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 buck at real size with a cap on its antlers
A mature buck at real size walks in with a John Deere cap hooked on its antlers
Tested by Nouamane Benbrahim
In today's "animal frames" series I did a spot for John Deere. A woman in a cream John Deere hoodie and bootcut jeans stands in a white studio, and a big mature buck walks in with a green-and-yellow cap hooked on its antlers. John Deere isn't a client, I was just testing. Getting the buck's size right took a few tries, and so did getting the cap to actually sit on the antlers.
Here's my exact process.
1. The empty room
A white studio with the window on the left, from a prompt alone. Then a quick pass for a white floor.
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. Breaking my own rule
In this series women get a purse and men get a hat. Here I broke that on purpose and gave her a cap, a John Deere one with a green crown and a yellow front panel. The buck stands in for the leaping deer from their logo.
3. Dress her
Three references: photos of the real pieces, a cream John Deere hoodie and dark-wash bootcut jeans, plus a pose frame from an earlier spot used only for the room. The brown boots are text. She holds nothing.
Exact prompt
Fashion campaign pose frame in a clean white cyclorama photo studio. OUTFIT (take EXACTLY from reference images 1 & 2, the two product photos): an oatmeal/cream John Deere pullover hoodie — drawstring hood, kangaroo front pocket, with the centered gold-olive John Deere logo (leaping deer inside the rounded square) and "JOHN DEERE" wordmark across the chest — worn tucked loosely into dark indigo-wash bootcut jeans (mid-rise, subtle whiskering, side tool/hammer loop). Render these two garments faithfully to the references. MODEL: a confident young woman, natural relaxed standing pose, facing slightly left, weight on one hip, hands relaxed, calm expression. She holds NOTHING in her hands. Brown/tan ankle work boots. ROOM (take EXACTLY from reference image 3 — IGNORE the person and clothing in that image, use it ONLY for the room): the same white cyclorama studio, soft diagonal daylight from a window on the LEFT casting light patches on the seamless white floor. Keep the window on the left. Wide framing, model standing center-left with generous negative space, small figure low in frame. No animals, no props, no text overlays.
4. The buck, a few times over
And listen, this frame did not come together fast. The buck went from slight, to muscular, to straight-up giant, towering over her head with its body filling half the frame. I rejected the giant.
Then I asked for a real mature buck at real-world scale: about 6 feet long, back around her waist to chest, still with a thick neck, heavy haunches and a wide rack.
After that I redid the cap so it clearly hooks over an antler tine, like a hat hung on a hook, not floating and not in the buck's mouth. That last pass used two references: the pose frame for her and the room, and my previous version for the buck at its new size. The cap is text.
Exact prompt
Keep EVERYTHING else identical — same woman in the oatmeal John Deere hoodie and dark bootcut jeans reaching up, same white cyclorama studio with window light from the LEFT, same green-and-yellow John Deere cap on the antler, same framing and exposure — but make the buck ENORMOUS, larger-than-life. SCALE IS THE KEY CHANGE: the white-tailed buck is a giant, towering animal — its shoulder/back height reaches ABOVE the woman's head, its massive body fills the entire right half of the frame, and its huge antler rack rises high toward the top of the frame. She looks small next to it and has to reach UP toward the cap balanced on its antlers. Think monumental, awe-inspiring scale — a colossal trophy buck dwarfing the person. Still a powerful mature male: thick muscular rutting neck, broad deep chest, massively muscled haunches and shoulders, enormous wide many-tined antler rack, dark mature coat, standing tall, dominant, head turned down toward the woman offering the cap. Photoreal: realistic fur and muscle, believable anatomy at giant scale, grounded contact shadow under all four hooves matching the left window light (bright left flank, soft shadow right), white-floor bounce so it sits physically in the room. Clean studio, camera does not move.
Exact prompt
Keep EVERYTHING else identical — same woman in the oatmeal John Deere hoodie and dark bootcut jeans, same white cyclorama studio with window light from the LEFT, same green-and-yellow John Deere cap on the antler, same framing and exposure — but render the buck at REALISTIC real-world scale (NOT giant, NOT towering). CORRECT SCALE: a real mature white-tailed buck is a large but normal animal — roughly 6 feet long nose-to-tail with its back/shoulder height reaching about the woman's waist to lower chest (NOT above her head, NOT taller than her). She stands beside it and reaches slightly DOWN/across to the cap on its antlers. Natural, believable proportions like a real trophy buck photographed in a studio. Still a powerful mature male at that realistic size: solid heavy body, thick muscular rutting neck, broad chest, well-muscled haunches and shoulders, and a big mature wide many-tined antler rack. Dominant, alert stance, head turned toward the woman. Dark mature coat. Photoreal: realistic fur and muscle, true-to-life anatomy and size, grounded contact shadow under all four hooves matching the left window light (bright left flank, soft shadow right), white-floor bounce so it sits physically in the room. Clean studio, camera does not move.
Exact prompt
Create a new photorealistic image. Preserve the woman (oatmeal cream John Deere hoodie, dark-wash bootcut jeans, brown boots), the white studio, and the large mature buck beside her, from the references. Carry forward the composition, realistic buck scale and lighting from the most recent version. Update ONE thing: the green-and-yellow John Deere cap is clearly and obviously resting ON the buck's antlers — hooked over one of the upper antler tines, the whole cap fully visible above the buck's head, unmistakably sitting on the rack like a hat hung on a hook (NOT in the buck's mouth, NOT floating, NOT held by the woman). THE VIBE: Clean, premium fashion-campaign still. A playful, surreal brand moment — the brand's logo-animal has arrived to hand off the signature item. Bright, confident, high-end. IDENTITY LOCK: Preserve the woman's face, hair and build exactly, from the first reference. Do NOT source face, hair, skin or outfit from any other reference. THE SUBJECT / THE CHARACTERS: The woman stands centered in a relaxed confident pose, turning slightly toward the buck, one hand beginning to reach up toward the cap. The buck — powerful mature male, thick neck and haunches, wide many-tined antler rack — stands close beside her on her left, body roughly 6 feet long, back/shoulder reaching about her chest, head turned toward her. The green-and-yellow John Deere cap rests on the antlers. THE FACE: Natural skin texture, unretouched, minimal makeup, no plastic smoothing. THE SETTING: Clean bright white studio — seamless cyclorama wall and floor. THE LIGHT: Soft daylight raking in from a window on the LEFT, same direction on both the woman and the buck; grounded contact shadows under the woman's feet and all four of the buck's hooves; white-wall bounce fill. THE KEY DETAILS: The green crown / yellow front-panel John Deere cap balanced clearly on the antler tines is the hero prop — fully in view, reading instantly as a cap on the rack. THE MOOD: Surreal but warm; a premium brand hand-off moment. THE COMPOSITION: Woman and buck both centered, wide 16:9 framing, full bodies visible, cap near the vertical center-top of the pair. THE CAMERA: iPhone-natural capture, editorial fashion photography, unretouched.
5. Logo card
No logo file for this one, the logo sites blocked downloads the whole session. So the leaping deer badge and the "JOHN DEERE" wordmark are the model's reproduction from text, with Deere green and yellow as hex codes (#367C2B, #FFDE00), and the pose frame for the room. Close, not official. Swap in the real file if you've got it.
Exact prompt
End-card for a fashion-campaign spot. The SAME clean white studio as the reference image — white cyclorama wall and seamless floor, soft daylight raking in from a window on the LEFT — but now EMPTY: no people, no animal. Centered on the wall, the official John Deere logo: the leaping deer silhouette (a buck mid-leap, legs extended, antlers up) rendered as a solid yellow/gold mark inside a rounded-rectangle green badge, with the wordmark "JOHN DEERE" in bold yellow capitals beneath it. Deere green #367C2B and Deere yellow #FFDE00. The logo sits crisp and flat like a snapped-on brand bug, perfectly centered, with the soft studio lighting still visible on the surrounding wall. Minimal, premium, high-end campaign end-card.
6. Empty start frame
For the walk-in I needed the room with nobody in it, so I gave it the pose frame and asked for the same studio, totally empty.
Exact prompt
The SAME clean white studio as the reference — white cyclorama wall and seamless floor, soft daylight raking in from a window on the LEFT — completely EMPTY: no people, no animal, no logo, no text, nothing on the walls. Just the bare, bright, premium white studio with the soft directional window light and gentle floor reflection. Wide 16:9 campaign framing.
7. Walk-in
Empty room to pose frame. She walks in from the right, away from the window, and settles facing camera.
Exact prompt
Fashion-campaign spot, locked-off wide shot of the white studio. The woman in the cream John Deere hoodie and dark bootcut jeans walks IN from the RIGHT side of frame (the side away from the window), striding confidently to center, then settles into her standing pose facing camera. Natural, smooth walk, hair and clothing moving realistically. Soft daylight from the window on the left stays constant. Camera does not move.
8. The buck delivers
Pose to delivery. The buck walks in with the cap on its antlers and stops beside her as she reaches for it. One tip: say the cap stays hooked on the tines the entire time and is never in the buck's mouth.
After I fixed the delivery frame, I re-rendered this clip and the walk-off so they end and start on the corrected frame.
Exact prompt
Fashion-campaign spot, locked-off wide shot of the white studio. The woman stands centered in her pose. A large mature buck (realistic real-world scale, back reaching about her chest) walks IN from the RIGHT side of frame carrying a green-and-yellow John Deere cap balanced on its antlers the ENTIRE time — the cap stays hooked on the antler tines as the buck approaches calmly and stops beside her, offering it. The cap never leaves the antlers and is never in the buck's mouth. The woman begins to reach toward the cap. Realistic animal movement, hooves grounded with contact shadows. Soft daylight from the window on the left stays constant. Camera does not move.
9. Walk-off
She lifts the cap off the antlers, they turn and leave to the right, and the logo snaps on.
Exact prompt
Fashion-campaign spot, locked-off wide shot of the white studio. The woman lifts the green-and-yellow John Deere cap off the buck's antlers, and she and the buck both turn and walk OFF to the RIGHT, exiting frame. As the studio empties, the John Deere leaping-deer logo and wordmark snap on, centered on the wall, as a clean end-card. Soft daylight from the window on the left stays constant. Camera does not move.
10. Join
Emero joined the three clips in order.
Exact prompt
Combine the clips in order
Why it works
The buck's size and the cap's spot get decided in the still. Once the delivery frame had both right, the clips only had to move between frames I'd already signed off on. That's also why the two clips got re-rendered after the fix: they were bound to the old frame.
Your turn: before you add your animal, write down how tall it really is next to your model, like "back at her chest", and put that line in the prompt.
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