the whole geometry fix: he has a twenty-meter run and the raptors have

thirty.

Five shots, about fifteen seconds:

- Shot 1 (wide, from beside the gate, down the corridor): the sizing-up. Three heads weaving in

counter-rhythm, one dry jaw clap, the handler backing a half-step.

- Shot 2 (ground level, directly behind the raptors): the break. He spins and bolts away toward

the gate, the operator slams the lever, the slab starts its constant drop, and all three

raptors explode away from the lens after him, throwing dirt back over the camera.

- Shot 3 (tracking alongside the sprint at hip height): the chase. Lead raptor closes to one

body length, jaws clap shut just behind his elbow, slab passes half height in the background.

- Shot 4 (low three-quarter beside the gate, animals' side): the money shot. He dives and

slides under the slab, the slab seats with a boom, the lead raptor slams headlong into the

steel, the second piles into it, the third banks off at the last stride.

- Shot 5 (static, safe side of the gate): the button. He sits against the pillar, chest

heaving, the slab trembles from another blow, and one amber eye appears at the mesh window

and holds there, unblinking.

**The first three seconds.** Shot 1 is the loaded frame: one man, open palm, three predators

fanned down a corridor, a raised gate and an operator's hand on a red lever at the frame edge.

The ARMED state and the run distance are both readable at a glance, which Revision 0 could not

do. The motion hook is the counter-rhythm weave and the jaw clap inside the first two seconds.

**The end hook.** Two beats stack: the headlong double slam at Shot 4 (the humor and share

beat), then the eye at the mesh window in Shot 5 (the chill beat that converts to comments and

rewatches). The third raptor's early bank is the planted rewatch detail.

Debate hooks:

- Real animals versus CGI, with evidence for both camps: the practical gate rig, real drag

furrow and dust feed the practical camp; the animals themselves feed the CGI camp.

- Why bluescreen: if the animals are real, why composite a jungle later; if CGI, why build a

practical gate and let a stuntman get chased.

- Safety culture: no production runs a live-predator chase at a closing gate, versus animal-unit

people explaining trained-recall setups and pre-cycled gates.

- The third raptor: genuine animal intelligence or scripted animation. Each camp will claim it.

Planted tells for eagle-eyed commenters:

- Shot 4, the third raptor begins its bank one full stride before the slam. Pinned-comment

ammunition: "watch the one on the left".

- The gate slab drops at one constant mechanical rate from lever to floor, like a real

chain-driven rig and unlike a dramatised movie door.

- The gate operator's hand never leaves the red lever from Shot 2 to Shot 5.

**Full scale, not miniature.** The house phrase "slightly overcranked miniature physics" does

NOT apply anywhere in this file and must never leak into a paste. Real gravity, machine-rate

gate, animal gallop, human sprint.

Decisions:

- **Seedance 2.0 reference mode, five-shot, no first frame.** Multi-angle is the point of this

revision and Seedance is the only engine that takes the whole image set in one generation.

Platform rule (revision 3): Seedance rejects any reference image with a detectable

photorealistic human face, so the Handler is defined in TEXT and only two assets are

attached, the raptor trio then the gate unit (they become Image 1 and Image 2 positionally).

The handler sheets (Images 1-2) serve the Kling path and Nano Banana chaining only; the

composition frames (Images 5-7) are Kling first frame, framing guides and packaging assets.

- **Kling 3.0 multi-shot as the alternate finals path.** Image 5 becomes a conventional first

frame, the five shots run as "Shot 1:/Shot 2:" text, and cross-shot identity leans on the

prompt (Kling takes no numbered image references in text).

- **One camera instruction per shot, ever.** Static wide, static ground-level, tracking, low

three-quarter with a jolt on the slam, static. No shot gets a second simultaneous move.

- **Draft the slam first.** Shot 4 alone as a 5s single-shot reference-mode test (Images 1-4

only) before spending on the full 15s: the slide-under and the double slam are the two

highest-risk beats in the file.

Two-part release: this ships as Part 2. Part 1 (build) is the corridor prep: fence panels

craned in and bolted, the gate unit stood up and dry-cycled twice with nobody on the floor, dirt

raked, three transport crates rolled in on pallet jacks, ending ARMED with the three crate doors

up, the handler stepping onto the dirt, and the operator's hand settling on the red lever.

Generate as `RAPTOR_GATE_RUN_PART1_BUILD` and post 24h ahead, shared Set 014 episode numbering.