KD_C0094 — Editor Brief

A 100-second fully animated film with no people in it at all. Six 3D characters speak straight to camera, one at a time, seven or eight seconds each — first the counterfeit hormone that has been sitting in the receptor, then the four things in the bottle, then the product itself. The one job of the edit is the relay: every character does exactly one thing, in order, and you cut the moment that thing is done. Nothing is ever cleaned, dissolved or washed away — things arrive, occupy, and get displaced.

A woman between 45 and 60 who has been on levothyroxine for years, whose panel keeps coming back optimised, and who has quietly collected a new label almost every year — IBS one year, low mood the next, prediabetes after that. She is fluent in her own bloodwork and does not need the basics explained to her; she needs someone to tell her why the treatment she has been taking correctly is not landing.

Faces are not the spine here — that is the live-action default and this film has no faces. The spine is one set seen at two lenses: a single receptor door, and then that same door repeated down a corridor. Everything else hangs off that identity, so build the six character sheets and the four world plates first, lock them, and chain every downstream shot from them.

Inserts to drop in, synced to the line:

• Hook beat → extreme macro on the keyhole with the counterfeit seated inside it, turning to camera; the headline card is up on frame one and holds static for the whole beat.
• Problem Agitation, on the four labels → four accelerating micro-cuts of fingers hooking over the wardings, one per name, re-framed out of a single generation (four separately generated hands will not match).
• Medication Reframe, on the fork → key-blank-shaped units arriving down a wet lumen as countable solid objects, then coming out the wrong way wearing the villain's face, held tight on the exit throat so the count stays withheld.
• Iodine beat → a crate of uncut blanks set down at the fork, macro on the blanks settling so the viewer sees they have no teeth yet.
• Selenium beat → the lever's full travel and the linkage engaging underneath it; the first berry in the film arrives on the forward-cut keys.
• Zinc beat → a palm flat to the door plate, tumblers turning over, then a real key turning all the way round for the first time.
• Ashwagandha beat → the chain wide: the crate, the lever and the woken plate all holding their positions in one lateral frame.
• Product & Delivery beat → the bottle claiming the four, a rendered product macro with the named actives legible at phone size, and a rendered sublingual macro cropped to lips and dropper only, showing two full dropper squeezes.
• Core Reframe beat → the single pull-back revealing the corridor, one villain design instanced hundreds of times.
• Social Proof beat → four glimpses through four open doorways, camera never entering a room.
• Close beat → the lever held forward with the corridor of open doors behind it, then the end card with the guarantee badge.

Layouts to use:

• Extreme close-up macro is the default grammar — the film lives at that scale and only leaves it twice.
• Lateral medium for every character address: one rig, to camera, depth axis closed. No second doorway anywhere at frame edge before the Core Reframe.
• Full-frame wide, twice only — the chain wide at the Ashwagandha beat (composed left to right, hard right edge at the door plate) and the corridor at the Core Reframe.
• On-screen text runs in three layers: one static headline card top-centre through the hook, the word-by-word caption track centre-lower carrying the whole voice-over, and eight short name burns hard in and hard out. Nothing appears on screen that is not spoken.

Two camera moves worth it:

• The pull-back at the Core Reframe — the film's only move. Constant rate, no easing, no rack focus, no whip. Generate it long and generate it twice, once ending on the doors closed and once with the doors opening, so the move and the open can be timed against the voice independently.
• A 2% push on the product macro, and one earlier on the villain's face in the hook. That is the entire move budget; everything else is a hard cut.

Pick an ethnicity (face + matching voices) and a market. Image/voice prompts written for GPT Image 2 / Nano Banana Pro + ElevenLabs.

Medium-close shot of a white Caucasian man with fair skin, light eyes, and short cropped brown hair lightly greying at the temples, clean-shaven or light stubble, in his ageless — a hormone-shaped character, not a person of any age, charming, quirky, pleased with himself; a semi-realistic 3D animated character, never a human. He is seated inside the receptor keyhole, turned to camera and waving; macro, shallow depth. He wears no clothing — a key-shaped body in the same silhouette and colour family as the real hormone, mirrored, wrong in a way that only reads in macro. Background: a receptor door plate in wet cell wall, cold blue-grey key light with a single warm practical on him alone. Rendered as a stylized 3D-animated character (clean Pixar/CG-render look), vibrant even studio lighting, smooth shapes, bold readable features. NOT photorealistic, NOT a real photograph.

Male, quirky-animated-authoritative, fast at 165 words a minute. Charming and warm while telling her exactly why she is losing hair — the aggression sits in the claim, never in the tone. Accent / voice: General American, neutral broadcast register.

Male, quirky-animated-authoritative, fast at 165 words a minute. Charming and warm while telling her exactly why she is losing hair — the aggression sits in the claim, never in the tone. Accent / voice: General American, warmer and more conversational.

Medium-close shot of a white Caucasian man with fair skin, light eyes, and short cropped brown hair lightly greying at the temples, clean-shaven or light stubble, in his ageless — a mineral-shaped character, plain, matter-of-fact, unhurried; a semi-realistic 3D animated character. He is walking into frame carrying a crate of uncut key blanks, setting it down at the fork, addressing camera the whole time. He wears heavy low-centred build with a blunt silhouette that has to separate from the other three at phone size. Background: a junction in a wet lumen with a mechanical lever beside it, palette still cold — help has arrived and nothing has changed yet. Rendered as a stylized 3D-animated character (clean Pixar/CG-render look), vibrant even studio lighting, smooth shapes, bold readable features. NOT photorealistic, NOT a real photograph.

Male, plain, unhurried, matter-of-fact. A delivery man who knows the job matters and has no interest in being thanked. Accent / voice: General American, neutral broadcast register.

Male, plain, unhurried, matter-of-fact. A delivery man who knows the job matters and has no interest in being thanked. Accent / voice: General American, warmer and more conversational.

Medium-close shot of a white Caucasian woman with fair skin, light hazel eyes, and chin-length straight ash-brown hair with natural greys, parted to the side, in her ageless — a mineral-shaped character, precise, dry, economical; a semi-realistic 3D animated character. She is standing at the lever with a hand already on it, addressing camera, then throwing it through its full travel. She wears tall narrow silhouette with a high centre of mass — deliberately the visual opposite of the supplier's. Background: the same wet junction, and the grade lift starts on her lever throw and runs unbroken from there. Rendered as a stylized 3D-animated character (clean Pixar/CG-render look), vibrant even studio lighting, smooth shapes, bold readable features. NOT photorealistic, NOT a real photograph.

Female, precise, a little dry. The one who knows the whole thing turns on her single action and never makes a speech about it. Accent / voice: General American, neutral broadcast register.

Female, precise, a little dry. The one who knows the whole thing turns on her single action and never makes a speech about it. Accent / voice: General American, warmer and more conversational.

Medium-close shot of a white Caucasian man with fair skin, light eyes, and short cropped brown hair lightly greying at the temples, clean-shaven or light stubble, in his ageless — a mineral-shaped character, grounded, steady, unshowy; a semi-realistic 3D animated character. He is palm flat against the door plate, addressing camera, then macro on the tumblers turning over and a key turning all the way round. He wears broad upright silhouette with wide flat hands — the hands are the read, so build them for it. Background: back at the receptor door, grade lifting through the middle of the arc. Rendered as a stylized 3D-animated character (clean Pixar/CG-render look), vibrant even studio lighting, smooth shapes, bold readable features. NOT photorealistic, NOT a real photograph.

Male, grounded, steady. He states what he does once and does not oversell it. Accent / voice: General American, neutral broadcast register.

Male, grounded, steady. He states what he does once and does not oversell it. Accent / voice: General American, warmer and more conversational.

Medium-close shot of a white Caucasian woman with fair skin, light hazel eyes, and chin-length straight ash-brown hair with natural greys, parted to the side, in her reads as the oldest of the four — carried in posture and mass, never in wrinkles, unhurried, entirely unbothered; a semi-realistic 3D animated character. She is planting herself in front of the re-issue door and standing — no bracing, no straining, no fight. She wears the heaviest and most settled silhouette of the four, wide base, low and immovable. Background: the wet junction with the grade near the top of its arc, and behind her the other three props still holding position. Rendered as a stylized 3D-animated character (clean Pixar/CG-render look), vibrant even studio lighting, smooth shapes, bold readable features. NOT photorealistic, NOT a real photograph.

Female, older, unhurried. The only one of the four with nothing to prove; the closing line is a fact about the future, said flat. Accent / voice: General American, neutral broadcast register.

Female, older, unhurried. The only one of the four with nothing to prove; the closing line is a fact about the future, said flat. Accent / voice: General American, warmer and more conversational.

Medium-close shot of a white Caucasian woman with fair skin, light hazel eyes, and chin-length straight ash-brown hair with natural greys, parted to the side, in her ageless — the four characters together with the product, warm, level, first-person plural; a 3D animated group and a rendered bottle, never a spokesperson. She is the four gathered in one frame, then the bottle entering and the four resolving into and behind it. She wears the Kindled bottle — berry liquid, glass dropper, and a label whose named actives must read at phone size. Background: the product frame, then the corridor of open doors for the reveal and the close. Rendered as a stylized 3D-animated character (clean Pixar/CG-render look), vibrant even studio lighting, smooth shapes, bold readable features. NOT photorealistic, NOT a real photograph.

Warm female, first-person plural. Nearest register is a compassionate educator with the credential stripped out — no doctor persona. Level and unhurried at the close, with no lift on the guarantee or the call to action. Accent / voice: General American, neutral broadcast register.

Warm female, first-person plural. Nearest register is a compassionate educator with the credential stripped out — no doctor persona. Level and unhurried at the close, with no lift on the guarantee or the call to action. Accent / voice: General American, warmer and more conversational.

A menu, not a checklist — these are the strongest references for this ad. Borrow the technique that serves it and leave the rest; one video won't (and shouldn't) carry all of them.

Clean spoken dialogue — copy-ready.