Brief BSTA — Mas Bayu Mahendra

Produknya apa — baca ini dulu

TELUR ASIN 5 VARIAN RASA PREMIUM, bukan telur asin biasa. Kalimat inti dari LP: "Sulap telur bebek biasa jadi 5 varian rasa premium, tahan 3 bulan, untung jutaan dari dapur rumah." Lima varian: Original · Pedas · Asap Arang · Bawang Putih · Rumput Laut. Potensi Rp7–14 juta/bulan.

⚠️ Ini pembeda satu-satunya. Konten yang cuma menampilkan telur asin polos salah sudut — telur asin polos dijual semua orang. Yang dijual di sini adalah adanya pilihan rasa.

Yang kamu pegang

Paket BSTA: 10 reels siap posting (frame awal + prompt video 20 detik + caption), logo, foto profil, dan landing page yang sudah tersambung ke checkout Bekal. Feed & story belum diproduksi — menyusul setelah 10 reels tayang.

1. Setup Instagram

Kolom Website tidak bisa diubah dari Instagram web — wajib lewat aplikasi HP. Nama profil diubah lewat Accounts Center → Profiles, bukan di halaman Edit profile.

2. Aturan wajib

1. Wajah dikunci. Semua gambar baru wajib pakai preset bayu-mahendra-raw DAN foto acuan R01.png (image-to-image). Kalau cuma pakai preset tanpa foto acuan, wajahnya berubah-ubah tiap frame — sudah pernah kejadian dan harus diulang.
2. Video 20 detik, 9:16, 720p, dibuat di Higgsfield Seedance 2.5 mode Unlimited lewat web UI. Jangan lewat API — API selalu memotong kredit.
3. Headline sudah dibakar di frame awal, tampil 3 detik pertama lalu memudar. Orangnya tidak boleh diam selama headline tampil.
4. Tanpa subtitle dari AI. Subtitle dibakar sendiri oleh editor, timing-nya mengikuti detik suara aslinya, bukan jadwal karangan.
5. Tanpa tulisan di dalam adegan. Layar kalkulator, layar HP, label harga, kalender, kemasan, papan nama harus kosong / buram / membelakangi kamera. Teks buatan AI selalu salah eja.
6. Outro tidak dibuat oleh AI. Kartu penutup (lambang + nama + domain) ditempel di tahap finishing pakai ffmpeg, supaya ejaannya benar.
7. CTA keras cuma di Reel 3 dan Reel 10. Sisanya edukasi / cerita dengan ajakan follow.

2b. Dua format, jangan dibalik

3. Cara produksi tiap reel

1. Buka higgsfield.ai/ai/video → tab References.
2. Unggah frame FRxx dulu, tunggu selesai, lalu klik lagi fotonya untuk memilih — terunggah belum berarti terpilih. Ini jebakan yang paling sering bikin gagal.
3. Model Seedance 2.5 · durasi 20s · rasio 9:16 · resolusi 720p · nyalakan Unlimited mode sampai tombolnya berbunyi "Generate | Unlimited", bukan angka kredit.
4. Tempel prompt reel itu → Generate → hasilnya sudah lengkap dengan suara Bahasa Indonesia + musik latar.
5. Hasil dibawa ke finishing: subtitle + kartu penutup.

Kalau ditolak: "NSFW" biasanya dipicu deskripsi kulit (pores, real texture, raw, glossy, moist). "Rejected due to copyright" dipicu perintah menggambar logo / lambang / nama merek di video, atau menyebut nama platform sungguhan. Moderasinya juga kadang meleset — ulangi sekali sebelum mengubah prompt.

4. Roadmap setelah 10 reels

• Ulang siklus dengan variasi angle: musim (Lebaran/hajatan), pembeli baru, kegagalan produksi.
• Tambah 2 story per hari — pagi edukasi, malam soft-sell + link.
• Reel yang tembus paling jauh dinaikkan jadi iklan, bukan bikin materi baru.

Tokoh

Mas Bayu Mahendra, 33 tahun. Mulai dari dapur rumah, bukan pabrik. Beli telur bebek di pasar, proses sendiri, jual lima varian rasa. Bicaranya santai, cepat, orang pertama (aku / kamu), tidak pernah menggurui, tidak pakai istilah korporat.

Nada yang benar: "Dulu telur asin pertamaku keasinan parah." · Nada yang salah: "Kami hadir memberikan solusi bagi Anda."

Identitas akun

Warna & font

Font: sans-serif tebal, huruf tegak (jangan miring). Headline di frame wajib KAPITAL dengan garis tepi gelap tebal supaya terbaca di layar HP kecil.

Wardrobe lock

Kemeja batik biru tua lengan pendek, celana gelap, celemek hitam saat memproses. Kumis tipis + jenggot dagu kecil, rambut pendek belah samping. Jangan pernah dicukur bersih — itu bagian dari kunci wajah.

Latar yang dipakai (dirotasi)

1. Rak kayu ruang belakang penuh toples telur asin
2. Pasar tradisional pagi, lapak telur bebek
3. Meja makan kayu di rumah
4. Dapur rumah sederhana
5. Teras rumah / teras belakang berpagar putih
6. Warung nasi pinggir jalan

Character lock

Preset codex image gen: bayu-mahendra-raw. Frame acuan wajah: R01.png. Semua gambar baru: --style bayu-mahendra-raw -i R01.png.

Hashtag bank

Inti (selalu 3–4): #telurasin #bisnisrumahan #umkmindonesia #modalkecil
Putaran: #telurasin5rasa #usahamodalkecil #peluangusaha #bisnisdapur #telurasinpremium #kulinerindonesia #belajarusaha #carajualan #packing #umkm

Pakai 8–12 per posting, jangan persis sama tiap kali.

5 varian rasa — INI produknya

Yang dijual bukan telur asin polos, tapi telur asin LIMA VARIAN RASA. Itu satu-satunya pembeda dagangan ini, jadi harus muncul di hampir semua konten. Telur asin polos dijual semua orang; yang bikin direbutin adalah adanya pilihan.

Di gambar dan video, kelima kelompok ini wajib kelihatan terpisah per warna — itu yang bikin penonton langsung paham "oh, ada lima pilihan". Jangan diberi label tulisan; pembedanya warna.

Angka yang dipakai

Angka bertanda patokan tidak dikutip dari LP — angkanya masuk akal dan bisa langsung diterapkan, pola yang sama dipakai di brief Arhan dan rajut. Angka rupiah telanjang itu justru yang bikin reel nendang, jadi jangan dihaluskan jadi "murah" atau "terjangkau".

⚠️ Perhatikan susunannya: polos Rp6.000 vs 5 rasa Rp8.000. Selisih itu sengaja — angkanya dipakai untuk membuktikan sudut jualannya, bukan sekadar tempelan. Yang dilarang tetap: mengarang omzet total dan membuat testimoni palsu.

Aset merek

Foto profil Instagram · klik = PNG asli

Logo — dipakai di LP & kartu penutup video · klik = PNG asli

Tiap reel: unggah frame Rxx sebagai Image 1 di Seedance 2.5 → tempel prompt reel itu → hasilnya 20 detik 9:16, sudah ada suara Bahasa Indonesia + musik latar, tanpa subtitle dan tanpa outro (dua-duanya jatah editor).

Prompt sudah direvisi 8 Agustus 2026 supaya lolos moderasi Higgsfield. Yang dulu bikin ditolak dan sekarang sudah dibuang: (1) kata soal kulit (skin, pores, raw, glossy, moist) → memicu Output may contain sensitive content; (2) kata alat tajam & memotong (knife, cut, slice) → memicu hal yang sama; (3) perintah menggambar/menulis logo, emblem, nama merek, outro bertulisan, dan perintah meniru teks yang sudah ada di foto acuan → memicu Rejected due to copyright restrictions. Kata-kata itu tetap berbahaya walau dipakai dalam kalimat larangan — filternya berbasis kata, jadi jangan menuliskannya sama sekali.

Frame juga sudah dibuat ulang tanpa label/merek apa pun di toples dan kemasan. Frame lama yang toplesnya berlabel selalu ditolak copyright, walau merek itu karangan sendiri.

Tidak ada kalkulator dan tidak ada angka tertulis di adegan mana pun. Semua nilai rupiah disampaikan lewat suara; visualnya pakai benda nyata — satu butir telur, dua butir yang direnggangkan, satu nampan penuh.

Reel 1 — INI HASIL SEBULAN / DARI DAPUR RUMAH

Format: B-roll + voice-over · Lokasi: rak kayu di ruang belakang rumah

Frame awal Reel 1 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Ini hasil sebulan dari dapur rumah.
2. Telur bebek biasa, disulap jadi lima varian rasa.
3. Original, pedas, asap arang, bawang putih, rumput laut.
4. Rak yang dulu kosong, sekarang penuh.
5. Mau kuajarin dari nol? Follow dulu ya.

Ini hasil sebulan dari dapur rumah 😳🥚

Semuanya berawal dari telur bebek biasa yang dibeli di pasar. Bedanya, aku nggak berhenti di telur asin polos — dibikin jadi lima varian rasa: Original, Pedas, Asap Arang, Bawang Putih, dan Rumput Laut.

Rak yang dulu kosong pelan-pelan penuh sendiri.

Mau tahu urutan lengkapnya? Klik link di bio ya 👆

#telurasin #telurasin5rasa #bisnisrumahan #usahamodalkecil #umkmindonesia

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, handheld phone following his hands and the objects they touch, starting from the exact framing of Image 1. Gentle organic micro-movement, never gimbal-smooth. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He is CONSTANTLY DOING SOMETHING with his hands — he never stands still, never poses, never waits — while the narration runs as VOICE-OVER. He does not talk to the lens during the working beats; his mouth stays closed and natural.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — his open hand is already sliding along the front of a long shelf packed with plain glass jars of finished salted eggs, fingertips brushing the glass. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he sweeps his whole arm slowly from one end of the packed shelf to the other, showing how much has piled up, then lets his hand drop and shrugs happily at how full it is; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Ini hasil sebulan dari dapur rumah."
4.2-8.0: he lifts one plain pale duck egg out of a tray and holds it up between finger and thumb, then turns and sweeps his other hand across five groups of jars on the shelf whose contents are coated in five clearly different colours, showing what that one plain egg turns into; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Telur bebek biasa, disulap jadi lima varian rasa."
8.2-12.0: he touches those five differently coloured groups one after another along the shelf, tapping each lid once with his knuckle in a steady rhythm as he names them off; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Original, pedas, asap arang, bawang putih, rumput laut."
12.2-16.0: he steps back half a pace and opens both arms toward the loaded shelf, then leans down and pats the lowest rack — the one that is still nearly empty — with the flat of his hand; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Rak yang dulu kosong, sekarang penuh."
16.2-20.0: he turns to the lens for the first time, grins, and beckons the viewer in with a quick friendly wave of his fingers; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Mau kuajarin dari nol? Follow dulu ya."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 2 — MODALNYA CUMA / TELUR BEBEK BIASA

Format: B-roll + voice-over · Lokasi: pasar tradisional pagi

Frame awal Reel 2 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Modalnya cuma telur bebek biasa dari pasar.
2. Dua ribu delapan ratus rupiah satu butir.
3. Sisanya garam, abu, sama bumbu dapur.
4. Yang bikin harganya naik itu lima varian rasanya.
5. Follow aku, kutunjukin bahan lengkapnya.

Modalnya cuma telur bebek biasa Rp2.800/butir 🐣

Sisanya garam, abu, sama bumbu dapur — semuanya gampang dicari. Yang bikin harganya naik berkali lipat bukan telurnya, tapi lima varian rasa yang nggak dijual orang lain di sekitarmu.

Modal receh, hasilnya yang bikin kaget.

Panduan lengkapnya ada di link bio 👆

#telurasin #telurasin5rasa #modalkecil #bisnisdapur #umkm

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, handheld phone following his hands and the objects they touch, starting from the exact framing of Image 1. Gentle organic micro-movement, never gimbal-smooth. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He is CONSTANTLY DOING SOMETHING with his hands — he never stands still, never poses, never waits — while the narration runs as VOICE-OVER. He does not talk to the lens during the working beats; his mouth stays closed and natural.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — his hands are already moving through a crate of pale duck eggs at a market stall, picking and sorting without pausing. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he lifts one egg up toward the daylight, turns it slowly to inspect the shell, gives a small satisfied nod and drops it softly into a plain bag hanging from his other hand; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Modalnya cuma telur bebek biasa dari pasar."
4.2-8.0: he holds the plain egg flat on his open palm and shakes his head at it, then turns his hand over dismissively — the egg by itself is not the point; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Dua ribu delapan ratus rupiah satu butir."
8.2-12.0: he spreads five fingers wide open toward the lens, holding the gesture, then folds them down one at a time as if listing five different things; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Sisanya garam, abu, sama bumbu dapur."
12.2-16.0: he scoops a handful of coarse cooking salt from an open sack and lets it pour back through his fingers, then dips his other hand into fine grey ash and rubs it between finger and thumb, then gestures at a small row of everyday kitchen spice bowls beside it; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Yang bikin harganya naik itu lima varian rasanya."
16.2-20.0: he swings the bag onto his shoulder, turns to the lens, taps his own chest twice and then points straight at the viewer with a warm inviting smile; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Follow aku, kutunjukin bahan lengkapnya."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 3 — YANG POLOS LAKU 6 RIBU / YANG 5 RASA 8 RIBU

Format: Talk-to-cam · Lokasi: meja makan kayu di rumah

Frame awal Reel 3 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Telur asin polos itu laku enam ribu.
2. Punyaku yang lima rasa, delapan ribu.
3. Modalnya sama-sama tiga ribu lima ratus.
4. Bedanya cuma di baluran terakhirnya.
5. Follow, nanti kubagi resep kelimanya.

Yang polos laku Rp6.000, yang 5 rasa Rp8.000 🤑

Modalnya sama-sama Rp3.500 sebutir. Bedanya cuma di baluran terakhirnya — Original, Pedas, Asap Arang, Bawang Putih, Rumput Laut.

Selisih dua ribu per butir itu yang numpuk jadi jutaan tiap bulan.

Resep kelimanya aku tulis lengkap di panduan, klik link di bio 👆

#telurasin #telurasin5rasa #hitunganusaha #bisnisrumahan #umkmindonesia

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, filmed on a phone held at eye level, chest-up framing matching Image 1. Gentle organic handheld micro-movement the whole time, never gimbal-smooth and never locked off. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He speaks STRAIGHT INTO THE LENS and his mouth must match every Indonesian syllable exactly — clear, well-formed lip movement, never mumbled, never out of sync, and his mouth never keeps moving after a line has finished.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — he is already seated at the table, both hands busy arranging finished salted eggs into a neat row on a plain plate. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he picks up one plain undecorated finished egg, holds it briefly to the lens, then pushes it away to the far side of the table with one finger and gives a small dismissive shrug; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Telur asin polos itu laku enam ribu."
4.2-8.0: he brings forward a row of five eggs whose coatings are five clearly different colours, setting them down side by side in front of the plain one with a satisfied tap; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Punyaku yang lima rasa, delapan ribu."
8.2-12.0: he touches each of the five coloured eggs in turn from left to right, lingering a beat on each one as he names them, then opens his palm over the whole row; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Modalnya sama-sama tiga ribu lima ratus."
12.2-16.0: he mimes a customer hesitating — hand hovering back and forth over the row, unable to choose — then laughs, sweeps all five together toward himself with both hands; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Bedanya cuma di baluran terakhirnya."
16.2-20.0: he leans forward into frame, points a friendly finger at the lens and gives a confident grin; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Follow, nanti kubagi resep kelimanya."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 4 — TELUR ASIN PERTAMAKU / KEASINAN PARAH

Format: Talk-to-cam · Lokasi: dapur rumah sederhana

Frame awal Reel 4 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Telur asin pertamaku keasinan parah.
2. Aku kira makin lama direndam makin bagus.
3. Ternyata ada takaran garam sama hitungan harinya.
4. Sekarang lima rasaku asinnya pas semua.
5. Follow aku biar nggak salah kayak aku dulu.

Telur asin pertamaku keasinan parah 😂🧂

Dulu aku kira makin lama direndam makin bagus. Ternyata ada takaran garamnya, ada hitungan harinya.

Sekarang lima rasaku asinnya pas semua — dan itu yang aku tulis biar kamu nggak ngulang kesalahanku.

Klik link di bio 👆

#telurasin #telurasin5rasa #belajarusaha #gagaldulu #umkm

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, filmed on a phone held at eye level, chest-up framing matching Image 1. Gentle organic handheld micro-movement the whole time, never gimbal-smooth and never locked off. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He speaks STRAIGHT INTO THE LENS and his mouth must match every Indonesian syllable exactly — clear, well-formed lip movement, never mumbled, never out of sync, and his mouth never keeps moving after a line has finished.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — he is already parting a cooked salted egg into two clean halves with his fingers over a wooden board. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he tastes a small piece from one half, immediately screws his face up, fans his open hand in front of his mouth and laughs at himself; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Telur asin pertamaku keasinan parah."
4.2-8.0: he shrugs with both palms turned up, then holds his hands far apart as if showing a stretch of time, shaking his head at his own old logic; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Aku kira makin lama direndam makin bagus."
8.2-12.0: he lifts a small bowl of coarse salt, tips a careful measured amount into his cupped palm and levels it flat with one finger, then taps the back of his wrist twice; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Ternyata ada takaran garam sama hitungan harinya."
12.2-16.0: he sets a good-looking halved egg down in front of him, straightens it with one finger and gives a single satisfied nod at the lens; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Sekarang lima rasaku asinnya pas semua."
16.2-20.0: he wipes his hands on his apron, points at the lens and beckons with a warm laughing smile; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Follow aku biar nggak salah kayak aku dulu."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 5 — 5 RASA YANG BIKIN / ORANG BALIK LAGI

Format: B-roll + voice-over · Lokasi: talenan kayu besar di meja dapur

Frame awal Reel 5 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Original, pedas, asap arang, bawang putih, rumput laut.
2. Lima rasa dari satu resep dasar yang sama.
3. Bedanya cuma di baluran terakhirnya.
4. Yang bikin orang balik lagi itu pilihannya.
5. Mau resep lima rasanya? Follow dulu.

5 rasa yang bikin orang balik lagi 🔥

Original, Pedas, Asap Arang, Bawang Putih, Rumput Laut. Semuanya dari satu resep dasar yang sama — bedanya cuma di baluran terakhirnya.

Yang bikin pelanggan balik bukan cuma rasanya, tapi ada pilihan.

Resep 5 varian ada di panduan, link di bio 👆

#telurasin #telurasin5rasa #varianrasa #kulinerindonesia #umkm

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, handheld phone following his hands and the objects they touch, starting from the exact framing of Image 1. Gentle organic micro-movement, never gimbal-smooth. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He is CONSTANTLY DOING SOMETHING with his hands — he never stands still, never poses, never waits — while the narration runs as VOICE-OVER. He does not talk to the lens during the working beats; his mouth stays closed and natural.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — his hands are already opening cooked salted eggs into halves and laying them out in a neat row along a big wooden board. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he touches each of five small bowls of different seasoning in turn along the back of the board, tapping the rim of each one lightly as he goes; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Original, pedas, asap arang, bawang putih, rumput laut."
4.2-8.0: he lays one plain unseasoned half in the middle, then opens his hand outward across all five bowls, showing that everything grows from the same base; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Lima rasa dari satu resep dasar yang sama."
8.2-12.0: he lifts one finished half right up to the lens and rotates it slowly, letting the rich orange centre fill the frame; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Bedanya cuma di baluran terakhirnya."
12.2-16.0: he draws his open palm along the whole line of five prepared halves from one end to the other, then holds his hand out flat as if offering the viewer a choice; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Yang bikin orang balik lagi itu pilihannya."
16.2-20.0: he looks up into the lens, tilts his head with a friendly grin and beckons the viewer closer; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Mau resep lima rasanya? Follow dulu."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 6 — ALAT TOTALNYA / NGGAK SAMPAI Rp150 RIBU

Format: Talk-to-cam · Lokasi: lantai teras rumah

Frame awal Reel 6 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Ember, baskom, timbangan, sarung tangan.
2. Totalnya nggak sampai seratus lima puluh ribu.
3. Nggak perlu mesin, nggak perlu oven.
4. Lima rasa pun tetap pakai alat yang sama.
5. Follow aku, kutunjukin alatnya satu-satu.

Total alatnya nggak sampai Rp150 ribu 🛠️

Ember, baskom, timbangan dapur, sarung tangan. Itu aja. Nggak perlu mesin, nggak perlu oven, nggak perlu sewa tempat — mau bikin satu rasa atau lima rasa, alatnya sama persis.

Daftar alat + supplier ada di panduan 👆 link di bio

#telurasin #telurasin5rasa #modalkecil #alatsederhana #umkmindonesia

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, filmed on a phone held at eye level, chest-up framing matching Image 1. Gentle organic handheld micro-movement the whole time, never gimbal-smooth and never locked off. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He speaks STRAIGHT INTO THE LENS and his mouth must match every Indonesian syllable exactly — clear, well-formed lip movement, never mumbled, never out of sync, and his mouth never keeps moving after a line has finished.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — he is already crouched on the porch floor, lining four simple tools up in a row with both hands. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he taps each item in turn — bucket, basin, kitchen scale, gloves — with his fingertip, moving briskly along the row; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Ember, baskom, timbangan, sarung tangan."
4.2-8.0: he gathers all four items together into one tight little group with both hands and holds them close, showing how small the whole pile is; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Totalnya nggak sampai seratus lima puluh ribu."
8.2-12.0: he waves both hands in a crossing sweep in front of him, then turns his palms up at the empty space behind him where a machine would have stood; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Nggak perlu mesin, nggak perlu oven."
12.2-16.0: he holds up five spread fingers, then points firmly back down at the same small group of four simple tools, nodding — the same tools cover all of it; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Lima rasa pun tetap pakai alat yang sama."
16.2-20.0: he stands up, dusts his hands off, points at the lens and beckons the viewer with an easy confident smile; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Follow aku, kutunjukin alatnya satu-satu."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 7 — PROSES PALING / BIKIN NAGIH

Format: B-roll + voice-over · Lokasi: meja dapur

Frame awal Reel 7 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Ini bagian paling bikin nagih.
2. Telur dibalur adonan garam sampai rata.
3. Baluran inilah yang bikin rasanya beda-beda.
4. Sisanya tinggal ditunggu.
5. Follow, kuajarin takaran perekatnya.

Proses paling bikin nagih: ngebalur telurnya 😌

Adonan dibalur sampai rata dan tebalnya pas. Baluran inilah yang nanti bikin rasanya beda-beda — dari Original sampai Rumput Laut.

Takaran tiap adonannya aku tulis detail di panduan.

Klik link di bio 👆

#telurasin #telurasin5rasa #prosesproduksi #asmr #umkm

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, handheld phone following his hands and the objects they touch, starting from the exact framing of Image 1. Gentle organic micro-movement, never gimbal-smooth. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He is CONSTANTLY DOING SOMETHING with his hands — he never stands still, never poses, never waits — while the narration runs as VOICE-OVER. He does not talk to the lens during the working beats; his mouth stays closed and natural.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — both his hands are already buried in a basin of thick dark salt-and-ash paste, working it steadily. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he lifts a heavy scoop of the paste and lets it fall back into the basin in one slow thick ribbon, watching it land; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Ini bagian paling bikin nagih."
4.2-8.0: he takes a duck egg and rolls it between both palms until it is completely and evenly coated, turning it over and over without hurrying; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Telur dibalur adonan garam sampai rata."
8.2-12.0: he moves along a row of five basins whose pastes are five clearly different colours, dipping a coated egg into a different one each time and setting each into its own group; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Baluran inilah yang bikin rasanya beda-beda."
12.2-16.0: he lays the coated eggs into a plain container in tidy rows, presses the lid down firmly with both palms and gives it two decisive pats; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Sisanya tinggal ditunggu."
16.2-20.0: he wipes his hands on a cloth, turns to the lens and beckons the viewer in with a small satisfied smile; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Follow, kuajarin takaran perekatnya."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 8 — YANG DIBORONG WARUNG / BUKAN YANG POLOS

Format: B-roll + voice-over · Lokasi: warung nasi pinggir jalan

Frame awal Reel 8 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Warung nasi ini dulu cuma ambil yang original.
2. Sekarang mereka ambil dua ratus butir seminggu.
3. Lima-limanya, gantian tiap minggu.
4. Cari yang jualan nasi, tawarin variasinya.
5. Follow aku, kuajarin cara nawarinnya.

Warung nasi ini dulu cuma ambil yang original 🍚

Sekarang ambil 200 butir seminggu — lima-limanya, gantian tiap minggu, karena pembelinya sendiri yang minta ganti-ganti rasa.

Cari yang jualan nasi di sekitarmu, tawarin variasinya — bukan cuma telur asin polos. Itu pintu pertama.

Skrip nawarinnya ada di panduan 👆 link di bio

#telurasin #telurasin5rasa #carajualan #reseller #umkmindonesia

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, handheld phone following his hands and the objects they touch, starting from the exact framing of Image 1. Gentle organic micro-movement, never gimbal-smooth. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He is CONSTANTLY DOING SOMETHING with his hands — he never stands still, never poses, never waits — while the narration runs as VOICE-OVER. He does not talk to the lens during the working beats; his mouth stays closed and natural.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — he is already lifting a plain cardboard box across the counter of a roadside rice stall toward the woman who runs it. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: the stall owner folds the box open and reaches straight past the plain group to point at the coloured ones, and he nods, remembering how it used to be only the plain kind; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Warung nasi ini dulu cuma ambil yang original."
4.2-8.0: she runs her finger along all five differently coloured groups inside the box one after another, then holds up five fingers to him, and he laughs and nods; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Sekarang mereka ambil dua ratus butir seminggu."
8.2-12.0: he gestures out toward where her customers sit, then back at the five groups, miming someone picking a different one each time; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Lima-limanya, gantian tiap minggu."
12.2-16.0: he turns and gestures openly down the street toward the other food stalls, sweeping his arm along the row; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Cari yang jualan nasi, tawarin variasinya."
16.2-20.0: he claps his hands together once, turns to the lens and beckons the viewer with a warm encouraging nod; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this the voice-over says, quickly and perfectly clearly, exactly: "Follow aku, kuajarin cara nawarinnya."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 9 — KENAPA TELUR ASINKU / TAHAN 3 BULAN

Format: Talk-to-cam · Lokasi: meja kerja rumah

Frame awal Reel 9 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Banyak yang tanya kenapa punyaku tahan tiga bulan.
2. Kuncinya di proses matang sama pengemasan.
3. Lima rasa, cara simpannya beda tipis.
4. Kalau kemasannya benar, bisa dikirim ke luar kota.
5. Follow, kubagi cara packing yang benar.

Kenapa telur asinku tahan sampai 3 bulan 📦

Kuncinya ada di proses pematangan sama cara ngemasnya. Lima rasa, cara simpannya beda tipis. Kalau kemasannya benar, nggak cepat berair dan aman dikirim ke luar kota.

Cara packing lengkapnya ada di panduan.

Klik link di bio 👆

#telurasin #telurasin5rasa #packing #tahanlama #umkm

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, filmed on a phone held at eye level, chest-up framing matching Image 1. Gentle organic handheld micro-movement the whole time, never gimbal-smooth and never locked off. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He speaks STRAIGHT INTO THE LENS and his mouth must match every Indonesian syllable exactly — clear, well-formed lip movement, never mumbled, never out of sync, and his mouth never keeps moving after a line has finished.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — his hands are already sliding finished salted eggs into a plain kraft pouch on the work table. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he holds a fully sealed pouch up to the lens, turns it front to back and taps the sealed seam with his fingernail; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Banyak yang tanya kenapa punyaku tahan tiga bulan."
4.2-8.0: he points back over his shoulder at the steaming pot behind him, then brings his hand forward and points down at the sealing press on the table; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Kuncinya di proses matang sama pengemasan."
8.2-12.0: he presses a badly sealed pouch flat with one palm and shows the damp patch spreading, shakes his head and sets it aside; then he presses a properly sealed one and it stays dry; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Lima rasa, cara simpannya beda tipis."
12.2-16.0: he stacks the sealed pouches into a plain box, folds the flaps down and pushes the box away from him across the table with both hands; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Kalau kemasannya benar, bisa dikirim ke luar kota."
16.2-20.0: he brushes his palms together, looks into the lens and beckons the viewer with a reassuring smile; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Follow, kubagi cara packing yang benar."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.

Reel 10 — PUNYA DAPUR? / KAMU UDAH BISA MULAI

Format: Talk-to-cam · Lokasi: teras belakang rumah berpagar putih

Frame awal Reel 10 · klik = PNG asli

Naskah suara (dipakai juga untuk subtitle)

1. Aku mulai dari dapur rumah, bukan pabrik.
2. Modalnya telur bebek sama garam.
3. Yang bikin untungnya jalan itu lima varian rasanya.
4. Kalau kamu punya dapur, kamu udah bisa mulai.
5. Klik link di bio, kuajarin dari nol.

Kalau kamu punya dapur, kamu udah bisa mulai 🙌

Aku mulai dari dapur rumah, bukan pabrik. Modalnya telur bebek sama garam. Yang bikin untungnya jalan itu lima varian rasanya.

Semua langkahnya sudah aku tulis lengkap — dari resep dasar, 5 varian rasa, packing, sampai cara jualnya.

Klik link di bio ya 👆

#telurasin #telurasin5rasa #bisnisrumahan #mulaiusaha #umkmindonesia

Use Image 1 as the absolute visual reference for this video. The first frame of the video must match Image 1 exactly — same person, same pose, same framing, same objects, same light — and all movement grows out of that exact starting frame.

SUBJECT LOCK — The man in the video is exactly the man in Image 1 and must stay identical in every single frame: an Indonesian man in his early thirties, oval face with a defined jaw, short neat black hair with a soft side part that keeps the same shape for the whole clip, thick natural eyebrows, dark brown eyes that crinkle when he smiles, and — this is essential — a THIN MOUSTACHE together with a SMALL NEAT CHIN BEARD, exactly as in Image 1, never clean-shaven and never fuller. His face must not drift, morph, slim down, get younger or older, or turn into a different person at any point. Build every frame from the face in Image 1.

WARDROBE LOCK — the same dark blue patterned short-sleeve shirt and the same dark apron and dark trousers as in Image 1, unchanged for the whole clip: same collar, same buttons, same sleeve length, same colours. No jacket, no hat, no glasses, no watch, no jewellery.

SCENE LOCK — the location is exactly the one in Image 1 and it stays put for all 20 seconds. Every object, shelf, table, container and shadow that exists in Image 1 stays in the same place; nothing teleports, nothing new appears from outside the frame, the room never changes into a different room, and the light keeps the same direction and warmth from the first frame to the last. Only the man and the things his hands actually touch are allowed to move.

LETTERING RULE — do NOT create, draw, write, spell, print or invent any text anywhere. No captions, no subtitles, no titles, no watermark, no signature. Any lettering that is already burnt into Image 1 simply stays exactly as it is, untouched, for the first 3 seconds and then fades away smoothly, and after that the frame carries no lettering at all. Objects in the room must stay blank: containers, paper, packaging, boards, walls and any screen stay plain and empty, or are turned away from the camera, so that no readable letter or digit is ever visible. Nothing with a display, a printed face or a written surface is ever shown.

SHOT — one single unbroken take, vertical 9:16, filmed on a phone held at eye level, chest-up framing matching Image 1. Gentle organic handheld micro-movement the whole time, never gimbal-smooth and never locked off. The whole 20 seconds is ONE continuous shot with no edit point, no transition, no split screen and no montage. He speaks STRAIGHT INTO THE LENS and his mouth must match every Indonesian syllable exactly — clear, well-formed lip movement, never mumbled, never out of sync, and his mouth never keeps moving after a line has finished.

PACING — this is a fast, warm, everyday piece of phone footage for a vertical feed. He moves at a natural working pace, never slow-motion, never sped up. The talking runs at about 155-165 words per minute: brisk and lively, but every word still lands cleanly.

TIMED ACTION AND DIALOGUE — follow this second by second, and make sure the picture always shows what is being said at that exact moment:
0.0-0.3: THE CLIP OPENS ALREADY IN MOTION — he is already walking a slow step along the small table on the back porch, one hand trailing across the lids of the jars. His hands are moving in the very first frame. There is no still opening pose, no held photograph, no freeze, no pause and no dead air at any point in these 20 seconds; the camera holds steady on the exact framing of Image 1, breathing very slightly, as if a phone is being held by a real hand.
0.3-4.0: he thumbs back at the modest house behind him, then waves the idea of some big building away with a flick of his hand and shakes his head, smiling; the camera pushes in slowly and gently, following whatever his hands are doing. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Aku mulai dari dapur rumah, bukan pabrik."
4.2-8.0: he lifts a plain duck egg in one hand and a small dish of coarse salt in the other and raises them both, weighing them lightly, showing that this is the whole of it; the camera drops into a tight close-up on the object in his hands, everything else soft. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Modalnya telur bebek sama garam."
8.2-12.0: he opens both palms toward the lens in a wide welcoming gesture, then gives an easy encouraging shrug; the camera pulls back smoothly to open up the whole working area around him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Yang bikin untungnya jalan itu lima varian rasanya."
12.2-16.0: he taps the flat of his hand firmly on the tabletop three times, decisive, then nods once; the camera drifts sideways across the scene at a walking pace, then settles back on him. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Kalau kamu punya dapur, kamu udah bisa mulai."
16.2-20.0: he points down toward the bottom edge of the frame with two fingers, holds it, and smiles warmly straight into the lens; the camera pushes in one last time to a comfortable chest-up framing for the closing invitation. Whatever object he is talking about in this line must be clearly visible on screen at this exact moment, and while doing this he says, straight to the lens, quickly and perfectly clearly, exactly: "Klik link di bio, kuajarin dari nol."

VOICE — one single male Indonesian voice for the whole clip, warm, friendly and confident, a relaxed Javanese-Indonesian accent, the energy of someone sending a quick voice note to a friend. Bright, punchy and sincere; never an announcer, never robotic, never dramatic. Crisp articulation on every single word even at speed — no word swallowed, clipped or run together. Bahasa Indonesia only, no English, no other language, no accent drift.

MUSIC — MANDATORY. A light upbeat acoustic instrumental plays from 0.0 all the way to 20.0 without a single gap: soft plucked guitar, a simple warm bass line and a gentle hand-clap rhythm, cheerful and homely. It sits well under the voice so every word stays clearly audible, lifts a little in the last few seconds, and is still playing on the very final frame. The clip must NEVER be silent at any point.

AMBIENCE — quiet believable room tone underneath: soft handling of the objects he touches, faint birds or distant street sound outside, a little air movement. Nothing loud, nothing that competes with his voice.

LOOK — natural available daylight only, slightly muted everyday colour, a real ordinary Indonesian home. It should look like honest phone footage, not an advertisement.

DO NOT — no studio lighting, no commercial polish, no 3D render, no CGI, no beauty filter, no stock-model look. No extra people beyond those already present in Image 1. Nothing written is ever added to the frame. The clip stays live action inside the same room right up to the final frame and finishes there. No drawn symbol, mark or badge of any kind anywhere. No slow motion, no speed ramp, no freeze frame, no black frames, and no silence.