Beat-Synced Manga-Style Music Edit Prompt

Turn the attached footage into a beat-synced, manga-style music edit and send me the finished MP4. INPUTS (fill in or leave blank; if blank, choose sensibly and tell me what you chose) - Source footage: [attached] - Music: [attached track / use the source audio] - Aspect ratio: [default 4:3 1440x1080; 9:16 1080x1920 for vertical], 24 fps - On-screen text / credit: [optional] - Palette: [default: paper #f8f2ea, ink #141012, main accent red #d0141e (shadow #7c0a12), highlight yellow #ffd60a (shadow #f29a00)] GOAL The edit should feel like a living manga page: ink lines, screentone, flat accent colours, bold graphic backgrounds, and hard cuts locked to the music. It must look designed, not like a filter over video. 1. STUDY THE MATERIAL - Go through the footage frame by frame using contact sheets. Catalogue every usable moment: framing, pose, motion peaks, internal cuts, and strong details (eyes, hands, silhouettes, close-ups, crash zooms). - Analyse the music: BPM, beat grid, downbeats, phrases, sections, energy curve, accents, fills, ending. 2. LOCK THE LOOK (applies to every shot) - Mask the subject on every frame (rembg isnet-anime for anime or illustration, a human-segmentation model for live action). Check mask quality before relying on it. - Ink lines via XDoG/DoG, with thickness scaled to the framing. - Paper base. Mid-tones become halftone dots: fixed screen angle, area-correct radius. The deepest shadows become solid ink. - Strict palette: paper + ink + one main accent + one highlight. - Map the subject's most distinctive colour to the flat main accent. - Map glowing or brightest elements to the highlight. - Everything else stays monochrome. - Tune tones per shot so faces read clean (mostly paper, light screentone). - Give subject cut-outs a thin ink outline when composited over graphics. 3. DESIGN YOUR OWN SHOT VOCABULARY Based on what this footage does well and what this music needs, define 6-10 recurring shot types. Each type pairs a kind of source framing with a graphic treatment. Draw from this palette or invent your own: - extreme close-up of a detail with impact shake - silhouette over a bold graphic (concentric rings, rays, burst) - clean black-and-white manga panel with a lightened background - subject cut-out over a graphic ground (halftone texture, printed-page texture, blobs, speed lines, flat colour) - typographic panel (large vertical CJK or bold type, plus small secondary lines; all text original) - impact marks (!!, stars, sparkles) - black or flash frames - glitch frames (channel split, slice offset, magenta/yellow) - tinted frames (pink, red, mono) - halftone-dissolve transitions - punch-ins and crash zooms Rules: - Every type must use something the footage genuinely does well. - Save the strongest images for the strongest musical moments. - Briefly justify each type. 4. PLAN A FRAME-ACCURATE EDL BEFORE RENDERING List start/end frame, shot type, source frames, framing, motion, transition and text for every shot. Rhythm rules: - Cut 1-2 frames before the beat. - Mix durations: 3-6 frame hits against 1-2 beat holds, with at least one breathing moment per phrase. - Build a recognisable 8-beat (or phrase-length) pattern and repeat it, using different source footage each time. - Let the energy follow the music: - a calm intro (for example desaturated, with only the highlight in colour) - dense peaks - an outro where colour drains, glitches escalate, and the edit fades with the music - Land gestures and motion peaks in the footage on musical accents. 5. MOTION AND FINISH - Animate the subject on twos. Keep camera moves (zoom, drift, rotation) smooth on every frame. - Use shake and scale bumps on hits, with subtle film grain. - An optional small HUD element (for example a timecode box) is fine. 6. PREVIEW, FIX, RENDER, VERIFY - Before the full render, render one frame per shot as a preview sheet. Fix composition, mask errors, text cut-offs and palette breaks. - Render, then review the whole output on contact sheets, fix problems and re-render the affected frames. - Encode H.264 at CRF ~20-22 with AAC 192k, synced to the music at the same length. QUALITY BAR - Every frame could pass as a printed panel. - No muddy greys, no unmasked background smears, and no accidentally cropped text. - Dot size stays consistent. - Outside glitch frames, no more than two colours appear besides paper and ink. DELIVER The MP4, plus a short summary of the shot types you invented and where they land in the edit.