Реклама в нейросети: скролл-стоппер чипсов Хрум для соцсетей

Создай фотореалистичный лист персонажа по приложенному селфи мужчины. Четыре панели в ряд: 1) крупный план лица анфас, 2) в полный рост анфас, 3) в полный рост в повороте три четверти, 4) в полный рост со спины. Рост 187 см, вес 90 кг, спортивное телосложение. Во всех панелях точно сохрани черты лица, форму и пропорции лица, тон кожи, причёску, бороду и цвет волос; одежда как на фото. Нейтральная естественная поза, мягкое равномерное студийное освещение, чистый белый фон без теней и лишних объектов, единый масштаб и согласованность внешности между всеми видами, без стилизации, без текста и рамок.

Опиши словами упаковку с картинки так, чтобы по описанию нейросеть для картинок нарисовала новую упаковку в том же духе оформления, но с моим названием и моими надписями.

Опиши только саму упаковку, без фона:
- форма и материал пакета, швы, блеск;
- цвета и где какой цвет;
- как устроена лицевая сторона: крупные фигуры, где стоит название, где подписи, где значок, где нарисован продукт;
- шрифт названия (форма букв, толщина, цвет) и шрифты подписей;
- что именно нарисовано.

Надписи с картинки в описание не переноси и бренд не называй. На их места поставь мои надписи, дословно:
- название, крупно: "ХРУМ"
- полоска с категорией под названием: "КУКУРУЗНЫЕ ЧИПСЫ"
- вкус: "НАЧО СЫР"
- круглый значок: "ИНТЕНСИВНО СЫРНЫЙ"

Скажи в описании, что весь текст на упаковке русский, кириллицей, написан точно так, как дан, и что английских слов на упаковке нет.

Ответ — один-два абзаца по-английски, 140–200 слов. Начни словами "The bag is".

Studio product shot: one bag of corn chips, upright, in the middle of the frame, against a flat, seamless mid-grey backdrop. The studio light is soft and even, and the bag leaves only a faint contact shadow underneath.

The bag is a pillow-shaped snack pouch of glossy film, puffed with air, with crimped, ridged seams at the top and bottom, soft creases and bright highlights. Its base colour is saturated warm red. A large yellow triangle with rounded corners fills most of the front, wide at the top, its tip at the bottom, left of centre. Across its upper half runs the name "ХРУМ" in huge, extra-heavy black rounded sans-serif letters, tightly spaced, slightly uneven in height; the counter of Р is a solid red dot. Below, a narrow dark mustard-brown strip with rounded ends carries "КУКУРУЗНЫЕ ЧИПСЫ" in small yellow capitals. Under it, the flavour "НАЧО СЫР" in bold condensed capitals on two lines, golden-brown then red-orange.

Left of the flavour sits a round black seal with a scalloped rim: "ИНТЕНСИВНО СЫРНЫЙ" runs in yellow around a tiny bowl of orange cheese sauce. One large triangular corn chip, golden with a bubbly surface, overlaps the triangle's top edge; two more lie at the lower right. Yellow cheese cubes with holes and tiny salt crystals surround them. All text is Russian, in Cyrillic, written exactly as given, with no English words on the packaging.

The material of the pouch behaves like real foil: it creases and folds naturally, the body is filled with air and bulges a little, and the seals at the top and at the bottom are crimped. Mild specular highlights follow the folds, and the studio light shows as a soft reflection on the glossy film.

The bag is in sharp focus, at high resolution, as in commercial packaging photography, with a shallow depth of field that drops away behind the pack. The picture is clean and appetizing. Leave out hands, props, scenery and any watermark.

The picture is a character sheet in two halves placed next to each other, with a thin vertical divider between them.

LEFT HALF — the man's head from several angles. The face is an exact match for image 1 in haircut, short dark beard with moustache, eye colour and facial features. Layout: a single big portrait on top, two smaller ones under it:

The big one is a FRONT portrait of head and shoulders that takes up the upper part. He looks directly into the lens, his expression neutral.

Under it sit two smaller views of head and shoulders, next to each other. The left one is a LEFT SIDE PROFILE, and a strict one: the head is rotated a full 90 degrees toward frame left. The result is a true flat profile, not turned to the camera at all, giving the complete outline of the nose and lips, the beard, the jawline, the chin and the ear. The right one is an equally strict RIGHT SIDE PROFILE, rotated a full 90 degrees toward frame right: the same true flat profile, mirrored. Neither may be a three-quarter angle.

Each of the three head views includes the collar of the light-grey sweatshirt, the same one.

RIGHT HALF — the full body in two views next to each other, each of them HEADLESS:

Left: the FRONT of the body at full length, shoulders to feet. He stands upright and relaxed, his arms hanging loose along his body, both feet entirely in the picture.

Right: the BACK at full length, seen from straight behind; the scale, the framing, his posture, the lighting and the footwear repeat the front view exactly.

Head and neck are missing in both views. Their place is taken by plain, empty grey background, without a head, a neck, a crop line or a fade. It must read as a solid body with volume, not as clothes hanging in the air: a real torso with real shoulders fills the shirt, an arm fills each sleeve, and a hand shows where each sleeve ends.

Build: height 187 cm, weight about 90 kg, athletic, with broad shoulders and a solid torso. Both body views have the same proportions.

Clothing, the same in all panels — casual clothes for staying at home: a plain crewneck sweatshirt in light grey, charcoal-grey jeans, plain white socks and no shoes. All of it stays in muted neutral greys; red, yellow, orange and any other saturated colour are excluded. He wears no accessories whatsoever: neither a necklace nor a chain, and likewise no rings, watch, bracelets, earrings or sunglasses. No logos, graphics or prints on the clothes.

Look: an uncluttered studio character sheet on a plain, solid grey backdrop, with flat neutral studio light, matte fabric textures, a 35mm lens and thin divider lines between the views.

An empty location plate, without people or animals: a plain bathroom in a regular home, neither styled nor designed. The walls have pale grey-blue tiles up to waist height and white paint above. At the back wall stands a white toilet with the lid down; a folded white towel lies on its cistern. Frame right holds a basin with a mirror. There is also a white radiator on the wall, a bath mat in pale grey and a holder for toilet roll. Light: one ceiling lamp, neutral white, and one small frosted window set high in the back wall.

Camera position: the lens faces the toilet dead-on, squared up to the back wall and set at seated eye level, with the toilet in the middle of the frame. The bathroom door belongs to the side wall at frame left and is viewed edge-on, in profile. It is an ordinary wooden interior door, painted white and shut. It must not sit on the back wall or point at the lens.

Look: live-action and photoreal, natural rather than glossy. A regular household ceiling lamp lights the room, with a cool spill coming through the frosted window; the light falls off realistically and the shadows on the tile are soft. Colours are cool and muted: the pale grey-blue of the tile, the white of porcelain and paint, pale wood. Red, yellow and orange are absent from the room, as is any strongly saturated colour. Fine natural grain and a slight anamorphic feel.

The frame is vertical, 9:16, with no people, animals, text, logos or watermark.

[INPUT IMAGES]

@Image 1 = The Man. Take only his face and hairstyle, his beard, his build and his clothes: a light-grey crewneck sweatshirt and charcoal-grey jeans. Leave the grey studio backdrop out. The image is a character sheet: one person, the same in every view.

@Image 2 = The ХРУМ Bag. This is a red snack bag with a glossy finish. On its front: a big yellow triangle with rounded corners, the "ХРУМ" wordmark in heavy black, a strip reading "КУКУРУЗНЫЕ ЧИПСЫ", the line "НАЧО СЫР", a round seal in black, and drawings of a corn chip and cheese cubes. Take the pack design only, without the grey backdrop of the product photo. The crisps inside it are corn chips, golden and triangular.

@Image 3 = The Bathroom. A location plate with nobody in it. Reproduce exactly what it shows: layout, tiles and fixtures, door, window, light.

Every reference stands for a single person, object or location and is present only once, with no duplicates.

[WHAT THE SHOT IS]

One live-action shot of eight seconds, uninterrupted. A man is sitting on the toilet of a plain home bathroom and relishing his bag of ХРУМ crisps as the camera does a slow push-in on him. Then the head of a horse bursts through the door in the side wall, bites down on the bag and hauls it off. The push-in ends at the very moment the door gives way. Nobody speaks.

All of it is played completely straight. The man is unafraid, and the horse is no joke figure; it just wants the crisps.

[LAYOUT OF CAMERA AND DOOR — take this in first]

The camera looks at The Man dead-on, squared up to the back wall and set at seated eye level. For the whole take he faces directly into the lens.

The bathroom door belongs to the side wall at frame left and is viewed edge-on, in profile: it looks across the frame, turned ninety degrees from the camera's line of sight. It is neither behind him nor pointed at the lens. Once the horse breaks through, its head comes in from frame left and moves right across the frame, shown in profile.

This layout stays fixed throughout, and the camera does not leave this axis.

[SCENE CONSTANTS]

Location: the bathroom of @Image 3, start to finish — a plain bathroom in a regular home, neither styled nor designed. The walls have pale grey-blue tiles up to waist height and white paint above. At the back wall stands a white toilet; a folded white towel lies on its cistern. Frame right holds a basin with a mirror. There is also a white radiator on the wall, a bath mat in pale grey and a holder for toilet roll. Light: one ceiling lamp, neutral white, and one small frosted window set high in the back wall.

The Man is seated on the toilet with his face to the camera, his elbows resting on his knees, his body leaning forward a little, fully relaxed. The charcoal-grey jeans are pulled down to knee level and remain there until the take ends. With both hands he holds The ХРУМ Bag upright in his lap, straight in front of his body. In every frame without exception the bag hides his lap and groin completely: it does not leave this position or tilt away, and at no moment can anything under his waist be seen. The frame covers mid-chest to knees and no more.

The Door: an ordinary interior door of painted wood, shut, in the side wall at frame left, viewed edge-on.

The Horse: a regular brown horse. All that comes into the frame — through the door, from frame left — is the head and a short stretch of neck. The body stays out of sight at all times.

[TIMELINE | 0–8s | Single unbroken take]

0–5s — pleasure. The shot opens static as a frontal medium shot, then a very slow, even push-in runs without pause through all five seconds and brings the framing from medium to close. He is absorbed. His hand goes into the bag and comes out with a crisp; he flips it once to inspect it and eats it without hurry. At the crunch his eyes half close and his eyebrows rise, he gives a small nod of approval meant only for himself, and his jaw keeps a steady rhythm. He licks the cheese dust from his thumb, tilts the bag his way to look in, chooses a larger crisp and eats it as well, chewing slowly, with genuine satisfaction. In his mind there is nobody else in the world. His eyes never go to the camera. All this while the push-in goes on creeping forward.

5–6s — the door gives way. The push-in halts abruptly. The door at frame left bursts into the room in a spray of wood splinters and flakes of paint. Through it, in profile and at chest height, comes the head of a horse, moving across the frame from the left toward the man, its ears pinned flat and its teeth showing. The teeth close on the top edge of the ХРУМ bag, and the head yanks back toward frame left. By instinct he holds on to the bag for half a second, is pulled sideways on the seat, then releases it. Through the hole the bag leaves the frame on the left.

6–8s — stillness. The camera is now locked off, holding the tighter framing it reached, and does not move again. The splinters come to rest, and dust floats in the light of the ceiling lamp. He remains seated, his empty hands still half raised, his eyes turned off frame left toward the hole left in the door, his face completely blank. He stays motionless. The shot stays on him until it ends.

Cuts: NO CUT, not one in all eight seconds.

[LOOK]

Live-action and photoreal, natural rather than glossy. A regular household ceiling lamp lights the room, with a cool spill coming through the frosted window; the light falls off realistically and the shadows on the tile are soft. Colours are cool and muted — the pale grey-blue of the tile, white porcelain and paint, the light grey of the sweatshirt — so only the ХРУМ bag, red and yellow, is strongly saturated in the whole frame. Shallow depth of field, the artefacts of a real lens, fine natural grain, a slight anamorphic feel. The breaking of the door is a practical, physical effect: the splinters and dust are real, and real weight is behind the impact. No stylisation and no slow motion.

[CAMERA WORK AND ACTING]

One take, unbroken. The camera's only move is a slow push-in between 0s and 5s; after it the camera is locked off to the end. It does not pan, tilt or reframe, is not handheld and keeps to the dead-on axis the whole time. The breaking door gives the frame a very slight shake at impact, which then dies away.

The Man: all he wants is to enjoy the crisps, and the opening five seconds show nothing else. The pleasure must be real and made of specific actions, not eating in general. The actions are small and true to life: he examines a crisp before it goes into his mouth, shuts his eyes when one tastes good, licks his thumb clean, looks down into the bag. To the horse he reacts in one way only: he holds the bag tight for half a second and then releases it. There is no scream, no recoil, no jumping up, no covering himself, no glance at the camera. Once the bag has been taken he just stays seated and stares at the hole, his face empty. The joke is in how still he is.

The Horse: neither a threat nor a gag — an animal that caught the smell of food and went through a door for it. It is quick and physical, has a single purpose, and is gone again in under a second.

[SOUND]

A small tiled room as ambience: pipes humming faintly, a close reverb from the tiles. Through the opening five seconds the rustling foil and the crunch sound close, loud and satisfying, over quiet chewing and a single contented exhale. Next comes a violent crash of splintering wood from frame left, then a heavy snort, the sound of teeth on foil, then the bag pulled away through the hole. The splinters and the dust settle. A brief beat, almost silent. After it, from the far side of the door and muffled by it: steady, unhurried crunching.

No dialogue. No music. No subtitles.

[NOT ALLOWED]

No one talks in this shot.

The eight seconds are one continuous shot from start to finish, never cut.

Apart from the one slow push-in during the opening five seconds and the slight shake at impact, the camera does not move.

The dead-on angle is kept at all times, and the door is at no moment shown face-on.

The area below his waist stays hidden throughout: in each frame the ХРУМ bag is over his lap, the frame ends at knee level, and there is never any nudity whatsoever.

Only the head and neck of the horse appear, through the door at frame left; the body is never shown.

There is no blood, injury or gore.

The shot has no cut to black, end card, logo or title.

[HOLD FROM START TO END]

A single man, a single horse head and a single ХРУМ bag: each present a single time, never doubled.

The Man remains sitting on the toilet from start to end, his face to the camera, and does not get up.

Through the full take the door keeps its place in the side wall at frame left and does not shift.

Until the horse grabs it, the bag is upright in his lap and covers it, with both of his hands holding it; after that it does not come back into the shot.

His jeans remain at knee level without moving.