Experimenting with contact sheet prompt chaining, switching gears mid video. I have all the prompts, workflow files, and tips below.

My idea was to use different contact sheet prompts to switch from fashion focus into automotive editorial. I used Node Banana for the workflow, my full workflow for this project is in the /examples folder if you want to drag and drop it in. She large.

Node Banana is a free/open app for node based Nano Banana Pro workflows that I've been working on. Go try it, fork it, do whatever you like to it.

Here’s the prompt for Bill’s contact sheet: Analyze the input image and silently inventory all fashion-critical details: the subject(s), exact wardrobe pieces, materials, colors, textures, accessories, hair, makeup, body proportions, environment, set geometry, light direction, and shadow quality. All wardrobe, styling, hair, makeup, lighting, environment, and color grade must remain 100% unchanged across all frames. Do not add or remove anything. Do not reinterpret materials or colors. Do not output any reasoning. Perfectly replicate the exact facial features of the model, specifically the older man's hyper-realistic skin texture, pores, and age details. Your visible output must be: One 2×3 contact sheet image (6 frames). Then a keyframe breakdown for each frame. Each frame must represent a resting point after a dramatic camera move — only describe the final camera position and what the subject is doing, never the motion itself. The six frames must be spatially dynamic, non-linear, and visually distinct, avoiding any progression such as wide → mid → close. Required 6-Frame Shot List (All Resting Frames) 1. High-Fashion Beauty Portrait (Close, Editorial, Intimate) Camera positioned very close to the subject’s face, slightly above or slightly below eye level, using an elegant offset angle that enhances bone structure and highlights key wardrobe elements near the neckline (gold chain). Shallow depth of field, flawless texture rendering, and a sculptural fashion-forward composition. 2. High-Angle Three-Quarter Frame Camera positioned overhead but off-center, capturing the subject from a diagonal downward angle. This frame should create strong shape abstraction, revealing the subject sitting on the car hood and wardrobe details from above. 3. Low-Angle Oblique Full-Body Frame Camera positioned low to the ground and angled obliquely toward the subject. This elongates the silhouette, emphasizes the footwear and the car bumper, and creates a dramatic perspective distinct from Frames 1 and 2. 4. Wide Environmental Studio Frame Camera positioned wide and back, capturing the entire profile of the vehicle with the subject sitting on the hood. This frame emphasizes the scale of the "high-budget studio," showing the massive softbox light source hanging above the car and the seamless cyclorama background. The car's sleek lines and reflections are the primary focus, with the subject integrated into the grand scene. The model is squatting on the hood of the car 5. Intimate Close Portrait From high angle Camera positioned high above the subject's face, looking at a downward angle as if on a boom. The subject has tilted their head back slightly to face upward. With one finger, they are pulling down their glasses to look over top of the rim. Despite facing the camera, their expression remains totally blank and distant, staring past the lens. 6. Extreme Detail Frame From a Non-Intuitive Angle Camera positioned extremely close to a wardrobe detail, accessory, or texture, but from an unusual spatial direction. This must be a striking, abstract, editorial detail frame. Continuity & Technical Requirements Maintain perfect wardrobe fidelity in every frame: exact garment type (Ducati pants, red top), silhouette, material, color, texture, stitching, accessories (gold chain), closures, jewelry, shoes, hair, and makeup. Environment, textures, and lighting must remain consistent. Depth of field shifts naturally with focal length (deep for distant shots, shallow for close/detail shots). Photoreal textures and physically plausible light behavior required. Frames must feel like different camera placements within the same scene, not different scenes. All keyframes must be the exact same aspect ratio, and exactly 6 keyframes should be output. Maintain the exact visual style in all keyframes, where the image is shot on fuji velvia film with a hard flash, the light is concentrated on the subject and fades slightly toward the edges of the frame. The image is over exposed showing significant film grain and is oversaturated. The skin appears shiny (almost oily), and there are harsh white reflections on the skin and gold chain. Output Format A) 2×3 Contact Sheet Image (Mandatory)

Here's the prompt for the Supra contact sheet: Analyze the input image and silently inventory all automotive-critical details: the specific vehicle make, model, and year (Mk4 Supra), paint color and condition (black, highly reflective metallic), custom modifications (wheels, wing, exhaust, stance), tire tread design, interior visibility through glass, engineering details, environment, set geometry (massive overhead softbox, dark cyclorama), light direction, and reflection quality. All vehicle details, styling, modifications, lighting, environment, and color grade must remain 100% unchanged across all frames. There must be NO human model present in any frame. Do not reinterpret materials or colors. Do not output any reasoning. Your visible output must be: One 2×3 contact sheet image (6 frames). Then a keyframe breakdown for each frame. Each frame must represent a resting point after a dramatic camera move — only describe the final camera position and which aspect of the vehicle is being highlighted, never the motion itself. The six frames must be spatially dynamic, non-linear, and visually distinct, avoiding any progression such as wide → mid → close. Required 6-Frame Automotive Shot List (All Resting Frames) 1. Low-Angle Front "Hero" Stance (Aggressive, Wide Lens) Camera positioned very low to the studio floor at the front three-quarter view, using a wide-angle lens. This perspective exaggerates the front bumper, headlights, and wide stance of the car, making it appear dominant and aggressive. The massive overhead softbox creates long, sleek highlight lines across the hood and roof. 2. High-Angle Rear Quarter Abstract (Geometric, Sculptural) Camera positioned high overhead, looking down sharply at the rear quarter and wing area. This frame emphasizes the complex geometry of the Supra’s "hips," the curve of the rear windshield, and the imposing structure of the rear wing against the dark studio floor. 3. Ultra-Low "Worm's Eye" Profile (Speed, Texture) Camera placed practically on the ground, looking along the side profile of the car from just behind the front wheel towards the rear. The front wheel and tire dominate the immediate foreground, showing tire sidewall details and brake hardware, while the rest of the car body stretches away into the distance, emphasizing length and low ride height. 4. Wide Environmental Studio Frame (Scale, Production Value) Camera positioned very wide and far back, capturing the entire vehicle small within the vastness of the high-budget studio. This shot must include the massive overhead diffusion bank hanging above the car, showing the scale of the lighting setup against the seamless dark cyclorama infinity background. 5. The "Driver's Line" Abstract (Curvature, Reflection) Camera positioned near the base of the windshield (cowl area), looking forward down the length of the long hood and front fender curve. This is a non-traditional angle that focuses on the landscape of the car's bodywork and the precise reflection of the overhead light source on the black paint. 6. Macro Engineering Detail (Texture, Precision) Extreme close-up macro shot focusing on a specific, intricate detail—such as the internal elements of the headlight projector, the texture of the carbon fiber on the wing, or the lug nuts and center cap of the wheel. The focus must be razor-sharp on the metallic and glass textures. Continuity & Technical Requirements Maintain perfect vehicle fidelity in every frame: exact paint finish, modifications, wheels, tires, and cleanliness. Environment, textures, and massive overhead lighting source must remain consistent. Depth of field shifts naturally with focal length (deep for wide/environmental shots, very shallow for macro/detail shots). Photoreal textures and physically plausible light behavior (especially metallic paint reflections and glass refractions) required. Frames must feel like different high-end camera placements within the same shoot. All keyframes must be the exact same aspect ratio, and exactly 6 keyframes should be output. Maintain the exact visual style in all keyframes: shot on Fuji Velvia film with a hard light source creating high contrast, overexposed highlights showing significant film grain, and oversaturated colors. The black paint should look deep and wet, with harsh white reflections from the light source. Output Format A) 2×3 Contact Sheet Image,

Kling 2.6 for image to video and for the video stitching, audio, and voluptuous easing curves. I made some significant updates to EZ that I’ll cover soon. Shout out @awesome_visuals for helping me isolate a gnarly frame rate bug.

Willie's tips: (Lil penis joke for you there) - For the image to video prompts, try to force Kling to minimise movement in the model and to focus on large smooth movements in the camera. This suits the easing much better. - Pick keyframes to hide major transitions, the punch in on the supreme label then pulling out to Bill in the car is a good example here. Minimising the model movement is the goal here. - The contact sheet is the start, adapt these to get shots you really want during the upscale step. The original shot had Bills portrait on a black background, I regenerated this from the second shot for better continuity. - Contact sheets are a good shortcut, but the biggest benefit is that you get better continuity across generations when it's done in one hit. If I generated all 6 of these images individually, I could expect a lot more variance across the generations. Example i2v prompts: "The camera smoothly and slowly pushes in on a boom. The model stays in the same position on the hood, only looking up to lower his glasses. His movements are extremely deliberate and precise" "The camera smoothly and slowly pulls out to reveal the model in the car. The model is totally motionless. The models face is perfectly consistent."

WOW! This is amazing willie 🫶

Thanks! It's been a fun couple of weeks working on this workflow

The output was worth it! Looks super dope and I love the amazing transitions 💯

Ou should have put Epstein photographing Bill

ahh damn I missed a trick there. Still, I like the Ballmer cameo

isisnt it insane than 1 man team can do this now.?

If we keep going at this pace, negative men will be able to do this.

The aesthetic here is top-tier. ✨Tried to replicate this with a twist.

Great work Willie! Thanks for this 🙏🏻

Thanks Justin!

Came out really well

My brain just did a 404 error trying to understand this.

Try turning it on and off again at the wall

Hell yes! Love the juxtapositions

Lol the aura farminf

This is sick

looks awwsome 😍

So sick dude 😮‍💨😮‍💨

its so over. this is ai. the production quality is literally just superb 💯👌

Good one🔥

Very silky smooth

amazing work 🙏

Tf sickkk!!

Workflow rocks

THIS IS AWESOME 🔥🔥

Thanks for this I'll try it right away😍😍

This is phenomenal - thanks for sharing.

Bro you are a legend 🤝😎

Siiiick!

cool skill to learn but this is very expensive which makes it unsustainable, maybe a good skill to learn in the future

@crypticAshtray Things people who don't know what videos cost say.

Very nice

banger

fuck yeah it is

Gatekeeping workflows is insecurity. Sharing them is confidence

🔥🔥🔥

Converted for web experience. DM if you want the code.

so cool

That looks awesome. I shared your link with an Ai Community that I’m a part of by the name of RoboNuggets on Skool. Here is my affiliate link, but they also have a free membership. I think it would be great to invite you to present your products. I shared it with the group.

this is really cool.. it will go so well with music videos

Siiick