Prompt 256 · @magic_ai_skill

HAMBURGER — 30 SEC LIVE-ACTION COMMERCIAL. No cuts.

The film runs through three layers in order and never goes back: a bright butter-yellow layer where the food falls, a dark layer where the burger is built, and a warm room where she eats it. Torn paper is used exactly twice — to peel the first layer away and to cover the frame at the end. Along those tears the white core is left ragged and fibrous, casting a soft shadow onto the layer below. Every other change of layer is carried by the light shifting instead.

Everything is in full colour — no black-and-white layer, no desaturated grading, no colour-pop where only one object keeps its colour. The build layer is dark but the food in it is fully coloured and brightly lit.

In the falling layer the background is one flat warm butter yellow with no gradient, no texture, no table and no shadows. Dozens of items come down from the top of the frame towards the bottom and they are only three things: the burger, the fry carton and the cola cup described below. They all travel the same way, top to bottom, but the angle each one sits at is different — cut side to camera, crown from above, almost upside down, lying on its side; cartons mouth-on, base-on and tilted; cups lid-up and base-up. **No two items in the same frame sit at the same angle**, and their spin rates and axes differ as well. Anything that comes close to camera enters from the top of the frame and leaves through the bottom; none of them appears or disappears in the middle of the frame. The near ones are large and sharp; the far ones read only as small blurred patches of red, gold and brown, focus holding on one plane. The camera holds its position, breathing very slightly. The frame is 16:9 landscape from the first frame to the last, with no black bars on any side.

Every burger in this film is the one product described below. The many that fall in the first layer, the one being assembled, the one she lifts and the one in the pack shot are all that same spec — nothing added, nothing dropped, no ingredient swapped. Only the count changes: several while the food falls, exactly one in front of her and one in the pack shot.

In the build layer the burger is stacked one layer at a time from the bottom up. Only the single piece coming down at that moment is ever in the air, and once a layer has landed it never disappears or shrinks in any later frame.

Once she bites the burger, the bite is gone from it for the rest of the film. It never returns to a whole burger, the fries never refill, and the cola level never rises again.

No reference images. Everything below is described in words and must be built from the text alone.

THE PRODUCT. A double cheeseburger in a glossy deep-golden sesame brioche bun with a domed crown, built bottom up: bun heel, flame-grilled patty with visible char lines, a slice of melted orange cheddar draping over the edge, a second patty, a second cheddar, round dill pickle slices, a heap of finely shredded lettuce, cream sauce, sesame crown. The fries are thick-cut, golden and salted, upright in a red carton with a scalloped top edge and a cream front panel. The cola is a tall cream waxed paper cup, clear domed lid, white straw, a red band round the base. On the front of both the carton and the cup a single small brand symbol is printed, white on the carton and black on the cup. The symbol only; no wording is printed on the packaging.

THE WOMAN. One Korean woman, about 20, the only person in the film. Bright open face with a soft jawline, large round eyes, small straight nose, full lips. Light chestnut hair in a high wavy ponytail falling past her shoulders, a few loose strands at the temples, a silver hoop in each ear. She wears the same sporty set throughout: short-sleeve zip collar top panelled in tomato red, coral and cream; cream pleated skort with red inserts; cream high socks with red stripes; cream chunky sneakers with red soles. It never becomes an apron, a uniform or casual clothes. Real skin texture with visible pores — no doll-like AI smoothness, no beauty filter. The face established the first time she is on screen repeats exactly every time she returns, and she never morphs into anyone else.

THE LOGO. [BRAND SYMBOL — describe your own mark in one line, e.g. "a slim hand-drawn four-pointed star crossed by a tilted elliptical orbit ring"]. It is used in two places only — printed small on the packaging, and on the final frame. Nowhere else: not on a wall, not on a sign, never floating in the air.

Wherever she appears, the camera is in front of her and her face is turned towards it. It never follows her back or the back of her head.

(0:00–0:02.5) A single double cheeseburger fills the upper left of the frame, close enough to read the sesame, the cheese slumping over the patty edge and the char on the beef. It turns on its own axis as it drops to the lower right, far enough round for the cut side to show. Dozens more come down behind it at varying sizes.

(0:02.5–0:04.5) A single red carton of fries catches large on the top edge of the frame, only its mouth pushing in, close enough that the salt crystals and the rough cut of each fry read clearly along with the brand symbol on the front. Loose fries break away and turn end over end.

(0:04.5–0:06.5) A single tall cola cup falls large through dead centre, condensation beading on the paper, ice shifting behind the domed lid, the brand symbol on the front clearly readable. It rolls once and a few dark droplets break off the straw and hang in the air.

(0:06.5–0:08) FALL FOR IT rises into place at the centre in wide-spaced white serif capitals. A burger passes in front of it, and a torn edge climbs from the lower right and peels the yellow layer away.

(0:08–0:10.5) An ingredient layer opens behind the tear, lit by bright natural daylight. One at a time they fill the frame — the ridged cut face of a dill pickle slice, the heaped strands of shredded lettuce, cream sauce running off an edge. The background blows out and only the filling reads. Macro, drifting slowly sideways.

(0:10.5–0:13) The background turns to a deep charcoal void, lit by one hard light from the side so every edge catches a bright rim. The bun heel sits at the centre of frame and one flame-grilled patty comes down onto it, compressing slightly on contact, a single bead of juice running to the edge along the char lines. Macro, side-on at bun level.

(0:13–0:15.5) A slice of cheese lands on that patty and slumps over its edge, the corners going soft and glossy. The second patty comes down onto it, and the second slice of cheese drapes over that. The stack now reads five layers from the bottom — bun, patty, cheese, patty, cheese. The camera pushes in slowly along the side.

(0:15.5–0:17.5) Pickles and lettuce come down in turn, then the cream sauce. The crown presses the stack together, sauce squeezing out at the side. The light comes up and the cut side fills the frame, every layer reading in order from the bottom. Macro, left to right.

(0:17.5–0:20) The dark lifts fast from one side and becomes a warm bright room in the same breath. She sits at a counter, the burger in front of her, and lifts it in both hands, turning it once so the cut side faces camera. The camera is head-on at chest height and pushes in.

(0:20–0:24.5) Extreme close-up, her face taking two thirds of the frame. She brings the burger in with both hands, her fingers denting the bun, opens wide and takes a deep bite. Her eyes screw shut and her cheeks puff out. As she draws the burger away the melted cheddar stretches only a very short way and snaps at once. Sauce stays on the side of the bun and on the fingers holding it; it never runs past her lips or down her chin, and nothing hangs in a string from her mouth in any frame. Two or three chews later her eyes open, her shoulders drop, and she grins with her cheeks full, then looks back into the lens.

(0:24.5–0:27) Pack shot. One burger stands tall on the right — the same burger as before, and the only one. The camera looks up from below the counter, a warm cream wall out of focus behind. Strong side light lifts the sesame and the cheese. In the empty space at the left, [PRODUCT NAME] appears in white sans-serif capitals, laid over the picture.

(0:27–0:28) A sheet of butter yellow paper comes down from the top and covers the frame, its lower edge torn with the white core showing.

(0:28–0:30) A bright off-white paper field. At the centre, two lines of thin capitals: [TAGLINE]. Below them, the brand symbol and [BRAND NAME], both dark on the light ground. A torn edge crosses the lower frame at a shallow angle.

AUDIO: the music suits whatever is on screen at the time. The build of the burger and the pack shot are the peaks of this film. Everything drops away only on the final two lines. Over it, real sound — paper tearing at each transition, the sizzle and drip of the patty, pickles and lettuce landing, the crunch of the bite, ice knocking inside the falling cup. Everything drops away for the last two seconds and only a soft chime remains under the final frame. No dialogue.

This has to read as a real commercial film. Lettering appears in exactly three places: FALL FOR IT at 0:06.5–0:08, [PRODUCT NAME] on the pack shot at 0:24.5–0:27, and the two lines on the final frame from 0:28. The logo symbol appears only on the packaging and on the final frame. Natural realistic hands and fingers, no distorted fingers, no smeared bun shapes, no smeared lettering.