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 - an octopus hands over a bag, and why I swapped it to purple
An octopus delivers a Bottega Veneta Jodie bag, and the colour swap from green to purple
Tested by Nouamane Benbrahim
In today's "animal frames" series I did a spot for Bottega Veneta. A woman dressed head to toe in green waits in a white studio, and a big coral-orange octopus crawls in and holds out a bag on one tentacle. Bottega isn't a client, this one was a test. The story here is the bag: my first version matched her outfit, and I changed it.
Here's my exact process.
1. First the room
I prompted an empty white studio with nothing but words, window light from the left. Then I gave that image back as a reference and asked for a white floor, nothing else changed.
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. All green
Bottega's parakeet green is the colour I went for. An oversized green leather coat with woven intrecciato detailing, a fitted green knit, tailored green trousers, green leather shoes, hair in a sleek low bun. Described in text, no product photos, with the empty studio as the only reference.
Exact prompt
Cinematic editorial fashion still, 16:9. A full-body figure at portrait scale occupying the LEFT third of the frame, with generous white negative space filling the rest. 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 in the light shaft. Roger Deakins naturalistic grade, deep focus. A woman stands at full portrait scale in the LEFT third of the frame. Late twenties, tall, elegant, warm fair skin, dark hair in a sleek low bun, refined minimal makeup. She wears a sculptural BOTTEGA VENETA look in the house's signature vivid parakeet-green: a soft oversized green leather coat with subtle intrecciato woven-leather detailing, worn over a fitted green knit and tailored green trousers, minimal green leather shoes. Rich vivid Bottega-green from head to toe, quiet-luxury sophistication with a bold monochrome color statement against the white studio. Poised confident stance, weight on one leg, one hand in the coat pocket, gaze off to the LEFT toward the light. High-fashion editorial, no large brand text.
3. Green bag, then purple bag
The octopus is text: deep coral-orange, pale suckers, tentacles fanned across the floor, facing her. She crouches, takes the Jodie bag from one tentacle with her left hand and touches the top of its mantle with her right. Her pose frame and the empty studio were the references both times.
On the first pass I made the Jodie the same parakeet green as everything she's wearing.
Exact prompt
Cinematic editorial fashion still, 16:9, medium shot. Both figures at portrait scale — the woman the SAME size as in the first reference frame, a full-body figure, 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 woman from the first reference — late twenties, warm fair skin, sleek dark low bun — is crouched gracefully low on the LEFT at portrait scale, wearing the vivid parakeet-green BOTTEGA VENETA oversized leather coat, green knit and trousers. On the RIGHT of the frame, at floor level, a large striking OCTOPUS in deep coral-orange with pale suckered tentacles curls elegantly, its bulbous mantle and big expressive eyes, several tentacles fanned across the white floor, facing her. One curling tentacle has just delivered a vivid parakeet-green BOTTEGA VENETA Jodie handbag with woven intrecciato leather and a knotted top handle, offered up, which the woman takes with her LEFT hand. Her RIGHT hand reaches out to gently touch the top of the octopus's coral mantle. Serene, surreal, tender moment. Both figures clearly at portrait scale. High-fashion editorial, vivid green and coral-orange octopus against the white studio.
Then I swapped it to a rich purple Jodie, same woven leather and knotted handle, and wrote in that the purple bag should be a bold contrast against her green. That's the one I kept.
Exact prompt
Cinematic editorial fashion still, 16:9, medium shot. Both figures at portrait scale — the woman the SAME size as in the first reference frame, a full-body figure, 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 woman from the first reference — late twenties, warm fair skin, sleek dark low bun — is crouched gracefully low on the LEFT at portrait scale, wearing the vivid parakeet-green BOTTEGA VENETA oversized leather coat, green knit and trousers. On the RIGHT of the frame, at floor level, a large striking OCTOPUS in deep coral-orange with pale suckered tentacles curls elegantly, its bulbous mantle and big expressive eyes, several tentacles fanned across the white floor, facing her. One curling tentacle has just delivered a rich PURPLE BOTTEGA VENETA Jodie handbag with woven intrecciato leather and a knotted top handle, offered up, which the woman takes with her LEFT hand — the purple bag a bold contrast against her green outfit. Her RIGHT hand reaches out to gently touch the top of the octopus's coral mantle. Serene, surreal, tender moment. Both figures clearly at portrait scale. High-fashion editorial, vivid green, purple, and coral-orange octopus against the white studio.
4. The wordmark card
Empty studio, thin black BOTTEGA VENETA wordmark on one line in the middle of the wall. Room from the pose frame, lettering 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 BOTTEGA VENETA logo from the second (logo) reference — the clean thin black sans-serif "BOTTEGA VENETA" wordmark in a single line, reproduced precisely, unchanged in shape, letterspacing 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 BOTTEGA VENETA logo. Editorial end-card.
5. She arrives
The clip starts on the empty room and ends on her pose. She walks in from the right and slips a hand into her coat pocket. One person, no copies.
Exact prompt
Static locked camera, no camera movement. ONE single woman only — exactly one person in the frame at all times, no clones or duplicates. The empty white studio; the woman enters FROM THE RIGHT edge of the frame, walks across to the left, and settles into a poised confident pose in the left third — weight on one leg, one hand slipping into her coat pocket, head turning to a poised gaze to the left. Natural unhurried single-person walk, the vivid green leather coat moving softly, long window shadows steady on the floor. Quiet-luxury high-fashion editorial. The frame is locked; no camera movement.
6. One tentacle
The octopus comes in along the floor from the right, tentacles rippling, and holds the purple bag out on one curling tentacle. She crouches and takes it, then touches its mantle. One tentacle for the bag, the rest free to curl around.
Exact prompt
Static locked camera, no camera movement. ONE single woman, one octopus — no duplicate figures or clones. The woman stands posed on the left. A large coral-orange octopus emerges gracefully into frame from the RIGHT along the floor, tentacles curling and rippling, and extends one curling tentacle holding a purple Bottega Veneta Jodie handbag toward her. She lowers into a graceful crouch and gently takes the purple bag from the tentacle with her left hand, lowering it to her side, then reaches out with her right hand to softly touch the top of the octopus's coral mantle. Slow, surreal, tender motion, the octopus's tentacles undulating. Both figures at portrait scale, generous white space, window shadows steady on the floor. High-fashion editorial, vivid green, purple and coral against white. The frame is locked; no camera movement.
7. Leaving with the bag
I locked her outfit for this one, same green coat the whole clip. She stands up with the bag and walks off to the right with the tentacles trailing after her along the floor. The wordmark snaps on mid-stride.
Exact prompt
Static locked camera, no camera movement. ONE single woman, one octopus — no duplicate figures or clones. She keeps wearing the SAME vivid green Bottega Veneta leather coat and green outfit throughout — the outfit never changes. The woman rises with the purple Jodie bag now in hand and walks off toward the RIGHT, slow and unhurried, the octopus's tentacles trailing after along the floor. While she is still mid-stride exiting right, the BOTTEGA VENETA wordmark 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 she finishes exiting right, and the frame resolves to the clean white studio with the centred black BOTTEGA VENETA logo. The frame is locked; no camera movement.
8. All three together
Emero combined the clips in order for me. A regular editor works too.
Exact prompt
Combine the clips in order
Why it works
The bag is the thing the octopus delivers, so I wanted it to pop. On the kept pass I said it outright in the prompt: purple, as a bold contrast against her green.
Your turn: look at your delivery frame and ask if the item stands out from the outfit. If it blends in, change its colour before you animate.
Emero writes the prompts and remembers your brand's colours from chat to chat, at cost.
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