Claymation AI effect

A couple laughing on a green sofa turn into plasticine, popcorn and all. First frame (Krea 2 Medium): Photorealistic widescreen photo, documentary-real. A couple in their thirties, a man and a woman, sit close together on a green velvet sofa in a cosy living room in the evening, sharing a big bowl of popcorn and laughing at something off-screen. He wears a navy cardigan, she wears a cream turtleneck. Behind them only a plain warm-grey wall, a tall leafy houseplant and a warm table lamp, no shelves, no books, no pictures. Real skin texture, natural home-video look, 35 mm, eye level. No readable text, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, poses, outfit colours and room layout. The couple become sculpted plasticine figures: rounded clay faces with soft noses, small eyes, wide laughing clay mouths, visible fingerprints and smudges in the matte surface, hair as sculpted clay with tool lines, a navy clay cardigan and a cream clay turtleneck with pressed knit texture. The popcorn becomes little white clay puffs in a clay bowl, and the green sofa, plant and lamp become lumpy handmade clay props with uneven edges on a tabletop miniature set lit by small warm studio lamps, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no logos. Video: Realistic widescreen footage of a couple in their thirties, a man in a navy cardigan and a woman in a cream turtleneck, laughing on a green velvet sofa in a cosy living room in the evening, a bowl of popcorn between them. 35 mm lens at eye level, locked off. For the first second and a half they are real people in a real room, laughing. Then, sweeping across the frame, everything turns into handmade plasticine stop-motion: skin to matte clay with fingerprints, hair to sculpted clay, knitwear to thick clay with pressed texture, popcorn to little white clay puffs, the sofa, plant and lamp to lumpy clay props on a miniature set. As clay they keep laughing in choppy, jerky stop-motion poses. Their poses, outfit colours and the room layout stay the same; only the material changes. No readable text, no logos, no brand marks.

A real high street with walkers and a cyclist turns into a plasticine model town. First frame (Krea 2 Medium): Photorealistic widescreen photo, documentary-real. A quiet old town high street on a sunny afternoon: a row of three-storey brick and plaster terraced houses with plain shop fronts, blank windows and striped awnings and no sign boards, a few adult pedestrians walking along the pavement, a cyclist riding past and a dog on a lead. Real textures, natural light, 35 mm, street height, side-on. No readable text, no signs, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, layout and colours. The terraced houses become sculpted plasticine buildings with lumpy matte clay walls, pressed brick patterns, clay chimneys and blank clay windows; the striped awnings, the pavement, the road, the cars, the van, the cyclist, the walkers and the dog all become small handmade clay models with fingerprints and tool marks, and the clouds become soft clay puffs on a painted backdrop, all on a tabletop miniature set lit by warm studio lamps, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no signs, no logos. Video: Realistic widescreen footage of a quiet old town high street on a sunny afternoon, a row of brick and plaster terraced houses with striped awnings, a few people walking, a cyclist and a dog on a lead, parked cars. 35 mm lens at street height, side-on, slow sideways slide. For the first second and a half everything is real: real brick, real people, real cars, natural light. At about two seconds the real street turns into a handmade plasticine stop-motion model from the edges inward: the houses become lumpy clay walls with pressed bricks, the cars and van small clay models, the walkers and the cyclist little clay figures, the clouds soft clay puffs. By the last second the whole street is a clay miniature set, the clay figures still walking in choppy stop-motion steps. The layout and framing stay the same; only the material changes. No readable text, no signs, no logos, no brand marks.

A real golden dog bounding across a lawn turns, yard and all, into plasticine. First frame (Krea 2 Medium): Photorealistic vertical phone photo, documentary-real. A golden retriever-mix dog with floppy ears runs across a sunny green backyard lawn toward the camera chasing a red ball, small flowerbeds along a wooden fence behind. Real fur, real grass, natural afternoon light, low camera at the dog's height, 35 mm. No readable text, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, pose, colours and layout. The dog becomes a sculpted plasticine dog: matte clay fur with pressed tool lines, visible fingerprints and smudges, a lumpy clay tail, simple clay eyes, a smooth red clay ball in its mouth. The lawn becomes textured green plasticine with little sculpted clay flowers, the fence lumpy clay planks, all on a tabletop miniature set lit by small warm studio lamps, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no logos. Video: Realistic vertical phone footage of a golden dog running across a sunny backyard lawn toward the camera with a red ball in its mouth, a wooden fence and flowerbeds behind. Low camera at the dog's height, 35 mm, locked off. For the first second and a half everything is real: real fur, real grass, natural afternoon light. At about two seconds, as the dog bounds forward, the real yard and the dog turn into handmade plasticine stop-motion from the edges inward: the grass becomes textured green clay, the fence lumpy clay planks, the dog's fur matte clay with tool lines and fingerprints. By the last second the dog is fully a clay figure on a tabletop set, still trotting toward the camera in choppy stop-motion steps with the ball in its mouth. Its pose and the yard layout stay the same; only the material changes. No readable text, no logos, no brand marks.

A man lifting noodles from a steaming pot turns into a plasticine cook. First frame (Krea 2 Medium): Photorealistic vertical phone photo, documentary-real. A man in his thirties with short black hair in a plain white apron over an olive shirt lifts noodles high out of a steaming pot with chopsticks at a home stove, steam rising, a cosy kitchen with shelves of plain jars behind. Real skin texture, real steam, warm kitchen light, 35 mm, chest height. No readable text, no labels, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, pose, outfit colours and kitchen layout. The man becomes a sculpted plasticine figure: a rounded clay face with a big soft nose, small eyes, visible fingerprints and smudges in the matte surface, black hair as one sculpted clay lump with tool lines, a white clay apron over an olive clay shirt, thin yellow clay noodles lifted on clay chopsticks, the steam made of fluffy white cotton wool. The stove, pot, jars and shelves become lumpy handmade clay props with uneven edges on a tabletop miniature set lit by small warm studio lamps, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no logos. Video: Realistic vertical phone footage of a man in his thirties in a white apron over an olive shirt lifting noodles high out of a steaming pot with chopsticks at a home stove, shelves of plain jars behind. 35 mm lens at chest height, locked off. For the first second and a half everything is real: real skin, real steam, real noodles, warm kitchen light. At about two seconds, as he lifts the noodles higher, the real kitchen and the man turn into handmade plasticine stop-motion from the edges inward: the jars and stove become lumpy clay, the steam fluffy cotton wool, the noodles yellow clay strands, his face a rounded clay sculpt with fingerprints. By the last second he is fully a clay figure on a miniature set, still holding the noodles up in choppy stop-motion. His pose, outfit colours and the kitchen layout stay the same; only the material changes. No readable text, no logos, no brand marks.

A real man waving in his living room turns, room and all, into plasticine. First frame (Krea 2 Medium): Photorealistic vertical phone photo, documentary-real. A man in his thirties with short brown hair and a light beard, in a mustard knit sweater and dark jeans, stands in the middle of his cosy living room and waves at the camera with a big friendly smile. A dark blue sofa with mustard cushions, a brass floor lamp and a framed landscape print behind him, warm evening lamplight. Real skin texture, real fabric, natural phone-camera look, 35 mm, eye level, full body visible. No readable text, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, pose, outfit colours and room layout. The man becomes a sculpted plasticine figure: a rounded clay face with a big soft nose, small dot eyes, visible fingerprints and smudges in the matte surface, hair as one sculpted clay lump with scratched tool lines, a chunky mustard clay sweater with pressed-in knit grooves, dark blue clay trousers. The sofa, cushions, floor lamp, plant and framed picture become lumpy handmade clay props with uneven edges on a tabletop miniature set lit by small warm studio lamps, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no logos. Video: Realistic vertical phone footage of a man in his thirties in a mustard knit sweater waving at the camera in his cosy living room in warm evening lamplight. 35 mm lens at eye level, locked off. For the first second and a half he is a real person in a real room, waving. Then, from his feet up and across the room, everything turns into handmade plasticine stop-motion: skin to matte clay with fingerprints, hair to a sculpted clay lump, sweater to chunky clay, the sofa, cushions, lamp and picture to lumpy clay props on a miniature set. As clay he keeps waving in choppy, jerky stop-motion steps. His pose, outfit colours and the room layout stay the same; only the material changes. No readable text, no logos, no brand marks.

A woman watering tomatoes on her balcony turns into a clay puppet mid-pour. First frame (Krea 2 Medium): Candid unretouched smartphone photo, vertical, slightly tilted handheld framing shot from just inside an open balcony door. A woman in her early seventies with thin grey hair pinned up loosely, a few strands falling out, deep wrinkles, age spots, uneven skin tone and visible pores, reading glasses pushed up on her head, waters tomato plants in mismatched terracotta and plastic pots on a narrow city apartment balcony. She wears a faded lilac cardigan with pilled wool over a creased blue cotton housedress and worn rubber slippers. She is mid-pour from a dented green plastic watering can, frowning slightly at one drooping plant. Real clutter around her: a folding clothes rack with two tea towels, a plastic stool, a coiled garden hose, a chipped saucer of clothes pegs, a neighbour's balcony across the street. Overcast late-afternoon daylight mixed with warm kitchen light spilling from the door behind the camera. Framed off-centre, 26 mm phone lens at chest height. Natural skin, no retouching, no studio lighting, not posed. No readable text, no logos, no brand marks. Last frame (image edit of the first): Remake this entire photo as a handmade plasticine stop-motion claymation set, same composition, same pose, same framing. Nothing photographic may remain: every single surface is matte modelling clay. The woman is a sculpted plasticine puppet: a smooth rounded clay head with a big soft nose, simple bead eyes, pressed-in clay wrinkles, thumbprints and smudges on her cheeks, grey clay hair rolled into a lumpy bun with tool marks, clay glasses on her head. Her lilac cardigan is chunky rolled clay with pressed knit grooves, her blue dress flat pressed clay, her slippers clay lumps. The green watering can is a rounded clay can, the tomato plants are twisted green clay stems with little clay leaves, the pots are lumpy terracotta clay, the drying rack, stool, hose and pegs are simple clay props, the buildings across the street are flat painted clay and card backdrops, the sky is a smooth blue clay backdrop. Visible fingerprints everywhere, slightly uneven edges, small warm studio lamps, shallow depth of field like a real tabletop miniature. Matte plasticine, not glossy, not a 3D render, not a photo. No readable text, no logos. Video: Candid handheld phone footage from a balcony doorway: a woman in her seventies in a faded lilac cardigan and a creased blue housedress waters tomato plants in terracotta pots with a dented green watering can, a clothes rack, a stool and a coiled hose around her, overcast late-afternoon light. For the first second and a half everything is real: real wrinkled skin, real wool, real leaves, water pouring onto the soil. At about two seconds, as she tips the can further, the real balcony and the woman turn into handmade plasticine stop-motion, spreading quickly from the edges inward over the whole frame: the sky becomes a smooth blue clay backdrop, the pots lumpy clay, her cardigan chunky rolled clay, her face a rounded clay puppet face with a big soft nose and thumbprints. By the last second she is fully a matte plasticine figure on a miniature set, still watering in choppy stop-motion moves. Her pose, outfit colours and the balcony layout stay the same; only the material changes. No readable text, no logos, no brand marks.

A woman knitting by the fire turns to clay as her kitten pounces on the yarn. First frame (Krea 2 Medium): Photorealistic widescreen photo, documentary-real. A woman in her seventies with a white bun and round glasses sits in an armchair beside a brick fireplace with a real fire, knitting a long striped scarf, while a small grey kitten bats at a ball of yarn on the rug at her feet. A cosy living room in warm firelight. Real skin texture, real wool, 35 mm, seated height. No readable text, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, pose, colours and room layout. The woman becomes a sculpted plasticine figure: a rounded clay face with a soft nose, round clay glasses, visible fingerprints and smudges in the matte surface, a white clay bun with tool marks, a cream clay cardigan, clay knitting needles and a long striped clay scarf. The kitten becomes a small grey clay kitten batting a clay ball of yarn. The brick fireplace becomes pressed clay bricks with glossy orange cellophane flames, and the armchair, rug, lamp and shelf become lumpy handmade clay props on a tabletop miniature set lit by warm studio lamps, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no logos. Video: Realistic widescreen footage of a woman in her seventies with a white bun and round glasses knitting a long striped scarf in an armchair beside a real fire, a small grey kitten batting a ball of yarn on the rug at her feet. 35 mm lens at seated height, locked off. For the first second and a half everything is real: real firelight, real wool, real fur. At about two seconds, as the kitten pounces on the yarn, the real room, the woman and the kitten turn into handmade plasticine stop-motion from the edges inward: the bricks become pressed clay, the flames glossy cellophane, the armchair and rug lumpy clay, her face a rounded clay sculpt with fingerprints. By the last second they are fully clay on a miniature set, the clay kitten still tangling the yarn in choppy stop-motion. Their poses, colours and the room layout stay the same; only the material changes. No readable text, no logos, no brand marks.

A woman singing into a spoon turns into a plasticine figure in a clay kitchen. First frame (Krea 2 Medium): Photorealistic vertical phone photo, documentary-real. A woman in her late twenties with curly dark hair tied up, in a red-and-white striped apron over a plain white t-shirt, dances alone in a bright small kitchen, holding a wooden spoon up like a microphone, mid-laugh. Pots on the stove, a window with green plants on the sill, morning daylight. She is the only person in the frame. Real skin texture, real fabric, natural phone-camera look, 35 mm, eye level, knees up. No readable text, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, pose, outfit colours and kitchen layout. The woman becomes a sculpted plasticine figure: a rounded clay face with a soft nose, small eyes, visible fingerprints and smudges in the matte surface, curly hair as sculpted clay coils with tool marks, a red-and-white striped clay apron with pressed stripes, a white clay t-shirt, a little clay wooden spoon. The stove, pots, window, plants and cupboards become lumpy handmade clay props with uneven edges on a tabletop miniature set lit by small warm studio lamps, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no logos. Video: Realistic vertical phone footage of a woman in her late twenties in a red-and-white striped apron dancing alone in a bright small kitchen in morning daylight, singing into a wooden spoon. 35 mm lens at eye level, locked off. For the first second and a half she is a real person in a real kitchen, dancing. Then, sweeping across the frame, everything turns into handmade plasticine stop-motion: skin to matte clay with fingerprints, curls to sculpted clay coils, the apron to thick clay with pressed stripes, the stove, pots, window and plants to lumpy clay props on a miniature set. As clay she keeps singing into the spoon in choppy, jerky stop-motion poses. Her pose, outfit colours and the kitchen layout stay the same; only the material changes. No readable text, no logos, no brand marks.

Two friends toasting marshmallows turn into clay campers as one catches fire. First frame (Krea 2 Medium): Photorealistic widescreen photo, documentary-real. Two adult friends in their thirties in knitted beanies sit on a log beside a campfire at night, toasting marshmallows on long sticks, an orange tent beside them and dark pine trees and mountain silhouettes behind under a blue night sky. Warm firelight on their faces, real skin texture, real fabric, 35 mm, seated height. No readable text, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, poses, outfit colours and layout. The two campers become sculpted plasticine figures with rounded clay faces, soft noses, visible fingerprints and smudges, chunky knitted clay beanies and clay jackets, a plaid clay blanket, little white clay marshmallows on sticks. The campfire flames become glossy orange and yellow cellophane, the tent a lumpy orange clay tent, the pine trees and mountains layered plasticine shapes in blue and purple, all on a tabletop miniature set with warm firelight and cool blue night light, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no logos. Video: Realistic widescreen footage of two friends in their thirties in knitted beanies sitting on a log by a campfire at night, toasting marshmallows on long sticks, an orange tent and dark pines behind. 35 mm lens at seated height, locked off. For the first second and a half everything is real: real firelight on their faces, real wool, real flames. At about two seconds, as one marshmallow catches fire, the real campsite and the friends turn into handmade plasticine stop-motion from the edges inward: the pines and mountains become layered clay, the tent lumpy orange clay, the flames glossy cellophane, their faces rounded clay sculpts with fingerprints. By the last second they are fully clay figures on a miniature set, one blowing out the marshmallow in choppy stop-motion. Their poses, outfit colours and the layout stay the same; only the material changes. No readable text, no logos, no brand marks.

An orange tabby tapping a mug toward the edge turns into clay, kitchen and all. First frame (Krea 2 Medium): Photorealistic vertical phone photo, documentary-real. A single chubby orange tabby cat, the only animal in the frame, sits on a wooden kitchen table next to a plain blue ceramic mug, staring at the camera with one paw raised toward the mug. A warm lived-in kitchen behind with a green stove, hanging copper pans and a window, no clocks and no labels. Soft afternoon light, real fur, real ceramic, 35 mm, table height. No readable text, no numbers, no logos, no brand marks. Last frame (image edit of the first): Turn this whole photo into a handmade plasticine stop-motion claymation set, keeping the same composition, pose, colours and kitchen layout. The cat becomes a round sculpted plasticine cat: matte orange clay with pressed stripe grooves, visible fingerprints and smudges, simple clay eyes, one clay paw raised toward a smooth blue clay mug. The table, hanging pans, utensils, stove, jars and window become lumpy handmade clay props with uneven edges on a tabletop miniature set lit by small warm studio lamps, shallow depth of field like a real miniature. Matte plasticine everywhere, not glossy CGI, not a 3D render. No readable text, no logos. Video: Realistic vertical phone footage of a chubby orange tabby cat sitting on a wooden kitchen table beside a blue ceramic mug, one paw raised toward it, hanging copper pans and a sunny window behind. 35 mm lens at table height, locked off. For the first second and a half everything is real: real fur, real ceramic, warm afternoon light. At about two seconds, as the cat taps the mug toward the edge, the real kitchen and the cat turn into handmade plasticine stop-motion from the edges inward: the pans and stove become lumpy clay, the table pressed clay planks, the cat matte orange clay with pressed stripe grooves and fingerprints. By the last second the cat is fully a clay figure on a miniature set, its clay paw still on the clay mug as it stares at the camera. Its pose and the kitchen layout stay the same; only the material changes. No readable text, no logos, no brand marks.