SOLARIS — 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 SOLARIS, 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 SOLARIS very large, set in a precise modern sans for the wordmark and a condensed sans for captions
· under it, the descriptor SPORT SHIELD EYEWEAR 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: NUIT #050712, COBALT #0242DA, CUIVRE #C57058, VIOLET #2B1943, SABLE CHAUD #E7BD93
· 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 — fast, iridescent, nocturnal. 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 masque seul sur fond cobalt. C'est lui qu'on passe ensuite en référence dans chaque visuel. Le prompt ne décrit pas une couleur mais un dégradé de traitement — magenta au bord, violet au centre, orange sous la lumière. Un revêtement iridescent n'a pas de couleur fixe : si on n'écrit pas le trajet, le modèle en invente un autre à chaque image.

Ultra high-end commercial packshot of a single-lens sport shield sunglass in three-quarter view, centred, on a seamless electric cobalt blue backdrop with a hard graduated falloff. It is one continuous wraparound shield lens with no frame around it, cut in a long asymmetric sweep that rises at the temple. The lens carries a full iridescent mirror coating that runs magenta at the outer edge into deep violet across the centre and burns orange where the light catches it, and behind the coating the tint reads as a deep smoke. The upper rim and the temple arms are matte black thermoplastic with a fine soft-touch texture, the arms flare into wide flat blades and end in glossy signal-red rubber tips. A matte black adjustable nose bridge sits under the lens. Printed small and clean on the outer face of the left temple blade, the wordmark SOLARIS reads in signal-red capitals. Studio lighting: one hard bare flash from camera-left to fire the iridescent coating into a full magenta-to-orange sweep across the shield, a second hard flash from the right rim-lighting the black arms, a crisp defined shadow under the piece.

Photorealistic, 8K, macro-level detail, high-contrast sports advertising aesthetic, saturated colour, immaculate. No brand logo other than the SOLARIS wordmark, 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 hard graduated falloff. It is [THE MAIN VOLUME DESCRIBED IN ONE LINE], cut in [THE SHAPE OR THE CUT]. The [MAIN PART] carries [THE COATING OR FINISH] that runs [COLOUR 1] at [WHERE] into [COLOUR 2] across [WHERE] and burns [COLOUR 3] where the light catches it, and behind the coating [THE UNDERLYING TONE] reads as [ITS COLOUR]. The [SECONDARY PARTS] are [THEIR MATERIAL AND FINISH], [HOW THEY ARE SHAPED] and end in [THE ACCENT DETAIL AND ITS COLOUR]. [A THIRD STRUCTURAL PART] sits [WHERE]. Printed small and clean on [WHERE EXACTLY], the wordmark [BRAND NAME] reads in [ACCENT COLOUR] capitals. Studio lighting: one hard bare flash from camera-left to fire [THE COATING] into a full [COLOUR 1]-to-[COLOUR 3] sweep across the [MAIN PART], a second hard flash from the right rim-lighting [THE SECONDARY PARTS], a crisp defined shadow under the piece.

Photorealistic, 8K, macro-level detail, high-contrast sports advertising aesthetic, saturated colour, immaculate. No brand logo other than the [BRAND NAME] wordmark, no other text anywhere, no watermark, no hands.

Le plan qui pose le monde de la marque : mâchoire serrée, sueur, fond écrasé au 135 mm. On ne vend pas des lunettes, on vend l'effort — et le produit arrive dans l'image par le visage, jamais l'inverse.

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 portrait of a cyclist at full effort on an open road, wearing the shield, sweat running down the temple, jaw set, the iridescent lens throwing back a magenta flare and a small curved reflection of the road ahead. 135mm, hard midday sun, the background compressed into a blur of speed. Saturated, 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, hard flash lighting, 16-bit colour workflow, high-end sports commercial retouching with razor-sharp iridescent lens coating and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic 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 tight portrait of [THE ATHLETE] at full effort [WHERE], wearing the [PRODUCT], [A SIGN OF EFFORT], jaw set, the [MAIN PART] throwing back a [COLOUR] flare and a small curved reflection of [WHAT IS IN FRONT OF THEM]. 135mm, hard midday sun, the background compressed into a blur of speed. Saturated, high contrast.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, high-end [SPORT CATEGORY] commercial retouching with razor-sharp [THE SIGNATURE FINISH] and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

Fond noir, un seul flash rasant, aucun autre objet. Ce plan n'a qu'une mission : prouver que le revêtement change de couleur selon l'angle. C'est l'argument technique du produit, et il n'existe qu'en macro.

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 across the surface of the shield lens: the mirror coating sweeping from magenta through violet into orange, the matte black upper rim cutting a hard line at the top of the frame. 100mm macro, one hard raking flash, pure black background, no other object.

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, hard flash lighting, 16-bit colour workflow, high-end sports commercial retouching with razor-sharp iridescent lens coating and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic 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 across the surface of the [MAIN PART]: the [COATING] sweeping from [COLOUR 1] through [COLOUR 2] into [COLOUR 3], the [SECONDARY PART AND ITS FINISH] cutting a hard line at the top of the frame. 100mm macro, one hard raking flash, pure black background, no other object.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, high-end [SPORT CATEGORY] commercial retouching with razor-sharp [THE SIGNATURE FINISH] and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

Le produit est coupé des deux côtés du cadre et n'est jamais vu entier : ce qu'on regarde, c'est le paysage réfléchi dans la courbe. Un miroir raconte l'usage mieux qu'une mise en scène — c'est le visuel de couverture de la campagne.

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 extremely tight shot of the shield filling the whole frame edge to edge and running on a strong diagonal, cropped by the frame on both sides so the piece is never seen whole. The iridescent lens occupies more than half the image and works as a curved mirror: inside it, sharp and wrapped by the curve, the reflection of a mountain road falling away, a guardrail and a single cyclist in the distance, the sky stretched thin along the top of the reflection. Behind the shield, one flat unbroken saturated cobalt field with no second colour, no band and no horizon. One hard flash from camera-left fires the coating from magenta into orange across the sweep and throws a single hard diagonal shadow. 85mm, macro-sharp on the reflection, saturated, graphic.

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, hard flash lighting, 16-bit colour workflow, high-end sports commercial retouching with razor-sharp iridescent lens coating and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic 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 extremely tight shot of the [PRODUCT] filling the whole frame edge to edge and running on a strong diagonal, cropped by the frame on both sides so the piece is never seen whole. The [REFLECTIVE PART] occupies more than half the image and works as a curved mirror: inside it, sharp and wrapped by the curve, the reflection of [THE SCENE THAT MUST APPEAR IN IT], [DETAIL 1] and [DETAIL 2] in the distance, the sky stretched thin along the top of the reflection. Behind the [PRODUCT], one flat unbroken saturated [BRAND COLOUR] field with no second colour, no band and no horizon. One hard flash from camera-left fires the [COATING] from [COLOUR 1] into [COLOUR 3] across the sweep and throws a single hard diagonal shadow. 85mm, macro-sharp on the reflection, saturated, graphic.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, high-end [SPORT CATEGORY] commercial retouching with razor-sharp [THE SIGNATURE FINISH] and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

Une deuxième discipline en une seule image : la marque ne se limite plus au vélo. Le rouge du tartan remplit le cadre et le décor devient le fond coloré — pas besoin de studio pour avoir un plan graphique.

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 sprinter crouched in the blocks on a red tartan running track, wearing the shield, seen low from the front, the lens burning orange with the reflection of the stadium lights. 50mm, low angle, hard directional light, saturated red track filling the frame.

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, hard flash lighting, 16-bit colour workflow, high-end sports commercial retouching with razor-sharp iridescent lens coating and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic 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 ATHLETE] [THEIR STARTING POSITION] on [THE SURFACE OF THE SPORT], wearing the [PRODUCT], seen low from the front, the [MAIN PART] burning [COLOUR] with the reflection of [THE LIGHT SOURCE]. 50mm, low angle, hard directional light, saturated [COLOUR] [SURFACE] filling the frame.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, high-end [SPORT CATEGORY] commercial retouching with razor-sharp [THE SIGNATURE FINISH] and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

Deux mains, un mur cobalt, une ombre nette. Le geste est saisi en pleine action, branches fléchies : c'est ce qui donne la sensation de rigidité et de rappel élastique qu'aucun plan statique ne 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 — two hands snapping the shield open by its red temple tips, caught mid-gesture against a flat cobalt wall, the arms flexing. 85mm, hard flash, crisp shadow on the wall behind, saturated colour.

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, hard flash lighting, 16-bit colour workflow, high-end sports commercial retouching with razor-sharp iridescent lens coating and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

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

SCENE — two hands [THE GESTURE] the [PRODUCT] by its [THE ACCENT PART], caught mid-gesture against a flat [BRAND COLOUR] wall, the [MOVING PARTS] flexing. 85mm, hard flash, crisp shadow on the wall behind, saturated colour.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, high-end [SPORT CATEGORY] commercial retouching with razor-sharp [THE SIGNATURE FINISH] and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

La série est solaire du matin au soir : ce plan la fait basculer la nuit sans changer de palette. Magenta et cyan dans la flaque, le produit n'est plus éclairé, il est reflété — c'est la variation qui empêche la campagne de tourner en rond.

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 shield lying on wet black concrete at night, magenta and cyan neon reflected in the puddle around it and firing across the iridescent lens. 50mm, hard specular reflections, deep blacks, saturated neon colour.

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, hard flash lighting, 16-bit colour workflow, high-end sports commercial retouching with razor-sharp iridescent lens coating and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

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

SCENE — the [PRODUCT] lying on [THE WET URBAN SURFACE] at night, [NEON COLOUR 1] and [NEON COLOUR 2] neon reflected in the puddle around it and firing across the [MAIN PART]. 50mm, hard specular reflections, deep blacks, saturated neon colour.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, high-end [SPORT CATEGORY] commercial retouching with razor-sharp [THE SIGNATURE FINISH] and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

Aucune mise en scène : le masque est posé sur les aérations d'un casque, sur une rambarde. Le plan le moins spectaculaire de la série, et c'est son rôle — il sert de respiration et prouve que l'objet existe en dehors du 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 shield hooked over the vents of a matte black cycling helmet resting on a metal rail, harsh late sun raking across both, a blurred velodrome banking behind. 85mm, hard sun, shallow depth of field, 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, hard flash lighting, 16-bit colour workflow, high-end sports commercial retouching with razor-sharp iridescent lens coating and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic 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] [HOW IT RESTS] on [THE PIECE OF EQUIPMENT IT BELONGS WITH] resting on [THE SUPPORT], harsh late sun raking across both, a blurred [THE SPORT VENUE] behind. 85mm, hard sun, shallow depth of field, high contrast.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, high-end [SPORT CATEGORY] commercial retouching with razor-sharp [THE SIGNATURE FINISH] and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

Contre-jour brutal, tout le reste en silhouette, un filé en travers du cadre. Une série a besoin d'une image qui la referme — celle-ci ne montre plus le produit, elle montre la lumière qui le traverse.

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 shield held up into a low hard sun, the iridescent coating exploding into orange and magenta where the light passes through, everything else in deep silhouette, a smear of motion blur across the frame. 135mm, heavy backlight, lens flare, saturated.

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, hard flash lighting, 16-bit colour workflow, high-end sports commercial retouching with razor-sharp iridescent lens coating and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic 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] held up into a low hard sun, the [COATING] exploding into [COLOUR 1] and [COLOUR 2] where the light passes through, everything else in deep silhouette, a smear of motion blur across the frame. 135mm, heavy backlight, lens flare, saturated.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], focus stacking, [LIGHTING SETUP], 16-bit colour workflow, high-end [SPORT CATEGORY] commercial retouching with razor-sharp [THE SIGNATURE FINISH] and punchy saturated colour, ultra-high-resolution 4K product photography with a hard graphic finish.

Le produit pèse trente grammes : c'est le format idéal pour lui. Dix secondes, onze plans, aucune personne, aucun lieu. Le fond change à chaque coupe mais reste dans le cobalt et le magenta — sans cette contrainte de palette, onze plans deviennent onze pubs différentes.

SCENE CONTEXT
A 10-second vertical kinetic product spot for SOLARIS, a sport shield sunglass. No people, no location. A single cobalt and magenta colour world, the shield levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the cobalt and magenta palette.

ACTIVE REFERENCES
@image1 - the SOLARIS shield. A single wraparound iridescent shield lens running magenta into violet into orange, a matte black upper rim and arms, red rubber temple tips and SOLARIS in small red capitals on the left arm. 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 cobalt and magenta palette: saturated cobalt gradient, magenta bokeh, crossing white light bars, drifting fine mist, or a near-black field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the iridescent coating, magenta bleeding into orange across the frame, a magenta 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 mirror coating shifting hue as the camera moves.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the shield on a deep cobalt gradient at 20 km/h.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, the arms snapping open and locking, air distorting past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a burst of water beads explodes off the shield on magenta bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the shield between crossing cold white light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the matte black rim meeting the lens edge, the soft-touch texture sharp.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting fine mist, the shield flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the small red SOLARIS wordmark on the arm, each letter razor sharp.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt across the shield, the red temple tip filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The red of the temple tip matches into a red 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 shield settles into its final position on a wet black reflective floor, camera pushing in steadily.

ACTION
The coating fills frame. The camera orbits the shield. The arms snap open. Water bursts off it. The rim texture fills frame. The wordmark fills frame. It lands on a wet black floor.

PHYSICS
The shield is light, around 30 grams. The arms snap with a firm detent. Water sheds instantly off the coating.

LIGHTING
Hard specular key from camera-left at 5600K raking across the shield, a tight rim light on the right edge, magenta practicals in the background. White balance fixed at 5600K. Atmospheric haze at 16%.

COLOR GRADE
60:30:10 - saturated cobalt dominant, matte black secondary, magenta-orange accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, a hinge snap, a water burst, a hard synth stab, 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 shield keeps its single wraparound iridescent lens, matte black upper rim and arms, red rubber temple tips and the red SOLARIS wordmark in every shot. The set contains only seamless colour fields and the reflective floor. Every shot contains visible camera movement.

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

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

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

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

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

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

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

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

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

LIGHTING
Hard specular key from camera-left at [COLOUR TEMPERATURE]K raking across the [PRODUCT], a tight rim light on the right edge, [PRACTICAL COLOUR] practicals in the background. White balance fixed at [COLOUR TEMPERATURE]K. Atmospheric haze at [PERCENTAGE]%.

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

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, [THE PHYSICAL SOUNDS THE PRODUCT ITSELF MAKES], a low sub hit on the final landing.

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

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

POSITIVE LOCKS
The [PRODUCT] keeps [ITS MATERIALS, ITS COLOURS AND EVERY WORD WRITTEN ON IT] in every shot. The set contains only seamless colour fields and the reflective floor. Every shot contains visible camera movement.

L'inverse exact : quatre temps de deux secondes et demie sur une route de col au lever du jour. On ne montre pas les lunettes, on montre l'effort ; le produit arrive par le geste, à 2,5 s, quand il les rabat sur les yeux. La ligne ABSOLUTELY NO PACKSHOT empêche le modèle d'y coller un plan studio.

SCENE CONTEXT
A 10-second vertical lifestyle commercial for SOLARIS, a sport shield sunglass. Real people, real places, four shots, one cut every two and a half seconds.

ACTIVE REFERENCES
@image1 - the SOLARIS shield. A single wraparound iridescent shield lens running magenta into violet into orange, a matte black upper rim and arms, red rubber temple tips and SOLARIS in small red capitals on the left arm. 100% matches the reference in every shot.

LOCATION MAP
The film moves through a mountain road at sunrise, a roadside verge, and a summit pull-off. No studio, no seamless backdrop, no colour field.

FIRST FRAME / BLOCKING
Opens wide on an empty switchback road at first light, a lone cyclist entering frame from the bottom.

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 shot from the tarmac as the cyclist rides past camera at 35 km/h, the road falling away behind.
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. Tight over-the-shoulder as he pulls the shield down onto his eyes mid-climb, the coating firing orange in the low sun.
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. Fast side tracking at 40 km/h alongside his face, the road reflected sharp and curved in the lens.
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. He stops at the summit, lifts the shield onto his helmet and looks out, camera pushing in slowly on his face.

ACTION
He rides. He pulls the shield down. He climbs. He stops and lifts it away.

PERFORMANCE
Effort, not performance: jaw set, breathing hard, no smiling at camera.

PHYSICS
The shield has real light weight and sits firmly. Sweat runs. The bike leans into the camber.

LIGHTING
Low hard sunrise sun from camera-right at 3200K, long shadows across the tarmac, a cold blue fill from the sky. Atmospheric haze at 15%.

COLOR GRADE
60:30:10 - cold blue-grey road dominant, warm skin secondary, magenta lens accent.

AUDIO
Tyre hum on tarmac, wind, breathing, a distant valley. No music bed under the first shot, a low pulse entering at 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 shield keeps its single wraparound iridescent lens, matte black rim and arms and red temple tips 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 shield 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 : soleil dur mal placé, tout net, bruit de capteur, crâne coupé par le cadre, peau non retouchée. C'est l'exact inverse des flashs durs des huit visuels précédents.

Use the attached image as the exact product reference.

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

A fit man in his early thirties, short dark hair damp with sweat, stubble, a plain grey technical running tee, caught mid-sentence with the mouth open on a word, eyes on the lens, not smiling and not posing.

SETTING — on a sunlit city rooftop just after a run, a low concrete wall and blurry apartment blocks behind him, harsh direct sun on one side of his face.

THE PRODUCT — In his free hand he holds the SOLARIS shield near his shoulder, tilted slightly toward the lens so the iridescent lens and the red temple tips 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 imperfect handheld crop, the top of the head lightly cut by the frame edge.

PRODUCT LOCK — The shield keeps exactly the single wraparound iridescent lens, the matte black upper rim and arms and the red rubber temple tips 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. Un seul plan, une légère dérive de main, et exactement deux répliques : l'objection au début (« elles me glissaient toutes du nez »), la preuve à la fin. Entre les deux il met les lunettes et ne dit rien — le silence est écrit, sinon le modèle invente du dialogue.

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:
"I run every morning and every pair I owned kept sliding down my nose."
"These have not moved once in six weeks."
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 lifts the shield and puts it on, then looks back at the lens.
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 shield keeps exactly the single wraparound iridescent lens, the matte black upper rim and arms and the red rubber temple tips of the reference. 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.