SPREMI — les prompts.

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

Design a single BRAND IDENTITY BOARD for the fictional brand SPREMI, 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, no shadows of paper.

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, do not restyle them, 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 taken from the palette below:
· top left, the wordmark SPREMI very large, set in a compact geometric sans cast in relief for the wordmark, and a condensed sans for captions
· under the wordmark, a one-line descriptor in small letter-spaced caps
· the four photographs arranged as a clean asymmetric grid, one large and three smaller
· a horizontal PALETTE row of five solid colour chips, each a plain rectangle with its name and hex code printed in small caps underneath: SUN YELLOW #F5B800, CHROME #D8DBDD, BLOOD ORANGE #E24A16, OLIVE #6F7A3A, ESPRESSO #2A1E17
· a TYPOGRAPHY block showing the alphabet A B C D E F G and the digits 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 — Mediterranean, sunlit, mechanical, appetising. Every colour on the board comes from the palette above and from the photographs. Spell every word correctly. Crisp vector-clean typography, high resolution, professional brand guidelines aesthetic. No watermark, no lorem ipsum, no extra logos.

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

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, do not restyle them, 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 taken from the palette below:
· top left, the wordmark [BRAND NAME] very large, set in [THE TYPEFACE OF THE WORDMARK, DESCRIBED NOT NAMED] for the wordmark, and [THE TYPEFACE OF THE CAPTIONS] for captions
· under the wordmark, a one-line descriptor in small letter-spaced caps
· the four photographs arranged as a clean asymmetric grid, one large and three smaller
· a horizontal PALETTE row of five solid colour chips, each a plain rectangle with its name and hex code printed in small caps underneath: [COLOUR 1 #HEX], [COLOUR 2 #HEX], [COLOUR 3 #HEX], [COLOUR 4 #HEX], [COLOUR 5 #HEX]
· a TYPOGRAPHY block showing the alphabet A B C D E F G and the digits 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 — [FOUR ADJECTIVES THAT DEFINE THE BRAND]. Every colour on the board 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 presse-agrumes seul, sur fond neutre. C'est lui qu'on repasse ensuite en référence dans les huit autres images. Le détail à retenir : le prompt décrit pièce par pièce — bras, corps, boule, socle, coupelle. Un objet mécanique se réinvente à chaque génération si on ne nomme pas ses parties.

Ultra high-end commercial packshot of a manual lever citrus press standing upright, centred, on a seamless sun-yellow backdrop with a soft graduated falloff. The press is cast aluminium with a polished mirror-chrome finish on the lever arm and the tall body, and a sun-yellow powder-coated enamel base and cup. The long lever curves elegantly overhead and ends in a solid chrome ball handle. The wordmark SPREMI is cast in relief into the front of the base in a compact geometric sans, catching a highlight along its raised edges. A halved lemon sits in the pressing cup with a few juice droplets on the chrome. Studio lighting: one large softbox camera-left for a long mirror highlight down the chrome body, a tight rim light on the right edge, crisp reflection under the base. Photorealistic, 8K, macro-level detail on the polished chrome, the enamel and the lemon pulp, premium Mediterranean kitchen aesthetic, no other text, no watermark, no hands.

Ultra high-end commercial packshot of a [PRODUCT TYPE] standing upright, centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] is [MAIN MATERIAL] with a [FINISH 1] on [WHICH PARTS], and a [ACCENT COLOUR] [FINISH 2] on [WHICH OTHER PARTS]. [THE MOVING PART] [HOW IT IS SHAPED AND WHERE IT ENDS]. The wordmark [BRAND NAME] is [HOW IT IS APPLIED] into [WHERE EXACTLY] in [THE TYPEFACE, DESCRIBED NOT NAMED], catching a highlight along [WHICH EDGES]. [WHAT THE PRODUCT IS WORKING ON, PLUS THE TRACE IT LEAVES]. Studio lighting: one large softbox camera-left for a long [KIND OF] highlight down the [MAIN SURFACE], a tight rim light on the right edge, crisp reflection under the base. Photorealistic, 8K, macro-level detail on [THE THREE TEXTURES THAT MUST READ], premium [DESIGN REFERENCE] aesthetic, no other text, no watermark, no hands.

Volets bleus entrouverts, ombres rayées, un saladier de citrons. Le décor ne décore pas : il raconte d'où vient le produit. Enlève les volets, tu vends un ustensile ; garde-les, tu vends une habitude méditerranéenne.

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 press on a worn marble counter in a sunlit Mediterranean kitchen: whitewashed walls, a bowl of lemons, a linen cloth, blue shutters half open behind. Hard morning sun through the shutters casting striped shadows, warm, editorial.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, cross-polarised HDR studio lighting to control mirror-chrome hot spots, 16-bit colour workflow, premium kitchen-tool retouching, ultra-high-resolution 4K product photography with razor-sharp chrome and enamel separation.

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 worn [COUNTER MATERIAL] in a sunlit [TYPE OF KITCHEN]: [WALL FINISH], [A BOWL OF THE INGREDIENT], [A TEXTILE], [AN ARCHITECTURAL DETAIL] half open behind. Hard morning sun through the [SAME DETAIL] casting striped shadows, warm, editorial.

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

Le plan qui prouve que ça marche : le cône écrase, le jus coule, le brouillard d'agrume reste en l'air. Regarde surtout le HARDWARE LOCK collé au milieu de la scène. Dès qu'on demande une action à un objet mécanique, le modèle en réinvente les pièces — ici on lui réécrit la boule, le socle et la position du logo au milieu du plan.

Et une interdiction sèche en majuscules : NO GLASS ANYWHERE IN THE FRAME. Sans elle, il ajoute un verre de jus, parce que c'est ce qu'il a vu mille fois.

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 macro of the pressing moment, NO GLASS ANYWHERE IN THE FRAME. The chrome cone is pressed down onto a halved lemon that sits INSIDE the small yellow cup, the flesh visibly crushed against the cone, and fresh juice runs down the inside wall of the yellow cup and pools at its bottom. A fine mist of citrus spray hangs in the air around the cone. Dark background, backlit so the juice glows amber, high-speed flash freezing the droplets. Framed close on the cone, the lemon and the cup, the base and the wordmark just visible at the bottom of the frame. HARDWARE LOCK — the press keeps exactly the parts it has in the reference image: the lever ends in a SOLID POLISHED CHROME SPHERE, a full ball with no hole through it. The yellow base is ONE single low block. The wordmark SPREMI is cast in relief, horizontally centred on the front face of that base, level and readable. Same proportions, same number of parts, same chrome finish as the reference.

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, cross-polarised HDR studio lighting to control mirror-chrome hot spots, 16-bit colour workflow, premium kitchen-tool retouching, ultra-high-resolution 4K product photography with razor-sharp chrome and enamel separation.

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 macro of the [MOMENT THE PRODUCT DOES ITS JOB], NO [THE OBJECT THE MODEL ALWAYS ADDS] ANYWHERE IN THE FRAME. [THE MOVING PART] is pressed onto [WHAT IT ACTS ON] that sits INSIDE [THE RECEIVING PART], [THE VISIBLE DEFORMATION], and [WHAT FLOWS] runs down [WHERE] and pools at [WHERE]. [WHAT HANGS IN THE AIR] around it. Dark background, backlit so [WHAT FLOWS] glows, high-speed flash freezing the droplets. Framed close on [THE THREE PARTS IN FRAME], the base and the wordmark just visible at the bottom of the frame. HARDWARE LOCK — the [PRODUCT] keeps exactly the parts it has in the reference image: [THE PART THE MODEL ALWAYS GETS WRONG, DESCRIBED IN CAPITALS], [WHAT IT IS NOT]. [THE SECOND PART THAT MUST STAY ONE PIECE]. The wordmark [BRAND NAME] is [HOW IT IS APPLIED], [EXACTLY WHERE IT SITS], level and readable. Same proportions, same number of parts, same [FINISH] as the reference.

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

Le plan de fiche produit : lumière dure, marbre blanc, l'objet centré et les fruits autour comme légende. Aucun récit, aucune ambiance — il est là pour être lisible, y compris recadré en carré sur une marketplace.

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 press centred on a slab of white Carrara marble with halved and whole lemons and limes scattered around it, a small chrome bowl of pulp. Hard overhead sun, crisp shadows, top-down three-quarter, glossy food editorial.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 120mm LS Macro Blue Ring lens, ISO 50, f/11, focus stacking, cross-polarised HDR studio lighting to control mirror-chrome hot spots, 16-bit colour workflow, premium kitchen-tool retouching, ultra-high-resolution 4K product photography with razor-sharp chrome and enamel separation.

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] centred on a slab of [PREMIUM SURFACE MATERIAL] with [THE INGREDIENTS, WHOLE AND CUT] scattered around it, a small [VESSEL] of [THE BY-PRODUCT]. Hard overhead sun, crisp shadows, top-down three-quarter, glossy [CATEGORY] editorial.

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

L'avant-bras tendu, le chrome qui reflète la main, le jus qui commence. Ce plan ne vend pas le produit, il vend l'effort qu'il économise. Le HARDWARE LOCK revient mot pour mot : dans un plan de geste, c'est toujours la pièce qu'on manipule que le modèle déforme.

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 crop of a hand pressing the lever down, the forearm taut, the chrome reflecting the hand, juice beginning to run. Warm side light, shallow depth of field, cinematic. HARDWARE LOCK — the press keeps exactly the parts it has in the reference image: the lever ends in a SOLID POLISHED CHROME SPHERE, a full ball. The yellow base is ONE single low block. The wordmark SPREMI is cast in relief and sits HORIZONTALLY CENTRED ON THE FRONT FACE of that single base block, at the same size and in the same place as in the reference, fully readable, level and never cropped. The yellow pressing cup is small and shallow, and the halved lemon sits INSIDE it, pressed down by the chrome cone from above. Same proportions, same number of parts, same chrome finish as the reference.

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, cross-polarised HDR studio lighting to control mirror-chrome hot spots, 16-bit colour workflow, premium kitchen-tool retouching, ultra-high-resolution 4K product photography with razor-sharp chrome and enamel separation.

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 crop of a hand [THE ONE GESTURE THAT MAKES IT WORK], the forearm taut, the [REFLECTIVE MATERIAL] reflecting the hand, [WHAT STARTS TO HAPPEN]. Warm side light, shallow depth of field, cinematic. HARDWARE LOCK — the [PRODUCT] keeps exactly the parts it has in the reference image: [THE PART THE MODEL ALWAYS GETS WRONG, DESCRIBED IN CAPITALS], [WHAT IT IS NOT]. [THE SECOND PART THAT MUST STAY ONE PIECE]. The wordmark [BRAND NAME] is [HOW IT IS APPLIED], [EXACTLY WHERE IT SITS], level and readable. Same proportions, same number of parts, same [FINISH] as the reference.

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

Carafe, deux verres, une branche de bougainvillier, la mer floue derrière. On ne vend plus un ustensile, on vend un matin de vacances — et le produit passe volontairement au second plan pour que la scène soit crédible.

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

SCENE — the press on an outdoor terrace table with a carafe of fresh juice and two glasses, a bougainvillea branch at the frame edge, the sea far behind and out of focus. Bright midday Mediterranean sun, holiday feeling.

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, cross-polarised HDR studio lighting to control mirror-chrome hot spots, 16-bit colour workflow, premium kitchen-tool retouching, ultra-high-resolution 4K product photography with razor-sharp chrome and enamel separation.

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 an outdoor terrace table with [WHAT IT PRODUCED, SERVED] and [TWO PIECES OF TABLEWARE], [A PLANT] at the frame edge, [THE LANDSCAPE] far behind and out of focus. Bright midday [REGION] sun, holiday feeling.

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

Des dizaines de demi-agrumes en grille, triés par couleur, et le produit debout devant. La répétition fabrique l'affiche : c'est le seul visuel de la série qui fonctionne en très petit et en très grand.

Note la phrase répétée deux fois : the camera is NOT overhead and NOT top-down. Face à une grille, le modèle bascule spontanément en vue de dessus et couche le produit — il faut lui interdire l'angle, pas seulement lui demander le bon.

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 press standing upright on a flat sun-yellow surface, shot STRAIGHT ON at counter level with the camera at the same height as the press so the product keeps its natural upright elevation. Behind and around it, dozens of citrus halves — lemon, orange, blood orange and lime — are arranged in a dense graphic grid on the yellow wall behind, sorted by colour into soft bands, each half facing the camera flat. A few whole fruits rest on the surface at the base. Hard frontal light casting one clean shadow to the right, saturated, symmetrical, graphic pop advertising. The camera is NOT overhead and NOT top-down: it is level with the product.

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, cross-polarised HDR studio lighting to control mirror-chrome hot spots, 16-bit colour workflow, premium kitchen-tool retouching, ultra-high-resolution 4K product photography with razor-sharp chrome and enamel separation.

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 upright on a flat [BRAND COLOUR] surface, shot STRAIGHT ON at [SURFACE] level with the camera at the same height as the [PRODUCT] so it keeps its natural upright elevation. Behind and around it, dozens of [THE INGREDIENT, HALVED] — [VARIANT 1], [VARIANT 2], [VARIANT 3] and [VARIANT 4] — are arranged in a dense graphic grid on the [BRAND COLOUR] wall behind, sorted by colour into soft bands, each half facing the camera flat. A few whole [INGREDIENTS] rest on the surface at the base. Hard frontal light casting one clean shadow to the right, saturated, symmetrical, graphic pop advertising. The camera is NOT overhead and NOT top-down: it is level with the product.

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

Le miroir déforme un citron et le décor autour : on ne montre plus l'objet, on montre ce qu'il reflète. C'est le plan qui dit « métal massif » sans écrire un poids, et il tient tout seul en story verticale.

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

SCENE — an extreme macro of the polished chrome body: the mirror surface reflecting a distorted lemon and the yellow surround, a single juice droplet running down. 100mm macro, ultra shallow depth of field, precise.

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, cross-polarised HDR studio lighting to control mirror-chrome hot spots, 16-bit colour workflow, premium kitchen-tool retouching, ultra-high-resolution 4K product photography with razor-sharp chrome and enamel separation.

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

SCENE — an extreme macro of the [POLISHED MATERIAL] body: the mirror surface reflecting a distorted [INGREDIENT] and the [BRAND COLOUR] surround, a single [DROPLET OR TRACE] running down. 100mm macro, ultra shallow depth of field, precise.

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

Lumière plate, produit repoussé au bord du cadre, un verre, une brioche, un café. Volontairement le plan le moins spectaculaire de la série : il sert de respiration entre deux images léchées et rend l'ensemble crédible.

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

SCENE — a breakfast scene: the press at the edge of frame beside a glass of fresh orange juice, a cut brioche, a linen napkin and a small espresso, on a rustic wooden table. Soft warm morning window light, appetising, natural.

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, cross-polarised HDR studio lighting to control mirror-chrome hot spots, 16-bit colour workflow, premium kitchen-tool retouching, ultra-high-resolution 4K product photography with razor-sharp chrome and enamel separation.

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 [MEAL OR MOMENT] scene: the [PRODUCT] at the edge of frame beside [WHAT IT PRODUCED, SERVED], [FOOD ITEM 1], [A TEXTILE] and [A SMALL DRINK], on a rustic [SURFACE MATERIAL] table. Soft warm morning window light, appetising, natural.

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

Dix secondes, onze plans, une seule main dans tout le film. Le presse-agrumes lévite et tourne, seul le fond change à chaque coupe — toujours dans la même palette. Pas de casting, pas de lieu : c'est le format le plus rentable de la campagne.

Regarde comment le prompt est écrit : chaque coupe est datée à la demi-seconde près et porte un nom (HARD CUT, SMASH CUT, WHIP CUT, MATCH CUT). Sans ce minutage, le modèle coupe où il veut et le rythme s'effondre.

SCENE CONTEXT
A 10-second vertical kinetic product spot for SPREMI, a manual lever citrus press. No people except one hand, no location. A single sun-yellow colour world, the press levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the yellow and chrome palette.

ACTIVE REFERENCES
@image1 - the SPREMI press. A manual lever citrus press in cast aluminium with a polished mirror-chrome lever arm and tall body ending in a solid chrome ball handle with no hole through it, a sun-yellow powder-coated enamel base and pressing cup, and the wordmark "SPREMI" cast in relief and horizontally centred on the front face of the single low yellow base. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a black reflective mirror floor enters frame. Each shot uses one backdrop from the yellow and chrome palette: flat sun yellow, warm gold gradient, crossing blood-orange light bars, drifting citrus mist, or a chrome-grey field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on a distorted lemon reflected in polished chrome, a sun yellow 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 a distorted reflection travelling across polished chrome.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the press levitating and rotating on a sun yellow gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, citrus halves bursting outward past the lens in a spray of zest.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a ribbon of fresh juice coils around the levitating press on golden bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the press levitating between crossing blood-orange light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the chrome ball handle, a hard highlight sliding around its curve.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting citrus mist, the press flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the chrome cone crushing a lemon half, juice running down the yellow cup wall.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the press, the SPREMI wordmark cast in relief filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The sun yellow of the base matches into a sun yellow light bar, camera arcing at 30 km/h across a chrome-grey void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The press descends and lands on a black reflective mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
A lemon distorts across chrome. The press levitates and rotates. Citrus halves burst past the lens. A juice ribbon coils around it. A highlight slides around the ball handle. The cone crushes a lemon and juice runs. The wordmark fills frame. The press lands on a black floor and settles.

PHYSICS
The press is roughly 3 kilograms of cast aluminium. The lemon deforms and splits under the cone. Juice runs downward under gravity with pulp suspended in it. Chrome reflects its surroundings with true mirror behaviour. The press lands heavily with a real metallic settle.

LIGHTING
Hard specular key from camera-left at 5400K raking across the press, a tight rim light on the right edge, blood-orange practicals in the background. White balance fixed at 5400K. Atmospheric haze at 12%.

COLOR GRADE
60:30:10 - sun yellow dominant, chrome secondary, blood orange accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, a metallic clack, juice splattering, a mechanical creak, 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 press design stays identical to @image1 in every shot: polished mirror-chrome lever ending in a solid chrome ball with no hole through it, one single low sun-yellow base, the SPREMI wordmark cast in relief and horizontally centred on the front face of that base, legible and never cropped, the small shallow yellow pressing cup. The set contains only seamless colour fields and, in the final beat, the mirror floor. Every shot contains visible camera movement.

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

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

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a [FLOOR COLOUR AND FINISH] reflective mirror floor enters frame. Each shot uses one backdrop from the [PALETTE NAME] palette: [BACKDROP 1], [BACKDROP 2], [BACKDROP 3], [BACKDROP 4], or [BACKDROP 5].

FIRST FRAME / BLOCKING
Frame opens in extreme macro on [THE MOST TACTILE DETAIL OF THE PRODUCT], a [COLOUR] 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 MATERIAL DETAIL].
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the [PRODUCT] levitating and rotating on a [COLOUR] gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, [WHAT BURSTS OUTWARD PAST THE LENS].
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as [WHAT COILS OR WRAPS AROUND THE PRODUCT] on [COLOUR] bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the [PRODUCT] levitating between crossing [COLOUR] light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on [THE SIGNATURE DETAIL OF THE PRODUCT], a highlight travelling across it.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through [WHAT DRIFTS IN THE AIR], the [PRODUCT] flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, [THE ONE PHYSICAL ACTION THE PRODUCT PERFORMS].
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the [PRODUCT], the [WORDMARK OR SILHOUETTE] filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The [COLOUR] of the [PART OF THE PRODUCT] matches into a [SAME COLOUR] light bar, camera arcing at 30 km/h across a [COLOUR] void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The [PRODUCT] descends and lands on a [FLOOR COLOUR AND FINISH] reflective mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
[THE NINE EVENTS ABOVE, RESTATED IN PLAIN SHORT SENTENCES, IN THE SAME ORDER].

PHYSICS
The [PRODUCT] is [ITS REAL SIZE AND WEIGHT]. [HOW ITS MATERIAL BEHAVES — what runs, deforms, springs back or reflects]. The [PRODUCT] lands with [THE KIND OF SETTLE ITS MASS WOULD GIVE] and a true reflection.

LIGHTING
Hard specular key from camera-left at [COLOUR TEMPERATURE]K raking down the [PRODUCT], a tight rim light on the right edge, [ACCENT 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 TWO OR THREE PHYSICAL SOUNDS THE PRODUCT ITSELF MAKES], a low sub hit on the final landing.

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

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

POSITIVE LOCKS
The [PRODUCT] design stays identical to @image1 in every shot: [THE FULL LIST OF DETAILS THAT MUST NOT CHANGE — materials, colours, every word written on it]. The set contains only seamless colour fields and, in the final beat, the mirror floor. Every shot contains visible camera movement.

L'inverse exact de l'hyper motion : une cuisine, une femme, deux enfants, une progression du citron jusqu'au verre bu. Le produit arrive en dernier, jamais en premier. C'est ce qu'on vend le plus cher parce que ça ressemble à une vraie pub.

Le bloc PERFORMANCE fait autant de travail que le bloc CAMERA : « elle le fait pour la millième fois », « les enfants s'impatientent vraiment ». Sans direction d'acteur écrite, le modèle produit des sourires de banque d'images.

SCENE CONTEXT
A 10-second vertical commercial spot for SPREMI, a manual lever citrus press. Saturday morning in a family kitchen, a mother and her two children making breakfast. Fast editorial cutting, roughly one second per shot, the camera moving in every single shot.

ACTIVE REFERENCES
@image1 - the SPREMI press. A manual lever citrus press in cast aluminium with a polished mirror-chrome lever arm and tall body ending in a solid chrome ball handle, a sun-yellow powder-coated enamel base and pressing cup, and the wordmark "SPREMI" cast in relief and horizontally centred on the front face of the single low yellow base. 100% matches the reference.

LOCATION MAP
A worn marble counter, whitewashed walls, blue-painted shutters half open, a ceramic bowl of lemons, a wooden table at 2 metres with two children seated. The set contains only the counter, the walls, the shutters, the bowl, the table and the two children.

FIRST FRAME / BLOCKING
Frame opens low along the marble counter as striped shutter light rakes across it, the chrome press standing at the end, the kitchen alive behind.

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, clean spherical rendering.

CAMERA
0.0-1.6s - 63 degree FOV. Low dolly along the marble counter at 4 km/h, striped shutter light raking across the chrome.
1.6s HARD CUT
1.6-2.4s - 47 degree FOV. Handheld push-in on a woman in her fifties with a silver bob and a linen apron, halving a lemon on a board and glancing off camera at her children.
2.4s WHIP CUT
2.4-3.2s - 29 degree FOV. Fast push-in as she places the halved lemon into the yellow cup.
3.2s HARD CUT
3.2-4.0s - 12 degree FOV. Orbiting macro up the polished chrome body, a distorted reflection of the lemon travelling across it.
4.0s SMASH CUT
4.0-4.8s - 18 degree FOV. Locked medium, both her hands pull the lever down in one firm movement, the chrome cone crushing the lemon.
4.8s WHIP CUT
4.8-5.4s - 107 degree FOV. Whip pan through a hard shutter-light flare across the kitchen.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. High-speed macro, fresh juice running down the inside wall of the yellow cup and pooling.
6.2s HARD CUT
6.2-7.0s - 47 degree FOV. Fast arc around the counter at 5 km/h as she carries two full glasses toward the table.
7.0s MATCH CUT
7.0-7.8s - 63 degree FOV. The sun yellow of the base matches into the juice in the glasses, camera tracking left at 5 km/h.
7.8s HARD CUT
7.8-8.6s - 29 degree FOV. Low tracking as a child takes a glass in both hands and drinks, eyes wide over the rim.
8.6s HARD CUT
8.6-10.0s - 18 degree FOV. Steady push-in on the press standing on the marble, the SPREMI wordmark filling the lower frame, the family out of focus behind.

ACTION
Shutter light rakes the counter. A woman halves a lemon and places it in the yellow cup. A distorted lemon travels across the chrome. She pulls the lever down and the cone crushes the fruit. Juice runs down the cup wall and pools. She carries two glasses to the table. A child drinks with both hands. The press stands on the marble with the wordmark facing camera.

PERFORMANCE
She moves with practised economy, doing this for the thousandth time, glancing at her children between actions. The children fidget and reach, genuinely impatient. Nobody performs for the lens.

PHYSICS
The press is roughly 3 kilograms of cast aluminium, standing dead still on the marble with a hard contact shadow, its lever resisting then giving under real force. The lemon deforms and splits under the cone. Juice runs downward under gravity with pulp suspended in it. The glasses have real weight in a child's hands.

LIGHTING
Hard morning sun through half-open shutters from camera-right at 5400K throwing striped shadows across the counter, warm bounce from the whitewashed walls filling the shadow side. Atmospheric haze at 8%.

COLOR GRADE
60:30:10 - warm marble white dominant, sun yellow secondary, chrome accent.

AUDIO
Diegetic only: quiet kitchen ambience, birds through the shutters, a knife on a board, the mechanical creak of the lever under load, juice running, two children talking over each other.

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

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

POSITIVE LOCKS
The press design stays identical to @image1 in every shot: polished mirror-chrome lever ending in a solid chrome ball with no hole through it, one single low sun-yellow base, the SPREMI wordmark cast in relief and horizontally centred on the front face of that base, legible and never cropped, the small shallow yellow pressing cup. The woman and the two children keep the same faces, hair and clothing across every cut. The set contains only the counter, the walls, the shutters, the bowl, the table and the children. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the press is never shown floating on a studio backdrop and never appears without the kitchen or a person around it.

SCENE CONTEXT
A 10-second vertical commercial spot for [BRAND NAME], [PRODUCT TYPE IN ONE LINE]. [TIME OF DAY] in [THE PLACE], [WHO IS THERE AND WHAT THEY ARE DOING]. Fast editorial cutting, roughly one second per shot, the camera moving in every single shot.

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

LOCATION MAP
[THE SURFACE THE PRODUCT SITS ON], [THE FURNITURE], [THE LIGHT SOURCES AND THEIR DISTANCE IN METRES], [WHAT IS ON THE WALLS], [WHAT IS VISIBLE THROUGH THE WINDOW]. The set contains only [THE SAME LIST AGAIN, WORD FOR WORD].

FIRST FRAME / BLOCKING
Frame opens [WHERE THE CAMERA STARTS AND HOW LOW IT IS], [THE LIGHT DOING SOMETHING], [WHAT IS ALREADY HAPPENING IN THE BACKGROUND BEFORE THE FILM BEGINS].

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, clean spherical rendering.

CAMERA
0.0-1.6s - 63 degree FOV. [THE ESTABLISHING MOVE ACROSS THE SET] at [SPEED] km/h, [THE LIGHT SOURCE FLARING].
1.6s HARD CUT
1.6-2.4s - 47 degree FOV. Handheld push-in on [THE PERSON, DESCRIBED ONCE: age, hair, clothing] as they [THEIR FIRST ACTION].
2.4s WHIP CUT
2.4-3.2s - 29 degree FOV. Fast push-in as [THEIR HAND CLOSES AROUND THE PRODUCT OR OPENS IT] on [THE SURFACE IT WAS STANDING ON].
3.2s HARD CUT
3.2-4.0s - 12 degree FOV. Orbiting macro on [THE PRODUCT'S SIGNATURE MATERIAL DETAIL — the texture that justifies the price].
4.0s SMASH CUT
4.0-4.8s - 12 degree FOV. Locked macro, [THE ONE GESTURE THAT MAKES THE PRODUCT WORK, AND WHAT IT RELEASES].
4.8s WHIP CUT
4.8-5.4s - 107 degree FOV. Whip pan through [THE LIGHT SOURCE OF THE SET] flaring across the [PLACE].
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. High-speed macro, [THE APPETITE SHOT — the sensation you are actually selling, described physically].
6.2s HARD CUT
6.2-7.0s - 47 degree FOV. Fast arc around [THE PERSON OR THE GROUP] at [SPEED] km/h, [THE SOCIAL MOMENT THAT MAKES IT A BRAND AND NOT AN OBJECT].
7.0s MATCH CUT
7.0-7.8s - 63 degree FOV. The [COLOUR] of [ONE THING] matches into the [SAME COLOUR] of [ANOTHER THING], camera tracking [DIRECTION] at [SPEED] km/h.
7.8s HARD CUT
7.8-8.6s - 29 degree FOV. Low tracking past [THE PAYOFF: SOMEONE ENJOYING THE PRODUCT, AND THE ONE THING THEIR FACE DOES].
8.6s HARD CUT
8.6-10.0s - 18 degree FOV. Steady push-in on the [PRODUCT] [WHERE IT ENDS UP], the [WORDMARK] filling frame, [WHAT IS OUT OF FOCUS BEHIND].

ACTION
[EVERYTHING THAT HAPPENS, IN ORDER, ONE PLAIN SHORT SENTENCE PER SHOT — the same events as the CAMERA block, written as facts rather than as camera moves].

PERFORMANCE
[HOW THE PEOPLE MOVE, WHERE THEY LOOK, WHAT THEY DO BETWEEN ACTIONS, AND WHAT THEY ARE NOT DOING]. Nobody performs for the lens.

PHYSICS
The [PRODUCT] is [ITS REAL WEIGHT AND SIZE], [HOW IT SITS AND WHAT SHADOW IT CASTS ON THE SURFACE]. [HOW ITS MATERIAL AND ITS CONTENTS BEHAVE UNDER THE GESTURE — what runs, deforms, resists or springs back]. [WHAT THE OTHER OBJECTS IN THE SCENE DO WHEN THEY ARE TOUCHED].

LIGHTING
[THE ONE KEY SOURCE, ITS DIRECTION AND ITS COLOUR TEMPERATURE IN KELVIN], [WHAT IT DOES TO THE SET — the shape of the shadows it throws], [THE FILL OR BOUNCE THAT OPENS THE SHADOW SIDE], [THE SPILL FROM OUTSIDE]. Atmospheric haze at [PERCENTAGE]% across the background.

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

AUDIO
Diegetic only: [THE ROOM TONE], [THE ONE SOUND THE PRODUCT ITSELF MAKES], [THE TWO OR THREE SOUNDS OF THE PLACE AND OF THE PEOPLE].

STYLE
Photorealistic commercial cinematography, 24fps smooth motion, fine film grain, 8K detail, [THE PACING IN THREE WORDS].

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

POSITIVE LOCKS
The [PRODUCT] design stays identical to @image1 in every shot: [THE FULL LIST OF DETAILS THAT MUST NOT CHANGE, INCLUDING EVERY WORD WRITTEN ON IT]. [THE PEOPLE] keep the same faces, hair and clothing across every cut. The set contains only [THE LIST FROM THE LOCATION MAP]. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the [PRODUCT] is never shown floating on a studio backdrop and never appears without [THE PLACE] around it.

On ne génère jamais une vidéo UGC d'un coup. On fabrique d'abord cette image fixe, 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 : bruit de capteur, HDR de téléphone, fenêtre cramée, peau non retouchée. Et une contrainte propre à cet objet : il pèse trois kilos. Il faut écrire qu'il est posé sur le plan de travail, jamais tenu, et donner sa hauteur en centimètres — sinon le modèle le réduit à la taille d'un presse-citron de poche.

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 on the counter, so BOTH of her hands stay free — there is never a phone in her hands.

A woman in her fifties, olive skin, silver bob, reading glasses pushed up on her head, wearing a linen apron over a striped shirt. She is mid-sentence, mouth open on a word, eyes on the lens, one eyebrow raised.

THE PRODUCT IS ON THE COUNTER IN FRONT OF HER, standing on its own at its true real-world size — a heavy lever citrus press about forty centimetres tall, taller than the bowl of lemons beside it. She is NOT holding it and it is never miniaturised. BOTH of her hands are on it: one steadying the yellow base, the other pulling the chrome lever down onto a halved lemon in the cup. It keeps exactly the chrome finish, the solid ball handle, the single yellow base with SPREMI in relief, and the proportions of the reference image.

SETTING — her sunlit kitchen, tiled splashback, a bowl of lemons on the counter beside the press. FRAMING — a phone on a tripod at counter height: she is behind the press, her head and shoulders in the upper frame, the press large in the lower foreground, the crop slightly off-centre.

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

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

The 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 on the [SURFACE], so BOTH of her hands stay free — there is never a phone in her hands.

[THE PERSON: age, skin, hair, one small distinctive detail, plain unbranded clothing]. She is mid-sentence, mouth open on a word, eyes on the lens, one eyebrow raised.

THE PRODUCT IS ON THE [SURFACE] IN FRONT OF HER, standing on its own at its true real-world size — [ITS CATEGORY AND ITS REAL HEIGHT IN CENTIMETRES], taller than [THE EVERYDAY OBJECT BESIDE IT THAT GIVES THE SCALE]. She is NOT holding it and it is never miniaturised. BOTH of her hands are on it: one [STEADYING WHICH PART], the other [PERFORMING THE ONE GESTURE THAT MAKES IT WORK]. It keeps exactly the [FINISH], the [SIGNATURE PART], the [BASE AND HOW THE WORDMARK IS APPLIED], and the proportions of the reference image.

SETTING — [THE REAL ROOM WHERE THIS PRODUCT LIVES], [THE TWO THINGS VISIBLE AROUND IT]. FRAMING — a phone on a tripod at [SURFACE] height: she is behind the [PRODUCT], her head and shoulders in the upper frame, the [PRODUCT] large in the lower foreground, the crop slightly off-centre.

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

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

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

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

Le beat muet du milieu fait tout le travail : elle tire le levier en entier, une fois. La démonstration remplace l'argument — et la réplique finale ne fait que chiffrer ce qu'on vient de voir.

Continue this phone video from the exact frame shown. The phone stays propped on a tripod on the counter the whole time, so BOTH of her hands stay free — there is never a phone in her hands. ONE SINGLE CONTINUOUS TAKE, no cuts, no scene changes.

They speak ONLY these two lines, each said ONCE and never repeated:
Line 1, at the very start: "My daughter bought me this and I have used it every single morning since."
Line 2, at the very end: "Two lemons, ten seconds. That is breakfast."
Between the two lines they say NOTHING at all — silent, only acting.

Beat 1 — already mid-sentence, delivering line 1 straight into the lens with a small eyebrow raise.
Beat 2 — SILENT: they place a halved lemon into the yellow cup and settle both hands back onto the press, ready to pull. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they pull the chrome lever all the way down onto the lemon in one firm smooth movement, and fresh juice runs into the cup.
Beat 4 — leans back, shrugs one shoulder and delivers line 2 with a small closed-mouth smile.

Keep the raw look of the frame: the head stays large with selfie wide-angle distortion, the crop stays imperfect, the window stays blown out white, the image stays slightly soft with phone HDR flatness and sensor noise. Natural body sway throughout, never still. Real unretouched skin.

The product stays exactly as in the frame in every beat: polished chrome lever with a solid ball handle, one single yellow base with SPREMI in relief, full real size on the counter, never held in the air, sharp and unchanged, never distorted, never resized and never losing its label.

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

Continue this phone video from the exact frame shown. The phone stays propped on a tripod on the [SURFACE] the whole time, so BOTH of her hands stay free — there is never a phone in her hands. ONE SINGLE CONTINUOUS TAKE, no cuts, no scene changes.

They speak ONLY these two lines, each said ONCE and never repeated:
Line 1, at the very start: "[WHO GAVE IT TO THEM OR THE OLD HABIT IT REPLACED, AND HOW OFTEN THEY USE IT]"
Line 2, at the very end: "[THE RESULT IN NUMBERS, IN ONE BREATH — never a slogan]"
Between the two lines they say NOTHING at all — silent, only acting.

Beat 1 — already mid-sentence, delivering line 1 straight into the lens with a small eyebrow raise.
Beat 2 — SILENT: they [LOAD OR PREPARE THE PRODUCT] and settle both hands back onto it, ready to [THE ACTION]. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they [PERFORM THE ONE GESTURE ALL THE WAY THROUGH, IN ONE FIRM SMOOTH MOVEMENT], and [THE PHYSICAL RESULT YOU CAN SEE].
Beat 4 — leans back, shrugs one shoulder and delivers line 2 with a small closed-mouth smile.

Keep the raw look of the frame: the head stays large with selfie wide-angle distortion, the crop stays imperfect, the window stays blown out white, the image stays slightly soft with phone HDR flatness and sensor noise. Natural body sway throughout, never still. Real unretouched skin.

The product stays exactly as in the frame in every beat: [THE LIST OF DETAILS THAT MUST NOT CHANGE], full real size on the [SURFACE], never held in the air, sharp and unchanged, never distorted, never resized and never losing its label.

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