PLEIN-SUD — les prompts.

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

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

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

LAYOUT — a strict editorial grid with generous margins on a flat neutral background from the palette:
· top left, the wordmark PLEIN-SUD very large, set in a precise modern sans for the wordmark and a condensed sans for captions
· under it, the descriptor SUN PROTECTION in small letter-spaced caps
· the four photographs as a clean asymmetric grid, one large and three smaller
· a horizontal PALETTE row of five solid colour chips, each with its name and hex code in small caps beneath: CACAO #331D13, SABLE BLANC #E3E1DD, TERRE #6F4830, ABRICOT #C59C81, PÊCHE #EEBC95
· a TYPOGRAPHY block showing A B C D E F G and 0 1 2 3 4 5 in the brand typeface, with the type names labelled
· small section labels in tiny letter-spaced caps: LOGOTYPE, PALETTE, TYPOGRAPHY, IMAGERY

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

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

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

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

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

Point de départ de toute la campagne : le tube, généré seul sur fond abricot. C'est lui qu'on passe ensuite en référence dans chaque visuel — le décor change, le tube ne bouge pas. Regarde le niveau de détail matière : « soft-touch matte white plastic », « crimped seam ». Sans ça, le modèle sort un plastique brillant de supermarché.

Ultra high-end commercial packshot of a squeezable sunscreen tube standing upright on its flat cap, centred, on a seamless pale apricot backdrop with a soft graduated falloff. The tube is soft-touch matte white plastic with a slightly pinched crimped seam at the top, a wide flat white flip cap, and a broad horizontal band of warm apricot across the middle. Printed on the band, PLEIN SUD in clean modern capitals, with SPF 50+ large beneath it and HAUTE PROTECTION in tiny caps below a fine rule. Studio lighting: one large softbox above front for a soft even wrap on the matte plastic, a tight rim light on each side, a small hard highlight on the cap.

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

Ultra high-end commercial packshot of a [PRODUCT TYPE] [HOW IT STANDS], centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] is [THE MAIN MATERIAL AND ITS FINISH] with [A CONSTRUCTION DETAIL], [THE CAP OR CLOSURE], and [THE COLOURED AREA THAT CARRIES THE BRANDING]. Printed on [WHERE EXACTLY], [BRAND NAME] in [THE TYPEFACE STYLE], with [THE MAIN CLAIM] large beneath it and [THE SECONDARY LINE] in tiny caps below a fine rule. Studio lighting: one large softbox above front for [THE EFFECT IT MUST PRODUCE ON THE MAIN MATERIAL], a tight rim light on each side, a small hard highlight on [THE PART THAT MUST CATCH THE LIGHT].

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

Le plan qui pose le climat de la marque. On refuse volontairement l'heure dorée : une crème solaire se photographie quand le soleil tape. Ici la lumière dure et les ombres courtes ne sont pas un défaut, ce sont des arguments 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 tube lying on a striped cotton beach towel in full midday sun, a straw hat and a paperback at the frame edge, hot white sand out of focus behind. 35mm, hard overhead sun, high key.

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

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

SCENE — the [PRODUCT] lying on [THE SURFACE IT LIES ON] in full midday sun, [OBJECT 1] and [OBJECT 2] at the frame edge, [WHAT IS OUT OF FOCUS BEHIND]. 35mm, hard overhead sun, high key.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [PRODUCT CATEGORY] packaging retouching with razor-sharp [THE MAIN MATERIAL] texture and clean typography, ultra-high-resolution 4K product photography with premium editorial finish.

Ce qu'on achète n'est pas le tube, c'est ce qui en sort. Pics fermes, texture mate, quelques poils fins pour l'échelle : c'est la crème qui doit être crédible, pas l'emballage. Un seul plan de la série s'en charge, il ne faut pas le rater.

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

SCENE — an extreme macro on a thick white stripe of cream squeezed onto warm skin, its soft peaks and matte texture catching a hard side light, a few fine hairs visible. 100mm macro, ultra shallow depth of field.

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

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

SCENE — an extreme macro on [WHAT COMES OUT OF THE PRODUCT] on [THE SURFACE IT LANDS ON], its [ITS TEXTURE] catching a hard side light, [A HUMAN DETAIL THAT GIVES THE SCALE] visible. 100mm macro, ultra shallow depth of field.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [PRODUCT CATEGORY] packaging retouching with razor-sharp [THE MAIN MATERIAL] texture and clean typography, ultra-high-resolution 4K product photography with premium editorial finish.

Une main étale, l'autre tient le tube — et la consigne est écrite deux fois dans le prompt. Sans elle, le modèle fait flotter le produit dans le vide dès qu'une deuxième main est occupée. C'est le piège numéro un des plans d'application.

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

SCENE — a close shot of a sun-warmed shoulder beside a pool: one hand smooths white cream across the wet skin while the OTHER HAND clearly grips the tube, fingers wrapped around its middle, holding it upright against the arm — the tube is held at all times and never floats unsupported. Water droplets on the skin, out of focus turquoise water behind. 85mm, harsh sun, shallow depth of field.

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

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

SCENE — a close shot of [THE BODY PART] beside [THE PLACE]: one hand [THE GESTURE OF APPLYING] while the OTHER HAND clearly grips the [PRODUCT], fingers wrapped around its middle, holding it upright against the arm — the [PRODUCT] is held at all times and never floats unsupported. [A DETAIL ON THE SKIN], out of focus [WHAT IS BEHIND] behind. 85mm, harsh sun, shallow depth of field.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [PRODUCT CATEGORY] packaging retouching with razor-sharp [THE MAIN MATERIAL] texture and clean typography, ultra-high-resolution 4K product photography with premium editorial finish.

Une seule idée par image : l'eau. Les caustiques mobiles sur le mur donnent tout le mouvement, le tube reste immobile au milieu. Le décor travaille, le produit ne bouge pas — c'est ce partage qui rend un plan lisible.

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 tube standing on the wet tiled edge of a swimming pool, water pooling around its base, the pool surface throwing moving caustics on the wall behind. 50mm, hard midday light, saturated blues.

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

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

SCENE — the [PRODUCT] standing on [THE WET SURFACE], [WHAT POOLS AROUND ITS BASE], [THE LIGHT PHENOMENON] on the wall behind. 50mm, hard midday light, saturated [DOMINANT COLOUR].

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [PRODUCT CATEGORY] packaging retouching with razor-sharp [THE MAIN MATERIAL] texture and clean typography, ultra-high-resolution 4K product photography with premium editorial finish.

Le plan le moins mis en scène de la série : le tube dépasse d'un panier, comme chez n'importe qui. Il sert de respiration entre deux images léchées et c'est lui qui rend l'ensemble crédible.

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

SCENE — the tube half out of an open woven straw beach bag on a wooden deck, a rolled towel and sunglasses inside, sharp deck shadows. 35mm, hard sun, warm tones.

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

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

SCENE — the [PRODUCT] half out of an open [BAG TYPE] on [THE SURFACE], [OBJECT 1] and [OBJECT 2] inside, sharp [WHAT CASTS THE SHADOWS] shadows. 35mm, hard sun, warm tones.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [PRODUCT CATEGORY] packaging retouching with razor-sharp [THE MAIN MATERIAL] texture and clean typography, ultra-high-resolution 4K product photography with premium editorial finish.

L'ombre dure du parasol coupe l'image en deux et le tube est posé pile sur la ligne. Une image se lit avant d'être regardée : celle-ci tient en vignette parce qu'elle n'a qu'un seul contraste à raconter.

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 tube on the arm of a teak sun lounger under a canvas parasol, the hard edge of the parasol shadow cutting across it, bright sand beyond. 50mm, high contrast, editorial.

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

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

SCENE — the [PRODUCT] on [THE PIECE OF FURNITURE] under [WHAT CASTS THE SHADOW], the hard edge of the shadow cutting across it, [WHAT IS BEYOND] beyond. 50mm, high contrast, editorial.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [PRODUCT CATEGORY] packaging retouching with razor-sharp [THE MAIN MATERIAL] texture and clean typography, ultra-high-resolution 4K product photography with premium editorial finish.

Le plastique se creuse sous les doigts, une perle apparaît à l'ouverture. On donne à voir une sensation physique : l'objet est souple, il répond. Aucune fiche produit ne dit ça, une image le fait en une demi-seconde.

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

SCENE — two hands squeezing the tube, the soft plastic denting under the fingers and a bead of cream just appearing at the opening. 85mm, hard sun from the right, shallow depth of field.

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

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

SCENE — two hands [THE GESTURE ON THE PRODUCT], [WHAT THE MATERIAL DOES UNDER THE FINGERS] and [WHAT APPEARS AT THE OPENING]. 85mm, hard sun from the right, shallow depth of field.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [PRODUCT CATEGORY] packaging retouching with razor-sharp [THE MAIN MATERIAL] texture and clean typography, ultra-high-resolution 4K product photography with premium editorial finish.

Le plan de clôture : trois objets, une roche chaude, rien d'autre. Une série a besoin d'une image qui la referme — et celle-ci raconte le Sud sans montrer ni plage, ni piscine, ni personne.

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 still life on a hot flat rock by the sea: the tube leaning against a pale pebble beside a shell and a sprig of dried thyme, salt-white light. 85mm, hard sun, minimal.

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

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

SCENE — a still life on [THE NATURAL SURFACE]: the [PRODUCT] leaning against [OBJECT 1] beside [OBJECT 2] and [OBJECT 3], [THE QUALITY OF THE LIGHT]. 85mm, hard sun, minimal.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [PRODUCT CATEGORY] packaging retouching with razor-sharp [THE MAIN MATERIAL] texture and clean typography, ultra-high-resolution 4K product photography with premium editorial finish.

Dix secondes, onze plans, aucune personne, aucun lieu. Le tube lévite et tourne, seul le fond change à chaque coupe — toujours dans la même palette abricot. C'est le format le plus rentable de la campagne : pas de casting, pas de plage à trouver, et il marche sur n'importe quel produit qui tient dans la main.

SCENE CONTEXT
A 10-second vertical kinetic product spot for PLEIN-SUD, an SPF 50+ sunscreen. No people, no location. A single apricot and white colour world, the tube levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the apricot and white palette.

ACTIVE REFERENCES
@image1 - the PLEIN-SUD tube. A matte white squeezable tube with a wide flat white cap and a broad apricot band reading PLEIN SUD, SPF 50+ and HAUTE PROTECTION. 100% matches the reference.

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

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the matte white plastic, its soft-touch texture filling frame, a warm apricot 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 plastic surface and the edge of the apricot band.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the tube on a warm apricot gradient at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, a thick white ribbon of cream bursting outward past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a spray of water droplets bursts around the tube on apricot bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the tube between crossing warm white light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the crimped seam at the top of the tube, every ridge sharp.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting fine spray, the tube flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the SPF 50+ on the apricot band, each character razor sharp.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the tube, the apricot band filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The apricot of the band matches into a apricot light bar, camera arcing at 30 km/h across a deep terracotta void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The tube settles into its final position on a wet white tile reflective floor, camera pushing in steadily.

ACTION
Matte plastic fills frame. The camera orbits the tube. Cream bursts outward. Water sprays around it. The crimped seam fills frame. SPF 50+ fills frame. It lands on wet white tile.

PHYSICS
The tube is soft and dents where pressure hits it. The cream holds thick soft peaks. Water beads and runs off the matte plastic.

LIGHTING
Hard specular key from camera-left at 5400K raking across the tube, a tight rim light on the right edge, warm apricot practicals in the background. White balance fixed at 5400K. Atmospheric haze at 14%.

COLOR GRADE
60:30:10 - blown white dominant, warm apricot secondary, terracotta accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, a plastic cap click, a cream squeeze, a water burst, 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 tube keeps its matte white body, wide flat cap, apricot band and the exact PLEIN SUD, SPF 50+ and HAUTE PROTECTION typography in every shot. The set contains only seamless colour fields and the reflective floor. Every shot contains visible camera movement.

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

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

LOCATION MAP
Seamless studio colour fields only, no horizon line, no floor until the final beat. Each shot uses one backdrop from the [COLOUR 1] and [COLOUR 2] palette: [A GRADIENT], [A BOKEH], [CROSSING LIGHT BARS], [A DRIFTING PARTICLE], or [A DARK FIELD].

FIRST FRAME / BLOCKING
Frame opens in extreme macro on [THE MOST TELLING MATERIAL DETAIL OF THE PRODUCT], a [COLOUR 1] glow behind it.

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

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

CAMERA
0.0-0.8s - 12 degree FOV. Accelerating macro creep across [THE MAIN MATERIAL AND ITS TEXTURE].
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the [PRODUCT] on a [COLOUR 1] gradient at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, [WHAT THE PRODUCT RELEASES OR DOES] past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as [A BURST OF SOMETHING PHYSICAL] around the [PRODUCT] on [COLOUR 2] bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the [PRODUCT] between crossing [LIGHT BAR COLOUR] light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on [A CONSTRUCTION DETAIL NOBODY LOOKS AT], every ridge sharp.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through [THE DRIFTING PARTICLE], the [PRODUCT] flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, [THE LABEL OR THE WORDMARK], each character razor sharp.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the [PRODUCT], [THE SIGNATURE PART] filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The [ACCENT COLOUR] of [THE PART THAT CARRIES IT] matches into a [ACCENT COLOUR] light bar, camera arcing at 30 km/h across a [DARK COLOUR] void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The [PRODUCT] settles into its final position on a [REFLECTIVE FLOOR MATERIAL] reflective floor, camera pushing in steadily.

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

PHYSICS
[THE WEIGHT OF THE PRODUCT AND THE TWO OR THREE MATERIAL BEHAVIOURS THAT MUST STAY TRUE].

LIGHTING
Hard specular key from camera-left at [COLOUR TEMPERATURE]K raking across the [PRODUCT], a tight rim light on the right edge, [PRACTICAL 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 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] keeps [ITS MATERIALS, ITS COLOURS AND EVERY WORD WRITTEN ON IT] in every shot. The set contains only seamless colour fields and the reflective floor. Every shot contains visible camera movement.

L'inverse exact de l'hyper motion : caméra posée, quatre temps de deux secondes et demie, un lieu, une personne, une progression. La ligne ABSOLUTELY NO PACKSHOT en bas du prompt est là pour ça — sans elle le modèle glisse un plan produit sur fond blanc et tout le naturel s'effondre. C'est le format qu'on facture le plus cher.

SCENE CONTEXT
A 10-second vertical lifestyle commercial for PLEIN-SUD, an SPF 50+ sunscreen. Real people, real places, four shots, one cut every two and a half seconds.

ACTIVE REFERENCES
@image1 - the PLEIN-SUD tube. A matte white squeezable tube with a wide flat white cap and a broad apricot band reading PLEIN SUD, SPF 50+ and HAUTE PROTECTION. 100% matches the reference in every shot.

LOCATION MAP
The film moves through a hot pool terrace, a sun lounger and the water's edge. No studio, no seamless backdrop, no colour field.

FIRST FRAME / BLOCKING
Opens on white light and a hand shielding the sun, the terrace burning out behind.

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

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

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. Handheld tilt down from the blown-out sky to a woman lying on a lounger in full midday sun.
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. Tight macro as she squeezes a white stripe onto her palm and smooths it across her shoulder, water still on her skin.
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. Slow push in at 3 km/h as she stands and walks to the water's edge, the light hard on her back.
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. She sits on the tiled edge with her feet in the pool, the tube on the tiles beside her hand, camera arcing slowly.

ACTION
She lies in the sun. She applies the cream. She walks to the water. She sits at the edge.

PERFORMANCE
Relaxed and unbothered, eyes closed against the sun, no smiling at camera.

PHYSICS
The tube dents under her fingers. The cream holds a soft peak then disappears into the skin. Water beads on the tiles.

LIGHTING
Hard vertical midday sun at 5600K, deep short shadows, strong bounce off the white terrace, blown highlights on the water. Atmospheric haze at 5%.

COLOR GRADE
60:30:10 - blown white terrace dominant, turquoise water secondary, apricot band accent.

AUDIO
Cicadas, water lapping, the tube's plastic click, a distant voice. No music until 5.0s.

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

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

POSITIVE LOCKS
The tube keeps its matte white body, wide apricot band and the exact PLEIN SUD, SPF 50+ and HAUTE PROTECTION typography in every shot. The people keep the same faces, hair and clothing across every cut. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the tube is never shown isolated on a studio backdrop and never appears without a person in the scene.

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

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

LOCATION MAP
The film moves through [PLACE 1], [PLACE 2] and [PLACE 3], and through nothing else. No studio, no seamless backdrop, no colour field.

FIRST FRAME / BLOCKING
Opens on [THE FIRST THING SEEN, BEFORE THE PRODUCT EVER APPEARS IN FRAME].

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

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

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. [THE OPENING MOVE, ITS SPEED IN KM/H, AND WHAT ENTERS FRAME].
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. [THE SINGLE GESTURE MADE WITH THE PRODUCT, SHOT TIGHT AND CLOSE].
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. [THE WIDER LIFESTYLE MOMENT AND THE SPEED OF THE CAMERA MOVE].
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. [THE FINAL MOVE THAT LANDS ON THE PRODUCT AND WHERE THE PRODUCT SITS].

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

PERFORMANCE
[HOW THE PERSON BEHAVES AND WHAT THEY NEVER DO], no smiling at camera.

PHYSICS
[THE WEIGHT OR THE VISCOSITY OF THE PRODUCT]. [THE TWO OR THREE MATERIAL BEHAVIOURS THAT MUST STAY TRUE ON SCREEN].

LIGHTING
[THE LIGHT SOURCE AND ITS DIRECTION] at [COLOUR TEMPERATURE]K, [THE SHADOWS IT MAKES], [WHAT IT BOUNCES OFF], [WHAT BLOWS OUT]. Atmospheric haze at [PERCENTAGE]%.

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

AUDIO
[THE THREE OR FOUR DIEGETIC SOUNDS OF THE PLACE AND OF THE PRODUCT ITSELF]. [WHEN THE MUSIC BED ENTERS, IF IT EVER DOES].

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

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

POSITIVE LOCKS
The [PRODUCT] keeps [ITS MATERIALS, ITS COLOURS AND EVERY WORD WRITTEN ON IT] in every shot. The people keep the same faces, hair and clothing across every cut. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the [PRODUCT] is never shown isolated on a studio backdrop and never appears without a person in the scene.

On ne génère jamais une vidéo UGC d'un coup. On fabrique d'abord cette image fixe en GPT Image 2, 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 coin d'étagère qui dépasse, de la peau non retouchée. C'est l'exact inverse des huit visuels précédents.

Use the attached image as the exact product reference.

THIS IS A FRAME GRABBED FROM A PHONE VIDEO, not a photograph. Vertical phone video, the phone standing on a small tripod so both hands are free.

A woman in her early thirties, sun-warmed skin, hair pushed back, wearing a loose plain white cotton t-shirt with a high round neckline that fully covers her shoulders and chest, caught mid-sentence with the mouth open on a word, eyes on the lens, not smiling and not posing.

SETTING — on a shaded terrace in the late afternoon, a whitewashed wall and out of focus greenery behind her, warm even light.

THE PRODUCT — She holds the PLEIN SUD tube in both hands in front of her chest, turned so PLEIN SUD and SPF 50+ read clearly.

IMAGE QUALITY — raw front-camera video still: soft and not tack sharp, everything in focus, no bokeh, no colour grading, no studio light, visible sensor noise in the shadows, heavy phone HDR flattening the contrast, slightly blown-out highlights, compressed social-video look. Unretouched skin with real pores, real texture and a little shine. Slightly off-centre framing, the corner of a shelf intruding into the bottom of the frame.

PRODUCT LOCK — The tube keeps exactly the matte white body, the wide apricot band and the exact PLEIN SUD, SPF 50+ and HAUTE PROTECTION typography of the reference. Spell every letter on it correctly. No other text in the frame, no watermark, no phone brand name.

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

Use the attached image as the exact product reference.

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

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

SETTING — [A REAL PLACE WHERE THIS PRODUCT ACTUALLY LIVES], [WHAT IS VISIBLE BEHIND THEM], [THE KIND OF LIGHT AND WHERE IT COMES FROM].

THE PRODUCT — [HOW THEY HOLD IT, AT WHAT HEIGHT, AND WHICH FACE OF IT MUST READ CLEARLY].

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

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

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

L'image validée devient la première frame de la vidéo. Le téléphone reste sur trépied, les deux mains sont libres, un seul plan sans coupe — et exactement deux répliques : l'objection au début, le résultat à la fin. Entre les deux, elle ne dit rien, et c'est ce silence écrit noir sur blanc qui empêche le modèle d'inventer du dialogue.

The person in this frame is filming a phone video. The phone is resting on a tripod so both hands stay free. They speak ONLY these two lines, each said ONCE and never repeated:
"I burn in twenty minutes, every single summer."
"I put this on once this morning and nothing."
Between the two lines they say NOTHING at all — no extra words, no muttering, no repetition.

Beat 1 — they say the first line straight to the lens.
Beat 2 — they stay silent while she squeezes a stripe of white cream onto the back of her hand.
Beat 3 — still silent, they look back into the lens.
Beat 4 — they say the second line straight to the lens.

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

PRODUCT LOCK — The tube keeps exactly the matte white body, the wide apricot band and the exact PLEIN SUD, SPF 50+ and HAUTE PROTECTION typography of the reference. It never changes shape, colour or text.

The camera is locked on the tripod and does not move. Flat indoor light, everything in focus, no bokeh, no colour grading, no camera move, no zoom. Close-mic phone audio, the voice slightly clipped, room tone underneath, no music. Raw phone footage, TikTok storytime energy. NO SUBTITLES, NO TEXT OR EMOJIS ON SCREEN.

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

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

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

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

[THE CAMERA IS LOCKED ON THE TRIPOD AND DOES NOT MOVE, OR SMALL NATURAL HANDHELD DRIFT SO THE FRAME IS NEVER FULLY STILL]. Flat indoor light, everything in focus, no bokeh, no colour grading, no camera move, no zoom. Close-mic phone audio, the voice slightly clipped, room tone underneath, no music. Raw phone footage, TikTok storytime energy. NO SUBTITLES, NO TEXT OR EMOJIS ON SCREEN.