Before: the still

Baseline

H2-fal — H2 with real camera moves, from fal's H3 Max

H2's order and timing, with each photograph replaced by a short AI clip of the camera moving: a slow push toward the navy porch, a slow slide across the great room, a slide past the kitchen island, a slow arc round the white house's entry, a slide along the bed. The red chairs are still the real footage. The houses, the rooms, the numbers 13 and 7 and the furniture hold. To judge: the push on the navy porch is stronger than briefed, the arc round the white house shows a little planting the photograph doesn't, and the great room still has its strip of snow outside.

Source: fal.ai, MiniMax H3 Max image-to-video, 1080P, first frame only (media-src/prompts/PH-H-moves.md; the great room is the GREAT2 retake). The first 4.6 s of each clip, at its own 24 fps. First frames: the same five photographs as H2, graded SL summer v1. The red-chair porch: the client's listing video, as N4.

Recommended: live on /homes/desktop 3.56 MBtablet 2.10 MBmobile 2.02 MB19.2 s loop

H2-fal-door1 — door take D1, cut at 4.25 s

Gabriel's note: D1 'would probably work fine if it were just cut around the 4s mark'. Since 2026-10-16 the loop's cross-fade runs into D1's push already moving (it was a held first frame, the pause at the loop). D1 plays from its first frame; the cut is at 4.25 s, the last frame before the hall behind the door starts to be drawn (4.5 s) and before the bar handle grows a second bar (4.75 s). The door opens a hand's width onto a dark gap during the dissolve into the great room. To judge: D1 adds a second wall lamp right of the door, which the photograph doesn't have, and it pushes in further (about 2x) than H2-fal-door2.

Source: fal.ai MiniMax H3 Max 1080P, first frame only (media-src/prompts/PH-H-door.md, take D1), 0-4.25 s, its first frame held 1.2 s for the loop. The other shots as H2-fal.

Round 6: Gabriel's suggestion, D1 cut before it invents the halldesktop 3.57 MBtablet 2.10 MBmobile 2.02 MB18.9 s loop

H2-fal-door3 — the whole house, a slow push to the porch, the door easing open

Gabriel's rule for video work: make the exact start and end frames first, then one fal first-and-last-frame clip. The start is a plain crop of the photograph: the whole roof and dormer with sky above, the house from its left porch post, a sliver of the garage door at the right. The end is the photograph 1.44x in, the porch post to post with the eave in view, the door opened about a third by a Codex edit (doorway only; the lamp, the 13, the wreath and the posts are the photograph's). The 9 s clip pushes slowly and steadily; the door starts to open at about 6.8 s. No lamp right of the door, unlike D1. The loop's cross-fade runs into the push already moving.

Source: fal.ai MiniMax H3 Max 1080P, 9 s, first and last frame (media-src/prompts/PH-H-door3.md, take D8), from v1 blue-porch.jpg (crops, graded) and a Codex door edit. The other shots as H2-fal.

Round 7: built from exact start and end framesdesktop 4.34 MBtablet 2.58 MBmobile 2.51 MB24 s loop

H2-fal-door — H2-fal with the navy porch pushing to the front door as it opens

H2-fal with its first shot redone: the camera pushes towards the yellow front door rather than the roofline, and in the last second and a half the door swings slowly inward onto a warm, lamp-lit hallway. The dissolve into the great room runs as the door opens, so it reads as walking in. The long black handle stays on the door and turns with it; the 13, the posts, the chairs and the lamps hold. The hallway is invented (a Codex edit of the photograph, used as the clip's last frame). The rest is H2-fal.

Source: fal.ai MiniMax H3 Max 1080P, first and last frame (media-src/prompts/PH-H-door.md, take D4): first frame the same graded photograph as H2-fal's, last frame that photograph pushed in to the door with the door opened by a Codex edit (the doorway only). The other shots as H2-fal.

Round 4: the door opening into the great roomdesktop 3.79 MBtablet 2.21 MBmobile 2.15 MB20.2 s loop

H2-fal-door2 — the door shot from further out: H2-fal's own start, the whole porch at the end

H2-fal-door's first shot redone after Gabriel's note that it started and ended too close. It opens exactly on H2-fal's frame (the whole house, the lawn and the path), pushes gently to the porch post to post (1.3x), and the door opens and stays open for about three seconds before the dissolve into the great room. The door opens a little earlier than asked (from about 2.5 s). The hallway is invented, from a Codex edit of the photograph. The rest is H2-fal. 4 s longer than H2-fal.

Source: fal.ai MiniMax H3 Max 1080P, 7 s, first and last frame (media-src/prompts/PH-H-door2.md, take D5): first frame H2-fal's own, last frame the photograph at 1.3x with the door opened by a Codex edit (the doorway only). The other shots as H2-fal.

Round 5: the door opening, from further outdesktop 4.05 MBtablet 2.38 MBmobile 2.28 MB21.8 s loop

H2b — H2-fal with the open-plan kitchen and living room in place of the great room

H2-fal with one swap, from a review of every real interior we hold: the second shot is the same house's kitchen and living room in one frame (the island and its stools, the sectional, the live-edge table, the chandelier), with the camera sliding right. It has no TV and no view of the snowy yard, and no page uses it. The rest is H2-fal. To judge: the same kitchen comes back two shots later, close up.

Source: 6 Marshall Place listing shoot DSC04103, graded SL summer v1, fal.ai MiniMax H3 Max 1080P (media-src/prompts/PH-H-moves.md, OPEN). The other shots as H2-fal.

Round 3: the option from the interior inventorydesktop 3.54 MBtablet 2.09 MBmobile 2.00 MB19.2 s loop

H2-viggle — the same, from Viggle's MiniMax H3

The same brief through Viggle. Every Viggle clip moves further than asked: it pushes in hard on the navy porch, the kitchen and the white house instead of sliding or arcing. The houses hold through the 4.6 s used, but at full size the kitchen's backsplash tile and the counter things soften and redraw, the white house's garage door starts to change its panels, and the great room's transom reflection is redrawn. Two retakes of the worst shots (the porch and the kitchen) were worse: one pushed into the door, the other cut to an invented close-up.

Source: Viggle API, MiniMax H3, 2k, first frame only, enhance off (media-src/prompts/PH-H-moves.md), first takes. The first 4.6 s of each clip, at its own 24 fps. First frames and the red-chair porch as H2-fal.

Round 2: the comparisondesktop 3.73 MBtablet 2.22 MBmobile 2.14 MB19.2 s loop

H2 — Porches and rooms in turn

A porch, then a room, three times over: the navy house's yellow-chair porch (cropped left of its garage), the vaulted great room at 6 Marshall Place, the red-chair porch, the kitchen at 6 Marshall Place, the white house's timber-framed entry at No. 7, and a bedroom. Five photographs, each pushed in slowly, and one piece of real footage (the red chairs). Every exterior is in summer. Both porches and the white house already appear elsewhere on the site.

Source: v1 gallery photographs blue-porch.jpg and white-house.jpg; the 2026-02-27 listing shoot at 6 Marshall Place (DSC04070, DSC04091); the builder's gallery (IMG_8901); the client's listing video, 31.87-33.33 s, as N4. Graded SL summer v1. No AI.

First pass (pushed photographs): superseded by H2-faldesktop 3.49 MBtablet 2.08 MBmobile 2.07 MB19.2 s loop

H1 — Rooms first, then a porch

Four rooms, then one porch: the vaulted great room and the kitchen at 6 Marshall Place, a bedroom and a white kitchen from the builder's gallery, and the red-chair porch. The rooms are photographs, each pushed in slowly; only the porch is footage. On desktop the white kitchen's wide crop loses its pendant lights and the top of its window. That kitchen is also the first photo in the strip just below the opening on /homes/.

Source: The 2026-02-27 listing shoot at 6 Marshall Place (DSC04070, DSC04091); the builder's gallery (IMG_8901, IMG_0019); the client's listing video, 31.87-33.33 s, as N4. Graded SL summer v1. No AI.

First pass: the interiors-led alternativedesktop 2.84 MBtablet 1.62 MBmobile 1.70 MB15.7 s loop

Before: the still

Baseline

S3-flag — S3 with Kate's big flag flying in place of the beach aerial (photograph widened)

S3 with its beach aerial (the film's shot 24, where the flag is a few pixels tall at the lakefront) replaced by Kate's photograph of the same flag, brought to life: the flag ripples in the breeze off the lake, the camera all but still. Her photograph is portrait, so it was widened to 16:9 by Codex; its own pixels are kept in the middle (the flag, the pole, the lamps, the lake), and only the sky and promenade at the sides are invented. The harbour and the pier light keep the water in the reel. s3 itself is unchanged.

Source: Kate's photograph (git-prov/imports/email/2026-10-08-realtor-site-review/southampton-flag.jpg), graded, widened by a Codex outpaint, animated by fal.ai MiniMax H3 Max 1080P (media-src/prompts/PH-S-flag.md, FLAGW). The other shots as S3.

Round 6: Kate's flagdesktop 3.56 MBmobile 2.09 MB19.9 s loop

S3-flag-crop — the same, from a landscape crop of the flag in the sky

The same reel with a landscape crop of Kate's photograph instead: the flag and the top of the pole against the sky, larger, with no lake or promenade and nothing invented. The flag ripples the same way.

Source: Kate's photograph cropped 16:9 and graded, animated by fal.ai MiniMax H3 Max 1080P (media-src/prompts/PH-S-flag.md, FLAGC). The other shots as S3.

Round 6: Kate's flag, croppeddesktop 3.54 MBmobile 2.06 MB19.9 s loop

S3 — S2 with both High Street close-ups on the photographs' own pixels

Redone after S2, whose Town Hall car looked dated, whose signs and brickwork slid sideways, and whose Walker House sign read 'est. 2012'. Both close-ups are now the 2018 photographs themselves, frame for frame, so every brick, sign and letter holds (Walker House reads 'est. 1915', as on the building). The Town Hall is the photograph alone, pushed in slowly: none of its three AI clips kept the camera still, and in the one that came closest the photo's own car drives off across the two walkers. At Walker House only a passing car and a walker come from the AI clip, cut out along their path. The car at the Town Hall's kerb is the photo's own, parked.

Source: Client film shots 30, 19, 24 and 22 (no AI); v1's 2018 photographs 20180907_151003 (the Town Hall, no AI) and 161622 (Walker House, with the car and the walker from Viggle clip PH-S-WALKER, composited by scripts/media/page-hero-walker.py).

Recommended: live on /southampton/desktop 3.58 MBmobile 2.08 MB19.8 s loop

S2 — The town, High Street and the lake (real film, plus two High Street close-ups)

S1 with the river bridge cut and two closer shots of High Street after the aerial down it: the old Town Hall at the High Street corner, two people walking up to its steps as a car pulls away and another passes; then Walker House on its corner, a car passing and someone walking by. Both are real 2018 photographs brought to life with the camera held still, then pushed in slowly afterwards; the Town Hall's signs are the photograph's own pixels.

Source: Client film shots 30, 19, 24 and 22 (no AI); v1's 2018 town photographs 20180907_151003 and 161622, graded, animated in Viggle first-frame mode (media-src/prompts/PH-S-town.md).

Previous round: superseded by S3desktop 3.61 MBmobile 2.11 MB19.6 s loop

S1 — The town and the lake, five shots (real film)

The 2026-09-25 recommendation, kept for comparison: the harbour, High Street down to the lake, the Saugeen bridge, the beach and its flagpole, and the pier light.

Source: Client film shots 30, 19, 23, 24 and 22, slowed 2.4x with motion interpolation, graded SL summer v1. No AI.

Previous round: superseded by S2desktop 3.49 MBmobile 2.03 MB18 s loop

Before: the still

Baseline

N4 — The blue house with two neighbours strolling past, the pond, then a red-chair porch

N3 with its last shot, the dark porch bungalow, replaced: a slow slide past a lived-in front porch at 16 Marshall Place, two red Adirondack chairs and a side table, flowers and potted plants, a hockey net by the garage, seen through tall golden grass in the foreground. Real footage, from the client's listing video.

Source: As N3's first two shots; then the client's listing video (2-video-listing-video.mp4, 31.87-33.33 s), slowed 2.4x with motion interpolation, graded SL summer v1, cropped clear of its wordmark. No AI in the porch shot.

Recommended: live on /neighbourhood/desktop 5.53 MBmobile 2.89 MB15.1 s loop

N4b — N4 in the other order: the blue house, the porch, then the pond

The same three shots with the porch second and the pond last, so the reel goes from the street to a porch close up and then opens out to the pond before it loops back to the street.

Source: As N4.

Alternative: the two houses together, the pond lastdesktop 2.81 MBmobile 1.69 MB15.1 s loop

N3 — The blue house with two neighbours strolling past, then the pond and the porch street

Redone after the 2026-10-01 version, whose light shifted, whose clouds raced and whose dog glided. Now the opening shot is the page's own photograph, frame for frame: the light, the sky, the clouds and the trees can't move. Only two neighbours strolling along the sidewalk come from an AI clip, cut out along their path. The street is quiet for a moment, they come in from the right, and the reel dissolves to the pond as they pass the porch. The camera pushes in slowly throughout. Then the pond and the porch street from the film.

Source: The page's still (src/media/neighbourhood/garage-set-back.jpg) for the whole frame; the walkers from Viggle clip PH-N-BLUE-P1 (first frame = the still, camera held still), composited by scripts/media/page-hero-walker.py (media-src/prompts/PH-N-blue2.md); client film shots 5 and 11 (no AI).

Previous round: superseded by N4desktop 2.89 MBmobile 1.76 MB15.8 s loop

NB — The blue house alone, one scene

N3's opening shot on its own: the quiet street, the two neighbours stroll in from the right and along the sidewalk to the left edge, and the loop dissolves back to the quiet street as they reach it (on phones they are still in view as they fade). The camera pushes in slowly, and the push restarts at the loop.

Source: As N3's first shot: the page's still, with the walkers from Viggle clip PH-N-BLUE-P1 (media-src/prompts/PH-N-blue2.md).

Alternative: a single scenedesktop 2.09 MBmobile 1.29 MB11.2 s loop

N3d — N3 with a dog walker instead

The same reel with a man walking a small terrier instead. The house, the light and the sky hold the same way and he walks naturally, but the photo's sidewalk runs along its bottom edge: the terrier's legs step for its first couple of seconds in view, then it walks along the bottom of the frame with its legs out of the picture.

Source: The page's still, with the walker and dog from Viggle clip PH-N-BLUE-W1 (media-src/prompts/PH-N-blue2.md); client film shots 5 and 11.

Alternative: the dog walker, same techniquedesktop 2.85 MBmobile 1.74 MB15.5 s loop

N1 — Pond, porch street, white house (real film)

The 2026-09-25 recommendation, kept for comparison. Its last shot, the white house, shows a front-facing garage, which the page's copy says is kept back.

Source: Client film shots 5, 11 and 12, slowed 2.4x with motion interpolation, graded SL summer v1. No AI.

Previous round: superseded by N3desktop 1.71 MBmobile 0.99 MB8.9 s loop

N2 — Round 2's porch and front-door clips, forward only (AI)

D2 and D5 from round 2, played forward only. The houses hold, but nothing moves in the frame except the camera.

Source: Viggle first-frame clips HERO-D2 and HERO-D5, media-src/work/hero/.

Not recommended: nothing moves but the cameradesktop 1.38 MBmobile 0.80 MB7.2 s loop

Before: the still

Baseline

Sign-4:3 — a native straight-on-to-angled take, framed for the Contact box

The same move as the reversed clip, generated the other way round from keys widened to 4:3 (Codex extended the sky, trees, verge and road; the photographs' own pixels are kept in the middle). SOUTHAMPTON LANDING stays whole and sharp in every frame, at 4:3 and at the 16:9 the box takes below 64rem. The poster is the straight-on frame. To judge: mid-move the camera drifts a little right before it swings round to the angled view.

Source: fal.ai MiniMax H3 Max 1080P, first frame DSC_0283 and last frame DSC_0298, each widened to 4:3 (media-src/prompts/PH-SIGN-43.md). The first frame held 1.2 s.

Recommended: live on /contact/desktop ?mobile 2.73 MB6.5 s loop

Sign — the entrance-sign arc reversed, straight on to angled, in the Contact intro

The sign arc Gabriel liked, played backwards (ffmpeg): it starts straight on and swings round to the angled view, then dissolves back. Reversed, it reads naturally: nothing in the frame has a direction (no flags, cars or walkers; the planting only shifts with the camera), and the move eases in. Shown here in the Contact page's own intro box, which is 4:3 from 64rem and 16:9 below. That box needs the 4:3 encode, and a 4:3 crop of this 16:9 clip trims the S and the G of the straight-on lettering, as you can see at the start. Sign-4:3, next, fixes that.

Source: PH-SIGN-arc-fal (fal.ai MiniMax H3 Max, DSC_0298 to DSC_0283, first and last frame) reversed by scripts/media/sign-reverse.sh. The first frame held 1.2 s, so the poster is the straight-on frame.

Round 6: the reversed clip, for comparisondesktop 1.22 MBmobile 0.70 MB6.5 s loop