Disclaimer: This is an independent creative test made with AI, for demonstration only. It isn't an ad for any brand shown or named, and isn't affiliated with, sponsored or endorsed by them. All trademarks belong to their owners
Nano Banana Pro + Kling 3.0 - a zebra that turns around before it walks off
A zebra brings a Gucci GG bucket hat, and how I wrote its turn for the walk-off
Tested by Nouamane Benbrahim
In today's "animal frames" series I did a spot for Gucci. A man in a burnt-orange suit stands in a white studio, a zebra walks in with a GG bucket hat in its mouth, and then the two of them leave together. Gucci isn't a client, this was a test. What I want to show here is the exit, because an animal facing the wrong way has to turn before it can walk out.
Here's my exact process.
1. The studio
The first room came from a prompt and nothing else. White sweep, window to the left, a rectangle of light on the floor. A second pass used it as the reference and made the floor white.
Exact prompt
Create a new photorealistic image. This is a photograph taken inside a minimalist white studio from the start — not a composite. Shoot the whole space natively, with a single unified natural light source across every surface. THE VIBE: Austere, hushed, expensive emptiness — the pared-back quiet-luxury minimalism of a high-fashion campaign set before anything is placed in it. The room feels intellectual and cool, precise but not sterile, where the quality of light and the fall of a shadow are the only events. Stillness and generous negative space. THE SETTING: A clean, modern white studio — a seamless matte-white cyclorama sweep curving gently from floor to wall with no visible seam, its surface carrying the faintest real texture and tonal variation so it reads as painted plaster, not a flat digital void. A polished pale microcement floor with a soft satin sheen, subtle and almost imperceptible reflections. One tall floor-to-ceiling window just out of frame to the left. Architectural, uncluttered, refined proportions. THE LIGHT: Soft directional daylight raking in low from the left through the unseen window, casting long, clean, elongated geometric shadows across the white sweep and floor — the crisp diagonal of a window frame and mullions stretched across the wall. Gentle falloff from bright highlight to soft grey shadow, smooth gradients, no harsh clipping. Cool-neutral white balance with the faintest warmth where the sun lands. THE KEY DETAILS: The natural window-cast shadows are the subject — long, soft-edged diagonal bars and a rectangle of light on the floor. Delicate dust motes suspended in the light shaft. Subtle tonal gradation across the seamless wall. THE MOOD: Editorial, muted, cold-clinical calm with a breath of warmth. Restrained luxury. A clean neutral grade, whites held just off pure white, soft grey shadows, nothing oversaturated. THE COMPOSITION: Wide architectural frame, eye level, straight-on and balanced. Vast negative space with the shadows placed on a rule-of-thirds diagonal as the leading lines; low emphasis, open airy upper frame. THE CAMERA: Cinematic editorial architectural still — wide framing, eye-level straight position, deep focus with everything sharp edge to edge, lit exclusively by the single window daylight source with no studio strobes and no artificial separation, a clean cool-neutral naturalistic grade in the vein of Roger Deakins' understated natural light. Light falls off gently toward the frame edges. Hyperreal, tactile, every surface present.
Exact prompt
Create a new photorealistic image, but the floor is now white. Preserve everything else from the reference exactly — the seamless matte-white cyclorama wall, the soft low directional daylight from the left, the long clean geometric window-cast shadows, the composition, framing, grade and mood all stay identical. THE FLOOR (CHANGED): The floor is now a clean matte white, continuous with the seamless white cyclorama sweep so wall and floor read as one unbroken white surface, no visible seam. A soft satin sheen with subtle, almost imperceptible reflections, the faintest real texture and tonal variation so it reads as painted plaster rather than a flat digital void — never pure clipped white. THE SETTING (LOCKED): The minimalist white studio, the seamless curving cyclorama, the tall floor-to-ceiling window just out of frame to the left. Do NOT redesign the environment. THE LIGHT (LOCKED): Soft directional daylight raking in low from the left, casting long, clean, elongated geometric window-frame and mullion shadows across the white sweep and now the white floor, with gentle falloff to soft grey and smooth gradients. Cool-neutral white balance with the faintest warmth where the sun lands. Delicate dust motes in the light shaft. THE MOOD (LOCKED): Editorial, muted, cold-clinical calm with a breath of warmth, restrained luxury, clean neutral grade, whites held just off pure white. THE COMPOSITION (LOCKED): Wide architectural frame, eye level, straight-on, vast negative space, the shadows on a rule-of-thirds diagonal as leading lines, open airy upper frame. THE CAMERA (LOCKED): Cinematic editorial architectural still, deep focus everything sharp edge to edge, lit exclusively by the single window daylight source, clean cool-neutral naturalistic grade, gentle edge falloff. Hyperreal and tactile.
2. Burnt orange
I dressed him in a saturated burnt-orange Gucci look: a fitted single-breasted suit over a fine orange knit, the green-red-green Web stripe at the lapel edge, small tonal GG accents and sleek loafers. I asked for him large and close to camera, filling most of the frame's height. Text only, no product photos, and the empty studio for the room.
Exact prompt
Cinematic editorial fashion still, 16:9. A LARGE full-body figure standing close to camera at full portrait scale, occupying the LEFT third of the frame and filling most of the frame's height — a prominent full-length fashion portrait, NOT small or distant. Generous white negative space to the right. THE SETTING (UNCHANGED — preserve exactly from the reference studio): the same seamless matte-white cyclorama, white curved sweep into continuous matte-white floor, faint painted-plaster texture, soft satin floor sheen. Preserve the SAME soft directional daylight raking in low from the LEFT through a window, casting the SAME long clean geometric window-frame and mullion shadows across the floor to the RIGHT — the window light and its geometric floor shadows must be present exactly as in the reference, do not flatten to plain white. Cool-neutral white balance, faint warmth, dust motes. Roger Deakins naturalistic grade, deep focus. A man stands close to camera at full portrait scale in the LEFT third of the frame. Early thirties, warm light-olive skin, dark hair slicked back, light stubble, sleek confident features. He wears a bold vivid GUCCI look in a saturated burnt-orange / marigold: a sharp fitted single-breasted orange tailored suit with slim sensual Italian tailoring, worn over a fine orange knit, with a signature Gucci green-red-green web stripe detail at the collar or lapel edge and small tonal GG monogram accents, sleek loafers. Bold saturated orange as the dominant color statement against the white studio, refined Florentine luxury. Confident poised stance, weight on one leg, one hand loosely in pocket, gaze off to the LEFT toward the light. High-fashion menswear editorial, no large brand text.
3. Zebra with the hat
His pose frame and the empty studio went in as references. The zebra is text: bold black-and-white stripes, short upright mane, standing calmly on the right and facing him. It has just handed over a GG-monogram bucket hat, he holds it in his left hand and strokes the zebra's striped neck with his right. Orange next to graphic black and white, that was the colour plan.
Exact prompt
Cinematic editorial fashion still, 16:9, medium shot. Both figures at portrait scale — the man the SAME size as in the first reference frame, a large full-body figure close to camera, NOT small or distant. Generous white negative space in the upper area. THE SETTING (UNCHANGED — preserve exactly from the reference studio): the same seamless matte-white cyclorama, white curved sweep into continuous matte-white floor, faint painted-plaster texture, soft satin floor sheen. Preserve the SAME soft directional daylight raking in low from the LEFT through a window, casting the SAME long clean geometric window-frame and mullion shadows across the floor to the RIGHT — the window light and its geometric floor shadows must be present exactly as in the reference, do not flatten to plain white. Cool-neutral white balance, dust motes. Roger Deakins naturalistic grade, deep focus. The same man from the first reference — early thirties, warm light-olive skin, dark slicked-back hair, light stubble — stands at full portrait scale on the LEFT wearing the vivid burnt-orange GUCCI tailored suit with the green-red-green web stripe accent. On the RIGHT of the frame, a striking ZEBRA stands calmly at floor level, bold black-and-white striped coat, short erect mane, facing him. The zebra has just delivered a GUCCI GG-monogram bucket HAT, held in its mouth / offered up, which the man takes with his LEFT hand. His RIGHT hand reaches out to gently stroke the zebra's striped neck. Serene, cool, tender moment. Both figures clearly at portrait scale. High-fashion editorial, vivid orange and the graphic black-and-white zebra against the white studio.
4. Gucci on the wall
The end card is the empty studio with the GUCCI wordmark over the interlocking GG, centred. Room from the pose frame, artwork from a logo file.
Exact prompt
Minimalist title card, 16:9. THE SETTING (UNCHANGED — preserve exactly from the first reference studio): reproduce the same seamless matte-white cyclorama, white curved sweep into continuous matte-white floor, faint painted-plaster texture and satin floor sheen. Preserve the SAME soft daylight raking from the LEFT through a window, casting the SAME long clean geometric window-frame and mullion shadows across the floor to the RIGHT — the window light and its geometric floor shadows must be present exactly as in the reference, do not remove them or flatten to plain white. Cool-neutral white balance, dust motes. An empty studio, no person or animal. Composite the exact GUCCI logo from the second (logo) reference — the black serif "GUCCI" wordmark above the interlocking double-G (GG) emblem, reproduced precisely, unchanged in shape and proportion — centered on the white wall as a flat crisp black title graphic, perfectly level and sharp. Nothing else in the frame — the empty studio exactly matching the reference, with the centered black GUCCI logo. Editorial end-card.
5. Walk-in
Empty first frame, his pose as the last. He walks in from the right, one man only, and stops with a hand in his pocket.
Exact prompt
Static locked camera, no camera movement. ONE single man only — exactly one person in the frame at all times, no clones or duplicates. The empty white studio; the man enters FROM THE RIGHT edge of the frame, walks across to the left, and settles into a cool confident pose in the left third — weight on one leg, one hand slipping into his pocket, head turning to a poised gaze to the left. Natural unhurried single-person walk, the vivid orange suit bright against the white, long window shadows steady on the floor. High-fashion menswear editorial. The frame is locked; no camera movement.
6. The delivery
The zebra walks in calmly from the right with the hat in its mouth and stops facing him. He takes the hat with his left hand, then strokes its neck with his right.
Exact prompt
Static locked camera, no camera movement. ONE single man, one zebra — no duplicate figures or clones. The man stands posed on the left. A zebra walks calmly into frame from the RIGHT, carrying a Gucci GG-monogram bucket hat in its mouth, and comes to stand facing him. He reaches out and gently takes the hat from its mouth with his left hand, then raises his right hand to softly stroke the zebra's striped neck. Slow, cool, tender motion. Both figures at full portrait scale, generous white space, window shadows steady on the floor. High-fashion editorial, vivid orange and the graphic black-and-white zebra against white. The frame is locked; no camera movement.
7. The turn
There's a catch though: at the end of the hand-off, the zebra is facing him, which means facing left. They're leaving to the right. On my giraffe and ostrich spots I just wrote that they turn and walk off. For this one I spelled it out step by step. The zebra turns around to face right so it's facing the same way as him. Then they walk off side by side, both moving forward. And I added that the zebra walks forward naturally, not backward. I also kept his orange suit locked for the whole clip. The logo pops on before they're fully gone.
Exact prompt
Static locked camera, no camera movement. ONE single man, one zebra — no duplicate figures or clones. He keeps wearing the SAME vivid orange Gucci suit throughout — the outfit never changes. The man, the GG bucket hat now in hand, and the zebra TURNS AROUND to face the RIGHT so it is facing the same way as him; then the man and the zebra walk off together toward the RIGHT, side by side, both moving forward in the SAME direction, slow and unhurried — the zebra walks forward naturally, NOT backward. While he is still mid-stride exiting right, the GUCCI logo — the GUCCI wordmark above the interlocking double-G emblem — appears ALL AT ONCE in a single instant, snapping into place fully formed and centred over the frame as a flat crisp black title graphic, NOT fading or dissolving in. It holds perfectly still and sharp as they finish exiting right, and the frame resolves to the clean white studio with the centred black GUCCI logo. The frame is locked; no camera movement.
8. Into one video
Emero joined the clips in order for me. You can use any editor.
Exact prompt
Combine the clips in order
Why it works
The delivery frame leaves the zebra pointing the wrong way for the exit. Writing the turn as its own beat, then the walk, then "forward, not backward", gives the clip every step it has to cover between those two frames.
Your turn: check which way your animal faces in the last frame of your delivery. If it's not the exit direction, write the turn into your walk-off prompt.
If you'd rather have this stuff remembered for you, Emero writes the prompts and keeps your rules from spot to spot, at cost.
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