ONDE — 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 ONDE, 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 ONDE very large, set in a fine geometric sans with generous letter-spacing for the wordmark, and the same sans at small size 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: CHARCOAL #2E3130, BONE #EFE9DE, SAGE #A8B5A2, STONE #8C8A85, INK #141614
· 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 — quiet, tactile, wabi-sabi, Japanese minimalism. 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 peigne seul, sur fond neutre. C'est lui qu'on repasse ensuite en référence dans les huit autres images. Regarde l'acharnement du prompt sur les dents : quatorze, larges, espacées, arrondies, NO fine teeth and NO narrow teeth anywhere. Un modèle d'image ramène toujours un peigne à dents fines s'il n'a pas cet interdit écrit deux fois.

Ultra high-end commercial packshot of a single minimalist wide-tooth hair comb lying at a slight diagonal, centred, on a seamless warm bone-white backdrop with a soft graduated falloff. The comb is one seamless piece of matte charcoal bio-resin with no seams and no metal parts: a smooth rounded spine that tapers gently at both ends, and a single row of exactly fourteen WIDE-SET teeth. Every tooth is thick and generously spaced, rounded at the tip like a smooth pebble, with a wide open gap between each one — this is a detangling comb made for thick curly hair. There are NO fine teeth and NO narrow teeth anywhere on the comb: the spacing is even and generous from one end to the other. The wordmark ONDE is debossed into the spine in a fine geometric sans, subtle, catching the light only at its edges. A single soft sage-green shadow falls to the lower right. Studio lighting: one large softbox from the upper left for a long unbroken highlight tracing the spine, a soft fill from the right, a whisper of contact shadow under the teeth. Photorealistic, 8K, macro-level detail on the matte resin texture, premium minimal Japanese design aesthetic, immaculate, no other text, no watermark, no hands.

Ultra high-end commercial packshot of a single minimalist [PRODUCT TYPE] lying at a slight diagonal, centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] is one seamless piece of [MAIN MATERIAL AND FINISH] with no seams and no [THE PART THAT MUST NOT EXIST]: [THE SHAPE OF THE BODY IN ONE LINE], and [THE FUNCTIONAL PART, WITH ITS EXACT COUNT]. Every [FUNCTIONAL PART] is [ITS SHAPE, ITS SPACING, ITS TIP], with [THE GAP OR SPACING RULE] — this is [WHAT THE PRODUCT IS ACTUALLY FOR, IN PLAIN WORDS]. There are NO [THE WRONG VERSION OF THE PART] anywhere on the [PRODUCT]: [THE RULE RESTATED FROM ONE END TO THE OTHER]. The wordmark [BRAND NAME] is [HOW IT IS APPLIED] into [WHERE EXACTLY] in [THE TYPEFACE, DESCRIBED NOT NAMED], subtle, catching the light only at its edges. A single soft [ACCENT COLOUR] shadow falls to the lower right. Studio lighting: one large softbox from the upper left for a long unbroken highlight tracing [THE LINE THAT MUST READ], a soft fill from the right, a whisper of contact shadow under [THE PART THAT TOUCHES THE SURFACE]. Photorealistic, 8K, macro-level detail on [THE MATERIAL TEXTURE], premium [DESIGN REFERENCE] aesthetic, immaculate, no other text, no watermark, no hands.

Un objet à quarante euros posé dans un décor qui en vaut quatre mille. Coupelle tournée à la main, microciment, branche d'eucalyptus : c'est le décor qui fixe le prix perçu, pas le produit. Un peigne sur un lavabo blanc coûte trois euros.

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 comb resting on the edge of a hand-thrown ceramic dish in a serene Japanese-inspired bathroom: microcement walls, a sprig of eucalyptus, soft window light from the left. Muted, meditative, editorial interiors 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, soft HDR studio lighting with one long grazing highlight, 16-bit colour workflow, minimal design-object retouching, ultra-high-resolution 4K product photography with the matte bio-resin 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] resting on the edge of a [HANDMADE VESSEL] in a serene [DESIGN REFERENCE] [ROOM]: [WALL MATERIAL], [ONE LIVING ELEMENT], soft window light from the left. Muted, meditative, editorial interiors 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 the [YOUR MAIN MATERIAL] grain razor-sharp.

Aucun visage dans le cadre, et c'est délibéré : on vend le geste, pas la personne. Une image sans visage ne trie pas les clientes — chacune se projette, et le même visuel resserre trois ciblages publicitaires en un seul.

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 comb drawn slowly through thick dark wavy hair, close crop on the hair and the comb only, no face, the teeth parting the strands cleanly. Soft directional light, macro, tactile.

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, soft HDR studio lighting with one long grazing highlight, 16-bit colour workflow, minimal design-object retouching, ultra-high-resolution 4K product photography with the matte bio-resin 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] drawn slowly through [THE MATERIAL IT ACTS ON], close crop on [THAT MATERIAL] and the [PRODUCT] only, no face, [THE FUNCTIONAL PART] [WHAT IT DOES TO THE MATERIAL]. Soft directional light, macro, tactile.

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 the [YOUR MAIN MATERIAL] grain razor-sharp.

Une lumière rasante traverse le grain mat, le logo debossé reste net. Sur un objet aussi simple, la matière est le seul argument de prix : sans ce plan, rien ne distingue le produit d'un peigne de supermarché.

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 comb spine: the matte charcoal bio-resin surface with its fine granular texture, the debossed wordmark catching a single grazing highlight. 100mm macro, raking light, 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, soft HDR studio lighting with one long grazing highlight, 16-bit colour workflow, minimal design-object retouching, ultra-high-resolution 4K product photography with the matte bio-resin 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 [PART OF THE PRODUCT]: the [MATERIAL AND FINISH] surface with its [TEXTURE IN TWO WORDS], the [LOGO OR ENGRAVED DETAIL] catching a single grazing highlight. 100mm macro, raking light, 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 the [YOUR MAIN MATERIAL] grain razor-sharp.

Trois objets, beaucoup de vide. Ce qu'on ne met pas dans le cadre coûte plus cher que ce qu'on y met : le vide est exactement ce qui sépare une image de marque d'une photo de catalogue. Et c'est un format qui se recadre en carré sans rien perdre.

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 quiet flat lay on warm bone plaster: the comb, a smooth grey river stone, a small sage ceramic vessel and a folded linen cloth, arranged with generous negative space. Overhead, soft north light, wabi-sabi.

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, soft HDR studio lighting with one long grazing highlight, 16-bit colour workflow, minimal design-object retouching, ultra-high-resolution 4K product photography with the matte bio-resin 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 quiet flat lay on [BACKGROUND MATERIAL AND COLOUR]: the [PRODUCT], [A NATURAL OBJECT], [A SMALL VESSEL IN THE ACCENT COLOUR] and [A FOLDED TEXTILE], arranged with generous negative space. Overhead, soft north light, [THE AESTHETIC IN ONE WORD].

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 the [YOUR MAIN MATERIAL] grain razor-sharp.

Le plan qui vend un deuxième produit sans le dire. En glissant le peigne dans un étui posé sur une valise ouverte, on transforme un objet de salle de bain en objet qu'on emporte — et on ouvre une gamme d'accessoires.

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 comb half-slid into a slim sage suede sleeve resting on a folded charcoal linen shirt in an open travel case. Soft window light, calm, considered, 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, soft HDR studio lighting with one long grazing highlight, 16-bit colour workflow, minimal design-object retouching, ultra-high-resolution 4K product photography with the matte bio-resin 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] half-slid into a slim [MATERIAL AND ACCENT COLOUR] sleeve resting on a folded [GARMENT] in an open travel case. Soft window light, calm, considered, 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 the [YOUR MAIN MATERIAL] grain razor-sharp.

Une seule lumière dure, et l'ombre portée devient le vrai motif de l'image. Ce plan-là n'existe que pour une chose : tenir la vignette sur une grille ou une bannière, là où une nature morte douce disparaît.

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 comb standing on edge on a raw concrete surface, lit by a single hard grazing light from the side that throws a long dramatic shadow of its teeth across the frame. Minimal, architectural, high contrast.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, soft HDR studio lighting with one long grazing highlight, 16-bit colour workflow, minimal design-object retouching, ultra-high-resolution 4K product photography with the matte bio-resin 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] standing on edge on a [HARD RAW SURFACE], lit by a single hard grazing light from the side that throws a long dramatic shadow of [THE PART THAT MAKES THE PATTERN] across the frame. Minimal, architectural, high contrast.

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 the [YOUR MAIN MATERIAL] grain razor-sharp.

Personne ne sait quelle taille fait ce peigne sur un fond neutre. Une main détendue règle la question en une image : l'échelle est la première objection d'un achat en ligne, et aucune ligne de fiche technique ne la lève aussi vite.

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 hand holding the comb between thumb and fingers against a soft bone background, the fingers relaxed, the object clearly the subject. Soft studio light, skin texture visible, elegant.

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, soft HDR studio lighting with one long grazing highlight, 16-bit colour workflow, minimal design-object retouching, ultra-high-resolution 4K product photography with the matte bio-resin 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 hand holding the [PRODUCT] between thumb and fingers against a soft [BACKGROUND COLOUR] background, the fingers relaxed, the object clearly the subject. Soft studio light, skin texture visible, elegant.

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 the [YOUR MAIN MATERIAL] grain razor-sharp.

L'eau qui perle et glisse est la démonstration visuelle d'un argument technique : la résine n'est pas poreuse, donc l'objet se rince. On montre la propriété au lieu de l'écrire — c'est toujours plus court et 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 — the comb wet on a dark slate surface, water beading and running off the non-porous resin, a few droplets suspended on the teeth. Cool directional light, dark background, macro, tactile.

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, soft HDR studio lighting with one long grazing highlight, 16-bit colour workflow, minimal design-object retouching, ultra-high-resolution 4K product photography with the matte bio-resin 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] wet on a dark [SURFACE MATERIAL], water beading and running off the [MATERIAL PROPERTY YOU ARE PROVING], a few droplets suspended on [THE FUNCTIONAL PART]. Cool directional light, dark background, macro, tactile.

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 the [YOUR MAIN MATERIAL] grain razor-sharp.

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

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 ONDE, a minimalist wide-tooth comb for thick hair. No people, no location. A single bone and charcoal colour world, the comb levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the bone and sage palette.

ACTIVE REFERENCES
@image1 - the ONDE comb. One seamless piece of matte charcoal bio-resin with no seams and no metal parts: a smooth rounded spine tapering at both ends, a single row of fourteen wide-set thick teeth rounded at the tips with generous even gaps, and the wordmark "ONDE" debossed into the spine in a fine geometric sans. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a polished charcoal reflective mirror floor enters frame. Each shot uses one backdrop from the bone and sage palette: smooth bone gradient, soft sage bokeh, crossing cool white light bars, drifting fine mist, or a deep charcoal field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the matte resin surface, its fine granular texture filling frame, a warm bone glow behind it.

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

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

CAMERA
0.0-0.8s - 12 degree FOV. Accelerating macro creep across the matte resin grain.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the comb levitating and rotating on a warm bone gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, water droplets beading and flying off the resin past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a single thick curl of dark hair coils past the levitating comb on sage bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the comb levitating between crossing cool white light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the rounded tip of one tooth, a grazing highlight travelling along it.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting fine mist, the comb flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the debossed ONDE wordmark, a highlight crossing its edges.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the comb, the charcoal spine filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The charcoal of the spine matches into a charcoal light bar, camera arcing at 30 km/h across a bone void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The comb descends and lands on a polished charcoal reflective mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
The resin grain fills frame. The comb levitates and rotates. Water beads and flies off. A thick curl coils past. A highlight travels a tooth tip. The debossed wordmark catches light. The comb lands on a polished floor and settles.

PHYSICS
The comb is one solid piece of resin, roughly 40 grams. Water beads and sheds because the surface is non-porous. The curl holds its spring. The comb lands with a small hard contact and a true reflection.

LIGHTING
Hard specular key from camera-left at 5000K raking across the comb, a tight rim light on the right edge, soft sage practicals in the background. White balance fixed at 5000K. Atmospheric haze at 5%.

COLOR GRADE
60:30:10 - warm bone dominant, charcoal secondary, sage accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, a resin tap, a soft hair rustle, water droplets, 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 comb design stays identical to @image1 in every shot: one seamless matte charcoal bio-resin piece, a single row of fourteen wide-set rounded teeth with even generous gaps, no fine teeth anywhere, no metal parts, the debossed ONDE wordmark on the spine 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, une personne, une progression. La caméra ne s'arrête jamais mais elle avance lentement — 2 à 3 km/h écrits noir sur blanc, contre 30 dans l'hyper motion. 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 un catalogue.

SCENE CONTEXT
A 10-second vertical commercial spot for ONDE, a minimalist wide-tooth comb for thick hair. Early morning in a quiet bathroom, one woman with thick voluminous curls getting ready. Slower editorial cutting than a drinks film, roughly one second per shot, the camera moving in every single shot.

ACTIVE REFERENCES
@image1 - the ONDE comb. One seamless piece of matte charcoal bio-resin with no seams and no metal parts: a smooth rounded spine tapering at both ends, a single row of fourteen wide-set thick teeth rounded at the tips with generous even gaps, and the wordmark "ONDE" debossed into the spine in a fine geometric sans. 100% matches the reference.

LOCATION MAP
Microcement walls in warm bone, a hand-thrown ceramic dish on a narrow shelf, a folded linen towel, one tall window with morning light, a sprig of eucalyptus. The set contains only the walls, the shelf, the dish, the towel, the window and the eucalyptus.

FIRST FRAME / BLOCKING
Frame opens close on the ceramic dish as morning light sweeps across the shelf, the charcoal comb resting in it, the woman entering frame behind.

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. Slow slide along the shelf at 2 km/h, morning light sweeping across the microcement.
1.6s HARD CUT
1.6-2.4s - 47 degree FOV. Push-in on a woman in her thirties with thick dark voluminous curls, looking at herself, lifting a hand to her hair.
2.4s WHIP CUT
2.4-3.2s - 29 degree FOV. Push-in as her hand lifts the comb out of the ceramic dish.
3.2s HARD CUT
3.2-4.0s - 12 degree FOV. Orbiting macro along the matte charcoal spine, a grazing highlight travelling over the debossed wordmark.
4.0s SMASH CUT
4.0-4.8s - 12 degree FOV. Locked macro, the wide teeth entering thick curls at the root, the coils parting cleanly around them.
4.8s WHIP CUT
4.8-5.4s - 107 degree FOV. Whip pan through the tall window flare.
5.4s HARD CUT
5.4-6.2s - 18 degree FOV. Macro tracking down the length of the comb as it draws through the hair to the ends without snagging.
6.2s HARD CUT
6.2-7.0s - 47 degree FOV. Slow arc around her at 3 km/h, the curls falling back into shape behind the comb.
7.0s MATCH CUT
7.0-7.8s - 63 degree FOV. The charcoal of the comb matches into the dark of her hair, camera tilting up at 2 km/h to her face.
7.8s HARD CUT
7.8-8.6s - 29 degree FOV. Slow push-in as she turns her head once and the curls swing and settle.
8.6s HARD CUT
8.6-10.0s - 18 degree FOV. Steady push-in on the comb laid back into the ceramic dish, the debossed wordmark catching the light, the bathroom soft behind.

ACTION
Morning light sweeps the shelf. A woman lifts the comb from a ceramic dish. A grazing highlight travels the spine. The wide teeth enter thick curls at the root and the coils part around them. The comb draws all the way to the ends without snagging. The curls fall back into shape. She turns her head and they swing and settle. The comb is laid back into the dish.

PERFORMANCE
She moves unhurried and unselfconscious, the way someone moves alone in the morning. Small real adjustments, no posing, eyes on her own reflection rather than the lens.

PHYSICS
The comb is one solid piece of resin, roughly 40 grams, with real weight in the hand and a small hard contact sound against ceramic. Each curl has its own spring and returns to shape after the teeth pass. Hair meets the wide gaps without catching or stretching.

LIGHTING
Soft directional morning light from a tall window camera-left at 5000K, gentle bounce from the bone walls, no hard shadow. White balance fixed at 5000K. Atmospheric haze at 5%.

COLOR GRADE
60:30:10 - warm bone dominant, charcoal secondary, sage accent.

AUDIO
Diegetic only: quiet room tone, resin tapping ceramic, the soft rustle of thick hair, distant morning street.

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

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

POSITIVE LOCKS
The comb design stays identical to @image1 in every shot: one seamless matte charcoal bio-resin piece, a single row of fourteen wide-set rounded teeth with even generous gaps, no fine teeth anywhere, no metal parts, the debossed ONDE wordmark on the spine legible. The woman keeps the same face, the same thick dark curls and the same clothing across every cut. The set contains only the walls, the shelf, the dish, the towel, the window and the eucalyptus. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the comb is never shown floating on a studio backdrop and never appears without the bathroom or the hair 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 woman in her thirties with thick dark curly hair worn loose and voluminous, warm brown skin, no makeup, wearing a simple oatmeal knit. They are mid-sentence, caught talking — mouth open on a word, eyebrows slightly raised, eyes locked on the lens. Not smiling, not posing.

SETTING — her bathroom in the morning, plain tiles, a plant on the shelf, soft daylight. 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.

La réplique 1 nomme l'objection (« tous mes peignes cassaient »), la réplique 2 y répond. Une pub UGC ne vend pas un produit, elle referme une objection.

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 have thick curly hair and every comb I owned used to snap."
Line 2, at the very end: "This one glides straight through. No pulling, nothing."
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 ONDE comb up close to the lens and turns it so the debossed wordmark on the spine catches the light and stays readable, then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they draw the comb slowly down through their thick curly hair in one clean pass, right to the ends.
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: one seamless piece of matte charcoal bio-resin, a single row of wide-set rounded teeth, ONDE debossed in the spine, 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.