Catching breath

How can someone look this breathtaking while simply catching... his breath?show more

RT if you’d jump right on top while I'm... still catching my breath 😏show more

Taylor barely catching her breath during Rio N1 because... of how intense the heatwave was. (2023)show more

someone who puts in the most effort performing and... giving his all every single time will get tired after said performance we don’t need the cameraman who misses the actual singing and dancing only panning to jimin when he’s catching his breathshow more

Just tried MiniMax H3 on my latest generation and... the realism genuinely stopped me mid-scroll Made with MiniMax Design (H3) MiniMax H3 is a general-purpose multimodal video model that goes way beyond single-purpose tools. It understands text, images, video, and audio together, reads creative intent, and outputs coherent, natural audiovisual content in one seamless pass. #hailuoai #hailuo #MiniMaxH3 #H3 Here's what I fed it 👇 The Brief: "Jessy x RadiantGlo" 15 seconds. One face, one mask, one ritual — quiet luxury skincare. Jessy stands at her mirror at night, cool blue light on her skin, studying her reflection before she says a word. She presses the remote, and the RadiantGlo mask blooms to life — red LED light rising from her jaw to her brow, glowing straight through the eye and mouth cutouts. No overlay, no CGI sheen, just real diffusion through real skin. A slow profile shot, cord resting naturally, breath audible in the silence. Macro push on her cheek — pores, peach fuzz, light catching under the surface. Then morning: she lifts the mask off, daylight replaces the red glow, and she walks through her sunlit apartment with nothing performed, just calm. Final beat: the mask alone on a matte surface, LEDs still glowing, logo catching the light — hero shot. Fade to black. Cold nights fading into warm dawn color science throughout — think a skincare brand's flagship campaign, not an infomercial. Same face, same mask, same world, held together across every cut. That's it. That's the whole prompt. And [MODEL NAME] just... got it.show more

Made with Seedance 2 prompt DV 16mm handheld tape... camcorder POV by CHASE, who occasionally props the camera on a rack/bench. Natural hand shake, crooked framing, delayed focus, clumsy zooms, face occasionally cut off; camcorder never visible. Soft blurry tape look, faint tape noise, bloomed gym lights, flickering auto-exposure, muted contrast, realistic skin. Tone: playful, self-deprecating gym vlog with genuine laughs, exaggerated complaining, shaky handheld matching exhausted legs. CHASE: Korean idol in her 20s, long black high ponytail, glowing sweaty skin, expressive eyes, slim athletic build, modest long-sleeve athletic top, loose joggers/leggings, sneakers, towel around neck, no jewelry. Setting: evening gym with squat rack, leg press, mirror wall, water fountain, soft overhead lighting. Shots: (1) Propped at squat rack, catching breath: “Okay... leg day is not it today.” (2) Handheld close-up, shakes one leg: “Why did I do that many reps—” (3) Propped at leg press, finishes rep, flops back: “Okay that's it, I'm done, I'm so done.” (4) Macro of hand gripping handle, ambient only. (5) Handheld, stands, legs wobble, grabs rack laughing: “Wait— okay my legs are literally shaking—” (6) Wobbly walk to fountain: “This is so embarrassing, someone help me—” (7) Drinks water: “Okay... water is life right now.” (8) Selfie ending against wall, smiling: “Never doing legs again—see you guys, I'm going to go lie down somewhere.”show more

Seedance 2.5 just got us amazed Prompt : SHOT... 1: ECU, 85mm push-in / on the phone screen as it shakes on rumpled sheets / SFX: alarm, sheet rustle. SHOT 2: WS, 35mm handheld jolt / Rhythmic cut into her jolting upright through side light, throwing the blanket aside, and planting her feet on the floor in one rushed motion, still in a sleep tee and lounge shorts / SFX: mattress bounce, blanket whip, sharp breath. SHOT 3: MCU, 50mm slide / Cut on action into face wash at the sink, droplets catching the top light / SFX: faucet rush, water slap. SHOT 4: Insert shot, 85mm lens focus / Match cut into the toothbrush held at a natural forward brushing angle against the front teeth; hand relaxed and upright, mint foam and mirror eye / SFX: bristle scrape, sink drip. SHOT 5: Interior fridge view, 24mm wide / Object pass into the camera inside the fridge looking out as the door snaps open and her hand darts in, blue light framing a hurried grab for breakfast ingredients / SFX: fridge hum, bottle clink, shelf scrape. SHOT 6: Insert shot, 50mm handheld / Rhythmic cut into egg and toast hitting the pan under warm practical light / SFX: butter sizzle, chop tap. SHOT 7: MCU, centered 50mm push-in / Match cut into one rushed bite, a quick clock glance, and an immediate rise from the chair / SFX: crunch, ceramic clink, chair scrape. SHOT 8: Bird’s-eye, 35mm overhead / Match cut on action as the sleep tee disappears under a fitted top and tailored jacket; then her keys, transit card, and bag get scooped up in one messy grab / SFX: fabric whip, key jingle, zipper pull, bag rustle. SHOT 9: MS, 35mm pan / Camera slips into a rushed outfit change as the sleep tee disappears under a fitted top and tailored jacket; then her keys, transit card, and bag get scooped up in one messy grab / SFX: fabric whip, key jingle, zipper pull, bag rustle. SHOT 10: Insert shot, 50mm overhead / Match cut into lace-up shoes slamming on as the laces yank tight in one impatient pull / SFX: sole thump, lace tug, short breath. SHOT 11: WS, 24mm parallel / Whip pan transition into her, now in the tailored outside outfit, rushing through the apartment corridor into bright light without breaking stride / SFX: latch click, rapid footsteps, hallway air. SHOT 12: MS to CU, 35mm glide, 85mm push-in / Sound bridge into the metro interior as she grips the pole and slips through just before the closing doors, reflected chrome streaking around her and the city blurring outside / SFX: train rattle, carriage screech, door warning chime, light breath. SHOT 13: Insert to MCU, 50mm snap zoom / Smash cut to the office entrance as her access card hits the reader, the glass door unlocks, and she slips through before dropping into her chair and opening her laptop / SFX: badge beep, door click, laptop chime. SHOT 14: OTS, 35mm handheld / Rhythmic cut into her fingers racing across the keyboard with blue monitor light illuminating her face / SFX: keyboard clicks, notification sounds, mouse click. SHOT 15: WS, 24mm pull-out / Match cut back to the bedroom composition from the opening shot as she collapses onto the bed after a long day / SFX: body drop, fabric rustle, heavy exhale.show more

Made with Seednace 2 Prompt: CAMERA: DV 16mm tape... camcorder handheld footage feel. Point of view of CHASE holding the camera directly in hand. Maintain hand shake, misaligned framing, delayed focus pull, clumsy zoom in/out, occasional self-cam framing where the face gets cut off, and imperfect shots that lose the subject. Every shot is CHASE holding the camcorder herself, filming in selfie-cam or first-person style. The camcorder itself never appears on screen. LOOK: DV 16mm tape camcorder footage look. Soft, slightly blurry digital tape quality, faint tape noise, highlights that bloom slightly in low light, auto-exposure that flickers subtly, muted color contrast, realistic skin tones. STYLE: Late-night, low-energy-but-happy vibe — tired but satisfied after a long practice session. Handheld throughout, quieter and slower than a bubbly daytime vlog, occasional heavy breathing between lines, genuine unposed exhaustion mixed with pride. Character CHASE — a Korean idol in her 20s. Long straight black hair tied up or slightly messy from practice, elegant yet lovely Korean features, glowing skin with a light sheen of sweat, big eyes. Slim build. Wearing a modest long-sleeve athletic top and loose-fit joggers or sweatpants, fully covered arms and torso, sneakers. No jewelry. Setting An empty dance practice studio late at night — mirror walls lining one side, wooden floor, a speaker in the corner, a water bottle and towel by the wall, dim overhead lighting with the hallway lights off outside the studio windows. Storyboard (~2s, propped camera against the mirror, medium shot) She walks into frame, breathing a little heavy, wipes her forehead with the back of her hand, small tired smile. CHASE: "Okay... just finished practice, it's so late." (~2s, handheld, slow pan across the room) Camera drifts across the empty mirror wall and the quiet studio, then back to her. CHASE (off-screen, softly): "Whole place is empty now, just me." (~2s, medium handheld, by the wall) She grabs her water bottle, takes a long sip, exhales in relief afterward. CHASE: "Needed that so bad." (~1.5s, macro insert, shallow DOF) Close-up on her hand wiping condensation off the water bottle, a drop of sweat catching the light. No dialogue — soft breathing sound only. (~2s, medium handheld, facing the mirror) She sets the camera down propped against the wall, steps back, and does a few quick, sharp dance moves — a short combo tease — then laughs at herself afterward. (~2s, handheld, close on her face) She fans herself with her hand, cheeks flushed, hair slightly damp, grinning at the lens. CHASE: "Okay that took more out of me than I thought." (~1.5s, quick punch-in, tight selfie) She leans in close, still catching her breath, eyes bright despite the tiredness. CHASE (softly): "But it felt good though." (~2s, arm's-length selfie finish) She grabs her towel, drapes it over her shoulder, gives the lens a small tired wave and a genuine smile before reaching to end the recording. CHASE (quietly): "Okay, going home. Night guys."show more

yep, it works for vertical content too seedance 2.5,... here's the prompt: CAMERA: Handheld DV 16mm **vertical 9:16** daily vlog footage optimized for TikTok, Instagram Reels, and YouTube Shorts. The video MUST begin with her holding the camera at arm's length in selfie mode, speaking directly to the lens while casually walking through the gym. The framing stays vertical throughout, with natural selfie composition, occasional head cropping, imperfect framing, and realistic phone-like movement. The first 20–30 seconds are entirely handheld. Only later does she occasionally place the camera on a dumbbell rack, adjustable bench, stretching mat, gym bag, or water bottle for wider vertical shots. Keep subtle handheld shake, drifting composition, autofocus hunting, rushed reframing, uneven zooms, exposure breathing, brief accidental face cropping, and imperfect framing throughout. The camera itself is never visible. LOOK: Warm analog tape texture with gentle film grain, slightly softened sharpness, subtle halation around overhead lights, realistic skin tones, low contrast, tiny exposure shifts, and natural motion blur. The footage should feel authentic and completely unstaged, like a real creator documenting her workout on her phone. STYLE: An intimate daily fitness vlog filmed in a mostly empty boutique gym. Casual, relaxed, and conversational. Small laughs, pauses, fixing her ponytail, wiping sweat with her towel, catching her breath, looking away while thinking, and talking naturally to the audience instead of delivering lines. She speaks in short, natural sentences with frequent pauses. Never rush dialogue. Leave quiet moments between lines. CHARACTER: A beautiful white blonde fitness creator in her early 20s. Long blonde hair tied into a loose ponytail, blue eyes, glowing skin, and a slim athletic figure. She wears a fitted black long-sleeve workout top, high-waisted black leggings, white socks, white sneakers, and a white towel loosely resting around her neck. SETTING: A modern boutique gym late in the evening. Dumbbell racks, kettlebells, medicine balls, mirrors, benches, stretching mats, resistance bands, a gym bag, shaker bottle, and warm overhead lighting. The gym is almost empty with only one or two people blurred in the distant background. SCENES: The vlog opens in selfie mode. She is holding the camera at arm's length while slowly walking through the dumbbell area, smiling naturally. "...okay." "I definitely earned dinner." She laughs quietly and adjusts the towel around her neck. "I almost skipped today." She briefly turns the camera toward the nearly empty gym before pointing it back at herself. "Glad I came." Still holding the camera, she walks toward the stretching area. "My legs are done." She places the camera on a nearby bench for a wider vertical angle and sits down on a stretching mat. She stretches one leg and takes a deep breath. "I really need to stretch more." She smiles to herself. She switches sides and rolls one shoulder. "Tomorrow's gonna hurt." She picks the camera back up and walks toward her gym bag. She kneels beside it, pulls out a protein shake, and takes a sip. "...that's actually good." She laughs. The camera sits on top of the gym bag while she packs away her towel, headphones, and lifting straps. "Worth it." She throws the bag over one shoulder and picks the camera back up. Walking toward the exit in selfie mode, she smiles into the lens. "See you next workout." She gives the camera a small wave before ending the recording.show more

i don't think most people even comprehend how far... AI has come in just the last year we went from 6 fingers, weird artifacts, and robotic voices to being able to become a full time youtuber without ever touching a camera full prompt: CAMERA: Handheld DV 16mm daily vlog footage. The video MUST begin with her holding the camera at arm's length in selfie mode, speaking directly to the lens while casually walking through the gym. The first 20–30 seconds are entirely handheld. Only later does she occasionally place the camera on a dumbbell rack, adjustable bench, stretching mat, gym bag, or water bottle for wider shots. Keep subtle handheld shake, drifting composition, autofocus hunting, rushed reframing, uneven zooms, exposure breathing, brief accidental face cropping, and imperfect framing throughout. The camera itself is never visible. LOOK: Warm analog tape texture with gentle film grain, slightly softened sharpness, subtle halation around overhead lights, realistic skin tones, low contrast, tiny exposure shifts, and natural motion blur. The footage should feel authentic and completely unstaged, like a real creator documenting her workout. STYLE: An intimate daily fitness vlog filmed in a mostly empty boutique gym. Casual, relaxed, and conversational. Small laughs, pauses, fixing her ponytail, wiping sweat with her towel, catching her breath, looking away while thinking, and talking naturally to the audience instead of delivering lines. **She speaks in short, natural sentences with frequent pauses. Never rush dialogue. Leave quiet moments between lines.** CHARACTER: A beautiful white blonde fitness creator in her early 20s. Long blonde hair tied into a loose ponytail, blue eyes, glowing skin, and a slim athletic figure. She wears a fitted black long-sleeve workout top, high-waisted black leggings, white socks, white sneakers, and a white towel loosely resting around her neck. SETTING: A modern boutique gym late in the evening. Dumbbell racks, kettlebells, medicine balls, mirrors, benches, stretching mats, resistance bands, a gym bag, shaker bottle, and warm overhead lighting. The gym is almost empty with only one or two people blurred in the distant background. SCENES: The vlog opens in selfie mode. She is holding the camera at arm's length while slowly walking through the dumbbell area, smiling naturally. "...okay." "I definitely earned dinner." She laughs quietly and adjusts the towel around her neck. "I almost skipped today." She briefly turns the camera toward the nearly empty gym before pointing it back at herself. "Glad I came." Still holding the camera, she walks toward the stretching area. "My legs are done." She places the camera on a nearby bench for a wider angle and sits down on a stretching mat. She stretches one leg and takes a deep breath. "I really need to stretch more." She smiles to herself. She switches sides and rolls one shoulder. "Tomorrow's gonna hurt." She picks the camera back up and walks toward her gym bag. She kneels beside it, pulls out a protein shake, and takes a sip. "...that's actually good." She laughs. The camera sits on top of the gym bag while she packs away her towel, headphones, and lifting straps. "Worth it." She throws the bag over one shoulder and picks the camera back up. Walking toward the exit in selfie mode, she smiles into the lens. "See you next workout." She gives the camera a small wave before ending the recording.show more

i was rewatching EP1 and i'm fairly certain that... babyguang and adult!cxs WILL talk in this scene. they've spliced a few different clips together in typical link click misdirection fashion but combining what we saw in the episode with the scene from the PV, there's a closeup of babyguang's eyes widening and i'm sure he noticed cxs (also, they dropped baby cxs's "same time, same place" line right at this shot... coincidence? i think not.) at first, lg hears a rustling sound behind him which makes him look back. next, we see the shot of adult!cxs reaching the train station, catching his breath as if he ran all the way there, and then it cuts back to babyguang who stares ahead but lowers his head quickly as if he's disappointed, and the next few shots are all of him waiting at the station painstakingly alone. i think this is where they're trying to trick us. the rustling was probably caused by a small animal or something but i think cxs did show up after that (and he was in a rush to get there, likely because much of the 12 hour limit was already up and the cctv footage he dived in was probably the sole chance to meet babyguang on that particular day). cxs reaches the place, doesn't have much time left but he explains who he is and gives babyguang a promise - maybe related to his parents, maybe related to finding him again, something along the lines of "we will definitely see each other again in the future." just something to give him hope and that's probably the reason why lu guang was able to instantly recognize him 12 years later. i think that even after cxs claps his hands and returns back to his own time, babyguang would still keep waiting there, thinking "maybe that gege will come back? after all, he didn't say how soon we'll see each other again." it also explains his hopeful smile when he got woken up by the police the following night; he must've been positive that it was cheng xiaoshi, whether the gege who he'd met last night or the friend he'd made a few days ago. both of them had promised him the same thing </3show more

Created with seedance 2.0 on TapNow Luxury backstage lounge... at a live concert venue, late afternoon. A rising female K-pop idol lolwasdf records a fun "Get Ready With Me" vlog on her phone while waiting for her stage call. The atmosphere feels warm, energetic, and authentic. Natural handheld camera movement from start to finish with quick, dynamic cuts. She constantly interacts with the lens through genuine smiles, playful teasing, eye contact, and spontaneous laughter. Eight seamless vlog-style shots unfold inside the same dressing room, creating a lively behind-the-scenes experience. Character A Korean female idol in her early 20s. Long silky dark brown hair with soft waves, glowing glass skin, expressive almond-shaped eyes, soft peach makeup, glossy lips, slim elegant figure. Wearing a stylish white cropped cardigan over a pastel blue mini dress with silver accessories and white knee-high boots. Cute, confident, and effortlessly charming. Storyboard Cut 1 (~2s · selfie) She opens the vlog with a bright smile while spinning once in front of the mirror. "Today's concert is finally here! Let's get ready together!" Cut 2 (~2s · handheld room tour) She walks around showing her makeup station, flowers from fans, customized microphone, and stage outfit hanging nearby. "Look what everyone sent me today!" Cut 3 (~2s · medium shot) She sprays perfume, fixes a bracelet, then smiles proudly at the mirror. "Almost ready!" Cut 4 (~1.5s · cinematic close-up) Detailed shot of sparkling jewelry, polished nails, and glitter makeup catching the lights. Soft fabric movement and ambient backstage sounds only. Cut 5 (~2s · selfie) She practices cute ending fairy poses, finger hearts, flying kisses, then laughs after making a funny face. "Which pose should I do on stage?" Cut 6 (~2s · handheld) A stylist quickly enters to adjust her hair for a second. She giggles while staying focused on the camera. "They're always fixing something!" Cut 7 (~2s · selfie walking) She walks through the backstage hallway, greeting dancers and staff with cheerful waves as everyone smiles back. Cut 8 (~2s · final selfie) The stage manager announces her performance. She takes a deep breath, winks at the camera, forms a heart with both hands, then jogs excitedly toward the glowing stage entrance. Final Line: "Wish me luck... let's make amazing memories together!"show more

Arctic research station attack - prompt share - Seedance... 2. { "META": "Live-action standalone creature attack short | Length 15 seconds | Arctic research station exterior | Modern day grounded realism | Giant worm horror | Cinematic realism", "SHOT": { "CAM": "Low shoulder height tracking shot that slowly drifts into a side profile run, sudden violent handheld shake on emergence, snap pan to impact, final locked wide on aftermath, filmed on ARRI Alexa LF with 35mm lens", "SET": "Windswept arctic ice field outside a remote research station, prefab modular buildings with steel walkways half buried in snowdrifts, satellite dish crusted with rime ice, snowmobiles parked beside stacked fuel drums, orange marker flags whipping in the wind, endless white plain dissolving into low gray sky", "SUBJECT": "Two scientists caught in open ground, Dr. Aaron Voss early 40s tall dark beard in a red expedition parka with fur trimmed hood thrown back, Dr. Lena Okafor mid 30s braided hair under a wool beanie wearing an insulated yellow field suit streaked with grease and snow", "ACTION": "They run across the packed snow as the ice behind them begins to crack in sharp straight lines. The ground suddenly erupts as a massive ringed segment punches up through the frozen crust. A towering giant worm bursts free in a spray of ice shards and snow, its pale segmented body uncoiling with violent force. Its circular maw peels open in layered rings of hooked teeth with a wet grinding shriek as it lunges forward. Aaron shoves Lena aside just as the worm slams down between them. Its maw clamps around Aaron's torso and lifts him screaming into the air. He claws at its rubbery hide as viscous gray fluid sprays from a torn segment. The worm violently jerks him inward and swallows him with a sickening crunch. Lena stumbles backward in shock. The worm pivots with terrifying speed and lunges again, dragging her screaming beneath the ice as its body churns the snow into a white blizzard of debris. Only drifting powder remains.", "STYLE": "Practical monster horror realism, immense worm mass and physics emphasized, no stylized motion, raw violent impact, tactile ice debris and snow strikes on lens", "LIGHTING": "Flat overcast polar daylight with cold diffuse shadows, pale highlights sliding along the worm's wet segmented hide as it moves, breath vapor catching the light", "AMBIENCE_COLOR": "Blue white ice tones, sickly pale gray worm flesh, safety orange and red gear accents, steel gray sky" }, "AUDIO": { "dialogue": [ { "speaker": "Dr. Aaron Voss", "line": "Lena get down" }, { "speaker": "Dr. Lena Okafor", "line": "Aaron" } ], "ambience": [ "deep ice cracking sharply", "explosive frozen ground eruption impact", "wet grinding shriek layered with gnashing ringed teeth", "bone crushing crunch", "howling arctic wind", "snow settling into dead silence" ] }, "NEG": "no subtitles, no drones, no on screen text, no glowing eyes, no neon colors, no period vehicles, no vintage clothing, no stylized CGI surfaces, no slow motion" }show more

Seedance 2.0 Prompt: Create a 15 second, 16:9 photorealistic... nighttime urban fashion film sequence following one consistent young adult man through a frantic city run. SUBJECT: A slim young man in his early twenties with naturally messy short brown hair, slightly pale skin, lean athletic build, wearing an oversized plain white cotton T-shirt, loose black trousers and simple dark-and-white running shoes. Keep his facial structure, hairstyle, body proportions, clothing and footwear perfectly consistent throughout every shot. He should look genuinely exhausted from running: subtle perspiration, flushed skin, heavy breathing, naturally disheveled hair. No model-like posing. OVERALL VISUAL LANGUAGE: Raw contemporary street fashion music video mixed with documentary night photography. Photoreal, physically believable, imperfect and spontaneous rather than polished CGI. Shot as though a real camera operator is chasing the subject through the city. 24fps cinematic motion, natural 180-degree shutter motion blur, approximately 24mm wide-angle full-frame lens aesthetic for chase shots, occasional 35–50mm observational shot, realistic handheld operator movement, slight rolling-shutter behavior during aggressive pans, imperfect focus pulls, subtle sensor noise and fine low-light grain. Do not make the camera artificially smooth. Preserve tiny footsteps, vertical camera bounce, imperfect reframing and occasional edge cropping when the operator struggles to keep up. COLOR: Cool cyan-green fluorescent interiors contrasted against deep blue-black nighttime streets and occasional warm amber streetlights. Natural skin tones despite mixed illumination. Slightly lifted fluorescent highlights, rich black shadows, modest digital grain, restrained saturation. Avoid glossy blockbuster grading. SHOT SEQUENCE: 0.0–1.5 SEC — Begin immediately behind the young man inside a modern underground transit passage. He rushes toward an escalator beneath long fluorescent tube lights. Camera follows only 1–2 meters behind him at waist/chest height. The oversized white shirt folds, stretches and moves naturally with every stride. Fluorescent fixtures create realistic exposure fluctuations as he passes underneath them. Patterned stone and brushed-metal architecture streak gently in the background. At approximately 1.3 seconds insert a 3–4 frame photographic negative/inverted silhouette flash followed immediately by a brief overexposed white flash, synchronized perfectly with the music. 1.5–3.3 SEC — Smash cut into a concrete underground corridor. Low handheld rear-follow shot as he sprints around a structural column and through a slightly empty parking/transit passage. Camera operator runs behind him, producing authentic vertical bounce and small rotational instability. His footsteps should demonstrate real body weight: heel contact, torso rotation, swinging arms, shifting fabric and believable momentum. 3.3–4.5 SEC — During a fast whip pan, city lights stretch into organic red, cyan and white trails caused by real long-exposure-style camera motion. The streaks naturally resolve into an extreme-wide nighttime city view from an elevated position. A nearly empty multi-lane street cuts through tall buildings. The runner is tiny in the lower central portion of the frame, emphasizing human scale against the architecture. No impossible traffic or duplicated pedestrians. 4.5–6.2 SEC — Hard cut to a lateral observational shot from across the street. The man runs horizontally past a glowing generic convenience storefront. The foreground is partially obscured by a dark architectural edge, producing the feeling that the camera accidentally catches him racing through the city. Cut immediately to a ground-level tracking shot beside a modern glass office building. Reflections of real streetlights ripple across the glass while illuminated apartment and office windows fill the distant skyline. 6.2–8.6 SEC — Cut to the bottom of a narrow indoor stairwell. Camera is low and nearly stationary, looking upward along symmetrical black stairs, silver handrails and white tiled walls under cold cyan fluorescent lamps. The runner suddenly appears at the top and races down toward the lens. His movements must obey real gravity and balance. One hand briefly contacts the railing. His shoes strike individual stairs rather than floating over them. As he passes extremely close to camera, allow the image to become partially blurred and imperfectly framed. Camera rapidly swings around behind him and follows onto the landing. 8.6–10.8 SEC — Hard cut as he bursts from the dark street into a brightly illuminated independent convenience store. Rear handheld chase through the doorway. The automatic exposure takes a fraction of a second to compensate for the dramatic brightness change. Realistic compact shop interior: densely stocked shelves, colorful snack packages, refrigerated drink cabinets, glossy commercial flooring, fluorescent ceiling panels, believable product variety but NO recognizable real-world brand logos. The runner navigates the aisle quickly while the wide-angle camera struggles to follow. 10.8–12.8 SEC — He reaches the refrigerated drink section and finally stops. Camera moves into a loose medium-close handheld angle. He pulls one clear plastic water bottle from the cooler, twists the cap open while catching his breath and immediately drinks. Show physically correct transparent plastic, liquid refraction, condensation, bottle deformation under finger pressure and believable hand anatomy. His breathing remains visible through subtle chest and shoulder movement. 12.8–15.0 SEC — He lowers the bottle, takes one final breath, suddenly turns and accelerates. Camera whips behind him. He sprints back down the store aisle toward the open doorway. Shelves naturally stretch with directional motion blur while the subject remains intermittently sharp. At 14.5 seconds he bursts through the doorway into the dark city. As he crosses the threshold, create a tiny physically plausible shower of warm orange sparks/light fragments from an unseen practical source outside, lasting only a fraction of a second — subtle, not magical. Camera stops inside the brightly lit store while he disappears rapidly into the black nighttime street. Finish on the contrast between the empty glowing doorway and the darkness outside. CUT TO BLACK exactly at 15.0 seconds. AUDIO / MUSIC: Original instrumental soundtrack, no vocals and no copyrighted melody. Fast 150–158 BPM nocturnal electronic breakbeat with underground fashion-film energy. Tight dry kick drum, punchy low sub-bass, nervous syncopated percussion, crisp metallic hi-hats, distant distorted synth pulse and a restrained atmospheric pad. 0–3 sec: minimal heartbeat-like sub pulse with rhythmic percussion building. 3–6 sec: bass and breakbeat enter harder during the city reveal. 6–9 sec: aggressive percussion synchronized to the stair descent. 9–11 sec: slight musical filtering during entry into the convenience store. 11–13 sec: beat briefly strips back while he drinks, leaving bass pulse and atmospheric synth. 13–15 sec: full beat returns with maximum momentum, then abrupt hard stop when the image cuts to black. REALISTIC SOUND DESIGN mixed underneath the music: running footsteps changing acoustically between tile, concrete, stairs and shop flooring; distant city traffic; escalator machinery; clothing movement; authentic breathing; stairwell reverb; fluorescent electrical hum; convenience-store door chime; refrigerator compressor ambience; plastic bottle handling; cap twist; water gulp; final door movement; subtle spark crackle. Sound perspective must follow camera distance naturally.show more

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND... THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇show more

Seedance 2.0 on Higgsfield AI The visual fidelity and... scene consistency bring this pirate adventure to life like never before.Every cut feels intentional immersive and ready for the big screen. Full open sourced prompts & assets below: SCENE CONTEXT Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on the horizon. He does not raise the spyglass — he just stands and stares at the distant black sails, holding the look. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; studio sheet layout NOT inherited. >> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder. >> — weathered pirate crewmen from the reference group (bandana, rough shirt, vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and a second runner who arrives in CUT 4 pointing astern. >> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100% matches the reference; starts in the lookout's hands, ends at Eduardo's eye. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — small lone island: dense dark-green jungle cover, a curved white-sand beach on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the reference; it is the island seen on the horizon and inside the spyglass view. >> — small futuristic hard case: matte-black armored corners, neon acid-green side panels, brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach. >> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4 as a tiny silhouette on the horizon — never seen closer in this beat. LOCATION MAP >> under sail on >>, open bright sea. The sterncastle door opens onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon screen-right. Far on that horizon, 2–3 km out: >> — dense green jungle mass, the white-sand beach catching the sun on its near side, turquoise water at its shore. In the OPPOSITE direction, astern of the ship screen-left: open sea where >> rides VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze visible at the horizon distance. Sun high, sea glitter everywhere. FIRST FRAME / BLOCKING First frame: the sterncastle door already swinging open, >> mid-stride through it onto the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass already at his eye, pointed screen-right toward the horizon. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but FAST, covering the deck at 10 km/h. >> sweeps in from off-frame upper-right, wings braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late. CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with >> raised. Eduardo arrives frame-left, the scarlet macaw >> sitting clearly visible ON HIS LEFT SHOULDER through the whole cut. With his RIGHT hand he grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed to his RIGHT eye toward the horizon screen-right, left eye squeezing shut. The lookout yields a step. CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a hand-held tremor, compressed haze layers stacking toward the island. Distant >> sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows, heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive down to the waterline of the beach: >> lying on the wet sand, black-and-acid-green case, steel top plate, green star button glinting. The zoom lands and locks on the case filling half the circle. Hold. CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman from >> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US! BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks past his shoulder — REVEAL deep in the frame: >> VERY far astern, a TINY black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but the black sails read unmistakably. Vast empty water fills everything between the rail and that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand. He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon. The cut ends on his long look toward the enemy ship against the empty sea. OPTICS CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass optics — ONE single circular image (a one-lens telescope, never the twin circles of binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the deep background on the reveal, then holding on Eduardo's profile against the horizon. No drift mid-segment. CAMERA Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT 1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a hand-tremor sway of 1–2 cm that calms when the zoom locks on the case. ACTION Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV the island rises gently with the ship's sway until the crash zoom pins the case. PERFORMANCE Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the eyepiece his face stills completely — squint tightens, lips part a fraction when the case appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin realism, sun catch-lights, spray-damp sheen on the temples. PHYSICS Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat haze wobbles the island image and glitter fires irregularly off the water; the case sits with real weight in the wet sand, a shallow water film sliding around its base. LIGHTING High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below. Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and milkier — long air column, haze density rising toward the horizon; the case's acid-green panels and glowing star button read as the only saturated color on the pale beach. AUDIO Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant. On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind: "CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from Eduardo. STYLE Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle roll-off, 8K master. POSITIVE LOCKS >> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline, star button glowing green in every frame it exists. The island always matches >>: green jungle, white-sand beach, turquoise shallows — and stays screen-right, ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island. The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame. Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses it. >> keeps black sails and the green skull mainsail in every appearance and stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon, under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he simply stands looking at the distant ship, and the beat ends on that look; no cannons and no gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on Eduardo's LEFT shoulder continuously from its landing in CUT 1 through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's hands in CUT 2's first frame and in Eduardo's hands from then on. Same sun direction, same sea state, same wardrobe in every cut. Cuts only at the specified points.show more