RUCHE — 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 RUCHE, 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 RUCHE very large, set in a precise modern sans for the wordmark and a condensed sans for captions
· under it, the descriptor 250G RAW HONEY 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: MIEL #857152, ÉCORCE #28160A, CIRE #B6A382, BOIS BRÛLÉ #613416, AMBRE #B86D28
· 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 — golden, artisanal, honest. 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 pot, généré seul sur fond ambre. C'est lui qu'on passe ensuite en référence dans chaque visuel. La clé du prompt est la lumière : une softbox derrière le pot, pas devant. Un miel n'existe en photo que quand la lumière le traverse.

Ultra high-end commercial packshot of a 250g honey jar standing upright, centred, on a seamless warm amber backdrop with a soft graduated falloff. The jar is short, wide and hexagonal in thick clear glass, filled with deep golden honey that glows where the light passes through it, sealed with a turned pale ash wood lid and a fine waxed cotton cord tied once around the neck. A small uncoated kraft label sits low on the front, printed with RUCHE in a fine dark brown serif and MIEL DE CHATAIGNIER in tiny caps beneath, with 250 g at the base. Studio lighting: one large softbox directly behind for a full golden transmission through the honey, a tight rim light on each glass edge, a warm caustic pool of amber light spilling on the surface under the jar.

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 AND ITS SIZE] standing upright, centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] is [ITS SHAPE] in [THE CONTAINER MATERIAL], filled with [THE CONTENT AND WHAT THE LIGHT DOES TO IT], sealed with [THE CLOSURE AND ITS MATERIAL] and [A SECONDARY DETAIL TIED OR WRAPPED AROUND IT]. A small [LABEL MATERIAL] label sits low on the front, printed with [BRAND NAME] in [THE TYPEFACE STYLE] and [THE PRODUCT DESCRIPTOR] in tiny caps beneath, with [THE WEIGHT OR VOLUME] at the base. Studio lighting: one large softbox directly behind for [THE TRANSMISSION EFFECT THROUGH THE CONTENT], a tight rim light on each [EDGE THAT MUST READ], a warm caustic pool of [ACCENT COLOUR] light spilling on the surface under the [PRODUCT].

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

Le plan qui pose le monde de la marque : bois brut, pain déchiré, lumière rasante de sept heures. Le pot est ouvert, pas présenté — on montre un moment, pas un produit. C'est ce plan qui décide de la crédibilité 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 jar open on a rustic oak breakfast table with a torn piece of bread, a butter dish and a linen napkin, low morning sun raking across the table. 35mm, warm light, deep 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 food packaging retouching with razor-sharp honey transmission and glass caustics, 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] open on [THE TABLE AND ITS MATERIAL] with [FOOD ITEM 1], [OBJECT 2] and [OBJECT 3], low morning sun raking across the table. 35mm, warm light, deep 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 CONTENT] transmission and [THE CONTAINER MATERIAL] caustics, ultra-high-resolution 4K product photography with premium editorial finish.

Tout le prix d'un miel se joue dans un seul détail : le fil qui ne casse pas. Contre-jour obligatoire, sinon la coulée devient une masse brune. C'est le plan le plus difficile de la série et celui qui sert de couverture.

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

SCENE — an extreme macro on a thick thread of honey falling from a wooden dipper back into the jar, the golden liquid glowing where the light passes through and holding its coil. 100mm macro, strong backlight.

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 food packaging retouching with razor-sharp honey transmission and glass caustics, 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 THE CONTENT DOES] falling from [THE UTENSIL] back into the [PRODUCT], [THE CONTENT] glowing where the light passes through and holding its [ITS SHAPE]. 100mm macro, strong backlight.

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 CONTENT] transmission and [THE CONTAINER MATERIAL] caustics, ultra-high-resolution 4K product photography with premium editorial finish.

Le seul plan qui répond à « ça vient d'où ». Il ne montre ni abeille ni apiculteur : une ruche usée, de l'herbe haute, du flou. L'origine se suggère, elle ne se démontre pas — dès qu'on charge, ça devient une photo de banque d'images.

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 jar standing on a weathered wooden hive box in a summer meadow, tall grass and out of focus wildflowers around it, hazy afternoon sun. 50mm, warm haze, 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 food packaging retouching with razor-sharp honey transmission and glass caustics, 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 [WHERE THE PRODUCT COMES FROM] in [THE LANDSCAPE], [WHAT SURROUNDS IT] around it, hazy afternoon sun. 50mm, warm haze, 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 CONTENT] transmission and [THE CONTAINER MATERIAL] caustics, ultra-high-resolution 4K product photography with premium editorial finish.

Le plan qui montre à quoi ça sert, réduit à un seul geste. Le miel déborde de la croûte et coule sur l'assiette : le débordement est volontaire, c'est lui qui fait saliver, pas la propreté.

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 drizzling honey over a thick slice of toasted country bread on a ceramic plate, the honey pooling and running over the edge. 85mm, side window light, 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 food packaging retouching with razor-sharp honey transmission and glass caustics, 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 hand [THE GESTURE OF SERVING] over [WHAT IT IS SERVED ON] on a [PLATE MATERIAL] plate, the [CONTENT] pooling and running over the edge. 85mm, side window light, 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 CONTENT] transmission and [THE CONTAINER MATERIAL] caustics, ultra-high-resolution 4K product photography with premium editorial finish.

Le cordon de coton ciré ne sert à rien, sauf à ça : donner un geste à filmer. Un packaging bien pensé contient toujours un mouvement, et ce mouvement devient une image de campagne gratuite.

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 untying the waxed cotton cord around the jar's neck, the ash wood lid still in place, a dark wooden table below. 85mm, warm side light, 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 food packaging retouching with razor-sharp honey transmission and glass caustics, 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 OPENING GESTURE] around the [PRODUCT]'s [PART], the [CLOSURE] still in place, a [SURFACE] below. 85mm, warm side light, 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 CONTENT] transmission and [THE CONTAINER MATERIAL] caustics, ultra-high-resolution 4K product photography with premium editorial finish.

Lumière indirecte, aucun effet, le pot rangé entre deux objets banals. Volontairement le plan le moins beau de la série : il sert de respiration et prouve que le produit vit ailleurs qu'en studio.

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 jar on a pale oak kitchen shelf between a jar of dried herbs and a stack of small plates, soft indirect afternoon light. 35mm, calm interior, 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 food packaging retouching with razor-sharp honey transmission and glass caustics, 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 SHELF AND ITS MATERIAL] between [NEIGHBOUR OBJECT 1] and [NEIGHBOUR OBJECT 2], soft indirect afternoon light. 35mm, calm interior, 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 CONTENT] transmission and [THE CONTAINER MATERIAL] caustics, ultra-high-resolution 4K product photography with premium editorial finish.

Une seule source, tout le reste dans le noir. Le pot devient une tache d'ambre lumineuse qui tient en vignette sur n'importe quelle grille. C'est le plan à sortir quand il faut une bannière et une seule image.

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 jar on a windowsill with the low sun directly behind it, the honey lit through and glowing deep amber, the room dark around it. 85mm, heavy backlight, warm caustics on the sill.

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 food packaging retouching with razor-sharp honey transmission and glass caustics, 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 a windowsill with the low sun directly behind it, [THE CONTENT] lit through and glowing [ITS COLOUR], the room dark around it. 85mm, heavy backlight, warm caustics on the sill.

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 CONTENT] transmission and [THE CONTAINER MATERIAL] caustics, ultra-high-resolution 4K product photography with premium editorial finish.

Le plan de clôture : à la verticale, symétrie souple, les objets qui accompagnent réellement le produit. Une série a besoin d'une image qui la referme, et le flat-lay est le seul format qui accepte quatre objets sans devenir illisible.

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

SCENE — an overhead flat lay on a floured wooden board: the open jar at the centre with a wooden dipper, a torn loaf and a scatter of oats around it. 50mm overhead, soft warm 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, 16-bit colour workflow, luxury commercial food packaging retouching with razor-sharp honey transmission and glass caustics, 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 overhead flat lay on [THE BACKGROUND SURFACE]: the open [PRODUCT] at the centre with [OBJECT 1], [OBJECT 2] and a scatter of [A SMALL SCATTERED INGREDIENT] around it. 50mm overhead, soft warm light.

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 CONTENT] transmission and [THE CONTAINER MATERIAL] caustics, ultra-high-resolution 4K product photography with premium editorial finish.

Dix secondes, onze plans, aucune personne. Le pot lévite, le miel tombe et se replie sur lui-même — la viscosité est la seule vedette. Pas de casting, pas de rucher à trouver, pas d'autorisation de tournage : c'est le format le moins cher à produire de toute la campagne.

SCENE CONTEXT
A 10-second vertical kinetic product spot for RUCHE, a chestnut honey. No people, no location. A single amber and wood colour world, the jar levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the amber and wood palette.

ACTIVE REFERENCES
@image1 - the RUCHE jar. A short hexagonal thick clear glass jar of deep golden honey with a turned pale ash wood lid, a waxed cotton cord tied at the neck and a kraft RUCHE label. 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 amber and wood palette: deep amber gradient, warm wood bokeh, crossing gold light bars, drifting fine dust, or a dark walnut field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the hexagonal glass edge refracting the honey into a band of gold, a deep amber 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 light bending through the thick hexagonal glass.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the jar on a deep amber gradient at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, a thick thread of honey falling and folding on itself past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a spiral of honey coils around the jar on warm gold bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the jar between crossing gold light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the grain of the turned ash lid and the waxed cord fibres.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting fine dust, the jar flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the kraft RUCHE label, the fibres of the paper and every letter sharp.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the jar, the hexagonal glass facet filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The gold of the honey matches into a gold light bar, camera arcing at 30 km/h across a dark walnut void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The jar settles into its final position on a dark oak reflective floor, camera pushing in steadily.

ACTION
Glass refraction fills frame. The camera orbits the jar. Honey falls and folds. It coils around the jar. The ash lid fills frame. The label fills frame. It lands on dark oak.

PHYSICS
The jar is heavy glass. The honey is highly viscous, holds an unbroken thread and folds into slow coils. The cord fibres move stiffly.

LIGHTING
Hard specular key from camera-left at 3400K raking across the jar, a tight rim light on the right edge, warm gold practicals in the background. White balance fixed at 3400K. Atmospheric haze at 20%.

COLOR GRADE
60:30:10 - deep amber dominant, dark walnut secondary, kraft and ash accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, honey folding, a glass ring, a wooden lid seating, 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 jar keeps its hexagonal clear glass, deep golden honey, pale ash wood lid, waxed cord and kraft RUCHE label 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.

Caméra posée, quatre temps de deux secondes et demie : le pré, l'ouverture, la coulée, la table. Un lieu, une personne, une progression. La ligne ABSOLUTELY NO PACKSHOT interdit au modèle d'y glisser un plan studio — c'est ce qui fait la différence entre une pub et un catalogue.

SCENE CONTEXT
A 10-second vertical lifestyle commercial for RUCHE, a chestnut honey. Real people, real places, four shots, one cut every two and a half seconds.

ACTIVE REFERENCES
@image1 - the RUCHE jar. A short hexagonal thick clear glass jar of deep golden honey with a turned pale ash wood lid, a waxed cotton cord tied at the neck and a kraft RUCHE label. 100% matches the reference in every shot.

LOCATION MAP
The film moves through a summer meadow with hives, and a warm farmhouse kitchen. No studio, no seamless backdrop, no colour field.

FIRST FRAME / BLOCKING
Opens low in tall grass, hives out of focus in the heat haze 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. Low tracking through the meadow grass at 4 km/h toward the wooden hives, heat shimmer in the air.
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. Tight handheld in the kitchen as he unties the cord, lifts the ash lid and pulls a dipper up trailing honey.
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. Slow push in at 3 km/h as honey falls onto torn bread on a ceramic plate and pools over the crust.
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. He sits at the table by the window and eats, the jar glowing amber in the low sun beside him, camera craning back.

ACTION
He walks the meadow. He opens the jar. He drizzles the honey. He sits and eats.

PERFORMANCE
Unhurried and matter-of-fact, no smiling at camera.

PHYSICS
The jar is heavy glass. The honey holds a thick unbroken thread with real viscosity and pools slowly.

LIGHTING
Warm late-summer sun at 3400K through a kitchen window, long shafts through dust, deep warm shadows. Atmospheric haze at 25%.

COLOR GRADE
60:30:10 - warm wood and wheat dominant, cream ceramic secondary, deep amber honey accent.

AUDIO
Bees, grass, the cord untying, the ash lid lifting, honey falling. Sparse warm bed from 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 jar keeps its hexagonal clear glass, deep golden honey, pale ash wood lid, waxed cord and kraft RUCHE label 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 jar 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 : lumière plate, tout net, bruit de capteur, hautes lumières cramées, peau non retouchée, cadrage de travers. C'est l'exact inverse du contre-jour léché du visuel 08.

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 man in his forties, greying stubble, a soft flannel shirt, caught mid-sentence with the mouth open on a word, eyes on the lens, not smiling and not posing.

SETTING — in a warm kitchen with a wooden worktop and open shelves behind him, low morning sun raking in from the right.

THE PRODUCT — He holds the RUCHE jar in both hands at chest height, turned so the kraft label and the wooden lid 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 jar keeps exactly the thick hexagonal clear glass, the deep golden honey, the pale ash wood lid, the waxed cord and the kraft RUCHE label 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. Téléphone sur trépied, deux mains libres, un seul plan sans coupe, et exactement deux répliques : l'objection au début, la preuve à la fin. Entre les deux il ne dit rien — et c'est ce silence écrit qui empêche le modèle d'improviser 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 stopped buying supermarket honey two years ago."
"This one actually tastes of the chestnut trees."
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 he unties the cord and lifts the wooden lid off.
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 jar keeps exactly the thick hexagonal clear glass, the deep golden honey, the pale ash wood lid, the waxed cord and the kraft RUCHE label 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.