Sandwich bags: first-last carton to pulled bag, not a trash-liner
Two stills of the same box. Interpolate. Count is overlay. Trash-bags already spent the seated-liner pair.
Two stills of the same box. Interpolate. Count is overlay. Trash-bags already spent the seated-liner pair.
A sandwich-bag ad that sells is the carton closed, then the same carton with a bag pulled — fold, zipper if this SKU has one, the print on this box. It is not a talking founder over a lunch, and it is not a can with a liner seated. You already own both stills of the box. You already own the count. Do not prompt a model to invent either.
Frame A is the closed carton; frame B is the pulled bag
Photograph the box where it sits — same lens height, same counter, same hang-tab or tuck if the listing has one. That is the first frame. Photograph the same box with one bag drawn: the mouth of the carton, the bag you actually pack, the zipper or fold as this SKU ships it. That is the last frame.
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.
The two frames have to be plausibly connectable in the time available. Same box, same lighting family, same camera. A close-up of a flap morphing into a wide kitchen is a warp, not a pull. Keep the carton. Keep the opening.
Do not use a last frame that is a different SKU. The model will connect them. The connection is the artefact everyone notices. Do not treat a loop (same still in both slots) as the sandwich-bag ad. A loop is idle motion on one plate. This offer needs two states of the same box.
Interpolation is the pull, not a kitchen film
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 rustle, a bag sliding) 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 closed carton and the pulled bag. Name the mechanism: hold, then the bag draws; camera locked; no new cabinets. If the endpoints share geometry, the morph reads as a pull. If they do not, you get a mushy crossfade you could have made in an editor without a video bill.
Inspect the midpoint. Ends are held by construction. If the middle grows a different print, a phantom zipper, or a box that changes width, reroll the interpolation. Do not regenerate both stills “to match the motion.” The stills are the contract. The motion is the cheap middle. A long travel invents a second kitchen in the middle: that is where a generator cheats.
Trash-bags already spent the seated-liner pair
Trash bags: first-last empty can, then the seated liner already owns empty drum to cuffed liner. That is a can. This page is a sandwich carton. Do not rewrite that post as a lunch bag. Do not import a seated kitchen liner into a fold-top box and call the middle “our SKU.”
If a sentence in the brief contains “drawstring,” “can,” or “90 count kitchen,” you are on the trash-bag post. If it contains “fold-top,” “zipper sandwich,” or “pulled from the carton,” you are here. Two stills of a can are a different pair. Two stills of the same box are this pair.
Do not first-last the closed box to a bag lying on a cutting board and call the middle a pull. Two different objects is a morph. Text-to-video “150-count sandwich bags pulling themselves from a kitchen box” rebuilds the box and the kitchen together. Close is how you get a count the carton does not print. Make the stills. Then interpolate the box. If you needed a founder line about freshness, cut it after the pulled bag. The carton shot does not have to talk.
Overlay the count after picture lock
“150 count,” the size line, a SKU string — those are authored lines. They do not belong in Flux glyphs and they do not belong in a carton the model restocked. Add a text overlay to a video burns one line you wrote, whole clip, top / center / bottom. It does not transcribe. A mute carton plate has nothing to caption.
Do not prompt “print 150 COUNT on the box” into the interpolate. Prompted type is a miss you cannot edit against the die-cut. Keep the carton photograph honest. Burn the real string on the file you are keeping. Crop to the ratio you will ship before you overlay.
Muted autoplay still needs the count on screen if the carton face is not readable in frame. Overlay does that. The test: start picture, end picture, travel without inventing a kitchen? Yes → first-last on the carton. The count stays type you typed. The liner can stays on the trash-bag post.
FAQ
Can I animate one photo of the closed carton and hope the bag appears?
You can. The ending is then the model’s guess. The sandwich-bag ad is the pulled bag on this box. Pin the pulled carton as the last frame or you are not selling the pull.
Why Flux 3 instead of a talking-head lunch?
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 box it invented.
Is this the same as the trash-bag seated-liner pair?
No. That post is empty can to cuffed liner. This page is closed carton to pulled sandwich bag, same box. Count is overlay on both. The can is not this SKU.
Should the bag on the counter interpolate with the carton so shoppers see the zipper?
No. The loose bag is a different object. Hold a second approved still of the same carton with the bag drawn. Overlay the count. Interpolating box-to-counter is a warp, not a listing.