Use the two attached images as the canonical visual anchors and generate a 4x4 storyboard shot burst

Use the two attached images as the canonical visual anchors and generate a 4x4 storyboard shot burst in 21:9. Image A defines the masked hooded swordsman in black. Image B defines the samurai in the blue-and-gold robe. Preserve the exact aesthetic, colour palette, forest environment, soft anamorphic smear, shallow-focus motion blur, wardrobe, subject design, atmosphere, and cinematic style from the references. The sequence is a tense two-character katana duel in a dense forest. The emotional core is precision, control, and tactical reversal. At first the masked attacker drives the exchange. By the end, the samurai has read the rhythm, taken the center line, and won the initiative. Create distinct frames from the same fight, showing a clear mechanical progression of the duel. Do not use random sword action. If one fighter attacks, the next beat must show the exact defensive response: parry, block, evasion, bind, counter-cut, or thrust. Every shot must belong to one continuous exchange and each camera angle must serve a clear purpose: establish geography, clarify maai (fighting distance), read footwork, reveal line of attack, show blade contact, or express the shift in control. Use proper sword-fight logic and terminology: - chudan-no-kamae, gedan / low guard, or high guard where appropriate - maai for distance - suriashi for sliding footwork - tai-sabaki for body evasion - yokomen-giri for the first diagonal attack - uke-nagashi or a deflecting parry for the first defense - kesa-giri as the first clean counter-cut - tsubazeriai for the close blade bind - tsuki for the short thrust attempt - harai / beat aside for the final opening Use clean cause-and-effect choreography, not flashy random spins or impossible acrobatics. Create varied coverage including but not limited to: 1. extreme wide establishing shot of the forest clearing, showing both fighters, the terrain, and the initial maai between them 2. centered master shot of both swordsmen settling into guard, reading each other before the first engagement 3. low tracking medium shot of the masked fighter advancing with measured suriashi, pressure building, blade angled for attack 4. opposing medium shot of the samurai in chudan-no-kamae, stable, composed, waiting on the center line 5. side-profile two-shot showing both men circling and adjusting maai, useful for reading footwork and spatial relation 6. over-the-shoulder from behind the masked fighter as he launches a right-to-left yokomen-giri toward the samurai 7. side tracking shot that clearly reads the samurai’s tai-sabaki step offline and uke-nagashi parry redirecting the cut 8. close-up insert of the blades making first contact, steel sliding, sparks or reflected light, hands and tsuba visible 9. medium follow shot as the samurai immediately answers with a left-to-right kesa-giri counter and the masked fighter catches or checks it 10. tight two-shot as both fighters crash into tsubazeriai, shoulders close, guards locked, each testing leverage 11. detail shot of feet and hips during the bind, showing stance adjustment, pressure, and balance shift rather than random upper-body motion 12. medium close shot as the masked fighter breaks just enough space to attempt a short tsuki, driving forward aggressively 13. angled counter shot as the samurai beats the thrust off-line with a harai action and regains the center 14. low lateral tracking shot as the samurai steps through and creates the decisive opening, forcing the masked fighter out of structure 15. close-up or medium-close finishing frame of the samurai stopping a final cut or thrust at the opponent’s throat / chest line, dominant and fully in control 16. environmental aftermath shot of the clearing, one fighter held in check or collapsing to a knee while the victor remains composed, tension still hanging in the air Keep the same composition style, negative space, lens feeling, camera character, and visual restraint across all frames. The masked fighter should initially receive more aggressive forward-moving coverage and stronger visual momentum. The samurai should initially be framed as reactive but grounded. As the sequence progresses, reverse this logic so the samurai gains cleaner framing, stronger center-line control, and greater visual authority. The camera must not be static, but it also must not move randomly. Use only motivated movement: lateral tracking to read footwork, push-ins to intensify commitment, slight crane or boom adjustments to reveal spacing, over-the-shoulder angles to clarify attack lines, and close inserts to show blade mechanics. Avoid empty orbiting, decorative spins, or movement that hides the choreography. Keep both fighters fully consistent across all frames. No extra characters, no redesign, no text other than frame numbering. Number each frame. The result should feel like a cinematographer’s contact sheet from one precise forest duel, where every frame belongs to the same sword exchange and every shot choice reinforces the choreography, mechanics, and shift in control.