HALDEN — 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 HALDEN, 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 HALDEN very large, set in a refined high-waisted serif for the wordmark, and a quiet humanist 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: BOUCLE CREAM #EDE4D6, WALNUT #6B4327, CAMEL #C08B4E, GREIGE #C9C0B4, SLATE #4A4741
· 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 — warm, generous, Scandinavian-Italian, slow living. 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 : le canapé seul, sur fond neutre. C'est lui qu'on repasse ensuite en référence dans les huit autres images — la pièce change, la forme ne bouge plus. Note la phrase la plus utile du prompt : the wordmark HALDEN is not on the sofa. Sans elle, le modèle brode une étiquette de marque sur un coussin.

Ultra high-end commercial packshot of a curved three-seat modular sofa, three-quarter view, centred, on a seamless warm greige backdrop with a soft graduated falloff. The sofa is upholstered in thick cream bouclé with a visible looped texture, its silhouette a single continuous curve with a low rounded back and deep generous seat cushions. It sits on a solid walnut plinth base with a warm satin finish and a fine shadow gap beneath. Two small cushions in a soft camel wool rest at the ends. The wordmark HALDEN is not on the sofa. Studio lighting: one very large softbox from the upper left for a soft directional wrap that reveals the bouclé loops, a gentle fill from the right, a long soft shadow to the lower right. Photorealistic, 8K, macro-level detail on the bouclé texture and the walnut grain, premium Scandinavian-Italian furniture aesthetic, no other text, no watermark, no people.

Ultra high-end commercial packshot of a [PRODUCT TYPE AND FORMAT], three-quarter view, centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] is [MAIN MATERIAL AND ITS VISIBLE TEXTURE], its silhouette [THE SHAPE IN ONE LINE] with [THE STRUCTURAL DETAIL THAT DEFINES IT]. It sits on [THE BASE: material, finish, how it meets the floor]. [THE SECONDARY ELEMENTS AND THEIR MATERIAL] rest at [WHERE THEY SIT]. The wordmark [BRAND NAME] is not on the [PRODUCT]. Studio lighting: one very large softbox from the [DIRECTION] for a soft directional wrap that reveals [THE TEXTURE THAT MUST READ], a gentle fill from the opposite side, a long soft shadow to the [DIRECTION]. Photorealistic, 8K, macro-level detail on [THE TWO TEXTURES THAT JUSTIFY THE PRICE], premium [DESIGN REFERENCE] aesthetic, no other text, no watermark, no people.

Un meuble ne se vend jamais seul : il se vend avec la pièce autour. Fenêtres hautes, parquet, une toile posée au sol, un olivier — le décor donne l'échelle, la seule information qu'une photo de canapé doit absolument transmettre.

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 sofa in a bright airy loft: tall industrial windows, oak floorboards, a large abstract canvas leaning against the wall, a single olive tree in a clay pot. Soft morning light flooding from the left, wide angle, architectural interiors.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR interior lighting with six-metre scrims, 16-bit colour workflow, high-end furniture retouching, ultra-high-resolution 4K photography with the boucle loop texture and walnut grain razor-sharp.

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

SCENE — the [PRODUCT] in a bright airy [TYPE OF INTERIOR]: [ARCHITECTURAL FEATURE 1], [FLOOR MATERIAL], [ONE LARGE ART OR DECOR OBJECT], [ONE PLANT OR LIVING ELEMENT]. Soft morning light flooding from the left, wide angle, architectural interiors.

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

Une lumière rasante, la boucle de laine en relief, le noyer flou dessous. En ameublement, c'est la matière qui justifie le prix — pas la forme, que n'importe quel concurrent copie en trois mois.

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 boucle upholstery: the looped cream yarn in sharp relief, one loop catching the light, the walnut plinth just visible and out of focus below. 100mm macro, raking light, tactile.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR interior lighting with six-metre scrims, 16-bit colour workflow, high-end furniture retouching, ultra-high-resolution 4K photography with the boucle loop texture and walnut grain razor-sharp.

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 MATERIAL]: [ITS TEXTURE IN SHARP RELIEF], one [SMALLEST UNIT OF THE TEXTURE] catching the light, the [SECOND MATERIAL] just visible and out of focus below. 100mm macro, raking light, tactile.

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

Même produit, autre lumière. Une série entière tournée à la même heure finit par se ressembler ; il faut au minimum deux températures de lumière pour qu'un catalogue respire. Ici, un seul lampadaire et le reste dans le noir.

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 sofa at dusk in a warm living room: a single arc floor lamp pooling light on one end, a thrown wool blanket, a low travertine coffee table with an open book. Warm tungsten, deep shadows, cinematic.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR interior lighting with six-metre scrims, 16-bit colour workflow, high-end furniture retouching, ultra-high-resolution 4K photography with the boucle loop texture and walnut grain razor-sharp.

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

SCENE — the [PRODUCT] at dusk in a warm [ROOM]: a single [LIGHT FIXTURE] pooling light on one end, [A SOFT TEXTILE THROWN OVER IT], a low [TABLE MATERIAL] table with [AN EVERYDAY OBJECT]. Warm tungsten, deep shadows, cinematic.

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

Vue de haut, la courbe cesse d'être un canapé et devient une forme. Ce plan-là n'existe que pour une chose : tenir la vignette sur une grille Instagram ou une bannière, là où une photo d'intérieur chargée devient illisible.

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 high overhead view looking down on the sofa on a pale limewashed floor, its curve reading as a pure graphic shape, a round jute rug just clipped by the frame. Flat soft daylight, minimal, graphic composition.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR interior lighting with six-metre scrims, 16-bit colour workflow, high-end furniture retouching, ultra-high-resolution 4K photography with the boucle loop texture and walnut grain razor-sharp.

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 high overhead view looking down on the [PRODUCT] on a [FLOOR MATERIAL AND COLOUR], its [DEFINING SHAPE] reading as a pure graphic shape, [ONE SECONDARY OBJECT] just clipped by the frame. Flat soft daylight, minimal, graphic composition.

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

Rien autour, une seule lame de soleil qui traverse l'assise. C'est l'image de marque, pas l'image de vente : elle ne montre aucun usage, elle affirme un prix. Elle va en haut de la page d'accueil, jamais sur une fiche produit.

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

SCENE — the sofa alone in a vast empty gallery-white showroom, a single shaft of hard sunlight from a high window falling across the seat. Wide, austere, long shadows, architectural.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR interior lighting with six-metre scrims, 16-bit colour workflow, high-end furniture retouching, ultra-high-resolution 4K photography with the boucle loop texture and walnut grain razor-sharp.

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

SCENE — the [PRODUCT] alone in a vast empty gallery-white [SPACE], a single shaft of hard sunlight from a high window falling across [THE PART THAT MUST CATCH IT]. Wide, austere, long shadows, architectural.

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

Un plaid jeté, un livre retourné, une tasse posée sur le socle. Personne dans le cadre, et pourtant quelqu'un vient de partir : c'est l'habitation sans le mannequin, ce qui coûte le moins cher et rend le plus 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 — a close three-quarter crop of one end of the sofa: a heavy camel wool throw draped over the arm, an open book face down on the cushion, a ceramic cup on the plinth edge. Soft window light, lived-in, warm.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR interior lighting with six-metre scrims, 16-bit colour workflow, high-end furniture retouching, ultra-high-resolution 4K photography with the boucle loop texture and walnut grain razor-sharp.

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 three-quarter crop of one end of the [PRODUCT]: [A HEAVY TEXTILE] draped over [THE PART IT HANGS ON], [AN OBJECT LEFT MID-USE] on [WHERE IT SITS], [A CUP OR SMALL VESSEL] on [THE EDGE IT RESTS ON]. Soft window light, lived-in, warm.

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

Ici le sujet n'est plus le canapé, c'est la lumière qui le traverse : une ombre de croisillon, de la poussière dans l'air. Une campagne a besoin d'une image qui ne vend rien — c'est elle qui donne le ton du reste.

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 sofa against a warm plaster wall with the hard geometric shadow of a window frame falling across it, late afternoon sun, dust in the air. Still, contemplative, high contrast.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR interior lighting with six-metre scrims, 16-bit colour workflow, high-end furniture retouching, ultra-high-resolution 4K photography with the boucle loop texture and walnut grain razor-sharp.

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] against a warm [WALL MATERIAL] wall with the hard geometric shadow of [WHAT CASTS IT] falling across it, late afternoon sun, dust in the air. Still, contemplative, high contrast.

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

Le plan qui répond à l'objection silencieuse : « et en dessous, c'est quoi ? ». Grain du bois, jeu d'ombre sous le socle, assemblage net. Une seule image traite une objection que trois lignes de fiche technique ne règlent 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 — a low close view of the walnut plinth base and the shadow gap beneath, the boucle rising above it, the grain of the wood sharp and warm. Raking light, macro on the joinery, craft detail.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR interior lighting with six-metre scrims, 16-bit colour workflow, high-end furniture retouching, ultra-high-resolution 4K photography with the boucle loop texture and walnut grain razor-sharp.

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 low close view of the [BASE OR STRUCTURE] and [THE GAP OR JOINT BENEATH IT], the [MAIN MATERIAL] rising above it, the grain of the [BASE MATERIAL] sharp and warm. Raking light, macro on the joinery, craft detail.

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

Dix secondes, onze plans, aucune personne. Le canapé lévite et tourne, seul le fond change à chaque coupe — toujours dans la même palette. Pas de casting, pas de lieu, pas de repérage : c'est le format le plus rentable de la campagne.

Sur un meuble, le piège est ailleurs : à force de le faire flotter, le modèle le miniaturise. D'où la ligne at full real furniture size and never miniaturised dans les verrous — l'échelle est la seule chose qu'une IA perd tout le temps.

SCENE CONTEXT
A 10-second vertical kinetic product spot for HALDEN, a curved modular boucle sofa. No people, no location. A single warm greige colour world, the sofa levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the greige and walnut palette.

ACTIVE REFERENCES
@image1 - the HALDEN sofa. A curved three-seat modular sofa upholstered in thick cream boucle with a visible looped texture, a single continuous curve with a low rounded back and deep generous seat cushions, sitting on a solid walnut plinth base with a warm satin finish and a fine shadow gap beneath, with two small camel wool cushions at the ends. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a pale limewashed reflective mirror floor enters frame. Each shot uses one backdrop from the greige and walnut palette: smooth greige gradient, soft camel bokeh, crossing warm white light bars, drifting fine dust, or a deep slate field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the looped boucle yarn, one loop catching the light, a warm greige glow behind it.

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

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

CAMERA
0.0-0.8s - 12 degree FOV. Accelerating macro creep across the looped boucle texture.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the sofa levitating and rotating on a warm greige gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, a camel cushion tumbling outward past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a wool throw unfurls slowly around the levitating sofa on camel bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the sofa levitating between crossing warm white light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the walnut plinth grain, a highlight travelling along the satin finish.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting fine dust, the sofa flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, a hand pressing into the boucle cushion and releasing, the fibres springing back.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the sofa, the curved silhouette filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The walnut of the plinth matches into a walnut light bar, camera arcing at 30 km/h across a slate void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The sofa descends and lands on a pale limewashed reflective mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
Boucle loops fill frame. The sofa levitates and rotates slowly. A cushion tumbles past. A throw unfurls around it. A highlight travels the walnut plinth. A hand presses the cushion and it springs back. The silhouette fills frame. The sofa lands on a pale floor and settles.

PHYSICS
The sofa is roughly 90 kilograms at full furniture scale. The boucle compresses under pressure and recovers slowly. The cushion tumbles with real mass. The throw unfurls with fabric weight and air resistance. The sofa lands heavily with a deep settle.

LIGHTING
Hard specular key from camera-left at 5200K raking across the sofa, a tight rim light on the right edge, warm camel practicals in the background. White balance fixed at 5200K. Atmospheric haze at 15%.

COLOR GRADE
60:30:10 - warm greige dominant, cream boucle secondary, walnut accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, fabric thumps, a soft wooden knock, a cushion landing, 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 sofa design stays identical to @image1 in every shot: cream boucle upholstery with its looped texture, one continuous curved back, deep seat cushions, the walnut plinth base with its shadow gap, the two camel cushions, at full real furniture size and never miniaturised. 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 : caméra posée sur dolly et grue, jamais à l'épaule, quatre temps de deux secondes et demie. Un lieu, une personne, une progression. C'est ce qu'on vend le plus cher parce que ça ressemble à une vraie pub.

Les deux phrases en majuscules ne sont pas décoratives. NEVER SHOW THE PRODUCT ALONE WITHOUT A PERSON IN THE ROOM : sans ça, le modèle finit toujours par revenir au packshot, et le film redevient un catalogue.

CINEMATIC LIFESTYLE TV COMMERCIAL for a furniture brand, vertical 9:16, ten seconds. Composed camera on a dolly and a crane — never handheld. Four beats in a structured arc:

ESTABLISHING — a slow crane descent through a bright loft on a Sunday morning: tall windows, warm oak floor, an olive tree, dust in the light. The curved cream boucle sofa sits in the middle of the room.

PRODUCT IN USE — a slow dolly-in as a woman in her thirties in a soft oatmeal knit walks barefoot into frame, mug in hand, and lowers herself into the sofa, sinking into the boucle, tucking her feet up under her.

LIFESTYLE — a slow lateral dolly across the room: she is curled into the corner of the sofa reading, a wool throw over her legs, sunlight moving across the looped fabric, a man crossing behind her out of focus. Real life, unhurried.

HERO — a slow crane rise pulling back to the full silhouette of the sofa with her still in it, the walnut plinth catching the last light, and the wordmark HALDEN appearing quietly in the empty upper third in a refined serif.

ABSOLUTELY NO PACKSHOT. NEVER SHOW THE SOFA ISOLATED ON A STUDIO BACKDROP. NEVER SHOW THE PRODUCT ALONE WITHOUT A PERSON IN THE ROOM. The sofa is always in a real lived-in interior with someone using it.

The sofa keeps exactly the shape, the cream boucle texture, the curved back, the camel cushions and the walnut plinth base of the reference image, at full real furniture size.

Warm, generous, unhurried. Soft directional daylight, deep warm shadows, film grain. Sound design: quiet room tone, a distant street, a mug set down on wood, fabric settling, one warm sustained chord under the final rise. No dialogue, no subtitles, no on-screen text other than the wordmark at the end.

CINEMATIC LIFESTYLE TV COMMERCIAL for a [PRODUCT CATEGORY] brand, vertical 9:16, ten seconds. Composed camera on a dolly and a crane — never handheld. Four beats in a structured arc:

ESTABLISHING — [THE OPENING MOVE] through [THE PLACE] on [THE MOMENT OF THE WEEK]: [THE THREE OR FOUR THINGS THAT DEFINE THE ROOM], [WHAT THE LIGHT IS DOING]. The [PRODUCT] sits [WHERE IT SITS IN THE ROOM].

PRODUCT IN USE — a slow dolly-in as [THE PERSON: age, clothing] walks into frame [WITH WHAT IN THEIR HANDS], and [THE ONE GESTURE THAT PUTS THEM IN CONTACT WITH THE PRODUCT], [WHAT THEIR BODY DOES NEXT].

LIFESTYLE — a slow lateral dolly across the room: [WHAT THEY ARE DOING NOW, SETTLED], [THE SECONDARY PROP], [WHAT THE LIGHT DOES TO THE MATERIAL], [A SECOND PERSON PASSING OUT OF FOCUS]. Real life, unhurried.

HERO — a slow crane rise pulling back to the full silhouette of the [PRODUCT] with [THE PERSON] still in it, [THE SIGNATURE MATERIAL] catching the last light, and the wordmark [BRAND NAME] appearing quietly in the empty upper third in [THE BRAND TYPEFACE, DESCRIBED NOT NAMED].

ABSOLUTELY NO PACKSHOT. NEVER SHOW THE [PRODUCT] ISOLATED ON A STUDIO BACKDROP. NEVER SHOW THE PRODUCT ALONE WITHOUT A PERSON IN THE ROOM. The [PRODUCT] is always in a real lived-in interior with someone using it.

The [PRODUCT] keeps exactly the shape, the [MATERIAL 1] texture, the [STRUCTURAL DETAIL], the [SECONDARY PARTS] and the [BASE OR FINISH] of the reference image, at full real [CATEGORY] size.

[THREE ADJECTIVES THAT DEFINE THE FILM]. [THE LIGHT IN ONE LINE], [THE SHADOWS], film grain. Sound design: [THE ROOM TONE], [THE DISTANT SOUND], [THE TWO SMALL DIEGETIC SOUNDS THE SCENE MAKES], [THE ONE MUSICAL EVENT UNDER THE FINAL MOVE]. No dialogue, no subtitles, no on-screen text other than the wordmark at the end.

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 : bruit de capteur, HDR de téléphone, fenêtre cramée, peau non retouchée. Et une difficulté propre au meuble : le produit ne se tient pas dans la main. Il faut écrire noir sur blanc qu'il est furniture, NOT an object in his hands, sinon le modèle sort un canapé miniature posé sur ses genoux.

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 HIS OWN HAND — this is a selfie he is filming himself.

A man in his forties, salt-and-pepper hair swept back, light stubble, wearing a soft grey merino jumper. He is SITTING DEEP IN THE SOFA from the reference image, sunk into the cream boucle seat, one arm stretched toward the lens holding the phone, the other resting along the curved back. He is mid-sentence, mouth open on a word, eyes on the lens.

THE PRODUCT IS THE SOFA HE IS SITTING ON — it is full real-world size, a three-seat sofa, and we see its cream boucle upholstery, its curved back and its walnut plinth around and behind him. It is furniture, NOT an object in his hands, and it is never miniaturised. It keeps exactly the shape, the boucle texture, the walnut base and the proportions of the reference image.

SETTING — his living room, tall bright windows behind him, warm wood floor. FRAMING — a real front-camera selfie: his head fills the upper frame with wide-angle distortion, the crop is imperfect, we see the sofa back and cushions filling the lower half of the frame.

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 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 HIS OWN HAND — this is a selfie he is filming himself.

[THE PERSON: age, hair, one small distinctive detail, plain unbranded clothing]. He is [HOW HE IS PHYSICALLY IN CONTACT WITH THE PRODUCT], one arm stretched toward the lens holding the phone, the other [WHERE HIS FREE HAND RESTS ON THE PRODUCT]. He is mid-sentence, mouth open on a word, eyes on the lens.

THE PRODUCT IS THE [PRODUCT] HE IS [SITTING ON / STANDING AT / USING] — it is full real-world size, [ITS REAL DIMENSIONS IN PLAIN WORDS], and we see [THE TWO OR THREE FEATURES THAT MUST READ] around and behind him. It is [ITS CATEGORY], NOT an object in his hands, and it is never miniaturised. It keeps exactly the shape, the [MATERIAL], the [STRUCTURAL DETAIL] and the proportions of the reference image.

SETTING — [THE REAL ROOM WHERE THIS PRODUCT LIVES], [WHAT IS BEHIND HIM]. FRAMING — a real front-camera selfie: his head fills the upper frame with wide-angle distortion, the crop is imperfect, we see [WHICH PART OF THE PRODUCT] filling the lower half of the frame.

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

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

Les deux gestes muets ne sont pas décoratifs : la main qui passe sur le tissu, le corps qui s'enfonce. Ce sont eux qui prouvent le confort, pas les répliques.

Continue this phone video from the exact frame shown. He films himself with the phone in one hand at arm's length, sitting deep in the sofa 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: "We sat on about thirty sofas before we found this one."
Line 2, at the very end: "Two years in and it still looks like the day it arrived."
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: they run their free hand slowly across the cream boucle of the seat beside them, feeling the looped texture, then rest it back down. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they settle back deeper into the sofa, let their shoulders drop and give a small contented sigh.
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: cream boucle upholstery with its looped texture, curved back, walnut plinth base, full real furniture size, never miniaturised, 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. He films himself with the phone in one hand at arm's length, [HOW HE STAYS IN CONTACT WITH THE PRODUCT] 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: "[HOW LONG THEY SEARCHED, OR THE OBJECTION THE VIEWER ALREADY HAS IN MIND]"
Line 2, at the very end: "[HOW IT HAS HELD UP OVER TIME — 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: [THE ONE GESTURE THAT PROVES THE MATERIAL — their free hand touching it, slowly], then rest it back down. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: [THE SECOND GESTURE, THE ONE THAT PROVES THE COMFORT OR THE FUNCTION], with a small contented sigh.
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], full real [CATEGORY] size, never miniaturised, 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.