Mandrel tube benders interpolate straight stock to the locked radius
Straight tube then bent radius on the same mandrel die: Flux 3 first-last interpolates 5–20s at 9cr with native audio; write silence or the hydraulic whine, do not invent a second CLR.
Straight tube then bent radius on the same mandrel die: Flux 3 first-last interpolates 5–20s at 9cr with native audio; write silence or the hydraulic whine, do not invent a second CLR.
A mandrel-bender listing that books is one die, two states: straight stock in the clamp, then the same tube at the radius you actually sell. Interpolation between those stills is the ad. A generated bend that fattens the tube or swaps the centerline radius on the way around is a different tool.
Same mandrel die, two states
Procurement is matching a die: this CLR, this tube OD, this wiper-die stack, the clamp a shop already quoted. Straight is the stock in the machine. Bent is that same serial at the locked radius — 1.5D, 2D, 3D, whatever the cut sheet prints — not a prettier coil the model likes.
Photograph the pair. Do not touch the tripod. Same lens height, same bench, same lighting family. Frame A is straight stock on this die. Frame B is the bent tube on the same die, same clamp marks. Crop people. Crop a shop floor you did not film.
First-last frame takes those two stills and generates the motion between them. Ordinary image-to-video knows where it begins and improvises the rest. First-last has to land. The two frames have to be connectable: same serial, same die, same lighting neighbourhood. A straight 1.5-inch tube into a bent 2-inch cousin is a morph of the SKU.
Do not treat a loop as a bend demo. A loop is ambient motion on one plate. This offer needs two states. A rotary-draw versus a ram is a different pair. Shoot the pair that matches the machine you sell. Do not ask straight-to-1.5D to invent a 3D sweep on the way through.
Flux 3 interpolates 5–20s at 9 credits
Create a first-and-last-frame transition video is the named agent job: two photos in, one transition out. The agent passes them as first and last frame and picks a first-last-capable model. Cost is priced per model, shown before you confirm. This is not the plain “turn one photo into a video” capability.
Flux 3 First Last Frame to Video is the interpolation row: start frame and end frame, native audio, 720p or 1080p, durations from 5 seconds through 20. The listed rate is 9 credits per second. Audio is on. Prompt the travel, not the objects: “tube draws around the same mandrel die, CLR static, camera locked, no new clamp.” Re-describing “CNC mandrel bender, 2 inch, 1.5D” restages the hardware. The stills already contain the class.
Inspect the midpoint. Ends are held by construction. The middle is where a generator cheats — extra wrinkle, a second wiper, a tube that fattens, a die that grows. If the middle is wrong, reroll the motion, not the stills, unless a still was the lie.
AI product video is the nearby door when the job is a reference-locked orbit of the machine as a product, not a two-state interpolate. It holds shape, colour, and label from stills you supply. A product-turn of the bender body is a different take. The bend itself is the pair. Do not stitch four short clips around the die. Stitching is how the CLR breathes.
Write silence or the hydraulic whine
Native audio is on. Write the mix you want — a quiet bench, the hydraulic whine of the draw, a clamp click, no speech — or write silence. A silent brief still gets a soundtrack you did not choose. Quoted VO about “how to pick a CLR” is how you get a mouth you did not cast.
A constructed tech pointing at a die and prescribing wall factor is a presenter you did not hire. Put a real named person on camera when the video tells a viewer how to set the machine — or do not tell them. Do not prompt “instructor explains mandrel bending over the CNC.” Keep lips out of frame. CLR belongs in type you typed, after lock. The interpolate should not typeset 1.5D on the die.
Do not invent a second CLR
Centerline radius is a claim. The die already lives in the photographs. A generate that “opens” the bend by growing a second radius — 1.5D becoming 3D for six frames — is a different SKU. If the freeze-frame would not pass the cut sheet, throw the take out.
Do not use a last frame from a different die “because the shine is better.” Do not prompt “tighter radius” while interpolating. Do not swap OD on the way around. A 1.5-inch tube that finishes as 2-inch is a mis-ship. Overlay CLR after picture lock; do not ask the model to letter it into the casting.
The product-video path will not save a bad pair. If the endpoints do not share a die, no reference model invents an honest CLR in the middle. Own both stills. Interpolate. Pause on the tube. If a shop would not match the die to the quote, you made a film of someone else’s tool.
FAQ
Can I animate one photo of the straight stock and hope it bends to our radius?
You can. The ending is then the model’s guess. A mandrel-bender ad is the locked CLR on the same die. Pin that still as the last frame or you are not selling the draw.
Why Flux 3 instead of a talking-head row?
Because the product is interpolation between two approved stills, not a mouth. Flux 3 first-last is 5–20 seconds, 720p or 1080p, native audio, 9 credits per second. A presenter row will talk over a shop it invented.
Does a silent brief stay silent?
No. Native audio is on. Write silence or the hydraulic whine. A silent brief still gets a mix you did not choose. Quoted instructor talk does not become a title card.
Do the two photos have to share the same mandrel die?
Yes. Same serial, same CLR, same tube OD, same lighting neighbourhood. A noon still into a night still is a time-lapse you should prompt as one. A different die is a morph. Missing the bent pair is a different job.