Rather than holding one uniform look across an entire short, deliberately vary color grade, camera style, and lens choice from scene to scene so each scene reads as visually distinct.
Camera style choices — e.g., handheld shake — are picked for what they communicate emotionally or narratively (tension, instability, intimacy), not chosen as a fixed stylistic default. Handheld shake reads differently than locked-off or smooth camera moves; pick per beat based on what the moment should make the audience feel.
Operates at the inter-scene level and is compatible with Color Transfer / Palette Locking, which locks a palette within a scene/shot sequence for intra-scene consistency — lock the look within a scene, vary it across scenes.
One instance of per-scene visual identity: an intentionally lower-quality, DVR/dash-cam-style treatment for a specific POV shot (e.g., a patrol-car dispatch view). Rather than aiming for polish, the prompt specifies degraded footage quality, compression artifacts, or surveillance framing when the scene's realism depends on looking like it came from an in-vehicle or security camera rather than a cinema camera.