AI Product Ad Generator for Surreal Brand Films

What Ribbi did

Ribbi reads the image and sets the tone first — "organic, dangerous, post-apocalyptic" — then pitches three directions with escalating absurdity, five scenes each: A "public space invasion" (the shoe shows up where it absolutely shouldn't, everyone ignores it), B "everyday rituals gone absurd" (people using the shoe for things no shoe should do, executed deadpan), C "scale collapse" (the shoe's physical scale breaks while the world keeps running). One line from the user — "do 10 for A and B" — and ten 1696x2528 vertical frames fire at once: waiting room, convenience-store shelf, laundromat drum, church pew, the shoe as a hole punch, spikes as a flower vase — cold white light, straight faces, that Gentle Monster editorial feel landed in one pass.

What Ribbi did

The second batch of ten adds sequels to A and B (an elevator, a courtroom evidence table, the shoe as a stapler, as a cheese grater) plus six direction-C shots in a row — a car-sized shoe blocking a city street, shoes growing out of the ground. Once the user picks five scenes from the pool of twenty, Ribbi renders every video with the chosen still locked as the first frame: 7 seconds each, static camera, zero composition drift. Five segments run at once — the waiting-room man scrolls his phone, the laundromat drum spins its spikes, pedestrians stream past the giant shoe — the deadpan "nothing is happening" feel carries from still to motion untouched.

What Ribbi did

This chapter's scene briefs are written by the user personally, and Ribbi lands all five as frames: the market shot with the giant shoe sunk into a real produce stall, the vendor crouched beside it stacking vegetables, completely unbothered; the hallway shot with waist-high spikes angling off the shoe as its wearer walks calmly toward the elevator; plus standing on the river while checking a phone, spikes piercing an office window, the shoe hovering over the city — "scale breaks but the world keeps running" holds up in every single frame.

What Ribbi did

Ribbi offers three fresh premises for each scene and lets the user choose. With "the shoe gets handed a queue ticket" and "the drum fills up with more and more shoes" locked in, the work follows the keyframe-first-then-video rhythm — Ribbi's own note on the queue-ticket composition: "the deadpan is right." The wiper scene gets the same treatment, two options offered (wipers swinging normally vs. spikes growing longer); the user calls option A and the video renders straight off the original frame. With that, all six segments are in place: elevator, convenience store, waiting room, wiper, laundromat, giant shoe on the street.

What Ribbi did

One of the pasted picks is still an image, so Ribbi renders the waiting-room video first, then cuts: six segments, hard cuts only, ordered elevator → convenience store → waiting room → wiper → laundromat → giant shoe street, a 42.2-second full film in one pass, absurdity ramping from direction A to C. The title stays inside deadpan discipline: the first pass shows the brand name only at the head and tail, all six middle segments clean; after the user calls for a different title-compositing setup, the final pass goes white Inter 700, center-screen throughout, no outline, no shadow — 42 seconds, done.