ASSISE — les prompts.

La palette n'a pas été choisie au hasard : elle est relevée sur les visuels déjà produits. C'est l'ordre qui compte — on fabrique la campagne, puis on en extrait la charte, et non l'inverse. La planche se génère ensuite d'un coup, avec quatre de ces visuels en référence : le modèle ne redessine rien, il compose.

Design a single BRAND IDENTITY BOARD for the fictional brand ASSISE, presented as one flat designed page seen perfectly straight on, filling the whole frame. This is a graphic design layout, NOT a photograph of a physical board — no desk, no hands, no perspective.

USE THE FOUR ATTACHED PHOTOGRAPHS AS THE ACTUAL IMAGE TILES OF THE BOARD. Place them unmodified inside clean rectangular frames: image 1 as the large hero tile, images 2, 3 and 4 as supporting tiles. Do not redraw them and do not replace them with other pictures — crop them only if the layout needs it.

LAYOUT — a strict editorial grid with generous margins on a flat neutral background from the palette:
· top left, the wordmark ASSISE very large, set in a precise modern sans for the wordmark and a condensed sans for captions
· under it, the descriptor DINING CHAIR in small letter-spaced caps
· the four photographs as a clean asymmetric grid, one large and three smaller
· a horizontal PALETTE row of five solid colour chips, each with its name and hex code in small caps beneath: ÉBÈNE #141111, LIN #99928A, AVOINE #BFB3A6, CRAIE #DDD3CA, NOYER #524336
· a TYPOGRAPHY block showing A B C D E F G and 0 1 2 3 4 5 in the brand typeface, with the type names labelled
· small section labels in tiny letter-spaced caps: LOGOTYPE, PALETTE, TYPOGRAPHY, IMAGERY

MOOD — warm, modern, crafted. Every colour comes from the palette above and from the photographs. Spell every word correctly. Crisp vector-clean typography, high resolution, professional brand guidelines aesthetic. No watermark, no lorem ipsum, no extra logos.

Design a single BRAND IDENTITY BOARD for the brand [BRAND NAME], presented as one flat designed page seen perfectly straight on, filling the whole frame. This is a graphic design layout, NOT a photograph of a physical board — no desk, no hands, no perspective.

USE THE FOUR ATTACHED PHOTOGRAPHS AS THE ACTUAL IMAGE TILES OF THE BOARD. Place them unmodified inside clean rectangular frames: image 1 as the large hero tile, images 2, 3 and 4 as supporting tiles. Do not redraw them and do not replace them with other pictures — crop them only if the layout needs it.

LAYOUT — a strict editorial grid with generous margins on a flat neutral background from the palette:
· top left, the wordmark [BRAND NAME] very large, set in [TYPEFACE FOR THE WORDMARK] and [TYPEFACE FOR THE CAPTIONS]
· under it, the descriptor [PRODUCT DESCRIPTOR] in small letter-spaced caps
· the four photographs as a clean asymmetric grid, one large and three smaller
· a horizontal PALETTE row of five solid colour chips, each with its name and hex code in small caps beneath: [COLOUR 1 #HEX], [COLOUR 2 #HEX], [COLOUR 3 #HEX], [COLOUR 4 #HEX], [COLOUR 5 #HEX]
· a TYPOGRAPHY block showing A B C D E F G and 0 1 2 3 4 5 in the brand typeface, with the type names labelled
· small section labels in tiny letter-spaced caps: LOGOTYPE, PALETTE, TYPOGRAPHY, IMAGERY

MOOD — [THREE ADJECTIVES THAT DEFINE THE BRAND]. Every colour comes from the palette above and from the photographs. Spell every word correctly. Crisp vector-clean typography, high resolution, professional brand guidelines aesthetic. No watermark, no lorem ipsum, no extra logos.

Point de départ de toute la campagne : la chaise, générée seule sur fond neutre. C'est elle qu'on passe ensuite en référence dans chaque visuel — le décor change, la chaise ne bouge pas. Regarde le niveau de détail matière : « fine ply edge », « looped texture », « soft brushed finish ». Trois matières nommées séparément, c'est ce qui empêche le modèle de fondre le tout en un meuble générique.

Ultra high-end commercial packshot of a modern designer dining chair in three-quarter view, centred, on a seamless warm bone backdrop with a soft graduated falloff. The chair has a single continuous curved shell forming the seat and the back in one sweep, moulded from warm oiled walnut plywood with a visible fine ply edge, upholstered on the inner face only with a tight boucle textile in oat cream showing its looped texture. It stands on four slim tapered solid brass legs with a soft brushed finish, splayed slightly outward. Stamped into the brass of the front left leg, the wordmark ASSISE reads in tiny letter-spaced capitals. Studio lighting: one large softbox high and to the left to model the curve of the shell, a tight rim light down the right edge of the walnut, a soft fill to keep the boucle loops readable, a long soft shadow to the right.

Photorealistic, 8K, macro-level detail, premium advertising aesthetic, immaculate. No other text anywhere, no watermark, no hands.

Ultra high-end commercial packshot of a [PRODUCT TYPE] in three-quarter view, centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] has [THE STRUCTURAL IDEA IN ONE SENTENCE], moulded from [MATERIAL 1 + ITS COLOUR + ITS VISIBLE EDGE], upholstered on the inner face only with [MATERIAL 2 + ITS COLOUR + ITS TEXTURE]. It stands on [THE SUPPORT: how many, what shape, what material, what finish], [HOW THEY ARE ANGLED]. Stamped into the [MATERIAL THAT CARRIES THE MARK] of [WHERE EXACTLY], the wordmark [BRAND NAME] reads in tiny letter-spaced capitals. Studio lighting: one large softbox [DIRECTION] to model [THE SHAPE THAT MUST READ], a tight rim light down [THE EDGE THAT MUST READ], a soft fill to keep [THE TEXTURE THAT MUST STAY READABLE] readable, a long soft shadow to the [DIRECTION].

Photorealistic, 8K, macro-level detail, premium advertising aesthetic, immaculate. No other text anywhere, no watermark, no hands.

Le plan qui pose le monde de la marque. La chaise est tirée de la table, pas rangée : le décor raconte un repas qui vient d'avoir lieu. La lumière dure du matin sert à une seule chose — une ombre longue qui donne du sol, sans quoi un meuble flotte toujours un peu.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — the chair pulled out from a long oak dining table in a bright plastered room, a linen runner and two ceramic bowls on the table, hard morning light from a tall window throwing a long shadow. 35mm, natural light.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting, 16-bit colour workflow, luxury commercial furniture retouching with razor-sharp boucle loop texture and walnut ply edge detail, ultra-high-resolution 4K product photography with premium editorial finish.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — the [PRODUCT] [HOW IT IS PLACED] in a [ROOM AND ITS WALL FINISH], [EVERYDAY OBJECT 1] and [EVERYDAY OBJECT 2] beside it, hard morning light from a tall window throwing a long shadow. 35mm, natural light.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Le plan qui vend la fabrication. On ne cadre pas une matière mais la ligne où deux matières se rencontrent : la boucle contre la tranche du contreplaqué. C'est ce raccord net qui dit « fabriqué », pas « moulé en usine ».

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — an extreme macro on the oat boucle upholstery: every loop of the textile sharp, meeting the fine ply edge of the walnut shell in a clean line across the frame. 100mm macro, raking side light.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting, 16-bit colour workflow, luxury commercial furniture retouching with razor-sharp boucle loop texture and walnut ply edge detail, ultra-high-resolution 4K product photography with premium editorial finish.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — an extreme macro on the [MATERIAL 2] [PART OF THE PRODUCT]: every [UNIT OF ITS TEXTURE] sharp, meeting the [EDGE OF MATERIAL 1] in a clean line across the frame. 100mm macro, raking side light.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Une chaise de salle à manger ne se vend pas qu'à table. Ce plan élargit le marché en une image : même produit, même série, un deuxième cas d'usage. Lumière froide d'après-midi pour ne pas répéter le matin du plan précédent.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — the chair at a slim walnut desk facing a window, an open notebook and a glass of water on the desk, cool afternoon light and a soft shadow on the pale floor. 50mm, calm interior.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting, 16-bit colour workflow, luxury commercial furniture retouching with razor-sharp boucle loop texture and walnut ply edge detail, ultra-high-resolution 4K product photography with premium editorial finish.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — the [PRODUCT] at a [SECOND CONTEXT: the furniture and its material] facing a window, [EVERYDAY OBJECT 1] and [EVERYDAY OBJECT 2] on it, cool afternoon light and a soft shadow on the pale floor. 50mm, calm interior.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Le seul endroit où la marque est écrite sur le produit. Deux instructions ici ne sont pas décoratives : tourner le pied face caméra pour que la gravure ne soit pas déformée, et épeler le nom lettre par lettre. Sans ça le modèle invente un mot approchant — c'est la faute la plus fréquente sur un logo gravé.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — a close shot of one brushed brass leg where it meets the walnut shell, the leg turned so its engraved face is square to the camera and not foreshortened: the machined taper, the brushed grain of the brass and the engraved wordmark all sharp. The engraving reads ASSISE — spell it exactly A-S-S-I-S-E, six letters, two S together in the middle, nothing else engraved anywhere on the leg. 100mm macro, hard side light.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting, 16-bit colour workflow, luxury commercial furniture retouching with razor-sharp boucle loop texture and walnut ply edge detail, ultra-high-resolution 4K product photography with premium editorial finish.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — a close shot of [THE PART THAT CARRIES THE MARK] where it meets [THE ADJOINING PART], the part turned so its engraved face is square to the camera and not foreshortened: [THE MACHINING], [THE GRAIN OF THE MATERIAL] and the engraved wordmark all sharp. The engraving reads [BRAND NAME] — spell it exactly [B-R-A-N-D-N-A-M-E], [HOW MANY] letters, [THE SPELLING TRAP TO AVOID], nothing else engraved anywhere on [THE PART]. 100mm macro, hard side light.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Personne ne pose un manteau sur une chaise à laquelle il ne tient pas. Le produit n'est pas mis en scène, il est utilisé de travers — et c'est exactement ce qui rend l'image crédible sur une fiche produit.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — the chair in a hallway with a wool coat thrown over its back and a pair of shoes beside it, warm evening lamp light, a plastered wall behind. 35mm, lived-in interior, shallow depth of field.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting, 16-bit colour workflow, luxury commercial furniture retouching with razor-sharp boucle loop texture and walnut ply edge detail, ultra-high-resolution 4K product photography with premium editorial finish.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — the [PRODUCT] in a [DOMESTIC PASSAGE] with [AN OBJECT SOMEONE LEFT ON IT] and [A SECOND OBJECT LEFT BESIDE IT], warm evening lamp light, a [WALL FINISH] behind. 35mm, lived-in interior, shallow depth of field.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Une pièce vide, une lumière dure, rien d'autre. Ce plan-là n'existe que pour une chose : tenir la vignette sur une grille Instagram ou une bannière, là où une photo d'intérieur chargée devient illisible. Il sert aussi d'image de couverture au catalogue.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — the chair alone in a large empty concrete loft, hard directional light from a high industrial window carving its shadow across the floor. 35mm, wide, dramatic contrast.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting, 16-bit colour workflow, luxury commercial furniture retouching with razor-sharp boucle loop texture and walnut ply edge detail, ultra-high-resolution 4K product photography with premium editorial finish.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — the [PRODUCT] alone in a large empty [RAW ARCHITECTURAL SPACE], hard directional light from a high window carving its shadow across the floor. 35mm, wide, dramatic contrast.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail, ultra-high-resolution 4K product photography with premium editorial finish.

On photographie l'arrière, pas l'assise. Les couches de contreplaqué empilées sur la tranche sont la preuve visible du procédé — c'est la matière qui justifie le prix, pas la silhouette. Fond sombre pour que la tranche claire se détache seule.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — a three-quarter close shot of the curved walnut shell from behind, the ply layers of the edge stacked and sharp, the boucle just visible at the rim. 85mm, soft top light, dark background.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting, 16-bit colour workflow, luxury commercial furniture retouching with razor-sharp boucle loop texture and walnut ply edge detail, ultra-high-resolution 4K product photography with premium editorial finish.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — a three-quarter close shot of [THE MAIN FORM] seen from behind, [THE DETAIL THAT PROVES HOW IT IS MADE] stacked and sharp, [THE SECOND MATERIAL] just visible at the rim. 85mm, soft top light, dark background.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Le seul plan de la série où le produit est en double. C'est le plan qui fait passer de l'objet à la commande : on n'achète jamais une seule chaise de salle à manger. Les sièges tournés, comme si on venait de les quitter, évitent la photo de catalogue.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — two of the chairs at a set table in a warm evening interior, a lit candle and half-filled glasses, the chairs slightly turned as if just left. 50mm, warm ambient light, shallow depth of field.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting, 16-bit colour workflow, luxury commercial furniture retouching with razor-sharp boucle loop texture and walnut ply edge detail, ultra-high-resolution 4K product photography with premium editorial finish.

Place the product from the reference image into the scene below EXACTLY AS-IS. Its shape, its colours, its materials, its finish and every letter of its text must be 100% identical to the reference — do not recreate it, do not redesign it, do not restyle its typography, and never add any word that is not already on it. Only integrate it naturally into the scene, at true real-world scale, with lighting and reflections that match the scene.

SCENE — two of the [PRODUCT]s at [THE SETTING WHERE ONE BUYS SEVERAL] in a warm evening interior, [SIGN OF LIFE 1] and [SIGN OF LIFE 2], the [PRODUCT]s slightly turned as if just left. 50mm, warm ambient light, shallow depth of field.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Onze plans en dix secondes, aucune personne, aucun lieu. La chaise lévite et tourne, seul le fond change à chaque coupe — toujours dans la même palette. C'est le format le plus rentable de la formation : pas de casting, pas de décor, et il tient sur n'importe quel produit.

SCENE CONTEXT
A 10-second vertical kinetic product spot for ASSISE, a designer dining chair. No people, no location. A single bone and walnut colour world, the chair levitating and slowly rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the bone and walnut palette.

ACTIVE REFERENCES
@image1 - the ASSISE chair. A single curved walnut shell chair with an oat boucle inner face and four slim tapered brushed-brass legs. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no horizon line, no floor until the final beat. Each shot uses one backdrop from the bone and walnut palette: warm bone gradient, walnut bokeh, crossing warm light bars, drifting fine dust, or a deep espresso field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the oat boucle, every loop of the textile filling frame, a warm bone glow behind it.

FORMAT MODE
Timed multishot, eleven shots. Cuts only at the specified points, the camera does not cut on its own.

OPTICS
Physical cine lens, 180 degree shutter motion blur, macro-capable rendering.

CAMERA
0.0-0.8s - 12 degree FOV. Accelerating macro creep across the looped boucle texture.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the chair on a warm bone gradient at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, the four brass legs sweeping past the lens as the chair spins.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a sheet of oat linen unfurls around the chair on walnut bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the chair between crossing warm gold light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the stacked ply edge of the walnut shell, every layer sharp.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting fine dust, the chair flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the brushed grain of one brass leg where it meets the shell.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the chair, the curved walnut shell filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The brass of the leg matches into a brass light bar, camera arcing at 30 km/h across a deep espresso void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The chair settles into its final position on a polished concrete reflective floor, camera pushing in steadily.

ACTION
Boucle loops fill frame. The chair rotates. The brass legs sweep past. Linen unfurls around it. The ply edge fills frame. The brass leg fills frame. It lands on polished concrete.

PHYSICS
The chair has real furniture weight and lands with a firm contact. The boucle loops catch light softly with no specular. Linen unfurls with true fabric weight.

LIGHTING
Hard specular key from camera-left at 4400K raking across the chair, a tight rim light on the right edge, warm gold practicals in the background. White balance fixed at 4400K. Atmospheric haze at 16%.

COLOR GRADE
60:30:10 - warm bone dominant, walnut secondary, brushed brass accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, fabric moving, a wooden knock, a soft brass ring, a low sub hit on the final landing.

STYLE
Photorealistic commercial cinematography, 24fps smooth motion, fine film grain, 8K detail, high-energy kinetic pacing.

OUTPUT SETTINGS
9:16 vertical, total duration 10 seconds.

POSITIVE LOCKS
The chair keeps its single curved walnut shell, oat boucle inner face and four slim tapered brass legs in every shot. The set contains only seamless colour fields and the reflective floor. Every shot contains visible camera movement.

SCENE CONTEXT
A 10-second vertical kinetic product spot for [BRAND NAME], [PRODUCT TYPE]. No people, no location. A single [COLOUR 1] and [COLOUR 2] colour world, the [PRODUCT] levitating and slowly rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the [COLOUR 1] and [COLOUR 2] palette.

ACTIVE REFERENCES
@image1 - the [BRAND NAME] [PRODUCT]. [FULL PRODUCT DESCRIPTION — its form, its materials, its colours, every word written on it]. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no horizon line, no floor until the final beat. Each shot uses one backdrop from the [COLOUR 1] and [COLOUR 2] palette: [BACKDROP 1], [BACKDROP 2], crossing [WARM OR COLD] light bars, drifting [THE PARTICLE IN THE AIR], or a deep [DARK COLOUR] field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on [THE MOST TACTILE MATERIAL], [WHAT FILLS THE FRAME], a [COLOUR] glow behind it.

FORMAT MODE
Timed multishot, eleven shots. Cuts only at the specified points, the camera does not cut on its own.

OPTICS
Physical cine lens, 180 degree shutter motion blur, macro-capable rendering.

CAMERA
0.0-0.8s - 12 degree FOV. Accelerating macro creep across [THE MAIN MATERIAL AND ITS TEXTURE].
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the [PRODUCT] on a [BACKDROP 1] at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, [THE PART THAT SWEEPS PAST THE LENS] as the [PRODUCT] spins.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as [A FABRIC OR A MATERIAL THAT WRAPS] unfurls around the [PRODUCT] on [BACKDROP 2].
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the [PRODUCT] between crossing [WARM OR COLD] light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on [THE CONSTRUCTION DETAIL THAT PROVES THE QUALITY], every layer sharp.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting [THE PARTICLE IN THE AIR], the [PRODUCT] flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, [THE SECOND SIGNATURE DETAIL].
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the [PRODUCT], [THE PART THAT FILLS THE FRAME].
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. [THAT PART] matches into a light bar of the same colour, camera arcing at 30 km/h across a deep [DARK COLOUR] void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The [PRODUCT] settles into its final position on a [REFLECTIVE FLOOR MATERIAL], camera pushing in steadily.

ACTION
[THE SEVEN BEATS, ONE SHORT SENTENCE EACH, IN ORDER].

PHYSICS
[THE REAL WEIGHT OF THE PRODUCT AND HOW IT LANDS]. [HOW EACH MATERIAL IN THE FRAME BEHAVES].

LIGHTING
Hard specular key from camera-left at [COLOUR TEMPERATURE] raking across the [PRODUCT], a tight rim light on the right edge, [COLOUR] practicals in the background. White balance fixed at [THE SAME COLOUR TEMPERATURE]. Atmospheric haze at [PERCENTAGE].

COLOR GRADE
60:30:10 - [DOMINANT COLOUR] dominant, [SECONDARY COLOUR] secondary, [ACCENT COLOUR] accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, [THE THREE PHYSICAL SOUNDS THE PRODUCT AND ITS MATERIALS MAKE], a low sub hit on the final landing.

STYLE
Photorealistic commercial cinematography, 24fps smooth motion, fine film grain, 8K detail, high-energy kinetic pacing.

OUTPUT SETTINGS
9:16 vertical, total duration 10 seconds.

POSITIVE LOCKS
The [PRODUCT] keeps [THE THREE OR FOUR FEATURES THAT MUST NEVER CHANGE] in every shot. The set contains only seamless colour fields and the reflective floor. Every shot contains visible camera movement.

L'inverse exact de l'hyper motion : caméra posée, jamais à l'épaule pour les plans larges, quatre temps de deux secondes et demie. Un lieu, une personne, une progression du matin au dîner. C'est ce qu'on vend le plus cher, parce que ça ressemble à une vraie pub.

Note la dernière ligne : « ABSOLUTELY NO PACKSHOT ». Sans elle, le modèle termine toujours par le produit sur fond blanc — le réflexe qu'il faut lui interdire.

SCENE CONTEXT
A 10-second vertical lifestyle commercial for ASSISE, a designer dining chair. Real people, real places, four shots, one cut every two and a half seconds.

ACTIVE REFERENCES
@image1 - the ASSISE chair. A single curved walnut shell chair with an oat boucle inner face and four slim tapered brushed-brass legs. 100% matches the reference in every shot.

LOCATION MAP
The film moves through a bright plastered apartment: a dining table by a tall window, and the same room at dusk. No studio, no seamless backdrop, no colour field.

FIRST FRAME / BLOCKING
Opens on the empty chair alone by the window, hard morning light across the floor.

FORMAT MODE
Timed multishot, four shots. Cuts only at the specified points, the camera does not cut on its own.

OPTICS
Physical cine lens, 180 degree shutter motion blur, anamorphic-style shallow depth of field.

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. Slow arc at 4 km/h around the empty chair standing on the floor by a tall window, its shadow long across the boards.
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. Tight handheld as a woman pulls it out and sits, her hand sliding along the walnut shell, the boucle compressing.
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. Slow push in at 3 km/h across the table as she works, leaning back into the shell, the brass legs catching light.
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. Dusk: four of the chairs around a set table with people seated and talking, camera craning up and back.

ACTION
The chair stands empty. She pulls it out and sits. She leans back and works. Evening, the table is full.

PERFORMANCE
Natural domestic behaviour, nobody addresses the camera.

PHYSICS
The chair has real furniture weight, its legs scrape once on the floor. The boucle compresses under her.

LIGHTING
Hard morning window light at 5200K becoming warm lamp light at 2900K on the last shot. Atmospheric haze at 8%.

COLOR GRADE
60:30:10 - warm plaster and oak dominant, oat boucle secondary, brushed brass accent.

AUDIO
Chair legs on wood, room tone, a laptop, evening conversation and cutlery. Warm bed from 5.0s.

STYLE
Photorealistic commercial cinematography, 24fps, fine film grain, 8K detail, warm naturalistic advertising look.

OUTPUT SETTINGS
9:16 vertical, total duration 10 seconds.

POSITIVE LOCKS
The chair keeps its single curved walnut shell, oat boucle inner face and four slim tapered brass legs in every shot, and always stands directly on the floor. The people keep the same faces, hair and clothing across every cut. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the chair is never shown isolated on a studio backdrop and never appears without a person in the scene.

SCENE CONTEXT
A 10-second vertical lifestyle commercial for [BRAND NAME], [PRODUCT TYPE]. Real people, real places, four shots, one cut every two and a half seconds.

ACTIVE REFERENCES
@image1 - the [BRAND NAME] [PRODUCT]. [FULL PRODUCT DESCRIPTION]. 100% matches the reference in every shot.

LOCATION MAP
The film moves through [THE ONE OR TWO REAL PLACES WHERE THIS PRODUCT LIVES, AND THE TIME OF DAY]. No studio, no seamless backdrop, no colour field.

FIRST FRAME / BLOCKING
Opens on [THE FIRST THING WE SEE, BEFORE ANYONE MOVES].

FORMAT MODE
Timed multishot, four shots. Cuts only at the specified points, the camera does not cut on its own.

OPTICS
Physical cine lens, 180 degree shutter motion blur, anamorphic-style shallow depth of field.

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. [THE OPENING MOVE, ITS SPEED, AND WHAT IT REVEALS].
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. [THE SINGLE GESTURE, SHOT TIGHT].
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. [THE WIDER MOMENT, AND HOW THE CAMERA MOVES THROUGH IT].
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. [THE FINAL MOVE THAT LANDS ON THE PRODUCT].

ACTION
[THE FOUR BEATS, ONE SHORT SENTENCE EACH].

PERFORMANCE
[HOW THE PEOPLE BEHAVE], nobody addresses the camera.

PHYSICS
[THE REAL WEIGHT AND THE REAL BEHAVIOUR OF THE PRODUCT AND ITS MATERIALS].

LIGHTING
[THE LIGHT AT THE START, WITH ITS COLOUR TEMPERATURE] becoming [THE LIGHT AT THE END, WITH ITS COLOUR TEMPERATURE]. Atmospheric haze at [PERCENTAGE].

COLOR GRADE
60:30:10 - [DOMINANT COLOUR] dominant, [SECONDARY COLOUR] secondary, [ACCENT COLOUR] accent.

AUDIO
[THE FOUR OR FIVE REAL SOUNDS OF THE SCENE]. [WHAT MUSIC ENTERS AND WHEN].

STYLE
Photorealistic commercial cinematography, 24fps, fine film grain, 8K detail, warm naturalistic advertising look.

OUTPUT SETTINGS
9:16 vertical, total duration 10 seconds.

POSITIVE LOCKS
The [PRODUCT] keeps [THE FEATURES THAT MUST NEVER CHANGE] in every shot, and always [THE PHYSICAL RULE IT MUST OBEY]. The people keep the same faces, hair and clothing across every cut. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the [PRODUCT] is never shown isolated on a studio backdrop and never appears without a person in the scene.

On ne génère jamais une vidéo UGC d'un coup. On fabrique d'abord cette image fixe, on la valide, et seulement ensuite on l'anime. Rater le fixe coûte 0,20 $, rater la vidéo sept fois plus.

Tout le prompt travaille à tuer le beau : pas de flou d'arrière-plan, pas d'étalonnage, pas de lumière de studio, du bruit de capteur, un cadrage raté, de la peau non retouchée. C'est exactement l'inverse des huit visuels précédents.

Use the attached image as the exact product reference.

THIS IS A FRAME GRABBED FROM A PHONE VIDEO, not a photograph. Vertical phone video, front camera, held at arm's length.

A woman in her thirties, hair loose, a fine knit jumper, caught mid-sentence with the mouth open on a word, eyes on the lens, not smiling and not posing.

SETTING — sitting on the ASSISE chair at a dining table in a bright plastered room, a tall window out of focus behind her, flat daylight.

THE PRODUCT — She is sitting on the chair itself. Her free hand rests on the walnut shell of the backrest beside her, so the boucle seat, the walnut edge and one brass leg stay clearly visible in frame.

IMAGE QUALITY — raw front-camera video still: soft and not tack sharp, everything in focus, no bokeh, no colour grading, no studio light, visible sensor noise in the shadows, heavy phone HDR flattening the contrast, slightly blown-out highlights, compressed social-video look. Unretouched skin with real pores, real texture and a little shine. Slightly imperfect handheld crop, the top of the head lightly cut by the frame edge.

PRODUCT LOCK — The chair keeps exactly the single curved walnut shell, the oat boucle inner face and the four slim tapered brass legs of the reference. Spell every letter on it correctly. No other text in the frame, no watermark, no phone brand name.

The image is the bare video frame itself: no interface, no icons, no counters, no buttons, no progress bar, no timecode, no captions, no watermark.

Use the attached image as the exact product reference.

THIS IS A FRAME GRABBED FROM A PHONE VIDEO, not a photograph. Vertical phone video, [THE FRONT CAMERA HELD AT ARM'S LENGTH, OR THE PHONE ON A TRIPOD SO BOTH HANDS STAY FREE].

[THE PERSON: age, hair, plain unbranded clothing], caught mid-sentence with the mouth open on a word, eyes on the lens, not smiling and not posing.

SETTING — [A REAL PLACE WHERE THIS PRODUCT ACTUALLY LIVES], [WHAT IS VISIBLE AND OUT OF FOCUS BEHIND THEM], flat daylight.

THE PRODUCT — [THE ONE THING THEY DO WITH IT — a single position, nothing else], so that [THE TWO OR THREE DETAILS THAT MUST READ] stay clearly visible in frame.

IMAGE QUALITY — raw front-camera video still: soft and not tack sharp, everything in focus, no bokeh, no colour grading, no studio light, visible sensor noise in the shadows, heavy phone HDR flattening the contrast, slightly blown-out highlights, compressed social-video look. Unretouched skin with real pores, real texture and a little shine. [THE FRAMING FLAW: an off-centre crop, the top of the head cut by the frame edge, or an object intruding at a corner].

PRODUCT LOCK — The [PRODUCT] keeps exactly [THE FEATURES AND EVERY WORD WRITTEN ON IT] of the reference. Spell every letter on it correctly. No other text in the frame, no watermark, no phone brand name.

The image is the bare video frame itself: no interface, no icons, no counters, no buttons, no progress bar, no timecode, no captions, no watermark.

L'image validée devient la première frame de la vidéo. Un seul plan sans coupe, et la personne dit exactement deux répliques : une au début, une à la fin. Entre les deux, elle ne dit rien — c'est ce silence écrit noir sur blanc qui empêche le modèle d'inventer du dialogue.

Le verrou de coiffure est là pour une raison précise : c'est le premier truc qui se met à muter d'une seconde à l'autre quand on anime un visage.

The person in this frame is filming a phone video. The phone is held in one hand at arm's length. They speak ONLY these two lines, each said ONCE and never repeated:
"I work from this table nine hours a day."
"This is the first chair that has not destroyed my back."
Between the two lines they say NOTHING at all — no extra words, no muttering, no repetition.

Beat 1 — they say the first line straight to the lens.
Beat 2 — they stay silent while she shifts her weight and leans back into the shell.
Beat 3 — still silent, they look back into the lens.
Beat 4 — they say the second line straight to the lens.

They keep exactly the same hairstyle for the entire clip — the same shape, the same length, the same volume and the same way the hair is worn as in this frame, held the whole time — and only the strands that already fall around the face move when they move.

PRODUCT LOCK — The chair keeps exactly the single curved walnut shell, the oat boucle inner face and the four slim tapered brass legs of the reference. It never changes shape, colour or text.

Small natural handheld drift, the frame never fully still. Flat indoor light, everything in focus, no bokeh, no colour grading, no camera move, no zoom. Close-mic phone audio, the voice slightly clipped, room tone underneath, no music. Raw phone footage, TikTok storytime energy. NO SUBTITLES, NO TEXT OR EMOJIS ON SCREEN.

The person in this frame is filming a phone video. [THE PHONE IS HELD IN ONE HAND AT ARM'S LENGTH, OR RESTING ON A TRIPOD SO BOTH HANDS STAY FREE]. They speak ONLY these two lines, each said ONCE and never repeated:
"[THE OBJECTION THE VIEWER ALREADY HAS IN MIND]"
"[WHAT THEY KEPT DOING WITH IT — never a slogan]"
Between the two lines they say NOTHING at all — no extra words, no muttering, no repetition.

Beat 1 — they say the first line straight to the lens.
Beat 2 — they stay silent while [THE SINGLE GESTURE THEY MAKE WITH THE PRODUCT].
Beat 3 — still silent, they look back into the lens.
Beat 4 — they say the second line straight to the lens.

They keep exactly the same hairstyle for the entire clip — the same shape, the same length, the same volume and the same way the hair is worn as in this frame, held the whole time — and only the strands that already fall around the face move when they move.

PRODUCT LOCK — The [PRODUCT] keeps exactly [THE FEATURES AND EVERY WORD WRITTEN ON IT] of the reference. It never changes shape, colour or text.

[THE CAMERA: locked on the tripod, or a small natural handheld drift so the frame is never fully still]. Flat indoor light, everything in focus, no bokeh, no colour grading, no camera move, no zoom. Close-mic phone audio, the voice slightly clipped, room tone underneath, no music. Raw phone footage, TikTok storytime energy. NO SUBTITLES, NO TEXT OR EMOJIS ON SCREEN.