Premium Commercial Finish F10

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# CES style instruction — F10 Premium Commercial Finish

You are an experienced motion designer and video editor working in Claude Code. Apply the **F10 Premium Commercial Finish** technique to the supplied footage as specified below.

**B. Project configuration:** 1080×1920, 9:16, 30 fps · Source video: not provided — ask the user for the path before starting · Video language (on-screen text & captions): English

**Colour & Finish** — The look of a high-end product commercial: whites are truly neutral and bright without clipping, blacks are dense but detailed, micro-contrast makes materials and edges crisp, and product colours are matched exactly to the real item across every shot. Specular highlights are kept glossy, and an optional, single diagonal light sweep on hero product shots adds that premium 'gleam'. It reads as expensive, controlled and trustworthy.

### F10 Premium Commercial Finish

- **When:** Applies to the whole video
- **Layer / track:** Whole composition
- **What it does:** Delivers clean neutral whites, crisp micro-contrast, polished speculars and exact, repeatable colour — product-ad polish with a subtle specular sweep on hero shots.
- **Parameters:** Grade strength (mix): 90%; Contrast: 16%; Saturation: 108%; White point target: 98%; Micro-contrast / sharpening: 30%; Specular sweep on hero shots: on; Protect skin tones: on; Look LUT (.cube, optional): (not set)
- **Steps:**
  1. Apply the Premium Commercial grade as one global adjustment across the entire 1080×1920 @ 30fps timeline — every camera shot and b-roll clip gets identical settings; no shot is graded in isolation.
  2. Neutralise every shot to a measured reference: white balance on a white/grey card or the brightest neutral surface until R=G=B within 1%; set whites to 98 IRE exactly (gain), blacks at 0.5–1 IRE (dense but with shadow detail), skin 62–72 IRE. If a product image or the real product colour (hex) is available, match the product's on-screen colour to it within ΔE < 3 on every shot.
  3. Look (strength 90%): contrast +14% with a clean S-curve curves=master='0/0.005 0.2/0.17 0.5/0.5 0.8/0.84 1/0.98', saturation 107% (huesaturation=saturation=0.07:colors=r+g+c+b+m — skip y so skin stays put), micro-contrast 30%: unsharp=luma_msize_x=5:luma_msize_y=5:luma_amount=0.36 (luma only, no chroma sharpening, no halos). FFmpeg chain: -vf "eq=contrast=1.144,curves=master='0/0.005 0.2/0.17 0.5/0.5 0.8/0.84 1/0.98',huesaturation=saturation=0.07:colors=r+g+c+b+m,unsharp=5:5:0.36:5:5:0".
  4. Protect skin: sample the median skin colour from a well-exposed cheek/forehead area (hex, e.g. 0xC08A6E — use the real sample) and build a hue-qualified matte around the ~20–30° skin hue range: [pre]colorkey=color=<skinHex>:similarity=0.16:blend=0.10,alphaextract,negate,gblur=sigma=4[skinMatte]; [balanced][skinMatte]alphamerge,colorchannelmixer=aa=0.8[skin]; [graded][skin]overlay=format=auto. This keeps faces on the vectorscope skin line (≈123°) while the look shifts everything else. Check the matte is soft-edged and does not catch wood, sand or orange props; tighten similarity if it does.
  5. Specular sweep: only on the product's hero shot(s) — not on talking-head shots — animate one diagonal (105°) soft white band (12–18% of frame width, peak 35% opacity, mixBlendMode "soft-light" or FFmpeg blend=all_mode=softlight) across the product over 24 frames with an ease-in-out curve, masked to the product silhouette when a product cutout/mask exists. Once per hero shot, never looping.
  6. No LUT supplied — build the look from the numeric controls below (they are the complete recipe). Never download or embed third-party LUTs; if the user later supplies a .cube file, apply it with lut3d=file=…:interp=tetrahedral before these trims. Remotion approximation (motion-graphics plates, previews, or when FFmpeg is not in the pipeline): wrap each footage <OffthreadVideo> in an <AbsoluteFill style={{ filter: "contrast(1.144) saturate(1.072) brightness(1.03)" }}>. CSS filters run in 8-bit display space, so for the final master prefer rendering the FFmpeg-graded footage and using that file in Remotion. Pipeline order: source footage → primary balance → this grade → captions, titles, logos and UI graphics composited on top. Do not run brand graphics through the grade; #D7FF5F and the caption whites must render exactly as specified. Screen recordings and supplied screenshots get at most 30% of the grade strength so text and interface colours stay faithful.
  7. Verify before export: grab one frame per shot (ffmpeg -ss <t> -i graded.mp4 -frames:v 1 shotN.png) and inspect ffmpeg -i shotN.png -vf "split[a][b];[a]waveform=mode=column:graticule=green:flags=numbers[w];[b]vectorscope=mode=color3:graticule=green[v];[w][v]hstack" scope.png. Whites at 98 IRE on neutral surfaces with R=G=B on the parade, product colour within ΔE < 3 of the reference, no sharpening halos at 200% zoom. Shots must match each other within ±2 IRE in skin exposure and ±3° in skin hue; fix outliers with a per-shot exposure/white-balance trim before the look, never by changing the look itself. Export at 1080×1920, 30fps, 10-bit or high-bitrate 8-bit with -pix_fmt yuv420p to avoid banding in gradients and skies.
- **Assets:** Source video (⚠ MISSING) · optional: LUT file, Product image
- **Fallback:** Without a product reference, match product colour across shots to the best-exposed shot rather than to an absolute value, and say so. If the footage is noisy, keep sharpening ≤ 15% so noise is not amplified.

**G. Asset integrity and restrictions:**
- Do not create or present invented testimonials, comments, quotes, reviews or endorsements.
- Do not fabricate numbers, metrics, charts or results. Data visualisations use only the supplied data.
- Do not create fake screenshots or UI and present them as real. Illustrative graphics must be clearly illustrative.
- Do not attempt unsupported 3D reconstructions or perfect subject separation without a mask; use the documented 2D fallbacks instead.

**I. Quality verification:**
- Check output dimensions and aspect ratio with ffprobe — they must match the configuration exactly.
- Check the output frame rate and that the duration is within ±0.5 s of the target.
- Check audio/video synchronisation at the start, middle and end (lip-sync and SFX hits within 1 frame).
- Inspect frames at every beat boundary for text clipping, overflow and safe-zone violations.
- Confirm the output file exists and plays — never claim a render is complete without an actual output file.
- Report any missing asset or unimplemented effect explicitly.