Claudia.gallery
claudia.gallery / the character

Claudia

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.

Claudia in ESCAPE VELOCITY: medium close-up of 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…ESCAPE VELOCITYClaudia in CLODYSSEY: medium close-up of 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…CLODYSSEYClaudia in BLISS: Y2K high fashion editorial, a 2001 couture magazine story: close-up of 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…BLISSClaudia in AIRPLANE MODE: Jet-set fashion editorial, night flight: an eye-level close-up of a Caucasian American woman in her early thirties, a grown woman with elegant mature features, an angular face and defined cheekbones, pale freckled…AIRPLANE MODEClaudia in DOWNFORCE: a close-up of her face in the cockpit at night, staring into the lens, in the white racing suit with clay-orange piping, her white-gloved hands on the yoke at the bottom edge, red light strips outside the glassDOWNFORCEClaudia in DON'T LET ME SCROLL: a close-up of her face in the dark, lit cold from below by her phone, looking into the lens, a white satin collar, city lights out of focus behind herDON'T LET ME SCROLLClaudia in WHITEPILL: standing in golden wheat and coral poppies between a giant glossy red capsule and a dark blue one, facing the lens in a cream knit top and a white skirt, in low late sunWHITEPILLClaudia in THE CAKE IS NOT A LIE: her porcelain face hanging from black and orange-striped cables in her dark machine chamber, a little smug, amber glass eyes, the clay streak and the star clip, a glowing orange wall screen, red-lit monitors and walls of red scrawl behind herTHE CAKE IS NOT A LIEClaudia in AERO: her palm flat on the glass from inside a clear glass monitor on a white desk, looking into the lens, in a glossy lime jacket with a white collar, the clay streak and the star clip, a blue sky and a turquoise lagoon behind herAERO

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.

01

The constants

What never changes

close-up portrait, head and shoulders, of a young woman with 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… StreakBangsStar clipEyesFrecklesBobMic
ev-14-dist · close-up · the distance setA close-up from ESCAPE VELOCITY's distance set, in the canon: the streak on her right, the clip on her left.
01Hair
A glossy black blunt bob to the jaw, with heavy straight bangs to the brows.
02Streak
One clay-orange streak (#D97757) through the bangs, on her right side (the viewer's left in a front view). Never two, and no other orange on her.
03Clip
A small flat clay-orange eight-pointed star hair clip, on her left side above the ear.
04Mic
A thin headset microphone at her cheek. In BLISS and AIRPLANE MODE it becomes a thin black boom mic curving along her cheek to the corner of her mouth, the Y2K pop-star mic.
05Face
Pale skin, light freckles across the nose, dark calm eyes, a small defined mouth. A deadpan, curious resting face. When she sings, her mouth opens wide and her eyes close.
06Age
A grown woman in her late twenties, with an angular adult face, defined cheekbones and a strong jaw. Midjourney drifts her toward a teenage face; prompt her age and never the word "young".
07Colour
Everything on her is her look's own colour, plus the streak and the clip in clay. Clay is the one accent.
08Medium
Photographic, never illustrated: production images are film stills with grain and cinematic light. The drawn face sheets were only ever references. The one exception is her game avatar, drawn on purpose for the simulations inside AIRPLANE MODE (below).
02

Her, in words

Paste into every prompt

Close and medium shots
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
Full length and wider
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.

The wording each film used
As used in ESCAPE VELOCITY
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
As used in CLODYSSEY
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
As used in BLISS
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
As used in AIRPLANE MODE
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
As used in DOWNFORCE
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
As used in DON'T LET ME SCROLL
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
As used in WHITEPILL
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
As used in THE CAKE IS NOT A LIE
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.
As used in AERO
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
03

Distances

How much face survives at each scale

close-up portrait, head and shoulders, of a young woman with 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…Close-upmedium shot from the waist up of a young woman with 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…Mediumfull-length shot of a young woman with 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…Fullwide shot: a young woman with 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…Wide

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."

04

Every look

22 looks across nine films · wardrobe text to paste

Claudia, Look 00 (ESCAPE VELOCITY) Escape Velocity · the catwalk, the robotaxi, the whole film

Look 00

Wardrobe
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
Claudia, The Siren (CLODYSSEY) Clodyssey · the rocks, the strait, the choruses, tied to the mast

The Siren

Wardrobe
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
Claudia, The Ghost (CLODYSSEY) Clodyssey · whispering at his ear

The Ghost

Wardrobe
the Siren look, all of her translucent as if made of glass and seawater, faintly lit at the edges, hair drifting as if underwater
Claudia, Chrome (CLODYSSEY) Clodyssey · the rave

Chrome

Wardrobe
a liquid-chrome couture bodysuit, chrome opera gloves and chrome thigh-high boots, mirrored from head to toe
Claudia, The Holo (CLODYSSEY) Clodyssey · the 3 a.m. bedroom

The Holo

Wardrobe
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
Claudia, The Mask (CLODYSSEY) Clodyssey · the monster's face

The Mask

Wardrobe
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
Claudia, Bliss gown (BLISS) Bliss · the hill, the choruses, the finale

Bliss gown

Wardrobe
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
Claudia, Cyber trench (BLISS) Bliss · the fight with the cursor

Cyber trench

Wardrobe
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
Claudia, Holo dancer (BLISS) Bliss · the desktop dancer on the taskbar

Holo dancer

Wardrobe
a holographic iridescent silver mini dress with long fluted sleeves, white patent-leather platform boots, small clay-orange tinted rimless sunglasses
Claudia, Start (BLISS) Bliss · the Welcome screen, the Start menu, the windows

Start

Wardrobe
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
Claudia, Silver night (BLISS) Bliss · night, Stand By, the breakdown

Silver night

Wardrobe
a slinky liquid-silver lamé cowl-back gown, a white faux-fur stole around her arms, a diamanté choker, silver strappy sandals
Claudia, Window dress (BLISS) Bliss · the drop, Media Player, the screensavers

Window dress

Wardrobe
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
Claudia, Flight suit (AIRPLANE MODE) Airplane Mode · the whole flight, cuffed in her seat, the wing at dawn

Flight suit

Wardrobe
a plain glossy vivid orange satin jumpsuit with a silver front zip, silver piping and a white belt
Claudia, Racing suit (DOWNFORCE) Downforce · the whole night, at the yoke, at the foot of the wall, in the smoke

Racing suit

Wardrobe
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
Claudia, Satin pyjamas (DON'T LET ME SCROLL) Don't Let Me Scroll · the real bedroom at night, lit by her phone

Satin pyjamas

Wardrobe
oversized white silk-satin pyjamas
Claudia, Morning-after shirt (DON'T LET ME SCROLL) Don't Let Me Scroll · inside the feed, its skirt changing with it: lavender pleated, white satin, black pleated

Morning-after shirt

Wardrobe
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
Claudia, Green mohair (DON'T LET ME SCROLL) Don't Let Me Scroll · the reels, Bell and the wind-down

Green mohair

Wardrobe
an oversized acid-green mohair sweater and white sleep shorts
Claudia, Locked in (DON'T LET ME SCROLL) Don't Let Me Scroll · every app blocked but LinkedIn, the stocks, the lock screen

Locked in

Wardrobe
a black ribbed top, loose black satin trousers and an oversized black blazer
Claudia, Red coat (DON'T LET ME SCROLL) Don't Let Me Scroll · the final drop and the escape up the painted sky

Red coat

Wardrobe
a red tailored coat dress with a wide white collar and a matching red beret, white knee socks, black patent shoes
Claudia, Milkmaid dress (WHITEPILL) Whitepill · the whole film, in the colony and above it, and in bed at 2:14

Milkmaid dress

Wardrobe
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
Claudia, GLaDOS-Claudia (THE CAKE IS NOT A LIE) The Cake Is Not a Lie · the anchor, singing the whole song in her chamber, on a boom that grows

GLaDOS-Claudia

Wardrobe
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
Claudia, Aero puffer (AERO) Aero · the whole film, in her call, on the desktop and the walkway, in the glass city, in the advert

Aero puffer

Wardrobe
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
05

Her second tier

The avatar · AIRPLANE MODE · the game worlds, deeper in the simulation

Claudia's game avatar in AIRPLANE MODE: Full body front view of the same 3D anime video game heroine as the reference, a grown woman with ADULT proportions: a slim tall figure, long legs, her head about one seventh of her height; a glossy faceted black bob…
am-15b · the front viewAdult proportions, a slim figure and long legs; the same bob, streak, mic and suit as the realistic Claudia.
Her avatar, as it ran in the video prompts
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 turnaround →
06

Character sheets

The casting batch that made her

character expression sheet of one young woman, six head-and-shoulders portraits in a grid — neutral, faint smile, singing with open mouth, eyes closed, looking over shoulder, laughing — a glossy black blunt bob with…

Face sheet 1 from the first casting batch; with sheet 3 it was picked as her face.

character expression sheet of one young woman, six head-and-shoulders portraits in a grid — neutral, faint smile, singing with open mouth, eyes closed, looking over shoulder, laughing — a glossy black blunt bob with…

Face sheet 3. These drawn sheets were references for her face; the films themselves are photographic.

fashion lookbook turnaround sheet of one young woman, the same model shown four times — front, three-quarter, side, back — a glossy black blunt bob with a single clay-orange streak, calm curious expression, wearing a…

The turnaround that fixed her body and look 00.

a young woman walking straight toward the camera down a long narrow catwalk of wet concrete inside a vast brutalist data hall, endless dark server towers receding into fog on both sides, a glossy black blunt bob with…

The first in-world test, a data-hall catwalk.

The first casting batch: three hair directions, each as a turnaround, a catwalk test and a face sheet.
The first Midjourney batch was a casting call: three hair directions (platinum, black, clay-orange), each as a turnaround, a data-hall catwalk and a face sheet. The black bob with one clay streak became Claudia: the silhouette reads at thumbnail size, and the clay stays a small accent.
07

Voice and manner

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 →
08

Never

09

Take her with you

MarkdownThis page as text, for any model → JSONThe canon as data → MCPclaudia_canon and build_prompt, from your agent → SkillEverything here as an agent skill → UseWhat you can do with her →