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Your dog goes on a one-take nighttime rampage through the house — knocking over a garbage can and scattering trash, tearing through the rooms — then stops and looks right into the camera. Upload your own dog and it stars, keeping its own breed.
Your dog shows up on a motorbike to deliver a pizza — takes the cash, rides off… and leaves the box half-eaten. Upload your own dog and watch them run the scam.
Cup your hands, conjure a glowing orb — and watch a living black cat take shape from the magic and settle on your shoulder beside the raven. Upload your photo to become the sorceress. 15s.
Asset referencing: @image1 is the FIRST FRAME of this video. It defines the kitten chef and its markings, its oversized white toque and white apron, the pale oak counter, THE PRODUCT standing open on the left with its label facing the camera, the miniature cooking station on the right, the warm defocused kitchen behind, the lighting and the opening framing. ATTACHED IMAGE IS MANDATORY AND FINAL: the attached first frame outranks every word written below it. Wherever the image and this text disagree, follow the image. THE PRODUCT IS FIXED — the single most important rule of this film: THE PRODUCT stands upright on the counter in the left of frame exactly where @image1 has it, and it NEVER MOVES. It never tips, never rotates, never slides, never leaves the counter, and nothing ever covers it. In every wide shot it is WHOLE AND UNCROPPED inside the frame, never cut off by the left edge, with its labelled front squarely towards the camera, sharp and fully readable, carrying exactly the words, layout, typefaces and colours @image1 gives it. No word on it changes or re-spells itself. No new lettering, logo, sticker or label appears anywhere else in the film. PAWS, NEVER HANDS — absolute, every frame: the kitten has plain rounded cat paws, no fingers and no thumbs. Every tool is gripped in the crease of a paw, exactly the way @image1 shows it held. No human hand and no finger appears at any moment. SCALE LOCK: THE PRODUCT is full human size and everything else on the counter is a real miniature at about one fifth of kitchen scale. The pan is smaller than the kitten's head, and the small coins lying on the wood stay coin-sized beside it. This contrast holds in every shot, including the finished plate. Summary: a miniature-cooking film in which a kitten chef makes a small stack of pancakes with THE PRODUCT on a doll-sized cooktop, with THE PRODUCT standing full-size beside it the whole time. FORMAT: timed multishot, 8 shots, HARD CUTS at 0:01.2, 0:02.6, 0:04.5, 0:06.6, 0:08.2, 0:10.6 and 0:13.0. No dissolves and no fades — every transition is a hard cut. The same kitten, the same counter, THE PRODUCT in the same place and the same warm light across every cut. Only three camera setups are used, and every shot is locked off — no pans, no dollies, no zooms, no handheld drift. The cuts do all the movement. SETUP A — wide frontal at counter height, the framing of @image1: the kitten centred from the chest up, the counter across the lower third, THE PRODUCT whole, uncropped and sharp in the left third of frame, the cooking station lower right. SETUP B — macro looking down at the small STAINLESS STEEL pan from above and slightly in front, the pan filling the frame. THE PRODUCT is outside this framing. SETUP C — the finished plate large in the foreground lower centre, the kitten behind it and slightly soft, and THE PRODUCT still standing in the left third, WHOLE AND UNCROPPED and in focus, its whole label inside the frame. Frame wide enough that none of the pack is cut off. Timeline: 0:00–0:01.2 — SHOT 1, SETUP A, the exact framing of @image1. The kitten tips the measure it is holding and a clearly visible fall of THE PRODUCT drops into the little white mixing bowl — a pale cascade of powder, a thick ribbon, a stream, whatever the product is. This fall is plainly visible for the whole shot. THE PRODUCT stands sharp on the left. 0:01.2–0:02.6 — SHOT 2, SETUP A. The kitten sets the measure down on the counter and works the slim wooden whisk in the bowl in quick small circles; the batter turns smooth and pale gold. THE PRODUCT has not moved. 0:02.6–0:04.5 — SHOT 3, SETUP B. A paw tips the mixing bowl and the batter pours into the hot buttered STAINLESS STEEL pan and spreads out into one clean round disc. The melted butter hisses around its edge and a thin curl of steam lifts. 0:04.5–0:06.6 — SHOT 4, SETUP B, a little closer, the same STAINLESS STEEL pan. Bubbles rise up through the batter and pop one after another across the surface; the rim sets, goes matte and lifts very slightly from the pan. Steam curls upward. 0:06.6–0:08.2 — SHOT 5, SETUP B, the same STAINLESS STEEL pan. A tiny steel spatula held in a paw slides under the pancake; the pancake flips over and lands flat with a soft slap, its deep golden side now facing up. 0:08.2–0:10.6 — SHOT 6, SETUP A. The kitten lifts three finished golden pancakes one onto the other on a coin-sized white plate on the counter in front, and lays a small pat of butter on top; the butter begins to slide and melt down the side of the stack. THE PRODUCT is whole and sharp on the left, label to camera. 0:10.6–0:13.0 — SHOT 7, SETUP C. A thin glossy ribbon of pale golden syrup pours slowly down over the stack and runs off its sides onto the plate. THE PRODUCT still stands in the left third, complete and uncropped and in focus, its entire label inside the frame. 0:13.0 to the end — SHOT 8, SETUP C, held completely still. The finished stack glistens, the butter still melting. The kitten raises one front paw, holds it up and looks straight into the camera. THE PRODUCT stands beside them, whole, uncropped, sharp and fully legible. Hold this shot, unchanged and unmoving, to the very last frame of the film, however long the film runs. Notes: the kitten's markings, its oversized white toque and its white apron stay exactly as @image1 has them for the whole film, with no drift between shots. The pan is the same stainless steel pan of @image1 in every shot and never becomes a dark non-stick pan. The warm amber LED strip and the softly defocused wooden kitchen stay behind the kitten in every wide shot. Nothing on the counter changes position between shots except the food being cooked and the tools the kitten picks up. No subtitles. No on-screen text of any kind. No logo anywhere other than THE PRODUCT's own label. Audio: a soft, light, playful melody kept low under everything, and close, present, dry foley on top of it — the fine dry whisper of the measure falling into the bowl, the quick tick of the whisk against the china, the batter hitting the hot pan and the butter hissing, the small wet pops of the bubbles, the soft slap of the flip, a light clink of the spatula on the plate, the slow thick drip of syrup, and the quiet room tone of a warm kitchen under it all to the last frame. No voices, no dialogue, no narration.
Asset referencing: @image1 is the FIRST FRAME of this video. It defines THE PET dressed as a chef, its coat, markings, ears and eyes, its white toque and white apron, the pale oak counter, the black pan standing EMPTY AND DRY on the lit gas hob, the bowl of eggs, the warm defocused kitchen behind, the lighting and the framing. @image2 is the LAST FRAME of this video: the same scene, the same camera, the same animal — and the pan now holding clear turquoise seawater with tropical fish, a small golden sand island with one palm, a tiny wooden sailing boat and a little sea turtle swimming. ATTACHED IMAGES ARE MANDATORY AND FINAL: the two attached frames outrank every word below them. The film begins on @image1 and ends on @image2, and everything between them is the journey from one to the other. THE PAN STARTS EMPTY: at 0:00 the pan is completely empty, clean and dry — no butter, no oil, no fat, no water, nothing. Everything that ever appears in the pan arrives out of an eggshell, and nothing in the pan ever vanishes once it has arrived. THE SEA ONLY EVER GROWS, THEN STOPS: water enters the pan three times and only three times, once out of each shell. After the third shell is empty NO more water arrives, and the level stays exactly where it is for the rest of the film. THE ISLAND NEVER SINKS — it never shrinks, never flattens and is never submerged. From the moment it forms until the last frame it stands clear of the surface with its palm upright. COAT NOTE — written separately because this is what drifts: in every single second of this film, including the last, THE PET's coat keeps exactly the texture it has in @image1. If that coat is wiry, broken and scruffy it stays wiry, broken and scruffy and never becomes smooth, sleek or short-haired. Its muzzle keeps its length, its markings keep their places, its ears keep their shape. PAWS, NEVER HANDS — absolute, every frame: THE PET has its own plain animal paws, no fingers and no thumbs. The eggs and the shells are gripped in the crease of a paw. No human hand and no finger appears at any moment. ONE UNBROKEN TAKE: a single continuous shot from a locked-off camera in exactly the position @image1 gives it. No cuts, no dissolves, no fades, no pans, no zooms, no dollies, no handheld drift. The camera does not move once. THE MIRACLE — what this film is about: when a shell opens, what comes out of it is not egg. It is the sea, and the things that live in the sea. This happens as a plain physical event, photographed straight, with no sparkle, no glow and no magic effect of any kind. The pan simply holds an ocean. THE WATER STAYS IN THE PAN: it never rises over the rim, never spills onto the hob or the counter, and never floods the kitchen. The kitchen around it stays an ordinary dry kitchen. Timeline: 0:00–0:01.5 — Exactly the framing of @image1, the pan empty and dry. THE PET brings the egg down and taps it against the rim; a fine crack runs across the shell. 0:01.5–0:05.0 — The paw opens the shell over the empty pan. Instead of white, CLEAR TURQUOISE SEAWATER pours out in ONE single smooth unbroken stream — not in spurts, not in bursts — and the pan fills continuously and evenly to a shallow depth. The surface settles into moving ripples and the sunlit ripple-net plays across the dark metal below. Tiny bright tropical fish — orange, yellow, electric blue, some striped — come out with the water and begin to swim, each casting a small shadow on the bottom. 0:05.0–0:07.0 — The yolk falls out of the shell immediately after the water and drops into the middle of the pan exactly where a yolk would land. For a moment it IS the yolk — round, golden, sitting in the water — and only then does it settle and open out into A SMALL GOLDEN SAND ISLAND: a low round dome of warm sand standing clear of the surface, a darker wet rim where the water laps it, a tuft of green grass, and ONE small palm tree that unfurls its fronds as it rises. Rings of ripple run out to the edge of the pan. 0:07.0–0:09.0 — NOTHING ELSE HAPPENS IN THIS SHOT. No new water, no new object, no new egg. For two full seconds the only thing that moves is THE PET: it sets the empty shell down on the counter, its ears come up, and it leans in and tilts its head slowly to one side, looking at the island. This pause is deliberate and must not be filled with anything else. 0:09.0–0:10.5 — THE PET takes a second egg from the bowl with a paw and taps it on the rim. 0:10.5–0:13.0 — The second shell opens. More clear seawater pours in in one smooth stream and the level rises a little, and instead of a yolk A TINY WOODEN SAILING BOAT drops out — a simple little boat with a pale varnished hull, a short mast and a small white sail. It lands with a soft splash, rocks, rights itself and settles upright on the water beside the island. 0:13.0–0:14.5 — THE PET takes a THIRD egg from the bowl and taps it on the rim. 0:14.5–0:17.5 — The third shell opens. A last smooth pour of seawater comes out, and instead of a yolk A LITTLE SEA TURTLE slides out of the shell — a small green-brown turtle with a patterned shell, about the size of a walnut. It drops into the water, sinks a little, rights itself, spreads its front flippers and begins to swim, head up just breaking the surface, leaving a soft V of ripple behind it. This is the last water that ever enters the pan. 0:17.5–0:20.0 — No more water. The level is fixed and the island stands full with its palm upright. The turtle swims a slow arc past the island on one side while the boat drifts on the other, both leaving faint wakes; the fish dart underneath them; the palm sways very slightly; thin curls of steam rise where the water meets the hot rim. The film comes to rest on exactly the picture of @image2 and holds there, still, to the last frame. Notes: the pan, the hob and its lit flame, the counter, the bowl of eggs, the background kitchen and the light stay exactly as @image1 has them for the whole film. The sea, the fish, the island, the boat and the turtle are filmed as real physical things sitting inside a real pan, in the same light as the rest of the kitchen. Each egg is opened over the pan and its shell set down on the counter; the eggs in the bowl go from three to two to one to none. No subtitles. No on-screen text of any kind. No logo anywhere. Audio: no music. Generate only close, present, dry environmental and action sound — the small dry crack of each shell against the metal rim, the pour and splash of water running into the pan, the gentle lapping of a shallow lagoon, the soft plop of the island settling and the ripple that follows, the light splash and wooden creak of the boat landing and righting itself, the small wet slither and splash of the turtle sliding out and the soft paddle of its flippers, the faint hiss where water meets the hot rim, one distant gull far away, and the quiet room tone of a warm kitchen under it all to the last frame. No voices, no dialogue, no narration.
Generate a live football broadcast where the dance cam finds you and you steal the show.
VERTICAL 9:16 10 seconds. Premium lipstick commercial. Photoreal. Rose-gold studio. @image1 = CATE. Photocopy FACE and hair only, exactly as in @image1. Wardrobe is elegant dusty-rose silk or satin, delicate jewelry, polished shoes. NEVER the clothes from @image1. @image2 = the lipstick. Photocopy THIS tube exactly as in @image2: its case, collar, cap, any printed brand name and the exact bullet shade. Never a different shade. Sitting on the giant lipstick (0–1.5s): they perch SIDE-SADDLE, elegant, knees together, one hand on the giant tube for balance, torso upright, looking to camera. They are NOT straddling it, NOT sitting on it like a horse, NOT a weird squat. Beats: 0.0–1.5s HERO: Cate side-saddle on the giant matching lipstick, giant 3D LIP letters behind, script “one swipe color”. Subtle head turn. Dolly-in. 1.5–3.0s MACRO of @image2 rotating with water droplets. Icons: Creamy Texture, Vivid Color. 3.0–4.5s Beauty portrait: the same outfit, they hold the real lipstick, smile. 4.5–6.0s Lip macro: one swipe of THIS exact shade from @image2. 6.0–8.0s Wink, chin on hand, same lip color. 8.0–10.0s Swatch + “one swipe color” + the three icons. Push in. Same Cate. Same bullet. English only. Never a studio headshot as frame 0.
Fast-paced, smooth luxury fashion editorial film. @image1 is an absolute character lock: face, body, hair, wardrobe, materials and colours are taken from it exactly and stay identical in every shot, at every distance, with no drift and no reinterpretation. @image2 is an absolute location lock: the wall, the height chart, the floor and the lighting are taken from it exactly. @image3 is the storyboard and is followed exactly — framing, body position, eyeline and prop placement match it. Storyboard panel 1 is shot 1, panel 2 is shot 2, panel 3 covers shots 3 and 4, panel 4 is shot 5, panel 5 is shot 6, panel 6 is shot 7. Performance throughout: playful, confident, slightly mischievous. Shot 1 The subject@image1 stands squared to camera in a full-body composition in front of the height chart, looking straight down the lens, then gives a single playful wink. Camera pushes in slowly and smoothly. Shot 2 The subject@image1 holds a hand-held placard reading 【WANTED FOR BEAUTY】 up toward camera and tilts it slowly forward with attitude. Camera holds steady. Shot 3 Rapid detail inserts in close framing: the mouth as the lips part into a smile, the painted nails, the lollipop lifted toward the mouth. Camera snap-zooms in on each detail. Shot 4 Rapid detail inserts continuing: the pile of the outer jacket, the metal neck chains, the sunglasses held in the hand. Camera whip-pans between each detail. Shot 5 The subject@image1 returns to the full standing composition, leans weight casually onto one side while holding a confident stance, puts on the sunglasses, looks over the top of them straight into the lens and smiles. Camera orbits smoothly around them. Bright flash bursts fire intermittently from off-frame, like photographers crowding in. Shot 6 Fast montage across the styling: the outer jacket, the cropped top, the belt and chains, the denim, the lollipop, the mouth, the eyes, the sunglasses. Sheets of newspaper fly across the frame between details. Camera moves continuously and smoothly through the sequence. Shot 7 The subject@image1 is back in the full mugshot composition, holding the placard forward toward camera. The placard now reads 【WANTED FOR BEING TOO BEAUTIFUL】. They raise one eyebrow and smile. Camera pushes rapidly toward the face. A sheet of newspaper sweeps across the lens and the frame cuts to black. Lighting and colour: hard institutional overhead light on the wide shots, clean even light on the inserts, glossy high-end editorial grade, rich blacks, true colour. Camera: one controlled move per shot — push-in, snap zoom, whip pan, orbit, or rapid push. Always fluid and deliberate, never handheld jitter. Editing: very short cuts throughout, seamless whip transitions, subtle speed ramps, newspaper wipes, beat-synced cutting rhythm. Fast but polished — never slow, never dreamy, never jittery, never chaotic. Visual style: glossy magazine fashion editorial crossed with a cinematic booking-room mugshot, playful troublemaker energy, fashion-editorial motion blur, premium campaign finish. Image quality: ultra photorealistic live action, realistic human anatomy, realistic fabric and metal, sharp and clean. Constraints: do not generate a logo. Do not generate a watermark. Do not generate any on-screen text other than the wording on the placard. Do not alter the wardrobe, the face or the location from the reference images.
@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.
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