unknown_object the prompts
unknown_object / prompts

You commented. Here they are.

The exact prompts behind the work. No email wall, no course. Take them, run them, make something.

object_005
PINK NANO

A spec film for medicube PDRN. Skincare as an early 2000s music video, playing on the screen of a pink iPod somebody covered in stickers. No brief, no client, no camera. Three prompts did the products and the world. Everything that actually moves was built somewhere else, which is the interesting part.

01 / the pack a flat photo becomes an object
The exact product in the reference image, re-photographed as a solid three-dimensional object floating in empty space. Three-quarter view from slightly above so the full oval of the lid's top surface is visible and the depth of the cylinder reads clearly. Strong dimensional modelling so it looks like a chunky solid object and not a flat cutout: a bright specular highlight sweeping across the curved lid, a soft darker turned edge down one side of the body, a brighter rim of light down the other, a crisp highlight along the lip where the lid meets the body. No cast shadow, no contact shadow, no floor, no surface, no horizon, no reflection. It floats free on a completely flat deep saturated fuchsia field with no gradient and no vignette. Crisp, clean, high contrast, product-shot sharpness.
02 / the turnaround twelve angles, one generation
A product turnaround sheet: a strict 4 column by 3 row grid of twelve equal cells on a completely flat deep saturated fuchsia background. No grid lines, no borders, no labels, no numbers. Every cell contains the exact same product from the reference image, upright and perfectly vertical, centred in its cell, exactly the same size in every cell, filling about 70 percent of its cell height. The only thing that changes from cell to cell is the horizontal rotation of the product about its own vertical axis in even 30 degree steps: reading left to right then top to bottom, cell 1 is the front label facing camera at 0 degrees, then 30, 60, 90 showing the side, 120, 150, 180 showing the back, 210, 240, 270 showing the other side, 300, and 330 coming back round toward the front. The camera height, distance, lens and lighting are absolutely identical in every cell. No cast shadow, no contact shadow, no floor, no reflection in any cell.
03 / the world a device you can drop anything into
A real photograph of a pink anodised aluminium iPod classic. It is night and the room lights are off. The iPod lies on a dark surface, near black crumpled satin, most of which falls away into deep shadow. Hard raking light from a hot magenta source low to the left, skimming across the brushed aluminium so the metal catches a long bright specular streak down its left edge. A cooler electric blue rim light from the upper right catching the opposite edge and the cable. Everything between those two lights falls into near black. A white earbud cable comes out of the top and runs off frame. Stuck on the body, a puffy three-dimensional vinyl sticker of the brand logo, glossy, thick raised puffy edges, a fine holographic glitter outline, one corner very slightly lifting.

The screen is a completely flat solid pure chroma green rectangle. Nothing on it: no image, no menu, no text, no icons, no reflection, no glare, no gradient, no glow. Flat even green, hard-edged, perfectly rectangular, edges parallel to the body, and no green light spilling onto the metal or the surface.
two packshots in. a music video out.
the medicube PDRN capsule cream jar, source product photo → this is all it started as. an e-commerce packshot off a retail listing.
the jar on flat pink with white arrows punching in the serum on a black starburst a grid of nine jars bobbing on a halftone dot field the endcard, both products on pink
how it was actually made
the twelve angle product turnaround sheet used to make the pack rotate
The pack has to turn, and a still cannot. Scaling and squashing a flat photo reads as a sticker flexing, not an object turning. So the product gets a twelve angle turnaround, generated as one grid in a single pass so the lighting is identical in every cell. Slice it, cut out the twelve, play them in sequence and the pack genuinely rotates. One generation, not twelve, which is also why the twelve match.
Nothing that moves was made by a video model. Video models are trained on photographic motion. Give them hard-edged flat graphics and they soften the edges and warp the shapes, every time. So the arrows, the starbursts, the halftone fields and every product move were animated on a timeline instead, locked to the track at 111.8 bpm with the first downbeat detected at 0.44 seconds. Every hit lands on a real beat because it was written to the beat grid, not nudged until it looked close.
The screen is generated empty on purpose. Pure chroma green, hard-edged, no glare, no menu. Generate anything on that screen and you can never replace it. Generate it empty and the device becomes a frame you can put any film into, forever. The content then gets warped into the screen's four actual corners, so the keystone and the seventeen degree tilt of the device are respected, and the light coming off the screen spills onto the aluminium and changes colour with whatever is playing.
what it took

Nano Banana Pro — packs, turnarounds, the device · a beat-locked timeline — every frame of motion · a CRT pass — scanlines, chroma bleed, grain, tracking bar · twenty-four generated images in total, three of which are turnaround sheets.

The prompt is the easy part.

The other ninety percent is knowing what to art direct, which reference to feed it, and what to throw away. That part doesn't fit in a caption. So, two doors.

door one

Work with us.

You want the result, not the homework. Tell us the brand and we make the content. Done, on brand, in every format you need.

Start a brief →
door two

Learn it from us.

You want to run it in house. We teach the whole method, one on one or to your team. Paid sessions, everything we actually do, nothing held back.

Book a session →
Or just email hello@unknownobject.studio