Outfit Rotation AI Prompt: One Camera Move, 4 Looks

Here is a video prompt and my four reference images. Image 1 is my character sheet and it is also look 1. Images 2 to 4 are looks 2 to 4. Rewrite only the REFERENCES block so each line describes my pictures piece by piece, shoes included. If a look has a prop that fits (sunglasses, a cap, a bag), update that look’s pose line in its STAGE so she uses it. Keep everything else in the prompt exactly as it is: the camera, the room, the timings and the rules.

[LOOK — LOCKED, APPLIES TO EVERY STAGE]
Digital cinema capture, 24 mm wide prime, deep focus that holds her from head to feet, fine low-noise film grain, warm tungsten highlights rolling off softly, slightly lifted blacks, medium-low contrast. 1970s editorial interior mood.
Grade: burnt-orange and rust hero tone, faded Persian-red and warm teak secondary field, cream walls, shadows biased warm brown.
[CAMERA — THE SAME SWING IN EVERY STAGE]
Every stage is one shot with the exact same camera path: one continuous half-turn of the camera over the sofa, about 180 degrees of rotation in total, on a crane or drone, speed-ramped: fast in, hold, fast out.
ENTRY, the first half second: the shot opens inside a heavy dark motion blur that clears at once. The camera starts low at eye level at the FOOT END of the sofa, just behind a large potted palm in the soft foreground, looking down the length of the sofa toward the floor lamp. It booms up and forward over her body in one fast sweep while pitching down, and decelerates hard as it arrives.
HOLD, about the next 1.8 seconds: the camera sits directly above the sofa looking straight down, bird’s-eye, 90 degrees. The sofa runs vertically through the centre of the frame, her head at the top and her feet at the bottom. Almost locked off, only a very slow push-down. This is where she performs.
EXIT, the last half second: the camera does NOT go back the way it came. It keeps rotating in the same direction past straight-down, pitching over the top toward the floor beyond her feet. Her head stays at the top of the frame; the whole sofa slides up and out of the top of the frame while the floor beyond the foot end — the white rug, the magazines, the small side table — rushes in from the bottom, and the picture keeps turning until it is upside down, smeared into heavy directional motion blur. Hard cut on the blur.
Each stage’s exit blur cuts directly into the next stage’s entry blur, so the four shots read as one continuous rhythmic camera move. The camera path, speed curve, height and angles are identical in all four stages.
@Video1 is a grey-box camera reference: follow its camera movement, timing and speed ramps exactly, frame for frame. Use it for camera motion only — do not copy its grey boxes, untextured shapes, grid floor or flat colours; the scene, the woman and the clothing come only from the image references and the text.
[REFERENCES]
All images show one single woman. The video contains exactly one person from start to finish.
@Image1 defines her identity and her Look 1 clothing — face, long wavy dark-red-to-copper ombré hair, green eyes, light freckles, small gold hoops, and her full outfit exactly as in the reference image: long camel wool coat, fitted black turtleneck, brown leather midi skirt, brown leather knee-high boots, small gold hoops. Do not use the white studio background, the standing poses, the grid layout, or any duplicated figure from it.
@Image2 defines Look 2 clothing and accessories — exactly as in the reference image: cropped chocolate-brown leather jacket with a wide collar, ivory silk bias-cut midi slip dress with thin straps, black leather pointed ankle boots with a low kitten heel, tortoiseshell cat-eye sunglasses, small gold hoops. Do not use the background or the collage layout.
@Image3 defines Look 3 clothing and accessories — exactly as in the reference image: burgundy baseball cap, oversized heather-grey chunky knit cardigan with tortoiseshell buttons, pleated mini skirt in burgundy, navy and cream tartan, white ribbed knee-high socks, black patent Mary Jane shoes. Do not use the background or the collage layout.
@Image4 defines Look 4 clothing and accessories — exactly as in the reference image: cream chunky cable-knit high-neck sweater dress, knee length, tan suede knee-high boots with a block heel, long chocolate-brown fringed wool scarf, thin gold chain necklace. Do not use the background or the collage layout.
[SCENE — LOCKED]
A warm 1970s-style living room. A long burnt-orange velvet sofa with two seat cushions, a long back cushion and low wooden legs. A faded red Persian rug lies under and beside the sofa on a dark polished concrete floor. At the head end of the sofa: an amber glass mushroom-dome floor lamp, switched on and glowing warm, and a low teak dresser with stacked vinyl records, a turntable, small potted plants and a framed print leaning against the cream wall. A large potted palm stands at the foot-end corner of the sofa. Beyond the foot end of the sofa: a white rug with a few fashion magazines, a small round wooden side table with a coffee cup, a pair of shoes.
Body placement: she is on the sofa along its length in every stage, head at the end near the lamp, feet toward the foot end — in the overhead hold her head is at the top and her feet at the bottom of the frame. Her pose changes from stage to stage.
Lighting: warm tungsten from the floor lamp plus soft diffused daylight from the side. Her face, hands and clothing keep dimensional shape and warm highlights. Never flat, never grey.
[TRANSITION RULE]
The outfit never changes on screen. It changes only across the hard cut hidden inside the motion blur between two stages. Within a stage the clothing stays exactly the same from the first frame to the last. Across every cut her face, hair, the sofa, the rug, the lamp, the room and the light stay identical. The clothing, her pose, the prop and the small action change with every look — every stage has a clearly different pose. No morph, no flash, no glitch, no dissolve.
[STAGE 1 — 0-3s — LOOK 1]
Camera: the half-turn — up from the foot end to overhead, hold, then over the top toward the floor beyond her feet.
Pose: phone scrolling. She lies on her back in Look 1 (@Image1), the coat spread open around her, one knee bent up, holding her phone above her face with both hands, absorbed in it. During the hold she scrolls with her thumb, then breaks into a small amused smile at something on the screen.
[STAGE 2 — 3-6s — LOOK 2]
Hard cut on the blur. Same camera half-turn, same room, same sofa — a new pose.
Pose: just lying there, pleased with herself. She lies on her back in Look 2 (@Image2), one arm folded behind her head, cat-eye sunglasses on, legs stretched out and crossed at the ankles, the slip dress falling over the cushions. During the hold she slides the sunglasses down her nose with one finger and smiles straight up into the lens.
[STAGE 3 — 6-9s — LOOK 3]
Hard cut on the blur. Same camera half-turn, same room, same sofa — a new pose.
Pose: playful, on her side. She lies on her side, turned away from the backrest, in Look 3 (@Image3), head propped on one hand, knees bent and stacked, the Mary Janes kicked up behind her. During the hold she tugs the cap brim down with her free hand and laughs under it.
[STAGE 4 — 9-12s — LOOK 4]
Hard cut on the blur. Same camera half-turn, same room, same sofa — a new pose.
Pose: reading, half-sitting. She is half-reclined against the armrest at the head end in Look 4 (@Image4), knees drawn up, the scarf loose around her neck, an open paperback resting on her knees. During the hold she turns a page without looking up, then glances up into the lens over the book. The final exit ends in motion blur that fades to black.
[MAINTAIN CONSISTENCY]
Exactly one woman throughout, identity and hair unchanged in every stage. The same rust velvet sofa, Persian rug, amber dome lamp, teak dresser, potted palm and white rug with magazines in every stage. The same camera half-turn in every stage: low at the foot end → fast rise to straight overhead → hold → keeps rotating over the top toward the floor beyond her feet, upside down into blur. A different pose in every stage. Four looks in fixed order: Look 1, Look 2, Look 3, Look 4, one look per stage, changes only across the cuts.
[PERFORMANCE]
She stays alive and natural throughout: blinking, breathing, small weight shifts, relaxed hands, a clearly different editorial pose in each stage (phone, sunglasses, on her side, reading). Never stiff, never symmetrical, never posed like a mannequin.
[AUDIO]
<a fast airy whoosh on every entry and every exit swing>
<soft fabric rustle, a page turning in stage 4>
Quiet warm room tone. No music, no voice.
[NEGATIVE]
No outfit change on screen. No morphing between looks. No second person. No change of room, sofa colour or lamp between stages. No different camera path in any stage. No shaky handheld. No slow-motion. No sideways or tilted body across the frame in the overhead hold. No face distortion. No body warping. No overlay text, captions, subtitles or watermarks.