@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.
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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.
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.
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.
17 seconds, 9:16. Intimate GRWM. Dimly lit room, neutral background. ONE hard cut. Front-facing. ELARA LOCK: @image1 is Elara — photocopy her face, hair, eyes, top, jeans and earrings exactly as in @image1. Adult. Same woman both scenes. IGNORE any logo in the corner of @image1. COMPACT: @image2 is the blush — photocopy this compact exactly as in @image2 — case, lid, band and the shade inside. Hold THIS compact, not a generic one. She LIP-SYNCS English. 0.0–11.0s CLOSE-UP. She taps the blush from @image2, in its own shade, onto her cheekbone with a brush, smooths it softly, turns her head to show the glow, then POINTS at her cheek. Spoken: "More people need to be talking about this blush. Look at how pretty it is. It blends so well, but do you see this sheen? It's like a glass finish blush." HARD CUT. 11.0–17.0s She holds up the compact from @image2 and gestures to it. Spoken: "It's so buildable and it comes in several beautiful shades." HOLD. AUDIO: clear spoken English, quiet room. No songs. NEGATIVE: overlay type, extra people, hair recast away from @image1, generic compact, outfit different from @image1, watermark on her face.
20 seconds, 16:9. Static FRONT-FACING camera. HARD CUT between scenes. Photoreal 3D. SOFA LOCK: @image1 is THIS sofa-bed, brought to life as a character with a simple friendly face — photocopy its shape, seat count, fabric, colour, pillows and arms exactly as in @image1, and the living room exactly as in @image1. Same sofa both scenes. It LIP-SYNCS English. 0.0–10.0s INTRODUCTION. Warm daylight living room as in @image1. The sofa gestures outward expansively, then POINTS at the camera. Spoken, lip-synced: "Here I am waiting for you to sit, and you're sitting in a plastic chair. No, not like that. It's time to buy a sofa bed that's worth it." HARD CUT. 10.0–20.0s DAY TO NIGHT. Same sofa, same room, starts in warm daylight. As it speaks, lighting smoothly becomes cozy night — warm lamp light dominates. A textured blanket appears draped on the cushions. Spoken, lip-synced: "By day I am your favorite sofa and by night your safe rest. Real comfort without taking up more space." HOLD. AUDIO: clear spoken English, room tone. No songs. NEGATIVE: overlay type, extra sofas, walking away, different fabric color, silent mouth, 9:16 crop.
15 seconds, 1:1. MiniMax H3. Cinematic live-action fused with precise black-and-white manga. Cate is ONE woman in two states. @image1 = SCENE_TRAPPED: giant open manga on the floor of the room shown in @image1. Ink Cate trapped in the page. @image2 = SCENE_BREAKTHROUGH: ink Cate tearing through paper, fingers punching out. @image3 = SCENE_EMERGENCE: REAL Cate, exactly as shown in @image3, stepping out of the torn page. @image4 = SCENE_ENCOUNTER: REAL Cate pointing at her ink self still in the book. CATE LOCK: photocopy the REAL person in @image3/@image4 — face, hair, age and outfit exactly as shown. The manga figure in @image1/@image2 is the SAME person, same outfit, ink-only. 0.0–1.0s Low wide of the giant book (@image1). Fast push-in. Ink Cate confused, looking around. 1.0–3.3s Hard cuts: face, hands searching the paper wall, profile pushing. Whisper: "Where is this? I can't get out." 3.3–4.6s Low three-quarter. Feet brace, fingers bite paper. "Open up!" Speed lines. 4.6–6.8s Paper bulges into the room. Hands, face, torso, legs convert from ink to REAL Cate (@image3) in order. Halftone becomes color. One woman only. 6.8–8.4s She lands on the floor, steadies. "I got out…?" 8.4–10.3s Smile dies. She looks back at the book. Whip pan. 10.3–11.2s @image4: REAL Cate and ink Cate point at each other. Hit-stop. Record scratch. 11.2–12.8s Smash zoom on ink Cate: "No way… you actually came out!?" 12.8–15.0s Smash zoom on REAL Cate: "Who… are you?" Brief !? graphic. Hold. Do NOT copy speech-bubble lettering from the stills except a brief ink バリッ and a final !?. No extra logos. NEGATIVE: third woman, extra people, overlay subtitles, 9:16 crop, recast hair, walking away from the book.
30 seconds, 9:16. Cute 3D animation. Static camera per scene. HARD CUT. Lip-sync English. Photocopy the characters from the stills. Do not invent new gadget designs. @image1 = the angry old phone vs the smug smartphone, exactly as drawn in @image1, in the setting shown there. @image2 = the angry old PC vs the smug laptop, exactly as drawn in @image2. @image3 = the angry floppy vs the smug USB stick, exactly as drawn in @image3. @image4 = the angry filament bulb vs the smug LED bulb, exactly as drawn in @image4. 0.0–7.0s @image1. Old phone angry: "I survive wars, you panic at 5% battery." Smartphone smug: "Yeah, but people love touching me, not bricks." Cartoon kick. HARD CUT. 7.0–15.0s @image2. Old PC angry: "I built empires of code before you even had a battery." Laptop smug: "And I run circles around you without needing half the desk." Fist slam, steam puffs. HARD CUT. 15.0–23.0s @image3. Floppy angry: "I stored legends when you did not exist." USB smug: "And needed 10 copies for one song. Move aside, fossil." USB points. Floppy shocked. HARD CUT. 23.0–30.0s @image4. Filament bulb angry: "I sparked the modern world while you sip electricity like a minimalist intern." LED smug: "And I outlast you by decades while you burn out chasing nostalgia." Filament bulb sparks and dims. HOLD. AUDIO: two cartoon voices per scene. No songs. NEGATIVE: overlay type, extra gadgets, humans, recast characters that don't match the stills.
20 seconds, 9:16. TikTok UGC. Static front-facing smartphone. HARD CUT every 5s. Bright indoor, softly blurred WHITE SOFA behind her. LANA LOCK: @image1 is Lana — photocopy her FACE and hair exactly as shown, adult. IGNORE the clothes in @image1. DRESS: @image2 is the dress (and any shoes shown with it). Photocopy that garment on Lana. IGNORE any model's face in @image2. Same cut, straps, neckline, colour and fabric as shown in @image2. Hair exactly as in @image1, worn loose for UGC. SERUM: @image3 is the bottle — photocopy it exactly as shown — same bottle shape, glass colour, cap, label and liquid, never changing. Hold THIS bottle, not a generic vial. She LIP-SYNCS English. 0.0–5.0s Holds the serum CLOSE to the lens, then pulls back to show her face. Spoken: "Starting with this serum." HARD CUT. 5.0–10.0s Tilts her head, applies a little of the serum from the @image3 bottle to her cheek. Spoken: "It's made with ingredients my skin loves..." HARD CUT. 10.0–15.0s Both hands massage the serum into her skin. Spoken: "...so it helps calm your skin, even out your tone..." HARD CUT. 15.0–20.0s Bright smile, dewy skin. Spoken: "...and add that healthy glow without feeling sticky." HOLD. AUDIO: clear spoken English, room. No songs. NEGATIVE: clothes from @image1, bun-only if it fights the dress look, extra people, overlay type, a bottle that differs from @image3, slow-mo.
20 seconds, 9:16. Macro beauty. Soft sparkly bokeh. HARD CUT between the two scenes. Photoreal 3D character. CHARACTER LOCK: @image1 is the cute 3D tub mascot — photocopy this exact character: lid, jar, label face, colours, limbs and shoes exactly as shown. Same character both scenes. Adult-safe cute. It LIP-SYNCS the English lines. 0.0–10.0s HAIR HACK. Static macro. The character stands on a coiled thick strand of brown hair. It holds a wooden spoon with white cream and golden oil. It smiles and WINKS at camera. Spoken, lip-synced: "If you mix this jelly with olive oil in equal amounts, then take a small amount and apply it to the ends of your hair, you won't need to buy expensive hair products." HARD CUT. 10.0–20.0s PERFUME HACK. Static macro. The character stands on a human wrist wearing a delicate gold bracelet. One hand holds a wooden spoon of clear gel, the other a miniature glass perfume bottle. Gentle smile. Spoken, lip-synced: "If you layer this jelly with your perfume and apply it to your skin, it helps lock in moisture and makes the scent last much longer." HOLD. AUDIO: clear spoken English, soft beauty ambience. No songs. No extra people talking. NEGATIVE: overlay type, extra mascots, walking off, different jar, silent mouth.
Eating My Cat's FoodRecreate workflow