BRAMBLE — les prompts.

La planche se génère d'un coup, avec quatre visuels déjà produits en référence : le modèle ne redessine rien, il compose. Logo, palette, typo et imagerie sortent sur une seule page — c'est la pièce qui fait passer une série d'images pour une marque, et celle qu'un client garde.

Design a single BRAND IDENTITY BOARD for the fictional brand BRAMBLE, 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, no shadows of paper.

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, do not restyle them, 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 taken from the palette below:
· top left, the wordmark BRAMBLE very large, set in a high-contrast retro serif with flared terminals for the wordmark, and a wide letter-spaced sans for captions
· under the wordmark, a one-line descriptor in small letter-spaced caps
· the four photographs arranged as a clean asymmetric grid, one large and three smaller
· a horizontal PALETTE row of five solid colour chips, each a plain rectangle with its name and hex code printed in small caps underneath: OXBLOOD #3B0A14, BRAMBLE #6E1230, CREAM #F2E7D5, BRUSHED #B9B4AE, INK #140A0C
· a TYPOGRAPHY block showing the alphabet A B C D E F G and the digits 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 — dark, spiced, nocturnal, grown-up soda. Every colour on the board 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 fictional 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, no shadows of paper.

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, do not restyle them, 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 taken from the palette below:
· top left, the wordmark [BRAND NAME] very large, set in [THE TYPEFACE OF THE WORDMARK, DESCRIBED NOT NAMED] for the wordmark, and [THE TYPEFACE OF THE CAPTIONS] for captions
· under the wordmark, a one-line descriptor in small letter-spaced caps
· the four photographs arranged as a clean asymmetric grid, one large and three smaller
· a horizontal PALETTE row of five solid colour chips, each a plain rectangle with its name and hex code printed in small caps underneath: [COLOUR 1 #HEX], [COLOUR 2 #HEX], [COLOUR 3 #HEX], [COLOUR 4 #HEX], [COLOUR 5 #HEX]
· a TYPOGRAPHY block showing the alphabet A B C D E F G and the digits 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 — [FOUR ADJECTIVES THAT DEFINE THE BRAND]. Every colour on the board 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 canette seule, sur fond neutre. C'est elle qu'on repasse ensuite en référence dans les neuf autres images — le décor change, l'étiquette ne bouge plus. Compte le nombre de mots décrits ici : wordmark, 23 BOTANICALS, SPICED BERRY SODA, la brindille gravée. Chaque mot non écrit dans le prompt est un mot que le modèle inventera.

Ultra high-end commercial packshot of a 330 ml slim soda can standing upright, centred, on a seamless deep burgundy backdrop with a soft graduated falloff. The can is matte deep burgundy, almost oxblood, with a subtle vertical gradient to near-black at the base and a brushed aluminium top and rim. Across the middle, the wordmark BRAMBLE is set in a confident cream-white retro serif with slightly flared terminals, letter-spaced and perfectly legible. Directly under it, in a small cream sans-serif, the words 23 BOTANICALS letter-spaced wide. Lower on the can, a single fine cream rule and the words SPICED BERRY SODA in small caps. A delicate line-engraved bramble sprig with two berries and a leaf sits above the wordmark in cream. Cold condensation beads cling to the metal with a few droplets running down. Studio lighting: one large softbox at 45 degrees camera-left for a long soft highlight down the left edge, a tight rim light on the right edge, gentle reflection under the base. Photorealistic, 8K, macro-level detail on the condensation and the matte texture, premium advertising aesthetic, immaculate reflections, no other text, no watermark, no hands.

Ultra high-end commercial packshot of a [PRODUCT TYPE AND SIZE] standing upright, centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] is [MAIN MATERIAL AND FINISH], with [THE COLOUR TRANSITION OR GRADIENT] and [THE SECOND MATERIAL AND WHERE IT SITS]. Across the middle, the wordmark [BRAND NAME] is set in [THE TYPEFACE, DESCRIBED NOT NAMED], letter-spaced and perfectly legible. Directly under it, in [A SMALLER TYPEFACE], the words [SECOND LINE OF TEXT] letter-spaced wide. Lower on the [PRODUCT], [A GRAPHIC RULE OR DIVIDER] and the words [THIRD LINE OF TEXT] in small caps. [A SMALL DRAWN EMBLEM] sits above the wordmark in [COLOUR]. [THE PHYSICAL DETAIL THAT PROVES IT IS REAL — condensation, dust, wear]. Studio lighting: one large softbox at [ANGLE] camera-[SIDE] for a long soft highlight down the [EDGE], a tight rim light on the opposite edge, gentle reflection under the base. Photorealistic, 8K, macro-level detail on [THE TWO TEXTURES THAT MUST READ], premium advertising aesthetic, immaculate reflections, no other text, no watermark, no hands.

Le plan qui pose le monde de la marque. Le verre taillé, la sphère de glace et le zeste d'orange font tout le travail de positionnement : on range un soda au rayon des alternatives à l'alcool sans écrire un seul mot dessus.

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 dark moody cocktail bar at night: the can stands on a worn walnut bar top beside a heavy cut-crystal tumbler of dark soda over a single clear ice sphere, a curl of orange peel on the rim. Warm amber practicals bokeh far behind, deep burgundy shadows. Shot on 85mm, shallow depth of field, film grain.

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 with a hard specular key and controlled condensation highlights, 16-bit colour workflow, premium beverage retouching, ultra-high-resolution 4K product photography with razor-sharp matte aluminium and water bead detail.

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 dark moody [TYPE OF BAR OR VENUE] at night: the [PRODUCT] stands on a [SURFACE MATERIAL] beside [THE OBJECT THAT SIGNALS THE CATEGORY], [A SMALL GARNISH OR DETAIL]. [WARM OR COOL] practicals bokeh far behind, [BRAND COLOUR] shadows. Shot on 85mm, shallow depth of field, film grain.

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

Le seul plan de la série qu'on ne peut pas improviser en vrai : il demande un flash haute vitesse et une demi-journée de studio. Ici il coûte le prix d'une génération. C'est l'image d'accroche — celle qui arrête le pouce, jamais celle qui explique le 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 — an explosive macro splash: the can half-submerged in a burst of dark spiced soda mid-air against a deep burgundy void, crown of droplets frozen razor-sharp, three blackberries suspended in the splash. High-speed flash, black background, rim light on every droplet.

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 with a hard specular key and controlled condensation highlights, 16-bit colour workflow, premium beverage retouching, ultra-high-resolution 4K product photography with razor-sharp matte aluminium and water bead detail.

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 explosive macro splash: the [PRODUCT] half-submerged in a burst of [THE LIQUID OR MATERIAL IT CONTAINS] mid-air against a deep [BRAND COLOUR] void, crown of droplets frozen razor-sharp, [THREE INGREDIENTS] suspended in the splash. High-speed flash, black background, rim light on every droplet.

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

On ne vend pas une canette, on vend un panier moyen. Ce plan-là existe pour le format d'achat, pas pour le produit : béton brut, soleil dur, une ombre géométrique. Il servira en fiche produit et en visuel de promo.

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 six-pack of the cans in a minimal cream cardboard carrier sitting on a raw polished concrete ledge, hard midday sun raking from the left casting a long geometric shadow. Brutalist, high contrast, editorial product photography.

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 with a hard specular key and controlled condensation highlights, 16-bit colour workflow, premium beverage retouching, ultra-high-resolution 4K product photography with razor-sharp matte aluminium and water bead detail.

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 [MULTI-PACK FORMAT] of the [PRODUCT] in a minimal [MATERIAL AND COLOUR] carrier sitting on a [HARD SURFACE MATERIAL] ledge, hard midday sun raking from the left casting a long geometric shadow. Brutalist, high contrast, editorial product photography.

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

Un seul geste, tenu en contre-jour : la languette qui se lève et la brume qui part. On ne montre pas le produit, on montre la seconde d'avant la gorgée — et les doigts sont coupés exprès pour que personne ne devienne le sujet.

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-up of a hand cracking the can open in backlight: the tab lifted, a fine mist of spray caught in the sun flare, the fingers cropped, the label sharp. Golden hour rim light, dark background, cinematic.

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 with a hard specular key and controlled condensation highlights, 16-bit colour workflow, premium beverage retouching, ultra-high-resolution 4K product photography with razor-sharp matte aluminium and water bead detail.

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-up of a hand [THE ONE GESTURE THAT OPENS OR ACTIVATES THE PRODUCT] in backlight: [WHAT MOVES BECAUSE OF THE GESTURE], [WHAT IS CAUGHT IN THE LIGHT], the fingers cropped, the label sharp. Golden hour rim light, dark background, cinematic.

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

Le visuel n'est plus une photo de produit, c'est une preuve d'existence : la marque affichée dans la rue, papier déchiré, cycliste flou. Un mockup d'affichage coûte normalement une licence — ici il fait partie de la série.

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 large vintage-style paper poster of the can pasted on a weathered city wall, edges peeling, a burgundy and cream retro layout with the wordmark large. Overcast daylight, a passing blurred cyclist, documentary street photography.

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 with a hard specular key and controlled condensation highlights, 16-bit colour workflow, premium beverage retouching, ultra-high-resolution 4K product photography with razor-sharp matte aluminium and water bead detail.

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 large vintage-style paper poster of the [PRODUCT] pasted on a weathered city wall, edges peeling, a [BRAND COLOUR 1] and [BRAND COLOUR 2] retro layout with the wordmark large. Overcast daylight, a passing blurred [PASSER-BY OR VEHICLE], documentary street photography.

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

Trois canettes, des bougies, des fruits sombres sur du lin. Ce plan ne vend pas un goût, il vend un moment d'achat — celui de décembre, quand on remplit une table. Une campagne sérieuse contient toujours une image datée dans l'année.

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 festive night table scene: three cans among lit taper candles, dark plums and blackberries scattered on a linen runner, wine glasses catching the flame. Candlelight only, warm falloff into darkness, moody still life.

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 with a hard specular key and controlled condensation highlights, 16-bit colour workflow, premium beverage retouching, ultra-high-resolution 4K product photography with razor-sharp matte aluminium and water bead detail.

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 festive night table scene: [THREE UNITS OF THE PRODUCT] among lit taper candles, [THE INGREDIENTS OF THE PRODUCT] scattered on a linen runner, [GLASSES OR TABLEWARE] catching the flame. Candlelight only, warm falloff into darkness, moody still life.

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

Néon froid, buée sur la vitre, bouteilles floues autour. C'est le seul plan de la série qui montre l'endroit où l'achat se décide — et le seul où le produit doit rester lisible malgré une vitre et un reflet.

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 can on a glass shelf inside a convenience store cooler, seen through the misted glass door, cold blue fluorescent tubes above, other blurred bottles around, condensation on the glass. Flash photography, nocturnal, saturated.

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 with a hard specular key and controlled condensation highlights, 16-bit colour workflow, premium beverage retouching, ultra-high-resolution 4K product photography with razor-sharp matte aluminium and water bead detail.

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] on a shelf inside a [RETAIL FIXTURE], seen through the misted glass door, cold [COLOUR] fluorescent tubes above, other blurred [COMPETING PRODUCTS] around, condensation on the glass. Flash photography, nocturnal, saturated.

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

Une seule goutte descend et ouvre une traînée nette dans la buée. On ne photographie pas le froid, on photographie sa trace. C'est le plan qui donne soif, et il tient tout seul en story verticale.

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 of the can surface: beads of condensation on the matte burgundy metal, one droplet running down and cutting a clear track, the cream serif wordmark just in frame and razor sharp. 100mm macro, ultra 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 with a hard specular key and controlled condensation highlights, 16-bit colour workflow, premium beverage retouching, ultra-high-resolution 4K product photography with razor-sharp matte aluminium and water bead detail.

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 of the [PRODUCT] surface: [THE PHYSICAL PHENOMENON — beads, dust, grain] on the [MATERIAL AND COLOUR], [THE ONE THING THAT MOVES] cutting a clear track, the [WORDMARK] just in frame and razor sharp. 100mm macro, ultra 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, ultra-high-resolution 4K product photography with razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] detail.

Dix secondes, onze plans, aucune personne. La canette lévite et tourne, seul le fond change à chaque coupe — toujours dans la même palette. C'est le format le plus rentable : pas de casting, pas de lieu, pas d'autorisation, et il tient sur n'importe quel produit.

Regarde comment le prompt est écrit : chaque coupe est datée à la demi-seconde près et porte un nom (HARD CUT, SMASH CUT, WHIP CUT, MATCH CUT). Sans ce minutage, le modèle coupe où il veut et le rythme s'effondre.

SCENE CONTEXT
A 10-second vertical kinetic product spot for BRAMBLE, a spiced berry soda with 23 botanicals. No people, no location. A single deep-burgundy colour world, the can levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the burgundy palette.

ACTIVE REFERENCES
@image1 - the BRAMBLE can. A slim 330ml matte deep-burgundy aluminium can fading to near-black at the base, brushed aluminium top and rim, a cream-white retro serif "BRAMBLE" wordmark across the middle with "23 BOTANICALS" letter-spaced small beneath, a fine cream rule low on the can above "SPICED BERRY SODA", and a line-engraved bramble sprig with two berries above the wordmark. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a black reflective mirror floor enters frame. Each shot uses one backdrop from the burgundy palette: smooth oxblood gradient, deep wine bokeh, crossing warm amber light bars, drifting dark vapour, or a near-black void.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on condensation beading across matte burgundy aluminium, a deep wine 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 condensation on matte aluminium.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the can levitating and rotating on an oxblood gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, blackberries bursting outward past the lens in a spray of dark juice.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a ribbon of dark soda coils around the levitating can on wine bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the can levitating between crossing warm amber light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the engraved bramble sprig, a highlight travelling across the cream line work.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting dark vapour, the can flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the tab pulls and a fine mist puff bursts toward the lens.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the can face, the cream serif BRAMBLE wordmark filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The cream of the wordmark matches into a cream light bar, camera arcing at 30 km/h across a near-black void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The can descends and lands on a black reflective mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
Condensation beads on aluminium. The can levitates and rotates. Blackberries burst past the lens. A ribbon of dark soda coils around the can. The can passes between amber light bars. A highlight travels the engraved bramble sprig. The tab pulls and mist bursts. The wordmark fills frame. The can lands on a mirror floor and settles.

PHYSICS
The can is 330 ml, roughly 380 grams full. Condensation runs downward under gravity. The berries burst with real surface tension and the juice spray disperses. The soda ribbon holds its coil with real viscosity. The can lands with a small elastic settle and a true mirror reflection.

LIGHTING
Hard specular key from camera-left at 4800K raking down the can body, a tight rim light on the right edge, warm amber practicals in the background. White balance fixed at 4800K. Atmospheric haze at 25%.

COLOR GRADE
60:30:10 - deep oxblood dominant, near-black secondary, cream accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, one aluminium tab cracking open, a liquid splash, 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 can design stays identical to @image1 in every shot: matte burgundy body fading to black, brushed aluminium top, cream serif BRAMBLE wordmark, 23 BOTANICALS beneath, SPICED BERRY SODA low on the can, the engraved bramble sprig above, all text sharp and legible. The set contains only seamless colour fields and, in the final beat, the mirror floor. Every shot contains visible camera movement.

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

ACTIVE REFERENCES
@image1 - the [BRAND NAME] [PRODUCT]. [FULL PRODUCT DESCRIPTION IN ONE SENTENCE — materials, finish, colours, and every word written on it]. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a [FLOOR COLOUR AND FINISH] reflective mirror floor enters frame. Each shot uses one backdrop from the [PALETTE NAME] palette: [BACKDROP 1], [BACKDROP 2], [BACKDROP 3], [BACKDROP 4], or [BACKDROP 5].

FIRST FRAME / BLOCKING
Frame opens in extreme macro on [THE MOST TACTILE DETAIL OF THE PRODUCT], 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 MATERIAL DETAIL].
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the [PRODUCT] levitating and rotating on a [COLOUR] gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, [WHAT BURSTS OUTWARD PAST THE LENS].
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as [WHAT COILS OR WRAPS AROUND THE PRODUCT] on [COLOUR] bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the [PRODUCT] levitating between crossing [COLOUR] light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on [THE SIGNATURE DETAIL OF THE PRODUCT], a highlight travelling across it.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through [WHAT DRIFTS IN THE AIR], the [PRODUCT] flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, [THE ONE PHYSICAL ACTION THE PRODUCT PERFORMS].
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the [PRODUCT], the [WORDMARK OR SILHOUETTE] filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The [COLOUR] of the [PART OF THE PRODUCT] matches into a [SAME COLOUR] light bar, camera arcing at 30 km/h across a [COLOUR] void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The [PRODUCT] descends and lands on a [FLOOR COLOUR AND FINISH] reflective mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
[THE NINE EVENTS ABOVE, RESTATED IN PLAIN SHORT SENTENCES, IN THE SAME ORDER].

PHYSICS
The [PRODUCT] is [ITS REAL SIZE AND WEIGHT]. [HOW ITS MATERIAL BEHAVES — what runs, deforms, springs back or reflects]. The [PRODUCT] lands with [THE KIND OF SETTLE ITS MASS WOULD GIVE] and a true reflection.

LIGHTING
Hard specular key from camera-left at [COLOUR TEMPERATURE]K raking down the [PRODUCT], a tight rim light on the right edge, [ACCENT COLOUR] practicals in the background. White balance fixed at [COLOUR TEMPERATURE]K. 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 TWO OR THREE PHYSICAL SOUNDS THE PRODUCT ITSELF MAKES], 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] design stays identical to @image1 in every shot: [THE FULL LIST OF DETAILS THAT MUST NOT CHANGE — materials, colours, every word written on it]. The set contains only seamless colour fields and, in the final beat, the mirror floor. Every shot contains visible camera movement.

L'inverse exact de l'hyper motion : un lieu, quatre personnes, une progression. On part du comptoir, on finit sur la canette — le produit arrive en dernier, jamais en premier. C'est ce qu'on vend le plus cher parce que ça ressemble à une vraie pub.

La ligne la plus importante est la dernière : ABSOLUTELY NO PACKSHOT. Sans elle, le modèle finit toujours par poser le produit sur un fond de studio et le film redevient une publicité de catalogue.

SCENE CONTEXT
A 10-second vertical commercial spot for BRAMBLE, a spiced berry soda with 23 botanicals. Night in a dark neighbourhood cocktail bar, four friends around a corner table. Fast editorial cutting, roughly one second per shot, the camera moving in every single shot.

ACTIVE REFERENCES
@image1 - the BRAMBLE can. A slim 330ml matte deep-burgundy aluminium can fading to near-black at the base, brushed aluminium top and rim, a cream-white retro serif "BRAMBLE" wordmark across the middle with "23 BOTANICALS" letter-spaced small beneath, a fine cream rule low on the can above "SPICED BERRY SODA", and a line-engraved bramble sprig with two berries above the wordmark. 100% matches the reference.

LOCATION MAP
A worn walnut bar top, a corner banquette in oxblood leather, amber pendant lamps at 2 metres, a back bar of bottles at 4 metres, one window onto a wet street. The set contains only the bar top, the banquette, the pendants, the back bar and the window.

FIRST FRAME / BLOCKING
Frame opens low across the walnut bar top, amber pendants flaring, four friends already seated and talking in the background.

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, clean spherical rendering.

CAMERA
0.0-1.6s - 63 degree FOV. Low dolly forward across the walnut bar top at 4 km/h, amber pendants flaring into the lens.
1.6s HARD CUT
1.6-2.4s - 47 degree FOV. Handheld push-in on the table as a woman laughs mid-sentence and reaches out of frame.
2.4s WHIP CUT
2.4-3.2s - 29 degree FOV. Fast push-in as her hand closes around a BRAMBLE can on the bar top.
3.2s HARD CUT
3.2-4.0s - 12 degree FOV. Orbiting macro on condensation running down matte burgundy aluminium.
4.0s SMASH CUT
4.0-4.8s - 12 degree FOV. Locked macro, the tab pulls and a fine mist puff bursts toward the lens.
4.8s WHIP CUT
4.8-5.4s - 107 degree FOV. Whip pan through an amber pendant flare across the table.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. High-speed macro, dark soda pouring over a clear ice sphere in a heavy tumbler, blackberries dropping past the lens.
6.2s HARD CUT
6.2-7.0s - 47 degree FOV. Fast arc around the table at 5 km/h, four glasses lifting and meeting in the middle.
7.0s MATCH CUT
7.0-7.8s - 63 degree FOV. The oxblood of the banquette matches into the burgundy of the can, camera tracking right at 6 km/h.
7.8s HARD CUT
7.8-8.6s - 29 degree FOV. Low tracking past a man tilting the can back and swallowing, eyes closing for a beat.
8.6s HARD CUT
8.6-10.0s - 18 degree FOV. Steady push-in on the can standing on the bar top, the cream serif wordmark filling frame, the table out of focus behind.

ACTION
Four friends talk and laugh around the corner table. A hand takes a can from the bar and pulls the tab, releasing a mist puff. Condensation runs down the can. Dark soda pours over a clear ice sphere and blackberries drop through it. Four glasses lift and meet. A man drinks and closes his eyes for a beat. The can stands alone on the bar top with the wordmark facing camera.

PERFORMANCE
The friends move with loose relaxed weight, leaning in to hear each other, eyes meeting across the table, genuine unforced laughter. Nobody performs for the lens.

PHYSICS
Each can is 330 ml, roughly 380 grams full, with real weight in the hand and a small contact shadow on the walnut. Condensation runs downward under gravity. The soda pours with real viscosity and the ice sphere displaces it. The berries sink with correct buoyancy. Glass meets glass with a small elastic rebound.

LIGHTING
Warm amber pendants from above at 2700K raking across the table, deep unlit shadow beyond, a cold blue spill from the street window on the far side. Atmospheric haze at 15% across the background.

COLOR GRADE
60:30:10 - deep oxblood dominant, warm amber secondary, cream accent.

AUDIO
Diegetic only: low bar chatter, one aluminium tab cracking open, soda pouring over ice, glass meeting glass, a distant street outside.

STYLE
Photorealistic commercial cinematography, 24fps smooth motion, fine film grain, 8K detail, warm nocturnal editorial pacing.

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

POSITIVE LOCKS
The can design stays identical to @image1 in every shot: matte burgundy body fading to black, brushed aluminium top, cream serif BRAMBLE wordmark, 23 BOTANICALS beneath, SPICED BERRY SODA low on the can, all text sharp and legible. The four friends keep the same faces, hair and clothing across every cut. The set contains only the bar top, the banquette, the pendants, the back bar and the window. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the can is never shown floating on a studio backdrop and never appears without the bar around it.

SCENE CONTEXT
A 10-second vertical commercial spot for [BRAND NAME], [PRODUCT TYPE IN ONE LINE]. [TIME OF DAY] in [THE PLACE], [WHO IS THERE AND WHAT THEY ARE DOING]. Fast editorial cutting, roughly one second per shot, the camera moving in every single shot.

ACTIVE REFERENCES
@image1 - the [BRAND NAME] [PRODUCT]. [FULL PRODUCT DESCRIPTION IN ONE SENTENCE — materials, finish, colours, and every word written on it]. 100% matches the reference.

LOCATION MAP
[THE SURFACE THE PRODUCT SITS ON], [THE FURNITURE], [THE LIGHT SOURCES AND THEIR DISTANCE IN METRES], [WHAT IS ON THE WALLS], [WHAT IS VISIBLE THROUGH THE WINDOW]. The set contains only [THE SAME LIST AGAIN, WORD FOR WORD].

FIRST FRAME / BLOCKING
Frame opens [WHERE THE CAMERA STARTS AND HOW LOW IT IS], [THE LIGHT DOING SOMETHING], [WHAT IS ALREADY HAPPENING IN THE BACKGROUND BEFORE THE FILM BEGINS].

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, clean spherical rendering.

CAMERA
0.0-1.6s - 63 degree FOV. [THE ESTABLISHING MOVE ACROSS THE SET] at [SPEED] km/h, [THE LIGHT SOURCE FLARING].
1.6s HARD CUT
1.6-2.4s - 47 degree FOV. Handheld push-in on [THE PERSON, DESCRIBED ONCE: age, hair, clothing] as they [THEIR FIRST ACTION].
2.4s WHIP CUT
2.4-3.2s - 29 degree FOV. Fast push-in as [THEIR HAND CLOSES AROUND THE PRODUCT OR OPENS IT] on [THE SURFACE IT WAS STANDING ON].
3.2s HARD CUT
3.2-4.0s - 12 degree FOV. Orbiting macro on [THE PRODUCT'S SIGNATURE MATERIAL DETAIL — the texture that justifies the price].
4.0s SMASH CUT
4.0-4.8s - 12 degree FOV. Locked macro, [THE ONE GESTURE THAT MAKES THE PRODUCT WORK, AND WHAT IT RELEASES].
4.8s WHIP CUT
4.8-5.4s - 107 degree FOV. Whip pan through [THE LIGHT SOURCE OF THE SET] flaring across the [PLACE].
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. High-speed macro, [THE APPETITE SHOT — the sensation you are actually selling, described physically].
6.2s HARD CUT
6.2-7.0s - 47 degree FOV. Fast arc around [THE PERSON OR THE GROUP] at [SPEED] km/h, [THE SOCIAL MOMENT THAT MAKES IT A BRAND AND NOT AN OBJECT].
7.0s MATCH CUT
7.0-7.8s - 63 degree FOV. The [COLOUR] of [ONE THING] matches into the [SAME COLOUR] of [ANOTHER THING], camera tracking [DIRECTION] at [SPEED] km/h.
7.8s HARD CUT
7.8-8.6s - 29 degree FOV. Low tracking past [THE PAYOFF: SOMEONE ENJOYING THE PRODUCT, AND THE ONE THING THEIR FACE DOES].
8.6s HARD CUT
8.6-10.0s - 18 degree FOV. Steady push-in on the [PRODUCT] [WHERE IT ENDS UP], the [WORDMARK] filling frame, [WHAT IS OUT OF FOCUS BEHIND].

ACTION
[EVERYTHING THAT HAPPENS, IN ORDER, ONE PLAIN SHORT SENTENCE PER SHOT — the same events as the CAMERA block, written as facts rather than as camera moves].

PERFORMANCE
[HOW THE PEOPLE MOVE, WHERE THEY LOOK, WHAT THEY DO BETWEEN ACTIONS, AND WHAT THEY ARE NOT DOING]. Nobody performs for the lens.

PHYSICS
The [PRODUCT] is [ITS REAL WEIGHT AND SIZE], [HOW IT SITS AND WHAT SHADOW IT CASTS ON THE SURFACE]. [HOW ITS MATERIAL AND ITS CONTENTS BEHAVE UNDER THE GESTURE — what runs, deforms, resists or springs back]. [WHAT THE OTHER OBJECTS IN THE SCENE DO WHEN THEY ARE TOUCHED].

LIGHTING
[THE ONE KEY SOURCE, ITS DIRECTION AND ITS COLOUR TEMPERATURE IN KELVIN], [WHAT IT DOES TO THE SET — the shape of the shadows it throws], [THE FILL OR BOUNCE THAT OPENS THE SHADOW SIDE], [THE SPILL FROM OUTSIDE]. Atmospheric haze at [PERCENTAGE]% across the background.

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

AUDIO
Diegetic only: [THE ROOM TONE], [THE ONE SOUND THE PRODUCT ITSELF MAKES], [THE TWO OR THREE SOUNDS OF THE PLACE AND OF THE PEOPLE].

STYLE
Photorealistic commercial cinematography, 24fps smooth motion, fine film grain, 8K detail, [THE PACING IN THREE WORDS].

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

POSITIVE LOCKS
The [PRODUCT] design stays identical to @image1 in every shot: [THE FULL LIST OF DETAILS THAT MUST NOT CHANGE, INCLUDING EVERY WORD WRITTEN ON IT]. [THE PEOPLE] keep the same faces, hair and clothing across every cut. The set contains only [THE LIST FROM THE LOCATION MAP]. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the [PRODUCT] is never shown floating on a studio backdrop and never appears without [THE PLACE] around it.

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 — et c'est pour ça qu'il est écrit en prose et pas en blocs.

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 phone propped up so both hands stay free — there is never a phone in their hands.

A man in his late twenties, warm brown skin, short dark curls, a few days of stubble, small silver hoop, wearing a washed black tee. They are mid-sentence, caught talking — mouth open on a word, eyebrows slightly raised, eyes locked on the lens. Not smiling, not posing.

SETTING — a dim apartment kitchen at night, a single warm pendant light above, dark cabinets behind. It looks real and lived-in, not styled for a shoot, with ordinary everyday things around them.

FRAMING — a real front-camera selfie: the head fills most of the frame with the wide-angle distortion of a selfie lens. The crop is imperfect, the top of the head lightly cut by the frame edge, something intruding at the bottom corner. Slightly off-centre.

IMAGE QUALITY — raw front-camera video still: slightly soft, visible sensor noise, heavy phone HDR flattening the contrast, a window blown out to white. No cinematic depth of field, no colour grading, no studio light.

SKIN — real and unretouched: shine on the forehead and nose, visible pores, uneven tone, stray flyaway hairs. No beauty filter, no smoothing.

THE PRODUCT — they hold the product from the reference image low and loose near the collarbone in one hand, casually, partly cropped by the frame edge, its label still readable but not presented to the camera. They are talking, not showing it off. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image.

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 phone propped up so both hands stay free — there is never a phone in their hands.

[THE PERSON: age, skin, hair, one small distinctive detail, plain unbranded clothing]. They are mid-sentence, caught talking — mouth open on a word, eyebrows slightly raised, eyes locked on the lens. Not smiling, not posing.

SETTING — [A REAL ROOM WHERE THIS PRODUCT ACTUALLY LIVES], [THE TWO OR THREE THINGS VISIBLE AROUND THEM]. It looks real and lived-in, not styled for a shoot, with ordinary everyday things around them.

FRAMING — a real front-camera selfie: the head fills most of the frame with the wide-angle distortion of a selfie lens. The crop is imperfect, the top of the head lightly cut by the frame edge, something intruding at the bottom corner. Slightly off-centre.

IMAGE QUALITY — raw front-camera video still: slightly soft, visible sensor noise, heavy phone HDR flattening the contrast, a window blown out to white. No cinematic depth of field, no colour grading, no studio light.

SKIN — real and unretouched: shine on the forehead and nose, visible pores, uneven tone, stray flyaway hairs. No beauty filter, no smoothing.

THE PRODUCT — they hold the product from the reference image low and loose near the collarbone in one hand, casually, partly cropped by the frame edge, its label still readable but not presented to the camera. They are talking, not showing it off. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image.

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. Le téléphone reste calé, les deux mains sont libres, 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.

Continue this phone video from the exact frame shown. The phone stays propped up the whole time, so BOTH hands stay free — there is never a phone in their hands. ONE SINGLE CONTINUOUS TAKE, no cuts, no scene changes.

They speak ONLY these two lines, each said ONCE and never repeated:
Line 1, at the very start: "I stopped drinking beer and now this is the thing I open at nine at night."
Line 2, at the very end: "It tastes like a proper drink. That is the whole point."
Between the two lines they say NOTHING at all — silent, only acting.

Beat 1 — already mid-sentence, delivering line 1 straight into the lens with a small eyebrow raise.
Beat 2 — SILENT: their free hand brings the BRAMBLE can up close to the lens and holds it there, slowly rotating it so the cream wordmark turns fully toward the camera and stays readable, then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they crack the can open with their thumb, lift it and take one long swallow, then lower it.
Beat 4 — leans back, shrugs one shoulder and delivers line 2 with a small closed-mouth smile.

Keep the raw look of the frame: the head stays large with selfie wide-angle distortion, the crop stays imperfect, the window stays blown out white, the image stays slightly soft with phone HDR flatness and sensor noise. Natural body sway throughout, never still. Real unretouched skin.

The product stays exactly as in the frame in every beat: matte burgundy aluminium can, brushed top, cream serif BRAMBLE with 23 BOTANICALS below, sharp and unchanged, never distorted, never resized and never losing its label.

Close-mic phone audio with the voice up front, faint room tone, no music. Raw iPhone footage, TikTok storytime energy, no-filter realism. Vertical 9:16. NO SUBTITLES, NO TEXT OR EMOJIS ON SCREEN.

Continue this phone video from the exact frame shown. The phone stays propped up the whole time, so BOTH hands stay free — there is never a phone in their hands. ONE SINGLE CONTINUOUS TAKE, no cuts, no scene changes.

They speak ONLY these two lines, each said ONCE and never repeated:
Line 1, at the very start: "[THE OBJECTION OR THE OLD HABIT THE VIEWER ALREADY HAS IN MIND]"
Line 2, at the very end: "[WHAT THEY KEPT DOING WITH IT — never a slogan]"
Between the two lines they say NOTHING at all — silent, only acting.

Beat 1 — already mid-sentence, delivering line 1 straight into the lens with a small eyebrow raise.
Beat 2 — SILENT: their free hand brings the [PRODUCT] up close to the lens and turns it so [THE WORDMARK] faces the camera and stays readable, then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: [THE ONE REAL GESTURE OF USE — they actually use the product, once, slowly].
Beat 4 — leans back, shrugs one shoulder and delivers line 2 with a small closed-mouth smile.

Keep the raw look of the frame: the head stays large with selfie wide-angle distortion, the crop stays imperfect, the window stays blown out white, the image stays slightly soft with phone HDR flatness and sensor noise. Natural body sway throughout, never still. Real unretouched skin.

The product stays exactly as in the frame in every beat: [THE LIST OF DETAILS THAT MUST NOT CHANGE], sharp and unchanged, never distorted, never resized and never losing its label.

Close-mic phone audio with the voice up front, faint room tone, no music. Raw iPhone footage, TikTok storytime energy, no-filter realism. Vertical 9:16. NO SUBTITLES, NO TEXT OR EMOJIS ON SCREEN.