Android Stunt in Mall Atrium

FORMAT
18 seconds, vertical 9:16. One continuous handheld take, real time, no cuts. Photorealistic accidental eyewitness footage of an impossible stunt by a female android in a giant shopping mall atrium, filmed by a spectator on the upper gallery.

LOOK
Ultra-detailed, true-to-life imagery with Hollywood-level realism: real skin pores, fine hair strands, fabric weave, brushed metal micro-scratches, accurate daylight, reflections and shadows. Over this, a DV 16mm tape camcorder handheld feel: subtle fine 16mm-like grain, light MiniDV tape texture, mild chroma bleed, auto-exposure breathing, restrained highlight bloom from the dome, natural motion blur. The texture is a light layer that never hides detail, anatomy or architecture. No heavy degradation or fake vintage filter.
Hand shake, misaligned framing, delayed focus pulls, clumsy zooms, occasional face cut-off framing, imperfect shots. The operator reacts to events instead of anticipating them. Errors are brief and physically plausible. No gimbal smoothness, no drone moves.
The camcorder and camera operator never appear on screen: not in glass reflections, shadows, screens or foreground. No camera body, no hands, no REC symbol, timestamp, subtitles or borders.

REFERENCES
Photo of the android woman: exact face, hair, body, outfit and exposed mechanical waist core. Identity stays locked in every frame.
"seedance_2_video 1 17.58.51.mp4": mall atrium design, extreme multilevel depth, trampoline placement, rebound and somersault trajectory. Current instructions override conflicting details.

CHARACTER
A photorealistic female android nearly indistinguishable from a human: long straight dark brown hair with a center part, light olive skin, dark brown eyes, defined brows, calm confident face. Fitted teal short-sleeve cropped t-shirt, high-waisted black biker shorts ending mid-thigh, plain black athletic sneakers.
Her midriff between shirt hem and waistband is an exposed mechanical core: brushed steel plates, vertical chrome pistons, a central steel panel with two small glowing blue displays, cables and joints lit by internal cobalt light. The glow spills onto the shirt hem and waistband and brightens with exertion.
She moves like an elite gymnast with tiny machine precision: crisp stops, no tremor. She is much heavier than a human, and every contact shows that weight. Hair and clothing behave naturally and stay secure. The core never changes shape, size or position.

ENVIRONMENT AND GEOGRAPHY
A colossal circular mall atrium: white curved structural bands, about ten stacked gallery levels, continuous glass balustrades with steel top rails, storefronts, escalators, a huge glass dome in soft daylight. Hundreds of spectators on every level, filming on phones.
Starting level order, always: CROWD / CONTINUOUS GLASS BARRIER / WOMAN ON NARROW EXTERIOR STONE LEDGE / OPEN DROP.
The ledge is a narrow strip of pale travertine about 40 cm wide outside the glass. The glass is always directly behind her heels. The ledge keeps this width and surface for the whole video. The glass has no gaps, doors or missing panels.
On the ground floor stands exactly ONE large round trampoline: blue padded rim, black bed, steel springs and legs. A cleared 6-meter circle of bare floor surrounds it, ringed by black stanchions with belts. Ground spectators stay behind that ring. The trampoline is not visible in the opening frame.
The drop is real architecture: true floor heights, people and storefronts at believable scale on every level. No lens trickery, no raised floor, no platform under the trampoline.

PHYSICS RULE
Her return to the top is possible only because her leg actuators fire at the instant of trampoline contact, adding thrust through the bed. All launch energy is delivered at that single contact. No mid-air boost, no hovering, no jets, no stretched flight time. Gravity stays real throughout.

CAMERA
The operator stands on the starting gallery behind the glass, about three meters to her side, filming diagonally over the top rail. Opening: tilted, slightly too-tight framing that cuts off the top of her head, then a clumsy correction to full body.
At the jump, react a fraction late, then tilt steeply down after her. One clumsy zoom-in during the fall that overshoots, then eases back wide before trampoline contact so the full depth stays readable. A brief focus hunt on the rail glass resolves back to her.
During the ascent and somersaults, follow upward unevenly but keep her full body framed against the galleries. The camera never points above her head into the dome.
At landing, settle on her full body including both feet. Final beat: a slight face crop, then an imperfect correction.

TIMELINE
0.00-2.40 BOOT-UP.
She stands upright on the ledge, turned three-quarters toward the crowd. Her core powers up: the two blue displays flicker, then lock bright. Ankle and knee servos make a short calibration whir as she shifts weight from foot to foot with mechanical precision. She glances down into the void, then back at the crowd. Spectators murmur, phones go up, someone shouts "Is she real?!"

2.40-4.40 THE SALUTE.
She faces the crowd fully, brings her right hand up in a crisp, exact military salute, holds it for one still beat with a faint confident smile, then snaps the hand down with a tiny servo click. The galleries roar.

4.40-5.60 THE JUMP.
She turns to the void, sets both sneakers at the ledge edge, bends her knees, swings both arms back and launches outward in a deliberate, powerful swan dive, arms spread, body arched. Stone grit puffs from the ledge edge under her push. The operator gasps and tilts after her a beat late.

5.60-8.30 THE FALL.
Real-time free fall, accelerating under true gravity. Gallery levels rush past behind her, spectators on lower levels lean out and point, and she shrinks dramatically in frame. Hair streams upward. Halfway down she tucks, rotates forward half a turn and opens feet-first, arms out for stability, eyes locked on the target. The trampoline and the cleared circle are revealed below during the tilt.

8.30-8.90 THE IMPACT.
Both sneakers hit the exact center of the bed. Under her heavy machine body, the bed plunges almost to the floor, springs stretch to their limit, the steel legs flex. At maximum compression her core flares bright blue and her leg actuators fire with a deep hydraulic thump. One spring snaps off the frame and skitters across the floor. Ground spectators flinch back behind the stanchions. One contact, normal speed, no freeze.

8.90-11.60 ASCENT AND TWO BACKFLIPS.
She rockets upward, galleries rushing downward past her. Near the top of her climb she tucks tightly and completes TWO clean, compact backward somersaults, shoulders, hips and knees coherent, full body visible, the blue core tracing a faint motion-blur arc. The rising speed bleeds off naturally at the apex just above the original ledge. Every gallery erupts in screams and cheers.

11.60-12.40 POWER LANDING.
She opens out, drops onto the narrow ledge and lands in a controlled three-point superhero landing: both sneakers flat and fully supported, one knee deeply bent, the other knee low, right fist pressed onto the stone. A heavy metallic impact. A hairline crack spreads a short distance through the travertine under her fist, and a small puff of stone dust lifts. The glass behind her shudders and rings but stays intact. Her hair swings forward, then settles. Perfectly stable, no wobble, no slip.

12.40-15.40 THE RISE.
She holds the pose for one breath. The core glow pulses down to calm. She rises slowly and smoothly to full height with a soft hydraulic hiss, brushing grit off her knuckles with her thumb. The crowd goes wild: people pound the rail, scream, film, some cover their mouths. The operator's framing shakes with excitement but keeps her whole body.

15.40-18.00 FINAL SALUTE.
She turns toward the c