Olive oil: first-last labeled bottle to dressed greens
Frame A is the labeled bottle you photographed. Frame B is the plated pour. Interpolate. Do not regenerate the harvest year.
Frame A is the labeled bottle you photographed. Frame B is the plated pour. Interpolate. Do not regenerate the harvest year.
Olive-oil video is a state change on a SKU you already printed. The harvest year, the cultivar word, the DOP line — those sit on a label legal already approved. A text-to-video paragraph will mint a cousin bottle. A single still will wiggle and never land on the salad. Two photographs of the same brand, connected, is the ad.
Frame A is the labeled bottle
Photograph the unit you would ship: square-on or three-quarter, fill the frame, harvest year readable, capsule and glass true. That file is the first frame. It is also the contract. If the year is wrong in the still, every second of motion is a false vintage.
Do not prompt “Tuscan extra virgin, golden hour, farmhouse table” and hope the model keeps 2024. It will not. It will invent a harvest, a serif, a leaf that is not on your die-cut. The still is cheaper to fix than the clip.
Keep the bottle large. Fine print is the first thing a generator loses in the middle of a morph. If the PDO line must read at the open, it has to fill the frame at the open.
Frame B is the plated pour, not a new farm
The last frame is the dressed greens — or the oil pooled on the plate — shot in the same lighting family as the bottle. Same camera height. Same table language if both stills share a surface. The salad is the destination of the pour, not a second brand.
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 arc of the shot is decided by you: bottle, then plate.
The two frames have to be connectable in the time available. A macro of the capsule morphing into a wide restaurant terrace is a warp, not a pour. A bottle on white seamless into a picnic in a grove you do not own is a new location. Keep the table. Keep the glass. Let the oil travel.
Do not use a last frame from a different SKU. The model will connect them. The connection is the artefact everyone notices — a year that swims, a cultivar that never existed, a tin that becomes a bottle.
Interpolate on Flux 3. Do not regenerate the year.
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 catalog row for that interpolation: 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 — write the mix (a quiet pour, a plate settle) or write silence. A silent brief still gets a soundtrack you did not choose.
Prompt the travel, not the objects. The stills already contain the labeled bottle and the dressed greens. Name the mechanism: hold, then oil leaves the neck; camera locked; no new grove; label stays the label. If the endpoints share geometry, the morph reads as a pour. If they do not, you get a mushy crossfade you could have made in an editor without a video bill.
Duration should match the pour, not a Reels quota. Five or six seconds between two honest stills reads as proof. Twenty seconds invents weather, a second bottle, and a harvest year in the middle. Inspect the midpoint. Ends are held by construction. If the middle restypes the year, reroll the interpolation. Do not regenerate both stills “to match the motion.” The stills are the spec. The motion is the cheap middle.
A 30-second identity hold of the bottle is a different object. That keep-the-SKU pass never lands on the plate. Bottle-to-greens needs both stills.
Winery reels and restaurant plates are nearby, not this SKU
Wineries sell estate, barrel, and vineyard identity. That playbook will invent a grove. Your job is the labeled bottle you already photographed, not a harvest film. Restaurants sell the plated dish as a menu item. Frame B can look like that plate. Frame A cannot become a house oil the kitchen restyped. Olive-oil CPG is the year on the glass. Do not twin either audience page as this listing.
If you needed a founder line about the mill, that is a different generate, cut after the plate. The pour shot does not have to talk. The year does not belong in a mouth. It belongs on the still you approved.
FAQ
Can I animate one photo of the bottle and hope it pours onto a salad?
You can. The ending is then the model’s guess. The salad is the offer. Pin the plated pour as the last frame or you are not selling the dressing.
Why Flux 3 instead of a talking-head harvest story?
Because the product is interpolation between two approved stills, not a mouth. Flux 3 first-last is 5–20 seconds, 720p/1080p, native audio, 9 credits per second. A presenter row will talk over a bottle it invented, and it will mint a year legal cannot ship.
Do the two photos have to be shot on the same day?
They have to share geometry. Same glass, same lighting neighbourhood, same lens family. A studio bottle into a night picnic is a warp. A different label is a different SKU.
Is this the same as uploading one image to image-to-video?
No. One image is open-ended motion. Two images is a bounded landing. The agent notes that this capability needs first frame and last frame. Missing the plated pour is a different job.