AI 제품 영상 생성

브리프 전체가 배치와 박자입니다. 네 가지 맛, 기하학적인 배열, 궤도를 그리며 들어오는 과일, 비트마다 떨어지는 컷 — 그 전부가 박자별로 적혀 있고, 비스킷 자체는 레퍼런스 이미지 한 장이 붙들고 있습니다. 여기에 느낌을 적은 줄은 하나도 없고, 모든 줄이 한 프레임을 적고 있습니다.

A bright, high-energy commercial for a fruit-filled sandwich biscuit, floating against seamless colour backdrops that change with the flavour. The biscuit is reference Image 1: hold its shape, crimped edge and dimple pattern in every shot. Studio macro light, no hands, no packaging, no on-screen text. Cut on the beat of an upbeat electronic pop track. 0-2s: coral-pink backdrop. One biscuit hangs dead centre and turns slowly on its own axis while whole and halved strawberries tumble and orbit around it, some drifting past the lens close enough to blur. 2-3s: cut on the beat to mint green. Four green apples float together into a tight cluster in the middle of frame, then split apart to reveal the biscuit hanging behind them. 3-5s: the apples clear and two dark grapes swing in either side of the biscuit; a full bunch of grapes then fills the frame and the backdrop turns lilac. 5-7s: the biscuit alone on lilac, a slow light sweep crossing the backdrop behind it, then three oranges bounce into frame around it. 7-8s: warm-orange backdrop. One orange bursts open in slow motion, pulp and juice spraying outward in macro. 8-9s: the frame settles back on the single biscuit, floating on peach. 9-11s: pull out to a large ordered grid of the biscuits laid flat on pink, evenly spaced and all facing the same way; the camera drifts across the grid. 11-14.5s: one continuous slow push in through the grid, the biscuits growing until the lens is inside the crumb — extreme macro across the dimpled surface. 14.5-15s: lift to a side-on hero of one biscuit, the strawberry filling glossy between the two halves, and hold. Audio: upbeat electronic pop with a four-on-the-floor kick, a crisp whoosh on every colour change, a wet burst on the orange, a dry crumb crunch as the macro lands. No voiceover.

제품 영상이 반드시 사람이 제품을 쓰는 장면일 필요는 없습니다. 이것은 결말이 있는 짧은 이야기이고, 제품이 그 보상입니다 — 주인공은 과일이고, 팔 초가 지나도 계속 보고 있는 이유는 도마뱀입니다. 십오 초를 박자별로 재서, 아래에 전문을 실었습니다.

A 3D animated commercial in the register of a high-end animated short, with a streak of exaggerated humour. Bright translucent colour, soft desert light, delicate skin texture, dreamy macro depth of field. The desert horned lizard is reference Image 1: keep its markings, horns and expression identical in every shot. 0-2.5s: a desert scorched by the sun, the air shimmering with heat. Wide shot, horizon high, dunes running back to nothing. The lizard drags itself across the scalding sand, tongue slightly out, swaying every couple of steps as though it is about to evaporate. 2.5-6.5s: cut in close on its face, then closer still. Eyes glazed, breath shallow, grains of sand stuck to its snout. The camera stays down at sand level and moves with it. 6.5-7.5s: its nose twitches and it stops. A cool, plump, dew-covered grapefruit sits half-buried in the sand just ahead, catching the light with a hard sparkle. 7.5-9.5s: hold on the reaction — the eyes go wide, the grapefruit soft in the background behind its head. 9.5-11s: it scrambles forward and throws both front legs around the fruit. 11-14.5s: it lies against the grapefruit hugging it, cheek pressed to the rind, blissful. Push into macro on its hands gripping the peel and the beads of dew running down. 14.5-15s: it bites. The rind splits and the pulp bursts open in extreme slow-motion macro, juice thrown toward the lens. End there. Audio: dry desert wind and heat haze through the opening, a soft sparkle as the fruit is spotted, a rising musical swell under the scramble, a loud wet crack on the bite. No voiceover, no on-screen text.

볼품은 없는데 가장 잘 파는 쪽입니다. 설치 과정 네 단계, 각각에 전용 레퍼런스 이미지를 묶어서 마지막 컷의 기계가 첫 컷의 기계와 같도록 했습니다. 이것이 반품을 막는 영상입니다 — 그리고 박자마다 시각이 붙어 있고, 그래서 속도가 제대로 돌아옵니다.

A 15-second setup tutorial for a capsule coffee machine on a bright kitchen counter. Hands only, no faces. Every step is pinned to its own reference image: Image 1 the machine body and water tank, Image 2 the drip tray, Image 3 the used-capsule box, Image 4 the tank at its MAX line. Clean daylight, real hands at real speed, no on-screen text. 0-1.5s, step one, the water tank. Medium shot from slightly above, the back of the machine. Two hands lower the transparent tank onto the rear of the body and press it straight down until it seats. Voiceover: "Start with the water tank. Line it up with the slot at the back and push down until it clicks." 1.5-5s, step two, the drip tray. Close-up at counter height, front of the machine. One hand slides the black drip tray horizontally into the rails at the base, backs it out to show the fit, then pushes it in flush. Voiceover: "Next, the drip tray. Slide it into the rails at the bottom until it sits flush with the body." 5-8.5s, step three, the capsule box. Close-up from slightly low, the cavity above the tray. Two hands align the white used-capsule box with the recess and push it in level with the tray front. Voiceover: "Now the used-capsule box. Push it in until it is level with the tray. Spent capsules drop in here on their own." 8.5-15s, step four, the first fill. Cut to a tighter side view of the tank on the machine, the MAX line dead centre of frame. A hand lifts the lid and pours clear water from a glass jug in a steady stream; the level climbs, the camera holds while it stops just under the MAX line, and the lid closes. Voiceover: "Fill the tank with fresh water, stopping just under the MAX line, then close the lid. That is the setup done." Audio: quiet kitchen room tone, a firm click as the tank seats, a plastic slide on the tray, water running into the tank. One calm, unhurried voiceover line per step, no music.

이 페이지에서 가장 짧은 프롬프트이자 가장 쓸모 있는 수법입니다. 속도가 마음에 드는 광고 한 편을 주고, 내 제품을 주고, 카메라 움직임과 컷 지점은 영상에서, 제품은 이미지에서 가져오라고 말합니다. 소재를 베끼는 게 아닙니다. 편집을 베끼는 겁니다.

Take the camera movement and the editing rhythm from reference Video 1, and take the product from reference Image 1: a pair of over-ear headphones. Build an advertising short around them in scenes that suit the product's tone — modern, spare, a little cold. Keep the switching points between product close-ups and wide scene shots where the reference clip puts them, and match its motion speed and transition style.