ROUGE-08 — les prompts.

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

Design a single BRAND IDENTITY BOARD for the fictional brand ROUGE 08, 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 ROUGE 08 very large, set in a high-contrast fashion serif for the wordmark and a fine sans for captions
· under it, the descriptor ROUGE SATIN 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: ROUGE #8E1A2B, ROSE GOLD #C9906F, BLUSH #F2DAD5, INK #1A1416, SILK #D8C3B4
· 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 — glamorous, precise, evening. Every colour comes from the palette above and from the photographs. Spell every word correctly. Crisp vector-clean typography, high resolution, professional brand guidelines aesthetic. No watermark, no lorem ipsum, no extra logos.

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

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

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

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

Point de départ de toute la campagne : le produit, généré seul sur fond neutre. C'est lui qu'on passe ensuite en référence dans chaque visuel — le décor change, l'étui ne bouge pas. Le prompt décrit deux états en même temps : capuchon retiré et posé à côté, bâton sorti. C'est volontaire — un packshot doit montrer le produit ouvert, sinon on vend un tube fermé.

Ultra high-end commercial packshot of a lipstick standing upright with its cap off beside it, centred, on a seamless soft blush backdrop with a soft graduated falloff. The case is a slim cylinder of polished rose-gold metal with a fine knurled band at the base, and the bullet is extended, showing a satin deep-red cream tip with a clean angled cut. The wordmark ROUGE 08 is etched small around the knurled band in fine capitals, legible. The cap lies beside it on its side. Studio lighting: one large softbox from the upper left for a long mirror highlight down the metal, a tight rim light on the right edge, a crisp reflection under the base. Photorealistic, 8K, macro-level detail, premium advertising aesthetic, immaculate reflections. No other text, no watermark, no hands.

Ultra high-end commercial packshot of a [PRODUCT TYPE] [HOW IT STANDS AND WHAT LIES BESIDE IT], centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [OUTER BODY] is [MATERIAL 1 + ITS FINISH] with [STRUCTURAL DETAIL], and the [WORKING PART] is [IN WHICH STATE IT IS SHOWN], showing [MATERIAL 2 + ITS TEXTURE] with [THE EXACT SHAPE OF THAT PART]. The wordmark [BRAND NAME] is [HOW IT IS APPLIED] around [WHERE EXACTLY] in fine capitals, legible. [THE SECONDARY PART] lies beside it [IN WHICH POSITION]. Studio lighting: one large softbox from the [DIRECTION] for a long mirror highlight down the [MAIN MATERIAL], a tight rim light on the [EDGE THAT MUST READ], a crisp reflection under the base. Photorealistic, 8K, macro-level detail, premium advertising aesthetic, immaculate reflections. No other text, no watermark, no hands.

Le plan qui pose le monde de la marque. Un poudrier, une boucle d'oreille, les ampoules du miroir : le décor raconte le moment où on se prépare, pas le produit. Trois objets suffisent — au-delà, le modèle encombre le cadre et l'étui 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 — a vintage dressing table: the lipstick standing open beside a powder compact and a pearl earring, warm bulb light from a mirror frame. Glamorous, editorial, 85mm.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting with controlled mirror-metal highlights, 16-bit colour workflow, luxury commercial cosmetic retouching, ultra-high-resolution 4K product photography with razor-sharp knurling and satin cream texture.

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 [PERIOD / STYLE] dressing table: the [PRODUCT] standing open beside [EVERYDAY OBJECT 1] and [EVERYDAY OBJECT 2], [THE LIGHT SOURCE IN THE ROOM]. Glamorous, editorial, 85mm.

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

Le plan qui vend le produit lui-même, pas son emballage. On voit la crème satinée et la coupe biseautée nette. En cosmétique, l'acheteuse achète la texture — c'est la seule image qui la montre.

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 satin red bullet, the angled cut sharp, the knurled rose-gold band just in frame. 100mm macro, soft specular light.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting with controlled mirror-metal highlights, 16-bit colour workflow, luxury commercial cosmetic retouching, ultra-high-resolution 4K product photography with razor-sharp knurling and satin cream texture.

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 [WORKING PART OF THE PRODUCT], [THE DETAIL THAT MUST STAY SHARP] sharp, the [SECOND DETAIL] just in frame. 100mm macro, soft specular light.

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

Le seul plan de la série qui montre le résultat plutôt que l'objet. Ridules et texture de peau sont volontairement laissées visibles : une peau lisse de retouche ferait mentir l'image et l'acheteuse ne se reconnaîtrait pas.

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

SCENE — a tight crop of lips being painted, the bullet touching the lower lip, skin texture and fine lines visible. Soft beauty light, intimate, unretouched.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting with controlled mirror-metal highlights, 16-bit colour workflow, luxury commercial cosmetic retouching, ultra-high-resolution 4K product photography with razor-sharp knurling and satin cream texture.

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 tight crop of [THE BODY PART THE PRODUCT ACTS ON] being [THE ACTION], the [WORKING PART] touching [THE EXACT CONTACT POINT], skin texture and fine lines visible. Soft beauty light, intimate, unretouched.

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

Rouge sur rouge : le tissu ne décore pas, il sert de faire-valoir de couleur. Le métal reprend le rouge en reflet, ce qui soude le produit à son fond au lieu de le poser dessus. C'est ce visuel qui fixe la colorimétrie de toute la série.

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

SCENE — the lipstick lying on a fall of deep red silk, the metal reflecting the fabric, one hard highlight. Luxurious, tactile, 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, HDR studio lighting with controlled mirror-metal highlights, 16-bit colour workflow, luxury commercial cosmetic retouching, ultra-high-resolution 4K product photography with razor-sharp knurling and satin cream texture.

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 a fall of [FABRIC + ITS COLOUR], the [REFLECTIVE MATERIAL] reflecting the fabric, one hard highlight. Luxurious, tactile, 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 razor-sharp [YOUR MATERIAL 1] and [YOUR MATERIAL 2] texture.

Le produit quitte le studio pour la vraie occasion. Bokeh de bar derrière, marbre devant : on vend le soir où on le sort, pas l'objet. Le flou d'arrière-plan est ici légitime — c'est un plan de nuit, pas un plan 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 lipstick tipped out of a small evening bag on a marble bar top beside a glass, nightclub bokeh behind. Nocturnal, cinematic, shallow.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting with controlled mirror-metal highlights, 16-bit colour workflow, luxury commercial cosmetic retouching, ultra-high-resolution 4K product photography with razor-sharp knurling and satin cream texture.

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] tipped out of [THE BAG OR CONTAINER IT TRAVELS IN] on a [SURFACE MATERIAL] bar top beside [ONE CONTEXT OBJECT], [WHAT GLOWS BEHIND] behind. Nocturnal, cinematic, shallow.

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

Le plan que réclame l'acheteuse avant d'acheter : la couleur réelle, déposée sur une peau. Lumière plate, aucun effet, aucun étalonnage — un plan de preuve ne doit pas être beau, il doit être exact.

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 — three thick swatches of the red cream drawn across the back of a hand, the lipstick held at the frame edge. Flat clean light, beauty 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 with controlled mirror-metal highlights, 16-bit colour workflow, luxury commercial cosmetic retouching, ultra-high-resolution 4K product photography with razor-sharp knurling and satin cream texture.

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 — three thick swatches of [THE PRODUCT'S MATTER] drawn across [WHERE THEY ARE TESTED], the [PRODUCT] held at the frame edge. Flat clean light, beauty editorial.

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

La gravure prouve que le nom est dans le métal et pas sur une étiquette collée. Le reflet qui glisse autour du cylindre fait le reste : en publicité, c'est la fabrication qui justifie le prix.

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 knurled band and the etched wordmark, a mirror highlight sliding around the cylinder. 100mm macro, specular.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting with controlled mirror-metal highlights, 16-bit colour workflow, luxury commercial cosmetic retouching, ultra-high-resolution 4K product photography with razor-sharp knurling and satin cream texture.

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 [MACHINED DETAIL] and the [ENGRAVED WORDMARK], a mirror highlight sliding around the [SHAPE OF THE BODY]. 100mm macro, specular.

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

Le plan de clôture : symétrie stricte, ombre dure, les objets qui accompagnent le produit. Une série a besoin d'une image qui la referme — celle-ci sert aussi de visuel de couverture et de vignette e-commerce.

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

SCENE — a strict overhead flat lay on soft blush: the lipstick lying flat dead centre with its cap beside it, surrounded by a silk ribbon, a compact and dried rose petals. Hard shadow, symmetry.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, HDR studio lighting with controlled mirror-metal highlights, 16-bit colour workflow, luxury commercial cosmetic retouching, ultra-high-resolution 4K product photography with razor-sharp knurling and satin cream texture.

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

SCENE — a strict overhead flat lay on [BACKGROUND COLOUR]: the [PRODUCT] lying flat dead centre with [THE SECONDARY PART] beside it, surrounded by [OBJECT 1], [OBJECT 2] and [OBJECT 3]. Hard shadow, symmetry.

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

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

SCENE CONTEXT
A 10-second vertical kinetic product spot for ROUGE 08, a luxury satin lipstick. No people, no location. A single blush and rouge colour world, the lipstick levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the blush and rouge palette.

ACTIVE REFERENCES
@image1 - the ROUGE 08 lipstick. A slim cylinder of polished rose-gold metal with a fine knurled band at the base and the wordmark ROUGE 08 etched small around it, the bullet extended showing a satin deep-red cream tip with a clean angled cut, the cap separate. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a black glass reflective mirror floor enters frame. Each shot uses one backdrop from the blush and rouge palette: smooth blush gradient, deep rouge bokeh, crossing rose-gold light bars, drifting silk mist, or a near-black field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the satin red cream tip, its angled cut razor sharp, a deep rouge 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 satin cream surface of the bullet.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the lipstick levitating and rotating on a soft blush gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, a swatch of red cream smearing across the lens plane in slow motion.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a fall of red silk unfurls around the levitating lipstick on rouge bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the lipstick levitating between crossing rose-gold light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the knurled band, a mirror highlight sliding around every ridge.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting silk mist, the lipstick flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the cap lifting away from the cylinder and floating out of frame.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the lipstick, the etched ROUGE 08 wordmark filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The rose gold of the knurled band matches into a rose gold light bar, camera arcing at 30 km/h across a near-black void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The lipstick descends and lands on a black glass reflective mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
The satin tip fills frame. The lipstick levitates and rotates. A red swatch smears past the lens. Red silk unfurls around it. A highlight slides around the knurling. The cap lifts away. The wordmark fills frame. The lipstick lands on black glass and settles.

PHYSICS
The lipstick is roughly 40 grams of solid metal. The cream has real satin drag when it smears. The silk unfurls with fabric weight and air resistance. Polished metal reflects with true mirror behaviour.

LIGHTING
Hard specular key from camera-left at 5000K raking across the lipstick, a tight rim light on the right edge, deep rouge practicals in the background. White balance fixed at 5000K. Atmospheric haze at 18%.

COLOR GRADE
60:30:10 - soft blush dominant, deep rouge secondary, rose-gold accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, a metallic click of the cap, a soft silk rustle, a crisp snap, a low sub hit on the final landing.

STYLE
Photorealistic commercial cinematography, 24fps smooth motion, fine film grain, 8K detail, high-energy kinetic pacing.

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

POSITIVE LOCKS
The lipstick design stays identical to @image1 in every shot: polished rose-gold cylinder, fine knurled band, the etched ROUGE 08 wordmark legible, the satin deep-red bullet with its clean angled cut. 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], [WHAT THE PRODUCT IS]. 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 [PALETTE NAME] palette.

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

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a [REFLECTIVE FLOOR MATERIAL] 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 ONE DETAIL THAT SELLS THE PRODUCT], [WHAT GLOWS 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 SURFACE OF THE PRODUCT].
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the [PRODUCT] levitating and rotating on [BACKDROP 1].
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, [THE MATTER THE PRODUCT IS MADE OF, MOVING PAST THE LENS] in slow motion.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as [A MATERIAL THAT UNFURLS OR COILS] around the levitating [PRODUCT] on [BACKDROP 2].
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the [PRODUCT] levitating between crossing [ACCENT COLOUR] light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on [THE CRAFTED DETAIL], a mirror highlight sliding around it.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through [DRIFTING ATMOSPHERE], the [PRODUCT] flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, [THE PART THAT OPENS OR MOVES] [WHAT IT DOES] and floating out of frame.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the [PRODUCT], the [WORDMARK] filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The [ACCENT COLOUR] of [WHERE IT SITS ON THE PRODUCT] matches into a [ACCENT COLOUR] light bar, camera arcing at 30 km/h across a [DARK VOID COLOUR] void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The [PRODUCT] descends and lands on a [REFLECTIVE FLOOR MATERIAL] mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
[THE ELEVEN BEATS RESTATED IN ONE SHORT SENTENCE EACH, IN THE SAME ORDER].

PHYSICS
The [PRODUCT] is roughly [ITS REAL WEIGHT]. [HOW ITS MAIN MATTER BEHAVES WHEN IT MOVES]. [HOW THE SECOND MATERIAL BEHAVES]. [HOW ITS SURFACE REFLECTS].

LIGHTING
Hard specular key from camera-left at [COLOUR TEMPERATURE] raking across the [PRODUCT], a tight rim light on the right edge, [ACCENT COLOUR] practicals in the background. White balance fixed at [COLOUR TEMPERATURE]. 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] design stays identical to @image1 in every shot: [THE FOUR OR FIVE FEATURES THAT MUST NEVER CHANGE, INCLUDING THE TEXT]. The set contains only seamless colour fields and, in the final beat, the mirror floor. Every shot contains visible camera movement.

L'inverse exact de l'hyper motion : caméra posée sur dolly et grue, jamais à l'épaule, quatre temps de deux secondes et demie. Un lieu, une personne, une progression. C'est ce qu'on vend le plus cher parce que ça ressemble à une vraie pub — et la ligne ABSOLUTELY NO PACKSHOT est là pour ça : dès que le modèle remet le produit sur fond studio, le spot redevient une démo.

SCENE CONTEXT
A 10-second vertical commercial spot for ROUGE 08, a luxury satin lipstick. Evening in a hotel room as a woman finishes getting ready. Composed camera on a dolly and a crane, never handheld. Four beats in a structured arc, roughly two and a half seconds each.

ACTIVE REFERENCES
@image1 - the ROUGE 08 lipstick. A slim polished rose-gold cylinder with a fine knurled band etched ROUGE 08, the bullet extended showing a satin deep-red cream tip with a clean angled cut, and a separate cap. 100% matches the reference.

LOCATION MAP
A hotel room: a mirrored dressing table, a bed with a coat thrown on it, floor-to-ceiling windows with a city at night, two warm bulbs on the mirror. The set contains only what is listed here.

FIRST FRAME / BLOCKING
Frame opens wide on the city at night through the window, the room warm 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, clean spherical rendering.

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. Slow crane descent from the window across the room to the dressing table at 2 km/h, the mirror bulbs warm.
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. Slow push-in as a woman in her twenties draws the bullet once across her lower lip and presses her lips together.
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. Slow lateral dolly as she caps the lipstick and drops it into a small evening bag, taking her coat off the bed.
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. Slow crane rise pulling back as she leaves the frame, the cap left on the dressing table with the wordmark catching the bulbs.

ACTION
A city at night through a window. A woman draws the lipstick across her lip and presses her lips together. She caps it and drops it into a bag. She leaves and the cap stays on the table.

PERFORMANCE
She moves quickly and with intent, already half out of the door. Nobody performs for the lens.

PHYSICS
The lipstick is roughly 40 grams of metal with a crisp click when capped. The cream has real satin drag on the lip. Polished metal reflects the bulbs with true mirror behaviour.

LIGHTING
Two warm mirror bulbs at 2900K from camera-front, cold city spill from the window behind, deep shadow between. Atmospheric haze at 8%.

COLOR GRADE
60:30:10 - warm bulb amber dominant, deep rouge secondary, rose-gold accent.

AUDIO
Diegetic only: a metallic cap click, a bag clasp, a coat lifted, distant city traffic below. No dialogue, no subtitles.

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

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

POSITIVE LOCKS
The lipstick design stays identical to @image1 in every shot: polished rose-gold cylinder, fine knurled band with ROUGE 08 etched and legible, and the satin deep-red bullet with its clean angled cut. The people keep the same faces, hair and clothing across every cut. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the lipstick is never shown isolated on a studio backdrop and never appears without a person in the scene.

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

ACTIVE REFERENCES
@image1 - the [BRAND NAME] [PRODUCT]. [FULL PRODUCT DESCRIPTION]. 100% matches the reference.

LOCATION MAP
[THE SET, DESCRIBED ONCE: furniture, light sources, what is on the walls, what is visible through the window]. The set contains only what is listed here.

FIRST FRAME / BLOCKING
Frame opens [THE WIDEST THING IN THE SCENE, AND WHAT IS BEHIND IT].

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

OPTICS
Physical cine lens, 180 degree shutter motion blur, clean spherical rendering.

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. [THE SLOW OPENING MOVE, ITS SPEED, WHERE IT ENDS].
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. [THE MOVE] as [THE PERSON] [THE SINGLE GESTURE THEY MAKE WITH THE PRODUCT].
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. [THE MOVE] as [THE WIDER MOMENT AROUND THE PRODUCT].
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. [THE FINAL MOVE THAT LEAVES THE PRODUCT ALONE IN FRAME, WORDMARK LEGIBLE].

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

PERFORMANCE
[HOW THE PERSON MOVES AND WHY]. Nobody performs for the lens.

PHYSICS
The [PRODUCT] is roughly [ITS REAL WEIGHT] and [THE SOUND OR RESISTANCE IT HAS WHEN HANDLED]. [HOW ITS MATTER BEHAVES IN USE]. [HOW ITS SURFACE REFLECTS THE SET].

LIGHTING
[THE PRACTICAL LIGHT IN THE ROOM] at [COLOUR TEMPERATURE] from [DIRECTION], [THE CONTRASTING LIGHT] from [THE OTHER SIDE], deep shadow between. Atmospheric haze at [PERCENTAGE].

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

AUDIO
Diegetic only: [THE THREE OR FOUR SOUNDS THE SCENE ITSELF MAKES]. No dialogue, no subtitles.

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

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

POSITIVE LOCKS
The [PRODUCT] design stays identical to @image1 in every shot: [THE FEATURES THAT MUST NEVER CHANGE, INCLUDING THE TEXT]. 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 cadrage raté, de la peau non retouchée. C'est exactement l'inverse des huit visuels précédents — et c'est pour ça qu'il est écrit en prose et pas en JSON.

Use the attached image as the exact product reference.

THIS IS A FRAME GRABBED FROM A PHONE VIDEO, not a photograph. Vertical phone video, front camera, held at arm's length in their own free hand.

A woman in her twenties, deep brown skin, braided hair pulled back, glossy skin, wearing a white vest. 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, a mirror edge and a cluttered shelf beside her. It looks real and lived-in, not styled for a shoot, with ordinary everyday things around them.

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

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

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

THE PRODUCT — they hold the lipstick low near the collarbone in one hand, cap off. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image, at true real-world scale.

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

Use the attached image as the exact product reference.

THIS IS A FRAME GRABBED FROM A PHONE VIDEO, not a photograph. Vertical phone video, front camera, held at arm's length in their own free hand.

[THE PERSON: age, skin, hair, 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], [WHAT IS 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 or lamp blown out to white. No cinematic depth of field, no colour grading, no studio light.

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

THE PRODUCT — [HOW THEY HOLD IT AND WHERE, IN WHICH STATE]. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image, at true real-world scale.

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

L'image validée devient la première frame de la vidéo. Un seul plan sans coupe, et la personne dit exactement deux répliques : une au début, une à la fin. Entre les deux, les deux temps du milieu sont marqués SILENT. C'est ce silence écrit noir sur blanc qui empêche le modèle d'inventer du dialogue — et la réplique 1 est une objection, pas un argument.

Continue this phone video from the exact frame shown. They film themselves with the phone in one hand at arm's length the whole time. ONE SINGLE CONTINUOUS TAKE, no cuts, no scene changes.

They speak ONLY these two lines, each said ONCE and never repeated:
Line 1, at the very start: "I've bought this exact shade four times now."
Line 2, at the very end: "It doesn't move. Not through dinner, not through anything."
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 lipstick up close to the lens and turns it so the knurled band and the red bullet fill frame, then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they draw the bullet once across their lower lip and press their lips together.
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 polished rose-gold cylinder, the knurled band, the etched ROUGE 08 wordmark and the satin red bullet, sharp and unchanged, never distorted, never resized and never losing its text.

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

Continue this phone video from the exact frame shown. They film themselves with the phone in one hand at arm's length the whole time. ONE SINGLE CONTINUOUS TAKE, no cuts, no scene changes.

They speak ONLY these two lines, each said ONCE and never repeated:
Line 1, at the very start: "[THE OBJECTION 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 [HOW THEY TURN IT SO THE WORDMARK READS], then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: [THE ONE REAL GESTURE OF USE, DONE ONCE].
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 FOUR FEATURES AND THE WORDMARK THAT MUST NEVER CHANGE], sharp and unchanged, never distorted, never resized and never losing its text.

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