The 12 Checks This Duel Prompt Was Marked as Passing Before Generation

The duel prompt’s audit has twelve rows, and I marked every row yes.

That tells me I passed the prompt through my written review. It does not tell me that every instruction survived generation. I keep that distinction because the review happens while I can still change words.

My broader writing rules explain the stakes plainly. Without timed intervals, the engine fills the duration. Vague descriptions leave measurable decisions open. A prompt that exceeds the length limit can lose its ending and produce a different image.

Those are reasons to inspect the instructions before spending a generation. I never logged a monetary cost or failure count here. I wrote down the checks and the problems those checks are meant to catch.

The first check asks whether the prompt is entirely in English, delivered as one unit, and describes one shot. The named sections sit inside that unit. I read this as a scope check: the document needs to describe a single piece of screen action clearly enough to stand on its own.

My permanent checklist makes that independence explicit. The model does not remember the previous shot. Any information required here has to appear here. A scene number or a reference to what happened earlier does not supply the missing instruction.

The second check asks whether the prompt starts with SCENE CONTEXT, with no style statement ahead of it.

I want the opening to say what happens, where it happens, when it happens, and how long it lasts. That gives the following instructions something concrete to govern. I assign those responsibilities directly to the block:

SCENE CONTEXT        qué pasa, dónde, cuándo, y cuánto dura

The third check asks whether each aspect lives in its assigned section. I use this permanent order:

SCENE CONTEXT        qué pasa, dónde, cuándo, y cuánto dura
ACTIVE REFERENCES    las imágenes de referencia, una línea cada una
LOCATION MAP         primer plano, medio y fondo, por dónde entra la luz
FIRST FRAME          quién está dónde en el fotograma uno, ya en movimiento
FORMAT MODE          toma continua o con cortes, dicho en positivo
OPTICS               tamaño de plano y campo de visión en grados
CAMERA               altura, distancia, movimiento y su motivo, foco
ACTION               qué ocurre, tramo a tramo, con su segundo
PERFORMANCE          la emoción escrita como movimiento de un músculo
PHYSICS               peso, inercia, contacto, lo que el suelo hace
LIGHTING             fuente, dirección, kelvin, densidad del aire
AUDIO                solo el sonido que hace falta
OUTPUT SETTINGS      duración, resolución, relación de aspecto, grano
POSITIVE LOCKS       los candados de continuidad, en positivo

The Spanish annotations explain each section’s job. Location covers depth and the entry of light. Camera covers height, distance, movement, its reason, and focus. Physics covers weight, inertia, contact, and the ground’s response.

I use those boundaries to inspect a prompt without hunting through a paragraph for every related instruction. I also remove an entire section when it contributes nothing. An empty heading does not earn its place.

The fourth check puts CAMERA in the third position among the central layers. That is a specific structural requirement in this audit. I can report that I marked it as satisfied. I cannot use the checkmark to claim that this position has been proven superior across other prompts.

The fifth check requires field of view in degrees, using the reference steps. For the duel, I used 63° and 47°. My permanent list permits 107, 84, 63, 47, 29, 18, 12, and 8 degrees.

That is the convention I use. Its value for this review is consistency: I can compare the written optical direction against the permitted values. A familiar lens description would not satisfy the rule as written.

In the sixth check, I marked that the duel prompt contains no negative sentences. I allow an exception for generation failures, but I recorded none for this shot.

I read this check alongside the continuity section. A continuity instruction should state the condition that persists. The review asks whether the prompt actually supplies that condition in positive language.

The seventh check asks for numbers wherever the direction can be measured. For this duel, I named meters, degrees, kelvin, percentages, and frames. My permanent checklist also includes centimeters and kilometers per hour.

Words such as “fast” or “warm light” leave the value to the model. A measurable instruction gives me something to examine. It still needs to describe the intended shot.

The eighth check asks whether emotion has been translated into muscle.

I reject an abstract emotional label in favor of visible behavior. My example describes lowered eyes, a tightened jaw, and a swallow before an answer. That makes the intended performance inspectable as movement.

The ninth check limits reference tags to things that appear in the shot. I want to know what each attached reference is doing here. I also keep appearance text to a minimum when a character image is supplied, because a long description can conflict with that image.

The tenth check asks whether the first frame has clear content, subject, and light. This deserves its own pass. The action cannot depend entirely on what the subject will eventually start doing. My block order explicitly places the subject in the first frame already moving.

For the eleventh check, I confirmed that internal cuts are excluded and that this is stated. In FORMAT MODE, I ask the writer to specify a continuous take or cuts in positive terms. The form belongs in the prompt.

The twelfth check reports no director, film, or equipment names. I require a description of the desired effect. It gives the reviewer actual image and movement instructions to examine.

I still make another pass for exact duration and timestamped action intervals, which receive more explicit treatment in my permanent checklist than in the duel’s twelve checks.

Length is another. My ceiling is 5,787 characters, with a target of 5,600. Because the ending is what gets cut, I place hard instructions in the first two blocks. Those are the limits I use for this workflow, not a claim about every video interface.

A passing table is useful only if I understand what it checked. Today, take one prompt and mark each of these twelve criteria against the actual text, then measure its length before submitting it.

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You just watched one shot come apart, decision by decision. None of them landed there by luck.