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Nano Banana Pro + Kling 3.0 - four framings to get a flamingo hand-off right
A flamingo brings a Valentino Pink PP bucket hat, and the four framings it took to land the shot
Tested by Nouamane Benbrahim
In today's "animal frames" series I did a spot for Valentino. A guy in a hot-pink sweater stands in a white studio, a flamingo struts in with a pink bucket hat in its beak, and he takes it. Valentino isn't a client, this was just a test. The thing I fought with here was the framing of the hand-off, it took me four passes.
Here's my exact process.
1. Empty studio
Prompt only for the first version of the room, window on the left, shadows across the floor. Then a second pass on top of it to turn 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. One pink thing
Valentino's Pink PP is basically a whole colour, so I built the look around it. A hot-fuchsia wool-cashmere crewneck with ribbed cuffs and hem, crisp white trousers, white studded sneakers and dark sunglasses. Everything else white, so the sweater is the only loud thing in the frame. All text, no product photos, with the empty studio as the room reference.
Exact prompt
Cinematic editorial fashion still, 16:9. Same seamless matte-white cyclorama studio: white curved sweep melting into continuous matte-white floor, faint painted-plaster texture, soft satin floor sheen. Soft directional daylight raking in low from the LEFT, long clean geometric window-frame and mullion shadows to the RIGHT. Cool-neutral white balance, faintest warmth, dust motes in the light shaft. Roger Deakins naturalistic grade, deep focus. A man stands in the LEFT third of the frame, vast white negative space filling the rest. Late twenties, tall, striking, warm fair skin, tousled dark hair, light stubble, wearing sleek dark Valentino sunglasses. He wears a VALENTINO Garavani Pink PP wool-and-cashmere crewneck sweater in the house's intense saturated hot-fuchsia Pink PP — a ribbed round neckline, ribbed hem and cuffs with raw edges, a subtle tonal geometric knit motif, and a small gold-tone pyramid Rockstud detail at the back neckline. Paired with crisp clean WHITE Valentino tailored trousers and white Valentino Garavani leather sneakers with signature tonal pyramid studs. The single vivid Pink PP sweater is the bold saturated color statement against the white studio, white trousers and white shoes. Confident cool editorial stance, weight on one leg, one hand loosely in pocket, poised gaze to the LEFT. High-fashion menswear editorial, no large brand text.
3. The framing fight
Same two references every time: his pose frame and the empty studio. The flamingo and the hat are text, a live flamingo next to him with a Pink PP bucket hat in its beak, he takes it with his left hand and strokes its neck with his right. What changed between passes was the camera.
My first pass was a wide shot with both of them small and low and a ton of white above.
Exact prompt
Cinematic editorial fashion still, 16:9, WIDE shot with small figures low in the frame and vast white negative space above. Same seamless matte-white cyclorama studio: white curved sweep into continuous matte-white floor, faint painted-plaster texture, soft satin sheen. Soft directional daylight raking in low from the LEFT, long clean geometric window shadows stretching to the RIGHT. Cool-neutral white balance, dust motes in the light. Roger Deakins naturalistic grade, deep focus. The same man from the reference — late twenties, warm fair skin, tousled dark hair, light stubble, dark Valentino sunglasses — stands and leans gracefully on the LEFT wearing the VALENTINO Pink PP hot-fuchsia wool-cashmere crewneck sweater, crisp white tailored trousers, white Valentino Garavani studded sneakers. On the RIGHT of the frame, an elegant live FLAMINGO stands tall and poised on its long legs, soft coral-pink plumage, long curved neck, facing him. The flamingo has just delivered a bold VALENTINO Pink PP bucket HAT in intense saturated hot-fuchsia — held in its beak / offered up — which the man now takes with his LEFT hand. His RIGHT hand reaches out to gently stroke the flamingo's long curved neck. Serene, chic, playful moment. Both figures small in the lower third, enormous calm white space above. High-fashion editorial, the vivid Pink PP against white with the coral flamingo.
Then I pushed it even wider, both figures tiny in the bottom-left corner.
Exact prompt
Cinematic editorial fashion still, 16:9, VERY WIDE shot. The two figures are SMALL and low in the bottom-left quadrant of the frame, occupying only the lower portion, with a VAST expanse of empty white negative space filling the entire upper two-thirds and the right side of the frame. Same seamless matte-white cyclorama studio: white curved sweep into continuous matte-white floor, faint painted-plaster texture, soft satin sheen. Soft directional daylight raking in low from the LEFT, long clean geometric window shadows stretching to the RIGHT. Cool-neutral white balance, dust motes in the light. Roger Deakins naturalistic grade, deep focus. The same man from the reference — late twenties, warm fair skin, tousled dark hair, dark Valentino sunglasses — stands and leans gracefully on the LEFT wearing the VALENTINO Pink PP hot-fuchsia wool-cashmere crewneck sweater, crisp white tailored trousers, white Valentino Garavani studded sneakers. Just to his right, an elegant live FLAMINGO stands tall on its long legs, soft coral-pink plumage, long curved neck, facing him. The flamingo has just delivered a bold VALENTINO Pink PP bucket HAT in intense hot-fuchsia, offered in its beak, which the man takes with his LEFT hand as his RIGHT hand gently strokes the flamingo's long neck. Keep both figures SMALL and low in the frame — a wide editorial composition with enormous calm white space around and above them. High-fashion editorial, vivid Pink PP against white.
Then I pulled back from that. Still wide, but not an extreme wide, with both of them clearly readable. I also spelled out that the window light and its shadows on the floor had to be there, no flat empty white.
Exact prompt
Cinematic editorial fashion still, 16:9, wide shot — the two figures sit small and low in the lower-LEFT portion of the frame with generous white negative space above and to the right, at the SAME scale and framing as a standard editorial delivery shot (NOT an extreme wide, the figures still clearly readable). 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 stretched 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, do NOT flatten to plain empty white. Cool-neutral white balance, dust motes in the light shaft. Roger Deakins naturalistic grade, deep focus. The same man from the reference — late twenties, warm fair skin, tousled dark hair, light stubble, dark Valentino sunglasses — stands and leans gracefully on the LEFT wearing the VALENTINO Pink PP hot-fuchsia wool-cashmere crewneck sweater, crisp white tailored trousers, white Valentino Garavani studded sneakers. Just to his right, an elegant live FLAMINGO stands tall on its long legs, soft coral-pink plumage, long curved neck, facing him. The flamingo has just delivered a bold VALENTINO Pink PP bucket HAT in intense hot-fuchsia, offered in its beak, which the man takes with his LEFT hand as his RIGHT hand gently strokes the flamingo's long neck. Serene, chic, playful moment. High-fashion editorial, vivid Pink PP against white.
The one I kept is a medium shot. He's the same size as in his pose frame, not small or distant, and the flamingo's head comes up to about his chest.
Exact prompt
Cinematic editorial fashion still, 16:9, medium shot. The man is at the SAME scale as the first reference frame — a full-body figure occupying the LEFT third of the frame at clear portrait scale, NOT small or distant. Generous white negative space fills the upper area and right side. 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 remove them or flatten to plain white. Cool-neutral white balance, dust motes. Roger Deakins naturalistic grade, deep focus. The same man from the first reference — late twenties, warm fair skin, tousled dark hair, light stubble, dark Valentino sunglasses — stands at full portrait scale on the LEFT, leaning gracefully, wearing the VALENTINO Pink PP hot-fuchsia wool-cashmere crewneck sweater, crisp white tailored trousers, white Valentino Garavani studded sneakers. Just to his right stands an elegant live FLAMINGO, tall on its long legs, soft coral-pink plumage, long curved neck, its head roughly at the man's chest height, facing him. The flamingo has just delivered a bold VALENTINO Pink PP bucket HAT in intense hot-fuchsia, offered up in its beak, which the man takes with his LEFT hand as his RIGHT hand gently strokes the flamingo's long neck. Both figures clearly sized at portrait scale. Serene, chic, playful moment. High-fashion editorial, vivid Pink PP against white.
4. Logo card
Empty studio with the Valentino logo on the wall. The pose frame gave the room, and a logo file gave the artwork, the V in its rounded rectangle over the wordmark.
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. Just remove the person and animal so the studio is empty. Composite the exact VALENTINO logo from the second (logo) reference — the iconic "V" inside a rounded-rectangle outline above the black serif "VALENTINO" wordmark, 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 VALENTINO logo. Editorial end-card.
5. Walk-in
From the empty room to his pose. He comes in from the right, one guy only, and settles 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 Pink PP sweater bright against the white, long window shadows steady on the floor. High-fashion menswear editorial. The frame is locked; no camera movement.
6. Hat in the beak
The flamingo strides in on those long legs with the hat in its beak and stops beside him. He takes the hat with his left hand, then strokes its neck with his right. One hand, one job each.
Exact prompt
Static locked camera, no camera movement. ONE single man, one flamingo — no duplicate figures or clones. The man stands posed on the left. An elegant flamingo strides gracefully into frame from the RIGHT on its long legs, coral-pink plumage, carrying a bold hot-fuchsia Pink PP Valentino bucket hat in its beak, and comes to stand tall beside him. He reaches out and gently takes the hat from its beak with his left hand, then raises his right hand to softly stroke the flamingo's long curved neck. Slow, chic, playful motion. Both figures at full portrait scale, generous white space, window shadows steady on the floor. High-fashion editorial, vivid Pink PP against white. The frame is locked; no camera movement.
7. Walk-off
He keeps the same pink sweater and white trousers the whole time, I wrote that in. Then the two of them turn and head right, hat in his hand, and the logo pops on all at once while he's still walking.
Exact prompt
Static locked camera, no camera movement. ONE single man, one flamingo — no duplicate figures or clones. He keeps wearing the SAME hot-fuchsia Pink PP sweater and white trousers throughout — the outfit never changes. The man, the Pink PP bucket hat now in hand, and the flamingo turn and move off together toward the RIGHT, slow and unhurried. While he is still mid-stride exiting right, the VALENTINO logo — the V-in-rounded-rectangle emblem above the serif VALENTINO 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 he finishes exiting right, and the frame resolves to the clean white studio with the centred black VALENTINO logo. The frame is locked; no camera movement.
8. Stitch it
Emero joined the three clips for me, walk-in, hat, walk-off. You can totally do this in any editor.
Exact prompt
Combine the clips in order
Why it works
The frame you approve is the frame the video lands on. So the camera distance in that still decides how the whole hand-off reads. The pass I kept is the one where I tied his size to his pose frame.
Your turn: before you animate anything, put your pose frame and your delivery frame side by side. If the person changed size, fix the still first.
Emero writes these prompts for you and remembers your framing rules between chats, at cost.
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