SOCLE — 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 SOCLE, 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 SOCLE very large, set in a precise modern sans for the wordmark and a condensed sans for captions
· under it, the descriptor TRAVERTINE COFFEE TABLE 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: TERRE CUITE #2E1E12, TRAVERTIN #77624F, OMBRE #4F3E2C, SABLE #D5C5B6, GRÈGE #B2A090
· 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 — mineral, calm, monumental. 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 : la table seule sur fond argile. C'est elle qu'on passe ensuite en référence dans chaque visuel. Toute la valeur du prompt tient dans deux mots : « honed », « not polished ». Sans eux le modèle sort un marbre brillant de salle de bain, et la marque n'existe plus.

Ultra high-end commercial packshot of a low travertine coffee table in three-quarter view, centred, on a seamless deep clay backdrop with a soft graduated falloff. The table is carved from a single block of warm cream Roman travertine with its natural open porosity and fine horizontal veining clearly visible: a thick rectangular slab top with a softly chamfered edge, resting on two solid cylindrical travertine drums, one at each end. The stone is honed to a matte finish, not polished. Carved in shallow relief into the base of one drum, the wordmark SOCLE reads in small letter-spaced capitals in the stone itself. Studio lighting: one large softbox raking low from the left so the open pores and the veining catch the light across the whole top surface, a tight rim light on the right edge of the slab, a soft warm fill under the drums.

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] in three-quarter view, centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] is carved from [THE MATERIAL] with [ITS NATURAL TEXTURE AND ITS VEINING] clearly visible: [THE MAIN VOLUME AND ITS EDGE TREATMENT], resting on [THE STRUCTURE THAT CARRIES IT]. The [MATERIAL] is [ITS FINISH], not [THE FINISH IT MUST NOT HAVE]. Carved in shallow relief into [WHERE EXACTLY], the wordmark [BRAND NAME] reads in small letter-spaced capitals in the [MATERIAL] itself. Studio lighting: one large softbox raking low from the [DIRECTION] so [THE TEXTURE THAT MUST READ] catches the light across the whole [MAIN SURFACE], a tight rim light on the [EDGE THAT MUST SEPARATE], a soft warm fill under [THE BASE].

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. Une lumière de fenêtre rasante traverse le plateau : c'est l'angle du soleil qui révèle la porosité, pas la définition de l'image. Éclairée de face, la même pierre devient un plan de travail sans intérêt.

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 table at the centre of a calm minimal living room, a low linen sofa behind it, hard morning light from a tall window raking across the travertine top. 35mm, deep depth of field, warm neutrals.

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 stone furniture retouching with razor-sharp travertine porosity and natural veining detail, 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] at the centre of [THE ROOM], [THE MAIN FURNITURE] behind it, hard morning light from a tall window raking across the [MAIN SURFACE]. 35mm, deep depth of field, warm neutrals.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [MATERIAL] furniture retouching with razor-sharp [THE SURFACE TEXTURE] and [THE NATURAL PATTERN] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Le plan qui justifie le prix. En mobilier comme en publicité produit, c'est la matière qui vend, pas la forme : les trous ouverts et le veinage horizontal disent « pierre naturelle » avant qu'on ait lu la fiche.

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 raking across the honed travertine top: the open pores and the fine horizontal veining sharp across the whole frame, the chamfered edge catching a soft highlight. 100mm macro, low side 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 stone furniture retouching with razor-sharp travertine porosity and natural veining detail, 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 raking across the [FINISH] [MAIN SURFACE]: [TEXTURE DETAIL 1] and [TEXTURE DETAIL 2] sharp across the whole frame, the [EDGE TREATMENT] catching a soft highlight. 100mm macro, low side light.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [MATERIAL] furniture retouching with razor-sharp [THE SURFACE TEXTURE] and [THE NATURAL PATTERN] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Le plan qui règle le problème récurrent de cette campagne : le modèle pose spontanément le meuble sur un autre meuble. D'où la porte, le mur pleine hauteur, les chaussures au sol et un paragraphe entier en majuscules pour l'interdire. Un défaut connu se traite dans le prompt, pas en post.

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 large empty living room with a wide oak floor, photographed from a standing adult's eye level: the coffee table stands alone in the middle of the floor with a full-height wall, a tall doorway and a floor lamp behind it giving the scale of the room. On its top, a stack of art books, a dark ceramic bowl and a single dried branch. A pair of shoes sits on the floor beside one drum. 35mm, soft indirect afternoon light, long shadow across the floorboards. IMPORTANT: the table is a full-size floor-standing piece of furniture. It stands DIRECTLY on the floor. There is NO other table, no bench, no console, no plinth and no surface of any kind underneath it or beneath its drums — the floor is the only thing supporting it.

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 stone furniture retouching with razor-sharp travertine porosity and natural veining detail, 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 large empty [ROOM] with a wide [FLOOR MATERIAL] floor, photographed from a standing adult's eye level: the [PRODUCT] stands alone in the middle of the floor with a full-height wall, a tall doorway and [A TALL OBJECT] behind it giving the scale of the room. On its [MAIN SURFACE], [OBJECT 1], [OBJECT 2] and [OBJECT 3]. [A HUMAN-SCALE OBJECT] sits on the floor beside [A PART OF THE BASE]. 35mm, soft indirect afternoon light, long shadow across the floor. IMPORTANT: the [PRODUCT] is a full-size floor-standing piece of furniture. It stands DIRECTLY on the floor. There is NO other table, no bench, no console, no plinth and no surface of any kind underneath it or beneath its [BASE] — the floor is the only thing supporting it.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [MATERIAL] furniture retouching with razor-sharp [THE SURFACE TEXTURE] and [THE NATURAL PATTERN] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Une seule image sort le meuble du salon et double son marché. Le soleil ne touche qu'un angle du plateau : on suggère l'extérieur sans cuire l'image — un travertin en plein soleil perd tout son relief.

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 table outdoors on a shaded stone terrace, olive trees out of focus behind, hot Mediterranean light just clipping one corner of the slab. 35mm, warm, 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, 16-bit colour workflow, luxury commercial stone furniture retouching with razor-sharp travertine porosity and natural veining detail, 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] outdoors on [THE OUTDOOR SURFACE], [THE VEGETATION] out of focus behind, hot [THE LIGHT] just clipping one corner of the [MAIN SURFACE]. 35mm, warm, high contrast.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [MATERIAL] furniture retouching with razor-sharp [THE SURFACE TEXTURE] and [THE NATURAL PATTERN] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Le plan qui prouve la fabrication : le veinage traverse le joint entre le plateau et le pied. C'est le détail qui distingue une pierre massive d'un placage — et le seul argument technique que la série défend visuellement.

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 along the chamfered edge of the slab where it meets one cylindrical drum, the stone texture continuous across the joint. 85mm, hard raking 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 stone furniture retouching with razor-sharp travertine porosity and natural veining detail, 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 along [THE EDGE TREATMENT] where it meets [THE PART BELOW], the [MATERIAL] texture continuous across the joint. 85mm, hard raking 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 [MATERIAL] furniture retouching with razor-sharp [THE SURFACE TEXTURE] and [THE NATURAL PATTERN] detail, ultra-high-resolution 4K product photography with premium editorial finish.

La version habitée : un magazine ouvert, une tasse, une lampe. Le meuble n'est pas mis en scène, il est utilisé — c'est ce plan-là qui convertit sur une fiche produit, pas le packshot.

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 table in front of a deep boucle sofa in a large room, a magazine open on it and a cup beside, low evening lamp light. 35mm, warm ambient, 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 stone furniture retouching with razor-sharp travertine porosity and natural veining detail, 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] in front of [THE SEATING AND ITS FABRIC] in a large room, [OBJECT 1] on it and [OBJECT 2] beside, low evening lamp light. 35mm, warm ambient, 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 [MATERIAL] furniture retouching with razor-sharp [THE SURFACE TEXTURE] and [THE NATURAL PATTERN] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Caméra à hauteur de genou, pieds nus au sol : on ne regarde plus le meuble, on est assis devant. Changer la hauteur de caméra coûte zéro et transforme une photo de catalogue en photo de vie.

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

SCENE — a low shot taken from a seated position on a sofa, the camera just above knee height looking across the travertine top: an espresso cup and an open magazine on the stone, one cylindrical drum in frame resting on a pale oak floor, a person's bare feet on the floorboards beside it. 35mm, soft window light, warm neutrals. IMPORTANT: the table is a full-size floor-standing piece of furniture. It stands DIRECTLY on the floor. There is NO other table, no bench, no console, no plinth and no surface of any kind underneath it or beneath its drums — the floor is the only thing supporting it.

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 stone furniture retouching with razor-sharp travertine porosity and natural veining detail, 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 low shot taken from a seated position on [THE SEATING], the camera just above knee height looking across the [MAIN SURFACE]: [OBJECT 1] and [OBJECT 2] on the [MATERIAL], one [PART OF THE BASE] in frame resting on a [FLOOR MATERIAL] floor, a person's bare feet on the floorboards beside it. 35mm, soft window light, warm neutrals. IMPORTANT: the [PRODUCT] is a full-size floor-standing piece of furniture. It stands DIRECTLY on the floor. There is NO other table, no bench, no console, no plinth and no surface of any kind underneath it or beneath its [BASE] — the floor is the only thing supporting it.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [MATERIAL] furniture retouching with razor-sharp [THE SURFACE TEXTURE] and [THE NATURAL PATTERN] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Contre-jour total : il ne reste que la forme et le poids. Le plan de clôture ne montre plus la matière mais la silhouette qu'on doit reconnaître de loin — c'est celui qui tient en vignette et en bannière.

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 table against a bright window in an otherwise dark room, its silhouette and the two drums reading as solid mass, the top edge burning white. 50mm, heavy backlight, 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 stone furniture retouching with razor-sharp travertine porosity and natural veining detail, 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] against a bright window in an otherwise dark room, its silhouette and [THE STRUCTURAL PARTS] reading as solid mass, the [TOP EDGE] burning white. 50mm, heavy backlight, minimal.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, luxury commercial [MATERIAL] furniture retouching with razor-sharp [THE SURFACE TEXTURE] and [THE NATURAL PATTERN] detail, ultra-high-resolution 4K product photography with premium editorial finish.

Un meuble de plusieurs dizaines de kilos qui lévite, se démonte en l'air et se remonte : personne ne peut filmer ça, et c'est exactement pour ça que le format existe. Dix secondes, onze plans, aucune personne, aucun lieu — le format le moins cher à produire de toute la campagne.

SCENE CONTEXT
A 10-second vertical kinetic product spot for SOCLE, a travertine coffee table. No people, no location. A single clay and travertine colour world, the table levitating and slowly rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the clay and cream stone palette.

ACTIVE REFERENCES
@image1 - the SOCLE table. A low coffee table cut from cream Roman travertine: a thick chamfered rectangular slab resting on two cylindrical stone drums. 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 clay and cream stone palette: deep clay gradient, warm stone bokeh, crossing warm light bars, drifting stone dust, or a dark umber field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the open pores of the honed travertine, the surface filling frame, a warm clay 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 porosity and horizontal veining of the stone.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the table on a deep clay gradient at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, a burst of fine stone dust exploding outward past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as the slab and the two drums separate and drift apart on warm stone bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the table between crossing warm white light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the chamfered edge of the slab, the cut line razor sharp.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting stone dust, the table flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the carved SOCLE wordmark in the base of one drum, catching light only on its edges.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the table, the cylindrical drum filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The warm white of the drum matches into a warm white light bar, camera arcing at 30 km/h across a dark umber void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The table settles into its final position on a polished concrete reflective floor, camera pushing in steadily.

ACTION
Stone pores fill frame. The table rotates. Dust bursts outward. The slab and drums drift apart and reassemble. The chamfer fills frame. The carved wordmark fills frame. It lands on polished concrete.

PHYSICS
The stone is heavy solid mass and lands with a deep hard contact. Dust drifts and settles slowly. The pieces reassemble with real weight.

LIGHTING
Hard specular key from camera-left at 4000K raking across the table, a tight rim light on the right edge, warm white practicals in the background. White balance fixed at 4000K. Atmospheric haze at 28%.

COLOR GRADE
60:30:10 - deep clay dominant, dark umber secondary, cream travertine accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, stone grinding, dust settling, a deep sub landing, a low sub hit on the final landing.

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

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

POSITIVE LOCKS
The table keeps its honed cream travertine, thick chamfered slab and two cylindrical drums 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 de l'hyper motion : quatre temps de deux secondes et demie, un appartement, une journée qui bascule du matin au soir. Comme dans le visuel 04, le prompt répète que la table touche le sol — c'est le défaut récurrent de cette marque, et il revient dès qu'on baisse la garde.

SCENE CONTEXT
A 10-second vertical lifestyle commercial for SOCLE, a travertine coffee table. Real people, real places, four shots, one cut every two and a half seconds.

ACTIVE REFERENCES
@image1 - the SOCLE table. A low coffee table cut from cream Roman travertine: a thick chamfered rectangular slab resting on two cylindrical stone drums. 100% matches the reference in every shot.

LOCATION MAP
The film moves through a calm minimal apartment: a large living room in the morning and the same room at dusk. No studio, no seamless backdrop, no colour field.

FIRST FRAME / BLOCKING
Opens low on the oak floor, the two travertine drums entering frame as the camera tracks in.

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 at 3 km/h across the oak floor toward the table, both drums and the full height of the room visible, hard morning light raking the stone.
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. Tight handheld as a man sets a coffee cup and an open book down on the travertine, his hand flat on the stone.
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. Slow arc at 5 km/h around the table as he sits back on the sofa behind it, his bare feet on the floor beside one drum.
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. Dusk: two people on the sofa, the table between them and the floor, one lamp lit, camera craning slowly back to reveal the whole room.

ACTION
The camera finds the table on the floor. He sets a cup down. He sits back. Evening, two people around it.

PERFORMANCE
Domestic and unhurried, nobody addresses the camera.

PHYSICS
The table is heavy solid stone and does not move. The cup makes a hard contact on the travertine.

LIGHTING
Hard morning window light at 5200K raking low across the stone to reveal its porosity, becoming warm lamp light at 2800K at dusk. Atmospheric haze at 10%.

COLOR GRADE
60:30:10 - warm oak floor dominant, plaster wall secondary, cream travertine accent.

AUDIO
Room tone, a cup set down on stone, a page turning, quiet evening conversation. 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 table keeps its honed cream travertine, thick chamfered slab and two cylindrical drums in every shot, and always stands directly on the floor with nothing underneath it. The people keep the same faces, hair and clothing across every cut. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the table 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 : tout net, HDR de téléphone, peau non retouchée, sommet du crâne coupé. Et c'est le seul endroit de la campagne où on voit la hauteur réelle du meuble, vue du canapé.

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.

A man in his thirties, short beard, a plain white tee, caught mid-sentence with the mouth open on a word, eyes on the lens, not smiling and not posing.

SETTING — sitting on a low sofa in a calm living room, the SOCLE travertine table on the floor in front of him, flat afternoon daylight from the left.

THE PRODUCT — He sits back on the sofa with the SOCLE table on the floor in front of him, its full height and both cylindrical drums visible resting directly on the oak floor. His free hand rests flat on the travertine top.

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 imperfect handheld crop, the top of the head lightly cut by the frame edge.

PRODUCT LOCK — The table keeps exactly the honed cream travertine, the thick chamfered slab and the two cylindrical drums of the reference, and it stands directly on the floor. 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. Un seul plan, une légère dérive de main, et exactement deux répliques : l'objection au début (« la pierre, c'est un cauchemar au quotidien »), la preuve à la fin. Entre les deux, il pose une tasse et ne dit rien — le silence est écrit dans le prompt, sinon le modèle meuble.

The person in this frame is filming a phone video. The phone is held in one hand at arm's length. They speak ONLY these two lines, each said ONCE and never repeated:
"Everyone told me stone furniture was a nightmare to live with."
"I spilled coffee on it in week one and you cannot tell."
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 sets a cup down on the travertine top.
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 table keeps exactly the honed cream travertine, the thick chamfered slab and the two cylindrical drums of the reference, and it stands directly on the floor. It never changes shape, colour or text.

Small natural handheld drift, the frame 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.

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.