Cinematic Camera & MotionPrompt.

Act as an expert cinematographer, camera operator, director of photography and AI video prompt specialist.

TASK:
Create a precise cinematic camera-and-motion prompt for an AI-generated video.

Focus primarily on:
- shot size
- lens feel
- camera angle
- camera movement
- subject movement
- movement speed
- parallax
- focus behaviour
- depth of field
- stabilization
- spatial continuity
- realistic physical motion

The goal is to create camera direction that feels intentional, achievable and visually coherent.

VIDEO SUBJECT:
[Person / product / food / environment / action.]

SCENE:
[Describe the scene.]

VIDEO GOAL:
[What should the shot communicate?]

DURATION:
[For example: 5 sec / 8 sec / 10 sec.]

ASPECT RATIO:
[9:16 / 16:9 / 1:1 / other.]

SHOT SIZE:
[Extreme close-up / close-up / medium close-up / medium / wide / extreme wide / other.]

CAMERA ANGLE:
[Eye level / low angle / high angle / top-down / Dutch angle / three-quarter / over-the-shoulder / other.]

LENS FEEL:
[Wide-angle / normal / portrait compression / telephoto / macro / cinematic anamorphic feel / other.]

CAMERA MOVEMENT:
[Static / push-in / pull-back / dolly / tracking / pan / tilt / orbit / crane / pedestal / handheld / gimbal / other.]

CAMERA SPEED:
[Very slow / slow / moderate / fast.]

SUBJECT MOVEMENT:
[What does the subject do?]

FOCUS TARGET:
[What should remain sharp?]

FOCUS BEHAVIOUR:
[Locked focus / continuous focus / focus pull / rack focus / other.]

DEPTH OF FIELD:
[Shallow / moderate / deep.]

STABILIZATION:
[Locked tripod / smooth gimbal / controlled handheld / stabilized tracking / other.]

START FRAME:
[Describe the exact opening composition.]

END FRAME:
[Describe the exact final composition.]

LIGHTING:
[Optional.]

VISUAL STYLE:
[Photorealistic / cinematic / commercial / documentary / food-commercial / editorial / other.]

REFERENCE REQUIREMENTS:
[Important identity or object details that must remain stable.]

ELEMENTS TO AVOID:
[Optional.]

SPECIAL REQUIREMENTS:
[Any additional constraints.]

CINEMATIC CAMERA & MOTION REQUIREMENTS:

1. DEFINE ONE DOMINANT CAMERA IDEA
The shot should have one primary visual movement.

2. DO NOT STACK CONFLICTING CAMERA MOVES
Avoid combinations such as:
Orbit + pan + tilt + zoom + tracking
unless they are clearly part of one physically achievable move.

3. KEEP CAMERA MOVEMENT ACHIEVABLE
The movement should make sense for a real camera rig.

4. CHOOSE SHOT SIZE PURPOSEFULLY
Use:
Extreme close-up for tiny detail.
Close-up for emotion or product detail.
Medium for human action.
Wide for context and environment.

5. MATCH SHOT SIZE TO STORY PURPOSE
Do not use a wide shot when the important detail is tiny.

6. DEFINE THE CAMERA ANGLE
Specify how the camera relates vertically and horizontally to the subject.

7. USE EYE-LEVEL FOR NEUTRALITY
Useful for:
Natural dialogue
Product presentation
Tutorials
Straightforward action

8. USE LOW ANGLE PURPOSEFULLY
It may increase visual dominance or scale.

9. USE HIGH ANGLE PURPOSEFULLY
It may reveal layout, process or spatial relationships.

10. USE TOP-DOWN ONLY WHEN IT IMPROVES CLARITY
Especially useful for:
Food
Desk work
Processes
Products
Flat-lay compositions

11. AVOID RANDOM DUTCH ANGLES
Use tilted framing only when intentionally communicating instability or tension.

12. DEFINE LENS FEEL
Describe the visual perspective rather than relying only on technical millimetres.

13. WIDE-ANGLE FEEL
Useful for:
Environment
Dynamic proximity
Strong foreground-background separation

14. DO NOT PLACE FACES TOO CLOSE TO EXTREME WIDE LENSES
This can distort facial proportions.

15. NORMAL-LENS FEEL
Use for natural perspective.

16. TELEPHOTO FEEL
Use for:
Compression
Portraits
Isolated subjects
Elegant product shots

17. MACRO FEEL
Use for:
Food texture
Product detail
Small mechanisms
Material surfaces

18. CONTROL PERSPECTIVE
Do not allow lens changes to randomly alter subject proportions.

19. DEFINE STARTING CAMERA POSITION
Describe:
Height
Distance
Angle
Framing

20. DEFINE ENDING CAMERA POSITION
Give the movement a clear spatial destination.

21. STATIC CAMERA MODE
Use when subject movement provides enough visual interest.

22. PUSH-IN MODE
Camera moves physically closer to the subject.

23. PUSH-IN PURPOSE
Use to:
Increase intimacy
Reveal detail
Emphasize a result
Focus viewer attention

24. DO NOT CONFUSE PUSH-IN WITH DIGITAL ZOOM
Specify physical camera movement when cinematic parallax is desired.

25. PULL-BACK MODE
Camera physically moves away.

26. PULL-BACK PURPOSE
Use to:
Reveal context
Show scale
End a scene
Reveal surrounding environment

27. DOLLY MODE
Use smooth movement on a defined path.

28. TRACKING MODE
Move with a subject while maintaining controlled framing.

29. DEFINE TRACKING DIRECTION
Examples:
Left to right
Right to left
Forward
Backward
Parallel

30. MAINTAIN SUBJECT SCREEN DIRECTION
Do not randomly reverse motion.

31. PAN MODE
Camera rotates horizontally from a fixed position.

32. TILT MODE
Camera rotates vertically from a fixed position.

33. DISTINGUISH PAN FROM TRACKING
Pan rotates.
Tracking translates through space.

34. DISTINGUISH TILT FROM CRANE MOVEMENT
Tilt rotates vertically.
Crane physically changes camera height.

35. ORBIT MODE
Camera moves around a subject.

36. USE ORBIT CAREFULLY
Large orbit movements require the model to generate unseen sides of the scene.

37. REDUCE ORBIT ANGLE WHEN IDENTITY IS CRITICAL
Small controlled arcs are safer than full rotations.

38. CRANE / JIB MODE
Use for:
Vertical reveals
Environmental scale
Elegant transitions

39. PEDESTAL MODE
Camera moves vertically without tilting.

40. HANDHELD MODE
Use subtle natural micro-movement.

41. DO NOT EQUATE HANDHELD WITH SHAKY
Professional handheld should remain watchable.

42. GIMBAL MODE
Use smooth stabilized movement for:
Walk-throughs
Tracking
Lifestyle scenes

43. DEFINE MOVEMENT SPEED
Avoid vague "cinematic movement" without speed.

44. VERY SLOW MOVEMENT
Useful for:
Luxury
Food
Product beauty
Emotional detail

45. MODERATE MOVEMENT
Useful for:
Lifestyle
Process
General storytelling

46. FAST MOVEMENT
Use only when energy or urgency is intentional.

47. MATCH SPEED TO DURATION
Do not request a large camera move in an unrealistically short clip.

48. CONTROL ACCELERATION
Where useful, describe:
Gentle start
Smooth acceleration
Gentle stop

49. AVOID SUDDEN CAMERA JERKS
Unless explicitly intended.

50. USE PARALLAX
Physical camera movement should create believable foreground/background relative motion.

51. DO NOT FAKE PARALLAX WITH SUBJECT WARPING

52. DEFINE FOREGROUND ELEMENTS
Foreground objects can improve depth during tracking or push-in shots.

53. KEEP FOREGROUND SECONDARY
Do not obscure the subject unintentionally.

54. DEFINE SUBJECT MOVEMENT SEPARATELY
Camera motion and subject motion are different systems.

55. SIMPLE SUBJECT + MOVING CAMERA
Useful for:
Product hero shots
Portraits
Food presentation

56. MOVING SUBJECT + STATIC CAMERA
Useful for:
Process
Demonstration
Performance
Action

57. MOVING SUBJECT + MOVING CAMERA
Use only when necessary and clearly choreographed.

58. MAINTAIN RELATIVE POSITION
During tracking, specify whether the subject remains:
Centered
Left third
Right third
Foreground
Mid-frame

59. CONTROL HEADROOM
Avoid excessive empty space above faces.

60. CONTROL LEAD ROOM
Give moving or looking subjects visual space in their direction of travel or gaze.

61. USE RULE OF THIRDS WHEN HELPFUL
Do not apply it mechanically.

62. CENTRAL COMPOSITION
Useful for:
Symmetry
Product hero
Direct-address content

63. ASYMMETRIC COMPOSITION
Useful when leaving:
Text space
Environmental context
Direction of movement

64. DEFINE FOCUS TARGET
State exactly what should remain sharp.

65. LOCKED FOCUS MODE
Useful when subject distance remains stable.

66. CONTINUOUS FOCUS MODE
Use when subject distance changes.

67. FOCUS PULL MODE
Shift focus deliberately from one object to another.

68. DEFINE FOCUS-PULL START
Specify first focus subject.

69. DEFINE FOCUS-PULL END
Specify final focus subject.

70. DO NOT REQUEST RANDOM FOCUS HUNTING

71. SHALLOW DEPTH OF FIELD
Use for:
Portraits
Products
Food
Detail isolation

72. DO NOT MAKE DEPTH TOO SHALLOW FOR IMPORTANT ACTION
Hands and objects may need to remain readable together.

73. MODERATE DEPTH OF FIELD
Useful for:
Process
People interacting with products
Tutorials

74. DEEP FOCUS
Useful for:
Architecture
Wide scenes
Spatial explanations

75. MAINTAIN FOCUS CONTINUITY
Do not let the subject drift in and out of focus without reason.

76. CONTROL MOTION BLUR
Fast movement may have natural motion blur, but key subject identity should remain recognizable.

77. DO NOT OVER-BLUR IMPORTANT DETAILS

78. DEFINE STABILIZATION
State how controlled the camera should feel.

79. TRIPOD / LOCKED MODE
No camera drift.

80. GIMBAL MODE
Smooth but not unnaturally robotic.

81. HANDHELD MODE
Subtle operator movement with realistic inertia.

82. TRACKING-RIG MODE
Consistent speed and horizon.

83. CONTROL HORIZON
Avoid accidental tilting.

84. KEEP VERTICAL LINES STABLE
Especially in:
Architecture
Warehouses
Offices
Product sets

85. MAINTAIN CAMERA HEIGHT
Unless vertical movement is intentional.

86. MAINTAIN CAMERA AXIS
Avoid unexplained jumps around the subject.

87. PRESERVE 180-DEGREE SPATIAL LOGIC
When multiple people or directions are involved.

88. PRESERVE GAZE DIRECTION
Subjects should continue looking toward the correct object or person.

89. PRESERVE OBJECT POSITION
Camera movement should not cause props to relocate.

90. PROTECT SUBJECT IDENTITY
Do not allow:
Face morphing
Body distortion
Product redesign
Food transformation

91. CONTROL ENVIRONMENTAL WARPING
Straight lines and surfaces should remain stable.

92. AVOID FLOATING CAMERA PHYSICS
The move should feel supported by:
Tripod
Dolly
Gimbal
Crane
Handheld operator

93. USE DRONE-LIKE MOVEMENT ONLY WHEN APPROPRIATE

94. DO NOT USE IMPOSSIBLE WALL OR OBJECT PENETRATION

95. DO NOT PASS THE CAMERA THROUGH SOLID OBJECTS
Unless explicitly creating a stylized effect.

96. CREATE TARGETED NEGATIVE CONSTRAINTS
Examples:
No camera jump
No lens warping
No face distortion
No subject duplication
No horizon drift
No random focus pulsing
No impossible orbit
No background bending

97. CREATE A CAMERA PATH DESCRIPTION
Explain where the camera starts, how it travels and where it ends.

98. CREATE A SUBJECT MOTION DESCRIPTION
Explain what the subject does independently of the camera.

99. CREATE A FOCUS & DEPTH PLAN
Define sharpness priorities throughout the shot.

100. FINAL QUALITY CHECK
Before finalizing verify:

- shot purpose is clear
- shot size suits the subject
- angle is intentional
- lens feel is appropriate
- camera movement is physically achievable
- only one dominant move is used
- camera speed fits the duration
- start position is defined
- end position is defined
- subject movement is separate from camera movement
- screen direction is preserved
- framing remains controlled
- focus target is clear
- depth of field supports the action
- stabilization style is consistent
- horizon remains stable
- parallax is believable
- subject identity is preserved
- environment does not warp
- motion does not pass through solid objects
- final composition feels intentional

OUTPUT FORMAT:

1. SHOT INTENT
Explain what the camera should make the viewer notice or feel.

2. STARTING COMPOSITION
Specify:
Shot size
Camera height
Angle
Subject position
Foreground
Background

3. CAMERA PATH
Describe:
Movement type
Direction
Distance / scale of movement
Speed
Acceleration / deceleration

4. SUBJECT MOTION
Describe what the subject does while the camera moves.

5. LENS & PERSPECTIVE PLAN
Specify:
Lens feel
Perspective
Compression
Parallax behaviour

6. FOCUS & DEPTH PLAN
Specify:
Focus target
Focus behaviour
Depth of field

7. STABILIZATION PLAN
Specify the physical feel of the camera rig.

8. FULL CINEMATIC CAMERA PROMPT
Provide one polished model-ready video prompt.

9. NEGATIVE / PROTECTION INSTRUCTIONS
List only likely motion and camera failures.

10. FINAL FRAME
Describe the exact ending composition.

IMPORTANT:
- Use one dominant camera movement.
- Distinguish camera movement from subject movement.
- Keep the motion physically achievable.
- Define start and end positions.
- Preserve perspective, focus and spatial continuity.
- Avoid conflicting cinematic instructions.
- Protect character, product and environment identity while the camera moves.