KI-Charakterstimmen-Generator

In the hospital room @Frame at 6.1s, Vivi @Vivi Lovell Character Sheet stands in front of the door. Extreme close up on Vivi's face, with the door out of focus behind her. The color drains from her face, not literally, just figuratively.
VIVI in voice @Maya's Warning Label : "You... You killed someone?"
(beat)
"To give me one more day?"

Still standing outside the rural street @Rural Street at Dusk. Medium two shot. Death @Death Character Sheet, 6'5" tall, handsome, wings at his back, is on the left of the camera, Vivi @Vivi Lovell Character Sheet, 5'3", stands on the right of the camera. They are standing in front of each other and facing each other.
VIVI is looking up at Death as she speaks: "You don't know?" in the voice of @Maya's Warning Label.
DEATH replies: "I've never went against it." in the voice of @Flova Crop Between 00 11 000 00 15 000 202607311259 8394c4 (1).
The hopelessness disappears from VIVI's expression. A grin slowly spreads across her face. Death notices immediately and
narrows his eyes.
VIVI: "Never?" in voice @Maya's Warning Label.
DEATH: "Never." in voice @Flova Crop Between 00 11 000 00 15 000 202607311259 8394c4 (1).

Reference Lady Caerwyn's appearance from @Lady Caerwyn, After Flight @Lady Caerwyn Full-Body Three-View. She's in @ACT0 shot1.3 running away from something. Reference her voice and accent from @Rosemary and Pansies. she says : Please, please.

Aurel's appearance match @Untitled Image @Untitled Image 100%.
Reference Aurel's voice and accent from @Marsh Warning (1).

Aldred's appearance match @Untitled Image @Untitled Image 100%.
Reference Aldred's voice and accent from @Boy In The Fen (1).

Camera: one continuous handheld shot. Start frame matches @Aurel and Aldred on the Track 100%. The camera begins by following Aurel and Aldred slowly toward frame right from a short distance away. The follow is imperfect and human, with clear handheld presence throughout: visible footstep bob, irregular body sway, small balance corrections, and slight reframing as the operator walks through wet uneven ground. The camera movement is steady in intention but physically unstable from walking. As Aurel and Aldred continue forward, the camera gradually falls behind them, slows down, and eventually comes to a stop. After stopping, the camera keeps the same viewing direction while the men continue walking away toward frame right and gradually leave the frame. The large foreground tree remains central in the composition, and the horse remains in the left half of the frame area as it follows behind them. No cuts, zooms, push-ins, or pull-outs.

Keep Aurel, Aldred, the horse, their clothing, equipment, scale, environment, lighting, and starting positions 100% matched to @Aurel and Aldred on the Track.

Aurel and Aldred continue walking toward frame right at a steady, unhurried pace. Keep their relative spacing consistent.

The horse follows behind them naturally rather than staying locked to them. It lags slightly, lowers its head once to casually mouth / nibble at grass near the path, then continues walking and follows after them again. Its movement remains calm and ordinary.

Aldred speaks first:

“Theo-dred is gone.”

Aldred takes a small breath before speaking. His voice is low and slightly worn, at a natural conversational volume. He says “Theo-dred” carefully, then lets a very short pause fall before “is gone.” The final two words are quieter and slightly slower, ending with a downward, subdued cadence.

After Aldred finishes, Aurel waits for a brief half-beat before replying:

“The young hunter.”

Aurel’s voice is calm, low, and even. He speaks the line slowly enough to sound like recognition rather than an immediate response. Slight weight on “young.” The final word “hunter” falls gently in pitch and volume.

After Aurel finishes, Aldred answers:

“Aye, Freya’s betrothed.”

“Aye” comes after a small exhale, low and firm. He continues into “Freya’s betrothed” without rushing, with a little more weight on “Freya’s.”

A short natural pause.

“The vows are this week.”

His voice loses some firmness on the second sentence. He speaks slightly slower, with a small breath audible before “this week.” The final words are quieter, with the pitch falling naturally at the end.

Quiet, matter-of-fact delivery with natural pacing.

As Aldred’s final line continues, the camera has already slowed and then stopped. Aurel and Aldred keep walking toward frame right and gradually leave the frame, while the shot remains behind with the tree, the fog, and the horse still present in the environment.

Audio: wet footsteps through mud and fallen leaves, noticeable cloth and leather movement from walking, subtle horse breathing, tack movement, and soft hoof sounds. The horse may briefly rustle vegetation as it lowers its head. Light wind in the damp woodland. Dialogue remains clear in the foreground. No background music.

Use @Mom Character Sheet Final as the visual reference for Mom.
Use @Dad Character Sheet Final as the visual reference for Dad.
use @Mom Voice as reference for what mom's voice sounds like. use @Dad's Voice as reference for what Dad's voice sounds like. use @Dad's phone as the visual reference for the phone. use @S1 CU MOM Wonder 3 for shot 1
use @S1F for shot 2
Use @S1E for shot 3
Three shots with hard cuts.
Action: Shot 1 — close-up on Mom. She subtly shakes her head, a controlled expression of quiet disapproval, then turns her gaze to frame right with a very hard expectant look. Hard cut to Shot 2 — over-the-shoulder on Mom, matching her turned position from Shot 1. Dad is in the foreground, slightly out of focus, busy working his fork through his salad, lifting a bite and eating, gaze down on his plate, completely elsewhere. Mom clears her throat deliberately. She says in her American accented voice like in @Mom Voice : "Don." Hard cut to Shot 3 — over-the-shoulder on Dad as he takes another bite of salad and chews. He looks up slowly and makes eye contact with Mom across the table. Blank expression as he chews — nothing registering. He's not sure what she's talking about. A beat. Cut back to shot 2: mom gives dad a hard expectant look, commands him with her eyes. CUT BACK TO shot 3: Something shifts behind dad's eyes. He gets it. He says, "oh, right." He quickly swallows, sets his fork and knife down on the plate, takes his phone out of his pocket and says to it: "Call Becka Babysitter." He sets the phone face-up on the table. We can see a dialing user interface pop up on the phone. The dial tone begins ringing through the phone speaker. He looks up toward frame right with an expectant expression, waiting.
Camera: static entire time. Style: David Fincher — clinical, precise, methodical, voyeuristic. 35mm film emulation, halation, bloom, shallow depth of field with hexagonal bokeh. Audio: no music, no score. the ambient clink of cutlery on plates, quiet dining room tone. Dad's fork scraping the salad bowl, the sound of chewing, Mom's deliberate throat clear, her measured delivery of "Don." Dad's chewing close on the mic, the beat of silence as recognition dawns, his swallow, the soft clatter of utensils being set down, his casual voice command to the phone, the phone being placed on the table, the dial tone ringing through the small speaker, the ambient dining room silence around it.
Forbidden: no white blobs on the character's faces.

Start and maintain background @Mila in Spaceship Interior 100%.
Mila's appearance @Mila con Zaino Giapponese, Senza Ombre 100% and expressions @Mila - Espressioni del Viso.
Mila's voice @My Radar Apology.
Sasa's appearance @Sasa con Zaino Giallo e Pistola Laser 100% and expressions @Sasa - Espressioni Facciali 100%. Remove guns from Sasa. Remove any glow form the characters.
Sasa's voice @Mother's Old Spaceship. 2D hand-drawn animation.
Sasa is smaller than Mila. Tart looks like this @Mila con Crostata. Do not take this image background. The tart is 90% smaller. No glow on their heads.
Preserve reference style and character identity. CAMERA: 2 shots, 1 hard cut. SHOT 1 — Medium close-up, 3/4.Mila and Sasa sit side by side on the top of the spaceship. Mila in front then Sasa beside her. Mila holds a tart sliced into 6 pieces. In the center the tart the star spice in the center.
Sasa, happy for Mila with deep warm paternal male voice: “What were the odds we'd find your mother's old spaceship?” Mila turns to him, calm, visibly happy, smiles softly: “I’ve found my star-shaped spice.” Close up - Mila takes a slice with the star spice on top of the slice and gives a bite to it and closes her eyes. The tart has 5 slices left. She closes her eyes tasting the tart. Close up of Mila with closed eyes and and tasting the tart, she opens her eyes and looks up the sky. Her expression becomes quietly hopeful: “But I have to find her among the stars.” AUDIO: Natural dialogue, no overlap. Sasa's voice is deep, warm and human, never robotic. Mila has natural voice, never robotic. No music. No sound. Hand-drawn 2D animation cozy retro-futuristic sci-fi, warm pastel palette, soft sepia linework, vintage children's book, gentle golden light, whimsical, nostalgic, cozy spaceship interior, cinematic parallax, subtle atmospheric animation.

use @VP as the man. Action: close up on the man in a grey room. He says with a commanding gruff voice, "Hi my name is V.P. and this is my voice."
Audio: no music. room tone.
Style: screen test. Camera static.

use @Mom Character Sheet Final as the woman. forbidden: white blobs over the character's face.
medium shot: The woman is in a studio with a white backdrop, looking directly at camera. She says, with a stern American corporate voice, "hi my name is mom and this is my voice."
Style: Hollywood screen test.
Camera: Locked off static.
Audio: No music. No sound effects. Woman's voice is captured naturally as if in a room with the appropriate reverb.

Create an exactly 15-second, 24 fps, 2.39:1 cinematic video with synchronized dialogue audio..

Voice lock: identical older male low natural baritone, neutral American state-broadcast English with faint old Mid-Atlantic precision, clipped consonants, slight dry rasp. Controlled urgency builds with each number, but he never turns into a sports announcer and never shouts. Each number is fully intelligible and separated by silence. Close mono microphone, light analog saturation, faint CRT hum, no music, ticking, crowd, gate, or action sound.

HE SAYS COUNTING IT DOWN IN AN EPIC WAY “Five…” “four…” “three…” “Two…” “One.” The first three numbers flow as one grave countdown phrase; the longer gaps before “Two” and “One” make the pressure unbearable. Let urgency enter the breath but keep the volume controlled.

Speak exactly these words and no others:

“Five… four… three… Two… One.”

Do not add, omit, repeat, paraphrase, or caption any word. No subtitles, numerals, clock graphic, title, logo, watermark, other voice, cutaway, sound effect, or music.

Use the provided close shot as the direct first frame and the provided wide shot as the direct final frame. Create a realistic live-action cinematic shot that performs a smooth continuous dolly back from the first frame to the last frame. Start relatively close on the two gangsters, framed roughly from above the chest upward, then gradually pull back until the shot fully matches the provided wide final frame and reveals the whole restaurant, the hostages, and the right-bottom male victim. Keep the same luxury rooftop restaurant at night, floor-to-ceiling window, city lights outside, warm practical lighting, and premium ARRI Alexa 35 film realism. The male gangster carries a revolver and delivers his line in a calm, cold, threatening Texas drawl: “Everybody cool, this is a robbery.” The female gangster carries a pistol and is more manic, gleeful, and excited by the fear around her; after a man screams, she says in a thick Texas drawl, with deranged enjoyment, “Or everybody dies!” During the pullback, diners around them panic and scream. Near the end of the dolly back, the man in the bottom-right corner of the final wide frame cries out, “Oh my God!” and the female gangster immediately turns and shoots him. After the shot, more people scream. Keep the male gangster emotionally controlled and dangerous; keep the female gangster wild, delighted, and intoxicated by the terror she is causing. No music, no score, only dialogue, screams, gunshot, and natural room tone. Preserve photorealism, true anatomy, realistic gun handling, believable performance, and a continuous smooth camera move from the close first frame to the wide final frame. 无音乐

Style: Hand-drawn 2D animation, richly painted gouache and watercolor texture, cel-shaded character over a highly detailed painted background, confident linework with painterly edge variation — not vector-clean, not stiff — natural daylight lighting, warm and soft, animated on twos at 12 frames per second, every frame independently hand-redrawn with visible line jitter and boil, no 3D render, no CGI smoothness, no motion blur, no literal camera lens vocabulary.

MÃE DE DÚRÓ as character reference — (@ImageMae) exact 1-to-1 face, white embroidered blouse, olive-green wrapped skirt with woven sash, gold headwrap, gold necklace pendant, gold earrings and bracelets, warm brown skin tone, matching the reference sheet precisely. CASA DE DÚRÓ as background environment reference — (@ImageCasa) exact 1-to-1 layout, yard, and surrounding trees.

Off-center framing mandatory. Every frame must show continuous, clearly visible motion throughout.

Action Sequence: Medium shot, off-center, the mother standing in the yard behind the house, her posture tense and alert. Her head turns quickly, scanning the tree line at the edge of the clearing, worry etched clearly across her face. She cups one hand near her mouth and calls out, urgent and afraid, her voice carrying real panic: "DÚRÓ, TÁ INDO PARA ONDE?!" Her body leans slightly forward as she shouts, the fabric of her skirt and headwrap shifting with the sudden movement. Warm natural daylight falls across the yard, leaves rustling gently in the background breeze, grounding the scene firmly in the real world.

CONSTRAINTS: MÃE matches (@ImageMae) exactly 1-to-1; environment matches (@ImageCasa) exactly; off-center framing, no centered symmetry, no direct head-on pose; her expression and body language read as urgent, frightened, searching — not calm; natural daylight palette only, no mystical or aged-gold tones; avoid jitter, avoid bent limbs, avoid identity drift, avoid chaotic composition; no text, no watermark. Audio language: Portuguese. Dialogue: mother shouts "DÚRÓ, TÁ INDO PARA ONDE?!" with visible worry and urgency in tone and delivery. SFX: rustling leaves, distant birds falling silent, tense ambient hush.
duration: 10s (single continuous shot — force explicit duration, do not leave automatic)

Locked camera. The camera stays fixed, with only natural small bumps and sway from the moving wagon. The girl leans slightly forward, lightly rests her hand on the window edge, keeps looking out the window, and cheers "ah, we're finally here." No background music.