Generative Workflows for Multiple Users: A Proposal

[VISUAL STYLE]
Medium: live action | photograph | high
Color Grade ("Petrol Halo Bloom"): black at 2, petrol-teal shadows | midtones low, S-curve, ochre skinless metal | roll-off to cream and sodium amber | saturation restrained, teal-versus-amber split extreme
Skin: Photorealistic skin with natural texture, visible pores, and true tonal variation.
Film Stock: film | unnamed push-processed color negative (low) | coarse grain, heavy in shadows, chroma-speckled | halation, bloom, edge chroma bleed
Lens: unnamed spherical (low) | 90mm | wide aperture, shallow plane, smeared oval highlights | soft overall, heavy diffusion, veiling glow, long fall-off
Lighting: single hard raking key, low left, specular | hard, shadow edge dissolving into haze | 12:1, no fill, shadows crushed to black | fall-off immediate, background unlit

[REFERENCE PROTOCOL]
Image 1 is the STYLE reference: take film character, lens rendering, colour grading, and the QUALITY of its light (how hard or soft it is, its contrast ratio, direction and fall-off) from it, and nothing else. Do not copy its subject, composition, location, any object in it, or its time of day and weather. Compose a wholly new scene per [SHOT].
Image 2 is the CHARACTER reference, walker 2: slender east asian woman, subtle freckles across her cheeks and nose, long thick wavy dark hair. The person in the photograph is this exact person. Match their face, hair, skin and build precisely. Take NOTHING else from it, not their clothing, not their pose, not the studio backdrop they stand on. Wardrobe, pose and setting come from [SHOT].

[FACES]
Faces come from the character reference images and from nowhere else. Take no face, likeness or person from image 1, whether or not people appear in it. Any additional person the shot names is a NEW INVENTED INDIVIDUAL with an invented face, never a face taken or adapted from image 1.

[SHOT]
Two women walk past each other in opposite directions through abutting dimensions; one woman walks through  an airport concourse: a low moving-walkway rail, a row of black bench seating, an abandoned luggage cart, and the base of a column carrying a departures board. The right half is open field: dry grass lying in windblown rows, a bare dirt path worn through it, scattered white wildflowers, and one leaning wire fence post. At the seam between the two dimension ground planes, the concourse floor meets the soil,  the two women are level with each other at the center of the frame, roughly two arm-lengths apart across the seam. 

The camera is high angle, 3/4 orthogonal  pointing down at them; both ground planes read parallel and surfaces converge

[EXPRESSION]
Derive each person's expression from what they are doing and where they are, as described in [SHOT]: let the action and situation set the face, as an unposed documentary frame would catch it. When several people appear, each reacts to their own part of the scene rather than to the camera. Avoid BOTH failure modes: posed camera-aware smiling, and uniformly blank expressionless faces.

[STRICT NEGATIVE PROMPTS]
No text, glyphs, lettering, writing, numbers, typography, captions, subtitles, watermarks, logos, or borders anywhere in the image. Any signs, screens, labels, posters, or packaging that appear in the scene must be BLANK or fully illegible; never render readable characters in any language. No plastic, waxy, airbrushed, or beauty-filtered skin. No posed or camera-aware smiling. No extra people beyond those the shot names. No duplicated, merged, or deformed faces, hands, or limbs. No CGI, illustration, or plastic render look. No studio backdrop unless the shot names one. No added props beyond the shot description.

Render the shot in exactly the visual style described. Film stock character, lens rendering and colour grade stay constant. Lighting SPLITS: its quality, meaning how hard or soft it is and its contrast ratio, direction and fall-off, carries over from the Lighting line above; its condition follows the shot's stated time and weather. Where the Lighting line names a time of day, weather or light source that [SHOT] contradicts, [SHOT] decides the condition and only the quality carries over, rendered within the stated grade. If the shot names no camera position, use a tripod-height frontal or profile stance with the subject mid-frame. Full-bleed photograph.