VELOCE — all the prompts.

The brand board is generated in one go, with four already-produced visuals as reference: the model redraws nothing, it composes. Logo, palette, type and imagery come out on a single page — it's the piece that turns a series of images into a brand.

Design a single BRAND IDENTITY BOARD for the fictional brand VELOCE, 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 VELOCE very large, set in a clean geometric sans for the wordmark and a small letter-spaced sans for captions
· under it, the descriptor VÉLO DE VILLE 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: TEAL #24555A, TAN #B2854F, BONE #EDE6D8, ALLOY #A7ABA9, INK #1B211F
· 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 — urban, considered, everyday cycling. Every colour comes from the palette above and from the photographs. Spell every word correctly. Crisp vector-clean typography, high resolution, professional brand guidelines aesthetic. No watermark, no lorem ipsum, no extra logos.

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

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

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

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

The starting point of the whole campaign: the product, generated alone on a neutral background. It's the one you then feed in as reference in every visual — the set changes, the bike doesn't move. A long object gets photographed in strict profile and not three-quarter: it's the only view where the whole geometry of the frame reads at once, and that's the view that will serve as reference for all the others.

Ultra high-end commercial packshot of a city bicycle in full side profile, centred, on a seamless warm bone backdrop with a soft graduated falloff. The bike has a matte deep-teal steel step-through frame with clean welds, tan leather saddle and matching grips, a brushed aluminium front rack, cream tyres, and a single-speed drivetrain. The wordmark VÉLOCE is printed small in cream on the down tube in a fine geometric sans, legible. Studio lighting: one very large softbox from the upper left running a long soft highlight along the top tube, a gentle fill from the right, a soft contact shadow under both tyres. Photorealistic, 8K, macro-level detail, premium advertising aesthetic, immaculate reflections. No other text, no watermark, no hands.

Ultra high-end commercial packshot of a [LARGE PRODUCT TYPE] in full side profile, centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PRODUCT] has [MATERIAL 1 + ITS FINISH + THE STRUCTURAL DETAIL], [MATERIAL 2 + WHERE IT IS], [MATERIAL 3 + WHERE IT IS], [THE COLOURED PART], and [THE MECHANICAL SPECIFICATION]. The wordmark [BRAND NAME] is printed small in [COLOUR] on [WHERE EXACTLY] in [TYPEFACE STYLE], legible. Studio lighting: one very large softbox from the [DIRECTION] running a long soft highlight along [THE LONGEST LINE OF THE PRODUCT], a gentle fill from the other side, a soft contact shadow under [THE POINTS THAT TOUCH THE GROUND]. Photorealistic, 8K, macro-level detail, premium advertising aesthetic, immaculate reflections. No other text, no watermark, no hands.

The shot that sets the brand's world. The bike is simply leaning against a wall, the way you really leave it. The long evening shadow does all the work: it gives you an hour of the day, so a story, without needing an extra on set.

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 bike leaning against a pale plaster wall on a cobbled street at golden hour, long shadows, a caf awning at the frame edge. Warm, European, wide.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR studio lighting with six-metre scrims, 16-bit colour workflow, automotive-grade retouching, ultra-high-resolution 4K product photography with razor-sharp paint, leather and alloy separation across the full length.

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] leaning against a [WALL MATERIAL] wall on a [TYPE OF STREET] at golden hour, long shadows, [ONE CONTEXT DETAIL] at the frame edge. Warm, European, wide.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], multi-frame focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching, ultra-high-resolution 4K product photography with razor-sharp [MATERIAL 1], [MATERIAL 2] and [MATERIAL 3] separation across the full length.

The shot that sells build quality. Raking light crosses the grain and the stitching stays sharp, the frame goes soft behind. In product advertising, it's the material that justifies the price, not the silhouette.

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 tan leather saddle, the grain and stitching in sharp relief, the teal frame out of focus behind. 100mm macro, raking light.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR studio lighting with six-metre scrims, 16-bit colour workflow, automotive-grade retouching, ultra-high-resolution 4K product photography with razor-sharp paint, leather and alloy separation across the full length.

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 [MATERIAL] [PART OF THE PRODUCT], the [SURFACE DETAIL] and [THE HANDMADE DETAIL] in sharp relief, the [MAIN BODY] out of focus behind. 100mm macro, raking light.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], multi-frame focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching, ultra-high-resolution 4K product photography with razor-sharp [MATERIAL 1], [MATERIAL 2] and [MATERIAL 3] separation across the full length.

The only shot in the series where the product moves. The pan blurs the rider and keeps the frame sharp: you sell the movement without ever losing sight of the product. One gesture, one emotion — the Module 1 rule.

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 bike ridden through a bike lane at speed, panned so the rider blurs and the frame stays sharp, city behind. Motion blur, dynamic, documentary.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR studio lighting with six-metre scrims, 16-bit colour workflow, automotive-grade retouching, ultra-high-resolution 4K product photography with razor-sharp paint, leather and alloy separation across the full length.

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] [BEING USED AT SPEED] through [WHERE IT IS USED], panned so [THE PERSON] blurs and the [PRODUCT] stays sharp, [THE ENVIRONMENT] behind. Motion blur, dynamic, documentary.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], multi-frame focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching, ultra-high-resolution 4K product photography with razor-sharp [MATERIAL 1], [MATERIAL 2] and [MATERIAL 3] separation across the full length.

Cold blue everywhere, one warm streetlight. That temperature contrast is the cheapest trick in cinema: two opposite colours in one image and the shot becomes a film shot. There's nobody here, and that's what makes the hour believable.

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 bike parked against a bridge railing at dawn, river and mist behind, cool blue light with one warm street lamp. Calm, cinematic.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR studio lighting with six-metre scrims, 16-bit colour workflow, automotive-grade retouching, ultra-high-resolution 4K product photography with razor-sharp paint, leather and alloy separation across the full length.

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] parked against [A PUBLIC STRUCTURE] at dawn, [WHAT IS BEHIND] behind, cool blue light with one warm [PRACTICAL LIGHT SOURCE]. Calm, cinematic.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], multi-frame focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching, ultra-high-resolution 4K product photography with razor-sharp [MATERIAL 1], [MATERIAL 2] and [MATERIAL 3] separation across the full length.

Tools on the wall, work light, no effect. Deliberately the least beautiful shot in the series: it works as breathing space between two polished images and proves the object can be maintained — a decisive argument on a product you keep for ten years.

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 bike in a repair stand in a workshop, tools on a pegboard behind, warm work light. Craft documentary, honest.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR studio lighting with six-metre scrims, 16-bit colour workflow, automotive-grade retouching, ultra-high-resolution 4K product photography with razor-sharp paint, leather and alloy separation across the full length.

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

SCENE — the [PRODUCT] in a [WORK FIXTURE] in a workshop, [THE TOOLS OF THE TRADE] behind, warm work light. Craft documentary, honest.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], multi-frame focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching, ultra-high-resolution 4K product photography with razor-sharp [MATERIAL 1], [MATERIAL 2] and [MATERIAL 3] separation across the full length.

The shot that shows what the product allows, not what it is. The rack loaded with bread and flowers tells a life without a car in one image. The midday sun is owned: hard, ordinary, true.

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 bike leaning at a market stall, the front rack loaded with paper bags, flowers and a baguette, midday sun. Lifestyle, warm, generous.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR studio lighting with six-metre scrims, 16-bit colour workflow, automotive-grade retouching, ultra-high-resolution 4K product photography with razor-sharp paint, leather and alloy separation across the full length.

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] leaning at [AN EVERYDAY PLACE], the [CARRYING PART] loaded with [OBJECT 1], [OBJECT 2] and [OBJECT 3], midday sun. Lifestyle, warm, generous.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], multi-frame focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching, ultra-high-resolution 4K product photography with razor-sharp [MATERIAL 1], [MATERIAL 2] and [MATERIAL 3] separation across the full length.

The mechanics in close-up, with a visible drop of oil. It's the shot that speaks to the people who already know the product — every series needs one, otherwise the campaign only talks to beginners.

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 chain on the rear cog, the teal paint and brushed alloy catching light, a bead of oil. 100mm macro, hard light.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR studio lighting with six-metre scrims, 16-bit colour workflow, automotive-grade retouching, ultra-high-resolution 4K product photography with razor-sharp paint, leather and alloy separation across the full length.

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 [MECHANICAL PART] on the [PART IT ENGAGES], the [FINISH 1] and [FINISH 2] catching light, [THE SIGN OF REAL USE]. 100mm macro, hard light.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], multi-frame focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching, ultra-high-resolution 4K product photography with razor-sharp [MATERIAL 1], [MATERIAL 2] and [MATERIAL 3] separation across the full length.

No set, one single colour, a hard shadow, shot dead-on. This shot exists for one thing only: to hold up as a thumbnail on an Instagram grid or a product page, where a busy photo becomes unreadable. It's also the one that closes the series.

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 bike in full side profile against a flat warm bone wall, one hard shadow behind it, shot dead on. Minimal, graphic, editorial.

Capture using a Phase One XF IQ4 150MP medium-format camera with a Schneider Kreuznach 55mm LS lens, ISO 50, f/11, multi-frame focus stacking, large-format HDR studio lighting with six-metre scrims, 16-bit colour workflow, automotive-grade retouching, ultra-high-resolution 4K product photography with razor-sharp paint, leather and alloy separation across the full length.

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

SCENE — the [PRODUCT] in full side profile against a flat [SATURATED OR NEUTRAL BRAND COLOUR] wall, one hard shadow behind it, shot dead on. Minimal, graphic, editorial.

Capture using a [CAMERA BODY] with a [LENS], ISO [ISO], f/[APERTURE], multi-frame focus stacking, [LIGHTING SETUP], 16-bit colour workflow, [RETOUCHING STYLE] retouching, ultra-high-resolution 4K product photography with razor-sharp [MATERIAL 1], [MATERIAL 2] and [MATERIAL 3] separation across the full length.

Ten seconds, eleven shots, no people. One single adaptation, but a crucial one: a long object never levitates. The bike stays on its wheels and it's the camera that turns, otherwise the model shrinks it and floats it like a toy. Apart from that it's the most profitable format: no casting, no location, no filming permit.

SCENE CONTEXT
A 10-second vertical kinetic product spot for VELOCE, a city bicycle. No people, no location. A single teal and bone colour world, the bicycle standing and slowly rotating on an invisible turntable in a seamless void, roughly one second per shot, the backdrop changing on every cut inside the teal palette. Because it is a long object it never levitates: it stays upright on its wheels and the camera does the moving.

ACTIVE REFERENCES
@image1 - the VELOCE bicycle. A matte deep-teal steel step-through frame with clean welds, a tan leather saddle and matching grips, a brushed aluminium front rack, cream tyres, a single-speed drivetrain, and the wordmark VELOCE printed small in cream on the down tube in a fine geometric sans. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no horizon line, a soft graded floor the bicycle stands on from the first shot. Each shot uses one backdrop from the teal palette: smooth bone gradient, deep teal field, crossing warm tan light bars, drifting fine dust, or a near-black void.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on the matte teal paint of the down tube, a bone 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 matte teal paint and one clean weld.
0.8s HARD CUT
0.8-1.6s - 47 degree FOV. Fast 90 degree orbit around the standing bicycle at 20 km/h on a bone gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, the front wheel spinning up, cream tyre and spokes blurring past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in on the tan leather saddle against deep teal bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past the brushed aluminium front rack between crossing warm tan light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the chain settling onto the rear cog, a bead of oil catching light.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting fine dust, the bicycle flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, the tan leather grip and the bar end, the stitching sharp.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast slide along the down tube, the cream VELOCE wordmark filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The tan of the saddle matches into a warm tan light bar, camera arcing at 30 km/h across a near-black void.
7.8s HARD CUT
7.8-10.0s - 63 degree FOV. The bicycle rotates to full side profile against a flat bone field, one hard shadow behind it, camera pushing in steadily and settling dead on.

ACTION
Matte teal paint fills frame. The camera orbits the standing bicycle. The front wheel spins up and blurs. The saddle passes in bokeh. The rack cuts between light bars. The chain settles on the cog with a bead of oil. The grip stitching fills frame. The wordmark fills frame. The bicycle rotates to full side profile and settles.

PHYSICS
The bicycle is roughly 12 kilograms of steel standing on two wheels with real contact shadows under each tyre. The wheel spins with true rotational inertia and slows naturally. The chain settles onto the cog with real link articulation. The leather saddle and grips hold their shape.

LIGHTING
Hard specular key from camera-left at 5200K raking along the top tube, a tight rim light on the rear edge, warm tan practicals in the background. White balance fixed at 5200K. Atmospheric haze at 18%.

COLOR GRADE
60:30:10 - warm bone dominant, deep teal secondary, tan leather accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, a freewheel ticking, a chain settling, a low sub hit on the final side profile.

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 bicycle design stays identical to @image1 in every shot: matte deep-teal steel step-through frame, tan leather saddle and grips, brushed aluminium front rack, cream tyres, single-speed drivetrain, and the cream VELOCE wordmark on the down tube, legible. It stays at full real bicycle size and is never miniaturised and never levitates. The set contains only seamless colour fields and the graded floor. Every shot contains visible camera movement.

SCENE CONTEXT
A 10-second vertical kinetic product spot for [BRAND NAME], [WHAT THE PRODUCT IS]. No people, no location. A single [COLOUR 1] and [COLOUR 2] colour world, the [PRODUCT] standing and slowly rotating on an invisible turntable in a seamless void, roughly one second per shot, the backdrop changing on every cut inside the [PALETTE NAME] palette. Because it is a long object it never levitates: it stays upright on [WHAT IT RESTS ON] and the camera does the moving.

ACTIVE REFERENCES
@image1 - the [BRAND NAME] [PRODUCT]. [FULL PRODUCT DESCRIPTION — materials, finishes, colours, mechanical parts, and the wordmark with its colour and its exact position]. 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no horizon line, a soft graded floor the [PRODUCT] stands on from the first shot. 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 MAIN SURFACE AND ITS FINISH], [WHAT GLOWS BEHIND IT].

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

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

CAMERA
0.0-0.8s - 12 degree FOV. Accelerating macro creep across [THE MAIN SURFACE] and [ONE CONSTRUCTION DETAIL].
0.8s HARD CUT
0.8-1.6s - 47 degree FOV. Fast 90 degree orbit around the standing [PRODUCT] at 20 km/h on [BACKDROP 1].
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, [THE PART THAT MOVES] spinning up and blurring past the lens.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in on [THE SOFT OR CRAFTED PART] against [BACKDROP 2].
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc past [THE FUNCTIONAL PART] between crossing [ACCENT COLOUR] light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on [THE MECHANICAL DETAIL], [THE SIGN OF REAL USE] catching light.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through [DRIFTING ATMOSPHERE], the [PRODUCT] flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, [THE PART THE HAND TOUCHES], [ITS HANDMADE DETAIL] sharp.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast slide along [THE LONGEST LINE OF THE PRODUCT], the [WORDMARK] filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The [ACCENT COLOUR] of [WHERE IT SITS ON THE PRODUCT] matches into a [ACCENT COLOUR] light bar, camera arcing at 30 km/h across a [DARK VOID COLOUR] void.
7.8s HARD CUT
7.8-10.0s - 63 degree FOV. The [PRODUCT] rotates to full side profile against a flat [BACKGROUND COLOUR] field, one hard shadow behind it, camera pushing in steadily and settling dead on.

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

PHYSICS
The [PRODUCT] is roughly [ITS REAL WEIGHT] standing on [WHAT TOUCHES THE GROUND] with real contact shadows. [HOW THE MOVING PART BEHAVES AND HOW IT STOPS]. [HOW THE MECHANICAL PART ARTICULATES]. [WHAT KEEPS ITS SHAPE].

LIGHTING
Hard specular key from camera-left at [COLOUR TEMPERATURE] raking along [THE LONGEST LINE], a tight rim light on the rear edge, [ACCENT COLOUR] practicals in the background. White balance fixed at [COLOUR TEMPERATURE]. Atmospheric haze at [PERCENTAGE].

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

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

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 FEATURES THAT MUST NEVER CHANGE, AND THE WORDMARK, LEGIBLE]. It stays at full real size and is never miniaturised and never levitates. The set contains only seamless colour fields and the graded floor. Every shot contains visible camera movement.

The exact opposite of hyper motion: camera on dolly and crane, never handheld, four beats of two and a half seconds. One place, one person, one progression — you load up, you ride off, you set it down. This is what you sell for the most, because it looks like a real ad, and the ABSOLUTELY NO PACKSHOT line stops the model falling back on a studio background.

SCENE CONTEXT
A 10-second vertical commercial spot for VELOCE, a city bicycle. Early morning in a European old town as a shop opens. Composed camera on a dolly and a crane, never handheld. Four beats in a structured arc, roughly two and a half seconds each.

ACTIVE REFERENCES
@image1 - the VELOCE bicycle. A matte deep-teal steel step-through bicycle with clean welds, a tan leather saddle and matching grips, a brushed aluminium front rack, cream tyres, a single-speed drivetrain, and the wordmark VELOCE in cream on the down tube. 100% matches the reference.

LOCATION MAP
A cobbled old-town street: pale plaster facades, a bakery with its shutter half up, a cafe terrace stacking chairs, long morning shadows. The set contains only what is listed here.

FIRST FRAME / BLOCKING
Frame opens low on the wet cobbles as the first sun reaches down the street.

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

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

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. Slow crane descent down the empty cobbled street at 3 km/h, shutters going up, long shadows.
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. Slow dolly-in as a man in his forties loads a paper bag of bread into the front rack and swings a leg over the frame.
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. Lateral dolly riding alongside him at 12 km/h through the street, the bag steady in the rack, facades passing.
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. Slow crane rise as he leans the bicycle against a plaster wall and walks out of frame, the bicycle alone in full side profile with the wordmark legible.

ACTION
First sun reaches down a cobbled street. A man loads bread into the front rack and swings a leg over. He rides through the street. He leans the bicycle against a wall and walks away.

PERFORMANCE
He moves like someone doing an errand he does every day, unhurried, nodding at a shopkeeper. Nobody performs for the lens.

PHYSICS
The bicycle is roughly 12 kilograms of steel. The wheels roll with true inertia over cobbles and the frame transmits small vibrations. The paper bag shifts in the rack. Leather grips hold their shape.

LIGHTING
Low morning sun from camera-left at 4800K raking down the street, cool blue shadow fill from the sky, warm bounce off plaster. Atmospheric haze at 20%.

COLOR GRADE
60:30:10 - warm plaster bone dominant, deep teal secondary, tan leather accent.

AUDIO
Diegetic only: tyres on cobbles, a freewheel ticking, a shutter going up, distant church bells. No dialogue, no subtitles.

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

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

POSITIVE LOCKS
The bicycle design stays identical to @image1 in every shot: matte teal steel step-through frame, tan leather saddle and grips, brushed aluminium front rack, cream tyres, and the cream VELOCE wordmark on the down tube legible. It stays at full real bicycle size. The people keep the same faces, hair and clothing across every cut. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the bicycle is never shown isolated on a studio backdrop and never appears without a person in the scene.

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

ACTIVE REFERENCES
@image1 - the [BRAND NAME] [PRODUCT]. [FULL PRODUCT DESCRIPTION, INCLUDING THE WORDMARK AND WHERE IT SITS]. 100% matches the reference.

LOCATION MAP
[THE SET, DESCRIBED ONCE: the ground surface, the facades, the two or three businesses opening or closing, the direction of the shadows]. The set contains only what is listed here.

FIRST FRAME / BLOCKING
Frame opens [THE FIRST THING WE SEE AND WHAT CHANGES IN IT].

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

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

CAMERA
0.0-2.5s ESTABLISHING - 63 degree FOV. [THE SLOW OPENING MOVE, ITS SPEED IN KM/H, WHAT IT TRAVELS ALONG AND WHAT IT REVEALS].
2.5s HARD CUT
2.5-5.0s PRODUCT IN USE - 47 degree FOV. [THE SLOW MOVE] as [THE PERSON, THEIR AGE AND WHAT THEY WEAR] [THE SINGLE GESTURE THAT LOADS OR PREPARES THE PRODUCT] and [THE GESTURE THAT PUTS IT INTO USE].
5.0s HARD CUT
5.0-7.5s LIFESTYLE - 29 degree FOV. [THE TRACKING MOVE AND ITS SPEED IN KM/H] alongside [THE PRODUCT BEING ACTUALLY USED], [WHAT STAYS STEADY ON IT], [WHAT PASSES BEHIND].
7.5s HARD CUT
7.5-10.0s HERO - 63 degree FOV. [THE FINAL MOVE] as [THE PERSON PUTS THE PRODUCT DOWN AND WALKS OUT OF FRAME], the [PRODUCT] alone in [ITS SIGNATURE VIEW] with the wordmark legible.

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

PERFORMANCE
[HOW THE PERSON MOVES, WHY, AND THE ONE SMALL HUMAN DETAIL THEY DO WITHOUT THINKING]. Nobody performs for the lens.

PHYSICS
The [PRODUCT] is roughly [ITS REAL WEIGHT]. [HOW IT MOVES OVER THE REAL GROUND SURFACE, WITH TRUE INERTIA, AND WHAT ITS STRUCTURE TRANSMITS]. [HOW THE LOAD BEHAVES]. [WHAT KEEPS ITS SHAPE].

LIGHTING
[THE NATURAL LIGHT] from [DIRECTION] at [COLOUR TEMPERATURE], [THE FILL FROM THE SKY], [THE BOUNCE OFF THE SET]. Atmospheric haze at [PERCENTAGE].

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

AUDIO
Diegetic only: [THE FOUR SOUNDS THE PLACE AND THE PRODUCT ACTUALLY MAKE, NOTHING ADDED]. No dialogue, no subtitles.

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

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

POSITIVE LOCKS
The [PRODUCT] design stays identical to @image1 in every shot: [THE FEATURES THAT MUST NEVER CHANGE, AND THE WORDMARK, LEGIBLE]. It stays at full real size. 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.

You never generate a UGC video in one go. You build this still image first in GPT Image 2, you approve it, and only then do you animate it. Getting the still wrong costs $0.20; getting the video wrong costs seven times more.

The whole prompt is working to kill the pretty: no background blur, no colour grade, no studio light, sensor noise, botched framing, unretouched skin. One extra line here, specific to big objects: the bike is never held in the hand or shrunk down, it stands upright beside the person.

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 propped on a tripod so BOTH of their hands stay free — there is never a phone in their hands.

A man in his forties, glasses, greying temples, wearing a wool overshirt. They are mid-sentence, caught talking — mouth open on a word, eyebrows slightly raised, eyes locked on the lens. Not smiling, not posing.

SETTING — the pavement outside his building, the street behind him, morning light. It looks real and lived-in, not styled for a shoot, with ordinary everyday things around them.

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

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

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

THE PRODUCT — the bicycle stands beside them at full real size, one hand resting on the saddle, and it is never held up or miniaturised. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image, at true real-world scale.

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

Use the attached image as the exact product reference.

THIS IS A FRAME GRABBED FROM A PHONE VIDEO, not a photograph. Vertical phone video, the phone propped on a tripod so BOTH of their hands stay free — there is never a phone in their hands.

[THE PERSON: age, hair, glasses, plain unbranded clothing]. They are mid-sentence, caught talking — mouth open on a word, eyebrows slightly raised, eyes locked on the lens. Not smiling, not posing.

SETTING — [A REAL OUTDOOR OR INDOOR PLACE WHERE THIS PRODUCT ACTUALLY LIVES], [WHAT IS BEHIND THEM], [THE LIGHT]. It looks real and lived-in, not styled for a shoot, with ordinary everyday things around them.

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

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

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

THE PRODUCT — the [PRODUCT] stands beside them at full real size, [WHERE ONE HAND RESTS ON IT], and it is never held up or miniaturised. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image, at true real-world scale.

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

The approved still becomes the first frame of the video. The phone stays on a tripod, both hands are free, one single take with no cut — and the person says exactly two lines: one at the start, one at the end. The two middle beats are marked SILENT. It's that silence, written down in black and white, that stops the model inventing dialogue, and line 1 is an objection, not a sales pitch.

Continue this phone video from the exact frame shown. The phone stays propped on a tripod the whole time, so BOTH of their hands stay free — there is never a phone in their 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: "I sold my car eighteen months ago."
Line 2, at the very end: "I have not missed it once. Not for a second."
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 run their free hand slowly along the top tube of the bicycle beside them, then rest it back on the saddle. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they swing one leg over the frame and settle onto the saddle, both hands on the bars.
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 matte teal steel frame, the tan leather saddle and grips, the brushed alloy rack and the cream VELOCE wordmark, at full real bicycle size and never miniaturised, sharp and unchanged, never distorted, never resized and never losing its text.

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

Continue this phone video from the exact frame shown. The phone stays propped on a tripod the whole time, so BOTH of their hands stay free — there is never a phone in their 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: "[THE DECISION THEY MADE — the objection the viewer already has in mind]"
Line 2, at the very end: "[WHAT THEY KEPT DOING WITH IT — never a slogan]"
Between the two lines they say NOTHING at all — silent, only acting.

Beat 1 — already mid-sentence, delivering line 1 straight into the lens with a small eyebrow raise.
Beat 2 — SILENT: they run their free hand slowly along [THE LONGEST LINE OF THE PRODUCT] beside them, then rest it back on [WHERE IT STARTED]. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: [THE ONE REAL GESTURE OF USE, DONE ONCE].
Beat 4 — leans back, shrugs one shoulder and delivers line 2 with a small closed-mouth smile.

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

The product stays exactly as in the frame in every beat: [THE FOUR FEATURES AND THE WORDMARK THAT MUST NEVER CHANGE], at full real size and never miniaturised, sharp and unchanged, never distorted, never resized and never losing its text.

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