Stop 5 of 8 · Daily
AI footage and imagery
Every generated clip replaces a named row on the shot list, carries the house look, contains no real person and no client logo, and arrives with its licence written into the delivery note.
Nothing gets generated without a row it replaces
Ramez does not generate b-roll. He generates the shot on line 27 that he cannot get: the aerial at dawn that needs a permit nobody applied for, the interior of a tower that is not finished, the macro of a product that only exists as a render. Every generated asset points at a shot list row, and that row says how long it runs and what sits either side of it in the cut.
That is what keeps generated footage from looking pasted in. A clip that has to sit between a handheld interview and a slider move on concrete must match both, and the only way to ask for that is to describe them.
A prompt that carries the house look
| Part of the prompt | The house look version | Why it matters |
|---|---|---|
| Camera behaviour | Locked tripod or slow slider, no orbit | It has to cut against real footage |
| Light and time | Late afternoon, warm key, practical in frame | The grade will not save a mismatch |
| Lens and depth | 35mm, deep focus, slight barrel | Wrong lens reads as fake before anything else |
Duration and aspect ratio belong in the prompt too. A five second clip with one camera move cuts. An eight second clip with three moves is a showreel nobody asked for.
Still first, then the move
Generate the frame before the clip. Iterating on a still is fast, and a still is what Ramez holds against the timeline to see whether the light matches the interview. Once the frame is right it becomes the first keyframe, and the move is described in one sentence. A second keyframe for the end of the move buys control over where the shot lands.
Three things that never get generated
Real people. No client executive, no member of staff, no speaker from the conference, no talent. Not a likeness, not from behind, not "close enough". People in the film are people Ramez filmed, with a release.
Client logos and brand marks. A generated logo is always slightly the wrong logo. Marks are composited from the client's own vector file in the edit, over a generated plate if you like.
Anything that reads as documentary. A generated shot standing in for the client's real premises, their real event or their product on a real shelf is a claim about the world. Generate the abstract, shoot the specific.
Go through the attached shot list. For each row say shoot, generate or stock, with one line of reasoning. Mark as generate only shots with no identifiable person, no client logo and no claim about a real place or event. For every generate row, note what it has to cut against: the shot before and the shot after. [paste the shot list]
For each generate row, write an image prompt naming: subject and action, framing and lens, camera behaviour, light and time of day, grade and texture, aspect ratio and duration. Match this house look: warm late afternoon key, practical lights in frame, 35mm, deep focus, gentle film grain, no lens flare. Give me two variations per row that differ in light, not in subject.
Build the generated assets table for this delivery: timecode in the master, the shot, the shot list row it replaced, the tool and model, the date, and a column for the licence terms I will paste in. Then write two sentences for the top of the note telling the client which shots are generated and asking them to confirm their brand and broadcast rules allow it.