CADENCE — les prompts.

La planche de marque 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.

Design a single BRAND IDENTITY BOARD for the fictional brand CADENCE, 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 CADENCE very large, set in a wide technical grotesque for the wordmark and a condensed sans for captions
· under it, the descriptor PERFORMANCE RUNNING 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: NAVY #1B2A4A, CORAL #FF5A4E, FOAM #F4F2ED, GREY #8E938F, INK #12161A
· 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 — fast, technical, urban running. 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 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.

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] for the wordmark and [TYPEFACE FOR THE CAPTIONS] for 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 : le produit, généré seul sur fond neutre. C'est lui qu'on passe ensuite en référence dans chaque visuel — le décor change, la chaussure ne bouge pas. Remarque le niveau de détail matière : « fine heather texture », « translucent electric-coral cage », « visible curved plate line ». C'est ce qui empêche le modèle de sortir une basket générique de plus.

Ultra high-end commercial packshot of a single running sneaker in three-quarter view, centred, on a seamless cool concrete-grey backdrop with a soft graduated falloff. The shoe has a knitted upper in deep navy with a fine heather texture, a translucent electric-coral cage over the midfoot, a thick sculpted white foam midsole with a visible curved plate line, and a black rubber outsole. The wordmark CADENCE is embroidered small in coral on the heel counter. Studio lighting: one large softbox at 45 degrees camera-left, a tight rim light along the top edge, a crisp contact shadow under the sole. Photorealistic, 8K, macro-level detail, premium advertising aesthetic, immaculate reflections. No other text, 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 [MATERIAL 1 + ITS TEXTURE], [MATERIAL 2 + ITS FINISH] over [WHERE IT SITS], [THE STRUCTURAL PART + ITS VISIBLE ENGINEERING DETAIL], and [THE BASE MATERIAL]. The wordmark [BRAND NAME] is [HOW IT IS APPLIED] small in [ACCENT COLOUR] on [WHERE EXACTLY]. Studio lighting: one large softbox at 45 degrees camera-[DIRECTION], a tight rim light along [THE EDGE THAT MUST READ], a crisp contact shadow under [THE PART THAT TOUCHES THE GROUND]. Photorealistic, 8K, macro-level detail, premium advertising aesthetic, immaculate reflections. No other text, no watermark, no hands.

Le plan qui pose le monde de la marque. L'athlète est coupé au-dessus de la cheville : on garde toute l'énergie du geste sans payer un casting et sans risquer un visage raté. Une règle qui vaut pour n'importe quel produit porté.

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 red running track at dawn, the shoe planted mid-stride in lane three, the athlete cropped above the ankle, motion blur in the background. Low sun flare, dynamic, 85mm.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, multi-strobe lighting with a large octabox key and two strip rim lights, 16-bit colour workflow, technical sportswear retouching, ultra-high-resolution 4K product photography with razor-sharp knit and foam material separation.

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 [SPORTS SURFACE] at dawn, the [PRODUCT] planted mid-stride, the athlete cropped above the ankle, motion blur in the background. Low sun flare, dynamic, 85mm.

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

Le plan qui vend la technique. La mousse s'écrase, la lame courbe apparaît, les grains de piste volent. En sport, c'est la matière sous charge qui justifie le prix, jamais la silhouette.

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 foam midsole compressing on impact, the curved plate line visible, grains of track rubber flying. High-speed flash, black background.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, multi-strobe lighting with a large octabox key and two strip rim lights, 16-bit colour workflow, technical sportswear retouching, ultra-high-resolution 4K product photography with razor-sharp knit and foam material separation.

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 [TECHNICAL PART] [WHAT IT DOES UNDER LOAD], the [HIDDEN ENGINEERING DETAIL] visible, [THE DEBRIS IT THROWS] flying. High-speed flash, black background.

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

Lumière plate, serviette froissée, bouteille à moitié vide. Volontairement le plan le moins beau de la série : il sert de respiration entre deux images léchées et rend l'ensemble crédible.

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 shoe on a worn wooden bench in a dim locker room, a crumpled towel and a water bottle beside it, one overhead strip light. Documentary, desaturated, moody.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, multi-strobe lighting with a large octabox key and two strip rim lights, 16-bit colour workflow, technical sportswear retouching, ultra-high-resolution 4K product photography with razor-sharp knit and foam material separation.

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 [WORN SURFACE] in a [UTILITARIAN ROOM], [ORDINARY OBJECT 1] and [ORDINARY OBJECT 2] beside it, one overhead strip light. Documentary, desaturated, moody.

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

Flash haute vitesse, une couronne d'eau autour de la semelle, les lampadaires filés derrière. Le seul plan de la série qu'on autorise à être trop : il n'existe que pour être vu une demi-seconde en story et arrêter le pouce.

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 shoe striking a shallow puddle at night, a crown of water rising around the sole, street lights streaking behind. High-speed flash, wet asphalt, cinematic.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, multi-strobe lighting with a large octabox key and two strip rim lights, 16-bit colour workflow, technical sportswear retouching, ultra-high-resolution 4K product photography with razor-sharp knit and foam material separation.

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] striking [A SHALLOW LIQUID SURFACE] at night, a crown of [THE LIQUID] rising around it, [WHAT STREAKS BEHIND]. High-speed flash, wet ground, cinematic.

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

Aucun décor, une seule couleur, une ombre dure. Ce plan-là n'existe que pour une chose : tenir la vignette sur une grille Instagram ou une bannière, là où une photo chargée devient illisible.

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 shoe suspended against a flat coral wall, held by invisible wire, one hard shadow behind it. Minimal, graphic, saturated, editorial.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, multi-strobe lighting with a large octabox key and two strip rim lights, 16-bit colour workflow, technical sportswear retouching, ultra-high-resolution 4K product photography with razor-sharp knit and foam material separation.

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] suspended against a flat [SATURATED BRAND COLOUR] wall, held by invisible wire, one hard shadow behind it. Minimal, graphic, saturated, editorial.

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

Le seul visuel de la série où l'on voit les deux chaussures — donc le seul qui vende une paire et pas un objet. Les lacets qui débordent de la marche donnent l'échelle et le négligé, tout ce qu'un packshot ne peut pas donner.

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 — both shoes side by side on a concrete stair edge, laces trailing over the lip, hard midday sun. Brutalist, high contrast, top-down three-quarter.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, multi-strobe lighting with a large octabox key and two strip rim lights, 16-bit colour workflow, technical sportswear retouching, ultra-high-resolution 4K product photography with razor-sharp knit and foam material separation.

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 — both [PRODUCTS] side by side on a [HARD ARCHITECTURAL EDGE], [THE LOOSE PART] trailing over the lip, hard midday sun. Brutalist, high contrast, top-down three-quarter.

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

Lumière rasante sur le tricot chiné, la cage corail qui traverse le cadre. On ne décrit pas une matière, on la donne à toucher — c'est ce plan qui répond à « ça a l'air cheap ou pas ? ».

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 knitted upper, the heather navy fibres in sharp relief, the coral cage crossing frame. 100mm macro, raking light.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, multi-strobe lighting with a large octabox key and two strip rim lights, 16-bit colour workflow, technical sportswear retouching, ultra-high-resolution 4K product photography with razor-sharp knit and foam material separation.

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 [MAIN FABRIC OR SURFACE], the [FIBRE OR GRAIN] in sharp relief, the [ACCENT PART] crossing frame. 100mm macro, raking light.

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

Le plan de clôture : symétrie stricte, ombre à 45°, les objets du rituel autour du produit. Une série a besoin d'une image qui la referme — celle-ci sert aussi de visuel de couverture.

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 strict overhead flat lay on cool grey concrete: the shoe dead centre, surrounded by a coiled skipping rope, a stopwatch, a folded towel and a water bottle. Hard shadow at 45 degrees, symmetry.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, multi-strobe lighting with a large octabox key and two strip rim lights, 16-bit colour workflow, technical sportswear retouching, ultra-high-resolution 4K product photography with razor-sharp knit and foam material separation.

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 strict overhead flat lay on [BACKGROUND COLOUR]: the [PRODUCT] dead centre, surrounded by [OBJECT 1], [OBJECT 2], [OBJECT 3] and [OBJECT 4]. Hard shadow at 45 degrees, symmetry.

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

Dix secondes, onze plans, aucune personne, aucun lieu. La chaussure reste posée au sol et c'est la caméra qui tourne autour ; seul le fond change à chaque coupe, toujours dans le navy et le corail. C'est le format le plus rentable : pas de casting, pas de repérage, et il tient sur n'importe quel produit.

SCENE CONTEXT
A 10-second vertical kinetic product spot for CADENCE, a performance running shoe. No people, no location. A single navy and coral colour world, the shoe planted on the floor with the camera orbiting it in every shot, roughly one second per shot, the backdrop changing on every cut inside the navy and coral palette.

ACTIVE REFERENCES
@image1 - the CADENCE shoe. A running shoe with a deep navy knitted upper, a translucent electric-coral cage, a thick white foam midsole with a curved plate line, a black outsole, and CADENCE embroidered in coral on the heel. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no horizon line, a soft graded floor the shoe rests on from the first shot. Each shot uses one backdrop from the navy and coral palette: smooth navy gradient, coral bokeh, crossing white light bars, drifting fine mist, or a near-black field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the knitted navy upper, its heather fibres filling frame, a electric coral 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 heather knit fibres.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the shoe on a deep navy gradient at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, the foam midsole compressing hard and rebounding, dust flying off past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a spray of water bursts around the shoe on coral bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the shoe between crossing cold white light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the translucent coral cage, light passing through it.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting fine mist, the shoe flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the embroidered CADENCE on the heel counter, each stitch sharp.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the shoe, the coral cage filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The coral of the cage matches into a coral 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 shoe settles into its final position on a wet black reflective floor, camera pushing in steadily.

ACTION
Knit fibres fill frame. The camera orbits the shoe. The midsole compresses and rebounds. Water bursts around it. Light passes through the coral cage. The embroidered heel fills frame. The shoe settles on a wet black floor.

PHYSICS
The shoe is roughly 250 grams. The foam compresses and recovers with real damping. Water beads and sheds off the knit. The outsole lands with a soft contact.

LIGHTING
Hard specular key from camera-left at 5400K raking across the shoe, a tight rim light on the right edge, coral practicals in the background. White balance fixed at 5400K. Atmospheric haze at 18%.

COLOR GRADE
60:30:10 - deep navy dominant, white foam secondary, electric coral accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, a rubber squeak, a water burst, a fabric snap, 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 shoe design stays identical to @image1 in every shot: navy knitted upper, translucent coral cage, white foam midsole with its curved plate line, black outsole, and the embroidered CADENCE on the heel. 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], [WHAT THE PRODUCT IS IN FIVE WORDS]. No people, no location. A single [COLOUR 1] and [COLOUR 2] colour world, the [PRODUCT] standing with the camera orbiting it 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 — materials, finishes, colours, and every word printed on it]. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no horizon line, a soft graded floor the [PRODUCT] stands on from the first shot. Each shot uses one backdrop from the [COLOUR 1] and [COLOUR 2] palette: smooth [COLOUR 1] gradient, [COLOUR 2] bokeh, crossing [ACCENT COLOUR] light bars, drifting [THE PARTICLE OR HAZE THAT SUITS YOUR PRODUCT], or a deep [DARK COLOUR] field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on [THE MOST TEXTURED DETAIL OF THE PRODUCT], a [ACCENT 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 SIGNATURE TEXTURE OF THE PRODUCT].
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the [PRODUCT] on a deep [COLOUR 1] gradient at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, [WHAT BURSTS OR SPRAYS OUTWARD OFF THE PRODUCT] past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as [THE LIQUID OR PART THAT CAN WRAP AROUND IT] coils around the [PRODUCT] on [COLOUR 2] bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the [PRODUCT] between crossing [ACCENT COLOUR] light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on [THE MOST SPECULAR OR TRANSLUCENT SURFACE], [WHAT THE LIGHT DOES TO IT].
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting [THE PARTICLE OR HAZE THAT SUITS YOUR PRODUCT], the [PRODUCT] flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, [THE ONE PHYSICAL EVENT OR DETAIL ONLY THIS PRODUCT HAS].
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the [PRODUCT], [THE ELEMENT THAT FILLS FRAME] filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The [ACCENT COLOUR] of [WHERE THAT COLOUR COMES FROM ON THE PRODUCT] matches into a [ACCENT COLOUR] light bar, 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] reflective floor, camera pushing in steadily.

ACTION
[THE SEVEN OR EIGHT EVENTS ABOVE RESTATED IN ONE SHORT SENTENCE EACH, IN THE SAME ORDER].

PHYSICS
The [PRODUCT] is roughly [ITS REAL WEIGHT]. [THE ONE MECHANICAL BEHAVIOUR THAT MUST BE TRUE — how it breaks, pours, compresses or springs back]. [HOW ITS MAIN MATERIAL BEHAVES WITH LIGHT AND WITH WATER]. [HOW IT LANDS].

LIGHTING
Hard specular key from camera-left at [COLOUR TEMPERATURE]K raking across 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 THREE OR FOUR 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 WHAT MUST NOT CHANGE, INCLUDING EVERY WORD PRINTED ON IT], every character sharp and legible. 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 sur dolly et grue, jamais à l'épaule, quatre temps de deux secondes et demie. Un lieu, une personne, une progression — établir, utiliser, vivre, conclure. C'est ce qu'on vend le plus cher parce que ça ressemble à une vraie pub.

SCENE CONTEXT
A 10-second vertical commercial spot for CADENCE, a performance running shoe. Dawn on a city riverside path as a runner starts a session. Composed camera on a dolly and a crane, never handheld. Four beats in a structured arc, roughly two and a half seconds each.

ACTIVE REFERENCES
@image1 - the CADENCE shoe. A running shoe with a deep navy knitted upper, a translucent electric-coral cage over the midfoot, a thick sculpted white foam midsole with a visible curved plate line, a black rubber outsole, and CADENCE embroidered small in coral on the heel counter. 100% matches the reference.

LOCATION MAP
A riverside concrete path, a low railing, the water and a bridge at 200 metres, one street lamp still on. The set contains only what is listed here.

FIRST FRAME / BLOCKING
Frame opens low on the wet concrete path as the first light hits the river.

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, clean spherical rendering.

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. Slow dolly forward along the empty path at 4 km/h, the street lamp flaring, mist over the water.
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. Dolly tracking a man in his late twenties lacing the shoe on the railing, then planting his foot down.
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. Lateral dolly running alongside him at 12 km/h, the shoe striking and flexing, the river behind.
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. Slow crane rise as he runs away down the path, the sun clearing the bridge, the frame settling on the empty path.

ACTION
First light hits the river. A runner laces the shoe on a railing and plants his foot. He runs and the shoe strikes and flexes. He runs away down the path as the sun clears the bridge.

PERFORMANCE
He moves with the flat economy of someone who runs every morning, not performing effort. Nobody performs for the lens.

PHYSICS
The shoe is roughly 250 grams. The foam midsole compresses on impact and rebounds. The knit flexes at the toe box. Wet concrete throws real specular highlights.

LIGHTING
Low dawn sun from camera-right at 4800K raking down the path, cold blue fill from the sky, one warm street lamp. Atmospheric haze at 25% over the water.

COLOR GRADE
60:30:10 - cold concrete grey dominant, navy secondary, electric coral accent.

AUDIO
Diegetic only: river ambience, a lace pulled tight, rhythmic footfall on wet concrete, distant traffic. No dialogue, no subtitles.

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

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

POSITIVE LOCKS
The shoe design stays identical to @image1 in every shot: navy knitted upper, translucent coral cage, white foam midsole with its curved plate line, black outsole, and the embroidered CADENCE on the heel. The people keep the same faces, hair and clothing across every cut. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the shoe is never shown isolated on a studio backdrop and never appears without a person in the scene.

SCENE CONTEXT
A 10-second vertical commercial spot for [BRAND NAME], [WHAT THE PRODUCT IS IN FIVE WORDS]. [TIME OF DAY] in [THE PLACE] as [WHO IS THERE AND WHAT THEY ARE DOING]. Composed camera on a dolly and a crane, never handheld. Four beats in a structured arc, roughly two and a half seconds each.

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

LOCATION MAP
[THE SET, LISTED ONCE: the surface the product sits on, the furniture, the light sources, what is visible through the window or the door]. The set contains only what is listed here.

FIRST FRAME / BLOCKING
Frame opens on [THE FIRST THING THE VIEWER SEES, BEFORE THE PRODUCT].

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, clean spherical rendering.

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. [THE OPENING MOVE AND ITS SPEED IN KM/H, AND WHAT IT TRAVELS PAST BEFORE REACHING THE PRODUCT].
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. [THE MOVE] as [WHO THEY ARE, AGE INCLUDED] [THE SINGLE GESTURE THEY MAKE WITH THE PRODUCT].
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. [THE MOVE] as [THE WIDER HUMAN MOMENT AROUND THE PRODUCT].
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. Slow crane rise pulling back, [WHERE THE FRAME LANDS, WITH THE WORDMARK LEGIBLE].

ACTION
[WHAT HAPPENS, ONE SHORT SENTENCE PER BEAT, IN ORDER].

PERFORMANCE
[HOW THEY MOVE — the one habit that shows they do this every day]. Nobody performs for the lens.

PHYSICS
The [PRODUCT] is roughly [ITS REAL WEIGHT]. [THE TWO OR THREE MATERIAL BEHAVIOURS THAT MUST BE TRUE]. [WHAT ELSE IN THE SCENE MOVES WHEN THEY MOVE].

LIGHTING
[THE MAIN SOURCE, ITS POSITION AND ITS COLOUR TEMPERATURE IN K], [HOW FAST IT FALLS OFF], [THE COLD OR WARM SPILL THAT BALANCES IT]. Atmospheric haze at [PERCENTAGE]%.

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

AUDIO
Diegetic only: [THE FOUR SOUNDS THE SCENE ITSELF MAKES, INCLUDING THE ONE THE PRODUCT MAKES]. No dialogue, no subtitles.

STYLE
Photorealistic commercial cinematography, 24fps smooth motion, fine film grain, 8K detail, unhurried editorial 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 WHAT MUST NOT CHANGE, INCLUDING EVERY WORD PRINTED ON IT], all text legible. 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 — et c'est pour ça qu'il est écrit en prose et pas en JSON.

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 in their own free hand.

A man in his late twenties, athletic, short dark hair damp with sweat, wearing a plain unbranded charcoal technical running tee with NO logos, NO brand names and NO text of any kind anywhere on his 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 stairwell landing after a run, plain concrete walls, one strip light overhead, nothing else in frame. 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 or lamp 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 shoe up by the heel in one hand. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image, at true real-world scale.

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, front camera, held at arm's length in their own free hand.

[THE PERSON: age, hair, plain unbranded clothing with no logo and no text of any kind]. 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 PLACE WHERE THIS PRODUCT ACTUALLY LIVES], [THE TWO OR THREE ORDINARY THINGS VISIBLE BESIDE 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 or lamp 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 — [THE ONE THING THEY DO WITH IT USING THEIR SINGLE FREE HAND — the other hand is holding the phone]. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image, at true real-world scale.

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 dans une main, bras tendu : il ne reste qu'une seule main libre, donc un seul geste possible par temps — ici le pouce enfoncé dans la mousse, qui vaut tous les arguments. Deux répliques, une au début, une à la fin, et rien entre les deux.

Continue this phone video from the exact frame shown. They film themselves with the phone in one hand at arm's length the whole time. 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've put four hundred kilometres through these."
Line 2, at the very end: "The foam hasn't gone flat. That never happens."
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 shoe up close to the lens and turns it so the coral cage and the embroidered heel face the camera, then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they press a thumb deep into the foam midsole and let it spring back.
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 navy knitted upper, the coral cage, the white foam midsole and the embroidered heel wordmark, sharp and unchanged, never distorted, never resized and never losing its text.

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. They film themselves with the phone in one hand at arm's length the whole time. 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 HABIT OR THE OBJECTION THE VIEWER ALREADY HAS IN MIND]"
Line 2, at the very end: "[WHAT CHANGED FOR THEM, IN THEIR OWN WORDS — 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 [THE MOVEMENT THAT MAKES THE LABEL OR THE MATERIAL READABLE], then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: [THE ONE PROOF GESTURE — the thing only somebody who really owns it would do].
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 EVERY ELEMENT AND EVERY WORD THAT MUST NOT CHANGE], sharp and unchanged, never distorted, never resized and never losing its text.

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.