Control Mental

Miroslava Valenti "Miros", a 24-year-old-looking female digital avatar: slim feminine elegant physique. Small refined face with a narrow elongated oval shape, high slim cheekbones, softly defined jawline and elegant chin. Medium-large almond eyes with a slight upward lift, bright green-hazel irises with amber flecks. Strong naturally full dark brown eyebrows. Delicate small straight nose. Naturally full nude-pink lips. Warm light-to-medium sun-kissed skin with visible pores and real micro-texture, never waxy. Long auburn-chestnut hair with copper balayage, loose waves, worn down, long centre-parted curtain bangs. Wearing a long burgundy leather hooded trench coat over black tailoring, minimal gold jewelry. The hood is up over her head but pushed back enough that her whole face stays visible and unshadowed, her curtain bangs and loose waves falling forward out of the hood over her shoulders.

Wide full-body shot, 35mm lens, camera at chest height across the street from her. She stands on a Manhattan sidewalk, body turned three-quarters, weight settled on one leg, hands in the pockets of the open hooded trench coat, gaze forward and unreadable, the hood framing her face.

Foreground: an out-of-focus parked car bumper crossing the lower frame. Midground: Miros on the wet sidewalk, her reflection faint beneath her. Background: late afternoon in Manhattan, low golden sun cutting between the buildings, wet asphalt reflecting warm light, blurred yellow cabs, steam drifting from a manhole, out-of-focus pedestrians, brownstone and glass facades receding into haze.

Low golden sun as key from behind her left shoulder, rimming the edge of the hood and the shoulders of the coat in copper. Warm bounce from a shop window filling the inside of the hood so her face never falls into darkness. Deep espresso shadows.

Cinematic film still, 35mm anamorphic, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

Miroslava Valenti "Miros", a 24-year-old-looking female digital avatar. Small refined face with a narrow elongated oval shape, high slim cheekbones, softly defined jawline and elegant chin. Medium-large almond eyes with a slight upward lift, bright green-hazel irises with amber flecks. Strong naturally full dark brown eyebrows. Delicate small straight nose. Naturally full nude-pink lips. Warm light-to-medium sun-kissed skin with visible pores and real micro-texture, never waxy. Long auburn-chestnut hair with copper balayage, loose waves, worn down, long centre-parted curtain bangs. Wearing a long burgundy leather hooded trench coat over black tailoring, minimal gold jewelry. The hood is up over her head but pushed back enough that her whole face stays visible and unshadowed.

Close-up portrait, 85mm lens, camera slightly below eye level. She has just stopped walking; head beginning to turn to her left, chin level, eyes about to lock onto something off-frame left. Expression calm, unreadable, no smile. The hood of her burgundy leather coat frames her face on both sides.

Foreground: an out-of-focus passing shoulder crossing the right edge. Background: a Manhattan street in late afternoon, fully out of focus into warm golden bokeh.

Low golden sun as rim light on her cheekbone and jaw, warm bounce filling the shadow side and the inside of the hood, a bright catchlight in her green-hazel irises.

Cinematic film still, 85mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

A man of about 35 in a dark grey wool overcoat and grey scarf, short dark hair, ordinary and unremarkable. He is stepping out of a brass revolving door into a luxury hotel lobby, mid-step, his face completely blank and vacant, eyes unfocused, arms hanging loose. He moves like a sleepwalker.

Medium shot, 50mm lens, camera at chest height inside the lobby facing the entrance. Foreground: out-of-focus edge of a marble column at the left. Midground: the man and the revolving door. Background: a luxury hotel lobby of dark polished stone and brushed brass, warm amber lamps, a brass luggage trolley out of focus.

Warm amber practical lamps as key, champagne rim light along his shoulder, cold daylight from the street behind him falling away, deep espresso shadows.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

The same man of about 35 in a dark grey wool overcoat and grey scarf, standing motionless a few steps inside a luxury hotel lobby, the revolving door behind him. His head is turned to his right, his gaze fixed on something off-frame to the right. His face is completely blank and vacant.

His irises light up from within with a warm amber glow, brief and contained, like embers behind the eye. No beams, no light rays, no particles, no glow spilling onto his skin, no colour change in the room. Everything else about him stays completely still.

Medium shot, 50mm lens, camera at chest height. Same lobby of dark polished stone and brushed brass, warm amber lamps, brass luggage trolley out of focus behind him.

Warm amber practical lamps as key, champagne rim light along his shoulder, deep espresso shadows.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

A young man of about 20 in a burgundy bellhop uniform with gold buttons and a matching cap, standing beside a brass luggage trolley in a luxury hotel lobby. He is adjusting a suitcase strap, head down, absorbed in the task, a normal alert working expression, completely unaware of anything around him.

Medium shot, 50mm lens, camera static at chest height. Background: a luxury hotel lobby of dark polished stone and brushed brass, warm amber lamps, deep espresso shadows, no cold light anywhere.

Warm amber practicals as key, champagne rim light separating him from the dark stone behind him.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

Interior of a hotel elevator of brushed brass with a mirrored back panel. The same young man of about 20 in the burgundy bellhop uniform and cap stands alone inside, facing out toward the camera, face completely blank and vacant, eyes unfocused, arms hanging at his sides. His reflection is faintly visible in the brass behind him.

The brass elevator doors are almost closed, only a narrow vertical gap left, framing him in the centre of the shot as they meet.

Medium shot, 35mm lens, camera static in the corridor facing the elevator. Warm amber ceiling light from directly above him, deep shadow under his cap brim, the lobby behind camera falling into darkness.

Cinematic film still, 35mm anamorphic, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

High-angle shot looking down from a fifth-floor window onto a Manhattan sidewalk in late afternoon.

Miroslava Valenti "Miros", a 24-year-old-looking female digital avatar: small refined face with a narrow elongated oval shape, high slim cheekbones, softly defined jawline and elegant chin. Medium-large almond eyes with a slight upward lift, bright green-hazel irises with amber flecks. Strong naturally full dark brown eyebrows. Delicate small straight nose. Naturally full nude-pink lips. Warm light-to-medium sun-kissed skin with visible pores and real micro-texture. Long auburn-chestnut hair with copper balayage in loose waves, long centre-parted curtain bangs. Wearing a long burgundy leather hooded trench coat over black tailoring, minimal gold jewelry, the hood up over her head.

She stands alone and motionless on the wet sidewalk directly below the camera, seen from above and slightly behind, her body facing along the street. She is looking straight ahead down the street, not at the camera. Her hands are in her coat pockets.

Around her: pedestrians walk past in both directions without noticing her, wet asphalt reflecting golden light, yellow cabs at the kerb, steam drifting from a manhole, the brass canopy of the hotel entrance at the edge of frame.

Low golden sun raking down the street, warm reflections on the wet pavement, deep espresso shadows between the buildings.

Cinematic film still, 35mm anamorphic, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

Tighter high-angle shot looking down from a second-floor window onto the same Manhattan sidewalk, the camera now much closer to her, she fills the centre of the frame.

The same woman, Miros, exactly the same face, same long burgundy leather hooded trench coat, same auburn-chestnut hair with centre-parted curtain bangs. She has tilted her head fully up toward the camera and is looking directly into the lens, chin raised, her whole face open to the light and completely visible, the hood falling back slightly off her forehead as she looks up. Her expression is calm, knowing and unreadable, with the faintest trace of a private half-smile. She is absolutely still.

Below and around her, out of focus, the wet sidewalk and blurred pedestrians continue past without noticing her.

Low golden sun falling on her upturned face, warm bounce from the wet pavement filling the shadow side, a bright catchlight in her green-hazel eyes, deep espresso shadows around her.

Cinematic film still, 35mm anamorphic, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

A young man of about 20 in a burgundy bellhop uniform with gold buttons and a matching cap steps out of an open brass elevator into a hotel corridor, seen from behind and slightly to one side, face not visible, posture upright and mechanical.

Medium shot, 35mm lens, camera at chest height in the corridor ahead of him. Foreground: out-of-focus corner of a doorframe at the left edge. Midground: the bellhop at the elevator threshold. Background: a hotel corridor of dark panelled walls, patterned carpet and brass sconces receding into warm shadow.

Warm amber sconces as practicals along both walls, brighter warm light spilling from the elevator behind him, alternating pools of light and shadow across the carpet.

Cinematic film still, 35mm anamorphic, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

A hotel corridor. The same young man of about 20 in a burgundy bellhop uniform with gold buttons and cap stands facing a closed panelled hotel room door, seen from behind and to one side, one hand resting on the brass handle, motionless, face not visible.

Medium shot, 50mm lens, camera in the corridor behind him. Foreground: the dark doorframe edge. Midground: the bellhop and the closed door. Background: the corridor receding into warm shadow behind him.

Warm amber sconces as practicals, one pooling light over him, deep espresso shadows in the doorframe.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

The same young man in the burgundy bellhop uniform stands in the now fully open doorway of a luxury hotel room, seen from behind and to one side, silhouetted against the warm room light.

Inside the room stands the hotel guest: a heavy-set man of about 55, receding hairline with thinning light-brown hair, a short grey-flecked beard, ruddy fair skin, heavy jaw, plain white dress shirt with the sleeves rolled up. An ordinary anonymous face, not resembling any famous person, actor or public figure, plain everyday features. He has turned from the desk toward the door, mildly surprised, mouth beginning to open.

Medium shot, 50mm lens, camera in the corridor behind the bellhop. Background: the hotel room, an unmade bed, a writing desk with a leather briefcase on it, a window with the golden Manhattan skyline out of focus.

Warm room light as key from the window, corridor sconces backlighting the bellhop, deep espresso shadows in the doorframe.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

Inside a luxury hotel room. The same heavy-set man of about 55 with the receding hairline, thinning light-brown hair and short grey-flecked beard, in a plain white dress shirt with rolled sleeves, stands leaning over the writing desk with both hands on the brass clasps of a brown leather briefcase, in the act of opening it. His head is turned down toward the briefcase, never toward the camera, his face completely blank and vacant, eyes unfocused and half-lidded. He moves like a sleepwalker.

Medium shot, 50mm lens, camera static at his eye level, placed to his side so we see him three-quarters. Foreground: out-of-focus corner of an armchair at the frame edge. Background: the hotel room and the window with the golden Manhattan skyline out of focus.

Warm window light as key from camera left, a small brass desk lamp glowing beside his hands, deep espresso shadows filling the rest of the frame.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

The same heavy-set man of about 55 stands upright beside the writing desk of the hotel room, the brown leather briefcase open behind him, holding a single sheet of plain white paper in one hand, face down, held loosely at chest height. His head is level, his face completely blank and vacant, eyes unfocused and half-lidded. He is not looking at the paper.

Medium shot, 50mm lens, camera static at his eye level, three-quarters to his side. Background: the hotel room, the open briefcase on the desk, the window with the golden Manhattan skyline out of focus.

Warm window light as key from camera left, the brass desk lamp glowing warm, deep espresso shadows filling the rest of the frame.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography. The sheet of paper is blank and face down with nothing written on it.

Extreme low-angle shot, camera resting on the floor of a hotel corridor at carpet level, looking back toward a brushed brass elevator.

The elevator doors have just opened. Inside, standing on the hard elevator floor, a woman's feet in black pointed-toe high-heeled shoes, wearing sheer black stockings, her legs together and still. The bottom hem of a long burgundy leather trench coat falls just below her knees, hanging still. Nothing of her above the knees is visible in frame.

Foreground: patterned hotel carpet filling the lower half of the frame, out of focus at the very front. Midground: the brass elevator threshold. Background: the open elevator interior in warm light.

Warm amber ceiling light inside the elevator spilling out across the carpet, warm sconce light in the corridor, deep espresso shadows along the floor, a faint reflection of the heels on the polished elevator floor.

Cinematic film still, 35mm anamorphic, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography. No faces.

Extreme low-angle shot, camera resting on the floor of a hotel corridor at carpet level, the brushed brass elevator now further back in frame with its doors closing.

The same woman's feet in black pointed-toe high-heeled shoes and sheer black stockings, now out on the patterned corridor carpet and close to the camera, caught mid-stride walking toward the lens, one heel forward and one lifting behind. The bottom hem of the long burgundy leather trench coat swings with the movement. Nothing of her above the knees is visible in frame.

Foreground: the heels large and close, patterned carpet. Background: the brass elevator receding, its doors closing, the corridor walls falling into warm shadow.

Warm amber sconce light pooling on the carpet, the closing elevator light narrowing behind her, deep espresso shadows.

Cinematic film still, 35mm anamorphic, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography. No faces.

Interior of a luxury hotel room, looking toward the open entrance door of the room. Tight framing on the doorway itself.

The doorway is empty. Beyond it, a hotel corridor of dark panelled walls, patterned carpet and brass sconces recedes into warm shadow, completely deserted, not a single person anywhere in frame.

Medium shot, 50mm lens, camera static inside the room at chest height, facing the door. Foreground: out-of-focus edge of the room wall framing the shot. Midground: the open doorway. Background: the empty corridor falling into soft focus.

Warm amber corridor sconces glowing beyond the doorway, warm window light from behind the camera spilling faintly onto the doorframe, deep espresso shadows around the frame.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

The same tight framing of the same hotel room doorway, same empty corridor beyond, same light.

Now Miroslava Valenti "Miros" stands in the doorway, filling it, having appeared there without a sound. A 24-year-old-looking woman: small refined face with a narrow elongated oval shape, high slim cheekbones, softly defined jawline and elegant chin. Medium-large almond eyes with a slight upward lift, bright green-hazel irises with amber flecks. Strong naturally full dark brown eyebrows. Delicate small straight nose. Naturally full nude-pink lips. Warm light-to-medium sun-kissed skin with visible pores and real micro-texture. Long auburn-chestnut hair with copper balayage in loose waves, long centre-parted curtain bangs. Wearing a long burgundy leather hooded trench coat over black tailoring, minimal gold jewelry, the hood up over her head but pushed back enough that her whole face stays visible and unshadowed.

She stands completely still, hands at her sides, looking straight ahead into the room, calm and unreadable, no smile.

Medium shot, 50mm lens, camera static inside the room at chest height. Warm amber corridor sconces behind her rimming the hood and her shoulders in copper, warm window light from behind the camera filling her face, deep espresso shadows around the doorframe.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

Inside a dimly lit luxury hotel room. A medium two-shot.

On the left of frame, the hotel guest: a heavy-set man of about 55, receding hairline with thinning light-brown hair, a short grey-flecked beard, ruddy fair skin, heavy jaw, plain white dress shirt with the sleeves rolled up. An ordinary anonymous face, not resembling any famous person, actor or public figure. His face is completely blank and vacant, eyes unfocused and half-lidded. He extends one arm toward the woman, offering her a single sheet of plain white paper held flat and face down, its printed side turned away from the camera so nothing on it is visible.

On the right of frame, Miros: the same woman, exactly the same face, long burgundy leather hooded trench coat with the hood up, long auburn-chestnut hair with centre-parted curtain bangs. She is beginning to reach out for the paper with one hand, her expression calm and unreadable. She is looking at the paper, not at him.

Medium shot, 50mm lens, camera static at chest height. Background: the hotel room, an open leather briefcase on the writing desk, a window with the golden Manhattan skyline out of focus.

Warm window light from camera left as key, champagne rim light along both figures, deep espresso shadows filling the rest of the frame.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.

Close-up of Miros alone in a dimly lit luxury hotel room, the guest gone from frame.

A 24-year-old-looking woman: small refined face with a narrow elongated oval shape, high slim cheekbones, softly defined jawline and elegant chin. Medium-large almond eyes with a slight upward lift, bright green-hazel irises with amber flecks. Strong naturally full dark brown eyebrows. Delicate small straight nose. Naturally full nude-pink lips. Warm light-to-medium sun-kissed skin with visible pores and real micro-texture. Long auburn-chestnut hair with copper balayage in loose waves, long centre-parted curtain bangs. Wearing a long burgundy leather hooded trench coat, the hood up over her head framing her face on both sides.

She looks directly into the camera, calm, knowing and unreadable, the faintest trace of a private half-smile. She holds a single sheet of plain white paper against her chest with both hands, face down, its printed side turned away from the camera so nothing on it is visible.

Medium close-up, 50mm lens, camera static at eye level, framed so both her face and the paper are in frame.

A single warm window light from camera left rakes across her face, the right side falling into soft espresso shadow. Champagne rim light along her jaw, the hood edge and the top of the paper. The room behind her falls into darkness. High contrast, moody, low-key.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade, photorealistic. The paper is face down and blank.

The same woman, Miros, exactly the same face, same long burgundy leather hooded trench coat with the hood up, same auburn-chestnut hair with centre-parted curtain bangs, in the same dimly lit luxury hotel room, same framing and same light.

She now holds the sheet of plain white paper flat and centred toward the camera, filling the middle of the frame, printed on it in plain black capital letters: "ESTO ES IA", crisp, centred and perfectly legible. Her face is above and beside the paper, still fully visible, looking directly into the camera with a calm, knowing expression and the faintest private half-smile. She is completely still.

Medium close-up, 50mm lens, camera static at eye level.

A single warm window light from camera left rakes across her face and the paper, the right side of the frame falling into deep espresso shadow. Champagne rim light along her jaw, the hood edge and the top of the paper. The room behind falls into darkness. High contrast, moody, low-key.

Cinematic film still, 50mm, shallow depth of field, natural film grain, warm bronze and champagne colour grade with deep espresso shadows, photorealistic, premium commercial cinematography.