- Length
- 8s, one take
- Frame
- 16:9, 1080p
- Supplied
- One first frame
- Cost
- 7.5 + 267
The first frame, made first, to settle one question: glass, or fruit?
The brief, in full
Extreme close-up, one single continuous unbroken 8-second shot from a locked-off
camera. No pan, no tilt, no zoom, no push-in, no dolly, no handheld drift, no
cuts, no dissolves. Shallow depth of field. The framing at second 8 is identical
to second 0.
Subject: a solid opaque glass sculpture of a strawberry, in a strawberry's own
natural red, resting on a pale warm wooden cutting board. Glossy blown-glass
surface, seed pits and shoulder dimples moulded into the glass, a small opaque
green glass hull on top. Inside, the glass is a paler milky pink, so every cut
face reveals a clean cross-section of pale core inside red rind. It is a glass
object for the whole shot and never becomes a real fruit: it never softens,
never bleeds juice, never turns to wet flesh or pulp, never sweats. One human
hand holds a stainless steel chef's knife and enters from the right.
Context: the board sits on a dark uncluttered surface, the background falling
away to soft shadow. Crisp soft studio key from camera-left, gentle specular
highlights along the blade and the glass shoulders, one thin red caustic thrown
onto the wood. The light, the board and the background never change.
Action:
[00:00-00:02] The glass strawberry sits perfectly still. The knife lowers from
above and the edge settles against the top of the glass without moving it.
SFX: one faint high glass tick as the steel meets the glass.
[00:02-00:04] The blade presses down and passes cleanly through in one smooth
unhurried stroke. The first slice separates and tips over flat onto the board,
its pale cross-section facing the camera. SFX: a dense crystalline crunch
building through the stroke and releasing as the blade breaks through, then a
bright glassy clink as the slice lands on the wood.
[00:04-00:06] The hand lifts the knife clear, shifts a finger's width to the
left, and cuts again, a little faster. A second even slice falls away and comes
to rest beside the first. SFX: a second crunch, shorter and sharper than the
first, then a light double clink as the slice rocks twice and settles.
[00:06-00:08] The knife lifts up out of the top of frame. The two slices are
still. Nothing else moves. SFX: the last of the glass ringing decaying away into
silence.
Cutting behaviour: the glass parts cleanly, like cold butter, along the exact
line of the blade. It does not shatter, crack, splinter, crumble, chip or send
shards flying, and no piece leaves the board.
Ambient noise: a quiet padded studio room tone underneath everything, and
nothing else.
Style: photorealistic, ultra sharp, calm and premium, high-fidelity ASMR
recording in both picture and sound. The audio is close-miked and intimate, and
the loudest thing in the mix is the glass.
Avoid: music, score, melody, humming, singing, speech, voice-over, narration,
breathing, a second hand, a second piece of fruit, real fruit juice or pulp,
flying shards, camera movement of any kind, cuts, crossfades, background
changes, extra props, on-screen text, captions, subtitles, watermarks and logos.- Length
- 8s, one take
- Frame
- 16:9, 1080p
- Supplied
- One reference image
- Cost
- 7.5 + 267
The one reference — and the arm reaching out of frame is the rig, already built.
The brief, in full
A single continuous unbroken 8-second handheld selfie video, filmed by the yeti
himself. He is holding a selfie stick in his right hand, at arm's length, a
little above his own eyeline and angled down at him — that is where the camera
is. The camera never leaves his hand. Wide-angle lens, his head and shoulders
filling the frame, the ridge and the sky behind him. The frame jolts and swings
with every step he takes, and it is already moving at second 0.
Subject: the creature from the reference image, unchanged — the same dirty
off-white shaggy fur, the same broad flat face, the same tired patient
expression. He is walking for the whole shot and never stops, never sits and
never puts the camera down. He speaks directly into the lens in a deep, low,
rumbling voice, flat and matter-of-fact, like a man describing his commute. His
breath fogs in the cold.
Context: he is trudging along an exposed snow ridge high above a sea of cloud,
exactly as in the reference image, the wind hard from his left and spindrift
streaming past him. Bright flat diffuse daylight with no sun disc, no cast
shadows and no rim light. The light never changes and the background stays a
soft white cloud layer throughout.
Action:
[00:00-00:02] Already mid-stride and already shaking. He glances into the lens
and says, "Forty minutes to the ridge."
SFX: the deep crunch and squeak of huge feet breaking wind-packed snow, one
heavy step at a time, close to the microphone.
[00:02-00:04] He keeps walking, his breath fogging past the lens, and says,
"Forty minutes back." The wind rises behind him.
SFX: fur and wind buffeting the microphone, a low gust building.
[00:04-00:06] A hard gust hits from his left and throws a sheet of spindrift
straight across the lens. The picture goes white and grainy and he is only a
dark shape behind it. He does not react and does not stop walking.
SFX: a sharp roar of wind peaking, snow hissing against the lens.
[00:06-00:08] One enormous furred finger comes into frame from the right and
drags across the lens, smearing the snow clear in a wet streak with a little
still caught in the corners. His face comes back into view, still walking, and
he finishes, "Every day of my life."
SFX: a soft muffled scrape of fur on wet glass, then the footfalls again.
Ambient noise: a constant high-altitude wind under everything, thin and cold,
with no melody in it.
Style: photorealistic amateur vlog footage, natural available light only — the
honest look of a phone camera in bad weather, with mild wide-angle distortion, a
little sensor noise, and an exposure that hunts slightly in all the white.
Avoid: music, score, soundtrack, humming, singing, a narrator, a second voice, a
second character, any other person or animal, on-screen text, captions,
subtitles, titles, watermarks, logos, a locked-off or tripod-steady frame, a
camera that leaves his hand, a third-person shot, a drone shot, cuts, dissolves,
speed ramps, slow motion, the yeti stopping or standing still, bared fangs, a
snarl, a costume seam, a human face.- Length
- 8s, one take
- Frame
- 9:16, 720p
- Supplied
- One first frame
- Cost
- 11 + 100
The first frame, made first, so the brand on the carton was settled before anything moved.
The brief, in full
One continuous unbroken 8-second vertical shot from a completely fixed camera
resting on the dashboard. No pan, no tilt, no zoom, no push-in, no handheld
drift, no cut, no dissolve. The framing at second 8 is identical to second 0.
Subject: the woman of the first frame, unchanged in every frame — same face,
same hair, same dusty-pink fleece, same seatbelt, same car. She stays in the
driver's seat of the parked car throughout and never opens a door, never starts
the engine, never turns away from the lens.
Product: the pale mint NUVELO carton of the first frame, its lettering unchanged
and legible whenever it faces the camera, plus one loose stick sachet in the
same mint and coral. The carton never changes size, colour or wording.
Action:
[00:00-00:02] She is already holding the carton up beside her face. She looks
into the lens and speaks, her other hand resting on the wheel.
"Okay, I have to talk about these."
SFX: the close soft ambience of a parked car interior.
[00:02-00:04] She rotates the carton a quarter turn to show its side, then
brings it square to the camera again.
"Thirty sticks, one a day."
SFX: a light card-on-card rustle as the box turns in her hand.
[00:04-00:06] She lowers the carton out of the bottom of the frame and brings up
a single stick sachet, pinched between thumb and forefinger, and gives it one
small shake.
"You just tear one open."
SFX: a short crisp foil crinkle as the sachet shakes.
[00:06-00:08] She raises the carton back up beside her face so the box and the
sachet are held up together, one in each hand, nods once and smiles.
"That's the whole thing. Try it."
SFX: nothing but the room.
Light: constant flat daylight through the windshield for all eight seconds. No
exposure shift, no relight, no flicker, no colour drift.
Ambient noise: the quiet interior of a parked car, a faint distant street
outside, and nothing else.
Style: plain front-facing phone video, no colour grade, no cinematic contrast,
faint sensor noise in the shadows. Her voice is close, warm, conversational and
unhurried, as recorded by the phone's own microphone.
Avoid: music, score, backing track, a second voice, a second person, a second
pair of hands, camera movement of any kind, cuts, crossfades, speed ramps, the
car moving, a face or hair that morphs or re-rolls, clothes that change, the
carton changing its wording or colour, a phone visible in frame, on-screen text,
captions, subtitles, watermarks and logos.