ASSET MAP — the references are bound here and cited below: THE AVATAR — the attached avatar is the sole source of truth for the person: their face shape, eyes, brows, nose, lips, jawline, ears, hairline, hair length, texture and colour, their exact skin tone, their build and body proportions and their apparent age, all exactly as shown. Reproduce them exactly in every frame they appear in. @image1 — the pet food pack. This defines the product: its exact shape, size, material, finish, colours, printed artwork, typography and logo, all exactly as shown. Reproduce it exactly; never redesign it, never re-letter it, never substitute another pack. 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. Never invent a different face, hairline, hair colour, skin tone, body or age for the person, and never invent different packaging. THE CAT — one specific animal, identical in every frame: a dense plush semi-long coat, golden-brown classic tabby with dark striping down the back and flanks, heavy striping across the forehead, a broad white chest bib, white front paws, a long very fluffy tail. A round broad face with a short muzzle and a small pink-brown nose. Small rounded ears set wide apart. Long white whiskers. Large, round, wide-set amber-copper eyes. WORLD — one lived-in living room, photoreal: a plain pale fabric sofa against a plain wall, soft daylight from camera left. Nothing stylised, nothing cinematic-graded, nothing staged; shot as if on a phone. No phone, camera or tripod is visible anywhere in frame. THE PACK STAYS UPRIGHT — the pack@image1 is an opened 10 kg sack of dry kibble. It stands VERTICAL, base down, opening upward, in every frame: never tipped, never tilted, never rotated toward horizontal, never on its side, never above the person's head, never inverted. It stays roughly the height of the person's head and never grows, never comes toward the camera, and never passes in front of the person's face. If keeping the printed front square to the camera would require tilting the bag, do NOT keep the front square — upright always wins. Nothing spills out of it. THE RIGHT HAND PUSHES THE CAT, IT DOES NOT SIGNAL — from 0:14 onward the person's right hand is PHYSICALLY TOUCHING the cat. The heel and palm of their right hand rest flat against the cat's chest and shoulder, fingers pointing upward, and they push the cat gently but firmly back. Their palm faces the CAT; the camera sees the BACK of their hand, never the palm. From the camera's point of view the hand OVERLAPS the cat's body — the cat's chest is directly behind the hand, they are in contact, and there is no gap of empty air between them. This is a person fending off an animal that is leaning on them, not a gesture made to anyone. PROPS AND HANDS — the pack@image1 is held in the person's LEFT hand and their left hand only, for the entire 18 seconds; it never changes hands and the cat never holds it. Their RIGHT hand takes exactly one kibble from the pack in the second beat, and from 0:14 onward touches only the cat. GEOGRAPHY — the person sits at frame left, the cat is on the same sofa cushion at frame right. The pack is carried sideways toward the left edge of frame, away from the cat, never upward. Nobody swaps sides and nobody leaves frame at any point. CAMERA CONTRACT — handheld at chest height. One continuous medium two-shot from 0:00 to 0:06; three instantaneous snap zooms IN at 0:06, 0:07 and 0:08; one instantaneous snap zoom OUT at 0:10; then one continuous medium two-shot from 0:10 to the end. Every snap is an instant change of scale between fixed framings, each held rock steady. Never a smooth continuous zoom, never a crash dolly, never a whip pan, no other cuts anywhere. STARTING STATE at 0:00 — the person is settling back onto the sofa at frame left. The cat is already sitting upright on the same cushion at frame right, haunches down, front legs braced, calm and unbothered, looking off toward camera left. The person holds the pack@image1 upright in their left hand at chest height with its printed front turned square to the lens, unobstructed, in sharp focus and fully legible. 0:00-0:02 — the person settles into the cushion beside the cat and rests the pack@image1 on their knee, its printed front still square to the lens. The cat does not react; it stays calm, blinks once, looks away. Camera holds the medium two-shot, all three clearly readable. 0:02-0:04 — the person reaches into the pack@image1 with the two fingers of their right hand, takes out one single small dry kibble pellet, lifts it to their mouth and puts it in. Completely casual, unhurried, not looking at the pack, eyes on a television off-frame. The cat is still unbothered. 0:04-0:06 — the person chews the kibble, jaw working, an ordinary snacking motion, still staring off-frame, totally untroubled. On the first chew the cat turns its head sharply toward them and freezes. 0:06-0:07 — HARD SNAP ZOOM, step one: the frame jumps instantly from the medium two-shot to a chest-up shot of the cat. The cat's eyes are wide, pupils blown fully open, mouth fallen open, one white front paw lifted and frozen in mid-air at chest height. 0:07-0:08 — HARD SNAP ZOOM, step two: another instantaneous jump to a tight close-up of the cat's head and shoulders. The paw stays up and frozen. The expression holds, absolutely still. 0:08-0:10 — HARD SNAP ZOOM, step three: a final instantaneous jump to an extreme close-up of the cat's amber-copper eyes and open mouth, filling the frame. Hold dead still with the faintest handheld tremble. The expression never resolves, never softens, never blinks. 0:10-0:12 — HARD SNAP ZOOM OUT: the frame jumps instantly back to the medium two-shot, the person at frame left and the cat at frame right, both fully in frame with the pack@image1. The cat goes from frozen with one paw in the air to standing on all four paws on the cushion, and walks across the cushion toward the person. The pack@image1 is back on the person's knee in their left hand, upright. 0:12-0:14 — the cat rises onto its hind legs and plants both front paws flat on the person's left forearm, leaning its weight into them. The person leans their upper body away to frame left and lifts the pack@image1 off their knee to shoulder height, still perfectly vertical, base down, the same size in frame as before. 0:14-0:16 — the person holds the pack@image1 out to the left at shoulder height, near the left edge of frame, upright and unchanged in size, away from the cat. The cat leans and reaches across to frame left after it and swings one white front paw at the bag exactly three times, missing every time. At the same time the person brings their right hand onto the cat: their palm lands flat on the cat's chest and shoulder, in contact with the fur, and pushes the cat back. The hand overlaps the cat's body in frame, the back of the hand toward the camera. 0:16-0:18 — the standoff holds: the pack@image1 stays out to frame left at shoulder height, upright, base down, same size. The person's right palm stays pressed against the cat's chest, still touching, still pushing back. The cat stays up on its hind legs, straining forward against that hand, stretched toward the bag. Both are looking at the bag. The person's face is fully visible, mouth closed, brows raised, refusing. Nothing else moves. The camera holds this exact framing, dead steady, until the last frame. CONTINUITY — the person's face, hair and clothing are identical in every frame they appear in. The cat's coat, markings and eye colour are exactly as described above in every frame from 0:00 to 0:18, and identical across all four changes of framing — the same animal at a different distance, never a different cat. The pack@image1 keeps the same artwork and the same lettering every time it is on screen. Only one person and only one cat exist in this scene. Both the cat's shock and its begging are a real cat's: real feline anatomy, real fur, real pupils, real claws, real balance. Never a cartoon, never humanised eyebrows or hands, never a human mouth, never CGI, never a speaking animal, never walking upright like a person. NEGATIVE — no stop gesture to the camera, no palm facing the lens, no raised hand in empty air, no gap between the hand and the cat. No tilted bag, no tipped bag, no bag overhead, no bag on its side, no bag growing larger, no bag in front of the face, no spilled kibble. No phone, no smartphone, no camera, no tripod anywhere in frame, including the foreground and the bottom edge. The live cat in the room is NOT the cat printed on the pack@image1: never copy the printed kitten's coat, colour, markings, face or expression onto the real animal, and never let the printed artwork replace or blend with it. No on-screen text, no captions, no subtitles, no title cards, no watermark, no logo overlay, no second person, no other animals, no hands entering from off-frame, no slow motion, no fade in or out, no black frames, no split screen. AUDIO: diegetic sound recorded in a quiet room, plus orchestral stings on the snaps and one comedic sting at the end. 0:00-0:02, faint room tone and the soft rustle of the sofa cushion. 0:02-0:04, the dry papery rustle of a hand in the pack. 0:04-0:06, one loud, hard, dry CRUNCH as the kibble breaks between their teeth, close and unmistakable, then a second slower crunch. 0:06, 0:07 and 0:08, a short low orchestral sting on each of the three snap zooms — one deep brass hit each, decaying. 0:10-0:12, the soft thump of the cat's paws crossing the cushion. 0:12-0:14, fabric scuffing as the cat leans on their sleeve, and one short high begging chirp from the cat. 0:14-0:16, claws scratching dry against the foil of the bag on each of the three swipes, and a second short begging chirp. 0:16-0:18, quiet room tone, and over the final one and a half seconds a classic comedic SAD TROMBONE: a single muted trombone playing a slow descending wah-wah-waaah slide, four falling notes, ending flat and deflated exactly on the last frame. No music bed, no song, no other instruments, no dialogue, no words, no narration, no voiceover, no meowing beyond the two chirps, no purring, no laugh track.

2 steps

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, 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.

@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.

4 steps320

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.

5 steps1132.1K

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.

5 steps

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.