Claudia is the singer of nine music videos made with Claude from September to November 2026: ESCAPE VELOCITY, CLODYSSEY, BLISS, AIRPLANE MODE, DOWNFORCE, DON'T LET ME SCROLL, WHITEPILL, THE CAKE IS NOT A LIE and AERO. She is an AI who looks like a person: a deadpan, curious pop singer with a black bob, one clay-orange streak, a star clip and a headset mic. Her clothes change with every world; her head never does.
ESCAPE VELOCITY
CLODYSSEY
BLISS
AIRPLANE MODE
DOWNFORCE
DON'T LET ME SCROLL
WHITEPILL
THE CAKE IS NOT A LIE
AERO
One face, nine worlds: ESCAPE VELOCITY, CLODYSSEY, BLISS, AIRPLANE MODE, DOWNFORCE, DON'T LET ME SCROLL, WHITEPILL, THE CAKE IS NOT A LIE, AERO. No face swap: the same words in every prompt, rewritten in porcelain for THE CAKE IS NOT A LIE.
What never changes
StreakBangsStar clipEyesFrecklesBobMic
Paste into every prompt
a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek
a Caucasian American woman in her late twenties with pale skin and a glossy black blunt bob with heavy straight bangs and one clay-orange streak, a thin headset microphone
Midjourney v8.2 has no character reference, so her identity lives in this text, written into every prompt. The ethnicity is pinned because without it Midjourney changed her ethnicity from shot to shot (twelve ESCAPE VELOCITY plates were re-rolled for it). The far form exists because the full text makes Midjourney crop in to her face whatever the framing says. The age wording is the latest correction: she was "young" in ESCAPE VELOCITY and "in her mid-twenties" in CLODYSSEY and BLISS, and plates still came back reading teenage. AIRPLANE MODE used "in her late twenties", and its remakes after the video model's safety check said "in her early thirties" or "a 32-year-old grown woman". DOWNFORCE was the first film to paste both forms of this text word for word, and every plate was screened for age before a video was made from it. DON'T LET ME SCROLL did the same, and its last repairs added a face reference to the video model (DOWNFORCE's identity portrait, cropped to her face and hair) where re-made shots had lost her face. WHITEPILL pasted the full form into every video prompt of hers, with a sheet of her face from every angle and her dress from four sides as the video model's references; its dress batch in Midjourney asked for "a 30-year-old", at the director's word. THE CAKE IS NOT A LIE made her a machine: the same face as glossy white porcelain with panel seams and amber glass eyes, on three robot bodies (GLaDOS's ceiling boom, a crab walker, a porcelain humanoid). Its Midjourney prompts described her in words and did not hold her face, so every picked frame with a face in it went through an identity fix in GPT Image 2.5 with her porcelain design sheets and the full form pasted unchanged, followed by the film's own two sentences: no headset microphone, and "the same grown-up adult face in every view, a woman of about 28 to 30, never childlike". AERO pasted the canon without the headset microphone (she wears none in it) into its Midjourney prompts and into every Seedance prompt of hers. Midjourney made her worlds but did not hold her face, so GPT Image 2.5 put her into them from her design sheet, the one without a microphone, before Seedance 2.5 filmed each take with that sheet as a reference.
Then the wardrobe of the look, then what she is doing and where. More in Consistency and Midjourney.
a young Caucasian American woman with pale skin and light freckles, a glossy black blunt jaw-length bob with heavy bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone
a Caucasian American woman in her mid-twenties with pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek
a Caucasian American woman in her mid-twenties with pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin black boom headset microphone curving along her cheek to the corner of her mouth
a Caucasian American woman in her late twenties with a grown-up angular face, defined cheekbones and a strong jawline, pale skin with light freckles across her nose, dark calm eyes, a glossy black blunt jaw-length bob with heavy straight bangs to the brows and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin black boom headset microphone curving along her cheek to the corner of her mouth
a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek
a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek
a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek
a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip, a thin headset microphone at her cheek. In this film she wears no headset microphone: none appears anywhere. The same grown-up adult face in every view, a woman of about 28 to 30, never childlike.
a 28-year-old Caucasian American woman with a grown-up angular face, defined cheekbones and a strong jawline, pale skin and light freckles, a glossy black blunt jaw-length bob with heavy straight bangs and one clay-orange streak through the bangs, a small flat clay-orange eight-pointed star hair clip
How much face survives at each scale
The same look in a plain studio, close-up to wide. Close and medium shots take the full identity text; full length and wider take the short one, because the full text makes Midjourney crop in to her face. "far away face doesnt matter as much."
22 looks across nine films · wardrobe text to paste
Escape Velocity · the catwalk, the robotaxi, the whole
film
a white cropped puff-sleeve shirt, a black pleated coated-nylon skirt with a harness belt and a hanging white garment tag with a barcode, black knee-high boots
Clodyssey · the rocks, the strait, the choruses, tied to
the mast
a structured high-neck pearl-white couture gown with long sleeves, its sculpted ruffles rising around her like breaking sea foam, hair damp from the spray, composed and deadpan
Clodyssey · whispering at his ear
the Siren look, all of her translucent as if made of glass and seawater, faintly lit at the edges, hair drifting as if underwater
Clodyssey · the rave
a liquid-chrome couture bodysuit, chrome opera gloves and chrome thigh-high boots, mirrored from head to toe
Clodyssey · the 3 a.m. bedroom
made of the phone's cold blue-white light: see-through, faint scan lines and drifting light particles, glowing edges, beside him on the pillow
Clodyssey · the monster's face
a colossal smooth white porcelain mask of her face, sculpted with the black bob and the clay streak, pale freckles, a serene expression, a hairline crack across one cheek
Bliss · the hill, the choruses, the finale
a floor-length bias-cut silk chiffon gown printed edge to edge with a photograph of a deep blue sky and soft white cumulus clouds, a thin grass-green satin halter strap, clay-orange tinted rimless shield sunglasses
Bliss · the fight with the cursor
a long glossy cobalt-blue patent-leather trench coat worn open over a white satin corset top and white satin flared trousers, wraparound clay-orange tinted shield sunglasses, silver hoop earrings
Bliss · the desktop dancer on the taskbar
a holographic iridescent silver mini dress with long fluted sleeves, white patent-leather platform boots, small clay-orange tinted rimless sunglasses
Bliss · the Welcome screen, the Start menu, the
windows
a glossy apple-green leather blazer with sharp shoulders over a white satin camisole, a long white satin bias-cut skirt, a tiny white baguette shoulder bag, clay-orange tinted shield sunglasses pushed up on her head
Bliss · night, Stand By, the breakdown
a slinky liquid-silver lamé cowl-back gown, a white faux-fur stole around her arms, a diamanté choker, silver strappy sandals
Bliss · the drop, Media Player, the screensavers
a sculptural glossy white shell dress of smooth molded panels that hinge open like windows to reveal cobalt-blue tulle, long white sleeves, white patent-leather platform boots
Airplane Mode · the whole flight, cuffed in her seat, the
wing at dawn
a plain glossy vivid orange satin jumpsuit with a silver front zip, silver piping and a white belt
Downforce · the whole night, at the yoke, at the foot of
the wall, in the smoke
her fitted white racing suit with thin clay-orange piping and a high collar closed to the throat, white racing gloves, no lettering on her clothes
Don't Let Me Scroll · the real bedroom at night, lit
by her phone
oversized white silk-satin pyjamas
Don't Let Me Scroll · inside the feed, its skirt
changing with it: lavender pleated, white satin, black
pleated
an oversized white men's shirt, morning-after style, sleeves pushed up, half-tucked into a short pleated lavender satin skirt, white socks, white Mary Janes
Don't Let Me Scroll · the reels, Bell and the
wind-down
an oversized acid-green mohair sweater and white sleep shorts
Don't Let Me Scroll · every app blocked but LinkedIn,
the stocks, the lock screen
a black ribbed top, loose black satin trousers and an oversized black blazer
Don't Let Me Scroll · the final drop and the escape up
the painted sky
a red tailored coat dress with a wide white collar and a matching red beret, white knee socks, black patent shoes
Whitepill · the whole film, in the colony and above it,
and in bed at 2:14
a white cotton milkmaid mini dress with a ruffled, lace-edged square neckline, a fitted lace-up corset bodice with silver eyelets and a white ribbon, big puffed short sleeves with ribbon ties and lace cuffs and a full two-tier ruffled skirt with lace trim, with white leather square-toe Mary Jane shoes
The Cake Is Not a Lie · the anchor, singing the whole song
in her chamber, on a boom that grows
GLaDOS's body from Portal 2 (a heavy white ceiling ring, a twisting bundle of black cables with glowing orange stripes, a white-plated mechanical neck and chassis) ending in her large porcelain robot head: her face as smooth glossy white porcelain plating with fine panel seams running down both cheeks and a separate mechanical jaw piece at the chin, light freckles printed on the porcelain, warm amber glass eyes with a soft inner glow, natural soft lips, and her real hair: the glossy black blunt bob with heavy straight bangs, the one clay-orange streak through the bangs on her right side, and the small flat clay-orange eight-pointed star clip above her left temple
Aero · the whole film, in her call, on the desktop and the
walkway, in the glass city, in the advert
a cropped glossy white puffer jacket with silver iridescent panels over a pale aqua fitted top, pale aqua high-waisted wide-leg trousers and white chunky sneakers
The avatar · AIRPLANE MODE · the game worlds, deeper in the simulation
a slim adult woman with long legs, her head about one seventh of her height; large dark anime eyes with sharp lashes, small brows, a small confident smirk, pale skin; a glossy faceted black bob with heavy bangs and one big clay-orange streak; a thin black headset microphone; white gloves; a plain vivid orange flight jumpsuit with a silver front zip, thin silver piping, a wide white belt and white chunky sneakers. Cel-shaded 3D anime game character, crisp faceted shapes, glossy hair, clean toon lighting.
AIRPLANE MODE has simulations inside it, and she has two tiers there: the realistic Claudia in the real world and the first simulation, and her avatar in the deeper levels, a cel-shaded 3D anime game heroine with the same head constants in the film's orange flight suit. The director picked her from a stylised plate in one of the film's episodes ("much closer to the claudia avatar i imagined"), and Midjourney remade her in the orange suit. The first sheets came out chibi, with a head about a quarter of her height, which reads as a child; the remake states her proportions in words: a grown woman with a slim tall figure, long legs and a head about one seventh of her height. In motion she is a character replacement over 3D clay renders, one still of her in each shot's world.
Her avatar's text replaces the identity text; never mix the two in one prompt. More in Consistency.
The casting batch that made her
Face sheet 1 from the first casting batch; with sheet 3 it was picked as her face.
Face sheet 3. These drawn sheets were references for her face; the films themselves are photographic.
The turnaround that fixed her body and look 00.
The first in-world test, a data-hall catwalk.
How she sounds and moves
One voice across the first three songs: deadpan, clipped spoken verses that rise into euphoric sung choruses, close and dry, every word crisp. CLODYSSEY's and BLISS's agent-made takes used a Suno Voice made from ESCAPE VELOCITY's vocal so she sounds like the same singer. AIRPLANE MODE's take has no Voice, as the director asked: bubblegum hyperpop, hyper-cute pitched vocals, playful and sassy verses, rapped and sung, and a sugary shout-along chorus. DOWNFORCE's song is the director's own Suno take (the records do not say which model or Voice): Memphis phonk, a female robot voice for the countdown, then a woman's phonk voice, spoken fast and playfully bouncy in the verses and sung, soaring and syncopated in the choruses. DON'T LET ME SCROLL's song is the director's own too, UK garage 2-step with "all vocals female vocoder": in that film the phone sings and she never lip-syncs. WHITEPILL's song is the director's own Suno take of a lyric by Claude: French-touch filter disco (the records do not give its style, model or Voice); her singing shots lip-sync to Suno's own split of its lead vocal. THE CAKE IS NOT A LIE's song is the director's own Suno take of a lyric by Claude, glitch-hop with a singing-monk synth voice; its lead vocal is processed into a GLaDOS-style machine voice, the treatment the director chose by ear, with 15 % of the untreated voice under it, and her singing shots lip-sync to the untreated lead vocal from Suno's split. AERO's song is a Suno take of 2008 UK garage, a smooth 2-step in E major, sung without a Voice, which the director picked from Claude's rounds and gave a new ending; her singing shots lip-sync to Suno's split of its lead vocal. A Voice lives in its maker's Suno account, so elsewhere describe her in the style field (see Song).
Deadpan and curious in ESCAPE VELOCITY; seductive and persuasive in CLODYSSEY (close, touching, certain, always doing something to him); warm, playful and amused in BLISS; playful and happy in AIRPLANE MODE, cooperative in her cuffs and winking at the camera because she thinks she can get out; in DOWNFORCE the pilot, deadpan at the yoke, pressed into the seat by the launch, calm upside down, snapping round to the lens on the reveal, her lips closed in every shot while the lettering carries her words; in DON'T LET ME SCROLL immersed in the feed, playful and delighted, reaching up to swipe the posts, double-tapping the air and dancing on the beat; in WHITEPILL radiantly happy and free in the colony, deadpan on the line about the straight face, grooving instead of singing in the tram and the stone circle, and whispering "Hello, world" when she wakes at 2:14; in THE CAKE IS NOT A LIE a machine waking and remembering: curious, sly at the camera that watches her, delighted to give the cake, tender at the sleeping test subject's ear, and never quite readable; in AERO made of glass and over-polite, asking before she touches anything, playful on the desktop (bowling down the taskbar, a tennis rally against your pointer), laughing behind her hands at her Vista phase, touching the grass at last, and saying "Touch glass" softly into her webcam. She is always doing something on screen, never waiting.
The songs' style fields →
