# Spoken-caption applied demo — rebuild sheet

A 2:15 front-camera piece: one woman in a dim living room works an under-eye massage technique on her own face for the whole runtime, narrating what the product is doing under the skin — 674,762 views, 6,059 likes.

**Why it works**

The opening beat hands you the problem twice — a headline that names it in plain words, and a bordered macro photo of a real under-eye hollow pasted into the corner, so the claim is proved before anything is sold. Then the fingers never leave that exact spot: every clause of narration lands while you are watching the named area being worked, so the mechanism reads as demonstrated rather than asserted.

**The beats**

| Time | What happens | On-screen text |
| --- | --- | --- |
| 10.79s | Arm's-length front camera, chest-up, dim warm interior — cream wall, arched opening, dark furniture and candle holders behind. Bare face, plum short-sleeve top, hand entering from the bottom of frame. A small bordered macro photo of a real under-eye area with visible hollows is composited into the lower-left corner. | How to get rid of indents under the eyes |
| 32.38s | Same framing. Both index fingers under the eyes, pressing and drawing outward. Mid-speech. | opening up the skin more so that the volufiline can really penetrate the skin. |
| 53.96s | Same framing. Eyes closed, both palms flat on the cheeks. Skin visibly dewy. | The more cheek muscles that we have, |
| 75.55s | Tighter — the face fills the frame, cropped at the chin and above the brow. Both index fingers on the upper cheek / under-eye. The only framing change in the sampled beats. | *(none)* |
| 97.14s | Back to the medium framing. One index finger pointing at the under-eye hollow beside the nose. | So we're gonna be building up this muscle here |
| 118.72s | Same medium framing. Both hands up, fingers under both eyes, working the area symmetrically, eyes to lens. | We're essentially depuffing this area while injecting ourselves with the volufuline. |

Two things the frames do not show, so do not assume them:

- **The product never appears in any sampled frame.** No bottle, no dropper, no label. The narration names it and the skin looks dewy from beat 3 on; whether it is applied on camera happens somewhere between the sampled beats, or not at all.
- **There is no before/after.** The only evidence of the problem is the composited macro photo on beat 1 — and the frames cannot tell you whether that photo is of this same person.
- Whether the camera drifts *inside* a beat is unknowable from stills. What is certain is that the framing is the same at five of six beats, with one tighter re-frame at 75.55s.

**What carries the value**

Her own face, doing two jobs at once. The problem is proved once by the corner photo, and from then on the fingers stay on that exact spot while the narration names what is happening under the skin. The persuasion is the overlap — the named mechanism and the named area on screen in the same second.

**Shoot it**

- **Camera:** phone front camera held at arm's length, chest-up, subject centred, lens at roughly eye level. Set it once and do not move it. Earn one — only one — tighter re-frame on the face somewhere in the middle third.
- **Light:** low, warm, from the front, indoors at night. Lamp-coloured, not window daylight. The room behind stays dim and out of focus.
- **Room:** a real living room, not a set. A plain wall, one architectural feature and some furniture behind is all the depth you need.
- **Wardrobe:** a plain short-sleeve top in a muted colour. Bare face, no visible makeup — the skin has to be readable, and a made-up face kills the demo.
- **Performance:** no acting required, but a real person's face and real speech are load-bearing, so this cannot be shot hands-only. Speak the mechanism continuously while the fingers work; burn the speech in as subtitles, one clause per beat, and let them run mid-sentence rather than tidying them into full lines.
- **Length:** it runs 2:15. Do not compress it — the length is what lets the narration explain a mechanism instead of just claiming one.
- **Proof asset:** shoot one macro photo of the real problem beforehand and composite it into a lower corner of the opening beat with a visible border. That photo is the whole hook.

**Or generate it**

```
vertical 9:16, {SUBJECT} filmed on an arm's-length front camera, chest-up and centred, in a dim warm domestic interior — plain cream wall, an arched doorway and dark furniture just visible behind, low lamp-coloured light from the front, no window light; bare face, no visible makeup, skin slightly dewy from {PRODUCT}; plain short-sleeve top; both index fingers placed directly under the eyes pressing and drawing outward; phone front-camera look, slight grain, no retouching, no on-screen text
```

**Motion:** camera fixed at arm's length for the whole beat, no pan and no zoom — only the hands move on the face and the subject keeps talking to the lens; one tighter re-frame on the same face is allowed once in the runtime.

**Text overlay pattern:**

- Beat 1, top third, dropped after: `How to get rid of {PROBLEM}` — with a bordered macro photo of the real `{PROBLEM}` composited into a lower corner.
- Every beat after: burned-in speech subtitles, centre-low, one clause of the spoken sentence per beat — `{clause naming what {PRODUCT} is doing under the skin}`.

**Reference:** https://www.instagram.com/p/DV4uorqiO-c/
