Oil painting effect

A man and his dog on the shoreline, then the sky breaks into sweeping orange strokes. Realistic widescreen footage on a wide sandy beach at sunset. 35 mm lens at waist height, side-on, slow pan. A man in his forties in a rolled-up white shirt and grey trousers walks barefoot along the waterline with a black labrador trotting beside him, small waves washing over the sand, the sun low and orange over the sea. For the first two seconds it is ordinary live-action footage. Then over two seconds the whole frame turns into a thick oil painting on canvas: the sky in sweeping impasto strokes of orange, pink and violet, the sea in horizontal strokes of blue and gold, the wet sand in thick reflective strokes, the man and the dog built from confident dark strokes with dabs of warm highlight. They keep walking after the change. The framing and the light stay the same; only the medium changes. No readable text, no logos, no brand marks.

A woman pushes her bike up a sunlit stone lane and the village turns into chunky paint. Widescreen video. For the first two seconds: realistic live-action footage of a woman in a yellow linen dress pushing a bicycle up a sunlit cobbled lane in an old stone village, an older man on a stool by a doorway waving to her, a cat asleep on a stone wall, red geraniums in pots. Then the whole frame, every person included, turns into a thick oil painting on canvas: raised impasto brush and palette-knife strokes, every surface in visible ridged paint, canvas texture showing through the thinner passages, the stones chunky strokes of cream and ochre. She waves back, fully painted. Locked-off camera. No readable text, no logos, no brand marks.

She waters a rooftop garden as the string lights and the skyline turn into thick paint. Vertical video. For the first two seconds: realistic live-action phone footage of a rooftop garden at dusk, potted herbs and tomato plants, string lights overhead and city towers behind, a woman in a red dress watering the plants. Then the whole frame, the woman included, turns into a thick oil painting on canvas: raised impasto brush and palette-knife strokes, every surface in visible ridged paint, canvas texture showing through the thinner passages, the string lights dabs of yellow paint and the sky deep blue strokes. She keeps watering, fully painted. Locked-off camera. No readable text, no logos, no brand marks.

An autumn coffee outdoors repaints itself in thick cream, grey and gold strokes. Vertical video. For the first two seconds: realistic live-action phone footage of a woman in a camel coat at a round marble cafe table on a cobbled street in autumn morning light, holding a cup of coffee, bare trees and passers-by behind. Then the whole frame, the woman included, turns into a thick oil painting on canvas: raised impasto brush and palette-knife strokes, every surface in visible ridged paint, canvas texture showing through the thinner passages. She lifts the cup and sips, fully painted. Locked-off 50 mm lens. No readable text, no logos, no brand marks.

A woman in a velvet dress, then the same frame in raised impasto strokes. Realistic vertical phone footage in a field of tall golden grass at late afternoon. 50 mm lens at chest height, locked off. A woman in her thirties in a deep green velvet slip dress stands in the grass, wind lifting her loose brown hair, the low sun warm on her face. For the first two seconds it is ordinary live-action footage: real skin, real fabric, real grass moving in the wind. Then over two seconds the whole frame turns into a thick oil painting on canvas, sweeping from left to right: heavy impasto brush strokes with raised ridges of paint, the grass as single strokes of gold and ochre, the sky in broad loose strokes, her face, hair and dress built from brush strokes, the canvas weave showing through. She turns her head slightly and the grass keeps swaying after the change. Her pose, the framing and the light stay the same; only the medium changes. No readable text, no logos, no brand marks.

A ginger cat asleep by a jug of tulips wakes and yawns as the room turns to brush strokes. Vertical video. For the first two seconds: realistic live-action phone footage of a ginger cat asleep on a white windowsill beside a blue jug of yellow tulips, fallen petals around it, a garden beyond the glass, soft daylight. Then the whole frame, the cat included, turns into a thick oil painting on canvas: raised impasto brush and palette-knife strokes, every surface in visible ridged paint, canvas texture showing through the thinner passages. The cat wakes and yawns, fully painted. Locked-off 50 mm lens. No readable text, no logos, no brand marks.

A park path in autumn turns into thick dabs of orange, red and gold. Realistic widescreen footage of a city park in full autumn colour on a sunny afternoon. 35 mm lens at eye level, locked off. A wide path lined with orange and red maple trees and fallen leaves, three adults walking slowly away along the path, an older couple on a wooden bench, a still pond on the right reflecting the trees. For the first two seconds it is ordinary live-action footage, leaves drifting down. Then over two seconds the whole frame turns into a thick oil painting on canvas: the maple leaves as thick dabs of orange, red and gold, the path and fallen leaves in broad warm strokes, the pond reflections in horizontal strokes, the people built from simple confident strokes, the canvas weave showing in the sky. The people keep walking and the leaves keep falling after the change. The framing and the light stay the same; only the medium changes. No readable text, no logos, no brand marks.

A woman cutting lavender looks up as the field turns into ridged violet strokes. Vertical video. For the first two seconds: realistic live-action phone footage of a woman with dark hair pulled back, in a navy shirt and cream apron, kneeling between rows of lavender, cutting stems into a wicker basket, rolling hills and morning sun behind. Then the whole frame, the woman included, turns into a thick oil painting on canvas: raised impasto brush and palette-knife strokes, every surface in visible ridged paint, canvas texture showing through the thinner passages. She looks up and smiles after the change, her face and dark hair in confident blended strokes. Locked-off 50 mm lens. No readable text, no logos, no brand marks.

A baker hands over a loaf and every face and crust turns into thick oil strokes. Widescreen video. For the first two seconds: realistic live-action footage of a baker in a denim shirt and dark apron handing a round loaf across a market stall piled with crusty bread to smiling customers in plain red caps and winter coats, string lights overhead. Then the whole frame, every face and hand included, turns into a thick oil painting on canvas: raised impasto brush and palette-knife strokes, every surface in visible ridged paint, canvas texture showing through the thinner passages. He reaches for the next loaf, fully painted. Locked-off camera. No readable text, no logos, no brand marks.

A cyclist on a wet street at dusk; the reflections thicken into gold and orange impasto. Vertical video. For the first two seconds: realistic live-action phone footage of a man in a yellow rain jacket standing with a black bicycle on a wet city street at dusk, a plain red-and-white bus with no lettering passing behind, streetlights reflecting on the asphalt. Then the whole frame, the man included, turns into a thick oil painting on canvas: raised impasto brush and palette-knife strokes, every surface in visible ridged paint, canvas texture showing through the thinner passages, the reflections thick strokes of gold and orange. He swings onto the bike, fully painted. Locked-off 35 mm lens. No readable text, no logos, no brand marks.