WOOZY — 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 WOOZY, 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 WOOZY very large, set in a chunky rounded display sans with a playful wobbling baseline for the wordmark, and a plain rounded 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: ACID YELLOW #FFD400, DEEP VIOLET #4B1E9E, RASPBERRY #F0356E, LIME #9BD62F, TANGERINE #FF7A1A
· 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 — loud, joyful, saturated, unapologetically pop. 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 sachet seul, sur fond neutre. C'est lui qu'on repasse ensuite en référence dans les huit autres images. Sur un packaging, la difficulté n'est pas la forme, c'est le texte : wordmark, sous-titre, pastille « NO ARTIFICIAL COLOURS ». Tout mot non écrit dans le prompt est un mot que le modèle inventera — et il inventera mal.

Ultra high-end commercial packshot of a stand-up matte soft-touch candy pouch, upright and centred, on a seamless bright acid-yellow backdrop with a soft graduated falloff. The pouch is deep electric violet with a matte finish and a neat resealable strip at the top. Across the front, the wordmark WOOZY is set in a chunky rounded acid-yellow display sans with a playful wobble to the baseline, perfectly legible. Under it, in white rounded sans, the words CHEWY FRUIT SWEETS. In the lower third, a clear oval window shows the actual sweets inside: glossy pillow-shaped chews in raspberry pink, lime green and tangerine, dusted with fine sugar. A small white starburst in the top right corner reads NO ARTIFICIAL COLOURS. Studio lighting: one large softbox above and slightly front for an even wrap, a violet accent light from the left edge, crisp shadow under the pouch. Photorealistic, 8K, macro-level detail on the matte pouch texture and the sugar dusting, premium advertising aesthetic, no other text, no watermark, no hands.

Ultra high-end commercial packshot of a [PACKAGING FORMAT AND ITS FINISH], upright and centred, on a seamless [BACKGROUND COLOUR] backdrop with a soft graduated falloff. The [PACK] is [MAIN COLOUR] with a [FINISH] and [THE CLOSING DETAIL] at the top. Across the front, the wordmark [BRAND NAME] is set in [THE TYPEFACE, DESCRIBED NOT NAMED] with [ITS ONE TYPOGRAPHIC QUIRK], perfectly legible. Under it, in [A SECOND TYPEFACE AND COLOUR], the words [SECOND LINE OF TEXT]. In the lower third, [A WINDOW OR VISUAL DEVICE] shows [THE ACTUAL CONTENTS]: [THEIR SHAPE, THEIR COLOURS, THEIR SURFACE]. [A BADGE OR STARBURST] in the top right corner reads [THE CLAIM]. Studio lighting: one large softbox above and slightly front for an even wrap, a [BRAND COLOUR] accent light from the left edge, crisp shadow under the [PACK]. Photorealistic, 8K, macro-level detail on [THE TWO TEXTURES THAT MUST READ], premium advertising aesthetic, no other text, no watermark, no hands.

Les bonbons jaillissent en arc, chacun net, sur un jaune plat. C'est l'image d'accroche : elle ne dit rien du goût ni du prix, elle arrête le pouce. Une campagne a besoin d'exactement une image comme ça — deux, et la série devient une foire.

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 pouch standing centre while the chewy sweets erupt out of it into the air in a joyful arc against a flat acid-yellow background, each sweet sharp and sugar-dusted. High-speed flash, hard shadow, playful pop advertising.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, hard multi-strobe lighting with saturated coloured gels, 16-bit colour workflow, confectionery retouching, ultra-high-resolution 4K product photography with razor-sharp sugar crystal and matte pouch film detail.

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 [PACK] standing centre while [THE CONTENTS] erupt out of it into the air in a joyful arc against a flat [BRAND COLOUR] background, each [UNIT] sharp and [ITS SURFACE DETAIL]. High-speed flash, hard shadow, playful pop advertising.

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] detail.

Flash frontal, couleurs saturées, le sachet tiré vers l'objectif. On adopte volontairement les codes du réseau social et pas ceux du studio : sur cette cible, une image trop propre est lue comme une pub et scrollée.

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 teenager's hand pulling the open pouch toward the lens, a few sweets tumbling out onto their palm, bright violet nail polish. Flat frontal flash, saturated colours, Gen-Z snapshot energy.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, hard multi-strobe lighting with saturated coloured gels, 16-bit colour workflow, confectionery retouching, ultra-high-resolution 4K product photography with razor-sharp sugar crystal and matte pouch film detail.

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 [THE BUYER'S AGE GROUP]'s hand pulling the open [PACK] toward the lens, a few [UNITS] tumbling out onto their palm, [ONE SMALL PERSONAL DETAIL ON THE HAND]. Flat frontal flash, saturated colours, [THE GENERATION]-snapshot energy.

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] detail.

Des rangées entières du même sachet, une seule nette devant. La répétition ne montre pas le produit, elle montre une distribution : c'est l'image qui fait croire qu'on trouve la marque partout, avant même qu'elle existe.

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 dense confectionery display wall: rows and rows of the pouches on bright yellow shelving, one pouch pulled forward and in focus, the rest falling into a repeating blur. Wide angle, retail documentary, saturated.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, hard multi-strobe lighting with saturated coloured gels, 16-bit colour workflow, confectionery retouching, ultra-high-resolution 4K product photography with razor-sharp sugar crystal and matte pouch film detail.

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 dense [CATEGORY] display wall: rows and rows of the [PACK] on bright [BRAND COLOUR] shelving, one [PACK] pulled forward and in focus, the rest falling into a repeating blur. Wide angle, retail documentary, saturated.

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] detail.

Contre-jour, cristaux de sucre comme du givre, gelée translucide qui s'allume de l'intérieur. Sur de l'alimentaire, la macro est l'argument de goût — c'est le seul plan qui fait saliver, et il ne montre presque pas le packaging.

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 two sweets resting on the pouch: the sugar crystals sparkling like frost, the translucent jelly glowing from within, the matte violet pouch out of focus behind. 100mm macro, backlit.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, hard multi-strobe lighting with saturated coloured gels, 16-bit colour workflow, confectionery retouching, ultra-high-resolution 4K product photography with razor-sharp sugar crystal and matte pouch film detail.

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 two [UNITS] resting on the [PACK]: [THE SURFACE DETAIL] sparkling like frost, [THE MATERIAL] glowing from within, the [PACK FINISH AND COLOUR] out of focus behind. 100mm macro, backlit.

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] detail.

Physiquement, un sachet de bonbons ne flotte pas dans une piscine — et tout le monde s'en fiche. Ce plan vend une saison d'achat, l'été, pas une situation vraie. C'est le moment d'assumer l'exagération, à condition de n'en faire qu'un.

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 pouch floating on the surface of a pool of impossibly blue water, sweets scattered around it bobbing, harsh summer sun, hard-edged shadows. Overhead flat lay, hyper-saturated, playful.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, hard multi-strobe lighting with saturated coloured gels, 16-bit colour workflow, confectionery retouching, ultra-high-resolution 4K product photography with razor-sharp sugar crystal and matte pouch film detail.

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 [PACK] floating on the surface of a pool of impossibly blue water, [THE CONTENTS] scattered around it bobbing, harsh summer sun, hard-edged shadows. Overhead flat lay, hyper-saturated, playful.

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] detail.

Néon magenta et cyan, buée sur la vitre, nuit. Le plan qui casse la série solaire : il prouve que la marque tient aussi en sombre. Sans lui, huit images jaunes se ressemblent et l'ensemble ne fait plus une campagne.

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

SCENE — the pouch in a neon-lit vending machine slot at night, the coil in front of it, magenta and cyan neon reflecting on the plastic window. Nocturnal, cinematic neon, condensation on the glass.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, hard multi-strobe lighting with saturated coloured gels, 16-bit colour workflow, confectionery retouching, ultra-high-resolution 4K product photography with razor-sharp sugar crystal and matte pouch film detail.

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 [PACK] in a neon-lit [RETAIL FIXTURE] at night, [THE MECHANISM] in front of it, [NEON COLOUR 1] and [NEON COLOUR 2] neon reflecting on the plastic window. Nocturnal, cinematic neon, condensation on the glass.

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] detail.

Du désordre assumé : un plaid, des fruits, des lunettes, le sachet renversé. Volontairement le plan le moins composé 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 colourful picnic blanket from above: the open pouch spilling sweets among summer fruit, a striped towel, sunglasses, a checked cloth. Hard midday sun, deep shadows, joyful clutter.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, hard multi-strobe lighting with saturated coloured gels, 16-bit colour workflow, confectionery retouching, ultra-high-resolution 4K product photography with razor-sharp sugar crystal and matte pouch film detail.

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 colourful [SETTING] from above: the open [PACK] spilling [THE CONTENTS] among [SEASONAL FOOD], [TEXTILE 1], [A PERSONAL OBJECT], [TEXTILE 2]. Hard midday sun, deep shadows, joyful clutter.

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] detail.

Symétrie stricte, ombre à 45°, les bonbons rangés par couleur en étoile. Une série a besoin d'une image qui la referme — celle-ci sert aussi de visuel de couverture et de vignette de miniature.

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 strict graphic flat lay: the pouch dead centre on flat acid yellow, the sweets arranged around it in a perfect radiating pattern by colour. Overhead, hard shadow at 45 degrees, Wes-Anderson symmetry.

Capture using a Hasselblad H6D-400c multi-shot with an HC 100mm f/2.2 lens, ISO 64, f/9, focus stacking, hard multi-strobe lighting with saturated coloured gels, 16-bit colour workflow, confectionery retouching, ultra-high-resolution 4K product photography with razor-sharp sugar crystal and matte pouch film detail.

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 strict graphic flat lay: the [PACK] dead centre on flat [BRAND COLOUR], the [CONTENTS] arranged around it in a perfect radiating pattern by colour. Overhead, hard shadow at 45 degrees, [A NAMED VISUAL REFERENCE] symmetry.

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] detail.

Dix secondes, onze plans, une seule main dans tout le film. Le sachet lévite et tourne, seul le fond change à chaque coupe — toujours dans la même palette. Pas de casting, pas de lieu, pas d'autorisation : 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 WOOZY, chewy fruit sweets. No people except one hand, no location. A single acid-yellow colour world, the pouch levitating and rotating in every shot, roughly one second per shot, the backdrop changing on every cut inside the yellow and violet palette.

ACTIVE REFERENCES
@image1 - the WOOZY pouch. A stand-up matte soft-touch pouch in deep electric violet with a resealable strip, a chunky rounded acid-yellow "WOOZY" wordmark with a wobbling baseline, "CHEWY FRUIT SWEETS" in white rounded sans beneath, a clear oval window showing glossy sugar-dusted pillow chews in raspberry pink, lime green and tangerine, and a small white starburst reading "NO ARTIFICIAL COLOURS". 100% matches the reference.

LOCATION MAP
Seamless studio colour fields only, no floor line and no horizon until the final beat, when a glossy white reflective mirror floor enters frame. Each shot uses one backdrop from the yellow and violet palette: flat acid yellow, violet gradient, crossing raspberry neon bars, drifting sugar dust, or a saturated lime field.

FIRST FRAME / BLOCKING
Frame opens in extreme macro on sugar crystals glittering on a single chew, a acid 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 sugar crystals on a chew.
0.8s HARD CUT
0.8-1.6s - 18 degree FOV. Fast 90 degree orbit around the pouch levitating and rotating on a acid yellow gradient.
1.6s SMASH CUT
1.6-2.4s - 12 degree FOV. High-speed macro, sweets bursting outward past the lens in an arc.
2.4s HARD CUT
2.4-3.2s - 29 degree FOV. Push-in as a hand snatches one sweet mid-air beside the levitating pouch on violet bokeh.
3.2s WHIP CUT
3.2-4.0s - 18 degree FOV. Fast arc, the pouch levitating between crossing raspberry neon light bars.
4.0s WHIP CUT
4.0-4.8s - 12 degree FOV. Whip into extreme macro on the resealable strip separating, the film creasing.
4.8s SMASH CUT
4.8-5.4s - 107 degree FOV. Whip pan through drifting sugar dust, the pouch flashing past.
5.4s HARD CUT
5.4-6.2s - 12 degree FOV. Locked macro, a sweet pulled and stretched between two fingers, the jelly glowing translucent.
6.2s SMASH CUT
6.2-7.0s - 18 degree FOV. Fast tilt up the pouch, the acid-yellow WOOZY wordmark filling frame.
7.0s MATCH CUT
7.0-7.8s - 29 degree FOV. The acid yellow of the wordmark matches into a acid yellow light bar, camera arcing at 30 km/h across a deep violet void.
7.8s HARD CUT
7.8-10.0s - 47 degree FOV. The pouch descends and lands on a glossy white reflective mirror floor, settling with its reflection, camera pushing in steadily.

ACTION
Sugar glitters on a chew. The pouch levitates and rotates. Sweets burst outward in an arc. A hand snatches one mid-air. The resealable strip separates. A sweet is pulled and stretched. The wordmark fills frame. The pouch lands on a glossy floor and settles.

PHYSICS
The pouch is roughly 150 grams, its matte film creasing where gripped and holding its gusseted shape. The sweets have real elastic resistance when stretched and a slight tack. Sugar crystals catch light individually. The pouch lands with a soft settle and a true reflection.

LIGHTING
Hard specular key from camera-left at 5600K raking across the pouch, a tight rim light on the right edge, raspberry and lime practicals in the background. White balance fixed at 5600K. Atmospheric haze at 10%.

COLOR GRADE
60:30:10 - acid yellow dominant, deep violet secondary, raspberry accent.

AUDIO
Non-diegetic kinetic design: sharp whooshes on each cut, pouch film crinkling, a wet chew, sweets bouncing, 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 pouch design stays identical to @image1 in every shot: matte deep-violet film, acid-yellow WOOZY wordmark with its wobbling baseline, CHEWY FRUIT SWEETS beneath, the clear oval window with pink, green and orange chews, the white NO ARTIFICIAL COLOURS starburst, all text sharp and legible. 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 : un toit, une bande d'amis, une progression du sachet ouvert au sachet qui circule. 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.

La ligne la plus importante est la dernière : ABSOLUTELY NO PACKSHOT. Sans elle, le modèle finit toujours par poser le sachet sur un fond de studio, et dix secondes de vie deviennent une publicité de catalogue.

SCENE CONTEXT
A 10-second vertical commercial spot for WOOZY, chewy fruit sweets. Late afternoon on a sunlit rooftop terrace, a group of friends in their early twenties, one of them the centre of the film. Fast editorial cutting, roughly one second per shot, the camera moving in every single shot.

ACTIVE REFERENCES
@image1 - the WOOZY pouch. A stand-up matte soft-touch pouch in deep electric violet with a resealable strip, a chunky rounded acid-yellow "WOOZY" wordmark with a wobbling baseline, "CHEWY FRUIT SWEETS" in white rounded sans beneath, a clear oval window showing glossy sugar-dusted pillow chews in raspberry pink, lime green and tangerine, and a small white starburst reading "NO ARTIFICIAL COLOURS". 100% matches the reference.

LOCATION MAP
A concrete rooftop terrace with a low parapet, a striped picnic rug, a plastic crate of drinks, city rooftops at 200 metres, hard late sun. The set contains only the terrace, the parapet, the rug, the crate and the skyline.

FIRST FRAME / BLOCKING
Frame opens low across the striped rug, hard sun flaring, three friends already sprawled and talking, the violet pouch upright between them.

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 forward across the rug at 5 km/h, hard sun flaring into the lens.
1.6s HARD CUT
1.6-2.4s - 47 degree FOV. Handheld push-in on a striking young woman with freckles and bleached blonde hair in a claw clip, laughing with her head tipped back.
2.4s WHIP CUT
2.4-3.2s - 29 degree FOV. Fast push-in as her hand tears the resealable strip open on the violet pouch.
3.2s HARD CUT
3.2-4.0s - 12 degree FOV. Orbiting macro into the open mouth of the pouch, sugar-dusted chews glowing in the sun.
4.0s SMASH CUT
4.0-4.8s - 12 degree FOV. Locked macro, she drops one sweet into her mouth, sugar catching the light on her lips.
4.8s WHIP CUT
4.8-5.4s - 107 degree FOV. Whip pan through an acid-yellow sun flare across the terrace.
5.4s HARD CUT
5.4-6.2s - 18 degree FOV. High-speed macro, a sweet pulled and stretched between two fingers, the jelly translucent against the sun.
6.2s HARD CUT
6.2-7.0s - 47 degree FOV. Fast arc around the group at 6 km/h, the pouch passing hand to hand, everyone reaching in.
7.0s MATCH CUT
7.0-7.8s - 63 degree FOV. The acid yellow of the wordmark matches into the low sun, camera tilting up at 4 km/h.
7.8s HARD CUT
7.8-8.6s - 29 degree FOV. Low tracking as she leans back against the parapet mid-chew, eyes closing, grinning.
8.6s HARD CUT
8.6-10.0s - 18 degree FOV. Steady push-in on the pouch standing upright on the rug, the yellow wordmark filling frame, the group out of focus behind.

ACTION
Friends sprawl on a rooftop rug in hard late sun. A young woman tears the pouch open. Sugar-dusted chews glow inside. She drops one into her mouth. A sweet is pulled and stretched between two fingers. The pouch passes hand to hand and everyone reaches in. She leans back mid-chew, grinning. The pouch stands alone on the rug with the wordmark facing camera.

PERFORMANCE
The friends move with loose unguarded energy, talking over each other, reaching across without asking, squinting into the low sun. Nobody performs for the lens.

PHYSICS
The pouch is roughly 150 grams, standing on its gusseted base with a soft contact shadow, its matte film creasing where fingers grip it. The sweets have real elastic resistance when stretched and a slight tack. Sugar crystals catch light individually. The resealable strip separates with real friction.

LIGHTING
Hard low sun from camera-left at 5200K raking across the terrace, deep hard-edged shadows, warm concrete bounce filling the shadow side. Atmospheric haze at 10% across the skyline.

COLOR GRADE
60:30:10 - acid yellow dominant, deep violet secondary, raspberry accent.

AUDIO
Diegetic only: rooftop wind, distant traffic below, the pouch film crinkling, the resealable strip tearing, a soft chew, overlapping laughter.

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

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

POSITIVE LOCKS
The pouch design stays identical to @image1 in every shot: matte deep-violet film, acid-yellow WOOZY wordmark with its wobbling baseline, CHEWY FRUIT SWEETS beneath, the clear oval window with pink, green and orange chews, the white NO ARTIFICIAL COLOURS starburst, all text sharp and legible. The friends keep the same faces, hair and clothing across every cut. The set contains only the terrace, the parapet, the rug, the crate and the skyline. Every shot contains visible camera movement. ABSOLUTELY NO PACKSHOT: the pouch is never shown floating on a studio backdrop and never appears without the rooftop 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 : pas de flou d'arrière-plan, pas d'étalonnage, pas de lumière de studio, du bruit de capteur, un cadrage raté, de la peau non retouchée. C'est exactement l'inverse des huit visuels précédents — et c'est pour ça qu'il est écrit en prose et pas en blocs.

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 up so both hands stay free — there is never a phone in their hands.

A young woman in her early twenties, freckled fair skin, bleached blonde hair in a messy claw clip, silver braces, wearing a bright green hoodie. They are mid-sentence, caught talking — mouth open on a word, eyebrows slightly raised, eyes locked on the lens. Not smiling, not posing.

SETTING — her bedroom, fairy lights and posters on the wall behind, a messy desk edge in frame. 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 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 — they hold the product from the reference image low and loose near the collarbone in one hand, casually, partly cropped by the frame edge, its label still readable but not presented to the camera. They are talking, not showing it off. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image.

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 up so both hands stay free — there is never a phone in their hands.

[THE PERSON: age, skin, hair, one small distinctive detail, 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 ROOM WHERE THIS PRODUCT ACTUALLY LIVES], [THE TWO OR THREE THINGS VISIBLE AROUND THEM]. 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 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 — they hold the product from the reference image low and loose near the collarbone in one hand, casually, partly cropped by the frame edge, its label still readable but not presented to the camera. They are talking, not showing it off. It keeps exactly the shape, the colours, the materials and every letter of the text of the reference image.

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 calé, 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.

La réplique finale ne vante rien, elle explique : « acidulé d'abord, puis sucré ». Une raison vaut mieux qu'un adjectif — c'est la seule chose que le spectateur retiendra.

Continue this phone video from the exact frame shown. The phone stays propped up the whole time, so BOTH 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: "My friends finish a whole bag before we even leave the house."
Line 2, at the very end: "Sour first, then it goes sweet. That is why."
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: their free hand brings the WOOZY pouch up close to the lens and holds it there, slowly rotating it so the yellow wordmark turns fully toward the camera and stays readable, then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: they pull the pouch open, tip one sweet into their palm and pop it into their mouth.
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: matte deep violet stand-up pouch, chunky acid-yellow WOOZY wordmark, clear oval window showing the sweets, 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 up the whole time, so BOTH 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 OBJECTION OR THE OLD HABIT 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: their free hand brings the [PRODUCT] up close to the lens and turns it so [THE WORDMARK] faces the camera and stays readable, then lowers it. Eye contact kept, lips pressed together, no words.
Beat 3 — SILENT: [THE ONE REAL GESTURE OF USE — they actually use the product, once, slowly].
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], 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.