Viral Motion Transition: The AI Fashion Video Prompt

The woman from the first reference, 100% identity match: same face, freckles, eyes, [your hair colour and style]. She wears the exact outfit from the second reference: [your outfit, piece by piece, shoes and jewellery included]. Full-body front view head to toe, standing straight, hands relaxed, neutral expression, looking into the lens. Plain off-white seamless studio background, soft even daylight, no sunglasses. Editorial fashion photo, 9:16. No text, no labels, no watermark.

Same woman and outfit as the first reference, 100% identity match: [your hair], [your outfit in a few words]. [POSE]. Location from the second reference: [your location: walls, floor, plants, water, sky]. Hard midday sun from camera-left. [CAMERA]. 35mm film editorial look, warm sunlight, natural grain, 9:16. Clean image: no text, no captions, no labels, no watermark.

SCENE CONTEXT
A high-energy fashion motion edit, cut to music: one woman in a rust-orange check linen suit on a sun-bleached white plaster rooftop terrace by the sea. 15 very short shots, each about one musical beat long. The woman is the anchor of every transition: she stays sharp and locked in the same place in the frame while the world around her whips, orbits and changes.
ACTIVE REFERENCES
@Image6: identity and outfit lock. Woman with long copper-red ombré hair in a loose side braid, freckles, green eyes; oversized rust-orange windowpane-check linen blazer with pushed-up sleeves, matching high-waisted wide-leg trousers, yellow-and-white striped deep-V silk blouse, cognac belt with a square gold buckle, round amber drop earrings, chunky gold chain, gold cuffs, tan pointed stiletto mules. 100% matches the reference in every shot.
@Image1 to @Image5: visual targets for look, light, location and key poses. @Image1 = knee-to-lens low angle against the wall. @Image2 = over-the-shoulder look by the pool with black oval sunglasses. @Image3 = leaning on the curved wall, foot on the plaster. @Image4 = running in profile. @Image5 = walking straight at the camera by the pool.
LOCATION MAP
One sun-bleached rooftop terrace of white marbled lime plaster on a Mediterranean coast: curved organic plaster walls, a narrow turquoise plunge pool set into the floor, tall agave plants, terracotta pots, a raised plaster ledge, a narrow shaded passage between two white walls. Turquoise sea on the horizon, clear blue sky. Hard midday sun from camera-left in every shot.
TRANSITION LANGUAGE
SUBJECT-LOCKED WHIP: she stays sharp, same size and same position in frame; the camera orbits or whips around her so only the background smears into motion blur, and when the blur clears the background, and sometimes her pose, has changed.
BODY WIPE: her shoe or her body moves into the lens and fills the frame, and the next shot opens as it moves away.
RUSH: the camera rockets toward her or away from her at ground level, the floor streaking with motion blur.
No fades, no dissolves, no added effects, no hard static cuts.
FIRST FRAME
The first visible frame already shows her against the curved plaster wall as in @Image1. No empty establishing frame.
ACTION TIMING
0.00–1.15, Shot 1, @Image1: Camera on the floor right in front of her, looking up, ultra-wide. Opens on her full body leaning on the curved wall, then pushes in fast as she lifts one knee high toward the lens, shin angled down, pointed toe and stiletto heel hovering just above the lens. Chin down, she stares into the camera. BODY WIPE: the sole of her mule swings into the lens and fills the frame.
1.15–1.95, Shot 2: The sole pulls away to reveal her standing by the plunge pool, sea behind, full body, frontal, hands relaxed. She steps forward. BODY WIPE: she strides straight into the lens.
1.95–2.50, Shot 3: Same spot, same framing, now with her arms crossed, chin up, still. Background drifts sideways in a short SUBJECT-LOCKED WHIP.
2.50–3.05, Shot 4, @Image5: Wider; she walks toward the camera along the pool, blazer swinging. Quick whip-pan screen-right.
3.05–3.40, Shot 5, @Image2: Black oval sunglasses on. Back 3/4 to camera, she glances over her shoulder into the lens, one hand on her hip. Fast whip downward.
3.40–4.15, Shot 6: Sunglasses on. She sits on the white plaster floor at the edge of the pool, knees up and apart, forearms resting on her knees. RUSH: the camera starts far away at floor level, rockets in to her, then snaps back out.
4.15–4.85, Shot 7: Sunglasses on. Still sitting, she leans back on one hand, the other hand at her temple, head tilted. Camera at floor level, slight push. SUBJECT-LOCKED WHIP screen-right.
4.85–6.30, Shot 8, @Image3: No sunglasses. Leaning on the curved wall, one arm along the top of the plaster, one knee bent with that foot flat against the wall. She holds the pose, perfectly sharp, while the camera orbits half around her: the wall and the agaves slide behind her in a long smear.
6.30–7.05, Shot 9: SUBJECT-LOCKED WHIP: she stays in exactly the same place in frame while the background swaps to the narrow shaded passage between two white walls; she is now standing tall, hands at her belt, looking into the lens. The camera tilts down and whips screen-right.
7.05–7.75, Shot 10, @Image4: Side tracking shot: she runs screen-right along the terrace, sea behind, blazer open and flaring, trousers rippling, braid streaming, real footfalls. Fast whip upward.
7.75–9.20, Shot 11: Sunglasses on. Extreme low angle from the floor: she stands on top of the raised plaster ledge, sky and agave tips behind her, leaning forward with hands on her knees, looking down. At 8.50 she snaps her head straight to the lens and the camera punches in hard on that beat, then holds.
9.20–9.90, Shot 12: Sunglasses on. She stands among the tall agaves, full body, frontal, hands resting on her belt. SUBJECT-LOCKED WHIP: the background spins around her.
9.90–10.65, Shot 13: No sunglasses. Same place in frame, the spin clears and she is in a low crouch on the plaster floor, knees apart, forearms on her knees, staring into the lens. The background keeps orbiting behind her; she stays sharp.
10.65–11.35, Shot 14, @Image5: She walks straight toward the camera by the pool, sea and sky behind, confident runway stride. BODY WIPE: she walks into the lens.
11.35–12.00, Shot 15: Her body moves out of the lens into a tight close-up of her face and shoulders, sea behind. Eyes down, then slowly up into the camera. The last 0.5 second holds still.
PHYSICS
The linen blazer and wide-leg trousers swing and ripple with every move and settle with real weight. The braid and earrings swing on each turn and run. Feet land with real ground contact and weight transfer. No floating, no sliding feet.
LIGHTING
Hard midday Mediterranean sun, white plaster bouncing light onto her, crisp short shadows, warm highlights on the rust fabric and gold jewellery. Lighting direction and color stay the same across all shots.
STYLE
Editorial fashion film, 35mm film texture, rich rust-orange against white plaster and turquoise water, fine natural grain, punchy music-video pacing, every cut landing on a beat.
POSITIVE CONSTRAINTS
One woman only in every shot, same face, hair and outfit. Sunglasses only in Shots 5, 6, 7, 11 and 12. No extra people. No text, no subtitles, no logos, no labels.