OUTPUT AND PHONE CAPTURE
Create one 14-second vertical 9:16 four-look dance video of exactly one adult male lead, the same man in Images 5 and 6, in the four approved outfits from Images 1 to 4, moving through Laem Thaen, Bang Saen Beach, a fictional Saphan Khwai shophouse karaoke frontage and Nong Mon Market, as if a friend filmed him on an ordinary smartphone while local life continued behind him.
Use a phone's 1x main camera around 26mm equivalent at natural chest height, with a comfortably full-body view that includes his hair, headwear, both hands during raised-arm movements and complete footwear; keep him clearly readable as the foreground lead, with only small handheld framing corrections and no wide arena-style pullback.
Keep ordinary phone depth of field, dependable subject focus, natural motion blur and slight handheld micro-sway; practical daylight or shop light reveals natural skin and fabric texture, with mild night shadow noise only where appropriate, rather than beauty smoothing, glossy cinema lighting, artificial bokeh, cartoon or CGI rendering.

REFERENCE AUTHORITY
Images 1 to 4 define the four approved wardrobe states and their accepted natural body proportions, including the relationship between head, neck, shoulders, torso, arms and legs; preserve that accepted balance without enlarging or shrinking his head, lengthening his legs, slimming his waist or adding muscle.
Image 5 is the original near-frontal facial identity photograph and Image 6 is the original true three-quarter facial study; retain his adult facial shape, eye spacing and eyelids, nose, mouth, cheeks, jaw, short swept-up black hair, moustache, sparse goatee and natural cheek marks, rather than averaging his anatomy with other people or redesigning him for the costume.
Images 7 and 8 are the man's real eyewear photographs: Image 7 supplies the thin gold Aviator frames and brown lenses only for Look 3, and Image 8 supplies the black Wayfarer frames and dark lenses only for Look 4; these frames follow the nose and ears through the source head movement, and their real lens darkness must not be replaced with clear lenses merely to expose his eyes.
The stills do not control the dance, standing pose, head orientation, gaze, static facial expression, framing, studio background or lighting; source-photo cars, shop interiors, bag straps and ordinary shirts stay out of the output, while original facial photographs support naturally occurring head turns rather than imposing a portrait pose.

MOTION AND NATURAL PERFORMANCE
Video 1 is the silent grayscale relative-depth performance reference and the sole authority for the lead's dance sequence, rhythm, timing, head and body path, limb trajectories, weight shifts and movement direction; retarget that complete performance to his accepted body without slowing the dance, adding poses, restarting at each cut or forcing his face toward the camera.
Video 1 contributes movement geometry only, not the source person's face, proportions, hair, costume, glasses, background, grayscale appearance, light, audio or editorial cuts; the background people and vehicles move independently and never copy the dancer or inherit his motion.
Follow the opening source progression from open hands near the shoulders into palms meeting around chest height and the joined hands travelling upward; at each actual wai beat bring two open palms cleanly together, fingers straight and aligned upward, with natural thumbs and wrists, never closed fists or interlaced fingers, while other beats retain the source's ordinary hand shapes instead of permanently joined hands.
Let his expression respond to the dance through relaxed attentive eyes, natural blinking and small eyebrow and cheek movements, with only an occasional brief faint closed-lip smile; preserve recognizable face shape without a broad toothy grin, exaggerated mugging or a frozen mask, and do not add head turns, pause the hands or dampen the choreography to showcase the face.

ORDERED WARDROBE AND EYEWEAR
Look 1 is Image 1's red-and-antique-gold Sun Wukong costume, sculpted armor, red brocade, long red cape, gold circlet and dark decorated boots, without glasses or a staff; retain the man's actual human face, black hair and facial hair, not a monkey face, mask, fur or cartoon hairstyle.
Look 2 is Image 2's adult manga-maid cosplay: a black long-sleeved dress with an ivory closed collar and cuffs, black neck bow with an oval brooch, ivory ruffled bib apron and shoulder frills, a full mid-calf skirt with ivory lace and hem trim, an ivory ruffled headband, opaque black tights and black low-heeled Mary Jane shoes, without glasses; keep both hands bare and visible and preserve the same adult man, natural body shape, short black hair, moustache and goatee, with opaque costume coverage and no added transformation sequence.
Look 3 is Image 3's navy double-breasted suit, ivory open-neck shirt, brown loafers and gold Aviator sunglasses from Image 7; Look 4 is Image 4's plain solid-teal linen camp shirt, ivory shorts, off-white sneakers and black Wayfarer sunglasses from Image 8, with no new bag, handheld prop or change to the approved garments.
The eyewear sequence is no glasses, no glasses, gold Aviators, black Wayfarers; change the complete outfit and appropriate eyewear state only at the hard cuts at 3, 6 and 10 seconds, without a glasses-removal gesture, fading lenses, blending outfits or returning to a previous state.

0 TO 3 SECONDS — WUKONG / LAEM THAEN
Begin the source dance in Look 1 without glasses in a clear paved part of the Laem Thaen seaside viewpoint plaza in Chonburi; show the open sea beyond the low edge and the broad coastal public space in soft late-afternoon daylight, with the dancer fully framed and well separated from the seawall, visitors and any traffic.
Behind the dancer, visitors stroll and a pair pause to photograph the sea while a light coastal breeze moves fabric naturally; the plaza remains inhabited without anyone entering his movement space or copying the choreography.

3 TO 6 SECONDS — MANGA MAID / BANG SAEN BEACH
Hard cut at 3 seconds to Look 2 without glasses on a level firm-sand patch at Bang Saen Beach, continuing the exact source motion phase; make this a distinct beach view with rows of shaded deckchairs and beach umbrellas receding diagonally behind him, a visible sandy shore and shallow sea in ordinary daylight, not the paved Laem Thaen plaza.
Beachgoers walk beside the water and seated visitors talk beneath umbrellas while an attendant adjusts a deckchair farther back; keep the dancer's shoes grounded on the firm surface, his complete arms and hands visible and the beach activity outside his clear dance footprint.

6 TO 10 SECONDS — SUIT / SAPHAN KHWAI KARAOKE
Hard cut at 6 seconds to Look 3 with gold Aviators on a clear recessed forecourt outside a fictional modest karaoke shop in an older commercial shophouse near Saphan Khwai, Bangkok, at night; weathered shopfront surfaces, neighboring shophouse bays and ordinary colored karaoke practical lights establish the street setting, with enough soft doorway light to read his face and hands rather than covering them in a neon wash.
Adult female reception staff, written as women from Isan without stereotyped appearance or costume, sit on chairs near the entrance, talk naturally and welcome an arriving adult guest; passersby continue along the farther sidewalk and occasional vehicles travel on the separate road, while the lead keeps dancing alone with clear space and no interruption.
Treat the karaoke business and staff as fictional, with ordinary respectful hospitality and incidental signage, not a portrayal of identifiable real employees or an implication of sexual services; the seated staff remain supporting people, not dancers or clones of the lead.

10 TO 14 SECONDS — TRAVEL / NONG MON MARKET
Hard cut at 10 seconds to Look 4 with black Wayfarers in a clear inset frontage beside a Nong Mon Market food-and-souvenir stall in Chonburi, continuing the source movement without a restart; awnings, close commercial shopfronts, bamboo khao-lam tubes and bagged local food gifts establish a busy covered-market setting in natural daytime shade, clearly different from the night karaoke shop and both coastal scenes.
Behind him a vendor bags goods and hands a purchase to a customer while shoppers browse the neighboring frontage; maintain a separate circulation lane and keep the full dancer, both hands and footwear readable rather than placing foreground customers across his body.

CONTINUITY AND FINAL STATE
Each cut changes the outfit, eyewear state, location and ambient light together while preserving the ongoing source motion phase, movement direction, accepted head-to-body proportions and natural facial performance; these are four distinct places connected by exactly three editorial hard cuts, not one continuous geography, a dissolving background or a magical body transformation.
Within each shot, the dancer, pedestrians, staff, shoppers, vehicles and architecture share coherent scale, perspective, practical light direction, contact shadows, exposure, grain and motion blur; background activities continue naturally without frozen crowds, loops, abrupt popping or synchronized dancing.
The armor stays attached with plausible costume rigidity while its cape and sash follow body motion; the maid dress, apron and ruffles, suit jacket, linen shirt and shorts respond with realistic weight and inertia without changing his anatomy, hiding the wai or making feet slide or float, and present sunglasses stay physically attached to his head.
Finish the complete source dance in Look 4 at Nong Mon Market with black Wayfarers still on, both feet grounded and market life continuing; after the 13.733-second motion reference ends, allow only a brief natural settling moment to fill the 14-second output, with no repeated dance, speed stretch, new victory pose, freeze frame or black tail.

ESSENTIAL EXCLUSIONS AND AUDIO
Keep the lead the same adult man in every scene, with no duplicate dancer, extra limbs, distorted hands or fists at the wai; use the four approved sites only, with no temples, palaces or shrines in frame, no studio or old-project location returning, and no added captions, subtitles, watermarks or invented prominent readable slogans.
No audio: generate no music, voices or environmental soundtrack; the original song will be added separately in editing.