Upload a clean product shot. The workflow builds the ad around it.
79 product video workflows
You, your dog and your cat cross forest, lake, river, mountain and sea in your own off-road vehicle — one continuous 26-second take, no montage cuts, diegetic sound. Upload a face, a dog, a cat and a vehicle; they star as themselves. See the video step for the full prompt.
PRODUCT LOCK — HIGHEST PRIORITY: @image1 is the mango, exactly as shown, unchanged and not regenerated. Preserve its exact skin colour, ripeness, size, shape and any surface markings from the reference in every shot. Photocopy the fruit. Do not recolour the skin, do not invent a different mango. Flesh colour matches @image1 (cubes and halves in the fruit's own ripe flesh colour — never brown or oxidized). No people, no hands, no faces, no text, no logos, no subtitles. Seamless 15-second cinematic photorealistic artisanal culinary commercial. Extreme macro, ultra-shallow depth of field, authentic crystallizing fluid dynamics, realistic thermodynamic frost and cryogenic vapor. Colour palette drawn from the @image1 mango’s true flesh tone, contrasted against dark basalt stone. 0.0-2.5s HOOK — MATTE VOLCANIC BASALT. The @image1 mango cleaves cleanly in half under macro slow motion, revealing its true fibrous flesh and stone exactly as the reference shows, releasing a fine pressurized mist of micro-droplets and bright citrus-sweet aromatics. Crisp backlit rim lighting catching airborne dew. Continuous kinetic macro push-in. Something already happening in frame 1 — never a still packshot as the opening plate. 2.5-5.0s VORTEX — DYNAMIC ZERO-GRAVITY. Cold-pressed purée made from that same @image1 mango, rich condensed jersey cream, infused lime zest, and spun wildflower blossom honey collide and whip into swirling silk-like ribbons suspended mid-air, coloured to match the @image1 mango’s true flesh tone. Seamless fluid-vortex tumble. 5.0-7.5s CHURN — SUB-ZERO MIRROR-POLISHED STAINLESS STEEL CYLINDER. Dashers fold through the emulsion, rapidly setting it into a dense, velvety, micro-textured frozen gelato. Swirling cryogenic vapor curls from the rim. Cool cryogenic mist tones. Rotational churning-cylinder tracking. 7.5-11.0s SCOOP — ULTRA-MACRO 1000fps. A warm brass scoop carves through the frozen crest, rolling up a dense, ridged ribboned sphere glistening with microscopic frost crystals. Warm glowing culinary key light on glossy cream. Slow, luxurious carve — no rush. 11.0-15.0s PAYOFF — AESTHETIC GARNISH HOLD. The scooped sphere rests in the brass scoop, then settles onto a dark basalt dish. A thin, continuous golden lime-honey thread drizzles in a slow elegant spiral, catching rim light as viscous ribbons. Toasted coconut flakes and a few warm toasted nuts (almond slivers, crushed pistachio) fall in a delicate, art-directed cascade — sparse, placed, never dumped, never messy. Microscopic frost, glossy honey sheen, editorial dessert plating. Hold the finished composed scoop until the last frame. No extra action after the garnish. Camera: continuous kinetic macro push-in, seamless fluid-vortex tumble, rotational churning cylinder tracking, ultra-high-speed slow-motion scoop, then locked beauty-macro on the garnish. Lighting: crisp backlit rim lighting catching airborne dew, honey thread, and nut edges; cool cryogenic mist in the churn; warm culinary key on the final plate. Negative: text, watermark, logo, subtitles, cartoon, brown oxidized flesh, bruised spots, excessive stringy fibers, icy slush, grainy texture, colour drift from @image1, plastic look, flat lighting, jump cuts, jerky camera, noisy footage, grey studio still as frame 0, messy dump of nuts, clumpy honey blobs, overflowing garnish, hands.
DRIFT DOG SNOWBOARD A chest-mounted action camera follows @image1 — your dog in his jacket — riding a snowboard down a sunlit piste: two hard carves, a jump, a landing, and a paw tap at the stop. Attach one side-on photo where the wordmark on the coat is sharp. 20s.
@image1 is an absolute product lock: all three pieces in it keep their exact form, proportions, material, finish, colour and every surface detail, and must not drift, restyle, merge or swap with one another at any point. Exactly one piece is on screen at a time, and each appears once. Follow @image2 exactly — its shot order, framing progression, hand position and staging. Soft editorial product film, shot on a long lens wide open. High-key white, blown-out daylight from above, heavy bloom, warm-neutral white balance, very shallow depth of field, delicate tissue and fabric texture held in the mid-tones, no hard shadows anywhere. Calm, intimate, unhurried. One continuous take, no cuts. The whole film is shot from inside a bag of crumpled translucent white material, looking out through one irregular soft-edged opening torn through it. That material fills the foreground on every edge, far out of focus and glowing, and the opening is blown out to pure white. The camera stays down at the bottom of the enclosure with the lens angled steeply up at that opening, and creeps steadily nearer it across the film so it grows in frame, never pulling back and never leaving the enclosure. RIGID ATTACHMENT RULE: once the fingers close on a piece, that piece is locked to the hand and moves ONLY because the hand moves. It never turns, spins, rotates, tilts, drifts, floats, sways or changes its angle on its own. Every change in how it faces the camera comes from the wrist rolling or the fingers rolling it — hand and piece travel as one rigid unit, with the piece keeping exactly the same grip position in the fingers from the moment it is picked up to the moment it leaves frame. If the hand is still, the piece is still. THE HAND IS NEVER STILL AND NEVER POSES. It is always travelling — descending, closing, rising, or leaving frame. No held beats, no static presentation, no hovering in place. The action is one simple cycle, repeated three times: the hand reaches DOWN into the bag toward the camera, closes on a piece, lifts it UP and carries it OUT of frame to the side — leaving the bag empty for a beat before the hand comes down again for the next one. The hand comes down through the opening toward the lens, filling the frame and covering the light so the picture falls to near-black for a moment. The fingers close on the first piece and the hand rises without pausing, the wrist rolling over as it climbs so the piece it is gripping swings through the light with it, and carries it up and away out of frame. The frame is left empty — folded white material and the bright opening, nothing else. The hand comes down again into the same brief darkness, the fingers close on the second piece, and the hand draws straight back up, the wrist turning as it rises so the gripped piece comes round with the hand, then takes it up and out of frame to the side. The bag is empty again. The hand descends a third and last time, closes on the final piece and climbs again, the fingers rolling it slightly as the wrist turns, then carries it out of frame after the others — leaving the empty bag and the softening light to hold to the end. Each descent covers the lens and darkens the frame, and each beat ends with the piece leaving frame upward. Nothing is ever set back down, no piece reappears once it has gone, and only one piece is ever on screen at a time. Do not animate any product independently of the hand. No spinning jewellery, no floating or hovering pieces, no product rotating in mid-air, no piece turning while the hand holds still, no piece slipping or shifting inside the grip. Audio: soft ambient room tone, the faint rustle of tissue and bag, and a quiet sparse music bed low in the mix. No dialogue, no voiceover. Do not generate any text, subtitles, captions, logos or watermarks.
Photoreal luxury product film, shot as one unbroken take. Commercial studio lighting, crisp specular highlights travelling across polished metal, true reflections, rich saturated colour, the products held sharp throughout. No stylisation, no grade shift, no filter. Three products take turns on a round pedestal table — a glossy black top with a polished chrome rim on a slim black column — against a deep crimson seamless backdrop, with a polished stainless steel cloche covering whatever is on the stand. A hand in a white satin glove, with three chunky gold bangles stacked at the wrist, works the dome. Hold each product, the set, the dome and the hand consistent from the first frame to the last. The camera is locked off on a tripod for the whole take — front-on, centred on the pedestal, no pan, no tilt, no push, no zoom, no orbit. One continuous shot with no cuts. The hand enters from the top of frame and its fingers close around the knob of the dome. The hand raises the dome in one smooth vertical lift until it clears the pedestal, and the first product stands centred on the tabletop beneath it. The hand lowers the dome back down over the pedestal until it seats on the tabletop with a small settling weight. The hand lifts the dome again in the same smooth vertical move, and the second product now stands centred on the tabletop where the first one was. The hand lowers the dome once more until it seats on the tabletop again. The hand lifts the dome a final time, and the third product now stands centred on the tabletop. The hand carries the dome up and out of the top of frame, leaving the third product alone and centred on the pedestal, the light still working across its surface as the take ends. Every lift and every lower moves at the same unhurried pace, and each beat takes the same amount of time as the one before it. The hand never blocks the product. Audio: quiet studio room tone, a soft metallic ring each time the dome seats on the tabletop, and a light airy chime on each reveal. No music bed, no voice.
10 seconds, 9:16. Photoreal. Same camera as the stills, framed vertical. ONE transformation after a snap. Not a slideshow. @image1 = BEFORE backyard. Photocopy it exactly as in @image1: the same house, walls, doors, windows, roof, fence, ground, every object in its place, the same light and time of day. @image2 = AFTER. Photocopy THIS finished patio exactly as in @image2: its paving, structures, lighting, furniture, cushions, decor and plants, every item as shown, same house identity as @image1. 0.0–2.0s Locked of @image1. A black-gloved hand enters lower-left, fingers snap. 2.0–4.5s ORIGAMI UNFOLD: the new ground surface from @image2 folds out of the old ground like paper panels. Edges clean up. Same house, same fence. 4.5–7.5s Each element of @image2 unfolds in turn: structures unfold from flat boards; its lights ignite; any fire feature rises and lights; seating unfolds from geometric slabs; decor and plants appear. Only what is in @image2. Sequential, physical, not a morph smear. 7.5–10.0s HERO matching @image2. Gloved hand still in the lower frame. HOLD. Same house and doors as @image1. AUDIO: snap, paper-wood unfold, a soft crackle if @image2 has a fire, calm outdoor ambience. No speech. NEGATIVE: a different house than @image1, items not in @image2, extra people, overlay type, instant jump-cut to after, bedroom interior, 16:9 letterbox.
Match the ORIGINAL 10s FILM shot-for-shot. Ultra-macro luxury perfume ASMR. Photoreal 8K textures. Golden bokeh, black marble, dark studio. Hands only — nude polished nails. No full face. @image1 = the perfume box. Photocopy it exactly as in @image1 — carton colour, pattern and every printed word exactly as shown. @image2 = the perfume bottle. Photocopy it exactly as in @image2 — glass, juice colour, cap, decoration and every printed word exactly as shown. 0.0–2.0s MEDIUM: both hands rest on the closed @image1 box on black marble. Warm gold bokeh behind. Fingers press, then lift the lid — soft click. Macro of the box edges and its emblem, exactly as in @image1. 2.0–4.0s ECU: a fingertip traces the decoration on the @image2 bottle, exactly as shown. Shallow DOF, the juice glowing in its own colour. 4.0–6.0s MACRO: fingers lift the @image2 bottle from the box. Glass facets, liquid swirl, the cap catching light. 6.0–8.0s Spray: inner wrist in frame left, @image2 in the right hand. Slow-motion mist from the atomizer onto skin. Gold bokeh. Satisfying hiss. 8.0–10.0s HERO: @image2 standing among gold-flecked stones on black marble, @image1 box upright behind. Dark luxury. HOLD. No second bottle in the foreground. AUDIO: box lid, glass, spray hiss, luxury. No speech. No lyrics. NEGATIVE: any box or bottle that differs from @image1/@image2, overlay type, full body, extra people.
Stylized 3D animated film, exaggerated cartoon physics, squash and stretch. The attached first frame is the set, the cast and the flat unassembled pieces of THE PRODUCT. Every piece keeps the exact colour, material, texture, trim, hardware and markings it has in the first frame. THE PRODUCT is never redesigned, recoloured or relettered, and it never changes scale: it stays the same small piece of pet furniture the pieces belong to, roughly two kittens tall. It must never grow into a shed, a cabin or a human-sized building. 0-2s - Two kittens plant their paws on the blueprint; one taps the drawing twice, another bats the chunky calculator. All of them look up from the paper toward the pieces on the grass. 2-4s - They haul the first upright panel into standing position, three kittens shoving it from behind while a fourth steadies the edge with both paws. 4-7s - The second panel is walked into place and joined into a standing corner, then the panel carrying the opening is slotted in between them. THE PRODUCT now stands as an open frame. 7-9s - Two kittens carry a roof piece over their heads and lower it onto the frame; another fits a shelf or ledge onto the side, turning a screw with one paw. 9-10s - The kittens step back onto the grass and look up at what they have built. Camera: low and slow, a push-in over the blueprint, then a steady arc around THE PRODUCT as it rises. Warm golden afternoon light, green lawn, wooden fence and flowering shrubs behind. High-end CG animation, lively and slightly unreal. No text anywhere, no lettering on the hard hats. No cardboard boxes or cartons anywhere in the frame. AUDIO: upbeat comedic orchestral score running the whole take, hollow wooden knocks and clacks as pieces meet, a couple of screwdriver ratchets, busy excited kitten meows, light garden ambience with birds. No dialogue and no human voice of any kind.
@image1 is an absolute character lock — face, hair, body, outfit, materials and colours are taken from it exactly, with no drift or reinterpretation in any shot. @image2 is an absolute product lock — the object carried and used throughout is exactly the one shown there, with consistent proportions, materials, finish and detail in every shot. @image3 is the location reference — the world of the film is those environments, with that architecture, palette and light progression. @image4 is the storyboard and is followed exactly: same shot order, same framing, same focal length, same pose and same staging, panel by panel. Premium product film and cinematic lifestyle advertisement, commercial grade, multishot. Look: photoreal cinema, slight filmic grain, mild halation on highlights, neutral-to-cool city tones, deep natural greens, warm skin, controlled blacks and natural environmental colour. Cinematic neutral-and-warm grade, greens restrained and natural, the product rich against neutral surroundings, golden rim on faces and product edges in sunlight, cool atmosphere at blue hour and night. Realistic skin tones throughout. No excessive saturation, no artificial HDR. Core concept: one person experiences a visually rich day through an energetic but natural sequence of movement, city life, architecture, food, people and landscape — captured through the product they carry. The film reads as a flagship product campaign crossed with an elite cinematic travel film. The product is always physically present and naturally used throughout the journey. Every location feels photographed rather than generated. Music drives the edit, but the footage keeps the imperfections and spontaneity of real travel photography. The person carries the product naturally throughout. The locations connect as one continuous journey and give them real reasons to photograph, record and experience the world with it. CLOSE-UP HOOK — 85mm close-up of the product resting beside a window in soft early-morning sunlight. Light travels naturally across the glass and metallic edges. They reach into frame, pick it up and look toward the bright city outside. The finish catches a subtle warm reflection as the first beat begins. MORNING CAPTURE — 24mm wide as they walk a lively city street in early morning. Sunlight breaks between the buildings. They raise the product naturally and capture the moment. Cut briefly to the display showing the same scene being framed. They lower it and keep walking. Cut precisely with the music. MOVEMENT — 35mm handheld follow as they move through a busy intersection. Real pedestrians cross naturally. Bicycles, taxis and buses move through the background. They begin recording while walking. The camera follows slightly behind rather than framing them perfectly. They turn toward a passing subject while keeping the product in use. STREET LIFE — 50mm observational. They move through a crowded neighbourhood while a food vendor prepares steaming food nearby. They stop briefly, raise the product and record the preparation. Steam passes across the foreground. They check what they captured, smile naturally and move on. HUMAN MOMENT — 50mm close-up. They meet a local person at a café and naturally raise the product to capture a portrait. Cut briefly to the captured image on the display. Natural skin texture, realistic hair strands and soft environmental separation. They lower it as the other person laughs naturally. Shallow depth of field, warm skin tones, authentic background activity, subtle handheld movement. LANDSCAPE REVEAL — 24mm deep focus. They climb a long stone staircase through dense greenery, camera following from behind. As they reach the top a vast landscape emerges through cool atmospheric mist. They raise the product and frame the whole valley. A brief display perspective reveals the landscape composed naturally before returning to the real-world wide. PRODUCT MOMENT — 50mm side-tracking in golden sunlight. They walk the elevated viewpoint holding the product naturally at their side. Golden rim light catches hair, shoulders and its metallic edges. Natural wind moves the clothing. The finish contrasts against deep green vegetation without feeling artificially highlighted. ACTION CAPTURE — 24mm wide from a realistic elevated platform as a high-speed train begins moving through the scene. They raise the product and record the passing train. Cut briefly to the display as the train moves rapidly through frame. Reflections slide across the train windows while realistic motion blur follows the movement. Return to them as the train disappears into the distance. NIGHT TRANSITION — 50mm handheld street shot at blue hour. They enter a lively nighttime district. Warm lanterns, cool ambient light, scooters and pedestrians create layered depth. They raise the product to photograph the illuminated street. Music increases in intensity while authentic street ambience stays underneath. LOW-LIGHT MOMENT — 35mm tracking as they walk beside a modern riverside district. Reflections ripple across the water. Modern towers illuminate behind them while boats move naturally through frame. They stop briefly and capture the skyline. The product catches small reflections from the surrounding city lights. CITY ENERGY — 50mm close-up as they check the captured images while walking through the nighttime district. Screen light subtly illuminates the face. They smile naturally, lock the product and keep walking. Camera moves alongside them as practical lights, pedestrians and reflections create layered cinematic depth. FINAL REVEAL — 24mm wide from behind. They stop briefly at the riverside and raise the product toward the illuminated skyline. Camera moves slowly backward rather than flying upward. They capture one final image, lower it and continue walking as the music reaches its final beat. The product stays naturally visible in hand as the city fills the background. CAMERA — 35mm and 50mm for portraits and human moments, 24mm for landscapes, architecture and movement, occasional 85mm compression on faces and product details. Shallow depth of field on close-ups, deep focus on landscape wides. Handheld and physically motivated tracking movement. Natural camera micro-movement, imperfect framing, subtle autofocus adjustment, realistic exposure adaptation and occasional foreground obstruction. No impossible camera movement, no floating drone aesthetic. MOTION — 180-degree cinematic shutter, natural motion blur on hair, clothing and moving vehicles, 24fps. No soap-opera 60fps look. Movement keeps the subtle imperfections of real location photography. Interaction with the product must feel physically accurate, with believable hand movement, weight and momentum. LIGHTING — Natural daylight, soft overcast city light, warm direct sunlight, golden-hour rim light, cool atmospheric light, practical lanterns and nighttime city illumination. Lighting originates naturally from the environment. Reflections on the product respond naturally to the surrounding light sources. AUDIO — Premium contemporary cinematic soundtrack with subtle modern electronic textures. Music drives the transitions and rhythm. Keep authentic location sound underneath: footsteps, traffic, train ambience, station announcements, bicycles, vendors, cooking sounds, crowd chatter, wind, birds, distant city noise and riverside ambience. Environmental sound occasionally becomes prominent during intimate moments. Subtle natural handling and shutter sounds may accompany key captures without becoming exaggerated. EDITING — Music-synchronised commercial editing without excessive effects. Cuts are motivated by movement, reflections, steam, hand gestures, architectural shapes, walking direction and changes in light. Clean match cuts and occasional speed changes only where physically believable. Avoid generic AI transitions, artificial zooms, excessive whip transitions and over-edited montage pacing. CONTINUITY — The person stays identical in every shot: face, hair, overshirt, trousers, sneakers and bag. The product stays identical throughout, with consistent proportions, materials, finish and detail. Weather and lighting progress realistically from daylight to golden hour to blue hour to night. Each location reads as part of one continuous journey, and every interaction with the product stays physically and visually consistent. BRAND CONTROL — The only branding visible is whatever already exists on the product in @image2. Invent no additional branding, advertisements, storefront branding or branded products. Add no fictional accessories, no random interface, no watermarks and no random text. Preserve the product's finish and identity exactly, consistent across the whole film. REALISM — No CGI look, no plastic skin, no beauty-filter smoothing, no extra fingers, no warped product geometry, no changing hardware, no artificial crowd synchronisation, no impossible reflections, no floating objects, no exaggerated depth of field. Realistic skin pores, hair strands, fabric texture, glass reflections, metallic surfaces, screen brightness, water reflections, atmospheric perspective and human movement. The product behaves like a real physical object with believable weight, grip, reflections and interaction with light. FINAL QUALITY TARGET — The film should look like genuine footage captured by an elite commercial filmmaker for a major product campaign, not a collection of AI-generated beauty shots. The product should feel like a real object being naturally used to experience and capture the world, rather than something inserted into every shot. Realism comes first; the commercial polish comes from cinematography, product design, colour, music, editing and art direction.
@image1 is the opening frame of the film and the single source of truth for everything in it: the round turntable with its brass rim, the three wedges it is divided into, the colour of each wedge, the three products standing on them, every small object beside them, and the collection bar at the top. Nothing is added, removed, redrawn, recoloured or relabelled. The turntable stays divided into exactly the three wedges shown in @image1 for the whole film — the same three seams meeting at the centre, the same three colours, never a fourth wedge. Each product keeps its exact shape, colours, cap and every mark it carries, as shown in @image1, and always stands upright on its wedge. One continuous 16-second take, 9:16 vertical, premium studio product film. THE POINT OF THE FILM: the turntable presents the three products one by one. Each product in turn is carried by the turning disc into a hero spot right in front of the lens, where it is seen big, sharp and upright at its own height, while the whole studio behind it takes on that product's colour. Then the disc carries it away and brings the next one. TWO THINGS MOVE, NEVER AT THE SAME TIME: 1. THE CAMERA moves only once, in the first three seconds, while the disc is still: from the high view of @image1 it glides down and forward to the HERO POSITION — low, at the height of the products, slightly above them, 50 mm look, facing the front edge of the disc, so the product standing on the front wedge fills the lower middle of the frame, big and sharp, with the studio wall behind it and the neighbouring products soft at the left and right edges. From the third second to the last frame the camera is locked in that hero position on a tripod and never moves again — no orbit, no pan, no drift, no zoom. The camera never travels around the disc. 2. THE DISC turns only from the third second on: it spins around its own centre at one slow, steady speed, a third of a turn every four seconds, clockwise as seen from above. It is the disc that carries the products past the lens: each wedge, with its upright product and its small objects, rides round from the right side of the frame into the hero spot at the front, holds the spotlight there, and rides on out to the left, while the next wedge comes in from the right. The seams visibly sweep past the front as the wedges change. Every product is always solid, upright and on its own wedge, never sliding, fading, doubling or lying down. THE COLOUR RULE: the seamless studio wall behind the turntable and the light in the studio take the colour of whichever product is in the hero spot — a soft, lighter tone of that product's own dominant colour on the wall, a deeper tone of it in the shadows — and flow smoothly to the next product's colour as the next one arrives. THE COLLECTION BAR: the bar at the top of @image1 is a fixed on-screen overlay. It stays exactly as in @image1 in every frame — same position, same size, the same three tiles in the same order — and nothing in it ever lights up, moves or changes. TIMELINE: [0–3 s] Opens on @image1. The disc is still. The camera glides down and forward in one smooth move into the hero position; the product on the front wedge grows big and sharp in the lower middle of the frame, and the wall behind it takes on its colour. [3–7 s] Camera locked. The disc starts turning: that first product rides slowly through the hero spot and out to the left, and the next product rides in from the right into the hero spot, big and sharp; the wall flows to its colour. [7–11 s] Camera locked. The disc keeps turning: the next product rides in from the right into the hero spot, big and sharp; the wall flows to its colour. [11–15 s] Camera locked. The disc keeps turning: the third product rides in from the right into the hero spot, big and sharp; the wall flows to its colour. [15–16 s] Camera locked, the disc still turning slowly; the film ends on that product in the hero spot. NOTES: one turntable divided into exactly three wedges, one take, no cuts. The camera moves only in the first three seconds and is locked after that; after that only the disc turns. Exactly three products, each always on its own wedge, never duplicated, swapped or merged. Nothing in the frame carries text. No people and no hands. AUDIO: a soft, minimal instrumental pulse under the whole take, the quiet smooth hum of the turning disc, and a faint airy whoosh each time the colour flows to a new product. No subtitles.
@image1 (product plate) is the absolute product lock: silhouette, proportions, structure, materials, finish, colour and every existing marking are taken from it exactly and must not drift, restyle, recolour or change in any shot. @image2 (storyboard) is to be followed exactly — same shot order, same framing, same camera position and same staging in every beat. Photorealistic cinematic product-detailing film, filmed as authentic first-person footage. Realistic wide-angle action camera around 18mm equivalent with subtle optical distortion, natural handheld walking motion, tiny wrist corrections, realistic autofocus breathing and physically accurate motion blur. Begin extremely close on one corner of the product, completely buried under thick dried brown grime. The contamination has irregular texture, cracked areas, wet streaks and heavy buildup packed into every recess, seam and lowest surface. Gloved hands enter naturally from the bottom of frame holding professional cleaning equipment. Slowly step backward to reveal how dirty it is. Then the operator raises a professional foam cannon and sprays intensely saturated pink cleaning foam across the upper surface and the nearest corner. Show the liquid leaving the nozzle as real atomized spray. Foam gradually accumulates instead of appearing instantly. Pink cleaner mixes with brown dirt, becomes darker in contaminated areas, drips downward under gravity and splashes onto the tiled floor. Then move quickly but naturally in toward the most intricate part of the product. Capture an intimate close view as a detailing brush scrubs into a tight recess. Thick pink foam moves around the brush fibers, dirty liquid runs down the lowest surfaces and small droplets hit the camera lens. Preserve realistic hand pressure, brush deformation and imperfect human movement. Then pick up a pressure washer and begin rinsing the product from close range. The water jet physically cuts a clean path through the brown and pink foam, revealing the product's own untouched finish and true colour underneath. Follow the cleaning line across the upper surface and around to one side. Water sheets over the surface, beads along edges and explodes into fine mist where it strikes. Dirty runoff spreads naturally across the floor drain. Then a smooth handheld orbit around the nearest corner as the last foam is rinsed away. Bright rectangular ceiling lights stretch as realistic reflections across the newly clean wet surface. Water droplets remain across the product. Daylight from the open entrance softly mixes with the neutral white indoor lighting. Finish with a clean wide hero view of the pristine product from a low three-quarter angle. The operator lowers the pressure washer into the foreground while water continues dripping. Hold briefly on the transformation with no artificial camera flourish. Give all six beats equal screen time. Prioritize physical realism above spectacle. Accurate water physics, changing foam density, believable reflections, natural shadows, correct hand anatomy, consistent product geometry, stable proportions and unchanged surface detail from first frame to last. Include tiny lens droplets, subtle camera exposure adjustment when turning toward daylight, slight footsteps and restrained handheld shake. No morphing, no floating tools, no impossible liquid behaviour, no changing the product's design or colour, no fake glossy CGI surfaces, no text, no logos, no captions. Audio uses an energetic modern electronic percussion track with a deep clean rhythm that builds with the transformation. Integrate realistic foam cannon hiss, brush scrubbing, water splashes, pressure washer impact, dripping water and wet floor footsteps into the music mix. Make the pressure wash reveal land strongly with the main musical beat. No dialogue.
@image1 is an absolute lock for the pieces: it holds two opposing sets, banded upper and lower, and the same pieces, the same number of them, the same colour, finish, thickness, proportion and detailing are taken from it. Nothing is added, removed, restyled or substituted in any shot, and nothing from one set is blended into the other. @image2 is the board: its wood tones, square size and strict alternation are taken from it. Follow @image3 exactly — same beat order, same framing, same hand entries, same piece positions. Look: live-action product film, photographed not rendered. Soft even overhead daylight with no hotspot. Real material behaviour — specular highlights sliding along each curve as it moves, crisp contact shadows sitting directly beneath every piece and travelling with it. Real skin texture, real wood grain. Restrained natural colour, shallow contrast, no grade push. The camera is locked directly overhead, square-on to the board, and holds that exact position and height throughout — it never pans, tilts, pushes, rises or rotates. All movement in frame comes from the hands and the pieces. This is a real game in progress, not product arranged on a checked surface. Every piece stands centred on its own square, one piece per square, never straddling a line and never between squares. The first side's pieces are gathered toward the lower part of the frame and the opposing side's toward the upper part, the two fronts meeting across the middle, about eight to twelve pieces on the board at once with a denser knot near the middle and a few still held back at each side's own end. A short row of already-taken pieces sits just off the board at the right edge of frame and grows as the game goes on. Each move is a single legal-shaped move — straight along a rank, straight along a file, or along a clean diagonal — travelling a whole number of squares and landing centred. Between moves NOTHING on the board shifts except the one piece being played; every other piece holds exactly the square it was on, and the position only ever changes by the move just made. A woman's hands work the board — short neat natural nails, two slim gold rings and a fine gold chain bracelet, the same hands from the first shot to the last. They enter only from the frame edges and withdraw out of frame between moves; they are never shown whole and no face, arm or body ever enters frame. A hand reaches in from the lower edge and advances a first-side piece one square straight forward along its file, landing it centred, then withdraws. A hand reaches in from the upper edge and advances an opposing-side piece two squares straight down its file toward the middle, then withdraws. A hand slides a first-side piece along a clean diagonal, three squares, stopping centred on a square beside an opposing piece, then lifts away. A hand lifts that threatened opposing-side piece straight up off its square and carries it to the row of taken pieces at the right edge of frame, setting it at the end of the row, then withdraws. A hand slides the capturing first-side piece sideways into the square just vacated, fingertips resting a moment where it lands, then withdraws. The last hand draws back out of frame, leaving the position mid-game, the taken row one piece longer than it was at the start. Each beat carries one entry, one move and one withdrawal, and they are spread evenly across the film — none rushed, none held longer than the rest. Audio: soft instrumental music only, low and unhurried, with the faint tap of metal meeting wood as each piece lands. No voiceover, no dialogue, no narration. Do not generate: text, captions, subtitles, on-screen words, logos, watermarks, brand names, price tags, packaging, substituted or restyled product, extra pieces that are not in the reference, sets blended together, pieces between squares, pieces on square lines, two pieces on one square, pieces sliding to random positions, the position rearranging itself between moves, hands held still enough to freeze, faces, bodies, moving camera, tilted or perspective angles, illustration, 3D render, cartoon, cel shading, outlines, flat banded shadows, floating pieces, detached shadows.
15 seconds, 16:9. ONE UNINTERRUPTED SHOT. No cuts. No slow motion. Photoreal cinematic. CAR LOCK: @image1 is THE HERO CAR — photocopy this exact car: same body, colours, wing, lights, wheels and roof as shown. Same car every frame. A dark-gray pursuit hypercar follows. Sunset megacity. Burning asteroid fragments in the sky. 0.0–2.0s Camera flying BACKWARD at road level ahead of the hero car on a 12-lane elevated freeway. It weaves between trucks and buses. Camera a few meters ahead. 2.0–5.0s A fragment hits a skyscraper. Explosion, glass, shockwave. Camera swings around the hero car as it drifts between two buses. Pursuit closes. 5.0–8.0s Asteroid strikes ahead. Highway lifts into a ramp. The hero car accelerates up, becomes airborne. Camera dives with it. Tires kiss a moving semi-trailer roof for under a second, then launch to another level. 8.0–12.0s Larger fragment overhead, sky orange. Skyscraper collapsing sideways. The hero car drives onto the falling glass facade, racing horizontally across it. Pursuit follows. Glass under tires. 12.0–15.0s Launches back onto the freeway. Camera rotates around the FRONT of the hero car. Skyscraper crashes behind. Enormous asteroid on the horizon. Blast wave racing toward both cars. End a fraction of a second BEFORE it reaches the car. AUDIO: engines, impacts, wind, glass. No speech. NEGATIVE: a different hero car than @image1, overlay type, hard cuts, slow-mo, teleport, brand logos, extra people as heroes.
A dog loses its mind while a delivery box is opened in a quiet living room. Twelve seconds: the wait, the tape, the film, the strain, the collapse.
Match the ORIGINAL 15s 9:16 FILM grammar. Keep the bottle's own colours, label and finish exactly as in @image1 — never recolor it; the rose-gold is the set and light only. @image1 is the toner. Photocopy the bottle exactly — cap, liquid colour, wordmark and label text exactly as printed. NEVER a different product. NEVER a 3-bottle lineup. 0.0–2.5s MACRO droplets of the toner from @image1 (its own liquid colour) on a matte surface. Each drop lands with a LIGHT PING — a bright specular sparkle / ping of light. Luxury rose-gold bokeh background. 2.5–5.5s The @image1 bottle suspended, a splash in the bottle's own colours exploding around it, rose-gold studio background. Slow motion. 5.5–8.0s Slow-motion liquid tendrils rising. Same palette as the bottle in @image1. 8.0–11.0s NOT white ribbons. CLOSE-UP of a woman’s CHEEK only — skin dewy and glowy from the toner, rose-gold light. No full face required. No white strips. No cotton pads as the hero. 11.0–13.0s A flower in the bottle's own colours from @image1, blooming through a water splash. Not a white dahlia. 13.0–15.0s HERO of THIS ONE bottle from @image1 on a stone counter, rose-gold light. HOLD. No product lineup. No added type. AUDIO: light ping on the opening drops, splash, luxury. No speech. No lyrics. NEGATIVE: three-bottle lineup, white ribbons, white flower, overlay type, cotton pads as hero, people walking.
CHARACTER LOCK — HIGHEST PRIORITY: The person in every shot is exactly the person in @image1. Preserve their facial identity, facial structure, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, build and body proportions — identically, shot to shot. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. Refer to them only as they/them in this prompt. ATTACHED IMAGES ARE MANDATORY AND FINAL: The attached images outrank every word written below them: wherever an attached image and this text disagree, follow the image. ASSET MAP: @image1 — the person. Photocopy face, hair, makeup, jewelry and the outfit they are wearing in @image1. Do not change their clothes. @image2 — the product, exactly as shown, unchanged and not regenerated — same bottle shape, glass colour, cap, neck, label and decoration exactly as shown. Photocopy that bottle in every shot it appears. Do not invent a different bottle, a spray nozzle that is not on @image2, a box, or extra hardware. HANDS: hands are always anatomically correct with five fingers each, naturally proportioned, in every shot they appear. SINGLE SUBJECT: only @image1 appears in this video — no other people, hands, or faces enter frame at any point. Unbranded scene: no extra logos, brand names, labels, monograms or readable signage added to the room. Any lettering already on @image2 is part of the bottle and must stay on the bottle; do not add subtitles, captions, or other on-screen type. Create a cinematic luxury commercial. @image1 stands in a softly lit space with clean natural lighting against a neutral studio-style background, in a quiet, unhurried moment. 0–3s: @image1 holds the product (@image2) with both hands toward the camera, presenting it. Close-up on their fingers lifting or revealing the cap in whatever way naturally fits its design. Five fingers on each hand. 3–6s: @image1 interacts with the product in a natural, deliberate, tactile way that reveals exactly how it is meant to be used — following the product’s own form exactly as shown in @image2. Lift the cap; bring the open bottle to an inner wrist or the side of the neck and apply with a slow, precise motion. No invented parts, no spray mist unless that hardware is visible on @image2, no incense burner, no extra props. 6–8s: @image1 pauses with a subtle, composed, satisfied expression — a quiet moment of confidence. They still hold the bottle. Same face as @image1. 8–10s: Final shot: the product (@image2) fills the frame in sharp focus, while @image1 is softly blurred behind it. Bottle shape, cap, glass colour and lettering match @image2 exactly. STYLE: soft natural lighting, shallow depth of field, high-end fashion-film aesthetic, slow elegant movements, premium commercial look, realistic skin and fabric texture. VOICEOVER (off-camera, not lip-synced): “One last touch before the moment begins. Make it yours.” Soft luxury-commercial delivery over quiet room tone. No music lyrics. Do not generate: any extra brand name, logo, readable subtitles, watermark, distorted hands, extra fingers, a second person, or a redesigned bottle.
CHARACTER LOCK — HIGHEST PRIORITY (applies separately to @image1 and @image2): Each person in every shot is exactly the person in their own reference image. Photocopy facial identity from the matching tag. Preserve facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions — identically, shot to shot. Preserve gender presentation exactly as shown. Do not beautify, slim, de-age, restyle hair, or morph the two faces into each other. Do not invent a third lead. Do not describe the faces — follow the images only. @image1 is the first person. @image2 is the second person. Never swap them. WARDROBE (scene clothes, not the stills): @image1 wears an ivory evening dress throughout. @image2 wears an elegant black outfit throughout. Hair stays as in each reference. Clothing and hair stay consistent for the whole 30 seconds. PRODUCT LOCK — @image3 is the jewelry piece. Photocopy it exactly as shown: same metal, stones, design and any box exactly as shown. Do not regenerate, restyle, recolor, or invent a different jewel. Whenever the piece is on screen it must match @image3. BRACELET WEARER: the piece from @image3 is worn only on @image1's wrist. Never on @image2. @image2 may open the box or offer it; @image1 receives it and wears it. His wrists stay bare. HANDS: anatomically correct, five fingers each, naturally proportioned, when they appear. During the dance they are not the subject. Never open on a studio headshot or the attached still as frame 0. First frame is already on the terrace, in-scene. 30 seconds. 9:16 vertical. Photorealistic luxury jewelry commercial. Elegant seaside terrace at blue hour: ocean view, wooden terrace, dinner table, premium dinnerware, flowers, subtle warm decorative candlelight as scene dressing only (not the product). Cool blue-hour ambient mixed with warm golden candlelight. Premium full-frame camera, shallow depth of field, natural bokeh. Realistic skin, ocean, wind, jewelry sparkle, food, glass reflections, fabric movement. AUDIO (native, synced): original elegant instrumental — soft piano and strings at the start, slightly more emotional during the dance, soft premium finish. Subtle realistic ocean waves, breeze, glass clinks, and the soft click of a jewelry box opening. End with a sophisticated voice-over, spoken clearly once: “Make every moment unforgettable.” 0-5s: Close-up of hands opening a small velvet box, revealing the jewelry piece exactly as @image3, glinting in warm candlelight. Reveal the romantic seaside dinner setup around it. 5-12s: @image1 and @image2 enjoy dinner, natural smiles and eye contact. @image2 presents the open box; the piece is fastened onto @image1's wrist. A short macro of the jewelry on her wrist is allowed here only — gemstone facets, metal shine. Faces match their tags. Not on his wrist. 12-20s DANCE — NO HERO HAND: After dinner they slowly dance beside the table. Camera is a medium or full two-shot of the couple: faces, bodies, dress, ocean behind them. Ocean breeze moves hair and dress. The bracelet stays on @image1's wrist as a small detail on her arm, never large, never in the middle of the frame, never a foreground blur occupying center. Do not cut to a wrist. Do not put any hand, palm, or bracelet close-up in the center of attention. His hands stay at her waist or in a normal dance hold, small in frame. 20-25s: Camera leaves the dance and moves to the jewelry piece on the dinner table (in or beside its open box) — the table product, not a wrist. The couple recedes / softly blurs. Do not fill the frame with a hand. 25-30s: Completely separate premium hero shot of the jewelry piece alone on the dinner table (in or beside its open box), ocean softly blurred behind it. Slow camera push-in, realistic light catching every facet. No logo, no brand marking. Voice-over lands here. No on-screen text, no subtitles, no watermark, no logos, no brand name in frame. No plastic skin, distorted hands, changed product design, unrealistic dancing, excessive lens flare, CGI look, or impossible camera moves. NEGATIVE: giant hand in the center during the dance, extreme wrist close-up during the dance, bracelet on @image2, studio grey headshot, swapped identities, extra third lead, different bracelet, navy plaid suit, white crew-neck tee, on-screen type.
Ultra-photorealistic live-action commercial. Natural midday summer sunlight, warm low sun flaring in from the left, shallow depth of field, real skin texture and real fabric weight, subtle handheld float on the wider shots, clean modern colour grade with no stylisation. @image1, @image2 and @image3 are an ABSOLUTE CHARACTER LOCK for IDENTITY ONLY — the first, second and third character respectively. Face shape, eyes, brows, nose, lips, jawline, ears, hairline, hair, skin tone and micro-asymmetry are taken from them exactly, with no drift, no reinterpretation and no blending between them, in every shot of the film. TAKE NOTHING ELSE FROM THOSE IMAGES: ignore the clothing, footwear, accessories, background and styling in them entirely. @image4 is the storyboard and is an ABSOLUTE LOCK for wardrobe and staging: the clothing each character wears is taken from the storyboard and from nowhere else, and the shot order, framing, poses and camera height are followed exactly as drawn, with nothing added, removed or restyled. Everyone stays in the summer tee-and-shorts the storyboard shows — no coats, jackets, long sleeves, trousers, dresses or skirts at any point. The product is one compact cylindrical portable speaker in a soft off-white housing with a fine woven fabric grille and a slim metal band, held easily in one hand. It stays the same object in every shot. The speaker is held up into the near foreground, filling one side of frame and holding sharp focus while the ground and water behind it stay soft. Then the first character holds it up beside their face and presses the top control with their thumb, and a ring of light comes up on it as they smile down at it. Then they turn and pass it across into the second character's open hands, both of them laughing as the handover lands. Then the camera drops to ankle height and the three of them run across the grass and through a shallow water edge, water kicking up in bright droplets past the lens. Then they pull together into a tight cluster, heads tilting in, the speaker held between them at chest height while they laugh. Then the camera pulls back wide and all three raise their arms, lifting the speaker overhead against open sky. Each beat holds for the same length of time. One continuous camera move per beat, no whip pans, no speed ramps. Audio: bright summer pop playing from the speaker, coming up as the control is pressed and carrying to the end, under natural outdoor ambience — grass, water, birds, light laughter. No voice-over, no narration, no dialogue. Negative prompt: text, subtitles, captions, on-screen graphics, watermark, logos, brand names, extra people, changed faces, changed outfits, distorted hands, duplicated product, stylised or animated look
@image1 is the first frame and @image2 is the last frame. The product's identity comes entirely from @image2 — its shape, colour, material, finish and every marking on it are taken from there and are never invented, substituted or restyled. The product, its position, the tabletop, the reflection and the framing are identical in both frames and do not change at any point. One continuous locked-off take. The product is revealed by light arriving on it. The product holds as a dark silhouette while a soft key light begins to come up from the front, catching only its nearest edge. The key keeps rising and the product's form separates out of the shadow — curvature, edges and depth become readable while the surface is still dark. The light climbs across the face of the product and the true colour, material and finish of @image2 emerge out of the dark. The key reaches full and the product stands exactly as it appears in @image2, completely lit, colour true and every marking clearly readable, the tabletop reflection matching it below. The backdrop stays dark and even throughout and does not brighten, bloom or form a glow behind the product. The product keeps its position and orientation, the camera holds its frame, and the light rises continuously and evenly from first frame to last. No cut, no zoom, no push, no orbit.
A cinematic product-creation film follows one maker making the exact object shown in @image1 (product plate) completely from scratch. MATERIAL TRUTH — this governs every stage below: Read the object's materials from @image1 and make it the way that object is genuinely made. The pieces, joins, tools and hand actions in every stage must be the ones its materials actually require. Leather, textile and canvas: cut panels, skiving, linings, interfacing, glue, stitching by hand or machine, edge finishing and burnishing, rivets, zips, buckles, straps and hardware set by hand. Wood: cut stock, joinery, glue, clamps, sanding, oil or lacquer. Ceramic, glass and metal: forming, shaping, joining, grinding and polishing appropriate to the material. Cosmetics, food and liquids: vessel, contents, seal, closure and label applied by hand. Rigid and electronic goods: chassis, internal components, wiring, fasteners, screws and press-fits. A chassis, circuit board, wiring, brackets, screw bosses or screws may appear ONLY if @image1 is itself a rigid or electronic product. If it is not, none of them appear at any point, and no screwdriver ever touches it. If a stage below has no equivalent in this object's making, spend that stage on the nearest real step in its craft rather than inventing a part it does not have. REFERENCE PRIORITY: @image1 is an absolute lock on the finished object's design: overall silhouette, proportions, geometry, curvature, part and hardware placement, seams, materials, surface finish, colors, lighting zones, logo placement, and all other distinctive visible details. Match these features as closely as possible. No drift or reinterpretation in any shot. Ignore @image1's background, framing, lighting, hands, desk, and unrelated objects. ENVIRONMENT: @image2 (environment plate) is the work surface and lighting for the entire film. Take the surface, its finish, the light direction and the falloff from it exactly. STORYBOARD: @image3 (storyboard) is to be followed exactly — matching shot order, framing, hand position and stage of making panel for panel. CAMERA: Use a stable front three-quarter overhead macro product view, approximately 35-45 degrees above the work surface. Keep the object centered and fully readable throughout. Shallow but usable depth of field; the developing object remains sharply readable. ONE MAKER RULE: There is exactly one maker throughout, represented only by the same consistent left and right hands and forearms. Maximum two hands visible at any moment. Every piece must be physically carried, positioned, joined, glued, stitched, fastened, pressed, fitted, or adjusted by these hands. TIMELAPSE: The work occurs as a fast, precise timelapse, returning to normal speed only for the final reveal. Hands move rapidly and purposefully with restrained natural motion blur. Use short jump cuts to compress repetitive work, but ONLY after the current physical action has visibly completed. Every cut must preserve exact continuity. The object must retain all pieces and progress established in the previous shot. No piece may magically appear between cuts. FIRST PIECES: One hand enters frame already holding the object's first and lowest piece — the first cut panel, the base, the first formed piece, whichever its making actually begins with — and lays it precisely at the center of the surface. The second hand steadies it. The next piece is brought into frame by hand and positioned beside or upon it. The object begins at its earliest stage, flat or loosely formed, nothing like the finished shape. BODY: The maker joins the first pieces so the object takes its basic form, working each join by the method its materials require — stitched, glued and clamped, fitted and fastened, or formed and set. Small pieces are brought into frame between two fingers and set into place. Everything remains physically believable and correctly scaled. CLOSURES AND HARDWARE: The maker sets whatever the object closes, fastens, carries or hangs with — the closures, fittings, trims and hardware visible in @image1 — each worked in with the correct tool for that material. The maker tests any moving part with one finger to confirm it works. Nothing activates or moves independently. OUTER SURFACE: The recognizable body of the object now takes shape. The maker works the main outer surface into place over what is beneath it — lowered and pressed, wrapped and smoothed, stitched down or joined, as the material demands. Separate panels, sections, inserts, trims or straps seen in @image1 are fitted individually. Every seam, edge and join follows the geometry of @image1. Any textured, perforated, woven, glossy, matte, metallic or transparent areas in @image1 are produced through visible physical hand interaction. FINISHING: The maker performs rapid final detailing with the tools that material calls for — a needle, a burnisher, a glue brush, a mallet, tweezers, a cloth, and a small screwdriver only if @image1 actually has screws. The hands refine alignment, gaps, seams, edges, surface transitions and small decorative elements. Any remaining visible details present in @image1 are set — inserts, accent pieces, hardware, closures, cabling or labelling. The exterior progressively reaches the exact proportions, colors, materials, surface finish, and distinctive appearance of @image1. One hand steadies the object while the other performs every final adjustment. REVEAL: The maker makes one final precise adjustment, sets the tool down, gently wipes or straightens the object once, then withdraws both hands completely from frame. The accelerated timelapse smoothly returns to normal speed. If @image1 is a powered object it now switches on and any lighting zones visible in @image1 softly illuminate; if it is not, the light on the surface lifts instead and the object settles into its finished pose. The camera performs a subtle, restrained cinematic push-in toward the finished object. Hold on a pristine premium product hero shot, matching @image1 as closely as possible. PHYSICAL CONTINUITY RULES: Every new piece enters the frame already held by one of the maker's hands. Every piece must be visibly placed before becoming part of the object. Pieces remain exactly where they were set. No piece floats or moves independently. No spontaneous material changes. No instant construction. No magical morphing. No disappearing or duplicated pieces. No unexplained changes between cuts. No machined chassis, circuit board, metal rails, brackets, screw bosses or screws unless @image1 is itself a rigid or electronic product. No screwdriver touching leather, textile, canvas or any other soft material. Nothing that resembles an electronics teardown or a repair bench. No more than two hands. No assistants. No detached or floating tools. No drawing or sketching phase. No software interface. No cursor. No menus. No annotations. No labels. No text overlays. The entire sequence must feel like an impossibly fast but physically believable piece of premium making, filmed as a cinematic macro product commercial.
Two dogs dance the wiggle beside a pallet of dog food, in one unbroken eight-second take. One dog opens alone, the second walks in from the right and rears up, and both finish the last beats in sync facing the lens.
Follow the 12-SHOT PROCESS FILM from the source, recast onto @image1. 20 seconds, 9:16. MACRO luxury food. NOT a storyboard grid. NOT chocolate. @image1 is the finished cake: its sponge, cream, filling, toppings and presentation exactly as shown. Photocopy this dessert in the hero. NEVER cocoa. NEVER chocolate batter. NEVER ganache. NEVER chocolate curls. Do every shot. Do not skip. 01 0.0–1.6s ORIGIN. 75mm macro push-in. Flour sifting, whole strawberries, eggs, mascarpone tub on marble. Soft powder whoosh. 02 1.6–3.3s BATTER SWIRL. 90mm orbit. Metal whisk mixing THICK PALE-GOLD vanilla batter in a glass bowl. Glossy swirl. Wet whisk SFX. NOT brown. 03 3.3–4.9s THE POUR. 50mm tilt-down. Pale batter poured into a ROUND tin, concentric ripples. Heavy pour SFX. 04 4.9–6.6s RISE. 50mm push-in. Pale sponge rising in a warm oven, golden top, subtle cracks. Oven hum. 05 6.6–8.2s LEVEL. 85mm track. Serrated knife leveling pale sponge, light crumbs falling. 06 8.2–9.9s CREAM RIBBONS. 70mm orbit. WHITE mascarpone piped in a spiral, then a ribbon of glossy STRAWBERRY jam. Piping SFX. 07 9.9–11.5s STACK. 50mm. Hands place a pale sponge layer onto mascarpone + jam. Soft thump. 08 11.5–13.2s SMOOTH. 85mm track. Offset spatula smoothing WHITE mascarpone on the top (sides finished exactly like @image1). Silky scrape. 09 13.2–14.8s FLOOD. 100mm push-in. Glossy STRAWBERRY coulis poured on the white top — same motion as the original ganache flood, but red jam not chocolate. 10 14.8–16.5s GARNISH. 90mm. Fresh strawberries placed on top (not chocolate curls). 11 16.5–18.2s THE SLICE. 65mm. Knife cuts a slice; layers of pale sponge / white mascarpone / red jam reveal. 12 18.2–20.0s HERO. Slow dolly-in matching @image1: the cake, its stand and its setting exactly as in @image1, a slice on a plate, cake server. HOLD. AUDIO: powder, whisk, pour, oven, knife, pipe, jam pour. No speech. NEGATIVE: chocolate, cocoa, ganache, chocolate curls, dark bakery, storyboard grid, overlay titles, skipped shots, 15-second cut-off.
30-second 9:16 ultra-premium cinematic fashion film. @image1 is the product. Photocopy that object — same olive leather grain, chunky black platform, grey laces, silver eyelets, proportions. Do not redesign. Do not turn it into a sandal or a different shoe. @image2 is the storyboard — photocopy those camera beats. Dark futuristic runway. Glossy black floor. Charcoal architecture. Haze. Olive light accents. No people, no feet, no extra products. 0–3s: Extreme wide establishing. Product on the runway. Slow mysterious open. 3–6s: Low-angle hero. Slow cinematic dolly-in. 6–10s: Smooth lateral track, then a 90° orbit. Stabilized. 10–16s: Macro of original leather texture, then close-up of dark-chrome / silver hardware. Speed ramps, match cuts. Cutting speeds up. 16–22s: Low-to-high reveal. Fast but elegant push-in. Slow-motion three-quarter rotation. 22–27s: Slow down. Final symmetrical low three-quarter hero, overhead spotlight, floor reflection. Subtle last push-in. 27–30s: Hold the hero. Fade to black. No on-screen text, no captions, no logos. AUDIO: deep cinematic bed, sub-bass, fashion-show pulse, metallic whooshes, material foley. Calm confident VO: "Some designs are made to be worn. Others are made to be remembered. Sculpted with precision. Defined by presence. This is more than footwear. This is the new icon." Music under the voice, never silent.
How it works
Browse the workflows. Every one shows the finished video first.
Upload one clean product photo. The workflow keeps its shape and label.
The workflow runs its own prompt. Your video lands in your library.
Prompt anatomy
HOT. LOUD. REPEAT.The format: Loud 15s vertical 9:16 ad Your product: for the exact cup in @image2, Your face: performed by the exact person in @image1. The action: The lid rips off in a steam burst, water hits hard, the cup spins in mid-air inside a vortex of dried flakes and steam, one strand lifts in slow motion, then The payoff: @image1 spins to the lens and eats straight from @image2 before it detonates into a final hero frame. Product lock: Keep the packaging, label, logo, typography and spelling identical to the reference and take every colour in the film from that pack. The look: Macro lens, hard rim light, saturated colour fields, fast camera moves. On-screen text: HOT. LOUD. / SLURP. REPEAT.
Every clip on this page is a product video someone already made from one photo: a cloche reveal, a perfume campaign, a chocolate bar snapping in a rainforest, a car on wet neon streets. Each one is a workflow. Upload a clean photo of your product and it shoots yours with the same set, camera and timing.
These workflows do the job of a product shoot. Hero shots, macro texture, splashes, unboxings and launch spots, each built around the product photo you upload. The prompt tells the model what to hold still: the silhouette, the colour, the label. The camera and the set do the rest.
Reveals pull a cloth, a cloche or a wave away from the product. Macro films slide across its texture. Food and drink spots pour, crunch and splash. Lifestyle films put it in a hand, a bag or a room. Pick the format that fits what you sell, then change the lines that name the set.
Want a product video built from your product page instead? The AI product video generator starts there. This page is for picking a look first.
Questions
Short product films other people already made on OpenClips: reveals, macro close-ups, food and drink spots, car and jewellery films. Each one is a workflow. Upload one photo of your product and it shoots yours instead, holding the shape, the colour and the label, so the thing on screen is the thing you sell.
One clear photo of the product on a plain background, lit evenly, with the label readable. Keep it the only object in the frame. The workflow reads the shape and the finish from that photo, so a cluttered shot leaves it more to guess.
Yes. Run the same workflow again for another take, or change a line of the prompt for a new set. Your product photo stays the reference every time, so each version keeps the same product. Every run lands in your library, ready to download.
The product is recognisable in every frame, it moves from the first shot, and the light shows what it is made of. Every prompt here writes those choices down, from the macro lens to the final packshot. Read a few before you brief your own product video, then change the lines that fit what you sell.
Every workflow is a finished scene. You bring the face.
Pick a workflow
