使用 ChatGPT Image 2.5 创建的两张参考图制作（见附件）

Made using two reference images created with ChatGPT Image 2.5 (attached) I generated the main video with the prompt below, then used the first reference to make two extra clips with the girls dancing and manually edited them into the video. PROMPT 👇 Create a 15-second, horizontal 16:9 ultra-realistic smartphone comedy using TWO supplied references. The visual joke escalates through six quick shots: two striking female sanitation workers on a garbage truck → one man sitting in a rubbish bag → the workers → two men in bags → the workers → five men in bags. The men silently decide that being collected by these workers is an excellent idea. Convey this through the edit, their looks, and their growing numbers. REFERENCE 1 — OPENING FRAME AND WORKERS Use Reference 1 as the exact first frame. Immediately animate the truck rolling slowly forward and the workers naturally balancing on its rear footboards. Preserve the two women’s faces, hairstyles, body proportions, fitted glossy orange uniforms with FULL-LENGTH TROUSERS, reflective strips, gloves, and black work boots. The blonde stays on the LEFT rear footboard and the brunette on the RIGHT rear footboard, as seen from behind the truck. Each holds her own vertical grab rail. Keep their appearance consistent in all three truck shots. Their expressions and movements remain casual and work-focused. Reference 1 also establishes the truck, residential street, brick houses, trees, parked cars, natural daylight, and photographic realism. REFERENCE 2 — THE FIRST MAN AND HIS BAG Use Reference 2 to establish the first man’s exact face, dark hair, stubble, charcoal T-shirt, seated pose, open black rubbish bag, and sidewalk location beside the brick garden wall and iron gate. His hips, folded legs, and feet are INSIDE the bag. The bag rests on the pavement. Its loose open rim surrounds his torso below his armpits, leaving his head, shoulders, and both arms free. Preserve this man and his position throughout all three sidewalk shots. Every additional man sits in his OWN separate open black rubbish bag in the same way. The bags have thin crinkled edges, irregular folds, and soft shapes supported by the seated bodies inside. STREET GEOGRAPHY AND CHARACTERS Both references belong to the same residential street and the same moment of daylight. The truck rolls a few metres forward during the opening, then settles at a routine collection stop beside the curb. During later truck shots it remains at this stop, its engine idling. The men sit on the sidewalk a few metres behind and to the curb side of the truck. From their position they can see the workers riding on its rear. In the sidewalk shots, the truck is off-screen to the RIGHT, slightly toward the roadway. Their pointing gestures and interested looks consistently lead toward that position. The second man is an ordinary adult passerby in his early 30s, with short light-brown hair, a clean-shaven face, a pale-blue T-shirt, beige trousers, and white sneakers. His face and blue shirt make him immediately recognizable when he later appears inside a bag. Three additional adult men appear only in the final shot. Give them distinct faces and different everyday tops: burgundy, olive green, and light grey. The increasing group is revealed through cuts. Each return to the sidewalk shows a completed new situation. CAMERA AND REALISM Use SIX handheld smartphone shots connected by five clean hard cuts at the specified times. Every shot feels casually recorded by the same unseen bystander from a plausible nearby position. Keep the camera at ordinary chest or eye height, angled naturally down toward the seated men. Authentic casual phone footage with soft fine detail and the imperfect texture of an older consumer digital camera: noticeable irregular hand shake, slightly crooked framing, small vertical jolts, brief motion blur during reframing, delayed autofocus, faint digital noise, mild compression, muted contrast, and imperfect white balance. Maintain readable faces and physical actions. Let natural handheld movement continue during the short holds. Use the references’ bright, softly overcast daylight. The glossy orange clothing reflects that same real daylight. Skin, pavement, brickwork, plastic bags, and the weathered truck retain natural surface detail. The women behave like workers on an ordinary shift. The men behave as though their ridiculous plan makes perfect sense. Nobody deliberately performs for the lens. ACTION AND TIMING 00:00–00:02 — THE WORKERS Begin directly with Reference 1 in motion. The truck slowly rolls forward. Both women remain standing on their separate rear footboards, boots planted and hands gripping the rails. Their bodies make small natural balance adjustments with the vehicle’s movement. The camera follows the rear of the truck with a short, imperfect handheld pan. Keep both women fully visible and large enough to register immediately. As this shot ends, the truck slows into its collection stop. 00:02–00:06 — THE QUESTION Hard cut to the sidewalk composition established by Reference 2. The first man is already sitting inside his black bag, looking perfectly comfortable. The blue-shirted passerby steps into view from the RIGHT and stops beside him. Looking down at the seated man with genuine confusion, he asks: “Dude, why are you sitting in a trash bag?” The question begins promptly after the cut and finishes before the pointing gesture. The seated man looks up at him, gives a small knowing smile, and lifts his RIGHT hand from the bag’s rim. He points along the street toward the off-screen truck. The passerby follows his finger with his eyes and turns his head in that direction. Cut on their shared look. 00:06–00:08 — THE ANSWER Hard cut to the SAME rear view of the truck and the SAME two workers. The truck is now stopped at the collection point. Both women remain on their original footboards, holding the rails. One casually adjusts her grip while the other looks along the curb. Their glossy orange uniforms, recognizable figures, faces, and full-length trousers remain consistent with Reference 1. Hold this clear view long enough for the audience to understand the seated man’s motivation. 00:08–00:10.5 — NOW THERE ARE TWO Hard cut back to the same sidewalk and brick wall. The original man remains in his original place on the LEFT. The SAME blue-shirted passerby is now already seated in a SECOND black rubbish bag immediately to his RIGHT. His face, hairstyle, and pale-blue shirt are unchanged. His legs and feet are inside his own bag. Show both men and both separate bags together. They exchange a brief satisfied look, then turn toward the workers off-screen. Both rub their palms together above their bag openings with restrained, eager smiles. The first man has lowered his pointing hand and now uses both hands for this gesture. Let the sudden change from confused passerby to willing participant carry the joke. 00:10.5–00:12 — BUSINESS AS USUAL Hard cut back to the two women at the same stopped truck. They continue their ordinary workday behaviour, still holding the grab rails. One briefly looks toward her colleague; the other shifts her footing on her own platform. Keep the same rear camera angle and naturally imperfect phone movement. They remain unaware of the growing group on the sidewalk. 00:12–00:15 — NOW THERE ARE FIVE Hard cut to a WIDER view of the SAME sidewalk. Reveal EXACTLY FIVE adult men at once, each sitting in his OWN separate open black rubbish bag. The original charcoal-shirted man remains at the LEFT end of the row. The blue-shirted passerby sits immediately beside him. The three new men occupy the next three positions to their right. The original brick wall, iron gate, curb, and pavement establish that this is the same place. The wider framing accommodates the entire group, including every head and every bag’s contact with the ground. All five are already settled when the cut reveals them. They face the same off-screen collection point with quietly hopeful expressions. The original two exchange one pleased glance. The others lean forward slightly in anticipation, keeping their hands above the open bag rims. Hold the complete five-person tableau for the final beat. End at 15 seconds while they are still waiting expectantly. AUDIO Use natural location audio: the truck’s diesel engine, low street ambience, the passerby’s footsteps, subtle clothing and plastic rustling. The blue-shirted passerby speaks the single written English question naturally, with clear lip synchronization and ordinary phone-microphone sound. The first man answers entirely through his pointing gesture. The remaining comedy is visual. Keep the soundtrack entirely diegetic, without music, narration, or an added laugh track. CONTINUITY Maintain the exact progression: workers → one seated man and one standing passerby → workers → the same two men seated in two bags → workers → those same two men plus three newcomers, seated in five bags. The first man keeps the same identity and sidewalk position. The passerby remains recognizable after joining him. Each man occupies one separate bag. Their heads and arms stay outside; their folded legs and feet stay inside. The truck and workers retain their reference appearance and established street position. The women remain on their original rear footboards throughout their three shots. Use normal-speed action, brief readable reactions, clean cuts, and natural photographic imperfections. Deliver clean full-frame video with the joke conveyed entirely through the people, dialogue, and editing. No captions, subtitles, logos, watermark, or recording interface. Create a 15-second, horizontal 16:9 ultra-realistic smartphone comedy using TWO supplied references. The visual joke escalates through six quick shots: two striking female sanitation workers on a garbage truck → one man sitting in a rubbish bag → the workers → two men in bags → the workers → five men in bags. The men silently decide that being collected by these workers is an excellent idea. Convey this through the edit, their looks, and their growing numbers. REFERENCE 1 — OPENING FRAME AND WORKERS Use Reference 1 as the exact first frame. Immediately animate the truck rolling slowly forward and the workers naturally balancing on its rear footboards. Preserve the two women’s faces, hairstyles, body proportions, fitted glossy orange uniforms with FULL-LENGTH TROUSERS, reflective strips, gloves, and black work boots. The blonde stays on the LEFT rear footboard and the brunette on the RIGHT rear footboard, as seen from behind the truck. Each holds her own vertical grab rail. Keep their appearance consistent in all three truck shots. Their expressions and movements remain casual and work-focused. Reference 1 also establishes the truck, residential street, brick houses, trees, parked cars, natural daylight, and photographic realism. REFERENCE 2 — THE FIRST MAN AND HIS BAG Use Reference 2 to establish the first man’s exact face, dark hair, stubble, charcoal T-shirt, seated pose, open black rubbish bag, and sidewalk location beside the brick garden wall and iron gate. His hips, folded legs, and feet are INSIDE the bag. The bag rests on the pavement. Its loose open rim surrounds his torso below his armpits, leaving his head, shoulders, and both arms free. Preserve this man and his position throughout all three sidewalk shots. Every additional man sits in his OWN separate open black rubbish bag in the same way. The bags have thin crinkled edges, irregular folds, and soft shapes supported by the seated bodies inside. STREET GEOGRAPHY AND CHARACTERS Both references belong to the same residential street and the same moment of daylight. The truck rolls a few metres forward during the opening, then settles at a routine collection stop beside the curb. During later truck shots it remains at this stop, its engine idling. The men sit on the sidewalk a few metres behind and to the curb side of the truck. From their position they can see the workers riding on its rear. In the sidewalk shots, the truck is off-screen to the RIGHT, slightly toward the roadway. Their pointing gestures and interested looks consistently lead toward that position. The second man is an ordinary adult passerby in his early 30s, with short light-brown hair, a clean-shaven face, a pale-blue T-shirt, beige trousers, and white sneakers. His face and blue shirt make him immediately recognizable when he later appears inside a bag. Three additional adult men appear only in the final shot. Give them distinct faces and different everyday tops: burgundy, olive green, and light grey. The increasing group is revealed through cuts. Each return to the sidewalk shows a completed new situation. CAMERA AND REALISM Use SIX handheld smartphone shots connected by five clean hard cuts at the specified times. Every shot feels casually recorded by the same unseen bystander from a plausible nearby position. Keep the camera at ordinary chest or eye height, angled naturally down toward the seated men. Authentic casual phone footage with soft fine detail and the imperfect texture of an older consumer digital camera: noticeable irregular hand shake, slightly crooked framing, small vertical jolts, brief motion blur during reframing, delayed autofocus, faint digital noise, mild compression, muted contrast, and imperfect white balance. Maintain readable faces and physical actions. Let natural handheld movement continue during the short holds. Use the references’ bright, softly overcast daylight. The glossy orange clothing reflects that same real daylight. Skin, pavement, brickwork, plastic bags, and the weathered truck retain natural surface detail. The women behave like workers on an ordinary shift. The men behave as though their ridiculous plan makes perfect sense. Nobody deliberately performs for the lens. ACTION AND TIMING 00:00–00:02 — THE WORKERS Begin directly with Reference 1 in motion. The truck slowly rolls forward. Both women remain standing on their separate rear footboards, boots planted and hands gripping the rails. Their bodies make small natural balance adjustments with the vehicle’s movement. The camera follows the rear of the truck with a short, imperfect handheld pan. Keep both women fully visible and large enough to register immediately. As this shot ends, the truck slows into its collection stop. 00:02–00:06 — THE QUESTION Hard cut to the sidewalk composition established by Reference 2. The first man is already sitting inside his black bag, looking perfectly comfortable. The blue-shirted passerby steps into view from the RIGHT and stops beside him. Looking down at the seated man with genuine confusion, he asks: “Dude, why are you sitting in a trash bag?” The question begins promptly after the cut and finishes before the pointing gesture. The seated man looks up at him, gives a small knowing smile, and lifts his RIGHT hand from the bag’s rim. He points along the street toward the off-screen truck. The passerby follows his finger with his eyes and turns his head in that direction. Cut on their shared look. 00:06–00:08 — THE ANSWER Hard cut to the SAME rear view of the truck and the SAME two workers. The truck is now stopped at the collection point. Both women remain on their original footboards, holding the rails. One casually adjusts her grip while the other looks along the curb. Their glossy orange uniforms, recognizable figures, faces, and full-length trousers remain consistent with Reference 1. Hold this clear view long enough for the audience to understand the seated man’s motivation. 00:08–00:10.5 — NOW THERE ARE TWO Hard cut back to the same sidewalk and brick wall. The original man remains in his original place on the LEFT. The SAME blue-shirted passerby is now already seated in a SECOND black rubbish bag immediately to his RIGHT. His face, hairstyle, and pale-blue shirt are unchanged. His legs and feet are inside his own bag. Show both men and both separate bags together. They exchange a brief satisfied look, then turn toward the workers off-screen. Both rub their palms together above their bag openings with restrained, eager smiles. The first man has lowered his pointing hand and now uses both hands for this gesture. Let the sudden change from confused passerby to willing participant carry the joke. 00:10.5–00:12 — BUSINESS AS USUAL Hard cut back to the two women at the same stopped truck. They continue their ordinary workday behaviour, still holding the grab rails. One briefly looks toward her colleague; the other shifts her footing on her own platform. Keep the same rear camera angle and naturally imperfect phone movement. They remain unaware of the growing group on the sidewalk. 00:12–00:15 — NOW THERE ARE FIVE Hard cut to a WIDER view of the SAME sidewalk. Reveal EXACTLY FIVE adult men at once, each sitting in his OWN separate open black rubbish bag. The original charcoal-shirted man remains at the LEFT end of the row. The blue-shirted passerby sits immediately beside him. The three new men occupy the next three positions to their right. The original brick wall, iron gate, curb, and pavement establish that this is the same place. The wider framing accommodates the entire group, including every head and every bag’s contact with the ground. All five are already settled when the cut reveals them. They face the same off-screen collection point with quietly hopeful expressions. The original two exchange one pleased glance. The others lean forward slightly in anticipation, keeping their hands above the open bag rims. Hold the complete five-person tableau for the final beat. End at 15 seconds while they are still waiting expectantly. AUDIO Use natural location audio: the truck’s diesel engine, low street ambience, the passerby’s footsteps, subtle clothing and plastic rustling. The blue-shirted passerby speaks the single written English question naturally, with clear lip synchronization and ordinary phone-microphone sound. The first man answers entirely through his pointing gesture. The remaining comedy is visual. Keep the soundtrack entirely diegetic, without music, narration, or an added laugh track. CONTINUITY Maintain the exact progression: workers → one seated man and one standing passerby → workers → the same two men seated in two bags → workers → those same two men plus three newcomers, seated in five bags. The first man keeps the same identity and sidewalk position. The passerby remains recognizable after joining him. Each man occupies one separate bag. Their heads and arms stay outside; their folded legs and feet stay inside. The truck and workers retain their reference appearance and established street position. The women remain on their original rear footboards throughout their three shots. Use normal-speed action, brief readable reactions, clean cuts, and natural photographic imperfections. Deliver clean full-frame video with the joke conveyed entirely through the people, dialogue, and editing. No captions, subtitles, logos, watermark, or recording interface.

使用 ChatGPT Image 2.5 创建的两张参考图制作（见附件） 我用下面的提示生成了主视频，然后用第一张参考图制作了两个女孩跳舞的额外片段，并手动剪辑进了视频。 提示词 👇 使用两张提供的参考图，制作一段 15 秒、横屏 16:9、超写实的智能手机喜剧短片。 视觉笑点通过六个快速镜头层层递进：两位引人注目的女性环卫工人站在垃圾车上 → 一名男子坐在垃圾袋里 → 两位工人 → 两名男子坐在垃圾袋里 → 两位工人 → 五名男子坐在垃圾袋里。 男人们无声地决定，被这两位女工收走是一个绝妙的主意。通过剪辑、他们的神情以及逐渐增多的人数来传达这一点。 参考图 1 —— 开场画面与两位工人 将参考图 1 作为完全一致的第一帧。随后让卡车缓慢向前滚动，两位工人自然地在车尾踏板上保持站姿。 保留两位女性的面部、发型、身体比例、合身且有光泽的橙色制服（包括全长长裤）、反光条、手套和黑色工作靴。 从卡车后方看，金发女子站在左侧车尾踏板上，棕发女子站在右侧车尾踏板上。每个人各握一根竖向扶手。 在所有三个卡车镜头中保持她们的外观一致。她们的表情和动作保持随意、工作状态。 参考图 1 同时确定了卡车、居民街道、砖房、树木、停放的汽车、自然日光以及照片级的真实感。 参考图 2 —— 第一位男子与他的垃圾袋 用参考图 2 来确定第一位男子的确切面部、黑发、胡茬、深灰色 T 恤、坐姿、张开的黑色垃圾袋，以及他位于砖砌花园墙和铁门旁的人行道位置。 他的臀部、折叠的双腿和脚都在垃圾袋内部。垃圾袋放在人行道上。袋子松散张开的袋口环绕着他腋下以下的躯干，让他的头部、双肩和双臂露在外面。 在所有三个人行道镜头中，保留这位男子以及他的姿态。 其他每位男子都以同样的方式坐在各自独立的、张开的黑色垃圾袋里。垃圾袋有薄而皱褶的边缘、不规则的褶皱，以及由袋内坐姿身体支撑的柔和形状。 街道地理与角色 两张参考图属于同一条居民街道、同一个日光时段。 开场时卡车向前滚动几米，然后停在路缘边一个常规的收运点。在之后的卡车镜头中，卡车保持停在该位置，发动机怠速运转。 男子们坐在人行道上，位于卡车后方几米、靠路缘一侧。从他们的位置可以看到站在车尾的工人。在人行道镜头中，卡车位于画面外的右侧，略微偏向车道。 他们指点的动作和感兴趣的目光始终朝向那个方向。 第二位男子是一位 30 岁出头、普通的成年路人，留着短浅棕发，脸刮得很干净，穿着淡蓝色 T 恤、米色长裤和白色运动鞋。当他之后出现在垃圾袋里时，他独特的脸和蓝色衬衫会让人一眼认出。 另外三名成年男子只出现在最后一个镜头里。给他们不同的面部和不同的日常上衣：酒红色、橄榄绿和浅灰色。 逐渐增多的群体通过剪辑一一揭示。每次切回人行道时，都呈现出一个已完成的新状态。 镜头与真实感 使用六个手持智能手机镜头，在指定时间通过五次干净的硬切连接。 每一个镜头都应像同一名看不见的旁观者从合理的位置随意录制的。将相机保持在普通的胸部或眼部高度，自然地向下倾斜对准坐着的男士。 呈现真实、随意的手机拍摄质感，带柔和的细节和较老消费级数码相机那种不完美的纹理：明显不规则的手部抖动、略微歪斜的构图、轻微的垂直颤动、重新构图时短暂的动态模糊、延迟的对焦、轻微的数码噪点、适度的压缩、偏低的对比度以及不完美的白平衡。 保持面部和动作清晰可辨。在短暂的停留中，让自然的手持运动持续。 使用参考图中明亮、柔和阴天的日光。有光泽的光滑感橙色衣物反射同样的真实日光。皮肤、路面、砖墙、塑料袋以及风化的卡车都保留自然的表面细节。 女性表现得像普通班次中的工人。男人们表现得好像他们荒唐的计划完全合理。没有人刻意面对镜头表演。 动作与节奏 00:00–00:02 —— 两位工人 直接从运动的参考图 1 开始。 卡车缓慢向前滚动。两位女性依然各自站在车尾踏板上，靴子踩稳，双手紧握扶手。她们的身体随着车辆的移动做出细微自然的平衡调整。 相机用一个短促的、不完美的手持摇拍跟随卡车尾部。让两位女性完全入镜，并且足够大以便立即看清。 在这个镜头结束时，卡车减速停到收运点。 00:02–00:06 —— 疑问 硬切到由参考图 2 确定的人行道构图。 第一位男子已经坐在他的黑色垃圾袋里，看起来非常自在。 穿蓝衬衫的路人从右侧走入画面，停在他身边。他带着真实的困惑低头看着坐着的男子，问道： "Dude, why are you sitting in a trash bag?" 这句话在切镜头后立刻开始，并在指点动作之前结束。 坐着的男子抬头看着他，露出一个心知肚明的小微笑，并将右手从袋口上抬起。他沿着街道指向画面外的卡车。 路人用眼睛顺着他的手指看过去，并把头转向那个方向。 在他们共同的目光中切走。 00:06–00:08 —— 答案 硬切到同一辆卡车的同一后方视角，以及卡车两位女工。 卡车此时停在收运点。两位女性依然在原来的踏板上，握着扶手。 一人随意调整了一下握姿，另一人沿路缘张望。她们有光泽的橙色制服、标志性身材、面部和全长长裤保持与参考图 1 一致。 保持这个清晰画面足够长，让观众理解坐着的男子的动机。 00:08–00:10.5 —— 现在有两个人 硬切回同一条人行道和同一面砖墙。 原来的男子依然在左侧原来的位置。 同一位穿蓝衬衫的路人此时已经坐在他右侧紧邻的第二个黑色垃圾袋里。他的脸、发型和淡蓝色衬衫保持不变。他的腿和脚都在他自己的袋里。 同时展示两名男子和两个独立的袋子。 他们交换一个简短而满意的眼神，然后转向画面外的工人们。 两人都在各自袋口上方搓着手掌，露出克制的、期待的笑容。第一位男子已经放下指路的手，现在用双手做这个动作。 让这种从困惑路人到自愿参与者的突然转变来承担笑点。 00:10.5–00:12 —— 一切照常 硬切回到停在原处的卡车旁的两位女性。 她们继续着普通的日常工作动作，依然握着扶手。一人短暂地看了同事一眼；另一人在自己的踏板上换了脚。 保持同样的后方镜头角度和自然不完美的手机运动。她们对人行道上逐渐增多的群体浑然不知。 00:12–00:15 —— 现在有五个人 硬切到同一条人行道更宽的画面。 一次展示正好五名成年男子，每人坐在各自独立的、张开的黑色垃圾袋里。 原来穿深灰色衬衫的男子仍在这一排最左端。穿蓝衬衫的路人紧挨着他坐在他旁边。三位新来的男子占据他们右侧接下来的三个位置。 原有的砖墙、铁门、路缘和人行道表明这是同一个地方。更宽的构图容纳整个队列，包括每个头部以及每个袋子与地面的接触。 切到画面时，五人已经全部安顿就位。他们面向同一个画面外的收运点，神情安静而充满期待。 原来最两人面前的两人交换一个欣慰的眼神。其他人略微前倾以示期待，双手保持在张开的袋口上方。 在最后的节拍里保持完整的五人画面。在 15 秒时结束，此时他们依然在满怀期待地等待。 音频 使用自然的环境音：卡车的柴油发动机、低沉的街道环境声、路人的脚步声、细微的衣物与塑料袋的窸窣声。 穿蓝衬衫的路人自然地说出那句唯一的英文问题，口型清晰同步，声音如同普通的手机麦克风收录。 第一位男子完全通过他的指路手势来回答。剩下的喜剧完全靠视觉。 保持配乐完全为画内音，不加音乐、解说或额外的笑声轨。 连贯性 严格保持以下进展： 工人 → 一名坐着的男子和一名站着的路人 → 工人 → 同两名男子分别坐在两个袋子里 → 工人 → 同样的两名男子加上三名新来者，五人分别坐在五个袋子里。 第一位男子保持同样的身份和人行道位置。路人在加入后依然可被认出。 每名男子各占一个独立的袋子。他们的头和手臂留在外面；折叠的腿和脚留在里面。 卡车和工人们保持参考图中的外观和已确定的街道位置。在她们的三个镜头中，两位女性始终在原来的车尾踏板上。 使用正常速度的动作、简短可辨的反应、干净的硬切和自然的摄影瑕疵。 交付干净全幅的视频，全部笑点完全通过人物、对白和剪辑来传达。不加字幕、标题、标志、水印或录制界面。 使用两张提供的参考图，制作一段 15 秒、横屏 16:9、超写实的智能手机喜剧短片。 视觉笑点通过六个快速镜头层层递进：两位引人注目的女性环卫工人站在垃圾车上 → 一名男子坐在垃圾袋里 → 两位工人 → 两名男子坐在垃圾袋里 → 两位工人 → 五名男子坐在垃圾袋里。 男人们无声地决定，被这两位女工收走是一个绝妙的主意。通过剪辑、他们的神情以及逐渐增多的人数来传达这一点。 参考图 1 —— 开场画面与两位工人 将参考图 1 作为完全一致的第一帧。随后让卡车缓慢向前滚动，两位工人自然地在车尾踏板上保持站姿。 保留两位女性的面部、发型、身体比例、合身且有光泽的橙色制服（包括全长长裤）、反光条、手套和黑色工作靴。 从卡车后方看，金发女子站在左侧车尾踏板上，棕发女子站在右侧车尾踏板上。每个人各握一根竖向扶手。 在所有三个卡车镜头中保持她们的外观一致。她们的表情和动作保持随意、工作状态。 参考图 1 同时确定了卡车、居民街道、砖房、树木、停放的汽车、自然日光以及照片级的真实感。 参考图 2 —— 第一位男子与他的垃圾袋 用参考图 2 来确定第一位男子的确切面部、黑发、胡茬、深灰色 T 恤、坐姿、张开的黑色垃圾袋，以及他位于砖砌花园墙和铁门旁的人行道位置。 他的臀部、折叠的双腿和脚都在垃圾袋内部。垃圾袋放在人行道上。袋子松散张开的袋口环绕着他腋下以下的躯干，让他的头部、双肩和双臂露在外面。 在所有三个人行道镜头中，保留这位男子以及他的姿态。 其他每位男子都以同样的方式坐在各自独立的、张开的黑色垃圾袋里。垃圾袋有薄而皱褶的边缘、不规则的褶皱，以及由袋内坐姿身体支撑的柔和形状。 街道地理与角色 两张参考图属于同一条居民街道、同一个日光时段。 开场时卡车向前滚动几米，然后停在路缘边一个常规的收运点。在之后的卡车镜头中，卡车保持停在该位置，发动机怠速运转。