Create a 30-second ultra-fast, heavyweight hand-to-hand fight between @Image 1…

Create a 30-second ultra-fast, heavyweight hand-to-hand fight between @Image 1 and @Image 2 in @Image 3's wasteland. Battle is underway at 0.0s: no introduction, face-off, guard pose, or pause. Theatrical anime-film-quality realistic 3D CGI; readable silhouettes, violent acceleration, weight, grounded mechanics, powerful contact and recoil. No weapons or blood. Use one continuous primary chase camera for most of the video, preserving action axis and screen direction. Cut only when a fist, foot, body, or dust fully covers the lens, or on a decisive impact match. No camera teleportation or arbitrary cutting. @Image 1 defines exactly one <Long-Haired Fighter>. Preserve his scarred face, muscular build, spiked dark-brown hair, exposed chest and arms, dark-navy sleeveless outfit, gold dragon/cloud/wave ornament, black sash, gray trousers, brown knee guards, metal forearm guards, silver shin guards, and open-toe footwear. All sheet views show one person. Exclude the sheet background, labels, text, and panels. @Image 2 defines exactly one <Bald Fighter>. Preserve his bald head, stern face, heavy muscular build, torn charcoal outfit, orange-gold dragon ornament, rust-red sash, orange-black guards, and brown armored boots. All sheet views show one person. Exclude the sheet background, labels, text, and panels. @Image 3 defines the fixed setting: dry rocky plain, cracked tan earth, stones, jagged rocks, distant mountains, deep horizon, blue sky, clouds, strong daylight. Never change location, weather, or time of day. The <Long-Haired Fighter> is fast and aggressive, using combinations, spins, and counters. The <Bald Fighter> is heavy and stable, using straights, hooks, elbows, kicks, and pressure. Exactly two fighters. 0.00-0.30s — Start mid-fight. A low wide camera skims the cracked ground. At the far center, both fighters are tiny dots already exchanging punches and kicks as dust bursts around them. No setup. 0.30-0.90s — The <Long-Haired Fighter> sprints from the distant center toward the lens, growing through real travel from a dot to full body, then extreme close-up. Camera retreats inches above ground, shifting from telephoto compression to aggressive wide angle. Sand explodes under planted feet; hair and sash stream back. His right punch fills the frame for a hidden cut. 0.90-1.50s — Match the punch into a close over-shoulder view behind the <Bald Fighter>. He knocks it outward with his forearm, then fires a heavy left hook and right elbow. The camera makes one rapid whip-orbit around contact. The elbow passes centimeters from the lens and briefly covers it. Complete the distant rush, lens strike, defense, and counter within 1.5 seconds. 1.50-3.20s — Without cutting, weave between them at shoulder height. The <Long-Haired Fighter> ducks and chains left body shot, right hook, left knee, right low kick. Whip-pan between attacks; stabilize at contact. Show power traveling from feet through hips and shoulders, followed by delayed hair, cloth, and dust. 3.20-4.50s — The <Bald Fighter> throws a crushing right hook. Camera races backward beside the fist, making it huge in wide-angle foreground. The <Long-Haired Fighter> leans away narrowly. When the fist covers the lens, hidden-cut to the opposite side while preserving trajectory. 4.50-6.10s — Continue the motion into the <Long-Haired Fighter>'s spinning left backfist, right body strike, and low grounded spinning kick. Camera orbits 180 degrees with his hips. Gravel blasts sideways at the final kick; one heavy camera jolt. 6.10-7.80s — The <Bald Fighter> checks the kick and steps in. They fight chest-to-chest with forearms, palms, shoulders, and compact redirections. Camera threads through at chest height without losing faces, feet, or contact. Pressure changes redirect sand. 7.80-9.60s — A powerful front kick hits the <Long-Haired Fighter>'s crossed forearms. Briefly slow before contact to show force transfer, then return to full speed. Camera travels with the kick, curves in front of the defender, and tracks low as he slides backward, carving two grooves. 9.60-11.20s — He recedes to a small figure at the distant center but stays upright. Camera holds briefly. He explodes forward again, growing from a dot to frame-filling scale, then delivers a grounded spinning kick at the lens. The sole fills the frame for a hidden cut. 11.20-13.20s — Match the kick into a side angle. The <Bald Fighter> blocks; his opponent lands and chains punches, elbow, and palm strike. One low orbit keeps faces, footwork, and contacts readable. 13.20-14.90s — The <Bald Fighter> counters with a left body hook and right straight. Push briefly toward the torso on hit one, then retreat rapidly with the straight charging down frame center. The <Long-Haired Fighter> steps half a pace outside its line instead of retreating. 14.90-16.10s — Begin the rotational throw. The <Long-Haired Fighter> catches the incoming right wrist and forearm firmly with both hands. He does not twist only the arm: he steps outside the shoulder line, lowers his center, and turns back, hips, and planted feet together, converting forward momentum into a wide circle. Tilt from grip to feet to show weight shift and pivot together. 16.10-18.70s — Keeping the two-hand hold, he swings the <Bald Fighter>'s whole body in a large, nearly horizontal circle for about two and a half rotations. Camera orbits in the same direction, varying height and radius to reveal faces, locked grip, pivot foot, and airborne body. Centrifugal force lifts the opponent's feet while his body remains connected. No dislocated joints, stretched limbs, slipping hands, or deformation. Sand and pebbles spiral outward; blur the background but keep fighters readable. 18.70-20.00s — Before the third rotation, the <Long-Haired Fighter> braces, releases, and hurls his opponent sideways. One heavy jolt, then camera tracks the thrown body through ground contact, rolling, and recovery onto one foot. A dust wall arrives later. 20.00-21.50s — The <Bald Fighter> recovers at distant center and charges the lens, growing from tiny silhouette to enormous foreground. He drives in shoulder-first, then thrusts a right knee at the lens. Camera retreats while rising to chest height. The knee fills frame for a hidden cut. 21.50-23.30s — Continue behind the knee. The <Long-Haired Fighter> redirects it with both forearms, slips to the flank, and counters with left elbow, right palm, short shoulder strike. Camera rotates 270 degrees around contact, using foreground limbs as natural wipes. Increase speed without incoherent editing. 23.30-25.10s — The <Bald Fighter> plants, stops the shoulder, and forces space with a heavy body hook. His opponent redirects it and answers with low sweep, spinning backfist, right knee. Camera briefly arcs overhead to reveal attack geometry, then dives to ground level alongside the sweep. 25.10-26.80s — Final combination: left jab, right body punch, left elbow, right uppercut, progressively faster. The <Bald Fighter> blocks three; the fourth lifts his guard. Camera follows one tightening spiral, closing after each strike until an extreme close-up of fist and determined face. 26.80-28.20s — Decisive blow. The <Long-Haired Fighter> steps deeply and drives a full-body right straight into the torso center. Use only a brief near-freeze before contact. Align fist, arm, shoulder, spine, hips, rear leg, and ground into one visible power chain. At contact snap to full speed: circular pressure wave, gravel, and a large sand shock ring erupt. Camera snaps backward to show the <Bald Fighter>'s full body driven away. No blood. 28.20-29.10s — The same camera follows his landing and slide from a low rear angle, pierces the dust, then whip-pans to the winner. The defeated fighter remains intact and kneels in the distance. 29.10-30.00s — Fast 180-degree orbit around the <Long-Haired Fighter>, then an abrupt stop in a low frontal hero frame. He lowers his fists and controls his breath while hair, sash, and dust settle later. Rack focus from the distant kneeling opponent back to the foreground winner. Repeatedly move from a dot-sized fighter at distant center to a huge lens-directed strike. Do not fake this by scaling; show running distance, planted steps, changing perspective, parallax, and sand flow. Use short motion blur during acceleration and speed ramps only at decisive contacts. Every strike shows preparation, acceleration, contact, force transfer, recoil, and recovery. No floating, foot sliding, pose popping, frame skipping, non-contact impact, intersection, or loose ragdoll motion. Strong daylight, hard shadows, warm tan ground, cool distant mountains. Impacts move sand, gravel, and stones in correct directions; dust expands later while the horizon stays stable. Use