Cinematic 3D animated cartoon style, feature-animation quality, stylized exaggerated character proportions, highly expressive facial animation, soft subsurface skin shading, detailed cloth and hair simulation, shallow depth of field, polished studio-animation render, completely original character designs that must not resemble any existing or copyrighted character. Vertical 9:16. 15 seconds, EIGHT hard-cut shots. No dialogue, no speech, no lip-sync — this is pure physical comedy. CHARACTER LOCK — these designs must stay identical in every single shot. THE BOSS: an enormous heavyset man in his forties, towering and barrel-chested, thick dark shoulder-length hair swept back, a full black beard, heavy brows, and a permanently grave unimpressed expression. An immaculate charcoal three-piece suit with a dark shirt and no tie, sleeves pushed up over huge forearms. Enormous hands. He never once looks amused — he stays completely serious from the first frame to the last, which is the entire joke. THE CHILD: a small toddler girl around three years old, round cheeks, huge dark eyes, messy dark hair with a single crooked yellow clip, a butter-yellow dungaree dress over a white top, tiny yellow shoes, and one wax crayon tucked behind her ear. Utterly confident, treats herself as being in charge. THE CREW: eight identical broad-shouldered men in matching dark suits ringed around a huge table, stone-faced and attentive. PROPS: a huge table covered in large technical blueprints and drawings, a fistful of fat wax crayons, four crayon drawings on paper — wobbly stick figures, a lopsided sun, a scribbled house — and one small notebook. LOCATION: a grand dark wood-panelled study with floor-to-ceiling windows, heavy rain running down the glass, brass desk lamps, the huge table at the centre. LIGHTING ARC — this must progress across the video: the first half is cold blue-grey storm light through the streaming windows with hard shadows. From the fifth shot onward the rain eases and warm lamp light and breaking sunlight take over, finishing in full warm golden light. The room warms exactly as the plan gets sillier, while his face never changes. SHOT 1 — 0.0s to 2.0s — WIDE low angle: the boss looms over the huge blueprint-covered table with his crew ringed around it, cold storm light on their faces, and he taps one enormous finger down onto the plans with total finality. Slow push-in. HARD CUT. SHOT 2 — 2.0s to 4.0s — MEDIUM: the tiny girl toddles in dragging a crayon drawing almost as big as she is, reaches up on tiptoes and lays it flat on top of the blueprints. Nobody reacts. Static. HARD CUT. SHOT 3 — 4.0s to 6.0s — CLOSE: without looking down, his huge hand slides the crayon drawing off the table and it flutters to the floor. He continues studying the plans. Static. HARD CUT. SHOT 4 — 6.0s to 8.0s — MEDIUM: she comes back and lays down three more drawings, then climbs onto a chair and spreads them until the entire table is covered in crayon, the blueprints completely buried. Static. HARD CUT. SHOT 5 — 8.0s to 10.0s — EXTREME CLOSE on the boss's face: he looks down at a table that is now entirely crayon drawings. One heavy brow lifts a fraction. Nothing else moves. Behind him the rain eases and warm light creeps across the panelling. Slow push-in. HARD CUT. SHOT 6 — 10.0s to 12.0s — CLOSE: he picks up one crayon drawing between two enormous fingers, holds it up to the light and studies it with complete professional gravity — a wobbly stick figure beside a lopsided sun. Static. HARD CUT. SHOT 7 — 12.0s to 13.5s — WIDE: he plants the crayon drawing dead centre of the table and points at it. Every man leans in and nods gravely, and one of them pulls out a small notebook and starts writing. Static. HARD CUT. SHOT 8 — 13.5s to 15.0s —